Art Collecting at Gregynog
1924-2024
It is fitting that Rogers Jones & Co. are staging their forthcoming Welsh Sale and first-ever auction of British and European Art at Gregynog Hall.
Over five decades, Gregynog was home to the sisters Gwendoline and Margaret Davies, pioneer art collectors and heirs to the fortune amassed by their entrepreneurial grandfather, the industrialist David Davies of Llandinam.
One hundred years ago, Gregynog became the sisters’ home. Its size and generously proportioned rooms afforded them ample space to display their collection of Old Master, 18th- and 19th-century British and 19th-century French Realist, Impressionist and Post-Impressionist paintings, as well as large-scale bronzes by Rodin. Artworks were complemented by contemporary Arts and Crafts furniture from Morris & Co., Heals, and Dryad of Leicester, as well as commissioned furnishings from
Cotswolds School designer Peter Waals, and Paul Matt of the Brynmawr Furniture Company, reflecting Gwendoline Davies’s vision to imbue Gregynog with ‘the beauty of simplicity and usefulness.’
Renovations of Gregynog Hall were completed in 1924. Sydney Greenslade, architect of the National Library of Wales in Aberystwyth, had overhauled its decorative schemes and designed two stunning Art Deco bathrooms. That year, the sisters made their final payment to Edwin Stanley Hall, architect of Liberty’s flagship store on Regent Street, for extending the billiard room to create a music room with a new two-storey link block from the Hall and a bedroom annexe to accommodate visitors. Following his work at St George’s Chapel, Windsor, master organ builder Frederick Rothwell completed a bespoke organ for Gregynog, built to specifications by Sir Henry Walford Davies.
Even though Gregynog was now the Davies’s home, a full calendar of residential events took place that year. Given that the
sisters possessed a deep social conscience, those first meetings included gatherings of the Welsh Federation of University Women’s Camps for Schoolgirls, Welsh School of Social Science, National Council of Music, League of Nations Union, and Montgomery County Nursing Association.
In this centenary year, Rogers Jones’s Welsh Sale will take place in the famous Music Room where once hung artworks by Botticelli, El Greco, Daumier, Manet, Monet, and Cezanne. Now Rogers Jones is bringing the best of Welsh art to collectors in Wales and beyond, from what was the beating heart of art collecting in 20thcentury Wales.
As collectors, Gwendoline and Margaret Davies were not seasoned auction-goers themselves. Through the agency of their advisor Hugh Blaker – artist, connoisseur, collector, dealer, curator, and critic, younger brother of their governess-cum-companion Jane Blaker – the sisters acquired artworks from dealers in London and Paris, and, to a lesser extent, from London salesrooms.
© Lord Davies - NMW
He remembered Margaret Davies as ‘a gentle soft-voiced woman, diffident yet welcoming. We wandered through the house past Gauguins, Renoirs, Van Goghs, Monets and some Old Masters as well. The best of Sickert, John and Gilman could be seen beside the work of contemporary artists. I so much enjoyed those visits that on one day of the week I always prayed for rain.’
One hundred years on, Gregynog’s Music Room is filled with the best of Wales’s visual and decorative arts. Gwendoline and Margaret Davies would be delighted to see art appreciation and collecting in Wales flourishing at Gregynog, content in the knowledge that art collecting is no longer the exclusive domain of a privileged few.
Blaker represented them at auctions as it was not considered fitting for well-bred ladies to operate in the cut-throat maledominated wheeling-and-dealing art market. While the sisters, who owned an apartment in Buckingham Gate, London, attended viewings, Blaker bid on their behalf. Unlike today’s buyers who enjoy the privacy of online bidding, the sisters relied on Blaker to assure their anonymity. The Times journalist reporting on the ‘frenzied’ bidding at Sotheby’s for Turner’s watercolour View of Heidelberg with Rainbow mistakenly pronounced Blaker to be ‘one of the greatest collectors of the day.’
Gwendoline and Margaret Davies never planned for Gregynog to become their home when they became sole owners of the hall and 750-acre estate in 1920. They set out by creating a residential arts and crafts facility for the training of soldiers and those affected by war. Out of that initiative, however, only the printing of fine books endured. On 4 December 1924, Gregynog Press’s second book Poems of Herbert Vaughan, printed by hand with engravings by its controller Robert Ashwin Maynard and press artist Horace Walter Bray, was published in a numbered edition of 500 copies.
While the sisters’ pace of collecting slowed as a result of their ownership of Gregynog, purchases between 1920 and 1924 nonetheless included paintings by Botticelli, El Greco, Frans Hals, Gainsborough, and Burne-Jones, works on paper by Turner, Cezanne, Pissarro, Vlaminck, and Daumier, as well as bronzes by Degas. Collecting all but ceased in 1924. New ventures at Gregynog and their increasing concern for
social causes diverted their attention from their art collections. Gwendoline, who with her sister had been raised and lived by the strict codes of Calvinistic Methodism, stated in a letter to a friend that she was uncomfortable spending large sums of money on art when she witnessed so much need among the people of Wales.
Through the bequest of their art collections to the National Museum of Wales, their patronage of music festivals, the Gregynog Press, and funding of the Brynmawr Furniture Company, the sisters aimed to make art, craft, design and literature of the highest standards available to the people of Wales. As a student at Swansea School of Art, Ceri Richards attended a ‘transformative’ and ‘exhilarating’ summer school conducted by Blaker and Maynard at Gregynog in 1923. ‘I was staggered,’ Richards recalled, ‘by the sight of the superb Impressionist and Post-Impressionist paintings hanging on the walls, and the bronzes by Rodin. I was fascinated most of all by Monet. Imagine their effect on someone who’d dreamed of great painting but had seen none at all.’
After the death of Gwendoline Davies in 1951, Margaret Davies resumed collecting. She sold paintings by Turner and Monet to fund a Modern British collection that was to include paintings by young artists from Wales; among them John Elwyn, Esther Grainger, Ceri Richards, Josef Herman, Ray Howard Jones, Leslie Moore, Fred Uhlman, and Kyffin Williams – names familiar to followers of Rogers Jones’s Welsh Sale A regular at the annual Llandinam shoot in the 1950s, Kyffin Williams recalled how, when ‘the weather became too bad for a shoot, [they] went to Gregynog.’
The sisters’ legacy endures as Gregynog Hall embarks on a new chapter in its history under the custodianship of the independent charitable Gregynog Trust. In its commitment to safeguard and support access to culture, history and nature, it continues to uphold the sisters’ values.
For 60 years following the death of Margaret Davies in 1963, Gregynog was a popular intercollegiate residential conference facility run by the University of Wales. The academic market greatly diminished with the breakup of the University of Wales in 2009 and the nationwide introduction of student fees in 2011. Cash-strapped universities, and impecunious students (who now maintain a job or two to fund their tuition fees, rent and subsistence) could no longer afford to come in large numbers.
And so, faced with the significant challenge of securing a sustainable future for the Hall and Estate, we seek to diversify our activities, broaden our reach, and engage with ever-wider audiences to share in all that Gregynog has to offer. We are delighted through our partnership with Rogers Jones & Co. to be welcoming to Gregynog new and existing collectors to view, and hopefully acquire for themselves, some of Wales’s finest artistic achievements.
Professor Robert Meyrick
Art historian and Trustee of Gregynog www.gregynog.org
Casglu Celf yng Ngregynog
1924-2024
Mae’n addas iawn bod cwmni arwerthu Rogers
Jones yn bwriadu cynnal ei Arwerthiant Cymreig nesaf, a’i arwerthiant cyntaf o Weithiau Celf Prydeinig ac Ewropeaidd, yn Neuadd Gregynog.
Am dros bum degawd, bu Gregynog yn gartref i’r chwiorydd Gwendoline a Margaret Davies, sef casglwyr celf arloesol ac etifeddion y cyfoeth a gasglwyd gan eu taid entrepreneuraidd, y diwydiannwr David Davies o Landinam.
Gan mlynedd yn ôl, daeth Gregynog yn gartref i’r chwiorydd. Oherwydd maint yr adeilad a’i ystafelloedd, roedd gan y chwiorydd ddigon o le i arddangos eu casgliadau o Hen Gampweithiau, gweithiau celf Prydeinig o’r ddeunawfed ganrif a’r bedwaredd ganrif ar bymtheg, gweithiau artistiaid Realaidd Ffrainc o’r bedwaredd ganrif ar bymtheg, paentiadau’r Argraffiadwyr a’r Ôl-argraffiadwyr, a chasgliad mawr o ddelwau efydd gan Rodin. Câi’r gweithiau celf eu hategu gan ddodrefn Celf a Chrefft a wnaed gan Morris & Co, Heals a Dryad o Gaerlŷr, yn ogystal ag eitemau dodrefnu a wnaed gan ddylunydd Ysgol y Cotswolds, Peter Waals,
a Paul Matt o Gwmni Dodrefn Brynmawr, gan adlewyrchu gweledigaeth Gwendoline Davies i lenwi Gregynog â symlrwydd a defnyddioldeb.
Ym 1924, cwblhawyd gwaith adnewyddu yn Neuadd Gregynog. Ailwampiwyd y cynllun addurnol gan Sydney Greenslade, pensaer Llyfrgell Genedlaethol Cymru yn Aberystwyth, ac aeth ati i ddylunio dwy ystafell ymolchi ysblennydd mewn arddull Art Deco. Y flwyddyn honno, talodd y chwiorydd eu taliad olaf i Edwin Stanley Hall, pensaer siop flaenllaw Liberty’s ar Regent Street, am ymestyn yr ystafell filiards i greu ystafell gerddoriaeth gyda bloc cyswllt deulawr newydd o’r Neuadd a rhandy ag ystafell wely ar gyfer ymwelwyr.
Yn dilyn ei waith ar Gapel San Siôr, Windsor, adeiladodd y prifadeiladydd organau, Frederick Rothwell, organ bwrpasol ar gyfer Gregynog, a wnaed yn unol â gofynion Syr Henry Walford Davies.
Er bod Gregynog bellach yn gartref i’r chwiorydd Davies, cynhaliwyd llu o ddigwyddiadau preswyl yno y flwyddyn honno. Gan fod y chwiorydd yn meddu ar gydwybod gymdeithasol ddofn, roedd y digwyddiadau cyntaf a gynhaliwyd yno’n cynnwys cyfarfodydd Gwersylloedd i Ferched Ysgol Ffederasiwn Menywod Prifysgolion Cymru, Ysgol Gwyddorau
Cymdeithasol Cymru, y Cyngor Cerddoriaeth Cenedlaethol, Undeb Cynghrair y Cenhedloedd, a Chymdeithas Nyrsio Trefaldwyn.
A hithau’n ganmlwyddiant eleni, bydd Arwerthiant Cymreig Rogers Jones yn cael ei gynnal yn yr Ystafell Gerddoriaeth enwog lle byddai gweithiau celf gan Botticelli, El Greco, Daumier, Manet, Monet a Cezanne yn arfer hongian. Yn awr, mae Rogers Jones yn cyflwyno’r gorau sydd gan gelfyddyd
Cymru i’w gynnig i gasglwyr o Gymru a thu hwnt, a hynny o rywle a arferai fod yn gwbl allweddol i’r arfer o gasglu gweithiau celf yng Nghymru’r ugeinfed ganrif.
Er bod Gwendoline a Margaret Davies yn casglu gweithiau celf, nid oeddynt yn mynychu rhyw lawer o arwerthiannau. Trwy gyfrwng eu cynghorydd Hugh Blaker – artist, arbenigwr, casglwr, deliwr, curadur a beirniad, a brawd iau eu tiwtor a’u cymdeithes, Jane Blaker – llwyddodd y chwiorydd i gael gafael ar weithiau celf gan ddelwyr o Lundain a Pharis ac, i raddau llai, o ystafelloedd arwerthu yn Llundain. Arferai Blaker eu cynrychioli mewn arwerthiannau, oherwydd ni fyddai’n weddus i foneddigesau cwrtais ymhél â bargeinio a chynllwynio y farchnad gelf ddidrugaredd a gâi ei thra-arglwyddiaethu gan ddynion. Roedd y chwiorydd yn
berchen ar fflat yn Buckingham Gate, Llundain, ac er y byddent yn mynd i fwrw golwg ar eitemau’r arwerthiannau, byddai Blaker yn cynnig ar eu rhan. Yn wahanol i brynwyr heddiw, sy’n mwynhau gallu cynnig ar-lein mewn preifatrwydd, roedd y chwiorydd yn dibynnu ar Blaker i sicrhau eu hanhysbysrwydd. Yn wir, soniodd un o newyddiadurwyr y Times am y cynigion ‘gwyllt’ yn Sotheby’s am ddyfrlliw gan Turner, sef View of Heidelberg with Rainbow, ac aeth ati ar gam i alw Blaker yn ‘un o brif gasglwyr yr oes’.
Pan ddaeth neuadd ac ystad 750 acer Gregynog i ddwylo Gwendoline a Margaret Davies ym 1920, nid oeddynt yn bwriadu ymgartrefu yno. Aethant ati i greu canolfan breswyl celf a chrefft ar gyfer hyfforddi milwyr a phobl a oedd wedi dioddef yn sgil rhyfel. Ond o’r fenter honno, dim ond yr arfer o argraffu llyfrau gwych sydd wedi goroesi. Ar 4 Rhagfyr 1924, cyhoeddwyd ail lyfr Gwasg Gregynog, sef Poems of Herbert Vaughan. Cafodd y llyfr hwn ei argraffu â llaw gydag ysgythriadau gan reolwr y wasg, Robert Ashwin Maynard, ac artist y wasg, Horace Walter Bray, ac argraffwyd 500 o gopïau.
Er i’r chwiorydd gasglu llai o eitemau ar ôl iddynt ddod yn berchen ar Neuadd Gregynog, rhwng 1920 a 1924 prynodd y ddwy, fodd bynnag, baentiadau gan Botticelli, El Greco, Frans Hals, Gainsborough, a Burne-Jones, gweithiau ar bapur gan Turner, Cezanne, Pissarro, Vlaminck, a Daumier, a delwau efydd gan Degas. Daeth y casglu i ben fwy neu lai ym 1924 gan fod mentrau newydd yng Ngregynog a phryder cynyddol y chwiorydd am achosion cymdeithasol yn tynnu eu sylw oddi ar eu casgliadau. Cafodd y ddwy eu magu yn unol ag arferion llym y Methodistiaid Calfinaidd, ac mewn llythyr at gyfaill, nododd Gwendoline ei bod yn teimlo’n anghyfforddus yn gwario arian mawr ar weithiau celf o gofio bod cynifer o bobl Cymru mewn angen.
Trwy adael eu casgliadau celf i Lyfrgell
Genedlaethol Cymru yn eu hewyllysiau, trwy noddi gwyliau cerddorol, trwy gyfrwng
Gwasg Gregynog a thrwy ariannu Cwmni Dodrefn Brynmawr, nod y chwiorydd oedd sicrhau y byddai celf, crefft, dylunio a llenyddiaeth o’r radd flaenaf ar gael i drigolion Cymru. Pan oedd yn fyfyriwr yn Ysgol Gelf Abertawe, mynychodd Ceri Richards ysgol haf ‘drawsnewidiol’ ac ‘ysbrydoledig’ a gynhaliwyd yng Ngregynog ym 1923 gan Blaker a Maynar. ‘Cefais fy syfrdanu,’ medd Richards, ‘gan baentiadau’r Argraffiadwyr a’r Ôl-argraffiadwyr a oedd yn hongian ar y waliau, a’r delwau efydd gan Rodin. Yn fwy na dim, cefais fy nghyfareddu gan
Monet. Dychmygwch effaith y gweithiau hyn ar rywun a oedd wedi breuddwydio am baentiadau gwych, ond nad oedd wedi gweld yr un.’
Ar ôl marwolaeth Gwendoline Davies ym 1951, dechreuodd Margaret gasglu drachefn. Gwerthodd baentiadau gan Turner a Monet er mwyn prynu casgliad Prydeinig Modern a oedd yn cynnwys paentiadau gan artistiaid ifanc o Gymru; yn eu plith, John Elwyn, Esther Grainger, Ceri Richards, Josef Herman, Ray Howard Jones, Leslie Moore, Fred Uhlman, a Kyffin Williams – enwau cyfarwydd i ddilynwyr Arwerthiannau Cymreig Rogers Jones. Ac yntau’n un o fynychwyr rheolaidd y digwyddiad saethu blynyddol yn Llandinam yn y 1950au, soniodd Kyffin Williams am un adeg pan aeth pawb i Neuadd Gregynog ar ôl i’r tywydd waethygu. Dywedodd fod Margaret Davies yn fenyw hynaws a chanddi lais tyner. Yng ngeiriau Kyffin Williams ei hun: “Fe grwydrom drwy’r tŷ heibio Gauguins, Renoirs, Van Goghs, Monets ac ambell i Hen Feistri hefyd. Roedd goreuon Sickert, John a Gilman i’w gweld wrth ochr gwaith artistiaid cyfoes. Mwynheais yr ymweliadau hynny gymaint fel fy mod ar un diwrnod o’r wythnos bob amser yn gweddïo am law.”
Gan mlynedd yn ddiweddarach, mae Ystafell Gerddoriaeth Gregynog yn llawn o’r gweithiau celf gweledol ac addurnol gorau sydd gan Gymru i’w cynnig. Byddai Gwendoline a Margaret Davies wrth eu bodd bod yr arfer o werthfawrogi a chasglu celf yn ffynnu yng Ngregynog, a byddent yn falch nad llond llaw o bobl freintiedig yn unig sydd bellach yn casglu celf.
Mae gwaddol y chwiorydd yn parhau wrth i Neuadd Gregynog ddechrau ar bennod newydd yn ei hanes dan ofal ymddiriedolaeth elusennol annibynnol Gregynog. Fel rhan o ymrwymiad yr ymddiriedolaeth i ddiogelu a hwyluso mynediad at ddiwylliant, hanes a natur, mae’n parhau i gynnal gwerthoedd y chwiorydd.
Am 60 mlynedd ar ôl marwolaeth Margaret Davies ym 1962, bu Gregynog yn ganolfan cynadledda preswyl rhyng-golegol poblogaidd a gâi ei redeg gan Brifysgol Cymru. Ar ôl chwalu Prifysgol Cymru yn 2009 ac ar ôl cyflwyno ffioedd myfyrwyr drwy’r wlad yn 2011, edwinodd y farchnad academaidd yn fawr. Bellach, doedd prifysgolion prin o arian na myfyrwyr tlawd (sy’n ysgwyddo swydd neu ddwy i ariannu eu ffioedd dysgu, eu rhent a’u cynhaliaeth) yn gallu fforddio dod i Neuadd Gregynog yn eu niferoedd.
Felly, a ninnau’n wynebu her fawr o ran sicrhau dyfodol cynaliadwy ar gyfer y Neuadd a’r Ystad, awn ati i geisio ehangu ein gweithgareddau, ymestyn ein cyrhaeddiad ac ymhél â chynulleidfaoedd ehangach fyth er mwyn rhannu’r holl bethau sydd gan Neuadd Gregynog i’w cynnig. Yn sgil ein partneriaeth â chwmni Rogers Jones, pleser i ni yw cael cyfle i groesawu casglwyr hen a newydd i’r Neuadd i weld – a phrynu, gobeithio – rhai o weithiau artistig gorau ein gwlad.
Yr Athro Robert Meyrick
Hanesydd Celf ac Ymddiriedolwr Gregynog
www.gregynog.org/cy
The following artists join Sir Kyffin Williams, Kevin Sinnott, Aneurin Jones, Valerie Ganz, Will Roberts, John Knapp Fisher, Shani Rhys James & Claudia Williams …et al
John Elwyn
£12,500
Hywel Harries
£9,000
£5,500
David Woodford
£5,000
Charles Burton
£7,000
Ernest Zobole
The Welsh Sale at Gregynog Hall
Yr Arwerthiant Cymreig yn Neuadd Gregynog 10.30am 27.7.24
Lots THE WELSH SALE/ YR ARWERTHIANT CYMREIG (10.30am)
1
CHARLES SMITH ALLEN of Tenby, documentary photographs, circa 1860s - rare album having gilt decoration and title to brass clasped red Morocco ‘Photographs in South Wales’, contains fifty pages of mounted photographs showing scenes and great houses in south Wales and a final photograph of Welsh costume, each with titles inscribed in pencil
Auctioneer’s Note: Smith Allen was a pioneer photographer in Wales and renowned as the finest of Tenby’s early camera artists. Born in Rugeley, Staffordshire, in 1831, a few surviving paper negatives show that he was recording Tenby in silver towards the end of the 1840s.
He set up business in Tenby, buying the old Assembly Rooms and building his ‘Excelsior Studios’ on to it. This had a fully equipped darkroom as well as a complex system of shutters and blinds which controlled the level of daylight that entered the studio. He often took photographs ‘on location’, having built himself a portable, horse-drawn darkroom. He also had a shop and studio, ‘The Mortimer Studio’, in Tredegar House, High Street, dealing in stationery, as well as a studio in Priory Street, Cardigan. Allen photographed all over Wales and this album is one of many produced by him for individual customers.
Provenance: consigned by Gregynog Trust (surplus to requirements as unconnected to the heritage of Gregynog Hall)
Comments: foxing to mounts but photographs generally clear of foxing and in good overall condition
£200-300
2 JOHN SPEED coloured antiquarian map - ‘Speed’s Miniature Map of Wales’, circa 1627, later coloured, published by George Humble, 9 x 12.5cms
Provenance: private collection London
£100-150
3
HUMPHREY LLWYD coloured & tinted antiquarian map of Wales, entitled ‘Cambri Iae Typus’, 40 x 54cms
Provenance: private collection Gwynedd
Comments: framed and glazed verso
£150-250
4
JOHN SPEED coloured & tinted antiquarian map - ‘Anglesey’, Sudbury & Humbell edition, 40 x 52cms
Provenance: private collection Gwynedd
Comments: framed and glazed to the rear
£150-250
5
JOAN BLAEU coloured & tinted antiquarian map - Wales with illustrations, ‘Wallia Principatus Vulgo Wales’, 42 x 53cms
Provenance: private collection Gwynedd
Comments: framed and glazed verso
£150-250
6
GROUP OF LETTERS HANDWRITTEN BY R S THOMAS addressed to Annwen Carey-Evans written on blue A5 notepaper, headed with the poet’s Pentrefelin address, dated 2000 the year of Thomas’ death, 21 x 15cms
Provenance: private collection Gwynedd
Comments: three letters, two with addressed envelopes
£150-250
7
DAVID JONES HANDWRITTEN
LETTER dated August 1959, addressed to Annwen Carey-Evans and with the poet’s Harrow-on-the-Hill address, in the letter Jones congratulates Annwen on her engagement, mentions his Welsh roots and World War I and his regret for not knowing more Welsh language, 33 x 20cms
Provenance: private collection Ynys Mon
Comments: condition of paper commensurate with age £200-300
8
ANDRE AMSTUTZ FOR BRITISH RAILWAYS (LONDON-MIDLAND
REGION) 1952 platform poster laid to linen - entitled ‘Lovely Llandudno Holds All the Aces!’, printed with signature and date by McCorquodale & Co, 100 x 65cms
Provenance: private collection Ceredigion
Comments: later framed and glazed £400-600
9
COTTON WELSH ‘Y DDRAIG GOCH’
FLAG believed early 20th Century, 42 x 89cms
Provenance: private collection Scotland
Comments: faded and discoloured, minor staining, tear top right corner and to bottom right margin
£150-250
10
COTTON WELSH ‘Y DDRAIG GOCH’ FLAG with unusual grid border, believed early 20th Century, 51 x 76cms
Provenance: private collection Vale of Glamorgan
Comments: fading with age £150-250
11
RARE ‘ROYAL (WELSH) SHOW’ ENAMELLED METAL JUG, dated July 22nd 1931, printed with titled portrait of Edward Prince of Wales between colour enamelled daffodil & rose sprays, reversed with view of Llanelli Town Hall and Arms, gilt line borders on ombre lilac/cream ground, 16.4cms (h)
Provenance: private collection Cardiff
Auctioneer's Note: Aberystwyth hosted the first agricultural show in 1904 for six consecutive years, followed by further pre-War shows at Llanelli, Welshpool, Swansea, Porthmadog and Newport (1910-1914). In 1920, encouraged by the support of David (later Lord) Davies of Llandinam, efforts were made to revive the Welsh National Show resulting in a successful occasion in Wrexham two years later. On November 22 of that year, the society was honoured by having the King as Patron and the Prince of Wales as Honorary President and the name of the society was changed by royal command to the ‘Royal Welsh Agricultural Society’. In 1931 the show returned to Llanelli, where the Prince of Wales (later Edward VIII) made a visit. The ‘Royal Welsh’ at Llanelwedd is now established as the largest agricultural show in Europe.
Comment: minor staining to rim, tiny chip below spout #
£100-150
12
WELSH STICK ROCKING CHAIR BY JOHN BROWN having an elm seat and of elegant form with bowed mid-rail
Auctioneer’s Note: John Brown (1933-2008) was a chair maker in Wales specialising in Welsh stick chairs which he built in the 18th and 19th Century tradition using hand-built tools. Brown made hundreds of chairs, and in 1990 he published a book explaining how the chairs were made and which told of the history of Welsh chair making
Provenance: commissioned by vendor in early 1988 as nursing chair for Welsh wife with first born, remained in custody of the family since £400-600
13
EXTENSIVE SWANSEA PORCELAIN
DESSERT SERVICE circa 1815-1817, twenty-nine items in the Imari style Pattern No.264 comprising (1-20) small plates, 20cms diam. (21,22) pair of fan-handled dishes, 21cms diam. (23,24,25) trio of twig-handled centre-dishes, 31cms, (26,27) and smaller pair of previous, 28cms (28) larger pedestal version of previous, 31w x 10cms h (29) sauce-tureen, 18cms diam. with stand, stencilled SWANSEA to some items
Provenance: private collection Monmouthshire
Comments: the following is a brief condition report as a guide, without noting extent of wear, as with all lots please examine fully as no guarantee (1-20) 1 with stable crack, 1 x with faint hairline, 2 x with faint star-hairline, 1 x faint hairline, 1 x small chip and crack to rim (21,22) 1 with staple repair (23,24,25) appear to be without issues (26,27) appear to be without issues (28) appear to be without issues (29) knop with old glue repair, no other damage noted # £2,000-3,000
14
PAIR OF SWANSEA TRIDENT OVAL
DISHES circa 1815-1817, decorated with large open roses within solid gilt rims, Harry Sherman labels to both, impressed Swansea trident marks to base, 28cms
Provenance: private collection Monmouthshire
Comments: wear / staining only # £200-300
15 SWANSEA
PORCELAIN TWIG HANDLED DISH circa 1815-1820, decorated with flower sprays, rim and handles picked out in gold, Swansea mark (worn), 32cms,
Provenance: private collection Monmouthshire
Comments: without apparent issues # £250-350
16
SWANSEA FAN HANDLE DISH & MATCHING TWIG-HANDLED DISH circa 1815-1817, printed in outline and coloured by hand in the Mandarin pattern No.164, fan dish 21cms, twig dish bears stencilled SWANSEA mark, 28cms
Provenance: private collection Monmouthshire
Comments: staining / wear # £300-400
17
SWANSEA PORCELAIN PART
TEASET circa 1815-1820, Japan pattern with iron-red and gilt stylised peonies with intricate gilt foliage, comprises teapot and stand, milk jug, two cups, one saucer, covered sucrier, Harry Sherman labels
Provenance: private collection Monmouthshire
Comments: teapot with knop repair, small hairline, and with hairlines, wear #
£250-350
18
NANTGARW PORCELAIN OVAL
DISH circa 1818-1820, typically moulded with c-scrolls and flowers, painted with roses, impressed mark NANT GARW CW to base, Harry Sherman label to base, 29cms
Provenance: private collection Monmouthshire
Comments: staining, wear only # £150-250
19
NANTGARW PORCELAIN OVAL
DISH circa 1818-1820, decorated with floral sprigs, impressed mark NANT GARW CW to base, 29cms
Provenance: private collection Monmouthshire
Comments: wear only # £150-250
20
LARGE NANTGARW OVAL FAN
HANDLED DISH circa 1817-1820, interior decorated with colourful flower sprays within a continuous blue border and gilt dentil rim, external body with matching floral decoration, handles with elaborate gilding, Harry Sherman label to base, impressed mark NANT GARW CW to base, 36cms
Provenance: private collection Monmouthshire
Comments: wear / staining / chip to under foot # £400-600
21
LLANELLLY POTTERY COCKEREL
PLATE having a typical painted cockerel centred upon a landscape, within blue sponged laurel border, 24cms diam.
Provenance: private collection Pembrokeshire
Comments: minor glaze bubbles only #
£200-300
22
LLANELLLY POTTERY COCKEREL PLATE having a typical painted cockerel centred upon a landscape within blue sponged laurel border, 24cms diam.
Provenance: private collection Pembrokeshire
Comments: minor glaze bubbles only #
£200-300
23
LLANELLLY POTTERY COCKEREL PLATE having a typical painted cockerel centred upon a landscape, within blue sponged floral border, 24cms diam.
Provenance: private collection Pembrokeshire
Comments: imperfection to border on reverse, minor glaze bubbles #
£200-300
24
TWO SMALL LLANELLY COCKEREL PLATES having a typical painted cockerel centred upon a landscape within blue sponged borders,19cms diam.
Provenance: private collection Pembrokeshire
Comments: one plate stained #
£200-300
25
LLANELLY COCKEREL DOCUMENTARY BOWL decorated by Sarah Roberts with cockerel in landscape, inscribed ‘Arthur G. Lewis from Amy 1910’ within green wavy border, 21cms diam.
Provenance: private collection Carmarthenshire
Comments: a very clean example, very minor glaze bubbles to the centre and some light crazing to the underneath #
£600-800
26
RARE LLANELLY COCKEREL ALPHABET PLATE
decorated fully with cockerel in landscape to the interior above ‘Wilfred’, within green and red lettered alphabet border, 16cms diam.
Provenance: private collection Carmarthenshire
Comments: a very clean example, very minor glaze bubbles to the centre #
£600-800
27
PAIR OF LLANELLY COCKEREL TEA PLATES
interior with typical full polychrome decoration, sponged blue floral motifs to border, 7.25cms diam.
Provenance: private collection Pembrokeshire
Comments: good clean examples, usual level of crazing which is more visible at base #
£250-350
THE WELSH SALE/ YR ARWERTHIANT CYMREIG
The Observations of Charles Frederick Tunnicliffe OBE RA (1901-1979)
Sylwadau Charles Frederick Tunnicliffe OBE RA
The Cheshire-born painter-printmaker
Charles Tunnicliffe OBE (1901–1979) is widely regarded as Britain’s foremost twentieth-century wildlife artist.
Relocating to Anglesey in 1947, Tunnicliffe concentrated on the study of birds and their behaviour. Tunnicliffe has often been referred to as a ‘bird artist,’ a specialisation to which “Bird Drawings by C. F. Tunnicliffe RA” (1974) attests; it was his only solo exhibition at the Royal Academy in his lifetime. And yet, as is noticeable in the range of representative images in this auction, Tunnicliffe’s practice was rather more diverse. Fine prints, book illustrations as well as watercolour and mixed media paintings demonstrate Tunnicliffe’s ability to respond to market demands by exploring a variety of media.
Key to Tunnicliffe’s practice is a profound knowledge of his subject matter. Tunnicliffe grew up and worked on a farm near Macclesfield. Many of his early works reflect this upbringing and experience, depicting activities such as milking, pig rearing and sheep shearing. A scholarship enabled Tunnicliffe to study at the Royal College of Art in London.
Soon after his studies, Tunnicliffe gained a reputation as an etcher of farming subjects. Recording life on the farm and featuring members of his family, Tunnicliffe’s earliest etchings and drawings provide us with a visual diary based on sketches to which he would refer throughout his career.
The White Horse (1927) represents Tunnicliffe’s work as a printmaker during the final years of the so-called print boom of the 1920s. The etching was reproduced as exemplary in Fine Prints of the Year 1927 and Etchings of Today (1929). In the latter publication, The White Horse was touted as the ‘work of a new man of talent’ whose prints were ‘like so many shares. At first low in price, they are sometimes bought in the expectation that they will increase in value, and quite often they appreciate to an extraordinary extent, though the best advice to give to purchasers is that they should back their own taste and buy something which they really like.’
The low horizon Tunnicliffe adopted for his prints of farm animals reflects his awareness of and admiration for the work of seventeenth-century Dutch painter-printmaker Paulus Potter (1625–1654), whose etchings he studied on visits to the British Museum Print Room during his final year at the Royal College of Art.
Cockatoo (1938) is a prime example of Tunnicliffe’s adeptness at translating nature into art by creating decorative designs rooted in careful observation. The size of the block allowed Tunnicliffe to lavish great attention on the plumage. In his book
Bird Portraiture (1945), Tunnicliffe emphasised the need for an artist’s ‘scientific understanding of [such] subjects.’ He advised his reader to observe the ‘various groups of feathers’ and ‘feel the bony construction of wings and legs’ to gain an ‘understanding’ of the ‘anatomy.’
Printmaking earned Tunnicliffe his Royal Academy of Arts membership in 1954. By then, however, he rarely produced fine art prints. The stock market crash of 1929 had made it necessary for Tunnicliffe to refocus his career. Gradually turning away from etching to wood engraving and scraperboard, Tunnicliffe became a sought-after illustrator of books, newspapers and magazines. His first project was the novel Tarka the Otter by Henry Williamson, whose criticism of Tunnicliffe’s illustrations would prove influential: ‘[S]ee a barn owl somewhere Mister Tunnicliffe’, Williamson had scoffed.
The commissions Tunnicliffe undertook as an illustrator ranged from My Friend Flicka to Hemingway’s novella The Old Man and the Sea. One of the illustrations in the current auction, Samson and the Lion, provided Tunnicliffe with an opportunity to revisit a theme that had thrilled him in his youth, when he devoured the Tarzan novels of Edgar Rice Burroughs. Around 1925, as a student at the Royal College of Art, Tunnicliffe had devoted a print to the same subject.
Rather than aiming mainly at fidelity in his animal portraiture – for which he was awarded the Gold Medal of the Royal Society for the Protection of Birds toward the end of his career –Tunnicliffe insisted on exerting his creative freedom. ‘I have shocked quite a lot of people,’ Tunnicliffe stated in an interview published in the Society’s magazine, ‘by saying “To hell with nature!”’ Nature, he declared, is not a ‘dictator,’ at least ‘as far as the dyed-in-the-wool artist is concerned.’
While distinguishing between the ‘naturalistic’ and the ‘decorative’ in the treatment of subjects drawn from nature, Tunnicliffe also challenged that dichotomy: ‘Whatever your approach,’ he advised, ‘you will find that your naturalistic treatment can have a very decorative quality, and that a decorative treatment can create an illusion of atmosphere though none has been consciously attempted.’
His watercolour paintings, in particular, were intended, in Tunnicliffe’s words, as ‘decorations for modern rooms.’ Those are ‘the places they are going into, I am pleased to say. Hardly any go into galleries; they are bought privately.’ Watercolour paintings such as Hunter in the Forest and April Redshanks, many of which were commissioned and created to the buyer’s specifications, were designed to take pride of place in the homes of collectors who, to this day, seek them out.
For decades, Tunnicliffe’s images were widely disseminated second-hand – on calendars and magazine covers, as book illustrations, collectible cards and on biscuit tins. The works in this auction afford a first-hand experience of Tunnicliffe’s remarkable output.
Dr Harry Heuser is the co-author of the catalogue raisonné Charles Tunnicliffe: Prints (2017) and curator of ‘To hell with nature!’: A Reappraisal of Charles Tunnicliffe Prints (School of Art, Aberystwyth University, 2018).
Ganed Charles Tunnicliffe OBE (1901-1979) yn
Swydd Gaer ac ystyrir yn gyffredinol mai ef yw artist bywyd gwyllt mwyaf blaenllaw Prydain yn yr ugeinfed ganrif.
Ar ôl symud i Ynys Môn ym 1947, canolbwyntiodd Tunnicliffe ar astudio adar a’u hymddygiad. Yn aml, gelwir Tunnicliffe yn ‘artist adar’ – arbenigaeth a ardystir gan “Bird Drawings by C. F. Tunnicliffe RA” (1974). Yr arddangosfa hon oedd ei unig arddangosfa yn yr Academi Frenhinol yn ystod ei oes. Ond fel y gwelir yn yr amrywiaeth o luniau a gynhwysir yn yr arwerthiant hwn, roedd ymarfer Tunnicliffe yn fwy amrywiol o gryn dipyn. Mae printiau cain, darluniau mewn llyfrau a phaentiadau dyfrlliw a chyfrwng cymysg yn arwydd o allu Tunnicliffe i ymateb i ofynion y farchnad trwy archwilio cyfryngau amrywiol.
Mae gwybodaeth ddofn am ei bwnc yn hollbwysig i ymarfer Tunnicliffe. Magwyd Tunnicliffe ar fferm ger Macclesfield. Mae nifer o’i weithiau cynnar yn adlewyrchu’r fagwraeth a’r profiadau hynny, a gwelir ei fod yn darlunio gweithgareddau fel godro, magu moch a chneifio defaid. Yn sgil ysgoloriaeth, bu modd i Tunnicliffe astudio yn y Coleg Celf Brenhinol yn Llundain.
Yn fuan ar ôl i Tunnicliffe orffen ei astudiaethau, enillodd enw da iddo’i hun fel ysgythrwr pynciau ffermio. Gan ei fod wedi cofnodi bywyd ar y fferm a chynnwys aelodau o’i deulu, mae ysgythriadau a darluniau cynharaf Tunnicliffe yn cynnig dyddiadur gweledol ar ffurf brasluniau – darluniau y byddai’n cyfeirio atynt drwy gydol ei yrfa.
Mae The White Horse (1927) yn cynrychioli gwaith Tunnicliffe fel gwneuthurwr printiau yn ystod blynyddoedd olaf cyfnod ffyniannus y printiau yn y 1920au. Atgynhyrchwyd yr ysgythriad hwn fel enghraifft wych o’r cyfrwng yn Fine Prints of the Year 1927 ac yn Etchings of Today (1929). Yn y cyhoeddiad olaf, honnwyd bod The White Horse yn waith a wnaed gan ŵr talentog newydd a bod y printiau fel cyfranddaliadau. Fel y nodir yn y cyhoeddiad: ‘At first low in price, they are sometimes bought in the expectation that they will increase in value, and quite often they appreciate to an extraordinary extent, though the best advice to give to purchasers is that they should back their own taste and buy something which they really like.’
Mae’r gorwel isel a ddefnyddiodd Tunnicliffe yn ei brintiau o anifeiliaid fferm yn dangos ei ymwybyddiaeth a’i edmygedd o waith yr arlunydd a’r gwneuthurwr printiau o’r Iseldiroedd, Paulus Potter (1625-1654) o’r ail ganrif ar bymtheg. Astudiodd Tunnicliffe ysgythriadau Potter pan ymwelodd ag Ystafell Brintiau’r Arddangosfa Brydeinig yn ystod ei flwyddyn olaf yn y Coleg Celf Brenhinol.
Mae Cockatoo (1938) yn enghraifft wych o allu Tunnicliffe i droi natur yn gelf trwy greu cynlluniau addurnol a oedd wedi’u hymwreiddio mewn arsylwi gofalus. Oherwydd maint y bloc, bu modd i Tunnicliffe roi sylw manwl i’r plu. Yn ei lyfr Bird Portraiture (1945), pwysleisiodd Tunnicliffe fod angen i’r artist feddu ar ddealltwriaeth wyddonol o bynciau o’r fath. Cynghorodd ei ddarllenwyr i edrych ar wahanol grwpiau o blu a theimlo gwneuthuriad esgyrnaidd yr adenydd a’r coesau er mwyn deall yr anatomi.
Ar sail ei brintiau, llwyddodd Tunnicliffe i ddod yn aelod o Academi Frenhinol y Celfyddydau ym 1954. Ond erbyn hynny, pur anaml y byddai’n cynhyrchu printiau celfyddyd gain. Yn sgil cwymp y farchnad stoc ym 1929, bu’n rhaid i Tunnicliffe ganolbwyntio o’r newydd ar ei yrfa. Yn raddol, rhoddodd Tunnicliffe y gorau i ysgythru a throdd at engrafiadau pren a sgraff-fyrddau, a buan
iawn y daeth cryn alw amdano fel darlunydd ar gyfer llyfrau, papurau newydd a chylchgronau. Ei brosiect cyntaf oedd y nofel Tarka the Otter gan Henry Williamson. Bu beirniadaeth Williamson o luniau Tunnicliffe yn ddylanwadol iawn: ‘[S]ee a barn owl somewhere Mister Tunnicliffe’, gwawdiodd un tro.
Roedd y comisiynau a dderbyniodd Tunnicliffe fel darlunydd yn amrywio o My Friend Flicka i nofel fer Hemingway, The Old Man and the Sea. Yn un o’r darluniau a gynhwysir yn yr arwerthiant hwn, sef Samson and the Lion, cafodd Tunnicliffe gyfle i ddychwelyd at thema a oedd wedi’i wefreiddio yn ei ieuenctid, pan arferai ddarllen nofelau ‘Tarsan’ Edgar Rice Burroughs yn awchus. Oddeutu 1925, pan oedd yn fyfyriwr yn y Coleg Celf Brenhinol, creodd Tunnicliffe brint ar yr un pwnc.
Yn hytrach nag anelu’n bennaf at fanwl-gywirdeb yn ei luniau o anifeiliaid – sef rhywbeth yr enillodd Fedal Aur amdano gan y Gymdeithas Frenhinol er Gwarchod Adar tua diwedd ei yrfa – mynnodd Tunnicliffe gael arfer ei ryddid creadigol. ‘I have shocked quite a lot of people,’ meddai Tunnicliffe mewn cyfweliad a gyhoeddwyd yng nghylchgrawn y Gymdeithas, ‘by saying “To hell with nature!”’ Ac meddai eto: ‘Nature is made to be used, not to be dictator, as far as the dyed-in-the-wool artist is concerned.’
Wrth wahaniaethu rhwng y ‘naturiolaidd’ a’r ‘addurnol’ yn ei ddull o ymdrin â phynciau natur, llwyddodd Tunnicliffe hefyd i herio’r ddeuoliaeth honno: ‘Whatever your approach,’ meddai, ‘you will find that your naturalistic treatment can have a very decorative quality, and that a decorative treatment can create an illusion of atmosphere though none has been consciously attempted.’
Yn ôl Tunnicliffe, bwriad ei baentiadau, yn arbennig ei baentiadau dyfrlliw, oedd addurno ystafelloedd modern. Mewn ystafelloedd o’r fath y câi ei baentiadau eu cadw – ‘Hardly any go into galleries; they are bought privately’, meddai. Yn achos paentiadau dyfrlliw fel Hunter in the Forest ac April Redshanks (y comisiynwyd ac y crëwyd llawer ohonynt yn ôl gofynion y prynwyr), y bwriad oedd y byddent yn cael gosod mewn mannau blaenllaw yng nghartrefi’r casglwyr – casglwyr sydd, hyd y dydd heddiw, yn awyddus i’w prynu.
Am ddegawdau, trosglwyddwyd lluniau Tunnicliffe yn ail law – ar galendrau a chloriau cylchgronau, ar ffurf darluniau mewn llyfrau, cardiau casgladwy ac ar duniau bisgedi. Mae’r gweithiau yn yr arwerthiant hwn yn cynnig profiad uniongyrchol, yn hytrach na phrofiad ail law, o gynnyrch anhygoel Tunnicliffe.
Mae Harry Heuser yn gydawdur y catalog celfydd Charles Tunnicliffe: Prints (2017) ac yn guradur ‘To hell with nature!’: A Reappraisal of Charles Tunnicliffe Prints (Yr Ysgol Gelf, Prifysgol Aberystwyth, 2018).
28
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE
watercolour and pencil - entitled, ‘Mute Swan with Cygnets’, 9.5 x 13cms
Provenance: with original receipt from Babbington Fine Art Gallery London 2012, Moorland Gallery 1986 and with Christies in 2008. Private collection Cambridgeshire
£700-1,200
29
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE crayon and gouache on board - entitled verso, ‘The Welsh Pony’ on Rountree Tryon Gallery label, signed, 43 x 61cms
Provenance: private collection Powys
Delivery: complimentary delivery can be arranged for all purchases over £4000 in this Welsh Sale auction (England and Wales only) please contact brj@rjauctions.co.uk for further details
£4,000-6,000
30
‡ CHARLES FREDERICK TUNNICLIFFE
RA OBE watercolour and pencil - entitled verso, ‘Black-Headed Gulls Asleep’, on Guy Peppiatt Fine Art Gallery London label, circa 1960s, 6 x 10cms
Provenance: as per label verso, exhibited at the Tryon and Moorland Gallery London, Charles F. Tunnicliffe RA Composition Drawings, 5th to 26th March 1986. Private collection Powys £300-400
31
‡ CHARLES FREDERICK TUNNICLIFFE RA
OBE watercolour and pencil - entitled verso, ‘Roseate Terns Displaying’, on Guy Peppiatt Fine Art Gallery London label, 9 x 10cms
Provenance: from the artist’s studio Shorelands after his death, subsequently exhibited at the Tryon and Moorland Gallery London, Charles F. Tunnicliffe RA
Composition Drawings, 5th to 26th March 1986, private collection Powys £400-600
32
‡ CHARLES FREDERICK TUNNICLIFFE RA
OBE watercolour and pencil - entitled verso, ‘Black-Headed and Common Gulls’, on Guy Peppiatt Fine Art Gallery London label, 8 x 14cms
Provenance: from the artist’s studio Shorelands after his death, subsequently exhibited at the Tryon and Moorland Gallery London, Charles F. Tunnicliffe RA Composition Drawings, 5th to 26th March 1986, private collection Powys £600-800
33
‡ CHARLES FREDERICK TUNNICLIFFE RA
OBE mixed media - terns amongst grasses, signed in pencil lower right, 33.5 x 51.5cms
Provenance: private collection Gwynedd £400-600
34
‡ CHARLES FREDERICK TUNNICLIFFE
RA OBE early mixed media - lapwings with chicks, signed in ink lower right, 32.5 x 50.5cms
Provenance: private collection Gwynedd £300-400
35
‡ CHARLES FREDERICK TUNNICLIFFE RA
OBE watercolour - ‘Blackbird Sunbathing’, The Tryon Gallery label verso, signed in ink lower right, 35 x 46cms
Provenance: private collection Gwynedd £1,000-1,500
36
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE mixed mediacockerel, signed in ink lower right, 50 x 38.5cms
Provenance: private collection Gwynedd
£700-1,200
37
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE mixed media - titled verso ‘Teal Resting’, signed in ink lower right, 33 x 68cms
Provenance: private collection Gwynedd
£400-600
38
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE
watercolour - entitled verso ‘Hunter in the Forest’ on The Tryon Gallery Ltd label, 49 x 62cms
Provenance: private collection Gwynedd
Comments: foxing to sky £500-800
39
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE
watercolour - titled verso ‘April Redshanks’, The Tryon Gallery Ltd label, signed in ink lower right, 43 x 54cms
Provenance: private collection Gwynedd
£1,000-1,500
40
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE mixed media - moorhen with chicks, signed in ink lower right, 25 x 37cms
Provenance: private collection Gwynedd £300-500
41
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE mixed media - dappled pony, mount bears name C F Tunnicliffe, 34 x 46.5cms
Provenance: private collection Gwynedd £700-1,200
42
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE watercolour - diving peregrine and prey, signed in ink low right, 45 x 32cms
Provenance: private collection
Gwynedd £1,000-1,500
43
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE mixed media - entitled verso ‘Sheep Shearing’, signed in ink lower right, 44.5 x 68cms
Provenance: private collection
Gwynedd £500-800
44
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE five watercolours framed together - entitled verso ‘Great Black Back’, Oriel Gallery label, largest 11.5 x 15cms
Provenance: private collection
Gwynedd £400-700
45
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE two pencil and watercolours framed together - entitled verso ‘Flamingos’, on Bunny Bird Fine Art/The Tryon and Moorland Gallery label, largest 11 x 6cms
Provenance: private collection Gwynedd £150-250
46
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE three mixed media sketches framed togetherentitled verso ‘Goshawk’, Bunny Bird Fine Art/ The Tryon and Moorland Gallery label, largest 9.5 x 14cms
Provenance: private collection Gwynedd
£200-300
47
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE two watercolours framed together - entitled verso ‘Redshanks and Ringed Plovers’ & ‘Lapwing Family’, Bunny Bird Fine Art/The Tryon and Moorland Gallery label, largest 9.5 x 5cms
Provenance: private collection Gwynedd
£250-350
48
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE ink drawing - entitled verso ‘White Fronted Geese’, The Tryon Gallery Ltd label, signed with initials, 16.5 x 19cms
Provenance: private collection Gwynedd
£400-600
49
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE ink drawing - hawk carrying prey, 8.5 x 8.5cms
Provenance: private collection Gwynedd
£400-600
50
‡ CHARLES FREDERICK TUNNICLIFFE RA OBE ink drawing - entitled ‘Tailpiece Chapter’, signed, 6 x 6.5cms
Provenance: private collection Gwynedd
£200-300
51
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE ink drawing - Samson and the lion, signed in ink, 9 x 13cms
Provenance: private collection Gwynedd
Auctioneer’s Note: see similar subject matter in ‘Charles Tunniclffe - Prints: A Catalogue Raisonne’, ill.15, where authors Robert Meyrick and Harry Heuser explain the artist’s fascination with man wrestling wild beasts and his childhood enjoyment of Tarzan novels of Edgar Rice Burroughs. In his teenage years, Tunnicliffe took excursions to Belle Vue Zoological Gardens, Manchester where he drew the enclosed lions, tigers and leopards
£400-600
52
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE wood engraving - ‘Cockatoo’ signed in pencil to margin, handwritten labels verso, one inscribed ‘The Royal Academy, Spring, 1938’, 41.5 x 18cms (pl)
Provenance: private collection Gwynedd, full page illustration to preface page for ‘Charles Tunniclffe - Prints: A Catalogue Raisonne’, by Robert Meyrick and Harry Heuser
£400-600
53
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE 1927 limited edition (23/75) etching and drypoint published by H C Dickins - ‘The White Horse’, signed in pencil to margin, 20 x 24cms (pl)
Provenance: private collection Gwynedd, ‘Charles TunniclffePrints: A Catalogue Raisonne’, ill.46, ‘…for more detailed studies he (artist) needed the horses to be well-grazed and standing still in the shade of a tree on a hot summer’s day…’
£400-600
54
‡ CHARLES FREDERICK
TUNNICLIFFE RA OBE watercolour - ducks resting by riverbank, signed lower right, 23 x 35cms
Provenance: private collection
Gwynedd
£500-1,000
55
‡ CERI RICHARDS CBE Viaggio Verso il Nord 1972limited edition (III/X) portfolio of seven colour lithographs, 43 x 30cms, signed, hors-commerce impression, and numbered, with text in Italian and English, illustrating the text of the artist’s associate Roberto Sanesi, including, and limited to the first ten copies, a double-sided preparatory sketch by Ceri Richards, signed in pencil, 39 x 28cms, published by Cerastico Editore, printed by Curwen Prints Limited, London
Provenance: private collection Merseyside
Comments: surface marks and bumps to slip-case, prints and sketch in excellent condition
£800-1,200
56 ‡ CERI RICHARDS CBE set of six colour lithographs - entitled ‘Viaggio Verso II Nord’, each signed in pencil, 43 x 30cms
Provenance: private collection Merseyside
Comments: fresh, one appears to have a limited edition (rubbed)
£400-500 55
Rogers Jones & Co • The Welsh Sale
57
‡ AUGUSTUS JOHN OM RA etching - caravan with figure and horse, signed in pencil, 10 x 13cms
Provenance: private collection Monmouthshire
£300-500
58
EDGAR HOLLOWAY engraving - entitled verso, ‘Daisy Monica Holloway II’, signed, 22 x 17cms
Provenance: private collection, consigned via our Mid-Wales office
Auctioneer’s Note: the sitter is Eric Gill’s former model, Daisy Monica Hawkins, whom Edgar Holloway met at Capel-y-Ffin and then married after a six-week courtship
£100-150
59
EDGAR HOLLOWAY etchingentitled verso, ‘Embarkation Leave 1941’, signed and dated 1999, 28 x 26cms
Provenance: private collection, consigned via our Mid-Wales office
£120-180
60
EDGAR HOLLOWAY limited edition (28/75) etching - portrait of the poet, entitled verso, ‘Stephen Spender’, signed, 29 x 13cms
Provenance: private collection, consigned via our Mid-Wales office
£150-200
61
EDGAR HOLLOWAY limited edition (4/8) etching - entitled verso ‘Dominican’, signed and dated 1942, 28 x 20cms
Provenance: private collection, consigned via our Mid-Wales office
£200-300
62
EDGAR HOLLOWAY limited edition (5/30) etching - entitled verso, ‘Self Portrait No.30, The Fedora’, signed and dated 2002, 28 x 20cms
Provenance: private collection, consigned via our Mid-Wales office
£100-150
63
‡ ELERI MILLS limited edition (4/40) etching - entitled ‘Tirlun Barddol’ (Bardic landscape), signed, 15 x 20cms
Provenance: private collection Powys £200-250
64
‡ GEORGE CHAPMAN 1962 hand-coloured edition of 75 (not all printed) etching and aquatint - terraced houses and figures, Swansea Valley, ‘The Steps’, signed, 46 x 54cms
Provenance: private collection
Ceredigion
£200-400
65
‡ JOHN ELWYN limited edition (191/300) lithograph, 1988 - ‘Laugharne Estuary from Dylan Thomas’ Boathouse’, 35 x 52 cms
Auctioneer's Note: following a visit to Thomas’s boat house at Laugharne, Elwyn made a series of watercolour paintings of the Taf estuary and the Gower beyond. This limited-edition print was produced at the same time
Comments: unframed £150-250
66
‡ GRAHAM SUTHERLAND 1964 lithographic poster - entitled ‘Tropen in Frankreich Menton’, 75 x 60cms
Provenance: private collection Swansea £300-400
67
IVOR MERVYN PRITCHARD etching
- River Tiber in Rome at sunset, with the Vatican Basilica, signed and dated 1932, 18 x 25cms
Provenance: private collection London
£200-300
68
‡ JOHN BRUNSDON limited edition (1/75) coloured etchingentitled verso ‘Cardiff University’, signed, 14 x 30cms
Provenance: private collection Swansea
£150-250
69
‡ JOHN PIPER 1964 lithographentitled ‘Llangloffan Baptist Chapel’, 51 x 69cms
Provenance: private collection
Swansea
Comments: sl. discolouration
£300-400
70
‡ JOHN PIPER 1964 lithograph - entitled ‘St. Mathias, Stoke Newington’, 68 x 50cms
Provenance: private collection
Swansea
£200-300
71
‡ JOHN PIPER 1964 lithographMalmsbury, Wiltshire: The South Porch, 69 x 56cms
Provenance: private collection
Swansea
£150-250
72
‡ JOHN PIPER 1966
lithograph - entitled ‘St. James’ Westminster’, 54 x 70cms
Provenance: private collection
Swansea
Comments: sl. discolouration with age
£300-500
73
‡ JOSEF HERMAN OBE RA limited edition (46/50) lithograph - two seated miners, fully signed, 51 x 68cms
Provenance: private collection
Swansea
£700-1,000
74
‡ KAREL LEK limited edition (1/14) screenprint - standing figures, signed, 21 x 31cms
Provenance: private collection
London
£150-250
75
‡ OGWYN DAVIES limited edition (75/75) print - entitled, ‘Soar y Mynydd’, over typed with Welsh hymns & musical notes, signed, 55 x 42cms
Provenance: private collection Cardiff
£400-600
76
‡ PAUL PETER PIECH limited edition (1/25) lithograph - ‘How many ages hence Shall this our lofty scene be acted over In states unborn and accents yet unknow’ from Julius Caesar, William Shakespeare, signed and dated 1972, 59 x 51cms
Provenance: Bertrand Russell Peace Foundation, gifted to the organisation by the artist, proceeds assist with renovations of Bertrand Russell’s former home in Cornwall
Comments: unframed £100-150
77
‡ PAUL PETER PIECH limited edition (10/75) lithograph -
‘Faith’ with crucifixion icon, signed and dated 1972, 77 x 52cms
Provenance: Bertrand Russell Peace Foundation, gifted to the organisation by the artist, proceeds assist with renovations of Bertrand Russell’s former home in Cornwall
Comments: unframed £100-150
78
‡ PAUL PETER PIECH limited edition (15/17) three colour lithographillustrated poem ‘Under the Yew Tree’ by John Lovejoy, signed and dated 1979, 62 x 42cms
Provenance: private collection Oxfordshire
Comments: unframed, light creasing, no rips or tears
£100-150
79
‡ PAUL PETER PIECH limited edition (16/25) five colour lithograph - depicting Welsh philanthropist Robert Owen, signed and dated 1990, 64 x 45cms
Provenance: private collection Oxfordshire
Comments: unframed, light creasing, no rips or tears
£100-150
80
‡ PAUL PETER PIECH limited edition (20/15) lithograph - Victor Hugo, ‘Nobody Can Stop an Idea Whose Time Has Come’, signed, 63 x 48cms
Provenance: Bertrand Russell Peace Foundation, gifted to the organisation by the artist, proceeds assist with renovations of Bertrand Russell’s former home in Cornwall
Comments: unframed
£100-150
81
‡ PAUL PETER PIECH limited edition (21/75) lithograph - John F. Kennedy, ‘Profile in Courage’, signed and dated 1972, 64 x 52cms
Provenance: Bertrand Russell Peace Foundation, gifted to the organisation by the artist, proceeds assist with renovations of Bertrand Russell’s former home in Cornwall
Comments: unframed
£100-150
82
‡ PAUL PETER PIECH rare white plastercast impression - Martin Luther King Jr stirring famous ‘Free at Last’ speech; ‘ ‘And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, ‘Free at last! Free at last! Thank God Almighty, we are free at last’! dated verso 1992, 88 x 55cms
Provenance: private collection Vale of Glamorgan
Comments: small cracks in the top corner
£300-500
83
‡ PAUL PETER PIECH two colour lithograph - German writer Goethe, ‘Everybody Wants to be Somebody, but Knowbody Wants to Grow’, signed and dated 1980, 61 x 43cms
Provenance: private collection
Oxfordshire
Comments: unframed, light creasing, no rips or tears
£100-150
84
‡ PAUL PETER PIECH two colour lithograph - ‘London’ by William Blake, signed and dated 1980, 64 x 45cms
Provenance: private collection
Oxfordshire
Comments: unframed, light creasing, no rips or tears
£100-150
85
‡ PAUL PETER PIECH two colour lithograph - ‘Tyger Tyger’ by William Blake, signed and dated 1991, 64 x 45cms
Provenance: private collection
Oxfordshire
Comments: unframed, light creasing, no rips or tears
£100-150
87
86
‡ PAUL PETER PIECH limited edition (1/75) two colour lithograph - ‘Tyger Tyger’ by William Blake, signed and dated 1972, 77 x 52cms
Provenance: Bertrand Russell Peace Foundation, gifted to the organisation by the artist, proceeds assist with renovations of Bertrand Russell’s former home in Cornwall
Comments: small 10mm tear bottom edge, unframed £100-150
87
‡ PAUL PETER PIECH two colour lithograph - Welsh national anthem ‘Hen Wlad Fy Nhadau’ with Y Ddraig Goch, signed and dated 1992, 64 x 45cms
Provenance: sold on behalf of the City Hospice
Charity
Comments: unframed, light creasing to both, no rips or tears
£200-300
88
‡ PAUL PETER PIECH two lithographs of two-colours - relating to Aboriginal land rights, 64 x 45cms and Australian First Nations land-rights poem by Bill Day, ‘Australian Crucifixion’, signed and dated 1988, 76 x 51cms (2)
Provenance: private collection overseas-based vendor, vendor met Piech during the 1980s through Tony Evora (creator of the iconic Che Guevara posters) and when studying at Oxford Polytechnic. In 1987, the vendor and the artist organised an exhibition to raise awareness for Survival International with a focus on Aboriginal land rights, held successfully at the Old Fire Station, Oxford. This was followed by an exhibition at Oxford Polytechnic focusing on Piech’s work for Amnesty International
Comments: unframed, light creasing to both, no rips or tears
£120-180
89
‡ SIR FRANK BRANGWYN RA etching - group of workers towing a rope, circa 1906, fully signed in pencil, 53 x 79cms
Provenance: private collection Conwy
£400-600
90
‡ SIR FRANK BRANGWYN RA two lithographs - entitled ‘Three Blind Women’, 28 x 28cms and ‘The Drunk’, signed, 37 x 24cms
Provenance: private collection Swansea
£150-250
91
SIR FRANK BRANGWYN RA
The Brangwyn Portfolio of lithographs, 1927, published by E F d’Alignan and Paul Turpin - includes ‘Two Wounded Soldiers’, ‘Two Men Leaning on Their Adze’, ‘Blind Beggar’, ‘Two Indians Leaning on Poles’, ‘Sketch of St. John’, etc., various sizes mounted on card (contained in an original portfolio), smallest 28 x 28cms to largest 45 x 28cms (38)
Provenance: private collection Swansea
Comments: folio case with tears to spine, and upper left margin to cover, one with auction label, one with scuffs to upper margin, incomplete, inspection advised, all prints photographed £1,000-1,500
92
SIR FRANK BRANGWYN RA
from The Brangwyn Portfolio of lithographs, with additional etchings, 1927, published by E F d’Alignan and Paul Turpin, to include Title page signed in pencil and numbered 77/120, ‘Billingsgate Fishporters’, ‘Interior of the Church of St. Hilaire’, ‘Unloading’, ‘Man Sawing Wood’, ‘Christ Carrying the Cross to Calvary’ etc., various sizes, some mounted on card (contained in an original portfolio), smallest 28 x 35cms to largest 55 x 35cms (39)
Provenance: private collection Swansea
Comments: folio case loose from cloth spine and folds, cover tinted with scuffs and marginal bumps, some with marginal mounting adhesive, some unmounted/ loose, some signed in pencil, some with corner damage, incomplete, inspection advised, all prints photographed £1,000-1,500
93
‡ SIR FRANK BRANGWYN RA etching - construction of the Victoria & Albert Museum, fully signed in pencil, 52 x 62cms
Provenance: private collection Conwy
£300-400
94
‡ SIR FRANK WILLIAM BRANGWYN RA etching - men working in a tan pit, fully signed in pencil, 52 x 62cms
Provenance: private collection Conwy
£300-400
95
‡ VALERIE GANZ limited edition (40/150) etching - titled to margin ‘The Faceworker’, signed, 43 x 18cms
Provenance: private collection Ceredigion
£150-250
Lots
THE WELSH SALE/ YR ARWERTHIANT CYMREIG
Welsh Works on Paper
Gweithiau Cymreig ar Bapur
96
‡ GARETH THOMAS watercolour - Tuscan rooftops with clocktower, signed, 16 x 20cms
Provenance: private collection Norfolk
£150-250
97
‡ GORDON STUART mixed media - seated portrait of Mair Stuart the artist’s wife, signed, 34 x 26cms
Provenance: private collection Swansea
£150-250
98
‡ WILL EVANS watercolour -
Sloop Inn, St. Ives, 39 x 57cms
Provenance: private collection Derbyshire
Comments: unframed £150-250
99
‡ JOHN ELWYN watercolour - entitled verso ‘Coastal Farm, 1958’, studio stamp verso, 22 x 33cms
Provenance: private collection Ceredigion
£150-200
100
‡ EDGAR HOLLOWAY watercolour - view of Llanthony Tertia, Capel-y-ffin, 1969, signed, 39 x 28cms
Auctioneer’s Note: Holloway first visited Gill’s former commune at Capel-y-ffin monastery in 1943. There he met and married Gill’s favourite model Daisy Hawkins. After the War, the relocated to Ditchling where Holloway became a letterer and graphic designer. He returned to painting and etching in 1969 after revisiting Capel-y-ffin. This view of the sun setting behind Llanthony Tertia has been described as one of Holloway’s most ‘visionary’ works. He made an etching after this watercolour. Most of Holloway’s paintings of Capel-y-ffin are now in public collections many of which have staged Holloway retrospective exhibitions
Provenance: private collection Ceredigion
101
‡ JOHN ELWYN watercolour - entitled verso ‘Aberaeron c.1958’, signed, 13 x 23cms
Provenance: private collection Ceredigion
£150-250
102
WARREN WILLIAMS two miniature watercolours - entitled ‘Conwy Castle’ and ‘Snowdon’, each inscribed ‘Facsimilie of the Picture in the Queens Dolls House’, signed, 1 x 1.5cms (2)
Provenance: private collection Conwy, according to the Royal Collection Trust, similar watercolour(s) were commissioned for the Library in Queen Mary’s Dolls House
£150-250
103
‡ HENDRIK LEK mixed media - entitled verso ‘The Stage’ on artist’s address label, signed and dated 1961, 18 x 24cms
Provenance: private collection London
£150-250
104
‡ KAREL LEK dry brush & watercolour - entitled verso ‘Harbour’, signed, 28 x 22cms
Provenance: private collection London
£150-250
105
‡ TOM NASH acrylic on paper - entitled verso ‘Stage Edge’, signed, 47 x 34cms
Provenance: private collection Swansea
£150-250
106
‡ VALERI GANZ pastel - seated nude, signed, 28 x 19cms
Provenance: private collection Swansea
£150-200
107
‡ GARETH THOMAS watercolour - Gower Beach scene with headland and figures, signed, 22 x 36cms
Provenance: private collection Swansea
£150-250
108
‡ VALERI GANZ pastel - entitled verso on Attic Gallery label, ‘Gerry Mulligan at Brecon’, signed, 26 x 18cms
Provenance: private collection Swansea
£200-300
109
‡ KAREL LEK ink and wash - funeral attendees outside a church, signed, 34 x 24cms
Provenance: private collection London
£200-300
114
110
‡ MAUD SALMON watercolours, six works‘Porth Uchaf’, ‘Ferry’, ‘Marl Lane’, ‘Deganwy Beach’, plus two ‘West Shore Beach’, all approx., signed, 7.5 x 11cms (6)
Provenance: private collection Conwy
£200-400
111
‡ GWYN JONES mixed media on paper - entitled verso, ‘Buchod Dafydd’, signed and dated ‘08, 72 x 47cms
Provenance: private collection Denbighshire
£200-300
112
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘Carningli Hill, Pembrokeshire’, signed and dated 1976, 12 x 16.5cms
Provenance: private collection Cheshire
£200-300
113
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘St Edrins Church, N. Pembrokeshire’, signed and dated 1987, 8.5 x 13cms
Provenance: private collection Cheshire
£200-300
114
JOHN McDOUGAL watercolour - entitled verso ‘The Rising Moon’, signed, 19 x 25cms
Provenance: private collection Gwynedd £200-300
115
‡ JOHN ELWYN watercolour - inscribed in pencil bottom right ‘Manordeifi, Llechryd’, signed and dated 1953, 27 x 34cms
Auctioneer’s Note: St David’s Manordeifi at Llechryd is mentioned in the Mabinogi. In 1955, John Elwyn gifted his oil painting of the same subject to collector and patron Winifred Coombe Tennant with ‘thanks for her help and encouragement.’
Provenance: private collection Ceredigion £200-300
117
‡ JOHN ELWYN acrylic on paper, 1988 - entitled verso ‘Rolling Wave’, signed, 27 x 35cms
Auctioneer’s Note: painted around the same time that John Elwyn made a series of watercolour paintings of the Taff estuary and The Gower £200-400
118
‡ WILL EVANS watercolour - farmstead and surrounding buildings, 38 x 56cms
Provenance: private collection Derbyshire
Comments: unframed £200-300
119
‡ WILL EVANS watercolourcottage and gardens, 39 x 56cms
Provenance: private collection Derbyshire
Comments: unframed £200-300
120
‡ WILL EVANS watercolourexpansive landscape with village and distant sea, 39 x 57cms
Provenance: private collection Derbyshire
Comments: unframed £200-300
116
‡ RONALD HERBERT JOHN LAWRENCE watercolour - entitled verso, ‘Bathers’ on Watercolour Society of Wales label, signed and dated ‘89, 35 x 52cms
Provenance: private collection Vale of Glamorgan £200-400
123
121
‡ WILL EVANS watercolour - farmstead with cattle, 38 x 57cms
Provenance: private collection
Derbyshire
Comments: unframed
£200-300
122
‡ GWILYM PRICHARD mixed media on paper - church with graveyard, signed, 25 x 30cms
Provenance: private collection
Herefordshire
£200-300
‡ JOHN BARNARD JENKINS ink on paper - Celtic inspired design produced whilst serving time in HM Prison Albany, Isle of Wight, printed signature verso, 37.5 x 26cms
Auctioneer’s Note: John Barnard Jenkins was a Welsh nationalist and a British army soldier who was convicted of bombing-related offences. He led the Welsh nationalist group Mudiad Amddiffyn Cymru (Movement for the Defence of Wales) from 1964 until his arrest in 1969. During his tenure, the organisation embarked on a campaign against the British government and bombed numerous sites in and around Wales. The first bombing targeted a water pipeline at Llanrhaeadr-ym-Mochnant and the campaign continued with attacks on numerous targets for several years, including tax offices, monuments and an English-owned business. The attacks culminated in four bombs being planted to disrupt the Investiture of Prince Charles, at Caernarfon Castle, in 1969. The first device exploded prematurely, killing two MAC members, while two failed to detonate. One of these laid undiscovered for several days before seriously injuring a 10-year old boy who had discovered the device. The last exploded in the garden of a police Chief Constable. Later that year, Jenkins was arrested and charged with theft and explosive offences in relation to the bombings and was sentenced to ten years in prison.
Provenance: private collection Kent
£200-300
124
‡ NAOMI TYDEMAN
watercolour - coastal view at dusk, Saundersfoot, Pembrokeshire, signed, 45 x 73cms
Provenance: private collection Carmarthenshire
£200-300
125
NEALE HOWELLS mixed media on paperentitled, ‘All Flash’, signed and dated verso 2023, 50 x 40cms
Provenance: from artists studio, no droit de suite
Comments: glazed, ready to hang
£250-350
‡ JOHN KNAPP-FISHER watercolourentitled verso, ‘Crymmych’, signed and dated 1987, 10.5 x 15cms
Provenance: private collection Cheshire
£250-350
127
‡ JOSEF HERMAN OBE RA ink & wash - entitled verso on Albany Gallery label verso ‘Village Scene’, 19 x 24cms
Provenance: private collection Swansea £250-350
129
‡ JOSEF HERMAN OBE RA pencil and wash - entitled verso ‘Return from the Fields’, 19.5 x 24cms
Provenance: private collection London
£300-400
130
‡ JOSEF HERMAN OBE RA pencil, ink and wash - figure in sailor cap sat upon steps alongside a sobbing child, 20 x 24cms
Provenance: private collection London £300-400
131
‡ JOHN ELWYN watercolour - entitled verso ‘Making a Small Point’, signed, 21 x 27.5cms
Provenance: private collection Conwy
£300-400
128
‡ MIKE JONES mixed media on paperentitled verso on Attic Gallery label ‘The House Farm Bungalow’, signed and dated 1996, 40 x 58cms
Provenance: private collection Swansea £250-350
132
WARREN WILLIAMS watercolour - titled ‘Eric, Gwern Borter, 1924’, signed, 32.5 x 48cms
Provenance: private collection Gwynedd
Auctioneer’s Note: a standing horse is a highly unusual subject matter for the well known Conwy artist who is typically associated with views of the Conwy Valley featuring grazing sheep or of Ynys Mon Coastal cottages, or perhaps busy scenes of Conwy harbour.
Gwern Borter is a house located near the village of Rowen in the Conwy Valley where it is now advertised as a holiday accommodation
£300-500
133
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘Skyline’, signed and dated 1965, 12 x 16cms
Provenance: private collection Cheshire
£300-400
134
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘The Watch Cottage’, signed and dated 1983, 12 x 18cms
Provenance: private collection Cheshire
£300-500
135
‡ ROGER CECIL watercolour and pencillandscape study, signed, 15 x 20cms
Provenance: private collection
Monmouthshire
£300-500
136
‡ ROGER CECIL watercolour and pencil - coastal scene with passing vessel, signed, 17 x 11cms
Provenance: private collection Monmouthshire
£300-400
137
NEALE HOWELLS mixed media on paper - entitled, ‘Anyworld’, signed verso and dated Sept ‘23, 50 x 40cms
Provenance: from artists studio, no droit de suite
Comments: glazed, ready to hang £300-500
138
‡ JOHN ELWYN watercolourentitled verso ‘Road to a Farm II’, circa 1970s, signed, 30 x 27cms
Provenance: private collection Ceredigion £300-400
139
‡ WILL EVANS watercolour - figure in cottage garden, entitled ‘Feeding the Birds’, signed, 67 x 49cms
Provenance: private collection Powys £300-400
140
‡ VALERIE GANZ pastel and watercolour - entitled verso, ‘Bettina’, signed, 41 x 45cms
Provenance: private collection
Swansea
£300-400
141
‡ CLIVE HICKS-JENKINS acrylic on paper - entitled verso ‘Moon Dog’, signed and dated verso 1999, 21 x 24cms
Provenance: private collection
Swansea
£300-400
142
‡ ROBERT MACDONALD watercolour & crayon - entitled verso ‘Llyn-y-Fan Fach’, signed and dated ‘95, 46 x 76cms
Provenance: private collection
Swansea
£300-400
143
‡ MIKE JONES mixed mediaentitled verso on Attic Gallery label, ‘Fishing Boats, Marina’, signed and dated ‘98, 48 x 57cms
Provenance: private collection
Swansea
£400-600
144
‡ JONATHAN TAYLOR large watercolour - expansive view of Crib Goch, signed and dated 1995, 47 x 71cms
Provenance: private collection Swansea
£400-600
145
‡ SIR FRANK BRANGWYN RA graphite on paper - study of a reclining greyhound or whippet, 20 x 24cms
Provenance: private collection Powys
Comments: unframed, water stains and tape residue marks to paper
£400-600
147
‡ ROGER CECIL
watercolour and pencil - barren landscape with tree, 25 x 30cms
Provenance: private collection
Monmouthshire
£400-700
148
‡ ROGER CECIL watercolour and pencilmisty flooded moorland, 18 x 61cms
Provenance:
private collection
Monmouthshire
£400-600
146
‡ SIR FRANK BRANGWYN RA graphite on paper - study of a greyhound or whippet, 17 x 23cms
Provenance: private collection Powys £400-600
149
‡ GWILYM PRICHARD mixed media - entitled verso, ‘Snowdon Winter’, signed, 50 x 65cms
Provenance: private collection
Denbighshire
£400-600
150
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘Mountain Range’, signed and dated 1989, 10 x 40cms
Provenance: private collection Cheshire
£400-600
151
‡ GWILYM PRICHARD mixed media - entitled verso on Attic Gallery label ‘Llanfachraeth’, signed, 24 x 57cms
Provenance: private collection Ynys Mon £400-600
152
‡ VIVIENNE WILLIAMS mixed media on hand cut paper - entitled verso on Attic Gallery label ‘Still Life with Olives’, 50 x 40cms
Provenance: private collection Swansea £400-600
153
‡ WILLIAM SELWYN mixed mediaentitled verso ‘Trafodaeth’ (discussion), signed, 14 x 19cms
Provenance: private collection Gwynedd £400-600
154
‡ WILLIAM SELWYN pencil & watercolour - entitled verso ‘Clynnogfawr’, signed, 19 x 27cms
Provenance: private collection Gwynedd £400-600
155
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘Buildings on a Skyline, Pembrokeshire’ on Workshop Gallery label, Fishguard, signed and dated 1981, 5.5 x 33cms
Provenance: private collection Cheshire
£500-700
156
‡ JOHN KNAPP-FISHER watercolour - entitled verso, ‘Cottage, Haverfordwest’, signed and dated 1980, 7.5 x 14cms
Provenance: private collection Cheshire
£500-700
157
‡ ROGER CECIL watercolour and pencil - landscape with fence and gate, 37 x 39cms
Provenance: private collection Monmouthshire £500-800
159
‡ JOSEF HERMAN
OBE RA mixed media including ink and watercolour - three figures, one standing with arm outstretched, signed verso, 19 x 21cms
Provenance: private collection London
£500-800
160
‡ GWILYM PRICHARD mixed mediaautumnal landscape, signed, 27 x 39cms
Provenance: private collection Vale of Glamorgan £500-700
161
‡ MALCOLM EDWARDS
watercolour and mixed media - entitled verso, ‘Pearly Sky, Laxford Bridge on Ffin Y Parc Gallery label, signed, 27 x 27cms
Provenance: private collection Powys
£500-700
158
‡ JOHN KNAPP-FISHER watercolour - country lane with buildings, signed and dated 1980, 14 x 19cms
Provenance: private collection Cheshire £500-700
162
‡ MALCOLM EDWARDS watercolour - entitled verso, ‘Graig Yr Onnen’ with Malcolm Edwards address, signed, 38 x 53cms
Provenance: private collection Cardiff £500-700
163
‡ JOHN ELWYN acrylic on paper - figure at doorway with garden, studio stamp verso, signature on paper with artist’s address verso behind frame 32 x 49cms
Provenance: private collection Ceredigion
£600-800
164
‡ IWAN BALA mixed media on paper - political statement on the Welsh Nation and entitled ‘Hon’ with an outline map of the Nation, signed and dated ‘04, 77 x 58cms
Provenance: private collection London, accompanying letter from the artist in Welsh explaining his motivation for the work; Wales was in 18th and 19th century depicted as an old woman and that in this version the artist has tried to ‘put some life back into her step’ and that ‘Hon’ (her) moves energetically like a dancer. ‘Hon’ also refers to the poem by T H Parry Williams ‘God help me I cannot escape from Her (Wales) and in the same way I cannot escape from trying to change the image of ‘Her
£1,300-1,800
165
‡ ROGER CECIL mixed media on card - entitled verso, ‘Landscape Series No.37’, signed, 53 x 48cms
Provenance: private collection Monmouthshire
£700-1,000
166
‡ ROGER CECIL mixed medialandscape with colliery and figure, signed, 31 x 87cms
Provenance: private collection Gloucestershire
£700-1,000
167
‡ VALERI GANZ mixed mediathree seated miners on their work break, signed, 24 x 39cms
Provenance: private collection Swansea
£700-1,000
168
‡ JOSEF HERMAN OBE RA mixed media - colourful study of figure on mule, signed verso, 19.5 x 25cms
Provenance: private collection
London
£1,000-1,500
169
‡ ANEURIN JONES mixed mediagroup of standing farmers, signed, 38 x 53cms
Provenance: private collection Conwy
£1,000-1,500
170
‡ AUGUSTUS JOHN OM RA pencil - life-study of a standing female, label for Windmill Gallery, Aberystwyth verso, 44 x 31cms
Provenance: private collection Carmarthenshire
£1,000-1,300
171
‡ IWAN BALA mixed media - entitled verso, ‘Pentir Headland’, signed and dated ‘03, 91 x 121cms
Provenance: private collection London
£700-1,000
173
‡ CERI RICHARDS CBE watercolour - entitled verso, ‘The Force that Through the Green Fuse Drives the Flower, Drives My Green Age’, signed and dated 1965, 44 x 62cms
Provenance: private collection Conwy
£5,000-8,000
172
‡ KEITH BOWEN pastelentitled verso, ‘Standing Shepherd’ on Martin Tinney Gallery label, signed, 73 x 54cms
Provenance: private collection Vale of Glamorgan
£2,000-3,000
174
GWEN JOHN watercolour and body colour - entitled verso ‘Two Hatted Women in Church’, signed, circa 1920s, 22 x 17cms
Auctioneer’s Note: most likely the two figures are wearing hats for a church service as with ‘Girls in a Church’ (Yale Center for British Art), which was painted in the 1920s. In ‘Gwen John and Augustus John’ (Tate Publishing, 2004) the author writes, ‘ In Gwen John’s church watercolours one or several female figures are seen, usually from the rear, in what is essentially a private moment. She did these watercolours from the early 1910s until she ceased working twenty years later. Gwen would sit in the back of the Meudon church, sketching in pencil adding watercolour or bodycolour in the studio. When criticised for working in church she responded (in French) ‘I like to pray in Church like everyone but my spirit is not capable of praying for a long time at once - if I remove all that time there would not be enough happiness in my life’
Provenance: private collection Powys, label verso for Browse & Darby, Cork Street, London, 2005 receipt for the same £17,000-23,000
174
The Welsh Sale • Rogers Jones & Co
175
176
175
‡ GWASG GREGYNOG PRESS & SIR KYFFIN WILLIAMS RA extra-special and rare 2002 limited edition (13/20) volume of ‘Cutting Images’, specially bound and signed by Alan Wood, black Morocco with pictorial inlay, grey suede pastedowns, pencil signed preface by Kyffin Williams, with an additional nine linocuts retained in original sleeve and each numbered 13/85 and initialled, presented in a fine quality drop-back box
Provenance: private collection Powys
Comments: excellent condition
£2,000-3,000
‡ SIR KYFFIN WILLIAMS RA limited edition (137/275) volume of ‘Cutting Images’ - printed on T H Saunders Waterford paper and printed by David Vickers, bound by John Sewell, complete with slip case, signed in pencil by the artist with further dedication in pencil ‘for Vicky with much love Kyffin’
Provenance: private collection Conwy
Comments: very minor scuffs to slip case
£500-700
177
‡ SIR KYFFIN WILLIAMS RA limited edition (57/150) lithograph - Patagonian landscape entitled verso, ‘Horses at Lle Cul’ on Attic Gallery label, signed with initials, 49 x 48cms
Provenance: private collection Norfolk
£300-500
176
178
‡
SIR KYFFIN WILLIAMS RA artist’s proof print - ‘Conwy Castle’, signed in pencil lower centre, 40 x 60cms
Provenance: private collection Gwynedd
£250-350
179
‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - two farmers talking, signed with initials, 42 x 49cms
Provenance: private collection Gwynedd
£300-400
180
‡ SIR KYFFIN WILLIAMS RA limited edition (12/100) linocut - ‘Ponies, Anglesey’, signed with initials, 35 x 45.5cms
Provenance: private collection Gwynedd
£800-1,400
181
‡ SIR KYFFIN WILLIAMS RA limited edition (51/75) print‘Welsh Black Bull’, signed, 40 x 61cms
Provenance: private collection Gwynedd £1,000-1,500
182
‡ SIR KYFFIN WILLIAMS RA limited edition (1/15) artist’s proof print - Ynys Mon coastline with cottage, 40 x 59cms
Provenance: private collection Conwy £300-400
183
‡ SIR KYFFIN WILLIAMS RA limited edition (3/50) linocut - one of a set of eight illustrations for Mabinogion tale ‘Pryderi’, entitled ‘Cwn a’r Twrch Trwyth’, initialled and numbered in pencil, 20 x 15cms
Provenance: private collection Conwy
£250-350
184
‡ SIR KYFFIN WILLIAMS RA limited edition (279/500) lithograph - Conwy Castle, fully signed in pencil, 40 x 59cms
Provenance: private collection Manchester £250-350
185
‡ SIR KYFFIN WILLIAMS RA limited edition (25/250) colour print - ‘Farmer below Snowdon’, signed and numbered in pencil, 55 x 55cms
Provenance: private collection Cheshire
£300-500
186
‡ SIR KYFFIN WILLIAMS RA limited edition (12/150) lithograph - Patagonia landscape with horse ‘Lle Cul’, signed with initials, 48 x 47cms
Provenance: private collection Gwynedd £400-600
187
‡ SIR KYFFIN WILLIAMS RA colour print – cattle on headland near Porth Cwyfan, Ynys Mon, signed in pencil, 29 x 37cms
Provenance: private collection Bridgend
£300-500
188
‡ SIR KYFFIN WILLIAMS RA limited edition (132/150) colour lithograph by Christies Contemporary Art - ‘Pontllyfni in Snow’, signed fully in pencil, 44 x 75cms
Provenance: private collection Ceredigion
£1,500-2,000
189
‡ SIR KYFFIN WILLIAMS RA watercolour - farmer in overcoat with walking stick, signed with initials, 35 x 24cms
Provenance: private collection Cardiff
£3,000-5,000
Rogers Jones & Co •
190
‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - entitled verso, ‘Farmer with Sheepdogs’ on Thackeray Gallery label verso, later signed in full on address card verso, 28 x 42cms
Provenance: private collection Powys
£6,000-9,000
191
‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - upland cottage with drystone walls, signed with initials, 28 x 41cms
Provenance: private collection Gwynedd
£3,500-4,500
192
‡ SIR KYFFIN WILLIAMS RA pen & inkwash - farmer and cattle in a landscape, signed with initials, 28 x 23cms
Provenance: private collection Ynys Mon £1,500-2,500
The Welsh Sale • Rogers Jones & Co
193
‡ SIR KYFFIN WILLIAMS RA watercolour - Eryri peaks and clouds, signed with initials, 36 x 55cms
Provenance: private collection London
£3,000-4,000
194
‡ SIR KYFFIN WILLIAMS RA pencil and inkwash - entitled ‘The Barrister’, signed with initials, 36 x 27cms
Provenance: private collection Powys
£2,500-3,500
195
‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - farmer with walking stick, signed with initials, 49 x 39cms
Provenance: private collection Somerset
£8,000-10,000
196
‡ SIR KYFFIN WILLIAMS RA mixed media - study of a long-haired lurcher, signed with initials, 35 x 55cms
Provenance: private collection Gwynedd
£2,500-3,500
197
‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - farmer with stick, signed with initials, 45 x 32cms
Provenance: private collection Conwy
£3,000-4,000
198
‡ SIR KYFFIN WILLIAMS RA watercolour - sunset, entitled verso ‘Evening Llanfairynghornwy’, signed with initials, 38 x 48cms
Provenance: private collection Gwynedd
£2,700-3,400
199
‡ SIR KYFFIN WILLIAMS RA ink wash - farmstead ‘Y Lon Wen’ with cattle in the foreground, signed with initials, 28 x 40cms
Provenance: private collection Gwynedd
£3,000-5,000
200
‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso on Thackeray Gallery label, ‘No. 18 Moon Over Crib Goch’, signed with initials, 59.5 x 59.5cms
Provenance: private collection London, date purchased ‘19.5.93’ as per label, same ownership since £15,000-25,000
‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Farmers Under Cnicht’, signed with initials, 39 x 59.5cms
Provenance: private collection Rhondda Cynon Taff £7,000-10,000
201
201
The Welsh Sale • Rogers Jones
Provenance: private collection Vale of Glamorgan
£20,000-30,000
‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Road to the Mine, Blaenau Ffestiniog’ on Industrial Wales Exhibition label 1960, signed with initials, 60 x 50cms
203
‡ SIR KYFFIN WILLIAMS RA large oil on canvas - printed title verso ‘Anglesey in Winter’ on artist’s London address (Avondale Ave), 77 x 126cms
Provenance: private collection Surrey, RA Summer Exhibition 1964, same ownership since purchase at Sotheby’s in 1981, Sothebys receipt to accompany together with typed letter by owner recalling the circumstances of the purchase including a chance meeting with the artist, also to accompany a copy of Country Life, May 7, 1964, with an image of the painting in their review of the recent Royal Academy exhibition in which the painting, one of two by the artist, is described as ‘…exceptionally moving representations of the pictorial quality of frigid hillsides’
Auctioneer’s Note: the subject matter is the village of Llansadwrn, Anglesey which is the village of Sir Kyffin’s ancestry for 300 years, it was according to correspondence, painted on Christmas Eve in 1963, verso the label for framer Robert Sielle who was Sir Kyffin’s framer in London
Free Delivery: bidders with invoices over £4000 in this Welsh Sale can benefit from free insured delivery to their home (England and Wales only). To enquire about this service, please email brj@rjauctions.co.uk
£25,000-35,000
‡ SIR KYFFIN WILLIAMS RA large oil on canvas - dramatic mountain landscape entitled verso, ‘Winter Crib Goch’ on Albany Gallery label, signed with initials, 75 x 125cms
Provenance: private collection Vale of Glamorgan
Free Delivery: bidders with invoices over £4000 in this Welsh Sale can benefit from free insured delivery to their home (England and Wales only). To enquire about this service, please email brj@rjauctions.co.uk
£30,000-40,000
205
‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Cottages, Waunfawr’, signed with initials, 59 x 59cms
Provenance: private collection Cambridgeshire
£14,000-18,000
206
‡ SIR KYFFIN WILLIAMS RA oil on canvas - Eryri landscape, signed with initials, circa 1960s / 70s, 60 x 76cms
Provenance: private collection Lancashire
Comments: in original hessian frame, ready to hang £7,000-12,000
All pictures framed, ready to hang unless stated. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
THE WELSH SALE/ YR ARWERTHIANT CYMREIG
Welsh Oils, Sculpture & Other Media
Olewau Cymreig, Cerfluniau a Chelf Arall
207
‡ MEGAN JONES oil on board - windswept landscape with cottage, signed, 50 x 36cms
Provenance: private collection Norfolk £150-250
208
‡ ELFYN JONES oil on canvas - entitled verso, ‘Rising Storm’, signed and dated verso 2022, 60 x 45cms
Provenance: private collection Gwynedd £150-250
209
‡ DAVID LLOYD GRIFFITH RCA oil on card - entitled verso, ’Craig y Forwyn, (Afternoon)’ on Ogilvy & Estill gallery label, Conwy, unsigned, dated verso 1997, 10.5 x 14.5cms
Provenance: private collection Conwy £150-250
210
‡ STEPHEN JOHN OWEN oil on board - entitled verso ‘Farm near Rhydd Ddu’, 29 x 29cms
Provenance: private collection Ynys Mon £200-300
211
‡ ARTHUR PRITCHARD oil on board - landscape with trees and two figures, signed, 29 x 39cms
Provenance: private collection Ynys Mon £200-400
212
‡ CLIVE HICKS-JENKINS mixed mediaentitled verso ‘Vessels’, signed and dated verso 1998, 18 x 19cms
Provenance: private collection Swansea £200-300
213
‡ PAUL PETER PIECH rare oil on boardimage of single red flower, signed with a single initial P and dated ‘93, 29 x 24cms
Provenance: private collection
Vale of Glamorgan
£200-500
214
‡ PAUL PETER PIECH rare oil on boardsingle sunflower, signed with a single initial P and dated ‘93, 30 x 25cms
Provenance: private collection
Vale of Glamorgan
£200-500
215
‡ PAUL PETER PIECH rare oil on board - single dandelion, signed with a single initial P and dated ‘93, 22 x 17cms
Provenance: private collection Vale of Glamorgan
£200-500
216
‡ PAUL PETER PIECH rare oil on board - single red flower, possibly poppy, 15.5 x 10cms
Provenance: private collection Vale of Glamorgan
£200-500
217
‡ PAUL PETER PIECH rare oil on board - birds in flight, signed with a single initial P and dated ‘90, 11 x 36cms
Provenance: private collection Vale of Glamorgan
£200-500
218
‡ DOROTHY MORRIS large oil on board - ‘The Village and I and Marc Chagall’, signed, 89 x 89cms
Provenance: private collection Carmarthenshire
Comments: good overall £200-300
218
217
215
214
213
219
ALAN WILLIAMS acrylicentitled verso, ‘Cockle Pickers’, signed, 35 x 49cms
Provenance: direct from artist’s studio, no droite de suite £200-400
220
ALAN WILLIAMS acrylicentitled verso, ‘Coracler’, signed, 35 x 49cms
Provenance: direct from artist’s studio, no droite de suite £200-400
221
ALAN WILLIAMS
acrylic - entitled verso, ‘Moelfre’, signed, 35 x 49cms
Provenance: direct from artist’s studio, no droite de suite £200-400
222
ALAN WILLIAMS
acrylic on board - entitled verso, ‘The Race’, signed, 70 x 42cms
Provenance: direct from artist’s studio, no droite de suite £200-400
223
‡ DAVID LLOYD GRIFFITH oil on card - entitled verso, ‘Sunset Study, Betws yn Rhos’, dated verso ‘98, 13 x 17cms
Provenance: private collection Manchester £200-300
226
‡ WYN HUGHES oil on card - entitled verso, ‘Bodorgan’, signed, 22 x 29cms
Provenance: private collection Herefordshire £200-300
227
‡ WYN HUGHES oil on card - entitled verso, ‘Rhoscolyn’, signed, 19 x 28cms
Provenance: private collection Herefordshire £200-300
228
JOSIAH CLINTON JONES oil on canvas - autumnal landscape with trees, probably Conwy valley, signed, 36.5 x 44cms
Provenance: private collection Herefordshire £200-300
224
‡ ELFYN JONES oil on canvas - entitled verso, ‘Stretching’ on Ffin Y Parc Gallery label, signed and dated verso 2017, 75 x 64cms
Provenance: private collection Conwy £250-350
225
‡ JOHN ELWYN oil on canvas - entitled verso, ‘John Ormond (1923-1990)’, signed and dated verso 1984, 60 x 50cms
Provenance: private collection Conwy
Auctioneer’s Note: Welsh poet, film-maker, BBC documentarian £200-300
229
‡ ALEX WILLIAMS double sided oil on board advertising ‘pub-type’ sign for the Welsh Black Steak Bar 1978 - head of Welsh black bull, signed on both sides, 68 x 53cms
Provenance: private collection Powys, used at the Welsh Black Steak Bar at the Royal Welsh Show £250-350
230
‡ LESLIE JONES two oil on slate/ gesso - entitled verso ‘Drws-y-Coed’ and ‘Cnicht’, 36 x 23.5cms (2)
Provenance: private collection Ynys Mon £250-350
231
‡ WILL ROBERTS oil on canvas – Iron Boats, signed with initials, 25 x 30cms
Provenance: private collection Bridgend £300-500
232
‡ DAVID TRESS mixed media & constructionentitled verso on Attic Gallery label ‘Tuscan Landscape II’, signed and dated ‘94, 26 x 36cms
Provenance: private collection Swansea £300-500
233
‡ JAMES DONOVAN oil on canvasentitled verso on Martin Tinney Gallery label, ‘Killjoy’, signed with initials, 59 x 69cms
Provenance: private collection Swansea £300-400
234
‡ JAMES DONOVAN acrylic - entitled verso on Attic Gallery label ‘Let it out’, monogrammed verso, 28 x 38cms
Provenance: private collection Swansea £300-400
235
‡ CERI AUCKLAND DAVIES egg tempera - coastal scene, signed, 52 x 105cms
Provenance: private collection Cardiff £300-500
236
‡ STEPHEN JOHN OWEN oil on canvas - titled verso ‘Pen Bonc’, signed with initials, 18 x 12cms
Provenance: private collection Ynys Mon
£300-400
‡ ANDREW VICARI oil on canvas - entitled verso ‘L’attente’, signed and dated verso 2003, 60 x 49cms
Provenance: private collection London, friend and business associate of the artist
£300-400 238
Provenance: private
£300-500
‡ ANDREW VICARI oil on canvas - entitled verso ‘Avant la Ceremonie’, signed and dated verso 1999, 44 x 34cms
Provenance: private collection London, friend and business associate of the artist £300-400
240
‡ NICK HOLLY oil on canvas laid to card - entitled verso, ‘Industrial Street Scene, Port Talbot’ on Attic Gallery label verso, signed, 18 x 18cms
Provenance: private collection Neath-Port Talbot
£300-500
239
‡ NICK HOLLY oil on card - Welsh valley street scene with children playing, signed, 28 x 28cms
collection Neath-Port Talbot
The Welsh Sale • Rogers Jones & Co
241
‡ GWILYM PRICHARD mixed media on canvas - a winding village road with church, signed, 49.5 x 40cms
Provenance: private collection Herefordshire
£300-400
244
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘The Road to Snowdon, Nr Rhos Gadfan’, signed, 23 x 54cms
Provenance: private collection Scotland
£300-450
242
‡ MICHAEL MONAGHAN large oil on board - entitled verso, ‘Sunset Over the Cliffs’, signed with initials, 90 x 121cms
Provenance: purchased from the Kooywood Gallery Cardiff, private collection Vale of Glamorgan
£300-400
243
‡ PETER WINSTANLEY oil on board - entitled verso, ‘Dinorwic Quarry 1’, signed with initials, signed verso, 26 x 35cms
Provenance: private collection Gwynedd
£300-400
245
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Mymbr’ on Yew Tree Cottage Gallery label, signed, 28 x 75cms
Provenance: private collection
Monmouthshire
£300-400
246
‡ NICK HOLLY acrylic on card - entitled verso, ‘Lamplight’ on Albany Gallery label, signed, 15 x 10cms
Provenance: private collection Cardiff
£300-400
247
‡ JOHN ELWYN watercolour (and preparatory drawing verso) - graveyard, south Cardiganshire, circa 1950s, signed, 27 x 38cms
Provenance: private collection Ceredigion
£300-400
248
‡ JOHN VIVIAN ROBERTS acrylic and mixed media - floating doll and roses, signed, circa 1984, 55 x 50cms
Auctioneer’s Note: from the darkly surreal ‘Odd Companions’ series of artworks that explore disturbing juxtapositions of mannequins, plastic flowers, graffiti-covered dolls and childhood drawings. In March 1986 John Roberts wrote, ‘I have always been interested in contrasts, in the bizarre and in strange meetings between objects. When a picture assumes its own identity, as if by magic a small new world is born. That is the excitement of making something that never was.’
Provenance: private collection Ceredigion £300-400
249
‡ WILLIAM SELWYN oil on boardentitled verso on artist’s address label ‘Glaw Caernarfon’ (Rain Caernarfon), signed, 40 x 49cms
Provenance: private collection Ceredigion £300-500
250
‡ STEPHEN JOHN OWEN acrylic on canvas - entitled verso, ‘Farm Beneath Snowdon’ on Ffin y Parc Gallery label, signed with initials, 50 x 56cms
Provenance: private collection Herefordshire £300-500
251
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Tryfan in Winter’, signed, 24 x 54cms
Provenance: private collection Cheshire
£400-600
252
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Elidir from Llyn Padarn’, signed, 18 x 33cms
Provenance: private collection Cheshire
£400-600
253
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘The River Gwyrfai’, signed, 23.5 x 54cms
Provenance: private collection Cheshire
£400-600
254
‡ CHARLES WYATT WARREN oil on board - Eryri bridge with distant peaks, signed, 23 x 54cms
Provenance: private collection London
£400-600
255
‡ CHARLES WYATT WARREN oil on board - Eryri landscape with lake and whitewashed cottage, signed, 23 x 53cms
Provenance: private collection Monmouthshire
£400-600
259
‡ RONALD HERBERT JOHN LAWRENCE oil on canvas - entitled verso, ‘The Bathers’, signed, dated ‘88, 96 x 127cms
Provenance: private collection Vale of Glamorgan
£400-600
256
‡ VALERIE GANZ oil on canvas - view across Swansea Bay with Mumbles Lighthouse, signed and dated ‘77, 44 x 60cms
Provenance: private collection Swansea
£400-600
257
‡ HARRY HOLLAND oil on canvasentitled verso, ‘Deuce’ on Jill George Gallery London label, signed, dated verso 1994, 90 x 90cms
Provenance: private collection Vale of Glamorgan
£400-600
258
‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Nantlle’, signed, 24 x 54cms
Provenance: private collection Kent £400-600
260
DAVID GRIFFITHS MBE oil on canvas - head and shoulders portrait of House of Commons speaker, Sir Lindsay Hoyle, in speaker action, signed, 59 x 44cms
Provenance: one such portrait illustrated in Graffeg’s New Publication, David Griffiths’ Portraits (published 29th August 2024)
£400-600
261
DAVID GRIFFITHS MBE oil on canvas - head and shoulders portrait of House of Commons speaker, Sir Lindsay Hoyle, in speaker action, signed, 59 x 44cms
Provenance: one such portrait illustrated in Graffeg’s New Publication, David Griffiths’ Portraits (published 29th August 2024)
£400-600
262
‡ PETER MORGAN acrylic on boardentitled verso ‘Summer Hill’, signed with initials, 18 x 12cms
Provenance: private collection Ynys Mon £400-600
263
‡ NICK HOLLY mixed media - entitled verso on Attic Gallery label ‘Big Match, Rhondda’, signed and dated 1996, 25 x 26cms
Provenance: private collection Swansea £400-600
264
‡ ANDREW VICARI oil on board - entitled verso ‘Avant la derniere veille’, signed, 26 x 72cms
Provenance: private collection London, friend and business associate of the artist £500-700
265
‡ TOM HUTCHESON mixed media and construction - entitled verso ‘Legacy Lanarkshire with a Red Blaes’, signed and dated 1994, 59 x 50cms
Provenance: private collection Swansea, inscribed verso ‘Purchased in aid of Tower Colliery, 1994’
Comments: cleverly framed in original two-tier framing system and glazed £500-700
266
‡ WILL ROBERTS oil on board - still life of roses, signed with initials, 49 x 36cms
Provenance: private collection Bridgend £500-700
264
263
262
267
‡ JONAS PLOSKY oil on board - entitled verso, ‘News Please’ on Planter & Hall Gallery, London label, signed, 85 x 75cms
Provenance: private collection London £500-1,000
268
NEALE HOWELLS mixed media on wood panel - entitled, ‘Earth Vs.Venus’, signed and dated verso 2008, 180 x 84cms
Provenance: from artists studio, no droit de suite
Comments: ready to hang £500-800
269
‡ KEITH BOWEN oil on board - entitled verso, ‘Shepherd Head, Study Four’, signed, 49 x 37cms
Provenance: private collection Cumbria, purchased at exhibition of Bowen’s work in Penrith, Cumbria, the portrait was painted when the artist was working on illustrations for ‘Ivver Sen’ by Keith Richardson £600-800
270
‡ ANDREW VICARI oil on board - entitled verso ‘Marchers at Pentecost in Wales 1966’, Monaco address label verso, signed, 18 x 119cms
Provenance: private collection London, friend and business associate of the artist £600-800 271
271
‡ DIANA ARMFIELD RA oil on board - titled verso ‘Sunlight on the Tree Trunks above the Nanthir’, signed with initials, 22 x 17cms
Provenance: private collection Conwy, handwritten label verso inscribed ‘Diana Armfield RA Purchased at her solo exhibition at the RCA 2001’ £600-800
269
268
267
272
‡ ANDREW VICARI oil on canvas - entitled verso ‘La vigonad del tramoto’ on Monaco address label, dated verso 1984, signed, 48 x 71cms
Provenance: private collection London, friend and business associate of the artist
£700-1,000
273
‡ ANDREW VICARI oil on board - entitled verso ‘Cavalier dans un etang en Arizona’, signed and dated verso 1965, 55 x 71cms
Provenance: private collection London, friend and business associate of the artist
£700-1,000
274
‡ ANDREW VICARI oil on board - entitled verso ‘Ad-avalon’, signed verso with Monaco address label, 57 x 53cms
Provenance: private collection London, friend and business associate of the artist
£700-1,000
275
‡ JOHN ELWYN oil on canvas - entitled verso, ‘Enigmatic Blossom’, stamped with ‘John Elwyn Studio’ verso, dated 1980, 54 x 44cms
Provenance: private collection Gwynedd £700-1,200
276
NEALE HOWELLS mixed media on wood panel - entitled, ‘End Woof’, signed and dated verso 2005, 153 x 65cms
Provenance: from artists studio, no droit de suite
Comments: ready to hang
£700-1,200
277
‡ JOHN KNAPP-FISHER acrylic on board - farmer driving cows at farm, signed and dated 1966, 15 x 25.5cms
Provenance: private collection Sussex £800-1,200
Claudia Williams 1933 – June 2024
The article ‘C-is for Claudia Williams’ written for this catalogue was done shortly before Claudia’s death which was on 17th June 2024. The Welsh art world will be a lesser place without Claudia Williams, but her legacy lives on in her paintings and through the joy she will continue to bring to art collectors and through the inspiration she has given other artists
278
‡ CLAUDIA WILLIAMS oil on board - entitled verso on artist’s handwritten label, ‘Playing Recorders’ with address at Old Bank House, Beaumaris, 59.5 x 38.5cms
Provenance: private collection Herefordshire £800-1,200
279
‡ CORRIE CHISWELL oil on canvas - entitled verso, ‘Little Queen / Brenhines Fach’, signed and dated ‘14, 80 x 60cms
Provenance: private collection Cardiff £800-1,200
280
‡ SEREN MORGAN JONES oil and acrylic on board - entitled verso, ‘E. A. Cleeves’, signed and dated verso 2015, 31 x 28cms
Provenance: private collection Cardiff £800-1,200
281
‡ CARL MELEGARI oil on canvasPenarth Pier, 46 x 61cms
Provenance: private collection Cardiff £800-1,200
282
‡ NICK HOLLY oil on board - South Wales valley scene, entitled verso ‘Oh to fly above the Rhondda’ on Attic Gallery label, signed and dated ‘96, 59 x 59cms
Provenance: private collection Swansea
£800-1,200
283
‡ DAVID TRESS mixed media with paper construction - entitled verso ‘Red Moorland and Great Light’, signed and dated 2003, 57 x 80cms approx.
Provenance: private collection Newport, Gwent
£1,000-2,000
284
‡ NICK HOLLY oil on boardentitled verso on Attic Gallery label, ‘Fun and Games’, signed and dated 1997, 60 x 59cms
Provenance: private collection Swansea
£1,000-1,500
285
‡ GEORGE HAMMOND STEEL oil on board - entitled verso, ‘Welsh Mountain Scene’ on both Goldmark Gallery label and Hilton Gallery label, Cambridge, signed, dated verso c.1945, 18.5 x 25cms
Provenance: private collection Powys
£1,000-1,500
286
‡ MARCIA GIBSON-WATT oil on boardentitled verso, ‘Large Still LifeWatermelon’, signed with initials, dated 2019, 30 x 41cms
Provenance: private collection Powys
£1,000-1,500
287
‡ DONALD MCINTYRE early acrylic on board - winter scene with houses, titled and signed verso ‘Bangor’, 35.5 x 43.5cms
Provenance: private collection
Ynys Mon
£1,000-1,500
288
‡ DONALD MCINTYRE acrylic - entitled verso, ‘Sea Acebruch’, signed with initials, 28 x 40cms
Provenance: private collection Manchester
£1,000-1,500
289
‡ DONALD MCINTYRE acrylic on card - entitled verso, ‘Spray & Grey Sky’, signed with initials, 13 x 19cms
Provenance: private collection Monmouthshire
£1,000-1,500
290
‡ CHARLES WYATT WARREN oil on board - whitewashed cottage, Eryri, signed, 27 x 73cms
Provenance: private collection Ceredigion
£1,000-1,500
291
‡ CHARLES WYATT WARREN oil on board - winter Llyn Mymbyr with Yr Wyddfa, signed, 36.5 x 90cms
Provenance: private collection Vale of Glamorgan
Comments: original frame, ready to hang £1,000-1,500
292
‡ JOHN ELWYN gouache - entitled verso, ‘The Estuary Farm’ on artist’s address label, 32 x 45cms
Provenance: deceased estate, Carmarthenshire
£1,000-2,000
293
‡ WILL ROBERTS oil on canvas –white faced calf, signed with initials, 25 x 30cms
Provenance: private collection Bridgend
£1,200-1,800
294
‡ NICK EVANS large mixed media on board - two bare-footed figures straining under heavy baskets of load, signed and dated 1980, 119 x 119cms
Provenance: private collection Swansea
£1,500-2,500
295
‡ WILL ROBERTS oil on canvas –signed and entitled verso ‘Cockle Cart’ signed with initials, 29 x 39cms
Provenance: private collection Bridgend
£1,500-2,500
296
‡ WILL ROBERTS oil on canvas – red farmer, signed with initials, 29 x 40cms
Provenance: private collection Bridgend Comments: painting loose in frame
£1,500-2,000
297
‡ WILL ROBERTS oil on canvascockle cart & figure, signed with initials, entitled verso ‘ Cockle Cart Penclawdd,’ 24 x 29cms
Provenance: private collection Bridgend
£1,500-2,000
298
‡ DAVID TRESS mixed media with paper constructionentitled verso ‘Winter Big Blue’, signed and dated 2001, 85 x 62cms approx.
Provenance: private collection Newport, Gwent
£1,500-2,000
All pictures framed, ready to hang unless stated. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
299
‡ DONALD MCINTYRE oil on board - circus tents and wagons with spectators gathering, signed, 33 x 43cms
Provenance: private collection London
£1,500-2,500
301
‡ JOHN ELWYN oil on canvas - autumnal landscape, signed in full, 39 x 49cms
Provenance: private collection Merthyr Tydfil
£1,500-2,500
302
‡ JOSEF HERMAN OBE RA oil on board - entitled verso, ‘Flowers, Lupins’, signed verso, 59 x 50cms
Provenance: private collection Cardiff, with original purchase receipt, 12th August 1988, Beaux Arts Gallery, Bath
Comments: original frame, ready to hang
£1,500-2,500
303
‡ ANEURIN JONES oil on board - entitled verso, ‘Codi Maip / Pick Up a Turnip’, signed verso, 60 x 60cms
Provenance: private collection Gwynedd
£2,000-3,000
300
‡ WILF ROBERTS oil on cardlandscape with white washed cottages, signed and dated 1995, 34 x 44cms
Provenance: private collection Gwynedd
£1,500-2,000
The Welsh Sale • Rogers Jones & Co
304
‡ JOHN ELWYN oil on canvas - early still-life, wine and flowers, front and back signed and dated 1940, 49 x 74cms
Auctioneer’s Note: as a student, and throughout his long career, John Elwyn turned to still life and flower painting to practise his observational skills. The first painting he exhibited at the Royal Academy was a flower study. This is an early, rare and large still life painted when the artist was working under the influence of Pierre Bonnard and Edouard Vuillard whose paintings he had admired when a student in London.
Provenance: private collection Ceredigion
£2,000-3,000
305
‡ MARCIA GIBSON-WATT oil on board - entitled verso, ‘The Blue Sunflower’, signed with initial, dated ‘06, 60 x 60cms
Provenance: private collection Powys
£2,000-2,500
307
306
‡ DONALD MCINTYRE oil on board - fishing boats in bay, signed with initials, 20 x 27.5cms
Provenance: private collection Conwy
£2,000-3,000
ERNEST ZOBOLE large oil on canvas - entitled verso, ‘From Inside No. 1’, signed and dated verso Dec ‘86, 116 x 167cms
Provenance: by descent from artist, no droit de suite
£2,000-4,000
308
‡ WILL ROBERTS oil on canvas – cow and farm hopper, signed with initials, entitled verso ‘Winter Feed’ 29 x 39cms
Provenance: private collection Bridgend
£2,000-3,000
309
‡ NICK EVANS large mixed media on board - four bare-chested muscular miners excavating underground with miner’s lamps, signed and dated 1978, 122 x 122cms
Provenance: private collection Swansea
£2,000-4,000
310
‡ WILL ROBERTS oil on canvas - entitled verso ‘Man Mowing’, signed with initials and dated 1994 verso, 49 x 39cms
Provenance: private collection Swansea
£2,000-3,000
£2,500-3,500 311 310
311
‡ WILL ROBERTS oil on canvas - entitled verso ‘Phyllis at Creswell Quay, Pembs’, signed and dated verso 1987, 59 x 75cms
Provenance: private collection Swansea
312
‡ WILL ROBERTS oil on board - entitled verso, ‘The Farmer’, signed and dated verso 1968, 76 x 60cms
Provenance: private collection Bridgend
£2,800-3,500
313
‡ JACK JONES oil on board - figures in street with the Zion Baptist Church and hotel advertising ‘Beds-Six Pence a Night’, signed and dated ‘90, 44.5 x 55cms
Provenance: private collection Cardiff
£3,000-5,000
314
‡ DONALD MCINTYRE oil on board - entitled verso, ‘Coast Road, Connemara’ on Albany Gallery label, signed, dated verso 1972, 49 x 74cms
Provenance: private collection Herefordshire
£3,000-4,000
315
‡ HARRY HOLLAND oil on panel - entitled verso, ‘Likeness’ on Martin Tinney Gallery label, signed, dated verso 1999, 64 x 37cms
Provenance: private collection Rhondda Cynon Taff
£3,500-4,500
316
‡ CLAUDIA WILLIAMS oil on panel - entitled verso, ‘Children on the Beach’ on Martin Tinney Gallery label, signed, dated verso 1980, 45 x 90cms
Provenance: private collection Cheshire
£3,500-4,500
317
‡ KEVIN SINNOTT oil on linen - entitled verso on Martin Tinney Gallery label ‘Four Figure Composition’, signed with initials, 70 x 54.5cms
Provenance: private collection Swansea
£4,000-6,000
Provenance: private collection Rhondda Cynon Taff
£7,000-10,000
pictures framed, ready to hang unless stated.
318
‡ HARRY HOLLAND large oil on canvas - entitled verso, ‘Locks’ on Martin Tinney Gallery label, signed, dated verso 2005, 90.5 x 75cms
318
319
‡ CLAUDIA WILLIAMS large oil on canvas - entitled verso, ‘Perched at Waters Edge’ on Martin Tinney Gallery label, signed, dated verso March 2000, 130 x 97cms
Provenance: private collection Rhondda Cynon Taff
£8,000-14,000
320
‡ HUGH OLOFF DE WET limited edition (one of nine) bronze - head of poet Dylan Thomas on a cubic black marble base, 10.4cms high
Provenance: private collection London, to accompany a letter dated 20.10.1972, to the vendor written and signed by artist/ art writer, and friend of Dylan Thomas, Mervyn Levy (1914-1996) on Savage Club, London headed paper. The letter states that the bronze is a study towards a portrait which is owned by the Royal Festival Hall. The bronze portrait at the RFH is thought to be the only sculpture of the poet produced while he was still alive, also to accompany press cuttings on De Wet including The Daily Telegraph obituary ‘Sculptor Jailed by Nazi Dies’ £800-1,200
321
‡ JONAH JONES limited edition of 37 cast bronze sculptural art medal, 1985 for the British Art Medal Society - side-profile of Dylan Thomas head right, verso ‘Dylan Thomas 1914-1953, Time held me green and dying’, 12.8cms diam.
Provenance: private collection London, related paperwork retained for purchaser
Comments: no issues
£250-350
British & European Fine Art at Gregynog Hall
Celfyddyd Gain Prydeinig ac Ewropeaidd yn
Neuadd Gregynog
3.30pm 27.7.24
330
‡ ALAN R THOMPSON oil on board - winter Coniston Water with Coniston Old Man in background, signed, 19 x 24cms
Provenance: private collection Cambridgeshire £200-300
331
‡ ANTHONY GREEN RA oil on board - entitled verso, ‘Cushion Slashing c.1947’, signed and dated verso 1989, 82 x 83cms
Provenance: private collection Cardiff, with original purchase receipt from Mayor Rowan Gallery, London 1989 £800-1,200
332
‡ ANTHONY GROSS CBE RA oil on board - entitled verso ‘French Street Scene’, signed and dated 1936, 31 x 40cms
Provenance: private collection Powys, 2004 Goldmark Gallery receipt to accompany £5,000-7,000
333
‡ AUGUSTUS EDWIN MULREADY mixed mediachildren on a street corner, signed, 29 x 22cms
Provenance: private collection Pembrokeshire, same family ownership for 70+ years
£1,200-1,800
334
CHRISTOPHER RICHARD WYNNE NEVINSON ARA lithograph (1/25)‘Cornish Landscape’, signed in pencil, 31 x 39cms
Provenance: private collection Powys
£4,500-5,500
335
‡ DAME LAURA KNIGHT DBE RA RWS watercolour - entitled verso ‘W. H. Davies’ No. 37, seated portrait of gentleman smoking his pipe, initialled lower right ‘L. K’, 29.5 x 24cms
Provenance: label verso reads ‘Exhibition of Works by Dame Laura Knight, ARA held at the Leicester Galleries, Leicester Square, London June 1934, Purchaser Hugh Walpole Esq.’ with further Ernest Brown & Phillips, Ltd The Leicester Galleries label, annotated in pen ‘Bought from R. B. Abbott on 18/4/47 E. J. Thurston’. Further chalk and stencil numbers present verso
Auctioneer’s Notes: W. H. (William Henry) Davies (1871-1940) was a Welsh poet and writer famed for his nomadic hobo lifestyle and his 1908 ‘The Autobiography of a Super-Tramp’. Sir Hugh Seymour Walpole, CBE (1884-1941) was an English novelist and one of the previous owners of this painting.
Comments: minor foxing in places, mount foxed
£1,000-2,000
336
FOLLOWER OF JOHN CLARKSON STANFIELD oil on canvas - ‘Oude Scheld - Texel Island’, 33.5 x 43.5cms
Provenance: private collection Cardiff
Comments: cleaned, relined, small repair mid left with retouching
£250-350
338
FOLLOWER OF THOMAS HUDSON oil on canvas - portrait of Frances White, signed on the stretcher and dated Dec 1866, 55 x 50cms
Provenance: private collection Cardiff
Comments: paper label verso inscribed. “Copy from original / Frances White, Wife of Taylor White of Wallingwells, and Daughter of General Armstrong, Born Oct 20th 1720 Died March 17th 1719 (sic), copied by her Gt. Gt. Grand Daughter
M A J Gray”
£400-600
337
FOLLOWER OF SIR THOMAS LAWRENCE P.R.A. oil on canvasportrait of a girl in gold dress, her left shoulder exposed, 59 x 48cms
Provenance: private collection Cardiff
Comments: repaired tear left of face, ordinary craquelure consistent with age, cleaned, possibly relined (back enclosed)
£300-500
339
‡ FRED CUMING RA oil on board - perched garden birds in snow, ‘Twilight Birds’, signed, 24 x 29cms
Provenance: receipt from Manya Igel Fine Arts Ltd
£3,000-4,000
338 336
342
GEORGE ARMFIELD oil on canvas - retrievers and spaniels in a cottage interior with cauldron in the fire, signed, 49.5 x 75cms
Provenance: private collection Caerphilly
Comment: narrow frame repainted, old craquelure
£400-600
340
‡ FRED YATES oil on canvas - entitled verso ‘The Stream La Motte’, signed, 22 x 26cms
Provenance: private collection Powys, label verso for John Martin Gallery, Chelsea, 2015 receipt for same £600-800
341
‡ GEOFFREY DASHWOOD
limited edition (15/20) bronze sculpture - cock pheasant, standing on leafy woodland floor, on oval mahogany plinth, signed and numbered, including plinth 15 (h) x 9.5 (d) x 20cms (w)
Provenance:
private collection Torfaen
Comments: excellent £400-600
343
GEORGE ARMFIELD oil on canvas - terriers at a rabbit hole, with red scarf to the fore, signed, 49.5 x 75cms
Provenance: private collection Caerphilly
Comment: narrow frame repainted, old craquelure
£300-500
344
‡ GREGORY JOHN FORD coloured glass plate - entitled verso, ‘Graal’, signed and dated 1990, 44.5cms diam.
Provenance: private collection Cardiff, with original purchase receipt from the Waterside Gallery, Devon, 1990
Comments: with acrylic plate stand
£400-600
345
HELEN ALLINGHAM RWS watercolour - looking towards the harbour, Venice, signed and dated 1901, gallery label verso, 29 x 19cms
Provenance: with Abbot & Holder; private collection London
£300-500
346
HELEN ALLINGHAM RWS watercolour - St, Mark’s Venice, from the piazza, signed and dated 1901, gallery label verso, 25 x 36.5cms
Provenance: with Abbott & Holder; private collection London
£1,000-1,500
347
HENRY REYNOLDS STEER watercolour - ‘Drs. Johnson and Goldsmith at Temple Bar’, signed, titled on label verso, 55 x 37cms
Provenance: with Royal Institute of Painters in Watercolours, private collection Cardiff
Comments: slightly faded, label verso inscribed no.1 (loose/torn)
£300-500
348
HERBERT DICKSEE limited edition (125) etching - entitled, ‘Waiting’, signed fully in pencil, 22 x 44cms
Provenance: private collection Pembrokeshire
£300-500
349
HERBERT DICKSEE limited edition (325) etching - entitled, ‘Forgotten’, signed fully in pencil, 30 x 41cms
Provenance: private collection Pembrokeshire
£200-400
350
‡ JOHN BRATBY RA oil on canvas
- ‘She Floats in Beauty’, view of Amsterdam, signed, 140 x 90cms
Provenance: purchased 1983 Royal Academy Summer show, private collection Cardiff
£6,000-8,000
351
‡ JOHN MYATT artist proof (5/9) hand embellished giclee canvas - ‘Oleanders In The Style Of Van Gogh’, with Washington Green Fine Art Certificate of Authenticity, 59 x 72cms
Provenance: private collection Ceredigion
Auctioneer’s Notes: John Myatt is an infamous British artist convicted of art forgery in 1999 and sentenced to one year in prison. Following his release he rebuilt his career producing “genuine fakes”, holding exhibitions, and is the subject of a potential Hollywood film detailing his career
Comments: very good overall, ornately framed, ready to hang
£400-600
352
JOSEPH HUGHES CLAYTON watercolour
- Hull Docks, Yorkshire, signed and dated 1886, gallery label verso, 18 x 24cms
Provenance: with Abbott & Holder; private collection London
£250-350
353
‡ KEN HOWARD OBE RA oil on board - entitled verso ‘Redontere’, signed, 18 x 23cms
Provenance: private collection Powys
£2,000-3,000
354
‡ KEN HOWARD OBE RA oil on board - Piazza San Marco, Venice with figures, signed, 28 x 22.5cms
Provenance: private collection Powys
£2,500-3,500
356
‡ LAURENCE STEPHEN LOWRY RBA RA pencil on paperstreet with gentleman walking dog and mother with child, signed and dated 1956, 10 x 12.5cms
Provenance: private collection Conwy, vendor’s parents were landlords of the Junction Inn, Mottram in Longdendale (near Stockport), around 1953/54 - 1957 (as recalled by the vendor) the BBC were filming with Lowry about his life and the TV crew took him for lunch there, the vendor’s parents told her he was famous and to ask him for his autograph, but Lowry instead drew this sketch for her, she was at the time 6 or 7 years old
355
‡ LAURENCE STEPHEN LOWRY RBA RA limited edition (29/500) offset lithograph - entitled, ‘An Industrial Town’, signed in pencil, 47 x 62cms
Provenance: private collection Ceredigion
Comments: heavy staining to white border, lithograph has slipped under the mount and started to ripple £600-800
£3,000-4,000
357
‡ MARGARET GREEN gouache on paper - entitled verso on Messum’s Fine Art, London label ‘Bandstand in the Park’, 17 x 22cms
Provenance: private collection Powys, verso 2010 exhibition label ‘Lionel Bulmer and Margaret Green: The Early Years’, receipt for same £400-600
358
‡ MATTHEW ALEXANDER oil on board - entitled verso ‘Frosty Morning, Richmond’ on label for Messum’s of Duke Street, London, signed, 28 x 39cms
Provenance: private collection Powys, Messums receipt to accompany £1,200-1,800
359
‡ MICHAEL AYRTON bronze maquette of an outstretched male figure, 23cms
Provenance: private collection Conwy
Comments: no issues £1,500-2,500
360
‡ MIKE BERNARD RI mixed mediaentitled verso ‘Positano’, signed, 42 x 51cms
Provenance: private collection Powys, label and receipt for Rowley Gallery, London £500-700
361
NELSON GRAY KINSLEY oil on canvas - gundog pair stalking grouse in cover, signed and dated ‘87, 29 x 42cms
Provenance: private collection Rhondda Cynon Taff
Comments: Frankfurt gilders label verso (100)
£400-600
362
PETER OLIVER large oil on boardabstract still life, 119 x 99cms
Provenance: direct from artists’ family
Comments: recently framed
£1,500-2,500
363
PETER OLIVER oil on board - entitled verso ‘Reed Bed, St Guenole’, signed front and back, 91 x 121cms
Provenance: direct from artists’ family
Comments: wear and some losses, original frame, viewing recommended £1,500-2,500
364
PETER OLIVER oil on board - ‘Men with Viviers 157’, 43 x 74.5cms
Provenance: direct from artists’ family
Comments: recently framed
£300-500
365
PETER OLIVER oil on board - still life with yellow bottle, 90 x 39cms
Provenance: direct from artists’ family
Comments: good overall, some minor scuffs / paint loss, recently framed
£400-600
362
366
PETER OLIVER oil on board with material - black sun with two figures, 51 x 40cms
Provenance: direct from artists’ family
Comments: recently framed
£300-500
367
PETER OLIVER oil on driftwood - entitled verso ‘Old Tug’ on Anthony Hepworth Fine Art label, 33x 42cms
Provenance: direct from artists’ family
Auctioneer’s Notes: Anthony Hepworth held an exhibition in Bath in 1999 which included these Breton boats and landscape paintings. The boards are drift pieces found by the artist on the Bay of Audierne, known as ‘the long beach’ by Peter. The skeletal old boats were painted mostly at Le Guilvinec
Comments: good overall
£300-500
368
‡ ROGER HILTON pastel on paper - entitled verso, ‘Composition with a Blue Sheep’ on both Waddington Gallery London label and Beaux Arts Gallery Bath label, 20 x 25cms
Provenance: private collection Cardiff, with original purchase receipt from Beaux Arts Galley 1990
£3,000-5,000
369
‡ ROLAND VIVIAN PITCHFORTH RA watercolour - steamer, sailboats and pier (Herne Bay, Kent), 1950s, signed, 43 x 59cms
Provenance: Christie’s South Kensington 31 March 1994; Professor Ritchie Ovendale, Aberystwyth, private collection, Ceredigion
Auctioneer’s Note: Royal Academician and official war artist, Pitchforth’s delicately atmospheric watercolour seascapes became a feature of Royal Academy Summer Exhibitions after World War II. His work is in the Tate Gallery, Victoria and Albert Museum, in many provincial galleries
£150-250
370
‡ SIR TERRY FROST RA collage - entitled, ‘Yellow, Blue, Black, Red, Orange, Purple Collage’ on Beaux
Arts Gallery Bath label, unsigned, 18 x 13cms
Provenance: private collection Cardiff, purchased form Beaux Arts Gallery, Bath, 1990
£500-700
371 ‡ SIR TERRY FROST RA limited edition (18/50) etching with collageentitled, ‘Red and Yellow for Nice’, fully signed in pencil, 40 x 35cms
Provenance: private collection Cardiff, with original purchase receipt from Strand Gallery, Suffolk
£700-1,000
372 ‡ THEODORE MAJOR oil on board - still life with fruit, signed verso, 75 x 93cms
Provenance: purchased directly from the artist, July 1993, private collection Cardiff
£4,000-6,000
373
‡ TIM SCOTT BOLTON oil on board - entitled verso ‘The Taj Mahal from the Yamuna River (up early to do this one)’, signed, 19 x 15cms
Provenance: private collection Powys, 2007 receipt for Indar Pasricha Fine Arts, London
£200-300
374
‡ DAME LAURA KNIGHT oil on board - study of a circus performer in costume, signed, 43 x 33cms
Provenance: private collection Gwynedd
£2,000-4,000
375 OCTAVIUS OAKLEY watercolour - Greenwich Pensioners discussing the merits of the Crimean War, 61.5 x 46cms
Provenance: private collection London
£300-500
376
‡ TIM SCOTT BOLTON watercolour - titled ‘Dubai Creek’, signed and dated 1998, 18.5 x 27cms
Provenance: private collection Powys £200-300
377
WALTER WILLIAM MAY oil on board - ‘Hay Barges at Greenwich’, titled in ink on label verso, typed label verso, signed, 28.5 x 41cms
Provenance: private collection Cardiff
Comments: lightly cleaned £400-600
378
WILLIAM SHAYER oil on canvas - ‘The Fuel Gatherers’, label verso, 49 x 69cms
Provenance: private collection Cardiff
Comments: canvas laid to board, cleaned £400-600
380
‡ SIR JACOB EPSTEIN graphite on paper - a reclining nude, signed, 41 x 53cms
Provenance: private collection Conwy, purchased from Keith Chapman
£1,200-1,800
379
‡ WILLIAM TURNER oil on board - entitled verso, ‘The Hedgecutter’, fully signed and dated ‘90, 39 x 47cms
Provenance: private collection Cardiff, purchased by the vendor from the Manchester City Art Gallery 1990
Auctioneer’s Note: Born in Gorton, Manchester in 1920, William Turner was one of the artists inspired and influenced by L S Lowry, though his style is very different from that of the Salford artist. He spent the 50s and 60s taking in exhibitions by the German Expressionists and the French Fauves in Manchester, whose colours and techniques he adapted into his own paintings. His early work met with some acclaim and was exhibited in high-profile shows in the North - but the London critics weren’t as keen, which led to him having to paint part-time, whilst also working as a teacher in Cheadle Hulme. Despite this, he remained a prolific artist and found much support from L S Lowry, who attended every one of William’s shows until his death in 1976. Such support was invaluable for William and the friendship between the pair led to him painting the only portrait of Lowry while he was alive
£4,000-6,000
381
DOROFIELD HARDY watercolour - entitled verso
‘A Sheik’ smoking pipe in desert settlement, camel and figures in distance, signed and dated 1884, 44 x 28cms
Provenance: private collection Pembrokeshire
Comments: slight foxing in sky, hand-written label verso £300-500
382
‡ WINIFRED NICHOLSON watercolour, gouache and colour pencil - seabirds and coast, probably St Ives, 1970, 34 x 49cms
Auctioneer’s Note: from as early as 1950, Winifred Nicholson had ‘made friends with a lot of wild seabirds, watching them fly and soar and sink on to the sea’ [letter to her son]. In 1970, when she had developed her idiosyncratic Impressionist style, she writes to her daughter: ‘Does it rain all the time? No indeed we have not had a drop the whole month I have been here, and each day is bluer than the last. There have only been two half days of cloud – I find continuous blue calm difficult to paint. One feels inclined to lie on a cliff in the warm sun smelling the scent of the Rowan blossom and watching the great sea birds wheeling and coasting in the blue sparkling gulf of sky before one alights on the blue sparkling sea.’ From Christopher Andreae Winifred Nicholson (Lund Humphries, 2009). The Tate staged a Winifred Nicholson retrospective exhibition in 1987.
Provenance: Abbott and Holder, London 1990s; Professor Ritchie Ovendale, Aberystwyth; Private Collection, Ceredigion, 2023
£800-1,200
383
EARLY 20TH CENTURY
BRITISH SCHOOL
oil on canvas - portrait of George Pauling (1854-1919) in dark suit holding buff hat and cigar, 123 x 97cms
Provenance: private collection Torfaen
Auctioneer’s Notes: George Pauling was born in Huntingdonshire in 1854. Pauling & Co. was founded by George Craig Sanders Pauling in 1894. Pauling had previously built railways since 1875, trading variously as Firbank, Pauling & Co., Pauling and Butler in South Africa and Rhodesia as well as in Greece, Puerto Rico, from Haifa to Damascus and in England as Pauling and Elliot. Whilst undertaking civil engineering projects in England his partnership with Elliot was dissolved in 1894 and he formed Pauling & Co. and completed this contracting work. By 1895 Pauling returned to South Africa and Rhodesia. Between 1900 and 1918 Pauling & Co. built hundreds of miles of railway in Rhodesia, Angola and Nyasaland and they were a major contributor to the development of the railways of Southern and Central Africa, including the greater part of Cecil Rhodes’ unfinished Cape to Cairo Railway scheme. During his life, Pauling was appointed Commissioner of Public Works, Head of the Department of Mines and Postmaster General of Rhodesia.
Comments: repaired tears upper right, cleaned, modern frame £500-700
383
381
382
384
‡ CECIL ROCHFORT D’OYLY JOHN oil on board - Mediterranean street scene with figures, signed, 50 x 60cms
Provenance: private collection Conwy
£700-1,000
385
‡ JAMES HARRIGAN oil on boardAyrshire landscape with farmhouse and cattle, signed and dated ‘60, 49 x 74cms
Provenance: private collection
Cambridgeshire
£1,000-1,500
386
‡ JOHN BELLANY RA large oil on canvas
- entitled verso, ‘The Fisherman and His Wife’, signed, 121 x 91cms
Provenance: private collection Conwy
Comments: unframed large canvas
£8,000-12,000
387
387
Provenance: private collection Powys, Timothy Taylor Gallery, London label verso and receipt for same
£18,000-25,000
All pictures framed, ready to hang unless stated. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
‡ CRAIGIE AITCHISON RA oil on canvas - entitled verso ‘Crucifixion December 2007’, signed verso, 15 x 12cms
390 CHARLES DONINIQUE OSCAR LAHALLE oil on panel - French Legionaire Drummer, signed and dated 1880, frame plaque bears artist’s name and date, gallery label verso, 30 x 18cms
Provenance: The Boydell Galleries (Liverpool), private collection Monmouthshire
Comment: a few areas of flaked paint, in overpainted period gesso frame
£400-600
388 19TH CENTURY FOLLOWER OF REMBRANDT VAN RIJN oil on boardportrait of an Apostle, 18 x 14cms
Provenance: private collection Cardiff
Comments: later frame, surface varnish degraded
£400-600
389 ‡ ALAN WATT earthenware - glazed clay sculpture entitled, ‘Ridge’, signed and dated ‘97, 35cms in length, 13cms high
Provenance: private collection Cardiff, with original purchase receipt, European Ceramics, Knaresborough, June 1998
£300-500
391
CIRCLE OF CHARLES HENRI JOSEPH LEICKERT oil on canvas - ice skaters on a frozen river beside figures, dogs and houses, 54 x 75cms
Provenance: private collection Cardiff
Comments: some overpainting to canvas, frame in need of attention, inspection advised
£500-800
392
FOLLOWER OF CHARLES JERVIS oil on canvas - portrait of a lady in red gown, 60 x 49cms
Provenance: private collection Cardiff
Comments: minor paint cracks commensurate with age
£300-500
393
FOLLOWER OF HENDRIK JACOBSZ. DUBBELS oil on canvas - unloading Dutch smacks, bears name on frame plaque, 51 x 67cms
Provenance: private collection Cardiff
Comments: cleaned and relined
£1,000-1,500
394
JOSEPH THORS oil on canvas - cottage landscape with duckpond to the fore, signed, 49.5 x 75cms
Provenance: private collection Caerphilly
Comment: cleaned, frame repainted £400-600
395
‡ PIERRE LAVARENNE pastel - Jewish child wearing skullcap and holding fruit basket possibly including etrog for a Sukkot festival, signed, titled verso on gallery label, 29 x 22cms
Provenance: with The Piccadilly Gallery, 1959, private collection London
Comments: good overall £200-300
392
393
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THE WELSH SALE / BRITISH & EUROPEAN FINE ART: CONTENTS & INDEX OF ARTISTS / CYNNWYS A MYNEGAI ARTISTIAID
A
Welsh Antiques, Maps, Letters & Ceramics / Hen Bethau Cymreig, Mapiau, Llythyrau a Serameg Lots 1-27
The Observations of Charles Frederick Tunnicliffe OBE RA (1901-1979)
Sylwadau Charles Frederick Tunnicliffe OBE RA Lots 28-54
Welsh Prints & Multiples
Printiau Cymreig & Lluosog Lots 55-95
Welsh Works on Paper Gweithiau Cymreig ar Bapur Lots 96-174
Sir Kyffin Williams RA returns to Gregynog Hall
Syr Kyffin Williams RA yn dychwelyd i Neuadd Gregynog Lots 175-206
Welsh Oils, Sculpture & Other Media
Olewau Cymreig, Cerfluniau a Chelf Arall Lots 207-321
British & European Fine Art at Gregynog Hall
Celfyddyd Gain Prydeinig ac Ewropeaidd yn Neuadd Gregynog Lots 330-395
‡ AITCHISON, Craigie (1926-2009) 387
‡ ALEXANDER, Matthew (b.1953) 358 ALLEN, Charles Smith (1931-1897) 1 ALLINGHAM, Helen (1848-1926) 345, 346
AMSTUTZ, Andre (fl. 1942) 8
‡ ARMFIELD, Diana (b.1920) 271
ARMFIELD, George (1808-1893) 342, 343
‡ AUCKLAND DAVIES, Ceri (b.1951) 235
‡ AYRTON, Michael (1921-1975) 359
B
‡ BALA, Iwan (b.1956) 164, 171
‡ BELLANY, John RA (1942-2013) 386
‡ BERNARD, Mike RI (B.1957) 360
‡ BOLTON, Tim Scott (b.1947) 373, 376
‡ BOWEN, Keith (b.1950) 172, 269
‡ BRANGWYN, Sir Frank RA (1867-1956) 89-94 (x6), 145, 146
‡ BRATBY, John RA (1928 0 1992) 350
‡ BRUNSDON, John (1933-2014) 68
C
‡ CECIL, Roger (1942-2015) 135,136, 147, 148, 157, 165, 166
‡ CHAPMAN, George (1908-1993) 64
‡ CHISWELL, Corrie (b.1963) 279
‡ CUMING, Fred RA (B.1930) 339
D
‡ DASHWOOD, Geoffrey (b.1847) 341
‡ DAVIES, Ogwyn (1925-2015) 75 DICKSEE, Herbert (1862-1942) 348, 349
‡ DONOVAN, James (b.1974) 233, 234 DUBBELS, Henrick Jacobsz (1621-1707), Follower of 393
E
EARLY 20TH CENTURY
BRITISH SCHOOL 383
‡ EDWARDS, Malcom (b.1934) 161
‡ ELWYN, John (1916-1997) 65, 99, 101, 115, 117, 131, 138, 163, 225, 247, 275, 292, 301, 304
‡ EPSTEIN, Sir Jacob (1880-1959) 380
‡ EVANS, Nick (1907-2004) 294, 309
‡ EVANS, Will (1887-1957) 98, 118, 119, 120, 121, 139
F
‡ FORD, Gregory John (Contemporary) 344
‡ FROST, Sir Terry RA (1915-2003) 370, 371
G
‡ GANZ, Valeri (1936-2015) 95, 106, 108, 140, 167, 256
‡ GIBSON-WATT, Marcia (b.1949) 286, 305
‡ GREEN, Anthony RA (1939-2023) 331
‡ GREEN, Margaret (1925-2003) 357
‡ GRIFFITH, David Lloyd (b.1956) 223 GRIFFITHS, David MBE (B.1939) 209, 261
‡ GROSS, Anthony CBE RA (1905-1984) 332
H
HARDY, Dorofield (1853 - 1937) 381
‡ HARRIGAN, James (b.1937) 385
‡ HERMAN, Josef OBE RA (1911-2000) 72, 73, 127, 129, 139, 159, 168, 302
‡ HICKS-JENKINS, Clive (b.1951) 141, 212
‡ HILTON, Roger (1911-1975) 368
‡ HOLLAND, Harry (b.1941) 257, 315 318 HOLLOWAY, Edgar (1914-2008) 58, 59, 60, 61, 62, 100
‡ HOLLY, Nick (b.1968) 239, 240, 246, 263, 282, 284
‡ HOWARD, Ken OBE (1932-2022) 353, 354
HOWELLS, Neale (b.1965) 125, 268, 276
HUDSON, Thomas (1701-1779), Follower of 338
HUGHES CLAYTON, Joseph (1891-1929) 352
‡ HUGHES, Wyn (Contemporary) 226, 227
‡ HUTCHESON, Tom (1922-1999) 265
J
JERVIS, Charles (c.1675-1739), Follower of 392
‡ JENKINS, John Barnard (1933-2020) 123
‡ JOHN, Augustus OM RA (1878-1961) 57
JOHN, Gwen (1876-1939) 174
‡ JONES, Aneurin (1930-2017) 169, 303
JONES, David (1895-1974) 7
‡ JONES, Elfyn (b.1939) 208, 224
‡ JONES, Gwyn (Contemporary) 111
‡ JONES, Jack (1922-1993) 313
‡ JONES, Jonah (1919-2004) 321
JONES, Josia Clinton (1848-1936) 228
‡ JONES, Leslie (b.1934) 230
‡ JONES, Megan (1936-2018) 207
‡ JONES, Mike (1941-2022) 128, 143
‡ JONES, Seren Morgan (b.1985) 280
K
KINSLEY, Neslon Gray (1863-1945) 361
‡ KNAPP-FISHER, John (1931-2015) 112, 113, 126, 133, 134, 150, 155, 156, 158, 277
‡ KNIGHT, Dame Laura DBE RA RWS (1877-1970) 335, 374
L
LAHALLE, Charles Doninique Oscar (1832-1909) 390
‡ LAVARENNE, Pierre (b.1928) 395
‡ LAWRENCE, Robert Herbert John (1929-2013) 116, 157, 259
LAWRENCE, SIR Thomas P.R.A (1769-1830), Follower of 337 LEICKERT, Charles Henri Joseph (1816-1907), Circle of 391
‡ LEK, Hendrik (1903-1985) 103
‡ LEK, Karel (1929-2020) 74, 104, 109
‡ LOWRY, Laurence Stephen RBA RA (1887-1976) 355,356
M
‡ MACDONALD, Robert (b.1935) 142
‡ MAJOR, Theodore (1908-1999) 372 MAY, Walter William (1831-1896) 377
McDOUGAL, John (1851-1945) 114
‡ MCINTYRE, Donald (1923-2009) 287, 288, 289, 299, 306, 314
‡ MELEGARI, Carl (b.1958) 281
‡ MILLS, Eleri (b.1955) 63
‡ MONAGHAN, Michael (Contemporary) 242
‡ MORGAN, Peter (Contemporary) 262
‡ MORRIS, Dorothy (b.1953) 218
‡ MULREADY, Augustus Edwin (1844-1904) 333
‡ MYATT, John (b.1945) 351 N
‡ NASH, Tom (b.1931) 105
‡ NEVINSON, Christopher Richard Wynne ARA (1889-1946) 334
‡ NICHOLSON, Winifred (1893-1981) 382
O
OAKLEY, Octavius (1800-1867) 375
OLIVER, Peter (1927-2006) 362-367
‡ OLOFF DE WET, Hugh (1912-1975) 320
‡ OWEN, Stephen John (b.1959) 210, 236, 250
P
‡ PIECH, Paul Peter (1920-1996) 76-88 (x13), 213-217 (x5)
‡ PIPER, John (1903-1992) 69, 70, 71
‡ PITCHFORTH, Roland Vivian RA (1895-1982) 369
‡ PLOSKY, Jonas (1940-2011) 267
‡ PRICHARD, Gwilym (1931-2015) 122, 149, 151, 160, 241
‡ PRITCHARD, Arthur (1927-1993) 211
PRITCHARD, Ivor Mervyn (1886-1948) 67 R
REMBRANDT, Van Rign, 19th Century (Follower of) 388
REYNOLDS STEER, Henry (1858-1928) 347
‡ RICHARDS, Ceri CBE (1903-1971) 55, 56
‡ ROBERTS, John Vivian (1923-2003) 248
‡ ROBERTS, Wilf (1941-2016) 300
‡ ROBERTS, Will (1907-2000) 231, 266, 293, 295, 296, 297, 308, 310, 311, 312
‡ ROCHFORT D’OYLY JOHN, Cecil (1906-1993) 384
S
‡ SALMON, Maud (1872-1964) 110
‡ SELWYN, William (b.1933) 153, 154, 249
SHAYER, William (1787-1879) 378
‡ SINNOTT, Kevin (b.1947) 317
STANFIELD, John Clarkson (1828-1878), Follower of 336
‡ STEEL, George Hammond (1900-1960) 285
‡ STUART, Gordon (1924-2015) 97
‡ SUTHERLAND, Graham (1903-1980) 66
T
‡ TAYLOR, Jonathan (Contemporary) 144
‡ THOMAS, Gareth (1955 - 2019) 96, 107
‡ THOMAS, R S (1913-2000) 6
‡ THOMPSON, Alan R (B.1953) 330 THORS, Joseph (1835-1898) 394
‡ TRESS, David (b.1955) 232, 283, 298
‡ TUNNICLIFFE, Charles Frederick RA OBE (1901-1979) 28-54 (x27)
‡ TURNER, William (1920-2013) 379
‡ TYDEMAN, Naomi (b.1957) 124
V
‡ VICARI, Andrew (1932-2016) 237, 238, 264, 270, 272, 273, 274
W
‡ WATT, Alan (b.1941)
389 WILLIAMS, Alan (Contemporary) 219 - 222
‡ WILLIAMS, Alex (b.1942) 229
‡ WILLIAMS, Claudia (1933-2024) 278, 316, 319
‡ WILLIAMS, Sir Kyffin RA (1918-2006) 175-206 (x32)
‡ WILLIAMS, Vivienne (b.1955) 152 WILLIAMS, Warren (1863-1918) 102, 132
‡ WINSTANLEY, Peter (Contemporary) 243
‡ WYATT WARREN, Charles (1908-1993) 244, 245, 251, 252, 253, 254, 255, 258, 290, 291
Y
‡ YATES, Fred (1922-2008) 340
Z
ZOBOLE, Ernest (1927-1999) 307
TELEPHONE BIDDING FORM
YOU CAN PHOTOGRAPH THE FULLY COMPLETED FORM AND EMAIL THE IMAGE TO US MAKE SURE
You are required to read all conditions, tick all boxes and sign before your bids are placed
Telephone bidding requests must be submitted by 1pm the day prior to the auction without exception. Telephone lines are available on a first-come, first served basis
PLEASE NOTE: CALLS TO OUR OFFICE PHONES WILL NOT BE ANSWERED ON THE AUCTION DAY. IF YOU HAVE AN URGENT ENQUIRY ON AUCTION DAY PLEASE EMAIL cardiffinfo@rogersjones.co.uk
Name Address
Telephone:
Bidding Telephone no:
Back up telephone no:
I wish to bid during the auction on telephone number supplied & agree to full terms and conditions as explained in the catalogue / on www.rogersjones.co.uk
I will notify Rogers Jones & Co as soon as possible, if I am unable to bid as requested
I am aware of the current rate of buyer’s premium (+VAT) and other charges which may be applicable
I am prepared to bid above the lower estimate(s)
If successful, I will either pay by bank transfer within 5 days of the auction
ABSENTEE / COMMISSION BIDDING FORM
Bidding forms should be submitted by 4pm the day prior to the auctions. You are required to read all conditions, tick all boxes and sign before your bids are placed. PLEASE NOTE: CALLS TO OUR OFFICE PHONES WILL NOT BE ANSWERED ON THE AUCTION DAY. IF YOU HAVE AN URGENT ENQUIRY ON AUCTION DAY PLEASE EMAIL cardiffinfo@rogersjones.co.uk
I instruct Rogers Jones & Co to bid up to the values I have indicated below. No commission bids accepted under £30. Bids accepted in increments of £5 to £100 / £10 to £300 / £20 to £1000 / £100 at £1000+ Please ensure that your bids are not below estimates.
Name Address Telephone:
Bidding Telephone
I am aware of, and agree to all bidding and purchase / payment terms for this auction (stated in catalogue or on website)
I am aware that the onus is mine to ascertain the outcome of my bids
I am aware of the current rate of buyer’s premium (+VAT) and other charges which may be applicable
I am prepared to bid above the lower estimate(s)
I am aware that saleroom bids and earlier commission bids take precedence when raised /left at the same price
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COMPANY TERMS & CONDITIONS
These conditions of business for auctions held at our premises consist of:
(1) Information for Buyers; (2) Terms of Sale (for bidders and buyers).
(1) INFORMATION FOR BUYERS AT AUCTIONS
1. Introduction. The following notes are intended to assist bidders and buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Conditions of Business incorporating the Terms of Consignment (primarily applicable to sellers), the Terms of Sale (primarily applicable to bidders and buyers) and any notices that are displayed in our salerooms or announced by the auctioneer at the auction. Our Conditions of Business are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Conditions of Business that you do not fully understand.
Please make sure that you read our Terms of Sale set out in this catalogue or on our website carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.
2. Methods of Payment. Lots must be paid for before they are collected. For those attending the auction we ask that lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our web site, including online payment upon receipt of your invoice, and these should be paid by 5pm within five working days following the sale. We accept cash to an upper limit of 1,000 euros equivalent. We do not accept credit card payments. We are unable to accept debit-card payments when the card holder is not present. Cheques will need to be cleared before you can take the goods away.
3. Collection and storage. All lots should be paid for and collected by 5pm within five working days following the auctions in this catalogue. Absentee bidders should check the success of their bids and arrange payment and collection within this time. Please note the Terms of Sale concerning collection and storage. Items not removed in the timescale stated will be removed at the purchaser’s expense and storage charges of £10 as an administration fee and £5 per lot per day may be charged (plus VAT).
4. Dispatch. We do not offer postage for lots sold at auction in this catalogue unless they can be packed within a Jiffy-bag. We can recommend agents who can undertake packing and postage.
5. 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 the goods is with the seller, not with us as auctioneer.
6. 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 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. They are not definitive.
7. Buyer’s Premium for both The Welsh Sale and British & European Fine Art: The Terms of Sale oblige you to pay 24% + VAT (28.8%) on each purchased lot in the auctions contained within this catalogue. In addition, VAT is charged on the premium (see below).
8. VAT. VAT is payable by the buyer on the buyer’s premium at either the standard rate depending upon the legal requirements relating to that lot.
9. Artist’s Resale Right/Droit De Suite. EU & UK law states that the artist or artist’s estate are entitled to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with a ‡ symbol. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will then pay the royalty to the appropriate authority on the seller’s behalf. The royalty applies if the hammer price of the lot is £1,000 or more. The total royalty for any lot can not be more than £12,500. The percentages are as follows: 4% up to £50,000 / 3% between £50,000.01 and £200,000.
Royalties for Droit de Suite are as follows:
4% Up to £50,000
3%
1%
0.5%
£50,000.01 - £200,000
£200,000.01 - £350,000
£350,000.01 - £500,000
0.25% In excess of £500,000
Up to a maximum levy of £10,000
10. 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 ample opportunity to inspect the goods. You must inspect and investigate lots that you might wish to bid for. Please note carefully the exclusion of liability for the condition of lots set out in the Terms of Sale on our website and www.the-saleroom.com
11. Condition Reports. We may be able to assist buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale. In many cases condition reports are stated in the catalogue description but this does not act as a guarantee that the report is factually correct and it must not be taken as guaranteed that items without condition reports stated in the description are free from issues, such as damage, restoration or other problems.
12. Electrical goods. These are sold as “objects” only. If you buy electrical goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
13. Export of goods. If you intend to export goods you must find out:
1. whether an export licence is needed; and
2. if there is a prohibition on importing goods of that character e.g. because the goods contain prohibited materials such as ivory.
14. 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. 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 enquire in advance about our arrangements for telephone or online bidding. 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.
15. Absentee bidding. You may leave absentee bids with us indicating the maximum amount to be bid against a lot (excluding the buyers’ premium and/or any applicable VAT). We will execute absentee bids as economically as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical absentee bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving absentee bids online via our website. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute absentee bids received after this time.
16. Telephone Bidding. If you are unable to come to the auction it may be possible to bid on the telephone for some lots at our discretion. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.
17. Online Bidding. Any lots purchased via a live online bidding service will be subject to an additional commission charge on the hammer price payable by the bidder, in accordance with rates specified by the online service. If bidding through the-saleroom.com this will be charged at 5% plus VAT. The charges will be payable to us on top of the hammer price and the buyer’s premium.
(2) TERMS OF SALE
Both the sale of goods at our auctions and your relationship with us are governed by the Terms of Consignment (primarily applicable to sellers) the Terms of Sale (primarily applicable to bidders and buyers) and any notices displayed in the saleroom or announced by us at the auction (collectively, the “Conditions of Business”). The Terms of Consignment and Terms of Sale are available at our saleroom on request.
Please read these Terms of Sale carefully. Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale.
Please note that these Terms of Sale relate to auctions held at our premises only. We have separate terms for online only auctions.
1. Definitions and interpretation
1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:
“Auctioneer” means, Rogers Jones & Co, a company registered in England and Wales registered office is located at 33 Abergele Road, Colwyn Bay, LL29 7RU or its authorised auctioneer, as appropriate;
“Bidder” means a person participating in bidding at the auction;
“Buyer” means the person who makes the highest bid for a Lot accepted by the Auctioneer;
“Deliberate Forgery” means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;
“Hammer Price” means the level of the highest bid for a Lot accepted by the Auctioneer by the fall of the hammer;
“Lot(s)” means the goods that we offer for sale at our auctions;
“Premium” means the premium that we will charge you on your purchase of a Lot to be calculated as set out in Clause 4;
“Reserve” means the minimum hammer price at which a Lot may be sold;
“Sale Proceeds” means the net amount due to the Seller;
“Seller” means the persons who consign Lots for sale at our auctions;
“Terms of Consignment” means the terms on which we agree to offer Lots for sale in our auctions as agent on behalf of Sellers;
“Terms of Sale” means these terms of sale, as amended or updated from time to time;
“Total Amount Due” means the Hammer Price for a Lot, the Premium, any applicable artist’s resale right royalty, any VAT due and any additional charges payable by a defaulting buyer under these Terms of Sale;
“Trader” means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the trader’s name or on the trader’s behalf;
“VAT” means Value Added Tax or any equivalent sales tax; and
“Website” means our website available at www.rogersjones.co.uk
In these Terms of Sale the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words “we”, “us”, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.
2. Information that we are required to give to Consumers
2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.
2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.
2.3 The price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.
2.4 The arrangements for collection of the Goods as set out in Clauses 8 and 9.
2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.
2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.
2.7 If you have any complaints, please send them to us directly at the address set out on our Website.
3. Bidding procedures and the Buyer
3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid.
3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition.
3.3 If you instruct us in writing, we may execute absentee bids on your behalf. Neither we nor our employees or agents will be responsible for any failure to execute your absentee bid, unless our failure to do so is unreasonable. Where two or more absentee bids at the same level are recorded we have the right to prefer the first bid made (where this can be reasonably ascertained).
3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.
3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.
3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.
3.7 We may refuse to accept any bid if it is reasonable for us to do so.
3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).
4. The purchase price
As Buyer, you will pay:
1. the Hammer Price;
2. a premium of 24% plus VAT on all lots;
3. any artist’s resale right royalty payable on the sale of the Lot; and
4. any VAT due.
5. VAT
5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price and premium due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the “Information for Buyers” in our auction catalogue for further information.
5.2 We will charge VAT at the current rate at the date of the auction.
6. The contract between you and the Seller
6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the hammer falls accepting the highest bid for the Lot at the auction.
6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.
6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may in our discretion provide the Seller with information or assistance in relation to that claim.
6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).
7. Payment
7.1 Immediately following your successful bid on a Lot you will:
7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering
obligations); and
7.1.2 pay to us the Total Amount Due in any way that we agree to accept payment. Note there is an upper limit of 1,000 euros equivalent for payments in cash.
7.2 If you owe us any money, we may use any payment made by you to repay these debts.
8. Title and collection of purchases
8.1 Once you have paid us in full the Total Amount Due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it.
8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 7 days following the auction.
8.3 If you do not collect the Lot within this time period, you will be responsible for any reasonable removal and storage charges in relation to that Lot.
8.4 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot.
8.5 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling commission at our standard rates on any such resale of the Lot.
9. Remedies for non-payment or failure to collect purchases
9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:
9.1.1 take action against you for damages for breach of contract;
9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;
9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the price you should have paid for the Lot and the price we sell it for as well as the charges outlined in Clause 8.5). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;
9.1.4 remove, store and insure the Lot at your expense;
9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;
9.1.6 keep that Lot or any other Lot sold to you until you pay the Total Amount Due;
9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or
9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.
9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.
10. Health and safety
Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our, our employees’ or our agents’ negligence.
11. Warranties
11.1 The Seller warrants to us and to you that:
11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the lot at auction;
11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and
11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct.
11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the Total Amount Due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.
11.3 Please note that many of the Lots that you may bid on at our auction are second-hand.
11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.
11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.
12. Descriptions and condition
12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (ii) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).
12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot.
12.3 Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.
12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold “as is” (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.
13. Deliberate Forgeries
13.1 You may return any Lot which is found to be a Deliberate Forgery to us within 21 days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.
13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if:
13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or
13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause 13.2.
13.3 If you have sold the Lot to another person, we will only be liable to refund the price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot.
13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.
14. Our liability to you
14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.
14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Conditions of Business. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.
14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot.
14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:
14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);
14.4.2 fraudulent misrepresentation; or
14.4.3 any liability which cannot be excluded by law.
15. Notices
15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it.
15.2 Any notice referred in Clause 15.1 may be given:
15.2.1 by delivering it by hand;
15.2.2 by first class pre-paid post or Recorded Delivery; or
15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.
15.3 Notices must be sent:
15.3.1 by hand or registered post:
1. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and
2. to you, at the last postal address that you have given to us as your contact address in writing; or
15.3.2 by email:
1. to us, by sending the notice to the following email address: info@rogersjones.co.uk
2. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.
15.4 Notices will be deemed to have been received: 15.4.1 if delivered by hand, on the day of delivery;
15.4.2 if sent by first class pre-paid post or Recorded Delivery, two business days after posting, exclusive of the day of posting; or 15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt (provided that receipt is acknowledged by the recipient).
15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message.
16. Data Protection
We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website.
17. General
17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.
17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.
17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues.
17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.
17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.
17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.
17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the British law and British courts.
These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers.
