Rogers Jones

View: British & European Fine Art

November 27th 2024

Ken Howard OBE RA | John Bratby RA | JMW Turner RA (attr)

Paul Hogarth OBE RA | Craigie Aitchison RA | David Hockney RA etc

The Welsh Sale / Yr Arwerthiant Cymreig 16th November / Tachwedd 16eg 2024

VIEWING: CARDIFF SALEROOM

Viewing of lots by scheduled appointment from November 4th 17 Llandough Trading Estate, off Penarth Rd, Cardiff CF11 8RR | Tel: 029 2070 8125

Cardiff / Caerdydd Buyer’s Premium for both auctions: 24% + VAT (28.8%) on all lots Droit de suite applicable (see terms at back of catalogue) 10.30am

The View

Welcome to the third and final edition of 2024.

I write this in late September with autumn digging-in its heels after a summer season which did not materialise in any meaningful way. Although thankfully we were very lucky to have a rare glorious weekend at the end of July which supplied some Vitamin D infused energy to the Gregynog Hall auction experience. Myself and my two auctioneering colleagues who took the stage in the Music Room on Saturday, July 27th were thrilled to conduct a sale in such an historic and prestigious environment.

So, we are back in the Cardiff saleroom for this one after our magical outing. But please do not let that put you off viewing in person and potentially bidding in the room. The auction house may well be on a soulless industrial estate, but inside it is overflowing with soulful Welsh art delivering a spectrum of emotions. We also promise a warm welcome at the home of The Welsh Sale, in a building that has become the stock-exchange for Welsh art over the last ten years.

And have we saved the best Welsh Sale of the year ‘til last perhaps?

The answer to that question will come in the form of hammer prices on November 16th. The sale is awash with exhibition quality paintings from our favourite artistic countrymen and countrywomen.

There is a special section devoted to Josef Herman which has been brought together from multiple clients. Herman’s oils are rare finds, so we are very fortunate to offer an unprecedented six in this one auction, complemented by some very strong works on paper by the artist. Please see our foreword to this section by our new contributing writer Ruth Richards.

There is also a very interesting section for Charles Wyatt Warren which includes some more unusual scenes for this artist who’s stock has certainly risen in the last decade.

We also have a very strong section of works by Sir Kyffin Williams. These have been entered for auction from clients all over the UK, many of whom see the sense in consigning to a specialist Welsh auction house in Wales, and who may well have noted our record prices for Kyffin, the fabulous results at Gregynog where 32 out of 32 works sold and the growth spurt in the market for Wales’ best loved landscape painter.

With such a magical auction of Welsh art I could extend my introduction here to several pages, but I won’t…you can turn the pages, book a viewing and fall in love all by yourselves! Enjoy!

Ben Rogers Jones

Bwrw Golwg

Croeso i drydydd rhifyn a rhifyn olaf 2024.

Ysgrifennaf hwn ddiwedd mis Medi gyda’r hydref yn prysur lapio’i hun o’n cwmpas wedi haf na wireddodd. Er, diolch byth, buom yn ffodus iawn o gael penwythnos prin o dywydd bendigedig ddiwedd mis Gorffennaf a chwistrellodd ddos go dda o egni Fitamin D i arwerthiant Neuadd Gregynog. Roeddwn i a fy nau gydweithiwr a fu ar y llwyfan yn arwerthu yn yr Ystafell Gerdd ar ddydd Sadwrn, Gorffennaf 27, wrth ein boddau i gynnal arwerthiant mewn amgylchedd mor hanesyddol a mawreddog.

Rydym yn ôl yn ystafell arwerthu Caerdydd ar gyfer yr un hon ar ôl ein gwibdaith hudolus i’r canolbarth. Ond peidiwch â gadael i hynny eich rhwystro rhag cael cipolwg yn bersonol ac, o bosibl, gwneud cais yn yr ystafell. Efallai’n wir fod yr ystafell arwerthu ar stâd ddiwydiannol ddi-enaid, ond y tu mewn, mae’n orlawn â chelfyddyd Gymreig dwys, llawn cymeriad, sy’n ennyn sbectrwm o emosiynau. Rydym hefyd yn addo croeso cynnes yng nghartref Yr Arwerthiant Cymreig, mewn adeilad sydd wedi dod yn gyfnewidfa stoc ar gyfer celf Gymreig dros y deng mlynedd diwethaf.

Ac a ydym ni wedi cadw Arwerthiant Cymreig gorau’r flwyddyn tan y diwethaf tybed?

Daw’r ateb i’r cwestiwn hwnnw ar ffurf y prisiau morthwyl ar Dachwedd 16eg. Mae’r arwerthiant yn gyforiog o baentiadau o safon arddangosfa gan ein hoff gydwladwyr a gwragedd artistig.

Mae adran arbennig wedi’i neilltuo i Josef Herman, gweithiau sydd wedi’u dwyn ynghyd o blith nifer o gleientiaid. Mae olewau Herman yn ddarganfyddiadau prin, felly rydym yn ffodus iawn i allu cynnig chwech yn yr un arwerthiant hwn, wedi’i ategu gan weithiau cryf iawn ar bapur gan yr artist. Gweler ein rhagair i’r adran hon gan ein cyfrannwr newydd, Ruth Richards.

Mae yna hefyd adran ddiddorol iawn ar gyfer Charles Wyatt Warren sy’n cynnwys rhai golygfeydd mwy anarferol i’r artist hwn, y mae ei waith yn sicr wedi codi o ran poblogrwydd yn ystod y degawd diwethaf.

Mae gennym hefyd adran gref iawn o weithiau gan Syr Kyffin Williams. Mae’r rhain wedi’u rhoi ar gyfer yr arwerthiant gan gleientiaid o bob rhan o’r DU, llawer ohonynt yn sylweddoli’r synnwyr o anfon i dŷ ocsiwn Cymreig arbenigol yng Nghymru, ac sydd efallai’n wir wedi sylwi ar ein prisiau uchaf erioed ar gyfer Kyffin, y canlyniadau gwych yng Ngregynog lle cafodd 32 allan o 32 o weithiau eu gwerthu a’r twf mewn diddordeb yn y farchnad i arlunydd tirluniau mwyaf poblogaidd Cymru.

Gydag arwerthiant mor hudolus o gelf Gymreig, fe allwn ymestyn fy nghyflwyniad yma i sawl tudalen, ond wnai ddim…fe gewch chi droi’r tudalennau, dod i gael cipolwg a syrthio mewn cariad drosoch eich hun! Mwynhewch!

Ben Rogers Jones

The Welsh Sale

27 July 2024

Lots 321 | Total: £498,585

Adolygiad

Yr Arwerthiant Cymreig

27 Gorffennaf 2024

Eitemau 321 | Cyfanswm: £498,585

Top 10 Hammer Prices: The Welsh Sale 10 Uchaf yr Arwerthiant Cymreig

1. Sir Kyffin Williams RA ‘Winter, Crib Goch’ £41,000

2. Sir Kyffin Williams R ‘Anglesey in Winter’ £39000

3. Sir Kyffin Williams RA ‘Road to the Mine’ £36000

4. Sir Kyffin Williams RA ‘Cottages Waunfawr’ £28000

5. Gwen John ‘Two Hatted Women in Church’ £22000

6. Sir Kyffin Williams RA ‘No. 18 Moon Over Crib Goch’ £18000

7. Sir Kyffin Williams RA ‘Eryri Landscape’ £15000

8. Claudia Williams ‘Perched at Waters Edge’ £8500

9. Sir Kyffin Williams RA ‘Farmer’ £8500

10. Sir Kyffin Williams RA ‘Farmer with Sheepdogs’ £8000

For Full Results

Am Ganlyniadau Llawn

REVIEW: The Welsh Sale – July 2024

Gregynog Magic

We eagerly awaited July’s Welsh Sale with a certain amount of trepidation as we had not conducted the auction at an external venue previously. But we needn’t have worried; the stately doors of Gregynog Hall swung open for the public viewing at 1pm on Friday afternoon and then, for the full six hours, the saleroom-cummusic room remained swamped with enthusiastic art collectors. Included were many existing clients and many had travelled from all parts of Wales, and from different regions of England. It was lovely to meet viewers who were local to Gregynog Hall or who had stayed at the Hall through study or work – there were many fascinating recollections of the grand old house to be heard.

The viewing and auction day was helped by unusual weather conditions for this year’s summer, that is the sun shone and this certainly lifted the spirits of everyone. For me personally, it was a most memorable and highly successful weekend, a testament to the hard work shared between the Rogers Jones team and the Gregynog team. A big thank you to the two teams and a massive thank you to the clients who supported us

As for the auction itself, there were as many room bidders as there have been for any Welsh Sale post-Covid. But the most impressive statistic was the ‘sell-through’ – the percentage of lots sold. An incredible 94% of lots sold which is the best percentage for any Welsh Sale.

ADOLYGIAD: Yr Arwerthiant Cymreig – Gorffennaf 2024

Hud Gregynog

Buom yn aros yn eiddgar am Arwerthiant Cymreig mis Gorffennaf ond roeddem yn teimlo ychydig yn anesmwyth gan nad oeddem wedi cynnal yr arwerthiant mewn lleoliad allanol o’r blaen. Ond doedd dim angen i ni fod wedi poeni; fe agorodd drysau urddasol Neuadd Gregynog i’r cyhoedd gael cipolwg am 1 y prynhawn dydd Gwener ac yna, am chwe awr lawn, roedd yr ystafell gerdd, oedd wedi’i throi yn ystafell arwerthu, yn orlawn gyda chasglwyr celf brwdfrydig. Roedd llawer o gleientiaid presennol wedi dod ac nifer ohonynt wedi teithio o bob rhan o Gymru, ac o wahanol ranbarthau yn Lloegr. Braf oedd cael cyfarfod â phobl newydd oedd yn lleol i Neuadd Gregynog neu a oedd wedi aros yn y Neuadd yn y gorffennol, yn sgil astudio neu waith – roedd llawer o atgofion difyr o’r hen dŷ crand i’w clywed.

The top price was a mountain landscape by Sir Kyffin Williams of proportions that are rarely seen. The 2ft 6in x 4ft 1in (75cm x 1.25m) oil on canvas, which came to auction from a private vendor in south Wales, was titled ‘Winter Crib Goch’, depicting the well known ‘knife-edged’ ridge that leads up to the almost summit of Yr Wyddfa. I can say from experience that scrambling over the ridge in winter requires a cool head and steady heart-rate as also required by bidders on this monumental painting. It sold at £41,000 to a determined online bidder after a protracted battle with a saleroom paddle.

Roedd y tywydd yn sicr wedi helpu dros y penwythnos. Yn anarferol i weddill tywydd yr haf eleni, roedd yr haul yn gwenu, ac roedd yn sicr wedi codi ysbryd pawb. I mi’n bersonol, roedd yn benwythnos cofiadwy a hynod lwyddiannus, ac yn dyst i’r gwaith caled gan dîm Rogers Jones a thîm Gregynog. Diolch yn fawr iawn i’r ddau dîm a diolch enfawr i’r cleientiaid a’n cefnogodd ni.

O ran yr arwerthiant ei hun, roedd cymaint o gynigwyr yn yr ystafell ag sydd wedi bod ar gyfer unrhyw Arwerthiant Cymreig ar ôl y cyfnod Cofid. Ond yr ystadegyn mwyaf trawiadol oedd canran y lotiau a werthwyd. Yn anhygoel, gwerthwyd 94% o eitemau, sef y ganran orau ar gyfer unrhyw Arwerthiant Cymreig erioed.

Rhoddwyd y pris uchaf am dirwedd mynyddig gan Syr Kyffin Williams ar gynfas anarferol o fawr. Teitl yr olew ar gynfas 75cm x 1.25m, a ddaeth i’w werthu gan werthwr preifat yn ne Cymru, oedd ‘Crib Goch yn y Gaeaf’, sy’n darlunio’r gefnen finiog, adnabyddus sy’n arwain i fyny at y gopa’r Wyddfa. Gallaf ddweud o brofiad bod sgramblo dros y grib yn y gaeaf yn gofyn am ben clir a churiad calon cyson, yn union fel oedd yn ofynnol gan gynigwyr ar y paentiad anferth hwn. Gwerthodd am £41,000 i gynigydd ar-lein penderfynol ar ôl brwydr hir gyda chynigwr yn yr ystafell arwerthu.

Overall, the Gregynog Welsh Sale offered no fewer than 32 works by Sir Kyffin, all of which sold for a combined £247,280.

Elsewhere, a rare Gwen John (1876-1939) work on paper generated healthy competition. ‘Two Hatted Women in Church’, was dated to the c.1920s in part due to its similarities in terms of style and subject to ‘Girls in a Church’ in the collection of Yale Center for British Art.

The work was part of a body of ‘church’ watercolours by the artist, often depicting one or more female worshippers with a composition as if the viewer was sitting on a pew behind.

The artist would sit in the back of Meudon church, sketching in pencil and 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”.

The work, which came from a private vendor in Powys, had been purchased from London dealer for Browse & Darby in 2005. Estimated at £17,000-23,000, it sold at £22,000.

Yn gyffredinol, cynigiodd Arwerthiant Cymreig Gregynog ddim llai na 32 o weithiau gan Syr Kyffin, a gwerthwyd y cyfan am gyfanswm o £247,280.

O ran gweithiau eraill, roedd cystadleuaeth iach am waith prin ar bapur gan Gwen John (1876-1939). Mae ‘Two Hatted Women in Church’ yn dyddio i oddeutu’r 1920au, yn rhannol oherwydd ei debygrwydd o ran arddull a thestun i ‘Girls in a Church’ yng nghasgliad Canolfan Celf Brydeinig Iâl.

Roedd y gwaith yn rhan o gorff o luniau dyfrlliw ar y thema ‘eglwys’ gan yr artist, yn aml yn darlunio un neu fwy o addolwyr benywaidd gyda chyfansoddiad fel petai’r gwyliwr yn eistedd ar sedd y tu ôl.

Byddai’r arlunydd yn eistedd yng nghefn eglwys Meudon, yn braslunio mewn pensil ac yn ychwanegu dyfrlliw neu liw corff yn y stiwdio. Wrth gael ei beirniadu am weithio yn yr eglwys ymatebodd (yn Ffrangeg): “Rwy’n hoffi gweddïo yn yr Eglwys fel pawb, ond nid yw fy ysbryd yn gallu gweddïo am amser hir ar unwaith - pe bawn yn dileu’r holl amser hwnnw, ni fyddai digon o hapusrwydd yn fy mywyd”.

Roedd y gwaith, a ddaeth oddi wrth werthwr preifat ym Mhowys, wedi’i brynu gan fasnachwr o Lundain ar gyfer Browse & Darby yn 2005. Roedd yr amcanbris yn £17,00023,000, a gwerthodd am £22,000.

Considering a similarly sized sketch seemingly showing the same figures sold for £15,000 at Christie’s in 2006, the price was a good one and demonstrates the new demand for Gwen John’s work. It appears to be an auction record for a Gwen John ‘church’.

Another artist with their very own section, was Charles Frederick Tunnicliffe (190179). We offered a total of 27 works by the ornithological specialist from four various vendors. We saw another impressive sell-through with 25 of the 27 selling. The Macclesfield-born artist spent much of his working life working in and around his studio in Malltraeth, Anglesey, consequently, Tunnicliffe’s meticulously observed studies have always been popular with Welsh collectors. The top selling lot was a gouache on board depiction, entitled ‘Welsh Pony’. The inclusion of the pony’s handler is sure to have further incentivized the bidders on this picture. The pony was eventually knocked down for £6000 to a private collector living but a short trot from the late artist’s Anglesey nest in Malltraeth.

O ystyried bod braslun tebyg o ran maint, oedd yn dangos yr un ffigurau, wedi’i werthu am £15,000 yn Christie’s yn 2006, roedd y pris hwn yn un da ac yn dangos y galw newydd am waith Gwen John. Mae’n ymddangos ei fod wedi torri record arwerthiant am waith ‘eglwys’ Gwen John.

Artist arall gyda’i adran ei hun oedd Charles Frederick Tunnicliffe (1901-79). Roedd cyfanswm o 27 o weithiau gan yr arbenigwr ar adar gan bedwar gwerthwr amrywiol yn cael eu cynnig y tro hwn. Cafwyd llwyddiant trawiadol arall gyda 25 o’r 27 yn gwerthu.Treuliodd yr artist, a aned yn Macclesfield, lawer o’i fywyd gwaith yn gweithio o amgylch ei stiwdio ym Malltraeth, Ynys Môn, ac o ganlyniad, mae astudiaethau manwl Tunnicliffe wedi bod yn boblogaidd erioed gyda chasglwyr Cymreig. Y darn a werthodd am y pris uchaf oedd darlun gouache ar fwrdd, o’r enw ‘Merlen Gymreig’. Mae’r ffaith ei fod wedi cynnwys meistr y ferlen yn siŵr o fod wedi annog y cynigwyr ar y llun hwn. Cafodd y ferlen ei gwerthu yn y diwedd am £6000 i gasglwr preifat sy’n byw nepell o nyth y diweddar arlunydd o Ynys Môn ym Malltraeth.

Delivering even stiffer competition, although making a slightly lesser price, was a wood engraving study of a Cockatoo of supreme detail with label verso indicating it was shown at The Royal Academy in 1938.

Measuring 16.25 x 7in (41.5 x 18cm), it had appeared as a full page illustration opposite the preface page in Robert Meyrick and Harry Heuser’s catalogue raisonné of Tunnicliffe prints. Here, the estimate was set at £400-600 but the engraving was hammered down at £1600 to a local buyer in the room. The price was in the top bracket for individual copies of the artist’s prints at auction.

Yn sicrhau cystadleuaeth hyd yn oed yn fwy llym, er ei fod wedi gwneud pris ychydig yn llai, roedd astudiaeth ysgythru pren o Gocatŵ o fanylder anhygoel, gyda’r label yn nodi iddo gael ei ddangos yn yr Academi Frenhinol ym 1938.

Yn mesur 41.5 x 18cm, roedd wedi ymddangos fel darlun tudalen lawn gyferbyn â’r rhagair yng nghatalog raisonné o brintiau Tunnicliffe gan Robert Meyrick a Harry Heuser. Yma, gosodwyd amcanbris o £400-600 ond cafodd y morthwyl ei daro ar £1600 i brynwr lleol yn yr ystafell. Roedd y pris yn y dosbarth uchaf ar gyfer copïau unigol o brintiau’r artist mewn arwerthiant.

We are now well-known for our reputation in selling the graphic art of Paul Peter Piech (1920-1996). Admirers of the Brooklyn-born artist may wish to know that we sell Piech’s prints regularly in our other auctions in Cardiff. However, we invariably try to save a few prints for The Welsh Sale as we did for the Gregynog auction with thirteen in total.

The highest price from these came for a two-colour lithograph titled after the Welsh national anthem, ‘Hen Wlad fy Nhadau’ (Land of our fathers).

Signed and dated 1992, it measured 2ft 1in x 17¾in (64 x 45cm) and was being sold on behalf of the City Hospice Charity whom I work with as an ambassador and fund-raiser.

Estimated at £200-300, it drew a protracted bidding battle between “a patriotic Welsh collector living in Lancashire” bidding online and with a collector in the room. Eventually it knocked down to £3600 to the sound of excited murmuring amongst the room bidders as it was by far the highest price for any work by Piech at auction, beating our own record of £1100 in a 2019 Welsh Sale.

Rydym bellach yn hen law ar werthu celf graffeg Paul Peter Piech (1920-1996). Efallai yr hoffai edmygwyr yr artist, a aned yn Brooklyn, wybod ein bod yn gwerthu printiau Piech yn rheolaidd yn ein harwerthiannau eraill yng Nghaerdydd. Fodd bynnag, rydym yn ddieithriad, yn ceisio cadw ychydig o brintiau ar gyfer Yr Arwerthiant Cymreig, fel y gwnaethom gyda’r 13 yn arwerthiant Gregynog.

Rhoddwyd y pris uchaf o’r rhain am lithograff dau liw o anthem genedlaethol Cymru, ‘Hen Wlad fy Nhadau’.

Wedi’i lofnodi a’i ddyddio yn 1992, roedd yn mesur 64 x 45cm ac yn cael ei werthu ar ran Ysbyty ‘City Hospice’ yng Nghaerdydd, elusen rwyf yn gweithio gyda hi fel llysgennad a chodwr arian.

Gydag amcanbris o £200-300, fe ddenodd frwydr faith o gynigion rhwng “casglwr gwladgarol o Gymru oedd yn byw yn Swydd Gaerhirfryn” ar-lein â chasglwr yn yr ystafell. Yn y pen draw, fe darodd y morthwyl ar bris o £3600 i sŵn sibrwd a chyffro ymhlith y gynulleidfa, gan mai dyma’r pris uchaf o bell ffordd am unrhyw waith gan Piech mewn arwerthiant, gan guro ein record ein hunain o £1100 mewn Arwerthiant Cymreig yn 2019.

Also bringing competition and selling to a different buyer was a Piech limited edition lithograph titled ‘Faith’. Signed and dated 1972, it measured 2ft 6in x 20½in (77 x 52cm) and came from an edition of 75.

This copy had been given by the artist to the Bertrand Russell Peace Foundation and it was being sold to raise funds for the renovation of the philosopher’s former home in Cornwall.

Pitched at £100-150, it drew the same competitors as the above-mentioned print but here the local collector won out at £1200.

Hefyd â chystadleuaeth iach ac yn gwerthu i brynwr gwahanol oedd lithograff argraffiad cyfyngedig gan Piech o’r enw ‘Faith’. Wedi’i lofnodi a’i ddyddio yn 1972, roedd yn mesur 77 x 52cm ac yn un o argraffiad o 75 yn unig.

Roedd y copi hwn wedi’i roi gan yr artist i Sefydliad Heddwch Bertrand Russell ac roedd yn cael ei werthu i godi arian ar gyfer adnewyddu hen gartref yr athronydd yng Nghernyw.

Gydag amcanbris o £100-150, fe ddenodd yr un cystadleuwyr â’r print uchod ond yma, y casglwr lleol enillodd y dydd, gyda £1200.

As the sun went down over the wonderful Gregynog gardens on Saturday, July 27th, we reflected on a hugely successful sale. We now look forward to further auctions at the Music Room in 2025 including, subject to confirmation, another summer Welsh Sale.

The Welsh Sale at Gregynog Hall

321 lots | 303 sold (94%)

Hammer Price: £498,585

Wrth i’r haul fachlud dros erddi bendigedig Gregynog ar ddydd Sadwrn, Gorffennaf 27ain, buom yn myfyrio dros arwerthiant hynod lwyddiannus. Edrychwn ymlaen yn awr at arwerthiannau pellach yn yr Ystafell Gerdd yn 2025 gan gynnwys, yn amodol ar gadarnhâd, Arwerthiant Cymreig hafaidd arall.

Yr Arwerthiant Cymreig yn Neuadd Gregynog

321 o eitemau | 303 wedi’u gwerthu (94%)

Pris morthwyl: £498,585

Highlights: Welsh Sale

Yr Arwerthiant Cymreig: Uchafbwyntiau

Sir Kyffin Williams £25000-35000 Sold / Gwerthwyd £39000

Corrie Chiswell £800-1200 Sold / Gwerthwyd £2200

Valerie Ganz £400-600 Sold / Gwerthwyd £1600

Iwan Bala £1300-1800 Sold / Gwerthwyd £2800

Aneurin Jones £1000-1500 Sold / Gwerthwyd £2400

Seren Morgan Jones £800-1200 Sold / Gwerthwyd £3000

John Elwyn £1000-2000 Sold / Gwerthwyd £3800

£20000-30000 Sold / Gwerthwyd £36000

Holloway £150-250 Sold /Gwerthwyd £2200 (+BP)

£2500-3500 Sold / Gwerthwyd £8000

Jack Jones £3000-5000

Sold / Gwerthwyd £5800

Sir Kyffin Williams

Edgar

Sir Kyffin Williams

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DDYLAN THOMAS is for A Z of Welsh Art

The letter ‘D’ for me was always going to be Dylan. One of mine and the rest of the world’s favourite poets. I have been lucky enough to sell a few items relating to arguably Wales’ most important and certainly most popular writers.

There was only one person who I was going to ask to help write an article on Dylan Thomas. Jeff Towns, an adopted Welshman whose interest and involvement in the legacy of Dylan Thomas, goes back nearly half a century. Jeff, a bookseller by trade, is ‘The Dylan Thomas Guy’. I asked Jeff why is it that we collect Dylan Thomas items like no other British poet.

‘’In 2014, a four-page manuscript for Bob Dylan’s “Like a Rolling Stone” sold for more than $2,000,000. Bob Dylan is a 20th century icon and “Like a Rolling Stone” was a seismic moment in 21st century songwriting, changing the landscape of popular culture forever.

Material such as ‘Like a Rolling Stone’, find its way into our collective psyche. We are drawn to icons and the work they leave behind. And as collectors we dream of owning a part of them. something which gives us a glimpse of, and connects us physically to, their genius.

I remind you of this because Bob Dylan changed his name from Robert Zimmerman to Bob Dylan in homage to the Welsh poet Dylan Thomas. Both Dylans remain as fascinating now as they ever were.

For me, Dylan Thomas is the ultimate 21st century icon. Born as the First World War began; he was prolific as a poet in the years before and during the Second World War. His unique voice and style made him famous before he was 30. He then found further fame in America in the 1950s and many feel he was the catalyst for the counter-culture movement that followed, and which gained traction in the 1960s.

For me and many others, Dylan Thomas, the lad not from the Upper East Side but from the Uplands, Swansea, is a Godfather of the Beat Generation which spawned the likes of Ginsberg, Kerouac...and then Bob Dylan. Sadly, like other icons that followed in the ‘60s, Dylan Thomas “lived fast and died young”. He was just 39 years old when he passed away in a New York Hospital in 1953.

Dylan Thomas’s ‘Do not go gentle into that good night…’ is considered one of the greatest, most loved, and most wellknown poems in the English language. He was a favourite of US presidents, Carter and Clinton. To ‘Rage against the dying of the light’ has become one of Britain’s most quoted lines.

Dylan Thomas’s most famous work - certainly within Wales and probably globally, is his ‘play for voices’ ‘Under Milk Wood’ Just as ‘Like a Rolling Stone’ did change the face of popular music, ‘Under Milk Wood’ revolutionised the way we listened to drama on the radio. The play, based on the fictional Welsh village of Llareggub, continues to be given fresh life across many platforms and by many influential figures. Living proof of the cultural power that Under Milk Wood retains.

2014 marked Dylan Thomas centenary year. Accordingly, the occasion was marked by numerous prestigious events, but as if to demonstrate the relentless power of Dylan, a series of expensive film and television projects were launched too. Even Rogers Jones & Co held a special section of their famous Welsh Sale to mark the occasion. And their competition at Sotheby’s offered a lost Dylan Thomas manuscript Poetry notebook, a somewhat inauspicious vintage school exercise book dating from summer 1934 to August 1935. This book contained original working drafts for 16 of his earlier poems and it was my extreme good fortune to successfully represent Swansea University in acquiring the book at a final hammer price of £85,000. The manuscript came back to Dylan’s birth town.

I knew Charlie was a serious book collector, but I was intrigued when I noticed that one of the books flagged up in the previews was a very interestingly inscribed, first edition of Dylan Thomas’ rare first book, ‘18 Poems’. It was a book I had handled, maybe a decade back; I sold it into the trade at an International Book Fair in Los Angeles. I ordered the sale catalogue and when it arrived a double page spread had Charlie’s, not one but two fine inscribed Dylan Thomas first editions and both had once been in my stock! I got a good few thousand for them when I sold them – but let’s say the sprinkling of Watts’ stardust pushed the bids up to triple what I sold them for…

Johhny Depp’s surprise visit to Dylan’s birthplace and Charlie’s auction garnered huge publicity across all media but, earlier this year, things just went another level of crazy. Just before Global superstar singer Taylor Swift, arrived in the UK for her short mega-tour, she released her latest album and her millions of mostly young fans – ‘Swifties’ as they are proud to be called, went beserk, demanding to know ‘who is this Dylan Thomas’! The BBC News website said that ...

“...mega-million Taylor Swift’s fans around the globe woke up to a new album this morning, The Tortured Poets Department, and it quickly transpired that Dylan Thomas was specifically named in one of the stand-out tracks on the album. The oft repeated lyric goes; “You’re not Dylan Thomas. I’m not Patti Smith. This ain’t the Chelsea Hotel. We’re modern idiots.”

There was also a rich and wonderful exhibition at the National Museum of Wales of Sir Peter Blake’s fabulous illustrations of ‘Under Milk Wood’. The National Theatre of Wales adapted ‘Under Milk Wood’ into a promenade performance through the streets of Laugharne. ‘Under Milk Wood’ was turned into a serious and wonderful Opera by John Metcalf to huge acclaim.

The BBC made their own ‘Under Milk Wood’ starring Tom Jones, Michael Sheen and Charlotte Church and a year later, Kevin Allen adapted and directed a screen version of ‘Under Milk Wood’ starring Rhys Ifans.

Cinema biopics followed, the first starring Elijah Wood entitled ‘Set Fire to the Stars’ and the second with John Malkovich titled ‘Last Call’ released a few years later. In the centenary year television documentaries filled our screens, as celebrities and academics lined up to pay their respects to Wales’ greatest writer.

More recently Pirate Captain Jack Sparrow, aka Johnny Depp, brought his Rock n’ Roll band to play a sold-out gig in Swansea Arena. Over the course of his 48-hour visit to the town Johnny spent a long afternoon visiting the Dylan Thomas Birthplace at 5, Cwmdonkin Drive.

He was given a tour of the poet’s humble home and was moved to tears when he entered the bedroom where Dylan was born and the room in which the teenage Dylan began to write poetry and his first short stories. Johnny chatted with the curators and posed for photographs. I was than thrilled that in one picture of Johnny, with Geoff Haden the curator of the house, the Hollywood megastar is holding a copy of a book I wrote a year or so about Dylan Thomas and Bob Dylan!

Last year, an e-mail from Christie’s alerted me to their forthcoming auction of the magnificent book collection of the late Charlie Watts, the long-time drummer with the Rolling Stones

110 years after his birth, and just over 70 years after his death, Dylan Thomas legacy continues to evolve. There are few, if any other writers from the 20th Century who continue to inspire contemporary creativity, whether that be in the realms of art, stage, film or pop music. And there are few writers who receive the same size of audience and level of enthusiasm for any new creative output.

Much of that worldwide enthusiasm manifests into collecting. Collectors feel the same as the filmmakers and artists, but we cannot all act in movies, sell out Wembley, or direct plays to have that ‘live in their shoes’ feeling. But we can acquire objects which connect us physically to our heroes. But unfortunately for some of us, when those heroes reach the iconic status of a Bob Dylan or Dylan Thomas, their life-trails in the form of ephemera and special personal objects become increasingly difficult and expensive to find. But when we do get our hands on something special, something that connects us to our heroes and transports us to their moments, the excitement of ownership is intoxicating and addictive.

The range of Dylan Thomas items which is occasionally made available through auction houses, booksellers and dealers are eclectic. Yes, books are at the core of this sector, including rare first editions. But handwritten letters do come on the market and Rogers Jones have had some very tasty examples. There are also photographs and autographs to be had and there is Dylan related artwork out there by Alfred Janes, John Elwyn, Meryn Levy and Ceri Richards. We have seen at Rogers Jones & Co sculptural items too and then there are fascinating curiosities such as bounced cheques, a policeman’s report of a famous incident - and even Dylan’s garden gate which came under the hammer at Rogers Jones & Co.”

Look out for Jeff Town’s new book ‘The Wilder Shores of Dylan Thomas’ which is due to be released in 2025. The book explores the relationship between the poet and other artists such as Sylvia Plath, Ted Hughes and Sir Peter Blake.

A Z o Gelf Cymreig

D

DYLAN THOMAS

Doedd dim amheuaeth nad am ‘Dylan’ oedd y llythyren ‘D’ yn mynd i fod i mi. Un o fy hoff feirdd i, ac yn wir, weddill y byd. Rwyf wedi bod yn ddigon ffodus i werthu ychydig o eitemau yn ymwneud ag un o awduron Saesneg pwysicaf Cymru o bosib ac yn sicr, un o’r mwyaf poblogaidd.

Os o’n i am help i ysgrifennu erthygl ar Dylan Thomas, doedd ond un person i’w holi - Jeff Towns, Cymro mabwysiedig y mae ei ddiddordeb a’i ymwneud ag etifeddiaeth Dylan Thomas yn mynd yn ôl bron i hanner canrif. Jeff, y llyfrwerthwr wrth ei grefft, yw ‘Y dyn Dylan Thomas’. Gofynnais i Jeff pam ein bod yn casglu eitemau Dylan Thomas, fel yr un bardd Prydeinig arall?

“Yn 2014, gwerthodd llawysgrif pedair tudalen ar gyfer ‘Like a Rolling Stone’ gan Bob Dylan am fwy na $2,000,000. Mae Bob Dylan yn eicon o’r 20fed ganrif ac roedd ‘Like a Rolling Stone’ yn foment seismig ym myd cyfansoddi caneuon yr 21ain ganrif, gan newid tirwedd ein diwylliant poblogaidd am byth.

Mae deunydd fel ‘Like a Rolling Stone’ yn ffeindio’i ffordd i mewn i’n psyche torfol. Cawn ein denu at eiconau a’r gwaith y maent yn ei adael ar ôl. Ac fel casglwyr, rydyn ni’n breuddwydio am fod yn berchen ar ran ohonyn nhw, rhywbeth sy’n rhoi cipolwg i ni ar eu hathrylith ac yn ein cysylltu’n gorfforol â nhw.

Fe’ch atgoffaf o hyn oherwydd newidiodd Bob Dylan ei enw o Robert Zimmerman i Bob Dylan er gwrogaeth i’r bardd Cymreig, Dylan Thomas. Mae’r ddau Dylan mor ddiddorol nawr ag erioed.

I mi, Dylan Thomas yw eicon eithaf yr 21ain ganrif. Ganed fel y dechreuodd y Rhyfel Byd Cyntaf; bu’n doreithiog fel bardd yn y blynyddoedd cyn ac yn ystod yr Ail Ryfel Byd. Roedd ei lais a’i arddull unigryw wedi’i wneud yn enwog cyn ei fod yn 30 oed.

Yna daeth i enwogrwydd pellach yn America yn y 1950au ac mae llawer yn teimlo mai fe oedd y catalydd ar gyfer y mudiad gwrthddiwylliant a ddilynodd, ac a enillodd ddilyniant yn y 1960au.

I mi a llawer o rai eraill, Dylan Thomas, y bachgen nid o’r ‘Upper East Side’ ond o’r Uplands, Abertawe, yw Tad Bedydd ‘Cenhedlaeth y Bitniciaid’ a gynhyrchodd rai fel Ginsberg, Kerouac...ac yna Bob Dylan. Yn anffodus, fel nifer o eiconau eraill a ddilynodd yn y ‘60au, fe ddaru Dylan Thomas “fyw’n gyflym a marw’n ifanc”. Dim ond 39 oed oedd e pan fu farw mewn ysbyty yn Efrog Newydd ym 1953.

Ystyrir bod ‘Do not go gentle into that good night…’ gan Dylan Thomas yn un o’r cerddi gorau, mwyaf annwyl, ac enwocaf yn yr iaith Saesneg. Roedd yn ffefryn gan arlywyddion yr Unol Daleithiau, Carter a Clinton. Mae ‘Rage against the dying of the light’ wedi dod yn un o’r llinellau a ddyfynnir fwyaf ym Mhrydain.

Gwaith enwocaf Dylan Thomas, yn sicr o fewn Cymru ac yn fydeang, fwy na thebyg, yw ei ‘ddrama i leisiau’ ‘Under Milk Wood’ neu ‘Dan y Wenallt’ yn y Gymraeg. Yn union fel y newidiodd ‘Like a Rolling Stone’ wyneb cerddoriaeth boblogaidd, fe wnaeth ‘Dan y Wenallt’ chwyldroi’r ffordd roedden ni’n gwrando ar ddrama ar y radio. Mae’r ddrama, sy’n seiliedig ar bentref Cymraeg ffuglennol Llareggub, yn parhau i gael bywyd ffres ar draws sawl llwyfan a chan nifer o ffigurau dylanwadol. Prawf o’r pŵer diwylliannol sy’n parhau i fod gyda ‘Dan y Wenallt’ o hyd.

Roedd 2014 yn nodi canmlwyddiant Dylan Thomas. Yn unol â hynny, nodwyd yr achlysur gan nifer o ddigwyddiadau mawreddog, ond fel pe bai i ddangos pŵer di-baid Dylan, lansiwyd cyfres o brosiectau ffilm a theledu drud hefyd. Roedd gan gwmni Rogers Jones, hyd yn oed, adran arbennig yn eu Harwerthiant Cymreig enwog i nodi’r achlysur. Ac roedd eu cystadleuaeth yn Sotheby’s yn cynnig llyfr nodiadau barddoniaeth coll yn llawysgrif Dylan Thomas, hen lyfr ymarfer ysgol di-nod yn dyddio o haf 1934 i Awst 1935. Roedd y llyfr hwn yn cynnwys drafftiau gwreiddiol ar gyfer 16 o’i gerddi cynharach a bum yn eithriadol o lwcus i lwyddo i gael gafael ar y llyfr am bris morthwyl terfynol o £85,000 ar ran Prifysgol Abertawe. Daeth y llawysgrif yn ôl i dref enedigol Dylan.

Roedd hefyd arddangosfa gyfoethog a rhyfeddol yn Amgueddfa Genedlaethol Cymru o ddarluniau gwych Syr Peter Blake o ‘Dan y Wenallt’. Addasodd Theatr Genedlaethol Cymru ‘Dan y Wenallt’ yn berfformiad promenâd trwy strydoedd Talacharn. Trowyd ‘Dan y Wenallt’ hefyd yn Opera difrifol a gwych gan John Metcalf a gafodd ganmoliaeth uchel.

Gwnaeth y BBC eu ‘Dan y Wenallt’ eu hunain gyda Tom Jones, Michael Sheen a Charlotte Church yn serennu a blwyddyn yn ddiweddarach, addasodd a chyfarwyddodd Kevin Allen fersiwn sgrin o ‘Dan y Wenallt’ gyda Rhys Ifans yn serennu.

Dilynodd ffilmiau biopig yn y sinema, gyda’r gyntaf yn serennu Elijah Wood o’r enw ‘Set Fire to the Stars’ a’r ail gyda John Malkovich o’r enw ‘Last Call’ a ryddhawyd ychydig flynyddoedd yn ddiweddarach. Ym mlwyddyn y canmlwyddiant, roedd rhaglenni dogfen yn llenwi ein sgriniau teledu, wrth i enwogion ac academyddion ymuno i dalu eu parch i lenor gorau Cymru.

Yn fwy diweddar, daeth Capten y Môr-ladron, Jack Sparrow, neu Johnny Depp yn hytrach, â’i fand Roc a Rôl i chwarae gig a werthwyd allan yn Arena Abertawe. Yn ystod ei ymweliad 48 awr â’r dref, treuliodd Johnny brynhawn hir yn ymweld â man geni Dylan Thomas yn 5, Cwmdonkin Drive.

Cafodd daith o amgylch cartref diymhongar y bardd ac roedd yn ei ddagrau pan aeth i mewn i’r ystafell wely lle ganwyd Dylan a’r ystafell lle y dechreuodd Dylan, yn ei arddegau, ysgrifennu barddoniaeth a’i straeon byrion cyntaf. Bu Johnny yn sgwrsio gyda’r curaduron ac yn tynnu lluniau. Roeddwn i wrth fy modd bod y seren Hollywood, yn un o’r lluniau gyda Geoff Haden, curadur y tŷ, yn dal copi o lyfr ysgrifennais flwyddyn neu ddwy yn ôl am Dylan Thomas a Bob Dylan!

daeth i’r amlwg yn gyflym fod Dylan Thomas wedi’i enwi’n benodol yn un o brif draciau yr albwm. Mae’r geiriau sy’n cael ei ailadrodd yn aml yn mynd: “You’re not Dylan Thomas. I’m not Patti Smith. This ain’t the Chelsea Hotel. We’re modern idiots.”

110 mlynedd ar ôl ei eni, ac ychydig dros 70 mlynedd ar ôl ei farwolaeth, mae etifeddiaeth Dylan Thomas yn parhau i esblygu. Prin yw’r awduron, os o gwbl, o’r 20fed Ganrif sy’n parhau i ysbrydoli creadigrwydd cyfoes, boed hynny ym myd celf, llwyfan, ffilm neu gerddoriaeth bop. A phrin yw’r awduron sy’n derbyn yr un maint o gynulleidfa a lefel o frwdfrydedd am unrhyw allbwn creadigol newydd.

Y llynedd, fe wnaeth e-bost gan Christie’s fy hysbysu am eu harwerthiant oedd i ddod o gasgliad godidog o lyfrau y diweddar Charlie Watts, y drymiwr hirhoedlog gyda’r Rolling Stones. Roeddwn i’n gwybod bod Charlie yn gasglwr llyfrau brwd, ond roeddwn i’n chwilfrydig pan sylwais fod un o’r llyfrau yn argraffiad cyntaf arysgrifedig ddiddorol iawn o lyfr cyntaf prin Dylan Thomas ‘18 POEMS’. Roedd yn llyfr roeddwn i wedi ei drin, efallai ddegawd yn ôl; Fe wnes i ei werthu i’r byd masnachu llyfrau mewn Ffair Lyfrau Ryngwladol yn Los Angeles. Archebais y catalog gwerthu a phan gyrhaeddodd, roedd nid un ond dau erbyn hyn o argraffiadau cyntaf Charlie’s o lyfrau arysgrifedig cyntaf Dylan Thomas, ac roedd y ddau wedi bod yn fy stoc ar un adeg! Fe ges i ychydig filoedd amdanyn nhw pan wnes i eu gwerthu – ond digon i ddeud bod llwch hud enwogrwydd Watts wedi gwthio’r cynigion i’r entrychion a bod y llyfrau wedi’u gwerthu am dair gwaith yn fwy na phan werthais i nhw.

Fe wnaeth ymweliad syrpreis Johnny Depp â man geni Dylan ac arwerthiant Charlie ennyn cyhoeddusrwydd aruthrol ar draws yr holl gyfryngau ond, yn gynharach eleni, fe aeth pethau hyd yn oed yn fwy gwallgof. Ychydig cyn i’r gantores fyd-enwog, Taylor Swift, gyrraedd y DU ar gyfer ei thaith fer, fe ryddhaodd ei halbwm diweddaraf. Fe aeth ei miliynau o gefnogwyr, ifanc yn bennaf – ‘Swifties’ fel y maen nhw’n falch o gael eu galw, yn wyllt, gan fynnu gwybod ‘pwy yw’r Dylan Thomas hwn’! Dywedodd gwefan newyddion y BBC:

“...fe ddeffrodd miliynau o gefnogwyr Taylor Swift ledled y byd i albwm newydd y bore yma, ‘The Tortured Poets Department’, a

Mae llawer o’r brwdfrydedd byd-eang hwnnw yn troi at gasglu. Mae casglwyr yn teimlo’r un peth â’r gwneuthurwyr ffilm a’r artistiaid, ond allwn ni i gyd ddim actio mewn ffilmiau, gwerthu allan Wembley, neu gyfarwyddo dramâu i gael y teimlad yna o ‘fyw yn eu hesgidiau’. Ond fe allwn ni gael gafael ar wrthrychau sy’n ein cysylltu’n gorfforol â’n harwyr. Yn anffodus i rai ohonom, pan fydd yr arwyr hynny’n cyrraedd statws eiconig Bob Dylan neu Dylan Thomas, mae eu llwybrau bywyd ar ffurf effemera a gwrthrychau personol arbennig yn dod yn fwyfwy anodd a drud i’w canfod. Ond pan gawn ni ein dwylo ar rywbeth arbennig, rhywbeth sy’n ein cysylltu â’n harwyr ac yn ein cludo at fomentau mewn hanes, mae cyffro perchnogaeth yn feddwol ac yn gaethiwus.

Mae’r ystod o eitemau Dylan Thomas sydd ar gael o bryd i’w gilydd trwy dai arwerthu, llyfrwerthwyr a gwerthwyr yn eclectig. Ydy, mae llyfrau wrth wraidd y sector hwn, gan gynnwys rhifynnau cyntaf prin. Ond mae llythyron mewn llawysgrifen yn dod ar y farchnad ac mae Rogers Jones wedi cael rhai enghreifftiau difyr iawn. Mae yna hefyd ffotograffau a llofnodion i’w cael ac mae yna waith celf yn ymwneud â Dylan ar gael gan Alfred Janes, John Elwyn, Meryn Levy a Ceri Richards. Rydym wedi gweld eitemau cerfluniol gyda chwmni Rogers Jones hefyd ac yna mae ‘na eitemau hynod ddiddorol fel sieciau sy wedi’u gwrthod, adroddiad plismon o ddigwyddiad enwog - a hyd yn oed giât gardd Dylan a ddaeth o dan y morthwyl yn arwerthiant Rogers Jones.”

Cadwch lygad am lyfr newydd Jeff Towns ‘The Wilder Shores of Dylan Thomas’ fydd yn cael ei ryddhau yn 2025. Mae’r llyfr yn edrych ar y berthynas rhwng y bardd ac artistiaid eraill fel Sylvia Plath, Ted Hughes a Syr Peter Blake.

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Jo Bach of Ystradgynlais by Ruth Richards

They have a presence, these lumpen yet dignified figures, and although their faces are obscured and anonymous, they are easily identifiable as working people: miners, farm workers and women well-used to hard work. They all seem a little careworn, but are serene and unbowed – ready to face the next shift, to lift the next load or to sew the next garment. Even the animals he paints are beasts of burden.

Josef Herman, who produced these works, will forever be associated with Wales, although he only lived there for eleven years. He was born in Warsaw in 1911 to a working-class Jewish family: an opening chapter which fills us today with a sense of foreboding. He stayed in Poland long enough to train at Warsaw’s School of Art and Decoration and to exhibit his work in the city. As a young Jewish intellectual, he was acutely aware of the growing threat of anti-Semitism and war and, fleeing to Brussels in 1938, became a refugee, losing sight of his family and his heritage. He eventually found himself in Glasgow and then in London, working on paintings and drawings through which he sought to capture his childhood memories of Jewish life in Warsaw. In 1942, he learned through the Red Cross that his entire family has been murdered by the Nazis. Grief-stricken and lost, emotionally spent and in creative despair, he wrote of this time:

“The nostalgia for my childhood years had burnt itself out and nothing had taken its place, except a vague feeling for big forms and a cry within me for a new belief in man’s serenity.”

and the red and gold sign of the local chip shop. These mundane sights of a Welsh mining village became more compelling as he decided that this was a place that could provide him with new themes and sustain his creativity.

But the shift was not only aesthetic: the community too, made a deep impression on him. The closeness and interdependency of the villagers inspired him to paint his anonymous miners as “more real than portraits”: a distillation of people and location.

The mining community is presented as a group of people working together, united by a sense of mutual support and purpose.

The coal industry was, of course, essential to the war effort at this time. The people of Ystradgynlais in turn welcomed him warmly, naming him “Jo bach” almost immediately.

From this small corner of the Swansea Valley, Herman’s reputation grew steadily. In 1951, he contributed two murals to the Festival of Britain: a scene of South Wales, and the monumental Miners Crouching. Following his move from Ystradgynlais in 1955 he was awarded the Gold Medal for Fine Art at the National Eisteddfod in 1962, received an OBE for services to British Art in 1981 and was elected a Member of the Royal Academy of Arts in 1990.

‘nourished by tradition, formed by labour and moved by aspiration.’

The turning point for Herman came when he visited Wales in 1944, not in search of the sublime or picturesque, but simply for a place where he could start his recovery from the trauma of grief and displacement. The intended short stay extended to eleven years. His moment of epiphany came to him on the first evening he spent in Ystradgynlais. The scene, a group of miners crossing a bridge in the evening sunlight, was at once both mundane and miraculous. It satisfied his longing for the “big forms” and “serenity” he felt had been missing from his work. He later wrote:

“For a split second their heads appeared gaunt against the full body of the sun… with the light around them, the silhouettes of the miners were almost black… The magnificence of the scene overwhelmed me… it became the source of my work for years to come.”

It is a vision that can be seen to have brighter echoes in the figure haloed in light which is included in our forthcoming Welsh Sale.

Josef Herman stayed in Ystradgynlais, working first in charcoal and ink, then pastel and finally in oil, gradually capturing the colours of the South Wales coalfield and its communities, which had previously been presented to the world only through the documentary monochrome of photography and film. He revelled in the shifting colours of Wales: the blue rain-washed roof tiles and asphalt, transforming into rich, coppery tones in the evening sunlight. He was similarly struck by the red and blue buses,

The move from Wales seems to have been reluctant and protracted. Some sources suggest the weather had become detrimental to his health. Interestingly, Herman’s widow, in her introduction to a book of his writings, notes that the autobiography section finishes at the date he left Ystradgynlais. She wonders whether the wrench of leaving the village evoked memories of his flight from Warsaw back in 1938.

Unlike his painful memories of Poland, however, Josef Herman never chose to forget what Ystradgynlais had given him. Living in Suffolk and later London, he returned time and again to his motif of miners. And on his travels – whether to Europe, Israel, the USA or Mexico – his colours and his portrayal of people and their environment retain the vision of his Welsh epiphany.

The trauma of his youth and the subsequent years of being plagued by survivor guilt left Josef Herman wary of all that was frivolous. He resolved to “look only at paintings purged of all trivia and inessentials.” He appreciated and collected African tribal art and Pre-Columbian artefacts, finding in them a parallel to his own stark aesthetic. He writes about his work in sombre terms, of painting people “nourished by tradition, formed by labour and moved by aspiration.” The memory of his own tradition was too painful to dwell upon, but he found redemption through work and aspired to the end to find (in his own words) a “belief in man’s serenity.”

I mentioned at the beginning that Herman’s work has a presence. It is, I think, a deeply soothing and unsentimental presence: an austere reminder of the goodness of humanity, which he caught a glimpse of in Ystradgynlais and which went on to inform all that he produced thereafter.

Jo Bach o Ystradgynlais gan Ruth Richards

Mae gan y ffigyrau hyn bresenoldeb. Er eu bod yn afrosgo, mae iddynt hefyd urddas, ac er bod eu hwynebau’n aneglur ac anhysbys, mae’n glir mai gweithwyr ydynt: glowyr, ffermwyr a merched wedi hen arfer â gwaith caled. Maent oll yn ymddangos yn guriedig, ond digyffro a balch – yn barod i wynebu’r shifft nesaf, i ysgwyddo’r baich nesaf, neu i wnïo dilledyn arall. Bwystfilod gwaith yw eu hanifeiliaid, hyd yn oed.

Josef Herman a beintiodd y lluniau hyn; artist sy’n llwyr gysylltiedig â Chymru erbyn hyn, er mai ond am un mlynedd ar ddeg y bu’n byw yma. Fe’i ganwyd yn Warsaw yn 1911, i deulu dosbarth gweithiol Iddewig: pennod agoriadol sy’n llawn ddrwg argoel i ni erbyn heddiw. Treuliodd Herman ei ieuenctid yng Ngwlad Pwyl, fe’i haddysgwyd yn Ysgol Addurn a Chelf Warsaw, a bu’n arddangos ei waith yn y ddinas. Ond buan daeth yr Iddew ifanc a meddylgar i synhwyro bygythiad cynyddol gwrth-semitiaeth a rhyfel, ac felly dihangodd i Frwsel yn 1938. Daeth yn ffoadur, a thrwy hynny collodd olwg ar ei deulu a’i etifeddiaeth ddiwylliannol. Yn y diwedd cafodd ei hun yn Glasgow ac yna Llundain, yn gweithio ar luniau a geisiai grisialu ei atgofion o fywyd Iddewig Warsaw. Yn 1942, cafodd wybod drwy’r Groes Goch fod ei holl deulu wedi cael eu llofruddio gan y Natsïaid. Ar goll ac mewn galar, mewn anobaith emosiynol a chreadigol, edrychodd yn ôl ar y cyfnod hwn:

“

y toeau a’r asffalt glawog yn troi’n lliwiau copr cyfoethog yng ngoleuni haul yr hwyr. Yn yr un modd, dotiodd at goch a glas y bysus ac arwydd coch ac aur y siop sglodion lleol. Daeth golygfeydd di-nod y pentref glofaol yn gynyddol gymhellgar iddo a phenderfynodd mai dyma’r lle fyddai’n cynnig themâu newyd a chynnal ei greadigrwydd.

Nid edrychiad Ystradgynlais yn unig fu’n ddylanwad ar Josef Herman: gwnaeth ei phobl argraff ddofn arno hefyd. Ysgogodd agosrwydd a chyd-ddibyniaeth y pentrefwyr iddo ddarlunio ei lowyr anhysbys mewn modd a oedd “yn fwy real na phortreadau” - yn ddistylliad o bobl a lleoliad. Cyflwyna’r gymuned lofaol fel casgliad o bobl yn cyd-weithio ac yn unedig eu pwrpas. Yr adeg hynny, wrth gwrs, roedd y diwydiant glo’n allweddol i’r ymdrech rhyfel. Fe’i croesawyd yntau’n gynnes gan bobl y pentref, a’i galwodd - bron o’r cyntaf - yn “Jo bach.”

O’r gornel fechan hon o Gwm Tawe, tyfodd enwogrwydd Josef Herman. Yn 1951, cyfrannodd ddau furlun ar gyfer Gŵyl Prydain: golygfa o Dde Cymru a’i ddarlun enfawr, ‘Glowyr ar eu Cwrcwd’. Ar ôl iddo adael Ystradgynlais yn 1955, enillodd Y Fedal Aur am Gelf yn Eisteddfod 1962, derbyniodd OBE am ei gyfraniad i gelf ym Mhrydain yn 1981, a daeth yn Aelod o’r Academi Frenhinol yn 1990.

‘wedi’u porthi gan draddodiad, eu ffurfio gan lafur a’u cyffwrdd gan ddyhead.’

“Roedd yr hiraeth am fy mhlentyndod wedi llosgi’n ulw a daeth dim i gymryd ei le, heblaw am ymdeimlad annelwig tuag at ffurfiau mawrion a chri fewnol am y gallu i gredu o’r newydd yn serenedd dyn.”

Daeth trobwynt i Herman pan ymwelodd â Chymru yn 1944. Ni ddaeth i chwilio am olygfeydd aruchel na thlws ond, yn hytrach, rhywle i ddechrau cael ei gefn ato’n dilyn trawma ei brofedigaethau a’i ddadleoliad. Ymestynodd yr arhosiad byr yn un mlynedd ar ddeg. Cafodd foment o hunanddatguddiad ar ei noswaith gyntaf yn Ystradgynglais. Roedd yr olygfa - criw o lowyr yn croesi pont yng ngoleuni’r hwyr - ar unwaith yn gyffredin ac yn wyrthiol. Diwallodd yr olygfa ei ddyhead am y “ffurfiau mawrion” a’r “serenedd” a gredai oedd ar goll o’i waith. Ysgrifennodd yn ddiweddarach:

“Am eiliad, ymddangosodd eu pennau’n llwm yn erbyn llawnder yr haul… gyda’r goleuni o’u hamgylch, roedd cysgodluniau’r glowyr bron yn ddu… Fe’m lloriwyd gan ysblander yr olygfa… Bu’n ffynhonnell i’m gwaith am flynyddoedd i ddod.”

Gwelwn atsain o’r weledigaeth hon yn y llun o’r ffigwr wedi’i drochi mewn goleuni sy’n rhan o’n Harwerthiant Cymreig nesaf.

Ac felly, arhosodd Josef Herman yn Ystradgynlais, gan weithio mewn siarcol ac inc, yna pastelau, ac o’r diwedd olew. Aeth ati i atgynhyrchu lliwiau meysydd glo a chymunedau De Cymru: golygfeydd a gyflwynwyd ynghynt ond drwy fonocrom dogfennol ffotograffiaeth a ffilm. Ymhyfrydodd yn symudliw Cymru: glas

Yn gyndyn ac araf y symudodd o Gymru. Dywed rhai ffynonellau fod y tywydd yn niweidiol i’w iechyd. Ond diddorol yw nodi fod ei weddw, mewn rhagair i gyfrol o’i waith ysgrifenedig, yn tynnu sylw at y ffaith fod y penodau bywgraffiadol yn dod i ben gyda’i ymadawiad ag Ystradgynlais. Tybiai fod gadael y pentref wedi deffro atgofion ei gŵr o adael Warsaw yn 1938.

Ond yn wahanol i’r atgofion poenus o Wlad Pwyl, dewisodd Herman fyth anghofio’r hyn a gafodd yn Ystradgynlais. Wrth fyw yn Swydd Suffolk ac yna Llundain, arferai droi’n gyson at fotiff y glowyr. Ac ar ei deithiau – i Ewrop, yr Unol Daleithiau a Mecsico – erys yn ei liwiau a’i bortread o bobl yr un weledigaeth a datguddiad a brofodd yng Nghymru.

Yn sgil ysgytwadau ei ieuenctid ac yna euogrwydd y goroeswr a’i dilynodd, wfftia Joseff Herman yr oll oedd yn wamal. Roedd yn benderfynol o “edrych ar luniau oedd yn gwbl glir o’r dibwys a’r diangen.” Roedd yn gwerthfawrogi a chasglu celfyddyd llwythau Affrica a chreiriau Chyn-Colombaidd, gan weld ac adnabod ynddynt ei chwaethau moel ei hun. Mae’n trafod ei waith mewn termau dwys, o beintio pobl “wedi’u porthi gan draddodiad, eu ffurfio gan lafur a’u cyffwrdd gan ddyhead.” Roedd atgof ei draddodiad ei hun yn rhy boenus i’w amgyffred, ond cafodd achubiaeth drwy ei waith a bu’n dyheu drwy gydol ei oes am gyfleoedd i werthfawrogi “serenedd dyn.”

Fe soniais ar y cychwyn fod yna bresenoldeb yn perthyn i waith Josef Herman. Credaf ei fod yn bresenoldeb lliniarol ac ansentimental: yn atgoffâd llwm o ddaioni’r ddynoliaeth. Y daioni hwnnw y cafodd gip arno yn Ystradgynlais ac a fu’n ddylanwad ar yr holl waith a gynhyrchodd o hynny ymlaen.

Opening Arfon’s eyes to the world of art

Arfon Haines-Davies recounts memories of when he first fell in love with Welsh art via a Caernarfon artist who took a while to make it big...

As a teenager in the early 60’s I used to spend the summer holidays with my grandparents in Caernarfon. While there I also spent far too much time with friends in a café called The Manticore which was opposite the castle entrance. This is where I learned how to make a cup of frothy coffee last almost two hours (great juke box as well!)

Next door was a shop called Gray Thomas which sold all sorts of souvenirs and also art materials. In the large shop window there would always be a few paintings for sale, mostly colourful Snowdonia scenes with usually a tranquil lake in the foreground.

The rugged mountains were painted with oil that was applied so thickly that you just had to touch it! In contrast, the lakes always looked as smooth as silk. The artist’s name was Charles Wyatt Warren and I absolutely fell in love with his work! It was not just the art, there was also something very appealing about the letter box

shape of the paintings and the hessian frames which have become synonymous with his work.

Unfortunately I never had the opportunity of meeting him and have often wondered what sort of person he was. All I knew was that he lived in Caernarfon and drove an open top Triumph!

Someone who did know him well was the portrait artist David Griffiths….How would he describe him?

“A charming, sociable yet diffident gentleman who was the Chief Clerk with Caernarfonshire County Council. He was a workaholic who made his own frames, cut the board and would paint early morning and late into the night.

When I left teaching in 1964 I opened a gallery in Pwllheli and Donald McIntyre suggested that I invited Charles Wyatt Warren to exhibit as at the time he was showing at the Sandbach café in Llandudno. Needless to say he was a great success with both the tourists and locals.

So when I opened The David Griffiths Gallery in Cardiff in 1965 (now The Albany) the first exhibition was works by Charles Wyatt Warren. I obviously knew of his popularity in North Wales but have to admit I was slightly concerned as to how popular his work would be in the South. I needn’t have worried, as it was a total sell out and even made the news in The Western Mail!”

I asked David how did he think Charles would feel about the current popularity of his work.

“He would be over the moon! He knew that when he was selling in cafes in North Wales that tourists were buying his work to take back home to the Midlands as a momento of their holiday. He’d be highly thrilled to know that the Welsh and even further afield art buying public were bidding in a prestigious auction for his work…. and at such prices! A truly unassuming gentleman!”

There is no doubt that there has been a resurgence of interest in Charles Wyatt Warren during the past ten years.

Even twenty years or so ago, I remember filming a car boot sale on Anglesey and seeing a couple of his paintings being offered..… £65 each or £120 for the pair! How times have changed!

I also remember a few years ago when for the first time a Charles Wyatt Warren was sold at auction for over £1,000 and David Rogers Jones turning to me and saying in his inimitable way “Wel Wel Wel..pwy fasa’n meddwl!” (Well Well Well ..who’d have thought!). It was at that point when we realise that Wyatt Warren had finally made it big (or big in terms of twentieth Century Welsh artists from Caernarfon, at least)!

There cannot have been a more prolific artist than Charles Wyatt Warren. It’s quite remarkable how this unassuming, self taught “Cofi” has found his way into homes all across the UK.

There is no doubt that his most popular images are paintings of Yr Wyddfa from Llyn Llydaw, Gwynant, Nantlle or Mymbyr with his signature silver birch trees strategically placed along the shore.

This Welsh Sale shows us that there was a lot more to Charles Wyatt Warren than this with paintings of Market Street, Beaumaris and even the castle itself. There’s a rare seascape and a detailed study of the Menai Suspension Bridge and, my favourite, an atmospheric, panoramic view of Porth Cwyfan. More evidence if needed of his versatility.

However if you prefer the highly popular views of Yr Wyddfa, then fear not …there are plenty of those in the Sale as well!

Personally I feel incredibly indebted to Charles Wyatt Warrren…. all those years ago in Caernarfon, he was my introduction to art and for that I can only say Diolch!

Agor Llygaid Arfon i Fyd Celf

Arfon Haines-Davies sy’n hel atgofion o’r adeg y syrthiodd mewn cariad â chelf Gymreig am y tro cyntaf trwy artist o Gaernarfon a gymerodd sbel i gyrraedd amlygrwydd.

Yn fy arddegau ar ddechrau’r 60au, roeddwn i’n arfer treulio gwyliau’r haf gyda fy nain a thaid yng Nghaernarfon. Tra yno, treuliais lawer gormod o amser gyda ffrindiau mewn caffi o’r enw The Manticore a oedd gyferbyn â mynedfa’r castell. Dyma lle dysgais sut i wneud paned o goffi ewynnog para bron i ddwy awr (roedd jiwcbocs gwych hefyd!)

Drws nesaf roedd siop o’r enw Gray Thomas a oedd yn gwerthu pob math o swfenîrs a hefyd deunyddiau celf. Yn ffenest fawr y siop, byddai sawl darlun ar werth bob amser, yn bennaf golygfeydd lliwgar o Eryri gyda llyn tawel fel arfer yn y blaendir.

Roedd y mynyddoedd geirwon wedi’u taenu ag olew mor drwchus fel bod yn rhaid i chi ei gyffwrdd! Mewn cyferbyniad, roedd y llynnoedd bob amser yn edrych mor llyfn â sidan. Enw’r artist oedd Charles Wyatt Warren a syrthiais mewn cariad â’i waith yn llwyr!

Nid dim ond gyda’r celf ei hun, roedd yna hefyd rywbeth apelgar iawn am siâp blwch llythyrau y paentiadau a’r fframiau hesian sydd wedi dod yn gyfystyr â’i waith.

Yn anffodus, ches i erioed y cyfle i gwrdd ag ef a dwi wedi pendroni yn aml pa fath o berson oedd o. Y cyfan roeddwn i’n ei wybod oedd ei fod yn byw yng Nghaernarfon ac yn gyrru Triumph top agored!

Rhywun oedd yn ei adnabod yn dda oedd yr arlunydd portreadau David Griffiths….Sut byddai ef yn ei ddisgrifio?

“Gŵr bonheddig hoffus, cymdeithasol ond swil oedd yn Brif Glerc Cyngor Sir Gaernarfon. Roedd yn weithiwr di-baid a oedd yn gwneud ei fframiau ei hun, torri’r bwrdd a byddai’n paentio yn gynnar yn y bore ac yn hwyr yn y nos.

“Pan adewais i ddysgu yn 1964, agorais oriel ym Mhwllheli ac awgrymodd Donald McIntyre fy mod yn gwahodd Charles Wyatt Warren i arddangos gan ei fod, ar y pryd, yn dangos yng nghaffi Sandbach yn Llandudno. Does dim angen dweud ei fod yn llwyddiant mawr gyda’r twristiaid a’r bobl leol.

“Felly pan agorais Oriel David Griffiths yng Nghaerdydd yn 1965 (Yr Albany bellach) gweithiau gan Charles Wyatt Warren oedd yr arddangosfa gyntaf. Roeddwn i’n amlwg yn gwybod am ei boblogrwydd yn y Gogledd ond, rhaid i mi gyfaddef, roeddwn ychydig yn bryderus ynghylch pa mor boblogaidd fyddai ei waith yn y De. Doedd dim angen i mi fod wedi poeni, gan iddo werthu pob un, a hyd yn oed gyrraedd y newyddion yn y Western Mail!”

Gofynnais i David sut oedd yn meddwl y byddai Charles yn teimlo am boblogrwydd presennol ei waith.

“Byddai wrth ei fodd! Roedd yn gwybod pan oedd yn gwerthu mewn caffis yng Ngogledd Cymru bod twristiaid yn prynu ei waith i fynd adref gyda nhw i Ganolbarth Lloegr fel cofnod o’u gwyliau. Byddai wrth ei fodd o wybod bod y cyhoedd Cymreig ac ymhellach nawr yn cynnig am ei waith mewn arwerthiant fawreddog… ac am brisiau o’r fath! Bonheddwr gwirioneddol ddiymhongar!”

Does dim amheuaeth bod adfywiad wedi bod yn y diddordeb yng ngwaith Charles Wyatt Warren yn ystod y deng mlynedd diwethaf.

Hyd yn oed tua ugain mlynedd yn ôl, dwi’n cofio ffilmio sêl cist car ar Ynys Môn a gweld cwpl o’i luniau’n cael eu cynnig..…£65 yr un neu £120 am bâr! Sut mae amseroedd wedi newid!

Cofiaf hefyd rai blynyddoedd yn ôl pan y gwerthwyd darlun gan Charles Wyatt Warren mewn arwerthiant am dros £1,000 am y tro cyntaf. Dyma David Rogers Jones yn troi ataf a dweud yn ei ffordd ddihafal “Wel Wel Wel..pwy fasa’n meddwl!” Dyna pryd y sylweddolon ni fod Wyatt Warren o’r diwedd wedi cyrraedd y brig (o ran artistiaid Cymreig yr ugeinfed Ganrif o Gaernarfon, o leiaf)!

Does dim un arlunydd mwy cynhyrchiol na Charles Wyatt Warren. Mae’n rhyfeddol sut mae’r “Cofi” diymhongar, hunanddysgedig hwn wedi dod o hyd i’w ffordd i gartrefi ledled y DU.

Does dim dwywaith mai ei ddelweddau mwyaf poblogaidd yw paentiadau o’r Wyddfa o Lyn Llydaw, Gwynant, Nantlle neu Mymbyr gyda choed bedw arian, ei arwyddnod, wedi eu gosod yn strategol ar hyd y lan.

Mae’r Arwerthiant Cymreig hwn yn dangos i ni fod llawer mwy i Charles Wyatt Warren na hyn gyda phaentiadau o Stryd y Farchnad, Biwmares a hyd yn oed y castell ei hun. Mae yma forlun prin ac astudiaeth fanwl o Bont Menai a, fy hoff un i, golygfa panoramig, atmosfferig o Borth Cwyfan. Mwy o dystiolaeth, os oes angen, o’i hyblygrwydd.

Fodd bynnag, os yw’n well gennych y golygfeydd hynod boblogaidd o’r Wyddfa, peidiwch ag ofni …mae digon o’r rheini yn y Arwerthiant hefyd!

Yn bersonol dwi’n teimlo’n hynod ddiolchgar i Charles Wyatt Warrren … yr holl flynyddoedd ‘na yn ôl yng Nghaernarfon, ef oedd fy nghyflwyniad i gelf ac am hynny ni allaf ond dweud Diolch!

‘“No Welsh Art”: Exploring the myth’ is the title of an exhibition at the Gregynog Gallery of the National Library of Wales, which opens on 16 November 2024. The exhibition includes over 250 works and is unusual in that more than half of them are drawn from the collection of the art historian Peter Lord, who has also curated the show. Parthian Books have reprinted Peter’s volume, ‘The Tradition: A New History of Welsh Art’, to accompany the exhibition.

Edward Owen, Penrhos, Hunan-bortread

Self-portrait, 1732

Casgliad / Collection: Peter Lord

No Welsh Art?

‘So much for the past. No patron, no critic, therefore no painter, no sculptor, no Welsh art. It is as simple as that.’

Writing in 1950, Dr Llewelyn Wyn Griffith repeated the received wisdom about historic art in Wales. There was none. It was ‘as simple as that’. Dr Griffith was the Chair of the Welsh Committee of the Arts Council of Great Britain and subsequently Deputy Chair of the Council as a whole – the most important arts institution in the United Kingdom. Because they came from this apparently authoritative source, his opinions and those of others like him were highly influential. They reinforced the myth of ‘No Welsh Art’ – the myth of Wales as a nation with a congenital cultural deficiency. As the editor of The Times had expressed it in 1866, reviewing an exhibition of Welsh art and industries: ‘All the progress and civilization in Wales has come from England, and a sensible Welshman would direct all his endeavours towards inducing his countrymen to appreciate their neighbours instead of themselves.’ This idea took a deep and a damaging hold. The people of Wales were persuaded that a large part of their cultural inheritance was of no value. Even today, seventy-five years after Dr Griffith restated the myth, it continues to resonate, especially outside our country.

Yet, for all Dr Griffith’s eminence, it was a myth based on prejudice and not on evidence. Griffith shared with most of his contemporaries a highly exclusive definition of art. In 1978, for instance, the historian John Ingamells wrote the introduction to a book entitled Art in Wales. Like Griffith, nearly 30 years before him, his view was that ‘only the newest and most accomplished skills’ could be called art: ‘Hence, folk art has been excluded.’ But many of the most significant aspects of the visual culture of Wales, including that described by Ingamells as ‘folk art’, fell outside the exclusive definition that he and Griffith used. The ‘high art’ tradition that they followed was of limited relevance to Wales as a whole, because it was expressed only in the patronage of the gentry and in pictures painted by academically trained artists briefly visiting the country. As a result, the largest part of the visual culture of Wales remained unexplored by historians. Indeed, it was simply unseen by them – and, consequentially, unseen also by the people of Wales. Griffith wrote his denial of historic Welsh art 75 years ago, but it continues to strike a chord. Just a few years ago, a television series about our visual culture was offered in London a television programme commissioner who responded with a suggested title of ‘Welsh art – really?’

Anhysbys, Arwydd Tafarn Hanner-y-Ffordd, Dyffryn Conwy, c.1835

Anon., Sign of the Hanner-y-Ffordd Inn, Conwy Valley, c.1835

Casgliad / Collection: Peter Lord

[Rogers Jones, Bae Colwyn / Colwyn Bay, 18.03.2024]

Through publications and the development of the art market, the last three decades of research have revealed a large body of previously unseen Welsh pictures and artefacts. Nevertheless, and perhaps uniquely in Europe, our country still has no place where our visual heritage can be seen by the people, presented within narratives that place the nation first and the conventions of high art history second. The importance of the unseen work lies in its significance for the understanding of the national pathway. It has both reflected and influenced that pathway, from its foundation myths to its modern political status in the context of its religious traditions, its natural resources, its fluctuating periods of poverty and prosperity, its social-class structure, its internal tensions, its international associations, its language, its literature, its music and its dance. All these markers along the national pathway are expressed in paintings and artefacts.

Anhysbys, Helfa Gogerddan, c.1860

Casgliad: Llyfrgell Genedlaethol Cymru

Anon., The Gogerddan Hunt, c.1860

Collection: National Library of Wales

The conventions of mainstream western art history are now widely challenged, but still there is no response in Wales that expresses our colonialised experience in the form of a truly national gallery, and contextualises our pathway within that of other small nations and peoples around the world. The exhibition at the National Library deconstructs, step by step – patrons, critics, and artists –Griffith’s allegation that there was nothing to be seen, and reveals the richness of the visual culture that he denied. The exhibition proposes a model for the interpretation of visual culture in Wales and, indeed, potentially in other small nations marginal to mainstream interpretations of western art history. Despite decades of challenge by historians working from diverse other perspectives, these interpretations continue to dominate our public collections. Peter Lord

‘“Dim Celf Gymreig” Archwilio’r Myth’ yw teitl arddangosfa fydd yn agor yn

Oriel Gregynog, Llyfrgell Genedlaethol Cymru, ar 16 Tachwedd 2024. Bydd yr arddangosfa’n cynnwys dros 250 o weithiau, ac mae’n anarferol gan fod mwy na hanner ohonynt ar fenthyg o gasgliad yr hanesydd celf Peter Lord, sydd hefyd wedi curadu’r sioe. Mae Parthian Books wedi ail-gyhoeddi cyfrol

Peter, ‘The Tradition: A New History of Welsh Art’, i gyd-fynd â’r arddangosfa.

Maurice Sochachewsky, ‘Eu Baich’ / ‘Their Burden’, 1937

Wrth ysgrifennu ym 1950, ail-adroddodd Dr Llewelyn Wyn Griffith ddoethineb ei gyfnod am gelfyddyd hanesyddol Gymreig. Nid oedd yn bodoli. Yr oedd ‘mor syml a hynny’. Cadeirydd Pwyllgor Cymreig Cyngor Celfyddydau Prydain Fawr oedd Dr Griffith ac, yn ddiweddarach, yn Is-gadeirydd y Cyngor cyfan – sefydiad celfyddydol pwysicaf y Deyrnas Unedig. Siaradai Griffith gydag awdurdod felly, a chafodd ei syniadau, a syniadau pobl tebyg iddo, ddylanwad mawr. Atgyfnerthwyd y myth nad oedd celfyddyd weledol i gael yng Nghymru – y myth bod diffyg diwyllianol cynhenid ar y genedl. ‘All the progress and civilization in Wales has come from England, and a sensible Welshman would direct all his endeavours towards inducing his countrymen to appreciate their neighbours instead of themselves’, meddai golygydd The Times wrth adolygu arddangosfa o weithiau celf a diwydiant ym 1866. Cydiodd y myth yn dyn ym meddyliau’r bobl, gydag effeithiau dinistriol. Daeth pobl Cymru i gredu fod elfen grai o’i hetifeddiaeth ddiwylliannol yn ddiwerth. Hyd yn oed heddiw, saith-deg pum mlynedd ar ôl i Dr Griffith ail-adrodd y myth, mae i’w glywed o hyd, yn arbennig y tu hwnt i Gymru.

Casgliad / Collection: Peter Lord [Rogers Jones, Bae Colwyn / Colwyn Bay, 29.10.2011]

Dim Celf Gymreig?

‘So much for the past. No patron, no critic, therefore no painter, no sculptor, no Welsh art. It is as simple as that.’

Er gwaethaf statws Dr Griffith, rhagfarn a nid tystiolaeth oedd wrth wraidd y myth. Fel y rhan fwyaf o’i gydoeswyr, roedd ganddo syniadau cul am natur celfyddyd. Ym 1978, ysgrifenodd yr hanesydd John Ingamells gyflwyniad i’r gyfrol Art in Wales. Fel Griffith, credai y gellid defnyddio’r gair ‘celfyddyd’ i ddisgrifio’r ‘sgiliau mwya newydd a soffistigedig’ yn unig. ‘O ganlyniad’, meddai, ‘mae celfyddyd y werin wedi’i chau allan’ o’r gyfrol. Ond mae llawer o elfennau mwyaf arwyddocaol ein diwylliant gweledol – megis celfyddyd y werin – yn sefyll y tu allan i’r diffiniad cul o gelfyddyd a arferai gan Ingamells a Griffith. Nid oedd y traddodiad o ‘gelfyddyd uchel’ yr oeddynt yn ei ffafrio yn berthnasol iawn i Gymru oherwydd cafodd ei amlygu yn unig ar ffurf nawdd y bonedd ac mewn darluniau a wnaed gan arlunwyr academaidd ar

eu teithiau byr drwy’r wlad. O ganlyniad, ni chafodd y rhan fwyaf o ddiwylliant gweledol Cymru ei archwilio gan haneswyr. Yn wir, roedd yn anweladwy iddynt ac, o ganlyniad, yn anweladwy hefyd i bobl Cymru. Ychydig yn unig o flynyddoedd yn ôl, cafodd syniad am gyfres deledu ar gelfyddyd Gymreig ei chynnig yn Llundain i gomisiynydd rhaglenni. ‘Welsh art – really?’ oedd awgrym y comisiynydd fel teitl.

Drwy gyhoeddiadau a datblygiad y farchnad gelf, mae tri degawd o waith ymchwil wedi datgelu corff sylweddol o ddarluniau a gwrthrychau na welwyd mohonynt o’r blaen. Serch hynny – ac efallai rydym yn unigryw yn hyn o beth ledled Ewrop – nid oes gennym ganolfan yng Nghymru i arddangos ein etifeddiaeth weledol i’r cyhoedd o fewn naratifau sydd yn gosod pwysigrwydd y gwaith i’r genedl o flaen ei berthnasedd i gonfensiynau celfyddyd uchel. Mae diwylliant gweledol Cymru o bwys am y golau mae’n taflu ar lwybr hanesyddol y genedl. O gyfnod ein mythau cynnar i gwestiwn ein statws gwleidyddol cyfoes mae wedi adlewyrchu ac wedi dylanwadu, ill dau, ar gyfeiriad y llwybr hwnnw. Mae wedi amlygu’i hun yn ein traddodiadau crefyddol, ein hagwedd tuag at

John Lewis, Elizabeth Gwynne, Taliaris, c.1736

Casgliad / Collection: Peter Lord

adnoddau naturiol, ein cyfnodau o dlodi a chyfoeth, ein strwythur cymdeithasol a thyndrâu mewnol, ac ein cysylltiadau rhyngwladol; mae’n bresennol yn ein hiaith, llenyddiaeth, cerddoriaeth a dawns. Mae pob agwedd o’r llwybr cenedlaethol wedi cael ei mynegi mewn darluniau a gwrthrychau.

Heddiw, mae confensiynau prif-ffrwd hanes celfyddyd y gorllewin o dan y lach, ond hyd yn hyn nid yw Cymru wedi ymateb drwy greu sefydliad sydd yn mynegi ein profiad trefedigaethol ar ffurf oriel gelf wir genedlaethol, ac sydd yn gosod ein llwybr hanesyddol ochr yn ochr â phrofiad cenhedloedd bychain eraill ledled y byd. Cam wrth gam, mae arddangosfa newydd y Llyfrgell Genedlaethol yn dadgymalu cyhuddiadau negyddol Griffith nad oedd dim noddwyr, beirniaid, nac artistiaid yng Nghymru, er mwyn datgelu’r cyfoeth sydd. Mae’r arddangosfa’n cynnig model am ddehongliad pwrpasol o ddiwylliant gweledol ein gwlad ac, o bosibl, yn fodel hefyd i genhedloedd bychain eraill a ystyrir yn ymylol i ddealltwriaethau traddodiadol o hanes celf y gorllewin. Er gwaethaf iddynt gael eu herio ers degawdau gan haneswyr yn gweithio y tu allan i’r fframwaith confensiynol, dyma’r dealltwriaethau sydd yn llywodraethu o hyd mewn orielau cyhoeddus. Peter Lord

Clara Knight, ‘Castell Conwy o’r Traeth’ ‘Conway Castle from the Shore’, c.1923–6

Casgliad / Collection: Peter Lord

Karl Johansen’s World of Treen

The word treen comes from the Old English word ‘treowen’ meaning ‘of wood’ and it is the term for small wooden objects used in everyday domestic, craft, rural, trade and professional settings as well as in ceremonial activities. Treen objects often have regional characteristics and even though many objects are functional, they were often decorated as though they are aesthetic objects to be enjoyed. The decoration can often be a clue to its country or regional origin. Collectors of treen are inspired by the craftmanship that each object represents and how objects convey social history. Treen values vary according to rarity of the object, the type of wood used, the age and critically the richness of patina.

— Karl Johansen

I was very pleased to call the late Karl Johansen a client and someone who I had got to know over the years as a buyer and a seller. Karl had an encyclopaedic knowledge of treen and on the occasions that I met Karl at the saleroom, I would invariably learn something new about this fascinating subject.

It was clear from our conversations, that Karl had amassed a significant collection. However, it wasn’t until I visited the family home in the summer of 2024 that I understood the scale involved. There were items in every room of the not-unsubstantial Cardiff home. Fortunately, and not wholly unexpectedly - bearing in mind the character of Karl, everything was highly organised with better items on display in groups on bespoke shelving, while other items stored neatly away in labelled containers. But there was treen everywhere, in cupboards, drawers and on display in every room.

Collecting treen had been Karl’s passion for over four decades. The interest had been sparked as a child when he studied his grandfather, a sea-captain from the days of full-rigged ships, carving a pine model yacht. Watching his grandfather inspired Karl to buy his first treen object – a fid (which to those who don’t know is a conical pin shaped tool used to splice rope). A life-long passion was launched.

With us all enslaved by mass production, cheaply laboured goods from overseas and plastic throwaways, Karl Johansen’s passion developed into a personal crusade. Karl wanted to do more than collect and display his collection at home, he wanted to educate. So, through numerous exhibitions and through show-and-tell discussions with various clubs and organisations, Karl was able to demonstrate his superior life-learnt knowledge and passion to many people. He was intent on demonstrating that everyday objects could be beautiful, could have character and could be unique in their form. Also, Karl wanted to show the public, especially children, that everyday problems can be solved through human ingenuity and craft rather than purchasing. But sourcing items took up a much greater time than showing, Karl’s daughter Susie recalls;

“Weekends would be punctuated by visits to antique fairs where our father would find wooden treasures and identify and tell us its original use. He’d explain that this fine polished, screw-topped, wooden, bottle shaped box would actually have been carried in a doctor’s bag to hold glass medicine bottles safely, or that a simple flattened, rounded and polished ‘stick’ was really used by a doctor as a tongue depressor. The differing properties of the woods determined their usage, with malleability, cost, availability and longevity important factors in each item’s creation. Nautical, agricultural and domestic items were also found and explained, and added to the next opportunity to share his knowledge and understanding’’

‘“We are, as a family, very keen for the items to be auctioned so that new owners can enjoy the objects as my father did. And it would be lovely to think that those new owners might share their knowledge of their new purchases with their children or grandchildren’’.

We were very proud to have been selected to represent the sale of Karl Johansen’s significant collection. The first tranche will be offered in a one-off auction which is now online for you to view. The remainder of the collection will be offered through sections in our Cardiff auctions in early 2025.

We have enjoyed the cataloguing process immensely; it has been a learning experience helped considerably by Karl’s detailed notes which included his own hand drawn diagrams of many objects in the collection. This meticulous and organic method in documentation was very typical of Karl’s scientific character.

By Ben Rogers Jones

Please book your appointment now to see the Karl Johansen collection.

Byd eitemau Treen

Karl Johansen

Yn yr Hen Saesneg, y gair am goeden oedd ‘treow’ ac mae’r gair treen wedi datblygu o’r gair ‘treowen’ sy’n golygu ‘rhywbeth o goeden’ neu yn hytrach, ‘rhywbeth o bren’ a dyma’r term am wrthrychau bach pren a ddefnyddir mewn lleoliadau domestig, crefft, gwledig, masnach a phroffesiynol bob dydd yn ogystal ag mewn gweithgareddau seremonïol. Yn aml mae gan eitemau treen nodweddion rhanbarthol ac er bod llawer o wrthrychau yn ymarferol, roeddent yn aml yn cael eu haddurno fel gwrthrychau esthetig i’w mwynhau. Yn aml gall yr addurn fod yn gliw i olrhain ei darddiad gwlad neu ranbarth. Mae casglwyr treen yn cael eu hysbrydoli gan y crefftwaith y mae pob gwrthrych yn ei gynrychioli a sut mae’r gwrthrychau yn cyfleu hanes cymdeithasol. Mae gwerth treen yn amrywio yn ôl pa mor brin yw’r gwrthrych, y math o bren sy’n cael ei ddefnyddio, oedran ac yn hollbwysig, pa mor gyfoethog yw’r sglein neu’r patina.

— Karl Johansen

Roeddwn yn falch iawn o alw’r diweddar Karl Johansen yn gleient ac yn rhywun yr oeddwn wedi dod i’w adnabod dros y blynyddoedd fel prynwr ac fel gwerthwr. Roedd gan Karl wybodaeth wyddoniadurol am wrthrychau treen ac ar yr achlysuron y gwnes i gyfarfod Karl yn yr ystafell arwerthu, byddwn yn ddieithriad yn dysgu rhywbeth newydd am y pwnc hynod ddiddorol hwn.

Roedd yn glir o’n sgyrsiau bod Karl wedi casglu casgliad arwyddocaol. Fodd bynnag, nes i mi ymweld â chartref y teulu yn haf 2024, doeddwn i ddim wedi deall y raddfa dan sylw!

Roedd eitemau ym mhob ystafell o’i gartref nid ansylweddol yng Nghaerdydd. Yn ffodus, ac nid yn hollol annisgwyl o gofio cymeriad Karl, roedd popeth yn drefnus iawn gyda’r eitemau gorau yn cael eu harddangos mewn grwpiau ar silffoedd pwrpasol, tra bod eitemau eraill yn cael eu storio’n daclus i ffwrdd mewn bocsus wedi’u labelu. Ond roedd treen ym mhobman, mewn cypyrddau, droriau ac yn cael eu harddangos ym mhob ystafell.

Roedd Karl wedi bod ag awch am gasglu treen ers dros bedwar degawd. Roedd y diddordeb wedi ei danio ynddo fel plentyn pan astudiodd ei dad-cu, capten môr o ddyddiau llongau llawn rigiau, yn cerfio model binwydden o gwch hwylio. Roedd gwylio ei dad-cu wedi ysbrydoli Karl i brynu ei wrthrych pren cyntaf – sef fid neu gweillen siâp pin conigol sy’n cael ei ddefnyddio i sbleisio rhaff. Lansiwyd angerdd gydol oes.

Dysgl bren sêm-rwber

Gymreig gyda sglein gyfoethog wych, y credid ei fod yn dyddio o’r 19eg Ganrif

19th Century believed Welsh treen seam-rubber with wonderful rich patina

Gyda phawb yn gaeth i fasgynhyrchu, nwyddau wedi’u llafurio’n rhad o dramor a mynydd o blastig o’n cwmpas, datblygodd angerdd Karl Johansen yn grwsâd personol. Roedd Karl eisiau gwneud mwy na chasglu ac arddangos ei gasgliad gartref, roedd am addysgu. Felly, trwy nifer o arddangosfeydd a thrwy drafodaethau dangos-a-dweud gyda chlybiau a sefydliadau amrywiol, roedd Karl yn gallu cyfleu ac arddangos ei wybodaeth eang yr oedd wedi’i ddysgu ar hyd ei oes drwy’i awch a’i angerdd. Roedd yn awyddus i ddangos y gallai gwrthrychau bob dydd fod yn hardd, y gallent fod â chymeriad ac yn unigryw yn eu ffurf. Hefyd, roedd Karl eisiau dangos i’r cyhoedd, yn enwedig plant, y gellir datrys problemau bob dydd trwy ddyfeisgarwch a chrefft dynol yn hytrach na phrynu. Ond roedd chwilota a dod i hyd i eitemau yn cymryd llawer mwy o’i amser nag arddangos, fel mae mae Susie, merch Karl, yn ei gofio:

“Byddai penwythnosau’n cael eu llenwi gydag ymweliadau â ffeiriau hen greiriau lle byddai ein tad yn dod o hyd i drysorau pren ac yn nodi a dweud wrthym beth oedd ei ddefnydd gwreiddiol. Byddai’n esbonio y byddai’r bocs pren gloyw, sgriw-top, siâp potel hwn mewn gwirionedd wedi cael ei gario mewn bag meddyg i ddal poteli meddyginiaeth gwydr yn ddiogel, neu fod ‘ffon’ syml, gwastad, crwn a gloyw, yn cael ei ddefnyddio mewn gwirionedd gan feddyg fel teclyn i ddal y dafod i lawr. Roedd priodweddau gwahanol y darnau pren yn pennu eu defnydd, gyda hydrinedd, cost, argaeledd a hirhoedledd yn ffactorau pwysig wrth greu pob eitem. Daethpwyd o hyd i eitemau morwrol, amaethyddol a domestig hefyd ac fe gai pob un eu hegluro, a’u hychwanegu at y cyfle nesaf i rannu ei wybodaeth a’i ddealltwriaeth’’

“’Rydym ni fel teulu yn awyddus iawn i’r eitemau gael eu gwerthu mewn ocsiwn er mwyn i berchnogion newydd allu mwynhau’r gwrthrychau fel y gwnaeth fy nhad. A byddai’n hyfryd meddwl y gallai’r perchnogion newydd hynny rannu eu gwybodaeth am eu pryniannau newydd gyda’u plant neu eu hwyrion a’u hwyresau hwythau.”

Roeddem yn falch iawn o gael ein dewis i gynrychioli gwerthiant casgliad arwyddocaol Karl Johansen. Bydd rhan gyntaf y casgliad yn cael ei chynnig mewn arwerthiant un-tro sydd bellach ar-lein i chi ei gweld. Bydd gweddill y casgliad yn cael ei gynnig drwy adrannau yn ein harwerthiannau yng Nghaerdydd yn gynnar yn 2025.

Rydym wedi mwynhau’r broses o gatalogio yn fawr; mae wedi bod yn addysg, ond mae nodiadau manwl Karl, a oedd yn cynnwys ei ddiagramau wedi’u tynnu â llaw o lawer o wrthrychau yn y casgliad, wedi helpu’n sylweddol. Roedd y dull manwl ac organig hwn o ddogfennu yn nodweddiadol iawn o gymeriad gwyddonol Karl.

Gan Ben Rogers Jones

Archebwch eich apwyntiad nawr i weld casgliad Karl Johansen.

LLUNDAIN YN GALW!

Rydym ni’n ymweld â chleientiaid yn Llundain yn rheolaidd, felly os ydych chi’n byw yn Llundain neu Dde Lloegr, ac am i brisiwr alw draw, yna rydym yn gaddo y byddwn ni yno ymhen pythefnos!

Kevin Sinnott gwerthwyd £27,000 18.11.23

Angen prisiad proffesiynol ar gyfer profiant neu yswiriant?

Oes casgliad o eitemau gyda chi sydd angen asesiad ar gyfer arwerthiant?

Boed yn gelf Gymreig, paentiadau Prydeinig a Chyfandirol, gemwaith, arian, pob math o hen bethau, celfyddyd gain Asiaidd, neu eitemau chwaraeon....

LONDON, WE’LL BE THERE!

We promise to visit any clients in London or the South within a fortnight of your call.

The Welsh Sale

Yr Arwerthiant Cymreig

10.30am 16.11.24

Welsh Antiques including Ceramics, Books & Furniture

Hen Bethau Cymreig gan gynnwys

Serameg, Llyfrau a Dodrefn

Lots

1-29

THE WELSH SALE/ YR ARWERTHIANT CYMREIG (10.30am)

1

SILVER MOUNTED EISTEDDFOD PRESENTATION CONDUCTOR’S BATON, Royal National Eisteddfod 1926, silver mounted maple, the handle engraved ‘Royal National Eisteddfod 1926, Presented to Eira Williams (Conductress) by Parents & Friends, of Canton Juvenile Choir’, hallmarks for London 1921, in lined case.

Provenance: consigned from Cardiff client

Notes: The Royal National Eisteddfod was held in Swansea in 1926 and was attended by the Duke & Duchess of York (later to be George VI and Queen Elizabeth) who were initiated as members of Gorsedd at Eisteddfod. The Canton Juvenile Choir was formed by Gwenllian Williams in 1926, with her daughters Eira and Marion continuing leadership in following years. The choirs came first in 1926 and went on to win the 1947 Llangollen Eisteddfod as well. It was initially made up of girls aged 12 (who were known as ‘snowflakes’).

Comments: excellent.

£100-200

2 MID-19TH CENTURY BLACK GLASS WINE BOTTLE with seal ‘Brynker’ (historic estate near Porthmadog) 30cms (h)

Provenance: private collection Gloucestershire

Comments: minor rim chips to the opening of the bottle

£150-200

VICTORIAN WELSH SLATE TOP TRIPOD TABLE having a circular moulded slate top painted with mountains of Eryri signed by J. T. Parry, on ebonised walnut column and cabriole legs, 53cms diam.

Provenance: private collection Kent

Comments: top with surface scratches.

£200-300 4

19TH C.WELSH STICKBACK ARMCHAIR, probably Carmarthenshire, one-piece steam-bowed arm-rail, supported by eight bars above two-piece shaped seat with flat front, on three straight legs wedgespliced through the seat, retains painted surface in most parts, 71 (w) x 81cms (h)

Provenance: private collection Hertfordshire

Comments: generally good, with minor paint loss as expected

£350-450

5

VINTAGE WELSH LADIES’ COSTUME, including ‘chimney’ tapered beaver hat, red and black striped betwyn, plaid shawl, black quilted bodice, and striped pais , presented on mannequin

Provenance: consigned from West Wales

Comments: some stitched repairs, hat with dents and minor damage, inspection advised all elements

£350-450

7 EARLY 18TH C. OAK WELSH DRESSER, Towy Valley, Carmarthenshire, c. 1720-50, shallow cavetto cornice above open 2-shelf rack, base fitted arrangement of 5 drawers in two registers, shaped apron, chamfered uprights, pot board base, tall bracket feet, 194 (h) x 173 (w) x 51cms

Provenance: with Richard Bebb; private collection Wiltshire

Auctioneer’s Notes: published Richard Bebb, Welsh Furniture 1250-1950, vol Two, pp.132-133, and fig 891, in which Bebb refers specifically to this dresser: “Many of the dressers in the south from the middle of the (18th) century bore a resemblance to those from the mid-Wales, such as an example form the Towy valley which had a base with a double row of drawers and deep ogee-shaped apron which was raised clear of the ground by tall bracket feet. It had a further feature, which became indicative of the district, whereby the omission of the backboards was compensated for by the addition horizontal bars below each shelf to hold the top of the plates, indicating a display of pewter to crockery of uniform size.”

Comments: good colour and patina overall, inspection advised, pewterware for illustrative purposes only and is not included

£2,000-3,000

6

19TH CENTURY WELSH STICK CHAIR

probably West Wales, two-piece bowed armrest above eleven ash bars, on half circle elm seat undercut, on four straight legs, traces of old paint under, 56 x 69cms

Provenance: consigned from West Wales

Comments: one leg later, some historic woodworm, good colour

£400-600

8

GWASG GREGYNOG: The Story of Heledd, by Glyn Jones & T.J. Morgan, edited by Jenny Rowland, with a Modernized Welsh Version of the Original Text, Engravings by Harry Brockway, 1994, tinted plates and illustrations, decorative printed paper boards, spine with white-lettered title, slim folio Limited edition (116/330)

Provenance: private collection Anglesey

Comments: excellent £100-150

9

GWASG GREGYNOG: Emynau Williams Pantycelyn, preface by Derec Llwyd Morgan, illustrated by Rhiain Davies, 1991, engraved plates, quarter green leather, decorative printed paper boards, gilt-lettered title, slim folio Limited edition (IX/C)

Provenance: private collection Anglesey

Comments: some foxing to page ends, otherwise v. good.

£150-200

10

GWASG GREGYNOG:

Hwiangerddi by Owen Morgan Edwards, edited by Hazel Walford Davies, illustrated by Jac Jones, 1995, initials and running titles printed in red, tinted plates, sky blue decorative silver embossed cloth, red-lettered title to spine, slim folio Limited edition (66/250)

Provenance: private collection Anglesey

Comments: excellent. £150-250

11

SHIRLEY JONES (Welsh b.1934)

two publications by the famed book artist entitled, ‘Shirley Jones and the Red Hen Press’ and ‘A Cautionary Tale’

Provenance: private collection Carmarthenshire

Comments: edge wear to both, ‘A Cautionary Tale’ has a tear in the cover £150-200

12

HUGHES-STANTON (PENELOPE) The WoodEngravings of Blair HughesStanton, Private Libraries Association, Pinner, together with Sandford (Christopher) Primeval Gods, Limited Edition (109/112), featuring eight engravings by Blair HughesStanton, Boar’s Head Press 1934, later bound and in slip case (2)

Provenance: private collection Carmarthenshire

Comments: both good overall, Primeval Gods has pencil and pen annotations but not on engravings pages £150-250

13

PAUL PETER PIECH / PRIVATE PRESS ten signed and linocutillustrated booklets, mostly limited editions, entitled: A Divine Image - William Blake (375/400); Four Friends - Franklin D. Roosevelt (20/240); Twice So Far - George Peele (signed by four artists); Poem To Rene (7/250); The One Huge Wrong (51/280); 2x It Can’t Affect Me & Other Poems - Lynn Middlehurst (221/235 & 86/235); A Little Neon From The Gods - 11 Poems by Peter Cundall (69/200); Please Listen - Poems by Nicola Alan (74/200); Reprisal - Hilary Patrick Bruno (21/150) (10)

Provenance: private collection Netherlands

Comments: all good fresh copies, rare £200-400

14

RURAL WALES ARTISTS PORTFOLIO

published by the Welsh Arts Council this publication contains works by seven Internationally renowned artists who live and work in Wales including Peter Prendergast and David Tress

Provenance: private collection Carmarthenshire

Comments: foxing to the front pages, light shelf wear

£200-300

15

JONES (DAVID) ‘THE BOOK OF JONAH’, taken from the authorized version of King James I with engravings on wood by David Jones, Limited Edition No. XXXIII/C (33/100), Clover Hill Editions, Douglas Cleverdon 1979, 4to, original green Morocco-backed boards with fish design by Jones, with an extra suite of 13 engravings on japon in a pocket on inside back cover, green sleeve

Provenance: private collection Carmarthenshire

Comments: good overall, some light wear to spines and extremities commensurate with age, minor staining to pages, viewing recommended £200-300

16

JONES (DAVID) ‘THE CHESTER PLAY OF THE DELUGE’, with ten woodengravings by David Jones, Limited Edition No. XLII/LXXX (42/80), Clover Hill Editions, London 1977, printed by Will Carter at the Rampant Lions Press on Barcham Green handmade paper in the Golden Cockerel type designed by Eric Gill, additional suite of engravings loose as issued in cloth chemise, in slipcase bearing paper label to the spine

Provenance: private collection Carmarthenshire

Comments: good overall, some light wear to spines and extremities commensurate with age, minor staining to pages, viewing recommended £200-400

17

GWASG GREGYNOG: H wiangerddi by Owen Morgan Edwards, edited by Hazel Walford Davies, illustrated by Jac Jones, 1995, initials and running titles printed in red, tinted plates, quarter crushed sky blue Morocco by Alan Wood, gilt-lettered title to spine, slim folio Limited edition (XLV/C), grey slipcase

Provenance: private collection Anglesey

Comments: excellent £200-300

18

FRANK BRANGWYN INTEREST: FINE ART SOCIETY. Catalogue of the Etched Work of Frank Brangwyn…, 1st edition, London 1912, numerous monochrome illustrations, some light toning, original brown cloth with vellum spine label with split edges to upper half, slight rubbed, S.T.C. Weeks bookplate and ink signature, folio; THE STUDIO. Famous Water-Colour Painters / Frank Brangwyn R.A., 1st edition, London 1928, 8 colour plates as called for, red paper covers, spine partially deficient but paper retained, spotting to endpapers, rubbed, 4to; BRANGWYN (FRANK) Belgium. 1st edition, London 1916, 52 plates after etchings by Brangwyn as called for, light toning and spotting, blue paper covers embossed with buff buckram spine, 4to; GAUNT (W) The Etchings of Frank Brangwyn R.A. A Catalogue Raisonne. Achenbach’s bookplate, grey paper boards hilt with vellum spine damaged to base, mild spotting to endpapers, 4to; BRANGWYN (FRANK) Book Plates. Westminster 1920, 1st edition, original cloth, spine with library numeral notation, 4to; BRANGWYN (FRANK) Windmills. 1st edition, London 1923, frontis. plates and other illustrations, orig. yellow cloth with orange dw repaired, 4to; SHAW-SPARROW (WALTER) Frank Brangwyn & His Work 1910. Col. frontis & plates, orig. pict. grey cloth soiled, rubbing, London 1910, 4to; BRANGWYN (FRANK) & SPARROW (WALTER SHAW) Book of Bridges. 1st edition, pictorial brown cloth, with 72 plates (36 in colour), bound with new endpapers, London 1915, 4to; HUTTON (EDWARD) The Pageant of Venice. 1st edition, Ill Frank Brangwyn, London, John Lane, 1922, large 4to, original buff cloth, large 4to; FURST (HERBERT) The Decorative Art of Frank Brangwyn. 1st edition, London 1924, 33 colour and 150 monochrome reproductions, mild spotting, original beige cloth with partial fading, large 4to; and a partial dw for God in the Slums by Hugh Redwood (11)

Provenance: private collection Middlesex £300-500

19

RARE EWENNY TERRACOTTA PLAQUE dated 1918, front moulded with Christ on the Cross, within biblical verse and floral borders, incised ‘Ewenny Pottery 1918’ verso, 35 x 27cms

Provenance: private collection Swansea

Comments: surface wear, old chips, inspection advised £200-400

20

RARE EWENNY ‘Y MOCHYN GWYLLT’ ZOOMORPHIC JUG, speckled and plain two-tone green glazed terracotta, with sgraffito details and legend, base incised ‘Ewenny Pottery 1910’ in the distinctive script of E. Jenkins, 19.2cms (h)

Provenance: consigned from West Wales Auctioneer’s Notes: this shape of jug made by Ewenny potters is from a design by Horace Elliot, registered in 1890. See J M Lewis, The Ewenny Potteries (1982), pp 28-31 and p.96. The Welsh legend translates as ‘The Wild Pig’.

Comments: excellent all over # £600-800

21

RARE LLANELLY POTTERY COCKEREL PLATE, with shallow scalloped edge, painted in the centre with bird and foliage within solid green lobed border, base has painted initials ‘JM’ or ‘GM’ in grey, 25cms (diam.)

Auctioneer’s Note: compare with a dish with similar solid border sold Rogers Jones & Co., 5 Sept 2015, lot 46, probably painted by the same hand

Comments: old chip to foot-ring, crazing to glaze as usual # £300-500

LLANELLY POTTERY COCKEREL PLATE

circa 1900, naively painted with a standing cockerel and plants, within blue sponged border between claret lines, wavy rim, 25cms (diam.)

Provenance: private collection Swansea

Auctioneer’s Note: these primitive and vibrantly decorated plates are icons of Welsh design, the work of Sara Jane Roberts, who is now appreciated as a folk artist with a uniquely distinctive style. It is thought that Sarah, also known as Aunt Sal, was left-handed and produced all the cockerel plates from the pottery

Comments: very good overall # £300-500

RARE LLANELLY POTTERY DISH having a wavy rim, painted to the centre with portrait of a standing lady in Welsh costume (being Mari Jones ‘The Bible Girl’) within green and pink line borders, titled ‘The Land of the Leek’ to the lower border, base with printed ‘Llanelly’ backstamp in green, 24cms (diam)

Provenance: Birkett Collection; consigned from West Wales

Comments: blue-black spotted in-glaze imperfections, no damage # £300-400

SWANSEA PORCELAIN TRIO circa 1815-17, richly decorated with set pattern ‘219’ of panels of European flowers reserved on mazarine blue ground with Japanese style chrysanthemum in iron red and gilt, comprising London shape teacup, saucer and plate, red SWANSEA stencilled marks (3)

Provenance: private collection North Wales

Comments: light wear to handle, light scratches to gilding, slight cavetto stacking wear, interior base of cup with glaze scratches, plate with some glaze bubbles under the decorations, otherwise good # £120-180 26

LLANELLY POTTERY PLATE probably painted by Samuel Walter Shufflebotham, green and pink banded borders, centre with portrait of a standing lady in Welsh costume being Mari Jones of Bala, aka ‘The Bible Girl’, titled ‘Wales’ to the border, printed ‘Llanelly’ mark in green to base, 24.3cms (diam.)

Provenance: private collection Liverpool Auctioneer’s Note: compare with another signed with initials of the artist, sold Rogers Jones & Co, 10 Sept 2016, lot 16; another 20 Feb 2016 lot 9.

Comments: minor glaze crazing as usual # £400-600

SWANSEA PORCELAIN DESSERT PLATE circa 1815-1817, probably painted by William Pollard with roses to the centre, wildflower sprigs and wild strawberries to the moulded border, gilt lambrequin cavetto, with original printed paper Cyril Kieft collection label inscribed in ink ‘11’, red stencilled SWANSEA mark, 21.5cms (diam.)

Provenance: ex. Phillips Auction #016, lot 90; private collection Swansea Auctioneer’s note: Cyril Kieft was born in Swansea, a noted businessman and industrialist he built-up a large collection of Swansea and Nantgarw porcelain Comments: mark rubbed, small firing fault to rim, otherwise good and fresh # £200-300

27

SWANSEA PORCELAIN

VASE, of classical form, painted with flowers, the shoulders with gilt ram’s head handles, socle base and square plinth painted with four insects, gilt bands and borders, base with Harry Sherman collection paper label no. 163, 16.2cms (h)

Provenance: Harry Sherman; private collection Flintshire

Comments: gilt rubbed, one handle restored #

£300-500

28

RARE SWANSEA PORCELAIN EGGCUP STAND circa 1815-1817, of trefoil shape on splayed base, complete with matching trio of Swansea eggcups, all with gilt line decoration, stand with red Swansea script mark, 13 x 13 x 6.8cms (4)

Provenance: private collection Swansea

Auctioneer’s Note: Cf. W.D. John, Swansea Porcelain (1958), illustration 81C for identical stand from the Sidney Heath Collection. Although still rare, Swansea six-cup stands are more common than this small triple-cup egg-stand

Comments: very good overall #

£300-600

29

RARE SWANSEA PORCELAIN BOTANICAL PLATE

FROM THE GOSFORD CASTLE SERVICE circa 1815-17, painted with a spray of purple tulips & forget-me-nots, within gilt neo-classical border of urns and scrollwork, with original printed Gosford Castle collection label inscribed in ink ‘38’, 23.2cms (diam.)

Provenance: ex. Phillips Auction sale 016, lot 66; private collection Swansea

Auctioneer’s note: two Swansea services of this pattern are recorded, the Gosford Castle service and the Marquis of Exeter service. Apart from subtle differences in the design of the gilded border, the distinguishing feature between them is that the Gosford Castle service is unmarked (as with this lot), but the Marquis of Exeter service bears an impressed Swansea mark. The workshop responsible for the fine quality botanical painting found on both sets is not known. Gosford Castle is a 19th-century country house situated in Gosford, a townland of Markethill, County Armagh, Northern Ireland. It was built for Archibald Acheson, 2nd Earl of Gosford, and designed in the Norman revival style by London architect Thomas Hopper. The Earls of Gosford occupied the castle until 1921

Comments: hairline cracks to cavetto and foot #

£1,000-1,500

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Prints & Multiples

33

30

‡ JOHN ELWYN limited edition (artist proof XIII/XX) lithographentitled verso, ‘Breckonshire Farm’ on Martin Tinney Gallery label, signed, 40 x 57cms

Provenance: private collection Vale of Glamorgan

Comments: paper starting to discolour £150-250

31

‡ JOHN ELWYN rare limited edition (4/100) etching - two men in conversation, signed and dated 1975, 20 x 30cms

Provenance: private collection Ynys Môn £150-200

32

‡ JOHN ELWYN original 1960 lithographic advertising poster for General Post Office - - ‘Hambledon Village - the Cradle of Cricket…Please use your Correct Address’, 68 x 83.5cms

Auctioneers Note: the artist was commissioned to depict the historic rural village of Hambledon in Hampshire. Founded in 1750, Hambledon Cricket Club developed the modern rules of cricket at the Bat and Ball public house.

Provenance: private collection Ceredigion

Comments: poster framed in fine uncreased condition, edges not visible beneath card mount £200-400

‡ JOHN ELWYN limited edition (192/300) lithograph‘Laugharne Estuary from Dylan Thomas’ Boathouse’, signed and dated 1988, 35 x 52cms

Auctioneers 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 limitededition print was produced at the same time

Provenance: private collection Ceredigion

Comments: unframed (mint condition, never been framed) £200-300

34

‡ JOHN KNAPPFISHER limited edition (121/250) print - north Pembrokeshire coast, Tregynnon Farm, fully signed in pencil, dated 2000, 57 x 75cms

Provenance: private collection Vale of Glamorgan £250-350

35

‡ JOHN KNAPP FISHER limited edition (128/500) print - girl in a rape field, fully signed in pencil, 52 x 73cms

Provenance: private collection Cardiff £300-400

36

‡ DAVID JONES limited edition (23/150) print - Gwener/Aphrodite, 40 x 58cms

Provenance: private collection Gwynedd

£200-400

37

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA limited edition (49/75)

sepia etching - Herding Sheep at Kemps Croft Farm, c. 1928, signed and numbered in pencil, (pl) 19 x 38cms

Provenance: private collection Brighton

Comments: slight foxing, mounted in cellophane wrap, unframed £300-400

39

‡ WILLIAM SELWYN limited edition (artist proof) print - Caernarfon Castle, signed in pencil, 44 x 55cms

Provenance: private collection Ceredigion £120-180

40

38

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA etching - two young boys climbing a tree, with two flanking associated working drawings, 14 x 12cms together with a portrait of author Ifan Gruffydd, pencil on paper, with note verso, ‘This is to certify that my good friend C F Tunnicliffe RA drew this portrait at my request and that I could oblige my friend Evan author of Y Gwr o Baradwys with a picture of the character about whom he was writing an article, T G Walker, 18th Feb 1983’, 19 x 18cms (2)

Provenance: private collection Gwynedd

Comments: foxing present on the portrait, both presentations framed and glazed £200-300

EDGAR HOLLOWAY five portrait engravings - entitled ‘Jennifer’, signed, 22 x 21.5cms, ‘Self Portrait No.19, Summer of 84’, limited edition (11/50), signed and dated ‘84, 23 x 18cms, another entitled, ‘D.M.H. Knitting 1943’, limited edition (11/50), signed and dated 1991, 20 x 19cms, portrait of the artist and poet David Jones, limited edition (26/50), signed, 20 x 15cms and a portrait of actor ‘Greta Scacchi’, limited edition (3/25), signed, 22 x 17cms (5)

Provenance: no droite de suite, consigned via our Mid-Wales office

Comments: each unframed but mounted £200-300

41 NEALE HOWELLS

cyanotype monoprint on paper - entitled ‘Heavens Keep Moving’, signed and dated verso 2023, 42 x 29cms

Provenance: private collection Neath Port Talbot

£150-250

42

‡ BLAIR HUGHES

STANTON Gregynog Press wood engraving (8/40) - ‘Out of his mouth goeth a sharp sword’ from The Revelation of St John the Divine’, 1933 & 1987, 36 x 12.5cms

Provenance: private collection Ceredigion

Comments: printed at in 1987 at Gwasg Gregynog by David Esslemont from the original 1933 boxwood block loaned by the National Library of Wales

£150-250

43

RONALD LAMPITT original railway platform advertising posterentitled Harlech, Meironith’, depicting Harlech Castle, produced for Great Western Railways (Western Region), 101 x 63cms

Provenance: private collection Gwynedd £250-350

44

‡ MARCIA GIBSON WATT limited edition (1/50) etching and handwash - entitled verso, ‘Astilbes at Gayton’, signed, 20 x 24cms

Provenance: private collection Powys

£150-200

45

‡ MICHAEL HUTCHINGS for Gwasg Gregynog Press, three colour screen print - advertising for Welsh Arts

Touring Exhibition, 75 x 50cms

Provenance: private collection Conwy

Comments: framed and glazed in acrylic, pin holes to each corner of print

£200-300

48

‡ JOHN PIPER screenprint on linen - entitled verso ‘Cotswolds’, signed verso, 33 x 33cms

Provenance: private collection Cheshire

£300-400

49

‡ JOHN PIPER lithograph - entitled verso ‘Bethesda Baptist Chapel, Swansea’, 53 x 69cms

Provenance: private collection London

£250-350

46

FRANK LLOYD-WRIGHT screenprint on linen - Taliesin line, 55 x 45cms

Provenance: private collection Cheshire

£300-400

47

‡ FRANK LLOYD-WRIGHT screen print on linen - entitled verso ‘Taliesin Design, 102’, 68 x 99cms

Provenance: private collection £300-400

50

JOHN PIPER screenprint on fabricfrom ‘The Glyder’ series, 45 x 55cms

Provenance: private collection

Cheshire

£300-400

51

‡ JOHN PIPER screenprint on fabric for David Whitehead- entitled ‘Figures from a Cretan Seal’, 43 x 95cms

Provenance: private collection

Cheshire

£300-400

52

‡ JOHN PIPER printNewton Baptist Chapel, 34.5 x 45.5cms

Provenance: private collection Powys £300-400

53

‡ PAUL PETER PIECH

three colour woodcut print - Welsh language poem by Idris Davies entitled ‘Clychau Rhymni’ (Rhymny Bells), signed and dated 1991, 64 x 45cms

Provenance: private collection Netherlands

Comments: unframed £150-250

54

‡ PAUL PETER PIECH three colour woodcut print - portrait of Saunders Lewis with quote ‘In the University…’, signed and dated 1992, 64 x 45cms

Provenance: private collection Netherlands

Comments: unframed £150-250

55

‡ PAUL PETER PIECH woodcut print - Welsh language poem by Idris Davies entitled, ‘Clychau Rhymni’ (Rhymny Bells), signed and dated 1991, 64 x 45cms

Provenance: private collection Netherlands

Comments: unframed £150-250

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Works on Paper

Gweithiau ar Bapur

56

‡ ADRIAN RYAN watercolour - entitled verso, ‘Near Llanthiollen, Merioneth’ on Wenlock Fine Art Gallery label, signed, dated verso 1980, 19 x 26.5cms

Provenance: private collection Powys £150-200

57

‡ BARBARA GOOLDEN mixed mediaentitled verso, ‘Nant Ffrancon’, inscribed verso, 20 x 26.5cms

Provenance: private collection Powys £150-200

58

‡ DICK CHAPPELL watercolour - entitled verso, ‘Towards Llanelli Hill From Blackrock’, 37.5 x 27.5cms

Provenance: private collection Powys

£150-200

59

‡ CLIVE HICKS JENKINS mixed media - entitled verso, ‘Ancient Field’ on Watercolour Society of Wales label verso, signed and dated ‘97, 27 x 30.5cms

Provenance: private collection Powys

£200-300

60

BUDDUG ANWYLINI PUGHE hand coloured print – La Faouet, Brittany, details on label verso, 10 x 7cms

Provenance: private collection Gloucestershire, please see Lot 77 for further details on this artist

£120-180

61

BUDDUG ANWYLINI PUGHE

watercolour - inscribed with title on old label verso ‘If Music be the food of Life, play on’ (Monk), signed and dated 1886, 33 x 23cms

Provenance: private collection Gloucestershire, please see Lot 77 for further details on this artist £150-200

62

BUDDUG ANWYLINI PUGHE

watercolour - A Village Inn, Kingstone, Herefordshire, signed and dated 1899, 24 x 33cms

Provenance: exhibited Liverpool Autumn Exhibition, 1899 (no. 858); private collection Gloucestershire, please see Lot 77 for further details on this artist

£150-200

65

EDGAR HOLLOWAY watercolourentitled, ‘Dryslwyn’, signed, 30 x 41cms

Provenance: no droite de suite, consigned via our Mid-Wales office

£150-200

63

BUDDUG ANWYLINI PUGHE

watercolour - inscribed with title on old label verso ‘Dining room in the Gasthof zum Lamb, Klausen, Austrian Tyrol, formerly home of Walter von Vogel’, signed, 27 x 38cms

Provenance: exhibited Liverpool Autumn Exhibition, 1900 (no. 586); private collection Gloucestershire, please see Lot 77 for further details on this artist £150-200

66

EDGAR HOLLOWAY watercolour and pencil - entitled ‘Carreg Cennen’, signed and dated ‘96, 30 x 42cms

Provenance: no droite de suite, consigned via our Mid-Wales office £150-200

64

BUDDUG ANWYLINI PUGHE

watercolour – ‘A Small Canal’ (Venice), signed and inscribed on label verso, 34 x 24cms

Provenance: exhibited Liverpool Autumn Exhibition, 1902 (no. 674); private collection Gloucestershire, please see Lot 77 for further details on this artist

£150-200

67

EDGAR HOLLOWAY watercolour - entitled ‘Lodge Hill, Ditchling’, signed and dated 1983, 38 x 56cms

Provenance: no droite de suite, consigned via our Mid-Wales office £150-200

68

‡ VERA BASSETT watercolour and pencil - mothers, children and infants in a queue, signed, 35.5 x 55cms

Provenance: private collection Carmarthenshire £150-250

69

‡ WILLIAM SELWYN watercolour - preparatory sketch with pencil annotations, entitled verso, ‘Bae Foryd’, signed, 23 x 33cms

Provenance: private collection Vale of Glamorgan £150-250

71

‡ ANDREW DOUGLAS FORBES watercolour - full spray of wildflowers, signed and dated ‘94, 56 x 53cms

Provenance: private collection Herefordshire

£150-250

70

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA set of four pencil on paper sketches framed together - entitled, ‘The Coming of Summer’, ‘Days of Autumn’ and two others entitled, ‘Nature Diary’, 11 x 20cms each

Provenance: private collection Gwynedd £150-250

72

‡ JOHN McDOUGAL watercolourentitled verso ‘After Sundown off the coast of Anglesey’, signed and dated 1920, 24.5 x 37cms

Provenance: private collection London £150-250

73

‡ MERYL WATTS pastel on paper - entitled verso ‘Y Cnicht’, signed, 38 x 26cms

Provenance: private collection Herefordshire £150-200

74

‡ DAVID GROSVENOR watercolour - Eryri (Snowdonia) in winter, signed, 26 x 36cms

Provenance: private collection Conwy

£150-250

75

‡ WILLIAM SELWYN mixed media - seated figure reading, signed, 20 x 14cms

Provenance: private collection Conwy

£150-250

76

‡ DAVID GROSVENOR watercolour - entitled verso ‘Llanberis Pass No. 4’, signed in pencil, 26 x 36cms

Provenance: private collection Conwy

£150-250

77

BUDDUG ANWYLINI PUGHE watercolour –Aberdyfi jetty, signed and dated 1929, 17 x 25cms

Provenance: private collection Gloucestershire £150-200

78

BUDDUG ANWYLINI PUGHE watercolour –St. David’s coast, Pembrokeshire, signed, 20 x 30cms

Provenance: private collection Gloucestershire

Comments: unframed in envelope £150-200

Auctioneer’s Note: the artist Buddug Pughe was born into a family steeped in Welsh culture and intellect. Her father John (1815-1874) was trained in medicine at St Thomas’s Academy in London, where he qualified as a Member of the Royal College of Surgeons in 1838. He then returned to Wales and began to practice in Abermaw (Barmouth). The following year he married Catherine Samuel, the daughter of the Caernarfon shipbuilder Samuel Samuel and in 1842 they moved to Aberdyfi. In 1853, Dr Pughe was elected as a Fellow of the Royal College of Surgeons. As well as being a J.P, he was a keen advocate of the Welsh language and an antiquarian who served as Secretary of the Cambrian Archaeological Society.

Buddug’s aunt, Eliza Pughe (1826-1847) was a gifted artist and before her very early death at the age of only 21, she had compiled a pictorial Welsh-English Dictionary which Buddug later presented to the National Library of Wales.

Buddug Pughe was born in Aberdyfi and her natural talent as an artist was evident from an early age. With her family’s encouragement she was sent to study at the Liverpool School of Art and she later also studied in Paris and in Rome. Her earliest works were largely portrait miniatures and from 1886-1900 she exhibited at the Royal Academy as a ‘Miniature Painter’, from a Liverpool address. At the same time, she was embarking as a regular exhibitor at the Liverpool Art Exhibitions, held at the Walker Art Gallery, where she would continue to show and sell her work for the next 50 years. By the later 1890s she had largely moved away from working as a miniature painter and much of her subsequent work consists of landscapes and architectural subjects. As well as painting a good deal in Wales, she travelled extensively on the Continent, painting in France (especially Brittany), Italy (especially Venice), Spain and Belgium. She exhibited her ‘Dolgellau Fair’ at the Royal Academy in London in 1924 and she won a prize at the Birkenhead Eisteddfod in 1917, with her war-inspired oil painting ‘The Quiet Village’.

Her favoured medium was always watercolour, but she was also an accomplished painter in oils, including genre subjects, landscapes and portraiture. Her fine oil portrait of Dr T F Roberts, Principal of the University of Wales, together with portraits of Dr Roberts’s parents, is in the collection of National Library of Wales, and her oil portrait of her father is in the National Museum of Wales. She painted many beautiful watercolours in and around Aberdyfi, some of which still remain in the possession of the families for whom they were painted.

As interest grows in female painters, the work of the Welsh artist Buddug Anwylini Pughe certainly deserves to be better known.

79

‡ GWYLIM PRICHARD watercolour - vast shoreline at low tide with figures walking, signed in pencil and dated ‘83, 33 x 50cms

Provenance: private collection Gwynedd £150-200

83

‡ ARTHUR GIARDELLI watercolour - entitled ‘Trees and Brambles’, signed with monogram, 39 x 57cms

Provenance: private collection Cardiff, the Eric Estorich Collection, late 60s, The Grosvenor Gallery, London 1994, handwritten letter by the artist £150-200

80

‡ TOM JONES watercolour - entitled verso ‘Warkworth Castle’, signed with monogram, 32.5 x 52cms

Provenance: private collection Conwy £150-200

81

‡ TOM JONES pastel - entitled verso ‘Red Barn - Gwynedd’, signed and dated ‘86, 33 x 51cms

Provenance: private collection Conwy £150-200

82

‡ MARGARET JONES watercolour - visual interpretation of horoscope sign Pisces, signed with initials, 51 x 51cms

Auctioneer’s Note: Margaret Jones was a renowned illustrator, especially of all aspects relating to myths and legends of Wales, she passed away earlier in 2024, aged 104.

Provenance: private collection Ceredigion £150-250

84

‡ KAREL LEK watercolour - three buoys, signed, 17 x 20cms

Provenance: private collection Ceredigion £150-250

85

‡ GWILYM PRICHARD mixed media - coastal landscape, signed, 18 x 25.5cms

Provenance: private collection Gwynedd £150-200

86

RALPH WILLIAM BARDILL RCA

watercolour - entitled verso ‘Harvest Time in the Conwy Valley’, signed, 33 x 53cms

Provenance: private collection Gwynedd

£200-300

87

‡ MERYL WATTS watercolourentitled ‘The Cob, Porthmadog’, signed 37 x 53cms together with three others being a landscape, a self-portrait and an abstract, 52 x 42cms the largest

Provenance: private collection Cardiff

Comments: first framed and glazed, other three unframed £200-300

88

‡ JAMES LAWRENCE

ISHERWOOD watercolourentitled ‘Welsh Wales’, signed, 21 x 26cms

Provenance: private collection Cardiff

£200-300

89

‡ MALCOLM EDWARDS

watercolour - entitled verso ‘Early Start’, signed, 21.5 x 19cms

Provenance: private collection Gwynedd £200-300

90

‡ JOHN KNAPP FISHER

watercolour - Abereiddy Bridge, signed, 17 x 24cms

Provenance: private collection Gwynedd

£200-300

91

‡ CLIVE HICKS-JENKINS

gouache, ink and pencil on board - entitled verso, ‘Guinevere at Christmas’ on Martin Tinney Gallery label, signed and dated verso 2017, 21 x 21cms

Provenance: private collection Gwynedd

£200-300

92

WILLIAM EVANS collection of five drawings - figurative, various sizes the largest being 11 x 17cms

Provenance: Martyn Gregory Gallery, London, Nov 1987, Exhibition of drawings by William Evans; private collection Gloucestershire

£200-300

93

‡ WILLIAM SELWYN

watercolour and pencilCaernarfon Castle, signed, 23 x 32cms

Provenance: private collection Conwy

£200-300

94

‡ MERYL WATTS

watercolour - entitled verso ‘Caernarvonshire Fields’, signed and dated 1961, 27 x 36cms

Provenance: private collection Monmouthshire

£200-300

Rogers Jones & Co •

95

‡ GWILYM PRICHARD pastel on paperContinental rooftops and cathedral, signed, 30 x 20cms

Provenance: private collection Monmouthshire £200-300

100

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA three mixed media works on paper - comprising (1) entitled verso, ‘Whooper Swans Descending’ on Tryon and Moorland Gallery, London, 10 x 14cms, (2) two mixed media small drawings (framed together) entitled verso, ‘Tufted Duck, Great Crested Grebe’ on Tryon and Moorland Gallery, London label, 7 x 6cms and 10 x 5cms and (3) etching entitled verso, ‘Lapwing Foot’, signed, 6 x 3.5cms (3)

Provenance: private collection Gwynedd

Comments: foxing present, all three framed and glazed £200-300

96

‡ GWILYM PRICHARD watercolour - winter landscape, signed and dated ‘75, 27 x 38cms

Provenance: private collection Monmouthshire £200-300

97

‡ JOHN McDOUGAL watercolour - entitled verso ‘A Summer’s Day’, signed and dated 1877, 52 x 78cms

Provenance: private collection London £200-300

98

‡ JOHN McDOUGAL watercolour - entitled ‘The Start of the Day’, signed, 29 x 49cms

Provenance: private collection London £200-300

99

‡ KEITH BOWEN ink on paper - shepherd shearing, signed in pencil, dated 1990, 50 x 39cms

Provenance: private collection London £200-300

101

‡ GWILYM PRICHARD watercolourriver scene, possibly the Seine, signed, 26 x 37cms

Provenance: private collection Vale of Glamorgan £200-300

102

‡ DAVID JOHN SWEETINGHAM

watercolour - characters from Dylan Thomas ‘Under Milk Wood’, signed, 52 x 74cms

Provenance: private collection Cardiff £200-300

104

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA pencil - studies of an ostrich, signed with initials, dated ‘27, 24 x 28cms, an owl, signed and dated ‘27, 24 x 28cms and pelican, signed with initials, dated ‘27, 24 x 28cms (3)

Provenance: private collection Gwynedd £200-300

103

‡ PETER PRENDERGAST watercolourentitled verso, ‘Study of Clouds, Bethesda’, signed and dated ‘77, 14.5 x 20cms

Provenance: private collection Conwy £200-300

105

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA two mixed media-preliminaries - comprising (1) group of waterfowl, 31 x 24cms; (2) a coloured depiction of moorhen and another bird, 34 x 23cms (2)

Provenance: private collection Gwynedd £200-300

106

‡ CHARLES FREDERICK TUNNICLIFFE

OBE RA two pencil on paper preliminaries - comprising (1) birds landing, 36 x 72cms; (2) red-breasted merganser on water, 40 x 56cms (2)

Provenance: private collection Gwynedd

Comments: paper creased on the right side, tear in top corner, hole in paper bottom right, the red-breasted merganser has foxing £200-300

107

‡ GARETH THOMAS pair of watercolours

- Venetian scenes, entitled verso ‘Senso Unico, near Pescheria, Venice’ on Attic Gallery label verso, signed, 11 x 17cms and ‘From Campo, San Stae’, signed, 11 x 17cms

Provenance: private collection Denbighshire

£200-300

108

‡ WILL EVANS watercolourexpansive landscape entitled verso, ‘On Holyhead Road, Near Capel Curig’, 39 x 57cms

Provenance: private collection Derbyshire

Comments: pin holes in corners, unframed

£200-300

109

‡ WILL EVANS watercolourfarmstead with poultry feeding, 38 x 55.5cms

Provenance: private collection Derbyshire

Comments: unframed

£200-300

110

‡ WILL EVANS watercolourlandscape with cattle and farmstead, 38 x 56cms

Provenance: private collection Derbyshire

Comments: pin holes in corners, unframed

£200-300

111

‡ WILL EVANS watercolour - narrow street with figure, probably Polperro, Cornwall, 56 x 38cms

Provenance: private collection Derbyshire

Comments: pin holes in corners, unframed £200-300

112

‡ WILL EVANS five watercolours

- harbour village scenes, each 38 x 56cms

Provenance: private collection Derbyshire

Comments: pin holes in corners, all unframed

£200-300

113

BUDDUG ANWYLINI PUGHE watercolour

– believed Dutch or Low Countries market scene, signed and dated 1908, old biography label verso, 24 x 34cms

Provenance: private collection Gloucestershire, please see Lot 77 for further details on this artist

£200-300

BUDDUG ANWYLINI PUGHE watercolour

– fruit market stall, probably Venice, signed and dated 1912, 20 x 30cms

Provenance: private collection Gloucestershire, please see Lot 77 for further details on this artist

£200-300

116

‡ BARBARA GOOLDEN mixed media - entitled verso

‘In the Ring’, signed, 35 x 54cms

Provenance: private collection London

£200-300

117

115

BUDDUG ANWYLINI PUGHE watercolour

– San Giorgio, Maggiore, Venice, signed, inscribed verso, 27 x 38cms

Provenance: private collection Gloucestershire, please see Lot 77 for further details on this artist

£200-300

‡ MARY LLOYD JONES watercolourrolling hills landscape, signed and dated ‘89, 17 x 29.5cms

Provenance: private collection Carmarthenshire

£200-300

118

‡ KEITH SHONE mixed media - coastal scene at Red Wharf Bay on cloudy day, signed, 32 x 51cms

Provenance: private collection Ceredigion £250-350

119

‡ JOSEPH PENNELL

charcoal - Queen Eleanor’s Gate, Carnarvon Castle, label titled and dated verso, 47 x 37cms

Provenance: private collection Brighton

Comments: this is the original drawing as published on p. 127 in The Illustrated London News, July 15, 1911, entitled therein, “Formerly Reached By a Drawbridge, And So Set High In The Wall: The Queen’s Gate, Carnarvon Castle, The First Place Of Presentation Of The Prince Of Wales To The People By The King After Investiture.” Offered with a page of the same

£250-350

120

‡ KEITH BOWEN pastel on paper - shepherd carrying a sheep, signed in pencil, dated 1989, 50 x 35cms

Provenance: private collection London £250-350

121

‡ KEITH BOWEN pastel - entitled verso ‘Flower market in Aix’, signed, 36 x 49cms

Provenance: private collection Conwy £250-350

122

‡ MALCOLM EDWARDS watercolour - entitled verso ‘First Light’, on Ffin y Parc Gallery label, signed, 16.5 x 16cms

Provenance: private collection Gwynedd

£250-350

123

‡ TOM JONES pastelentitled verso ‘Eglwysbach’, signed with monogram, 49.5 x 44cms

Provenance: private collection Gwynedd

£250-350

124

‡ MALCOLM EDWARDS watercolour - entitled verso ‘Before the Gather’, on Ffin y Parc Gallery label, signed, 20 x 20cms

Provenance: private collection Gwynedd

£250-350

125

‡ LESLIE MOORE mixed media - entitled verso ‘Red Night Blossoms’, signed and dated ‘63/’65, 50 x 66cms

Provenance: private collection Cardiff

£250-350

126

‡ JOHN ELWYN acrylic on paper - ‘Approaching Storm, Laugharne’, signed and dated 1988, 25 x 33.5cms

Provenance: private collection Ceredigion

£300-400

127

‡ JOHN ELWYN watercolour on paper‘Amaryllis’, circa 1972, signed, 39 x 55cms

Provenance: private collection Ceredigion £300-400

128

‡ JOHN ELWYN acrylic on paper - spring blossom after a shower, 1980s, signed, 40 x 56cms

Provenance: private collection Ceredigion, Exhibited ‘John Elwyn: Works on Paper 1947-1997’ Gregynog Festival Exhibition No.8 , Gregynog Hall, Newtown (10 June 1997 – June 1998)

£300-500

129

‡ KEITH BOWEN pastel - stream below Yr Wyddfa (Snowdon), signed, 36 x 49cms

Provenance: private collection Conwy £300-400

130

‡ KEITH BOWEN pastel - entitled verso, ‘Crail Harbour, Lobster Pots and Fishing Nets’, signed, 50 x 33cms

Provenance: private collection Conwy

£300-400

131

‡ KEITH BOWEN pastel on paperentitled verso ‘Pushing Past the Big Rock and up onto the Mountain’, signed and dated 1989, 54 x 80cms

Provenance: private collection Conwy £300-500

132

JAMES WHAITE watercolour - entitled verso ‘Snowdon from Capel Curig’, signed and dated 1895, 59 x 90cms

Provenance: private collection Conwy

£300-400

133

‡ WILLIAM SELWYN watercolour - entitled verso, ‘Morning Mist, Caernarfon’, signed with initials, 13.5 x 19cms

Provenance: private collection Durham £300-400

134

‡ MIKE BRISCOE mixed media - entitled verso, ‘Picnic Series’, signed and dated 2011, 35 x 25cms

Provenance: private collection Cardiff £300-400

135

‡ CHARLES FREDERICK TUNNICLIFFE

OBE RA charcoal & bodycolour - springer spaniel, signed lower left, 30 x 22cms

Provenance: private collection Brighton

Comments: slight tinting, slight foxing, mounted in cellophane wrap, unframed £300-500

136

‡ KEITH SHONE pastel - sunset over Red Wharf Bay, signed, 35 x 39cms

Provenance: private collection Ceredigion £300-400

137

‡ WILL EVANS RCA watercolour - entitled verso ‘Polperro’, signed, 53 x 36cms

Provenance: private collection Conwy £300-400

138

‡ GARETH THOMAS watercolourVenetian scene, possibly island of San Lazzaro degli Armeni, signed, 45 x 53cms

Provenance: private collection Denbighshire £300-400

139

‡ GLENYS COUR mixed media on paper - ‘Blue Monument’, signed and dated ‘77, 32.5 x 50cms

Provenance: private collection Carmarthenshire

£300-500

140 ‡ AUGUSTUS JOHN RA ink on paper - two conversing gypsy figures in shawls, signed, 25 x 20cms

Provenance: private collection Cheshire

£300-400

141 ‡ IWAN BALA mixed mediaillustration of a house against a starry night with quote from Anglo-Welsh poet Nigel Jenkins, ‘Have We Taken the Earth and Lost the Sky?’, signed and dated ‘22, 30 x 21cms

Provenance: private collection South Wales

£400-600

142

‡ IWAN BALA mixed media - entitled verso, ‘Wylit, Wylit, Lywelyn’, tr ‘Llywelyn, you would weep’, signed and dated ‘22, 30 x 21cms

Provenance: private collection South Wales

£400-600

143 ‡ WILLIAM SELWYN watercolour - entitled verso, ‘A Winter Morning, Caernarfon’, signed, 34 x 45cms

Provenance: private collection Durham

£400-600

144 ‡ DAVID TRESS watercolour - entitled verso, ‘Lying II’, signed and dated ‘93, 75 x 57cms

Provenance: private collection London

£400-700

145

‡ KEITH BOWEN pastel - entitled verso ‘Homeward Sheep’, signed, 36 x 54cms

Provenance: private collection Conwy

£400-600

146

‡ WILLIAM SELWYN mixed media - entitled verso ‘Galloping Horses’, signed in pencil, 30 x 40cms

Provenance: private collection London

£400-600

147

‡ MALCOLM EDWARDS watercolour - entitled verso ‘Tanygrisiau’, signed, 27.5 x 49cms

Provenance: private collection Vale of Glamorgan

£400-500

149

148

148

‡ WILL EVANS watercolour - entitled ‘St Mary’s Square, Swansea’, after the WWII blitz, 37 x 47cms

Provenance: private collection

Ceredigion

£400-600

151

‡ VALERIE GANZ watercolour - steel worker, signed and dated ‘79, 24.5 x 33.5cms

Provenance: private collection Ceredigion

£500-700

149

‡ IWAN BALA mixed media - inscribed, ‘Pair Ein Dadeni / Cauldron of Our Re-birth’, signed and dated 2020, 76 x 58cms

Provenance: private collection South Wales

£400-600

150

‡ IWAN BALA mixed media - inscribed ‘Pair Ein Dadeni / Cauldron of Our Re-birth’ and entitled verso, ‘Cofiwch Hyn / Remember This’, signed and dated 2020, 78 x 57cms

Provenance: private collection South Wales

£500-700

152

‡ ANEURIN JONES collection of pencil sketchessheepdogs and sheep, signed, 29 x 40cms

Provenance: private collection Ceredigion £500-700

153

‡ RAY HOWARD-JONES gouache - entitled verso ‘Pool with the White Weed’ on Ashgate Gallery, Surrey label, signed and dated ‘65, 21 x 29cms

Provenance: private collection Ceredigion £500-700

154

‡ ANEURIN JONES watercolour - entitled verso ‘Bryntywarch Sepia’, signed, 57 x 40cms

Provenance: private collection London

Comments: heavy creasing to the paper, bottom edge £500-800

155

‡ WILLIAM SELWYN watercolourthe Guildhall Arch, Caernarfon, titled on artist’s label verso, 44.5 x 56cms

Provenance: private collection Cardiff £500-700

156

‡ IWAN BALA mixed mediaentitled verso, ‘Ar y Bryn Mae..’ signed and dated ‘23, 63 x 49cms

Provenance: private collection South Wales £500-800

159

‡ WILLIAM SELWYN mixed media on paper - portrait of a Yorkshire terrier, signed in pencil, 25 x 34cms

Provenance: private collection

Ceredigion £600-800

160

‡ RAY HOWARDJONES watercolour - entitled verso ‘Carn Breseb’, signed and dated ‘67, signed and dated verso on Ashgate Gallery, Surrey label, from a drawing made on Carn Meini in ‘66, 28 x 38cms

Provenance: private collection Ceredigion £600-800

161

‡ WILL EVANS watercolourentitled verso ‘Welsh Farm’, signed, 36 x 55cms

Provenance: private collection Ceredigion £600-800

157

‡ CERI RICHARDS CBE original crayon drawingentitled verso ‘Vaucluse’, 27 x 20cms

Provenance: private collection Vale of Glamorgan £500-1,000

158

‡ WILL ROBERTS mixed media - entitled verso ‘Planting’, signed, dated verso 1993, 33.5 x 27cms

Provenance: private collection Vale of Glamorgan £500-700

162

‡ WILL EVANS pair of rare early watercolours- beach scenes with figures, possibly Cwm, Newport, Pembrokeshire, signed and dated ‘29, 36 x 48cms

Provenance: private collection Swansea

Comments: both framed and glazed, fine work

£700-1,200

164

‡ ANEURIN JONES mixed media - group of seven seated and standing farmers, signed, 16.5 x 24cms

Provenance: private collection Ceredigion

Comments: some areas of speckled finish although may be intentional, framed and glazed, viewing recommended

£700-1,000

163

‡ ROGER CECIL

mixed media - barren landscape on an estuary with telegraph poles, 28.5 x 50cms

Provenance: private collection Monmouthshire

£700-1,000

165

‡ WILLIAM SELWYN mixed media - entitled verso ‘Fishermen on the Menai Straits’, signed, 23 x 34cms

Provenance: private collection Ceredigion

£800-1,200

166

‡ CHARLES FREDERICK TUNNICLIFFE RA OBE watercolour & pencil - crows fighting a seagull over food, signed, 46 x 56cms

Provenance: private collection London

£1,000-1,500

167

‡ JOHN ELWYN acrylic on paper - ‘September’, signed and dated 1989, 47 x 62cms

Provenance: private collection

Ceredigion

£1,000-1,500

168 ‡ JOHN ELWYN acrylic on paper‘Afternoon in the Garden’, signed and dated 1978, 46 x 65cms

Provenance: private collection

Ceredigion, exhibited ‘John Elwyn: Works on Paper 1947-1997’ Gregynog Festival Exhibition No.8 , Gregynog Hall, Newtown (10 June 1997 – June 1998)

£1,000-1,500

169 ‡ JOHN ELWYN acrylic on paper - ‘Spring at Cwm Cou in the Ceri Valley’, 1970s, signed, 56 x 76cms

Provenance: private collection

Ceredigion, exhibited ‘John Elwyn: Works on Paper 1947-1997’ Gregynog Festival Exhibition No.8 , Gregynog Hall, Newtown (10 June 1997 – June 1998)

£1,000-1,500

The Welsh Sale • Rogers Jones &

170

‡ ROGER CECIL mixed media - abstract landscape, signed, 45 x 42cms

Provenance: private collection Warwickshire £1,000-1,500

171

‡ WILLIAM SELWYN mixed media - entitled verso ‘Sunset Across the Straits’, signed, 37 x 54cms

Provenance: private collection Ceredigion £1,400-1,800

172

‡ CERI RICHARDS CBE pen and crayon - entitled verso, ‘Hermes and Menipeus II’ on Martin Tinney Gallery label, signed and dated ‘71, 29 x 19.5cms

Provenance: private collection Cardiff £1,500-2,000

173

‡ VALERIE GANZ mixed media on paper - entitled verso ‘We’ve Got Company’, signed, 42 x 53cms

Provenance: private collection Cardiff £1,800-2,500

174

174

‡ JOHN PIPER ink, watercolour & gouache - entitled verso ‘Welsh Valley’, signed and dated ‘58, 12 x 16cms

Provenance: private collection Shropshire

£2,000-3,000

175

‡ AUGUSTUS JOHN OM RA mixed media - collection of nineteen studies most of which are of woman and children, entitled on Christies label, ’Studies from a Family Gathering’, various sizes with the largest being 10 x 16cms

Provenance: private collection Kent

Comments: all unframed in individual sleeves in green leather folio. An additional card stuck to the folio reads, ‘Purchased at the sale of the artist’s studio 1961’

£3,000-5,000

176

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA watercolour - entitled verso ‘Dartmoor Ponies’ on Sweetbriar Gallery label, signed, 39 x 59cms

Provenance: private collection London

£3,000-5,000

177

GWEN JOHN pencil and watercolourentitled verso ‘Seated Tortoiseshell Cat’, circa 1907-1915, on Martin Tinney Gallery label along with another exhibition label verso from Gwen John Exhibition, dated 1st July - 21st August 1982, catalogue no. 98, 15.5 x 12cms

Provenance: private collection Gwynedd

£12,000-18,000

178

‡ JOSEF HERMAN OBE RA limited edition (22/100) lithograph - entitled verso ‘The First Star’, signed in pencil, 36 x 51cms

Provenance: private collection Gwynedd £200-300

179

‡ JOSEF HERMAN OBE RA limited edition (artist’s proof) lithograph - entitled ‘The Red Sun’, signed in pencil, 47 x 60cms

Provenance: private collection Cardiff £300-400

180

‡ JOSEF HERMAN OBE RA lithograph on wove - entitled ‘Two Miners’, circa 1960, 49 x 66cms

Provenance: private collection London £400-700

181

‡ JOSEF HERMAN

OBE RA ink wash on paper - two worker figures, 19 x 25cms

Provenance: private collection Cardiff £500-800

182

‡ JOSEF HERMAN

OBE RA watercolour - portrait of standing figure, 20 x 13cms

Provenance: private collection Vale of Glamorgan

£500-800

183

‡ JOSEF HERMAN

OBE RA ink wash on paper - three figures harvesting, 19 x 25cms

Provenance: private collection Cardiff

£600-800

184

‡ JOSEF HERMAN

OBE RA ink and wash - two miners resting, 19.5 x 24cms

Provenance: private collection Cardiff

£600-1,000

185

‡ JOSEF HERMAN

OBE RA ink wash on paper - Continental landscape with pencil annotations, 20 x 25cms

Provenance: private collection Cardiff

£700-1,000

186

‡ JOSEF HERMAN

OBE RA watercolour & ink wash on paper - inscribed verso, ‘Peasant Cart’, signed and dated 1973 verso, 19 x 24cms

Provenance: private collection Cardiff

£800-1,200

187

‡ JOSEF HERMAN

OBE RA watercolour - entitled verso ‘Contemplation’ on Albany Gallery label verso, 23 x 18cms

Provenance: private collection Vale of Glamorgan

£1,000-1,500

188

‡ JOSEF HERMAN

OBE RA colour ink wash - entitled verso, ‘Rider at Dusk’, 20 x 25cms

Provenance: private collection Berkshire

£1,000-1,500

189

‡ JOSEF HERMAN OBE RA mixed media - two seated miners, signed verso, dated ‘75, 19 x 24cms

Provenance: private collection Cardiff, personal letter from the artist addressed to Nancy & Dai

£1,500-2,500

190

‡ JOSEF HERMAN OBE RA watercolour - three standing miners, 24.5 x 19cms

Provenance: private collection

Cardiff

£1,500-2,500

191

‡ JOSEF HERMAN OBE RA oil on canvas - entitled verso, ‘Study of Miners’, signed and dated verso 1975, 45.5 x 50cms

Provenance: private collection

Cardiff. see similar figures in the 1954 composition ‘In the Canteen’ (City of Aberdeen Art Gallery and Museums Collection) and the 1953 composition ‘The Road Gang’ (British Council Collection)

£4,000-6,000

192

‡ JOSEF HERMAN OBE RA oil on canvasseamstress at sewing machine, 30 x 40cms

Provenance: private collection Cardiff

£3,000-4,000

193

‡ JOSEF HERMAN OBE RA oil on boardstanding figure, signed verso, 35 x 24.5cms

Provenance: private collection Cardiff

Comments: artist’s frame which he is likely to have painted to ‘rough up’

£1,000-1,500

194

‡ JOSEF HERMAN OBE RA oil on canvasfigure standing with dog, 60 x 50cms

Provenance: private collection Cardiff

£3,000-4,000

194

193 192

Rogers Jones & Co •

195

‡ JOSEF HERMAN OBE RA oil on canvasentitled verso, ‘Mother and Child’, signed and dated verso 1962, 65 x 49.5cms

Provenance: private collection London

£4,000-6,000

196

‡ JOSEF HERMAN OBE RA oil on canvas - entitled verso ‘Mexican Township’, on Rowland, Browse & Delbanco Gallery label, London, signed and dated verso 1967, 70 x 90cms

Provenance: private collection Gwynedd

£4,000-6,000

197

‡ SIR KYFFIN WILLIAMS RA limited edition (35/250) print - sheepdog, signed fully in pencil, 28.5 x 41.5cms

Provenance: private collection Cardiff £150-250

198

‡ SIR KYFFIN WILLIAMS RA limited edition (7/350) colour print - entitled verso ‘Y Môr, Bae Trearddur, Ynys Môn’, signed with initials, 25 x 37cms

Provenance: private collection Conwy £150-250

199

‡ SIR KYFFIN WILLIAMS RA limited edition (5/250) colour print - sunset, signed with initials, 40 x 50cms

Provenance: private collection Conwy £150-250

200

‡ SIR KYFFIN WILLIAMS RA colour print - standing farmer at dusk, fully signed in pencil, 55 x 31.5cms

Provenance: private collection Conwy £200-300

201

‡ NICHOLAS SINCLAIR limited edition (7/150) photographic print - portrait of Sir Kyffin Williams, signed with initials by the sitter and photographer Nicholas Sinclair, 28 x 27cms

Provenance: private collection Conwy £200-300

202

‡ SIR KYFFIN WILLIAMS RA limited edition (150/250) lithograph - Eryri landscape, fully signed in pencil, 40 x 49cms

Provenance: private collection Conwy

Comments: unframed £200-300

203

‡ SIR KYFFIN WILLIAMS RA limited edition (34/150) lithograph - sunset over the rocky Gower coast, signed with initials, 61 x 61cms

Provenance: private collection Conwy

Comments: unframed, light foxing in upper margin £200-300

204

‡ SIR KYFFIN WILLIAMS RA limited edition (72/150) print - Nant Ffrancon, Eryri, fully signed in pencil, 39 x 49cms

Provenance: private collection Cardiff

£200-300

205

‡ SIR KYFFIN WILLIAMS RA limited edition (46/75) print - upland dwelling with dry stone walls, fully signed in pencil, 33 x 49cms

Provenance: private collection Cardiff

Comments: faded, framed and glazed £200-300

206

‡ SIR KYFFIN WILLIAMS RA limited edition (430/500) print - Conwy Castle, fully signed in pencil, 49 x 67cms

Provenance: private collection Cheshire

Comments: unframed, in cellophane sleeve £250-350

207

‡ SIR KYFFIN WILLIAMS RA limited edition (96/250) print - ‘Farmer Below Snowdon’, signed fully in pencil, 55 x 55cms

Provenance: private collection Cardiff £250-350

208

‡ SIR KYFFIN WILLIAMS RA limited edition (92/150) lithograph - entitled ‘Lle Cul, Patagonia’, signed with initials, 45.5 x 45.5cms

Provenance: private collection Conwy Comments: unframed £250-350

209

‡ SIR KYFFIN WILLIAMS RA limited edition (artist’s proof 12/25) colour lithograph - farmstead with dry-stone wall, signed with initials, 45 x 53cms

Provenance: private collection £300-400

214

‡ SIR KYFFIN WILLIAMS RA open edition printWelsh ponies, fully signed in pencil, also signed with initials, 27 x 40cms

Provenance: private collection Ceredigion £300-400

210

‡ SIR KYFFIN WILLIAMS RA limited edition (54/250) printsunset, Moel y Don, signed with initials, 43 x 51cms

Provenance: private collection Gwynedd £300-500

211

‡ SIR KYFFIN WILLIAMS RA monochrome print by courtesy of Ioan and Margaret Bowen-Rees - farmer in storm, 57.5 x 37.5cms

Provenance: private collection Cardiff £300-500

212

‡ SIR KYFFIN WILLIAMS RA limited edition (62/250) print - farmer below Snowdon, fully signed in pencil, 56 x 56cms

Provenance: private collection Cheshire Comments: unframed, in cellophane sleeve

£300-400

213

‡ SIR KYFFIN WILLIAMS RA limited edition (6/75) print - upland dwelling with the mountains of Eryri in the background, fully signed in pencil, 55 x 37cms

Provenance: private collection Cardiff

Comments: faded, framed and glazed £300-400

215

‡ SIR KYFFIN WILLIAMS RA limited edition (45/100) print - hilltop with shadowy houses, signed with initials, 33 x 73cms

Provenance: private collection Gwynedd

£300-400

216

‡ SIR KYFFIN WILLIAMS RA limited edition (66/150) print - the Gower coast at sunset, signed with initials, 61 x 60cms

Provenance: private collection Conwy

£400-600

217

‡ SIR KYFFIN WILLIAMS RA limited edition (111/750) lithograph - Mott the Sheepdog, signed in pencil, 34 x 48cms

Provenance: private collection Ynys Môn

£400-500

218

‡ SIR KYFFIN WILLIAMS RA limited edition (41/150) monochrome lithograph - farmer with sheepdog on mountainside, signed in pencil, 56 x 45cms

Provenance: private collection Ceredigion

£600-800

219

‡ SIR KYFFIN WILLIAMS RA limited edition (85/150) lithograph - Penrhyn Du Farm, Ynys Mon (Anglesey) with Welsh Black cattle, fully signed in pencil, 56 x 73cms

Provenance: private collection Conwy

Comments: unframed, light foxing in upper margin

£700-1,000

220

‡ SIR KYFFIN WILLIAMS RA large mixed media - entitled verso ‘Farmer on a Hill’ on Albany Gallery label, signed with initials, 41 x 58cms

Provenance: private collection Ceredigion

£10,000-14,000

The Welsh Sale • Rogers Jones & Co

221

‡ SIR KYFFIN WILLIAMS RA ink wash - entitled verso, ‘Above Waunfawr’, signed with initials, dated verso 1992, 36 x 49cms

Provenance: private collection Cardiff

£5,000-7,000

222

‡ SIR KYFFIN WILLIAMS RA ink wash and watercolour - entitled verso, ‘Road Above Deiniolen’, signed with initials, dated verso 1992, 37 x 55cms

Provenance: private collection Cardiff

£5,000-7,000

pictures framed, ready to hang unless stated. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

223

‡ SIR KYFFIN WILLIAMS RA watercolourentitled verso ‘Welsh Black Bull’ on Albany Gallery label, signed with initials, 29 x 41cms

Provenance: private collection Vale of Glamorgan

£4,000-6,000

224

‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - entitled verso, ‘Fedw Wen’ on Thackeray Gallery label verso, signed with initials, 32 x 49cms

Provenance: private collection Berkshire

£4,000-6,000

225

‡ SIR KYFFIN WILLIAMS RA watercolourentitled verso ‘Pony with Blanket’ on Albany Gallery label, signed with initials, 27 x 40cms

Provenance: private collection Vale of Glamorgan

£3,000-5,000

226

‡ SIR KYFFIN WILLIAMS RA ink and wash - two figures with infant’s pram before cottages in a Welsh landscape, signed with initials in pencil, 20 x 28cms.

Provenance: private collection Berkshire

Comments: paper toned

£2,500-3,500

227

‡ SIR KYFFIN WILLIAMS RA watercolour - entitled verso ‘Welsh Black Bull’, signed with initials, 19.5 x 25cms

Provenance: private collection Vale of Glamorgan £2,000-3,000

228

‡ SIR KYFFIN WILLIAMS RA pencil - entitled verso ‘Maes y Llan Fach, Tyn Lon’, signed with initials, 25 x 43cms

Provenance: private collection Conwy £1,500-2,000

229

‡ SIR KYFFIN WILLIAMS RA pencil on paper - preliminary sketch of farmyard with cattle in foreground and pencil annotations, 24 x 34cms

Auctioneer’s Note: originally gifted by Sir Kyffin to his friend Bill Lloyd Williams and would have come from his sketch pad. To the reverse is a sketch of a farmer. This seems to be a preparatory sketch for ‘Porth Cwyfan at Sunset’.

Provenance: private collection Ceredigion £500-700

230

‡ SIR KYFFIN WILLIAMS RA ink drawing together with signed ephemera - Mott the sheepdog with the caption ‘Here’s a little doodle for you to use as you think fit’, 30 x 21cms together with signed books, exhibition cards and posters (qty)

Comments: viewing recommended

Provenance: private collection Denbighshire £400-600

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).

231

‡ SIR KYFFIN WILLIAMS RA oil on canvas - five ponies in Ynys Mon (Anglesey) landscape with dry-stone and slate enclosures, houses and chapel, entitled verso ‘Ponies Pentre Pella’, signed with initials, 70 x 90cms

Provenance: commissioned by vendor’s family from a sketch (enclosed verso), vendors were good friends with the Brown family, proprietors of Tegfryn Gallery, Ynys Mon with whom the artist had a close association and friendship

Comments: a very fine large example in fine condition, original Kyffin type frame, good large signature indicating a painting that Kyffin would have been particularly proud of, certainly ‘exhibition quality’, fresh to market

£30,000-40,000

232

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled ‘Bugail a Cwn Defaid’, signed with initials, 50 x 75cms

Provenance: private collection Conwy £20,000-30,000

pictures

233

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Sun Behind Cloud Bank’ on Albany Gallery label, signed with initials, 59 x 90cms

Provenance: private collection Monmouthshire, vendor purchased from Bonhams 2002

£20,000-30,000

234

‡ SIR KYFFIN WILLIAMS RA large oil on canvas - entitled verso ‘Hills above Nant Peris’, signed with initials, 90 x 90cms

Provenance: private collection Vale of Glamorgan, vendor purchased Albany Gallery circa 2005

£30,000-40,000

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).

235

‡ SIR KYFFIN WILLIAMS RA oil on canvasstorm over Eryri from Llanllyfni, signed with initials, 55 x 76cms

Provenance: private collection Kent

£15,000-20,000

The Welsh Sale • Rogers Jones & Co

236

‡ SIR KYFFIN WILLIAMS RA oil on canvas - rocky landscape, Bon Church, Isle of Wight, dated 1954, 48 x 58cms

Provenance: private collection Conwy, with accompanying reproduced letter, not by the hand of Kyffin Williams, dated February 2006, “Your painting is of a cliff near Bon Church in the Isle of White. It was painted in about 1954. I’d gone there foolishly to try and ask a girl to marry me. Luckily, my efforts were thwarted, and ever since, I’ve restrained how fortunate I was. She was a monumental snob and her father told her that I was financially and socially ineligible. He was an old fool, but I’m grateful to him for the comment. I hope you enjoy the picture, and that you didn’t have to pay too much for it. With very best wishes, Kyffin Williams.”

£10,000-15,000

237

‡ CHARLES WYATT WARREN oil on boardYnys Seiriol (Puffin Island) off Ynys Mon (Anglesey), signed, 36 x 46cms

Provenance: private collection Cheshire

Comments: paint loss in sky area

£300-400

238

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘Tyn Tywyn Anglesey’, signed, 29 x 74cms

Provenance: private collection Cheshire

£400-600

239

‡ CHARLES WYATT WARREN oil on board - whitewashed cottage, lane and blue skies, signed, 24 x 54cms

Provenance: private collection Cheshire

£400-600

240

‡ CHARLES WYATT WARREN larger oil on board - entitled verso ‘Snowdon from the Mymbyr Lakes’, signed, 59 x 90cms

Provenance: private collection Gwynedd

£700-1,200

241

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘Snowdon from Llyn Gwynant’, signed, 24 x 53cms

Provenance: private collection Gwynedd

£400-600

242

‡ CHARLES WYATT WARREN oil on board - Eryri landscape with lakeside cottage, signed, 28.5 x 74cms

Provenance: private collection north Wales, purchased directly from the artist in the 1980s

Comments: framed in the artist’s typical style £400-600

243

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘Puffin Island’, signed, 23 x 54cms

Provenance: private collection Cheshire

Comments: missing a section of frame £250-350

244

‡ CHARLES WYATT WARREN oil on boardentitled verso ‘Snowdon from Llyn Nantlle’, signed, 23 x 54cms

Provenance: private collection north Wales, purchased directly from the artist in the 1980s

Comments: framed in the artist’s typical style £400-600

245

‡ CHARLES WYATT WARREN oil on boardentitled verso ‘Beaumaris Castle’, signed, 36 x 46cms

Provenance: private collection Cheshire

£300-400

246

‡ CHARLES WYATT WARREN oil on boardentitled verso, ‘View of Castle Street, Beaumaris’, signed, 29 x 75cms

Provenance: private collection Cheshire

£400-600

247

‡ CHARLES WYATT WARREN oil on boardentitled verso, ‘Snowdon from Llyn Padarn’, signed, 24 x 54cms

Provenance: private collection West Midlands

Comments: original typical frame and mount £500-700

The Welsh Sale • Rogers Jones &

248

‡ CHARLES WYATT WARREN oil on boardBeaumaris pier with distant mountains, signed, 23 x 54cms

Provenance: private collection Cheshire

Comments: damaged frame

£300-400

249

‡ CHARLES WYATT WARREN oil on boardentitled verso ‘Penmon Priory’, signed, 29 x 74cms

Provenance: private collection Cheshire

£300-400

250

‡ CHARLES WYATT WARREN oil on boardBritannia Bridge over the Menai, signed, 36 x 46cms

Provenance: private collection Cheshire

£300-400

251

‡ CHARLES WYATT WARREN oil on boardentitled verso ‘Snowdon from Llyn Nantlle’, signed, 19 x 34cms

Provenance: private collection Gwynedd

£200-400

252

‡ CHARLES WYATT WARREN oil on boardMenai Suspension Bridge from Porthaethwy, with boathouse in foreground, signed, 36 x 47cms

Provenance: private collection Cheshire

£400-600

253

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘Menai Suspension Bridge from Caernarfonshire’, signed, 36 x 46cms

Provenance: private collection Cheshire

£300-400

254

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘The Church at Llangwyfan on the Anglesey Coast’, signed, 29 x 74cms

Provenance: private collection Cheshire

£400-600

255

‡ CHARLES WYATT WARREN oil on board - entitled verso ‘Snowdon from Llynmymbyr’, signed, 24 x 54cms

Provenance: private collection Cheshire

Comments: damaged frame

£300-400

256

‡ CHARLES WYATT WARREN oil on board - bridge at Aberffraw, Ynys Mon (Anglesey), signed, 24 x 54cms

Provenance: private collection Glasgow

£500-800

257

‡ CHARLES WYATT WARREN oil on board - winter river landscape with trees and bridge, signed, 24.5 x 55cms

Provenance: private collection Gwynedd

£300-500

258

‡ SARA PHILPOT oil on panelentitled verso, ‘Astilbes’, signed and dated verso 2013, 36 x 44cms

Provenance: private collection Powys

Comments: unframed panel

£150-200

259

‡ DAVID WOODFORD oil on board - coastal landscape, signed, 42.5 x 60cms

Provenance: private collection Conwy

Comments: framed, surface staining, requires cleaning

£150-250

260

‡ GWYN BROWN oil on boardentitled verso ‘Low Tide’, inscribed verso, 49 x 90cms

Provenance: private collection Flintshire,

Auctioneer’s Note: the artist was established Tegfryn Gallery, Menai, Ynys Mon

Comments: paint loss, framed £150-250

261

ALAN WILLIAMS acrylic - entitled verso ‘Anglesey Cottage’, signed, 33 x 48cms

Provenance: private collection Cardiff, directly from artist’s studio, no droit de suite applied

£150-250

262

‡ TOM NASH oil - entitled verso, ‘Festival Fontvieille’ on Attic Gallery label, signed, 35 x 34cms

Provenance: private collection Carmarthenshire

£150-250

263

‡ DAVID BARNES oil on board - still life, signed with initials, 39 x 29cms

Provenance: private collection Monmouthshire

£150-250

264

‡ DAVID WOODFORD oil on card - entitled verso ‘Fedw Fawr (White Beach, Ynys Mon)’, signed in pencil, 14 x 23cms

Provenance: private collection Conwy £150-250

265

‡ STEPHEN BONE oil on canvas – coastal landscape believed Pembrokeshire, 51 x 61cms,

Provenance: private collection Gloucestershire

Comments: unframed £150-250

266 ‡ JOHN CYRLAS WILLIAMS oil on canvas – entitled ‘Girl with a Dog’, 54.5 x 45.5cms

Provenance: private collection Gloucestershire, details verso ‘probably painted in Paris in the 1920s’ £200-300

267 HARRY S EAST oil on canvas - entitled verso ‘Capel Curig, North Wales’, signed, 49.5 x 75cms

Provenance: private collection Conwy £200-300

268 J MAURICE oil on canvas - entitled verso ‘Near Pen-maen, Cader Idris North Wales’, signed, 60 x 90cms

Provenance: private collection Conwy £200-300

269

‡ STEPHEN BONE oil on canvas – Tenby from Castle Hill, signed, 61 x 51cms

Provenance: private collection

Gloucestershire

Comments: unframed

£200-300

270

‡ DAVID GROSVENOR oil on canvasentitled verso ‘Llyn Dinas’ on Oriel Tegfryn Gallery label, signed, dated verso 2012, 11.5 x 17cms

Provenance: private collection Ceredigion £200-300

271

‡ MARK SAMUEL oil on canvas - street scene with a single multi-storey building, signed and dated verso 2008, 31 x 41cms

Provenance: private collection Cardiff

£200-300

272

‡ STAN ROSENTHAL oil on boardabstract landscape, 62 x 74cms

Provenance: private collection Vale of Glamorgan

£200-300

273

NEALE HOWELLS set of four painted ceramic plates - abstract, each signed and dated verso 2024, 13cms (diam.) the largest

Provenance: private collection Neath Port Talbot £200-300

The Welsh Sale • Rogers Jones &

274

‡ CHRISTINE KINSEY large oil on canvas - entitled verso, ‘Valley Girl I / Merched y Cwm I’, signed, 183 x 122cms

Provenance: private collection London £200-300

275

‡ DAVID WOODFORD oil on card - Llyn Dinas, Eryri (Snowdonia) signed, 20 x 28cms

Provenance: private collection Herefordshire

£200-300

276

‡ MEIRION JONES acrylic on board - entitled verso, ‘Marina Abertawe /Swansea Marina’, signed, 19 x 19cms

Provenance: private collection South Wales

£200-300

277

‡ DAVID GRIFFITHS MBE oil on canvas - cathedral interior with figures, signed, 41 x 50cms

Provenance: private collection Cardiff £200-300

278

‡ ANDREW VICARI oil on board - dancing figures and a dog, signed, 25 x 50cms

Provenance: private collection Bridgend £200-300

279

‡ JOHN MACFARLANE oil - entitled verso, ‘Black Curtain, Idomeneo’ on Martin Tinney Gallery label, signed and dated ‘06, 36 x 46cms

Provenance: private collection South Wales £200-300

280

‡ SARAH SNAZELL oil on card - entitled verso, ‘Skirrid’ signed and dated verso 1997, 17 x 12cms

Provenance: as per verso, ‘for Mind Exhibition’, private collection South Wales

Comments: unframed, mounted £200-400

283

ALAN WILLIAMS acrylic - figure in coracle, entitled verso ‘Sheep Dipping’, signed, 36 x 53cms

Provenance: private collection Cardiff, directly from artist’s studio, no droit de suite applied

£200-300

284

ALAN WILLIAMS acrylic - entitled verso ‘Coraclers’, signed, 33 x 48cms

Provenance: private collection Cardiff, directly from artist’s studio, no droit de suite applied

£200-300

285

‡ CHRISTOPHER WILLIAMS oil on canvas - near Llanberis, circa 1917, 29 x 39.5cms

Provenance: private collection

Ceredigion £200-300

281

‡ EWART JOHNS oil on board - entitled verso ‘Landscape with Poppy Field from Cerbaia, Tuscany’, signed, signed and dated verso 1987, 43 x 59.5cms

Provenance: private collection Vale of Glamorgan £200-300

282

‡ PETER GORSUCH oil on board - entitled verso ‘Sugarloaf’, signed with initials, 38 x 61cms

Provenance: private collection Vale of Glamorgan £200-300 282

286

‡ JACQUELINE ALKEMA oil on panel - entitled ‘The Dutch Girl’, 39 x 29cms

Provenance: private collection Vale of Glamorgan

£200-400

287

‡ OWEN MEILIR oil on board - entitled verso ‘Storm, Ynys Mon’, signed, 47.5 x 68cms

Provenance: private collection Gwynedd £200-300

288

‡ LISA CARTER oil, ink & acrylic on canvas on board - entitled verso ‘Window Wide Open’, on Ffin y Parc Gallery label, signed and dated verso 2015, 29.5 x 29.5cms

Provenance: private collection Gwynedd

£200-300

289

‡ PETER GORSUCH oil on board - entitled verso ‘Our Welsh men of Steel’, signed with initials and signed verso, 58 x 83cms

Provenance: private collection Vale of Glamorgan

£250-350

290

‡ STEVEN JONES oil on canvas - entitled ‘Merch yn y Mor’, signed, 29 x 24cms

Provenance: private collection Conwy

£250-350

291

‡ KEN LEWIS oil on board - entitled verso ‘Sun and Steam (Aberystwyth)’, signed and dated verso 1968, 48 x 90cms

Provenance: private collection Lancashire

£250-350

292

‡ KEN LEWIS oil on boardentitled verso ‘The Red Barn (Near Rhyd-y-felin)’, signed and dated verso 1969, 48 x 90cms

Provenance: private collection Lancashire

£250-350

293

‡ ALEX WILLIAMS oil on canvas - entitled verso ‘Types of Tractor’, signed with initials and signed and dated 2022 verso, 51 x 51cms

Provenance: private collection Isle of Wight

£250-350

294

‡ PETER GORSUCH oil on board - entitled verso ‘After the Storm, Eryri / Snowdonia’, signed with initials and fully verso, 54 x 59cms

Provenance: private collection Vale of Glamorgan

£250-350

295

‡ MEIRION JONES acrylic on board - river and trees in shaft of sunlight, signed, 29 x 41cms

Provenance: private collection Vale of Glamorgan

£250-350

296

‡ ANDREW VICARI oil on canvas - entitled verso, ‘Before the Storm’, signed, dated verso 2012, 40 x 50cms

Provenance: private collection Bridgend

£300-500

297

‡ ANDREW VICARI oil on canvas - entitled verso ‘The Vigil’, signed, dated verso 1999, 42 x 34cms

Provenance: private collection London, friend and business associate of the artist

£300-400

The Welsh Sale • Rogers Jones

298

‡ ANDREW VICARI oil on boardharvesters resting, 60 x 75cms

Provenance: private collection Bridgend £300-500

299

‡ GARETH THOMAS acrylic - entitled verso, ‘Carreg Cennen, Grey Day’ on Fountain Fine Art Gallery label, signed, 30 x 31cms

Provenance: private collection Carmarthenshire

£300-500

300

‡ STEPHEN JOHN OWEN oil on board - entitled verso ‘Ty Ysgol, Cwm Pennant’ on Ffin y Parc Gallery label, signed, 36 x 36cms

Provenance: private collection Monmouthshire

£300-400

301

‡ DAVID GROSVENOR oil on canvasentitled verso ‘Nant Ffrancon’ on Oriel Tegfryn Gallery label, signed, dated verso 2012, 15.5 x 18cms

Provenance: private collection Ceredigion £300-400

302

‡ JAMES DONOVAN oil on canvas - large figure, signed with initials and dated ‘97 verso, 97 x 80cms

Provenance: private collection Cardiff

£300-500

303

‡ MIKE JONES mixed mediaentitled verso on Attic Gallery label, ‘Figures in Street’, signed, 13.5 x 20cms

Provenance: private collection Carmarthenshire

£300-500

304

‡ GARETH THOMAS oil on board - Provence landscape, probably a view of Roussillion, signed, 32 x 34cms

Provenance: private collection Swansea

Comments: unframed £300-500

307

‡ ALEX WILLIAMS oil on canvas - entitled verso ‘Towards Milking’, signed with initials and signed and dated 2023 verso, 51 x 51cms

Provenance: private collection Isle of Wight £300-400

305

‡ GARETH THOMAS oil on board - Provence landscape with many lavender fields, signed, 31 x 34cms

Provenance: private collection

Swansea

Comments: unframed £300-500

306

‡ GARETH THOMAS oil on board - Provence landscape with hillside road and building, signed, 38 x 38cms

Provenance: private collection

Swansea

Comments: unframed £300-500

308

‡ WILF ROBERTS oilentitled verso ‘Porth Llechog/ Bull Bay’, signed and dated 2000, 26 x 20cms

Provenance: private collection Conwy £300-400

309

‡ ELFYN JONES oil on canvasentitled verso

‘Dissolving Structures’, signed and dated verso 2020, 61 x 50cms

Provenance: private collection Gwynedd £300-400

310

‡ ELFYN JONES oil on canvasentitled verso

‘Who’s Who?’, signed and dated verso 2015, 70 x 60cms

Provenance: private collection Gwynedd £300-400

The Welsh Sale • Rogers Jones & Co

311

‡ TOM JONES oil on board - entitled verso ‘Llansadwrn Farm’, signed with monogram, 44.5 x 119cms

Provenance: private collection Conwy

£300-400

312

‡ TOM JONES oil on panel - village scene with buildings, signed and dated ‘74, 53.5 x 106cms

Provenance: private collection

£300-400

313

‡ DAVID BARNES oil on board - rocky coast, signed verso, 34 x 55cms

Provenance: private collection Conwy

£300-400

314

‡ TOM JONES oil on board - entitled verso ‘Anglesey Farm Building with yr Eifl’, signed with monogram, 44.5 x 70.5cms

Provenance: private collection Conwy

£300-400

315

‡ AUDREY HIND oil on panel - old Welsh farm under stormy sky, signed, 48.5 x 89.5cms

Provenance: private collection Conwy

£400-600

316

‡ SELWYN JONES oil on canvas - entitled verso ‘Barras, Brynsiencyn’, signed with initials, 24 x 34cms

Provenance: private collection Gwynedd

£400-600

Rogers Jones & Co

317

‡ MIKE JONES oil on boardentitled verso ‘Foundry Man’, on Ffin y Parc Gallery label, signed, 29.5 x 24cms

Provenance: private collection Gwynedd £400-600

318

‡ NICK HOLLY oil - entitled verso ‘Cats on a Wall, Cardiff’, on Albany Gallery label verso, signed, 38 x 16.5cms

Provenance: private collection Gwynedd £400-600

319

‡ DAVID BARNES oil on board - coastal landscape with cottages, signed verso, 38.5 x 49cms

Provenance: private collection Conwy £400-600

320

‡ TONY GOBLE oil on boardcrucifixion, entitled, ‘Heavens Above’, signed, 69 x 45cms

Provenance: private collection Cardiff £400-600

321

NEALE HOWELLS mixed media on glass - entitled verso ‘Come over to my place/ Dewch ymlaen i’n lle’, signed and dated verso 2022, 52 x 40cms

Provenance: private collection Neath Port Talbot £400-700

322

‡ DAVID BARNES oil on canvas - storm waves, signed with initials, 40 x 51cms

Provenance: private collection Monmouthshire

£400-600

323

WILLIAM GILLARD large oil on canvas - Menai Straits with figure and Telford’s Menai Suspension Bridge, signed, 64 x 110cms

Provenance: private collection London

£400-800

324

CHARLES SMITH oil on canvas - entitled verso ‘Valley in North Wales’, signed and dated verso ‘67, 58 x 82cms

Provenance: private collection Conwy

£400-600

325

‡ ANDREW VICARI oil on board - entitled verso, ‘Young Girl in a Field’, signed, 74 x 86cms

Provenance: private collection Bridgend

£400-600

326

‡ ANDREW VICARI oil on panel - entitled verso, ‘The Savinellis’, signed, 48 x 46cms

Provenance: private collection London, friend and business associate of the artist £400-600

327

‡ MIKE BRISCOE oil on canvasentitled verso, ‘The Beach from Higher Ground II’, signed and dated verso 2005-08, 76 x 53cms

Provenance: private collection Cardiff

Comments: unframed canvas

£400-600

328

‡ MIKE BRISCOE oil on canvasentitled verso, ‘Following Footprints’, signed and dated verso 2009, 45 x 35cms

Provenance: private collection Cardiff

£400-600

329

‡ ANDREW VICARI oil on boardentitled verso, ‘Cottages by a Lake in Wales’, signed, 59 x 89cms

Provenance: private collection Bridgend

£400-600

330

‡ DAVID BARNES oil on board - coastal landscape, signed with initials, 38 x 79cms

Provenance: private collection

Monmouthshire

£500-800

331

ALFRED OLIVER oil on canvas - entitled verso ‘Storm over Snowdon, view from Capel Curig’, signed, 70 x 103cms

Provenance: private collection Conwy

Comments: framed, some damage to frame, inspection advised £500-1,000

332

NEALE HOWELLS mixed media on panelentitled verso ‘Red Band Head’, signed and dated 2011, 47 x 47cms

Provenance: private collection Neath Port Talbot

£500-1,000

The Welsh Sale • Rogers Jones & Co

333

NEALE

HOWELLS mixed media on panel - entitled verso ‘Sleazy’, signed and dated verso 2002, 43 x 33cms

Provenance: private collection Neath Port Talbot

Comments: unframed panel £500-1,000

334

‡ GARETH PARRY oil on board - entitled verso ‘Nant Ffrancon (Gaeaf/ Winter)’, signed, 37 x 50cms

Provenance: private collection Ceredigion £500-700

335

‡ CLAUDIA WILLIAMS oil on board - figures on a beach, signed and dated 1960, 29 x 36cms

Provenance: private collection Gwynedd £500-800

336

‡ EDWIN (ED) FORREST oil on board - Eryri landscape with figures, signed, 21.5 x 29cms

Provenance: private collection Flintshire £500-700

337

‡ IAN ‘H’ WATKINS acrylic and gesso on panel - entitled verso ‘The Enchanted Poppies’ on Ffin y Parc Gallery label, signed and dated verso 2015, 61 x 61cms

Auctioneer’s Note: Ian ‘H’ Watkins is a member of pop group Steps

Provenance: private collection Ceredigion £600-800

338

‡ MAURICE COCKRILL oil - entitled verso ‘Divided’ on Kooywood Gallery label, 32 x 30cms

Provenance: private collection Vale of Glamorgan £600-800

339

‡ JOHN ELWYN oil on canvas - entitled verso, ‘Gale Havock II’, signed and dated verso 1963, 24 x 34.5cms

Provenance: original exhibition label verso, private collection Berkshire £700-1,200

342

‡ MEIRION

GINSBERG oil on canvas - entitled verso ‘Violin Practice’, on Martin Tinney Gallery label, signed and dated verso 2017, 60 x 50cms

Provenance: private collection Gwynedd £700-1,000

343

‡ DONALD McINTYRE oil on board - entitled verso ‘Child’, on Thackeray Gallery label, signed with initials, 56 x 56cms

Provenance: private collection Anglesey £700-1,000

344

‡ CLAUDIA WILLIAMS oil on boardentitled verso ‘Reading in Bed’, signed verso, 28.5 x 44cms

Provenance: private collection Gwynedd £700-1,000

340

‡ ROBERT DAWSON oil on board - entitled verso ‘Spring Sunshine’, signed with initials, 50 x 71.5cms

Provenance: private collection Vale of Glamorgan £700-900

341

‡ WILLIAM SELWYN early oil on board - entitled verso ‘Traeth Clynnog’, signed, 39 x 56cms

Provenance: private collection Ceredigion £700-900

See page 3, or paragraph

345

‡ DONALD McINTYRE oil on board - rocky coastal landscape, signed with initials, 30 x 39cms

Provenance: private collection Conwy

£700-1,000

346

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Ynys Enlli’, signed with initials, fully signed and dated 2008 verso, 23 x 34cms

Provenance: private collection Monmouthshire

£700-1,000

347

‡ GWILYM PRICHARD oil on canvas - landscape with river and trees, 50 x 60cms

Provenance: private collection Vale of Glamorgan

£800-1,200

348

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Tirlun, Llydaw / Landscape, Brittany’ on Martin Tinney Gallery label, signed with initials, fully signed and dated 2004 verso, 24 x 35cms

Provenance: private collection Monmouthshire, painting with similar view illustrated in ‘Gwilym Prichard: A Lifetime’s Gazing’ by Harry Heuser and Prof. Robert Meyrick (Samson & Co, 2013)

Comments: with original receipt from Martin Tinney Gallery

£800-1,400

349

‡ IFOR PRITCHARD oil on canvas laid to boardportrait of seated gentleman holding walking stick, signed, 35 x 24cms

Provenance: private collection Ceredigion

£800-1,200

350

‡ IFOR PRITCHARD oil on canvas laid to board - entitled verso ‘The Codgers’, signed, 35 x 24cms

Provenance: private collection Ceredigion

£800-1,200

351

‡ HYWEL HARRIES oil on board - Ceredigion landscape with fire-safety sign and distant dwelling, signed in full, 33 x 61cms

Provenance: private collection Cardiff £800-1,200

352

‡ HYWEL HARRIES oil on board - entitled verso, ‘Capel Y Garn’, signed, 29 x 52cms

Provenance: private collection Cardiff £800-1,200

353

‡ DAVID BARNES oil on canvasentitled verso ‘Towards Holyhead’, signed with initials, 31 x 41cms

Provenance: private collection Vale of Glamorgan £800-1,200

354

‡ DAVID BARNES oil on canvas - entitled verso ‘Pen y Fan’ on Ardent Gallery label, signed with initials, 38 x 28cms

Provenance: private collection Vale of Glamorgan £800-1,200

359

‡ JOHN ELWYN oil on canvas - ‘Orange Grove, near Seville’, dated 1989, studio stamp, 51 x 60.5cms

Auctioneer’s Note: John Elwyn’s paintings of continental Europe were rarely, if ever, exhibited and are little known to collectors, his first recorded painting in Europe is of Quimper in Brittany. Throughout the 1970s and 1980s, he kept richly illustrated journals of his travels in France, Italy, Greece, Turkey, and Egypt. Back in his studio, he worked up some of the drawings into larger paintings, notably his Verona gardens in 1982 and numerous watercolours of Kos and Patmos in 1985. Orange Grove, near Seville dates from his 1989 visit to Cordoba, Seville and Granada

Provenance: private collection Ceredigion £800-1,200

355

‡ DAVID BARNES oil on canvasEryri landscape, signed with initials, 28 x 38cms

Provenance: private collection Vale of Glamorgan

£800-1,200

356

‡ ELFYN LEWIS oil on panel - entitled verso, ‘Pen Yr Ole Wen’, signed and dated verso 2010, 62 x 62cms

Provenance: private collection Cardiff £800-1,200

357

‡ CHARLES BURTON oil - entitled ‘Rhondda Fawr’, 48 x 48cms

Provenance: private collection Vale of Glamorgan, formerly collection of Sir Alan and Lady Cox, with Martin Tinney Gallery

£800-1,200

358

‡ VALERIE GANZ oil on canvas - storm over Mumbles lighthouse, signed and dated ‘75, 44 x 55.5cms

Provenance: private collection Vale of Glamorgan

£800-1,200

360

‡ DONALD McINTYRE oil on board - entitled verso ‘Evening Tide’, signed, 53 x 53cms

Provenance: private collection Cardiff

£1,000-1,500

361

NEALE HOWELLS large mixed media on wood - entitled verso ‘Radar Lover’, signed and dated verso 2022, 167 x 154cms

Provenance: private collection Neath Port Talbot

Comments: unframed

wood panels

£1,000-2,000

362

‡ DONALD McINTRYE

acrylic - entitled verso ‘Harbour Mouth’, signed with initials, signed verso, 30 x 40cms

Provenance: private collection Gwynedd Comments: framed and glazed in original 1960s / 70s fabric mounted frame

£1,000-1,500

363

‡ MEIRION JONES

acrylic on board - portrait of Luned Roberts de Gonzalez from the Patagonia Portraits series, signed, 48 x 59cms

Provenance: private collection West Wales

Auctioneer’s Note: Luned Roberts de Gonzalez was a direct descendant of two of the founding members of the Welsh settlement in Patagonia (Y Wladfa) which commenced in 1865. Born in Gaiman, Chubut in the heart of Welsh Patagonia, Luned and her sister Tegai Roberts’ great- grandfather on their mother’s side was Lewis Jones, founder of the nearby town of Trelew. Their great-grandmother married one of the two sons of Reverend MD Jones, the man who financed much of the initial Welsh expedition to Argentina. Both Tegai and Luned were well-known as advocates of the Welsh language and culture in Patagonia. Luned led the Intermediate School from 1963 and her sister Tegai famously broadcast on radio in Welsh from her station in Gaiman. This painting was created by Meirion Jones at the time of the 150th anniversary of Y Wladfa, the Welsh colony, in 2015

Comments: Oriel Gallery label verso

£1,000-1,500

363

362

361 360

The Welsh Sale • Rogers Jones

364

‡ EVAN CHARLTON oil on panelentitled verso, ‘Chair by the Sea’ on Martin Tinney Gallery label, dated verso 1984, 120 x 90cms

Provenance: private collection Cardiff

£1,000-1,500

365

‡ CLAUDIA WILLIAMS oil on panelentitled verso, ‘Children in a Room’, signed and dated ‘66, 74 x 44cms

Provenance: private collection

Gwynedd

£1,000-1,500

366

‡ KEITH BOWEN oil on canvas - entitled verso ‘Winter Sunset Outside Wrexham, North Wales’, signed, dated 2002 verso, 44 x 59cms

Provenance: private collection Ceredigion £1,000-1,500

367

‡ MURIEL DELAHAYE oil on canvas - entitled verso, ‘The Captain’s Wife’, signed, dated verso 2019, 50 x 39.5cms

Provenance: private collection Carmarthenshire £1,000-1,500

368

‡ KEVIN SINNOTT oil on board - entitled verso, ‘Gwydd’, signed with initials, 40 x 29cms

Provenance: private collection Carmarthenshire £1,000-1,500

369

‡ CLAUDIA WILLIAMS oil on canvas - entitled verso ‘Sun and Shade’, signed with initials, fully signed and dated verso 2005, 37 x 44.5cms

Provenance: private collection Pembrokeshire, purchased by vendor from charity auction, circa 2005 £1,000-2,000

370

‡ VALERIE GANZ oil on canvas - entitled verso ‘Ben Waits Patiently’, signed, 31.5 x 26cms

Provenance: private collection Vale of Glamorgan £1,200-1,800

371

‡ IFOR PRITCHARD oil on board - entitled ‘The Supervisors’, signed, 48 x 16cms

Provenance: private collection Ceredigion £1,200-1,800

374

NEALE

HOWELLS expansive mixed media on wood - entitled verso ‘What is our future apart from our judge’, signed and dated verso 2009, 178 x 300cms

Provenance: private collection Neath Port Talbot

Comments: large unframed panel

£1,500-2,500

375

NEALE HOWELLS very large mixed media on Perspex - entitled ‘Cent-way’, signed and dated verso 2016, 153 x 105cms

Provenance: private collection Neath Port Talbot

Comments: unframed sheet of Perspex, hanging holes drilled in each corner

£1,500-2,500

372

‡ DONALD McINTYRE acrylic - entitled verso ‘Bridge and Cottages’, signed with initials, 13.5 x 22cms

Provenance: private collection Ceredigion

£1,500-2,200

373

‡ DIANA ARMFIELD RA oil on boardentitled verso ‘Moonrise over the Berwyns’ on Albany Gallery label verso, signed with initials, 19 x 26cms

Provenance: private collection Vale of Glamorgan

£1,500-2,500

376

‡ WILL ROBERTS oil on canvas - entitled verso ‘Farmer - Summer Night’, signed and dated verso 1974, 39 x 29cms

Provenance: private collection Gwynedd £1,500-2,500

379

‡ HARRY HOLLAND oil on boardseated nude shrouded in white blanket, signed, 43.5 x 56cms

Provenance: private collection Gwynedd

£2,000-3,000

380 ‡ WILL ROBERTS oil on canvasentitled verso, ‘Cader Idris & Dolgellau’, signed and dated verso 1978, 39 x 49.5cms

Provenance: private collection Warwickshire

£2,000-3,000

381 ‡ ANEURIN JONES oil on board - red roofed barn, signed, 31 x 41cms

Provenance: private collection

Ceredigion

£2,000-2,500

377

‡ GEORGE CHAPMAN oil on canvas - small child seated on steps and with church seen behind television aerials, 91 x 61cms

Provenance: private collection Netherlands

Comments: unframed canvas

£1,500-2,500

378

‡ CLAUDIA WILLIAMS oil on canvas - entitled verso ‘Boxing Day Plunge, Coming Out’, signed and dated verso 2002, 44.5 x 36cms

Provenance: private collection Cardiff

£1,800-2,500

382

‡ HARRY HOLLAND oil on canvasportrait of a young female, signed, 40 x 32cms

Provenance: private collection Cardiff

£2,000-2,500

383

IFOR PRITCHARD oil on board - two slate workers on the quarry face, signed, 50 x 31cms

Provenance: private collection Ceredigion

£2,000-2,500

384

‡ WILF ROBERTS oil on panel - entitled verso ‘Maenaddwyn’ on Oriel Tegfryn Gallery label, signed and dated 2009, 28 x 39.5cms

Provenance: private collection Ceredigion

£2,000-3,000

382

Rogers Jones & Co •

385

‡ DAVID WOODFORD oil on canvas - entitled verso ‘Aran Benllyn’, signed, 75.5 x 86cms

Provenance: private collection Gwynedd £2,000-3,000

386

‡ DAVID WOODFORD oil on canvas - entitled verso ‘The Dovey Valley at Dinas’, signed and dated 1972 verso, 90 x 71cms

Provenance: private collection Gwynedd £2,500-3,500

387

‡ HARRY HOLLAND oil on board - threequarter portrait of a standing young female chalking a wall as if teaching, signed, 64 x 49cms

Provenance: private collection Cardiff £2,500-3,500

388

‡ IFOR PRITCHARD oil on canvas - portrait of six quarrymen posing as though for a photograph, signed, 45 x 60cms

Provenance: private collection Ceredigion £3,000-4,000

389

‡ ERNEST ZOBOLE oil on canvas laid to board - entitled verso, ‘The Valley No.3’ on Dillwyn Gallery label, signature to label verso, 122 x 91cms

Provenance: private collection Pembrokeshire

£3,000-4,000

390

‡ WILL ROBERTS oil on panel - entitled verso, ‘The Handcart’ on Albany Gallery label, signed, signed and dated verso 1965/72, 60 x 75cms

Provenance: private collection Bridgend

£3,000-3,500

391

‡ SHANI RHYS JAMES MBE oil on panel - entitled verso, ‘Self Portrait with Handle’, dated verso December 1990, 53 x 48cms

Provenance: private collection Warwickshire

£3,000-4,000

392

CLAUDIA WILLIAMS oil on canvas - entitled verso ‘By the Sea’, signed with initials, dated verso ‘87, 65 x 54cms

Provenance: private collection Cheshire

£3,000-4,000

393

‡ WILF ROBERTS oil on canvas - entitled verso ‘Sunset, Llanddwyn’, signed and dated 2004, 61 x 76cms

Provenance: private collection Ceredigion

£3,500-4,500

395

‡ CLAUDIA WILLIAMS oil on canvas - entitled verso ‘Bonding’, on Martin Tinney Gallery label, signed and dated 2008 verso, 59.5 x 89.5cms

Provenance: private collection Gwynedd

£5,000-7,000

394

‡ HARRY HOLLAND oil on panel - female standing nude, 2004, signed, 40 x 26cms

Provenance: private collection Vale of Glamorgan

Comments: no condition issues

£4,000-5,000

396

396

‡ OGWYN DAVIES

mixed media including collage, acrylic and heightening - entitled verso ‘Soar y Mynydd’, signed and dated 1992, 80 x 57cms

Provenance: purchased in 1992 National Eisteddfod at Aberystwyth by vendor, a smaller version was used to produce a series of famous prints

Auctioneer’s Note: the Soar-y-Mynydd image by Ogwyn Davies is one of the most iconic of images in modern Welsh art with its romantic depiction of one of the remotest chapel in Wales over typed with Welsh hymns and musical notes

£10,000-15,000

397

No lot

The Welsh Sale • Rogers Jones

398

‡ PAUL PETER PIECH rare wood carved panel - entitled ‘Truth’ with ‘Glory, Glory Hallelujah, His Truth Marches On’, with portraits of Lincoln, Gandhi and Christ, 46 x 54cms

Provenance: private collection Netherlands

Comments: unframed panel

£200-300

399

‡ PAUL PETER PIECH rare wood carved panel - entitled ‘Peace is a Human Right’, overall 46 x 54cms

Provenance: private collection Netherlands

Comments: unframed panel

£250-350

400

DARREN YEADON Preseli bluestone - abstract, marked with artist’s monogram, 75cms (h)

Provenance: direct from the Artist’s Studio

Comments: restoration to base

£400-600

401

DARREN YEADON Preseli bluestone - fish, marked with artist’s monogram, 33 (h) x 46cms (l)

Provenance: direct from the Artist’s Studio

Comments: minor chips

£600-1,000

402

‡ ARTHUR GIARDELLI mixed media - entitled verso, ‘My Flower Bed’ on Kooywood Gallery label, 54 x 35cms

Provenance: private collection Cardiff £1,000-1,500

THE WELSH SALE: INDEX OF ARTISTS / MYNEGAI ARTISTIAID

A

‡ ALKEMA, Jacqueline (b.1948)

ANWYLINI PUGHE, Buddug (1856-1939)

‡ ARMFIELD, Diana RA (b.1920)

B

‡ BALA, Iwan (b.1956)

BARDILL, Ralph William RCA (1876-1935)

‡ BARNES, David (1942-2021)

‡ BASSETT, Vera (1912-1997)

‡ BONE, Stephen (1904-1958)

‡ BOWEN, Keith (b.1950)

‡ BRANGWYN, Sir Frank RA (1867-1956)

‡ BRISCOE, Mike (b.1960)

‡ BROWN, Gwyn (20th Century)

‡ BURTON, Charles (b.1929)

C

‡ C ARTER, Lisa (b.1972)

‡ CECIL, Roger (1942-2015)

‡ CHAPMAN, George (1908-1993)

‡ CHAPPELL, Dick (b. 1954)

‡ CHARLTON, Evan (1904-1984)

‡ COCKRILL, Maurice (1936-2013)

‡ COUR, Glenys (b.1924)

D

‡ DAVIES, Ogwyn (1925-2015)

‡ DAWSON, Robert (1926-1997)

‡ DELAHAYE, Muriel (1931-2021)

‡ D ONOVAN, James (b.1974)

‡ D OUGLAS FORBES, Andrew (Contemporary)

E

EAST, Harry S (1880-1920)

‡ EDWARDS, Malcom (b.1934)

‡ ELWYN, John (1916-1997)

‡ E VANS, Will (1887-1957) EVANS, William (1809-1858)

F

‡ FORREST, Edwin (1918-2002)

G

‡ GANZ, Valerie (1936-2015)

‡ GIARDELLI, Arthur (1911-2009)

‡ GIBSON-WATT, Marcia (b.1949)

GILLARD, William (1812-1897)

‡ GINSBERG, Meirion (b.1985)

‡ GOBLE, Tony (b.1943)

‡ GOOLDEN, Barbara (Contemporary)

‡ GORSUCH, Peter (Contemporary)

‡ GRIFFITHS, David MBE (b.1939)

‡ GROSVENOR, David (b.1956)

H‡ HARRIES, Hywel (1921-1990)

‡ HERMAN, Josef OBE RA (1911-2000)

‡ HICKS-JENKINS, Clive (b.1951)

‡ HIND, Audrey (b.1936)

‡ HOLLAND, Harry (b.1941)

HOLLOWAY, Edgar (1914-2008)

‡ HOLLY, Nick (b.1968)

‡ HOWARD-JONES, Ray (1903-1996)

HOWELLS, Neale (b.1965)

‡ HUGHES STANTON, Blair (1920-1981)

I‡ ISHERWOOD, James Lawrence (1917-1989)

J‡ JOHN, Augustus OM RA (1878-1961) JOHN, Gwen (1876-1939)

‡ JOHNS, Ewart (1923-2013)

‡ JONES, Aneurin (1930-2017)

‡ JONES, David (1895-1974)

‡ JONES, Elfyn (b.1939)

‡ JONES, Margaret (1918-2024)

‡ JONES, Meirion (b.1966)

‡ JONES, Mike (1941-2022)

‡ JONES, Selwyn (1928-1998)

‡ JONES, Shirley (b.1934)

‡ JONES, Steven (1959-2017)

‡ JONES, Tom (20th century)

K

‡ KINSEY, Christine (b.1942)

‡ K NAPP-FISHER, John (1931-2015)

L

LAMPITT, Ronald (1906-1988)

‡ L EK, Karel (1929-2020)

‡ L EWIS, Ken (20th century)

‡ L LOYD JONES, Mary (b.1934)

‡ LLOYD-WRIGHT, Frank (1867-1959)

M

‡ MACFARLANE, John (b.1948)

MAURICE, J. (1800-1900)

‡ Mc DOUGAL, John (1851-1945)

‡ M cINTYRE, Donald (1923-2009)

‡ MEILIR, Owen (Contemporary)

‡ M OORE, Leslie (1913-1976) N

‡ NASH, Tom (b.1931)

O

OLIVER, Alfred (1886-1921)

‡ PARRY, Gareth (b. 1951)

‡ PENNELL, Joseph (1857-1926)

‡ PIECH, Paul Peter (1920-1996)

‡ PIPER, John (1903-1992)

‡ PRENDERGAST, Peter (1946-2007)

‡ PRICHARD, Gwilym (1931-2015)

‡ PRITCHARD, Ifor (1940-2010) R

‡ RHYS JAMES, Shani MBE (b.1953)

‡ RICHARDS, Ceri CBE (1903-1971)

‡ ROBERTS, Wilf (1941-2016)

‡ ROBERTS, Will (1907-2000)

‡ ROSENTHAL, Stan (1933-2012)

‡ RYAN, Adrian (1920-1988) S

‡ SAMUEL, Mark (b. 1956)

‡ SELWYN, William (b.1933)

‡ SHONE, Keith (b.1931)

‡ SINCLAIR, Nicholas (b.1954)

‡ SINNOTT, Kevin (b.1947)

SMITH, Charles (1880-1918)

‡ SNAZELL, Sarah (1965-1999)

‡ S WEETINGHAM, David John (Contemporary)

T

‡ THOMAS, Gareth (1955-2019)

‡ TRESS, David (b.1955)

‡ T UNNICLIFFE, Charles Frederick RA OBE (1901-1979)

V

‡ VICARI, Andrew (1932-2016)

W

‡ WATKINS, Ian ‘H’ (b. 1976)

‡ WATTS, Meryl (1910-1992)

‡ W HAITE, James (1881-1916)

WILLIAMS, Alan (Contemporary)

‡ W ILLIAMS, Alex (b.1942)

‡ WILLIAMS, Christopher (1873-1934)

‡ W ILLIAMS, Claudia (1933-2024)

‡ W ILLIAMS, John Cyrlas (1902-1965)

‡ W ILLIAMS, Sir Kyffin RA (1918-2006)

‡ WOODFORD, David (b. 1938)

‡ W YATT WARREN, Charles (1908-1993)

Y YEADON, Darren (Contemporary)

Z

‡ OWEN, Stephen John (b.1959) P

‡ ZOBOLE, Ernest (1927-1999)

BIDDING & PURCHASE TERMS

Buyer’s Premium for both auctions: 24% + VAT (28.8%)

Droit de Suite applicable (Please see page 142 for more details)

BIDDING

Bidding other than room bidding:

1. Room

Bidding

available in both auctions

2. Commission Bids

Commission bids must be placed on our website or by a form supplied by 4pm the day before auctions. (Copy of our commission bidding form is found at the back of the catalogue or can be emailed / posted).

Please note that we will not be answering our office phones on 16 November

If you have cause to contact us urgently on the day of the auction, please do so by email: cardiffinfo@rogersjones.co.uk but note that we do not guarantee a reply

2. Telephone Bidding

Telephone bids must be arranged by receipt of our forms by 1pm the day before auctions. (Copy of our telephone bidding form is found at the back of the catalogue, digital form is available to download from our website). Lines are available on all lots but on a first come first served bases. There is a limit to how many lines can be operating at one time.

3. Free Online Live Bidding With Rogers Jones

Free online Live Bidding with Rogers Jones LIVE at www.rogersjones.co.uk

Other platforms such as the-saleroom.com do charge for using their system.

HOW TO BID!

Room Bidding (Now Available) COMMISSION BIDDING

OFFICE PERSONNEL

Cardiff: Olivia Chappell

Colwyn Bay: Dawn Sandham & Lisa Lamb

Carmarthen: Morganna Hampshire

Payment Terms

Payment is required by BACS (bank transfer) within five working days from the auctions. Please use your bidding invoice number reference. Presently cheques, chip and pin and cash are not acceptable.

For clients who do not use online banking, payments can be made at their bank over the counter. Please see your banking terms.

Condition Reports

The onus rests on prospective bidders to satisfy themselves as to the condition of items in this auction. Most items have a condition report with the description; this does not imply that items are without fault. We advise requesting further images / condition reports on all lots and this will be provided by us by e-mail only. Comments on condition are declared on some items of pottery / porcelain but are an opinion only. It is usual for us to declare if there is a problem with the condition of picture(s). But we advise that all prospective purchasers enquire / examine lots as ‘items are bought as seen’.

Please ensure you have read our viewing and bidding terms.

About: commission bids are when you leave us your highest price to bid on your behalf. We will bid up to your price(s) and you will win items if another bidder drops out before your maximum price. If there is no other bidder then you may win the item at the bottom estimate / reserve.

Commission bids must be received by 4pm the day before the auction. We are not answering the phones on auction day!

How: this can be done on our website by clicking on the lot(s) you are interested in and then clicking ‘REGISTER / LOG IN TO BID’.

Or you can complete a copy of the bidding form at the back of this catalogue and send a clear image of the form to us by email.

Tips: there is little point in bidding below the bottom of the auction estimate and enter as high as you can so as not to regret missing out. It is always a good chance you may win the item at a smaller price.

TELEPHONE BIDDING

About: we phone you a few minutes prior to the lot you have booked a phone line on. Our operator will communicate the price and ask whether you want to bid.

How: as with ‘Commission Bids’ a form be completed and returned to us BUT by 1pm the day before the auction. Forms can be emailed, posted or are at the back of this publication. Telephone lines are limited so are on a first come first served basis.

Tips: calculate or ask us at approximately what time you are likely to receive a call from us and ensure you are available on the line with a good signal, you can leave a back-up line on the form in case of any problems. It is better to have a good sense of what prices you are likely to go up to before-hand as there may be no time for indecisions!

ROGERS JONES LIVE INTERNET BIDDING

About: the auction is broadcast live on our website www.rogersjones.co.uk where you will see a video and hear the sale. You will also see the bidding numerically. You can bid with your keyboard providing you have registered. There is a surcharge on each lot for using the-saleroom.com platform to bid.

How: Very simply ‘click bid’ but remember that your bid is binding when successful!

Tips: ensure that you your device’s speaker is switched to ‘on’, bid quickly as there may be a slight delay and remember the auctioneer cannot see you!

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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British & European Fine Art

Jewellery & Collectables

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.