Woolley & Wallis Auctioneers

MODERN BRITISH & 20 TH CENTURY ART

WEDNESDAY 7TH JUNE 2023

SPECIALIST DEPARTMENTS

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MODERN BRITISH & 20TH CENTURY ART

WEDNESDAY

10.00AM

7TH JUNE 2023

at our City Centre Salerooms, SP1 3SU

VIEWING AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury SP4 6QX

VIEWING

Saturday 3rd June 10.00am – 1.00pm

Monday 5th June 10.00am – 4.00pm

Tuesday 6th June 10.00am – 4.00pm

Wednesday 7th June By appointment

DIRECTIONS TO THE OLD SARUM GALLERIES

PAINTINGS

Victor Fauvelle +44 (0)1722 446961

vf@woolleyandwallis.co.uk

Ed Beer +44 (0)1722 446962

eb@woolleyandwallis.co.uk

Sarah Bennie +44 (0)1722 446970 sbe@woolleyandwallis.co.uk

THE VIEWING OF THIS SALE WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park Old Sarum, Salisbury SP4 6QX

Client Parking Available

Saturday 3rd June 10.00am – 1.00pm

Monday 5th June 10.00am – 4.00pm

Tuesday 6th June 10.00am – 4.00pm

Wednesday 7th June By appointment

THE AUCTION ON 7TH JUNE WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS

51-61 Castle Street, Salisbury SP1 3SU

BUYER’S PREMIUM

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.

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COLLECTION OF LOTS

Collections will be from Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please call 01722 424500 to make an appointment. Please instruct carriers accordingly.

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk

LOTS 1-27

THE COLLECTION OF ERIC KENNINGTON RA (1888-1960)

Eric Kennington (1888-1960) has been described as ‘one of the most distinctive, intriguing, gifted and thought-provoking’ British sculptors of the early twentieth century. However, he was also a superb portraitist, and his powerful depictions of soldiers in pencil and pastel place him amongst the leading draughtsmen of his generation. The collection offered here reflects Kennington’s diverse artistic talents, as well as providing numerous insights into the personal life of this notably self-effacing and private man.

Kennington was born into an artistic family. His father, Thomas Benjamin Kennington (1856-1916), was a successful portraitist and genre painter. This collection includes several works by Thomas (lots 1-6), most notably portraits of Eric and his sister Anne. Eric attended St Paul’s School for Boys but, after he was asked to leave early, in 1905 he travelled to Russia to stay with relatives of his mother. He arrived in St. Petersburg as the first Russian Revolution was beginning, and the sketches made during this period focus on the life of ordinary peasants (lots 7-12). Eric returned to London determined to become an artist, and enrolled at the Lambeth School of Art.

Like so many artists of his generation, the First World War was a defining event on Kennington’s life and career. He was injured in January 1915, and was discharged later that year. However, his paintings of life at the front caused a sensation, and he eventually returned to France as an official war artist, tasked with drawing portraits of ordinary soldiers. These portraits capture the character of their subjects in a sympathetic manner that was to be a defining feature of Kennington’s draughtsmanship throughout his career.

Kennington Family Tree

In 1920 T.E. Lawrence visited an exhibition of Kennington’s work. Lawrence was already a heroic figure to the British public, and he managed to persuade Kennington to accompany him on a trip to the Middle East to draw portraits of the Arabs whom he had fought alongside, for a book that would eventually be published as the Seven Pillars of Wisdom (lot 18). The lavish illustrations and his later depictions of Lawrence are some of Kennington’s most admired works. From the 1920s onwards he increasingly focused on sculpture, ranging from large scale public works to smaller domestic ones (lot 20). During the Second World War he again worked as a war artist, before focusing on carvings for churches in the last phase of his career, when he was also elected a Royal Academician.

As this is a collection that has remained in the artist’s family, it has by its nature a very personal character. One of Kennington’s favourite subjects was his children, Christopher and Catherine, whom he described as ‘gifts from God’. He seemed fascinated in particular with Christopher’s personal and physical development, and the lead sculpture offered here is one of a series depicting his son’s childhood (lot 19). Also included are other portraits of family members, executed both in oil and pencil, including his father, brother-in-law and nephew (lots 13, 15-17). As a whole, the collection provides a rare insight into the life and career of one of the most talented artists working in early 20th century Britain.

William Kennington (1813-1870)

Susannah Drant

Thomas Benjamin Kennington (1856-1916)

Elise Steveni (1861-1896)

Kenneth Struthers (1887-1916) Anne Kennington (1884-1962)

Ian Struthers (1915-1994)

William Kennington (b.1885)

Eric Kennington (1888-1960)

Edith Cecil (1886-1975)

Christopher Kennington (b.1925)

Catherine Kennington (b.1927)

1

1

THOMAS BENJAMIN KENNINGTON

1856-1916

Portrait of Eric and Anne Kennington as children

Oil on canvasboard

24.1 x 18.9cm

Provenance:

Property of Eric Kennington; And by family descent

£1,500-2,500

2

THOMAS BENJAMIN KENNINGTON

1856-1916

Portrait of Eric Kennington as a boy, full-length wearing a brown suit

Signed and dated TB Kennington ’96 (lower right)

Oil on canvas

127.3 x 96.8cm

Provenance:

Property of Eric Kennington; And by family descent

£6,000-8,000

THOMAS BENJAMIN KENNINGTON

1856-1916

Study of clouds over an expansive landscape; Study of clouds over a hill A pair, both oil on canvasboard

Both 19 x 22.7cm (2)

Provenance:

Property of Eric Kennington; And by family descent

£400-600

ATTRIBUTED TO THOMAS BENJAMIN KENNINGTON

1856-1916

View of a sawmill

Oil on canvasboard

29.5 x 34.4cm

Provenance:

Property of Eric Kennington; And by family descent

£200-300

5

CIRCLE OF THOMAS BENJAMIN KENNINGTON

Female nude kneeling in a grotto

Oil on canvas

43.6 x 39.7cm

Provenance:

Property of Eric Kennington; And by family descent

£200-300

6 THOMAS BENJAMIN KENNINGTON 1856-1916

Portrait of Anne Kennington (1884-1962), the artist’s daughter Oil on canvas laid on board, oval 43 x 33.7cm

Provenance: Property of Eric Kennington; And by family descent £1,000-1,500

7 Φ ERIC KENNINGTON RA

1888-1960

Study of a Russian market

Signed E.KENNINGTON (lower left)

Pen and black ink within black framing lines

31.6 x 47.7cm

Provenance:

Property of Eric Kennington; And by family descent

£500-700

8 Φ ERIC KENNINGTON RA

1888-1960

Study of Russian peasants around a fire

Signed E.KENNINGTON (lower centre) and indistinctly inscribed Dear A/These will/interest you/maybe youd/like to use/one for your book/(all if you like)/date 1907/E/the oil is a/present its/too good to/ throw away/(Mr A R Simpson)/** (centre right)

Pen and black ink

32.5 x 48.8cm

Provenance:

Property of Eric Kennington; And by family descent

£400-600

9 Φ ERIC

KENNINGTON RA

1888-1960

Study of Russian peasants praying

Signed E.KENNINGTON (lower right)

Black ink within black framing lines

25.4 x 32.4cm

Provenance:

Property of Eric Kennington; And by family descent

£400-600

10 Φ

ERIC KENNINGTON RA

1888-1960

Study of the interior of a Russian shop

Signed E.KENNINGTON (lower right)

Pen and black ink within black framing lines

48.5 x 33.8cm

Provenance:

Property of Eric Kennington; And by family descent

£500-700

11 Φ

ERIC KENNINGTON RA

1888-1960

Study of a Russian peasant standing in a doorway

Signed E.KENNINGTON (lower right)

Pen and black ink

32.6 x 20.5cm

Provenance:

Property of Eric Kennington; And by family descent

£500-700

12 Φ

ERIC KENNINGTON RA

1888-1960

Study of Russians standing before the cross

Signed E KENNINGTON (lower left)

Pen and black ink

32.1 x 25.1cm

Provenance:

Property of Eric Kennington; And by family descent

£300-500

13 Φ

ERIC KENNINGTON RA

1888-1960

Studies of Ian Duncan Struthers (1915-1944), the artist’s nephew, as a boy

Signed E KENNINGTON 20 (lower centre)

Charcoal on conjoined sheets

29.7 x 39.8cm

Together with a reproduction print after the above (2)

Provenance:

Property of Eric Kennington; And by family descent

£500-700

14 Φ

ERIC KENNINGTON RA

1888-1960

View through an open doorway, possibly Homer House, Ipsden, the artist’s home

Oil on board

29.3 x 18.8cm

Provenance:

Property of Eric Kennington; And by family descent

£500-800

15 Φ

ERIC KENNINGTON RA

1888-1960

Portrait of Thomas Benjamin Kennington (1856-1916), the artist’s father, bust-length

Oil on canvas, laid on board

53.3 x 40cm

Provenance:

Property of Eric Kennington; And by family descent

£3,000-5,000

16 Φ

ERIC KENNINGTON RA

1888-1960

Portrait of Kenneth Struthers (1887-1916), the artist’s brother-in-law, bust-length

Inscribed and dated Eric H Kennington/Portrait of/ Kenneth Struthers/Sept 09 (to reverse)

Oil on board

27.1 x 21.1cm

Together with After Eric Kennington; Portrait of Kenneth Struthers (1887-1916), the artist’s brother-in-law; Reproduction print; 32.2 x 26.2cm (2)

Provenance:

Property of Eric Kennington; And by family descent

£1,000-1,500

ERIC KENNINGTON RA

1888-1960

Portrait of Kenneth Struthers (1887-1916), the artist’s brother-in-law

Signed with initials and dated EHK II (lower right)

Charcoal

32.8 x 27.4cm

Together with a reproduction print after the above (2)

Provenance:

Property of Eric Kennington; And by family descent

£400-600

17 Φ

18

ERIC KENNINGTON RA

1888-1960

Portrait of T. E. Lawrence, ‘Lawrence of Arabia’ (1888-1935); Portrait of Auda Abu Tayi; Portrait of Mahmas

Signed Eric H Kennington (to label); signed, dated and inscribed Auda abu Tayi A*****1922/Eric H Kennington (in pen lower centre); and signed, dated and inscribed Mahmas (The coffee spoon) ***1922/Eric H Kennington (upper centre) respectively

Three, each collotype, the former artist’s proof, number 8 of 100; the others colour proof

Largest 48.2 x 38.2cm; Smallest 24.9 x 18.4cm (3)

Provenance:

Property of Eric Kennington; And by family descent

Exhibited:

‘Auda abu Tayi’ and ‘Mahams’, London, National Portrait Gallery, Lawrence of Arabia, 1988-1989

£800-1,200

19

1888-1960

Portrait of Christopher Kennington (b.1925), the artist’s son, holding a dish

Lead

59 x 34.5 x 36.5cm

Provenance: Property of Eric Kennington; And by family descent

£3,000-5,000

Φ ERIC KENNINGTON RA

ERIC KENNINGTON RA

1888-1960

Bacchus Brass, c.1922-24 34 x 17 x 17.5cm

Provenance: Sir Alan Patrick Herbert (1890-1971); Property of Eric Kennington; And by family descent

Literature:

Jonathan Black, The Sculpture of Eric Kennington (Lund Humphries, 2002), pp.31-32, 87, no.7, fig.16

Exhibited:

London, Leicester Galleries, Sculpture and Other works by Eric Kennington, October 1924, no.26;

London, Picture Hire Gallery, Paintings, Drawings and Sculptures by Eric Kennington, April-May 1936, no.80 £5,000-7,000

20 Φ

21 Φ ANNE KENNINGTON

1884-1962

Poster design for a lecture by the artist entitled ‘Old Russia as I Knew It’; Poster design for a lecture by the artist entitled ‘Seeing Egypt on the Back of a White Donkey’

Two, each gouache

47.7 x 37.7cm; 40.2 x 37.6cm

Together with five photographs comprising Eric Kennington (1888-1960) carving the sculpture 1940; a reproduction of Eric Kennington’s painting Costermongers; Two portraits of Anne Kennington wearing oriental costume, one hand coloured; and Portrait of Ian Duncan Struthers seated wearing a kilt, unframed (7)

Provenance: Property of Anne Kennington; And by family descent

£400-600

ENGLISH SCHOOL

19th Century

Portrait of William Kennington (1813-1870); Portrait of Susannah Kennington (née Drant)

A pair, both oil over printed base, oval Each 14.9 x 10.1cm (2)

Provenance:

Property of Eric Kennington; And by family descent

The sitters were the parents of Thomas Benjamin Kennington (1856-1916).

£80-120

23

BRITISH SCHOOL

Early 20th Century

Still life with a charger, tazza, vases and a rose on a tabletop Oil on canvas

61.4 x 51cm

Provenance: Property of Eric Kennington; And by family descent

£200-300

24

SCANDINAVIAN SCHOOL

Early 20th Century

A Swedish lake house

Oil on canvasboard

28.7 x 34.2cm

Provenance:

Property of Eric Kennington; And by family descent

£200-300

25

SCANDINAVIAN SCHOOL

Early 20th Century

Swedish landscape with a river running through the trees

Oil on canvasboard

24 x 28.6cm

Provenance:

Property of Eric Kennington; And by family descent

£200-300

26

CONTINENTAL SCHOOL

20th Century

Landscape near Altafulla

Signed indistinctly and dated B**nel

75 (lower left)

Oil on canvas

33.5 x 41.5cm

£200-300

1859-1937

River landscape

Oil on board

27.4 x 37.2cm

Provenance:

Property of Eric Kennington; And by family descent

£100-150

24

27 JOHN WHITEHILL PARSONS

OTHER PROPERTIES

28

ROBERT POLHILL BEVAN

1865-1925

The Plantation (Dry 37)

Signed and numbered 24/40

Robert P Bevan (in pencil to margin) Lithograph, 1922

30.9 x 35.5cm (image)

Provenance:

William Weston Gallery, London, where purchased by the present private collector, 1978 £800-1,200

29 Φ ETHELBERT WHITE NEAC, RWS

1891-1972

The Dark Forest; The Wooded Path

Two, each signed Ethelbert White, inscribed with title and numbered 22/50 and 10/50 respectively (in pencil to margin)

Both wood engraving 21.7 x 17.1cm; 21.6 x 17cm (image) (2) £200-400

30

30 CHARLES SIMS RA, RWS 1873-1928

Diana the huntress

Charcoal

47 x 58.9cm

Provenance:

Christie’s, London, 19th Century European Art, 7 June 2006, lot 29

£1,000-1,500

31 PAUL NASH 1889-1946

Paradise (Postan W82) Wood engraving, 1927 13.6 x 9.5cm (image)

Provenance: P. & D. Colnaghi, London £70-100

KONSTANTIN IVANOVICH

RUDAKOV

Russian 1891-1949

A couple seated at a table; A couple seated

Two, both black ink, watercolour and bodycolour

37.4 x 25.4cm; 32.3 x 22.3cm (2) £250-350

33 Φ

EDMUND BLAMPIED

1886-1966

The Tumble; Homewards; Thro’ The Storm

Three, each signed E Blampied (in pencil to margin)

Each drypoint

Largest 19.6 x 29.7cm; Smallest 10.2 x 17.6cm (plate) (3)

Provenance: Selective Eye Gallery, Jersey £300-500

34

SIR DAVID YOUNG CAMERON RA

Scottish 1865-1945

View of the Thames

Signed D.Y.Cameron (in pencil to margin)

Etching

19.4 x 30.6cm (plate)

Provenance:

The Collection of Bob and Elisabeth Boas

£70-100

Dutch 1837-1913

American 1834-1903

Little

£400-600

French 1875-1947

Hamburg

Signed indistinctly and numbered 71/100 (in ink to margin)

Drypoint, 1946

17.9 x 23.7cm (plate)

Provenance:

William Weston Gallery, London, where purchased by the present private collector, 1973 £300-500

35 PETRUS VAN DE VELDEN

Moonlit seascape

Signed P van der Velden (lower right) Charcoal

54.4 x 37.7cm £200-300

36

JAMES ABBOTT MCNEILL WHISTLER RBA

Draped Figure, Leaning (Levy 82) Lithograph

28.7 x 18.6cm

37 ALBERT MARQUET

1893-1985

The harvest

Signed TWORT (lower left)

and watercolour heightened with bodycolour

1869-1948

The haycart

Signed with initials AWS (lower left)

x 35.1cm

38 Φ JOHN CHARLES MOODY

1884-1962

View of Horstead Watermill on the River Bure, Norfolk

Signed J C MOODY (lower left)

Oil on canvas

51 x 61.4cm

Horstead mill dated from the 18th Century, but was destroyed in a fire in 1963.

£400-600

39 Φ

FLORA TWORT

41

ROBERT RUSSELL MACNEE

Scottish 1880-1952

Chickens in a courtyard

Signed and dated R Russell Macnee 24 (lower left)

Oil on canvas

40.8 x 56.2cm

£500-800

42

CECIL ALDIN

1870-1935

London Bridge

Signed Cecil Aldin (lower left)

Pastel

31.3 x 44.7cm

£600-800

43

WILLIAM LEE HANKEY RWS, RI, ROI, RE, NS

1869-1952

In the Garden

Signed and dated W.LEE.HANKEY.1900 (lower left)

Watercolour heightened with white 24.5 x 17.1cm

Provenance:

Rudolph Ackermann, London; William Rodman & Co, Belfast

£200-300

44 CHRISTOPHER WOOD

1901-1930

The Christening Pencil

32.8 x 23.7cm

Provenance: Jim Ede (1895-1990); Mercury Gallery, London; Where purchased by Mr R. Whiteside, July 1978; And by descent to the previous owner; By whom sold, Woolley and Wallis, Salisbury, Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink & Lin Jammet, 26 August 2020, lot 222; Where purchased by the present private collector £1,500-2,000

45

45

FRANCES HODGKINS

New Zealander 1869-1947

Still life with vases of flowers and a bowl of fruit on a tabletop

Signed FHodgkins (lower left)

Watercolour heightened with bodycolour 56.7 x 59.2cm

Provenance:

In the family of the present owner since at least c.1940

48

46

ARTHUR HAYWARD

1889-1962

Boats on the shore, Mousehole

Signed A HAYWARD (lower right)

Oil on canvasboard

24.8 x 29.3cm

£1,200-1,800

47 Φ

ARTHUR HAYWARD

1889-1962

The Harbour, St Ives, Morning

Signed A HAYWARD (lower left) and inscribed and dated THE HARBOUR ST IVES MORNING/1954

(to reverse)

Oil on board

23.9 x 34cm

£1,200-1,800

48 Φ

SAMUEL JOHN LAMORNA BIRCH RA, RWS

1869-1955

The harbour wall, Lamorna

Signed S J Lamorna Birch (lower right)

Oil on board

25.2 x 35.4cm

£3,000-5,000

Φ

49

WILLIAM DELAFIELD COOK

Australian 1936-2015

Landscape with a wood and a field of corn stooks

Signed W Delafield Cook (lower left)

Oil on canvas

45.5 x 76.5cm

50

ROBERT WEIR ALLAN

Scottish 1851-1942

View of Lossiemouth Harbour

Signed Robert W. Allan (lower left)

Watercolour

52.7 x 75.8cm

£400-600 51

£300-500

ALFRED

1863-1939

Juniper Hill from Painswick; Landscape with cows in a field

Two, the former signed and indistinctly dated Thornton 18** (lower left) and inscribed “Juniper Hill” Painswick Alfred Thornton Painswick (to overlap); the latter signed Thornton (lower right)

Both oil on canvas

26.7 x 34.5cm; 24.4 x 33cm (2)

Provenance: Private Collection, Wiltshire

£150-250

THORNTON

Early 20th Century

Running Water

Indistinctly signed and inscribed Running Water ****/**** (to backing board)

Oil on canvasboard

29 x 39.3cm

£200-300

1861-1917

View of an estuary with a church in the distance

Signed J Noble Barlow (lower right)

Oil on canvas 25.8 x 30.8cm

Provenance: David Messum Fine Art, London; Bonhams, London, Modern and Contemporary - British and Continental Painting and Sculpture, 22 March 2001, lot 59

£200-400

American 1878-1960

Figures on Rehoboth Beach, Delaware; Birds flying over the dunes, Rehoboth Beach, Delaware

Two, the former signed EFB Leach (lower left); the latter indistinctly signed Eth***Leach (lower right)

Both oil on canvasboard

Each 21.7 x 29.3cm (2)

Provenance:

Acquired from the artist by Dr and Madame Soutendyk (according to inscription to backing paper)

£200-300

54

53

52

52 BRITISH SCHOOL

53

JOHN NOBLE BARLOW

54

ETHEL PENNEWILL BROWN LEACH

55

1890-1971

Landscape with figures outside a continental church

Signed J B SOUTER (lower right)

Oil on canvasboard 40.3 x 48.3cm

£300-500

56

BERNARD SICKERT

1863-1932

View of the Singel, Amsterdam, with the Ronde Lutherse Kerk

Signed Bernard Sickert (lower right)

Oil on board 31.4 x 39.6cm

£200-300

57

Swiss 1899-1976

Mountain landscape

Signed and dated Nussio/15 V 1944 (lower right)

Oil on board, with a study of a church to the reverse 28.1 x 36cm

£250-450

Φ OSCAR NUSSIO

Φ

JOHN BULLOCH SOUTER

Provenance:

Rosebery’s,

2007,

923;

58 Φ

SIR CLAUDE FRANCIS BARRY 1883-1970

Moonrise on the Runcke

Signed F Barry (lower right) and inscribed Moonrise on the Runcke Barry F (to overlap)

Oil on canvas 51.2 x 61.2cm

London, 7 August

lot

Grand Auctions, Folkestone, 6 February 2013, lot 356; Richwood Fine Arts, where purchased by the present private collector, July 2015 £2,500-3,500

58 (framed)

59

French 1862-1942

La Salle à Manger, Le Soir

Signed M.Rieder (lower left)

Oil on canvasboard

26.9 x 20.6cm

Provenance: Panter & Hall, London

£500-800

60

1878-1965

Still life with mushrooms, a vase of flowers and a pottery flatback Signed and dated M.Snowdon/1935 (lower right)

Oil on canvas

44.7 x 44.7cm

Exhibited: London, Royal Institute of Oil Painters, 1938

£500-800

61

1881-1972

Coastal landscape with fishing boats

Oil on canvas laid on board, a fragment 20.6 x 33.3cm

Provenance: A. Ballard, Salisbury (according to inscription to the reverse) According to an inscription to the reverse, this work was once part of a larger painting that was damaged during an air raid in World War II.

£150-250

Φ MARGARET KEMPLAY SNOWDON

MARCEL RIEDER

Φ

MAXWELL ASHBY ARMFIELD RWS

MAXWELL ASHBY ARMFIELD RWS

1881-1972

Still life with flowers in a vase

Signed with monogram (lower right)

Tempera on board

24.7 x 20.1cm

£300-500

MAXWELL ASHBY ARMFIELD RWS

1881-1972

Le Premier Déjeuner

Signed with monogram (lower left)

Tempera on board

28.2 x 25.7cm

£300-500

MAXWELL ASHBY ARMFIELD RWS

1881-1972

Still life with three quinces

Signed with monogram (lower left)

Oil on canvas laid on board

12 x 28.1cm

£300-500

62 Φ

63 Φ

64 Φ

65 WILLIAM BAPTISTE BAIRD

American 1847-1917

Saint Raphael

Signed W.B.Baird (lower right)

Oil on canvas

33.3 x 46.1cm

Provenance: Peter Nahum at the Leicester Galleries

£300-500

66 Φ ADRIAN HILL

1895-1977

Autumn landscape

Signed Adrian Hill (lower left)

Watercolour and pastel and heightened with bodycolour

36.8 x 54.5cm

Exhibited: London, Art Exhibitions Bureau, Royal Society of British Artists

£120-180

67 Φ PAUL MAZE

French 1887-1979

Sussex landscape with haystacks

Signed Paul Maze (lower right)

Pastel

37 x 54.2cm

Provenance: Abbott and Holder, London

£200-400

68 Φ

PAUL MAZE

French 1887-1979

Portrait of a woman seated in an armchair

Signed Paul Maze (lower right)

Pastel

44.8 x 37.3cm

£300-500

69 Φ

JAMES ARDEN GRANT

1885-1973

Figures at the beach

Pastel

34.3 x 53.5cm

Provenance:

Purchased by R. J. Smith from the artist’s studio sale (according to label)

£150-250

70 Φ

PIERRE ROUSSEL

French 1927-1996

La Récitation

Signed Pierre Roussel (lower right)

Oil on panel

68.7 x 73.9cm

Provenance:

Arthur Tooth & Sons, London

£250-350

71 Φ

CEDRIC J. KENNEDY

1898-1968

Portrait of John Marshall (1911-1995), three-quarter length, wearing a white shirt

Signed C.J.Kennedy (upper left) Oil on canvas 101.4 x 76.3cm

Provenance: John Marshall (1911-1995); By descent to the present owner

£250-350

73 Φ

EDWARD HILL LACEY

1892-1967

Portrait of John Marshall (1911-1995) Black chalk 26 x 24.2cm

Provenance: John Marshall (1911-1995); By descent to the present owner £100-150

72 Φ

CEDRIC J. KENNEDY

1898-1968

Portrait of John Marshall (1911-1995) wearing a brown suit and green tie

Signed C.J.Kennedy (lower right) Oil on canvas 61.2 x 50.7cm

Provenance: John Marshall (1911-1995); By descent to the present owner

£200-300

Once Upon A Time

Signed and dated W.TURNER 1944 (lower left)

Oil on canvas 94 x 63.2cm

£200-300

1918-1949

Portrait of the artist’s wife, wearing a black hat and jacket with a red scarf

Signed Greaves (upper left)

Oil on canvas 51.1 x 35.7cm

£200-400

Female nude seated in an interior

Signed and dated KVAPIL/1928 (upper right)

Oil on canvas 73 x 60cm

£400-600

74 Φ WILLIAM TURNER 1877-1969

75 LEONARD GREAVES

76 Φ CHARLES KVAPIL Belgium 1884-1967

77

W. BENNET

Early 20th Century

Portrait of a British prisoner of war

Signed, dated and inscribed Ingolstadt F’IX/28 Oct 1915/ WBennet (lower left)

Oil on canvasboard

29.4 x 24cm

The present work depicts a prisoner of war at Fort 9, Ingolstadt in 1915. Fort 9 was a camp where the Germans kept around 150 officers whom they viewed as persistent troublemakers, most of whom had previously escaped and been recaptured. The camp has been described as ‘nothing short of an escaping club’.

£200-300

78

BRITISH SCHOOL

20th Century Soldiers in the trenches

Indistinctly signed G.O.Phill* (lower right)

Pencil and watercolour

55.3 x 36.6cm

Unframed

£150-250

79 Φ

JOHN MARSHALL

1911-1995

Sixteen views of London during World War II, including Street scene after an air raid; Street in North Kensington; Street in Notting Dale; The railway arches

Sixteen, nine with work to the verso, each watercolour and mixed media

Largest 34.7 x 51.6cm; Smallest 18.9 x 27.4cm

Fifteen unframed (16)

Provenance:

By descent from the artist

£200-300

80 Φ

SIR PETER SCOTT CH, CBE, DSC, FRS

1909-1989

A steam gunboat in action beneath an orange flare; A steam gunboat in action beneath a yellow flare, the coast beyond A pair, both signed and dated PETER SCOTT 1943 (lower left) Both oil on board Each 35.7 x 25.4cm (2)

Provenance: David Joel (1928-2019); And by family descent

Literature:

The latter in Peter Scott, The Eye of the Wind, an Autobiography (Hodder & Stoughton, 1961), p.458 (illustrated) (according to label)

Exhibited:

Lavenham, The Wildlife Art Gallery, Peter Scott 1909-1989: The Studio Exhibition, October 1996, nos.49 & 50

£600-800

81 Φ

CAVENDISH MORTON

1911-2015

An aircraft hangar

Signed and dated Cavendish Morton jr/1932 (lower right) Pencil, pen and ink, and watercolour 35.3 x 25.7cm

Provenance: By descent to the present owner

£150-250

EDWARD JULIUS DETMOLD

1883-1957

The Island of Shipwrecks from ‘The Fourth Voyage of Sinbad the Sailor’

Pencil and watercolour

20.3 x 14.5cm

£800-1,200

82 Φ ERNEST H. SHEPARD

1879-1976

Anthony Washes

Pen and ink

9.5 x 6cm

Provenance: The Fine Art Society, London

Exhibited: London, The Fine Art Society, Drawings and Illustrations by Ernest Howard Shepard, December 2006, no.20

An illustration for E. V. Rieu’s The Flattered Flying Fish (1962).

£400-600

The Sea Serpent, from ‘The Third Voyage of Sinbad the Sailor’

85 Φ MARC CHAGALL

Russian/French 1887-1985

Nice Soleil Fleurs

Lithograph, 1962 93 x 57.2cm (image)

Provenance: Redfern Gallery London; Where purchased by T.R.H. Kane, February 1970

£300-500

86 Φ AFTER MARC CHAGALL

Bouquet Multicolore Reproduction print 48.8 x 39.6cm (image)

£80-120

87 Φ PIETRO CONSAGRA

Italian 1920-2005

Study of a female nude Signed Consagra (lower centre) Black and red chalk 35 x 26.5cm

Provenance: Basil Mackenzie, 2nd Baron Amulree (1900-1983); Douglas Cooper (1911-1984) (all according to labels); Private Collection

£200-300

88 Φ PABLO PICASSO

Spanish 1881-1973

L’Ecuyere

Lithograph, 1960, from the unsigned edition of 1000 51.2 x 63.5cm (image)

Provenance:

Redfern Gallery London; Where purchased by T.R. Kane, December 1967 £600-1,000

89 Φ HENRI MATISSE

French 1869-1954

Nu Bleu sur Fond Jaune

Colour lithograph, created and editioned at Mourlot Studio, Paris, 1954, issued by Téiade for Verve, Paris, 1958 26 x 23.8cm (image)

Provenance:

William Weston Gallery, London; Where purchased by Dr Peter Mangold, May, 2014; His posthumous sale, Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 29 November 2017, lot 108, where purchased by the present private collector

£300-500

90 Φ

EDWARD ARDIZZONE CBE, RA

1900-1979

Bloomsbury Party

Signed E Ardizzone (lower right)

Watercolour, and pen and ink

14.4 x 23.8cm

Provenance: Private Collection, Wiltshire

£300-500

91 Φ

EDWARD ARDIZZONE CBE, RA

1900-1979

Hampstead Heath

Signed E.Ardizzone (lower right)

Pencil, pen and ink, and watercolour

11.7 x 25.7cm

Provenance: Private Collection, Wiltshire

£400-600

92 Φ

SIR CECIL BEATON CBE

1904-1980

Studies of a male nude

Pencil and chalk

24.7 x 32.6cm

Provenance:

Christie’s, London, Cecil Beaton - The Estate of the Late Miss Eileen Hose, 21 June 1988; Pamela Aitchison, London, March 1989

£200-300

HITCHENS

1893-1979

Disturbed during his early morning ‘cup of tea’

Pen and ink

7.1 x 10.8cm

Provenance:

Probably Howard Bliss (1894-1977); John Marshall (1911-1995); By descent to the present owner

£300-500

HITCHENS

1893-1979

View from the artist’s cottage at Selsey

Inscribed We are here at Selsey most weeks & home at weekends but probably returning for longer this time for painting in the garden! We look at this view from the main window. Ivon & Mollie. We miss your letters & hope you are painting! (to verso according to label)

Pencil on blue paper, 1972

7.9 x 12.8cm

Provenance:

Given by the artist to Howard Bliss (1894-1977); John Marshall (1911-1995); By descent to the present owner

£300-500

95 Φ

AFTER STANLEY SPENCER

Me Greeting Hilda

Inscribed, dated and numbered ME GREETING HILDA-STANLEY SPENCER 9.4.71

32/75 (in pencil to margin) and with Friary

Studio blind stamp

Reproduction print

40.5 x 27.5cm (image)

Provenance: Stanley Spencer Gallery, Cookham, 1971 (according to inscription to backing board)

£100-150

93 Φ IVON

94 Φ IVON

97

WALTER SICKERT RA

1860-1942

A letter signed Rd Sickert, discussing his plan to teach art at Broadstairs, c.1935

Provenance: Private Collection, Wiltshire

£100-150

98

JOHN MAYNARD KEYNES

1883-1946

A signed letter, dated 25.10.16, on Treasury notepaper and written from 46 Gordon Square Together with three signed letters by Lytton Strachey (1880-1932), January-February 1919, a signed letter by Ralph Partridge (1894-1960), dated November 13th 1941; and a signed letter from Julian Vinogradoff (née Morrell) (1906-1989) to John Marshall (1911-1995), dated May 18th 1980 (6)

Provenance: Private Collection, Wiltshire

£100-150

96

IVON HITCHENS

1893-1979

A collection of letters and postcards written by Ivon Hitchens, including 26 to Howard Bliss (1894-1977) and 19 to John Marshall (1911-1995), and other partial letters, from 1945-1979, some including sketches.

Together with correspondence from Mollie Hitchens, and an archive of correspondence and papers relating to Howard Bliss (qty)

Provenance: Private Collection, Wiltshire

Howard Bliss was one of Hitchens’ most important patrons, as well as a close friend.

£200-300

99

A COLLECTION OF SIGNED LETTERS BY 20TH CENTURY POETS

Including one by John Masefield, eleven by Ruth Pitter (1897-1922), together with a transcription of the poem Fowls Terrestrial and Celestial, three by Anna Adams (1926-2011), and one possibly by Sir John Betjeman (1906-1984) (18)

Provenance: Private Collection, Wiltshire

£80-120

100

WILLIAM SCOTT RA

1913-1989

A collection of sixteen signed letters from William Scott to Howard Bliss (1894-1977), dated 1948-1951, one with two still-life sketches (16)

Provenance: Howard Bliss (1894-1977); John Marshall (1911-1995); By descent to the present owner

£150-250

101

KEITH VAUGHAN

1912-1977

Three signed letters from Keith Vaughan to Howard Bliss (1894-1977), May 1950

Together with a signed letter from Patrick Heron (1920-1999) to Howard Bliss, January 1953; a signed letter from John Napper to Howard Bliss; and a Christmas card from David Tindle (b.1932) with a watercolour sketch (6)

Provenance: Private Collection, Wiltshire

£100-150

102

LOUIS LE BROCQUY

Irish 1916-2012

A collection of eight letters and cards from Louis Le Brocquy to Howard Bliss (1916-2012), including lithograph Christmas cards, 1948-1950 (8)

Provenance: Private Collection, Wiltshire

£100-150

103

NORMAN ADAMS RA

1927-2005 AND ANNA ADAMS

1926-2011

A collection of 26 signed cards and letters, mostly to Howard Bliss (1894-1977) and John Marshall (1911-1995), many Christmas cards in the form of woodcuts and other prints (26)

Provenance: Private Collection, Wiltshire

£100-150

104 Φ

LAURENCE STEPHEN LOWRY RA, RBA

1887-1976

Britain at Play

Signed L.S.Lowry (in pencil to margin) and with Fine Art Trade Guild blindstamp

Reproduction print

44.8 x 60cm (image)

£3,000-5,000

105 Φ

AFTER LAURENCE STEPHEN LOWRY RA, RBA

1887-1976

Crowd around a Cricket Sight Board; Lancashire League Cricket Match

Two, the former numbered 56/850 (in pencil to margin) and with Fine Art Trade Guild blindstamp, the latter numbered 795/850 (in pencil to margin) and with Adam Collection blindstamp

Both reproduction print

23.6 x 76.2cm; 33 x 66.1cm (image) (2)

£200-300

106 Φ

LAURENCE STEPHEN LOWRY RA, RBA 1887-1976

The Pond

Signed L.S.Lowry (in pencil to margin) and with Fine Art Trade Guild blindstamp Reproduction print 43 x 57.5cm (image) £3,000-5,000

107 Φ

DOUGLAS OWEN PORTWAY

South African 1922-1993

Abstract in blue and white

Signed and dated portway 61 (lower right)

Oil on canvas

61.3 x 51.5cm

Provenance:

Drian Galleries, London, September 1961

Exhibited:

London, Drian Galleries, Portway, July-August 1961, no.14

£1,000-2,000

109 Φ

108 Φ

DOUGLAS OWEN PORTWAY

South African 1922-1993

Abstract with yellow circle

Signed and dated Portway/61 (lower left)

Watercolour and bodycolour

44.8 x 50.3cm

Provenance:

Drian Galleries, London, September 1961

Exhibited:

London, Drian Galleries, Portway, July-August 1961, no.25

£300-500

DOUGLAS OWEN PORTWAY

South African 1922-1993

Abstract in green and black

Signed and dated Portway’68 (lower right)

Charcoal and watercolour

35.5 x 27.2cm

£200-300

110 Φ

VICTOR VASARELY

Hungarian/French 1906-1997

Sikra

Signed and numbered 87/150

Vasarely (in pencil to margin)

Screenprint

59.4 x 55.9cm

Unframed

Provenance:

Christie’s, South Kensington, Victor Vasarely: Prints and Multiples, 19 July 2007, lot 35

£500-700

112 Φ

VICTOR VASARELY

Hungarian/French 1906-1997

Lava

111 Φ

VICTOR VASARELY

Hungarian/French 1906-1997

Zaphir

Signed and numbered FV 18/50

Vasarely (in pencil to margin)

Screenprint

32.4 x 25.1cm (sheet)

Provenance:

Christie’s, South Kensington, Victor Vasarely: Prints and Multiples, 19 July 2007, lot 34

£200-300

Signed and numbered 148/175 Vasarely (in pencil to margin)

Screenprint

64.9 x 64.9cm (sheet)

Provenance:

André and Michèle Vasarely; By whom sold, Christie’s, South Kensington, Victor Vasarely: Prints and Multiples, 19 July 2007, lot 118; Robert Sandleson, London

£500-700

Scottish 1915-1997

Yellow Phantom

Signed and dated Gear ‘74 (lower right)

Acrylic on paper

56.8 x 33.2cm

£400-600

Scottish 1915-1997

Black Stars

Signed and dated Gear ‘83 (lower right)

Acrylic on paper

50.4 x 66cm

£400-600

113 Φ

WILLIAM GEAR RA, FRSA, RBSA

114 Φ WILLIAM GEAR RA, FRSA, RBSA

WILLIAM GEAR RA, FRSA, RBSA

Scottish 1915-1997

Study with Yellow

Signed and dated Gear 70 (lower right), and further signed, dated and inscribed Gear/JULY ‘70/”STUDY WITH YELLOW” (to reverse)

Oil on canvas 61.2 x 50.7cm

£1,000-1,500

116 Φ

WILLIAM GEAR RA, FRSA, RBSA

Scottish 1915-1997

Swinging Form No 2

Signed and dated Gear ‘76 (lower right)

Acrylic on paper 47.3 x 62.6cm

£400-600

117

WALTER EMERSON BAUM

American 1884-1956

River landscape in winter

Signed W.E.BAUM (lower left), and further signed, indistinctly inscribed, and dated Winters Wra**/W. E. Baum 1923 (to reverse)

Oil on canvas

66 x 85.8cm

Unframed

Provenance:

Harry Eichleay Art Co., Pittsburgh

£1,000-1,500

118

ALICE RAVENEL HUGER SMITH

American 1876-1958

Landscape with a forest of pines

Signed Alice R. H. Smith (lower right)

Watercolour and coloured chalk

29.3 x 17.4cm

Provenance:

By descent to the present owner

We are grateful to Dwight McInvaill for confirming the attribution of the present work.

£1,000-1,500

119

PETER HURD

American 1904-1984

View near the Sentinel Ranch, San Patricio, New Mexico

Signed and inscribed This picture was given to miss p. cummins/this sixteenth ** of September/ of yrs H Pettigrew/cowboy for P Hurd/Dear Peggy - This is a very ***/reminder of whatever saw today **/*******Valle del Ruidoso/Peter (to verso) Watercolour with scratching out 12 x 17cm

Provenance:

Given by the artist to the actress Peggy Cummins (1925-2017); And by descent

£800-1,200

120

HENRIETTE WYETH-HURD

American 1907-1997

Portrait of Margaret Cummins (1889-1973)

Signed, dated and inscribed For Maggie with affection Henriette Wyeth Hurd/1946/San Patricio NM (to label) Black chalk 45.3 x 30.3cm

Provenance:

Given by the artist to Margaret Cummins (1889-1973); And by descent

Margaret Cummins was an actress, and mother of the actress Peggy Cummins (1925-2017).

£150-250

121 AMERICAN SCHOOL 20th Century

Portrait of Julie Harris (1921-2015)

Signed indistinctly V.N.GA**OD (lower right)

Pastel

42 x 31.1cm

With a photograph of the sitter holding her Academy Award to the backing board.

Julie Harris was a costume designer who won an Academy Award for her work on the film Darling (1965), and a BAFTA for The Wrong Box (1966). Her other credits include A Hard Day’s Night, and Live and Let Die

£500-800

123

DON BACHARDY

American b.1934

Portrait of Marguerite Littman (1930-2020), seated wearing a pearl necklace

Signed Bachardy (lower right)

Pencil and black ink

75.5 x 55.4cm

Provenance:

Marguerite Littman (1930-2020); And by descent

£200-300

122 ANNA RICHARDS BREWSTER

American 1870-1952

Portrait of Miss Coole, seated wearing a white dress

Signed and dated ARICHARDS/1901 (lower right, AR in ligature)

Oil on canvasboard

33 x 21.1cm

£100-200

124

DON BACHARDY

American b.1934

Portrait of Marguerite Littman (1930-2020)

Signed Bachardy (lower left) and inscribed and dated Marguerite Lamkin Dec 11 1964 (lower right)

Pencil and grey wash

70.2 x 49.6cm

Provenance:

Marguerite Littman (1930-2020); And by descent

£200-300

125

1909-1999

Portrait of a gentleman

Signed and dated PAUL DESSAU 72 (lower right)

Oil on board

41.2 x 37.3cm

Provenance:

Mr

126 MIKHAIL POPLAVSKY

Russian 1914-1994

Woman wearing a white dress and red head scarf

Signed in Cyrillic and dated 1956 (lower right)

Oil on canvas

29.2 x 21.2cm

£150-250

£200-300

127

20th Century

Portrait of a young man wearing a blue scarf; Study of a soldier

Two, the latter signed indistinctly (lower left)

Both oil on board

32.2 x 23.4cm; 48.4 x 24.4cm (2)

£150-250

Φ PAUL LUCIEN DESSAU

Edwards, landlord of the Rose and Crown, Harnham, Salisbury (according to inscription to reverse)

RUSSIAN SCHOOL

128

ALEXANDER KIRCHER

Austrian/German 1867-1939

A clipper in choppy waters

Signed ALEX KIRCHER (lower right)

Oil on canvas

69.4 x 100.6cm

Unframed

£300-500

129 Φ GILBERT BRIA

French b.1933

Morning over the Estuary

Signed G.BRIA (upper right)

Oil on canvas

65.7 x 82.4cm

Provenance:

Frost and Reed, Bristol, 1968

£200-300

JOHN

BENTHAM-DINSDALE

1927-2008

The Thermopylae in a calm

Signed John Bentham-Dinsdale (lower left) and further signed and inscribed The Thermopylae/ Built in 1868 by Walter Hand/of Aberdeen for George Thompson/and his Aberdeen White/Star Line/ John Bentham Dinsdale (to reverse)

Oil on canvas

51.1 x 61.7cm

Provenance:

Omell Galleries, London, where acquired by the previous private collector by July 1979; And by family descent

£600-800

131

JOHN BENTHAM-DINSDALE

1927-2008

China Anchorage, Sunset

Signed John Bentham-Dinsdale (lower left)

Oil on copper

19 x 24.2cm

Provenance:

Private collection, Cheshire by 1979; And by family descent

£400-600

132

JOHN BENTHAM-DINSDALE

1927-2008

An engagement between USS Wasp and HMS Frolic, 18 October 1812

Signed John Bentham-Dinsdale (lower right)

Oil on copper

18.9 x 24.2cm

Provenance:

Omell Galleries, London, where purchased by the previous private collector, September 1979; And by family descent

£300-500

Φ

Φ

LOUIS LE BROCQUY

Irish 1916-2012

The Holy Family, a Christmas card

Lithograph

21.7 x 10.7cm

Together with Patrick Heron (1920-1999); Two boats; Signed, inscribed and dated Christmas Greetings from Patrick Heron 1955 (to verso according to label); Reproduction print; 12.2 x 16.9cm (2)

Provenance:

Private Collection, Wiltshire

£400-600

1912-2005

The Ancient Beemaster’s Farewell

Signed and dated CONROY MADDOX/69 (lower right)

Black ink and gouache

36.8 x 26.7cm

Provenance:

Sotheby’s, London, Modern British Paintings, 3 June 2003, lot 297

£500-800

Offspring

Signed, dated, inscribed and numbered Offspring 208/275

Eileen Cooper 92 (in pencil to margin)

Lithograph 30.6 x 22.3cm (image)

£100-150

133 Φ

134 Φ CONROY MADDOX

135 Φ

EILEEN COOPER RA, OBE b.1953

136

Australian 1917-1992

Bearded man holding a slingshot; Figures surrounded by butterflies

Two, both reverse painting on glass 14.6 x 12.1cm; 15 x 12.2cm (2)

Provenance:

Given by Cynthia Nolan to the present owner, 1975

£800-1,200

1920-2000 Ass and Man

Signed, numbered and inscribed 3/10 y Ass and Man Roderic Barrett (in pencil to margin) Wood engraving, 1951 18.6 x 17.1cm (image)

£150-250

136 Φ

SIR SIDNEY NOLAN OM, RA

137 Φ RODERIC BARRETT

138

DAVID STRACHAN

Australian 1919-1970

Still life with fruit and an oil lamp

Signed and dated DStrachan’53 (lower left)

Oil on canvas

54.5 x 73cm

Together with Lou Klepac (ed.), David Strachan (Beagle Press, Sidney, 1993) (2)

Provenance:

Private Collection, Wiltshire

Literature:

Lou Klepac (ed.), David Strachan (Beagle Press, Sidney, 1993), pp.53, 126, pl.28

£2,000-3,000

139

DAVID STRACHAN

Australian 1919-1970

Bush Landscape with white tree trunks

Signed David Strachan (lower left) and inscribed BUSH L’SCAPE WITH WHITE TREE TRUNKS (to stretcher)

Oil on canvas

66.1 x 54.6cm

Provenance: Private Collection, Wiltshire

£1,000-1,500

Φ

Φ

141 Φ

FRANCIS LITTNA

Czech 1903-1973

Abstract

Pen and ink, and watercolour 11.4 x 11.5cm

Provenance:

Woolley and Wallis, Salisbury, 20th Century and Contemporary Art, 16 July 2008, lot 115, where purchased by the present private collector

£100-150

140 Φ

JOHN

ERSKINE MILNE

1931-1978

Three abstract studies

Three, one signed and dated John Erskine/1967 (to verso)

Each charcoal

38.4 x 28cm; 22.3 x 17.7cm

One unframed (3)

£200-300

142

BRITISH SCHOOL

c.1950

Untitled Oil on board

49.9 x 74.9cm

£150-250

1907-2000 99/1D

143

143 (framed)

143 Φ JOHN WELLS

Signed and dated John Wells 7 7 79 (lower right) and inscribed 99/1D (lower left) Pencil, watercolour and pastel 24 x 34.7cm £1,200-1,800

145

144 Φ

DAME ELISABETH FRINK CH, DBE, RA

1930-1993

Warrior

Watercolour

67.7 x 48.4cm

Provenance:

Christie’s, South Kensington, 20th Century British Art, 30 September 1999, lot 140; Private Collection, UK

£2,000-3,000

145 Φ

DAME BARBARA HEPWORTH

1903-1975

Oblique Forms

Signed, dated and inscribed Artists proof - 24/4/71 Barbara Hepworth (in pencil to margin), and with Curwen Press blindstamp Lithograph, from ‘Twelve Lithographs’

58.3 x 81.2cm (sheet)

£2,000-3,000

146 Φ

LYNN CHADWICK CBE, RA

1914-2003

Group of Standing Figures

Signed, dated and numbered Chadwick 1952 35/50 (in pencil to margin)

Lithograph 24.8 x 38.9cm (image)

Provenance:

Wenlock Fine Art. Shropshire; Gimpel Fils, London

£700-1,000

147 Φ

GRAHAM SUTHERLAND OM

1903-1980

Thorn Cross (Tassi 66)

Signed Graham Sutherland (in pencil to margin)

Lithograph 46.5 x 64.5cm (image)

£1,000-1,500

148 Φ

LEONARD ROSOMAN

OBE, RA

1913-2012

Study of farm machinery

Signed Leonard Rosoman

(lower left)

Gouache and charcoal

42 x 73.5cm

£300-500

149 Φ

PADRAIG MACMIADHACHAIN

Irish 1929-2017

Two huts on a hillside

Signed and dated MACMIADACAIN-69

(lower right)

Oil on board

30.5 x 25.4cm

£1,000-1,500

150

150 Φ

PATRICK HAYMAN

1915-1988

By the Waterfront

(Harbour with Ships and Tugs)

Signed Hayman (lower left)

Oil on canvasboard, c.1980-81

48 x 38.5cm

Provenance: Michael and Nancy Parke-Taylor (according to inscription to reverse); Bonhams, Knightsbridge, Modern Pictures, 22 March 2011, lot 85; Private Collection, UK

According to an inscription to the reverse, in 1984 Patrick Hayman retitled and dated this work to Harbour with Ships and Tugs, 1981.

£2,000-3,000

151

151 Φ ALAN LOWNDES

1921-1978

Street scene with a factory in the distance Signed and dated Alan Lowndes/1958 (lower left) Oil on board 51 x 40.7cm

Provenance:

Christie’s, London, Modern British Pictures, Watercolours, Drawings and Sculpture, 22 September 1994, lot 235; Private Collection, UK £3,000-5,000

152 Φ

MICHAEL AYRTON

1921-1975

End Maze I

Numbered 4/9 (to reverse)

Bronze with a gold and dark brown patina, on a painted wooden base, 1970 27.4 x 28.3 x 8cm (excluding base)

Literature:

Justine Hopkins, Michael Ayrton: A Biography (Andre Deutsch, 1994), pp.351-352; Jacob E. Nyenhuis, Myth and the Creative Process: Michael Ayrton and the Myth of Daedalus, the Maze Maker (Wayne State University Press, 2003), no.688, pl.30 (another cast)

We are grateful to Dr Justine Hopkins for her assistance cataloguing the present work.

£4,000-6,000

153 Φ

MICHAEL AYRTON

1921-1975

Penetrator II

Numbered 2/9 (to reverse)

Bronze with gold and dark brown patina, 1969

43.4 x 57.5 x 38.7cm

Provenance:

Christie’s, New York, 20 November 2001, lot 201; Bonhams, London, 20th Century British Art, 29 June 2011, lot122

Literature:

Justine Hopkins, Michael Ayrton: A Biography (Andre Deutsch, 1994), pp.347, 379; Peter Cannon-Brookes, Michael Ayrton: An Illustrated Commentary (Birmingham Museums and Art Gallery, 1978), no.205, p.115 (another cast illustrated); Jacob E. Nyenhuis, Myth and the Creative Process: Michael Ayrton and the Myth of Daedalus, the Maze Maker (Wayne State University Press, 2003), no.664, pl.163

We are grateful to Dr Justine Hopkins for her assistance cataloguing the present work.

£7,000-10,000

1921-1975

Tortoise and Trellis

Signed and dated michael ayrton 53 (lower left)

Oil on canvas

79.6 x 100cm

Provenance:

Bruton Gallery (according to label); Private Collection

We are grateful to Dr Justine Hopkins for her assistance cataloguing the present work.

£6,000-8,000

154 Φ

MICHAEL AYRTON

154

154 (framed)

155 Φ CLIFFORD FISHWICK

1923-1997

Cliff, Cove and Boat

Signed and dated Clifford Fishwick ‘55 (lower right), and further signed, dated and inscribed Cliff, Cove & Boat/Clifford Fishwick ‘55 (to reverse) Oil on board 64.7 x 74.8cm £1,000-1,500

155

155 (framed)

156 Φ

JOHN PIPER CH

1903-1992

Thornton Abbey Gateway (Levinson 395)

Signed and numbered 69/70 John Piper (in pencil to margin)

Screenprint, 1987

45.7 x 59.2cm (image)

£800-1,200

157 Φ

JOHN PIPER CH

1903-1992

Carew Castle (Levinson 334)

Signed and numbered 33/100 John Piper (in pencil to margin)

Screenprint, 1982

44.5 x 64cm (image)

£700-1,000

158

158 Φ

JOHN PIPER CH

1903-1992

Conisbrough Castle, South Yorkshire (Levinson 335)

Signed and numbered 69/100 John Piper (in pencil to margin) Screenprint, 1982

57.2 x 77.5cm (image)

£800-1,200

159 Φ

JOHN PIPER CH

1903-1992

Babingley Church, Norfolk (Levinson 349)

Signed and numbered 21/100 John Piper (in pencil to margin)

Screenprint, 1983

44.3 x 59.6cm (image)

£700-1,000

160

161

161

JOHN PIPER CH

1903-1992

Tickencote, Rutland: The Norman Chancel Arch (Levinson 130)

Signed and numbered 55/70 John Piper (in pencil to margin)

Lithograph, 1964, from ‘A Retrospective of Churches’

42.5 x 66.5cm (image)

£400-600

160 Φ

JOHN PIPER CH

1903-1992

Buckden Palace, Cambridgeshire (Levinson 333)

Signed and numbered

64/100 John Piper (in pencil to margin)

Screenprint

57.4 x 77.5cm (image)

£800-1,200

162

162 Φ

JOHN PIPER CH

1903-1992

Bethesda Chapel (Levinson 172)

Signed and numbered 3/75 John Piper (in pencil to margin)

Lithograph, 1966 53 x 65.5cm (image)

£400-600

Φ

163 Φ

RUSKIN SPEAR CBE, RA

1911-1990

Life Class

Oil on board

26.7 x 35.3cm

Provenance: V. H. Cooper; Private Collection, Wiltshire

Exhibited: New Grafton Gallery, London, January 1978 £500-800

164 Φ

RUSKIN SPEAR CBE, RA

1911-1990

Portrait of a lady seated, reading a book

Signed Ruskin Spear (lower left)

Oil on board

b.1932

Portrait of Stephen Parkinson

Signed and dated David Tindle/56 (lower right)

Pen and ink, and wash

41.3 x 33.5cm

Provenance: Private Collection, Wiltshire

£100-150

165

b.1932

Landscape in North Wales

Watercolour

9.4 x 13.2cm

Provenance: John Marshall (1911-1995); By descent to the present owner

£100-150

1937-1988

Birds of Paradise and Early Abstract by Modern British Master

Signed, dated, numbered and inscribed 13/100 Birds of Paradise and early abstract by Modern British Master Norman Stevens 1980 (in pencil to margin)

Etching

70.1 x 79.6cm (sheet)

Provenance: The Redfern Gallery, London, where purchased by Dr Peter Mangold, March 1980; And by descent

£100-150

Φ DAVID TINDLE RA

166 Φ DAVID TINDLE RA

167 Φ NORMAN STEVENS ARA

168

168 Φ

CHARLES FREDERICK TUNNICLIFFE

OBE, RA

1901-1979

A flock of curlews taking flight

Signed C F Tunnicliffe (lower right) Pencil, watercolour and bodycolour

41.2 x 63.8cm

Provenance:

Christie’s, London, Watercolours and Pictures of Birds, 15 March 1994, lot 116; David Joel (1928-2019); And by family descent £700-1,000

169 Φ

CHARLES FREDERICK TUNNICLIFFE

OBE, RA

1901-1979

Coppersmith Bridge, Macclesfield Canal

Inscribed Coppersmith Bridge (to verso) Watercolour

22.6 x 30.4cm

Provenance: Robin Riley; Caroline Gee English Watercolours, Hastings £300-500

169

170 171

170 Φ

RONNIE WOOD

b.1947

Dolphins

Signed Ron Wood (lower right)

Pencil and oil on board

22.8 x 15.3cm

Provenance:

Purchased from the artist by the present owner c.1975

£500-700

171 Φ

PATRICK PROCKTOR RA

1936-2003

Mirrors

Signed and inscribed Patrick Proctor PP (in pencil to margin)

Aquatint, 1969, from the ‘Invitation to a Voyage’ series

67.5 x 98cm (sheet)

Provenance: The Collection of Bob and Elisabeth Boas

£70-100

172

172 Φ

PATRICK PROCKTOR RA

1936-2003

Sunday; Portrait study of a lady standing

Two, the former signed, inscribed and dated Sunday/Patrick Procktor 66 (lower left), the latter signed and dated Patrick Proctor 66 (lower right)

Both pen and black ink

Each 42.8 x 30.1cm

One unframed (2)

£300-500

173

173 Φ

Hockney’s Alphabet

Signed by the artist and the editor Stephen Spender/David Hockney (to preliminary leaf) With 26 reproduction prints, in yellow cloth and grey cloth slipcase, published by Faber & Faber for the Aids Crisis Trust

34.5 x 25.1cm (slipcase)

The book was published to support the Aids Crisis Trust and raise money for those suffering from AIDS. It was edited by Stephen Spender, and contains written contributions by himself, Joyce Carol Oates, Iris Murdoch, Paul Theroux, Gore Vidal, Norman Mailer, Seamus Heaney, Martin Amis, Erica Jong, Ian McEwan, Nigel Nicolson, Margaret Drabble, Craig Raine, William Boyd, V.S. Pritchett, Doris Lessing, William Golding, T.S. Eliot, Arthur Miller, Ted Hughes, Kazuo Ishiguro, Julian Barnes, John Updike, Susan Sontag, Anthony Burgess, Douglas Adams and Patrick Leigh Fermor. Each contribution is paired with an illustration by Hockney.

85

174 Φ

b.1937

M

Signed David Hockney (in pen lower centre) and inscribed Love/life (in red crayon upper centre) Reproduction print, from Hockney’s Alphabet, published by Faber & Faber for the Aids Crisis Trust, 1991, with Muybridge by Craig Raine (b.1944) to verso

27.8 x 21cm

Provenance: Marguerite Littman (1930-2020); And by descent

DAVID HOCKNEY OM, CH, RA

b.1937

176

175 Φ

SONIA ROBINSON

b.1927

Fishing boats in a harbour

Signed with initials SR (lower right)

Oil on canvasboard

33.8 x 43.8cm

£200-300

176 Φ

GIUSEPPE ELETTRO

Italian 20th Century

View of the Faraglioni, Capri

Signed Elettro (lower left)

Oil on canvas

57.5 x 73.7cm

£150-250

177 Φ

CHRISTOPHER ASSHETON-STONES

1947-1999

Moorland landscape

Signed CJA-STONES/80 (lower right)

Pastel

26.9 x 37.3cm

£200-300

178 Φ

TREVOR CHAMBERLAIN ROI

b.1933

Cottage Ruin, Bedfordshire

Signed and dated T.Chamberlain ‘80 (lower right), and inscribed Cottage Ruin, Bedfordshire (to stretcher)

Oil on canvas

25.6 x 35.7cm

Provenance:

Ash Barn, Petersfield

£150-250

179 Φ JAMES MORRISON RSA RSW Scottish 1932-2020 Balgove, Summer

Signed and dated Morrison 17 VII 1986 (lower right) Oil on gesso board 79.5 x 113.5cm

Provenance: Thackeray Gallery, London, January 1987 £2,000-3,000

179

179 (framed)

180 Φ TREVOR STUBLEY RP, RBA, RSW, RWS

1932-2010

Landscape in Crete

Signed Stubley (lower right)

Mixed media on paper 84 x 54.6cm

£200-300

181 Φ PAUL GUNN

b.1934

View of the Victoria Embankment, London, with Cleopatra’s Needle

Signed and dated Paul Gunn 82 (lower right)

Oil on board 30.3 x 22.4cm

£200-300

182

ALEXANDRE ORLOFF

Russian 1899-1979

Abstract

Signed Orloff (lower right)

Oil on canvas 73 x 50.4cm

Unframed

£100-200

183 Φ

JULIA HESELTINE

b.1933

The Road to Sienna

Signed HESELTINE (lower right)

Oil on canvasboard 27 x 21.1cm

£200-300

184 Φ

DORIS ZINKEISEN

Scottish 1898-1991

Chasing the Gold Cup

Signed Doris Zinkeisen (lower right)

Oil on canvas

71.2 x 91.2cm

Provenance:

Rountree Tryon Galleries

£1,000-1,500

185

ALEXANDER SOFRONOFF

Russian 1901-1948

Figure walking along a tree-lined path, Sri Lanka

Signed A Sofronoff (lower right)

Oil on board

42 x 53cm

£300-500

186

ALEXANDER SOFRONOFF

Russian 1901-1948

Mountainous Sri Lankan landscape with a woman on the road

Signed and dated A SOFRONOFF/1943 (lower right)

Oil on board

40.8 x 52.1cm

£300-500

187

1915-2012

White cat lying on the shore

Signed and dated Fedden 1992 (lower right)

Gouache 23 x 29.5cm

Provenance:

Bonhams, London, 20th Century British Art, 28 March 2006, lot 37; Sotheby’s, London, Made in Britain, 16-23 September 2022, lot 94

£3,000-5,000

1915-2012

Black cat

Signed and dated Fedden 1993 (lower right)

Oil on board

24.8 x 19cm

£3,000-5,000

188 Φ

MARY FEDDEN OBE, RA, RWA

187 Φ

MARY FEDDEN OBE, RA, RWA

189

189 Φ

MARY FEDDEN OBE, RA, RWA

1915-2012

Gin Bottle

Signed and dated Fedden 1998 (lower left)

Watercolour, bodycolour and printed collage

19.2 x 26cm

Provenance:

Christie’s, South Kensington, 20th Century British Art, 28 April 1999, lot 232; Bonhams, London, Modern and Contemporary - British and Continental Painting and Sculpture, 22 March 2000, lot 109; Vincent Kosman Fine Art, Edinburgh

£3,000-5,000

190 Φ

MARY FEDDEN OBE, RA, RWA

1915-2012 Moths

Signed and dated Fedden 1974 (lower right), and further signed and inscribed Mary Fedden/Moths (to label)

Oil on board 91 x 75.1cm

Provenance:

Bohun Gallery, Henley-on-Thames

Exhibited: Bath, Victoria Art Gallery, Mary Fedden: Simple Pleasures, July - October 2022

191

1915-2012

Hoopoe

Signed and dated Fedden 1985 (lower left)

Collage and watercolour

27.5 x 25.8cm

Provenance:

Sotheby’s, London, Made in Britain, 13 September 2017, lot 240

£2,500-3,500

191 Φ

MARY FEDDEN OBE, RA, RWA

192

192 Φ

MARY FEDDEN OBE, RA, RWA

1915-2012

Cockerel Signed and dated Fedden 1997 (lower right) Oil on board

25.4 x 19.5cm

Provenance: Cheffins, Cambridge, The Art and Design Sale, 27 October 2022, lot 402

£3,000-5,000

1915-2012

Bouquet of flowers

Signed and dated Fedden 1983 (lower right) Gouache

25.4 x 13.4cm

Provenance: Archeus Fine Art, London, June 2000

£800-1,200

1915-2012

Chaffinch

Signed and dated Fedden 1982 (lower left)

Watercolour and bodycolour

16.4 x 19cm

Provenance: Gorringes, Lewes, Fine Art, Antiques and Collectables, 9 December 2015, lot 1558

£1,500-2,500

193 Φ MARY FEDDEN OBE, RA, RWA

194 Φ MARY FEDDEN OBE, RA, RWA

Provenance:

Purchased

195 Φ

MARY FEDDEN OBE, RA, RWA 1915-2012

Near Lucignano

Signed and dated Fedden ‘00 (lower left), and further signed and inscribed Mary Fedden/Near Lucignano (to label) Oil on board 51.6 x 60.7cm

directly from the artist by the present private collector £8,000-12,000

195

195 (framed)

196

196 Φ

MARY FEDDEN OBE, RA, RWA

1915-2012

Woman standing in a landscape

Signed Fedden (lower left)

Gouache

24.1 x 34.3cm

Provenance:

The New Art Centre, London

£2,000-3,000

197

197 Φ

MARY FEDDEN OBE, RA, RWA

1915-2012

On the beach

Signed and dated Fedden 1986 (lower left)

Gouache

19.3 x 21.4cm

Unframed

£2,000-4,000

198 Φ MARY NEWCOMB

1922-2008

A Suffolk Ewe

Signed with initials MN (lower right), and further signed to verso (according to inscription to backing board)

Pencil and watercolour

18 x 20.9cm

Provenance:

Acquired from the artist by the present owner

Exhibited: Crane Kalman Gallery, London

£1,000-1,500

199 Φ MARY NEWCOMB

1922-2008

Ewe with six legs

Signed with initials MN (lower right)

Pencil and watercolour

19.5 x 24.5cm

Provenance:

Acquired from the artist by the present owner

Exhibited: London, Crane Kalman Gallery, December 1998

£1,000-1,500

200

MARY NEWCOMB

1922-2008

Girl walking by an embankment

Signed with initials MN (lower right)

Pencil and watercolour

12.1 x 19.5cm

Provenance:

Acquired from the artist by the present owner

£400-600

Φ

201 Φ

MARY NEWCOMB

1922-2008

Gloucestershire Horsetails

Signed with initials MN (lower right), and further signed and inscribed Gloucestershire/horsetails/Mary Newcomb (to verso)

Pencil and watercolour

27.4 x 19.7cm

Provenance:

Property of the artist; Crane Kalman Gallery, London; Where purchased by Mr Leonard Manasseh, March 1997; Bellmans, Winchester, 27 June 2018, lot 840

Exhibited:

Kendal, Abbot Hall Art Gallery, Mary Newcomb - A Retrospective, October-November 1996;

London, Crane Kalman Gallery, A Retrospective, 75 Paintings and Watercolours, March 1997

£2,500-3,500

202 Φ MARY NEWCOMB

1922-2008

Dorset Horn, Ewe and Lamb

Signed with initials MN (lower right), and further signed Mary Newcomb (to verso according to inscription on backing board)

Pencil

29.4 x 20.3cm

Provenance: Acquired from the artist by the present owner

£1,000-1,500

203 Φ

MARY NEWCOMB

1922-2008

Ewe by a large tree

Signed with initials MN (lower right), and further signed and inscribed ewe by a large tree/Mary Newcomb (to verso)

Pencil and watercolour

13.1 x 14.6cm

Provenance: Property of the artist; Crane Kalman Gallery, 1998 £600-800

204 Φ NORMAN WILKINSON CBE, RI

1878-1971

Landscape in Glengarry

Signed and inscribed NORMAN WILKINSON/PRINCE CHARLES ID/GLENGARRY (lower left)

Pencil and watercolour

34.8 x 52.7cm

£150-250

205 Φ VICTORIA CROWE RSA, RSW

Scottish b.1945

Colour Reversal of San Romano

Signed and dated Victoria Crowe/1970 (lower left)

Ink, watercolour and bodycolour

49.5 x 85.5cm

Provenance: Christie’s, South Kensington, 20th Century British Art, 9 May 2007, lot 162

Exhibited: Edinburgh, Aitken Dott, Exhibition of Works, April 1970, no.55

£400-600

206 BRITISH SCHOOL

20th Century

Reflections

Oil on canvas

63 x 74.8cm

£100-150

207 Φ FRED UHLMAN

German 1901-1985

Mountainous lake landscape at night

Ink and wash

25.2 x 34.9cm

£150-250

208 Φ

TOM PHILLIPS RA, CBE

1937-2022

English Grass Under

English Skies

Signed and dated TOM PHILLIPS

X.II.MCMXXIII (to border)

Gouache

23.3 x 23cm

£500-700

209 Φ

TOM PHILLIPS RA, CBE

1937-2022

Brünnhilde

Signed and inscribed A/P TPhillips XCI (in pencil to margin)

Screenprint, 1991

27.1 x 51.5cm (image)

£100-150

210 Φ

ANTHONY FROST

b.1951

Ten of diamonds in pink, red, orange and yellow; Ten of diamonds in blue, green, red and orange

Two, both acrylic on card

Both 17.2 x 12.3cm, framed as one (2)

£100-150

213

JOHN

1910-2005

Cornish Tin Mines

Signed, numbered and dated 5/70 Humphrey Spender 71 (in pencil to margin) Lithograph

37.6 x 58.5cm (image)

£100-150

211

1928-2017

Venice; Café Turbot

Two, the former signed and inscribed Venice artists proof Richard Beer (in pencil to margin), the latter signed, numbered and inscribed Café Turbot 61/70 Geoffrey with love March ‘95 Richard Beer (in pencil to margin) Both etching

39.4 x 59.7cm; 46.2 x 40.2cm (plate) (2)

Provenance: Private Collection, Wiltshire

£100-150

212 Φ

MARJORIE SHERLOCK

1897-1973

The Hypostyle Hall, Hathor Temple, Dendera

Signed and dated Sherlock 1913 (lower right)

Pen and black ink, and wash 36 x 23.1cm

Provenance: Abbott & Holder, London

£100-200

214

town

Signed and dated Watling 73 (lower right)

Φ RICHARD BEER

Φ

HUMPHREY SPENDER

Φ DENNIS WATLING 20th Century View of a Northern

215 Φ CECIL ROCHFORT D’OYLY-JOHN

1906-1993

The Harbour at Cannes from the Summer Casino

Signed DOYLY JOHN (lower right), and inscribed Cannes Harbour/(seen from the Summer/Casino)/South of France (to reverse)

Oil on canvas

35.5 x 71.2cm

£1,200-1,800

216 Φ BIDDY PICARD

b.1922

Still life with a bowl of fruit, a jug of flowers and a teacup

Signed Biddy Picard (lower right)

Oil on board 36 x 49.2cm

Provenance: David Lay Auctions, Penzance, Paintings, Prints and Other Art, 5 May 2016, lot 79

£500-800

217 Φ

FRANÇOIS DREULLE

French b.1940

Still life with a violin

Signed and dated F.Dreulle 1964 (lower centre)

Collage

45.8 x 37.8cm

£300-500

218 Φ

FRANÇOIS DREULLE

French b.1940

Portrait of a lady holding an umbrella

Signed F Dreulle 1964 (lower centre)

Collage

45.5 x 32.7cm

£300-500

219 Φ

FRANÇOIS DREULLE

French b.1940

Still life with a guitar

Signed, dated and inscribed F.Dreulle 66 paris (lower right)

Collage

25.4 x 17.6cm

£150-250

220 Φ

FRANÇOIS DREULLE

French b.1940

Cubist composition

Signed, dated and inscribed F.Dreule Paris 1974 (lower right)

Collage

28.1 x 18cm

£150-250

221 Φ

JOHN O’CONNOR

1913-2004

Ariel and Miranda

The complete portfolio of seven wood engravings, two with yellow hand-colouring, and a watercolour titled Ariel Free

Each wood engraving signed and numbered 13/65 John O’Connor (in pencil to margin), the watercolour signed, dated and inscribed

John O’Connor 97 ‘Ariel Free (lower centre), and further signed, dated and numbered 13/John O’Connor ‘92 (to title)

Each mounted and tipped in original yellow cloth box, published by Jonathan Stephenson at The Rocket Press, 1992, together with title and introduction and two further wood engravings, one loose and one mounted to box

Largest 36 x 26.5cm (sheet); Smallest 24.5 x 17.4cm (sheet)

£300-500

222 Φ

SEAN O’CONNOR

Irish 1909-1992

View of the Wishing Bridge, Gap of Dunlow, County Kerry

Signed SEAN O’CONNOR (lower left)

Pencil and watercolour

32.3 x 47.5cm

£150-250

223

223 Φ

SINE MACKINNON

Irish 1901-1996

View of a coastal town

Signed Sine Mackinnon (lower right)

Watercolour

24.6 x 35.1cm

£150-250

224 SALEH AL-JUMAIE

Iraqi b.1939

A Poem to the Mediterranean

Signed and titled in Arabic and dated 1979 (to overlap)

Oil and pressed metal on canvas

99 x 99cm

Unframed

Exhibited:

Abu Dhabi, A Poem to the Mediterranean, 1980

We are grateful to Saleh al-Jumaie for his assistance cataloguing the present work.

£1,000-1,500

Tempera

225 JAMINI ROY Indian 1887-1972

Female nude

Signed in Bengali (lower right)

35.7 x 21.1cm £3,000-5,000

226 JOHN TWEED

1869-1933

Portrait bust of Sir Leander Starr Jameson, 1st Bt. (1853-1917)

Signed, dated and inscribed A Mon Ami/Docteur Jameson/Paris 97 John Tweed (to back)

Bronze

59 x 33.2 x 25.9cm

Provenance: Sir Roy Welensky (1907-1991), Prime Minister of the Federation of Rhodesia and Nyasaland; And by family descent

Leander Starr Jameson was a British colonial politician, who was the Prime Minister of the Cape Colony from 1904-1908. He is perhaps best known for his role in the ill-fated Jameson Raid, but he was also Rudyard Kipling’s inspiration for the poem If£1,000-1,500

227 Φ EMANUEL MANASSE

20th Century

Portrait bust of Sir Winston Churchill (1874-1965)

Signed MANASSE (to underside)

Bronze on an onyx base

19.8 x 9 x 12cm

Together with Winston Churchill, Franklin D. Roosevelt and Joseph Stalin in Tehran; Photographic print; 20.1 x 26cm; Unframed; Chiang Kaishek, Franklin D. Roosevelt, Winston Churchill, and Song Meiling at the Cairo Conference; Photographic print; 20.4 x 25.8cm; Unframed; and Winston Churchill and General Dwight D. Eisenhower in Tunisia; Photographic print; 21 x 25.4cm; Unframed (4)

£300-500

228 BASHKA PAEFF

American 1889-1979

Portrait bust of Jonathan Mirsky, as a boy

Signed BASHKA PAEFF (to reverse)

Plaster

28.5 x 17 x 21cm

Provenance: From the collection of Dr Jonathan Mirsky (1932-2021)

Dr Jonathan Mirsky was an American journalist and historian of China.

£300-500

VIVIEN MALLOCK

b.1945

Rondo

Signed with monogram and numbered 6/12 (to base)

Bronze with dark brown and gold patina

43.5 x 28 x 14.7cm £1,000-1,500

1927-1992

Dancer

Signed and numbered Harpley 12/12 (to dress)

Bronze on a marble base

17.8 x 11.6 x 9cm (including base)

£300-500

230 Φ

SYDNEY HARPLEY RA, FRBS

231 Φ JONATHAN WYLDER

b.1957

Kneeling dancer wearing a leotard

Signed, dated and numbered JWylder 1st/9 2006 (to right leg)

Bronze with brown and green patina

57 x 26.2 x 56.5cm

£800-1,200

232 Φ JONATHAN WYLDER

b.1957

Reclining female nude

Signed twice, numbered and dated J WYLDER 2/9 2004 Wylder (to right leg)

Bronze with brown patina 39 x 60.7 x 28cm

£800-1,200

JONATHAN

b.1957

The Wish

WYLDER

Signed, dated and numbered 2/9 Wylder 2004 (to left ankle)

Bronze with brown patina

49 x 32.8 x 29.4cm

£800-1,200

JONATHAN WYLDER

b.1957

Kneeling female nude

Signed, dated, numbered and inscribed 1/4 2000 Wylder FOR/EDWARD NEGAR/LOVE/JONATHAN/&HEATHER

(to underside of left leg)

Bronze with brown patina

49 x 28.5 x 29cm

£800-1,200

234 Φ

233 Φ

235 Φ

EDWARD BAWDEN CBE, RA

1903-1989

Six London Markets, comprising Billingsgate Market; Borough Market; Covent Garden Flower Market; Covent Garden Fruit Market; Leadenhall Market; and Smithfield Market

Six, each signed Edward Bawden, inscribed with title and numbered 44/75, 28/75, 62/75, 41/75, 15/75, 45/75 respectively (in pencil to margin)

Each lithograph, 1967

Largest 46.2 x 61.1cm; Smallest 45.6 x 61.2cm (image) (6)

£12,000-18,000

1911-1994

View of the Venetian

Lagoon during a storm

Signed Eilidh (lower left)

Oil on canvas

61.7 x 76.5cm

£200-300

1913-1998

Brussels Races

Signed twice SAM BLACK and dated 45 (lower left), and inscribed twice BRUSSELS RACECOURSE (lower right)

Pen and ink, watercolour and bodycolour 48.7 x 65.1cm

£200-300

Spanish 1901-1982

Harbour scene with fishing boats

Oil on board

23.8 x 32.8cm

£200-300

1922-2008

Torre Alháquime

Signed and inscribed Torre Alhaquime Peter G L Richmond (to labels)

Charcoal

43.3 x 59.2cm

£200-300

236 Φ EILIDH BARNARDO

237 Φ SAM BLACK RSW

238 Φ JOAN VIVES LLULL

239 Φ MILES PETER RICHMOND

French 1889-1985

Falaises de Dieppe

Signed Dyf (lower right), and with artist’s stamp and dated 1985 (to reverse)

Oil on board

37.9 x 45.9cm

Provenance:

Woolley and Wallis, Salisbury, Paintings, 23 September 2016, lot 566, where purchased by the present private collector

This work is recorded in the Dyf archive (no.3693).

£6,000-8,000

240 Φ MARCEL DYF

240 (framed)

241

243

GILL WATKISS

b.1938

Claypools Cottage, St Austell

Signed and indistinctly dated G Watkiss/200* (lower left)

Oil on canvas

30.6 x 35.7cm

£500-700

b.1938

Figures on a lane outside a farm

Inscribed To Master Julian C. Watkiss/Tamruan/2 Riverside/Lelant, St Ives

CORNWALL (lower right)

Pencil, watercolour and bodycolour on first day cover, 18 February 1986

16.2 x 22.8cm

£250-350

GILL

b.1938

Figures on a windy lane

Inscribed Master Julian Charles/Watkiss/Tamruan/2 Riverside/Lelant/St Ives

CORNWALL (lower right)

Pencil, watercolour and bodycolour on first day cover, 18 June 1985 16.2 x 22.7cm

241 Φ

242 Φ

GILL WATKISS

243 Φ

WATKISS

b.1938

Old Pound Street, St Austell

Signed and dated Gill Watkiss/08 (lower right)

Oil on canvas

40.7 x 50.6cm

Provenance: Tony Sanders, Penzance £1,000-1,500

b.1938

The Bandstand, Morrab Park

Signed Gill Watkiss (lower right) Oil on board 30.4 x 38.8cm

Provenance: W. H. Lane, Penzance, 28th July 2016 lot 110 £1,000-1,500

245 Φ GILL WATKISS

244 Φ GILL WATKISS

245

244

246 Φ

MERVYN PEAKE

1911-1968

Female nude

Black and grey wash

30.4 x 15.7cm

Provenance:

Christie’s, South Kensington, Original Book Illustrations and Printed Books, 18 July 1990, lot 75, where purchased by the present private collector

£300-500

247 Φ

RONALD SEARLE CBE, RDI

1920-2011

Not Angels - But Engels!

Signed RONALD/SEARLE (lower right) and inscribed NOT ANGELS - BUT ENGELS! (lower centre) Pen and black ink

33 x 26.4cm

£600-800

248 Φ

EDWARD WOLFE RA

1897-1982

Song of Songs

The complete set of twelve, each signed and numbered 237/250 Wolfe (in pencil to mount), and further signed Wolfe (in pencil to warranty)

Each reproduction print on silver paper, within a green cloth solander box, Senecio Press, 1980

Each 35.6 x 26.5cm (sheet); 48.9 x 34.7cm (box) (12)

£200-300

249 Φ

DONALD HAMILTON FRASER RA 1929-2009

Gregoriou - Clearing Storm Signed Fraser (lower left) Oil on paper 45.6 x 58.4cm

Provenance: Bohun Gallery, Henley-on-Thames £3,000-5,000

249

249 (framed)

Voulas Tomato Patch Under The Olives

250 Φ KURT JACKSON

b.1961

Signed and dated 8/05/KurtJ (lower right) and inscribed Voulas tomato patch under the olives (lower centre)

Acrylic on board

27.8 x 27.2cm

£1,500-2,500

250

251

251 Φ

KURT JACKSON

b.1961

Sunset Out At Sea Reflects Off The Cliffs

Signed and dated KurtJ/oct 04 (lower right), and inscribed sunset/out at sea/reflects off/the cliffs (lower left)

£1,000-1,500

Acrylic on board

21.1 x 21.3cm

252 Φ

JOHN EMANUEL

b.1930

Classical head facing right; Classical head facing left

A pair, both signed and inscribed Classical Head/John Emanuel (to reverse)

Both oil and gold leaf on board

Each 21.9 x 19.5cm (2)

£300-500

253 Φ

JOHN EMANUEL

b.1930

Male; Seated Figure

Two, both signed and numbered 1/1 John Emanuel and inscribed Male and Seated Figure respectively (in pencil to margin)

Both monotype

28.3 x 22.9cm; 29.2 x 21 (image) (2)

£150-250

254 Φ JOHN EMANUEL

b.1930

Seated figure

Signed John Emanuel (lower left)

Black ink, watercolour and bodycolour

54.8 x 37.7cm

£200-300

255 Φ

JOHN EMANUEL

b.1930

Seated figure

Signed John Emanuel (lower left)

Black ink, watercolour and bodycolour

35.6 x 52.1cm

£200-300

JOHN EMANUEL

b.1930

Cumbrian Landscape

Oil on paper

36.5 x 56.3cm

£300-500 257 Φ

JOHN EMANUEL

b.1930

Cumbrian landscape

Oil on paper

40.1 x 39.3cm

£300-500

258 Φ

JOHN EMANUEL

b.1930

Halzephron Cove

Oil on board

Signed and inscribed Halzephron Cove/John Emanuel (to reverse)

25.7 x 31.8cm

£200-300 259 Φ JOHN EMANUEL b.1930 Coastal landscape Oil on canvas

25.7 x 41cm £200-300

260 Φ

GWILYM PRICHARD

Welsh 1931-2015

View of Glan-y-Mor, Wales

Signed GWILYM/PRITCHARD (lower left)

Oil on canvasboard

30.5 x 50.4cm

Unframed £800-1,200

261 Φ

DAPHNE MCCLURE

b.1930

Set Aside

Signed DMcClure (lower right)

Oil on board

32.5 x 47.8cm

£500-800

262

ALEXANDER GOUDIE

Scottish 1933-2004

Dining Room Cabinet

Signed Goudie (upper left), and with Alexander Goudie Trust stamp (to stretcher) Oil on canvas, 1980-1985

50.5 x 50.5cm

Provenance:

Property of the artist, hung in the family dining room, Glasgow; The Alexander Goudie Trust (their stamp to stretcher);

From whom purchased by the present private collectors, 2016

According to the artist’s son, Lachlan Goudie, the cabinet depicted in the present work ‘sat in our Glasgow dining room and contained silverware and crystal glasses. My father had designed the decor of the dining room, with painted black walls, to accentuate the drama of our dining room table: a centrepiece lit from above and covered in white tablecloth and sparkling cutlery. He painted many still life paintings of this room and its contents’.

£1,000-1,500

262 Φ

263 Φ TONY KARPINSKI

b.1965

Cheetah with cubs

Signed Karpinski (lower left), and further signed, dated and inscribed Cheetah with cubs/Masai Mara, Kenya/Tony Karpinski/2000 and with an oil sketch of a cheetah (to backing board) Oil on board 42.1 x 59.6cm £3,000-5,000

263

263 (framed)

264 Φ TONY KARPINSKI

b.1965

Two cheetahs

Signed Karpinski (lower left), and further signed, dated and inscribed Cheetah with Young/South Africa ‘97/Tony Karpinski and with an oil sketch of two cheetahs (to backing board) Oil on board 38.7 x 67.3cm £2,000-3,000

264

264 (framed)

265 Φ

TONY KARPINSKI

b.1965

Two leopards

Signed Karpinski (lower left), and further signed, dated and inscribed Leopards/South Africa

‘97/Tony Karpinski and with an oil sketch of a leopard (to backing board)

Oil on board

45.7 x 63.6cm

£2,000-3,000

266 Φ

BRYAN HANLON

b.1956

Two cheetahs

Signed with initials and dated BH87 (lower right) and inscribed and dated Jersey wildlife preservation trust/summer 87 (lower left)

Pencil and watercolour

16.5 x 23cm

£120-180

267

267

LUTE VINK

South African b.1971

The Bandar-Log Howled with Triumph

Signed Lute Vink (lower right)

Oil on canvas

75 x 86.7cm

Literature:

Rudyard Kipling (1865-1936) with illustrations by Lute Vink (South African b.1971), The Jungle Book (Books Illustrated Ltd, 2015), p.35 (illustrated)

£600-800

268

LUTE VINK

South African b.1971

All the Beasts Together

Signed Lute Vink (lower right)

Oil on canvas

77.4 x 97.2cm

Literature:

Rudyard Kipling (1865-1936) with illustrations by Lute Vink (South African b.1971), The Jungle Book (Books Illustrated Ltd, 2015), p.117 (illustrated)

£600-800

268

269

LUTE VINK

South African b.1971

South of the Sticky Water

Signed LUTE VINK (lower left)

Oil on canvas

68.4 x 48.1cm

Literature:

Rudyard Kipling (1865-1936) with illustrations by Lute Vink (South African b.1971), The Jungle Book (Books Illustrated Ltd, 2015), p.75 (illustrated)

£600-800

270

RUDYARD KIPLING

1865-1936 WITH ILLUSTRATIONS BY LUTE VINK

South African b.1971

The Jungle Book

Signed Lute Vink (to page 2) No.65/200, published by Books Illustrated Ltd, 2015, red leather covers with gilt embossed depiction of Shere Khan, within a red cloth presentation box 32.2 x 32.7cm

£200-300

271 Φ

CARL LONGWORTH b.1979

Running horse

Signed and numbered longworth 2/12 (to bronze base)

Bronze on a black stone base 49.3 x 46.1 x 17.3cm (including base)

£600-800

272

MATHILIUS SCHACK ELO

Danish 1887-1948

Rearing horse

Bronze on a wooden base 14 x 17.5 x 5cm (including base)

Provenance:

Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 13 December 2016, lot 318, where purchased by the present private collector

£300-500

JOHN W. MILLS PPRBS ARCA FRSA

b.1933

Striding horse

Signed and numbered John Mills 4/6 (to tail)

Patinated bronze 70 x 54.5 x 14cm

Provenance:

The Collection of Bob and Elisabeth Boas £700-1,000

b.1941

Cloaked Horseman

Signed Backhouse (to base) and numbered 4 7 (to edge of base)

Bronze 20.5 x 21.6 x 9.4cm

Provenance:

By family descent to the present owner £500-700

274 Φ DAVID BACKHOUSE

273 Φ

Mallard

Signed, inscribed and dated MALLARD 1998/TAPLIN (to underside)

Painted wood with glass bead eyes

19.6 x 38 x 17.6cm £1,000-1,500

Swift soaring

Signed with initials, dated and numbered HAM/2005/15/25 (to bronze base) Bronze on a black stone base 50 x 19 x 13cm £1,000-1,500

276 Φ GUY TAPLIN b.1939

275 Φ HAMISH MACKIE b.1973

GUY TAPLIN

b.1939

Four Sanderlings

Signed and inscribed FOUR SANDERLING

GUY TAPLIN (to base)

Painted wood with glass bead eyes

26 x 17.5 x 28cm (including base)

£2,000-3,000

278 Φ

GUY TAPLIN

b.1939

Standing curlew

Signed, numbered Guy Taplin 1/25, and hallmarked (to underside) Silver, Birmingham, 2000, Pangolin Editions

11 x 9.1 x 3.5cm

Together with Adrian Csáky and Ian Collins, Birds of Creation: Guy Taplin (Csáky Art, Berkshire, 1998) (2)

£1,000-1,500

279 Φ STUDIO OF SIR ANTHONY CARO OM, RA

1924-2013

Maquette for ‘Tuba’

Signed and inscribed for Mike/Best wishes/Anthony/Caro

Painted plastic

11.8 x 15.9 x 16.8cm

Provenance:

Given by the artist to Michael O’Connor RBS in the late 1990s;

And by family descent

This work is a maquette for Sir Anthony Caro’s 1982 work Tuba. It was made, along with a series of maquettes, in his studio by Jana Fowler. Many of these maquettes remain in The Anthony Caro Centre. This work was given by Caro to the sculptor Michael O’Connor, when the latter visited Caro’s studio in the late 1990s.

We are grateful to The Anthony Caro Centre for their assistance cataloguing the present work.

£500-700

280 Φ

BRITISH SCHOOL

20th Century

Untitled

Welded metal on a stepped wooden base

57.5 x 24.7 x 27.5cm

£200-300

Scottish b.1948

Column Granite

126 x 27 x 27cm

Provenance: The Collection of Bob and Elisabeth Boas

£500-700

d.1991

Abstract form; Bird

Two, both soapstone, the former on a wooden base 18.5 x 11.2 x 8.3cm (including base); 16.5 x 14 x 7.8cm (2)

Provenance:

Property of the artist; Her posthumous sale, Woolley and Wallis, Salisbury, 20th Century and Contemporary Art, 16 July 2008, lot 171, where purchased by the present private collector

£150-200

281 Φ

JAKE HARVEY

282 Φ PAMELA RYDZEWSKI

281

283 Φ

ROGER MCPHAIL

b.1953

Pheasant in the grass

Signed R.Mcphail (lower right)

Watercolour heightened with bodycolour

22 x 17.4cm

£250-450

284 Φ

INGRID WEIERSBYE

b.1945

Studies of hoopoes

Signed Ingrid Weiersbye (lower right), and inscribed Hoopoe studies - preening & sunbathing (lower left) Pencil, red chalk, watercolour and bodycolour

32.2 x 44.8cm

£100-150

285 Φ

DAVID ORD KERR

b.1951

Wren

Signed David Kerr (lower right)

Watercolour and bodycolour

28.3 x 20.8cm

Together with Otto Murray Dixon (1885-1917);

Two birds in a landscape; Signed and dated O Murray Dixon 1911 (lower left); Watercolour heightened with bodycolour; 22.4 x 29.3cm (2)

£120-180

286 Φ

EDNA BIZON

1929-2016

A sow and her piglets in a barn; A cow and two calves in a field

A pair, both signed Edna Bizon (lower right) Both oil on canvas

25.4 x 35.5cm; 25.8 x 35.9cm (2)

Provenance:

‘A Cow’ with Ash Barn, Petersfield £200-300

287

EDNA BIZON

1929-2016

The Cottage Loaf; Spring Flowers

Two, both signed Edna Bizon (lower right)

Both oil on canvas

35.8 x 51.1; 45.6 x 35.7cm (2)

Provenance:

Both Ash Barn, Petersfield

£200-300

288 Φ

CHARLES JAMES MCCALL

1908-1989

Sisters

Signed and dated McCall 1983 (upper right)

Oil on board

25.6 x 18.5cm

Provenance: Ash Barn, Petersfield, c.1984

£100-150

289

MICHAEL O’RORKE

1895-1981

Maasai figures

Signed and dated Michael O Rorke 1963 (lower right)

Oil on canvas

39.4 x 46.3cm

£100-150

Φ

Φ

291

290 Φ KEN HOWARD

1932-2022

Boats in Kyrenia harbour, Cyprus

Signed Ken Howard (lower right)

Watercolour heightened with white

17.7 x 22cm

Provenance:

Ash Barn, Petersfield, April 1984

£200-300

291 Φ JOHN STANTON WARD

RA

1917-2007

The picnic table

Signed and dated John Ward/ 1986 (lower right)

Pencil and watercolour

31.2 x 46.8cm

£200-300

292 Φ JOHN CHARLESWORTH

b.1947

Nowhere

Signed and dated JOHN/MICHAEL/ CHARLESWORTH/1991 (lower left)

Acrylic on board with arched top 34.3 x 57.5cm

Unframed

Provenance: Lake Galleries, Toronto

£300-500

293 Φ RICHARD PIKESLEY RWS, NEAC

b.1951

Landscape with a house beyond a field

Signed with initials RP (lower right)

Oil on linen laid on panel 15 x 20.5cm

Provenance:

The Collection of Bob and Elisabeth Boas

£100-150

WOOLCOCK

b.1952

Devon Lake

Signed with initials and dated TW05 (lower right), and further signed, inscribed and dated Devon Lake/Tim Woolcock/2005 (to reverse)

Oil on board 39.2 x 49.3cm £800-1,200

Northern Irish b.1960

Wellington Arch, London

Signed with initials MM (lower right) and further signed, dated and inscribed Wellington Arch/London/Martin Mooney/2003 (to reverse)

Oil on canvas laid on board 18 x 24cm

Provenance: Property from an Irish country house £600-800

295 Φ MARTIN MOONEY

294 Φ TIM

297 Φ A.E. KENNEDY

act.1924-1965

Illustrations for Favourite Animals, comprising Sheep by a cart; Swans and cygnets; Geese and a puppy; Pigs and ducks; Chickens drinking; Rabbits and chicks; and Kittens and a frog

Seven, each pencil and watercolour heightened with white within pencil framing lines

Each 29 x 22.6cm (image)

Unframed (7)

£300-500

296 Φ

VAL BIRO

Hungarian 1921-2014

Illustrations for Worzel

Gummidge, King of the Scarecrows, comprising Worzel, Aunt Sally and Mr Crowman; Muvver’s Day; Worzel Gummidge and his Nephew; The Trial of Worzel Gummidge; and Fire Drill

Five, each pen and ink, and watercolour

Largest 23.7 42.8cm; Smallest 18.3 x 13.4cm (5)

£400-600

20th Century

Mother Goose Nursery Rhymes; My Bedtime Treasure Book

Two, the former signed Fel (lower right), the latter signed Fel (lower left)

Both gouache

33.7 x 24.2cm; 27.2 x 21.1cm

Together with Molly Benatar (20th Century); Hanging out the lanterns; Signed MOLLY/BENATAR (lower right); Gouache; 37 x 26.5cm (image); Unframed; and British School 20th Century; Cover illustration for Animal Land: Nursery Rhymes, Fairy Tales and other Stories, Gouache; 28.6 x 19.4cm (4)

£200-300

298 Φ BERT FELSTEAD

SALOMON VAN ABBÉ

Dutch 1883-1955

Illustrations from The Tanglewood Tales, comprising Medea in her chariot; Jason and Chiron; Cadmus sowing the dragon’s teeth; Theseus and the Minotaur; and Hercules and the Pygmies

Five, four signed S van Abbé

Each pen, watercolour and bodycolour

Each 29.8 x 19.7cm (5)

£200-300

1933-2022

Trade Wind

Signed Sharp (lower left)

Acrylic on canvasboard

56.4 x 86.5cm

An illustration for Trade Wind by M.M. Kaye.

£200-300

1933-2017

Ten portraits of characters from the 1987 television adaption of Little Dorrit; comprising Derek Jacobi as Arthur Clennam; Sarah Pickering as Little Dorrit; Cyril Cusack as Frederick Dorrit; Patricia Hayes as Affery; Bill Fraser as Mr Casby; Roshan Seth as Mr Pancks; Sophie Ward as Minnie Meagles; Liz Smith as Mrs Bangham the midwife; Pauline Quirke as Maggy; and Heathcote Williams as Dr Haggage

Ten, each signed Frooms

Each pastel

Largest 53.8 x 41.4cm; Smallest 47.9 x 38.7cm (10)

£400-600

299 Φ

300 Φ GEORGE SHARP

301 Φ COLIN FROOMS

300

299

301

ANDREW HEMINGWAY

b.1955

Still life with white pot, bowl and eggs

Signed and dated ANDREW HEMINGWAY MMV (lower left)

Pastel

40.4 x 56cm

Provenance: Brian Sinfield, Burford

£300-500

ERIC WARD

b.1945

Cornish harbour at sunrise

Signed ERIC WARD (lower left) Oil on canvas

25.5 x 30.4cm

Provenance:

Woolley and Wallis, Salisbury, 20th Century & Contemporary Art, 3 Jun 2015, lot 72

£100-150

304

BRIAN MIDLANE

New Zealander 20th Century Ships in a dockyard Oil on canvas

50.7 x 76.4cm

Unframed

Exhibited:

Probably London, Leicester Galleries, First Exhibition in England of Pictures by Brian Midlane and Mollie Paxton, February 1948, no.10

£100-200

IAN WEATHERHEAD

b.1932

Stourpaine, Dorset

Signed and inscribed Ian Weatherhead/Stourpaine, Dorset (lower right)

Watercolour and bodycolour

35.1 x 47.5cm

Provenance:

Hambledon Galllery, Blandford Forum (by repute); Private collection

£120-180

302 Φ

303 Φ

305 Φ

306

COLIN W. BURNS

b.1944

Grouse Moor, Perthshire

Signed Colin W Burns (lower left), and inscribed Grouse Moor - Perthshire (to overlap)

Oil on canvas

91.8 x 142.4cm

Provenance:

Christie’s, London, Sporting Art, 26 May 2000, lot 119

£1,500-2,500

b.1944

Summer Fishing near Barton

Signed Colin W Burns (lower left)

Watercolour and bodycolour

36.4 x 51.2cm

Provenance:

Flint Gallery, Burnham Market; Where purchased by the previous private collector, August 1990; And by family descent

£150-250

308

BRUCE BARNDEN

1925-2009

A farmhouse

Signed twice H Bruce Barnden (lower right)

Watercolour, and pen and ink

26.3 x 35cm

Provenance: Private Collection, Wiltshire

£100-150

308

307

306

Φ

307 Φ COLIN W. BURNS

Φ

309 Φ

HM KING CHARLES III

b.1948

The Castle of Mey

Signed, dated and numbered 1/100 Charles 2012 (in pencil to margin)

Reproduction print

21 x 38.8cm (image)

Together with original clamshell leather presentation case and certificate of authenticity (3)

£300-500

310 Φ

HM KING CHARLES III

b.1948

The South Front, Highgrove House

Signed, dated and numbered 10/100 Charles 2011

(in pencil to margin)

Reproduction print

28.9 x 39.2cm (image)

Together with original clamshell leather presentation case and certificate of authenticity (3)

£300-500

311 Φ

HM KING CHARLES III

b.1948

The Terrace, Highgrove House

Signed, dated and numbered 6/100 Charles 2007 (in pencil to margin)

Reproduction print

30.2 x 34.3cm (image)

Together with original clamshell leather presentation case and certificate of authenticity (3)

£300-500

312 Φ

HM KING CHARLES III

b.1948

The Sanctuary, Highgrove Garden

Signed, dated and numbered 7/100 Charles 2010 (in pencil to margin)

Reproduction print

26 x 31.6cm (image)

Together with original clamshell leather presentation case and certificate of authenticity (3)

£300-500

BARON (STERLING HENRY NAHUM)

1906-1956

Portrait of King George VI, Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later King Charles III), Prince Philip and Queen Elizabeth at the christening of Prince Charles, 15 December 1948

Photographic print

29.7 x 37.3cm

Unframed

Together with Attributed to Baron (Sterling Henry Nahum) (1906-1956); Portrait of Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later Charles III), and Prince Philip; Portrait of King George VI, Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later Charles III), and Queen Mary; Portrait of Queen Mary and Prince Charles (later Charles III); Three, each photographic print; Each 37.2 x 30cm; Unframed (4)

£100-150

313 Φ

HM KING CHARLES III

b.1948

The Thyme Walk, Highgrove House

Signed, dated and numbered 86/100 Charles 2006 (in pencil to margin)

Reproduction print

30.5 x 40.4cm (image)

Together with original clamshell leather presentation case and certificate of authenticity (3)

£300-500

314 Φ

315 Φ

SHEILA TOLLEY RWA

b.1939

Incoming Tide, Land’s End, Cornwall

Signed with monogram (lower left)

Oil on board

19.3 x 34.2vm

£200-300

316

SHEILA TOLLEY RWA

b.1939

Midnight, Newlyn, Cornwall

Signed with monogram (lower right)

Oil on board

16.8 x 56.8cm

£250-450

316

317

317

EMMA TURPIN

b.1964

The Lane

Signed E Turpin (lower right)

Oil on board

24.9 x 25.3cm

Provenance:

Bohun Gallery, Henley-on-Thames; Mallams, Oxford, Design & Modern Art, 19 May 2016, lot 673

£100-150

318

318

BRENDA KING

1934-2011

Two Blue Clouds

Signed Brenda King (lower centre)

Oil on canvas laid on board

20.7 x 20.8cm

Provenance:

David Lay, Penzance, Paintings, Prints and Other Art, 5 May 2016, lot 118

£150-250

Φ

Φ

Φ

319

b.1942

Downland Study II

Acrylic on board

20.2 x 15.2cm

Provenance: Bohun Gallery, Henley-on-Thames; Mallams, Oxford, Design and Modern Art, 19 May 2016, lot 689

£100-150

1915-2004

Still Life Out Of Doors

Signed BRAUND (lower centre), and further signed and inscribed STILL LIFE OUT OF DOORS/ ALLIN BRAUND (to reverse)

Oil on board

55.7 x 45.2cm

£200-300

321

HUGHIE O’DONOGHUE RA

b.1953

Benedict

Signed and dated O’Donoghue 1998 (lower right) and further inscribed and numbered Benedict 7/35 (lower left)

Carborundum print, from ‘On the Rapids’ series

52.4 x 60cm

Provenance:

Purdy Hicks Gallery, London; The Collection of Bob and Elisabeth Boas

£200-300

322

HUGHIE O’DONOGHUE RA

b.1953

On the Rapids

Signed and dated O’Donoghue 1998 (lower right) and further inscribed and numbered On the Rapids 7/35 (lower left)

Carborundum print, from ‘On the Rapids’ series

52.4 x 60cm

Provenance:

Purdy Hicks Gallery, London; The Collection of Bob and Elisabeth Boas

£200-300

322

321

320 319

Φ

STEPHEN BARTLETT

320 Φ ALLIN BRAUND

Φ

Φ

323 Φ

HOWARD PHIPPS

b.1954

Thomas Hardy’s Study at Max Gate, Dorchester; Interior with Hanging Plants

Two, the former signed, inscribed and dated AP ‘Thomas Hardy’s Study at Max Gate, Dorchester’ Howard Phipps 1992 (in pencil to margin), the latter signed, numbered and dated 29/40 Howard Phipps 1979 (in pencil to margin)

Both wood engraving 10 x 12.7cm; 10.1 x 5.1cm (image) (2) £200-300

324 Φ

HOWARD PHIPPS

b.1954

The Printer’s Chapel; Bargeme, Provence

Two, the former signed, numbered and dated 6/100 Howard Phipps 1990 (in pencil to margin), the latter signed, numbered, inscribed and dated 25/100 ‘Bargeme, Provence’ Howard Phipps 1992 (in pencil to margin)

Both wood engraving 12.6 x 10cm; 10.1 x 12cm (image) (2) £200-300

325 Φ

HOWARD PHIPPS

b.1954

Homington Water Meadows; The Clarendon Way

Two, the former signed, numbered and inscribed 47/150 ‘Homington Water Meadows’ Howard Phipps (in pencil to margin), the latter signed, numbered, inscribed and dated 49/150 ‘The Clarendon Way’ Howard Phipps 1995 (in pencil to margin)

Both wood engraving 9.9 x 12.4cm; 12.6 x 10.1cm (image) (2) £200-300

HOWARD PHIPPS

b.1954

Hambledon Hill

Signed, numbered and inscribed 88/150 ‘Hambledon Hill’ Howard Phipps (in pencil to margin)

Wood engraving

11.6 x 15.4cm (image)

Provenance:

The Jerram Gallery, Sherborne £150-250

HOWARD PHIPPS

b.1954

Chesil Beach

Signed, numbered and inscribed 96/150 ‘Chesil Beach’ Howard Phipps (in pencil to margin)

Wood engraving

7.6 x 10.1cm (image)

Provenance:

The Jerram Gallery, Sherborne £100-150

HOWARD PHIPPS

b.1954

Win Green from Berwick Down

Signed, numbered and inscribed 105/150 ‘Win Green from Berwick Down’ Howard Phipps (in pencil to margin)

Wood engraving

10.2 x 12.7cm (image)

Provenance:

The Jerram Gallery, Sherborne

£100-150

326 Φ

327 Φ

328 Φ

329 Φ JOAN GILLCHREST

1918-2008

Loving My Cat

Signed with initials JG (lower right)

Acrylic on board

10.8 x 12.8cm

Provenance: Lemon Street Gallery

£700-1,000

330 Φ BRIAN BALLARD

b.1943

Still life with a vase of flowers and fruit in a bowl

Signed and dated BALLARD 99 (lower left)

Oil on canvas 61 x 46cm

Provenance: Cadogan Contemporary

£600-800

331 Φ CLAUDIA WILLIAMS

b.1933

Sewing in Lamplight

Signed CLAUDIA/WILLIAMS (upper right) and inscribed and dated ‘Sewing in lamplight’ 1994 (to stretcher)

Oil on canvas

55 x 46.5cm

Unframed

£1,000-1,500

Indian 1915-2011

Woman playing a sitar

Signed and numbered 50/100

Husain (in pencil to margin)

Reproduction print

63.4 x 45.8cm (sheet)

Unframed

£400-600

Indian 1915-2011

Two women dancing

Signed and numbered 86/150

Husain (in pencil to margin)

Screenprint

71 x 50.2cm (sheet)

Unframed

£300-500

Indian 1915-2011

Woman with a donkey

Signed and numbered 50/100 Husain (in pencil to margin)

Reproduction print

50.2 x 70cm (sheet)

Unframed

£200-300

332 Φ MAQBOOL FIDA HUSAIN

333 Φ MAQBOOL FIDA HUSAIN

334 Φ MAQBOOL FIDA HUSAIN

Indian 1939-2015

Rearing bull

Signed SUNIL DAS (lower right)

Charcoal 91 x 58.6cm

Unframed

£500-800

335 SUNIL DAS

Indian 1939-2015

Running bull

Signed SUNIL DAS (lower right)

Charcoal

91.5 x 58.5cm

Unframed

£500-800

336 SUNIL DAS

b.1951

Study of a kneeling female nude

Indistinctly signed and dated P****/89 (lower left)

Red and white chalk

48 x 30.9cm

Provenance:

The estate of Mr William Campbell Allan; By whom sold, Woolley and Wallis, Salisbury, Paintings, 11 September 2013, lot 70, where purchased by the present private collector

£300-400

b.1951

Study of a female nude wearing a bonnet

Signed Roy Petley (lower left)

Red and white chalk

39.1 x 22.8cm

Provenance:

The estate of Mr. William Campbell Allan; By whom sold, Woolley and Wallis, Salisbury, Paintings, 11 September 2013, lot 86, where purchased by the present private collector

£80-120

b.1951

Study of a female nude holding a mirror

Signed Roy Petley (lower right)

Red and white chalk, oval

42.7 x 35.2cm

Provenance:

The estate of Mr William Campbell Allan; By whom sold, Woolley and Wallis, Salisbury, Paintings, 11 September 2013, lot 78, where purchased by the present private collector

£80-120

1923-2001

Studies of a female nude

Signed, inscribed and dated Peter Collins/82/Monday (upper right)

Red chalk

33.3 x 49.5cm

Provenance:

Woolley and Wallis, Salisbury, 20th Century and Contemporary Art, 16 July 2008, lot 24 (as John Collins)

£100-200

337 Φ ROY PETLEY

338 Φ ROY PETLEY

339 Φ ROY PETLEY

340 Φ PETER COLLINS

Australian b.1951

Life Force

Signed twice DWaters (lower left and to reverse)

Acrylic on canvas

70.5 x 90.1cm

£300-500

Contemporary

Still life with plums

Oil on board

29.5 x 34.5cm

Together with British School 20th Century; Wooded landscape; Signed with initials SH (lower right); Oil on paper; 20 x 29.4cm (2)

Provenance:

Private Collection, Wiltshire

£100-150

1917-2000

Farm near Sapperton, Gloucestershire

Signed KLITZ (lower right)

Oil on canvas

51.2 x 101.9cm

£200-300

b.1955

Fruit

Signed with initials and dated TN05 (lower right), and inscribed Fruit (to reverse)

Oil on board 20.1 x 19.5cm

Provenance: The artist; Crane Kalman Gallery, London, June 2010; Private Collection, UK

£200-300

344

343

342

341

341

DONALD WATERS

342 BRITISH SCHOOL

343 Φ

ANTHONY ROBERT KLITZ

344 Φ TESSA NEWCOMB

348

347 Φ

CON CAMPBELL

Northern Irish b.1946

Highlander

Signed Con Campbell (lower left) and inscribed Highlander (to reverse)

Oil on board 24.6 x 17.3cm

£100-150

348 Φ

CON CAMPBELL

Northern Irish b.1946

Hare

Signed Con Campbell (lower right)

Oil on board 17.8 x 10.4cm

£100-200

345 Φ

CON CAMPBELL

Northern Irish b.1946

Pig

Signed Con Campbell (lower right)

Oil on board 19.5 x 19.5cm

£100-200

346 Φ

CON CAMPBELL

Northern Irish b.1946

Blue Moo

Signed Con Campbell (upper left) and inscribed ‘BLUE MOO’ (to backing board)

Oil on board 13 x 13cm

£100-200

ALAN ALEXANDER

b.1936

Still Life into Landscape

Signed and dated Alexander 61 (lower centre), and further signed and inscribed Alan Alexander/Still life into landscape (to reverse)

Oil on board

76.2 x 106.2cm

£150-250

ALAN ALEXANDER

b.1936

Softly Lit Fruit

Signed and dated Alexander 03 (centre left), and further signed and inscribed “softly lit fruit”/ Alan Alexander (to reverse)

Oil on board

33.3 x 41.8cm

£100-150

b.1953

Beach Holiday

Signed Legrand (lower left)

Oil on canvas

29.8 x 24.1cm

Provenance:

The Valentyne Dawes Gallery, Ludlow, December 2008

£200-300

352 Φ

KENNETH DENTON

b.1932

Sunlight and Mist, Salisbury

Signed Kenneth Denton (lower left)

Oil on board 34 x 49.2cm

£150-250

349 Φ

350 Φ

350

349

352

351

351 Φ RENÉ LEGRAND

354

BOB DYLAN

American b.1941

Train Tracks (Blue)

Signed and numbered 243/295 Bob Dylan (in pencil to margin), and with Washington Green blindstamp

Giclée print, 2018, from The Drawn Blank Series

69.8 x 59.8cm (sheet)

Unframed

Provenance:

Washington Green Fine Art (with certificate of authenticity)

£3,000-5,000

353 BOB DYLAN

American b.1941

Train Tracks (Pink)

Signed and numbered 243/295 Bob Dylan (in pencil to margin), and with Washington Green blindstamp

Giclée print, 2018, from The Drawn Blank Series

69.8 x 59.8cm (sheet)

Unframed

Provenance:

Washington Green Fine Art (with certificate of authenticity)

£3,000-5,000

355 BOB DYLAN

American b.1941

Train Tracks (Purple)

Signed and numbered 243/295 Bob Dylan (in pencil to margin), and with Washington Green blindstamp

Giclée print, 2018, from The Drawn Blank Series

69.8 x 59.8cm (sheet)

Unframed

Provenance: Washington Green Fine Art (with certificate of authenticity)

£3,000-5,000

BOB DYLAN

American b.1941

Train Tracks (Grey)

Signed and numbered 243/295 Bob Dylan (in pencil to margin), and with Washington Green blindstamp

Giclée print, 2018, from The Drawn Blank Series

69.8 x 59.8cm (sheet)

Unframed

Provenance: Washington Green Fine Art (with certificate of authenticity)

£3,000-5,000

356

356

355

357 Φ

SAM KAPRIELOV (SAM STURIS)

Latvian b.1971

Octopus

Signed SAM (lower right)

Charcoal on gessoed board, 2002

59.9 x 98.3cm

Provenance: Peter Nahum at the Leicester Galleries

£200-300

358 Φ

SAM KAPRIELOV (SAM STURIS)

Latvian b.1971

Park

Signed SAM (lower right)

Charcoal on gessoed board, 2003

59.2 x 98.5cm

Provenance: Peter Nahum at the Leicester Galleries

£200-300

359 Φ

SAM KAPRIELOV (SAM STURIS)

Latvian b.1971

Diary

Signed SAM (lower right)

Charcoal on gessoed board, 2004

59 x 101.5cm

Provenance: Peter Nahum at the Leicester Galleries

£200-300

LUKE PIPER

b.1966

View of Sphinx Hill, Moulsford

Signed Luke Piper (lower right) and inscribed Sphinx Hill (lower left)

Watercolour and bodycolour 57 x 76.4cm

Unframed

£200-300

361 Φ

EDWARD MILLINGTON-DRAKE

1932-1994

View from 79 Chester Square, London

Signed and inscribed View from 79 Chester Square/ Teddy Millington Drake (lower left) and inscribed and dated For Mark & Marguerite/Christmas 1973 (lower right)

Graphite, watercolour and bodycolour

48.9 x 39.3cm

Provenance:

Marguerite Littman (1930-2020); And by descent

£200-300

362 Φ

ADRIAN DAINTREY RWA

1902-1988

Chester Square

Signed and dated Adrian Daintrey/1973 (lower left) and inscribed Chester Square (lower centre) Pencil and red ink

32.7 x 56.1cm

Provenance: Sally Hunter Fine Art, London; Marguerite Littman (1930-2020); And by descent

£100-150

NICHOLAS GARLAND OBE

b.1935

Annabel’s

Fourteen, each signed and numbered 145/250 Nicholas Garland and inscribed with title (in pencil) The complete set of linocuts, plus title, list of plates and colophon, with an introduction by Lucian Freud, published by Mark Birley, 1985, in the original black cloth-covered portfolio case Each 50.5 x 38cm (sheet) (17)

Provenance:

Marguerite Littman (1930-2020); And by descent

£200-300

360 Φ

363 Φ

JOHN MADDISON

Scottish b.1952

The Sitting Room Door

Signed with initials JM (lower right) and further signed and dated John Maddison/2009 (to backing board)

Oil on canvasboard

24.4 x 29.3cm

Provenance: Private Collection, Wiltshire

Exhibited:

Sherborne, The Jerram Gallery, New Work, October-November 2009, no.40

£100-150

365 Φ

JOHN MADDISON

Scottish b.1952

The Sitting Room

Signed with initials JM (lower right)

Oil on board

33.7 x 44cm

Provenance: Private Collection, Wiltshire

£100-150

366 Φ

JOHN MADDISON

Scottish b.1952

In the Dining Room

Signed with initials JM (lower right) and further signed and dated John Maddison/2009 (to backing board)

Oil on board

59.7 x 44.3cm

Provenance: Private Collection, Wiltshire

Exhibited:

Sherborne, The Jerram Gallery, New Work, October-November 2009, no.9

£250-350

364 Φ

365

367

367 Φ

JOHN MADDISON

Scottish b.1952

Old Piano in the Dining Room

Signed with initials JM (lower right) and further signed and dated John Maddison 2000 (to reverse)

Oil on canvasboard

38.7 x 28.7cm

Provenance:

Private Collection, Wiltshire

Exhibited:

Sherborne, The Jerram Gallery, March 2000, no.42

£100-150

368 Φ

JOHN MADDISON

Scottish b.1952

368

Still life with a teacup and books

Signed with initials JM (lower right), and further signed and dated John Maddison 2000 (to reverse)

Oil on board

18.6 x 23.9cm

Provenance:

Private Collection, Wiltshire

Exhibited: Sherborne, The Jerram Gallery, New Work, March 2000, no.21

£100-150

Still life with red and white roses in a glass vase

Signed with initials and dated 20 P S R 00 (lower right) Oil on canvas

40.2 x 35cm

£200-300

370-371

No lots

369

369 Φ PAUL RAYMOND SEATON b.1953

b.1948

Wabash Avenue Bridge, Chicago

Signed with initials BH (lower left)

Pastel

50.9 x 25.5cm

Exhibited: London, John Mitchell & Son, Michael Bennallack Hart Exhibition of Pastels, October 1999, no.18; Burford, Brian Sinfield

£500-700

HART

b.1948

The Road Home

Signed with initials BH (lower right)

Pastel

73.4 x 107.2cm

Exhibited: Burford, Brian Sinfield

£600-800

373 MICHAEL BENNALLACK HART

372 MICHAEL BENNALLACK

374 MICHAEL BENNALLACK HART

b.1948

California Crossing

Signed with initials BH (lower left)

Pastel

43.4 x 48.5cm

Exhibited: San Francisco, Mongomery Gallery, California Landscapes, March-April 2001 £500-700

b.1948

Villa Aldobrandini

Signed with initials BH (lower left)

Pastel

71 x 76.5cm

£600-800

375 MICHAEL BENNALLACK HART

378

376 Φ

EMMA JEFFRYES

b.1967

Summer Beach

Signed with initials E.L.J (lower right), and further signed, inscribed and dated “Summer Beach”/(St Ives, Cornwall)/painted January 2012/Emma Jeffryes (to backing board)

Acrylic on paper

63.3 x 73.6cm

Provenance: New Craftsman Gallery, St Ives

£200-300

377 Φ

HEATHER JONES Contemporary Chalk Landscape II

Signed HEATHER JONES (to overlap)

Acrylic on canvas 61 x 60.7cm

Unframed

Provenance: Private Collection, Wiltshire

£100-150

378 Φ

LIZ DOUGLAS

Scottish 1945-2022

Moths Return

Signed, dated and inscribed

ETTRICK SERIES: MOTHS RETURN

LIZ DOUGLAS 2005 (to stretcher)

Mixed media on canvas, from the Ettrick Series 80 x 80cm

£200-400

379 Φ

KATE LEIPER

Scottish b.1973

The Slave’s Song

Signed and dated Kate Leiper

2007 (lower right) and inscribed

The Slave’s Song (lower centre)

Pencil and watercolour

heightened with white

55.1 x 55.1cm

£300-500

379

377 376

b.1951

Love Entire on Geoffrey's Bent Line

Signed with initials sea (lower left), and further signed, inscribed and dated Love entire on geoffreys Bent Line painted for Geoffrey april 2001 Sea (to stretcher)

Acrylic on canvas

101.7 x 101.7cm

Unframed

Provenance: Private Collection, Wiltshire

£100-150

b.1951

The Fearing Being in the Bent Line (Woman Loving, Man Fearing)

Signed with initials Sea (upper left), and further signed, inscribed and dated Series II No 10 The fearing being in the bent line April ‘99 Sea (woman loving, man fearing) (to stretcher)

Acrylic on canvas

153 x 127.5cm

Unframed

Provenance: Private Collection, Wiltshire

£100-150

b.1951

More to Us than Meets the Eye; Abstract with fish

Two, the former signed with initials sea (lower right), and inscribed and dated (I love you geoffrey!)/more to us than meets the /Aug 09 (to reverse); the latter signed with monogram (lower left) Oil on board; Black chalk

19.2 x 24.2cm; 28.5 x 39.5cm (2)

Provenance: Private Collection, Wiltshire

£100-150

b.1937

Poppies in a field near Martin

Signed with initials SG (lower left)

Oil on canvasboard

24.6 x 29.6cm

Exhibited: Salisbury, The Jerram Gallery, Sarah Goodwin Exhibition, December 1995, no.69

£200-300

381 Φ

SARA ALLAN

382 Φ SARA ALLAN

380 Φ SARA ALLAN

383 Φ SARAH GOODWIN

384 170

b.1961

Melbury Bubb

Signed, dated and inscribed C.Riisager/2011/Melbury Bubb (to reverse)

Oil on board

46 x 54.9cm

Provenance: Private Collection, Wiltshire

£100-150

b.1961

Landscape at Farleigh Hungerford

Signed, dated and inscribed C.Riisager/2011-12/Farleigh

Hungerford (to reverse)

Oil on canvas laid on board

41.8 x 50.1cm

Provenance:

Private Collection, Wiltshire

£100-150

387

386 Φ CHRIS RIISAGER

b.1961

Figures in an Italianate square Signed C Riisager (lower right) and further signed and dated C Riisager/2001 (to reverse)

Oil on canvasboard

50.9 x 61cm

Provenance: Private Collection, Wiltshire

£100-150

b.1961

Still life with fish

Signed CRUS (lower right) and further signed, dated and inscribed

C.Riisager/2001/fish painted in Bayacas/SPAIN (to reverse)

Oil on canvasboard

29.9 x 35cm

Provenance:

Private Collection, Wiltshire

384 Φ CHRIS RIISAGER

385 Φ CHRIS RIISAGER

387 Φ CHRIS RIISAGER

Fine Night

Signed and dated N.Hanna/’96 (lower left) Oil

26.6

Goodfellas

Signed, dated and inscribed “GOODFELLAS”/DEDICATED TO/ROBERT DE NIRO/ R Richardson 1990/91/RAY RICHARDSON (to reverse)

Oil on canvas 46 x 121.5cm

Provenance: The Collection of Bob and Elisabeth Boas £500-700

389

388

388 Φ NAEL HANNA Iraqi b.1959

on board

x 49.2cm £1,000-1,500

389 Φ RAY RICHARDSON b.1964

172

392 390

390

1948-2003

The deck of the Duchesse Anne

Signed Glynn/Boyd/Harte (lower left)

Watercolour

55.5 x 75.2cm

£500-700

1936-2012

Porthtowan Paths

Signed, inscribed and dated Jeremy Legrice/Porthtowan Paths/1990 (to backing board)

Oil on board

29.4 x 41.6cm

Provenance:

David Lay Auctions, Penzance, Fine Art, 28 January 2021, lot 8

£200-300

392

Northern Irish b.1940

Carnrock

Signed and dated brian ferran 99 (lower right)

Acrylic and gold leaf on board

51.2 x 50.6cm

Provenance:

Jorgensen Fine Art, Dublin; Whytes, Dublin, 28 September 2015, lot 123

Φ GLYNN BOYD HARTE

391 Φ JEREMY LE GRICE

Φ BRIAN FERRAN

393 Φ

CRISTIANO PINTALDI

Italian b.1970

Eye

Signed and dated 2007 (to reverse)

Acrylic on canvas

65 x 85cm

Unframed

£1,500-2,500

394 Φ

BLUE AND JOY

Fabio La Fauci (Italian b.1977) and Daniele Sigalot (Italian b.1976)

Happiness

Is Just Around the Corner

Signed SIGALOT (to stretcher)

Acrylic on canvas

70 x 100.5cm

Unframed

Provenance:

Bernard Chauchet, London

£500-800

395 Φ BLUE AND JOY

Fabio La Fauci (Italian b.1977) and Daniele Sigalot (Italian b.1976)

Born to Party

Signed and dated SIGALOT 2006 (to stretcher)

Acrylic on canvas

30 x 60.4cm

Unframed

£150-250

395

394

393

396

397

398

396 Φ

SUZAN HOUCHING

Contemporary

The dog show

Signed and dated Suzan Houching/1990 (lower right)

Acrylic on canvas

59.8 x 69.3cm

£200-300

SUZAN HOUCHING

Contemporary

The hair salon

Signed and dated Suzan Houching 87 (lower right)

Acrylic on canvasboard

49.9 x 60cm

£200-300

SUZAN HOUCHING

Contemporary

The golf match

Signed Suzan Houching (lower right)

Acrylic on canvasboard 35 x 44.7cm

£150-250

JOZEF DU CATILLON

20th Century

The gnome tailors

Signed Josef G P./Du Catillon (lower right)

Oil on board

62.5 x 76.5cm

Provenance: Peter Nahum at the Leicester Galleries

£100-150

399

397 Φ

398 Φ

399 Φ

400

402

400 GUSTAVO ORTIZ

Argentinian Contemporary Truth About Animal Kingdom (You Can’t Hurt Me) II

Signed ORTIZ (lower right)

Mixed media and collage on canvas

30.5 x 30.5cm

Unframed

£150-250

401 Φ ANNA GARDINER

b.1966

Butterfly

Signed twice, inscribed and dated ‘BUTTERFLY’/1999/Anna

Gardiner (to reverse)

Oil on canvas

40 x 40cm

Provenance:

Art First Gallery, London; The Collection of Bob and Elisabeth Boas

£150-250

403

402 Φ WILLIAM TILLYER

b.1938

Living by the Esk - Black Bridge I

Signed and numbered 19/60 Tillyer (in pencil to margin) Etching and collage

55.5 x 70.1cm (plate)

£120-180

b.1936

Colours on Gold

Signed Rice (lower right)

Gouache

14.5 x 20.9cm

Provenance:

Purchased directly from the artist by the present private collector

£150-250

401

403 Φ BRIAN RICE

404 Φ

JASON BOWYER

1957-2019

Oliver’s Island, Chiswick

Signed with initials JRB (lower right)

Oil on board

30.1 x 25.3cm

£200-300

405 Φ

JUNE CLAYTON

20th Century

The greenhouse

Signed June Clayton (lower left)

Oil on canvas

61 x 51cm

£200-300

406 Φ

JUNE CLAYTON

20th Century

Sweet Summer

Signed June Clayton (lower left) Pastel

26.3 x 36.9cm

Exhibited: London, Mall Galleries, Pastel Society, 1987

£200-300

407 Φ

JUNE CLAYTON

20th Century

Still life with flowers in vases and a blue jug

Pencil and watercolour

54 x 59cm

Together with a Denby Danesbyware electric blue jug, 17.5cm high, as depicted in the present work (2)

£200-300

408

WILLEM BOSHOFF

South African b.1951

Verdwaalkaart

Signed and dated W. Boshoff ‘81 (lower right) and inscribed Verdwaalkaart (lower left)

Typewriter on paper

26.2 x 17.6cm (image)

£200-300

409

VICTOR YEFIMENKO

Ukrainian b.1952

A Sunny Morning

Signed in Cyrillic (lower right), and further signed and inscribed in Cyrillic (to reverse) Oil on canvas

81.5 x 65.8cm

Provenance:

Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 11 December 2019, lot 272, where purchased by the present private collector

£200-300

410 Φ

LINDA WIER

b.1951

Camelia and Anemones from Seagull House, St. Ives

Signed with initials LW 14 (lower right) and further inscribed and dated Camelia &/Anemones/from Seagull House/St. Ives/Jan 2014 (to backing board)

Oil on canvasboard

61 x 45.8cm

£250-350

411 Φ

FREDERICK

ARTHUR JESSUP

1920-2007

The Faience Jug

Signed FAJESSUP (lower left)

Oil on canvas

61.4 x 50.3cm

Provenance: Private Collection, Wiltshire

£200-300

Armfield, Maxwell Ashby 61-64 Assheton-Stones,

INDEX OF ARTISTS

INDEX OF ARTISTS

S

Scandinavian School 20th Century 24, 25

Scott, Peter 80

Scott, William 100

Searle, Ronald 247

Seaton, Paul Raymond 369

Sharp, George 300

Shaw, Arthur Winter 40

Shepard, Ernest H. 82

Sherlock, Marjorie 212

Sickert, Bernard 56

Sickert, Walter 97

Sims, Charles 30

Smith, Alice Ravenel Huger 118

Snowdon, Margaret Kemplay 60

Sofronoff, Alexander 185, 186

Souter, John Bulloch 55

Spear, Ruskin 163, 164

Spencer, Stanley, After 95

Spender, John Humphrey 213

Stevens, Norman 167

Strachan, David 138, 139

Stubley, Trevor 180

Sutherland, Graham 147

Taplin, Guy 276-278

Thornton, Alfred 51

Tillyer, William 402

Tindle, David 165, 166

Tolley, Sheila 315, 316

Tunnicliffe, Charles Frederick

Turner, William 74

Turpin, Emma 317

Tweed, John 226 Twort, Flora

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

WEDNESDAY 6TH SEPTEMBER 2023

CLOSING DATE FOR ENTRIES 5TH JULY 2023

Circle of Joos van Cleve

Saint Jerome in his study, with a landscape beyond Oil on panel 94.3 x 69.4cm

Provenance:

Christie’s, London, Old Master Pictures, 19 April 2000, lot 44, where purchased by the present private collector

Estimate £15,000 - 20,000*

ENQUIRIES

Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

A

bird group by Robert Wallace Martin

WEDNESDAY

SILVER & OBJECTS OF VERTU

TUESDAY 11TH & WEDNESDAY 12TH JULY 2023

Estimate

Rupert Slingsby | +44 (0)1722 424501 | rs@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

A cased pair of Victorian silver Chinoiserie tea caddies, by Joseph Angell I & Joseph Angell II, London 1840, the undersides engraved with a crest and ‘Royal Prize, won at Fernhill, 18 August 1843’

£1,500 - 2,000*

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Debit cards: Delta, Switch, Connect or Union Pay

Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT

Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 - 200,000

1% €200,000.01 - 350,000

0.5% €350,000.01 - 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS

INFORMATION FOR BUYERS

1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

OF BUSINESS

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. Reserves.

(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment).

(b) A reserve once set cannot be changed except with our consent.

(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest.

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque five weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.

(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

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

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT

(a) Immediately a lot is sold you will:

(i) give to us, if requested, proof of identity, and

(ii) pay to us the total amount due in pounds sterling

(b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

7. TITLE AND COLLECTION OF PURCHASES

(a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

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

(i) to proceed against you for damages for breach of contract;

(ii) to rescind the sale of that lot and/or any other lots sold by us to you;

(iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;

(iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere;

(v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(vi) to retain that or any other lot sold to you until you pay the total amount due;

(vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied.

(b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur

liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS

Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION

(a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. FORGERIES

Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL

16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular

concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

(a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

(b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

(c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction.

(d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

(e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

(h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOKS AUCTIONS

If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 - 200,000

1% €200,000.01 - 350,000

0.5% €350,000.01 - 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

Lots marked with a Φ symbol are potentially subject to the levy.

WHAT THIS PRIVACY NOTICE DOES

PRIVACY NOTICE FOR CUSTOMERS

This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS

Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details:

• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU.

• By email – privacyofficer@woolleyandwallis.co.uk

• By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA

We collect your personal data from the following sources:

• From you when you:

- interact with us before entering into a contract with us, for example when you express your interest in our Services;

- instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;

- communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;

- in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

• From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you;

- thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider);

- sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided);

- shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

We may collect the following personal data about you:

• your name and contact details including address, telephone and email address;

• your image, as captured by CCTV, if you attend our premises;

• personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details);

• account details and other information relating to your transactions/dealings with us and your use of our Services;

• payment details such as credit card and bank account details;

• credit and payment history (where you open an account with us as a buyer or bidder);

• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and

• other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following:

• to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services);

• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS

We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following:

• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;

• to deal with any concerns or feedback you may have in the performance of the Services;

• for our internal business record keeping and processes;

• to seek advice on our rights and obligations, including obtaining legal advice;

• to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes;

• to customise our website and marketing communications in line with your particular interests or preferences;

• to collect money owed to us or our consignors;

• to carry out background and credit checks in relation to bidders and buyers.

In this respect we will provide your data to the following:

• our professional advisors;

• the-saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

LEGAL OBLIGATIONS

We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following:

• to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks;

• in order to assist with investigations (including criminal investigations) carried out by competent authorities;

In this respect we will provide your data to the following:

• external auditors;

• the police and other competent authorities, including HMRC;

CONSENT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above. Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA

We process special categories of personal data for the following reasons:

• if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);

• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);

We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA

We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING

We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

HOW LONG YOUR INFORMATION IS KEPT

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

In particular:

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months;

• in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services;

• we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive;

• in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

Under the DPA you have the following rights:

• to obtain access to, and copies of, the personal data that we hold about you;

• to require that we cease processing your personal data if the processing is causing you damage or distress;

• to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect;

• to require us to erase your personal data;

• to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal);

• to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller;

• to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Registered in England No.02998482

VAT No: 631 9832 29

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS

Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

Woolley and Wallis valuations are accepted by all leading insurance companies.

PROBATE VALUATIONS

We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

ABSENTEE BID FORM MODERN BRITISH & 20TH CENTURY ART

WEDNESDAY 7TH JUNE 2023

Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

BUYER’S PREMIUM

Each lot is subject to a buyer’s premium of 26% plus VAT at 20%

Billing Name (please print)

Address

Postcode

Daytime Telephone

Email

ID may be required even if you have bid with us before.

Signature

AUCTION CALENDAR

MAY

23rd Japanese Works of Art

24th & 25th Fine Chinese Works of Art & Asian Art II

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts (Including Martin Ware)

Exhibition Robert Wallace Martin Potter, Sculptor, Artist

13th to 22nd June

JULY

5th & 6th Furniture, Works of Art & Clocks

11th & 12th Silver & Objects of Vertu

13th Fine Jewellery

SEPTEMBER

6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th Arts of Africa, Oceania and the Americas

Dates may be subject to change

+44 (0)1722 424500

enquiries@woolleyandwallis.co.uk

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

Edvard Munch (Norwegian 1863-1944)

Mädchen im Hemd am Fenster (detail) SOLD FOR £17,500*

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR UPCOMING AUCTIONS