Chiswick-Auctions-Modern-British-Art- December 2018 by Chiswick Auctions

Modern & Post-War British Art 12 December 2018

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Modern & Post-War British Art London 12th December 2018

SPECIALISTS

Krassi Kuneva

Julian Laurence Samuels

Head of Sales Modern & Post-War British Art kkuneva@chiswickauctions.co.uk

Department Coordinator Fine Art

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Modern & Post-War British Art

Wednesday12th December 2018, 13.00

VIEWING AT SOUTH KENSINGTON selected highlights only Saturday 24 November - Wednesday 5 December 11.00 - 17.30

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday

08 December 09 December 10 December 11 December 12 December

11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 13.00

PHOTOGRAPHERS Basak Ulukose

GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

Front cover: Lot 173 Back cover: Lot 164 Inside front cover: Lot 92 Inside back cover: Lots 39, 143 Index: Lot 167 Sales Calendar: 52 (detail)

1 ARR HENRY CLIFFE (1919-1983) Abstract composition signed and dated ‘H Cliffe/ March ‘58’ (lower right) gouache 21 1/2 x 14 1/2 in. (54.6 x 36.8 cm.) Provenance: Private collection, UK. £400-600

2 ARR FRANK SULLY (1898-1992) Buoyant signed ‘-FRANK SULLY-’ (lower right), signed again and inscribed ‘’’BUOYANT’’/.FRANK SULLY.’ (on the reverse) oil on board 19 3/4 x 24 in. (50.5 x 61 cm.) Provenance: Anonymous sale; Bonhams, London, 11 November 1992, lot 130. Private collection, UK. £150-250

*See page two for information regarding fees

3 ARR JOHN HOYLAND, R.A. (1934-2011) Fish Eye signed, inscribed and dated ‘FISH EYE/1.10.005/Hoyland’ (on the reverse) acrylic on canvas, unframed 12 x 10 in. (30.5 x 35.5 cm.) Provenance: Acquired directly from the artist by the present owner. £2,000-4,000

4 ARR ALAN GOUK (B. 1939) Roman Candle VI signed, inscribed and dated ‘ROMAN CANDLE VI/Nov 88/Alan Gouk’ (on the reverse) oil on canvas-board, unframed 30 x 25 in. (76.3 x 63.5 cm.) £1,000-2,000

5 ARR TREVOR BELL (1930-2017) Facade signed and dated ‘BELL 59’ (lower right), signed again and inscribed ‘‘FACADE’/BY TREVOR BELL’ (on the reverse) oil on board 24 x 18 1/4 in. (61 x 46.3 cm.)

6 ARR DENIS BOWEN (1921-2006) Space scape signed, inscribed and dated ‘SPACE SCAPE/1986/Denis Bowen’ (on the reverse) acrylic on canvas, unframed 48 x 24 1/4 in. (122 x 61.5 cm.)

Provenance: with The Waddington Galleries, London.

Provenance: Acquired directly from the artist by the present owner.

£3,000-5,000

£400-600

*See page two for information regarding fees

7 ARR WINIFRED NICHOLSON (1893-1981) Abstract composition pencil and gouache 16 3/4 x 16 3/4 in. (43 x 43 cm.) Executed circa 1930. Provenance: Wilfrid Roberts. We are grateful to Jovan Nicholson for the assistance in cataloguing this lot. £1,000-2,000

8 ARR BRIAN WILSHER (1930-2010) Untitled signed and dated ‘Brian/Wilsher/1973’ (on the bottom of the base) wood 14 in. (35.5 cm.), high £400-600

9 ARR JOHN ARMSTRONG, A.R.A. (1893-1973) Yellow Abstract signed and dated ‘John Armstrong 60’ (lower right), signed again, inscribed and dated ‘JOHN ARMSTRONG/Yellow Abstract/60’ (on the canvas overlap) oil on canvas 20 x 26 in. (50.8 x 66.1 cm.) Provenance: Anonymous sale; Sotheby’s, London, 9 October 1995, lot 232, as ‘Yellow and Grey Abstract’. Anonymous sale; Phillips, London, 23 September 1997, lot 52, as ‘Abstract Composition in Grey and Yellow’. Anonymous sale; Christie’s, South Kensington, 15 July 2010, lot 206, where purchased by the present owner. Exhibited: London, Royal Academy of Art, Summer Exhibition, 1961, no. 97, as ‘Abstract’. £3,000-5,000 7

10 ARR BREON O’CASEY (1928-2011) Collage I signed and dated in pencil ‘Breon O’Casey 07’ (lower right) linocut and collage 6 3/4 x 9 3/4 in. (17.2 x 24.9 cm.) £600-800

‘Back in the sixties many teenagers like John Lennon, Pete Townsend, Eric Clapton and Ronnie Wood initially went from school to art school before finding fame in pop music. At that time pop music and pop art were both evolving together and while ideas from art schools fed into the world of music, inspiration from rock musicians fed back into the visual arts. Peter Blake, besides painting many images of pop idols, also designed the famous Sergeant Pepper album cover. Richard Hamilton likewise made prints of Mick Jagger and Robert Frazer and was commissioned to design the Beetles’ white album cover. The stimulus for By Night comes from the last track of The Doors’ first album The End. Written by Jim Morrison after he split up from his girlfriend, it evolved over a period of time into something darker and more ambiguous. By Night also evolved over a period of time with a number of preliminary studies and changes. The final image encompasses a background of diagonal yellow and black stripes on the right with a girl’s legs fleeing from something unseen. On the left an African mask looms out of an area of reddish brown paint. The juxtaposition of the two images and the disparity of the two sides was designed to create a feeling of dislocation and unease similar to the music that inspired the piece.’ Robert O’Rorke

11 ROBERT O’RORKE (B. 1945) By Night signed, inscribed and dated ‘ROBERT O’RORKE BY NIGHT 1969’ (on the canvas overlap) oil on canvas 60 3/4 x 60 in. (154.3 x 152.5 cm.) Provenance: Private collection, UK. We are grateful to Robert O’Rorke for the assistance in cataloguing this work. £800-1,200

*See page two for information regarding fees

12 ARR SIR PETER BLAKE, R.A. (B. 1932) Cat & Dog; and A print after Hogarth’s The Painter and his Pug (one illustrated) (i) signed ‘Peter Blake’ (lower right), numbered ‘250/250’ (lower left) (ii) signed ‘Peter Blake’ (lower right), numbered ‘65/200’ (lower left) (i)(ii) screenprint in colours, unframed (i)(ii) Sheet: 11 3/4 x 8 1/2 in. (29.5 x 21 cm.) (i) Released at the Art Car Boot Fair, 2014. (ii) Released at the Art Car Boot Fair, 2015.

13 ARR SIR PETER BLAKE, R.A. (B. 1932) Eiffel Tower (medium lenticular) signed in felt tip pen ‘Peter Blake’ (lower right), numbered ‘25/75’ (lower left) lenticular print in 3D Image: 40 1/2 x 29 1/2 in. (103 x 75 cm.) Published in 2013. £1,500-2,500

14 ARR BRYAN INGHAM (1936-1997) Kynance Suite Summer Afternoon mixed media collage 9 1/2 x 2 1/2 in. (24.2 x 6.4 cm.) Painted in 1985. Provenance: Anonymous sale; Bonhams, 26 June 2007, lot 140. £1,000-2,000

£100-200

15 ARR LIAM HANLEY (B. 1933) Abstracted landscape signed ‘Hanley L.’ (lower right) oil on cotton wove 6 x 19 1/4 in. (15.3 x 48.8 cm.) £300-500

(part lot)

17 ARR LIZ HOUGH (B. 1966) Zennor, Sunset oil and collage on canvas 11 1/4 x 15 in. (28.6 x 38.2 cm.) Provenance: with New Grafton Gallery, London. £300-500 18 ARR JOHN WELLS (1907-2000) Untitled mixed media on paper 2 1/2 x 9 3/4 in. (6.5 x 25 cm.) Executed circa 1960. Provenance: Private collection, UK. £300-500

16 ARR BRYAN INGHAM (1936-1997) Spring in Cornwall mixed media collage Executed circa 1986. 15 x 4 3/4 in. (38 x 12 cm.)

Provenance: with Jonathan Clark & Co, London. Literature: M.Bird (ed.), Bryan Ingham 1936-1997, London, 2010, no.14, unpaginated, illustrated. £1,500-2,500

*See page two for information regarding fees

19 ARR TERRY DURHAM (1936-2013) Guide to the Holy Wheel inscribed and dated ‘GUIDE TO THE /HOLY WHEEL/[?]/Feb.1965’ (on the reverse) oil and mixed-media collage on board, unframed 48 x 24 in. (122 x 61 cm.) Provenance: Acquired directly from the artist by the present owner. £100-200

20 ARR CLYDE HOPKINS, R.A. (B. 1946) Mon Oncle signed twice, inscribed and titled ‘Clyde Hopkins/Sept’89Feb ‘90/CLYDE HOPKINS/MON ONCLE’ (on the reverse) oil on canvas 53 x 44 in. (134.7 x 111.7 cm.) Provenance: Anonymous sale; Sotheby’s, Olympia, 7 June 2007, lot 472, where purchased by the present owner. £1,500-2,500

21 ARR BRYAN INGHAM (1936-1997) Summer Evening (First Study) signed, inscribed and dated ‘Summer Evening/1987 (1st study)/Bryan Ingham’ (on the reverse) oil and collage 27 1/4 x 3 in. (69.3 x 7.7 cm.) £1,000-2,000

22 ARR DESMOND MORRIS (B. 1928) Member of the Jury signed with monogram and dated ‘88’ (lower left), inscribed and dated again ‘Member of the Jury July 4th 88’ (on the reverse) ink and gouache 11 3/4 x 8 1/4 in. (29.8 x 20.9 cm.) Provenance: Private collection, UK. We are grateful to Dr Silvano Levy for the assistance in cataloguing this lot. £800-1,200

23 ARR ROY TURNER DURRANT (1925-1998) Untitled signed and dated ‘Durrant/72’ (lower right), dated again ‘77’ (lower centre) gouache and collage on paper 15 x 19 in. (38.5 x 48.7 cm.) £500-800

24 ARR CONROY MADDOX (1912-2005) Woman Inventing Herself signed and dated ‘Conroy Maddox/96’ (lower right) acrylic and spray paint on board 7 1/2 x 5 1/2 in. (19 x 13.5 cm.) Provenance: Private collection, UK. We are grateful to Dr Silvano Levy for the assistance in cataloguing this lot. £300-500

*See page two for information regarding fees

25 ARR LEE ALLANE (B. 1958) Woman emerging from a winter lake signed and dated ‘Lee Allane 77’ (lower right), signed again and inscribed as title (on the reverse) oil on canvas, unframed 28 1/4 x 36 in. (71 x 91.5 cm.) Provenance: Acquired directly from the artist by the present owner. £300-500

26 ARR WINIFRED FRANCIS (1915-2009) Driftwood signed ‘Winifred Francis’ (lower right) pencil and gouache 17 1/2 x 23 1/4 in. (44.2 x 58.8 cm.) This lot is sold without a reserve. £100-200

27 ARR DESMOND MORRIS (B. 1928) Nocturnal Games signed with monogram and dated ‘94’ (lower right), signed again, inscribed and dated again ‘Desmond Morris 1994/Nocturnal Games’ (on the reverse) ink and gouache, unframed 11 3/4 x 8 1/4 in. (29.8 x 20.9 cm.) Provenance: Private collection, UK. We are grateful to Dr Silvano Levy for the assistance in cataloguing this lot. £800-1,200 13

28 ARR SCOTTIE WILSON (1889-1972) Untitled signed ‘SCOTTIE’ (lower right) watercolour and felt tip pen, round 13 1/4 in. (33.6 cm.), diameter £700-1,000

29 ARR TREVOR BATES (1921-2008) Bird signed and dated ‘Trevor Bates 81’ (on the base) bronze with grey patina 14 1/4 in. (36.3 cm.), high £1,200-1,800

30 ARR ROY TURNER DURRANT (1925-1998) Husband and Wife in Ruins signed, inscribed and dated ‘1970/durrant/Husband and wife in ruins’ (lower centre) mixed media on board 27 1/4 x 38 in. (63.3 x 96.7 cm.) Provenance: Anonymous sale; Bonhams, London, 10 March 2015, lot 32, where purchased by the present owner. £2,000-4,000

*See page two for information regarding fees

31 ARR MERVIN PEAKE (1911-1968) Figure signed ‘Peake’ (lower left) ink 10 x 2 3/4 in. (10.5 x 7 cm.) £250-350

32 ARR STEFAN KNAPP (1921-1996) Untitled sketch pencil, watercolour and marker pen 5 x 6 3/4 in. (12.7 x 17.3 cm.) Provenance: A gift from the artist to the present owner’s aunt and by descent. This lot is sold without a reserve. £100-200

33 ARR SCOTTIE WILSON (1889-1972) Composition with self portrait signed ‘SCOTTIE’ (lower right) ink and watercolour 11 1/4 x 15 in. (28.5 x 38.2 cm.) £700-1,000 15

34 ARR VALERIE DESMORE (1925-2008) Crab signed, inscribed and dated ‘Valerie Desmore/CRAB/29 July 1961’ (on the reverse) oil on board, unframed 28 x 44 in. (71.2 x 111 cm.) Provenance: Acquired directly from the artist by the present owner. Valerie Desmore was a South African artist who studied in the Slade and in Vienna with Oscar Kokoschka. In the 1960s she was living in London working as a fashion designer and painter. One of the first black women artists to exhibit in South Africa, Desmore is rarely represented at auction. The vigorous, thick brushstrokes in Crab are typical for the artist’s expressive style, for which she is widely celebrated. £300-500

35 ARR CERI RICHARDS (1903-1971) East End Celebrations: Costers Dancing signed and dated ‘Ceri Richards Oct - ‘52’ (lower right), numbered ‘21/100’ (lower left) lithograph Image: 17 1/2 x 23 1/4 in. (44 x 59 cm.) This work is part of the Coronation Series, published by the Royal College of Art £250-450

36 ARR MARTIN BRADLEY (B. 1931) The grasshopper signed and dated ‘Martin Breadley ‘65’ (lower right) oil on board, unframed 17 1/2 x 51 1/4 in. (44 x 130 cm.) Provenance: A gift from the artist to the present owner. In the late 60s Bradley was living in Edinbugh and gave this work to pay his rent to the present owner who was his then landlord. £600-800 16

*See page two for information regarding fees

37 ARR IVON HITCHENS (1893-1979) & JOHN HITCHENS (B. 1940) Summer Flowers screenprint on cotton, unframed, unstretched Image: 46 x 39 1/4 in. (116.8 x 99.7 cm.) Produced by Hull Traders in 1961. Provenance: Acquired directly from the artists by the present owner. £300-500

38 MANNER OF JOHN SKEAPING Cat marble 10 3/4 in. (27.5 cm.), long This lot is sold without a reserve. £100-200

39 ARR DAME ELISABETH FRINK, R.A. (1930-1993) Boar signed ‘Frink’ (on the base) bronze with dark patina 8 1/2 in. (21.5 cm.), long Conceived in 1968. Provenance: with New Grafton Gallery, where purchased by the previous owner, from whom purchased by the present owner. Literature: A. Ratuszniak (ed), Elisabeth Frink : catalogue raisonné of sculpture, 1947-93, London, 2013, no. FCR198, p.113, illustrated. B. Robertson, Elisabeth Frink Sculpture Catalogue raisonné, Wiltshire, 1989, pp. 173-179. J. Wilder (ed.), Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Wiltshire, 1984, cat.no.173, p.172-173 (another cast ill.b&w). £15,000-18,000

“The nearer the viewer gets to the figure, the more alive it appears.” (A. Ratuszniak)

The psychological relationship between humans and animals has always been central to Frink’s works. Boar is amongst a small number of works of the same subject, which started to occupy the sculptor’s attention in the late 1950s. When discussing Frink’s methods Annette Ratuszniak notes: ‘Her highly versatile modelling… gives rise to dual perception. On one level is he perception of the entire sculpture as a (not necessarily realistic) three-dimensional body without a predetermined frontal view, a factor that impels any viewer who pays attention to it to move arounds it. From a distance Frink’s sculptures never give the effect of a ‘picture’ which, incidentally, explains the problems of photographing her work. The second level is a physical perception, conveyed through the sense of touch, of individual curves and traces on the surface of the sculpture at close range. The nearer the viewer gets to the figure, the more alive it appears – not in the sense implied by realism, but as a living presence. The two levels of perception cannot be neatly separated, but the borderline can be located roughly where it would theoretically be possible to touch a sculpture. Distinctions between effects observed at a distance and those at close range belong to the standard repertoire of the tradition; Elisabeth Frink was notable for incorporating her own accents. So the actual theme of her sculpture could be a certain presence: the fact that the viewer perceives not just a formed material reminding him or her of nature, but something more – a form shaped in such a way as to suggest life. What can be concluded from this difference, above all, is that a viewer must ‘experience’ these works in reality and not just ‘see’ them, mediated by photographs. A statement like that pushes at the limits of traditional art history, but for Frink’s work it seems necessary to build such a phenomenological level into any description of it. (A. Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, London, 2014, pp.30-31) 18

*See page two for information regarding fees

40 ARR EDGAR HOLLOWAY (1914-2008) The Airman II signed in pencil ‘Edgar Holloway’ (lower right); inscribed and numbered ‘4/50 The Airman’ (lower left) etching Image: 9 1/2 x 6 3/4 in. (24.1 x 17.2 cm.) £150-250

41 ARR JOHN BRATBY, R.A. (1928-1992) The two self-portraits in the two mirrors signed ‘JOHN BRATBY’ (lower right), inscribed and dated ‘OCTOBER 31st/NOVEMBER ONE, 1959./’’THE TWO SELFPORTRAITS/IN THE TWO MIRRORS’’ (lower left) pencil 21 3/4 x 29 1/2 in. (55 x 75.5 cm.) Provenance: with The Mayor Gallery, London. £700-1,000

42 ARR PETER COKER, R.A. (1926-2004) Low Force signed ‘Peter Coker’ (lower right), titled and numbered ‘Low Force 7/155’ (lower left) etching Image: 14 3/4 x 19 1/4 in. (37.5 x 49 cm.) £150-250

*See page two for information regarding fees

43 ARR PETER COKER, R.A. (1926-2004) Epping Forest signed ‘Peter Coker’ (lower right), numbered ‘7/20’ (lower left) etching Image: 19 1/4 x 12 1/2 in. (48.5 x 31 cm.) Published in 1971. £150-250

44 ARR DAME ELISABETH FRINK, R.A. (1930-1993) Horse signed in pencil ‘Frink’ (lower right), numbered ‘28/100’ (lower left) etching and acquatint Image: 8 1/4 x 7 1/2 in. (21 x 19 cm.) Published in 1986. Literature: C. Wiseman, Elisabeth Frink original prints: catalogue raisonné, London, 1998, p. 212, illustrated. £500-700

45 ARR FELIKS TOPOLSKI, R.A. (1907-1989) The Coronation signed and inscribed ‘To Slim Feliks Topolski’ (lower right) ink and crayon 17 3/4 x 20 1/2 in. (45.2 x 52 cm.) Provenance: Slim Hewitt and by descent. £700-1,000 21

46 ARR PETER HOWSON (B. 1958) Muslim woman signed and dated in pencil ‘Howson ‘94’ (lower right), inscribed ‘Muslim Woman’ (lower centre), numbered ‘47/50’ (lower left) etching Image: 13 x 9 3/4 in. (33 x 24.8 cm.) £200-400

47 ARR AUGUSTUS EDWIN JOHN, O.M., R.A. (1878-1961) Two women with added signature ‘John’ (lower right) ink 19 x 13 in. (48.4 x 33 cm.) This is a preparatory drawing for a larger composition, possibly dating 1908-1912. The signature appears to have been added at a later stage and does not appear to be by the artist’s hand. We are grateful to Ms Rebecca John for the assistance with cataloguing this lot. £600-1,000

48 ARR AUGUSTUS EDWIN JOHN, O.M., R.A. (1878-1961) A gypsy woman carrying a baby and holding a small child by the hand signed in pencil l.r. beneath plate mark etching 5 1/2 x 4 in. (13.8 x 10 cm.) This item is sold without a reserve. £150-250 22

*See page two for information regarding fees

49 ARR AUGUSTUS EDWIN JOHN O.M., R.A. (1878-1961) Studies of a child pencil 5 x 4 1/8 in. (12.5 x 10.5 cm.) Provenance: Collection of Cyril Adams. with Thomas Agnew & Sons, London. We are grateful to Ms Rebecca John for the assistance in cataloguing this lot. £200-400

50 ARR SIR WILLIAM NICHOLSON (1872-1949) Edward Knoblock inscribed ‘The B..[?]Knobs Christian Anderson Telephone 70523’ (lower centre) ink 10 1/2 x 8 in. (26.5 x 20.5 cm.) £700-1,000

51 WALTER RICHARD SICKERT, A.R.A. (1860-1942) Sally etching on paper second plate, first state Image: 5 1/4 x 3 1/2 in. (13.5 x 9 cm.) Provenance: with Thomas Agnew & Sons, London. £300-400 23

52 ARR HENRY MOORE, O.M., C.H. (1898-1986) Mother and Child signed and dated ‘Moore/42’ (lower left) pencil and watercolour 7 x 5 1/4 in. (18.4 x 14 cm.) Provenance: A gift from the artist to Sandro Paternostro and by descent. Literature: A. Garould (ed.), Henry Moore, Complete Drawings: 1940-49, Vol. 3, London, 2001, p. 161, no. AG 42.164, HMF 2009, illustrated. The work is recorded under HMF2009 in the Henry Moore Institute. £15,000-25,000

‘The ‘’Mother and Child’’ idea is one of my two or three obsessions, one of my inexhaustible subjects. This may have something to do with the fact that the ‘’Madonna and Child’’ was so important in the art of the past and that one loves the old masters and has learned so much from them. But the subject itself is eternal and unending, with so many sculptural possibilities in it, a small form in relation to a big form, the big form protecting the small one, and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.’ Henry Moore

Executed in 1942, during the Second World War, Mother and Child belongs to a period when drawing took on an new importance in Moore’s output, as the materials for sculpture became scarce and three-dimensional projects difficult to realise. Thus, drawing became Moore’s primary creative outlet during the conflict, a change in status that caused his works on paper to develop a new complexity and substance. Here, the layered combination of different media, the sweeping lines of the multiple silhouettes and the thin wash, create a particular depth that reveals the multifaceted and fluid nature of Moore’s train of thought, as he explores one of his most preferred themes. Mother and Child has been in the private collection of the Paternostro family since 1973. Sandro Paternostro was an Italian journalist, writer and TV presenter who started his career in his hometown Palermo after the War and then carried on covering international news, living in a number of countries. In the 70s he was based in London, working as a foreign correspondent for the Italian national tv broadcaster RAI. Paternostro had a particular passion for painting and, despite the lack of any formal training, had been pursuing it as a hobby over the years. In 1973 he held a solo show at the Sixty One Gallery in London. The subjects of the paintings varied between jazz musicians at play, nudes and depictions of some of the numerous places visited by the journalist. The show was well received and all works were sold. Amongst the visitors was Henry Moore, a meeting that was immediately captured by the press (see fig. 1). It was around this time that Moore gifted Mother and Child to Paternostro. A cherished piece, the work has been in the family ever since and this is the first time it is shown to the public. 24

Reproduced by permission of The Henry Moore Foundation *See page two for information regarding fees

53 AFTER ERIC GILL Votes for women portland stone 19 x 16 1/4 in. (48.3 x 41.2 cm.) The whereabouts of the original artwork the present lot refers to are currently unknown. In 1911, Gill had his first highly successful exhibition of sculpture at the Chenil Gallery in Chelsea where Votes for Women was exhibited. Highly controversial due to its explicit nature, it was only available to be viewed on demand in the back room. It was sold to the economist John Maynard Keynes, who paid £5 for it. ‘Photographs suggest it is one of the most intriguing of his early works and proof of the elasticity of concept that allowed him to veer between such sexually blatant sculptures and the sequence of devout Madonna-and-child carvings that he was also making at the time.’ £500-700

54 ARR MERVYN PEAKE (1911-1968) Seated nude signed ‘Peake’ (lower right) pencil 5 3/4 x 8 1/2 in. (14.7 x 22 cm.) Provenance: Anonyous sale; Sotheby’s, London, 1 May 1974, sale not traced. with David Hendriks Gallery, Dublin. £300-500

55 ARR RALPH BROWN, R.A. (1928-2013) Nude from behind signed and dated ‘Ralph Brown 82’ (lower left) pencil 18 1/2 x 10 3/4 in. (47 x 27.3 cm.) £200-400 26

*See page two for information regarding fees

56 ARR JOHN BRATBY, R.A. (1928-1992) Darling Patty signed, inscribed and dated ‘Darling Patti Bratby/in Boulogne France/On Floor 1978/John Bratby’ (lower centre) pencil, unframed 16 1/2 x 11 3/4 in. (41.7 x 30 cm.) Provenance: Purchased directly from the artist by the present owner. £200-400

57 ARR JOSEF HERMAN, R.A. (1911-2000) Nude ink and wash 6 3/4 x 8 1/2in. (17.4 x 21.6cm.) Provenance: with Piccadilly Gallery, London, where purchased by Nicholas Guppy in 1968, and by descent. £300-500

58 ARR MARY AUDSLEY (1919-2008) Female nudes (one illustrated) (i) oil pastel; (ii) charcoal (i) 11 x 8 in. (28 x 20 cm.); (ii) 9 1/2 x 7 in. (24 x 18 cm.) (2) This lot is sold without a reserve. £100-200 (part lot)

59 ARR JACOB KRAMER (1892-1962) Three figures signed and dated ‘Jacob Kramer/21’ (lower right) pastel 17 3/4 x 10 3/4 in. (45.1 x 27.3 cm.) £700-1,000

60 ARR BLAIR HUGHES-STANTON (1902-1981) The four horsemen from Revelations of St John woodcut 8 3/4 x 5 1/4 in. (22.3 x 13.3 cm.) Executed circa 1930. £100-150

61 ARR JOHN PIPER, C.H. (1903-1992) The Visitation signed in pencil ‘John Piper’ (lower right), inscribed ‘Rough proof ’ (lower left) lithograph, unframed 22 1/2 x 19 in. (57.5 x 48.5 cm.) An early proof of the edition, published in 1975 by Gallery Wolfgang Ketterer, Munich. Literature: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no.253, p. 88. £250-350 28

*See page two for information regarding fees

62 ARR JOHN BRATBY, R.A. (1928-1992) Self Portrait pencil, unframed 22 x 15 in. (55.8 x 38 cm.) There is another self-portrait sketch on the reverse. Provenance: Purchased directly from the artist by the present owner. £300-500

PROPERTY FORMERLY IN THE ESTATE OF CAPTAIN JOHN 63 ARR ERNEST CRAWFORD FLITCH HENRY LAMB, R.A. (1883-1960) John Ernest Crawford-Flitch signed and dated ‘Henry Lamb./1909.’ (lower right) chalk 11 1/8 x 8 1/4 in. (28.3 x 21 cm.) Provenance: Captain John Ernest Crawford Flitch, the sitter, and by descent. £1,500-2,500

VARIOUS PROPERTIES 64 ARR MAGGI HAMBLING (B. 1945) Two sketches for Archibald 5th Marquess of Aberdeen Temair (1913-1984) each signed and dated ‘Hambling 87’ (lower right) charcoal, unframed each 23 1/2 x 16 1/2 in. (60 x 41.9 cm) (2) £300-500 (part lot)

65 ARR DAVID SHEPHERD (1930-2017) Train signed and inscribed ‘best wishes David Shepherd/To Sam - it’s a bloody mess/but at least it was done on the Spot !’ (lower right) oil on canvas, unframed 20 x 30 in. (51 x 76 cm.) Formerly in the collection or Sam Fourie, who was the South African Railway artist, this work was is thought to have been painted during the filming of a BBC documentary filmed in South Africa. Provenance: Sam Fourie. Eileen Sidnell. Private collection, UK. £800-1,200

66 ARR EDWARD BAWDEN, R.A. (1903-1989) View towards Henwood, Minions, Cornwall signed and dated ‘Edward Bawden/1958’ (lower right) watercolour 17 3/4 x 22 1/8 in. (45.1 x 56.2 cm.) The present work belongs to a small series of paintings Bawden made in the late 1950s at Minions, Cornwall, on the eastern flank of Bodmin Moor, close to Liskeard. It relates in style and subject to the watercolour Caradon, which the artist painted in 1958 and is now in the collection of the Tate Gallery. £4,000-6,000

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67 ARR ALAN LOWNDES (1921-1978) Bog’s Cat (Lulu-belle) signed and dated ‘Alan Lowndes/1951’ (lower left) oil on canvas-board 18 x 14 in. (45.7 x 35.6 cm.) Provenance: Anonymous sale; Christie’s, South Kensington, 14 December 2012, lot 415, where purchased by the present owner. £8,000-12,000

68 ARR CAREL WEIGHT, R.A. (1908-1997) The Black Barn signed ‘Carel Weight’ (lower left) oil on board 16 1/4 x 12 in. (41 x 30.8 cm.) Exhibited: London, New Grafton Gallery, 25th September 1980, no 37, catalogue untraced. £1,200-1,800

69 ARR LAURENCE STEPHEN LOWRY, R.A. (1887-1976) Farm Lane, Lytham signed and dated ‘LS Lowry 1956’ (lower left) pencil 6 1/2 x 9 1/4 in. (16.5 x 23.5 cm.) Provenance: Acquired directly from the artist then by descent Private collection, Wiltshire. £20,000-30,000

‘I’m immensely fond of pencil. I like pencil to hang in my house. I think there’s something wonderful about a pencil drawing. I just draw, and rub it with my finger or anything else, and then fiddle with it – I think ‘fiddle with it’ is the right term – until it has eased up and you get it right’ (L.S. Lowry quoted in A. Andrews, The life of L.S. Lowry, London, 1977.)

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70 ARR LAURENCE STEPHEN LOWRY, R.A. (1887-1976) Family Group signed with initials and dated ‘LSL 1970’ (lower right) felt tip pen 5 1/2 x 4 in. (14.1 x 10.3 cm.) Provenance: with Clark Art, Hale, where purchased by the present owner. £5,000-7,000

71 ARR LAURENCE STEPHEN LOWRY, R.A. (1887-1976) Dogs; and Chicken (i) signed and indistinctly dated ‘L.S. Lowry/1965’ (lower left); (ii) signed and indistinctly dated ‘L.S.Lowry/1964’ (lower right) (i); (ii) ballpoint pen (i) 2 3/4 x 3 1/4 in. (7 x 8.5 cm.) (ii) 3 1/4 x 2 1/4 in. (8.5 x 7 cm.) (2) Provenance: Anonymous sale; Christie’s, South Kensington, 11 February 1998, lot 239, where purchased by the present owner. £800-1,200

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71A ARR LAURENCE STEPHEN LOWRY, R.A. (1887-1976) Sketch variously inscribed pencil and ink, unframed 5 x 4 in. (13 x 9 cm.) £700-1,000

72 ARR SIR STANLEY SPENCER, R.A. (1891-1959) Study for the Miracle of the Loaves and Fishes signed and inscribed ‘Stanley Spencer/Sketch for the Miracle of the Loaves & the Fishes’ (lower right under the mount), signed again ‘Stanley Spencer’ (on the reverse) pencil and red crayon, squared for transfer 14 x 10 in. (35.6 x 25.4 cm.) folded over Provenance: Anonymous sale; Christie’s, South Kensington, 2 September 2008, lot 314, where purchased by the present owner. £800-1,200 73 ARR SIR STANLEY SPENCER, R.A. (1891-1959) Study of pigs black wash, unframed 9 3/4 x 14 in. (25 x 35.5 cm.) A study for Rickett’s Farm, Cookham Dene £200-400

74 ARR LEON UNDERWOOD (1890-1975) Studies for Sculpture (Skylark & Arrow) signed ‘Leon U.’ (lower centre) pencil and ink 7 3/4 x 7 in. (19.5 x 18 cm.) £100-200 35

75 ARR ADRIAN RYAN (1910-1998) Suffolk landscape signed ‘Ryan’ (on the reverse) oil on canvas 30 1/4 x 20 in. (76.5 x 51 cm.) Painted in 1956. Provenance: with Arthur Tooth & Sons, London. £700-1,000

76 ARR KEITH BAYNES (1887-1997) The Orchard signed ‘K.Bayns’ (lower right) oil on canvas 24 x 20 in. (61 x 50.8 cm.) £500-700

77 ARR ARCHIBALD ZEIGLER (1903-1971) Wooded landscape signed ‘Zeigler’ (lower right) oil on canvas 26 x 30 3/4 in. (66 x 78.3 cm.) £400-600 36

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PROPERTY FORMERLY IN THE ESTATE OF CAPTAIN JOHN ERNEST CRAWFORD FLITCH 78 ALEXANDER JAMIESON, R.O.I. (1873-1937) Versailles signed and dated ‘Alexander Jamieson/1906’ (lower left) oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) Provenance: Captain John Ernest Crawford Flitch, and by descent. Exhibited London, New English Art Club, Winter Exhibition, 1906, no. 129, as ‘Versailles The Palace’. £8,000-12,000

OTHER PROPERTIES 79 ARR JOHN PIPER, C.H. (1903-1992) Abstract landscape signed and dated ‘John Piper/5 66’ (lower right) ink and watercolour 20 x 29 in. (51 x 73.5 cm.) £7,000-10,000

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PROPERTY FROM THE FAMILY OF ANTHONY BETTS (Lots 80 and 81) James Anthony Betts started his working life as a goods clerk on the Midland Railway at Skipton and ended it as Professor of Fine Art at Reading University. He attended night school and encouraged by his teacher, Eleanor (Nellie) Flexen, went on to study at Bradford (where he was a contemporary and friend of Henry Moore) and at the Royal College of Art (ditto with Eric Ravilious). There is some speculation that in the 1920s he may have been a protégé of William Rothenstein. After Sheffield and Kingston, he was appointed as lecturer and then the first Professor of Fine Art at Reading University. While there he built up a discipline of drawing and painting founded on the teachings of Sickert and practice of the Camden Town Group. He conferred honorary doctorates upon Walter Sickert (1938) – of whom he remained a great admirer and devotee – and upon Henry Moore (1959), his old colleague from Bradford. He was succeeded, on retirement in 1963, by the Euston Road School painter Claude Rogers. In retirement he devoted his time to painting and to tutoring the amateur members of the Bussock Mayne and Caversham Groups.

80 ANTHONY BETTS (1897-1980) Village view oil on canvas 20 x 24 in. (50.8 x 61 cm.) £300-600

81 ANTHONY BETTS (1897-1980) Tree oil on board 20 1/4 x 24 in. (51.4 x 61 cm.) £200-400 39

82 ARR HENRI HAYDEN (1883-1970) Valley signed and dated ‘Hayden/59’ (lower left) gouache on board 18 1/2 x 24 in. (47 x 61 cm.) £2,000-4,000

83 ARR HENRY COLLINS (1910-1995) Old Lighthouse, Harwich signed ‘Henry Collins’ (lower right) oil on canvas-board 23 3/4 x 29 in. (60 x 73.3 cm.) Painted circa 1960. Provenance: with The Pride Gallery, London. Mrs. J. Piskor. Private collection UK £400-600

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84 ARR KEN HOWARD, R.A. (B. 1932) The garden, Montegufoni signed ‘Ken Howard’ (lower right) oil on canvas 10 x 12 in. (25.4 x 30.5 cm.) £500-700

85 ARR JAMES LLOYD (1905-1974) Hen Coops signed ‘JLLOYD’ (lower left) gouache 9 1/2 x 13 1/2 in. (24.2 x 34.4 cm.) Executed in 1969. Provenance: with Portal Gallery, London. £800-1,200

86 ARR CAREL WEIGHT, R.A. (1908-1997) In the garden signed ‘Carel Weight’ (upper left) oil on board 24 x 20 in. (61 x 51.9 cm.) £1,500-2,500 41

87 ARR JACK PENDER (1918-1998) Waiting punt signed ‘J.Pender’ (lower right) oil on board 8 1/2 x 12 3/4 in. (21.5 x 32.5 cm.) Painted in 1958. Provenance: with Leon Suddaby Fine Art, Penzance. £800-1,200

88 ARR LUCY RAVERAT (B. 1948) Seaside walk acrylic on canvas 31 3/4 x 15 1/4 in. (80.5 x 40.3 cm.) Provenance: with Francis Kyle Gallery, London. £300-500

89 ARR DONALD BLAKE (1908-1997) Two blues and harbour wall signed ‘DONALD BLAKE’ (lower left) ink and watercolour on clay-coated paper, unframed 14 1/2 x 19 in. (36 x 48 cm.) £200-400 42

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90 ARR NORMAN BASIL TOWN (1915-1988) Devon Coast; and Pithead (i) signed and dated ‘Norman Town 48.’ (lower right); (ii) signed and dated ‘Norman Town 48.’ (lower left) (i)(ii) ink and gouache (i)(ii) 7 1/2 x 9 1/2 in. (19 x 24 cm.) Provenance: (ii) with Haworth Gallery, Wakefield. £150-250

91 ARR GORDON STEWART CAMERON A.R.S.A. (1916-1994) Suspension Bridge signed ‘G.S.CAMERON.’ (lower right) oil on canvas 25 x 30 in. (62.5 x 76.2 cm.) Exhibited: Edinburgh, Royal Scottish Academy, Festival Exhibition, 1960, catalogue untraced. £400-600 43

92 ARR MARY FEDDEN, R.A. (1915-2012) Still life in Spain signed and dated ‘Fedden 1984’ (lower right), signed again and inscribed ‘Mary Fedden/8. Still life/in Spain I’ (on an artist label on the reverse) oil on canvas 20 x 24 in. (50.8 x 61 cm.) Provenance: with Anthony Hepworth, London, where purchased by the present owner. £20,000-40,000

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93 ARR MARY FEDDEN, R.A. (1915-2012) Still Life with Lilies. signed and dated ‘Fedden ‘00’ (lower right) gouache and collage 9 x 9 3/4 in. (23.2 x 24.4 cm.) Provenance: Anonymous sale; Phillips, London, 25 September, 2001, lot 243. £3,000-5,000

PROPERTY FROM THE ESTATE OF BERNARD MYERS (Lots 94-102) ‘I have always derived a particular satisfaction from still life painting… I am also very interested in colour and I find that I can experiment with it far more readily in still life… I enjoy composing on the picture surface itself, treating still life themes as table top architecture…My still life studies are of objects found in my studio, around the house, flowers arranged by my wife, and things seen everywhere… My colours for a particular picture are chosen as one might set a musical key, with chords, close harmonies, chromatic scales and carefully accented discords. I often do a series of pictures on a theme, the studio table for example, and I change the colour scheme as one would change key in musical themes and variations. Think first in tone, then translate tonality into colour; the secret of Fauve colour lies in the tonality. Bright colour is never crude or raw, but relative, modulated... Pastel painting and drawing whether using a soft pastel or oil pastel, has an exciting immediacy of dash and boldness; a kind of bravura.’ Bernard Myers

94 BERNARD MYERS (1925-2007) Still life with oranges signed and inscribed ‘Bernard Myers/Still life with oranges’ (on the reverse) oil on canvas 27 3/4 x 36 in. (71 x 91.4 cm.) This work is no. 242 from the Bernard Myers archives. Provenance: The artist’s estate. £250-350 45

PROPERTY FROM THE ESTATE OF BERNARD MYERS

95 BERNARD MYERS (1925-2007) Still life with paint brushes, train sketches on the wall signed ‘B Myers’ (lower right) oil pastel 20 x 28 in. (51 x 71 cm.) This work is no. 406 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250

96 BERNARD MYERS (1925-2007) Still life with a jug, cups and ink pen and paper signed ‘B.Myers’ (lower right) oil pastel 21 1/4 x 29 1/2 in. (54 x 75 cm.) This work is no. 404 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250

97 BERNARD MYERS (1925-2007) Still life with apples, pears and flowers oil pastel 20 x 27 1/4 in. (50.9 x 69.3 cm.) This work is no. 411 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250

98 BERNARD MYERS (1925-2007) Still life with daffodils, jugs and apples oil pastel 21 x 29 in. (53.3 x 73.5 cm.) This work is no. 400 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250 46

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PROPERTY FROM THE ESTATE OF BERNARD MYERS

99 BERNARD MYERS (1925-2007) Still life with vegetables and flowers signed ‘B.Myers’ (lower left) oil pastel 21 1/4 x 28 1/4 in. (54 x 72 cm.) This work is no. 419 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250

100 BERNARD MYERS (1925-2007) Still life with a peeled lemon, butterfly and other fruits oil pastel 21 1/2 x 29 in. (54.5 x 73.6 cm.) This work is no. 410 from the Bernard Myers archive. Provenance: The artist’s estate. £150-250

101 BERNARD MYERS (1925-2007) Still life with jugs and jars signed ‘B Myers’ (lower right) oil pastel 21 1/2 x 29 1/4 in. (54.6 x 74.4 cm.) This work is no. 397 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250

102 BERNARD MYERS (1925-2007) Still life with flowers and oranges signed twice ‘B. Myers’ (lower right) oil pastel Image: 20 1/2 x 28 in. (52 x 71.2 cm.) This work is no. 421 from the Bernard Myers archives. Provenance: The artist’s estate. £150-250 47

103 ARR VANESSA BELL (1879-1961) The school room signed in pencil ‘Vanessa Bell’ (lower right) lithograph in colours, unframed Image:18 x 23 3/4 in. (45.8 x 60.3 cm.) Published by Contemporary Lithographs, Ltd, London. £300-500

104 ARR ROBERT MEDLEY (1905-1994) Charade lithograph, unframed Image: 20 1/2 x 29 3/4 in. (52 x 75.5 cm.) £100-200

105 ARR BARNETT FREEDMAN (1909-1958) Charade lithograph, unframed Image: 20 x 30 in. (50.8 x 76.2 cm.) £250-350 48

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106 ARR FREDERICK MARRIOTT (1860-1961) The Castle in Thun, Switzerland signed and inscribed ‘To my friend Padre Thomas[?] The Castle at Thun, Switzerland F.Marriott’ (along the lower edge) mezzotint in colours Image: 14 1/2 x 11 3/4 in. (37.4 x 29.6 cm.) Provenance: Anonymous sale; Roseberry’s, London, 25 April 2015, lot 230, where purchased by the present owner. £100-200

107 ARR JOHN PIPER, C.H. (1903-1992) Little Cressingham, Norfolk signed ‘John Piper’ (lower right), numbered ‘43/100’ (lower left) etching and aquatint Image: 18 x 24 3/4 in. (45.7 x 61.8 cm.) Published in 1983.Literature: O. Levinson, The Complete Graphic Works: a catalogue raisonné 19231983, London, 1987, no.365, p. 116. £400-600

108 ARR VALERIE THORNTON (1931-1991) Urbino signed and dated ‘Valerie Thornton 87’ (lower right), inscribed ‘Urbino’ (lower centre), numbered ‘31/71’ (lower left) etching and aquatint Image: 17 1/2 x 25 1/4 in. (44.5 x 64.5 cm.) £100-200

109 ARR JOHN PIPER, C.H. (1903-1992) Canons Ashby signed in pencil ‘John Piper’ (lower right), numbered ‘20/150’ (lower left) screenprint 18 x 26 1/2 in. (46 x 67.5 cm) Literature: O. Levinson, The Complete Graphic Works: a catalogue raisonné 19231983, London, 1987, no.350, p. 113. £500-700

110 ALFRED HEATON COOPER (1863-1929) Town End Troutbeck inscribed and dated ‘Town End./Troutbeck./13 Mar 23.’ (lower left) pencil and watercolour 9 1/4 x 6 3/4 in. (23.5 x 7 cm.) £200-400

111 ARR EDWARD BOUVERIE-HOYTON (1900-1988) Penberth signed ‘E.BOUVERIE-HOYTON’ (lower right) oil on canvas-board 20 3/4 x 26 in. (52.8 x 66.1 cm.) Painted circa 1930. Provenance: Private collection, UK. £500-700

112 ARR ROY PETLEY (B. 1958) An evening walk by the harbour signed ‘R.Petley’ (lower left) oil on board 12 x 18 in. (30.5 x 45.6 cm.) £300-500 50

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113 ARR HARRY EPWORTH ALLEN (1894-1958) Cartshed with Farm Buildings signed ‘HE Allen’ (lower left) pencil and watercolour 9 1/2 x 13 in. (24 x 33 cm.) This lot is sold without reserve. £250-450

114 ARR ORLANDO GREENWOOD (1892-1989) Whitby harbour, Staithes signed ‘OGreenwood’ (lower left) oil on canvas 18 x 24 in. (45.8 x 61 cm.) £500-700

115 ARR WILLIAM BOWYER, R.A. (1926-2015) Southworld signed ‘William Bowyer’ (lower right) oil on board 17 3/4 x 24 in. (45 x 61 cm.) £600-800 51

116 ARR EDWARD BAWDEN, R.A. (1903-1989) The Monkey signed ‘Edward Bawden’ (lower right), inscribed ‘Rasselas.’ (lower left), inscribed further ‘Key Drawing’ (lower centre) pencil and ink 9 x 5 1/8 in. (22.8 x 13 cm.) This work is a preparatory drawing for Rasselas, by Samuel Johnson, 1975 edition. Provenance: with The Fine Art Society, London. with Sally Hunter Fine Art, London, by 2000. £300-500

117 ARR NICHOLAS BARNHAM (B. 1939) Norwich Beach signed in pencil ‘Nicholas Barnham’ (lower right), inscribed ‘Norwich Beach’ (lower left) linocut Image: 12 1/2 x 16 in. (31 x 41 cm.) Nicholas Barnham’s work is characterised by its stron sense of line. He studied painting and stone carving at Norwich School of Art and taught for several years at Cambridge School of Art. He now lives in Nofolk and continues to paint and exhibit throughout the UK. £100-150

118 ARR CLAUDE HARRISON (1922-2009) Four Boatsmen signed and dated ‘Claude Harrison ‘98’ (lower right), signed and dated again ‘Claude Harrison/June’98’ (on the reverse) oil on board 11 3/4 x 16 in. (29.5 x 40.5 cm.) Provenance: Anonymous sale; Woolley & Wallis, 26 November 2013, lot 24, where purchased by the present owner. £500-700 52

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119 ARR LIONEL BULMER (1919-1992) The Old Railway Bridge over the Blyth signed ‘L Bulmer’ (lower right) oil on canvas 47 1/2 x 35 3/4 in. (121 x 91 cm.) Provenance: with Messum’s, London, where purchased by the present owner in 2008. £1,000-2,000

120 ARR JOHN PIPER, C.H. (1903-1992) Nursery Frieze Part II, Night scene lithograph, unframed Image: 18 x 47 1/2 in. (45.2 x 121.6 cm.) Executed in 1936. Literature: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no.9, p. 23. A copy of the same lithograph is part of the Tate collection. £800-1,200

121 ARR DUDLEY HOLLAND (1915-1956) Pollarded oak linocut in colours Image: 11 1/2 x 6 7/8 in. (29 x 17.5 cm.) Executed circa 1946. £150-250

122 ARR DAVID TINDLE, R.A. (B. 1932) Figure in a red room signed and inscribed ‘David Tindle/Figure in a red room’ (on a label on the reverse) tempera on board 8 x 10 in. (20.2 x 25.4 cm.) Painted in 1967. Provenance: with Piccadilly Gallery, London, where purchased by the present owner. £600-800 54

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123 ARR DUDLEY HOLLAND (1915-1956) Three Women linocut in colours 13 x 8 1/4 in. (33 x 21 cm.) Executed circa 1946. £150-250

124 ARR STAN SMITH (1929-2001) On reflection oil on board 34 1/2 x 35 in. (87.6 x 88.9 cm.) £600-800

125 ARR RUSKIN SPEAR, R.A. (1911-1990) Portrait last driver of the horse-drawn trams signed ‘Ruskin Spear’ (lower right) oil on canvas 30 1/4 x 25 1/4 in. (76.5 x 64 cm.) Provenance: with Abbott and Holder, by 1969, where purchased by Mr Johnston and thence by descent. The work is sold together with the original receipt from Abbot and Holder and a letter from Ruskin Spear to Mr Johnston (late father of the present owner) dated 1982 in which he confirms that this is his work and offers to sign it.

126 ARR JOHN NAPPER (1916-2001) Portrait of Charlotte Tillman signed ‘NAPPER’ (lower right) oil on canvas, laid down on board, unframed 32 x 23 in. (81 x 58.5 cm.) Provenance: Gift from the sitter to Martin Syrett and by descent. £500-700

£300-500

127 ARR RUSKIN SPEAR, R.A. (1911-1990) The Candidate oil on board 19 1/2 x 29 1/2 in. (49.5 x 75 cm.) Provenance: with the Alton Gallery, London. £1,500-2,500 56

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128 ARR ROBERT ARTHUR WILSON (1889-1979) Emsworth Flour Mill oil on board signed ‘R.A.WILSON’ (lower right) tempera on panel 11 1/4 x 14 3/4 in. (28.5 x 37.5 cm.) £400-600

129 BRITISH SCHOOL, 20th CENTURY Three drawings of Sheffield Cutlery Works pencil 22 1/2 x 30 1/2 in. (57.3 x 77.5 cm.) Executed circa 1915. (3) Provenance: with W.A. Pinn & Sons, Essex, where purchased by the present owner. £500-700

130 ARR CONSTANCE PARKER (1921-2016) Baby carved wood 20 3/4 in. (52.7 cm.), long This lot is sold without reserve. £100-200

131 ARR GRETA BOWEN (1880-1981) The Customs Examination oil on board 17 1/4 x 21 1/4 in. (44.3 x 54 cm.) Provenance: Anonymous sale; Whyte’s, Dublin, 25 February 2008, lot 162, where purchased by the present owner. £1,500-2,500

132 ARR JULIAN TREVELYAN, R.A. (1910-1988) Richmond etching and aquatint signed ‘Julian Trevelyan’ (lower right), inscribed ‘Richmond;’ (lower centre), numbered ‘4/75’ (lower left) Image: 18 1/2 x 13 3/4 in. (48 x 35 cm.) From the Thames Suite. Literature: S. Turner, Julian Trevelyan : catalogue raisonné of prints, Farnham, 2010, no. 226, p. 115. £400-600

133 ARR JOHN BOND (B. 1945) Passing strangers signed ‘John Bond’ (lower left) gouache 15 x 20 1/4 in. (38.1 x 51.5 cm.) Provenance: with Century Galleries, Henley-on-Thames. £100-200 58

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134 ARR GRETA BOWEN (1880-1981) Town Scene with cars signed ‘Greta Bowen’ (lower right) oil on board 15 x 22 1/2 in. (38.2 x 57.1 cm.) £1,500-2,500

135 ARR JOHN BRATBY, R.A. (1928-1992) The Dogs of the Gardens of the Beaufort Park Hotel with Crown Yews and Concrete Man and Carefree Lady in Froggets sequin jacket signed ‘John Bratby RA’ (lower right) and inscribed as title (lower right) pencil, watercolour and gouache, unframed 15 x 20 1/4 in. (37.8 x 51.4 cm.) Provenance: Purchased directly from the artist by the present owner. £200-400

136 ARR CLAUDE HARRRISON (1922-2009) Comedian at the Ferry signed and dated ‘Claude Harrison ‘02’ (lower right), signed again, inscribed and dated again ‘“Comedian at the Ferry’’/Claude Harrison/Oct.2002’ (on the reverse) oil on board 10 x 12 in. (25.5 x 30.5 cm.) Provenance: Anonymous sale; Wooley & Wallis, 3 June 2015, lot 144, where purchased be the present owner. £400-600 59

137 ARR STAN SMITH (1929-2001) Splashing out watercolour and gouache 19 x 14 3/4 in. (48.3 x 37.5 cm.) Provenance: The artist's estate. £200-400

138 ARR MAURICE COCKRILL, R.A. (1936-2013) Waterfall signed and dated ‘Maurice Cockrill 85’ (lower right) pencil, gouache, acrylic 38 x 26 1/2 in. (97 x 67.5 cm.) This lot is sold without reserve. £300-500

139 ARR JOHN BRATBY, R.A. (1928-1992) Patti in Paris signed, inscribed and dated ‘Patti in/Paris 1990/John Bratby/By Notre Dame/Cathedral with/Seine River/reflecting’ (upper right) pencil, crayon, watercolour and gouache, unframed 20 x 15 in. (50.6 x 38.1 cm.) Provenance: Purchased directly from the artist by the present owner. £300-500 60

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140 ARR JULIAN BAILEY (B. 1968) Cricketeers signed with initials ‘JB’ (lower right) oil on board 20 x 21 1/2 in. (50.7 x 54.5 cm.) Provenance: Acquired directly from the artist by the present owner. £400-600

141 ARR LIONEL BULMER (1919-1992) Bathers dressing II signed ‘L.Bulmer’ (lower left) acrylic on board 9 3/4 x 13 1/2 in. (24.7 x 34.3 cm.) Provenance: with Galeria Internacional de Arte, LDA, Almansil, Portugal. Private collection, UK. £300-500

142 ARR JULIAN BAILEY (B. 1968) Dorset signed with initials ‘JB’ (lower right) oil on board 13 x 14 in. (36 x 38 cm.) Exhibited: London, New Grafton Gallery, Julian Bailey, April 2002, no. 6, catalogue not traced. £300-500 61

143 ARR NORMAN ACKROYD, R.A. (B. 1938) Cartmel in Winter signed and dated in pencil ‘Norman Ackroyd 2005, inscribed ‘Cartmel in Winter’ (lower left), numbered 32/90’ (lower centre) etching Image: 15 1/2 x 13 in. (39.2 x 33 cm.) £200-400

144 ARR SIR CECIL BEATON (1904-1980) Mrs Harrison Williams signed in pencil ‘Beaton’ (lower right) pencil and ink 13 1/4 x 10 1/4 in. (33.6 x 26 cm.) Provenance: Lilian Hope collection, Christie’s June/July 1988, catalogue untraced. £1,500-2,500 62

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145 ARR ADRIAN RYAN (1920-1998) La Plage, Honfleur signed in pencil ‘Ryan’ (lower right), numbered ‘1/4’ (lower left) etching Image: 4 1/2 x 6 1/4 in. (11 x 15.5 cm.) £150-250

146 ARR PATRICK HAYMAN (1915-1988) Lovers near the sea signed ‘Hayman’ (lower right), signed again and inscribed ‘LOVERS near The Sea/Patrick Hayman’ (on the reverse) ink and watercolour on canvas-board 6 1/2 x 10 in. (16.5 x 25.4 cm.) £400-600

147 ARR RONALD SEARLE (1920-2011) The wicked world of wine tasting signed ‘Ronald Searle’ (lower right), inscribed ‘The Wicked World of Wine Tasting/‘Interesting depth of flavour...’’ (upper left) ink and watercolour 11 1/4 x 8 in. (28.5 x 20.3 cm.) £1,500-2,500 63

148 ARR BEN LEVINE, R.A. (1938-2010) Melting snow signed ‘B.Levine’ (on the reverse) 18 1/4 x 22 3/4 in. (46.6 x 57.8 cm.) Provenance: with Thackeray Gallery, London. £400-600

149 ARR WINIFRED FRANCIS (1915-2005) Abstracted landscape signed ‘Winifred Francis’ (lower right) acrylic on board 15 1/4 x 22 1/2 in. (38.5 x 57 cm.) This lot is sold without reserve. £150-250

150 ARR GEORGE DANNANT (1915-2009) Abstract landscape acrylic on canvas 18 x 13 3/4 in. (46 x 35 cm.) £500-700 64

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151 ARR REGINALD JAMES LLOYD (B. 1926) Two Figures signed and dated ‘RJLLOYD/1965’ (lower right) pencil, crayon and gouache 10 1/4 x 15 3/4 in. (26 x 40 cm.) £150-250

152 ARR DEREK HYATT (1931-2015) World Beyond the Gate signed, inscribed and dated ‘WORLD BEYOND THE GATE/DEREK HYATT 1991.’ (on a label attached to the reverse) pencil and oil on artist’s board, unframed 23 1/2 x 22 in. (59.6 x 56.2 cm.) This lot is sold without reserve. £100-200

153 ARR PAUL WADSWORTH (B. 1964) Sunset signed ‘P Wa..’ (lower right) oil on paper 20 1/2 x 27 1/2 in. (52 x 70 cm.) £300-500 65

154 ARR STEPHEN BUCKLEY (B. 1938) Mercer signed, inscribed and dated ‘MERCER/Stephen Buckley 1986’ (on the reverse) mixed media on board 26 x 18 in. (66 x 45.8 cm.) Provenance: with Brooke Alexander, New York. with Knoedler Gallery, London. Anonymous sale; Christie’s, South Kensington, 12 July 2012, lot 587. Anonymous sale; Rosebery’s, 18 January 2018, lot 223, where acquired by the present owner. £600-800

155 ARR DOUGLAS PORTWAY (1922-1993) Abstract composition signed ‘Portway’ (lower left) oil on paper 10 1/4 x 14 1/4 in. (26 x 36.6 cm.) £300-500

156 ARR JOHN WELLS (1907-2000) Abstract forms signed and dated ‘John Wells.1959’ (lower right) pencil and pastel on grey paper 18 x 20 in. (46 x 51 cm.) £3,000-5,000 66

*See page two for information regarding fees

157 ARR SIR TERRY FROST, R.A. (1915-2003) Untitled red and black signed and dated ‘Terry Frost/14/10/77’ (lower right) gouache 11 x 7 3/4 in. (28 x 20 cm.) Provenance: with Belgrave Gallery, St Ives. Anonymous sale; Christie’s, South Kensington, 7 October 2008, lot 212, where purchased by the present owner. £1,500-2,500

158 ARR BRIAN RICE (B. 1936) Jupitor signed, inscribed and dated ‘’’JUPITOR’/BRIAN RICE/1964’ (on the reverse) oil on canvas attached to a board, unframed 18 x 18 in. (46 x 46 cm.) Provenance: Acquired directly from the artist by the present owner. £600-800

159 ARR PRUNELLA CLOUGH (1919-1999) Wrapper signed and numbered ‘25/25 Clough’ (lower left) screenprint, unframed Sheet: 23 x 17 in. (59 x 43 cm.) Published in 1989.

159A ARR SIR PETER BLAKE, R.A. (B. 1932) Dazzle signed in pencil ‘Peter Blake’ (lower right), numbered ‘25/150’ (lower left) screenprint in colours, unframed 23 5/8 x 15 ¾ in.(60 x 40 cm.)

£200-400

£1,500-2,500

160 ARR MAURICE COCKRILL, R.A. (1936-2013) Untitled signed ‘Maurice Cockrill’ (on the reverse), dated ‘1997’ (on the stretcher) arcylic on canvas, unframed 39 1/2 x 31 3/4 in. (100.5 x 80.4 cm.) £1,000-2,000

*See page two for information regarding fees

161 ARR ROBYN DENNY (1930-2014) Graffiti 19 signed and dated ‘Denny 77’ (lower right), inscribed ‘Graffitti 19’ (centre), numbered ‘30/40’ (lower left) etching in colours Image: 21 1/4 x 15 3/4 in. (54 x 40 cm.) Sheet: 27 1/4 x 22 1/4 in. (69.3 x 56.4 cm.) Provenance: with Bernard Jacobson Gallery, London, where purchased by the present owner.

162 ARR BOB & ROBERTA SMITH, R.A. (B. 1963) Up is the New Down signed and dated ‘Bob + Roberta Smith ‘04’ (lower right) lithograph, unframed Sheet: 25 x 16 in. (63.5 x 40.7 cm.) This work is sold without a reserve. £100-200

£400-600

163 ARR ALAN GOUK (B. 1939) Octopus’s Garden signed, inscribed and dated ‘OCTOPUS’S GARDEN/87/88/89/Alan Gouk’ (on the reverse) oil on canvas-board, unframed 30 x 25 in. (76.2 x 64 cm.) £1,000-2,000 69

164 ARR JOHN PANTING (1940-1974) Untitled screenprint in colours, unframed Executed in 1968. Sheet: 30 x 30 in. (76.3 x 76.3 cm.)

165 ARR JOHN PANTING (1940-1974) Untitled screenprint in coulours, unframed Executed in 1968. Sheet: 30 x 30 in. (76.3 x 76.3 cm.)

Provenance: Acquired from the artist’s estate by the present owner.

Literature: S. Cornish, John Panting: Sculpture, Bristol, 2012, no. A1.10, p. 141, illustrated

Literature: S. Cornish, John Panting: Sculpture, Bristol, 2012, no. A1.17, p. 143, illustrated

£200-400

166 ARR JOHN PANTING (1940-1974) Untitled screenprint in colours, unframed Executed in 1968. This work is believed to be from an edition of 50. Sheet: 30 x 30 in. (76.3 x 76.3 cm.) Provenance: Acquired from the artist’s estate by the present owner. Literature: S. Cornish, John Panting: Sculpture, Bristol, 2012, no. A1.15, p. 143, illustrated £200-300 70

*See page two for information regarding fees

167 ARR STANLEY WILLIAM HAYTER (1902-1988) Triangle signed and dated ‘StnHayter 76’ (lower right), numbered ‘HC 1/XV’ (lower left) lithograph, unframed Image: 12 x 16 in. (30.5 x 40 cm.) HC aside from the edition of 75 Literature: Black and Moorhead cat. no. 385 £300-500

168 ARR GARTH EVANS (B. 1934) Untitled Drawing No. 8 signed and dated ‘Gareth Evans 1976’ (Lower right) ink 16 x 23 1/4 in. (41 x 59 cm.) Provenance: Anonymous sale; McTear’s, Glasgow, 22 June 2014, lot 1751. £200-400

168A AFTER BRIDGET RILEY (B. 1932) Glasgow Print Studio Poster for ‘Bridget Riley Paintings and Prints 1964-1995’ offset lithograph, unframed Sheet:39 1/2 x 26 3/4 in. (101.3 x 68 cm.) £300-500

169 ARR ROBYN DENNY (B. 1930) Outline 3 signed and numbered ‘Denny Artist Proof ’ (lower right), inscribed and dated ‘Outline 3 62/67.’ (lower left) with indistinct dedication silkscreen Image: 26 1/4 x 20 3/4 in. (66.7 x 52.7 cm.) £300-500 71

170 ARR RICHARD SMITH (1931-2016) Untitled signed and dated ‘SMITH 60’ (on the stretcher) oil on canvas, unframed 60 x 71 1/2 in. (152.5 x 181.6 cm.) Provenance: Given by the artist to Tony Messenger and by descent to the current owner. £4,000-6,000

*See page two for information regarding fees

171 ARR BASIL BEATTIE, R.A. (B. 1934) Where else signed, inscribed and dated ‘ Basil Beattie/Wherelse [sic] 2002/for Richard’ (on the reverse) oil and wax on canvas, unframed 16 x 16 in. (40.6 x 40.6 cm.) Provenance: Acquired directly from the artist by the present owner. £1,000-2,000

172 ARR WILLIAM PYE (B. 1938) Freefall signed, inscribed and numbered ‘FREEFALL/William Pye/2/6’ (underneath) nickel plated steel on a marble base 12 3/4 in. (32 cm.) high, including base Executed in 1969. Sold together with a certificate of authenticity signed and issued by the artist. £2,000-4,000

173 ARR DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937) Pool Made of Paper and Blue Ink signed and dated ‘David Hockney 80’ (lower right), numbered ‘164/1000’ (lower left) lithograph in colours on wove paper 10 1/4 x 8 1/2 in. (26 x 21.9 cm.) Published by Tyler Graphics, Ltd., Bedford, New York. Literature: Tyler 269:DH56; Museum of Contmporary Art Tokyo 234. Sold together with the accompanying book ‘Paper Pools’, signed by the artist in red ink and stamp numbered 164 on the justification, with original slip case. £10,000-15,000

‘I kept looking at the swimming pool; and it’s a wonderful subject, water, the light on the water. It dawned on me that the swimming pool was a much more interesting subject. The point about water is you can look at it in so many different ways; its’s always different’ David Hockney

Hockney first visited Los Angeles in 1963 and was immediately captivated by the bold colours and widespread luxury and the relaxed sensual way of life. Private swimming pools were rare in Britain and he was amazed to discover almost everybody had them in California and, because of the climate, they could be used all year round. His attempt to capture the ever-changing quality of water has been the subject of some of his most iconic works, including Portrait of an Artist (Pool with Two Figures), which recently became the most valuable work of art by a living artist sold at auction, achieving a staggering $90.3 million (£70.3 m). Paper Pools is a hand-drawn lithograph representing a diving board and swimming pool. Here the watery wavy marks overlay the deeper overlapping shadows and create a depth of surface, capturing the gently rippling surface of the water. The bright colours of the grass and the diving board carry the joyful leisurely way of life Hockney was so captivated by. The artist masterfully uses lithographic mark-making, creating a beautiful composition full of life. The work was produced to celebrate the publication of the book titled Paper Pools, also part of the lot, that focuses on paper pulp printing, a particular process of print making Hockney was introduced to on a visit to the Tyler Graphic Studios in New York in 1978. A cross between papermaking, print-making and painting, the process involves dying wet pulp rags, which are then applied to recently created, still wet, paper until they are fully pressed and dried together. Hockney was fascinated by the process, finding it particularly liberating and explored it in detail in the book, illustrating and reflecting on it in his own words. Created in this period of re-invention, the current work possesses a special place in Hockney’s output - it both encompasses his favoured theme and celebrates the artist’s constant strive for innovation, something that has certainly defined him as one of the most exciting artists of our time. 74

*See page two for information regarding fees

174 ARR SIR PETER BLAKE, R.A. (B. 1932) After ‘Studies in lead-pencil of Bears’ by Briton Riviere signed, inscribed and dated ‘After - Studies in lead-pencil of Bears’by Briton Riviere, R.A. - Peter Blake, 1969’ (lower right), inscribed ‘For Tony & Helen Messenger.’ (lower left) pencil and ink 14 1/4 x 12 3/4 in. (36.3 x 32.4 cm.) Provenance: A gift from the artist to Tony and Helen Messenger and by descent to the present owner. £1,200-1,800

175 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Two untitled drawings (i) ink and crayon, unframed; (ii) graphite and crayon,unframed; (i) (ii) 7 x 10 in. (17.8 x 25.3 cm.) (2) Provenance: Acquired directly from the artist and by descent. £700-1,000

PROPERTY FROM THE COLLECTION OF MARTIN MOORE (Lots 176-179) 176 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Mondrian’s head - working maquette signed ‘E.Paolozzi’ (on the back) plaster 7 1/2 in. (19 cm.), high Provenance: A gift from the artist to the present owner. The sculptures were a gift from Eduardo, along with a number of other works. Eduardo was very generous, it was a pretty regular occurrence to leave with something: a plaster cast or print usually. I first started working for Eduardo while I was a student at The Royal Collage of Art in 1992, and after graduating I continued to work for Eduardo for a number of years. (Private correspondence with Martin Moore, 2018) £550-750

*See page two for information regarding fees

VARIOUS PROPERTIES 177 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Josephine Baker signed and inscribed plaster with lacquered finish 12 in. (30 cm.), high Provenance: A gift from the artist to the present owner. Josephine Baker (1906-1975) was an American-born French expatriate singer and dancer, cabaret artiste and movie star, Civil Rights activist and international symbol of black emancipation. She became Paolozzi’s first historical female portrait. In the summer of 1948 Paolozzi wrote in a letter from Rome that he had just seen Josephine Baker. Many versions of the head of Josephine Baker were developed and the present study was given to Paolozzi’s assistant as a gift when working on the sculpture later installed in Selfridges. £1,000-2,000

178 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Rat with whiskers; and Hare plaster (i) 6 1/2 in. (16 cm.), long; (ii) 8 1/2 in. (22 cm.), long Provenance: A gift from the artist to the present owner. £250-400

179 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Pair of feet, left and right plaster each 3 1/2 in. (9 cm.), high (2) Provenance: A gift from the artist to the present owner. £250-400

180 ARR RALPH STEADMAN (B. 1936) Sigmund Freud each signed in pencil ‘Ralph Steadman’ (lower right) and numbered ‘79/98’ (lower left) screenprint, unframed Image: 16 x 17 in. (41 x 43.3 cm.) Sheet: 22.5 x 30 in. (57.2 x 76.2 cm.) Published in 1979, by White Ink Ltd. Comprising of: At the barber; Cafe Landtmann, July 1904; Freud being met in Paris; Freud and Martha; Looking down on Vienna from the Leopoldsberg in the Winderwald Provenance: Acquired directly from the artist by the present owner. £450-650 78

*See page two for information regarding fees

181 ARR JOHN BRATBY, R.A. (1928-1992) A game of cards signed and dated ‘JOHN BRATBY 6 JANUARY 1957’ (lower right) ink, unframed 23 x 20 in. (58.2 x 50.4 cm.) Provenance: Purchased directly from the artist by the present owner. £300-500

182 ARR BRYAN ORGAN (B. 1925) Rudolph signed, inscribed and dated ‘Study Rudolph. Bryan Organ 1975’ (lower right) pencil 21 3/4 x 21 3/4 in. (55.3 x 55.3 cm.) Rudolph was the waiter at hotel Timeo (according to a label on the reverse). £600-800

183 ARR SIR PETER BLAKE, R.A. (B. 1932) Liberty as Suffolk child by John Constable signed ‘Peter Blake’ (centre right), numbered ‘69/100’ (centre, left) etching with collage 25 1/2 x 19 3/4 in. (65 x 50 cm.) From the portfolio ‘For John Constable’, published in 1976 by Bernard Jacobson, London. Provenance: with Waddington and Tooth Galleries, London, where purchased by Mrs Marcia Panama and by descent. £600-800

184 ARR ROGER HILTON (1911-1975) Untitled signed with initials and dated ‘R.H. 73’ (lower right) gouache 30 x 22 in. (76 x 56 cm.) Provenance: Glyn Hughes. Private collection, UK. £8,000-12,000

*See page two for information regarding fees

185 ARR FRANK AUERBACH (B. 1931) Seated figure signed in pencil ‘Auerbach’ (lower right) screenprint, unframed Image: 30 3/4 x 22 3/4 in. (78.2 x 57.8 cm.) Published circa 1966. Provenance: Gift from the artist to Martin Syrett and by descent. £800-1,200

186 ARR GRAHAM METSON (B. 1934) Untitled signed and dated ‘Metson 66’ (lower left) mixed media collage 22 x 27 1/2 in. (55.9 x 69.8 cm.) Provenance: Acquired directly from the artist by the present owner. £400-600

187 ARR FRANK AUERBACH (B. 1931) Head signed in pencil ‘Auerbach’ (lower right), inscribed ‘Artist Proof ’ (lower left) screenprint 31 1/2 x 22 1/2 in. (80 x 57 cm.) Published circa 1969/70. Provenance: Gift from the artist to Martin Syrett and by descent. £700-1,000 81

Index A Ackroyd, N., 143 Allane, L., 25 Armstrong, J., 9 Arthur Wilson, R., 128 Audsley, M., 58 Auerbach, F., 185, 187 B Bailey, J., 140, 142 Bates, T., 29 Barhnam, N., 117 Bawden, E., 66, 116 Baynes, K., 76 Beaton, Sir C., 144 Beattie, B., 171 Bell, T., 5 Bell, V., 103 Betts, A., 80, 81 Blake, D., 89, 183, Blake, Sir P., 12, 13, 159A, 174, 183 Bond, J., 133 Bouverie-Hoyton, 111 Bowen, D., 6 Bowen, G., 133, 134 Bowyer, W., 115 Bratby, J., 41, 56, 62, 135, 139, 181 Bradley, M., 36 British School, 20th Century, 129 Brown, R., 55 Buckley, S., 154 Bulmer, L., 119, 141 C Cameron, G.S., 91 +TQ‫ٺ‬M 0 Clough, P., 159 Cocker, P., 42, 43 Cockrill, M., 138, 160 Collins, H., 83 D Dannant, G., 150 Desmore, V., 34 Denny, R., 161, 169 Durham, T., 19 E Epworth Allen, H., 113 Evans, G., 168 F Fedden, M., 92, 93 Francis, W., 26, 149 Freedman, B., 105 Frink, Dame E., 39, 44 Frost, Sir T., 157 G Greenwood, O., 114 Gill, E. (After), 53 Gouk, A., 4, 163 H Hambling, M., 64 Hanley, L., 15 Harrison, C., 118, 136 Hayden, H., 82 Hayman, P., 146 Hayter, S. W., 165

Herman, J., 167 Hilton, R., 184 Hitchens, I., 37 Hitchens, J., 37 Heaton Cooper, A., 110 Hockney, D., 173 Holland, D., 121, 123 Holloway, E., 40 Hopkins, C., 20 Hough, L., 17 Howson, P., 46 Howard, K., 85 Hoyland, J., 3 Hughes-Stanton, B., 60 Hyatt, D., 152 I Ingham, B., 14, 16, 21 J Jamieson, A., 78 John, A., 47, 48, 49 K Knapp, S., 31 Kramer, J., 59 L Lamb, H., 63 Levine, B., 148 Lloyd, J., 84 Lloyd, R.J., 151 Lowndes, A., 67 Lowry, L. S., 69, 70. 71, 71A M Maddox, C., 24 Marriot, F., 106 Medley, R., 104 Metson, G., 186 Moore, H., 52 Morris, D., 22, 27 Myers, B., 94-102 N Napper, J., 126 Nicholson, W., 7 Nicholson, Sir W., 50 O O’Casey, B., 10 O’Rorke, R., 11 Organ, B., 182 P Paolozzi, Sir E., 175-179 Panting, J., 164, 165, 166 Parker, C., 130 Peake, M., 32, 54 Pender, J., 87 Petley, R., 112 Piper, J., 61, 79, 109, 120 Portway, D., 155 Pye, W., 172

R Raverat, L., 88 Rice, B., 158 Richards, C., 35 Ryan, A., 75, 145 Riley, B. (After), 168A S Searle, R., 147 Shepherd, D., 65 Sickert, Sir W., 51 Skeaping, J. (Manner of), 38 Smith, B. & R., 162 Smith, R., 170 Smith, S., 124, 137 Spear, R, 125, 127 Spencer, Sir S., 72, 73, 74 Steadman, R., 180 Sully, F., 2 T Tindle, 122 Topolski, F., 45 Town, N., 90 Trevelyan, J., 132 Turner Durrant, R.,23, 30 U Underwood, L., 74 W Wadsworth, P., 153 Weight, C., 68, 86 Wells, J., 18, 156 Wilsher, B., 8 Wilson, S., 28, 33 Z Zeigler, A., 77

Glossary of Picture Cataloguing Terms 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 reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1.

JMW Turner: 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.

Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

Circle of JMW <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÅML J]\ LQ[\QVK\ PIVL KTW[MTa I[[WKQI\ML with the named artist and of the period, but not necessarily his pupil.

Style of…; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

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.

The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10. Dimensions are given height before width. 11. Pictures are framed unless otherwise stated.

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1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. ,MĂ&#x2026;VQ\QWV[ For the purposes of the current Terms and Conditions, the Seller shall JM LMĂ&#x2026;VML I[ \PM W_VMZ WN \PM /WWL[ 1\ Q[ QUXTQML \PI\ \PM ;MTTMZ Q[ \PM legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. +I\ITWO]M LM[KZQX\QWV[ Any representation in any catalogue or otherwise as to the origin, date, age, attribution, genuineness or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the Catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representa-tion of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good. 1V[XMK\QWV Prior to auction, prospective purchasers are strongly advised to personally examine personally any property in which they are interested to satisfy themselves in relation to matters which may concern them. +WVLQ\QWV ZMXWZ\ CA Ltd may issue a Condition Report on request prior to the sale. <PQ[ +WVLQ\QWV :MXWZ\ Q[ NWZ QLMV\QĂ&#x2026;KI\QWV X]ZXW[M[ WVTa IVL KIVVW\ JM considered as giving a precise account of the Lotâ&#x20AC;&#x2122;s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyerâ&#x20AC;&#x2122;s sole duty to inspect in person the Lot in order be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. -TMK\ZQKIT[ )TT MTMK\ZQKIT Q\MU[ IZM [WTL I[ [MMV IVL +) 4\L Wâ&#x20AC;ŤŮşâ&#x20AC;ŹMZ[ VW O]IZIV\MM I[ \W the working condition of such items or their safety. 1\ Q[ \PM *]aMZÂź[ L]\a \W \ISM VMKM[[IZa [\MX[ \W JM I[[]ZML \PI\ \PM 4W\ is safe for normal use. -[\QUI\M[ Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the

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<ZIV[NMZ WN ZQ[S[ Purchased Lots shall be at the Buyerâ&#x20AC;&#x2122;s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

<MTMXPWVM JQL[ 1N I JQLLMZ Q[ VW\ IJTM \W I\\MVL QV XMZ[WV IV I]K\QWV +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ \W KWV\IK\ XZW[XMK\Q^M *]aMZ[ _PW UISM IZZIVOMUMV\[ prior to commencement of the sale to bid by telephone. +) 4\L KIVVW\ JM PMTL ZM[XWV[QJTM QV \PM M^MV\ WN Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\Q^Q\a resulting in the loss of a chance of purchasing the Lot for the Bidder.

/ZW]VL[ NWZ KIVKMTTI\QWV ]VLMZ \PM XZM[MV\ [MK\QWV [PITT QVKT]LM J]\ VW\ be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences WZ KMZ\QÃ&#x2026;KI\M[ IVa []J[MY]MV\ KPIVOM[ QV LWUM[\QK WZ QV\MZVI\QWVIT legislations restricting the sale of export of goods etc. 1V \PM M^MV\ WN QV\MZVM\ WVTa I]K\QWV[ \PM *]aMZ [PITT PI^M I LIa right to retract, after reception of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

1V\MZVM\ JQL[ Some sales may be available to internet bidding, as well as personal I\\MVLIVKM 1V \PQ[ M^MV\ +) 4\L [PITT VW\ JM PMTL ZM[XWV[QJTM NWZ Q[[]M[ Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\QVO KWVVMK\QWV *QLLQVO WV JMPITN WN [WUMWVM ) *]aMZ UIa JQL Ja XZW`a 1V \PQ[ M^MV\ XZWWN WN QLMV\Q\a WN JW\P \PM Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required. *QLLQVO WV IV Q\MU Bid incrementing is at the auctioneerâ&#x20AC;&#x2122;s entire discretion. >QLMW \ZIV[UQ[[QWV For the purpose of the sale, Lots may be displayed on video during the I]K\QWV 1V \PM M^MV\ WN \ZIV[UQ[[QWV Q[[]M[ +) 4\L [PITT VW\ JM PMTL responsible for any subsequent outcome. ! 7VTQVM WVTa I]K\QWV[ Some auctions may be available to bidders only through an online XTI\NWZU 1V \PQ[ M^MV\ *]aMZ[ PI^M I LIa XMZQWL I\ ZMKMX\QWV WN \PM Lot to withdraw from the sale, in accordance with EU Consumer Law. ,Q[X]\M ZM[WT]\QWV L]ZQVO \PM I]K\QWV Any dispute shall be settled at the auctioneerâ&#x20AC;&#x2122;s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping.

+IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer. The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation. 1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer. 4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZÂ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZÂ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 WN -+ ;\IVLIZL =3 >)< _QTT JM KPIZOML WV \PM J]aMZ[Â¼ premium and invoiced on an inclusive basis. â&#x20AC; : Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and XTIKML ]VLMZ \PM <MUXWZIZa )LUQ[[QWV ZMOQUM 1UXWZ\ >)< Q[ XIaIJTM I\ WV \PM PIUUMZ XZQKM >)< I\ _QTT JM ILLML \W \PM J]aMZÂ¼[ premium but will not be shown separately on the invoice.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show [I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd. +WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P Â»)::Â¼ UIa JM []JRMK\ \W I TMâ Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\Â¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots [MTTQVO JMTW_ \PM [\MZTQVO MY]QÎTMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]QÎTMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;«Ùºâ&#x20AC;¬MZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;¢ To cancel the sale â&#x20AC;¢ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;¢ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;«[Ùºâ&#x20AC;¬M\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s ^IT]M M`KMML[ \PM -= \PZM[PWTL =VLMZ =3 4I_ I TQKMVKM UIa IT[W JM required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQÃ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVÃ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of

some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[ 4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them. CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value. 1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ )ZKPIMWTWOQKIT OWWL[ NW]VL WV =VQ\ML 3QVOLWU [WQT WZ QV =3 \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination. 7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M *W\P -]ZWXMIV =VQWV IVL =3 4QKMVKM[ UIa JM ZMY]QZML [QU]T\IVMW][Ta NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZÂ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the

OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone. 1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only. -[\QUI\ML _MQOP\[ 1N I [\WVMÂ¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[Â¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZÂ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic. Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ ! According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements

is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. GLOSSARY OF PICTURE CATALOGUING TERMS 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 reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMW Turner: 1V W]Z WXQVQWV I _WZS Ja \PM IZ\Q[\ ?PMV \PM IZ\Q[\Â¼[ 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. )\\ZQJ]\ML \W 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja \PM artist, but less certainly as to the authorship expressed than in the preceding category. ;\]LQW WN 25? <]ZVMZ" 1V W]Z WXQVQWV XZWJIJTa I _WZS Ja IV unknown hand in the studio of the artist, which may or may not have been executed under the artistâ&#x20AC;&#x2122;s direction. +QZKTM WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÃ&#x2026;ML but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. ;\aTM WNÂ°# .WTTW_MZ WN 25? <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja I painter working in the artistâ&#x20AC;&#x2122;s style, but not necessarily his pupil. 6 Manner of JMW Turner: 1V W]Z WXQVQWV I _WZS QV \PM [\aTM WN \PM artist and of a later date. 7 After JMW Turner: 1V W]Z WXQVQWV I KWXa WN IVa LI\M WN I SVW_V work of the artist. 8 <PM \MZU Â»[QOVMLÂ¼ IVL WZ Â»LI\MLÂ¼ IVL WZ Â»QV[KZQJMLÂ¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV IZM NZWU \PM PIVL of the artist. 9 <PM \MZU Â»_Q\P [QOVI\]ZMÂ¼ IVL WZ Â»_Q\P LI\MÂ¼ IVL WZ Â»_Q\P QV[KZQX\QWVÂ¼ UMIV[ \PI\ QV W]Z WXQVQWV \PM [QOVI\]ZM IVL WZ LI\M IVL WZ QV[KZQX\QWV have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;bindingsâ&#x20AC;&#x2122;. 12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM Ã&#x2026;TT TM^MT For the purposes of the present Terms and Conditions, the â&#x20AC;&#x2DC;Fill Levelâ&#x20AC;&#x2122; refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of IV Â»IKKMX\IJTMÂ¼ Ã&#x2026;TT TM^MT NZWU +) 4\L CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyerâ&#x20AC;&#x2122;s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÃ&#x2026;KITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÃ&#x2026;KI\M[ UIa JM ZMY]QZML >MZQÃ&#x2026;KI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM Mâ&#x20AC;«Ùºâ&#x20AC;¬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM Iâ&#x20AC;«Ùºâ&#x20AC;¬MK\ML WZ QUXIQZML I[ I ZM[]T\ 16. AMENDMENTS

.QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM Ã&#x2026;MTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÃ&#x2026;ML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. 6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I Â»NWZOMZaÂ¼ Q[ LMÃ&#x2026;VML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÃ&#x2026;\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO QV connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

AN INVITATION TO CONSIGN FOR

British & European Fine Art

OTAKAR KUBIN - (OTHON COUBINE) (CZECH 1883 - 1969) Paysage Printemps, Signed lower right, Oil on canvas Realised Â£18,750 incl premium, October 2018

Closing for entries 15 January 2019 FOR A COMPLIMENTARY VALUATION CONTACT Head of Department, Suzanne Zack suzanne@chiswickauctions.co.uk

06MARCH 2019

AN INVITATION TO CONSIGN FOR

Old Master Paintings

AFTER DOMENICO ZAMPIERI, IL DOMENICHINO A Sibyl, oil on canvas Estimate: Â£5,000-8,000

Closing for entries 18 January 2019 FOR A COMPLIMENTARY VALUATION CONTACT Head of Sale, Melissa van Vliet melissa.vanvliet@chiswickauctions.co.uk

20MARCH 2019

SPECIALISTS

ANTIQUITIES & TRIBAL ART Alice King, Head of Department alice.king@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department sarah@chiswickauctions.co.uk

ARMS, ARMOUR & MILITARIA Matt Easton, Specialist matt.easton@chiswickauctions.co.uk

Innez Flynn, Specialist QVVMb ÆaVV(KPQ[_QKSI]K\QWV[ KW ]S

ASIAN ART Lazarus Halstead, Head of Department lazarus@chiswickauctions.co.uk

Lissa Holmes, Specialist lissa.holmes@chiswickauctions.co.uk PHOTOGRAPHICA

Austin Farahar, Specialist Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk

austin.farahar@chiswickauctions.co.uk RARE BOOKS & WORKS ON PAPER

Clive Moss, Head of Department clive.moss@chiswickauctions.co.uk

CONTEMPORARY & URBAN ART Harry Parkinson, Sales Coordinator harry@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist

DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk

nicholas@chiswickauctions.co.uk

carmen.donia@chiswickauctions.co.uk

Nicholas Worskett, Specialist

Valentina Borghi, Head of Sales - Autographs & Memorabilia valentina.borghi@chiswickauctions.co.uk

EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department rachael@chiswickauctions.co.uk FINE ART Suzanne Zack, Head of Department suzanne@chiswickaucions.co.uk Rohan McCulloch, Specialist rohan@chiswickauctions.co.uk Krassi Kuneva, Head of Sales - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sales - Old Masters melissa.vanvliet@chiswickauctions.co.uk GUITARS & MUSICAL INSTRUMENTS Dr. David MacGregor, Specialist david@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Sales beatrice.campi@chiswickaucions.co.uk

RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department john.rogers@chiswickauctions.co.uk WATCHES Matthew Caddick, Head of Department matt@chiswickauctions.co.uk Tomas Aznar, Specialist tomas.aznar@chiswickauctions.co.uk WINE & SPIRITS Peter Mansell, Head of Department peter.mansell@chiswickauctions.co.uk

SALE CALENDAR

JANUARY

TUESDAY Ceramic & Glass Fine Rugs & Carpets Interiors & Design

WEDNESDAY Rare Books & Works on Paper

MONDAY Arms, Armour & Militaria

FEBRUARY

TUESDAY Jewellery Watches Interiors & Design

WEDNESDAY Designer Handbags & Fashion

TUESDAY Asian Art Interiors & Design

WEDNESDAY Rare Books & Works on Paper

THURSDAY Autographs & Memorabilia

Modern & Post-War British Art 12 December 2018

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Modern & Post-War British Art London 12th December 2018