Chiswick-Auctions-The-Delighted-Eye-Part-II-Freer-Collection-25 February by Chiswick Auctions

The Delighted Eye Part II Works from the Collection of Allen & Beryl Freer 25 February 2021

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Specialists Krassi Kuneva Head of Sale Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

Adrian Biddell Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

Clive Moss Head of Department Books, Manuscripts & Works on Paper clive.moss@chiswickauctions.co.uk

Liz Winnicott FGA DGA Head of Valuations Interiors, Homes & Antiques liz.winnicott@chiswickauctions.co.uk

Madeleine White Senior Cataloguer & Coordinator Modern & Post-War British Art Urban & Contemporary Art madeleine.white@chiswickauctions.co.uk

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The Delighted Eye Part II Works from the Collection of Allen & Beryl Freer Session I: Lots 1 -137 to be found in this catalogue. Session II: Lots 138-398 Can be viewed at chiswickauctions.co.uk

Thursday 25 February 2021, 11am

All lots with a high estimate below £500 will be offered without a reserve Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am – 6pm up until close of business on Friday following the sale. Cites Please be aware that all lots marked with the symbol λ are subject to CITES regulations. Please see our Terms & Conditions for more information. Artist’s Resale Right/Droit De Suite Lots marked with ARR indicates that an additional levy may apply for this lot. Please see our Terms & Conditions for more information. Photography Steven McCauley Basak Ulukose

Front Cover Lot 5 Back Cover Lot 28 Index Lot 9 Inner spreads Lots 14, 103

We are grateful for the assistance with cataloguing to Emily Feibusch. Thank you also to Molly Guerney and Eleanor Garthwaithe. Chiswick Auctions is immensely grateful for the support, dedication and enthusiasm of Dr Catharine Davies and Mary Freer, whose knowledge of and passion for their parents’ collection has been the inspiration behind this sale. 7

Building the Collection I was eighteen before I went into a house with pictures ... I was entranced not only with the books and pictures but with the total ambiance. Then and there I knew that when the War was over, I wanted a room like this one, with books and paintings and engravings and bits of old and new furniture keeping each other company. Allen Freer, unpublished MS, c1978. Indeed, he more than succeeded in achieving this intention, as Catharine Davies, the Freers’ elder daughter recalls: ‘There were no empty spaces — pictures were even hung on the sides of bookcases and beside windows. Having a mirror or a cupboard was much more of an issue for us as girls growing up — that meant a challenge to much needed wall space!’ ‘Have nothing in your house which you do not know to be useful or believe to be beautiful’. Morris’s well-known dictum was very dear to my father’s heart, but he put his emphasis on the second part of the phrase, sometimes, oddly, to the exclusion of the first part. The grouping of furniture, ceramics, pictures and books was continued throughout the house – the pictures were the focal point but living room, bedrooms hall and staircase were crammed with incident’. While reading English Literature at Cambridge, Allen came to know Jim Ede of Kettle’s Yard, who had a strong influence on his future philosophy of art and poetry. An educator throughout his life, and by turns a publisher, patron, curator, writer, editor, and artist and craftsman, like Ede, Allen Freer was a true pioneer of culture. In his role as Inspector of Schools for English in Manchester he was committed to guaranteeing that art and poetry were integrated as part of the school curriculum. He purchased or commissioned art on behalf of Manchester City Council to be used as teaching resources. He made friends with poets and writers, including Ted Hughes, Alan Brownjohn, Anthony Thwaite and Charles Causely, and invited them to give readings and workshops in local schools. Allen shared his passion for art and literature with his wife Beryl. As a schoolgirl Beryl had won a catalogue of the National Gallery collection and she collected cards featuring artworks. As a history student at Bedford College, London, just after the war, she recalls the intensity of seeing the National Gallery pictures returning from their refuge in the slate quarries of North Wales to be viewed one at a time as examples of the great works of European art. The Freers began collecting following Allen’s early interest in printmaking. Allen’s first purchase was an original lithograph by Vanessa Bell in 1951. Gradually they acquired pictures by artists including David Jones, John Nash, Eileen Agar, Eric Ravilious, Edward Wadsworth, Sir Terry Frost and Eric Gill, and built a considerable collection of leading British printmakers. ‘The artist and his/her world was just as important as a purchase, and many became friends’, recalls Mary Freer, the couple’s younger daughter. Beryl’s parents’ move from Leicester to Lowestoft marked the beginning of a family tradition of Easter and summer holidays in Suffolk. This played a significant role in the family getting to know John Nash, Josef Herman, Mary and Tessa Newcombe and Blair Hughes Stanton.

Allen was an active force in publishing several volumes of text and image and organised exhibitions of the work of the artists he most admired, including Winifred Nicholson, John Nash and Edward Bawden. He published a monograph on Nash, one of his favourite artists: John Nash, The Delighted Eye in 1993 (the title is taken from a poem by W.B. Yeats), and later curated an exhibition of Nash’s work for Manchester Cathedral. He continued his research on the artist and in 2007 he published Love Letters from the Front: John Nash to Christine Kühlenthal, France 1916-1917 (The Cyder Press, University of Gloucestershire). In later years, Allen and Beryl would follow their passion for art and travel, touring Europe, Russia and America, making many new friends and filling their ‘sixties detached house in Cheadle south of Manchester with treasures. Private press books filled with illustrations by their favourite artists were an integral part of the collection. Lustreware and modern studio ceramics and glass were also particular favourites. Allen’s own bookbinding and examples of his wood turning sat alongside pieces by renowned artists and craftsmen. Art historians, curators and collectors came to visit and several of the pictures went on tour in exhibitions organised by leading public galleries such as Pallant House in Chichester, Dulwich Picture Gallery and Abbot Hall, Kendal. Things did not stand still – walls were frequently rehung and old works looked different in new positions. Their love of the collection was shared by many visitors: Beryl’s talents as a cook and hostess were considerable. ‘Mrs Freer’s lunches’ became a vital part of the invitation to ‘come and see the pictures’, remembers Catharine and continues: ‘That is how I will always remember this place, these pictures, this collection, as a lively and vivacious creation, a series of interactions of pictures, objects and people.’ The auction opens the door to a life full of art and culture. Session I (Lots 1-136) is featured in this catalogue. Session II (Lots 137-398) are at the end of this catalogue and the full list can be viewed at www.chiswickauctions.co.uk

1 ARR

SIR TERRY FROST, R.A. (1915–2003) Untitled signed Frost (on the reverse) watercolour and collage 22.5 x 11.5 cm (9 x 4 1/2 in) Executed in the mid-1980s PROVENANCE: A gift from the artist £700 - £1,000

See page 7 for more information regarding fees

2 ARR

SIR TERRY FROST, R.A. (1915–2003) Untitled signed Frost (on the reverse) linocut and collage 10 x 23 cm (4 x 9 in) Executed in 1990 PROVENANCE: A gift from the artist £700 - 1,000

3 ARR

KEITH VAUGHAN (1912–1977) A mandolin; Fruit signed and dated twice Keith Vaughan 1950 (lower right) ink (i) 9 x 9.5 cm (3 1/2 x 3 3/4 in) (ii) 4.5 x 4.5 cm (1 3/4 x 1 3/4 in), mounted and framed together (2)

PROVENANCE: A gift from the artist LITERATURE: A. Freer, Persons Places and Things, vol. 2, Cambridge, 1969, p. 138, illustrated £700 - 1,000

See page 7 for more information regarding fees

4 ARR

KEITH VAUGHAN (1912–1977) Boy and a boat signed and dated Keith Vaughan 1949 (lower right) ink 12.2 x 14.2 cm (4 3/4 x 5 1/2 in PROVENANCE: Purchased directly from the artist LITERATURE: A. Freer, Persons, Places, and Things: vol. 2, Cambridge,1969, p.147, illustrated £800 - 1,200

5 ARR

EILEEN AGAR, R.A. (1904–1991) Spiral head signed AGAR (lower right) pencil and gouache 34.2 x 24.7 cm (13 1/2 x 9 3/4 in) Executed in 1954 PROVENANCE: Acquired from the artist £1,000 - 2,000

“The fantastic heads of mythical personae that she painted must have had their beginnings in the heads carved in the intaglios. Heads have always been a source of fascination and inspiration to Agar ever since she painted her self-portrait...in the midtwenties... They blossomed forth in vibrant colours with their dynamic form and communicated her delight in the design of old stones.” Allen Freer (from Eileen Agar – Angel of Audacity, unpublished manuscript, 1998)

See page 7 for more information regarding fees

6 ARR

EILEEN AGAR, R.A (1904–1991) Two sleeping Gauchos - a memory of the Argentine signed AGAR (lower right) pencil, pastel, gouache, collage, unframed 12.5 x 7.8 cm (5 x 3 1/4 in) Executed in 1956

PROVENANCE: A gift from the artist £500 - 700

7 ARR

EILEEN AGAR, R.A. (1904–1991) The Dancer signed AGAR (lower right) pencil, ink, watercolour and pastel 32 x 24.5 cm (12 3/4 x 9 3/4 in)

This work has been promised for the forthcoming retrospective exhibition Eileen Agar: The Angel of Anarchy at the Whitechapel Gallery, London, spring 2021 £1,000 - 2,000

See page 7 for more information regarding fees

8 ARR

EILEEN AGAR, R.A. (1904–1991) The Guardians of the Shrine signed and dated AGAR/1987 (lower right) pencil, watercolour and collage 18 x 24 cm (7 x 9 1/2 in) £1,200 - 1,800

PROVENANCE: Acquired from the artist EXHIBITED: Chichester, Pallant House Gallery, Eileen Agar: An Eye for Collage, 2008 This work has been promised for the forthcoming retrospective exhibition Eileen Agar: The Angel of Anarchy at the Whitechapel Gallery, London, spring 2021

9 ARR

EILEEN AGAR, R.A. (1904-1991) The Italian girl signed and dated Eileen/Agar ‘27 (lower right) pencil and oil on paper 55 x 29 cm (21 3/4 x 11 1/2 in) PROVENANCE: Acquired from the artist EXHIBITED: Chichester, Pallant House Gallery, Eileen Agar: An Eye for Collage, 2008 This work has been promised for the forthcoming retrospective exhibition Eileen Agar: The Angel of Anarchy at the Whitechapel Gallery, London, spring 2021 £1,000 - 2,000

See page 7 for more information regarding fees

10 ARR

EILEEN AGAR, R.A. (1904–1991) The football field at Puerto, Tenerife signed AGAR (lower left) ink, watercolour and pastel, unframed 16 x 21.5 cm (6 1/4 x 8 1/4 in) Executed in 1956 £600 - 800

“The Canary Isles themselves – the Fortunate Isles of myths and legends – fascinated her [Agar] in not only the harsh, surreal, empty expanses of sand, dry stones and tufa in the south of Tenerife, but also the lush vegetation to the north of the island. Surreal shapes of plants and trees recalled Hieronymous Bosch’s Garden of Earthly Delights and she later incorporated these new images into her paintings. The jewel- like small studies that she made in Tenerife testify to a new-found sense of delicacy and gaiety in the handling of watercolour.” Allen Freer (from personal notes provided by the family) For other works relating to the same subject matter, please see lots: 69, 70, 72 and 77

EDWARD WADSWORTH (1889–1949) Townscape, Northern Town woodcut, unframed image: 10.5 x 9.5 cm (4 1/4 x 3 3/4 in) sheet: 16 x 14 cm (6 1/4 x 5 1/2 in) Originally published in 1921

EDWARD WADSWORTH (1889–1949) Cactus still life woodcut, unframed image: 15.2 x 10 cm (6 x 4 in) sheet: 19 x 13.5 cm (7 1/2 x 5 1/4 in) Originally published in 1921

£1,000 - 2,000

See page 7 for more information regarding fees

EDWARD WADSWORTH (1889–1949) Wapping woodcut, unframed image: 11.6 x 14 cm (4 1/2 x 5 1/2 in) sheet: 15.5 x 17.7 cm (6 x 7 in) Originally published in 1921 £1,000 - 2,000

EDWARD WADSWORTH (1889-1949) Landscape - West Riding wood engraving, unframed image: 6.3 x 10.2 cm (2 1/2 x 4 in) sheet: 11 x 13 cm (4 1/4 x 5 in) Originally published 1921 £1,200 - 1,800

EDWARD WADSWORTH (1889-1949) Tugs wood engraving, unframed image: 8.7 x 9 cm (3 1/2 x 3 1/2 in) sheet: 14.5 x 14.5 cm (5 3/4 x 5 3/4 in) Originally published in 1921 £2,000 - 4,000

See page 7 for more information regarding fees

EDWARD WADSWORTH (1889-1949) Platelayers Sheds wood engraving, unframed image: 7.8 x 7.7 cm (3 x 3 in) sheet: 13.7 x 14 cm (5 1/4 x 5 1/2 in) Originally published in 1921 £1,500 - 2,500

EDWARD WADSWORTH (1889-1949) Minesweepers wood engraving, unframed image: 5 x 13.5 cm (2 x 5 1/4 in) sheet: 9 x 17.4 cm (3 1/2 x 6 3/4 in) Originally published in 1921 £1,500 - 2,500

Allen Freer – the making of an artist I have always loved painting and drawing. I have always loved paintings and drawings. I paint and I draw. At my Grammar School I liked the Art lessons but unfortunately fell foul of the Art Master and lost my nerve as a draughtsman and as a painter. I cannot recall drawing or painting between the ages of sixteen and thirty-five, though I did other things: learned to bind books and to turn wood. At thirty-five I went to a kind of art class during the lunch hours at the school in which I taught, feeling that if I allowed myself the time and opportunity I might once again paint and draw. And it was so. I have drawn and painted for the last twenty odd years. I cannot remember visiting art galleries before I was sixteen. I often wonder why I did not do so. The only gallery I visited was in Leicester, which had a fine collection of paintings. It was there that I first saw the work of the German Expressionist painters which made a deep impression on me. I think I ought to say that these were the first serious paintings that really registered on my consciousness. I must however mention one more influence that cannot be overlooked. Whatever the art master’s shortcomings, he cared much for his subject …. And it was he who drew our attention to the ‘Art’ supplement in the new popular periodical, ‘Picture Post’. Each week this periodical, aimed, be it noted, at a mass public, produced a supplement on art paper of half a dozen or so reproductions of Great British Painting – from Hogarth to Wyndham Lewis. Sir John Rothenstein supplied the commentary. I took Picture Post simply to have these supplements. Forty-five years later I still have most of them. It was these pictures that really initiated me into British painting... Allen Freer (From Allen Freer: manuscript about the earliest recollections of art in his life, written circa 1978.) An accomplished watercolourist, Allen’s work was published to illustrate both poetry and prose, and has been part of mixed shows at Agnew’s, the New Grafton Gallery, Spink and Sons, Robin Garton and with Austin/Desmond Fine Art. He also had solo shows at the Tib Lane Gallery in Manchester between 1970 and 1982. Allen Freer’s works are characterised by subtle colour. Their subject matter, composition and form are informed by his beloved artists. Most painted places are experienced first-hand. Their compositions are full of movement, capturing the spirit of place of each landscape. A group of works by Allen are also to be found in Session II (Lots 239-245)

ALLEN FREER (B. 1926) On the Dove, Derbyshire signed Allen Freer (lower right) and signed and inscribed On the Dove, Derbyshire/ Allen Freer (on the reverse) ink and watercolour 13 x 16 cm (5 1/4 x 6 1/4 in) £100 - 200

ALLEN FREER (B. 1926) Millers Dale signed Allen Freer (lower right) ink and watercolour 16.2 x 15 cm (6 1/4 x 6 in) £150 - 250

See page 7 for more information regarding fees

ALLEN FREER (B. 1926) Derbyshire in winter signed Allen Freer (lower centre), signed again and inscribed Derbyshire in Winter/ Allen Freer (on the reverse) watercolour 5 x 26 cm (2 x 10 1/4 in)

ALLEN FREER (B. 1926) A rocky landscape at evening signed Allen Freer (lower right) ink and watercolour 9.5 x 26.7 cm (3 3/4 x 10 1/2 in) £150 - 250

£100 - 200

ALLEN FREER (B. 1926) Seven Sisters of Kintail signed Allen Freer (lower left), inscribed Seven Sisters of Kintail (on the reverse) ink and watercolour, unframed 23 x 32.3 cm (9 x 12 3/4 in) £200 - 300

ALLEN FREER (B. 1926) A rainy day in Derbyshire signed Allen Freer (lower right) ink and watercolour 12.5 x 15.5 cm (4 3/4 x 6 1/4 in) £100 - 200

See page 7 for more information regarding fees

ALLEN FREER (B. 1926) Gordale Scar, Yorkshire signed Allen Freer (lower left), signed again and inscribed Gordale Scar, Yorkshire/ Allen Freer (on the reverse) ink, watercolour and chalk 42 x 26 cm (16 1/2 x 10 in) £250 - 350

ALLEN FREER (B. 1926) Near Market Harborough ink and watercolour 12 x 16 cm (4 3/4 x 6 1/4 in) £150 - 250

Memories of an Eclectic Collector Chairs.... many chairs. Dad had a great appreciation of good chairs. For a modest house, the dining room contained twelve or so and each came with a story. Surrounding the large dining table were the Gardiner chairs of which he was most proud: five bespoke ladder-back chairs made in the 1950s for him by Edward Gardiner, who was trained by Ernest Gimson, a craftsman who was in the thick of the Arts and Crafts movement. Unusually these are made from yew rather than the standard ash or oak. A sixth carver chair to complete the set was made by Neville Neal (Gardiner’s apprentice and successor) in the 1970s. There were also a number of Windsor chairs (some of which we’ve kept) but they each also had a story including the purchase of two from Mr Ernest Goodchild, a craftsman who was at the time described as ‘one of England’s last bodgers’ (chairmakers). My father was of an age to meet some of the finest of countryman craftsmen and to learn from them. Dad wasn’t just a buyer; he was also a craftsman in his own right and learned some elements of cabinetmaking. The other chairs of note were two late 18th century armchairs which he inherited from Harold Massingham’s widow, Penelope. They were in a grotty state when acquired but he heaped love and attention upon bringing them back to their former glory. On my desk I have a lovely smooth glassy piece of lignum vitae which has long been waiting to be turned. Dad was interested in wood, its appearance, properties and uses. He learned turning and several examples of his work are to be found in the sale. He taught us how to identify different woods, so much so that a mis- identified wood causes me to grit my teeth!

Like any collection, there are good, better and best. Probably the finest piece being a c.1760 chest on chest or tallboy which bears an uncanny resemblance to a tallboy at Nostell Priory attributed to Chippendale. It was one of Dad’s real ‘finds’, acquired for the princely sum of £28 in the early 1960s, from a rather unpromising antique shop in Southwold. It was in a sorry state, filthy but complete. I don’t remember it arriving, but Mum apparently was none too pleased! Dad had to set too with soap and water before being able to restore the lustre of the flame mahogany which lay beneath. Dad was a great polisher in his day, ‘be sparing with the polish’, and it was his version of a workout. It became a much-loved piece of furniture which stood in my parents’ bedroom thereafter. There is a useful ‘slide’ between the two halves where Dad would rest a picture or two to contemplate. It was also the place where Dad would hide small but expensive acquisitions until an appropriate moment arrived to reveal them... Hugh Birkett (1919 – 2002), cabinet maker, was also known to Dad. He was based in the Cotswolds and drew upon the Arts and Crafts movement for his designs. We had several pieces by Hugh, including a glazed bookcase, a music stool and a selection of boxes included in this sale. Hugh detested bulbous Victorian furniture. However, it did provide him with a rich source of seasoned quality timber which he re-used to make his much more refined pieces. Some furniture was always there... the huge oak chest, which always stored spare quilts and had a particular creak when you opened the lid. The beautifully designed nest of two tables made from a felled walnut tree Dad located in a field and designed and made with Anthony Holme Barnett (1927 – 2014). The rosewood display cabinet, previously owned by my grandparents. Its position in their house had been next to where Grandpa had installed an indoor swing ... ‘mind the glass girls!’. The small round 19th century table – given to Dad by his aunt for his room at Cambridge in his student days. And the splendid, solid mahogany bureau, forever full of correspondence.

The furniture did not stand alone. Such was Dad’s collecting that all surfaces were required ... and still there were stacks! Dad sold a large collection of 20th century studio pottery before his health deteriorated but somehow, there still wasn’t any more space. Sunderland ware formed a large part of Dad’s collecting when we were children. He could spot a piece of pink lustre miles away. Journeys were often interrupted by the brakes going on and Dad having to nip into antique shops to rescue a saucer, a cup, a jug. Never happier than coming out with a small package to be opened in the car. They formed highly decorative and cosy patterns on our walls before the paintings and drawings took centre stage. We were frequently taken into these shops, which seemed to me as a child, to be run by a series of fierce, rather scary women. Dad was never put off... he had come to look, and his daughters wouldn't touch anything. He told us never to be put off. ‘Be careful! Use these places to educate yourselves.’ So I learned more from the antique shops of England than I ever would from a book. Best of all was spotting a fake! My father loved collecting and looking back, his achievement was remarkable. He made substantial collections of paintings and drawings and prints, 20th century studio pottery, glassware from 18th century to 20th century, an eclectic ceramic collection, antique and bespoke contemporary furniture, antiquarian and fine press books not to mention his collection of pipes. Not all these items have made it to this sale. Dad would be quite pragmatic and when funds were needed things would be sold. Sometimes it was simply a matter of space! All in all, I received a wonderful education in the arts. I remember a visitor turning to me and saying, “do you have any idea how lucky you are?”. Yes I did and I still do. Mary Freer, November 2020

A SET OF FIVE COTSWOLD SCHOOL YEW WOOD LADDER BACK DINING CHAIRS BY EDWARD GARDINER with rush seats. 110cm high x 46.5cm wide x 47cm deep Together with a similar yew wood carver, by Neville Neal after a design by Ernest Gimson. 115cm high x 61cm wide x 51cm deep (6) Philip Clissett (1817-1913) a chair maker taught Ernest Gimson (1864-1919) how to make this model. Gimson established his workshop in Daneway, Gloucestershire in 1900 with Edward Gardiner (1880-1958) as chair maker £500 - 800

See page 7 for more information regarding fees

A TWELVE SIDED BRUYERE WOOD AND EBONY CASKET AND COVER BY HUGH BIRKETT, BRITISH, (1919-2002) The cover with a pear shaped finial, applied with wedge shaped segmented panels, with conforming rectangular panels to base, on a moulded foot, stamped to base, 19 H.B 86, 25cm high, 30.5cm diameter, together with a pair of hexagonal bruyere wood panelled boxes and covers by Hugh Birkett, with facetted finials and a pair of square briar wood and walnut square caddies and covers by Hugh Birkett, all stamped to the bases, the hexagonal boxes 25cm high, the caddies 13cm high (5) Hugh Birkett was a furniture maker and master craftsman who was influenced by the work of both Ernest Gimson and Edward Barnsley. He set up his own workshop in 1949 in Solihull and then moved to Moretonin-Marsh in 1966, where he continued to work making furniture in the Arts and Crafts tradition. £200 - 400

AN ELM AND YEW WINDSOR CHAIR BY H. ERNEST GOODCHILD, circa 1940, with curved back over a central splat pierced vase form above a perced heart shape flanked by spindles, with curved arms and downswept Shepherd’s Crook supports, with a shaped elm seat, on cabriole legs, joined by a crinoline stretcher, bears inscription to the underside of the seat ‘This chair was made by H E Goodchild of Naphill for the writer H J Messingham in the 1940’s. It was given to me in his will by his widow Penelope who died in July 2004’. 103cm high x 57cm wide x 41.5cm deep Notes: This chair was made for H. J. Messingham, author of Men of Earth, op. cit., chapter VII. £400 - 600

CIRCLE OF SAWRY GILPIN, R.A. (1733-1807) Pastoral landscape oil on canvas 71 x 91.5 cm (28 x 36 in) PROVENANCE: Bequest of Mrs. Penelope Massingham £800 - 1,200

A GEORGE III CHINESE CHIPPENDALE MAHOGANY CHEST ON CHEST, with a dentil moulded cornice above blind fretwork frieze with conforming canted corners, flanking three short and three long graduated drawers with metal rococo handles and escutcheons, the lower section with brushing slide above three long graduated drawers on bracket feet. 187cm high x 110cm wide x 53cm deep £500 - 800

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31 ARR

TESSA NEWCOMB (B. 1955) White Cyclamen signed and dated TN 80 (lower right), signed again and inscribed Tessa Newcomb/ White Cyclamen (on the reverse) oil on board 59 x 59 cm (23 x 23 in) PROVENANCE: Acquired from the artist £400 - 600

A GEORGE III STYLE MAHOGANY GAINSBOROUGH CHAIR with a serpentine crested rectangular back, and square seat, with padded open arms raised on square legs joined by an H stretcher. 100cm high x 71cm wide x 74cm deep £80 - 120

33 ARR

IVON HITCHENS (1893–1979) Reclining nude ink 19 x 32 cm (7 1/2 x 12 1/2 in) PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner EXHIBITED: Kendal, Abbot Hall Art Gallery, Ivon Hitchens, Figure Studies, April 1993, no. 6 £500 - 700

34 ARR

IVON HITCHENS (1893–1979) Standing nude signed and dated I.H. 2.8.67 (lower left) charcoal 32 x 19 cm (12 1/2 x 7 1/2 in) PROVENANCE: Acquired from the artist £500 - 700 35 ARR

IVON HITCHENS (1893–1979) Recumbent nude, resting ink 31 x 48 cm (12 1/4 x 19 in) Executed in the late 1930s. It has been suggested that the sitter may be Ivon’s wife, Mollie. PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner in 1979 EXHIBITED: Kendal, Abbot Hall Art Gallery, Ivon Hitchens, Figure Studies, April 1993, no. 3 This work was reproduced on the cover of the wxhibition catalogue published in 1995. £500 - 700

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36 ARR

37 ARR

38 ARR

IVON HITCHENS (1893–1979) Seated male nude with left leg raised ink and wash 32 x 19 1/2 cm (12 1/2 x 7 3/4 in) Executed in 1962

IVON HITCHENS (1893–1979) Recumbent nude dated 1.9.68 (lower left) brown conté 20 x 25 cm (8 x 9 3/4 in)

IVON HITCHENS (1893–1979) Nue allongé watercolour 18 x 32 cm (7 x 12 1/2 in)

PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner

PROVENANCE: Acquired from the artist

EXHIBITED: Kendal, Abbot Hall Art Gallery, Ivon Hitchens Figure Studies, April 1993, no. 11

EXHIBITED: Kendal, Abbot Hall Art Gallery, Ivon Hitchens Figure Subjects, April 1993, no. 9

£500 - 700

PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner EXHIBITED: Kendal, Abbot Hall Art Gallery, Ivon Hitchens Figure Subjects, April1993, no. 16 £600 - 800

39 ARR

IVON HITCHENS (1893–1979) Iso Glensen in Goldberg Variations inscribed and dated Iso Glensen in Goldberg Variations Sep 1945 (lower right) ink 11.9 x 19cm (4 3/4 x 7 1/2 in) £200 - 400

40 ARR

EILEEN AGAR, R.A (1904–1991) Portrait of Hugh Mackintosh signed and dated AGAR/1927 (lower right) pencil, unframed 27 x 21 cm (10 1/2 x 8 1/4 in) Hugh Mackintosh was the artist’s brother-inlaw PROVENANCE: A gift from the artist £500 - 700

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41 ARR

LEONARD ROSOMAN, R.A. (1913-2012) Studies of Robert Helpman signed and dated Leonard Rosoman 1949 (lower right) ink, unframed image: 25.3 x 19.5 cm (10 x 7 1/2 in) sheet: 34 x 27.1 cm (13 1/4 x 10 1/2 in) PROVENANCE: Acquired from the artist £200 - 400

42 ARR

DAVID JONES (1895–1974) Study of a girl brown ink 32 x 20 cm (12 1/2 x 7 3/4 in) Executed circa 1948 PROVENANCE: with Austin Desmond Fine Art, London, where purchased by the present owner £1,000 - 2,000

43 ARR

IVON HITCHENS (1893–1979) Afternoon in the sitting room pencil and watercolour 24 x 31 cm (9 1/2 x 12 1/4 in) PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner in 1979 £700 - 1,000

44 ARR

MARY NEWCOMB, R.A. (1922–2008) We visit the great house, Heveningham, Suffolk signed MN (lower right) pencil and watercolour 16 x 28 cm (6 1/4 x 11 in) PROVENANCE: A gift from the artist £600 - 800

45 ARR

JOHN NASH, R.A. (1893–1977) The edge of the spinney pencil and watercolour 8 x 52.5 cm (3 x 20 3/4 in) Executed circa 1925 PROVENANCE: A gift from the artist, Easter 1975 £500 - 700

See page 7 for more information regarding fees

46 ARR

TESSA NEWCOMB (B. 1955) Lavender in a mug signed and dated TN 90 (lower right) oil on board 45 x 58 cm (17 3/4 x 23 in) PROVENANCE: Acquired from the artist £700 - 1,000

47 ARR

MARY NEWCOMB, R.A. (1922–2008) Windmill signed MN (lower right) pencil, unframed 21 x 19.5 cm (8 1/2 x 7 3/4 in) PROVENANCE: A gift from the artist £400 - 600

48 ARR

IVON HITCHENS (1893–1979) Still life composition pencil, ink and chalk on tracing paper 12 x 22 cm (4 3/4 x 9 in) Executed in 1932 PROVENANCE: Mollie Hitchens (the artist’s wife), from whom purchased by the present owner £800 - 1,200

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49 ARR

JOHN NASH, R.A. (1893-1977) Norfolk Chalkpit signed John Nash (lower left) pencil and watercolour, annotated 35 x 45 cm (13 3/4 x 17 3/4 in) PROVENANCE: A gift from the artist £800 - 1,200

50 ARR

51 ARR

JOHN NASH, R.A. (1893–1977) House Leek and flints signed John Nash (lower left) JN. (lower right), inscribed House Leek & flints (upper left) ink and watercolour 25.5 x 21 cm (10 x 8 1/4 in)

JOHN NASH, R.A. (1893–1977) Salvia Coccinea signed John Nash (lower left) pencil and watercolour 42 x 24 cm (16 1/2 x 9 1/2 in)

PROVENANCE: Acquired from the artist LITERATURE: A. Freer, John Nash The Delighted Eye, Cambridge, 1993, p. 109, illustrated

PROVENANCE: Acquired from the artist LITERATURE: A. Freer, John Nash: The Delighted Eye, Cambridge, 1993, p. 84 £600 - 800

£600 - 800

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52 ARR

ANTHONY GROSS, R.A. (1905–1984) An afternoon at the vineyard ink and watercolour 40 x 50 cm (15 3/4 x 19 3/4 in) PROVENANCE: Elfrida Windsor, New Ashgate Gallery, from whom purchased by the present owner £800 - 1,200

53 ARR

MARY NEWCOMB, R.A. (1922–2008) Bee signed MN (lower right), signed again Mary Newcomb (on the reverse) pencil, pastel and gouache, unframed 17 x 19.5 cm (6 3/4 x 8 in) PROVENANCE: A gift from the artist £500 - 700

54 ARR

MARY NEWCOMB, R.A. (1922–2008) Hot flat dog signed MN (lower right) pencil, watercolour and gouache 15 x 23 cm (6 x 9 in) PROVENANCE: with Crane Kalman Gallery, London, where purchased by the present owner in 2003 £700 - 1,000

See page 7 for more information regarding fees

55 ARR

LYNTON LAMB (1907-1977) Artichokes in a field signed and dated LL 59 (lower left) oil on canvas 60 x 44 cm (23.5 x 17 1/4 in) £300 - 500

56 ARR

ALIX STONE (1913-2010) Costume designs for Production of St Joan signed Alix Stone (lower right) ink and watercolour 53 x 26 cm (20 3/4 x 10 in), and similar Designs for a production at Oxford Playhouse & Co., 1969 (5) After graduating from the School of Arts and Crafts in 1935, Stone worked as an assistant to some of the leading designers of the time: Motley, Michael Ayrton, Rex Whistler, John Piper, Tanya Moiseiwitsch and Leslie Hurry. She produced her designs for major British opera companies including Sadler’s Wells, English National Opera and the Royal Shakespeare Company £700 - 1,000

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57 ARR

58 ARR

EILEEN AGAR, R.A. (1904–1991) Abstract signed and dated AGAR/1947 (lower right) frottage and wallpaper collage 27 x 20 cm (10 1/2 x 8 in)

EILEEN AGAR, R.A. (1904–1991) Heroic male signed AGAR (lower right) pastel 34 x 24.3 cm (13 1/2 x 9 1/2 in) Executed circa 1936

EXHIBITED: Edinburgh, Scottish National Gallery of Modern Art, Eileen Agar 1899-1991: A Centenary Exhibition, December 1999-February 2000, no. 64 Chichester, Pallant House Gallery, Eileen Agar: An Eye for Collage, 2008

PROVENANCE: Acquired from the artist £500 - 700

£700 - 1,000

EDWARD WADSWORTH (1889–1949) Blast furnaces woodcut, unframed image: 13.7 x 18.1 cm (5 1/4 x 7 in) sheet: 14.5 x 19 cm (5 3/4 x 7 1/2 in) Original published in 1921 £1,000 - 2,000

EDWARD WADSWORTH (1889–1949) Tarmac engraved EW (lower right) woodcut, unframed image: 10 x 14.5 cm (4 x 5 3/4 in) sheet: 13 x 17.3 cm (5 x 6 3/4 in) Originally published in 1921 £1,000 - 2,000

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EDWARD WADSWORTH (1889–1949) Black country woodcut, unframed image: 11 x 14.5 cm (4 1/4 x 5 3/4 in) sheet: 14.5 x 18 cm (5 3/4 x 7 in) Originally published in 1921 £1,000 - 2,000

EDWARD WADSWORTH (1889–1949) Yorkshire town woodcut, unframed image: 11 x 14.5 cm (4 1/4 x 5 3/4 in) sheet: 14 x 17.1 cm (5 1/2 x 6 3/4 in) Originally published in 1921 £1,000 - 2,000

63 ARR

EDWARD ARDIZZONE, R.A. (1900–1979) A Sicilian landscape signed EA (lower right) ink and wash 23 x 29.5 cm (9 x 11 1/2 in) PROVENANCE: A gift from the artist £450 - 650

64 ARR

EDWARD ARDIZZONE, R.A. (1900–1979) A client at last signed EA (lower right) ink and watercolour 17 x 20 cm (6 3/4 x 8 in) PROVENANCE: Acquired from the artist £500 - 700

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65 ARR

EDWARD ARDIZZONE, R.A. (1900–1979) Pavement artist signed EA (lower right) pencil, ink and watercolour 18.5 x 19.5 cm (7 1/4 x 7 3/4 in) This work is thought to be a caricature of Ardizzone himself PROVENANCE: Acquired from the artist £500 - 700

66 ARR

EDWARD ARDIZZONE, R.A. (1900–1979) Keeping his cool signed EA (lower right) pencil and watercolour 19.5 x 21.5 cm (7 3/4 x 8 1/2 in) PROVENANCE: Acquired from the artist £600 - 800

67 ARR

68 ARR

TESSA NEWCOMB (B. 1955) Under the willows signed TN (lower right) oil on board 30.3 x 37.5 cm (12 x 14 3/4 in) Painted in 2002

SANDRA BLOW, R.A. (1925–2006) Green study signed and dated Sandra Blow 22.9.99 (on the reverse) watercolour and gouache 22 x 17 cm (8 1/2 x 6 1/2 in)

£800 - 1,200

PROVENANCE: Acquired from the artist £500 - 700

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69 ARR

NORMAN ADAMS, R.A. (1927–2005) Sea-birds and Rain, Hebridean Study; Evening Sunlight (i): signed, inscribed and dated Sea-birds and Rain, Hebridean Study N.A. .77. (lower right) (ii) signed and dated NA. 72 (lower right), inscribed Evening Sunlight (stormy) and the sea. The Sound of Scarp. (lower right) watercolour (i) 25.4 x 30.5 cm (10 x 12 in) (ii) 26 x 26.5 cm (10 1/4 x 10 1/2 in) (2) PROVENANCE: (i) Acquired from the artist (ii) with the New Art Centre, London, where purchased by the present owner £300 - 500

70 ARR

EILEEN AGAR, R.A. (1904-1991) The harbour at Puerto - Tenerife signed AGAR (lower left) pencil, ink, pastel, watercolour, unframed 14.8 x 19.6 cm (5 3/4 x 7 3/4 in) Executed in 1955 £600 - 800

71 ARR

EILEEN AGAR, R.A. (1904-1991) Puerta de la Cruz, Tenerife signed AGAR (lower left) pencil, ink, pastel and watercolour, unframed Executed in 1955 £600 - 800

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72 ARR

LYNTON LAMB (1907-1977) Engine house signed and dated L.L. 55 (lower left) oil on canvas 40 x 50 cm (15 3/4 x 19 1/2 in) PROVENANCE: Biddy Lamb (the artist’s wife), from whom purchased by the present owner £400 - 600

73 ARR

EILEEN AGAR, R.A. (1889-1991) Back view of Sitia Litre, Puerto de la Cruz, Tenerife signed AGAR (lower right) ink and crayon on rose paper, unframed 23 x 29 cm (9 x 11 1/2 in) Executed in 1953 £400 - 600

74 ARR

TESSA NEWCOMB (B. 1955) Cottages at Minsmere signed and dated TN 89 (lower right) linocut, unframed image: 8 x 18.5 cm (3 x 7 1/4 in) sheet: 28 x 38 cm (11 x 15 in) £150 - 250

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75 ARR

TESSA NEWCOMB (B. 1955) Dunwich Church in strong evening light signed and inscribed Dunwich Church/ in strong evening light/ Tessa Newcomb (on the reverse) oil on board 55 x 55 cm (21.5 x 21.5 in) PROVENANCE: Acquired from the artist £800 - 1,200

76 ARR

MARY NEWCOMB (1922–2008) Meeting at the lock signed MN (lower right) pencil and watercolour 31.5 x 16.5 cm (12 1/2 x 6 1/2 in) PROVENANCE: A gift from the artist £400 - 600

77 ARR

MARY POTTER (1900–1981) Groyne, slack tide pencil, pastel and watercolour 19 x 18 cm (7 1/2 x 7 in) PROVENANCE: with Thompson’s Gallery, Aldeburgh, where purchased by the present owner £500 - 700

78 ARR

EILEEN AGAR, R.A. (1904–1991) The village of Puerto, Tenerife signed AGAR (lower right) pencil, watercolour and pastel 24 x 32.5 cm (9 1/2 x 12 3/4 in) Executed in 1954 EXHIBITED: Edinburgh, Scottish National Gallery of Modern Art, Eileen Agar 1899-1991: A Centenary, December 1999 - February 2000, no. 90 £500 - 700

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79 ARR

PRUNELLA CLOUGH (1919–1999) A bird in flight signed Clough (lower left) ink 29 x 24 cm (11 1/2 x 9 1/2 in)

ALLEN FREER (B. 1956) Visage of a thoughtful man signed AF (lower right), signed again and inscribed Visage of a thoughtful man / Allen Freer (on the reverse) paint on glass 24.5 x 16.3 (9 3/4 x 6 1/2 in)

“She’s got a marvellous directness. There was no sort of obfuscation with Prunella. I think she was one of the most serious and sensitive painters of the twentieth century.”

£150 - 180

Allen Freer (from an interview with Simon Lake of Leicester City Art Gallery in 2004) £500 - 700

EDWARD WADSWORTH (1889–1949) Portrait of Rupert Doone wood engraving, unframed image: 18 x 7.3 cm (7 x 2 3/4 in) sheet: 20.5 x 9.3 cm (8 x 7 1/2 in) Originally published in 1921 by Mr. Herbert Furst at the Little Art Rooms, 8 Duke Street, London, W.C.2 Rupert Doone was a dancer and choreographer and the director of ballet at the Group Theatre £1,500 - 2,500

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EDWARD WADSWORTH (1889–1949) Head, Rupert Doone wood engraving, unframed image: 13.5 x 7.3 cm (5 1/4 x 2 3/4 in) sheet: 19.5 x 14 cm (7 3/4 x 5 1/2 in) Originally published in 1921 Rupert Doone was a dancer and choreographer and the director of ballet at the Group Theatre £1,500 - 2,500

83 ARR

NORMAN ADAMS, R.A. (1927–2005) Marches landscape - Study near Ripatransone signed and dated NA 66. (lower right), and inscribed Marches landscape - Study near Ripatransone (lower left) pencil and watercolour 20 x 25 cm (8 x 9 3/4 in) PROVENANCE: A gift from the artist Ripatransone is a town in in the Marche, south east of Ancona, Italy £250 - 350

84 ARR

JOHN NASH, R.A. (1893–1977) View of Chalford, Gloucestershire signed and dated John Nash 1920 (lower left) pencil and watercolour 32 x 41 cm (12 1/2 x 16 in) PROVENANCE: A gift from the artist in 1974 LITERATURE: A. Freer, John Nash: The Delighted Eye, Cambridge, 1993 £800 - 1,200

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85 ARR

EILEEN AGAR, R.A. (1904–1991) Boat on the shore, Sark pencil 17 x 21.5 cm (6 3/4 x 8 1/2 in) Executed in 1928 PROVENANCE: Acquired from the artist EXHIBITED: Edinburgh, Scottish National Gallery of Modern Art, Eileen Agar 1899-1991: A Centenary Exhibition, December 1999 February 2000, no. 11 £400 - 600

86 ARR

JOHN NASH, R.A. (1893–1977) Bottengoms Farm on the way to Nayland, Boxted, Suffolk signed John Nash (lower left), inscribed Boxted (lower right) pencil and watercolour, squared for transfer 22 x 29 cm (8 3/4 x 11 1/2 in) PROVENANCE: Acquired from the artist Bottengoms was John and Christine Nash’s home from 1945 till their deaths. £1,000 - 2,000

87 ARR

MARY POTTER (1900–1981) Red Brick Beach pencil and watercolour 15 x 19 cm (6 x 7 1/2 in) PROVENANCE: with Thomson’s Gallery, Aldeburgh, where purchased by the present owner £300 - 500

88 ARR

IVON HITCHENS (1893–1979) Houses under the Downs, Sussex signed IVON HITCHENS (lower left) pencil and watercolour 27.5 x 37 cm (10 3/4 x 14 1/2 in) Executed in 1923 PROVENANCE: Mollie Hitchens, from whom purchased by the present owner in 1981 £700 - 1,000

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89 ARR

TESSA NEWCOMB (B. 1955) Jasmine in a jug signed TN (lower right) oil on board 27 x 32 cm (10 1/2 x 12 1/2 in) PROVENANCE: Acquired from the artist £400 - 600

A KATHERINE PLEYDELL-BOUVERIE, BRITISH, (1895-1985) VASE, of globular form with finely potted neck, the body carved with flutes and decorated with a celadon glaze, seal mark to side, 12cm high £250 - 350

91 ARR

EILEEN AGAR, R.A. (1899-1991) Prospero’s Island, Tenerife signed AGAR (lower right) pencil and gouache 19 x 25 cm (7 1/2 x 9 3/4 in) Executed in 1952 PROVENANCE: Acquired from the artist EXHIBITED: Chichester, Pallant House Gallery, Eileen Agar: An Eye for Collage, 2008 Prospero’s Island is the result of work on the south side of the island: a harsh landscape most admirably evoked by her subtle use of varied browns. These forms grow bolder and are enhanced by her use of stencils. The title is significant as Tenerife is indeed the magic island where Caliban exists as well as Prospero, both characters from Shakespeare’s The Tempest. Ariel’s songs are heard between breaker and resounding breaker, celebrating that metamorphosis beloved of the surrealists: ‘Those are pearls that were his eyes…’ Allen Freer (Eileen Agar: Angel of Audacity, unpublished MS, Allen Freer) £600 - 800

92 ARR

MARY NEWCOMB (1922–2008) Ewe signed MN (lower right) watercolour and gouache 24.5 x 25 cm (9 1/2 x 10 in) PROVENANCE: A gift from artist £1,000 - 2,000

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93 ARR

JOSEF HERMAN, R.A. (1911–2000) Portuguese village pencil and ink 20 x 25 cm (8 x 9 3/4 in) PROVENANCE: with Roland, Browse & Delbanco, London, where purchased by the present owner LITERATURE: A. Freer, Persons Places and Things, vol. 2, Cambridge, 1969, illustrated £500 - 700

94 ARR

JOSEF HERMAN, R.A. (1911–2000) Portuguese fishermen preparing lines pencil and ink 18.5 x 25 cm (7 1/4 x 9 3/4 in) PROVENANCE: with Tib Lane Gallery, Manchester, where purchased by the present owner LITERATURE: A. Freer, Persons Places and Things, vol. 2, Cambridge, 1969, illustrated £600 - 800

95 ARR

NORMAN ADAMS, R.A. (1927–2005) Light after a storm, North Yorkshire signed and dated N.A. 57 (lower left) oil on board 38 x 53 1/2 cm (15 x 21 in) PROVENANCE: Acquired from the artist £700 - 1,000

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96 ARR

97 ARR

DONALD WILKINSON (B. 1937) A group of five landscapes (two illustrated) variously signed and dated from 1990s-2000s watercolour and pastel some on printed bases, unframed 33.5 x 34.8 cm (13 1/4 x 14 in), and smaller Sold together with a greeting card with an etching by the same hand (5)

NORMAN ADAMS, R.A. (1927–2005) Landscape at Evening, North Yorkshire signed and dated NA 56 (lower left) oil on canvas 21 x 38 cm (8 1/4 x 15 in) PROVENANCE: Acquired from the artist £400 - 600

£500 - 700

98 ARR

PRUNELLA CLOUGH (1919–1999) Earth Drawing (I) signed Clough (lower left) ink and watercolour 21 x 17 cm (8 1/4 x 6 1/2 in) PROVENANCE: Acquired from the artist £600 - 800

99 ARR

PRUNELLA CLOUGH (1919–1999) Earth Drawing (II) signed Clough (lower right) ink and watercolour 18 x 16 cm (7 x 6 1/4 in) PROVENANCE: Acquired from the artist £600 - 800

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100 ARR

EILEEN AGAR, R.A. (1904–1991) The Dancers signed AGAR (lower right) chalk, crayon and gouache 32.5 x 24 cm (12 3/4 x 9 1/2 in) Executed in 1941 EXHIBITED: Edinburgh, Scottish National Gallery of Modern Art, Eileen Agar, 18 December 199927 February 2000, No.64 £600 - 800

101 ARR

PRUNELLA CLOUGH (1919–1999) Breakwater signed Clough (lower right) white chalk on buff paper 10.5 x 11 cm (4 1/4 x 4 1/4 in) Executed in 1946 PROVENANCE: with Annely Juda, London, where purchased by the present owner £400 - 600

102

EILEEN AGAR, R.A. (1904–1991) The bird hand-coloured woodcut 14 x 21 cm (5 1/2 x 8 1/4 in) LITERATURE: E. Agar and J. Bard (ed.), The Island, A Quarterly: 1931, issue untraced £300 - 500

103 ARR

EILEEN AGAR, R.A. (1904–1991) Three figures signed AGAR (lower right) ink and crayon 17.5 x 25 cm (6 3/4 x 9 3/4 in) £600 - 800

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104 ARR

PRUNELLA CLOUGH (1919–1999) Small flowers (Gypsophila) signed Clough (lower right) acrylic on glossy black paper 29 x 20 cm (11 1/2 x 7 3/4 in) Executed in 1984 PROVENANCE: Acquired from the artist £1,000 - 2,000

105

ERIC RAVILIOUS (1903–1942) Lady on a flying golden cockerel signed in block, E.R. (centre) wood engraving 14.5 x 19.5 cm (5 3/4 x 7 3/4 in) LITERATURE: R. Gibbings, The Golden Cockerel Press Prospectus, Berkshire, 1930, page untraced £200 - 400

106

ERIC RAVILIOUS (1903–1942) San Gimignano signed E Ravilious (lower right), and inscribed San Gimignano (lower left) wood engraving 11.5 x 16.5 cm (4 1/2 x 6 1/2 in) Published in 1924 £600 - 800

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107 ARR

DAVID JONES (1895-1974) A group of nine plates, six of which from The Rime of the Ancient Mariner engraving, unframed image (i): 17.5 x 13.5 cm (6 3/4 x 5 1/4 in), and similar sheet (i): 30.5 x 23.5 cm (12 x 9 1/4 in), and similar (i-vi) Originally published in 1929: S. T., Coleridge, David Jones (illus.), The Rime of the Ancient Mariner, Douglas Cleverdon (9) Plates included in the lot: Going to Church (2); With my crossbow, I shot the albatross; The Bride has gone into the Hall; The mariners work the ropes; Instead of the cross, the albatross about my neck was hung; Animals and Shepherds; Nativity with Animals and Shepherds; Nativity with Animals and Shepherds £800 - 1,200

108 ARR

DAVID JONES (1895–1974) The full collection of thirteen plates, from The Book of Jonah wood engravings, on wove paper, unframed image (v): 22.5 x 17 cm (8 3/4 x 6 3/4 in), and similar sheet (v): 28.5 x 22 cm (11 1/4 x 8 1/8 in), and similar Originally published for The Book of Jonah, The Golden Cockerel Press, 1926 (13) £800 - 1,200

109 ARR

EILEEN AGAR, R.A. (1904–1991) Seated nude signed and dated AGAR/ 1930 (lower right) ink 40 x 26 cm (15 3/4 x 10 in) PROVENANCE: Acquired from the artist £300 - 500

110 ARR

MICHAEL AYRTON (1921-1975) Seated man in arms with a wine glass and roses pencil 25 x 18 cm (9 3/4 x 7 in) Executed circa 1942 PROVENANCE: The Artist’s Estate, Elizabeth Ayrton, Gloucestershire, from whom purchased by the present owner. £500 - 800

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111 ARR

PRUNELLA CLOUGH (1919–1999) Fisherman with scales and basket signed Clough (lower right) monotype 12.5 x 9 (4 3/4 x 3 1/2 in) Published in the early 1950s She began by painting still-lifes. She went on to paint the fishermen and the east coast; these subject matters were influenced by her time working for the Fisheries in Lowestoft drawing plans during the war. Her paintings of the Suffolk coast are very memorable. But when she turned inland and started painting what you might call the urban scene: the gasometers; the power stations; the lorry drivers; the lorries; the entrances to factories, people were amazed. Comments such as ‘they are not the sort of paintings you associate with a woman!’ amused Prunella immensely. But she persisted and has now received the recognition that she deserved years back. Allen Freer (from an interview with Simon Lake of Leicester City Art Gallery in 2004) £350 - 450 112 ARR

PRUNELLA CLOUGH (1919–1999) Corks and floats signed Clough (lower right) ink and watercolour 21.7 x 10.3 cm (8 1/2 x 4 in) Executed in 1948 PROVENANCE: A gift from the artist £500 - 700 113 ARR

PRUNELLA CLOUGH (1919-1999) Two Kippers signed Clough (lower right) monotype 15.3 x 24.2 cm (6 x 9 1/2 in) Published in 1954 Similar composition is held at the Tate gallery, London PROVENANCE: with Austin Desmond Fine Art, where purchased by the present owner in London, July 1997 £300 - 500 81

114 ARR

GEORGE DOWNES (1901-1983) Still life with a jug signed G. Downes (upper left) oil on canvas 36 x 43 cm (14 x 17 in) PROVENANCE: Mrs Downes, from whom it was purchased by the present owner £400 - 600

115 ARR

EILEEN AGAR, R.A. (1904–1991) Family Trio hand-coloured engraving 16 x 16.5 cm (6 1/4 x 6 1/2 cm) LITERATURE: E. Agar and J. Bard (ed.), The Island, A Quarterly: 1931 £150 - 250

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116 ARR

PRUNELLA CLOUGH (1919–1999) Garden Detail signed Clough (lower left) ink, crayon, gouache and collage 16 x 20 cm (6 1/4 x 8 in) Executed in 1965 PROVENANCE: with New Art Centre, London Sale, Phillips, London, 25 November 1997, lot 66, where purchased by the present owner £700 - 1,000

117 ARR

118 ARR

EILEEN AGAR, R.A. (1904–1991) Mobile signed AGAR (lower right) ink and watercolour 23 x 14.5 cm (9 x 5 3/4 in)

KATE NICHOLSON (B. 1929) Interchange oil on canvas 41 x 27 cm (16 x 10 1/2 in) Painted in 1966

PROVENANCE: Acquired from the artist

PROVENANCE: with Ashgate Gallery, Farnham

£400 - 600

£500 - 700

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119ARR

120 ARR

KATE NICHOLSON (B. 1929) Sage song oil on canvas-board 39 x 29 cm (15 1/4 x 11 1/4 in) Painted in 1968 in Taomina, Sicily

EILEEN AGAR, R.A. (1904–1991) Palimpsest signed AGAR (lower right) watercolour and charcoal 26 x 20 cm (10 1/4 x 7 3/4 in) Executed circa 1960

PROVENANCE: Acquired from the artist £600 - 800

PROVENANCE: with Lilian Gethic, Brown Street Gallery, Manchester, where purchased by the present owner £600 - 800

121 ARR

ROGER HILTON (1911–1975) Woman’s head pencil and oil on canvas 20 x 14.7 cm (8 x 5 3/4 in) PROVENANCE: Lilian Gethie, Brown Street Gallery, Manchester, where purchased by the present owner £1,200 - 1,800

122 ARR

SIR TERRY FROST, R.A. (1915–2003) Untitled; Christmas card monotype (i) 8 x 21 cm (3 1/4 x 8 1/4 in) (ii) 7 x 25 cm (2 3/4 x 9 3/4 in) PROVENANCE: (i), (ii) A gift from the artist (2) £300 - 500

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123 ARR

TREVOR BELL (1930–2017) Breakwater signed Bell (lower right) pencil, watercolour and gouache 10.5 x 19 cm (4 x 7 1/2 in) Executed in 1950s PROVENANCE: St. Ives, Penwith Gallery, 1958 £400 - 600

124

A CHINESE CIZHOU WARE GLOBULAR VASE, PROBABLY 11th-14th CENTURY, painted with bands of flowers and lotus flowers, within lined banding, 22cm high £400 - 600

125

A MID 1950’s ENGLISH WALNUT SIDE TABLE BY ANTHONY HOLME-BARNETT the rectangular top with rounded corners and champfered underside on rounded square section tapering legs, joined by gently curving frieze, stamped to the inside of the frieze and dated 1956. 75cm high x 117cm wide x 51cm deep Together with a similar rectangular low table by the same maker, stamped to the underside and dated 1955. 53cm high x 76cm wide x 45.5cm deep (2) £100 - 200

126 ARR

GEOFFREY CLARKE (1924–2014) Untitled signed C. (lower right), dated 1956 (lower left) engraving with aquatint 9 x 5.5 cm (3 1/2 x 2 1/4 in) PROVENANCE: Gift to Allen and Beryl Freer from Basil Taylor £80 - 120

127 ARR

BREON O’CASEY (1928–2011) October signed and dated Breon O’Casey ‘67 (lower right) oil on paper 25 x 30 cm (9 3/4 x 12 in) £600 - 800

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128 ARR

SIR TERRY FROST, R.A. (1915–2003) A collection of five Christmas cards variously signed, inscribed and dated gouache and collage 12 x 12 cm (4 3/4 x 4 3/4 in), and similar (5) PROVENANCE: A gift from the artist £1,000 - 2,000

129

BERNDT FRIBERG, SWEDISH, (1899-1981) A small circular pedestal bowl, decorated in a pale blue glaze, signed to base, 4.5cm high, 9.5cm diameter £100 - 150

130

MIKE DODD, BRITISH, (b. 1943.) A squat vase, carved with flutes, with a celadon brown glaze, seals for MD, 16.5cm high, together with three other vessels, a bellied vase decorated with a green glaze, seal marks, 15cm high, a circular short bowl with a band of incised ribbing, decorated in a blue glaze, the rim 9cm diameter and a tenmoku glazed globular vase, seal mark to base, 11cm high (4) £100 - 200

131

A LEACH POTTERY STONEWARE JUG, with looping handle ending in a scrolling terminal, impressed mark to side, 20.5cm high, together with another studio pottery jug, with impressed seal for PW, a Rye pottery vase and a circular box and lid, moulded with raised petal work, in turquoise glaze (4) £100 - 200

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132

ERIC RAVILLIOUS (1903-1942) FOR WEDGWOOD, A BOAT RACE TROPHY VASE, decorated with four printed scenes from the Boat Race, edition 38 out of 350, printed to the base with dedication, The Boat Race Vase, originally designed by Eric Ravillious ARCA, for Wedgwood in 1937. Re-Issued in 1986 to mark the 50th anniversary of Ravillious’s first employment by Wedgwood in 1936, printed marks to base, 26.5cm high, with original box and papers £300 - 500

133

A SUNDERLAND LUSTRE POTTERY MUG, 19TH CENTURY printed with a reserve of Hope, seated by an anchor with sea view beyond, on copper ground, 8.5cm high, together with two jugs printed with genre scenes on copper grounds, two copper lustre mugs decorated with bands of flowers and grapes, two copper lustre bowls, a pair of copper and pink lustre goblets, three lustre jugs, two with silver lustre decoration and a silver lustre mug, decorated with trailing flowers (13) £100 - 200

134

SAM HERMAN, ENGLAND, (b.1936.) a studio glass vase, of compressed short form, in clear glass with abstract wavy line decoration, in pale aubergine and yellow hues, etched signature and date to base, 1981, 17.5cm high £200 - 400

135

A WALNUT OCTAVINA SPINET BY ROBERT GOBLE With rising lid, boxwood and rosewood keys, gilded inscription for Robert Goble MCMLXIII, raised on tapering legs, together with a tuning key. 79cm high x 76.5cm wide x 54cm deep Note: This lot is accompanied by a receipt dated 3rd April 1963 and further correspondence. £250 - 400

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136

A MID 20TH CENTURY MAHOGANY BOOKCASE BY HUGH BIRKETT, the rectangular top with canted gallery back over a pair of glazed doors with a demi-lune handle enclosing three shelves, the sides of fielded panel construction, on a plinth base. 89.5cm high x 124cm wide x 30cm deep £200 - 300

137

A GEORGE III MAHOGANY BUREAU BOOKCASE the associated top with a greek key moulded cornice above a foliate blind fretwork frieze, over two rectangular doors with shaped inset panels, enclosing shelves, the base with fall front enclosing an arrangement of pigeonholes and drawers around a central cupboard with a panelled door, over four long graduated drawers, on bracket feet. 216cm high x 107cm wide x 53cm deep £300 - 500

SESSION II FURNITURE, CERAMICS, GLASS & OBJECTS: LOTS 138-191 PAINTINGS, DRAWINGS & PRINTS: LOTS 192-347 BOOKS: LOTS 348-398

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THE FREER LIBRARY (LOTS 348-398) A passion for private press books and the art of illustration led the Freers to build an impressive library. The core of the library consists of Private Press Books illustrated by the Freers’ favourite artists. Highlights include: Rampant Lions Press.- Cleverdon (Douglas) The Engravings of David Jones: A Survey, 2 vol., copy number X of 105 copies on handmade paper, Clover Hill Editions, 1981; Fleece Press. Nash (John) Twenty One Wood Engravings, introduction by Allen Freer, one of 12 copies from an edition limited to 112, 1981 and a number of books by the Gregynog Press including Aesop. The Fables of Esope, number 51 of 250 copies, Gregynog Press, 1931. Allen learned how to bind books as a student at Cambridge and there are few examples of his own work in the sale. Knowledge of the craft gave him an appreciation of fine contemporary binding, notably by James Brockman and Helen Kendall, as well as from firms such as Sangorski and Sutcliffe. The collection reflects personal connections with artists and writers. While researching the work of Thomas Hennell, Allen became acquainted with the widow of Harold Massingham, who had been an important friend of Hennell’s. It was through this connection that Allen acquired some of HJ Massingham’s antiquarian books, some of which are also offered in the sale: Marvell (Andrew) Miscellaneous Poems, first edition, pencil note stating this was the property of Penelope Massingham wife of H.J. Massingham, bookplate of Allen Freer to from paste-down, Robert Boulter, 1681, and [Holinshed (Raphael) The Chronicles of England, Scotlande and Irelande,], 2 vol. in 1,[Second edition, ‘Mr Colquhoun/ Bound by Payne/ Dr P Colquhoun’, ‘H.J.Massingham 22 May: 1916 at Barnes’ [1587[-86]. The antiquarian and fine printing offered here is complemented by a selection of poetry and art reference books especially on twentieth century British artists. Please check the full list of books online on www.chiswickauctions.co.uk

BOOK HIGHLIGHTS 373

Marvell (Andrew) Miscellaneous Poems, first edition, engraved portrait, laid-down and trimmed to engraving edge, portion of corner lacking, rebound in full tan morocco, gilt lettered, U2-T2 suppressed, as usual, paper repairs to the edges of ‘Title-page’, ‘To the Reader’ and ‘U2’, pencil note stating this was the property of Penelope Massigham wife of H.J. Massingham, bookplate of Allan Freer to from paste-down, housed in cloth pull-off box, small folio, Robert Boulter, 1681. £2,000 - 3,000

376

Snaith (J.F.S) A Collection of ‘Indian Tale Paintings 73 hand-painted images on mica, all carefully mounted, images 120x 80mm - 150x110mm., sectioned with manuscript title-pages, ‘Tale Paintings-Castes of the Madras Presidency. No.1’, ‘ Tale Paintings-Castes of the Madras Presidency-No.2’, ‘Tale Paintings - Indian BirdsNo. 3’, ‘Tale Paintings-Castes of the Madras Presidency- No.4’, ‘Tale Paintings-Hindoo Gods. No.5’, Tale Paintings No.6. Indian Butterflies’, each title-page signed by Miss Snaith, contemporary full morocco, decorated in gilt and blind tooling, a few images very slightly damaged, with the book-plate of Allen Freer, sm. 8vo., n.d. [1820-1850] £2,000 - 3,000

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377

Nash (Paul) Illustrator.Browne (Sir Thomas) Urne Buriall and the Garden of Cyprus, edited and with an introduction by John Carter, number 64 of 215 copies, 32 pochoir plates and illustrations by Paul Nash, bound in full cream sheepskin, lettered in gilt down spine, top and bottom of spine with slight damp(?) signs causing hint of rippling, t.g.e., with a binders label from Sangorski and Sutcliffe on inside rear endpaper, brown cloth slip-case, 4to, printed by the Curwen Press for Cassell and Co. Ltd and La Belle Sauvage, 1932 £1,000 - 1,500

392

369

[Chaucer (Geoffrey)] Chaucer Complete Works Romance of the Rose, Troylus and Creseyde and other poems… with own divisional title-page, modern mss title-page, lacking all before fol. Cxx, Ccc6 – Fff1, Jjj3 & Jjj4 and all after fol cccxliiii, modern full morocco, 3 pp remargined, 4pp repaired at edges & 3 trimmed, [from ‘The workes of Geffray Chaucer : newly printed, with dyuers workes whiche were neuer in print before : as in the table more playnly dothe appere. Cum priuilegio.’ Printed by William Bonham, 1542 (?); [Chaucer]. Together with the remnants of the original volume to include, The launterbury Tales, Aiii & Aiii, The Knights tale, Bii-Ciiiii , The man of lawes tale, Eii- Fffiii, The marchauntes tale, fol. Xxxi & Xxxii, The wife of Bathes prologue 1pp, The Sompners tale (& others), Ji -K6, The Pardoners tale NiNiiii, The tale of Chaucer, Mi-iPiii, The Monks tale, Piiii – Qiii, The Prologue of the Monnes priest, Qiiii – Ri, The Mantiples prologue, R1 – Rii, plus 32pp others including The Plowmans’ tale, printed in black letter, some loose in early binding, from the library of H.J.Massingham with his signature to front paste-down, and contemporary signature of William Morgan [1542?] Not subject to return. £800 - 1,200

396

Fleece Press.Nash (John) Twenty One Wood Engravings, introduction by Allen Freer, one of 12 copies from an edition limited to 112, with an additional wood-engraving printed on vellum by Simon Lawrence and 4pp of original mss notes by John Nash on his paintings, woodengraved plates, original full vellum uncut, original cloth drop-back box, 4to, Wakefield, Fleece Press, 1993. £1,500 - 1,800

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Index 17TH/18TH CENTURY 157 18TH CENTURY 159, 160 19TH CENTURY 133, 162, 163, 164, 165, 167, 168, 179, 181

JONES, DAVID 42, 107, 108, 202, 203, 204, 210 L LAMB, LYNTON 55, 72, 200, 209, 219

LATE 17TH CENTURY 138, 139

ADAMS, NORMAN 69, 83, 95, 97

LATE 18TH CENTURY 146, 158, 183

AGAR, EILEEN 7, 8, 9, 10, 11, 13, 40, 57, 58, 70, 71, 73, 78, 85, 91, 100, 102, 103, 109, 115, 117, 120

ARDIZZONE, EDWARD 63, 64, 65, 66 AYRTON, MICHAEL 109 B

MARC, FRANZ 194 MID 1950’s 125 MID 20TH CENTURY 136, 148, 154 N

BAWDEN,EDWARD 215 BELL, TREVOR 123 BLOW, SANDRA 68

NASH, JOHN 45, 49, 50, 51, 84, 86, 195, 196, 216, 218

NICHOLSON, KATE 118, 119

CLARKE, GEOFFREY 126

CLOUGH, PRUNELLA 79, 98, 99, 101, 104, 111, 112, 113, 116

O’CASEY, BREON 127

COLLEY, WILLIAM FREDERICK 214 CURTIS, WILLIAM 213 D DODD, MIKE 130 DOWNES, GEORGE 114

NEWCOMB, MARY 44, 47, 53, 54, 76, 92

P POLLOCK, IAN 207 POTTER, JOSEPH 190 POTTER, MARY 77, 87 R

RAVILIOUS, ERIC 105, 106, 176, 201, 132, 175

FREER, ALLEN 18, 19, 20, 21, 22, 23, 24, 25, 80

REDDICK, PETER 199

FRIBERG, BERNDT 129 FROST, SIR TERRY 3, 4, 122, 128 G GEORGE II ERA 140, 141 GEORGE III ERA 30, 32, 137, 142, 143, 144, 145, 147, 184 GEORGE IV ERA 156

ROSOMAN, LEONARD 41 ROUAULT, GEORGES 206 S STANTON, BLAIR HUGHS 211 STONE, ALIX 56 SUTHERLAND, GRAHAM 222 T

GILL, ERIC 212, 220

TESSA NEWCOMB (B. 1955) 31, 46, 67, 74, 75, 89

GILPIN, CIRCLE OF SAWRY 29

GROSS, ANTHONY 52

UNDERWOOD, LEON 221

UNOLD, MAX 198

HARTRICK, ARCHIBALD STANDISH 205

HERMAN, JOSEF 93, 94

VAUGHAN, KEITH 3, 4

HILTON, ROGER 121

VILLON, JACQUES 222

HITCHENS, IVON 33, 34, 35, 36, 37, 38, 39, 43, 48, 88

WADSWORTH, EDWARD 11, 12, 13, 14, 15, 16, 17, 59, 60, 61, 62, 81, 82

JOHN O’CONNOR (1830–1889) 197

WILKINSON, DONALD 96

Glossary 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 reserves 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. 2. 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. 3. 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. 4. Circle of JMW Turner: In our opinion a work by an as yet unidentified, but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5. 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. 6. Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7. After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8. 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. 9. 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. For prints and multiples the measurements give the plate or image and wherever possible the sheet as well. For works on paper they apply to what is visible from the mount and not the full sheet, as some have not been examined out of their frames. 11. Pictures are framed unless otherwise stated. 12. All unframed works in both Session I & II are mounted, unless otherwise stated.

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Terms and Conditions for Buyers at Chiswick Auctions 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. 1.2 Definitions For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the 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. 1.3 Catalogue descriptions Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity 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 representation 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. 1.4 Inspection Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them. 1.5 Condition report CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’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 Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. 1.6 Electricals All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use. 1.7 Estimates 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 condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. 1.9 Registration to the sale New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.

International bidders may be required to register 48 hours before the sale and to submit bank details. A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot. 1.10 Proof of identity Bidders not previously known to CA Ltd will be required to provide: • Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable. • Proof of address of main residence. Only official documents showing name and address will be accepted. • Both landline and mobile telephone numbers • A bank reference for foreign bidders may be requested • Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above-mentioned requirements for proof of identity. Any Bidder that does not match the provided identity for registration may not purchase during the sale. 2. DURING THE SALE 2.1 Attendance at auction Attending the auction in person is recommended. CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises. Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale. 2.2 Personal bidding Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale. 2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it. Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot. In the event of multiple commission bids set at the same price, the first registered commission bid will take priority. 2.4 Telephone bids If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder. 2.5 Internet bids Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or utilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible. 2.6 Bidding on behalf of someone A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

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Terms and Conditions for Buyers at Chiswick Auctions 2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’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. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property 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 Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’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. 3.4 Cancellation of the sale 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 the sale of the Lot or reoffer and resell the Lot if it becomes aware of 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. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 4.1 Payment 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 made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

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Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional. 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. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is 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 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: 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 placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and (b) export the lot from the EU within 30 days of collection for * lots and 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 satisfactory proof of export/shipping are available from our Finance team. A processing fee of £35.00 per invoice is charged to check shipping/export documents. (d) No VAT amounts or Import VAT will be refunded where the total refund (after deducting the processing fee) is under £35. (e) If you are re-exporting a * lot outside of the EU, you must either use Chiswick Auctions Ltd TA Shipper or arrange for us to transfer the TA from our shipper to your own TA or bond account. 4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’s premium. The rate applicable shall be the legal rate at the date of the sale. Goods such as books and antique books, music, maps and charts etc. are subject to zerorated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’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. 4.4 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.5 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time 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: • To cancel the sale

• To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’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. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of 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. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.6 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, 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. 4.8 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’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. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.9 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.10 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.11 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’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. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations. 4.12 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’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. 4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. 4.14 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue 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 authentic, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge 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 be defined as the state of a Lot that is genuine and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest. Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY 6.1 Gemstone treatment and estimates 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: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

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6.3 Signatures ‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker. ‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 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 without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and 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 import or export purposes in accordance with CITES regulations. 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 8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 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: 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. 2 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. 3 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. 4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 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. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 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. 9 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 Pictures are framed unless otherwise stated. 10. ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g.

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all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the 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, a ‘forgery’ is defined as a work created with the intent to deceive. 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. 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 unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ 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 an ‘acceptable’ fill level from CA Ltd. 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. Some Lots may be subject to copyright protection, CA Ltd does not 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 Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 16. AMENDMENTS 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. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in 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.

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AN INVITATION TO CONSIGN We are now accepting entries for our fine art sales in March and April: 22 March – Urban & Contemporary Art Head of Sale: Matt Caddick matt.caddick@chiswickauctions.co.uk

30 March – British & European Fine Art including Portrait Miniatures Head of Sale: Ishbel Gray ishbel.gray@chiswickauctions.co.uk

15 April – Modern & Contemporary Middle Eastern & North African Art Head of Sale: Janet Rady janet.rady@chiswickauctions.co.uk

20 April – Old Master Paintings & Drawings Head of Sale: Laetitia Masson laetitia.masson@chiswickauctions.co.uk

21 April – Modern & Post-War British Art Head of Sale: Krassi Kuneva krassi.kuneva@chiswickauctions.co.uk If you have items that you would like to be valued or for consignment, please email the relevant head of sale or call 020 8992 4442 for a free and confidential valuation.

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See page 5 for more information regarding fees 107