Chiswick-Auctions-ModBrit-July-2019 by Chiswick Auctions

Modern & Post-War British Art Thursday 4th July 2019

SPECIALISTS

Krassi Kuneva

Adrian Biddell

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

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

Luke Price

Suzanne Zack

Natasha Broad

Specialist Paintings & Fine Art luke.price@chiswickauctions.co.uk

Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Acting Head of Sale Old Master Paintings natasha.broad@chiswickauctions.co.uk

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COLLECTION OF LOTS Buyers are asked to collect their lots on the day of the sale or between 10 and 18 up until close of business on Friday following the sale. 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.

Modern & Post-War British Art Thursday 4th July 2019, 2pm

VIEWING AT SOUTH KENSINGTON selected highlights only Friday Monday Tuesday

21st June 10am - 6pm 24th June 10am - 6pm 25th June 10am - 6pm

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday Thursday

GENERAL ENQUIRIES +44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk SOUTH KENSINGTON 127 Fulham Road, London SW3 6RT CHISWICK 1 Colville Road, London W3 8BL EDINBURGH 93 George Street, Edinburgh EH2 3ES

29th June 11am - 5pm 30th June 11am - 5pm 1st July 10am - 6pm 2nd July 10am - 6pm 3rd July 10am - 6pm 4th July 10am - 2pm

PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Basak Ulukose Front cover: Lot 168 Inner cover: Lot 100 Back cover: Lot 13 Index: Lot 159 Sale Calendar: Lot 134

1 ARR VICTOR PASMORE, C.H., R.A. (1908-1998) Senza Titolo IV signed with initials and dated in pencil ‘VP/89’ (lower right), numbered in pencil ‘72/90’ (lower left) etching and aquatint image: 19 ¼ x 39 in. (49 x 99.1 cm.) Published by Marlborough Graphics Ltd, London, and 2RC Edizionid’arte LITERATURE: N. Lynton, Paintings and graphics: paintings and graphics, 1980-1992, London, 1992, no. G.57. £600-£800

*See inside front cover for information regarding fees

2 ARR DEREK BOSHIER (B.1937) Untitled signed and dated ‘Derek Boshier 1965’ (lower right) pencil and pastel 26 ¾ x 39 ½ in. (68 x 100.4 cm.) PROVENANCE: with Robert Fraser Gallery, London. £1,000-£2,000

3 ARR PATRICK PROCKTOR, R.A. (1936-2003) Boy with carnation signed ‘Procktor’ (lower right), numbered ‘119/500’ (lower left) lithograph, unframed image: 21 ¼ x 13 ½ in. (54 x 34.2 cm.) £150-£250

4 ARR PETER COKER, R.A. (1926-2004) Palm tree signed with studio stamp ‘PC’ (lower right) watercolour 15 ½ x 22 in. (39.4 x 55.8 cm.) PROVENANCE: with Julian Hartnol, where purchased by the present owner. £600-£800 4

*See inside front cover for information regarding fees

5 ARR DAVID HOCKNEY, O.M., C.H., R.A. (B.1937) Untitled No.468, from A Bigger Book: Art Edition C signed and dated ‘David Hockney ‘10’ (lower right), numbered ‘172/250’ (lower left) iPad drawing in colours printed on archival paper image: 17 1/8 x 13 in. (43.5 x 33 cm.) £5,000-£7,000 5

6 ARR SIR TERRY FROST, R.A. (1915-2003) Colour on the side signed and dated in pencil ‘Terry Frost 69.’ (lower right), inscribed and numbered in pencil ‘VI Artist Proof ’ (lower left) lithograph, unframed image: 29 ¾ x 22 in. (75.7 x 55.8 cm.) sheet: 41 ½ x 29 ¾ in. (105.4 x 75.7 cm.) LITERATURE: D. Kemp, Terry Frost Prints: a catalogue raisonné, Lund Humphries, 2010, no.49, p.79. £400-£600

7 ARR PATRICK PROCKTOR, R.A. (1936-2003) My Gardenia signed in pencil ‘Patrick Proctor’ (upper right), inscribed ‘Artist Proof ’ (upper left) lithograph, unframed sheet: 23 ½ x 31 in. (58.4 x 78.8 cm.) £100-£200

8 ARR ALMA SLOCOMBE (1915-2002) Le Petit Triangle Orange signed ‘A Slocombe’ (lower left), signed again, dated and inscribed ‘le petit triangle/orange’ (on the reverse) oil on canvas 16 x 13 in. (40.7 x 32.8 cm.) PROVENANCE: The artist and by descent. Alma was the daughter of the writer and Paris Correspondent, George Slocombe, and the wife of Architect and member of the Academy Francaise, Andre Remondet. Her art has been exhibited in Paris, New York and Tokyo. £300-£500 6

*See inside front cover for information regarding fees

9 ARR STANLEY WILLIAM HAYTER (1901-1988) Standing figure signed and dated ‘Hayter/28.3.48’ (lower right) ink and chalk on buff paper 23 ¼ x 17 in. (59 x 43.3 cm.) £600-£800

10 ARR DESMOND MORRIS (B.1928) The Stranger’s Dilemma signed with monogram and dated ‘DM 10’ (lower right), signed and inscribed ‘The Stranger’s Dilemma DM’ (on the reverse) ink, watercolour and gouache, unframed 11 ¾ x 16 ½ in. (29.7 x 42 cm.) PROVENANCE: Acquired directly from the artist. LITERATURE: S.Levy, Desmond Morris Analytical Catalogue Raisonné 2000-2012, Bristol, 2012, no. 2010/20, p. 221, illustrated. £800-£1,200 7

11 ARR JULIAN TREVELYAN, R.A. (1910-1988) Study I mixed media oil and crayon on board 7 ¼ x 12 ½ in. (18.4 x 31.7 cm.) Painted in 1937. PROVENANCE: with Hamet Gallery, London. Sir Robert Adeane, by 1971. £2,000-£4,000

*See inside front cover for information regarding fees

12 ARR JULIAN TREVELYAN, R.A. (1910-1988) Study I1 mixed media oil and crayon on board 7 ¼ x 12 ½ in. (18.4 x 31.7 cm.) Painted in 1937. PROVENANCE: with Hamet Gallery, London. Sir Robert Adeane, by 1971. £2,000-£4,000

TEN WORKS BY LEON UNDERWOOD (LOTS 13-22)

13 ARR LEON UNDERWOOD (1890-1975) Joy as it flies (second state) signed and numbered 'M. Underwood' (on the base) bronze with golden brown patina on wooden base 18 in. (46 cm.), high, including base Conceived in 1956. PROVENANCE: The artist, thence by family descent. Private collection, UK. LITERATURE: B. Whitworth, The Sculpture of Leon Underwood, Much Hadham, 2002, p.138, no.170. £5,000-£7,000

“It was his single gift to create these emotional rhythms, to send as it were currents of vital energy flowing through the open ducts of thin bronze” (William Gaunt, Sculpture by Leon Underwood, London, 1963, p.2, Exhibition Catalogue).

‘He who binds to himself a joy Doth the winged life destroy But he who kisses the joy as it flies Lives in Eternity’s sunrise’ (William Blake, Eternity)

The influence behind Underwood’s eclectic range of works derives from both his extensive travels and exploration of a wide range of cultures. Joy as it flies (the present lot) and Jacob and the angel (lot 14), were influenced by his travels to West Africa, yet still retain components of the Palaeolithic cave paintings he studied in Altamira, Spain in 1925. Both works communicate intense movement in their expressive and impulsive gesture. After his trip to Africa in 1945, Underwood largely abandoned carving in favour of creating increasingly exuberant bronze sculptures using a newfound technique of folding back the skin of the sculptures in order to accentuate volume. Joy as it flies is a sculpture pertaining to William Blake’s poem ‘Eternity’. The poem expresses how joy cannot be obtained through material wealth. It was a concept that resonated with Underwood’s own moral principles. As Simon Martin has put it: ‘Underwood’s complex ideas and, sometimes, esoteric philosophies were not always to endear him to the mainstream.’ (Martin, p.34). Instead of focussing his creativity on the pursuit of fame and wealth, Underwood followed his own private inspiration. He was a sculptor, painter, an engraver, printmaker, a draughtsman, an archaeologist, philosopher, teacher and writer. His versatility and the constant evolution of the way he worked meant that Underwood didn’t have an instantly recognisable style. However, his devotion to representing the human figure became central to his aesthetic and a recurring themes in his creative journey.

*See inside front cover for information regarding fees

TEN WORKS BY LEON UNDERWOOD (LOTS 13-22)

14 ARR LEON UNDERWOOD (1890-1975) Jacob and the Angel signed ‘Leon U’ (on the base) bronze with dark patina 6 in. (15.3 cm.) high, including base Conceived in 1961, this piece is unique. PROVENANCE: The artist, thence by family descent Private collection, UK. EXHIBITED: London, Kaplan Gallery, Sculpture of Leon Underwood, April-May 1963, no.51. Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, August-September,1969, no. 100. London, Archer Gallery, Leon Underwood, Michael Aram and Georges Brunon, October - November 1969, no. 42. ‘Jacob and the angel’ depicts an extract from the book of Genesis (Chapter 32, verses 24-32), where Jacob - who is regarded to be the Patriarch of the Israelites – was attacked and forced to wrestle with a stranger through the night. When his opponent realised he could not overpower Jacob, he blessed Jacob for not abandoning the struggle, revealing himself to be an angel and messenger of God and renamed Jacob ‘Israel’. £1,500-£2,500

*See inside front cover for information regarding fees

TEN WORKS BY LEON UNDERWOOD (LOTS 13-22)

15 ARR LEON UNDERWOOD (1890-1975) Dance signed and dated ‘Leon U ‘59’ (lower right) charcoal 16 ¼ x 10 in. (41.3 x 25.4 cm.) £200-£400

16 ARR LEON UNDERWOOD (1890-1975) Standing nude signed ‘Leon U.’ (lower right) charcoal and ink, unframed 21 ¾ x 15 in. (55.2 x 38.2 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £200-£300 13

TEN WORKS BY LEON UNDERWOOD (LOTS 13-22)

17 ARR LEON UNDERWOOD (1890-1975) Simian Ecstasy signed in pencil ‘Leon U’ (lower right), inscribed ‘Simian Ecstacy’ [sic] (lower left) woodcut image: 8 x 4 ½ in. (20.4 x 11.5 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200

18 ARR LEON UNDERWOOD (1890-1975) Boys Bathing signed in pencil ‘Leon Underwood’ (lower right), inscribed ‘Boys Bathing’ (lower left), numbered 8/30’ (lower centre) woodcut, unframed sheet: 10 x 6 ¼ in. (25.5 x 15.8 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200

19 ARR LEON UNDERWOOD (1890-1975) Bird and a fish signed and dated in pencil ‘Leon Underwood/27’ (lower right), numbered ‘29/50’ (lower centre) woodcut, unframed sheet:10 ½ x 16 in. (26.9 x 41 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200

*See inside front cover for information regarding fees

TEN WORKS BY LEON UNDERWOOD (LOTS 13-22)

20 ARR LEON UNDERWOOD (1890-1975) Female head signed and dated in pencil ‘Leon Underwood 28.’ (lower right) woodcut image: 8 ¾ x 5 ¾ in. (22.4 x 14.7 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200

21 ARR LEON UNDERWOOD (1890-1975) Aztec head signed, inscribed and dated ‘Leon Underwood 28/ Head, Aztec,16/50’ (lower right) woodcut, unframed image: 5 ½ x 5 ½ in. (14 x 14 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200

22 ARR LEON UNDERWOOD (1890-1975) The Tulip Girl signed and dated in pencil ‘Leon Underwood 1921’ (lower right) etching, unframed image: 17 x 4 ¾ in. (23.5 x 19.2 cm.) PROVENANCE: The artist, thence by family descent. Private collection, UK. £100-£200 15

23 ARR AUGUSTUS JOHN, O.M., R.A. (1878-1961) A set of nineteen studies from a family gathering ink, pencil and chalk, unframed 4 ¾ x 7 ¼ in. (12 x 18.5 cm.); and similar PROVENANCE: Anonymous; Christie’s, South Kensington, 3 September 2008, lot 228, where purchased from the current owner. (19) £5,000-£7,000

*See inside front cover for information regarding fees

24 ARR SIR MUIRHEAD BONE (1876-1953) Study for Winter Mine-Laying off Iceland carbon pencil and collage on tracing paper 29 ¼ x 23 ¼ in. (74.3 x 58.6 cm.) Executed circa 1942. £500-£700

25 ARR FELKIS TOPOLSKI, R.A. (1907-1989) Riding in the park ink an wash 12 ¾ x 18 in. (32.5 x 46 cm.) PROVENANCE: Anonymous sale; Christie’s, South Kensington, 14 December 1995, lot 176, where purchased by the present owner. £700-£1,000 18

*See inside front cover for information regarding fees

26 ARR TRISTRAM HILLIER, R.A. (1905-1983) The Bridle signed and dated ‘Tristram Hillier.1937.’ (lower right) pencil 16 ½ x 12 ½ in. (42 x 32 cm.) PROVENANCE: with Arthur Tooth & Sons, London. Acquired directly from the artist by the current owner. £1,000-£2,000

27 ARR REGINALD BRILL (1902-1974) Mr Turner restoring the Barn inscribed and dated ‘Mr Turner restoring the/barn, 1961’ (lower right) ink and grey wash 12 ¼ x 18 ½ in. (31.7 x 47 cm.) PROVENANCE: Acquired directly from the artist by the present owner’s parents and by descent.

Mr Turner restoring The Barn was executed from Reginald Brill’s home in the 1960s, the Little Hall. Brill and his wife Rosalie moved to Lavenham to be wardens of a Tudor house, which was owned in the past by one of Brill’s early patrons Col T.G.GayerAnderson and his twin brother. They bequeathed the place to be a hostel for art students.Brill, who spent his life working with young artists, continued this during his retirement. The current drawing with its beautifully rendered details captures the process of restoration to Molet

House, referred to by the locals as ‘The Barn’. Dating from 1480, the Barn has an extensive history with Catherine of Aragon and the Earl of Oxford as some of its most renowned historic visitors.The present owner of the work’s parents bought the place in 1960 and took its restoration to heart. Here one can see the Lavenham Primary School on the left and the home of Lady Malleson (wife of actor Miles Malleson) to the right. It is the first time that this piece is shown to the public. £1,500-2,500 19

28 ARR JOHN ALDRIDGE, R.A. (1905-1984) Isola Tiburtina, Roma signed, inscribed and dated ‘John Aldridge/Isola Tiburtina Aug ‘51’ (lower right) pencil and watercolour 14 ½ x 20 ½ in. (36.8 x 52 cm.) PROVENANCE: Anonymous sale; Christie’s, South Kensington, 20 October 2005, lot145, where purchased by the present owner. £300-£500

29 ARR JOHN ANTHONY PARK (1880-1962) Sketch for Roman Bridge in Mallorca signed ‘JAPark’ (lower right) oil on panel 13 x 16 in. (33 x 40.6 cm.) Painted in 1934. EXHIBITED: London, Royal Academy of Arts, 1939. This work is a study for the piece exhibited in the Royal Academy in 1934. See A. Wormleighton, Morning Tide: John Anthony Park and the painters of the light St Ivees 1900-1950, Stockbridge, 1998, p.61. £800-£1,200

*See inside front cover for information regarding fees

30 ARR LAURENCE STEPHEN LOWRY, R.A. (1887-1976) The Lonely House signed in pencil ‘L.S.Lowry’ (lower right) offset lithograph image: 10 ½ x 19 ½ in. (26.7 x 49.5 cm.) £400-£600

31 SIR DAVID YOUNG CAMERON, R.A. (1865-1945) Bridge, Arle signed ‘D.Y.Cameron’ (lower left) pastel 11 x 21 in. (27.9 x 53.3 cm.) This lot is sold without reserve. £700-£1,000

32 ARR GWILYM PRICHARD (1931-2015) Hydref Sir Fôn signed and dated ‘GWILYM/PRICHARD 69’ (lower left) oil on board 12 x 19 in. (30.5 x 48.3 cm.) PROVENANCE: with Mansard Art Gallery, London. £500-£700

33 EDWARD MORLAND LEWIS (1903-1943) Men at work signed ‘E.M LEWIS’ (lower left) oil on canvas 26 x 32.3 in. (84 x 67.8 cm.) Painted circa 1930. £1,000-£2,000

*See inside front cover for information regarding fees

34 ARR FRANK WOOD (1904-1985) The lion bridge signed and dated ‘FRANK WOOD ‘35’ (lower left) ink and watercolour 11 x 8 ¾ in. (28 x 22.3 cm.) £300-£500

35 ARR JOHN PIPER, C.H. (1903–1992) Manor signed in pencil ‘John Piper’ (lower right), numbered ‘64/70’ (lower left) screenprint image:18 x 39 in. (45.8 x 99 cm.) £600-£800

36 ARR WALTER RICHARD SICKERT, A.R.A (1860-1942) A wooded landscape, near Dieppe oil on board 15 ½ x 12 in. (39 x 30.5 cm.) Painted circa 1913.

PROVENANCE: A gift from the artist Wendela Boreel A gift from the present owner’s mother circa 2012. We are grateful to Dr Wendy Baron for her assistance in cataloguing this work. £5,000-£7,000

*See inside front cover for information regarding fees

37 STYLE OF PAUL NASH (20th CENTURY, BRITISH) Broken fence oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) £300-£500

38 BERNARD SICKERT, N.E.A.C.(1862-1932) Rye from Cadlorough signed and dated ‘Bernard Sickert 1919’ (lower right) oil on canvas 15 x 25 in. (38 x 64 cm.) £500-£700

A GROUP OF WORKS BY PETER SAMUELSON (LOTS 39-46)

39 ARR PETER SAMUELSON (1912-1996) Perry Court oil on board, unframed signed and dated ‘PETER SAMUELSON 38.’ (on the reverse) 20 ½ x 28 in. (52 x 71.2 cm.) The White Heart Pub painted verso. PROVENANCE: Acquired directly from the artist by the present owner. £500-£700

Perry Court, nestled in the valley dominated by the old Roman road to London, with the Nailbourne stream nearby, which curiously flooded once every seven years, was Peter Samuelson's childhood home which he loved. Son of a rich hotelier, Samuelson was sent to study at Eton College, where his artistic talent was recognised and encouraged. He then went on to study in New York School of Fine Art and Applied Arts in Paris. Time spent with Diaghliev’s Ballet Russe in the south of France was also particularly influential on his quick and fluid drawing style. The famous White Hart, painted on the reverse lies just inside the ancient city walls of Canterbury and has remained almost unchanged since 1938, when this picture was painted. There is a particular tension in Samuelson's rendition, which echoes the one of his own personal life and more broadly the world’s, which was about to change significantly. After serving in the Second World War, Samuelson returned to England, where he was involved with work as an illustrator and set designer. He returned to Kent, where he lived with his wife Oona, with whom he separated to later on move to live in a large house in Earls Court which he filled with lodgers whose portraits he famously painted. Most of the works on paper offered in this sale belong to a group called "Still Life & Fantasy". They were completed in response to individual pieces of music which Samuelson heard in rehearsal while drawing some of the most distinguished musicians at the Dutch Radio Orchestra. A special exhibition was held in 1996 at Eton College's Brewhouse Gallery, where some of these works featured. Typical for Samuelson’s highly individualistic style: the use of mirror-writing and his pseudonym signature "Pierre" can be seen throughout the lots of this group. Lots 39-46 are beautiful examples of the amazing fluidity, with which Samuelson captures the essence of his subjects.

*See inside front cover for information regarding fees

A GROUP OF WORKS BY PETER SAMUELSON (LOTS 39-46)

40 ARR PETER SAMUELSON (1912-1996) Self-portrait in the mirror ink and watercolour, unframed 21 ¼ x 18 ½ in. (53.9 x 47 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £300-£500

41 ARR PETER SAMUELSON (1912-1996) Still Life with Beethoven’s Second Piano Concerto signed and dated ‘PIERRE ‘48’ (lower right), inscribed as title ‘Still life with Beethoven’s/ Second piano concerto’ (lower left) ink and watercolour, unframed 24 ½ x 18 ¾ in. (62.3 x 47.6 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £200-£300 27

A GROUP OF WORKS BY PETER SAMUELSON (LOTS 39-46)

42 ARR PETER SAMUELSON (1912-1996) Prague Symphonie Mozart signed and dated ‘PIERRE ‘48.’ (lower right), inscribed as title ‘PRAGUE SYMPHONIE [sic] MOZART’ (lower left) ink and watercolour, unframed 17 ¼ x 19 in. (43.8 x 48.3 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £200-£300

43 ARR PETER SAMUELSON (1912-1996) Mozart Concerto ink and watercolour 7 ¾ x 9 ½ in. (19.7 x 24.2 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £150-£250 28

*See inside front cover for information regarding fees

A GROUP OF WORKS BY PETER SAMUELSON (LOTS 39-46)

44 ARR PETER SAMUELSON (1912-1996) Shostakovitch 1st Symphony inscribed in mirror as titled (lower left) ink and watercolour 11 x 9 ¾ in. (27.9 x 24.8 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £150-£250

45 ARR PETER SAMUELSON (1912-1996) Funeral for the death of Hamlet by Berlioz ink 9 x 10 ½ in. (22.9 x 26.7 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £150-£250

46 ARR PETER SAMUELSON (1912-1996) Jurgen Hess playing the violin (illustrated) ink, unframed 8 x 10 in. (20.4 x 25.4 cm.) Sold together with five more drawing of musicians playing PROVENANCE: Acquired directly from the artist by the present owner. (6) £100-£200 29

PROPERTY FROM A UK ESTATE

47 ARR MERVYN PEAKE (1911-1968) The Clown oil on board 24 ½ x 18 in. (62 x 45.5 cm.) PROVENANCE: with Theo Waddington, London. £600-£800

48 ARR RONALD OSSORY DUNLOP, R.A. (1894-1973) Portrait of a man signed ‘Dunlop’ (lower left) oil on canvas board 12 ½ x 10 in. (31.8 x 25.4 cm.) £200-£400 30

*See inside front cover for information regarding fees

49 HEDWIG PILLITZ (EXH. 1920-1940) Portrait of Sir Anton Dolin signed ‘Pillitz’ (lower right) oil on board 15 ¾ x 12 in. (40 x 30 cm.) Sir Anton Dolin (1904-1983) was a renowned English ballet dancer and choreographer. £200-£400

50 HEDWIG PILLITZ (EXH. 1920-1940) Portrait of a young actor signed ‘PILLITZ’ (lower right) oil on canvas board, unframed 15 ¾ x 12 in. (40 x 30.5 cm.) Painted circa 1930. £150-£250

51 HEDWIG PILLITZ (EXH. 1920-1940) Bernice Barry oil on canvas, unframed 15 x 12 in. (38.2 x 30.5 cm.) Painted circa 1930. £100-£200 31

PROPERTY FROM THE ESTATE OF GILBERT SPENCER (LOTS 52-55)

52 ARR GILBERT SPENCER, R.A. (1892-1979) R Rose Price signed inscribed and dated 'R Rose Price/To Worksop/Prefect 58/.Rugger XV'/Gilbert Spencer July 9 1958' (lower right) pencil 14 ¼ x 10 in. (35.8 x 25.3 cm.) PROVENANCE: The artist's estate. £150-200

52A ARR GILBERT SPENCER, R.A. (1892-1979) R Rose Price signed inscribed and dated 'R Rose Price/To Worksop/Prefect 58/.Rugger XV'/Gilbert Spencer July 9 1958' (lower right) pencil 14 ¼ x 10 in. (35.8 x 25.3 cm.) PROVENANCE: The artist's estate. £150-200

53 ARR GILBERT SPENCER, R.A. (1892-1979) Pamela signed, inscribed and dated 'Pamela Gi Spenncer 1967' (lower right) pencil 11 x 9 ¾ in. (28.5 x 24.8 cm.) PROVENANCE: with the Reading Fine Art Gallery, Reading. £150-200 32

*See inside front cover for information regarding fees

PROPERTY FROM THE ESTATE OF GILBERT SPENCER (LOTS 52-55)

54A ARR GILBERT SPENCER, R.A. (1892-1979) D H Mason signed inscribed and dated 'Gilbert Spencer 1955/ To Denstone/Extortioner' (lower right) pencil 13 ¾ x 10 ¾ in. (35 x 27.5 cm.) PROVENANCE: The artist's estate. £150-200

54 ARR GILBERT SPENCER, R.A. (1892-1979) Portrait study of young boy signed and dated 'Gilbert Spencer/1929' (lower right) pencil 13 ¼ x 9 ½ in. (34 x 23.8 cm.) PROVENANCE: The artist's estate. £100-200

55 ARR GILBERT SPENCER, R.A. (1892-1979) Study of a Steam Roller pencil 13 ½ x 13 in. (34.3 x 33 cm.) PROVENANCE: The artist's estate. £80-120 33

56 ARR FRANK DOBSON, R.A. (1886-1963) Jeanne de Casalis signed ‘Dobson’ (on the reverse) bronze with green patina 19 ½ in. (50 cm.), high Conceived in 1934.

PROVENANCE: Aubrey Newman and by descent. EXHIBITED: London, Leicester Galleries, Paintings, Drawings and Sculpture by Modern Artists, April-May 1935, 12. (another cast exhibited) London, Arts Council Gallery, Frank Dobson: Memorial Exhibition, June-July 1966, no. 48. (another cast exhibited) LITERATURE: N. Jason, L. Thomson-Pharoah, The Sculpture of Frank Dobson, London, 1994, no. 115, p. 142, (another cast illustrated.) £7,000-£10,000

‘A portrait sculptor should set to work determined to produce sculpture. The psychological element should not be lost sight of, but it should be subordinated to the aesthetic. One must interpret. If you want a mere record, what’s wrong with Kodak? You go to an artist for a work of art.’ Frank Dobson

During the 1920s and 1930s Dobson gained an outstanding reputation. In 1924, to his great satisfaction, he was the only living British sculptor represented at the Venice Biennale (alongside his works were pieces by the late Henri Gaudier Brzeska). A year later the renowned critic Roger Fry described his work as 'true sculpture and pure sculpture… almost the first time that such a thing has been even attempted in England'. (quoted in N. Jason, The Sculpture of Frank Dobson, London, 1994, p.67) His popularity was so broad, that in 1933 Cowan Douglas Stephenson, who was a director of the corset manufacturers Charnaux, commissioned Dobson to produce a torso to advertise their products. The sculptor produced a stylish piece, considerably superior to the usual display model. As it was created in the studio of Manresa Road, Dobson gave it the impressive sounding title The Manresa Venus. In April 1933 it was unveiled at Selfridges in and declared by the press to be ‘the modern ideal of the perfect figure which would replace the usual ‘caryatids of fashion’’. (ibid p. 83.) Aside from the obvious commercial success of Dobson’s work, Stephenson must have been particularly captured by the piece, as he decided to commission the artist for a much more personal work, namely for a portrait bust of his wife, the actress Jeanne de Casalis. Born in Basutoland in South Africa, Casalis was educated in France. She started her career in music and later began to work on stage in London and also appeared in feature films. She played alongside Vivien Leigh in The Mask of Virtue (1935) and was most known for Cottage to Let (1941) and Radio Parade (1933). The year her portrait bust was conceived, Casalis was playing the Duchess of Portsmouth in Herbert Wilcox’s film Nell Gwyn with Anna Neagle in the leading role. When compared with photographs of the actress, it is clear that Dobson has masterfully captured the general appearance of the sitter. Casalis’ elongated neck, together with the generally simplified features possess a monumentality, intrinsically typical of the sculptor’s work. The sophisticated manner, in which Dobson has played with the plastic masses in order to create this piece makes one unquestionably understand why he is considered one of the pioneers of modern sculpture in Britain. 34

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57 ARR JOHN SKEAPING (1901-1980) Self-portrait signed, inscribed and dated ‘John Skeaping Self Portrait at the Pound (Farm)/Higham 1930./near ...[?]’ (on the reverse) ink 18 ¼ x 9 in. (46.4 x 22.8 cm.) £500-£700

58 ARR BERNARD DUNSTAN, R.A. (1920-2017) Study for making dresses signed with initials ‘BD’ (lower right) chalk 9 ¼ x 7 ¼ in. (23.5 x 18.5 cm.) £200-£400

59 ARR JOHN SKELTON (1923-1999) Study for reclining torso in Cornish Polyphant signed, dated and inscribed ‘John Skelton/1968/Study for/reclining/Torso/in Cornish/Polyphant’ (upper right) pencil and chalk on brown paper 15 ½ x 20 in. (39.4 x 50.8 cm.) £200-£400 36

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60 ARR JOHN DUNCAN FERGUSON (1874-1961) Anne-Estelle Rice in a broad-brimmed hat inscribed and dated ‘Estelle Rice/PARIS/1910’ (on the reverse) charcoal 4 ¾ x 8 ¼ in. (12.1 x 20.9 cm.) PROVENANCE: with Peter Nahum, London. with Alexander Meddowes Fine Art, Edinburgh. £2,500-£3,500

61 ARR SIR HUGH MAXWELL CASSON C.H., R.A., (1910-1999) Portrait of Sir Cecil Beaton, CBE, (1904-1980). signed with initials and dated ‘ H.C. Aug.1955’ (lower right) black and coloured chalk, unframed 19 x 14 ½ in. (47.5 x 37 cm.) £250-£350

62 ARR FELIKS TOPOLSKI, R.A. (1907-1989) Portrait of John Houston signed and dated ‘Feliks Topolski/59’ (lower left) charcoal, unframed 21 x 16 ¼ in. (53.3 x 41.3 cm.) £150-£250 37

PROPERTY FROM A UK ESTATE

63 ARR MERVYN PEAKE (1911-1968) Standing nude ink and watercolour 9 ¼ x 4 in. (23.5 x 10.2 cm.) PROVENANCE: with Theo Waddington, London. £300-£500

64 ARR BERNARD MENINSKY (1891-1950) Two women in landscape signed ‘Meninsky’ (lower right) gouache 8 x 9 1 ½ in. (20.3 x 24.2 cm.) PROVENANCE: with Blond Fine Art, London. Mrs D L Weir, by 1983. Private collection, UK. £600-£800 38

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65 ARR RALPH BROWN, R.A. (1928-2013) Woman Bathing bronze with dark patina 14 in. (36 cm.), high Conceived in 1960, from an edition of 9. LITERATURE: G.Whiteley, Social, savage, sensual: the sculpture of Ralph Brown, Bristol, 2009, pp. 69,160, (another cast illustrated.) £800-£1,200

66 ARR SIR PETER BLAKE, R.A. (B.1932) About Collage: Tourist Attraction signed ‘Peter Blake’ (lower right), numbered ‘9/60’ (lower left) silkscreen, unframed image: 13 x 10 in. (33 x 25.4 cm.) sheet: 20 x 16 ½ in. (51 x 42 cm.) £100-£200

67 ARR EDWARD ARDIZZONE, R.A. (1900-1979) On the beach signed and inscribed in pencil ‘Artist’s Proof On the Beach Edward Ardizzone’ (along the lower edge) etching and aquatint image: 5 ¼ x 8 in. (13.4 x 20.7 cm.) Published circa 1950. PROVENANCE: Lady Craigmyle, December 1994. Private collection, UK. EXHIBITED: London, Sally Hunter Fine Art, Edward Ardizzone, December 1994, no. 76. £400-£600 40

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68 ARR DAVID JONES (1895-1974) Everyman woodcut image: 5 ½ x 6 ½ in. (14 x 16.5 cm.) £600-£800

69 ARR JOHN NASH, R.A. (1893-1977) Epiphyllum in flowers; A cottage in Gloucestershire; Cyclamen persicum each numbered in pencil 145/150’ (lower right) woodcut (i) image: 6 x 4 ¾ in. (15.3 x 12.2 cm.) (ii) image: 4 ¾ x 6 ¾ in. (12.2 x 17.2 cm.) (iii) image: 6 ¾ x 4 ¾ in. (17.2 x 12.2 cm.) (3) £200-£400

70 ARR JOHN PIPER, C.H. (1903-1992) Scotney Castle VI signed in pencil ‘John Piper’ (lower right), numbered in pencil ‘37/50’ (lower left) etching image: 7 ½ x 15 in. (19.1 x 38.1 cm.) Printed by Kelpra Studio in 1982. PROVENANCE: with Bohun Gallery, Henley-on-Thames. LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 348.

71 ARR JOHN PIPER, C.H. (1903-1992) St. David’s, Dyfed signed in pencil ‘John Piper’ (lower right), numbered ‘43/100’ (lower left) screenprint image :22 ¼ x 30 ½ in. (56.5 x 77.5 cm.) LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 340. £400-£600

£600-£800

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72 ARR DAVID ROLT (1915-1985) Delphinium oil on canvas 24 x 18 in. (61 x 45.6 cm.) PROVENANCE: The artist’s estate. David Rolt was born disabled and became particularly sought after as a painter in the 1940s and 1950s, exhibiting his works at the Royal Academy and the New English Arts Club. His works were taken up by one of the leading London gallerist Sir Jack Baer, who staged five exhibitions of his work at the Hazlitt Gallery, which were followed by international exhibitions in New York, Cappetown and Istanbul. £500-£700

73 ARR PHILIP SUTTON, R.A. (B. 1928) Sweet William signed, inscribed and dated ‘1972 ‘’Sweet William’’/ Philip Stutton’ (on the reverse) oil on canvas 39 ¾ x 39 ½ in. (100.3 x 101 cm.) PROVENANCE: with Roland, Roland, Browse and Delbanco, London. £1,500-£2,500 43

74 ARR ADRIAN RYAN (1920-1998) Campagne Orovida signed ‘Ryan’ (lower right), inscribed and dated ‘to Polly from Ade 1969’ (on the reverse) pencil and watercolour 6 ½ x 9 ¼ in. (16.5 x 23.5 cm.) PROVENANCE: Polly Walker, by 1969. with Henry Willis Gallery, St Ives, where purchased by the present owner. LITERATURE: J. Machin, Adrian Ryan: Rather a Run Life, p. 85. £100-£200

75 ARR KEN HOWARD, R.A. (B.1932) Sunny countryside signed ‘Ken Howard’ (lower right) oil on canvas board 6 ½ x 8 ¼ in. (16.5 x 20.8 cm.) £300-£500

76 ARR JOHN PLUMB (1927-2008) Tree reflections in the river Ash signed and dated ‘John Plumb 89’ (upper left) pastel 18 ¾ x 28 ¼ in. (47.7 x 71.8 cm.) PROVENANCE: with Bohun Gallery, Henley-on-Thames, where purchased by the present owner’s mother and by descent. £400-£600 44

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77 ARR JOHN PIPER, C.H. (1903-1992) Harlaxton signed in pencil ‘John Piper’ (lower right), numbered in pencil ‘63/75’ (lower left) screenprint image: 22 ½ x 39 ½ in. (57.2 x 100.4cm.) LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 270. £700-£1,000

78 ARR JOHN PIPER, C.H. (1903-1992) Long Sutton signed in pencil ‘John Piper’ (lower right), numbered ‘45/100’ (lower left) screenprint image: 24 x 32 in. (60.5 x 82.5 cm.) LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 374. £400-£600

79 ARR DONALD MCINTYRE (1923-2009) Sea and Rocks Anglesey signed with initials ‘DMC’ (lower right) acrylic on board 7 ¼ x 9 ¼ in. (18.5 x 23.5 cm.) PROVENANCE: with Bohun Gallery, Henley-on-Thames. £1,000-£2,000

80 ARR FRANCIS WYNNE THOMAS (1907-1989) Windmill on Angelsea with Snowdon in the distance signed ‘F.Wynne Thomas’ (upper left) oil on canvas 15 ½ x 19 in. (39.4 x 48.3 cm.) PROVENANCE: Private collection, UK. £300-£500

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81 ARR ADRIAN RYAN (1920-1998) Bridge in Paris dated and inscribed ‘16.10.84 12:30 pm Sunny but white clouds’ (upperleft) pencil and watercolour 4 ½ x 8 in. (11.4 x 20.3 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £100-£200

82 ARR ROSE HILTON (1931-2019) Penwith signed, and inscribed ‘Rose Hilton/Penwith Landscape’ (on the reverse) oil on canvas 10 x 12 in. (25.4 x 30.5 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £250-£350

83 ARR DIANA ARMFIELD, R.A. (B.1920) Dawn over snow at Christmas signed with initials ‘DMA’ (lower left) oil on canvas laid down on board 11 ½ x 14 in. (29.2 x 35.5 cm.) PROVENANCE: with Browse & Darby, London, where purchased by the present owner. £800-£1,200 47

84 ARR DIANA ARMFIELD, R.A. (B.1920) Camellias in a silver rose bowl signed with initials ‘DMA’ (lower left) oil on canvas laid down on card 8 ¾ x 12 in. (23 x 30 cm.) PROVENANCE: with Browse & Darby, London, where purchased by the present owner. £700-£1,000

85 ARR DIANA ARMFIELD, R.A. (B.1920) Roses in a cup from Market Drayton signed with initials ‘DMA’ (lower left) oil on board 9 x 7 in. (21 x 16 cm.) EXHIBITED: London, The Mall Galleries, New English Art Club, 1984, no. 7, where purchased by the present owner. £400-£600

86 ARR ROBERT PALMER (1927-2005) Still life on chair signed ‘R PALMER’ (lower left) oil on canvas board 20 x 16 in. (50.8 x 40.6 cm.) PROVENANCE: English private collection. £200-£400 48

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87 ARR KEN HOWARD, R.A. (B.1932) Barbara and Honesty signed ‘Ken Howard’ (lower left) oil on canvas 24 x 20 ¼ in. (61 x 51 cm.) PROVENANCE: with The New Grafton Gallery, London, by 1989. English private collection. £5,000-£7,000

88 ARR STAN SMITH (1929-2001) Seated nude watercolour, mounted, unframed 18 x 12 in. (45.7 x 30.5 cm.) PROVENANCE: The artist’s estate. Stan Smith was the principal of the Ruskin School of drawing and exhibited regularly at the Royal Academy. The human figure, the female nude in particular, was central to his artistic output. This lot is a fine example of the bold colours and strokes defining the artist’s style. £150-£250

89 ARR KEN HOWARD, R.A. (B.1932) Campo S. Maria Formosa signed ‘Ken Howard.’ (lower right) oil on canvas board 10 x 12 in. (25.3 x 31 cm.) PROVENANCE: with Whittington Fine Art, London. £500-£700 50

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90 ARR KEN HOWARD, R.A. (B.1932) Monte Gufoni signed ‘Ken Howard’ (lower right) oil on canvas board 8 x 10 in. (20.4 x 25.4 cm.) PROVENANCE: English private collection. £700-£1,000

91 ARR TOM COATES (B.1941) Venice signed with monogram ‘TC’ (lower left) oil on board 7 ½ x 10 ½ in. (19 x 26.7 cm.) £300-£500 51

92 BERNARD MYERS (1925-2007) Two nudes each signed ‘B Myers’ (on the reverse) oil on artist paper, unframed 14 x 10 in. (45.5 x 25.4 cm.) PROVENANCE: The artist’s estate. (2) £150-£250

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93 BERNARD MYERS (1925-2007) Three nudes each signed ‘B Myers’ (on the reverse) oil on artist paper 10 x 7 in. (25.4 x 17.7 cm.) PROVENANCE: The artist’s estate. (3) £120-£180

94 BERNARD MYERS (1925-2007) Three nudes (i), (ii) signed ‘B Myers’ (on the reverse), (iii) signed ‘Myers’ (on the reverse) oil on artist paper, unframed 9 x 6 in. (22.8 x 15.2 cm.); and similar PROVENANCE: The artist’s estate. (3) £120-£180

95 ARR KEN HOWARD, R.A. (B.1932) Going home; Sennen each signed ‘Ken Howard’ (lower right) (i) inscribed as title and dated ‘14.07.04’ (on the reverse) (ii) inscribed as title and dated ‘13.07.04’ (on the reverse) oil on canvas board (i), (ii) 7 ½ x 9 ½ in. (19 x 24 cm.) (2) PROVENANCE: (i), (ii) with Richard Green, London, where purchased by the present owner. £800-£1,200

96 ARR ANDREW MACARA (B.1944) Sennen Cove, Cornwall signed and dated ‘Andrew Macara/1989’ (lower right), inscribed ‘12.00am/Sennen Cove/Cornwall’ (on the reverse) 10 ¼ x 20 in. (26 x 50.8 cm.) PROVENANCE: Anonymous sale; Christie’s, South Kensington, 17 March 1994, lot 160, where purchased by the present owner. £600-£800 54

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97 ARR KEN HOWARD, R.A. (B.1932) Cornish beach signed ‘Ken Howard’ (lower right) oil on canvas 18 x 24 in. (45.5 x 61 cm.) PROVENANCE: English private collection. £3,000-£5,000

98 ARR GRAHAM SUTHERLAND, O.M. (1903-1980) Insect signed in pencil ‘Graham Sutherland’ (lower right), numbered ‘39/65’ (lower left) lithograph sheet: 26 x 19 ½ in. (66.1 x 49.5 cm.) Published in 1963, printed by Emil Matthieu, Zurich, published by Galerie Wolfgang Ketterer, Munich. LITERATURE: R. Tassi, Graham Sutherland: complete graphic work, London, 1978, no. 69. £400-£600

99 ARR LIONEL BULMER (1919-1992) On the Blythe signed ‘L Bulmer’ (lower right) oil on canvas board 15 ½ x 19 ½ in. (39 x 49.5 cm.) PROVENANCE: with Messum’s Fine Art Gallery, London, where purchased by the present owner. £500-£700

100 ARR LIONEL BULMER (1919-1992) Summer Evening on the Blyth signed with initials ‘L B’ (lower right) oil on board 8 x 9 ½ in. (21 x 25 cm.) PROVENANCE: with Messum’s Fine Art Gallery,London, where purchased by the present owner. £300-£500

101 ARR JOHN MELVILLE (1982-1986) Expressionist landscape signed and dated ‘John Melville/53’ (lower left) oil on canvas, unframed 25 ¼ x 24 ¼ in. (64 x 62 cm.) PROVENANCE: Acquired from the artist’s estate by the present owner. £250-£350

102 ARR JOHN BELLANY, R.A. (1942–2013) Nice signed ‘Bellany.’ (lower right) oil on canvas 36 x 36 in. (91.5 x 91.5 cm.) £3,000-£5,000 56

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103 ARR JOHN BELLANY, R.A. (1942-2013) Untitled signed in pencil ‘John Bellany.’ (lower right), inscribed ‘A/P’ (lower left) image: 21 ¾ x 17 ½ in. (55.3 x 44.5 cm.) £500-£700

104 ARR MALCOLM MORLEY (1931-2018) Troyan Cavalcade signed in pencil ‘Malcolm Morley’ (lower right), numbered in pencil ‘6/63’ (lower left) etching and aquatint, unframed image: 33 x 23 ¾ in. (83.8 x 60.4 cm.) sheet: 41 ½ x 29 ½ in. (105.4 x 74.9 cm.) This work relates to Aegean Crime painted in 1987, currently in a private collection. £200-£400

105 ARR JONATHAN WADE (B.1960) West Highland Weekend signed ‘J Wade’ (lower left), signed again and inscribed ‘J Wade/West Highland/ Weekend’ (on the reverse) oil on board 8 x 12 in. (20 x 30 cm.) PROVENANCE: Anonymous sale; Christie’s South Kensington, 26 July 2001, lot138. £1,000-£1,500 58

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106 ARR JOHN BELLANY, R.A. (1942-2013) Bass Rock Idyll signed in pencil ‘John Bellany’ (lower right), numbered ‘6/15’ (lower right) hand coloured etching Image: 14 x 12 in. (35.5 x 30.5 cm.) PROVENANCE: with Flowers Graphics, London. £500-£700

107 ARR JOHN BRATBY, R.A. (1928-1992) Self-portrait signed, inscribed and dated ‘Autoportrait/John Bratby/Venezia/March/1992’ (upper right), further inscribed ‘Europa/Hotel’ (centre left) pencil, watercolour and pastel 18 ¼ x 13 ¼ in. (46.4 x 33.5 cm.) £400-£600

108 ARR JOHN BELLANY, R.A. (1942-2013) Setton signed in pencil ‘John Bellany’ (lower right) monotype image: 19 ½ x 14 ½ in. (49.5 x 37 cm.) Executed in 1996. PROVENANCE: with Flowers Graphics, London. £600-£800 59

109 ARR DONALD BLAKE (1908-1997) Slipway signed ‘F.DONALD BLAKE’ (lower right) watercolour on clay-coated card 19 x 13 ½ in. (48.3 x 34.3 cm.) PROVENANCE: Richard Cory-Smith. Lots 109 and 111 are fine examples of Blake’s unique technique using clay-coated paper, ink and watercolour. £400-£600

110 ARR EDWARD WADSWORTH, A.R.A. (1889-1949) Imaginary Harbour lithograph Image: 18 x 24 in. (45.6 x 61 cm.) PROVENANCE: with Goldmark Gallery, Rutland. £1,000-£1,500

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111 ARR DONALD BLAKE (1908-1997) Factory signed ‘F.DONALD BLAKE’ (lower right) watercolour on clay-coated card 13 ½ x 18 ¾ in. (34.3 x 47.6 cm.) PROVENANCE: Richard Cory-Smith. £400-£600

112 ARR JULIAN TREVELYAN, R.A. (1910-1988) Tower Bridge signed in pencil ‘Julian Trevelyan’ (lower right), inscribed ‘Tower Bridge’ (lower centre), numbered ‘8/75’ (lower left) etching and aquatint image: 13 ¾ x 18 ¾ in. (34.5 x 48 cm.) LITERATURE: S. Turner, Julian Trevelyan: catalogue raisonné of prints, Scolar Press, 1998, no. 228, p.116. £600-£800

113 ARR MARY FEDDEN, R.A. (1915-2012) Mother and child signed and dated ‘Fedden 86’ (lower left) gouache 8 ½ x 6 ¼ in. (21.6 x 15.9 cm.) £1,000-£2,000

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114 ERIC WINTERS (1921-1968) Michelle Winters aged six weeks signed ‘Winters’ (on the back of the neck) bronze with green patina 6 ¾ in. , high, including the base Conceived in 1952, cast posthumously by the artist’s family PROVENANCE: The artist's family. Eric Winters represented the fifth generation of sculptors in the Winters family. His talent was recognised from an early age and in 1939 he was the youngest student at the Royal Academy Sculpture School, having been awarded the only open scholarship for the institution. His studies were interrupted by the war years to be resumed in 1947-52, when the Academy re-opened. As a student he won four Landseer prizes for figurative sculpture and was awarded a medal at the XVIth Olympiad Sport in Art exhibition at the Victoria and Albert Museum in 1948. His passion for sculpture and in particular for portrait sculpture was paving a way for his role as one of the founding members of the Society of Portrait Sculptors, with whom he exhibited regularly from 1952 until his tragically early death at the age of 47.

PROPERTY FROM A UK ESTATE

115 ARR ROBERT CLATWORTHY, R.A. (1928-2015) Head I signed with initials and numbered ‘RC 1/9’ (on the side of the base) bronze with brown patina 20 ½ in. (52 cm.), high Conceived in 1989. EXHIBITED: London, Keith Chapman Gallery, Robert Clatworthy, 2008. LITERATURE: K. Chapman (ed.), Robert Clatworthy Sculpture and Drawings, Bristol, 2012, RC141, p.140, (another cast illustrated) £700-£1,000

Another cast of Michelle Winters aged 6 weeks was amongst the works exhibited in the first annual exhibition held by the Society in the winter of 1953 at the Imperial Institute, South Kensington. Eric sold two copies of Michelle’s portrait for 25 guineas each, one of them to Vasco Lazzolo who had two of his own portrait sculptures in the exhibition. The work is a very personal, life cast of the artist’s daughter and a fine sculpture conceived in the period that Malcolm Fry described as bringing a ‘renaissance in the art of portrait sculpture’. £1,000-£1,500

116 ARR NICOLA HICKS (B.1960) Duck signed and dated in pencil ‘Hicks 96’ (lower right), inscribed ‘Duck’ (lower centre), numbered ‘22/75’ (lower left) etching image: 16 ¾ x 21 ¾ in. (42.5 x 55.2 cm.)

117 ARR ROWLAND SUDDABY (1912-1972) Winter landscape signed and dated ‘R.Suddaby/50’ (lower right) watercolour and gouache 14 ½ x 21 ¼ in. (37.2 x 54 cm.) £200-£400

PROVENANCE: with Flowers East, London. £300-£500

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118 ARR NICOLA HICKS (B.1960) Wild boar signed and dated ‘Hicks 87’ (lower right) charcoal 42 ½ x 69 ¾ in. (108 x 177.4 cm.) £1,500-£2,500

119 ARR NORMAN ADAMS, R.A. (1927-2005) Cherry Orchard after Rain, France signed, inscribed and dated ‘Cherry Orchard After Rain. France.NA.92’ (lower right) pencil, watercolour and gouache 12 x 13 in. (30.5 x 33 cm.) PROVENANCE: with Christopher Hull Gallery, London. Anonymous sale; Christie’s, South Kensington, 17 May 2006, lot 521,where purchased by the present owner. £300-£500

120 ARR ROSE HILTON (1931-2019) Terrace signed ‘Rose Hilton’ (lower left) oil on canvas 15 ¾ x 20 in. (40.2 x 50.7 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £500-£700

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121 ARR GERALD JARMAN (B.1930) Window view signed ‘JARMAN’ (on the reverse) oil on canvas 40 x 45 ¾ in. (101.6 x 116.3 cm.) PROVENANCE: Private collection, UK. £800-£1,200

122 ARR JULIAN TREVELYAN, R.A. (1910-1988) Near Miss signed ‘Julian Trevelyan’ (lower right), inscribed ‘Near Miss’ (lower centre), numbered ‘7/51’ (lower left) etching and aquatint image:18 ½ x 13 ½ in. (47 x 34.2 cm.) Published in 1975. LITERATURE: S. Turner, Julian Trevelyan: catalogue raisonné of prints, Scolar Press, 1998, no. 228, p.116. £500-£700

123 ARR SIR TERRRY FROST, R.A. (1915-2003) Blue suspended forms signed and dated ‘Terry Frost 70’ (lower right), numbered ‘8/75’ (lower left) lithograph, unframed sheet: 35 ½ x 25 in. (90.2 x 63.5 cm.) LITERATURE: D. Kemp, Terry Frost Prints: a catalogue raisonné, Farnham, 2010, no.54, p.83. "Terry’s…prints are a kind of dream language and, like music, they propose a new reality. When Terry condensed the image he had created, simplicity imbued his work with great power. His techniques of painting, printmaking and collage were simple, almost primitive - But no painting of reality can move one quite like the revelation of its underlying structure. His works weave a dream language, a landscape and therefore have a metaphoric power - they float high above the pitfalls of reality. Terry embraced the informal and the irrational, together with the spontaneous and the unknown. He was able to let go - to jump into the dark" D. Kemp, Terry Frost Prints: a catalogue raisonné, Lund Humphries, 2010, p.10 £500-£700 68

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124 ARR JOHN HOYLAND, R.A. (1934-2011) Jinel signed and dated in pencil ‘John Hoyland 89.’ (lower right), inscribed and numbered in pencil ‘AP 1/10’ (lower left) etching and aquatint, unframed image: 25 x 19 ¾ in. (63.5 x 50.2 cm.) sheet: 35 ¼ x 27 ¼ in. (89.5 x 69.5 cm.) ‘’I cannot describe or explain these works. I would suggest that their very nature and seriousness denies instant communication. They will not reveal all their secrets immediately. Some will remain elusive, a dusty mirror withholding secrets, that is their essence. Don’t expect instant gratification. Look at these paintings as you would listen to music.(…) Music doesn’t illustrate emotion. Though a title may suggest the direction of the composer’s thoughts. So it is with painting.’ ’ M. Gooding, John Hoyland, Thames & Hudson, 2006, p.115. £500-£700

125 ARR SIR TERRRY FROST, R.A. (1915-2003) Black on Mauve Grey signed and dated in pencil ‘Terry Frost 68.’ (lower right), inscribed ‘ArtistProof ’ (lower left) screenprint, unframed image: 30 ¼ x 22 in. (76.8 x 55.8 cm.) sheet: 40 x 27 in. (101.7 x 68.5 cm.) LITERATURE: D. Kemp, Terry Frost Prints: a catalogue raisonné, Farnham, 2010, no.42, p.72. £500-£700 69

126 ARR GEORGE DANNATT (1915-2009) Abstract landscape acrylic on canvas 18 x 14 in. (45.7 x 35.6 cm.) £500-£700

127 ARR PATRICK CAULFIELD, R.A. (1936-2005) Large Jug signed and inscribed in pencil ‘Patrick Caulfield AP’ (lower right) screenprint, unframed image: 36 ½ x 24 ¾ in. (92.7 x 62.8 cm.) sheet:45 ¾ x 33 in. (116.4 x 83.8 cm.) Printed at Kelpra Studio, London. Published by Waddington Graphics, London. LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no. 69, p.93. £600-£800

128 JULIAN TREVELYAN, R.A. (1910-1988) Triplane signed in pencil ‘Julian Trevelyan’ (lower right), inscribed as title ‘Triplane’ (lower centre), numbered ‘9/25’ (lower left) etching and aquatint, unframed image: 9 x 14 in. (22.9 x 35.6 cm.) Published in 1974. LITERATURE: S. Turner, Julian Trevelyan: catalogue raisonné of prints, Scolar Press,1998, no. 297, p.137. £500-£700 70

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129 ARR DESMOND MORRIS (B.1928) Pastor-Headed Barking Meter signed with monogram and dated ‘DM 16’ (lower left), signed and dated again, inscribed as titled (on the reverse) ink and gouache, unframed 11 ¾ x 16 ½ in. (29.7 x 42 cm.) PROVENANCE: Acquired directly from the artist by the present owner. We are grateful to Dr Silvano Levy for his assistance in cataloguing this lot. £800-£1,200

130 ARR JEREMY ANNEAR (B.1949) Sea Space signed with initials and dated ‘JA ‘01’ (lower right), signed and dated again and inscribed as titled (on the stretcher) acrylic on canvas 36 x 36 in. (91.5 x 91.5 cm.) £600-£800 71

130a ARR MERLYN EVANS (1910-1973) Dancer signed and dated in pencil ‘MEvans 57’ (lower right), numbered‘7/50’ (lower left) etching and aquatint, unframed image: 9 ¾ x 7 ¾ in. (25 x 20 cm.) £200-£400

131 ARR JOHN CECIL STEPHENSON (1889-1965) Abstract blue and white signed and dated with a studio stamp ‘JCS 42’ (lower right) oil on card 6 ¼ x 5 in. (15.7 x 13 cm.) PROVENANCE: The artist’s estate. £300-£500

132 ARR JOHN TUNNARD, A.R.A. (1900-1971) Red, yellow and blue pastel 21 ½ x 14 ½ in. (54.5 x 36.7 cm.) Executed circa 1930. We are grateful to Professor Brian Whitton for his assistance in cataloguing this lot. £1,000-£2,000 72

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133 ARR PETER KINLEY (1928-1988) Abstract composition gouache 10 ½ x 7 ½ in. (26.7 x 19 cm.) Executed in 1957, according to an inscription on the reverse. PROVENANCE: Private collection, Portugal. £1,000-£1,500

134 ARR CRAGIE AITCHISON, R.A. (1926-2009) Still Life with Bird Vase signed, numbered and dated ‘Craigie Aitchison 145/300 2004/’ (on the reverse) screenprint in colours, unframed sheet:11 x 8 ¾ in. (28 x 22.4 cm.) Sold together with the accompanying book ‘Craigie Aitchison: Pictures’, printed and published by Advanced Graphics, London, the full sheet printed to the edges. (2) £600-£800 73

135 ARR PATRICK CAULFIELD, R.A. (1936-2005) Wall plate: Stucco signed and numbered ‘Patrick Caulfield 26/50’ (lower right) screenprint, unframed image: 41 x 30 in. (104 x 76 cm.) sheet: 51 x 39 ½ in. (129.4 x 101.5 cm.) Published in 1987 in an edition of 50 plus 10 AP.

136 ARR PATRICK CAULFIELD, R.A. (1936-2005) Wall plate: Stones signed and numbered ‘Patrick Caulfield 25/50’ (lower right) screenprint, unframed image: 41 x 30 in. (104 x 76 cm.) sheet: 51 x 39 ½ in. (129.4 x 101.5 cm.) Published in 1987 in an edition of 50 plus 10 AP.

137 ARR PATRICK CAULFIELD, R.A. (1936-2005) Wall plate: Highlights signed and numbered ‘Patrick Caulfield 27/50’ (lower right) screenprint, unframed image: 41 x 30 in. (104 x 76 cm.) sheet: 51 x 39 ½ in. (129.4 x 101.5 cm.) Published in 1987 in an edition of 50 plus 10 AP.

PROVENANCE: with Waddington Cussot, London, where purchased by the present owner.

LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no. 71, p.93.

LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no. 72, p.93.

LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no. 70, p.93.

£500-£700

“ After the exuberances of these prints of the mid-late 1970s, Caulfield has returned to an imagery that has become progressively more simple, schematic and direct. This begins with the images of jars and pots of 197980, whose printed textures, imitating hand-made papers, mocked the vogue in American printmaking at the time for the real thing. (…) Caulfield’s abiding preoccupation with light is a component of his deepest philosophical and thematic concerns. For light is the very element of the visual, it is the determinant of colour, it discloses space. To consider visual representation and its paradoxes is to contemplate before anything else the phenomenon of light. » M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, p.14-15.

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138 ARR BRUCE MCLEAN (B.1944) Abstract plate ceramics 12 in. (30 cm.), diameter This work is unique. PROVENANCE: Acquired directly from the artist by the present owner. £150-£250

139 ARR PATRICK CAULFIELD, R.A. (1936-2005) Fern Pot signed and inscribed ‘Patrick Caulfield AP’ (lower right) screenprint, unframed sheet: 33 x 23 ½ in. (83.8 x 59.5 cm.) Published in 1979/80 in an edition of 65 plus 10 Artist’s Proofs. LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no.59, p.91. £400-£600

140 ARR PATRICK CAULFIELD, R.A. (1936-2005) Ridged Jar signed and inscribed ‘Patrick Caulfield AP’ (lower right) screenprint, unframed sheet: 33 x 23 ½ in. (83.8 x 59.5 cm.) Published in an edition of 40 plus 10 Artist’s Proofs. LITERATURE: M. Gooding, Patrick Caulfield: The Complete Prints 1964-1999, London, 1999, no.58, p.91. £400-£600 75

141 ARR SIR TERRY FROST, R.A. (1915-2003) Straw, orange, blue signed and dated ‘Terry Frost 72’ (lower right), numbered ‘44/65’ (lowerleft) lithograph, unframed image: 24 ¾ x 20 in. (60.4 x 50.8 cm.) sheet: 30 x 22 in. (76.2 x 5.8 cm.) LITERATURE: D. Kemp, Terry Frost Prints: a catalogue raisonné, Farnham, 2010, no. 66, p.95. £500-£700

142 ARR JOHN MCLEAN (B.1939) Abstract forms from the Mountjoy Suite signed with initials, dated and numbered ‘34/40 JM ‘95’ (lower right) lithograph, unframed sheet: 29 ½ x 22 in. (75 x 55.8 cm.) £100-£200

143 ARR JOHN MCLEAN (B. 1939) Abstract forms from the Mountjoy Suite signed with initials and dated ‘JM ‘95’ (lower right), numbered ‘3¾0’ (lower left) lithograph, unframed sheet: 29 ½ x 22 in. (75 x 55.8 cm.) £100-£200 76

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144 ARR JOE TILSON, R.A. (B.1928) Le Crete Senesi: Monaci, Sasso, Gabro, Serre, Murlo each signed and dated in pencil ‘Tilson 1995’ (lower right), numbered in pencil ‘18/45’ (lower left) screeenprint with woodblock, unframed sheet: 35 x 24 ¼ in. (88.9 x 62.2 cm.) (5) £1,500-£2,500

145 ARR SIR PETER BLAKE, R.A. (B.1932) The Wrestlers: Red Power; and The Tuareg each signed in pencil ‘Peter Blake’ (lower right), inscribed in pencil ‘A/P’ (lower left) silkscreen image: (i) 8 x 3 ¼ in. (20.3 x 8.2 cm.); (ii) 10 1/8 x 5 ¼ in. (25.7 x 13.4cm.) sheet: (i), (ii) 18 x 12 in. (45.7 x 30.5 cm.) (2) The Wrestler series consists of imaginary national types of wrestler, published in prints in 1972 by Waddington Galleries. £400-£600

146 ARR JOE TILSON, R.A. (B. 1928) New York Decals 3 & 4 one with a card signed in pencil and inscribed ‘Joe Tilson/A/P’ (lower right) screenprint and collage, unframed sheet: 36 x 22 in. (91.5 x 5.8 cm.) Artist’s Proof aside from the edition of 70 published in 1967. (2) £1,000-£2,000 78

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147 ARR SIR PETER BLAKE, R.A. (B.1932) Bobbie Rainbow signed in black pen ‘Peter Blake’ (lower right), numbered in black pen ‘1192/2000’ (lower left) lithographic print on tin 26 ¼ x 17 ¼ in. (66.6 x 43.7 cm.) £200-£400

148 ARR BRUCE MCLEAN (B.1944) 25 Years of Modern Jazz at the Bull signed and dated ‘Bruce McLean 85’ (lower right), numbered ‘X8’ (lower left) screenprint in colours 39 x 29 in. (99.1 x 73.6 cm.) PROVENANCE: Acquired directly from the artist by the present owner. £100-£200

149 ARR ANTHONY GREEN, R.A. (B.1939) Resurrection - The Clock, Marie Madeleine signed and numbered in pencil ‘29/70/Anthony Green’ (lower left) screenprint, unframed image: 18 ¾ x 24 ¾ in. (47.5 x 62.8 cm.) sheet:29 ¾ x 35 in. (73.7 x 88.9 cm.) This lot is sold without reserve. £100-£150 79

150 ARR ALLEN JONES, R.A. (B.1937) Improvisation (from Islands) signed and dated in pencil ‘Allen Jones 88 on second line (lower right), numbered ‘32/60’ (lower left) lithograph, unframed sheet: 29 ½ x 41 ½ in. (75 x 105.4 cm.) Published by Waddington Gallery in 1988. LITERATURE: M. Livingstone, Allen Jones’s Prints, Prestel, 1995, no.102c, p.132. £400-£600

151 ARR ALLEN JONES, R.A. (B.1937) The Tree (from Islands) signed and dated in pencil ‘Allen Jones 88’ (lower right), numbered in pencil ‘21/60’ (lower left) lithograph, unframed sheet: 29 ½ x 41 ½ in. (74.9 x 105.4 cm.) Published by Waddington Gallery in 1988. LITERATURE: M. Livingstone, Allen Jones’s Prints, Prestel, 1995, no.102f, p.133. £200-£300

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THREE WORKS BY JOHN EDWARDS

152 ARR JOHN EDWARDS (1938-2009) Verde Antigue signed, inscribed and dated ‘John Edwards/1978/’Verde-Antigue’ (on the reverse) acrylic on canvas, unframed 46 x 66 in. (116.8 x 167.6 cm.) PROVENANCE: with Rowan Gallery, London. EXHIBITED: New York, The Solomon Guggenheim Museum, Emerging Artists 1978-1976, September 1987, No.11b, catalogue untraced. £200-£400

153 ARR JOHN EDWARDS (1938-2009) Rough Cut signed, inscribed and dated ‘John Edwards/ September 1970/ Rough-cut’ (on the reverse) acrylic on canvas, unframed 95 ¾ x 59 ¾ in. (243 x 152 cm.) £200-£400

Painter and sculptor John Edwards was considered one of the rising stars in the British art scene in the 60s and 70s. Stylistically influenced by the abstract impressionists that came in favour in New York at the time, his paintings posses a sculptural feel to them as well. The forms are abstract and his colours bold and vibrant, but his work is not easily grouped with any one movement. In London the Rowan Gallery hosted nine shows for him in between 1967-1981. He exhibited widely in Syracuse, Washington, San Francisco, Turin, Jaipur and New Delhi. According to a label on the back of the stretcher, Verde Antique was among the works exhibited in the Solomon Guggenheim Museum’s Exxo exhibition in 1987. In this sale we have three works by this fascinating, even if somewhat forgotten artist, whose work undeniably deserves to be revisited with view for a wider acclaim. 81

154 ARR JOHN EDWARDS (1938-2009) Highway signed, inscribed and dated ‘ acrylic on canvas, unframed 90 x 66 in. (228 x 167 cm.)

“The power and vitality of the work has much to do with an interplay of opposing forces. Edwards’s art is reductive; abstract language of forms is counterbalancedby the artist’s emotive and lyrical sense of colour.”

£200-£400

Jill Lloyd

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155 ARR EDWARD BISHOP (1902-1997) Rothko at the Tate signed with initials ‘EB’ (lower left), signed again, inscribed and dated ‘Edward Bishop/ 15.Feb.1976/ ROTHKO AT THE TATE’ (on the reverse) oil on board 11 ½ x 10 in. (29.3 x 25.4 cm.) PROVENANCE: English Private Collection. £300-£500

156 ARR ALLEN JONES, R.A. (B.1937) Black Feet signed and dated in pencil ‘Allen Jones 76’ (lower right), numbered in pencil ‘51/60’ (lower left) lithograph unframed image: 32 x 16 in. (81.2 x 40.7 cm.) sheet: 41 ½ x 29 ¾ in. (105.5 x 75.6 cm.) LITERATURE: M. Livingstone, Allen Jones’s Prints, Prestel, 1995, no.72, p.124. £200-£300

157 ARR JOE TILSON, R.A. (B.1928) Taste from five senses signed, dated and numbered in pencil ‘Joe Tilson 1967.A/P. (upper left) screenprint 27 x 19 ¼ in. (68.5 x 48.7 cm.) £1,000-£1,500 84

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158 ARR JOHN PIPER, C.H. (1903-1992) Eye and camera: grey and blue signed ‘John Piper’ (lower right), inscribed ‘AP’ (lower left) screenprint Image: 19 5/8 x 27 3/8 in. (49.7 x 69.7 cm.) An example from the same edition is in the Tate Collection, London. PROVENANCE: with Bebb Fine Art, Shropshire, where purchased by the present owner. LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no .209. £300-£500

159 ARR JOHN PIPER, C.H. (1903-1992) Eye and camera: blue and red signed ‘John Piper’ (lower right), numbered ‘11/70’ (lower left) screenprint Image: 19 5/8 x 27 3/8 in. (49.7 x 69.7 cm.) An example from the same edition is in the Tate Collection, London. LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 210. £300-£500

160 ARR DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937) My bonnie lies over the ocean (S.A.C. 13; Tokyo 29) signed in pencil ‘David Hockney’ (lower right), inscribed in pencil ‘unfinished proof ’ (lower left) etching and aquatint with collage image: 17 ½ x 17 ½ in. (44.5 x 44.5 cm.) From the edition of 50 printed on Crisbrook handmade paper, printed by Ron Fuller and Peter Mathews at the Royal College of Art PROVENANCE: Acquired directly from the artist by the present owner. £6,000-£8,000

“In a time when self styled “serious’’ art had become an empty orthodoxy Hockney celebrated the unserious, he rejected the “big ideas of art’’. He protected his stance and his witty world of inauthentic appearances with sophisticated commonsense. He ignored the issue of art as part of man’s self-creation.’’ A. Brighton, David Hockney prints 1954-77, Petersburg Press, 1979

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161 ARR LYNN CHADWICK, R.A. (1914-2003) Miniature lion IV signed with monogram and numbered ‘C C5 6/20’ (underneath) bronze with brown patina 5 in. (13.3 cm.), long Conceived in 1986. LITERATURE: D. Farr, E. Chadwick, Lynn Chadwick Sculptor, Oxford, 1990, no. C 51, p.329, (another cast illustrated) £2,500-£3,500

“There is a subtle relationship between Chadwick’s sculptural forms and their natural archetypes... He has successfully tackled that most difficult task, which is peculiar to our mechanic age, of finding a modern sculptural metaphor for organic shapes without resorting to the illusionism of an earlier era, This in his Beast series, he captures the essence of their tautly muscled bodies and most notable so in Lion.. whose maned head, when seen frontally is revealed as a great gaping mouth in full roar.” D. Farr, E. Chadwick, Lynn Chadwick Sculptor, Oxford, 1990, p.14.

162 ARR SANDRA BLOW, R.A. (1923-2006) Intermezzo signed and dated ‘Blow ‘96’ (lower right) mixed media collage 6 ¾ x 9 in. (17.2 x 22.8 cm.) PROVENANCE: with Market House Gallery, Penzance. £1,000-£1,500

163 ARR MICHAEL KIDNER, R.A. (1915-2009) The Elastic Membrane signed and numbered ‘272/300’ (on the sheets attached) mixed media sculpture 14 x 17 ¾ in. (35.6 x 45.2 cm.) £500-£700 Sold together with illustrated book with one mixed media multiple, three photogravures, three photolithographs, and two spiral notebooks with photolithographic reproductions of manuscript and drawings.

The following text is quoted from an accompanying pamphlet to provide additional context for the work: 'The elastic painting are paintings of pressures, temperatures, changing tension. The colour makes light manifest and the elastic distortion makes tension-energy manifest... If the notion of entropy means a ''coming to rest'' the release of all tension, then the elastic is introducing tension. Perhaps that is why i like the distorted circle or square. It is more organic. Life defies entropy... Physically implanting tension is like feeding the living organism.'

Michael Kidner interviewed by Pat Gilmor, Arts review, June 1979 I want to link things which seem to be mysterious or not fully understood to things which are less mysterious - in Professor E.C. Zeeman's words: 'To reduce the arbitrariness of description.'

Part III The Continuity Book and the Notebook. The Continuity Book shows the evolution rather than the end product of the idea. The Notebook was kept in 1978/9.

Part I Practical the practical is an example of the home-made computer used to create the images which follow. Part II Three Photo Etchings and three Photo Lithographs reveal the connection between the device used and the drawings generated by it.

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“Everything Paolozzi did connected with everything else, each discipline does not sit in isolation, and fragments intermingle and reactivate one another. He had an holistic approach to knowledge, and the links he made between art and other disciplines were pioneering in their time, and are equally relevant today. ” J. Collins, Eduardo Paolozzi, Lund Humphries, 2014, p.7

164 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Turing 7 signed in pencil ‘Eduardo Paolozzi’ (lower right), numbered in pencil ‘7/50’ (lower left) screenprint, unframed sheet: 29 ¾ x 22 in. (75.6 x 55.9 cm.) LITERATURE: J. Collins, Eduardo Paolozzi, Lund Humphries, 2014, no.200, p. 223. £150-£250

165 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Untitled signed and numbered in pencil ‘13/50/Eduardo/ Paolozzi’ (lower left) screenprint image: 23 x 35 ½ in. (58.4 x 90.2 cm.) sheet: 29 ¾ x 44 in. (75.8 x 111.7 cm.) £150-£250

166 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Relief plaster relief on wooden base 17 ¼ x 29 ¼ in. (43.7 x 74.3 cm.) £800-£1,200

169

167

168

167 ARR WILLIAM SCOTT, R.A. (1913-1989) Towards Euclid (a Poem for Alexander) signed and dated in pencil ‘William Scott 72’ (lower right),numbered ‘3/75’ (lower left) screenprint, unfframed sheet: 23 x 15 ¼ in. (58.3 x 39 cm.) From the series ‘The Alexander Suite’ Kelpra Studios stamp verso.

168 ARR VICTOR PASMORE, C.H., R.A. (1908-1998) The Paradox signed with initials and dated in pencil ‘VP 86’ (lower right), numbered in pencil ‘20/200’ (lower left) etching and aquatint image: 6 1.2 x 8 ¼ in. (16.5 x 21.3 cm.)

Sold together with an unframed Hanover Gallery poster from 6 November - 6 December 1969.

LITERATURE: N. Lynton, Paintings and graphics: paintings and graphics, 1980-1992, London, 1992, no. 46.

£150-£250

£400-£600

169 ARR KEITH MILOW (B.1945) Untitled graph paper, photographic paper and perspex on canvas 72 x 36 in. (182.9 x 91.4 cm.) PROVENANCE: Max Gordon (Architect of the Saatchi Gallery) and by descent. £100-£150

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170 ARR NIGEL HALL, R.A. (B.1943) Slow Motion (maquette) signed, inscribed, numbered ‘N.H. 8/25/SLOW MOTION/MAQUETTE/Nigel Hall/’07’ (underneath the base) painted steel 9 in. (22.8 cm.), high This is a maquette for the work on public display belonging to theKunsthalle Manheim in Germany. £2,000-£4,000 91

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INDEX A Adams, N., 119 Aitchison, C., 134 Aldridge, J., 28 Annear, J., 130 Ardizzone, E., 67 Armfield, D., 83, 84, 85 B Bellany, J., 102, 103, 106, 108 Bishop, E., 155 Blake, D., 109, 11 Blake, Sir P, 66, 145, 147 Blow, S., 162 Bone, Sir M., 24 Boshier, D., 2 Bratbt, J., 107 Brill, R., 27 Brown, R., 65 Bulmer, L., 99, 100 C Caulfield, P., 127, 135, 136, 137, 139. 140 Cameron, Sir D., 31 Chadwick, L., 161 Clatworthy, R., 115 Coker, P., 4 Coates, T., 91 D Dannatt, G., 126 Dobson, F., 56 Dunlop, R.O., 48 Dunstan, B., 58 E Edwards, J., 152, 153, 154 Evans, M., 130a F Fedden, M., 113 Ferguson, J.D., 60 Frost, Sir T,. 6, 123, 125, 141 G Green, A., 149 H Hall, N., 170 Hayter, S. W., 9 Hicks, N., 116, 118 Hillier, T., 26 Hilton, R., 82, 120 Hockney, D., 5, 160 Howard, K., 75, 87, 89, 90, 95, 97 Hoyland, J., 124 J Jarman, G., 121 Jones, A., 150, 151, 156 John, A., 23 Jones, D., 68 K Kidner, M., 163 Kinley, P., 133

L Lewis, E. M., 33 Lowry, L. S., 30 M Macara, A., 96 McLean, B., 138, 148 McLean, J., 142, 143 McIntyre, D., 79 Melville, J., 101 Meninsky, B., 64 Milow, K., 169 Morris, D., 10, 129 Morley, M., 104 Myers, B., 92, 93, 94 N Nash, J., 69 Nash, P., (Style of), 37 P Palmer, R., 86 Paolozzi, Sir E., 164, 165, 166 Park, J. A., 29 Pasmore, V., 1, 168 Peake, M., 47, 63 Piper, J., 35, 70, 71, 77, 78,158, 159 Pillitz, H., 49, 50, 51 Plumb, J., 76 Prichard, G., 32 Procktor, P., 3, 7 R Rolt, D., 72 Ryan, A., 74, 81 S Samuelson, P., 39-46 Scott, W., 167 Sickert, B., 38 Sickert, W., 36 Skeaping, J., 57 Skelton, J., 59 Slocombe, A., 8 Smith, S., 88 Spencer, G., 52-55 Stephenson, J. C., 131 Suddaby, R., 117 Sutherland, G., 98 Sutton, P., 73 T Thomas, F. W., 80 Tilson, J., 144, 146, 157 Topolski, F., 25 Trevelyan, J., 11, 12, 112, 122, 128 Tunnard, J., 132 U Underwood, L., 13-22 W Winters, E., 114 Wadsworth, E., 110 Wade, J., 105 Wood, F., 34

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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 abovementioned 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 in 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 number plate prior to the sale. 2.3 Commission bids CA Ltd will use reasonable efforts to carry out Commission bids received 95

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 commissions at the same price, the commission set at the older date shall be taken into account. 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. 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. 2.7 Bidding on an item Bid incrementing 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 be available to bidders only through an online platform. In this event, Buyers have a 14 day period at reception of the Lot to withdraw from the sale, in accordance with EU Consumer Law. 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 96

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, the Buyer shall have a 14 day right to retract, after reception 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 in cash, debit, credit card or bank transfer. Cheques are not accepted. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 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 19.5% 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 *See inside front cover for information regarding fees

refund (after deducting the processing fee) is under £35.

Saturday at CA Ltd’s discretion.

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 zero-rated 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.

4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased 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. CA Ltd shall be entitled to retain purchased Lots sold until all sums due have been paid to CA Ltd. If any purchased lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10 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.

4.4 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

4.8 Shipping Any shipping costs that may arise subsequently 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 packing and shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third 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. 97

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, 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 un-mounted 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. 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.

*See inside front cover for information regarding fees

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.

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.

10. ASIAN ARTS

15. SEVERABILITY

10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. 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.

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.

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 un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

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 above mentioned 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.

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.

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 99

Paintings & Fine Art

An invitation to consign for the forthcoming auctions.

Entries are invited for our Autumn sales of paintings & works on paper 18th October | British & European Fine Art including Portrait Miniatures suzanne.zack@chiswickauctions.co.uk 6th November | An Oriental Journey luke.price@chiswickauctions.co.uk 27th November | Old Master Paintings & Drawings natasha.broad@chiswickauctions.co.uk 3rd December | Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

An Oriental Journey Wednesday, 6th November

ROBERT TALBOT KELLY (BRITISH 1861-1934)   Coffee shop, Cairo Signed, dated and inscribed R. Talbot Kelly 1889/Cairo lower right  watercolour  33 x 48cm (13 x 19in) £800-1,200

ENQUIRIES Luke Price, Specialist, Paintings & Fine Art luke.price@chiswickauctions.co.uk

Urban Art

Wednesday, 2nd October An invitation to consign for the forthcoming auction.

James McQueen Who The Fuck is Banksy Acrylic on Canvas

ENQUIRIES Penelope Sonder, Head of Urban Art penelope.sonder@chiswickauctions.co.uk

SALE CALENDAR

JULY 04 Thursday

Modern & Post-War British Art

09 Tuesday Jewellery

Designer Handbags & Fashion

10 Wednesday Design & Interiors

16 Tuesday

Islamic & Indian Art including Fine Rugs & Carpets

17 Wednesday Contemporary Art Modern Design

AUGUST 13-14 Tuesday - Wednesday Chiswick Summer Sale including Design & Interiors Rugs & Carpets Affordable Luxury Printed Books & Manuscripts

SEPTEMBER 03 Tuesday Asian Art

*Please note that auction dates are subject to change.

SPECIALISTS

Antiquities & Tribal Art

Jewellery

Alice King, Head of Department antiquities@chiswickauctions.co.uk

Sarah Duncan, Head of Department jewellery@chiswickauctions.co.uk

Asian Art

Modern Design

Lazarus Halstead, Head of Department asian@chiswickauctions.co.uk

Bruce Addison, Head of Department bruce.addison@chiswickauctions.co.uk

Design & Interiors

Photographica

Liz Winnicott, Head of Department design@chiswickauctions.co.uk

Designer Handbags & Fashion Meg Randell, Head of Department fashion@chiswickauctions.co.uk

European Works Of Art & Clocks Rachael Osborn-Howard, Head of Department worksofart@chiswickauctions.co.uk

Fine Art Adrian Biddell, Head of Department adrian.biddell@chiswickauctions.co.uk Suzanne Zack, Head of Sale, British and European Fine Art suzanne.zack@chiswickauctions.co.uk Krassi Kuneva, Head of Sale, Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk Natasha Broad, Acting Head of Sale, Old Masters natasha.broad@chiswickauctions.co.uk Luke Price, Specialist, Paintings & Fine Art luke.price@chiswickauctions.co.uk

Austin Farahar, Head of Department photographica@chiswickauctions.co.uk

Printed Books & Manuscripts Clive Moss, Head of Department books@chiswickauctions.co.uk Valentina Borghi, Head of Sales â&#x20AC;&#x201C; Autographs & Memorabilia autographs@chiswickauctions.co.uk

Rugs & Carpets Mark Henry LampĂŠ, Head of Department rugs@chiswickauctions.co.uk

Silver & Objects of Vertu John Rogers, Head of Department silver@chiswickauctions.co.uk

Urban Art Penelope Sonder, Head of Department urbanart@chiswickauctions.co.uk

Watches Tomas Aznar, Head of Department watches@chiswickauctions.co.uk

Wine & Spirits Islamic & Indian Art Beatrice Campi, Head of Department islamic@chiswickauctions.co.uk

Sam Hellyer, Head of Department wine@chiswickauctions.co.uk

105

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