Modern British & Irish Art

MODERN BRITISH & IRISH ART

Tuesday 25 th June, 2pm

MODERN BRITISH & IRISH ART

Viewing exclusively at the Barley Mow Centre, W4 4PH

Friday, 21 June

10am-5pm

6pm-9pm - Preview evening

Saturday, 22 June 11am-3pm

Sunday, 23 June

11am-3pm

Collection of Lots

Monday, 24 June 10am-5pm

Tuesday, 25 June 10am-12pm (auction at 2pm)

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Tuesday 25 th June, 2pm Front

Symbol Key:

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Barley Mow Centre, Chiswick, W4 4PH modernbritishart@chiswickauctions.co.uk www.chiswickauctions.co.uk

Lot 1 §

WINIFRED NICHOLSON (BRITISH, 1893-1981)

White Church Skopelos coloured chalk

33.5 x 49.5 cm. (13 1/4 x 19 5/8 in.)

Executed circa 1961

£1,000 - 1,500

Provenance

With Wendy Bray, Rugby, 2 December 1989, where purchased by the present owner

Exhibition

Possibly; Redfern Gallery, Winifred Nicholson: Wild Flowers in Greece, September 1964

We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.

Lot 2 §

CAREL WEIGHT, R.A. (BRITISH, 1908-1997)

Sussex Road signed ‘Carel Weight’ (lower left); further signed and titled ‘Carel Weight/SUSSEX ROAD’ (to a label attached verso) oil on board

41 x 51 cm. (16 1/8 x 20 1/8 in.)

£1,000 - 1,500

Provenance

Sale; Bonhams, Bury St Edmunds, 10 March 2005, lot 372

With Abbott & Holder, London

Sale; Roseberys, London, 11 February 2020, lot 114

With Stephen Lacey Gallery, London, where purchased by the family of the present owner

3 §

DAME ETHEL WALKER, A.R.A., R.B.A., R.P., D.B.E. (BRITISH, 1861-1951)

White Roses signed ‘Ethel Walker’ (lower right); further signed and titled ‘WHITE ROSES/Ethel Walker’ (verso) oil on canvas

51 x 40.8 cm. (20 x 16 in.)

£3,000 - 5,000

Lot

Lot 4 §

SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S., R.S.W. (BRITISH, 1880-1969)

The Island Campanile, Orta, Italy signed ‘W. RUSSELL FLINT’ (lower left); further signed and inscribed ‘The Island Campanile, Orta/W Russell Flint’ (on the backboard) watercolour

25 x 37.5 cm. (9 7/8 x 14 3/4 in.)

£800 - 1,200

Provenance

With Frost and Reed, London Sale; Christie’s, London, 16 November 2006, lot 143, where purchased by the present owner

Lot 5 §

SIR FRANK BRANGWYN (BRITISH, 1867-1956)

Pont Henri IV at Chatellerault signed with initials ‘FB’ (lower right) watercolour and pencil 22 x 31.5 cm. (8 5/8 x 12 1/4 in.)

£1,000 - 1,500

Provenance

With Goldmark Art, Rutland, where purchased by the present owner

Please note the present lot is accompanied by A Book of Bridges by Sir Frank Brangwyn and Walter Shaw Sparrow.

Lot 6 §

SIR FRANK BRANGWYN (BRITISH, 1867-1956)

The Bridge (Pont Vieux, Albi, France) signed with initials ‘FB’ (lower right) oil on board

50.7 x 71.7 cm. (20 x 28 1/2 in.

£7,000 - 10,000

Provenance

The artist, from whom commissioned by The Cooling Galleries Ltd., London With Thompson’s Gallery, Aldeburgh, where purchased by Private Collection

Their sale; Woolley & Wallis, Sailsbury, 26 August 2020, lot 254, where purchased by the present owner

Frank Brangwyn was born in Bruges, Belgium, to an English father and a Welsh mother. In 1874, the family relocated to London, where his father found work as a designer of buildings, embroideries, and furniture. Despite having little formal education, Brangwyn was mentored by three influential figures in design at the turn of the century: Arthur Heygate Mackmurdo, William Morris, and Siegfried Bing.

Brangwyn was an independent artist, known for his experimentation and innovation across a vast array of mediums and scales. His body of work includes murals, oil paintings, watercolours, etchings, woodcuts, lithographs, and designs for architecture, interiors, stained glass, furniture, carpets, ceramics, jewellery, book illustrations, bookplates, and commercial posters. It’s estimated that he produced over 12,000 works during his lifetime.

Pont Vieux (Old Bridge) in Albi, France, constructed in 1035, is one of the oldest bridges in the country, reflecting its medieval origins and strategic importance in facilitating trade and movement over the Tarn River. Its robust stone construction and series of enduring arches highlight the skill of its builders.

Over the centuries, the bridge has undergone modifications and repairs to maintain its structural integrity, ensuring its preservation as a historical monument. Designated a UNESCO World Heritage Site in 2010, Pont Vieux is a significant cultural and tourist attraction, offering scenic views of Albi’s skyline, including the Sainte-Cécile Cathedral.

Primarily serving pedestrians today, the bridge remains a symbol of Albi’s rich history and heritage, linking the present to its medieval past. Ongoing conservation efforts focus on preserving its structural integrity while respecting its historical significance, ensuring it remains a treasured landmark for future generations.

Lot 7 §

OLIVER MESSELL (BRITISH, 1904-1978)

Portrait of a young man oil on canvas

62 x 51 cm. (24 1/2 x 20 1/8 in.)

£1,000 - 1,500

Provenance

The artist, whom gifted to Brenda Haydon, thence by family descent

Lot 8 §

MARY POTTER (BRITISH, 1900-1981)

The glass vase inscribed indistinctly (verso) oil on canvas

20.9 x 35 cm. (8 1/4 x 13 3/4 in.)

£4,000 - 6,000

Provenance

The artist, whom gifted to Private Collection

Their sale; Mallams, Oxford, 9 December 2016, lot 716, where purchased by the present owner

Lot 9 §

DORETHEA SHARP, R.B.A, R.O.I. (BRITISH, 1874-1955)

Children paddling oil on board

25.4 x 35.4 cm. (8 1/4 x 13 7/8 in.) (unframed)

Please note there is a further work painted verso.

£3,000 - 5,000

Provenance

Brian Parker-Milligan, thence by family decent

Lot 10

WALTER SICKERT, R.A. (BRITISH, 1860-1942)

Oxford Music Hall

inscribed indistinctly (lower right)

chalk, pencil and ink

18.5 x 24.5 cm. (7 1/4 x 9 5/8 in.)

£500 - 700

Provenance

With Roland, Browse and Delbanco, London

Lot 11 §

JOHN NASH, R.A. (BRITISH, 1893-1977)

Bath Easton

signed twice ‘John Nash’ and with initials ‘J.N.’ (lower right); signed again ‘John Nash’ and titled twice ‘Bath Easton’ (to labels attached to back of frame) watercolour

29.5 x 35 cm. (11 7/8 x 13 2/4 in.)

£600 - 800

Provenance

With New Grafton Gallery, London

G.F.E. Codd

Exhibited

London, New Grafton Gallery, June 1996, cat.no. N4335

Lot 12

FREDERICK WALTER LEE (BRITISH, 1863-1948)

St James’s Palace signed and dated ‘J.W.Lee August 1895’ (lower right)

watercolour and pencil 33 x 56 cm. (13 x 22 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 13 November 1992, lot 5

With Chris Beetles Ltd., London, where purchased by the family of the present owner

Exhibited

London, Chris Beetles Ltd., Summer Show, 1998, cat.no.122

Lot 13 §

JOHN MINTON (BRITISH, 1917-1957)

Street Scene, Morocco signed and dated ‘John/Minton/1953’ (lower left) gouache, watercolour and ink 28 x 38 in. (11 x 15 in.)

£4,000 - 6,000

Provenance

With Redfern Gallery, London, where purchased by the previous owner

As a key figure in the Neo-Romantic movement, Minton’s work is characterized by its emotive landscapes, melancholic figures, and a sense of poetic nostalgia. This movement, emerging in the 1930s and 1940s, emphasized emotion and fantasy, often returning to pastoral themes with a modern sensibility. Minton’s paintings and illustrations captured these elements with a distinctive style that set him apart in the British art scene.

Minton’s travels to Morocco in the late 1940s were a turning point in his artistic development. The vibrant life, bustling markets, and diverse landscapes of Morocco provided him with a wealth of visual inspiration. Accompanied by his friend Norman Bowler, Minton embarked on a journey to Morocco in the late 1940s. Their travels took them through bustling markets, winding streets, and majestic desert landscapes, providing Minton with a wealth of visual and cultural inspiration.

“The Sheltering Sky” by Paul Bowles, a novel set in North Africa, had a profound impact on Minton during his time in Morocco. Bowles’ evocative prose and exploration of themes such as existentialism, alienation, and the clash of cultures resonated deeply with Minton’s own experiences and observations.

Lot 14 §

JOHN PIPER, C.H. (BRITISH, 1903-1992)

Newbold Pacey, Warwickshire

signed ‘John Piper’ (lower right); titled and dated ‘Newbold Pacey Warwrickshire 18(...)79’ (lower left); titled again ‘Newbold Pacey/Warwickshire’ (verso) watercolour heightened with bodycolour with felt-tipped pen 40 x 58 cm. (15 3/4 x 22 3/4 in.)

£5,000 - 8,000

Provenance

With Malborough Fine Art, London, 1979 Sale; Woolley & Wallis, Salisbury, Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink & Lin Jammet, 26 August 2020, lot 267, where purchased by the present owner

We would like to thank Hugh Fowler-Wright for his assistance cataloging the present lot.

John Piper, like many artists working during and after the war in Britain, developed a uniquely defined artistic style. His focus on churches and monuments within the British landscape is vividly demonstrated in both of the present works. While his watercolour of Newbold Pacey in Warwickshire (1979) stands in stark stylistic contrast to the more abstractly imagined Obelisks, both pieces pay homage to the concept of meaningful sites. Each work documents the significance of a specific place, positioning it as a dominant narrative within the art.

John Piper is one of the most significant British artists, with his works featured in numerous notable exhibitions. As a member of The London Group from 1933 and the Seven and Five Society from 1934 to 1935, Piper exhibited alongside key figures such as Henry Moore, Ivon Hitchens, Ben Nicholson, and Christopher Wood. His early works reflect a central focus on abstraction, showcasing his artistic explorations during that period. However, his contributions to the Architectural Review and various works demonstrate his deep concern for preserving architecture and nurturing heritage. Piper bridges the gap between realism and abstraction by representing recognizable buildings through abstract elements.

Piper’s work is included in many prominent collections. Notable pieces like “View of Coventry Cathedral” and “Foliate Head” are part of the Tate Gallery’s collection, and many other institutions hold significant examples of his art. His multifaceted career includes explorations in prints, costumes, set designs, stained glass windows, and more, showcasing the breadth and depth of his artistic contributions.

Lot 15 §

JOHN PIPER, C.H. (BRITISH, 1903-1992)

Obelisks watercolour, collage, wax

41.6 x 73 cm. (16 1/4 x 28 3/4 in.)

£3,000 - 5,000

Provenance

With Chris Beetles Ltd., London, thence by family descent

Their sale; Woolley & Wallis, Salisbury, Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink & Lin Jammet, 26 August 2020, lot 266, (as Obelisks Watercolour) where purchased by the present owner

We would like to thank Hugh Fowler-Wright for his assistance cataloging the present lot.

Exhibited

London, Chris Beetles Ltd., Summer Show, 1 May 2003, cat.no.92

RYDER, R.P., N.E.A.C. (BRITISH, b.1944)

Perigord Interior

signed ‘Ryder’ (lower right) oil on canvas

61 x 55.5 cm. (24 x 21 3/4 in.)

£800 - 1,200

Provenance

With Panter & Hall, 29 September 2020, where purchased by the family of the present owner

Exhibited

London, Panter & Hall, Susan Ryder: Looking Through, 1-16 Oct 2020, p.15 (col.ill)

Lot 16 §

SUSAN

Lot 17 §

SUSAN RYDER, R.P., N.E.A.C. (BRITISH, b.1944)

March Reflections

signed ‘Ryder’ (lower right); inscribed ‘Pond Reflections-February’ (on the stretcher verso) oil on canvas

45.7 x 30.5 cm. (18 x 12 in.)

£400 - 600

Provenance

With Panter and Hall, London

With Chris Beetles Limited, London, 31 January 2022, where purchased by the present owner

Exhibited

London, Chris Beetles, The New English Art Club at Chris Beetles Gallery, Feb-Mar 2022, cat.no.88

18 §

RYDER, R.P., N.E.A.C. (BRITISH, b.1944)

Poppies Near Albi signed ‘Ryder’ (lower right) oil on canvas

76.2 x 50.8 in. (30 x 20 in.)

Painted in 2019

£400 - 600

Provenance

With W.H Patterson Gallery, London

With Chris Beetles Ltd., London, 27 May 2021, where purchased by family of the present owner

Lot

SUSAN

Lot 19 §

KEN HOWARD, R.A. (BRITISH, 1932-2022)

Jewry Street signed and dated ‘Ken Howard ‘86’ (lower left) watercolour

15.3 x 25.3 cm. (6 x 10 in.)

£500 - 800

Self-portrait signed ‘Ken Howard’ (lower right) gouache

53.3 x 51.4 cm. (21 x 20 1/4 in.)

£1,000 - 1,500

Provenance

With Sarah Samuels Fine Art, Chester, where purchased by the present owner

Lot 20 §

KEN HOWARD, R.A. (BRITISH, 1932-2022)

Lot 21 §

KEN HOWARD, R.A. (BRITISH, 1932-2022)

St Botolph in Bishops Gate signed ‘Ken Howard’ (lower right); further signed ‘KEN HOWARD’ (verso) oil on board

40.2 x 30 cm. (16 x 12 in.)

£1,800 - 2,500

Provenance

Frederick Ernest Cleary

Pauline Gould

Her sale; Gorringes, Sussex, 1 September 2020, lot 456

With Chris Beatles Ltd., 10 October 2020, where purchased by the family of the present owner

Exhibited

London, New Grafton Gallery, 2 December 1971

London, Chris Beatles Ltd., The Figurative Tradition, A Celebration of Contemporary British Art, 6 Oct-7 Nov 2020, cat.no.46

Lot 22 §

GARY BUNT (BRITISH, b.1957)

Bad Dog

signed ‘Gary Bunt’ (lower right); further signed, titled and dated ‘BAD DOG/GARY BUNT/2005’ (verso) oil on canvas

25.6 x 30.5 cm. (10 x 12 in.)

£3,000 - 5,000

Provenance

With Nicholas Bowlby Fine Art, Sussex, 2005, where purchased by the family of the present owner

Lot 23 §

GARY BUNT (BRITISH, b.1957)

The Rovers Return signed, inscribed and dated ‘THE ROVERS/RETURN 2007/MUM AND DAD/COMFY SEATS/WATCHING/ CORONATION STREET/GARY BUNT’ (verso) oil on canvas

30.5 x 30.5 cm. (12 x 12 in.)

£3,000 - 5,000

Provenance

With Nicholas Bowlby Fine Art, Sussex, 1 June 2008, where purchased by the family of the present owner

24 §

FRED YATES (BRITISH, 1922-2008)

Cornish Cottage Interior signed ‘Fred Yates’ (lower left); further signed ‘FJ Yates’ (verso) and titled ‘CORNISH COTTAGE/INTERIOR’ (on the stretcher verso) oil on canvas

73 x 49 cm. (28 3/4 x 23 1/4 in.)

£3,000 - 5,000

Provenance

Sale; Woolley & Wallis, Salisbury, 26 August 2020, lot 349, where purchased by the present owner

Lot

Lot 25 §

MELISSA SCOTT-MILLER (BRITISH, b.1959)

Mount Street Gardens

signed with initials and dated ‘MSM/2021’; further signed, titled and dated again ‘Melissa Scott-Miller/ MOUNT STREET GARDENS DECEMBER 2021’ (verso) oil on canvas

49.5 x (19 3/4 x 19 1/2 in.)

£1,000 - 1,500

Provenance

With Chris Beetles Ltd., London, 30 April 2022, where purchased by the family of the present owner

Exhibited

London, Chris Beetles Ltd., The New English Art Club at Chris Beetles Gallery, Feb-Mar 2022, cat.no.90

Lot 26 §

MELISSA SCOTT-MILLER (BRITISH, b.1959)

Holland Park Spring signed, titled and dated ‘Melissa Scott-Miller/Holland Park Spring 2021’ (verso) oil on canvas

45.1 x 65.4 cm. (17 3/4 x 25 3/4 in.)

£800 - 1,200

Provenance

With Chris Beetles Ltd., London, 30 April 2022, where purchased by the family of the present owner

Lot 27 §

MELISSA SCOTT-MILLER (BRITISH, b.1959)

Wet Passageway, Covent Garden signed with initials and dated ‘MSM 22’ (lower left); further signed, titled and dated again ‘MELISSA SCOTT MILLER /WEST PASSAGE WAY/COVENT GARDEN/OCTOBER 2022’ (verso) oil on linen

43 x 43 cm. (17 x 17 in.)

£700 - 1,000

Provenance

With Chris Beetles Ltd., London, 24 February 2023, where purchased by the family of the present owner

Exhibited London, Chris Beetles Ltd., Melissa Scott-Miller, Feb-Mar 2023, cat.no.16

Lot 28 §

MARTIN LLEWELLYN (BRITISH, b.1963)

Snowdon Mountain Range signed with initials ‘MLL’ (lower right) and titled ‘SNOWDON MOUNTAIN RANGE’ (on the stretcher verso) oil on canvas

81 x 30 cm. (31 3/4 x 12 in.)

£600 - 800

Provenance

With Panter & Hall, London, 28 October 2020, where purchased by the family of the present owner

Lot 29 §

MARTIN LLEWELLYN (BRITISH, b.1963)

Remote Cottage signed with initials ‘MLL’; titled ‘REMOTE COTTAGE’ (on the stretcher verso) and inscribed indistinctly ‘Thank/You’ (verso) oil on canvas

50 x 50 cm. (19 1/2 x 19 1/2 in.)

£500 - 800

Provenance

With Panter & Hall, London, 28 October 2020, where purchased by the family of the present owner

Lot 30 §

MARTIN LLWELLYN (BRITISH, b.1963)

Moonlight Carreg Cennen signed with initials ‘MLL’ (lower right) and titled ‘Moonlight, Carreg Cennen’ (on the stretcher verso) oil on canvas

76.2 x 101.6 cm. (30 x 40 in.)

£400 - 600

Provenance

With Panter & Hall, London, 30 June 2021, where purchased by the family of the present owner

Lot 31 §

JOHN BRATBY, R.A. (BRITISH, 1928-1992)

Interior with Figure signed ‘BRATBY’ (upper left) oil on canvas

61 x 92 cm. (24 x 36 1/4 in.)

£5,000 - 8,000

Provenance

With Beaux Arts, London Sale; Bonhams, London, 11 July 2017, lot 135, where purchased by the present owner

Exhibited

London, Arts Council of Great Britain, Six Young Painters: Michael Andrews, John Bratby, Harold Cohen, Martin Froy, Derrick Greaves, Philip Sutton, 1956, cat.no.6

The Kitchen Sink Movement emerged late 1950s and early 1960s as a reaction against the abstract and romanticized art styles dominating the era. Instead of grandiose themes and abstract forms, Kitchen Sink artists focused on the mundane and the ordinary. Their subjects were the everyday scenes of domestic life, filled with cluttered interiors, family interactions, and working-class environments. The movement’s artists embraced a realist style, characterized by a muted palette and rough, textured paint application, capturing the starkness and simplicity of their subjects.

This artistic shift was part of a broader cultural wave, including the Angry Young Men in literature and the British New Wave in cinema, all of which sought to address social issues and the realities of contemporary life. The Kitchen Sink Movement, with its commitment to depicting the unvarnished truth, became a powerful voice in this cultural dialogue.

Bratby’s paintings were pioneering at the forefront of this movement, and are quintessential examples of Kitchen Sink Realism. His canvases often featured cluttered interiors and domestic scenes filled with everyday objects like sinks, kitchens, and bathroom fixtures. Using a rough, impasto technique and dark, earthy tones, Bratby infused his work with a raw, visceral quality that brought the mundane to life.

Bratby’s focus on domestic life, particularly his portrayals of his own home and family, added an intimate and personal dimension to the movement. His ability to find significance in the ordinary and convey the emotional depth of everyday experiences resonated deeply with viewers, making his work both relatable and profound.

John Bratby’s influence on contemporary art was significant. His commitment to realism and his unflinching depiction of working-class life helped redefine the themes and subjects deemed worthy of artistic exploration. Bratby gained considerable recognition during his lifetime, with his work featured in prominent exhibitions, including a solo show at the Royal Academy, one of the youngest artists to achieve this honour. His inclusion in the major 1956 exhibition at the Whitechapel Art Gallery helped cement the Kitchen Sink Movement’s place in British art history.

JOHN BRATBY, R.A. (BRITISH, 1928-1992)

Self-portrait with Playing Cards oil on masonite

122.2 x 67 cm. (48 x 26 1/2 in.)

£6,000 - 8,000

Provenance

With Ashgate Gallery, London

With ACA Gallery, New York, where acquired by Private Collection

Their sale; Sotheby’s, New York, 4 October 2012, lot 123, where purchased by the present owner

Exhibited

England, Arts Council of Great Britain, British Self Portraits c.1580-c.1860, February-September 1962 (as Self Portrait with Card)

Farnham, Ashgate Gallery, John & Jean Bratby, 23 Oct-15 Nov 1962

New York, ACA Gallery, John Bratby, 23 Nov-12 Dec 1964 (as Sanguine Self Portrait and Ace of Hearts)

Lot 32 §

Lot

33 §

MARY FEDDEN, R.A. (BRITISH, 1915-2012)

The Offering signed and dated ‘Fedden 1997’ (lower left) oil on canvas

101.5 x 127 cm. (40 x 50 in.)

£15,000 - 25,000

Provenance

The artist, whom exhibited at Royal Academy of Arts, London, where purchased by the present owner

Exhibited

London, Royal Academy of Arts, Summer Exhibition, 1997, no.2 London, Portland Gallery, Mary Fedden, 26 Jan-17 Feb 2017, cat.no.22 London, Portland Gallery, Mary Fedden: A Retrospective, 8-30 May 2008, cat.no.77

In 1997, the same year she was appointed an Officer of the Order of the British Empire (OBE), Chiswick-based artist Mary Fedden painted the present work titled The Offering. Her appointment had established her contribution to arts in the United Kingdom and her style had become a distinct one. The Offering features many typical elements of her long-spanning career, namely the central focus within this painting, a still life of exotically captured flowers at the forefront of the composition.

In this painting, Fedden skilfully intertwines the familiar comforts of everyday life and the beauty of natural surroundings with the intriguing allure of exotic journeys and distant places, showcasing her artistic prowess. Fedden’s relationship with artist Julian Trevelyan played a significant role in the themes and motifs that characterised her work. The pair, who relished exploration and travel, incorporated their discoveries into many of their respective works.

Regardless of proximity, Fedden found inspiration in her environment. In the Chiswick area, her artworks frequently showcased the everyday beauty surrounding her, whether it was the vistas from her bedroom window or carefully crafted still-life scenes, both real and imagined. Through her art, the artist encapsulated the essence of exploration and vitality. Like many other such examples of her work, Fedden uses warm and earthy brown tones alongside rich and deep oranges, blues and purples to create a true depth to the composition.

Lot 34 §

PETER MCLAREN (BRITISH, b.1964)

Cyclist with Upstretched Arms signed and dated ‘P Mclaren.88’ (lower right) watercolour and ink

76.8 x 58.4 cm. (30 1/4 x 23 in.)

£800 - 1,200

Provenance

With Houldsworth Fine Art, London Sale; Christie’s, London, 4 March 2004, lot 266, where purchased by the present owner

Lot

35 §

DAVID HOCKNEY, R.A. (BRITISH, b.1937)

View from Miramar Hotel, Santa Monica

signed with initials and dated ‘DH 1970’ (lower right); titled ‘View from the Miramar Hotel, Santa Monica’ (lower centre)

crayon and pencil

43.2 x 35.3 cm. (17 x 13 7/8 in.)

£200,000 - £300,000

Provenance

With Kasmin Gallery, London

John Curtis

With Knoedler Gallery, London

Acquired by the present owner from their father, circa 2009

Exhibited

Paris, Musee des Arts Decoratifs, Palais du Louvre, David Hockney, Paintings and Drawings, 11 Oct-9 Dec 1974, cat.no.88

Hotels, and in particular luxury hotels, became an intermittent but recurring feature of David Hockney’s drawings from the time that he began to enjoy financial success after his first solo exhibition at the Kasmin gallery in 1963. Though it was irksome to him that this might give the impression that he was on perpetual holiday, the drawings that he made on his travels – as he himself pointed out – provided vivid evidence of the contrary: that wherever he was, he was always working, even when his travelling companions were napping, reading or lazing by the side of a swimming pool. The joy of drawing from observation had been instilled in him when he was a student in his native Bradford. As his world expanded, first to London, then to Europe and further afield, he responded with great enthusiasm to the stimulation of these new vistas. As he remarked with pithy accuracy in his brief artist statement to a group exhibition, Image in Progress, at the Grabowski Gallery in London in 1962: ‘I paint what I like, when I like, and where I like, with occasional nostalgic journeys.’ This assertive embrace of the outside world as something to be processed visually through his own eyes, hands and heart, so that every place is transformed into an episode within Hockney’s world, never left him.

A template for this kind of drawing by Hockney was provided by his View of the Nile Hilton 1963, also drawn in coloured pencils, which he made on his arrival in Cairo in October 1963 on commission from The Times newspaper. Later he was to make drawings on the premises of other hotels in often spectacular locations, including the Grand Hotel Vittel inn 1970, Hotel Mamounia in Marrakesh in 1971, the Oriental Hotel in Bangkok in 1971, the Hotel Regina in Venice in 1970, the Luxor Hotel (on a return visit to Egypt in 1978) and hotels on the Côte d’Azur, Baden-Baden, Japan and Phoenix, Arizona. The private home in the south of France of film director Tony Richardson, Le Nid du Duc, was a favourite destination of equivalent opulence and the site of one of Hockney’s most famous paintings, Portrait of an Artist (Pool with Two Figures) 1972. The thrill of being in an exotic, picturesque and unfamiliar place often prompted some of his most beautiful drawings. His native England, on the other hand, did not again become a passionate source of inspiration until around 2003, when he settled for nearly ten years in Bridlington, North Yorkshire.

Hockney had fantasised about visiting Los Angeles long before he first arrived there at the tail end of 1963, aged 26. He had noticed the deep shadows cast in the films of Laurel and Hardy and rightly surmised that the sunshine of southern California would be much brighter and more intense than the flat, grey English light from which he wished to escape. He was not disappointed. Almost immediately on his arrival, from January 1964 through to summer 1968 on prolonged visits, he set about recording the look the sprawling city with which he immediately fell in love. His first apartment and studio there were on Main Street in Santa Monica, the district of Los Angeles nearest to the sea and beaches; the English-born writer Christopher Isherwood, whom he admired and whom he hoped to meet, was a near neighbour, and they soon became friends. Over the next four and a half years he lived at various addresses, all of them in the flat areas that characterise much of the city – including Hollywood, South Central Los Angeles and the area southeast of Beverly Hills known as Country Club Park – rather than in the elevated and much more secluded Hollywood Hills, which he got to know only in the late 1970s and where he was to buy the ranch-style house that remains his L.A. base.

In autumn 1968 Hockney had resettled in London, with Peter Schlesinger, a young student he had met while teaching a drawing course at UCLA and with whom he stayed occasionally on 3rd Street in Santa Monica. London remained his base even after the end of their relationship in the early 1970s. While unofficially resident in Paris from 1973 to 1976 he continued to travel, including two prolonged stays in 1973 and 1976 to make lithographs at the Gemini GEL workshop. In 1970 Hockney’s old friend the art dealer Nick Wilder was moving his gallery to a new space (in which Hockney was to show) in an area of West Hollywood known as Boys Town because of the easy availability there of gay sex; the opportunity to reconnect with him, especially given these circumstances, would not have been a disincentive. It was perhaps one factor that prompted him to return to Los Angeles for a trip lasting several weeks and to stay at the luxurious Miramar Hotel on the shores of the Pacific Ocean.

The Miramar Hotel, redesignated the Fairmont Miramar Hotel in 1991, was established in 1921, converted from a Victorian-period mansion. It had an allure rivalled much later by the Château Marmont Hotel in Beverly Hills (which Hockney also frequented during the 1970s) for similar reasons: as a destination for some of the great stars. Among the Miramar’s famous residents in the 1930s was Greta Garbo. A new wing, the hotel’s ten-storey Ocean Tower, was constructed in 1959, supplementing the bungalows that were among its most desirable units.

Hockney’s delicately sumptuous View from the Miramar Hotel, Santa Monica 1970 is in a large format typical of his more elaborate drawings of this period. It would appear to have been made while staying in the more historic part of the hotel. The hotel’s new wing is glimpsed through glass doors looking out onto a balcony perforated with multiple circular openings through which the swimming pool and palm trees offer the temptation to go downstairs and out into the bracing sea air. In the distance, beyond the sandy beach depicted as a tantalising strip of beige, lie Santa Monica Harbour and the foothills of the Santa Monica Mountains. The entire vista is suffused in light, the feature of southern California that Hockney prized perhaps even more than the modernist architecture, streetscapes and luxuriant foliage that often caught his eye.

At the time that Hockney made this drawing he was experiencing a new level of success, having won first prize in the John Moores Liverpool Exhibition in 1967, followed by a museum show at the Whitworth Art Gallery in Manchester in 1969 and the accolade of a retrospective at the age of 32 at the Whitechapel Art Gallery in London from 2 April to 3 May 1970. It is easy to imagine that with those pressures a ‘nostalgic return’ to Los Angeles, and particularly to Santa Monica, where he first lived, would have seemed an attractive proposition as a way of escaping the limelight and recharging his batteries. He recounted in David Hockney by David Hockney, published in 1976 and later reprinted as My Early Years, that he went to California on his own in 1970 ‘for some adventure’ at a time when he and Peter were needing some space away from each other, though still getting on well enough; it was only on his return from London from his own sexual adventures that Hockney discovered that Peter was having an affair.

Coloured pencils were generally derided by professional artists as a medium more suitable for young children. Among his peers Peter Blake, whom he knew and admired, was rare in embracing it. Hockney had begun using these in earnest in 1962 at a time that he was using child art as a point of reference for playfully imaginative works, inspired by the example of Jean Dubuffet. By autumn 1963, in the drawings made during his two-week tour of Egypt, he was refining his technique in response to places witnessed first-hand. By 1970 his command of the medium left in no doubt that it was worthy of his attention and of his considerable skill as a draughtsman. While he experimented only briefly in the late 1960s with watercolour, in his drawings he alternated between pen and ink (particularly for line drawing portraits beginning in 1966) and coloured pencils, which enabled him to exploit the possibilities of colour, tone, texture and decorative appeal with a great deal of nuance. However humble the subject matter and the medium, they are among his most prized works.

We are grateful to Marco Livingstone for compiling this catalogue entry.

Lot 36 §

ADRIAN HEATH (BRITISH, 1920-1992)

Untitled dated ‘May 77’ (verso) oil on canvas

153 x 126.3 cm. (60 1/2 x 49 3/4 in.)

£6,000 - 8,000

Born in Burma in 1920, Heath spent his formative years studying in the U.K. and eventually went onto study under and among some of the most prominent British artists. In 1938 he attended Newlyn School of Art in Cornwall, under Stanhope Forbes, and the following year had enrolled in Slade Art School.

However, when during the war, Heath was captured as a Prisoner of War in German camp Stalag 383, he became acquainted with fellow artist Terry Frost. It was not only Frost who Heath nurtured relations with, he became involved with many other artist who later became defined as the St Ives School. Heath spent much time in Cornwall, visiting in both 1949 and 1951. There he met with Ben Nicholson, where the two shared a mutual interest in abstract art. Other artist Heath shared explorations and artistic pursuits with were those such as William Scott, who also resided and worked in St Ives. The collaboration between Heath, William Scott and other artist’s such as Moore, Caulfield and Hoyland and many others was chronicled in the 1973 series of prints titled The Rothko Memorial Portfolio.

However, Adrian Heath’s oeuvre is characterized by his often large-scale, transient canvases, as exemplified in the present work. His style reflects a true fusion of stylistic and technical elements, ranging from Constructivist and abstract tendencies, using bold colours and geometric shapes, to later works where semi-figurative elements became more prominent. This 1977 piece showcases Heath’s mastery of colour and texture, particularly through the use of a deep red palette.

Heath’s contribution to British Abstraction is demonstrated through both the informal exhibitions help in his Fitzrovia studio, featuring works by Scott, Hilton and Frost, to his publication of ‘Abstract Painting: Its Origin and Meaning’ in 1953.

Lot 37 §

JOHN BELLANY, R.A. (BRITISH, 1942-2013)

Peppered lobster signed ‘Bellany’ (lower left) oil on canvas

70 x 30 cm. (27 1/2 x 12 in.)

£2,000 - 3,000

Provenance

The artist’s family, from whom acquired by the present owner

My Grandmother signed ‘Bellany’ (lower centre) watercolour and pencil

38.1 x 28 cm. (15 x 11 in.)

Executed in 1999

£1,000 - 1,500

Provenance With Beaux Arts, Bath

Lot 38 §

JOHN BELLANY, R.A. (BRITISH, 1942-2013)

Lot 39 §

RICHARD SMITH (BRITISH, 1931-2016)

Untitled signed and dated ‘R Smith 82’ (lower right) watercolour, crayon and mixed media

104.2 x 76.2 cm. (41 x 30 in.)

£600 - 800

Provenance

Sale; Clark’s Fine Art & Auctioneers, California, 9 August 2023, lot 158, where purchased by the present owner

40 §

SIR KYFFIN WILLIAMS, R.A. (BRITISH, 1918-2006)

Sheepdogs at Work signed with initials ‘KW’ (lower right) pencil and wash 33 x 48.3 cm. (13 x 19 in.)

Please note there is a further landscape drawing verso

£1,500 - 2,500

Provenance

With Thackery Gallery, London, 20 May 1998, where purchased by Private Collection, from whom acquired by the present owner

Lot

Lot 41 §

SIR JACOB EPSTEIN (BRITISH, 1880-1959)

Reclining Nude

signed ‘Epstein’ (lower right)

watercolour and chalk on paper laid onto board

56.5 x 43.7 cm. (22 1/4 x 17 1/4 in.)

£1,500 - 2,500

SIR JACOB EPSTEIN (BRITISH, 1880-1959)

Raising of Lazarus signed ‘Epstein’ (upper right)

watercolour and chalk on paper laid onto card 43.5 x 56.5 cm. (17 1/4 x 22 1/4 in.)

£1,500 - 2,500

Lot 42 §

LEON UNDERWOOD (BRITISH, 1890-1975)

Reclining African Figure signed and dated ‘Leon U/46’ (lower left) oil on canvas

31 x 35.5 cm. (12 1/4 x 14 in.)

£1,000 - 1,500

Provenance

John Fiorini, 1996, from whom purchased by the present owner

The Fiorini Foundry, an Arts Heritage Ltd. company, was established in 1909 by Giovanni Fiorini and stands as the oldest and one of the most esteemed bronze casting foundries in the country. Renowned for its exceptional craftsmanship, the foundry has collaborated with prolific artists such as Henry Moore, Leon Underwood, Jacob Epstein, and Elizabeth Frink.

With a rich history of casting intricate bronze sculptures and fine objects, the Fiorini Foundry specializes in the lost-wax casting method, a technique that captures the finest details. The family-run business was passed down to John Fiorini, who, as a young man, is known to have assisted Leon Underwood in casting his own sculptures (Ben Whitworth, The Sculpture of Leon Underwood, 2000, p.82).

Lot 43 §

UNDERWOOD (BRITISH, 1890-1975)

Mother and child oil on canvas

35.5 x 30.2 cm (14 x 11 3/4 in) (unframed)

£700 - 1,000

Provenance

John Fiorini, 1996, from whom purchased by the present owner

Lot 44 §

LEON

Lot 45 §

Reclining figures oil on canvas

30 x 36 cm. (12 x 14 1/8 in.) (unframed)

£700 - 1,000

Provenance

John Fiorini, 1996, from whom purchased by the present owner

LEON UNDERWOOD (BRITISH, 1890-1975)

My Country

signed ‘PRO HART’ (lower right) and titled ‘My Country’ (lower left) oil on board

49.5 x 59 cm. (19 1/2 x 23 1/4 in.)

£2,000 - 3,000

Provenance

With David Hart Galleries, Queensland, where acquired by the family of the present owner

Lot 46 §

KEVIN CHARLES (PRO) HART (BRITISH/AUSTRAILIAN, 1928-2006)

Lot 47 §

KEVIN CHARLES (PRO) HART (BRITISH/AUSTRAILIAN, 1928-2006)

Sailboats

signed ‘PRO HART’ (lower right); titled ‘Sailboats’ (verso)

46 x 40.6 cm. (18 x 16 in.)

£2,000 - 3,000

Provenance

Sale; Lawson-Menzies, Sydney, 19 June 2008, lot 299

With David Hart Galleries, Queensland, where acquired by the family of the present owner

Australian village signed ‘PRO HART’ (lower right) oil on board (25 1/2 x 28 in.)

£1,000 - 1,500

Provenance

The artist, circa 1970, from whom acquired by the family of the present owner

Lot 48 §

KEVIN CHARLES (PRO) HART (BRITISH/AUSTRAILIAN, 1928-2006)

Lot 49 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Large wave signed and dated ‘Brian Wilshire/1998’ (on the underside of the base)

wood

55.5 cm. (21 3/4 in.) high

£500 - 800

Provenance

John Fiorini, 1996, from whom purchased by the present owner

50 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Birthday Blockhead signed, titled and dated ‘Brian Wilshire/1979/Birthday Blockhead’ (on the underside of the base)

wood

29.5 cm. (11 5/8 in.) high

£400 - 600

Provenance

John Fiorini, 1996, from whom purchased by the present owner

Lot

Lot 51 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Untitled signed and dated ‘Brian Wilshire/1998’ (on the underside of the base)

wood

50.1 cm. (20 in.) high

£500 - 800

Provenance

John Fiorini, 1996, from whom purchased by the present owner

JOHN HUMPHREY SPENDER (BRITISH, 1910-2005)

The Magic Well signed and dated ‘Humphrey Spender 1948’ (upper right); further signed, inscribed indistinctly and titled ‘Humphrey Spender/Great House/...Suffolk/the Magic Well’ (verso) oil on canvasboard

44.6 x 35 cm. (17 1/2 x 13 3/4 in.)

£800 - 1,200

Exhibited

Finland, Retretti Art Centre, Surrealism in Visual Arts & Film, 5 May-13 Sept 1987

Lot 52 §

Lot 53 §

AUGUSTUS LUNN (BRITISH, 1905-1986)

Surreal composition

signed and dated ‘Augustus Lunn 39’ (lower right)

gouache on board

37.5 x 45.7 cm. (14 3/4 x 18 in.)

£1,000 - 1,500

Provenance

The artist, from whom purchased by the present owner in the early 1980s

Lot 54 §

AUGUSTUS LUNN (BRITISH, 1905-1986)

Red and Blue Abstract with Wood signed and dated ‘Augustus Lunn 39’ (lower right) tempera on board

36.5 x 44.6 cm. (14 3/8 x 17 1/2 in.)

£500 - 800

Provenance

Sale; Christie’s, London, 26 July 2001, lot 159

With Babbington Fine Art, London, 16 May 2014, where purchased by the present owner

Lot 55 §

VICTOR REINGANUM (BRITISH, 1907-1995)

Judgement of Paris signed and dated ‘reinganum.44’ (lower right)

oil and gesso on board

31 x 48.2 cm. (12 x 19 in.)

£500 - 800

Provenance

With Galerie 1900-2000, Paris

With Louise Hallett, London

CONROY MADDOX (BRITISH, 2012-2005)

Metaphysical Landscape; The Challenge signed and dated ‘CONROY MADDOX 41’ (lower right) gouache, watercolour and ink 35 x 51 cm. (14 5/8 x 21 1/8 in.)

£1,000 - 1,500

Provenance

With Galerie Bel’Art, Stockholm

Sale; Christie’s, London, 12 December 2014, lot 186, where purchased by Private Collection, by whom gifted to the present owner

Lot 56 §

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled dated ‘Oct 22 1946’ (verso)

watercolour and ink

28.5 x 38.7 cm. (11 1/4 x 15 1/4 in.)

£800 - 1,200

Lot 57 §

58 §

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled signed and dated ‘GW Pailthorpe/14.10.69’ (lower right)

watercolour and ink

39.3 x 58.4 cm. (15 1/2 x 23 in.)

£700 - 1,000

Lot

Lot 59 §

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled signed and dated ‘G.W.Pailthorpe/20.03.69’ (lower right)

watercolour

39.3 x 58.4 cm. (15 1/2 x 23 in.)

£600 - 800

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled dated ‘Nov.10.1946-5’ (verso)

watercolour and ink

23.3 x 30.2 cm. (9 1/2 x 12 in.)

£800 - 1,200

Lot 60 §

Lot 61 §

REUBEN MEDNIKOFF (BRITISH, 1906-1972)

Brighton titled and dated ‘Brighton Feb 48’ (lower right)

pencil and pen & ink

38 x 27.3 cm. (15 x 10 3/4 in.)

£400 - 600

Provenance

With James Birch Fine Art, where acquired by the present owner

Exhibited

London, Dulwich Picture Gallery, British Surrealism, 26 Feb-17 May 2020, p.84

FREDERICK

Catastrophe signed ‘F.Gore’ (on the backing card)

watercolour and pen & ink

32.5 x 40 cm. (12 3/4 x 15 3/4 in.)

Executed in 1936

£400 - 600

Provenance

1913-2009)

Sale; Sworders, Stanstead, 22 October 2019, lot 215, where purchased by the present owner

Lot 62 §

GORE, R.A. (BRITISH,

Lot 63 §

RACHEL RECKITT (BRITISH, 1908-1995)

Ruins signed ‘Rachel Reckitt’ (lower right); further signed and titled ‘RACHEL RECKITT/RUINS’ (to a label attached verso)

oil on canvas with collage

76.2 x 63.5 cm. (30 x 25 in.)

£500 - 800

Provenance

With Miles Fairhurst Gallery, London, where purchased by the present owner in the early 1980s

The Concrete Poet oil on board

16.7 x 13.9 cm. (6 1/2 x 5 1/2 in.)

£400 - 600

Provenance

The artist, from whom purchased by the present owner in the early 1980s

Lot 64 §

ANDREW LANYON (BRITISH, b.1947)

65 §

ANDREW LANYON (BRITISH, b.1947)

Breaking the Ice on the Hurry-Skurry oil on board

17.4 x 16.5 cm. (7 x 6 1/2 in.)

£400 - 600

Provenance

The artist, from whom purchased by the present owner in the early 1980s

Lot

Lot 66 §

ANDREW LANYON (BRITISH, b.1947)

Column of Confusion oil on card

17.5 x 9.4 cm. (6 7/8 x 3 5/8 in.)

£400 - 600

Provenance

The artist, from whom purchased by the present owner in the early 1980s

Lot 67 §

ANDREW LANYON (BRITISH, b.1947)

Still Life with Tornado signed, titled and dated ‘STILL LIFE/WITH/TORNADO/1982/Andrew Lanyon’ (to the frame verso) oil on board

17 x 24.2 cm. (6 5/8 x 9 1/2 in.)

£500 - 800

Provenance

The artist, from whom purchased by the present owner in the early 1980s

Lot 68 §

DAVID TINDLE, R.A. (BRITISH, b.1932)

Siesta - with Stones (from House of Texture Series) signed, titled and dated ‘David Tindle 02/Siesta - with Stones/House of Texture Series’ (verso) tempera on board 32 x 61 cm. (12 1/2 x 24 in.)

£700 - 1,000

DAVID TINDLE, R.A. (BRITISH, b.1932)

Preparations for the Dream (after Fra Angelico - Dream of the Deacon Justinian) signed, titled and dated ‘Dec.2000/Preparations for the Dream/”after Fra Angelico”Dream of the Deacon Justinian’ (verso) tempera on board

31.3 x 39 cm. (12 1/4 x 15 3/8 in.)

£1,000 - 1,500

Lot 69 §

Lot 70 §

IVOR ABRAHAMS, R.A. (BRITISH, 1935-2015)

Curved figure

bronze with a green patina on a wooden base 15 cm. (5 7/8 in.) high together with Two Dancers

bronze with a green patina both 7.5 cm. (2 7/8 in.) high (3)

£600 - 800

Lot 71 §

BERNARD MEADOWS (BRITISH,

1915-2005)

Four Small Reliefs on Cock Theme

four bronze reliefs in a bronze surround with green patina

47.5 cm. (18 7/8 in.) wide

unique

£2,000 - 3,000

Provenance

The artist

Contemporary Art Society

With Birkenhead Art Gallery, Wirral

With Redfern Gallery, London, where purchased by the previous owner

Literature

Alan Bowness, Bernard Meadows, Sculpture and Drawings, Lund Humphries, London, cat.no.BM20 (ill.b&w.)

Lot 72 §

KEITH VAUGHAN (BRITISH, 1912-1977)

Amulet silver nickel alloy

7 cm. (2 3/4 in.) high

Executed circa 1976

£1,500 - 2,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), whom gifted to the present owner

Lot 73 §

KEITH VAUGHAN (BRITISH, 1912-1977)

Stacking Hay

signed with initials ‘K.V.’ (lower right) and dated ‘1942’ (lower left) ink and wash

12.7 x 17.1 cm. (5 x 6 3/4 in.)

£500 - 800

Provenance

With Austin/Desmond Fine Art, Ascot, 1987

J. Brooks Buxton

With Anthony Hepworth Fine Art, Bath

Lot 74 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Sketchbook dated ‘1951’ (front cover)

sketchbook of seven pencil drawings, each stamped with estate stamp ‘K.V.’ (verso) 28 x 21.5 cm. (11 x 8 1/2 in.)

£2,000 - 3,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot. During the early 1950s, drawing became an essential ingredient in Vaughan’s creative life. He drew stilllife subjects and life-drawings, designs for magazines and book illustrations and made presentation or ‘table drawings.’ Drawing provided the raw material for his painting and he made many drawing trips to the south coast, the landscapes of Yorkshire, Berkshire, Ireland and France to gather material. In 1963 he exhibited drawings at the Biennale in Sao Paolo and three further drawing exhibitions took place between 1967 and 1969 in London and Manchester. By now he had accumulated a wide vocabulary of graphic marks including novel ways to shade, hatch and delineate form. He wrote in his journal 6th January 1964:

“There must be some way of using the brush and colour with the same spontaneity as the pencil. I should have found this out by now. What a difference it would make if painting just went along, with the same total involvement as drawing.’”

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 75 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Two boys playing rugby stamped with estate stamp ‘K.V.’ (lower right)

charcoal

28 x 20 cm. (11 x 8 in.)

Executed in 1951 together with; Hillscape

stamped with estate stamp ‘K.V.’ (lower right) charcoal

23 x 30.5 cm. (9 x 12 in.)

Executed in 1951 (unframed) (2)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

Lot 76 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Hillside

signed with initials ‘K.V.’ (verso)

charcoal

25.5 x 20.5 cm. (10 x 8 1/4 in.)

Executed in 1951 together with;

Study

stamped with estate stamp ‘K.V.’ (lower left)

19 x 16.5 cm. (7 1/2 x 6 1/2 in.)

Executed in 1956 (unframed) (2)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

Lot 77 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Figures stamped with estate stamp ‘K.V.’ (lower right)

charcoal

28 x 20 cm. (11 x 10 in.)

Executed in 1951 together with; Donegal titled ‘Donegal.’ (lower right); inscribed ‘Water behind dark trees’ (upper right); titled again and dated ‘Donegal/58’ (verso)

charcoal

28 x 20.5 cm. (11 x 8 1/8 in.) (unframed) (2)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

Lot 78 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Two figures, one seated stamped with estate stamp ‘K.V.’ (lower right) pencil

28 x 20 cm. (11 x 8 in.)

Executed in 1951 together with;

Abstract landscape study stamped with estate stamp ‘K.V.’ (verso) charcoal

24.5 x 18 cm. (9 3/8 X 11 in.)

Executed in 1958 (unframed) (2)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

Lot 79 § *

KEITH VAUGHAN (BRITISH, 1912-1977)

Architectural study stamped with estate stamp ‘K.V.’ (verso)

25.5 x 20.5 cm. (10 x 8 1/8 in.)

Executed in 1951 together with; Still life study

charcoal

13 x 22 cm. (5 1/8 x 8 5/8 in.)

Executed in 1951 (unframed) (2)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent

Lot 80 §

WILLI SOUKOP, R.A. (AUSTRIAN/BRITISH, 1907-1995)

Untitled

signed ‘Willi Soukop’ (lower right) watercolour, crayon and ink

28.5 x 19.5 cm. (11 1/4 x 7 3/4 in.)

£300 - 500

Provenance

Brenda Haydon, thence by family descent

Lot 81 §

WILLI SOUKOP, R.A. (AUSTRIAN/BRITISH, 1907-1995)

Head of a woman signed with initial ‘W’ (on the back of the neck) terracotta

33.5 cm. (13 1/4 in.) high (including the wooden base)

£300 - 500

Provenance

Brenda Haydon, thence by family descent

82 §

RUSKIN SPEAR (BRITISH, 1911-1990)

Portrait of Jack Wolsey oil on board

75.5 x 60.5 cm. (29 3/4 x 23 3/4 in.)

£400 - 600

Provenance

Sale; Bonhams, London, 13 November 2012, lot 241, where purchased by present owner

Provenance

Glasgow, Royal Glasgow School of Arts, 1968

Lot

Lot 83 §

EDWARD WOLFE, R.A. (BRITISH/SOUTH AFRICAN, 1897-1982)

Reclining Nude

signed ‘Wolfe’ (lower left)

watercolour and pencil

28.6 x 52.1 cm. (11 1/4 x 20 1/2 in.)

£300 - 500

Provenance

With Benjamin Hargreaves, London, where acquired by the present owner

Lot 84

SIR MUIRHEAD BONE (BRITISH, 1876-1953)

A Farm near Bilbao signed indistinctly and dedicated ‘to Mr and Mrs Mabbott’ (lower right) watercolour and crayon

10.1 x 13.3 cm. (4 x 5 1/2 in.) together with;

Coimbra signed ‘Muirhead Bone’ (lower right) and titled ‘Coimbra’ watercolour and charcoal

21 x 29 cm. (8 1/2 x 11 3/8 in.) together with;

The Coast of Portugal signed, titled with dedication and dated ‘The Coast of Portugal - Muirhead Bone to John Christmas 1926’ (lower right) watercolour

15 x 29.5 cm. (6 x 11 5/8 in.) (3)

£600 - 800

Provenance

A Farm near Bilbao

With Max Rutherstone, London

Sale; Christie’s, London, 16 October 2002, lot 238, where purchased by the present owner

Coimbra

Sale; Christie’s, London, 3 July 2003, (as Coimbra, Portugal), lot 299, where purchased by the present owner

The Coast of Portugal

Sale; Christie’s, London, 20th Century Art including Drawings and Prints from the Studio of Robert Polhill Bevan, 3 December 2003, lot 465, where purchased by the present owner

Lot 85 §

STEPHEN BONE (BRITISH, 1904-1958)

Portrait of a Lady signed ‘Stephen Bone’ (to a label on the stretcher verso) and inscribed ‘COTONEASTER SALICI FOCLA’ (on the stretcher verso) oil on canvas

61 x 50.3 cm. (24 x 19 1/4 in.)

£400 - 600

Provenance

Sale; Lawrence’s Auctioneers, Crewkerne, 12 October 2022, lot 622, where purchased by the present owner

86 §

STEPHEN BONE (BRITISH, 1904-1958)

Portrait of Edward Verrall Lucas signed and titled ‘The Late E.V.Lucas C.H./Stephen Bone’ (to a label attached verso); inscribed twice ‘22. FOXWELL,DORSET/E.V. LUCAS.C.H.’ (on the stretcher verso) oil on canvas

51 x 61 cm. (20 x 24 in.)

£400 - 600

Provenance

Sale; Lawrence’s Auctioneers, Crewkerne, 12 October 2022, lot 622, where purchased by the present owner

Lot

Lot 87 §

LEONARD APPELBEE (BRITISH, 1914-2000)

Petunias

signed with initials and dated ‘LA 53’ (lower right) oil on canvas

54.5 x 70.4 cm. (21 1/2 x 27 5/8 in.)

£300 - 500

Provenance

With The Leicester Galleries, London

Sale; Phillips, London, 6 March 2001, lot 83, where purchased by present owner

Lot 88 §

JAMES STROUDLEY (BRITISH, 1906-1988)

Nude pastel and charcoal

54.6 x 39.4 cm. (21 1/2 x 15 1/2 in.)

£300 - 500

Provenance

With Fairhurst Gallery, London, where purchased by the family of the present owner

Lot 89 §

JAMES STROUDLEY (BRITISH, 1906-1988)

Suzanna signed and dated ‘Stroudley 49’ (lower left) pastel and charcoal

54.6 x 37 cm. (21 1/2 x 14 1/2 in.)

£300 - 500

Provenance

With Fairhurst Gallery, London, where purchased by the family of the present owner

Exhibited London, Royal Institute, Piccadilly Galleries (untraced exhibition)

Lot 90 §

CATHLEEN MANN (BRITISH, 1896-1959)

Inveraray Castle, Argyll signed and dated ‘CATHLEEN/MANN/1950’ (lower right) oil on canvas

51 x 61 cm. (20 x 24 in.)

£500 - 800

JOHN MELVILLE (BRITISH, 1902-1986)

Preparing Dinner oil on board

121 x 121 cm. (47 5/8 x 47 5/8 in.)

Painted circa 1950

£800 - 1,200

Provenance

The estate of the artist, from whom acquired by Private Collection

Their sale; Chiswick Auctions, London, 22 April 2020, lot 72, where purchased by the present owner

We are grateful to Michel Remy for his assistance in cataloguing this lot

Lot 91 §

92 §

FRED DUBERY (BRITISH, 1926-2011)

Lilies in Lamplight signed ‘Fred Dubery’ (lower right) oil on canvas

52 x 61 cm. (20 1/2 x 24 in.)

£300 - 500

Provenance

Sale; Sworder’s Auctioneers, Stansted, 22 October 2019, lot 589, where purchased by the family of the present owner

Lot

Lot 93 §

MARTIN YEOMAN (BRITISH, b.1953)

View of St Paul’s signed ‘Yeoman’ (lower right) oil on canvas

26 x 31 cm. (10 1/4 x 12 1/4 in.)

£300 - 500

94 §

The Drive Burnham Beeches signed ‘J.Noble Barlow’ (lower right); further signed and titled ‘The Drive/Burnham Beeches/J.Noble Barlow’ (verso) oil on canvas

51 x 68.6 cm. (20 x 27 in.)

£400 - 600

Provenance

With Sally Turner Antiques, Buckinghamshire, 2 April 2021, where purchased by the family of the present owner

Lot

JOHN NOBLE BARLOW (BRITISH, 1816-1917)

Lot 95 §

ROWLAND SUDDABY (BRITISH, 1912-1972)

Stormy Scene

signed and dated ‘R Suddaby ‘51’ (lower right)

watercolour, wash, pen & ink

34.3 x 54.6 cm. (13 1/2 x 21 1/2 in.)

£300 - 500

Provenance

Sale; Bonhams, London, 22 May 2007, where purchased by the present owner

Please note there is a further work painted verso

ROBERT ANNING BELL (BRITISH, 1863-1933)

Portrait of woman signed, inscribed and dated ‘To Harry E J Browne/with love from R.A.Bell 99’ (lower right) charcoal

38.5 x 26.5 cm. (15 1/4 x 10 1/4 in.)

£300 - 500

The present work is dedicated to the artist Henry ‘Harry’ Edward John Browne (1859-1917)

Lot 96

Lot 97 §

WILFRED FAIRCLOUGH (BRITISH, 1907-1996)

Teddington Lock titled and dated ‘TEDDINGTON LOCK/1953(...)1964’ (to a label attached verso) and titled twice ‘Teddington Lock’ (verso) oil on board

29 x 48 cm. (11 3/8 x 19 1/4 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner Exhibited Lavenham, Phoenix Gallery, 1964

Lot 98 §

WILFRED FAIRCLOUGH (BRITISH, 1907-1996)

Kingston Railway Bridge signed and dated ‘FAIRCLOUGH/1952’ (lower right); titled ‘KINGSTON RAILWAY BRIDGE’ (to a label attached verso) oil on board

30 x 61 cm. (11 3/4 x 24 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 99 §

WILFRED FAIRCLOUGH (BRITISH, 1907-1996)

Teddington Bridge signed and dated ‘Fairclough/1951’ (lower left); titled ‘Teddington BRIDGE’ (to a label attached verso) oil on board

41.5 x 64.5 cm. (16 3/8 x 25 3/8 in.)

£400 - 600

Provenance

The estate of the artist, from whom acquired by the present owner

Exhibited Edinburgh, Royal Scottish Academy, 1959

Lot 100 §

WILFRED FAIRCLOUGH (BRITISH, 1907-1996)

Eel Pie Islands, Twickenham signed and dated ‘FAIRCLOUGH 1951’ (lower right); titled twice ‘EEL PIE ISLAND. TWICKENHAM’ (to labels attached verso) oil on board

50 x 61 cm. (19 5/8 x 24 in.)

£400 - 600

Provenance

With Atkinson Art Gallery, Southport

The estate of the artist, from whom acquired by the present owner

Exhibited Edinburgh, Royal Scottish Academy, 1959

101 §

JAMES LLOYD (BRITISH, 1905-1974)

Old Woman in a Lane signed ‘J Lloyd’ (lower right) gouache and watercolour on board 26 x 18.5 cm. (10 1/4 x 7 1/4 in.)

£700 - 1,000

Provenance

With Arthur Jeffress, London John Morris

Lot

Lot 102 §

JAMES LLOYD (BRITISH, 1905-1974)

Birds Nest

signed ‘J.Lloyd’ (lower right) and titled ‘BIRD NEST’ (verso)

gouache on board

38.1 x 52.1 cm. (15 x 20 1/2 in.)

£400 - 600

Pinks

103 §

titled and numbered ‘Pinks, 2’ (lower right)

gouache and ink

29 x 21 cm. (11 1/4 x 8 1/4 in.)

£1,000 - 1,500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot 104 §

Head bronze with black patina

8 cm. (3 1/4 in.) high

£500 - 800

Provenance

The estate of the artist, from whom acquired by the present owner

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot 105 §

Bust plaster

20 cm. (8 in.) high

£800 - 1,200

Provenance

The estate of the artist, from whom acquired by the present owner

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot

106 §

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Red and Blue Collage signed, titled and dated ‘Red & Blue/Collage/Terry Frost/2002’ (verso) oil on canvas with collage laid onto board 17 x 11 cm. (6 3/4 x 4 1/4 in.)

£1,200 - 1,800

Provenance

With Thompson’s Gallery, Aldeburgh, where acquired by the present owner

Sir Terry Frost is best known for his dynamic compositions and use of shapes and colours. In the formative years of Frost’s artistic pursuits, he connected with fellow prisoner Adrian Heath during their time together in the prisoner of war camp at Stalag 383. In this challenging environment, Heath provided a source of inspiration to Frost, and the two engaged in discussions about their artistic ambitions and future pursuits. It was Heath who after the war, encouraged Frost to begin painting with his ex-serviceman’s grant.

Frost’s style can be characterised by vibrant colours, strong and bold shapes, and geometric abstractions. It is somewhat unsurprising that Victor Pasmore, an early advocate of abstraction within the British art scene, was Frost’s mentor during his time at the Camberwell School of Art. Frost’s exposure and interaction with the many talented members of the British art scene is found in his involvement with the St Ives artist. He met Roger Hilton in 1951, and the two artist were both working under the talented Barbra Hepworth.

What became unique within Frost’s work, is his specific interest collage as a dominant medium and subject matter in the construction of his works. Many of the works offered in this upcoming auction present Frost’s distinctive approach to collage and the use of multiple materials and colours. Often paper, fabrics, canvas scraps, sometimes cardboard and card were used to add depth and richness to his imagined shapely compositions. Frost’s involvement in the art scene of St Ives is demonstrated not only in his formal training and role as assistant to Hepworth but also in the exhibition and display of his work with many other prominent artists. There are many such examples of these exhibition, namely his involvement Penwith Society.

Lot 107 §

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Oh What an Effort it is to Love You as I Do signed and dated ‘Terry Frost 82’ (lower right) oil and collage

30.3 x 30.3 cm. (12 x 12 in.)

£1,200 - 1,800

Provenance

The artist, from whom acquired directly by Private Collection, U.K. With Thompson’s, London

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Red and Black Crescents oil and collage on board

25.4 25.4 cm. (10 x 10 in.)

£1,000 - 2,000

Provenance

The artist, from whom acquired directly by Private Collection, U.K. With Thompson’s, London

Lot 108 §

Lot 109 §

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Blue Heart oil on canvas

55.9 x 55.9 cm. (22 x 22 in.)

Painted circa 1989

£1,200 - 1,800

Provenance

The artist, from whom acquired directly by Private Collection, U.K. With Thompson’s, London

Three Crescents on Blue signed and dated ‘Terry Frost/99’ acrylic and canvas collage on thick card 63 x 42 cm. (24 3/4 x 16 1/2 in.)

£2,000 - 3,000

Provenance

The artist, from whom acquired directly by Private Collection, U.K. With Thompson’s, London

Lot 110 §

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Lot 111 §

SIR TERRY FROST, R.A. (BRITISH, 1915-2003)

Circle of Love

signed, titled and dated ‘Terry Frost/99./Circle/of/Love’ (verso)

acrylic and canvas collage on thick card

20.3 x 20.3 cm. (8 x 8 in.)

£1,000 - 2,000

Provenance

The artist, from whom acquired by Private Collection U.K With Thompson’s, London

Lot 112 §

Fly Through II

signed and inscribed ‘A Whishaw/Fly Through/green house’ (verso); further signed, inscribed and dated ‘Fly through Anthony Whishaw 1981/From an idea of a bird flying out through a/green house, from a monochrome world into one/with colour’ (to the frame verso) mixed media and watercolour on canvas

31.6 x 31.6 cm. (12 1/2 x 12 1/2 in.)

£800 - 1,200

Provenance

With Nicola Jacobson Gallery, London

ANTHONY WHISHAW (BRITISH, b.1930)

113 §

The Torah signed ‘Fraser’ (lower left) oil and gouache

40.6 x 50.8 cm. (16 x 20 in.)

£1,000 - 2,000

Provenance

Sale; Bonhams, London, 17 November 2015, lot 132, where purchased by the present owner

Lot

DONALD HAMILTON FRASER, R.A. (BRITISH, 1929-2009)

114 §

SCOTTIE WILSON (BRITISH, 1888-1972)

Untitled signed ‘SCOTTIE’ (lower right) watercolour, crayon, pencil and ink

35.5 x 26 cm. (14 x 10 1/2 in.)

£700 - 1,000

Please note this work is accopanied with a drawing of Scottie Wilsob by Marie Levy.

Lot

ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

Alan Davie’s innovative and enigmatic abstract depictions have garnered him widespread international acclaim. His unique style, characterized by the use of personal pictograms and modern interpretations of ancient symbolism, makes his work instantly recognizable. Davie’s art is featured in major institutions such as the Museum of Modern Art in New York, the Peggy Guggenheim Museum in Venice, and the Stedelijk Museum in Amsterdam. His influences are vast, drawing on symbols from Ancient Egyptian, Western magical, African tribal, prehistoric, and various religious iconographies, as well as his own Celtic heritage.

Davie studied at the Edinburgh School of Art and, after World War II, played saxophone in an Edinburgh-based group that later toured Europe. His extensive travels included a pivotal visit to Venice, where he became captivated by the works of surrealist Joan Miró and modernist Paul Klee. Inspired by their use of automatism, Davie adopted this technique, creating art in a free-flowing, subconscious manner that liberated him from conventional constraints. This approach was deeply influenced by Eugen Herrigel’s book Zen in the Art of Archery, which introduced the concept of Zen to the Western world and emphasized the art of Kyūdō, a form of Japanese archery. This philosophy of intuitive and spontaneous creation became central to Davie’s artistic practice, setting him apart as a visionary in the abstract art movement.

DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

Homage to the Earth Goddess No.7 signed, titled and dated ‘HOMAGE TO AN/EARTH GODDESS NO7/1992/OPUS O.1209/Alan Davie/92’ (verso) oil on canvas

183 x 152 cm. (72 x 60 in.)

£5,000 - 8,000

Provenance

The artist, from whom acquired by Private Collection, U.K., from whom acquired by the present owner

Exhibition

New York, ACA Galleries, Alan Davie, March 1997

Lot 115 §

ALAN

ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

Struvé

signed, titled and dated ‘STRUVÉ/Alan Davie/2007’ (verso) oil on canvas

121.9 x 101.6 cm. (48 x 40 in.)

£3,000 - 5,000

Provenance

With Gimpel Fils, London

With Galerie Gimpel & Müller, Paris

Sale; Lyon and Turnbull, 6 April 2022, lot 28

Lot 116 §

Untitled (December 1968) dated ‘DEC 68’ (verso) oil on board

53 x 45.5 cm. (20 7/8 x 17 7/8 in.)

£800 - 1,200

Provenance With Alan Wheatley Art, London

Lot 117 §

ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

118 §

Shaman’s Table No.5

signed, titled and dated ‘Alan Davie Aug 7/SHAMANS TABLE NO.5/9/816’ (upper right) gouache

55.9 x 76.2 cm. (22 x 30 in.)

Executed in 1972

£1,000 - 1,500

Provenance With Gimpel Fils, London

Lot

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot 119 §

KEITH RICHARDSON JONES (BRITISH, 1925-2005)

Opener (Bottle) signed, titled and dated ‘OPENER (BOTTLE) Alan Davie 59’ (lower right) oil on paper laid onto canvas 41 x 53 cm. (16 1/8 x 20 7/8 in.)

£4,000 - 6,000

Provenance

With Alan Wheatley Art, London, from whom purchased by the family of present owner

C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

Carib Islands No.23

signed, titled and dated ‘CARIB ISLANDS/NOV 23/MAY 76 ALAN DAVIE/76’ (verso) oil on canvas

102 x 122 cm. (40 1/8 x 48 in.)

£3,000 - 5,000

Provenance

With South West Arts, Exeter, May 1976

With Gimpel Fils, London, where purchased by the present owner

Lot 120 §

ALAN DAVIE,

Lot 121 §

Wyn

DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014)

signed, titled and dated ‘WYN/Alan Davie 2013’ (lower left) oil on paper

27 x 17.2 cm. (10 5/8 x 6 7/8 in.)

£400 - 600

Provenance

With Gimpel Fils, London, where purchased by the present owner

ALAN

HAROLD

(BRITISH, 1932-2023)

Cottage Under the Downs Nigel’s Cottage signed, titled and dated ‘Cottage under the downs/.../Mockford/May 1988’ (verso); signed again twice ‘MOCKFORD/HAROLD MOCKFORD’ (on the frame verso) oil on board

68 x 92 cm. (26 3/4 x 36 1/4 in.)

£500 - 800

Provenance

The artist, May 1988, from whom commissioned by the present owner

Lot 122 §

MOCKFORD

Lot 123 §

HAROLD MOCKFORD (BRITISH, 1932-2023)

The Fisherman signed and titled ‘THE FISHERMAN/H Mockford’ (verso); signed again ‘H MOCKFORD’ (on the stretcher verso) oil on canvas

92 x 122.5 cm. (36 1/4 x 48 1/4 in.)

£600 - 800

Provenance

The artist, circa 1984, whom gifted to the present owner

124 §

BALLARD (IRISH, b.1943)

White Lady with Jug signed and dated ‘Ballard 90’ (lower right); titled ‘White Lady with Jug’ (on the stretcher verso) oil on canvas

43.5 x 59 cm. (16 3/4 x 23 1/4 in.)

£1,500 - 2,500

Provenance

The artist, from whom acquired by Beaux Arts, Bath Their sale; Wooley & Wallis, Salisbury, Modern British Art from the Late Geoffrey Harley, 7 February 2018, lot 58, where acquired by the present owner

Lot

BRIAN

Lot 125 §

ANNE COTTERILL (BRITISH, 1933-2010)

Still life of hydrangeas signed ‘Anne Cotterill’ (lower right) oil on board

49 x 52 cm. (19 1/4 x 20 1/2 in.)

£700 - 1,000

Lot 126 §

ANNE COTTERILL (BRITISH, 1933-2010)

Still life of kingcups signed ‘Anne Cotterill’ (lower right) oil on board

30 x 39 cm. (11 7/8 x 15 3/8 in.)

£700 - 1,000

Lot 127 §

SIMEON STAFFORD (BRITISH, b.1956)

Tame Valley, Dukinfield signed ‘Simeon’ (lower right); further signed and titled ‘TAME VALLEY/Dukinfield/Simeon’ (verso) oil on canvas

91 x 89.5 cm. (35 7/8 x 35 1/2 in.)

£700 - 1,000

Lot 128 §

SIMEON STAFFORD (BRITISH, b.1956)

Carousel signed and dated ‘SIMEON/09.6.7’ (lower left) oil on board

44 x 59.6 cm. (17 1/4 x 23 1/2 in.)

£500 - 800

Lot 129 §

SIMEON STAFFORD (BRITISH, b.1956)

Beach Scene oil on canvas

51 x 75.7 cm. (20 x 29 3/4 in.)

£500 - 800

Provenance

With Frederick Charles Art, London, 22 January 2020, where purchased by the family of the present owner

Lot 130 §

SIMEON STAFFORD (BRITISH, b.1956)

Hillside town signed and dated ‘SIMEON/06.9.17’ (lower left) oil on board

44 x 59.6 cm. (17 1/4 x 23 1/2 in.)

£500 - 800

DANNY MARKEY (BRITISH, b.1965)

Evening signed and dated ‘Danny Markey/1994’ (back of frame) oil on board

20.5 x 24.4 cm. (8 x 9 1/2 in.)

£300 - 500

Provenance With Redfern Gallery, London

Exhibited

Sussex, The Charleston Gallery, Charleston Farmhouse, Danny Markey, 1995

Lot 131 §

Untitled signed and dated ‘Danny Markey 2001’ (on the backboard) oil on board

23.5 x 29 cm. (9 1/4 x 11 1/2 in.)

£300 - 500

Lot 132 §

DANNY MARKEY (BRITISH, b.1965)

Lot 133 §

Untitled signed with initials and numbered ‘OM 1-77’ (lower left) mixed media

24 x 33 cm. (8.5 x 12 in.)

£700 - 1,000

TONY O’MALLEY (IRISH, 1913-2003)

Lot 134 §

CECIL ROCHFORT D’OYLY-JOHN (BRITISH, 1906-1993)

Eden Roc

signed ‘Doyly-John’ (lower right); titled ‘Eden Roc/near Monte Carlo/South of France’ (verso) and dated ‘29/10/69’ (on the frame verso) oil on canvas

35.5 x 71.5 cm. (14 x 28 1/4 in.)

£700 - 1,000

We are grateful to Paul Mayhew for his assistance cataloguing this lot.

Lot 135 §

STANLEY WILLIAM HAYTER (BRITISH, 1901-1988)

Man and Horse Running signed and dated ‘Hayter/1930’ (lower right)

pen & ink

22.8 x 31.1 cm. (9 x 12 in.)

£300 - 500

Provenance

The artist, whom gifted to the present owner in the 1970s

136 §

TREVOR BELL (BRITISH 1930-2017)

Full Moon signed, titled and dated ‘FULL MOON/Trevor Bell/1962’ (verso) gouache

34 x 50 cm. (13 1/2 x 19 5/8 in.)

£400 - 600

Lot

Lot 137 §

TREVOR BELL (BRITISH, 1930-2017)

Muse with Red signed and dated ‘BELL 75’ (lower right) and titled ‘Muse with Red’ (lower left)

gouache

54.5 x 68 cm. (22 3/4 x 26 3/4 in.)

£500 - 800

138 §

TREVOR BELL (BRITISH 1930-2017)

Image with Grey signed and dated ‘BELL 78’ (lower right) and titled ‘IMAGE WITH GREY’ (lower left) gouache

54.5 x 68.6 cm. (21 1/2 x 27 in.)

£500 - 800

Lot

139 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Blue Bonds signed and dated ‘Gear ‘94’ (lower right); further signed, titled and dated ‘Gear/July 94/BLUE BONDS’ (verso) mixed media

25 x 30.5 cm. (10 x 12 in.)

£400 - 600

Lot

140 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Untitled (Purple, Yellow & Blue) signed and dated ‘Gear ‘83’ (lower right) mixed media (20 1/4 x 13 1/2 in.)

£400 - 600

Lot

141 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Black verticals on orange signed and dated ‘Gear 95’ (lower right) mixed media

47 x 31 cm. (18 1/4 x 12 1/4 in.)

£500 - 800

Exhibited Birmingham, Royal Birmingham Society of Artists, May 1996, cat.no.69

Lot

Lot 142 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Untitled signed and dated ‘Gear 67’ (lower right) mixed media

60 x 49.5 cm. (23 1/2 x 19 1/2 in.)

£600 - 800

Lot 143 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Spring, Paris

signed, titled and dated ‘Gear/Spring 49/Paris’ (lower right) oil on card

33 x 69 cm. (13 x 27 1/4 in.)

£400 - 600

Provenance

With Redfern Gallery, London

144 §

WILLIAM GEAR, R.A., R.B.S.A. (BRITISH, 1915-1997)

Yellow Red Paradise

signed and dated ‘Gear ‘89’ (lower right); further signed, dated again and titled ‘Gear NOV 89/YELLOW RED PARADISE’ (verso) oil, gouache and chalk

49 x 68 cm. (19 1/4 x 26 3/8 in.)

£500 - 800

Lot

Lot 145 §

ADRIAN HEATH (BRITISH, 1920-1992)

Untitled signed and dated ‘AH 69’ (lower right)

watercolour and pencil

22 x 27 cm. (8 5/8 x 10 3/8 in.)

£300 - 500

Lot 146 §

ADRIAN HEATH (BRITISH, 1920-1992)

Untitled signed and dated ‘Heath 69’ (lower right) gouache

73.6 x 53.3 cm. (29 x 21 in.)

£400 - 600

Lot 147 §

JOHN MILLER (BRITISH, 1931-2002)

Nude on red signed and dated ‘JOHN MILLER/2001’ (verso) oil on canvas

41 x 32.5 cm. (16 1/8 x 12 3/4 in.)

£1,500 - 2,500

Provenance

Sale; Sworder’s Auctioneers, Stansted, 7 February 2018, lot 145 (as Study of a man from behind), where purchased by present owner

Lot 148 §

GERALDINE GIRVAN (BRITISH, b.1947)

Quiet Pool signed ‘Girvan’ (upper right); further signed, titled and dated ‘Quiet Pool Geraldine Girvan/04’ (on the canvas overlap) oil on canvas

30.5 x 40.6 cm. (12 x 16 in.)

£400 - 600

Provenance

Eustace Gibbs

Their sale; Dreweatts, Newbury, The Collection of Eustace Gibbs, 1 May 2019, lot 230 With Chris Beatles Ltd., London, where purchased by the family of the present owner

Exhibited

London,Chris Beatles Ltd., Geraldine Girvan, 2005, cat.no.7

Lot 149 §

ANDREW MACARA (BRITISH, b.1944)

Kitzbuhel Skiing signed ‘Andrew Macara’ (lower right) oil on linen canvas

30 x 30.5 cm. (11 3/4 x 12 in.)

£400 - 600

Provenance

With Chris Beetles Ltd., London, 9 March 2022, where purchased by the family of the present owner

Exhibited

London, Chris Beetles Ltd., The New English Art Club at Chris Beetles Gallery, Feb-Mar 2022, cat.no.6

150 §

LOUIS TURPIN (BRITISH, b.1947)

Fish among water lilies

signed and dated ‘L Turpin ‘88’ (lower right) oil on canvas

36 x 31 cm. (14 1/4 x 12 1/4 in.)

£400 - 600

Provenance

With Beaux Arts Gallery, Bath, 1988, where purchased by the present owner

Lot

Lot 151 §

MICHAEL CANNEY (BRITISH, 1923-1999)

Square & Circle Variation No.7

signed, titled and dated ‘Michael Canney/1979/Square & Circle/Variation No.7 (to the frame verso) oil on card relief

22.8 x 22.8 cm. (9 x 9 in.)

£1,000 - 1,500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 152 § MICHAEL CANNEY (BRITISH, 1923-1999)

Circle & Square Version 15

signed, titled and dated ‘CIRCLE & SQUARE-VARIATION 17/Michael Canney-1980/Version 1’ (on the backboard)

oil on card relief

22.8 x 22.8 cm. (9 x 9 in.)

£1,000 - 1,500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 153 §

KENNETH MARTIN (BRITISH, 1905-1984)

Chance Order Change

signed and dated ‘Kenneth Martin-78’ (lower right)

ink and pencil

20.2 x 30.3 cm. (8 x 12 in.)

£600 - 800

Provenance

With Waddington and Tooth Galleries, London

Leo Löwenthal

1921-2012)

High Spirits signed ‘P. Rudall’ (lower centre) oil and pen & ink

26 x 26 cm. (10 1/4 x 10 1/4 in.)

Executed in 1997

£300 - 500

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 154 §

PAUL RUDALL (BRITISH,

RUDALL (BRITISH, 1921-2012)

Red Under Green signed ‘P Rudall’ (lower centre) oil, crayon and sgraffito on paper 42 x 42 cm. (16 1/2 x 16 1/2 in.)

£300 - 500

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 155 §

PAUL

Lot 156 §

PAUL RUDALL (BRITISH, 1921-2012)

Material Consequences

signed ‘P.Rudall’ (lower centre) oil, crayon, pen & ink

24 x 51 cm. (9 1/2 x 20 in.)

£300 - 500

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 157 §

MARY STORK (BRITISH, 1938-2002)

St Ives

signed and dated ‘Stork 4.4.97’ (lower left); further, titled and dated again, ‘ST IVES/4.4.97/Stork’ (to a label attached to the backboard)

gouache

31.7 x 43.7 cm. (12 1/2 x 17 1/4 in.)

£400 - 600

Provenance

With David Messum Fine Art, 1998, where purchased by the present owners

Exhibited

London, David Messum Fine Art, Now & Then Exhibition, 1998

Lot 158 §

PETER COKER, R.A. (BRITISH, 1926-2004)

Olive Trees Bargemon signed with initials ‘PC’ (lower left)

watercolour and ink

39.3 x 57.3 cm. (15 1/2 x 22 1/2 in.)

£300 - 500

Provenance

The artist, 5 February 2022, from whom acquired by the family of the present owner

Exhibited

London, Chris Beetles Ltd., Peter Cocker RA: The Studio Sale, 3-28 Oct 2017, cat.no.55

London, Chris Beetles Ltd., Peter Cocker RA, Oct 2022, cat.no.55

Lot 159 §

CHRISTOPHER WOOD (BRITISH, b.1962)

Summer Rain

signed ‘Wood’ (lower right); further signed and dated ‘CHISTOPHER WOOD 1997’ (on the stretcher verso)

acrylic on canvas

51 x 45.7 cm. (20 x 18 in.)

£300 - 500

Provenance

Freshfields Bruckhaus Deringer Collection, from whom acquired by the family of the present owner

Roaming the Range signed and dated ‘Sarah Dwyer/2009’ (verso) oil on linen laid onto board 25 x 30 cm. (9 3/4 x 11 5/8 in.)

£1,500 - 2,500

Provenance

With John Lilley, London, where purchased by the family of the present owner

Lot 160 §

SARAH DWYER (IRISH, b.1974)

Lot 161 §

MELANIE COMBER (BRITISH, b.1970)

Font signed, titled and dated ‘Melanie Comber FONT 2012’ (on the canvas overlap) oil and mixed media on canvas

51 x 40.5 cm. (20 1/8 x 16 in.)

£600 - 800

Provenance

Private Collection

Their sale; Rosebery’s, London, 14 March 2023, lot 51, where purchased by the present owner

Lot 162 §

GEOFFREY ROBINSON (BRITISH, b.1945)

Don’t Tell Me oil and mixed media on board

29.2 x 20.3 cm. (11 1/2 x 8 in.)

£500 - 800

Lot 163 §

CARL RONALD GILES (BRITISH, 1916-1995)

Appleton Hall signed and dated ‘Giles/1984’ (lower left); inscribed ‘APPLETON HALL/RECENTLY DESTROYED BY DIGGERS + THINGS’ (beneath the mount) ink

17.7 x 20 cm. (7 x 7 7/8 in.)

Please note there is a further drawing verso.

£300 - 500

164 §

MEIRION JONES (BRITISH, b.1966)

Reflections signed ‘Merion’ (lower left) oil on board

31.5 x 40 cm. (12 1/4 x 15 3/4 in.)

£400 - 600

Lot

Lot 165 §

REBECCA LARDNER (BRITISH, b.1971)

Seagull Quay signed ‘Rebecca Lardner’ (lower right); further signed and titled ‘SEAGULL QUAYRebecca LARDNER’ (on the stretcher) oil on canvas

20 x 50 cm. (7 7/8 x 19 5/8 in.) (unframed)

£500 - 800

Term and Conditions for Buyers at Chiswick Auctions

1. BEFORE THE SALE

1.1 Agent for the seller

Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer.

1.2 Definitions

For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot.

The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot.

The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

1.3 Catalogue descriptions

Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot.

The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1.4 Inspection

Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

1.5 Condition report

CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

1.6 Electricals

All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety.

It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.

1.7 Estimates

Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8 Reserves

Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in

their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids.

1.9 Registration to the sale

New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.

International bidders may be required to register 48 hours before the sale and to submit bank details.

A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot.

1.10 Proof of identity

Bidders not previously known to CA Ltd will be required to provide:

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.

• Proof of address of main residence. Only official documents showing name and address will be accepted.

• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the 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 at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.

Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

2.2 Personal bidding

Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.

2.3 Commission bids

CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it.

Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.

In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.

2.4 Telephone bids

If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone.

CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids

Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or untilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

2.6 Bidding on behalf of someone

A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

2.7 Bidding on an item

Bid incrementation is at the auctioneer’s entire discretion.

2.8 Video transmission

For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome.

2.9 Online-only auctions

Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd.

2.10 Dispute resolution during the auction

Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion.

3. CONTRACT FORMATION AND EFFECTS

3.1 Contract of sale

The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd.

When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale.

3.2 Transfer of property

Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping.

3.3 Transfer of risks

Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

3.4 Cancellation of the sale

At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc.

In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law.

Public auctions are not covered by this right to retract.

4. AFTER THE SALE

4.1 Payment

All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express.

CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise.

The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance.

Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer.

4.2 Buyer’s Premium

The Buyer will pay CA Ltd a premium of 26% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below:

No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis.

†: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

*: These lots have been imported from outside the UK 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.

If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

4.3 Online Bidding Surcharges

Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms

Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

4.4 Taxes

VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot.

W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met:

1. Have registered to bid with an address outside of the UK

2. Provide immediate proof of export out of the UK within 90 days from the date of the auction

Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer.

No VAT will be refunded where the total VAT on an invoice is under £70.

Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes.

4.5 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%

4.6 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 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.

4.7 Collection

Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).

4.8 Storage

CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

4.9 Shipping

Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union.

CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

4.10 Loss or Damage

CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.

4.11

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 preColumbian 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.

4.12 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.

4.13 Limitation of liability regarding CITES export licenses

Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale.

4.14 Warranties

CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.15 Authenticity warranty

In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price.

The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy.

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations

Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value.

It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.

Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.

Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY

6.1 Gemstone treatment and estimates

Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to:

• Heat treatment to enhance sapphires and rubies’ clarity and colour

• Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone

• Staining

• Irradiation

• Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof.

A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.

If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.

6.2

Estimated weights

If a stone’s exact weight appears within the body of the description, the stone has been 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.

8.1

Upholstered furniture after 1950

According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. GLOSSARY OF PICTURE CATALOGUING TERMS

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

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

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

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

4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil.

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

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

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

8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

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

10 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions

When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items.

10.2 Fine Chinese Paintings

Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS

In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd.

CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

13. COPYRIGHT

CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the 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.

15. SEVERABILITY

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

16. AMENDMENTS

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION

The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales.

For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply.

All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.