Modern British & Irish Art

MODERN BRITISH & IRISH ART

Tuesday 26 th November, 2pm

MODERN BRITISH & IRISH ART

Tuesday 26 th November,

2pm

Viewing exclusively at the Barley Mow Centre, W4 4PH

Thursday, 21 November 5pm-8pm - Preview evening

Friday, 22 November 10am-5pm

Saturday, 23 November 11am-3pm Collection of Lots

Sunday, 24 November 11am-3pm

Monday, 25 November 11am-5pm

Tuesday, 26 November 10am-12noon (auction at 2pm)

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

Lot 1 §

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

Telephone Box signed ‘Ken Howard’ (lower right) oil on canvasboard

49 x 53.5 cm. (19 1/2 x 21 cm.)

£1,000 - 1,500

Provenance

Property of British Telecommunications PLC, where acquired by the family of the present owner

2 §

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

BT Tower signed ‘Ken Howard’ (lower right) oil on canvas

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

£1,000 - 1,500

Provenance

Property of British Telecommunications PLC, where acquired by the family of the present owner

Lot

3 §

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.)

£800 - 1,200

Provenance

Frederick Ernest Cleary

Pauline Gould

Her sale; Gorringe’s, 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 4 §

MALCOLM ARBUTHNOT (BRITISH, 1874-1967)

Fir Tree and Shrubs

signed ‘Malcom Arbuthnot’ (lower right) and titled and dated ‘Fur Tree/c1952’ (verso) watercolour

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

£500 - 800

Provenance

With Blond Fine Art, London, June 1982, where purchased by the family of the present owner

Lot 5 §

JOHN STEVEN DEWS (BRITISH, b.1949)

Schooner ‘Driving Mist’ and Ketch “Kittie” at Low Water, Newquay 1880 signed ‘John Steven Dews (lower left) and titled ‘Schooner Driving Mist and Ketch. “Kittie” at Low Water/Newquay 1880’ (to a label attached to the frame verso) oil on canvas

61 x 96 cm. (24 x 37 3/4 in.)

£3,000 - 5,000

Lot 6 §

HARRY RUTHERFORD (BRITISH, 1903-1985)

Early Morning Shaftbury Avenue signed ‘H.RUTHERFORD’ (lower right); further signed and titled ‘EARLY MORNING/SHAFTESBURY AVENUE/Harry Rutherford’ (to a label attached to frame verso) oil on canvas

41 x 61 cm. (16 x 24 in.)

Painted circa 1940s

£600 - 800

Lot 7 §

FRED CUMING, R.A., N.E.A.C. (BRITISH, 1930-2022)

Harbour, Buoy and Gibbous Moon signed ‘Cuming’ (lower left) oil on board

76 x 76 cm. (30 x 30 in.)

£3,000 - 5,000

Provenance

With Brian Sinfield, Cotswolds

Lot 8 §

OROVIDA PISSARRO (BRITISH, 1893-1968)

Bonfire, Jubilee Night signed and dated ‘Orovida 1936’ (lower left)

egg tempera on linen 86 x 111 cm. (33 7/8 x 43 3/4 in.)

£4,000 - 6,000

Provenance

With Stern Pissarro Gallery, London, where purchased by the present owner

Exhibited

Tokyo, Isetan Museum of Art, Camille Pissarro & The Pissarro Family, March-August 1998, no.F32; this exhibition toured to Osaka, Daimaru Museum, Fukuoka, Mitsukoshi Gallery, Mie, Prefectural Art Museum and Yamaguchi, Prefectural Museum of Art,

Literature

Kristen Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, Oxford, 1992, no.62 (illustrated) (unpublished)

Fairground Evening signed ‘Cuming’ (lower left) oil on board

76 x 76 cm. (30 x 30 in.)

£4,000 - 6,000

Provenance

With Brian Sinfield Gallery, Cotswolds, where purchased by the present owner

Lot 9 §

FRED CUMING, R.A., N.E.A.C. (BRITISH, 1930-2022)

Lot 10 §

ROBERT DUCKWORTH GREENHAM (BRITISH, 1906-1975)

Felixstowe

signed and dated ‘Robert Greenham 65’ (lower left); titled ‘Felixstowe’ (verso) oil on board

26 x 33.5 cm. (10 1/4 x 13 1/4 in.)

£800 - 1,200

Provenance

The artist, thence by family descent

11 §

Portrait of a Girl

signed with initials and dated ‘RDG 73’ (lower left) oil on board

30.5 x 23.5 cm. (12 x 9 1/4 in)

£500 - 800

Provenance

The artist, thence by family descent

Lot

ROBERT DUCKWORTH GREENHAM (BRITISH, 1906-1975)

Lot 12 §

HAROLD SPEED (BRITISH, 1872-1957)

White Cliffs signed and dated ‘HAROLD SPEED 1902’ (lower right) oil on canvas

63 x 86.5 cm. (24 3/4 x 34 in.).

£700 - 1,000

Provenance

Private collection, U.K.

13 §

The Waterfall

signed ‘S.J.Lamorna Birch’ (lower left) oil on canvas

44.5 x 57.2 cm. (17 1/2 x 22 1/2 in.)

£3,000 - 5,000

Provenance

R.W.S.A. (BRITISH, 1869-1955)

Sale; John Nicholson’s, Surrey, 17 July 2020, lot 411, where purchased by the present owner

Lot

SAMUEL JOHN LAMORNA BIRCH, R.A.,

Lot 14 §

Somerset Coast

signed ‘S.J.Lamorna Birch’ and indistinctly inscribed (lower left) oil on canvas

30.5 x 38 cm. (12 x 15 in.)

£800 - 1,200

Provenance

With Ealing Gallery, London, where purchased by the present owner

SAMUEL JOHN LAMORNA BIRCH, R.A., R.W.S.A. (BRITISH, 1869-1955)

Lot 15 §

JOHN SHELLEY (BRITISH, 1938-2020)

Fennys Lane signed, titled and dated ‘John Shelley 1968/FENNYS LANE’ (verso) oil on board

73 x 91.5 cm. (28 5/8 x 36 in.)

Please note this lot is accompanied by the exhibition catalogue from the artist’s show at Amos Reynolds, Surrey

£1,500 - 2,500

Provenance

The artist, whom exhibited at Amos Reynolds, Surrey, from whom purchased by the family of the present owner

Exhibited

Surrey, Amos Reynolds, John Shelley, cat.no.8

16 §

ALFRED

WOLMARK (BRITISH, 1877-1961)

The Forge signed and dated ‘A Wolmark/1898’ (lower right); dated again ‘1898’ (verso) oil on canvas

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

£3,000 - 5,000

Provenance

Sale; Christie’s, London, 13 July 2000, lot 49

Sale; Philips, London, 20 March 2001, lot 63

With Syvia Powell Decorative Arts, London, 22 November 2009, where purchased by the present owner

Lot

Lot 17 §

WILLIAM ROTHENSTEIN (BRITISH, 1872-1975)

Canadian Army Tents in Flanders

watercolour pencil and crayon

33 x 51 cm. (13 x 20 1/8 in.)

Executed in 1918

£500 - 800

Lot 18 §

WILLIAM ROTHENSTEIN (BRITISH, 1872-1975)

Harincourt signed and titled ‘W Rothenstein - Harincourt’ (lower right)

watercolour pencil and crayon

33 x 51 cm. (13 x 20 in.)

Executed in 1918

£500 - 800

Lot 19 §

BRUCE BAIRNSFATHER (BRITISH, 1887-1959)

Army Service Corps

inscribed ‘3’ (lower right); titled and dated ‘3-9-1915/Army Service Corps’ (to a backboard verso) ink & wash

16 x 26 cm. (6 1/4 x 10 1/4 in.)

£400 - 600

Lot 20 §

HENRY LAMB (BRITISH, 1883-1960)

Gun Crew oil on panel

81.5 x 77.5 cm. (32 x 30 1/2 in.)

Painted in 1944

£6,000 - 8,000

Provenance

The artist, thence by family descent

Henry Lamb was born in 1883 in Adelaide, Australia, the son of Professor Horace Lamb and his wife, Mary, and one of seven children. Shortly after his birth, the family moved to England, where his father accepted a position at the University of Manchester, and Lamb was subsequently raised in Manchester. Although he initially pursued medical training in Manchester and at Guy’s Hospital, he left the profession in 1905 to focus on art.

However, with the outbreak of World War I, Lamb returned to medicine, serving as a surgeon in Macedonia and Palestine. After the war, he was appointed an Official War Artist and created the monumental Irish Troops in the Judean Hills Surprised by a Turkish Bombardment (1919), now in the Imperial War Museum - a significant work that complements Stanley Spencer’s Travoys Arriving with Wounded Soldiers (1919) in capturing the harrowing experiences of war.

During World War I, Henry Lamb served on the front lines and, after being demobilized, was commissioned to capture the conflict through his art. This led to iconic works like Irish Troops in the Judaean Hills Surprised by a Turkish Bombardment (1919), now housed in the Imperial War Museum. By the time World War II erupted, Lamb, at 57, was appointed a full-time war artist by the War Artists’ Advisory Committee. In this role, he produced over 100 paintings and drawings, including striking portraits of servicemen and evocative scenes of the domestic war effort. The current piece showcases a gun crew loading shells into an anti-aircraft battery, the type of which defended Britain’s southern counties. A smaller version of this composition is part of York Art Gallery’s collection.

Lot 21 §

1917-1957)

Mediterranean Village Rooftops signed ‘John Minton’ (lower left) gouache, watercolour and pen & ink 23 x 31 cm. (9 x 10 in.)

£2,000 - 3,000

Provenance

With Modern British Artists, London, 20 September 2004, where purchased by the family of the present owners

JOHN MINTON (BRITISH,

Lot 24 §

PAULE VÉZELAY (BRITISH, 1892-1984)

Two Forms signed ‘P. Vezelay’ (lower left) pencil

13.5 x 21 cm. (5 1/4 x 8 1/4 in.)

Executed in 1946

£400 - 600

Provenance

With England & Co, London, where purchased by the family of the present owner

Provenance

London, England & Co, Paule Vézelay 1892-1984: Retrospective, 23 Oct-27 Nov 2004, cat.no.47

Lot 25

PAUL NASH (BRITISH, 1889-1946)

Landscape of the Malvern Distance watercolour

17.8 x 25.3 cm. (7 x 10 in.)

£4,000 - 6,000

Provenance

Andrew Causey (1940-2014)

With Moore-Gwyn Fine Art, London, 31 October 2016, where purchased by family of present owner

Literature

Andrew Causey, Paul Nash, Oxford University Press, Oxford, 1980, cat.no.1141, p.461

26 §

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

In Church stamped with studio stamp (on the back of the frame) coloured pencil, pen & ink

21 x 16 cm. (8 1/4 x 6 1/4 in.)

Executed circa 1931

£1,500 - 2,000

Provenance

With New Grafton Gallery, London, 18 May 1978, where purchased by the family of the present owner

Exhibited London, New Grafton Gallery, John Nash 1893-1977 Studio Memorial Exhibition, 18 May 1978

Lot

JOHN

Lot 27 §

ALGERNON CECIL NEWTON (BRITISH, 1880-1968)

September Evening titled ‘September Evening’ (beneath the mount); signed ‘Algernon Newton’ (verso) pencil & chalk

19 x 26 cm. (7 1/2 x 10 1/4 in.)

£1,000 - 1,500

Provenance

With The Fine Art Society, London, 25 October 2010, where purchased by the family of the present owner

Please note the present work is a study for a large painting by the artist, ‘September Evening’ and dated to August 1952. There is a copy of a photo of the painting in one of the artist’s albums in the Tate archive.

Lot 28 §

A Breton Ritual oil on canvasboard

20.4 x 26.6 cm. (8 x 10 1/2 in.)

Painted circa 1905

£300 - 500

Provenance

The artist, from whom acquired by Idiosyncratic Works of Art, London, 3 March 2001, where purchased by the family of the present owners

GEORGE SHERWOOD HUNTER (BRITISH, 1846–1919)

Lot 29 §

ROSALIE DE MERIC (BRITISH, 1916–1999)

Rock Series V, Scafell Pike

signed and dated ‘Rose D’Meric/1947’ (lower right)

watercolour and ink

37.4 x 56 cm. (14 3/4 x 22 in.)

£500 - 800

Provenance

Peter Nahum

His sale; Christie’s, London, The Poetry of Crisis; The Peter Nahum Collection of British Surrealist and Avant-Garde Art 1930-1951, 15 November 2006, lot 283, where purchased by the family of the present owner

Exhibited

London, England & Co., Jack Bilbo and The Moderns, November 1990, no.36

Aldeburgh, Peter Pears Gallery, Festival Exhibition, June 2006, no.40

Lot 30 §

WILLIAM ROBERTS (BRITISH, 1895-1980)

Study for Carpet Beaters signed and titled ‘CARPET BEATERS/by/William Roberts’ (to a label attached to the backboard) watercolour and pencil

17.8 x 14 cm. (7 x 5 1/2 in.)

Executed 1927-8

£4,000 - 6,000

Provenance

With The Cooling Galleries, London, 1929

With Denys Wilcox Fine Art, Somerset, 21 February 2009, where purchased by the family of the present owner

We are grateful to David Cleall and Bob Davenport for their assistance in cataloguing this lot.

Lot 31 §

FRANCIS DAVISON (BRITISH, 1919-1984)

Cottage oil and pencil on board

25.5 x 32 cm. (10 x 12 1/4 in.)

Painted circa 1950-1

£3,000 - 5,000

Provenance

The estate of the artist

With Austin/Desmond Fine Art Ltd, 27 March 2006, where purchased by the family of the present owner

CHRISTOPHER WOOD (BRITISH, 1901-1930)

The Church on the Cliff, Dieppe pencil on paper mounted onto card

31.7 x 40.1 cm. (12 1/2 x 16 in.)

Executed circa 1929

Please note there is an inscription on the reverse ‘With love from Kit’s mother to Ala. Dieppe Church drawn by my son Christoper Wood 1929. Clara D Wood’

£3,000 - 5,000

Provenance

The artist, from whom gifted by his mother to Ana Storey, from whom acquired by Peter Cochrane

With Redfern Gallery, London

With England & Co, London, 8 August 2005, where purchased by the family of the present owners

Exhibited

The artist, from whom gifted by his mother to Penzance, Newlyn Gallery, Christopher Wood: The Last Years, 1928-1930, 28 Oct-25 Nov 1989; this exhibition toured Sheffield, Graves Art Gallery, Dec 1989-Jan 1990, Swansea, Glynn Vivian Art Gallery, Jan-Mar 1990 and Cambridge, Kettle’s Yard, Mar-Apr 1990

Literature

Hilary Gresty, Christopher Wood: The Last Years, 1928-1930, Penzance, Newlyn Art Gallery, 1989, p.18-20, cat.no.33 (ill.b&w): this exhibition travelled to Sheffield, Graves Art Gallery, December 1989-January 1990; Swansea, Glynn Vivian Art Gallery, January-March 1990; and Cambridge, Kettle’s Yard, March-April 1990

“I seem to live on the very edge of the world. But what an edge it is.” - Christopher Wood Wood first visited Dieppe in the mid-1920s and was immediately taken by its charm. The town, which had become a popular destination for artists and society’s elite, offered a serene escape from the more chaotic bohemian lifestyle he experienced in Paris. He found inspiration in the harbor, the seaside landscapes, and the unique light of the area. Over the last fifteen months of his life, Dieppe became his favored painting site. He described it as a place where he experienced “complete happiness,” a feeling he had never known before.

Dieppe’s appeal was twofold: it provided an antidote to the urban grind of Paris, and it allowed Wood to focus deeply on his art, capturing the town’s atmospheric qualities with his distinct style. His work during this period is characterized by its bold color schemes and simplified forms, with influences from the selftaught artist Alfred Wallis, whose rough surfaces and directness of style Wood admired.

Sadly, Christopher Wood’s time in Dieppe was short-lived. Struggling with depression, addiction, and personal turmoil, Wood’s life was marked by emotional instability and a series of failed relationships. These challenges likely influenced the darker, more melancholic tones that appear in his later works, including those painted in Dieppe. Despite his troubled personal life, Dieppe remains a symbol of happiness and creative fulfillment for him—a final place of peace before his untimely death.

Wood died in 1930 at the age of 29 under tragic circumstances, when he fell under a train at Salisbury station. His early death, combined with the poignant and evocative nature of his works from Dieppe, has contributed to his enduring legacy as a talented but tragic figure in early 20th-century British art.

Lot 33 §

BEN NICHOLSON, O.M. (BRITISH, 1894-1982)

Untitled (Ornate Gate with Tree) pencil

30.5 x 37cm (12 x 14 9/16in).

with a further pencil drawing of horses and figures on the reverse, by the same hand, executed circa 1931

£4,000 - 6,000

Provenance

With Waddington Custot, London, where acquired by Private Collection

Their sale; Bonhams, London, 28 April 2021, lot 150, where acquired by the present owner

Lot 34 §

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

£500 - 800

Provenance

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

Exhibited

London, Redfern Gallery, Winifred Nicholson: Wild Flowers in Greece, 30 Sep-30 Oct 1964, cat.no.19 as White Church Skopolis (sic)

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

Lot 35 §

ALAN REYNOLDS (BRITISH, 1926-2014)

Study of Sycamore Leaves signed and dated ‘Reynolds 53’ (lower right) gouache & ink

23.5 x 18 cm. (9 1/4 x 7 1/4 in.)

£2,000 - 3,000

Provenance

With Agnews, London, 22 September 2003, where purchased by the family of the present owner

Lot 36 §

ALAN REYNOLDS (BRITISH, 1926-2014)

Sycamore Shoreham

signed and dated ‘Reynolds 53’ (lower right); titled ‘Sycamore Shoreham’ (lower left) pen & ink

28 x 15.2 cm. (11 x 6 in.)

£1,000 - 1,500

Provenance

Raymond Wilkinson (1913-2003)

With Art Stop Uk Ltd, Wales, 25 November 2006, where purchased by the family of the present owners

Lot 37 §

AUGUSTUS JOHN, O.M., R.A. (BRITISH, 1878-1961)

Dorelia signed ‘John’ (lower right) pencil

24 x 31.3 cm. (9 1/2 x 12 1/2 in.)

£2,000 - 3,000

Provenance

With Arthur Tooth & Sons, London

Sale; Philips, London, 17 November 1992, lot 39, where purchased by the family of the present owner

Lot 38

GWEN JOHN (BRITISH, 1876-1939)

A Girl and Two Nuns in Church signed ‘Gwen John’ (lower right) gouache and watercolour 16 x 14 cm. (6 1/4 x 5 1/2 in.)

£10,000 - 15,000

Exhibited London, Anthony d’Offay, Gwen John 1876-1939 Centenary Exhibition, 3-26 Mar 1976, cat.no.44

“Gwen John taught me to be quiet in my art. She taught me that silence could be as important as what is said” - Celia Paul

Born in 1876 in Wales, Gwen John, is without a doubt, one of the most significant figures within the 20th-Century British art scene. Despite her place alongside that of her brother Augustus John, her contributions extend far beyond these familial ties, and in her own right she holds a significant space within the story of British art. Her works have been characterised in their subdued, soft and subtle pallets and their introspective stillness.

The prominence of portraiture in her oeuvre makes it unsurprising that, in her writing for the Gwen John 1876-1939 Centenary Exhibition at Anthony d’Offay, Mary Taubman remarked, “For every Gwen John portrait, no matter how carefully observed and exquisitely executed, there is, in a sense, also a self-portrait.” John’s inner world is captured in many examples of her work with a sense of poise and serenity. She is remembered for her somewhat reclusive lifestyle and her preference for introspective themes, whether this is demonstrated in the exploration of her own image through delicately rendered self-portraits or depictions of quiet, intimate spaces such as, A Corner of the Artist’s Room in Paris (circa 1907-9).

In the case of Gwen John’s A girl and two nuns in church, Mary Taubam’s statement could not strike more true. Many of her portraits capture in essence stillness, intimacy, emotional depth and sensitivity, and this gouache is no exception. Converting to Catholicism in her twenties, in 1913, faith became a centre aspect of the artist’s identity. Gwen John’s relationship with Catholicism deeply informed her artistic vision, enriching her portrayal of human beings in her portraits. Time and time again John’s artistic process of repetition reflects her deep engagement with a variety of subject matter. In this case, there are many iterations of figures in a church, whether it is her rendering of Two girls in church, Two girls in church, praying or Six small church groups, among many other examples, John remonstrates her understanding of not only form and expression but also emotion. Repetition becomes in essence both the artist’s process of exploring subject matter and the vehicle in which she is able to uncover layers of meaning and expose her own evolving perspective.

Recent exhibitions, such as “Gwen John: Art and Life in London and Paris” at Pallant House Gallery and her inclusion in Tate Britain’s “Now You See Us: Women Artists in Britain 1520-1920,” underscore her impact and importance. John’s unique style and perspective position her alongside other notable artists of her time and demonstrate her legacy in the broader narrative of British art.

Lot 39 §

AUGUSTUS JOHN, O.M., R.A. (BRITISH, 1878-1961)

Head of a Girl, possibly Ida Nettleship pencil

20 x 16 cm. (7 7/8 x 6 1/4 in.)

£500 - 800

Provenance

With Mercury Gallery, London, 11September 1967, where purchased by the family of the present owner

Lot 40 §

LAURENCE STEPHEN LOWRY, R.A. (BRITISH, 1887-1976)

Male figure holding a pole

signed with initials and dated ‘LSL 1919’ (lower left); dated again ‘1919’ (upper right) pencil

37 x 15 cm. (14 1/4 x 5 7/8 in.)

£3,000 - 5,000

Provenance

With Grove Fine Art, Manchester

With Frederick Charles Art, London, where purchased by the present owner

Lot 41 §

MICHAEL ROTHENSTEIN, R.A (BRITISH, 1908-1993)

House with Plants

signed and dated ‘Michael Rothenstein/1946’ (lower right)

watercolour and ink

36.2 x 48.3 cm. (14 1/4 x 19 in.)

£3,000 - 5,000

Provenance

F.R.S. Yorke

Their sale; Christie’s, London, The Poetry of Crisis; The Peter Nahum Collection of British Surrealist and Avant-Garde Art 1930-1951, 15 November 2006, lot 236, where purchased by the family of the present owners

Exhibited

London, Barbican Gallery, A Paradise Lost, May-Jul 1987, no.286

Chichester, Tudor Room of the Bishop’s Palace, Farm, Field and Fantasy: Visions of the English Countryside from the 18th Century to the Present Day, July1989, no.42

Study for a Relief charcoal and chalk

signed and dated ‘Frank Dobson/46’ (lower right)

38 x 27 cm. (15 x 10 5/8 in.)

£1,000 - 1,500

Provenance

Dr Grossman, London

With Austin Desmond, London

Exhibited

London, The Arts Council of Great Britain, Sculpture in the Home, cat.no.66 (untraced)

Lot 42 §

FRANK OWEN DOBSON, C.B.E., R.A. (BRITISH, 1886-1963)

Lot

43 §

SIR TERRY FROST (BRITISH, 1915-2003)

Kathleen, Battersea titled and dated ‘48/49, Kathleen, Battersea’ (to the stretcher verso) oil on canvas

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

£7,000 - 10,000

Provenance

The artist, circa 1986, from whom acquired by the present owner

“To look at a painting which gives you the opportunity to have solitude, to be yourself and to be able to wander into reverie, is more than hedonistic, it’s spiritual”

- Terry Frost

Sir Terry Frost, born in Leamington Spa in 1915, began his artistic journey as a young man working various jobs while taking evening drawing classes. During WWII, he served across multiple regions before being captured and held as a POW in Germany. There, he had a transformative “spiritual experience,” igniting his passion for art. Encouraged by fellow artist Adrian Heath, he pursued formal training at Camberwell School of Art, where he was influenced by both figurative and abstract teachings from William Coldstream and Victor Pasmore.

After marrying Kathleen Clarke, Frost moved to the burgeoning art scene in St. Ives, Cornwall, where he befriended Ben Nicholson, Barbara Hepworth, and Peter Lanyon, further deepening his commitment to abstraction. His bold, colourful work gained recognition, leading to his first solo show in 1952 and inclusion in major exhibitions. Frost’s later work was influenced by American abstractionists, leading to simplified forms and vibrant colour fields that, while abstract, still referenced the real world.

By the late 20th century, Frost was celebrated as a leading figure in British art, receiving a knighthood in 1998. He passed away in 2003, leaving behind Kathleen and their six children, along with a legacy that bridged joy, colour, and the beauty of abstraction.

This powerful portrait captures the deep connection between Frost and his lifelong partner, created just a few years after their honeymoon in 1945. Reflecting the clear influence of Cubism, it marks a pivotal moment in Frost’s evolution as an artist - moving away from his earlier representational work to embrace the bold, abstract, and vibrant style that would come to define his career. This painting not only showcases his technical shift but also encapsulates the emotional depth and passion that would characterize much of his later work.

Lot

44 §

GRAHAM SUTHERLAND, O.M. (BRITISH, 1903-1980)

Articulated Form

signed ‘G Sutherland’ (upper right) gouache

40 x 47 cm. (15 3/4 x 18 1/2 in.)

Painted circa 1950

£10,000 - 15,000

Provenance

With The Redfern Gallery, London

With Austin Desmond, London, 1989, where purchased by the family of the present owner

Exhibited

London, The Redfern Gallery, Summer Exhibition, 1955, cat.no.468 London, Olympia, Graham Sutherland, 25 Feb-2 Mar 2003

“It is not a question so much of a ‘tree like a figure’ or a ‘root like a figure’ - it is a question of bringing out the anonymous personality of these things”

- Graham Sutherland

Exhibited in The Redfern Gallery’s Summer Exhibition of 1955, Graham Sutherland’s Articulated Form, is just one example of Sutherland’s shift in both subject matter and approach following the post war period. Prior to 1945, Sutherland’s work was defined by a figurative style which explored war themes and existential anxieties; this is unsurprising given both the time and Sutherland’s role as an official war artist during the Second World War. However, post-1945, Sutherland began to explore more abstract and organic forms and had more of a fascination with the human experience. However, the grotesque is inescapably a motif within this work. The grotesque, for Sutherland, was not merely an aesthetic choice - it was a way to engage with the psychological, emotional, and existential crises of the modern world, especially after the trauma of war. His work is often introspective, even claustrophobic, as he seeks to expose the raw, vulnerable underbelly of both the human body and the world at large.

Hence, his Articulated Form, is an excellent early example of his captivation with these organics, surreal and uncanny configurations. In this very example, Sutherland’s artistic process reveals itself. The work is one iteration among many of his concepts of articulated forms. Articulated Form, showcases Sutherland’s paradoxical meticulousness and ambiguity; the articulated form is both incredibly careful constructed and considered while also being more broadly symbolic and open to interpretation. In the titling alone, Sutherland commits to many iterations of articulated forms and it is a motif which he consistently revisited. In the present work, Sutherland relies on both intense and rich colours, in addition to earthy tones and forms drawing viewers into a not only a visually striking view but also an emotionally charged metaphysical space.

Lot 45 §

PETER LANYON (BRITISH, 1918-1964)

Marino titled ‘Marino’ (lower centre)

watercolour, gouache, pencil, charcoal and crayon 50 x 34 cm. (20 x 13 1/4 in.)

Executed in January 1953

£8,000 - 12,000

Provenance

The artist

Margaret Melis (1914-2009)

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

“It is impossible for me to make a painting which has no reference to the very powerful environment in which I live” - Peter Lanyon

Peter Lanyon, born in St Ives, was deeply rooted in the landscape that surrounded him, a constant source of inspiration throughout his career. After studying at Penzance School of Art and briefly at the Euston Road School, Lanyon served in the RAF during the war and co-founded the Crypt Group in St Ives. His time teaching at the Bath Academy of Art from 1950 to 1957 helped shape his development as an artist.

His work was profoundly influenced by the British artist Ben Nicholson and Russian constructivist Naum Gabo, both of whom settled in St Ives. Despite its remote location, St Ives became a vibrant hub for artists and intellectuals, playing a pivotal role in the evolution of British art.

Lanyon’s paintings drew on the life, industry, and rugged beauty of Cornwall, especially the region’s fishing and farming communities, with his early works rooted in strong, recognizable subject matter. Over time, his style became freer and more gestural, yet his connection to the landscape remained intact.

Inspired by the American abstract expressionists and the landscape he loved, Lanyon’s passion for gliding gave him new aerial perspectives of the coast, which enriched his later, more abstract works. Tragically, his pursuit of flight led to his untimely death in a gliding accident in 1964, cutting short the life of one of Britain’s most innovative and dynamic painters.

Lanyon first traveled to Italy in December 1943, where he served as a flight mechanic in the RAF. His deployment lasted two years, during which he learned Italian and explored the southern provinces, creating drawings, paintings, and constructions. He came to view Italy as his spiritual home, a bond that influenced some of his finest works. Lanyon’s first visit to Italy after the war was in 1950, when he returned with his wife.

In 1953, the year the present work was created, he spent four months in Italy on a scholarship from the Italian government. That same year, he was elected to the Newlyn Society of Artists (NSA). In 1954, he received the Critic’s Prize from the British section of the International Association of Art Critics.

Lot 46 §

PAUL FEILER (BRITISH, 1918-2013)

Untitled signed and dated ‘Feiler 64’ (lower centre-right) pastel and charcoal

25.5 x 35.5 cm. (10 x 14 in.)

£1,500 - 2,500

Provenance

The Estate of Michael Canney

Their sale; Sotheby’s, London, 8 October 2008, lot 150, where purchased by the present owner

Lot 47 §

PAUL FEILER (BRITISH, 1918-2013)

Italian Square with Statue signed and titled ‘PAUL FEILER/ITALIAN SQUARE WITH/STATUE’ (verso) oil on board

45.7 x 60.9 cm. (18 x 24 in.)

Painted circa 1952

£30,000 - 50,000

Provenance

With The Redfern Gallery, London, 1 October 1954, where purchased by Mrs Weston

With The Piccadilly Gallery, London, March 1959, where purchased by Mrs Jennings, from whom acquired by the present owner

Exhibited

London, The Redfern Gallery, Christopher Wood/Paul Feiler, 3 Sep-2 Oct, 1954, cat.no.5

“Feiler is an artist who lets us really stand in front of a painting and give ourselves over to it and let ourselves concentrate, remind ourselves what it is to think about colour, form and that particular moment, to think about the relationship of painting to our minds and our world” - Tom Marks

Paul Feiler, born in Frankfurt in 1918, moved to England in 1933 and began studying at the Slade School of Fine Art from 1936 to 1939. When World War II broke out, he was interned in Canada but returned to Britain in 1941 to launch his career as an artist. Over the next three decades, Feiler balanced his artistic pursuits with teaching, holding positions at the Combined Colleges of Eastbourne and Radley and later at the West England College of Art.

Feiler’s work consistently explored the architecture of space and the ambiguity of visual perception. In the early 1950s, he became known for gestural abstractions that echoed natural structures, developing paintings that harmonized space, tone, and light, leading to an elegant simplicity. By 1953, Feiler had made Cornwall his permanent home, and the unique quality of Cornish light and landscape profoundly shaped his style. Influenced by Abstract Expressionism during this period, his abstraction continued to draw from the external world, creating environments that invite viewers to experience space through rich, pictorial form.

Feiler’s journey to Italy in the spring of 1953, followed by a return trip in late 1954, became pivotal periods of exploration and artistic evolution. Accompanied by his wife, June, while their three children stayed with family in Bern, the couple travelled through Italy’s enchanting northern lakes and iconic cities like Florence, Siena, and Venice. These were working visits, where Feiler created around ten paintings on each trip, later translating similar Italian compositions upon his return to England.

BRYAN WYNTER (BRITISH, 1905-1975)

Untitled (Quay)

signed and dated ‘Wynter 54’ (lower right) gouache

38 x 55 cm. (15 x 22 1/2 in.)

£4,000 - 6,000

Provenance

The artist, where acquired by his first wife, Susan Lethbridge, from whom acquired by the present owner

Lot 48 §

Lot 49 §

ADRIAN HEATH (BRITISH, 1920–1992)

Maelog titled ‘MAELOG’ (verso) oil on canvas

183 x 172.7 cm. (72 x 68 in.)

Painted circa 1979

£6,000 - 8,000

Provenance

With Frederick Charles Art, London, where purchased by the present owner

Lot 50 §

ADRIAN HEATH (BRITISH, 1920-1992)

Untitled signed with initials ‘A.H.’ (lower right) gouache and watercolour 28 x 38 cm. (11 x 15 in.)

£400 - 600

Lot 51 §

ADRIAN HEATH (BRITISH, 1920-1992)

Untitled signed and dated ‘Heath 68’ (lower right) gouache and pencil

54.5 x 75 cm. (21.5 x 29.5 in.)

£400 - 800

52 §

Horus

signed with initials, numbered and dated ‘JEM/1969/8/9’ (on the underside)

polished bronze

46.5 cm. (18 1/4 in.) high

£2,000 - 3,000

Provenance

Sale; Sotheby’s, London, 11 February 2004, lot 277

With Wolseley Fine Arts, London, 30 June 2004, where purchased by the family of the present owners

Literature

Peter Davies, The Sculpture of John Milne, Belgrave Gallery London and St Ives, 2000, p.78

Lot

JOHN MILNE (BRITISH, 1931-1978)

Lot 53 §

DAME BARBARA HEPWORTH (BRITISH, 1903-1975)

Five early designs for bronzes

1. Figure (Oread) (1958) signed ‘Barbara Hepworth’ (lower left) and annotated extensively (recto) pencil and white chalk 23 x 10.3 cm. (9 1/4 x 8 in.)

2. Ascending Form (Gloria) (1958) signed, titled and inscribed ‘Suggestion for/Ascending form/by Barbara/Hepworth/To be discussed/by telephone’ (upper left); further inscribed extensively (recto) pencil and pen 30.5 x 21 cm. (12 x 8 1/2 in.)

3. Sphere with Inner Form (1963) and Bronze Form (Patmos) (1963) annotated extensively (recto) pencil 17 x 20 cm. (6 5/8 x 7 7/8 in.)

4. Curved Form with Inner Form (Anima) (1959), Reclining Form (Trewyn) (1959) and Coré (1955–6) signed ‘Barbra Hepworth’ (upper right); further signed with initials ‘BH’ (lower right); and inscribed extensively (recto and verso) pen

25 x 20 cm. (9 7/8 x 7 7/8 in.)

5. Two Forms in Echelon (1961) and Curved Form (Bryher II) (1961) inscribed extensively (recto) pen

20 x 12.5 cm. (7 7/8 x 4 7/8 in.) (all unframed) (5)

Please note this work is accompanied with 39 letters signed by Barbara Hepworth, 31 from her secretary, and 24 carbon copy letters from the Foundry to Barbara Hepworth. This work is additionally accompanied by 4 small photographs of her work labelled from her own archive. The collection is dated between 1960 and 1971.

£15,000 - 25,000

Provenance

The artist, from whom acquired by Art Bronze Foundry Limited, where acquired by the present owner

We are grateful to Dr. Sophie Bowness for her assistance cataloguing this lot

“I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one’s been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society” - Barbara Hepworth

Charles Gaskin (1890-1969) founded the Art Bronze Foundary in 1922, and worked closely with Hepworth as the first company to cast her bronzes. Some of the letters also involve Herbert Francis, who collaborated with Hepworth as a fellow director alongside Charles throughout the late 1950s and 1960s. After both men passed in 1969, their sons Michael Gaskin, Roy Francis, and Leonard Freiensener took over operations at the foundry. Leonard, a skilled metal craftsman, was responsible for finishing Hepworth’s bronzes, achieving the patinas she specified, and executing the precise stringing required for certain pieces.

Leonard Freiensener was a talented bronze caster who became closely associated with Hepworth during the 1950s. His skill in metal casting was instrumental in helping Hepworth realize some of her most important sculptures in bronze. He and his team at the Art Bronze Foundry worked with Hepworth to cast some of her key pieces, which expanded her sculptural vocabulary and allowed her to experiment with the material in new ways. Gaskin’s expertise was crucial in achieving the fine details and smooth surfaces that Hepworth sought in her bronze works.

Hepworth’s relationship with Gaskin was not just professional but also personal, as they worked closely together on several major projects. Their collaboration was built on mutual respect, with Gaskin deeply understanding Hepworth’s vision for her sculptures and her need for a high level of precision and craftsmanship. Hepworth trusted Gaskin to maintain the integrity of her designs throughout the casting process, which could sometimes involve multiple iterations to achieve the perfect result.

The Art Bronze Foundry, located in London, was a key collaborator in Hepworth’s later works, particularly in casting her sculptures in bronze. The foundry was known for its high-quality work, and Hepworth’s relationship with the foundry was a turning point in her ability to create large-scale sculptures in metal.

Before working with Gaskin and the Art Bronze Foundry, Hepworth had primarily worked with materials like wood, stone, and plaster. The decision to move into bronze casting marked an important shift in her practice. She was able to expand the scale of her work and explore the fluidity and versatility that bronze offered. The foundry played a pivotal role in transforming her small maquettes and models into finished sculptures, often with complex casting processes, including lost-wax casting, to preserve the details of Hepworth’s original designs.

The collaboration between Hepworth and the Art Bronze Foundry allowed her to achieve a greater sense of permanence and precision in her sculptures. The use of bronze also gave Hepworth the ability to create dynamic, abstract forms that could be viewed from multiple angles. Many of her iconic works, such as Figure for Landscape (1952) and Single Form (1961), were cast in bronze with the help of Gaskin and the foundry. The collaboration between Hepworth and Gaskin contributed to some of her most celebrated sculptures of the mid-20th century.

Lot 54 §

STANLEY WILLIAM HAYTER (BRITISH, 1901-1988)

Horse & Rider, Bandol signed, titled and dated ‘Hayter/Bandol/28.8.36’ (lower left) oil on panel

25.4 x 17.8 cm. (10 x 7 in.)

£2,000 - 3,000

Provenance

The artist, 1936, whom gifted to John and Mary Buckland Wright, thence by family descent

Lot 55 §

PETER KINLEY (BRITISH, 1926-1988)

Study for Houses of Parliament signed ‘Kinley’ (lower left) titled and dated ‘Study for Houses of Parliament 1959’ (to card attached verso) oil and pencil on card

25.5 x 20.3 cm. (10 x 8 in.)

£1,500 - 2,500

Provenance

Sale; Christie’s, London, 27 April 1989, lot 239

With Paul Rosenberg & Co, New York

With Austin/Desmond Fine Art, London

Exhibited

London, Austin/Desmond Fine Art, Peter Kinley: Abstracting the Real, London, 2015, cat.no.1

PETER KINLEY (BRITISH, 1926-1988)

Study for St Paul’s Cathedral No.2

signed ‘Kinley’ (lower left); titled and dated ‘Study for St Paul’s Cathedral 1958’ and inscribed ‘No.2’ (to labels attached verso)

oil on board

28 x 20.2 cm. (11 x 8 in)

£2,000 - 3,000

Provenance

Possible sale; Christie’s, London, 27 April 1989, lot 233

With Paul Rosenberg & Co, New York

With Austin/Desmond Fine Art, London, 15 July 2015, where purchased by the family of the present owners

Exhibited

London, Austin/Desmond Fine Art, Peter Kinley: Abstracting the Real, London, 2015

Lot 56 §

Lot 57 §

RICHARD EURICH, O.B.E., R.A. (BRITISH, 1903-1992)

Rain Landscape

signed and dated ‘R.Eurich’80’ (lower left) oil on board

25.5 x 52 cm. (10 x 20.5 in.)

£1,500 - 2,500

Provenance

With The Fine Art Society, 24 July 2003, where purchased by family of present owner

Exhibited

London, The Fine Art Society, Richard Eurich: A Visionary Artist, July 2003, cat.no.52

JOHN HOYLAND, R.A. (BRITISH, 1934-2011)

49 Springs 10.3.84

acrylic on canvas

254 x 243.8 cm. (100 x 96 in.) (unframed)

£7,000 - 10,000

Provenance

With Waddington Galleries Ltd, London

Literature

Mel Gooding, John Hoyland, London, Thames & Hudson, 2006, p.129-130

We are grateful to Wiz Patterson Kelly at Hoyland Studios LPP for her assistance in cataloguing this lot.

Hoyland Studios is preparing a forthcoming catalogue raisonné of the Artist’s paintings and would like to hear from owners of any works by John Hoyland. Please write to Hoyland Studios, c/o Modern British and Irish Art, Chiswick Auctions, Barley Mow Centre, Chiswick London, W4 4PH or email: modernbritishart@chiswickauctions.co.uk

Lot 58 §

The Ark 16.2.85 signed, titled and dated ‘John Hoyland/16.2.85/The Ark’ (verso) acrylic on canvas

243.8 x 243.8 cm (96 x 96 in.) (unframed)

£8,000 - 12,000

Lot 59 §

JOHN HOYLAND, R.A. (BRITISH, 1934-2011)

Provenance

The artist

With Royal Academy of Arts, London

Exhibited

London, Royal Academy of Arts, John Hoyland, 30 Sep-31 Oct 1999, cat.no.15

London, Waddington Galleries, John Hoyland, 20 Jun-14 Jul 1990

London, Hayward Gallery, The Presence of Painting Aspect of British Abstraction 1957-1988, 26 Nov 1988-15 Jan 1989, cat.no.40; this exhibition toured to Sheffield, Mappin Art Gallery, 26 Nov 1988-15 Jan 1989, Newcastle upon Tyne, Hatton Gallery, 28 Jan-12 Mar 1989 and Birmingham, IKON Gallery, 15 Apr-20 May 1989

Literature

Michael Trooby, The Presence of Painting: Aspect of British Abstraction 1957-1988, Exhibition Catalogue, The Southbank Centre, London, 1988, pp.15, 59 (ill.)

Mel Gooding, John Hoyland, Hatfield, John Taylor/Lund Humphries, London, 1990, pp.20,121 (ill.)

Paul Moorhouse, John Hoyland, Exhibition Catalogue, London, 1999, pp.19,53,70 (ill)

Mel Gooding, John Hoyland, London, Thames & Hudson, 2006, p.130, 134 (ill.)

We are grateful to Wiz Patterson Kelly at Hoyland Studios LPP for her assistance in cataloguing the present lot.

Hoyland Studios is preparing a forthcoming catalogue raisonné of the Artist’s paintings and would like to hear from owners of any works by John Hoyland. Please write to Hoyland Studios, c/o Modern British and Irish Art, Chiswick Auctions, Barley Mow Centre, Chiswick London, W4 4PH or email: modernbritishart@chiswickauctions.co.uk

“Paintings are there to be experienced, they are events” - John Hoyland

Both The Ark 16.2.85 and 49 Springs 10.3.84 showcase Hoyland’s investigation into style, color, and form within his artistic practice.The 1980s for Hoyland represented a critical period of evolution in his artistic career, his use of colour, geometric abstraction and the motif of the circle all became brighter bolder and more widely used. The 80s for Hoyland welcomed a further engagement with themes of abstract expressionism. The circle, in both works became a way in which Hoyland was able to explore wholeness, continuity and unity within his canvases. Continuity and change are expressed on the surfaces of the canvas, as there is a sense of harmony with his circles but disruption in shapes and colours.

Hoyland’s The Ark 16.2.85 is a significant example of his abstract expressionist work. In The Ark 16.2.85, you can see Hoyland’s characteristic use of intense colour fields, with large expanses of saturated hues that shift in tone and intensity. This work, like many others from this period, might also feature the application of thick paint, sometimes applied with palette knives or brushes to create a sense of physicality and texture. The title “The Ark” could refer to the painting’s symbolic or abstract suggestion of protection, journey, or transcendence, but Hoyland’s work generally resisted specific narrative interpretation, focusing instead on the emotive and visual impact of colour and form.

Hoyland was influenced by artists such as Mark Rothko and Barnett Newman, and he was also involved with the development of the British abstract scene in the 1950s and 1960s. His work, especially in the 1980s, is known for its commitment to bold, unmediated colour and the emotional power it conveys.

Featured in the seminal exhibition “The Presence of Painting: Aspects of British Abstraction 1957-1988”, the show which toured, aimed to highlight the evolution and key developments in British abstraction during a transformative period in the art world. This exhibition (which took place in 1988) sought to examine the diverse ways in which British abstract artists responded to and engaged with the medium of painting between the late 1950s and the late 1980s. It underscored the varied responses of British artists to international developments in abstract art, as well as their exploration of form, colour, and space in new and innovative ways. Alongside Hoyland, works by Patrick Heron, Bridget Riley, Roger Hilton, Frederick Gore and Howard Hodgkin were included. The exhibition provided a glimpse into a pivotal moment in British art history, where abstraction transcended visual formalism to explore the emotional and sensory impact of the painted surface, as well as the immersive experience of engaging with such works. John Hoyland, in particular, made a substantial contribution to this evolving narrative.

Lot 60 §

WILLIAM BOWYER (BRITISH, 1926-2015)

Chiswick Eyot signed ‘William Bowyer’ (lower right) oil on canvas

90 x 121 cm. (36 x 47 1/2 in.)

£700 - 1,000

61 §

SUSAN RYDER (BRITISH, b.1944)

Terrace with Cane Chairs signed ‘Ryder’ (lower left); titled ‘TERRACE WITH/CANE CHAIRS-’ (to a label attached to stretcher) oil on canvas

67.5 x 106.6 cm. (30.5 x 42 in.)

£1,000 - 1,500

Lot

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

Jeff Horwood and the Painter at Southwold signed ‘Carel Weight’ (lower right) oil on canvas

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

£500 - 800

Provenance

The artist, by whom gifted to the family of the present owner, thence by descent

Exhibited London, Royal Academy of Arts, Summer Exhibition, 1 Jun-25 Aug 1985, no.90

Lot 62 §

Lot 63 §

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

Notting Hill Gate on a Spring Morning

signed and titled ‘Notting Hill Gate on a Spring Morning/Carel Weight’ (to a label attached verso) oil on board

28 x 35.5 cm. (11 1/2 x 14 in.)

£700 - 1,000

Provenance

Property of The Bodleian Library Oxford

Their sale; Sotheby’s, London, Modern British & Irish Paintings - Drawings and Sculpture - Including Property to be Sold on Behalf of The Bodleian Library, Oxford, 1 October 1997, lot 170

With Kate Howel, Fine Art, 24 April 2001, where purchased by the family of the present owners

Lot 64 §

PETER KINLEY (BRITISH, 1926-1988)

Untitled (Turtle) oil on paper

58 x 76 cm. (22 3/4 x 29 7/8 in.)

Executed circa 1989

£1,000 - 1,500

Provenance With Austin/Desmond Fine Art, London

Literature

Catherine Kinley, Marco Livingstone, Peter Kinley, Lund Humphries, London, 2010, p.107 (pl.137)

65 §

CECIL COLLINS (BRITISH, 1908-1989)

Icarus

signed and dated ‘Cecil Collins 1933’ (lower right)

watercolour & ink

20.3 x 12.7 cm. (8 x 5 in.)

£500 - 800

Provenance

With England & Co, London, 25 September 2015, where acquired by the family of the present owners

Lot

Lot 66 §

JOHN BANTING (BRITISH, 1902-1972)

Birds signed ‘J Banting’ (verso) oil on board

24 x 35 cm. (9 1/2 x 13 3/4 in.)

£700 - 1,000

MICHAEL AYRTON (BRITISH, 1921-1975)

Phaistos

signed and titled ‘Phaistos Michael Ayrton’ (lower right)

pen & ink

33 x 46.5 cm. (13 x 18 1/4 in.)

£800 - 1,200

Provenance

Sale; Bonhams, London, 12 March 2002, lot 88, where purchased by the family of the present owners

Lot 67 §

Lot 68 §

AUGUSTUS LUNN (BRITISH, 1905-1986)

Three Heads signed ‘Augustus Lunn’ (lower left); further signed and titled ‘Augustus Lunn Three Heads Tempera’ (to a label attached verso)

egg tempera on board

31.8 x 24.2 cm. (12 1/2 x 9 1.2 in.)

£2,000 - 3,000

Provenance

With Michael Parkin Fine Art, London, 1985, where purchased by Adrian Woodhouse

Their sale; Christie’s, London, 23 March 2008, lot 186

With Duncan Campbell Fine Art, London, 15 April 2000, where purchased by the family of the present owners

69 §

MICHAEL AYRTON (BRITISH, 1921-1975)

Icarus, Head signed, titled and dated ‘michael ayrton 60/Icarus Head’ (lower right)

pen & ink

41 x 28 cm. (16 1/8 x 11 in.)

£600 - 800

Provenance

With Compton Cassey Gallery, Cheltenham, 17 June 2000, where purchased by the family of the present owners

Lot

Lot 70 §

JOHN BRATBY, R.A. (BRITISH, 19280-1992)

Self Portrait with George and Patti twice signed ‘BRATBY’ (lower left) oil on canvas

51 x 77 cm. (20 x 30 1/4 in.)

£2,000 - 3,000

92.5 x 62.5 cm. (36 1/2 x 22 1/4 in.)

£1,500 - 2,500

Lot 71 §

JOHN BRATBY, R.A. (BRITISH, 19280-1992)

Self Portrait with Parrot oil on canvas

Lot 72 §

PETER BROOK (BRITISH, 1927-2009)

Olde Tree with a Nest signed, titled and dated ‘OLDE TREE WITH A NEST 2001 PETER BROOK’ (lower edge) oil on board

25 x 37 cm. (9 3/4 x 14 1/2 in.)

£1,000 - 1,500

Provenance

With New Grafton Gallery, London, July 2001, where purchased by the family of the present owner

Exhibited

London, New Grafton Gallery, July 2001

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

Still life with oranges and grapes signed and dated ‘Fedden ‘08’ (lower left) oil on board

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

£4,000 - 6,000

Provenance

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

Lot 73 §

Lot 74 §

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

Still life with grapes and apples signed and dated ‘Fedden/03’ (lower left) oil on canvas laid onto board 20.3 x 28 cm. (8 x 11 in.)

£5,000 - 7,000

Provenance

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

Dark Figure at 12 Sennen Beach

titled and dated ‘DARK FIGURE AT 12 SENNEN BEACH 02’ (lower edge beneath the frame)

acrylic on card

25.4 x 25.4 cm. (10 x 10 in.)

£2,000 - 3,000

Lot 75 §

BARBARA RAE, C.B.E., R.A., R.S.A. (BRITISH, b.1943)

SCOTTIE WILSON (BRITISH, 1891-1972)

Untitled signed ‘Scottie’ (to the lower right of the face) watercolour, crayon and pen & ink on card 36.3 x 31.5 cm. (14 1/4 x 12 3/8 in.)

£700 - 1,000

Lot 76 §

Untitled signed ‘Scottie’ (lower-centre right) crayon, pen & ink 46 x 28 cm. (18 x 11 in.)

£800 - 1,200

Lot 77 §

SCOTTIE WILSON (BRITISH, 1888-1972)

Lot 78 §

SCOTTIE WILSON (BRITISH, 1888-1972)

Untitled signed ‘Scottie’ (lower-centre right) watercolour, pen & ink

48 x 37 cm. (18 7/8 x 14 1/2 in.)

£600 - 800

Lot 79 §

BLAIR HUGHES-STANTON (BRITISH, 1902-1981)

Spring Frolic

signed and dated ‘Blair HS 34’ (lower right)

watercolour

44.5 x 53.3 cm. (17 1/2 x 21 in.)

£400 - 600

Provenance

With Blond Fine Art, London, 2 May 1984, where purchased by the family of the present owner

Lot 80 §

ALASTAIR MORTON (BRITISH, 1910-1963)

Eclipse signed with initials and dated ‘AM/46’ (on the backboard) oil on board

30 x 25.5 cm. (12 x 10 in.)

£700 - 1,000

Provenance

The artist, thence by descent to Alison Morton, from whom acquired by the present owner

81 §

ALASTAIR MORTON (BRITISH, 1910-1963)

Spherical form signed ‘Alastair Morton’ (to the mount lower right)

pen & ink

25.4 x 35.5 cm. (10 x 14 in.)

£300 - 500

Lot

SIR GRAYSON PERRY (BRITISH, b.1960)

Perversion/Apathy/Arrogance/Selfishness/Ego/Hypocrisy

signed with the artist’s initials, titled, and with the artist’s Potter’s Mark glazed earthenware

33.5 x 17.5 x 17.5 cm. (13 3/16 x 6 7/8 x 6 7/8 in.)

Executed in 1987 (unique)

£400 - 600

Provenance

Acquired directly from the artist by the present owner

Exhibited

Bath, The Holburne Museum, Grayson Perry, The Pre-Therapy Years, 24 Jan-25 May 2001, pp.108-109 (ill.col.); this exhibition toured to York, York City Art Gallery, 19 Jun-20 Sep and Norwich, Sainsbury Centre 18 Oct-31 Jan 2021

“It’s absolutely vital what you call yourself. I’ve always called myself an artist, who happens to make ceramics.” - Grayson Perry

Grayson Perry’s recognition in both 2003 with the Turner Prize and in 2023, twenty years later, with a Knighthood underscores his significant impact on the British art world. His multifaceted career spans ceramics, tapestry, and other forms of visual art, with his works often exploring themes of identity, gender, class, and social issues. Perry’s distinctive style combines craftsmanship with deep personal and societal commentary, and his work frequently challenges established norms.

Grayson Perry’s early ceramics such as the two present examples demonstrate the role of his early ceramics in shaping both his distinctive style and artistic identity.

Early on, Perry employed traditional ceramics techniques, including hand-building and slip casting. He decorated his works with intricate surface designs which drew on inspirations from historical ceramics, folk art, and the decorative traditions of cultures from around the world. His pots often featured detailed, narrative-rich imagery, often combined with text, that told stories about his life, experiences, and thoughts on society.

The medium of his pots, in both examples are also vehicles in which Perry is able to questions many complex ideas. In Perversion/Apathy/Arrogance/Selfishness/Ego/Hypocrisy, Perry outlines themes which have become to characterise many subsequent works by the artist. His own alter Ego, Claire, has enabled Perry to explore with themes of selfishness and ego. The idea of ego—both inflated and fragile—is at the core of much of Perry’s work. This is too reflected in the medium of the pot, likewise with its fragile quality. Themes like perversion, apathy, arrogance, selfishness, ego, and hypocrisy are explored through both personal narratives and broader societal critique, and this is of course the given title for the work. These works reflect a deeper, more reflective message despite the medium of the decorative crafty ceramic. Fragility is at the forefront of Perry’s messaging and this is extended to the medium in which he uses. The work, a precursor to many future examples, challenges us to confront our own flaws—both as individuals and as a society.

Similarly, Return Me to Essex from Where I Come, is an early, pivotal work that marks an important moment in the development of his artistic identity. This ceramic is an another example of Perry’s autobiographical exploration and the work documents both his place of birth while also confronting issues of identity, gender and class. Essex is the place of his childhood and a symbol of the working-class background that Perry both identifies with and feels distanced from. Essex, in British cultural imagination, is often associated with a specific workingclass identity, and Perry was keenly aware of the class-based expectations and limitations that were placed on him. Both pots in their decoration demonstrate a dense mix of personal imagery, social commentary, and narrative elements, all reflecting Perry’s internal landscape at the time. Like many of his early works, the piece serves as a form of self-portraiture, where the works themselves become vessels which portray the artist’s emotions, identity, and experiences.

Lot 83 §

ANTHEA ALLEY (BRITISH, 1927-1993)

Untitled (Screen)

sheet steel and steel rods

26/8 x 15.2 x 15.2 cm. (10.5 x 6 x 6 in.)

£300 - 500

Provenance

With England & Co, London, where purchased by the present owner

84 §

SIR GRAYSON PERRY (BRITISH, b.1960)

Return me to Essex from Where I Come titled and with the artist’s Potter’s Mark (on the underside) ceramic

26.5 x 30 x 20.5 cm. (10 7/16 by 11 13/16 by 8 1/16 in.)

Executed in 1985 (unique)

£8,000 - 12,000

Provenance

Acquired directly from the artist by the present owner

Exhibited

London, Birch & Conran, Grayson Perry Ceramics, 1987, no.6

Bath, The Holburne Museum, Grayson Perry, The Pre-Therapy Years, 24 Jan-25 May 2001, pp.108-109 (ill.col.); this exhibition toured to York, York City Art Gallery, 19 Jun-20 Sep and Norwich, Sainsbury Centre, 18 Oct-31 Jan 2021

Lot

Lot 85 §

GARY BUNT (BRITISH, b.1957)

The New Checkout Girl signed ‘Gary Bunt’ (lower left); further signed, inscribed and dated ‘2008 THE NEW CHECKOUT GIRL/ CHECKOUT 1 IS VERY BUSY/LOOK AT THE SIZE OF THE QUEUE/THE MEN ARE NOT KEEN ON/ SHOPPING/BUT THEY ARE VERY KEEN/ON THE VIEW/GARY BUNT’ (verso) oil on canvas

30.5 x 41 cm. (12 x 16 in.)

£3,000 - 5,000

Provenance

With Portland Gallery, where purchased by the present owner

Exhibited London, Portland Gallery, February 2009, cat.no.51

86 §

GARY BUNT (BRITISH, b.1957)

Nuts

signed ‘Gary Bunt’ (lower left); further signed, inscribed and dated ‘2015 NUTS/MY MASTER MUST THINK/ I’M SOME KIND OF A FOOL/TRYING TO TEMPT ME/ WITH THAT BONE/I’LL DIG IN PAWS/I’LL FIGHT FOR THE CAUSE/SO THAT THEY LEAVE MY NUTS/ALONE/GARY BUNT’ (verso) oil on canvas

33 x 41 cm. (13 x 16 in.)

£4,000 - 6,000

Provenance

With Clark Art Ltd, Altrincham, where purchased by the present owner

Lot

Lot 87 §

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.)

£1,500 - 2,500

Provenance

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

Interlude signed with initials ‘IF’ (lower left) oil on canvas

114.4 x 114.4 cm. (45 x 45 in.)

Painted circa 2011

£2,000 - 3,000

Lot 88 §

IAIN FAULKNER (BRITISH, b.1974)

Lot 89 §

ANNE MAGILL (BRITISH, b.1962)

Midnight signed and titled ‘Anne Magill/Midnight’ (back of frame)

charcoal

82.5 x 109.2 cm. (32 1/2 x 43 in.)

£8,000 - 12,000

Provenance

With The Medici Galleries, London

Anne Magill was born in County Down, Northern Ireland, in 1962. She studied in Liverpool before moving to London to complete her degree at St Martin’s School of Art. After graduating in 1984, she worked as an illustrator, quickly gaining recognition for her evocative charcoal and pastel drawings, winning the B&H Gold Illustration Awards four times.

While building her career as a commercial artist, Magill began experimenting with more personal charcoal drawings inspired by memories of her time with the army in Belfast, at Greenham Common, and in Paris during her studies. The rapid, reportage-style sketches she created during this period laid the foundation for a more mature approach, in which her atmospheric paintings were built from anonymous, intimate scenes that seemed like memories captured in time. Magill’s work has earned international acclaim, with her pieces held in collections by British Airways, Nike, Levi Strauss, Heineken, Canary Wharf, the Forte Group, SAP, as well as major private collections worldwide.

Lot 90 §

BALL (BRITISH, b.1965)

Unknown signed, titled and dated ‘Unknown/Sarah Ball 2012’ (verso) oil on panel 18 x 13 cm. (7 x 5 1/8 in.)

£5,000 - 8,000

Provenance With Anima Mundi, St Ives, 2012, where purchased by the present owner

SARAH

Lot 91 §

JOHN KNAPP-FISHER (BRITISH, 1931-2015)

House from Trearched signed and dated ‘John Knapp Fisher 1999’ (lower edge); further signed, titled and dated again ‘HOUSES FROM TREARCHED/John Knapp Fisher/1999’ (to a label attached to frame) watercolour and ink

10 x 14 cm. (4 x 5 1/2 in.)

£400 - 600

Provenance

Gifted directly from the artist to the present owner

Lot 92 §

LAWRENCE JAMES ISHERWOOD (BRITISH, 1917-1989)

Rain Beach People signed ‘Isherwood’ (lower right) titled and dated ‘RAIN/BEACH/PEOPLE/’66’ (verso) oil on board

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

£400 - 600

Lot 93 §

LAWRENCE JAMES ISHERWOOD (BRITISH, 1917-1989)

Yachts Torquay

signed ‘Isherwood’ (lower left) and titled ‘Yachts/Torquay’ (verso) oil on board

40.5 x 50.5 cm. (16 x 19 7/8 in.)

£400 - 600

Lot 94 §

Untitled gouache

28.5 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

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

Lot 95 §

Foot bronze with a green patina

7.6 x 13 cm. (3 x 5 1/8 in.)

£1,000 - 1,500

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 96 §

SIR PETER BLAKE (BRITISH, b.1932)

Raging bull collage

18 x 13.5 cm. (7 x 5 1/4 in.)

£6,000 - 8,000

Provenance

The artist, from whom acquired directly by Evangeline & Phillip Harrison

Their sale, Bonhams, London, 11 November 2021, lot 9, where purchased by the present owner

This striking early collage by Peter Blake was a personal gift to Evangeline and Peter Harrison, close friends of the artist who played a pivotal role in introducing him to The Beatles. A unique piece with deep connections to both Blake’s creative evolution and his friendship with the Harrison family, it encapsulates a moment of artistic and cultural convergence.

Lot 97 §

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

Bust plaster

13 cm. (5 1/8 in.) high

£400-600

Provenance

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

Lot 98 §

Two Plaster Feet

Large foot plaster

7.7 x 14 cm. (3 x 5 1/2 in.)

Together with; Small Foot plaster

7.7 x 12 cm. (3 x 4 3/4 in.) (2)

£400-600

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 99 §

Head plaster

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

£300 - 500

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 100 §

JOSEF HERMAN (BRITISH, 1911-2000)

Notting Hill Carnival gouache

25.5 x 19 cm. (10 x 7 1/2 in.)

Executed circa 1970

£300 - 500

Provenance

The artist’s studio

With Benjamin C Hargreaves, London, 1 March 2002, where purchased by the family of the present owner

We are grateful to Roger Thornton for his assistance in cataloguing the present lot.

101 §

JOSEF HERMAN (BRITISH, 1911-2000)

Dianne pencil and watercolour

20.4 x 12.2 cm. (8 x 5 in.)

Together with two further nude works on paper of Dianne Executed circa 1986-88 (3)

£400 - 600

Provenance

With Goldmark Gallery, circa 2004-6, where purchased by the present owner

We are grateful to Roger Thornton for his assistance in cataloguing the present lot.

Lot

Lot 102 §

JOSEF HERMAN (BRITISH, 1911-2000)

Notting Hill Carnival III gouache, watercolour and pen

25 x 20.5 cm. (9 3/4 x 8 1/4 in.)

Executed circa 1970

£400 - 600

Provenance

With Boundary Gallery, London, 18 May 2000, where purchased by the family of the present owners

We are grateful to Roger Thornton for his assistance in cataloguing the present lot.

Lot 103 §

JOSEF HERMAN (BRITISH, 1911-2000)

Potato Pickers

ink & wash

20 x 24 cm. (7 7/8 x 9 1/2 in.)

Executed circa 1950s

£400 - 600

Provenance

With Mainhill Gallery, Roxburghshire,18 February 2000, where purchased by the family of the present owner

We are grateful to Roger Thornton for his assistance in cataloguing the present lot.

Lot 104 §

JOSEF HERMAN (BRITISH, 1911-2000)

Miner and Woman signed ‘herman’ (lower left) watercolour

16 x 22 cm. (6 1/4 x 8 3/8 in.)

Executed circa 1960

£300 - 500

Provenance

John Christopherson (1921-1996)

With England & Co, London, where purchased by the family of the present owner

We are grateful to Roger Thornton for his assistance in cataloguing this lot.

105 §

WISHART (BRITISH, 1928-1996)

Shower signed with initials and dated ‘MW/55’ (lower right) oil on canvas

50 x 99 cm. (19 5/8 x 39 in.)

£500 - 800

Provenance

With The Redfern Gallery, London, where purchased by Kenneth Partridge

D.Granger, thence by family descent

Exhibited London, Arts Council of Great Britain, Six Young Painters, cat.no.32

Lot

MICHAEL

Lot 106 §

CLIFFORD HALL (BRITISH, 1904-1973)

Môret

signed, titled and dated ‘Clifford Hall/Môret, 1929’ (lower left) oil on canvas

47 x 55.5 cm. (18 1/2 x 21 3/4 in.)

£300 - 500

107 §

VICTORIA CROWE (BRITISH, b.1945)

Garden Flowers signed ‘Victoria Crowe’ (lower right) watercolour

40 x 50 cm. (15 3/4 x 19 3/4 in.)

£400 - 600

Provenance

The artist, from who acquired by John Lindsay Fine Art Ltd, where purchased by the family of the present owner

Exhibited Cotswolds, Fosse Gallery, Scottish Paintings, 6-18 Feb 1989, cat.no.9

Lot

Lot 108 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Wave signed and dated ‘Brian/Wilshire/1998’ (base)

wood

44 cm. (17 1/4 in.) high

£500 - 800

Provenance

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

GARNET RUSKIN WOLSELEY (BRITISH, 1884–1967)

Portrait of Master Brian Grosvenor Harris signed and dated ‘GR WOLSELEY/1926’ (lower left) oil on canvas

100 x 77 cm. (39 3/8 x 30 1/3 in.)

£300 - 500

Lot 109 §

Lot 110 §

ELISE MARION HENDERSON (BRITISH, 1880-1967)

Jaguar Drinking inscribed ‘Jaguar’ (lower right) watercolour, pastel, crayon and ink

24.5 x 32.5 cm. (9 5/8 x 12 1/2 in.)

£300 - 500

Provenance

The estate of the artist

Exhibited

London, Sally Hunter Fine Art, Elise Henderson, May 1999, cat.no.3

Lot 111 §

ALLAN GWYNNE-JONES (BRITISH, 1892-1982)

June Thornton signed with initials ‘AGJ’ (lower left) oil on canvas laid onto board 38.1 x 28 cm. (15 x 11 in.)

£400 - 600

Provenance

Geoffrey Horwood, thence by family descent

Exhibited

Wales, National Museum of Wales, Allan Gwynne-Jones Exhibition, 1982-83, cat.no.48

Lot 112 § KEITH VAUGHAN (BRITISH, 1912-1977)

Woodland figure and head study stamped with estate stamp ‘K.V.’ (lower right) pencil

15.9 x 10.7 cm. (6 1/2 x 4 1/4 in.)

Executed in 1949

£600 - 800

Provenance

The estate of the artist, where acquired by Prunella Clough, from whom acquired by Professor John Ball, from whom acquired by Private Collection, U.K., circa 2009

With Abbot and Holder, London, where purchased by David Collins (1955-2013), thence by family descent

Exhibited

London, Abbott and Holder, The ‘Grafitti’ Drawings, 2-25 Jul 2009

This work evidently came directly from Vaughan’s sketchbook. The drawings are, rather than studies of specific paintings, are examples of Vaughan’s process and document how he used sketchboosk to draw out rough initial ideas towards what later became established paintings.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing the present lot.

Awkward Artefacts: The ‘Erotic Fantasies’ of Keith Vaughan and Paradise Found & Lost: Keith Vaughan in Essex have both been republished by Pagham Press.

Lot 113 § KEITH VAUGHAN (BRITISH, 1912-1977)

Gardenmotif II

monogramed with initials ‘K.V.’ (lower right of each image) and inscribed ‘Gardenmotif/revised 12.IV.49’ (lower right) pencil

29 x 23 cm. (11 1/2 x 9 in.)

£700 - 1,000

Provenance

The estate of the artist, where acquired directly by Dr Patrick Woodcock, from whom acquired by Private Collection, U.K.

With Osborne Samuel, London, where purchased by David Collins (1955-2013), thence by family descent

Exhibited

London, Osborne Samuel, Keith Vaughan, Paintings and Drawings, 24 May-23 June 2007, cat.no.55, p.75 (ill.55)

London, Gallery 27, Vaughan Drawing Retrospective, Sep 2010, cat.no.12

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing the present lot.

Awkward Artefacts: The ‘Erotic Fantasies’ of Keith Vaughan and Paradise Found & Lost: Keith Vaughan in Essex have both been republished by Pagham Press.

Lot 114 §

EDWARD SEAGO, R.W.S., R.B.A. (BRITISH, 1910-1974)

Study of a Clown signed and dated ‘Edward Seago/January.1937’ (lower centre)

pen & ink

21 x 13 cm. (8 1/2 x 5 1/8 in.)

£300 - 500

Provenance

Sale; Dominic Winter, Gloucestershire, 26 July 2007

With M.Newman Fine Art Dealers, London

Sale; Christie’s, London, 16 March 2011, lot 60, where purchased by the family of the present owner

Lot 115 §

PAUL FEILER (BRITISH, 1918-2013)

Newlyn signed and dated ‘Feiler 63’ (lower right) ink and charcoal

35 x 22 cm. (13 3/4 x 56 cm.)

£300 - 500

Provenance

Private Collection, U.K., from whom acquired by the present owners

Exhibition London, The Redfern Gallery, Paul Feiler - Works on Paper, 30 Jan-23 Feb 2019, p.48 (col.ill)

This work is accompanied by the exhibition catalogue for The Redfern Gallery

Lot 116 §

BRYAN INGHAM (BRITISH, 1936-1997)

Agia Galini

signed with initials and titled ‘AGIA GALINI BI’ (lower right)

pencil

22 x 30 cm. (8 5/8 x 12 in.)

Executed in 1983

£300 - 500

Provenance

The estate of the artist

With Jonathan Clark Fine Art, London, 28 June 2010, where purchased by the family of the present owners

Lot 117 §

ROB PIERCY (BRITISH, b.1946)

Bench at Borth-y-Gest

signed ‘Rob Piercy’ (lower left) watercolour

36 x 53 cm. (14 1/4 x 20 7/8 in.)

£300 - 500

Provenance

With Rob Piercy Gallery, Porthmadog, circa 1990-5, where purchased by the family of the present owner

Lot 118 §

GRAHAM SUTHERLAND, O.M. (BRITISH, 1903-1980)

Branch Study

pencil

22.8 x 17.7 cm. (9 x 7 in.)

Executed circa 1970

£300 - 500

Provenance

With Goldmark Gallery, Rutland, 23 April 2006, where purchased by the family of the present owners

Lot 119

ERIC GILL (BRITISH, 1882-1940)

The Holy Face of the Turin Shroud signed with initials and dated ‘EG 3.2.25’ (lower right); titled ‘The Holy Face of the Turin Shroud’ (lower left) pencil

22.9 x 17.7 cm. (9 x 7 in.)

£300 - 500

Provenance

Property of The Bodleian Library Oxford

Their sale: Sotheby’s, London, Modern British & Irish Paintings - Drawings and Sculpture - Including Property to be sold on behalf of The Bodleian Library, Oxford, 1 October 1997, lot 86

With James Hyman Fine Art, 8 January 2004, where purchased by the family of the present owners

Exhibited

London, Royal College of Art, 20/21 British Art Fair, 17-21 Sep 2003

Lot 120 §

JULIAN BELL (BRITISH, b.1952)

Sussex landscape signed ‘JULIAN BELL’ (lower right) oil on canvas

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

£400 - 600

Provenance

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

Lot 121 §

SARGY MANN (BRITISH, 19237-2015)

Dorset Landscape II signed ‘Sargy’ (lower left) pastel

20 x 24 cm. (7 7/8 x 9 3/4 in.)

Executed on 3 January 1970

£300 - 500

Provenance

With Cadogan Contemporary, London

Lot 122 §

MARY NEWCOMBE (BRITISH, 1922-2008)

Wavywater Duck

signed with initials twice ‘MN’ (lower right); further signed and inscribed ‘Wavywater/The duck’s foot showing/in the second washline/Mary Newcombe’ (verso) watercolour

19.5 x 23.5 cm. (6 x 9 1/2 in.)

£300 - 500

Provenance

Private Collection, Toronto

Their sale; Waddington’s, Canada, 11 July 2024, lot 87, where purchased by the present owner

Lot 123 §

DOROTHY MEAD (BRITISH, 1928-1975)

Pink Landscape

dated ‘69’ (lower right); signed, titled and dated ‘DOROTHY MEAD/Pink Landscape/1969’ (to a label attached verso) oil on canvas

70.5 x 91 cm. (29 1/2 x 35 5/8 in.)

£500 - 800

Provenance

With Waterhouse & Dodd, London, 1 December 2014, where purchased by the family of the present owners

Lot 124 §

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled signed with initials and dated ‘19.11.48-3/G.W.P’ (verso) oil on canvasboard

40.5 x 50.5 cm. (18 x 19 7/8 in.)

£1,200 - 1,800

Provenance

Private Collection, U.K.

Their sale; Chiswick Auctions, London, 23 March 2023, lot 89, where purchased by the present owner

Lot 125 §

GRACE PAILTHORPE (BRITISH, 1883-1971)

Untitled signed and dated ‘G.Pailthorpe./28.1.69’ (lower right)

watercolour

28 x 38 cm. (11 x 15 in.)

£800 - 1,200

Lot 126 §

DESMOND MORRIS (BRITISH, b.1928)

Surrealist landscape signed with initials and dated ‘DM 22’ (lower left) further signed twice and dated again ‘12 January 2022 DM/Desmond Morris’ (verso) gouache, pen & ink 30 x 42. 5 cm. (12 x 16 3/4 in.)

£300 - 500

Lot 127 §

CONROY MADDOX (BRITISH, 1912-2005)

Case History

signed and dated ‘Conroy Maddox, 1970’ (lower left); further signed, inscribed and dated ‘CASE HISTORY/Collage/ Painting 1970/Conroy Maddox’ (verso)

watercolour, collage, pen & ink on card

49.5 x 33.7 cm. (19 1/2 x 13 1/2 in.) (unframed)

£1,500 - 2,500

Provenance

With Galleria Annunciata, Milan

Private Collection, Milan

Their sale; Bonhams, London, 13 April 2022, lot 146, where purchased by the present owner

We are grateful to Dr. Silvano Levy for his assistance in cataloguing the present lot.

Lot 128 §

MAURICE COCKRILL, R.A. (BRITISH, 1936-2013)

Convergence signed and dated ‘Maurice Cockrill 2001’ (verso) oil on canvas

80 x 100 cm. (31 1/2 x 39 3/8 in.) (unframed)

£500 - 800

Provenance

With Archeus Fine Art, London, 13 September 2001, where acquired by the family of the present owners

129 §

PATRICK PROCTOR (BRITISH, 1936-2003)

Polo reflections signed ‘Patrick Proctor’ (lower left) watercolour

44 x 34 cm. (17 1/4 x 13 1/4 in.)

£800 - 1,200

Lot

Lot 130 §

ROBYN DENNY (BRITISH, 1930-2014)

Untitled (Collage)

signed and dated ‘Deny 57’ (lower right)

collage and mixed media

35.5 x 30.5 cm. (14 x 12 in.)

£2,000 - 3,000

Provenance

The artist, whom gifted to the present owner

131 §

JOHN COPNALL (BRITISH, 1928-2007)

Untitled abstract signed and dated ‘John Copnall 61’ (lower left) gouache & mixed media 43 x 28 cm. (17 x 11 in.)

£300 - 500

Provenance

Acquired directly from the artist, 7 April 2005, by the family of the present owners

Exhibited London, Modern British Artist, John Copnall - Landscape Forms, 2-24 Apr 2005

Lot

Lot 132 §

JOHN COPNALL (BRITISH, 1928-2007)

Juan de Retamá

signed, titled and dated ‘John Copnall Juan de retamá 1965’ (verso) oil and mixed media on panel 60 x 54 cm. (23 1/2 x 21 1/4 in.)

£300 - 500

Provenance

Collection of the late Dirk Stornck, Houston

Their sale; Simpsons Galleries, Texas, 8 June 2024, lot 320, where purchased by the present owner

Lot 133 §

SIR JONATHAN MILLER (BRITISH, 1934-2019)

Untitled 65 oil on board with collaged board

82.5 x 28.5 cm. (32 1/2 x 11 1/4 in.)

£300 - 500

Provenance

With National Theatre, London, 10 October 2011, where purchased by the present owner

Exhibited

London, National Theatre, One Thing and Another Jonathan Miller, 2011, no.65

Lot 134 §

The Red Socks

signed with initials ‘JC’ (upper left) pastel

50.5 x 70 cm. (19 5/8 x 27 1/2 in.)

£300 - 500

THOMAS JOHN COATES (BRITISH, 1941-2023)

Lot 135 §

FRANK GRIFFITH (BRITISH, 1889–1979)

Interior scene

stamped with studio stamp thrice (verso) oil on canvasboard

24 x 30.5 cm. (9 1/2 x 12 in.)

Together with; Landscape

stamped with studio stamp (verso) oil on board

23 x 33.5 cm. (9 x 13 1/4 in.) (2)

£400 - 600

Lot 136 §

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

£300 - 500

Provenance

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

137 §

SOPHIE RYDER (BRITISH, b.1963)

Minotaur as a Sea God signed ‘Ryder’ (on the top of base); numbered ‘12/12’ and stamped with the Pangolin Editions mark bronze with a green patina on a bronze base 11.5 cm. (4 1/2 in.) high Cast in 1994

£600 - 800

Provenance

With Pangolin Editions, Chalford, circa 2000, where purchased by the family of the present owner

We are grateful to Abby Hignell for her assistance in cataloguing the present lot

Lot

Lot 138 §

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

£300 - 500

Provenance

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

b.1952)

Wessex Field in Autumn signed, titled and dated ‘Wessex Fields in Autumn Tim Woolcock 2003’ (on the stretcher verso) oil on canvas 61 x 76.2 cm. (24 x 30 in.)

£1,500 - 2,500

Provenance

With The Russell Gallery, London, 25 February 2004, where purchased by the present owner

Lot 139 §

TIM WOOLCOCK (BRITISH,

Lot 140 §

ARNOLD VAN PRAAG (BRITISH, b.1926)

Station signed, titled and dated ‘Station/Van Praag/03’ (verso) oil on board

28 x 30.5 cm. (15 x 12 in.)

£400 - 600

Provenance

With James Hyman Fine Art, London, 22 January 2007, where purchased by the present owners

141 §

SHERREE VALENTINE DAINES (BRITISH, b.1959)

Ascot

signed with initials ‘SEVD (lower right) and titled ‘Ascot’ (lower left) oil on board

36 x 21 cm. (14 1/4 x 8 1/4 in.)

£500 - 800

Provenance

Sale; Ewbanks, Woking, 22 June 2017, lot 1259, where purchased by the present owners

Lot

Lot 142 §

LENKIEWICZ (BRITISH, 1941-2002)

The Painter with Esther Dallaway signed twice and inscribed ‘R.O Lenkiewicz/THE PAINTER WITH ESTHER DALLAWAY/PAINTER WITH WOMEN/Observations on the/theme of the Doubt/PROJECT 18/R.O LENKIEWICZ’ (verso) oil on board

122 x 91.5 in. (48 x 36 in)

£1,000 - 2,000

Provenance

With Halcyon Gallery, 9 September 1998, where purchased by the family of the present owner

ROBERT

Painter with Patti oil on board

99 x 91.5 cm. (39 x 36 in.)

£2,000 - 3,000

Provenance

With Halcyon Gallery, 9 September 1998, where purchased by the family of the present owner

Lot 143 §

ROBERT LENKIEWICZ (BRITISH, 1941-2002)

Lot 144 §

ROBERT LENKIEWICZ (BRITISH, 1941-2002)

Painter with Anna oil on canvas

152.5 x 121 cm. (60 x 37 5/8 in.)

£3,000 - 5,000

Provenance

With Halcyon Gallery, 9 September 1998, where purchased by the family of the present owner

PATRICK COLLINS (IRISH, 1911-1994)

Irelands Eye from Howth Castle signed ‘P.Collins’ (lower left) oil on board

35.5 x 29.5 cm. (14 x 11 5/8 in)

£3,000 - 5,000

Provenance

With Apollo Gallery, Dublin, 9 July 2011, where purchased by the present owner

Lot 145 §

Lot 146 §

ELIZABETH TAGGERT (IRISH, b.1943)

Masquerade

signed ‘TAGGERT’ (lower left); further signed and dated ‘ELIZABETH TAGGART/1996/ (verso) oil on canvas

61 x 91.5 cm. (34 x 36 in.)

£1,500 - 2,500

Provenance

With Royal Hibernian Academy of Art, Annual Exhibition, 1997, where purchased by The Raelbrook Family Collection, from whom acquired by the family of present owner

Exhibited

Dublin, Royal Hibernian Academy of Arts, Royal Hibernian Academy of Arts Annual Exhibition, 1997, cat.no.1

147 §

PAT HARRIS (IRISH, b.1953)

Red Flowers II signed, titled and dated ‘PAT HARRIS/RED FLOWER II 2011’ (verso) oil on canvas

80 x 80 cm. (31 1/2 x 31 1/2 in.)

£3,000 - 5,000

Provenance

With Purdy Hicks Gallery, London, April 2011, where purchased by the present owner

Exhibited London, Purdy Hicks Gallery, Pat Harris Nuba Suite, 1-30 Apr 2011

Lot

Lot 148 §

JOHN HITCHINS (BRITISH, b.1940)

Sea Veils

signed ‘John Hitchins’ (lower right); further signed, titled and dated ‘SEA VEILS - John Hitchins 1968’ (to the canvas stretcher) oil on canvas

35.5 x 43.2 cm. (14 x 17 in.)

£400 - 600

149 §

JOHN KEANE (BRITISH, b.1954)

Egyptian Holiday signed, titled and dated ‘Egyptian Holiday John Keane 1983/4’ (lower edge); further signed, inscribed and dated again ‘John Keane 1983/4/Egyptian Holiday/for Rachel’ (verso) oil on canvas

122 x 185.5 cm. (48 x 73 in.) (unframed)

£700 - 1,000

Provenance

Gifted directly by the artist to the present owner in the 1980s

Lot

Lot 150 §

AUBREY WILLIAMS (GUYANESE/BRITISH, 1926-1990)

Rainsong signed and dated ‘Aubrey Williams/62’ (lower right); titled ‘Rainsong’ (lower centre); further signed, titled again and dated again ‘Rainsong/Aubrey Williams/Jan 62’ (verso) oil on canvasboard

66.5 x 40 cm. (26 1/4 x 15 3/4 in.)

£1,000 - 1,500

Provenance

Private Collection, U.K., where purchased by the present owners

Lot 151 §

DERRICK GREAVES (BRITISH, 1927-2002)

Four Pears & One Olive

signed and dated ‘derrek graves 59’ (upper right); titled and dated again ‘FOUR PEARS &/ONE OLIVE 59’ (verso) oil on canvas

40 x 44.5 cm. (15 5/8 x 17 1/2 in.)

£1,000 - 1,500

Provenance

Sale; Keys Fine Art Auctioneers, Norfolk, 12 January 2019, lot 252, where acquired by the present owners

Lot 152 §

TREVOR BELL (BRITISH, 1930-2017)

Florida Frame 2 signed, titled and dated ‘Trevor Bell/1977/FLORIDA FRAME 2’ (verso) crayon

40.3 x 58.5 cm. (17 x 23 in.)

£400 - 600

Lot 153 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Ripple signed and dated ‘Brian/Wilshire/1998’ (base)

wood

47.5 cm. (18 3/4 in.) high

£500 - 800

Provenance

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

Lot 154 §

MARK LANCASTER (BRITISH, 1938-2021)

Marilyn in white

signed and dated ‘© Marc Lancaster 1987’ (to upper canvas overlap); dated again ‘OCT 12-25-1987’ (to lower canvas overlap) oil on canvas

30.5 x 25.5 cm. (12 x 10 in.)

Together with;

Marilyn reflected signed and dated ‘© Marc Lancaster 1987 Dec 5 87’ (to upper canvas overlap); dated again ‘DEC 5 1987’ (to lower canvas overlap) oil on canvas

30.5 x 25.5 cm. (12 x 10 in.)

(unframed)(2)

£400 - 600

Provenance

With Mayor Rowan Gallery, London

Lot 155 §

MARK LANCASTER (BRITISH, 1938-2021)

Marilyn as moon signed ‘© Marc Lancaster 1987’ (to lower canvas overlap); dated again twice ‘Dec 15 - 20 87/Dec 15-20 1987’ (to upper canvas overlap and lower stretcher) oil on canvas

30.5 x 25.5 cm. (12 x 10 in.)

Together with;

Marilyn on green

signed and dated ‘© Marc Lancaster/1987 Nov 30-Dec 1 87’ (to upper canvas overlap); dated again ‘NOV 30-DEC 1 87’ (to lower canvas overlap)

30.5 x 25.5 cm. (12 x 10 in.) (unframed)(2)

£400 - 600

Provenance

With Mayor Rowan Gallery, London

Lot 156 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Designer Punk signed ‘BROCKLEHURST/1952’ (lower left) pastel

83 x 58 cm. (32 3/4 x 22 3/4 in.)

£1,000 - 1,500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

Lot 157 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Change signed and dated ‘Brocklehurst/1984’ (lower right)

pastel

83 x 58.5 cm. (32 7/8 x 23 in.)

£1,000 - 1,500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

Lot 158 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Seated punk in tiger print signed and dated ‘BROCKHURST/1981’ (lower left) gouache and pastel

81.3 x 57.2 cm. (32 x 22 1/2 in.)

£1,000 - 1,500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

159 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Fetish Girl

signed and dated ‘BROCKLEHURST 2002’ (lower left)

watercolour and silver felt tip pen

60 x 40 cm. (23 5/8 x 15 3/4 in.)

£300 - 500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

Lot

Lot 160 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Woman in pink feather stamped with the studio stamp mixed media

60 x 40 (23 1/2 x 15 3/4 in.)

£300 - 500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

Lot 161 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Woman in pink feather boa stamped with the studio stamp mixed media

60 x 40 (23 1/2 x 15 3/4 in.)

£300 - 500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

Lot 162 §

JO BROCKLEHURST (BRITISH, 1935-2006)

Life drawing studies (green female)

signed and dated ‘BROCKLEHURST/1983’ (to the mount lower right) ten individual pen drawings mounted as one each approximately 14 x 21.5 cm. (5 1/2 x 8 1/8 in.)

Together with;

Life drawing studies (pink male)

signed and dated ‘BROCKLEHURST/1983’ (to the mount lower right) twenty individual pen drawings mounted as one each approximately 15.2 x 9 cm. (6 x 3 1/2 in.) (2)

£300 - 500

Provenance

The estate of the artist, circa 2019, from whom acquired by the present owners

163 §

MARY CONSTANCE LLOYD (BRITISH, 1873–1968)

Pansies in a Blue Vase signed ‘M LLOYD’ (lower left) oil on board

23 x 18.3 cm. (9 x 7 1/2 in.)

£400 - 600

Lot

Lot 164 §

SIMEON STAFFORD (BRITISH, b.1956)

Playing in the street signed ‘Simeon’ (lower right) oil on board

44 x 59 cm. (17 1/4 x 23 1/4 in.)

£400 - 600

Lot 165 §

SIMEON STAFFORD (BRITISH, b.1956)

Mousehole, Cornwall signed ‘Simeon’ (lower left); further signed, titled and dated ‘Mousehole, Cornwall/11.17.16/Simeon’ (verso) oil on canvas

90 x 90 cm. (35 1/2 x 35 1/2 in.)

£600 - 800

Lot 166 §

A Thousand Eyes signed ‘Howson’ (lower right) oil on canvas laid onto board

40.5 x 30 cm. (16 x 11 2/4 in.)

£400 - 600

Provenance

With Flowers East, London, where purchased by the family of the present owner

PETER HOWSON (BRITISH, b.1958)

Lot 167 §

One for the Record signed ‘Howson’ (lower left) pastel

29.5 x 42 cm. (11 1/2 x 16 1/2 in.)

£400 - 600

Provenance

With Flowers East, London, where purchased by the family of the present owner

PETER HOWSON (BRITISH, b.1958)

168 §

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

The Studio No 35 signed, inscribed and dated twice ‘THE STUDIO NO35/MAY75/OPUS/0.800/Alan Davie 75’ (verso) oil on canvas

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

£3,000 - 5,000

Provenance

The artist, from whom acquired by the present owner

Lot

ALAN

Magic House No.2

signed and dated ‘Alan Davie 89’ (lower left); titled and numbered ‘MAGIC HOUSE NO.2/G.2085’ (lower right)

gouache

57.1 x 72.5 cm. (22 1/2 x 28 1/2 in.)

£700 - 1,000

Lot 169 §

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

Lot 170 §

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

Magic Village No.7 signed, inscribed and dated twice ‘Alan Davie 94/MAGIC VILLAGE NO 7.1994/OPUS O.1276A’ (verso) oil on board

29.5 x 37.5 cm. (11 1/2 x 14 7/8 in.)

£500 - 800

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

Mystical Landscape No.2 Magic Bird Food

signed and dated ‘Alan Davie Jan 86’ (lower right); and titled ‘MYSTICAL LANDSCAPE NO 2/MAGIC BIRD FOOD’ (lower left)

gouache

59 x 72 cm. (23 1/4 x 28 1/4 in.)

£800 - 1,200

Provenance

With ACA Galleries, New York With Gimpel Fils, London

Lot 171 §

ALAN DAVIE,

Island Map No.8 signed and dated ‘Alan Davie 98’ (lower left beneath the mount); further signed, numbered and dated again ‘Alan Davie 98 92325’ (lower right) gouache

56 x 64.9 cm. (22 x 25 1/2 in.)

£700 - 1,000

Lot 172 §

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

173 §

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

Bird Trap No.1

signed, titled and dated ‘BIRD TRAP NO1/Alan DAVIE 6 81’ (lower right) oil on board

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

£1,500 - 2,500

Provenance

With ACA Galleries, New York

With Gimpel Fils, London, 21 January 1988, from whom purchased by James Stafford

With Gimpel Fils, London

Exhibited

Paris, Grand Palais, FIAC, 10-18 Oct 1987

Lot

ALAN

174 §

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

Little Circulatio No.1 signed, titled and dated ‘Alan Davie/LITTLE CIRCULATIO/2005/OPUS 0.17691’ (verso) oil on board

30.5 x 30.5 cm. (14 x 12 in.)

£1,000 - 1,500

Provenance

With Gimpel Fils, London

With James Hyman Gallery, London

Lot

ALAN

R.A. (BRITISH, 1920-2014)

Witches Wigwag signed, titled and dated ‘Alan Davie 96/WITCHES WIGWAG 1996/OPUS D.1343’ (verso) oil on board

38.1 x 48.3 cm. (15 x 19 in.)

£1,500 - 2,500

Provenance With Gimpel Fils, London

Lot 175 §

ALAN DAVIE, C.B.E., H.R.S.W.,

Lot 176 §

CHRISTOPHER JOHN HARRISON (BRITISH, b.1945)

Blue and white Chinese vase signed with initials ‘CJH’ (lower right) oil on board

61 x 44.5 cm. (24 x 17 1/2 in.)

£600 - 800

Provenance

With Hunter Simmonds Gallery, Bournemouth

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.)

£500 - 800

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 177 §

LEON UNDERWOOD (BRITISH, 1890-1975)

Lot 178 §

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

£300 - 500

Provenance

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

Lot 179 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Tower

signed and dated ‘Brian Wilshire/1998’ (base)

wood

59 cm. (23 1/4 in.) high

£500 - 800

Provenance

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

Lot 180 §

BRIAN WILSHIRE (BRITISH, 1930-2010)

Wooden Form wood

50.4 cm. (20 in.) high

£300 - 500

Provenance

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

Lot 181 §

BARRY FLANAGAN (BRITISH, 1941-2009)

Flamingo

signed with monogram, dated and numbered ‘VII/3 (6)’ (centre-right)

pen & ink

28.6 x 23 cm. (11 1/4 x 9 in.)

£1,000 - 1,500

Provenance

Beatrice Monti, Milan

Exhibited

Milan, Galleria Milano, Seven British Artists in Milan 1965-1975, 2009, cat.no.25.; this exhibition travelled to London, Austin/Desmond Fine Art, London, 2010

Lot 182 §

RONALD GILES (BRITISH, 1916-1995)

Queuing for the telephone box signed ‘GILES’ (lower left); inscribed with dedication and dated ‘To Commander Ernest-Millen/Best wishes/from Giles

64’ (to the lower right of mount)

pen & ink

38.2 x 54 cm. (15 x 21 1/4 in.)

£2,000 - 3,000

Provenance

Sale; Wilson’s Auctions, Maidenhead, where purchased by the present owner

CARL

Lot 183

BRITISH SCHOOL (20TH CENTURY)

After Ruskin Spear’s ‘Portrait of Francis Bacon’ titled ‘Portrait of Francis Bacon’ (verso) oil on board

50 x 39.5 cm. (19 3/4 x 15 1/2 in.)

£2,000 - 3,000

Provenance

David Collins (1955-2013), thence by family descent

The present work is a copy of Ruskin Spear’s portrait of Francis Bacon. Painted in 1984, the work was purchased by the National Portrait Gallery a year later in 1985.

Lot 184 §

ANNA MAZZOTTA (BRITISH, 20TH CENTURY)

The Tattooist signed, titled and dated ‘Mazzotta/2014/WANDA/’The Tattooist’ (to the backboard)

charcoal

87 x 120 cm. (34 1/4 x 47 1/4 in.)

£500 - 800

Lot 185 §

CHARLES HARPER (IRISH, 1943)

Sensual Variations

signed ‘Charles Harper H’ (lower right)

watercolour

60 x 93 cm. (23 1/2 x 35 1/2 in.)

Executed 1971

£800 - 1,200

Provenance

With The Bell Gallery, Belfast

Exhibited Arts Council of Northern Ireland (untraced)

Lot 186 §

KARPINSKI (BRITISH, b.1965)

The Opportunists signed ‘Karpinski ©’ (lower right) further signed twice, inscribed and dated again twice ‘Opportunists/Samburu, Kenya/ August 2002/Regardless of the time of day (or if they/ have just fed), if the opportunities of ‘any meat’ presents itself lions/will spring into action/This pride were waiting in the dense/vegetation along the Ewaso Nyiro River/and when I returned to the same area/in the aftermath they were feeding on/a kill/Tony Karpinski/Tony Karpinski © 2003’ (verso) oil on board

64 x 42.5 cm. (25 1/4 x 16 7/8 in.)

£1,000 - 1,500

Provenance

With Haynes Fine Art, Worcestershire, circa 2000, where purchased by the present owners

TONY

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.) (unframed)

£600 - 800

Provenance

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

Lot 187 §

SARAH DWYER (IRISH, b.1974)

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.

1.

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

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.