Modern British & Irish Art by Chiswick Auctions

MODERN BRITISH & IRISH ART Tuesday 12th December, 2pm 1

CHISWICK AUCTIONS

MODERN BRITISH & IRISH ART Tuesday 12th December, 2pm Full Viewings at our Chiswick Saleroom Thursday 7th December : Friday 8th December : Saturday 9th December : Sunday 10th December : Monday 11th December : Tuesday 12th December :

6pm-9pm (Preview evening – invite only) 10am-4pm 11am-3pm 11am-3pm 10am-4pm 10am-12pm

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Front cover - lot 29 Title page - lot 87 Intro page - lot 43 Back cover - lot 68

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M E E T T H E S PEC I A L I STS James Flower

Head of Depar tment Modern British & Irish Ar t james.flower@chiswickauctions.co.uk +44 (0)20 3089 6874

Emily Smaje

Depar tment Coordinator Modern British & Irish Ar t emily.smaje@chiswickauctions.co.uk +44 (0)20 3089 6888

G E T I N TO UCH Barley Mow Centre, Chiswick, W4 4PH modernbritishar t@chiswickauctions.co.uk www.chiswickauctions.co.uk

Lot 1 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Study of arms chalk 42 x 34.3 cm. (16 1/2 x 13 1/2 in.) £800 - 1,200 Provenance Acquired directly from the artist by Private Collection With Pyms Gallery, London

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Lot 2 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Seated Portuguese Woman chalk 57.7 x 39.3 cm. (22 3/4 x 15 1/2 in.) £2,000 - 3,000 Provenance The artist’s daughter Sale; Phillips, London, 2 June 1996 With Pyms Gallery, London

Lot 3 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Daily Mail Drawing signed and inscribed ‘coolness for the Neck!/is all very well but don’t forget/The other parts, yours William Orpen’ (lower right); further inscribed and dated ‘To the Daily Mail-/30th July 1928’ (upper right) watercolour and pencil 24.1 x 17.3 cm. (9 1/2 x 6 3/4 in.) £1,000 - 1,500 Provenance Sale; Christie’s, London, 11 August 1982 With Pyms Gallery, London

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Lot 4 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Couple with Fig Tree signed and inscribed ‘my darling Carawara no news my love to you Orps’ (lower left) pen & ink and wash 25 x 19.5 cm. (9 7/8 x 7 5/8 in.) £500 - 700 Provenance W.Rayner With Pyms Gallery, London

Lot 5 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Possible Study for David Lloyd George (or The Poet) pencil 19.7 x 21 cm. (7 3/4 x 8 1/4 in.) £500 - 700 Provenance Kit Casey (Nee Opren) The Pyms Gallery, London

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Lot 6 SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931) Study of a male nude pencil 22.8 x 17.7 cm. (9 x 7 in.) £600 - 800 Provenance With The Neptune Gallery, Dublin With European Fine Arts, Dublin Exhibited Dublin, The Neptune Gallery, Orpen Exhibition, 16 Jun-14 Jul 1971, cat.no.19 Dublin, European Fine Arts, Twentieth Century Drawings by Irish Artist, November 1989, cat.no.35

Lot 7 AMBROSE MCEVOY (BRITISH, 1878-1927) Study of a lady watercolour, wash and pencil 30.5 x 24.5 cm. (6 3/4 x 5 1/2 in.) £500 - 800 Provenance Possible sale: Phillips, London, 6 October 1998, lot 296

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Lot 8 JAMES FERRIER PRYDE (BRITISH, 1866-1941) The Arch (The Archway) oil on canvas 39.5 x 29.5 cm. (15 1/2 x 11 5/8 in.) £3000 - 5000 Provenance With The Leicester Galleries, London Rt Hon Viscount Camrose His sale; Christie’s, London, 22 April 1998, lot 721 With Pyms Gallery, London Exhibited Edinburgh, Scottish National Gallery of Modern Art, James Pryde 1866-1941, 14 Aug-11 Oct 1992, cat.no.95 Literature Derek Hudson, James Pryde 1866-1941, Constable, London, 1949, p.92

Lot 9 JAMES FERRIER PRYDE (BRITISH, 1866-1941) Archway View (Venice) oil on canvas 36 x 25.5 cm. (14 1/8 x 10 in.) £2,000 - 3,000 Provenance The artist, whom gifted to Private Collection Sale; Christie’s, London, 6 November 1992 With Pyms Gallery, London Exhibited London, The Fleming Collection, Rascals and Ruins: The Romantic Vision of James Pryde, 12 Sep-16 Dec 2006, cat. no.31

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Lot 10 JAMES FERRIER PRYDE (BRITISH, 1866-1941) The Phantom Ship oil on canvas 91.5 x 73.7 cm. (36 x 29 in.) £3,000 - 5,000 Provenance Rt Hon Viscount Camrose His sale; Christie’s, London, 22 April 1998, lot 718 With Pyms Gallery, London Exhibited Edinburgh, Scottish National Gallery of Modern Art, James Pryde, Aug-Oct 1992, cat.no.100 Literature David Hudson, James Pryde 1866-1941, London, 1949, p.92

Lot 11 ERNEST PROCTER (BRITISH, 1886-1935) Section Saintaire Anglaise No.19 the Abeelenhof Poste signed and dated ‘Ernest Procter 17’ (lower left) watercolour and white heightening 16 x 27 cm. (6 1/4 x 10 5/8 in.) £500 - 800 Exhibited London, David Cohen Fine Art, The Great War Exhibition, November 1961, cat.no.15

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Lot 12 § EDMUND DULAC (BRITISH/FRENCH, 1882-1953) Inspector James Pryde S.C. signed and dated ‘Edmund/Dulac/15’ (lower left) watercolour, gouache and pen & ink on prepared paperboard 29.5 x 27.5 cm. (11 5/8 x 10 3/4 in.) Executed in 1915 £6,000 - 8,000 Provenance With Leicester Galleries, London, August 1944, where purchased by Miss Vivien Leigh Sale; Sotheby’s, 6 December 2000, where purchased by the present owner Exhibited London, Leicester Galleries, Artists of Fame and of Promise, Part II, 1944, cat.no.1 London, Pyms Gallery, British and Irish Works on Paper 1900-2000, 21 Jun-16 Jul 2004, cat.no.22, p.49 (col.ill) London, The Fleming Collection, Rascals and Ruins: The Romantic Vision of James Pryde, 12 Sep-16 Dec 2006, cat.no.2

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Lot 13 § HENRY MOORE, O.M., C.H. (BRITISH, 1898-1986) Nude with Lifted Arms signed and dated ‘Moore/28’ (lower left) chalk, wash, pen & ink 43 x 24 cm. (17 x 9 1/2 in.) £5,000 - 7,000 Provenance With Achim Moeller, London Private Collection Paul Nicholls Studio, Milan With Sant’Ambrogio Art Gallery, Milan, 1973, where purchased by the family of the present owner Private Collection, Italy Their sale; Bonhams, London, 16 November 2011, lot 33, where purchased by the present owner Literature Ann Garrould, Henry Moore, Complete Drawings 1977-81, Volume 1, Henry Moore Foundation in association with Lund Humphries, London 1996, cat.no. AG 28.116, pp.194-195. (ill.b&w) (In a letter from Paul Nicholls of Sant’Ambrogio Art Gallery to the previous owner he said that Henry Moore considered this work of a very fine quality. Executed in Paris the artist’s model injured her knee and wore a visible banding).

Lot 14 HENRY TONKS (BRITISH, 1862-1937) The Sword Bearer inscribed ‘Our leaders in pursuit of Public Opinion/I say Grey, will you carry the sword for a bit/The Answer is in the negative we think it might create a bad effect on the/Neutrals/Nov:1916’ (lower left) watercolour, ink and pencil 25 x 35 cm. (9 7/8 x 13 3/4 in.) £700 - 1,000

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Provenance Mr. D.S.MacColl Sale; Bonhams, London, 18 November 1997 With Pyms Gallery, London Exhibited London, Tate Gallery, Exhibition of Works by Professor Henry Tonks, 1936, cat.no.48 London, Pyms Gallery, British and Irish Works on Paper, 1900- 2000, London, 21 Jun–16 Jul 2004, cat.no.4 (col.ill) Literature Joseph Hone, The Life of Henry Tonks, William Heineman Ltd., London/Toronto, 1939, op.136 and 369

Lot 15 PHILIP STEEGMAN (BRITISH, 1903-1952) Portrait of a boy signed and dated ‘Philip/Steegman/Dec 7 March 1928’ (lower left) oil on canvas 62 x 51 cm. (24 1/2 x 21 in.) £800 - 1,200

Lot 16 § CAMPBELL ARCHIBALD MELLON (BRITISH, 1876-1955) Cattle on the hillside signed ‘C.A.Mellon’ (lower right) oil on canvas 30.8 x 41 cm. (12 1/8 x 16 1/8 in.) £1,800 - 2,500 Provenance With Michael Chapman Gallery, Holt, where purchased by the present owner

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Lot 17 § L.S. LOWRY, R.A. (BRITISH, 1887-1976) Hulme Place, Salford signed and dated ‘L.S Lowry 1926’ (lower left) pencil 26.7 x 36.5 cm. (10 1/2 x 14 3/8 in.) £22,000 - 28,000 Provenance Sale; Christie’s, London, 1 March 1968, lot 44, where purchased by Private Collection Their sale; Christie’s, London, 2 Nov 2002, lot 144 With Clark Art Ltd., Cheshire, 2020, where purchased by the present owner

If Laurence Stephen Lowry had caught his train from Pendlebury to Manchester as intended, then possibly the world would have been deprived of one of the most talented and recognisable artists of the 20th Century. Lowry moved from the Manchester suburb of Victoria Park to the less prosperous Pendlebury in 1909 with his parents after the family’s financial woes. He was initially dismissive and disinterested in his new surrounding environment. However, in 1916, the artist did miss his train from Pendlebury, a suburb of Salford, and shortly afterwards walked into town. Here he witnessed the Acme Spinning Company Mill turning out, with its distinctive industrial architecture, and was inspired to capture the scene. The artist discussed the moment later in his life:

“One day I missed a train from Pendlebury - (a place) I had ignored for seven years - and as I left the station I saw the Acme Spinning Company’s mill … The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out... I watched this scene - which I’d looked at many times without seeing - with rapture...” - L.S. Lowry

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Following his departure from school, Lowry embarked on a career with the Pall Mall Company, later transitioning to rent collection. His work as a rent collector would provide a great deal of inspiration for his future artistic vision and output. During his lunch breaks and evenings, he dedicated time to private art lessons in antique and freehand drawing. In 1905, he secured a spot at the Manchester School of Art, studying under the French Impressionist Pierre Adolphe Valette. In 1915, Lowry continued his education at the Royal Technical Institute, Salford (later the Royal Technical College, Salford, and now the University of Salford) until 1925. This period marked the development of his interest in industrial landscapes and the establishment of his distinctive artistic style.

“I can’t think what you want to go to London for, you won’t find any better lamp posts there…” - L.S. Lowry Whilst the artist would be become renowned for his bustling, industrial panoramic views, loaded with his ‘matchstick people’, for those familiar with his full oeuvre will know that he was equally adept and fond of depicting solemn, contemplative and isolated scenes. These range from his barren seascapes, hill-laden rural landscapes, and solitary single figures. Lowry often described his matchstick figures as being a projection of his mood and mental state at the time of painting. Mark Hudson explained in his book: “The same can be said of the street furniture he incorporated into his paintings with an equally judicious sense of artistic licence – lamps, lamp posts, telegraph poles, post boxes, bollards, gates, railings, signposts, bandstands, statues, gravestones, memorials and the occasional post and pillar without any apparent function. These motifs are often repeated and have great significance. They sometimes take on a human form but so often go unnoticed.” (Richard Mayson, Lowry’s Lamps, Unicorn, London, 2020) Abandoned and lacking human presence, these creations are anything but “empty”; instead, they are rich with profound meaning.

“there must be innumerable ways of looking at the same aspects of life. A silent street, a building for instance, can be as effective as a street full of people to me. It is the outlook or message that matters.” - L.S. Lowry Hulme Place, Salford is a prime example of masterful draughtsmanship and mood-capturing by one of, if not, Britain’s most famous artist, crafting the style that would later define him and serve as the foundation for his tremendous success, he garnered widespread international recognition that endured throughout his lifetime and beyond.

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Lot 18 § L.S. LOWRY, R.A. (BRITISH, 1887-1976) Rhyl Harbour signed with initials and dated ‘LSL 1924’ (lower right) and inscribed ‘Rhyl’ (lower left) pencil 25.2 x 35. cm. (10 x 13 5/8 in.) £20,000 - 30,000 Provenance Private Collection, U.K Their sale; Adam Partridge, Cheshire, 23 October 2020, lot 421 With Clark Art Ltd., Cheshire, 2020, where purchased by the present owner

Lowry visited Rhyl and Lytham St Anne’s on numerous occasions on family holidays. It was on these trips he began a lifelong fascination with open water, the sea and maritime subjects. This fascination sometimes bordered on the morbid.

“I often think… what if it suddenly changed it’s mind and didn’t turn the tide? And came straight in? If it didn’t stop and came on and on and on and on and on… That would be the end of it all.” - L.S. Lowry Established over 700 years ago, the Rhyl harbour was originally designed as an integral component of a deep-water channel to provide resources for Edward I’s castle at Rhuddlan. When the present lot was executed in 1924, Rhyl harbour was a calm, serene setting but this would later make way for a bustling, seaside tourism in the post-war period. Whilst the focus of the current work is the serene harbour, with the boats calmly nestled into the dock, we can see the start of Lowry’s famous matchstick men in the distance. They not only provide perspective and depth in the composition but also a wonderful insight into the process and formation of this iconic motif.

Lot 19 § CERI RICHARDS (BRITISH, 1903-1971) The Force that Through the Green Fuse Drives the Flower signed and dated ‘Ceri Richards/1945’ (lower left) gouache, watercolour, crayon, pen & ink and white heightening 27 x 21.3 cm. (10 5/8 x 8 3/8 in.) £3,000 - 5,000 Provenance Professor Charles Reginald Dodwell and thence by descent Sale; Dreweatts, Newbury, 31 July 2019, lot 210

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Lot 20 § JOHN CRAXTON, R.A. (BRITISH, 1922-2009) Head of Shepherd chalk 65 x 50 cm. (25 1/2 x 19 3/4 in.) Executed circa 1940 £4,000 - 6,000 Provenance Sale; Nosbüsch & Stucke, Germany, 17 May 2019, lot 759, where purchased by the present owner Exhibited London, The Redfern Gallery, Advent Exhibition, 1-24 December 2022

“Between 1941 and 1945, before I went to Greece, I drew and occasionally painted landscapes with shepherds or poets as single figures… They were my means of escape and a sort of self-protection. A shepherd is a lone figure, and so is a poet. I wanted to safeguard a world of private mystery” - John Craxton Head of a Sheperd executed circa 1940 is an prime example of one such depiction of an isolated and lonely figure. These were executed before his time in Greece and during the war-years, where his awareness and influence of European styles are clear. He had studied in Paris in 1937, and on an earlier trip to France aged 14, he visited the Paris World Exposition where he witnessed firsthand, Picasso’s masterpiece Guerina. This drawing is inescapable of cubist elements, line, shape and colour dominate the composition rather than shadow and perspective. Similarly, the artist’s interest in Byzantine style is too indicated here, despite the early date of the work, the shepherd is displayed with compositional similarities to icons of Christ with paralleling features of angular lines and sharp contours.

“The light in Greece is wonderful versus the grey duvet that blankets London” - John Craxton

Lot 21 § SIR ROBIN PHILIPSON, R.A. (BRITISH, 1916-1992) The Yellow Curtain signed ‘Robin Philipson’ (on the backboard) oil on canvas laid onto board 25 1/2 x 40 1/2 cm. (10 x 16 in.) Painted in 1975 £600 - 800 Provenance Sale; Great Western Auctions, Glasgow, 28 March 2015, lot 479, where purchased by the present owner Exhibited Edinburgh, Scottish Royal Academy Exhibition, cat.no.119 (untraced)

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Lot 22 § SAM HAILE (BRITISH, 1909-1948) Colonial Administrators signed and dated ‘Haile 11.C.39’ (lower right) watercolour and gouache 30.3 x 25 cm. (12 x 9 7/8 in.) £700 - 1,000 Provenance Marianne Haile Arkwright Arts Trust With Pyms Gallery, London Exhibited Oxford, Museum of Modern Art, A.I.A., The Story of the Artist’s International Association: 1933-1953, Apr-May 1983, cat.no.121; this exhibition toured to Bradford, Nottingham, Hull, Edinburgh and London.

Lot 23 § GRACE PAILTHORPE (BRITISH, 1883-1971) 16 & 17 April 1941 titled and dated ‘16 & 17 April 1941’ (verso) oil on canvasboard 29.5 x 22 cm. (11 5/8 x 8 3/4 in.) £3,000 - 5,000 Provenance The estate of the artist, from whom acquired by the present owner

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Lot 24 § GRACE PAILTHORPE (BRITISH, 1883-1971) Untitled signed and dated ‘G.W. Pailthrope 26.2.67’ (lower right) watercolour 28 x 37.5 cm. (11 x 14 3/4 in.) £700 - 1,000 Provenance Sale; Roseberys, London, 25 May 2022, lot 62, where purchased by the present owner

Lot 25 § EVIE HONE (IRISH, 1894-1955) Abstract composition gouache, crayon and pencil 27 x 20.4 cm. (10 1/2 x 8 in.) £1,000 - 1,500 Provenance Bart O’Connor, thence by descent Sale; Christie’s, London, 7 October 2015, lot 682, where purchased by the present owner We are grateful to Dickon Hall and Dr Joseph McBrinn for their assistance in cataloguing the present lot.

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Lot 26 § BLAIR HUGHES-STANTON (BRITISH, 1902-1981) Mother and child signed indistinctly ‘Blair H.S’ and further signed ‘B R. HUGHES STANTON’ (verso) oil on board 28 x 46 cm. (11 x 18 in.) £1,000 - 1,500

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Lot 27 § AUSTIN OSMAN SPARE (BRITISH, 1886-1956) No.166 abstract (Ghost seeing abstract energy) signed with initials and inscribed ‘AOS/164’ (lower left); further signed, titled and dated ‘N166. abstract/Ghost seeing abstract energy/Austin Osman Spare/55’ (on a label attached to the backboard) chalk and pastel 47 x 11 cm. (18.5 x 11 3/4 in.) £2,000 - 3,000 Provenance With Archer Gallery, London, where purchased by M.Stern, thence by family descent

Austin Osman Spare was an artist, writer and occultist. He is known for his unique artistic style, heavily influenced by art nouveau and symbolism, and for his involvement in esoteric and occult practices. Spare’s work spans various mediums, including drawing, painting, and writing. Spare gained recognition as a precocious artist at a young age. He studied at the Royal College of Art in London but found himself at odds with the academic system and the prevailing art movements of his time. He developed his own distinctive style characterized by intricate and often eerie line drawings, symbolladen imagery, and a fascination with the occult. In addition to his artistic pursuits, Spare was deeply involved in the occult and esoteric traditions. He developed his own system of magic called ‘Zos Kia Cultus’ and was associated with various esoteric groups, including the Hermetic Order of the Golden Dawn. Spare’s esoteric practices and writings explored themes such as self-transformation, the unconscious mind, and the intersection of art and magic. Spare’s influence on the art world was initially limited during his lifetime, but his work gained posthumous recognition and became highly regarded within certain circles. His art and ideas have influenced subsequent generations of artists, occultists, and writers, particularly within the realms of surrealism, symbolism, and the occult revival. Austin Osman Spare’s legacy continues to be celebrated and studied today for his unique artistic vision, his contributions to occult philosophy, and his exploration of the subconscious. His artistic and esoteric practices remain influential and continue to inspire individuals interested in the intersection of art, spirituality, and beyond.

Lot 28 § CONROY MADDOX (BRITISH, 1912-2005) Projection signed and dated ‘Conroy Maddox 40’ (lower right); further signed, titled and dated ‘Projection/1940/Conroy Maddox’ (verso) gouache and watercolour 25 x 37 cm. (8 3/4 x 14 1/4 in.) £1,000 - 1,500 Provenance Acquired directly from the artist, circa 1975, by the present owner.

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Lot 29 § EILEEN AGAR (BRITISH, 1904-1991) A Sea Change signed ‘AGAR’ (lower left); further signed, titled and dated ‘EILEEN AGAR/A SEA CHANGE/1958’ (on a label attached to the stretcher) oil on canvas 63.5 x 82 cm. (25 x 32 1/8 in.) £20,000 - 30,000 Provenance Lord Sailsbury Sale; Christie’s, London, 3 June 1999, lot 138, where purchased by the present owner Exhibited London, Commonwealth Institute, Eileen Agar: A Retrospective Exhibition, 1971, cat.no.31, p.44 Chichester, Pallant House Gallery, Eileen Agar, An Eye for Collage, 25 Oct 2008-15 Mar 2009, cat no.47, p.84 (col.ill)

“I have spent my whole life in revolt against convention, trying to bring colour and light and a sense of the mysterious to daily existence. One must have a hunger for new colour, new shapes and new possibilities of discovery.” - Eileen Agar

When David Gascoyne and Roland Penrose approached Eileen Agar with a view to including her in the grandiose 1936 International Surrealist Exhibition in London and announced to her that she was ‘surrealist’, she purportedly replied, ‘Am I?’ Throughout her career she repeatedly shunned the label, which she considered too restrictive. Her training as an artist began in 1920 at Leon Underwood’s school at Brook Green. She also studied under Henry Tonks at the Slade School of Fine Art in London, where she met her first husband Robin Bartlett. The marriage did not last. In 1928 Agar and her new lover Joseph Bard, whom she would eventually marry, moved to Paris. There she met Constantin Brâncuși and surrealists André Breton and Paul Éluard. By 1930 Agar was back in England and in 1933. She had her first solo exhibition at the Bloomsbury Gallery and became member of the London Group a year later. When, in 1934, she took a house for the summer with Bard at Swanage, Agar met and fell in love with Paul Nash. Through him she began to develop a fascination with the ‘found object’, which had been an enduring focus for both Dadaists and surrealists. For them such entities were capable of acquiring new identities by virtue of re-contextualization or simply by being isolated from their habitual frame of reference. Agar willingly assumed this way of seeing and suddenly inanimate rocks began to appear to her as faces and bodies. Shells too, as well as marine life and beach detritus took on new meanings. One day she was digging in the sand at Lulworth Cove and unearthed an old anchor chain, which had been metamorphosed by the sea into the form of a writhing snake. She photographed it and, with Nash, made the photomontage painting Seashore Monster at Swanage (c.1936). This is how we are to read Agar’s art; chance encounters with objects that utilitarian reality has discarded into redundancy and irrelevance. (Dr. Silvano Levy on the artist, 2023)

(The artist wearing her famous work Hat for Eating Bouillabaise, 1937)

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(Eileen Agar in her studio, 1977. David Reed Archive)

It is well documented that Agar was the only female artist to exhibition at The International Surrealist Exhibition held in London in 1936, and that this inclusion helped propel her career to the point of international acclaim. It was during a trip to Brittany that she received the news her painting Quadriga (1935), shown at the exhibition, had been requested for display by The Museum of Modern Art in New York, an indicator of her international reputation blossoming. Her cohorts included Ezra Pound, André Breton, Paul Éluard, Dylan Thomas, Pablo Picasso and Henry Moore. Moore studied with her at Slade along with Paul Nash, and both were instrumental in persuading her to exhibit her works as part of the London Group in 1933. Despite the adverse impact of the war’s psychological effects on her artistic output, she would experience a resurgence of inspiration in the 1950s, when she briefly resided in the Canary Islands where she painted and exhibited. A Sea Change, painted in 1958, is a rare and prime example of the artist’s output during this period. The work is executed in an inverted method, with the coloured forms likely to have been painted across the entire composition, with what we see as the aquamarine background, painted after, dictating the form and movement. The influence of Henry Moore and Henri Matisse are clear, with the seemingly abstract humanlike, mystical, metamorphic form on the left, dancing with flowing fluidity and unrestricted joy. Functioning as nets, the paintings trawl material from the subconscious, suspended in Eileen Agar’s aquatic hues - deep blues and sea greens that span her artistic journey of over 70 years. A masterful colourist, she skilfully varied her palette, introducing abrupt bursts of orange or arsenical green, creating visions that exude a lyrical quality.

“Life’s meaning is lost without the spirit of play.” “Dancing shapes with shapes seeming to derive from cut-outs as from a collage. The important thing does not lie in the shapes but in the movement, in the rhythm they trace on the marine background. The shapes have no reference to existing ones, they seem to be inverted, separating and joining, difficult to say and this is precisely the point of the work - sea change points to a “pure” movement, a transformation process at work , unending interplay of life forms, similar to amoebae wriggling in the water. Agar’s obsessive reference to water is typical of her work and stresses the femininity of her inspiration.” (Michael Remy on the artist, 2023) A Sea Change was included in the important retrospective of the artist’s work held at the Commonwealth Institute in 1971, alongside the current world auction record for the artist, Rite of Spring (1971) which achieved £81,900 at Christie’s in 2022. Her work is held in some of the most important global institutions such as the Museum of Modern Art (MoMA), New York, Peggy Gu Guggenheim Collection, Venice, National Galleries, Scotland, Tate Modern, London, Victoria & Albert Museum, London and Pallant House Gallery, Chichester. We are grateful to Dr. Silvano Levy and Michael Remy for their assistance in cataloguing this lot. 49

Lot 30 § EILEEN AGAR (BRITISH, 1904-1991) Abstract in green, yellow and purple signed ‘AGAR’ (lower right) mixed media 29.5 x 21 cm. (11 5/8 x 8 1/4 in.) £2,000 - 3,000 Provenance Sale; Cheffins, Cambridge, 25 January 2018, lot 329, where purchased by the present owner

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Lot 31 § CONROY MADDOX (BRITISH, 1912-2005) End of the Day signed and dated ‘Conroy Maddox ‘52’; further signed, titled and dated ‘Conroy Maddox/End of the day/1952’ (verso) charcoal, crayon and pencil 35 x 51 cm. (13 3/4 x 20 in.) £600 - 800 Provenance Acquired directly from the artist by the present owner, in the mid-late 1970s

Lot 32 § DAVID TINDLE, R.A. (BRITISH, b.1932) Chair signed with initials and dated ‘DT.73’ (lower right) tempera on canvas 71.2 x 50.9 cm. (28 x 20 in.) £800 - 1,200 Provenance With The Piccadilly Gallery, London, March 1973, where purchased by Julian Cotterel Sale; Christie’s, London, 1 March 2000, lot 134, where purchased by the present owner

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Lot 33 § DAVID TINDLE, R.A. (BRITISH, b.1932) Clare Bridge signed and dated ‘David Tindle 1954’ (lower right) watercolour, pen & ink 27 x 36.3 cm. (10 5/8 x 14 1/4 in.) £400 - 600 Provenance With The Piccadilly Gallery, London Christopher Fry, and thence by descent Their sale; Chiswick Auctions, London, 16 April 2019, lot 124, where purchased by the present owner

Lot 34 § MARY SWANZY (IRISH, 1882-1978) Man with Rucksack Smoking crayon 21.1 x 12.1 cm. (8 1/8 x 4 3/4 in.) together with; Men Watching crayon 12.5 x 20.5 cm. (4 7/8 x 8 1/8 in.) £800 - 1,200 Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

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Lot 35 § MARY SWANZY (IRISH, 1882-1978) Group of Fishermen crayon 20.3 x 11.7 cm. (8 x 4 5/8 in.) together with; Figures on the Beach crayon 12.2 x 20.3 cm. (4 7/8 x 8 in.) £800 - 1,200 Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

Lot 36 § MARY SWANZY (IRISH, 1882-1978) The Sailor crayon 20.5 x 12.5 cm. (8 1/8 x 5 in.) together with; Men at Work III crayon 20.3 x 11.5 cm. (8 x 4 5/8 in.) (2) £800 - 1,200 Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

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Lot 37 § MARY SWANZY (IRISH, 1882-1978) The Fruit Seller crayon 20.3 x 12.1 cm. (8 x 4 7/8 in.) together with; Gutting Fish crayon 20.3 x 11.7 cm. (8 x 4 5/8 in.) £800 - 1,200 Provenance Acquired directly from the artist’s estate With Pyms Gallery, London

Lot 38 § JOHN PIPER, C.H. (BRITISH, 1903-1992) Castle Howard signed ‘John Piper’ (lower right) pen & ink 10.2 x 28 cm. (4 1/2 x 11 in.) £500 - 700 Provenance With J.S. Maas & Co Ltd., London, where purchased by the present owner.

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Lot 39 § JOHN PIPER, C.H., (BRITISH, 1903-1992) Gatehouse, Castle Howard signed and inscribed ‘John Piper’/’Castle Howard’ (lower edge); further inscribed extensively (upper centre) pen & ink 10.3 x 14 cm. (5 1/4 x 5 1/2 in.) £400 - 600 Provenance With J.S. Maas & Co Ltd., London, where purchased by the present owner.

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Lot 40 § JOHN PIPER, C.H. (BRITISH, 1903-1992) Bedroom Window, Carmarthen signed ‘John Piper’ (lower right) and titled ‘Bedroom window, Carmarthen’ (verso) watercolour, gouache, chalk, ink and wash 53.2 x 70 cm. (21 x 27 1/2 in.) £6,000 - 8,000

John Egerton Christmas Piper (1903–1992), often simply known as John Piper, was a prominent British artist known for his works in various mediums, including painting, drawing, and stained glass. He played a significant role in the development of modern British art and was associated with the Neo-Romanticism movement. Piper had a deep interest in churches and architecture, and this is evident in much of his work. He was particularly drawn to historic buildings, ruins, and landscapes, and he often depicted them in a dramatic and atmospheric manner. His drawings and paintings often captured the essence and spirit of these places, conveying a sense of history and emotion. Piper’s engagement with architecture was a prominent and influential aspect of his artistic career, and his contributions to various projects and collaborations left a lasting impact on both the art scene in mid-20th century Britian and have left a lasting impact on the art world today.

Lot 41 § JOHN PIPER, C.H. (BRITISH, 1903-1992) Mary Arden’s House, The Barn signed ‘John Piper’ (lower right) and inscribed ‘Mary Arden’s House, The Barn (near Stratford on Avon)’ (verso) watercolour, gouache, crayon & ink 40 x 58 cm. (15 3/4 x 22 3/4 in.) Executed in 1980 £2,000 - 3,000 Provenance With James Kirkman, London, 2 April 1990, where purchased by the family of the present owner We are grateful to Hugh Fowler-Wright for his assistance in cataloguing this lot.

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Lot 42 § EDWARD SEAGO (BRITISH, 1910-1974) Sunlight and Shadow, Venice signed ‘Edward Seago’ (lower left) watercolour and pencil 27.5 x 38.8 cm. (10 3/4 x 15 1/4 in.) £1,500 - 2,500 Provenance With Colnaghi & Co. Ltd., London Mrs. B. Frank Exhibited Norwich, Norwich Castle Museum, Paintings by Edward Seago, 14 Jul-23 Sep 1962, cat.no.65

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Lot 43 § DUNCAN GRANT (BRITISH, 1885-1978) Paul Roche signed and dated ‘D.Grant/47’ (lower left) and inscribed ‘MAY 15 1947’ (lower right) charcoal and gouache 36.3 x 56 cm. (14 1/4 x 22 in.) £4,000 - 6,000 Provenance Acquired by private collection in the 1950s, thence by descent Their sale; Bonhams, London, 16 September 2020, lot 50, where purchased by the present owner The work depicts Paul Roche, and is believed to have been drawn at the Artist’s room at 1 Taviton Street, London. We are grateful to Richard Shone for his assistance in cataloguing this lot.

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Lot 44 § KEITH VAUGHAN (BRITISH, 1912-1977) Assembly of Figures II signed and dated ‘Keith Vaughan/1965’ (lower right); inscribed and dated again ‘Landscape with Figures (IV) 1965’ (on the front of the backboard lower right); titled and dated again ‘Assembly of Figures #2/1965’ (on a label attached another backboard) wash, gouache, pen & ink and crayon 52.5 x 44.8 cm. (20 5/8 x 17 5/8 in.) £18,000 - 25,000

Provenance The artist, from whom acquired by Russell Strauss Sale; Sotheby’s, London, 11 May 1988, lot 129 With Louise Hallett Gallery, London, where purchased by Private Collection, U.K. Their sale; Bonhams, 13 June 2018, lot 2 With Osborne Samuel, London, 2020, where purchased by the present owner We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Over the course of twenty-five years Vaughan produced nine major paintings to which he applied the title ‘Assembly of Figures’. The first dates from 1952 and the last was completed one year before he died, in 1976. He also produced a series of other related works, such as Small Assembly of Figures (1951-53), Small Red Assembly (1963), Blue Assembly of Figures (1964), Dark Assembly (1964), and Red Assembly (1964), which are variants on the theme. To this list we can also add the large Crowd Assembling I and II (1967 and 1968). All these works are painted in oil. A few related ‘Assembly’ gouaches and drawings also exist, including the present work. The ‘Assembly’ paintings share certain pictorial characteristics. For example, the protagonists are invariably male and are presented to the viewer nude or semi-nude. This makes identification of the individual, his social class or profession, impossible to ascertain. The settings are beachscapes or semi-abstracted landscape environments, whereby figure and location are melded together into a coherent, plastic vision – despite there being few specific clues to indicate where they are. Nor can we interpret what precise activities the figures are engaged in, or what the purpose of their coming together might be. Gestures are generally of an anti-dramatic type and psychological expressions are virtually non-existent. The lack of narrative clarity is intentionally restricted to engender pictorial ambiguity and generate a quality of enigmatic uncertainty. One may presume these congregations of nameless individuals, at the mercy of the elements, characterize aspects of mankind in general – naked, vulnerable, sluggish and awkward in forging both personal relationships and social associations. A reading of Vaughan’s journals indicates that they investigations concerning his own position in and relationship to the world around him. Moreover, we might imagine ourselves to be also member of one of these assemblies. These compositions rely on the assumption (hard to justify perhaps, but none the less real to me) that the human figure, the nude, is still a valid symbol for the expression of man’s aspirations and reactions to the life of his time. No longer incorporated in the church or any codified system of belief, the Assemblies are deprived of literary significance or illustrative meaning. The participants have not assembled for any particular purpose such as a virgin birth, martyrdom, or inauguration of a new power station. In so far as their activity is aimless and their assembly pointless, they might be said to symbolize an age of doubt against an age of faith. But that is not the point. Although the elements are recognisably human, their meaning is plastic. They attempt a summary and condensed statement of the relationship between things, expressed through a morphology common to all organic and inorganic matter. (Keith Vaughan, ‘Painter’s Progress’, Studio, August 1958) We are grateful to Gerard Hastings for compiling this catalogue entry.

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Lot 45 § KEITH VAUGHAN (BRITISH, 1912-1977) The Wall at Ashton Gifford VII signed ‘Keith Vaughan’ (lower right) gouache, pen & ink 25 x 33.5 cm. (9 7/8 x 13 1/4 in.) Executed in 1942 £8,000 - 12,000 Provenance Sale; Cheffins, Cambridge, 12 May 2016, lot 374 With Osborne Samuel, London, 2020, where purchased by the present owner We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Vaughan was stationed at Codford in Wiltshire in the summer of 1942 near Ashton Gifford House, where Greenways Preparatory School had been evacuated from nearby Bognor Regis. His company was given the task of clearing the grounds. The romantic, overgrown setting inspired several paintings over the course of the next few years, including The Working Party (1942), Tree Felling at Ashton Gifford (1942–43) and The Garden at Ashton Gifford (1944) and a group of at least eight others, to which the present work belongs. The woodland not only offered the soldiers worthwhile community service but also provided much needed fuel for the army in the form of wood. Dozens of trees had to be felled and cut into regulation-sized logs with handsaws. It was backbreaking employment and, while No. 9 Company spent the hot summer months sweating at their labours, Vaughan took the opportunity to made dozens of drawings, usually in pen and ink. He filled several sketchbooks with rapidly executed figure studies and related material. Army life precluded large-scale oil painting or studio work and so Vaughan carried around his basic materials in his knapsack. He found considerable aesthetic qualities in his surroundings, enough to write about to his friend, the painter Norman Towne: …white and ochre branches plunging down into the oceanic surging of tangled nettles. People walking through the waist-high grass, through the aqueous leaf-green shadow, arms full of dead wood…and the wall running as an indefatigable horizontal, losing and finding itself in the jungle of weed and ivy…I wanted to capture this in lassoes of line and nets of colour, but it’s more difficult than writing about it. (Keith Vaughan, Letter to Norman Towne, October 12, 1942). We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 46 § KEITH VAUGHAN (BRITISH, 1912-1977) Dark Assembly signed with initials, titled and dated ‘Dark Assembly 1959/K.V’ (to a detached label) ink and wash 25 x 28.9 cm. (9 7/8 x 11 3/8 in.) Executed in 1959 £1,500 - 2,500 Provenance With Nina Zborowska, Gloucester Sale; Phillips, London, 6 June 2000, lot 47 With Wenlock Fine Art, Much Wenlock With Zulieka Gallery, London, 2020, where purchased by the present owner We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

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Lot 47 § DAME ELISABETH FRINK, R.A. (BRITISH, 1930-1993) Crouching Figure with Horse’s Head signed and dated ‘Frink 51’ (lower right) pen & ink and wash 75.5 x 56 cm. (29 3/4 x 22 in.) £12,000 - 18,000 Provenance Walter Brandt Sale; Sotheby’s, London, June 1979, where acquired by John Constable, where acquired by With Zuleika Gallery, London, 2020, where purchased by the present owner

Born in Suffolk in 1930, Dame Elisabeth Frink’s artwork displays great style and skill, and leans heavily on her experiences as an artist growing up in Britian during the austerity of the inter-war and post-war years. When the Tate purchased a sculpture by Frink, aged 22, she gained incredible stature and became acquainted and artistically associated with many prominent artists. Her exposure to international sculptors was great. The influence of Augustus Rodin and principally Alberto Giacometti are prominent in her work, with the latter’s use of plaster of paris reflected in her own. Her time spent in the pubs of London with Freud, Bacon and Minton, began an affiliation with the artists who became defined as ‘the geometry of fear’ by influential critic Herbert Read, and would cement Frink’s position as one of the most prominent British artists of 20th century. In the earliest examples of her work, even those that preceded her attendance at the Chelsea School of Art in 1949, her visions were far from optimistic. Her earliest drawings accomplished during the 50s depicted bleak and dystopian realities, bird-like figures, crucifixions, horses and warriors. These themes permeated much of her work, including notably her sculptures whereby she revisited many motifs, the horse and rider, the depiction of birds and the human form, among many other themes.

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“Frink had always drawn and from the beginning her drawings were always large. (…) Her early figures and birds, horses and riders, are like caged wild creatures, or cramped contortionist, trying to get out” - Annette Ratuszniak, Elisabeth Frink Catalogue Raisonne of Sculpture 1947-95, p.22

This incredibly early example, Frink’s Crouching Figure with Horse’s Head, executed in 1951, during her later years as a student at Chelsea School of Art, is monumental in scale and dark in subject matter. Depicting the hunched human form, with elongated hands and feet with the head of a horse, both appearing vulnerable, the drawing is inescapable from the harsh reality of 1950s Britian, the circulation of the horrors of the gas chambers, the destruction of many British towns and a period of austereness. The work is undoubtably sculptural in its rendering both the head of the figure and horse are constructed with a three-dimensionality as monochromatic materials of pen & ink and grey wash sculpt the sheet. The relationship between the figure and the horse is intrinsically linked as we witness a connection between the two. This is something repeated in the artist’s work, and there are countless examples of the relationship between horses and figures, from other early drawings such as Horses and Warriors (1950) to much later sculptural examples of the horse and rider in many different forms. Frink remarked in 1992 that, ‘The horse has done so much for man (…) carries him into battle’, referencing the relationship between the two beings and further commenting on the fragility of this bond, stating everything can transform in just one action – the horse ‘chucking him off ’ their back. These relationships are carefully explored and the deep connection between man and nature is not only present in this work but reflected in many such examples, not only with horses but also that of birds. It is evident that Frink’s experience as a child, living very close to a local airbase where she witnessed scenes of fighter-war planes from such a young age had an immense impact on her work. These experiences informed much of the imagery that she used throughout her career and this trauma was reflected in her depictions of both man and nature, both individually and together. This early example of her work perfectly captures the key motifs and themes within much of Frink’s work, and perfectly capture both strength and fragility between man and beast.

Lot 48 § DAME ELISABETH FRINK, R.A. (BRITISH, 1930-1993) Dead Pheasant signed and dated ‘Frink 65’ (lower right) watercolour 74.5 x 54.5 cm. (29 3/8 x 21 1/2 in.) £3,000 - 5,000 Provenance Possible sale; Sotheby’s, London, 11 October 1989, lot 326 With Manya Igel Fine Arts, London, where purchased by the present owner

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Lot 49 § REG BUTLER (BRITISH, 1913-1981) Acrobat signed and dated ‘Bulter 57’ (upper left) pencil 50 x 69 cm. (19 5/8 x 27 1/8 in.) £4,000 - 6,000 Provenance With Pierre Matisse Gallery, New York With Staempfli Gallery Inc., New York With Lee Alt & Company Inc., New York Sale; Sotheby’s, New York, 29 September 1994, lot 299, where purchased by Joseph and Blanche Blank Their sale; Sotheby’s, London, Ground Breaking: Works from the Collection of Joseph and Blanche Black, 17 November 2020, lot 328, where purchased by the present owner

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Lot 50 § KEITH VAUGHAN (BRITISH, 1912-1977) Figure Study dated ‘Sep19/63’ (upper right) pastel 50.8 x 40.4 cm. (20 x 16 in.) £8,000 - 12,000 Provenance With Portland Gallery, London, 6 July 2022, where purchased by the present owner We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Vaughan used wax crayon as early as the 1940s but in 1959 he discovered oil pastels while he was teaching at the Iowa State University Art Department. He brought dozens of boxes of them back with him to London. Their density of colour and the immediate manner in which they could be applied instantly inspired him. Furthermore, since they don’t leave a dusty residue nor smudge like traditional artists’ chalks, they offered new and unforeseen possibilities. In a letter to his close friend the painter Prunella Clough, Vaughan expounded their virtues explaining that they were ‘waterproof, impervious to everything, can be rolled, stamped on, eaten!’ (see M. Yorke, Keith Vaughan his Life and Work, London 1990, p. 189). As ever, Vaughan employs an economical and harmonious selection of four or five related hues, building up an abstract arrangement of forms encasing a series of interpenetrating figures. The chromatic arrangement of cobalts, indigos and azures are counterbalanced by more dominant blacks and earthy hues. Vaughan exhibited fourteen such oil pastels as part of his 1962 Retrospective at the Whitechapel Gallery. We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 51 § KEITH VAUGHAN (BRITISH, 1912-1977) Standing Male Nude pencil stamped with estate stamp ‘K.V.’ (lower-right beneath the mount) 28 x 20.3 cm. (11 x 8 in.) Executed circa 1952 £1,000 - 2,000 Provenance The artist, whom gifted to Professor Ball Sale; Wooley & Wallis, Salisbury, 4 December 2018, lot 354, where purchased by the present owner Exhibited London, Gallery 27, Keith Vaughan: Four Decades Drawing, 6-11 Sep 2010, cat.no.34 We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

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Lot 52 § KEITH VAUGHAN (BRITISH, 1912-1977) Reclining Male Nude pencil stamped with estate stamp ‘K.V.’ (verso) 20 x 28 cm. (8 x 11 in.) Executed circa 1962 £1,000 - 2,000 Provenance Sale; Bonhams, London, 18 Nov 2014, lot 139 We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot. Vaughan’s ‘Grafitti [sic] Drawings’ provide a unique insight into his psychosexual core, so important in feeding his wider creative abilities; they represent the culmination of decades of continual draughtsmanship. We see him chasing the fleeting thought and keeping his mental fantasies animated whilst giving them visual form. By now he

understood enough of anatomy to draw without recourse to models, but it is evident that he returned to his photographs of male nudes, some taken as early as the 1930s, since these can be linked to certain poses and attitudes in his late drawings. They give voice to what Professor John Ball described as “Keith’s complex sexuality and his refined artistic vision. They are wonderfully evocative and masterfully concise. For me they’re some of the finest things that Keith produced - distilled rather like Beethoven’s late quartets or Eliot’s best poems - seemingly effortless yet packed with significance. There’s such an economy of means – a few lines express an entire biography or a complex persona. Keith drew to work out his passions and make his emotional requirements concrete. Most are terribly personal and so very moving in their honesty; they’re concerned with basic and often brutal human truths and examine complicated inter-relationships – what more can one ask of an artist?” (Professor John Ball, correspondence with Gerard Hastings, 2009) We are grateful to Gerard Hastings for compiling this catalogue entry.

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Lot 53 § SIR SIDNEY NOLAN (BRITISH/AUSTRAILIAN, 1917-1992) Figure in a Landscape signed ‘nolan’ (lower right) mixed media on paper 51.2 x 75 cm. (20 1/8 x 29 1/2 in.) £6,000 - 8,000 Provenance Sale; Bonhams, London, 28 March 2006 With Pyms Gallery, London

“I’m compelled and dedicated to transmitting emotions and I care for very little else.” - Sidney Nolan) Sir Sidney Nolan, a prominent figure in Australian modernist art, is renowned for his portrayals of the historical and mythological aspects of rural life in Australia. His paintings, characterized by vibrant colours, compelling compositions, and intentionally unconventional techniques, capture narratives of loss, failure, and captivity in the Australian context. His works often feature iconic figures such as the outlawed Kelly Gang, the shipwreck survivor Eliza Fraser, and the explorers Burke and Wills. Nolan’s iconic depictions of the Kelly Gang played a crucial role in shaping Ned Kelly as a symbol representing Australian history and identity.

Lot 54 § SIR SIDNEY NOLAN (BRITISH/AUSTRAILIAN, 1917-1992) Couple Embracing mixed media on paper 30.3 x 25.2 cm. (12 x 10 in.) £800 - 1,200 Provenance Sale; Sotheby’s, London, 15 November 2001 With Pyms Gallery, London

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Lot 55 § SIR SIDNEY NOLAN (BRITISH/AUSTRAILIAN, 1917-1992) Lowell - Prometheus signed and dated ‘Nolan 67’ (lower right) mixed media on paper 24.6 x 30 cm. (9 3/4 x 11 3/4 in.) £1,200 - 1,800 Provenance Sale; Sotheby’s, London, 15 November 2001 With Pyms Gallery, London Exhibited London, Pyms Gallery, Sir Sidney Nolan OM RA (1917-1992), 26 Apr-19 May 2006, cat.no.13

Lot 56 § PAUL LUCIEN MAZE (BRITISH/FRENCH, 1887-1979) Farms in Sussex signed and dated ‘Paul Maze 1957’ pastel 54.5 x 74.5 cm. (21.5 x 29.5 in.) £400 - 600 Provenance The estate of the artist Their sale; Tennants, Leyburn, 4 March 2023, lot 34 Exhibited New York, Acquavella Galleries (untraced exhibition)

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Lot 57 § PAUL LUCIEN MAZE (BRITISH/FRENCH, 1887-1979) Boats moored on the river signed ‘Paul Maze’ (lower left) watercolour and charcoal 19.3 x 32 cm. (7 5/8 x 12 3/8 in.) £300 - 500

Lot 58 § NORMAN BLAMEY, O.B.E., R.A. (BRITISH, 1914–2000) The Flower Stall signed with initials ‘N.B.’ (lower right) oil on canvas 51 x 61.5 cm. (20 x 24 1/4 in.) Painted in 1949 £3,000 - 5,000 Provenance Sale; Bonhams, London, 3 June 2014, lot 109 With Messum’s Fine Art, London, September 2014, where purchased by the present owner Please note there is a further work painted verso of women working.

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Lot 60 § LEONARD ROSOMAN, O.B.E., R.A. (BRITISH, 1913-2012) Tending to the flowers signed ‘Leonard Rosoman’ (lower left) oil on canvas 50.8 x 75.5 cm. (20 x 29 3/4 in.) £1,500 - 2,500

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Lot 61 § SIR KYFFIN WILLIAMS, R.A. (BRITISH, 1918-2006) Llanrhyddlad signed with initials ‘KW’ (lower right) and titled ‘LLANRHYDDLAD’ (on the frame verso) oil on canvas 41 x 55.5 cm. (16 1/8 x 21 7/8 in.) £12,000 - 18,000 Provenance Acquired from the artist through Tegfryn Art Gallery, Anglesey, by the family of the present owner

Kyffin Williams’ prominence both among native Welsh patrons and nationwide is reflected in his personal and artistic achievements. He became a Royal Academician in 1974 at the age of 80 and received a Knighthood in 1982, both recognition of his contribution to Modern British Art and the success he experienced in later life. His works became so familiar, and instantly recognisable that his paintings were often referred to as ‘Kyffins’. In the case of this painting, Kyffin depicts Llanrhyddlad, a hamlet in north-west Wales. It was a place in which he explored on several occasions, his other version, a drawing with the same title.

‘My mountains and my farm houses were their mountains and their farm houses. They knew my stone cottages and the people who lived in them and they bought my pictures because they represented what they knew and loved.’ - Sir Kyffin Williams In the painting, he displays houses embedded among the hills. The houses which make up this remote village are as much a part of the landscape as the green hills they lie on. Like in many of his works grey, murky and thickly clouded sky dominates over half of the composition, perhaps a result of the difficulty the artist had working under bright sunlight potentially a result of his epilepsy. Fascinatingly, the image recto is starkly contrasted to the work verso, disregarded by the artist, as the canvas was re-purposed, with a complete work recto, it displays both the considered nature of Kyffin’s practice and his commitment to portraying a variety of landscapes, ‘the hills of his boyhood’.

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Lot 62 § SIR KYFFIN WILLIAMS, R.A. (BRITISH, 1918-2006) Storm over Snowdon from Llanllyfni signed with initials ‘KW’ (lower right) oil on canvas 56.2 x 76.8 cm. (22 1/8 x 30 1/4 in.) £15,000 - 25,000 Provenance The artist, from whom purchased by Private Collection Their Sale; Christie’s, London, 7 October 2008, lot 96, where purchased by the present owner

Kyffin Williams rugged landscapes and vivid portraits became emblems of Welshness. The artist’s moody and deeply atmospheric portrayal of Storm over Snowdon from Llanllyfni, the highest point in the British Isles outside of the Scottish Highlands, captures Williams dedication to realistic portrayals of climatic landscapes. The painting captures the dominant force of nature over man, and it this case, ‘the artists’ relationship with it. In his works, nature is always a dominating force, it consumes the composition. Such is the case with this painting, its framing enables us to feel amongst the landscape, with stormy skies governing the background and muddy peaks central to the foreground. It is almost impossible to divorce his rendering of such unpredictably harsh and rugged scenes with that of his own mental state. There is undoubtably an anxiety within many of his works, not only in their isolated subject matters but too in his practice and processes. The uneasiness expressed in his works might have been rooted in many documented experiences a man suffering with epilepsy, losing consciousness, ‘without warning, in the mountains of Wales or on the London Underground I would hear music’. In this work in particularly, he captures a storm, it comes with little warning, for a moment in time creating much disorientation.

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Lot 63 § SIR KYFFIN WILLIAMS, R.A. (BRITISH, 1918-2006) Hill Farmer (Wil Ifan) signed with initials ‘KW.’ (lower right) and numbered ‘8’ (verso) ink and wash 42 x 29.7 cm. (16 1/2 x 11 3/4 in.) £3,000 - 5,000 Provenance With Thackeray Gallery, London, May 2006, where purchased by Simon Barnes Private Collection, from whom acquired by the present owner

Executed in 1991,Sir Kyffin William’s drawing titled, Hill Farmer (Wil Ifan), captures a hill farmer, named ‘Wil Ifan’, William Evans. The work demonstrates the true essence of Williams interest in the Welsch landscape and those that resided within it.

‘Perhaps nothing defines Kyffin Williams as well as his drawings of old Welsh farmers and shepherds…Having grown up walking the mountains with them, it was to these men that the artist owed his intimate knowledge of the landscape and his profound love of it. His portrayals honour their integrity and tenacity, they show his respect.’ (Rian Evan, Kyffin Williams: The Light and The Dark) This work is no exception, the farmer, despite being named, is an unidentifiable figure who as Williams himself described, ‘is always the man who lived amongst the rocks (…) part of our landscape’. In many such examples of these works on paper, his farmers are often hunched over a hazel stick. Williams himself remarked, ‘The hazel stick is so much a part of the farmer in North Wales (…) Farmers lean on it, use it for balance when crossing a steep hillside and also for sorting out sheep. It is an invaluable piece of equipment’. Clearly noting the significance of the hazel stick and its prominence in his authentic depiction of hill farmers. In this specific work, this quote is perhaps most true, rather than showing Wil Ifan among the landscape, he stands alone and isolated, the hazel stick is placed so close to him, a vital part of his being.

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Lot 64 § JOSEF HERMAN, R.A. (BRITISH, 1911-2000) Lone Figure signed, titled and dated ‘LONE FIGURE/1978/Josef Herman’ (on a board attached to the backboard) gouache and watercolour 25.5 x 19.5 cm. (10 x 7 3/4 in.) £500 - 700 We are grateful to Roger Thornton for his assistance in cataloguing this lot.

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Lot 65 § JOSEF HERMAN, R.A. (BRITISH, 1911-2000) The Lovers signed, inscribed and dated ‘Lovers/8.10/1978/To June/with affection/Josef Herman’ (on the backboard) watercolour, chalk, pen & ink 25 x 18.5 cm. (9 3/4 x 7 1/4 in.) Executed in 1978 £800 - 1,200 Provenance The artist, whom gifted to the family of the present owner We are grateful to Roger Thornton for his assistance in cataloguing this lot.

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Lot 66 § JOSEF HERMAN, R.A. (BRITISH, 1911-2000) Nude gouache, wash and furniture polish 22 x 17 cm. (8 3/4 x 6 3/4 in.) £400 - 600 Exhibited Wales, National Museum of Wales, Josef Herman, 30 May-26 July 1992, cat no.48 We are grateful to Roger Thornton for his assistance in cataloguing this lot.

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Lot 67 § JOSEF HERMAN, R.A. (BRITISH, 1911-2000) Standing figure with reflection gouache, wash, pen & ink and furniture polish 20.7 x 17.8 cm. (9 x 7 in.) £400 - 600 We are grateful to Roger Thornton for his assistance in cataloguing this lot.

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Lot 68 § ELIOT HODGKIN (BRITISH, 1905-1987) Lupin Leaves signed and dated ‘Eliot Hodgkin/1963’ (upper right) oil on board 27.5 x 21 cm. (10 3/4 x 8 1/4 in.) £8,000 - 12,000 Provenance R.Chapman With New Grafton Gallery, London Sale; Sworders, Stansted, 15 October 2013, lot 68 (as Lupins Leaves in a Porcelain Vase) where purchased by the present owner Exhibited London, New Grafton Gallery, Artists of Yesterday, Today and Tomorrow Part 2, 17 Jun-9 Jul 1982 We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Modern British and Irish Art, Chiswick Auctions, Barley Mow Centre, Chiswick London, W4 4PH Auctions, or email: modernbritishart@chiswickauctions.co.uk

Hodgkin primarily employed oils and egg tempera in his artistic endeavours, notably reviving the latter technique to craft masterful representations of commonplace items like lemons, radishes, dead leaves, and feathers. His ability to render these objects with almost eerie precision was a distinctive hallmark of his work. Drawing inspiration from the Dutch and Spanish still life traditions, Hodgkin’s paintings echoed the styles of admired artists such as Adriaen Coorte and Sanchez Cotan. In a letter to his friend Sir Brinsley Ford, Hodgkin expressed his artistic philosophy, stating, “I like to show the beauty of things that no one looks at twice.” This sentiment underscored his inclination towards capturing the overlooked beauty in everyday subjects.

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Lot 69 § JOHN MORLEY (BRITISH, b.1942) Quinces and Apple signed and dated ‘John Morley 2000’ (lower right) pastel 18 x 27 cm. (7 x 10 1/2 in.) £300 - 500 Provenance With The Piccadilly Gallery, London, November 2002, where purchased by the present owner

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Lot 70 § FRANK OWEN SALISBURY (BRITISH, 1874-1962) The Puppet signed ‘Frank O Salisbury’ (lower left) and titled ‘THE PUPPET’ (verso) oil on canvas 73.5 x 60 cm. (29 x 23 1/2 in.) £400 - 600 Provenance Sale; Sworders, Stansted, 31 January 2021, lot 109

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Lot 71 § KATHARINE CHURCH (BRITISH, 1910-1999) Flowers signed and dated ‘Katherine Church ‘45’ (lower right); further signed, titled and dated ‘July 1946/Katherine Church/Flowers’ (on the stretcher) oil on canvas 56 x 45.5 cm. (22 x 18 in.) £400 - 600 Provenance With Leicester Galleries, London Exhibited London, Leicester Galleries, Exhibition of Works by Artists of Fame and Promise, July 1946

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Lot 72 § EDWARD LE BAS, R.A. (BRITISH, 1904-1966) Polly signed ‘E le Bas’ (lower left); further signed and inscribed ‘E.LE BAS/No4/POLLY’ (verso) oil on board 57 x 46.7 cm. (27 x 18 3/8 cm.) £600 - 800 Exhibited London, Royal Academy, C.E.M.A. Exhibition, 1945, no.31

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Lot 73 § MARY POTTER (BRITISH, 1900-1981) Rain signed and dated ‘Mary Potter 77’ (verso) and titled ‘RAIN’ (on the stretcher) oil on canvas 50.9 x 62 cm. (20 x 24 in.) (unframed) £2,000 - 3,000 Provenance With The New Art Centre, London

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Lot 74 § MARY POTTER (BRITISH, 1900-1981) Crag House Window watercolour 28.5 x 29 cm. (11 x 11 1/2 in.) £300 - 500 Provenance With Thompson’s Gallery, Aldeburgh

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Lot 75 § MARY POTTER (BRITISH, 1900-1981) The Rococo Mirror watercolour 19 x 11 cm. (7 1/2 x 4 1/4 in.) together with; Rose and Glass watercolour 16 x 20.3 cm. (6 1/4 x 8 in.) £300 - 500 Provenance With Thompson’s Gallery, Aldeburgh

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Lot 76 § DENNIS CREFFIELD (BRITISH, 1931–2018) Westminster Abbey: from the Cloisters signed twice, titled and dated ‘Dennis Creffield/WESTIMINSTER ABBEY 1948/THE CLOISTERS/DENNIS CREFFIELD’ (verso); further signed and inscribed ‘DENIS CREFFIELD’ (to a label attached verso) oil on board 76 x 60.5 cm. (29 7/8 x 23 3/4 in.) £800 - 1,200 Provenance With Flowers Gallery, London

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Lot 77 § DENNIS CREFFIELD (BRITISH, 1931–2018) Carreg Cennen Castle, Carmarthenshire signed and dated ‘Dennis Creffield ‘02’ (lower right) charcoal 55 x 70 cm. (21 5/8 x 27 1/2 in.) £500 - 700 Provenance With New Academy Gallery, London

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Lot 78 § ADRIAN DAINTREY (BRITISH, 1902-1988) Abermule signed with initials and dated ‘AD 1951’ (lower left); further signed, titled and dated ‘Adrian Daintrey/Abermule/1951’ (verso) oil on board 22 x 42.7 cm. (8 1/2 x 16 1/2 in.) £300 - 500

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Lot 79 § LEIGH DAVIS (BRITISH, b.1970) Untitled signed and dated ‘Leigh 14’ (lower right) oil on board 25 x 43 cm. (9 2/4 x 17 3/4 in.) £1,500 - 2,500 Provenance With Rowntree Clark, London, where acquired by the present owner

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Lot 80 § LEIGH DAVIS (BRITISH, b.1970) Fallen Flyer signed ‘Leigh’ (lower right); further signed titled and dated ‘Fallen Flyer Leigh Davis/2014’ (verso) oil on board 21 x 40 cm. (8 x 15 3/4 in.) £1,500 - 2,500 Provenance With Rowntree Clark, London, where acquired by the present owner

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Lot 81 § SIR TERRY FROST, R.A. (BRITISH, 1915-2003) Blue, Black and Green Collage signed, titled and dated ‘Terry Frost/Blue Black and Green Collage/01’ (verso) acrylic and collage on board 66.3 x 26.8 cm. (26 1/8 x 10 3/8 in.) £3,000 - 5,000 Provenance With Clark Art Ltd., Cheshire, where acquired by the present owner Exhibited London, Zuleika Gallery, British Art Fair, 28 Sep-1 Oct 2023

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Lot 82 § SANDRA BLOW (BRITISH, 1925-2006) Nightlife signed ‘BLOW’ (verso) acrylic, paper, canvas and collage on board 63.5 x 63.5 cm. (25 x 25 in.) £3,000 - 5,000 Provenance Purchased from the Royal Academy Summer Exhibition by the present owner in 2001 Exhibited London, Royal Academy, London, Summer Exhibition, 2001

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Lot 83 § SANDRA BLOW (BRITISH, 1925-2006) Squares IV signed and dated ‘Blow 04’ (lower right) collage and acrylic on card 30 x 30 cm. (11 3/4 x 11 3/4 in.) £2,500 - 3,500 Provenance With Howarth Art Gallery, Burnley, May 2005, where purchased by the present owner

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Lot 84 § SANDRA BLOW (BRITISH, 1925-2006) Squares III signed and dated ‘Blow 04’ (lower right) collage and acrylic on card 28.5 x 30 cm. (11 1/4 x 11 3/4 in.) £2,500 - 3,500 Provenance With Howarth Art Gallery, Burnley, May 2005, where purchased by the present owner

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Lot 85 § MICHAEL CANNEY (BRITISH, 1923-1999) Penrith Landscape signed and dated ‘michael canney 64’ (verso) oil on board 24.1 x 29 cm. (9 1/2 x 11 3/8 in.) £2,500 - 3,500 Provenance Sale; Christie’s, London, 2 May 1997, lot 209 Sale; Lyon & Turnbull, London, 23 October 2020, lot 150, where purchased by the present owner

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Lot 86 § TREVOR BELL (BRITISH, 1930-2017) Silver Black with Green signed and dated ‘Bell 59’ (lower right); further signed and titled ‘Silver Black with Green/by Trevor Bell’ (on the canvas overlap) oil on canvas 91 x 59 cm. (35 3/4 x 23 1/4 in.) £4,000 - 6,000 Provenance Jonathan Grimble His sale; David Lay, Cornwall, 7 December 2021, lot 11, where purchased by the present owner

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Lot 87 § GEORGE DANNATT (BRITISH, 1915-2009) Ribbon Development in Green and Yellow signed, dated twice and titled ‘Ribbon development in green + yellow/Aug/Sept 1975/George Dannatt 1975’ (on the backboard verso) acrylic and gouache on cotton 56 x 39.3 cm. (22 x 15 1/2 in.) £1,000 - 1,500 Provenance With Katharine House Gallery, Marlborough, where purchased by the present owner

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Lot 88 § ALASTAIR MORTON (BRITISH, 1910-1963) Untitled signed with initials and dated ‘July 40/A.M.’ (verso) crayon and pencil 37 x 26 cm. (14 1/2 x 10 1/4 in.) £700 - 1,000 Provenance The estate of the artist, from whom acquired by Paul Conran, circa 1985, from whom acquired by the present owner

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Lot 89 § ALASTAIR MORTON (BRITISH, 1910-1963) Untitled signed with initials and dated ‘AM/52’ (lower right) gouache and pen & ink 28.5 x 14.6 cm. (11 1/2 x 5 3/4 in.) £700 - 1,000 Provenance Acquired directly from the artist’s estate by the present owner, in the early 1980s Exhibited London, Louise Hallett, 20th Century Art (untraced exhibition)

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Lot 90 § RALPH BROWN, R.A. (BRITISH, 1928-2013) Eclogue bronze with a green patina 60 long x 43 wide x 38 cm. high (23 5/8 x 17 x 15 in.) From the edition of 8, conceived and cast in 1960 £2,000 - 3,000 Provenance Andrew Burt Collection Sale; Swan Auctions, Tetsworth, The Andrew Burt Collection of Modern Art, 3 September 2019, lot 39, where purchased by the present owner Exhibited London, Pangolin, Ralph Brown at Eighty: The Early Decades Revisited, 18 Mar-3 May 2009, another cast

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Lot 91 § ROBERT ADAMS (BRITISH, 1917–1984) Rectangle with Vees bronzed steel 42 x 29.3 cm. (16 1/2 x 11 1/2 in.) unique Executed in 1965 £2,000 - 3,000

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Provenance With Osborne Samuel, London With Stoops Gallery, Kelbrook, where purchased by the present owner Exhibited London, Gimpel Fils, Robert Adams - Recent Sculpture, 4-29 Oct 1966, no.15 Literature Alastair Grieve, The Sculpture of Robert Adams, published by the Henry Moore Foundation, London, 1992, no.492, p.217 (Opus 251) (ill.)

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Lot 92 § PAUL FEILER (BRITISH, 1918-2013) Ambit VI signed, titled and dated ‘PAUL FEILER/AMBIT VI 1970’ (verso) oil on canvas laid on board 21.2 x 21.2 cm. (8 x 8 in.) £7,000 - 10,000 Provenance The artist, from whom acquired by Private Collection, U.K. Their sale; Bonhams, London, 29 June 2011, lot 99, where purchased by the present owner Exhibited London, Austin Desmond Fine Art, Paul Feiler, Paintings and Related Works on Paper, Spring 1990, cat.no.52 (col.ill) Literature Michael Raeburm, Paul Feiler 1918-2013, Lund Humphries, London 2018, cat.no.123. (col.ill)

Feiler’s artistic vision centred on the concept of “standing vertically and looking horizontally,” a philosophy rooted in Cézanne’s notion that a painting should offer an “abyss in which the eye is lost.” Transitioning from painterly abstraction, Feiler delved into probing the enigmatic qualities of space using narrow bands of colour, silver, and gold arranged in a pattern of squares and circles. This exploration, subject to variation and development, spanned over four decades.

“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

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Lot 93 § JOHN MILNE (BRITISH, 1931-1978) Megalith signed with initials, numbered and dated ‘JEM/2/9/1974’ (on the base); numbered again ‘2/9’ and stamped with a Morris Singer foundry mark (on the back on the sculpture) polished bronze 20.5 cm. (9 7/8 in.) high (excluding the base) £3,000 - 5,000

Provenance Andrew Burt, His sale; Swan Auctions, Tetsweorth, The Andrew Burt Collection of Modern Art, Painting and Bronze Sculpture, 3 September 2019, lot 87, where purchased by the present owner Exhibited London, The Belgrave Gallery, The Sculpture of John Milne, Jun 2000 Literature Davies, Peter, The Sculpture of John Milne, Belgrave Gallery, London and St. Ives, 2000, cat.no.J.M.152, p.93 (ill.) We are grateful to Dr. Ian Massey for his assistance in cataloguing this lot

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Lot 94 § ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014) Opener (Bottle) signed, titled and dated ‘OPENER (BOTTLE) Alan Davie 59’ (lower right) oil on paper laid onto canvas 41 x 53 cm. (16 1/8 x 20 7/8 in.) £8,000 - 12,000 Provenance With Alan Wheatley Art, London, from whom purchased by the family of present owner

Alan Davie’s innovative and mysterious abstract depictions have earned the artist widespread and international acclaim. Davie’s use of symbolism, personal pictograms and modern interpretations of the ancient past is one immediately identifiable with the artist, now a household name. His work is held in major institutions such as the Museum of Modern Art, New York, the Peggy Guggenheim Museum, Venice and the Stedelijk Museum, Amsterdam. The artist’s list of influences and inspirations is wide-ranging and exhaustive. His use of symbolism from various cultures ranges from the Ancient Egyptian, Western magical, African tribal, prehistoric, a wide variety of religious iconography and his own deep routed Celtic heritage.

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Lot 95 § ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014) Elephant signed, titled and dated ‘Alan Davie 89/ELEPHANT’ (upper right) gouache 55.8 x 69.8 cm.(22 x 27 1/2 in.) £2,000 - 3,000 Provenance With Gimpel Fils, London, from whom purchased by the present owner

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Lot 96 § ALAN DAVIE, C.B.E., H.R.S.W., R.A. (BRITISH, 1920-2014) Summer Improvision No.5 signed, titled and dated ‘Summer Improvision No.5/Alan Davie Sept 75’ (upper left) oil, gouache and watercolour on paper 52 x 78 cm. (20 x 30 in.) £1,200 - 1,800 Provenance With Gimpel Fils, London With Alan Wheatley Art, London, from whom purchased by the present owner

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Lot 97 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) Inner workings gouache, collage and pen & ink on paper 27 x 19 cm. (10 1/2 x 7 1/2 in.) £1,500 - 2,500 Provenance The estate of the artist

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Lot 98 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) Mechanical man plaster and wood 74.1 high x 25.4 wide x 30 cm. deep (29 1/4 x 10 x 11 7/8 in.) £3,000 - 5,000 Provenance The estate of the artist

Eduardo Paolozzi (1924-2005) stood out as one of the 20th century’s most inventive and irreverent artists. Recognized as the ‘godfather of Pop Art,’ his collages, sculptures, and prints were at the forefront of challenging artistic norms, spanning from the 1950s through the Swinging Sixties and into the era of ‘Cool Britannia’ in the 1990s. ‘’Paolozzi’s approach, like that of Picasso and the Surrealists, often involved the use of found objects. His studio was filled with plaster casts of the objects that appealed to him - dolls, toys, machine parts etc. Sometimes these objects would simply be cast, at other times they were chopped up and reassembled, or individually coloured by the artist.

As with Rodin’s approach to plaster, Paolozzi often regarded the plaster as the final work and most of Paolozzi’s plasters were never intended for casting or editioning.’’ (Robin Spencer on the artist)

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Lot 99 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) Untitled plaster relief 43 x 22.3 x 9.8 cm. (17 x 8 3/4 x 3 7/8 in.) Executed in 1974 £1,000 - 2,000 Provenance The estate of the artist

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Lot 100 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) Mechanical metropolis pencil 28 x 20 cm. (11 x 8 in.) (unframed) £400 - 600 Provenance The estate of the artist

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Lot 101 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) The machine city crayon and pencil 22.5 x 29 cm. (8 3/4 x 11 1/2 in.) (unframed) £400 - 600 Provenance The estate of the artist

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Lot 102 § SIR EDUARDO PAOLOZZI (BRITISH, 1924-2005) The grid pencil 25 x 35 cm. (10 x 13 3/4 in.) (unframed) £400 - 600 Provenance The estate of the artist

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Lot 103 § ROBERT LENKIEWICZ (BRITISH, 1941-2002) Self-Portrait signed and inscribed ‘R.O.Lenkiewicz/Profile Self-Portrait/Lower Compton Studio/ R.O.Lenkiewicz/Non Project Piece’ (verso) oil on linen 61.5 x 60.5 cm. (24 1/4 x 23 3/4 in.) £7,000 - 10,000 Provenance Sale; Plymouth Auctions, 18 January 2023, lot 50, where purchased by the present owner

In today’s context, it’s a rarity for the passing of an artist to evoke such a profound and emotional public reaction as was witnessed with Robert Oscar Lenkiewicz. His paintings spoke directly to the everyday individual, resonating not just as the work of a highly talented artist but as the creation of someone with the ability to prompt contemplation about their own lives and the world they inhabit.

“The Bluebeard of British art” - Daniel Farson Robert Lenkiewicz, a natural maverick and provocateur, intentionally stood in contrast to prevailing views on ethical and aesthetic matters. Nevertheless, he managed to cultivate a broad following among regular people who were drawn to his charismatic personality, generosity, and abundant artistic and educational talents. When asked about his preferred legacy, whether as a sociological inquirer or as a skilled painter with insights into the human condition, he characteristically responded, “When one has a choice between two things, always take both.”

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Lot 104 § DAME PAULA REGO D.B.E., R.A. (BRITISH/PORTUGESE, 1935-2022) Wendy and Hook III signed ‘Paula Rego’ (lower left) watercolour and ink on paper 29.7 x 41 cm. (12 x 16 1/4 in.) Executed in 1992 £15,000 - 25,000 Provenance With Marlborough Gallery, London, where purchased by family of the present owner Exhibited London, Marlborough Gallery, Paula Rego Peter Pan & Other Stories, 3 Dec 1992-30 Jan 1993, cat.no.14 (col.ill)

“My paintings are stories, but they are not narratives, in that they have no past and future.” - Dame Paula Rego Paula Rego was born in 1935 in Lisbon and studied at Slade Art School. She would become, and still is to this day, one of the most important figurative painters of the 20th century. Rego’s commitment to the most traditional forms of artmaking is exemplified in her illustrations, prints, and large scale paintings. Her works are dominated by a variety of sources, inspired by children’s stories, Portuguese folk-tales and the artist’s own imagination. In an interview in 2017, when talking about L.S Lowry, Rego commented on the lack of drawing done at art schools and how it was “a great shame”. Drawing was such a vital part of her experience at Slade, and she remarked in the same interview, “I drew from my head I drew all sorts of things”. Her successful draughtsmanship is clear in many examples of her work where she portrayed folk-themes, fairytales and myths. Imagination, creativity and storytelling are so vital within her works and this work is no exception. It was shown at the Marlborough Gallery, in their exhibition, Paula Rego Peter Pan & Other Stories, in 1992. The execution of these drawings followed The Folio Society’s nomination of Rego to illustrate a new edition of Peter Pan. The collections of drawings and watercolours capture so deeply Rego’s commitment to displaying complexities beneath the surface within stories. In this case the psychological complexities of J M Barrie’s book were displayed in many examples of drawings, watercolours, etchings and aquatints.

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Lot 105 § JOHN BELLANY (BRITISH, 1942-2013) Aurora signed ‘Bellany’ (lower right); further signed, titled and dated ‘John Bellany/AURORA/1986’ (verso) oil on canvas 152.8 x 122.5 cm. (60 1/8 x 48 1/4 in.) £7,000 - 10,000 Provenance Sale; Christie’s, London, 12 June 2006, lot 303 With Collect Art, Lymm, 2020, where purchased by the present owner

Scottish artist John Bellany gained prominence through his innovative painting style, reinvigorating interest in Scottish art during the 1960s and leaving a lasting impact on a new generation of artists. Delving into Scottish history and symbolism, Bellany’s figurative works seamlessly blended maritime imagery and Christian iconography with depictions of the daily lives of common working people. The recurring motif of the boat in Bellany’s art serves as a representation of Scottish fishing-village life and a metaphor for internal journeys, fostering a profound exploration of themes such as loss, survival, and redemption.

‘John Bellany has as strange a story to tell as any painter and his talent has been the match of it… John Bellany is the son of a fisherman, a child of the sea, and his art is true to that inheritance’ (John McEwan, John Bellany, Mainstream Publishing, Edinburgh & London, 1994, p.15) Born into a family of fishermen and boatbuilders in Port Seton, near Edinburgh, Bellany pursued studies at the Edinburgh College of Art. He later secured a scholarship for European travel and furthered his education at the Royal College of Art. Bellany’s art has been showcased in prominent venues such as the Ikon Gallery in Birmingham, Walker Art Gallery in Liverpool, the National Portrait Gallery in London, the Scottish National Gallery of Modern Art in Edinburgh, and the National Gallery of China in Beijing. His paintings are housed in major museums and galleries worldwide, including the National Gallery of Scotland, Tate Gallery, Museum of Modern Art in New York, and the Metropolitan Museum of Art in New York.

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Lot 106 § GEOFFREY KEY (BRITISH, b. 1941) Study for Late for the Ball signed and dated ‘GKey 14.2.14’ (upper right); further signed, titled and dated ‘late for the Ball/GKey 14’ (on the frame verso) watercolour, pen & ink 52.5 x 38.2 (20 3/4 x 15 in.) £1,000 - 1,500 Provenance With Cheshire Art Gallery, Stockport, 27 December 2016, where purchased by the present owner

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Lot 107 § GEOFFREY KEY (BRITISH, b.1941) Portrait in green signed and dated ‘G.Key.85’ (lower left) and further signed ‘G.Key’ (verso) oil on board 47.8 x 36 cm. (18 3/4 x 14 in.) £3,000 - 5,000 Provenance With Collect Art, Lymm, 2020, where purchased by the present owner

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Lot 108 § GEOFFREY KEY (BRITISH, b.1941) Harlequin signed, titled and dated ‘Harlequin GKey 30.1.14.’ (lower edge); further signed, titled and dated ‘Harlequin/GKey 14’ (on the frame verso) pen & ink 49 x 29 cm. (19 1/4 x 11 1/4 in.) £1,000 - 1,500 Provenance With Cheshire Art Gallery, Stockport, 27 December 2016, where purchased by the present owner

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Lot 109 § JOHN BRATBY, R.A. (BRITISH, 1928-1992) Carnations signed ‘Bratby’ (upper right) oil on canvas 61 x 50.9 cm. (23 1/8 x 20 in.) £2,000 - 3,000 Provenance With Julian Hartnoll, London Edward Woodward Collection With Goodman Fine Art, London, where purchased by the present owner

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Lot 110 § JOHN BRATBY, R.A. (BRITISH, 1928-1992) The Pear Tree oil on canvas 122 x 91 cm. (48 x 35 3/4 in.) Painted in 1971 £4,000 - 6,000 Provenance With Thackeray Gallery, London, 5 October 1971, where purchased by Mr S Dove Sale; London, Bonhams, 20 November 2007, lot 205 James Huntington-Whiteley, from whom acquired by the present owner

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Lot 111 § JOHN HITCHENS (BRITISH, b.1940) May Tree Hill signed with initials ‘JH’ (lower left); further signed and dated ‘John Hitchens/1976’ (verso) and titled ‘MAY TREE HILL John Hitchens 1976’ (on the stretcher) oil on canvas 71 x 51 cm. (28 x 20 in.) £1,500 - 2,500 Provenance With Gilbert Parr Gallery, London, 15 December 2009, where purchased by the family of the present owner

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Lot 112 § SHEREE VALENTINE-DAINES (BRITISH, b.1956) Strolling Among the Poppies signed ‘SEVD’ (lower right) oil on board 19 x 11.5 cm. (7 3/4 x 4 1/2 in.) £3,000 - 5,000 Provenance With DeMontfort Fine Art, London, where purchased by the present owner

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Lot 113 § SHEREE VALENTINE-DANES (BRITISH, b.1950) Flamenco II oil on paper signed with initials ‘SEVD’ (lower right) 57 x 25 cm. (22 1/2 x 9 3/4 in.) £500 - 800 Provenance Sale; Bonhams, London, 26 September 2006, lot 93, where purchased by the present owner

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Lot 114 § MARY FEDDEN, R.A. (BRITISH 1915-2012) Blackbird signed and dated ‘Fedden ‘08’ watercolour, collage on envelope 9.3 x 16.5 cm. (3 5/8 x 6 1/2 in.) (unframed) This is accompanied by a letter written by the artist on cardboard. £800 - 1,200 Provenance The artist, by whom gifted to the present owner

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Lot 115 § ALETHEA GARSTIN (BRITISH, 1894-1978) On St Agnes, Isles of Scilly signed ‘Alethea Garstin’ (lower left); further signed and titled twice ‘On St Agnes, Isles of Scilly/by Alethea Garstin’ (verso and to a label attached verso) oil on canvas laid onto board 23.5 x 33 cm. (9 1/4 x 13 in.) £600 - 800

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Provenance With The Fine Art Society, London P.W. Dakin, from whom acquired by the present owner Exhibited St. Ives, Penwith Gallery, 1952 Bristol, Royal West of England Academy, 1952 Newlyn, Newlyn Society of Artists, Summer Exhibtion, 1956 Newlyn, Newlyn Society of Artists, Paintings of the Newlyn School 1880-1900, 1958 London, The Fine Art Society, Dec 1978-Jan 1979, cat.no.121

Lot 116 § SUE CAMPION (BRITISH, b.1944) Wintry Sky over Pulverbatch signed and dated ‘Champion ‘09’ (lower left) oil on board 60 x 74 cm. (23 3/4 x 29 1/8 in.) £300 - 500

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Lot 117 § CAREL WEIGHT (BRITISH, 1908-1997) A Fish Bone signed and titled ‘A fish bone Carel Weight’ (lower left) pencil 20.9 x 19.7 cm. (8 1/4 x 7 7/8 in.) £300 - 500

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Lot 118 § TRISTRAM HILLIER, R.A. (BRITISH, 1905-1983) The Windmill signed ‘Hillier’ (lower right) and inscribed extensively pencil 32 x 41 cm. (12 5/8 x 16 1/8 in.) £1,000 - 1,500

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Lot 119 § BERNARD DUNSTAN (BRITISH, 1920-2017) Female nude signed with initials, ‘BD’ (lower left) chalk & pencil 28 x 36 cm. (11 x 14 in.) £500 - 700

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Lot 120 § DAVID SHEPHERD (BRITISH 1931-2017) Elephants signed ‘David Shepherd’ (lower right) pencil 25.5 x 40.6 cm. (10 x 16 in.) (unframed) £800 - 1,200

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Lot 121 § VICTOR RICHARDSON (IRISH, b.1952) The Sullane At Macroom signed and dated ‘Victor Richardson 2014’ (verso); further signed, titled and dated ‘THE SULLANE AT MACROOM...by Victor Richardson 2014’ (on the frame verso) oil on canvas 51 x 61 cm. (20 x 24 in.) £1,000 - 2,000 Provenance With The Barbara Stanley Gallery, London

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Lot 122 § VICTOR RICHARDSON (IRISH, b.1952) Drowned Forest and Nesting Box signed, titled and dated ‘DROWNED FOREST/AND NESTING BOX...by Victor Richardson 2014’ (on the frame verso) oil on canvas 61 x 76 cm. (24 x 30 in.) £1,500 - 2,000 Provenance With The Barbara Stanley Gallery, London

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Lot 123 § LOUISE BALAAM (BRITISH, b,1950) Low Sunlight, January Fields signed, titled and dated ‘Low Sunlight, January Fields/ Louise Balaam 2008’ (on the backboard) oil on board 21 x 23 cm. (8 1/4 x 9 in.) £300 - 500

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Lot 124 § JOHN HUBBARD (BRITISH, 1931-2017) Garden Arch #4 (Afternoon) signed and dated ‘John Hubbard 1988’ (lower right) oil on paper 30.2 x 24 cm. (12 3/4 x 9 1/2 in.) £1,000 - 1,500 Provenance With Contemporary Art Society Market, London Private Collection Sebastain Walker His sale; Sotheby’s, Modern British Paintings - Drawings and Sculptures from the Collection of the Late Sebastain Walker, London, 20 November 1991, lot 65

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Lot 125 § BRUCE MCLEAN (BRITISH, b.1944) Untitled signed, indistinctly inscribed and dated ‘Bruce McLean 1989’ acrylic, gouache and pencil on paper 59 x 48.7 cm. (23 1/4 x 19 1/8 in.) £300 - 500 Provenance The artist, whom gifted to the present owner

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Lot 126 § JOHN HOYLAND, R.A. (BRITISH, 1934-2011) Untitled signed and dated ‘John Hoyland 1980’ (lower right) acrylic on paper 72 x 54.5 cm. (28 3/8 x 21 1/2 in.) £3,000 - 5,000 Provenance Sale; Andrew Smith and Son, Winchester, 4 April 2022, lot 663, where purchased by the present owner

Mel Gooding said of the paintings of that period in his 1990 monograph “the forms, colours and textures concatenate into rich patters overlap and interplay, piling up and pressing against each other, now tense, now relaxed in a curbed turbulence that effects the eye like a complex visual music, now a rich chord, now a dissonance, now harmonic, now discordant”. We would like to thank 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

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Lot 127 § PATRICK CAULFIELD (BRITISH, 1936-2005) Portrait of Russell signed, titled and dated ‘Patrick Caulfield Portrait of Russell 1983’ (on the canvas overlap) acrylic on canvas 112 x 76 cm. (40 1/2 x 29 5/8 in.) (unframed) £5,000 - 7,000 Provenance The artist, 1983, by whom gifted to the present owners

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Lot 128 § JACK SMITH (BRITISH, 1928-2011) Monochromatic Movement (Whisper) signed, titled and dated ‘MONOCHROMATIC/MOVEMENT/(WHISPER)/JACK SMITH 1984’ (verso) oil on canvas 91.5 x 91.4 cm. (36 x 36 in.) (unframed) £800 - 1,200 Provenance Sale; Bonhams, London, 17 January 2012, lot 143, where purchased by Private Collection Their sale; Christie’s, London, 19 March 2015, lot 189 With Flowers Gallery, London

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Lot 129 § PATRICK HUGHES (BRITISH, b.1939) Perfect Present signed, titled and dated ‘Perfect Present/Patrick Hughes/2013’ (verso) oil, collage and mixed media in a Perspex case 49.8 x 77.5 x 13.2 cm. (19 1/2 x 30 1/2 x 5 1/4 in.) £3,000 - 5,000 Provenance The artist, from whom purchased by the present owner

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Lot 130 § BASIL BEATTIE (BRITISH, b.1935) Ins and Outs signed, titled and dated ‘Beattie/Ins and Outs - 2012’ (verso) oil and pencil on canvas 40 x 50 cm. (15 3/3 x 19 5/8 in.) £3,000 - 5,000 Provenance With Hales Gallery, London, where purchased by the present owner

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Lot 131 § MARC QUINN (BRITISH, b.1964) Separation of Body and Soul BGYRMW oil on canvas 125 x 189 cm. (49 1/4 x 74 1/4 in.) (unframed) Painted in 2009 £10,000 - 15,000 Provenance The artist, from whom acquired by the present owner Marc Quinn has often been associated with Damien Hirst as one of the prominent and founding members of the British contemporary art movement. He gained prominence in the early 1990s, when he created a now famous self-portrait made from his own frozen blood.

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In the case of this painting, Separation of Body and Soul BGYRMW, and many of the works within the Separation of Body & Soul series, Quinn plays with medium and material to create the desired effect. The black and white hyperrealist still life painting explodes into life with the splatter of the thick, brightly coloured paint, with heavy impasto. Upon first glance, the work appears to be photographic given it’s hyperrealist style, however upon closer inspection it becomes clear that Quinn creates in a combination of realism and abstraction. His still-life, traditionally one of the oldest forms of subjectmatter in this painting, is conversely derived from the photographic arrangement of flowers. Time is the subject of the work through an emphasis of paradigm shifts. The backdrop is a physically captured frozen moment in time, taken by a camera and translated onto the canvas, completely devoid of decay. In stark contrast is the unpredictable, instant splatters of paint on the still surface of flowers.

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Lot 132 § DAVID SPILLER (BRITISH, 1942-2018) True Love signed ‘David Spiller’ (lower right); further signed, titled and dated ‘TRUE LOVE/2015/David Spiller’ (verso) acrylic and pencil on canvas 77.5 x 65.5 cm. (30 1/2 x 25 3/4 in.) (unframed) £5,000 - 8,000 Provenance With Portland Gallery, London, 1 July 2019, where purchased by the present owner

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Lot 133 § EMMA COUSIN (BRITISH, b.1986) Marilyn oil on linen 207 x 100 cm. (81 1/2 x 39 3/8 in.) £7,000 - 10,000 Provenance The artist, 2013, from whom acquired by the present owners

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Lot 134 § EMMA COUSIN (BRITISH, b.1986) Portrait of a girl oil on canvas 102.2 x 102.2 cm. (40 1/4 x 40 1/4 in.) (unframed) £4,000 - 6,000 Provenance The artist, 2013, from whom acquired by the present owners

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Lot 135 § ANNE MAGILL (BRITISH, b.1962) Bare signed ‘A Magill’ (lower left) oil on canvas 61.6 x 61.2 cm. (24 1/4 x 24 in.) £3,000 - 5,000 Provenance With Medici Gallery, London, where purchased by the present owner

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Lot 136 § CLIVE BARKER (BRITISH, b.1940) Uncle Scrooge signed, inscribed and dated ‘UNCLE SCROOGE/CLIVE BARKER/2001/ AP 3/3’ (to a plaque attached to the underside) polished aluminium 44.5 cm. (17 1/2 in.) high Conceived in 2001, and cast in an edition of 6 plus 3 artist’s proofs £2,000 - 3,000 Provenance The artist, from whom acquired by the present owner

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Lot 137 § CLIVE BARKER (BRITISH, b.1940) Gnome signed, titled, dated and numbered ‘GNOME/CLIVE BARKER/1990-95/6/6’ (to the back of the base) polished aluminium 48 cm. (18 7/8 in.) high From the edition of 6 in addition to 3 artist’s proofs £700 - 1,000 Provenance The artist, from whom acquired by the present owner Literature Fermon, A, Jo, and Livingstone, Marco, Clive Barker, Sculpture, Catalogue Raisonné 1958- 2000, Milan, 2002, cat.no. 236, p.135 (ill.)

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Lot 138 § CLIVE BARKER (BRITISH, b.1940) Nefertiti bronze 8 x 2.4 cm. (3 1/8 x 1 in.) unique together with; Tutankhamun bronze 4.2 x 4 cm. (1 3/8 x 1 1/2 in.) unique (2) £300 - 500 Provenance The artist, from whom acquired by the present owner

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Lot 139 § CLIVE BARKER (BRITISH, b.1940) Glass of Water signed, titled, numbered and dated ‘GLASS OF WATER/CLIVE BARKER/1981/ 3/3’ (on the top) polished aluminium 23.2 cm. (9 1/8 in.) high £400 - 600 Provenance The artist, from whom acquired by the present owner

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Lot 140 § KENNETH ROWNTREE, A.R.W.S. (BRITISH, 1915-1997) Jug in the Highlands signed, titled and dated ‘Jug in the Highlands/Kenneth Rowntree/1988’ (on the frame verso) acrylic on board 49 x 39.5 cm. (19 1/4 x 14 in.) £2,500 - 3,500 Provenance Sale; Anderson & Garland, Newcastle, 14 July 2015, lot 396, where purchased by the present owner

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Lot 141 § EMILY YOUNG (BRITISH, b.1951) Christening gift signed and inscribed ‘For Eliza Emily/On the occasion of/Her Christening/ 19th September 1992/with love from/her Godmother/Emily Young’ (on the backboard) oil on paper 39 x 49 cm. (15 1/4 x 19 1/4 in.) £600 - 800 Provenance The artist, whom gifted to the family of present owner in 1992

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Lot 142 § ANDREW MURRAY (BRITISH, 1917-1998) Cafe Royal Hotel signed ‘Andrew Murray’ (upper left) oil on board 39.5 x 42 cm. (15 1/2 x 16 1/2 in.) £300 - 500

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Lot 143 § STEPHEN CHAMBERS (BRITISH, b.1960) That Hideous Sleep signed and dated ‘S.Chambers/1990’ (verso) oil on canvas 101.2 x 91.3 cm. (39 7/8 x 36 in.) (unframed) £400 - 600 Provenance With Flowers Gallery, London

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Lot 144 § HECTOR MCDONNELL (IRISH, b.1947) Butchers in Mount Street signed, inscribed and dated ‘Butchers on Mount Street, London. 27...73. Hector MacDonnell’ (in Irish, verso) oil on board 89.8 x 120.3 cm. (35 1/4 x 47 3/8 in.) £1,000 - 1,500 Provenance Private Collection With Pyms Gallery, London

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Lot 145 § CHARLES WILLIAMS (BRITISH B. 1965) Untitled signed with initials ‘CW’ (lower right) oil on canvas 25.5 x 20 cm. (10 x 8 in.) £300 - 500 Provenance The artist, from whom acquired by the present owner

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Charles’ artistic endeavors closely resemble short stories. He endeavors to encapsulate a myriad of thoughts, ranging from other artworks, both vintage and contemporary, to newspaper narratives, and even recollections of his holidays or recent shopping excursions, within each painting. Characters and locales within his work may either develop over time or emerge fleetingly. The primary directive in his studio is strict: no sketches, no photographs, no studies—absolutely nothing of the sort. While people may presume that his paintings originate from specific sources, they are purely products of his imagination, created “a la tête.” Charles prefers not to engage in the meticulous processes of sketching, fiddling around, or utilizing projection techniques.

Lot 146 § EMMA MCCLURE (BRITISH, b.1962) Penguin Pool Study IV (London Zoo) signed ‘Emma McClure’ (lower right); further signed and titled ‘Emma McClure/Penguin Pool Study IV/ (London Zoo)’ (on backboard) oil on board 28.3 x 22 cm. (11 3/4 x 8 1/2 in.) together with; Sleepy Little Herons (London Zoo) signed ‘Emma McClure’ (lower right); further signed and titled ‘Emma Mcclure/Sleeping Little Herons/ (London Zoo)’ (on backboard) oil on board 29.5 x 22 cm. (11 3/4 x 8 1/2 in.) £300 - 500

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Lot 147 § CHARLES WILLIAMS (BRITISH B. 1965) Valentine’s Day at Green Papaya signed with initials ‘CW’ (lower right) oil on canvas 40 x 35 cm. (15 3/4 x 13 3/4 in.) £400 - 600 Provenance The artist, from whom acquired by the present owner Exhibited London, Royal Academy of Arts, Summer Exhibition, 11 Jun-19 Aug, 2005

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Lot 148 § RALPH STEADMAN (BRITISH, b.1936) Untitled signed, inscribed and dated ‘For/WILLIAM/from/ Ralph Steadman 11/07/2000’ (right) crayon, felt pen and ink 28 x 23 cm. (11 x 9 in.) (unframed) £400 - 600

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Lot 149 § PATRICK PROCKTOR (BRITISH, 1936-2003) Untitled signed and dated ‘Patrick Procktor 70’ (lower right) watercolour 42 x 49 cm. (16 1/2 x 19 1/4 in.) (unframed) £500 - 700 Provenance The artist, whom gifted to the present owner in 1970

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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. 205

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

Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

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

4. AFTER THE SALE

2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. 3.4 Cancellation of the sale At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

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4.1 Payment All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers. Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional. . Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper. 4.3 Online Bidding Surcharges Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms

Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium. 4.4 Taxes VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot. W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund. Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met: 1. Have registered to bid with an address outside of the UK 2. Provide immediate proof of export out of the UK within 90 days from the date of the auction Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70. Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes. 4.5 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.6 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: • To cancel the sale • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer • Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise

all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.7 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.8 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer. 4.9 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.10 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.11 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of preColumbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.12 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. 207

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.

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.

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.

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.

5. ANTIQUITIES AND TRIBAL ART

7. CLOCKS AND WATCHES

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

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.

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 208

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.

CHISWICK AUCTIONS

8. FURNITURE

11. BOOKS AND MANUSCRIPTS

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.

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’.

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.

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. 209

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