Chiswick-Auctions-Modern & Post War British Art - December 2020 by Chiswick Auctions

Modern & Post-War British Art 3 December 2020

An Update on our ServicesÂ Our Chiswick Saleroom is now open to for collections by appointment only. We continue to implement social distancing to ensure the health and safety of our clients and staff in line with the UK Governmentâ&#x20AC;&#x2122;s guidelines. Can I still view the sale? Selected highlights will be on view in our saleroom on Wednesday 2 December. The lots will be viewable on these dates by appointment. All our sales are fully illustrated online and have been expertly catalogued by our specialists. We recommend you request a condition report via our website prior to the sale. Our specialists are more than happy to assist with any additional questions via email, phone and Zoom Call. If you would like to view any of the lots in person, please contact the Head of Sale, Krassi Kuneva to set up an appointment at our Chiswick Saleroom. During these viewings, we will ask you to follow social distancing guidelines and other measures to reduce risks, including wearing a face covering. T: 020 8992 4442 E: krassi.kuneva@chiswickauctions.co.uk The good news is we are fully functional online and continue to run sales in a live-stream format. Bidding is welcome through our online platform, on the telephone and via absentee bids. These details are subject to change but we will continue to keep you updated via our newsletter, website and social media channels.

Paintings & Fine Art Department

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

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

Ishbel Gray Head of Sale British & European Fine Art ishbel.gray@chiswickauctions.co.uk

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

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

Madeleine White Department Cataloguer & Coordinator Paintings & Fine Art madeleine.white@chiswickauctions.co.uk

Suzanne Zack Consultant British & European Fine Art & Portrait Miniatures suzanne.zack@chiswickauctions.co.uk

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Modern & PostWar British Art Thursday 3 December 2020, 10 am Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am – 6pm up until close of business on Friday following the sale. Cites Please be aware that all lots marked with the symbol λ are subject to CITES regulations. Please see our Terms & Conditions for more information. Artist’s Resale Right/Droit De Suite Lots marked with ARR indicates that an additional levy may apply for this lot. Please see our Terms & Conditions for more information. Photography Steven McCauley Basak Ulukose

Front Cover Lot 20 Back Cover Lot 66 Index Lot 12 Inner spreads Lots 21, 24, 6

1 ARR

JOHN HOYLAND, R.A. (1934-2011) Tiger’s pupil signed, dated and numbered in pencil 29/30 John Hoyland 83 (in the lower margin) etching with coloured aquatint image: 40 x 34 cm (15 3/4 x 13 3/8 in) sheet: 65 x 49.5 cm (25 1/2 x 19 1/2 in) Published by the Royal College of Art in 1983 £300 - 500

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2 ARR

SIR TERRY FROST R.A. (1915–2003) Variations signed and dated and numbered in pencil 12/50 Terry Frost 87 (in the lower margin) screenprint sheet: 75.8 x 55.6 cm (29 3/4 x 22 in) £400 - 600

3 ARR

BERNARD COHEN (B.1933) Studies in pencil signed and dated Bernard Cohen 1962 (lower right) pencil and crayon, unframed 52 x 63 cm (20 1/2 x 20 3/4 in) ÂŁ600 - 800

4 ARR

DEREK BOSHIER (B.1937) Untitled signed, numbered and dated 1/30 Derek Boshier 1973 (lower left), indistinctly inscribed For Gri... (lower right) screenprint and collage, unframed 58.4 x 80 cm (23 x 31 1/2 in) ÂŁ100 - 200

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5 ARR

ALAN DAVIE, R.A. (1920-2014) Red Blocker, Opus O. 2038 signed, inscribed and dated Alan Davie/2008/ RED BLOCKER/OPUS O.2038 (on the reverse) oil on board, unframed 32 x 37 cm (12 1/2 x 14 1/2 in)

Painting can attain the same joyous losing of the ME in a supernatural revelation. Alan Davie

PROVENANCE: Acquired from the artist by the present owner Â£2,500 - 3,500

6 ARR

ALASTAIR MORTON (1910-1963) Untitled signed with initials AM 46 (lower right) ink, gouache and pastel 40.3 x 50.5 cm (16 x 19 3/4 in) PROVENANCE: Mrs Cherry Morton with Spink, London with Alexander Postan Fine Art, London Ivor Braka, London with Whitford Fine Art, London EXHIBITED: Edinburgh, Scottish National Gallery of Modern Art, Alastair Morton and Edinburgh Weavers, April-May 1978, no. 55. This work is an example of a change in style which occurred in Mortonâ&#x20AC;&#x2122;s work at the end of the war. This was characterised by a more frequent use of colour washes, a less emphatic linearity and subtler and more restrained use of colour itself. ÂŁ6,000 - 8,000

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7 ARR

ADRIAN HEATH (1920-1992) Untitled signed and dated Heath ‘71 (lower right) pencil, watercolour and gouache 28 x 38 cm (11 x 15 in) PROVENANCE: Artist’s estate £800 - 1,200

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8 ARR

HOWARD HODGKIN (1932-2017) Indian View J signed, numbered and dated 48/75 Hodgkin â&#x20AC;&#x2DC;71 (lower centre) screenprint, unframed sheet: 57.5 x 78.3 cm (22 3/4 x 30 3/4 in) Printed by Kelpra Studio with studio stamp on the reverse This piece is from a set of twelve screenprints inspired by snatched glimpses of the Indian landscape from train windows. Rather than recording the specifics of each quickly passing place, Hodgkin sought to capture the emotions and moods they subjectively evoke through his highly abstracted imagery. ÂŁ500 - 700 15

9 ARR

HOWARD HODGKIN (1932-2017) Indian View D signed, numbered and dated 33/75 Hodgkin 71 (lower right) screenprint, unframed sheet: 57.5 x 78.3 cm (22 3/4 x 30 3/4 in) Printed by Kelpra Studio with studio stamp on the reverse This piece is from a set of twelve screenprints inspired by snatched glimpses of the Indian landscape from train windows.Rather than recording the specifics of each quickly passing place, Hodgkin sought to capture the emotions and moods they subjectively evoke through his highly abstracted imagery. ÂŁ500 - 700

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10 ARR

JOHN EDWARDS (1938-2009) Kpissi Akki signed, inscribed, dated and numbered Kpissi Akki #1 4/12 litho John Edwards 1991 (along the lower margin) lithograph, unframed sheet: 76.5 x 56.5 cm (30 x 22 1/4 in) £50 - 80

11 ARR

JOHN EDWARDS (1938-2009) Glide signed, inscribed and dated John Edwards/Glide 1988 (on the reverse) oil on metal 42.5 cm (16 3/4 in), high This work is unique £300 - 500

12 ARR

BRIDGET RILEY (B. 1931) About Lilac signed and dated in pencil Bridget Riley ‘06 (lower right), titled and numbered About Lilac 63/75 (lower left) screenprint image: 32.4 x 64.5 cm (12 3/4 x 25 1/2 in) sheet: 49.2 x 80 cm (19 1/4 x 31 1/2 in) £3,000 - 5,000

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13 ARR

JOHN PANTING (1940-1974) Untitled screenprint, unframed sheet: 76.3 x 76.3 cm (30 x 30 in) Published in 1968 PROVENANCE: Acquired directly from the artist’s estate by the previous owner Sale, Chiswick Auctions, 12 December 2018, lot 164, where purchased by the present owner LITERATURE: S.Cornish, John Panting: Sculpture, Bristol, 2012, no. A1.10, p.141, illustrated £80 - 120

14 ARR

BOB AND ROBERTA SMITH, R.A. (B. 1963) 5 signed and dated Bob + Roberta Smith ‘08 (lower right) enamel on board, unframed 53.4 x 51 cm (21 x 20 in) £500 - 700

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15 ARR

CLIVE BARKER (B. 1940) Dennis the Menace signed, inscribed, numbered and dated DENNIS THE MENACE/CLIVE BARKER/1999/6/9 (underneath) polished aluminium 25.7 cm (10 1/8 in), high Conceived in 1999, and cast in an edition of 9 plus 3 artist’s proofs PROVENANCE: Acquired directly from the artist by the present owner LITERATURE: A.J. Fermon and M. Livingstone, Clive Barker Sculpture: Catalogue Raisonné 1958-2000, Milan, 2002, p. 169, no. 379, another cast illustrated £1,000 - 2,000

16 ARR

CERI RICHARDS (1903-1971) The Heart of a Florist signed and dated Ceri Richards 65 (lower right) oil on canvas 24.8 x 20.3 cm (9 3/4 x 8in) Â£1,500 - 2,500

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17 ARR

JOHN EDWARDS (1938-2009) Gaitor signed, inscribed and dated John Edwards/2004/5/’Gaitor’ (on the reverse) oil on canvas, unframed 70 x 70.5 cm (27 3/4 x 27 1/2 in) £400 - 600

Painter and sculptor John Edwards was considered one of the rising stars in the British Art scene in the 60s and 70s. Stylistically influenced by the abstract expressionists that came in favour in New York at the time, his paintings possess a sculptural feel as well. The forms are abstract and his colours bold and vibrant, Edwards’ work is not easily grouped with any one movement. In London the Rowan Gallery housed nine shows for him between 1967-1981. He exhibited widely in Syracuse, Washington, San Francisco, Turin, Jaipur and New Delhi.

18 ARR

ALAN DAVIE, R.A. (1920-2014) Toy 42, Opus O. 1628 signed, inscribed and dated Alan Davie/2003/ TOY 42/OPUS O.1628 (on the reverse) oil on board 25.4 x 30.4 cm (10 x 12 in)

The titles enable the spectator to ‘ENTER’ the work from an ‘irrational’ view-point as it were. One becomes ‘LOST’ in the image and is compelled to recreate ‘meanings’ for one’s self and thus enter a world of painting of one’s own making. Alan Davie

PROVENANCE: Acquired from the artist by the present owner £2,000 - 3,000

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19 ARR

JOHN EDWARDS (1938-2009) Three sketches of organic forms ink, unframed each 77 x 44.5 cm (30 1/4 x 17 1/2 in) (3) Â£150 - 250

20 ARR

JOHN PIPER, C.H., (1903-1992) Cardiganshire Hillside signed John Piper (lower right), inscribed Cardiganshire Hillside (on the reverse) oil on canvas 83 x 106 cm (32 1/2 x 41 3/4 in) Painted in 1975 LITERATURE: A.West, John Piper, London 1979, illustrated. £18,000 - 22,000

Painted in the mid-1970s Cardiganshire Hillside is a stunning example of Piper’s confident topographical pieces. The work captures the sunlight striking two small clusters of whitewashed buildings set in the emerald sea of verdant rolling hills loosely constrained by black field boundaries. The composition is largely impressionistic with flecks of vegetation, occasional tree dots along hedge rows and yellow crops helping lead one’s eye through the scene. The 70s were a period when Piper’s works were particularly sought after. The artist initially explored Cardiganshire in the summer of 1939 when visiting the somewhat forgotten ruined estate of Hafod set within what is also known as the ‘desert’ of Wales. He found the remote landscape which was in turns, both wild and barren particularly attractive. At first drawn to the hills of Wales, his artistic eye naturally turned northwards to the more mountainous Snowdonia in the mid and later 1940s.

In 1961 Piper purchased a holiday home on Garn Fawr north of St. David’s and from this base he returned his attention once again to Cardiganshire. Research for the Shell Guide books of Wales and a love of the varied yet distinctive Welsh chapels also strengthened his familiarity with many remote parts of the country. In 1974 Cardiganshire became part of the district of Ceredigion in the larger county of Dyfed. However, Piper still uses the former nomenclature probably to indicate he did not wish to rush to change the overt description of a landscape he had known for some 35 years. We are grateful to Hugh Fowler-Wright for his assistance in completing this catalogue entry.

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21 ARR

JOHN PIPER, C.H., (1903-1992) Aberayron, South Wales signed John Piper (lower right) ink and gouache 24 x 34 cm (9 1/4 x 13 3/4 in) PROVENANCE: with Achim Moeller, London £5,000 - 7,000

Between the 1930s and 1950s Piper produced a number of lively ‘on the spot’ collages, atmospheric photographs and rugged mixed media depictions of Aberayron. Here Piper looks across at the cluster of buildings on the northern side of the harbour with the harbour walls turning a corner in the lower left of the picture and the water in the foreground referenced by cursory white squiggles. A splash of blue top left indicates the roof of the old Harbourmaster’s House, now a hotel, and the top right shows the apex of the Tabernacle Chapel on Market Street.

In 1954 Piper was actively working on his first stained glass commission for Oundle School Chapel and in this fully worked up sketch, thoughts of stained glass influence Piper’s focus on slabs of colour, blocks of building and ‘lead’ lines. This style of painting was to develop in the following few years to much larger abstracted landscapes – including buildings – composed of carefully balanced areas of colour and tone in flat perspective gridlike surfaces. We are grateful to Hugh Fowler-Wright for his assistance in the preparation of this catalogue entry.

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22 ARR

JULIAN TREVELYAN, R.A. (1910-1988) City signed and dated Julian Trevelyan ‘37 (lower left) ink and collage 37.6 x 55.6 cm (15 x 21 3/4 in) EXHIBITED: London, Alexander Postan Fine Art, Julian Trevelyan, The early years 1935-38, April 1974, catalogue untraced £4,000 - 6,000

In the late 1930s Trevelyan started using collage as a preferred medium when travelling the country and recording the cities and towns he visited. Influenced by the Surrealists and most notably by Max Ernst, who he met and worked alongside in Paris, Trevelyan would use scraps of newspaper, serviettes, labels from his own artworks and ink to build his compositions. By 1937 he was involved in the Mass Observation project which was founded by, among others, the young anthropologist Tom Harrison. It consisted of a group of artists, poets, writers and film makers who aimed to capture and record modern society. City is a beautiful example of the Trevelyan’s use of collage to create a lively composition, which is both expressive through its visual appeal and through the materials used to create it.

I cruised around and settled on the outskirts of town near to some cotton mills and reservoirs. At the time I was making collages; I carried a large suitcase full of newspapers, copies of Picture Post, seed catalogues, old bills and other scraps, together with a pair of scissors, a pot of gum, and a bottle of Indian ink. I was applying the collage techniques I had learnt from the Surrealists to the thing seen, and now tore up pictures of the Coronation crowds to make the cobblestones of Bolton. It was awkward, sometimes, in a wind, when my little pieces would fly about, and I was shy of being watched at it; but it was a legitimate way, I think, of inviting the god of Chance to lend a hand in painting my picture. Julian Trevelyan (Indigo Days: Art and Memoirs of Julian Trevelyan)

23 ARR

JOHN PIPER, C.H., (1903-1992) Llaethdy, St David’s inscribed and dated Llaethdy, St David’s 28.V.69 (lower left) ink, watercolour, pastel and gouache 19.5 x 27 cm (7 3/4 x 10 3/4 in) £3,000 - 5,000

From the summer of 1961, John Piper began regularly visiting and depicting the area around Pembrokeshire facilitated by buying two cottages and fourteen acres of land on the southern slopes of Garn Fawr north of St David’s. This scene is of the countryside north west of St David’s near Whitesands Bay. Piper looks north towards the tiny settlement of Llaethdy on the lower slopes of Carn Llidi. Loose sketch marks are scattered on the paper surface depicting patches of vegetation in the surrounding landscape and a curving lane in the lower foreground serves to frame the typical stone wall found in coastal Pembrokeshire lining the roads and fields. We are grateful to Hugh Fowler-Wright for the assistance in the preparation of this catalogue entry.

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24 ARR

ALAN DAVIE, R.A. (1920-2014) Rösk Filtr, Opus O. 1667 signed, inscribed and dated Alan Davie 03/RÖSK FILTR/OPUS O.1667 (on the reverse) oil on board 30.5 x 25.4 cm (12 x 10 in) PROVENANCE: Acquired from the artist by the present owner £1,000 - 2,000

The marriage of poetic and pictorial became the outcome in the later painted works. After all, the words we use in our own written language are all originally evolved from pictographs- changed and refined over many hundreds of years. ..Words from a foreign script are often used – particularly from a language which is unknown to me…which seems to me to have a particularly evocative FEEL and musicality… A Creative experience can have infinite possibilities, which makes a work of ART a kind of everlasting GENERATOR of emotions. Alan Davie

25 ARR

JOHN PIPER, C.H., (1903-1992) Stag Rock, Freshwater Cliffs, Isle of Wight inscribed and dated Freshwater 13.1.53 (lower left) ink 23 x 29 cm (9 x 11 1/2 in) PROVENANCE: with Bohun Gallery, Henley-on-Thames £1,000 - 2,000

26 ARR

JOHN PIPER, C.H., (1903-1992) The Arch, Freshwater Cliffs, Isle of Wight inscribed and dated Freshwater/..51 (lower right) with further various inscriptions pencil and ink 16 x 23.2 cm (6 1/4 x 9 in) £600 - 800

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27 ARR

KEITH VAUGHAN (1913-1977) Antique head, Ozymandias stamped with K.V. (on the reverse) ink and wash 18.9 x 28 cm (8 x 11 in) Executed in the 1940s. In the early 1940s Vaughan worked on several pen and ink drawings for book covers (see The King of Aisle by Rex Warner, published by John Lehmann, 1948) The current lot most probably relates to Percy Shelley’s famous poem Ozymandias. Another example of a drawing of a classical head is held in the archive of Tate Britain, London. £500 - 700

Ozymandias by Percy Bysshe Shelly I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them and the heart that fed: And on the pedestal these words appear: ‘My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!’ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. We are grateful to Gerard Hastings, whose new book Keith Vaughan: The Graphic Art is published by Pagham Press, for preparing this catalogue entry.

28 ARR

PROPERTY OF A LADY SIR KYFFIN WILLIAMS, R.A. (1918-2006) Near Nefyn signed with initials KW (lower right) ink and wash on buff paper 28.7 x 44 cm (11 1/4 x 17 1/4 in) Executed circa 1970 PROVENANCE: with Attic Gallery, Swansea Â£1,500 - 2,500

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29 ARR

PROPERTY OF A LADY SIR KYFFIN WILLIlAMS, R.A. (1918-2006) Near Rhosgadfan signed with initials KW (lower left) ink and wash 24.7 x 34.4 cm (10 x 13 1/2 in) PROVENANCE: with The Albany Gallery, Cardiff Â£1,200 - 1,800

30 ARR

PROPERTY OF A LADY SIR KYFFIN WILLIAMS, R.A. (1918-2006) Stormy Snowdonia signed with initials K.W. (lower right) pencil and watercolour 23 x 48 cm (9 x 19 in) PROVENANCE: Sale, Rogers Jones & Co, Wales, 22 April 2006, lot 90, where purchased by the present owner Â£800 - 1,200

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31 ARR

ENGLISH SCHOOL (20TH CENTURY) View of a city line dated 1917 and signed indistinctly gouache on paper, unframed 13.5 x 21 cm (6 x 8 in) Â£200 - 300

32 ARR

JOSEF HERMAN, R.A. (1911-2000) Figure & Sun signed and titled Figure & Sun/Josef Herman (on the reverse) oil on board 26 x 33 cm (10 1/4 x 13 in) PROVENANCE: Acquired from the artist by the previous owner Sale, Sotheby’s, 1 April 2014, lot 129, where purchased by the present owner £3,000 - 5,000

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33 ARR

ROWLAND SUDDABY (1912-1972) Wooded landscape signed and dated R Suddaby 43 (lower right) ink and watercolour 38 x 55.4 cm (15 x 21 3/4 in) Â£300 - 500

34 ARR

CAREL WEIGHT, R.A. (1908-1997) The Back Garden signed Carel Weight (lower left) oil on board 53.7 x 50.8 cm (21 1/8 x 20 in) PROVENANCE: Acquired from a private collection by the present owner circa 2005 Â£1,500 - 2,500

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PERCIVAL DUNCOMBE (BRITISH, 20th CENTURY) Gladstone’s Land, Edinburgh signed Percival P. Duncombe (lower right), signed again and titled (on a label attached to the reverse) oil on canvas-board 76.2 x 56 cm (30 x 22 in) £200 - 300

36 ARR

SIR JACOB EPSTEIN (1880-1959) Eileen Proudfoot bronze with a dark brown patina 42.8 cm (16 7/8 in) wide Conceived in 1923 PROVENANCE: Acquired by the present owner’s grandmother, and by descent £1,500 - 2,500

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37 ARR

MARY FEDDEN, R.A. (1915-2012) Cat and Lemon signed and dated Fedden ‘03 (lower right) oil on canvas laid down on board 25.4 x 19.8 cm (10 x 7 3/4 in) £3,500 - 5,500

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38 ARR

ELIZABETH BLACKADDER, R.A. (B. 1931) Three cats signed and numbered in pencil 33/50 Elizabeth Blackadder (in the lower margin) etching and aquatint image: 41.4 x 58.5 cm (16 1/4 x 23 in) sheet: 54.5 x 71 cm (21 1/2 x 28 in) Â£300 - 500

39 ARR

RUSKIN SPEAR, R.A. (1911-1990) Cat and Daisies signed Ruskin Spear (upper right) oil on board 27.3 x 35.6 cm (10 3/4 x 14 1/8 in) PROVENANCE: with Fosse Gallery, Stow-on-the-Wold, where purchased by the family of the present owner in January 1992 Â£1,500 - 2,500

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40 ARR

CRAIGIE AITCHISON, R.A. (1926-2009) Daffodils and Candlestick signed Craigie Aitchson (lower right), numbered 23/75 (lower left) sheet: 69.5 x 36 cm (27 1/4 x 14 1/4 in) Â£600 - 800

BERNARD MYERS (1925-2007) Autumnal still life with flowers in a jug and fruit signed B Myers (lower right) pencil and oil pastel, unframed 56 x 76 cm (22 x 30 in)

BERNARD MYERS (1925-2007) Blue still life with orange flowers and fruit signed B Myers (lower right) pencil and oil pastel, unframed 56 x 76 cm (22 x 30 in)

BERNARD MYERS (1925-2007) Breakfast table pencil and oil pastel, unframed 55 x 79 cm (21 3/4 x 31 in)

PROVENANCE: Artist’s Estate This work is number 1064 in Bernard Myer’s archives

PROVENANCE: Artist’s Estate This work is number 1074 in Bernard Myer’s archives

PROVENANCE: Artist’s Estate This work is number 1080 in Bernard Myer’s archives £250 - 350

£250 - 350

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44 ARR

JOSEF HERMAN, R.A. (1911-2000) The Artist’s Wife ink and oil on paper 22 x 17.5 cm (8 3/4 x 6 3/4 in) Executed circa 1965 £500 - 700

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45 ARR

CUTHBERT JULIAN ORDE (1888-1968) Woman reading signed ORDE (lower left) oil on canvas, unframed 50.8 x 61 cm (20 x 24 in) Â£400 - 600

46 ARR

SIR MATTHEW SMITH (1897-1959) Reclining male figure signed with initials MS (lower right) pencil 24.5 x 30 cm (9 1/2 x 11 3/4 in) The work is thought to be a self-portrait according to a label attached to the reverse. ÂŁ600 - 800

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47 ARR

AUGUSTUS JOHN, O.M., R.A. (1878-1961) Self-portrait in a hat signed John (lower right) etching image: 15 x 10 cm (6 x 4 in) Published in 1919 PROVENANCE: with William Weston Gallery, London Â£800 - 1,200

48 ARR

PROPERTY FROM THE COLLECTION OF ARTHUR KNYVETT-LEE OROVIDA CAMILLE PISSARRO (1893–1968) Man and beast signed and dated Orovida/1924 (lower right), titled (lower centre), inscribed and numbered Final state no 2/40 (lower left) etching

plate: 26.5 x 21.5 cm (10 1/2 x 8 1/2 in) PROVENANCE: Arthur Knyvett-Lee and by descent In 1923 Arthur Knyvett-Lee co-founded the Redfern Gallery with Anthony Maxtone-Graham as an artists’ collective. This lot is sold without reserve £100 - 200

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49 ARR

JILL TWEED (B. 1935) Ram signed, numbered and stamped with the foundry mark TWEED 2/3 (to the rear left leg) bronze with a dark-brown patina 86.4 cm (34 in) long Ram was commissioned in 1996 by P H Gillingham Investments Ltd in Cirencester in Gloucestershire. The first cast from the edition of three is on public display in the town at the Woolmarket. Tweedâ&#x20AC;&#x2122;s work focuses on movement and the life force in human and animal forms. Based in Oxfordshire, she traied at the Slade School of Art and has had numerous solo exhibitions in London, most recently at the Messums Gallery, London in 2008. Ram is a beautiful piece which posseses a particularly expressive energy in its stance and the tactile rendering of the forms of the head and patches of wool on the back. ÂŁ2,000 - 3,000

50 ARR

EDWARD BEALE (1950-2017) Kenya study signed, inscribed and dated Edward Beale/Kenya 91 (on the reverse) oil on board 29 x 39 cm (11 1/2 x 15 1/4 in) PROVENANCE: Acquired from the artist by the present owner ÂŁ800 - 1,200

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51 ARR

JULIAN TREVELYAN, R.A. (1910-1988) Oxen signed and dated Trevelyan ‘55 (lower left) oil on canvas 51 x 61 cm (20 x 24 1/2 in) EXHIBITED: London, New Grafton Gallery, Julian Trevelyan, December 1991, no. N2688, catalogue untraced £4,000 - 6,000

52 ARR

KATHLEEN GUTHRIE (1905-1981) Cats in our Garden signed Kathleen Guthrie (lower right) gouache 37 x 52 cm (14 1/2 x 20 1/2 in) This lot is sold without reserve Â£100 - 200

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53 ARR

TESSA NEWCOMB (B. 1955) Sibton Hall in thin winter snow signed with initials and dated TN 92 (lower left) oil on board 48 x 37.4 cm (19 x 14 3/4 in) PROVENANCE: with The School House Gallery, Norfolk Â£300 - 500

54 ARR

SIR ROGER DE GREY (1918–1995) Studio Interior signed De G (lower left), signed again and inscribed Roger De Grey Studio Interior (on the stretcher) oil on canvas 101.5 x 101.5 cm (40 x 40 in) £1,500 - 2,500

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BERNARD MYERS (1925-2007) London, the town oil on paper laid down on board, unframed 53 x 76 cm (21 3/4 x 30 in) PROVENANCE: Artist’s Estate This work is number 0298 in Bernard Myer’s archives £400 - 600

BERNARD MYERS (1925-2007) Study for arctic sea oil on board, unframed 50.5 x 76 cm (19 3/4 x 30 in) Painted circa 1950 PROVENANCE: Artist’s Estate This work is number 0293 in Bernard Myer’s archives £300 - 500

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57 ARR

ROBERT BUHLER (1916-1989); RUSKIN SPEAR, R.A. (1911-1990) London - Coronation Crowds; Saloon Bar (i) signed in pencil Robert Buhler. (lower right) (i), (ii) lithograph, unframed (i) sheet: 50.2 x 38.3 cm (19 3/4 x 15 in) (ii) sheet: 38.3 x 51.4 cm (15 x 20 1/4 in) (i)(ii) Published by the Royal College of Art in 1953 from a series of 50, all unnumbered. 36 artists were commissioned to record the Coronation of Queen Elizabeth II by creating 40 prints in 1953. (2) Â£300 - 500

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Watching ice hockey in the mountains ink and wash, unframed 12.8 x 17.8 cm (5 1/4 x 7 in) Executed circa 1938 PROVENANCE: Artist’s estate £400 - 600

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) St Moritz signed, inscribed and dated FT/St Moritz 1938 (lower right) ink and wash, unframed 13.4 x 17.7 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £500 - 700

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A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Skiers ink, unframed 17.8 x 13.4 cm (7 x 5 1/4 in) PROVENANCE: Artist’s estate £300 - 500

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Samedan inscribed Samoden [sic] (lower right) ink and wash, unframed 17.7 x 13.4 cm (7 x 5 1/4 in) Executed circa 1938 PROVENANCE: Artist’s estate £300 - 500

62 ARR

GEORGE CHARLTON (1899-1979) Portrait of a huntsman pencil 24 x 19 cm (9 1/2 x 7 1/2 in) PROVENANCE: with John Noott Gallery, Broadway with The Collectors Gallery, London, where purchased by the present owner in January 1995 Â£50 - 100

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CIRCLE OF WHISTLER (1834-1903) Venetian canal pencil and pastel on paper 35 x 23 cm (13 3/4 x 9 in) £200 - 300

64 ARR

EDWARD BEALE (1950-2017) West Square signed and dated Edward Beale 1987 (lower right), inscribed West Square (lower left) ink 24 x 34.4 cm (8 3/4 x 13 1/2 in) PROVENANCE: Acquired from the artist by the present owner £200 - 300

65 ARR

RONALD SEARLE (1920-2011) I’ll never see you again signed Ronald Searle (lower left) ink and wash 49.5 x 33 cm (19 1/2 x 13 in) PROVENANCE: with Chris Beetles, London LITERATURE: Punch, 23 May 1956, p. 627, illustrated £1,200 - 1,800

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66 ARR

NORMAN BLAMEY (B.1914) The Settle signed with initials NB (lower right), signed again and inscribed THE SETTLE/NORMAN C.BLAMEY (on the reverse) oil on board 149 x 75.6 cm (58 3/4 x 29 3/4 in) EXHIBITED: London, Royal Academy of Arts, Summer exhibition, 1992, work no.2, catalogue not traced Â£3,000 - 5,000

67 ARR

ANTHONY BUTLER (1927-2010) Mealtime, France signed Butler (lower right), inscribed MEALTIME-FRANCE (on the reverse) oil on canvas 46 x 61 cm (18 x 24 in) PROVENANCE: with Fosse Gallery, Stow-on-the-Wold Â£300 - 500

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68 ARR

THOMAS RATHMELL (1912-1996) London Pub signed T.Rathmell (lower right) ink, watercolour and gouache on brown paper 19.7 x 25.4 cm (7 3/4 x 10 in) Executed in 1936 Â£400 - 600

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Leaving the ball ink and wash, unframed 13.4 x 17.8 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £500 - 700

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Wartime bar ink and wash, unframed 13.3 x 17.7 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £500 - 700

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A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Table 76, Café de Paris ink, unframed 13.4 x 17.8 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £500 - 700

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI FELIKS TOPOLSKI, R.A. (1907-1989) Musicians playing, wartime ink, unframed 13.2 x 17.8 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £300 - 500

THÉRÈSE LESSORE (1884-1945) Audience at the New Bedford oil on canvas 24.1 x 27.9 cm (9 1/2 x 11 in)

PROVENANCE: with Jonathan Clark, London, where purchased by the present owners’ family in 1992

Painted in 1919

This work is believed to be a study for a larger piece bearing the same title.

£500 - 600

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THÉRÈSE LESSORE (1884-1945) The Alhambra (study) oil on canvas, squared for transfer 35.6 x 21.6 cm (14 8 1/2 in) PROVENANCE: with Jonathan Clark, London, where purchased by the present owners’ family in 1992 £500 - 700

75 ARR

DAME LAURA KNIGHT, R.A. (1877-1970) Sir John Gielgud at the Regent signed and inscribed Gielgud/Laura Knight (lower left), Regent Theatre (lower right) charcoal 35.6 x 25.4 cm (14 x 10 cm) PROVENANCE: with Walker Bagshawe Fine Art, London

Laura Knight, who was always in the wings and dressing rooms sketching and painting. She did a most attractive portrait of Gwen (Ffrancon Davies) dressing as Juliet and she knocked at my door one evening and sketched me as I was cleaning my teeth, made up, dressed for Romeo. (John Gielgud, Early Stages, London, 1939, p.80). ÂŁ1,000 - 1,500

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76 ARR

DAME LAURA KNIGHT, R.A. (1877-1970) Between Acts signed and dated Laura Knight/1954 (lower right), inscribed Between Acts (lower left) charcoal 35.7 x 24 cm (14 x 9 1/2 in) PROVENANCE: with Euston Gallery, London Sale, Christie’s, 28 February 2007, lot 75 £600 - 800

77 ARR

SIR CECIL BEATON (1904-1980) Interior set design signed Cecil Beaton (upper right) ink, pencil, watercolour and gouache 53.3 x 73 cm (21 x 28 3/4 in) PROVENANCE: with Fosse Gallery, Stow-on-the-Wold, where purchased by the present owners’ family in 1989 £2,000 - 3,000

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78 ARR

ENZO PLAZOTTA (1912-1981) Lady with a Smile bronze with a black patina 165.1 cm (65 in) high Conceived in 1970 in an edition of nine of which only two were cast and the edition was closed in 1985 LITERATURE: C. Plazzotta and R. O’Connor, Enzo Plazotta, A Catalogue raisonné, London, 1986, p. 76, no. 136, illustrated. One of the two casts was exhibited at the Grosvenor Gallery, London 1970; Bedford College, London, 1980; Freeland, London 1985. £3,000 - 5,000

79 ARR

ANTHONY WHISHAW R.A. (B. 1930) Man resting signed A Whishaw (lower right) oil on board 122 x 152 cm (48 x 60 in) Â£600 - 800

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80 ARR

NORA L.M. CUNDELL (1889-1948) The Wayfarer signed and dated NLM Cundell ‘26 (lower left), signed again NLM CUNDELL, 55 Drayton Gardens/THE WAYFARER (on the canvas overlap) oil on canvas 38 x 43.5 cm (15 x 17 1/4 in) PROVENANCE: with Christopher Day Gallery, Sydney, where purchased by the present owner £700 - 1,000

EUSTON ROAD SCHOOL (20TH CENTURY) Seated nude oil on board 57.4 x 56 cm (22 1/2 x 22 in) £300 - 500

JOSEPH ALFRED TERRY (1872-1939) Street scene signed Joseph Terry (lower left) charcoal, watercolour and gouache 21 x 28 cm (8 1/4 x 11 in) £200 - 300

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83 ARR

JONAS PLOSKY (1940-2011) The elder sister signed PLOSKY (lower right) oil on board 74.4 x 86.5 cm (29 1/4 x 33 1/2 in) Â£500 - 700

84 ARR

EDWARD BEALE (1950-2017) Fort Jesus Mombassa signed, inscribed and dated Edward Beale ‘91/Fort Jesus Mombassa (on the backboard) watercolour 27 x 37.5 cm (10 1/2 x 14 3/4 in) PROVENANCE: Acquired from the artist by the present owner £250 - 350

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85 ARR

DONALD MCINTYRE (1923-2009) Blue boat, St Monans signed with initials DM (lower right) acrylic on board 28.5 x 38.5 cm (11 1/4 x 15 1/4 in) PROVENANCE: with Thackeray Gallery, London, where purchased 1989 by the current owner’s family Private collection, UK £700 - 1,000

86 ARR

JOHN BRATBY, R.A. (1928-1992) Venice, the Rialto Bridge and the Vogalonga signed, inscribed and dated John Bratby/ Venice/The Rialto Bridge/The Vogalonga/ MAY/1986 (lower right) pencil 41.4 x 29.4 cm. (16 1/4 x 11 1/2 in) PROVENANCE: with Julian Hartnoll, London ÂŁ400 - 600

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87 ARR

JOHN BRATBY, R.A. (1928-1992) The Lagoon of St Marco, the Sun into the Little Balcony signed, inscribed and dated The Lagoon of St Marco/October 25 1985. John Bratby. The sun into the little balcony (lower right) pencil and pastel 34.3 x 24.8 cm (13 1/2 x 9 3/4 in) PROVENANCE: with Julian Hartnoll, London ÂŁ400 - 600

88 ARR

GEORGE WILLIAM BISSILL (1896-1973) Still Life with a view through a window beyond signed Bissill. (lower left) ink and watercolour on buff paper 39 x 27.5 cm (15 1/2 x 11 in) PROVENANCE: with Abbot & Holder, London, where purchased by the present owners in 1993 £100 - 200

89 ARR

DAME ELISABETH FRINK, R.A. (1930-1992) Horse and rider III signed Frink (lower right), numbered 68/70 (lower left) lithograph 57.8 x 77 cm (22 3/4 x 30 1/4 in) LITERATURE: Wiseman, 44 £300 - 500

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90 ARR

MICHAEL AYRTON (1921-1975) Woman on rings signed and dated 22.1.1959/Michael Ayrton (lower left) pencil and ink 42.3 x 27.1 cm (16 1/2 x 10 3/4 in) PROVENANCE: Alice Meynall with Chris Beetles, London, where purchased by the present owners’ family EXHIBITED: London, The Leicester Galleries, Exhibition of works by Michael Ayrton, March 1957, no. 30 £1,000 - 1,500 89

91 ARR

CONROY MADDOX (1912-2005) The Alchemy signed with date Conroy Maddox/’41 (lower right) gouache 21 x 29.5 cm (8 1/4 x 11 3/4 in) £1,200 - 1,800

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92 ARR

SCOTTIE WILSON (1889-1972) Three Levels of Life signed Scottie (lower right) felt tip pen and watercolour 55.4 x 36.4 cm (21 3/4 x 14 1/4 in) PROVENANCE: with Whitford Fine Art, London Â£500 - 700

93 ARR

ROBERT MEDLEY (1905-1994) Untitled (figures in an interior) signed Robert Medley (on the reverse) oil on panel 22 x 20.3 cm (8 1/4 x 8 in) ÂŁ800 - 1,200

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94 ARR

DESMOND MORRIS (B. 1928) Silent witness signed with initials DM 88 (lower left) ink and gouache, unframed 29.4 x 21 cm (11 3/4 x 8 1/4 in) PROVENANCE: Acquired directly from the artist by the present owner We are grateful to Dr Silvano Levy for his assistance in cataloguing this lot ÂŁ600 - 800

95 ARR

SCOTTIE WILSON (1889-1972) Mask signed Scottie (lower right) ink and colour pencil 27 x 17.5 cm (10 1/2 x 6 3/4 in) ÂŁ300 - 500

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96 ARR

ALAN DAVIE, R.A. (1920-2014) Double Trophy, Opus O. 1958 signed, inscribed and dated Alan Davie/2008/ DOUBLE TROPY/O.1958 (on the reverse) oil on board 36.8 x 30.4 cm (14 1/2 x 12 in) PROVENANCE: Acquired from the artist by the present owner ÂŁ2,000 - 3,000

There occurs a DIALOGUE between my paintings and the tribal sculptures which stand in our home alongside the pictures â&#x20AC;&#x201C; they live very happily together. I feel they both embody a spiritual essence which is timeless and beyond cultures and history. .. I feel strongly that I am, as it were, TAPPING IN to the vast store of imagery which makes our artistic heritage from CAVE ART onwards- and of course- being of CELTIC origins one can discern a link with ancient NORDIC culture. Alan Davie

97 ARR

STEFAN KNAPP (1921-1996) The Sentinels signed Knapp (lower right) ink and gouache on paper 156 x 74.4 cm (61 1/2 x 29 1/4 in) PROVENANCE: Acquired from the artist by the present owner Knapp became internationally renowned for his monumental urban works of vibrant colours and ambitious scale. He patented a technique of painting with enamel on steel which he used to decorate the facades of public architecture. He was known for producing murals of unprecedented size and his mural for the Alexander Corporation in New Jersey from 1960 was the largest ever created measuring 200 x 50 feet. Born in Poland, Knapp was imprisoned at the age of eighteen for two years in a Siberian gulag. During the Second World War he was an RAF pilot and after the war he remained in London where he furthered his studies at the Royal Academy and at the Slade School of Fine Art. The following lots showcase the artistâ&#x20AC;&#x2122;s expressionist compositions, vibrant in colours and resonating with vitality. ÂŁ600 - 800

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STEFAN KNAPP (1921-1996) Untitled signed KNAPP (lower right) mixed media, gouache on paper, laid down on board, unframed 53.4 x 74.3 cm (21 x 29 1/4 in) Executed in the late 1950s. PROVENANCE: Artist’s estate £500 - 700

99 ARR

STEFAN KNAPP (1921-1996) The Shepherd felt tip pen 38 x 51 cm (15 x 20 in) Executed in 1956 PROVENANCE: Acquired from the artist by the present owner Â£400 - 600

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100 ARR

STEFAN KNAPP (1921-1996) The Offering felt tip pen and watercolour 18 x 24.5 cm (7 x 9 3/4 in) Executed circa 1955 PROVENANCE: Acquired from the artist by the present owner Â£300 - 500

101

STEFAN KNAPP (1921-1996) Nine untitled drawings each signed with initials SK (lower right) felt tip pen each: 14 x 11.4 cm (5 1/2 x 4 1/2 in) PROVENANCE: Artist’s estate £300 - 500

100

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102 ARR

ALAN DAVIE, R.A. (1920-2014) Untitled signed and dated Alan Davie 07 (upper right) ink 20.3 x 15.2 cm (8 x 6 in) £600 - 800

PROVENANCE: Acquired from the artist by the present owner I see in tribal art forms, signs and symbols which I recognise (DEEPLY WITHIN MYSELF). Some of these signs actually occur automatically in my own spontaneous black brush drawings – I tend to agree with JUNG when he talks about ‘archetypal image’. Alan Davie

101

103 ARR

JOHN MELVILLE (1901-1986) Standing female figure oil on board, unframed 97.5 x 67.5 cm (38 1/2 x 26 1/2 in) ÂŁ600 - 800

102

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104 ARR

PATRICK HAYMAN (1915-1988) Figures with a dog signed HAYMAN (upper left) oil on board 19.5 x 25 cm (8 x 10 in) This lot is sold without reserve Â£300 - 500

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105 ARR

PATRICK HAYMAN (1915-1988) The Return of the Prodigal Son signed Hayman (lower right) oil on board 23.3 x 28.7 cm (9 1/4 x 11 1/2 in) This lot is sold without reserve £300 - 500

106 ARR

PATRICK HAYMAN (1915-1988) Man at sea signed and dated 1985 Hayman (lower right), signed again, inscribed and dated MAN AT SEA/ WITH A FLYING MACHINE/1986/Patrick Hayman (on the backboard) watercolour and gouache 38.2 x 57.2 cm (15 x 22 1/2 in) PROVENANCE: with Blond Fine Art, London Malcolm Hillier This lot is sold without reserve £250 - 350

104

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107 ARR

JOHN MELVILLE (1902-1986) Poet with his muses signed and dated John Melville 1965. (upper left) oil on canvas 182.9 x 243.5 cm (72 x 95 3/4 in) £1,500 - 2,500

John Melville was a painter strongly influenced by Picasso. By the early 1930s his attention was drawn to surrealism and he was labelled as a surrealist in a 1932 Harper’s Bazaar article on British painting. The artist possessed a substantial knowledge of modern art, which had been acquired through visits to London galleries in the 1920s and early 1930s. Along with his brother Robert Melville, who was an art critic, and Conroy Maddox, he was a key member of the Birmingham Surrealists. In the 1960s Melville’s work continued to be imbued with surrealist motifs, but also

showed an expressionist influence. Poet and his muses is an ambitious piece painted on a large scale. The thick outlines and distorted perspective pull the viewer in the wonderous world of the poet. Melville’s singular style was acknowledged by his inclusion in numerous public exhibitions, most notably “Surrealism: Two Private Eyes” at the Guggenheim, New York in 1999. (See: S.Levy, C.Maddox, The Scandalous Eye: The Surrealism of Conroy Maddox, Liverpool, 2003, p. 31)

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108 ARR

JOHN MELVILLE (1902-1986) The Goddesses signed and dated John Melville/1958.(upper left), inscribed THE GODDESSES (on the reverse) oil on board 119.3 x 120 cm (47 x 47 1/4 in) Â£2,000 - 3,000

106

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109 ARR

P.J. CROOK (B. 1945) The Trickster & the Evangelist signed PJCrook (lower right on the central panel), signed again (on the reverse), inscribed and dated The Trickster &/the Evangelist/1992 (on a label attached to the reverse) oil on panel, triptych 66 x 75.6 cm (26 x 29 3/4 in), with both side panels open PROVENANCE: with The Portal Gallery, London ÂŁ3,000 - 5,000 107

110 ARR

BERNARD ROBINSON (1912-1970) In nomine patris oil on board 39 x 81cm (15 1/2 x 32 in) £800 - 1,200 Celebrated as an art director and production designer, Bernard Robinson’s early career was first as a draughtsman with Warner Studios in Teddington, and then with Alexander Korda at London Film in Denham. But it was at Hammer Film Productions, the film company best known for its gothic horror films that he established his formidable reputation. Under Robinson’s artistic leadership from 1956-1969 Hammer dominated the horror film market. Hits included The Curse of Frankenstein (1957) – Hammer’s first colour movie - Count Dracula (1958) and The Mummy (1959), all three starring Christopher Lee and Peter Cushing.

108

Based at Hammer’s Bray studios in Berkshire, Robinson combined enviable inspiration with great economy of means, as he succeeded in giving Hammer’s films an expensive look while working with minimal budget. There he oversaw the design and artistic production of some 76 films. Others included The Hound of the Baskervilles (1959), The Curse of the Werewolf (1960), The Two Faces of Dr Jekyll (1960) and The Phantom of the Opera (1962), the latter one of his most formidable challenges as it required a huge water-tank to be constructed for the Phantom’s underground lair. As well as designing for film, Robinson took a keen interest in painting. As an artist he developed his own distinctive style that drew both on the formal properties of Cubism and the drama of Surrealism. In his subject matter he reflected with both wit and insight many of the darker themes that were such a feature of his day job with Hammer.

Robinson’s artworks possess a particular sense of rhythm and energy. The bright palette and angular lines, draw the viewer’s attention to the finer details in the domestic Family scene (lot 7), full of life and movement. The energetic composition in Danger! Men at work! (lot 8) approaches the subject with a good dose of humour by the juxtaposition of the working men and the passing ladies of leisure. The masked faces and distorted bodies in H.M. Board of Inland Revenue particularly resonate with the unsettled world of today making Robinson’s work ever so relevant. Influential, charismatic and with a highly original artistic vision, Robinson’s death at the age of 57 in 1970 was cruelly premature. But as he himself was known to have remarked: ‘It’s not the length of life that counts, but the quality.’

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111 ARR

BERNARD ROBINSON (1912-1970) Apotheosis oil on board 71 x 59 cm (28 x 23 1/4 in) Â£700 - 1,000

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110

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112 ARR

CRAIGIE AITCHISON, R.A. (1926–2009) Wayney goes to heaven (grey background) signed, dated and numbered in ink 42/75 Craigie Aitchison 1989 (lower centre) screenprint image: 21 x 15.6 cm (8 1/4 x 6 1/8 in) sheet: 63 x 47 cm (24 3/4 x 18 1/2 in) £400 - 600

113 ARR

PATRICK HAYMAN (1915-1988) The Sailor and the bird-girl signed HAYMAN (upper right) oil on board 16.4 x 49.5 cm (6 1/2 x 19 1/2 in) Painted in 1972 PROVENANCE: with Timothy Hobart Fine Art, London This lot is sold without reserve £400 - 600

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114 ARR

P.J. CROOK (B.1945) First Race signed P.J. Crook (lower right),signed again, inscribed and dated PJ CROOK First Race 1999 (on the reverse) acrylic on waved panel 25.5 x 57.1 cm (10 x 22 1/4 in) ÂŁ2,500 - 3,500

112

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115 ARR

MICHAEL SCOTT (1946-2006) River Sighting signed Scott (lower right), inscribed and dated RIVER SIGHTING/1993 (on a label attached to the reverse) oil on canvas 48.3 x 48.3 cm (19 x 19 in) PROVENANCE: Artist’s studio with Fosse Gallery, Stow-on-the-Wold £1,000 - 1,500 113

116 ARR

MICHAEL SCOTT (1946-2006) Easy Day in Autumn signed Scott (lower right), inscribed and dated EASY DAY IN AUTUMN/2000 (on a label attached to the reverse) oil on canvas 49.5 x 59.7 cm (19 1/2 x 23 1/4 in) PROVENANCE: with Fosse Gallery, Stow-on-the-Wold Â£1,000 - 2,000

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117 ARR

ALISTAIR GRANT (1925-1997) Ophelia signed, inscribed and numbered in pencil 1/50 Ophelia Alistair Grant (in the lower margin) lithograph sheet: 62 x 49 cm (24 1/4 x 19 1/4 in) Published in 1964 by the Royal College of Art. A copy from the same edition is held by the United Kingdom Government Collection. ÂŁ100 - 200 115

118 ARR

PATRICK PROCKTOR, R.A. (1936-2003) Edgware Road Sunset signed Patrick Procktor (lower left) watercolour 25.2 x 17.4 cm (10 x 6 3/4 in) Executed in 1987, according to a label on the reverse PROVENANCE: with Contemporary Art Society Market, London Â£600 - 800

116

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119 ARR

NORMAN ACKROYD, R.A. (B. 1938) Roundhill signed and dated Norman Ackroyd 1973 (lower right), titled and numbered Roundhill 23/40 (lower left) inscribed for Vernon Saunders with best wishes Norman Ackroyd...1976 (in the upper margin) etching, unframed image: 25 x 24 cm (9 3/4 x 9 1/2 in) sheet: 41.6 x 33.5 cm (16 1/4 x 13 1/4 in) PROVENANCE: Vernon Saunders (a gift from the artist) ÂŁ150 - 250 117

120 ARR

ANTHONY WHISHAW, R.A. (B. 1930) Mirror II (Las Meninas) signed with initials AW (lower left), signed again, inscribed and dated Anthony Whisshaw/1987/Mirror II (on the reverse) oil and collage on canvas 40.9 x 40.9 cm (16 x 16 in) PROVENANCE: with Chrisopher Hull Gallery, London, where purchased by the present owner ÂŁ600 - 800

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121 ARR

HARRY BAINES (1905-1995) Tree signed and dated in pencil Baines 60 (lower left) monotype 49.4 x 41 cm (19 1/2 x 16 1/4 in) £150 - 250

122 ARR

HARRY BAINES (1910-1995) Vine root signed Baines (lower left), signed again and inscribed Vine Root. Harry Baines/For Elizabeth (on the backboard) monotype 22 x 26.5 cm (8 3/4 x 10 1/2 in) £100 - 200

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120

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123 ARR

EDWARD BEALE (1950-2017) Three etchings: Rhinoceros in interior; Three elephants under a tree; and Sumatran Tiger (i) signed, titled, dated and numbered 20/30 Rhinoceros in interior Edward Beale 93 (along the lower margin) (ii) signed, titled, dated and numbered AP Three elephants under tree Edward Beale 97 (along the lower margin) (iii) signed, titled, dated and numbered 14/50 Sumatran Tiger Edward Beale 93 (along the lower margin) (i) image: 10 x 13.5 cm (4 x 5 in) (ii) image: 12 x 20 cm (5 x 7 3/4 in) (iii) image: 16.5 x 18.7 cm (6 1/2 x 7 1/4 in) PROVENANCE: Acquired from the artist by the present owner (3) ÂŁ150 - 250

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124 ARR

ROLAND BATCHELOR (1889-1990) St. Jean de Luz, wish you were here signed Roland Batchelor. (lower left), inscribed St Jean de Luz (lower right) pencil and watercolour 16 x 20.5 cm (6 1/4 x 8 1/4 in) PROVENANCE: with The Catto Gallery, London £150 - 250

125 ARR

ROLAND BATCHELOR (1889-1990) Isle of Wight signed, inscribed and dated Roland Batchelor 89/Isle of Wight, Amateur Yachtsman (lower left) pencil and watercolour 22 x 27.5 cm (8 3/4 x 10 3/4 in) PROVENANCE: with The Catto Gallery, London £150 - 250

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126 ARR

VICTORIA RUSSELL (B. 1965) The Audience II signed and dated V. Russell 97 (on each canvas overlap) oil on canvas, triptych, unframed 210 x 226 cm (82 3/4 x 89 in), three panels together ÂŁ4,000 - 6,000

I like the moment of animation when everyone bursts into applause, a coming together of everybody... I like the way audiences dress up. There is a sort of theatre about the way people look, the sparkling earrings, the costumes. Victoria Russell, The Times

A figurative painter from Hackney, in 2000 Russell won one of the most prestigious awards, the National Portrait Galleryâ&#x20AC;&#x2122;s BP Portrait Award. The Audience II is an ambitious, confident large-scale work. The fine amount of controlled detail imbues the piece with particular energy and makes the excitement of the audience palpable to the viewer. It is unknown who the central figure of the composition is, but it has been suggested that the figure on the left is based on Diana, Princess of Wales.

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127 ARR

ELIZABETH BLACKADDER, R.A. (B. 1931) Japanese series, flowers and beetles signed and numbered in pencil 10/30 Elizabeth Blackadder (in the lower margin) etching and aquatint image: 25 x 15 cm (9 7/8 x 6 in) sheet: 45.5 x 33 cm (18 x 13 in) PROVENANCE: with Lynne Stern Associated, London £100 - 200

128 ARR

ELIZABETH BLACKADDER, R.A. (B.1931) Japanese series, orchids signed and numbered in pencil 36/75 Elizabeth Blackadder (in the lower margin) etching and aquatint image: 42.7 x 52.5 cm (16 3/4 x 20 3/4 in) sheet: 53.4 x 70 cm (21 x 27 1/2 in) £200 - 300

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129 ARR

ELIZABETH BLACKADDER R.A., (B.1931) Japanese series, iris signed and numbered in pencil 11/50 Elizabeth Blackadder (in the lower margin) etching and aquatint image: 24 x 20 cm (9 1/2 x 7 3/4 in) sheet: 62 x 50.8 cm (24 1/2 x 20 in) ÂŁ200 - 300

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130 ARR

DAVID BACKHOUSE (B. 1941) Contemplation signed, dated and numbered Backhouse 1986 1/9 (to the side of the right leg) bronze with a dark brown patina 152.4 cm (60 in) high, excluding the p Sold without the plinth ÂŁ1,000 - 2,000

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131 ARR

RICHARD LOUIS GARBE, R.A. (1876-1957) Mermaid signed faintly (on the rear of the base) plaster 125 cm (49 1/4 in), high Â£500 - 800

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132 ARR

EDWARD WOLFE (1897-1982) The sunbather (another version, verso) signed Wolfe (upper right), signed again Wolfe (on the reverse) ink 23.8 x 30.8 cm (9 1/2 x 12 in) PROVENANCE: with Fosse Gallery, Stow-on-the-Wold, where purchased by the present owners’ family in 1988 £200 - 300 133 ARR

ROGER HILTON (1911-1975) Reclining nude ink 18.5 x 24 cm (7 1/4 x 9 1/2 in) £1,000 - 2,0000

128

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134 ARR

ROGER HILTON (1911-1975) Composition charcoal and crayon 16 x 22 cm (6 1/4 x 8 3/4 in) Â£2,000 - 3,000

129

135 ARR

SIR EDUARDO PAOLOZZI, R.A. (1924 - 2005) Sack-o-sauce; It’s a Psychological Fact Pleasure Helps your Disposition printed papers on card, unframed (i) 35.5 x 26.5 cm (90 x 67 in) (ii) 36.2 x 24.4 cm (14 1/4 x 9 1/2 in) From Ten Collages from BUNK published in 1972 by Snail Chemical Publishing (original 1950; original 1948) (2) £150 - 250

130

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136 ARR

FRANCIS BACON (1909-1992) Bacon, Grand Palais, Paris (Exhibition Poster) signed in purple felt tip pen (lower right) offset lithograph in colours, unframed image:126 x 115 cm (49 x 45 1/8 in) sheet:160 x 120 cm (62 1/2 x 47 1/2 in) On wove paper from the edition of unknown size, published by the Musee du Grand Palais, Paris in 1971 LITERATURE: B. Sabatier, Francis Bacon: The Graphic work, cf., no.10. Â£800 - 1,200 131

137 ARR

GERALD LAING (1936-2016) Anna Karina signed and inscribed Anna Karina AP Gerald Laing 1963-2004 (in the lower margin) screenprint image: 87.5 x 52.3 cm (34 1/2 x 20 1/2 in) Published in 2004 This piece is based on a newspaper photograph of the head of French film star Anna Karina in the leading role of the film Vivre sa Vi. ÂŁ700 - 1,000 132

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138 ARR

SIR EDUARDO PAOLOZZI, R.A. (1924 - 2005) Turing series no. 8 - The Locus of C is Thus signed and numbered Eduardo Paolozzi 14/50 (lower left) screenprint 78.5 x 59.5 cm (31 x 23 1/2 in) Â£300 - 500

133

139 ARR

TESS JARAY, R.A. (B. 1937) April Suite III (dark blue) signed, dated and numbered Tess Jaray ‘71 (lower right) AP (lower left) screenprint image: 53 x 66.5 cm (21 x 26 in) £200 - 400

134

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140 ARR

BARBARA RAE, R.A. (1943) Harbour at Scourie acrylic and collage on board 10.4 x 14.4 cm (4 x 5 3/4 in) PROVENANCE: with Aitken Dott, Edinburgh Â£400 - 600

135

141 ARR

ANTHONY FROST (B.1951) Red Wedge signed and dated Anthony Frost â&#x20AC;&#x2DC;90 (lower right, on the supporting board), signed again, inscribed and dated again Red Wedge June 1990/Anthony Frost (on the reverse) acrylic on board 25 x 58.4 cm (10 x 23 in) ÂŁ300 - 500

136

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142 ARR

PAUL RUDALL (1921-2012) Random walk signed P. Rudall (lower centre), titled (on back board) oil on paper 25 x 25 cm (9 3/4 x 9 3/4 in) PROVENANCE: Artist’s estate £200 - 300

137

143 ARR

JOHN EDWARDS (1938-2009) Untitiled painted plaster 36 cm (14 in), high This work is unique PROVENANCE: The Artist’s Estate Sale, where purchased by the present owner £200 - 300

144 ARR

JOHN EDWARDS (1938-2009) Untitled (organic form; arched form); bronze with green patina (i)11.5 cm (4 1/2 in), high (ii) 12.5 cm (5 in), high (2) £200 - 300

138

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145 ARR

EDWARD BAWDEN, R.A. (1903-1989) Lion & Zebras signed, inscribed and numbered in pencil Lion & Zebras 6/75 Edward Bawden (in the lower margin) linocut sheet: 57 x 77 cm (22 1/2 x 30 1/4 in) £300 - 500

146 ARR

EDWARD BAWDEN, R.A. (1903-1989) Indian elephant signed in pencil Edward Bawden (lower right), inscribed and numbered INDIAN ELEPHANT 8/25 (lower left) linocut image: 30 x 30 cm (11 1//2 x 11 1/2 in) sheet: 57.5 x 50 cm (22 3/4 x 19 3/4 in) £200 - 300

139

147

BERNARD MYERS (1925-2007) Deep blue abstract pencil and oil pastel, unframed 58 x 75.5 cm (22 3/4 x 29 1/2 in) PROVENANCE: Artist’s Estate £150 - 250

140

This work is number 0427 in Bernard Myer’s archives Myers was fascinated by space and took a keen interest in the Apollo Space programme. His passion for the cosmos lead him to explore the new discoveries of the era through vibrant pastels, a group of which is offered in this sale. (LOTS 147150)

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148

BERNARD MYERS (1925-2007) Grey geometric abstract pencil and oil pastel, unframed 59 x 68.5 cm (23 1/4 x 27 in) PROVENANCE: Artist’s Estate This work is number 0432 in Bernard Myer’s archives £150 - 250

141

149

BERNARD MYERS (1925-2007) Red Abstract pencil and oil pastel, unframed 56 x 76.5 cm (22 x 30 in) Executed in 1975 PROVENANCE: Artist’s Estate This work is number 0423 in Bernard Myer’s archives £150 - 250

142

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150

BERNARD MYERS (1925-2007) Gradient geometric red abstract pencil and oil pastel, unframed 58 x 71.5 cm (22 3/4 x 28 1/4 in) Executed in 1975 PROVENANCE: Artist’s Estate This work is number 0426 in Bernard Myer’s archives £150 - 250

143

151 ARR

JOHN HOPWOOD (1942-2015) Double Spinal signed, inscribed and dated John Hopwood 1998/Double Spinal (on an artist label attached to the reverse) acrylic on canvas, unframed 91.4 x 61 cm (36 x 24 in) ÂŁ100 - 200

144

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152 ARR

KATHLEEN GUTHRIE (1905-1981) Red Centre signed and titled RED CENTRE BY KATHLEEN GUTHRIE (on the canvas overlap) oil on canvas 51 x 61 cm (20 x 24 in) Â£500 - 700

145

153

PAUL RUDALL (1921-2012) Distant music signed P Rudall (lower right) oil on khadi paper 57 x 75.5 cm (22 1/2 x 29 1/2 in) PROVENANCE: Artist’s estate £350 - 550

146

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154 ARR

JOHN EDWARDS (1938-2009) Crosses signed and dated John Edwards 1979 (lower right) ink, unframed 38.5 x 51 (15 1/4 x 20 in) Â£100 - 200

147

155 ARR

DENIS BOWEN (1921-2006) Red Vertical signed and dated Denis Bowen 1993 (lower right), inscribed Red Vertical (lower left) mixed media on paper, unframed image: 28 x 20.7 cm (11 x 8 in) ÂŁ100 - 200

148

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156 ARR

PATRICK HUGHES (B. 1939) Paper Roses signed, inscribed, dated, and numbered AP V/XV Paper Roses Hughes 85 (in the lower margin) lithograph, unframed image: 58 x 43 cm (22 3/4 x 17 in) sheet: 76 x 57 cm (30 x 22.5 in) ÂŁ100 - 200

149

157 ARR

SIR ANTONY GORMLEY (B. 1950) Snowfall signed, dated and numbered Anthony Gormley ‘02 178/200 (lower right) offset lithograph, unframed sheet: 70 x 100 cm (27 1/2 x 39 1/4 in) £500 - 800

150

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158 ARR

PATRICK CAULFIELD, R.A. (1936-2005) Ah! This life is so everyday; And with my eyes bolting toward the unconscious screenprint image: 40 x 34.5 cm (15 3/4 x 13 1/2 in) Part of the Some Poems of Jules Laforgue set published in 1973 Â£400 - 600

151

159 ARR

KEITH COVENTRY (B. 1958) Holly Zeus signed and dated K. Coventry/2016 (on a label attached to the reverse) mixed media collage 15.5 x 20.3 cm (6 x 8 in) ÂŁ1,500 - 2,500

152

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160 ARR

SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Newton after Blake signed, inscribed and dated Tate Gallery/ Newton after Blake/1994/Eduardo Paolozzi/ For Sue (on the reverse) plaster 6 1/4 x 8 1/2 in (15.9 x 21.6 cm) PROVENANCE: Sue Lloyd and by descent Â£500 - 700

153

161 ARR

SANDRA BLOW, R.A. (1923-2006) Hamlet Act 3, Scene 1, Line 89 signed, inscribed and numbered in pencil 24/50 Hamlet Act 3 Scene 1 Line 89 Sandra Blow (in the lower margin) lithograph image: 48 x 35 cm (19 x 13 3/4 in) sheet: 62 x 48.4 cm (24 1/2 x 19 in) ÂŁ200 - 300

154

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162 ARR

PATRICK CAULFIELD, R.A. (1936-2005) Wall lamp signed and numbered Patrick Caulfield 16/50 (lower right) screenprint sheet: 76 x 55.5 cm (30 x 21 3/4 in) LITERATURE: Cristea, 86 Â£600 - 800

155

Index ACKROYD, N. 119 AITCHISON, C. 40,112 AYRTON, M. 90 BACKHOUSE, D. 130 BACON, F. 136 BAINES, H. 121,122 BARKER, C. 15 BATCHELOR, R. 124,125 BAWDEN, E. 145,146 BEALE, E. 50,64,84,123 BEATON, C. 77 BISSILL, G. W. 88 BLACKADDER, E. 38,127,128,129 BLAMEY, N. 66 BLOW, S. 161 BOSHIER, D. 4 BOWEN, D. 155 BRATBY, J. 86,87 BUTLER, A. 67 CAULFIELD, P. 158,162 CHARLTON, G. 62 CIRCLE OF WHISTLER 63 COHEN, B. 3 COVENTRY, K. 159 CROOK, P. J. 109,114 CUNDELL, N. L. M. 80 DAVIE, A. 15,18,24,96,102 DE GREY, R. 54 DUNCOMBE, P. 35 EDWARDS, J. 10,11,17,19,143,144,154 ENGLISH SCHOOL 31 EPSTEIN, J. 36 EUSTON ROAD SCHOOL 81 FEDDEN, M. 37 FRINK, E. 89 FROST, A. 141 FROST, T. 2 GARBE, R. L. 131 GORMLEY, A. 157 GRANT, A. 117 GUTHRIE, K. 52,152 HAYMAN, P. 104,105,106,113 HEATH, A. 7 HERMAN, J. 32,44 HILTON, R. 133,134 HODGKIN, H. 8,9 HOPWOOD, J. 151 HOYLAND, J. 1

HUGHES, P. 156 JARAY, T. 139 JOHN, A. 47 KNAPP, S. 97,98,99,100,101 KNIGHT, L. 75,76 LAING, G. 137 LESSORE, T. 73,74 MADDOX, C. 91 MCINTYRE, D. 85 MEDLEY, R. 93 MELVILLE, J. 103,107,108 MORRIS, D. 94 MORTON, A. 6 MYERS, B. 41,42,43,55,56,147,148,149,150 NEWCOMB, T. 53 ORDE, C. J. 45 PANTING, J. 13 PAOLOZZI, E. 135,138,160 PIPER, J. 20,21,23,25,26 PISSARRO, O. C. 48 PLAZOTTA, E. 78 PLOSKY, J. 83 PROCKTOR, P. 118 RAE, B. 140 RATHMELL, T. 68 RICHARDS, C. 16 RILEY, B. 12 BUHLER, R. ; SPEAR, R. 57 ROBINSON, B. 110,111 RUDALL, P. 142,153 RUSSELL, V. 126 SCOTT, M. 115,116 SEARLE, R. 65 SMITH, B. & R. 14 SMITH, M. 46 SPEAR, R. 39 SUDDABY, R. 33 TERRY, J. A. 82 TOPOLSKI, F. 58,59,60,61,69,70,71,72 TREVELYAN, J. 22,51 TWEED, J. 49 VAUGHAN, K. 27 WEIGHT, C. 34 WHISHAW, A. 79,120 WILLIAMS, K. 28,29,30 WILSON, S. 92,95 WOLFE, E. 132

Terms and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE 1.1 Agent for the seller Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer. 1.2 Definitions For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot. The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply. 1.3 Catalogue descriptions Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot. The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good. 1.4 Inspection Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them. 1.5 Condition report CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report. As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto. 1.6 Electricals All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use. 1.7 Estimates Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates. 1.8 Reserves Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids. 1.9 Registration to the sale New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.

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

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2.7 Bidding on an item Bid incrementation is at the auctioneer’s entire discretion. 2.8 Video transmission For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome. 2.9 Online-only auctions Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd. 2.10 Dispute resolution during the auction Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion. 3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale. 3.2 Transfer of property Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping. 3.3 Transfer of risks Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise. 3.4 Cancellation of the sale At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter. Under no circumstances can the Buyer cancel the sale. CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale. Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract. 4. AFTER THE SALE 4.1 Payment All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express. CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance. Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers. Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

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Payments made by someone other than the registered Buyer shall not be accepted. Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. 4.2 Buyer’s Premium The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that commission on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots. The VAT payable varies by symbol as below: No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis. †: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium. *: These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. In order to receive a refund of VAT amounts/Import VAT (as applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and (b) export the lot from the EU within 30 days of collection for * lots and 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show satisfactory proof of export/shipping are available from our Finance team. A processing fee of £35.00 per invoice is charged to check shipping/export documents. (d) No VAT amounts or Import VAT will be refunded where the total refund (after deducting the processing fee) is under £35. (e) If you are re-exporting a * lot outside of the EU, you must either use Chiswick Auctions Ltd TA Shipper or arrange for us to transfer the TA from our shipper to your own TA or bond account. 4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyer’s premium. The rate applicable shall be the legal rate at the date of the sale. Goods such as books and antique books, music, maps and charts etc. are subject to zerorated VAT. In addition, any import taxes that may be incurred shall be paid by the Buyer above hammer price, VAT and Buyer’s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale. 4.4 Artist Resale Rights / Droit de Suite Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows: • From 0 to €50,000 4% • From €50,000.01 to €200,000 3% • From €200,000.01 to €350,000 1% • From €350,000.01 to €500,000 0.5% • Exceeding €500,000 0.25% 4.5 Remedies for non-payment If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: • To cancel the sale • To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. • To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. • To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. • To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd. • To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. • To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. • To take such other action as is permissible by Law and in the discretion of CA Ltd. 4.6 Collection Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7). 4.7 Storage CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer. 4.8 Shipping Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense. CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer. 4.9 Loss or Damage CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care. 4.10 Cultural Goods import and export restrictions Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade. Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts. The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. 4.11 CITES Import and export restrictions Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority. The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.12 Limitation of liability regarding CITES export licenses Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. 4.13 Warranties CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. 4.14 Authenticity warranty In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price. The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy. 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest. Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences. 6. JEWELLERY 6.1 Gemstone treatment and estimates Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: • Heat treatment to enhance sapphires and rubies’ clarity and colour • Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone • Staining • Irradiation • Coating Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof. A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone. If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only. 6.2 Estimated weights If a stone’s exact weight appears within the body of the description, the stone has been unmounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. 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.

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‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. ‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client. ‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic. Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details. 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration. CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto. The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof. Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps. 8. FURNITURE 8.1 Upholstered furniture after 1950 According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale. 9. GLOSSARY OF PICTURE CATALOGUING TERMS Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. 2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category. 3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction. 4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil. 5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil. 6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date. 7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist. 8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist. 10 Pictures are framed unless otherwise stated. 10. ASIAN ARTS 10.1 Import and export restrictions When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. 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

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to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items. 10.2 Fine Chinese Paintings Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive. 11. BOOKS AND MANUSCRIPTS Books and manuscripts sold as incomplete are not subject to returns. Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to unnamed books or to books sold under the heading of ‘binding’ or ‘bindings’. 12. WINES AND SPIRITS In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level. For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit. Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd. CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc. 13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof. 14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent. CA Ltd never sell, lend or trade in personal data provided by any Bidder. 15. SEVERABILITY Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result. 16. AMENDMENTS The current Terms and Conditions may be amended, verbally or in writing, prior to the sale. 17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.