Chiswick-Auctions-Modern-Post-War-British-Art- July-2020 by Chiswick Auctions

Modern & Post-War British Art 30 July 2020

An Update on our Services Our Chiswick Saleroom is now open to the public for valuations, viewings and 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 Government’s guidelines. Can I still view the sale? Selected highlights will be on view in our saleroom from Friday 24th July until Thursday 30th July. 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. In certain circumstances, a video condition report will be available, providing a ‘virtual viewing’ of the lot from the comfort of your home. If you would like to view any of the lots in person, please contact the Head of Modern & Post-War British Art, 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 8896 4680 M: 07535677634 E: krassi.kuneva@chiswickauctions.co.uk The good news is we are fully functional online and continue to run sales in a liveonline format where bidding is welcome online, 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. 5

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

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

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

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

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

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Modern & Post-War British Art Thursday 30 July 2020, 1pm 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 Basak Ulukose

Front Cover Lot 5 Back Cover Lot 10 Inner Bleeds: Lots 11, 7, 17, 52,51,24 Index:Lot 96

1 ARR

JOE TILSON, R.A. (B.1928) Ziggurat signed and numbered Tilson 43/100 (on label attached to the reverse) screenprint and collage 88 x 63 cm (33 3/4 x 24 3/4 in) Published by Prearo Editore, Milan in 1975. ÂŁ400-600

2 ARR JOHN HOYLAND, R.A. (1934-2011) New York Suite: Yellow and Pink signed and dated Hoyland 71. (lower right), numbered 30/100 (lower left) screenprint image: 66 x 91 cm (26 x 35 3/4 in) Â£300-500

3 ARR PETER SEDGLEY (B.1930) Blue and Green Modulation signed, inscribed, dated and numbered Peter Sedgley Artist Proof 8/8 1964 (lower right) screenprint 29 x 45 cm (11 1/2 x 17 3/4 in) PROVENANCE: with Redfern Gallery, London, 1968 with Whitford Fine Art, London Â£400 - 600

4 ARR COLIN SELF (B.1941) Study for the dioramas signed twice Colin Self (lower left), titled and incribed (or, say, travelling through a tunnel...) Automatic telescopic lens in front / of diorama to take one through / the tunnel (along the lower edge) ink 59 x 37.5 cm (23 1/4 x 14 3/4 in) Executed circa 1973 ÂŁ600-800

5ARR DENIS MITCHELL (1912–1993) Raith signed with initials, titled and dated DAM 1974 (underneath) honister slate 38 cm (15 in), high, excluding base This work is unique

Denis Mitchell was an abstract sculptor and active member of the St Ives community of artists. His works are imbued and informed by the landscape and nature of his surrounding area. Having worked as an assistant at Barbara Hepworth’s studio he was a fine carver. He noted in the 1950s: “I learnt that even on a very large scale carving, less than a hair’s breadth rubbed off with emery paper could alter the whole sculpture”. Raith is a unique work Mitchell completed in 1974.

EXHIBITED: London, Marjorie Parr Gallery, Denis Mitchell, 2-24 May, 1975, no.25 We are grateful to the Denis Mitchell Estate for the assistance in cataloguing this lot £4,000-6,000

“I learnt that even on a very large scale carving, less than a hair’s breadth rubbed off with emery paper could alter the whole sculpture”. Denis Mitchell

6 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) £3,000-5,000

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 though 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. By the 1960s Melville’s work continued to be imbued with surrealist and cubist motifs, but also showed an expressionist influence. Poet with 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)

A GROUR OF WORK BY BERNARD ROBINSON (LOTS 7-9)

7 ARR BERNARD ROBINSON (1912-1970) Family scene signed on a label attached to the reverse oil on board 37 x 45 cm (14 1/2 x 17 3/4 in)

PROVENANCE: Acquired directly from the artist’s studio by the present owner £1,200-2,800

Celebrated as an art director and production designer, Bernard Robinson’s early career was first as a draughtsman with Warner studios at Teddington, and then with Alexander Korda at London Film at 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. 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.’

A GROUR OF WORK BY BERNARD ROBINSON (LOTS 7-9)

8 ARR BERNARD ROBINSON (1912-1970) Danger! Men at work oil on board 84 x 55 cm (33 3/4 x 21 1/2 in) PROVENANCE: Acquired directly from the artist’s studio by the present owner £2,000-3,000

A GROUR OF WORK BY BERNARD ROBINSON (LOTS 7-9)

9 ARR BERNARD ROBINSON (1912-1970) Tax gatherers, H.M. Board of Inland Revenue oil on board 70 x 53 cm (20 1/2 x 21 in) PROVENANCE: Acquired directly from the artist’s studio by the present owner £1,500-2,500

10 ARR PROPERTY FROM THE COLLECTION OF ARTHUR KNYVETT-LEE (LOTS 10, 12, 16 & 78) GEORGE WILLIAM BISSILL (1896–1973) The Student signed and dated Bissill ‘26 (centre left), titled and numbered 12 (on a label attached to the backboard) pencil and ink 22 x 20 cm (8 3/4 x 8 in) PROVENANCE: Arthur Knyvett-Lee and by descent £800-1,200

In 1923 Arthur Knyvett-Lee co-founded the Redfern Gallery with Anthony Maxtone-Graham as an artists’ collective. In 1925 the gallery held Bissill’s first one-man show, which brought the artist wide acclaim. The following year, when The Student was completed, Bissill is known to have travelled to Paris where he got more aquainted with the modern art scene there. The present work showcases the artist’s response to Futurism and the British Vorticists whose works he would have seen in London.

11 ARR JAMES HULL (1921–1990) Surrealist composition with figures signed and dated HULL ‘48. (lower right) ink 27 x 50 cm (11 x 19 3/4 in) Hull studied architectural design before the Second World War and is most known for his radiant abstract watercolours. Executed a year before Hull’s first solo show at the Brook Street Gallery in London, the present work is a particularly rare piece showcasing the artist’s response to Surrealism at the beginning of his artistic career. £800-1,200

12 ARR

PROPERTY FROM THE COLLECTION OF ARTHUR KNYVETT-LEE (LOTS 10, 12, 16 & 78) EDITH LAWRENCE (1890-1973) August signed and numbered in pencil Edith Lawrence 4/80 (lower right) linocut on buff oriental laid tissue paper image: 30.2 12.7 cm (12 x 5 in) sheet: 37.5 x 15.5 cm (14 3/4 x 6 1/4 in) Executed circa 1930 PROVENANCE: with The Redfern Gallery, by July 1930, where acquired by Arthur Knyvett-Lee and by descent £700-1,000

The dynamic shapes and colours in the present work bear Cubist and Futurist influence. Created in the 1930s, August is a beautiful and rare early example of Lawrence’s linocuts. In 1923 Arthur Knyvett-Lee co-founded the Redfern Gallery with Anthony Maxtone-Graham as an artists’ collective. In the late twenties and throughout the 1930s the gallery held a number of exhibitions dedicated to British linocuts. Edith Lawrence’s works were exhibited alongside the ones of her partner and lifelong companion Claude Flight. The couple actively explored and promoted linoleum cut as a preferred medium and ran an interior design business together. Flight’s leading role as a teacher at the Grosvenor School of Art is widely acclaimed, as is the work of his students Lil Tschudi, Cyril Power, Eileen Mayo and Sybil Andrews. Lawrence was also famed for her textile designs many of which were formally inspired by her work with linocuts in the 30s.

HAMZEH CARR (20th CENTURY) Plastics signed and dated Hamzeh Carr / 1946 (lower right) watercolour 54 x 43.5 cm (21 1/4 x 17 in)

PAUL NASH (1889-1946) Pattern paper designs wood engraving 7.5 x 6.5 cm (3 x 2 3/4 in), and similar Printed by Curwen Press circa 1930 £250-350

£300-500

15 ARR

PAULE VÉZELAY (1893–1984) In a café signed and dated M Watson/Williams/1918. (lower left) charcoal and gouache 24 x 33.5 cm (9 1/2 x 13 in) EXHIBITED: London, England & Co, Paule Vézelay 18921984: Retrospective, October- November 2004, no.1 £400-600

Marjorie Watson Williams assumed the name Paule Vézelay when she moved to Paris in 1926. She first gained recognition as a figurative painter with her first show in London in 1921. Executed in 1918, In a café is a very early piece by the artist who would later became Britain’s first and foremost female abstract artist.

16 ARR

PROPERTY FROM THE COLLECTION OF ARTHUR KNYVETT-LEE (LOTS 10, 12, 16 & 78) 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 MaxtoneGraham as an artists’ collective. £200-400

CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) African mask signed C.R.W. NEVINSON (lower right) oil on canvas 76 x 46 cm (30 1/4 x 18 1/4 in) PROVENANCE: Gordon House, London £3,000-5,000

Frank Rutter wrote in Art in my time, 1935, ‘Nevinson started life with a pre-natal tendency to revolt against injustice, cruelty and oppression’. Indeed, he was encouraged to challenge societal conformity from early age, with his father being a radical journalist who fought to end slavery in West Africa. Before being appointed as an official war artist by the Department of Information in 1917, Nevinson was sent to South Africa in 1899 to cover the Boer War, which he strongly opposed, writing in his diary that Britain’s ‘real objects were to paint the country red on the map and to exploit the goldmines.’ In 1904, he also visited Angola in Africa. During these visits the artist saw first-hand the effects of slavery. Upon visiting the malaria-infested plantations of São Tomé and Principe, he encountered skeletons of perished slaves along the way. His writings aimed to make clear to the consciences of his fellow Englishmen the human price of their taste for cocoa. A sympathetic depiction of a mask nestled amongst flowers and leaves, the present composition focuses on an object of local cultural importance. The hand crafted mask in dark wood is beautifully contrasted with the bright orange flowers of the hot climate, encapsulating both the beauty of the exotic land and the objects produced by the hands of its native people. African mask is a work full of symbolism, a result of Nevinson’s travels and personal reflections on the region.

18 ARR

MICHAEL AYRTON (1921–1975) Charing inscribed and dated Charing. July 28 ‘41 (lower right) pencil and ink 28.3 x 21.8 cm (11 1/4 x 8 1/2 in) £200-400

19 ARR

JOSEF HERMAN, R.A. (1911–2000) Spanish musicians pencil and ink 19.5 x 25 cm (7 1/2 x 9 3/4 in) £400-600

19A ARR

ALBERTO MORROCCO, R.S.A., R.S.W. (19171998) Beached Boat pencil, felt tip pen and pastel 17.2 x 25.5 cm (6 3/4 x 9 3/4 in) PROVENANCE: The artist’s studio with Louise Kosman, Edinburgh, where purchased by the present owner £300-500

20 ARR

NORMAN BASIL TOWN (1915-1987) Mending the sea wall, Cornwall signed and dated Norman Town ‘48 (lower right) ink and gouache 20 x 25 cm (7 3/4 x 10 in) PROVENANCE: with Flavia Ormond Fine Arts Limited, London £400-700

21 ARR

JAMES BOSWELL (1906–1971) Pennies from Heaven signed, titled, dated and numbered Pennies from Heaven James Boswell 1938 1/12 (lower left) lithograph, mounted, unframed image: 33.5 x 42.5 cm (13 x 16 3/4 in) £200-300

22 ARR

LAURENCE STEPHEN LOWRY, R.A. (18871976) Outside the mill numbered 384/850 (lower left) offset ithograph printed in colours image: 30.5 x 48.5 cm (12 x 19 in) £600-800

23 ARR

JOHN PIPER, C.H. (1903-1992) Long Melford Church signed John Piper (lower right), numbered 223/275 (lower left) lithograph image: 46 x 61 cm (18 x 24 in) Printed by Curwen Studio, published by Canon Rubber Co., London. Â£700-1,000

24 ARR

BRYAN ORGAN (B.1935) The Aftermath, Malta Harbour signed and dated Bryan Organ 1958 (lower right) oil on board, unframed 96.5 x 145 cm (38 x 58 in) LITERATURE: The Studio, July 1959, p. 127, illustrated £1,000-2,000

In a catalogue forward James Fritton describes Organ’s works as ‘a mixture of objective observation, what is true to nature and a process of visual criticism that comes from personal experience and emotion’. In The Aftermath, Malta Harbour the artist captures Valetta after the bombings of the Second World War. The town in the background and people on the beach represent life’s continuous cycle; the twisted and broken forms of the rubble in the foreground serve as a reminder of the cruelty of the war.

BERNARD MYERS (1925-2007) Sea titled (on reverse) oil on board 62 x 75 cm (24 1/2 x 29 1/2 in) PROVENANCE: Artistâ&#x20AC;&#x2122;s estate ÂŁ300-500

This work is number 203 from the Bernard Myers archives. Painted in the 1950s, probably in Norfolk when the artist was fascinated by the big seas and vast skies of the East Anglian coastline.

BERNARD MYERS (1925-2007) Sea shore oil on board, unframed 40 x 63.5 cm (15 3/4 x 25 in) Painted circa 1950 This work is number 256 from the Bernard Myers archive PROVENANCE: Artist’s estate £200-400

BERNARD MYERS (1925-2007) Seascape signed Myers (on the canvas overlap) oil on canvas, unframed 36 x 45.5 cm (14 x 18 in) This work is no. 248 from the Bernard Myers archive PROVENANCE: Artist’s estate £250-350

HUGH CRONYN (1905-1996) Seagulls over the Thames signed and dated Hugh Cronyn/87 (lower right) pencil and watercolour 56.5 x 75.4 cm (22 1/4 x 29 3/4 in) PROVENANCE: Artist’s estate £300-500

HUGH CRONYN (1905-1996) Looking at the Thames signed and dated Hugh/Cronyn/87 (lower right) pencil and watercolour 56.5 x 75.4 cm (22 1/4 x 29 3/4 in) PROVENANCE: Artist’s estate £300-500

30 ARR

MARY POTTER (1900-1981) River landscape with boats signed with initials MP (lower right) pencil and watercolour 21.5 x 27 cm (8 1/2 x 10 3/4 in) £300-500

31 ARR

GRAHAM SUTHERLAND, O.M. (1903–1980) Landscape study, green and black ink and watercolour 21.7 x 16.7 cm (8 1/2 x 6 1/2 in) Executed circa 1970 PROVENANCE: with Goldmark Gallery, Uppingham £500-700

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI (LOTS 32-38)

FELIKS TOPOLSKI, R.A. (1907-1989) Changing of the guards signed Feliks Topolski (lower left) charcoal, ink, felt tip pen and pastel on blue paper, unframed 30.4 x 45.4 cm (12 x 17 3/4 in) PROVENANCE: Artist’s estate £700-1,000

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI (LOTS 32-38)

FELIKS TOPOLSKI, R.A. (1907–1989) Henley pencil, unframed 18 x 23 cm (7 x 9 in) PROVENANCE: Artist’s estate £500-700

FELIKS TOPOLSKI, R.A. (1907–1989) Punting ink and wash, unframed 18 x 23 cm (7 x 9 in) Executed circa 1930/1940 PROVENANCE: Artist’s estate £400-600

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI (LOTS 32-38)

FELIKS TOPOLSKI, R.A. (1907–1989) At the British Library ink and wash, unframed 13.5 x 7.5 cm (5 1/2 x 7 in) PROVENANCE: Artist’s estate £300-500

FELIKS TOPOLSKI, R.A. (1907–1989) Kew Bridge ink, unframed 13.5 x 17.5 cm (5 1/4 x 7 in) PROVENANCE: Artist’s estate £300-500

A GROUP OF WORKS FROM THE ESTATE OF FELIKS TOPOLSKI (LOTS 32-38)

FELIKS TOPOLSKI, R.A. (1907–1989) Gentleman with newspaper ink and wash, unframed 16.5 x 12 cm (6 1/2 x 5 in)

FELIKS TOPOLSKI, R.A. (1907–1989) Bianca Jagger signed Feliks Topolski (lower right), inscribed FOLDER 76/1 (on reverse), titled (lower edge) charcoal, pastel and ink, unframed 46 x 30.5 cm (18 x 12 1/2 in)

PROVENANCE: Artist’s estate £500-700

PROVENANCE: Artist’s estate £700-1,000

39 ARR

HAROLD WORKMAN (1897-1975) Bedord square signed WORKMAN (lower right) oil on board 47 x 35.5 cm (18 1/2 x 14 in) EXHIBITED: London, Royal Institute of Oil Painters, according to a label on the reverse Â£400-600

40 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 a reserve Â£200-300

In 1929, when Portrait of Elizabeth Allison was completed, Stephenson was living in JOHN CECIL STEPHENSON (1889-1965) Hampstead, working alongside other leading Portrait of Elizabeth Allison signed and dated J C Stephenson ‘ 1929 (lower figures in British Modernism such as Barbara Hepworth, Henry Moore and Ben Nicholson. left), signed again, titled and dated Elizabeth Allison/J C Stephenson 1929 (on the reverse) He was soon to start his journey as an abstract artist, for which he would be widely oil on canvas recognised as a pioneer of modernism, a 90 x 70 cm (35 1/2 x 27 1/2 in) start marked by his participation in the 7 & 5 Society’s exhibition in 1933. PROVENANCE: Sale, Sotheby’s, London, 2 October 1996, lot The present work reveals a lesser known side 40 of the artist, his talent for figurative art. When Sake, Rosebery’s, 11 June 2019, lot 36 examining the portrait, one can only admire the capable hand which captured the sitter’s £3,000-5,000 41 ARR

figure and imbued it with life. The elegant posture and beautifully rendered fabric of the sitter’s dress, stand out in focus against the subtle energetic background. Stephenson, like other modernists in the 30s, amongst which Victor Pasmore, turned to abstraction for his later artistic output. Early portraits such as the current lot present a rare opportunity to admire this early part of his artistic journey. The artist’s works are held in the Tate collection, amongst other museums and private collections.

42 ARR

ALISON WATT (B.1965) The Thought of It signed WATT (lower right) oil on canvas with later re-workings by another hand 101.5 x 45.8 cm (40 x 18 in) PROVENANCE: Sale, Christie’s, South Kensington, 1 March 2000, lot 138, where purchased by the previous owner The Thought of It was painted when Watt was in art school and bears evidence of a slashing mark by the artist, which has been later retouched by a another hand. £3,000-5,000

43 ARR

NICOLAS GRANGER-TAYLOR (B. 1963) View through the studio doorway with self-portrait signed and dated N Granger-Taylor 1991 (on the reverse) oil on board 43 x 27.5 cm (17 x 10 3/4 in) PROVENANCE: Mr R G Chapman with Waterman Fine Art Limited, London, by 1991 Â£500-700

44 ARR

JOHN SERGEANT (1937-2010) Self-portrait coloured pencil on blue paper 30 x 23 cm (11 3/4 x 9 in) PROVENANCE: Acquired directly rom the artist’s studio by the present owner £200-300

45 ARR

JOHN SERGEANT (1937-2010) Self-portrait black and white chalk on buff paper, unframed 38 x 26 cm (15 x 10 1/4 in) PROVENANCE: Acquired directly rom the artist’s studio by the present owner £200-300

46 ARR

JOHN SERGEANT (1937-2010) Self-portrait ink, unframed 25.5 x 24 cm (10 x 9 3/4 in) PROVENANCE: Acquired directly rom the artist’s studio by the present owner £200-300

47 ARR

MARY FEDDEN, R.A. (1915-2012) Still life with lilies signed and dated Fedden 1997 (lower left) oil on canvas 51 x 41 cm (20 x 16 in) PROVENANCE: Acquired directly from the artist by the present owner £8,000-12,000

“Each of my paintings is a mixture of things that I’m looking at, and my thoughts and imagination” Mary Fedden

48 ARR

CRAGIE AITCHISON, R.A. (1926-2009) Still Life with Bird Vase signed, numbered and dated in pencil Craigie Aitchison 277/300 2004 (on the reverse) screenprint in colours, unframed sheet: 28 x 22.4 cm (11 x 8 3/4 in) Sold together with the accompanying book ‘Craigie Aitchison: Pictures’, printed and published by Advanced Graphics, London, the full sheet printed to the edges (2) £400-600

49 ARR

DAVID TINDLE, R.A. (1932) Still life with lamp, glass and fruit signed Tindle (lower right), signed again, titled and dated David Tindle â&#x20AC;&#x2DC;68 / Still life with lamp, glass and fruit (on the reverse) oil on canvas 76 x 54 cm (30 x 21 1/4 in) ÂŁ700-1,000

PAUL RUDALL (1921-2012) Still life signed P.Rudall (upper right) ink and colour pencil 26.5 x 43 cm (10 1/4 x 17 in) PROVENANCE: Artist’s estate £200-400

51 ARR

MARY FEDDEN, R.A. (1915-2012) Shells signed and dated Fedden ‘09 (lower left) oil on canvas 59 x 75 cm (24 x 30 in) PROVENANCE: Acquired directly from the artist by the previous owner Sale, Bonhams, London, 17 March 2010, lot 73, where purchased by the present owner £6,000-8,000

52 ARR

FREDERICK GORE, R.A. (1913-2003) Paros, Greece signed F Gore (lower left), signed again, titled and dated 1959 (on the stretcher) oil on canvas 61 x 81 cm (24 x 32 in) PROVENANCE: Acquired from the artist by the grandmother of the present owner in Corfu circa 1960 Â£1,200-1,800

53 ARR

TESSA NEWCOMB (B.1955) The workshop signed with initials and dated 2003 TN (lower right) oil on board 19 x 26 cm (7 1/2 x 10 1/4 in) Â£300-500

54 ARR

MARY FEDDEN, R.A. (1915-2012) Windy day signed and dated Fedden ‘09 (lower left) oil on canvas 51 x 40 cm (20 x 15 3/4 in) PROVENANCE: Acquired directly from the artist by the present owner £3,000-5,000

PATRICIA WYNDHAM (B. 1938) St Abbs Harbour, Northumberland signed with initials PW (lower right) oil on canvas 40.5 x 50.5 cm (16 x 20 in) A friend and student of Mary Fedden, Patricia Wyndham lives and works in Chiswick and is an active member in the local artistic community.

ÂŁ300-500

56 ARR

DAVID CHEEPEN (B. 1946) Through the Portal signed and dated D.Cheepen 15.10.2001 (lower right) acrylic on board 30 x 21.5 cm (12 x 8 1/2 in) PROVENANCE: with the Portal Gallery, London £100-200

57 ARR

TESSA NEWCOMB (B. 1955) Love Changes Everything signed with initials and dated TN 96 (lower right), signed again Tessa Newcombe (on the stretcher), titled and dated again Ipswich June 26th ‘96 (on reverse) oil on canvas, unframed 35.5 x 46 cm (14 x 18 in) £300-500

58 ARR

JULIAN BAILEY (B. 1963) Boy and girl in a café signed with initials and dated JB 2011 (lower right), signed again and titled John Bailey (on a label attached to the reverse) pencil and gouache 15.5 x 17.5 cm (6 x 7 in) PROVENANCE: with Browse and Darby, London £200-300

59 ARR

NORMAN ADAMS, R.A. (1927–2005) Expulsion from the Garden signed with initials, totled and dated NA’86 (lower right) ink and watercolour 71 x 71 cm (30 x 30 in) EXHIBITED: Switzerland, Thun, Galerie zur alten Deutschen Schule, Royal Academy Painters, 1992, catalogue untraced £400-600

60 ARR

GERALD JARMAN (B.1930) Window view signed JARMAN (on the reverse) oil on canvas 101.6 x 116.3 cm (40 x 45 3/4 in) PROVENANCE: Private collection, UK Â£400-600

61 ARR

KIETH GRANT (B. 1930) Northern Coast with Venus signed and dated Keith Grant ‘77 (lower right), titled (lower left) acrylic on paper 20 x 29 cm (8 x 11 1/2 in) £400-600

62 ARR

LOUIS JAMES (1920–1996) The Farmyard signed and dated Louis James ‘53 (lower right), signed again and titled (on the reverse) oil on board, unframed 63 x 76 cm (24 3/4 x 30 in) PROVENANCE: Sale, Rosebery’s, London, 8 September 2015, lot 569, where purchased by the present owner In the 1950s James resided in London and painted alongside Alan Reynolds, whose influences are visible in the thick outlines and small elements such as the contrasting lines capturing the tree trunks in the lower left quadrant. £700-1,000

63 ARR

SIR FRANCIS ROSE (1909–1979) Untitled signed and dated Francis Rose ‘49 (lower right) gouache 44.5 x 42 cm (17 1/2 x 16 1/2 in) £300-500

64 ARR

PETER SEDGLEY (B.1930) Untitled, blue and green abstract signed Peter Sedgley (lower left), signed again and dated Peter Sedgley 1962 (on the backboard) mixed media and collage 37 x 39.5 cm (14 1/2 x 15 1/2 in) £200-300

65 ARR

PETER SEDGLEY (B.1930) Untitled, blue abstract signed Peter Sedgley (lower right) acrylic and gouache on paper 47.5 x 35 cm (18 3/4 x 14 in) £200-300

66 ARR

PETER SEDGLEY (B.1930) Untitled, green yellow and brown abstract signed Peter Sedgley (lower right) acrylic and gouache on paper 40.5 x 61 cm (16 x 24 in) Executed in the 1960s. £200-300

67 ARR

NORMAN WILKINSON (1878-1971) Balanced Power, Exide Batteries titled (lower left and right), inscribed ROUGH SUGGESTION (upper left), Fancy Firefly/ RN fighting reconnaissance aircraft- (lower left), Other -Captions - / SUSTAINED_POWER_ (lower margin) watercolour and pencil sheet: 39 x 31 cm (15 1/4 x 12 1/4 in) Â£250-350

68 ARR

69 ARR

NORMAN WILKINSON (1878-1971) Demands Opponents Respect, Exide Batteries titled (lower left and right), inscribed Rough Suggestion (upper left), Other Captions / always supercharged for [indistinguishable] action / FOR Distant Stations / Dual Purpose (lower margin) pencil and watercolour sheet:39 x 31 cm (15 1/2 x 12 1/2 in)

NORMAN WILKINSON (1878–1971) For a quick start titled (lower left) pencil 39 x 31 cm (15 1/2 x 12 1/2 in) £100-200

£150-250

70 ARR

JOHN BRATBY, R.A. (1928–1992) Naked Dominican: Maria Christhopher backed by Royal Standard signed BRATBY (lower right), titled and dated Jan 66 (on the stretcher) oil on canvas, unframed 117 x 89 cm (46 x 35 in)

PROVENANCE: Sale, Christie’s, London, 17 November 1988, lot 260 Sale, Phillips, London, 16 January 1996, lot 321 EXHIBITED: :London, Zwemmer Gallery, New Paintings by John Bratby, 1966, no. 21 £2,000-3,000

71 ARR

PETER HEARD (B. 1939) In England’s Green and Pleasant Land signed Peter Heard (lower left), signed again, titled and dated Peter Heard / January 1978 (on reverse) oil on board 47.5 x 59.5 cm (18 3/4 x 23 1/2 in) £600-800

72 ARR

JOHN BRATBY, R.A. (1928–1992) Green Canal Water, Arches, Gondolier & a Gondolla signed BRATBY (lower left) oil on canvas 122 x 76 cm (48 x 30 in) £1,000-2,000

73 ARR

LLEWELLYN PETLEY-JONES (1908-1986) Mont Parnasse, Paris signed and dated Petley 69 lower left), signed again, titled and dated again MONTPARNASSE 1969/PARIS (on the reverse) oil on canvas 27.5 x 38.4 cm (11 x 15 in) £400-600

74 ARR

LAWRENCE JAMES ISHERWOOD (19171988) Grand Canal, Venice signed ISHERWOOD (lower right) oil on board 25 x 35 cm (10 x 14 in) £200-400

75 ARR

P J CROOK (B.1945) Triptych signed P.J.Crook (lower right), signed again, inscribed and dated P J Crook Triptych 1992 (on the reverse) acrylic on tabernacle 30 x 23 cm (12 x 9 in) Â£1,000-2,000

76 ARR

PETER FARMER (1936-2017) Nude signed and dated Farmer ‘75 (lower right) oil and chalk on paper laid down on board 74 x 50 cm (29 1/4 x 19 3/4 in) PROVENANCE: with Lasson Gallery, London, December 1975 £300-500

77 ARR

JOHN SKELTON (1923-1999) Study for reclining torso in Cornish Polyphant signed, dated and inscribed John Skelton/1968/ Study for/reclining/Torso/in Cornish/Polyphant (upper right), inscribed Model MRS (lower left) pencil and chalk on brown paper 39.4 x 50.8 cm (15 1/2 x 20 in) This lot is sold without a reserve £50-100

78 ARR

PROPERTY FROM THE COLLECTION OF ARTHUR KNYVETT-LEE (LOTS 10, 12, 16 & 78) DORIS CLARE ZINKEISEN (1898-1991) Circus performer, Lady in yellow (i) signed Zinkeisen (lower left) (i), (ii) pencil and watercolour (i), (ii) 56 x 38 cm (22 x 15 in)

PROVENANCE: Arthur Knyvett-Lee and by descent In 1923 Arthur Knyvett-Lee co-founded the Redfern Gallery with Anthony MaxtoneGraham as an artists’ collective. (2) £200-300

FERNANDO GUIBERT (B.1957) Owl and fish signed, inscribed and numbered 1/90 Owl and Fish F.Guibert (in the lower margin) etching image:14.7 x 19.6 cm (5 3/4 x 7 3/4 in) £80-120

FERNANDO GUIBERT (B. 1957) Mandrill and man signed F. Guibert (lower right) pencil, ink and watercolour 40.4 x 57.2 cm (15 3/4 x 22 1/2 in) £100-200

81 ARR

BRUCE MCLEAN (B.1944) A menacing face acrylic and gouache 25.7 x 25.7 cm (10 x 10 in) PROVENANCE: Sale, Bonhams, Oxford, 30 October 2013, lot 93, part lot Â£400-600

82 ARR

CHRIS OFILI (B.1968) Celestial signed, inscribed, dated and numbered Chris Ofili â&#x20AC;&#x2DC;98 Celestial 55/320 (along the lower margin) screenprint and offset lithograph image: 24.2 x 19.7 cm (9 1/2 x 7 in) ÂŁ400-600

83 ARR

ALBERT LOUDEN (B.1942) Family affair oil on canvas 66.5 x 60.5 cm (26 1/4 x 23 3/4 in) Painted circa 2002 PROVENANCE: with Whitford Fine Art, London Private collection. EXHIBITED: London, Whitford Fine Art, Albert Louden Imaginings, 6-21 Oxtober 2011, illustrated ÂŁ700-1,000

Self-taught as an artist, Louden achieved his own signature style by inventing his own visual world of urban spaces, domestic interiors and outdoor scenes populated by heavily distorted figures. Discovered initially by the late Victor Musgrave of the legendary Gallery One, Louden has had a one-man show at the Serpentine Gallery and his works have been exhibited widely accross Europe, the U.S.A., Korea and Japan.

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 £250-350

85 ARR

TOM PHILLIPS (B.1937) Raphael revisited indistinctly signed and dated (lower right) and numbered 16/150 (lower left) screenprint in colours, unframed image: 58 x 48 cm (23 x 19 in) sheet: 74 x 60.5 cm (29 x 24 in) PROVENANCE: Private collection, England £200-500

86 ARR

COLIN SELF (B.1941) Cockrel - Power and Beauty no.4 from Power and Beauty series signed and numbered 33/75 Colin Self. (lower left), titled (lower centre) silkscreen 103 x 66 cm (40 1/2 x 26 in) Published in 1969 by Editions Electo, London PROVENANCE: with Whitford Fine Art, London £150-250

“The photo images I have presented in Power and Beauty have seemed complete, impregnable… the subjects are transformed and can be seen for appearance, aggressive or passive looks. This upsets the objects real physical size to a certain extent so that e.g. the cockerel looks deadlier..” Colin Self

PAUL RUDALL (1921-2012) Morning compass signed P.Rudall (lower centre), titled (on backing board) pencil and oil on paper 58 x 78 cm (23 x 31 in) PROVENANCE: Artist’s estate £500-700

BRENDA COWAN (20th CENTURY) Box signed and titled (on the stretcher) acrylic on canvas, unframed 152 x 153 cm (60 x 60 in) PROVENANCE: Acquired directly from the artist by the present owner Â£300-500

BRENDA COWAN (20th CENTURY) Cosmiren titled and dated 1986 (on the canvas overlap) acrylic on canvas, unframed 160 x 106 cm (63 x 41 3/4 in) PROVENANCE: Acquired directly from the artist by the present owner Â£300-500

BRENDA COWAN (20th CENTURY) Black baguette signed Brenda Cowan (on the reverse), titled (on a label attached to the reverse) acrylic on canvas, unframed 160.5 x 107.3 cm (63 1/4 x 42 1/4 in) PROVENANCE: Acquired directly from the artist by the present owner ÂŁ300-500

91 ARR

JAMES HULL (1921–1990) Abstract composition signed and dated HULL VII ‘87 (lower right) watercolour 55.5 x 74 cm (21 3/4 x 29 in) £400-600

KIMINORI MIZOBE (B.1961) Untitled signed Nori (on the stretcher) acrylic on canvas, unframed 159.4 x 218.4 cm (62 3/4 x 86 in) ÂŁ200-300

Kiminori Mizobe served as a pilot in the Japanese Air Force. In the early 1980s he moved to Tokyo, where he worked for make-up artists in film and television. In 1989 he left Japan to study Fine art in London. He attended Chelsea School of Art and Wimbledon college where he turned his attention to painting. The present work is thought to have been completed during his time in London, where he exhibited throughout the 90s.

93(part)

93 ARR

WILLIAM TURNBULL (1922-2012) Fugue variously numbered 6/75 and 7/75 (on the reverse) screenprint in colour, unframed 58.3 x 79.5 cm (22 3/4 x 31 in) Printed by Kelpra Studio. Five examples from the original suite of nine, 1971 (5) Â£100-200

EXHIBITION POSTER American Op Art, Victoria & Albert Museum lithograph, screenprint and plexiglass, layered 51 x 76 cm (20 x 30 in) £100-200

95 ARR

TOM PHILLIPS (B.1937) Reconstruction of stars and stripes after ELHA HE10 1973 signed and dated TOM PHILLIPS ‘73 (lower right), titled (lower left) silkscreen on two pieces of canvas 60 x 90 cm (23 1/2 x 35 1/2 in) £400-600

96 ARR

GABRIEL WEISMANN (1944-1997) Tadd’s Delight signed G Weismann 1965 (on the stretcher), titled (on the canvas overlap) oil on canvas 259 x 152.8 cm (102 x 60 1/4 in) Tadd’s Delight was completed in 1965 when Weismann was attending Chelsea Art School. The artist was known to create works while under the influence of phychedelic drugs. In the mid-sixties he created a series of LSD paintings, some of which were exhibited in France and England. £1,000-1,500

ALMA SLOCOMBE (1914-2002) Untitled composition signed and dated ALMA REMONDETSLOCOMBE/1985 (on the reverse) oil on canvas, unframed 81 x 65.7 cm (32 x 25 3/4 in) PROVENANCE: Artist’s estate £400-600

98 ARR

JOE TILSON, R.A. (B.1928) Metamorphosis of Daphne signed and dated Tilson 1987 (lower right), numbered 3/35 (lower left) etching with woodcut and carborundum sheet: 125 x 108 cm (49 1/4 x 42 1/2 in) Â£250-350

99 ARR

100 ARR

COLIN SELF (B.1941) COLIN SELF (B.1941) Out of focus object and flowers I (Provincial Image) Out of focus object and flowers II (The 1940’s) signed and dated Colin Self 1968 (lower right), signed and dated Colin Self 1968 (lower right), titled (lower centre), numbered 48/75 (lower titled (lower centre), numbered 56/75 (lower left) left) etching etching sheet: 79.5 x 57.5 cm (31 1/4 x 22 1/2 in) sheet: 79.5 x 57.5 cm (31 1/4 x 22 1/2 in) £100-200

£100-200

101

ALMA SLOCOMBE (1914-2002) Jeune filles en fleur signed A. Slocombe (lower right), signed again, titled and dated 1988 (on the reverse) oil on canvas 27.2 x 41 cm (10 3/ x 16 in) PROVENANCE: Artist’s estate £200-400

102

BERNARD MYERS (1925-2007) Lilac still life with apples, pears and flowers signed B Myers (lower right) oil pastel, unframed 56 x 76 cm (22 x 30 in) This work is number 401 from the Bernard Myers Archive. PROVENANCE: Artist’s estate £250-350

103

BERNARD MYERS (1925-2007) Orange still life with fruit and sunflowers signed B Myers (lower right) oil pastel, unframed 56 x 76 cm (22 x 30 in) This work is number 1041 from the Bernard Myers archive. PROVENANCE: Artist’s estate £250-350

104

BERNARD MYERS (1925-2007) Blue still life with apples and flowers signed B Myers (lower right) oil pastel, unframed 56 x 76 cm (22 x 30 in) This work is number 1040 from the Bernard Myers archive PROVENANCE: Artist’s estate £250-350

105 ARR

PETER PHILLIPS (B.1939) Untitled signed and dated Peter Phillips ‘08 (lower right), numbered 1/15 (lower left) serigraph image: 91 x 63 cm (35 3/4 x 24 3/4 in) £600-800

106 ARR

PETER PHILLIPS (B.1939) Untitled signed and dated Peter Phillips ‘08 (lower right), inscribed Proof I (lower left) serigraph image: 83 x 59.5 cm (32 3/4 x 23 1/2 in) £600-800

107 ARR

108 ARR

CLIVE BARKER (B.1940) Tony Caro signed and dated Clive Barker ‘86 (lower right), titled (lower left) pencil and pastel 56 x 37.5 cm (22 x 15 in) PROVENANCE: with Whitford Fine Art, London

CLIVE BARKER (B.1940) Sidney Nolan signed and dated Clive Barker 1985 (lower right), titled (lower left) pencil and pastel 56 x 37.5 cm (22 x 15 in) EXHIBITED: London, National Portrait Gallery, Clive Barker: Portraits, July-October 1987, no. 41

EXHIBITED: London, National Portrait Gallery, Clive Barker: Portraits, July-October 1987, no. 15 £300-500

£300-500

109 ARR

PETER PHILLIPS (B.1939) Untitled signed and dated Peter Phillips ‘08 (lower right), numbered 1/15 (lower left) serigraph image: 91 x 63 cm (35 3/4 x 24 3/4 in) £600-800

110ARR

SIR EDUARDO PAOLOZI, R.A. (1924-2005) Heart Broken signed, titled and dated Eduardo Paolozzi 1993 (along the lower margin) lithograph, unframed sheet: 22.8 x 27.5 cm (9 x 11 in) PROVENANCE: Acquired directly from the artist by the present owner £150-250

111 ARR

SIR EDUARDO PAOLOZI, R.A. (1924-2005) Newton After Blake signed, titled, inscribed and dated A/P Eduardo Paolozzi 1990 (in the margins) etching, unframed image: 12.7 x 15.9 cm (5 x 6 1/4 in) sheet: 23.4 x 23.4 cm (9 1/4 x 9 1/4 in), irregular PROVENANCE: Acquired directly from the artist by the present owner £150-250

100

112 ARR

CLIVE BARKER (B.1940) My rabbit signed, titled, numbered and dated MY RABBIT 3/9 / CLIVE BARKER 1997 (on base) polished aluminium 11 x 8.5 x 18 cm (4 1/4 x 3 1/4 x 7 in) Â£500-700

101

113 ARR

114 ARR

SIR EDUARDO PAOLOZI, R.A. (1924-2005) The Artist as Hephaestus signed, inscribed and dated For Nancy/Eduardo Paolozzi 1990 (in the margins) etching, unframed image: 24 x 9 cm (9 1/2 x 3 1/2 in) sheet: 39.2 x 26 cm (15 1/2 x 10 1/2 in)

SIR EDUARDO PALOZZI, R.A. (1924-2005) Heart Broken signed, titled, dedicated and dated Nancy A/P Eduardo Paolozzi 1993 (along the lower edge) lithograph, unframed sheet: 28.7 x 36.5 cm (11 1/4 x 14 1/4 in) PROVENANCE: Acquired directly from the artist by the present owner

The son of Zeus and Hera, Hephaestus was married to Aphrodite, and was the god of fire and sculpture. £200-400

102

£200-400

115 ARR

116 ARR

SIR DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937) The Haunted Castle etching image: 34 x 20.8 cm (13 1/2 x 8 in) sheet: 44.4 x 31 cm (17 1/2 x 12 1/4 in)

SIR DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937) The Bell Tower etching image: 25.7 x 16.2 cm (10 1/4 x 6 1/2 in) sheet: 33.6 x 31 cm (13 1/4 x 12 1/4 in)

£200-400

PROVENANCE: with Goldmark Gallery, Rutland £200-400

These are two of 39 etchings Hockney completed for the series Six Fairy Tales from the Brothers Grimm printed in an edition of 400 plus 15 artist’s proofs, all unsigned. The plates were hand-drawn by David Hockney in London between May and November 1969. They were proofed by Maurice Payne, printed by Piet Clement on W.S.Hodgkinson paper and published by the Petersburg Press in association with the Kasmin Gallery in 1970. ‘They’re fascinating, the little stories, told in a very very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral.’ David Hockney

103

Index

A Adams, N., 59 Aitchison, C., 48 Ayrton, M., 18

N Nash, P., 14 Newcomb, T., 53, 57 Neivinson, C.R.W., 17

B Bailey, J., 58 Barker, C., 107, 108112 Bissill, G.W., 10 Boswell, J., 21 Bratby, J., 70, 72

O Ofili, C., 82 Organ, B., 24

C Carr, H., 13 Cheepen, D., 56 Cowan, B., 88,89,90 Crook, P.J., 75 Cronyn, H., 28, 29 F Farmer, P., 76 Fedden, M., 47, 51, 54 G Gore, F., 52 Guthrie, K., 40 Granger Taylor, N., 43 Grant, K., 61 Guibert, F., 79, 80 H Heard, P., 71 Herman, J., 19 Hockney, Sir D., 115, 116 Hoylamd, J., 2 Hull, J., 11, 91 I Ishwerwood, L.J., 74 J James, L., 62 Jarman, G., 60 L Lawrence, E., 12 Louden, A., 83 Lowry, L.S., 22 M McLean, B., 81 Melville, J., 6 Morrocco, A., 19A Mitchell, D., 5 Mizobe, K., 92 Myers, B., 25, 26,27, 102-104

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P Paolozzi, Sir, E., 110,111,113,114 Petley-Jones, L., 73 Phillips, P., 105,106,109 Phillips, T., 85, 95 Piper, J., 23 Pissarro, O. C., 16 Potter, M., 30 R Robinson, B., 7,8,9 Rudall, P., 50, 84 S Sedgley, P., 3, 64, 65, 66 Self, C., 4, 86, 99, 100 Sergeant, J., 44-46 Skelton, J., 77 Slocombe, A., 97, 101 Stephenson, J.C., 41 Sutherland, G., 31 T Tilson, J., 1, 98 Tindle, D., 49 Topolski, F., 32-38 Town, N., B., 20 Turnbull, W., 93 V VĂŠzelay, P., 15 W Watt, A., 42 Weismann, G., 96 Wilkinson, N., 67, 68, 69 Workman, H., 39 Wyndham, P., 55 Z Zinkeisen, D. C., 78

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Old Master Paintings & Drawings An invitation to consign for 27 August 2020

CIRCLE OF SIR ANTHONY VAN DYCK (ANTWERP 1599 LONDON 1641) A Knight Riding a Horse Â£5,000 - 7,000

Enquiries laetitia.masson@chiswickauctions.co.uk

British & European Fine Art An invitation to consign for 27 August 2020

GUSTAV KLIMT (AUSTRIAN 1862 - 1918) Akt Â£15,000 - 20,000

Enquiries luke.price@chiswickauctions.co.uk

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 reserves the right, in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable. In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the list below:

JMW Turner: In our opinion, a work by the artist. When the artist’s forname(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.

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.

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

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

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

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

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. The term ‘bears the signature’ and/or ‘bears the date’ and/or ‘bears the inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated. For editions, we measure the image where possible and sheet only when unframed ARR after the lot number stands for Artist Resale Right

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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.

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