Modern British & Irish Art

Modern British & Irish Art

Thursday 27 th March, 14:00

Modern British & Irish Art

Thursday 27 th March, 14:00

Viewing exclusively at the Barley Mow Centre, W4 4PH

Friday, 21 March 12:00 - 17:00 (Preview evening 17:00 - 20:00)

Saturday, 22 March 11:00 - 15:00

Sunday, 23 March 11:00 - 15:00

Monday, 24 March 10:00 - 17:00

Tuesday, 25 March 10:00 - 17:00

Wednesday, 26 March 10:00 - 17:00

Thursday. 27 March 10:00 - 12:00 (auction begins at 14:00)

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Lot 1 §

JULIAN BARROW (BRITISH, 1939-2013)

St James’s Park signed ‘Julian Barrow’ (lower right) oil on canvas

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

£400 - 600

(BRITISH, 1939-2013)

Spencer House, Green Park signed ‘Julian Barrow’ (lower right) oil on canvas

28 x 35 cm. (11 x 14 in.)

£400 - 600

Lot 2 §

JULIAN BARROW

JULIAN BARROW (BRITISH, 1939-2013)

Notre Dame, Paris signed ‘Julian Barrow’ (lower right) oil on canvas

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

£500 - 800

Lot 3 §

Lot 4 §

CECIL ARTHUR HUNT (BRITISH, 1873-1965)

Snow topped mountains signed ‘C A Hunt’ (lower left); further signed with initials and dedication ‘To our friends at Peel Cottage/ with our very best wishes/CAH/PCH’ (verso) gouache

12.7 x 18.4 cm. (5 x 7 1/4 in.)

£300 - 500

Provenance

Frederick Beaumont-Nesbitt, thence by family descent

Lot 5

ROGER FRY (BRITISH, 1866-1934)

Heathfield

signed with initials and dated ‘R.E.F.1902’ (lower right)

watercolour

19.5 x 28 cm. (7 5/8 x 11 in.)

£500 - 800

Provenance

With The Bloomsbury Workshop, London

Lot 6

WALTER WITHERS (BRITISH/AUSTRALIAN, 1854-1914)

Cattle grazing signed and dated ‘Walter Withers/1904’ (lower left) oil on canvas

31 x 51 cm. (12 1/8 x 20 in.)

£4,000 - 6,000

Provenance

Private Collection, U.K., thence by family descent

Walter Herbert Withers, born in Birmingham, England, in 1854, developed a passion for painting at a young age. Although his father opposed his decision to pursue an artistic career, Withers initially intended to work on a farm when he arrived in Australia in 1882 in his late 20s. However, this farm life was short-lived, and after just 18 months, he moved to Melbourne, where he secured a position as a draughtsman in a printing firm. During this time, Withers honed his artistic skills, creating chalk drawings and portrait reproductions. This work fuelled his creativity, and in his spare time, he continued to cultivate his artistic talents.

Throughout his career, Withers exhibited his works at the Old Academy in Melbourne and had several important paintings featured in major institutions like the Art Gallery of New South Wales in Sydney and the National Gallery of Victoria (NGV). Withers’ artwork is deeply rooted in the Australian context, which is evident in his friendship and connection to other prominent Australian artists like Frederick McCubbin, Arthur Streeton, and Tom Roberts. These artists were closely associated with the Heidelberg School, often referred to as ‘Australian Impressionism.’ Withers’ distinctive approach to painting, particularly his fluid brushstrokes and use of colour, captured the essence of Australia’s unique landscape, reflecting the spirit of the movement.

Lot 7

PERCY FRENCH (IRISH, 1854-1920)

Rowing past the church signed and dated ‘W.P.FRENCH.1900.’ (lower left)

watercolour

17 x 19 cm. (6 5/8 x 7 1/2 in.)

£1,500 - 2,500

Provenance

With Silver Street Antiques, Taunton, 1980, where purchased by the present owner

8

PERCY FRENCH (IRISH, 1854-1920)

To Prevent Invasion signed and dated ‘Percy French 1902’ (lower left); titled ‘To Prevent Invasion’ (lower right) watercolour

17 x 24.5 cm. (6 3/4 x 9 5/8 in.)

£1,500 - 2,500

Lot

Lot 9

PERCY FRENCH (IRISH, 1854-1920)

The Garden that I Love signed and dated ‘Percy French 1907’ (lower left); titled ‘The Garden That I Love’ (verso) watercolour

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

£1,500 - 2,500

Lot 10 §

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

Head of Tristan signed and dated ‘John/43’ (lower-centre right) pencil

50.6 x 35.5 cm. (20 x 14 in.)

£800 - 1,200

Provenance

With The Leicester Galleries, London

Exhibited London, Leicester Galleries, Exhibition of Works by Augustus John, May 1943, no.9

Lot 11 §

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

Dorelia signed ‘John’ (lower right)

pencil

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

£1,000 - 1,500

Provenance

With Arthur Tooth & Sons, London

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

Lot 12 §

IVOR ROBERTS-JONES (BRITISH, 1913-1996)

Bust of Augustus John numbered ‘2/20’ (on the underside) bronze with a brown patina 28 cm. (11 in.) high (including the base)

£800 - 1,200

Provenance

With Anthony Sampson, Dulverton, April, 1999, where purchased by the present owner

Lot 13

GWEN JOHN (BRITISH, 1876-1939)

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

£3,000 - 5,000

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

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

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

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

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

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

Lot 14

(BRITISH, 1846/50-1919/30)

Vermeer study oil on panel

15.5 x 11 cm. (6 1/8 x 4 1/4 in.)

£300 - 500

Provenance

With Hollywood Road Gallery, London, 24 March 1982, where purchased by the present owner

GEORGE SHERWOOD HUNTER

Lot 15

ERIC ROBERTSON (BRITISH, 1887-1941)

Male nude pencil

25.4 x 19.9 cm. (10 x 7 7/8 in.)

Executed circa 1914

£400 - 600

Provenance

With The Piccadilly Gallery, London, October 1996, where purchased by the present owner

Lot 16

PAUL NASH (BRITISH, 1889-1946)

Landscape of the Malvern Distance watercolour 17.8 x 25.3 cm. (7 x 10 in.)

£2,000 - 3,000

Provenance

Andrew Causey (1940-2014)

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

Literature

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

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

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

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

Executed circa 1931

£700 - 1,000

Provenance

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

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

Lot 17 §

JOHN

Lot 18 §

SHEARER ARMSTRONG (BRITISH, 1894-1983)

Travelling Zoo signed and dated ‘Shearer Armstrong 1936’ (lower left) oil on canvas

63.5 x 88.8 cm. (25 x 35 in.)

£3,000 - 5,000

Provenance

Sale; Bearnes Hampton & Littlewood, Exeter, 8 October 2009, lot 529, where purchased by the present owner

Alixe (Alice) Jean Shearer Armstrong was a visionary painter, printmaker, and illuminator, born in Penge, southeast London. A gifted artist, she honed her craft at the prestigious Slade School of Fine Art (1912 - 14), further refining her skills in Karlsruhe, Germany, and under the tutelage of Stanhope Forbes in Newlyn. After settling in Cornwall in 1921, Armstrong became a central figure in the region’s artistic renaissance.

A founding member of the Penwith Society of Arts, she also exhibited with the Royal Academy (RA), the Royal Scottish Academy (RSA), the St Ives Society of Artists, and the Taurus Artists, gaining recognition both across Britain and internationally. Her solo exhibitions at the Chiltern Gallery and the Scottish Gallery in Edinburgh showcased her evocative style, deeply inspired by Cornwall’s wild, romantic landscapes.

For many years, Armstrong maintained a studio in St Ives while residing in Carbis Bay, drawing endless inspiration from the coastal scenery. Her works are held in esteemed collections, including those of HRH The Duke of Edinburgh, the Scottish Education Committee, and the Cornwall Education Authority.

Lot 19 §

MAURICE FEILD (BRITISH, 1905-1988)

The reading room oil on canvas

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

£300 - 500

Provenance With Abbott & Holder, London

20

NORMAN GARSTIN (BRITISH, 1847-1926)

Portrait of Nina Birch

signed ‘NORMAN GARSTIN’ (lower right); inscribed ‘NINA BIRCH’ (upper left) oil on canvas

76.2 x 50 cm. (30 x 19 7/8 in.)

Painted circa 1909

£500 - 800

Exhibited

Penzance, Penlee House, Norman Garstin, 5 Mar-16 Apr, 2005

Literature

Richard Pike, Norman Garstin, Irishman & Newlyn Artist, Spire Books, 2005, ill., p.139; published in conjunction with Exhibition of works of Garstin, Penlee Gallery, 2005

Please note the present lot is accompanied by an exhibition catalogue for the exhibition at Penlee House, Norman Garstin, Irishman & Newlyn Artist by Richard Pike.

Lot

Lot 21

SIR OSWALD BIRLEY (BRITISH, 1880-1952)

Portrait of Dorothy, Lady Paterson (1889-1972) signed and dated ‘Oswald Birley/1934’ (upper right) oil on canvas 136 x 92.5 cm. (53 1/2 x 36 1/2 in.)

£8,000 - 12,000

This portrait of Dorothy, Lady Paterson (1889-1972) was completed by the prominent society painter Sir Oswald Birley (1880-1952) in 1934. Lady Paterson’s husband was Sir William Paterson (18741956), a Scottish mechanical engineer and the inventor of the Anderson shelter. She was a member of the Electrical Association for Women as well as an author and editor of texts that encouraged a return to a more traditional form of family life after the tumult of the Second World War.

Lady Paterson joined the Electrical Association for Women (EAW) at the outbreak of the Second World War and designed an electric mobile canteen, which provided canteen service for anti-aircraft units in Great Britain. The EAW was founded in 1924 with the goal of improving the lives of working and middle-class women in the home, facilitating an ‘emancipation from drudgery’ by extending the benefits of electricity to the domestic environment. In a 1934 speech, the Labour MP Ellen Wilkinson (1891-1947) declared that ‘the twin keys to women’s earthly paradise [are] the Vote and Electricity’. This organisation highlights the complex relationship between innovation and traditionalism in this period. For members like Lady Paterson, the ‘earthly paradise’ of the home could be fortified by women’s increased desire to remain in the domestic sphere as a result of electricity freeing them from the drudgery of their labours. Contrastingly, on 23 May 1930, Vote records Mrs Wilfred Ashley’s comments at a meeting of the Association, that ‘electricity was so simple and so easy that she could quite imagine that women will go to the House of Commons in increasing numbers and men will stay at home and use the cooker’.

As a society portraitist, Oswald Birley spent much of his career in the company of the fashionable and the powerful. By the 1920s he was highly sought after by both leading members of society and those seeking to establish their place within it. In 1928 he exhibited his portrait of Stanley Baldwin (1867-1947), then in his second term as Prime Minister, at the Royal Academy. After a stint painting American millionaires in New York, Birley began a commission of George V in June 1928 which was then exhibited at the Academy the following year. In 1931 he was commissioned to paint a portrait of Mahatma Gandhi (1869-1948) which was then exhibited at the Academy in 1932, and in 1934 he painted the portrait of the Duchess of York, the future Queen Elizabeth, at Windsor Castle. From 1933 he had also begun to spend his summers at Charleston Manor, near West Dean in East Sussex, which was to become a thriving hub for social gatherings of artists, musicians, and celebrities. The painting of Lady Paterson was thus executed by Birley at the height of his powers. A thriving, distinctive, and in-demand portraitist, he played a major role in defining the images of members of the social and political elite.

BRITISH SCHOOL (20TH CENTURY)

Portrait of Sir Charles Langbridge Morgan oil on board 77 x 63.5 cm. (30 1/4 x 24 3/4 in.)

£800 - 1,200

Charles Langbridge Morgan (1894-1958) was a distinguished British novelist and playwright, born to English and Welsh parents. His works revolved around what he described as the great triad of “Art, Love, and Death,” exploring their intricate connections. Each of his novels delves into profound themes - The Voyage and The River Line grapple with the paradoxes of freedom, Portrait in a Mirror captures the intensity of love from within, while A Breeze of Morning examines it from an outsider’s perspective. In The Judge’s Story, he confronts the timeless struggle between good and evil, and in Sparkenbroke, he ventures into the mystical threshold between life and death. Morgan was also married to the acclaimed Welsh novelist Hilda Vaughan, further cementing his place in the literary world. Morgan has previously been depicted by important British artists Augustus John and Edward Burra.

Lot 22

ERNEST PROCTOR (BRITISH, 1886-1935)

Cathedral Interior signed ‘PROCTOR’ (lower left) oil on canvas

59 x 48.7 cm. (23 1/2 X 19 1/4 in.)

£300 - 500

Lot 23

Lot

24 §

SIR WILLIAM COLDSTREAM (BRITISH, 1908-1987)

Copy of ‘Marriage of Isaac and Rebecca ‘ by Claude Lorraine oil on canvas

210.3 x 301 cm. (83 x 118 1/2 in.)

Painted in 1930-31 (unframed)

£2,000 - 3,000

Provenance

Mrs Hall Sale; Christie’s, London, 1974, where purchased by the family of the present owner

Literature

Bruce Laughton, The Euston Road School: A study in Objective Painting, Scolar Press, Aldershot, 1986, pp.43-3., fig.21, fig.22

Bruce Laughton, William Coldstream, Yale University Press, New Haven, 2004, pp.20-22, ill.fig.9

Peter Rumley, William Coldstream: Catalogue Raisonne, Sansom & Company, Bristol, 2018, cat.17

PLEASE NOTE THIS WORK IS VIEWING BY APPOINTMENT ONLY

In October 1930, William Coldstream received a commission from the widow of a Stafford industrialist to paint a replica of Claude Lorrain’s The Marriage of Isaac and Rebecca, which is housed in the National Gallery. The commission was funded through a collection from employees at Mr. Hall’s business, who collectively raised £30. Coldstream was paid £40 for the painting. Coldstream painted the work from memory and black-and-white photographs of Lorrain’s smaller original piece in the National Gallery. It was later noted that Coldstream would not paint on such a large scale again.

We are grateful to Catherine Lampert for her assistance cataloguing the present lot.

Lot 25 §

RUSKIN SPEAR (BRITISH, 1911-1990)

Perhaver Beach, Gorran Haven, Cornwall bears signature and title ‘Charleston Beach, Cornwall/RUSKIN SPEAR’ (verso) oil on board

19 x 30 cm. (7 1/2 x 11 3/4 in.)

Painted circa 1930s

£1,000 - 2,000

Provenance

With Headrow Gallery, Leeds, where purchased by the family of the present owner

We are grateful to Roger Spear for his assistance cataloguing the present lot

Lot 26 §

1901-1980)

Cottages by the bay signed and dated ‘Norah Mcguinness 37’ (lower right) gouache and watercolour

35.5 x 49 cm. (14 x 19 1/4 in.)

£400 - 600

NORAH ALLISON MCGUINNESS (IRISH,

KENNETH MARTIN (BRITISH, 1905-1984)

Portrait of Mary Martin signed ‘Martin’ (lower right); further signed, inscribed and dated ‘Painted by Kenneth Martin about 1945’ (to the stretcher verso) oil on canvas

47 x 38 cm. (18 1/2 x 15 in.)

£500 - 800

Provenance

With Austin/Desmond Fine Art, London Sale; Christie’s, London, 1990s, where purchased by the present owner

Lot 27 §

Lot 28 §

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

Steel Ladle signed and dated ‘Sutherland 42’ (lower right) gouache, collage, pencil, pen & ink

21.5 x 20.3 cm. (8 1/2 x 8 in.)

£3,000 - 5,000

Provenance

Private Collection, U.K.

Their sale; Freedman’s | Hindman Auctions, Chicago, 23 May 2018, where purchased by the present owner

‘The sordidness and the anguish implied by some of the scenes of devastation will cause one to invent forms which are the pictorial essence of sordidness and anguish... Dirty-looking forms, tormented forms, forms which take on an almost human aspect.’ - Graham Sutherland, 1941

In 1940, Graham Sutherland became an official war artists and he produced stark drawings of the damage to the City of London caused by the Blitz. The present work, Sutherland’s 1942, Steel Ladle, is one of many examples produced during this time which reflect Sutherland’s reckoning of the destruction of war. In this case, rather than simply figurative representations of bomb sites, Sutherland choose to display a raw, expressive style, using distorted, almost grotesque forms to convey the anguish and torment of wartime experiences. The depiction of steel and industrial elements in this painting likely reflects the pervasive role of technology and industry in the war effort, while also symbolizing the cold, mechanical nature of conflict. Through such works, Sutherland sought to capture the emotional and physical devastation of the wartime environment, offering a haunting and powerful reflection on the human condition during a time of crisis.

Lot 29 §

JOHN LAKE (BRITISH, 1903-1975)

Figure with birds signed and dated ‘John Lake 1946’ (lower right) gouache, watercolour and crayon 71 x 53 cm. (28 x 21 in.)

£300 - 500

Provenance

With Mahon Gallery, London, circa 1980s, where purchased by the present owner

Lot 30 §

ALASTAIR MORTON (BRITISH, 1910-1963)

Abstract composition signed with initials and dated ‘AM 46’ (lower right); further signed and dated again ‘Alastair Morton/46’ (verso) gouache, crayon, pen & ink 47 x 57.1 cm. (18 1/2 x 22 1/2 in.)

£2,000 - 3,000

Provenance

The artist, from whom acquired by Cherry Morton, early 1980s, from whom acquired by the present owner

Alastair Morton (1910–1963) was a pioneering abstract painter and a visionary in textile design. Born in Carlisle, England, Morton initially pursued mathematics at Edinburgh University and briefly attended Oxford University. In 1932, he joined the family textile firm, Edinburgh Weavers, founded by his father, James Morton, in 1928.

Under Alastair Morton’s leadership as artistic director and later chairman, Edinburgh Weavers became a hub for modernist innovation in Britain. He collaborated with prominent contemporary artists, including Ben Nicholson and Barbara Hepworth, integrating avant-garde art into textile design. Morton’s commitment to modernism led him to begin collecting modernist art in 1936, and by the following year, he had launched a series of ‘Constructivist Fabrics’.

Morton’s dual talents in painting and textile design have left an enduring legacy, with his works featured in numerous esteemed public collections. His innovative approach not only advanced the aesthetic of textiles but also solidified Edinburgh Weavers’ reputation as a leader in the fusion of art and fabric.

Edinburgh Weavers, under Morton’s guidance, became renowned for its collaborations with freelance designers and artists, producing fabrics that were both functional and artistically significant. The firm’s commitment to quality and innovation continues to influence textile design today.

Morton’s influence extended beyond his lifetime, with Edinburgh Weavers’ fabrics remaining a testament to his visionary leadership. His work exemplifies the successful integration of abstract art into everyday objects, enriching the aesthetic experience of daily life.

Lot 31 §

ALASTAIR MORTON (BRITISH, 1910-1963)

Painting Op.6

signed with initials, titled and dated ‘A.H.F.M/Painting Op.6 1936’ (to the frame verso) oil on canvas laid onto board

50.5 x 35.5 cm. (19 3/4 x 14 in.)

£5,000 - 8,000

Provenance

The artist, from whom acquired by Cherry Morton, early 1980s, from whom acquired by the present owner

Lot 32 §

LEO DAVY (BRITISH, 1924-1979)

Abstract gouache

28 x 19 cm. (11 x 7 1/2 in.) together with; Study of head pastel, pen & ink (7 1/2 x 5 1/4 in.) (2)

£400 - 600

Lot 33 §

Still Life with Candle oil on canvas

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

£700 - 1,000

Provenance

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

ROBIN BARING (BRITISH, b.1930)

34 §

In the Sea she Swoops at Last signed, dated and number ‘CARMAN 86 4/6’ (to the back of the base) bronze with a green/brown patina 19.5 cm. (7 3/4 in.) high (including the base)

£300 - 500

Lot

CATHY CARMAN (IRISH, b.1952)

Lot 35 §

TIM GOULDING (IRISH, b.1945)

St Anthony O’Brian signed, titled and dated ‘St Anthony O’Brian/by Tim Goulding/1973’ (verso) acrylic on board

35.5 x 28 cm. (14 x 11 in.) (unframed)

£300 - 500

Provenance

With David Hendriks Gallery, Dublin, August 1974, where purchased by the family of the present owner

TIM GOULDING (IRISH, b.1945)

Wind On signed, titled and dated ‘ “WIND ON”/by Tim Golding/1970’ (verso)

acrylic on canvas

81.2 x 81.2 cm. (32 x 32 in.) (unframed)

£400 - 600

Provenance

With David Hendriks Gallery, Dublin, August 1974, where purchased by the family of the present owner

Lot 36 §

Lot 37 §

TIM GOULDING (IRISH, b.1945)

Rhod Dedins (Peter) signed with initials ‘T.A.G. 81’ (lower right) watercolour

40 x 30 cm. (15 3/4 x 11 5/8 in.) together with; Venezia

signed and numbered ‘Tim Golding 8/10’ (lower-centre right); titled ‘Venezia’ (lower-centre left); further signed, titled again and dated ‘Venezia/by/Tim Goulding/Lithograph 1966’ (to a label attached to the backboard)

lithograph

29 x 38.5 cm. (11 3/8 x 15 1/8 in.) (2)

£300 - 500

Lot 38 §

MARTIN GALE (BRITISH, b.1949)

Three is an Uneven Number signed ‘Martin Gale’ (lower-centre left); further signed and dated ‘Martin/Gale/1979’ (verso) oil on canvas

88.9 x 88.9 cm. (35 x 35 in.) (unframed)

£4,000 - 6,000

Provenance

The artist, from whom acquired by the present owner

Martin Gale, born in Worcester, England, in 1949, relocated to Ireland during his youth, a move that profoundly influenced his artistic trajectory. He honed his craft at Dublin’s National College of Art and Design between 1968 and 1973, culminating in his inaugural solo exhibition at Dublin’s Neptune Gallery in 1975.

Gale’s prominence surged in the 1980s, marked by his representation of Ireland at the XI Biennale de Paris in 1980 and a solo exhibition at Dublin’s Taylor Galleries, with which he has maintained a longstanding collaboration.

His contributions to Irish art were further acknowledged through his membership in Aosdána and his 1996 election to the Royal Hibernian Academy (RHA). A significant retrospective of his work was showcased at the RHA’s Gallagher Gallery in 2004, subsequently traveling to Belfast’s Ulster Museum in 2005.

Gale’s oeuvre is characterized by photorealistic landscapes that subtly document Ireland’s evolving rural vistas and their impact on inhabitants. His meticulous technique captures the nuanced interplay between individuals and their environments, reflecting the complexities of contemporary rural life.

In recognition of his artistic achievements, Gale received the RHA Award for a Senior Artist at the 184th Annual Exhibition in 2013 and was honoured with an Honorary Doctorate in Fine Art from the National University of Ireland, Maynooth.

His works continue to be celebrated for their insightful portrayal of the Irish landscape and its denizens, solidifying his status as a pivotal figure in contemporary Irish art.

MARTIN GALE (BRITISH, b.1949)

Standing figure with reflection signed ‘Martin Gale’ (verso) oil on canvas

92.7 x 86.4 cm. (36 1/2 x 34 in.) (unframed)

£3,000 - 5,000

Provenance

The artist, from whom acquired by the present owner

Lot 39 §

Lot 40 §

MARTIN GALE (BRITISH, b.1949)

Figure by the stream signed and dated ‘Martin Gale/87’ (lower left); further signed and dated again ‘Martin Gale/1987’ (verso) oil on canvas

58.5 x 58.5 cm. (23 x 23 in.) (unframed)

£2,000 - 3,000

Provenance

The artist, from whom acquired by the present owner

Before the sermon signed ‘J LLOYD’ (lower right) gouache and watercolour

49.5 x 37.3 cm. (19 3/4 x 14 1/2 in.)

£600 - 800

Provenance

With Tib Lane Gallery, Manchester, circa 1970, where purchased by the family of the present owner

Lot 41 §

JAMES LLOYD (BRITISH, 1905-1974)

Seated Portuguese Woman

chalk

57.7 x 39.3 cm. (22 3/4 x 15 1/2 in.)

£800 - 1,200

Provenance

The artist’s daughter Sale; Phillips, London, 2 June 1996 With Pyms Gallery, London

Lot 42

SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931)

Lot 43

SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931)

Daily Mail Drawing

signed and inscribed ‘coolness for the Neck!/is all very well but don’t forget/The other parts, yours William Orpen’ (lower right); further inscribed and dated ‘To the Daily Mail-/30th July 1928’ (upper right)

watercolour and pencil

24.1 x 17.3 cm. (9 1/2 x 6 3/4 in.)

£500 - 800

Provenance

Sale; Christie’s, London, 11 August 1982

With Pyms Gallery, London

Lot 44

SIR WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931)

Possible Study for David Lloyd George (or The Poet)

pencil

19.7 x 21 cm. (7 3/4 x 8 1/4 in.)

£300 - 500

Provenance

The Pyms Gallery, London

WILLIAM ORPEN, N.E.A.C., R.A., H.R.H.A. (IRISH, 1878-1931)

Couple with Fig Tree signed and inscribed indistinctly ‘W Orpen’ (lower left) pen & ink and wash 25 x 19.5 cm. (9 7/8 x 7 5/8 in.)

£300 - 500

Provenance With Pyms Gallery, London

Lot 45

SIR

Works from the family of Christopher Fry

(Lots 46-59)

Christopher Fry, was a key figure in the revival of poetic drama in Britain, standing alongside T.S. Eliot. His most celebrated work, The Lady’s Not for Burning (1948), became a landmark of postwar theatre, captivating audiences with its lyrical brilliance and wit. Originally a schoolteacher, he transitioned to theatre, founding the Tunbridge Wells Repertory Players before earning commissions for religious plays that cemented his reputation. While the rise of prose realism in the mid-1950s shifted theatrical trends, Fry’s talent and adaptability led him to Hollywood, where he played a significant role in rewriting Ben Hur (1959). Undeterred by changing tastes, he continued writing into his nineties, always maintaining his passion for poetic drama. With warmth, intelligence, and a deep love for language, Fry made a lasting impact on theatre and film, leaving behind a legacy that extends well beyond his unintended association with Margaret Thatcher’s famous remark, “The lady’s not for turning.”

Christopher shared a close friendship with the renowned artist David Tindle, a bond reflected in the dedications on the following lots. The last time works from Christopher Fry’s collection were presented at auction, Chiswick Auctions set a still-standing record for Tindle, with Self-Portrait (1956) fetching an impressive £17,000. Additionally, an Algernon Cecil Newton from the same collection established the highest auction price for a work on paper, as Canal near Paddington achieved £15,000.

Works from the family of Christopher Fry

Lot 46 §

FELIKS TOPOLSKI (POLISH/BRITISH, 1907-1989)

Portrait of Christopher Fry signed ‘Feliks Topolski’ (lower right) oil on canvas

42 x 31.5 cm. (16 1/2 x 12 3/8 in.) (unframed)

£500 - 800

Provenance

The artist, circa 1950s, whom gifted to the family of the present owners

Works from the family of Christopher Fry

Lot 47 §

FELIKS TOPOLSKI (POLISH/BRITISH, 1907-1989)

The drawing room signed, inscribed and dated ‘To Christopher/24.4.52/from Felix Topolski’ (to the mount) pen & ink

13.5 x 17.4 cm. (5 1/4 x 7 in.) (unframed)

£200 - 300

Provenance

The artist, circa 1952, whom gifted to the family of the present owners

Works from the family of Christopher Fry

Lot 48 §

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

Dockland

signed and dated ‘Tindle/60’ (lower right) oil on canvas

71.1 x 91.5 cm. (28 x 36 in.)

£800 - 1,000

Provenance

The artist, whom gifted to the family of the present owner

Works from the family of Christopher Fry

Lot 49 §

Looking Glass signed and titled ‘David Tindle/Looking Glass’ (verso) acrylic on card (7 1/2 x 8 in.)

£700 - 1,000

Provenance

With The Piccadilly Gallery, London, June 1971, where purchased by the present owners

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

Works from the family of Christopher Fry

Lot 50 §

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

Mountains near Lucca indistinctly inscribed (upper and lower edge) oil on canvas laid onto board 21.5 x 24 cm. (8 1/2 x 9 1/2 in.)

£300 - 500

Provenance

The artist, whom gifted to the family of the present owners

Works from the family of Christopher Fry

Lot 51 §

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

Woodland Tress

signed and dated with dedication ‘To Christopher/Happy Birthday 1982/Janet, David, &/the Children’ (verso) acrylic on board

18 x 15.5 cm. (7 1/8 x 6 1/6 in.)

£300 - 500

Provenance

The artist, 1982, whom gifted to the present owners

Works from the family of Christopher Fry

Lot 52 §

Welsh landscape signed and dated ‘David Tindle/21.5.55’ (lower right) gouache, watercolour and pen & ink 23 x 29.2 cm. (9 x 11 1/2 in.)

Please note there is a further pen & ink work verso signed and dated to the same year.

£300 - 500

Provenance

The artist, whom gifted to the family of the present owners

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

Works from the family of Christopher Fry

Lot 53 §

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

20 Warwick Crescent

signed, titled and dated ‘20 Warwick Crescent, David Tindle 1953’ (lower right); inscribed ‘To Dear Christopher/Happy Happy Birthday 1997/Love from Maggie and David/Well Christopher here we are/I am able to give you something/that goes right back in date to our first meeting, how times/& styles change, but our characters never!’ (verso)

watercolour, pen & ink

36 x 31.5 cm. (14 1/8 x 12 1/ in.) together with;

Fenceposts

signed, inscribed and dated ‘15/3/74/from the back of the Old Chapel/ Dear Phyl/ Christopher has just phoned, I am sorry we are so far away, but we think of you a lot. I must come and paint the little head of you I have/wanted to do for a long time, I would like it to have nice soft summer light. It got a bit too cold to finish this outside, but it was one of those nice afternoons/Love from us all/David’ (lower edge) watercolour

28 x 39 cm. (11 x 15 3/8 in.) (2)

£400 - 600

Provenance

The artist, whom gifted to the family of the present owners

Works from the family of Christopher Fry

Lot 54 §

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

View from a window signed with dedicated letter verso watercolour and pen & ink

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

£300 - 500

Provenance

The artist, whom gifted to family of the present owners

Works from the family of Christopher Fry

Lot 55 §

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

House on a hillside

signed and dated ‘David Tindle 1955 May ‘ (lower right); further signed and dated with a dedication ‘To/Mrs Fry/With Love from/David/May 1955’ (to a panel mounted below the work)

22.5 x 29.5 cm. (8 3/4 x 11 5/8 in.) together with; Coastal view

signed and dated ‘David Tindle 1955/May’ (lower right) wash, pen & ink

36.5 x 54 cm. (14 1/4 x 21 1/4 in.) (2)

£400 - 600

Provenance

The artist, 1955, whom gifted to the family of the present owner

Works from the family of Christopher Fry

Lot 56 §

ROLAND SEARLE (BRITISH, 1920-2011)

Portofino

signed, titled and dated ‘Roland Searle/Portofino 1949’ (lower right)

watercolour and pen & ink

33 x 52 cm. (13 x 20 1/2 in.) (unframed)

£700 - 1,000

Provenance

The artist, whom gifted to the family of the present owner

Works from the family of Christopher Fry

Lot 57 §

ROLAND SEARLE (BRITISH, 1920-2011)

Isle le Cite by the Pont Neuf signed ‘Ronald Searle’ (lower right) and titled ‘Isle le Cite by the Pont Neuf’ (lower left) wash, pen & ink

35 x 25.4 cm. (13 3/4 x 10 in.) (unframed)

£600 - 800

Provenance

The artist, whom gifted to the family of the present owner

Works from the family of Christopher Fry

Lot 58 §

ANDREW HEMINGWAY (BRITISH, b.1955)

Searching

signed and titled ‘SEARCHING/ANDREW HEMINGWAY’ (verso) tempera on board

73.7 x 102.2 cm. (29 x 40 1/2 in.) (unframed) together with;

Study for Searching and Study for a Water Trough signed, inscribed and dated ‘Searching, 8th August 1973’ (upper sheet, lower right); further signed, dated again and titled ‘water trough, 6th Dec, Study for a water trough, Andrew Hemingway’ (lower sheet, lower edge); titled ‘Study For/SEARCHING and a WATERTROUGH’ (to a backboard) pencil

upper sheet 18 x 20 cm. (7 1/8 x 7 7/8 in.); lower sheet 16 x 20 cm. (6 1/4 x 7 7/8 in.) (2)

£600 - 800

Provenance

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

Works from the family of Christopher Fry

Lot

59 §

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

Christopher’s Ghost signed with dedication and titled ‘Christopher’s Ghost. Love from Mary’ (lower left) watercolour 30.5 x 21 cm. (12 x 8 1/2 in.)

Please note this lot is accompanied by a Royal Academy Mary Fedden postcard written and signed by the artist

£1,500 - 2,500

Provenance

The artist, from whom gifted to the family of the present owners

The present work was created for Christopher, by Fedden herself. ‘Christopher’s Ghost’ refers to the anecdote a dream recalled by Christopher to Fedden of a flame-red haired ghost like woman walking up his front path. Mary painted the scene in the present work, including the ‘infamous’ summer house that sat on the lawn and the gravestones that formed part of the paving in the path up to the front door at The Toft, Christopher’s house.

Lot 60 §

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

Ace of Spades

signed and dated ‘Fedden 1992’ (lower left); further signed and titled ‘Mary Fedden/Ace of Spaces’ (to a label attached to frame verso) oil and gouache

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

£1,500 - 2,500

Provenance

Brian Beaumont, thence by family descent

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

Foggy Weather

signed and dated ‘Fedden 1994’ (lower left); signed, titled and dated again ‘Mary Fedden/Foggy Weather/1996’ (to a label attached to the backboard)

gouache and watercolour

23 x 13 cm. (9 x 5 1/4 in.)

£1,500 - 2,500

Provenance With Beaux Arts, London

Lot 61 §

Lot 62 §

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

Three Strawberries signed and dated ‘Fedden 1986’ (lower right); further signed and titled ‘Mary Fedden/Three Strawberries’ (to a label attached to the frame) watercolour

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

£1,500 - 2,500

Provenance

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

London, New Grafton Gallery, Mary Fedden, 9 Apr-3 May 1986

63 §

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

Picnic by Moon signed and dated ‘Fedden 1991’ (lower left) watercolour

28 x 37.5 cm. (11 x 14 3/4 in.)

£1,500 - 2,500

Provenance

With Royal Academy of the Arts, London, where purchased by the family of the present owner

Lot

Lot 64 §

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

Figures with Boat, Gozo signed and dated ‘Fedden 1975’ (lower right) pencil

20 x 27.4 cm. (7 7/8 x 10 3/4 in.)

£1,000 - 1,500

Provenance

The artist, 1990, from whom gifted to Private Collection, U.K.

Their sale; Bonham’s London, 3 July 2019, lot 177, where purchased by the present owner

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

Still life with volcano signed and dated ‘Fedden ‘08’ (lower left) oil on canvas

50 x 60 cm. (19 7/8 x 23 5/8 in.)

£7,000 - 10,000

Provenance

With The Gooday Gallery/Kaye Michie Fine Art, London, 2016, where purchased by the present owner

Lot 65 §

Lot

66 §

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

Still life with drawers signed and dated ‘Fedden 1984’ (lower left) oil on canvas

63.5 x 54 cm. (25 x 21 1/4 in.)

£8,000 - 12,000

Provenance

With Austin Desmond Fine Art, London, early 1990s, where acquired by the family of the present owner

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

- Mary Fedden, 2008

Mary Fedden was a celebrated Modern British painter, printmaker, and illustrator known for her bold use of colour and whimsical compositions. Born in Bristol to a family of surgeons, she harbored a passion for painting from an early age. At sixteen, she left Badminton School to study at the Slade School of Art in London, where she trained under the designer Vladimir Polunin, who had worked with the Ballets Russes. After graduating, she briefly worked on set designs for Sadler’s Wells Theatre before returning to Bristol, where she painted portraits and taught art.

Fedden’s collection of works spans a range of themes she explored throughout her extensive artistic career. This is evident in pieces such as the artwork depicting the anecdote of “Christopher’s Ghost,” a personal story, as well as in her 2008 still life painting that portrays an exotic volcanic landscape.

Themes within Fedden’s artwork evolved and changed throughout her life. In her early work, Fedden mainly painted still life pieces, where she incorporated objects, flowers, fruit and vessels. The creativity of these works are not only reflected in the finished paintings but also evident in Fedden’s artistic process and her still life arrangements which became principle subjects for many of her works.

Fedden moved to Durham Wharf on the Thames in Chiswick at the end of the 1940s, where she lived and worked until her passing. In 1951, she married artist Julian Trevelyan, whom she had met before the war. The couple travelled extensively across Europe, Africa, India, Russia, and America. Since 1946, Fedden painted prolifically, holding regular exhibitions at the Redfern Gallery, New Grafton Gallery, and numerous other galleries throughout the UK.

Woman with harvest signed ‘VERONICA/BURLEIGH’ (upper left) oil on canvas

63.5 x 77.5 cm. (25 x 30 1/4 in)

£1,500 - 2,500

Lot 67 §

VERONICA BURLEIGH (BRITISH, 1909-1999)

Lot 68 §

KARL HAGEDORN (BRITISH, 1889–1969)

The Big Wheel signed and dated ‘Hagedorn/29’ (upper left); further signed twice, and titled ‘Karl Hagedorn/The Big Wheel’ (verso) oil on panel 55 x 45.2 cm. (21 5/8 x 16 3/4 in.)

£4,000 - 6,000

Provenance

With National Society, Belsize Gardens, London With Waterman Fine Art, London With John Noot Galleries, Broadway Sale; Christie’s, London, 3 March 1989, lot 91 Sale; Christie’s, Sydney, 29 August 2001, lot 367 Sale; Sotheby’s, London, 3 July 2002, lot 104 Sale; Sotheby’s, London, 13 December 2007, lot 57 Sale; Bellmans, West Sussex, 10 May 2022, where purchased by the present owner

Karl Hagedorn was a pioneering painter, commercial artist, fabric designer, and teacher, born in Berlin but destined to leave a lasting mark on British modernism. After receiving his early education in Germany, he relocated to England in 1905, where he trained in textile production and studied at Manchester School of Technology, Manchester School of Art, and later the Slade School of Fine Art. His artistic journey took him to Paris in 1912–13, where he studied under Maurice Denis, immersing himself in the revolutionary ideas of Cubism and Futurism.

These avant-garde influences shaped his bold, modernist style, which he showcased at the Society of Modern Painters in Manchester (1913–16). His striking, progressive works made a profound impact on the city’s art scene - an influence later revisited in exhibitions such as Manchester’s First Modernist: Karl Hagedorn 1889 - 1969 at the Whitworth Art Gallery (1994) and Chris Beetles Ltd (1995).

At the outbreak of World War I, Hagedorn became a naturalized British citizen and served in the Army, where he applied his artistic talents to documenting the war. Though his later work became more conventional, his early contributions to modernist art remain significant, marking him as a bold innovator ahead of his time.

Lot 69 §

SIR TERRY FROST (BRITISH, 1915-2003)

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

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

£4,000 - 6,000

Provenance

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

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

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

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

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

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

Lot 70 §

ANTHONY FRY (BRITISH, 1927-2016)

Nude (No.1) oil on canvas

52 x 86.5 cm. (20 1/2 x 34 1/8 in.)

£2,000 - 3,000

Provenance

With The Leicester Galleries, London, where purchased by Private Collection, thence by family descent

Exhibited

London, The Leicester Galleries, Exhibition of Works by Anthony Fry, December 1957, cat.no.6

ANTHONY FRY (BRITISH, 1927-2016)

Figures in a Landscape oil on canvas laid onto board 38 x 41 cm. (15 x 16 in.)

£1,500 - 2,500

Provenance

With The Leicester Galleries, London, January 1957, where purchased by F. West

Exhibited

London, The Leicester Galleries, New Years Exhibition, January 1957, cat.no.62

Lot 71 §

Lot 72 §

FRY (BRITISH, 1927-2016)

25.4 x 37 cm. (10 x 14 1/2 in.)

£1,000 - 1,500

ANTHONY

Camel oil and pastel

Lot 73 §

JULIAN BARROW (BRITISH, 1939-2013)

Le Pont des Arts signed ‘Julian Barrow’ (lower right) oil on canvas

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

£400 - 600

Lot 74 §

(BRITISH, 1939-2013)

On the Zattere signed ‘Julian Barrow’ (lower right) oil on canvas

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

£500 - 800

Provenance

With W.M. Brady & Co., Inc., New York, where purchased by the family of the present owner

Exhibited

New York, W.M. Brady & Co., Inc., Julian Barrow Manhattan to Mandalay, 1 Dec-17 May 2004, cat.no.17

JULIAN BARROW

Lot 75 §

JULIAN BARROW (BRITISH, 1939-2013)

Paris

signed ‘Julian Barrow’ (lower right) oil on canvas

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

£400 - 600

Parc Monceau, Paris

signed ‘Julian Barrow’ (lower right) oil on canvas

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

£400 - 600

Lot 76 §

JULIAN BARROW (BRITISH, 1939-2013)

JULIAN

Paris, Seine

(BRITISH, 1939-2013)

signed ‘Julian Barrow’ (lower right) oil on canvas

25.4 x 35.5 cm. (10 x 14 in.

£300 - 500

Lot 77 §

BARROW

Lot 78 §

Ponte Vittorio Emmanuele

signed ‘Julian Barrow’ (lower right) oil on canvas

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

£500 - 800

Provenance

1939-2013)

With W.M. Brady & Co., Inc., New York, where purchased by the family of the present owner Exhibited

New York, W.M. Brady & Co., Inc., Julian Barrow Manhattan to Mandalay, 1 Dec-17 May 2004, cat.no.26

JULIAN BARROW (BRITISH,

Lot 79 §

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

The Meeting signed and dated ‘Carel Weight 59’ (lower centre); with a typed note ‘To Fiddes/Those were the days, where did all the honest/galleries go?/The Meeting/Carel Weight/1959’ (to a label attached verso) oil on board

89 x 122 cm. (35 x 40 1/4 in.)

£1,500 - 2,500

Provenance

The artist, from whom acquired by George Fiddes Watt (1873–1960), from whom acquired by Joanne Mills Art Consultant, Hampton, from whom purchased by the present owner

MICHAEL AYRTON (BRITISH, 1921-1975)

Phaistos

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

pen & ink

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

£400 - 600

Provenance

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

Lot 80 §

Works from the Collection of Robert Eagle

Lot 81 §

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

Mother & child

signed and dated ‘Fedden 1988’ (lower left) gouache

21.6 x 16.5 cm. (8 1/2 x 6 1/2 in.)

£1,000 - 1,500

Works

from the Collection of Robert Eagle

Lot 82 §

MELISSA SCOTT-MILLER (BRITISH, b.1959)

Islington Summer signed with initials and dated ‘MESM/15’ (lower left) oil on canvas

71 x 91 cm. (28 x 35 3/4 in.) (unframed)

£2,000 - 3,000

Provenance

The artist, from whom acquired by the present owner

Works from the Collection of Robert Eagle

Lot 83 §

MELISSA SCOTT-MILLER (BRITISH, b.1959)

View from Cremorne Gardens oil on canvas

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

£1,000 - 1,500

Provenance

The artist, from whom acquired by the present owner

Works from the Collection of Robert Eagle

Lot 84 §

Moroccan Still Life

signed with initials ‘NHH’ (lower right) gouache

57 x 74 cm. (22 1/2 x 29 1/8 in.)

£600 - 800

Provenance

With Montpelier Studio, London, where purchased by the present owner

NICHOLAS HELY HUTCHINSON (BRITISH, b.1955)

Works from the Collection of Robert Eagle

Lot 85 §

En Route in Provence

signed with initials and dated ‘NHH ‘87’ (lower left) watercolour

55 x 67 cm. (21 22 7/8 x 26 3/8 in.)

£500 - 800

NICHOLAS HELY HUTCHINSON (BRITISH, b.1955)

Works from the Collection of Robert Eagle

Lot 86 §

Still Life with Flowers

signed with initials ‘NHH’ (lower left); further signed and inscribed ‘Dearest Greg and Louis/With Love from Nicholas, Fifi, Flora + Seamus’ (to tape attached to the frame verso) oil on board

25.5 x 19 cm. (10 x 7 1/5 in.)

£400 - 600

Provenance

Private Collection, U.K.

Their sale; Chiswick Auctions, London, 8 July 2021, lot 134, where purchased by the present owner

NICHOLAS HELY HUTCHINSON (BRITISH, b.1955)

Works from the Collection of Robert Eagle

Provincial Landscape with Hilltop Village signed with initials and dated ‘NHH/87’ (lower left) gouache and watercolour 34 x 41 cm. (13 1/2 x 16 1/8 in.)

£400 - 600

Provenance

Sale; Mallams, Oxford, 11 July 2018, lot 258, where purchased by the present owner

Lot 87 § NICHOLAS HELY HUTCHINSON (BRITISH, b.1955)

Works from the Collection of Robert Eagle

Lot 88 § JOHN PAWLE (BRITISH, 1915-2020)

Still Life with Rose, Chutney and a Bottle of Gin signed ‘Pawle’ (upper left) oil on canvas

46 x 61 cm. (18 1/8 x 24 in.)

£500 - 800

Provenance

Sale; Roseberys, London, 24 January 2018, lot 171 (as Still Life), where purchased by the present owner

Works from the Collection of Robert Eagle

Lot 89 §

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

Irises

signed, titled and dated ‘DONALD HAMILTON FRASER/A.R.A./IRISES-1975’ (to the backboard verso) oil on paper

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

£800 - 1,200

Provenance

Manya Igel (1923-2017)

Her sale; Bonhams, London, 13 March 2018, Paintings from the Collection of the late Manya Igel, lot 134, where purchased the present owner

Works from the Collection of Robert Eagle

Lot 90 §

BENJAMIN SULLIVAN (BRITISH, b.1977)

The Artist’s Studio with Easel signed with artist’s monogram and dated ‘07’ (lower left) oil on canvas 51 x 41 cm. (20 1/8 x 16 1/8 in.)

£300 - 500

Provenance

Manya Igel (1923-2017)

Her sale; Bonhams, London, 13 March 2018, Paintings from the Collection of the late Manya Igel, lot 120, where purchased the present owner

Works from the Collection of Robert Eagle

91 §

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

The Tsar’s Cannon signed ‘Bratby’ (upper left) oil on canvas

122 x 91 cm. (48 x 35 3/4 in.)

£2,000 - 3,000

Provenance

Sale; Christie’s, London, 13 June 2001, lot 280

Sale; Dreweatts, Newbury, 18 March 2021, lot 162

Lot

JOHN

Works from the Collection of Robert Eagle

Lot 92 § RALPH

Horned Titter signed ‘Ralph Steadman’ (lower left) oil on canvas

35.5 x 25.3 cm. (14 x 10 in.) (unframed)

£500 - 800

STEADMAN (BRITISH, b.1936)

93 §

BANTING (BRITISH, 1902-1971)

The wooden table oil on paper

25 x 35 cm. (9 3/4 x 13 3/4 in.)

£1,000 - 1,500

Provenance

With Alexander Postan, early 1980s, from whom acquired by the present owner

Exhibited

Possibly; London, Oliver Bradbury and James Birch Fine Art, John Banting 1902 - 1972, May-Jun 1983

Lot

JOHN

Lot 94 §

OLWYN BOWEY, R.A. (BRITISH, b.1936)

A Basket of Ornamental Gourds signed ‘Olwyn Bowey’ (lower left) oil on board

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

£1,500 - 2,500

Provenance

With The Russell Gallery, London, 23 January 2018, where purchased by the present owner

Lot 95 §

PETER WARD (BRITISH, 1932-2003)

Wave Figure

signed and dated ‘Peter Ward 93’ (to the base) and stamped ‘PETER WARD’ (lower right edge)

polished bronze on a stone base

22.5 cm. (8 7/8 in.) high (including the base)

Conceived in 1993

£500 - 800

Provenance

With Hillsboro Fine Art, Dublin, where purchased by the present owner

Exhibited Cornwall, Penwith Gallery, Peter Ward Painter/Sculptor, Mar-Apr 1997 (col.ill)

Please note this lot is accompanied the Penwith Gallery exhibition catalogue Peter Ward Painter/Sculptor

Lot 96 §

PETER LÁSZLÓ PERI (HUNGARIAN/BRITISH, 1898-1967)

Smithfield

signed and dated ‘Peri 1951’ (lower right); further signed and titled ‘SMITHFIELD/PERI’ (verso) painted concrete

65 x 91.2 cm. (25 1/2 x 36 in.)

£500 - 800

Provenance

Sale; Christie’s, London, 1980s

PETER LÁSZLÓ PERI (HUNGARIAN/BRITISH, 1898-1967)

The brick wall signed ‘Peri’ (lower right) painted concrete

69.1 x 66 cm. (27 1/4 x 26 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 1980s, where purhased by the present owner

Lot 97 §

Lot 98 §

JULIAN PERRY (BRITISH, b.1960)

Oliver Road

signed with initials and dated ‘JP/99’ (lower right) oil on panel

31.5 x 40 cm. (12 1/4 x 7 7/8 in.)

£500 - 800

Provenance

The artist

With Austin Desmond Fine Art, London, where purchased by the present owner

Lot 99 §

JULIAN PERRY (BRITISH, b.1960)

Bean Frame I signed, titled and dated ‘ ‘BEAN FRAME/I/Julian/Perry/95’ (verso) oil on board

28 x 36.8 cm. (11 x 14 1/2 in.)

£500 - 800

Provenance

The artist

With Austin Desmond Fine Art, London, where purchased by the present owner

Lot 100 §

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

Harbour, Buoy and Gibbous Moon

signed ‘Cuming’ (lower left) oil on board

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

£1,500 - 2,000

Provenance

With Brian Sinfield, Cotswolds

EMMA SERGEANT (BRITISH, b.1959)

Self-portrait oil on panel

107.3 x 71 cm. (42 1/4 x 28 in.)

Painted in 1986 (unframed)

£4,000 - 6,000

Provenance

The artist, from whom acquired, 21 January 2024, by the present owner

Please note this painting is accompanied by a letter of authenticity from the artist

The present work details in the artist’s own works a self-portrait whereby she wears as black jumper with red stripes on the arms given to her by her mother. She also notes the image behind her is one of the first paintings she did for her first series of Afghan pictures for UNICEF The Buz-Khaski. The painting dated to 1986, was painted after Sergeant’s first trip to Afghanistan in 1985/86.

Lot 101 §

Lot 102 §

HOGAN BROWN (BRITISH, b.1966)

Me and Him

signed and dated ‘HOGAN BROWN/1990’ (lower left); further signed ‘HOGAN/BROWN’ (verso) oil on board

38.1 x 37.5 cm. (15 x 14 3/4 in.)

£300 - 500

Provenance

With The Mall Galleries, London

Exhibited

London, The Mall Galleries, Hunting Art Prizes 1991 at The Mall Galleries

Lot 103 §

BENEDICT RUBBRA (BRITISH, 1938-2024)

Seated woman signed ‘Benedict Rubbra’ (lower right) oil on canvas

81.5 x 52 cm. (32 x 20 1/2 in.)

Please note this lot is accompanied by a Benedict Rubbra: Sixtieth Birthday Retrospective Exhibition Catalogue, 18 April-14 June 1998 at the Buckinghamshire Art Gallery and County Museum, Aylesbury

£300 - 500

BRITISH SCHOOL (20TH CENTURY)

Portrait of an artist signed with initials and dated ‘R.R.B. 48’ (lower right) oil on board 56 x 66 cm. (22 x 26 in.)

£400 - 600

Lot 104

Lot 105 §

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

Two Figures in the series Trente-Six

Maquette for Night

bronze with green patina on a marble base

15.2 x 14 cm. (6 x 5 1/2 in.)

Executed in 1990 from the edition of 10, the present work is 1/10 together with;

Arched figure

stamped with Fiorini London foundry mark

bronze with green patina on a marble base

11.5 x 14 cm. (4 /2 x 5 1.2 in.) (2)

£400 - 600

Provenance

With Bernard Jacobson Gallery, London, 26 September 1990, where purchased by the family of the present owner

Lot 106 §

PATRICK PROCKTOR, R.A. (BRITISH, 1936-2003)

Portrait of a man standing signed with initials ‘P.P’ (lower right); further signed ‘Patrick Procktor’ (verso) oil on board

53.5 x 43.2 (21 x 17 in.)

£3,000 - 5,000

We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life, for his assistance cataloguing the present lot.

Lot 107 §

PATRICK PROCKTOR, R.A. (BRITISH, 1936-2003)

Still life

signed ‘Patrick Procktor’ (lower right)

watercolour

24.7 x 16.5 cm. (9 3/4 x 6 1/2 in.)

Executed circa 2000

£400 - 600

We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life, for his assistance cataloguing the present lot.

Lot 108 §

PATRICK PROCKTOR, R.A. (BRITISH, 1936-2003)

Polo reflections

signed ‘Patrick Proctor’ (lower left) watercolour

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

Executed circa 2002

£400 - 600

We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life, for his assistance cataloguing the present lot.

Lot 109 §

PATRICK PROCKTOR, R.A. (BRITISH, 1936-2003)

Drawing based on playing cards signed ‘Patrick Procktor’ (lower left); further signed with initials and dated ‘P.P 64’ (lower right) wax crayon, chalk and pencil 28 x 20.3 cm. (11 x 8 in.)

Executed in 1964

This work is one of four drawings based on playing cards, that were created in 1964 and exhibited in 2016 at a show at the Arts University in Bournemouth in 2016, titled Patrick Procktor: The Last Romantic

£300 - 500

Provenance

With The Redfern Gallery, London

Exhibited Bournemouth, Art University Bournemouth, Patrick Procktor: The Last Romantic, 2016

Literature Ian Massey, Patrick Procktor: The Last Romantic, Arts University Bournemouth, 2016, (col.ill), p.24

We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life, for his assistance cataloguing the present lot.

Lot 110 §

Hare Child signed and dated ‘Sarah Ball/2011’ (to the canvas overlap) oil on linen

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

£4,000 - 6,000

Provenance

With Hybrid Art & Design, Devon, 26 March 2011, where purchased by the present owners

“I’m obsessed with the way the figure can either grow from the ground or sit in stark contrast with it.” - Sarah Ball, Interview in 2022

Sarah Ball, born in 1965 in South Yorkshire, has in recent years gained prominence within the Contemporary British Art scene. Based in near Penzance, Cornwall, Ball began her representation with Stephen Friedman Gallery in 2011. The present work titled ‘Hare Child’, was painted during this period of transition.

Ball’s works are often intimate portraits that carry a unique tension—while they may appear sterile and emotionally distant, they also evoke a deep sense of emotion. Many of her subjects, with their porcelain-like gazes, seem devoid of personal identity, inviting viewers to engage with the intricate details and complex perspectives of each portrait.

In this case Ball focuses specifically on elements of the surreal. Ball’s work often explores themes of identity, transformation, and the relationship between humans and animals. Hare Child specifically seems to evoke a sense of myth or fantasy, drawing on the hare’s symbolic associations with fertility, the lunar cycle, and the wild.

SARAH BALL (BRITISH, b.1965)

Lot

111 §

BILLY CHILDISH (BRITISH, b.1959)

Robert Wasler Dead in the Snow signed with the artist’s monogram (lower right); further signed twice with the artist’s monogram and dated twice ‘09’ (verso) oil and charcoal on canvas 132 x 91.5 cm. (52 x 36 in.)

£7,000 - 10,000

Provenance

With L-13 Light Industrial Workshop, London, 2009, where purchased by the present owner

These paintings draw inspiration from a haunting set of police photographs capturing the final moments of Swiss modernist writer Robert Walser, who was discovered lifeless in the snow on Christmas Day, 1956. Having succumbed to a heart attack during his habitual walk, Walser’s still form, frozen in time, struck a deep chord with Billy Childish. A devoted admirer of Walser’s work, Childish acknowledges his profound influence, saying, “He is a big influence on my novels, and also the way he laughs and mocks pretensions in the world he meets.”

Yet these paintings are more than mere depictions of Walser’s tragic fate. They weave together the artist’s own identity, blurring the line between subject and creator. Just as Walser claimed to have written only one story - his own - Childish, too, repeatedly paints himself in shifting guises. And then, amidst the stark landscapes of snow and solitude, a striking figure appears: the vivid yellow suit of John Nagel. “I don’t plan these things,” Childish explains. “They just come after me and I have to obey.” This yellow suit, once worn in performances at Trafalgar Square and Tate Britain, becomes a spectral presence in the paintings - a fusion of Christ-like martyrdom, artistic rebellion, and the enigmatic devil from Twain’s The Mysterious Stranger

One particularly resonant painting features a man lying supine in the snow, head tilted back, eyes gazing into the abyss. First painted in the mid-1990s, its origins stretch further back to a raw, formative moment in Childish’s life - his 19th birthday. “I was lying in a snowdrift, drunk and crying my eyes out,” he recalls. “We (The Pop Rivets) were playing in a Swiss Alpine village, and I was pleading with God or a spaceship to come and whisk me away - a proper night of the soul.” This image, like an obsession, resurfaces across decadessometimes depicting Childish as his younger self, sometimes as a faceless figure, and sometimes clad in that uncanny yellow suit.

Over the past two years, Childish has repeatedly revisited the figure of Walser. Some paintings show him as he was found—lifeless in the snow. Others capture him as a younger man, mid-stride on that final walk. The distinctions between artist and subject dissolve—Walser, Childish, John Nagel, and even Twain’s The Mysterious Stranger merge into one. This fluid identity extends to the deeper lineage of defiant, poetic voices - writers who, like Childish, chose to speak in unflinching, visceral terms.

Walser, an overlooked yet revered author, remains a kindred spirit to Childish. His influence echoes in Notebooks of a Naked Youth (1996), which draws heavily from Walser’s The Institute of Benjamenta. Like Childish, Walser was a drinker, a non-conformist, and a troublemaker - often ignored in his time yet admired by literary giants like Hermann Hesse, Franz Kafka, and Robert Musil. In these paintings, Childish not only honours Walser but intertwines their legacies, painting an ongoing dialogue between the living and the dead, between past and present, between the self and the many ghosts who shape it.

Lot 112 §

GEORGE MORTON-CLARK (BRITISH, b.1982)

Stroke the Dragon and Shut Up signed, titled and dated ‘George/Morton/STROKE THE DRAGON/AND/SHUT UP/2016’ (verso) mixed media

151.1 x 116.9 cm. (59 1/2 x 46 in.) (unframed)

£6,000 - 8,000

Provenance

The artist, from whom purchased by the present owner

George Morton-Clark, born in Tooting, London, is a British artist whose work bridges abstraction and figurative expressionism. Trained in animation at London University and the Surrey Institute of Art and Design, he infuses his paintings and sculptures with dynamic energy, using oil, acrylic, and charcoal on large canvases. His art is bold, vibrant, and alive and draws inspiration from film, music, travel, and pop imagery, blending nostalgia with contemporary flair.

Morton-Clark’s cartoonish figures, with their oversized eyes and exaggerated expressions, spark curiosity and emotion, from surprise to unease. He embraces ambiguity, urging viewers to experience rather than analyse his work. His pieces oscillate between chaos and refinement, capturing moments that feel both raw and uplifting.

Collected globally, his work has been showcased in major museums, including Koo House in Seoul and Powerlong in Shanghai. He has collaborated with brands such as All Saints, DeLonghi, and Penguin Books. In January 2024, Opera Gallery Madrid presents his first solo exhibition in Spain, It’s Friday All Week, marking another milestone in his evolving career.

Lot 113 §

GEORGE MORTON-CLARK (BRITISH, b.1982)

Kling Klang signed, titled and dated ‘Kling Klang/2017/George Morton/Clarke’ (verso) mixed media

151.1 x 116.9 cm. (59 1/2 x 46 in.) (unframed)

£6,000 - 8,000

Provenance

The artist, from whom purchased by the present owner

114 §

Metamorphosis

gouache and watercolour

29 1/2 x 21 cm. (11 3/8 x 8 1/4 in.)

£1,500 - 2,000

Provenance

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

Lot

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

Lot 115 §

Two feet both plaster both 13.5 cm. (5 3/8 in.) long (2)

£300 - 500

Provenance

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

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

1921-1990)

Untitled signed and dated ‘HULL 56’ (upper left) oil on board

106.5 x 121 cm. (42 x 47 1/2 in.)

£600 - 800

Provenance Sale; Lots Road, London, 1980s, where purchased by the present owner

Lot 116 §

JAMES HULL (BRITISH,

Lot 117 §

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

Cottages signed with initials ‘KW’ (lower right) ink and wash

25 x 34 cm. (9 5/8 x 13 3/8 in.)

£3,000 - 5,000

Lot 118 §

HAROLD RILEY (BRITISH, 1934-2023)

The Cart signed and dated ‘Riley 68’ (centre) oil on board (13 x 18 3/4 in.)

£3,000 - 5,000

Lot 119

GARY BUNT (BRITISH, b.1957)

Nuts

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

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

£3,000 - 5,000

Provenance

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

Lot 120 §

BERNARD DUNSTAN, R.A. (BRITISH, 1920-2017)

Nude sketch signed with initials ‘BD’ (lower left) oil on paper

37 x 47.5 cm. (14 1/2 x 18 3/4 in.)

£300 - 500

Lot 121 §

ALAN REYNOLDS (BRITISH, 1926-2014)

Sycamore Shoreham

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

pen & ink

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

£500 - 700

Provenance

Raymond Wilkinson (1913-2003)

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

Lot 122 §

ROBERT CLATWORTHY (BRITISH, -1928-2015)

Standing Nude ink

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

Executed circa 1964

£300 - 500

Provenance

With Waddington Galleries Ltd., London

With MoMart Gallery, London

Lot 123 §

NICK

BOTTING (BRITISH, b.1963)

A Banana Skin on the Road signed ‘Nick Botting’ (lower left) oil on canvas

20.3 x 35.6 cm. (8 x 14 in.)

£400 - 600

Provenance With Portland Gallery, London

Exhibited London, Portland Gallery, April 2008, cat.no.66

124 §

CHRIS RIISAGER (BRITISH, b.1961)

Still life

signed ‘C Riisager’ (lower right); further signed and dated ‘C RIISANGER/1997’ (verso) oil on canvas

42 x 45.7 cm. (16 1/2 x 18 in.) (unframed)

£300 - 500

Provenance

With The Summerleaze Gallery, Salisbury, where purchased by Private Collection, U.K, whom gifted to the family of the present owner

Lot

Lot 125 §

CYRIL MANN (BRITISH, 1911-1980)

Seated nude bronze with a brown patina 17 cm. (6 5/8 in.) high (including the base) Cast by Livingstone Art Founders, Tonbridge in 1992

£300 - 500

Provenance

With Holland Gallery, London, 14 February 1992, where purchased by the present owner

Lot 126 §

JOHN PIPER, O.M. (BRITISH, 1903-1992)

Foliate Heads screen printed rayon

52 x 60.4 cm. (20 1/2 x 23 3/4 in.)

Executed circa 1955 by David Whitehead & Sons Ltd.

£300 - 500

Provenance

Hugh Fowler-Wright With Bebb Fine Art, Ludlow

John Piper designed textiles for Whitehead from 1954 to 1969 and this one, of the initial 3 designs they printed, was critically very well received and an early example of Piper’s subsequent wide spread use of the Foliate Head (Green man) throughout his art – paintings, prints, stage design, stained glass, book illustration, ceramics, Well Dressing and tapestry.

We are grateful to Hugh Fowler-Wright for his assistance cataloguing the present lot.

127 §

TESSA NEWCOMB (BRITISH, b.1955)

Afloat

signed with initials and dated ‘TN 90’ (lower right) oil on board

56.4 x 50.7 cm. (22 1/4 x 20 in.)

£500 - 800

Lot

128 §

TESSA NEWCOMB (BRITISH, b.1955)

Primrose Hill signed with initials and dated ‘TN 86’ (lower right) oil on board

61 x 50.5 cm. (24 x 19 7/8 in.) (unframed)

£300 - 500

Lot

Lot 129 §

ADRIAN HEATH (1920-1992)

T2 inscribed ‘T2’ (verso) oil on board

24 x 19 cm. (9 1/2 x 7 1/2 in.)

Painted circa 1985

£500 - 800

Provenance

With Redfern Gallery London, 2 November 2020, where purchased by the present owner

130 §

TREVOR BELL (BRITISH, 1930-2017)

Untitled (green, pink, orange and yellow) signed ‘Bell’ (lower right) mixed media on paper 51 x 61 cm. (20 x 424 in.)

£400 - 600

Lot

Lot 131 §

TREVOR BELL (BRITISH, 1930-2017)

Untitled signed and dated ‘BELL 12.69’ (lower right)

charcoal and pencil on card

52.1 x 62.2 cm. (20 1/2 x 24 1/2 in.)

£300 - 500

Lot 132 §

TREVOR BELL (BRITISH, 1930-2017)

Grey Painting - February signed and dated ‘BELL 2 56’ (lower right); further signed and titled ‘GREY PAINTING-/FEBRUARY./TREVOR BELL’ (verso) oil on board

38.5 x 153 cm. (15 x 50 1/4 in.)

£2,000 - 3,000

Lot 133 §

BARRY FLANAGAN (BRITISH, 1941-2009)

Flamingo

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

pen & ink

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

£500 - 800

Provenance

Beatrice Monti, Milan

Exhibited

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

134 §

Seated dog signed with initials ‘RC’ (to the base) bronze with green patina 21.5 cm. (8 1/2 in.) high

£500 - 800

Lot

ROBERT CRUTCHLEY (BRITISH, b. 1943)

Lot 135 §

SIR SIDNEY NOLAN (BRITISH/AUSTRALIAN, 1917-1992)

Couple Embracing mixed media on paper

30.3 x 25.2 cm. (12 x 10 in.)

£500 - 800

Provenance

Sale; Sotheby’s, London, 15 November 2001 With Pyms Gallery, London

Lot 136 §

SIR SIDNEY NOLAN (BRITISH/AUSTRALIAN, 1917-1992)

Figure in a Landscape

signed ‘nolan’ (lower right); further signed and dated ‘Nolan/1969’ (verso) mixed media on paper

51.2 x 75 cm. (20 1/8 x 29 1/2 in.)

£3,000 - 5,000

Provenance

Sale; Bonhams, London, 28 March 2006, lot 67 With Pyms Gallery, London

Lot 137 §

JOHN CROCKETT (BRITISH, 1918-1986)

Pentecost

signed, titled and dated ‘Pentecost/John Crockett/July-August 1954’ (verso) oil on canvas

115.6 x 141 cm. (45 1/2 x 55 1/2 in.)

£400 - 600

Lot 138 §

JOHN LESSORE (BRITISH, b.1939)

Village Evening oil on board

13.3 x 19.7 cm. (5 1/2 x 7 3/4 in.)

£300 - 500

Provenance

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

Lot 139 §

The Old Watergate signed ‘C.NEAL’ (lower right) oil on canvas

66 x 76.2 cm. (26 x 30 in.)

£800 - 1,200

Provenance

With Harrods Fine Art, London, 7 August 1984, where purchased by the family of the present owners

CHARLES NEAL (BRITISH, b.1955)

140 §

MERVYN PEAKE (BRITISH, 1911–1968)

Barbers signed and dated ‘Mervyn Peake 1940’ (lower right)

pen & ink

43.2 x 33.7 cm. (17 1/4 x 13 1/4 in.) (unframed)

£700 - 1,000

Lot

Lot 141 §

MERVYN PEAKE (BRITISH, 1911–1968)

Portrait of Maeve signed ‘Peake’ (lower right) pen & ink

30.3 x 17.6 cm. (12 x 7 in.) (unframed)

£500 - 800

Lot 142 §

MERVYN PEAKE (BRITISH, 1911–1968)

Studies of Maeve combing her hair

signed and dated ‘Mervyn Peake/1939’ (lower left)

pen & ink

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

£500 - 800

Lot 143 §

RICHARD COOK (BRITISH, b.1947)

Leslie signed ‘Richard/Cook (verso) oil on panel

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

Executed circa 1995 (unframed)

£700 - 1,000

Provenance

The artist With Austin Desmond Fine Art, London, where purchased by the present owner

144 §

Partou signed ‘Richard/Cook’ (verso) oil on panel

44 x 41 cm. (17 1/4 x 16 1/8 in.)

Executed circa 2003 (unframed)

£800 - 1,200

Provenance

The artist With Austin Desmond Fine Art, London, where purchased by the present owner

Lot

RICHARD COOK (BRITISH, b.1947)

Lot 145 §

RICHARD COOK (BRITISH, b.1947)

Marwenny signed ‘Richard/Cook’ (verso) oil on panel

35.5 x 26.7 cm. (14 x 10 1/2 in.)

Executed circa 2000 (unframed)

£800 - 1,200

Provenance

The artist With Austin Desmond Fine Art, London, where purchased by the present owner

Lot 146 §

TREVOR BELL (BRITISH, 1930-2017)

Untitled signed and dated ‘BELL 64’ (lower left) oil and pastel on paper

73. 7 x 54 cm. (29 x 21 1/4 in.)

£600 - 800

Lot 147 §

TREVOR BELL (BRITISH, 1930-2017)

Untitled signed and dated ‘BELL 10.44’ (lower right) oil and pastel on paper

54.6 x 73.6 cm. (21 1/2 x 29 in.)

£600 - 800

Lot 148 § *

ARNOLD AUERBACH (BRITISH, 1898-1978)

Female torso signed and numbered ‘Auerbach 4/8’ (to the base)

bronze with a brown patina

81.5 cm. (32 in.) high (including the base)

£1,000 - 1,500

Lot 149 §

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

Man and Sheep

signed ‘Pro/Hart’ (lower right); signed and titled ‘ProHart/Man and Sheep’ (verso) oil on board

55.9 x 63.5 cm. (22 x 25 in.)

£2,500 - 3,500

Provenance

With Hart Gallery, Australia, where purchased by the family of the present owner

Low Tide signed ‘DMcINTYRE’ (lower left) oil on board

35.5 x 45.5 cm. (14 x 17 3/4 in.)

£1,500 - 2,500

Provenance With Jas McClure & Sons, Glasgow

Lot 150 §

DONALD MCINTYRE (BRITISH, 1923-2009)

Lot 151 §

SHERREE VALENTINE-DAINES (BRITISH, b.1959)

Among the poppies signed with initials ‘SD’ (lower right) oil on board

21 x 26 cm. (8 1/4 x 10 1/4 in.)

£2,500 - 3,500

Provenance With Burlington Paintings, London

152 §

Two Girls at the Counter signed with initials ‘JB’ (lower right) oil on board

35 x 37.5 cm. (13 3/4 x 14 3/4 in.)

£500 - 800

Provenance

Sale; Bonhams, London, 20 November 2007, lot 294

With Swann Gallery, Oxon, where purchased by the present owner

Lot

JULIAN BAILEY (BRITISH, b.1963)

Lot 153 §

RICHARD GORMAN (IRISH, b.1946)

Vinylic Ringspend signed, titled and dated ‘March 1981/Vinylic Ringspend/Richard David Gorman’ (verso) oil on canvas

91 x 86 cm. (35 3/4 x 33 5/8 in.)

£1,000 - 1,500

Provenance

The artist, from whom gifted to the family of the present owner

Lot 154 §

MARTIN BRADLEY (BRITISH, 1931-2023)

Alice, Gryphon and others

signed and dated ‘Martin Bradley 1990’ (upper left); titled ‘Alice, Gryphon and others’ (left centre)

acrylic on canvas

145.3 x 113.5 cm. (57 1/4 x 44 7/8 in.) (unframed)

£500 - 800

Provenance

The artist, Paris, 1987, from whom purchased by the present owner

Lot 155 §

MARTIN BRADLEY (BRITISH, 1931-2023)

Oranges + Lemons

signed and dated ‘Martin Bradley 1989’ (upper left); titled ‘Oranges + Lemons’ (centre-right) acrylic on canvas

100.3 x 100.3 cm. (39 3/4 x 39 3/4 in.) (unframed)

£400 - 600

Provenance

The artist, Paris, 1987, from whom purchased by the present owner

Lot 156 §

MARTIN BRADLEY (BRITISH, 1931-2023)

Samurai and Butterfly signed and dated ‘Martin Bradley 1980’ (lower centre); titled ‘Samurai + butterfly’ (centre) acrylic on canvas

120 x 120 cm. (47 1/2 x 47 1/2 in.) (unframed)

£400 - 600

Provenance

The artist, Paris, 1987, from whom purchased by the present owner

Lot 157 §

MARTIN BRADLEY (BRITISH, 1931-2023)

On a Hot Tin Roof

signed and dated ‘Martin Bradley 1989’ (lower left); titled ‘On a hot tin roof’ (upper left) acrylic on canvas

100.3 x 100.3 cm. (39 3/4 x 39 3/4 in.) (unframed)

£400 - 600

Provenance

The artist, Paris, 1987, from whom purchased by the present owner

158 §

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

Guli Wall No.5 signed, titled and dated ‘GULI WALL.NO.5/DEC 69 Alan Davie/Dec 69’ (verso) oil on canvas

121.9 x 152.4 cm. (48 x 60 in.)

£3,000 - 5,000

Provenance With Gimpel Fils, London

Exhibited London, Gimpel Fils, Alan Davie: Paintings 1969-1970, 5-30 May 1970, cat.no.30

Lot

Lot 159 §

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

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

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

£700 - 1,000

Provenance

With Gimpel Fils, London

ALAN

160 §

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

Bird Trap No.1

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

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

£700 - 1,000

Provenance

With ACA Galleries, New York

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

With Gimpel Fils, London

Exhibited

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

Lot

ALAN

Lot 161 §

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

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

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

£500 - 800

Provenance

With Gimpel Fils, London

With James Hyman Gallery, London

ALAN

Lot 162 §

SIMEON STAFFORD (BRITISH, b.1956)

Harbourside signed and dated ‘Simeon 01’ (lower left) oil on board

45.7 x 62.3 cm. (18 x 24 1/2 in.)

£500 - 800

Provenance

With Frederick Charles Art, Hayes, 26 April 2011, where purchased by the present owner

Lot 163 §

SIMEON STAFFORD (BRITISH, b.1956)

House on the pier signed ‘Simeon’ (lower right) oil on canvas

76.5 x 102 cm. (30 1/8 x 40 1/8 in.)

£500 - 800

Lot 164 §

SIMEON STAFFORD (BRITISH, b.1956)

Street Scene signed and dated ‘SIMEON/04.10.24’ (lower left); further signed and titled ‘ “STREET SCENE”/SIMEON’ (verso) oil on board

60 x 90 cm. (24 x 36 in.)

£500 - 800

Lot 165 §

SIMEON STAFFORD (BRITISH, b.1956)

Untitled signed and dated ‘Simeon/05.3.15’ (lower left) oil on board

45.7 x 59.7 cm. (18 x 23 1/2 in.)

£500 - 800

Lot 166 §

GLYNN BOYD HARTE (BRITISH, 1948-2003)

Athens signed ‘Glynn Boyd Harte’ (lower left); titled and dated ‘Athens July 1979’ (lower right)

crayon

58.4 x 42 cm. (23 x 16 1/2 in.)

£600 - 800

Provenance

With Curwen & New Academy Gallery, London

167 §

Dark Figure at 12 Sennen Beach

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

acrylic on card

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

£1,000 - 1,500

Lot

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

Lot 168 §

DAN PERFECT (BRITISH, b.1965)

Buffalo Boys watercolour, pastel, pen & ink

23 x 30.4 cm. (9 1/8 x 12 in.)

Executed in 2006

£700 - 1,000

Provenance

With Karsten Schubert, London, where purchased by present owner

Lot 169 §

WOOLCOCK (BRITISH, b.1952)

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

£700 - 1,000

Provenance

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

TIM

Works from the Collection of Robert Eagle

Lot 170 §

BERNARD MYERS (BRITISH, 1925-2007)

Arctic Sea signed and dated ‘Myers/ARCTIC SEA’ (verso) oil on canvas

68.6 x 80 cm. (27 x 31 1/2 in.)

£300 - 500

Provenance

Private Collection, U.K.

Their sale; Chiswick Auctions, London, 10 April 2018, lot 33, where purchased by the present owner

Works from the Collection of Robert Eagle

Lot 171 §

BERNARD MYERS (BRITISH, 1925-2007)

View along the coast oil on board

50.5 x 75.5 cm. (19 7/8 x 29 3/4 in.)

£300 - 500

Provenance

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

Works from the Collection of Robert Eagle

Lot 172 §

BERNARD MYERS (BRITISH, 1925-2007)

Yellow still life with flowers

signed with initials ‘BM’ (lower left); further signed ‘B Myers’ (verso) oil on board

25.4 x 17.7 cm. (10 x 7 in.) together with;

Blue still life with flowers

signed with initials ‘BM’ (lower right); further signed ‘B Myers’ (verso) oil on board

25.4 x 17.7 cm. (10 x 7 in.) (2)

£300 - 500

Works from the Collection of Robert Eagle

Lot 173 §

On Reflection oil on board

(BRITISH, 1929-2001)

87 x 88.5 cm. (34 1/4 x 34 7/8 in.)

£400 - 600

Provenance

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

STAN SMITH

Works

from the Collection of Robert Eagle

Lot 174 § STAN SMITH (BRITISH, 1929-2001)

Split Light oil on board

106 x 88.5 cm. (41 7/8 x 35 in.)

£400 - 600

Provenance

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

Works from the Collection of Robert Eagle

Lot 175 §

STAN SMITH (BRITISH, 1929-2001)

Girl by the Window oil on board

95.2 x 89 cm. (37 1/2 x 35 in.)

£400 - 600

Provenance

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

Works

from the Collection of Robert Eagle

Lot 176 §

DAVID ROLT (BRITISH, 1916-1985)

Eccentric Castello oil on board

50 x 80 cm. (19 3/4 x 31 1/2 in.)

£300 - 500

Provenance

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

Works from the Collection of Robert Eagle

Lot 177 §

DAVID ROLT (BRITISH, 1916-1985)

Young woman in blue oil on canvas

50 x 67 cm. (19 3/4 x 26 3/8 in.)

£300 - 500

Provenance

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

Works from the Collection of Robert Eagle

Lot 178 §

DAVID ROLT (BRITISH, 1916-1985)

Apple blossom with blue cart oil on board

32 x 20 cm. (12 1/2 x 7 7/8 in.)

£300 - 500

Provenance

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

Works from the Collection of Robert Eagle

Lot 179 §

End of the Road

signed ‘Plosky’ (lower right) oil on board

76 x 82 cm. (29 7/8 in. x 32 1/4 in.)

£400 - 600

JONAS PLOSKY (BRITISH, 1940-2011)

Lot 180 §

SHELAGH WAKELY (BRITISH, 1932-2011)

Untitled dated ‘Sept 79’ (lower right) oil, watercolour, crayon, collage and pencil to two sheets pinned together 56 x 49 cm. (22 x 19 1/4 in.)

£800 - 1,200

Provenance

With Richard Saltoun, London

With Karsten Schubert, London, where purchased by present owner

Lot 181 §

SHELAGH WAKELY (BRITISH, 1932-2011)

Analysis of a Glass Vessel signed and dated ‘Shelagh Wakely 1978’ (lower right); inscribed indistinctly (upper centre) gouache, pencil and water

38.5 x 39.5 cm. (15 1/4 x 15 1/2 in.)

£1,000 - 1,500

Provenance

With Richard Saltoun, London

With Karsten Schubert, London, where purchased by present owner

Lot 182 §

JOAN GILCHREST (BRITISH, 1918-2008)

Pair of storks signed with initials ‘JG’ (lower right) oil on paper

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

£1,000 - 1,500

183 §

JOHN PASCHE (BRITISH, b.1945)

Kiss signed ‘John Pasche’ (lower right) oil

59.7 x 50.8 cm. (23 1/2 x 20 in.)

£2,000 - 3,000

Provenance

The artist, from whom acquired by the present owner

Please note this work is accompanied with a signed and dedicated note to the present owner

Lot

Lot 184 §

DAMIEN HIRST (BRITISH, b.1965)

Scull Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso) acrylic on paper 72 x 48.8 cm. (28 1/2 x 19 1/2 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£2,000 - 3,000

This collection of works by Damien Hirst of Spin works on paper date to 2009 and corresponded with his Requiem exhibition at the Pinchuk Art Centre in Kyiv, Ukraine. They were released to correspond with the opening of the exhibition in Kyiv.

The show offered a retrospective of Damien Hirst’s work, showcasing over 100 pieces created between 1990 and 2008. Opening on April 25th, 2009, and running through to September 20th, 2009, show featured some of Hirst’s most famous works, such as A Thousand Years (1990) and Away from the Flock (1994), as well as newer pieces like the butterfly triptych Doorways to the Kingdom of Heaven (2007) and the shark sculpture Death Explained (2007).

The series of Spin paintings, all characteristically feature motifs that the artist consistently revisits. From the skull, a symbol he uses frequently to explore the meditation on the human obsession with mortality, legacy, and the transient nature of life, to the butterfly one of his most iconic and recurring motifs, symbolizing beauty, transformation, and the delicate nature of life.

Lot 185 §

DAMIEN HIRST (BRITISH, b.1965)

Rocket Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso)

acrylic on paper

66.3 x 45.8 cm. (26 1/2 x 18 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£1,500 - 2,500

Lot 186 §

DAMIEN HIRST (BRITISH, b.1965)

Butterly Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso) acrylic on paper

68.2 x 52 cm. (26 7/8 x 20 1/2 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£1,500 - 2,500

Lot 187 §

DAMIEN HIRST (BRITISH, b.1965)

Spin (Red, Yellow & Orange) stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso)

acrylic on paper

51.5 x 52.5 cm. (20 1/4 x 20 3/4 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£2,000 - 3,000

Lot 188 §

DAMIEN HIRST (BRITISH, b.1965)

Gun Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso)

acrylic and metallic paint on paper

45.6 x 32 cm. (18 x 12 1/2 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£1,500 - 2,500

Lot 189 §

DAMIEN HIRST (BRITISH, b.1965)

Star Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso)

acrylic on paper

22 1/2 x 23 cm. (57 x 58 1/2 in.) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£1,000 - 1,500

Lot 190 §

DAMIEN HIRST (BRITISH, b.1965)

House Spin stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso) acrylic on paper

68.2 x 50 cm. (27 x 19 3/4 in) (unframed)

This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009

£1,000 - 1,500

Lot 191 §

JOHN HUBBARD (BRITISH, 1931-2017)

Small Moroccan Landscape signed, titled and dated ‘1971/John Hubbard/Small Moroccan/Landscape’ (verso) oil on canvas

86.3 x 102.8 cm. (34 x 40 1/2 in.)

£500 - 800

Provenance

With The New Art Centre, London

Basket signed ‘Simon Garden’ (verso) oil on board

60 x 60 cm. (23 5/8 x 23 5/8 in.)

£300 - 500

Lot 192 §

SIMON GARDEN (BRITISH, b.1960)

Lot 193 §

SIMON GARDEN (BRITISH, b.1960)

Moon signed ‘Simon Garden’ (verso) oil on board

62 x 61 cm. (24 x 24 3/8 in.)

£300 - 500

Provenance

With Thompson’s Gallery, London, where purchased by the present owner

Sunset oil on board

40 x 71 cm. (15 3/4 x 28 in.)

Painted in 1990

£2,000 - 3,000

Provenance

The estate of the artist

The Scottish Gallery, Edinburgh, 2022, where purchased the owner

Exhibited

Edinburgh, The Scottish Gallery, James Morrison - A Celebration 1932-2020, 6-25 June 2022, cat no.45

Lot 194 §

JAMES MORRISON, R.S.A., R.S.W. (BRITISH, 1932-2020)

Term and Conditions for Buyers at Chiswick Auctions

1. BEFORE THE SALE

1.1 Agent for the seller

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

1.2 Definitions

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

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

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

1.3 Catalogue descriptions

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

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

1.4 Inspection

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

1.5 Condition report

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

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

1.6 Electricals

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

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

1.7 Estimates

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

1.8

Reserves

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

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

1.9 Registration to the sale

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

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

A deposit may be requested prior to each sale.

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

1.10 Proof of identity

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

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

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

• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the 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.

1.1 Agent for the seller

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

1.2 Definitions

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

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

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

1.3 Catalogue descriptions

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

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

1.4 Inspection

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

1.5 Condition report

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

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

1.6 Electricals

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

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

1.7 Estimates

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

1.8 Reserves

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

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

1.9 Registration to the sale

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

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

A deposit may be requested prior to each sale.

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

1.10 Proof of identity

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

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

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

• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the 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

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

4.4 Taxes

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

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

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

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

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

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

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

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

4.5 Artist Resale Rights / Droit de Suite

Lots marked with ‘ARR’ may be subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500. Royalties for Droit de Suite are as follows:

• From 0 to €50,000 4%

• From €50,000.01 to €200,000 3%

• From €200,000.01 to €350,000 1%

• From €350,000.01 to €500,000 0.5%

• Exceeding €500,000 0.25%

4.6 Remedies for non-payment

If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available:

• To cancel the sale

• To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale.

• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionary apply any sum paid by the Buyer for discharge of any owed sums.

• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd.

• To exercise a lien over the Buyer’s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such

property, whether by way of pledge, security interest or in any other way to the extent permitted by Law.

• To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.

• To take such other action as is permissible by Law and in the discretion of CA Ltd.

4.7 Collection

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

4.8 Storage

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

4.9 Shipping

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

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

4.10 Loss or Damage

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

4.11 Cultural Goods import and export restrictions

Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of preColumbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.

4.12 CITES

Import and export restrictions

Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such

permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.13 Limitation of liability regarding CITES export licenses

Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them.

CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale.

4.14 Warranties

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

4.15 Authenticity warranty

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

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

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations

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

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

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

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

6. JEWELLERY

6.1 Gemstone treatment and estimates

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

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

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

• Staining

• Irradiation

• Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in

the past. CA Ltd shall not be responsible in the absence of mention thereof.

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

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

6.2 Estimated weights

If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

6.3 Signatures

‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.

‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.

Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

7. CLOCKS AND WATCHES

All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration.

CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations.

CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8.1 Upholstered furniture after 1950

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

9. GLOSSARY OF PICTURE CATALOGUING TERMS

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

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

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

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

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

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

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

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

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

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

10 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions

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

10.2 Fine Chinese Paintings

Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings.

Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

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

12. WINES AND SPIRITS

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

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

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

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

13. COPYRIGHT

CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the above-mentioned materials without the prior written consent of CA Ltd.

Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof.

14. DATA PROTECTION

The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

15. SEVERABILITY

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

16. AMENDMENTS

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

17. LAW AND JURISDICTION

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

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

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