Urban Catalogue

LONDON

URBAN CONTEMPORARY 当代都市艺术 Tuesday 11th December 2012

IMPORTANT NOTICES Please see Conditions of Business and Conditions of Sale at the back of this catalogue Dreweatts & Dreweatts 1759 are trading names of The Fine Art Auction Group Limited. The Fine Art Auction Group Limited is registered in England, company number: 03839469, registered office: 10A Mount Ephraim, Tunbridge Wells, Kent TN4 8AS. Buying at Dreweatts There are several ways you can bid at a Dreweatts auction; in person, by leaving a commission or absentee bid, on the telephone where available and live via the internet – please make arrangements before the sale.

Bidding in Person If intending to buy you are required to register your name and details at reception prior to the commencement of the auction. You will then be allocated a bidding number, which you use when bidding for an item.

Commission Bids Dreweatts will execute bids on your behalf if you are unable to attend the sale. Commission or absentee bids are accepted either directly at reception, or can be sent by post, fax, email, telephone or via the website: www.dnfa.com.

Dreweatts will add these bids to the auctioneers’ sale book and will undertake to purchase the lots on your behalf as cheaply as allowed by other bids and reserves.

Dreweatts does not accept liability for failing to execute commission bids, or for any errors or omissions.

Condition Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request – see the Conditions of Business at the back of this catalogue for more information regarding condition reports. Requests for condition reports must be submitted by 4pm on the day prior to the auction.

Commission Charges All purchases are subject to a buyer’s premium, which is 24% of the hammer price plus VAT on this 24% (28.8% including VAT), for items up to £150,000. The commission reduces to 12% (14.40% including VAT) on the balance of items with a hammer price of £150,001 and over.

Payment Payment will be accepted, if you are a successful bidder, by debit card issued by a UK bank and registered to a UK billing address, by bank transfer direct into our bank account, Bank Details: Natwest, Blackboys Hill, Bristol.

Account Name: Dreweatts 1759 Limited Client Account.

A/C: 96633778 Sort Code: 60-17-24 BIC: NWBK GB 2L IBAN: GB25 NWBK6017 2496 6337 78; in cash up to £12,000 (subject to relevant money laundering regulations), or by all major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit card. This surcharge does not apply to debit card payments. Payment may also be made by Sterling personal cheques drawn on a UK bank account but Dreweatts regrets that purchases paid for by this method can not be collected until your cheque has cleared.

Bidding Increments The Auctioneer will advance bids in the following preset increments, and is under no obligation to accept bids between these increments. £200 £320 £550 £1100 £2200 £3200 £5500 £11000 £22000 £32000 £55000 £110000 £220000 £320000

£220 £350 £600 £1200 £2400 £3500 £6000 £12000 £24000 £35000 £60000 £120000 £240000 £350000

£240 £380 £650 £1300 £2600 £3800 £6500 £13000 £26000 £38000 £65000 £130000 £260000 £380000

£260... £400... £700... £1400... £2800... £4000... £7000... £14000... £28000... £40000... £70000... £140000... £280000... £400000...

£300 £500 £1000 £2000 £3000 £5000 £10000 £20000 £30000 £50000 £100000 £200000 £300000 £500000

Collection or Delivery Before being able to collect your purchases you are required to pay the hammer price, plus the applicable commissions, and obtain a receipt acknowledging payment. Collection of the purchased lots is at the purchaser’s risk and expense and whilst Dreweatts do not provide packing and despatch service we can suggest some carriers.

In the event that a lot has an asterisk (*) beside the lot number in the catalogue, this indicates that the item is owned by an entity or company required to pay VAT (generally not an Antique Dealer, as they operate under a dealer’s margin scheme). VAT is payable at 20% on the hammer price.

Dreweatts also require that all purchased items are collected within three days of the sale to avoid a storage charge being applied.

Live Internet Bidding To register to bid live via the internet or to follow the sale go to: artfact.com, epailive.com, liveauctioneers.com or the-saleroom.com. Dreweatts does not accept liability for any failure of these services

All weights and measures given in the catalogue should be regarded as approximate.

Further Information The colours printed in this catalogue are not necessarily a true reflection of the actual item.

Valuation Services Dreweatts provides a range of confidential and professional valuation services to private clients, solicitors, executors, estate managers, trustees and other professional partners.

These services include auction valuations, insurance valuations, probate valuations, private treaty valuations, valuations for family division or for tax purposes. For more information, please see our website: www.dnfa.com.

LONDON

URBAN CONTEMPORARY Tuesday 11th December 2012, at 4.00pm Sale No. 20556 Specialists Mary McCarthy mmccarthy@dnfa.com

Buyer’s premium is charged per lot at 24% of the hammer price (28.8% including VAT) up to £150,000, and 12% on the hammer price (14.4% including VAT) in excess of £150,000

Alexander Hayter ahayter@bloomsburyauctions.com www.dnfa.com Viewing Sunday 9th December 2012 11.00 a.m. - 4.00 p.m.

Monday 10th December 2012 9.30 a.m. - 8.00 p.m.

Visit our website for current catalogues, colour illustrations of major lots and a word search service: www.dnfa.com Free online bidding for this sale: www.artfact.com

www.epailive.com

www.liveauctioneers.com

www.the-saleroom.com

Tuesday 11th December 2012 9.30 a.m. - 4.00 p.m.

Preview hosted by Temwa Monday 10th December 6.00 p.m. - 8.00 p.m.

There is no surcharge for using these services Visit our website for current catalogues, colour illustrations of major lots and a word search service: www.dnfa.com

Front cover image: Lot 45 Banksy (British, b.1975) Everytime I Make Love To You I Think Of Someone Else, 2006 Back cover image: Lot 81 Shepard Fairey (American, b.1970) Mandala (Dark), 2011 Catalogues £15 (£18 by post) Sale catalogue only, resale or reproduction prohibited

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@DreweattsBlooms Dreweatts London 24 Maddox Street London W1S 1PP Tel: +44 (0)207 495 9494 Fax: +44 (0)207 495 9499 urbanart@dnfa.com

URBAN CONTEMPORARY

LONDON

1δ Charming Baker (British, b.1964) Half Pint (The Panda Boy), silkscreen printed in colours, 2008, signed in pencil lower left, numbered 5/85, published by Charming Baker, with blindstamp, on Somerset Velvet paper, with full margins, 700 x 500 mm (27 1/2 x 19 3/4 in) £1,000-1,500

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2 Jeremy Geddes (Australian) Adrift, giclee printed in colours, 2011, signed in pencil lower right, numbered 9/10, on wove paper, with full margins, 1110 x 1110 mm (43 1/4 x 43 1/4 in) Provenance: Jeremy Geddes Website ÂŁ600-800

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LONDON

3 Schoony (British, b.1974) Boy Soldier - Union Jack 3D, 2009 Fibre glass fibre life cast with spray paint and acrylic, Signed in black ink verso, 1100 x 57 x 57mm (43 1/4 x 22 1/2 x 22 1/2 in) Provenance: Graffik Gallery, London Accompanied by a certificate of authenticity from Graffik Gallery, London ÂŁ1,500-2,000

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4δ Banksy (British, b.1975) Happy Choppers, silkscreen printed in colours, 2003, numbered 382/750 in pencil, published by Pictures On Walls, London, on wove paper, with full margins, 700 x 500 mm (27 1/2 x 19 3/4 in) Accompanied by a certificate of authenticity from Pest Control Office £2,000-3,000

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LONDON

5δ Banksy (British, b.1975) Because I’m Worthless, silkscreen printed in colours, 2004, numbered 153/175, published by Pictures On Walls, London, with their blindstamp, on wove paper, with full margins, 500 x 350 mm (19 3/4 x 13 3/4 in) Accompanied by a certificate of authenticity from Pest Control Office £1,500-2,000

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6δ Joe Black (British, b.1973) Sexual Verkaufe, 2010 Oil, acrylic, spray paint and badges on board, Signed and dated in pencil lower right and signed, titled and dated in black ink verso, 1295 x 968 mm (51 x 37 3/4 in) Provenance: Cosh, London Accompanied by a certificate of authenticity from Cosh, London £1,500-2,000

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LONDON

7δ Nick Gentry (British, b.1980) Model LC24, 2011 Mixed paint and used floppy disks on wood, Signed in black marker pen lower right leading edge and verso, 1310 x 810 mm (51 1/2 x 32 in) £2,000-3,000

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8 Swoon (American, b.1977) Street Sweeper, 2008 Pencil and silkscreen on hand sewn paper, Signed and dated in pencil lower right, 360 x 665 mm (13 x 26 1/4 in) Provenance: Black Rat Press, London ÂŁ1,500-2,000

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LONDON

9 Retna (American, b. 1979) Ashes To Dust, 2010 Inks on Arches Aquarelle paper, 762 x 559 mm (30 x 22in) Provenance: New Image Art, Los Angeles Accompanied by a certificate of authenticity from New Image Art ÂŁ2,000-3,000

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10 δ Banksy (British, b.1975) Choose Your Weapon (Khaki), silkscreen printed in colours, 2010, signed in brown crayon, numbered 22/25, printed and published by Pictures on Walls, with their blindstamp, on wove paper, with full margins, 700 x 700mm (27 1/2 x 27 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office £5,000-7,000

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LONDON

11 δ Various Artists, including Banksy (British, b.1975) Pax Brittanica, the complete portfolio, 2004, comprising 22 prints of various media, each signed, the edition was 100, published by Aquarium Gallery, London, on various papers, in the original black portfolio, in good condition, overall size 235 x 325 mm (9 1/4 x 12 3/4 in) Provenance: Aquarium Gallery, London The portfolio includes prints by - Banksy, Steve Bell, James Boswell, Alexander de Cadenet, Sir Anthony Caro, James Cauty, Billy Childish, David Gentleman, Richard Hamilton, Clifford Harper, Brian Jones, John Keane, Peter Kennard, Alan Kitching, Jenny Matthews, Paul Mattsson, Antonio Pacitti, Jamie Reid, Martin Rowson, Ralph Steadman, S.T.O.T, 21stC and Gee Vaucher.

This lot is also accompanied by 8 rare signed editioned anti war posters produced for the coalition by Peter kennard, Martin Rawson, David Gentleman, Jamie Reid, Steve Bell, Ralph Steadman and Clifford Harper. ÂŁ4,000-6,000

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12 TRXTR (British, b.1954) Desert Gold Digger, 2012, Mixed media on canvas, Signed, titled and dated in black charcoal verso, 920 x 665 mm (36 1/4 x 26 1/4 in) Provenance: Red Propeller Gallery, Plymouth Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth ÂŁ800-1,200

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LONDON

13 δ Conor Harrington (Irish) Perch (Study), 2009 Oil and spraypaint on paper, Signed and dated in pencil verso, 700 x 500 mm (27 1/2 x 19 3/4 in) Provenance: Lazarides Gallery, London £1,000-1,500

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14 δ Invader (French, b.1969) Warning Invader (Silver), silkscreen printed in colours, 2011, signed in pencil, numbered 48/50, published by Pictures On Walls, with their blindstamp, on wove paper, with full margins, 540 x 540 mm (21 1/4 x 21 1/4 in) £600-800

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LONDON

15 δ Mau Mau (British) Ess-O-Bees, 2009 Spray paint on ESSO petrol metal sign, Signed in black spray paint verso 558 x 558 mm (22 x 22 in) Provenance: Art Republic, Brighton £800-1,200

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16 δ Eine (British, b.1970) Famous Kids Over Happier Here, 2008 Spray paint and acrylic on canvas, Signed, dated and titled in black ink verso, 763 x 763 mm (30 x 30 in) Provenance: Art Republic, Brighton £1,500-2,000

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LONDON

17 K-Guy (British, b.1968) Anthroprodigy, silkscreen printed in colours with spraypaint, 2012, signed in pencil by the artist and all members of Prodigy, numbered 1/1, on wove paper, with full margins, 560 x 1060 mm (22 x 41 3/4 in) Provenance: Eddie Lock Accompanied by a certificate of authenticity from Eddie Lock ÂŁ600-800

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18 Speto (Brazilian) O Mar Serenou, 2008 Acrylic on linen canvas, Signed and dated in black acrylic lower right, 915 x 601 mm (36 x 23 3/4 in) Provenance: O'Contemporary Gallery, London ÂŁ2,000-3,000

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19 δ Adam Neate (British, b. 1978) Turquoise Portrait With Green, 2007 Mixed media on cardboard, Signed in black acrylic paint lower left, 1100 x 980mm (43 1/4 x 38 1/2 in) Provenance: Elms Lesters, London £6,000-8,000

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20 δ Banksy (British, b.1975) No Ball Games, silkscreen printed in colours, 2009, signed in pencil, numbered 117/250, published by Pictures On Walls, London, with their blindstamp, on wove paper, with full margins, 670 x 700 mm (26 1/4 x 27 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office £4,000-6,000

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LONDON

21 δ Banksy (British, b.1975) Monkey Queen, silkscreen printed in colours, 2003, signed in black ink, numbered 128/750, published by Pictures On Walls, London, on wove paper, with full margins, 670 x 700 mm (26 1/4 x 27 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office £3,000-5,000

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22 Manuel Marin (Spanish 1942 - 2007) Untitled, 2005 Painted steel mobile, Incised signature on lower steel foot 900 x 1200 x 700 mm (35 1/4 x 47 1/4 x 27 1/4 in) Provenance: Mrs Monika Rabassa, the artist’s widow £2,000-3,000

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23 δ Damien Hirst (British, b.1965) (designer) and Mike Smith (constructor) Commode Chair for 100% Weird Welded steel chair with bedpan seat, 1994, designed by Damien Hirst, constructed by Mike Smith, as featured in Damien Hirst's short film 100% Weird, overall size 1910 x 535 x 480 mm (75 1/4 x 21 x 19) In 1994 Damien Hirst collaborated with the film maker Tony Kaye to produce a short film entitled 100% Weird. Shot at the Slaughter House Gallery in London, the film featured images such as dead livestock, an industrial insectocutor and the commode chair in the present lot. The chair with a bedpan for a seat was designed by Hirst and built

by Mike Smith (the technician who builds many of the artist's vitrines and other elements in his sculptural works) it takes an integral role in the film, and in one notorious scene shot from below we see the artist's naked posterior seated on the chair excrete what appears to be a baked bean.

The film was so provocative that it was never screened by the company that commissioned it: TNT Movies, and whilst Hirst has spoken about the film publicly, it was not until his retrospective at Tate Modern in 2012 that the film was shown to a wider audience. A copy of the film on DVD accompanies the present lot.

Provenance: A gift from Damien Hirst to the present owner ÂŁ15,000-20,000

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24 Nick Rasmussen (British, b.1966) Shark, 2012 Welded steel in two parts, Body: 279 x 893 x 170 mm (11 x 35 1/4 x 6 3/4 in) Fin: 750 x 387 x 25 mm (29 1/2 x 15 1/4 x 1 in) Provenance: It’s All 2 Much Gallery, Bristol £600-800

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25 Tony D’Amico (DNTT) (British, b.1960) Immaculate Deception, 2012 Galvanised carved steel and wood, Signed and dated in black marker verso, 790 x 460 mm (31 x 18 in) The artist describes the work as follows “this piece subverts the cultural branding that saturates our lives - The Nike swoosh (which is of course a tick), Apple’s bitten apple, The Nazi swastika, Christ on the cross: they are all potent symbols which have been ideologically hijacked to suit the agenda of their new ‘owners’. Jesus suffering on the cross conveys the agenda of the Papal Roman Empire - one of dominance, repression and its ruthless pursuit of power- that has nothing to do with Christ’s original message of peace and love. In this sculpture, Christ is seen with a bloodied cow’s head- a sacrificial offering. It attempts to expose the way the image of Jesus has been misrepresented to become the corporate symbol of religious control”.

Provenance: Mutate Britain, London £2,000-3,000

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26 Judith Supine (American) Untitled, 2007 Lacquer, collage and mixed media on wood, Signed in black ink within image surface, 356 x 229 mm (14 x 9 in) ÂŁ2,000-3,000

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27 Judith Supine (American) Supine 4, 2007 Lacquer, collage and mixed media on wood, Signed in black ink within image surface, 305 x 209 mm (12 x 9 in) ÂŁ2,000-3,000

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28 δ Banksy (British, b.1975) Golf Sale, silkscreen printed in colours, 2003, numbered 62/750 in pencil, published by Pictures On Walls, London, on wove paper, with full margins, 340 x 485 mm (13 1/4 x 19 1/4 in) Accompanied by a certificate of authenticity from Pest Control Office £1,800-2,200

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29 δ Banksy (British, b.1975) Di-Faced Tenners, double-sided silkscreen printed in colours, 2004, signed and dated in black ink, numbered 26/32, printed and published by Pictures on Walls, London, with their blindstamp, on wove paper, with full margins, 390 x 290mm (15 3/8 x 11 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office £10,000-15,000

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30 δ Matt Small (British, b.1975) Karen, 2007 Mixed paint on cement, mesh and wood in perspex box, 560 x 460 mm (22 x 18 in) Provenance: From the former Leonard St Gallery, ‘This is England solo show’ 2007, London £2,000-3,000

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31 δ Matt Small (British, b.1975) Untitled, 2008 Mixed media on heavy card, 450 x 320 mm (17 3/4 x 12 1/2 in) Provenance: Black Rat Press, London £800-1,200

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32 Jim Starr (British, b.1976) Phoenix, 2012 Mixed media on canvas board, Signed in black ink verso, 1222 x 813 mm (48 x 32 in) Provenance: It’s All 2 Much Gallery, Bristol £800-1,200

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33 Wreckage (British, b.1965) Lioness, 2012 Acrylic and gesso on board, Signed and dated black ink verso, 1020 x 1525 mm (40 1/4 x 60 in) Provenance: Mutate Britain, London ÂŁ1,000-1,500

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34 δ Miranda Donovan (British, b.1979) The Ritz, 2006 Oil and mixed media on board, Signed, titled and dated in pencil verso, 305 x 405 x 45 mm (12 x 16 x 1 3/4 in) Provenance: Lazarides Gallery, London £2,000-3,000

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35 δ Miranda Donovan (British, b.1979) Laugh At Yourself, 2006 Oil and mixed media on board, Signed, titled and dated in pencil verso 305 x 405 x 45 mm (12 x 16 x 1 3/4 in) Provenance: Lazarides Gallery, London £2,000-3,000

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36 δ Static (British, b.1983) Luxury Vandals, 2010 Spray paint, stencil and silkscreen printed in colours on metal Signed and dated in black ink lower right 655 x 655 mm (25 3/4 x 25 3/4 in) Provenance: Acquired by the owner from the artists £600-800

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37 δ Miss Bugs (British) Bob, Jeff, Damien and Mark Talk About Sex, 2008 Spray paint and silkscreen printed in colours on metal, Signed and dated in gold marker verso, 820 x 1092 mm (32 1/4 x 43 in) Provenance: Art Republic, Brighton £800-1,200

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38 δ Banksy (British, b.1975) Flag, silkscreen printed in colours, 2006, numbered 229/1000, published by Pictures On Walls, London, with blindstamp, on silver cromulux paper, with full margins 500 x 700 mm (19 3/4 x 27 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office, London £600-800

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LONDON

39 δ Banksy (British, b.1975) Choose Your Weapon (Purple) silkscreen printed in colours, 2010, signed in purple crayon, numbered 12/25, printed and published by Pictures on Walls, London, with their blindstamp, on wove paper, with full margins, 700 x 700mm (27 1/2 x 27 1/2 in) Accompanied by a certificate of authenticity by Pest Control Office £5,000-7,000

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40 Elbow-Toe (American) Untitled, 2008 Multilayered collage and paint on wood, 203 x 116 mm (8 x 4 1/2 in) Provenance: Black Rat Press, London ÂŁ800-1,200

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LONDON

41 Kill Pixie (Australian) Untitled, 2008 Collage, acrylics and mixed media on wood, Signed in black ink verso, 291 x 229 mm (11 1/2 x 9 in) Provenance: The Alternative Philosophy Exhibition, Leonard St Gallery, London ÂŁ600-800

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42 δ Sweet Toof (British) Daisy Daisy (Diptych), 2008 Oil and metal on acid boxes, Signed, dated and titled in black ink verso each. 762 x 520 mm (30 x 20.5 in) Provenance: Sartorial Contemporary Art, London Accompanied by a certificate of authenticity from Sartorial Contemporary Art, London £2,000-3,000

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43 δ Nick Walker (British, b.1969) Morning After (London), silkscreen printed in colours, 2007, signed in pencil, numbered 6/12 AP lower right, on Somerset paper, with full margins 500 x 700 mm (19 3/4 x 27 3/4 in) Accompanied by a certificate of authenticity from Black Rat Press, London £2,000-3,000

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44 Adam Koukoudakis (British, b.1976) Arizona, 2012 Pencil, acrylic ink and spray paint on canvas, Signed, dated and titled in black ink verso, 830 x 711 mm (32 3/4 x 28 in) ÂŁ1,000-1,500

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45 δ Banksy (British, b.1975) Everytime I Make Love To You I Think Of Someone Else, 2006 Acrylic on canvas, Signed in black ink verso and signed with artist tag in black on right hand side overlap, 500 x 500 mm (19 3/4 x 19 3/4 in) Provenance: Acquired by the current owner from the artist Accompanied by a certificate of authenticity from Pest Control Office £40,000-60,000

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46 Faile (American) and Bast (American) Golf Punk, 2004 Spray paint, acrylic, collage and paper on canvas wrapped around wood, Signed by both artists, dated and numbered 12/16 in black ink verso, varied edition of 16, each one unique, 1790 x 1220 mm (70 1/2 x 48 in) Provenance: Lazarides Gallery, London ÂŁ4,000-6,000

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47 ** Richard Pettibone (American, b.1938) Andy Warhol (Mao), synthetic Polymer paint and silkscreen inks on canvas, 1975, signed in ball-point pen on the reverse of the stretcher, 92 x 92 mm (3.6 x 3.6 in) ÂŁ10,000-15,000

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48 Seen (American, b.1961) Subway Map, Acrylic and spray paint on MTA New York city subway map, Signed in black marker pen top right, 820 x 580 mm (32 1/4 x 22 3/4 in) Provenance: Planet 6 Gallery, New York ÂŁ1,000-1,500

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49 LA II (Angel Oritz) (American, b.1967) and Keith Haring (American, 1958-1990) attributed Untitled, Acrylic and marker pen on board, signed in black ink by LA II verso, 970 x 1285 mm (38 x 50 1/2 in) Provenance: Private European Collection ÂŁ10,000-15,000

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50 Bast (American) Radio Television, 2010 Acrylic, silkscreen and collage on wood, Signed, dated and titled in black ink verso, 810 x 740 mm (31 3/4 x 29 in) Provenance: Lazarides Gallery, London ÂŁ1,000-1,500

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51 Bast (American) Chanel Girl, 2008 Collage and mixed media on canvas, Signed and dated in black ink verso, 920 x 701 mm (36 x 28 in) Provenance: Hang Up Pictures ÂŁ1,000-1,500

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52 δ James Cauty (British, b.1956) Believe The Magic - Final Solution, 2007 Oil and acrylic on linen Signed in black marker pen verso 520 x 840mm (20.07 x 33.47 in) Provenance: The Aquarium L-13, London Accompanied by a certificate of authenticity from The Aquarium L-13, London £3,000-5,000

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53 δ Nick Walker (British, b.1969) Morning After - New York, silkscreen printed in colours, 2011, signed in pencil, numbered 3/18 AP, on wove paper, with full margins 813 x 914 mm (32 x 36 in) £1,500-2,000

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54 Ryan Callanan (Ryca) (British, b.1981) and Ben Eine (British, b.1970) LOVE/HATE, 2012 Silkscreen printed in colours on glass, 23ct gold leaf on composite board within a timber frame, Signed by both artists, Eine in white ink and Ryca in blue ink verso 625 x 330 x 50 mm (24 1/2 x 13 1/4 x 2 in) Provenance: Squarity Online Gallery ÂŁ1,000-1,500

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55 δ Blek Le Rat (French, b.1951) His Masters Voiceless, 2007 Spray paint on canvas, Signed and dated in black ink lower right and numbered 7/10 verso 800 x 800 mm (31 1/2 x 31 1/2 in) Provenance: Leonard St Gallery, London The artist describes in black ink verso the reason why this work was called His Masters Voiceless… ”actually this dog does not belong to me but it comes everyday to my place. Her name is ‘voice’ that is the reason the painting is called ‘her master is voiceless’. She’s also the nicest dog I have ever met”. £3,000-5,000

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56 δ D*Face (British) Who’s Bad (Green), 2011 Silkscreen printed in colours and enamel on canvas, Signed and dated in black ink verso, 560 x 560 mm (22 x 22 in) Provenance: Stolen Space, London £1,500-2,000

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57 δ D*Face (British) Untitled (Pope), 2005 Acrylic, spray paint and gold leaf on canvas Signed in black ink lower right by the artist and signed in black marker by Seen top leading edge 1220 x 1525 mm (48 x 60 in) First exhibited at the Outside Institute, London This unique iconic work by D*Face was painted the year that Benedict XVI was elected Pope and represents him with his arms raised in a classic pose of benediction. The artist has subverted this image of traditional religious authority by placing comic hands to the figure and adding his iconic flying wings to the Pope’s mitre which is seen flying away. £3,000-5,000

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58 Robert Silvers (American, b.1968) Alien, Ilfochrome print mounted on aluminium, 1610 x 1210 mm (63 1/4 x 47 2/3 in) ÂŁ4,000-6,000

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59 Robert Silvers (American, b.1968) Washington Money, Ilfochrome print mounted on aluminium, 1420 x 1210 mm (55 7/8 x 47 5/8 in) ÂŁ2,000-3,000

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LONDON

60 δ Damien Hirst (British, b.1965) Last Supper (Beans and Chips), silkscreen printed in colours, 1999, signed in pencil, the edition was 150, printed by Coriander Studio, London, published by Charles Booth-Clibborn under his imprint the Paragon Press, London, on wove paper, with full margins, 1524 x 1016 mm (60 x 40 in) £4,000-6,000

62

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LONDON

61 δ Klaus Geigle (German, b.1969) Szene aus “Die Vogel” (Scene from “The Birds”) Oil on canvas, 2006, signed, titled and dated on the reverse of the circular wooden mount, diameter 68cm.

Geigle lives and works in Münster, Germany, his work focuses on the destructive interplay between the urban landscape and nature, often creating an image as if taken from the perspective of a bird or small animal. His works have a washed-out, ghostly presence, almost as if one were looking at a faded photograph or a piece of antique cinema reel. The present work perfectly captures his artistic viewpoint.

By focusing on a particularly ominous scene from Alfred Hitchcock's seminal film of 1963 The Birds, Geigle, in one painting succinctly melds both his vision of a dark interplay between urban life and Nature, with that of Hitchcock's vision of nature fighting back against urban encroachment.

Exhibited: Project Gallery montanaberlin, Berlin Provenance: Acquired directly from the artist by the present owner £4,000-6,000

63

LONDON

62 δ Ian Francis (British, b.1979) Adrianna Lima Searches For A New Home With Her Friend, 2006 Acrylic, inks, pencil and watercolour on canvas, Signed and dated in black ink verso, 400 x 800 mm (15 3/4 x 31 1/2 in) Provenance: BLK/MRK Gallery, Los Angeles Accompanied by a certificate of authenticity from BLK/MRK Gallery, Los Angeles £4,000-6,000

64

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LONDON

63 δ Ian Francis (British, b.1979) Alice Joins The Army In Wonderland, 2007 Mixed media on canvas, Signed and dated in black ink verso, 902 x 602 mm (35 1/2 x 23 3/4 in) £4,000-6,000

65

LONDON

64 δ Adam Neate (British, b.1977) Untitled, 2004 Double sided spray paint and acrylic on cardboard, Each side is signed lower left in black acrylic paint, 565 x 358 mm (22 1/4 x 14 in) Provenance: Bonhams 'Urban Art' sale february 2008 £1,500-2,000

66

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LONDON

65 δ Adam Neate (British, b.1978) Untitled, 2007 Double sided mixed media on foam core, Each side is signed lower left 680 x 157 mm (26 3/4 x 6 in) Provenance: Campbarbossa, London £2,000-3,000

67

LONDON

66 δ Banksy (British, b.1975) Napalm, silkscreen printed in colours, 2004, signed in pencil, numbered 12/500, published by Pictures On Walls, London, on wove paper, with full margins 500 x 700 mm (19 3/4 x 27 3/4 in) Accompanied by a certificate of authenticity from Pest Control Office, London £3,000-5,000

68

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LONDON

67 δ Banksy (British, b.1975) Grin Reaper, silkscreen printed in colours, 2005, signed in pencil, numbered 145/300, published by Pictures On Walls, London, with blindstamp, on wove paper, with full margins 700 x 440 mm (27 1/2 x 17 1/4 in) Accompanied by a certificate of authenticity from Pest Control Office, London £4,000-6,000

69

LONDON

68 Indie 184 (American) Be Wild, 2012 Mixed media on canvas, Signed, dated and titled in black ink verso, 500 x 500 mm (19 3/4 x 19 3/4 in) ÂŁ600-800

70

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LONDON

69 Cope 2 (American, b.1968) Red Stain, 2012 Mixed media on canvas, Signed and dated in black ink verso, 600 x 650 mm (23 3/4 x 25 1/4 in) ÂŁ800-1,200

71

LONDON

70 δ Guy Denning (British, b.1969) Untitled, 2000 Charcoal and mixed media on heavy card Signed and dated in black ink lower right 520 x 550 mm (20 1/2 x 21 3/4 in) Provenance: Tunnadine Fine Art Gallery, Bristol £800-1,200

72

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LONDON

71 δ Lucy Mclauchlan (British, b.1978) Untitled, 2010 Acrylic paint on wood, 330 x 360mm (13 x 14 in) Provenance: Cure Leukaemia Charity auction, Birmingham, 2010 £1,000-1,500

73

LONDON

72 δ Goldie (British, b.1969) Pump Doll, 2007 Acrylic and silkscreen printed in colours, 2007, signed and numbered 15 in black ink lower right, from an edition of 40 with 8 artist proofs, all uniquely rendered, on aluminium metal, 700 x 500 mm (27 1/2 x 19 3/4 in) Provenance: Eddie Lock Accompanied by a certificate of authenticity from Eddie Lock £600-800

74

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LONDON

73 δ Dan Baldwin (British) Decay, 2008 Mixed media on canvas, Signed in black ink verso, 1000 x 1000 mm (39 1/4 x 39 1/4 in) Provenance: Forster Gallery, London £3,000-5,000

75

LONDON

74 James Holdsworth (British, b.1954) The Buck Stops Here, 2012 Acrylics, collage and mixed media on canvas, Signed and dated in black ink lower left, 1170 x 1170 mm (43 x 43 in) Provenance: Private Collection, UK ÂŁ1,000-1,500

76

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LONDON

75 Jules Quaye (British, b.1966) The Contender, 2012 Mixed media on canvas, Signed and dated in yellow paint lower right, 1000 x 698 mm (39 1/4 x 27 1/2 in) Provenance: It’s All 2 Much Gallery, Bristol Accompanied by a certificate of authenticity from It’s All 2 Much Gallery, Bristol £800-1,200

77

LONDON

76 δ Mr Jago (British) Fifth, 2007 Mixed media on canvas, Signed and dated verso in black ink, 765 x 765 mm (30 x 30 in) Provenance: Private Collection, UK £800-1,200

78

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LONDON

77 Futura 2000 (Lenny McGurr) (American, b.1955) Popsicle Orange, 2008 Spray paint and silver ink on canvas, Signed in black ink lower right, 1350 x 1350 mm (53 1/4 x 53 1/4 in) Provenance: DPMHI Gallery, London ÂŁ6,000-8,000

79

LONDON

78 Judith Supine (American) Untitled 3, 2007 Lacquer, oil, marker and collage on wood, Signed in black ink on image surface, 280 x 203 mm (11 x 9 in) ÂŁ800-1,200

80

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LONDON

79 TitiFreak (Brazilian, b.1974) Untitled, 2008 Mixed media on card, Signed in pencil lower right 456 x 318 mm (17 3/4 x 12 1/2 in) Provenance: Choque Cultural ÂŁ800-1,200

81

LONDON

80 Phil Frost (American, b.1973) Untitled, 2005 Mixed media on paper, 165 x 121 mm (6 1/2 x 4 1/2 in) Provenance: Elms Lesters Gallery, London ÂŁ600-800

82

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LONDON

81 Shepard Fairey (American, b.1970) Mandala (Dark), 2011 Mixed media and collage on heavy art paper, Signed in pencil lower right, numbered 3/5 HPM lower left, 1321 x 965 mm (52 x 38 in) Provenance: Stolen Space, London ÂŁ8,000-12,000

83

LONDON

82 Dan Witz (American, b.1957) John, Dead Christ, (Diptych) digital c-print and mixed media, 2010, each signed and dated in black ink verso, numbered 5/6, on foam core, Each. 499 x 775 mm (19 1/2 x 30 1/2 in) Provenance: Carmichael Gallery, Los Angeles ÂŁ800-1,200

84

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LONDON

83 δ Banksy (British, b.1975) LA Set, silkscreen printed in colours, 2006, each numbered 60/500, published by Modern Multiples, LA, on Arches 88 paper, with full margins, each sheet 570 x 770 mm (22 1/2 x 30 1/4 in) Applause sheet size; 830mm x 1230mm (32 3/4 x 48 1/2 in) Provenance: Barely Legal Show, LA, 2006 Each print is accompanied by a certificate of authenticity from Pest Control Office £10,000-15,000

85

LONDON

84 δ Banksy (British, b.1975) Love Is In The Air, silkscreen printed in colours, 2003, numbered 135/500 in pencil, published by Pictures On Walls, London, on wove paper, with full margins, 500 x 700 mm (19 3/4 x 27 1/2 in) Accompanied by a certificate of authenticity from Pest Control Office £2,000-3,000

86

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LONDON

85 δ Alan Baker (now known as Charming Baker) (British, b.1964) Untitled, 2005 Mixed media and staples on wood Signed in pencil verso 660 x 813 mm (26 x 32 in) Provenance: Acquired by the owner from the artist £6,000-8,000

87

LONDON

86 Andy Warhol (1928-1987) Self-Portrait (f.&s.IIIC.30b) unique silkscreen, ca.1977, with the Andy Warhol Art Authentication Board rubber stamp verso, inscribed VF UP.50.40, printed by Rupert Jasen Smith, New York, on Curtis rag paper, the full sheet sheet 1143 x 890 mm (45 x 35 in) ÂŁ50,000-70,000

88

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This year Dreweatts charity collection is for Temwa - an organisation working to support the rural communities of northern Malawi, Africa. This area is one of the most disadvantaged and remote regions in the world. These isolated communities live with inadequate food supplies, high levels of HIV & AIDS, poor health & education infrastructure and the Malawian government has admitted that it is neglecting these people’s basic needs.

Temwa aims to fight poverty, hunger and disease. They currently run projects in number of key areas: agriculture, forestry, micro-finance, HIV & AIDS education and schools support. They aim to provide the resources to enable these people to lift themselves out of poverty and create lasting change for their own future.

Temwa has strong links with the urban art scene and been supported by a wealth of talented artists since its conception in Bristol in 2003, annual art events called ‘Art for Africa’ are held in aid of Temwa in Bristol and in London. Over the last 10 years Temwa has grown and developed alongside the urban art scene, artists have become established on a world wide scale, andTemwa’s projects have expanded and they are now helping thousands & thousands of people to dramatically change their lives.The kindness, generosity and dedication of these artists has enabledTemwa to go from strength to strength.

This year’s ‘Art for Africa’ collection is one of their strongest yet, boasting exceptional pieces from the following artists: TRXTR, Robert Sample, Dicy, The Toasters, Mr Jago, Andy Council, Mau Mau, 3rdeye, Man One, WERC, Vyal, Jim Starr, Wreckage, Ryca, K-Guy, Adam Koukoudakis, Schoony, Snug, Cole Sternberg.

Each piece has been uniquely created and donated to this event, meaning all the money goes directly to Temwa. Everyone at Temwa is extremely grateful to all of the generous artists and everyone at Dreweatts, in particular Mary McCarthy, for making this collection possible. The hard work and dedication that all involved have put in to support its success is greatly appreciated.

The launch party for the Dreweatts Contemporary and Urban Art Auction will be hosted on Monday the 10th of December. A raffle will be held at this event - all proceeds will go to supporting Temwa’s sustainable community development projects in Malawi. Raffle tickets cost £5.00 and will be available on the night or direct from Temwa’s website www.temwa.org.uk. Temwa would like to thank both Staropramen and Averys Wine Merchants for supporting the launch event.

Follow us on Twitter @temwauk www.temwa.org

89

LONDON

87 Schoony (British, b.1974) and Snug (British, b.1970), Coming Home, 2010 Fibre glass live cast resin with bullets, spray paint and mixed media, Signed and dated in purple ink lower right and signed, dated in purple ink verso, 1402 x 694 mm (55 1/4 x 27 1/4 in) Provenance: Donated by the artists for Temwa ÂŁ1,500-2,000

90

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LONDON

88 Mau Mau (British) Who Lols Last Lols Longest, 2012 Spray paint on canvas, Signed in black ink lower right, 700 x 498 mm (27 1/2 x 19 1/2 in) Provenance: Donated by the artist for Temwa ÂŁ600-800

91

LONDON

89 Jim Starr (British, b.1976) Strike By Lightening, 2012 Mixed media on wood, Signed, titled and dated in black ink verso, 48 x 32 in (1220 x 814mm) Provenance: Donated by the artist for Temwa ÂŁ800-1,200

92

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LONDON

90 Ryan Callanan (Ryca) (British, b.1981) Insane In the Membrane, 2012, silkscreen, enamels, glass and 23ct gold leaf on hand cast resin with timber frame, 2012, signed in black ink verso, numbered 12/12 on hand cast resin with timber frame, 560 x 760 x 50mm (22 x 29 3/4 x 19 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ800-1,200

93

LONDON

91 Adam Koukoudakis (British, b.1976) Butterfly, 2012 Acrylic ink on canvas, Signed, titled and dated in black ink verso, 500 x 500 mm (19 1/2 x 19 1/2 in) Provenance: Donated by the artist to Temwa ÂŁ400-600

94

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LONDON

92 92 Wreckage (British, b.1965) Study 1, 2012 Mixed media on board, Signed, dated, titled in black ink verso, 610 x 998 mm (24 x 39 1/4 in)

93 3rd Eye (British, b.1974) Puzzle, 2011 Acrylic and pens on canvas 407 x 407 mm (16 x 16 in)

Provenance: Donated by the artist for Temwa

ÂŁ400-600

Provenance: Donated by the artist for Temwa

ÂŁ400-600

93 95

LONDON

94 WERC (American) Naturalteza, 2012 Spray paint on canvas, Signed, dated and titled in black ink verso, 500 x 500 mm (19 3/4 x 19 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ400-600

94

95 Vyal (American) Sky Dive, 2012 Spray paint on canvas, Signed and dated in blue ink on lower over flap, 500 x 500 mm (19 3/4 x 19 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ400-600

95

96

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LONDON

96 Man One (American) Defender Of The Lost Artform, 2012 Spray paint and black marker on canvas, Signed, titled and dated in black ink verso and signed and dated black ink lower right, 500 x 500 mm (19 3/4 x 19 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ400-600

97

LONDON

97 TRXTR (British, b.1954) Orchid Killer, 2012 Mixed media and spray paint on canvas, Signed and dated in black ink verso, 559 x 458 mm (22 x 18 in) Provenance: Donated by the artist for Temwa Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth ÂŁ600-800

98

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LONDON

98 Robert Sample (British, b.1979) Birth Of An Idea, 2012 Oil and mixed media on board Signed in black ink verso 560 x 460 mm (22 x 18 1/2 in) Provenance: Donated by the artist for Temwa Accompanied by a certificate of authenticity from Red Propeller Gallery, Plymouth ÂŁ600-800

99

LONDON

99 Toasters (British) Toaster Brown Blast, Spray paint on canvas, Signed and dated in black ink verso, 500 x 500 mm (19 3/4 x 19 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ300-500

99

100 Dicy (British, b.1971) 1985, Spray paint and acrylic on canvas, Signed and dated in black ink verso, 400 x 400 mm (15 3/4 x 15 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ300-500

100

100

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LONDON

101 Cole Sternberg (American, b.1979) One day (two outcomes), 2011 Mixed media on linen, Signed in black ink verso, 406 x 533 mm (16 x 21 in) Provenance: Donated by the artist for Temwa ÂŁ1,200-1,800

101

LONDON

102 Andy Council (British) Londinium Drakos (The London Dragon), 2012 Charcoal, acrylic, paint marker and spray paint on canvas, Signed and dated in pencil verso, 457 x 608 mm (18 x 24 in) Provenance: Donated by the artist for Temwa ÂŁ600-800

102

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LONDON

103 Mr Jago (British) Abbey Paradise, 2011 Spray paint and acrylic on canvas, Signed and dated in black ink verso, 655 x 655 mm (23 3/4 x 23 3/4 in) Provenance: Donated by the artist for Temwa ÂŁ800-1,200

103

LONDON

104 K-Guy (British, b.1968) A New Dawn, A New Day, A New Life, Portrait of Nina Simone, 2012 Spray paint, silkscreen ink, wood dye on distressed wood panel, Signed and numbered 1/1 in black ink verso 817 x 580 mm (32 1/4 x 22 3/4 in) Provenance: Donated by the artist for Temwa Accompanied by a certificate of authenticity from the artist ÂŁ800-1,200

104

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INDEX B Baker, Charming Baldwin, Dan

1, 85 73

Banksy 4, 5 ,10, 11, 20, 21, 28, 29, 38, 39, 45, 66, 67, 83, 84 Bast

46, 50, 51

Black, Joe

6

Blek Le Rat

55

Bugs, Miss

37

Geigle, Klaus

61

Gentry, Nick

7

Goldie

Q Quaye, Jules

72 R Rasmussen, Nick

H Haring, Keith

49

Harrington, Conor

13

Hirst, Damien

23, 60

Retna

Schoony Seen

I 54, 90 52

Cope 2

69

Council, Andy

102

D*Face D'Amico, Tony (DNTT) Denning, Guy Dicy Donovan, Miranda

56,57

68

Invader

14

K

Koukoudakis, Adam

44,91

70 100 34, 35

LA II

16, 54

Mau Mau

40

Mclauchlan, Lucy 7

Eye, 3rd

93

Mr Jago

Faile

46

Fairey, Shepard

81 62, 63

Frost, Phil

80

Futura 2000

77

Neate, Adam

Geddes, Jeremy

2

30, 31

Snug

87

Speto

18

Starr, Jim Static

32, 89 36 101 26, 27, 78

Swoon 8

Titifreak

79

15, 88

Toasters

99

Toof, Sweet

42

1 76, 103

Trxtr

12,97

V 19, 64, 65

Vyal

95

W 96

P G

Small, Matt

22

O One, Man

48

T

N

F

3, 87

58, 59

Supine, Judith 49

M Marin, Manuel

98

Silvers, Robert

Sternberg, Cole L

Elbow-Toe

Francis, Ian

17, 104

25

E Eine

Indie 184

K-Guy

D

9

74

C

Cauty, James

24

S Sample, Robert

Holdsworth, James

Callanan, Ryan (RYCA)

75

Walker, Nick

43, 53

Warhol, Andy

86

Werk

94

Pettibone, Richard

47

Witz, Dan

82

Pixie, Kill

41

Wreckage

33, 92

105

Urban Art Raffle in Aid of Temwa First Prize: Will Barras limited edition dry point etching: ‘Storm’, Artist Proof 5, only 10 of these have been produced.

On 300 gsm Somerset papersigned and numbered by the artist.

Third Prize: Limited edition Paris design Second Prize: Rowdy print: ‘Neon Nightlife’, a digital screen print. 50cmx70cm.

Temwa t-shirt. Light blue t-shirt with black print on the front in a medium size, created especially

by Paris for Temwa.

Temwa was founded in 2003 and its mission is to help build a sustainable future for the people of Malawi.

Our aim is to provide an infrastructure to support Malawian families facing financial and humanitarian hardship in a number of key areas: health education, agriculture and forestry, schools support, micro-finance and skills development. Each area aims to build the capacity for change and through guidance and support, stimulate the necessary action for community-led sustainable development. We work in the North of the Nkhata Bay District and support 89 villages, a community of 39,000 people.

The raffle will be held at the Temwa Preview of the Urban Contemporary Auction on 10th December 2012 6pm-8pm at Dreweatts London, 24 Maddox Street, London W1S 1PP All proceeds will go to support Temwa’s Community Development projects in Malawi.

Tickets will be available at the launch event or directly from the Temwa website www.temwa.org.uk

Tickets cost: £5.00

106

GLOSSARY OF PRINTMAKING TERMS AQUATINT At etching process in which tone is created by treating a plate with fine particles of acidresistant material (like powdered resin) and then placing the plate in an acid bath. The acid bites into the plate between the grains of resin and, when printed, the mass of tine spots produces a textured area with tonal effects similar to watercolour wash.

ARTIST PROOF/ EPREUVE D'ARTISTE/ PROVA D’ARTISTA Impressions printed especially for the artist and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as “A.P.” “E.A.” or “P.A.” BLINDSTAMP The embossed, inked, or stamped symbol used by printers and print workshops, usually in the margin of the paper as a mark of identification.

Bon à Tirer/ Right to Print The proof approved by the artist which establishes the standard for all of the other prints in the edition.

BURR When using a drypoint needle or other engraving tool to draw directly into a metal plate, small, fine pieces of metal are raised up on both sides of the scored line. This burr holds additional ink during the printing process and gives the lines a valvety or fuzzy texture. Burr is very delicate and consequently is easily worn down during the pressures of the printing process. Early pulls or impressions taken from such plates are characterized by rich burr CANCELLATION PROOF When the edition is complete, the matrix – a block, plate, stone, mylar or other – is effaced, crossed out or otherwise “cancelled”. An impression is then taken from this matrix, showing that the plate has been “cancelled”. This ensures that no further un-cancelled impressions can be pulled.

CARBORUNDUM The trade name for silicon carbide, carborundum began its use in printmaking as an abrasive which was used in effacing lithographic stones. The particles, when mixed together with glue can also be used to draw on a plate – sometimes creating a raised surface – which is then inked and printed with the ink being held in the spaces between the particles. The resulting prints are often textured due to the raised areas of the printing surface.

CATALOGUE RAISONNÉ A scholarly catalogue which should include all the known works by an artist at the time of publication. Essential information by which works are identified is included.

CHINE APPLIQUÉ/ CHINE COLLÉ A method of adhering a thin paper, sometimes of a different colour or texture, onto a larger, heavier sheet during the printing process using glue or water to dampen and coat the papers.

COLOPHON/ JUSTIFICATION A note, usually at the end of a book or portfplio of prints, giving all or some of the following information; name of work, author, printer, place of printing, date, size of edition.

DECKLE EDGE The natural, untrimmed edge of handmade paper usually slightly uneven and sometimes slightly thinker than the rest of the sheet.

DRYPOINT An intaglio process in which a plate is marked or incised directly with a needle. The drypoint line can look very much like an etched line but is usually lighter and characterized by the existence of burr.

EDITION The total number of impressions pulled of a single image or set of images from the same matrix. To this number the artist usually authorizes the addition of a small number of artist's printer's, publisher's and other proofs.

107

EMBOSSING A process used to create a raised surface or raised element, but printed without ink.

ENGRAVING An intaglio process in which a plate is marked or incised directly with a burin or other metalmarking tool. No acid is used in this process since the design is dug out by hand. An engraved line can range from very deep and wide, to lighter and thinner and is often characterized by a pointed end signaling the exit of the “v” shaped burin from the metal.

ETCHING An intaglio process in which a plate is treated with an acid-resistant ground. The artist then draws through the ground. The artist then draws through the ground with carious tools to expose the metal. The plate is then immersed in an acid bath where the acid “bites” or chemically dissolves the exposed lines. The metal plate is therefore “carved” or “etched” by the acid rather than by a tool directly in the metal.

FOUL-BITING When the acid-resistant ground on a metal plate does not keep the acid entirely out, irregularities can appear. These “bitten” areas will, when the plate is printed, catch ink and appear as spots or oddly inked areas.

LINOCUT/ LINOLEUM CUT A relief process, like a woodcut, where the artist carves the design out of the linoleum or linoleum mounted onto wood. What remains is printed, rather than what is cut away.

LITHOGRAPHY A planographic printing process where a drawing is made directly on a stone or other smooth matrix with greasy materials such as lithographic crayon.

The surface is then dampened with water, which is repelled by the greasy areas. The surface is then rolled with greasy printing ink which adheres only to the greasy areas and is itself repelled by the areas which have water. The drawn image is then printed.

MASTER PRINTER A highly skilled printer who works very closely with the artist to produce the edition.

MATRIX The base from which the print is made. This can be anything – a standard metal plate or lithographic stone, a potato or vinyl record, a stencil – anything from which you print.

FRONTISPIECE Illustration in a book opposite the title page.

MEZZOTINT An intaglio method in which the entire surface of the plate is roughened by a spiked tool (“rocker”) so that, if inked, the entire plate would print in solid black. The artist then works from “black” to “white” by scraping (or burnishing) out areas to produce lighter tones.

HELIOGRAVURE A method of making a photo-etched or photogravure plate using an aquatint texture directly on the plate to create tone.

MONOTYPE A unique image printed from an unworked, smooth, metal or glass surface painted in ink by the artist.

HORS-COMMERCE/ “H.C.” Meaning “outside of the commercial edition”, these proofs, not originally intended for sale, are excluded from the numbering of an edition, but are otherwise exactly like the editioned prints in every other respect.

MONOPRINT A print which has as its base an etching, lithography or woodcut and which is then uniquely altered by monotype colouring, unique inking, or choices in paper colour.

INTAGLIO All matrices which have either been cut into or “bitten” into. The resulting “dug out” lines are printed. Intaglio processes include etching, aquatint, engraving, mezzotint and metal engravings, among others.

108

OFFSET PRINTING Method of printing in which the inked image from a lithographic stone, a metal plate or other matrix is first transferred to an intermediary such as a rubber cylinder or blanket and then to paper, thus creating an image in the same direction as the original.

PHOTO-ETCHING / PHOTOGRAVURE An intaglio process in which an image is produced on an etching plate by photographic means. (See also Heliogravure) PHOTO-LITHOGRAPH A process in which an image is produced on a lithographic plate by photographic means.

PLANOGRAPHIC PRINT Printing from a flat surface. Planographic processes include lithography and some forms of commercial printing.

PLATE MARK The imprint in the paper resulting from the edge of a metal plate being pushed into it during the pressure of the printing process.

PLATE TONE A veil of ink intentionally left on the surface of the plate during printing which creates delicate areas of tone or shading.

SOFT-GROUND ETCHING An etching technique where a soft ground is laid on the metal plate. The artist draws onto a piece of paper which is laid down on top of the ground. The ground adheres to the paper here the pencil or other tool has pressed down into it through the paper and pulls away when the paper is lifted. The resulting “marked” plate is placed in an acid-bath where the acid “bites” into the more exposed areas where the ground has been “lifted”. The line created is often soft and grainy.

STATE An impression taken from the plate at a particular moment or stage of development and distinguished from impressions taken at other times during that process. The final state is the state from which editions are generally pulled, although some artists pull several impressions in each state.

POCHOIR A printing process using stencils, originally used to simulate hand-colouring.

STEEL FACING When a metal intaglio plate is covered with a thin deposit of steel using electrolysis creating a much harder surface which can accommodate larger numbers of printings before wear becomes evident.

PRINTER'S PROOFS Impressions printed especially for the printer(s) and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as “P.P.”

TRIAL PROOF An early poof, often incorporating artist's revisions and changes and generally not identical to the numbered, editioned prints. Also referred to as Working Proof.

PROGRESSIVE PROOFS Series of proofs taken to show each individual colour plate and each combination of them culminating in the final, complete version.

TUSCHE Grease in stick or liquid form used principally for drawing in lithography.

PUBLISHER The person or entity who subsidizes and often initiates the making of a print edition or portfolio and who also disseminates the prints.

RELIEF PRINTING When the image is printed from the raised or uncarved portion of the matrix. Relief processes include woodcuts and linocuts, among others.

SCREENPRINT / SILKSCREEN A printing process using stencils to block out areas which are then printed through silk, nylon or metal mesh.

WATERMARK Design in the paper seen when held against the light. A manufacturer's mark, it is used to trace the origin and date of the paper.

WAXTYPE A process like screenprinting where pigmented beeswax is used rather than traditional printer's ink.

WOODCUT A relief technique where the image or design is left raised above what is carved out of the wood. What is not carved is printed.

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These Conditions of Sale and Business constitute the contract between Dreweatts (the “Auctioneer”) and the seller, on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Buyer agrees to pay a buyer's premium on the hammer price of each lot purchased. The buyer's premium is 24% (28.8% including VAT) of the hammer price on each lot up to and including £150,000, plus 12% (14.40% including VAT) for any amount in excess of £150,000. VAT at the prevailing rate of 20% is added to all of these premiums and additional charges as defined below.

5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium).

Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. Descriptions and Conditions. Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional.

We recommend that you always view a lot in person.

We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition.

In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods.These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help.

9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit

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identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. The following methods of payment are acceptable: Debit Card drawn on a UK bank and registered to a UK billing address. There is no additional charge for puchases made with these cards.

Bank transfer direct into our bank account, all transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges). Our bank details can be found on the front or your invoice or in the sale catalogue under ‘Important Notices’.

Sterling cash payments of up to £12,000 (subject to money laundering regulations).

All major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit cards.

Sterling personal cheques drawn on a UK bank account and made payable to ‘Dreweatts 1759’. It will be necessary to allow at least six working days for the cheque to clear before collecting your purchases.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

13. Droit de suite royalty charges. From 1st January 2012 all UK art market professionals (which includes but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 – the UK sterling equivalent will fluctuate in line with prevailing exchange rates.

It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated.

All items in this catalogue that are marked with δ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling equivalent of EURO 1,000.The royalty charge will be added to all relevant buyers’ invoices, and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with respect to these charges will be retained by the auctioneers.

The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk. There is no VAT payable on this royalty charge.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates:- please enquire at our salerooms.

3. Removal costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage of goods. (a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA to provide insurance to its clients, and does not do so. However Dreweatts for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls.

To justify accepting liablilty, Dreweatts makes a charge of 1.5% of the hammer price plus VAT, subject to a minimum charge of £1.50, or if unsold 1.5% of our lower estimate. The liability assumed by Dreweatts shall be limited to the lower pre-sale estimate or the hammer price if the lot is sold.

(b) If the owner of the goods consigned instructs us in writng not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 (a) is inapplicable.

5. Illustrations.The cost of any illustrations is borne by you. If we consider that the Lot should be illustrated your permission will be asked first.

The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve.

7. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred.

We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees all of these charges being subject to VAT on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. We will also, at our discretion, and as far as practicable, confirm that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Dreweatts 1759 Limited trading as Dreweatts carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. Definitions In these Conditions: (a) “auctioneer” means the firm of Dreweatts or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Dreweatts accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. Bidding procedures and the Buyer (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise.

The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. Increments Bidding increments shall be at the auctioneer’s sole discretion.

4. The purchase price together with a premium thereon of 28.8% which shall include VAT on the premium at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as set out under Information for Buyers.

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5. Value Added Tax Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6. Payment (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due or in such other way as is agreed by us.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(3) Buyers who utilise the services of ATG Live Auctions or any other live internet services are hereby informed that the payment method details that are provided to ATG Live Auctions or any other live internet services as part of the process of registration will, in the absence of compliance with paragraph (1) of this clause, be utilised by us to settle any amounts owing by such buyers to us.

7. Title and collection of purchases (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.

(3) No purchase can be claimed or removed until it has been paid for.

(4) Dreweatts is unable to arrange packaging or shipping of items.

Successful buyers must make these arrangements independently, though the saleroom may be able to suggest specialist shipping companies who can advise buyers, this advice is not a recommendation and the saleroom is not liable for any aspect of the packaging and shipping process. Please note that the cost of packaging and shipping depends on the size/weight of the item(s) purchased, insurance requirements, and the shipping destination, not on the value of the item(s) purchased. Please note that any items not collected within one week of the sale date may be automatically removed to commercial storage and subject to a storage charge.

8. Remedies for non-payment or failure to collect purchases (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (g) to retain that or any other Lot sold to you until you pay the total amount due; (h) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (i) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. Third party liability All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. Commission bids Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. Warranty of title and availability The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. Agency The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. Terms of sale The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14. Descriptions and condition (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. Forgeries Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

General 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail, email or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

20. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

INTERNATIONAL DEPARTMENTS BLOOMSBURY AUCTIONS LONDON Bloomsbury House 24 Maddox Street London, W1S 1PP Tel: +44 (0) 20 7495 9494 Fax: +44 (0) 20 7495 9499 info@bloomsburyauctions.com www.bloomsburyauctions.com

BOOKS & MANUSCRIPTS Rupert Powell Deputy Chairman, Travel, Natural History & Science Dido Arthur Art & Architecture, Private Press & Illustrated Justin Phillips Continental & Early Printing Simon Luterbacher Manuscripts & English Literature Clive Moss Children’s Books Max Hasler Modern First Editions Hannah Usher Books Emily Bradfield Books Michael Heseltine Consultant PICTURES AND MAPS Robert Hall Richard Carroll MODERN & CONTEMPORARY ART & PRINTS Alexander Hayter International Head of Contemporary Art Ross Thomas Shane Xu Mary McCarthy Director, Urban & Contemporary Art

DREWEATTS DONNINGTON PRIORY Newbury, Berkshire, RG14 2JE Tel: +44 (0) 1635 553 553 Fax: +44 (0) 1635 553 599 donnington@dnfa.com www.dnfa.com/donnington

ASIAN CERAMICS & WORKS OF ART Benedetta Mottino CLOCKS & SCIENTIFIC INSTRUMENTS Leighton Gillibrand Director COUNTRY SPORTING Geoffrey Stafford Charles Director DECORATIVE ARTS David Rees Director ENGLISH & CONTINENTAL CERAMICS Geoffrey Stafford Charles Director FURNITURE Will Richards Deputy Chairman Cristian Beadman Associate Director Ben Millerchip-Brown Associate Director Emma Terry Elaine Binning Consultant JEWELLERY, SILVER, WATCHES & OBJECTS OF VERTU James Nicholson International Head of Department David Rees Director, Silver & Objects of Vertu Ian Pickford Silver Consultant Nick Mann

DREWEATTS BRISTOL St. John’s Place, Apsley Road, Clifton, Bristol BS8 2ST Tel: +44 (0) 117 973 7201 Fax: +44 (0) 117 973 5671 bristol@dnfa.com www.dnfa.com/bristol

ADMINISTRATION Codrina Toderita Administrator Helen Cragg Administrator Domoni Mainstone Administrator Julia Owen Accounts Craig Millar IT Scott Harvey Art Director Elio Stolz Photographer Poppy Walker Marketing Manager Gary Shaw Facilities Manager Graham Argue Saleroom & Shipping Robert Cain Saleroom & Shipping Steve Cain Saleroom & Shipping Alec Shepherd Saleroom & Shipping

PICTURES Archie Parker International Head of Old Master & 19th Century Paintings James James-Crook Modern British & Irish Paintings & Sculpture WINE Bruce Cairnduff Consultant ADMINISTRATION Brenda Adams Associate Director, Client Accounts Ruth Rackham Senior Administrator & Valuations Coordinator Tori Billington Marketing Helen Newton Administrator Kathy James Administrator Fiona Foote Administrator Kate Colquhoun Administrator Ruth Miles Administrator Adam Martin Saleroom James Percy Saleroom Gyula Sirok Saleroom Matthew Martin Photographer Dave Pincott Photographer

STEAM MODEL ENGINEERING Michael Matthews Consultant

FURNITURE & ORIENTAL CARPETS Richard Madley Director Kate Hannah Tim Hazelgrove

TOYS, COLLECTABLES, RAILWAYANA & BOOKS Peter Rixon Associate Director

MEDALS & MILITARIA Malcolm Claridge

SILVER & JEWELLERY John Kelly

For further information, please contact: Dott. Luciana Scarpa Tel: +39 388 8813070 roma@bloomsburyauctions.com

POSTERS Richard Barclay Consultant

CLOCKS & SCIENTIFIC INSTRUMENTS Leighton Gillibrand Director

PICTURES Mary McCarthy Director, Urban & Contemporary Art

BLOOMSBURY AUCTIONS ROME / MILAN

PHOTOGRAPHS Sarah Wheeler John Cumming Consultant

Dreweatts & Bloomsbury Auctions is pleased to announce a new joint venture in Italy. Together with Philobiblon Auctions, a subsidiary of the highly respected antiquarian books and manuscripts dealership, we are able to offer a first class service throughout Italy from premises in both Rome and Milan.

We have Italian speaking specialists in all major departments and offer a regular calendar of both valuation events and sales in Rome and Milan.

ADMINISTRATION Samantha Taylor Administrator Sara Lucas Administrator Sarah Walker Administrator Ewelina Karbowiak Photographer Philip Maclean Photographer

Dreweatts Bloomsbury House, 24 Maddox Street, London W1S 1PP T +44 (0) 20 3291 2832 fineart@dnfa.com www.dnfa.com