The Michael Compton Collection Of Post-War and Contemporary Art - Friday 27th June, 7pm by Andrew Ewbank

MARCEL BROODTHAERS, ‘Poêle De Moules’.

THE MICHAEL COMPTON COLLECTION OF POST-WAR AND CONTEMPORARY ART FRIDAY 27TH JUNE, 7PM

Chris Ewbank, FRICS ASFAV Senior partner chris@ewbankauctions.co.uk

John Snape, BA ASFAV Partner john@ewbankauctions.co.uk

Andrew Delve, MA ASFAV Partner andy@ewbankauctions.co.uk

Andrew Ewbank, BA Partner andrewe@ewbankauctions.co.uk

Tim Duggan, ASFAV Partner tim@ewbankauctions.co.uk

Alastair McCrea, MA Partner alastair@ewbankauctions.co.uk

Cover Lot 19

Inside Front Cover Lot 18

Back Cover Reverse of Lot 1

THE MICHAEL COMPTON COLLECTION OF POST-WAR AND CONTEMPORARY ART A single owner collection of 28 lots to include works by Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.

SALE Friday 27th June 2014 at 7pm (BST)

VIEWING Saturday 21st June 10am-2pm

Wednesday 25th June 10am-5pm

Monday 23rd June 10am-5pm

Thursday 26th June 10am-5pm

Tuesday 24th June 10am-8pm

Friday 27th June 10am-7pm

For the fully illustrated catalogue visit www.ewbankauctions.co.uk The Burnt Common Auction Rooms London Road, Send, Surrey GU23 7LN

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Michael Graeme Compton C.B.E. 1927-2013 Michael Compton was fortunate enough to have a career which exactly suited his temperament. He switched from training to be a Naval Architect in Southampton and Glasgow to studying art history in London, a radical change which echoed the frequent upheavals of his earlier life. He was born in Minehead, Somerset to parents on leave from India, where he spent his early childhood. At seven he returned to England to go to prep-schools, but was educated in South Africa from 1941 and on finishing school in 1947, settled in England. He graduated in 1952 from the Courtauld Institute (University of London) where he studied the Renaissance, 17th century French Art and 19th and 20th century European Art, at the same time becoming part of the contemporary art world – drinking at the ‘French’ frequented by Francis Bacon and Lucien Freud and attending lectures and discussions with members of the Independent Group, including Richard Hamilton, Eduardo Paolozzi and Peter Blake at the newly formed Institute of Contemporary Art. Fortunately Compton’s first job was in a public museum because he found his metier at once! It was at Leeds Art Gallery (1953-57) where he catalogued the watercolour collection at Temple Newsam House. Gregory Fellowships were then in place at Leeds University and Compton overlapped with young artists, specially Kenneth Armitage, Hubert Dalwood and Terry Frost, who became and remained friends. In 1957 he moved to the Walker Art Gallery in Liverpool as Keeper of Foreign Art, where he re-catalogued the foreign paintings and again got to know local artists. In 1960 (aged 33) he was appointed Director of the Ferens Art Gallery in Hull which already had a good collection of earlier 20th century art. He set up an Education Department there and annually took his Committee of City Councillors to London to make acquisitions. By first showing them works he was not interested in acquiring and allowing them to have their say - waiting until they were becoming tired, he bought works including the first David Hockney to enter a museum. He was especially proud of acquiring an important early Frans Hals portrait by public subscription. At this time he became friends with Victor Newsome who came to teach at Hull College of Art. In 1965 he joined the Tate Gallery as Assistant Keeper of the newly formed Modern Collection and worked at Tate until his retirement in 1987. Colleagues have said how important was his experience of working in and running art museums, which none of them could match in 1968. He set up the Education Department and then exhibitions when the Arts Council transferred its own exhibition programme from the Tate to its new Southbank Hayward Gallery. Early in 1968 a Churchill Travelling Fellowship gave him three months in the U.S.A. to explore contemporary American art and his Roy Lichtenstein show at the Tate in 1968 broke new ground. In 1971 he curated the Andy Warhol and Robert Morris exhibitions, the former a great success and the latter a disaster, though it was re-staged at Tate Modern in 2009 to great acclaim! He did not ignore British artists and used his weekly ‘research day’ to visit London Dealers’ Galleries and annual Art Schools’ Degree Shows, so meeting new young artists. His 1970 book, Pop Art (commissioned by the Hamlyn Publishing Group) gave equal space to British and American artists, including Joe Tilson and Lichtenstein. Alas, his fresh and lively manuscript was heavily edited by the publishers to conform to their ‘Movements of Modern Art’ series.

Michael Compton C.B.E. 1927-2013 3

In the 1970s Compton planned an extension to the Tate Gallery (today Tate Britain) to provide extra space for exhibitions. Opened in 1979, it has moveable walls to form smaller or larger galleries appropriate to the exhibits and they admirably serve their purpose. As well as his work at the Tate Gallery, he was an active member of the British Council and Arts Council visual arts panels and became involved with exhibitions at the Hayward Gallery in London and British Council exhibitions overseas, for instance, Ian Stephenson at Baden-Baden (1973) and Richard Long at the 37th Venice Biennale (1976). From 1981 he was the British representative on the International Committee of Modern Art Museums (CIMAM) which gave him the opportunity to make friends with directors of many modern art museums and take British art to Japan and India. He also cocurated the International Pavilion at the 1982 Venice Biennale. By the time he retired he was the most ‘international’ curator in London, connecting his up-to-date knowledge of British art to first-hand experience of contemporary art in Europe and the United States. In recognition of this he was created C.B.E. Retirement did not stop him continuing to give lectures at the Royal College of Art and Goldsmiths’ College (now Goldsmiths University of London) amongst other places. Lecturing had always been part of his brief, and mostly it would be hard to match his integrity and originality of approach. Unusually he did not write down his lectures, relying only on his list of illustrations, so when not ‘on form’ his talks could lose their impact! Compton regretted not having become an expert on a single artist, unlike many of his colleagues, for this gave them a continuing role in the art world when they retired. However, he curated in 1980 an exhibition at Tate of the work of the Belgian artist, Marcel Broodthaers, and in 1989 the important Broodthaers exhibition for the Walker Art Center Minneapolis (for which he won a Weisman award). This was subsequently shown at the Museum of Contemporary Art Los Angeles and the Carnegie Museum Pittsburgh and enhanced Broodthaers’ reputation in the USA. Through these exhibitions he became more and more engrossed in helping the artist’s widow catalogue the huge collection of work she inherited from her husband. This entailed frequent visits to Brussels and Maria remembers him arriving on Friday evening, beginning work and hardly moving from the desk until he left on Sunday evening! As can be seen from this catalogue, he would sometimes come home with mementoes, her reward for his hard work. The other art works in this sale bear memories of the artists whom he came to know so well often writing their catalogue essays for them (e.g. JoeTilson and Howard Hodgkin). This account may give the impression that Michael Compton was a driven man who never had time for anything except work. This would be entirely wrong as he was as creative away from work as he was in post. At various times he enjoyed competitive dingy racing and later on wind-surfing. He loved DIY and mended innumerable things at home with his family; after retirement he enjoyed vegetable gardening and water-colouring. He always had time for family celebrations and often produced inventive games for occasions such as New Year’s Eve parties. A theme running through many of the letters of condolence after his death last year was appreciation of his sense of humour.

The Michael Compton Collection of Post-War and Contemporary Art, Friday 27th June starting at 7pm

1 ROY LICHTENSTEIN, AMERICAN (1923-1997). Weisman Art Award ‘Yellow Brushstroke’, 1991. Cast bronze sculpture with patina and enamel paint. Incised with signature ‘rf Lichtenstein’ on the side of the base. Stamp numbered 11 on the bottom of the base (from initial lifetime casting of 19). Stamped with dedication, date and foundry mark ‘F.R. WEISMAN ART AWARD, 1991, R.L. -89-2157. ROY LICHTENSTEIN & GEMINI G.E.L.’ on the base. Only the initial 19 produced in the original lifetime casting were distributed as awards between 1991-1995 by the Frederick R. Weisman Art Foundation. PROVENANCE: This award was presented to Michael Compton CBE by the Frederick R. Weisman Art Foundation at an awards event held at the Los Angeles County Museum of Art on May 23 1991. The award was given to Mr. Compton for his work as curator of the 1989 ‘Marcel Broodthaers’ exhibition at the Walker Art Center in Minneapolis (see lots 19 to 28 for works by the artist in this sale). Another sculpture award from the original lifetime casting was recently sold in New York at Phillips Evening & Day Editions auction on 28th April 2014 (lot 66). Frederick R.Weisman (1912-1994) was an entrepreneur, philanthropist, and art collector. Holding an uncompromising belief in the cultural value of art and an understanding of the importance of both the individual artist and the creative process. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. ROY LICHTENSTEIN (1923-1997) - BRUSHSTROKES ‘Brushstrokes series’ is the name for several paintings produced from 1965 by Roy Lichtenstein and also refers to sculptural representations made in the 1980s and 1990s - mainly monumental vertical sculptures to be displayed out of doors in which he playfully used the gestural expressions of the brushstroke itself. The ‘domestic’ size of ‘Yellow Brushstroke’ is rare among the artist’s oeuvre. For a similar example see the Lichtenstein painting ‘Yellow Brushstroke’ (1965), Kunsthaus Zürich (museum in Zürich, Switzerland). In 2001 “Brushstrokes: Four Decades” was held in New York City at the Mitchell-Innes and Nash Gallery. “It [the Brushstroke] was the way of portraying this romantic and bravura symbol in its opposite style, classicism. The Brushstroke plays a big part in the history of art. Brushstroke almost means painting or art. I did isolate Brushstrokes in 1965 and used cartoon brushstrokes to depict subject matters in the 1980s. I also did Brushstroke sculptures in bronze and wood to make them more palpable. ... the Brushstroke, it is just an idea to start with, and painting it makes it more concrete, but when you do it in bronze sculpture, it becomes real and has weight and is absurd, contradictory and funny” ROY LICHTENSTEIN. (Mercurio, Gianni (2010). Roy Lichtenstein: Meditations On Art. SKIRA. p. 211).

8.70 x 12.60 x 4.70in. (22 x 32 x 12cm)

£40,000-60,000

2 § VICTOR NEWSOME, BRITISH, b. 1935. ‘Night Reflection’, 1965, lacquered wood black box figurative relief. PROVENANCE: Acquired by Michael Compton from the artist. For a similar work see ‘Broken Cross’ 1964, held in the Tate collection in London (ref: T13880). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. VICTOR NEWSOME, b.1935: Victor Newsome was born in Leeds in 1935 and studied painting at the Leeds College of Art. In the early 1960’s Newsome taught at Leicester then Nottingham Schools of Art and from 1964-70 at Hull College of Art beginning when Compton was still Director of the Ferens Art Gallery (1960-1965). Newsome stayed with the Comptons on several occasions and the friendship continued when the Comptons moved to London, by which time they owned Night Reflection. Newsome later taught sculpture and painting at Goldsmiths, Brighton, Wimbledon and Chelsea. Newsome’s artistic vision appears at first to have altered drastically over the decades, however a recent retrospective at the Grosvenor Gallery, London in 2012 leads to the realisation that these changes in style are not perhaps as radical as first appears but are a more constant development. The bright abstract, organic then mechanical, reliefs of the 1960s were replaced by the detailed drawings and studies of the 1970s, then by the nudes and figures in interiors of the 1980s. Newsome continues to create and show his work. 12.60 x 12.60 x 5in. (32 x 32 x 13cm)

£2,000-3,000

Artists’ resale rights. Buyers of lots executed by qualifying artists are subject to ARR payments which will be added to the purchaser’s invoice. Where possible such lots are marked in the catalogue with §. For details see page 74 of this catalogue, or visit the DACS website: www.dacs.org.uk

3 BILLY AL BENGSTON, AMERICAN b. 1934. ‘J.W.S. 6’, 1967, decorated with central doublechevron motif, polyester resin on aluminium. Inscribed ‘J.W.S 6’ 1967’ and signed Billy Al Bengston verso. PROVENANCE: Acquired by Michael Compton from the artist on a visit to California in 1968. This trip was funded by a Churchill Travelling Fellowship, which Compton used to gain firsthand knowledge of contemporary art in the USA. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. BILLY AL BENGSTON: (born 1934 in Dodge City, Kansas) is an American artist and sculptor who presently lives and works in Venice, California. When Compton visited him in 1968 Bengston was deeply involved in motorcycling and had discovered spray painting techniques. He encouraged viewers to associate his art with motorcycle subculture, notably by straddling a bike on the cover of the catalogue for a 1961 show at the Ferus Gallery. Included in this work is the double-chevron motif which he used in several of his works at this time. Bengston’s work is found in many public and private collections, including the Centre Georges Pompidou (Paris), Museum of Contemporary Art (Los Angeles), Museum of Modern Art (New York), and the Solomon R. Guggenheim Museum (New York). His first solo exhibition was at the Ferus Gallery in 1958. 9½ x 9in. (23 x 23cm)

£2,000-4,000

4 § KEITH MILOW, BRITISH. b. 1945. PR4NT A from 15 23/35 54/46 66, 1969 screen print with diagonal line. PROVENANCE: gifted to Michael Compton by the artist. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. This work is one of a series of six prints and the full set is in the Tate’s collection, London (ref: P07093). The six prints are formed from three photographic images which are used in pairs: Prints 1 and 2; 3 and 4; and 5 and 6. “PR4NT A is a halftone negative version of the second image. The diagonal which divides the print is dusted bronze. The lower left hand half of the print is covered with various letratone grids applied to the half tone and stuck around its edge. Because the negative half tone is printed on a faintly darker field grey the image is positive.” - KEITH MILOW KEITH MILOW, b.1945: An abstract sculptor, painter and printmaker. Educated at Camberwell School of Art 1962-1967, and the Royal College of Art 1967-1968. In 1970 he received a Gregory Fellowship from Leeds University, which was followed in 1972 by a Harkness Fellowship to the USA. Awards included the Calouste Gulbenkian Foundation award (1976), and the Arts Council of Great Britain major award (1979). During the 1970s Milow’s work was shown by the young dealer Nigel Greenwood, along with artists such as Gilbert & George and was included in The New Art Exhibition, Hayward Gallery London 1972, organised by the Art’s Council of which Compton was a Panel member. From 1980 to 2002 Milow lived in New York; in 2002 he moved to Amsterdam where he still lives and works. 40½ x 40.30in. (102 x 102cm)

£200-300

5 § KEITH MILOW, BRITISH. b. 1945. Print of part of James Sterling’s History Faculty Building, Cambridge University, on layered transparent medium with diagonal cross, sand filled between layers. PROVENANCE: gifted to Michael Compton by the artist. The History Faculty Building, Cambridge University designed by James Sterling was completed in 1968 and awarded a Royal Institute of British Architects Gold Medal in 1970. It caused much discussion among those who admired the architect and those who had to use the library which proved user-unfriendly. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 29.90 x 30½in. (76 x 76cm)

£600-1,000

6 UNKNOWN, ‘Two Towers for Michael Compton’ 1982, limited edition print numbered 7/45 PROVENANCE: This work, hitherto unknown to the family, was found with other pictures in the Compton’s attic after Michael’s death. Its signature in pencil is indistinct. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 21.20 x 17.30in. (54 x 44cm)

£200-400

7 § IAN STEPHENSON, BRITISH (1934-2000). ‘Retrospect 6 spray study’, 1963 edition 4. Oil and paper on paper collage. Typed label verso ‘31 Retrospect 6 Spray Study 1963. Lent By Michael Compton’. Also with British Council Fine Arts Department label verso. PROVENANCE: Gifted to Michael Compton by the artist. This work was exhibited at 11 Englische Zeichner in Baden-Baden May-June 1973, an exhibition of 100 works on paper in various media by 11 artists. The exhibition was also shown in Antwerp as part of the Europalia 73 Festival. Prior to the exhibition in Europe the work was first shown at an informal British Arts Council preview at the Hayward Gallery, London in March 1973. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. IAN STEPHENSON (1934-2000): Ian Stephenson was an English abstract artist trained at King’s College, Durham along with Noel Forster and had his first solo show in London at the New Vision Centre in 1958. An exhibition of his work was shown at the Hayward Gallery, London in 1977 and his work can be found in the collections of the Tate, the British Council and Whitworth Art Gallery. His work was also featured in the 1966 film, Blow-Up by Michelangelo Antonioni. Compton was closely involved with the artist in the seventies and wrote the following statement which was displayed as the wall text accompanying a selection of Stephenson studies shown at the Arts Council Exhibition ‘Art as Thought Process’’, Hayward Gallery, London c.1975. “Stephenson’s paintings are characteristically made by spattering droplets of paint on to the surface of canvas or paper. A layer of one colour succeeds another until the painting is complete. Because the droplets are distinct and quite widely spaced they obliterate some but not all of the previous layers so that the final effect is determined not only by the colour and quantity of the spots of paint but by the order in which they were applied. Generally in the paintings (but not in the drawings) there are no sharply defined changes across the surface. The composition is therefore as much a matter of depth and sequence as of extension and separation, a characteristic which is mirrored in the fact that its effect changes greatly as you approach it or draw back. A painting, however, may be made up of several joined canvases of varying or alternating composition”. - Quoted in The Tate Gallery 1974-6:Illustrated Catalogue of Acquisitions, London, 1976. 25.20 x 22in. (64 x 56cm)

£400-600

8 § RICHARD LONG, BRITISH b.1945. ‘Wednesday - moving slowly’,1971. Pencil, map, printed typescript text, photographs on card. Signed work in three sections recording the artist’s journey along a single line in Dartmoor Forest in 1971, each day the times are recorded with the time taken increasing in duration from day to day. The central section a part of an Ordnance Survey Map of Dartmoor Forest (O.S. Map 175, 1 inch to 1 mile), marked with a straight horizontal line from a marked ‘start’ position. The left section signed by Richard Long in pencil, with typescript text: ‘For one hour I walked in a straight line, then marked the distance on the map. On each of the following days I walked along the same line and the times taken are given. Monday 1 hour

Tuesday 4 hours

Wednesday 8 hours

Thursday 16 hours

Friday

Saturday 32 hours

- THE SCULPTURE BECOMES SLOWER AND SLOWER, FROM DAY TO DAY, DAY TO NIGHT, DAY NIGHT DAY, MOTIONLESS March 1971 O. S. Map 175 1 inch to 1 mile.’ Right section shows a photo of the artist walking with the caption ‘wednesday - moving slowly’. PROVENANCE: Gifted to Michael Compton by the artist at an unknown date - possibly at the time of ‘The New Art’ - an arts council exhibition at the Hayward Gallery, August-September 1972 or when Compton curated Long’s solo exhibition at the 37th Venice Biennale 1976 (for the British Arts Council) and wrote ‘Some Notes on the work of Richard Long’, London, Lund Humphries. A similar work by the artist from 1971/72, ‘A Hundred Mile Walk’, is held in the Tate Archive (purchased 1973, ref: T01720). See also the following works owned by the Tate: ‘A Line Made By Walking’, 1967 (ref: P07149); and ‘Dartmoor Walks’ ,1972 (ref: P07082). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. RICHARD LONG (b.1945): Born in Bristol, England in 1945, Long studied at Saint Martin’s School of Art, London during 1966-68 and is a former Turner Prize winning artist who made his international reputation during the 1970s with sculptures made as the result of long walks. These walks would often last many days, to remote parts of the world. Guided by a respect for nature and the formal structure of basic lines and shapes, with some sculptures evoking connotations with ancient stone circles or monuments. Long used different modes of presentation, sometimes combined, to bring the artist’s experience of nature back to the museum or gallery. For some works he used maps, words and photographs to present places, routes, things seen, thoughts evoked and actions performed. Others were three dimensional, assembled from natural elements such as twigs, driftwood or stones. Long stressed that the meaning of his work lay in the visibility of his actions rather than the representation of a particular landscape. Compton was the curator when the artist represented Great Britain at the Venice Biennale in 1976. Long was the recipient of the Turner Prize awarded at the Tate Gallery in London in 1989. In 2009 Tate Britain organised their major exhibition, Richard Long Heaven and Earth. 6 x 24in. (15 x 61cm)

£4,000-8,000

9 SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square ‘Sol LeWitt London June 15 1971’. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from ‘Sol LeWitt: Lines through toward and to centre points’ , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie’s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entrylevel job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the ‘Sixteen Americans’ exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt’s three dimensional structural works from the mid to late 1960s such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. “I wasn’t really that interested in objects. I was interested in ideas.” - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm)

£1,500-2,500

10 American, white square, 1970’s oil on canvas PROVENANCE: Details unknown except that Compton paid for this picture as remuneration in lieu of rent when he stayed in the artist’s New York studio on his visit to the USA in 1968. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 91.5 x 90.5 cm (stretcher size) £200-300

11 § HENRY MOORE, BRITISH (1898-1986), reclining figure, print, inscribed ‘for Michael Compton from Henry Moore’. PROVENANCE: Gifted to Michael Compton after the 1977 Henry Moore Drawings exhibition at the Tate Gallery (Tate Britain). Alan Wilkinson of the Art Gallery Ontario was the curator, but Compton organised the exhibition and afterwards Wilkinson asked Moore to reward him and Moore produced this lithograph. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 12.60 x 15in. (32 x 38cm)

£600-1,000

12 § HENRY MOORE, BRITISH (1898-1986), mother and child, print, inscribed ‘ for Michael Compton from Henry Moore’. PROVENANCE: Gifted to Michael Compton after the 1977 Henry Moore Drawings exhibition at the Tate Gallery (Tate Britain). Alan Wilkinson of the Art Gallery Ontario was the curator, but Compton organised the exhibition and afterwards Wilkinson asked Moore to reward him and Moore produced this lithograph. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 14.20 x 13in. (36 x 33cm)

£600-1,000

13 § HENRY MOORE, BRITISH (1898-1986), Signed wine bottle, and another unsigned with Henry Moore label. PROVENANCE: Signed bottle was given to Compton during the dinner for Henry Moore at the Cafe Royale, Regent Street , London following the opening of the 1977 Tate Exhibition. The second bottle is from the opening of a Henry Moore exhibition in 1989 at the Fondation Pierre Gianadda in Martingny, Switzerland where a local vintage was named for the artist and served at the gallery. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.

£600-1,000

14 § JOE TILSON, R.A, BRITISH b. 1928, ‘The Shield of Achilles A’, 1988, oil on canvas on wood relief, Signed ‘Tilson 1988’ and inscribed ‘for Michael with many thanks Joe 1991’. PROVENANCE: Gifted to Compton by the artist as thanks for the catalogue Compton wrote for Joe Tilson: works 1961-1991,exhibition, Waddington Galleries London 1991. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. JOE TILSON, R.A, b.1928: English painter, sculptor and printmaker. Joe Tilson initially worked as a carpenter and cabinet maker from 1944 to 1946, before carrying out his national service in the RAF 1946-49. Tilson studied in London at St Martin’s School of Art, London (1949-52) and the Royal College of Art (1952-55). He worked at first in a fairly conventional realist style. In the late 1950s he began to produce reliefs in wood, making use of his carpentry skills with which he invented highly original Pop Art images using bold colours and schematised imagery. Although much of Tilson’s work retained a handmade look, by the mid 1960s he was marking creative use of technology, notably in his editioned screenprints and multiples. In 1972 Tilson moved from London to Wiltshire where he at once planted a wood and again favoured traditional craftsmanship and became interested in the symbolism of the four elements and in natural cycles. In the 1980s and 1990s he often used inscriptions and motifs drawn from classical mythology - latterly Greek which he mined for subject matter in his paintings, reliefs such as ‘The Shield of Achilles A’. 18.90 x 16.10in. (48 x 41cm)

£3,000-5,000

15 § JOE TILSON, R.A, BRITISH b. 1928, ‘Summer 1959 4’, oil on canvas. Inscribed ‘Joe Tilson / 1959 12”x10” ‘ to back of frame. “Summer 1959 4” to back of canvas. PROVENANCE: Gifted to Michael Compton by the artist. A similar work ‘Summer 1959’ is held at The Geffrye, Museum London (reference 69/1997). Compton was co-author of ‘Tilson’ written by Compton and Marco Livingstone, London and New York, 1992. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 10 x 12in. (25 x 30cm)

£2,000-3,000

16 § JOE TILSON, R.A, BRITISH b. 1928, ‘Six Small Prints’, 1965, screenprinted on the same leaf of paper. Each print titled and signed in pencil: ‘T-slot’ Artists proof 2/10 Joe Tilson 1965 ‘Dart’ Artists proof 2/10 Joe Tilson 1965 ‘Ziggurat 3’ Artists proof 2/10 Joe Tilson 1965 ‘Ziggurat 4’ Artists proof 2/10 Joe Tilson 1965 ‘Freeway 2’ Artists proof 2/10 Joe Tilson 1965 ‘Trio’ Artists proof 2/10 Joe Tilson 1965 PROVENANCE: Gifted to Michael Compton by the artist. When Tilson began making prints he was one of the first artists with Richard Hamilton, Eduardo Paolozzi and Richard Smith to use Chris Prater’s expertise in developing screen printing in his Kelpra Studio, where Six Small Prints was made, combining six separate subjects on the one sheet. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 27.60 x 40in. (70 x 102cm)

£500-800

17 § SIR TERRY FROST R.A., BRITISH (1915-2003), untitled abstract, 1957, watercolour on paper, black, brown and white. PROVENANCE: This work was given to Michael Compton (by the artist while he was teaching in Leeds) while Compton was Assistant to Director, City Art Gallery and Temple Newsam House, Leeds 1954-57. It was painted while he was teaching at Leeds College of Art, 1956-59 after Frost’s Gregory Fellowship ended. Similar details can be found on works in the Tate collection in London ‘Khaki and Lemon, 1956’ Oil on canvas (ref: T00268). Also ‘Composition, 1957’, Aquatint on paper (ref: P77162). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SIR TERRY FROST, R.A, 1915-2003: Born in 1915 in Warwickshire. An abstract painter known for his association with the St Ives School. Frost was captured during the 1941 invasion of Crete. While a prisoner of war he discovered his love for painting. Later in London Frost developed his signature style of circles and abstract shapes used to convey movement. Married in 1945 before moving to Newlyn in 1946, Frost worked as an assistant to Barbara Hepworth and played a crucial role in the St Ives School, a colony of mainly abstract artists, along with Ben Nicholson and Patrick Heron. He taught at Bath Academy of Art and in Leeds, before becoming Artist in Residence at the Department of Fine Art, Reading University in 1965, later the university’s Professor of Painting. Made a Royal Academician in 1992 and knighted in 1998 Frost exhibited in London many times. A major retrospective ‘Terry Frost: Six Decades’, was held at the Royal Academy in 2000. 16.10 x 11in. (41 x 28cm)

£2,000-4,000

18 § SIR TERRY FROST R.A., BRITISH (1915-2003), untitled, unfinished oil and collage on hardboard, 1954-56. PROVENANCE: This work was begun when Frost was a Gregory Fellow at Leeds University and given to his friends Susan and Michael (who was Assistant to the Director, City Art Gallery and Temple Newsam House, Leeds from 1954-57). Frost told them the motifs were inspired by a visit to Malham Tarn; he had already produced a smaller sketch (also painted on hardboard) which they owned so he presented them with this version saying, “I don’t know how to finish this so I’d like you to have it!” The work was probably painted in the studio provided by the University in Moor Road, Leeds as it belongs to the period when he was a Gregory Fellow and it bears a likeness to a group of works which Terry Frost related to his experience of the landscape of the Yorkshire Dales. Similar details can be found on ‘Untitled Composition’ 1954-56 (Tate ref: T05719). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 48 x 16in. (122 x 41cm)

£10,000-20,000

MARCEL BROODTHAERS (1924-1976) A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of ‘Mallarmé’s ‘Un Coup de Dés’ where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems ‘Pense-Bête’ in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: “I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. ‘But it is art’ he said ‘and I will willingly exhibit all of it.’ ‘Agreed’ I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects.” - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in ‘Grande casserole de moules’, 1966; and ‘Coupe avec coquilles d’oeufs’, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition ‘Marcel Broodthaers’ at Tate Gallery, London, the first retrospective after the artist’s death in 1976. In 1989 Compton curated ‘Marcel Broodthaers’ at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.

Michael Compton viewing a reconstuction of Broodthaers ‘The White Room’ (Salle Blanche)

19 § MARCEL BROODTHAERS, BELGIAN (1924-1976), c1965. ‘Poêle De Moules’. Mussel shells, dyed resin, and frying pan. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples were exhibited at the Tate Gallery Retrospective in 1980 which was curated by Michael Compton. These included ‘Poêle De Moules’, 1965; and ‘Moules sauce blanche’ 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, pp.130/131). Underside of Mussels with label stamped ‘Broodthaers Estate’ and numbered ‘40006’ in red ink. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 6.30 x 11 x 6in. (16 x 28 x 15cm)

£40,000-60,000

20 § MARCEL BROODTHAERS, BELGIAN (1924-1976). ’Tractatus logico-catalogicus’ (L’Art ou l’art de vendre/ Art or the Art of Selling). Signed offset print, 1972. Edition 61/100. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Broodthaers made ‘Tractatus Logico-Catalogicus’ in 1972 for a solo exhibition of the same name held at the Galerie MTL in Brussels. The work is based on the catalogue of a previous exhibition ‘L’Exposition à la galerie’ held at the same gallery in 1970. At this earlier exhibition Broodthaers displayed files filled with papers relating to his earlier time as a poet including poems and other writings spanning over ten years of artistic output. The catalogue for the exhibition listed each page and arranged them into sections, it also described how the work was to be arranged in the gallery. For the 1972 exhibition Broodthaers focused even more on the role of the exhibition catalogue. He reprinted his 1970 catalogue, changing the cover dates but otherwise leaving as it was. He also produced the editioned print called ‘Tractatus Logico-Catalogicus - Art or the Art of Selling’ which is created from negative images of the pages of this catalogue. Broodthaers used the original printing blocks in sheets ready to be folded and cut into book format, illustrated by the visible vertical bands to the margins bearing measurement markings that would ordinarily be cut off. In Broodthaers’s print the pages are not in order, with those on the upper register upside down. Broodthaers placed the first block in the middle so the central panel shows pages 1 and 2 upside down, and also pages 11 and 12 of the catalogue. The work’s title is influenced by the book ‘Tractatus Logico-Philosophicus’ by German philosopher Ludwig Wittgenstein (1889-1951). In this book Wittgenstein proposed that the world is made up of facts and thoughts expressed through a logical structured language. These concepts appealed to Broodthaers, who developed interest in the relationship between words and images. A print from this edition was sold at Sothebys Paris in May 2007. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 26.40 x 60in. (67 x 152cm)

£2,000-3,000

21 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Light box with Avion and Avis inscribed photographs/slides PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 7½ x 6 x 2.80in. (18 x 15 x 7cm)

£10,000-20,000

22 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Pair of green glass wine bottles with printed labels ‘Pluie’ and ‘ Mer du Nord’. English translation: ‘Rain’ and ‘Sea of The North’. With a negative image of the bottles labelled ‘Heini Schneebeli Photographer’. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. £4,000-6,000

23 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Three magic slate boards mounted on grey card. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 13½ x 27in. (33 x 69cm)

£5,000-10,000

24 § MARCEL BROODTHAERS, BELGIAN (1924-1976). ’Palette’, 1973-4, coloured pencils on prepared canvas board. Signed M.B. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples ‘Palette P’ 1974, and ‘Le Motif’ 1973 were exhibited at the Tate Gallery Retrospective in 1980 curated by Compton who was Head of Exhibitions there. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 14 x 10in. (36 x 25cm)

£15,000-25,000

25 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Handwritten note about Egg Sculptures written by Broodthaers in French, c.1966. English Translation: ‘I am returning to the matter, To the matter’s value I rediscover the tradition of the primitives I was born during the XV century Egg painting Egg painting sculpture Tiler Mr Nos? ?32424 Quote 5 and 6 hours Phone him’ PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. The ideas written on this note were reflected in the work ‘I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg’, 1966 in the Tate, London (ref: T03089). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 7.90 x 4.30in. (20 x 11cm)

£2,000-3,000

26 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Torpedo soap PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 9.40in. (24cm)

£2,000-3,000

27 § MARCEL BROODTHAERS, BELGIAN (1924-1976). Children’s stencilled play bricks a b c stencilled in black on a set on twelve childs play bricks in Dr. Pusscat on the Mouse B M Series box. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 2 x 7 x 5½in. (5 x 18 x 13cm)

£4,000-6,000

28 § MARCEL BROODTHAERS, BELGIAN (1924-1976). ’Un Chateaubriand bien saignant pour deux’ 1973. A rare chateaubriand for two. Stenciled (?) on un-primed/back of canvas. Unsigned, framed and glazed. PROVENANCE: Gifted to Michael Compton by the artist’s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist’s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar works are included in ‘Peintures’ (Pictures), a 1973 work comprising nine canvases currently in the Tate collection. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. 43½ x 36in. (109 x 91cm)

£30,000-50,000

Reverse of canvas

20th Century Art & Design Auction Wednesday 22nd October 10.30am

Now accepting consignments

Ferdinand Preiss, pair of carved ivory figures (detail). Sold for ÂŁ4,500.

Summer Fine Jewellery & Silver: Summer Fine Art and Antiques:

25th June 10.30am 26th June 10.30am

Including a collection of Modern British Paintings

Accepting consignments

Darren Baker (b.1976) 'The Royal Horse' Dubai Millennium (detail) Est: ÂŁ4,000-ÂŁ6,000

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CONDITIONS OF SALE Ewbank’s 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 Ewbank’s 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 Ewbank’s 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 The buyer shall pay the hammer price together with a premium thereon of 25.2% inclusive of VAT [or incremental] at the rate imposed by law. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a ‘†’ or double asterisk. V a l u e 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 in cash or in such other way as is agreed by us. (c) 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. 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 Loss and Damage Warranty charges. (3) No purchase can be claimed or removed until it has been paid for.

CONDITIONS OF SALE 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; (f) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) 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. (i) 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 (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. 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.

CONDITIONS OF SALE 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:

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

(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

OUR WEBSITE: www.ewbankauctions.co.uk We have just updated our web-site. Those who know us will already know that they can find current and archive catalogues on line and that all sale catalogues, auction dates, sale results and terms of business together with useful information on buying and selling can be found there. Multiple images and condition reports are also posted on line for our quarterly antique and fine art auctions, all lots in these sales being illustrated. This information is freely available to anyone logging in but there are additional benefits of registering with us on line.

WHY NOT REGISTER ON LINE TO MAKE THE BEST USE OF OUR SERVICES If you have not already registered on our site you can do so now by completing the on line registration form. Registration is simple and gives you the opportunity to take advantage of a number of features of this site which is only open to those with a valid log-in; NEWSLETTERS: If you register on line you can opt to receive periodic newsletters from us (about 12 per year) FORTHCOMING SALE NOTIFICATIONS; If you want to receive automatic advance notification of all catalogues when they are posted on line select the box 'Please sign me up for forthcoming sale email alerts' when registering. LEAVE COMMISSION BIDS ON LINE; You can leave commission bids for us to execute on your behalf, which are automatically registered on the auctioneers book. This means that you will not need to communicate them by phone fax or email and gives an efficient straightforward access direct to the auctioneers book. Service open for all sales on line up to half an hour before the auction begins. REQUEST CONDITION REPORTS REGISTER YOUR PARTICULAR INTERESTS RECEIVE LOT ALERTS FOR FORTHCOMING SALES; Based on a word search you can request alerts on lots matching your words in forthcoming sales as they are published on the internet. PARTICIPATE IN LIVE AUCTIONS VIA THE WEBSITE (ANTIQUE AND FINE ART SALES ONLY); (Note there will be an additional buyers premium charge of 3% plus VAT on the hammer price of purchases for this service). TRACK LOTS IN WHICH YOU ARE INTERESTED AS A BUYER OR SELLER 72

BURNT COMMON ROUNDABOUT

Heading North on the A3 take the Ripley turning to the Burnt Common roundabout and follow the Woodhill signs.

Ewbank Auctioneers is situated between the A3 and B2215 South of Burnt Common Roundabout. Please note: if using Sat Nav to navigate to us then to do not use our postcode as this will direct you to the A3. Please use postcode GU23 7JY, this will take you to the burnt common roundabout then follow directions as above.

One Way

Heading South turn off the A3 11/2 miles after the M25 junction and proceed through Ripley to the Burnt Common roundabout as above. If you miss the Ripley turning go South, proceed to the Merrow & Burpham slip road and join the A3 Northbound.

A257

HOW TO FIND US

EWBANK AUCTIONEERS In 1994 we acquired the Burnt Common Auction Rooms, which are situated just off the A3, under ten minutes away from junction 10 on the M25. It is a very prominent site in an out of town location giving easy access and acres of parking. Woking main line station is 4 miles with trains to Waterloo (25 minutes). Throughout our time in Guildford, we have had the privilege of advising thousands clients on the valuation and sale of Antiques and Fine Art and have conducted well in excess of a hundred Antiques and Fine Arts auctions and over three hundred General Sales. When we started in 1990 we held six auctions a year and we are now expecting to hold up to 24 in the next twelve months If they are to succeed, businesses like ours must give clients and buyers an efficient and friendly service and, over the years, we have always tried to maintain the highest standards, adhering to the principles of probity and ethics of the Royal Institution of Chartered Surveyors and the Society of Fine Art Auctioneers and Valuers, of which we are Members. Most of our new clients come to us on recommendation, from professional advisers or existing clients. As the costs of selling by Auction in Central London have rocketed we have benefited from the general trend in recent years for more important items to be sold outside the capital. Catalogues are produced and circulated to prospective purchasers by post and E-mail and full details, including digital illustrations of almost all lots in our quarterly Antique and Fine Art auctions, are included on the internet. Buyers are attracted from all over the world. We have an agreement with artfact.com, who list our antique sales on Ebay, take commission bids from prospective buyers and facilitate active participation in the auction from a PC anywhere in the world at the time that the sale is actually in progress. This gives a far greater global marketing ability. We are trail-blazing in this field as there are only a handful of other Antique and Fine Art salerooms in the UK who also list on eBay. We see this as being the way forward for the future and it will maximise our ability to achieve the best possible prices for our clients. In our first internet linked auction in 2005 there were nearly 20000 visits to our online catalogue generating over 500 specific enquiries and the figures have risen markedly since then. Ewbank Auctioneers has grown from humble beginnings holding six sales a year, to the position that we hold today, with our own salerooms and some twenty sales a year. Turnover since 1990 has increased by over 800%. Building refurbishment works have just been completed, which include, a new mezzanine floor doubling our existing floor space, a new entrance, offices, a new heating system and external face-lift. Chris Ewbank has taken a very active part in the leadership of the profession within the UK. He has been a member of the Fine Arts Advisory Panel of the Royal Institution of Chartered Surveyors and Chairman of its Art and Antiques Professional Group. He is also an elected Member of its International Governing Council ( the highest decision making body in the Institution). He joined the Committee of the Society of Fine Art Auctioneers & Valuers in 1994, (he first became a member in 1982), and was Chairman from 2000 - 2007. He has also in recent years been on the Executive Committee of the British Art Market Federation and was one of the first to join the new City of London Guild of Arts Scholars, Dealers and Collectors. Chris Ewbank FRICS ASFAV

ARTISTS’ RESALE RIGHTS Buyers of lots executed by qualifying artists are subject to ARR payments which will be added to the purchaser’s invoice. Where possible such lots are marked in the catalogue with §. Royalties are calculated on the sale price minus VAT for galleries and the hammer price, (sale price minus VAT and Buyers Premium) for auction houses. The maximum an artist or their beneficiary can receive is capped at €12,500 for one sale of one work, which is reached by works sold for €2 million or more. Please note: this scale is cumulative, which means that where the sale price is higher than the first threshold, the royalty on each portion of the price must be calculated accordingly and added together to arrive at the final sum. For example, take an artwork that sells for €210,000. The first €50,000 would achieve 4% (€2,000), the next 150,000 would achieve 3% (€4,500), and the final €10,000 would achieve 1% (€100). The total royalties due would be €6,600. All invoices are issued in Sterling, the exchange rate on the morning of the sale will be used for conversion purposes.

PORTION OF THE SALE PRICE

ROYALTIES

From 0 to €50,000

From €50,000.01 to €200,000

From €200,000.01 to €350,000

From €350,000.01 to €500,000

0.5%

Exceeding €500,000

0.25%

For more information visit the DACS website: www.dacs.org.uk

Galien-Laloue (1854-1941), Mesnil Les Hurlus'.

Militaria Auction Wednesday 30th July 10:30 To commemorate the Centenary of the First World War with a donation of commission going to Help for Heroes

Asian and Eastern Art Auction Wednesday 19th November 10:30am

Contact: antiques@ewbankauctions.co.uk

01483 223 101

ewbankauctions.co.uk

Ewbank’s Auction Sale Dates 2014 VIEWING TIMES Monday before sale: 10am - 5pm Tuesday before sale: 10am - 8pm Saturday before sale (Silver, Jewellery and Quarterly Fine Auctions only): 10am - 2pm Mornings of sale: limited viewing before sales start at 10.30am

July 9th 16th/17th 30th

Entertainment and Memorabilia Auction (entries close 16th June) Antique and Collector’s Auction Militaria Auction, to commemorate the 100th Anniversary of the First World War (entries close 11th July)

August 13th/14th

Antique and Collector’s Auction

September 10th/11th 24th 25th

Antique and Collector’s Auction Specialist Fine Jewellery and Silver Quarterly Fine Auction, to include 18th/19th Century Pictures (entries close 5th September)

October 8th/9th 22nd 29th

Antique and Collector’s Auction 20th Century Design and Contemporary Art Auction (entries close 26th September) Entertainment and Memorabilia Auction (entries close 3rd October)

November 5th/6th 19th 26th 27th

Antique and Collector’s Auction Asian and Eastern Art Auction (entries close 31st October) Specialist Fine Jewellery and Silver Quarterly Fine Auction, to include Fine Wine, Clocks and Watches (entries close 7th November)

December 10th / 11th Antique and Collector’s Auction

Now accepting consignments of Contemporary Art, Militaria, 20th Century Art and Design, Asian Art, Entertainment & Memorabilia, Fine Jewellery & Silver, Antiques, Fine Art and Collectables.

ROY LICHTENSTEIN, Weisman Award ‘Yellow Brushstroke’, 1991, cast bronze.