Modern Made
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Wednesday 27 March 2019 Mall Galleries London
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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Modern Made
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
2 Lyon & Turnbull
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
Wednesday, 27th March, 2019 at 1pm Sale Number LT553
Including Work sold on behalf of the House of St. Barnabas
Location Mall Galleries The Mall London SW1Y
Exhibition & Viewing Monday, 25th March 10am - 5pm Tuesday, 26th March 10am - 5pm Wednesday, 27th March 10am - 1pm
Enquiries Tel. 0845 882 2798 Fax. 0131 557 8668 Email. info@lyonandturnbull.com www.lyonandturnbull.com
Front Cover Lot 95 (detail)
Inside Front Cover Lot 90
Left Lot 88
Inside Back Cover Lot 137 (detail)
Catalogue: ÂŁ15
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Buyer’s Premium & Other Charges
Registration
Catalogue descriptions
The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 25% up to £100,000/20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
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All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
Additional VAT † VAT at the standard rate payable on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction. Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk
1–G overnment issued photo ID (Passport/ Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.
Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http:// www. defra.gov.uk/ahvla-en/ imports-exports/ cites 19.1
Modern Made
Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.
Philip Smith Head of Sale
Charlotte Riordan Specialist
Juliette Behr Sale Administrator
philip.smith@lyonandturnbull.com
charlotte.riordan@lyonandturnbull.com
juliette.behr@lyonandturnbull.com
Important information about Collections All collections of Modern Made artworks can be made from Mall Galleries, The Mall, St. James’s, London SW1Y 5AH until Friday 29th March 2019 at 3pm.
Thereafter all bought items will be moved free of charge until Friday 5th April 2019 at 5pm to: Queen’s Fine Art and Storage Queen’s Limited Unit C6, Brunel Gate Aylesbury HP19 8AR 01296 393 120
All items not collected by 5pm on Friday 5th April 2019 will incur the following charges, payable to Lyon & Turnbull Ltd. directly: Administration fee per lot: £20 + VAT Storage charges per lot per day, including insurance and VAT: Large Items £5 Small Items £2.50
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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“There are universal shapes to which everybody is subconsciously conditioned and to which they can respond if their conscious control does not shut them off.” Henry Moore (1898-1986)
isplaying work of different generations and mediums allows for reciprocal links. At the heart of this idea is the connections between different artists in different mediums in the Post-War years. Particularly in the mid-20th Century art education encouraged hands-on learning across differing disciplines, influenced by educational principles forged at the Bauhaus in the early decades of the century that reached Britain and America by the 1930s. In Britain, whether at the Royal College of Art, Central School or Camberwell School of Arts for example, it was often the case that students attended lectures together, socialised and exchanged work, only towards the end of the day separating into their individual entities. After the Second World War artists were seen to be at the forefront of a modernising force pushing to a newly remodelled and peaceful future. Numerous major public programmes, such as The Festival of Britain or the re-building of Coventry Cathedral encouraged a cross-pollination of mediums, rejecting traditional hierarchies that placed painting and sculpture atop all else. In 1958 Wendy Ramshaw remembered visiting a major show of Jacob Epstein at the Edinburgh International Festival; the painterly ceramics of Gordon Baldwin show a clear influence of the painter Victor Pasmore who taught at the Central School when he was a student; and the Principle of the Central School of Art, William Johnstone, encouraged artists such as Alan Davie to work alongside jewellery students.
Even today each discipline is examined and exhibited in isolation all too often, when in reality their histories often overlapped. Therefore this exhibition and auction hopes to contrast diverse works from the 20th and 21st Centuries. While in no way comprehensive, our aim is to try to demonstrate the diversity and quality of artistic work both within its normal tenets of abstract and figuration in the mediums of oil, metal, wood or stone, but also outside the typically conceived sphere of what is considered ‘high art, including ceramics, jewellery and glass. The nature of the work shown examines, challenges and expounds on the qualities of the chosen material and is concerned with its shape, colour and surface, showing how artists within these mediums helped shape art that was truly significant. We hope that you find Modern Made of interest, inspirational and thought provoking. Philip Smith, March 2019
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1 [§] BRIDGET RILEY C.H., C.B.E. (BRITISH, B.1931) SERPENTINE PRINT, 1999 (SCHUBERT 39) 179/200, signed, titled, dated and numbered in pencil (in the margin), screenprint on wove paper 25.5cm x 25.5cm (10in x 10in)
£3,000-5,000
2 [§] EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. MOONSTRIPS EMPIRE NEWS (VOLUME 1), 1967 eight signed and numbered 58/500, 100 sheets of images and text, screenprinted by Kelpra Studios, London, contained in a formed acrylic box 38cm x 25.4cm (15in x 10in)
£1,200-1,800
3 [§] BRIDGET RILEY C.H., C.B.E. (BRITISH, B.1931) SHADE, 1992 (SCHUBERT 37) artist’s proof 1/20, signed, titled, numbered and dated in pencil (in the margin), screenprint on wove paper, published by Advanced Graphics, London 48.5cm x 34cm (19in x 13.5in)
£2,000-4,000
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4 [§] BETTY BLANDINO (BRITISH, 1927-2011) VESSEL impressed maker’s mark, coiled asymmetric form, textured pink glaze 26cm high (10.25in high)
£250-350
5 [§] JOHN WARD (BRITISH, B.1938) VESSEL impressed artist’s seal, with green bands to the upper half and asymmetrical rim 34cm high, 30cm across (13.5in high, 11.75in across)
£2,000-3,000
6 [§] EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. FOR VICTOR HUGO, 1975 signed and dated, bronze relief with dark brown patina, mounted on wood the bronze 38cm long, 11.4cm high, 14.7cm deep (15in long, 4.5in high, 5.75in deep) Provenance: The Paolozzi Foundation, Estate/Studio of the Artist.
£4,000-6,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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7 [§] FRED YATES (BRITISH, 1922-2008) WILL THERE BY ANYTHING MORE SIR?, 1980 signed, oil on board 24cm x 29cm (9.5in x 11.5in)
£600-1,000
8 [§] FRED YATES (BRITISH, 1922-2008) EDEN oil on board 49.5cm x 39cm (19.5in x 15.5in)
£1,000-2,000
9 [§] SCOTTIE WILSON (1889-1972) FOR EDINBURGH WEAVERS PAIR OF CURTAINS, CIRCA 1954 depicting multi-coloured birds and flowers and patterned borders signed ‘SCOTTIE’ within the fabric, printed cotton satin each curtain 186cm x 117cm (73in x 46in) Note: A sample of this fabric can be found in the collections of the V&A Museum, London.
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
10 [§] AUGUSTUS JOHN O.M., R.A. (BRITISH, 1878-1961) STUDY OF A STANDING FEMALE NUDE pencil 41cm x 22cm (16in x 8.5in) Provenance: From the private collection of Dame Elizabeth Taylor 1932-2011 Note: In a statement written in Aug 2010, Dame Elizabeth wrote: ”In the late 1930’s my father, Francis Taylor, based his business as an art dealer in London. During that time he acquired a great many works by Augustus John, ( including these drawings that the artist had torn up in a fit of anger, and which my father subsequently persuaded him to allow to be pieced back together, a task my father undertook himself. These drawings have been in my family’s possession for over seventy years” - Elizabeth Taylor August 23, 2010
£1,200-1,800
11 [§] AUGUSTUS JOHN O.M., R.A. (BRITISH, 1878-1961) STUDY OF A STANDING FEMALE NUDE, POSSIBLY CAITLIN MCNAMARA pencil and watercolour 40cm x 25cm (15.75in x 10in) Provenance: From the private collection of Dame Elizabeth Taylor 1932-2011
£2,000-3,000
Caitlin McNamara (pictured right circa 1930-31) was first introduced by Augustus John to Dylan Thomas in 1936. She went on to marry Thomas in 1937.
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12 [§] JOHN ANTHONY PARK (BRITISH, 1880-1962) MARTIQUE signed (lower left), oil on board 29cm x 39.5cm (11.5in x 39.5in) Exhibited: The Royal Insitute of Oil Painters, London, 1925.
£1,000-2,000
13 [§] MARTIN GRIERSON (BRITISH, B.1932) DINING SUITE, 1985 signed and dated, comprising table and six chairs the table 110.5cm across, 150cm long, 72cm high (43.5in across, 59in long, 28.3cm high) Provenance: By repute purchased by the current vendors from Christies in 1991.
£1,500-2,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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14 [§] ROBERT J WASHINGTON (BRITISH, 1913-1997) VASE, 1981 impressed artist’s and date mark, stoneware painted and glazed with nude figures 46.5cm high (18.25in high) Note: Robert Washington was a significant figure in the British studio ceramics movements, a key follower of William Staite Murray and his school of thought. They believed in distancing their work from craft associations arguing that pots should be seen as fine art. Washington taught at the Derby College of Art at either side of World War II, before becoming principal of Dewsbury and then Margate Schools of Art. His work showed the clear influence of Murray, but with his own interpretation of the figure.
£500-700
15 [§] PERCY BROWN (BRITISH, 1911-1996) FOOTED BOWL painted green decoration 16.5cm high (6.5in high) Note: Percy Brown was another of the students of William Staite Murray, and in the post-war years had some noted exhibitions including a solo show at Henry Rothschild’s Primavera Gallery in 1954.
£150-250
16 [§] HENRY HAMMOND (BRITISH, 1914-1989) BOWL impressed artist’s mark, painted decoration in brown on grey glaze 22cm diameter, 10.8cm high (8.67in diameter, 4.25in high)
£150-250
17 CHRISTOPHER WOOD (BRITISH, 1901-1930) COTTAGE, CORNWALL pencil on paper 23.5cm x 30cm (9.25in x 11.75in) Provenance: Hamet Gallery, London, 1973; Christies, London, 13 December 1999, lot 39; Private Collection.
£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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18 CHRISTOPHER WOOD (BRITISH, 1901-1930) MAN WITH CARDS, 1925 oil on canvas 70cm x 57cm (27.5in x 22.5in) Literature: No. 125, ‘Christopher Wood, 1901-1930’, Eric Newton, published 1938; This work is to be included in Robert Upstone’s forthcoming catalogue raisonné of the artist Exhibited: The Yorkshire Artist’s Exhibition, 1955 ‘Man With Cards’ dates from c.1925, a year considered pivotal to his transition into a “serious” artist. It is likely to have been painted while in France, possibly Paris. The sitter seems lost in a reverie, playing with (Wood’s own) pack of cards. This is one of the earliest known appearances of playing cards in his work. This became important part of his visual lexicon; evocative of Fate and life’s unpredictability. His cards are now housed in Tate’s collection.
Provenance: This work moved, with the rest of the artist’s estate, to the Redfern Gallery, London, when they were amassing his works for their exhibition ‘Christopher Wood: Exhibition of Complete Works’ in 1938. The exhibition comprised 350 oils, though a further 100, including this work, were not featured; Sold by the Redfern Gallery in 1956; thence by descent to the present owner. We are grateful to Robert Upstone for his kind assistance with the cataloguing of the present work.
£20,000-30,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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19 [§] BERNARD LEACH C.H., C.B.E. (BRITISH, 1887-1979) JAR AND COVER impressed maker’s mark and Leach Pottery seal, incised decoration to the outside, oatmeal glaze 13cm high (5.12in high)
£300-500
20 [§] BERNARD LEACH C.H., C.B.E. (BRITISH, 1887-1979) AT LEACH POTTERY VASE impressed artist’s and pottery seals, combed willow tree pattern and tenmoku glaze 30.5cm high (11.5in high) Provenance: Bonhams, London, Contemporary Ceramics, 22 June 1995, Lot 32; Private Collection.
£800-1,200
21 [§] BERNARD LEACH C.H., C.B.E. (BRITISH, 1887-1979) FOOTED BOWL impressed maker’s mark and Leach Pottery seal, fluted, with flower head motif to centre of the bowl and celadon glaze 9.3cm high, 22cm diameter (3.7in high, 8.7in diameter)
£500-700
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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22 [§] WILLIAM SCOTT C.B.E., R.A. (BRITISH, 1913-1989) TWO PEARS, 1975 signed and dated (upper right), pastel 30cm x 39.5cm (11.75in x 15.5in) Provenance: From the private collection of an Edinburgh lawyer, collected during a period of time where he lived in Toronto, Canada in the 1970s. Exhibited: ‘Galerie Moos, Toronto’ label (to reverse), where purchased by the present owner
£6,000-8,000
23 [§] WILLIAM SCOTT C.B.E., R.A. (BRITISH, 1913-1989) PORTRAIT OF A GIRL, 1948 60/60, signed and numbered in pencil (lower right), lithograph 43.5cm x 30.5cm (17.25in x 12in), unframed Note: This lithograph depicts the artist’s wife Mary. It was commissioned by the V&A Museum to commemorate the 150th Anniversary of lithography.
£800-1,200
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24 [§] GEORGES D’ESPAGNAT (FRENCH, 1870-1950) PORTRAIT OF MADAME X, 1924 initialled (upper left), oil on canvas 54cm x 44.5cm (21.25in x 17.5in) Exhibited: Charles Durand-Ruel, Paris, Exposition G. d’Espagnat, March-April 1962, no.54.
£2,000-3,000
25 [§] SIR JACOB EPSTEIN K.B.E. (BRITISH, 1880-1959) BUST OF A GENTLEMAN initialled and dated ‘09’, bronze on marble base the bronze 28cm high (11in high)
£600-900
26 [§] RUSKIN SPEAR C.B.E., R.A. (BRITISH 1911-1990) MALE LIFE MODEL IN THE STUDIO, ROYAL COLLEGE OF ART oil on board 50cm x 41.5cm (19.75in x 16.25in) Provenance: From the artist’s studio. There is a handwritten note from the family confirming this, dated ‘Dec. 1999’ and pasted to the back of the board.
£800-1,200
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27 [§] ALAN CAIGER-SMITH M.B.E. (BRITISH, B.1930) VASE, 1986 painted artist’s monogram and date cypher, ruby and gold lustre brushwork decoration 37cm high (14.5in high)
£600-800
28 [§] EDOUARD PIGNON (FRENCH, 1905-1993) COCK FIGHT, 1973 signed and dated (lower right), watercolour and gouache 56cm x 77cm (22in x 30.25in)
£800-1,200
29 [§] ANNA SILVERTON (BRITISH, CONTEMPORARY) VASE signed, painted white stripe decoration to the neck 25cm high (9.75in high) Provenance: Beaux Arts, Bath, November 1995.
£150-250
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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30 MAISON JANSEN MIRROR stamped ‘JANSEN’, of octagonal form, lacquer, faux tortoiseshell and ivorine 91cm x 81cm (35.8in x 31.9in)
£1,500-2,000
31 MANNER OF MAISON JANSEN FLOOR LAMP, CIRCA 1950S gilt metal, with bespoke parchment shade 173cm high (68in high)
£500-700
32 [§] MICHAEL CARDEW C.B.E. (BRITISH, 1901-1983) AT VOLTA VASE impressed artist’s and pottery seals, Vumé lily design 30cm high (11.8in high)
£1,000-1,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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33 [§] MATTHEW SMITH C.B.E. (BRITISH, 1879-1959) STILL LIFE WITH FRUIT signed (lower right), pastel and charcoal 37cm x 48.5cm (14.5in x 19.25in)
£2,000-4,000
34 [§] VICTOR PASMORE C.H., C.B.E. (BRITISH, 1908-1998) CAMBERWELL SCHOOL, PECKHAM ROAD LOOKING TOWARDS PECKHAM RYE,1939 signed with initials, inscribed and dated, pencil 35.5.cm x 52cm (17in x 20.5in)
£600-900
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hese watercolours are from the collection of Professor Dr. Stefan Jellinek (1871-1968), a medical professor in Vienna, whose specific area of interest was electrical shock, particularly those struck by lightning. Living and working in Vienna, it is believed that he, like many of the Viennese medical community at that time, was friendly with artists including Erwin Osen, Josef Heu, Gustav Klimt and Egon Schiele. Dominik Erwin Osen, or Mime van Osen, was an Austrian visual and mime artist, who earned his living as a stage set painter and became a member of the New Art Group, at its founding in 1909. As a mimic, Osen had a strong physical presence, dressing to stand out and often putting on specific facial contortions, which contemporary art lovers would now recognise from Egon Schiele’s striking depictions of him. Their friendship, and Osen’s concurrent modelling for Schiele, is probably what Osen is currently best known for. Schiele has been viewed for decades as a modern master, developing his own unique, striking and compelling figurative approach. Art historical narratives have framed Schiele as an introspective genius, while Osen remains a minor footnote in this great artist’s career – a friend and model, rather than an important collaborator or visionary in his own right. However, recent discoveries and the ensuing scholarship have suggested a different dynamic between the two artists, around their shared interest in psychiatry. Osen was initially commissioned by Dr. Adolf Kronfeld, a doctor with an interest in mental illness, or ‘pathological expression,’ to draw patients at his hospital. These drawings have now been linked to corresponding notes by Schiele, and we are aware that Schiele was also in touch with Dr. Kronfeld. It has thus been argued that Schiele’s distinctive figurative approach was not developing in complete isolation and in fact his signature style may owe a debt to his friend. We know that Osen was drawn to ‘pathological expression’ first, had first-hand engagement with depictions of, and research around, the mentally-ill and was present and collaborating with Schiele throughout his most fertile period of development. This new approach interrupts the established narrative of Schiele as an isolated, tortured, self-involved artist, instead planting him within wider developments of contemporary visual culture in Vienna, and acknowledging a source of inspiration and collaboration in Osen. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
35 [§] ERWIN DOMINIK OSEN (AUSTRIAN, 1891-1970) NUDE STUDY OF A MALE PATIENT, 1915 signed and dated, pencil and watercolour 48.5cm x 32cm (19in x 12.5in) Provenance: Collection of Professor Stefan Jellinek, Vienna, Austria, and thence by descent.
£800-1,200
This is a break in existing scholarship and offers an exciting opportunity for re-assessment of both artist’s work, and particularly Osen’s artistic reputation. Yet it is not the first time an issue of Osen’s strong influence on Schiele has been raised - when the two artists were working together between 1910 and 1913 some of Schiele’s supporters raised concerns around the extremity of influence Osen had, and were very critical of him as a result. Our current lack of knowledge around the artist may stem all the way back to these comments. For further reading, please see Professor Gemma Blackshaw’s thoughtprovoking essay on her research: Egon Schiele: Crazier than I look? on Tate’s website.
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36 [§] ERWIN DOMINIK OSEN (AUSTRIAN, 1891-1970) FEMALE NUDE, 1915 signed, inscribed and dated, pencil and watercolour 48.5cm x 32cm (19in x 12.5in) Provenance: Collection of Professor Stefan Jellinek, Vienna, Austria, and thence by descent.
£800-1,200
37 [§] ERWIN DOMINIK OSEN (AUSTRIAN, 1891-1970) PORTRAIT OF A MALE PATIENT, 1915 signed and dated, pencil and watercolour 50.5cm x 32cm (19.75in x 12.5in), unframed Provenance: Collection of Professor Stefan Jellinek, Vienna, Austria, and thence by descent.
£700-900
38 [§] JOSEF HEU (AUSTRIAN, 1876-1952) WAR-TIME VIEW OF BUCHAREST, 1917 signed, inscribed and dated, mixed media 32.5cm x 48cm (12.75in x 19in) and twelve further unframed sketches by the same hand, unframed (13) Provenance: Collection of Professor Stefan Jellinek, Vienna, Austria, and thence by descent. Note: Josef Heu is best known for his sculptural work, working on public commissions and smaller-scale domestic figurations. Heu was an official German war artist during the First World War, the time from which this group of sketches date. However, during World War Two he was forced to flee continental Europe with his family; they ultimately settled in England where Josef continued to make art.
£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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39 HENNING KOPPEL (DANISH, 1918-1991) FOR GEORG JENSEN TWO PAIRS OF SILVER CRUETS stamped maker’s marks 8cm high (3.12in high) (4)
£300-500
40 PETER HAYES (BRITISH, B.1946) RAKU STANDING STONE WITH BLUE WAVE signed (to the base) 71cm high, 23cm wide (27.2in high, 9in wide)
£600-800
41 [§] PETER HAYES (BRITISH, B.1946) BOW FORM raku 53cm high (20.75in high)
£250-350
42 SØREN GEORG JENSEN (DANISH, 1917-1982) FOR GEORG JENSEN SET OF FOUR SILVER TABLE SALTS AND A PEPPER MILL the salts set with blue enamel, stamped maker’s marks and numbered ‘1114’ and two salt spoons the salts 6.5cm diameter (2.5in diameter), the pepper mill 8.5cm high (3.37in high) (7)
£200-300
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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43 GEORG JENSEN PAIR OF BOWLS, CIRCA 1920 pattern number 197, import marks, each with slightly flared rim to bowl, supported by a pierced cast berry and foliate border, raised on a domed flared foot 12cm high, 14.5cm across, 23.9oz
£1,000-1,500
44 MAGNUS STEPHENSEN (1903-1984) FOR GEORG JENSEN ’ARGO’ PATTERN SILVER FLATWARE SERVICE 122 pieces, comprising 10 table knives, 10 smaller knives, 10 fish knives, 10 butter knives, 10 table forks, 10 smaller forks, 10 desert forks, 10 desert spoons, 10 soup spoons, 18 teaspoons, two pairs of serving spoons, a pair of salad servers, a pair of smaller servers, two small ladles, four pronged forks, a cake slice, a cheese knife, stamped maker’s marks the salad servers 29cm long (11.5in)
£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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45 [§] ANTHONY CARO O.M., C.B.E. (BRITISH, 1924-2013) MARIE GALANTE, MARCH 2000 signed and dated in pencil (lower right), charcoal on paper 28.5cm x 40cm (11.25in x 15.75in)
£500-800
46 [§] GRAHAM SUTHERLAND O.M. (BRITISH, 1903-1980) GORSE ON A SEA WALL, 1939 initialled and dated, pencil, pen, ink and gouache 8cm x 11.5cm (3.12in x 4.5in)
£1,500-2,500
47 [§] KEITH VAUGHAN (BRITISH, 1912-1977) FIGURES RESTING studio stamp (to reverse), pencil on paper 17.5cm x 27.5cm (6.75in x 10.75in) Provenance: The Artist’s Estate; Belgrave Gallery, St. Ives; Private Collection.
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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48 [ยง] MARY FEDDEN O.B.E. (BRITISH, 1915-2012) SPRING FLOWERS, 1947 signed and dated (lower left), oil on board 48.7cm x 39cm (19.25in x 15.5in)
ยฃ5,000-7,000
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[§] MICHAEL CARDEW C.B.E. (BRITISH, 1901-1983) AT WENFORD BRIDGE
JANET LEACH (AMERICAN, 1918-1997) AT LEACH POTTERY
VUMÉ LILY PLATE impressed artist’s and pottery seals, pale cream glaze with a cobalt vumé lily motif
VASE impressed artist’s and pottery seals, dripped ash glaze and incised design
26cm diameter (10.25in diameter)
18.5cm high (7.25in high)
£200-400
£150-250
51 [§] MICHAEL CARDEW C.B.E. (BRITISH, 1901-1983) AT WENFORD BRIDGE FOOTED BOWL impressed artist’s and pottery marks, incised decoration through a greenish-brown glaze 24.8cm diameter, 16cm high (9.75in diameter, 6.35in high)
£400-600
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
52 [§] MICHAEL CARDEW C.B.E. (BRITISH, 1901-1983) AT WENFORD BRIDGE PLATE impressed artist’s and pottery seals, tenmoku glaze and incised motifs 28cm diameter (11in diameter)
£200-400
Modern Made
53 [§] DUILIO BARNABE (ITALIAN, 1914-1961) BOUQUET OF FLOWERS signed (lower right), oil on canvas 71cm x 58cm (28in x 23in)
£2,000-3,000
54 [§] BERNARD MENINSKY (BRITISH, 1891-1950) SEATED FIGURE OF WOMEN signed (lower right), oil on canvas 54.5cm x 39.5cm (21.5in x 15.5in)
£1,500-2,500
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55 [§] PAUL FEILER (BRITISH, 1918-2013) GANDRIA, BLACK AND LEMON signed, dated and inscribed ‘PAUL FEILER/GANDRIA/ BLACK + LEMON/10556/OIL ON CANVAS’ (to the reverse), oil on canvas 61cm x 40.5cm (24in x 16in) Exhibited: Royal West of England Academy Exhibition, Bristol.
£15,000-20,000
Situated on Lake Lugano, on the Italian border of Switzerland, Gandria is a small, picturesque fishing village which Feiler first visited in 1954. The chosen view of the lake through a shroud of trees was the subject of several works by Feiler in this period. Whilst the title of the work is indicative of Feiler’s inspiration in nature, he disregards particular topographical elements in favour of form. The resulting painting is a haunting and striking portrayal part-way towards abstraction, that foretells his move to full abstraction by the 1960s.
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56 [§] IVOR ROBINSON (BRITISH, 1924-2014) DESIGN FOR BOOK COVER OF AGAMEMNON pencil, gold pen and gouache 8.7cm x 13.3cm (3.37in x 5.25in) Literature: The New Bookbinder, Journal of Designer Bookbinders, Volume 35, 2015, p.70, fig. 7 illustrating the book cover.
£500-800
Ivor Robinson MBE was considered a master craftsmen and one of the finest artist bookbinders of his generation, if not the most important of the late 20th Century. Robinson’s bindings are held in private and public collections around the world, including the British Library; the Bodleian Library, Oxford and the Morgan Library and Museum, New York, and have been included in over one hundred exhibitions since 1951. Due to the fact that he worked for much of his life as a teacher of the bookbinding craft, he restricted his fine binding commissions to only three a year. Consequently there are now only around 150 of his cover designs in exsistence, which makes his work comparatively rare.
57 LIPPY LIPSHITZ (SOUTH AFRICAN, 1903-1980) NEBUCHADNEZZAR signed ‘Lippy’, plaster on wooden base, the base with inscriptions overall 33cm high (13in high)
£500-800
58 [§] IVOR ROBINSON (BRITISH, 1924-2014) DESIGN FOR BOOK COVER OF ‘THE LAMENTATIONS OF JEREMIAH’, 1981 inscribed and dated to the back board, pencil, gold pen and gouache 11cm x 15.5cm (4.25in x 15.5in) Literature: The New Bookbinder, Journal of Designer Bookbinders, Volume 35, 2015, p.70, fig. 7 illustrating the book cover.
£500-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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59 [§] GERALD BENNEY C.B.E. (BRITISH, 1930-2008) SGIAN DUBH, BROOCH AND BUCKLE silver and golden enamel basket weave decoration, the sgian dubh terminal collet set with a citrine, the buckle with a leather belt, the sgian dubh and brooch hallmarked for London 1982, the buckle for London 1993, each cased in Gerald Benney boxes the sgian dubh 20.5cm long (8.12in long)
£2,000-3,000
Although the sgian dubh has been a constant in the wearing of Scottish national dress, unlike dirks and plaid brooches, they have rarely been given much attention by modern silversmiths and designers. Most examples follow traditional patterns often laid down by military designs. This piece by Gerald Benney is a rare example of a bespoke designer utilising both the tradition of the object and the skills of a contemporary silversmith.
In the recent work ‘The Sgian Dubh; a collection by Malcolm Ferris-Lay’ there is only one contemporary example in what is the largest selection of sgian dubhs ever brought together in print. The present work is sold together with the original note of sale of the belt buckle from Gerald Benney.
60 [§] LESLIE GORDON DURBIN (BRITISH, 1913 - 2005) BOWL, LONDON 1952 of circular form with flared edge and slightly planished finish 21cm across, 9.5cm high, 23oz
£1,000-2,000
61 [§] LESLIE GORDON DURBIN (BRITISH, 1913 - 2005) OVAL DISH, LONDON 1971 undulated form, applied pelican to centre with engraved presentation border for forty years service, raised on a circular foot 34.5cm across, 18.4oz
£500-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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62 CARLO NASON (ITALIAN, B.1935) FOR MAZZEGA PAIR OF TABLE LAMPS, CIRCA 1960S square metal base, supporting four stacking layers of hand blown Murano glass, manufacturer’s paper label ‘A. V. Mazzega Murano Italy’ on one lamp 17.5cm high, 16cm wide, 16cm deep (6.87in high, 6.25in wide, 6.25in deep)
£1,000-2,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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63 [§] SALVADOR DALI (SPANISH, 1904-1989) HOMAGE TO NEWTON 58/350, signed and numbered, Camblest foundry mark, bronze on a green veined marble base overall 38cm high (15” high)
£1,000-2,000
64 [§] JONATHAN KENWORTHY (BRITISH, B.1943) STANDING MASAI, 2007 9/9, signed, dated and numbered, bronze 59cm high (23.25in high)
£3,000-5,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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65 OSCAR TORLASCO (ITALIAN, 1934-2004) FOR LUMI TABLE LAMP, CIRCA 1950S enamelled metal shade, brass adjustable stem support and black veined marble base 40cm high (15.75in high)
£300-500
66 [§] PADRAIG MACMIADHACHAIN (IRISH, 1929-2017) DARK SHADOW OVER THE BAY, 1990 signed (lower left), and signed and dated (to reverse), oil on canvas 60.5cm x 76cm (24in x 30in)
£800-1,200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
he goblets offered here feature the signature ‘bark’ texture that was devised by Benney, which sees him texturing the silver with a damaged hammer before applying the enamel. Discovered by accident, Benney was keen to minimise waste and was an early advocate of investigating how best to rectify rather than disregard. Benney is widely recognised by connoisseurs in the field for his distinctive aesthetic and the high standard of his work. In particular, he became known for his box making, of which The Pearson Silver Collection was the largest private lender to the Gerald Benney Retrospective at Goldsmiths’ Hall in 2005. The boxes exemplify the intricate enamelling Benney is renowned for, and his skill in enamelling large surfaces.
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Benney hailed from a background that mixed the creative and the academic. His father held the position of Principle of Brighton College of Art, and it is perhaps therefore unsurprising that Benney himself went on to become Royal Professor at the Royal College of Art. Gerald Benney had one man exhibitions at Goldsmith’s Hall in 1973, 1994, and another in 2005. He was the first British craftsman to hold four Royal Warrants. It is no exaggeration to state that Benney helped shape the appreciation of silverwork in the 20th century, a fact reflected in his numerous public and private commissions around the world.
67 [§] GERALD BENNEY C.B.E. (BRITISH, 1930 –2008) SET OF SIX SILVER AND ENAMEL GOBLETS, LONDON 1974 of cylindrical form, the bowls with the ‘Benney Bark’ effect, comprising a blue enamel on green with textured finish, straight stem, raised on a spreading foot with feature hallmarks, stamped Gerald Benney, London to underside (6) 12.6cm high, 48.9oz (all in)
£6,000-8,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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68 [§] ROGER HILTON C.B.E. (BRITISH, 1911-1975) FIGURE - 1972 signed (to reverse), oil on canvas 91.5cm x 76cm (36in x 30in) Provenance: Private Collection, London; The Art Centre, London; The Harriman Judd Collection, Los Angeles. Exhibited: The Tate Gallery, London Literature: David Brown, St. Ives 1939-64, Tate Publishing, London, 1985, p. 216, n. 218. Note: This is one of Hilton’s last oil paintings, as he preferred to work in gouache during the last years of his life. It is related to a series of figure paintings the artist produced in the 1960s and early 1970s, the most famous being Oi Yoi Yoi, 1963 (Tate Britain). In these works the artist successfully bridges the gap between abstraction and figuration.
£60,000-80,000
Hilton is considered an important pioneer of abstraction in the post Second World War era of British art, as well as one of its most successful proponents. Marked out as a great talent from an early stage, Hilton studied at the Slade under Henry Tonks between 1929-31, and was the recipient of the Orpen Prize and Slade Scholarship. He went to the Academia Ranson, under Roger Bissière, then to Atelier Colarossi, Paris. On returning to London in 1933, he continued his studies at the prestigious Academy Schools. Very shortly after, he was welcomed to exhibit with the London Group, continuing to do so until 1951. He had a significant retrospective at the ICA in 1958, and in 1963 he won the prestigious first prize at John Moores Exhibition in Liverpool. A year later, he represented Britain at the Venice Biennale, and by 1968 he had been appointed a C.B.E. In all, a stellar trajectory which marks him as one of the most significant Modern British artists of the 20th century. Hilton’s career is famously closely associated with the St Ives School, the coastal seat of Britain’s abstract art movement and answer to the American Abstract Expressionists. Indeed, it was during his first visit to Cornwall in 1950 that he produced his first truly abstract painting; the successful reception of which led to his inclusion in the seminal book Nine Abstract Artists, published in 1954. By 1957 he had moved to Cornwall permanently. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Key motifs in his work included abstracted explorations of the landscape and the human form. A larger than life character; quicktongued, egotistical, and a lover of women and alcohol; his semiabstracted / semi-figurative works from the mid-1960s to early-70s, like the example offered here, bursts with character. Vital, sexually charged and darkly humorous, it is easy to grasp why this body of works are among the best loved of his career. ‘Figure – 1972’ is one of the last oils the artist painted, before turning to gouache works on a smaller scale; a change incited in the main by his declining health due to the alcoholism that would eventually kill him in 1975. Subsequently recognised as an important work in his oeuvre, ‘Figure – 1972’ has been exhibited at the Tate, and was held for some years in the important Harriman Judd Collection; a pair of Californian connoisseurs who are perhaps best recognised for championing British pottery, including the studio pottery of the St Ives School.
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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69 [§] EMMANUEL COOPER O.B.E. (BRITISH, 1938-2012) JUG partially impressed maker’s mark, turquoise glaze 14.5cm high (5.75in high)
£500-700
70 [§] RICHARD PARKINSON (BRITISH, 1927-1985) AND SUSAN PARKINSON (BRITISH, 1925-2012) CRICKETER impressed maker’s mark, model number 72 37.5cm high (14.75in high)
£250-350
71 [§] RICHARD PARKINSON (BRITISH, 1927-1985) AND SUSAN PARKINSON (BRITISH, 1925-2012) LARGE CAT partially impressed maker’s mark 37cm high (14.5in high)
£250-350
72 [§] RICHARD PARKINSON (BRITISH, 1927-1985) AND SUSAN PARKINSON (BRITISH, 1925-2012) COMMUTERS impressed maker’s mark 25.5cm across (10in across)
£150-250
73 [§] PIERO CATTANEO (ITALIAN, 1929-2003) UNTITLED , 1975 signed and dated, bronze 54.5cm across, 46cm high (21.5in across, 18.12in high)
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
74 [§] STUART WALTON (BRITISH, B.1934) BANKER STREET, LEEDS, 1971 signed and dated (lower right), oil on canvas on board 76cm x 67cm (30in x 26.25in)
£600-900
75 [§] SIR TERRY FROST R.A. (BRITISH, 1915-2003) PURPLE SUN SPOT, 1981 signed and dated (lower right), collage and mixed media 51cm x 50.5cm (20in x 19.75in)
£1,500-2,500
76 WILLY RIZZO (ITALIAN, 1928-2013) (ATTRIBUTED TO) PAIR OF COFFEE TABLES enammelled steel, brass and marble 33.5cm high, 55cm across, 55cm deep (13.25in high, 21.67in across, 21.67in deep) (2)
£800-1,200
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78
79
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[§] TIMO SARPANEVA (FINNISH, 1926-2006) FOR VENINI
[§] TIMO SARPANEVA (FINNISH, 1926-2006) FOR VENINI
[§] TIMO SARPANEVA (FINNISH, 1926-2006) FOR VENINI
[§] TIMO SARPANEVA (FINNISH, 1926-2006) FOR VENINI
’TUULI’ BOTTLE AND STOPPER, 1990 signed ‘Sarpaneva, 90’, labelled, two tone blue and black glass, incalmo technique
’TUULI’ FLASK AND STOPPER, 1990 signed ‘Venini, 90, Sarpaneva’, labelled, two tone blue and black flask, incalmo technique
’TUULI’ PLATE, 1990 signed ‘Venini. 90, Sarpaneva’, labelled, two tone blue and black glass flask, incalmo technique
’TUULI’ BOWL, 1990 signed ‘90, Sarpaneva’, labelled, two tone blue and black flask, incalmo technique
41.5cm diameter
29cm high (11.4in high)
35cm high (13.8in high)
£600-800
13cm high, 21cm diameter (5.1in high, 8.2in diameter)
£600-800
£800-1,200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
£300-500
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Christopher Nigel Lawrence worked under several well-regarded silversmiths, including C.J. Vander, R.E. Stone and Gerald Benney, before setting up as a silversmith in his own right in the late 1960s. In 1961, Gerald Benney won the commission for Coventry Cathedral, and utilised Lawrence for the large bread plates as Lawrence excelled at flatwork.
81 [§] CHRISTOPHER NIGEL LAWRENCE (B.1936) SAUCEBOAT AND STAND, LONDON 1973 the sauceboat of circular form, engraved raised textured border, the sauceboat with similar design, long wide spout and C shaped handle, gilt interior to sauceboat 20cm across, 24.8oz combined
£1,200-1,500
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83
[§] CHRISTOPHER NIGEL LAWRENCE (BRITISH, B.1936)
[§] CHRISTOPHER NIGEL LAWRENCE (B. 1936)
THREE PIECE COFFEE SET, LONDON 1972 comprising a coffee pot, cream jug and twin handled sugar basin, all with textured borders, sloping shoulders, long spout to coffee pot, hinged lid with textured decoration (3)
BEER MUG, LONDON 1971 of can form, applied textured border to base, geometric handle
24cm high, 69oz (combined)
14cm high, 17.5oz
£1,500-2,500
£500-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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84 [§] JOHN ERSKINE MILNE (BRITISH, 1931-1978) FIGURAL FORM. 1977 1/6, initialled, dated and numbered (to the base), verdigris bronze on marble base the bronze 20cm across (7.87in across)
£800-1,200
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86
[§] DAVID LEACH O.B.E. (BRITISH, 1911-2005)
[§] DAVID LEACH O.B.E. (BRITISH, 1911-2005)
FOOTED BOWL impressed artist’s seal, green celadon glaze and fluting
VASE impressed artist’s seal, tenmoku glaze
13cm high, 23.5cm diameter (5.12in high, 9.25in diameter)
20cm high (9in high)
£300-500
£100-200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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87 [§] BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) THREE FORMS - 1969 signed and numbered 25/30 in pencil (to margin), lithograph 49cm x 62cm (19.25in x 24.5in) Provenance: From the private collection of an Edinburgh lawyer, collected during a period of time where he lived in Toronto, Canada in the 1970s.
£1,000-1,500
88 [§] GABRIELE KOCH (GERMAN, B.1948) VESSEL incised artist’s signature, burnished terracotta 36cm high (14.2in high)
£800-1,200
89 ICO PARISI (ITALIAN, 1916-1996) FOR MOBILI ITALIANA MODERNI ’OLBIA’ TABLE circular wooden top, curved supports ending on black feet 72.5cm high, 130cm diameter (28.5in high, 51in diameter)
£1,500-2,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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K
enneth Armitage belonged to a generation of artists whose young career was disrupted by the Second World War, an experience that would be deeply influential to his artistic output creating a powerful framework for the work of himself and his contemporaries. In 1952 Armitage, alongside Lynn Chadwick, William Turnbull, Reg Butler, Bernard Meadows, Geoffrey Clarke and Eduardo Paolozzi, was included in the landmark New Aspects of British Sculpture exhibition in the British pavilion at the 1952 Venice Biennale. In his introduction to the catalogue, the art critic Herbert Read declared that the highly charged selection shared “a Jungian collective unconscious guilt… Here are images of flight, of ragged claws, ‘scuttling across the floors of silent seas’”, famously coining the term ‘the geometry of fear’ to describe them. In the British Council Fine Arts committee report Lilian Somerville wrote that “it was undoubtedly Armitage who excited the most interest”, (quoted in James Scott, The Sculpture of Kenneth Armitage, p.32) and the exhibition marked the beginning of widespread international acclaim, and included pieces being acquired by the Museum of Modern Art in New York.
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
An important example of his large-scale sculptures of the 1950s, Figure Lying on its Side was created in 1957 and was the fourth of five versions. It comes from a period Armitage termed “the most creative period of my life”, when he began working on a larger scale, and was re-considering how figurative sculpture should be taken away from the domestic and gallery settings, and placed in connection to the ground, anchoring it in reality and space. This is exactly what Armitage does, with the flattened form that makes the mass of the body, and limbs “reduced almost to sticks” (the artist, quoted in Tamsyn Woollcombe, Kenneth Armitage: Life and Work, p.44), exaggerating the horizontality and verticality, and embedding it to the spot, unable or unwilling to move. It presents a fragile figure, the bronze surface pitted and marked and as Tamsyn Woollcombe notes “further evidence of the figure worn down by a hostile world…one whose recovery was overshadowed by the looming Cold War...yet its stance and survival also tells of tenacity”. A year later in 1958, Armitage was once again invited to represent Britain at the Venice Biennale, but this time as its sole sculptor. This accolade, as well as inclusion in an exhibition of figurative art at the Museum of Modern Art in the late 1950s - with his work shown alongside the likes of Giacometti - established him as one of the most important voices of contemporary post-war sculpture. Figure Lying on its Side belongs to the significant series of works of the period, and it displays his singular and powerful vision; part of a body of work which drew the notice of the international art world, intuitively capturing the essence of his times.
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90 [§] KENNETH ARMITAGE C.B.E. (BRITISH, 1916-2002) FIGURE LYING ON ITS SIDE, 1957 bronze 34cm high, 121cm long, 36cm deep (13.4in high, 47.6in long, 14.2in deep) Exhibited: Whitechapel Art Gallery, London, Kenneth Armitage, July - August 1957, p.10, no 31,
£80,000-120,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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91 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) CONICAL BOWL, CIRCA 1980 impressed artist’s seal, crackled pale turquoise glaze, and dripped manganese rim 8.5cm high, 18.5cm across (3.4in high, 7.25in across)
£3,000-5,000
92 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) VASE, CIRCA 1960 impressed artist’s seal, pitted blue/green glaze with brown flecks 8.7cm high (3.37in high)
£800-1,200
93 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) BOWL impressed artist’s seal, the exterior in a matt manganese glaze, the interior in shiny white glaze 15.3cm across, 6.4cm high (6in across, 2.5in high)
£1,000-2,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
94 [§] WILLIAM TURNBULL (BRITISH, 1922-2012) MALE AND FEMALE, 1954 signed and dated (to reverse), oil and sand on canvas 90cm x 71cm (35.4in x 28in)
£6,000-8,000
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’Male & Female’ depicts an abstracted and exaggerated interpretation of the figural form, and is representative of Turnbull’s work both in sculpture and paintings in the mid-1950s. The composition is closely related to the ‘Acrobat and Female’ monotype in the Tate Gallery Collection, London with thin sticklike figures in the manner of Giacometti, whose studio he had visited whilst living in Paris between 1948-50. Captivated by ‘primitive’ works, and in particular the cave paintings at Lascaux in France, with their immediacy and rawness of the early human form, Turnbull explored similar notions in the present lot. The skeletal figures in ‘Male & Female’ are fragile beings, stripped to only that which was necessary - and it belongs to the same grouping of works described by the critic Herbert Read as part of ‘the geometry of fear’ as Kenneth Armitage’s Lying Figure (Lot 89).
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ichael Ayrton was a true Renaissance man; a painter, draughtsman, sculptor and writer engaged with both the past and present.
can defend them’. (Jacob E. Nyenhuis, Myth and the Creative Process: Michael Ayrton and the Myth of Daedalus, Wayne State University Press, 2003, p.100)
He was fascinated with Greek mythology and especially the story of Daedalus, and from this myth one of the figures that Ayrton focused upon in the early 1960s was Talos. In folklore the sentinel Talos was the armed guardian of Crete, a giant figure perpetually walking along the shoreline in constant vigilance. Ayrton saw him as a comforting character, writing:
Of seven sentinel bronzes, six were cast in 1962, and the other in 1963. Only the first and last sentinel bronzes are more than two feet tall, but the last Talos [this example] is a life-size example (68 inches tall), deliberately armless and faceless, but supported by muscular features strongly resembling a visored and helmeted medieval knight.
“A certain tranquillity lies in his stupid presence, a certain comfort. He has no brains and no arms, but looks very powerful” (Michael Ayrton, Michael Ayrton: Drawings and Sculpture, London, 1962, p.106) One critic, Robert Wright, in his review of an exhibition of Ayrton’s work in a London gallery, offered his opinion that ‘The headless, puffed-up or hollow bronze Sentinels [of which this Talos was the largest example] are the military powers’ whilst his ‘Minotaurs were the helpless mass of the world’s people who believe the modern Talos Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
To Ayrton, Talos had a particular relevance to the contemporary society he lived in - a figure of his time as well as of antiquity - that was a focus for the adoration of the many, whilst being hollow and incapable of any lasting imagination or inspiration. It belongs to a body of work created after the Second World War by British sculptors that conveyed both a message of angst and bewilderment with society. This present example can be considered one of the most important examples from this series of works, cast in an edition of three, the other known example on public display on Guildhall Street in Cambridge.
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95 [§] MICHAEL AYRTON (BRITISH, 1921-1975) TALOS, 1963 from an edition of three, bronze 172cm high, 62cm across (67.75in high, 24.5in across) Provenance: Estate of the late Sir Cyril and Lady Judy Denman Taylor.
£30,000-50,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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97 [§] SAM HERMAN (AMERICAN, B.1936) VASE, 1982 signed and dated, and with paper label, pink glass, with iridescent abstract decoration
96
15cm high (6in high)
98
[§] SAM HERMAN (AMERICAN, B.1936)
£150-250
[§] SAM HERMAN (AMERICAN, B.1936)
VASE, 1981 signed, dated and numbered, white and yellow glass, with spotted iridescent golden inclusions
VASE, 1982 signed, dated and numbered ‘CL11’, deep aubergine glass, with iridescent silvered blue decoration
18cm high (7in high)
14.5cm high (5.75in high)
£150-250
£100-200
99 [§] SAM HERMAN (AMERICAN, B.1936) VESSEL, 1976 signed, dated and numbered ‘SH1089’, turquoise glass with trailed design 29.5cm high (11.5in high)
£500-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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100 [§] PAUL MOUNT (BRITISH, 1922-2009) FOUR SQUARE, CIRCA 1990 signed (to the base), verdigris bronze on slate base 18cm high (including base) (7.25in) Provenance: Purchased directly from the artist in 1990.
£1,500-2,500
101 SHOJI HAMADA (JAPANESE, 1894-1978) SQUARE DISH, CIRCA 1957 red rust and black glaze with wax resist grasswork design 19.5cm x 19.5cm (7.75in x 7.75in) Provenance: Helen Pincombe Collection (selected by Hamada for Helen Pincombe at the Crafts Centre exhibition); Bonhams Knightsbridge, 20 June 1997, lot 96; Private Collection.
£800-1,200
102 SHOJI HAMADA (JAPANESE, 1894-1978) SERVING BOWL, CIRCA 1954 partly wood ash glaze 22cm across, 10.5cm high (8.65in across, 4.25in high) Provenance: Janet Leach Collection; Bonhams Knightsbridge, London, 16 November 1995, Lot 63; Private Collection. Literature: The Works of Shoji Hamada 1921-1969, Asahi Shimbun Publishing Company, Tokyo, 1969, pl.115 for a similar example.
£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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103 [§] BARBARA HEPWORTH D.B.E. (BRITISH, 1903-1975) SUN SETTING, 1971 A/C 1, signed and inscribed ‘for Paul with love’ in pencil (in the margin), from The Aegean Suite, lithograph 76cm x 52cm (29.9in x 20.5in)
£1,200-1,800
104 [§] JOHN MALTBY (BRITISH, B.1936) VESSEL signed ‘MALTBY’, spade form, with cross design 24.5cm high (9.5in high)
£250-350
105 [§] JOHN PIPER C.H. (BRITISH, 1903-1992) RADCLIFFE CAMERA, 1981 (LEVINSON 326) artists’s proof, signed and inscribed in pencil (in the margin), lithograph 52.5cm x 35.5cm (20.75in x 14in)
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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106 [§] WAISTEL COOPER (BRITISH, 1921-2003) VESSEL painted signature, dry white glaze and textured surface 39cm hgih (15.5in high)
£250-350
107 [§] JOHN PIPER C.H. (BRITISH, 1903-1992) GLORIANA, ACT 1, SCENE 1 signed (lower right), ink and wash 23cm x 40.5cm (9in x 15.75in)
£2,500-3,500
108 [§] WAISTEL COOPER (BRITISH, 1921-2003) VESSEL painted signature, lug handles, textured surface and white glaze to the inner wide rim 37cm high (14.5in high)
£300-500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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Ingeborg Bratman arrived in England at an early age, having fled from Vienna. Her developing practise was heavily influenced by the family textile business. After herself studying knitted textiles at Leicester College, she attended Hornsey College of Art to pursue the discipline of jewellery-making, which in turn led to a scholarship at the Goldsmiths Hall. As a result of her training in both textiles and jewellery, the way in which one wears her work and the physical sense of how it feels is of paramount importance to the artist. Working mostly in 9ct and 18ct gold, her use of gem stones such as tourmalines, sapphires and pearls shows that colour and texture are also key. By using an unusual mixture of stones, taking inspiration from nature, the work of Bratman is heavily textured and features intricate designs.
109 [§] INGEBORG BRATMAN (AUSTRIAN, 1935-2015) 9CT WHITE GOLD RUBY SET RING collet set with an oval ruby cabochon, on a domed ground with pierced detail, stamped IBB; together with another similar (2) £250-350
110 [§] INGEBORG BRATMAN (AUSTRIAN, 1935-2015) PEARL, CORAL AND CARVED HARDSTONE BEAD SET KEY CHAIN with control marks 12cm long (approximately)
£200-300
111 [§] INGEBORG BRATMAN (AUSTRIAN, 1935-2015) 18CT GOLD AND DIAMOND SET BROOCH of pierced abstract design, set throughout with graduated round brilliant cut diamonds Length: 47mm, estimated principal diamond weight: 0.50cts
£600-800
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112 [§] VERNON BARBER 9CT GOLD NECKLACE, 1977, AND 18CT GOLD RING, 1979 the torque necklace suspending square and rectangular panels with circular detail, to a hook clasp; together with a matching 18ct gold ring (2) Ring size: S/T
£1,000-1,500
113 [§] INGEBORG BRATMAN (AUSTRIAN, 1935-2015) PAIR OF 9CT GOLD GARNET SET CUFFLINKS each terminal set with an oval garnet cabochon, to a collet border, joined by belcher links Principal terminal: 14mm x 13mm
£400-600
114 [§] INGEBORG BRATMAN (AUSTRIAN, 1935-2015) EMERALD AND DIAMOND SET RING of scrolling abstract wirework design, set throughout with round cut and cabochon emeralds and two yellow diamonds, to a plain 18ct gold shank Ring size: K/L
£800-1,200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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115 [§] GORDON BALDWIN O.B.E. (BRITISH, B.1932) FOOTED BOWL, 1975 initialled and dated, white glaze with painted motifs 9cm high, 37cm diameter (3.5in high, 14.5in diameter)
£1,000-2,000
116 SHOJI HAMADA (JAPANESE, 1894-1978) JUG poured glaze design over kaki glaze, in signed wooden box 18cm high (7in high)
£2,000-3,000
117 [§] GORDON BALDWIN O.B.E. (BRITISH, B.1932) PAINTING IN THE FORM OF A BOWL, 1982 painted artist’s initials and date 16.5cm high, 45.75cm across (6.5in high, 18in across)
£1,200-1,800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
118 [§] ADRIAN HEATH (BRITISH, 1920-1992) UNTITLED, 1961 signed and dated in pencil (lower right), collage, gouache, charcoal and pencil on paper 60.5cm x 48.5cm (23.75in x 19.12in)
£2,000-3,000
119 PAUL TUTTLE (AMERICAN, 1918-2002) FOR STRÄSSLE, SWITZERLAND PAIR OF ZETA CHAIRS, DESIGNED 1968 steel and brown leather 76cm high, 66.5cm across (30in high, 26.25in across)
£1,000-2,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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WENDY RAMSHAW C.B.E., R.D.I. (1939-2018) In her 1987 Pforzheim’s jewellery museum catalogue Wendy Ramshaw describes an artistic approach inspired by ‘plundering the visual experience of our technological age’. These words reveal something of the artist’s rare ability to create wholly new forms of modern jewellery, as a precise, yet dynamic visual response to a century replete with scientific, as well as artistic experiment. International recognition for this approach is illustrated by the important 1995 ‘Destination’ six part jewellery collection commissioned by a private Japanese client that wove together Perspex, computer chips, cubic zirconia and tantalum alongside white gold and rock crystal in response to a brief to ‘…celebrate the end of the 20th century with works utilising modern metals, materials and forms’. Later works such as the Millennium Medal commissioned for the Royal Collection (1999) revealed the poetic visual effects of nanocrystalline diamond coating on steel – an advanced process originated in Poland to ensure sharp edges on surgical instruments. Her most widely known works are her sets of precious metal rings, mounted on turned Perspex or metal stands which began to appear from the early 1970s winning a Design Council award in 1971. Ranging from clusters of four or five rings on a plain columnar stand to elaborate structures that can number up to 40 rings all reveal a clear formal, geometry made up of circle, square and triangle. There are echoes here of the formalist experiments of early twentieth century European art but realised by Ramshaw in combinations of multi-coloured, cabochon-cut semi precious stones and a carefully orchestrated geometry of gold, silver and steel. This formal language was effortlessly scaled up to include a series of remarkable gates and screens from the mid 1990s, catalysed by a foresighted commission from St. Johns College, Oxford. But Ramshaw’s work never wholly embraces an austere machine aesthetic. There is poetry and colour in her world as well as geometry reflecting an early training in textiles in Newcastle followed by studies in printmaking at Reading and enamelling at Central School of Art. Museum curators, as well as private collectors, have long recognised Ramshaw’s particular genius and her work is represented in over 75 public museums world wide. Subject of an important exhibition at the V & A Museum, London in 1982 (one of only five modern jewellery designers to be so honoured) which showed the results of an imaginative collaboration with Wedgwood – elegant Jasparware and silver necklaces and earrings, Wendy returned there in 1996 to show her opulent, imaginative collection ‘Picasso’s Ladies’ : a sequence of 66 jewels made in response to portraits of women by Picasso, which had recently been exhibited at the Museum of Art and Design in New York. Perhaps the finest realisation of her response to the complex reality of human invention can be found in the 2002 installation ‘Room of Dreams’ created for the Edinburgh International Festival at the Scottish Gallery, now on long-term loan to Birmingham Museums Trust from a private collection. This complete red and white room was filled with distorting lenses, screens, cabinets of keys, and a glowing collection of 50 jewels and remains the most ambitious work to date created by a UK jewellery artist : a bold visualisation of the storytelling worlds of myths, legends, Lewis Carroll and Shakespeare’s The Tempest albeit filtered through her precise, personal formal language. Ramshaw saw her ‘jewellery as a language, a means of communicating ideas and feelings…..a kind of music to delight the eye’. Throughout a prolific career, spanning five decades, she found ever evolving ways to create a new kind of jewellery that was both intensely personal and yet made a significant contribution to modern design. A remarkable and rare achievement. © Amanda Game, 2019 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
120 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) FANCY LINK NECKLACE comprising five separate necklaces, each composed of curved wire links each necklace approximately 42cm long (16.5in long) (5)
£400-600
121 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) PAIR OF EARRINGS paper, steel and plastic 7.3cm long (2.9in long)
£150-250
122 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) BROOCH paper and steel, of fan/feather form 12.5cm across (5.9in across)
£200-300
123 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) PAIR OF EARRINGS steel wirework form 9cm drop (3.5in drop)
£150-250
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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124 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, B.1939) MAQUETTES FOR DOUBLE SCREENS FOR THE V&A, 1995-6 cut steel each screen 40.5cm x 40cm (16in x 15.75in) (2) Provenance: Bohun Gallery, Henley-on-Thames, 1996; Private Collection.
£2,000-4,000
The double screens designed by Wendy Ramshaw were commissioned in 1995 by the Victoria and Albert Museum for the new staff restaurant, and were installed in 1997. The larger screens were cut by computer controlled water jets which enabled the design to be executed without any deviation from Ramshaw’s original design. Each was then inset with an optical glass lense and spray painted. An account of this commission can be found in Wendy Ramshaw - The Big Works, Hipotesi, Barcelona, 2004.
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125 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) SET OF THREE STACKING RINGS the outer two rings with geometric design set cabochon moonstones, the central band hallmarked London and stamped ‘925’ Ring size: N/O
£500-700
126 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) SET OF THREE SILVER AND ENAMEL STACKING RINGS to include two bands with white and golden orange enamel detail, the third with scrolling white enamel detail, on accompanying perspex display stand Ring size: N/O
£400-600
127 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) SET OF THREE STACKING RINGS comprising three rings, one set with a cabochon amethyst, the central ring hallmarked London 1994, on white turned stand Ring size: O
£200-400
128 [§] WENDY RAMSHAW C.B.E., R.D.I. (BRITISH, 1939-2018) SET OF THREE GEM SET STACKING RINGS comprising an 18ct gold plain band, another collet set with a blue topaz and tear drop detail, the third of broad design with blue enamel detail; on accompanying perspex display stand Ring size: M
£700-1,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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Wendy Ramshaw C.B.E. (1939-2018) working at her lathe. Credit: Estate of Wendy Ramshaw
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129 HELEN FESENMAIER (AMERICAN, 1937-2013) MAQUETTE FOR LOGBOOK, THE BIRTH OF A BOOK, 1979 commissioned by the V&A Museum, London, cut and painted wood 53cm high, 70cm across (20.75in high, 27.5in across)
£1,000-2,000
“The birth of a book is the the death of a tree...” Saint-John Perse (1887-1975)
In 1979 Helene Fesenmaier’s large structure entitled Logbook: The Birth of a Book is the Death of a Tree was displayed outside the Victoria and Albert Museum having been commissioned by the museum; afterwards it was transported by the British Timber Research and Development Association to woodland at High Wycombe, slowly to “deliquesce” (as she put it) back to the earth.
Helen Fesenmaier noted in her project book for the present work “In Part I of this project commissioned by The Victoria and Albert Museum, I used felled trunks of some of the largest trees in England, some 8’ in diameter. It was sited in front of the Museum for an exhibition called The Open and Closed Book and made of diseased elm trees and sheets of laminated plywood. Its stands 14’ high, 20’ wide and weighs 8 tons, and is now in The British Time and Research and Development Association. With a text of poetry, a Book of Field Studies, it is titled Logbook and the working maquette was used as the image for the exhibition poster…The idea that diseased trees could find a new life remains interesting to me as a source of inspiration”. We are grateful to David Hodgson for his kind assistance with the cataloguing of the present work.
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Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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130 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) FOR BIMINI 11 BUTTONS pressed glass, with Bimini brass backs the largest 3.8cm across (1.5in across)
£200-400
131 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) FOR BIMINI 42 BUTTONS, CIRCA 1940S the majority with Bimini brass backs, pressed glass the largest 3.5cm across (1.25in across) Provenance: Purchased directly from Lucie Rie by the current vendor’s family.
£300-500
132 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) TWO TEA CUPS AND SAUCERS each impressed artist’s seal, one in white glaze with manganese rim, the other with matt manganese glaze to the exterior the saucers 14cm across (5.5in across) and 13.5cm across (5.25in across) respectively (2)
£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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133 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) SET OF THREE BOWLS each impressed artist’s seal, white glaze to the exteriors and mustard yellow glaze to the interiors 8cm high, 15cm across; 7.5cm high, 15.5cm across; 7.5cm high, 15.5cm across (3) Provenance: Peter Dingley Gallery, Stratford-upon-Avon, 1975; Private Collection.
£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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134 [§] RICHARD WENTWORTH C.B.E. (BRITISH, B.1947) CRACK, BALL AND BOWL, 2000 steel, ceramic & expoxy resin (2 parts) the ceramic 26cm diameter (10.25in diameter)
£2,000-3,000
135 MARIO BOTTA (SWISS, B.1943) FOR ARTEMIDE ’SHOGUN’ FLOOR LIGHT, DESIGNED 1986 metal, with adjustable light diffusers 198cm high (78in high)
£1,500-2,000
136 MARIO BOTTA (SWISS, B.1943) ’RE E REGINA’ (KING AND QUEEN) SOFA, DESIGNED 1985 perforated black lacquered metal, with cushions re-upholstered in leather 95cm high, 150cm wide, 110cm deep (37.5in high, 59in wide, 43.5in deep)
£4,000-6,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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137 [§] ANTHONY GREEN (BRITISH, B.1939) CALIFORNIA IV, 1969 signed and dated (lower right), oil on board 183cm high, 182cm across (72in high, 71.75in across)
£2,000-3,000
138 MARIO BOTTA (SWISS, B.1943) FOR ALIAS DESIGN ’TESI’ TABLE, DESIGNED 1986-7 perforated black lacquered metal, glass top 75cm high, 240cm long, 86cm deep (29.5in high, 94.5in long, 34in deep)
£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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139 [§] SIR TERRY FROST R.A. (BRITISH, 1915-2003) SUN SPOT AND BLUE, 1986 signed and dated (lower right), collage and gouache 91cm x 61cm (35.5in x 24in) Provenance: Newlyn Orion Gallery, Penzance, 1987; Private Collection.
£3,000-5,000
140 [§] MARGARET O’RORKE (BRITISH, B.1938) TABLE LIGHT SCULPTURE porcelain 44cm high (17.3in high) (including base) Provenance: Galerie Besson, London, 1995; Private Collection.
£300-500
141 [§] ALAN DAVIE C.B.E., H.R.S.A. (BRITISH, 1920-2014) OPUS OG. FLOWERS FOR B, 1958 signed and dated in pencil (upper left), titled (lower right), oil on paper 41.5cm x 53.5cm (16.3in x 21in) Exhibited: The British Council Visual Arts Department, Alan Davie Works of Paper, Cat. No.48. Provenance: Gimpel Fils, London.
£6,000-8,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
142 [ยง] ALAN DAVIE C.B.E., H.R.S.A. (BRITISH, 1920-2014)
Exhibited:
OPUS O.405 CATCH THE BIRD, 1961 oil on canvas
The British Council, 2nd Triennale of World Arts, Delhi, India 1970-71.
152cm x 121cm (59.8in x 47.6in)
Provenance:
ยฃ20,000-30,000
Gimpel Fils, London.
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143 [§] EWEN HENDERSON (BRITISH, 1934-2000) OPEN BOWL, CIRCA 1980S stoneware 14cm high, 48cm across (5.5in high, 18.87in across)
£600-900
144 [§] IAN GODFREY (BRITISH, 1942-1992) BIRD LOG matt black glazed stoneware 18cm high, 14cm across (7in high, 5.5in across)
£400-600
145 [§] GEOFFREY EASTOP (BRITISH, 1921-2014) BOWL painted artist’s monogram, with painted black, orange, yellow and russet design 26.5cm diameter, 14.5cm high (10.5in diameter, 5.75in high)
£200-300
146 TAKESHI YASUDA (JAPANESE, B.1943) DISH impressed artist’s seal twice, sansai glaze 30.5cm across (12in across)
£250-350
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
147 [§] PAT DOUTHWAITE (BRITISH, 1939-2002) ANIMAL WITH SHARP TEETH, CIRCA 1965 oil on board 70cm x 90cm (27.5in x 35.5in)
£4,000-6,000 By the mid-1960s, Douthwaite had fully developed her distinctive style. Self-taught, with the encouragement of J D Fergusson and his partner Margaret Morris in Glasgow some years earlier, Douthwaite had since mingled and be-friended the likes of William Crozier and The Two Roberts, Colquhoun and MacBryde, whilst living in Sussex and Soho in the late 1950s. During this period she married Paul Hogarth, the author and prominent illustrator. In 1967 she was included in an exhibition at the ICA gallery, alongside exhibitors including Ian Drury, Herbert Kitchen and Graham Ovenden. The works of this period are demarked by stark black backgrounds. Her style alludes to Dubuffet’s Art Brut aesthetic, but also contains undercurrents of the stylisation of the Pop Art movement.
148 [§] PETER COLLINGWOOD (BRITISH, 1922-2008) RUG wool, in red, orange and black 299cm x 100cm (118in x 39.5in)
£800-1,200
149 [§] PETER COLLINGWOOD (BRITISH, 1922-2008) RUG mohair and wool in scarlet and deep brown 163cm x 94cm (64.2in x 37in) Provenance: Purchased directly from Peter Collingwood in 1990.
£500-700
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150
151
152
153
[§] TAPIO WIRKKALA (FINNISH, 1915-1985) FOR VENINI
[§] LAURA DIAZ DE SANTILLANA (ITALIAN, B.1955) FOR VENINI
VENINI STUDIO
VENINI STUDIO
VASE signed ‘Venini, Murano, Italia’, red and clear striped glass
BOWL signed ‘Venini, Italia’, labelled, coral coloured glass
’MEDUSA’ BOWL, 1966 signed ‘Venini, Italia, TW, 66’, wide flared rim, with white spiralling glass 11cm high, 33cm diameter (4.3in high, 13in diameter)
PLATE signed and numbered ‘Venini, Laura, 1995/03’, labelled, orange glass, incalmo technique, with stand the plate 36.5cm diameter (14.4in diameter)
£500-800
£300-500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
15cm high (5.9in high)
14cm high, 28cm diameter (5.5in high, 11in diameter)
£300-500
£300-500
Modern Made
154 [§] PATRICK HERON C.B.E. (BRITISH, 1920-1999) TWO GREENS WITH VIOLET AND BLUE: 1967 from ‘The Shapes of Colour’, 1978, signed in pencil (lower right), screenprint, 17.7cm x 23.5cm (plate size) (7in x 9.25in); with another screenprint ‘Mini January VIII: 1974’, 1978, to the reverse, signed in pencil.
£400-600
155 CARLO NASON (ITALIAN, B.1935) FOR MAZZEGA CEILING LIGHT, CIRCA 1970S brass frame, supporting two interlocking brass rings and three hand blown glass sections 85cm high (33.5in high)
£700-900
156 [§] PATRICK HERON C.B.E. (BRITSH, 1920 -1999) LIMES AND YELLOWS IN ORANGE: JUNE 1976 from ‘The Shapes of Colour’, 1978, signed in pencil (lower right), screenprint, 17.7cm x 23.5cm (plate size) (7in x 9.25in); with another screenprint ‘Blue with Lime, Umber, Dull Red and Orange in Violet; January 1976’, 1978, to the reverse, signed in pencil.
£400-600
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tuart Devlin (b. 1931) began his career as an art teacher in Australia, specialising in gold and silversmithing. In 1957 he obtained a post at the Royal Melbourne Institute of Technology and studied for a Diploma of Art in gold and silversmithing, after which he spent a twoyear fellowship at Columbia University, in the United States. Devlin returned to Australia to teach, but quickly rose to fame in 1964 after winning a competition to design the first decimal coinage in Australia. In 1965, he moved to London and opened a small workshop, in which he adapted and devised new techniques to produce a wide variety of textures and filigree forms. His popularity grew in London’s West End, where he held a prestigious showroom in Conduit Street between 1979 and 1985. Among his most popular commissions, Devlin has designed coins and medals for 36 countries throughout the world, including precious coins for the Sydney 2000 Olympic Games. In 1982, Devlin was granted the Royal Warrant of Appointment as Goldsmith and Jeweller to Her Majesty the Queen. Devlin was also made Prime Warden of the Goldsmith’s Company (1996-97). Devlin now works in Littlehampton, West Sussex.
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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157 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) SET OF TWELVE CHAMPAGNE FLUTES, LONDON various date marks, the bowls of vase form, stem with silver gilt applied textural details to a spreading foot (12) 22.2cm high, 81oz (all in)
£6,000-8,000
158 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) SET OF SIX APERITIF GLASSES, LONDON 1972 each with planished bowls and gilt interior, textured gilt stem and spreading planished foot 18.5cm high, 37oz combined (6)
£1,200-1,800
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159 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) SET OF TWELVE BEAKERS, LONDON 1969, 1972 of tapered form, the lower half with applied silver gilt interwoven sleeve, interior with gilt finish (12) 11cm high, 86.7oz (all in)
£5,000-6,000
160 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) CRUET SET, LONDON 1971 of cylindrical form, the lower half with silver gilt textured panels 73mm high, 5oz (all in)
£250-400
161 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) SILVER GILT FOUR PIECE CONDIMENT SET, LONDON 1975 of plain tapering cylindrical conical form, the upper part plain, the lower section with applied gilt textured sleeve, comprising; a salt and pepper shaker, mustard with blue glass liner and original shovel, all contained in original packaging 7cm high, 5.6oz
£250-400
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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162 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) SALVER, LONDON 1978 of shaped circular form, hammered finish, raised gilt textured border 35cm across, 42.6oz
£2,000-4,000
163 [§] STUART LESLIE DEVLIN A.O., C.M.G. (AUSTRALIAN, 1931-2018) ENTRÉE DISH AND COVER, LONDON 1976 the bowl of circular form, twin handles with pierced gilt trellis decoration, the lid of identical decoration fits to create a quatrefoil form 28cm across, 36.7oz (all in)
£3,000-5,000
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Modern Made
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164 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) FOOTED BOWL, LATE 1970S impressed artist’s seal, porcelain, golden manganese glaze, terracotta well 5cm high, 14cm across (2in high, 5.5in across)
£5,000-7,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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165 [§] JOHN PIPER C.H. (BRITISH, 1903-1992) TEMPLE OF VENUS, STOWE pen, watercolour and gouache 35cm x 49cm (13.75in x 19.25in) Provenance: With authentication label from Myfanwy Piper (to the reverse).
£4,000-6,000
166 PIERO FORNASETTI (ITALIAN, 1913-1988) ’ARCHITETTURA’ TABLE TOP, ORIGINALLY DESIGNED CIRCA 1955 lithographically decorated wood, ‘Fornasetti - Milano’ label (to underside), together with a bespoke wrought iron base made by Bethan Griffiths 99.5cm diameter (39.12in diameter)
£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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167 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) CONICAL BOWL, CIRCA 1972 impressed artist’s seal, the underglazed white exterior with horizontal inlaid amethyst sgraffito, the interior covered in manganese glaze with incised sgraffito banding 21.7cm diameter, 11cm high (8.5in diameter, 4.37in high) Provenance: Primavera, Cambridge, where purchased by the current vendor in the 1970s.
£12,000-18,000
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168 [§] JOHN MALTBY (BRITISH, B.1936) ’WIND FRESH TO STRONG GALE FORCE AT TIMES...’ signed, swing boat wall hanging 25.4cm across (10in across)
£200-300
169 [§] JOE TILSON R.A. (BRITISH, 1928-2000) STELE FOR DIONYSOS, 1981 24/100, signed and numbered on the front of the box, executed for Studio Marconi, mixed media wood relief held within a hinged wood box opened 57cm x 24.5cm (22.5in x 9.75in)
£800-1,200
170 [§] JOHN MALTBY (BRITISH, B.1936) HOPSCOTCH, 2006 signed, titled and dated (to reverse), ceramic on mdf wall panel 43cm x 76cm (17in x 30in)
£800-1,200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
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171 [§] MARY FEDDEN O.B.E. (BRITISH, 1915-2012) PANSIES for ‘The Artist’s Postcard Show’, signed and inscribed (to reverse), watercolour and gouache 14cm x 20cm (5.5in x 8in), unframed Provenance: The Artist’s Postcard Show, The South West Art Academy Exhibition, Exeter, 2001.
£700-1,000
172 [§] GUY TAPLIN (BRITISH, B.1939) FISH, 1999 inscribed, signed and dated ‘FISH 1999 GUY TAPLIN’ (on the underside), painted driftwood 63.5cm high (from base), 129.6cm long, 41cm deep (25in high x 51in long x 16.25in deep)
£1,000-2,000
173 [§] MICHAEL ROTHENSTEIN R.A. (BRITISH, 1908-1993) ROUND, ROUND, ROUND signed in pencil (lower right), mixed media 50.5cm x 75cm (20in x 29.5in) Provenance: Sothebys, London, 20 April 1966, Lot 161; Private Collection.
£1,000-2,000
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174 KENNETH SNELSON (AMERICAN, 1927-2016) EASTER MONDAY, 1976 HC, signed, dated and inscribed, aluminium and stainless steel 50.5cm high, 38.5cm across (19.75in high, 15.25in across)
£5,000-7,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Kenneth Snelson’s sculptures, thrusting skywards like towers and stretching out in extended cantilevers above the ground, can be found in museums, and public parks around the world. Snelsons’ forms maintain the structure through the outward push of the the compression tubes and inward pull of the tension cables.
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[§] PABLO PICASSO (SPANISH, 1881-1973) FOR MADOURA POTTERY TÊTE DE CHÈVRE DE PROFIL (GOATS HEAD IN PROFILE), 1952 (A.R.151) stamped and marked ‘Madoura Plein Feu / Empreinte Originale de Picasso / Edition Picasso’ (underneath), partially glazed ceramic plate, from an edition of 100 40.5cm across (16in across)
£8,000-12,000
176 [§] PABLO PICASSO (SPANISH, 1881-1973) FEMME DANS UN FAUTEUIL ET GUITARISTE (WOMAN IN A CHAIR AND GUITARIST), (B. 917; BA. 1232), 1959 25/50, signed and dated in pencil (in the margin), linocut on Arches paper, published/ printed by Louise Leiris, Paris/ Hidalgo Arnéra, Vallauris 52.5cm x 63.5cm (20.75in x 25in)
£6,000-9,000
90 Lyon & Turnbull
ntoni Tàpies is recognised and celebrated as one of Spain’s greatest contemporary artists, and one of the most successful European artists of his generation. Lyon & Turnbull are delighted to present El Dolor de Brunhilda, a rare and important painting from this revered artist’s early career. Possessing a strong exhibition history, the work is widely referenced and illustrated in Tàpies literature. It comes freshly to market from the collection of the prominent psychiatrist Joan Obiols Vié, by descent through his family. Obiols Vié met Tàpies through the well-known Catalan poet Joan Brossa, with the three becoming close friends in the late 1940’s. The trio soon became important members of Club 49, an association that gathered the cultural elite in Barcelona in the 50’s and 60’s. In that context, Obiols Vié bought El Dolor de Brunhilda directly from Tàpies in the early 1950’s. Due to financial limitations at that time, he could not pay the whole price at once and so Tàpies would knock at his door for the next ten months to get his monthly payment of 500 pesetas from his friend. El Dolor de Brunhilda dates from a very specific and exciting moment of Tàpies’ career. It was painted in 1950, only a few short years after he abandoned his legal studies to fully pursue his art, and just as he was starting to be recognised as an important and original young talent. Born into a family of active Catalan nationalists, Tàpies was exposed to these ideas from a young age. He discovered contemporary art on his own terms through reproductions in the publication D’ací i d’alla, and spent time pursuing art, music and philosophical ideas while convalescing from a lung condition. He commenced his legal studies in 1944, but continued to pursue art in his free time, experiencing some instruction but remaining largely self-taught, before making a more committed switch to his creative endeavours three years later. In 1948, Tàpies was involved in the founding of an avant-garde art collective, Dau al Set. The name refers to the seventh face of the dice, giving a clear indication that this was a movement steeped in understanding of the Dada and Surrealism movements. The group was created as a reaction to the conservative political climate in Spain; and their ambition was to re-invigorate artistic counter-culture. At this time, from 1948 until the year of the painting, 1950, Tàpies’ art reflected this interest in, and preoccupation with Surrealism, imbued as it was with a sense of the mystical, the dream-like and the uncertain. He was particularly concerned with mysticism and a sense of moving from magic and mystery towards the possibilities of inner exploration. As a result, this period has been termed his ‘magic period.’ As celebrated Catalan writer Pere Gimferrer points out, this phase in Tàpies’ work can also be characterised by a preoccupation with scenography, with a strong sense of the picture plane structured visually like a stage set, and perspective joyfully challenged. This can be seen so clearly in El Dolor de Brunhilda, with its bold, graphic shapes of doorways, alcoves, recesses and stage wings.
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As an early work, El Dolor de Brunhilda does not obviously fit visually with the later works we so strongly associate with the name Tàpies, yet it does engage with key themes and devices that were to become emblematic of his work, for example, the use of the colour red, the forming of bold, graphic lines and shapes, and themes of loneliness, silence, pain, suffering and contemplation. The title translates to ‘the pain of Brunhilda,’ and refers to the Norse myth in which Brunhilda is cruelly deceived and betrayed by her lover; she exacts her revenge and condemns him to death, yet when he is killed at her instruction, she is overcome with grief and commits suicide to allow herself to be reunited with him in death. 1950, the year of the painting, becomes a key moment in Tàpies’ rapidly accelerating career. In it he holds his first solo exhibition in Barcelona, in which this painting is included, and the whole of which is accompanied by a Dau al Set special publication. It is also the year that he receives a grant from the French government which allows him to live for a few months in Paris. In hindsight it is something of a turning point, as only a few short years later, by 1953, he has abandoned surrealist figuration and abstraction completely to work on the themes and techniques that were to become his mature approach – heavily built-up surfaces incised and scratched with letters, number, signs and symbols. His career and reputation go from strength to strength as his work is shown and acquired by major international museums, and he is awarded the prestigious Velázquez prize, as well as being made 1st Marquess of Tàpies. Throughout this illustrious and productive career, Tàpies always followed his own sense, that ‘for me, art is a mechanism, a system that makes it possible to change the spectator’s way of looking and to bring him or her closer to a state of contemplation of reality at its deepest level,’ and so ‘the artist is like the mystic: each one acts in his own way but their common purpose is to achieve the inner illumination that enables them to perceive the depths of reality.’ His style and subject may change, but this definite intention is already present fully formed and successfully delivered in 1950, and El Dolor de Brunhilda. Manuel Borja-Villel, Director of Madrid’s Reina Sofia museum and previously Director of the Fundacio Antoni Tàpies in Barcelona, says of Tàpies, ‘You cannot understand Spanish art and culture without his presence.’ He is a central figure to the development of Spanish culture, and the wider world of contemporary art, and so the auction of this painting is an exciting opportunity for a collector to engage with this towering contemporary figure at a key formative moment in his career, through a striking and important work.
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177 [§] ANTONI TÀPIES (SPANISH, 1923-2012) EL DOLOR DE BRUNHILDA, 1950 signed and dated (to reverse), oil on canvas 89cm x 116cm (35in x 45.75in) Provenance: Purchased directly from the artist in the early 1950s by Joan Obiols Vié, a prominent Spanish psychiatrist. Obiols Vié was a friend of Tàpies, and a fellow member of the avant-garde group of artists and thinkers, Club 49, based in Barcelona in the 1950s and 60s. The work now appears on the market through the family by descent. Obiols Vié’s collection of ‘Art Brut’ currently appears in an exhibition, ‘Art and Madness - Joan Obiols Vié Psychiatrist and Humanist’, at the Joan Brossa Study Centre in Barcelona. Exhibited: Museum des 20. Jahrhunderts, Berlin, March-April, 1968; Kölnischer Kunstverein, Cologne, July-August, 1968.
£150,000-200,000
92 Lyon & Turnbull
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
93 Lyon & Turnbull
178 GAETANO PESCE (ITALIAN, B.1939) FOR MERITALIA ’LA SMORFIA’ ART CHAIR, 2003 red and black lacquered and coated rigid semi-expanding foam, plastic and polyurethane 110cm high, 90cm wide, 70cm deep (43.4in high, 35.4in wide, 27.5in deep)
£2,000-3,000
Gaetano Pesce was born in 1939 in La Spezia, Italy. He studied architecture at the University of Venice and started working in the sixties, strongly influenced by the social movements of this period. The work and lessons of the architect Carlo Scarpa and the writer Bruno Zevi were also important to him. His work is characterised by an interdisciplinary approach to architecture, design and art. His works are in the most important museums and collections over the world: the Museum of Modern Art and The Metropolitan Museum of Art in New York, the San Francisco Museum of Modern Art in California and the Victoria & Albert Museum in London. A retrospective of his work was shown in 1996 at the Centre Pompidou, Paris. The present work characterises his interdisciplinary approach. The text printed on the piece reads, “Italy is the one region in Europe whose sole natural resource is the creativity of its inhabitants. Today this wealth is mainly expressed through cooking, fashion and the “design” of the objects associated with these two sectors. Those who appear impervious to an understanding of this wealth have been, and still are, local administrators and politicians. If the government were to efficiently aid creativity and research, the country would benefit in economic and cultural terms. The prestige of products “Made in Italy” is largely due to the curiosity of Italian businessmen. Their commitment is on the wane today. Many creative persons as for instance architects express themselves within the traditional limits of the form. But the culture of objects and architecture have become mature expressions that contribute to testify the essence of our time. This means, in general, less fashion and style but more freshness in our technical, commercial and expressive processes and use of materials. Less nostalgia and an indiscriminate respect for History, and more confidence in and curiosity for the future. Otherwise our life may become duller due to repetitiveness, monotony and a lack of novelty. Just now it is raining in our world. But the sun will soon shine again. Gaetano Pesce February 2003.”
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Modern Made
179 VENINI, ITALY ’SOMMERSO A BOLLICINE’ VASE, ORIGINALLY DESIGNED BY CARLO SCARPA acid etched signature ‘VENINI ITALIA’, green glass with bubble and aventurine inclusions 22cm high (8.7in high)
£400-600
180 [§] TIM ANDREWS (BRITISH, B.1960) ’HUMBUG’ VESSEL impressed artist’s seal, raku, with blue striped design 23cm high, 36cm diameter (9in high, 14.25in diameter)
£300-500
181 PETER HAYES (BRITISH, B.1946) RAKU DISC ON STAND signed (to the base) the disc 49cm across (19.25in across)
£700-900
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94 Lyon & Turnbull
182 [§] ALESSANDRO DARI (ITALIAN, 20TH CENTURY) ’DONNA VIOLINO’ (WOMAN VIOLIN) PENDANT BROOCH, 1999 stamped marks, yellow and white gold 7.5cm long (3in long)
£600-800
183 [§] VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH, 1927-2004) FOR GEORG JENSEN RUTILATED QUARTZ BRACELET collet set with a large squared rutilated quartz cabochon, to a tapering torc style bangle, numbered ‘203’ Internal width: 58mm
£500-700
184 [§] BJÖRN WECKSTRÖM (FINNISH, B.1935) FOR LAPPONIA 14K GOLD ‘XANADU’ WRIST WATCH the rounded rectangular dial quartered with labradorite, to a two-coloured gold integral articulated bracelet with textured finish, concealed clasp Width of dial: 8mm
£1,500-2,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
185 [§] GEOFFREY CLARKE R.A. (BRITISH, 1924-2014) BROKEN FORM aluminium 19cm x 10.5cm (7.5in x 4.25in)
£1,000-1,500
186 [§] WILLIAM GEAR R.A., R.B.S.A. (BRITISH, 1915-1997) STRUCTURE IN GARDEN, 1983 signed and dated (lower right), oil on canvas 122cm x 81cm (48in x 31.8in) Exhibited: Royal Scottish Academy, 1986, Cat. No.299.
£2,000-3,000
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96 Lyon & Turnbull
187 [§] MARY FEDDEN O.B.E. (BRITISH, 1915-2012) THREE CROCUSES, QUAIL EGG AND MUG, 1987 signed and dated (lower left), oil on canvas 49cm x 75cm (19.25in x 29.5in) Exhibited: Royal West of England Academy, Bristol, April-May 1988, No.57.
£4,000-7,000
188 SHOJI HAMADA (JAPANESE, 1894-1978) BOTTLE VASE with dripped green-blueish glaze 17.5cm high (7in high)
£800-1,200
189 [§] JOHN PIPER C.H. (BRITISH, 1903-1992) REYNOLDSTOWN, PEMBROKESHIRE, 1956 signed and titled, pen, ink, watercolour and gouache 14.5cm x 22.5cm (5.75in x 8.75in) Provenance: Hamet Gallery Ltd., London, 1969.
£1,500-2,500
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Modern Made
“Because Lee does not use glaze, her subtle colours and misty shades
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come not from a veil draped over the pot but from within its very
20.2cm high (8in high)
substance, as in the face of a cliff.”
Note:
David Attenborough (B. 1926)
97
[§] JENNIFER LEE (BRITISH, B.1956) ’PAPOOSE’ VESSEL, 1982 coloured clays Exhibited: Royal College of Art, London, ‘Pieces of Eight’, 1982. This piece was made in January 1982, whilst Lee was in the second year at the RCA. In this particular piece the clay was coloured using oxides and underglaze colours. The artist now uses oxides rather than body stains or underglazes. We are grateful to Jennifer Lee for her kind assistance with the cataloguing of the present work.
£3,000-5,000
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98 Lyon & Turnbull
”Latiff Mohidin is arguably one of the few artists in this region who has turned to the natural and cultural domains in the region as resources for his art, and in the process has developed an iconography which is new, and not merely a feeble revival or renovation of existing, decaying or dead traditions. In this connection, the Pago-Pago series can be claimed to have a significant status in the contemporary art of this region...” T.K. Sabapathy, Art Historian, Curator and Critic
n 2016 an ambitious project was launched by the National Gallery of Singapore, Reframing Modernism: Painting from Southeast Asia, Europe and Beyond, with the aim of advocating South East Asian art on a global stage. This paid off when Abdul Latiff Mohidin, often considered Malaysia’s leading modernist painter and poet, became the focus of an exhibition held at the Centre Pompidou, Paris in Spring 2018, a rare accolade for a Southeast Asian artist. The focal point of the exhibition was Latiff Mohidin’s Pago Pago series, created between 1960 and 1969, which won him his first wave of international fame as a significant modern artist. Eugene Tan, Director of the National Gallery of Singapore explained ‘The exhibition showcased Latiff Mohidin’s art during the 1960s, which was a decade that marked such significant shifts both in Southeast Asia and Europe. Latiff Mohidin is not only on the Southeast Asia’s leading artists, it could be said that he is one of the first artists of the region to imagine ‘Southeast Asia’ as a distinct aesthetic realm.’ Searing with energy Abdul Latiff Mohidin’s Growth I (1968) is a commanding example of the artist’s work from the landmark Pago Pago period as he journeyed across Europe and South East Asia. A real metaphor of cross-culturalism, “Pago Pago”, derived from an amalgam of the word ‘pagoda’ and ‘pagar’, the wooden beams from old Malay houses, evoked a consciousness that emerged through his travel. It was inspired by the artist’s study of tribal arts of the Oceanic region in a German museum whilst an art student, which he applied to his imaginings of the South East Asia region - an internal and external navigation of the artist’s worlds - seeking to offer a different way of thinking challenging the dominance of Western Modernism in the 1960s.
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Earlier stages of the Pago Pago series had focussed on a more formal architectonic rigour, but during the closing years of 1960s the theme underwent radical transformation and the present picture marks one of the latter stages in the artist’s evolution in abstract art during the period. In Growth I the series is expanded to include landscape elements, leaning towards a more fluid and organic dynamism with forceful bold black lines against blatant earth colours of reds and yellows, referencing the tropical landscape and in it he is trying to make visible the mysterious forces and presence of nature. In a newspaper article written on the artist in the year of this paintings creation it noted: “Abdul Latiff’s main interest is in forms or shapes…these forms have a character and weight to them that outride his indecisive lines, His inspiration is from nature and he believes that everything we see and experience affect what we create so that there is no real need to plan a painting in minute detail before rendering it.” (The Bangkok Post, 8 September 1968) Growth I is also significant as a transitional work where he is beginning to challenge the ascending vertical thrust of his previous works. In this work the vertical dominance is more muted and he gives more significance to the horizontal axis which would become a dominant theme in the last works of the Pago Pago series. The rarity of this late work in this formative series cannot be denied, especially when taking into consideration that from the early 1970s Latiff Mohidin forwent painting for a number of years to focus on his literary practice. It would be a number of years later before he embarked on his next artistic practice, the Gelombang series.
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191 ABDUL LATIFF MOHIDIN (MALAYSIAN , B.1938) GROWTH I, 1968 signed and dated ‘Latiff 1968’, oil on canvas 77.5cm x 77cm (30.5in x 30.25in) Provenance: Acquired by the current vendor in London in the early 1970s.
£30,000-50,000
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100 Lyon & Turnbull
192 [§] MICHAEL CANNEY (BRITISH, 1923-1999) DIAGONAL ROTATION, 1982 signed and inscribed with title and dated (to reverse), painted wooden relief 30cm x 30cm (11.75in x 11.75in)
£1,000-1,500
193 [§] MICHAEL CANNEY (BRITISH, 1923-1999) ROTATION I, 1981 signed and inscribed with title and dated (to reverse), mixed media on scraper board 30cm x 30cm (11.75in x 11.75in)
£1,000-1,500
194 MAISON JANSEN (ATTRIBUTED TO) PAIR OF ARMCHAIRS, 1970S leather on chromed steel folding frames 90cm high, 50cm wide (35.5in high, 19.5in wide)
£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
195 GAETANO PESCE (ITALIAN, B.1939) FOR FISH DESIGN VASE resin, from a special edition numbered ‘15/08’, with certificate 81cm high (31.9in high)
£250-350
196 WILLY RIZZO (ITALIAN, 1928-2013) ’UNO PIEDI’ DINING TABLE AND SET OF SIX ‘SQ-BR’ CHAIRS the table signed ‘Willy Rizzo’, lacquered wood and stainless steel, and rotating centrepiece, the chairs with chrome frames and black upholstery the table 140cm diameter, 75cm high (55in diameter, 29.5in high) (7)
£1,500-2,000
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102 Lyon & Turnbull
197 [§] FERNAND LÉGER (FRENCH, 1881-1955) FOR FULLER FABRICS ’PARADE SAUVAGE’ FABRIC screen-printed cotton, printed ‘Fuller Fabrics, “Parade Sauvage” by Fernand Leger’ to the selvedge 216cm x 98cm (85in x 38.5in)
£800-1,200
198 [§] MARC CHAGALL (RUSSIAN, 1887-1995) FOR FULLER FABRICS ’LES AMOUREUX’ FABRIC screen-printed cotton, printed ‘Fuller Fabrics, “Les Amoureux” by Marc Chagall’ to the selvedge 167cm x 97cm (65.75in x 38.25in)
£800-1,200
199 [§] DEBORAH VAN DER BEEK (BRITISH, B.1952) ROLLING HORSE 6/9, initialled and numbered, bronze 35cm high (13.75in high)
£500-700 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
200 [§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH, B.1937) LILIES, 1970-1 (S.A.C. 118) signed, dated and inscribed in pencil ‘O.K to print’ (lower right), lithograph in colours, published by Galerie Wolfgang Ketterer, Munich, in the portfolio Europäische Graphik No 7 65.5cm x 50cm (25.75in x 19.67in)
£8,000-12,000
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The edition was 65 but with an additional 35 in Roman numerals. This example is a printer’s proof aside from these. It includes two punched holes, which are register marks and are sometimes found on these proof editions.
104 Lyon & Turnbull
201 [§] SAM HERMAN (AMERICAN, B.1936) AND PHILIP NELSON (BRITISH, CONTEMPORARY) BOTTLE AND TOP, 1976 signed, dated and numbered ‘SA910’ and with paper label, the silver hallmarked for London 1980, deep blue glass, with swirling iridescent decoration, silver collar and silver stopper inlaid with mother of pearl 23.5cm high (including stopper), 21cm across (9.25in high, 8..5in across) Provenance: Purchased from Sam Herman Glass, London, January 1981. Exhibited: Bottles and Top, London.
£600-1,000
202 [§] AUSTIN WRIGHT (BRITISH, 1911-1997) SPIKE, 1982 aluminium 42cm across, 27cm high (including base) (16.5in across, 10.5in high (including base)) Literature: James Hamilton, The Sculpture of Austin Wright, Lund Humphries Publishers Ltd., 1994, fig. 89 (Cat. 5325). Spike is one of a number of small scale scuptures Austin Wright made in the early 1980s, that had a kinship with utensils, each having an apparent purpose which was transcended by their power as sculptures.
£1,500-2,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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“It is not easy to describe her simplicity of approach and the delicacy of her work… Her skills are so profound that her work appears simpler and simpler, while in fact becoming more and more complex” Janet Leach, Quoted in ‘Lucie Rie, A Survey of her Life and Work’, 1981
203 [§] LUCIE RIE D.B.E. (BRITISH, 1902-1995) VASE, 1980-81 impressed artist’s seal 25cm high (9.87in high)
£7,000-9,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
106 Lyon & Turnbull
204 ROY LICHTENSTEIN (AMERICAN, 1923-1997) MODERN HEAD #1, FROM THE MODERN HEAD SERIES, 1970 31/100, signed, dated and numbered in pencil (in the margin), woodcut, published by Gemini G.E.L., Los Angeles (with their blindstamps) 51cm x 31.5cm (20.12in x 12.37in)
£6,000-8,000
205 ROY LICHTENSTEIN (AMERICAN, 1923-1997) MODERN HEAD #2, FROM THE MODERN HEAD SERIES, 1970 31/100, signed, dated and numbered in pencil (in the margin), lithograph with line cut and embossing, published by Gemini G.E.L., Los Angeles (with their blindstamps) 50cm x 29.5cm (19.65in x 11.65in)
£6,000-8,000
206 ROY LICHTENSTEIN (AMERICAN, 1923-1997) MODERN HEAD #3, FROM THE MODERN HEAD SERIES, 1970 31/100, signed, dated and numbered in pencil (in the margin), line cut with embossing, published by Gemini G.E.L., Los Angeles (with their blindstamps) 50.5cm x 35.2cm (19.87in x 13.87in)
£6,000-8,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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207 JIM DINE (AMERICAN, B.1935) THE HEART MACHINE, 1990 2/6, signed, dated and numbered and with ‘Walla Walla’ foundry mark, bronze with pink and brown patina 119.5cm high, 28cm across, 28cm deep (47in high, 11in across, 11in deep)
£10,000-15,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
108 Lyon & Turnbull
208 [§] COLIN PEARSON (BRITISH, 1923-2007) VESSEL impressed artist’s mark, with blue glaze and entwined handles 18.5cm high, 22cm across (7.25in high, 8.62in across)
£400-600
209 [§] GWYTHER IRWIN (BRITISH, 1931-2008) SUN DOWN, 2001 watercolour mounted on board 15cm x 24cm (6in x 9.37in), unframed
£1,000-2,000
210 [§] ELIZABETH FRITSCH M.A., C.B.E. (BRITISH, B.1940) ARK, 1998 22cm high, 19cm across (8.75in high, 7.5in across)
£2,500-3,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
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211 [§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH, B.1937) POOL MADE WITH PAPER AND BLUE INK FOR BOOK, FROM PAPER POOLS, 1980 873/1000, signed, dated and numbered in pencil (in the margin), lithograph in colour, on Arches paper, published by Tyler Graphics, Ltd., Mt. Kisco, New York (with their blindstamp), together with the accompanying book ‘Paper Pools’, signed by the artist on the justification in red ink, book number ‘273’, within the original blue linen covered boards and slipcase the sheet 26.5cm x 23cm (10.4in x 9in)
£10,000-15,000
110 Lyon & Turnbull
212 [§] ROBIN WELCH (BRITISH, B.1936) VESSEL impressed artist’s seal, yellow and silvered band 28.5cm high (11.25in high)
£100-200
213 MALCOLM GREEN (BRITISH, 20TH CENTURY) COLLECTION OF MODERNIST SILVER, LONDON, CIRCA 1966-9 comprising four small bowls, a salt and pepper, candle holder, salt pot and spoon the salt and pepper 15cm high (6in high) (9) Note: Malcolm Green was the first silversmith that the renowned designer Louis Osman employed when he established his workshop near Toad Hall, his Sussex Home.
£300-500
214 [§] RICHARD MEITNER (DUTCH, B. 1949) FOUR GLASS VESSELS, 1979 two of opaline glass with hieroglyphic designs; two with ruby inclusions, two with stoppers, each with etched signature and date largest 21cm high (8.3in high), smallest 6cm high (2.3in high) (4)
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
215 [§] DONALD HAMILTON FRASER (BRITISH, 1929-2009) HORIZONTAL LANDSCAPE oil on paper 26cm x 32.5cm (10.25in x 12.75in)
£1,200-1,800
216 [§] PATRICK HERON C.B.E. (BRITISH, 1920-1999) JUNE MINI 5: 1968 from ‘The Shapes of Colour’, 1978, 28/50, signed and numbered in pencil (in the margin), screenprint 17.7cm x 23.5cm (plate size) (7in x 9.25in)
£600-800
217 [§] DEREK BOSHIER (BRITISH, B.1937) SEA - CIRCLE, 1992 tempera on paper 12cm x 18cm (4.7in x 7in) Provenance: Connaught Brown, London.
£800-1,200
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112 Lyon & Turnbull
Max Wall (1908-1990) was an English comedian and actor who started his career in musicals and stage comedies before establishing his presence on the London stage and in films. He is best known for playing the character Professor Wallofski, which notably influenced John Cleese in the creation of his own Ministry of Silly Walks sketch for Monty Python
218 [§] NICHOLAS MONRO (BRITISH, B.1936) MAX WALL, 1978 fibreglass 219cm high, 178cm across, 55cm deep (86in high, 70in across, 21.6in deep) Exhibited: Felicity Samuel Gallery, London, Nicholas Monro: Portraits of Max Wall, 27 February - 31 March, 1978.
£4,000-6,000
219 [§] NICHOLAS MONRO (BRITISH, B.1936) MAX WALL fibreglass 188cm high (including base) (74in high) Exhibited: Felicity Samuel Gallery, London, Nicholas Monro: Portraits of Max Wall, 27 February - 31 March, 1978. Literature: Edward Lucie-Smith, Art in the Seventies, Phaidon Press Limited, 1980, p.62., illustrated. Provenance: Christies, London, 23 August 2011, Lot 309.
£4,000-6,000
220 [§] FILIPPO LA VACCARA (ITALIAN, B.1972) SENZA TITOLO, 2000 painted plaster with metal armature 162cm x 166cm x 31cm (63.8in x 65.4in x 12.2in)
£1,000-2,000
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221 [§] CONROY MADDOX (BRITISH, 1912-2005) THE CONQUEST, 1977 signed and dated (lower right) and titled (to reverese), oil on canvas 121cm x 93cm (47.6in x 36.5in) Exhibited: Conroy Maddox, Camden Arts Centre, London, 17 January-5 March 1978, no. 104
£4,000-6,000
This work belongs to a major phase in Maddox’s oeuvre inspired by the investigations into insanity carried out in the nineteenth century by JeanMartin Charcot at the Parisian Salpêtrière hospital. Charcot was responsible for novel ideas about mental illness and its treatment, particularly in the sphere of hysteria, which, at the time, baffled medical thinking. Sigmund Freud, who had studied under Charcot between 1885 and 1886, was particularly struck by his mentor’s investigations into what he termed ‘the most enigmatic of all nervous diseases’. Maddox was similarly mesmerised by Charcot’s ideas and the photographs of his experiments, regarding them as ‘poetic statements’. The art critic Robert Melville believed that Maddox had been deeply motivated by what he knew of Charcot, and also that his paintings were direct references to the Salpêtrière: ‘He no doubt remembers the assertion made by Breton and Aragon, in connection with Dr. Charcot’s experiments and observations, that “hysteria is not a pathological phenomenon and may in all respects be considered as a supreme means of expression”, and C.M. may even be attempting to piece things together in
a state of experimental hysteria’. (Robert Melville, catalogue, Grabowski Gallery, London, 1963). Maddox himself admitted that he ‘became obsessed with the Hospital of the Salpêtrière, that grand asylum of human misery, where [...] the experiments and observations of hysteria carried out by Charcot revealed a means of expression akin to what the surrealists later called convulsive beauty’. In The Conquest two young girls in white nightdresses are seen alone in the internal courtyard of a prison-like edifice. One girl wanders aimlessly, while the other lies lifeless on the chequered paving. There is a door, but it only leads to the interior of a practically windowless building. The sense of incarceration is overwhelming. Beyond the brick-walled complex there is nothing but an expanse of barren, snow-covered landscape. Maddox’s Salpêtrière is an eerie place from which there is no escape. We are grateful to Dr. Silvano Levy for his kind assistance with the cataloguing of the present work.
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
114 Lyon & Turnbull
222 [§] MATTHEW CHAMBERS (BRITISH, B.1982) YELLOW TWIST, 2014 incised artist’s signature and dated, ceramic 33cm high, 35cm wide, 21cm deep (13in high, 13.5in wide, 8in deep)
£1,000-2,000
223 [§] TROELS GRUM-SCHWENSEN (DANISH, CONTEMPORARY) ’WATERLILY’ PAIR OF SEATS/STOOLS, DESIGNED 2001 brushed steel drum base, re-holstered seating each 43cm high (17in high), when positioned together total length 285cm (112in long)
£3,500-4,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
115
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
116 Lyon & Turnbull
224 ALEXANDER CALDER (AMERICAN, 1898-1976) UNTITLED, 1970 signed and dated (lower right), gouache and Indian ink 72cm x 106cm (28.25in x 41.75in) Provenance: From the private collection of an Edinburgh lawyer, collected during a period of time where he lived in Toronto, Canada in the 1970s. Exhibited: Albert White Gallery, Toronto, Canada.
£40,000-60,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
118 Lyon & Turnbull
225 [§] ANGUS SUTTIE (BRITISH, 1946-1993) STANDING MALE NUDE ceramic 25.5cm high (10in high)
£300-500
226 [§] DAVID REEKIE (BRITISH, B.1947) STANDING FIGURE, 2004 signed and dated (to the base), glass with wooden base glass 40cm high (15.75in high)
£1,500-2,000
227 [§] GEORGINA GARLAND (BRITISH, CONTEMPORARY) FLAT JUG signed 46cm high, 38.5cm across (18in high, 15.25in across)
£150-250
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
228 [§] BRETT PAYNE (BRITISH, CONTEMPORARY) WATER JUG, SHEFFIELD 2002 the vessel of bud form, gilt interior, single handle support of curved form, cylindrical base with feature hallmarks 24cm high, 30.8oz
£800-1,200
229 ETTORE SOTTSASS (ITALIAN, 1917-2007) FOR STILNOVO ’DON’ TABLE LAMP, DESIGNED 1977 manufacturer’s label, enamelled metal 41cm high (16.12in high)
£400-600
230 PHILIPPE STARCK (FRENCH, B.1949) FOR DISFORM ’WENDY WRIGHT’ CHAIR, CIRCA 1986 tubular and sheet steel 74cm high (29in high)
£150-250
119
120 Lyon & Turnbull
231 [§] ADAM NEATE (BRITISH, B.1977) DIMENSIONAL TRIPTYCH, 2013 14/32, signed, titled and numbered (to reverse), motion lenticular 60cm x 60cm (23.5in x 23.5in)
£500-800
David Amar is a graduate of the Royal College of Art in London (2010), and was the recipient of the Clore Foundation Scholarship. He has received multiple awards for his work and has been exhibited internationally in museums and galleries around the world to include the Tel Aviv Museum of Art, Design Museum Holon, Spazio Rossana Orlandi in Milan, Fumi Gallery in London, The Design Museum, Gallery de la Manufacture in Paris and Bloomberg HQ in London.
232 [§] DAVID AMAR (B.1976) RAYMOND TABLE. 2011 five legs composition wth reclaimed wood 42cm high, 132cm across, 104cm deep (16.5in high, 52in across, 41in deep)
£1,000-2,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
233 RAY PARKER (AMERICAN, 1922-1990) UNTITLED, 1960 signed and dated (to reverse), oil on canvas 171.2cm x 162.6cm (67.4in x 64in)
£30,000-50,000
121
122 Lyon & Turnbull
234 [§] ALAN DAVIE C.B.E., H.R.S.A. (BRITISH, B.1920) FLAG WALK, 1972 woven signature (upper left), wool pile tapestry, from an edition of 21 208cm x 279cm (82in x 110in)
£2,500-3,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
235 [§] GORDON BALDWIN O.B.E. (BRITISH, B.1932) BOWL ON BASE, 1991 initialled and dated, earthenware with coloured slips and glazes 42cm high, 38.5cm across (16.5in high, 15.2in across)
£2,000-3,000
236 ASHRAF HANNA (EGYPTIAN, B.1967) UNDULATING BOWL FORM, CIRCA 2011 incised artist’s mark 23cm high, 37cm wide, 28cm deep (9in high, 14.5in wide, 11in deep)
£1,000-1,500
The present works were made around 2011, shortly after Ashraf Hanna finished his MA at the Royal College of Art. Two or three of these works were shown at his solo show at the Contemporary Ceramics Centre in the autumn of 2011. We are grateful to Ashraf Hanna for his kind assistance with the cataloguing of the present works.
237 ASHRAF HANNA (EGYPTIAN, B.1967) BOWL FORM, CIRCA 2011 in terracotta and black, incised artist’s mark 13cm high, 25cm across, 26cm deep (5.12in high, 9.75in across, 10.25in deep)
£400-600
123
124 The House of St. Barnabas
THE HOUSE OF ST. BARNABAS Based at a Grade I-listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a private members club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen or in the charity’s offices: 85% of those who take part graduate from the 12-week course and 68% of graduates secure lasting employment. Music and cultural events are key to the success of The House of St Barnabas, but the building also showcases work by both established and emerging contemporary artists. The Collective combines a permanent collection of visual art - including works by Jeff Koons, Tracey Emin, The Chapman Brothers and Damien Hirst - alongside a programme of rotating exhibitions. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Sandra Schembri, CEO at The House of Barnabas, says the sale of a small fraction of the charity’s holdings will raise funds to help deliver the Employment Academy’s work and allow more of the permanent collection to go on public display. “We are proud and humbled by The Collective, which has well over 100 pieces of work that have been donated to us over the years. We thank every single artist who have supported us in this way. As we celebrate our fifth birthday, we have decided to refine the collection, focusing on works which in some way challenge the status quo, show the viewpoints of those disengaged from society and which are inspiring and accessible to all. We felt it was a good time to put them into the auction, using them to showcase the rest of the work in the House and we hope garner more interest in our work, engaging more support.” Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
125
238 [§] RANKIN (BRITISH, B.1966) TOUCH YOUR TOES, 1996 8/15, signed and numbered on ‘Rankin’ studio label, archival print 58cm x 48cm (22.75in x 19in)
£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
126 The House of St. Barnabas
239 [§] CATHY DE MONCHAUX (BRITISH, B.1960) STUDY FOR BATTLE, 2013 AP/5, signed and numbered, giclée print 20cm x 115cm (8in x 45.25in)
£500-700
240 [§] REMI ROUGH (BRITISH, B.1971) NEON FOLD, 2016 signed and dated (to reverse), graphite and spray paint on wooden panel 56cm x 30cm (22in x 11.75in)
£500-700
241 GÜLER ATES (TURKISH, B.1977) LEIGHTON AND SHE II, 2008 archival digital print 79cm x 108 cm (31in x 42.5in)
£700-900
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
127
242 [§] CHRIS LEVINE (BRITISH, B.1960) EQUANIMOUS, 2007 initialled and dated ‘11’ in pencil in the margin (lower right), and with the artist’s blindstamp, also signed and dated (to reverse), archival inkjet print 47cm x 47cm (18.5in x 18.5in)
£2,000-3,000
In 2004 Chris Levine was commissioned to create a portrait of Queen Elizabeth II by the Jersey Heritage Trust to celebrate 800 years of allegiance of the Crown by the island of Jersey. The result ‘Lightness of Being’ has perhaps become one of the most iconic portraits of the Queen. From that original sitting, Levine has created a series of new editions over the intervening years that are play on different elements of the photography processes that Levine uses. ’Equanimous I’ uses the exposure of the film to change the identity of the Queen although her outline stays in tact. This work was created in 2007, but dated to 2011, as Levine signs the prints as the edition is made, and he does not make all the editions in one go.
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
128 The House of St. Barnabas
243 [§] GORDON CHEUNG (BRITISH, B.1975) INVERTED TULIP BOOK DE ADMIRAEL VAN DER EYCK, 2013 signed, dated and titled (to reverse), acrylic and collage on canvas 51cm x 40cm (20in x 15.75in)
£800-1,200
244 [§] ANNIE KEVANS (BRITISH, B.1972) SANDRA DEE, 2009 signed and titled (to reverse), oil on paper 50cm x 40cm (19.75in x 15.75in)
£800-1,200
245 [§] MARC TITCHNER (BRITISH, B.1973) CHEMISTRY MAKES ME SMILE, 2012 signed, dated and titled (to reverse), acrylic, enamel and plasticine on MDF with string frame overall 90cm x 90cm (35.5in x 35.5in)
£1,000-2,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
129
246 [§] AFSOON (IRANIAN, B.1961) NOT JUST ANY QUEEN (II), 2011 c-print on Somerset paper of a mixed media collage 40cm x 56.5cm
£1,500-2,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
130 The House of St. Barnabas
247 [§] REBECCA STEVENSON (DANISH, B.1971) CHARDINALIA, 2011 polyester resin, marble dust and acrylic paint overall 45.5cm high, 25.5cm across, 27cm deep (17.75in high, 14in across, 10.65in deep)
£700-1,000
248 [§] SOPHY RICKETT (BRITISH, B.1970) OBSERVATION 95 IN 10 PARTS (1-6), 1991/2013 2/5, signed and numbered on labels (to reverse), c-type prints each 29cm x 29cm (11.5in x 11.5in) (6)
£800-1,200
249 [§] DR. VIKTOR SCHROEDER (GERMAN, B.1946) MEMENTO MORI with syringe, cast human skull, 19th Century bible, Victorian pocket watch and taxidermy butterfly 35cm high, 43cm across, 32cm deep (13.75in high, 17in across, 12.5in deep)
£1,500-2,500
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
131
250 [§] THE CONNOR BROTHERS (B.1968) A LOAD OF FUSS ABOUT FUCK ALL, 2013 signed and dated (to reverse), acrylic on canvas 180cm x 110.5cm (71in x 43.5in)
£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 2
132 The House of St. Barnabas
251 [§] HARLAND MILLER (BRITISH, B.1964) RAGS TO POLYESTER, 2014 AP 3/10, signed and numbered in pencil, giclée print on German etching 310 gsm paper the sheet 94cm x 74cm (37in x 29.25in)
£4,000-6,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
OTHER PROPERTIES
252 [§] CHRIS LEVINE (BRITISH, B.1960) MARKS THE SPOT 2, MARKS THE SPOT 3 AND MARKS THE SPOT 8, 2018 each initialled and dated in pencil and from an unnumbered edition of 25, published by Jealous Gallery, screenprint with glitter overlay on Somerset satin paper each 30cm x 30cm (11.75in x 11.75in), unframed (3)
£1,000-1,500
253 KAWS (AMERICAN, B.1974) SMALL LIE (BROWN); SMALL LIE (BLACK); SMALL LIE (GREY) printed with the artists name, date, fabricator and title ‘KAWS..17 SMALL UE MEDICOM TOY CHINA’ on the underside of the painted vinyl, executed in 2017, these works are from a limited edition fabricated by Medicom each 12.9cm x 12.2cm x 27.5cm (5.12in x 4.75in x 10.85in) (3)
£600-800
133
134 Lyon & Turnbull
254 REBECCA JOSELYN (BRITISH, CONTEMPORARY) ’BAG’ VASE, SHEFFIELD 2017 silver and gilt 15cm high, 12cm across (5.9in high, 4.7in across)
255
£600-800
REBECCA JOSELYN (BRITISH, CONTEMPORARY) PACKET VASE, SHEFFIELD 2018 silver 12cm high, 11cm across (4.7in high, 4.3in across), 3.5oz
£400-600
Rebecca Joselyn is based at Yorkshire Art Space in the heart of Sheffield City Centre. She has worked on a number of awards and commissions. This includes a large oil container which was on show in the Museum of Modern Art in Kuwait, and the packaging for the world’s most expensive coffee. She has featured in articles in the Sunday Times ‘Home’ and Financial Times ‘How to Spend It’, and her work is now in a number of important collections including the Pearson Silver Collection and the collection of the Duke of Devonshire.
256 REBECCA JOSELYN (BRITISH, CONTEMPORARY) ’SARDINE’ SAUCE POT AND SPOON, SHEFFIELD 2018 silver and gilt 9.5cm across, 5.5cm deep (3.75in across, 2.2in deep)
£600-800
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
257 [§] DEREK BOSHIER (BRITISH, B.1937) WE’RE BULLISH ABOUT THE WAR, 1992 tempera on paper 12cm x 17cm (4.7in x 6.7in)
£800-1,200
258 RON ENGLISH (AMERICAN, B.1959) MCFLABBY ROAD, 2008 oil on canvas 59.5cm x 90cm (23.5in x 35.5in) Provenance: Elms Lesters, London, May 2008; Private Collection.
£5,000-7,000
259 [§] BERTHE DUBAIL (BELGIAN, 1911-1984) HOMMAGE À NUMBER FOUR, ET À YOKO ONO, 1968 signed, dated and titled (to reverse), oil on canvas 89cm x 99cm (35in x 39in)
£1,000-2,000
135
136 Lyon & Turnbull
260 TONY LEWIS (AMERICAN, B.1986) TAKE LOTS OF SNAPSHOTS (TL360), 2015 pencil, graphite powder and tape on paper 121.9cm x 182.8cm (48in x 71.9in) Provenance: Kimmerich Gallery, Berlin.
£10,000-15,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
261 TONY LEWIS (AMERICAN, B.1986) HIGH, 2015 pencil, graphite powder, tape on paper 210.8cm x 180.3cm (83in x 71in)
£15,000-20,000
137
138 Lyon & Turnbull
262
263
[§] TIM SHAW (BRITISH, B.1964)
[§] TIM SHAW (BRITISH, B.1964)
FERTILITY FIGURE 1/7, signed and numbered, bronze 30.5cm high (12in high)
SILENUS, 2006 8/8, signed, dated and numbered, bronze
£1,000-2,000
28cm high (11” high) Silenus relates to the ‘Rites of Dionysos’, a work commissioned by the Eden Project in 2000-4. It depicts Dionysos’s tutor as the wise old fool, wearing antlers and clutching his erect penis, staring deeply into the eye’s of the viewer.
£1,000-2,000
264 [§] DAVID KIM WHITTAKER (BRITISH, B.1964) SHADOWS FROM THE BOWL, 2007-08 signed, dated and titled (to reverse), painted on three panels each panel 29cm x 29cm (11.4in x 11.4in)
£6,000-8,000
Modern Made
265 [§] DAVID KIM WHITTAKER (BRITISH, B.1964) ANNODAM DOMINI, 2008 signed, titled and dated (to reverse), oil on board 29.5cm x 29.5cm (11.6in x 11.6in)
£3,000-5,000
266 EDWARD BARBER AND JAY OSGERBY FOR ESTABLISHED AND SONS SET OF THREE ‘DELTA’ TABLES, DESIGNED 2008 synthetic rosin the tallest 70cm high (27.5in high) (3)
£1,000-2,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
139
140 Lyon & Turnbull
267 [§] MAGGI HAMBLING (BRITISH, B.1945) JANUARY MORNING, 2008/9 signed and dated (to reverse), oil on canvas 29.5cm x 80cm (11.5in x 31.5in)
£1,500-2,500
268 SEUNG-TAEK LEE (KOREAN, B.1932) TIED STONE, 1984 signed and dated, stone and wire 13cm high, 25.5cm across, 14cm deep (5.1in high, 10in across, 5.5in deep)
£15,000-20,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
269 SEUNG-TAEK LEE (KOREAN, B.1932) TIED STONE, 1972 inscribed and dated, stone and wire 21cm high, 20cm across, 14cm deep (8.2in high, 7.9cm across, 5.5cm deep)
£15,000-20,000
270 [§] JULIAN STAIR (BRITISH, B.1955) EIGHT CUPS AND BEAKERS ON A GROUND impressed artist’s mark, thrown coloured porcelain cups and beakers on a light grey ground the ground 70.5cm across, 7cm high, 9.5cm deep (27.75in across, 2.75in, 3.75in deep)
£3,000-5,000
141
142 Lyon & Turnbull
271 MARK DEAN VECA (AMERICAN, B.1963) BAT BOY, 2004 signed and dated (to reverse), oil on canvas 62cm x 55cm (24.5in x 21.5in)
£2,000-3,000
272 [§] ANTHONY STERN (BRITISH, B.1944) SIX FLOOR STANDING VASES blown coloured glass the tallest 104cm high, 40cm diameter (40.9in high, 15.7in diameter) (6)
£1,000-2,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
143
273 KYOSUN JUNG (KOREAN, B.1984) ZIGZAG CLUTCH BAG, LONDON silver gilt and red leather 11cm high, 24cm across (4.3in high, 9.4in across) The clutch bag is made of the finest quality of goat skin and is hand stiched by leather craftsman. Jung’s intention behind producing silver and leather clutch’s, is a reflection on silver in today’s modern environment and our lives; and how we can use this in our everyday life.
£4,000-6,000
274 KYOSUN JUNG (KOREAN, B.1984) PAIR OF TUMBLERS, LONDON 2019 hand engraved silver 9cm high,12.5cm diameter (3.5in high, 9in diameter) The tumblers are inspired by water. Kyosun Jung is fascinated about how it flows, moves and its originality; with so many amazing and encapsulating patterns, shapes and forms. Also, water creates different textures, appearances and moods/feelings; soft, calming, aggressive, angry, peaceful and powerful. The hand engraved decoration respresents the motion, movement and patterns captured in her research material.
£2,500-3,500
275 KYOSUN JUNG (KOREAN, B.1984) SILVER TRILLION BOWL, LONDON 2015 silver and gilt 12.3cm high, 15.5in across (4.8in high, 6.1in across) This bowl reflects Kyosun Jung’s research into natural minerals and in particular, the forms and shapes of trillion stones. This is represented by the cored, formed and applied units decorated with subtle patterns that have been created using the technique of engine turning.
£2,000-3,000
144 Lyon & Turnbull
276 [§] GABRIELE KOCH (GERMAN, B.1948) VESSEL incised signature, burnished and smoke fired 35cm high (13.75in high)
£400-600
277 [§] TRACEY EMIN C.B.E., R.A. (BRITISH, B.1963) THE MIRACLE FISHER MEN, 1986 signed, titled and dated in pencil, monotype in colours on wove paper 39cm x 34cm (15.5in x 13.5in), unframed
£800-1,200
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
278 OLIVIER GAGNÈRE (FRENCH, B.1952) VASE MÉDITERRANÉE, DESIGNED 2002 inscribed ‘O. GAGNÈRE, EDITION LIMITÉE PARIS’ 81cm high (31.9in high)
£600-800
279 OLIVIER GAGNÈRE (FRENCH, B.1952) VASE MÉDITERRANÉE, DESIGNED 2002 inscribed ‘O. GAGNÈRE, EDITION LIMITÉE PARIS’ 81cm high (31.9in high)
£600-800
145
146 Lyon & Turnbull
280† [§] TRACEY EMIN C.B.E., R.A. (BRITISH, B.1963) I KNOW, I KNOW, I KNOW, 2007 1/3, from an edition of three, white and blue neon 261.3cm x 112.7cm (103in x 44.4in) Exhibited: Shrewsbury Museum and Art Gallery, February - June 2014.
£40,000-60,000
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
Modern Made
147
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
148 Lyon & Turnbull
Index AFSOON 246 AMAR, D. 232 ANDREWS, T. 180 ARMITAGE, K. 90 ATES, G. 241 AUGUSTUS, J. 10, 11 AYRTON, M. 95 BALDWIN, G. 115, 117, 235 BARBER, E. OSGERBY, J.266 BARBER, V. 112 BARNABE, D. 53 BEEK, D. 199 BENNEY, G. 59 BLANDINO, B. 4 BOSHIER, B. BOSHIER, D. 217, 257 BOTTA, M. 135, 136, 138 BRATMAN, I. 109-111,113-114 BROWN, P. 15 BÜLOW-HÜBE, V.T. 183 CAIGER-SMITH, A. 27 CALDER, A. 224 CANNEY, M. 192, 193 CARDEW, M. 32, 49, 51, 52 CARO, A. 45 CATTANEO, P. 73 CHAGALL, M. 198 CHAMBERS, M. 222 CHEUNG, G. 243 CLARKE, G. 185 CONNOR BROTHERS 250 COOPER, E. 69 COOPER, W. 106, 108 COLLINGWOOD, P. 148,149
Glossary
DALI, S. 63 DARI, A. 182 DAVIE, A. 141, 142, 234 D’ESPAGNAT, G. 24 DEVLIN, S.L. 157-163 DINE, J. 207 DOUTHWAITE, P. 147 DUBAIL, B. 259 DURBIN, L.G. 60, 61 EASTOP, G. 145 EMIN, T. 277, 280 ENGLISH, R. 258 EPSTEIN, J. 25 FEDDEN, M. 48, 171, 187 FEILER, P. 55 FESENMAIER, H. 129 FORNASETTI, P. 166 FRITSCH, E. 210 FROST, T. 75, 139 GAGNÈRE, O. 278, 279 GARLAND, G. 227 GEAR, W. 186 GREEN, A. 137 GREEN, M. 213 GRIERSON, M. 13 GRUM-SCHWENSEN, T. 223 GODFREY, I. 144 HAMADA, SH. 101, 102, 116, 188 HAMBLING, M. 267 HAMILTON FRASER, D. 215 HAMMOND, H. 16 HANNA, A. 236, 237 HAYES, P. 40, 41, 181 HEATH, A. 118 HEPWORTH, B. 87, 103 HERMAN, S. 96-99, 201 HENDERSON. E. 143
HERON, P. 154, 156, 216 HEU, J. 38 HILTON, R. 68 HOCKNEY, D. 200, 211 IRWIN, G. 209 JANSEN, M. 30-31, 194 JENSEN, S.G. 39, 43 JOSELYN, R. 254-256 JUNG, K. 273-275 KAWS 253 KENWORTHY, J. 64 KEVANS, A. 244 KOPPEL, H. 42 KOCH, G. 88, 276 LAWRENCE, CH.N. 81-83 LEACH, B. 19-21 LEACH, D. 85, 86 LEACH, J. 50 LEE, J. 190 LEE, S.T. 268-269 LÉGER, F. 197 LEWIS, T. 260-261 LEVINE, CH. 242, 252 LICHTENSTEIN, R. 204-206 LIPSHITZ, L. 57 MACMIADHACHAIN, P. 66 MADDOX, C. 221 MALTBY, J. 104, 168, 170 MENINSKY, B. 54 MILNE, J.E. 84 MIRROR, M. J. 30 MOHIDIN, A.L. 191 MONCHAUX, C. 239 MONRO, N. 218, 219 MOUNT, M. 100 MEITNER, R. 214 MILLER, H. 251
NASON, C. 62, 155 NEATE, A. 231 O’RORKE, M. 140 OSEN, E.D. 35-37 PAOLOZZI, E. 2, 6 PARISI, I. 89 PARK, J.A. 12 PARKER, R. 233 PARKINSON, R. 70-72 PASMORE, V. 34 PAYNE, B. 228 PEARSON, C. 208 PESCE, G. 178, 195 PICASSO, P. 175, 176 PIGNON, E. 28 PIPER, J. 105, 107, 165, 189 RAMSHAW, W. 121-128 RANKIN 238 REEKIE, D. 226 RICKETT, S. 248 RIE, L. 91-93, 130-133, 164, 167, 203 RILEY, B. 1, 3 RIZZO, W. 76, 196 ROBINSON, I. 56, 58 ROTHENSTEIN, M. 173 ROUGH, R. 240 SANTILLANA, L. 151 SARPANEVA, T. 77-80 SCARPA C. 179 SCHROEDER, DR.V. 249 SCOTT, W. 22, 23 SHAW, T. 262, 263 SILVERTON, A. 29 SMITH, M. 33 SNELSON, K. 174 SOTTSASS, E. 229
SPEAR, R. 26 STARCK, P. 230 STAIR, J. 270 STEVENSON, R. 247 STEPHENSEN, M. 44 STERN, A. 272 SUTHERLAND, G. 46 SUTTIE, A. 225 TÀPIES, A. 177 TAPLIN, G. 172 TILSON, J. 169 TITCHNER, M. 245 TORLASCO, O. 65 TURNBULL, W. 94 TUTTLE, P. 119 VACCARA, F. 220 VAUGHAN, K. 47 VECA, M.D. 271 VENINI STUDIO 152, 153, 179 WALTON. S. 74 WARD, J. 5 WASHINGTON, R.J. 14 WECKSTRÖM, B. 184 WELCH, R. 212 WENTWORTH, R. 134 WHITTAKER, D.K. 264, 265 WILSON, S. 9 WIRKKALA, T. 150 WOOD, CH. 17, 18 WRIGHT, A. 202 YASUDA, T. 146 YATES, F. 7, 8
The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the coandition of the lot or the extent of any restoration. Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width. Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist
Circle of… In our opinion work of the period of the artist and showing their influence
Attributed to… In our opinion probably a work by the artist in whole or in part
Follower of… In our opinion a work executed in the artist’s style, but not necessarily by a pupil
Studio of… / Workshop of… In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision
Manner of… In our opinion a work executed in the artist’s style but of a later date
Signed… / Dated… / Inscribed… / In our opinion the work has been signed/ dated/inscribed by the artist Bears Signature… / Date… / Inscription… / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist
Modern Made
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EASTRE (HYMN TO THE SUN) Bronze
EASTRE (HYMN TO THE SUN) Bronze 40cm (15.75in) high
£30,000-50,000
40cm (15.75in) high
£30,000-50,000
SCOTTISH PAINTINGS & SCULPTURE AUCTION 06 JUNE 2019 IN EDINBURGH AT 6PM To discuss selling in this or future autions, please contact: Nick Curnow | nick.curnow@lyonandturnbull.com 0131 557 8844
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150 Lyon & Turnbull
WHISKY & SPIRITS
AUCTION 16 APRIL 2019 IN EDINBURGH AT 5PM
Demand for high quality aged whisky is far outstripping
Our consultant specialists, Colin Fraser and Adam Irvine,
supply, and record auction prices are being paid for both
have extensive experience, offering valuations and auction
bottles and casks.
opportunities for bottles, casks and collections across the
It is not just rare editions that have seen significant rises. Many bottles sitting at the back of the drinks cabinet are now highly sought after - Macallan 12 year old from the 1990s is now worth over £300 per bottle and £50,000250,000 per cask.
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
UK. To arrange a valuation of any works you are considering selling, please contact junior specialist Olivia Ross on 0131 557 8844 or at olivia.ross@lyonandturnbull.com
Modern Made
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Lyon & Turnbull Live - a new live bidding system
This new facility allows users to enjoy the convenience and excitement of a live auction from
Features include: •
Quick registration for upcoming auctions
any location, and all without the requirement to pay the additional premiums charged by other live
•
Track upcoming lots and receive timely notifications
bidding providers.
•
Leave absentee bids for upcoming auctions
Register to bid live in an upcoming auction through our website or
•
download the app from the Apple App Store or Google Play to browse and bid from any mobile device.
Bid live using our simple swipe-to-bid interface
•
Watch sales in real time
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
152 Lyon & Turnbull
Conditions of Sale CONDITIONS OF SALE FOR BUYERS (UK) The Auctioneer 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 of Sale (Buyers): “Auctioneer” means Lyon and Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” means several lots with a total lower estimate value of £30,000 or above; “High Value Lot” means a lot with a lower estimate of £30,000 or above; “Lot” means each Item offered for sale by Lyon and Turnbull; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer; “Us”, “Our”, “We” etc. refers to Lyon and Turnbull Ltd, The singular includes the plural and vice versa as appropriate. 2. AGENCY We act as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and do not give advice to Buyers. When we make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers. 3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid. We reserve the right to ask buyers for identification to prevent fraud, underage purchases and/or any other legal or legitimate purpose. (b) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with us, you should complete the High
Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if we have confirmed your payment of deposit and your completion of the High Value Lot pre-registration before the sale. The Deposit required will be 10% of the lower estimate. Upon pre-registration, you should pay the deposit or such other sum as determined by us dependant on circumstances, by way of bank transfer or credit card(s) acceptable to us. Please note that we do not accept payment from third parties and this also applies to agents. If you are not successful in any bid and do not owe us any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by us. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final. We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers. Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and absentee bids. We have the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts
to contact them to enable them to participate in bidding by telephone. We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. 4. INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 6. RESERVES Unless indicated by a insert symbol (∆ ), all lots in this catalogue are offered subject to a reserve. A reserve is the confidential hammer price established between us and the seller. The reserve is generally set at a percentage of the low estimate and will not exceed the low estimate for the lot. 7. VALUE ADDED TAX 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. (1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items. (3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above. 8. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on
1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. 9. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. (b) Please note that we do not accept cash payments over £5,000. (2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied. 10. 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 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time. (5) 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, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in
Modern Made
making full payment for the lot. 11. 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 Sellers and on their 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 contract for 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). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 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 which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied. 12. 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that
photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot. (2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between us and the Buyer. The condition reports do not affect the Buyer’s obligations in any way. (3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. (5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item. (7) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, you affirm that you are at least that age. All collections must be signed for by a person over the age of 18. We reserve the right to ask for ID from the person collecting. Buyers of alcohol must
make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (8) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 13. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any named item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the catalogue, or at the time of sale, nor in respect of lots sold for less than £300. (2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. 14. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any lots which may be subject to CITES but have not be identified as such.
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15. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 16. 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, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 17. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to us should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by us shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 18. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event Lyon and Turnbull in its reasonable opinion deems that
154 Lyon & Turnbull
the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser. This Guarantee does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the lot. We shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon and Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation,
loss of profits or interest. 19. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). We will not give out personal information except as may be required by law. If you would like further information on our policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 20. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 21. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
CONDITIONS OF SALE FOR SELLERS (UK) 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon and Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Buyer” is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon and Turnbull and the Seller;
“Lot” means each Item offered for sale by Lyon and Turnbull; “Lower Estimate” means the low estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Lyon and Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon and Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “Upper Estimate” means the high estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or private treaty); “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it. “Us”, “Our”, “We” etc refers to Lyon and Turnbull Ltd The singular includes the plural and vice versa as appropriate. 2. W ARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided us with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning
its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises us in writing to the contrary on delivery of the item to us, there are no restrictions on our rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency. If any of (a) (b) (c) and (d) above are incorrect, you will reimburse us and/or the Buyer in full for all claims, costs or expenses incurred by us or the Buyer as a result, whether arising in relation to the Lots or the sale proceeds. 3. PREPARATION FOR SALE (a) We shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) We will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by us is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in our absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing. 4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 5. S TANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30. Online Listing: £10 per lot. (2) Transport: Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at settlement.
Modern Made
(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior. The copyright in respect of such illustrations shall be the property of us, as is the text of the catalogue. (4) Storage: Of the Lots after the sale, where applicable. 6. RESERVES (a) The lots will be sold subject to the Reserve. If the Reserve is not mutually agreed between us and confirmed by you in writing before the sale, the Reserve will be fixed by us in our sole discretion on the basis of our reasonable opinion as to the probable level of bids for the lot. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, We may treat the Seller as bound as Seller and as Buyer but without the benefit of our Authenticity Guarantee or the reserve, and/or pursue other remedies. 7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below we will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by us and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to us for items still in the possession of us but not consigned for sale (unless part of a long-term storage agreement). (b) We shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, our liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT). 8. UNSOLD ITEMS (1) If any or all of the lots are unsold and are not re-consigned to us for sale, or are not included in a sale, or are withdrawn from sale for any reason, they must be collected from us within one month. After the date of the sale, or one month after we send you a notice requiring you to collect them (whichever occurs first). If any such lots remain uncollected at the end of such period we shall arrange storage at your expense, which may involve a third party. If such lots are not collected within 90 days after the date of the sale or the date of notice
they may be disposed of as we see fit, which may involve their sale by public auction on such terms as we consider appropriate, including those relating to estimates and reserved, we shall account to you for the proceeds of sale, deducting all amounts due to us. (2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original 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 Conditions apply. 9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) We may withdraw a lot from the proposed sale without any liability if: (i) We reasonably believes that there is any doubt as to the lot’s authenticity, attribution, or provenance; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when we took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides. 10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. 11. NON-PAYMENT BY THE BUYER (a) We will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) We, in consultation with the Seller, will decide whether to pursue any of
the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. We will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf we will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform us of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot. 12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale. Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested). 13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 14. 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 or similarly for the safety of the property of persons visiting prior to, during or after a sale. 15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to us should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.
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(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by us shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing. 16. RECISSION OF SALES We may rescind the sale where it reasonably believes that the lot falls within the terms as defined by our Authenticity Guarantee (see Buyer’s conditions), in this event we shall send the Seller notice of such rescission. The Seller agrees to return to us the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by us. We will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith our control. The Buyer must satisfy us that the Buyer is entitled to exercise a remedy under the authenticity guarantee within five years of the date of the auction. 17. AGENCY Lyon and Turnbull acts as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and does not give advice to Buyers. When we make a statement about a lot it is doing so on behalf of the Seller of the lot. The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers. 18. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). We will not give out personal information except as may be required by law. If you would like further information on Lyon and Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844. 19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. 18.6
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Guide to Bidding & Payment REGISTRATION
HOW TO BID
PAYMENT
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:
By phone
Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:
1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
BIDDING At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.
COLLECTION All collections of Modern Made artworks can be made from Mall Galleries, The Mall, St. James’s, London SW1Y 5AH until Friday 29th March 2019 at 3pm.
A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. In writing Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk. On the internet A fully-illustrated catalogue is available on our website. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Live online bidding is also available - access through our website, or download the live bidding app L&T Live. This service is offered for no additional fee.
Thereafter all bought items will be moved free of charge until Friday 5th April 2019 at 5pm to Queen’s Fine Art and Storage, Unit C6, Brunel Gate, Aylesbury HP19 8AR | 01296 393 120
Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department. Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards. Online Card Payments We no longer accept card payments by phone. Please use our online payment service (provided by Cardstream/Credorax). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. Cheque Cheques should be made payable to Lyon & Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice. Cash Cash payments can be made at the accounts desk during or after a sale. Cash payments are limited to £5,000.
All items not collected by 5pm on Friday 5th April 2019 will incur the following charges, payable to Lyon & Turnbull Ltd. directly: Administration fee per lot: £20 + VAT, Storage charges per lot per day, including insurance and VAT: Large Items £5, Small Items £2.50
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2 Lyon & Turnbull
22 Connaught Street, London W2 2AF Tel. +44 (0)207 930 9115 info@lyonandturnbull.com www.lyonandturnbull.com
33 Broughton Place, Edinburgh EH1 3RR Tel. +44 (0)131 557 8844
Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4
182 Bath Street, Glasgow G2 4HG Tel. +44 (0)141 333 1992