MODERN MADE: Modern Art, Design & Studio Ceramics | Auction 14th November 2019

14TH NOVEMBER 2019 LONDON

FULVIO BIANCONI Lots 109 & 110

THURSDAY 14 NOVEMBER 2019 AT 1PM Sale Number LT579

Noho Studios 46 Great Titchfield St, Fitzrovia, London W1W 7QA

VIEWING Tuesday, 12th November 10am - 5pm Wednesday, 13th November 10am - 5pm Day of Sale 10am - 12pm

CONTACT LONDON +44 (0) 207 930 9115 EDINBURGH +44 (0) 131 557 8844 info@lyonandurnbull.com

BRYAN INGHAM Lot 169

DEBORAH VAN DER BEEK Lot 91

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BUYER'S GUIDE

JAMINI ROY Lot 113

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website).

BUYER’S PREMIUM & OTHER CHARGES The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £300,000/20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of

REGISTRATION

BIDDING & 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:

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Sale at the back of this catalogue).

1 – Government issued photo ID (Passport/Driving licence)

ADDITIONAL VAT

2 – Proof of address (utility bill/bank statement).

† 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.

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).

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

COLLECTION & STORAGE

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

CATALOGUE DESCRIPTIONS 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.

Please ensure payment has been made prior to collection.

This can be done online, cheque, bank transfer or in person at our London office - details will be shown on your invoice.

Please note we are unable to take payments over the phone.

Immediately after the sale clients will be able to collect from Noho Studios on Friday 15th November 10.00-17,00 and on Saturday 16th November 10.00-12.00.

After that time the works will be divided, with works belonging to Scottish buyers/ vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping Ltd., Unit 9, Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222.

FOR INTERNATIONAL & UK OUTSIDE SCOTLAND CLIENTS Items will be available to collect from 9am on Tuesday 19th November. Items will be stored free of charge until Thursday 28th November.

From Friday 29th November clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day.

Large or Furniture pieces - £5.50 admin fee then £2.50 per day.

FOR SCOTTISH CLIENTS Scottish buyers and vendors items will be available to collect from 9am on Friday 22nd November at Lyon & Turnbull Edinburgh.

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ALEXANDER CALDER Lot 272

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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 philip.smith@lyonandturnbull.com

Carly Shearer Specialist carly.shearer@lyonandturnbull.com

Matthew Yeats Department Administrator matthew.yeats@lyonandturnbull.com

AUCTION VENUE

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Noho Studios 46 Great Titchfield St, Fitzrovia, London W1W 7QA

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For art is not a “profession.” There is no essential difference between the artist and the craftsman.

The artist is an exalted craftsman.

Walter Gropius, 1919

We are delighted to welcome you to the second iteration of Modern Made, a showcase for the best of Modern British Art across multiple disciplines including paintings, works on paper, design and contemporary and studio ceramics.

Displaying the 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. Art Education in the mid-20th Century 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 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. This cross-over of ideas is most clearly shown in the collection of works from Porthia Textile Prints we are delighted to be exhibiting in Modern Made. Formed in the 1950s, by Denis Mitchell and his brother Endell in St. Ives, to gain publicity and money for the growing St Ives art scene in the 1950s, the aim was to produce a series of original table mats by a range of artists to be sold by Heals of London.

Other collections to be featured in the auction include the studio and contemporary ceramics collection of the renowned gallerist Barbara Ling, works from the estate of the St. Ives artist Bryan Ingham and a special focus on a collection of Scandinavian rugs that coincides with the centenary of the foundation of the firm by Märta MååsFjetterström. We hope that Modern Made offers the perfect opportunity to acquire works by some of the century’s most celebrated artists and makers, and that the exhibition and auction is thought-provoking and inspirational.

Philip Smith November 2019

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1§ FRED YATES (BRITISH 1922-2008) CORNISH HARBOUR Signed (lower right), oil on board 37.5cm x 75cm (14.75in x 29.5in)

£1,000-2,000

2§ JOHN ANTHONY PARK (BRITISH 1880-1962) HIGH TIDE Signed (lower left), oil on canvas 49cm x 59.5cm (19.25in x 23.5in) Provenance: Purchased from the Boathouse Gallery, Walton, 1950, and thence by descent.

£1,000-1,500

3§ JOHN ANTHONY PARK (BRITISH 1880-1962) LOW TIDE Signed (lower right), oil on board 30.5cm x 40cm (12in x 16in) Provenance: Purchased from the Boathouse Gallery, Walton, 1950, and thence by descent.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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4§ KEN HOWARD R.A., O.B.E. (BRITISH 1932-) SANTA MAGDALENA DE PULPIS, 1968 Signed (lower right), oil on canvas 60cm x 75cm (23.6in x 29.5in)

£1,500-2,500

5§ PAUL SERUSIER (FRENCH 1864-1927) PAYSAGE D’AUTOMNE AU ROCHER NOIR ET BLANC, PONT AVEN Initialled (lower left), pastel on brown paper, with sketch drawings to the reverse 23.2cm x 16.3cm (9.12in x 6.37in) Literature: Catalogue raisonné de l’oeuvre Paul Sérusier (1864-1927), reference C-123, illustrating the front and back and noting it is from Sérusier’s period at Châteauneuf-deFaou (1893-1927).

£4,000-6,000

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6 ATTRIBUTED TO OTTONE ROSAI (ITALIAN 1895-1957) VIA SAN LEONARDO Signed and dated XIII (lower right), oil on canvas 70.5cm x 50cm (27.75in x 19.5in)

£3,000-5,000

7 FRANK BRAMLEY R.A. (BRITISH 1857-1915) HEAD OF ISAAC WALTER, GRASMERE, 1912 Inscribed, titled and dated (to reverse), oil on canvas on board 21.5cm x 15.5cm (8.5in x 6.25in) Provenance: Phillips, London, 7 March 2000, Lot 16; Private Collection.

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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8 JANET LEACH (AMERICAN 1918-1997) VESSEL Impressed artist’s seal, wing handles, poured glaze 25.5cm high (10in high)

£200-400

9§ WILLIAM MARSHALL (BRITISH 1923-2007) THREE UNOMI Each impressed artist’s seal 10cm high (4in high) (3)

£200-400

10 § WILLIAM MARSHALL (BRITISH 1923-2007) BOWL Impressed artist’s seal, poured glazes 43cm diameter (17in diameter)

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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11 KINPEI NAKAMURA (JAPANESE 1935-) DISH Incised ‘Nakamura 77’, deep brown oil-spot glaze with a light blue-green poured design 36.8cm diameter (14.5in diameter) Provenance: Susan Peterson Collection; Phillips, New York, 17 May 2000, lot 105; Private Collection.

£600-800

12 TATSUZO SHIMAOKA (JAPANESE 1919-2007) BOTTLE VASE, 2000 Impressed artist’s seal, stoneware with dripped glaze 26cm high (10.25in high) Exhibited: Galerie Besson, London, Tatsuzo Shimaoka New Work, May-June 2001.

Provenance: Private Collection, London.

£700-1,000

13 SHINSAKU HAMADA (JAPANESE 1929-) FOOTED DISH Wax resist decoration through kaki glaze 27.5cm diameter (10.75in diameter) Exhibited: Liberty’s, London, Japanese Potters’ Exhibition: T. Shimaoka, K. Funaki, S. Hamada, March - April 1986, No. H25.

£200-300

14 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.

£500-700

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15 WALTER SICKERT A.R.A. (BRITISH 1860-1942) LA GRANDE RUE, DIEPPE Oil on canvas 31.5cm x 39.3cm (12.5in x 15.5in) Provenance: The Redfern Gallery, London; Leicester Galleries, London; The Piccadilly Gallery, London, 1963; The Rt. Hon Lord Grimond of Firth M.P.; Christie’s, London, 23 March 1995, lot 72; Private Collection.

Exhibited: Probably Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London, Modern English Pictures, March 1932, no. 115.

£10,000-15,000

Walter Sickert visited Dieppe for the first time in 1879, and regularly returned to live and work there. This view shows La Grand Rue from the Place Nationale, and the shops lining the street receding into the background. Apart from extended stays in Venice, between 1898 and 1905, Sickert focussed most of his work in Dieppe and made many paintings in and around the Place Nationale. The concept of an empty foreground, receding street and flat front of shops was a technique that Sickert employed many times in his landscape works of the period, as in this painting.

From his first exhibition of work from Dieppe at the New English Art Club in 1891 his works attracted acclaim, the Sunday Times noting;

Mr Walter Sickert…has never done anything better than ‘Dieppe’, a vivid vision of the place that palpitates with actuality, and is entirely pictorial.

Sunday Times, 12 April 1891 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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16 § LAWRENCE TOYNBEE (BRITISH 1922-2002) CLOVELLY FROM THE QUAY, 1952 Initialled ‘LLT’ and dated (upper right), oil on canvas on board 27cm x 30cm (10.5in x 11.75in) Exhibited: Bear Lane Gallery, Oxford.

£800-1,200

17 § GHISHA KOENIG (BRITISH 1921-1993) FEMALE HEAD Stone composition, moulded and possibly with some hand carving, with stone base and wooden stand 17.5cm high (head), 26.5cm high (including base and stand) Provenance: From the collection of F.G. ‘Peter’ Stone.

£700-1,000

18 ALBERT LEBOURG (FRENCH 1849-1928) NOTRE-DAME FROM THE SEINE Signed (lower right), oil on canvas 36.5cm x 53.5cm (14.25in x 21in)

£4,000-6,000

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19 RUSSELL DRYSDALE (AUSTRALIAN 1912-1981) COUNTRY CHILD Initialled and titled in pen (lower right), pen and ink on paper 37cm x 25cm (14.5in x 9.87in), unframed

£1,000-2,000

20 § GIACOMO MANZÙ (ITALIAN 1908-1991) RECLINING FIGURE Signed in pencil (lower right), and signed, dated 1953 and inscribed to Ronald Searle in pen (in the margin) 25.5cm x 37.8in (10in x 14.8in), unframed

£800-1,200

21 § GEORGE GROSZ (GERMAN 1983-1959) FEMALE NUDE Taken from a sketchbook dated 1912/1913, with pencil inscription from the family of the artist to Ronald Searle, pen and ink on paper The sheet 23cm x 18cm (9in x 7in) Note: The work is inscribed ‘for Ronald Searle, To remember the placing of the Grosz plaque in Berlin on 6 December 1977, from Martin and Peter Grosz and his wife’. It is also inscribed by Ronald Searle to the reverse ‘by George Grosz, taken from a sketchbook, dated 1912/1913,

by Peter Grosz, Berlin, 7 December 1977, RS.’

£800-1,200

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22 § ERNEST H. SHEPARD O.B.E., M.C. (BRITISH 1879-1976) WINNIE THE POOH ...

AND PIGLET, 1952 Signed, dated and inscribed in pencil, pencil on paper 20cm x 11.5in (7.87in x 4.5in)

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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23 HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) FEMALE NUDE TORSO Pen and ink on paper 23.5cm x 16cm (9.25in x 6.25in)

£1,500-2,500

24 LÉON BAKST (RUSSIAN 1866-1924) GROUP OF DANCERS, 1922 Signed and dated in pencil (lower right), pencil and chalk 23.5cm x 20cm (9in x 8in) Provenance: Mme Berthe Tsipkevitch.

Exhibited: Fine Art Society Ltd., London, 1976.

£2,000-3,000

25 HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) MALE NUDE Signed in pen (lower right), pen on paper 36cm x 24.5cm (14.12in x 9.65in)

£2,000-3,000

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26 § DUNCAN ROSS (BRITISH 1943-) BOWL Impressed artist’s seal, smoke fired and burnished terra-sigillata orange slips 13cm high, 14cm diameter (5.12in high, 5.5in diameter) Provenance: Collection of Dr. Virginia Glenn.

£300-500

27 § DUNCAN ROSS (BRITISH 1943-) VASE Impressed artist’s seal, smoke fired and burnished terra-sigillata orange slips 20.3cm high (8in high) Provenance: Collection of Dr. Virginia Glenn.

£300-500

28 § GEOFFREY SWINDELL (BRITISH 1945-) INDETERMINATUS, 2013 Five porcelain vessels each impressed artist’s seal, on wooden stand, signed, dated and titled The tallest vessel 9.5cm high (3.75in high), the wooden stand 47.5cm across (18.75in across) (5)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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29 § IVOR ROBERTS-JONES R.A. (BRITISH 1913-1996) AUGUSTUS JOHN Numbered 5/20, bronze 18cm high (7in high) Note: The bust is associated with the bronze statue and life size memorial to Augustus John at Fordingbridge, 1967 (see P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, p. 48, no. 45, illustrated). The memorial was Roberts-Jones’s first fullscale commission and brought him to wide public recognition, leading to his election as an Associate at the Royal Academy in 1969.

£3,000-4,000

30 § HANS FEIBUSCH (GERMAN 1898-1998) FEMALE HEAD Bronze, on a polished hardstone base 22cm high (8.7in high) (bronze), 37.5cm high (14.8in high) (including base) Provenance: From the collection of F.G. ‘Peter’ Stone.

£1,000-2,000

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31 § JEAN DUFY (FRENCH 1888-1964) ROUTE DE RIVES (TOURAINE) Signed (lower right), oil on canvas 64.5cm x 45.5cm (25.25in x 17.75in) Literature: Bailly, Jacques and Jean Dufy, Jean Dufy 1888-1964 Catalogue Raisonne, published

by Editions Jacques Bailly, 2002, p.165, cat. no. B.183.

£6,000-9,000

Jean Dufy was a French Art Deco artist, best known for his colourful, melodic depictions of post-war Parisian society. Working to capture everyday life, from concert halls and circuses to country landscapes and busy Parisian streets, Dufy focused on recreating the feeling and impression of a scene, rather than individual details.

In 1906, Dufy visited the exhibition ‘Cercle de l’Art Moderne’ in La Havre, and it was this show that eventually inspired him to pursue an artistic career. The exhibit, one of Dufy’s first exposures to Modern Art, crucially shaped his approach to art and introduced him to artists such as Picasso and Matisse.

While he had no formal training, his older brother was well-known French Fauvist Raoul Dufy, who served as his artistic mentor.

In January 1914, Dufy launched his artistic career, holding his first show at Galerie Berthe Weil. He returned to Paris after the war and settled in the Montmartre district of Paris, moving next door to artist George Braque, who encouraged Dufy to experiment with Cubism.

His personal painting style developed into a vibrant fusion of PostImpressionism with a loose decorative approach to colour and line, which he achieved from his work in porcelain design.

For almost 30 years, Dufy worked for Limoge porcelain manufacturer Theodore Haviland, hand-painting decorative designs of animals and flowers. At the 1925 L’exposition Internationale des Arts Décoratifs he was awarded a gold medal for designing the service ‘Châteaux de France’.

Dufy participated in many exhibitions, including the Salon d’Automne, which reflected the popularity of jazz music and the art of Parisian culture after the war.

Dufy would return to his native Normandy throughout his life and spent long stretches of time in the south of France. The dynamism of these landscapes and cityscapes- particularly noticeable in the street scene Route de Rives (Touraine)- are so cleverly captured due to Dufy’s uniquely musical and distinctive Post-Impressionistic style.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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Christopher Chamberlain’s studies at the Royal College of Art were interrupted by the outbreak of World War II. He joined the Royal Army Service Corps and served in the British Expeditionary Forces that evacuated Dunkirk in 1940. After the end of the war, he returned to the Royal College before starting a teaching career, notably at Camberwell School of Art. Chamberlain exhibited widely, was respected in the field and was known for his scenes of London. He stated ‘I have made many studies

in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one’s experience. I don’t believe it is possible to make much of a statement about anything unless one knows one’s subject very well indeed’ (letter of 3 April 1955).

His work is held in the Tate Collections (The Dangerous Corner, 1954), Royal Academy (Liverpool: America Dock, 1957) and Swindon Art Gallery (Vauxhall Bridge Station, 1955).

32 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) HUDDERSFIELD Inscribed (to reverse), oil on board 60cm x 75cm (23.6in x 29.5in) Provenance: Estate of the Artist.

£800-1,200

33 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) DOCK ENTRANCE, LOTS ROAD, LONDON Signed (lower left), oil on board 44cm x 59.5cm (17.25in x 23.4in) Provenance: Estate of the Artist.

£700-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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34 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) GREAT EASTERN STREET AT NIGHT Signed (lower left), oil on board 45cm x 60.5cm (17.75in x 23.8in) Provenance: Estate of the Artist.

£800-1,200

35 § HEATHER COPLEY (BRITISH 1918-2001) THE WHITE HOUSE, FULHAM Inscribed on label (to reverse), oil on board 70.5cm x 60cm (27.75in x 23.6in) Note: Heather Copley enrolled at the Clapham School of Art at the age of 14, remaining there for six years until 1939. She then transferred to the Royal College of Art, London in 1940, but her studies were broken by World War II. At the end of the war she returned and her tutors included Carel Weight. From 1948 to 1983 she taught drawing and painting part time at St Martin’s School of Art and an example of her work can be found in the Royal Academy Collection (Lake Trasimeno, 1978).

Provenance: The Estate of the Artist.

£800-1,200

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36 § KEITH VAUGHAN (BRITISH 1912-1977) FOUR FIGURES Pencil 20cm x 28cm (8in x 11in), unframed

£500-800

37 § KEITH VAUGHAN (BRITISH 1912-1977) QUAYSIDE Signed with initials in ink (lower right), pencil 21cm x 28cm (8.25in x 11in), unframed

£400-600

38 § KEITH VAUGHAN (BRITISH 1912-1977) TWO MALE NUDES Estate studio stamp (to reverse), pencil on paper 23.5cm x 18cm (9.25in x 7in) Provenance: From an album formerly in the possession of Professor John Ball, known as the Mahler sketchbook.

£700-900

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39 CHRISTOPHER WOOD (BRITISH 1901-1930) LA MAISON Ink on paper 29cm x 37.5cm (11.5in x 14.75in) Provenance: Crane Kalman Gallery, December 1958.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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Barbara Ling, owner of The Candover Gallery, is considered a significant figure and gallerist in the contemporary ceramics scene throughout the 1980s, 1990s and early 2000s. The Candover Gallery operated from 1984 to 2007 to much acclaim, showing work by many of the leading names in the field before they rose to wider prominence. The gallery regularly featured noteworthy work from the likes of Jennifer Lee, Magdalene Odundo, Sutton Taylor, Abdo Nagi, John Maltby, Walter Keeler, Lucie Rie, David Roberts, Duncan Ross, Gordon Cooke, Peter Hayes, Michael Casson and David Leach. As such she can be considered one of a small group of ground-breaking British gallerists that supported contemporary ceramics throughout the late 20th and early 21st centuries.

She was a potter herself and unusually did not obtain stock for her gallery on sale or return, but always insisted on choosing and paying for the work herself. Her eye for quality and detail ensured she made a profit from her very first exhibition.

For the ceramicist Peter Lane, after a hiatus of three years and having sold and given away his kilns, glazes and materials, it was a chance meeting with Barbara that led him to change his mind and begin making pots again for a solo exhibition at the Candover Gallery in 1991, and when Barbara retired and closed the gallery in 2007, Walter Keeler made her a special commemorative mug celebrating Barbara Ling and the Candover Gallery and twentythree Glorious Years! (See across).

This carefully curated selection from her estate charts the thriving nature of British studio ceramics of this period, and Barbara’s significance in promoting and sustaining a number of artists, and thereby the whole British ceramic movement, during these critical years.

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BARBARA LING & THE CANDOVER GALLERY

Barbara’s stewardship of the Candover Gallery in New Alresford over many years made it a widely recognised and respected centre for studio ceramics and glass, driven by her unwavering commitment to excellence in design and technique; the same qualities manifested by her private collection Martin Pearce, 2019

40 § WALTER KEELER (BRITISH 1942-) TWIN HANDLED COMMEMORATIVE MUG Impressed artist’s seal, commemorating Barbara Ling and The Candover Gallery, inscribed ‘Candover Gallery 19842007, Barbara Ling twenty-three Glorious Years!’

14cm high (5.5in high), together with a vase in a similar grey glaze, 19cm high (7.5in high) (2)

£100-200

41 § WALTER KEELER (BRITISH 1942-) TEAPOT Impressed artist’s seal, salt glazed, with bulging spout 23cm across (9in across)

£150-250

42 § WALTER KEELER (BRITISH 1942-) TWO JUGS AND A VASE Each impressed artist’s seal, one jug in Whieldon glaze, the others salt glazed The tallest 15.5cm high (6.12in high) (3)

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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43 § WALTER KEELER (BRITISH 1942-) TEAPOT Impressed artist’s seal, salt glazed with scrolling handle and spout 30.5cm across (12in across)

£200-400

44 § WALTER KEELER (BRITISH 1942-) BOWL Impressed artist’s seal, salt glazed, with four scrolling handles 38cm across (15in across)

£150-250

45 § WALTER KEELER (BRITISH 1942-) OVAL DISH Impressed artist’s seal, salt glazed, with swirling handles 41cm across (16.25in across)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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46 § WALTER KEELER (BRITISH 1942-) JUG Impressed artist’s seal, salt glazed 22.8cm high, 43cm across (9in high, 17in across)

£400-600

47 § WALTER KEELER (BRITISH 1942-) JUG Impressed artist’s seal, salt glazed 30cm high (11.8in high)

£200-400

48 § WALTER KEELER (BRITISH 1942-) TALL JUG Impressed artist’s seal, salt glazed 50cm high (19.5in high)

£200-400

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49 § WALTER KEELER (BRITISH 1942-) TWO TEAPOTS Each impressed artist’s seal, salt glazed, one with barrel spout 13cm and 23.5cm across (5.12in and 9.25in across) (2)

£150-250

50 § WALTER KEELER (BRITISH 1942-) JARDINIERE Impressed artist’s seal, salt glazed 24.5cm high, 32cm across (9.57in high, 12.6in across)

£300-500

51 § WALTER KEELER (BRITISH 1942-) TWO JUGS Impressed artist’s seal, salt glazed 20cm and 16cm across (7.75in and 6.25in across) (2)

£200-400 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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52 § DAVID ROBERTS (BRITISH 1947-) LARGE VESSEL Impressed artist’s seal, with flared neck and lip, lug handles 49.5cm high (19.5in high)

£600-800

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53 § DUNCAN ROSS (BRITISH 1943-) BOWL Impressed artist’s seal, burnished terra sigillata 16cm high (6.25in high)

£200-400

54 § TIM ANDREWS (BRITISH 1960-) SPADE FORM Impressed artist’s seal 18.5cm high (7.25in high)

£200-300

55 § DAVID LEACH O.B.E. (BRITISH 1911-2005) FOOTED BOWL Impressed artist’s seal, porcelain, painted with flowers 12.5cm high, 22cm diameter (5in high, 8.67in diameter)

£250-350

56 § ELIZABETH RAEBURN (BRITISH 1943-) FOOTED VESSEL Impressed artist’s seal 22.5cm across (8.8in across)

£200-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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57 § MONICA YOUNG (BRITISH 1929-2004) TALL COILED VESSEL Stoneware 148cm high (58.25in high) Literature: Lesley Jackson, ‘Sources of Inspiration: Potter Monica Young Discusses her Life and Work with Lesley Jackson,’ Crafts: Decorative and Applied Arts Magazine, no. 159, July/ August 1999, pp. 44-47 for similar examples.

£600-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

35

58 § PETER HAYES (BRITISH 1946-) MOTHER AND CHILD, HEAD FORM AND ABSTRACT Three sculptures, the mother and child signed and dated 1993 The tallest 15.5cm high (6.12in high) (3)

£300-500

59 § PETER HAYES (BRITISH 1946-) HEAD, 1989 Signed and dated, ceramic 30.5cm high (12in high)

£200-400

60 § PETER HAYES (BRITISH 1946-) WHITE RAKU BOW AND RAKU BOW WITH KEYHOLE The latter signed 29.5cm high (11.67in high) and 17.5cm high (6.87in high), respectively (2)

£200-400

36

61 ยง PETER HAYES (BRITISH 1946-) LARGE SCULPTURAL FORM, 1989 Signed and dated, raku 71cm high, 44cm across (28in high, 17.35in across)

ยฃ600-900

37

62 § PETER HAYES (BRITISH 1946-) LOVERS Signed (to the base), ceramic 26cm high (10.25in high)

£200-400

63 AKI MORIUCHI (JAPANESE 1947-) JUG Impressed artist’s seal, volcanic glaze 53cm high (20.87in high)

£200-400

64 § JOHN MALTBY (BRITISH 1936-) TWO BOATS RACING WALL PIECE Signed and titled 24cm x 37cm (9.5in x 14.5in)

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

38

65 § JOHN MALTBY (BRITISH 1936-) ANGEL, 2007 Impressed artist’s seal, signed, titled and dated Overall 28cm high (11in high)

£200-400

66 § JOHN MALTBY (BRITISH 1936-) TWO FIGURES AND STONE CIRCLE Signed and titled 20cm across (8in across)

£200-400

67 § JOHN MALTBY (BRITISH 1936-) BOAT FAMILY, 2012 Impressed artist’s seal, signed, titled and dated Overall 29.5cm high (11.6in high)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

39

68 § JOHN MALTBY (BRITISH 1936-) WISE KING, 1995 Impressed artist’s seal, signed, titled and dated 36.5cm high (14.37in high)

£400-600

69 § JOHN MALTBY (BRITISH 1936-) KING, 2007 Impressed artist’s seal, signed, titled and dated 44.5cm high (17.3in high)

£400-600

40

70 § JOHN MALTBY (BRITISH 1936-) CUP FORM Signed, decorated with angel in landscape 13.5cm high (5.25in high)

£200-400

71 § JOHN MALTBY (BRITISH 1936-) VESSEL Signed, decorated with tower in a landscape 41cm high (16.12in high)

£600-800

72 § JOHN MALTBY (BRITISH 1936-) VESSEL Spade form, decorated with flowers 20.5cm high (8.12in high)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

41

73 § JOHN WARD (BRITISH 1938-) VESSEL Impressed artist’s seal 23in high (9in high) Provenance: Peter Dingley Gallery, Stratford-upon-Avon; Collection of Barbara Ling.

£2,000-3,000

42

74 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) VASE, CIRCA 1965 Impressed artist’s seal, pitted grey and white glaze 16.25cm high (6.5in high) Provenance: Collection of George and Nelly Wingfield Digby; Collection of Barbara Ling.

Literature: See Tony Birks, Lucie Rie, Stenlake Publishing Ltd, 2009, p.92, illustrated.

£2,000-4,000

75 § MAGDALENE ODUNDO O.B.E. (KENYAN 1950-) MILLENNIUM CUP AND STAND, 1999 Signed and dated, glazed white earthenware 17.5cm high (6.87in high) Literature: Anthony Slayter-Ralph, Magdalene Odundo, London, 2004, cat.136, illustrated.

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

43

76 ยง JENNIFER LEE (BRITISH 1956-) PALE, SPECKLED, GRANITE AND DARK BANDS, TILTED VESSEL, 1984 Stoneware, mixed clays 24.5cm high (9.67in high) We are grateful to Jennifer Lee for her kind assitance in cataloguing this lot.

ยฃ6,000-8,000

44

77 § JENNIFER LEE (BRITISH 1956-) ASYMMETRIC DARK MOTTLED, AMBER BANDS, RIDGE, TILTED RIM VESSEL, 1988-9 Painted artist’s mark, stoneware, mixed clays 17.5cm high (6.8 high) Provenance: Galerie Besson, London; Collection of Barbara Ling.

We are grateful to Jennifer Lee for her kind assitance in cataloguing this lot.

£4,000-6,000

END OF COLLECTION Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

45

ANTHONY HEPBURN Lot 92

46

78 § WAISTEL COOPER (BRITISH 1921-2003) PORTRAIT OF A YOUNG MAN Signed, oil on board 28cm x 23cm (11in x 9in)

£500-800

79 § COLIN MIDDLETON M.B.E. (IRISH 1910-1983) CARNMONEY, 1948 Signed, inscribed, numbered ‘36’ and dated ‘September 1948’ (to reverse), oil on canvas 25.5cm x 35.5cm (10in x 14in) Provenance: Collection of Dr. Virginia Glenn.

£5,000-7,000

80 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) PAYSAGE, LA SEINE, 1947 Signed and dated, inscribed with title verso, watercolour and ink 28cm x 48cm (11in x 19in) Note: This work was painted in 1947, the year Gear was de-mobbed from the army and moved to Paris, where he became associated with the Ecole de Paris. He had his first one-man show in Paris in 1948, and in London at Gimpel Fils later that same year.

£1,000-1,500

47

81 § DOUGLAS SWAN (AMERICAN/BRITISH 1930-2000) STILL LIFE, 1957 Signed (lower right), oil on canvas 40cm x 50cm (15.75in x 19.75in) Provenance: The Piccadilly Gallery, London, 1957.

This lot is sold together with its original receipt.

£2,000-3,000

82 § DOUGLAS SWAN (AMERICAN/BRITISH 1930-2000) TABLE TOP FIGURE, 1957 Signed, titled and dated (to reverse), oil on board 91cm x 120.5 cm (35.75in x 47.5in) Provenance: Gallery One, London.

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

48

83 § KEITH VAUGHAN (BRITISH 1912-1977) HORNED FIGURE AND NUDES Estate studio stamp (to reverse), pencil on paper 24cm x 18cm (9.5in x 7.12in) Provenance: From an album formerly in the possession of Professor John Ball, known as the Mahler sketchbook.

£700-900

84 § KEITH VAUGHAN (BRITISH 1912-1977) GRAVEYARD Inscribed ‘Whitle’ (upper right), pencil 28cm x 21cm (11in x 8in), unframed and another unframed sketch by the same hand ‘Donegal’, also 28cm x 20.5cm (11in x 8in) (2)

£500-700

85 § KEITH VAUGHAN (BRITISH 1912-1977) FIGURE GROUP Pencil 20cm x 28cm (8in x 11in), unframed

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

49

86 § MATTHEW SMITH C.B.E. (BRITISH 1879-1959)

Note: Still Life with Tulips will be included in any future updated editions of John Gledhill’s Catalogue Raisonne of the Oil Paintings of Matthew Smith, first published

by Lund Humphries in November 2009.

...he seems to me to be one of the very few English painters since Constable and Turner to be concerned with painting – that is, with attempting to make idea and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image is the paint, and vice versa. Here the brush stroke creates the form and does not merely fill it in. Consequently every movement of the brush on the canvas alters the shape and implications of the image.

£6,000-10,000

Francis Bacon

TULIPS Initialled (lower right), oil on canvas 54.5cm x 45cm (21.5in x 17.75in) Provenance: The Mayor Gallery, London.

50

51

87 JØRGEN BAEKMARK (DANISH 20TH CENTURY) FOR FDB MØBLER J82 LOUNGE CHAIR, DESIGNED 1963 Oak and paper cord 78.5cm high, 63.5cm across (30.8in high, 25in across)

£300-500

88 § MICHAEL O’CONNELL (BRITISH 1898-1976) WALL HANGING Textile, depicting a monk and two nuns, and flowering sprigs 183cm x 57.5cm (72in x22.67in)

£500-700

89 POUL HUNDEVAD (DANISH 1917-2011) FOR VAMDRUP, DENMARK ‘GULDHOJ’ FOLDING STOOL/TABLE Model 41, teak and leather, partial paper label (to underside of leather seat) 37cm high, 48cm wide (14.5in high, 18.9in wide)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

52

90 § ANTHONY HEPBURN (BRITISH 1942-2015) TELEPHONE Porcelain 18cm across (7.12in)

£200-300

91 § DEBORAH VAN DER BEEK (BRITISH 1952-) RUNNING BULL Bronze 56cm across (22in across)

£800-1,200

92 § ANTHONY HEPBURN (BRITISH 1942-2015) SLAB BUILT BOX WITH STRIPES Stripes in red and yellow, and white glaze 28cm high, 31cm across, 31cm deep (11in high, 12.25in across, 12.25in deep)

£1,000-2,000

Having trained at Camberwell School of Art, where he was taught by Lucie Rie, Hans Coper and Bryan Newman, he was also deeply influenced by the American movement in ceramics. His work can be compared with the 1960s West Coast movement known as Funk, even though Hepburn did not use the ‘bawdy locker-room’ images, such as tea pots with penis spouts for example - as those used by Robert Arneson. His work was dominated by slab built boxes, and plinths supporting simularcra telephones, a toaster and milk bottles. For the weaver Ann Sutton, Hepburn was ‘the first exciting craft ceramics of our time’, the embodiment of a new movement and spirit of young artists in the crafts movement of the late 1960s.

He exhibited a gallery of slab built boxes and slip-casts multiples at the Crafts Centre in 1969, where this current rare example probably originated from.

53

93 JENS QUISTGAARD (DANISH 1919-2008) SIDE TABLE, CIRCA 1965 Teak with reversible marquetry top 43cm high, 50cm diameter (17in high, 19.75in diameter)

£600-1,000

94 § DEBORAH VAN DER BEEK (BRITISH 1952-) ROLLING HORSE Bronze 34.5cm across (13.5in across)

£500-700

95 TOM DIXON (BRITISH 1959-) S-CHAIR Dark lacquered metal frame covered in woven marsh straw 100cm high, 48cm across (40in high, 19in across)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

54

96 § KITTY SHEPHERD (BRITISH 1960-) DYSON ‘ART FOR HOUSEWIFES’ JAR AND COVER, CIRCA 2006 Artist’s mark (to base), decorated with applied coloured slips and worked in sgrafitto 38cm high (15in high) Note: Of the Dyson range there were five stand alone pots made between 2006 and 2010, this being number two. The last one of the series ‘Domestic Bliss’ is in the permanent collection of Plymouth Art Gallery and Museum.

We would like to thank Kitty Shepherd for her kind assistance in cataloguing this lot.

£2,000-3,000

55

97

98

IBE DAHLQUIST (SWEDISH, 1924-1996) FOR GEORG JENSEN

THOR SELZER (DANISH 1925-1989) FOR GEORG JENSEN

BRACELET

NECKLACE

Silver, numbered ‘149B’, stamped ‘925S Denmark’ and with Jensen mark

Silver, numbered ‘236’, stamped ‘925S Denmark’ and with Jensen mark

18.5cm long (7.25in long), 59 grams

£300-500

inner width approximately 10.8cm (4.25in), 88 grams

£300-500

99 ARNO MALINOWSKI (DANISH 1899-1976) FOR GEORG JENSEN BRACELET Silver, numbered ‘112’, stamped ‘925 Denmark’ and with Jensen mark 19.5cm long (7.6in long), 128.5 grams

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

56

100 MALCOLM GREEN (BRITISH 20TH CENTURY) SILVER GOBLET, 1967 Hallmarked for London, 1967 17.8cm high (7in high) Note: Malcolm Green was the first silversmith that the renowned designer Louis Osman employed when he established hs workshop near Toad Hall, his Sussex home.

£200-300

101 § STUART DEVLIN A.O., C.M.G. (AUSTRALIAN/BRITISH 1931-2018) ‘RABBIT AND FLOWERS’ SURPRISE EGG Silver and enamel, London 1985, marks for Stuart Devlin and numbered ‘83’ 7cm high (2.75in high)

£200-300

102 VERNER PANTON (DANISH 1926-1998) FOR GEORG JENSEN VASE Silver, stamped ‘VP, 925S, Georg Jensen, Sterling’ 19.7cm high (7.75in high), together with original certificate and box

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

57

103 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE Silver, numbered ‘270’, stamped ‘925 Denmark’ and with Jensen mark Length 45cm (17.6in), 151 grams

£600-800

104 ARNO MALINOWSKI (DANISH, 1899-1976) FOR GEORG JENSEN LAMB BROOCH Gold and green enamel, numbered ‘765’, stamped ‘18K’ and with Jensen mark The brooch approximately 14.8 grams (including enamel)

£500-700

105 HENNING KOPPEL (DANISH, 1918-1981) FOR GEORG JENSEN TWO BROOCHES Silver, numbered ‘339’ and ‘324’, each stamped ‘925S Denmark’ and with Jensen mark (2) 5.7cm across (2.25in across), 17.5 grams and 4cm across (1.5in across), 10.7 grams

£250-350

58

106 ARTISTI BAROVIER HORSE Iridescent glass 20cm high, 27cm across (7.8in high, 10.6in across)

£600-800

107 § LIVIO SEGUSO (ITALIAN 1930-) BULL, 1973 Signed and dated, corroso glass 26cm high, 37.5cm across (10.25in high, 14.75in across)

£800-1,200 Provenance: Purchased from La Fontanina, Venice in 1977 by the current vendor.

Sold together with original ceriticate signed by the artist.

108 § ERMANNO NASON (ITALIAN 1928-2013) FOR CENEDESE, MURANO TANG HORSE Incised ‘Nason, Cenedese, MURANO’, glass 23.5cm high, 25.5cm across (9.25in high, 10in across)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

59

109 §

110 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI & C., MURANO, ITALY

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI & C., MURANO, ITALY

STANDARD LAMP, 1950S

STANDARD LAMP, 1950S

Coloured red and blue glass, tubular aluminium, brass, linen shade

Coloured red and green glass, tubular aluminium, brass, linen shade

Glass stem 144cm high (56.75in high) (not including shade)

Glass stem 147cm high (58in high) (not including shade)

Provenance: Purchased by the current vendors family directly from Italy in the 1950s.

Provenance: Purchased by the current vendors family directly from Italy in the 1950s.

£4,000-6,000

£4,000-6,000

60

111 § ADRIAN HEATH (BRITISH 1920-1992) UNTITLED, 1961 Signed and dated (lower right), oil, collage, mixed media on paper laid on board 81cm x 74.5cm (31.8in x 29.25in)

£3,000-5,000

112 TOM DIXON (BRITISH 1959-) ‘BABY FAT’ CHAIR, CIRCA 1990 Steel and rush 49cm high, 52cm across, 54cm deep (19.3in high, 20.5in across, 21.2in deep)

£500-700

61

113 JAMINI ROY (INDIAN 1887-1972) UNTITLED (MADONNA AND CHILD) Signed (lower right), gouache 51cm x 35.5cm (20in x 14in)

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

62

A CENTENARY: MÄRTA MÅÅSFJETTERSTRÖM & HER LEGACY 2019 marks the centenary of Märta Måås-Fjetterström establishing her workshop (‘MMF’) in Båstad, Sweden and becoming one of the most significant figures in the history of 20th-Century Scandinavian rug making and textile design. She reversed the decline of traditional techniques, exploring a wide variety of styles and her studio promoted hand-crafted carpets, rugs and wall-hangings that are today highly sought after and prized by collectors and designers.

Måås-Fjetterström’s work was widely exhibited, including the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris in 1925 and at the Metropolitan Museum in New York in 1929 and her work soon became highly desirable commodities. The modernist architects and designers Frank Lloyd Wright, Le Corbusier and Ray Eames all espoused and endorsed Scandinavian textile design of this period, perceiving its aesthetic quality in complimenting metalwork and hard wood favoured in their modern designs, and this all helped in making Måås-Fjetterström’s studio an important centre for rug and carpet production.

With over 700 designs, her work was known for its exceptional quality, craftsmanship, attractive textural characteristics and technical superiority whether flat-weave, knotted pile works or where both techniques were combined. After her death in 1941, her legacy was continued by Barbro Nilsson, who took up the mantle as the workshop’s director, and was joined by the designer Marienne Richter. The workshop creates Märta’s designs and new works in beautifully subtle patterns and colours to this day, and early examples are now highly prized for their virtuosity which influenced and set a standard for Nordic textile design throughout the 20th Century.

The following lots show examples of her work and workshop and those who she influenced in mid-20th Century Scandinavian textile design.

63

114 MÄRTA MÅÅS-FJETTERSTRÖM RUG Monogrammed ‘MMF’, brown with pink/red and white stripes 201cm x 107cm (79in x 42in)

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

64

115 AB MÄRTA MÅÅS-FJETTERSTRÖM ‘VITA SPETSPORTEN’ WHITE RUG Knotted pile in relief, monogrammed ‘AB MMF’ 155cm x 92cm (61in x 36.25in) Literature: Jämför Lundgren, Tyra: Märta Måås-Fjetterström och väv-verkstaden i Båstad, Stockholm 1968, pl. 42; Thorman, Elisabeth:,Svenska mattor, utställning på Akademien för de Fria Konsterna, Stockholm 1945, no. VI; Katalogen Märta Måås-Fjetterström och verkstaden i Båstad, Stockholm 1951, pl. 12.

£600-1,000

116 INGEGERD SILOW (SWEDISH 20TH CENTURY) FLAT WEAVE RUG Monogrammed ‘IS’, of lozenge design in yellow, blues, white and green 249cm x 164cm (98in x 64.5in)

£800-1,200

117 SÖDRA KALMAR LÄNS HEMSLÖJD WOOL PILE RUG, CIRCA 1954 Depicting polar bears 182cm x 96cm (71.7in x 37.75in)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Note: Ingegerd Silow’s rugs were the melding of distant designs and cultures. Highly influenced by her studies abroad in the United States and Mexico, she fused foreign flair and exoticism with Scandinavian craft.

65

118 BARBARO NILSSON (SWEDISH 1899-1983) FOR MÄRTA MÅÅS-FJETTERSTRÖM SCHACKRUTIG HALF PILE RUG, CIRCA 1950 Monogrammed ‘AB MMF’ and ‘BN’, hand knotted wool in yellow, green and grey 209cm x 127cm (82.25in x 50in)

£1,000-2,000

66

119 LJ (SCANDINAVIAN 20TH CENTURY) FLAT WEAVE RUG, CIRCA 1930S-1940S Monogrammed ‘LJ’, in cream with blue and orange with polychrome stepped medallions 222cm x 144.5cm (87.38in x 56.8in) Provenance: Bukowskis, Stockholm, sale 578, lot 883.

£700-900

120 ANNA-GRETA SJÖQVIST (SWEDISH 1912-1993) FLAT WEAVE RUG, CIRCA 1950S Monogrammed ‘AGS’, in blue with border 245cm x 165cm (96.5in x 65in)

£700-900

121 MANNER OF MÄRTA MÅÅS-FJETTERSTRÖM RUG In blue, browns and white with square design 203cm x 137cm (80in x 54in)

£300-500

67

ALFREDO BARBINI Lot 154

68

122 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) CITY, 1952 Lithograph in colour, printed by Curwen Press, London 101cm x 62.5cm (39.75in x 24.6in)

£800-1,200

123 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) LIFE GUARDS, 1953 Signed in pencil (lower right), lithograph, from the Coronation Suite 43cm x 30cm (17in x 11.75in)

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

69

124 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) EPPING FOREST Signed (lower left), watercolour, gouache and acrylic on paper 43.5cm x 56cm (17.12in x 22in)

£2,000-3,000

125 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) DELPHINIUMS Signed (lower left), watercolour, gouache and acrylic on paper 56cm x 43.5cm (22in x 17.12in)

£2,000-3,000

70

126 SAUL STEINBERG (AMERICAN 1914-1999) HORSE, RIDER AND DOGS, 1950 Signed, dated and inscribed ‘To Ronald Searle’ in pen (lower right), pen and ink on paper 28.5cm x 35.5cm (11.25in x 14in)

£2,000-4,000

127 § MANUEL MATEO (SPANISH 1951-) SEATED FIGURE Signed and numbered 2/3, bronze on marble base The bronze 22.7cm high (8.87in high) Note: Professor of Wood Carving at the School of Applied Arts and Crafts, Madrid, Mateo has exhibited widely with multiple solo exhibitions in Spain and Belgium, and joint shows in America and the UK. Mateo’s leitmotif is a geometric constructivist. His geometric sculptures play with line, light and shadow creating fully considered compositions with multitudes of viewpoints.

£600-900

128 HERZL EMANUEL (AMERICAN 1914-2002) HORSE AND RIDER, 1972 Signed, numbered and dated, bronze relief 56.5cm x 54cm (22.25in x 21.25in)

£400-700

71

129 § HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) RECLINING WOMAN I Lithograph, 1980-81, S/P (aside from the edition of 50), signed in pencil to margin 57.5cm x 64cm (22.75in x 25.25in), unframed

£2,000-3,000

130 § HENRY MOORE O.M., C.H., F.B.A. (BRITISH 1898-1986) RECLINING FIGURE ARCHITECTURAL BACKGROUND I, 1977 Lithograph, S/P, signed in pencil to margin 40cm x 48.5cm (15.75in x 19in), unframed

£1,500-2,000

131 NANDA VIGO (ITALIAN 1936-) FOR ACERBIS ‘BLOK’ TABLE, DESIGNED 1971 Glass and mirrored base 72cm high, 105cm across (28.25in high, 41.37in across)

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

72

132 § PABLO PICASSO (SPANISH 1881-1973) YAN FACE (YAN VISAGE), 1963 Numbered 197/300 and inscribed ‘Edition Picasso’, impressed Edition Picasso and Madoura Plein Feu pottery stamps, ceramic painted in black 26.5cm high (10.5in high)

£2,500-3,500

133 ACHILLE AND PIER GIACOMO CASTIGLIONI (ITALIAN 1918-2002 AND 1913-1968) FOR BRIONVEGA, MILAN RADIO-PHONOGRAPH, MODEL NO. RR126, DESIGNED 1966 Stamped ‘BRIONVEGA / RADIO TELEVISIONE MILANO / rr-126-fo-st. / MODELLO DEPOSITATO MADE IN ITALY’, plastic-laminated wood, painted aluminium, on castors 72cm high, 36cm deep, 121cm long (28.3in high, 14.15in deep, 47.6in long)

£800-1,200

73

134 § RODERIC BARRETT (BRITISH 1920-2000) THE BLUE JUG Initialled (upper right), oil on board 110.5cm x 91cm (43.5in x 35.8in)

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

74

135 § JOHN MALTBY (BRITISH 1936-) CUP FORM Signed ‘MALTBY,’ with painted decoration 14cm high, 17cm across (5.5in high, 6.75in across)

£200-300

136 § JOHN MALTBY (BRITISH 1936-) ‘PETER GRIMES’ SWING BOAT WALL HANGING Signed ‘John MALTBY’ (to reverse) 25.4cm across (10in across)

£200-400

137 § JOHN MALTBY (BRITISH 1936-) BOWL Decorated with crosses 21cm across (8.25in across) Provenance: Peter Dingley Gallery, Stratford-upon-Avon.

£200-300

75

138 § WILLIAM RALPH TURNER (BRITISH 1920-2013) THE RED CHURCH AND SLAUGHTER LANE Signed (lower right), oil on board 20cm x 18.5cm (7.85in x 7.25in)

£600-1,000

139 § PIERO FORNASETTI (ITALIAN 1913-1988) TABLE LAMP, 1950S With printed lithographic design depicting two racing chariots, with maker’s paper label to base ‘FORNASETTI/ MILANO’, ceramic and brass mounted 35.5cm high (14in high) (excluding fittings)

£300-500

140 § PIERO FORNASETTI (ITALIAN 1913-1988) ‘RING OF FLOWERS’ TABLE TOP, 1950S Original paper label, hand-coloured transfer print on wood, on black metal pedestal base 77.5cm high, 115cm diameter (30.5in high, 45.25in diameter)

£1,000-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

76

In the artist John Armstrong’s Apollo review of Nash’s exhibition at the Leicester Galleries in 1932 he stated that his work at this exhibition had a unique quality “which is never naked or raw, but at the same time, never allows itself to be dismissed as negligible. This is particularly the case in his present exhibition of water-colours at the Leicester Galleries...The illustrations [in Apollo] give only a hint of the delicacy and significance of the originals, but, in the drawings themselves, this combination of instinct and design is as apparent as in his most considered painting.”

In the early 1930s Nash started to experiment with photographic angles and unexpected cropping in his work, producing perplexing and surreal effects that would come to be a significant part of his oeuvre in this decade. Easter Sunday is an example of him exploring these flattened forms and different plains of vision which purposely disconcert the viewer with inexplicable disjunctures.

141 PAUL NASH (BRITISH 1889-1946) EASTER SUNDAY, 1932 Monogrammed (lower right) and signed in pencil, watercolour and pencil on paper 37cm x 54.5cm (14.5in x 21.5in)

£7,000-9,000

Provenance: Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London; Sir Frederick Gibberd C.B.E., R.A.; Christie’s, London, 26 October 1994, lot 77; Private Collection.

Exhibited: Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London, Exhibition of Drawings

by Paul Nash, November 1932, no.31.

Literature: Andrew Causey, Paul Nash, Clarendon Press, Oxford, 1980, p.418, no. 727, pl. 508; Apollo, Volume XVI, July 1932-December 1932, The Present Tendency of Paul Nash, p.324 (illustrated).

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

77

78

142 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) AZTEC HEAD, 1988 Signed, dated and inscribed ‘For John, Eduardo Paolozzi, 1988’ in pencil, papier-mâché 28.5cm high, 36cm across (11.25in high, 14.12in across) Exhibited: Installation of Lost Magic Kingdoms and Six Paper Moons from Nahuatl exhibition at the Museum of Mankind, London, 1985-9.

£1,000-2,000

79

143 § EMMA PAOLOZZI (BRITISH 1960-) AND EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) COLLECTION OF SILVER JEWELLERY To include a stylised torso pendant to a cord necklace, signed E Paolozzi; two pairs of pendant earrings modelled as stylised faces with a matching key chain and tie pin; a pair of stud earrings modelled as a fist and a matching tie pin, all hallmarked (7) £200-300

144 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) RELIEF Inscribed in pencil ‘CAP 160’ (lower right), wood and mixed media relief 7cm x 21.5cm (2.75in x 8.5in)

£600-800

145 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) UNTITLED Two drawings, pencil on paper Each sheet 25cm x 17.5cm (10in x 6.85in), unframed (2)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

80

146 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR NECKLACE Silver, with asymmetrically placed cultured pearls, numbered ‘296’, stamped ‘Torun, 925’ and with Jensen mark inner diameter approximately 15cm (5.8in), 43 grams (including pearls)

£400-600

147 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH, 1927-2004) FOR GEORG JENSEN RING Silver and rutilated quartz, numbered ‘151’, stamped ‘Torun’’, ‘925S Denmark’ and with Jensen mark 3.5cm high (1.3in high)

£300-500

148 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN PENDANT DROP Silver, amethyst and rutilated quartz, numbered ‘135’, stamped ‘925S Denmark’ and with Jensen mark 9.3cm high (3.6in high)

£800-1,200

81

149 § DAPHNE KRINOS (BRITISH CONTEMPORARY) NECKLACE Amethyst and oxidised silver, hallmarked for London 1997, composed of cage-like links set at intervals with polished amethyst crystals, to a T-bar and hoop clasp Length approximately 50cm (19.5in)

£300-500

150 § MALCOLM APPLEBY M.B.E. (BRITISH 1946-) LEDA AND THE SWAN, SWANN SERIES, 1995 Signed, numbered 5/10, dated and inscribed in pencil (in the margin), etching and engraving The sheet 76cm x 56cm (30in x 22in)

£500-700

151 § ROGER MILLAR (BRITISH 1942-) PAIR OF LIVING CANDLE HOLDERS Silver, Edinburgh 1996, the circular drip plate with applied textured disks, raised on a single tapering knopped foot, supported by two stainless steel swept legs terminating in similar textured disks 26cm long, 14.8oz (2)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

82

152 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE AND BRACELET Silver with blue lapis cabochon stones, each numbered ‘130B’, stamped ‘925 Denmark’ and with Jensen mark The necklace 39cm long (15.3in), bracelet 17.8cm long (7in), 197 grams including cabochon stones (2)

£1,200-1,800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

83

153 MAZZEGA OF ITALY TABLE LIGHT, 1980S Labelled ‘Mazzega Murano Made in Italy’, black metal and opaque glass disc 40cm diameter (15.75in diameter)

£400-600

154 § ALFREDO BARBINI (ITALIAN 1912-2007) VASE, 1970S Signed ‘Barbini Murano’, glass with inclusions and surface treatment 34cm high (13.37in high)

£300-500

155 FRANÇOIS ARNAL (FRENCH 1924-2012) COFFEE TABLE T9, DESIGNED 1968 Chrome plated steel and perspex 120cm x 120cm, 35.5cm high (47.25in x 47.25in, 14in high)

£700-900

84

FROM THE ESTATE OF BRYAN INGHAM Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist.

His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome.

At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure.

Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso.

Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’

Lyon & Turnbull are delighted to be offering a carefully curated selection of work from the artist’s estate, showing the fundamental role that Ingham played in the interdisciplinary nature of British art during the 20th Century.

85

156 § BRYAN INGHAM (BRITISH 1936-1997) AUF WIEDERSEHEN Studio stamp (to reverse) pencil, pen, oil, collage and mixed media, including drawing pins on board 20.5cm x 9.12cm (8.12in x 3.6in)

£800-1,200

157 § BRYAN INGHAM (BRITISH 1936-1997) HEINRICH UND DER MOOREXPRESS, 1988 Signed ‘Bryan Ingham’ (on the backboard), collage on board 14.5cm x 3cm (5.75in x 1.2in)

£500-800

158 § BRYAN INGHAM (BRITISH 1936-1997) WORPSWEDE COLLAGE IN GREEN Estate studio stamp (on the backboard), oil and collage on board 8cm x 12cm (3.12in x 4.75in)

£600-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

86

159 § BRYAN INGHAM (BRITISH 1936-1997) UNTITLED (AAN) Embossed with studio stamp (to reverse), pencil and oil on board 36.5cm x 30.5cm (14.37in x 12in)

£1,000-2,000

160 § BRYAN INGHAM (BRITISH 1936-1997) INTERLOCKING STILL LIFE Studio stamp (on backboard), pencil and oil on board 36.5cm x 30.5cm (14.37in x 12in)

£1,000-2,000

161 § BRYAN INGHAM (BRITISH 1936-1997) UNTITLED (KONI) Studio stamp (on the backboard), pencil and oil on board 38cm x 30.5cm (15in x 12in)

£1,000-2,000

87

162 § BRYAN INGHAM (BRITISH 1936-1997) MEDITERRANEAN HEAD, 1994 Signed, dated and with studio stamp (on the backboard), ceramic 27cm x 28cm (10.67in x 11in)

£1,500-2,500

163 § BRYAN INGHAM (BRITISH 1936-1997) CUBIST HEAD Partial studio stamp (to base), plaster 21.5cm high (8.5in)

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

88

164 § BRYAN INGHAM (BRITISH 1936-1997) JANUARY, 1994 Signed and inscribed (to reverse), pencil, oil and collage on board 14.5cm x 19.5cm (5.75in x 7.67in)

£2,000-3,000

165 § BRYAN INGHAM (BRITISH 1936-1997) BERLIN IN WINTER Studio stamp (to reverse), collage and mixed media on board 11.5cm x 17.5cm (4.5in x 6.8in)

£1,000-2,000

89

166 § BRYAN INGHAM (BRITISH 1936-1997) AUTUMN IN CORNWALL, 1992 Inscribed with initials, date and studio stamp (on the backboard), pencil and oil on board 21cm x 26.5cm (8.25in x 10.37in)

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

90

167 § BRYAN INGHAM (BRITISH 1936-1997) LITTLE SHIP I, 1984 Signed, inscribed and dated ‘Little ship I/collage/Bryan Ingham/1984’ (on the backboard), collage on board

168 § BRYAN INGHAM (BRITISH 1936-1997)

4.7cm x 11.2cm (1.8in x 4.37in)

AMSTERDAM, 1992

£600-800

Signed with initials ‘B.I.’ in pencil, studio stamp (to reverse) and further inscribed ‘Bryan/ Amsterdam/1992’, pencil, gouache and collage on board 29cm x 9.5 cm (11.37in x 3.75in)

£1,500-2,000

169 § BRYAN INGHAM (BRITISH 1936-1997) UNTITLED (AMSTEL AMSTERDAM) signed ‘Bryan’ within the collage, Collage on board 18cm x 9.7cm (7.12in x 3.87in)

£700-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

GRAHAM SUTHERLAND Lot 191

92

93

170 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) BIRD PUZZLING SYMBOL, OPUS OG. 128A, 1960 Signed, titled and dated in pencil (upper right), oil on paper 41cm x 52cm (16.12in x 20.5in) Provenance: The Artist; Private Collection, New York; Parke Bernet, New York, August 1968.

£3,000-5,000

171 EDIVAL RAMOSA (BRAZIL 1940-) FOR ARSER ‘LINEE DI GIOIA’ SCULPTURE, 1970S Signed and numbered 11/100 (to reverse), painted wood elements in relief on stainless steel panel with incised linear pattern 51.5cm x 36.5cm (20.25in x 14.37in)

£400-600

172 § KENNETH ROWNTREE (BRITISH 1915-1997) STUDIO WINDOW, ACOMB, 1972 Titled, dated and inscribed (to reverse), oil and mixed media construction on board 63.5cm x 59.5cm (25in x 23.5in) Exhibited: Laing Art Gallery, Newcastle-upon-Tyne, Kenneth Rowntree,1976; Hatton Gallery, University of Newcastle, Kenneth Rowntree Retrospective, 1980.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

94

173 § ERIC HOLT (BRITISH 1944-1997) INSIDE OUT, 1991 Signed and dated, oil on canvas 39.5cm x 29.8cm (15.5in x 11.75in)

£1,500-2,500

174 § ERIC HOLT (BRITISH 1944-1997) CAPTIVE AUDIENCE, 1991 Signed and dated (lower left), oil on canvas 34.5cm x 24.5cm (13.5in x 9.67in) Provenance: The Piccadilly Gallery, London.

£1,500-2,500

175 § SIR PETER BLAKE C.B.E., R.D.I., R.A. (BRITISH 1932-) BABE RAINBOW AND BOBBIE RAINBOW 37/500 and 253/2000 respectively, each signed and numbered in pen, screenprint on tin 65cm x 43cm (25.5in x 17in) and 66cm x 44cm (26in x 17.25in), the latter unframed (2)

£600-800

95

176 § JOHN BRATBY R.A., A.R.C.A. (BRITISH 1928-1992) VENICE WASHING, 1988 Signed and dated (upper right), oil on canvas 122cm x 91cm (48in x 35.75in)

£2,500-3,500

177 MARION BARUCH (ROMANIAN 1929-) FOR GAVINA ULTRAMOBILE ‘RON RON’, DESIGNED 1971 Foam covered in faux black fur 70cm diameter approximately (27.5in across)

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

96

178 PHILIP EVANS (BRITISH 1959-) WALL PLAQUE Impressed artist’s seal (lower right), signed in pencil (on the mount) 30.5cm x 28.5cm (12in x 11.25in)

£200-300

179 MAISON JANSEN, PARIS PALM TREE FLOOR LAMP, CIRCA 1970 Brass, cast as three palm trees, raised on an ebonised square base 166cm high (65.25in high)

£1,000-1,500

180 § COLIN PEARSON (BRITISH 1923-2007) LIDDED VESSEL Impressed artist’s seal, pale pink glaze, with twisted handles 23cm high, 25.5cm across (9in high, 10in across)

£700-1,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

97

98

181 § NICHOLAS HOMOKY (BRITISH 1950-) VASE Impressed artist’s seal, porcelain, with inlaid linear designs 14cm high (5.5in high) Provenance: Collection of Dr. Virginia Glenn.

£400-600

182 MITSUO KANOU (JAPANESE 1933-) SET OF FOUR DISHES Impressed seal, chun glaze 15.5cm diameter (6.1in diameter), together with a signed wooden box (4) Provenance: Phillips, New York, 17 May 2000, lot 56; Private Collection.

£300-500

183 § COLIN PEARSON (BRITISH 1923-2007) SCULPTURE Impressed artist’s seal 19.5cm high (7.67in high)

£200-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

99

184 § EMMANUEL COOPER O.B.E. (BRITISH 1938-2012) JUG Impressed artist’s seal, white glaze, with dripped manganese rim 14cm high, 19.5cm across (5.5in high, 7.67in across)

£400-600

185 § EMMANUEL COOPER O.B.E. (BRITISH 1938-2012) JUG, CIRCA 2000 Faintly impressed artist’s seal covered in glaze, pitted blue/white glaze 22cm high, 24cm across (8.6in high, 9.5in across) Provenance: Private Collection, London.

£1,000-2,000

186 § JOANNA CONSTANTINIDIS (BRITISH 1927-2000) WAVE FORM, CIRCA 1984 Impressed artist’s seal, stoneware with lustrous gold glaze 31.5cm high, 41.5cm across (12.4in high, 16.3in across) Provenance: Private Collection, London.

£800-1,200

100

187 § JACK PENDER (BRITISH 1918-1998) LANDSCAPE FROM ROSE FARM ABOVE NEWLYN Signed (lower right), oil on board 59cm x 121cm (23.25in x 47.6in)

£2,000-3,000

188 § MO JUPP (BRITISH 1938-2018) KNEELING FIGURE Clay 15.5cm high, 12in across (6.15in high, 4.75in across) Exhibited: Oxford Ceramics, Oxford, Mo Jupp, 2013.

189 § DONALD HAMILTON FRASER R.A. (BRITISH 1929-2009) BOAT AND LANDING STAGE Oil on paper 58cm x 45.5cm (22.8in x 17.8in)

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

£200-400

101

190 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) HARLEQUIN, 2008 Signed and dated in pencil (lower left), watercolour and gouache 23.5cm x 34cm (9.25in x 13.5in)

£3,000-5,000

191 § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) STANDING FORM, 1953 Signed and dated in pencil (lower right), watercolour, gouache and charcoal 23cm x 14.5cm (9in x 5.75in)

£5,000-7,000

192 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) SPRING FLOWERS, 2003 Signed and dated ‘Fedden ‘03’ in pencil (lower right), watercolour 20cm x 14.5cm (8.25in x 5.75in)

£2,000-3,000

103

193 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) GARDEN SOUVENIR, 1982 Signed and dated (lower right) and signed, dated and titled (to reverse), oil on canvas 121.5cm x 91cm (48.8in x 35.8in) Exhibited: Exeter, Spacex Gallery, William Gear ‘Painting into Landscape’ Paintings and Drawings 1976-82, 25th June - 16th July 1983, cat. no.33, illustrated p.2.

£5,000-7,000

194 § † PAUL MORRISON (BRITISH 1966-) FLOWER Industrial powder coated aluminium 57cm high (22.5in high)

£1,000-2,000

195 § † PAUL MORRISON (BRITISH 1966-) MERICARP, 2008 Industrial powder coated aluminium 55cm high (21.67in high)

£1,000-2,000

196 ANDRÉ DUBREUIL (FRENCH 1951-) ‘SPINE’ CHAIR Originally designed in 1986, produced

by Ceccotti, bent and welded steel 84cm high, 69cm across (33in high, 27.25in across) Provenance: Gerald Moran Interiors, London; Private Collection.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

104

197 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) TWO CIRCLES ON PURPLE, 1992 Signed and dated, ed. 70, screenprint, Curwen Studio 60cm x 75cm (23.5in x 29.5in), unframed

£1,000-1,500

198 § DAVID WYNNE O.B.E. (BRITISH 1926-2014) SEAL AND CUB, 1982 Monogramed, numbered 1/6 and dated, verdigris bronze 9cm high, 20.5cm across (3.5in high, 8in across)

£3,000-5,000

Frederick McWilliam attended the Slade School of Art, London, after leaving Northern Ireland at the age of 19, where he studied painting under Henry Tonks. By the early 1930s he had turned his attention to sculpture and began experimenting in wood and stone before the war. On his return from war service “He began to make constructions built on wire armatures. This system gave him a new freedom and allowed him to construct figures drawn in space with slender angular limbs and elongated bodies.” (Roland Penrose, McWilliam, London, 1964, p.7) In Birdwatcher McWilliam combines gaunt limb-like forms, where ‘the energy within radiates from the angular joints of the limbs’ (Roland Penrose, McWilliam, London, 1964, p.8), in gracefully poised positions that are alert with tension.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

On McWilliams ‘mechanomorphic’ sculptures of the period, Mel Gooding states “Where Moore’s predominantly horizontal figures recline, their weighty mass earth-bound and imitative of the landscape ... McWilliam’s figures are active, waking up, turning over, sitting up. Their forms derived from the engine and its turning shafts ... propose activity. In doing so these works take up again issues to do with movement in space that go back in different ways to Rodin and Boccioni and the futurists, without being in any way imitative of those earlier figures.” (M. Gooding, F.E. McWilliam: Sculpture 193289, London, 1989, p. 53).

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199 § FREDERICK EDWARD MCWILLIAM C.B.E., R.A. (BRITISH 1909-1992) BIRDWATCHER I, CONCEIVED 1964 Initialled ‘McW’ and numbered 1/5, bronze with a black patina 25.5cm high (10in high) Literature: J. Marle and T.P. Flanagan, F.E. McWilliam, Arts Council of Northern Ireland, 1981, pp. 52, no. 65, another cast illustrated.

£8,000-12,000

106

PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92).

At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team.

The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened

by Philip James, then Director of Art at the Arts Council, and was introduced as follows:

Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives.

Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.

In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960.

Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

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200 § DENIS MITCHELL (BRITISH 1912-1993) FIVE DESIGNS FOR TABLE LINENS Including lobster, chicken and flower designs, gouache Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5)

£500-800

201 § DENIS MITCHELL (BRITISH 1912-1993) FIVE DESIGNS FOR TABLE LINENS One with fish design and four abstract, gouache Various sizes, the largest 31cm x 39.5cm (12.25in x 15.5in) (5)

£500-800

109

202 § DENIS MITCHELL (BRITISH 1912-1993) FIVE TABLE LINENS Including fish, bird and abstract designs, screenprinted linen, unframed Various size, the largest 33cm x 45.5cm (13in x 17.8in) (5)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

110

203 STANLEY DORFMAN (SOUTH AFRICAN 20TH CENTURY) TABLE LINEN Screenprinted linen 33cm x 47cm (13in x 18.5in) and two further table linen designs, screenprints, one with pencil additions, 33.5cm x 47.5cm (13.25in x 18.75in) and 33.5cm x 44.5cm (13.25in x 17.5in) (3)

£500-700

204 § SIR TERRY FROST R.A. (BRITISH 1915-2003) TABLE LINEN (KEMP 15) Screenprinted linen 30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2)

£400-600

205 § ROGER HILTON C.B.E. (BRITISH 1911-1975) TABLE LINEN Screenprinted linen 30cm x 41.5cm (11.75in x 16.5in), unframed Literature: see Andrew Lambirth, Roger Hilton: The Figured Language of Thought, Thames and Hudson, 2007, pp102, for an illustrated example.

£300-500

111

206 § PATRICK HERON C.B.E. (BRITISH 1920-1999) DESIGN FOR TABLE LINEN, 1954 Signed and dated in pencil (lower right), pencil and watercolour 32cm x 46cm (12.5in x 18in) and a corresponding table linen, 31cm x 46cm (12.25in x 18.12in) (2)

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

112

207 § ROBERT ADAMS (BRITISH 1917-1984) TWO TABLE LINENS Screenprinted linen Each 30cm x 42cm (11.75in x 16.5in), unframed (2)

£400-600

208 § JOHN FORRESTER (BRITISH 1922-2002) TABLE LINEN Screenprinted linen 31cm x 42cm (12.25in x 16.5in)

£200-400

209 § MICHAEL SNOW (BRITISH 1930-2012) TABLE LINEN Screenprinted linen 30cm x 46cm (11.75in x 18in), unframed

£200-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

113

210 § DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) DESIGN FOR TABLE LINEN Signed with initials, paper collage 31.5cm x 45.5cm ( 12.25in x 18in ), together with three screenprinted linens of the corresponding design in differing colourways, 30cm x 42cm ( 12in x 16.5in ), 32.5cm x 46cm (12.75in x 18.25in ), 32cm x 46.5cm ( 12.5in x 18.25in ), the three linens unframed (4) Literature: Geoffrey Rayner et al., Textile Design: Artists’ Textiles 19401976, Antique Collectors’ Club Ltd., 2014, p.93 for an example of the table linen in the grey colourway.

£3,000-5,000

During Tate Britain’s major retrospective Barbara Hepworth: Sculpture for a Modern World in 2015, they used this textile design as inspiration and a basis for their first ever garden installation. Positioned at the front of Tate Britain, overlooking the Thames, it reflected the simplicity and bold lines of this significant design.

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211 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) DESIGN FOR TABLE LINEN Initialled (lower right), pencil, gouache and watercolour 33cm x 47cm (13in x 18.5in) and its corresponding table linen, 30cm x 45cm (11.75in x 17.75in) (2)

£700-900

212 § JOHN WELLS (BRITISH 1907-2000) DESIGN FOR TABLE LINEN Screenprint 33cm x 45.5cm (13in x 18in)

£200-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

115

213 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) DESIGN FOR TABLE LINEN, 1954 Signed, dated and inscribed in pencil (in the margin), print and gouache 30.5cm x 45.5cm (12in x 18in)

£300-500

214 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) DESIGN FOR TABLE LINEN, 1954 Signed, dated and inscribed in pencil (in the margin), pencil and gouache 32.5cm x 45.5cm (12.75in x 18in), together with two corresponding prints, each 33cm x 47cm (13.25in x 18.5in) (3)

£800-1,200

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215 PETER LANYON (BRITISH 1918-1964) TABLE LINEN, CIRCA 1955 Screenprinted linen 29cm x 43cm (11.5in x 17in) and a corresponding print, 34cm x 46cm (13.5in x 18.25in) (2)

£500-700

216 AGNES DREY (BRITISH 1890-1957) TABLE LINEN Screenprinted linen 30.5cm x 42.5cm (12in x 16.75in), with a corresponding print, unframed 33cm x 45cm (13in x 17.75in) (2)

£200-400

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217 § ALEXANDER MACKENZIE (BRITISH 1923-2002) DESIGN FOR TABLE LINEN Signed (lower right), pencil and gouache 34cm x 45cm (13.5in x 17.75in)

£500-800

218 § TREVOR BELL (BRITISH 1930-2017) TWO DESIGNS FOR TABLE LINEN Signed ‘BELL,’ collage Each 28.5cm x 43cm (11.25in x 17in) (2)

£600-1,000

219 § NINA TRYGGVADOTTIR (ICELANDIC 1913-1968) DESIGN FOR TABLE LINEN Signed in pen (lower right), collage 31cm x 42cm (12.25in x 16.5in)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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220 § ROGER LEIGH (BRITISH 1925-1997) FOUR DESIGNS FOR TABLE LINENS Initialled in pencil (lower right), pencil, gouache and watercolour Each 31.5cm x 45.5cm (12.37in x 17.87in) and a corresponding print for a table mat, initialled in pencil, 33cm x 47cm (13in x 18.5in) (5)

£1,000-2,000

221 § TREVOR BELL (BRITISH 1930-2017) DESIGN FOR TABLE LINEN Signed ‘BELL’ (lower left), gouache and collage, together with a correponding table linen and print The gouache 29.5cm x 44.5cm (11.58in x 17.5in) (3)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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222 § DENIS MITCHELL (BRITISH 1912-1993) DESIGN FOR ‘WHITE HORSE’ TABLE LINEN Gouache 31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4)

£800-1,200

223 § DENIS MITCHELL (BRITISH 1912-1993) DESIGN FOR ‘WHALE’ TABLE LINEN Watercolour and gouache 32cm x 45.5cm (12.5in x 18in), and a corresponding table linen in a differing colourway, 30cm x 43cm (11.75in x 16.75in) (2)

£600-800

224 PORTHIA PRINTS SIX TABLE LINENS

By Barbara Hepworth, Denis Mitchell, Forrester, Dorfman, Roger Hilton, Snow, screenprinted linen Various sizes, the largest 33cm x 47.5cm (13in x 18.75in), unframed (6)

£400-600

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ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain.

With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’.

Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravitydefying Carn Galver II, 1968 (Lot 236) and the sleek Roseveor, 1985 (Lot 238), show a strong understanding of balance, line, movement and light.

Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures.

Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after

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befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947.

He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232).

Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost.

Photo © Adrian Pym | adrianpynphotography.co.uk

In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237).

The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.

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FROM THE ESTATE OF AN IMPORTANT ST.IVES ARTIST

225 § DENIS MITCHELL (BRITISH 1912-1993) ST IVES FROM LELANT, 1946 Signed and dated (lower left), signed, titled and dated in pencil (to reverse), oil on panel 23.5cm x 30.5cm (9.25in x 12in)

£700-1,000

226 § DENIS MITCHELL (BRITISH 1912-1993) TIE DESIGNS Seven drawings in three mounts, pencil, watercolour and gouache Various sizes, the largest 25cm x 20.5cm (9.75in x 8in), unframed (3)

£400-600

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227 § SIR TERRY FROST R.A. (BRITISH 1915-2003) CAMPING, ANDUZE, (KEMP 48), 1969 Artist’s proof, signed, dated and inscribed in pencil (in the margin), and inscribed ‘For Denis and Jane, Terry, 1971’, no edition, possibly only 6 proofs pulled, etching 26cm x 21cm (10.25in x 8.25in)

£400-700

228 § SIR TERRY FROST R.A. (BRITISH 1915-2003) SUN AND BOAT (KEMP 135), CIRCA 1992-1996 Signed and numbered 19/50 in pencil, screenprint with collage and hand-colouring in crayon on wove paper, printed at the Royal College of Art, London 31.5cm x 33.5cm (12.37in x 13.25in)

£500-800

229 § JOHN WELLS (BRITISH 1907-2000) THREE FIGURES, 1946 Signed and dated in pencil (to back board) and inscribed to mount, print on tissue paper possibly a monoprint 19cm x 15cm (7.5in x 5.87in)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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230 § BEN NICHOLSON (BRITISH 1894-1982) TWO CIRCLES Pochoir print with additional circle in pencil, inscribed ‘Denis from Ben’ in pencil (in the margin) 21.5cm x 20cm (8.5in x 7.87in)

£1,000-2,000

231 DENIS MITCHELL, BARBARA HEPWORTH AND BEN NICHOLSON INTEREST COLLECTION OF EIGHT POSTCARDS Including four examples dated from 1950 sent from Venice by Nicholson and Hepworth to Denis Mitchell, and four examples from later in the 1950s Each postcard 9.5cm x 14.5cm (3.75in x 5.75in), under two mounts, unframed Note: Barbara Hepworth was in Venice in 1950 representing Britain at the Biennale, the year before Hepworth and Nicholson separated.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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232 § DENIS MITCHELL (BRITISH 1912-1993) RELIEF, 1952 Signed and dated (to reverse), wood 51cm x 68cm (20.12in x 26.75in)

£3,000-5,000

233 § SIR TERRY FROST R.A. (BRITISH 1915-2003) THE ISLAND, 1950 Signed, titled and dated in pencil (to reverse), oil on canvas 30cm x 60.5cm (11.75in x 23.75in)

£6,000-8,000

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234 § DENIS MITCHELL (BRITISH 1912-1993) PELYN, MENWINNION AND NANJIVY Three linocut Christmas cards, the former dated 1976 and the latter 1990 9cm x 12cm (3.5in x 4.5in), 13cm x 8.5cm (5in x 3in) and 13.5cm x 8.5cm (5in x 3in) respectively (3)

£300-500

235 § DENIS MITCHELL (BRITISH 1912-1993) HEAD, 1954 Incised initials and dated, elm Overall 41cm high (16.12in high)

£4,000-6,000

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236 § DENIS MITCHELL (BRITISH 1912-1993) CARN GALVER II, 1968 Fibreglass on marble base Overall 53cm high, 207cm across (20.87in high, 81.5in across) Exhibited: Marjorie Parr Galleries, London, 1969; Bath Festival, Bath, 1969; Penwith Gallery, St. Ives; Glynn Vivian Art Gallery, Swansea, 1979.

£7,000-10,000

The first version of Carn Galver appeared in bronze in 1967. Early in the following year Mitchell acquired some fibreglass material and in March began work on a scaled up version of Carn Galver using the fibreglass. He completed this in October. It was shown at the Bath Festival in 1969 and in 1979 at Mitchell’s major solo show at the Glynn Vivian Gallery in Swansea. He used the remaining fibreglass to make Phillack, a tall (9ft high) work which, sadly, has not survived.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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237 § BREON O’CASEY (BRITISH 1928-2011) RED SUN Inscribed ‘To Denis Mitchel from Breon O’Casey with respect & gratitude 1965’ to a further work verso, oil on canvas 60.5cm x 91cm (23.75in x 35.75in)

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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238 ยง DENIS MITCHELL (BRITISH 1912-1993) ROSEVEOR, 1985 Initialled, titled and dated, yew Overall 59cm high (23.25in) Exhibited: Newlyn Art Gallery, Newlyn, 1985; Crane Kalman Gallery, London, 1986; Gillian Jason Gallery, London, 1990; Penwith Gallery, St. Ives, 1996; Bridge Gallery, Dublin, 1997.

ยฃ6,000-8,000

END OF COLLECTION

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239 NO LOT

240 § BEN NICHOLSON (BRITISH 1894-1982) FOR EDINBURGH WEAVERS VERTICAL, DESIGNED 1937 Jacquard woven rayon and cotton textile 385cm x 123cm (151.5in x 48.5in) Literature: See Lesley Jackson, Alastair Morton and Edinburgh Weavers, V&A Publishing, London, 2012, p. 80, pl.114 for an example of this textile.

£700-1,000 Designed in 1937, Vertical was one of a small number of Constructivist textiles designed by Ben Nicholson during the 1930s. Consisting solely of geometric motifs, and closely related to Nicholson’s important low white relief sculptures, it is woven in such a way to give the impression of low sculptural relief effects. A version of Vertical was ordered for The Savoy Hotel in 1938. Nicholson refused to allow the design to be altered to match the exisiting decor of the hotel, stating ‘if anything were altered, it should be the hotel’.

‘Of all the fabrics in the Constructivist collection, it was Vertical that attracted the most attention and the largest orders, in spite of its high price tag of 20s per yard. Had it not been for the war, the fabric would have remained in production’ (Jackson, p.81).

241 DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FOR FOLEY COFFEE SET, CIRCA 1934 The set was produced as part of an adventurous project devised by Thomas Acland Fennetmore, sales manager of the china manufacturers E. Brain & Co. Ltd., who traded under the name Foley China. It involved the commissioning of a large number of designs for tableware from a range of contemporary artists, each of whom were paid £10 per design plus royalties. The results of the project were displayed alongside many of the original design drawings in the exhibition ‘Modern Art for the Table,’ which opened at Harrods on 22 October 1934 and was subsequently shown at other venues.

First edition, comprising coffee pot, five cups and four saucers, printed manufacturer’s marks including facsimile signature The teapot 17.5cm high (6.87in high)

£300-500

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242 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) BOWL, CIRCA 1956 Impressed artist’s seal, white glaze with inlaid blue lines 6.3cm high, 13cm across (2.5in high, 5.15in across) Literature: See John Houston (ed.), Lucie Rie, Crafts Council, 1981, p.72, no.88 for an example with similarities.

£2,000-3,000

243 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) COFFEE POT, CIRCA 1960 Impressed artist’s seal, with manganese glaze and band of sgraffito to the neck, and pulled side handle 22.5cm high, 19.5cm across (8.8in high, 7.65in across)

£2,000-3,000

244 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) BOWL Impressed artist’s seal, white glaze with manganese rim 8.2cm high, 16cm across (3.25in high, 6.25in across)

£200-400

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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245 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) FOOTED BOWL, CIRCA 1980 Impressed artist’s seal, with red band and sgraffito white lines 9.7cm high, 23cm diameter (3.8in high, 9.06in diameter) Literature: Lucie Rie: A Retrospective, Tokyo NATMA, First Edition, 2010, no. 199 for a similar example.

This similar example is held in the collection of The Museum of Ceramic Art, Hyogo.

£7,000-9,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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246 BIMINI, POSSIBLY ATTRIBUTABLE TO DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) COLLECTION OF 25 BUTTONS Pressed glass, some with brass backs and Bimini marks, one in ceramic The largest 5cm across (2in across) (25)

£200-300

247 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) VASE Impressed artist’s seal, mixed clays 14.3cm high (5.6in high)

£1,000-2,000

248 § PETER COLLINGWOOD (BRITISH 1922-2008) RUG Wool and horse hair 229cm long, 123cm across (90.12in long, 48.3in across)

£600-800

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Halima Cassell is one of the most dynamic ceramicists and sculptors working in Britain today. Her sculpture reflects her dual nationality and her British heritage having been born in Kashmir, and grown up in north-west England, and shows her love of architecture, geometry and natural forms. Cassell uses definite lines and dramatic angles, attempting to manifest the universal language of number and create an unsettling sense of movement.

Cassell exhibits widely both in the UK and internationally, and her work is represented in many notable public and private collections including the V&A, London; Birmingham Museum and Art Gallery; and the Walker Art Gallery, Liverpool. She currently has a major solo exhibition at Manchester Art Gallery Halima Cassell: Eclectica Global Inspirations.

We would like to thank Halima Cassell for assisting in the cataloguing of these lots.

249 HALIMA CASSELL F.R.S.S. (BRITISH 1975-) QUADRI Hand-carved stoneware 10.5cm high, 23cm across (4.12in high, 9in across)

£2,000-3,000

250 HALIMA CASSELL F.R.S.S. (BRITISH 1975-) ARABESQUE Hand-carved stoneware 11cm high, 23.5cm across (4.25in high, 9.25in across)

£2,000-3,000

While working, Cassell becomes deeply involved in each piece to the point where she is unaware of her surroundings even watching her work on a piece for a few minutes, it is obvious that the process commands all her attention Emmanuel Cooper

251 § VALERIE PRAGNELL (BRITISH 1942-2006) WILD APPLE POD, 2001 Blackthorn and red earth 49cm high, 39cm across (19.25in high, 15.25in across)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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252 § † MICHAEL KENNA (BRITISH 1953-) RANCHO SAN CARLOS, STUDY 10, CALIFORNIA, USA, 1993 Signed, dated and numbered 8/45 in pencil (in the margin), silver gelatin print 19.7cm x 19cm (7.75in x 7.5in)

£600-800

253 § † MICHAEL KENNA (BRITISH 1953-) COPSE, GREAT SMEATON, YORKSHIRE, ENGLAND, 1991 Signed, dated and numbered 24/45 in pencil (in the margin), silver gelatin print 19cm x 19cm (7.5in x 7.5in)

£800-1,200

254 § † MICHAEL KENNA (BRITISH 1953-) LEANING TREE, PRUHONICE, CZECHOSLOVAKIA, 1992 Signed, dated and numbered 15/45 in pencil (in the margin), silver gelatin print 19cm x 19cm (7.5in x 7.5in)

£800-1,200

255 ROBIN DAY (BRITISH 1915-2010) FOR HILLE OCCASIONAL TABLE, LATE 1960S Label inscribed ‘designer Robin Day/Hille’, laminate and chromed and painted metal 56.5cm high, 61cm diameter (22.25in high, 24in diameter)

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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256 § DAVID NOONAN (IRISH/AUSTRALIAN 1969-) UNTITLED Signed, numbered 2/3 and dated in pen (to reverse), silkscreen collage on linen laid down on board 70.5cm x 55cm (27.75in x 21.6in) Note: This work was produced for the exhibition Origami.

£3,000-5,000

257 § HELENE FESENMAIER (AMERICAN 1937-2013) IMAGES OF ÉLOGES, 1979 Saint-John Perse (Alexis Saint-Léger Léger) (author), from an edition of 12, frontispiece and 12 lithographs with etching, soft ground etching, photolithograph, collage, chalk, enamel paint, and/or pencil additions, printed by The Print Workshop London Each sheet 62cm x 51cm (24.5in x 20in), in a custom made wooden glazed box Note: One edition is in the collection of MOMA, New York.

£1,200-1,800

258 § KENNY HUNTER (BRITISH 1962-) ‘WHAT IS HISTORY’, MONICA LEWINSKY AND OSAMA BIN LADEN, 1998 Numbered 24/100 and incised with initials (to the base), cast resin Each 27cm high (10.67in high) (2) On ‘What is History?’ the artist commented that it was his ‘response to the collapse of the grand narratives and absolute belief systems represented by the traditional historical bust’.

£700-900

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259 VICKI AMBERY-SMITH (BRITISH 1955-) DUNMORE PINEAPPLE BROOCH, 2018 Silver and gold, hallmarked for London 2018 5.7cm high (2.25in high), 30.7 grams Note: ‘The Dunmore Pineapple is such a quirky building, I had long since wanted to design something inspired by it. By making this brooch part elevation and part interior it is something of a portrait of the building. This approach accentuates its architectural structure rather than a pineapple with Windows!’

£3,000-5,000

260 VICKI AMBERY-SMITH (BRITISH 1955-) MAVISBANK BOX, 2018 Silver and red gold plate, hallmarked for London 2018 7.5cm high (3in high), 120 grams Note: Mavisbank House was once an elegant 18th-century house in Scotland that has sadly been abandoned. By taking inspiration from the ruins, the box celebrates this fine house and is based on the west wing.

£2,500-3,500

261 NAN NAN LIU (CHINESE 1982-) OYSTER BOX, 2018 Hallmarked for London 2018, silver 10.5cm across (4.1in across), 228 grams

£2,000-3,000

Nan Nan Liu gained an MA in 2010 from the Royal College of Art, having previously won the Gold Prize Podolsky Award at the Goldsmiths’ Craftmanship and Design Awards in 2009. She was joint winner of The Gold and Silver Wyre Drawers Award and Silver Award in Smallworkers and Modelmakers, both for the Goldsmiths’ Craftmanship and Design Awards 2015. Liu’s work is held in the collections of the V&A Museum and Goldmiths’ Company.

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Her work is principally inspired by nature, particularly where repetitive patterns and shapes are found, notably the forms that water can take and the emotional response it can evoke. Building up single strands of silver, she allows her pieces to form a life of their own, like water.

7cm across (2.75in across), 109 grams

NAN NAN LIU (CHINESE 1982-) OYSTER BOX, 2018 Hallmarked for London, 2018, silver

£700-900

263 NAN NAN LIU (CHINESE 1982-) PEDESTAL BOWL, 2019 Hallmarked for London 2019, silver, with waved base 5.5cm high, 17cm diameter (2.2in high, 6.4in diameter), 294 grams

£700-900

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264 PHILIP MICHAEL WOLFSON (AMERICAN 1958-) PAIR OF MINI PROTOTYPE ORIGAMI CHAIRS, 1991 Patinated steel, from an edition of 8 66cm high, 51cm across (26in high, 20in across) Exhibited: ‘Super Design’, No. 1, The Piazza, London, 9 October-14 October 2007; 1991 Contemporary Interior Design exhibition, Design and Decorating Building, London, UK; 2007 SUPER DESIGN - Covent Garden, London, UK; 2008 SUPER DESIGN 2 - Covent Garden, London, UK; 2008 Victoria and Albert Museum - Design Embassy, London, UK; 2010 Imago Gallery - London, UK; 2017 Design Days Dubai Selected publications: 2002 The New Classics, Stewart, Suzanne Trocme, Tabori, & Chang; 2002 Design After Modernism, W. W. Norton & Company, by Judith Gura; 2004 Classic Chic by Suzanne Trocme; 2008 Desire: The Shape of Things to Come by R. Klanten; 2014 HEART & HOME: Rooms That Tell Stories by Linda O’Keefe.

Literature: See Robert Klanten, et al., eds., Desire: The Shape of Things to Come, Berlin, 2008, p.86, fig.1, for the full size version; Suzanne Trocme, The New Classics, Stewart, Tabori, & Chang, 2002, for the full size version; Judith Gura, Design After Modernism, W. W. Norton & Company, 2002, for the full size gilded version.

Note: With this series of works, the formal concept is derived from the dynamics of landscape formations and creation; where geological references to tectonic layering and movement, spatial overlap, penetration of layers and juxtaposition create a collision - static versus dynamic forces. This is a functional and sculptural approach to design.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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Their collective comprises husband, wife, son and daughter, but beyond being close family members, the Boyle Family are artistic collaborators. This began soon after Mark Boyle, a Glaswegian by birth, and Joan Hills, originally from Edinburgh, met whilst living in Yorkshire in the 1950s.

Their children Sebastian and Georgia were exposed to studio life from an early age, ultimately opting to continue the collaboration into adulthood.

Though initially exhibiting under Mark’s name alone, they began representing themselves as ‘Boyle family’ from 1985. Their work was experimental and cross disciplinary from the start, with famous early projects including innovative visual installations in collaboration with musicians like Jimi Hendrix and the Soft Machine. Elements of film and performance continue to play a part in their practise, but it is the Journey to the Surface of Earth series, launched in 1968-69, for which they are best known.

Works from the Earth series are, in the Boyle Family’s own words, ‘three dimensional casts of the surface of the earth which record and document random sites with great accuracy. These works combine real material from the site (stones, dust, twigs etc) with paint and resins, preserving the form of the ground to make unique one-off pieces that suggest and offer new interpretations of the environment.’

Sites were selected on the map by the throw of a dart whilst blindfolded, and the precise patch of ground to be immortalised, narrowed down by the toss of a t-square over the shoulder. Like archaeologists, the Boyles would then focus on that particular section of earth and work meticulously to capture and recreate the site in resin and fibreglass. The full details of their materials, casting technique and how they achieve such accurate representations are a well-kept family secret.

In 1974, they began creating casts in a site near their house in Shepherds Bush, which is now buried under the Westfield Shopping Centre. While trying to gain access to the private site, Mark asked the property owner for permission to take photographs. The owner asked if he was a professional photographer and, seeing no other way in, Mark pretended he was.

In a twist of fate, the site owner was working on a planning enquiry to develop the land into a lorry park. The owner needed photos showing lorries illegally parked in the area at night, therefore showing the demand for a lorry park. These photographs were enough to award the owner planning permission, and he then granted Mark the permission to work on the site.

In his book, Mark Boyle’s Journey to the Surface of the Earth, J.L.Locher recalled the unfettered access, stating ‘This gave us the opportunity to work freely on a wide range of studies, variegated earth, rubble, cracked earth, wet, moist, damp and dry mud, animal and bird footprints, and so on. As time went by these were grouped together as the Lorrypark Series.’

Lyon & Turnbull is delighted to offer a work from this series, titled Study of Cobbles, with Mud, Stones and Debris, Lorry Park Series, 1974. This piece was potentially included in the Serpentine Gallery’s one-man exhibition of Mark Boyle’s work (4 Oct 1975 to 2 Nov 1975), which included artwork from the Earth series.

They family would go on to represent Britain at the Venice Biennale in 1978, and again at the Sao Paulo Biennale in 1987. Their exhibition ‘Beyond Image’ at London’s Hayward Gallery in 1986 attracted 176,000 visitors, and the National Gallery of Scotland, Edinburgh, hosted a major retrospective of the family’s work in 2003.

Though Mark Boyle passed away in 2005, the family continues their work. The Boyle Family is represented in many private and public collections with major works in forty museum collections worldwide, including Tate Britain; Stuttgart Staatsgalerie; Los Angeles County Museum; Kunstmuseum Luzern; Tokyo Metropolitan Museum; Museum Moderna Kunst Vienna.

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265 § BOYLE FAMILY STUDY OF COBBLES, WITH MUD, STONES AND DEBRIS, LORRY PARK SERIES, 1974 Signed, inscribed and dated ‘Study from the Lorrypark Series, 1974, Joan Hills, Mark Boyle, Boyle Family’, mixed media, resin and fibre glass 183.5cm x 183.cm (72.25in x 72.25in)

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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266 § MAGGI HAMBLING C.B.E. (BRITISH 1945-) MARCH WAVE ROLLING, 2007 Signed and dated (to reverse), oil on canvas 40cm x 100cm (15.75in x 39.3in) Provenance: Wills Lane Gallery, St. Ives; Private Collection.

£4,000-6,000

267 § MAGGI HAMBLING C.B.E. (BRITISH 1945-) SUMMER WAVE WITH GULL, 2017 Signed, titled and dated (to reverse), oil on canvas 25cm x 30cm (9.8in x 11.75in)

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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268 § EDMUND DE WAAL (BRITISH 1964-) BOWL Impressed artist’s seal, with dripped blue rim 6cm high, 13.3cm diameter (2.37in high, 5.25in diameter) Provenance: Collection of Dr. Virginia Glenn.

£400-700

269 § EDMUND DE WAAL (BRITISH 1964-) JAR AND COVER Impressed artist’s seal, celadon and pink glaze 13cm high (5.12in high) Provenance: Collection of Dr. Virginia Glenn.

£1,200-1,800

270 § ETTORE SOTTSASS (ITALIAN 1917-2007) FOR COR UNUM CERAMICS & ART ‘TARZAN’ SCULPTURE, 1999 29/100, printed Sottsass signature and edition number (to base), and with manufacturer’s label, glazed stoneware 32.5cm high, 34cm diameter (12.75in high, 13.37in diameter)

£1,500-2,500

144

271 § † SIR TERRY FROST R.A. (BRITISH 1915-2003) TIMBERAINE E (KEMP 207E), 2000-01 Signed, numbered 11/16 and dated in pencil (to reverse), triptych, comprising three woodcuts printed in colours on wove paper, printed

by Hugh Stoneman at Stoneman Graphics, Cornwall, published by The Paragon Press, London 49.5cm x 104.5cm (19.5in x 41.12in) (3) Note: This piece is from the Timberaine series that consist of 10 different woodcuts. The idea behind this series came from one of Frost’s large stripe paintings, and was inspired by tree trunks in a forest. Working in woodcut allowed Frost to accomplish the quality and clarity of design he envisioned, in contrast to his painting, where the edges of the stripes were inevitably softer.

In this technique Frost used three separate woodcuts to make up the pieces.

£800-1,200

272 ALEXANDER CALDER (AMERICAN 1898-1976) ‘ACROBATS’ TEXTILE, 1976 Screenprinted cotton, produced for the Whitney Museum, 1976 100cm x 71cm (78.5in x 28in) Literature: See Geoffrey Raynor et al., Artist’s Textiles 1940-1976, Antiques Collectors’ Club, 2014, illustration no.62 for an example of this textile.

Note: The Whitney Museum of American Art, New York, held a major restrospective Calder’s Universe in 1976, and Calder worked with the Whitney on preparations, including this textile. This is one of the few, if any, industrially manufactured textiles designed by artists after the 1960s in America. It is also one of Calder’s last known designs, due to his untimely death five weeks after the exhibition opening.

£300-500

145

273 § HOWARD HODGKIN (BRITISH 1932-) RUG, 2016-17 Signed to fabric label verso, no. 7 from the edition of 60 (plus 8 artist’s proofs), wool rug 214cm x 151cm (84.25in x 59.5in) Note: This rug was produced by Christopher Farr, inconjunction with the exhibition Howard Hodgkin: Painting India at the Hepworth Wakefield, 2017.

Made with hand-spun and hand-dyed Persian yarn in Mirzapour, India.

It is sold with accompanying certificate of authentication.

£2,000-3,000

274 GRAINNE WATTS (IRISH 1960-) BINDU, 2019 Impressed artist’s monogram, stoneware and ming porcelain, decorated with layers of diluted under glazes and hand-painted spots 26cm high, 50cm diameter (10.2in high, 19.7in diameter) Note: Grainne Watts work explores various forms found in the natural world and organic geometry. The symbol of the ‘Dot/Bindu’ has many meanings which fascinate her. It represents the smallest possible mark, pure potentiality and the starting point from which all things arise. The choice of gently bellied forms directly relate to the surface pattern.

‘When making the ‘Bindu’ series, my aim is to create forms that evoke a visual, tactile and emotional response through form and the use of colour and pattern. I use under glazes because I love the seemingly soft surface they create and when I combine that velvet background with contrasting pattern, the end results pulsate.’

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

146

275 ยง ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) THE CONCEPT OF THE SELF WITH NO LIMITS NO. 1, OPUS O.1669, 2003 Signed, dated and titled (to reverse), oil on canvas 151cm x 119.5cm (59.5in x 47in) Provenance: Charity Auction, Edinburgh, College of Art, 2003; Portland Gallery, London; Property of a Gentleman.

ยฃ20,000-30,000

147

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

276 § ARMAN (FRENCH 1928-2005) DO, RÉ, MI, FA, SOL, LA, SI, DO, 1979 H.C., signed and incised to the bronze, bronze with gold patina held in resin and plexiglass 61.5cm high, 24.5cm across, 7cm deep (24.25in high, 9.67in across, 2.75in deep)

£1,500-2,500

277 SARA MOORHOUSE (BRITISH 1974-) ‘SATURN’ BOWL Incised artist’s initials 14cm high, 29.2cm diameter (5.5in high, 11.5in diameter)

£600-800

Sara Moorhouse’s development of colour and spatial perception in ceramics began with her Masters degree at Cardiff in 2003. Her work uses the bowl as a canvas, distilling specific landscape scenes and exploring the spaces within landscape where they appear altered depending on the ever-changing colours of season, weather and time.

Her forms can be made to seem deeper or shallower, wider or narrower, or may appear to bend, move, undulate or hover by the juxtaposition of lines. The viewing of both inner and outer surfaces together enables her to exploit colour connections and visual play from one side to another emphasising or flattening the dimensionality of the form. Moorhouse’s works are thrown, turned and fired, then lines are applied to the bisque bowl by being painted in hand back on the wheel, before a final matte glaze is applied to the pieces to stabilise and enhance the coloured surface.

‘I am fascinated by the ways in which colour affects the appearance of three-dimensional space and form. I first recognised this phenomenon within the arable landscapes of North Nottinghamshire and, whilst colour theory impacts greatly on my process, landscapes are a source to which I always return.’

278 SARA MOORHOUSE (BRITISH 1974-) SET OF THREE ‘RING’ BOWLS Each incised artist’s initials Each 9.5cm high, 12.5cm diameter (3.75in high, 4.8in diameter) (3)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

149

279 NAM JUNE PAIK (KOREAN 19322006) MINI METROBOT, 1988 Artist Proof, signed and numbered 3/5 on the plinth, with Contemporary Art Center, 1988 label (to base), metal and mixed media 48.5cm high (19.12in high) ‘Nam June Paik - A Work for Radio’ by Ray Gallon is incorporated in this piece.

Nam June Paik was a visionary artist and one of the first to embrace new technology and mass media. His work was innovative and experimental, pioneering the use of video and television in art and coining the phrase ‘electronic super highway’, predicting communication in the internet age.

Mini-metrobot is a small editioned maquette for the 26 foot tall Metrobot created as a sidewalk ambassador for The Contemporary Arts Center, Cincinnati, in celebration of the 50 th anniversary of the center and 200 th anniversary of the city. It was created to communicate the Arts Center’s location, as well as imparting a message of events and exhibitions on its electronic message board arm. There was a public telephone and video monitors in its legs that allowed the public to further interact with the piece.

A major retrospective of Nam June Paik’s work is currently taking place at Tate Modern, London, organised in collaboration with the San Francisco Museum of Modern Art.

£4,000-6,000

BRYAN INGHAM Lot 163

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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.

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SCOTTISH PAINTINGS & SCULPTURE AUCTION 05 DECEMBER 2019 IN EDINBURGH To enquire please contact Nick Curnow nick.curnow@lyonandturnbull.com 0131 557 8844 SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) THE BLACK HAT [DETAIL] Signed, oil on canvas 51cm x 41cm (20in x 16in)

£20,000-30,000

152

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

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.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS

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. All dimensions and weights are approximate only.

2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the

extent provided below. (a) 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. (b) 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. (c) 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.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological

19.2 report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) 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. Clocks may be sold without pendulums, weights or keys. (c) 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.

(d) 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. (e) 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. (f) 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.

B. REGISTERING TO BID 1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration.

We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

153 We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website.

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. (c) Written 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS

C. DURING THE SALE

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

1. ADMISSION TO OUR AUCTIONS

8. RELEVANT LEGISLATION

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

2. RESERVES

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

Unless indicated by an 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. 3. AUCTIONEER’S DISCRETION

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. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots.

The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

(c) 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 outwit the European Union and do not fall within the reduced rate category outlined above.

3. A RTIST’S RESALE ROYALTY (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.

E. WARRANTIES

1. THE PURCHASE PRICE

1. SELLER’S WARRANTIES

For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 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.

For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else.

If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense.

The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. 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. (a) 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. (b) 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 outwit the European Union. This reduced rate is applicable to Antique items.

2. 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

154 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 we, in our reasonable opinion, deem that 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: (a) 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 (b) 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 (c) 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: (a) 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 (b) 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 & 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.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will 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. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can 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. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) 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. (f) No purchase can be claimed or removed until it has been paid for. (g) 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.

2. IN THE EVENT OF NON-PAYMENT

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(s) (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 of 5% a year above the Bank of Scotland base rate from time to time 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.

You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use

the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) 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. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

2. 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 making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

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.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than

155 as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless

we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. 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.

8. 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 premises, 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.

9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of

our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

10. 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.

11. 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.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely

to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” 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; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

19.2

156

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

All potential buyers must register prior to placing a bid. Registration information may

BY PHONE

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: 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.

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.

PAYMENT 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: 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.

IN WRITING

Please use our online payment service (provided by Cardstream/Credorax).

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.

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

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.

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 per annum.

DENIS MITCHELL Lot 223

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM