MODERN MADE | Design on the Move | Modern Art & Post War Design by Lyon & Turnbull

29TH & 30TH APRIL 2021 LONDON | LIVE ONLINE

DESIGN ON THE MOVE: THURSDAY 29 APRIL 2021 AT 6PM MODERN ART & POST-WAR DESIGN: FRIDAY 30 APRIL 2021 AT 10AM Sale Numbers LT636 & LT655

CONTACT LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com

EXHIBITION & VIEWING

BIDDING AT THIS SALE

Mall Galleries, The Mall, London, SW1 by appointment

ONLINE, TELEPHONE & COMMISSION BIDDING

Tuesday 27 April 5pm-7pm

Please see the guide to bidding on page 216

Wednesday 28 April 10am-5pm Thursday 29 April 10am-5pm Friday 30 April 8.30am-12pm

BOOKING To book a viewing time please use one of the methods below:

Front Cover:

Inside Cover:

This spread:

Lot 256 [detail]

Lot 384 [detail]

Lot 326 [detail]

ONLINE www.lyonandturnbull.com/appointment-bookings CALL +44 (0) 207 930 9115 EMAIL info@lyonandturnbull.com

BUYER'S GUIDE

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

BUYER’S PREMIUM

We may, at our option, also ask you to provide a bank reference and/ or deposit.

COLLECTION & STORAGE OF PURCHASED LOTS

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).

Post sale, clients will be able to collect from The Mall Galleries on Saturday 1st May 10am-4pm.

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 Sale at the back of this catalogue). ADDITIONAL VAT †V AT at the standard rate payable on the hammer price ‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. No VAT is payable on the hammer price or premium for books bought at auction. DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk REGISTRATION All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, 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).

BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction. 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. There will be no public viewing for this auction, 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. IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http://www.defra.gov.uk/ahvla-en/importsexports/cites

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. 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 PLC, Ockham Drive, Greenford Park, Greenford. Middlesex UB6 0FD. Telephone +44 (0) 20 8832 2222. Open 9am-5pm by prior appointment only. FOR INTERNATIONAL & UK OUTSIDE SCOTLAND CLIENTS Items will be available to collect by appointment from Wednesday 5th May from Stephen Morris Shipping PLC (address above). Items will be stored free of charge until Monday 17th May. From Tuesday 18th May, 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 CLIENTS IN SCOTLAND Scottish buyers and vendors items will be available to collect from Monday 10th May at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. Due to social distancing requirements all collections will be by appointment only (this applies to both carriers and personal collections). CALL 0131 557 8844 EMAIL info@lyonandturnbull.com Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

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 Paintings & Prints carly.shearer@lyonandturnbull.com

Matthew Yeats Sale Administrator matthew.yeats@lyonandturnbull.com

Joy McCall Design joy.mccall@lyonandturnbull.com

John Mackie Design john.mackie@lyonandturnbull.com

Charlotte Riordan Paintings & Prints charlotte.riordan@lyonandturnbull.com

Nicolette Tomkinson Vintage Poster Consultant nicolette.tomkinson@lyonandturnbull.com

Sophie Churcher Vintage Poster Consultant sophie.churcher@lyonandturnbull.com

TOMKINSON CHURCHER provide independent art advisory services, curate auctions and conduct valuations for private individuals, museums, corporate and institutional collections. They are recognized for their expertise in vintage posters and, as former directors at Christie’s, have over 35 years combined experience within the international art market.

Above:

Right:

Lot 100

Lot 373

As the world opens up and Spring blossoms we are delighted to welcome you to the fourth edition of Modern Made and hope to see some of you in person for viewing at the Mall Galleries in London. The aim of Modern Made is to act as a showcase for the best of Modern Art across multiple disciplines including paintings, works on paper, design and contemporary and studio glass and ceramics. By presenting a carefully curated display of works that reflect the creativity, interconnectedness and importance of all the mediums in the 20th & 21st Centuries, it allows for reciprocal links and integral questions to be posed and examined. At the heart of this idea are the connections between different artists in various mediums. 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 independent specialities.

The current edition of Modern Made is perhaps the most exciting so far and features at its core important collections of studio and contemporary glass, Italian design and Modern British Art. Comprising two significant collections, the selection of post-war glass traverses the history of the movement and includes works by some of the most significant international figures in the school including Fulvio Bianconi, Lino Tagliapietra, Dale Chihuly, Toots Zynsky, Yoichi Ohira, William Morris and Massimo Micheluzzi. The array of techniques and colours is sure to provide a feast for the eyes. Works by Gio Ponti, Ico Parisi and Pietra Chiesa highlight the diversity, creativity and innovation in Italian design practices in the pre-and post-war years. Significant sculptures by Leon Underwood, Lynn Chadwick, Robert Adams, Robert Clatworthy, and Elizabeth Frink reflect important and significant changes in Modern British Sculpture. Other collections to be featured in the auction and exhibition include a charming collection of works by Mary Fedden and Julian Trevelyan, and Design on the Move – a collection of posters from the renowned Shell Heritage Art Collection, sold to benefit The National Motor Museum Trust. We believe that Modern Made is captivating, with something for everyone. It presents an opportunity to acquire works by some of the century’s most celebrated artists and makers. We hope that the exhibition and auction is exciting, thought-provoking and most importantly uplifting. PHILIP SMITH | April 2021

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

Posters from The Shell Heritage Art Collection to benefit The National Motor Museum Trust AUCTION THURSDAY 29 APRIL AT 6PM From the 1920s to the 1950s, Shell commissioned some of the most powerful advertising campaigns ever produced. The company realised early on that its advertisements promoted not only petrol and oil but also motoring, and motoring meant special pleasures – exhilaration, freedom and the joys of the British countryside. Commissioned by Jack Beddington, who had a keen eye for young talent, the list of artists selected were considered to be leading the British art establishment at the time and included Ben Nicholson, Graham Sutherland, Edward McKnight Kauffer and Paul Nash. Beddington’s ability to give young contemporary artists a platform to produce original advertisements made the campaigns of his era a great success. Shell was thus seen to be a patron of the arts, bringing fine art out of the gallery and on to the streets. McKnight Kauffer himself commented: “The artist in advertising is a new kind of being... it is his business constantly to correct values, to establish new ones, to stimulate advertising and help to make it worthy of the civilisation that needs it.” (Haworth-Booth p.85) Shell ran a number of thrilling poster campaigns in the 1930s, targeting audiences who had recently acquired access to a motor car. The ‘People Prefer’ series showed the broad range of people that opted for Shell, including: Farmers, Film Stars, Tourists and Doctors. In this way, “company and user underlined the taste and judgement of each other in a process of mutual reinforcement.” (Hewitt, The Shell Poster Book) The ‘Everywhere you Go, You can be Sure of Shell’ and ‘To Visit Britain’s Landmarks you can be Sure of Shell’ series saw a departure from references to oil and petrol in favour of fine landmarks, historical sites and inspiring landscapes, all firmly located in the countryside.

They perfectly encapsulated an idealized view of rural life much desired by the middle classes, particularly those from large towns. ‘By celebrating and making accessible such rural delights, Shell won the plaudits of powerful pressure groups who sought to protect the countryside from urban expansion and the destruction of rural amenities by advertising hoardings’. (Hewitt, The Shell Poster Book) The posters offered for sale are all Lorry Bills, illustrated in the picture shown here, which were attached to the sides and backs of Shell lorries, delivering oil and petrol to customers all over the country. These duplicates have come directly from the renowned Shell Heritage Art Collection. The posters are sold to benefit The National Motor Museum Trust. The National Motor Museum Trust Limited is a charitable organisation founded in 1972, which runs the National Motor Museum at Beaulieu. The Trust has a world famous collection of vehicles and associated motoring items, which have been designated by the Arts Council England as being of national and international importance. The Trust is committed to promoting education, research and conservation in motoring history for the benefit of everyone.

VIC

YUNGE

FOR QUICK STARTING, CARS AND CHAUFFEURS

SHELL FOR ANTI-KNOCK

lithographic poster, 1930, condition A/A-; not backed, framed

lithographic poster, 1930, condition A-; not backed, framed

76cm x 114cm (30in x 45in)

Literature: Hewitt, The Shell Poster Book, 30.

Literature: Hewitt, The Shell Poster Book, 29.

£1,000-1,500

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

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

3 TOM ECKERSLEY (1914-1997) AND ERIC LOMBERS (1914-1978) TIME TO CHANGE TO WINTER SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£300-500

4 CEDRIC MORRIS (1889-1982) SUMMER SHELL lithographic poster, 1938, condition A-; not backed, framed 76cm x 114cm (30in x 45in)

£300-500

5 EDWARD MCKNIGHT KAUFFER (1890-1954) MAY TO OCTOBER - SUMMER SHELL lithographic poster, 1939, condition A/A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Howarth Booth, no.78; Hewitt, The Shell Poster Book, 96.

£400-600

Proceeds to benefit The National Motor Museum Trust

6 EDWARD MCKNIGHT KAUFFER (1890-1954) USE SUMMER SHELL FOR PULL lithographic poster, 1930, condition A; not backed 76cm x 114cm (30in x 45in)

£600-800

7 EDWARD MCKNIGHT KAUFFER (1890-1954) WINTER SHELL (APPLE) lithographic poster, 1939, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£400-600

8 EDWARD MCKNIGHT KAUFFER (1890-1954) DINTON CASTLE NEAR AYLESBURY lithographic poster, 1936, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 71.

£300-500

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

9 JOHN ARMSTRONG (1893-1973) NEWLANDS CORNER lithographic poster, 1932, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 48.

£500-700

10 CATHLEEN SABINE MANN (1896-1959) WEST WYCOMBE lithographic poster, 1933, condition A; not backed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 53.

£400-600

11 EDWIN CALLIGAN PLAS NEWYDD lithographic poster, 1936, condition A-; not backed, framed 76cm x 114cm (30in x 45in)

£300-500

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

Proceeds to benefit The National Motor Museum Trust

12 CLIFFORD (1907-1985) & ROSEMARY (1910-1998) ELLIS CHANTER’S FOLLY, APPLEDORE lithographic poster, 1937, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 84.

£400-600

13 PAUL NASH (1889-1946) KIMMERIDGE FOLLY, DORSET lithographic poster, 1937, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 85.

£1,500-2,000

14 JOHN ARMSTRONG (1893-1973) NEAR LAMORNA lithographic poster, 1952, condition A-; not backed 76cm x 102cm (30in x 40in) Literature: Hewitt, The Shell Poster Book, 103.

£300-500

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

15 RICHARD GUYATT (1914-2007) RALPH ALLEN’S SHAM CASTLE lithographic poster, 1936, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 73.

£400-600

16 PAMELA DREW (1910-1989) JOHN KNOX MONUMENT lithographic poster 1936, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 76.

£300-500

17 JOHN STEWART ANDERSON BOND’S FOLLY, DORSET lithographic poster, 1937, condition A-; not backed, framed 76cm x 114cm (30in x 45in)

£300-500

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

Proceeds to benefit The National Motor Museum Trust

18 EVE KIRK (1900-1969) THE LIFFEY, DUBLIN lithographic poster, 1939, condition A; not backed 76cm x 114cm (30in x 45in)

£500-700

19 GRAHAM SUTHERLAND (1903-1980) BRIMHAM ROCK, YORKSHIRE lithographic poster, 1937, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 86.

£500-700

20 DUNCAN GRANT (1885-1978) ST. IVES - HUNTINGDON lithographic poster, 1932, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 50.

£600-800

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

21 LEONARD H. ROSOMAN (1913-2012) ROMAN TOWER, TUTBURY lithographic poster 1936, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 78.

£300-500

22 PAUL SHERRIFF BOSHAM lithographic poster, 1952, condition A-; not backed 76cm x 102cm (30in x 40in)

£400-600

23 RICHARD WYNDHAM (1896-1948) UP PARK, PETERSFIELD lithographic poster, 1937, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£300-500

Proceeds to benefit The National Motor Museum Trust

EDWIN CALLIGAN

SZEGEDI SZUTS (1893-1959)

GENERAL WADE’S BRIDGE

SAVERNAKE FOREST

lithographic poster, 1933, condition B+; not backed, framed

lithographic poster, 1936, condition A-; not backed, framed

76cm x 114cm (30in x 45in)

Literature: Hewitt, The Shell Poster Book, 54.

£400-600

£500-700

EDWARD BAWDEN (1903-1989)

TOM GENTLEMAN (1892-1966)

WALTON CASTLE, SOMERSET

STRANGE CHURCH

lithographic poster, 1936, condition A; not backed

lithographic poster, 1937, condition A-; not backed, framed

76cm x 114cm (30in x 45in)

£400-600

Literature: Hewitt, The Shell Poster Book, 81.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

28 ZERO (HANS SCHLEGER, 1898-1976) JOURNALISTS USE SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 91.

£1,500-2,000

Shell’s 1930s advertising targeted new audiences with the People Prefer campaign. The series showed the broad range of people that opted for Shell, including: Farmers, Film Stars, Tourists and Doctors. Schleger, who signed most of his graphic work ‘Zero’, studied in Berlin and was much influenced by the Bauhaus.

Proceeds to benefit The National Motor Museum Trust

29 Edward McKnight Kauffer (1890–1954) is now considered one of the most influential graphic designers of the 20th century. Originally a painter from America, he moved to Britain in 1914. He was influenced by Cubism and Vorticism, and produced posters for many organisations including London Transport and Great Western Railway. He was Shell’s principal poster designer, and produced over 180 artworks for Shell during the 1920s and 1930s.

EDWARD MCKNIGHT KAUFFER (1890-1954) ACTORS PREFER SHELL lithographic poster, 1933, condition A/A-; not backed 76cm x 114cm (30in x 45in)

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

EDWARD MCKNIGHT KAUFFER (1890-1954)

SHELL LUBRICATING - NEW OILS

SHELL FOR GO FOR SHELL

lithographic poster, 1937, condition A-; not backed

lithographic poster, 1938, condition A; not backed

76cm x 114cm (30in x 45in)

Literature: Hewitt, The Shell Poster Book, 80.

£500-700

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Proceeds to benefit The National Motor Museum Trust

RICHARD GUYATT (1914-2007)

JOHN STEWART ANDERSON

RACING MOTORISTS

MOTORISTS PREFER SHELL

lithographic poster, 1939, condition A-; not backed

lithographic poster, 1935, condition A; not backed

76cm x 114cm (30in x 45in)

Literature: Hewitt, The Shell Poster Book, 95.

Literature: Hewitt, The Shell Poster Book, 67.

£1,000-1,500

£1,800-2,200

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

34 CHARLES GREEN SHAW (1892-1974) SMOKERS PREFER SHELL lithographic poster, 1936, condition A-; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 70.

£500-700

35 EDWARD ARDIZZONE (1900-1978) LIFEBOATMEN USE SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 87.

£300-500

36 JOHN ARMSTRONG (1893-1973) FARMERS USE SHELL lithographic poster, 1939, condition A; not backed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 94.

£500-700

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

Proceeds to benefit The National Motor Museum Trust

37 BEN NICHOLSON (1894-1982) GUARDSMEN USE SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 88.

£700-900

38 CHARLES MOZLEY (1914-1991) SIGHTSEERS USE SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 89.

£400-600

39 CHARLES MOZLEY (1914-1991) BLONDES AND BRUNETTES lithographic poster, 1939, condition A; not backed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 93.

£600-800

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

DEREK SAYER (1917-1992)

A. CANTOR

FISHERMEN USE SHELL

BUILDERS USE SHELL

lithographic poster, 1937, condition A; not backed, framed

lithographic poster, 1938, condition A; not backed, framed

76cm x 114cm (30in x 45in)

£400-600

£300-500

TERENCE CUNEO (1907-1996)

JOHN SKEAPING (1901-1980)

STANLOW BY NIGHT

THE WINNER SHELL

lithographic poster, 1952, condition A; not backed

76cm x 102cm (30in x 40in)

£400-600

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Proceeds to benefit The National Motor Museum Trust

44 TOM ECKERSLEY (1914-1997) AND ERIC LOMBERS (1914-1978) SCIENTISTS PREFER SHELL lithographic poster, 1936, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£700-900

45 JOHN ARMSTRONG (1893-1973) THEATRE-GOERS USE SHELL lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£700-900

46 CATHLEEN SABINE MANN (1896-1959) FILM STARS USE SHELL lithographic poster, 1938, condition A; not backed 76cm x 114cm (30in x 45in) Literature: Hewitt, The Shell Poster Book, 90.

£600-800

DESIGN ON THE MOVE | Posters from The Shell Heritage Art Collection

47 JAMES GARDNER (1907-1995) VICKERS WELLESLEYS lithographic poster, 1939, condition A; not backed 76cm x 114cm (30in x 45in)

£700-900

48 ROBERT BUHLER (1916-1989) FOR HIGH PERFORMANCE, HAWKER HURRICANES lithographic poster, 1938, condition A-; not backed, framed 76cm x 114cm (30in x 45in)

£600-800

49 CARL FELKEL (1896-1984) BRISTOL BOMBAYS lithographic poster, 1938, condition A; not backed, framed 76cm x 114cm (30in x 45in)

£700-900

We are proud to support The National Motor Museum Trust in their mission to promote education, research and conservation in motoring history for the benefit of everyone. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

DAY TWO FRIDAY 30 APRIL 2021 AT 10AM

Left: Lot 251 [detail]

Left: Lot 71 [detail]

Above: Lot 372 [detail]

50 § VANESSA BELL (BRITISH 1879-1961) THE SCHOOL ROOM, CIRCA 1937 lithograph, published by Contemporary Lithographs Ltd. 45cm x 61cm (17.75in x 24in)

£700-900

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

51 § ALFRED COHEN (AMERICAN / BRITISH 1920-2001) THE CROWN OF HORNS, 1963 ink and gouache on paper 35.5cm x 24.5cm (14in x 9.6in) Provenance: Brook Street Gallery, London; Private Collection, UK. Literature: Rouve, Pierre, Alfred Cohen: La Commedia dell’Arte, published by Brook Street Gallery, 1963, no.16 (illustrated).

£300-500

52 § JOSEF BREITENBACH (GERMAN 1896-1984) JAMES JOYCE studio stamp ‘Estate of Josef Breitenbach’ (to reverse), photographic print the image 29.2cm x 28cm (11.5in x 11in), the sheet 35.5cm x 28cm (14in x 11in)

£500-700

53 § LUCEBERT (DUTCH 1924-1994) VERY STRONG, 1959 signed, titled and dated (lower right), pen, ink and wash 26cm x 19.5cm (10.25in x 7.6in)

£400-600

54 § EDWARD BURRA (BRITISH 1905-1976) ROYAL FAVOURITES, CIRCA 1928-9 40/45, signed and numbered in pencil, woodcut, published by Nicholas Treadwell Gallery in 1971, on laid Japan paper image size 30.2cm x 24.7cm (11.8in x 9.25in); sheet size 53.2cm x 43.7cm (20.8in x 17.25in)

£400-600

55 § EDWARD BURRA (BRITISH 1905-1976) FLEET’S IN; SOUVENIR, CIRCA 1928-29 two woodcuts, 40/45, each initialled and numbered in pencil, published by Nicholas Treadwell Gallery in 1971, on laid Japan paper (2) each image approx.: 15cm x 10cm (6in x 4in), each sheet approx.: 34cm x 24.5cm (13.5in x 9.5in)

£400-600

56 AFTER EDWARD WADSWORTH (1889-1949) EDWARD WADSWORTH, THE TATE GALLERY lithograph, 1951, condition A-; not backed 76cm x 50cm (29.8in x 19.6in)

£400-600

57 AFTER YVES KLEIN AND HARRY SHUNK LEAP INTO THE VOID (SAUT DAN LE VIDE, PARIS) Fotofolio Edition, Rapoport Printing, 1988 the sheet 71cm x 51cm (28in x 20in), unframed

£300-500

58 § DAME LAURA KNIGHT R.A. (1877-1970) PORTRAIT OF A LADY signed and indistinctly dated in pencil (lower right), watercolour and pencil 44.5cm x 27cm (17.5in x 10.5in)

£300-500

59 § PABLO PICASSO (SPANISH 1881-1973) MAN IN HAT, 1914 etching, ed. 470, with printed artwork details verso, published in the 1947 edition of Du Cubisme by Albert Gleizes and Jean Metzinter image size 6.5cm x 5.5cm (2.5in x 2in) Provenance: Purchased at Phillips, London, 19th and 20th Century Prints, 5 December 1983, Lot 50. Literature: Bloch 29; Geiser 42; Goeppert and Cramer 46. Exhibited: University of East Anglia, Norwich, Picasso: Sixty Years of Printmaking – an exhibition from the British Museum and other British Collections 12 October – 18 December 1993; Scottish National Gallery of Modern Art, Edinburgh, Picasso on Paper, 14 July – 23 September 2007, cat.14, repr. Colour p.43; We would like to thank Patrick Elliott for his assistance in cataloguing the current work.

£800-1,200

60 §

KEITH VAUGHAN (BRITISH 1912-1977) RECLINING NUDE AND FIGURE BY A TABLE studio stamp (to reverse), pencil on paper the sheet 27cm x 20.5cm (10.6in x 8in)

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

61 § 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

62 JAMES ‘JIM’ MATHIESON (BRITISH 1931-2003) (ATTRIBUTED TO) CROUCHING NUDE 1/0, signed ‘MATHIESON’ and numbered, bronze on green marble base overall 30.5cm high (12in high)

£400-600

63 § DOM ROBERT (GUY DE CHAUNAC-LANZAC) (FRENCH 1907-1997) GROUP OF PEOPLE CONVERSING (DESIGN FOR A TAPESTRY), 1954 signed and dated (lower left), ink and coloured crayon 36cm x 49cm (14in x 19.25in), unframed

£1,000-2,000

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

64 § FELIKS TOPOLSKI R.A. (POLISH 1907-1989) THE SONG OF AFRICA, INCLUDING KING FREDDIE, THE KABAKA OF BUGANDA, 1947 signed and dated (lower left), oil on canvas 76cm x 102cm (30in x 40in) Provenance: Bonhams, London, 22 April, 1997, Lot 186; Private Collection, UK.

£800-1,200

65 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) LANDSCAPE, 1949 signed and dated (lower left), gouache on paper 30cm x 49cm (11.75in x 19.25in)

£800-1,200

66 § 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.

£4,000-6,000

67 THOMAS A MCCORMACK (NEW ZEALAND 1883-1973) LANDSCAPE, 1911 signed and dated (lower right), watercolour 49.7cm x 64cm (19.6in x 25.25in)

£700-900

68 § ANTHONY GROSS (BRITISH 1905-1984) THE PLAIN AT BÉLAYE, 1958 signed and dated (lower right), oil on canvas 55cm x 46.5cm (21.6in x 18.25in)

£3,000-5,000

69 LEONARD GREAVES (BRITISH 1918-1949) BALCONY, PORTOFINO initialled (lower left), oil on board 20.7cm x 25.5cm (8.12in x 10in)

£300-500

70 § JOHN WARD (BRITISH 1938-) UZES signed (lower right), pen and ink and watercolour 31cm x 47cm (12in x 18.5in) Exhibited: J. S. Maas & Co. Ltd, John Ward 1985, no.63.

£800-1,200

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

71 TENG-HIOK CHIU (CHOU TING-HSU) (CHINESE 1903-1972) THE GREAT WALL OF CHINA, 1931 signed and dated (lower left), oil on canvas 49cm x 62.5cm (19.25in x 24.6in) Literature: Huang, Michelle YingLing, Laurence Binyon: A Pioneering and Authoritative Curator of Chinese Painting in Early TwentiethCentury Britain, Museum History Journal, 8:1, January 2015, p.52, figure 4 (illustrated). Exhibited: Probably exhibited at The Fine Art Society, London, Teng-Hiok Chiu, 1936, no.37.

£6,000-8,000

Born in Xiamen, Fujian Provence in 1903 to a prestigious family, Teng-Hiok Chiu (Zhou Tingxu; also known as Teng Chiu, 1903–1972) had the opportunity to study abroad from a young age. By 1924 he had enrolled in the University of London, and in 1925 studied Western painting under the tutelage of Sir George Clausen, Sir Walter Russell and Charles Sims at the Royal Academy Schools. He became the first foreigner to be granted membership of the Royal Society of British Artists. Chiu also trained at the School of the Museum of Fine Arts, and in Paris, but he reached the turning point in his career when working alongside his mentor Laurence Binyon, a renowned Oriental scholar, in the British Museum in 1930. Working together they analysed many significant Chinese calligraphic works and paintings and it was from this point onwards that Chiu fused Eastern and Western artistic ideas and philosophy, to produce works with Chinese sensibilities and Western technique. From 1930 Chiu travelled extensively through Europe, Africa and Asia, including his homeland Xiamen in China. During this trip he depicted the lakes and mountains of his native land, and important architecture and monuments including this significant work of The Great Wall. It is probable that this is the work that was exhibited in his one-man show at The Fine Art Society in London from 18 November to 4 December 1936 as No. 37. In the preface to the catalogue Binyon wrote: “Mr. Chiu has travelled over many parts of the world, in the East and in the West, and has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift.” (See T. H. Chiu, An Exhibition of Paintings by Teng H. Chiu, A.R.B.A. (London: The Fine Art Society, 1936); ‘A Chinese Oil Painter’, The Times, 18 November 1936, p. 12.) This current work commemorates the shared experience of Binyon and Chiu in China, and can be considered a significant work in the development of Chiu’s oeuvre.

72 § JEF FRIBOULET (FRENCH 1919-2003) LA VALLEUSE signed (lower right), titled (to label), oil on canvas 72cm x 90.5cm (28.25in x 35.6in)

£600-800

Émile Jean Jules Friboulet, known as Jef Friboulet, was a prominent French painter and sculptor. Born in Fécamp in northern France on 11th November 1919, Friboulet showed early signs of being a talented artist and in 1939, he joined the French Air Force where he received the nickname ‘Jef’ from American soldiers who named him after the initials ‘E. J. F’ on his uniform. His skill as an artist was noticed by his superiors and he became an army artist, painting frescos in the cadet bedrooms and communal spaces.

Following the war, he became a chauffeur, which granted him access to the countryside where he continued painting. In 1954 he exhibited Le Jardinier in a Parisian exhibition and received such acclaim that he was able to focus full-time on his artistic practise – pushing him to open a large studio in his hometown where he welcomed many amateur and professional artists and also established an association to train young artists. He received numerous accolades during his career including the Prix de Monaco in 1950, the Prix d’Asnières in 1958, and the Prix de la Biennale de Cherbourg in 1964.

73 § JEF FRIBOULET (FRENCH 1919-2003) BATHERS signed (lower left), oil on canvas 88cm x 114cm (34.6in x 44.8in)

£800-1,200

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

74 § JACOB BORNFRIEND (CZECH 1904-1976) THE VEGETABLE NET signed (lower left), oil on canvas 100cm x 49.5cm (39.3in x 19.5in) Provenance: Roland, Browse & Delbanco, London; Private Collection, UK. Exhibited: City of Bradford Art Gallery, 1967; Possibly at Brighton Art Gallery, 1968.

£2,000-3,000

Jacob Bornfriend, born Jakub Bauernfreund, was an important Expressionist artist of the twentieth century. Born in Czechoslovakia in 1904, Bornfriend studied at the Academy of Fine Arts in Prague from 1930 until 1935, developing his signature expressionistic style using simplified lines and colours to create ambiguous, organic space. In 1939, he was forced to flee his homeland due to the Nazi occupation and came to London where he became part of a group of artists known as the Continental British School of Painting. This group of prolific artists included the likes of Oskar Kokoschka and Jankel Adler, and they exhibited widely across London, with Bornfriend receiving his first solo exhibition at the Roland, Browse & Delbanco Gallery in 1950. Although the group was not joined by stylistic similarities, an importance on representational art was often key in their works and Bornfriend’s experimentations with abstraction are of particular note during this period as he explored the importance of pattern and texture to produce a harmony of colour and space. This stylistic signature developed in the 1950s and 1960s as Bornfriend’s interest in the abstract grew and he focused on landscapes and still lifes. His interest in the passage of time and the changing seasons is evoked in the energetic sense in his works from this time, which is produced through modulating warm and cool tones in a simplified manner, much like artists such as Paul Cézanne. This is particularly apparent in works such as The Vegetable Net¸ in which the warm reds and pinks juxtapose against the cooling blues and greens to create emotional intensity.

75 § HENRY HAMMOND (BRITISH 1914-1986) TEA BOWL impressed artist’s seal, decorated with fish 6cm high, 7.5cm diameter (2.3in high, 2.9in diameter)

£200-300

76 GWYN HANSSEN PIGOTT (AUSTRALIAN 1935-2013) FOOTED BOWL impressed artist’s seal 13.5cm high, 39cm diameter (5.3in high, 15.3in diameter)

£500-700

77 § BERNARD LEACH C.H. C.B.E. (1887-1979) PAGODA TILE painted artist’s and pottery marks, impressed pottery seal (to reverse) 10cm x 10cm (4in x 4in)

£200-300

78 § JANET LEACH (AMERICAN 1918-1997) VASE WITH LUGS, 1981 impressed artist’s and pottery seals, ash glaze, in fitted initialled and dated Japanese wooden box 19.5cm high, 10cm wide (7.75in high, 4in wide) This example is unusual because it has been sold in Japan (originally) and comes in a fitted, signed Japanese wooden box.

£300-500

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

79 § JANET LEACH (AMERICAN 1918-1997) BOWL impressed artist’s and pottery seals, poured glazes 8.5cm high, 44.3cm diameter (3.3in high, 17.4in diameter)

£600-800

80 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VESSEL impressed artist’s and pottery seals, with black splashes 30.5cm high (12in high)

£600-900

81 § WILLIAM MARSHALL (BRITISH 1923-2007) LARGE BOWL incised artist’s monogram, painted stem leaf motifs 14cm high, 49cm diameter (5.5in high, 19.25in diameter)

£600-900

82 § IAN GODFREY (BRITISH 1942-1992) TWO BOWLS, 1970s with cut and pierced borders, one with matte white glaze and one with manganese glaze (2) 20cm and 19cm diameter (8in and 7.5in diameter)

£400-600

83 § WILLIAM STAITE MURRAY (BRITISH 1881-1962) FOOTED BOWL impressed artist’s mark, with partially dripped mottled brown glaze 7cm high, 20.3cm diameter (2.75in high, 8in diameter)

£300-500

84 § JANICE TCHALENKO (BRITISH 1942-2018) FOOTED BOWL painted with green spots 12cm high, 22.5cm wide (4.75in high, 8.9in wide)

£200-300

85 § KATHERINE PLEYDELLBOUVERIE (BRITISH 1895-1985) LEMONADE SET impressed artist’s seals, with green ash glaze (3) the jug 21cm high (8.25in high); the beakers 9.2cm high (3.6in high)

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

86 § SETH CARDEW (BRITISH 1934-2016) BOWL decorated with blue and brown design 45.5cm x 35cm (18in x 13.75in) Provenance: Beaux Arts, Bath. We would like to thank Beaux Arts for their assistance in cataloguing the current work.

87 § DAVID LEACH O.B.E. (BRITISH 1911-2005) VASE dripped tenmoku glaze 44cm high (17.25in high) Provenance: Beaux Arts, Bath.

£400-600

£300-500

88 §

SETH CARDEW (BRITISH 1934-2016) AT WENFORD BRIDGE

TAKESHI YASUDA (JAPANESE 1943-)

FOOTED BOWL

ash glaze, with tenmoku splashes

impressed artist’s and pottery seals, decorated with fish to the inside of the bowl

38cm high (15in high)

11.5cm high, 23cm diameter (4.5in high, 9in diameter)

£400-600

£200-300

VASE

Provenance: Beaux Arts, London.

90 §

91 §

GORDON BALDWIN O.B.E. (BRITISH 1932-)

GABRIELE KOCH (GERMAN 1948-)

‘AGATE’ PEDESTAL BOWL, CIRCA 1972

SMALL VESSEL, CIRCA 1992

impressed artist’s mark, mixed clays

burnished and smoke fired, earthenware

13cm high, 19cm diameter (5.1in high, 7.5in diameter)

11.5cm high, 14cm wide (4.5in high, 5.5in wide)

Provenance: Salix Gallery, Windsor, circa 1973; Private Collection, Surrey; Private Collection, London.

£200-300

£300-500

93 §

TAKESHI YASUDA (JAPANESE 1943-)

EILEEN NISBET (BRITISH 1929-1990)

‘SPRUNG BOTTOM’ BOWL

JUG FORM

sansai running glazes

inlaid linear designs and painted enamel glazes

32cm x 36cm, 17.5cm high (12.5in x 14.1in, 6.8in high)

20.3cm high, 26cm wide (8in high, 10.25in wide)

£400-600

£300-500

94 § JULIAN STAIR (BRITISH 1955-) PAIR OF COFFEE CUPS the saucer’s impressed artist’s seal (2) the saucers 14.5cm diameter (5.75in wide)

£300-500

95 § WALTER KEELER (BRITISH 1942-) TEAPOT, 2017 impressed artist’s mark, salt glazed 14.5cm high, 24cm wide (5.75in high, 9.4in wide)

£250-350

96 § KATE MALONE M.B.E. (BRITISH 1959-) FISH HEAD mottled green glaze 10cm high (4in high)

£200-300

97 § PETER BEARD (BRITISH 1951-) VASE impressed maker’s mark 19cm high (7.5in high)

£200-300

98 § WALTER KEELER (BRITISH 1942-) TEAPOT AND JUG each impressed artist’s seal, salt glazed (2) the teapot 34cm wide (13.3in wide), the jug 15cm high (6in high)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

WORKS FROM A PRIVATE EUROPEAN COLLECTION LOTS 99 to 138

Above: Lot 104 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

99 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI MONUMENTAL ANGELO VASE AND COVER, CIRCA 1930 designed 1925-26, stamped ‘Richard Ginori / 30-4’, porcelain 60cm high, 31.5cm wide (23 1/2in high, 12 1/2in wide) Literature: U. La Pietra, Gio Ponti, New York, 2009, p. 26 (for related designs); G. Celanti, Espressioni di Gio Ponti, exh. cat. Triennale Milan, 2011, p. 20, fig. 10 (for related designs); L. Frescobaldi Malenchini, O. Ruccellai, Gio Ponti e Richard Ginori, exh. cat. Triennale Milan, 2015, pp. 65, 99 and 101 (for related design).

£7,000-10,000

Gio Ponti was appointed artistic director of Richard Ginori from 1923 to 1930. Richard Ginori was formed in 1896 after the Ginori family business dating back to 1735 - with a factory located in Doccia near Florence was assimilated by the Società Ceramica Richard of Milan. Ponti’s role was to overhaul the business, which he did by introducing mass-production, but without sacrificing quality, and by creating new ranges. At the heart of his business was the belief in the relationship between art and industry and a desire to reinvigorate the Italian nation through great design. Inspiration came from the rich Italian heritage and was transposed into a modern aesthetic idiom that was graphic in manner using lines and varied tonality. The forms of his pieces were simple, and he kept the surfaces smooth and clean, though on occasion introduced some decorative features in relief. Decorative motifs were drawn from a wide range of sources including the ancient world and architecture that nurtured a strong sense of national identity. The designs have much in common with French Art Deco too in their use of stylised motifs, for example in the figure of Il Pellegrino (The Pilgrim). Ponti exhibited at the Paris Exposition Universelle des Arts Decoratifs of 1925 and in fact won a Grand Prix for his designs for Richard Ginori. This was the exhibition which gave rise to the name Art Deco as a style. The angel surmounting the cover was designed for the wedding anniversary of Ugo and Fernanda Ojetti in 1926 but was then re-introduced on Il Trionfo dell-Amore della Morte, a piece designed by Ponti and exhibited at the IV Triennale in Monza, 1930. A similar example of the vase was designed by Ponti in 1925 and then produced by Richard Ginori in 1929, but the cover featured two dancing figures.

100 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI TRIONFO ITALIANO BOWL, 20TH CENTURY printed mark for Richard Ginori and ‘MANIFATTURA DI DOCCIA / Florence / ITALY’, porcelain with gilt decoration 7cm high, 16.5cm diameter (2 7/8in high, 6 1/2in diameter)

£500-700

101 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI THREE TILES, CIRCA 1930 Il Pellegrino, La Bevuta and another, Richard Ginori moulded and printed marks to each tile (3) each 14.6cm x 14.6cm (5 3/4in x 5 3/4in)

£2,000-3,000

102 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI POMPEIANO VASE AND STOPPER, DESIGNED 1930 gilt print Richard Ginori mark, printed ‘Richard Ginori / 35-8 / MADE IN ITALY’, ‘Expressly for A. N. K. & Bro’, and numbered in red ‘2/35’, porcelain, polychrome and gilt 37.5cm high (14 3/4in high) Note: Decorated with figures depicting the Arts - Music, Dance, Acting and Singing. Literature: T. Giacobone (ed.), 900: Arti Decorative e Applicate de XX Secolo, Milan, 1990, p. 27 (listed as a lamp) (similar example illustrated); D. Matteoni, Gio Ponti, il Fascino della Ceramica, Milan, 2001, p. 75 (similar example illustrated).

£3,000-5,000

Reverse

103 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI IL PELLEGRINO VASE, DESIGNED 1930 enamelled ‘Ginori 1030-233 / MADE IN ITALY’, glazed earthenware 34.8cm high, 28.2cm wide (13 3/4in high, 11 1/8in wide) Literature: L. Manna, Gio Ponti le Maioliche, Milan, 2000, pp. 116-117 (similar example illustrated).

£6,000-9,000

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

104 GIO PONTI (ITALIAN 1891-1979) IMPORTANT DAYBED, 1927 Ferrara walnut, veneered walnut, gilt-metal 208cm long, 82.5cm high, 97cm deep (82in long, 32.5in high, 38in deep) Literature: U. La Pietra, Gio Ponti, New York, 1988, p. 8 (similar example illustrated); L. Falconi, Gio Ponti, Interni, Oggetti, Disegni, 1920-1977, Milan, 2005, p. 43 (similar example illustrated). This daybed is believed to be a unique piece and appears to be the example exhibited at the III Biennale of 1927. The piece demonstrates his fascination with classicism and simplicity, but in a contemporary modern manner. It very much aligns him with Novecento thinking in Italy at the time. Novecento was an artistic grouping founded in Milan, in 1922, with the objective of restoring the greatness of Italy by referring back to the glorious 1400 and 1500s. At this time Ponti was designing furniture with Il Labirinto - a group that included Tomaso Buzzi, Pietro Chiesa and Paolo Venini – who sought to create unique works from luxurious materials. As can be seen the daybed is opulent in its use of walnut and gilt-metal. It expressed the priorities of acknowledging the past whilst at the same time remaining innovative and progressive. These values were guiding principles in his work over the following decades.

£20,000-30,000

105 GIO PONTI (ITALIAN 1891-1979) NINFEA FOLDING CHAIR, CIRCA 1958 stained beechwood and cane 71.5cm high, 48.8cm wide (28 1/4in high, 19 1/4in wide)

£500-700

106 OSVALDO BORSANI (ITALIAN 1911-1985) (ATTRIBUTED TO) PAIR OF ANDIRONS, DESIGNED CIRCA 1946 iron and brass (2) each 20.3cm high, 37cm wide (8in high, 14 1/2in wide) Literature: G. Gramigna, F. Irace, Osvaldo Borsani, Rome, 1992, p. 185 (similar example illustrated); G. Bosoni, Osvaldo Borsani architetto, designer, imprenditore, Milan, 2018, p. 223 (examples illustrated in Borsani’s villa in Varedo).

£2,000-3,000

Borsani used firedogs of this design in two projects. The first was in his own villa in Varedo (1943-45), where he positioned them in the grand ceramic fireplace by Lucio Fontana (1948), and the other was Casa Casò (1947-48), an apartment in Milan.

107 ITALIAN SET OF SIX CHAIRS, 1930s/1940s utile wood with upholstered seats (6) 82cm high (32 1/4in high)

£600-900

108 ITALIAN VENETIAN MIRROR etched glass panels to the frame, with flowerhead and foliate etching 104cm x 66cm (41in x 26in)

£700-1,000

109 ITALIAN PAIR OF ARMCHAIRS, CIRCA 1950 walnut and upholstery (2) 92cm high, 76.5cm wide, 79cm deep (36 1/4in high, 30 1/8in wide, 31 1/8in deep)

£2,000-3,000

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

110 PIETRO CHIESA (ITALIAN 1892-1948) FOR FONTANA ARTE CHANDELIER, CIRCA 1950 white painted metal and glass 105cm total height, 61cm wide approx Literature: Aloi, Roberto, Esempi Di Arredamento Moderno, Di Tutto Il Mondo: illuminazione d’oggi, Milan, 1956, p. 165 (for similar example); Deboni, Franco, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Umberto Allemandi & Co., 2012, no.36-38 (for examples with similar elements).

£7,000-10,000

111 EDINA ALTARA (ITALIAN 1898-1983) (ATTRIBUTED TO) PANEL, 1940s reverse painted mirrored glass panel 65cm x 120.2cm (25 1/2in x 47in)

£2,000-3,000

112 EDINA ALTARA (ITALIAN 1898-1983) (ATTRIBUTED TO) TWO PANELS, 1940s reverse painted mirrored glass panels (2) each 62cm x 80cm (24 1/2in x 31 1/2in)

£2,000-3,000

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

113 ICO PARISI (ITALIAN 1916-1996) FOR SINGER & SONS LOW TABLE, DESIGNED 1951 model no. 1116, manufacturer’s label, burr walnut, walnut veneer and brass 43cm high, 150cm wide, 50cm deep (17in high, 59 1/8in wide, 19 3/4in deep) Literature: Lietti, Roberta, Ico Parisi Design Catalogue Raisonne 1936-1960, Silvana Editoriale, 2017, p.143, cat. no. 1951.S6 (another example).

£8,000-12,000

Coffee table model 1116 is the lower version of the console table 1947.1. It was designed by Parisi for M. Singer & Sons and produced both in Italy and by M. Singer & Sons exclusively for the American market.

114 § LEONCILLO LEONARDI (ITALIAN 1915-1968) MAIOLICA TEA SERVICE, CIRCA 1950 the teapot signed and numbered ‘2/5’ and the other pieces have painted monogram, the set comprising teapot and cover, milk jug, sugar bowl and cover, with eight cups and six saucers, three of the cups with loop handles (17) the teapot 19cm wide (7 1/2in wide)

£3,000-5,000

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

115 PIERO FORNASETTI (ITALIAN 1913-1988), PROBABLY BY ENAMELLED METAL COVER with lithographic design 95cm high, 40.5cm wide, 17.5cm deep (37 1/2in high, 16in wide, 6 7/8in deep)

£300-500

116 EUROPEAN SCHOOL TABLE LAMP brass and ebonised wood, articulated 46cm high (18 1/8in high)

£400-600

117 ITALIAN COFFEE TABLE, 1970s ash, of grid form, with glass top and leather pads 123.5cm x 123.5cm, 34cm high (48 5/8in x 48 5/8in, 13 3/8in high)

£600-900

118 § FULVIO BIANCONI (ITALIAN 1915-1996) VASE, 1962 signed and dated ‘Bianconi 1962’, clear and burgundy glass with applied canes of cobalt, burgundy and white 37.5cm high (14 3/4in high) We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£4,000-6,000

119 BAROVIER & CO., MURANO BOWL paper label, decorated with iridescent inclusions, glass 9.5cm high, 15.8cm diameter (3 3/4in high, 6 1/4in diameter)

£300-500

120 § ERCOLE BAROVIER (ITALIAN 1889-1974) NEOLITICIO BOWL, 1960 engraved mark ‘Ercole Barovier 26/10/60’, glass 5.5cm high, 23cm wide (2 1/4in high, 9in wide)

£300-500

121 § BRUNO GAMBONE (ITALIAN 1936-) VASE signed ‘GAMBONE ITALY’, lustre glazed ceramic 22.7cm high (8 7/8in high)

£300-500

122 § FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI FAZZOLETTO VASE, DESIGNED CIRCA 1948 acid etched ‘VENINI / MURANO / ITALIA’, blue and white lightly iridescent cased glass 21.5cm high (8 1/2in high)

£300-500

123 § FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI FAZZOLETTO VASE, DESIGNED CIRCA 1948 acid etched ‘VENINI / MURANO / ITALIA’, cased white and iridescent glass 28.5cm high (11 1/4in high)

£300-500

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

124 FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D’ARTE (EST. 1937) ‘VERDE PULEGOSO ORO’ VASE, CIRCA 1939/40 model 6441, glass with gilt foil inclusions 28.5cm high (11 1/4in high) Literature: M. Heiremans, Art Glass From Murano 1910-1970, Stuttgart, 1993, p. 161, pl. 143 (similar example illustrated). We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£1,200-1,800

125 ARTE VETRO ALBERTO TOSO (ATTRIBUTED TO) VASE, 1950s filigrana glass, with applied handles and foot 26cm high (10 1/4in high) We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£300-500

126 ARTE VETRARIA MURANESE (AVEM (A.VE.M.)) (ATTRIBUTED TO) VASE, CIRCA 1960s cased green, pink and opaque glass 31cm high (12 1/4in high) We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£300-500

127 GIANMARIA POTENZA (ITALIAN 1936) FOR LA MURRINA VASE, LATE 1960s pale yellow glass incorporating an iron red bullseye 35.5cm high (14in high) Gianmaria Potenza trained as an artist and sculptor and on occasion worked with both Gio Ponti and Franco Albini. In 1968 he founded La Murrina with Ulderico Moretti. The company was particularly recognised for its glassware although they also produced furniture, lighting and objects too. Potenza’s involvement with the company was shortlived and he left in 1975, so this piece dates from a very small window of time and demonstrates his ability to work within the Murano tradition but in a contemporary manner. His later career focussed primarily on interior decoration. We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£400-600

128 TONI ZUCCHERI (ITALIAN 1937-2008) PAIR OF WALL APPLIQUES, 1960s probably Venini, glass and brass (2) 54cm high (21.25in high)

£800-1,200

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

129 § ANDREA ZILIO (ITALIAN 1966-) TANDEM VASE, 2005 engraved ‘M. A. Zilio / Murano 2005 1/1 /AZ’, handblown glass canes with incisio and battuto surface 25cm high, 30.5cm wide (9 7/8in high, 12in wide)

£700-900

130 § ROBERT SCHERER (AUSTRIAN 1928-) HEAD, 1978

131

striated turquoise glass with applied eyes

TIMO SARPANEVA (FINNISH 1926-2006) FOR VENINI

28cm high (11in high)

KELO VASE, DESIGNED 1990 signed ‘venini / Sarpaneva’, applied labelled ‘MADE IN ITALY / VENINI / MURANO’, triple cased glass 47.5cm high (18 3/4in high)

£800-1,200

Literature: Fucina Degli Angeli Venezia, Venice, 1978 (illustrated).

£1,000-1,500

132 §

133 §

RENZO PAVANELLO (ITALIAN CONTEMPORARY)

VASE, 1980s

incorporating canes of violet, red and white with a clear rim, glass

cased cobalt, white and clear glass, incorporating canes of white, cobalt, yellow and red

37cm high (14 1/2in high)

38cm high (15in high)

£500-700

134 §

135 §

136 §

RENZO PAVANELLO (ITALIAN CONTEMPORARY)

VASE, 1980s

cased white and clear glass vase, including canes of violet, white and red 31.5cm high (12 3/8in high)

incorporating canes of white, cream, turquoise, deep amethyst and red, with a clear glass rim

£400-600

37.8cm high (14 3/4in high)

cased white and clear glass, incorporating flower form canes in white, yellow and cobalt with aventurine inclusions between

£400-600

31cm high (12 1/4in high)

£400-600

132 134

133

135 136

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

137 § ETTORE SOTTSASS (ITALIAN 1917-2007) UNTITLED, 1950s signed ‘SOTTSASS’ (to reverse), oil on canvas 79cm x 99cm (31.1in x 39in)

£10,000-15,000

Sottsass was part of the Spazialismo movement founded by Lucio Fontana in the late 1940s and early 1950s and showed similar paintings in the 1st Mostra Internationale di arte astratta nel Palazzo reale di Milano and at the Galleria d’Arte Moderna in Rome in 1948. For similar works by Sottsass see G. Giani, Spazialismo, origini e sviluppi di una tendeza artistica, Milan, 1956, pls 82-84.

138 CESARE PEVERELLI (ITALIAN 1922-2000) INSECT signed (upper right), oil on canvas 43.5cm x 54cm (17.1in x 21.25in)

£1,000-1,500 Preceding the Second World War, Peverelli trained at the Brera Academy, under the tutelage of the Futurist painter Carlo Carrà and the classically inspired artist Achille Funi. It was in these formative years that he showed his initial fascination with still lifes and notably the intimate tonal works of Giorgio Morandi. After siding openly with the resistance during the War, by the early 1950s he was one of the early protagonists of the Spacialist Movement led by Lucio Fontana. The movement advocated a rejection of the naturalistic appearance of art in favour of an art form that aimed to synthesize sound, colour, space, movement and time, often with a surrealist flavour and embracing the new discoveries in science and technology of the post war period. It is in this context, before he moved to Paris in 1957, that he produced a series of paintings (presumably including these two examples) that refer to the structures of nature and insect life seen through the microscope, reflecting a development of his own personal surrealist matrix that would profoundly influence his later work.

139 § CESARE PEVERELLI (ITALIAN 1922-2000) INSECTS signed (lower right), oil on canvas 40cm x 50cm (15.7in x 19.6in)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

140 FONTANA ARTE MIRROR, CIRCA 1960 of tear drop form, and with polished edges 87.5cm high, 36cm wide (34.5in high, 14in wide) Provenance: Gordon Watson, London; Private Collection, UK.

£400-600

141 ISA OF BERGAMO, ITALY PAIR OF ARMCHAIRS, 1950S one with manufacturer’s metal label, wool upholstery with shaped metal feet (2) each 67cm wide, 100.5cm high (26.3in wide, 39.5in high)

£2,000-3,000

142 ISA OF BERGAMO, ITALY SOFA, 1950s metal manufacturer’s label, wool upholstery and brass shaped feet 148cm wide, 81.5cm high (58.25in wide, 32in high)

£2,000-3,000

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

143 VITTORIANO VIGANO (ITALIAN 1919-1996) FOR ARTELUCE PAIR OF APPLIQUE WALL LIGHTS enamelled aluminium and brass, one with manufacturer’s label (2) width of shade 24.5cm (9.6in wide)

£2,000-3,000

144 CHARLOTTE PERRIAND (FRENCH 1903-1999) PAIR OF CP1 APPLIQUE LIGHTS, DESIGNED 1962-3 metal and enamel, manufactured and retailed by Galerie Steph Simon, France (2) 17cm wide (6.7in wide)

£600-800

145 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)

£1,500-2,500

146 RENE MATHIEU (FRENCH) FOR LUNEL (ATTRIBUTED TO) ‘DIABOLO’ ARTICULATED WALL LIGHT enamelled metal and brass 142cm (55.9in) fully extended, shade diameter 35cm (13.75in)

£500-700

147 ICO PARISI (ITALIAN 1916-1996) (ATTRIBUTED TO) WALL SHELF SYSTEM, CIRCA 1955 teak, set of 10 shelves, supported by 3 uprights 187.5cm high, approximately 169cm wide (73.8in high, approximately 66.5in wide) Provenance: Phillips, London, 14 November 2000, Lot 174 as Ico Parisi; Private Collection, UK.

£1,000-2,000

148 § ARCHIMEDE SEGUSO (ITALIAN 1909-1999) BOWL signed ‘Archimede Seguso, Murano’, red, blue and clear glass 28cm diameter, 5.2cm high (11in diameter, 2in high)

£300-500

149 § ERCOLE BAROVIER (ITALIAN 1889-1974) FOR BAROVIER & TOSO ‘SPIRA AURATA’ CHARGER glass with green and gold aventurine spiral 50cm diameter, 6cm high (19.7in diameter, 2.3in high) We would like to thank Marc Heiremans for his assistance in cataloguing the current work.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Below: Lot 213 [detail]

ARISTIDE MAILLOL By his fourth decade Malliol had, through a slightly circuitous route via painting and tapestry weaving, come to work almost exclusively as a sculptor; ultimately becoming one of the most significant figures within the genre at the turn of the 20th century. In the 1890s he worked initially on a smallscale, producing terracotta statuettes. Later his oeuvre evolved to encompass monumental works of bronze. Throughout, his style remained consistent and very distinctive. Focused on the female body, his work differed from his contemporary Rodin in that it was largely an exploration of form in itself, and not concerned with evoking a sense of realism, emotion or psychology. His pared back vision was both classical and modern; indeed, the relative minimalism of his work and stylistically heavy limbs of his figures would later inspire the practice of artists like Henry Moore who extrapolated this simplicity and solidity into the realms of abstraction. Lyon & Turnbull are delighted to offer ‘Baigneuse se coiffant’ for sale. Originally conceived in terracotta in 1898 it was then cast in bronze multiples. This work was one of several figurines purchased by influential collector, publisher and dealer Ambroise Yollard in 1902. It bears the artist’s initials on the base at the figure’s feet but, as was typical for a cast by Vollard, bears no foundry marks or edition number. A very good casting with lovely dark brown/ black patination, the piece has an interesting and significant provenance, having previously been in the collection of the late Lady Isobel Hay. Hay was the daughter of whisky magnate Sir Alexander Walker. She studied art alongside Henry Moore in the 1930s and was associated with the Bloomsbury Group. This sculpture featured in an auction at Phillips, Edinburgh in 1984, appearing alongside other works from Lady Hay’s collection including drawings by Henry Moore and Alberto Giacometti. It was purchased there by the late Glaswegian architect John Thompson, and has remained in the family’s collection until now. Further examples of the Baigneuse can be found in various major institutions including the Nationalgalerie Berlin, and a life-size version is situated in the gardens of the Louvre.

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

150 ARISTIDE MAILLOL (FRENCH 1861-1944) BAIGNEUSE SE COIFFANT monogrammed to base beside figure’s left foot, inscribed ‘TH’ in pen to underside of base, bronze with a dark brown and black patina 27cm high (10.5in high) Provenance: The Collection of Lady Isobel Hay; Sold at Phillip’s, Edinburgh 1984; Where purchased by John Thompson, a Glasgow architect, and thence by descent.

£10,000-15,000

151 Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high) Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work.

£8,000-12,000

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

LEON UNDERWOOD: RHYTHM & MOVEMENT Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Ben Whitworth, April 2021

152 Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered ‘IV’, from an edition of four, terracotta, on original wooden base overall 62cm high (24.3in high) including base, 33cm wide (13in wide) Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast).

£3,000-5,000

153 § LEON UNDERWOOD (1890-1975) NUDE, 1938 signed and dated (lower right), coloured chalks on paper 53.5cm x 36.5cm (21in x 14.3in)

£500-700

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

154 § LEON UNDERWOOD (1890-1975) MARINA, 1930 signed (lower right), titled and dated (to label to reverse), oil on canvas 75cm x 62.5cm (29.5in x 24.6in) Provenance: Archer Gallery, London; Private Collection, UK. Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, 1974, p.78, no.73 (illustrated).

£5,000-8,000

Having studied at the Slade in London in 1919, Leon Underwood went on to embark on a prolific career as a sculptor and painter, producing an important and an eclectic body of work. His travels through Mexico and West Africa had an important influence on his work, particularly in the representation of the human figure. Marina (1930) can be considered one of Underwood’s major Mexican paintings, and is closely related to Mestiza (1929) and Marina’s Remorse (1930). In 1928 Underwood travelled through Mexico, down the shore of the Gulf of Mexico, over the Sierra Madre to the Pacific coast with the author and travel writer Philip Russell, studying Aztec and Mayan art, whilst at the very height of the anti-Catholic persecutions.

The resulting book Red Tiger Adventures in Yucatan and Mexico with coloured linocut illustrations by Underwood was an idyllic and romantic representation of modern Mexico, but the trip provided him with significant material for his imagination for the following decade. On his return from Mexico in December 1928 he steadily produced engravings and paintings on Mexican themes, the most significant being a series of oil paintings depicting the heroes and villains of the conquest that were dramatized in an important series of oil paintings from 1929-30 including Marina. Her pose and general appearance derive from the Tehuana women of his illustrations, which would become an influential source for his work of the later 1930s and did not go unnoticed by Henry Moore and Frank Dobson who he associated with in the following years.

WORKS FROM A PRIVATE U.K. COLLECTION LOTS 155 to 173

155 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) KENILWORTH, CAPE TOWN, SOUTH AFRICA, 1957 signed (lower right), oil and pencil on canvas 73 x 109cm (28.75in x 42.9in) Exhibited: The London Group; The Everard Read Gallery, London. Literature: Russell-Taylor, John, Edward Wolfe, Trefoil Books, London, 1986, p.54, no.35 (illustrated).

£1,000-1,500

156 §

157 §

EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982)

GERTRUDE HERMES (BRITISH 1901-1983)

FEZ

PORTRAIT OF EDWARD WOLFE, 1969

signed (lower left), pen, pencil and pastel on paper 29cm x 34.5cm (11.4in x 13.6in)

£400-600

signed and dated (to the bronze), bronze overall 38cm high (15in high) (including base)

£800-1,200

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

158 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) PORTRAIT OF PAT NELSON, 1930s signed (lower left), oil on canvas 94cm x 73cm (37in x 28.75in) Exhibited: Tate Britain, Spaces of Black Modernism 1919-1939, 2014-15; Tate Britain, Queer British Art 1861-1967, 2017. Literature: Russell-Taylor, John, Edward Wolfe, Trefoil Books, London, 1986, p.199, no.180 (illustrated). The Guardian also used this painting to illustrate Peter Tatchell’s famous article ‘Fifty years of gay liberation’ on 23 May 2017.

£4,000-6,000

‘Edward Wolfe’s portrait of Pat Nelson...explores the experiences of people from diverse ethnic backgrounds in London’s art world between the wars. Nelson came to Britain in 1937 to work as a valet in Wales. In about 1938 he was studying law in London as well as working as an artist’s model for Wolfe and Duncan Grant. He became Duncan Grant’s lover in the late 1930s. Following the outbreak of the Second World War he enlisted with the Pioneer Corps, was posted to France with the British Expeditionary Force and was injured and captured near Dunkirk. He was held in various prison camps, including Stalag 344, until his release in late 1944. On his return he resumed his friendship with Duncan Grant, and they would write to each other over the next 25 years until Nelson’s death in 1963’. (A Model’s Life, Spaces of Black Modernism, Tate Britain)

‘Wolfe’s depiction of Nelson against the rich green background is exoticising and his pose invites the viewer to admire his body. Such objectification was typical of many depictions of black men from this time and reflects an uneven power dynamic, although Nelson’s friendship with members of the Bloomsbury group adds a level of complexity to the relationship between artist and sitter’. (Queer British Art, Tate Britain)

159 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) WOMAN WITH FLOWERS signed (lower left), oil on canvas 70cm x 59cm (27.5in x 23.5in) Literature: Taylor, John Russell, Edward Wolfe, Trefoil, 1986, p.177, no.158 (illustrated).

£800-1,200

160 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) JOANNE VAUGHAN IN BLACK DRESS, 1942 signed (lower right), oil on canvas 74cm x 61cm (29in x 24in)

£1,000-1,500

161 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) CHRIST oil on paper on canvas 52.5cm x 40cm (20.7in x 15.75in)

£700-900

162 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) ABSTRACT signed (lower right), mixed media 62cm x 47cm (24.4in x 18.5in)

£700-900

163 § ADRIAN ALLINSON (BRITISH 1890-1959) STILL LIFE WITH FLOWERS AND STATUE Oil on canvas, signed (lower right) 67cm x 54cm (26.4in x 21in)

£700-900

164 § EDWARD MIDDLEDITCH R.A. (BRITISH 1923-1987) WAVE, 1972-3 labelled (to stretcher), oil on canvas 118cm x 152cm (46.5in x 59.8in) Exhibited: The New Art Centre, London.

£800-1,200

165 § MAURICE COCKRILL R.A., F.B.A. (BRITISH 1936-2013) STANDING NUDE, 1985 signed and dated in pencil (lower left), oil on paper 98 x 67cm (38.5in x 26.3in)

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

The current vendor collected Francis Newton Souza’s work over many years, having once met him through a mutual friend. He always bought from auctions, and mainly from Bonhams in London.

166 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) UNTITLED (CHRIST), 1962 signed and dated (lower right), pen on paper 42cm x 28cm (16.5in x 11in), unframed

£700-900

167 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) THE PIANIST, 1956 signed and dated (upper right), ink on paper 24.5cm x 19.5cm (9.6in x 7.7in), unframed

£800-1,200

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

168 §

169 §

FRANCIS NEWTON SOUZA (INDIAN 1924-2002)

FIGURES EMBRACING, 1957

FEMALE NUDE, 1957

signed and dated (upper left), pen and ink on paper

signed and dated (lower right), pen and ink on paper

25cm x 19.5cm (9.75in x 7.75in), unframed

£800-1,200

25cm x 20cm (9.8in x 7.9in)

£800-1,200

170 §

171 §

FRANCIS NEWTON SOUZA (INDIAN 1924-2002)

SEATED NUDE, 1962

LOVERS, 1962

signed and dated (lower left), pencil on paper 35cm x 24cm (13.75in x 9.3in), unframed

signed and dated (upper right), pencil and ink on paper

£700-900

28cm x 43cm (11in x 16.9in)

£800-1,200

172 § GERALD WILDE (BRITISH 1905-1986) SERIES B, NO. 64, 1955 signed and titled (to reverse), gouache, crayon and pencil on paper 54.5cm x 75cm (21.5in x 29.5in)

£400-600

173 § GERALD WILDE (BRITISH 1905-1986) SERIES B, NO.1, 1955 signed and titled (to reverse), gouache and crayon on paper 62cm x 75cm (24.3in x 29.5in)

£500-700

174 § STANLEY WILLIAM HAYTER (BRITISH 1901-1988) ENVOL À L’AUBE, 1959 signed and dated (lower left), titled and dated (to reverse), oil on canvas 87.5cm x 114.5cm (34.5in x 45in) Exhibited: Artcurial, Paris, Exposition ‘Hommage a Stanley William Hayter’, November - December 1988.

£2,000-3,000

175 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) THIRD PORTRAIT OF MEUM (MASK), CONCEIVED IN 1918 bronze, on a stepped base the bronze 23cm high (9in high) excluding base, overall 32.5cm high (12.75in high) Provenance: Private Collection, USA; Bonhams, London, 22 November 2016, Lot 160; Private Collection, UK. Literature: R. Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1963, p.94, pl.145 (illustrated another cast); E. Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, pp.142-3, cat. no.89 (illustrated another cast).

£2,500-3,500

Buckle noted that the mask of Meum ‘was one of three ‘Masks’ Epstein modelled between 1916 and 1918. The idea of making masks, that is, faces with no backs to them, was probably inspired by African sculpture’. (Buckle, p.94)

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

176 § ROBERT CLATWORTHY (BRITISH 1928-2015) HORSE AND RIDER, EXECUTED CIRCA 1955 cast in an edition of 8, bronze with a dark brown patina 50.7cm high, 56cm long (20in high, 22in long) Provenance: Purchased from Keith Chapman in 2012, who represented Robert Clatworthy’s estate; Private Collection, UK. Literature: Chapman, Keith (ed.), Robert Clatworthy: Sculpture and Drawings, Sansom and Company, 2012, cat. no. RC2, p.91. Exhibited: Hanover Gallery, London, Robert Clatworthy, 1957, cat. no. 1. Clatworthy engages through Horse & Rider in the timeless links between the animal and human worlds, expressionistically modelling the sculpture, its mounds of material giving the work brute physical power. Within this work we can see the influence of the leading post-war Italian sculptor Marino Marini and Elisabeth Frink, who was a friend, contemporary and teaching colleague.

£7,000-9,000

177 § ROBERT CLATWORTHY (BRITISH 1928-2015) STANDING FIGURE IV, 1984 1/9, initialled and numbered, bronze 59cm high (23.25in high)

£2,500-3,500

178 § MICHAEL AYRTON (BRITISH 1921-1975) HYENA AT NIGHT, 1975 numbered ‘8275’ in pencil (lower right), Indian ink and wash on paper 37cm x 46.5cm (14.5in x 18.3in)

£1,500-2,000

179 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) SIXTH PORTRAIT OF KATHLEEN, ORIGINALLY CONCEIVED 1941 bronze with gilded patina 67.5cm high, 48cm across (26.6in high, 18.9in across) Provenance: Bonhams, London, 22 November 2016, Lot 157; Private Collection, UK. Literature: Richard Buckle, Jacob Epstein Sculptor, Faber and Faber, London, 1963, p.268, pl.406 (ill.b&w, another cast illustrated) Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.189, cat. no.316 (another cast illustrated)

£5,000-7,000

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

I have focused on the male because to me he is a subtle combination of sensuality and strength with vulnerability ELIZABETH FRINK

The male form was at the core of Elisabeth Frink’s sculptural practice. Having come from a younger generation so heavily smarted by the Second World War, she saw men’s nature as a root cause of war and the atrocities of warfare. Out of the war a new generation of sculptors had grown, the ‘Geometry of Fear’ group, which included Lynn Chadwick, Kenneth Armitage, Eduardo Paolozzi and Reg Butler – all of whom were concerned with the post-war condition of the human form, and it is within this context that her work Sentinel sits. Warriors, sentinels, and helmeted heads inhabit Frink’s oeuvre in the late 1950s into the 1960s, using the male form as an instrument to express both aggression and vulnerability, starkly contrasting with the traditional notion of man as the ideal hero. Frink was subverting the natural order by reverting the age-long tradition of the artistic male gaze on the female form.

180 § DAME ELISABETH FRINK (BRITISH 1930-1993) SENTINEL III, CIRCA 1960 signed, bronze, unique edition 68cm high, 18.5cm wide (26.75in, 7.25in wide) Provenance: Private Collection, UK, from the 1960s and by descent. Literature: Ratusziniak, Annette (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, 2013, p.74 for comparable examples. This work has been registered with the Estate of the Artist and will be included in any future catalogue raisonné. We would like to thank the Estate of Elizabeth Frink for their assistance in cataloguing the current work.

£20,000-30,000

181 § DAME ELISABETH FRINK (BRITISH 1930-1993) WARRIOR BIRDS, 1960 signed, titled and dated (lower right), ink and wash on paper 69.5cm x 51cm (27.3in x 20in)

£4,000-6,000

182 § DAME ELISABETH FRINK (BRITISH 1930-1993) OSPREY, 1974 (WISEMAN 91) 133/150, signed and numbered in pencil, from The Seabird Series, lithograph in colours, published by CCA Galleries 65cm x 47cm (25.5in x 18.5in)

£700-900

183 § DAME ELISABETH FRINK (BRITISH 1930-1993) HEAD, 1988 27/70, signed and numbered in pencil (lower right), screen-print in two colours on BFK Rives white paper 107cm x 73cm (42.1in x 28.75in)

£1,500-2,500

184 § DAME ELISABETH FRINK (BRITISH 1930-1993) OSPREY, 1969 signed and dated in pencil (lower left), watercolour and pencil on paper 72cm x 97cm (28.3in x 38.2in) Provenance: Waddington Galleries, Ltd., London; Beaux Arts, London.

£3,000-5,000

185 § DAME ELISABETH FRINK (BRITISH 1930-1993) HORSE AND RIDER, 1970 lithograph the sheet 25.5cm x 32cm (10in x 12.7in) Provenance: Peter Collins ARCA (1923-2001), artist, collector and owner of the Stanley Studios, Chelsea where Frink had a studio.

186 §

£400-600

HEAD II, 1988

DAME ELISABETH FRINK (BRITISH 1930-1993) 63/70, signed and numbered in pencil (lower right), screenprint in two colours on BFK Rives white paper 108cm x 73.5cm (42.5in x 29in)

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

187 KENNETH ROWNTREE (BRITISH 1915-1997) FOR EDINBURGH WEAVERS ALPHABET, DESIGNED 1958 screen printed cotton 55cm x 111cm (21.5in x 43.75in), unframed

£400-600

188 HENRY MOORE O.M.,C.H (BRITISH 1898-1986) FOR DAVID WHITEHEAD LTD. TRIANGLES AND LINES, DESIGNED 1954

189 HANS TISDALL (GERMAN 1910-1997) FOR EDINBURGH WEAVERS PHEASANT MOON, DESIGNED 1960 screen printed satin, with the manufacturer’s monogram to the selvedge approximately 256cm x 232cm (100in x 91in), unframed

£400-600

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

serigraphy on rayon satin 40cm x 45cm (15.75in x 17.75in), unframed

£400-600

190 KENNETH ROWNTREE (BRITISH 1915-1997) FOR EDINBURGH WEAVERS FULL MEASURE, DESIGNED 1956 screen printed cotton, with manufacturer’s monogram to the selvedge 53cm x 60cm (20.8in x 23.5in), unframed

£250-350

191 KEITH VAUGHAN (BRITISH 1912-1977) FOR EDINBURGH WEAVERS FISHERMAN, DESIGNED 1956 screen printed cotton, with manufacturer’s monogram to the selvedge 60cm x 58cm (23.6in x 22.75in), unframed

£300-500

192 PHILIPPE JULLIAN (FRENCH 1919-1977) FOR ASCHER LTD. SCARF, DESIGNED 1947 silk crepe 90cm x 90cm (35.5in x 35.5in) Philippe Julian was a French illustrator, novelist, art historian, aesthete and dandy. One of his first noted works was the first ‘artist’s label’ for the famous wine from Chateau Mouton Rothschild in 1945, in memory of the World War II victory over Germany.

£200-300

193 IVON HITCHENS (BRITISH 1893-1979) AND JOHN HITCHENS (BRITISH 1940-) FOR HULL TRADERS SUMMER FLOWERS, 1960s screen printed cotton 115cm x 122cm (45in x 48in), unframed

£400-600

194 JOHN PIPER C.H. (BRITISH 1903-1992) FOR ARTHUR SANDERSON & SONS LTD. THE GLYDERS screen printed cotton, printed ‘The Glyders / Arthur Sanderson & Sons Limited’ to the selvedge 65cm x 79cm (25.5in x 31in), unframed

£200-300

195 § JOHN PIPER C.H. (BRITISH 1903-1992) FARMYARD GATE, 1926 (LEVINSON 5B) signed and dated in pencil (in the margin), woodcut the sheet 22.5cm x 16.3cm (8.5in x 6.5in)

£200-300

196 JOHN PIPER C.H. (BRITISH 1903-1992) FOR DAVID WHITEHEAD DENSTON screen printed cotton 117cm x 150cm (46in x 59in), unframed

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

197 § JOHN PIPER C.H. (BRITISH 1903-1992) VENDEE, NR. LUCON, 1955 signed (lower left), inscribed and dated (to back board), pencil, watercolour and wash 16cm x 31.5cm (6.25in x 12.3in)

£800-1,200

198 § JOHN PIPER C.H. (BRITISH 1903-1992) FOLIATE HEADS initialled (lower right), gouache on paper the sheet 38.5cm x 56cm (15.1in x 22in)

£3,000-5,000

199 § JOHN PIPER C.H. (BRITISH 1903-1992) MONTEPULCIANO, TUSCANY, 1950/53 signed (lower right), pen, ink and crayon on paper 19cm x 26cm (7.5in x 10.25in)

£1,500-2,500

200 § JOHN PIPER C.H. (BRITISH 1903-1992) PLOUMANACH, BRITTANY, 1957 signed (lower left), watercolour and collage 57cm x 78cm (22.4in x 30.8in)

£5,000-7,000

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

201 § LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MATCH, 1972 signed in pencil (lower right), from the edition of 300, offset lithograph, with Fine Art Trade Guild blindstamp, published by the Medici Society 53cm x 68.5cm (20.75in x 26.75in)

£7,000-9,000

202 § LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) THE HARBOUR, 1972 signed in pencil (lower right), from the edition of 850, offset lithograph, with Fine Art Trade Guild blindstamp 40.5cm x 55.5cm (15.8in x 21.9in)

£1,000-1,500

203 § 204 § LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)

GREAT ANCOATS STREET

LEVEL CROSSING, BURTON ON TRENT, 1972

838/850, signed in pencil (lower right) and numbered (lower left), offset lithograph, with publisher’s blindstamp, published by Harold Riley

signed in pencil (lower right), from the edition of 850, offset lithograph, with Fine Art Trade Guild blindstamp

26.5cm x 36.5cm (10.4in x 14.3in)

41cm x 57cm (16.1in x 22.4in)

£800-1,200

205 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) WATNEY ALES, FULHAM oil on canvas 61cm x 76cm (24in x 30in), unframed

£1,000-1,500

206 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) STILL LIFE – FRUIT BOWL ON CORNER OF CHIFFONIER oil on board 40cm x 35cm (15.7in x 13.8in)

£800-1,200

207 § HEATHER COPLEY (BRITISH 1918-2001) FRONT GARDEN, 402 FULHAM ROAD, 1959 signed (lower left), oil on board 59cm x 90cm (23.2in x 35.4in)

£1,000-2,000

208 § HEATHER COPLEY (BRITISH 1918-2001) OCTOBER, WHARTON STREET, LONDON, 1969 signed and dated (lower left), oil on canvas 92cm x 58.5cm (36in x 23in), unframed

£1,200-1,800

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

209 § ADRIAN HEATH (BRITISH 1920-1992) COMPOSITION watercolour, gouache and pencil on paper 25cm x 19.5cm (9.75in x 7.75in) Provenance: The Redfern Gallery, London; Private Collection, UK.

£500-700

210 § ADRIAN HEATH (BRITISH 1920-1992) COMPOSITION, 1978 signed and dated in pencil (lower right), watercolour, gouache and pencil 31cm x 27cm (12.2in x 10.6in)

£800-1,200

211 § WILLIAM CROZIER (IRISH 1930-2011) COMPOSITION, 1961 signed and dated, gouache on paper 74cm x 55cm (29in x 21.75in)

£800-1,200

212 § JOHN TANDY (BRITISH 1905-1982) ABSTRACT, PROVENCE 2 3/50, signed and numbered in pencil (lower right), wood engraving the sheet 26.5cm x 20.5cm (10.4in x 8in) Provenance: Redfern Gallery, London, 1984.

£300-500

LYNN CHADWICK (1914- 2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr:

“Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. Abstraction of form and elegant elongation is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visual sense of the figures joining as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head), to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative onto these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them with their imposing form and mysterious essence.

100

213 § LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) STANDING COUPLE, 1980 5/9, signed with initial, numbered and inscribed ‘789S’, bronze with black patina and polished 43cm high, 36cm wide, 53.3cm deep (16.9in high, 14.2in wide, 21in deep) Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, pp. 338-339, no. 798S (another example illustrated). Provenance: Private Collection, South Africa; Bonhams, London, 2 July 2002, Lot 132; Private Collection, UK. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.

£40,000-60,000

101

It seems to me that art must be the manifestation of some vital force coming from the dark, caught by the imagination and translated by the artist’s ability and skill…. whatever the final shape, the force behind it is…. indivisible.

214 § LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) SITTING COUPLE, 1975 E/2, 3/8, stamped ‘CHADWICK’, numbered and dated, bronze 21cm high, 36.5cm wide, 26.5cm deep (8.25in high, 14.35in wide, 10.35in deep) Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, p. 310, no. 708 (another example illustrated). We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.

£30,000-50,000

LYNN CHADWICK

215 PIERO FORNASETTI (ITALIAN 1913-1988) SET OF SIX ‘PISCIBUS’ TROMPE L’OEIL PLATES transfer printed earthenware, with fish over blue and white ground, printed labels ‘Piscibus / Fornasetti / Milano / Made in Italy / 1955’ (6) each 26cm diameter (10.2in diameter)

£1,200-1,800

103

216 PIERO FORNASETTI (ITALIAN 1913-1988) BALLOONS, 1950s stamped ‘Copyright Fornasetti’, lithographic zinc plate 56cm x 88cm (22in x 34.5in)

£800-1,200

217 PIERO FORNASETTI (ITALIAN 1913-1988) FISH, 1950s stamped ‘Copyright Fornasetti’, lithographic zinc plate 60cm x 100cm (23.6in x 39in)

£700-900

218 HANS WEGNER (DANISH 1914-2007) FOR FRITZ HANSEN ‘CHINA’ CHAIR, DESIGNED 1944 model no. 4283, with Fritz Hansen label numbered ‘0969’, cherry wood 82cm high, 56.5cm wide (32.25in high, 22.25in wide)

£800-1,200

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

104

219 SERGIO ASTI (ITALIAN 1926-) FOR KARTELL KD14 PENDANT LIGHT, DESIGNED 1963 chrome and plastic 53.5cm diameter (21in diameter)

£300-500

220 POUL KJAERHOLM (DANISH 1929-1980) FOR E. KOLD CHRISTENSEN PK71 NEST OF TABLES, DESIGNED 1957 steel and plexiglass (3) the largest table 28.5cm high, 28cm wide, 28cm deep (11.25in high, 11in wide, 11in deep)

£800-1,200

221 GINO SARFATTI (ITALIAN 1912-1985) FOR ARTELUCE ‘600G’ TABLE LAMP manufacturer’s label, lacquered metal and white leather 18cm long (7in long) (without lightbulb)

£200-300

222 CHARLES AND RAY EAMES (AMERICAN, 1907-1978, 1912-1988) TABLE chrome supports with melamine top 72cm high, 138cm wide, 87cm deep (28in high, 54in wide, 34in deep)

£800-1,200

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

105

223 Y CHARLES AND RAY EAMES (AMERICAN, 1907-1978, 1912-1988) FOR HERMAN MILLER LOUNGE CHAIR AND STOOL model no. 670 and 671, manufacturer’s label, molded plywood, rosewood veneer, leather, enamelled aluminium and enamelled steel (2) the chair 82cm high, 83cm across (32.3in high, 32.6in across) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 594599/01.

£3,000-5,000

224 MAURICE GROTHAUSEN (DUTCH 1925-) FOR RAAK ‘LIGHT SCULPTURE’ TABLE / FLOOR LAMP, 1960s manufacturer’s label, aluminium 37.5cm high, 50cm wide (14.75in high, 19.7in wide)

£500-700

225 CHARLES AND RAY EAMES (AMERICAN, 1907-1978, 1912-1988) FOR EVANS SET OF FOUR DCW CHAIRS plywood in black, with Evans Production / Herman Miller labels (4) 73cm high, 49cm wide (28.75in high, 19.25in wide)

£2,000-3,000

106

226 ALVAR AALTO (FINNISH 1898-1976) FOR FINMAR TABLE WITH LAZY SUSAN, DESIGNED 1933 birch veneer, with ‘Finmar’ labels the table 71.5cm high, 126cm diameter (28.2in high, 49.6in diameter), the lazy susan 60.5cm diameter (23.75in diameter) Provenance: Purchased from Barkers, Prospect Street, Hull, by the original owners who resided in Fairfax Street, Hull in 1939.

£600-800

227 ILMARI TAPIOVAARA (FINNISH 1914-1999) FOR LAUKAAN PUU ‘PIRKKA’ TABLE AND BENCH impressed ‘LP/LAUKAAN PUUO/MADE IN FINLAND/ TAPIOVAARA/DESIGN’, pine and ebonised wood (2) the table 68cm high, 119.5cm wide, 70cm deep (26.5in high, 47in wide, 27.5in deep); the bench 43cm high, 119.5cm wide, 26cm deep (16.9in high, 47in wide, 10in deep)

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

107

228 ROCHE BOBOIS, FRANCE SCULPTURAL LIGHT, 1970s stainless steel 40cm x 40cm, 23.5cm deep (15.7in x 15.7in, 9.2in deep) Literature: Bony, Anne, Les annees 70, p.500 (example illustrated).

£300-500

229 MAZZEGA (MANNER OF) FLOOR LAMP chrome with three glass globe shades 142cm high, 26.5cm diameter (56in high, 10.4in diameter)

£400-600

230 FRANCO ALBINI (ITALIAN 1905-1977) TABLE LAMP, DESIGNED 1969 from ‘AM/AS’ Series, Sirrah Edition, chrome metal 67cm high (26.4in high) Literature: Repertorio 1950-80, p. 304 (illustrated).

£400-600

231 ITALIAN TABLE LAMP, 1970s brass with column stem, and rectangular shade total height 75cm high (29.5in high) (including shade)

£500-700

108

232 CARL-AXEL ACKING (SWEDISH 1910-2001) FOR SMF, BODAFORS ARMCHAIR, DESIGNED 1944 beech and laminated plywood 79.5cm high, 64cm wide (31.3in high, 25.1in wide)

£400-600

233 PIERRE PAULIN (FRENCH 1927-2009) FOR THONET DESK, DESIGNED 1953 oak, enamelled metal and laminate 73cm high, 129cm wide, 61cm deep (28.75in high, 50.75in wide, 24in deep)

£1,500-2,500

234 HERBERT HIRCHE (GERMAN 1910-2002) HIGHBOARD teak, possibly Holzäpfel KG Germany, the doors opening to reveal shelves 90cm high x 145cm wide x 40.5cm deep (35.5in high x 57in wide 15.5in deep)

£400-600

109

235 PABLO PICASSO (SPANISH 1881-1973) FOR FULLER FABRICS SPRING, DESIGNED 1955 screen printed cotton 72cm x 96cm (28.25in x 37.75in), unframed

£300-500

236 PABLO PICASSO (SPANISH 1881-1973) FOR BLOOMCRAFT MUSICAL FAWN, DESIGNED 1963 screen printed cotton 68cm x 62cm (26.75in x 24.3in), unframed

£400-600

237 MARC CHAGALL (FRENCH 1887-1985) FOR FULLER FABRICS LES AMOUREUX screen printed cotton, printed ‘Fuller Fabrics, “Les Amoureux” by Marc Chagall’ to the selvedge 48.5cm x 48cm (19.1in x 18.9in), unframed

£250-350

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

110

238 STILNOVO CEILING LIGHT, CIRCA 1960 opaque glass and brass, with tilt mechanism 52cm diameter (20.5in diameter)

£600-800

239 GINO SARFATTI (ITALIAN 1912-1985) FOR ARTELUCE TWO FLOOR LAMPS model no. 1073, each marked with model number (to base), steel and enamelled aluminium (2) 197cm high and 182.5cm high (77.5in high and 71.8in high)

£2,000-3,000

240 GEORGE NELSON (AMERICAN 1908-1986) FOR HERMAN MILLER THIN EDGE CABINET, CIRCA 1955 model 3302, manufacturers label (to the inside of the top drawer), teak with metal handles 82cm high x 86.5cm wide x 47cm deep (32.5in high x 34in wide x 18.5in deep)

£1,000-2,000

111

241 Y GEORGE NELSON ASSOCIATES CSS (COMPREHENSIVE STORAGE SYSTEM) SHELVING SYSTEM rosewood, aluminium and laminate 175cm wide, 249cm high, 47cm deep (68.8in wide, 98in high, 18.5in deep) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 596737/01.

£1,500-2,000

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

112

MADE IN FIRE: A RENAISSANCE IN GLASS

The genesis of the studio glass movement is still relatively young, with its origins generally attributed to the US artist Harvey Littleton’s establishment of a workshop in the grounds of the Toledo Museum of Art in 1962. Proponents of this school aimed to move the production of glass from the industrial factories of the 19th and early 20th centuries to individual workshops, with styles such as etching and flame-working coming into use and a focus on the object as a work of art becoming of paramount importance. Since then the field has grown exponentially to become a revered and much-collected art form. The press, critical acclaim and promotion through noteable galleries and museums, have all helped to create a market with far-reaching audiences. The present collection, put together by an international collector in the 1990s, reflects the new and exciting techniques and developments of this movement, and includes works by leading exponents in this field such as Lino Tagliapietra, Dale Chihuly, Yoichi Ohira, Toots Zynsky, William Morris and Bertil Vallien. To many in the field of studio glass the name Lino Tagliapietra epitomises everything that great glass design stands for. Tagliapietra was one of a handful of glass artists who helped to elevate the position of glass to a ‘fine art’ form, with his work now sitting in many

of the leading museums in the world including the Metropolitan Museum of Art, New York, the Victoria and Albert Museum, London and the Musée des Arts Decoratifs, Paris. At the heart of the collection is a striking group of 14 works by Tagliapietra that reflect many of the innovations, skills, colour and elegance of his glass from the height of his career. Born in Murano, Italy in 1934, Tagliapietra apprenticed under the glass maestro Archimede Seguso and by his early twenties was himself awarded the prestigious title of maestro vetraio (master glassmaker). He spent the following 30 years working alongside many of the leading glass manufacturer’s in Murano, such as Venini & C., Vetreia Galliano Feria and Effetre International (where he worked as Artistic and Technical Director from 1976 to 1989) before pursuing his path as a studio artist from the late 1970s. He continuously evolvied and expanded his repertoire to include experimentation with “carving, blowing, caning, layering, casing, and trailing along with the elaborate Italian tricks so sought after for centuries: battuto, zanfirico, filigrano, reticello, pulegoso, martelé, inciso and incalmo...” (Matthew Kangas, Lino Tagliapietra: Birth of a Genius)

113

However, his greatest influence was his dissemination of ideas on glass blowing, as the curator of the Corning Museum of Glass. Tina Oldknow summarises: “Today, artists from around the world use a Venetian glass vocabulary to make work that would never, ever be produced in Venice, and the dissemination of this remarkably creative and vibrant craft language may be Lino’s most important legacy. Lino came to America to discover what there might be here for him and to teach others to work glass. In the process, he helped to pioneer an industry – not for commerce, but for art.” It is perhaps no wonder that his contemporary Dale Chihuly referred to Tagliapietra as “the greatest glassblower in the world”. From their early meetings in the late 1960s they disseminated ideas, shared techniques and throughout their careers they worked together on a number of projects. Both of Chihuly’s works in this exhibition and auction, Sea Form (1985) and Baskets (1992), show the influence of the American glass blowing movement together with Italian techniques. Lino Tagliapietra . Image courtesy of Lino Tagliapietra Inc. Lino Tagliapietra ©. Photograph by Russell Johnson

Chihuly himself is considered to be one of America’s most prominent international glass artists, best known for his largescale installations and environmentalist artworks. Initially studying under Harvey Littleton, Chihuly went on to study at the Rhode Island School of Design, and then worked at the Venini factory on the Italian island of Murano. Chihuly now has large permanent installations in important international institutions such as the rotunda chandelier at the Victoria and Albert Museum in London, and the Rainbow Room frieze in the Rockefeller Center in New. He has influenced, taught and inspired a whole generation of glass artists including William Morris and Toots Zynsky. The work of Morris, who worked for Chihuly during the late 1970s and early 1980s, is represented in the collection with Artifact Tooth from the mid-1990s. Often inspired by ancient civilisations, Morris’ works of art act as records of humankind and focus on glass’ ability to transform. There are also blasts of colour with highly collectable works from Zynsky, best known for heatformed vessels in unique colourways; rare collaborative works by Tagliapietra, Zynsky and Alfred De Credico, and distinctive stylistic blends in two works by the Japanese artist Yoichi Ohira.

The collection concludes with a number of unique works by Bertil Vallien, considered to be Sweden’s most famous glass artist, that take you into a mystical, deeply symbolic and dreamlike world of motifs, with each piece being considered by the artist as an investigation. Like Tagliapietra, he is highly acclaimed in his field, most famous as an expert sand caster, and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement. Created by some of the most gifted, influential and innovative glass artists of the contemporary movement, this personal group of works charts the evolution of the field and inspires the mind with its exploration of the treatment of modern-day glass.

114

It does not matter what material we use. We need the technique and we need the idea. And then we need the poetry, the love that transforms the material into a piece of art LINO TAGLIAPIETRA

WORKS FROM A PRIVATE EUROPEAN COLLECTION LOTS 242 to 274 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

115

242 § ‡

243 § ‡

LINO TAGLIAPIETRA (ITALIAN 1934-) VASE, CIRCA 1995

LINO TAGLIAPIETRA (ITALIAN 1934-) FOR EFFETRE

signed, blown glass

‘TESSUTO’ VASE, 1992

35.5cm high (14in high)

signed and dated, blown glass with black cane

£3,000-5,000

45cm high (17.75in)

£3,000-5,000

244 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) FOR EFFETRE ‘TESSUTO’ VASE, 1985 signed, dated and engraved ‘Murano’, hand blown glass 43cm high (17in high)

£6,000-8,000

116

245 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) VASE, 1995 signed and dated, blown glass 25.5cm high (10in high)

£2,000-3,000

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

117

246 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) VASE, 1990s signed, blown glass 63cm high (24.75in)

£3,000-5,000

118

247 § ‡

248 § ‡

LINO TAGLIAPIETRA (ITALIAN 1934-)

VASE, 1993

VASE, 1990

signed and dated, blown and battuto glass 41cm high (16.1in high)

signed and dated, blown glass, half with battuto finish

£1,500-2,500

32cm high (12.5in high)

£2,000-3,000

249 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) VASE, 1992 signed and dated, blown and battuto glass 45.5cm high (18in high)

£3,000-5,000

119

250 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) VASE, 1995 signed and dated, blown glass 28cm high (11in high)

£4,000-6,000

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

120

251 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) ‘SPIRALE’ VASE, 1990s signed, white and clear glass, with internal swirl 53cm high (20.8in high)

£2,000-3,000

121

252 § ‡ LINO TAGLIAPIETRA (ITALIAN 1934-) ‘FOEMINA’ VASE, 1985 signed and dated, two-tone orange blown and cut glass 56cm high (22in high)

£4,000-6,000

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

122

These three works stem from a short period of fruitful collaboration between the three artists in the mid-1990s.

253 § ‡ LINO TAGLIAPIETRA (B.1934), ALFRED DE CREDICO (1944-2010) AND TOOTS ZYNSKY (B.1951) VASE, CIRCA 1995-6 glass 25cm high x 26cm wide (9.9in high x 10.25in wide)

£2,500-3,500

254 § ‡ LINO TAGLIAPIETRA (B.1934), ALFRED DE CREDICO (1944-2010) AND TOOTS ZYNSKY (B.1951) VASE, CIRCA 1995-6 signed ‘Decredico / Tagliapietra / Zynsky’, glass 32cm high x 31cm wide (12.6in high x 12.2in wide)

£3,000-5,000

123

255 § ‡ LINO TAGLIAPIETRA (B.1934), ALFRED DE CREDICO (1944-2010) AND TOOTS ZYNSKY (B.1951) VASE, CIRCA 1995-6 signed ‘Decredico / Tagliapietra / Zynsky’, glass 39.5cm high x 31cm wide (15.5in high x 12.1in high)

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

124

Inspired by her love of music and dance, vessels created by glass artist Toots Zynsky are harmonious expressions of melodic colour combinations. Born in 1951 in Massachusetts,Zynsky studied fine art at the Rhode Island School of Design where she was taught by Dale Chihuly. Following this, in 1971 she and some other classmates were invited by Chihuly to Washington where she participated in the development of the Pilchuk Glass School. After spending many years working and developing her craft in Europe and Africa, she returned to the United States in 1999, where she settled in Providence Rhode Island, where she lives and works today.

Her works in glass are created using a distinctive filet de verre or glass thread technique, which pulls fine threads of coloured glass together to create unique pieces that appear almost organic, and demonstrate the hybrid nature of glass as a medium. She has received many important commissions including designing the Olympic torch for the 2002 Paralympic Winter Games, and was awarded the Smithsonian Visionary Award in 2015.

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

125

256 § ‡ TOOTS ZYNSKY (AMERICAN 1951-) VESSEL, CIRCA 1994 signed ‘Z’, fused and thermo-formed glass 18cm high x 35.5cm wide (7.1in high x 14in wide)

£6,000-8,000

257 § ‡ TOOTS ZYNSKY (AMERICAN 1951-) VESSEL, CIRCA 1994 partial artist mark, fused and thermo-formed glass 19.5cm high x 32cm wide (7.75in high x 12.5in wide)

£6,000-8,000

126

258 § ‡ WILLIAM MORRIS (AMERICAN 1957-) ARTIFACT TOOTH, 1993 signed and dated, blown glass 46cm wide x 28cm high (18.1in wide x 11in high)

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

127

259 ‡ DALE CHIHULY (AMERICAN 1941-) BASKETS, 1992 the smallest basket signed and dated, six baskets, sun yellow glass with red lip wraps (6) Largest 46.5cm wide x 13.5cm high (18.3in x 5.3in) Smallest 10.5cm wide x 6cm high (4.1in x 2.4in) Chihuly often calls his Baskets the most inventive work he has done. Experimenting with centrifugal forces, gravity and the use of fire, he discovered new methods of creating these asymmetrical vessels with fine undulating walls, grouping them in sets with the smaller works nestled within a larger open mouthed form.

£8,000-12,000

128

260 ‡

261 ‡

YOICHI OHIRA (JAPANESE 1946-)

BOWL, 1995

1/1, incised ‘Yoichi Ohira - Mo L. Serena 1/1 1995/murano/’FUSCHI L’ANTIFICIO’’ and artists cypher, hand blown glass

1/1, incised ‘Yoichi Ohira - Mo L. Serena 1/1 1995/ murano’, with artist’s cypher, hand blown glass

9.2cm high x 12.5cm diameter (3.6in high x 4.9in diameter)

£4,000-6,000

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

10cm high x 13cm diameter (4in high x 5.1in diameter)

129

262 § ‡ PHILIP BALDWIN AND MONICA GUGGISBERG (AMERICAN, 1947- AND SWISS, 1955-) VESSEL, 1998 signed and engraved ‘B/G / NONFOUX / ‘98 / B896’, from the Nonfoux Collection, blown and carved glass 55cm high (21.6in high)

£800-1,200

263 § ‡ ANNA DICKINSON (BRITISH 1961-) THREE VASES, 1992,1993, AND 1995 each signed and dated, each vase with differing metal collar, cut and patterned glass 32cm high, 23cm high, 16.5cm high respectively (12.5in, 9in, 6.5in high)

£2,000-4,000

130

264 ‡ STEVE TOBIN (AMERICAN 1957-) COCOON, 1990-1995 red blown glass with black trailing, on patinated steel stand the stand approximately 213cm high (83.8in high)

£3,000-5,000

Much of the inspiration behind the work of prominent American sculptor Steve Tobin comes from the natural world. Born in Pennsylvania, where he currently works from his studio and foundry, Tobin’s work is often monumental in scale and immediately recognisable. His work in glass is particularly important within the context of contemporary studio glass, creating cocoons which were hung in the St Augustine Chapel in Antwerp in 1990, and also a “waterfall” in the Retretti art museum in Finland in 1993. Tobin has exhibited widely internationally, and his work is held in important collections such as the Museum of Glass in Washington, the Musee des Arts Décoratifs in Switzerland, and also the White House collection in Washington D. C.

265 ✝ STEVE TOBIN (AMERICAN 1957-) COCOON, 1990-1995 milky white blown glass with white trail in patinated steel stand the stand approximately 206cm high (81in high)

£3,000-5,000

131

The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world.

266 ‡ RICHARD JOLLEY (AMERICAN 1952-) VISIONARY, 1992 signed and dated (to base), verdigris bronze on marble base 55.5cm high (21.75in high) (including base)

£4,000-6,000

267 ‡ RICHARD JOLLEY (AMERICAN 1952-) CURIOUS, 1993 signed, titled, and dated, glass 37cm high (14.5in high)

£3,000-5,000

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

132

268 ‡ RICHARD JOLLEY (AMERICAN 1952-) FIVE VIEWS, 1997 signed and dated, blown and hot formed glass, consisting of five male faces in dark blue and matt glass 134cm high (53in high) We would like to thank the artist for his assistance in cataloguing the current work.

£3,000-5,000

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

133

Bertil Vallien, considered to be Sweden’s most famous glass artist, was born in a small suburb to the north of Stockholm in 1938. Vallien was encouraged by a schoolteacher to pursue an arts education and he began attending evening classes at the Konstfack School of Arts, Crafts and Design in Stockholm. At the age of 27, he began a two-year foundation course at the Konstfack’s ceramics department and decided to pursue the arts full-time after completing his military service. Following this, he moved to Los Angeles and joined the HAL Fromholt Ceramics company that sought a young Swedish designer. It was here that Vallien began to design new models and had his own studio where he could focus on his personal practise too. Frequently deeply symbolic, he considers each piece as an investigation into specific themes with objects often filled with motifs and metaphors, transferring his dreamlike world into his art. Vallien later returned to Sweden to work as a designer at the Afors glass factory. Vallien is highly acclaimed in his field and has received numerous awards including the Prince Eugen Medal for outstanding artistic achievement in 1995 and the Visionaries Award from the American Craft Museum in 2001. His work can be found in important institutions internationally such as the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.

269 § ‡ BERTIL VALLIEN (SWEDISH 1938-) FOR KOSTA BODA BOAT signed, engraved ‘KOSTA BODA / 8 BVAUN / 959026 / UNIQUE’, sand cast glass, with stand The boat 48.5cm long (19.1in) “I make boats that sink. Sink through memories and dreams. I make boats that do not need latitudes, they navigate like glazed vessels toward the horizons of the imagination. One container for Moses and one for the Viking chief. The traveler must rely on the thin skin which is the only thing that separates her from the unknown. The boat has always fascinated me, for its beautiful shape and what it means: life, adventure, travel, birth and death. A symbol that belongs to our collective consciousness. We all have a respectful relationship with the boat. The fisherman in the archipelago does not chop his old tired boat into firewood; when she is no longer able to sail, she is allowed to rest in peace and slowly nurture the new boats. I understand that the most crude sailor with respect and reverence calls his life insurance and craft for She. A life-giving mother to trust when society is separated from the land.” (Bertil Vallien)

£2,000-3,000

134

270

271

272

273

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

135

270 § ‡

271 § ‡

BERTIL VALLIEN (SWEDISH 1938-) FOR KOSTA BODA

WALL SCULPTURE

274 § ‡

signed, engraved ‘KOSTA BODA / 8 BVAUN / 969014 / UNIQUE’, sand cast glass

signed, engraved ‘KOSTA BODA / 8 BVAVN / 969011 / UNIQUE’, sand cast glass

65.5cm high x 18cm wide (25.75in high x 7.1in wide)

52.5cm high x 16.5cm wide (20.75in high x 6.5in wide)

BERTIL VALLIEN (SWEDISH 1938-) FOR KOSTA BODA

£1,500-2,500

£1,000-1,500

PORTAL

272

273

signed, engraved ‘KOSTA BODA / 8 BVAUN / 969047 / UNIQUE’, sand cast glass and metal, and with metal stand

§‡

BERTIL VALLIEN (SWEDISH 1938-) FOR KOSTA BODA

HEAD

PORTAL

the glass 58cm high, 42cm wide (22.8in high, 16.5in wide)

signed, engraved ‘8 BVAUN / 929004 / KOSTA BODA / E. de. A.’, sand cast glass on stand

signed, engraved ‘KOSTA BODA / 8 BVAUN / 969017 / UNIQUE’, sand cast glass

£1,500-2,500

46cm high, 15cm wide (18.1in high, 5.9in wide)

32.5cm high x 21cm wide (12.75in high x 8.25in wide)

£2,000-3,000

£800-1,200

275 § MASSIMO MICHELUZZI (ITALIAN 1957-) MURRINE VASE, 2004 signed and dated, blown and carved glass 50.5cm high, 34cm wide (19.9in high, 13.4in wide)

£1,500-2,500

137

276 § MASSIMO MICHELUZZI (ITALIAN 1957-) VASE, 2005 signed and dated, carved glass 48cm high (19in high)

£1,500-2,500

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

138

Glass is the most magical of materials. It transmits light in a special way.

277 DALE CHIHULY (AMERICAN 1941-)

DALE CHIHULY

‘SEA-FORM’, 1985 the largest segment signed and dated, three piece form, blown clear glass inlaid with fine white lines and marks, two with white lip wraps the largest segment 25cm x 20cm (9.9in x 7.9in) Literature: Frantz, Suzanne K., Contemporary Glass, A World Survey from the Corning Museum of Glass, Harry N. Abrams Inc. New York, 1989 for similar examples and Klein, D., Artists in Glass Late Twentieth Century Masters in Glass, published by Mitchell Beazley, pg. 36-41.

£2,000-3,000

139

278 §

279 §

XAVIER CARRERE (FRENCH 1966-)

SCULPTURE, 2002

signed and dated ‘200II’, blue glass and composite

signed and dated, red, iridescent and clear glass

26cm high, 25.25cm wide (10.25in high, 10in wide)

£500-700

21cm high, 23cm wide (8.25in high, 9in wide)

£500-700

280 § MARGARET ALSTON (BRITISH 1956-) SET OF THREE BOWLS pâte-de-verre glass (3) 9cm high, 8cm high, 6.7cm high (3.5in high, 3.2in high, 2.7in high)

£500-800

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

140

281 § ALAIN AND MARISA BEGOU (FRENCH 1945- AND 1948-) VASE, 2003 signed and dated, glass 55.5cm high, 32cm wide (21.9in high, 12.6in wide)

£800-1,200

282 § DAVID REEKIE (BRITISH 1947-) IN THE NEAR FUTURE, 1990 signed, titled and dated, lost wax cast glass, painted wood and crystal ball 44cm high, 33cm wide, 15cm deep (17.25in high, 13in wide, 5.9in deep)

£2,000-3,000

141

283 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BOX AND COVER model number ‘1089’, marked with Georg Jensen hallmarks, designer marks and ‘Denmark / Sterling’ 7cm high, 12.5cm wide (2.75in high, 4.8in wide), 262 grams

£400-600

284 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN TEA CADDY blue enamelled design to the cover, marked with Georg Jensen hallmarks, designer marks and ‘Denmark / Sterling’, dedication to the inside of the cover ‘RADGIVENDE / INGENIORFIRMA / JOHS / JORGENSEN 1943-1968’ 8cm high (3.12in high), 257 grams gross weight Literature: Drucker, Janet, Georg Jensen, Atglen 2001, p. 60 (similar example illustrated).

£600-800

285 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN FOOTED BOWL model number ‘1132B’, marked with Georg Jensen hallmarks, designer marks and ‘Denmark / Sterling’, import marks for London 1968 16.5cm diameter, 5cm high (6.5in diameter, 2in high), 348 grams

£400-600

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

142

286 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN CARAVEL FLATWARE SERVICE each piece impressed ‘Georg Jensen / STERLING / DENMARK’, silver, and the dinner and luncheon knives with stainless steel blades, the set comprising 12 dinner forks, 12 dessert forks, 12 luncheon spoons, 13 dessert spoons, 12 teaspoons, 12 fish knives, 12 dinner knives, 12 luncheon knives, in Georg Jensen boxes (97) the dinner knives 22cm long, approximate weight of silver (excluding dinner knives and luncheon knives) approximately 3900grams

£4,000-6,000

143

287 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN ‘AMOEBA’ BRACELET model number ‘89’, marked with Georg Jensen hallmark, ‘STERLING / DENMARK’, 19.5cm long (7.75in long)

£600-800

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

144

288 NANNA AND JØRGEN DITZEL (DANISH 1923-2005 AND 1921-1961) FOR GEORG JENSEN ‘RESTRAINT’ BROOCH set with a cultured pearl, model number ‘1325’, marked with Georg Jensen hallmark, designer marks, ‘750 / 18K’, and with import marks for London 1961 5.5cm wide (2.1in wide), gross weight 28 grams (including pearl)

£2,500-3,500

289 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN ‘SPLASH’ BROOCH gold, model number 1324, marked with Georg Jensen hallmark, ‘750 / 18K’ and ‘DENMARK’, and with import marks 4.4cm wide (1.75in wide)

£800-1,200

290 BENT KNUDSEN (DANISH 1924-) BROOCH set with four cabochon cut amethysts, marked ‘BENT K’, ‘585’ and ‘DENMARK’ 8cm wide (3.1in wide)

£400-600

145

291 BENT GABRIELSEN (DANISH 1928-) FOR HANS HANSEN COLLAR NECKLACE AND PENDANT the pendant set with blue enamel beads, model number ‘027’, the collar and the pendant marked with Hans Hansen hallmark, ‘585’ and ‘DENMARK’ internal width 13cm (5.1in), length of pendant 9.8cm (3.9in) Provenance: Originally purchased from Royal Copenhagen Porcelain, Madison Avenue, New York, 1978. This lot is sold with a facsimile copy of the original receipt.

£3,000-5,000

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

146

292 BENT GABRIELSEN (DANISH 1928-) FOR GEORG JENSEN BRACELET model number ‘246’, marked with Georg Jensen hallmarks, designer mark and ‘925S / Denmark’, and with import marks for London 1972 inside width 6.3cm (2.5in), 54 grams

£300-500

293 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN BROOCH model number ‘374’, marked with Georg Jensen hallmarks, ‘TORUN’ and ‘925S / Denmark’, and import marks for London 6.7cm wide, (2.65in wide), 42 grams

£200-300

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

295 GEORG JENSEN LTD. SAFETY PIN BROOCH pave set with brilliant cut diamonds, marked with Georg Jensen hallmark and ‘925S’ 6cm wide (2.3in)

£300-500

PAIR OF EARRINGS with suspended drops the drop 5.5cm (2.2in) Provenance: The current vendor purchased these earrings directly from the artist around 1955. The owner had been at the Central School of Art in the 1950s and had known Davie, and bought two pairs of these earrings. She kept one pair for herself and gave another pair to a friend at the Central School for her 21st birthday. The latter pair sold in the last edition of Modern Made in October 2020, and were stamped ‘JAD’.

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

296 BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA BETHLEHEM STEEL PENDANT NECKLACE with bronzed finish, marked with maker’s mark and ‘LAPPONIA / FINLAND’ pendant width 6cm (2.3in wide)

£400-600

297 BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA ‘CORONA’ NECKLACE, 1976 mould cast silver and acrylic, marked ‘LAPPONIA’, ‘925’, date mark ‘Y7’ and with Finnish assay mark 35.6cm long (14in long) Literature: Björn Weckström, Marianne Aav and Eeva Viljanen, Björn Weckström, exh. cat., Design Museum, Helsinki, 2003, pp. 106, no. 299.

£3,000-4,000

298 BJÖRN WECKSTRÖM (FINNISH 1935-) ”PISARANMUOTO” (BIG DROP) PENDANT NECKLACE, 1971 mould cast silver and acrylic pendant, marked with maker’s mark, ‘925H’, Finnish assay mark, date mark ‘S7’, ‘STERLING / FINLAND’ pendant 4.5cm wide (1.75in wide) Literature: Björn Weckström, Björn Weckström, Keuruu, 1980, p. 66; Marianne Aav and Nina Stritzler-Levine (eds.), Finnish Modern Design: Utopian Ideals and Everyday Realities: 1930-1997, exh. cat., The Bard Graduate Center for Studies in the Decorative Arts, New Haven, 1998, p. 352; Björn Weckström, Marianne Aav and Eeva Viljanen, Björn Weckström, exh. cat., Design Museum, Helsinki, 2003, p. 104.

£700-900

148

299 BENTE BONNE (DANISH 1929-1996) FOR GEORG JENSEN PAIR OF EARRINGS AND BRACELET model numbers ‘120’ and ‘132’, set with blue enamel, marked with Georg Jensen hallmarks and ‘STERLING / DENMARK’ the bracelet 17cm long (6.6in long)

£800-1,200

300 BENT GABRIELSEN (DANISH 1928-) FOR GEORG JENSEN PENDANT DROP model number ‘143’, set with amethyst to the centre, marked with Georg Jensen hallmarks, designer mark and ‘925S / Denmark’, and with import marks, London 1973 7cm wide (2.75in wide) Literature: Taylor, David A. (ed.), Georg Jensen Jewellery, Bard Graduate Center, New Haven and London, 2005, p.92, fig. 4-19 (similar example illustrated).

£500-700

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

149

301 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORGE JENSEN WATCH set with rutilated quartz over the white dial, model number ‘229’, marked with Georg Jensen hallmark, ‘TORUN’ and ‘925S / Denmark’ internal width 6.3cm (2.5in)

£800-1,200

302 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN BRACELET set with moss agate, model number ‘203’, marked with Georg Jensen hallmarks, ‘TORUN’ and ‘925S / Denmark’ inside width 5.7cm (2.2in)

303 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN BRACELET inset amethyst stone, model number ‘203’, marked with Georg Jensen hallmark, ‘TORUN’ and ‘925S / Denmark’ internal width 5cm (2in)

£600-800

£500-700

150

304 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN CHOKER NECKLACE WITH GLASS inset blown glass piece, model number ‘409’, marked with Georg Jensen hallmark, ‘TORUN’ and ‘925’ internal width 14.4cm (5.6in) Provenance: This work is sold together with a Certificate of Authenticity from Marcia Ina Erika Coleman Diallo, daughter of the artist. The choker was made by Torun during her Indonesian period in the late 1990s, with mouth blown glass she had designed with glass blowers in Sweden. The mouth blown glass project was a homage to Swedish glass artist Edward Hald, who had given her a handful of his creations to make jewellry in the 1950s. The choker was a prototype for George Jensen, and originally came from the artist’s private collection.

£1,500-2,000

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

151

305 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN PAIR OF SODALITE CUFFLINKS model number ‘190’, each marked with Georg Jensen hallmark and ‘925S / Denmark’ 2.8cm wide (1.12in wide)

£250-350

306 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN TIGERS EYE RING, MODEL NUMBER 190 model number ‘190’, marked with Georg Jensen hallmark and ‘925 / Denmark’ Ring Size: O 1/2

£400-600

307 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN SODALITE RING model number ‘190’, marked with Georg Jensen hallmark and ‘925 / Denmark’ Ring Size: P

£400-600

308 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) EYE OF HORUS PENDANT DROP, 2002 ceramic 4.4cm wide (1.75in wide) This is a unique work, designed by Torun in her workshop in Indoniesia in 2002 for her last exhibition. Sold with a Certificate of Authenticity from Ira Noel Coleman, son of the artist.

£500-700

152

309 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR NECKLACE model number ‘169’, marked with Georg Jensen hallmarks, ‘TORUN’and ‘925S / Denmark’, with two removable pendant drops, one inset rutilated quartz crystal, model number ‘132’, the other inset sodalite, model number ‘133’ interior width of collar 16.5cm (6.5in)

£1,000-1,500

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

153

310 § VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) COLLAR NECKLACE WITH THREE PENDANT DROPS with polished pebble and green glass drops, the hammered collar faintly stamped ‘TORUN’, and each pendant drop stamped ‘TORUN’, and two of the drops with further stamped hallmark approximate width at widest point 14.5cm (5.7in)

£1,000-2,000

154

155

311 LINO SABATTINI (ITALIAN 1925-2016) FOR CHRISTOFLE, PARIS SIX PART ‘COMO’ TEA AND COFFEE SERVICE, DESIGNED 1956 silver plated, comprising coffee pot, teapot, milk jug, sugar bowl, tray and rare sweetmeat bowl, each marked ‘GALLIA’ and the coffee pot, teapot, sugar bowl and larger bowl marked ‘PROD. CHRISTOFLE’ (6) the tray 49.5cm wide (19.5in wide), the coffee pot 21cm high (8.25in high)

£4,000-6,000

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

156

312 § WAKELY AND WHEELER BOX AND COVER silver gilt, hallmarked for London 1971 10cm high (3.9in high), 8cm diameter (3.1in diameter)

£500-700

313 § STUART DEVLIN A.O. C.M.G. (AUSTRALIAN/BRITISH 1931-2018) PAIR OF BEAKERS, LONDON 1978 each of slightly tapered form with planished finish, the gilt cast foot with pierced trellis detail, engraved with the Falcon award mark as well as numerals 26 and 28 (2) 12.8cm high (5in high), combined weight: 13oz

£500-700

314 § ROSS MORGAN (BRITISH 20TH CENTURY) DESK WEIGHT rose root ball wood and silver, hallmarked for London 1988, and with Britannia silver mark 10cm wide (4in wide), in a fitted presentation box Provenance: Electrum Gallery, London.

£300-500

315 SIGVARD BERNADOTTE (SWEDISH 1907-2002) FOR GEORG JENSEN VASE silver, stamped artist’s signarture and Jensen mark 18.5cm high (7.25in high)

£500-800

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

157

316 § ALEX STYLES (BRITISH 1922-) FOR GARRARD & CO. LTD. Described in The Times newspaper in 1966 as the “finest designer of hand-made silver in England”, Alex Styles was one of the most skilled and prominent silversmiths of the twentieth century. Beginning his education with a scholarship to the Gravesend School of Art, Styles then completed his training by winning higher education to the Central School of Arts and Crafts in London. Styles then began his professional career creating pieces for Wakely and Wheeler, London, before a chance meeting landed him a role as a staff designer for the Goldsmiths and Silversmiths company in 1947, He then moved to the prestigious Crown Jewellers Garrard & Co. when the two companies amalgamated in 1952. Styles went on to become the chief designer for Garrard’s - a role which he occupied for 40 years. Styles received numerous important commissions for livery companies, public corporations, and private one-off commissions such as a coffee set commissioned for HRH The Prince of Wales.

AN IMPORTANT CANDELABRUM CENTREPIECE, 1965 silver, each element hallmarked for London, made by Wakely and Wheeler, the two main components engraved ‘Des A. G. Styles’ and marked for Garrard 53.5cm x 24.5cm (21.1in x 9.6in) Literature: Stewart, Richard, Modern Design in Metal, John Murray, 1979, p.24, illustrated.

£12,000-18,000

158

BELOVED BRITISH ARTISTS: WORKS BY MARY FEDDEN & JULIAN TREVEYLAN

Fedden first met Trevelyan when she was a student at the Slade in the 1930s, and (although he was husband to the potter Ursula Darwin) had declared on the spot she knew he was the man she would marry – something that proved correct in 1951. They remained the closest of companions for the next 40 years, pursuing their artistic endeavours from Durham Wharf in Hammersmith - a house and studio on the banks of the Thames that Trevelyan had bought in 1935. The forthcoming works from four different private collections include early pictures by both artists. Trevelyan’s The River Thames Flooded at Chiswick was painted in 1945, shortly after the artist was demobbed from the Royal Engineers. He had spent much of the Second World War serving in North Africa and Palestine as a Camouflage Officer, becoming an expert in desert camouflage and deception. The Thames was a constant source of inspiration to Trevelyan, and is reflected in Barges at Durham Wharf, Hammersmith from 1963. He wrote in 1957 (Indigo Days): “Here [at Durham Wharf] … I put down my tap-root; My life was measured by its tides, and my dreams were peopled by its swans and seagulls. It has become the backcloth to all my various activities and has remained so ever since.” Mary Fedden’s historically significant Fisherwomen was completed in 1947 - the year of her first ever solo exhibition showing still-life and flower paintings at the Mansard Gallery in the department store, Heal’s. After the War (when she served in the Land Army and as a driver for the NAAFI in France), she had returned to London to work as a full-time artist, receiving a commission to create cover designs for Woman magazine. She featured in one-person shows at venues throughout the UK every year until her death in 2012 by which time she had achieved ‘national treasure’ status. Although the couple travelled widely in Europe, Africa, India, Russia and America they typically worked together in different corners of a shared studio. Fedden’s work often referenced their lives together through the use of personal objects from their home or by incorporating rejected fragments of Trevelyan’s etchings in her collages. Within this collection are two mature Fedden oils from 1975 titled Julian’s Mug and The Etching Table. The group ends with two particularly poignant gouache works by Fedden from 1988, the year of Trevelyan’s death. One titled Trevelyan with Dog depicts her husband alone with a family pet, the other with only a woman and dog on a beach.

Image courtesy of Neil Clasper. © Neil Clasper and neilclasper.com, 2018.

159

317 § JULIAN TREVELYAN (BRITISH 1910-1988) THE RIVER THAMES FLOODED AT CHISWICK, 1945 signed and dated (lower right), oil on canvas 49.5cm x 69.3cm (19.5in x 27.25in)

£6,000-8,000

160

318 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) FISHERWOMAN, 1947 signed and dated (lower left), oil on canvas 49.5cm x 60cm (19.5in x 23.6in)

£6,000-8,000 Having returned to London in 1946, after the war, Mary Fedden began to paint with a new seriousness, developing her own individual style that owed considerable influence to Russian and French modernists. By 1947, the same year as this painting, she held her first oneperson exhibition at The Mansard Gallery in Heal’s Department Store. Landscape paintings of this period by Fedden appear rarely, and the current work is perhaps closest to Distress Signal that appears to depict the same coastal village on a stormy evening. These early works mixed her Slade School training, with their low-key colours and emphasis on fact, with an increasing sense of pattern and form that would become a signature characteristic of her more mature work.

319 § JULIAN TREVELYAN (BRITISH 1910-1988) BARGES AT DURHAM WHARF, HAMMERSMITH, 1963 signed and dated (lower right), oil on board 49.5cm x 59.5cm (19.5in x 23.5in) Provenance: Gallery Edward Harvane, London; Private Collection, UK.

£7,000-9,000

161

320 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) MAUVE MOTHS, 1974 signed and dated (lower left), watercolour, gouache and collage 14.5cm x 18cm (5.7in x 7in)

£1,500-2,500

321 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) SHEEP, 1987 signed and dated (lower right), gouache and collage 8cm x 10.5cm (3.1in x 4.1in)

£1,000-1,500

322 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) GIRL WITH PLANT, 1971 signed and dated (lower left), ink and wash on paper 26cm x 35.5cm (10.2in x 14in)

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

162

323 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) STILL LIFE WITH JUG AND FRUIT, 1973 signed and dated (lower right), oil on canvas 49.5cm x 59.5cm (19.5in x 23.5in)

£5,000-7,000

324 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) HYACINTH, 1975 signed and dated (lower left), oil on canvas 39cm x 48.5cm (15.3in x 19.1in)

£4,000-6,000

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

163

325 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) JULIAN’S MUG, 1975 signed and dated (lower right), oil on canvas 49cm x 59cm (19.25in x 23.25in)

£6,000-8,000

326 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) THE ETCHING TABLE, 1975 signed and dated (lower right), oil on canvas 60cm x 75.5cm (23.6in x 29.75in)

£8,000-12,000

164

I like to develop my ideas from the imagination rather than being tied to what is in front of me. I never set up a still life to copy, but I do use and re-use objects from around the studio.

327 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) TREVELYAN WITH DOG, 1988 signed and dated (lower left), gouache 16.5cm x 9.5cm (6.5in x 3.75in)

£2,000-3,000

328 § MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) WOMAN AND DOG BY THE SEA, 1988 signed and dated (lower left), gouache 14cm x 14cm (5.5in x 5.5in)

£2,000-3,000

165

166

329 § BRYAN ILLSLEY (BRITISH 1937-) WHITE BIRD oil on wooden panel with nails the wooden panel 14cm x 29cm (5.5in x 11.4in) (excluding nails) We would like to thank the artist for his assistance in cataloguing the current work.

£500-700

330 § ROGER HILTON C.B.E. (BRITISH 1911-1975) TWO FIGURES Wax crayon 20cm x 25cm (8in x 9.75in) Exhibited: The Scottish Arts Council, Roger Hilton, 1974.

£600-800

331 § BRYAN ILLSLEY (BRITISH 1937-) BIRD, 1984 silver, hallmarked for London 1984 23cm high (9in high)

£500-700

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

167

332 § SIMEON STAFFORD (BRITISH 1956-) PUNCH AND JUDY signed (lower left), oil on board 45cm x 59.5cm (17.75in x 23.5in)

£800-1,200

333 § RACHEL RECKITT (BRITISH 1908-1995) CONTINENTAL LANDSCAPE signed (lower left), oil on board 49.5cm x 59.5cm (19.5in x 23.5in) Rachel Reckitt studied wood engraving at the Grosvenor School of Art from 1933 to 1937, and was taught by the founder of the school Ian MacNab. Reckitt travelled widely in Europe and was influenced by her journeys to France, Spain, Ireland and Portugal.

£1,000-2,000

334 § 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)

£800-1,200

168

Above: Lot 349

169

170

335 § PETER BROWN (BRITISH 1967-) CHADWICKHAM HOUSE, LONDON, 2008 signed and dated (lower right), oil on canvas 63cm x 74cm (25in x 29.25in) Provenance: Messum’s, London.

£3,000-5,000

336 § BERNARD DUNSTAN R.A. (BRITISH 1920-2017) SCHUBERT QUARTET I, CIRCA 1985 initialled (lower left), titled (to reverse), oil on board 27.5cm x 32cm (10.8in x 12.5in)

£1,000-1,500

337 § KEN HOWARD R.A. O.B.E. (BRITISH 1932-) DORA signed (lower left), oil on canvas 54.5cm x 44.5cm (21.5in x 17.5in)

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

171

338 § LEON ZACK (FRENCH / RUSSIAN 1892-1980) COMPOSITION, 1961 signed and dated (lower left), oil on canvas 80cm x 115cm (31.5in x 45in)

£2,500-3,500

339 § JOSEF ALBERS (AMERICAN/GERMAN 1888-1976) SECLUSION, 1942 17/30, signed, numbered, titled and dated in pencil, from the Graphic Tectonic series, lithograph 30cm x 31.5cm (11.8in x 12.4in)

£1,500-2,500

340 § DEREK CARRUTHERS (BRITISH 1935-) COMPOSITION, 1962 signed and dated (lower right), oil on board 75cm x 75cm (29.5in x 29.5in)

£1,000-1,500

172

173

341 § PETER HAYES (BRITISH 1946-) VASE, 2004 signed and dated, raku 20.2cm high, 10.5cm wide (8in high, 4.1in wide)

£200-300

342 § JOHN WARD (BRITISH 1938-) VESSEL impressed artist’s seal, matt green pitted glaze 31cm high, 22cm wide (12.2in high, 8.65in wide)

£2,000-3,000

343 § PAUL SCOTT (BRITISH 1953-) CUMBRIAN BLUES PLATE: WATCHTREE NO. 2, 2003 4/5, signed, numbered, titled and dated (to reverse) 42.5cm wide (16.75in wide)

£300-500

344 § VAL BARRY (BRITISH 1937-2018) THREE ‘EGG’ VESSELS each impressed artist’s mark, porcelain (3) 12.5cm high, 10.5cm high and 8.5cm high (4.9in high, 4.1in high and 3.3in high)

£300-500

345 § PETER HAYES (BRITISH 1946-) BOW WITH BLUE DISC, 2007 signed and dated, raku overall 66cm high, 38cm wide (26in high, 15in wide)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

174

346 §

347 §

JOHN MALTBY (BRITISH 1936-)

VESSEL

BOAT FAMILY

signed ‘MALTBY’

impressed artist’s seal, signed and titled

29.5cm high (11.6in high)

£500-800

27.5cm high (including base), 29.8cm wide (10.9in high, 11.75in wide)

£400-600

348 § JOHN MALTBY (BRITISH 1936-2020) BOWL signed ‘Maltby’ 17cm diameter (6.6in diameter)

£200-300

175

349 § JOHN MALTBY (BRITISH 1936-) FISHING FAMILY (ST. IVES), 2005 signed and dated (lower right), signed, dated and titled (to reverse), ceramic and board 25.5cm x 57cm (10in x 22.5in)

£2,000-3,000

350 § MO JUPP (BRITISH 1938-2018) STANDING FIGURE maker’s mark 37cm high (14.5in high)

£300-500

351 § JOHN MALTBY (BRITISH 1936-) TEAPOT signed ‘MALTBY’ 23cm high, 19cm wide (9in high, 7.5in wide)

£250-350

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

176

352 § MO JUPP (BRITISH 1938-2018) STANDING FIGURE maker’s mark 160cm high, 38cm wide, 45cm deep (63in high, 15in wide, 17.7in deep)

£4,000-6,000

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

177

353 §

354 §

MO JUPP (BRITISH 1938-2018)

EWEN HENDERSON (BRITISH 1934-2000)

‘THE SINNER’, 1993

BOWL FORM

incised artist’s mark, titled, dated and inscribed ‘Mood of Word Giving, Palm Springs’

mixed laminated clays

27.5cm long (10.8in long)

£500-800

30.5cm x 29.5cm (12in x 11.6in)

£500-700

355 §

356 §

EWEN HENDERSON (BRITISH 1934-2000)

DAVID ROBERTS (BRITISH 1947-)

TEA BOWL

‘WEEPING LANDSCAPE’ VASE, 2011

mixed laminated clays, volcanic glazes in brown, pale pink and cream

impressed artist’s seal, inscribed and dated, raku fired

9.5cm high, 11cm wide (3.75in high, 4.25in wide)

£600-900

Provenance: Given directly to the current owner from Ewen Henderson; Private Collection, London.

£300-500

43cm high (17in high)

178

357 § EDMUND DE WAAL (BRITISH 1964-) JAR AND COVER impressed artist’s seal. crackled celadon glaze 17cm high (6.7in high)

£1,500-2,500

179

358 YOSHIKAWA MASAMICHI (JAPANESE 1946-) BOWL FORM with blue-white seihakuji glaze 10.5cm high, 38cm wide (4.1in high, 15in wide)

£600-800

359 YOSHIKAWA MASAMICHI (JAPANESE 1946-) KAYHO ancient Chinese house-inspired sculpture, with blue-white seihakuji glaze 19cm high, 17cm wide, 42cm long (7,5in high, 6.7in wide, 16.5in long)

£700-1,000

360 § FELICITY AYLIEFF (BRITISH 1954-) VASE signed, inlaid marbled swirls 21.5cm high (8.5in high)

£400-600

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

180

361 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) VASE impressed artist’s seal, with turquoise and grey mottled glaze 15.2cm high, 9cm wide (6in high, 3.5in wide)

£2,000-3,000

181

362 § GORDON BALDWIN O.B.E. (BRITISH 1932-) BLACK AND SLANTING, 2016 initialled and dated (lower right), charcoal on paper 52cm x 64cm (20.5in x 25.25in)

£500-700

363 § GORDON BALDWIN O.B.E. (BRITISH 1932-) OPEN TO THE SKY II, 2008 initialled and dated, earthenware 54cm high, 45cm wide, 30cm deep (21.25in high, 27.75in wide, 11.75in deep)

£1,500-2,000

364 § GORDON BALDWIN O.B.E. (BRITISH 1932-) A CERTAIN SORT OF SILENCE, 2016 initialled and dated, charcoal on paper 64cm x 52cm (25.25in x 20.5in)

£500-700

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

182

365 §

366 §

PETER COLLINGWOOD O.B.E. (BRITISH 1922-2008)

RUG

wool and horse hair

wool, in blues, purple and black

229cm long, 123cm across (90.12in long, 48.3in across)

151cm x 93cm (59.5in x 36.6in)

£600-800

Provenance: Purchased directly from Peter Collingwood in 1961 at the Digswell Art Foundation where Collingwood had his studio, by the parents of the current vendor.

£600-800

367 POUL KJAERHOLM (DANISH 1929-1980) FOR E. KOLD CHRISTENSEN, DENMARK PAIR OF PK22 LOUNGE CHAIRS, CIRCA 1960 Steel, leather, each with stamped maker’s marks to frame 63cm wide, 71cm high, 70cm deep (24.8in wide, 28in high, 27.5in deep)

£1,000-1,500

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

183

368 Y ROBERT HERITAGE (BRITISH 1927-) FOR ARCHIE SHINE CONSOLE SIDE TABLE rosewood 79cm high, 122cm wide, 51cm deep (31in high, 48in wide, 20in deep) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 598127/01.

£300-500

369 Y ROBERT HERITAGE (BRITISH 1927-) PAIR OF ROOM DIVIDERS rosewood (2) 193cm high, 100cm wide, 52cm deep (76in high, 39in wide, 20.5in deep) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 598127/02.

£600-800

370 Y ROBERT HERITAGE (BRITISH 1927-) FOR ARCHIE SHINE ‘HAMILTON’ SIDEBOARD rosewood, with manufacturer’s label 88.5cm high, 229cm wide, 51cm deep (31in high, 90in wide, 20in deep) Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 598127/03.

£400-600

184

371 Y ROBERT HERITAGE (BRITISH 1927-) FOR ARCHIE SHINE ‘HAMILTON’ DINING TABLE AND SET OF TEN CHAIRS rosewood, the dining table with two extra leaves, and the chairs with blue upholstery, including two carver chairs (11) the dining table 242cm long, 88cm wide, 73cm high (95in long, 34.75in wide, 28.5in high) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 598127/04.

£700-900

185

372 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR MEMPHIS ‘ASHOKA’ LAMP, 1981 labelled ‘MEMPHIS / Made in Italy / Milano / Ettore Sottsass, 1981 / No. 17’, enamelled metal 89cm high, 77cm wide, 14cm deep (35in high, 30in wide, 5.5in deep)

£1,200-1,800

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

186

373 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO TWO ‘DORAN’ TABLE LAMPS, DESIGNED 1978 glass and enamelled metal (2) 22cm high and 21cm high (8.6in high and 8.25in high)

£800-1,200

374 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO ‘DON’ TABLE LAMP, DESIGNED 1977 enamelled metal 42cm high (16.5in high)

£500-700

375 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR RINNOVEL UMBRELLA STAND, CIRCA 1955 manufacturer’s stamp (to base), anodised and polished aluminium 48cm high (18.9in high)

£800-1,200

376 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR BITOSSI VASE, 1986 signed ‘Sottsass 1986’ and with Bitossi stamp, black and white matt glazed ceramic 23cm high, 25cm diameter (9in high, 9.9in diameter)

£400-600

187

377 § TREVOR BELL (BRITISH 1930-2017) STORM FRONT WITH A SIDE LIGHT, 1979 signed, titled and dated (to reverse), watercolour and gouache on paper 76cm x 56cm (29.75in x 22in)

£1,000-1,500

378 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) COMPOSITION, 1962 signed and dated (lower left), watercolour and gouache on paper 57cm x 38cm (22.4in x 15in)

£700-900

379 § BRUCE MCLEAN (BRITISH 1944-) BOWL, 1986 signed ‘Bruce McLean 1986’, glazed earthenware with sgraffito, Anthony D’Offay paper label 45.7cm diameter, 14cm high (18in diameter, 5.5in high)

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

188

380 § ROBERT ADAMS (BRITISH 1917-1984) BROWN WING, 1977 6/6, stamped ‘ADAMS’, numbered and dated, bronze 34.5cm high, 20.5cm wide, 8.2cm deep (13.6in high, 8.1in wide, 3.25in deep) Exhibited: Gimpel Fils, London, 1979, cat. no. 10; Gimpel Fils, London, 1988, cat. no. 15. Literature: Grieve, Alastair, The Sculpture of Robert Adams, Henry Moore Foundation / Lund Humphries, London, 1992, cat. no. 646, ill. p.237.

£6,000-8,000

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

189

381 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORTRAIT OF A LADY signed (lower left), oils on canvas 75cm x 60cm (29.5in x 23.75in) Provenance: Sotheby’s, Olympia, London, 12 September 2002; Private Collection, London.

£3,000-5,000

382 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE MASKED LADY signed in pencil (lower right), watercolour, gouache and pencil 48cm x 32cm (19in x 12.75in)

£2,000-3,000

383 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) GIRL WITH MACKEREL signed (upper right), oil on canvas 60.5cm x 50.5cm (23.75in x 19.75in)

£2,000-3,000

190

384 § SIR TERRY FROST R.A. (BRITISH 1915-2003) FLOATING SUN, 1987 signed and dated (to reverse), oil and collage on canvas 122cm x 151cm (48in x 59.5in

£10,000-15,000

191

385 §

386 §

DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FOR PORTHIA PRINTS

SIR TERRY FROST R.A. (BRITISH 1915-2003)

ABSTRACT, CIRCA 1955

signed (lower right), oil and collage on card

initialled in the print (upper right), screenprint on linen

60cm x 34.5cm (23.6in x 13.5in)

30cm x 42.5cm (11.75in x 16.75in)

Provenance: Belgrave Gallery, London; Wenlock Fine Art; Private Collection, Shropshire.

£1,000-1,500

UNTITLED

£2,000-4,000

387 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) MANDALA NO. 1, 2004, OPUS G.2538

388 §

signed and dated (lower right), gouache on paper

SIR TERRY FROST R.A. (BRITISH 1915-2003)

55cm x 48.5cm (21.6in x 19.1in) Provenance: Gimpel Fils, London.

£2,000-3,000

SPIRAL gouache on paper 36cm x 36cm (14.5in x 14.5in) Provenance: Badcocks Gallery, Newlyn, 2003.

£2,000-3,000

192

389 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) MAGIC LAMP, 1973 Signed, titled and dated (to reverse), oil on canvas 76cm x 101cm (30in x 39.75in) Provenance: Gimpel Fils, London.

£6,000-8,000

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

193

390 § BOB LAW (BRITISH 1934-2004) FREE STANDING TABLE SCULPTURE, WOODEN OBELISK

Bob Law (1934-2004) was considered a founding father of British Minimalism in painting and sculpture, concerning himself with the ideas of the significance and legitimacy of abstract art throughout his artistic lifetime. Born in Middlesex in 1934, Law moved to St. Ives in 1957 where he was taught pottery by Bernard and Janet Leach, whilst also coming under the influence of Ben Nicholson and Peter Lanyon, before moving away from Cornwall in 1960. Inspired by the landscape, he started producing works focussed on a simple outline around the perimeter of the paper, leading to a minimalist exploration of forms, lines and shapes. Law was further impelled in this direction by the seminal exhibition The New American Painting at Tate in 1959 that introduced Abstract Expressionism to the British public. Particularly notable for Law was his discovery of the abstract paintings of Barnett Newman and Mark Rothko.

titled in pencil, pencil on paper 16.5cm x 35.5cm (6.5in x 14in) Provenance: Karsten Schubert Ltd., London; Richard Salmon Gallery, London.

£1,500-2,000

He created 10 large black canvases for an exhibition at Modern Art Oxford in 1974, at the invitation of the then director Nicholas Serota, who went on to show Law again at London’s Whitechapel Gallery in 1978. This small collection of work reflects two points in Law’s career in the mid-1960s and 1980s. They exhibit his minimalist approach, hints of St Ives and his explorations into sculpture in the 1970s which expanded his oeuvre.

194

391 § BOB LAW (BRITISH 1934-2004) THE WHITE HORSE AT UFFINGTON CASTLE, WILTSHIRE, 1966 signed, titled and dated in pencil, pencil on paper 25.5cm x 35.5cm (10in x 14in) Provenance: Karsten Schubert Ltd., London, 1989; Richard Salmon Gallery, London.

£800-1,200

392 § BOB LAW (BRITISH 1934-2004) WOODEN BOX SCULPTURE WITH OBELISK: DRAWING FOR SCULPTURE, 1963 signed, dated and inscribed in pencil, pencil on paper 27cm x 17.5cm (10.6in x 6.9in) Provenance: Karsten Schubert Ltd., London, 1989; Richard Salmon Gallery, London.

£800-1,200

393 § BOB LAW (BRITISH 1934-2004) WOODEN BOX SCULPTURE WITH OBELISK, DRAWING FOR SCULPTURE, 1963 signed, dated and titled in pencil, pencil on paper 25,5cm x 35,5cm (10in x 14in) Provenance: Karsten Schubert Ltd., London, 1989; Richard Salmon Gallery, London.

£1,000-1,500

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

195

394 § BOB LAW (BRITISH 1934-2004) NEST OF OBELISKS, 1985 signed and dated (lower right), watercolour and pencil 31.5cm x 25.3cm (12.3in x 10in) Provenance: Karsten Schubert Ltd., London; Richard Salmon Gallery, London.

£2,000-3,000

395 § BOB LAW (BRITISH 1934-2004) PAST THE DEVIL TO THE SEA, 1987 signed and dated in pencil (upper left), and titled ‘Past The Devil To The Sea At Milford Haven From Gails Garden’, pencil on paper 28cm x 37.5cm (11in x 14.75in)

£800-1,200

196

396 § FREDERICK EDWARD MCWILLIAM C.B.E. R.A. (BRITISH 1909-1992) WOMAN OF BELFAST 21/90, signed and numbered in pencil (in the margin), screenprint 46cm x 58cm (18.1in x 22.75in)

£600-800

397 § COLIN SELF (BRITISH 1941-) PROFILE HEADS, 2009; STUDY ‘THE FLIGHT INTO EGYPT’, 2010; AND A YACHT BECALMED, 2011 each signed and dated in pencil, collages (3) 34cm x 30cm (13.3in x 11.75in), 23cm x 23cm (9in x 9in) and 18cm x 18.5cm (7.1in x 7.25in) respectively

£1,000-2,000

398 § RUFINO TAMAYO (MEXICAN 1899-1991) DEUX TETES (MUJERES SUITE), 1969 135/150, signed and numbered in pencil (in the margin), lithograph 70cm x 54cm (27.5in x 21in) Provenance: Associated American Artist, New York; Private Collection, UK.

£800-1,200

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

197

399 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CRASH HEAD, CONCEIVED 1970 stamped and numbered ‘E. PAOLOZZI.10.10’ (to front of base), bronze with gold patina and steel chain 39.5cm high (15.5in high) (including the base) Provenance: Private Collection, Canada; Christie’s, London, 23 October 1996, Lot 58; Bonham’s, London, 20 November 2013, Lot 90. Literature: Winfried Konnertz, Eduardo Paolozzi, DuMont, Cologne, 1984, p.183, cat. no.341 (another cast ill.b&w); Fiona Pearson, Paolozzi, National Galleries of Scotland, Edinburgh, 1999, p.51, cat.no.57 (another cast col.ill).

£10,000-15,000

By 1970, Eduardo Paolozzi was distancing himself from the ‘Pop Art’ label, feeling it conjured up images of ‘diving into a barrel of Coca-Cola bottles.’ He was engaging with darker subject matter in a way that he felt extended the tradition of Surrealism. Close friends with the science-fiction writer J.G. Ballard, both men had a particular fascination with car crashes, with Ballard specifying that he was interested in the modern day engagement with violence, which mainly took place in the mind, rather then in our physical responses. He felt the car crash was often the one act of violence that the modern day person would physically experience in their life, and even this dramatic impact is between two machines. Interestingly, a shining symbol of modern success and achievement, the car, becomes a destructive and dangerous force in our lives, dream turns nightmare.

Crash Head was produced for Paolozzi’s Tate retrospective in 1971. Eduardo was particularly interested in technology and man’s relationship with machines, often fusing human and machinery elements. In Crash Head, he uses the head of a safety test dummy as a model and then applies machine elements; a chunky chain affixed to the head and Frankenstein-esque bolts to the neck. His choice of the model used in car safety testing and demonstrations is a direct engagement with the idea of the violence a car can inflict and an explicit set-up of man versus machine. Yet the quality of the materials, attractive contrasting silver and bronze colours and sleek finish of the sculpture belie these darker undercurrents. The sculpture was produced in an edition of ten. There is one in the National Galleries of Scotland collection, bequeathed by Gabrielle Keiller in 1995, and another is held in the collection of the Stirling Smith Art Gallery & Museum, gifted by The Scottish Arts Council in 1988.

198

400 SARA MOORHOUSE (BRITISH 1974-) ‘RATNA’ BOWL initialled, stoneware 13cm high, 31.5cm diameter (5.1in high, 12.4in diameter)

£700-900

401 SARA MOORHOUSE (BRITISH 1974-) SET OF THREE ‘PULSE’ BOWLS initialled, porcelain (3) each 8.5cm high, 12.5cm, 13cm and 13,5cm diameter (3.3in high, 4.9in, 5.1in and 5.3in diameter)

£500-700

402 § MIEKE EVERAET (BELGIUM 1963-) BOWL signed, porcelain 16cm high, 24.7cm diameter (6.25in high, 9.75in diameter)

£300-500

403 ‡ GRAINNE WATTS (IRISH 1960-) INK SKY, 2021 vortex vessel form, stoneware clay and under glazes 20.5cm high, 22cm diameter (8in high, 8.6in diameter)

£1,500-2,000

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

199

404 § CLIVE BARKER (BRITISH 1940-) CUBIST STILL LIFE, 1995 numbered ‘2’, titled, inscribed and dated (to base), aluminium 34cm high, 30cm wide (13.3in high, 11.75in wide)

£1,000-2,000

405 § CLIVE BARKER (BRITISH 1940-) GNOME, 1990-95 AP 1/2, numbered, titled, inscribed and dated (to base), aluminium 48cm high (18.9in high)

£1,000-2,000

406 ASHRAF HANNA (EGYPTIAN 1967-) SLIM YELLOW VESSEL WITH DARK GREY INTERIOR AND TRIANGULAR BASE signed ‘ASH’ 38cm high, 16.5cm wide (14.9in high, 6.5in wide)

£1,000-1,500

407 ASHRAF HANNA (EGYPTIAN 1967-) UNDULATING GREY BOWL WITH YELLOW INTERIOR AND TRIANGULAR BASE. signed ‘ASH’ 26cm high, 29cm wide, 21cm deep (10.2in high, 11.4in wide, 8.25in deep)

£1,000-1,500

200

408 § TIM SHAW (BRITISH 1964-) LIFE FRIEZE edition of 8, cement 33cm x 19.5cm (13in x 7.5in) Provenance: Duncan Campbell Contemporary Art, London; Private Collection, UK.

£400-600

409 § DEBORAH VAN DER BEEK (BRITISH 1952-) ANTIOPE, AMAZON QUEEN, 2003-4 edition of 7, bronze, cast by Pangolin Gallery 25cm high, 25.5cm wide (9.8in high, 10in wide)

£400-600

410 § DEBORAH VAN DER BEEK (BRITISH 1952-) ROLLING HORSE, 2003-4 edition of 9, bronze, cast by Castle Fine Arts 20.7cm high, 38.5cm wide (8.1in high, 15.2in long)

£500-700

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

201

411 TAPPETI DOMUS, ITALIAN RUG ‘Spazio 2000 / Silt Tappeti Borgosesia’ label, wool 197cm x 286cm (77.5in x 112in)

£500-700

412 JOE COLOMBO (ITALIAN 1930-1971) FOR STILNOVO ‘TOPO’ FLOOR LAMP, C.1970 red enamelled metal and steel, stamped ‘Stilnovo / Italy’ (inside the shade) approximately 165cm with light angled (65in high)

£350-450

413 ERWINE AND ESTELLE LAVERNE (AMERICAN 1909-2002 AND 1915-1997) FOR FORMES NOUVELLES PAIR OF GREEN ‘CHAMPAGNE’ CHAIRS, DESIGNED 1957 clear acrylic moulded seat on aluminium pedestal foot, with pleather cushion seats, cast ‘Made in Italy / Champagne / Chair Laverne / Formes Nouvelles’ (2) 80.5cm high, 60.5cm wide (31.5in high, 23.8in wide)

£800-1,200

202

414 HUGO GRENVILLE (BRITISH 1958-) FREYA, RECLINING, MORNING LIGHT, 2015 initialled (lower left), oil on canvas 75cm x 151cm (29.5in x 59.5in)

£2,000-3,000

415 HUGO GRENVILLE (BRITISH 1958-) WINTER LIGHT: STILL LIFE WITH SILVER TEAPOT, 2017 initialled (lower right), oil on canvas 60cm x 120cm (23.75in x 47.5in)

£2,000-3,000

416 § PAUL MASON (BRITISH 1952-2006) VARIEGATION AND CAPILLARY, 1999 each signed, dated and titled (to the base), plaster, from the suite The Secret Work of Plants (2) 27cm high, 20cm high (10.6in high, 7.9in high)

£300-500

417 § PAUL MASON (BRITISH 1952-2006) OSMOSIS, PHOTOSYNTHESIS AND SEED, 1999 each signed, dated and titled (to the base), plaster, from the suite The Secret Work of Plants (3) each 15cm high (5.7in high)

£300-500

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

Born in Lancashire in 1952, British sculptor Paul Mason was most well-known for his work in stone and marble. Often inspired by natural carving and geology, his work attempted to emulate these forces in an artistically sculptural manner that remains true to their materials. Mason studied under several Royal Academicians such as John Paddison, before attending the Academy Schools himself. He then went on to receive many important public commissions, gaining early acclaim for his commissioned piece for Harlow New Town in Essex, commissioned by Sir Freddie Gibberd in 1977. Mason exhibited widely across the UK and Europe including the Tate Gallery in St Ives and the Bauhaus Kunst-Archiv in Berlin, and was the winner of the Royal Academy Gold Medal in 1976.

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Ifeanyi Oganwu studied architecture at the Illinois Institute of Technology, Chicago; the Architectural Association, London; and Columbia University, New York. Prior to founding Expand Design Ltd, he worked for the offices of John Ronan Architects, Chicago; Zaha Hadid Architects, London; and collaborated with the fashion design studio of Hussein Chalayan. He was shortlisted for the 2016 Hublot Design Prize.

418 IFEANYI OGANWU (NIGERIAN 1979-) PAIR OF PEDESTAL STOOLS, 2016 1/200 and 2/200, limited editions, each numbered, with Duniake fabric by Phoebe Boswell, moulded birch plywood (2) each 40cm high, 47.5cm wide (15.7in high, 18.7in wide)

£1,000-1,500

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

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419 § CHRISTIAN ASTUGUEVIEILLE (FRENCH 1946-) ‘AULNE’ OCCASIONAL TABLE stamped mark, from ‘Bois et Forêts’ Collection, wood block and chestnut twig support, 43cm high, 30cm wide, 30cm deep (16.9in high, 11.8in wide, 11.8in deep)

£800-1,200

420 § JANE BRUCE (BRITISH / AMERICAN 1947-) ‘SENTINEL’, 2003 etched to base ‘JANE BRUCE/ 5/03 / CANBERRA’, cased glass 81cm high (31.8in high) Exhibited: The Scottish Gallery, Northern Light, February 2006.

£1,000-1,500

421 § MARIANNE BUUS (DANISH 1967) TWO VASES, 1990s the taller vase signed, opaque black glass with white and lustre bands (2) 40cm high and 33cm high (15.7in high and 13in high)

£500-700

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

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422 MICHAEL YOUNG (BRITISH 1966-) FOR THE STUDY, LONDON PAIR OF ‘MAMA GEORGE’ LAMPS printed ‘Mama George designed by Michael Young for The Study London’ (to the base), woven steel shades and chrome bases (2) 54cm high (21.25in high)

£500-700

423 § SHIRO KURAMATA (JAPANESE 1934-1991) FOR SPIRAL TWO COAT HANGERS, DESIGNED 1989 anodized aluminium, ‘Spiral’ printed to the frame, in electric blue and pink (2) 45cm long (17.7in long) Literature: Shiro Kuramata, Hara Museum of Contemporary Art, 1996, pp.192-3, pl.10.

£300-500

424 § SUSIE FREEMAN (BRITISH 1956-) UNTITLED (TEXTILE GARMENT) short-sleeved, high collared top, woven on an industrial knitting machine with iridescent fragments interwoven into the gauze 73cm x 53cm (28.75in x 21in) Susie Freeman is a well-regarded textile artist who has work in many significant public collections including The Victoria & Albert Museum and The British Museum. This piece was a commissioned gift to the present owner.

£500-800

425 § MEEKYOUNG SHIN (SOUTH KOREAN 1967-) GHOST SERIES (CLEAR) #32 AND GHOST SERIES (BLUE) #13, 2010 soap (2) 30.5cm x 16.5cm x 16.5cm (12in x 6.5in x 6.5in) and 21cm x 9cm x 9cm (8.25in x 3.5in x 3.5in) Exhibited: Haunch of Venison, London, Meekyoung Shin, 2011. Initially trained in South Korea in the classical tradition of European sculpture, Meekyoung Shin subsequently moved to London and was drawn to the processes of ‘translation’ undertaken by objects representing a particular culture which have been subject to a shift in location. These works were exhibited at the important exhibition of her work in 2011 at Haunch of Venison which included a number of significant installations from Shin’s ‘Translation’ project, in which virtuoso facsimiles of Chinese porcelain and Western classical sculpture were reinterpreted in soap. They appear quintessentially Chinese, but in fact the work they reference was solely created for a European and later an American market, and had little to do with Chinese life.

£1,000-1,500

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The work of Abel Seguin respects the physicality of exposed and gnarled roots, fallen timbers, and petrified and fossilised boles. Each of his coffee tables, seating and sculptures reflects the ravages of time and climate that form his raw materials and are filtered and contained by his sensitive interventions.

Geo-consciousness is a characteristic at the core of his concept and vision. Contributing in his own way to the preservation craft traditions, the effects of nature on wood and metal combine in works of ‘a terrible beauty’. His tables, screens, and abstract sculpture resound with the strength inherent in the reclaimed, ancient wood sensitively worked with local tools and resulting in unique constructions of exceptional presence.

426 § JÉRÔME ABEL SEGUIN (FRENCH 1950-) PAIR OF COFFEE TABLES, 2018 each signed ‘JAS’, petrified wood with salvaged cast iron frame and legs (2) 36cm high, 104cm wide, 54cm deep (14.1in high, 41in wide, 21.2in deep)

£3,000-5,000

Zhang Zhoujie is best known for his fantastical works derived from the digital world that bring to mind galactic exploration. He obtained a degree in Industrial Design at the China Academy of Art, before receiving a Masters degree in Industrial Design at Central Saint Martins in London. On returning to China, Zhoujie focused on exploring new design methods applying innovative digital technology to produce steel designs painstakingly cut, welded and polished by hand, resulting in finished works reminiscent of the geodesic domes of architect R. Buckminster Fuller. His work has been exhibited extensively around the world, including noted museums, as well as appearing in mainstream media such as Wallpaper, Vogue and the New York Times.

427 ZHANG ZHOUJIE (CHINESE 1985-) ‘SQN5-T’ COFFEE TABLE, 2012 unique piece, from the ‘Digital Objects / Triangulation’ series, hammered ‘ZHANG ZHOUJIE / EXC. 15 04 2012’, stainless steel 36cm high, 132cm wide, 79cm deep (14.1in high, 52in wide, 31.1in deep)

£4,000-6,000

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428 ANDREA BRANZI (ITALIAN 1938-) FOR CASSINA ‘BERIONE’ BOOKCASE, DESIGNED 1988 glass, steel and marble 190cm high, 300cm wide (75in high, 118in wide)

£2,000-3,000

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

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429 § MICHAEL GEERSTEN (DANISH 1966-) WHITE WALL OBJECT WITH DECALS, 2005 initialled and dated, earthenware with white glaze, and transfer printed design in red and blue 17cm high, 36.5cm wide (6.7in high, 14.4in wide)

£1,000-1,500

430 § GRAYSON PERRY (BRITISH 1960-) ‘100% ART’ PLATE, 2020 porcelain, developed for the Holburne Museum, in collaboration with Kit Grover, to celebrate the exhibition ‘The Pre-Therapy Years’ 21.7cm diameter (8.6in diameter)

£250-350

431 § JULIAN OPIE (BRITISH 1958-) WOMAN TAKING OFF MAN’S SHIRT (CRISTEA P.244), 2003 Screenprint, from an unknown edition size, published by K21 Kunstammlung Nordrhein-Westfalen 100cm x 60cm (39.25in x 23.5in), unframed

£400-600

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

SHELL ART & ADVERTISING SCOTT ANTHONY, OLIVER GREEN AND MARGARET TIMMERS WITH CONTRIBUTIONS BY NICKY BALFOUR PENNEY

180. SHELL, Shell Sound Guides: A Day on Dartmoor, 1972, Shell Sound Guide map, Shell Heritage Art Collection

181. SHELL, Shell Sound Guides: Somerset, 8-track stereo, 1975, Shell Sound Guide, 13.5 × 10 (5¼ × 4 in), Shell Heritage Art Collection

While Betjeman’s commentary is amused, it is also politely reminding viewers that they need to drive slowly and that a true appreciation of Britain means getting out of their cars and walking. There was a class basis to Betjeman’s advice: the idea that real encounters with the countryside demand time and that rushing was uncultured was part of a wider belief that Catherine Brace has dubbed ‘the moral geography of speed’, an idea that elided expectations about the proper behaviour of motorists with the practice of good citizenship.41 At a less elevated level, Betjeman’s advice simply recognises that the explosion of motor-car ownership since the inter-war period consequently increased levels of congestion. You might as well embrace the reality of longer journeys.

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the act of driving from an understanding of the immediate terrain: listening offered an escape from a monotonous tunnel-like landscape. Here the Shell Sound Guides worked to help drivers maintain an emotional alertness. Writers and historians have developed many ideas to explain the enduring popularity of Betjeman’s and Piper’s Shell Guides. The guides are often made to sit alongside Penguin books, Ealing cinema, and the music of Edward Elgar as repositories of a certain kind of mid-century Englishness, if not Britishness. (Scotland is represented relatively poorly by the guides.) Their development is also seen to correlate with post-war

SHELL: THE WORK OF ART

impressive variety and quality that took the Shell image all over Britain. Shell certainly contributed to the pastoral ruralism that seemed to engulf British art in the 1930s, but its own artistic commissions were suddenly taking on a much broader and more interesting range of styles that would see its posters acclaimed as some of the best commercial advertising in the country.33 This change can be attributed almost entirely to the appointment of a new advertising manager at Shell in 1929 who was determined to do things differently: Jack Beddington.

62. JEAN D’YLEN, Britannia holding world, 1924, Lithograph poster, 76 × 114 cm (30 × 45 in), Shell Heritage Art Collection

IT STARTED WITH A SEASHELL: SHELL ORIGINS

to make sympathetic records in watercolour of vulnerable British buildings, landscapes and livelihoods at a time of impending change. Meanwhile the talents of graphic designers such as Austin Cooper, Tom Eckersley, Hans Schleger and Abram Games were pressed into the service of crucial wartime propaganda. In fact, Beddington’s support for Games, whom he had commissioned before the war, was instrumental in his becoming official War Poster Artist in 1942, in which position he created over one hundred striking posters encouraging the civilian

127. BARNETT FREEDMAN, Pool Today, Shell Tomorrow, 1952, Lithograph poster, 76 × 101.6 cm (30 × 40 in), Shell Heritage Art Collection

SHELL ART AND ADVERTISING

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63. WILLIAM DACRES ADAMS, Imperial Airways Use Shell, 1929, Lithograph poster, 76 × 114 (30 × 45 in), Shell Heritage Art Collection

128. ABRAM GAMES, Shell Lubricating Oil, 1939, Lithograph poster, 76 × 114 cm (30 × 45 in), Shell Heritage Art Collection

SHELL ART AND ADVERTISING

64. VERNEY L. DANVERS, Greyhounds, 1926, Lithograph poster, 76 × 114 cm (30 × 45 in), Shell Heritage Art Collection

by Scott Anthony, Oliver Green, Margaret Timmers and with contributions by Nicky Balfour Penney and a Foreword by David Gentleman

drivers’.42 Both of these functions were served by the Shell Sound Guides, a sporadic spoken-word guide of where to go, when to park, and what you were seeing. These were functions that were supposed to calm and quieten passengers. Alternatively, the audio guides overlaid what people saw out of the car window with narration provided by the actor Richard Bebb and the BBC radio announcer Ronald Fletcher. The Shell Sound Guide to A Day on Dartmoor, for instance, featured snippets like ‘sporting news’, ‘mechanical music’, and short scores with titles such as Alla Mozart, Sweet Elegance and Fields of Green. This music was apparently produced in the style of a silent film score. The development of motorways further entrenched the importance of listening in cars as the construction of these flat, wide roads decoupled

SHELL ART AND ADVERTISING

large number were invited to become official war artists by the War Artists Advisory Committee under the guidance of Kenneth Clark – including Ardizzone, Armstrong, Bawden, Freedman, Grant, Nash, Ravilious, Rosoman, Sutherland and Weight. An equally impressive number were among the great roll call of artists commissioned to make works for the Recording Britain series. This unique documentary project, initiated by Sir Kenneth Clark at the start of the Second World War and funded by the Pilgrim Trust, invited artists working on the Home Front

Shell Art & Advertising

179. CLEMENT COWLER, Stop Knocking, 1933, Lithograph poster, 76 × 114 cm (30 × 45 in), BP Archive

SHELL ART AND ADVERTISING

innovative work for the London Underground and the main line railway companies, such as Tom Purvis,32 Charles Paine and Verney L. Danvers. Aviation exploration records set by both individual pilots and the growing commercial routes of Imperial Airways, established as the British national carrier in 1924, were increasingly publicised, while in 1929 even a more conventional poster artist like William Dacres Adams produced a dramatic view of Croydon Airport that gave the impressive technology of the latest Imperial airliners a style they had never had before. By the late 1920s the lorry bills were starting to provide

The launch of the audio Shell Sound Guides on 8-track magnetic tape and then audio cassette reflected further changes in the British experience of motoring. During the earliest days of motoring drivers were encouraged to listen to their cars to detect issues like ‘knocking’, the noises made by a misfiring car engine. However, as reliability improved and with the advent of the closed-bodied car and the in-car radio, ideas about what motorists should listen to and how evolved. Initially it was feared that listening to music would be distracting, and motorists were encouraged to listen to music only when they had safely parked. However, over time listening came to be understood as a useful mental prosthetic because it both prevented drivers from day dreaming and helped passengers to relax – thereby reducing the irritations caused by ‘backseat

population to become part of the war effort. As Scott Anthony reveals in Chapter 3, the art and advertising of Shell-Mex and BP evolved during the post-war period in ways that responded to environmental, economic and cultural change. Among the driving forces were evolving attitudes to nature and the land, as modern farming practices built on the rationalisation of agriculture during the war years. Shell’s pre-war projection of the countryside as a heritage amenity attainable thanks to Shell’s motoring products would develop into publicity promoting its

oil as an essential component of rural modernisation. The company also adopted an increasingly marketorientated approach to publicity and public relations. In terms of advertising practice, the Creative Revolution pioneered in the USA during the late 1950s brought about a change, with copywriters and art directors now formed into teams of creative equals to come up with original concepts expressed in a fresh and striking visual language. This was usually characterised by arresting photographic imagery accompanied by short, witty copy.

POSTERS, PATRONAGE AND PRESTIGE 1928–1945

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65. C. PAINE, Fish, 1928, Lithograph poster, 76 × 114 (30 × 45 in), Shell Heritage Art Collection

IT STARTED WITH A SEASHELL: SHELL ORIGINS

Preorder your copy from www.lundhumphries.com with a special discount of 20% off using code Shell20. Valid until 30th June.

Exploring Shell’s remarkable advertising archive, which includes an extensive poster collection, as well as film, cartoon graphics and guidebooks, this book is the first to present a comprehensive overview of the company’s artistic heritage. The key contributions made by some major artists and designers including Paul Nash, Graham Sutherland, Ben Nicholson and Edward McKnight Kauffer are highlighted and beautifully reproduced from original archive material, and broader questions are explored, such as Shell’s position within contemporary debates regarding the aesthetics of ‘Commercial Art’. Published September 2021 • £40.00, Hardback • 208 Pages • 270 × 249 mm • 120 colour and 50 b&w illustrations • ISBN: 9781848223783

Publishers on Art, Architecture and Design since 1939

AUCTION 21 & 22 APRIL EDINBURGH

For further information please contact our head of sale: JOHN MACKIE | 0131 557 8844 john.mackie@lyonandturnbull.com

AUCTION 29 APRIL MALL GALLERIES LONDON

For further information please contact our head of sale: JOY MCCALL | 0207 930 9115 joy.mccall@lyonandturnbull.com

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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

21.2

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 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.

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213 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.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS 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. 2. RESERVES 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. 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 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. 8. RELEVANT LEGISLATION 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.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE 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. 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. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium 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 UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered

under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please also note that all customs formalities of the destination country are the responsibility of the buyer. 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. SELLER’S WARRANTIES 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

214 may be added to this agreement by law, are excluded. 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 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. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 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 (a) 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. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider. 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

215 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 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.

21.2

216

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. There will be no on-site payment facilities and no cash accepted as all our venues are closed to the public.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

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. ON THE INTERNET

BIDDING

- ABSENTEE BIDDING

Due to governmental restrictions, in-room bidding will not be permitted at this auction.

Leave a bid online through our website, call us on 0207 930 9115 or email info@lyonandturnbull.com

Registered bidders will be assigned a non-transferable bidder number. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given during your registration.

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

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. ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH

No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS

Please refer to page 4 of this catalogue.

Inside Back Cover: Lot 427 [detail]

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