The Wilhelmina Barns-Graham Collection | Auction 28 October 2021 by Lyon & Turnbull

28TH OCTOBER 2021 LONDON

THURSDAY 28 OCTOBER 2021 AT 6PM

Front cover: Wilhelmina Barns-Graham at Porthmeor Studios, St Ives Inside front cover: Lot 11 Left: Wilhelmina Barns-Graham at Barnaloft, St Ives, 1966. Photo © Ander Gunn

Sale Number LT664

Mall Galleries The Mall LONDON SW1

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Post sale, clients will be able to collect from The Mall Galleries on Friday 30th October: (Wilhelmina Barns-Graham Collection only) from 10am–5pm. Saturday 31st October: (Wilhelmina Barns-Graham Collection & Modern Made) from 10am-4pm.

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MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Philip Smith Joint Head of Sale philip.smith@lyonandturnbull.com

Charlotte Riordan Joint Head of Sale charlotte.riordan@lyonandturnbull.com

Carly Shearer Paintings & Prints carly.shearer@lyonandturnbull.com

Nick Curnow Paintings & Prints nick.curnow@lyonandturnbull.com

Alice Strang Paintings & Prints alice.strang@lyonandturnbull.com

Matthew Yeats Sale Administrator matthew.yeats@lyonandturnbull.com

Lot 43 [detail]

In 1987 Scottish and St Ives-based artist Wilhelmina

Over 50 of Barns-Graham’s much admired screenprints have

Barns-Graham, CBE (1912-2004), legally established her

also been given to public galleries, educational institutions

Trust, though it only became fully active in the wake of her

and especially healthcare providers, where their bold designs

death at 91 in 2004. Through exhibitions, publications,

and bright colours have been particularly welcomed.

online resources and an active gifting programme to public museums and galleries, it aims broaden the understanding and reputation of her work and to promote it to as wide an audience as possible. The Trust’s responsible custodianship of works of art by Barns-Graham, alongside her library, archive and photographic records allows unique access to the life and work of one of Britain’s most significant 20th-century artists. In accordance with Barns-Graham’s wishes, the Trust actively supports individuals to fulfil their potential in the visual arts by providing financial support in education, through a portfolio of bursaries at art colleges and universities across the UK, funding artists’ residencies via

Since moving to new premises in Edinburgh in 2017, the Trust has begun new programmes of conservation and photography of the Barns-Graham art collection, with the linked aims of protecting its long-term future, making more works available for loans and exhibitions and ensuring as much of the collection as possible is accessible online. Cataloguing and digitisation of the historic photographic collection, which records both Barns-Graham’s life and individual works from the 1930s until her death in 2004, is revealing new information and a greater understanding of her practice and achievements over a long career.

partnerships in both Cornwall and Scotland and sponsoring

The Trust has ambitions to continue and extend its financial

specific projects relevant to the Trust’s aims.

support for artists, which was so central to Barns-Graham’s

Since 2006, the Wilhelmina Barns-Graham Trust has given funds totalling £400,000 to individuals and institutions. Funding for summer schools in Fife and St Ives and a £25,000 contribution to Tate St Ives’ re-opening education programme has been aimed at the younger generation, while

wishes. Care of and increasing accessibility to both the art and archive collections through publications, exhibitions and web-based resources is of critical importance, as is increasing physical access to the collections at the Trust’s Edinburgh base.

bursaries in higher education support travel abroad and

In order to help achieve these ambitions, the Trust has

provide financial assistance to enable fine art students to

decided to sell works from Barns-Graham’s private collection

complete their studies successfully. Working closely with the

of paintings, drawings, prints, sculptures, ceramics and

Royal Scottish Academy in Edinburgh and Porthmeor Studios

jewellery by artists other than herself. Many of the pieces

in St Ives, the Trust supports residencies for more established

are by artist friends closely associated with St Ives, where

artists, encouraging career development and new ways of

between 1940 and 2004 Barns-Graham spent much of her

thinking and working.

working life. Discussed further in Lynne Green’s excellent

Over the last 14 years, the Trust has donated Barns-Graham artworks valued at over £0.75 million to a wide range of public institutions. This includes major gifts of original works to Tate, National Galleries of Scotland, Pallant House Gallery, Hepworth Wakefield, Leeds Art Gallery, Pier Arts Centre, Aberdeen Art Gallery and Abbot Hall, Kendal.

catalogue essay, this group of works well represents the network of relationships that existed within the artistic community working within a very small and distinct geographical area in the immediate post-war period. Rob Airey | Director | Wilhelmina Barns-Graham Trust

Right: A Meeting of the Crypt Group 1947. Left to right: Peter Lanyon, Bryan Wynter (hidden), Sven Berlin, Wilhelmina Barns-Graham, John Wells and Guido Morris.

WILHELMINA BARNS-GRAHAM BY LYNNE GREEN The painter Wilhelmina Barns-Graham (1912-2004) worked

In the 1960s Barns-Graham inherited Balmungo, a small

for most of her long life at the heart of the modernist

estate outside St Andrews in Fife. Despite it being some

movement in St Ives. Yet the formative importance of

700 miles from St Ives, she chose to split her time between

her Scottish roots, and the rigorous formal training (rare

the two. This arrangement allowed her to re-establish links

among her artist colleagues) taught by members of staff at

with her native Scotland and its cultural life (though she had

Edinburgh College of Art, made her the artist she became.

never stopped exhibiting there). In the years that followed,

Barns-Graham (known to all as ‘Willie’) was a consummate

she moved between two studios, current work travelling

draftswoman and an intensely subtle and inventive colourist.

with her. The tranquillity of Balmungo in its woodland

Engaged as she was by, at times extreme, abstract responses

setting provided respite from the intensity of the St Ives

to the world and her experience in it, she was recognised

artistic community (by then internationally famous), as well

as one of the few artists of her generation to embrace

as alternative sources of inspiration. In this place of refuge

constructivist abstraction. In a process of intensification

Barns-Graham formed a loyal and close-knit group of friends.

and distillation, abstract compositions became meditations

Most significantly, by the early 1970s she was no-longer

on the geometries, textures and colours of the observed

managing her life and career alone. The two having met in St

world. No less powerful are the sequences in which she

Ives, Rowan James (subsequently based in Balmungo), was to

turned her attention to the human condition and the

become Willie’s secretary, manager and companion. As Willie

capacity of her visual language (of repeated forms and subtle

grew older and bouts of illness increased, this relationship

changes of hue), to express fundamental emotions. She

became crucial in her ability to continue to work. In these last

continued, however, throughout her career, to refresh her

years, Barns-Graham talked of her sense of ‘letting go’ as an

eye in drawing and painting from life. Representation and

artist, of a new freedom prompted in part, by there being no

abstraction were, for her, different points of reference in a

one left to please, no constraints of expectation or criticism

continuum.

within which to work. Almost all her contemporaries, the

In 1940 Barns-Graham left Edinburgh for St Ives, in the wake of a small group of Modernist artists escaping from London and imminent war. The art of this band of friends was already known to her, having seen their work in exhibition and been encouraged in her choice of St Ives by her College Principal Hubert Wellington who was acquainted with them. Wellington believed Barns-Graham would find in Cornwall and specifically in the company of the Modernists, a warm welcome and a conducive environment in which to blossom as an artist – and he was right. Upon arrival, she quickly met and was drawn into the circle of Ben Nicholson, Barbara Hepworth, Naum Gabo, and later Bernard Leach, as well as local figures such as Alfred Wallis. While this formidable group of painters, sculptors and potters certainly had a profound effect on the 27-year-old Scot, she did not arrive entirely unprepared. Her origins, training, and new life in Cornwall, combined to provide the inspiration and structure for her own career.

friends and artists with whom she had lived in such close proximity for so long, were gone. With a growing urgency and a new-found energy and economy of mark-making, BarnsGraham created a sequence of pared back, breathtakingly beautiful works on canvas. It was in these years too, that the most influential and inspirational creative partnership of Barns-Graham’s career was established. Her collaboration, with Carol Robertson and Robert Adam of Graal Press, (based near Edinburgh) began in 1998, the year of their founding, and continued until her death. Their pioneering use of water-based inks brought the silkscreen process closer to Barns-Graham’s studio practice, resulting in some of the most ravishingly beautiful images of her career. When she died aged 91, she was at work on a new sequence of prints.

THE WILHELMINA BARNS-GRAHAM COLLECTION Given her long-established position at the heart of

Just behind her, incongruous but holding its own, hangs Allan

succeeding generations of St Ives artists, Barns-Graham’s

Ramsay’s portrait of his wife Anne Bayne, of c.1739, (now in

collection is relatively modest and select, acquired largely

the Scottish National Portrait Gallery).

from within her own circle. She seldom acquired beyond that, only occasionally purchasing from young artists whom she wished to support. That personal motivation continues today in the work of the Wilhelmina Barns-Graham Trust, that she herself established in 1987. Its work embodies her belief in the crucial importance of support for art students and recent graduates: something she herself benefitted from. It was a Travel Scholarship (restricted by the outbreak of war) that enabled her to settle in St Ives.

The Wilhelmina Barns-Graham Collection presented here, was assembled almost entirely through professional and personal relationships. Willie purchased works (and indeed sold works on) or was gifted them, sometimes by the artist in question, whilst others she received as gifts from third parties. Although there is little clear evidence, from our conversations I believe, as with so many other artists, she also acquired and gave works through direct exchange. In some rare but identifiable cases the acquisition sparked

The motivation behind the acquisition of Barns-Graham’s

an idea that Barns-Graham made her own. It may well be

collection is then, comparatively specific and personal,

that this openness to influence was reciprocal. She left in

perhaps even domestic. This despite it including many of the

some cases a written reference to her seeing these works

senior artists crucial to the history of pre and post-Second

as forming ‘a collection’ and notes too of specific purchases

World War British art, contributing as they did, to its stature

and gifts. There is at least one record of a purchase, the oil by

and international prestige. By ‘domestic’ I mean no criticism,

Agnes Drey, (a neighbour in the Porthmeor Studios during

rather that this collection seems to me to be almost entirely

the 1950s) being added to Barns-Graham’s ‘Point of View

assembled through affection and admiration. That is, through

Collection’. But otherwise her acquisitions have little to

relationship and connection. In no small way, it therefore

indicate in what circumstances, or when she acquired them.

provides insight into the significant figures, influencers and

Arguably the interest to an art historian like myself is what

close friends of Wilhelmina Barns-Graham’s life.

the collection reveals of her relationships to the artists and

I have known artists who live only with their own work, and

makers represented.

also those who prefer to surround themselves with the art

Every work of art in Willie’s collection is individual and

of others. Barns-Graham struck more of a balance, there

personal, because they map her friendships, and reveal the

was always a selection of her work alongside items from

people that meant most to her as a woman and as an artist

this collection in her St Ives studio-home. Directly on the

of the first rank. Collectively they throw light on Barns-

beach, simple and modern, Barnaloft Piazza Studios were

Graham herself and on those fellow artists she knew well and

custom-built apartments, completed in 1963. Willie chose

admired. In their different ways, almost all those represented

No.1, a three-storey end of row property, with two working

in her collection, played a significant (sometimes profound)

studios (for drawing and painting respectively) not far

role in Barns-Graham’s story. What follows is a small number

from her first St Ives studio, at 1 Porthmeor Studios. Both

of ‘stories’, indicating what can be drawn from individual

Barbara Hepworth and Bernard Leach bought studios in the

works Willie acquired. Some of the artists and their works

complex and thus became close neighbours. Barns-Graham

were crucial to Willie’s life or career and the time has come to

herself occupied Barnaloft for the rest of her life. While it

tell these stories.

offered a contemporary setting for her own work and that of others, her Scottish home-studio, Balmungo, had a strong personality and character of its own. It being an inherited family house, the works displayed there were more diverse. Willie’s own work predominated, but some family heirlooms did provide a strong visual note. A striking photograph in the Barns-Graham Trust archive, shows the artist sitting in the original imposing dining room, surrounded by her own work.

Lynne Green, author of W. Barns-Graham: a studio life, Lund Humphries, London, 2011, and Trustee of the Wilhelmina Barns-Graham Trust. Right: Wilhelmina Barns-Graham sits in the dining room of Balmungo, 1982. To her left hangs Allan Ramsay’s portrait of his wife Anne Bayne. Photo © Antonia Reeve

1§ PATRICK HAYMAN (BRITISH 1915-1988) FAMILY SEASIDE, 1982 signed (lower left), titled, dated and inscribed ‘Purchased 1984 from artist by W BarnsGraham’ (to reverse), oil on board 25.5cm x 30.5cm (10in x 12in) Provenance: Purchased directly from the artist by Wilhelmina Barns-Graham in 1984.

£2,000-3,000

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

2§ MARY JEWELS (BRITISH 1886-1997) THE GATHERING STORM signed (lower right), titled (to reverse), oil on canvas 40.5cm x 51cm (16in x 20in), unframed

£500-700

3§ DAVY BROWN (BRITISH 1950-) TWO ROCKS, 1992 signed and dated (lower right), oil on board 22.25cm x 15cm (8.75in x 6in) Provenance: A gift from the artist to BarnsGraham on 3 July 1992.

£500-700

4§ AGNES DREY (BRITISH 1890-1957) WOMAN WITH SHOPPING BASKET signed (lower right), oil on canvas 75cm x 49.5cm (29.5in x 19.5in) Provenance: Wilhelmina Barns-Graham noted in her diary: “15 Sept 1988 WBG bid at auction in Lanes, Penzance for Agnes Drey painting Woman with a Shopping basket £557-50 30x20 inches; Added to her ‘Point of View’ Collection” Note: Agnes Drey worked in Studio 2 (next door to WBG) at Porthmeor Studios in the 1950s.

£500-700

5 DAVID LEWIS (SOUTH AFRICAN 1922-2020) TWO BIRDS, RAINCLOUD AND MOON, 1990 initialled and dated (lower left), inscribed (to reverse), gouache on paper 23.5cm x 14.5cm (9.25in x 5.7in) Provenance: Probably given by the artist to BarnsGraham in 1991. Note: Wilhelmina Barns-Graham married David Lewis in 1949, with Peter Lanyon acting as Best Man; the marriage was annulled in 1963.

£300-500

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

6§ ROSE HILTON (BRITISH 1931-2019) YOUNG BOY, 1972 signed ‘Phipps’ (artist’s maiden name), titled and dated (to reverse), oil on wooden cabinet door panel with keyhole lock 25.5cm x 17cm (10in x 6.75in) Provenance: In Barns-Graham’s notes about her collection she states she purchased a wood panel of a boy by Rose Hilton.

£500-700

7 DAVID LEWIS (SOUTH AFRICAN 1922-2020) MOLES, 1990 initialled and dated in pencil (upper right), inscribed (to reverse), gouache on paper 8.5cm x 14.5cm (3.25in x 5.75in) Provenance: Given by the artist to Barns-Graham in 1991. Note: Dedicated and dated ‘for Willie with / love Sept 91’ (on the backboard), and signed, inscribed and dated again ‘Moles, in their winter nests below the / frozen earth, dream of tropical / islands where antelopes leap under the/ rising moon/ David Lewis/ April 1990’ (on the backboard)

£300-500

Above: Wilhelmina Barns-Graham with George Downing at Downing Bookshop, 1947.

Above: The Sloop Inn, 1947, with Mrs Rodger in the foreground to the left, and Barns-Graham in the centre.

8§ WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) PORTRAIT OF MRS. ROGERS - SLOOP INN, CIRCA 1945 oil on canvas 76cm x 63cm (29.75in x 24.75in) Note: Extract below from Barns-Graham’s notebook c.1940-1947

£6,000-8,000

WBG/1/4/1/2 . pg 89-90 OCT. 30th [1940] Wrote to Mr [Hubert] Wellington today. I have begun two portraits since writing in this. Margarita Medina. + Mrs Rogers. BOTH 25 x 30. […] MRS ROGERS of “The Sloop”. I am painting in the Sloop [Inn]. This is a job. The light is poor + time limited. 2.45-4 pm. I hope to keep this a decorative composition. In a different colour scheme to my recent paintings - using … Yellow, Alizarine [sp], Crimson, Viridian Green

She is a handsome clear-cut woman with most distinctive hair dressing + a charming attractive personality. Tall + angular. With a sensous [sp] mouth yet almost hard face. Something of the Duchess of Windsor style. So she has often been told + I can see it. Mrs Rogers gives me tea after upstairs in a tiny well furnished room overlooking the harbour. A wonderful orange russet thick carpet + when the light is on it – oh!

ALFRED WALLIS

Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh

The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away.

College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette. Essay by Lynne Green

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

9 ALFRED WALLIS (BRITISH 1855-1942) ST. IVES BAY pencil and oil on board 7.5cm x 30.1cm (3in x 11.9in) Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis. Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56; 1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26; 1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July; 1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16; 1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6. Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56 The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16.

£15,000-25,000

10 § ALFRED WALLIS (BRITISH 1855-1942) HOUSES IN ST. IVES oil, pencil and chalk on cardboard 18.5cm x 26.5cm (7.25in x 10.5in)

Exhibited: 1950: Possibly shown with title ‘Houses’, Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;

Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson.

1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;

£30,000-50,000

1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;

1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;

Literature: Possibly published with title ‘Houses,’ Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;

1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25; 1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3. 2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.

1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;

The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII; Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25; Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3.

11 § ALFRED WALLIS (BRITISH 1855-1942) PLYMOUTH signed in pencil (upper left), oil and chalk on card 26.5cm x 35.5cm (10.5in x 14in) Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’. Literature: Published with title ‘Portsmouth and the Victory’ Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17. The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39.

£20,000-30,000

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

12 LEACH POTTERY COLLECTION OF TABLEWARE each impressed with pottery seal, comprising tall jug, three smaller jugs, pouring bowl, two open bowls, small vase, egg cup, plate and four small dishes (14) the tall jug 21cm high (8.25in high)

£300-500

13 § BERNARD LEACH (BRITISH 1887-1979) (ATTRIBUTED TO) AT LEACH POTTERY TEAPOT, 1920S impressed pottery seal, stoneware with mottled green/gray glaze 11.5cm high, 21.5cm wide (4.5in high, 8.5in wide) Provenance: Label to base inscribed ‘Attributed to Bernard Leach - given as such. Early one by Phyllis Bottome 1948 - Verified by Janet Leach 1988’

£200-300

14 § BERNARD LEACH (BRITISH 18871979) (ATTRIBUTED TO) AT LEACH POTTERY TEAPOT impressed pottery seal, porcelain with celadon glaze 13cm high, 24cm wide (5.1in high, 9.5in wide) Provenance: Label to base states ‘Attributed to Bernard Leach / Porcelain / Verified by Janet Leach 1988’.

£100-200

15 § BERNARD LEACH (BRITISH 1887-1979) YAYEMA ISLANDS, SOUTH OF THE RYNKYNS, 1964 initialled in pen (lower left), titled and dated (lower right), pen and ink on paper 18.25cm x 26.75cm (7in x 10.5in); mount 33.5cm x 41.25cm (13.25in x 16in) Provenance: Gifted by Trudi Scott to Wilhelmina Barns-Graham in 1987. Trudi Scott had been Leach’s housekeeper / personal secretary later in life and the work is inscribed to the reverse “Given to me by Trudi Scott 9/8/87”.

£600-800

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

16 LEACH POTTERY THREE VASES, A TEA BOWL AND A JUG each impressed with pottery seal (5) the largest vase 13cm high (5.1in high)

£200-300

17 § BERNARD LEACH (BRITISH 1887-1979) AT LEACH POTTERY VASE partially impressed artist’s seal and pottery seal, stoneware, incised Willow Tree design, tenmoku glaze 36cm high, 17cm wide (14.1in high, 6.7in wide)

£700-900

One day in fine weather I went round to the Penwith Society of Art and there I saw a large tall brown Bernard Leach pot and immediately decided I would buy it, went up to the curator (Kathy Watkins) and told her I would bring in the cheque tomorrow (£35). I walked down the gallery studying at Bernard’s small porcelain pots and was joined by some Americans. We got talking and I so fired them with my enthusiasm I sold some there and then to the Americans. Returning to the curator to confirm I was coming in tomorrow. Kate Nicholson was standing beside her ‘Too late’ said the curator ‘Too late’ said Kate, ‘you should be quicker I have just bought it!’ I was furious but kept control and left the gallery.

shrieking ‘Bernard that is just like the pot I wanted’

Who should I meet coming up from Barnaloft about to cross the road but Bernard and his housekeeper, Trudi Scott, Bernard half blind waving his stick at me said ‘And what is the matter with you?’ I told him the story and mentioned the artist, to my

and Bernard replied (still standing with his back to me and facing the sea) ‘Well you had better hurry up this time!’ adding ‘Make the cheque to the Leach pottery’ the price was less the commission of the Penwith (£23).

surprise Bernard roared and roared with laughter saying ‘Typical, Typical!!’ meaning the Nicholson family getting into the front row. I stamped off.

I could not believe he had made it specially for me! But he had! Sometime later the Central Office of Information requested to photograph this pot, Bernard decided

Some time later just before one of his trips to Japan, I think, Bernard walked in to my studio with a large pot and placed it on my shelf in the lower studio, walked to the window with his hands behind his back, meanwhile I was

to be photographed holding the pot at my studio Barnaloft, so he came in and was photographed holding it and the Central Office of Information suggested another photograph was taken, this one to be taken of us together.

18 § DENIS PEPLOE R.S.A (BRITISH 1914-1993) STILL LIFE, CIRCA 1937 signed (to reverse), oil on canvas 51cm x 55.5cm (20in x 21.75in), unframed Provenance: In Barns-Graham’s notes on her collection she states she was given one oil painting by Denis Peploe, from his Edinburgh College of Art Degree Show. The pair studied together there and remained lifelong friends. With another still life to the reverse of the canvas. Note: Denis Peploe was the son of famous Scottish Colourist Samuel John Peploe. He studied at the Edinburgh College of Art, and in Paris under André Lhote. He is known for his landscapes and still lives and was, for many years, also a teacher at the Edinburgh College of Art.

£4,000-6,000

Above: Image from the degree show of Denis Peploe. The painting he gifted to Wilhelmina BarnsGraham can be seen in the second column from the right, centre row.

19 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED initialled in ink (lower right), inscribed ‘William Johnston / Gift to Rowan James 1988’ (to reverse), pen, ink and watercolour on paper 13cm x 19cm (5in x 7.5in) Provenance: Rowan James Collection.

£500-700

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

20 § BEN NICHOLSON O.M. (BRITISH 1894-1982) TRENDRINE, 1948 1/6, numbered in pencil in the margin (lower right), etching on paper 17.5cm x 25cm (6.9in x 9.8in) Literature: Alan Cristea Gallery, Ben Nicholson: Prints 1928-1968, Alan Cristea Gallery London, 2007, cat. no. 17. (another example from the edition). Barns-Graham bought this etching in a series of instalments stating in a letter to Nicholson: ‘Dear Ben, I have chosen the Drypoint titled “Terendine” - from those we took away on Sunday. I enclose £2 & will send another £2 next month if that really is alright with you. How grateful I am.”

£6,000-8,000

21 § BEN NICHOLSON O.M. (BRITISH 1894-1982) JUG & GLASS, 1948 6/20, signed, numbered and inscribed ‘for Willy / Xmas 53’ in pencil in the margin, drypoint etching on paper 24.75cm x 19.5cm (9.75in x 7.5in) Provenance: In Barns-Graham’s notes about her collection she states she was gifted three etchings and prints by Ben Nicholson: ‘he gave me all’. Exhibited: St Ives: Movements in Art and Life, 14 March - 19 September 2020, Royal West of England Academy, Bristol, (another example from the edition). Literature: Alan Cristea Gallery, Ben Nicholson: Prints 1928-1968, Alan Cristea Gallery London, 2007, cat. no. 19 (another example from the edition). Inscribed on backboard ‘W. BarnsGraham or Lewis / 1 Barnaloft / St Ives / Cornwall / Ben Nicholson silver point / personal gift 1953 Xmas’

£5,000-7,000

SVEN BERLIN

Essay by Lynne Green

The solitary wooden sculpture by Sven Berlin may represent

Due to libel action, Dark Monarch was withdrawn, and the

the earliest years of their friendship. They met quite soon

edition largely destroyed. It was reissued in 2009, with

after Barns-Graham arrived in St Ives, in early 1940. He

the addition of a useful who’s who. That Willie retained

admired her beauty from the first. She understood him to

Berlin’s sculpture may indicate loyalty to an important early

be an adagio dancer and gardener, who was also a painter, in

friendship. Its solitary presence in her collection belies the

the process of becoming a sculptor. The Mother and Child [?]

impact of Berlin’s later actions. When I interviewed him

being undated, I wonder if this is not a gift, contemporaneous

for A Studio Life, he spoke of her with deep affection. Like so

with the new friendship. The family unit of Berlin, his wife

many other friendships amongst the artist-community, theirs

Helga and their two small children may have offered the new

was soured, I think, by forces, not clearly understood by the

arrival stability and homely comfort. During the war, when

protagonists. The St Ives artistic community could be febrile.

Berlin was in the Army the two women were particularly close companions. Berlin was later to alienate most of the artistic community of St Ives (almost ten years after he left it), with the publication in 1962 of The Dark Monarch: A Portrait from Within. As a fictionalised autobiography, it is both vicious and inaccurate. His characters are thinly disguised friends and fellow artists. Resented by some of her peers for her posh Scottish accent, and perceived relative wealth, Barns-Graham became for Berlin ‘ffrederika ffirth-fforth’, Barbara Hepworth, ‘Diana ‘Delphi’ Coracle’ and Ben Nicholson, ‘Sir Stanislas Robinson’ and so on. The physical description of Nicholson is I must say, entertaining, and not without something of the original. The Modernist, breakaway Crypt Group (of which both Berlin and Barns-Graham were founding, exhibiting-members) became the ‘Cuckoo Group’ within the traditional St Ives Society of Arts. Though unflattering, it is not without some truth.

Right: 1947 Crypt Group poster, printed by Guido Morris.

22 § SVEN BERLIN (BRITISH 1911-1999) MOTHER AND CHILD, 1941 monogrammed and dated (to base), wood 26cm high, 9.5cm wide (10.25in high, 3.75in wide)

£1,000-1,500

Sven Berlin was an interesting figure within the St Ives school and part of one of the earliest waves of settlers to the artists’ colony. Born in London, Berlin had originally begun a career as an adagio dancer, before moving to Cornwall in 1938. It was via his job in the market garden belonging to Adrian Stokes and Margaret Mellis in Carbis Bay that he made an introduction to Hepworth and Nicholson. One of his most significant contributions to the legacy of the St Ives School was the publication of his biography of the fisherman / artist Alfred Wallis; the first text to be written on this fascinating figure whose aesthetic so influenced the development of Nicholson and his followers. Berlin became a well-known figure and something of an attraction within the St Ives community; he could frequently be observed in his studio garden, stripped to the waist, working on his sculpture. He exhibited paintings, drawings and sculpture regularly with the St. Ives Society of Artists and in London, and was a founding member of the Crypt Group, alongside artists including Barns-Graham, Peter Lanyon, John Wells and Bryan Wynter, and was also a member of the Penwith Society of Arts for a short time.

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

23 § JOHN WELLS (BRITISH 1907-2000) DANCER, 1952 artist’s proof, signed, inscribed and dated in pencil in the margin, engraving 20cm x 13.5cm (7.9in x 5.4in) Note: Two different impressions/states of this print dated to 1950 are in the British Museum.

£600-800

John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the war, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place there. This impact was seen in the pair’s artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.

Right: Wilhelmina Barns-Graham and John Wells at the Tate

24 § JOHN WELLS (BRITISH 1907-2000) WINDOW, 1948 signed, titled and dated (to reverse), oil and pencil on board 29.5cm x 35cm (11.6in x 13.75in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased two oils by John Wells. Exhibited: 1949: Paris, Salon des Réalités Nouvelles, 1949. 2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.

£8,000-12,000

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

25 § ANTHONY BENJAMIN (BRITISH 1931-2002) UNTITLED, 1958 1/50, signed, dated and numbered in pen in the margin, etching on paper 44cm x 32.5cm (17.25in x 12.75in)

£1,000-1,500

26 §

Anthony Benjamin is regarded as a talented polymath; a painter, sculptor and printmaker. Having studied in Paris under Fernand Léger, Benjamin came to St Ives in the late 1950s as a rebellious young artist. Using a small legacy, he purchased a cottage which previously belonged to Sven Berlin. Here, he found encouragement from the likes of Peter Lanyon, accepting his suggestion to join the Newlyn Society of Artists. He had his first one-man exhibition there in 1958. His work developed rapidly here, and he was apparently well supported and encouraged by significant figures in the art world, including Henry Moore and Francis Bacon who gave him canvases. Originally rooted in a more ‘kitchen-sink’ aesthetic, in Cornwall Benjamin’s work became more Abstract Expressionist in concept.

ANTHONY BENJAMIN (BRITISH 1931-2002) UNTITLED (MOROCCO SERIES), 2002 12/20, numbered in pencil (lower left), etching on paper 42.5cm x 42.5cm (16.75in x 16.75in)

£300-500

27 § BRYAN WYNTER (BRITISH 1915-1975) CRAYFISH, 1949 signed and dated in pencil in the margin (lower right), lithograph on wove paper 21cm x 31cm (8.25in x 12.25in) Note: Bryan Wynter gave Crayfish to Barns-Graham as a wedding present in 1949. It is thought to be from an intended edition of 50, but it is unknown whether the full edition was produced.

£400-600

Right: Wilhelmina Barns-Graham at Porthmeor Studios, 1955. Photo © Adrian Flowers Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

I never met anybody; any woman, who worked as she did. She was formidable in a way but excellent to work with on committees: she had a good mind and good ideas and good contacts. She and Ben were the most professional of us then. Wilhelmina Barns-Graham discusses Barbara Hepworth during a 1996 Interview with Susan Loppert

BARBARA HEPWORTH When Barns-Graham arrived in Cornwall, less than a year

Hepworth’s drawing Figure and Mirror, of 1948 was gifted

after Hepworth and Nicholson, she was already very well

to Barns-Graham on the occasion of her marriage to David

aware of the central figures of British Modernism she was

Lewis in 1949. He had arrived in St Ives as a young author

about to meet in person. Having attended the lectures given

and aspiring poet who, having added a quickly achieved and

in Edinburgh by Herbert Read, as Watson Gordon Professor

not inconsequential knowledge of contemporary art, became

in Fine Arts, she had become acquainted with the key

a part of the artistic communities of St Ives and Carbis Bay.

apologist of the Movement. When they met again in Little

Among a succession of practical roles, he acted for a time as

Park Owles this no doubt helped her quick acceptance by the

Hepworth’s secretary.

group.

Figure and Mirror was not the only Hepworth Willie

Willie’s first meeting, just days after her arrival, with Barbara

acquired. Around 1949 she purchased from her friend Mary

Hepworth made a lasting impression on the young artist.

Buchanan, Sculpture with Colour (Deep Blue and Red) 1940.

She noted in particular Hepworth’s physical appearance, the

Some ten years later, at a time of personal turmoil and

delicacy of her features and her quick, neat movements. As

loss, she sold it to a dealer, from whom Hepworth herself

the years passed she and Hepworth had a friendship based

reacquired it. Upon Hepworth’s death, it was bequeathed to

partly on the fact of their shared experience of being woman

the Tate.

artists in a man’s world. In the small Cornish artists’ enclave both women could be resented by their fellow male artists. By sheer strength of personality, determination and growing reputation, Hepworth succeeded better at overcoming the prejudice and pit falls. Willie was not so adept. But when each woman found themselves living alone, they were glad of each other’s presence in the town.

Essay by Lynne Green

28 § DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FIGURE AND MIRROR, 1948 signed and dated in pencil (upper left), inscribed and titled (to reverse), pencil and gesso on board 45cm x 34.5cm (17.75in x 13.6in) Provenance: In Barns-Graham’s notes about her collection she states she owns one drawing by Barbara Hepworth given to her as a wedding present. Exhibited: Hazlitt Holland-Hibbert, London, Barbara Hepworth Drawings from the 1940s, 12 October-18 November 2005

£100,000-150,000

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

29 § MARTIN BRADLEY (BRITISH 1931-) UNTITLED, 1952 signed and dated lower right, gouache on paper 18cm x 24cm (7in x 9.5in); mount 29.5cm x 35cm (11.5in x 13.75in)

£300-500

30 § MARTIN BRADLEY (BRITISH 1931-) UNTITLED, 1952 signed and dated lower centre, gouache on paper 22.5cm x 32cm (8.75in x 12.75in); mount 41.75cm x 31.75cm (16.5in x 12.5in)

£400-600

31 § MARTIN BRADLEY (BRITISH 1931-) ONSLAUGHT, 1952 signed and dated lower right, gouache and ink on paper 29cm x 43cm (11.5in x 17in)

£500-700

32 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VASE impressed artist’s and pottery seal, cut sides and with glazed rim 18.5cm high, 20cm wide (7.25in high, 7.9in wide)

£200-300

33 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY BOWL AND COVER impressed artist’s and pottery seals, stoneware, cut-sided and partially glazed 15.2cm high, 21cm wide (6in high, 8.25in wide)

£200-300

34 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY TWO VASES each impressed with artist’s and pottery seals, with lug handles (2) 16cm high and 11cm high (6.25in high and 4.3in high)

£300-500

35 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VASE WITH LUG HANDLES impressed artist’s and pottery seals, stoneware, cut and torn form 24.5cm high (9.75in high) Provenance: Purchased from New Craftsman Gallery, St Ives in 2004; Rowan James Collection.

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

36 § DENIS MITCHELL (BRITISH 1912-1993) SELENA, 1968 signed and dated (lower left), oil on board 15.25cm x 20.3cm (6in x 8in) Provenance: Gifted by the artist to BarnsGraham in 1992. Inscribed to the reverse: “To Willie with love and best wishes from Denis & Jane 8, June 1992 and many happy returns of the day”.

£1,000-1,500

37 § DENIS MITCHELL (BRITISH 1912-1993) BALMUNGO, 1988 titled, dated and inscribed (to base) ‘BALMUGO / To Willie with Love from Denis & Jane / 8-VI-88’, slate 22cm high (including base) (8.6in high) Provenance: Gift from the artist, 1988 Note: Balmungo House, near St Andrews, was left to Barns-Graham by her aunt Mary Neish in 1960, and from this point she divided her time between St Ives and Scotland. This personal gift from Mitchell to Barns-Graham is inspired by the landscape around her studio in Balmungo.

£2,500-3,500

38 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY FOOTED DISH impressed artist’s and pottery seals, stone with poured and dipped glaze 10cm high, 37cm wide, 28.5cm deep (4in high, 14.5in wide, 11.25in deep) Provenance: In Barns-Graham’s note about her collection she states she purchased “one plate type” by Janet Leach.

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

39 § DENIS MITCHELL (BRITISH 1912-1993) TREVEDRAN, 1991 1/7, initialled, titled, dated and numbered (to base), bronze on slate base 15.2cm high (including base) (6in high (including base) Provenance: Information from WBG diaries: “Nov 15 1991 WBG bought a small sculpture from Denis Mitchell for £600”

£4,000-6,000

BRIAN WALL Brian Wall came to St Ives as a young artist in the 1950s

Though obvious parallels with the work of Anthony Caro can

and was, for a time, Secretary of the Penwith Society. His

be drawn, it should be noted Caro adopted the techniques of

early work was heavily influenced by Mondrian, but he

welding metal several years after Wall, and Wall was widely

evolved away from this aesthetic whilst working as a welder

perceived by critics of the time to be under-sung. After

in Hepworth’s studio. It is from this transitional period that

working in the thick of swinging Sixties London for a time,

these works date, Barns-Graham having acquired them in the

Wall went to the San Francisco Bay area of America where

late 1950s. Sparse, almost industrial and austerely Post-War

he continued to base himself for over thirty years. He was a

in aesthetic, and reflective somehow of the ruggedness of

faculty member at the Central School of Art in London, and a

the Cornish landscape, they were very avant-garde by the

professor of art at the University of California, Berkeley.

standards of the time. Wall welded his metal forms in an intuitive manner, simultaneously beginning to divorce his sculptures away from human or naturally rooted formalities.

These works were in Barns-Graham’s garden at Balmungo, Scotland (hence the weathering).

40 § BRIAN WALL (BRITISH/AMERICAN 1931-) UNTITLED, CIRCA 1959 iron and black paint 42.5cm x 51cm x 39cm (16.75in x 20in x 15.3in) Provenance: In Barns-Graham’s notes about her collection, she states she purchased one ‘iron sculpture’ by Brian Wall and was given another. This work was displayed outside Wilhelmina Barns-Graham’s studio in the garden at Balmungo. Note: Confirmed by Brian Wall Studio as not the work Minus Three.

£6,000-8,000

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

Above: The gardens at Balmungo

41 § BRIAN WALL (BRITISH/AMERICAN 1931-) UNTITLED, CIRCA 1959 iron and black paint 72cm x 53cm x 56cm (28.3in x 20.9in x 22in) Provenance: In Barns-Graham’s notes about her collection, she states she purchased one ‘iron sculpture’ by Brian Wall and was given another.

£7,000-10,000

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

Wilhelmina Barns-Graham and Sir Terry Frost

42 § SIR TERRY FROST R.A. (BRITISH 1915-2003) GREY, BLACK AND WHITE, CIRCA 1950 signed and inscribed ‘Grey, Black, White’ (to reverse), oil on board, with painting of a nude to reverse of canvas 60cm x 22cm (23.6in x 8.5in) Exhibited: Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020. Literature: Published with title ‘Walk Along the Quay, 1948 (first edition)’ Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30; Published with title ‘Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44.

£15,000-25,000

Terry Frost arrived in Cornwall in 1946, staying in a caravan at Carbis Bay and then a house on Quay Street, St Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented: “[These...] paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed “you’ve got on to something that can last you for the rest of your life” and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract. Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations at this period.

43 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED, 1962 signed and dated (lower right), watercolour and gouache on paper 28.5cm x 77.75cm (11.25in x 30.5in)

£6,000-8,000

People only need to breathe deeply and look; if there’s anything they enjoy – a shape or a colour – that’s tremendous. They musn’t worry about or be anxious about ‘understanding’ it all. I can look at a page of beautiful Chinese calligraphy and not have a clue what it’s about, but sense a worthwhile idea there. Wilhelmina Barns-Graham, Painting as Celebration, 2001

44 § TONY O’MALLEY (IRISH 1913-2003) UNTITLED, 1972 signed and dated lower right, gouache on paper 20.75cm x 29.75cm (7.9in x 11.75in) Provenance: In Barns-Graham’s notes about her collection she states she purchased two artworks by Tony O’Malley. Note: Text on reverse states: “Tony O’Malley £15 Purchased 1972 by WBG”

£800-1,200

45 § TONY O’MALLEY (IRISH 1913-2003) UNTITLED signed in pencil (lower right), mixed media on paper 56.5cm x 89.5cm (22.25in x 35.25in) Provenance: In Barns-Graham’s notes about her collection she states she purchased two artworks by Tony O’Malley.

£3,000-5,000

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

46 § BREON O’CASEY (BRITISH 1928-2011) FRINGED NECKLACE stamped ‘BOC’, composed of a single row of hammered silver beads, between a graduated row of hammered ‘leaf’ pendants, to a hook clasp with facetted agate bead detail Overall length: 40cm (15.7in) Overall length of longest drop: 5.5cm (2.1in) Provenance: In Barns-Graham’s notes on her collection she states she purchased one silver necklace by Breon O’Casey. In a later amendment to her will, she states she owned two leaf shaped necklaces by Breon O’Casey, the other was previously sold by the Trust.

£500-800

47 § ULLA HORNFELDT (SWEDISH/BRITISH) NECKLACE hallmarked for silver, London 2000, sponsors mark ‘UH’, composed of a single string of black ceramic beads, suspending a stylised silver crescent pendant Overall length: 42cm (16.5in). Length of pendant: 5cm (2in) Provenance: Possibly given by Rowan James. In Barns-Graham’s notes about her collection she states she was given by Rowan three necklaces by Edinburgh artists.

£200-300

48 ANNE FINLAY (BRITISH B.1953) (ATTRIBUTED TO) TWO BROOCHES acrylic both of stylised scrolling form with feature pins (2) each 8.5cm wide (3.3in wide)

£400-600

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

Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently. Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952. The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain. Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the

work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61) Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76). Sphere (1980) by comparison, belonging to Adams last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career. This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

49 §

Provenance: In Barns-Graham’s notes about her collection, she states she was given one engraving by Robert Adams.

ROBERT ADAMS (BRITISH 1917-1984)

Exhibited: Gimpel Fils, London, 1955, (another example from the edition).

DESCENDING FORMS, 1955 7/25, signed, dated and numbered in pencil in the margin (lower right), inscribed ‘Descending Forms / etching / series of 25 / 4’2gns / Robert Adams’ in pencil (to reverse), etching 30cm x 10cm (11.75in x 4in)

£400-600

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992 (described as an engraving), p.66. (another example from the edition). Grieve, Alastair, Robert Adams 1917-1984 A Sculptor’s Record, Tate Gallery, 1992 (described as an engraving), p.36. (another example from the edition).

50 § ROBERT ADAMS (BRITISH 1917-1984) UNTITLED signed and inscribed ‘For Willie [,] Robert Adams’ in pencil (to reverse), oil on board 37.75cm x 19cm (14.75in x 7.5in) Provenance: Gift from the artist to Wilhelmina Barns-Graham.

£1,500-2,500

51 § ROBERT ADAMS (BRITISH 1917-1984) PLATE, CIRCA 1952 signed ‘ADAMS’ (to reverse), painted earthenware 25cm diameter (9.8in diameter)

£800-1,200

Provenance: In Barns-Graham’s notes about her collection she states she purchased a plate by Robert Adams. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design. Note: This is possibly from a set of 10 different designs, although Grieve only identifies three. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

52 § ROBERT ADAMS (BRITISH 1917-1984) RECTANGULAR BRONZE FORM NO.2., 1953 from an edition of 6, bronze

Above: Wilhelmina Barns-Graham sitting by the window at Barnaloft, St Ives, 1993. Photo © Anne Purkiss

15.5cm high, 10.2cm wide (6.1in high, 4in wide) Provenance: In Barns-Graham’s notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157. Note: This sculpture inspired Wilhelmina Barns-Graham’s painting Ultramarine II, 2000 (Lynne Green, 2011, p.276).

£4,000-6,000

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

53 § ROBERT ADAMS (BRITISH 19171984) MAQUETTE NO. 2 FOR TRIANGULATED STUDY NO. 1, 1960 steel wire painted grey on black base 23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide) Provenance: In Barns-Graham’s notes about her collection she states she purchased a ‘wire sculpture’ by Robert Adams. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296.

£800-1,200

54 § ROBERT ADAMS (BRITISH 1917-1984) SPHERE, 1980 signed, numbered and dated ‘ADAMS OO/ 1980’ (to base), bronze 9cm high, 7cm wide (3.5in high, 2.75in iwde) Provenance: In Barns-Graham’s notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680.

£2,000-3,000

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

55 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) RED AND VIOLET, 1961 inscribed, titled and dated to stretcher (to reverse), oil on canvas

Through the 1950s Barns-Graham developed an abstract language that was derived from close observation of the landscape, but which increasingly emphasised geometric forms. In the early 1960s and for over 20 years through her mid-career, she turned away from landscape and based much of her art on careful arrangements of

91cm x 70.5cm (35.75in x 27.75in)

either squares or circles. The richly coloured ‘Red and Violet’, which sees a precarious

£10,000-15,000

balancing of squares, is one of the earliest examples of this new, hard-edged style.

56 § ROBERT ADAMS (BRITISH 1917-1984) SCREEN FORM, 1973 50/90, signed and numbered in pencil in the margin, lithograph in 4 colours on T. H. Saunders paper 56cm x 28.5cm (22in x 11.25in) From The Penwith Portfolio, Penwith Society, St Ives, 1973.

£400-600

57 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED (CELEBRATION), 1989 93/250, embossed ‘K.G.’ (lower right), screenprint 25.5cm x 13.25cm (10in x 5.25in) Provenance: Printed to commemorate opening of new Curwen Chilford Studio at Cambridge on 14th December 1989. According to Kemp (2010), there was an unsigned edition printed as ‘giveaways’ to celebrate Curwen’s [Studio] move to Chilford Hall.

58 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED, 1988 signed, dated and inscribed in pencil in the margin, collage and aquatint 18cm x 13cm (7in x 5.1in)

£1,000-1,500

Provenance: Wilhelmina Barns-Graham noted in her diary: “16 Sept to new gallery run by Suddaby bought a “small joyful Terry Frost collage”. This probably refers to Sims Gallery, run by Leon Suddaby. Literature: Kemp, Dominic, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, Farnham, 2010, cat no. 95. Note: Image is Black Sun, 1988 with additional collage. Kemp (2010) notes the aquatint Black sun, 1988 often exists with added collage and hand colouring.

Literature: Kemp, Dominic, Terry Frost Prints: A catalogue raisonné, Lund Humphries, Farnham, 2010, cat. no. 118.

£600-800

59 § DENNY LONG (BRITISH 1944-2018) UNTITLED

60 § DENNY LONG (BRITISH 1944-2018)

etching on paper 5.75cm x 5.75cm (2.25in x 2.25in)

£250-350

CH3SCROSS X, 2003 titled, dated and inscribed (to reverse), etching and chine collé on paper the sheet 64cm x 47.5cm (25.25in x 18.5in)

£300-500

61 § MICHAEL O’DONNELL (BRITISH 1946-) 7 AND 5 FOR W.B-G., 1981 Signed, inscribed and dated in pencil (lower right), pencil and crayons on paper 12.5cm x 17.5cm (5in x 7in) Provenance: In Barns-Graham’s notes about her collection she states she was given one work by O’Connel [sic]. Inscribed to back board ‘For ‘Willy’ BarnesGraham, you were so kind to write to me after the Newlyn exhibition. Michael’.

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

62 § PATRICK HERON C.B.E. (BRITISH 1920-1999) BRUSHWORKS NO. 8, 1998-99 11/38, numbered, stamped with Patrick Heron Estate Stamp, and signed in pencil by Katherine Heron and Susanna Heron (to reverse), etching on paper 43.75cm x 58cm (17.25in x 22.75in), unframed Note: From The Brushworks Series of 11 etchings printed by Hugh Stoneman.

£800-1,200

63 § TONY GILES (BRITISH 1925-1994) PENZANCE STATION, 1985 signed, titled ‘PZ Station’ and dated (lower right), pen, ink and watercolour on paper 35cm x 52cm (13.75in x 20.5in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased one watercolour by Tony Giles.

£1,000-1,500

64 § KATE NICHOLSON (BRITISH 1929-) TITAN, 1962 signed, dated and titled (to reverse), oil and gouache on paper/card, Schoellers Aspis dry stamp (lower right) 50.75cm x 72.25cm (20in x 28.5in)

£500-700

65 § RACHEL NICHOLSON (BRITISH 1934-) GREY GLASS & WHITE JUG, 1979 signed, titled and dated (to reverse), oil on board 26.5cm x 31.5cm (10.5in x 12.5in) Provenance: In Barns-Graham’s notes about her collection she states she purchased one oil by Rachel Nicholson.

£1,000-1,500

66 § MARY RICH (BRITISH 1940-) FOOTED BOWL impressed artist’s seal, porcelain with green / turquoise glaze 5.5cm high, 11.5cm diameter (2.25in high, 4.5in diameter)

£100-200

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

67 § JOHN WELLS (BRITISH 1907-2000) UNTITLED, 1956 signed, dated and inscribed ‘Anchor Studio, Trewarveneth Street, Newlyn’ in pencil (to reverse), oil and pencil on board, 19cm x 80cm (7.5in x 31.5in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased two oils by John Wells.

£8,000-12,000

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

68 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) NEWLYN 2, 1984-87 signed and dated in pencil (lower right), inscribed and titled (to reverse) acrylic on board

Between 1982-87 Barns-Graham made a group of works she described (and often titled) as ‘collages’. Although they do all employ stuck down paper or card, they are perhaps better described as painted reliefs. Beginning very

35cm x 105.5cm (13.75in x 41.5in)

small - built up from layers of the tiny circles

£8,000-12,000

of paper made by a hole-punch, as the series developed the works became larger, more ambitious and often associated with specific places or landscapes, as with ‘Newlyn 2’.

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

69 § ROY CONN (BRITISH 1931-2018) UNTITLED, 1980 artist’s proof, signed, inscribed and dated in pencil in the margin, screenprint 26cm x 40cm (10.25in x 15.75in)

£300-500

70 § JOHN HOYLAND R.A. (BRITISH 1934-2011) TWIN PEAKS, 1992 inscribed ‘Given to WBG by Kip Gresham / Silk Screen by John Hoyland’, screenprint 55.5cm x 57cm (21.75in x 22.5in) Provenance: Gift to Barns-Graham from Kip Gresham, 1994. Wilhelmina Barns-Graham states in her diary : “October 22 1994 Kip Gresham came with a portfolio & showed me some prints - John Hoyland & the wife of Bill Turnbull doing very subtle hard edge abstracts & Hilton’s son amongst others as Gillian Ayres. Gave me a Hoyland.”

£300-500

71 § FERGUS HILTON (BRITISH 1966-) UNTITLED, 1992 inscribed and dated (to reverse), gouache and pencil on paper 54cm x 74cm (21.25in x 29cm) Note: Fergus Hilton is the son of the artists Roger and Rose Hilton

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

72 § ROGER HILTON C.B.E. (BRITISH 1911-1975) CAT, 1973 signed and initialled and dated twice (lower right), gouache and charcoal on paper 28.5cm x 41cm (11.25in x 16.1in)

£4,000-6,000

I seldom work from my drawings. The discipline used releases me in my paintings, to work more freely, expand with ideas and imagination involving joy in colour, texture and harmony, I start creating. Wilhelmina Barns-Graham, Some Thoughts on Drawing, 1992

INDEX OF ARTISTS ADAMS, ROBERT

JEWELS, MARY

BARNS-GRAHAM, WILHELMINA 8, 55, 68

49, 50, 51, 52, 53, 54, 56

JOHNSTONE, WILLIAM

BENJAMIN, ANTHONY

25, 26

LEACH, BERNARD

13, 14, 15, 17

BERLIN, SVEN

LEACH, JANET

32, 33, 34, 35, 38

BRADLEY, MARTIN

29, 30, 31

LEWIS, DAVID

5, 7

BROWN, DAVY

LONG, DENNY

59, 60

CONN, ROY

MITCHELL, DENIS

36, 37, 39

DREY, AGNES

NICHOLSON, BEN

20, 21

FROST, SIR TERRY

42, 43, 57, 58

NICHOLSON, KATE

GILES, TONY

NICHOLSON, RACHEL

HAYMAN, PATRICK

O’CASEY, BREON

HEPWORTH, DAME BARBARA

O’DONNELL, MICHAEL

HERON, PATRICK

O’MALLEY, TONY

44, 45

HILTON, FERGUS

PEPLOE, DENIS

HILTON, ROGER

RICH, MARY

HILTON, ROSE

WALL, BRIAN

40, 41

HORNFELDT, ULLA

WALLIS, ALFRED

9, 10, 11

HOYLAND, JOHN

WELLS, JOHN

23, 24, 67

WYNTER, BRYAN

GLOSSARY OF CATALOGUING TERMS The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration. Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request. Dimensions are given height before width.

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist

Circle of… In our opinion work of the period of the artist and showing their influence

Signed… / Dated… / Inscribed… / In our opinion the work has been signed/dated/inscribed by the artist

Attributed to… In our opinion probably a work by the artist in whole or in part

Follower of… In our opinion a work executed in the artist’s style, but not necessarily by a pupil

Bears Signature… / Date… / Inscription… / In our opinion the signature/date/ inscription appears to be by a hand other than that of the artist

Studio of… / Workshop of… In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision

Manner of… In our opinion a work executed in the artist’s style but of a later date

AUCTION 29 OCTOBER 2021 AT 10AM MALL GALLERIES | LONDON

DENIS MITCHELL (BRITISH 1912-1993)

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

HEAD, 1977

BLUE AND BLACK, DECEMBER 1968

37cm high (including base) 14.5in high (including base)

£4,000-6,000

102.5cm x 136cm (40.5in x 53.5in)

£15,000-20,000

SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1883-1937)

SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935)

ST. COLUMBA’S BAY, IONA

THE STATUETTE [DETAIL]

Signed, oil on canvas

51cm x 76cm (20in x 30in)

61cm x 51cm (24in x 20in)

£80,000-120,000

£150,000-200,000

SCOTTISH PAINTINGS & SCULPTURE FEATURING SCOTTISH COLOURIST | S.J. PEPLOE AT 150 AUCTION 09 DECEMBER 2021 AT 6PM | EDINBURGH

ENTRIES NOW INVITED NICK CURNOW | 0131 557 8844 nick.curnow@lyonandturnbull.com

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77 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 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

78 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.

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.

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.

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.

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

(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 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 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

79 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.

“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.

“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.

21.2

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

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. On-site payment will be by appointment. No cash accepted.

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. IN WRITING Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk. ON THE INTERNET - ABSENTEE BIDDING

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.

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - 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.

Inside back cover:

Lot 51

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