Modern Made | Auction 29 April 2022 by Lyon & Turnbull

29TH APRIL 2022 LONDON LIVE ONLINE

Front Cover Lot 217 [detail] Inside Front Cover Left Lot 257 Inside Front Cover Right Lot 303 [detail] Above Lots 236 & 237 [detail]

FRIDAY 29 APRIL 2022 AT 10AM

Sale Number LT677

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

EXHIBITION & VIEWING Mall Galleries, The Mall, London, SW1

Left Lot 336 [detail]

Tuesday 26th April - 5pm-8pm Wednesday 27th April - 10am-5pm Thursday 28th April - 10am-5pm Friday 29th April - from 9am

BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

COLLECTION OF PURCHASED LOTS

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

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:

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

25% up to £500,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT †V AT at the standard rate payable on the hammer price ‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. No VAT is payable on the hammer price or premium for books bought at auction. DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

1– G overnment issued photo ID (Passport/Driving licence) 2– P roof of address (utility bill/bank statement). By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale. IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

Post sale, clients will be able to collect from the Mall Galleries on Saturday 30th April from 10:00am until 3:30pm. Following this point, items will be moved to our storage partner Stephen Morris Shipping Ltd., Unit 15, Ockham Drive, Greenford, Middlesex, UB6 0FD (Tel: +44(0)20 8832 2222). Open 9am-5pm by prior appointment only. Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.

ITEMS MARKED ‡ (ADDITIONAL VAT) Additional time should be allowed for customs clearance by HMRC if the item is to remain in the UK. For items being exported from the UK these items will be stored at Crown Fine Art, Art Central, Union Court, 20-22 Union Road, London, SW4 6JP, United Kingdom (+44 (0)20 7732 7610) and can be shipped by Crown Fine Art or via another approved shipper with a Temporary Admissions account.

FOR INTERNATIONAL & UK OUTSIDE SCOTLAND CLIENTS Items will be available to collect by appointment from Wednesday 4th May from Stephen Morris Shipping (address above). Items will be stored free of charge until Wednesday 18th May. From Thursday 19th May, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) – £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day.

FOR CLIENTS IN SCOTLAND Scottish buyers and vendors items will be available to collect from Monday 16th May at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book by email at info@lyonandturnbull.com or telephone 0131 557 8844.

MEET THE SPECIALISTS

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

Philip Smith Head of Sale

Alice Strang Paintings & Prints

Charlotte Riordan Paintings & Prints

Carly Shearer Paintings & Prints

philip.smith@lyonandturnbull.com

alice.strang@lyonandturnbull.com

charlotte.riordan@lyonandturnbull.com carly.shearer@lyonandturnbull.com

John Mackie Design

Joy McCall Design

Matthew Yeats Sale Administrator

john.mackie@lyonandturnbull.com

joy.mccall@lyonandturnbull.com

matthew.yeats@lyonandturnbull.com

“

Art is the ability to separate the significant from the insignificant Poul Henningsen

Welcome to the Spring 2022 edition of Modern

Modern British Art also takes centre stage with

Made. We are excited to return to the Mall

a group of works by Ben, Winifred and Kate

Galleries in London with a fantastic array of

Nicholson that underpins the Nicholson’s family

works that demonstrate the cross-cultural and

importance within the British art scene in the

multi-disciplinary nature of the art world in the

middle of the 20th Century. Sculpture by a new

post-war years, that expresses the vitality of the

generation of British post-war sculptors, who

art scene over this period.

were searching for a new formal language in the

The concept of Modern Made is to showcase the best of Modern Art across multiple disciplines including paintings, prints, studio & contemporary ceramics, design and jewellery, rather than in isolation. Displaying work of different generations and mediums allows for reciprocal links and for integral questions to be posed and examined, and hopefully acts as a vehicle to exploring new works

medium and were concerned with the post-war condition of the human form, is exemplified with works by Elisabeth Frink, Lynn Chadwick, Reg Butler, Henry Moore, Robert Adams and William Turnbull, and not to forget a significant and longlost work by Ernest Procter depicting the the long range bombardment of Dunkirk in the First World War.

and artists across mediums from modern masters

Further highlights include a collection of

to budding contemporary makers.

jewellery from the estate of the iconic British

At the heart of the current edition is a collection of works from the exhibition Denmark: Design that travelled around 12 venues in Japan, South Korea and New Zealand between 2016 to

jeweller Wendy Ramshaw, significant ceramics by Lucie Rie, Grayson Perry and Akiko Hirai, and noteworthy art works by contemporary British artists Gilbert & George and Gary Hume.

2021 celebrating 150 years of official relations

We hope that you are excited by the exhibition

between Denmark and Japan. The works on

and auction, and that you find works by some of

show highlight Denmark as a powerhouse of

the century’s most celebrated artists and makers

exceptional design in the mid-century period,

that captivate and intrigue you whatever your

featuring works by the pioneers of this golden

taste or budget.

age of Danish design including Finn Juhl, Hans Wegner, Poul Henningsen and Arne Jacobsen. Left Lots 304-312

”

PHILIP SMITH April 2022

n 12 January 1867, Denmark and Japan signed a treaty which was seen as the commencement of official relations between the nations, and the starting point for personal contacts and flourishing commercial links. Denmark: Design was an exhibition conceived to celebrate 150 years of collaboration, inspiration and friendship between the two countries. Design was an area where both Japanese and Danish taste had many similarities, with both countries placing an emphasis on handicrafts and individual artisan production prioritising the production of works of quality over quantity. The current collection of works took centre stage in an exhibition, which travelled to 12 venues in Japan, South Korea and New Zealand between 2016 to 2021, showcasing works from the ‘golden era’ of Danish design. The exhibition highlighted Denmark as a powerhouse of exceptional design, producing countless masters in the field following World War II, including pioneers such as Hans Wegner, Finn Juhl and Arne Jacobsen who produced a large quantity of outstanding and iconic furniture designs and works of art. Midcentury Danish design represents objects of quality and simple beauty, underpinned by a deep understanding of the technical aspects of each work and it’s functionality, that remains a constant in Danish design to the present day. Presenting furniture, lighting, jewellery and daily objects under one roof the exhibition relayed a wider approach in Denmark which advocated that everyone in its society should have a good quality and comfortable home, based on its approach as a welfare state. Placing these objects together we hope that they convey some of the simplicity, functionality and elegance from the golden age of Danish design that proved a perfect fit for the sleek lines and modernity of a new International Style of architecture that came to the fore in the 1940s and 1950s.

This exhibition visited the following venues over the course of the six-year tour.

Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017.

Exhibited: Denmark: Design was co-organised by Brain Trust Inc. and Design Museum Danmark.

Shizuoka City Museum of Art, Shizuoka, September – November 2017;

Seoul Art Centre, Seoul, September – November 2016;

Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017;

Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017;

Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018;

Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

1 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN ‘PEACOCK’ CHAIR, DESIGNED 1947 model JH550, ash, teak, and papercord, 1970s production, stamped ‘JOHANNES HANSEN / COPENHAGEN / DENMARK’ and with manufacturer’s stamp 105.5cm high, 76cm wide (41.5in high, 29.75in wide) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-1 (illustrated).

£1,500-2,500

“

”

A chair is to have no backside. It should be beautiful from all sides and angles HANS WENGER

DENMARK: DESIGN

HANS WEGNER

2 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON ‘WISHBONE CHAIR / Y-CHAIR’, DESIGNED 1950 model CH24, oak and papercord, manufacturer’s label, and stamped ‘KB77’ 72cm high, 56.5cm wide (28.5in high, 22.25in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-3 (illustrated).

£300-500

3 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON ARMCHAIR, DESIGNED 1950 model CH22, oak and papercord 72.5cm high, 68cm wide (28.5in high, 26.75in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-4 (illustrated).

£700-900

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

4 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON EASY CHAIR, DESIGNED CIRCA 1951 model CH27, oak and cane, stamped ‘MADE IN DENMARK / BY CARL HANSEN & SON / ODENSE DENMARK / DESIGNER / HANS WEGNER’ 77cm high, 73cm wide (30.25in high, 28.75in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-5 (illustrated).

£1,000-2,000

DENMARK: DESIGN

5 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN ‘ROUND CHAIR / THE CHAIR’, DESIGNED 1949 model JH503, teak and bamboo, stamped ‘JOHANNES HANSEN / COPENHAGEN / DENMARK’ and with manufacturer’s stamp 76cm high, 63cm wide (30in high, 24.75in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-2 (illustrated).

£1,000-2,000

6 HANS WEGNER (DANISH 1914-2007) FOR ANDREAS TUCK COFFEE TABLE, DESIGNED 1951 model AT10, oak, teak and cane, stamped ‘FABRIKAT ANDR TUCK / ARKITEKT: HANS J. WEGNER / DENMARK’ 51cm high, 130cm wide, 51cm deep (20in high, 51in wide, 20in deep)

£600-800

7 HANS WEGNER (DANISH 1914-2007) FOR ANDREAS TUCK COFFEE TABLE, DESIGNED 1951 model AT10, oak, teak and cane, stamped ‘FABRIKAT ANDR TUCK / ARKITEKT: HANS J WEGNER / DENMARK / MADE IN DENMARK’ 50.3cm high, 160.5cm long, 50.3cm deep (19.8in high, 63.2in long, 19.8in deep)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

DANISH

THREE ADVERTISING POSTERS

Danish Society of Arts and Crafts, ‘Our Home - Nordic Exhibition’, designed circa 1950, lithograph; Ib Antoni Jensen for Ministry of Foreign Affairs of Denmark, ‘Denmark - Famous for Fine Furniture’, designed 1964, lithograph; Paul Salomonsen for Carl Hansen & Søn, ‘Y Chair’, designed circa 1965, lithograph (3)

Arne Ungermann for Andreasen & Lachmann, ‘Den Permanente 19311956’ - Danish Crafts & Industrial Art, designed 1956, lithograph; Viggo Vagnby for Jens Christian Sørensen / The Tourist Association of Copenhagen, ‘Wonderful Copenhagen’, designed 1953, lithograph; Per Arnoldi for Kai Svendsen, ‘Copenhagen Jazz - Center of Europe’, designed 1972, lithograph (3)

the sheets 80.5cm x 57cm (31.75in x 22.5in); 99cm x 62cm (39in x 24.4in); 99cm x 61cm (39in x 24in) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-102, 3-105 and 3-106 (illustrated). The Ib Antoni Jensen poster was used to represent Danish Furniture Design at the World Fair, New York in 1964-5.

£300-500

the sheets 84cm x 61cm (33in x 24in); 98cm x 59cm (38.5in x 23.25in); 99cm x 61cm (39in x 24in) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-103, 3-104 and 3-107 (illustrated).

£300-500

DENMARK: DESIGN

10 VILHELM LUNDSTROM (DANISH 1893-1950) STILL LIFE FROM ‘KLINGEN’, CIRCA 1940 signed in pencil (lower right), lithograph 27cm x 22cm (10.5in x 8.75in) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-32 (illustrated).

£300-500

11 KAY BOJESEN (DANISH 1886-1958) FOR TENESTUE ROCKING HORSE, 1950S-60S beech, stamped mark 55cm high, 84.5cm long, 22.5cm deep (21.6in high, 33.2in long, 8.8in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-99 (illustrated).

£200-300

12 SWEDISH RYA AND ROLAKAN RUGS wool (2) 165cm × 100cm (65in x 39.3in) and 218cm x 133cm (85.75in x 52.3in) respectively

£200-300

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

13 JENS HJORTH FOR RANDERS STOLEFABRIK ARMCHAIR, CIRCA 1954 model 306, beech and oak moulded plywood, traces of paper label 81.5cm high, 54cm wide, 56cm deep (32in high, 21.2in wide, 22in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-53 (illustrated).

£200-300

14 ILLUM WIKKELSØ (DANISH 1919-1999) FOR NIELS EILERSEN ‘GYNGESTOL NO. 3’ ROCKING CHAIR, DESIGNED 1958 oak 89cm high, 57cm wide, 71cm deep (35in high, 22.5in wide, 28in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-56 (illustrated).

£200-300

15 PETER HVIDT (DANISH 1916-1986) & ORLA MØLGAARD-NIELSEN (DANISH 1907-1993) FOR FRITZ HANSEN TWO AX CHAIRS, DESIGNED 1947 beech and teak moulded plywood, faint maker’s stamp (2) 75cm high, 60.5cm wide, 66cm deep (29.5in high, 23.8in wide, 26in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-52 (one illustrated).

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

DENMARK: DESIGN

16 § RICHARD MORTENSEN (DANISH 1910-1993) FOUR ABSTRACTS one from ‘Atelier 143’, 1965, the others dated 1968, 1968 and 1969, 17/75, III/III, 11/76, 25/75, each signed, dated and numbered in pencil (in the margin), silkscreens (4) the sheets 69cm x 49cm (27in x 19.25in); 62cm x 74cm (24.3in x 29in); 74cm x 55cm (29iin x 21.5in); 74cm x 58cm (29in x 22.75in) respectively Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-36, 3-37, 3-38 and 3-39 (illustrated).

£400-600

17 § RICHARD MORTENSEN (DANISH 1910-1993) THREE ABSTRACTS

18 § ROBERT JACOBSEN (DANISH 1912-1993) FOUR ABSTRACTS screenprints (4) each sheet 97cm x 61cm (38in x 24in) three works unframed

£400-600

dated 1961, 1965 and 1965, 15/300, 17/75 and 17/75, each signed, dated and numbered in pencil (in the margin) silkscreen the sheets 60cm x 46cm (23.6in x 18in); 69cm x 49cm (27.1in x 19.3in); 69cm x 49cm (27.1in x 19.3in) respectively Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-33, 3-34 and 3-35 (illustrated).

£250-350

“

The craftsman’s ability to form is probably the same as that of a sculptor. A chair is not a product of decorative art in space; it is a form and a space in itself Finn Juhl

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

”

19 FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER ARMCHAIR, DESIGNED 1946 model FJ46, teak and cloth, branded mark 84cm high, 66cm wide, 52cm deep (33in high, 26in wide, 20.5in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-24 (illustrated).

£3,000-5,000

DENMARK: DESIGN

FINN JUHL 20 FINN JUHL (DANISH 1912-1989) FOR FRANCE & SØN COFFEE TABLE, 1950S model FD531/45, teak 45cm high, 175.3cm wide, 60.3cm deep (17.7in high, 69in wide, 23.7in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-27 (illustrated).

£300-500

21 FINN JUHL (DANISH 1912-1989) FOR FRANCE & SØN ‘JAPAN’ SOFA, DESIGNED 1953 model 137, teak and wool with brass fittings, 72cm high, 127cm wide, 68cm deep (28.3in high, 50in wide, 26.8in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-29 (illustrated).

£800-1,200

22 FINN JUHL (DANISH 1912-1989) FOR FRANCE & DAVERKOSEN SIDE TABLE, CIRCA 1950S model FD531, teak, ‘France and Son’ label, ‘FRANCE AND SON / DENMARK / 36060’ 39.5cm high, 59.5cm wide, 42.5cm deep (15.5in high, 23.4in wide, 16.7in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-26 (illustrated).

£300-500

“

”

Art has always been my main source of inspiration. I am fascinated by shapes which defy gravity and create visual lightness Finn Juhl

23 FINN JUHL (DANISH 1912-1989) FOR KAY BOJESEN BOWL, DESIGNED 1951 teak, stamped ‘DESIGN / FINN JUHL / TEAK’ 17cm high, 36.5cm wide, 34cm deep (6.75in high, 14.3in wide, 13.3in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-28 (illustrated).

£1,500-2,500

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

DENMARK: DESIGN

24 FINN JUHL (DANISH 1912-1989) FOR SØREN WILLADSEN MØBELFABRIK CHAIR, DESIGNED 1956 model 96, teak and rattan upholstery, with metal fittings 78cm high, 75cm wide, 66cm deep (30.7in high, 29.5in wide, 26in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-30 (illustrated).

£1,500-2,500

25 FINN JUHL (DANISH 1912-1989) FOR FRANCE & SØN CHAIR, DESIGNED 1959 model FD192, teak and vinyl seat, makers label ‘AF FRANCE / 6255671’ 83cm high, 70cm wide, 58cm deep (32.6in high, 27.5in wide, 22.8in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-31 (illustrated).

£600-800

26 TOVE & EDVARD KINDT-LARSEN (1906-1994 & 1901-1982) FOR FRANCE & DAVERKOSEN ARMCHAIR, DESIGNED 1956 model 117, oak, teak, and wool upholstered cushions, branded mark ‘FRANCE AND DAVERKOSEN’ 72.5cm high, 68cm wide, 74cm deep (28.5in high, 26.8in wide, 29in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-54 (illustrated).

£400-600

27 KAREN & EBBE CLEMMENSEN (DANISH, 1917-2001 & 1917-2003) FOR FRITZ HANSEN TWO SAFARI ARMCHAIRS, DESIGNED 1959 model 4305, ash with original wool upholstery, leather star arms, with brass fittings, applied foil label (2) 72.5cm high, 61.5cm wide, 66cm deep (28.5in high, 24.2in wide, 26in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-55 (one illustrated).

£700-900

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

DENMARK: DESIGN

BØRGE MOGENSEN 28 BØRGE MOGENSEN (DANISH 1914-1972) FOR FREDERICIA STOLEFABRIK ARMCHAIR, DESIGNED 1967 model 2225, oak and leather 76cm high, 69cm wide, 73cm deep (30in high, 27in wide, 28.7in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-8 (illustrated).

£600-800

29 BØRGE MOGENSEN (DANISH 1914-1972) FOR FREDERICIA FURNITURE TABLE, DESIGNED 1965 model 284, oak 70cm high, 180cm wide, 89cm deep (27.5in high, 70.8in wide, 35in deep)

£300-500

30 BØRGE MOGENSEN (DANISH 1914-1972) FOR FDB FIVE CHAIRS, DESIGNED 1947 model J39, beech and oak, unmarked (5) 77cm high, 49cm wide, 40cm deep (30.3in high, 19.3in wide, 15.7in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-7 (one chair illustrated).

£500-700

GEORG JENSEN

31 GEORG JENSEN (DANISH 1866-1935) ‘BLOSSOM’ TUREEN, CONCEIVED 1905 model 2C, silver, stamped with manufacturer’s mark and ‘925S / DENMARK / STERLING / 2A’, import marks for 1937 12cm high, 32cm wide (4.75in high, 12.6in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 2-7 (illustrated).

£2,000-3,000

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

DENMARK: DESIGN

32 ARNO MALINOWSKI (DANISH 1899-1976) FOR GEORG JENSEN BROOCH, CIRCA 1944 model 5001c, iron and silver, stamped artist’s monogram and ‘GEORG JENSEN 5001C’; together with a Kinmark Resistance Medal, circa 1940, silver and enamel, commemorating Danish King Christian X’s 70th Birthday, stamped ‘925’ (2) brooch 4.2cm wide (1.7in wide); the medal 3cm high (1.2in high) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 2-9 and 2-10 (illustrated). Brooch 5001c was produced during the war years when silver was scarce due to the allied blockade. Consquentely Jensen had to be creative in its use of materials during this period, finding new ways to create jewellery whilst using as little silver as possible.

£200-300

33 NANNA & JØRGEN DITZEL (DANISH 1923-2005 & 1921-1961) FOR GEORG JENSEN BLACK PEARL AND SHELL BROOCH, DESIGNED 1957 model 328, silver and hematite, stamped manufacturer’s marks, ‘STERLING DENMARK / 328 / NJ’ and import marks for 1961; and ring, model 92, stamped with manufacturer’s mark and ‘STERLING DENMARK / 92’ (2) the brooch 5.3cm wide (2.1in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-81 and 3-82 (illustrated).

£200-300

34 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN THREE BROOCHES models 322, 323 and 327, silver, one with black enamel, each stamped with manufacturer’s marks, model number, ‘STERLING / DENMARK’, and with import marks (3) 4.5cm wide (1.75in wide), 6cm wide (2.3in wide) and 6cm wide (2.3in wide) respectively Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-75, 3-78 and 3-79 (illustrated).

£400-600

VIVIANNA TORUN BÜLOWHÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN PAPER KNIFE, 1989 silver, stamped manufacturer’s mark and ‘925S / DENMARK / TORUN’ and engraved ‘ATLAS INDUSTRIES A/S / 22.10.87 - 21.10.96’ 23cm wide (9in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 4-5 (illustrated).

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

36 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN ‘SPLASH’ EARRINGS, DESIGNED 1965 model 1118, gold, each stamped manufacturer’s marks, ‘750 / DENMARK / 1118’ and with import marks each 3.2cm high (1.25in high) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-80 (illustrated).

£600-800

37 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BROOCH, DESIGNED 1947 model 306, silver and blue enamel, stamped manufacturer’s mark, ‘STERLING / DENMARK / HK / 306’ 5cm wide (2in wide) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-73 (illustrated).

£200-300

38 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BROOCH, DESIGNED 1954 model 314, silver and dark red enamel, stamped manufacturer’s mark and ‘925S DENMARK / HK /314’ 7cm long (2.75in long) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-76 (illustrated).

£250-350

39 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BROOCH, DESIGNED 1947 model 307, silver and mottled purple enamel, stamped ‘GEORG JENSEN & WENDEL / STERLING / DENMARK / HK / 307’ 6.4cm wide (2.5in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-47 (illustrated).

£200-300

40 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BROOCH, DESIGNED 1954 model 315, silver and green enamel, stamped with manufacturer’s mark and ‘STERLING DENMARK / HK / 315’ 4.3cm wide (1.7in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-77 (illustrated).

£250-350

DENMARK: DESIGN

HENNING KOPPEL

41 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN ‘CARAVEL’ FLATWARE SET, DESIGNED 1957 silver, stainless steel and plastic, comprising three forks, four knives, two spoons and pair of salad servers, each stamped with manufacturer’s mark and ‘STERLING / DENMARK’, one fork with import marks (10) the salad servers 29cm long (11.3in long) and the largest spoon 22cm long (8.7in long) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-83 and 3-84 (illustrated).

£500-700

42 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN THREE ‘TAVERNA’ SAUCEPANS AND CASSEROLE, DESIGNED CIRCA 1971 copper and steel, each stamped ‘GEORG JENSEN DESIGN / HK / DENMARK’ (4) the largest 47cm wide (18.5in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-86 (illustrated).

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

43 JENS QUISTGAARD (DANISH 1919-2008) FOR DANSK INTERNATIONAL DESIGNS ICE BUCKET, SALAD BOWL SET AND CANDLE HOLDERS, DESIGNED CIRCA 1960 the ice bucket, teak and plastic, stamped ‘STAVED TEAK / DANMARK / JHQ’; the bowl, teak, stamped ‘DANSK / DESIGNS / DENMARK / JHQ’; ‘Crown’ candle holder, steel, marked ‘DANSK DESIGNS / JAPAN’ and two further cast iron candle holders, each stamped with manufacturer’s marks (5) ice bucket 48.3cm high (19in high); the bowl 11cm high, 23cm wide (4.3in high, 9in wide); the steel candle holder 8cm high (3.1in high, the larger cast iron candle holder 18cm wide (7in wide) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-66, 3-67, 3-69, 3-70 and 3-71 (illustrated).

£200-300

44 JACOB JENSEN (DANISH 1926-2015) FOR BANG & OLUFSEN ‘BEOGRAM 1200’ RECORD PLAYER, DESIGNED 1969 aluminum, plastic, and wood; ‘Beomaster 1200’ FM Tuner, no 12964/Ampliﬁer no 52948, 11.5cm high (4.5in), 44cm wide (17.25 in); ‘Beogram 4000’ Record Player, no 132920, designed 1972, 9.5cm high (3.75in) 48cm wide (18.8in); and ‘BeoVox 1702’ speakers 53245 and 53240, designed 1972, 33.5cm high (13.25in), 18cm wide (7in) (4) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-59a, 3-59b, 3-61 (illustrated). Speakers not illustrated.

£300-500

DENMARK: DESIGN

ARNE JACOBSEN 45 ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN SCHOOL DESK, DESIGNED 1955 beech moulded plywood, chromed steel and formica 72.5cm high, 61cm wide, 51cm deep (28.5in high, 24in wide, 20in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-14 (illustrated).

£300-500

46 ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN FIVE CHAIRS comprising ‘Series 7’ chair, designed 1955, dated 1967, model 3107, laminated oak, produced 1967, stamped ‘FH / BY FRITZ HANSEN / MADE IN DENMARK 1967’; two model 3105 chairs, designed 1955, one in teak, the other beech ply and chromium plated steel legs, teak stamped ‘FH DANMARK’, beech with paper label ‘FH MADE IN DENMARK BY FRITZ HANSEN / 0463’; two model 3103 chairs, designed 1955, teak and moulded plywood and ribbed plastic covered steel legs, both with paper label ‘FH BY FRITZ HANSEN / MADE IN DENMARK / 1065’ (5) Series 7 Chair: 78cm high (30.5in high); Model 3105 Chairs: 77cm high (30.3in high); Model 3103 Chairs: 78cm high (30.7in high) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-9, 3-11, 3-12, 3-13 (one example of each chair illustrated).

£400-600

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

47 ARNE JACOBSEN (DANISH 1902-1971) ‘CITRONER’ TEXTILE woven viscose, marked ‘CITRONER / KOMP / ARNE JACOBSEN’ to the selvedge 200cm high, 129cm wide (78.5in high, 50.5in wide) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 2-19 (illustrated).

£200-300

48 ARNE JACOBSEN (DANISH 1902-1971) TABLE, DESIGNED 1958 ebonised wood and aluminium 47cm high, 58cm diameter (18.5in high, 22.8in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-17 (illustrated).

£200-300

49 ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN ‘SWAN’ CHAIR, DESIGNED 1957-58 marked ‘FH / Made in Denmark by Fritz Hansen / 0467’, aluminium and wool upholstery 75cm high, 75.5cm wide, 51cm deep (29.5in high, 29.7in wide, 20in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-16 (illustrated).

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

DENMARK: DESIGN

50 § ROBERT JACOBSEN (DANISH 1912-1993) TWO ABSTRACTS one signed and inscribed ‘E.A.’ in pencil (in the margin), the other unsigned, silkscreen (2) the sheets 63cm x 85cm (24.75in x 33.5in) and 60.5cm x 85.5cm (23.75in x 33.5in) respectively Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-40 (one illustrated).

£200-300

51 ARNE JACOBSEN (DANISH 1902-1971) FOR ANTON MICHELSEN FLATWARE SERVICE stainless steel, stamped ‘A. MICHELSEN / STAINLESS / DENMARK’ and with artist’s monogram, comprising pair of salad servers, 10 large forks, 16 medium forks, 7 small forks, 13 knives (unmarked), 10 small knives, 6 large spoons, 7 medium spoons, 13 small spoons, 6 further spoons (boxed), 6 soup spoons and 3 further spoons (97) the salad servers 32cm long (12.5in long)

£400-600

52 POUL HENNINGSEN (DANISH 1894-1967) FOR LOUIS POULSEN THREE PENDANT LIGHTS model PH5, and two model PH4/3, aluminium, the latter two each with manufacturer’s label (one partial) (3) 22cm high, 51cm diameter (8.6in high, 20in diameter) and 19cm high, 40cm diameter (7.5in high, 15.7in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-44 and 3-46 (illustrated). Only one PH4/3 illustrated.

£300-500

53 POUL HENNINGSEN (DANISH 1894-1967) FOR LOUIS POULSEN ‘PH CONTRAST’ PENDANT LIGHT, DESIGNED 1958-62 aluminium, with paper manufacturer’s label 36cm high, 44cm diameter (14in high, 17.3in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-45 (illustrated).

£400-600

54 NANNA DITZEL (DANISH 1923-2005) FOR ODDENSE MASKINSNEDKERI CHAIR, DESIGNED 1969 model OD-5301-2, fibreglass 78cm high, 55cm wide, 48cm deep (30.7in high, 21.6in wide, 18.9in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-51 (illustrated).

£300-500

DENMARK: DESIGN

55 POUL HENNINGSEN (DANISH 1894-1967) FOR LOUIS POULSEN ‘PH ARTICHOKE’ PENDANT LIGHT, DESIGNED 1957/8 copper and aluminium, with circular metal manufacturer’s ‘500 W max’ tag 65cm high, 84cm diameter (25.2in high, 33in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-43 (illustrated).

£2,000-3,000

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

VERNER PANTON

“

The main purpose of my work is to provoke people into using their imagination. Most people spend their lives... mortally afraid of using colours. By experimenting with lighting, colours, textiles, furniture and...the latest technologies, I try to show new ways to encourage people to use their fantasy and make their surroundings more exciting

”

56 VERNER PANTON (DANISH 1926-1998) FOR VITRA ‘HEART CONE’ CHAIR, DESIGNED 1959 with ‘Vitra’ label (under the seat pad), stainless steel and wool 89.5cm high, 103cm wide, 60cm deep (35in high, 40.5in wide, 23.6in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-47 (illustrated).

£800-1,200

DENMARK: DESIGN

57 VERNER PANTON (DANISH 1926-1998) FOR LOUIS POULSEN TWO ‘FLOWERPOT’ PENDANT LIGHTS, DESIGNED 1968 model VP2, enamelled steel, with manufacturer’s paper labels (2) 15cm high, 21.5cm diameter (5.9in high, 8.5in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-50 (illustrated).

£300-500

VERNER PANTON (DANISH 1926-1998) FOR LOUIS POULSEN

VERNER PANTON (DANISH 1926-1998) FOR THONET

THREE ‘FLOWERPOT’ PENDANT LIGHTS, DESIGNED 1968

CHAIR, DESIGNED 1965

model VP2, enamelled steel, two with manufacturer’s paper labels (3)

74cm high, 64.5cm wide, 58cm deep (29.1in high, 25.4in wide, 22.8in deep)

model 271F, lacquered and moulded plywood, bears traces of paper label

15cm high, 21.5cm diameter (5.9in high, 8.5in diameter)

Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-48 (illustrated).

£300-500

£400-600

60 VERNER PANTON (DANISH 1926-1998) TWO ‘PANTON’ CHAIRS, DESIGNED 1967 produced 1974 and 1976, molded plastic (2) each 83cm high, 48cm wide, 50cm deep (32.6in high, 18.9in wide, 19.7in deep) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-49a and 3-49b (illustrated).

£250-350

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

61 PER LÜTKEN (DANISH 1916-1998) FOR HOLMEGAARD GLASSWORKS FIVE ‘CARNABY’ VASES AND PITCHER, DESIGNED 1968 yellow glass, one with paper manufacturer’s label (6) the tallest vase 30.5 high (12in high) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 388b (illustrated).

£300-500

62 PER LÜTKEN (DANISH 1916-1998) FOR HOLMEGAARD GLASSWORKS FIVE ‘CARNABY’ VASES AND PITCHER, DESIGNED 1968 red glass, two with paper manufacturer’s labels (6) the tallest 26cm high (10.25in high) Literature: Denmark: Design (Exh. Cat.), cocurated by Design Museum Danmark, Brain Trust Inc., 2017, no. 388a (illustrated).

£300-500

63 HERBERT KRENCHEL (DANISH 1922-2014) FOR TORBEN ØRSKOV CO. A/S FIVE KRENIT BOWLS, DESIGNED 1954 enamelled metal, one stamped with ‘KRENIT DENMARK’ mark (5) the largest 12cm high, 38.5cm diameter (4.75in high, 15.1in diameter) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-90 (illustrated).

£200-300

DENMARK: DESIGN

64 POUL KJAERHOLM (DANISH 1929-1980) FOR E. KOLD CHRISTENSEN EASY CHAIR, DESIGNED 1955 model EKC-22, steel and leather, applied foil label, stamped manufacturer’s mark to frame 74.3cm high, 63.5cm wide, 45cm deep (29.2in high, 25in wide, 17.7in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-41 (illustrated).

£700-900

65 POUL KJAERHOLM (DANISH 1929-1980) FOR E. KOLD CHRISTENSEN TABLE, DESIGNED 1956 model EKC-61, slate and chrome steel, the steel frame stamped with manufacturer’s mark 33cm high, 84cm wide, 84cm deep (13in high, 33in wide, 33in deep) Literature: Denmark: Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-42 (illustrated).

£1,000-2,000

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

DENMARK: DESIGN

66 § LOU ALBERT-LASARD (FRENCH 1885-1969) THE CAN-CAN DANCER Signed (lower left), pencil, watercolour and body colour on brown paper 31cm x 24.5cm (12.25in x 9.5in)

£1,500-2,000

67 THÉRÈSE LESSORE (BRITISH 1884-1945) THE SINGER, 1920 Signed and dated (lower right), pen, ink and watercolour 29cm x 20.3cm (11.5in x 8in) Provenance: Albert Dawson Educational Trust; The Peter Rose and Albert Gallichan Collection, Brighton, UK.

£600-800

68 HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) HEAD STUDY crayon on paper the sheet 26cm x 20cm (10.1in x 7.9in) Provenance: Part of a large group of works by Gaudier-Brzeska acquired by H. S. Ede from the Government in 1927, and sold by him circa 1970; Nick Lott late 1980s.

£2,000-3,000

69 HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) FIGURES IN RIVER, CIRCA 1912-2 pen and ink on paper 22cm x 28.3cm (8.6in x 11.1in) Provenance: Part of a large group of works by Gaudier-Brzeska acquired by H. S. Ede from the Government in 1927, and sold by him circa 1970; Nick Lott late 1980s.

£3,000-5,000

70 § DAME LAURA KNIGHT R.A. (BRITISH 1877-1970) BALLERINA MOVEMENT Signed (lower left), black chalk 25cm x 35cm (10in x 13.75in) Provenance: Private Collection, Gloucestershire.

£1,200-1,800

71 § DAME LAURA KNIGHT R.A. (BRITISH 1877-1970) BALLET DRESSING TABLE Signed and inscribed with title (lower right), pencil and charcoal 25cm x 36cm (10in x 14in) A fairly precise study for a fully worked up painting. The ballet dressing room was a favourite theme of Knight’s which she explored in oil and print.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

THE LONG RANGE BOMBARDMENT OF DUNKIRK, CIRCA 1918

his major work is the long-lost The Long Range Bombardment of Dunkirk which has recently come to light in a private collection. As Elizabeth Knowles has explained ‘Ernest [Procter] made relatively few major oil paintings of war subjects, perhaps the most notable being The Long Range Bombardment of Dunkirk from sketches and notes made on the spot. (Elizabeth Knowles, ‘Ernest Procter ARA 1886-1935’, Dod Procter RA 1892-1982 and Ernest Procter ARA 1886-1935, Laing Art Gallery, Newcastle-upon-Tyne, 1990, p. 32).

from the period (see the catalogue entry at www.lyonandturnbull. com for links to further information).

Ernest Procter was born in Tynemouth, Northumberland into a Quaker family. He trained at Leeds Art School and then under Stanhope Forbes in Newlyn, where he met the artist Doris ‘Dod’ Shaw (1890-1972). They furthered their studies at the Académie Colarossi in Paris and married in 1912; Dod was thereafter known by her married name and their son Bill was born the following year. The couple worked and exhibited together, most significantly on the decoration of the Kokine Palace, Rangoon, Burma in 1919-20 and in joint exhibitions held at The Fine Art Society and the Leicester Galleries in 1913 and 1926 respectively.

Long Range Bombardment of Dunkirk is thought to be an extraordinarily personal and direct account of the major German offensive against the French city which took place over 20 to 23 March 1918, culminating in the use of a German long-range gun situated twenty miles away. Indeed, the painting could act as an illustration of the diary entry for 24 March 1918 written by Procter’s friend Molly Evans (1890-1974), who served as a Voluntary Aid Detachment nurse with the Friends’ Ambulance Unit based in the local Queen Alexandra Hospital. This concludes ‘unending stream of sorting people, carrying bedsteads, personal belongings, mixed up. Glorious sunny day. Queer scene. Frenchmen, lunatics, Chinese carrying things on bamboo sticks, nuns, English sisters, patients, officers, orderlies, all collecting ‘goods’, a procession of Chinese carrying 7 coffins through it all. Crashing shells at intervals. A weary & never-to-be-forgotten day.’ (see the catalogue entry at www.lyonandturnbull.com for links to further information).

Following the Procters’ return from Burma, Ernest established an art school in Newlyn with Harold Harvey (1874-1971), which they ran until the mid-1920s. Procter played a leading role in the Cornish art world, whilst maintaining a high profile in London. He was a member of the St Ives Society of Artists and Newlyn Society of Artists, joined the New English Art Club in 1929 and was elected an Associate Member of the Royal Academy three years later. He was best known for the allegorical figure compositions and landscapes which were regularly shown in group exhibitions such as those at the Royal Glasgow Institute, Royal Hibernian Academy and the International Society of Sculptors, Painters & Gravers. In 1934, Procter was appointed Director of Studies in Design and Craft at Glasgow School of Art, but he died the following year. Memorial exhibitions were mounted at the Leicester Galleries and Laing Art Gallery, Newcastle.

Seen from the point of view of the fleeing civilians whom Procter was in the region to aid, he depicts the nearby dunes strewn with refugees and members of the military, streaming away from the city which burns in the background. The towers of the church of Saint Éloi and the town hall are visible in the skyline – of which an annotated sketch is in the Imperial War Museum’s archive (War Artist Archive: Ernest Procter, ART/WA1/298, ‘Belgium misc’ portfolio). The image is full of sensitively observed human relationships, between adults and children of all ages, interspersed with animals. Children play whilst grown-ups survey the scene before them, overlooked by a cross on a dune to the upper left, which may refer to Christ’s crucifixion at Calvary. Sunshine and shadow are captured over the flow of the dunes, whilst a use of bold colour, including red, green, pink and orange, attracts the eye throughout the complex composition.

In line with his religious beliefs, Procter The importance of Long Range Bombardment declared himself a conscientious objector of Dunkirk was recognised immediately. It on the outbreak of World War One. The was reproduced in colour and singled out for Friends’ Ambulance Unit was established soon extensive praise in an article about Ernest and afterwards by a group of young Quakers, as a Dod Procter in Colour of April 1919, in which means for civilian volunteers to contribute to its author wrote that, despite the tragedy of its the war effort in a non-violent way. The Unit subject matter: travelled to Dunkirk in October 1914 under the Ernest Procter in his Friends’ ‘I…consider his “Long Range Bombardment of auspices of the British Red Cross Society and Dunkirk” a really remarkable picture…To begin the Order of St John of Jerusalem. Procter’s Ambulance Unit uniform. with, it is extraordinarily attractive at the first personnel records reveal that he joined it on Image © Britain Yearly Meeting glance. The eye taking in the whole picture 11 April 1916, arrived in Dunkirk on 12 June at once is fascinated by its arrangement of 1916 and served until his demobilisation on colour patterns: there is something Japanese 2 February 1919 (see the catalogue entry at in its composition and even in its colour. Once attracted the eye www.lyonandturnbull.com for links to further information). His begins to inform the mind and the mind browses over every square duties included care of the wounded, ambulance maintenance and inch, taking in every anecdote, every pictorial detail, wondering quartermaster tasks. He also designed and decorated Red Cross how it was possible to combine so much pure art with so much huts and camp entertainment, whilst recording his experiences in pure story – and every artist must be delighted with the ingenious sketches, drawings and paintings as circumstances permitted. manner in which he has contrived to make the many-figured whole Towards the end of the war, Procter applied to the Ministry of hang together as one thing. He comes near to Peter Brueghel in Information for a permit to depict the work of the Red Cross on the his incidents, but Peter Brueghel could not have reached him in Western Front. He was engaged under Scheme 3 of the British War composition. This Bombardment I say again is a remarkable picture.’ Memorials Committee, whereby in return for facilities, Procter was (“TIS”, ‘About Dod & Ernest Procter’, Colour, April 1919, vol. 10, no.3, to offer the first option on all the work he made to the committee, p. 51 (illustrated) & p.52). with no salary or expenses. His permit was granted in November Procter was to develop the narrative richness, orchestration of 1918. This gave him just a few months before demobilisation to complex figure groups and skilful use of colour seen in this work produce the work he carried out for the Royal Army Medical Corps in further major paintings created after his return to Cornwall, section and was presented for approval in February 1919; six including On the Beach at Newlyn, 1919 and Cornish Beach Scene, watercolours were acquired and are now in the collection of the c.1922, both in private collections. His work is held in numerous Imperial War Museum. They are held alongside a significant number public collections. of Procter’s World War One drawings and one of his sketchbooks

72 ERNEST PROCTER A.R.A. (BRITISH 1885-1935) THE LONG RANGE BOMBARDMENT OF DUNKIRK, CIRCA 1918 signed, indisctinctly dated and inscribed ‘FRANCE’ (lower right), oil on canvas 49cm x 59.5cm (19.3in x 23.4in) Literature: TIS, ‘About Dod & Ernest Procter’, Colour, April 1919, vol. 10, no.3, p. 51 (illustrated)

£10,000-15,000

73 ERNEST PROCTER A.R.A. (BRITISH 1885-1935) LANDSCAPE, 1915 signed and dated (lower left), oil on canvas, and with harbour scene to the reverse of canvas 49cm x 59.5cm (19.3in x 23.4in)

£1,000-1,500

74 § HAROLD KNIGHT (BRITISH 1874-1961) CLIFFTOP VIEW, LAND’S END signed (lower left), oil on canvas 74.5cm x 58.5cm (29.3in x 23in)

£10,000-15,000

Knight was born in Nottingham. He trained at Nottingham School of Art where he met Laura Johnson (1877-1970) - and in various Parisian ateliers. The couple spent time in the community of artists based at Staithes, a fishing village in Yorkshire before marrying in 1903; thereafter Laura established an international reputation under her married surname. After travelling in the Netherlands and exhibiting in London together, the Knights moved to Cornwall in 1907. They became key figures in the ‘Newlyn School’ and, despite moving to London in 1919, regularly returned to paint in Cornwall. Following the outbreak of World War One, Knight registered as a conscientious objector and worked as an agricultural labourer. After the war he became known for his portraits, interiors and landscapes, which he showed in group exhibitions including at the Royal Academy from 1896 until 1961; he was elected a member in 1937 and was President of the Nottingham Society of Artists between 1936 and 1945. The Knights were based in Malvern, Worcestershire during World War Two, with Knight dying nearby in 1961.

Clifftop View, Land’s End is a beautiful example of the images Knight painted of the Cornish coast, in this case the most westerly part of mainland England. Knight’s high viewpoint does full justice to the dramatic granite cliffs, leading the eye from the detailed foreground to the high horizon in the distance. Waves follow the contours of invisible coves and bays on which bright sunshine and dense shadow play. Knight’s excellent draughtsmanship and sensitivity to colour and tone is clear. It bears witness to the declaration in a 1921 article in The Studio about Harold and Laura Knight’s work that the former ‘has devoted himself to the study of the effect of daylight, both in the open and indoors and he has mastered the difficulties created by the subtle variations of tone and colour due to the pervading light. This enables him to introduce into his pictures delicate and beautiful tone-gradations without sacrificing the brilliancy and freshness of his colour-schemes.’ (Ernest G. Halton, ‘Foreword’, Modern Paintings Number One: The Work of Laura and Harold Knight, The Studio Ltd, London, 1921, p. 5).

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

75 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) STUDY OF MRS BETTY JOEL (LA BELLE JUIVE) signed in pencil (upper right), pencil on paper 47cm x 52cm (18.5in x 20.5in)

£1,500-2,000

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

£1,500-2,000

77 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) FIRST PORTAIT OF KITTY (WITH CURLS), CONCEIVED 1944 Bronze with brown patina 37cm high (14.5in high) (excluding base) Provenance: The Estate of Dr Renate Davis; Private Collection, UK. Literature: Silber, Evelyn, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.195, cat. no. 356 (plaster cast illustrated).

£5,000-8,000

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

78 § MARGARET THOMAS (BRITISH 1916-2016) GREENWICH: OLD ROYAL OBSERVATORY FROM THE QUEEN’S HOUSE ROOF artist’s label and titled (to reverse), mixed media on board 34.5cm x 70cm (13.5in x 27.5in)

£700-1,000

79 § MARGARET THOMAS (BRITISH 1916-2016) KENWOOD HOUSE FROM ACROSS THE LAKE, 1950 monogrammed and dated (lower left), oil on board 34.25cm x 44.5cm (13.5in x 17.5in) Provenance: Ernest Brown & Phillips Ltd., The Leicester Galleries, London, 1950.

£700-1,000

Right Lot 92 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

MOTHER, FATHER, SISTER:

THREE ARTISTS FROM THE NICHOLSON FAMILY

The following works from a private

Buckinghamshire to the painters William

Beaux Arts and Lefevre Galleries. The

collection provide a unique insight

Nicholson (1872-1949) and Mabel Pryde

couple’s first son, Jake, was born in 1927,

into the acclaimed Nicholson family of

Nicholson (1871-1918) and briefly

followed by Kate in 1929 and Andrew in

artists. They are by Winifred, Ben and

attended the Slade School of Fine Art.

1931. Ben and Winifred separated some

Kate Nicholson, the mother, father and sister respectively of Jake Nicholson, who acquired them directly from their creators.

Winifred and Ben spent much of the 1920s between Lugano, London and Cumberland. In 1923 they purchased

months afterwards and despite a divorce of 1938, corresponded regularly until her death in 1981.

Bankshead, a Cumbrian farmhouse

Kate Nicholson (1929-2019) studied

Rosa Winifred Roberts (1893-1981) was

which was to remain Winifred’s base

at Camberwell School of Arts and

born in Oxford and trained at the Byam

for the rest of her life. Its surroundings

Crafts, Cumbria College of Art and

Shaw School of Art in London. She met

can be seen in Ben’s drawing View from

Design and Bath Academy of Art at

Ben Nicholson (1894-1982) in 1920 and

Bankshead Looking East (lot 90). They

Corsham Court. Moreover, the lifelong

they married later that year; thereafter

worked and exhibited together, including

example and guidance of her parents

she was primarily known as Winifred

with the Seven and Five Society (later

was critical to her development as an

Nicholson. Ben was born in Denham,

known as the 7 & 5 Society) and at the

artist. For instance, early in her career

Kate stayed with Ben in St Ives in 1955,

of Arts and London Group, he was

demonstration of the division of light

before moving into her own house

appointed to design roles at Edinburgh

into the colour spectrum which informed

and studio nearby. She also undertook

Weavers and the P&O shipping company.

much of her practice.

multiple painting trips with Winifred

They were followed by the establishment

to countries including Greece, Tunisia

of his own company, Foursquare Designs,

and Morocco. The inspiration which

with a focus on curtain fabrics. Later

her mother found in the colour, light,

in life Jake became a Liberal Democrat

landscape and history of Greece is clear

councillor and resumed painting and

in Winifred’s drawings from their trips,

exhibiting in earnest.

offered here. Furthermore, Kate had two solo exhibitions at LYC Museum and Art Gallery in Brampton, Cumbria, which was established in 1971 by Winifred with the artist Li Yuan Chia. Kate’s painting hunting grave stone (lot 93) was included in the Brampton exhibition of 1981, the year after it was made.

Of particular importance, personally and art historically, is Oh Boy! (lot 91), which Ben made for Jake in about 1933 during a key period in his career. On an intimate scale perfect for a young child, it reveals their common sense of humour, as well

The works in this collection speak of

as many of the developments which were

Jake’s relationships with his parents and

to lead to the creation of Ben’s ground-

sister. Jake and Kate on the Beach (lot

breaking reliefs of the period. The latest

82) is a tender portrait by Winifred of

work in the collection by Ben, 4 Forms (lot

her two oldest children. They are seen

89) dates from the year before his death.

happily playing in the sand, grains of which Winifred applied to the work’s surface. The love of nature which Jake

Jake Nicholson (1927-2003) trained at

shared with his mother is represented

the Architectural Association in London

by her sensitive painting Two Birds (lot

and alongside Kate at Corsham. Having

85) and the drawing Rainbow over the

exhibited with groups including the

Sea (lot 87). Rainbows were a particular

Carlisle Art Society, Penwith Society

source of fascination for Winifred as a

Jake took a keen interest in the work of his mother, father and sister throughout his life. He supported their exhibitions and championed their achievements in lectures, articles and interviews. Above all, he found their work a joy to live with.

80 §

Winifred Nicholson and her daughter Kate visited Greece

WINIFRED NICHOLSON (BRITISH 1893-1981)

for the first time in 1960. They returned for extensive

TEMPLE IN GREEK LANDSCAPE AND MOUNTAIN SCENE (DOUBLE-SIDED) / TWO GREEK TEMPLES

painting trips every year until 1967. Winifred wrote to Jake

pastel on cream paper (double-sided) and pastel on green paper, both unframed (2)

attraction for her: ‘The sunshine is very wonderful and

30.2cm x 45.5cm (11.8in x 17.8in) and 24.4cm x 34.6cm (9.6in x 13.6in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£300-500

from Delphi in 1961 explaining something of the country’s the colour of everything is marvellous…The sea is emerald near land and then aquamarine, so transparent you can see golden, gleaming transparencies to the very depths, possibly buried sunken treasure…The hills which look brown bare from the bus, when you tread on them are wild flowers, perfume of honey and thyme, like a carpet – every kind and colour of flowers and all wonderful shapes, clear and definite like everything in Greece.’ (letter of 1 May 1961 quoted in Andrew Nairne and Elizabeth Fisher, Winifred Nicholson: Music of Colour, Kettle’s Yard, Cambridge, 2012, unpaginated).

81 § WINIFRED NICHOLSON (BRITISH 1893-1981)

Winifred worked en plein air in Greece, often using bright

PILLAR IN GREEK LANDSCAPE / GREEK LANDSCAPE WITH TERRACES

pastels and crayons to capture the sense of natural beauty

pastel on grey paper and pastel on cream paper, both unframed (2)

like The Argive Twins Descend (lot 84) and Agamemnon and

30cm x 45.5cm (11.5in x 17.8in) and 35.2cm x 50.6cm (13.8in x 20in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£1,000-1,500

and presence of ancient history which she felt there. Works Clytemnestra (lot 83) illustrate her deep interest in Greek mythology, as revealed in a significant yet less well-known strand within her practice.

MOTHER, FATHER, SISTER: THREE ARTISTS FROM THE NICHOLSON FAMILY

82 § WINIFRED NICHOLSON (BRITISH 1893-1981) JAKE AND KATE ON THE BEACH, EARLY 1930S oil and sand on canvas 35.5cm x 40.8cm (14in x 16in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Winifred and Ben Nicholson’s children, Jake, Kate and Andrew, were born in 1927, 1929 and 1931 respectively. This is one of a series of important portraits which Winifred painted of her elder children after she and Ben had separated; others include Jake and Kate on the Isle of Wight, 1931, National Galleries of Scotland and The Artist’s Children, Jake and Kate, at the Isle of Wight, c.1931, Bristol Museum & Art Gallery. Here, Kate is depicted in profile, smiling as she holds out her arms in a game. Jake is viewed from behind, his spade laid down in front of him. The tide is low and the boundaries of the fields nearby come together in the centre of the hill in the middle distance. A keen sense of place is heightened by the inclusion of sand in the surface of the painting, which glitters and adds a sensory layer to the idyllic scene of childhood. This work may have been painted during a holiday on the Northumberland coast in 1933.

£12,000-18,000

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

83 § WINIFRED NICHOLSON (BRITISH 1893-1981) AGAMEMNON AND CLYTEMNESTRA mixed media on paper laid on card 53.3cm x 67.3cm (21in x 26.5in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Literature: Andreae, C., Winifred Nicholson, Lund Humphries, Farnham, 2009, p. 175 (illustrated in colour fig. 169) In Greek mythology Agamemnon was the king of Mycenae. His wife Clytemnestra was the sister of Helen of Troy.

£1,500-2,000

84 § WINIFRED NICHOLSON (BRITISH 1893-1981) THE ARGIVE TWINS DESCEND, 1967 gouache and pastel on paper 53cm x 76cm (20.8in x 29.8in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner

£3,000-5,000

MOTHER, FATHER, SISTER: THREE ARTISTS FROM THE NICHOLSON FAMILY

85 § WINIFRED NICHOLSON (BRITISH 1893-1981) TWO BIRDS oil on canvas 26.5cm x 40.5cm (10.5in x 16in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Winifred Nicholson took a delight in birds, particularly those in flight as seen in this intimate work. Deftly painted, the birds are observed in the midst of daffodils, pecking at the ground and at the point of flying away.

£6,000-8,000

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

86 § WINIFRED NICHOLSON (BRITISH 1893-1981) STUDY FOR ‘SERPENT VOTARIES’, EARLY 1960S / TURQUOISE FLOWERS AND OTHER STUDIES AND FISH DETAIL AND OTHER STUDIES (DOUBLE-SIDED) crayon on cream paper and crayon on cream paper (double-sided), both unframed (2) 35.4cm x 50.6cm (14 x 19.8in) and 35.6cm x 50.8cm (13.75in x 20in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Study for ‘Serpent Votaries’ is related to the watercolour Serpent Votaries of 1963, on loan to Pallant House Gallery, Chichester from a private collection.

£300-500

87 § WINIFRED NICHOLSON (BRITISH 1893-1981) RAINBOW OVER THE SEA pastel on paper 41cm x 55.8cm (16.15in x 22in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£1,000-1,500

88 § WINIFRED NICHOLSON (BRITISH 1893-1981) FLOWERING TREE / DONKEYS AT A WELL / BRANCH WITH FLOWERS pastel on cream paper / pastel on cream paper / inscribed (lower left), crayon on cream paper respectively, all unframed (3) 36.8cm x 49.4cm (14.5in x 19.5in); 35.3cm x 50.6cm (13.8in x 22 in) and 37.8cm x 50.4cm (14.75in x 19.75in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

MOTHER, FATHER, SISTER: THREE ARTISTS FROM THE NICHOLSON FAMILY

89 § BEN NICHOLSON O.M. (BRITISH 1894-1982) 4 FORMS, 1981 ink and wash on irregularly-shaped paper laid on artist’s prepared board sheet 16.2 x 32.2cm (6.25in x 12.75in) maximum dimensions; board 28.6cm x 45.8cm (11.25in x 18in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Exhibited: London, Waddington Galleries, Ben Nicholson new works, 1982, no. 54 (illustrated) We are grateful to Dr Lee Beard for his assistance in cataloguing this work.

£4,000-6,000

90 § BEN NICHOLSON O.M. (BRITISH 1894-1982) VIEW FROM BANKSHEAD LOOKING EAST, 1920S pencil on paper 35cm x 50.2cm (13.75in x 19.75in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£2,000-3,000

Ben and Winifred Nicholson purchased Bankshead in Cumbria in 1923 and moved in the following year. Winifred described it as ‘a grey farmstead, a little house built out of the Roman Wall stones, a byre and a barn, on the line of the Roman Wall overlooking the great valley of the Irthing river and over towards the bluegrey fells. It was to be sold with a few fields falling down to the river. It welcomed us and we bought it at once.’ (as quoted in Judith Collins, ‘Introduction’, A Painters’ Place: Banks Head, Cumberland 1924-31, Abbot Hall Art Gallery with Redcliffe Press, Bristol, 1991, p. 5). Jake Nicholson believed one of the reasons his parents were drawn to Bankshead was the view, which ‘was constantly changing. One day, just before rain, the fells look so close you can almost touch them. Another time they will disappear in the mist so that you wouldn’t know they were there at all... Each window of the house was like a picture frame holding the view beyond.’ (Jake Nicholson, ‘What Does an Artist Look for in a Painting Place?’, A Painters’ Place, op.cit., p. 10). Winifred and Ben had studios at opposite ends of the house; hers looked west across the farmyard, whilst Ben’s looked east. It is this view, looking towards Northumberland, which can be seen in this delicate drawing. Bankshead was to remain Winifred’s base for the rest of her life.

91 § BEN NICHOLSON O.M. (BRITISH 1894-1982) OH BOY!, CIRCA 1933

OH BOY!

mixed media and collage on board 17.7cm x 7.9cm (7in x 3.25in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner.

£8,000-12,000

Oh Boy! is at once an immensely fun work of art made by

known that Ben and Jake enjoyed playing football together,

the artist for his young son, whilst also being an important

not least due to a letter recounting a visit they paid to the

example of how Ben Nicholson progressed towards the

artists Jean Arp and Sophie Taeuber-Arp in 1935, in which

pioneering reliefs for which he is acclaimed.

Ben wrote ‘Jake & I played a good deal of football all over

Nicholson is remembered for his sense of humour and playfulness, which formed the basis of his relationship with his oldest son Jake. In 1934 Ben wrote to Winifred ‘Jake

Meudon.’ (letter from Ben Nicholson to Barbara Hepworth of 10 May 1935, quoted in ed. Lee Beard, Ben Nicholson: Writings and Ideas, Lund Humphries, London, 2019, p. 121.)

and I have such a good and easy contact, I do enjoy him

At the same time, Oh Boy! shows how Nicholson was

enormously and always have but now very especially – and I

exploring the visual and structural possibilities of working in

know in return I can give him endless things.’ (letter from Ben

three dimensions – here collaged, but soon to be carved. The

Nicholson to Winifred Nicholson of 12 April 1934 quoted

simplification of the human form, the abstracted and graphic

in Andrew Nicholson, Unknown Colour: Paintings, Letters,

representation of facial features and the emphasis on the

Writings by Winifred Nicholson, Faber & Faber, London, 1987,

circle to convey rhythm all speak to his contemporary, more

p. 146). In 1988 Jake affectionately recalled his father’s

serious concerns. Planes of colour in a palette dominated by

‘jokey side’ as borne out in illustrated letters featuring

black, white and red illustrate opposing team strips as well as

dogs called Booboo or Ponto and horses called George or

emphasising a sense of surface.

Rufus, who also appeared in paintings. (Jake Nicholson, ‘Ben Nicholson’s Fabrics’, The Nicholsons: A Story of Four People and Their Designs, York City Art Gallery, 1988, exh. cat., p. 38). Jake explained ‘he would build up a serious comment about art or life, then would suddenly pull the rug from under your feet with a pithy joke – perhaps about ginger biscuits.’ (Jake Nicholson, op.cit., p. 39).

Nicholson made his first relief in December 1933 whilst in Paris visiting Winifred and their children. He reported this in a letter to Barbara Hepworth a day later, in which he wrote ‘I carved it all day long, it…looks like a primitive game. Jake and Kate came in at various stages and we rolled a marble about it.’ (letter of 12 December 1933 as quoted in Jeremy Lewison, Ben Nicholson, Tate Gallery, London, 1993, p. 216 in entry

In Oh Boy! two collaged figures are formed from simple

for cat.no. 49). Thus Jake was present at the moment of this

elements as if the result of a game. One is presented within

breakthrough in International Modernism, which even so,

a rectangle, like a goalkeeper to the other, at whose foot a

father, son and daughter were able to turn into a game.

ball is seen moving at speed. The moment of sporting drama is encapsulated in the title, written at the centre right. It is

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

We are grateful to Dr Lee Beard for his assistance in cataloguing this work.

MOTHER, FATHER, SISTER: THREE ARTISTS FROM THE NICHOLSON FAMILY

92 § BEN NICHOLSON O.M. (BRITISH 1894-1982) SMALL RED DIAMOND, CIRCA 1974 signed, titled and inscribed ‘lent to Jake / until pop off / then it becomes / his property / Nicholson/ (small Red diamond)’ (to reverse), mixed media on irregularly-shaped paper laid on artist’s prepared board sheet 24.2cm x 15cm (9.5in x 5.8in) maximum dimensions; board 34.4cm x 24cm (13.5in x 9.5in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Exhibited: Chichester, Pallant House Gallery, Ben Nicholson: From the Studio, 2021, no cat. nos. (illustrated upside down p. 94, fig. 101)

£6,000-8,000

This work was included in the recent exhibition Ben Nicholson: From the Studio at Pallant House Gallery, Chichester, which examined the inspiration the artist found in still-life objects throughout his career. It is one of a series in which Nicholson enjoyed the form and implied personality of a spanner from a set that he purchased from a plumber in 1973, that were ‘patinated with age and use, strong and weighty shapes full of character’ (Norbert Lynton, Ben Nicholson, Phaidon Press Ltd, London, 1993, p. 208). However, it is named after the colour highpoint of its composition. We are grateful to Dr Lee Beard for his assistance in cataloguing this work.

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

93 § KATE NICHOLSON (BRITISH 1929-2019) HUNTING GRAVE STONE, 1980 signed, titled and dated (to reverse), oil on canvas 35cm x 25cm (13.75in x 9.75in) Provenance: Acquired from the artist by Jake Nicholson and thence by descent to the present owner. Exhibited: Brampton, LYC Museum and Art Gallery, Kate Nicholson, 1981

£500-700

OTHER PROPERTIES

94 § BEN NICHOLSON O.M. (BRITISH 1894-1982) STUDIES, AEGINA, 1968 pencil on irregularly-shaped paper laid on artist’s prepared board sheet 38cm x 28cm (14.75in x 11in) maximum dimensions; board 48.8cm x 38cm (19.25in x 15in) Provenance: Acquired from the artist and thence by descent to the present owner. We are grateful to Dr Lee Beard for his assistance in cataloguing this work.

£2,000-3,000

95 § WINIFRED NICHOLSON (BRITISH 1893-1981) BLUE SEA GODDESS inscribed (to reverse), oil on canvas 50cm x 65cm (19.75in x 25.5in), unframed Provenance: The Estate of the Artist, and thence by descent.

£1,500-2,000

96 § CHARLES VYSE (BRITISH 1882-1971) VASE signed ‘Charles Vyse / Chelsea’, stoneware, painted with bird and foliage 13.3cm high (5.25in high)

£200-300

97 § WILLIAM STAITE MURRAY (BRITISH 1881-1962) VASE impressed artist’s seal, stoneware, with flower head and stem motif to the body 33cm high (13in high)

£700-900

98 HAMADA SHŌJI (JAPANESE 1894-1978) TEAPOT stoneware, ash glaze with poured nuka glaze, together with a signed wooden box 23cm high, 23cm wide (9in high, 9in wide)

£600-800

99 § MICHAEL CARDEW (BRITISH 1901-1983) AT WINCHCOMBE POTTERY LARGE TEAPOT, CIRCA 1930 twice impressed artist’s and pottery seals, and also with impressed seals to the lid, earthenware, with yellow slip trailed designs, iron handle wrapped in twine 32cm high (when handle is standing), 39cm wide (12.5in high, 15.3in wide)

£600-800

100 § MICHAEL CARDEW (BRITISH 1901-1983) AT WINCHCOMBE POTTERY CIDER FLAGON, 1931 impressed artist’s and pottery seals, earthenware, decorated wtih flowers and foliate sprigs between horizontal bands 47.5cm high (18.75in high) With label to the base noting that the Cider Jar has a capacity of 4 gallons, was made by M. A. Cardew, Winchcombe Pottery in 1931 and was priced £5.5.

£800-1,200

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

101 § ALAN WALLWORK (BRITISH 1931-2019) SPLIT POD FORM incised ‘AW’ mark, stoneware 18.5cm high, 15.5cm wide (7.25in high, 6.1in wide)

£250-350

102 § ALAN WALLWORK (BRITISH 1931-2019) SPLIT POD FORM incised ‘AW’ mark, stoneware 22cm high, 22cm wide (8.6in high, 8.6in wide)

£400-600

103 § ALAN WALLWORK (BRITISH 1931-2019) FOOTED DISH incised initials, stoneware 33cm diameter (13in diameter)

£250-350

104 SIDDIG EL NIGOUMI (SUDANESE 1931-1996) BOWL, 1993 incised scorpion maker’s mark, signature and date (to reverse), earthenware, with incised fish design 26.5cm wide (10.4in wide)

£200-300

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

105 § IAN GODFREY (BRITISH 1942-1992) PILGRIM FLASK, CIRCA 1970 stoneware 25cm high, 20.5cm wide (9.75in high, 8.1in wide)

£300-500

106 § IAN GODFREY (BRITISH 1942-1992) VILLAGE AND BIRDS ON BARREL FORM stoneware 10.5cm high, 18.3cm wide (4.1in high, 7.25in wide)

£250-350

107 § IAN GODFREY (BRITISH 1942-1992) TEAPOT stoneware, with applied birds 9cm high, 12.5cm wide (3.5in high, 5in wide)

£200-300

108 § ROY TURNER DURRANT (BRITISH 1925-1998) TREES, LAVENHAM, 1953 signed and dated (lower right), gouache 49cm x 74cm (19.25in x 29in)

£3,000-5,000

109 LATIFF MOHIDIN (MALAYSIAN 1941-) UNTITLED - 1968 3/7, signed, dated and numbered in pencil, linocut 45.5cm x 27cm (18in x 10.5in)

£700-900

110 LATIFF MOHIDIN (MALAYSIAN 1941-) IMAGO SENJA (TWILIGHT IMAGO) - 1968 ‘Proof - xx,’ signed, titled, dated and inscribed in pencil (to the margin), etching and aquatint with embossing 60cm x 81cm (23.75in x 32in)

£2,000-3,000

111 § TREVOR BELL (BRITISH 1930-2017) LANDSCAPE, 1962-3 signed, titled and dated (to reverse), oil on board on panel 46cm x 61cm (18in high x 24in)

£1,000-1,500

112 § TREVOR BELL (BRITISH 1930-2017) PENYGHENT, 1962 signed, dated and titled in pencil (to reverse), oil and watercolour on paper 35cm x 52cm (13.75in x 20.5in)

£1,000-1,500

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

113 § ALAN REYNOLDS (BRITISH 1926-2014) STRUCTURE - OLIVE, RUST AND BLACK, CIRCA 1960 signed in pen (lower right), titled (to reverse), gouache and watercolour on paper laid on board 45.5cm x 39.5cm (17.9in x 15.5in) Provenance: Paisnel Gallery, London.

£4,000-6,000

114 § JOHN PIPER C.H. (BRITISH 1903-1992) LANDSCAPE signed (lower right), and inscribed (to reverse), gouache on paper 14cm x 21cm (5.5in x 8.25in)

£1,200-1,800

115 § EILEEN AGAR (BRITISH 1899-1991) COMPOSITION signed in pen (lower right), pen and watercolour on paper 8.3cm x 14cm (3.25in x 5.5in)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

116 § DOM ROBERT (GUY DE CHAUNAC-LANZAC) (FRENCH 1907-1997) THE FLOWERING GARDEN - STUDY FOR TAPESTRY, 1951 signed and dated, watercolour and coloured inks on paper 69.5cm x 49cm (27.4in x 19.25in), mounted but unframed Provenance: Gimpel Fils, London

£800-1,200

117 § SCOTTIE WILSON (BRITISH 1891-1972) SWANS IN MOONLIGHT, CIRCA 1960 signed (lower right), coloured inks and crayon on paper the sheets 54cm x 67.5cm (21.25in x 26.5in), unframed Provenance: Gimpel Fils, London.

£800-1,200

118 § LESLIE HURRY (BRITISH 1909-1978) CERES AND BELLUS, 1945 Signed and dated in pen (lower left), pen, ink, crayon and watercolour on paper 37cm (14.5in) high, 46cm (18in) wide Provenance: Albert Dawson Educational Trust. The Peter Rose and Albert Gallichan Collection, Brighton, UK. Exhibited: Pallant House Gallery, Poets in the Landscape, Romantic British Art, 31st March – 10th June 2007. Literature: Penguin New Writing, 1945, no.26 (illustrated); Martin, Simon, Poets in the Landscape: The Romantic Spirit in British Art, Pallant House Gallery, 2007, cat. no.71 (illustrated).

£500-800

Leslie Hurry produced a series of fantastic ink drawings during the early 1940s, based on imaginary kings, queens and altarpieces, which were headed with a long poetic text and bound together to form a private book entitled The Journey for Grace Sholto Douglas. The current work displays an equal degree of Blakean doomladen symbolism, and is part of the revival of a British neo-Romantic movement in the years directly after the Second World War.

119 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) PIGEONS signed, oil on canvas 34.5cm x 39.5cm (13.5in x 15.5in)

£600-800

120 § JOHN MELVILLE (BRITISH 1902-1986) THE TEASE, 1967 signed and dated (upper left), oil on canvas 85.5cm x 59cm (33.7in x 23.25in)

£800-1,200

121 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) ABSTRACT, CIRCA 1957 signed and dated (lower left), oil on board 70.5cm x 43.5cm (27.75in x 17.1in)

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

75v

122 § JAMES HULL (BRITISH 1921-1990) NOCTURNE, CIRCA 1986 signed and dated (to reverse), watercolour and gouache on paper 65cm x 94.5cm (25.5in x 37.25in) Provenance: The Artist’s Family.

£600-800

123 § ROBERT SADLER (BRITISH 1909-2001) COMPOSITION estate studio stamp (to reverse), oil on canvas 76cm x 32.3cm (29.75in x 12.75in)

£700-900

124 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) ABSTRACT COMPOSITION, 1963 signed and dated (lower right), mixed media 33cm x 53.5cm (13in x 21in)

£700-900

Lot 151 [detail]

125 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN ‘THE CHAIR’ branded manufacturer’s marks, teak and leather upholstered seat 77cm high, 62.5cm wide (30.25in high, 24.5in wide)

£1,200-1,800

126 Y EINAR BARNES (NORWEGIAN 1908-1985) FOR P. S. HEGGEN WASTEPAPER BASKET stamped ‘P.S. Heggen / Nordfjordeid / Made in Norway’, rosewood 44cm high, 39cm wide (17.3in high, 15.3in wide) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 596735/01.

£300-500

127 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON PAIR OF ‘SAWBUCK’ CHAIRS, DESIGNED 1952 model CH29, teak, branded mark (2) 81cm high, 51cm wide, 41cm deep (31.9in high, 20in wide, 16.1in deep)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

128 HANS WEGNER (DANISH 1914-2007) SWIVEL CHAIR model JH502, leather, teak and steel 74.5cm high, 73.5cm wide (29.3in high, 29in wide)

£7,000-9,000

129 BRUNO MATHSSON (SWEDISH 1907-1988) FOR DUX PAIR OF ‘MIRANDA’ ARMCHAIRS Beech ply with leather woven upholstery, one stamped ‘BRUNO MATTHESON FOR DUX’ (2) 98.5cm high, 76cm wide, 89cm deep (38.8in high, 29.9in wide, 35in deep)

£2,500-3,500

130 Y FINN JUHL (DANISH 1912-1989) FOR BOVIRKE BO-101 BENCH / COFFEE TABLE, DESIGNED CIRCA 1953 rosewood, enamelled steel and brass 41cm high, 150cm wide, 45.5cm deep (16.1in high, 59in wide, 17.9in deep) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 613295/01.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

131 AXEL SALTO (DANISH 1889-1961) FOR ROYAL COPENHAGEN VASE impressed ‘A SALTO’, painted ‘21475/ DENMARK’, with factory mark and applied paper label, glazed porcelain 7.5cm high (3in high) Provenance: Albert Dawson Educational Trust. The Peter Rose and Albert Gallichan Collection, Brighton, UK.

£500-700

132 AXEL SALTO (DANISH 1889-1961) FOR P. IBSEN ENKE ‘BUDDING’ VASE impressed ‘SALTO DENMARK’, and partial manufacturer’s stamp, stoneware 21cm high (8.25in high)

£600-800

133 INGEBORG LUNDIN (SWEDISH 1921-1992) FOR ORREFORS ‘ARIEL’ VASE incised signature, ‘ORREFORS’ and ‘452’, glass 14.3cm high, 15.5cm diameter (5.6in high, 6.1in diameter)

£400-600

134 TIMO SARPANEVA (FINNISH 1926-2006) FOR LITTALA TWO ‘HIIDENKIRNU’ GLASS ART-OBJECTS sand blasted glass (2) the vase 23cm high (9in high); the bowl 25.5cm wide (10in wide)

£500-700

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

135 TIMO SARPANEVA (FINNISH 1926-2006) FOR VENINI THREE ‘VIRO’ BOTTLES AND STOPPERS, 1990S one signed ‘Venini 90 Sarpaneva’, the other two signed ‘Venini 92 Sarpaneva’, incalmo glass (3) 35.5cm high (14in high); 39cm high (15.5in high) and 37cm high (14.5in high)

£2,000-3,000

136 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE model 270, silver, stamped manufacturer’s mark, model number and ‘925S DENMARK’ 21.5cm long (8.5in long)

£700-900

137 EDVARD KINDT-LARSEN (DANISH 1901-1982) FOR GEORG JENSEN BRACELET model 103, silver, stamped manufacturer’s mark, model number and ‘925S DENMARK’, inscribed ‘9.23.66’ (to the reverse of one panel) 15.7cm long (6.1in long)

£400-600

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

138 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR AND PENDANT models 160 and 135, silver, the pendant with rutilated quartz drops, each stamped manufacturer’s mark, model number and ‘925S DENMARK’, and the collar stamped ‘TORUN’, the pendant with import marks for London 1977 internal width of the collar 13.5cm (5.25in)

£1,500-2,000

139 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR NECKLACE model 440, silver, stamped manufacturer’s mark, model number, ‘TORUN’ and ‘925S DENMARK’ internal width 14cm (5.5in)

£250-350

140 ASTRID FOG (DANISH 1911-1993) FOR GEORG JENSEN NECKLACE AND PAIR OF EARRINGS models 137 and 157, silver, stamped manufacturer’s mark, model number and ‘925S DENMARK’ (3) necklace length 39.5cm (15.5in)

£700-900

141 BENT GABRIELSEN (DANISH 1928-) FOR GEORG JENSEN BRACELET model 248, silver, stamped manufacturer’s mark, model number and ‘925S DENMARK’, import marks for London 1976 18cm long (7in long)

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

142 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN PENDANT NECKLACE & PAIR OF EARRINGS model 1368 and 1190, gold, each stamped manufacturer’s mark, model number and ‘750’, the earrings stamped ‘18’ and the pendant ‘18K’, the associated link chain with the the pendant with partially stamped hallmarks to the bar for 18ct gold, and possible date mark for London 1966, the pendant with import marks for London 1968 (3) the pendant 4.5cm wide (1.75in wide)

£1,000-1,500

143

144

GEORG JENSEN

LINA CHRISTENSEN (DANISH 1961-) FOR GEORG JENSEN

PAIR OF DROP EARRINGS model 197, silver, stamped Bent Gabrielsen’s designer’s monogram, manufacturer’s mark, model number and ‘925S DENMARK’ (2) 7cm long (2.75in long) This model is usually attributed to Ibe Dahlquist, but these examples are marked for designer Bent Gabrielsen.

£400-600

‘EXTRA’ BANGLE model 422E, silver, stamped manufacturer’s mark and ‘925S / DANMARK’ 7.5cm wide (3in wide), internal width 5.6cm

£600-800

145 § STUART DEVLIN A.O., C.M.G. (AUSTRALIAN/BRITISH 1931-2018) CRUET SET, 1976 silver and silver gilt, hallmarked for London 1976 (3) 7cm high (2.76in high)

£300-500

146 § STUART DEVLIN A.O., C.M.G. (AUSTRALIAN/BRITISH 1931-2018) TWO BOWLS silver gilt, the body of pierced reticulate gilt ‘net’ form, hallmarked for London 1970 (2) 15cm diameter (5.9in diameter)

£400-600

147 § BRETT PAYNE (BRITISH CONTEMPORARY) PAIR OF BOWLS, 2001 silver, of hemispherical form, hallmarked for Sheffield 2001 (2) 25.5cm diameter (10in diameter)

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

148 NORMAN CHERNER (AMERICAN 1920-1987) FOR PLYCRAFT SET OF FOUR ‘PRETZEL’ CHAIRS, DESIGNED 1958 each with applied stickered manufacturer’s labels, plywood, comprising two armchairs and two side chairs (4) the armchairs 79cm high, 64cm wide (31in high, 25.1in wide)

£3,000-5,000

149 GIO PONTI (ITALIAN 1891-1979) TWO ‘NINFEA’ FOLDING CHAIRS, 1950S stained beech and woven cane, one stamped with ‘Fratelli Reguitti’ manufacturer’s mark (2) the chair with Fratelli mark: 72cm high, 49cm wide (28.3in high, 19.25in wide); chair without mark: 71cm high, 49cm wide (28in high, 19.25in wide)

£1,000-1,500

150 PIERO FORNASETTI (ITALIAN 1913-1988) ‘MUSICAL INSTRUMENTS’, 1950’s Lithographic zinc plate 112.5cm x 60cm (44.5in x 23.7in)

£600-800

151 FORNASETTI AND NIGEL COATES ‘LEI’ TABLE LAMP 2/300, engraved ‘COATES / FORNASETTI 2/300’, transparent glass shade etched with Fornasetti’s female muse, on metal ‘touchtronic’ lamp base 68.5cm high, 23cm diameter (26.75in high, 9in diameter)

£400-600

152 PIERO FORNASETTI (ITALIAN 1913-1988) CARDS & FLOWERS TRAY, 1950’s ‘Fornasetti Milano’ studio label, hand-coloured transfer printed on metal 34cm x 45cm x 4cm (13.5in x 18.6in x 1.6in) Provenance: The Artist’s Family

£500-700

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

153

154 Y

FORTUNY INC. ‘ICARO’ CHANDELIER

ICO PARISI (ITALIAN 1916-1996) FOR MIM, ROME

silk and cord

‘TERNI’ DESK, DESIGNED 1958

127cm diameter (50in diameter)

rosewood, mahogany and aluminium, with a three and two partners drawer module and two shallow drawers under the top, circular manufacturer’s disc to one support

£1,000-1,500

72cm high, 180cm wide, 113cm deep (28.3in high, 70.8in wide 44.5in deep) Provenance: Themes & Variations, London; Private Collection, London. Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 613065/01.

£2,000-3,000

155 LINO SABATTINI (ITALIAN 1925-2016) ‘SERVIZIO RIALTO’ TEA SERVICE, 1970’s each piece stamped ‘SABATTINI ITALY’, silver plate, comprising teapot, creamer, sugar bowl, and tray (4) Tray: 48cm x 32.5cm (19in x 12.5in); Teapot: 40.5cm x 23.5cm x 10.5cm (16in x 9.75in x 4in)

£3,000-5,000

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

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

ark Gillette is a distinguished interior architect and

the 2nd Earl of Nottingham, who took his inspiration from

designer concerned with historic and modern built

Sir Christopher Wren. Mark Gillette’s signature talent for

environments. With an encyclopaedic knowledge

seamlessly blending contemporary with historic design affords

of movements in art and design, Mark has developed a

a sophisticated and relaxed interior that feels distinctly

creative intelligence and aesthetic that draws on innumerable

modern and warm.

esteemed artists, makers and dealers, creating stunning interiors for projects in locations as diverse as France, Switzerland, Scotland and Mallorca.

The current collection is a selection of works from Gillette’s own personal collection and offer a great insight into the multidisciplinary nature of his practise and tastes. The works

Since the establishment of his practice in 1994 it has become

display his proclivity for harmoniously combining works of art

one of the top interior design firms in the UK, with projects

and pieces of design – which is visible across the property.

ranging from contemporary townhouses across central London to historic period properties from a 22-bedroom County Durham estate from the 1730s to Burley on the Hill, a 17th century Grade I listed country house, built for

156 § JEAN COCTEAU (FRENCH 1889-1963) ‘FACE’ PLATE 2/15, signed (to the front), numbered and inscribed ‘Edition originale de Jean Cocteau, Atelier MadelineJolly’ (to reverse), ceramic 31.5cm diameter (12.3in diameter) Provenance: Bonham’s, London, 22 January 2008, Lot 270

£500-700

157 § JEAN COCTEAU (FRENCH 1889-1963) PECHEUR DE PERLES, 1962 11/25, signed, dated, numbered and stamped ‘Atelier Madeline Laupin’, bronze, malachite and black glass 24.7cm high (9.75in high) including base

£1,000-1,500

158 ERNEST BOICEAU (FRENCH 1881-1950) PAIR OF VASES engraved signature ‘EBoiceau’ to each vase, bronze on star shaped porphyrite bases (2) 29cm high, 20cm diamter (11.3in high, 7.9in diameter)

£3,000-5,000

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

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

159 FELIX AGOSTINI (ITALIAN 1912-1974) (ATTRIBUTED TO) PAIR OF ‘ARROW’ WALL SCONCES gilt metal mounts (2) arrow: 70cm long (27.5in long); shade: 14cm high, 40cm wide (5.5in high, 15.7in wide) Provenance: Sotheby’s London, 3 May 2006, Lot 403

£1,000-1,500

160 RENÉ PROU (FRENCH 1887-1947) PAIR OF CONSOLE TABLES gilt iron with mottled black marble tops (2) Base: 43cm high (17in high); Marble Tops: 3cm high, 61cm wide (1.25in high, 24in wide) Provenance: Sotheby’s, London, Fine 20th Century Design, 2 May 2007, Lot 33

£4,000-6,000

In his day René Prou was one of the major figures of the Art Deco movement, but one of the significant trademarks of Prou’s work is that ‘there is no identifiable Prou style’. He took the core ideas of the Deco movement, and moulded them to create his own personal spin on them, recreating his approach to design depending on the project and purpose of each commission. This included cabins for the Orient Express, interiors for nine ocean liners, rooms for Tokyo’s Mitsukoshi department store, and the dining room of New York’s Waldorf-Astoria Hotel. He also served as professor at the École Nationale Supérieure des Arts Décoratifs.

161 PAOLO BUFFA (ITALIAN 1903-1970) (ATTRIBUTED TO) PAIR OF CHAIRS, CIRCA 1940S fruit wood and upholstery (2) 132cm high, 43.5cm wide, 44.5cm deep (52in hgih, 17.1in wide, 17.5in deep) Provenance: Alessandra Tavella

£800-1,200

162 WILLIAM ‘BILLY’ HAINES (AMERICAN 1900-1973) PAIR OF ARMCHAIRS ebonised wood frames with cream upholstery, designed for Gina Lollobrigida (2) 64cm high, 74cm wide, 58cm deep (25.2in high, 29in wide, 22.8in deep) Provenance: Purchased by the current vendor in Palm Springs, 2006

£1,000-1,500

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

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

163 § DAVID GRAHAM (BRITISH 1926-) GIRL IN A BOAT, REGENT’S PARK signed (lower left), oil on board 70cm x 90cm (27.5in x 35.75in) Provenance: Christie’s, London, 17 August 2010, Lot 308

£1,000-1,500

164 § FRANÇOIS DREULLE (FRENCH 1940-) COMPOSITIONS, 1966 AND 1967 pair of collages, each signed and dated, pencil, crayon and collage (2) 1966: 30cm x 19.5cm (11.75in x 7.75in);1967: 28.5cm x 20cm (11.25in x 8in) Provenance: Hollywood Road Gallery, London

£700-900

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

165 § PIERO RASPI (ITALIAN 1926-) COMPOSIZIONE, 1960 signed and dated (lower left), inscribed (to reverse), oil on canvas 80cm x 100cm (31.5in x 39.3in) Provenance: Galleria Odyssia, Rome

£1,000-1,500

166 § TEDDY MILLINGTON-DRAKE (BRITISH 1932-1994) EMPTY DAYS, 1989 signed, dated and inscribed (to reverse), oil on canvas 140.5cm x 110cm (55.25in x 43.25in)

£1,000-1,500

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

167 § ANTON STANKOWSKI (GERMAN 1906-1998) DER SCHÖNE KARL - BEINAHE FRISCH RASIERT, 1934 signed and dated in pencil, with copyright stamp of Bavaria-Verlag, Munich, and typewritten details of the photographer, the title and the image number (to reverse), vintage silver print on Agfa Brovira paper 16cm x 10.5cm (6.25in x 4.1in) Provenance: Sothebys, London, 20 May 2010, Lot 16

£3,000-5,000

Anton Stankowski was considered a leader in graphic design and a significant figure in 20th Century photography. A central tenet of his work was examining ‘objects from unusual perspectives’, and in deconstructing the shapes, movement and lines these objects created so that they would be understood as ‘processes or behaviours’ rather than as an object. Focus on specific details and prominent features of the object were central to both his graphic art and photography, as in the current work. He would go on to create his own renowned Theory of Design, and hold an influential position in both the design and photography circles in central Europe in the Post-War years.

168 HERB RITTS (AMERICAN 1952-2002) CAMERON, LOS ANGELES, 1989 7/25, signed, titled, dated and numbered in pen (to reverse), with the photographer’s copyright blindstamp (lower right), silver gelatin print on gold toned paper 49cm high x 39cm wide (19.25in x 15.25in) Provenance: Hamiltons Gallery, London; Sotheby’s, London, Photographs, 20 May 2010, Lot 51

£2,000-3,000

Herbert Ritts Jr. was an American fashion photographer known for his photographs of models, celebrities and cultural figures during the 1980s and 1990s. He was particularly known for his monochrome portraits, frequently based on classical Greek sculpture accentuating the human form. His catalogue of work included celebrity portraits of Elizabeth Taylor, Cher, Madonna, Ronald Reagan, David Bowie, Britney Spears and Mariah Carey, fashion models Naomi Campbell, Tatjana Patitz and Cindy Crawford alongside working with many of the leading fashion designers such as Giorgio Armani, Ralph Lauren and Gianni Versace. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

100

169 § EDWARD ROGERS (BRITISH 1911-1994) RELIEF DESIGN, 1958 inscribed in pen ‘No 91 ROGERS 17/4/1958 / RELIEF DESIGN’ (to reverse of card mount), gouache and pencil on paper 9cm x 13cm (3.5in x 5in) Provenance: Charles Plante Fine Art, London

£300-500

170 § EDWARD ROGERS (BRITISH 1911-1994) SIX ABSTRACT COMPOSITIONS five gouache on paper and one collage (6) the largest 7.5cm x 10cm (2.9in x 4in) Provenance: Charles Plante Fine Art, London

£1,000-1,500

171 §

172

JEAN COCTEAU (FRENCH 1889-1963)

ALBERTO PINTO (FRENCH 1943-2012) FOR LIMOGES

LETTER, 1958

‘RENOUVEAU RUSSE’ 12 PIECE DINNER SET

signed, dated and inscribed in pen, crayons and pen

porcelain, stamped ‘Limoges / France’ and ‘peint a la main / AP / ALBERTO PINTO’ (to reverse), comprising 12 large plates, 12 dinner plates, 12 side plates, 12 soup bowls, 12 coffee cups and saucers and 12 coffee cans and saucers (72)

21cm x 13cm (8.25in x 5.25in)

£500-700

the large plates 30cm diameter (11.75in diameter), the dinner plates 26.3cm diameter (10.3in diameter) and the soup bowls 22.3cm diameter (8.75in diameter)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

102

173 CARLO DI CARLI (ITALIAN 1910-1999) FOR CASSINA SET OF SIX SIDE CHAIRS stained wood and green upholstery, five chairs with partial ‘Figli di Amedeo Cassina’ labels, for Parco dei Principi Hotel, Roma (6) 83cm high, 47cm wide, 43cm deep (32.6in high, 18.5in wide, 16.9in deep)

£2,500-3,500

174 CARLO DI CARLI (ITALIAN 1910-1999) FOR CASSINA SET OF SIX CHAIRS stained wood and green upholstery, three of the side chairs with partial ‘Figli di Amedeo Cassina’ labels, for Parco dei Principi Hotel, Roma, comprising two armchairs and four side chairs (6) armchairs 85cm high, 56.5cm wide, 46cm deep (33.5in high, 22,2in wide, 18.1in deep)

£3,000-5,000

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

104

175 § JEAN HUGO (FRENCH 1894-1984) CALAFELL, SPAIN, CIRCA 1930 signed (lower right), oil on board 16.5cm x 22cm (6.5in x 8.75in) Provenance: Galerie Anne Julien, Paris

£700-900

176 § JEAN HUGO (FRENCH 1894-1984) FLOWERS IN WINDOW signed (lower right), watercolour and gouache 43.5cm x 30cm (17.1in x 12in)

£800-1,200

177 § CAZIEL (POLISH 1906-1988) ABSTRACTED NUDES, CIRCA 1948 oil on canvas 37.5cm x 31cm (14.75in x 24in) Provenance: Whitford Fine Art, London

£800-1,200

178 § STEPHEN GILBERT (BRITISH 1910-2007) COMPOSITION, 1951 signed and dated (lower right), ink and crayon 22cm x 28cm (8.6in x 11in)

£600-800

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

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

105

179 § GEORGES BRAQUE (FRENCH 1882-1963) CINQ POÈSIS EN HOMMAGE Á GEORGES BRAQUE, 1958 (VALLIER 131) XVI/XXV, signed and numbered in pencil (to the margin), lithograph, aside from the regular edition of 106, on japon nacré paper 20cm x 55cm (8in x 21.5in) Provenance: Sothebys, London, Old Master, Modern & Contemporary Prints, 20 September 2007, Lot 104

£3,000-5,000

180 § CAZIEL (POLISH 1906-1988) ABSTRACTED FORMS XII, 1949 signed and dated in pencil (lower right), pencil and gouache on paper 45cm x 61cm (17.75in x 24in) Provenance: Whitford Fine Art, London

£600-800

106

181 § ANDRE DERAIN (FRENCH 1880-1954) SARABAND artist atelier stamp (lower right), watercolour and gouache 16.5cm high x 23.5in wide (6.5in x 9.25in) Provenance: Mr and Mrs Patrick Hall; Victor Waddington, London

£700-900

182 § JACQUES LIPCHITZ (LITHUANIAN 1891-1973) WRESTLERS, SKETCH FOR SCULPTURE, CIRCA 1933 signed in pen (upper right), ink, watercolour and wash on lined paper 22.5cm x 16cm (8.75in x 6.25in) Provenance: Whitford Fine Art, London

£800-1,200

183 § ANDRE DERAIN (FRENCH 1880-1954) HOMME NU ETUDU, CIRCA 1920 artist atelier stamp (lower right), succession stamp to the reverse (lower left), pencil on paper 25cm x 32cm (9.75in x 12.5in) Provenance: Raymonde Knaublich and by descent; Whitford Fine Art, London

£600-800

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

OTHER PROPERTIES

184 § HENRY MOORE O.M.,C.H (BRITISH 1898-1986) FIGURINE, 1983 5/9, signed and numbered, bronze the bronze 10cm high, 5cm wide (4in high, 2in wide) Provenance: Christies Contemporary Art Galleries, London, October 1985; Private Collection, USA; Sothebys, New York, 7 December 2015, Lot 66; Private Collection, UK. Literature: Bowness, Alan (ed.), Henry Moore: Complete Sculpture, 1980-86, vol. 6, London 1986, p.54, cat. no. 884 (another cast illustrated).

£7,000-9,000

108

185 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) TWO NUDE STANDING FIGURES, 1963 signed and dated (lower right), pencil and ink 26cm x 28cm (10in x 11in)

£700-900

186 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) STANDING LOVERS pen and ink on paper 53.5cm x 32.5cm (21in x 12.75in), unframed

£500-700

187 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) HEAD, 1963 signed and dated in green ink (upper left), green ink on paper 42cm x 25.5cm (16.5in x 10in), unframed

£700-900

188 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) HEAD, 1971 signed and dated (upper right), pen and ink on printed magazine paper on board 28cm x 21cm (11in x 8.3in)

£800-1,200

Lot 201 [detail]

111

189 § BERNARD MEADOWS (BRITISH 1915-2005) DRAWING FOR SCULPTURE, 1955 signed and dated in pencil (lower left), pencil on paper the sheet 20.7cm x 17.5cm (8.1in x 6.9in) Provenance: Gimpel Fils, London

£600-800

190 § REG BUTLER (BRITISH 1913-1981) THREE QUARTER FIGURE II, 1966 4/8, stamped ‘RB’, numbered and with ‘Valsuani’ foundry stamp, patinated bronze 57cm x 8cm x 8.2cm (22.5in x 3.15in x 3.25in) Provenance: Estate of the Artist; Private Collection, Toronto; Gimpel Fils, London. Exhibited: Tate Gallery, London, Reg Butler ‘Memorial Exhibition’, November 1983 January 1984, cat. no. 68 (another cast); Gimpel Fils, London, Reg Butler, 1986, no. 36 (another cast). Literature: Garlake, Margaret, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, London: 2006, p.168, no.247 (another cast illustrated).

£5,000-7,000

191 § LEON UNDERWOOD (BRITISH 1890-1975) AFRICAN MADONNA, CIRCA 1934-5 signed (in the bronze), from an edition of 8, bronze the bronze 32cm high (12.5in high) excluding base Literature: Whitworth, Ben, The Sculpture of Leon Underwood, Lund Humphries 2000, p.130, cat. no.93, illustrated (variant).

£3,000-5,000

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

112

192 § ROBERT ADAMS (BRITISH 1917-1984) NUDE LIFE DRAWING, 1940 signed and dated (lower left), pencil on paper 29.5cm x 33.5cm (11.6in x 13.25in) Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.12 (illustrated).

£800-1,200

193 § ROBERT ADAMS (BRITISH 1917-1984) AGRICULTURAL MACHINERY, 1944 signed and dated in pen (upper right), pen, pencil and watercolour the sheet 37.7cm x 42cm (14.9in x 16.5in), unframed Provenance: The Estate of the Artist; Gimpel Fils, London.

£1,000-1,500

194 § ROBERT ADAMS (BRITISH 1917-1984) UNTITLED, CIRCA 1952 collage and gouache 41cm x 66cm (16.1in x 26in) Provenance: Gimpel Fils, London.

£1,000-1,500

195 § ROBERT ADAMS (BRITISH 1917-1984) SMALL ROUND FORM, CIRCA 1953 stone 5.5cm high, 7.6cm wide (2.2in high, 3in wide) Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, pp.166-7, cat. no.153 (illustrated).

£1,000-1,500

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

196 § ROBERT ADAMS (BRITISH 1917-1984) UNTITLED, CIRCA 1973 bronze, unique 40cm x 20cm x 8cm (15.75in x 7.8in x 3in) Provenance: Estate of the artist; Gimpel Fils, London; Private Collection, London. Sold together with a facsimile copy of a certificate of authenticity from Gimpel Fils, 2018.

£6,000-8,000

114

197 § HUBERT DALWOOD (BRITISH 1924-1976) SMALL DOUBLE TOWER, 1966 edition of 6, opus 101, silvered bronze 20cm high, 10.5cm wide (7.9in high, 4.1in wide) Provenance: Estate of the Artist; Private Collection; Gimpel Fils, London. Exhibited: Gimpel Fils, London, Hubert Dalwood, 1967, no.14; Gimpel Fils, London, Hubert Dalwood, August 1969, cat. no.17, illustrated; Sheffield University, Sheffield, 1970; Angela Flowers Gallery, London, Christmas Exhibition, 1976; Haywood Gallery, London, Hubert Dalwood, 1979, exhibition no. 51; Arcade Gallery, Harrogate, 1983. Literature: Stephens, Christopher, The Sculpture of Hubert Dalwood, The Henry Moore Foundation in association with Lund Humphries, London: 1999, p.129, no.180, fig.140 (illustrated).

£700-1,000

198 § JONATHAN CLARKE (BRITISH 1961-) TROPHY WIFE, 2021 initialled and dated ‘JC21’, unique, cast aluminium 29cm high (11.5in high)

£500-700

199 § JOHN ERSKINE MILNE (BRITISH 1931-1978) CYLINDRICAL FORM, 1974 1/6, initialled, dated and numbered (to base), polished bronze 26.5cm high (10.5in high)

£3,000-5,000

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

200 § ROBERT CLATWORTHY (BRITISH 1928-2015) BULL 0/0, initialled and numbered, bronze with dark brown patina, from an edition of 7 20cm high, 33.5cm long (7.9in high, 13.25in long)

£4,000-6,000

THE FALLEN MAN

201 § DAME ELISABETH FRINK (BRITISH 1930-1993) FALLEN MAN, 1960 1/6, signed and numbered, bronze with dark brown patina 16cm high, 60cm long (6.25in high, 23.6in long) Provenance: Private Collection, London. Literature: Ratuszniak, A. (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 194793, Lund Humphries, London, 2013, p.71, cat. no. FCR79 (another cast illustrated).

£30,000-50,000

117 Elisabeth Frink’s Fallen Man is part of a highlyimportant theme in her practice, in which her childhood experience of World War Two, fascination with the nude male figure and existential concerns about mankind are brought together. Frink was nine years old when war was declared. Her father was a cavalry officer in the British Army and served abroad for most of the conflict. Much has been made of Frink’s time in Suffolk near to Bomber Command air-bases during this period. As she explained: ‘there was a whole bunch of very jolly Polish airmen. They’d go off in their flying machines – and sometimes they got killed. We were right next door to an operational aerodrome and sometimes we’d see the planes coming home on fire.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsbury, London, 1994, p.15).

Many works of the early 1960s explored the themes of men in flight, men in space, spinning, falling and fallen men and eventually bird men, through which Frink explored the concept of men at war. Reviewing them later in her career, Frink declared: ‘These sculptures were the nearest I got at that time to subjective ideas of the concept of a man involved in some kind of activity other than just being. So my earlier figures were not at all sensuous; they were too much involved with fractured wings or the debris of war and heroics. By this last phrase I mean individual courage.’ (as quoted in Ratuszniak, A. (ed.), op.cit., p. 72). In Fallen Man, the anonymous figure is depicted without stand or plinth. The point of direct contact between the work and the surface on which it is placed is key to conveying its concept. Facial features are suggested in the outsized head, atop the splayed and disfigured body. A sense of trauma, pathos and vulnerability is enhanced by the rough handling of the plaster from which it was cast.

Edward Mullins has written about further sources of inspiration for this area of exploration: ‘The original impulse, in fact, was to make sculpture of a figure falling from space. The source here is dual. Since a child she has experienced dreams of herself falling and the sensation remains a powerful one in her imagination. More specifically, during the late 50’s she came across photographs of the French bird-man, Valentin, depicting him before he jumped (eventually he jumped to his death) helmeted and goggled and decked out in his special flying-suit with voluminous wings. This is the principal visual source of the various Bird-Men.’ (Edward Mullions, ‘Introduction’, The Art of Elisabeth Frink, Lund Humphries, London, 1972, unpaginated). Frink’s work defies precise interpretation. She declared: ‘what I’m doing is trying to set up a kind of encounter with the spectator, a dialogue between my sculptures and the public. People have to add part of themselves to make it work; they have to look into it as well as at it.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, op.cit., p. 64).

“

The very fact of someone falling in space makes me feel nervous. I very often dream of falling through space myself. It becomes a nightmare and is very frightening. So it is always with me, this particular fear, which I think is a good thing because it starts off sculpture; it gives a sense of urgency which is important to me. Elisabeth Frink quoted by Huw Wheldon, Monitor: An Anthology, Macdonald, London, 1962. p. 28.

”

“

Lynn Chadwick’s vision has penetrated a psychic region where man is a tensed geometrical aeronaut, watching the skies, wings folded or outspread for flight. Such is the new image of man, the archetype of a space age. Herbert Read, 1961

”

119

STRANGER 202 § LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) MAQUETTE FOR STRANGER, 1961 6/6, model 340, signed and numbered, bronze with green / brown patina 31.5cm high, 26.3cm wide (12.3in high, 10.3in wide) Provenance: Sotheby’s, New York, 1 July 1991, Lot 125; Private Collection, London. Literature: Bowness, A., Lynn Chadwick, Methuen, London, 1962, unpaginated (another cast illustrated); Farr, D. and É. Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.192, no.340 (another cast illustrated).

£20,000-30,000

The subject of the ‘Stranger’ occupied

In Maquette for Stranger, the power

Such was the significance of Maquette

Chadwick over the period from 1954

of the anonymous figure’s torso

for Stranger that a cast of it was

until 1969, in a formal theme which

and spread-out winged arms is

selected by the British Council for

also informed the contemporary

contradicted by its tapering, spindly

inclusion in the VI Bienal de São Paulo

‘Winged Figure’ works. As Alan

legs. It has a monumentality and

of 1961, shortly after its creation.

Bowness explained in his 1962

stillness which yet suggests strength

Herbert Read wrote about the

monograph about the artist, the

in movement. As Bowness continued

sculptor’s contribution to the British

stimulus was Chadwick’s controversial

‘the Strangers and Watchers seem to be

presentation: ‘Lynn Chadwick’s vision

commission from the Air League of

tensed: waiting, aware that something

has penetrated a psychic region where

the British Empire in 1957, to create a

is going to happen…the tensions arise

man is a tensed geometrical aeronaut,

memorial to the 1919 double crossing

directly from the sculptor’s treatment

watching the skies, wings folded or

of the Atlantic by the airship R34.

of surface. His technique leads him to

outspread for flight. Such is the new

Having served as a pilot in the Fleet Air

build an armature, constructed from

image of man, the archetype of a space

Arm of the Royal Navy during World

straight rods, and this becomes the

age.’ (Herbert Read, ‘Lynn Chadwick’,

War Two, Chadwick had a deeply

skin as well as the bone of the figure.

VI Bienal de São Paulo, exh.cat., 1961

personal experience of flight and link

Everything is thus brought on to the

quoted in Michael Bird, Lynn Chadwick,

to the concept of a winged figure, itself

surface, and the network of rigid lines

Lund Humphries, Farnham, 2014, p.

embedded in the myth of Icarus.

and absence of curves is somehow

115). Chadwick was declared hors

expressive of a high pitch of nervous

concours, or ‘beyond competition’ at the

intensity, possessed by these strange

biennial, the first time a British artist

immobile creatures.’ (Bowness, op.cit.,

had been thus honoured.

unpaginated).

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

120

FEMALE WINGED FIGURE

121

203 § LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) MAQUETTE VI FEMALE WINGED FIGURE, 1973, CAST 1987 numbered, dated and stamped ‘CHADWICK / 673 / 5/6 / B’, bronze with black patina 49cm high (19.25in high) Provenance: Christie’s, London, 26 March 1993, Lot 119; Private Collection, London. Literature: Strachan, W. J., ‘The Sculptor and his Drawings, no. 5: Lynn Chadwick’, The Connoisseur, no.179, August 1974, p.285 (another cast illustrated); Farr, D., and É. Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.297, no.673 (another cast illustrated). This work is the female figure from Maquette VI Two Winged Figures of 1973, which Chadwick reconceived and cast as a sculpture in its own right in 1987. As a result, its origins lie in a series of nine such maquettes, made between 1973 and 1974. Chadwick’s biographer, Edward Lucie-Smith, has explained about these works: ‘the male and female are completely detached from one another physically, existing as separate entities. At the beginning of the development of this series, the figures have short wings and are supported on three legs. The wings grow, until they touch the ground and the figures can then stand on two legs only, with the wings supplying additional stability. Chadwick evidently liked the effect made by this and by the time the final group in the series is reached the wings are so sweepingly long that they resemble the trailing sleeves of exotic court costumes.’ (Edward Lucie-Smith, Chadwick, Lypiatt Studio, Stroud, 1997, p.98). Having established a foundry at his home, Lypiatt Park near Stroud in Gloucestershire, in 1971, Chadwick was able to oversee the creative process from conception to casting and patination himself. By taking the independence of the male and female figures in the Two Winged Figures maquette series to its logical conclusion and concentrating solely on the latter, in Maquette VI Female Winged Figure, Chadwick presents his distinctive realisation of the female form. Here is the gendered triangular-shaped head (a rectangular head signified masculinity) and the smooth refinement of modelling of breasts and abdomen for which many of his female figures are celebrated. Sensuality is combined with majesty and vulnerability with the presentation of nudity, the imposing, full-length wings drawn back and together and the legs which taper away from the fulsome torso. This work illustrates Michael Bird’s observation of Chadwick’s practice of the early 1970s, that saw the ‘fusion of erotic naturalism and schematised geometries’ which softened ‘the tense symmetries of Chadwick’s earlier idiom of confrontation and conjunction.’ (Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, 2014, p.144).

£30,000-50,000

122

204 ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN DESK CHAIR, DESIGNED 1955 model 3115, stamped manufacturer’s mark (to underside), lacquered plywood and chrome plated steel 76cm high, 40.5cm wide (30in high, 16in wide)

£500-700

205 LE CORBUSIER, PIERRE JEANNERET AND CHARLOTTE PERRIAND FOR CASSINA CHAISE LONGUE model number 306, chromium plated frame with black enamelled base and adjustable leather bolster, horse hair seat, frame with facsimile signature and numbered ‘LC/4 10811’ 70cm high, 54cm wide, 163cm long (27.5in high, 21.2in wide, 64.2in long)

£1,000-1,500

123

206 GEORGE CARWARDINE (BRITISH 1887-1947) FOR HERBERT TERRY & SONS LTD. ANGLEPOISE DESK LAMP enamelled aluminium, iron and leather, the leather stamped ‘Hermes, Paris’ (to the base) 63cm high folded (24.8in high), 120cm high extended (47in high); Base 20cm wide, 20cm deep (7.8in wide, 7.8in deep)

£2,000-3,000

207 VERNER PANTON (DANISH 1926-1998) PANTONOVA STOOL, DESIGNED 1971 model 240, enameled steel and upholstery 37.5cm high, 36cm diameter (14.75in high, 14.1in diameter)

£400-600

208 LE CORBUSIER, PIERRE JEANNERET AND CHARLOTTE PERRIAND FOR CASSINA ‘BASCULANT’ CHAIR model number 301, chromium plated tubular frame, leather arm rests with horse hair seat, the frame with facsimile signature and serial number ‘93605’ 63.5cm high, 60cm wide, 63.5cm deep (25in high, 23.6in wide, 25in deep)

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

124

209 RENE HERBST (FRENCH 1891-1982) FOR ECART, FRANCE SANDOW CHAISE, 1980S black tubular steel with rubber strips 94cm high, 55cm wide (37in high, 21.6in wide)

£500-800

210 MARIO BELLINI (ITALIAN 1935-) CHIARA FLOOR LAMP, DESIGNED 1966 stainless steel and lacquered steel 143cm high (56.25in high)

£700-900

211 CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR HERMAN MILLER SET OF THREE DCM CHAIRS, 1970S each with applied ‘Herman Miller Collection’ labels, ash stained black seat, with chromed tubular steel frame (3) 74cm high, 49cm wide (29.1in high, 19.25in wide)

£500-800

125

212 WARREN PLATNER (AMERICAN 1919-2006) FOR KNOLL INTERNATIONAL PAIR OF LOUNGE CHAIRS, DESIGNED 1966 each with ‘Knoll’ sticker labels, upholstery and chrome plated steel (2) 76cm high, 92cm wide (30in high, 36.25in wide)

£3,000-5,000

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

126

213 CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FSW ‘12’ PANEL SCREEN lacquered plywood 173cm high (68in high), each panel 24cm wide (9.4in wide) Provenance: Mark MacDonald, New York; Acquired from the above by the present owner circa 1990.

£2,000-3,000

214 GEORGE NELSON (AMERICAN 1908-1986) SLAT BENCH, DESIGNED 1946 model 4992, lacquered wood 36cm high, 260cm long, 47.5cm deep (14.1in high, 102.5in long, 18.75in deep)

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

127

215 JAMES JARVAISE (AMERICAN 1924-2015) UNTITLED, 1957 signed and dated (lower right), oil on board 153cm x 122cm (60.25in x 48in)

£2,000-3,000

216 GEORGE NELSON AND ASSOCIATES ACTION OFFICE DESK, DESIGNED 1964 laminate, chrome-plated steel, rubber, plastic, the desk features two drawers and a tambour door concealing storage 83cm high, 165cm wide, 81.5cm deep (32.6in high, 65in wide, 32in deep)

£800-1,200

128

arry Bertoia remains to this day one of the most important artists and designers of the twentieth century, most recognisable for his sculptures that embrace wire and sound. Born in San Lorenzo in 1915, Bertoia moved to the United States of America at the age of 15 to begin his artistic career in Detroit. A few years after arriving in America, Bertoia enrolled at Cranbrook Academy of Art where he specialised in jewellery-making and metalsmithing, and it was in these formative years that he developed an understanding of and love for metal, which would go on to become his primary medium. Bertoia found the malleability of the material, and specifically wire, allowed him to create almost instantaneous creations and to visualise an idea as it was forming in the mind. As a sculptor and designer Bertoia was interested in and passionate about conceptualising nature and space in his work, which also found its way into his furniture designs such as the remarkably popular bird chairs (1952) which remain highly coveted to this day. It is no surprise then that he became the head of the metalsmith department at Cranbrook before he moved on to work with Charles and Ray Eames in 1943, where he continued his study of welding. Throughout the 1940s and into the mid1950s, Bertoia’s exploration of metalwork and other industrial materials, such as slate, continued as his experimentations in nature expanded further into a search through the

217 §

cosmos and space itself. His work in wire,

HARRY BERTOIA (AMERICAN 1915-1978)

such as the present example (lot 217), express a harmonious exploration of space and nature that allows the viewer to ponder and interpret his abstraction of form. We observe a sense of catching a fleeting moment in time that is perhaps reminiscent of a bird in motion or perhaps an investigation into an innovative architectural feat in the cosmos.

UNTITLED, CIRCA 1949 welded steel and slate 109.5cm (43.1in high) (including base) Provenance: Private Collection, New York; Wright’s, Chicago, Important 20th Century Design, 21 May 2006, Lot 137; Private Collection; Sotheby’s, New York, 10 November 2010, Lot 6; A. Alfred Taubman; Sotheby’s, New York, Design, 2 March 2016, Lot 332; Private Collection.

£10,000-15,000

“

You go through these emotions – joy, suffering, happiness, sorrow –and if you happen to have a bit of metal in your hands – you just shape it.

”

Harry Bertoia

130

218 § ADRIAN HEATH (BRITISH 1920-1992) UNTITLED, 1978 initialled and dated in pencil (lower right), mixed media on paper 23cm x 22cm (9in x 8.5in)

£700-900

219 § ADRIAN HEATH (BRITISH 1920-1992) COMPOSITION, CIRCA 1980S oil, gouache and pencil on paper 30cm x 28cm (11.75in x 11in) Provenance: The artist’s family.

£1,200-1,800

131

220 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) VERMILLION FORM ON BLACK & BROWN, 1953 signed and dated in pencil (lower right), and signed, titled and dated in pen (to label to reverse), gouache on card 33.5cm x 54.5cm (13.25in x 21.5in) Provenance: Waterhouse & Dodd, London; Private Collection, UK.

£5,000-7,000

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

132

221 § JOHN WELLS (BRITISH 1907-2000) COMPOSITION oil, pencil and crayon on cardboard, with an unfinished work (to reverse) 11.2cm x 16cm (4.3in x 6.25in) Provenance: The Estate of the Artist; Jonathan Clark Fine Art, London; Private Collection, London.

£3,000-5,000

222 § JOHN WELLS (BRITISH 1907-2000) COMPOSITION, 1968 signed, dated and inscribed (to reverse), oil on canvas board 30cm x 40cm (11.75in x 15.75in)

£4,000-6,000

223 § JOHN WELLS (BRITISH 1907-2000) CONSTRUCTED RELIEF, 1963 signed, titled and dated twice (to reverse), painted wood, polystyrene and perspex relief on board 61cm x 183cm (24in x 72in) Provenance: The Artist’s Estate; Jonathan Clarke Fine Art, London; Acquired from the above by the present owner. Literature: Clarke, Jonathan, Ex Studio, (exh. cat.), pgs. 122-123 (illustrated).

£10,000-15,000

133

134

224 § MARY MARTIN (BRITISH 1907-1969) ROTATION MM1, 1968 Injected moulded polystyrene and mirror, produced by Widcombe Manor, Bath 12.8cm x 12.8cm (5in x 5in)

£500-700

225 § ALASTAIR MORTON (BRITISH 1910-1963) COMPOSITION monogrammed in pencil (lower left), pencil and crayon on paper 22cm x 28cm (8.6in x 11in)

£800-1,200

226 § DEREK CARRUTHERS (BRITISH 1935-2021) DIVIDING SPACE II, 1961 signed and dated (lower right), titled (to reverse), collage, gouache, crayon and pencil on paper 20cm x 55cm (7.9in x 21.6in)

£800-1,200

227 § ANTHONY HILL (BRITISH 1930-) MEGA TOY, 1977 artist’s proof, signed and dated (to reverse), silkscreen seriograph the sheet 60cm x 60cm (23.6in x 23.6in) Provenance: Knoedler Gallery, London; Laurent Delaye Gallery, London.

£300-500

135

228 § DEREK CARRUTHERS (BRITISH 1935-2021) ‘PIERCED SPHERE’ CONSTRUCTION, 1964 signed and dated, painted wood, cast alumiminium and wrought steel 61.3cm x 61.3cm (24.1in x 24.1in)

£2,000-3,000

Rotated Side View

Front View

229 § EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH1924-2005) TRACTOR TANK ‘Eduardo Paolozzi Foundation’ stamp (to base), wood construction 30cm high, 33cm long, 19cm deep (11.8in high, 13in long, 7.5in deep)

£3,000-5,000

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

136

230 § VASSILAKIS TAKIS (GREEK 1925-2019) SIGNALS, 1968 series 3, number 96, titled and numbered on ‘Unlimited Bath Widcome Manor’ label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system 220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep)

£7,000-9,000

anayiotis Vassilakis, known

studies into electromagnetic forces

as Takis, is considered one of

and the importance of energy binding

the most important figures

us together. We are delighted to

of international contemporary art.

offer the important number 96 from

Despite having no formal training and

Series 3 of the Signals series dating to

not beginning to practice art until the

1968. This piece comprises two long

age of twenty, Takis became one of

enamelled aluminium poles standing

the leading artists of the twentieth

over two metres high with flashing

and twenty-first century, in particular

green, amber, and orange lights to the

for his development of kinetic art

top. These long, flexible rods bend

from the late 1950s. His early work

and move to create an almost musical

in the 1940s was strongly influenced

harmony of colour and vibration.

by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist.

Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern

The 1950s saw Takis begin his

in 2019, months before his death at

instantly recognizable Signals series,

the age of 93. Not only remembered

one which he returns to throughout

for his important contribution as

his career. It is said that his inspiration

a visual artist, in 1969 he was also

for this series arose while waiting for

a co-founder of the Art Workers’

a train and becoming fascinated by

Coalition who fought for economic

the trackside signals, which provoked

and political rights for artists in New

him to reject representational art and

York. Moreover in 1986 he founded

pursue sculpture that includes light

the Takis Foundation in Athens,

and movement. These sculptures are

a foundation whose mission is to

imposing, otherworldly creations

research and develop the arts and

topped with metal shapes or flashing

sciences, continuing his work and

lights which sway in response to

ensuring his legacy.

vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies.

The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His

His interest in the interlacing

work, and particularly his celebrated

potentials for energy was so prolific

Signals series can be found in many

that he was awarded a scholarship

important public collections such as

at the Massachusetts Institute of

Tate Modern in London, MoMA in

Technology in the Center of Advanced

New York, and in the UNESCO art

Visual Studies where he continued his

collection in Paris.

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

137

“

It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist

”

Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019)

138

231 § PETER COLLINGWOOD O.B.E. (BRITISH 1922-2008) ‘M.22 NO.41’ MACROGAUZE WALL HANGING signed ‘P. Collingwood’ and titled (on a metal strip), black linen and stainless steel 230cm high, 103cm wide (90.5in high, 40.5in wide)

£3,000-5,000

139

232 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VASE impressed artist’s and pottery seals, stoneware, splashed with iron glaze 19.5cm high (7.75in high)

£250-350

233 § JANET LEACH (BRITISH / AMERICAN 1918-1997) AT LEACH POTTERY VESSEL impressed artist’s and pottery seals, stoneware with poured white glaze 39cm high (15.3in high)

£800-1,200

234 § DAVID LEACH O.B.E. (BRITISH 1911-2005) TEA SET impressed artist’s seal, porcelain, celadon glaze and fluted decoration, comprising teapot, milk jug, sugar bowl and six tea cups and saucers (9) the teapot 19.5cm wide (7.7in wide) Provenance: Gainsborough’s House, Sudbury, 1988; Private Collection, UK.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

LUCIE RIE

141

“

Her work, timeless and majestic, remains, a lasting and enduring testament to the art of the potter Emmanuel Cooper

”

235 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) JUG impressed artist’s seal, stoneware, white glaze with soft brown band to the rim 13.2cm high (5.25in high)

£1,000-2,000

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

142

“

Rie brought to British studio pottery a connection with design and architecture, a much-needed confidence in decorative art and a touch of metropolitan chic Edmund De Waal, 2011

”

143

236 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) FOOTED BOWL, CIRCA 1980 impressed artist’s seal, porcelain with a pink glaze, turquoise banding, sgraffito design and a bronzed rim and inner well 10cm high, 20cm wide (4in high, 7.9in wide) Provenance: Purchased by the current vendor privately in the mid 1980s.

£30,000-50,000

237 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) FOOTED BOWL, CIRCA 1980 impressed artist’s seal, jade green glaze, with dripped manganese rim 10cm high, 20.5cm diameter (3.9in high, 8in diameter) Provenance: New Craftsman Gallery, St Ives, early 1980s; Private Collection, UK.

£20,000-30,000

144

238 § SARA FLYNN (IRISH 1971-) ‘LINE VESSEL’, CIRCA 2009 impressed artist’s seal, porcelain, thrown and altered with inverted line running around the body 15.4cm high, 13.2cm wide (6.1in high, 5.2in wide) Provenance: Private Collection, Ireland; Private Collection, London.

£1,000-1,500

239 § JOHN WARD (BRITISH 1938-) VESSEL impressed artist’s seal, stoneware with mottled white glaze, and black interior 14.5cm high, 13.3cm wide (5.75in high, 5.25in wide)

£600-800

240 § BODIL MANZ (DANISH 1943-) VESSEL signed (to the base), porcelain with geometric design in black 12cm high, 14.5cm diameter (4.75in high, 5.75in diameter)

£1,000-1,500

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

145

241 § JOHN WARD (BRITISH 1938-) VESSEL impressed artist’s seal, stoneware with green and umber glazes 21cm high, 19cm wide (8.25in high, 7.5in wide)

£2,000-3,000

146

242 § JOHN WARD (BRITISH 1938-) VESSEL impressed artist’s seal, stoneware with green and umber glazes 23cm high, 21cm wide (9in high, 8.25in wide)

£2,000-3,000

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

147

243 § PAUL PHILP (BRITISH 1941-) VESSEL impressed artist’s seal, stoneware 28cm high, 27cm wide (11in high, 10.6in wide)

£800-1,200

244 § PAUL PHILP (BRITISH 1941-) VESSEL impressed artist’s seal, stoneware 40cm high, 28cm wide (15.75in high, 11in wide)

£1,000-1,500

245 VICTORIA MEADOWS (BRITISH 1974-) SCARRED KINTSUGI MOON JAR impressed artist’s seal, barrel fired with terra sigillata surface 38cm high (15in high)

£600-800

148

246 § CÉSAR MANRIQUE CABRERA (SPANISH 1919-1992) JAR AND COVER stamped ‘Fundacion César Manrique’, ceramic 15.5cm high, 21cm wide (6.1in high, 8.25in wide)

£400-600

247 § BRUCE MCLEAN (BRITISH 1944-) FOR FULHAM POTTERY PLATE signed and inscribed (to reverse), earthenware 31.5cm diameter (12.3in diameter)

£400-600

248 § GUIDO GAMBONE (ITALIAN 1909-1969) FOOTED BOWL signed ‘GAMBONE / ITALY’ and with Donkey mark, stoneware 11cm high, 16cm diameter (4.3in high, 6.25in diameter)

£400-600

149

249 § PABLO PICASSO (SPANISH 1881-1973) JAIMES SABARTES, ‘A LOS TOROS’ MIT PICASSO, 1961 Oblong 4to, complete with four Picasso lithographs, one in colour, original pictorial cloth boards, with original slipcase, printed by Mourlot, Paris, published by Andre Sauret, Monte Carlo the book 25cm x 32.5cm (9.75in x 12.75in)

£1,500-2,000

250 § PABLO PICASSO (SPANISH 1881-1973) ‘TAUREAU’ PLATE stamped and marked ‘Edition Picasso / Madoura’ (underneath), white earthenware 18.5cm diameter (7.25in diameter)

£1,000-1,500

251 § PABLO PICASSO (SPANISH 1881-1973) OISEAU À LA HUPPE BOWL (A.R. 173) from an edition of 500, stamped and marked ‘Edition Picasso’ and faint ‘Madoura’ stamp (underneath), white earthenware, conceived 1952 15.5cm diameter (6.1in diameter)

£800-1,200

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

150

252 § FELIM EGAN (IRISH 1952-) FORELAND, 1998/9 signed and dated (to reverse), oil and acrylic on canvas 210cm high x 210cm wide (82.75in high x 82.75in wide) Exhibited: Amsterdam, Stedelijk Museum, Felim Egan, 27 March - 16 May 1998, cat. no. 5 (illustrated on p. 21 of the exhibition catalogue).

£5,000-8,000

In the accompanying catalogue to the solo exhibition of the artist’s work where the present work was included at the Stedelijk Museum in Amsterdam in 1998 Marina Vaizey wrote of the artist’s response to the ‘highly individual notion of place, the genius loci, recalling the slow growth from topography into landscape that transformed art several centuries ago. His are not domestic pictures, however domestic in size some may be, and however at home they often are. Rather they are windows looking inward in order to look outward. Moveover, however profound Felim Egan’s paintings are, they are also joyful…Foreland [the present work] is aglow from the sun setting on Donegal’s Bloody Foreland.’ (M. Vaizey, exh. cat. Felim Egan, Stedelijk Museum, Amsterdam, March – May 1998)

151

253 § KATHLEEN HYNDMAN (BRITISH 1928-) RAIN & MIST, GORGE DE LA JONTE, 1984 inscribed, titled and dated (to reverse), oil on canvas 82cm x 114cm (32.3in x 44.8in)

£1,500-2,000

254 STUDIO 65 FOR EDRA BOCCA LIPS SOFA, DESIGNED 1972 upholstery with manufacturer’s label, polyurethane foam construction upholstered in red stretch fabric 88cm high, 214cm wide (34.6in high, 82.4in wide)

£1,000-2,000

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

152

255 § MICHAEL CRAIG-MARTIN (IRISH 1941-) UNTITLED (GREEN AND WHITE), 1991 signed and dated (to reverse), acrylic on canvas on board 51cm x 56cm (20in x 22in) Provenance: Karsten Schubert Ltd., London, 1991; Waddington Galleries, London, 1992; Richard Salmon Gallery, London. Exhibited: Richard Salmon Gallery, London, Spatial Harmony in Fixed Diverse Contemporaries: Tony Bevan, Keith Coventry, Michael Craig-Martin, Gary Hume, Bridget Riley and Stuart Taylor, May-June 1999.

£3,000-5,000

In 1991 MICHAEL CRAIG-MARTIN created a series of monochromatic paintings, covered with uniformed rows of white dashes, suspending working with images of objects for a period. These works continued his interest in the idea of the repeated constituent, as Richard Cork observed, which he had already explored in his Venetian-blind series. Craig-Martin’s intention was to make the most basic works he could imagine, with the ambition that every segment of the painting matched each other, and therefore that the paintings would only stand for themselves. This period in his oeuvre culminated in a set of nine large identical works being shown at the Waddington Galleries in 1991, and in creating this body of work he saw himself as a composer, with the ‘dash’ paintings being reminiscent of musical scores sending meticulous but unreadable messages. (Richard Cork, Michael Craig-Martin, Thames and Hudson, London, 2006, pp.92-3)

256 § IAN DAVENPORT (BRITISH 1966-) UNTITLED, 1988 signed and dated (to reverse), oil on canvas 55.5cm x 55.5cm (21.9in x 21.9in) Provenance: Richard Salmon Gallery, London.

£3,000-5,000

Instantly recognisable for his signature pouring of paint onto a tilted surface, the work of abstract artist IAN DAVENPORT occupies a significant place in contemporary British art. These early paintings date from the formative period of his career between graduating from Goldsmiths College in 1988, and his first solo exhibition in 1990 and Turner Prize nomination in 1991. His abstract paintings are created by pouring layers of paint onto prepared canvases or board making complex colour combinations that visualise the artist’s fascination with colour and its importance in establishing the boundaries between representation and abstraction, evoking the processes of the Post-painterly Abstraction movement in America in the 1950s and 60s. Often employing unconventional materials such as electric fans and nails, Davenport’s work explores the materiality of paint as a subject matter in its own right, creating compositions that considers the act of painting as well as the importance of visual harmony.

257 § IAN DAVENPORT (BRITISH 1966-) UNTITLED, CIRCA 1989 signed and dated (to reverse), oil on canvas 151.5cm x 113.5cm (59.6in x 44.75in) Provenance: Karsten Schubert Ltd., London; Timothy Taylor Gallery, London; Richard Salmon Gallery, London.

£6,000-8,000

154

258 §

“

GARY HUME (BRITISH 1962-) FOR CHRISTOPHER FARR

The doors swing to and fro, all day and all night long… Adrian Searle, ‘Gary Hume’, Frieze, 5 June 1993

”

DOOR RUG, 2002 1/1, colour code 47, black, inscribed in pen on ‘Christopher Farr’ label, hand knotted and hand spun wool 302cm x 202cm (118in x 29.5in) Provenance: Christopher Farr, London; Private Collection, UK. The ‘Door Rugs’ came about as a collaboration between Hume and the contemporary rug designer Christopher Farr, and are based on the artist’s iconic ‘Door’ paintings as in Lot 259. As Farr notes what we have is ‘A door on the floor…’ where ‘metaphor and irony go hand in hand.’ Hume oversaw the process of rug making, including ‘the precise hand-carving of the two circles and rectangles of the design…in order to produce perfect proportion and tone. The result is a sublimely beautiful one colour rug.’

£2,000-3,000

he Door Paintings hold a foundational place in Gary

The series refers to the metaphorical idea that doors

Hume’s oeuvre, often been discussed as seminal

represent passageways into an array of internalised

works. Made up of around 50 paintings, ranging

experiences in reality and in painting. These life-size

from the elegant and reflective Magnolia and Dolphin doors

representations of hospital, museum, or cafeteria doors

of the late 1980s and early 1990s to the starker and more

occupy a space between abstraction and reality due to

luminous colour paintings of the early 2000s, they are a

their largely monochromatic and simplified formation that

reflection of Hume’s meditations on the every day.

contained almost-figurative elements that accurately recall

Hume came to international prominence after graduating from Goldsmiths College where he was a member of the Young British Artists group. He participated in the 1988 exhibition Freeze, organised by Damien Hirst, that marked the emergence of this new art movement, including

real doors. Hume’s blend of the mysterious nature of an unpassable doorway combined with the fundamentally domestic and everyday nature of their institutional context allows the viewer to instantly connect to the works and reflect upon the sublimity and uncertainty of domesticity.

contemporaries such as Tracey Emin, Agnus Fairhurst, and

The reflective nature of the work also contributes to its’

Mat Collishaw. In 1996, Gary Hume was nominated for the

success, as Hume said: ‘... it reflects the environment which

Turner Prize, and three years later he represented Great

the works are shown in... everything would be reflected

Britain at the Venice Biennale in 1999.

within the painting, including yourself... So they made you

In Hume’s Dolphin Painting No. 3 from 1991, the viewer looks at the structure of a double door, made up of neutral hues, with faint indications of circular windows, and in

think about light and about where the paintings begin and end.’ (A. Searle, “Beyond the Face of the Door”, in Gary Hume, exh. cat., London, Whitechapel Gallery, 1999).

the context of a hospital they act in a barrier between life

Hume’s later works continue his interest in everyday objects

and death. Hume explained ‘I went to St Bartholomew’s

and materials, as he continues to employ household gloss

Hospital with a tape measure and a piece of paper, measured

paint on aluminium panels to explore a simplified palette and

numerous doors and made schematic copies of them. I used

themes of everyday life and popular culture. Around 2005

house paint in an institutional colour, magnolia, which is

Hume revisited the Doors series, arranging them in pairs as

a colour of no choice…it was about democratic use of the

lovers and anthropomorphising them to continue to develop

symbol of the door. I had to use a totally democratic door.

this interest, blending the sublime with the mundane.

That’s a hospital door the institution of the hospital won’t care whether I’m Gary Hume the artist or Gary Hume the dustman. At the point of crisis I will be passing through those doors, so I wanted to make them democratic. I’m not naming the political, but the human. (Gary Hume, quoted in ‘Brilliant’: New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45) Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

Today Hume’s work is held in numerous prominent public and private collections, including the Tate in London, Museum of Modern Art in New York and the Art Institute of Chicago amongst many others.

156

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

157

“

Over the years, my ‘Door’ paintings have become somewhat mythologized Gary Hume

”

259 § GARY HUME (BRITISH 1962-) DOLPHIN PAINTING NO.3, 1991 signed, titled and dated (to reverse of each panel), gloss household paint on board, in two parts (2) each panel 208.5cm x 139.5cm (82in x 54.9in); overall 208.5cm x 279cm (82in x 109.8in) Provenance: Matthew Marks Gallery, New York; The Boston Children’s Heart Foundation, Boston; Sotheby’s, London, 7 February 2001, Lot 17.

£15,000-25,000

158

260

261

CHARLES JENCKS (AMERICAN 1939-2019) FOR ARAM DESIGNS LIMITED

SET OF SIX ‘DICE TABLES / SEATS’, 1985

‘LIGHT TABLE’, 1985

painted wood (6) each 45cm high, 33.5cm wide (17.75in high, 13.25in wide)

signed, dated and titled (to the base), unique, parchment paper and painted wood

£700-1,000

50cm high, 43cm wide (19.75in high, 17in wide)

£700-1,000

harles Jencks was an American landscape designer,

somewhat general, but also capable of specific meaning

architectural historian and cultural theorist, who

and function, that might reassert its rightful place and give

published over thirty books and was famous as a

anonymous space a place and location.

theorist of Postmodernism in the 1980s.

It was the completion of his London house that provided

The current works were displayed in an exhibition of

the major opportunity to design the furniture to fit with the

Symbolic Furniture by Charles Jencks at London’s Aram

programmatic system of the house, and the decoration of the

Designs in 1985, and clearly bears his Anglo-American

house was basically about the Cosmos with rooms decorated

signature style and the experimental and transitional nature

to suggest five seasons (including the Indian Summer) around

of Post Modern architecture of its times. Jencks’ intention

the Sun Stair and the Moonwell.

with symbolic furniture was to create works that were still

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

159

262 GAETANO PESCE (ITALIAN 1939-) FOR VITRA ‘GREEN STREET’ CHAIR applied manufacturer’s label, epoxy resin. steel and rubber 94.7cm high, 49cm wide (37.3in high, 19.25in wide)

£1,500-2,500

160

263 § SIR PETER BLAKE C.B.E. R.D.I. R.A. (BRITISH 1932-) FOR ARAM DESIGNS LIMITED TWO ‘STEP’ LAMPS Finnish birch plywood Taller lamp: 143cm high (56.25in high) (including shade); Smaller lamp: 110cm high (43.25in high) (including shade)

£800-1,200

264 § SIR PETER BLAKE C.B.E. R.D.I. R.A. (BRITISH 1932-) FOR ARAM DESIGNS LIMITED TWO ‘SIMPLE’ TABLES comprising a dining table and low table, Finnish birch plywood, the low table painted (2) the dining table 71.5cm high, 90cm wide and 90cm deep (28.25in high, 35.5in wide, 35.5in deep); the low table 38cm high, 62.5cm wide and 62.5cm deep (15.25in high, 24in wide, 24in deep)

£800-1,200

‘When I was asked by Zeev Aram to design a piece of furniture for his exhibition, my first thought was, which is the ‘simplest’ furniture – a table. So I designed a table. I wanted it to be very basic, as though a child had drawn it, like a kitchen table. Then I chose to have it made from thick plywood, to make the legs from ply, and turn the ‘constructed’ surface to the front of the table, to show how it was made. The construction of the corners is always the same, as a table can be made to order by simply giving the size of the table top and the height. It can be plain wood, sealed, or stained white, black and primary colours, on their own or a combination – red, yellow and blue. Later I decided that a lamp which matched the table would be interesting, and designed that too.’ (Peter Blake, 1986 quoted in accompanying Aram Design Limited catalogue)

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

161

PETER BLAKE 265 § SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) FRIENDSHIP 3/100, signed and numbered in pencil (in the margin), screenprint in colour with glitter, collage and embossed elements, from the Wooden Puzzle Series 31cm x 26cm (12.1in x 10.25in)

£800-1,200

266 § SIR PETER BLAKE C.B.E., R.A. (BRITISH 1932-) MADONNA ON VENICE BEACH 1, 2, 3 AND 4 A/P II/XX, each signed, inscribed and numbered in pencil (in the margin), screenprints in colour (4) 26cm x 31.5cm (10.25in x 12.5in); 26.5cm x 23cm (10.25in x 9in); 17.5cm x 19cm (7in x 7.5in) and 26cm x 23cm (10.25in x 9in)

£800-1,200

162

267 §

268 §

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

LAS MATRICES, 2010; TOXPUXOS, 2010 AND NUMBERED PIECES FOR MAGIE, 2010

each signed and dated in pencil, oil and felt-tip pen on paper (2)

each signed and dated, oil and felttip pen on paper (3)

HIGH LAUNCH, 2010 AND STRANGE FRUIT, 2010 each 22.9cm x 15.2cm (9in x 6in) Provenance: Gimpel Fils, London; Private Collection, UK.

£600-800

each 22.5cm x 15.1cm (8.9in x 6in) Provenance: Gimpel Fils, London; Private Collection, UK.

£800-1,200

269 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) VIRTUS, 2011; APPARITION WITH A STRANGE CLOUD, 2011 AND LEAP HERE NO.2, 2012 each signed and dated, oil on paper (3) 15.7cm x 17.5cm (6.2in x 6.9in), 19cm x 15cm (7.5in x 5.9in) and 11cm x 21cm (4.3in x 8.25in) Provenance: Gimpel Fils, London; Private Collection, UK.

£800-1,200

163

270 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) FOCK DOGE NO. 2, OPUS O.921, 1979 signed, dated and titled (to reverse), oil on canvas 76.5cm x 102cm (30.1in x 40.1in) Provenance: Gimpel & Weitzenhoffer Gallery, New York; Gimpel Fils, London; Private Collection, UK.

£5,000-7,000

“

In what way can I describe what I feel art to be? Perhaps I could say: Art is the evocation of the inexpressible Alan Davie, 1958

”

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

164

271 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) FIRST SYNOD OF THE DIURNAL SLEEPERS MOON, OPUS O.1221, 1993 signed, dated and titled (to reverse), oil on canvas 76.2cm x 96.5cm (30in x 38in) Provenance: Gimpel Fils, London; Private Collection, UK.

£4,000-6,000

272 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) AWAKENING COSMIC POWER NO. 1, OPUS G.1979, 1987 signed and dated in pencil (upper right), gouache on paper 59.5cm x 84.5cm (23.5in x 33.25in), unframed Provenance: Gimpel Fils, London.

£1,500-2,000

273 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) CIRCULATIO (A REGION OR DIVISION), OPUS O.1771, 2005 signed, titled and dated (to reverse), oil on canvas 152cm x 122cm (59.8in x 48in) Provenance: Gimpel Fils, London.

£7,000-9,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

167

274 § WILLIAM TURNBULL (BRITISH 1922-2012) FIGURE, 1984 4/6, monogrammed, numbered and dated, bronze 78.5cm high, 16cm wide, 15cm deep (31in high, 6.25in wide, 6in deep) Literature: Davidson, Amanda A., The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, cat. no. 228, illustrated p.164 (another cast). Exhibited: London, Waddington Galleries, William Turnbull, 1998, cat. no. 9 (another cast).

£25,000-35,000

In its suggestion of the human figure in the simplest possible form, Figure of 1984 simultaneously references some of Turnbull’s works of the late 1940s and early 1950s whilst linking to further exploration of the theme in sculptures such as Figure 2 and Small Female Figure of the early 1990s. Indeed, Turnbull returned to the human form throughout his long and distinguished career, through materials including plaster, bronze and steel (sometimes painted), with degrees of representation and abstraction ebbing and flowing over the decades. In this work, an elongated torso is extended to incorporate legs and neck, from which open, curved arms protrude. The sculptor’s touch is clear in pronounced modelling throughout, with suggested facial features on a head-like form. Although at first glance a work based on a frontal view, the viewer cannot comprehend the full scope of its three dimensions without moving around it, to see the extent of the arms’ reach and the rhythm, open-ness and implied welcome of their stance. The work’s various profiles are as important as its physical form. Figure illustrates Patrick Elliott’s summation of Turnbull’s practice, namely that ‘his work invariably combined formal simplicity with surface complexity along with poise and balance: these remained the principal characteristics of his entire oeuvre.’ (Patrick Elliott, ‘Turnbull, William [Bill] (1922-2012)’, Oxford Dictionary of National Biography, on-line version of 1 January 2017, accessed 25 March 2022). Turnbull combined ambiguity with open-ended intention in much of his work, by which he hoped to stimulate multiple references, ideas and connections when it was experienced. As Amanda A. Davidson concluded in her 2005 catalogue raisonné of Turnbull’s sculpture ‘the conversation between the artist and their materials inevitably comes to an end when the process of making the work is completed. However, the conversation between the viewers and the work never ceases.’ (Amanda A. Davidson, op.cit., p. 74).

168

169

275 §

276 §

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997)

SANDRA BLOW R.A. (BRITISH 1925-2006)

STRUCTURE, ORANGE MOVEMENT, 1960

ORANGE / YELLOW CONFIGURATION, 2002

signed and dated (lower right), signed, dated and titled (to reverse), oil on canvas

signed and dated (to reverse), acrylic and collage on canvas

152cm x 91m (60in x 36in)

£7,000-10,000

91cm x 91cm (36in x 36in)

£6,000-8,000

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

170

277 § BEN ARNUP (BRITISH 1954-) CONTINUOUS TUBES signed ‘Ben Arnup T71’ and ‘Ben Arnup ‘T72’, two works, clay and stained porcelain (2) 13cm high, 17.5cm wide, 3.5cm deep (5.1in high, 6.9in wide, 1.4in deep) and 18.5cm high, 26cm wide and 4.5cm deep (7.3in high, 10.2in wide, 1.8in deep) Provenance: The Scottish Gallery, Edinburgh.

£300-500

278 § TIM ANDREWS (BRITISH 1960-) LIDDED BOTTLE impressed artist’s seal, raku with sang de boeuf red crackle glaze 19.4cm high, 10.8cm wide (7.6in high, 4.25in wide)

£200-300

279 § ALAN CAIGER-SMITH (BRITISH 1930-2020) ALBARELLO JAR, 1982 painted artist’s monogram and date cypher, earthenware, with painted gold and red lustre designs 27cm high (10.6in high)

£400-600

280 § JOHN MALTBY (BRITISH 1936-) FOOTED BOWL impressed artist’s seal, stoneware, painted with a tree motif 6.7cm high, 17.5cm diameter (2.6in high, 6.9in diameter)

£300-500

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

171

281 § EWEN HENDERSON (BRITISH 1934-2000) BOWL Mixed laminate clays, thick volcanic glaze, with paper label 9.5cm high, 15cm wide (3 3/4in high, 6in wide) Provenance: John Clark, April 1997; Albert Dawson Educational Trust; The Peter Rose and Albert Gallichan Collection, Brighton, UK.

£500-700

282 § SARA RADSTONE (BRITISH 1955-) VESSEL, 1989 initialled and dated, mottled glazes over a heavily textured surface 31cm high (12.1in high)

£1,000-1,500

283 § COLIN PEARSON (BRITISH 1923-2007) WINGED VESSEL impressed artist’s seal, stoneware 32cm high, 34cm wide (12.5in high, 13.3in wide)

£400-600

172

284 § RICHARD SLEE (BRITISH 1946-) VESSEL, CIRCA 1982 incised signature, earthenware 35cm high, 30in diameter (13.75in high, 11.75in diameter) Provenance: Originally acquired from Contemporary Applied Arts, London.

£1,500-2,000

285 § JULIAN KING-SALTER (BRITISH 1954-) VESSEL, CIRCA 2019 impressed artist’s seal, stoneware 60.5cm high, 46cm wide (23.75in high, 18in wide)

£500-700

286 RYOJI KOIE (JAPANESE 1938-2020) TSUBO glassy green oribe glaze, incised design to the body, together with a wooden box 20cm high (7.9in high)

£600-800

173

287 § EMMANUEL COOPER O.B.E. (BRITISH 1938-2012) JUG, 2002 stoneware, volcanic glaze 21cm high, 26cm wide (8.25in high, 10.25in wide) Provenance: Albert Dawson Educational Trust. The Peter Rose and Albert Gallichan Collection, Brighton, UK. Exhibited: Chichester Cathedral, Chichester, British Studio Pottery: From Bernard Leach to Lucie Rie, organised by Pallant House Gallery, 2 July – 2 October 2005, no.83.

£700-900

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

174

288 § ALISON BRITTON O.B.E. (BRITISH 1948-) FIREPLACE SURROUND, 1973 signed (lower right tile), ten piece tile set, with repeating central tile (10) each tile approximately 15.5cm wide (6.1in wide), the whole structure approximately 112cm high (44in high) Provenance: The set was commissioned directly from the artist whilst at the Royal College of Art in 1973; Private Collection, London.

£800-1,200

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

175

289 § SUTTON TAYLOR (BRITISH 1943-) FOOTED BOWL, 1988 impressed artist seal 18cm high, 35cm diameter (7in high, 13.75in diameter) Provenance: Bonhams, London, 21 March 1991; Albert Dawson Educational Trust; The Peter Rose and Albert Gallichan Collection, Brighton, UK. Literature: Vaizey, Marina, Sutton Taylor, The Hart Gallery, 1999, pl. 9 (illustrated).

£500-700

290 § DAVID PYE (BRITISH 1914-1993) TWIN HANDLED BOWL, DOUBLE BOWL AND LIDDED BOX the two bowls stamped ‘D W PYE’ and numbered ‘878’ and ‘884’ (respectively), English walnut, walnut and yew (respectively) (3) Twin Handled Bowl: 38.5cm wide (15.1in wide); Double Bowl: 19.5cm wide (7.75in wide); Lidded Box: 5cm high, 6.7cm diameter (2in high, 2.6in diameter) Provenance: Queensbury Hunt Design Consultancy, London, 1988, 1989 and 1990; Private Collection, London.

£300-500

291 § JIM PARTRIDGE (BRITISH 1953-) SCULPTURAL FORM, CIRCA 1998 stamped ‘J. B. PARTRIDGE’, scorched oak 24cm high, 44cm wide (9.5in high, 17.25in wide) Provenance: Barrett Marsden Gallery, London, March 1998; Private Collection, London.

£600-800

177

292 § BRYAN INGHAM (BRITISH 1936-1997) MEDITERRANEAN HEAD, 1996 artist’s estate stamp (to mount board to reverse), oil, pencil and wood relief on board 46cm x 32.5cm (18in x 12.8in) Provenance: The Estate of the Artist.

£4,000-6,000

293 § BRYAN INGHAM (BRITISH 1936-1997) PASTOR WITTENBORN, 1986 initialled, signed, titled and dated in pencil (to reverse), crayon, pencil and collage on board 10cm x 19.3cm (4in x 7.6in) Provenance: The Estate of the Artist.

£600-800

294 § BRYAN INGHAM (BRITISH 1936-1997) MEDITERRANEAN HEAD II: STUDY FOR SCULPTURE, 1995 initialled, titled and dated in pencil (in the margin), crayon and pencil 35.3cm x 26.5cm (13.9in x 10.5in) Provenance: The Estate of the Artist.

£1,200-1,800

295 § BRYAN INGHAM (BRITISH 1936-1997) STILL LIFE WITH JUG initialled in pencil (lower right), oil and pencil on board 20cm x 32cm (7.9in x 12.6in) Provenance: The Estate of the Artist.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

178

296 § EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) THE QUEEN’S GARDEN: SET OF SIX ORIGINAL LINO PLATES AND ONE FINAL PRINT the set of six original lino printing plates, each titled (to reverse), some numbered (to reverse), with artist/technician’s annotations; and a final edition of the print, ‘The Queen’s Garden’, 79/160, signed, titled and numbered in pencil (in the margin), linocut (7) each plate 47cm x 61cm (18.5in x 24in); the print sheet size 63.5cm x 77cm (25in x 30.25in)

£3,000-5,000

179

297 HUGO GRENVILLE (BRITISH 1958-) READING ABOUT ART, 2018 initialled (lower left), artist’s studio stamp (to reverse), oil on canvas 120.5cm x 135.5cm (47.5in x 53.5in)

£3,000-5,000

298 HUGO GRENVILLE (BRITISH 1958-) YELLOW SUMMER, 2021 initialled (lower right), oil on canvas 85.5cm x 90cm (33.75in x 35.5in)

£2,000-3,000

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

180

299 § KEN HOWARD R.A., O.B.E. (BRITISH 1932-) HIGH SUMMER signed (lower right), oil on board 19.7cm x 25cm (7.75in x 9.75in) Provenance: King Street Galleries, London; Private Collection, London.

£1,000-1,500

300 § SIMEON STAFFORD (BRITISH 1956-) THE FAIRGROUND AT THE HARBOUR signed (lower right), oil on canvas 44.5cm x 59.5cm (17.5in x 23.5in)

£800-1,200

301 § ANDREW MACARA N.E.A.C. (BRITISH 1944-) TOWN SQUARE, MAJORCA, 1989 signed and dated (lower right), oil on canvas 63cm x 75cm (24.75in x 29.5in) Provenance: W. H. Patterson Fine Arts, London; Private Collection, London.

£800-1,200

181

302 KENNETH (KEN) RONALD WHISSON (AUSTRALIAN 1927-) MODERN CITY SEEN FROM A GREAT DISTANCE, 1995 inscribed, titled and dated ‘Perugia 23/6/95 +21/12/95’ (to reverse), oil on canvas 111cm x 121cm (43.6in x 47.6in) Provenance: Richard Salmon Gallery, London. Exhibited: Richard Salmon Galleries, London, Ken Whisson: Paintings and Drawings, May-July 1997.

£15,000-25,000

Kenneth (Ken) Whisson has been at the forefront of Australian contemporary art for over 60 years, producing paintings that hold a unique place in the history of Australian art built around his own inner reality and the world at large.

relationship between my works and their titles. The titles, even in these cases, are intended as a lead into understanding the work.” (Kenneth Whisson, 19 September 2000).

Born in Lilydale, outside Melbourne in 1927, Whisson emerged from the influential school of figurative expressionism after studying under the Russian émigré artist Danila Vassilieff (1897-1958). Since then his paintings have evolved, combining influences from this formative period, whilst looking forward to an increasing interaction between solid shapes and linear descriptions as in Modern City Seen From A Great Distance. In explanation of his work, Whisson described: “The best, perhaps only, way to relate to my paintings and in general to the kind of modern paintings that move between being and non-being or better, and more exactly, between what sees and what is seen, is to not look for what is not there. To put it more simply, perhaps, my paintings succeed in their intention when the images, that which is clearly intended as image, is also meaningful as form, but fail if that which is intended only as form is seen also as image.... I should add that there is sometimes only a fairly oblique

In Modern City Seen From A Great Distance the scene is broken down into numerous viewpoints scattered across the canvas, with landscape elements drawn in paint. It is not meant to be one particular place, but rather an imaginary landscape with the intention of re-counting a series of architectural shapes, including components that might stand in for bushes or trees. The current work is in a classic later Whisson style, where the white canvas has become an important element of the whole composition. Memory also plays a large part in Whisson’s work, and his retreat into his own childhood in rural Lilydale and artistic past, provide rich motifs for his paintings. These ideas and experiences of displacement, following his relocation to Perugia in Italy in the late 1970s, continue throughout his work and help to elaborate on his personal and unconventional aesthetic that alludes to a heightened and perhaps even sometimes a hallucinogenic reality.

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

183

303 § GILBERT & GEORGE (BRITISH 1943- AND 1942-) FLOWER PRINCE, 1981 signed, titled, and dated in pen (on label lower right), postcard sculpture 89cm x 52cm (35in x 20.5in); the sheet 120cm x 69cm (47.3in x 27.1in) Provenance: Anthony D’Offay, London; Richard Salmon Gallery, London. Exhibited: Anthony D’Offay, London, GILBERT & GEORGE, Crusade: An Exhibition of Postcard Pieces, January - February 1982; Richard Salmon Gallery, London, Sequence, August-September 1997.

£6,000-8,000

The private view card for the above exhibition carried the following text: “What is a Post Card Piece? The form of the Post Card Piece lends itself to the expression of finer feelings, stirring thoughts and beautiful views. Through our hearts, brains and bodies the cards crystallise into our crosses of Monarchical, Christian, Nationalistic, Violent, Pagan, Floral, Sexual Post Card Pieces. They are our shields, our swords, our emblem, our vision, our tombstone and our life-masks.’” Gilbert & George 1981 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

Wendy Ramshaw in her studio. Photographed by her husband David Watkins, 1982. Image courtesy of the Estate of the Artist.

WENDY RAMSHAW

“

Her achievements remain quite staggering, her style recognisable, her quality of making unsurpassed Corinne Julius

”

186

DELIGHTING THE EYE: WORKS FROM THE ESTATE OF WENDY RAMSHAW endy Ramshaw (1939- 2018) was one of Britain’s most celebrated jewellers, known most notably for her instantly recognisable ‘ring sets’. Born in Sunderland on 26 May 1939, Ramshaw’s path was set at age twelve after a visit to the Festival of Britain, which took place in the summer of 1951, and inspired her to pursue an arts education. She began her studies in 1956 in fabric design at Newcastle’s College of Art, followed by the University of Reading where she studied for a teaching diploma and met her partner and fellow artist David Watkins. She then attended the Central School of Art and Design from 1969- 1970, where she undertook postgraduate studies in jewellery. Early in her career, while making ‘self-assembly’ paper jewellery, Ramshaw was noticed by fashion designer Mary Quant, who started to stock her pieces from the early 1960s. By 1970, she had achieved widespread acclaim with her first solo exhibition in London’s Pace Gallery, where she presented several pieces that became her signature deconstructive, sculptural style. From 1977, Ramshaw had over thirty exhibitions including a retrospective at the Victoria & Albert Museum in 1982. Ramshaw’s pieces are of seminal importance in the development of modern British jewellery, and her approach offers us a new way to look at and appreciate jewellery. When placed upon her modern stands, she is encouraging us to question what we think we know about jewellery, and to consider them as a unified sculptural object. As Ramshaw said: “Most of my jewellery is made in parts or sections, so that the owner can share in the way the piece is worn” and “how or when my work is worn is not particularly important to me. The way in which others may organise it is an open-ended extension of its use. Such a possibility for varying personal choice is interesting precisely because it is out of my control.” The iconic ring sets, ranging from a cluster of a couple of rings on simple acrylic stands, to sets of up to 40 rings stacked on more elaborate structures, all reveal a carefully orchestrated and formally considered geometric language.

187

304 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) THREE PART RING SET, 1994 from the Indian Collection, 18ct yellow gold, silver, enamel, tourmaline, on acrylic stand, hallmarked for London,1994, the enamel band unhallmarked Ring sizes: L-M

£1,500-2,500

305 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) THREE PART RING SET, 1994 from the Indian Collection, 18ct yellow gold, silver, enamel, pink ruby, on acrylic stand, hallmarked for London, 1994, the enamel band unhallmarked Ring sizes: N-O

£1,500-2,500

306 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) THREE PART RING SET white metal with white and green enamel, yellow metal with cornelian, on acrylic stand Ring sizes: O-P

£500-700

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

188

307 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) TEDDY BEAR’S EYES SIX PART RING SET, CIRCA 2007 Silver metal, yellow metal, glass, enamel, on acrylic stand with black bands, the enamelled band hallmarked for London, 1985 Ring sizes: N-O Ramshaw often revisited older pieces that she had made in order to create a new piece as in this case. Therefore although the enamel band is hallmarked for 1985, the piece as a whole was created circa 2007.

£2,000-3,000

308

309

WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018)

THREE PART RING SET, 1990

RING SET, 2001

silver with black and gold dust enamel, 18ct yellow gold, silver, sapphire, on acrylic stand with white bands, hallmarked for London, 1990

from the Indian Collection, white metal, enamel with gold dust on acrylic stand

Ring sizes: N-O

£800-1,200

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

Ring size: P/Q

£600-800

190

310 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) THREE PART RING SET, 1996/2000 from the Indian Collection, 18ct yellow gold, silver, enamel, gold dust, moonstone on acrylic stand, hallmark on enamel band 1996, hallmark on gold band 2000, plain band unhallmarked Ring sizes: N-O

£1,200-1,800

311 WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) FIVE PART RING SET, 2003 18ct white gold, garnet and citrine (pale & dark), on acrylic stand, hallmarked for London, 2003 Ring sizes: M

£2,000-3,000

OTHER PROPERTIES 312 § WENDY RAMSHAW C.B.E., R.D.I. (BRITISH 1939-2018) GREEN AND BLUE DÉJÀ VU 7 PART RING SET, 2005 silver and semi-precious stones on acrylic stand, six rings hallmarked for London, 2005, and one unhallmarked Ring sizes: M-N Provenance: Private Collection, UK.

£1,000-1,500

191

A PRIVATE EUROPEAN COLLECTION OF STUDIO & CONTEMPORARY GLASS 313 ‡ YOICHI OHIRA (JAPANESE B.1946-) BOWL, 1995 1/1, incised ‘Yoichi Ohira - Mo L. Serena 1/1 1995/murano’, with artist’s cypher, hand blown glass 10cm high, 13cm diameter (4cm high, 5.1in diameter)

£2,500-3,500

314 ‡ YOICHI OHIRA (JAPANESE B.1946-) BOWL, 1995 1/1, incised ‘Yoichi Ohira - Mo L. Serena 1/1 1995/murano/’FUSCHI L’ANTIFICIO’’ and artists cypher, hand blown glass 9.2cm high, 12.5cm diameter (3.6in high, 4.9in diameter)

£2,500-3,500

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

£3,000-5,000

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

192

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

£1,500-2,500

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

£2,000-3,000

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

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

“

319 ‡

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

”

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

£6,000-8,000

194

320 §‡ BERTIL VALLIEN (SWEDISH B.1938-) FOR KOSTA BODA HEAD signed, engraved ‘8 BVAUN / 929004 / KOSTA BODA / E. de. A.’, sand cast glass on stand 46cm high, 15cm wide (18.1in high, 5.9in wide)

£1,200-1,800

OTHER PROPERTIES 321 § JACK CUNNINGHAM (BRITISH 1953-) ‘A SENSE OF PLACE, KELVINGROVE’ BROOCH, CIRCA 1998 white metal, watermelon tourmaline, aventurine quartz, green hardstone, on a hardwood stand brooch 11.5cm high (4.5in high), with stand 20.5cm high (8in high)

£300-500

322 PAOLO MOSCHINO FOR NICHOLAS HASLAM PAIR OF ‘STELA’ TABLE LAMPS verdigris bronze (2) 59cm high to fitting (23.2in high) Provenance: Bought by the current vendor from Harrods approximately 30 years ago.

£600-800

323 § MARK BRAZIER-JONES (BRITISH 1956-) TWO ‘ASTRO CHARGER’ CANDLE HOLDERS patinated metal, frosted and colored glass (2) 16.5cm high, 20cm wide (6.5in high, 8in wide); 17cm high, 21cm wide (6.7in high, 8.5in wide)

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

324 § MARK BRAZIER-JONES (BRITISH 1956-) ‘SERA’ LANTERN / CEILING LIGHT patinated and silvered iron, glass 32cm high (11.75in high)

£1,000-1,500

325 § SARAH MORRIS (AMERICAN / BRITISH 1967-) FOR CHRISTOPHER FARR ‘MID TOWN CONDÉ NAST’ RUG, 2001 1/25, inscribed in pen on ‘Christopher Farr’ label, hand knotted and hand spun wool 244cm x 244cm (96in x 96in) Provenance: Christopher Farr, London; Private Collection, UK.

£3,000-5,000

326 CHRISTIAN LIAIGRE (FRENCH 1943-2020) ‘AUGUSTIN’ SOFA upholstered in linen and bronze velvet cushions 65cm high, 381cm long, 123cm deep (25.5in high, 150in long, 48.4in deep) Provenance: ArtCurial 2019; Private Collection, London.

£2,000-3,000

197

327 § PHILIP MICHAEL WOLFSON (AMERICAN / BRITISH 1958-) SIDE TABLE, CIRCA 1994 English elm, from the Golden Distortions series 69cm high, 56cm wide, 56cm deep (27.1in high, 22in wide, 22in deep) We would like to thank Philip Michael Wolfson for helping to catalogue this lot.

£500-700

328 § NIKA ZUPANC (SLOVENIAN 1974-) ‘HOMEWORK’ CHAIR, 2011 Leather upholstery on aluminium legs with winding mechanism for height adjustment 80cm high, 40cm wide, 46cm deep (31in high, 16in wide, 15.5in deep)

£500-700

Nika Zupanc is a product and interior designer, who has collaborated with many leading design companies such as Moooi, Se and Dior. Since coming to prominence at the Milan Design Week she has been closely followed by the industry and international press who have described her as everything from ‘punk elegance’ (Elle USA), ‘techno chic’ (Business Week) to ‘the real star’ (The Wall Street Journal).

329 PIERRE CARDIN (FRENCH 1922-2020) CONSOLE TABLE / DESK brushed aluminium and laminated wood 80.5cm high, 97cm wide, 40cm deep (31.7in high, 38in wide, 15.7in deep) Provenance: Pierre Cardin Showroom, Germany; Modernes Auction, Munich, 15 April 2004, Lot 176; Private Collection, UK.

£600-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

198

330 § INGO MAURER (GERMAN 1932-2019) FOR INGO MAURER GMBH TWO ‘BIRDS BIRDS BIRDS’ CHANDELIERS, DESIGNED 1992 metal, 24 low-voltage bulbs, goosefeather wings (2) approximately 110cm high, 110cm diameter (43.3in high, 43.3in diameter)

£1,000-1,500

331 § TOM DIXON (BRITISH 1959-) ‘SPIRAL’ FLOOR LAMP, DESIGNED 1989 coiled steel applied with gold leaf 165cm high, 54cm diameter (65in high, 21.25in diameter)

£1,000-1,500

199

332 FERNANDO & HUMBERTO CAMPANA (BRAZILIAN 1961- & 1953-) FOR EDRA ‘VERMELHA’ CHAIR, DESIGNED 1993 iron with epoxy coating, aluminum, and cord 79cm high, 87cm wide, 53cm deep (31in high, 34.25in wide, 20.8in deep)

£2,000-3,000

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

200

333 EMANUELE PONZIO & CESARE CASATI (ITALIAN 1923- & 1936-2015) FOR PONTEUR SET OF FIVE PILLOLA (PILL) LAMPS, DESIGNED 1968 acrylic and plastic (5) 55cm high (21.6in high)

£2,000-3,000

334 ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE ‘ALTELANA’ TABLE LAMP model 14093, manufacturer’s label, chromed metal 22cm high (8.75in high)

£400-600

335 GEOFFREY BAXTER (BRITISH 1922-1995) FOR WHITEFRIARS ‘DRUNKEN BRICKLAYER’ VASE Model 9672, willow colourway glass; together with two vases, model 9682 in the kingfisher blue and willow colourway glass; and ‘Nuts & Bolts’ Vase, model 9668, in cinnamon colourway glass (4) Drunken Bricklayer 33.3cm high (13.3in high); Nuts & Bolts vase 26.5cm high (10.5in high); Kingfisher blue 31.5cm high (12.5in high); Willow 31.5cm high (12.5in high) Provenance: Albert Dawson Educational Trust; The Peter Rose and Albert Gallichan Collection, Brighton, UK.

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

336 SHIRO KURAMATA (JAPANESE 1934-1991) ‘PANACÉE’ RUG, DESIGNED 1989 from the edition of fifty produced by Paul Hughes Fine Art, wool 202cm x 143cm (79.5in x 56in)

£3,000-5,000

337 DAME ZAHA HADID D.B.E. (IRAQI / BRITISH 1950-2016) FOR WMF EIGHT FIVE-PIECE ‘ZAHA’ CUTLERY SETS, DESIGNED 2007 stainless steel, with manufacturer’s marks and original cases, comprising 8 knives, 8 forks, 8 small forks, 8 spoons, 8 small spoons (40) the knives 24.5cm long (9.6in long)

£3,000-5,000

203

338 ADI TOCH (BRITISH 1979-) AND ED BYRNE (IRISH 1977-) STILL BOWL, 2020 white metal and glass 8cm high, 14.7cm diameter (3.2in high, 5.75in diameter)

£3,000-5,000

In these works Adi Toch & Ed Byrne explore the dialogue created when substances and forms merge through the joint working methods and unique processes they have developed. Using silver, copper and clear glass they investigate ways in which the materials react, move, fuse, stain and mirror, creating a new visual language of textures and colours.

339 ADI TOCH (BRITISH 1979-) AND ED BYRNE (IRISH 1977-) BOWL, 2021 copper and glass 8cm high, 14.3cm diameter (3.2in high, 5.6in diameter)

£2,000-3,000

CONTEMPORARY SILVER Contemporary silver is an exciting and vibrant sector at the

We are delighted to be able to highlight, support and

current moment, with many of the present band of younger

champion the work of three of the leading lights of this

emerging talent approaching the field in a challenging and

contemporary school in the current edition of Modern Made.

creative way, which makes the whole field a stimulating and exciting area to follow. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

204

340 KYOSUN JUNG (KOREAN 1984-) ‘TREE’ PENCIL CASE, 2020 silver and silver gilt, hand engraved, hallmarked for London 2020 20cm high (7.9in high) Kyosun Jung has used the ancient Korean gilding technique of Keum-boo 금부 for this work, used to apply thin sheets of gold to silver, to make silver-gilt.

£1,500-2,000

341

“

Top craftsmanship with inventive design and functionality, these are fundamental in my work. In essence, in depth research, original design with decorative features where everything is made to the highest standards. (Kyosun Jung)

KYOSUN JUNG (KOREAN 1984-)

”

PHOTO FRAME, 2019 silver, hand engraved, hallmarked for London 2019 18.5cm high, 16cm wide (7.25in high, 6.5in wide)

£1,200-1,800

342 KYOSUN JUNG (KOREAN 1984-) BEAKER AND SHOT CUP, 2021

Kyosun Jung completed a BA Hons Silversmithing, Goldsmithing & Jewellery at University for the Creative Arts in Rochester, UK, and currently has a workshop at the Goldsmiths’ Centre in London. Her work is focussed on quality craftmanship in unison with simple forms with expressive decoration inspired by nature, that provides high visual impact, great design and widespread appeal.

silver, silver gilt and coloured enamels, with hand cut engraved patterns, hallmarked for London 2021 (2) 8cm high and 6.6cm high (3.1in high and 2.6in high) The beakers are overlaid with 15 colours of enamels to create the colourful vessel using inspiration from traditional Korean wrapping cloth called Bojagi (보자기). Bojagi are typical patch work constructed from a variety of colours of different yarns.

£2,000-3,000

205

Yusuke Yamamoto graduated from Musashino Art University in 2004 and now 343 YUSUKE YAMAMOTO (JAPANESE 1979-) TEASEL GOBLET, 2020 hammer-raised and chased Britannia silver 958, hallmarked for Edinburgh 2020

exhibits his award winning hammer-raised and chased pieces worldwide, with work featuring in prestigious public collections in the UK and abroad.

11cm high, 7.5cm diameter (4.3in high, 3in diameter)

Yusuke’s work is a manifestation of his

£1,500-2,000

everyday observations, such as the noise and colour during a trip to the country or city, or the patterns of mathematical expression on a blackboard. Once he has found the essence of his narrative he jots down these ideas onto silver with his individual style of sculptured and chased silver forms, exploring movement and pattern through distinctive surface texture and hammered marks.

344 YUSUKE YAMAMOTO (JAPANESE 1979-) MARI TUMBLER, 2019 hammer-raised, chased Britannia silver 958 and nunome inlay with 24ct gold foil, hallmarked for Edinburgh 2019 7cm high, 10cm diameter (2.75in high, 3.75in diameter)

£2,000-3,000

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

206

345 § EDMUND DE WAAL (BRITISH 1964-) BLUEBELL VASE, 1997 faintly impressed artist’s mark, porcelain with fine crackled celadon glaze 14cm high (5.5in high) Provenance: Galerie Besson, London, 1997; Private Collection, U.K. Sold together with original purchase receipt from Galerie Besson.

£600-800

346 § RUPERT SPIRA (BRITISH 1960-) FOOTED BOWL impressed artist’s seal, stoneware, rich blue glaze 7.5cm high, 17.2cm diameter (3in high, 6.75in diameter)

£200-300

347 § RUPERT SPIRA (BRITISH 1960-) FOOTED BOWL impressed artist’s seal, stoneware, fine crackled celadon glaze with red band 5.5cm high, 18cm diameter (2.25in high, 7in diameter)

£200-300

348 § RUPERT SPIRA (BRITISH 1960-) FOOTED BOWL impressed artist’s seal, stoneware, layered white glazes with linear design 10cm high, 30.5cm diameter (3.9in high, 12in diameter)

£500-700

207

349 ASHRAF HANNA (EGYPTIAN 1967-) WHITE VESSEL WITH BLUE INTERIOR, 2010 inscised ‘ASH’, earthenware 28.7cm high, 17cm wide (11.3in high, 6.75in wide) Made by Hanna whilst at the RCA as part of research for a site specific project at Siobhan Davies Dance Studios.

£700-900

350 ASHRAF HANNA (EGYPTIAN 1967-) BLACK CUT AND ALTERED VESSEL, 2019 incised ‘ASH’, earthenware 25.3cm high, 14cm wide (10in high, 5.5in wide)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

208

351 § AKIKO HIRAI (JAPANESE 1970-) BOTTLE painted maker’s marks, grogged stoneware with rugged porcelain deposit 13cm high (5.1in high)

£400-600

352 § AKIKO HIRAI (JAPANESE 1970-) THREE ‘MORANDI’ BOTTLES one with incised initials, stoneware with white glaze (3) 25.5cm high, 22cm high and 19cm high (10in high, 8.6in high and 7.5in high)

£800-1,200

353 § AKIKO HIRAI (JAPANESE 1970-) SAKE BOTTLE AND CUP painted artist’s marks, grogged stoneware with rugged porcelain deposit (2) sake bottle: 15cm high (5.9in high); cup: 4.8cm high (1.9in high)

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

“

I like working with dark clay. The white glaze I use act as a veil and give my work a feeling of stillness. I look for contrasts in the rawness of the dark textured and the purity in the lighter glazes

”

Akiko Hirai

354 § AKIKO HIRAI (JAPANESE 1970-) MOON JAR painted artist’s mark, grogged stoneware, rugged and cracked porcelain deposits over layered slips beneath running ash glazes 36.5cm high, 36.5cm wide (14.3in high, 14.3in wide)

£3,000-5,000

210

355 § CHRIS LEVINE (BRITISH/CANADIAN 1960-) LIGHTNESS OF BEING, 2018 (CRYSTAL EDITION) 3/150, initialled, dated and numbered in pencil (in the margin), silkscreen with Swarovski crystals 38cm x 29.5cm (14.9in x 11.6in)

£8,000-12,000

356 § CHRIS LEVINE (BRITISH/CANADIAN 1960-) SHE’S LIGHT (LASER 3), 2018 4/100, initialled, dated and numbered (in the margin), giclée print 30cm x 19.7cm (11.8in x 7.75in)

£2,000-3,000

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

“

The challenge was to make an image that was modern, and to convey the Queen’s relationship with the new millennium. Chris Levine, 2009

”

212

357 § PATRICK CAULFIELD (BRITISH 1936-2005) PIPE SMOKE initialled (lower right), also signed ’Patrick Caulfield’ (on a label attached to the backing sheet), acrylic on paper 16cm x 10cm (6.25in x 4in) Provenance: Sale, Charity Auction at Tate Britain in aid of the Macmillan Cancer Trust, Autumn 1998, donated by the Artist, and where acquired by the present owner.

£1,500-2,000

358 § JOE TILSON (BRITISH 1928-) “PERSEPHONE 4”1992, 2006 51/200, signed, dated, numbered and inscribed ‘for Franco’ in pencil (to reverse), maiolica, in collaboration with La Cooperativa Ceramica D’Imola overall 40cm x 40cm (15.75in x 15.75in) including oak frame

£400-600

213

359 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) HOLD YOUR BELIEFS LIGHTLY, 2011 28/250, signed in felt-tip pen (to reverse) and numbered, tapestry, computerised embroidery on cotton and silk, programming by Tony Taylor image 28cm x 40.5cm (11in x 16in) Provenance: Victoria Miro Gallery, London; Private Collection, London.

£3,000-5,000

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

214

“

The way I make pots is incredibly labourintensive, because I never learned to throw, partly because it’s very difficult to throw a large pot, and partly because I don’t need that many – I don’t make that many, because most of my time is spent decorating them… I cover them in layer upon layer of liquid clay, slip, which is various colours … what I like about pottery is the variety of techniques I can use, I can carve it, inlay it, stencil it, I can then apply transfers on top … So I like the fact that I have a huge variety of techniques to mix and match in one work Grayson Perry

”

360 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) FOOTED PLATTER impressed seal mark incorporating a ‘W’ above an anchor (to each of the feet), glazed earthenware with coloured slips and glazes 39cm x 28.2cm x 5cm (15.4in x 11.1in x 2in) Provenance: Given by the artist to the present owner in 1995.

£8,000-12,000

urner Prize winning artist Grayson Perry’s work

The current work, a gift to the current owner from the

now traverses a variety of media including tapestry,

artist in 1995, takes on many of the elements synonymous

printmaking and bronze, but it his work in the

with Perry’s work, with its blending of techniques such as

ceramics field that first garnered him critical acclaim and

slip trailing and photographic transfer, and in transforming

fame and is still the most revered. With a satirical viewpoint

pottery into a space for personal expression and satire. As

and sardonic humour Perry’s ceramic art works parody and

with many of his unique ceramic works, the medium provided

disentangle many art historical reference points.

Perry with a safe space to explore his alter-ego Claire who

“He descends not from the obvious forebears of contemporary art such as Marcel Duchamp, Joseph Beuys and Andy Warhol, but from a rather different line: that of the great satirists. In its bawdy humour, his art recalls the eighteenth and nineteenth-century caricaturists William Hogarth, James Gillray and George Cruikshank. His quirky and literary wit echoes that of Aubrey Beardsley and Wyndham Lewis, while his linear drawing style and predilection for social comment, erotica and the grotesque are reminiscent of the work of Otto Dix, George Grosz and the Expressionists whose art flourished in the smoky nightclubs of 1920s Berlin” (Jacky Klein cited in: Jacky Klein, Grayson Perry, London 2009, p. 10).

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

takes centre stage in the current work, and is depicted in full Victorian mourning dress with one of his infamous pots in the background. This work becomes a place for self-reflection, as well as transforming the utilitarian nature of the medium into a statement of rebellion and satire. As Perry points out ‘My pots always carry with them the intellectual baggage of the history of ceramics, its archaeology, geography and value system. But up close, the content of my work can confound all that’ (Grayson Perry cited in Jacky Klein, Grayson Perry, London 2009, p. 242).

216

361 § RON DELLAR (BRITISH 1930-2016) ‘HOMAGE TO A DEAD HEROE’, 1976 signed, dated and titled (to reverse), oil on canvas 75cm x 100cm (29.5in x 39.5in)

£700-900

362 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) TUNISIAN LANDSCAPE, 1977 signed and dated (lower left), gouache 18.4cm high x 17.6cm wide (7.25in x 6.75in) Provenance: Bought by the current vendor’s father on a visit to the studio of Mary Fedden.

£1,500-2,000

363 JONATHAN ARMIGEL WADE (BRITISH 1960-) SUMMER NIGHT, HAMPSHIRE signed (lower right), titled (to reverse), oil on board 14cm x 19cm (5.5in x 7.5in)

£500-700

217

364 HELEN YARDLEY (BRITISH 1954-) RUG, 1988 stencilled ‘HELEN YARDLEY / LONDON’ and numbered ‘149’ (to reverse), wool and linen (2) approximately 300cm x 200cm (118in x 78.5in) Provenance: British Rail Property Board, Hamilton House, London; Private Collection, London.

£400-600

365 HELEN YARDLEY (BRITISH 1954-) RUG

366

stencilled ‘HELEN YARDLEY / LONDON’ and numbered ‘147’ (to reverse), wool and linen

HELEN YARDLEY (BRITISH 1954-)

approximately 300cm x 200cm (118in x 78.5in)

£400-600

RUG, 1988 stencilled ‘HELEN YARDLEY / LONDON’ and numbered ‘155’ (to reverse), wool and linen approximately 200cm x 200cm (78.5in x 78.5in) Provenance: British Rail Property Board, Hamilton House, London; Private Collection, London.

£300-500

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

218

219

367 FRANK STELLA (AMERICAN 1936-) FOR DAVID MIRVISH DESIGNS VORTEX ENGRAVINGS, SET OF 8 PLATES, 2000 338/ 1000, stamped signature, date, title and numbering (to underside), porcelain, published by David Mirvish Designs and produced by Haengnam Fine Bone China, Korea, plate series numbers 5-12 (8) 31cm diameter (12.1in diameter)

£800-1,200

368 § ROSS LOVEGROVE (BRITISH 1958-) LANDSCAPE, 2006 1/10, produced by Patrick Brillet Fine Art, white gel coated fibreglass 160cm high, 345cm long, 150cm deep (63in high, 136in long, 59in deep) Private Collection, UK. Literature: Ross Lovegrove, Supernatural: The Work of Ross Lovegrove, London, 2004, p.64 (for a similar example).

£3,000-5,000

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

220

369 § SIR TERRY FROST R.A. (BRITISH 1915-2003) RED AND BLACK SQUEEZE, 2001 (KEMP 213) 58/120, signed and numbered in pencil, screenprint with collage, on wove paper with publisher’s centaur blindstamp, published and printed by Galleria Multigraphic, Venice sheet 36cm x 58cm (14.25in x 22.75in), unframed

£800-1,200

370 § HOWARD HODGKIN (BRITISH 1932-2017) BRUSHSTROKE, 2010 22/75, initialled, dated ‘MMX’ and numbered in pencil (in the margin), screenprint on Somerset textured white rag, printed by King and McGaw, Newhaven, published by the Art Fund the sheet 36cm x 25cm (14.1in x 9.75in)

£2,000-3,000

371 § SIR TERRY FROST R.A. (BRITISH 1915-2003) SMALL YELLOW TIMBERAINE, 2001 (KEMP 216) 42/60, signed and numbered in pencil, screenprint on wove paper, with publisher’s centaur blindstamp, published by Galleria Multigraphic, Venice sheet 40cm x 50cm (15.75in x 19.75in), unframed

£700-1,000

221

372 § GAVIN TURK (BRITISH 1967-) RELIC (CAVE), 1995 signed, dated and numbered ‘090’ in felt-tip pen (to reverse), screenprint in colours on acrylic 48.3cm diameter (19in diameter) Provenance: Richard Salmon Gallery, London.

£1,500-2,500

373 § DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) OLYMPISCHE SPIELE MUNCHEN, 1972 (BAGGOTT 34) Lithograph, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich 102cm x 64cm (40.1in x 25.1in), unframed

£800-1,200

374 § RICHARD HAMILTON C.H. (BRITISH 1922-2011) DEREK JARMAN, 1996-7 (L. 181) 14/40, signed, titled and numbered in pencil (in the margin), pigment transfer print in colours, on JPP mould-made paper 39.5cm x 39cm (15.5in x 15.3in)

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

222

375 § CERITH WYN EVANS (BRITISH 1958-) TIX3, 1994 4/10, green neon on board the board 28cm x 48.3cm (11in x 19in) Provenance: Richard Salmon Gallery, London.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 6

INDEX OF ARTISTS & MAKERS ADAMS, ROBERT 192, 193, 194, 195, 196 AGAR, EILEEN 115 AGOSTINI, FELIX 159 ALBERT-LASARD, LOU 66 ANDREWS, TIM 278 ARNUP, BEN 277 BARNS-GRAHAM, WILHELMINA 220 BAWDEN, EDWARD 296 BAXTER, GEOFFREY 335 BELL, TREVOR 111, 112 BELLINI, MARIO 210 BERTOIA, HARRY 217 BLAKE, SIR PETER 265, 266 BLAKE, SIR PETER 263, 264 BLOW, SANDRA 276 BOICEAU, ERNEST 158 BOJESEN, KAY 11 BRAQUE, GEORGES 179 BRAZIER-JONES, MARK 323, 324 BRITTON, ALISON 288 BUFFA, PAOLO 161 BÜLOW-HÜBE, VIVIANNA TORUN 35, 138, 139

DIXON, TOM 331

KNIGHT, HAROLD 74

PLATNER, WARREN 212

DREULLE, FRANÇOIS 164

KOIE, RYOJI 286

PONTI, GIO 149

EAMES, CHARLES & RAY 211, 213

KOPPEL, HENNING 34, 36, 37, 38, 39, 40, 41, 42, 136, 142

PONZIO, EMANUELE & CASATI, CESARE 333

EGAN, FELIM 252 EL NIGOUMI, SIDDIG 104 EPSTEIN, SIR JACOB 75, 76, 77 EVANS, CERITH WYN 375 FEDDEN, MARY 362 FLYNN, SARA 238 FOG, ASTRID 140 FORNASETTI, PIERO 150, 152 FORTUNY INC. 153 FRINK, DAME ELISABETH 201 FROST, SIR TERRY 369, 371 GABRIELSEN, BENT 141, 143 GAMBONE, GUIDO 248 GAUDIER-BRZESKA, HENRI 68, 69 GEAR, WILLIAM 124, 275 GILBERT & GEORGE 303 GILBERT, STEPHEN 178 GODFREY, IAN 105, 106, 107 GRAHAM, DAVID 163 GRENVILLE, HUGO 297, 298 HADID, DAME ZAHA 337

BUTLER, REG 190

HAINES, WILLIAM ‘BILLY’ 162

CABRERA, CÉSAR MANRIQUE 246

HAMADA, SHOJI 98

CAIGER-SMITH, ALAN 279 CAMPANA BROTHERS 332 CARDEW, MICHAEL 99, 100

HAMILTON, RICHARD 374 HANNA, ASHRAF 349, 350 HEATH, ADRIAN 218, 219 HENDERSON, EWEN 281

CARDIN, PIERRE 329

HENNINGSEN, POUL 52, 53, 55

CARLI, CARLO DI 173, 174

HERBST, RENE 209

CARRUTHERS, DEREK 226, 228

HILL, ANTHONY 227

CARWARDINE, GEORGE 206

HIRAI, AKIKO 351, 352, 353, 354

CAULFIELD, PATRICK 357

HOCKNEY, DAVID 373

CAZIEL 177, 180

HODGKIN, HOWARD 370

CHADWICK, LYNN 202, 203 CHERNER, NORMAN 148 CHIHULY , DALE 319

HOWARD, KEN 299 HUGO, JEAN 175, 176 HULL, JAMES 122

CHRISTENSEN, LINA 144

HUME, GARY 258, 259

CLARKE, JONATHAN 198

HURRY, LESLIE 118

CLATWORTHY, ROBERT 200

HYNDMAN, KATHLEEN 253

COCTEAU, JEAN 156, 157, 171

INGHAM, BRYAN 292, 293, 294, 295

COLLINGWOOD, PETER 231 COOPER, EMMANUEL 287 CORBUSIER, LE 205, 208 CRAIG-MARTIN, MICHAEL 255 CUNNINGHAM, JACK 321 DALWOOD, HUBERT 197 DAVENPORT, IAN 256, 257 DAVIE, ALAN 267, 268, 269, 270, 271, 272, 273 DE WAAL, EDMUND 345 DELLAR, RON 361 DERAIN, ANDRE 181, 183 DEVLIN, STUART 145, 146 DITZEL, NANNA & JØRGEN 33, 54

JACOBSEN, ARNE 45, 46, 47, 48, 49, 51, 204 JACOBSEN, ROBERT 18, 50 JARVAISE, JAMES 215 JENCKS, CHARLES 260, 261 JENSEN, GEORG 31 JENSEN, JACOB 44 JUHL, FINN 19, 20, 21, 22, 23, 24, 25, 130 JUNG, KYOSUN 340, 341, 342 KINDT-LARSEN, EDVARD 137 KING-SALTER, JULIAN 285 KJAERHOLM, POUL 65 KNIGHT, DAME LAURA 70, 71

KRENCHEL, HERBERT 63

PROCTER, ERNEST 72, 73

KURAMATA, SHIRO 336

PROU, RENÉ 160

LE CORBUSIER 205, 206

PYE, DAVID 290

LEACH, DAVID 234

QUISTGAARD, JENS 43

LEACH, JANET 232, 233

RADSTONE, SARA 282

LELII, ANGELO 334

RAMSHAW, WENDY 304, 305, 306, 307, 308, 309, 310, 311, 312

LESSORE, THÉRÈSE 67 LEVINE, CHRIS 355, 356 LIAIGRE, CHRISTIAN 326 LIPCHITZ, JACQUES 182 LOVEGROVE, ROSS 368 LUNDIN, INGEBORG 133 LÜTKEN, PER 61, 62 MACARA, ANDREW 301 MALINOWSKI, ARNO 32 MALTBY, JOHN 280 MANZ, BODIL 240 MARTIN, MARY 224 MATHSSON, BRUNO 129

RASPI, PIERO 165 REYNOLDS, ALAN 113 RIE, DAME LUCIE 235, 236, 237 RITTS, HERB 168 ROBERT (GUY DE CHAUNACLANZAC), DOM 116 ROGERS, EDWARD 169, 170 SABATTINI, LINO 155 SADLER, ROBERT 123 SALTO, AXEL 131, 132 SARPANEVA, TIMO 134, 135 SLEE, RICHARD 284

MAURER, INGO 330

SOUZA, FRANCIS NEWTON 185, 186, 187, 188

MCLEAN, BRUCE 247

SPIRA, RUPERT 346, 347, 348

MEADOWS, BERNARD 189

STAFFORD, SIMEON 300

MEADOWS, VICTORIA 245

STANKOWSKI, ANTON 167

MELVILLE, JOHN 120

STELLA, FRANK 367

MILLINGTON-DRAKE, TEDDY 166

TAGLIAPIETRA, LINO 315

MILNE, JOHN ERSKINE 199

TAKIS, VASSILAKIS 230

MOGENSEN, BØRGE 28, 29, 30

TAYLOR, SUTTON 289

MOHIDIN, LATIFF 109, 110

THOMAS, MARGARET 78, 79

MOORE, HENRY 184

TILSON, JOE 358

MORRIS, SARAH 325

TOCH, ADI 338, 339

MORTENSEN, RICHARD 16, 17

TURK, GAVIN 372

MORTON, ALASTAIR 225

TURNBULL, WILLIAM 274

MOSCHINO, PAOLO 322

TURNER DURRANT, ROY 108

MURRAY, WILLIAM STAITE 97

UNDERWOOD, LEON 191

NELSON, GEORGE 214, 216

VALLIEN, BERTIL 320

NICHOLSON, BEN 89, 90, 91, 92, 94

VYSE, CHARLES 96

NICHOLSON, KATE 93 NICHOLSON, WINIFRED 80, 81, 82, 83, 84, 85, 86, 87, 88, 95 OHIRA, YOICHI 313, 314 PANTON, VERNER 56, 57, 58, 59, 60, 207 PAOLOZZI, EDUARDO 229 PARISI, ICO 154 PARTRIDGE, JIM 291 PAYNE , BRETT 147 PEARSON, COLIN 283 PERRY, GRAYSON 359, 360 PESCE, GAETANO 262 PHILP, PAUL 243, 244 PICASSO, PABLO 249, 250, 251 PINTO, ALBERTO 172 PIPER, JOHN 114

WADE, JONATHAN ARMIGEL 363 WALLWORK, ALAN 101, 102, 103 WARD, JOHN 239, 241, 242 WEGNER, HANS 1, 2, 3, 4, 5, 6, 7, 125, 127, 128 WELLS, JOHN 222, 223 WELLS, JOHN 221 WHISSON, KENNETH RONALD 302 WIKKELSØ, ILLUM 14 WILSON, SCOTTIE 117 WOLFE, EDWARD 119, 121 WOLFSON, PHILIP MICHAEL 327 YAMAMOTO, YUSUKE 343, 344 YARDLEY, HELEN 364, 365, 366 ZUPANC, NIKA 328

AUCTION 28 APRIL 2022 THE MALL GALLERIES, LONDON

RENÉ LALIQUE (FRENCH 1860-1945) RENARD CAR MASCOT, NO. 1182 [DETAIL]

£80,000-120,000

For more information please contact Joy McCall | 0207 930 9115 joy.mccall@lyonandturnbull.com

FORM THROUGH TIME

AUCTION 08 JUNE 2022 LIVE ONLINE | OPEN FOR CONSIGNMENTS

Form Through Time is a journey through world history and culture, bringing together Fine Ancient Art, Tribal Art & Natural History into a curated whole. These works offer a glimpse onto the distant peoples who created them, and reveal how the art of the remote past stimulated many of the great twentieth century artists, with a tangible connection to our modern day.

FINE KUSURA IDOL ANATOLIA, EARLY BRONZE AGE, C. 2700 – 2100 B.C. One of three idols to be offered, originating from the estate of the late Clodagh Waddington, wife of Leslie Waddington, former chair of the Waddington Galleries, champions of a number of Modern British artists including sculptor and painter William Turnbull

£4,000-6,000

For more information please contact Alex Tweedy | 0131 557 8844 alex.tweedy@lyonandturnbull.com

PHILADELPHIA'S AUCTION HOUSE CONNECTING NAKASHIMA TO THE WORLD UPCOMING AUCTION May 12 11 AM EDT

INQUIRIES Tim Andreadis +1 267.414.1215 design@freemansauction.com

George Nakashima (American, 1905-1990) English Walnut Conoid Bench $40,000-60,000

SCOTTISH PAINTINGS & SCULPTURE

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, EAST BAY – THE LITTLE ISLAND AND MULL

£40,000-60,000

AUCTION 16 JUNE 2022 | LIVE ONLINE | EDINBURGH | OPEN FOR CONSIGNMENTS

For more information please contact NIck Curnow | 0131 557 8844 nick.curnow@lyonandturnbull.com

228

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only. 2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

22.1

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological

reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

229 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected

and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

responsible for any error (human or otherwise) omission or breakdown in providing these services.

C. DURING THE SALE

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.

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.

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.

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.

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

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

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 £500,000, plus 20% from £500,001 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. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above. 3. ARTIST’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 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

230 in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that:

(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

(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;

(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.

(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;

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:

(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.

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller

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.

that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate. G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

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:

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(a) To proceed against You for damages for breach of contract;

(iii) Sell the Lot in any way we think reasonable.

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

H. TRANSPORT & SHIPPING

(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

(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.

1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/ 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

231 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 addition-

al 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.

“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.

K. DEFINITIONS & GLOSSARY

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

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.

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:

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;

“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

“Bidder” a person who has completed a Bidding Form

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

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“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’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall.

22.1

232

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

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 facilities are available by appointment.

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

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 6 of this catalogue.

ON THE INTERNET - ABSENTEE BIDDING

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 288 [detail]

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