Modern Made | Auction 28 April 2023

BUYER'S GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

25% from £20,001 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

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard 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.

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.

REGISTRATION

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

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

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

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

COLLECTION OF PURCHASED LOTS

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Purchased items will be available to collect from Mall Galleries on Saturday 29th April from 10am until 3:30pm.

Following the auction, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 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 17th May. From Thursday 18th May, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) – £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day.

FOR CLIENTS IN SCOTLAND

Scottish buyers and vendors items will be available to collect from Monday 15th 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 appointments 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.

Matthew Yeats | London Design | Sale Administrator matthew.yeats@lyonandturnbull.com

Joy McCall | London Design joy.mccall@lyonandturnbull.com

Carly Shearer | Edinburgh Paintings, Prints & Sculpture carly.shearer@lyonandturnbull.com

Philip Smith | London Head of Sale philip.smith@lyonandturnbull.com

Simon Hucker | London Paintings, Prints & Sculpture simon.hucker@lyonandturnbull.com

Alice Strang | Edinburgh Paintings, Prints & Sculpture alice.strang@lyonandturnbull.com

John Mackie | Edinburgh Design john.mackie@lyonandturnbull.com

We are delighted to bring you the eighth edition of Modern Made and to be back in the Mall Galleries in St James’s in London showcasing an array of leading artists’ and makers’ work from the 20th century to now.

At the heart of the current exhibition is a selected group of works from the collection of Ann Sutton O.B.E., which epitomises the ethos of the Modern Made concept, in the collaboration and close relationship between artists and makers in the post-war years. Ann’s collaboration with the wood artist Jim Partridge in the 1980s was of seminal importance and this sale brings together the largest collection of works by him to appear on the open market.

From paintings to printmaking, ceramics to glass, silversmithing to jewellery, textiles to furniture, Modern Made showcases in one space modern art, craft and design from key practitioners in their movements. Displaying work of different generations and media allows for reciprocal links and for unexpected questions to be posed and examined, with the hope of allowing it to be a forum for exploring new artists and works from modern masters to cutting-edge contemporary makers.

Continuing our commitment to the promotion of the best of contemporary ceramic art and craft both historic and new, you can find works from the estate of jeweller Wendy Ramshaw and a collection of pieces brought together to highlight the significance of Breon O’Casey across multiple media as you delve through the pages of the catalogue. There are also significant works from leading figures in the contemporary craft movement such as Ndidi Ekubia, Junko Mori, David Pye and Akiko Hirai, as well as historic works by Dame Lucie Rie charting different points throughout her illustrious career.

Sculpture by a generation of British post-war sculptors who were searching for a new formal language in the medium after the horrors of war, also takes centre stage, and is exemplified by works by Elisabeth Frink, Robert Adams, Denis Mitchell, Geoffrey Clarke and Hubert Dalwood. We are also delighted to present works form the estate of George Kennethson. Further highlights include noteworthy Scandinavian and Italian glass by masters in their field Simon Gates, Knut Bergqvist, Carlo Scarpa and Fulvio Bianconi, to name but a few of the important makers included in the sale.

We hope you enjoy the wonderful array of works that demonstrate the multidisciplinary and cross-cultural nature of the art world in the post-war years, and that the catalogue, exhibition and auction express the vitality of the art scene over this period.

Philip Smith Senior Specialist Modern & Contemporary Art, Design & Craft Head of Sale - Modern Made

POUL KJAERHOLM (DANISH 1929-1980)

FOR E. KOLD CHRISTENSEN

‘PK22’ LOUNGE CHAIR, CIRCA 1960

model EKC-22, stamped manufacturer’s mark (to frame), steel and canvas

71cm high, 58cm wide, 65cm deep (28in high, 23in wide, 25 1/2in deep)

£1,000-2,000

ARNE JACOBSEN (DANISH 1902-1971)

FOR FRITZ HANSEN

‘EGG’ CHAIR, DESIGNED 1958

traces of manufacturer’s label to frame, leather with steel frame

106cm high, 81cm wide, 76cm deep (41 3/4in high, 31 7/8in wide, 29 7/8in deep)

£1,500-2,000

POUL KJAERHOLM (DANISH 1929-1980)

FOR E. KOLD CHRISTENSEN

PAIR OF ‘PK22’ LOUNGE CHAIRS model ECK-22, stamped manufacturer’s mark (to frames), steel and woven wicker (2)

73cm high, 63cm wide, 60cm deep (28 3/4in high, 24 3/4in wide, 23 5/8in deep)

£2,000-3,000

4 VERNER PANTON (DANISH 1926-1998) FOR VERPAN SPIRAL SP2 LAMP, DESIGNED 1969 with sticker label, cast ABS plastic spirals, nylon string 152cm high (59 3/4in high) £800-1,200

5

VERNER PANTON (DANISH 1926-1998)

SET OF NINE ‘SPIEGEL’ WALL LIGHTS, DESIGNED 1968

brushed steel (9)

62.5cm high, 62.5cm wide, 18cm deep (24 1/2in high, 24 1/2in wide, 7in deep)

Provenance

Themes & Variations, London.

£2,000-3,000

WENDELL CASTLE (AMERICAN 1932-2018)

‘ZEYPHR’ ARMCHAIR, 1976

incised with initials and dated, walnut and maple 74cm high, 59.5cm wide, 54cm deep (29in high, 23 3/8in wide, 21 1/4in deep)

£7,000-9,000

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988)

LOUNGE CHAIR & OTTOMAN, DESIGNED 1956

model nos. 670 and 671, manufacturer’s label to the stool, molded plywood, rosewood veneer, leather, enamelled aluminium and enamelled steel the chair 82cm high, 83cm across (32 1/4in high, 32 1/2in across)

Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 627403/01.

£2,000-3,000

7

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR HERMAN MILLER

‘EA124’ HIGH BACK CHAIR, CIRCA 1960 cast manufacturer’s mark and serial number 683/84 / 938-011 to frame, faux leather, aluminium frame 97cm high, 63cm wide, 50cm deep (38 1/8in high, 24 3/4in wide, 19 5/8in deep)

£600-800

8

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR VITRA

‘TIME LIFE’ STOOL, DESIGNED 1960 model C, Vitra label to base, walnut 38cm high, 33cm diameter (15in high, 13in diameter)

£400-600

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988)

ROOM SCREEN

FSW-6, six panels, canvas and plywood

172cm high (67 3/4in high)

£2,000-3,000

12 §

ROBIN DAY (BRITISH 1915-2010)

BENCH, DESIGNED 1954

mahogany and wrought steel

41cm high, 121cm long, 46cm deep (16 1/8in high, 47 5/8in long, 18 1/8in deep)

£600-800

11

CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988)

‘DCM’ CHAIR, CIRCA 1950S

stamped 52 (to base), red analine dyed plywood, chrome and rubber

74cm high, 49.5cm wide (29 1/8in high, 19 1/2in wide)

£400-600

13

SABURO INUI (JAPANESE 1911-1991)

ZATAKU COFFEE TABLE, DESIGNED 1959

Japanese elm (zelkova) plywood and bleached Indian rosewood, manufactured by Tendo Mokko, Japan 34.5cm high, 122cm long, 76cm deep ( 13 1/2in high, 48in long, 30in deep)

Literature

天童木工 (Tendo Mokko), Tokyo: Bijutsu Shuppan-sha, 2008, pp. 174 - 179; Design Japonais 1950-1995, Paris: Éditions de Centre Pompidou, 1996, p. 76.

£700-900

ISAMU NOGUCHI (AMERICAN 1904-1988) ‘RUDDER’ STOOL, DESIGNED 1944 model no. IN-22, birch plywood, plated steel and rubber 41.2cm high, 35.5cm wide, 62cm deep (16 1/4in high, 14in wide, 24 3/8in deep)

Literature

Isamu Noguchi: Sculptural Design, exh. cat., Vitra Design Museum, Berlin, 2002, p. 121; Rychlak, Bonnie, et. al., Design: Isamu Noguchi and Isamu Kenmochi, New York, 2007, pp. 60 and 61. £20,000-30,000

Everything is sculpture. Any material, any idea without hindrance born into space, I consider sculpture.

Isamu Noguchi

15 §

JANET LEACH (BRITISH/AMERICAN 1918-1997) AT LEACH POTTERY

VASE WITH LUGS

impressed artist and pottery seals, stoneware with speckled and dripped glaze

17.5cm high (6 7/8in high)

£400-600

16 §

JANET LEACH (BRITISH/AMERICAN 1918-1997) AT LEACH POTTERY

VASE, 1981

impressed artist and pottery seals, initialled and dated (to the lid of the box), stoneware with black glazed geometric patterns, in original fitted wooden box

19cm high (7 1/2in high)

£500-700

17 §

WAISTEL COOPER (BRITISH 1921-2003)

VASE, 1960S

signed Waistel (to base), stoneware

23cm high (9in high)

£500-700

18 §

WILLIAM STAITE MURRAY (BRITISH 1881-1962)

VASE

impressed artist’s seal, with flower head and stem motif to the body, stoneware

33cm high (13in high)

Provenance

Private Collection, UK.

£500-700

19 §

PAUL PHILP (BRITISH 1941-)

THREE VESSELS

each with impressed artist’s seal, stoneware (3)

16.3cm high, 16.6cm high and 21cm diameter (6 3/8in high, 6 1/2in high and 8 1/4in diameter)

£1,200-1,800

20 §

PAUL PHILP (BRITISH 1941-)

VESSEL WITH LUGS

impressed artist’s seal, stoneware

29.2cm high, 26cm wide (11 1/2in high, 10 1/2in wide)

£1,000-1,500

21 §

EWEN HENDERSON (BRITISH 1934-2000)

TEA BOWL

mixed laminate clays

15cm diameter (6in diameter)

£400-700

22 §

ROBIN WELCH (BRITISH 1938-2019)

VESSEL

impressed ROBIN WELCH 85, stoneware 22cm high (8 3/4in high)

£300-500

23 §

EWEN HENDERSON (BRITISH 1934-2000)

FOUR SHALLOW BOWLS

mixed laminated clay

The largest 34cm wide, 30cm deep (13 3/8in wide, 11 3/4in deep); the smallest 7.2cm wide, 6.2cm deep (2 7/8in wide, 2 3/8in deep)

£600-1,000

24 §

EWEN HENDERSON (BRITISH 1934-2000)

TALL VASE FORM

mixed clays

41cm high (16 1/4in high)

Provenance

Beaux Arts, Bath, 2009; Private Collection, UK.

£2,000-3,000

25 §

EMMANUEL COOPER O.B.E. (BRITISH 1938-2012)

BOWL

impressed artist’s seal, green glaze

10cm high, 25.5cm diameter (4in high, 10in diameter)

Provenance

Private Collection, London.

£700-900

26 §

EMMANUEL COOPER O.B.E. (BRITISH 1938-2012)

VASE

impressed artist’s seal, turquoise glaze with gold spots

18.4cm high (7 1/4in high)

Provenance

Private Collection, Scotland.

£500-700

27 §

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

BOWL IN THE FORM OF A PAINTING, CIRCA 1981

initialled (to base), stoneware with oxide abstract linear design in black and pink

16cm high, 32.5cm wide (6 3/8in high, 12 3/4in wide) £800-1,000

KATE MALONE M.B.E. (BRITISH 1959-)

TWO JUGS

the larger example signed Kate Malone (to base), the smaller example signed KM (to base), glazed stoneware (2)

The larger jug: 14cm high (5 1/2in high); The smaller jug: 8.5cm high (3 1/4in high)

Provenance

These jugs were produced as part of the range to be sold at the museum shop to coincide with one of Malone’s first exhibitions in London at the South Bank Centre.

£300-500

DUNCAN ROSS (BRITISH 1943-)

VASE

signed with monogram (to base), earthenware, smoke-fired and burnished terra-sigillata

20.5cm high, 23.5cm diameter (8in high, 9 1/4in diameter)

Provenance

Private Collection, UK.

£300-500

WALTER

KEELER (BRITISH 1942-)

THREE TEAPOTS

each impressed artist’s seal, salt glazed stoneware (3)

21cm high, 18cm high and 16cm high (8 1/4in high, 7in high and 6 1/4in high)

Provenance

Private Collection, London.

£400-600

29 §

30 §

‘BIRD’ DISH

signed MALTBY (to base), stoneware

4cm high, 30.5cm wide, 30.5cm deep (1 1/2in high, 12in wide, 12in deep)

Provenance

Sheila Harrison Fine Art, London, December 1990; Private Collection, UK.

£500-700

signed MALTBY (to base), stoneware

32.5cm wide, 32.5cm deep (12 3/4in x 12 3/4in)

Provenance

Private Collection, UK.

£500-700

31 §

JOHN MALTBY (BRITISH 1936-2020)

32 §

JOHN MALTBY (BRITISH 1936-2020) DISH

33 §

JOHN MALTBY (BRITISH 1936-2020)

‘BOAT, ROCK, LOBSTER POT’ DISH

signed MALTBY (to base), stoneware

5cm high, 26.7cm wide, 21cm deep (2in high, 10 1/2in wide, 8 1/4in deep)

Provenance

Private Collection, London. £400-600

35 §

JOHN MALTBY (BRITISH 1936-2020)

FOOTED BOWL

signed MALTBY (to base), stoneware

8cm high, 28cm wide, 25cm deep (3 1/8in high, 11in wide, 9 3/4in deep)

Provenance

Sheila Harrison Fine Art, London, December 1990; Private Collection, UK. £400-600

34 §

JOHN MALTBY (BRITISH 1936-2020)

FOOTED VESSEL

impressed artist’s seal, stoneware

19.2cm high, 14cm wide (7 5/8in high, 5 1/2in wide) £500-700

‘Breon O’Casey is a man for all seasons. He thinks and feels with his hands and moves with apparent ease from two-dimensional to three-dimensional activities, from one medium to another, without losing the artistic integrity of his intent. Breon O’Casey’s sensitive observations of life, art and nature inform his rich personal, visual language and beautifully balanced prose. His respect for his immediate environment and for tradition have enabled him to move forward with a confident, quiet ease, creating a refreshingly honest approach to art. He is an artist who is prepared to wait for the right shape, for the right brushstroke or the perfectly chosen word to express his meaning’.

(Peter Murray 1)

Breon O’Casey was a true polymath and was possibly unique in the combination of skills he possessed over so many media in a single career. He was a painter, printmaker, weaver, sculptor and jewellery maker and it is hard to think of any other contemporary artist and maker who was so broadly talented.

Son of the playwright Sean O’Casey (1880-1964), Breon spent most of his career in Cornwall, where he was closely associated with many of the painters, potters and sculptors of the St Ives movement. He arrived in the coastal town in the 1959 and served artistic apprenticeships under sculptors Barbara Hepworth and Denis Mitchell, and was friends with leading artists such as Peter Lanyon, John Wells and Tony O’Malley.

In 1999 O’Casey recalled: ‘One day, watching television, some time in the late fifties, I saw a film about Alfred Wallis…the film incidentally showed St Ives and the studios of the artists living there. I realised it was the place for me. I owned a small orange Ford van. I packed the van and went. St Ives! In those days it was still a working fishing port, with tourism and artists tolerated, but kindly tolerated. Coming from Torquay, where I had felt like a rhinoceros walking along the streets, the relief of mingling with other crazy artists was enormous…I felt secure and there was a sort of electricity in the air.’ 2

BREON O’CASEY: A MAN FOR ALL SEASONS

Breon O’Casey in his sculpture studio. Photo © Bob Berry.

BREON O’CASEY (BRITISH 1928-2011)

BOAT, 1999

signed and dated in pencil in margin (lower right), numbered 11/15 (lower left), linocut on paper 45cm x 44cm (17 3/4in x 17 3/8in)

Provenance

Private Collection, Scotland.

£800-1,200

O’Casey’s abstract style was poetic and focussed on discovering the simplicity of objects and forms. For him there was ‘nothing new under the sun, but an infinity of arrangements’ and when asked about objects that captivated him it was ‘not the wood, not the tree, but the leaf; not the distant view, but the hedge; not the mountain, but the stone’. He would return to geometric motifs and natural forms again and again throughout his career and considered himself a ‘traditional innovator’, fascinated by ancient, primitive and non-western art, but imbuing it with his own poetic sensibilities and discoveries through all the creative channels he explored.

Although often overshadowed by his St Ives contemporaries, O’Casey’s legacy, talents and unique skills are now being reassessed, and greater importance given to his accomplishments beyond narrow and interlocked art circles. We are delighted to bring this collection of his work together to showcase many of the aspects of O’Casey’s prodigious artistic output, and to celebrate his significance as a true renaissance figure of British 20th-century art and craft.

1 / Peter Murray quoted in Sarah Coulson and Sophie Bowness, Breon O’Casey: An Anthology of his Writings, Yorkshire Sculpture Park, Wakefield, 2005, p.3.

2 / Breon O’Casey quoted in Brian Fallon and Breon O’Casey, Breon O’Casey, Scolar Press, Aldershot, 1999, p.48.

39 §

BREON O’CASEY (BRITISH 1928-2011)

TWO PAIRS OF EARRINGS

the first of pendent design with a coral bead, unmarked, yellow metal; the second of triangular outline, set with a green hardstone, unmarked, white metal (2)

Lengths: 4cm and 0.9cm (1 1/2in and 2/5in)

Provenance

Private Collection, Scotland.

£400-600

37 §

BREON O’CASEY (BRITISH 1928-2011)

NECKLACE unmarked, white metal

Length: 59cm (23 1/4in)

Provenance

Private Collection, Scotland.

£500-800

40 §

BREON O’CASEY (BRITISH 1928-2011)

BROOCH

scratch initials BOC, white metal, square outline with triangular motifs

3.8cm wide (1 1/2in wide)

Provenance

Scottish Gallery, Edinburgh, 1998.

Private Collection, Scotland.

£500-800

41 §

BREON O’CASEY (BRITISH 1928-2011)

BATHER

signed BOC and numbered I/V (to marble base), bronze

26.5cm high (10 1/2in high) excluding base

Provenance

Private Collection, London.

£6,000-8,000

42 §

BREON O’CASEY (BRITISH 1928-2011)

COCKEREL stamped BOC (to base), bronze 9.3cm high, 7in wide (3 5/8in high, 2 3/4in wide)

Provenance Private Collection, London. £4,000-6,000

43 §

BREON O’CASEY (BRITISH

1928-2011)

BIRD IN THE WOOD, 2008 signed, titled and dated (to reverse), acrylic on canvas 91cm x 121cm (35 3/4in x 47 5/8in)

Provenance

Clark Art Ltd, Hale; Private Collection, UK.

Literature

Fallon, Brian, Breon O’Casey: A Decade, Aldershot: Scolar Press, 1999, p. 63, illustrated. £12,000-18,000

To paint is to wait and watch, to try to listen to the picture, to chance a stroke, to hope for the best.

Breon O’Casey

WORKS FROM THE ESTATE OF AN IMPORTANT ST. IVES ARTIST

45 §

BREON O’CASEY (BRITISH 1928-2011)

CHRISTMAS CARD (BIRD DESIGN)

Inscribed (inside card), linocut

23cm x 15.5cm (9in x 6in)

£400-600

44 §

BREON O’CASEY (BRITISH 1928-2011)

TWO TIE DESIGNS

Mixed media and collage

28.5cm x 19cm (11 1/4in x 7 1/2in)

£500-800

46 §

BREON O’CASEY (BRITISH 1928-2011)

THREE CHRISTMAS CARDS

each inscribed from the artist (inside the card), mixed media, mixed media with collage and linocut (3)

11.5cm x 17.5cm (4 1/2in x 7in); 10cm x 17cm (4in x 6 3/4in); 19.5cm x 20cm (7 3/4in x 8in);

£600-800

47 PORTHIA PRINTS DESIGN PROOFS

By Robert Adams, Trevor Bell, Peter Lanyon and Denis Mitchell, screenprinted on paper and linen (5)

Various sizes, the largest 39.5cm x 49.5cm (15 1/2in x 19 1/2in)

£400-600

48 §

DENIS MITCHELL (BRITISH 1912-1993)

UNTITLED (MAQUETTE)

Cast concrete on wooden base

79.5cm high (31 1/4in high) including base £2,000-3,000

PORTHIA PRINTS

FOUR TABLE LINENS

By

£400-600

Barbara Hepworth, Trevor Bell, John Forrester and Denis Mitchell, screenprinted linen (4) various sizes, the largest 30.5cm x 43cm (12in x 17in)

50 §

ALEXANDER MACKENZIE (BRITISH 1923-2002)

ARDEN GREAT MOOR, APRIL 1982

Signed with initials, inscribed and dated (lower right), indistinctly inscribed (to backboard), ink and watercolour

12.5cm x 20.5cm (5in x 8in)

£500-700

51 §

VARIOUS ST. IVES ARTISTS (ALEXANDER MACKENZIE, JOHN WELLS, MICHAEL CANNEY, TOM CROSS)

FOUR CHRISTMAS CARDS

Alexander MacKenzie (British 1923-2002) Christmas Card, 1982, inscribed from the artist (inside the card), print with collage;

John Wells (British 1907-2000) Christmas Card, 1982, inscribed from the artist (inside the card), screenprint;

Michael Canney (British 1923-1999) Christmas Card, 1989, initialled and dated (lower right), inscribed from the artist (inside the card), collage with mixed media;

Tom Cross (British 1931-2009), Christmas Card (Italian Garden), inscribed from the artist (inside the card), collage (4)

14.5cm x 19cm (5 3/4in x 7 1/2in); 11cm x 14.5cm (4 1/4in x 5 2/4in); 14.5cm x 19.5cm (5 3/4in x 7 3/4in); 18.5cm x 12cm (7 1/4in x 4 3/4in)

£500-700

52 §

DENIS MITCHELL (BRITISH 1912-1993)

UNTITLED (STUDY IN BLUE)

Oil on board

33cm x 43cm (13in x 17in)

£2,000-3,000

53 §

DENIS MITCHELL (BRITISH 1912-1993)

SCULPTURE DESIGN ON RED

Oil on board

15.5cm x 20.5cm (6in x 8in)

£400-600

54 §

DENIS MITCHELL (BRITISH 1912-1993)

UNTITLED (IRON/STEEL CONSTRUCTION), 1951

Signed with initials and dated (to base), unique steel wire sculpture

101cm (39 3/4in) high, including base

Exhibited

Gillian Jason Gallery, London, 1990; Penwith Galleries, St Ives, 1992. £6,000-8,000

55 §

JOHN WELLS (BRITISH 1907-2000)

UNTITLED, 1957

initialled, dated and inscribed 82/3 D. (lower left), pencil and chalk on paper 16cm x 21.5cm (6 1/4in x 8 1/2in)

£300-500

56 §

KENNETH QUICK (BRITISH 1931-1963)

BOWL impressed artist’s seal, earthenware 21.2cm diameter (8 3/8in diameter)

£300-500

57 §

ROBIN NANCE (BRITISH 1907-1990)

BIRD

Signed in pencil and numbered 19 (to base), wood 17cm x 26cm x 9cm (6 3/4in x 10 1/4in x 3 1/2in)

£300-500

Signed and dated (to base), steel

27cm high (10 1/2in high)

£3,000-5,000

58 § CONOR FALLON (IRISH 1939-2007) COCKEREL, 1978

MISOME

Signed (lower right), pencil

25.5cm x 35.5cm (10in x 14in)

£300-500

59 §

BRYAN WYNTER (BRITISH 1915-1975)

LANDSCAPE WITH THISTLE, 1947

Signed and dated (lower right), ink and wash

15cm x 22cm (6in x 8 3/4in)

£600-800

LIFEBOAT, NEWLYN, 2004

initialled (lower right), titled, dated and inscribed (reverse), oil on canvas

24.5cm x 35cm (9 3/4in x 13 3/4in)

£300-500

61 § BERNARD EVANS (BRITISH 1929-2014)

60 §

PIELÉ (BRITISH 1907-1985) HILL-TOP TOWN

62 §

BRYAN PEARCE (BRITISH 1929-2007)

NEWLYN, 1958

Signed (lower centre), oil on board

53cm x 75cm (22 3/4in x 29 1/2in)

Bryan Pearce was supported and encouraged by Denis Mitchell, and it was his recommendation that helped Pearce to join the Penwith Society of Arts in 1957. This work was a gift from Pearce’s family, probably his mother, in recognition of that support and encouragement.

£7,000-10,000

DENIS MITCHELL (BRITISH 1912-1993)

SCULPTURE DESIGNS ON BLUE, 1951

Signed and dated (lower right), mixed media on board 44cm x 34cm (17 1/4in x 13 1/2in)

Denis Mitchell started working as an assistant to Barbara Hepworth in 1949, ultimately acting as her principal assistant for a decade.

£1,500-2,500

64 §

DENIS MITCHELL (BRITISH 1912-1993)

LEVANT (UNPOLISHED VERSION), 1966

from an edition of 3, bronze on marble plinth 52cm high (20 1/2in high) excluding base £8,000-12,000

PIERRE JEANNERET (SWISS 1896-1967)

WRITING CHAIR, MODEL DESIGNED CIRCA 1960 faint stencilled lettering (to back), teak and cane, Punjab University, Chandigarh

80cm high, 60cm wide, 63cm deep (31 1/2in high, 23 5/8in wide, 24 3/4in deep)

£2,000-3,000

66

PIERRE

ARMCHAIR

script writing HQ 225 (to reverse), teak and cane

82cm high, 50cm wide, 53cm deep (32 1/4in high, 19 5/8in wide, 20 7/8in deep)

£2,000-3,000

67

PIERRE

BENCH

stencilled D. A. V. (C) 27, teak

45cm high, 143cm wide (17 3/4in high, 56 3/8inin wide)

£5,000-7,000

COFFEE TABLE

inscribed H. C. S. / CA / 051, teak and glass

40cm high, 115cm wide, 42cm deep (16in high, 45 1/4in wide, 16 1/2in deep)

£4,000-6,000

JEANNERET (SWISS 1896-1967)

PIERRE JEANNERET (SWISS 1896-1967)

JEANNERET (SWISS 1896-1967)

SIR BASIL SPENCE O.M. O.B.E. R.A. (BRITISH 1907-1976) FOR H. MORRIS & CO.

‘ALLEGRO’ ARMCHAIR, DESIGNED 1949

maker’s label, laminated wood and leather upholstery

86.5cm high, 53.5cm wide (34in high, 21in wide)

£1,500-2,500 70

JEAN PROUVÉ (FRENCH 1901-1984)

ATTRIBUTED TO STOOL

oak plywood, painted steel rod legs, remnants of original green paint

45cm high, 30cm diameter (17 3/4in high, 11 3/4in diameter)

£500-700

71

PIERRE JEANNERET (SWISS 1896-1967)

THEATRE / CINEMA CHAIR, MODEL

DESIGNED CIRCA 1961

painted number 28 (to reverse), teak, brass and cane

87cm high, 60cm wide, 46cm deep (34 1/4in high, 23 5/8in wide, 18 1/8in deep)

£1,500-2,000

PIERRE JEANNERET (SWISS 1896-1967)

ADMINISTRATIVE DESK, MODEL DESIGNED CIRCA 1960

Stencilled DE07, teak, replaced red leather top, with cupboard to one side and drawers to the other 77cm high, 138cm wide, 77cm deep (30 1/4in high, 54 3/8in wide, 30 1/4in deep)

£4,000-6,000

GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ARMCHAIR

plywood, black

77.5cm high, 60.4cm wide, 82.5cm deep (30 1/2in high, 23 3/4in wide, 32 1/2in deep)

Provenance

Private Collection, South West England; Lyon and Turnbull, Edinburgh, 13 August, 2007, where acquired by the present owner.

£6,000-8,000

ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE PAIR OF TABLE LAMPS, DESIGNED CIRCA 1952

enamelled metal, brass and marble, with rotating light diffuser screens 23cm high (9in high)

Literature

Pansera, Anty, Arredoluce: Catalogue Raisonné 1943-1987, Silvana Editoriale, Milan, 2018, p. 288, cat. no. 53. £2,000-3,000

75 ITALIAN CENTRE TABLE, CIRCA 1940S

oak, marble, brass

77.5cm high, 300cm long, 99.5cm wide (30 1/2in high, 118 1/8in long, 39 1/4in wide)

Provenance

Christie’s London, 18th October 2017, lot 272.

This extraordinary centre table is probably a one-off, and was presumably a custom-made design for a commercial office in the Turin area of Italy. It clearly references the anthropomorphic organic forms of the leading Northern Italian architects Carlo Mollino and Mario Federico Roggero, with a base designed to support the monumental marble top that creates a finished work of balanced forms, voids and dynamism. Although the designer of the current work is not identified, the highly crafted and sculptural nature of the work embodies the futuristic and aerodynamic creations of ground-breaking Italian design in the 1940s and 1950s.

£8,000-12,000

Only when a work is not explainable other than in terms of itself can we say that we are in the presence of art. This ineffable quality is the hallmark of an authentic work

Carlo Mollino

FONTANA ARTE

CONSOLE TABLE, CIRCA 1935-40

bevelled thick-walled light green glass, nickel plated metal 75cm high, 180cm wide, 79cm deep (29 1/2in high, 70 1/2in wide, 31in deep)

Provenance

Apartment in Milan, first-time ownership; Dorotheum 14 May 2013, Lot 57; Private Collection, London.

£7,000-10,000

77

GIO PONTI (ITALIAN 1891-1979) FOR CASSINA

SET OF SIX ‘LEGGERA’ CHAIRS, EARLY 1950S

four with original Cassina labels, ash, the seats reupholstered in crimson silk (6)

83cm high, 43cm wide (32 5/8in high, 17in wide)

Provenance

Themes & Variations, London. £4,000-6,000

TRIUMPH OF DESIGN: ITALIAN & SCANDINAVIAN MID-CENTURY GLASS

CARLO SCARPA (ITALIAN 1906-1978) FOR VENINI VASE, 1940

signed with 2 line acid stamp Venini Murano (to base), glass, from the Laccato Nero e Rosso series 16cm high (6 1/4in high)

Provenance

Private Collection, UK.

Literature

Barovier, Marino and Carla Sonego. Carla Scarpa Venini 1932-1947. SKIRA. p 284.

To obtain the bright red colour Scarpa used miniscule lamp-worked glass spheres in the glass mass and due to the complexity of this technique relatively few pieces were produced in this series.

£1,500-2,000

An artist must create an optic, a way of seeing nature like it’s never been seen before Carlo Scarpa

80 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

‘ARLECHINO’ PEZZATO VASE, 1950

model 4319, signed with 3 line acid stamp Venini, Murano, ITALIA (to base), glass

36cm high (14 1/4in high)

Provenance

Private Collection, UK.

Literature

Barovier, Marino and Carla Sonego. Fulvio Bianconi at Venini. SKIRA. p 181;

£4,000-6,000

79 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

DOUBLE INCALMO VASE, 1951

model 4392, signed with 3 line acid stamp Venini, Murano, ITALIA (to base), glass

24cm high (9 1/2in high)

Provenance

Private Collection, UK.

Literature

Barovier, Marino and Carla Sonego. Fulvio Bianconi at Venini SKIRA. p 228.

Bianconi experimented with the incalmo technique (joining of two separately blown pieces of glass whilst still hot). In the case of the double incalmo he sought to extend the technique to three different coloured glass hemispheres where the rims of all had to have the same circumference - an operation which required the highest level of glass-making skills.

£1,000-1,500

‘Fulvio Bianconi at Venini’ Catalogue of the exhibition at Le Stanze del Vetro (The Glass rooms) in Venice in 2015 by Marino Barovier and Carla Sonego, page 181.

‘Venetian Glass’ the Nancy Olnick and George Spanau collection. Exhibition catalogue Autumn 2000 American Craft Museum, page 116 and 219,

‘Italian Glass, Murano – Milan 1930-1970’, The Steinberg Foundation Collection catalogue by Ricke and Schmitt 1997, plate 83 page 109.

The Pezzato vase was one of the most successful designs that Fulvio Bianconi created for Venini. Bianconi used a glass mosaic in various ways producing brilliant chromatic effects. These vases were first exhibited at the 25th Venice Biennale in 1950.

The glass tesserae are first made from coloured glass canes flattened and cut to various sizes before being arranged into a mosaic. The mosaic is then heated on a fire stone to weld the different colours together. They are then picked up on a blank to form the walls of the final piece. The glass is then blown and hot worked into the desired form.

Most of the designs were in transparent glass but there are also some made from a combination of opaque pasta vitrea and transparent tesserae which became known as ‘Arlecchino’ designs and had the greatest chromatic brilliance.

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI ‘FAZZOLETTO’ VASE, DESIGNED CIRCA 1949

signed Venini [...] Italia (to base), clear glass with zanfirico decoration

15cm high (6in high)

Provenance

Private Collection, UK.

£1,000-1,500

82 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI ‘FAZZOLETTO’ VASE

signed Venini 2000 (to base), with label for Venini, glass 28cm high (11in high)

Provenance Private Collection, UK.

£600-800

83 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI ‘FAZZOLETTO’ VASE

signed Venini 2000 (to base), with label for Venini, glass 31cm high (12 1/4in high)

Provenance

Private Collection, UK.

£600-800

84 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI ‘FAZZOLETTO’ VASE, DESIGNED CIRCA 1949

clear glass with zanfirico decoration

27.5cm high (10 3/4in high)

Provenance

Private Collection, UK.

£1,000-1,500

85

TOBIA SCARPA (ITALIAN 1935-) FOR VENINI OCCHI VASE

engraved Venini Italia (to base), fused murrine glass

23cm high (9in high)

£800-1,200

86

FLAVIO POLI (ITALIAN 1900-1984) FOR CENEDESE

‘SOMMERSO’ VASE

signed Cenedese (to base), glass 38cm high (15in high)

Provenance

Mauritizio Alberelli; Private Collection, UK.

£600-800

87 §

ARCHIMEDE SEGUSO (ITALIAN 1909-1999)

VASE, 1956

turquoise and blue glass speckled with gold foil inclusions

16.5cm high, 42cm long (6 1/2in high, 16 1/2in long)

Provenance

Themes & Variations, London.

Literature

Rosa Barovier Mentasti, I Vetri di Seguso - Dal 1950 al 1959, Umberto Allemandi & C., 1995, pl. 50, illustrated.

£1,000-2,000

88 ‡

ALESSANDRO PIANON (ITALIAN 1931-1984) FOR VISTOSI

‘PULCINI’ BIRD, CIRCA 1960S

hand blown and murrine glass, on copper feet 22.5cm high (8 7/8in high)

£3,500-4,500

KNUT BERGQVIST (SWEDISH 1873-1953) FOR LINDEFORS GOBLET, 1929

signed K Bergqvist Lindefors 1929 No. 2 (to base), glass 17cm high (6 3/4in high)

Provenance

Private Collection, UK.

Bergqvist was the glass blower who created the ‘graal’ technique at Orrefors in 1916 shortly after the glassworks had been bought by Mr Ekman, an industrialist who wanted the Orrefors’ estate mainly for its forest assets and acquired the glassworks by accident. Ekman appointed one of his managers, Albert Ahlin, to look after the glassworks, and he employed Bergqvist, who worked there until 1929.

In the same year Bergqvist moved to Lindefors, a small glass works that he had acquired and was to manage himself. Unfortunately for Bergquist 1929 coincided with the great depression in USA which also had many ramifications throughout Europe. Bergquist’s market suddenly collapsed and the Lindefors works was sold again. The current work therefore is a rare example of Berqvist’s graal glass productions at Lindefors.

£800-1,200

90 §

OIVA TOIKKA (FINNISH 1931-2019) FOR NUUTAJAERVI NOTSJO

CASED DISH, CIRCA 1967

possibly unique, studio production by Nuutajärvi Notsjö, engraved Oiva Toikka, Nuutajärvi Notsjö (to base), hand-blown glass with cased coloured trails 25cm diameter, 8cm high (9 3/4in diameter, 3 1/4in high)

Provenance

Christies, London, 7th March 2001, lot 87; Private Collection, UK.

Literature

Simanainen, Timo, Oiva Toikka: Glass, Finnish Glass Museum, 1988, p. 42 for a similar example.

£800-1,200

91 §

KAJ FRANCK (FINNISH 1911-1989) FOR NUUTAJÄRVI NOTSJO

‘KREMLIN BELLS’ DOUBLE NESTED DECANTER, 1961

signed K Franck Nuutajärvi Notsjo 61 (to base), glass, in clear and pale blue, the stopper in green, grey and black spiral design

35cm high (13 3/4in high)

Provenance

Private Collection, UK.

£1,500-2,000

Franck’s Kremlin Bell nested decanter was designed in 1957 as a juice set. It is arguably Franck’s most sought-after design. The round carafe which forms the lower section is intended to hold water, whilst the decanter with ball stopper is for juice. The double decanter was exhibited at the 11th Milan Triennale in 1957, where it was awarded the Grand Prix, the highest accolade.

92

TIMO SARPANEVA (FINNISH 1926-2006)

TWO ‘AAVA’ AND ONE ‘VIRO’ BOTTLES AND STOPPERS, 1991

incalmo glass, each signed and numbered 91 (3) the tallest 39cm (15 3/8in)

Provenance

Themes & Variations, London.

£2,000-3,000

93 § ERIK HÖGLUND

(SWEDISH 1932-1998)

BULL’S HEAD, 1995

signed Erik Höglund / EH 1995 Sg. Strömbergshyttan LP - HG - MA (to base), glass

44cm high (17 1/4in high)

Provenance

Private Collection, UK.

Hoglund worked at Strobergshyttan from the late 1980’s and designed his strongly coloured bull’s heads from about 1992. At this time, he was confined to a wheel chair but he continued to work as an artist and supervised glass making until his passing in 1998. This bull’s head dated 1995 is one of the largest made.

£1,500-2,000

94 §

VICKE LINDSTRAND (SWEDISH 1904-1983) FOR UPSALA-EKEBY CHEETAH, 1949

model 3003, signed V. L. (to base), glazed ceramic 26.5cm high, 25cm wide (10 1/2in high, 10in wide)

Provenance Private Collection, UK. £2,000-3,000

95 § ROGER CAPRON (FRENCH 1922-2006) PLATE

painted CAPRON/ VALLAURIS (to reverse), painted and glazed earthenware 32cm diameter (12 1/2in diameter) £700-1,000

Right

Lot 88

Lot 151 [detail]

96 § VIVIANNA TORUN BÜLOWHÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN

BRACELET model no. 203, stamped manufacturer’s mark TORUN, 925S / DENMARK, silver set with amethyst

internal width 5.5cm (2 1/8in)

£600-800

97 § VIVIANNA TORUN BÜLOWHÜBE (SWEDISH 1927-2004)

FOR GEORG JENSEN

BRACELET model no. 203B, stamped manufacturer’s mark TORUN, 925S / DENMARK, silver set with quartz

internal width 5.5cm (2 1/8in)

£500-700

98 §

VIVIANNA TORUN BÜLOWHÜBE (SWEDISH 1927-2004)

PENDANT AND COLLAR stamped TORUN, white metal and polished pebble

internal width 13.5cm (5 1/2in)

£800-1,200

99 PER HERTZ FOR GEORG JENSEN (DANISH 1866-1935)

‘LOTUS’ NECKLACE AND BRACELET each stamped manufacturer’s mark and 925S / DENMARK, silver internal width of necklace approximately 11.5cm (4 1/2in)

£600-800

100 §

ANTHONY REDMILE (BRITISH 1940-) BOX

stamped REDMILE LONDON (to rear), plated metal with agate mount 20.5cm wide (8in wide)

Provenance

Leon Moodley, who worked at Redmile in the 1970s, and thence by descent.

£400-600

101 §

ANTHONY REDMILE (BRITISH 1940-)

PAIR OF CANDLESTICK HOLDERS

each stamped REDMILE LONDON, ostrich egg and plated metal

11cm high (4 3/8in high)

Provenance

Leon Moodley, who worked at Redmile in the 1970s, and thence by descent.

£400-600

102 §

ANTHONY REDMILE (BRITISH 1940-)

ELEPHANT BOX & COVER

stamped to base REDMILE LONDON, ostrich egg, plated metal, malachite, glass and resin

103 §

ANTHONY REDMILE (BRITISH 1940-)

FROG BOX AND COVER

ostrich egg, plated metal, hardstone finial and glass

20.5cm high (8in high)

Provenance

Leon Moodley, who worked at Redmile in the 1970s, and thence by descent.

£1,000-2,000

CHRISTOPHER NIGEL LAWRENCE (BRITISH 1936-) TRAY, 1971

hallmarked for London, silver, bark effect textured surface, 35.5cm diameter (14in diameter)

Provenance

Private Collection, London. £800-1,200

105

DAME ZAHA HADID D.B.E. (IRAQI / BRITISH 1950-2016) FOR WMF

SIX FIVE-PIECE ‘ZAHA’ CUTLERY SETS, DESIGNED 2007

with manufacturer’s marks and original cases, stainless steel, comprising 6 knives, 6 forks, 6 small forks, 6 spoons, 6 small spoons the knives 24.5cm long (9 5/8in long) £2,000-3,000

ROY DE MAISTRE

Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style.

In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited with expanding Bacon’s technical and arthistorical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence.

De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 Stations of the Cross remain on display at Westminster Cathedral. A retrospective of de Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain.

The following collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of La Folie (1946-47), considered one of de Maistre’s major works.

106 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

PREPARATORY SKETCH FOR ‘ON THE SLIPS’, 1931

initialled (lower left), inscribed and dated Socoa s*** 28th 1931 (lower centre), pen, ink and wash on paper

38cm x 28cm (15in x 11in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£500-700

107 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

THE CRUCIFIXION

signed (lower right), oil on canvas

44cm x 29cm (17 1/4in x 11 3/8in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£800-1,200

108 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

LADY AND GREEN JUG oil on canvas

60cm x 49.5cm (23 1/2in x 19 1/2in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£800-1,200

109 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

TWO LADIES READING

pastel and watercolour on paper

41cm x 68.5cm (16 1/8in x 27in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£800-1,200

110 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

FIGURE IN TARTAN charcoal on paper

73cm x 53.5cm (28 3/4in x 21in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£2,000-3,000

111 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN / BRITISH 1894-1968)

VIEW ONTO THE GARDEN AT COMPIÈGNE, 1947 inscribed (to reverse), oil on board

39.5cm x 29.2cm (15 1/2in x 11 1/2in)

Provenance

Celia Broadbent (neé Keogh) and by direct descent to the present owner. Exhibited Carnegie Institute, Pittsburgh, Pittsburgh International, 1950. £8,000-12,000

113

JOACHIM WEINGART (POLISH 1895-1942)

PORTRAIT OF A LADY

signed in pencil (lower right), gouache on paper

the sheet 55.5cm x 45cm (21 7/8in x 17 3/4in), unframed

Provenance

Gimpel Fils, London. £800-1,200

112

JOACHIM WEINGART (POLISH 1895-1942)

TWO FLOWER STUDIES

each signed in pencil (lower right), one with a drawing of a reclining lady in pencil (to the reverse), gouache on paper (2)

the sheet 46.5cm x 37.5cm (18 3/8in x 14 3/4in) and 53.3cm x 43.5cm (21in x 17 1/8in), unframed

Provenance

Gimpel Fils, London.

£1,500-2,000

114

ARON HABER BERON (POLISH 1908-1933)

FIGURES IN LANDSCAPE

signed (lower left), oil on canvas 45cm x 54cm (17 3/4in x 21 3/8in)

Provenance

Estate of the Artist; Peter Gimpel, London. £800-1,200

SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)

HILLTOP COWS, ZERMATT, CIRCA 1933-36 pencil on paper

29.8cm x 20.3cm (11 3/4in x 8in)

Provenance

Christie’s, London, 22 January 2008, lot 696. At the invitation of his patron, Sir Edward Beddington-Behrens, Stanley Spencer paid a visit to Zermatt in 1935 accompanied by Patricia Preece. At the time Spencer was beginning to baulk at the pressure of growing demand for his landscapes and his patron wanted him to draw fresh inspiration from the Alps . The present drawing and four paintings emanated from this visit – Avalanche, Switzerland; The Swiss Skittle Alley, Geraniums and Goats at Saas Grund.

£2,000-3,000

116

CHRISTOPHER WOOD (BRITISH 1901-1930) WINTER LANDSCAPE, 1928

pencil on paper

25.7cm x 34.2cm (10 1/8in x 13 1/2in)

Provenance

The Fine Art Society, London, 1995; Christies, London, 9 June 2006, lot 91; Sothebys, London, 28 September 2016, lot 52; Private Collection, London.

Exhibited

The Fine Art Society, London, Christopher Wood, MayJune 1995.

Literature

Ingleby, Richard, ‘Christopher Wood, An English Painter’ in Modern Painters, Summer 1995, pp. 94-96, illustrated.

£1,800-2,500

118 §

SIR JACOB EPSTEIN (BRITISH 1880-1959)

RECLINING NUDE, CIRCA 1930

signed (lower left), pencil on paper

42.5cm x 55.5cm (16 3/4in x 21 7/8in)

Provenance

Collection of Joshua B Kind. £1,500-2,000

117 §

SIR JACOB EPSTEIN (BRITISH 1880-1959)

IMPERIAL FRITILLARY, CIRCA 1936

signed (lower right), watercolour on paper

44.5cm x 56.5cm (17 1/2in x 22 1/4in)

Provenance

Arthur Tooth & Sons, London; Collection of Sir Peter Wright. £1,500-2,000

FRANK DOBSON (BRITISH 1886-1963)

VERONICA, 1939

signed and dated in pencil (lower right), pen, ink and gouache on paper 46.5cm x 36cm (18 1/4in x 14 1/4in)

Provenance

The Artist’s Widow; Anthony d’Offay Gallery, London; Private Collection, UK.

£3,000-5,000

121 §

FRANCIS NEWTON SOUZA (INDIAN 1924-2002)

ODALISQUE

pen and ink on paper

the sheet 40.2cm x 25.2cm (15 7/8in x 9 7/8in)

Provenance

The Artist’s first wife Maria Souza (née Figueiredo) from whom acquired by her nephew;

Their sale, Bellmans, Wisborough Green, West Sussex, April 2019, lot 1093, where acquired by the present owner (as Nude Study).

£1,000-1,500

122 §

FRANCIS NEWTON SOUZA (INDIAN / BRITISH 1924-2002)

ODALISQUE II

pen and ink on paper

the sheet 40.2cm x 25.2cm (15 7/8in x 9 7/8in)

Provenance

The Artist’s first wife Maria Souza (née Figueiredo) from whom acquired by her nephew;

Their sale, Bellmans, Wisborough Green, West Sussex, April 2019, where acquired by the present owner.

£1,000-1,500

120 §

KEITH VAUGHAN (BRITISH 1912-1977)

TWO SKETCHES OF MEN BATHING pencil and paper, mounted together each 7.5cm x 11.5cm (3in x 4 1/2in)

Provenance

Wenlock Fine Art, Much Wenlock, where acquired by the present owner; Private Collection, UK.

£700-900

123 §

JOHN MINTON (BRITISH 1917-1957)

THREE FIGURES

signed in pencil (lower left), pen, ink and crayon on paper, with drawing to reverse of sheet 32.3cm x 22.5cm (12 3/4in x 8 7/8in)

Provenance

Wenlock Fine Art, Much Wenlock, where acquired by the present owner; Private Collection, UK.

£8,000-12,000

POST-WAR BRITISH SCULPTURE: BEYOND THE ‘GEOMETRY OF FEAR’

Herbert Read memorably described the work of a group of young British sculptors, shown at the Venice Biennale in 1952, as being characterised by the ‘geometry of fear’. It is this concept which has dominated views of post-World War Two British sculpture, yet the works offered here by Robert Adams, Geoffrey Clarke, Hubert Dalwood, Elisabeth Frink, George Kennethson and Denis Mitchell reveal the breadth of concerns, materials and techniques which these artists brought to their practices over the period from the mid-1950s to the mid-1970s.

These were the glory days of government funding of the art world, with the Arts Council of Great Britain and the British Council making great efforts to promote the achievements of the nation’s artists at home and abroad. Thus, Adams and Clarke were amongst those brought to international acclaim in New Aspects of British Sculpture mounted in the British Pavilion in 1952, under the auspices of the British Council and reviewed to such effect by Read.

Adams was to return to the Venice Biennale ten years later, with a lauded solo presentation in which his unique approach to constructed abstraction was encompassed in works such as Three Circular Forms (Wall Sculpture) of 1961. He made it with bronzed steel and it was installed to great effect in the second gallery of the British Pavilion.

Clarke used the techniques of construction, casting and welding to re-conceptualise the human figure and to explore the meaning of humanity’s existence in works of the 1950s, including Façade (Man as a Fortress) and Symbol for Man VIII They were realised in their final form in bronze and iron respectively.

In contrast, Kennethson’s commitment to ‘direct carving’ and ‘truth to materials’ meant that with his mallets and chisels he continued a tradition grounded in British sculpture earlier in the century, as led by sculptors including Barbara Hepworth and Henry Moore. Wave Form reveals his humane abstraction

and deliberately bears the marks of the creative process. Father and Child, of the 1960s, is carved from alabaster, the material with which Kennethson is mostly closely associated. An alternative to the ‘mother and child’ theme which runs throughout the history of art, this work has particular resonance for its creator, who was a father of five.

As a leading female sculptor based in post-war London, Frink came to prominence whilst still a student, when the Tate purchased her work in 1952. New Bird II and Homme Libellule II (Man Dragonfly), both of 1965 and cast in bronze, encompass one of her most enduring concerns: relating maleness and man’s existence to that of flighted animals, with overtones of futility, menace and tenacity.

Deeply rooted in the St Ives School, to where he moved before World War Two, Denis Mitchell’s Levant of 1966 and Probus of 1971 speak to the simplified abstraction from nature for which he is increasingly celebrated. In 1979 he reviewed his career thus far, declaring: ‘Art, with my earlier experience of working close to nature on the land in the market garden, beneath it as a tin miner, and later at sea fishing, taught me three most important things: faith, humility and patience.’

Dalwood’s work was also shown in depth at the Venice Biennale of 1962, beside that of Adams and Ceri Richards. By that point he had moved from the figurative to the abstract, yet his Bonzai Garden II of 1975 – made in terrosa ferrata and then cast in bronze - represents a response to a visit to Japan two years earlier, which intensified his interest in the cultivation of nature to enrich human experience. The terrosa ferrata version was included in Dalwood’s retrospective exhibition of 1979, organised by the Arts Council as the decade came to a close. British sculpture had moved far beyond that which fitted under the ‘geometry of fear’ label of 1952, as illustrated by the achievements of the six sculptors discussed here.

125 §

HUBERT DALWOOD (BRITISH 1924-1976)

UNTITLED, 1956

initialled and dated in pencil (lower right), ink on newspaper the sheet 48cm x 32.7cm (18 7/8in x 12 7/8in), unframed

Provenance

The Estate of the Artist.

£500-700

124 §

HUBERT DALWOOD (BRITISH 1924-1976)

NUDE, 1957

initialled and dated in ink (lower right), ink on paper the sheet 53.7cm x 38cm (21 1/8in x 15in), unframed

Provenance

The Estate of the Artist.

£500-700

His visit to Japan in 1973 greatly enriched his experience

of

gardening

and of architecture…

The Japanese garden seemed to him the apex of man’s achievement in this strange business of adjusting nature for the sake of delight. ‘Man’s intervention in the landscape’ was his phrase for the activity and in it he included the broadest possible range of examples from megalithic sites to modern ‘earthwork’ sculptures. His studio sculptures during the Seventies reflected this increasing attachment…he now made table-sized sculptures that not merely looked like but actually were miniature gardens.

HUBERT

DALWOOD (BRITISH 1924-1976)

BONZAI GARDEN II, 1975

1/6, opus 143, bronze

59.5cm wide, 53.5cm deep (23 1/2in wide, 21in deep)

Provenance

Gimpel Fils, London.

Exhibited

Gimpel Fils, London, Hubert Dalwood (1924-1976) Sculpture, 12 September – 6 October 1990, cat. no. 23; Tate Britain, London, Art of the Garden, 3 June – 30 August 2004, no. 54, p.124 illustrated in catalogue; New Art Centre, Roche Court, 12 September – 8 November 2009;

Gimpel Fils, London, Modern British Sculpture, 20 January – 5 March 2011;

Gimpel Fils, London, Collector’s Choice, 26 January – 4 March 2017.

Literature

Arts Council of Great Britain, Hayward Gallery, London, Hubert Dalwood Sculptures and Reliefs, exhibition catalogue, 1979, p. 87, cat. no. 89 (terrosa ferrata example);

Stephens, Chris, The Sculpture of Hubert Dalwood, London: The Henry Moore Foundation in association with Lund Humphries Publishers, 1999, p. 137, no. 253 p.90 (illustrated ‘in situ’ at Hayward Gallery).

£1,500-2,500

Norbert Lynton, 1979

127 §

BERNARD MEADOWS (BRITISH 1915-2005)

DRAWING FOR COCK THEME SCULPTURE, 1954

signed and dated in pencil (lower left), pencil on paper 27cm x 21cm (10 5/8in x 8 1/4 in)

Provenance

Gimpel Fils, London.

Exhibited

The British Council, at Rijksmuseum Kröller-Müller, Otterlo, Drawings by Sculptors, 1959, cat. 24 (framed as part of a group of four);

Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016;

Redfern Gallery, London, Spring Exhibition, 2019.

£500-700

128

MANNER OF JOHN

SKEAPING R.A. (BRITISH 1901-1980)

FALLOW DEER

alabaster on wooden base

16cm high, 19cm wide (6 1/4in high, 7 1/2in wide) excluding base

£500-800

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

SYMBOL FOR MAN VIII, 1951-54

signed and dated (on underside of base), iron on aluminium base 27cm high, 15cm wide, 12cm deep (10 1/2in high, 6in wide, 4 1/2in deep)

Provenance

Private Collection, UK.

Exhibited

Gimpel Fils, London, Recent Sculpture, Drawings and Engravings by Geoffrey Clarke; Collages by Austin Cooper, January 1955;

The Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures 1965, March - April 1965, no. 43;

Taranman Gallery, London, Geoffrey Clarke, June - July 1976, no. 40; Fine Art Society, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper, 1949-2000, October - November 2000, no. 9, p. 19, illustrated; Strand Gallery, Aldeburgh, Geoffrey Clarke RA: Monotypes, Early Sculptures and Prints, April - May 2003.

Literature

LeGrove, Judith, Geoffrey Clark Sculptor: Catalogue Raisonné, London: Pangolin & Lund Humpries, 2017, p. 47, cat. no. S110, illustrated.

This work also has variant titles of Man, Man as a Fortress and Maquette As Peter Black has written: ‘Clarke uses allegory and symbol; he is interested not in the historical moment but in permanent truths about Man. His Man figure [including in Symbol for Man VIII] who appears first in the aquatints, and was developed in iron sculptures made 1950-4, is conceived as a monument. He is sometimes tree- and plant-like. In other incarnations he resembles a man-made structure such as a giant crane...In others again ‘Man’ becomes fortress-like; static and enduring, but sentient and spiritual.’ (Peter Black, ‘Introduction’, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, London, 2000, p. 8.)

£4,000-6,000

130 §

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

WARRIOR’S HEAD, 1956/2000

signed (lower right), numbered 8/25 (lower left), aquatint, commissioned by Strand Gallery and printed by St. Barnabas Press 76cm x 41cm (30in x 16in), unframed

Provenance

Private Collection, UK.

Literature

Judith LeGrove, Geoffrey Clarke: A Sculptor’s Prints, Bristol, 2012, no. 183.

£700-900

131 §

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

ARTIST SERIES: THE ARTIST’S PROGRESSION, THE ARTIST AND PARTICIPATION, OR MUTUAL THOUGHT, 2000 each signed, dated, and numbered 12/25, 10/25 and 6/25 respectively, etching on zinc, two etching and aquatint, commissioned by Strand Gallery and printed by St. Barnabas Press (3) 25cm x 15.5cm (10in x 6 1/4in), 17.5cm x 14.5cm (6 7/8in x 5 5/8in) and 19cm x 12.5cm (7 1/2in x 4 7/8in) respectively, unframed

Provenance

Private Collection, UK.

Literature

Judith LeGrove, Geoffrey Clarke: A Sculptor’s Prints, Bristol, 2012, no. 209, 210 and 211.

£600-800

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

FAÇADE (MAN AS A FORTRESS), 1958 (S151)

edition of 4, bronze

28.5cm high, 29cm wide, 11cm deep (11 1/2in high, 12in wide, 4 3/4in deep)

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin & Lund Humpries, 2017, p. 62, cat. no. S151, illustrated; LeGrove, Judith, Geoffrey Clarke: A Sculptor’s Materials, Bristol: Sansom & Company, 2017, p.129, illustrated.

Exhibited

Arts Council Touring Exhibition, Sculpture in the Home, 1958, no. 10 (another cast); James Hyman Fine Art, London, Henry Moore and the Geometry of Fear, November 2002 - January 2003, no. 15 (another cast); Pangolin, London, Geoffrey Clarke: A Decade of Change, September - October 2013 (another cast); Pangolin, London, Conjunction: Lynn Chadwick & Geoffrey Clarke, October - November 2013 (another cast).

£6,000-8,000

Judith LeGrove, Geoffrey Clarke’s biographer, has written about this sculpture, describing it as ‘...a work in bronze: a rectilinear construction, with walls and a mast, cast in summer 1958...He constructed sections from wax sheet, from which moulds were made, casts taken, and the components welded as a potential edition of four. Some casts were smoother and more regular than others indicating a degree of variation...welcomed by Clarke...Despite its apparent abstraction, the sculpture literally had a heart: a cut-out barely concealed behind its protective spike. Clarke circled the issue of naming (‘I think that the actual association of the word ‘Man’ in the title may lead to the spout shape being misunderstood!! How about ‘Façade’, ‘Barrier’ or ‘Shield’?’)...He clearly envisaged the work as a ‘symbol for man’...In so doing he was radically rethinking the figure.’ (Judith LeGrove, Geoffrey Clarke: A Sculptor’s Materials, Sansom & Company, Bristol, 2017, p.129)

ROBERT ADAMS: THE EXPLORATION OF FORM

‘From 1950 to 1980 he was one of the foremost abstract sculptors working in Britain. Although his techniques changed radically during this time, all his work is characterized by an asymmetric balance and a full exploitation of the particular qualities of materials.’

Alastair Grieve 2004

The following group of works by Robert Adams (1917-1984) span the period from the mid-1940s to the early 1970s and range in materials from watercolour to bronzed steel. The early Statue of a Woman, c.1945, shows an engagement with contemporary sculpture, in particular that of Henry Moore. By 1952, Adams’ practice had developed into an outpouring of distinctive geometric abstraction which retains a proportional link to the human figure. Rectangular Bronze Form No.3 and Rectangular Bronze Form No.6, both of 1955, reveal how by the middle of that decade he had emerged as one of Britain’s leading abstract artists. Casts of both works, along with Three Circular Forms (Wall Sculpture) of 1961 were selected for inclusion in his landmark exhibition at the Venice Biennale in 1962. A cast of Slim Bronze (Hatchet Form) of 1971 was one of a group of three related bronzes shown in Adams’ touring retrospective that year. Intended to be viewed in the round, it combines gentle undulation, elongation and severe geometry with a heightened sense of three dimensions and surface. Adams concluded his career based in Essex, with a return to carving before his death in 1984.

133 §

ROBERT ADAMS (BRITISH 1917-1984)

STUDIES FOR SCULPTURE, 1952

inscribed and dated (lower right), black crayon on paper 30.2cm x 31.5cm (12in x 12 1/2 in), unframed

Provenance

Gimpel Fils, London.

£600-800

134 §

ROBERT ADAMS (BRITISH 1917-1984)

STATUE OF A WOMAN, CIRCA 1945

signed in pen (lower right), pen, ink, watercolour and wash on paper 23.2cm x 12cm (9 1/8in x 4 3/4in), unframed

Provenance

Gimpel Fils, London.

£500-700

RECTANGULAR BRONZE FORM NO. 3, CONCEIVED 1955 edition of 6, bronze

26.5cm high, 16.5cm wide (10 1/2in high 6 1/2in wide)

Provenance

Gimpel Fils, London, where acquired by the present owner in the 1960s; Private Collection, London.

Literature

Grieve, Alastair, The Sculpture of Robert Adams, London: Lund Humphries, 1992, pp. 170-171, no. 179.

£8,000-12,000

RECTANGULAR BRONZE FORM NO. 6, CONCEIVED 1955 stamped ADAMS (to base), edition of 6, bronze 27cm high, 18.5cm wide (10 1/2in high, 7 1/4in wide)

Provenance

Gimpel Fils, London, where acquired by the present owner in the 1960s; Private Collection, London.

Literature

Grieve, Alastair, The Sculpture of Robert Adams, London: Lund Humphries, 1992, pp. 60 & 172, no. 182.

£8,000-12,000

136 § ROBERT ADAMS (BRITISH 1917-1984)

135 § ROBERT ADAMS (BRITISH 1917-1984)

137 §

ROBERT ADAMS (BRITISH 1917-1984)

SLIM BRONZE / HATCHET FORM, 1971

initialled, dated, and numbered 1/6, polished bronze 32.5cm high (13in high) including base, 44.5cm wide (17 1/2in wide)

Literature

Grieve, Alastair, The Sculpture of Robert Adams, London: Lund Humphries, 1992, pp. 123, 230, no. 593. £4,000-6,000

ROBERT ADAMS (BRITISH 1917-1984) THREE CIRCULAR FORMS (WALL SCULPTURE), 1961

bronzed steel

273cm high (107 1/2in high)

Provenance

Gimpel Fils, London.

Exhibited

British Pavilion, XXXI Biennale, Venice, 16 June-7 October 1962 (and tour to Germany, Switzerland, Holland and France);

Camden Arts Centre, London, Robert Adams Retrospective Exhibition, June-July 1971, no. 31.

Literature

Grieve, Alastair, The Sculpture of Robert Adams, London: Lund Humphries, 1992, pp. 200-201, no. 371.

This work was included in Adams’ career-defining presentation at the Venice Biennale in 1962. Alastair

Grieve has explained: ‘Adams was given two light, airy galleries in the British Pavilion. The sculptures stood out clearly against the white walls. The second gallery held the more recent works, some of them very large and no doubt conceived with the Biennale in mind, there were three works with large, flat planes, roughly circular, stacked above each other and balanced in relation to each other. In this second gallery Three Circular Forms followed from the wall-mounted sculptures with vertical rods supporting three planes. (op.cit., p.90)

£8,000-12,000

Robert Adams, early 1962, with the current lot in the background. Photograph © Adrian Flowers

140 §

DAME ELISABETH FRINK (BRITISH 1930-1993)

NEW BIRD II, 1965

signed Frink and numbered 1/6, bronze

38cm high, 26cm wide (15in high, 10 1/4in wide)

Provenance

Private Collection, London.

Literature

Mullins, Edwin. The Art of Elisabeth Frink, London: Lund Humphries, 1972, no.68, illustrated.

Ratuszniak, Annette (ed.). Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, London: Lund Humphries, 2013, p.101, no. FCR164.

£12,000-18,000

139 §

DAME ELISABETH FRINK (BRITISH 1930-1993)

HOMME LIBELLULE II, 1965

signed Frink and numbered 2/7, bronze

37.5cm high, 17cm wide (14 3/4in high, 6 3/4in wide)

Provenance

Private Collection, London.

Literature

Mullins, Edwin. The Art of Elisabeth Frink, London: Lund Humphries, 1972, no.77, illustrated (as edition of six).

Ratuszniak, Annette (ed.). Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, London: Lund Humphries, 2013, p.103, no. FCR170 (as edition of seven).

£12,000-18,000

141

YNGVE EKSTROM (SWEDISH 1913-1988)

LAMINO CHAIR, DESIGNED 1956

teak, upholstery

70cm wide, 94cm high, 88cm deep (27 1/2in wide, 37in high, 34 1/2in deep)

£500-700

142

ARNE HOVMAND-OLSEN (DANISH 1919-1989)

SET OF SIX DINING CHAIRS

teak, with woven upholstered seats (6)

79cm high, 48cm wide, 41cm deep (31in high, 18 7/8in wide, 16 1/8in deep)

£1,000-1,500

143

BERNT PETERSEN (DANISH 1937-2017) FOR CARL HANSEN

PAIR OF ‘CRATE’ CHAIRS, DESIGNED 1982

beech and plywood

73.5cm high, 64cm wide, 54cm deep (29in high, 25 1/4in wide, 21 1/4in deep)

Provenance

Private Collection, UK.

£500-700

144

KIRSTI ILVESSALO (FINNISH 1920-2019)

PALOKARKI RUG, CIRCA 1954

wool, woven label (to reverse)

125cm x 188cm

£2,000-3,000

147 HANS WEGNER (DANISH 1914-2007)

FOR JOHANNES HANSEN

THE CHAIR

branded with manufacturer’s mark, teak

77cm high, 63cm wide (30 1/4in high, 24 7/8in wide)

£2,000-3,000

145

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

CHAIR

model 108, teak and brown leather

72.5cm high, 51.5cm wide, 53cm deep (28 1/2in high, 20 1/4in wide, 20 7/8in deep)

£1,000-1,500

146

HANS WEGNER (DANISH 1914-2007)

FOR CARL HANSEN & SON

‘WISHBONE CHAIR / Y-CHAIR’, DESIGNED 1950

model CH24, manufacturer’s label, and stamped KB77, oak and papercord

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).

£250-350

148

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

ARMCHAIR

model NV-45, branded manufacturer’s mark, teak and wool upholstery

83cm high, 61cm wide, 69cm deep (32 1/2in high, 24in wide, 27 1/8in deep) £7,000-9,000

FINN JUHL (DANISH 1912-1989)FOR NIELS VODDER

ARMCHAIR, DESIGNED 1953

model no. NV53, branded NIELS VODDER CABINETMAKER/ COPENHAGEN

DENMARK/ ** FINN JUHL, rosewood, brass and wool upholstery

74.5cm high, 73.5cm wide, 70cm deep (29 3/8in high, 29in wide, 27 1/2in deep)

Provenance

Private Collection, Scotland.

Note: Sold in compliance with CITES regulations, with (non-transferable)

Transaction Specific Certificate no. 622693/02.

£1,500-2,500

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

TWO SEATER SOFA, DESIGNED 1953

model no. NV53, rosewood, brass with woven wool upholstery 74cm high, 127cm wide, 70cm deep (29 1/8in high, 50in wide, 27 1/2in deep)

Provenance

Private Collection, Scotland.

Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 622693/01. £5,000-7,000

151

PIERO FORNASETTI (ITALIAN 1913-1988)

EIGHT ‘CALENDAR’ PLATES

printed with maker’s mark, seven examples numbered, porcelain 23.5cm diameter (9 1/4in diameter)

Provenance

Themes & Variations, London.

£800-1,200

PIERO FORNASETTI (ITALIAN 1913-1988)

‘HOUSE OF CARDS’ TABLE, CIRCA 1990 maker’s label, hand-coloured lithographic print on lacquered wood, enamelled metal and brass 56cm high, 60cm diameter (22in high, 23 5/8in diameter)

£800-1,200

153

PIERO FORNASETTI (ITALIAN 1913-1988)

‘FASI DEL SOL’ COFFEE TABLE, CIRCA 1950

original paper label, lithographic print on wood, black metal base 44cm high, 115cm diameter (17 3/8in high, 45 1/4in diameter)

£3,000-5,000

156

154

PIERO FORNASETTI (ITALIAN 1913-1988)

SUN WALL SCONCES

dated 1991 and 1993, with original sticker (to reverse), gilt decoration on curved metal 49cm diameter (19 1/4in diameter)

Provenance

Themes & Variations, London.

£500-800

155

PIERO FORNASETTI (ITALIAN 1913-1988) ‘CAVALIERE’, 1950S

lithographic zinc plate 66.5cm high x 44.5cm wide (26 1/2in high x 17 1/2in wide)

Provenance

Themes & Variations, London. £500-700

PIERO FORNASETTI (ITALIAN 1913-1988)

‘CAVALIERE’ TRAY ON STAND, 1950S

original paper label, gilt and hand coloured transfer printed on metal on folding black lacquered wood stand 52cm high, 57cm wide, 77cm long (20 1/2in high, 22 1/2in wide, 30 1/4in long)

Provenance

Themes & Variations, London. £1,000-1,500

157 ‡

PIERO FORNASETTI (ITALIAN 1913-1988)

SET OF SIX ‘STRUMENTI MUSICALI’ PLATES printed maker’s mark, hand-colored lithographic print on porcelain (6)

26cm diameter (10 1/4in diameter)

£700-900

ALAN LOWNDES: STOCKPORT’S ARTIST SON

Alan Lowndes’ trajectory from the son of a railway clerk to an artist assured of a place in the history of twentiethcentury British art was far from orthodox. In 1972 he recalled: ‘I used to draw on fish and chip wrapping papers in the chip shop, at an early age, to cheer myself up and while away the time. At home we children used to draw a lot as ‘Our Dad’ (as we say in Stockport) used to draw for us… Somewhere about the age of 8 or 9 I decided very privately to myself that I wanted to become an artist.’ 1

After leaving school at the age of fourteen, Lowndes was apprenticed to a local painting and decorating business. He attended a Decorators’ Class at Stockport Technical College and continued his training as a draughtsman in a mapmaking unit during World War Two. Service in Italy allowed for first-hand experience of works by artists including Fra Angelico (1395-1455) and Giotto (d.1337) which provided long lasting inspiration. After demobilisation, Lowndes worked as a decorator and textile designer, whilst attending evening classes at Stockport Art School. By 1950 he had decided to become a professional artist and received his first solo exhibition that year, in Manchester. Having had his work displayed alongside that of Lucian Freud and John Craxton, he declared ‘From then on, as they say, I never looked back. It was not much use looking back anyway and I hadn’t the time.’ 2

158 §

ALAN LOWNDES (BRITISH 1921-1978)

THE DEDICATED SKITTLER, 1968

signed (lower left), titled and dated (to reverse), oil on board

49.5 x 39.5cm (19 1/2in x 15 1/2in)

Provenance

£7,000-10,000

In 1959 Lowndes moved to St Ives in Cornwall, where he remained for eleven years. He exhibited regularly in London for the rest of his career and to acclaim in New York in 1964. A move to near Dursley, Gloucestershire in 1970 was followed two years later by a retrospective exhibition at Stockport Art Gallery, in the artist’s childhood town.

Lowndes’ work has been compared to that of L.S. Lowry (1887-1976) and to Christopher Wood (1901-30). However, the art critic Terence Mullaly explained his originality, writing in 1972:

‘Lowndes has been called the only genuine working-class painter, he has been dubbed naif and called nostalgic…he is nobody’s fool…Lowndes looks at the world directly. He has no use for conventions, either academic or of the avant garde. What he does have is a considerable feeling for oil paint. At the same time, and most important, he is a witty observer. Above all, Alan Lowndes makes the ordinary seem terribly important. Neither sympathy nor sentiment, conscious comment nor self-conscious attitudes colour his observation of a world which he makes us feel is worthwhile simply because it exists.’ 3

1 / Alan Lowndes, ‘Notes’, Retrospective Exhibition of Paintings 1948-1972 by Alan Lowndes, Crane Kalman Gallery, London, 1972, p.13.

2 / op.cit., p. 15.

3 / Terence Mullaly, ‘Alan Lowndes is simply a good artist’, The Daily Telegraph, 13 December 1972

Crane Kalman Gallery, London from where acquired by David Mathias and thence by descent to the present owner.

159 §

ALAN LOWNDES (BRITISH 1921-1978)

OLD-TIME LION ACT, 1961

signed and dated (lower left), dated and titled (to reverse), oil on canvas 71cm x 90cm (28in x 35 1/2in)

Provenance

Crane Kalman Gallery, London from where acquired by David Mathias and thence by descent to the present owner.

Exhibited:

Crane Kalman Gallery, London, A Selection of Paintings by Alan Lowndes, 13 December 1961-13 January 1962, no. 7, pl. XII, illustrated; Stockport Art Gallery, Stockport, Retrospective Exhibition of Paintings 19481972 by Alan Lowndes, 23 September - 14 October 1972 and tour to Rutland Gallery, London in association with Crane Kalman Gallery, 28 November30 December 1972, no. 47, p.35, illustrated.

£10,000-15,000

CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984)

BOTTLES AND CHIFFONIER oil on board, with a flower study to the reverse

61cm x 46cm (24in x 18in), unframed

Provenance

Estate of the Artist; By descent to the present owner.

£1,000-1,500

160 §

HEATHER COPLEY (BRITISH 1918-2001)

SUFFOLK LANDSCAPE, 1972

signed and dated (lower left), oil on board

76cm x 101.5cm (30in x 40in), unframed

Provenance

Estate of the Artist; By descent to the present owner.

£1,000-1,500

162 §

HEATHER COPLEY (BRITISH 1918-2001)

COAL MINE, RHONDDA VALLEY, WALES oil on board

50.5cm x 76cm (19 7/8in x 29 7/8in), unframed

Provenance

Estate of the Artist; By descent to the present owner.

£1,000-1,500

161 §

163 §

JOHN PIPER C.H. (BRITISH 1903-1992)

THE GARDEN AT ALLTSADOG, DYFED, WALES, 1983 signed (lower right), titled and dated on a Marlborough Fine Art label (to reverse), watercolour and mixed media on two sheets of paper collaged together 38cm x 56.5cm (15in x 22in)

Provenance

Marlborough Fine Art, London, where acquired by the family of the present owner, circa 1980s.

£4,000-6,000

164 §

CAREL WEIGHT (BRITISH 1908-1997)

UNTITLED

signed (lower left), oil on board 35.5cm x 45cm (14in x 17 3/4in)

Provenance

Private Collection, London.

£1,500-2,000

165 §

CAREL WEIGHT (BRITISH 1908-1997)

THE STATUE

signed (lower right), titled (on label to reverse), oil on board 59.7cm x 49cm (23 1/2in x 19 3/8in)

Provenance

Private Collection, London.

£2,000-3,000

166 §

KEVIN SINNOTT (BRITISH 1947-)

THE COMMUTER, CIRCA 1985

initialled (lower left), titled (to reverse), oil on canvas 123cm x 78cm (48 3/8in x 30 3/4in), unframed

Provenance

Private Collection, UK.

£1,500-2,500

167 §

JOHN BRATBY (BRITISH 1928-1992)

GLORIA AND SUNFLOWERS, CIRCA 1961

signed (upper left), titled and inscribed (to reverse), oil on canvas

100.2cm x 75.5cm (39 1/2in x 29 3/4in)

Provenance Private Collection, London. £3,000-5,000

BERNARD DUNSTAN R.A. (BRITISH 1920-2017)

NUDE IN THE DOORWAY

initialled (lower left), oil on board

37cm x 26cm (14 1/2in x 10 1/4in)

Provenance

Waterman Fine Art Ltd, London; Private Collection, UK.

£1,000-1,500

FRED CUMING R.A. (BRITISH 1930-) LANDSCAPE

signed (lower left), oil on board

14.3cm x 18.7cm (5 5/8in x 7 3/8in)

£1,000-1,500

BERNARD DUNSTAN R.A. (BRITISH 1920-2017)

THE DUVET, 1991

initialled (lower left), titled and dated (to reverse), oil on linen laid on board

27.5cm x 35cm (10 3/4in x 13 3/4in)

Provenance

Grafton House Gallery, Burford; Private Collection, UK.

£1,000-1,500

168 §

170 §

169 §

171

HUGO GRENVILLE (BRITISH 1958-) THINKING IT THROUGH, 2015 initialled (lower left), studio stamp (to reverse), oil on canvas 49.5cm x 75cm (19 3/8in x 29 1/2in) £2,000-3,000

172 §

FRED CUMING R.A. (BRITISH 1930-)

STUDIO, EVENING LIGHT oil on board, signed (lower left) 65cm x 60cm (25 1/2in x 23 3/4in)

Provenance

Grafton House Gallery, Burford

Exhibited:

Grafton House, Gallery, Burford, Fred Cuming, April 1993, no.31 £1,000-1,500

GIRL

signed and dated (lower left), gouache on paper 21.5cm x 15.5cm (8 1/2in x 6 1/8in)

Provenance

The Southover Gallery, Lewes; The Russell Gallery, London; Private Collection, UK.

£2,500-3,500

173

STILL LIFE WITH ANEMONES AND COFFEE POT, 2009 initialled and dated (lower right), studio stamp (to reverse), oil on canvas 104cm x 78cm (41in x 30 7/8in)

£2,000-3,000

HUGO GRENVILLE (BRITISH 1958-)

174 §

MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012)

AND BIRD, 1983

175 §

MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012)

STILL LIFE WITH PEARS AND GRAPES, 1997 signed (lower right), oil on canvas 40cm x 50cm (15 3/4in x 19 5/8in)

Provenance

New Grafton Gallery, London; Private Collection, UK.

£8,000-12,000

Houses are important for an understanding of… [Williams’]…art. They are, of course, Welsh houses but their Welshness is not necessarily part of their meaning. Neoclassical and Georgian houses, with their proportional systems, were designed to frame and show off the human body in doorways, at windows and on balconies….Welsh houses, of the kind noted by the painter, seem however to function as shelters, almost as caves transported into the open air…their walls are thick and their roofing heavy. Such houses open into the fields – small walled tracts dwarfed by the surrounding scenery…Rhosgadfan lies to the southeast of Caernarfon, within a network of small fields. Its inhabitants worked in the slate quarries of Moel Tryfan to the east of the village. In…[the 1998 book]…The Land and the Sea, Kyffin Williams remarks on how ‘paintable’ he has always found the slate tips of Rhosgadfan, Carmel and Cesarea: the forbidding bulk of the tips contrasts with the intimacy of the nearby cottages.

176 §

SIR KYFFIN WILLIAMS O.B.E. R.A. (BRITISH 1918-2006)

RHOSGADFAN

titled (to reverse), oil on canvas 51cm x 61cm (20in x 24in)

Provenance

Purchased directly from the Artist by the family of the present owner.

£15,000-20,000

Ian Jeffrey and Nicholson Sinclair, 2004

177 §

KATE NICHOLSON (BRITISH 1929-2019) MOON FIRE, 1960

Signed, inscribed and dated (to reverse), oil on canvas

39cm x 90cm (15 3/8in x 35 1/2in)

Provenance

Waddington Galleries, London; Mr James Ede; Private Collection, UK.

£2,000-3,000

178 §

WILL ROBERTS (WELSH

1907-2000)

WORK IN THE FIELD, 1975

initialled (lower left), initialled, titled and dated (to reverse), oil on board

64.5cm x 74.5cm (25 1/2in x 29 1/4in)

Provenance

Purchased directly from the Artist in Wales in the 1980s, thence by family descent, UK.

£2,500-3,500

179 §

JOHN PIPER C.H. (BRITISH 1903-1992)

ELIZABETHAN DANCE, CIRCA 1953-5 signed (lower right), gouache

68.5cmx 91cm (27in x 35 7/8in)

Provenance

J. Lyons & Company Ltd., London, 1974; Sir Guy Lawrence; Golding Young & Thos., Lincolshire, 2010; Private Collection, UK.

John Piper designed Elizabethan Dance for J. Lyons & Co. and it forms the basis for a lithograph used to decorate some of Lyons’ high street teashops. The current work is inspired by a 16th Century painting in Penhurst Place.

£7,000-10,000

180 §

DOM ROBERT (GUY DE CHAUNAC-LANZAC) (FRENCH 1907-1997)

GROUP OF YOUNG MEN OUTSIDE THE HAIRDRESSERS, DESIGN FOR TAPESTRY, 1955 signed and dated (upper right), pen, ink watercolour and coloured crayon on paper 40.6cm x 59cm (16in x 23 1/4in), unframed

Provenance

Gimpel Fils, London.

£1,000-1,500

181 §

HENRY MOORE O.M.,C.H (BRITISH 1898-1986) FOR ASCHER

THREE SEATED FIGURES, 1947/1990

numbered in margin 12/65 (lower left), serigraphy in ten colours on textured cotton, from the series of four large scale wall panels

linen: 174cm x 122cm (68 1/2in x 48in); image 155cm x 116.5cm (61in x 45 7/8in)

Literature:

Mendes, Valeries D. and Hinchcliffe, Frances, Ascher: Fabric, Art, Fashion, London: Victoria & Albert Museum, 1987, p.39, illustrated; Feldman, Anita, Henry Moore Textiles, Aldershot: Lund Humphries, 2008, pp. 150 and 154 (other examples, pp. 151 and 155) illustrated.

£5,000-7,000

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) FOR HORROCKSES, CREWELSON & CO. IDIOM

printed HORROCKSES

DESIGN . IDIOM (to selvedge), screenprinted cotton

118cm x 122cm (46 1/2in x 48in)

£400-600

183

MARINO MARINI (ITALIAN 1901-1980) FOR EDINBURGH WEAVERS

CAVALLO, DESIGNED 1959

Jacquard-woven spun rayon, denier rayon and cotton

130cm x 90cm (51 1/4in x 35 1/2in)

Literature

Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club, 2012, p. 200.

£400-600

184 §

JOHN PIPER C.H. (BRITISH 19031992) FOR DAVID WHITEHEAD COTSWOLDS, DESIGNED 1960 printed DESIGNED BY JOHN PIPER / FOR DAVID WHITEHEAD (to selvedge), screenprinted cotton

113cm x 110cm (44 1/2in x 43 1/4in)

Literature

Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club, 2012, p. 188.

£500-700

185 §

PABLO PICASSO (SPANISH 18811973) FOR BLOOMCRAFT

TOROS Y TOREROS, DESIGNED 1963 printed TOROS + TOREDOR by Picasso / BLOOMCRAFT (to selvedge), screenprinted cotton

122cm x 170cm (48in x 67in)

Literature

Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club, 2012, pp. 262-3.

£400-600

186 §

JACQUELINE GROAG (CZECH 1903-1986)

DESIGN - BLACK, WHITE AND RED signed Jacqueline in pencil (lower right), collage and mixed media

16.7cm x 16cm (6 5/8in x 6 1/4in)

Provenance

Private Collection, London.

£600-800

187 §

JACQUELINE GROAG (CZECH 1903-1986)

DESIGN NO. 5

signed in pencil in margin (lower right), label (to reverse), mixed media on paper

28cm x 28cm (11in x 11in)

Provenance

Private Collection, London.

£600-800

JACQUELINE GROAG (CZECH, 1903- 1986)

The influential textile designs of Jacqueline Groag (neé Hilde Pick) dominated the international design scene during the 20th century. Born in Prague in 1903, Groag moved to Vienna in the 1920s to study textile design ultimately at the Wiener Werkstätte. In 1939, Groag and her husband, architect and interior designer Jacques Groag, fled to London from Prague following the Nazi invasion of Czechoslovakia. The couple settled in London for the remainder of their lives, and Jacqueline Groag’s designed flourished as she established herself at the forefront of the textile industry with important clients ranging from the fashion houses of Chanel, Liberty’s, and Schiaparelli to British institutions such as British Rail and London Transport. Her designs appear on clothing to wallpaper, carpets to greeting cards, and are representative of the modernist aesthetic and austere functionalist sensibility that make each piece so uniquely hers and instantly recognisable.

188

ALEXANDER CALDER (AMERICAN 1898-1976) FOR ASCHER

LA MER, DESIGNED 1947

signed in the screen by the artist (lower right) and publisher (lower left), screenprint on silk 91.5cm x 91.5cm (36in x 36in)

Provenance

Whitford Fine Art, London, where acquired by the present owner, August 2021

Literature

Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club, 2012, p. 45.

£1,000-1,500

WORKS BY LUCIE RIE

189 §

DAME LUCIE RIE (BRITISH 1902-1995)

CUP AND SAUCER, CIRCA 1950 impressed artist’s seal, stoneware, white glaze with manganese rims

The saucer 14cm diameter (5 1/2in diameter), the cup 7.3cm high (2 7/8in high)

Literature

Lucie Rie: A Retrospective, 2015-16. Nikkei: Ibraki Ceramics Museum, 2015, p.66, no. 20 and 21 for similar examples.

£600-800

190 §

DAME LUCIE RIE (BRITISH 1902-1995)

POURING VESSEL, CIRCA 1958 impressed artist’s seal, porcelain, manganese glaze 9cm high (3 1/2in high)

Provenance Private Collection, London.

£700-900

191 §

DAME LUCIE RIE (BRITISH 1902-1995)

BUTTER DISH impressed artist’s seal (to base), stoneware with manganese glaze 17.5cm wide (6 7/8in wide)

Provenance

Cyril Frankel.

£600-800

DAME LUCIE RIE (BRITISH 1902-1995)

FOOTED BOWL

impressed artist’s seal, porcelain with scraffito decoration and dripped manganese rim 8cm high, 19.5cm diameter (3 1/8in high, 7 3/4in diameter) £15,000-20,000

193 §

DAME LUCIE RIE (BRITISH 1902-1995)

FOOTED BOWL, CIRCA 1960-5

impressed artist’s seal, porcelain, uranium yellow with fine manganese band around the rim

7.5cm high, 13.5cm wide (3in high, 5 1/4in wide)

Provenance Private Collection, Wales. £3,000-5,000

194 §

DAME LUCIE RIE (BRITISH 1902-1995)

VASE, CIRCA 1965-70

impressed artist’s seal, stoneware, mixed clays with integral blue spiral

22.2cm high, 13.5cm wide (8 3/4in high, 5 1/4in wide)

Provenance Private Collection, UK.

£5,000-7,000

195 §

DAME LUCIE RIE (BRITISH 1902-1995)

VASE

impressed artist’s seal, porcelain with scraffito line (below neck and above base rim) with manganese to the body 18cm high (7 1/8in high)

Provenance

Private Collection, Scotland.

£4,000-6,000

196 §

DAME LUCIE RIE (BRITISH 1902-1995)

FOOTED BOWL

impressed artist’s seal, blue with manganese rim

10.5cm high, 16.5cm diameter (4 1/8in high, 6 1/2in diameter)

Provenance

£15,000-25,000

Purchased by the present owner from Galerie Besson, London, circa 1989-93. Private Collection, Scotland.

GEORGE KENNETHSON & EILEEN GUTHRIE: AN ARTISTIC MARRIAGE

George Kennethson (or Arthur Mackenzie as he was, Kennethson being the name he adopted in the early 1970s in order to separate his artistic practice from his role as the art master at Oundle School) met Eileen Guthrie in 1931 at the Royal Academy Schools in London. Intriguingly both were painting students, although in George’s case, the teaching at the still very academic Academy mainly had the effect of turning him into a sculptor, something he was already considering by his final year when they pair met (although one of his sons recalls Kennethson generously saying that the reason he became a sculptor was that Eileen was by far the better painter).

George came from a cultured, literary family. Eileen’s father and grandfather were architects and her mother was an accomplished pianist, who had studied at the Royal College of Music (Eileen herself had been taught the piano by Gustav Holst when she was young). And so, like many of their circle, Eileen and George were left-wing in their politics, interested in all things avant-garde in art, music and literature, and

looked to Paris for inspiration. As young artists they both revered Cézanne. On their first trip together to the French capital, George tracked down the work of sculptors Maillol, Zadkine and Brancusi. And Eileen no doubt sought out the work of Bonnard, whose influence, both in composition and technique, can be traced in her work. They returned, in 1937, where they saw Picasso’s recently completed Guernica, which moved them both, artistically and politically.

Like many artists of their generation, their lives and careers were profoundly affected by World War Two. The Kennethsons were committed pacifists. A year before war broke out, they had moved to the quiet Berkshire village of Uffington, watched over by its ancient, curiously abstract White Horse, cut into the chalk of the nearby Downs, and so in a way had already withdrawn from the political storm of the late 30s. The villagers had no issues with the Kennethsons’ avowed pacifism: they were artists, after all, so they expected them to be different.

Photographs by Michael Wickham, courtesy of the Kennethson/Guthrie Estate

Whilst they passed the war in rural seclusion, conflict does seep into Kennethson’s sculpture, such as sculptures of travellers, with staffs and backpacks, or men carrying mattresses down to the local forge – images glimpsed out of the studio window, but now transformed into a moving response to the refugees that war inevitably creates. The couple took in both evacuees from the Blitz and the occasional European refugee (and much later in the 1980s, Kennethson returned to this theme as a response to the migrations forced by famine in Ethiopia). But more than this, the war and its aftermath led to little opportunity for artists to sell their work and therefore live by their art –something that was particularly acute for the Kennethsons, who by the late 1940s had five young boys to feed.

Art historians have often been critical of British artists ‘retreating’ into teaching or commercial work, whilst their counterparts in America were splashing newly made paint across acres of pristine canvas and changing the direction of modern art forever, and yet this ignores the pressures on British artists, facing a public that was already relatively indifferent to modern art and which now was broke.

It was at this point that Eileen turned her hand to making prints for textiles. She did so with incredible success –artistically at least, as there was almost as little money for interiors and design in post-war Britain as there was for art. Eileen did, however, sell her ‘Flockhart Fabrics’ range – named after her Scottish grandfather - at Primavera, a leading interiors shop on Sloane Street, as well as to family

and friends. Their neighbour in Uffington, John Betjeman, also helped them to find stockists, and Eileen’s twin sister Joan would open her London flat to showcase the designs. Lucienne Day, too, introduced Eileen to Amersham Prints, contractors to the government, and her design Bird and Basket was used in 1954 to furnish the Morag Mhor, the first all-aluminium yacht in the country.

George lent a hand too, on the production side, contributing to designs, working on lino-blocks and silkscreens and helping Eileen with the considerable manual work of printing the fabrics by hand. The prints are deceptively simple, strong and sculptural, whilst retaining the required elegance and beauty. The line that one sees in her gouaches and oils finds an easy home amongst the repeats of fabric design and motifs that infuse George’s sculpture – birds, leaves, architectonic flower forms – which are abstracted from her landscape painting.

The family moved to Oundle in 1954, to a house with a large former malting attached, which made for good, if draughty, studios. George would have been surrounded by Eileen’s fabrics – at the long settle by the kitchen table or on one of the armchairs where he would read and draw before heading out to his studio to carve equally simple forms, with soft curves and sharp edges, into stone and alabaster, so perhaps Eileen’s influence on George’s work shouldn’t be under-estimated. Meeting her late in her life – a decade after George’s death – she would walk amongst the sculptures, laid out on plinths in the cavernous Victorian former malting, and place her hands intuitively on every undercut and turn (the wearing of rings was strictly forbidden!). George resolutely worked alone –

Photographs by Michael Wickham, courtesy of the Kennethson/Guthrie Estate

197 §

EILEEN GUTHRIE (BRITISH 1913-2006)

WILLOWS IN PADDOCK

monogrammed in pencil (lower right), titled on label (to reverse), watercolour and pencil on paper 27.5cm x 37.7cm (10 7/8in x 14 7/8in)

Provenance

The Estate of the Artist.

Exhibited

Heffers Gallery, Cambridge, no. 77.

£250-350

198 §

EILEEN GUTHRIE (BRITISH 1913-2006)

UPPER BARNWELL LOCK IN WINTER

monogrammed in pencil (lower right), titled on label (to reverse), watercolour on paper

18.7cm x 24cm (7 3/8in x 9 1/2in)

Provenance

The Estate of the Artist.

Exhibited

Heffers Gallery, Cambridge, no. 79.

£250-350

no assistants, no power tools, only mallets and chisels and cassettes of classical music and operatic arias for company – but the confluence between their work speaks to a shared vision.

We are delighted to include in this selection a painting by Eileen alongside a drawing by George, both made at their beloved Isle of Purbeck, where they holidayed (and found inspiration, in the fields, quarries and shore) every year since the late 1930s. Seen side by side, these works could almost be by the same hand. George’s drawings, mainly of the rock formations of the coast that were the source of his material, whilst studies in sculptural form, have a painter’s confident flow: equally, Eileen’s paintings, whilst more concerned with the wider landscape, have a certain sculptural feel to their construction, even though, in the end, they concern themselves more with colour and abstract form, in the manner of Ivon Hitchens or Patrick Heron, both of whom she admired.

199 §

EILEEN GUTHRIE (BRITISH 1913-2006) PURBECK

inscribed and titled on label (to reverse), oil on board 39.2cm x 29.2cm (15 1/2in x 11 1/2in)

Provenance

The Estate of the Artist. £700-1,000

The last few years have seen something of a revival in interest in George Kennethson’s work. After all, this is an artist whose work sits very comfortably – and beautifully –in Britain’s best small museum, Kettle’s Yard in Cambridge, alongside Constantin Brancusi and Henri Gaudier-Brzeska. There are now two monographs on the artist, the most recent written by the eminent critic Richard Cork. Eileen Guthrie’s work, on the other hand, still remains something of a secret, her last public exhibitions being held almost 40 years ago. We hope that this brief glimpse will be the beginning of her revival, as well as a testament to an artistic partnership that was very much of its time, yet resonates with beauty today.

Simon Hucker, 2023

200 §

GEORGE KENNETHSON (BRITISH 1910-1994)

WAVE FORM, CIRCA 1950S-60S

Clipsham stone

43cm high, 30.5cm wide, 20cm deep (17in high, 12in wide, 7 3/4in deep)

Provenance

The Estate of the Artist.

Literature

Cork, Richard, The Sculpture of George Kennethson, Redfern Gallery, London, 2014, p. 20 illustrated in the background of a photograph of the artist’s studio.

£12,000-18,000

GEORGE

WAVES

initialled (lower right), pencil, ink and wash on blue paper

18cm x 22cm (7 1/8in x 8 5/8in)

Provenance

The Estate of the Artist.

201 §

GEORGE KENNETHSON (BRITISH 1910-1994)

GIRL’S BACK WITH CURLED HAIR - STUDY FOR SCULPTURE, CIRCA 1960 ink and wash on paper

16cm x 12.5cm (6 3/8in x 4 7/8in)

Provenance

The Estate of the Artist.

Literature

Hucker, Simon. George Kennethson: A Modernist Rediscovered London: Merrell Publishers Limited, 2004, p.14, illustrated. £400-600

202 §

KENNETHSON (BRITISH 1910-1994)

£500-700

203 §

GEORGE KENNETHSON (BRITISH 1910-1994)

FATHER AND CHILD, 1960S

English alabaster

45.7cm high, 33cm wide, 25.5cm deep (18in high, 13in wide, 10in deep)

Provenance

The Estate of the Artist.

£12,000-18,000

204 §

ROY TURNER DURRANT (BRITISH 1925-1998)

ABSTRACT COMPOSITION, 1955

signed, dated and numbered 448 (lower right), gouache and watercolour on paper 19.7cm x 12cm (7 3/4in x 4 3/4in)

Provenance

Wenlock Fine Art, Shropshire.

£400-600

205 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

FIGURE WITH FISH

inscribed in red pen Prunella Clough on label (to reverse), glazed earthenware plate 25cm diameter (9 3/4in diameter)

Provenance

Gift from the Artist to David Carr and thence by descent;

Christie’s, London, 5 September 2002, lot 594; Private Collection, UK.

£700-900

206 §

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

UPWARD MOVEMENT

numbered 2/20 (lower left), with artist’s estate stamp, etching with aquatint

37.5cm x 37.5cm (14 3/4in x 14 3/4in)

£300-500

207 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

UNTITLED, 1950S

incsribed (to verso), oil on board

20.5cm x 15cm (8in x 6in)

Provenance

Annely Juda Fine Art, London.

£6,000-8,000

208 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

DARK FLOWER, 1997

oil on canvas

30.5cm x 35cm (12in x 13 3/4in)

Provenance

Annely Juda Fine Art, London. Exhibited

Annely Jude Fine Art, London, Prunella Clough: 50 Years of Making Art, 28 January - 21 March 2009, no. 65.

£4,000-6,000

209 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

NIGHT INTERIOR photo collage

36cm x 45cm (14 1/4in x 17 3/4in)

Provenance

Annely Juda Fine Art, London. £2,500-3,500

DENIS MITCHELL (BRITISH 1912-1993) PROBUS, 1971

signed with initials, titled and numbered PROBUS

DAM 5/5 (to base), bronze mounted on a slate base

80.5cm high, 89cm wide (31 3/4in high, 35in wide); the base 5cm high, 18cm deep (2in high, 7in deep)

Provenance

Marjorie Parr Gallery, London, where acquired by the parents of the present owners, circa 1971.

£10,000-15,000

Exhibited

Marjorie Parr Gallery, London, 1971, illustrated on cover of catalogue, possibly this cast; British Council, Touring Exhibition, 1973-79, another cast; City Art Gallery, Plymouth, 1975, another cast;

Glynn Vivian Art Gallery, Swansea, 1979, another cast;

Newlyn Art Gallery, Newlyn, 1985, another cast;

Penwith Galleries, St Ives, 1992, another cast;

Glynn Vivian Art Gallery, Swansea,1994, another cast;

48th Aldeburgh Fesitval, Aldeburgh, 1995, another cast;

Tate St Ives, Dennis Mitchell, Ascending Forms, 2005, another cast.

Literature

Hughes, Sara. Dennis Mitchell, Ascending Forms, London: Tate Publications, 2004, p23., another cast.

211 §

NORMAN TOWN (BRITISH 1915-1988)

FORMS ON RED, 1959

signed and dated (to reverse), oil on board

122cm x 90cm (48in x 35 3/8in)

Provenance

Wenlock Fine Art, Much Wenlock, where acquired by the present owner.

£600-800

212 §

RENATO BASSOLI (ITALIAN 1915-1982)

L’EPURATION (THE PURGE), 1950S

titled (to reverse), patinated steel and ceramic

51cm high, 90cm wide, 28cm deep (20in high, 35 1/2in wide, 11in deep)

Provenance

Themes & Variations, London. £5,000-6,000

213 §

CARLO ZAULI (ITALIAN 1926-2002)

THE BIRTH OF A SPHERE, 1980S

grey-glazed ceramic on wood square base

18cm high, 18cm wide, 18cm deep (7in high, 7in wide, 7in deep), including base

Provenance

Themes & Variations, London. £400-600

RELIEF HEAD marble

17.1cm high (6 3/4in high)

Provenance

The Estate of the Artist.

£700-900

EL GORRIAGA, 1988

signed, dated and titled (to reverse), collage on card, from the ‘Barcelona Series’

22.5cm x 18cm (8 3/4in x 7in)

Provenance

The Estate of the Artist; with Francis Graham-Dixon Gallery, London.

£600-800

214 §

BRYAN INGHAM (BRITISH 1936-1997)

215 §

BRYAN INGHAM (BRITISH 1936-1997)

216 §

BRYAN INGHAM (BRITISH 1936-1997) MEDITERRANEAN HEAD, 1993

initialled and dated 29.8.93 (to left side), artist’s estate stamp (to reverse), plaster 18.5cm high (7 1/4in high) excluding base

Provenance

The Estate of the Artist.

£1,200-1,800

217 §

BRYAN INGHAM (BRITISH 1936-1997) CIGARETTEN collage on board

21.3cm x 11.5cm (8 3/8in x 4 1/2in)

Provenance

The Estate of the Artist.

£700-900

219 §

BRYAN INGHAM (BRITISH 1936-1997)

OST, 1986

signed Bryan (lower left), inscribed and dated in pencil (to reverse), collage on card and board 10cm x 19cm (4in x 7 1/2in)

£600-800

218 §

BRYAN INGHAM (BRITISH 1936-1997)

JOLLYTOWN I, CIRCA 1987 signed in pencil and titled (to backboard), collage on board, from the ‘Kynance Suite’

10.7cm x 15.2cm (4 1/4in x 6in)

Provenance

The Estate of the Artist; Francis Graham-Dixon Gallery, London.

£1,000-1,500

220 §

BRYAN INGHAM (BRITISH 1936-1997)

HEAD, 1988

initialled and dated in pencil (lower right), artist’s estate stamp (to backboard), collage, coloured crayon and gouache 35cm x 27cm (13 3/4in x 10 5/8in)

Provenance

The Estate of the Artist.

£1,500-2,000

221 §

MARGARET LOVELL (BRITISH 1939-)

KAIMOS HEAD, 2016

initialled and numbered 1/6, polished, verdigris and patinated bronze on granite base 35cm high (13 3/4in high) including base Provenance

Jonathan Grant Galleries, Auckland, New Zealand, where acquired by the present owner, May 2021

£1,500-2,500

222 §

LESLIE THORNTON (BRITISH 1925-2016)

ARGOSY, 1969-70

the larger element stamped with signature, dated 1970 and numbered G7; the smaller element stamped with initials, dated 69 and numbered G, acrylic and aluminium 66cm high (26in high)

Provenance

Los Angeles Modern Auctions, 30 September 2018, lot 43; Sotheby’s, London, 10 September 2019, lot 37 where acquired by the present owner.

£700-900

223 §

PAUL MOUNT (BRITISH 1922-2009)

GINGLYMUS, 1984

signed (to base), stainless steel on slate base and perspex plinth

38.5cm high, 37cm wide (15 1/8in high, 14 1/2in wide) excluding perspex base

Provenance

The New Art Centre, London; The Estate of Mr Donald Simon.

A ginglymus is a hinge-like joint such as the elbow or knee, that allows movement in only one plane.

£3,000-5,000

224 §

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

SEA THROUGH, 2001

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

45.5cm x 45.5cm (18in x 18in)

Provenance

Private Collection, UK.

This painting was used as the basis for a Christopher Farr Design.

£3,000-5,000

225 §

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

QUARTET IN YELLOW, 2006

signed (lower right), trial proof aside from the edition of 20, etching and aquatint with collage 23cm high x 27cm wide (9in high x 10 3/4in wide)

£500-700

226

MINORU NIIZUMA (JAPANESE 1930-1998)

WHITE CASTLE II, 1973

ordinario marble

52cm high, 15cm wide, 15cm deep (20 1/2in high, 6in wide, 6in deep)

Provenance

Gimpel Fils, London.

Exhibited

Gimpel Fils, London, Sculptures, Reliefs and Drawings, 8 June - 9 August 1989, no. 35, illustrated; Gimpel Fils, London, Collector’s Choice II, 8 March - 29 April 2017.

£3,000-5,000

227 §

PAUL FEILER (BRITISH 1918-2013)

SEKOS LV, 1995

signed, titled and dated (to reverse), oil on canvas on wood 91.5cm x 91.5cm (36in x 36in)

Provenance

Redfern Gallery, London from where acquired by the present owner in 1996.

Exhibited

Tate, St. Ives, Paul Feiler - Form to Essence - Theme to Development, 11 November 1995 - 21 April 1996.

£10,000-15,000

PETER RANDALL-PAGE

Born in Essex in 1954, Randall-Page studied at Bath Academy of Art (1973-77) where he met the sculptor Barry Flanagan, before becoming his assistant. He went on to work as a mason at Wells Cathedral, here gaining an understanding, in context, of the medieval mason’s craft. Another strong influence was that of Isamu Noguchi, with whom Randall-Page had a lifelong correspondence. In 1980, as a Winston Churchill Fellow, he travelled to Italy to study marble carving in Carrara.

Randall-Page’s working practice is in part expressed with these four works: Fingers and Thumbs has visible fingerprints on the spotty pattern of the rock that make the ‘eye move more slowly across [the work]’, encouraging us to be ‘aware of the form’ and possibly into our own connection to early [Aboriginal] rock paintings. Husk II explores the organic and the seed whose ‘inaccessible interior’ he has been investigating from his earliest works. Stone Maquette I is an expression of Randall-Page’s deep interest in the geometry of nature and here he looks to ‘visualise one form within another’ as well as ‘nature’s theme and variation’ by ‘accessing his imagination through the act of carving.’ Night Song, a title that implies an investigation of dreams, demonstrates stone as a vehicle for Randall-Page into a ‘fascination with the human mind and imagination’, with a bronze crescent in balance with the claw-chiselled marble base. It suggests he is asking us to be aware of what the sculpture is: a block of rock but also subtly implying, with a nod to Miró, ‘other things are going on’.

228 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-) NIGHT SONG, 1984 verde Patricia marble and bronze 42cm high x 20.3cm wide x 17.8cm deep (16in high x 8in wide x 7in deep)

Provenance

Anne Berthoud Gallery, London, 1985; Private Collection, UK from whom acquired by the present owner.

Literature

Peter Randall-Page: Sculptures and Drawings 1977-1992, The Henry Moore Centre and Leeds City Art Galleries, 1992, no. 48, illustrated.

Exhibited

Leed City Art Galleries and Yorkshire Sculpture Park, Peter Randall-Page: Sculpture and Drawings 1980-1992, 23 April - 13 June 1992, touring to Royal Botanic Garden, Edinburgh and Arnolfini Gallery, Bristol.

£7,000-9,000

229 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-) FINGERS AND THUMBS, CIRCA 2008

painted granite

14cm high, 23cm wide, 14.5cm deep (5 1/2in high x 9in wide x 5 3/4in deep)

Provenance

Pangolin, London, 2008; Private Collection, UK from whom acquired by the present owner.

£3,000-5,000

230 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-) STONE MAQUETTE I, CIRCA 2014

granite

12cm high, 13.5cm wide,  13cm deep (4 3/4in high, 5 1/4in wide, 5 1/8in deep)

Provenance

Pangolin, London, 2014; Private Collection, UK from whom acquired by the present owner.

£3,000-5,000

231 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-) IRON HUSK II, 1998

cast iron

9.5cm high, 16cm wide, 11cm deep (3 1/2in high, 6 3/8in wide, 4 1/4in deep)

Provenance

Stephen Lacey Gallery, London; Private Collection, UK from whom acquired by the present owner.

Exhibited

Stephen Lacey Gallery, London, Peter Randall-Page: New Sculpture & Drawings, 15 October - 28 November 1998.

£2,000-3,000

232 §

ANDRÉ DUBREUIL (FRENCH 1951-) HEAD, MID 1980S

metal and glass

66cm high, 42cm wide (26in high, 16 1/8in wide)

Provenance

Acquired by the present owner from a colleague of Dubreuil who worked with him when the piece was made; Themes & Variations, London.

£2,500-3,500

233 §

CATHIE PILKINGTON R. A. (BRITISH 1968-)

BUST

steel, copper and hand-coloured plaster

39cm high, 40cm wide (15 3/8in high, 15 3/4in wide)

Provenance

Bruton Gallery, Bath, 1997; Private Collection, UK.

£600-900

234 §

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

HALLUCINATION WITH MIRRORED BLACK BIRD, 1984

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

152cm x 122cm (60in x 48in)

Provenance

Gimpel Fils, London.

Exhibited

Gimpel & Weitzenhoffer, New York, June 1992.

£5,000-8,000

235 §

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

TWO PLAYFUL OTTERS

signed and numbered 1/7, with Morris Singer foundry mark, patinated bronze 32cm high, 40.5cm wide, 15.5cm deep (12 5/8in high, 15 7/8in wide, 6 1/8in deep)

£4,000-6,000

236 §

JOHN SKELTON (IRISH 1925-2009)

TORSO, 1979

signed and dated, pitch pine on a slate base 73.5cm high, 40.5cm wide (9in high, 16in wide) including base £1,000-2,000

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) BULL MAQUETTE III FOR THE BULL RING, BIRMINGHAM, 2003

inscribed, titled and numbered 24/25 (to the side of base), patinated bronze

20cm high, 30.5cm wide, 24cm deep (7 7/8in high, 12in wide, 9 1/2in deep) including base £2,000-3,000

LAURENCE BRODERICK

M.R.B.S. F.R.S.A. (BRITISH 1935-) BARN OWL, 2008

signed, dated and numbered 1/9, verdigris bronze

22cm high, 32cm wide, 23cm deep (8 5/8in high, 12 5/8in wide, 9in deep) £3,000-5,000

238 §

237 §

239 §

MAX TANNAHILL (IRISH CONTEMPORARY)

SIX FLAT FISH

incised initials MT (to reverse), copper and reclaimed wood 40cm x 86cm (15 3/4in x 34in)

Provenance

Private Collection, UK.

Max Tannahill was part of the Taplin circle in Wivenhoe. £1,500-2,000

240 §

SCOTTIE WILSON (BRITISH 1891-1972)

BIRDS ON A PYRAMID signed (lower right), pen and ink on card the sheet 39.5cm x 27cm (15 1/2in x 10 5/8in), unframed Provenance

Gimpel Fils, London. £400-600

242 §

GUY TAPLIN (BRITISH 1939-)

SWAN WITH HEAD RAISED inscribed SWAN GUY TAPLIN (to base), painted wood 79cm high, 77cm deep (31in high, 30 1/2in deep)

Provenance Private Collection, UK.

£3,000-5,000

241 §

GUY TAPLIN (BRITISH 1939-)

FOUR AUKS AND THREE EGGS

each bird signed and titled, painted found wood, with two differing bases the tallest birds 76cm high (29 7/8in high), one base 9cm x 61cm x 38.5cm (3 1/2in x 24in x 15 1/4in), the other base 7.5cm x 85cm x 16.5cm (3in x 33 1/2in x 6 1/2in)

Provenance Private Collection, UK.

£3,000-5,000

243 §

GUY TAPLIN (BRITISH 1939-)

SWAN WITH HEAD TUCKED inscribed SWAN GUY TAPLIN (to base), painted wood

33cm high, 77cm deep (13in high, 30 1/4in deep)

Provenance

Private Collection, UK.

£3,000-5,000

32cm

£500-700

18cm

£300-500

22.5cm

£1,000-1,500

245

PETER HAYES (BRITISH 1946-) MARBLE ‘CUTTING EDGE’, 2014 signed and dated (to base), marble, on slate base

high, 43cm wide (8 7/8in high, 17in wide), including base

246 PETER HAYES (BRITISH 1946-) RED BOW WITH COPPER DISC signed (to base), raku with inlaid copper disc, on slate base

high, 25cm wide (12 5/8in high, 9 7/8in wide), including base

244 §

PETER HAYES (BRITISH 1946-) BOW WITH BLUE DISC, 2014 signed and dated, raku

high (7 1/2in high), excluding base

249 §

EDMUND DE WAAL (BRITISH 1964-)

FOOTED BOWL

impressed artist’s seal, fine crackle glaze with brown glazed rim

10cm high, 21cm diameter (4in high, 8 1/4in diameter)

£1,500-2,000

247 §

EDMUND DE WAAL (BRITISH 1964-)

THE HAY FESTIVAL

signed and dated, pen and ink on paper 39cm high x 27cm wide (15 3/8in high x 10 5/8in wide)

Inscribed:

I put an object down in front of me and I begin and tell a story. / Make things / Make stories + / Share them both / Sitting backstage nervously waiting to go on and talk about my practice. / Edmund de Waal / The Hay Festival 2010 £800-1,200

248 §

EDMUND DE WAAL (BRITISH 1964-) CUP

impressed artist’s seal, porcelain, green glaze to the rim

6.8cm high (2 5/8in high)

£400-600

250 §

TEAPOT

impressed artist’s seal, porcelain, celadon glaze, twisted wire handle including handle up 25cm high (9 3/4in high); excluding handle 15cm high (5 7/8in high)

EDMUND DE WAAL (BRITISH 1964-)

£2,000-3,000

SUTTON TAYLOR (BRITISH 1943-)

LARGE FOOTED BOWL impressed artist’s mark and signed (to base), earthenware, lustre glaze

14.5cm high, 52cm diameter (5 3/4in high, 20 1/2in diameter)

Provenance

Private Collection, UK.

£800-1,200

ALAN CAIGER-SMITH (BRITISH 1930-)

painted artist’s monogram, earthenware

15cm diameter (5 7/8in diameter)

Provenance

Private Collection, Scotland.

£300-500

ALAN CAIGER-SMITH (BRITISH 1930-2020)

FOOTED BOWL, 2000

painted artist’s monogram and date cypher, earthenware

8.5cm high, 25.5cm diameter (3 1/2in high, 10in diameter)

£600-800

253 §

252 §

BOWL

251 §

254 §

incised with initials and dated (to base), earthenware, painted slip

34.5cm high, 44cm wide, 20.5cm deep (13 5/8in high, 17 3/8in wide, 8 1/8in deep)

£2,000-3,000

GORDON BALDWIN O.B.E. (BRITISH 1932-) VESSEL, 1993

35cm high (13 3/4in high)

Provenance

256 § JANICE TCHALENKO (BRITISH 1942-2018) VASE, 2003

signed and dated (to base), glazed earthenware

Adrian Sassoon, 2011; Private Collection, UK. £400-600

255 ANN AGEE (AMERICAN 1959-) ‘TOM KELLER / MAYOR OF KIEL’ PLATE, 1992 painted earthenware, signed and dated (to base) 41cm diam (16 1/4in diam) £600-800

VESSEL

signed (to base), earthenware, smoke fired and burnished 34cm high, 34cm wide (13 1/2in high, 13 1/2in wide)

Provenance

Anthony Hepworth Gallery; Private Collection, UK.

£600-900

VESSEL

signed (to base), earthenware, smoke fired and burnished 44.5cm high (17 1/2in high)

Provenance

Anthony Hepworth Gallery; Private Collection, UK.

£800-1,200

258 §

GABRIELE KOCH (GERMAN 1948-)

257 §

GABRIELE KOCH (GERMAN 1948-)

259 §

DAME

MAGDALENE ODUNDO O.B.E. (KENYAN 1950-)

EARLY VESSEL, 1976

stoneware, with glazed rim and interior 23cm high, 23cm diameter (9in high, 9in diameter)

Provenance

Acquired directly from the artist by the present owner in September 1976, when they were both working at the Commonwealth Institute in London; The current vessel was made by Odundo in her final year at West Surrey College of Art & Design (now the University for the Creative Arts, Farnham), and is an important transitional work as it marked the beginning of Odundo’s desire to make individual work as opposed to production pottery.

£10,000-20,000

SELECTED WORKS FROM THE COLLECTION OF ANN SUTTON O.B.E.

Ann Sutton OBE is an internationally recognised artist whose work transcends traditional boundaries between the crafts and the fine arts. Her consistently evolving oeuvre appears in public collections including Tate, the Victoria and Albert Museum, the National Museum of Wales, and the Crafts Council. She made her name as a weaver in the 1960s, then as a textile artist, but is today best understood simply as an artist.

Specific media have never been a constraint for Ann Sutton. She has worked in everything from fibre to filament, from paint to Perspex, across a variety of scales. When in her early days she heard a senior and much-fêted craftsman declare -scoffingly- that modern weavers would even work with barbed wire if they could, a young Sutton interrupted from the lecture hall: “Why not?”

With Ann Sutton it is not the material but the idea that really counts. Intellectually, she has been associated – by The Tate among others – with the constructivist movement, but she has always denied specific influences and allegiances. If there is a continuing thread through her work, though, it is her foundation in weaving. As the title of the documentary film about her, screened by the British Library in 2022, declares: “My Bones Are Woven.”

Sutton was born in Stoke-on-Trent in 1935. She trained at Cardiff College of Art, returning as Visitor, and subsequently teaching at the West Sussex College of Art, and at the Glamorgan Summer School at Barry, South Wales. She has also been a part-time lecturer at the Royal College of Art,

of which she is now a Senior Fellow. At the same time, she pursued her own studio work in Banbury, at Parnham House in Dorset, and most recently in her own flat and studio in Arundel, West Sussex, from which she presented the fivepart BBC television series The Craft of the Weaver, in addition to launching the Ann Sutton Foundation. She was awarded the OBE for Services to the Arts in 2022.

Ann Sutton’s Arundel base has also been home to her own art collection, some of which is now being made available in this sale. Typically for Sutton, this ranges from fine art to craft and to furniture. The range is remarkable, but a common connection is her discerning eye. She has always been a keen spotter of (what were then) emerging talents, in parallel with buying and commissioning work from friends including Jim Partridge and three generations of the Frost family. The many associated stories are noted by Sutton in this catalogue.

Change has been a constant in Ann Sutton’s life and career. In 2010, for example, she disposed of all her looms in a process she called “clearing the decks” to make space for new artistic ventures, some of which appeared in her solo show at the New Art Centre, Roche Court, in 2022. Clearing the decks of her current art collection is part of that continuing process.

The critic Tanya Harrod wrote in the March 2023 Apollo magazine that the boundaries between fine and art craft: “are only now being properly challenged”, and cited Sutton’s work as part of that overdue movement. The same might be said of her collection, too.

Professor Richard Howells, 2023

Ann Sutton. Image courtesy of Jane Mote

260 §

ANTHONY FROST (BRITISH 1951-)

‘SPACE ‘N’ RHYTHM’ AND ‘RED CLOUD’

each signed, titled and dated (to reverse), acrylic on hessian (2)

53cm x 51cm (20 3/4in x 20in); 35.5cm x 35.5cm (14in x 14in)

£800-1,200

Anthony Frost is the son of Terry Frost, and as a student of Ann Sutton’s at the Banbury Art School, in the late 60s, he took part as a ‘knitting needle’ in a conceptual TV project. His studio is in Penzance. These two works were painted at a time when a group of young Cornish artists included a postman, who would supply his friends with strong sacking postbags to make canvases for their paintings.

261 §

LUKE FROST (BRITISH 1976-)

CADMIUM ORANGE AND TANGERINE VOLTS NO. 1, 2013 signed, titled and dated (to reverse), acrylic on aluminium 20cm x 20cm (7 3/4in x 7 3/4in)

Provenance Belgrave St Ives.

£250-350

262 §

NICK BODIMEADE (BRITISH 1957-)

COMPOSITIONS, 1982 two works, eached signed and dated (to reverse), acrylic on canvas set in artist’s painted wooden frames (2) 40.5cm x 35.5cm (16in x 14in) and 40cm x 35cm (15 3/4in x 13 3/4in)

£600-800

263 §

KITTY SHEPHERD (BRITISH 1960-) DYSON ‘ART FOR HOUSEWIFES’ JAR AND COVER, CIRCA 2006

artist’s mark (to base), decorated with applied coloured slips and worked in sgrafitto

38cm high (15in high)

There were five stand-alone pots in the Dyson range made between 2006 and 2010, this being number two. The last one of the series ‘Domestic Bliss’ is in the permanent collection of Plymouth Art Gallery and Museum.

£800-1,200

264

LOUISE NUMINA (AUSTRALIAN 1976-) THE WILD BUSH ONION DREAMING

inscribed and titled (to reverse), acrylic on canvas

95cm x 102cm (37 3/8in x 40in)

This work is accompanied by a Certificate of Authenticity issued by Readback Art Gallery.

£400-600

265 §

MICHAEL WALKER (BRITISH 1964-) NUMBER FIVE, 2019

acrylic on canvas

155cm x 125cm (61in x 49 1/4in)

Michel Walker exhibited twelve related Energy paintings in a solo exhibition in the University of Chichester, where he was teaching.

£400-600

JIM PARTRIDGE & ANN SUTTON

Ann and I first met in 1977 when she was setting up the furniture-making school at Parnham House with John Makepeace, I was in their first intake of students.

Move forward a few years and Ann was divorced from John, and about to move into the old (and derelict) Co-op shop in Arundel.  I had a studio in Wiltshire, and as well as trying to make a living, was looking for a way to make a new kind of furniture that was not ‘fine cabinet making’ but something with a bit more ‘Attitude’.

Studio Ceramics and the ‘non-precious’ jewellery movement of the time showed me a possible new way forward. In different ways Ann and I were both moving on parallel trajectories.

The two-seat plank bench, and the warped stool (both included in this sale) were, I thought, the first successful examples of my finding a new language for woodworking. Their surface texture comes straight from the saw milling; the shapes comes from the boards warping as they seasoned; the surfaces were scorched and polished black. They were among the first pieces of furniture that I had finished with this treatment. I had exhibited this work before, but Ann was the first to buy it, to understand, trust and encourage the qualities I was hoping to achieve, and to commission moremy first footbridge - some of the first bleached vessels - and white painted pieces.

Of course all this is an afterthought. At that time, at the start of my career, it was just brilliant to be paid to collaborate with such an inspirational and clear-sighted friend and patron.

Jim Partridge, 2023

Ann Sutton met Jim Partridge in the seventies when he became one of the first cohort of students in the School for Craftsmen in Wood, set up her then-husband John Makepeace, at Parnham House, Dorset. As Partridge picked his way through the course, Sutton found that they shared an inclination towards solving problems by taking the concept back to basics and rethinking. In her words, they were ‘cutting out the mumbo-jumbo which our chosen materials had accumulated through the centuries, and re-thinking a solution for purpose which was fresh and simple.’

Later, when Sutton had left Parnham and was working in a derelict, but sound, former Co-op shop, Partridge called to see how she was getting on. She had been camping in the studio for two years. He asked her when she was going to progress with building works on the property, and following her list all that is required for such a large job. Sutton recalls his reply, “Why don’t I do it?” he asked.

“Because you are a furniture maker”, she replied. “I need...”

“If you do all the stuff like finding a good electrician, plumber, and order the skips, I’ll start by taking it back to its bricks…”. It was decided, and the duo began their project.

There were no drawings undertaken during the renovation; just a shared response to spaces and surfaces, and a shared dislike of ‘wood worship’, with a liking for the simplest effective solution to problems of all sizes. They differed on only a few points; Sutton wanted a shelf on the wall over the cooker; Partridge did not. Blackened river reeds were taken out of ceiling spaces, electricity was installed for the first time in the building’s life, and walls were taken back to

the original chalk blocks. The work was filthy and rewarding. Barriers were put up by a worried District Council who warned them, ‘You can’t use that space as a bedroom. In case of fire your only access would be through the kitchen. Build a 3-foot-wide fireproof corridor around the edge of the kitchen.’ The pair preferred to build a bridge across the back yard, linking the bedroom with a roof garden off the main staircase, bypassing the kitchen altogether. And so the first Jim Partridge oak bridge was built.

Furniture was necessary. ‘The most expensive part of furniture is the joints’ Partridge said, knowing Sutton’s budget. So they sat down and brain-stormed furniture joints and their purpose. They agreed that some of the best inexpensive furniture was made by students, who used an admirable system of bricks and planks to hold their books. So Sutton’s bookcase was born, which was not only possible for her to move single-handed, but which could be re-purposed, and could be not only stabilised by splodges of Blue-Tac, but also strengthened as the weight of books increased. Sutton recalls Partridge’s wise warning, ‘You might need to buy some new Blue-Tac if you move it’. Planks of oak, and ‘bricks’ of pine, were screwed together making stable units, and scorched to harden the surfaces.

The same system was used in the living room to form supports for the TV and the ever-growing collection of Partridge bowls, but the finish on the oak was now a diluted white household paint. Everything was both economically and structurally sound. ‘Coffee tables should welcome people putting their feet up on them’, Partridge said to her. When the flat was completed, the duo of artists continued to meet to discuss their shared approach to ideas, and at one point Sutton made a solution to soften the seating surface of an oak bench in which padding and upholstery were in one simply-made piece.

JIM PARTRIDGE (BRITISH 1953-) AND NICK BODIMEADE (BRITISH 1957-) DINING TABLE, 1983

signed by both (to underneath of table top), painted plywood 74cm high, 172cm long, 86cm deep (29 1/8in high, 67 5/8in long, 33 7/8in deep)

Literature

Jim

October

Made about 1984 when everybody else had scrubbed pine tables, neither Jim Partridge nor Ann Sutton cared for large areas of woody grain so thought of a paint surface instead. They therefore thought to ask a favoured artist to use the table, including the legs, as a three-dimensional canvas and it was delivered straight to the artist Nick Bodimeade. After 6 months, Ann Sutton got in touch with him to check on progress, and he proclaimed, “Oh I’ll stop now. I’m on my fourth painting, I’m enjoying working on it so much. The previous one was yellows and blues. This one is orange and greens …”

Partridge: Woodworker, Crafts Council Gallery, 2 August – 8

1989, p. 8 (illustrated). This lot was made by Jim Partridge and painted by Nick Bodimeade £2,000-3,000

267 §

JIM PARTRIDGE (BRITISH 1953-) CUPBOARD, 1983

painted pine, interior painted in blue by Bernard Forrester, with a plate rack set into the inner right hand cupboard

107.5cm high, 104cm wide, 31.5cm deep (42 3/8in high, 41in wide, 12 3/8in deep)

There is intentionally no base to the lower half of the right hand side cupboard as this is where the plate rack hangs which would have hung over the sink.

£800-1,200

268 §

JIM PARTRIDGE (BRITISH 1953-) STOOL, 1984

stamped J B PARTRIDGE, scorched oak 25cm high, 24.5cm diameter (9 3/4in high, 9 1/2in diameter)

Literature

Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 21 (illustrated).

£1,000-1,500

269 §

JIM PARTRIDGE (BRITISH 1953-)

EGG RACK, 1986

scorched oak

9cm high, 19cm long, 15cm deep (3 1/2in high, 7 1/2in long, 5 7/8in deep)

Literature

Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 9 (illustrated).

A small quantity of these egg racks were made for Contemporary Applied Arts in London for their Christmas exhibition in 1986.

£600-1,000

270 §

JIM PARTRIDGE (BRITISH 1953-)

EGG CUP, CIRCA 1984

scorched oak

8cm high, 16.5cm long, 13cm deep (3 1/8in high, 6 1/2in long, 5 1/8in deep)

£300-500

JIM PARTRIDGE (BRITISH

TOAST RACK, CIRCA 1984

scorched oak

10cm high, 25cm long, 15cm deep (4in high, 9 7/8in long, 5 7/8in deep)

£600-1,000

271 §

1953-)

272 §

JIM PARTRIDGE (BRITISH 1953-) BOWL

stamped J B PARTRIDGE, scorched oak

8cm high (3 1/8in high)

£300-500

273 §

JIM PARTRIDGE (BRITISH 1953-) BOWL

stamped J B PARTRIDGE, scorched oak

7cm high, 21cm diameter (2 3/4in high, 8 1/4in diameter)

£500-700

274 §

JIM PARTRIDGE (BRITISH 1953-)

BOWL, 1986

stamped J B PARTRIDGE, scorched oak

11cm high, 21cm diameter (4 1/4in high, 8 1/4in diameter)

Literature

Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 11 (illustrated).

£600-800

scorched oak

7cm high, 27cm wide (2 3/4in high, 10 5/8in wide)

£700-900

VASE

stamped J B PARTRIDGE, scorched oak and glass

17cm high (6 3/4in high)

£800-1,200

BOWL

stamped J B PARTRIDGE, scorched and painted oak

9.5cm high, 38cm wide (3 3/4in high, 15in wide)

£800-1,200

277 §

JIM PARTRIDGE (BRITISH 1953-)

276 §

JIM PARTRIDGE (BRITISH 1953-)

SHALLOW BOWL

275 §

JIM PARTRIDGE (BRITISH 1953-)

278 §

JIM PARTRIDGE (BRITISH 1953-)

BOWL scorched oak

10cm high, 19cm diameter (4in high, 7 1/2in diameter)

£600-800

279 §

JIM PARTRIDGE (BRITISH 1953-)

SIX BOWLS

in burr elm, 6cm high (2 3/8in high); burr oak, finished with liming wax, stamped J B PARTRIDGE, 10.5cm high (4 1/8in high); burr oak, finished with liming wax, stamped J B PARTRIDGE, 11cm high (4 1/4in high); burr oak, finished with liming wax, stamped J B PARTRIDGE, 9cm high (3 1/2in high); holly, painted with yellow acrylic ink to the inside, signed in pen J B PARTRIDGE, 6.5cm high (2 1/2in high) and holly, initialled and dated JBP ‘06 in pen, 5.5cm high (2 1/8in high) (6)

The small darker bowl amongst this group was a gift from Partridge to Ann Sutton and it was the very first bowl that he made. When she asked him if it had a function, because it had holes in it, he said ‘it is for very lumpy porridge’.

£1,200-1,800

280 §

JIM PARTRIDGE (BRITISH 1953-)

BOWL stamped J B PARTRIDGE, scorched oak

10.5cm high, 27cm wide (4 1/8in high, 10 5/8in wide)

£800-1,200

281 §

JIM PARTRIDGE (BRITISH 1953-)

READING DESK

whitened oak

73cm high, 126cm wide, 39.5cm deep (28 3/4in high, 49 1/2in wide, 15 1/2in deep)

£1,500-2,000

282 §

JIM PARTRIDGE (BRITISH 1953-)

SHELF UNIT

whitened oak

182cm long, 29.5cm deep, 44cm high (71 1/2in long, 11 1/2in deep, 17 1/2in high)

£800-1,200

283 §

JIM PARTRIDGE (BRITISH 1953-)

SHELF UNIT

whitened oak

208cm long, 44cm deep, 44cm high (81

3/4in long, 17 1/4in deep, 17 1/4in high)

£800-1,200

JIM PARTRIDGE (BRITISH 1953-)

COFFEE TABLE

whitened oak,

167cm long, 38cm wide, 37cm high (65 3/4in long, 15in wide, 14 1/2in high)

£700-900

285 §

JIM PARTRIDGE (BRITISH 1953-)

BOOKCASE, 1987

scorched oak and pine

267cm long, 192cm high, 33cm deep (105in long, 75 1/2in high, 13in deep)

Literature

Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 22 (illustrated).

£3,000-5,000

284 §

with cube supports from the John Makepeace Workshop

286 §

JIM PARTRIDGE (BRITISH 1953-)

DOUBLE SEAT, 1984

scorched oak

121cm high, 114cm wide, 45cm deep (47 1/2in high, 44 3/4in wide, 17 3/4in deep)

Literature

Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 22, illustrated. £3,000-5,000

Image from Jim Partridge: Woodworker, Crafts Council 1989, photograph by David Cripps

287 §

RICHARD ALLEN (BRITISH 1933-1999)

IRONCROSS I, II AND III, 1979

A/P, each signed, dated, titled and inscribed in pencil (in the margin), screenprint (3)

76cm x 64cm (30in x 25in)

Provenance

Gifted by Richard Allen to Ann Sutton. £600-800

288 §

JEFFREY STEELE (BRITISH 1931-2021)

NEBULA trial proof for use as Visual Score or for Transposition I, signed, titled and inscribed in pencil (in the margin), screenprint

78cm x 58cm (30 3/4in x 22 3/4in)

£200-300

As Ann Sutton herself noted in 2021, she pushes the boundaries of what can be ‘woven’ with endless experimentation and how the necessary geometry of warp and weft can become the starting point for a wider enquiry into systems, pattern, order, balance and harmony.   She explains:

My work often starts with the material and its properties. Once we have played, and are in tune, the material will provide parameters: instructions to the user. Bells ring.

There is hardly ever a finished image in mind. That arrives via a merge of material qualities / related numbers. It is always a surprise, and comes from health / honesty. Never in an attempt for ‘beauty’. Techniques rarely have names, because I am inventing the way of working to work with the chosen material. I invent them to suit the material.

However, I am deeply committed to the structure of weaving and to enlarging its possibilities. Some weaves are possible only with handwork. Others are possible only with the help of a computer connected to a digital loom. But warp and weft are constant, and usually at right angles to each another.

Where I use colour it is not in any aesthetic way, but as a locator and to differentiate. Sometimes the results are aesthetically interesting, even pleasing, and that may come through healthy relationships of material and concept. If it does then that is a bonus, but it is never an aim.

Areas, spaces, colour: all depends on comparison / identity. I am always searching for new structures and materials. The narrative is in the making. Nothing is accidental or aesthetic.

WORKS BY ANN SUTTON Above Lot 291 [detail]

289

ANN SUTTON (BRITISH 1935-) TAKING PLACE –BLACK black and white threads, and integral frame

27cm x 27cm (10 5/8in x 10 5/8in)

£600-800

290

ANN SUTTON (BRITISH 1935-) TAKING PLACE –COLOUR coloured and white threads, and integral frame

27cm x 27cm (10 5/8in x 10 5/8in)

£600-800

291

ANN SUTTON (BRITISH 1935-) DOUBLE KNOTS COLOUR I, 2020 signed, titled and dated in pencil (to reverse), coloured threads

40.5cm x 46cm (15 7/8in x 18 1/8in)

£1,500-2,500

292

MINNIE PWERLE (AUSTRALIAN 1915-2006)

BUSH MELON, 2005

signed, dated, inscribed and numbered AD0178-0905MP (to reverse), acrylic on canvas

200cm x 122cm (78 3/4in x 48in)

This lot is sold together with a facsimile Certificate of Authenticity from Aboriginal Dreamtime Fine Art Gallery, Sydney, 2005.

£5,000-7,000

Diane Thubron is the daughter of Harry Thubron, who was described as the finest art educator of the 20th century, part founder of the Basic Design Course which changed most of the Fine Art schools in UK. College principals flocked to his short courses as students to discover his revolutionary methods. Ann Sutton met Diane Thubron when she was assisting her father at Barry Summer School. The pair became close friends, and for several years Sutton was invited to their mill house in Leeds for the holidays. Thubron was the oldest of four children, and Sutton reminisces on these times spent together as a family, “it was touching to see the Christmas tradition of Harry and the two youngest girls shutting themselves away in a room on Christmas Eve, and emerging several hours later with a magnificently decorated cake.”

293 §

DIANE THUBRON (BRITISH 20TH CENTURY) NECKLACE AND TWO BRACELETS

white metal (3)

inner width of neckpiece

15.5cm (6 1/8in)

£800-1,200

Thubron and Sutton found that they were hopeless at selling their own work, but could sell the work of the other with ease. So Sutton sold Thubron’s ground breaking silver jewellery, and Thubron sold the mohair stoles which Sutton was making at that time as a way of discovering the colour forms which occurred when the weft was tied in a resist and then dyed.

Sutton describes the power of Thubron’s work, “Diane was a ground-breaker in her use of scrap silver. She assembled bits of silver chain, tube, bar, into dynamic combinations and new forms of bracelet structure which re-used silver watch chains as a base. We rewarded each other for our sales skills in kind, and I was thrilled to wear these genius pieces of salvage.”

294 §

GUNILLA TREEN (BRITISH 1949-)

THREE BROOCHES, 1973

each initialled and dated (to reverse), acrylic, mother of pearl, lapis lazuli, malachite and white metal (3)

5.7cm wide, 8.8cm wide and 7.3cm wide (2 1/4in wide, 3 1/2in wide and 2 7/8in wide)

Provenance

Exchanged with Ann Sutton in return for Ann’s knitted jacket.

Exhibited

Craft Advisory Committee Touring Exhibition, Sutton / Treen: Contemporary Textiles and Jewellery, 1974-1975; Arnolfini, Bristol, The Jewellery of Gunilla Treen: A Ten Year View, 1980.

£300-500

295 §

JIM PARTRIDGE (BRITISH 1953-) BROOCH AND BANGLE, 1981

brooch scorched oak and bangle in holly (2)

the brooch 6cm wide (2 3/8in wide); the bangle 8.7cm wide (3 3/8in wide)

Provenance

Gifted by Jim Partridge to Ann Sutton.

Literature

The bangle in Jim Partridge: Woodworker, Crafts Council Gallery, 2 August – 8 October 1989, p. 10 (illustrated).

£200-300

296 §

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

THREE BRACELETS AND A RING steel yarn, fibre and wool (4)

the bracelets approximately 10cm wide (4in wide)

Provenance

Gifted by Peter Collingwood to Ann Sutton. Ann Sutton gave Collingwood some newly invented steel yarn from Japanese designer Junichi Arai. Collingwood subsequently used the same yarn a a huge hanging in Arai’s home town of Kiryu, Japan.

£300-500

295 296

Gunilla Treen graduated from the Central School of Art & Design, London, in 1971, and was noted as one of the few innovatory jewellery designers of the decade in her use of new materials, forms and colour.

This set of three brooches was an important work by Treen, and was designed to be worn as a group. It shows Treen’s signature triple layered acrylic sheets, with a clear centre holding mobile shapes in various semi-precious materials such as lapis lazuli and malachite. She was one of the pioneer artist jewellers to experiment with plastic, and this work in the early 1970s excited many in the field but upset the traditionalists. It allowed a spontaneity and use of colour, and allowed the jeweller to break away from notions of elitism and wealth from use of precious meatls.

In the 1960s and 70s, it was normal for artists to exchange works. There was a dearth of informed collectors, and so to swap work was a very pleasant way of ensuring that works, which are now seen to be of museum quality, stayed in good hands. Sutton recalls one particular swap with Treen, ‘The set of brooches, cut from perspex in three layers, kaleidoscope fashion, small shapes of lapis lazuli, malachite and jade, was a masterpiece. The set was designed to be worn together, and I loved it for the way in which it moved and changed according to the way it was pinned on. I had just been exploring machine knitting, and had made a jacket which suited Gunilla well. We swapped.” The exhibition, which included brooches but not the jacket, was shown at the Arnolfini Gallery in Bristol in 1980.

297 §

ENID MARX (BRITISH 1902-1998)

ANIMAL ALPHABET, CIRCA 1984 from an edition of six, some initialled and 22 numbered in crayon, linocut (26) sheet ‘A’ 12cm x 18.5cm (4 3/4in x 7 1/4in)

Provenance

Gifted by Enid Marx to Ann Sutton.

Enid Marx completed her ABC alphabet of 27 prints in 1979, and they were occasionally included in exhibitions of her work. However, they were not re-produced in print until a special limited edition was produced by Graham Moss of Incline Press in 2000, after Marx’s death in 1998. This set, one of the original 1979 editions, is as Graham Moss says ‘imbued with the joy and sense of fun that is so typical of her work’.

£800-1,200

298 §

BERNARD FORRESTER (BRITISH 1908-1990)

WALL CONSTRUCTION, 1985 painted wood

22.5cm x 28cm x 5.5cm (8 3/4in x 11in x 2in)

£300-500

299 §

DAN ARBEID (BRITISH 1928-2010)

STANDING FORM (PRICK POT), 1964

stoneware

37cm high (14 1/2in high)

Provenance

Gifted by Dan Arbeid to Ann Sutton.

Exhibited

Sainsbury Centre for the Visual Arts, Norwich, Pleasures of Peace: Mid-Century Craft and Art in Britain, touring to Brighton Museum and Art Gallery and Aberdeen Art Gallery, 1999. This piece was made during the Glamorgan (Barry) Summer School, where Dan Arbeid and Ann Sutton taught in adjacent studios.

£300-500

300 §

ANTHONY HEPBURN (BRITISH 1942-2015)

SLAB BUILT BOX WITH STRIPES, 1960S

stripes in red and yellow, and white glaze

28cm high, 31cm across, 31cm deep (11in high, 12.25in across, 12.25in deep)

Provenance

Gifted by Anthony Hepburn to Ann Sutton.

Having trained at Camberwell School of Art, where he was taught by Lucie Rie, Hans Coper and Bryan Newman, Hepburn was also deeply influenced by the American movement in ceramics. His work can be compared with the 1960s West Coast movement known as Funk, even though Hepburn did not use the ‘bawdy locker-room’ images, such as tea pots with penis spouts for example - as those used by Robert Arneson. His work was dominated by slab built boxes, and plinths supporting simularcra telephones, a toaster and milk bottles. For Ann Sutton, Hepburn was ‘the first exciting craft ceramics of our time’, the embodiment of a new movement and spirit of young artists in the crafts movement of the late 1960s. He exhibited a gallery of slab built boxes and slip-casts multiples at the Crafts Centre in 1969, where this current rare example probably originated.

£600-900

301 §

TADEK BEUTLICH (POLISH 1922-2011)

RAINBOW, CIRCA 1978

acetate and linen

64cm x 32cm (25in x 12 1/2in)

Provenance

Purchased by Ann Sutton from Duff Gallery,

£500-700

This rare piece comes from the period in the late 1960s when Beutlich was living and working in Ditchling, Sussex. Here he had a large studio space and it was a very creative time for Beutlich at the point where he started to significantly move away from classical rules. He created avant-garde open weave hangings of various styles and scale, experimenting with materials such as acetate, horse hair, burnt wood, jute and x-ray film. Beutlich’s work was becoming highly sought after and he was gaining international recognition for his work, exhibiting in the Lausanne Biennale of Tapestries in 1967 and 1969 and at the same time, in 1967, his seminal book The Technique of Woven Tapestry was published. We would like to thank Emma Mason for her assistance in cataloguing the current work.

Arundel, 1981.

WOVEN COLOURS: MARY FARMER

Mary Farmer studied Fine Art at Beckenham School of Art (1958-1961) followed by a prestigious Digswell Arts Fellowship (1964). This was the visionary arts residency programme established by Henry Morris in 1957 and whose other early residents or ‘fellows’ included Michael Andrews, Peter Collingwood and Hans Coper. Mary established her first studio in Guildford developing her ideas in both gouache and tapestry with the latter attracting early interest. The V&A Museum’s Circulation Department made an important acquisition of a monochrome rug and works were included in the significant US touring show of British design organised with the Smithsonian (1969-1971). Mary began teaching at Farnham Art School and further major awards from South East Arts (1979) and the Crafts Council (1980) cemented her position as a leading figure in innovative contemporary tapestry. In 1981 she and her husband, potter Terry Moores, acquired a wonderful early nineteenth century wharf side building in Boston, Lincolnshire, which they converted into studios and living accommodation, and which remained her creative base throughout her life. In 1983 she joined the Textile Department at the Royal College of Art, London as a tapestry tutor going on to establish and develop a newly independent Tapestry Course within the Fine Art Painting School until its closure in 1997. Her mastery of colour and inventive use of the language of abstraction in weave led to a growing number of invitations to exhibit both nationally and internationally with works acquired by the Government Art Collection; Sainsbury Centre; Crafts Council and HRH The Duke of Edinburgh. Important public commissions and acquisitions included British Oxygen Company; Channel 4 Television and Lambeth Palace. Her active career came to an end in the late 1990s following injury and illness which made it impossible for her to work.

A modest memorial exhibition of extant material from her archive and studio is being organised in collaboration with her family this autumn in London, details of dates and venue to be confirmed - please email Philip Smith to be sent details.

Ann Sutton’s acquisition of ‘Float One’ in 1983 coincided with another show organised by Ann herself for the John Hansard Gallery also in Southampton entitled ‘Attitudes to Tapestry’. Ann says about this work from her collection:

‘I knew Mary and was deeply interested in her work before I went to her exhibition Woven Colours at Southampton City Art Gallery in 1983, where I fell in love with, and purchased, her red/blue masterpiece ‘Float 1’.

The thrusting red form angling into the blue ground beneath is breath-taking in its power and simplicity. The colour-depth of dyed wool, as opposed to paint, intensifies the image.

Mary Farmer was a master of imagery and her chosen technique, tapestry weaving. The apparent simplicity of her images was probably responsible for her re-think of the traditional technique. She chose to weave on a traditional shaft loom, used usually for weaving cloth. This way she was able to insert different colours, linking them in the traditional tapestry way but ensuring perfect surfaces and clean juxtapositions.’

Mary went to considerable lengths to source fine wool (often from Sweden) and would dye wool herself if she could not find the exact tone or colour she needed for the work. She commented in interview:

‘Colour is to me the single most powerful and emotive visual sensation. I use wool for its incomparable intensity and saturation of colour; tapestry for its richness and for the personal control possible over its construction and substance.’

Her work is included in several significant catalogues and publications including:

The Maker’s Eye (Crafts Council, 1981)

Mary Farmer was one of 14 leading designers invited by the then (highly influential) Head of Exhibitions at the Crafts Council, Ralph Turner, to select objects that defined their personal experience and interests at the time. It proved a significant show which helped launch many careers and consolidate others.

British Craft Textiles (Collins, 1985) organised and edited by Ann Sutton. This is a very comprehensive review of textiles in UK in the period.

Tapestry by Barty Phillips (Phaidon, 1994)

Amanda Game, 2023

302 §

MARY FARMER (BRITISH 1940-2021)

FLOAT 1, 1982/3

signed

82cm

Provenance

Purchased

£2,000-3,000 Right

(to label), tapestry wool / worsted weft on cotton warp

high x 83cm wide (32 1/4in high x 32 1/2in wide)

from Woven Colours Exhibition at Southampton City Art Gallery, 1983. This lot is sold together with a postcard from Mary Farmer to Ann Sutton featuring the current work from the Southampton exhibition in 1983.

Lot 268

Lot 279 [detail]

A PROCESS OF DISCOVERY: THE GROWING SIGNIFICANCE OF CONTEMPORARY CRAFT

In Tanya Harrod’s recent article for Apollo (March 2023), exploring the relationship between the crafts and fine art over the last 100 years, she notes that although greater prominence of craft is to be welcomed, and boundaries between mediums such as painting and sculpture over jewellery, textiles and ceramics are now being properly challenged, it is important that the ‘complex series of local histories of craft and design’ are not erased whilst they are placed within the history of the wider and fashionable history of the art world.

This process of discovery continues, and we are proud to continue to promote and celebrate the historic and contemporary craft art sector, in an art market that has largely under-emphasised its significance. We aim to celebrate the sector’s innovative nature within its local, national and international histories. Of particular importance in 2023 is the celebration of 75 years of the CAA (Contemporary Applied Arts), formerly the Crafts Council of Great Britain. Over its illustrious history it has held many significant exhibitions of work by artists as diverse as Peter Collingwood, Gerda Flockinger and Gordon Baldwin. It has also supported makers throughout in times of boom and bust.

It is encouraging to see the movement’s growing importance recognised by a younger audience keen to invest in physical disciplines, the artists and their stories. In a world often revolving around the impersonal, craft objects have become a conduit for the imagination in our homes. Recently, there has been a growing transformation of outlook concerned with the importance placed on the integrity of material and ideas.

The following collection of works, sourced both nationally and internationally, is intended to promote and celebrate the multi-faceted nature of artists and makers over a variety of mediums. Works included within this edition include pieces by gifted makers coming out of British art schools in the 1970s, such as Magdalene Odundo, Janice Tchalenko and the furniture maker Fred Baier, and more senior figures such as Gordon Baldwin, David Pye, Mary Farmer, Ann Sutton and Peter Collingwood. Significant collections by jewellery artist Wendy Ramshaw, woodworker Jim Partridge and the multi-faceted Breon O’Casey also take centre stage, as well as contemporary highlights by Junko Mori, Ndidi Ekubia and Akiko Hirai, to name but a few.

We look forward to continuing to support this field going forward and to be part of its upward trajectory.

In practice the designer hopes the workmanship will be good, but the workman decides whether it shall be good or not.

On the workman’s decision depends a great part of the quality of our environment.

David Pye

303 §

DAVID PYE (BRITISH 1914-1993)

SET OF THREE BOXES

each with maker’s mark (to base), the kingwood example with label 132, cherry, boxwood, and kingwood respectively

The tallest 6cm high (2 3/8in high)

Provenance Private Collection, USA.

£1,000-1,500

304 § DAVID PYE (BRITISH 1914-1993)

DOUBLE BOWL

stamped D W PYE 368 and inscribed 368 (to base), kingwood 36cm diameter, 10cm high (14 1/4in diameter, 4in high)

Provenance

Private Collection, USA.

£1,000-1,500

305 § DAVID PYE (BRITISH 1914-1993)

SET OF THREE BOXES

each with maker’s mark (to base), the two kingwood examples with label numbered 131 and 134 (to base), two boxes in kingwood and one in English walnut

The tallest 6.5cm high (2 1/2in high)

Provenance Private Collection, USA. £1,000-1,500

306 §

PHILIP EGLIN (BRITISH 1959-) TEA BOWL signed, earthenware

8.5cm high (3 1/4in high)

Provenance Private Collection, UK. £400-600

From far left:

309

YOSHIKAWA MASAMICHI (JAPANESE 1946-)

KAYHO, 2021

signed (to the box), porcelain with celadon glaze, in original fitted wooden box 21.5cm high, 26cm wide, 15cm deep (8 1/2in high, 10 1/4in wide, 5 7/8in deep)

£1,000-2,000

307 §

BODIL MANZ (DANISH 1943-) VESSEL

signed and dated (to base), porcelain, 16 sided with geometric blocks in black

8.5cm high, 17cm wide (3 3/8in high, 6 5/8in wide)

Provenance

Galerie Besson, London; The Fine Art Society, London; Andrew McIntosh Patrick; Private Collection, London.

Exhibited

Galerie Besson, London, Bodil Manz - Transparent Porcelain, October - November 1998, cat. no. 9.

Literature

Nest: A Quarterly of Interiors, Spring 2002, n.p., illustrated in Andrew McIntosh Patrick’s home at 34 Craven Street near Trafalgar Square, London. £1,200-1,800

308 §

TAKESHI YASUDA (JAPANESE 1943-)

BOWL

porcelain

37cm diameter (14 1/2in diameter)

Provenance

Private Collection, London. £700-900

310 §

JUNKO MORI (JAPANESE 1974-)

PROPAGATION PROJECT SUPER PINECONE, 2006

forged steel coated with black wax

40.5cm high, 36.2cm wide (16in high, 14 1/4in wide)

Provenance

Private Collection, Palm Beach, Florida 2006-2015; Private Collection, UK.

£4,000-6,000

AKIKO HIRAI (JAPANESE 1970-)

SMALL MOON JAR

painted artist’s mark, stoneware with porcelain deposits

22cm high (8 5/8in high)

£1,500-2,000

THREE SAKE CUPS

each with painted artist’s mark, stoneware with porcelain deposits

The tallest 5.2cm high (2in high)

£400-600

SAKE BOTTLE

painted artist’s mark, stoneware with porcelain deposits

15.5cm high (6 1/8in high)

£500-700

311 §

312 § AKIKO HIRAI (JAPANESE 1970-)

313 §

AKIKO HIRAI (JAPANESE 1970-)

painted artist’s mark (to base), stoneware with porcelain deposits 24.5cm high (9 /12in high)

Provenance Private Collection, UK.

£2,500-3,500

314 §

AKIKO HIRAI (JAPANESE 1970-) MOON JAR

315 §

RACHEL WOODMAN (BRITISH 1957-)

THREE VASES, 1999

each signed, dated and inscribed N. W. / Frome, hand blown glass 55cm high (21 5/8in high), 53.5cm (21in high), 45.5cm (17 7/8in high)

Provenance

Victoria Art Gallery, Bath, 2007; Private Collection, UK.

£600-800

316 §

PETER BREMERS (DUTCH 1957-)

‘GRAAL’ VASE, 2001

signed, dated, and inscribed N. W / Graal / M07, hand-blown glass

39.5cm high, 38cm wide (15 1/2in high, 15in wide)

Provenance

Acquired by the present owner from the artist whilst at Neil Wilkins workshop in Frome, 2001; Private Collection, UK.

£400-600

For me nature is an endless source of inspiration. We are fortunate to live in a wonderful landscape. There are mountains, lakes rivers on our doorstep and areas of wild moorland nearby to delight the eye and nourish the soul. Although we do not have many trees near us the deepening shades of reds and yellows in the moor-land grasses bring their own visual delight. To walk about in such a landscape is to come back recharged with new ideas and renewed energy for creative work. Over a period of time living here I have also developed a strong sense of belonging in the world and this, I feel, is somehow reflected in my work.

Joe Hogan

318 §

BRYAN ILLSLEY (BRITISH 1937-)

MIRROR, 1986

signed and dated (to reverse), painted wood

74cm x 76cm (29 1/8in x 30in)

Provenance

Private Collection, Scotland. £400-600

319 §

EDWARD TEASDALE (BRITISH 1945-)

LARGE BOX / CHEST, CIRCA 2000

found wood and lime

120cm long, 66cm high, 52cm deep (47 1/4in long, 26in high, 20 1/2in deep)

£800-1,200

320 §

FRED

BAIER (BRITISH 1949-)

BUTLER’S TRAY, 1988

stained and lacquered sycamore

76cm high, 60cm wide, 68cm deep (30in high, 23 1/2in wide, 26 3/4in deep)

Provenance Private Collection, London.

Exhibited

Sotheby’s, Decorative Arts Award Exhibition, 1988.

Literature

Houston, John. Fred Baier, Furniture in Studio. Kent: Bellew Publishing, 1990, p. 46, illustrated. £800-1,200

SIDSEL DORPH-JENSEN (DANISH CONTEMPORARY)

THREE VESSELS, 2004-6

each stamped 958, hallmarked for London, hammered silver (3) 26cm high (10 1/4in high), 12cm high (4 3/4in high), 10cm high (4in high)

Provenance

Purchased by the present owner circa 2006-08; Private Collection, UK.

£1,000-1,500

323

LUCIEN TAYLOR

VASE, 2005

stamped 925 and DO12 hallmarked for London, silver 23cm high, 17.5cm wide (9in high, 6 7/8in wide)

Provenance

Contemporary Applied Arts, London, 2007; Private Collection, UK.

£500-700

321 §

ADRIAN HOPE (BRITISH 1953-)

SAUCE BOAT, 2001

stamped 925, hallmarked for Edinburgh, hammered silver 14.5cm high, 24cm wide (5 3/4in high, 10in wide)

Provenance

Acquired from the artist 1997; Private Collection, UK.

£300-500

324 §

NDIDI EKUBIA (BRITISH 1973-)

VESSEL, 2004

stamped 925, hallmarked for London, hammered silver 15cm high, 26.7cm wide (6in high, 10 1/2in wide)

Provenance

Purchased from the artist, 2005; Private Collection, UK.

£1,000-2,000

The material has a natural chaos, which I am trying to order

Ndidi Ekubia

AKIKO HIRAI (JAPANESE 1970-)

FIVE ‘MORANDI’ BOTTLES

four incised with artist’s initials, stoneware

the tallest 33cm high (13in high)

£1,000-1,500

325 §

OLIVIA WALKER (BRITISH 1985-)

TALL COLLAPSED BOWL

impressed artist’s mark, porcelain

25cm high, 23cm wide (9 7/8in high, 9in wide)

Provenance

Private Collection, London.

£600-900

MARIANNE BUUS (DANISH 1967-)

VASE

signed (to base), blown and cut glass 34cm high (13 3/8in high)

Provenance

Purchased directly from the artist in 2005; Private Collection, UK.

£400-600

327 §

326 §

328 §

AKIKO

MOON JAR

stoneware with porcelain deposits

40cm high (15 3/4in high)

Provenance Private Collection, London.

£6,000-8,000

HIRAI (JAPANESE 1970-)

330 §

AKIKO HIRAI (JAPANESE 1970-)

PAIR OF POPPY VESSELS

each with painted artist’s mark, stoneware, dry white slip with cracked surface; together with a faceted vase, stoneware, dry white slip with cracked surface (3)

The tallest 14cm high (5 1/2in high)

£1,000-1,500

331

JEFF BELL (BRITISH CONTEMPORARY)

FOOTED BOWL, 1993

signed, inscribed and dated TO MY MATE GRAS SLANT/ JEFF BELL 93 (to base), cast glass 18cm high, 48cm diameter (7in high, 18 7/8in diameter)

£300-500

329 §

AKIKO HIRAI (JAPANESE 1970-)

THREE TEA BOWLS

each with painted artist’s mark, stoneware with glazed rim

The tallest 9.5cm high (3 3/4in high)

£500-700

artist’s monogram (to base), in midnight blue and burnt orange, porcelain

17.5cm high, 19.8cm diameter (7in high, 7 3/4in diameter)

Provenance

Private Collection, UK.

£1,500-2,000

signed, titled, and dated (to base), porcelain

32cm high (12 1/2in high)

Provenance

Private Collection, UK.

£800-1,200

333 PIPPIN DRYSDALE (AUSTRALIAN 1943-) ‘KIMBERLEY’ SERIES VESSEL

332 § GRAINNE WATTS (IRISH 1960-) ‘VORTEX’ VESSEL

This sculpture is made from sterling silver with oxidized detail, using the ancient technique of chasing and repoussé. Each feather is individually hammered, pierced and riveted, so that they can open and close forming a lid for the glass bowl. This movement replicates a Hoopoe as it fans it’s wings, basking in the sun. This sculpture was inspired by both the magical and the real Hoopoe bird. This eye catching bird with is iconic crest and stunning black and white markings is found in many world myths. It is often seen as a messenger between Man and God.

BRYONY KNOX (BRITISH 1972-) HOOPOE SUN WORSHIPPER, 2017 the silver stamped 925 and hallmarked for Edinburgh, the glass engraved

glazed ceramic (3)

19cm high, 26cm wide (7 1/2in high, 10 1/4in wide); 23cm high, 28cm wide (9in high, 11in wide); 24cm high, 22cm wide (9 1/2in high, 8 1/2in wide)

Provenance

Messums, Wiltshire, 2020; Private Collection, UK.

£2,500-3,500

A TRUE AVANT-GARDE: WENDY RAMSHAW

Artistically, Wendy was always ahead of her time, a true avant-garde…Her curiosity for new materials, transforming goldsmiths’ techniques into modern forms and [her] never-ending search for novel ideas led to some exceptional and inimitable designs. Wendy is the embodiment of creativity, she leads the way and for me in the 20th century is the innovator of artist jewellery in Britain.

Wendy Ramshaw (1939 - 2018), an international champion of modern jewellery and ceramics, found success and acclaim through her ambitious forward-thinking designs. Exploiting conventional methods, this British jeweller employed a disruptive yet critical approach to her making; a methodology which in turn earnt many accolades throughout her long career. Credited with pioneering the wave of jewellery modernism throughout the late 20th century, Ramshaw exercised a holistic attitude, claiming to ‘work with materials and processes that are available...processes that make it possible to do things’. This intrigue in the beauty of man-made structures resulted in deliberately imperfect works, reflecting the universe and natural world around us. In observing this subject matter of inevitability, Ramshaw was said to often be producing her work ‘on a subconscious level’.

Ramshaw became known most notably for her award-winning jewellery ‘ring sets’, building an unmistakable signature style around geometric shapes appearing both delicate yet strong. Though immensely controlled, it was said to be her imagination which offered the impetus for such designs. Combining decisive blocks of colour within precisely placed lines, the rings in their stacked form offered a radically new concept in the field. In turn this form encouraged consideration of the duality of jewellery, existing as a practical object when on the body, and ‘portable’ sculptural object when mounted on a decorative stand. Having started working solely with silver and gold, her later introduction of semiprecious gemstones reflected elements of constructivism, acknowledging a material’s inevitable natural flaws.

We are delighted to offer this group of works by Ramshaw from the artist’s estate and other private collections in the UK. This collection highlights the breadth of her abilities and the range of mediums she used with a cornucopia of ring sets, hair ornaments made from paper, silver and gold from her iconic Picasso series, and an important and unique glass installation piece made in 2007 for her series A Journey through Glass as a result of her residency at Pilchuck Glass School in Seattle. She noted ‘I work with materials and processes that are available … it’s a holistic, easy approach. I like working with new processes that make it possible to do things.’

Beatriz Chadour-Sampson

SIX PART RING SET, 1998-99

18ct yellow gold, amethyst, blue enamel, silver bands, on a clear acrylic stand, hallmarked for London 1998 & 1999

Ring size: N

Provenance

The Estate of the Artist.

£2,000-3,000

from the Indian Collection, 18ct yellow gold, silver, enamel with gold dust, amethyst, on a clear acrylic stand, the amethyst-set rings hallmarked for London 2001, the silver and enamel ring with import hallmarks for London 1992

Ring size: M

Provenance

The Estate of the Artist.

£700-900

18ct yellow gold, onyx, silver, enamel with gold dust, on a clear acrylic stand, hallmarked for London 1996 & 2003

Ring size: O/P

Provenance

The Estate of the Artist.

£1,200-1,800

339 §

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

THE INVENTOR, FROM THE JOURNEY THROUGH GLASS SERIES, 2007 from The Journey Through Glass Series, blown glass with metal elements tallest element 54cm high

Provenance

The Estate of the Artist.

Literature

Crafts Magazine, November / December 2017, p. 47, illustrated.

This

£4,000-6,000

work was created in 2007 after Ramshaw spent a period at Pilchuck School of Glass, Seattle, USA. National Museum Scotland have an example in their collection from this period.

Ring size: P/Q

Provenance

The Estate of the Artist.

£1,000-1,500

stand with black inlay, not hallmarked

Ring size: P/Q

Provenance

The Estate of the Artist.

£700-900

345 §

WENDY RAMSHAW C.B.E.

R.D.I. (BRITISH 1939-2018)

TWELVE HAIR ORNAMENTS, 1989

silver, yellow metal, paper and gold leaf, from Ornaments for Woman With The Hair Net from the Picasso Series, ten hallmarked for London and stamped 925 (12) the largest 9cm wide Provenance

The artist, where acquired from by the present owner circa 2006. Private Collection, UK.

Literature

Picasso’s Ladies: Jewellery by Wendy Ramshaw, Arnoldsche Art Publishers, 1998, cat. no. 9, seven of the hair ornaments illustrated.

£3,000-5,000

342 §

WENDY RAMSHAW C.B.E.

R.D.I. (BRITISH 1939-2018)

EIGHT PART RING SET, 1975

silver, moonstone, on a clear acrylic stand, hallmarked for London 1975, the plain bands unmarked

Ring size: P

Provenance

Private Collection, Scotland.

£1,000-1,500

343 §

WENDY RAMSHAW C.B.E.

R.D.I. (BRITISH 1939-2018)

FOUR PART GEOMETRIC RING SET, 1994-1995

from Geometric Variation Series, silver, on a clear acrylic stand, hallmarked for London 1994 & 1995

Ring size: O

Provenance

The Scottish Gallery, Edinburgh, 1997;

Private Collection, UK.

£500-700

344 §

WENDY RAMSHAW C.B.E.

R.D.I. (BRITISH 1939-2018)

THREE PART RING SET, 2007

18ct yellow gold, moonstone, on a white delrin stand, hallmarked for London 2007

Ring size: P

Provenance

The Scottish Gallery, Edinburgh; Private Collection, UK.

£1,200-1,800

Ramshaw’s inspiration for the hair ornaments was taken from Picasso’s Woman with the Hair Net lithograph (1949-56) that depicts the young painter, Francoise Gilot, who Picasso met in April 1943. Ramshaw noted ‘Soon after this meeting, her features appear in several drawings. This lithograph was made in 1949 in the same year their daughter, Paloma, was born. The portrait shows a beautiful pale face, large eyes and, to either side of the head, dark loops of hair clearly contained within a hair net’.

In the publication Picasso Ladies it states that 12 works were made, but two of the works illustrated are not in this selection. It is likely that Ramshaw would have made more individual elements than would be required for her to make a final selection or further elements might have had to be made because of damage or further refinement of the composition over time (especially given that the full collection would have been exhibited on three separate occasions in London, New York and Germany). This might account for this anomaly with the work illustrated in the literature.

ANDY GOLDSWORTHY (BRITISH 1956-)

SERIES OF SEVEN WORKS, 1987-94

each inscribed, signed and dated in pencil, 6 c-prints and one work with traces of snow and dirt on paper, comprising:

STONEWOOD SCAUR / ANDY

GOLDSWORTHY / AUTUMN ‘87 and inscribed with poem, 20cm x 26cm (framed 72.5cm x 52.5cm);

Slate, midday / collected locally / left over from roof repairs / lived under by many people / protecting the oak – burnt at its base – limbs sawn off / a partnership / STONEWOOD

SCAUR / ANDY GOLDSWORTHY / SUMMER 88, each image 19cm x

12.5cm (framed 72cm x 52.5cm);

The wall / Stonework by Joe Smith of Crocket**** / Winter 88/89 / STONEWOOD / ANDY

GOLDSWORTHY, 25cm x 16.5cm (framed 72.5cm x 52.5cm);

A MONTH OF RAIN / DEEP GREEN

WET MOSS / UPROOTED BROKEN

STACKS / LAST YEARS GROWTH / MOSS COLOUR IN THE SOFT LIGHT / OF A DULL GREY HEAVY SKY / ANDY GOLDSWORTHY /

STONEWOOD/ 5 MARCH 1990, 18.5cm x 19cm (framed 72cm x 52cm);

SNOW AND EARTH / STONEWOOD / ANDY

GOLDSWORTHY 1991, traces of snow and dirt on paper, 51cm x 38cm (framed 72.5cm x 52.5cm);

THE WALL / SUMMER 1993 / ANDY GOLDSWORTHY, 19cm x 23.5cm (framed 68cm x 53cm);

TREE/ STICK / SNOW / STONEWOOD / ANDY

GOLDSWORTHY 10 JAN 94, 23.5cm x 16cm (framed 68cm x 53cm) (7)

Provenance

Private Collection, Scotland.

In 1987 the present owners’ family gave financial support to Andy Goldsworthy’s Stone Wood Plot Fund

In return the Artist supplied seven works (in editions of no more than 10) between 1987 and 1994.

£5,000-7,000

THE WRITING DESK OF DAVID CORNWELL (JOHN LE CARRÉ)

David Cornwell - John Le Carré - is considered to be one of the most important writers of the post-war era, with an impressive list of publications in the spy genre. Since the 1960s, his tales of espionage have entertained audiences internationally..

Le Carre is famous as the creator of George Smiley and the author of Cold War spy novels such as Tinker Tailor Soldier Spy - filmed once for television with Sir Alex Guinness and more recently for cinema with Gary Oldman in the lead role - which defined the form. Since the 1990s he has increasingly been regarded as one of the great English language novelists of the modern period, and a caustic chronicler and critic of British political morality. He declined honours and literary prizes from the UK with vehemence, saying a writer should remain on the outside looking in, but was awarded almost in spite of himself the Goethe Medal, the Légion des Arts et des Lettres and the Olof Palme Prize.

We are delighted to be offering this desk and chest of drawers which were used by Le Carré from the end of 2009 until his death in 2020. They were acquired from his friend of almost fifty years, Gerald Moran, and were used in his workspace in London for the creation of all of his final novels. On this desk, he wrote A Delicate Truth (2013), A Legacy of Spies (2017, the companion volume to The Spy Who Came In From The Cold), Agent Running In The Field (2019), and Silverview (published posthumously in 2021). He also wrote his memoir, The Pigeon Tunnel (2016), at this desk. Within the elegant drawers of the chest, Le Carré safely stored his manuscripts during the editing process.

These finely crafted pieces of furniture therefore represent an important piece of literary history: it was where Le Carré transported his stories from pen to paper, and where the journeys of his novels first took shape. The pieces were designed by Chi Wing Lo, a prominent architect and designer who has been shaping the direction of furniture at Giorgetti since 1996, and whose work achieves a timelessness that has led to him achieving international acclaim. The ‘Eos’ line at Giorgetti represents Chi Wing Lo’s refined taste and exquisite craftmanship, with elegant lines and a smooth sense of motion that produces an overall impression of reflection that would be the perfect place to put pen to paper.

Le Carré will also have worked on his final and stillunpublished project, The George Smiley Years, upon this desk and chest of drawers.

A desk is a dangerous place from which to watch the world.

John le Carré, The Honourable Schoolboy

347

CHI WING LO (CHINESE 1954-) FOR GIORGETTI

‘EOS’ WRITING DESK AND ‘EON’ CHEST OF DRAWERS

the desk with metal label GIORGETTI / design CHI WING LO / MADE IN ITALY/ 059015 (to underside), with original paperwork, maple, brushed nickel and leather, and the chest with metal label GIORGETTI / design CHI WING LO / MADE IN ITALY / 055522 (to reverse), maple and steel, with 10 drawers (2)

The chest of drawers: 85cm high, 150cm wide, 45cm deep (33 1/2in high, 59in wide, 17 3/4in deep); the desk: 74cm high, 160cm wide, 59.5cm deep (29 1/4in high, 63in wide, 23 1/2in deep)

Provenance

£6,000-8,000

Gerald Moran; Estate of David Cornwall (John le Carré).

Photographs of David Cornwell at home. © Charlotte Haddon

348 §

JOHN MAKEPEACE O.B.E. (BRITISH 1939-)

PAIR OF TABLES / CABINETS

each stamped JOHN MAKEPEACE, with inscription (under each top), walnut, birds eye maple and leather (2) 67.5cm high, 51cm wide, 62.5cm deep (26 1/2in high, 20in wide, 24 1/2in deep)

£1,000-1,500

GUGLIEMO ULRICH (1904-1977) FOR MATTEO GRASSI PAIR OF LOUNGE CHAIRS, DESIGNED 1934

with label for 1880 Matteo Grassi Made in Italy (to each seat), upholstery on wooden frame (2) 80cm high, 69cm wide, 74cm deep (31 1/2in high, 27 1/4in wide, 29in deep)

Provenance

Gerald Moran; Estate of David Cornwall (John Le Carré).

£1,500-2,500

350 §

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO

‘DON’ TABLE LIGHT, DESIGNED 1977

lacquered metal with orientable metal shade, with Stilnovo label to the base

44cm high (17 3/8in high)

Provenance

Themes & Variations, London.

Literature

Castiglioni, Baldacci, Bondo, Lux Italia 1930-1990 l’architettura della luce, 1991m p. 76;

Diné, Rousseaud, et al., ‘The Complete Designers’ Lights (1950-1990), 2012, p. 316.

£300-500

351 §

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO

PAIR OF ‘DORAN’ TABLE LIGHTS, DESIGNED 1978 glass and enamelled metal 20.5cm high, the base 19.5cm long, 10cm deep (8 1/4in high, 7 3/4in long, 4in deep)

Provenance

Themes & Variations, London.

£500-700

352 § MATILDE ALESSANDRA (ITALIAN CONTEMPORARY)

‘ATLANTIC’ LIGHT SCULPTURE

perspex and stainless steel

32cm high, 32cm (12 5/8in high, 12 5/8in wide)

Provenance

Themes & Variations, London.

£500-700

353

CHRISTIAN LIAIGRE (FRENCH 1943-2020)

‘AMANDE’ FLOOR LAMP

manufacturer’s stamp (to base), patinated bronze, aquarelle paper shade 170cm high (67in high) with shade, 156cm high (61 1/2in high) without shade

£1,500-2,000

GINO SARFATTI

(ITALIAN 1912-1985) FOR ARTELUCE FLOOR LAMP, DESIGNED 1962

model no. 1082, aluminium and black

laquered metal with manufacturer’s label (inside shade)

120cm high (47 1/4in high)

£2,500-3,500

STILNOVO, ITALY

PAIR OF WALL LIGHTS, DESIGNED 1955

model 2020, painted metal, brass and perspex (2)

34.3cm high, 33cm wide (13 1/2in high, 13in wide)

Literature

Stilnovo Apparecchi per l’illuminazione, Luminaires Moderniste, 2016, cat. no. 2020.

£1,500-2,000

GIOTTO STOPPINO (ITALIAN 1926-2011) FOR ACERBIS

SHERATON SIDEBOARD, 1977 applied makers label, laminated and lacquered wood

70cm high, 180cm wide, 49cm deep (27 1/2in high, 70 7/8in wide, 19 1/4in deep)

£800-1,200

355

356

One day I noticed trees were like people, individuals. Then I began to introduce them into my work, but quite late in life. I found that, like people, their growth and happiness depended on how near they were to each other, how exposed to weather and how they aged like people, bending, kneeling, growing old.

357 §

EVELYN WILLIAMS (BRITISH 1929-2012)

SEVEN SISTERS, 2010

oil on canvas

122cm x 122cm (48in x 48in)

Provenance

The Estate of the Artist.

Literature

Perry, Anthony and Spooner, Cally, A Life’s Work: The Art of Evelyn Williams, Bristol: Sansom & Company, 2015, p. 274, illustrated.

£2,500-3,500

Evelyn Williams

Born in 1929, Evelyn Williams went to Summerhill School in Suffolk at the tender age of two and a half. On her own admission, she attended few lessons, and by the age of 10 filled the majority of her time with drawing. She went on to train at St Martin’s School of Art and the Royal College of Art, where she graduated with a first-class diploma, and was awarded the E. Q. Henriques Prize for Drawing. Rarely not spending a day in the studio, she characterised her work as “inner thoughts, other worlds”, and her intimate paintings are often concerned with the sensitivities of the human predicament.

Her work can be found in many private and public collections including the Victoria and Albert Museum, London, the Arts Council Collection, the Ashmolean, Oxford and Amgueddfa Cymru / National Museum Wales.

358

PETER KOVACSY (AUSTRALIAN 1953-)

TALL TREES, 2006

signed, titled, dated and inscribed ”TALL TREES” BY PETER KOVASCSY of WA / PK 2006 # 8-07-2/4 PK, kiln cast glass and timber

The glass 91cm high (35 6/8in high), 191cm high (75 1/8in high) including base

Provenance

Private Collection, UK.

£700-1,000

359 §

FRANZ ACKERMANN (GERMAN 1963-)

UNTITLED (EPICENTRE IX), 2001

signed, inscribed and dated (to reverse) verso, oil on canvas 50cm x 65.5cm (19 5/8in x 27 3/4in), unframed

Provenance

Neugerriemschneider, Berlin, circa 2003.

Exhibited

Houldsworth Fine Art, London, Chaotic Order, 10 September 2003 - 15 October 2003;

New Art Gallery, Walsall, Work From The Frank Cohen Collection, 20 October 2006 - 3 December 2006.

£4,000-6,000

360 §

FRANZ ACKERMANN (GERMAN 1963-)

UNTITLED (EPICENTRE X), 2001

signed, inscribed and dated (to reverse) verso, oil on canvas 50cm x 65cm (19 5/8in x 25 1/2in)

Provenance

Neugerriemschneider, Berlin, circa 2003.

Exhibited

Houldsworth Fine Art, London, Chaotic Order, 10 September 2003 - 15 October 2003;

New Art Gallery, Walsall, Work From The Frank Cohen Collection, 20 October 2006 - 3 December 2006.

£4,000-6,000

FRANZ ACKERMANN (GERMAN 1963-)

UNTITLED (EPICENTRE XI), 2001

signed, inscribed and dated (to reverse) verso, oil on canvas 50cm x 65.5cm (19 5/8in x 27 3/4in), unframed

Provenance

Neugerriemschneider, Berlin, circa 2003.

Exhibited

Houldsworth Fine Art, London, Chaotic Order, 10 September 2003 - 15 October 2003;

New Art Gallery, Walsall, Work From The Frank Cohen Collection, 20 October 2006 - 3 December 2006.

£4,000-6,000

361 §

362 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) GOSSIP, 1995

trial proof, bears initials and inscribed in pencil (to back board), screenprint, aside from the final edition of 108

74cm x 103.5cm (29in x 40 3/4in)

Provenance

Private Collection, UK.

£1,200-1,800

363

DONALD JUDD (AMERICAN 1928-1994) FOR LEHNI STOOL 5, 1984/2018

stamped Donald Judd / Swiss made by Lehni / 5 © 2018 / 106, copper 50cm high, 50cm wide, 50cm deep (19 1/2in high, 19 1/2in wide, 19 1/2in deep)

£2,000-3,000

364

IAIN ROBERTSON (BRITISH 1955-)

MOONDOG, 2008

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

120.5cm x 90.5cm (47 1/2in x 35 1/2in)

Exhibited

Kings Place Gallery, London, 2012.

£1,000-1,500

365 §

DEREK BOSHIER (BRITISH 1937-)

SPACE WINDOW, 1987

dated in the margin in pencil (lower right), acrylic on paper

70cm x 50cm (27 1/2in x 19 5/8in)

Provenance

Flowers East, London, where acquired by the present owner; Private Collection, UK.

£400-600

366 §

JANN HAWORTH (BRITISH / AMERICAN, 1942-)

NUDE, 1993

signed, titled and dated (to reverse), oil and charcoal on plasterboard

182.5cm x 90cm (71 7/8in x 35 1/2in) excluding frame construction, 217.5cm x 96cm (85 1/2in x 37 3/4in) including frame construction

Provenance

Gimpel Fils, London.

Exhibited

Gimpel Fils, London, Jann Haworth, 8 September - 9 October 1993, no.12.

£3,000-5,000

367 §

JOHN EAVES (BRITISH 1929-) AT A GLANCE, 1997

signed, titled and dated (to reverse), oil on canvas 101.5cm x 101cm (40in x 39 3/4in)

Provenance

Acquired from the Artist by the present owner, 2007; Private Collection, UK. £1,000-1,500

368

PIERRE GUARICHE (FRENCH 1926-1995) FOR STEINER SET OF FOUR ‘TULIPE’ CHAIRS aluminium and enamelled steel (4) each 76cm high, 45.7cm wide, 40.6cm deep (30in high, 18in wide, 16in deep) £1,500-2,500

MARTINO GAMPER (ITALIAN 1971-) FOR THONET

TWO ‘CHAIR OF THE RINGS’ CHAIRS, DESIGNED 2008

bentwood

each chair 121cm high, 54cm wide, 56cm deep (47 1/2in high, 21 1/4in wide, 22in deep)

Martino Gamper was tasked by the Conran Shop to reinterpret Thonet’s classic bentwood chair for the Inspirations show at the London Design Festival. Gamper visited the Thonet factory in Mundus, Croatia and collected a range of old elements from well-known Thonet designs, and consequently remodelled and reassembled these parts to make the Chair of the Rings. Following on from this Thonet took the examples produced and made three models for display at the Conran Shops in London, Paris and Tokyo.

£1,500-2,000

370

JOHANNA GRAWUNDER (AMERICAN 1961-) FOR GLAS ITALIA

XXX LOW TABLE, DESIGNED 2009

laminated glass

39cm high, 50cm diameter (15 1/4in high, 19 3/4in diameter)

Provenance

Private Collection, UK.

Drawing from her experience in the world of lighting, Johanna Grawunder designed the XXX table to emanate coloured light without the need of electrical aid.

£700-900

371

STEPHEN PHILIPS (BRITISH 1969-) FOR ARUP

SET OF THREE PROTOTYPE CHAIRS, 1992-5

neoprene / stretched fabric and steel, comprising the loop lounger; the loop chair; and the forma chair and footstool

The largest chair 97cm high, 50cm wide, 85cm deep (37in high, 19 3/4in wide, 33 1/2in deep)

£1,000-1,500

373

DINO GAVINA (ITALIAN 1922-2007) FOR STUDIO SIMON

HOMAGE TO ANDY WARHOL STOOL, CONCEIVED 1973

label Omaggio a: Warhol, Ultramobile

Simon, Bologna, Italy (to top), silk screened metal and removable upholstered cushion

44cm high, 31cm diameter (17 1/4in high, 12 1/4in diameter)

£1,000-1,500

372

JEFF KOONS (AMERICAN 1955-) BREAD AND EGG (GREEN), 1995

Signed, dated and numbered 11/30 in gold ink (on the underside) (there was also a total edition of 250 in green, red and yellow [83 of each] and 75 artists proofs), hydrocal multiple hand-painted with tempera, published by the Armitage Foundation, New York

5.5cm high, 14cm wide, 15cm deep (5 1/2in high, 6in wide, 5 7/8in deep)

Provenance

Phillips, New York, 18 April 2017, lot 379; Private Collection, London.

£2,000-3,000

374 §

BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH 1963-)

75% OPTIMISM, 2005 signwriters paint on board 200cm x 248cm (78 3/4 x 97 5/8in)

Provenance

The Artist; from whom aquired by the present owner. £4,000-6,000

375 §

CLARE WOODS R.A. (BRITISH 1972-)

100 YEARS 1999

gloss paint on MDF

152cm x 132cm (20 1/2in x 52in)

Provenance

Purchased directly from the Artist by the present owner in 1999.

£1,500-2,500

376 §

KEITH COVENTRY (BRITISH 1958-)

UNTITLED (PARIS KEBAB AND MENELAOS KEBAB), 1998

oil on canvas (2)

49.5cm x 75.5cm (19 1/2in x 29 3/4in), 50cm x 75cm (19 3/4in x 29 1/2in)

Provenance

Richard Salmon Gallery, London.

£3,000-5,000

377 §

DAVID SHRIGLEY O.B.E. (BRITISH 1968-)

UNTITLED (UNSCREW ALL THE SCREWS), 2018

acrylic on paper

75.8cm x 55.5cm (29 7/8in x 21 7/8in)

Provenance

Stephen Friedman Gallery, London; Private Collection, London. £5,000-8,000

RICK OWENS (AMERICAN 1962-) ‘HALF BOX’ CHAIR, DESIGNED CIRCA 2011 black plywood

76cm high, 50cm wide, 49cm deep (30in high, 19 3/4in wide, 19 1/4in deep)

£3,000-5,000

378 §

379

LEONCE RAPHAEL AGBOJELOU (BENINESE, 1965-)

THREE MUSCLE MEN SERIES PHOTOGRAPHS, 2014 each signed and numbered (on the reverse), limited edition no. 2/5

31.3cm x 20.5 (12 1/5in x 8in)

Provenance

Themes & Variations, London. This work is accompanied by a Certificate of Authenticity issued by the Artist.

£2,000-3,000

380 §

CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (BRITISH 1926-2009)

BOY WITH A DUCK oil on canvas

221cm x 189.2cm (87in x 74 1/2in)

Provenance

Christie’s, London, 23 October 1996, lot 72; Christie’s, London, 16 October 2013, lot 194; Private Collection, London.

£15,000-25,000

383

IFEANYI OGANWU (NIGERIAN

1979-)

PAIR OF PEDESTAL STOOLS, 2016

numbered 1/200 and 2/200, limited editions, moulded birch plywood with Duniake fabric by Phoebe Boswell each 40cm high, 47.5cm wide (15.7in high, 18.7in wide)

£800-1,200

381

FRANCISCO SOBRINO (SPANISH 1932-2014)

DEPLACEMENT INSTABLE M.V., 1968

Signed, dated and numberd on applied studio label Éditions Denise René T C 1968

47/100 Sobrino (to reverse), plexiglass and acrylic, Édition Denise René

39.5cm high, 39.5cm wide, 9.5cm deep (15 1/2in high, 15 1/2in wide, 3 3/4in deep)

£1,000-1,500

382

RICK WOLFRYD (AMERICAN 1953-)

‘HOT SEAT’ CHAIR, 2022

signed, titled, dated and numbered TP0004 (to underside), applied glass beads on fibreglass form, from Magic Hands series after Pedro Friedeberg with Huichol alterations

92cm high (36 1/4in high)

£2,500-3,500

384 §

ANDRES SERRANO (AMERICAN 1950-) AMERICA (CHARLIE URICHIMA, THE SACRED HEART OF JESUS SCHOOL), 2002

signed, title and numbered in pencil 1/3 (to reverse), cibachrome and silicone

151.1cm x 121cm (59 1/2in x 47 5/8in)

Provenance

Gimpel Fils, London; Paula Cooper Gallery, New York.

Exhibited

Gimpel Fils, London, ‘America’ Andres Serrano, October - November 2002, no. 16.

£2,000-3,000

BANKSY (BRITISH 1974-)

WELCOME TO HELL (PINK), 2004

signed, dated and numbered 21/75 in pencil (to margin), screenprint, published by Pictures on Walls, London, with their blindstamp the sheet 50cm x 35cm (19 3/4in x 13 3/4in)

This work is accompanied by a Certificate of Authenticity issued by Pest Control Office.

£50,000-70,000

386

SPENCER TUNICK (AMERICAN 1967-)

23RD STREET AND TENTH AVENUE, NYC 1, 1999

signed, dated and numbered 1/6 (to reverse), chromogenic colour photograph face-mounted on perspex

180.3cm x 226cm (71in x 89in)

Provenance

With Hales Gallery, London.

£1,500-2,500

385 § ◆

387

FRANK GEHRY (CANADIAN-AMERICAN 1929-) ‘GRANDPA BEAVER’ EASY CHAIR, CIRCA 1986

signed and numbered GRANDPA BEAVER 4/50 and with etched signatures of Frank Gehry and Joel Sterns (to underside), corrugated cardboard, from the Experimental Edge Series

91.4cm x 127cm x 114.3cm (36in x 50in x 45in)

Literature

Ragheb, Fiona J., ed., Frank Gehry, Architect, New York, 2001, p. 57; Dal Co, F., and Forster, K. W., Frank O. Gehry: The Complete Works, Milan, 2003, p. 211. £3,000-5,000

388 §

CHRISTOPHER PAGE (BRITISH 1984-)

PROGRAM, 2018

Signed and dated in pencil (to reverse), oil and acrylic on canvas 110cm x 180cm (43 1/4in x 70 1/8in)

Provenance

Baert Gallery, Los Angeles; Offer Waterman, London, from whom acquired by the present owner, 2021 £15,000-25,000

389

AI WEIWEI (CHINESE 1957-)

THIN LINE, 2017

inscribed, titled and numbered 90/100 (to the side), further signed and numbered 90 in black marker on the Certificate of Authenticity affixed to the reverse, co-published by the Artist and Amsterdam Light Festival Foundation, acrylic display case with a PMMA mirror as backdrop, with glass fibre light line 50cm high x 50cm wide x 25 cm deep (19 5/8in high x 19 5/8in wide x 9 7/8 in deep)

Provenance

Artnet auctions, where acquired by the present owner, May 2022

£4,000-6,000

INDEX OF ARTISTS

Ackermann, Franz 359, 360, 361

Adams, Robert 133, 134, 135, 136, 137, 138

Agee, Ann 255

Ai, Weiwei 389

Aitchison, Craigie 380

Allen, Richard 287

Arbeid, Dan 299

Baier, Fred 320

Baldwin, Gordon 27, 254

Banksy 385

Bassoli, Renato 212

Bergqvist, Knut 89

Beutlich, Tadek 301

Bianconi, Fulvio 79, 80, 81, 82, 83, 84

Blow, Sandra 206, 224, 225

Bodimeade, Nick 262

Boshier, Derek 365

Bratby, John 167

Bremers, Peter 316

Broderick, Laurence 235, 237, 238

Bülow-Hübe, Vivianna Torun 96, 97, 98

Buus, Marianne 327

Caiger-Smith, Alan 252, 253

Calder, Alexander 188

Capron, Roger 95

Castle, Wendell 6

Chamberlain, Christopher 161

Clarke, Geoffrey 129, 130, 131, 132

Clough, Prunella 205, 207, 208, 209

Collingwood, Peter 296

Cooper, Emmanuel 25, 26

Cooper, Waistel 17

Copley, Heather 160, 162

Coventry, Keith 376

Cuming, Fred 168, 172

Dalwood, Hubert 124, 125, 126

Davie, Alan 234

Day, Robin 12

De Maistre, Roy 106, 107, 108, 109, 110, 111

De Waal, Edmund 247, 248, 249, 250

Dobson, Frank 119

Dorph-Jensen, Sidsel 322

Drysdale, Pippin 333

Dubreuil, André 232

Dunstan, Bernard 169, 170

Eames, Charles & Ray 7, 8, 9, 10, 11

Eaves, John 367

Eglin, Philip 306

Ekstrom, Yngve 141

Ekubia, Ndidi 324

Epstein, Sir Jacob 117, 118

Evans, Bernard 61

Fallon, Conor 58

Farmer, Mary 302

Fedden, Mary 174, 175

Feiler, Paul 227

Fornasetti, Piero 151, 152, 153, 154, 155, 156, 157

Forrester, Bernard 298

Franck, Kaj 91

Frink, Dame Elisabeth 139, 140

Frost, Anthony 260

Frost, Luke 261

Gamper, Martino 369

Gavina, Dino 373

Gear, William 182

Gehry, Frank 387

Goldsworthy, Andy 346

Grawunder, Johanna 370

Grenville, Hugo 171, 173

Groag, Jacqueline 186

Guariche, Pierre 368

Guthrie, Eileen 197, 198, 199

Haber Beron, Aron 114

Hadid, Dame Zaha 105

Hayes, Peter 244, 245, 246

Henderson, Ewen 21, 23, 24

Hepburn, Anthony 300

Hirai, Akiko 311, 312, 313, 314, 326, 328, 329, 330

Hodgkin, Sir Howard 362

Hogan, Joe 317

Höglund, Erik 93

Hope, Adrian 321

Hovmand-Olsen, Arne 142

Illsley, Bryan 318

Ilvessalo, Kirsti 144

Ingham, Bryan 214, 215, 216, 217, 218, 219, 220

Inui, Saburo 13

Jacobsen, Arne 2

Jeanneret, Pierre 65, 66, 67, 68, 71, 72

Jensen, Georg 99

Judd, Donald 363

Juhl, Finn 145, 148, 149, 150

Keeler, Walter 30

Kennethson, George 200, 201, 202, 203

Kjaerholm, Poul 1, 3

Knox, Bryony 334

Koch, Gabriele 257, 258

Koons, Jeff 372

Kovacsy, Peter 358

Lawrence, Christopher 104

Leach, Janet 15, 16

Lelii, Angelo 74

Liaigre, Christian 353

Lindstrand, Vicke 94

Lo, Chi Wing 347

Lovell, Margaret 221

Lowndes, Alan 158, 159

Mackenzie, Alexander 50

Makepeace, John 348

Malone, Kate 28

Maltby, John 31, 32, 33, 34, 35

Manz, Bodil 307

Marini, Marino 183

Marx, Enid 297

Masamichi, Yoshikawa 309

Meadows, Bernard 127

Minton, John 123

Mitchell, Denis 48, 52, 53, 54, 63, 64, 210

Moore, Henry 181

Mori, Junko 310

Mount, Paul 223

Murray, William Staite 18

Nance, Robin 57

Nicholson, Kate 177

Niizuma, Minoru 226

Noguchi, Isamu 14

Numina, Louise 264

O’Casey, Breon 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46

Odundo, Dame Magdalene 259

Oganwu, Ifeanyi 383

Owens, Rick 378

Page, Christopher 388

Panton, Verner 4, 5

Partridge, Jim 266, 267, 268, 269, 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286, 295

Pearce, Bryan 62

Petersen, Bernt 143

Philips, Stephen 371

Philp, Paul 19, 20

Pianon, Alessandro 88

Picasso, Pablo 185

Piele, Misome 60

Pilkington, Cathie 233

Piper, John 163, 179, 184

Poli, Flavio 86

Ponti, Gio 77

Prouvé, Jean 70

Pwerle, Minnie 292

Pye, David 303, 304, 305

Quick, Kenneth 56

Ramshaw, Wendy 336, 337, 338, 339, 340, 341, 342, 343, 344, 345

Randall-Page, Peter 228, 229, 230, 231

Redmile, Anthony 100, 101, 102, 103

Rie, Dame Lucie 189, 190, 191, 192, 193, 194, 195, 196

Robert (Guy De Chaunac-

Lanzac), Dom 180

Roberts, Will 178

Robertson, Iain 364

Ross, Duncan 29

Sarfatti, Gino 354

Sarpaneva, Timo 92

Scarpa, Carlo 78

Scarpa, Tobia 85

Seguso, Archimede 87

Serrano, Andres 384

Shepherd, Kitty 263

Shrigley, David 377

Sinnott, Kevin 166

Skeaping, John 128

Skelton, John 236

Smit, Carolein 335

Smith, Bob And Roberta 374

Sobrino, Francisco 381

Sottsass, Ettore 350, 351

Souza, Francis Newton 121, 122

Spence, Sir Basil 69

Spencer, Sir Stanley 115

Steele, Jeffrey 288

Stoppino, Giotto 356

Summers, Gerald 73

Sutton, Ann 289, 290, 291

Tannahill, Max 239

Taplin, Guy 241, 242, 243

Taylor, Sutton 251

Tchalenko , Janice 256

Teasdale, Edward 319

Thornton, Leslie 222

Thubron, Diane 293

Toikka, Oiva 90

Town, Norman 211

Treen, Gunilla 294

Tunick, Spencer 386

Turner Durrant, Roy 204

Vaughan, Keith 120

Walker, Michael 265

Walker, Olivia 325

Watts, Grainne 332

Wegner, Hans 146, 147

Weight, Carel 164, 165

Weingart, Joachim 112, 113

Welch, Robin 22

Wells, John 55

Williams, Evelyn 357

Williams, Sir Kyffin 176

Wilson, Scottie 240

Wolfryd, Rick 382

Wood, Christopher 116

Woodman, Rachel 315

Woods, Clare 375

Wynter, Bryan 59

Yasuda, Takeshi 308

Zauli, Carlo 213

£30,000-50,000 + fees

AUCTION 19 APRIL 2023

LIVE IN EDINBURGH & ONLINE

CHARLES RENNIE MACKINTOSH (1868-1928)

CABINET FOR THE BLUE BEDROOM, HOUS’ HILL, 1904

TRAVEL & VINTAGE POSTERS

AUCTION 26 APRIL 2023

VIEWING IN LONDON

LIVE ONLINE

A.M. CASSANDRE (1901-1968) NORMANDIE £10,000-15,000 + fees

27 APRIL 2023

LIVE IN LONDON & ONLINE

RENÉ LALIQUE

RARE SCARABÉES

BELT, NO, 1475

£8,000-12,000 + fees

JOHN TUNNARD (BRITISH 1900-1971)

COMPOSITION, 1947

£30,000-50,000 + fees

ART FROM 1890 TO NOW

AUCTION 27 APRIL 2023

LIVE IN LONDON & ONLINE

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. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

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.

(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.

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

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

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

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

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance

reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

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

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON

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

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids

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

C. DURING THE SALE

1. ADMISSION TO OUR AUCTIONS

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

2. RESERVES

Unless indicated by an insert symbol

(∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

(c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

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

6. CURRENCY CONVERTER

The saleroom video screens and

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

7. SUCCESSFUL BIDS

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

8. RELEVANT LEGISLATION

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

D. THE BUYER’S

PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £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 in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically

understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will

transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NONPAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

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

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

(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied.

You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

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

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

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

H. TRANSPORT & SHIPPING

1. TRANSPORT AND SHIPPING

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

2. EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots

which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3,

(ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record

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

3. COPYRIGHT

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

4. ENFORCING THIS AGREEMENT

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

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

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

6. REPORTING ON WWW.LYONANDTURNBULL.COM

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

7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither the Auctioneer

nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION

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

10. FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

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

1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd

(Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words You” and “Your

”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

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

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

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

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

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

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

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

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

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

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

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

GUIDE TO BIDDING & PAYMENT REGISTRATION

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

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

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

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.

BIDDING OUTSIDE THE SALEROOM BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

- ABSENTEE BIDDING

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.

PAYMENT

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. 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.

Inside Back Cover: Lot 138 [detail]