Modern Made | Auction 27 October 2023 in London

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

Purchased items will be available to collect from Mall Galleries on Saturday 28th October 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.

LONDON LOT COLLECTION

Items will be available to collect from Mall Galleries on Saturday 28th October from 10am until 3:30pm. Following this, items will be moved to Stephen Morris Shipping where they can be collected from Wednesday 1st November. They will be stored free of charge until Wednesday 15th November. From Thursday 16th November, clients will be charged by our storage partners.Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.

EDINBURGH LOT COLLECTION

Scottish buyers and vendors items will be available to collect from Thursday 9th November 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.

philip.smith@lyonandturnbull.com

+44 7741 247 225

Prints & Sculpture

simon.hucker@lyonandturnbull.com

+44 7442 575 266

Paintings, Prints & Sculpture

alice.strang@lyonandturnbull.com

+44 7966 377 060

john.mackie@lyonandturnbull.com

+44 131 557 8844

joy.mccall@lyonandturnbull.com

+44 7810 301 525

Edinburgh Paintings, Prints & Sculpture

charlotte.riordan@lyonandturnbull.com

+44 7467 953 724

Prints & Sculpture

carly.shearer@lyonandturnbull.com

+44 7818 190 726

matthew.yeats@lyonandturnbull.com

+44 7917 434 602

Joy McCall | London Design

Philip Smith | London Head of Sale

Charlotte Riordan |

Simon Hucker | London Paintings,

Carly Shearer | Edinburgh Paintings,

Alice Strang | Edinburgh

Matthew Yeats | London Design

John Mackie | Edinburgh Design

INTRODUCTION

In this ninth edition of Modern Made, we are delighted to return to the Mall Galleries in London once again, with an array of Modern and Post-war art and design, as well as Contemporary craft, championing works by leading artists and makers from the 20th century to now.

From paintings to printmaking, ceramics to glass, silversmithing to jewellery, textiles to furniture, Modern Made showcases, in one space, modern and contemporary art, craft and design from key practitioners in their fields. Displaying work of different generations and media allows for reciprocal connections and for unexpected questions to be posed and examined. We hope that Modern Made creates a forum for discovering new creatives and admiring works from modern masters to cutting-edge contemporary makers.

The current exhibition features diverse collections of modern British art and sculpture including an array of work by Geoffrey Clarke that spans over forty years of his long and prolific career. It is presented alongside significant examples by his contemporaries Robert Adams, Bernard Meadows and Denis Mitchell, highlighting the importance of British sculpture in the post-war years. There are also compelling selections by Breon O’Casey, Laurence Broderick and Anthony Benjamin. Further highlights are two of Louis Wain’s finest drawings that, in addition, have not been seen in public for 100 years. There is also an eloquent, intimate and rare painting by the man who taught Francis Bacon to paint, Roy de Maistre, of two male figures, that is both sensual and bold.

We are particularly pleased to have brought together a select collection of early plywood furniture for this sale, including works by international pioneers in this field Alvar Aalto, Gerald Summers and Marcel Breuer. This includes a wonderfully fine set of Breuer nesting tables, made for Isokon and dating to the 1930s, from the collection of Leslie Martin and Sadie Speight. They played leading roles in 20th century architecture and design, not least as co-authors of The Flat Book (1939), whilst Martin was the architect of the Royal Festival Hall on London’s South Bank (1951). Further highlights of design in this edition include a stunning modernist Gino Sarfatti floor lamp designed for Arteluce in 1951 and a rare and early Ettore Sottsass enamel vase made for Il Sestante.

One aspect of the sale we are particularly pleased to continue promoting is contemporary ceramic art and craft. We are delighted that this edition captures historic and contemporary makers’ works from across a spectrum of different media, including fine turned wood vessels by Anthony Bryant and a stunning ‘Tide’ table by Blott KerrWilson made of abalone shells that gives the appearance of a wave sweeping across the surface. A Peter Collingwood woven wall hanging and a beautiful moulded, carved and hand-built porcelain ‘Wisteria’ vase, with an interior of dancing springs by the talented Hitomi Hosono, are also stand-out lots.

We hope you enjoy this wonderful collection as much as we have enjoyed putting it together and that the catalogue, exhibition and auction help to demonstrate the vitality, creativity and multi-disciplinary nature of art, design and craft over the last 100 years.

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

1 §

WILHELMINA BARNS-GRAHAM

C.B.E. (BRITISH 1912-2004)

SUNGHRIE II, 2001 (GUNN 76)

signed and dated in pencil (lower right) and numbered 10/100 (lower left), screenprint on Graal paper

57cm x 76cm (22 1/2in x 30in)

Provenance

Bohun Gallery, Henley-on-Thames, where acquired by the parents of the present owner, circa 2000.

£1,500-2,000

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

CANCIÓN DE JINETE (RIDER’S SONG), 1989 (KEMP 99)

signed and numbered 67/75 in pencil, etching and aquatint with hand-colouring in red gouache on paper, from the Lorca Suite sheet 55.2cm x 37.3cm (21 3/4in x 14 5/8in)

£400-600

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

ARBOLE, ARBOLE (TREE, TREE), 1989 (KEMP 107)

signed and numbered 67/75 in pencil, etching and aquatint with hand-colouring on paper, from the Lorca Suite sheet 55.3cm x 37.3cm (21 3/4in x 14 3/4in)

£400-600

3 §

4 §

PATRICK HERON C.B.E. (BRITISH 1920-1999)

OCTOBER 5: 1982, FROM 35 ARTISTS

PRINTMAKING, FOLIO 3

signed, dated and inscribed HC in pencil (in the margin), screenprint in colours on Whatman wove paper, published by the Royal College of Art, London sheet 64.7cm x 50cm (25 1/2in x 19 3/4in)

Provenance

The Redfern Gallery, London; Private Collection, London.

£1,200-1,800

5 §

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

LONG RED, YELLOW AND BLACK, 2002 (KEMP 231)

signed and numbered 13/150 in pencil (in the margin), screenprint on Arches paper, published by CCA Galleries, London

plate 32.5cm x 81cm (12 3/4in x 31 3/4in); sheet 48cm x 91.5cm (19in x 36in)

£700-1,000

6 §

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

BLUE AND GREEN VERTICALS, 2002 (KEMP 225)

signed and numbered 26/150 in pencil (in the margin), screenprint on Arches wove paper, published by CCA Galleries, London plate 44.5cm x 62cm (17 1/2in x 24 1/2in); sheet 60cm x 77.5cm (23 1/2in x 30 1/2in)

£800-1,200

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

LACED RED, 2002

signed, titled and dated in pencil (to reverse), acrylic, canvas and cord on board 26cm x 26cm (10 1/4in x 10 1/4in)

Provenance

Gift from the Artist to the present owner. Laced Red was a maquette for a work used as the cover illustration for Tate St Ives’ exhibition catalogue Terry Frost: Black White and Red (2003).

£1,500-2,500

9 §

SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (BRITISH 1924-2005)

UNTITLED FROM ‘AS IN WHEN,’ 1964 from the edition of 65 plus 12 Artist’s Proofs, screenprint sheet 55cm x 46cm (21 5/8in x 18 1/8in); plate 53cm x 37cm (20.75in x 14.5in)

£300-500

8

SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (BRITISH 1924-2005)

AN EMPIRE OF SILLY STATISTICS...A FAKE WAR OF PUBLIC RELATIONS, 1965-70

signed and numbered 22/350 in pencil (in the margin), stamped with title, number, portfolio name, printer’s and publisher’s stamps (to reverse), photo-lithograph sheet 25.4cm x 38cm (10in x 14 7/8in)

£300-500

SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (BRITISH 1924-2005)

TOTEMS AND TABOOS OF THE NINE TO FIVE DAY, 1965-70

signed and numbered 22/350 in pencil (in the margin), stamped with title, number, portfolio name, printer’s and publisher’s stamps (to reverse), photo-lithograph sheet 25.5cm x 38cm (10in x 15in)

£300-500

11 §

SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (BRITISH 1924-2005)

CHARITY OPERA FACTORY, CIRCA 1993

gouache and screenprint

27.5cm x 18cm (10 3/4in x 7 1/8in)

£1,000-1,500

BRYAN INGHAM (BRITISH 1936-1997)

BERLIN 500

stamped with the Estate stamp (to reverse), collage on board

10cm x 14.5cm (4in x 5 3/4in)

Provenance

The Estate of the Artist.

£700-900

13 §

BRYAN INGHAM (BRITISH 1936-1997)

SOUVENIR OF AMSTERDAM, 1987

signed Bryan in pencil, titled and dated in pen and stamped with the Estate stamp (to reverse), collage on board

19.8cm x 9cm (7 7/8in x 3 1/2in)

Provenance

The Estate of the Artist.

£800-1,200

14 §

BRYAN INGHAM (BRITISH 1936-1997)

STUDY FOR SCULPTURE IX, JUNE 1995

initialled, dated, titled and inscribed Between us Stretches the White Sea A.O. in pencil, along the lower edge, crayon on paper

37.3cm x 28.7cm (14 5/8in x 11 3/8in) unframed

Provenance

The Estate of the Artist.

£1,000-1,500

15 §

BRYAN INGHAM (BRITISH 1936-1997)

STUDY FOR SCULPTURE - MEDITERRANEAN HEAD III, 1995

initialled, titled and dated in pencil (lower left), pencil and crayon on paper

sheet 45.5cm x 36cm (18in x 14in)

Provenance

The Estate of the Artist. £1,200-1,800

BRYAN INGHAM (BRITISH 1936-1997)

CUBIST MUSE pencil and crayon on paper sheet 34.8cm x 20.2cm (13 3/4in x 8in)

Provenance

The Estate of the Artist. £1,500-2,000

16 §

17 §

BRYAN INGHAM (BRITISH 1936-1997)

THE ARTIST’S WIFE stamped with the Estate stamp (on the backboard), oil on board 29.5cm x 35.5cm (11 1/2in x 14in)

Provenance

The Estate of the Artist. Exhibited England & Co., London. £2,500-3,500

signed MALTBY (to base), stoneware

8cm high, 13cm diameter (3 1/8in high, 5 1/8in diameter)

£300-500

PROUD BIRD

stamped artist’s seal, signed and titled (to reverse), stoneware

27.5cm high, 17cm wide (10 3/4in high, 6 3/4in wide)

£500-800

FOOTED BOWL

signed MALTBY (to base), stoneware

31cm diameter, 9cm high (12 1/4in diameter, 3 1/2in high)

£600-800

19 §

JOHN MALTBY (BRITISH 1936-2020)

18 § JOHN MALTBY (BRITISH 1936-2020) CUP

20 §

JOHN MALTBY (BRITISH 1936-2020)

21 §

ALAN CAIGER-SMITH (BRITISH 1930-2020)

FOOTED BOWL, 1987

painted monogram and dated cyper (to base), earthenware with lustrous ruby brushwork

8cm high, 26.5cm diameter (3 1/8in high, 10 3/8in diameter)

£500-700

23 §

ROBIN WELCH (BRITISH 1938-2019)

VESSEL impressed artist’s seal, stoneware 29.5cm high, 27.5cm diameter (11 5/8in high, 10 7/8in diameter)

£300-500

22

ABDO NAGI (YEMENI 1941-)

FOOTED BOWL

impressed artist’s mark (to edge of the base), stoneware

15cm high, 23cm diameter (6in high, 9in diameter)

£500-800

24 §

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

FOOTED BOWL

impressed artist’s seal, turquoise glaze with manganese rim

7.5cm high, 13.5cm diameter (3in high, 5 1.4in diameter)

£1,500-2,000

25 §

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

CONICAL BOWL

impressed artist’s seal, porcelain, yellow glaze with gold and blue flecks

12cm high, 18.5cm diameter (4 3/4in high, 7 1/4in diameter)

£1,500-2,000

26 §

CONICAL

impressed artist’s seal, stoneware, with thick running volcanic glaze

7.5cm high, 19.5cm diameter (3in high, 7 5/8in diameter)

£600-900

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

BOWL

27 §

DAME LUCIE RIE (BRITISH 1902-1995)

BOWL, CIRCA 1958-60

impressed artist’s seal, porcelain with scraffito decoration

5.7cm high, 11.5cm diameter (2 3/8in high, 4 1/2in diameter)

£1,000-2,000

28 §

DAME LUCIE RIE (BRITISH 1902-1995)

SHALLOW BOWL

impressed artist’s seal, stoneware, scraffito decoration and manganese to the interior and white glazed exterior

7.2cm high, 28cm wide, 22.5cm deep (2 7/8in high, 11in wide, 8 7/8in deep)

£1,500-2,000

29 §

DAME LUCIE RIE (BRITISH 1902-1995)

SQUEEZED DISH, CIRCA 1950S

impressed artist’s seal, stoneware, with black glazed interior and white glazed exterior 4cm high, 13.3cm wide (1 5/8in high, 5 1/4in wide)

Literature

The National Gallery of Modern Art, Toyko, Lucie Rie: A Retrospective, exhibition catalogue, Nikkei Inc., 2010, pp.72-77 for similar examples.

£1,000-1,500

JACK BUTLER YEATS R.H.A (IRISH 1871-1957)

INLET

signed in pencil (lower right), inscribed from Sketch Book inscribed “... at B****** Point 1898” in red pen (on backboard), watercolour on paper

8.7cm x 12.7cm (3 3/8in x 5in)

£2,500-3,500

31 §

GLUCK (HANNAH GLUCKSTEIN) (BRITISH 1895-1978)

FIVE STUDIES, CIRCA 1968-70 comprising Coastal Landscape; Rosapenna, Donegal; Downings Bay, Donegal; The Raising of Lazarus and Still Life of Flowers, three signed Gluck, two dated 1968 and Oct/69, and three titled, pencil and coloured crayons the largest 23cm x 17cm (9in x 6 3/4in)

Exhibited

The Fine Art Society Limited, London, Gluck, 6 - 28 February 2017. £2,500-3,500

32 §

ETHELBERT WHITE (BRITISH 1891-1972)

WOODED LANDSCAPE WITH MILL AND SHEEP with the Estate stamp (to reverse), pen, ink and watercolour on paper 28cm x 35cm (11in x 13 3/4in)

£500-800

33 §

DUNCAN GRANT (BRITISH 1885-1978)

MARBELLA, CIRCA 1964 signed in pencil (lower left), watercolour and charcoal on paper 37.7cm x 55.7cm (14 7/8in x 21 7/8in)

Provenance

The Bloomsbury Workshop, London; Private Collection, London.

£2,000-3,000

34 §

JOHN NASH R.A. (1893-1977)

ANOTHER PART OF THE WOOD, CIRCA 1928

inscribed Another part of the wood... by John Nash, c.1928 / Oil painting on ‘linen’ paper laid down on millboard / Given to me by Ronald Blythe Shortly after John’s death (1977) in pen (to backboard), oil on linen paper laid down on board

24cm x 11.5cm (9 1/2in x 4 1/2in)

Provenance

Alan

£2,000-3,000

Freer from whom acquired by the present owner.

THE HUNGARIAN NABI: JÓZSEF RIPPL-RÓNAI

József Rippl-Rónai’s lifetime work can be seen as an important articulation of a pan-European approach that incorporated elements of Art Nouveau, Fauvism, Expressionism and in particular the Post-Impressionist painters known as Les Nabis. Born in Kaposvár, Hungary in 1861, he studied at the Akademie der Bildenden Künste in Munich in 1884, before moving to Paris in 1887. There he continued his studies under the Hungarian Realist painter Mihaly Munkácsy then living in the French capital.

By 1889 Rippl-Rónai made a brief visit to Pont Aven and soon cut ties with his earlier style embracing a new aesthetic buoyed by Paul Gauguin and his circle. He became friends with artists such as Aristide Maillol, Pierre Bonnard and in particular Édouard Vuillard whom he met at the Académie Julian in Paris. He joined the Nabis, whose influence can clearly be felt in his work.

Rippl-Rónai returned to Hungary in 1902 and the current work dates from this early period back in his homeland, but continues to bear the impression of the Nabis, with a gentle intimacy and a fondness for decoration. Possibly a selfportrait, the painting is dated to 1905 and communicates his interest in materials and clothing. He believed that not only was the artist’s full body of work of importance, but also his public persona and mode of living, including the way he dressed. Rippl-Rónai’s Post-Impressionist tendencies, including his use of two-dimensional representation and contouring, continues with this portrait, as well as his playful use of a painting within a painting motif, a technique that can be seen in a number of his important works.

The artist took part in public life throughout his career, including designing posters and tapestries and contributing to many successful exhibitions both at home and abroad, including those mounted in his home town of Kaposvár. Indeed, the current work bears the remains of a label which suggests an exhibition held there, which might relate to his solo shows of 1905 or 1913. After the World War One, Rippl-Rónai gave up oil painting in favour of pastels and his mastery of this medium reached its pinnacle with a series of portraits of literary friends. Rippl-Rónai’s continuing importance is that he succeeded in remaining a Hungarian artist who was faithful to his historical roots, whilst embracing modern art tendencies from his close associations with French artists linked to Paris at the turn of the century.

JÓZSEF RIPPL-RÓNAI (HUNGARIAN 1861-1927)

PORTRAIT OF A MAN WITH HAT AND MOUSTACHE, POSSIBLY A SELF-PORTRAIT, 1905 signed and dated (upper left), oil on cardboard

65.6cm x 49cm (25 7/8in x 19 1/4in)

Provenance Private Collection, London.

£10,000-20,000

JÓZSEF

Provenance Private Collection, London.

£3,000-5,000

RIPPL-RÓNAI (HUNGARIAN 1861-1927)

PORTRAIT OF A YOUNG MAN WEARING A CAP signed (lower right), pastel on paper 43cm x 31.5cm (17in x 12 3/8in)

MODERN BRITISH SCHOOL

LADY IN A HAMMOCK, 1930S oil on panel

74cm x 88.9cm (29 1/8in x 35in)

Provenance

Luca Scacchi Gracco, Milan; Piccadilly Gallery, London; Barry Friedman Ltd, New York (as Lady with Hat, previously considered by the hand of Ernest Procter). £2,000-3,000

LADI KWALI (NIGERIAN 1925-1984)

TANKARD

impressed artist’s seal, stoneware, tenmoku glaze

14cm high (5 1/2in high)

£400-600

SHOJI HAMADA (JAPANESE 1894-1978)

VESSEL

stoneware, with cream Hakeme slip and iron brush motifs

14.5cm high, 17.5cm wide (5 3/4in high, 6 7/8in wide)

£800-1,200

40 § CLIVE BOWEN (BRITISH 1943-)

LARGE BOWL earthenware with slip decoration of a fish

57cm diameter (22 1/2in diameter)

Provenance

Craft Council Shop at the V&A, London, 1993; Private Collection, London.

£300-500

41 §

MICHAEL CARDEW (BRITISH 1901-1983) AT WINCHCOMBE POTTERY LARGE CIDER FLAGON, CIRCA 1935

impressed artist and pottery seals, earthenware, with black slip and sgraffito foliate design 48cm high (18 7/8in high)

Literature

Muriel Rose, Artist Potters in England, Faber and Faber, 1955, pl.49 for a similar example. £1,000-1,500

A MASTER DRAUGHTSMAN: WORKS BY GERALD LESLIE BROCKHURST

42 §

GERALD LESLIE BROCKHURST (BRITISH 1890-1978)

HEAD OF A GIRL (DORETTE), 1942 (FLETCHER L1)

signed in pencil (lower right), and titled in pencil (lower left), lithograph on wove paper

sheet 26.6cm x 38.7cm (10 1/2in x 15 1/4in), unframed

£400-600

43 §

GERALD LESLIE BROCKHURST (BRITISH 1890-1978)

SIENA, 1944 (FLETCHER L2)

signed in pencil (lower right), lithograph on paper

sheet 41.5cm x 32.2cm (16 3/8in x 12 5/8in), unframed

£300-500

44 §

GERALD LESLIE BROCKHURST (BRITISH 1890-1978)

LA TRESSE, 1926 (FLETCHER 56)

signed in pencil (in the margin lower right) and inscribed in pencil (in the margin), etching on paper plate 21.2cm x 18.7cm (8 3/8in x 7 1/4in); sheet 36cm x 24.6cm (14 1/4in x 9 3/4in), unframed

£300-500

45 §

GERALD LESLIE BROCKHURST (BRITISH 1890-1978)

CYPRIANO, 1927 (FLETCHER 59)

signed in pencil (in the margin lower right), inscribed in pencil (in the margin), etching on paper, sheet 29cm x 21.7cm (8 1/2in x 11 1/4in), plate 16.1cm x 9.2cm (6 3/8in x 3 5/8in), unframed, and Basque Boy (Cypriano), signed in pencil (lower right) and inscribed Artist Proof G.L.B (in the margin to the centre), lithograph on paper, sheet 43.5cm x 32.5cm (17 1/8in x 12 7/8in), plate 38.6cm x 28.1cm (15 1/4in x 11in), unframed (2)

£700-900

Adolescence is the most famous and virtuoso image of Brockhurst’s career and is widely considered a masterpiece of twentieth-century printmaking.

Having shown early promise and commitment to his studies, Brockhurst enrolled at Birmingham School of Art aged just twelve years old. He later entered the Royal Academy Schools in London in 1907. Brockhurst’s trajectory to success was set early on, as in both schools he was awarded many of their highest accolades. After travel in France and Italy before the outbreak of World War One, followed by a five-year period spent living in Ireland, Brockhurst eventually re-settled in the English capital. Over the course of the 1920s he made his name in artistic circles, foremost as an outstanding printmaker at this point in time, while his reputation as a painter of extraordinary skill would come to fruition a decade later.

Adolescence is rightly regarded as a significant artistic achievement. In 1924, Hugh Stokes encapsulated the artist’s technique as follows: ‘What…[Brockhurst]…is gradually attaining… is a soft and velvety richness of quality in which line disappears, although the form is based upon line.’ It is

46 §

GERALD LESLIE BROCKHURST (BRITISH 1890-1978) ADOLESCENCE (KATHLEEN NANCY WOODWARD), 1932 (FLETCHER 75)

signed in pencil (in the margin lower right), from the unnumbered edition of 90, etching on wove paper plate 26.5cm x 37cm (10 1/2in x 14 3/4in); sheet 33.6cm x 45.6cm (131/4in x 17 7/8in), unframed £8,000-12,000

a startling process which results in a remarkable level of finesse. Brockhurst’s ability to convey such an extraordinary variety of texture and tone in Adolescence make it a prized work among collectors, as too does its period elegance and subtle sensuality.

As with many of history’s great artworks, the backstory can add as much appeal for collectors as can the aesthetics of the image itself. Adolescence is one such example of this. Brockhurst had attracted scandal (with the added benefit of renown) due to his affair with Kathleen Woodward, a 16-year-old life model for whom he subsequently left his wife and former muse Anaïs Folin. In the manner of his friend Augustus John, Brockhurst re-christened Kathleen ‘Dorette’, and she came to feature in many of his most successful and notable portraits. In Adolescence, Dorette is depicted seated nude on her bed, assessing herself in a dressing-table mirror, lost in her interior world. It is an idealisation of young womanhood, a subject that preoccupied much of Brockhurst’s career, but it is also a study of nascent sexuality. It remains Brockhurst’s most overtly sensual image.

47

ANDERS LEONARD ZORN (SWEDISH 1860-1920)

EARLY, 1914 (ASPLUND 262; HJERT AND HJERT 272)

signed in pencil (in the margin lower right), inscribed Tidigt in pencil (to reverse), etching on paper plate 17.7cm x 24.7cm (7in x 9 3/4in); sheet 32.6cm x 43cm (12 3/4in x 17in)

£800-1,200

48

PIERRE JEANNERET (SWISS 1896-1967)

WRITING CHAIR, DESIGN CONCEIVED CIRCA 1960

teak

84.5cm high, 71cm wide, 64cm deep (33 1/4in high, 28in wide, 25 1/4in deep)

£1,500-2,500

49

PIERRE JEANNERET (SWISS 1896-1967)

STOOL

stencilled PSY / 36 (to edge of seat), teak and enamelled steel

48cm high, 33cm diameter (18 7/8in high, 13in diameter)

£1,200-1,800

50

PIERRE JEANNERET (SWISS 1896-1967)

AUDITORIUM CHAIR

teak and upholstered seat and back

68.5cm high, 53.7cm wide, 48cm deep (27in high, 21 1/8in wide, 18 7/8in deep)

£1,500-2,000

51 PIERRE JEANNERET (SWISS 1896-1967)

PAIR OF EASY CHAIRS

teak and cane, one inscribed ‘DET RJA / R ROOM / C(o) / 77’ in white (to reverse) (2)

73.7cm high, 53.5cm wide (29in high, 21 1/8in wide)

£4,000-6,000

52

PIERRE JEANNERET (SWISS 1896-1967)

‘BOX’ CHAIR, DESIGN CONCEIVED CIRCA 1957

teak and cane

76.5cm high, 40.7cm wide, 45cm deep (30 1/8in high, 16in wide, 17 3/4in deep)

£1,000-1,500

53

PIERRE JEANNERET (SWISS 1896-1967)

ADMINISTRATIVE DESK, DESIGN CONCEIVED CIRCA 1960

teak

76cm high, 114cm wide, 71cm deep (30in high, 44 7/8in wide, 28in deep)

£3,000-5,000

54 PIERRE JEANNERET (SWISS 1896-1967)

THREE PANEL SCREEN painted teak and linen, the design conceived for the Secretariat, the Assembly and the Punjab University Administrative Buildings, Chandigarh each panel 160cm x 55cm (63in x 21 5/8in)

£3,000-5,000

55 §

CONROY MADDOX (BRITISH 1912-2005)

ENCHANTED ZONE, 1941

signed and dated (lower right), inscribed in pencil (to reverse), pen, ink and gouache on paper

27.7cm x 39cm (10 7/8in x 15 3/8in)

£1,000-1,500

56 §

JOHN MELVILLE (BRITISH 1902-1986)

RECLINING FIGURE

signed (lower left), charcoal and pastel on paper 30cm x 45cm (11 3/4in x 17 1/2in)

£300-500

57 §

SCOTTIE WILSON (BRITISH 1891-1972)

UNTITLED, CIRCA 1960

coloured ink and crayons

86.4cm x 61cm (34in x 21in), unframed

£800-1,200

58 §

JOHN ARMSTRONG (BRITISH 1893-1973)

ALGERIAN LANDSCAPE I, CIRCA 1930

initialled (upper right), oil on canvas

42.3cm x 52cm (16 5/8in x 20 1/2in)

Provenance

Annette Armstrong, wife of the Artist; The Mayor Gallery, London, 1985; Private Collection, London.

Literature

Andrew Lambirth, John Armstrong: The Paintings, London: Philip Wilson Publishers Ltd., 2009, pp.160-1, cat. no.99, illustrated.

Exhibited

The New Art Centre, London.

£4,000-6,000

OUT OF CONTEXT & OUT OF TIME: WORKS BY ALBERT REUSS

Albert Reuss’s work often evoked connections with Surrealism and in particular the work of Salvador Dalí and Giorgio de Chirico. Objects often inhabit and float in space: a dress-maker’s mannequin, three-legged chair or an isolated tree irregularly sit in abandoned landscapes having lost connection to their normal environment, which was presumably partly a reflection of Reuss’s own displacement.

Born in Vienna in 1889, Reuss gained success in his own country with his first one-man exhibition held at the Würthle Gallery in Vienna in 1926. The show sold well and brought him the security of a teaching post as well as election to the Künstlerbund Hagen in 1927; he continued to make a living from his art for the next decade in Austria. However, following the Anschluss in 1938 Reuss fled to Britain, leaving behind his reputation and never to return to his homeland.

After periods in St Ives and Cheltenham, Reuss and his wife eventually moved to Mousehole in Cornwall in 1948. They largely kept a distance from the thriving artistic community in St Ives and he continued with his distinctive style which was gentle and calm but with a melancholic tone.

The Kunsthandel Widder Gallery provided a fitting description of this post-war work:

‘Objects, floating relinquished through space and having lost any foothold, predominate his imagery...Ripped out of their natural context, those objects tell the story of a voyage, of a kind of abandonment of an object that does not fit in its new environment. Reuss’s artwork, style and choice of subject matter invoke an association with Surrealism. Dalí and Chirico are but the two most important artists…[who]…bring to mind Reuss’s artwork. Reuss’s depiction of people has a similarly estranged air about them as those of his objects. Taken out of context, of time, of place, the pictured people appear oddly strange. Melancholic and lonely, but also calm and gentle, Reuss’s creations remind the viewer of the art of Josef Floch.’

Reuss’s work is held in numerous significant galleries, notably the British Museum and the Victoria & Albert Museum, London, the Belvedere Gallery and Albertina in Vienna and the Newlyn Art Gallery in Penzance. He held regular one-man shows during his lifetime at the O’Hana Gallery in London from 1953, as well as receiving solo exhibitions in Birmingham and Cheltenham, amongst others.

59 §

ALBERT REUSS (AUSTRIAN 1889-1975)

SEATED WOMAN AT A TABLE

monogrammed (lower right), oil on canvas 61cm x 71cm (24in x 28in)

Provenance Private Collection, UK.

£600-800

60 §

ALBERT REUSS (AUSTRIAN 1889-1975)

RECLINING WOMAN, 1958

monogrammed and dated (lower left), oil on canvas 69cm x 79cm (27 1/4in x 31in)

Provenance Private Collection, UK.

£700-900

61 §

ALBERT REUSS (AUSTRIAN 1889-1975)

THE THREE-LEGGED CHAIR, 1966

monogrammed and dated (upper right), oil on canvas

79cm x 69cm (31in x 27 1/4in)

Provenance Private Collection, UK.

£700-900

62 §

ALBERT REUSS (AUSTRIAN 1889-1975)

THE DESOLATE TREE

monogrammed (upper right), oil on canvas

36cm x 46cm (14in x 18in)

Provenance Private Collection, UK.

£600-800

63 §

ALBERT REUSS (AUSTRIAN 1889-1975)

SCULPTURAL FORMS IN A ROOM, 1960

monogrammed and dated (upper left), oil on canvas

61cm x 51cm (16in x 20in)

Provenance Private Collection, UK.

£700-900

64 §

ALBERT REUSS (AUSTRIAN 1889-1975)

THE DRESS-MAKER’S MANNEQUIN, 1969

monogrammed and dated (lower left), oil on canvas

63.5cm x 76cm (25in x 30in)

Provenance Private Collection, UK.

£700-900

65 §

PAUL STOREY (BRITISH 1957-)

DAVID AND GOLIATH, 1989

acrylic on board

79.5cm x 60.5cm (31 1/4in x 23 7/8in)

Provenance

Fischer Fine Art Limited, London; Private Collection, London. £500-800

66 §

PETER BROOK (BRITISH 1927-2009)

A DIAMOND IS FOREVER

signed (lower left) and titled (centre left), oil on canvas

101cm x 126cm (39 3/4in x 49 5/8in)

The current work depicts the Northern Woollen Mills, Brighouse. £3,000-5,000

67 §

JOHN BANTING (BRITISH 1902-1972)

STILL LIFE OF PLANT oil on canvas

69.5cm x 90cm (27 3/8in x 35 1/2in)

Provenance Christies, London, 7 March 1986; Private Collection, London. £800-1,200

68 §

GIUSEPPI CESETTI (ITALIAN 1902-1990)

THE HORSE RACE signed (lower left), oil on canvas

40cm x 50cm (15 3/4in x 19 5/8in)

Provenance

Private Collection, London. £800-1,200

ROWLAND SUDDABY (BRITISH 1912-1972)

STILL LIFE BY WINDOW, 1945

signed and dated (lower right), oil on paper on board

40cm x 54.3cm (15 3/4in x 21 3/8in)

£800-1,200

ANTHONY GREEN R.A. (BRITISH 1939-2023)

VASE OF FLOWERS WITH ORANGE GERBERA, 2013

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

27.5cm x 22.5cm (10 3/4in x 8 7/8in)

Provenance

Chris Beetles, London; Private Collection, London.

Exhibited

Chris Beetles, London, Summer Show 2017, no.172.

Literature

Bailey, Martin (ed.), Anthony Green: Painting Life, London: Royal Academy of Arts, 2017, cat. no. AG551.

£400-600

69 §

70 §

71 §

OLWYN BOWEY R.A. (BRITISH 1936-)

BEEHIVES AND BRAMBLES oil on board

121cm x 120cm (47 5/8in x 47 1/4in)

Provenance

New Grafton Gallery, London. £3,000-5,000

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

FOLIATE HEADS II, 1975 (LEVINSON 246)

signed, dated and numbered 26/75 in white crayon, screenprint on Arches paper, published by Marlborough Fine Art

57cm x 75.5cm (22 3/8in x 29 3/4in)

£700-1,000

73 §

DENNIS CREFFIELD (BRITISH 1931-2018)

CHARTRES CATHEDRAL, 1990

signed and dated in pencil (lower right), charcoal on paper

79cm x 59cm (31 1/8in x 23 1/4in)

£700-1,000

74 §

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

SCOTNEY CASTLE, KENT (LEVINSON 265)

signed and numbered 27/120 in pencil (in the margin), lithograph on T H Saunders wove paper, printed by Curwen Studio, London, published by CCA Galleries, London sheet 48cm x 61cm (18 7/8in x 24in)

£500-800

75 §

BEN LEVENE R.A. (BRITISH 1938-2010)

BELLINI’S BLUES, 2005

monogrammed (lower right), signed, titled, dated and inscribed (to reverse), oil on board

65.7cm x 64.5cm (25 7/8in x 25 3/8in)

Provenance

Private Collection, UK.

Exhibited

Royal Academy of Arts, London, Summer Exhibition, 2006.

£800-1,200

76 §

BEN LEVENE R.A. (BRITISH 1938-2010)

GOLD STILL LIFE WITH ROCK CARNATION, 1992

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

80cm x 70cm (31 1/2in x 27 1/2in)

Provenance Private Collection, UK.

£800-1,200

77 §

PHILIP SUTTON R.A. (BRITISH 1928-)

A SUDDEN BREEZE!, 2011

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

48.2cm x 48.2cm (19in x 19in)

Provenance Private Collection, UK.

£1,200-1,800

79 §

JOSEPH HERMAN R.A. (BRITISH 1911-2000)

VASE OF FLOWERS

signed (to reverse), oil on board

41.7cm x 34.3cm (16 1/2in x 13 1/2in)

£2,500-3,500

78 §

JOSEPH HERMAN R.A. (BRITISH 1911-2000)

LANDSCAPE IN FRANCE, CIRCA 1958 oil on board

15cm x 20.5cm (5 7/8in x 8 1/8in)

Provenance

Rowland, Browse & Delbanco, London; Boundary Gallery, London; Private Collection, London.

£1,200-1,800

JANKEL ADLER (POLISH 1895-1949)

STILL LIFE WITH CANDLESTICKPREPARATIONS FOR THE SABBATH signed (lower right), oil on board 51.5cm x 62.5cm (20 1/4in x 24 5/8in)

Provenance

Redfern Gallery, London, 1957; Private Collection, UK; Bonhams, London, 23 October 2013, Lot 54, where acquired by the present owner. £10,000-15,000

81

GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI ‘IL RACCOLTO’ AND ‘LA PIGIATURA’ TILES, CIRCA 1930 from the Harvest series, manufacturer’s moulded and stamped marks RICHARD-GINORI / S. CRISTOFORO / MILANO / MADE IN ITALY to each tile (2) each 14.5cm x 14.5cm (5 3/4in x 5 3/4in) £800-1,200

82

GABRIELLA CRESPI (ITALIAN 1922-2017)

LARGE BOAR, CIRCA 1970 silver plated and Murano blown glass by Barovier & Toso 34cm high (13 3/8in high)

£1,000-1,500

83

EMILIO LANCIA (ITALIAN 1890-1973)

PAIR OF TABLE LAMPS, CIRCA 1965

brass and polished glass (2)

each 31cm high (12 1/4in high) (including shade)

£1,200-1,800

84

GABRIELLA CRESPI (ITALIAN 1922-2017)

STRUZZI TABLE LAMP, CIRCA 1970

gilt metal and ostrich egg

88cm high (34 5/8in high)

£1,500-2,500 85

ITALIAN COFFEE TABLE, CIRCA 1965

brass and polished glass

41cm high, 120cm wide, 59.7cm deep

(16 1/8in high, 47 1/4in wide, 23 1/2in deep)

£600-1,000

MARCO ZANUSO (ITALIAN 1916-2001)

PAIR OF ‘LADY’ LOUNGE CHAIRS, DESIGN CONCEIVED 1951

upholstery and brass (2)

81.2cm high, 79cm wide, 79cm deep (32in high, 31 1/8in wide, 31 1/8in deep) £4,000-6,000

87 §

PAOLO VENINI (ITALIAN, 1895-1959) AND FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI VASE, 1950S

unique, zanfirico glass

12cm (4 3/4in) high, 15.8cm (6 1/4in) wide, 14.5cm (5 1/2in) deep

Provenance

Purchased from the Venini Archive, circa 2000, by the present owner.

Literature

Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, Milan: Skira, 2016, p.120 for a black and white photograph including of a similar vase with zanfirico canes exhibited at the 9th Milan Triennale, 1951.

£700-900

88 §

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

two with VENINI MURANO ITALIA acid stamp, glass (3)

the black example 7.8cm high (3in high); the red example 7cm high (2 3/4in high); the yellow example 6cm high (2 1/4in high)

£600-800

89 §

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

the small clear red vase signed and dated Venini 2004, five with VENINI MURANO ITALIA acid stamp, glass (7)

the tallest 11.4cm high (4 1/2in high)

£1,200-1,800

90 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

‘FAZZOLETTO’ VASE, 2006

signed and dated Venini 2006, and with manufacturer’s label, glass 28cm high, 27cm wide (11in high, 10 5/8in wide)

£400-600

91 §

KEN SCOTT (AMERICAN 1918-1989) FOR VENINI

FISH, DESIGN CONCEIVED CIRCA 1951

light blue glass with a dark ametista (amethyst) Phoenician decoration

13cm long (5 1/4in long)

Literature

Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, Milan: Skira, 2016, p.428 for similar examples.

£300-500

92 § †

LUDOVICO DIAZ DE SANTILLANA (ITALIAN 1931-1989) FOR VENINI

TWO EGGS, DESIGN CONCEIVED CIRCA 1975-8

murrine glass (2)

the black example 7.5cm high (3in high); the red example 7.3cm high (2 7/8in high)

£300-500

93 MANNER OF DINO MARTENS (ITALIAN 1894-1970)

VASE

glass with white pulegoso glass and polychrome inclusion details

36cm high (14 1/4in high)

£600-800

ALESSANDRO PIANON (ITALIAN 1931-1984) FOR VISTOSI

PULCINO, CIRCA 1963

handblown glass, aqua blue with dark blue stripes, applied eyes and copper legs

17.7cm high, 21cm long (7in high, 8 1/4in long)

£3,000-5,000

FOR THE LOVE OF CATS: WORKS BY

LOUIS WAIN

In turn of the century Britain, the illustrations of Louis Wain were virtually inescapable. His world of anthropomorphised cats was so popular that there was demand for an annual, which ran from 1902 until 1921. He wrote and illustrated more than 100 children’s books over the course of his lifetime. Wain was additionally a recognised expert on the domestic cat and was elected President and Chairman of the National Cat Club.

As well as being thoroughly charming and skilfully executed, collectors are enthralled by the fact Wain’s art seems to deeply channel the eccentricities of the man himself. His life story is a bizarre and, in many ways, tragic one. It is perhaps unsurprising that it was recently dramatized on the big screen in The Electrical Life of Louis Wain (2021), starring Benedict Cumberbatch as Wain.

When his father died in 1880, Wain became the sole provider for his mother and five sisters. He was then tragically widowed after just three years of marriage in 1887. He and his remaining family lived together in Kent for much of his adult life. Despite great success as an illustrator over several decades, money was always short, spread across the large household. He was unable to secure much by way of copyright income and so did not receive royalties when his images were later widely reproduced. This subsequently led to the straitened circumstances he lived in when his health later failed.

After a three-year period living and working in New York, Wain returned to the family fold in 1910. Despite having been the creator of ubiquitous imagery for so long, by 1917 demand for his work fell away. Sadly, Wain was committed to a pauper’s asylum in South London in 1924, having been certified insane by his sisters. It has been speculated that he suffered from schizophrenia, though issues may also have been triggered by a serious head injury sustained after falling from an omnibus in 1914. Wain would spend the final 15 years of his life in hospital.

When it was discovered what had become of him, a fund was set up to raise money for Waint and his family. Ramsey MacDonald, the prime minister at the time, even arranged pensions for Wain’s sisters in recognition of their brother’s contribution to the arts. Wain himself was subsequently able to move to more comfortable housing in Bethlem Royal Hospital.

Wain continued working throughout his final years, famously producing fascinatingly intricate and esoteric images of cats in bright colours and swirling patterns. They have been viewed as precursors to ‘psychedelic art’ and indeed were unlike anything else of the period: spectacular and peculiar in equal measure.

The works offered here are from the peak of this unique artist’s career and are amongst some of the finest examples to have appeared on the market for some years. Hockey, c.1904, depicts a ferociously competitive cat hockey match with the viewer plunged into the thick of the action. It is one of Wain’s most recognisable and popular images, having been one of the widest published postcards of 1904-05. To Be Let Unfurnished is another fantastic example of Wain’s talent as a world builder: each cat has a sense of its own character, its individual plotline unfolding. The attention to detail is so involved, the characterisation so well observed, that it is easy to see why the nation took Wain’s imagery to their hearts and why his cause was taken up so generously when news of his sad fate reached society’s ears. Both works have been in the same family collection since at least as early as 1915 and it is with great pleasure that Lyon & Turnbull presents them to the market now, having been unseen by the general public for over 100 years.

LOUIS WAIN (BRITISH 1860-1939)

TO BE LET UNFURNISHED signed (lower right), pen, ink, watercolour, gouache and pencil on wove paper on Artist’s prepared board 51.7cm x 72.5cm (20 3/8in x 28 1/2in)

Provenance Private Collection, UK by 1915 and by family descent to the present owner. £10,000-15,000

96

LOUIS WAIN (BRITISH 1860-1939)

HOCKEY, CIRCA 1904 signed (lower left), pen, ink, watercolour, gouache and pencil on wove paper on Artist’s prepared board 42cm x 71.5cm (16 1/2in x 28 1/8in)

Provenance Private Collection, UK by 1915 and by family descent to the present owner.

This work was reproduced by the postcard publishing company John Beagles & Co. Ltd. around 1904-05 and was one of the most widely circulated postcards of the period.

£10,000-15,000

“He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves ”

H.G. Wells, 1925

97 §

BLAIR HUGHES-STANTON (BRITISH 1902-1981)

CASSIS, 1938

signed and dated (lower left), pen, ink and watercolour on paper 34.5cm x 50cm (13 5/8in x 19 3/4in)

Provenance Blond Fine Art Limited, London, 1984; Private Collection, London.

£1,000-1,500

98

JANKEL ADLER (POLISH 1895-1949)

NUDE, 1942, OPUS 96

signed and dated in ink (lower right), pencil on paper 21.3cm x 16.7cm (8 3/8in x 6 5/8in)

Exhibited Gimpel Fils, London, Jankel Adler: Works on Paper Part 2, 23 January - 8 March 2014.

£500-700

99 §

DAVID JONES C.H., C.B.E. (BRITISH 1895-1974)

FLOWERS ON THE WINDOWSILL, SIDMOUTH, CIRCA 1930 pencil and watercolour on paper

62.5cm x 50cm (24 1/2in x 19 5/8in)

Provenance

Anthony D’Offay, London, where acquired by Miss Juliet Plant, 1979; Brownsword Hepworth, London, where acquired by the present owner, 2006.

£5,000-8,000

100 §

KEITH VAUGHAN (BRITISH 1912-1977)

SELIGHEIT STUDY, CIRCA 1942

stamped with initials (lower left), watercolour on paper

8cm x 10.5cm (3 1/8in x 4 1/8in)

Provenance

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

£400-600

101 §

KEITH VAUGHAN (BRITISH 1912-1977)

DEVASTATION STUDY

watercolour on paper

7cm x 13cm (2 3/4in x 5 1/8in)

Provenance

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

£500-700

102 §

KEITH VAUGHAN (BRITISH 1912-1977)

DEVASTATION STUDY, CIRCA 1942

stamped with initials (lower right), watercolour on paper

6.7cm x 9cm (2 5/8in x 3 1/2in)

£500-700

103 §

CECIL COLLINS (BRITISH 1908-1989)

HEAD, 1976

signed and dated (lower right), oil on cardboard

20cm x 12.3cm (7 7/8in x 4 7/8in)

Provenance

Coach House Gallery, Norwich, 1990; Private Collection, London.

£800-1,200

105 §

CERI RICHARDS C.B.E. (BRITISH 1903-1971)

RAPE OF THE SABINE, 1948

initialled and dated (lower right), pen, ink and watercolour

sheet 20cm x 25.5cm (7 7/8in x 10in)

Provenance

Blond Gallery, London; Private Collection, London.

£1,000-1,500

104 §

MICHAEL AYRTON (BRITISH 1921-1975)

BOY WITH A ROSE, 1949

dated June 15th 1949 (lower right), pencil on paper 25.4cm x 17.8cm (10in x 7in)

Provenance

Private Collection, London.

£800-1,200

106 §

DAVID JONES C.H., C.B.E. (BRITISH 1895-1974)

MAN AND WOMAN

pen, ink and watercolour on paper

28.8cm x 25.7cm (11 1/4in x 10 1/8in)

Provenance

Austin Desmond Fine Art, London; Private Collection, London. £2,500-3,500

107 §

WILLIAM ROBERTS R.A. (BRITISH 1895-1980)

FAMILY OUTING, 1974

signed in pen (lower left), pencil, crayon and watercolour on paper

19cm x 14.5cm (7 1/2in x 5 3/4in)

Provenance

Campell & Franks (Fine Arts) Ltd, London, by August 1979; Private Collection, UK.

£3,000-5,000

108 §

WILLIAM ROBERTS R.A. (BRITISH 1895-1980)

FISHING, 1973

signed dated 73 in pen (lower right), pencil, crayon and watercolour on paper

18.5cm x 14cm (7 1/4in x 5 1/2 in)

Provenance

Campell & Franks (Fine Arts) Ltd, London, by August 1979; Private Collection, UK.

£3,000-5,000

109 §

KEITH VAUGHAN (BRITISH 1912-1977)

TWO BOATS

signed with initials (lower right), ink on paper 9cm x 13cm (3 1/2in x 5 1/8in)

Provenance

Wenlock Fine Art, Much Wenlock, where acquired by the present owner. £600-800

110 §

KEITH VAUGHAN (BRITISH 1912-1977)

FIGURES IN AN INTERIOR

stamped with initials (lower left), pencil on paper 15cm x 30cm (5 7/8in x 11 3/4in)

Provenance

Wenlock Fine Art, Much Wenlock, where acquired by the present owner. £800-1,200

111 §

KEITH VAUGHAN (BRITISH 1912-1977)

FOUR STUDIES

pencil on paper

26.3cm x 19.7cm (10 3/8in x 7 3/4in)

Provenance

The Artist’s Estate; Bonhams, London, 9 October 1990, lot 3; Private Collection, London.

£1,000-1,500

112 §

KEITH VAUGHAN (BRITISH 1912-1977)

FOUR STUDIES

pencil on paper

25.5cm x 19cm (10in x 7 1/2in)

Provenance

The Artist’s Estate; Bonhams, London, 9 October 1990, lot 3; Private Collection, London.

£800-1,200

ROY DE MAISTRE: ‘FELLAS DOING THINGS TO FELLAS’

Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.

De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).

The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).

Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors

that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.

In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.

The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.

All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).

As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)

114 §

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

MAN AND TREE, 1959

signed (lower right), oil on canvas

66cm x 51cm (26in x 20in), unframed

Literature

Johnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.165, fig.21, illustrated.

Heather Johnson noted that Man with Tree was based on a work by Matisse that had been reproduced in the 1934 edition of D’Aci I D’Alla, a magazine in de Maistre’s collection, and using the Matisse work as inspiration he imposed his own decorative surface to demonstrate his own style.

£4,000-6,000

113 §

ROY DE MAISTRE C.B.E.

(AUSTRALIAN/BRITISH 1894-1968)

CRUCIFIXION, 1945

signed (lower right), oil on canvas

25cm x 20.5cm (9 7/8in x 8in)

with label signed and inscribed THIS CRUCIFIXION, painted from notes and studies made at St. Jean-de-Luz in 1932 was begun on the day after the first atomic bomb was dropped on Hiroshimapainted in Sorrow for the innocent victims and in condemnation of those politicians who perpetrated this appalling act of mass murder in defiance of Christian love and compassion. / 13 Eccleston Street, London, 1945. (to reverse)

£4,000-6,000

115 §

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

TWO FIGURES

oil on board

41cm x 33cm (16 1/8in x 13in)

Literature

Johnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.27, plate 7, illustrated. £10,000-15,000

116 §

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

TOWN, CHURCH AND HOLIDAY CAMP, RHYL, WALES signed (lower right), pen, ink, watercolour and gouache on paper 36.5cm x 49cm (14 3/8in x 19 1/4in)

£6,000-9,000

The use of plywood transformed furniture design in the modern world. Unlike other materials commonly deployed in the 1930s, plywood could be moulded, shaped and formed in small scale workshops with the use of uncomplicated machinery that allowed pioneering designers to create new forms and furniture fit for the modernist age.

Plywood was swiftly commandeered by leading designers in Europe and America, such as Gerrit Rietveld, Alvar Aalto and Charles and Ray Eames. They used it to produce radical solutions and products for the modern home that were based on flowing, simple forms, both organic and elegant. In Britain plywood provided revolutionary opportunities for designers including Marcel Breuer and Gerald Summers.

Breuer, also an architect, was amongst a handful of creatives originating from the Bauhaus who emigrated from Germany to Britain in the 1930s. He soon became associated with Jack Pritchard and the Isokon Furniture Company. Pritchard was a consultant for Venestra, an Estonian plywood company and he asked Breuer to re-create some of his iconic aluminium designs in plywood. The ‘Long Chair’ and ‘Nesting Tables’ were originally part of a series of five pieces designed for Isokon around 1936 that became regarded as iconic landmarks of 20th century design in their commitment to craftmanship and simplicity, with the nesting tables being described as one of the simplest tables ever made.

‘Isokon advanced the cause of international design in 1930s Britain - simple, minimal and still so modern.’ (Margaret Howell)

Similarly, Gerald Summers’ furniture for Makers of Simple Furniture, including the current rare coffee skid, explored plywood’s potential, with pragmatic but inventive designs. They were a union of form and function that understood the need for space-saving and sleek modernist designs fit for a new style of living and were conceived, in Summers’ own words, as ‘furniture for the concrete age’.

‘SIMPLE, MINIMAL & STILL SO MODERN’: PLYWOOD & FURNITURE MADE FOR A MODERN WORLD

“ Form must have a content and that content must be linked with nature ”

Alvar Aalto

GERRIT RIETVELD (DUTCH 1888-1964) FOR G. A. VAN DE GROENEKAN

MILITARY CHAIR I, DESIGN CONCEIVED 1923 branded manufacturer’s mark H.G.M. / G.A.v.d.

GROENEKAN / OF BILT NEDERLAND., wood, plywood, nuts and bolts

91.5cm high, 41cm wide, 52cm deep (36in high, 16 1/8in wide, 20 1/2in deep)

Literature

Vöge, Peter, The Complete Rietveld Furniture, Rotterdam: 101 Publishers, 1993, pp.62-3, no.55, illustrated, for example of this model in differing colourway.

£4,000-6,000

The chair was originally made for the Catholic Military Home in Utrecht. With this model Rietveld made a departure from earlier methods of construction, with the front leg being connected to the inside stretcher by a lap joint and secured by a bolt, and the back leg is similarly constructed, but this time on the outside.

118 §

ALVAR AALTO (FINNISH 1898-1976) FOR ARTEK

PAIR OF DINING CHAIRS, DESIGN CONCEIVED 1935

model 66, with Finmar labels (to base), birch with red linoleum seat

78.5cm high, 38cm wide, 41cm deep (31in high, 15in wide, 16 1/8in deep)

£600-900

119

MARCEL BREUER (HUNGARIAN 1902-1981) FOR THONET

‘S285’ DESK

chrome and lacquered ashwood

72cm high, 164cm long, 76cm deep (28 1/4in high, 65 1/4in long, 30in deep)

£1,000-1,500

120

MARCEL BREUER (HUNGARIAN 1902-1981)

LONG CHAIR, DESIGN CONCEIVED 1936 laminated birch plywood

77.5cm high, 136cm long, 61.5cm wide (30 1/2in high, 53 1/2in long, 24 1/4in wide) £7,000-9,000

121

GERALD SUMMERS (BRITISH 1899-1967)

FOR MAKERS OF SIMPLE FURNITURE

RARE COFFEE SKID / TABLE, CIRCA 1933-6

birch plywood

45.4cm high, 87.7cm long, 40.5cm deep (17 7/8in high, 34 1/2in long, 16in deep)

Literature

Decoration, December 1936, illustrated. Until this point, this rare coffee skid has only been known from contemporary sources, with a drawing of the table, dated March 1933, in the firm’s archive, and an image of an example of this model in Summer’s flat and showroom in Charlotte Street in London. An example was illustrated in Decoration magazine in 1936 priced at £5 5s. £10,000-15,000

“ This is life, it’s about space, light, and colour. ”

Gerald Summers

A BACKGROUND FOR LIVING: PROPERTY FROM THE COLLECTION OF LESLIE MARTIN & SADIE SPEIGHT

Leslie Martin & Sadie Speight in their home, The Barn, Great Shelford, Cambridgeshire with Construction through a Plane c.1937 by Naum Gabo (1890-1977). Photograph by Lucinda Douglas-Menzies © Lucinda Douglas-Menzies, courtesy National Galleries of Scotl&

The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.

Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the

architect of some remarkable post-war buildings, including the Royal Festival Hall on London’s South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).

Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.

Leslie Martin & Sadie Speight’s set of three nesting tables by Marcel Breuer (centre foreground) in their home in Tring Park, Hertfordshire, 1953. House & Garden, February 1953, Photograph by Michael Wickham

One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a coeditor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.

In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.

Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.

Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)

Leslie Martin & Sadie Speight’s set of three nesting tables by Marcel Breuer (far centre) in their home in Tring Park, Hertfordshire, 1953 House & Garden, February 1953, Photograph by Michael Wickham

In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.

Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins’ home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

Two of Leslie Martin & Sadie Speight’s Thonet ‘Le Corbusier’ dining chairs in the second studio at The Mill, Great Shelford, Cambridgeshire, where they lived between 1956 & 1977

122

MARCEL BREUER (HUNGARIAN 1902-1981) FOR ISOKON

SET OF THREE NESTING TABLES, DESIGN CONCEIVED 1936

each stamped MADE IN ESTONIA (to underside), laminated birch plywood, manufactured by Venesta, Estonia for Isokon Furniture Company Ltd., London, United Kingdom (3) the largest 37cm high, 61cm wide, 45.5cm deep (14 1/2in high, 24in wide, 17 7/8in deep)

Provenance

Acquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the present owner.

This design was created in February 1936, around the same time as Breuer was perfecting the Long Chair. The earliest models of the nesting tables were made by Venesta in Estonia, with later production moved to England.

£3,000-5,000

“ Isokon advanced the cause of international design in 1930s Britainsimple, minimal and still so modern. ”

Margaret Howell

123

THONET

SET OF FOUR ‘LE CORBUSIER’ DINING CHAIRS

model no. B9, painted white bentwood with woven wicker seat (4)

82.5cm high, 52cm wide, 44cm deep (32 1/2in high, 20 1/2in wide, 17 1/2in deep)

Provenance

Acquired by Leslie Martin and Sadie Speight circa 1960 and thence by descent to the present owner.

£600-900

124

VICO MAGISTRETTI (ITALIAN 1920-2006)

SET OF FIVE ‘CARIMATE’ CHAIRS beech and rush seats (5)

75cm (29 1/2in) high, 52cm (20 1/2in) wide, 58cm (27 7/8in) deep

Provenance

Acquired by Leslie Martin and Sadie Speight in the late 1970s and thence by descent to the present owner

£700-1,000

125

SERGE CHERMAYEFF (RUSSIAN/BRITISH 1900-1996)

PAIR OF ‘PLAN’ CHAIRS, DESIGN CONCEIVED 1933

laminated beech plywood and upholstery (2)

77cm (30 1/4in) high, 66cm (26in) wide, 75cm (29 1/2in) deep

Provenance

Acquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the present owner.

£1,500-2,500

A POLYMATH IN ST IVES: WORKS BY BREON O’CASEY

Breon O’Casey was part of one of the later waves of young avant-garde artists drawn to the bustling fishing settlement of St Ives, arriving in his clapped-out orange Ford transit in 1959. A studio assistant of Denis Mitchell and of the inimitable Barbara Hepworth, O’Casey became a member of the Penwith Society of Arts and an active participant in the artistic life of the town. Highly productive and constantly experimental, O’Casey moved across different media with ease, with his visual language translating across such diverse artforms as painting, jewellery, printmaking, weaving and sculpture. This broad skillset made him relatively hard to pin down from a critical point of view and possibly explains why the spotlight took its time to home in on this fascinating and respected figure within the St Ives School. Since O’Casey’s death in 2011 however, curators and collectors have driven a wave of renewed appreciation of the work of this fascinating polymath.

Unconstrained to one medium, simple shapes of undulating and geometric form recur across much of his work. So too does a distinctive palette of earthy brown tones disrupted by jewel-like reds, greens and blues. His reference points are diverse: from his family roots in the Celtic revival (his father was Irish dramatist Sean O’Casey) and his interest in ancient and non-Western culture (for example the Navajo-inspired geometric patterns which appear in his weaving), to the distilled modernist forms of the Bauhaus and the work of St Ives forebears like Ben Nicholson.

One key recurring motif is the number three, which took on an almost magical quality for O’Casey. We can note this in the iconography of some of the pieces offered here. In the 1966 assemblage, Construction, we find three simple bands of colour reading as an abstracted, minimalistic take on a natural landscape, to the more monumental Duo, which places three band-like shapes to delineate space in the pictorial plane.

Sculpture became an increasing preoccupation, with O’Casey commenting that it “…took the place of weaving and jewellery as the antidote to painting. At first as a sideline, a relief from the anxieties of paint. But gradually it has taken on a more important role and I can say now that it is at least as important to me as painting and I devote an equal amount of time and thought to it.” O’Casey also remarked that, unlike his wholly abstract work in two dimensions, he was almost always drawn to figuration in his sculptural work, very often depicting birds or animals. In the excellent examples offered here we find his deceptively simple balancing act between modern and ancient lexicons, as well as the sense of an artist revelling in the joy of his craft.

Breon O’Casey in his painting studio.

Photo © Bob Berry

BREON O’CASEY (BRITISH 1928-2011)

LANDSCAPE ON BROWN, 1997

signed and dated in pencil (lower right), signed, titled and dated (to backboard), mixed media on paper

28.5cm x 40.5cm (11 1/4in x 16in)

Provenance

Yew Tree Gallery, Cornwall. £1,500-2,000

BREON O’CASEY (BRITISH 1928-2011)

DIVIDED CIRCLES, 2003

signed and dated (lower right), inscribed PP I (lower left), lithograph on paper sheet 83.7cm x 55.8cm (33in x 22 in); plate 62.8cm x 40cm (24 3/4 in x 15 3/4 in)

Provenance

Stoneman Graphics Ltd, where acquired by the present owner, December 2008. £800-1,200

127 §

126 §

128 §

BREON O’CASEY (BRITISH 1928-2011)

BIRD stamped BOC, white metal, in Perspex box on wooden stand

29.5cm high, 39.5cm wide, 7cm deep (11 5/8in high, 15 1/2in wide, 2 3/4in deep)

Provenance

Lynne Strover Gallery, Cambridge; Private Collection, UK.

£5,000-7,000

BREON O’CASEY (BRITISH 1928-2011) CONSTRUCTION, 1966

signed, dated and inscribed to Pat & Roger with love (to postcard to reverse), oil on board assemblage 35.7cm x 29cm (14in x 11 1/2in) including frame

Provenance

Gifted by the Artist to Roger and Pat Leigh, thence by descent; Askew Art, London; Private Collection, UK.

Roger Leigh (1925-97), who previously owned this work, was one of Barbara Hepworth’s assistants. £3,000-5,000

130 §

BREON O’CASEY (BRITISH 1928-2011)

CROUCHING FIGURE

stamped BOC, from the Sunbathers series, brass

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

Provenance Private Collection, UK.

Literature

Polan, Brenda, ‘A Passion for the Primitive’, The Sunday Times Magazine, 18 November 1990, pp.124-25, illustrated.

£1,500-2,500

131 §

BREON O’CASEY (BRITISH 1928-2011)

HEAD stamped BOC, white metal on wooden stand

15.5cm high (6 1/8in high) excluding base;

20.5cm high (8in high) including base

£2,000-3,000

BREON O’CASEY (BRITISH 1928-2011) SMALL FIGURE

“ It’s odd, but although my paintings are almost always abstract, my sculptures are almost always of some animal, bird or person. Why this is, I am not sure (nor do I care.) It’s as well to let questions like that alone.

Breon O’Casey

signed (to base), verdigris bronze on marble bronze 10cm high (4in high), 12.7cm high (5in high) including base £1,000-2,000

133 §

BREON O’CASEY (BRITISH 1928-2011)

DUO, 2009

signed, titled and dated (to backboard), acrylic on board relief 39.3cm x 68.5cm (15 1/2in x 27in)

£7,000-9,000

134 §

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

THREE CHRISTMAS CARDS

each inscribed in pen to Breon + Doreen [O’Casey] from Kath + Terry [Frost], and variously inscribed, one dated 1995 and one 2000, lithograph and gouache, collage and gouache and gouache on card (3)

the largest 13.5cm x 19cm (5 1/4in x 7 1/2in), unframed £600-800

135 §

JOHN WELLS (BRITISH 1907-2000)

TWO CHRISTMAS CARDS

each inscribed in pen to Breon, Doreen & Family [O’Casey] from John and variously inscribed, dated 1977 and 1980, linocut on paper (2)

11.5cm x 14.5cm (4 1/2in x 5 3/4in) and 11cm x 15cm (4 3/8in x 5 7/8in), unframed £400-600

136

DENIS MITCHELL (BRITISH 1912-1993)

SIX CHRISTMAS CARDS each inscribed in pen from Denis & Jane and variously inscribed and dated 1980, 1981, 1982, 1983, 1985 and 1988, linocut on paper (6) the largest 23cm x 7.5cm (9in x 3in)

£500-700

§

WORKS FROM AN IMPORTANT ST IVES ARTIST’S ESTATE

137 §

BREON O’CASEY (BRITISH 1928-2011)

FOUR CHRISTMAS CARDS

each inscribed by the Artist (to interior), gouache and collage on paper

the largest 11.5cm x 16.5cm (4 1/2in x 6 1/2in), all mounted together

£1,000-1,500

138 §

TREVOR BELL (BRITISH 1930-2017)

UNTITLED, SEPTEMBER 1957

signed and dated in pen (to reverse), gouache, crayon and pencil on paper 19cm x 14cm (7 1/2in x 5 1/2in)

£300-500

JOHN WELLS (BRITISH 1907-2000)

BIRD, 1951

signed, dated and numbered 2/25 in pencil (in the margin), linocut on paper 13cm x 19.5cm (5 1/8in x 7 3/4in).

£500-700

GEORGE DANNATT (BRITISH 1915-2009)

NORTHERN JOURNEY II / VARIATION II, 1980

inscribed to Denis from George and titled and dated 30 June 1980 (to backboard), pencil and pastel on paper 15cm x 11.8cm (6in x 4 3/4in)

£300-500

DENIS MITCHELL (BRITISH 1912-1993)

ONE AND TWO, 1955

signed and dated in pencil (lower right), woodcut on paper sheet 28.5cm x 28cm (11 1/4in x 11in)

£400-600

139 §

140 §

141 §

DENIS MITCHELL (BRITISH 1912-1993)

BALLET DANCER, 1949

signed, titled, dated and inscribed My first wood carving, carved from a piece of holly that Barbara [Hepworth] gave me (to base), holly 48cm high (19in high) excluding base Exhibited

Penwith Gallery, St Ives, 1949; Glynn Vivian Art Gallery, Swansea, 1979 (illustrated); Penwith Galleries, St Ives, 1992.

Mitchell recollected that this was ‘The first real sculpture I did and Ben Nicholson praised it to Miss Hodgy [Hodgkiss] who bought it and left it with the rest of her collection to the Tate who didn’t take it so it reverted to Hayle Hospice who inherited the rest of her Estate and they didn’t want it so they gave it back to me and I gave a donation of I think £50 to them. Sister Peggy was the nurse.’

£8,000-12,000

143 §

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

CHRISTMAS CARD, 1990

inscribed To Jennifer + Mike, With all best wishes for Xmas + 91, All our love from Kath & Terry (to reverse), linocut and collage

10cm x 13.5cm (4in x 9 1/4in)

£700-1,000

144 §

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

UNTITLED (FIGURE), 1962-84 (KEMP 30)

signed, dated 84 and numbered A/P 4, from the Artist’s Proof edition of 5 and several proofs, linocut, printed by the Artist, Cornwall 19.7cm x 25.3cm (7 3/4in x 9 1/4in)

£300-500

POLTAIR, 1964

aluminium on wooden base

49cm high (19 1/4in high) excluding base

£4,000-6,000

145 § DENIS MITCHELL (BRITISH 1912-1993)

147 §

DENIS MITCHELL (BRITISH 1912-1993)

MAEN, 1976

initialled DAM, titled and dated (to base), slate on marble base 17.8cm high (7in high) including base £1,000-1,500

OTHER PROPERTIES

146 §

BEN NICHOLSON O.M. (BRITISH 1894-1982) (AFTER)

TWO CIRCLES, 1945/1953

colour pochoir, produced by Ateliers Renson, Paris in 1953

plate 21.5cm x 20cm (8 1/2in x 8in), unframed £800-1,200

148 §

TREVOR BELL (BRITISH 1930-2017)

COASTAL COMPOSITION, 1955

inscribed Happy Christmas Etc Etc Trevor & De 1955 (to inside), ink and gouache on paper, laid down on folded card 19cm x 9cm (7 1/2 in x 3 1/2 in)

Provenance

Private Collection, London. £500-800

149 §

DENIS MITCHELL (BRITISH 1912-1993)

UNTITLED, 1969

initialled and dated (to underside of base), unique, brass on slate base

36.5cm high x 5cm wide x 3.5cm deep (14 3/8in high x 2in wide x 1 3/8in deep)

Provenance

Commissioned by the artist George Dannatt and thence by family descent; Askew Art, London, where acquired by the present owner.

Exhibited Maltby Contemporary Art, Winchester; Rosenberg & Co., New York.

Literature

George Dannatt and Friends, exhibition catalogue, Osborne Samuel, London, 2015, p.50, illustrated p.62; Modern British Masters, Rosenberg & Co., New York, 2017.

£5,000-7,000

150 §

DENIS MITCHELL (BRITISH 1912-1993)

TUMACO, 1970

signed DAM, titled, dated 70 and numbered 1/6 (to the underside of the base), polished and patinated bronze on slate base 10cm high, 23.7cm wide (4in high, 9 3/8in wide); 13.5cm high (5 3/8in high) including base Provenance Private Collection, London.

Exhibited

St Ives, Penwith Galleries, 1970 (another cast, details untraced);

London, Marjorie Parr Gallery, Denis Mitchell: Recent Sculpture 1969-71, 7-30 October 1971, cat. no.2, n.p. (another cast);

St Ives, Wills Lane Gallery, 1971 (another cast, details untraced);

Glasgow, Compass Gallery, Denis Mitchell: Sculpture, 20 February–15 March 1973 (another cast);

Malta, National Museum, Denis Mitchell and Misomé Peile, May-June 1973 (another cast);

Malta, National Museum, Circulating Exhibition No.40: Denis Mitchell - An Exhibition of Sculpture and Drawings, 1973-79, with tour to Cyprus, Greece, Yugoslavia, Malaysia, Indonesia, New Zealand and Korea, cat. no.11, illustrated p.9 (another cast);

Swansea, Glynn Vivian Art Gallery, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, cat. no.19, illustrated, n.p. (another cast);

St Ives, Penwith Galleries, Drawings, Paintings, Sculpture 1932-1992, 30 June-1 August 1992, cat. no.74, illustrated p.42 (another cast);

London, Flowers East, Denis Mitchell, 1993, cat. no.38 (another cast);

Swansea, Glynn Vivian Art Gallery, Denis Mitchell: Sculpture, 26 March-19 June 1994, cat. no.20 (another cast);

Aldeburgh, 48th Aldeburgh Festival, Aldeburgh Cinema Gallery, Patrick Heron and Denis Mitchell, 9-25 June 1995, cat. no.24 (another cast).

£6,000-8,000

JOHAN ROHDE (DANISH 1856-1935) FOR GEORG JENSEN

JUG, CIRCA 1925-32

model 653, stamped manufacturer’s mark, designer’s mark, GI925S and STERLING DENMARK, silver and ebony handle 18.5cm high (7 1/4in high) £800-1,200

152

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN

RING

model 154, stamped manufacturer’s mark, silver and green chrysoprase

ring size P/Q

£300-400

153

HENNING KOPPEL (DANISH 1918-1981)

AND ARNO MALINOWSKI (DANISH 1899-1976) FOR GEORG JENSEN

FOUR BROOCHES

model 306, stamped manufacturer’s mark, STERLING DENMARK / HK and with import marks for 1965, silver and enamel; together with two designed by Henning Koppel, model 368 and 375, and the other by Arno Malinowski, model no. 258, each stamped with manufacturer’s marks and 925S DENMARK and one Koppel brooch stamped with import marks for 1968 (4) 5cm wide, 6cm wide, 4.5cm wide and 3.5cm wide (2in wide, 2 3/8in wide, 1 3/4in wide and 1 3/8in wide)

£500-700

154

KNUD V. ANDERSON (DANISH) FOR ANTON MICHELSEN

BARK BRACELET

stamped 925S / KA / DANMARK and with manufacturer’s stamp, silver

internal width 5.3cm (2 1/8in)

£300-500

155 §

VIVIANNA TORUN BÜLOW-HÜBE

(SWEDISH 1927-2004) FOR GEORG JENSEN

PAIR OF EARRINGS

model 369, stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver

Drop: 6cm (2 3/8in)

£400-600

VIVIANNA TORUN BÜLOW-HÜBE

(SWEDISH 1927-2004) FOR GEORG JENSEN

BRACELET

model 203B, stamped manufacturer’s mark, 925S / DENMARK, the bracelet stamped TORUN, silver and quartz

internal width: 5.2cm (2in)

£500-700

157 §

VIVIANNA TORUN BÜLOW-HÜBE

(SWEDISH 1927-2004) FOR GEORG JENSEN

BRACELET

model 203, stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver and amethyst

internal width 5.3cm (2in)

£500-700

158 §

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN

COLLAR AND PENDANT collar model 160 and pendant model 133, each stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver set with amethyst internal width: 12.5cm (4 7/8in)

£1,000-1,500

159

BJÖRN

WECKSTRÖM

(FINNISH 1935-) FOR LAPPONIA

‘CREATURES NO. 5’ NECKLACE

stamped with manufacturer’s mark, 925, U7, STERLING FINLAND

LAPPONIA BJORN, silver and acrylic

pendant 7cm drop (2 3/4in); necklace 28cm long (11in long)

Literature

Aav, Marianne Aav and Nina Stritzler-Levine, (eds.), Finnish Modern Design: Utopian Ideals and Everyday Realities: 1930-1997, exh. cat., New Haven: The Bard Graduate Center for Studies in the Decorative Arts, 1998, p. 352, fig. 126 (for a similar example).

£500-700

160

BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA

NECKLACE AND PAIR OF EARRINGS

the necklace stamped 925, K8, STERLING LAPPONIA, the earrings each stamped 925, LAPPONIA (to back of clasp), silver pendant drop 2.2cm (7/8in); length of necklace 19cm (7 3/4in)

£300-500

COLLAR model A31B, stamped manufacturer’s mark and 925S DENMARK, silver internal width 11cm (4 1/4in)

Provenance Silver Group DK, Denmark; Private Collection, London. £300-500

NECKLACE model 210, stamped manufacturer’s mark, 925S / DENMARK, silver 37cm long (14 1/2in long)

£500-700

162

ANNE AMMITZBØLL (DANISH 1934-) FOR GEORG JENSEN

161 STEFFEN ANDERSEN (DANISH 1936-) FOR GEORG JENSEN

163

HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN

LOUNGE CHAIR, DESIGN CONCEIVED 1951

model JH516, teak and cane

80cm high, 72cm wide, 62cm deep (31 1/2in high, 28 1/8in wide, 24 1/2in deep)

Provenance

Dansk Mobelkunst, Copenhagen; Private Collection, London.

£800-1,200

164

HELGE VESTERGAARD-JENSEN (DANISH 1917-1987) FOR PEDER PEDERSEN

COFFEE TABLE

applied manufacturer’s label, teak

50.2cm high, 149.5cm long, 50cm deep (19 3/4in high, 58 7/8in long, 19 5/8in deep)

£1,800-2,200

165

JACOB KJAER (DANISH 1896-1957)

CABINET

Nordex, St. Kongensg. 59, Telf. C.13,510 label (inside one drawer), mahogany and brass

151.5cm high, 124cm wide, 45cm deep (59 3/4in high, 48 3/4in wide, 17 3/4in deep)

Provenance

Dansk Mobelkunst, Copenhagen; Private Collection, London.

£2,000-3,000

166

FINN JUHL (DANISH 1912-1989) FOR FRANCE & SON

PAIR

DESIGN

OF ‘SPADE’ CHAIRS,

CONCEIVED 1954 model 133, inset manufacturer’s labels, teak and upholstery (2) 77cm high, 73cm wide, 64cm deep (30 1/4in high, 28 3/4in wide, 25 1/4in deep) £2,000-3,000

167

KRESTEN BLOCH (DANISH 1912-1970) FOR ROYAL COPENHAGEN VASE

painted artist’s monogram and numbered 017, stamped and painted manufacturer’s mark 11cm high (4 3/8in high)

£300-500

168

TIMO SARPANEVA (FINNISH 1926-2006) FOR IITTALA

‘BIRDS HEAD’ VASE

signed and numbered TIMO SARPANEVA IITTALA ‘56’, polished glass 21.5cm high (8 1/2in high)

£300-500

169 § ‡

TAPIO WIRKKALA (FINNISH 1915-1985) FOR IITTALA

FIVE LEAF BOWLS

the larger bowls engraved TAPIO WIRKKALA IITTALA, one also engraved 55, the smaller bowls engraved T. WIRKKALA IITTALA, one also engraved FINLANDE, engraved glass (5) the largest 25cm long (9 7/8in long)

£800-1,200

170 §

TAPIO WIRKKALA (FINNISH 1915-1985) FOR IITTALA VASE, DESIGN CONCEIVED 1951

signed and numbered Tapio Wirkkala Iittala 3535 , comb cut glass

17.3cm high (6 7/8in high)

£400-600

172 §

VICKE LINDSTRAND (SWEDISH 1904-1983) FOR KOSTA CAVEMAN BOWL

signed and inscribed Kosta LG Y23 (or 123), engraved glass

5.7cm high, 21.3cm diameter (2 1/8in high, 8 3/8in diameter)

£300-500

171

EDVARD HALD (SWEDISH 1883-1980) AND KNUT BERGQVIST (SWEDISH 1873-1953) FOR ORREFORS

GRAAL VASE, CIRCA 1919

incised Hald S Graal Orrefors KB 815 HW, glass

17.7cm high (7in high)

£500-700

173

IRMA KUKKASJÄRVI (FINNISH 1941-2011) FOR RYIJYPALVELU

‘NUNNU’ RUG

artist’s name, title and manufacturer’s details to label (to underside), wool

173cm x 113cm (68 1/8in x 44 1/2in)

£400-600

174

ARNE JACOBSEN (DANISH 1902-1971)

FOR FRITZ HANSEN

‘SWAN’ CHAIR, 1957/2002

applied manufacturer’s label (to base), wool upholstery and aluminium

78cm high, 74.5cm wide, 72cm deep (30 5/8in high, 29 1/4in wide, 28 3/8in deep)

£600-900

175

HANS WEGNER (DANISH 1914-2007)

FOR AP STOLEN

OX CHAIR, DESIGN CONCEIVED 1960

model AP46, upholstery, leather and chrome plated steel

87.5cm high, 92cm wide, 92cm deep (34 1/2in high, 36 1/4in wide, 36 1/4in deep) £6,000-8,000

176

POUL HENNINGSEN (DANISH 1894-1967)

FOR LOUIS POULSEN

PAIR OF WALL LIGHTS

model PH4.5/3, patinated copper (2)

29cm high, 45.5cm wide, 53cm deep (11 3/8in high, 17 7/8in wide, 20 7/8in deep)

£2,000-3,000

177

PREBEN JUHL FABRICIUS (DANISH 1931-1984)

AND JØRGEN KASTHOLM (DANISH 1931-2007)

FOR IVAN SCHLECHTER

PAIR OF ‘SCIMITAR’ CHAIRS, DESIGN CONCEIVED 1963 model IS63, the leather impressed with manufacturer’s mark to each chair, and the frame impressed with manufacturer’s mark and STAINLESS/STEEL/DANMARK to one chair, leather and stainless steel (2)

66.5cm high, 82cm wide, 62cm deep (26 1/8in high, 32 1/4in wide, 24 1/2in deep)

£10,000-15,000

178

ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN ‘OX’ LOUNGE CHAIR AND OTTOMAN, DESIGN CONCEIVED 1966 model 4201, manufacturer’s label (to base of chair and ottoman), leather, aluminium and plastic the chair 102cm high, 98cm wide, 72cm deep (40 1/8in high, 38 1/2in wide, 28 1/4in deep); the ottoman 34cm high, 52cm wide, 51cm deep (13 1/4in high, 20 1/2in wide, 20in deep) £15,000-20,000

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

Hans Wegner

179 †

POUL KJAERHOLM (DANISH 1929-1980) FOR FRITZ HANSEN

PAIR OF ‘PK33’ STOOLS, 1958/2007

stamped manufacturer’s mark and applied label, leather and steel (2)

33cm high, 53.5cm wide (13in high, 21in wide)

£1,500-2,500

180

POUL KJAERHOLM (DANISH 1929-1980) FOR FRITZ HANSEN ‘PK24’ CHAISE LONGUE, 1965/2007

applied manufacturer’s label, leather and stainless steel

103cm (40 1/2in) high, 60.5cm (23 3/4in) wide, 130cm (51in) deep

£4,000-6,000

181

POUL KJAERHOLM (DANISH 1929-1980) FOR FRITZ HANSEN ‘PK61’ TABLE, 1956/1988 applied manufacturer’s label, marble and steel

32.3cm high, 85cm wide (12 3/4in high, 33 1/2in wide)

£1,000-1,500

182

GINO SARFATTI (ITALIAN 1912-1985) FOR ARTELUCE

RARE ADJUSTABLE FLOOR LIGHT, DESIGN CONCEIVED CIRCA 1951 model 1049/N, lacquered aluminium, steel, brass and marble

205cm high (80 5/8in high)

Literature

Krzentowski, Clémence and Didier Krzentowski (eds.), The Complete Designers’ Lights II, 35 Years of Collecting, Paris, 2014, p. 34 for an example of this model.

£20,000-30,000

“ Sarfatti had no rules to be respected, nor traditions to uphold. He was more like an explorer of new territories

”

Silvana Annicchiarico

185

PIERRE CHAPO (FRENCH 1927-1987)

‘SAHARA’ CHAIR, 1960S

model S10, elm and leather

74cm high, 67.5cm wide, 65cm deep (29in high, 26 1/2in wide, 25 1/2in deep)

£1,000-2,000

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

SIX DSR CHAIRS, DESIGN CONCEIVED 1950

two numbered A152, two A153 and two 153J, moulded manufacturer’s mark (to underneath), fibreglass and enamelled metal (6)

79.5cm high, 46.5cm wide (31 1/4in high, 18 1/4in wide)

£500-800

184

JORGE ZALSZUPIN (BRAZILIAN 1922-2020) FOR L’ATELIER T-INVERTIDO

PAIR OF ‘OXFORD’ CHAIRS

manufacturer’s label dated 22/3/73 to one chair, tan upholstery and chrome

72cm high, 62.5cm wide, 70cm deep (28 1/4in high, 24 1/2in wide, 27 1/2in deep)

£2,000-3,000 Right

186 §

LE CORBUSIER (SWISS/FRENCH 1887-1965), PIERRE JEANNERET AND CHARLOTTE PERRIAND FOR CASSINA

‘LC4’ CHAISE LONGUE stamped manufacturer’s mark, facsimile signatures and numbered LC4 108277 (to frame), leather and patinated and chromed steel 85cm high (adjustable), 163cm long, 56cm deep (33 1/2in high (adjustable), 64 1/8in long, 22in deep)

£800-1,200

187

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

LOUNGE CHAIR AND OTTOMAN

model 670 and 671, applied manufacturer’s labels (to base of chair and ottoman), leather and walnut

chair: 85cm high, 83cm wide (33 1/2in high, 32 3/4in wide)

£2,500-3,500

GEOFFREY CLARKE: INTIMATE YET MONUMENTAL

The works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.

Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.

Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.

Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 194994, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.

The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its

surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.

Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.

Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

188 §

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

HEAD I, 1951 (LEGROVE S36)

iron on aluminium, unique 18cm high (7in high) Provenance Private Collection, UK.

Exhibited

Gimpel Fils, London, Geoffrey Clarke, Peter Potworowski, March - April 1952, no.41; Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures, March - April 1965, no.49; Yorkshire Sculpture Park, Wakefield, Geoffrey Clarke RA: Sculpture and Works on Paper 1950-1994, April-June1994, illustrated cover.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.29, S36, illustrated on the cover.

A cross on the top was missing by 1965 and has never been restored. £1,500-2,500

189 §

GEOFFREY CLARKE

R.A. (BRITISH 1924-2014)

TORII PRONE ONE (I), 1965 (LEGROVE S276)

stamped artist’s mark, numbered 1/10 and 512 and dated 65, aluminium

10cm high, 19.5cm wide (4in high, 7 5/8in wide)

Provenance

Purchased from Whitford Fine Art, London in 2002 by the present owner.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund

Humphries, 2017, p.106, S276, illustrated.

£1,200-1,800

190 §

GEOFFREY CLARKE

R.A. (BRITISH 1924-2014)

TORIIO, 1965 (LEGROVE S294B)

stamped with the artist’s mark, numbered 3/10 and 533 and dated 65, aluminium

15.2cm high, 7.5cm wide (6in high, 3in wide)

Provenance

Purchased from Whitford Fine Art, London in 2002 by the present owner.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund

Humphries, 2017, p.110, S294b, illustrated.

£1,000-1,500

191 §

GEOFFREY CLARKE

R.A. (BRITISH 1924-2014)

COLUMN, 1993 (LEGROVE S692)

stamped artist’s mark, aluminium

26cm high (10 1/8in high)

Provenance Private Collection, UK.

Exhibited

Chappel Galleries, Chappel, Geoffrey Clarke

RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated.

£1,500-2,500

192 § GEOFFREY CLARKE

R.A. (BRITISH 1924-2014)

PYRAMID, 1993 (LEGROVE S703)

stamped artist’s mark, aluminium

20.5cm high (8in high)

Provenance Private Collection, UK.

Exhibited

The Fine Art Society

Limited, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, 9 October - 2 November 2000, no.75.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund

Humphries, 2017, p.211, SS703, illustrated. £1,000-2,000

193 §

GEOFFREY CLARKE R.A. (BRITISH 1924-2014) MAQUETTE FOR SAINSBURY SCULPTURE COMPETITION (CLIMBER), 1965 (LEGROVE S260A)

stamped artist’s mark, aluminium

26.6cm high (10 1/2in high)

Provenance

Private Collection, UK.

Literature

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund

Humphries, 2017, p.100, S260a, illustrated.

This is one of a series of maquettes for a sculpture submitted to a competition for a site between the King’s Road, Chelsea and a new branch of Sainsbury’s. This example was later titled Climber

£1,000-2,000

196 §

194 §

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

SEA AT ALDEBURGH, 1978

initialled and dated (lower right), mixed media on polystyrene

11cm x 14.5cm (4 1/4in x 5 3/4in)

Exhibited

Strand Gallery, Aldeburgh, Geoffrey Clarke RA and the Aldebrugh Connection, 16 October - 20 November 2004. This was one of two works acknowledged by Clarke to have been inspired by Aldeburgh. Clarke owned the Martello Tower there and he and his family enjoyed trips to the seaside at Aldeburgh.

£700-1,000

195 §

DUŠAN DŽAMONJA (SERBIAN 1928-2009)

UNTITLED, 1970

signed, dated and numbered 6/2, bronze

9.5cm high, 12.5cm wide (3 3/4in high, 4 7/8in wide)

Provenance

Gimpel Weitzenhoffer Gallery, New York; Gimpel Fils, London.

£1,000-1,500

ROBERT ADAMS (BRITISH 1917-1984)

UNTITLED (FIGURE, TREE, BIRD), 1949 aside from the edition of 20, lithograph with possible hand-colouring

45cm x 33.5cm (17 3/4in x 13 1/4in)

£500-700

197 §

BERNARD MEADOWS (BRITISH 1915-2005)

FISH RELIEF, 1955, OPUS 19

from the edition of 6 and 1 A/C (6 bronze, 1 brass and 1 plaster), plaster

39.5cm x 57.5cm (15 1/2in x 22 5/8in)

Provenance

The Artist (ex. 3684); Muller Collection; Gimpel Fils, London.

Exhibited

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

Literature

Bowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries,1995, p.138, BM35 for the bronze example.

£1,000-2,000

198 §

BERNARD MEADOWS (BRITISH 1915-2005)

RELIEF FOR LITTLE AUGUSTUS, 1962

bronze

36cm x 22cm (14 1/8in x 8 5/8in)

Provenance

Chappel Galleries, Chappel, 2001; Private Collection, London.

Exhibited

Chappel Galleries, Chappel, Bernard Meadows Drawings and Sculpture, 31 March - 21 April 2001.

£3,000-5,000

199 §

BERNARD MEADOWS (BRITISH 1915-2005)

POINTING FIGURE, 1967, OPUS 91

3/3, verdigris bronze

53.5cm high, 90cm wide (21in high, 35 1/2in wide)

Provenance

Gimpel Fils, London.

Exhibited

Syon Park, Summer 1970, cat. no. 14; Royal Academy of Arts, London, British Sculptors, January - March 1972; Chalk Farm Library, London, 1975 - 2016 (long-term loan); Gimpel Fils, London, Collector’s Choice, 16 January - 4 March 2017; Gimpel Fils, London, Modern British Sculpture, 3 October - 31 October 2017.

Literature

Bowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries, 1995, p.98, pl. 82, BM107, polished bronze example illustrated.

£4,000-6,000

200 §

ROBERT ADAMS (BRITISH 1917-1984)

VERTICAL FORM NO.1, 1965, OPUS 237

stamped and dated ADAMS 1965 (to base), bronzed steel

154.9cm high (61in high)

Provenance

Private Collection; Gimpel Fils, London.

Exhibited

Gimpel Fils, London, Robert Adams, 4 - 29 October 1966, no. 8.

Literature

Grieve, Alastair, The Sculpture of Robert Adams, London: Henry Moore Foundation in association with Lund Humphries, 1992, p.216, no. 486, illustrated.

The results of Adams’s unusual training of evening classes at Northampton School of Art, followed by two years of independent study and experimentation, gained him his first solo exhibition, at Gimpel Fils in London in 1947; this marked the beginning of a long and fruitful relationship between artist and gallery. A teaching post in the capital’s Central School of Art provided the opportunity to learn how to weld, with the result that Adams became one of the pioneers of this technique in British sculpture, along with Reg Butler and Lynn Chadwick. Vertical Form No. I of 1965 shows how Adams’ mastery of welding resulted in works of dignified, abstracted beauty. It encapsulates his favoured asymmetry and acute sympathy with the quality of his materials and was included in a solo exhibition at Gimpel Fils the following year.

As the critic Edwin Mullins wrote in 1968: ‘I believe that the essence of Adams’s brand of non-figurative sculpture lies in its capacity to embody in still metal the tensions and rhythms of the human form in motion.’ (Sunday Times, 15 Sept 1968, quoted by Alastair Grieve, The Sculpture of Robert Adams, Lund Humphries, 1992, p.9). Moreover, in his introduction to Adams’ touring retrospective exhibition of 1971, Charles Spencer declared: ‘There is a weightless elegance in all his sculpture, the result of superlative craftsmanship, an instinct for design and a refusal to over-state.’

£8,000-12,000

201 §

WILLIAM CROZIER (IRISH 1930-2011)

EASTWOOD, 1964

signed (lower left) and signed (to reverse), oil on canvas

80cm x 69.5cm (31 1/2in x 27 3/8in)

Provenance

Arthur Tooth & Sons, London.

£4,000-6,000

202 §

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

PRAYER TO VENUS, 1975, OPUS O.810

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

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

Provenance

Gimpel Fils, London.

Exhibited

Caronne Gallery, Florida, January 1978; Gimpel and Weitzenhoffer, New York, Alan Davie: Works of the Seventies, January 1992.

£8,000-12,000

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

49.3cm x 39cm (19 3/8in x 15 3/8in)

Provenance

Private Collection, London.

£600-800

COPPERFIELD, 2006

signed and dated (to reverse), acrylic on canvas

61cm x 61cm x 5.2cm (24in x 24in x 2in)

Provenance

Gimpel Fils, London; Private Collection, UK.

£3,000-5,000

203 §

ALBERT IRVIN O.B.E. R.A. (BRITISH 1922-2015)

204 § VIRGILIO GUIDI (ITALIAN 1891-1984)

205 §

ALBERT IRVIN O.B.E. R.A. (BRITISH 1922-2015)

OLIVE, 1983

signed and dated (to the reverse) and signed (to stretcher), acrylic on canvas

177.8cm x 203.2cm (70in x 80in)

Provenance

Private Collection, New York; Gimpel Fils, London.

Exhibited

Gimpel Fils, London, Albert Irvin, September 1984. £6,000-10,000

206

THOMAS YEO (SINGAPOREAN 1936-)

UNTITLED signed (lower left), oil on canvas

81.3cm x 61cm (32in x 24in)

£2,000-3,000

207

THOMAS YEO (SINGAPOREAN 1936-)

UNTITLED signed (lower right), oil on canvas

101.5cm x 127cm (40in x 55in)

Provenance Private Collection, UK.

£3,000-5,000

208 §

ALBERTO MORROCCO

R.S.A., R.S.W., R.P., R.G.I., L.L.D. (BRITISH 1917-1998)

STILL LIFE WITH MELON, CIRCA 1968

signed (upper right), titled in pen on label (to reverse), wood relief and gesso paint on board 93.5cm x 93.5cm (36 3/4in x 36 3/4in)

Provenance

Property of the Artist’s Children, December 1990; Christie’s, London, A Celebration: The Studio of Alberto Morrocco & Binrock House, Dundee, 11 July 2012, lot 13. £4,000-6,000

209

JOHN VON WICHT (AMERICAN 1888-1970)

UNTITLED, CIRCA 1950

signed in pencil (lower right), ink and coloured crayons on paper

37cm x 48cm (14 1/2in x 18 7/8in), unframed

£600-900

210 §

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

DREAM OF THE BATTLE OF FOUR GUNS, 1996. OPUS O.1347 signed, titled and dated (to reverse), oil on canvas

183cm x 152cm (72in x 59 3/4in)

Provenance

Gimpel Fils, London.

Exhibited

ACA Galleries, New York, Alan Davie, March - April 1997.

£4,000-7,000

PIERO FORNASETTI: DESIGNER OF DREAMS

Piero Fornasetti’s oeuvre stands as a testament to his lifetime obsession with art and design. Unrelenting in his pursuit of ornate decoration, irony and illusion, Fornasetti created a unique dream-like world blending classical and exotic imagery to create a globally recognised style that has withstood the test of time.

From the very beginning of his career, Fornasetti’s purpose and direction was always clear to him, as he recalled in 1987: ‘I was born a painter. I began at the age of ten. Nobody in the workshops where I went could teach me. I learned from books, lithography and etching, all this before the founding of specialised schools.’

The roots of Fornasetti’s designs are firmly placed in the past. Over his lifetime he collected an extensive library of engravings which fuelled his imagination with Classical and Renaissance imagery. These images became the basis of all Fornasetti’s work and whilst his designs were never taken from any particular print, he recreated their likeness through the meticulous use of lines and dots. Fornasetti was an excellent draughtsman and printer and evolved the concept of the engraving aesthetic through playful use of scale and composition. Within the sale this is demonstrated with the Adam and Eve coasters (Lot XX) where Fornasetti portrays this well-known story across 16 different coasters. By taking the image away from a more traditional context, Fornasetti introduces his style to a whole new audience and by breaking down the image into individual parts he encourages the viewer to use their imagination to complete the picture.

Further influences came from Surrealist Metaphysical paintings by Alberto Savinio and Giorgio de Chirico, as well as artists like Pablo Picasso and Jean Cocteau. Fornasetti embraced the playful ideas of Surrealism, injecting a sense of humour and irony into his work. He was also fascinated by the correlation between architecture and furniture in that both have façades and doors which open to reveal interior spaces.

In the 1950s Fornasetti embarked on a collaboration with Gio Ponti which was to bring the two men international recognition. Both were devoted to ideas of over-decoration and set about designing pieces which conjured illusions to hide the functionality of the object. By adapting 17th- and

18th-century prints to the exact dimensions of bureau desks Fornasetti transformed each one into a piece of monumental Italian architecture completely disguising their original purpose. Perhaps it is not surprising that Ponti’s belief in his long-time collaborator’s ability was so great that he proclaimed he had the ability to ‘make an object speak’.

Fornasetti’s chair backs of Ionic and Corinthian capitals are perhaps the most well-known examples of his use of classical architecture. Two original examples from 1950s, together with a Renaissance inspired ‘Boomerang’ chair, are presented in this sale (lots 219, 220 and 221) . Musical instruments were a favourite motif for Renaissance artists and Fornasetti immersed himself in this tradition. He was especially intrigued by their shape and the sound images that they evoked.

Around this time the principles of Modernist design were starting to gain popularity. Ornamentation and representation of historical and natural references had fallen out of fashion in favour of a simplistic function- led approach. Unfortunately for Fornasetti these were the very things that he had dedicated his life to creating and subsequently with time his designs started to lose their appeal. However, he was resolute in his approach, arguing that an artist who compromised their beliefs in order to be successful was no longer an artist. He stated:

‘He is a person who wants to have success. If he conforms to fashion, he will arrive late because by now everyone has already conformed. Therefore, perhaps the idea is not to conform but to be original. For example, I am suggesting the idea of creating fashion items that never go out of fashion.’

England was central to the rediscovery of Fornasetti in the 1980s when two designers Guiliana Medda and Lilian Fawcett opened their shop Themes and Variations in London. Selling a wide selection of Fornasetti objects they encouraged a revival of 1950s fashions. In 1991 the Victoria & Albert Museum held a comprehensive retrospective of Fornasetti’s work supported by his son Barnabus. This led to a resurgence of interest in and the popularity of the artist which has lasted ever since. It is thus fitting that when he died in 1988, the card announcing Fornasetti’s death simply said: ‘My fantasy is always with you’.

211

PIERO FORNASETTI (ITALIAN 1913-1988)

‘MONETE’ TRAY, CIRCA 1950 manufacturer’s paper label FORNASETTI

MILANO / MADE IN ITALY (to reverse), lithographic transferprinted and metal

58.5cm x 47cm (23in x 18 1/2in)

£800-1,200

212

PIERO FORNASETTI (ITALIAN 1913-1988)

TWO PLANTERS, CIRCA 1960 each with manufacturer’s stamp FORNASETTI

MILANO / MADE IN ITALY (one to underside, one to inside of heel), ceramic (2) each 9cm high, 9cm wide, 20cm deep (3 1/2in high, 3 1/2in wide, 7 7/8in deep)

£600-800

213 ‡

PIERO FORNASETTI (ITALIAN 1913-1988)

SIX ‘ASTROLOGY’ PLATES, 1966-71 printed manufacturer’s marks, porcelain (6) 21cm diameter (8 1/4in diameter)

£700-900

214

PIERO FORNASETTI (ITALIAN 1913-1988)

‘TIGER’ TRAY, CIRCA 1960

manufacturer’s paper label FORNASETTI MILANO / MADE IN ITALY (to reverse), lithographic transfer-printed and metal 39.5cm diameter (15 1/2in diameter)

£700-1,000

PIERO FORNASETTI (ITALIAN 1913-1988)

‘NATURA MORTA’ TRAY, CIRCA 1950

manufacturer’s paper label FORNASETTI MILANO / MADE IN ITALY (to reverse), lithographic transfer printed and metal 39cm x 50cm (15 1/2in x 19 1/2in)

£500-800

216

PIERO FORNASETTI (ITALIAN 1913-1988)

‘CAMMEI’ MIRROR, CIRCA 1950

manufacturer’s paper label FORNASETTI MILANO/ MADE IN ITALY (to reverse), lithographic transfer-printed and lacquered wood, mirrored glass 48cm x 48cm (18 7/8in x 18 7/8in)

£1,500-2,000

217 †

PIERO FORNASETTI (ITALIAN 1913-1988)

‘VINI E LIQUORI’ COASTER SET

218 †

PIERO FORNASETTI (ITALIAN 1913-1988)

‘ADAM’ AND ‘EVE’ COASTER SETS, CIRCA 1965 comprising 16 coasters, printed manufacturer’s marks (to reverse of each coaster), porcelain, in original boxes (16)

Adam Coasters: 10.5cm diameter (4 1/8in diameter); Eve Coasters: 9.8cm diameter (3 7/8in diameter)

£700-1,000

219

PIERO FORNASETTI (ITALIAN 1913-1988)

‘CAPITELLO IONICO’ CHAIR, CIRCA 1960

manufacturer’s paper label FORNASETTI MILANO / MADE IN ITALY (to underside), lithographic transfer-printed and wood

94cm high, 41cm wide, 45cm deep (37in high, 16 1/8in wide, 17 3/4in deep)

£1,500-2,000

220 PIERO FORNASETTI (ITALIAN 1913-1988)

‘CAPITELLO IONICO’ CHAIR, CIRCA 1960 manufacturer’s stamp FORNASETTI MILANO / MADE IN ITALY (to underside), lithographic transfer-printed and wood

94cm high, 41cm wide, 45cm deep (37in high, 16 1/8in wide, 17 3/4in deep)

£1,500-2,000

221 PIERO FORNASETTI (ITALIAN 1913-1988)

‘STUMENTI MUSICALI’ BOOMERANG CHAIR, CIRCA 1950 lithographic transfer-printed and wood

83cm high, 42cm wide, 55cm deep (32 5/8in high, 16 1/2in wide, 21 5/8in deep)

£3,000-5,000

“ Our work is without limits, full time. There is no schedule, day or night. I translate my dreams into reality, whatever I do. ”

Piero Fornasetti

223 §

DAVID HAUGHTON (BRITISH 1924-1991)

LAFROWDA TERRACE, ST JUST, 1956

signed (lower left), oil on board

56.5cm x 46.5cm (22 1/4in x 18 1/4in)

Provenance

Bonham’s, London, 20th Century British Art, 2 July 2008, lot 47, where acquired by the present owner.

£1,500-2,500

222 §

TONY GILES (BRITISH 1925-1994)

CORNISH MINE

signed (lower right), oil on board

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

Provenance

Sandes Gallery, Penzance; Private Collection, London.

£800-1,200

224 §

BRYAN PEARCE (BRITISH 1929-2007)

THE STELLA (TRINITY BOAT), 1966

signed in pen (lower centre), pen, ink and pencil on paper 24.2cm x 33.2cm (9 1/2in x 13 1/8in)

Provenance

The New Art Centre, London; Private Collection, London.

£800-1,200

225 §

BRYAN PEARCE (BRITISH 1929-2007)

CORNISH MINE

signed (lower right), oil on board 61cm x 50.7cm (24in x 20in)

£5,000-8,000

226 §

KATE NICHOLSON (BRITISH 1929-2019)

STUDY IN LILAC AND GREY, SOMERSET, CIRCA 1955 signed and titled (to reverse), oil on board 73.5cm x 48cm (29in x 19in)

Provenance

Private Collection, St Ives, from whom acquired by the present owner

We are grateful to Jovan Nicholson for his help in researching this painting. £2,000-3,000

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

UPWARD MOVEMENT, 2006 (BASFORD 47)

signed in pencil (lower right), etching and aquatint on Hahnemtühle paper, printed by Richard Kimmerling, published by the Strand Gallery

37cm x 37cm (14 1/2in x 14 1/2in)

This is a rare signed example of Upward Movement, as an edition of 20 were to be signed but Blow passed away before she was able to do so. It was originally commissioned by the Strand Gallery for a planned black and white exhibition of her work in 2007.

£1,000-1,500

228 §

TREVOR BELL (BRITISH 1930-2017)

CORNERSTONE, 2003

signed and dated (lower left), titled (lower right) and signed, dated and titled in pencil (to reverse), oil on paper

49.5cm x 69.5cm (19 1/2in x 27 3/8in)

£800-1,200

227 §

229 §

PAUL FEILER (BRITISH 1918-2013)

UNTITLED, 1963

signed and dated in pencil (lower right), coloured crayons on paper

32cm x 31cm (12 5/8in x 12 1/4in)

Provenance

Austin/Desmond Fine Art Limited, London from where acquired in 1995 by the present owner. Private Collection, UK.

£2,000-3,000

230 §

TREVOR BELL (BRITISH 1930-2017)

SEA EDGE MOVEMENTS, 1958

signed and dated Bell 58 (lower right), mixed media on paper

63.5cm x 51cm (25in x 20in)

Provenance Private Collection, London.

£1,200-1,800

231 §

TREVOR BELL (BRITISH 1930-2017)

MOVEMENT OF BLACK (NIGHT VOYAGE), 1958

signed and dated (lower right), signed, titled and dated (to reverse), oil on board 122cm x 149.8cm (48in x 59in)

Provenance

Waddington Galleries, London, where acquired by Mr Adamson; Christie’s London, Post-War & Contemporary British Painting, 8 March 1991, lot 174; with Tadema Gallery, London; Private Collection, London.

£6,000-8,000

A JOURNEY FROM SOCIAL REALISM TO ABSTRACT EXPRESSIONISM: WORKS FROM THE ESTATE OF ANTHONY BENJAMIN

Few artists successfully span both Modern and Contemporary periods in British art whilst moving between multiple mediums. Anthony Benjamin (1931-2022) was one such polymath working in painting, drawing, printmaking and sculpture in wood, metal and plastic. Benjamin wrote that, for him, ‘an idea is more important to a man than any physical object’, in the catalogue for his 1966 exhibition at the Institute of Contemporary Arts in London.

Chris Stevens, then curator of modern British art and Head of Displays at Tate Britain, described Benjamin as ‘an anarchist who ignored trends and forged his own path’. A bit of a loner and a bit of a thinker, Benjamin was quick to accept opportunities to work in new spaces, learning from the best. It was in Paris in the late 50’s, at Atelier 17 with William Stanley Hayter, that he experimented with new forms of painting, moving away from the landscape abstraction of St Ives. However, a constant in his practice was a precision of line, an incomparable quality of execution and an intense understanding of colour and form. Benjamin thought as he made and his thinking was always one-step ahead of the rest.

It was during the 1970s, in collaboration with leading printer Kevin Harris at Calvert Studio, that Benjamin produced his seminal series of screenprints Roxy Bias Suite. Inspired by his student Brian Eno, Benjamin was fascinated by the new electronic music Eno was composing. Each of the six images in the series was named after computer music terms such as Inverse Echo and Multi-Mode Jitter. The screenprints use outrageously clashing bold colours, almost as if electrified and challenge the viewer with uncompromising energy. Sumptuous pieces, they were both of the time but also way-ahead of their time.

No matter what Benjamin turned his hand to the results were always perfectly executed. In the 1990s he returned to drawing with a solo show at Gimpel Fils in London. Large scale works, they are more paintings in graphite than drawings. Involving a complex range of techniques of masking and erasure, of painting with graphite dust as well as drawing with broad pencils, these works incorporate texture and atmosphere, geometric

forms, polar whites and intense blacks. They are some of the most powerfully evocative images that Benjamin produced.

Throughout his career Benjamin held teaching posts at a variety of colleges of art and universities including time spent in the USA and Canada as Professor of Art at the University of Calgary and Hayward State College in California. His work is now held in a great number of international public collections including the Arts Council of Great Britain, the Tate, UK and the Museum of Modern Art in New York.

232 §

ANTHONY BENJAMIN (BRITISH 1931-2002)

UNTITLED, 1958

signed and dated in pencil (lower right), oil and watercolour on paper

90cm x 58cm (35 1/2in x 22 7/8in)

Provenance

The Estate of the Artist.

£2,000-3,000

233 §

ANTHONY BENJAMIN (BRITISH 1931-2002)

UNTITLED, CIRCA 1958 oil and watercolour on paper 55cm x 76cm (21 5/8in x 29 7/8in)

Provenance The Estate of the Artist. £2,000-4,000

234 §

ANTHONY BENJAMIN (BRITISH 1931-2002)

UNTITLED, 1958

signed and dated in pencil (lower right), oil and watercolour on paper

55cm x 76cm (21 5/8in x 29 7/8in)

Provenance The Estate of the Artist. £2,000-3,000

235 §

ANTHONY BENJAMIN (BRITISH 1931-2002)

ROXY BIAS SUITE, 1972

complete set of six, comprising Butterfly Echo, Erase Function, Inverse Echo, Multi-Mode Jitter, O Factor and Ringing Filter, each signed, titled, dated and numbered 59/95 in pencil (in the margin), silkscreen on BFK Rives handmade paper, printed by Kevin Harris at Calvert Studio (6) each sheet 105.5cm x 76.5cm (41 1/2in x 30 1/8in)

Provenance

The Estate of the Artist.

£4,000-6,000

OTHER PROPERTIES

ANTHONY BENJAMIN (BRITISH 1931-2002)

DISTRICT II, 1968

stamped, dated and numbered BENJAMIN 1968 1/5, chromed steel and acrylic 30cm high x 30.5cm wide x 22.5cm deep (11 3/4in high x 12in wide x 8 7/8in deep)

Provenance

Gimpel Fils, London.

Exhibited

Comsky Gallery, Beverly Hills, 1971.

£600-1,000

237

SIMON P. HENNINGSEN (DANISH 1920-1974) FOR LYFA

‘TIVOLI’ CEILING LIGHT, DESIGN CONCEIVED 1962

chromium plated and painted metal

32.5cm high (12 3/4in high)

£400-600

238 PIETRO CHIESA (ITALIAN 1892-1948)

PAIR OF WALL LIGHTS, 1960S

frosted glass and chromed brass (2)

28cm high, 10cm wide, 12cm deep (11in high, 4in wide, 4 3/4in deep)

£600-1,000

239

LUDOVICO DIAZ DE SANTILLANA (ITALIAN 1931-1989) FOR VENINI

‘TESSUTI’ TABLE LAMP, DESIGN CONCEIVED 1982 original production, glass and lacquered aluminium

21.5cm high (8 1/2in high)

£300-500

240

GAE AULENTI (ITALIAN 1927-2012) FOR ARTEMIDE

‘PILEINO’ DESK LAMP, DESIGN CONCEIVED 1972

moulded manufacturer’s marks, enamelled metal and plastic closed 25cm high, open 28.5cm high (closed 10in high, open 11 1/4in high)

£400-600

241

MARIO BELLINI (ITALIAN 1935-) FOR ARTEMIDE

‘CIRCO’ TABLE LAMP, DESIGN CONCEIVED 1978

fabric, enamelled metal

47cm high, 56cm diameter (18 1/2in high, 22in diameter)

£300-500

243

PIERRE GUARICHE (FRENCH 1926-1995)

FOR STEINER

PAIR OF ‘TULIPE’ CHAIRS

aluminium and enamelled steel (2)

76cm high, 45.7cm wide, 40.6cm deep (30in high, 18in wide, 16in deep)

£800-1,200

244

PIERRE PAULIN (FRENCH 1927-2009)

FOR AP POLAK

‘ANNEAU’ CHAIR, DESIGN CONCEIVED 1955

model AP-14, white saddle leather and tubular steel 69cm high, 80cm wide, 63cm deep (27 1/4in high, 31 1/2in wide, 24 3/4in deep)

£800-1,200

242

STUDIO REGGIANI, ITALY CEILING / WALL LIGHT, CIRCA 1970S

white painted steel and chrome

71.5cm wide (28 1/8in wide)

£500-800

246

MARIO BELLINI (ITALIAN 1935-)

PAIR OF ‘CAB’ ARMCHAIRS, DESIGN CONCEIVED 1976-9

model 413, leather, steel and plastic (2)

81cm high, 59cm wide (31 7/8in high, 23 1/4in wide)

£1,000-1,500

245

MARIO BELLINI (ITALIAN 1935-)

SET OF SIX ‘CAB’ CHAIRS, DESIGN CONCEIVED 1976-9

model 412, leather, steel and plastic (6)

82cm high, 46.5cm wide, 41cm deep (32 1/4in high, 18 1/4in wide, 16 1/8in deep)

£1,500-2,500

247 PAUL EVANS (AMERICAN 1931-1987) FOR DIRECTIONAL FLOOR LIGHT, CIRCA 1970 from the Cityscape series, chrome and brass 137cm high, 92cm wide, 35cm deep (53 7/8in high, 36 1/4in wide, 13 3/4in deep)

£1,000-1,500

248

UGO LA PIETRA (ITALIAN 1938-) FOR ZAMA

ELETTRONICA, ITALIA

TABLE LAMP, DESIGN

CONCEIVED 1968

acrylic and metal

39.5cm long (15 1/2in long)

Literature

Bassi, Alberto, Italian Lighting Design

1945-2000, Milan: Electaarchitecture, 2004, p.128, model illustrated.

£2,200-2,800

249

UGO LA PIETRA (ITALIAN 1938-)

‘TRIANGLE’ TABLE LAMP, DESIGN CONCEIVED CIRCA 1967

acrylic, painted metal and brass

19cm high, 34.3cm wide, 20.5cm deep (7 1/2in high, 13 1/2in wide, 8in deep)

£1,200-1,800

250 §

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR IL SESTANTE

VASE, CIRCA 1958

stamped IL SESTANTE and paper label milano italy / IL SESTANTE / dis. E. Sottsass (to base), enamelled copper on wooden stand

47.3cm high (18 5/8in high) overall

Ettore Sottsass created enamel works of art for the opening of Il Sestante gallery in Milan in 1958. This period in the late 1950s was formative for Sottsass’s design aesthetic, and one of exceptional creativity in colour experimentation and combining different materials. As with this current rare vase, the works he designed for Il Sestante are typified as having high contrast tones and elegant form.

£6,000-8,000

“ When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting ”

Ettore Sottsass

251

ANDRE CAZENAVE

(FRENCH 1928-2003) FOR SINGLETON, ITALY PAIR OF GIANT COLUMN LAMPS, 1970S

fibreglass

200cm high, 44cm wide, 44cm deep (78 3/4in high, 17 1/4in wide, 17 1/4in deep)

£1,500-2,000

252

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR POLTRONOVA

‘VIENNA’ TABLE, CIRCA 1989

branded mark SOTTSASS, ash

73cm high, 182cm long, 82cm deep (28 3/4in high, 71 5/8in long, 32 3/8in deep)

£1,000-1,500

253

PIERRE PAULIN (FRENCH 1927-2009) FOR VERRE LUMIÈRE

THREE ‘ÉLYSÉE TROMPETTE’ FLOOR LAMPS, DESIGN CONCEIVED CIRCA 1972 with applied manufacturers label CREATION

Pierre PAULIN / mobilier national / EDITEUR VERRE

LUMIERE to two lamps, lacquered metal (3)

160.3cm high (63 1/8in high)

£10,000-15,000

254 § †

BOB LAW (BRITISH 1934-2004)

KISS AND CROSSES, 2000

complete set of eight, comprising Double Cross; Cross for Me - Kiss for You; Kiss for Me - Cross for You; Double Kisses; A Cross to Bare; Cross and Broken Double Cross; Double Double Crosses; Two Crosses, each signed and numbered PP1 in pencil (in the margin), published by artHester in 2003, printed by Stoneman Graphics, in an edition of 30 with 5 Artist’s Proofs, together with silkscreened box and title page (8) each etching 28.5cm x 37.5cm (11 1/4in x 14 3/4in)

Literature

Anna Lovatt, Jo Melvin et al., Bob Law - A Retrospective, Ridinghouse, London, 2009, p. 214-5, illustrated in colour

£1,500-2,000

255 §

ALAN REYNOLDS (BRITISH 1926-2014)

STRUCTURES GROUP II (P), 1980

signed, titled and dated (to reverse), prepared card, emulsion paint and pencil on wood base 94.3cm high x 94.3cm wide x 1.5cm deep (37 1/4in high x 37 1/4in wide x 3/4 in deep)

Provenance

Annely Juda Fine Art London; Hargesheimer Kunstauktionen, Düsseldorf, Moderne & Zeitgenossiche Kunst, 3 June 2023, lot 284, where acquired by the present owner.

£4,000-6,000

256 §

KENNETH MARTIN (BRITISH 1905-1984)

ROTATION FRANKFURT III, 1977

signed, dated and numbered 34/61 in pencil (in the margin), screenprint on paper sheet 74cm x 74cm (29 1/8in x 29 1/8in)

£800-1,200

257

LUIS TOMASELLO (ARGENTINIAN 1915-2014)

PAPIER CHROMOPLASTIQUE S/T 2

signed and numbered 44/50 in pencil (in the margin), mixed media 49cm x 49cm (19 1/4in x 19 1/4in)

Argentinian-born Luis Tomasello was best known as one of the most significant Kinetic and Op artists from Latin America. He moved to Paris in the 1950s and established a reputation for his explorations into the properties of light, creating white on white abstract constructions that rely on the reflections of light and colour to create movement and form.

£1,000-1,500

258 §

JEAN-CLAUDE FARHI (FRENCH 1940-2012) OPTICAL SCULPTURE, 1966 signed and dated, polymethacrylate and plastic laminate-covered wood 145cm high, 63.5cm diameter (57 1/8in high, 25in diameter) £5,000-8,000

259 §

JOCHEN KRAMER (GERMAN 1935-1988)

KINETIC OP ART CLOCK, 1969

signed, dated and numbered 6607600 on alumiumum label (to reverse), acrylic, aluminium and electric motor

50cm x 50cm (19 5/8in x 19 5/8in)

£400-600

260 §

NICOLAS SCHÖFFER (HUNGARIAN-FRENCH 1912-1992)

LUMINO, DESIGN CONCEIVED 1968

acrylic, metal and electric motor

24.5cm high, 25.7cm wide (9 5/8in high, 10 1/8in wide)

£700-1,000

UNTITLED

signed and numbered 54/90 in pencil (in the margin), relief print on paper

23.5cm x 20.5cm (9 1/4in x 8in)

£300-500

UNTITLED, 1967

signed and numbered P.A. I/V, relief print on silver paper 27.5cm x 21.5cm (10 3/4in x 8 1/2in)

Provenance

Given by the Artist to the Madrid-based artist Pedro García-Ramos Sanchez; Private Collection, UK.

£400-600

261 §

FRANCISCO SOBRINO (SPANISH 1932-2014)

262 §

FRANCISCO SOBRINO (SPANISH 1932-2014)

263 §

JUAN CARLOS MARIN (SPANISH 1969-)

THREE SCULPTURES

each stamped with artist’s mark, painted steel (3) the tallest 33.4cm high (13 1/8in high)

£700-900

264 §

JONATHAN CLARKE (BRITISH 1961-)

UNTITLED

painted aluminium

85.5cm high, 63cm wide, 45cm deep (33 5/8in high, 24 3/4in wide, 17 3/4in deep)

£1,500-2,500

265 § †

ANTOINE PUISAIS (FRENCH 1975-)

SHELTER P (THREE RACKS), 2015

signed and dated, stencilled with the artist’s initials (to reverse), acrylic and aluminium foil on panel 122cm x 178cm (48 1/8in x 70 1/8in)

Provenance

Vigo Gallery, London, where acquired by the present owner. Exhibited Vigo Gallery, London, Between the Manifest and the Hidden, 25 February - 17 March 2015.

£1,000-1,500

266 §

HAMISH MACKIE (BRITISH 1973-)

PELICAN, 2005

initialled, dated and numbered 1/1, bronze

30cm high, 30.5cm wide (11 3/4in high, 12in wide)

Provenance

Commissioned directly from the Artist, 2005; Private Collection, London.

£2,000-3,000

267 §

HAMISH MACKIE (BRITISH 1973-)

LEOPARD, 2017

signed, dated and numbered 2/12, patinated bronze

31.7cm high, 69cm wide (12 1/2in high, 27 1/8in wide)

Provenance

Purchased directly from the artist; Private Collection, UK.

£3,000-5,000

268 §

HAMISH MACKIE (BRITISH 1973-)

CHEETAH, 2017

signed, dated and numbered 4/12, patinated bronze 38cm high, 68.5cm wide (15in high, 27in wide)

Provenance

Purchased directly from the artist; Private Collection, UK.

£3,000-5,000

“ It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material – in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.

Hamish Mackie

LUTRA LUTRA

signed, titled and numbered 13/50, inscribed MS, polished bronze

22cm wide (8 3/4in wide)

£500-800

LITTLE OTTER II, 1970

signed, dated, titled and numbered 4/7, stamped with the foundry mark, patinated bronze

29cm wide (11 1/2in wide)

£700-1,000

PLAYFUL OTTER MAQUETTE VII

inscribed, titled and numbered 23/25, stamped with the foundry mark, polished bronze

27cm wide (10 5/8in wide)

£600-900

271 §

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

270 §

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

269 §

LAURENCE BRODERICK

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

LAURENCE BRODERICK: THE ACCIDENTAL NATURALIST

Despite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.

Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

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

DANCER III

signed, titled and numbered 2/7, patinated bronze on marble base 70.5cm high (27 3/4in high) including base £2,000-3,000

“ I am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor ”

Laurence Broderick

273 §

LAURENCE BRODERICK

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

DIVING OTTER VI

signed and titled, patinated bronze 78cm high (30 3/4in high)

£3,000-5,000

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) SUTHERLAND NUDE, 2007

signed, titled and dated (to base), Ledmore marble

44.5cm wide (17 1/2in wide)

£1,000-2,000

275 §

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) THE OTTER, 1994

signed, titled, dated and inscribed IN MEMORY OF GAVIN MAXWELL (to base), Coniston Stone

33cm high, 49cm wide (13in high, 19 1/4in wide)

Gavin Maxwell (1914-69) was a British naturalist and author, best known for his book Ring of Bright Water (1960), about an otter he brought back from Iraq to Scotland. The book sold more than a million copies and was made into a film starring Virginia McKenna and Bill Travers in 1969.

£3,000-5,000

274 §

278 §

LAURENCE BRODERICK M.R.B.S.

F.R.S.A. (BRITISH 1935-)

INDIAN ELEPHANT CALF MAQUETTE

signed, titled and inscribed A/C, artist’s cast from an edition of 25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver 9.5cm high, 11.5cm wide (3 3/4in high, 4 1/2in wide)

£800-1,200

276 §

LAURENCE BRODERICK M.R.B.S.

F.R.S.A. (BRITISH 1935-) HERON MAQUETTE

numbered 9/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver 14cm high (5 1/2in high)

£700-900

277 §

LAURENCE BRODERICK M.R.B.S.

F.R.S.A. (BRITISH 1935-)

OLLIE THE OTTER MAQUETTE

signed, titled and numbered 10/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver 20cm high (7 7/8in high)

£800-1,200

279 §

MARY NEWCOMB (BRITISH 1922-2008)

FARMYARD IN FRANCE, 1989

initialled in pencil (lower right), signed and titled in pencil (to reverse), pen, ink and wash on paper

20cm x 29.2cm (7 7/8in x 11 1/2in)

Provenance

Crane Kalman Gallery, London; Private Collection, London.

£600-800

280 §

MARY NEWCOMB (BRITISH 1922-2008)

EWE AND LAMB

pen, ink, crayon and wash on paper

19.3cm x 21.7cm (7 5/8in x 8 5/8in)

Provenance

Gift from the Artist to the present owner; Private Collection, London.

£600-800

281 §

MARY POTTER (BRITISH 1900-1981)

EVENING LIGHT ON PINE BRANCHES, 1972

initialled (lower right), oil on canvas

76cm x 91cm (30in x 35 3/4in)

Provenance

New Art Centre, London; Private Collection, UK.

£3,000-5,000

282 §

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

DEATH IN VENICE, 1992

signed and dated (lower right), watercolour and gouache on paper

22.3cm x 30.4cm (8 3/4in x 12in)

Provenance

Private Collection, London.

£2,500-3,500

283 §

ROSE HILTON (BRITISH 1931-2019)

MODEL SEATED IN THE STUDIO AND ARTIST’S MODEL

each signed in pencil (lower right), red pastel on paper (2)

29.5cm x 20.5cm (11 5/8in x 8 1/8in) and 29.5cm x 22.5cm (11 5/8in x 8 7/8in)

Provenance

Messum’s Fine Art, London; Private Collection, London. £800-1,200

284 §

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

MOONLIGHT, 1991

signed (lower left), oil on canvas

59.7cm x 49.5cm (23 1/2in x 19 1/2in)

Provenance

Private Collection, London.

£6,000-10,000

285 §

PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022)

TIGER LILY ON MAROONERS’ ROCK, 1992 (ROSENTHAL 87)

signed and numbered 34/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics

sheet 62cm x 50cm (24 3/8in x 19 5/8in)

£1,000-1,500

286 §

PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022)

CAPTAIN HOOK AND THE LOST BOY, 1992 (ROSENTHAL 80)

signed and numbered 31/50 in pencil (in the margin), coloured etching and aquatint on paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics

sheet 61.5cm x 50.8cm (24 1/4in x 20in)

£800-1,200

287 §

FREDA SKINNER (BRITISH 1911-1993)

HARLEQUIN

signed and numbered 3/10, bronze 58.8cm high (23 1/8in high)

Provenance

The Barnes Gallery, London; Private Collection, London.

£500-800

PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022)

THE BAKER’S WIFE I, 1989 (ROSENTHAL 31)

signed and numbered 19/75 in pencil (in the margin), etching and aquatint on Somerset paper, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics sheet 33.5cm x 26.3cm (13 1/8in x 10 3/8in)

This print was used to illustrate a programme for The Baker’s Wife, a play produced in London in 1989.

£1,000-1,500

PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022)

SEWING ON THE SHADOW III, 1992 (ROSENTHAL 96)

signed and numbered 2/25 in pencil (in the margin), coloured etching and aquatint on Somerset paper, from the Peter Pan series, printed by Paul Coldwell at Culford Press, London, published by Marlborough Graphics sheet 61.8cm x 50.5cm (24 3/8in x 19 7/8in)

£1,000-1,500

288 §

289 §

290 §

CELIA PAUL (BRITISH 1959-) ANGUS READING, 1990 ink, wash and pastel on paper 51.5cm x 53cm (20 1/4in x 20 7/8in)

Provenance

Marlborough Fine Art, London; Private Collection, London. £1,000-1,500

291 §

CELIA PAUL (BRITISH 1959-) BACK VIEW OF MY MOTHER, 1991 ink, wash and pastel on paper

77.5cm x 57.2cm (30 1/2in x 22 1/2in)

Provenance

Marlborough Fine Art, London; Private Collection, London. £1,000-1,500

ART’S LUCKY DIP: THE RCA SECRET EXHIBITION

The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.

All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.

Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.

However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.

To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300 was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.

292 §

GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) FUCK THE PLANET (FOR RCA SECRET)

titled (centre), ink on postcard 10cm x 15cm (4in x 6in)

Provenance

Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the present owner. £2,500-3,500

293

RCA SECRET EXHIBITION

THIRTEEN POSTCARDS BY VARIOUS ARTISTS comprising works by Gordon Baldwin, Valerie Beddington Hooker, Andrew Friend, Rosalind Grimshaw, Maggi Hambling, Tim Holbrook-Jones, Brigitta Lock, Ross Lovegrove, Pauline Place, Sophia Webster, Rose Wylie, Julius Heinemann, Anita Klein, signed (to reverse), mixed media on postcards (13) each approximately 15cm x 10cm (6in x 4in)

Provenance

Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the present owner, circa 2002-18. £800-1,200

294

RCA SECRET EXHIBITION

TEN WORKS BY VARIOUS ARTISTS

comprising works by Tae Eun Ahn, Dafni Barbageorgopolou, Geoff Bartholomew, Teresita Dennis, Jennifer Huggins, Krister Klassman, Vera Krickhahn, Gabriel Lima, Jasper Morrison, Richard Wentworth, signed (to reverse), mixed media on postcards (10) each approximately 15cm x 10cm (6in x 4in)

Provenance

Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the present owner, circa 2002-18.

£600-800

295 §

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

HARBOUR CAT, 2005 (FOR RCA SECRET) watercolour on paper, laid on postcard 10cm x 15cm (4in x 6in)

Provenance

Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the present owner. £1,200-1,800

296 §

JOHN BELLANY C.B.E, R.A (BRITSIH 1942-2013) & PETER HOWSON O.B.E. (BRITISH 1958- ) PORTRAIT / KNEELING MAN (FOR RCA SECRET) ink on postcard; pen and ink on postcard (2) each 15cm x 10cm (6in x 4in)

Provenance

Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the present owner. £400-600

Provenance

297

RCA SECRET EXHIBITION

ELEVEN POSTCARDS BY VARIOUS ARTISTS

comprising works by David Bailey, John Baldessari, Steve Binn, Angel Daden, Alan Kitchins, Matilda Pye, James Smith, Stuart McCaffer, Gavin Turk, Laurence Weiner (2), signed (to reverse), mixed media on postcards (11)

each approximately 15cm x 10cm (6in x 4in)

£700-1,000

Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the present owner, circa 2002-18.

YINKA SHONIBARE C.B.E, R.A. (BRITISH/NIGERIAN 1960-) RUNNING (FOR RCA SECRET)

titled (lower right), mixed media on postcard 15cm x 10cm (6in x 4in)

Provenance

Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the present owner. £800-1,200

299 §

PALADINO (ITALIAN 1948- ) UNTITLED (FOR RCA SECRET)

watercolour on paper, laid on postcard 15cm x 10cm (6in x 4in)

Provenance

Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the present owner. £800-1,200

298 §

MIMMO

300

SOL LE WITT (AMERICAN 1928-2007)

UNTITLED (FOR RCA SECRET)

ink on postcard

15cm x 10cm (6in x 4in)

Provenance

Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the present owner.

Right Lot 301 [detail]

CONTEMPORARY CRAFT

301 §

PETER COLLINGWOOD

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

MACROGAUZE M.92 NO.40

metal label embossed M. 92 NO. 6 and incised Peter Collingwood, linen and steel rods

175cm long, 47cm wide (69in long, 18 1/2in wide)

£6,000-8,000 Left Lot 314

302

PETER HAYES (BRITISH 1946-)

JOMON POT

signed (to base), stoneware on scorched wood base 28cm high, 13cm wide (11in high, 5 1/8in wide) including base

£300-500

303

PETER HAYES (BRITISH 1946-)

STANDING STONE WITH BLUE

signed (to base), raku and resin on slate base 56.8cm high (22 3/8in high) including base

£600-800

304

PETER HAYES (BRITISH 1946-)

PORCELAIN CUPS

signed (to base), stoneware, porcelain and gold leaf on slate base 17.5cm high, 35.5cm long (6 7/8in high, 14in long)

£500-700

305

PETER HAYES (BRITISH 1946-)

WHITE KEYHOLE BOW

signed (to underside of base), raku with kintsugi on slate base

35.3cm high, 25.5cm wide (13 1/8in high, 10in high) including base

£700-900

306

KEIKO MUKAIDE (JAPANESE 1954-) ‘SMALL PANELS’ WALL HANGING

signed and titled, dichroic glass and metal wire

176cm high (69 1/2in high)

£500-800

307 §

MATTHEW CHAMBERS (BRITISH 1982-) ECLIPSE 13, 2018

signed and dated (to ceramic), stoneware and wooden plinth

ceramic 27.2cm high (10 3/4in high), stand 89.5cm high (35 1/4in high)

£2,000-3,000

308 §

JOHN GRENVILLE (BRITISH 1918-2004)

CANDLE DESK STAND, 1960

hallmarked for London, silver

23.3cm high, 22.5cm wide (9 1/4in high, 8 8/9in wide)

£300-500

309 §

CLIVE BURR (BRITISH CONTEMPORARY)

CANDLE HOLDER, 1989

hallmarked for London 1989, stamped maker’s mark, silver on a marble base

52.5cm high (20 5/8in high) including base

£500-700

310 §

ERIC CLEMENTS (BRITISH 1925-)

PAIR OF CANDLESTICKS, 1957

hallmarked for London 1957, stamped maker’s mark, engraved Des E G Clements, silver (2)

17cm high (6 5/8in high)

Made by Leonard William Burt, previously a craftsman for Omar Ramsden. During the 1950s Burt produced a number of Clements’ designs

£800-1,200

313

PETER

VESSEL, 2022

impressed artist’s seal, stoneware

30.5cm high, 10.5cm wide (12in high, 4 1/8in wide)

£600-800

312

PETER

VESSEL, 2021

impressed artist’s seal, stoneware

39.5cm high, 12cm diameter (15 1/2in high, 4 3/4in diameter)

£600-800

311

PETER

VESSEL, 2021

impressed artist’s seal, stoneware

53.5cm high, 31cm wide, 10.5cm deep (21in high, 12 1/4in wide, 4 1/8in deep)

£1,500-2,000

BEARD (BRITISH 1951-)

BEARD (BRITISH 1951-)

BEARD (BRITISH 1951-)

“Everything is a one-off piece of work. I’m not interested in fashion – I want to make beautiful things for people to enjoy all their lives ”

Peter Beard

This piece has been made in a collaboration between Charlotte Bowater at Guilded Ltd, and Blott Kerr-Wilson. In ’The Shell’ by Ingrid Thomas, published by Thames & Hudson in 2007, Kerr-Wilson is described as “the most innovative shell artist working today.” Her work is instantly recognisable for its distinctive use of her chosen materials, shells, which give a geometrical yet fluid sense of movement across any surface they are carefully placed upon by the artist. Kerr-Wilson grew up in north Wales where her passion for shells grew as she explored grottos, and shell houses around her, and her desire to push the material further first developed. Following studying sculpture at Goldsmiths, she turned her attention towards shells as a medium when she entered a shell interior into The World of Interior’s ‘Design A Room’ competition - which Kerr-Wilson’s bathroom won. She has since received numerous public and private commissions.

The abalone shells on this present example of her work (commonly known as Asses Ears) have been set to reflect light from differing angles, to give the appearance of a wave sweeping across the surface.

314 §

BLOTT KERR-WILSON (BRITISH 1962-)

‘TIDE’ TABLE

abalone shells, painted tulipwood, with toughened glass insert 45cm high, 120cm long, 89.7cm deep (17 3/4in high, 47in wide, 35 1/4in deep) £2,000-3,000

315 §

GRAHAM LEISHMAN STEWART (BRITISH 1955-2020)

BOX AND COVER, 2020

stamped GLS, hallmarked for Edinburgh, silver

13cm high (5in high)

£1,000-1,500

317 §

GRAHAM LEISHMAN STEWART (BRITISH 1955-2020)

SET OF SIX ACORN SPOONS, 1999/2000

each stamped GLS 925, hallmarked for Edinburgh, silver, in fitted wooden box

each spoon 12.5cm long (4 7/8in long)

£500-800

316 §

GRAHAM LEISHMAN STEWART (BRITISH 1955-2020)

PAIR OF GOBLETS, 2011

each stamped GLS 925, hallmarked for Edinburgh, silver (2)

17cm high (6 3/4in high)

£1,000-1,500

318 §

ROD KELLY (BRITISH 1956-)

FREEDOM SCROLL CASKET, 1989

silver, yellow metal and wood, stamped maker’s mark, hallmarked for London 1989

10.5cm high, 28.5cm wide, 10cm deep (4in high, 11 1/8in wide, 4in deep)

Provenance

Commissioned by Poole Borough Council to hold the scroll awarded to someone given the Freedom of Poole in 1989. The chased decoration is themed from local sources, such as the harbour and sea defences and it includes the Scallop Shell, the symbol for Poole.

£2,500-3,500

319 §

ANE CHRISTENSEN (DANISH 1972-)

‘DENTED’ BOWL, 2000

hallmarked for London 2000, stamped maker’s mark and millennium hallmark, silver 10cm high, 35cm wide, 31cm deep (3 7/8in high, 13 3/4in wide, 12in deep)

£700-900

320 §

ROD KELLY (BRITISH 1956-)

WATER JUG / PITCHER, 2007

silver and silver gilt, chased foliate decoration, stamped maker’s mark, hallmarked for London 2007

29.6cm (11 5/8in) high

Provenance

Commissioned by Michael Heathcoat-Amory, founder of Jupiter Management and Liveryman of the Goldsmiths’ Company.

£8,000-12,000

Rod Kelly studied and trained at the Birmingham School of Silversmithing and Jewellery and at the Royal College of Art in London under the tutelage of Gerald Benny.

Since leaving the Royal College in 1983, he has primarily worked to commission, first in London, then from a workshop he set up in Norfolk for 20 years, before moving to Shetland.

He is regarded as one of the UK’s leading silversmiths and as Tim Wilson (Keeper of Western Art at the Ashmolean Museum in Oxford) noted ‘a genius of embossed and chased metalwork’, hand raising works in silver and gold, and producing functional works of art with images often derived from the countryside that surrounds him.

With an international reputation his work can now be found in important public and private collections including the Victoria and Albert Museum, No. 10 Downing Street, St. Paul’s Cathedral, The Royal Mint, The Worshipful Company of Goldsmiths, the Ashmolean Museum, Oxford and the Fitzwilliam Museum, Cambridge.

STOOL, 1993

signed Illingworth + Partridge 1993 (to underneath), ash wood

37cm high, 50cm wide, 25.5cm deep (14 1/2in high, 19 3/4in wide, 10in deep)

Nick Partridge (brother to Jim Partridge) and Norman Illingworth had a business partnership, and in the 1980s and 1990s made around 30 stools, mostly in ash but a few in oak and elm. They have solid steam bent tops, solid legs and are joined with turned treenails. They retired in 2010, and since then have made around four further stools for family and friends.

£400-600

carved and painted driftwood

25cm high, 49cm wide (9 7/8in high, 19 1/4in wide)

£800-1,200

321 §

JIM

FOOTED BOWL

stamped J. B. PARTRIDGE (to base), scorched and stained oak

12cm high, 34cm wide (4 3/4in high, 13 3/8in wide)

Provenance

Private Collection, Scotland.

£600-800

THE ILLUSION OF REFLECTION 2, 2016 coiled and slabbed stoneware, white slab glaze, sgraffito marks inlaid with porcelain on a wood stand with six painted legs

75cm high, 29cm deep (29 1/2in high, 11 3/8in deep)

Literature

Adamson, Glenn, Martina Droth and Simon Olding (eds.), Things of Beauty Growing: British Studio Pottery, New Haven and London: Yale University Press, pp.184-6, cat. no.7, illustrated.

Exhibited

Yale Centre for British Art, Newhaven, Connecticut, Things of Beauty Growing: British Studio Pottery, 14th September - 3rd December, 2017;

Fitzwilliam Museum, Cambridge, Things of Beauty Growing: British Studio Pottery, 20 March - 17 June 2018;

New Art Centre, Roche Court, Salisbury, Gillian Ayres, Rachel Jones, Nao Matsunaga, 21 September - 17 November 2019.

£3,000-5,000

322 §

NICK PARTRIDGE (BRITISH 1948-) AND NORMAN ILLINGWORTH (BRITISH 1952-)

PARTRIDGE (BRITISH 1953-)

324

NAO MATSUNAGA (JAPANESE 1980-)

323 § GUY TAPLIN (BRITISH 1939-) CANADA GOOSE

325

HITOMI HOSONO (JAPANESE 1978-)

TALL WISTERIA VASE, 2019

signed and dated (to base), moulded, carved and hand-built porcelain with an interior of dancing sprigs

36.5cm high, 15.5cm diameter (14 3/8in high, 6 1/8in diameter)

After growing up and studying in Japan, Hosono studied at the Danmarks Designkole in Copenhagen (2005-6), before receiving a Masters degree from the Royal College of Art in London (2009). In 2017-8 she was artist in residence at Wedgwood.

Hosono is known for intricate ceramic vessels inspired by Wedgwood Jasperware that reference the natural world and botanical studies, and are known for their delicacy, movement, light and depth.

£4,000-7,000

“ It is my intention to transfer the leaf’s beauty and detail into my ceramic work, using it as my own language to weave new stories for objects ”

Hitomi Hosono

326 §

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

LUCCIOLE NECKPIECE, 2007

18ct yellow gold, gold thread and glass sphere, from Journey Through Glass Series, hallmarked for London 2007

the glass sphere 5.5cm diameter (2 1/8in diameter)

Provenance

The Scottish Gallery, Edinburgh; Private Collection, London

£1,500-2,000

327 §

MICHAEL BOLTON (BRITISH 1938-)

BANGLE, EAR CUFF AND TWO RINGS, 1999-2000

the bangle, ear cuff and one ring hallmarked for London 1999, with Millenium mark, and stamped MAB / 925, silver and gem set, the other ring stamped with Millenium mark (4)

the bangle 9.5cm long (3 3/4in long), the rings size N 1/2 and I, and the ear cuff 7cm long (2 3/4in long)

£800-1,200

328 §

AKIKO HIRAI (JAPANESE 1970-)

TEA BOWL, 2010

painted artist’s mark, stoneware, in fitted wooden box

8.5cm high, 12cm wide (3 3/8in high, 5in wide)

£250-350

331 §

SARA FLYNN (IRISH 1971-)

VASE

impressed artist’s seal, porcelain

6.3cm high (2 1/2in high)

£300-500

329 §

AKIKO HIRAI (JAPANESE 1970-)

PAIR OF SAKE BOTTLES

painted artist’s mark, stoneware with rugged porcelain deposits (2)

14cm and 15cm high (5 1/2in and 5 7/8in high)

£1,000-1,500

332 §

EDMUND DE WAAL (BRITISH 1964-)

JUG, CIRCA 1990S

impressed artist’s seal, porcelain, pale crackled celadon glaze with blue band to the rim

14cm high (5 1/2in high)

£800-1,200

330 §

AKIKO HIRAI (JAPANESE 1970-)

FIVE ‘MORANDI’ BOTTLES

each incised artist’s initials, stoneware with white glaze (5) the tallest 25.7cm high (10 1/8in high)

£1,200-1,800

333 §

AKIKO HIRAI (JAPANESE 1970-)

MOON JAR, CIRCA 2020

stoneware with rugged and cracked porcelain deposits over slips beneath running ash glazes

56cm high, 46cm diameter (22in high, 18 1/8in diameter)

Provenance

Beaux Arts Gallery, Bath, 2022, where acquired by the present owner. £5,000-7,000

334 §

WENDY RAMSHAW C.B.E.

R.D.I. (BRITISH 1939-2018)

‘NIGHT SKY IN VENICE’ NECKLACE, 2007

initalled and dated WR 2007 (to reverse), one of 12 unique pieces, acrylic, white paste and thread 6cm x 9cm (2 3/8in x 3 1/2in)

£800-1,200

335 §

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

PAIR OF OP ART CUFFLINKS, 1960S

acrylic and metal (2)

2.5cm x 2.5cm (1in x 1in)

Provenance

Given directly from Wendy Ramshaw to the current vendor.

Ramshaw wrote in a postcard to the present owner ’...These are for your collection - valuable in their way. 1960’s ‘Optik Art Jewellery’, the date is regarded as important early work etc etc...’

£300-500

336 §

DAVID WATKINS (BRITISH 1940-) ‘PALACES OF THE NIGHT’ BANGLE, 2003 stainless steel with plasma coating

14.5cm wide (5 1/8in wide); internal width 7.5cm wide (3in wide)

£400-600

337 §

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

COILED NECKLACES, 1997

pair of necklaces, from Picasso’s Ladies series beads, red, yellow and blue on coiled steel wire approximately 29cm long (11 1/2in long)

Provenance

Given by the artist to the present owner.

Literature Picasso’s Ladies: Jewellery by Wendy Ramshaw, Arnoldsche Art Publishers, 1998, cat. no.51, for similar examples illustrated as Coiled Necklaces for Françoise

£1,000-2,000

Ramshaw’s notes on Coiled Necklaces for Françoise:

‘Picasso probably painted this portrait of Françoise Gilot about 1951, whilst Claude and Paloma were still children. The portrait has a childlike quality: she has a tiny pin head and large hands. Françoise appears to be seated in an armchair. The colours are bright and primary, the execution ordered, but free.

The pairs of necklaces consist of wires loaded with coloured beads in the red, yellow and blue of the painting. They are coiled and sprung, which makes them bounce when worn, giving a pleasing sense of movement. When resting upon the breast, the necklaces echo the spiral lines of the portrait which may refer to the breath in the lungs beneath. The beads used in the necklaces are those which have been traded and worn by African Masai for generations. The coils and springs, however, are reminiscent of the American sculptor, Calder. Sophisticated and primitive ornamentation come together and mirror the ordered freedom of the painting,’

(Picasso’s Ladies, p.166)

ANTHONY BRYANT (BRITISH 1960-)

VESSEL, 2022

signed and dated (to base), ash

55cm high, 55cm wide (21 5/8in high, 21 5/8 wide)

£1,500-2,000

ANTHONY BRYANT (BRITISH 1960-)

TALL VESSEL, 2022

signed and dated (to base), ash

55cm high, 28cm wide (21 15/8in high, 11in wide)

£1,500-2,000

ANTHONY BRYANT (BRITISH 1960-)

VESSEL, 2023

signed and dated (to base), walnut

38cm high, 57cm wide (15in high, 22 1/2in wide)

£1,500-2,000

ANTHONY BRYANT (BRITISH 1960-)

TALL VESSEL, 2020

signed and dated (to base), ash

59cm high, 32cm wide (23 1/4in high, 12 1/2in wide)

£1,500-2,000

340

341

339

338

“I am not concerned with function in my work. Instead, I prefer to explore the sculptural potential of the vessel at the physical limits of woodturning. My driving aim is to create powerful forms with poise and presence.”

Anthony Bryant

342 §

CLAUDIA CLARE (BRITISH 1962-) YES, 2013

signed and dated, from the Molly’s Odyssey series, painted earthenware 84cm high (33in high)

Provenance

Jonathan Ross Gallery, London, 2016; Private Collection, London.

£1,000-2,000

343

JASPER MORRISON (BRITISH 1959-) FOR CAPPELLINI ‘ORLA’ SOFA, DESIGN CONCEIVED 2014

manufacturer’s label (to base), upholstery and composite rigid polyurethane 64cm high, 260cm wide, 112cm deep (25 1/4in high, 102 1/4in wide, 44in deep)

£2,500-3,500

344 §

ANTONINO SCIORTINO (ITALIAN 1962-)

SEVEN SCULPTURAL BASKETS / OBJECTS

unique studio pieces, including Matite, Vassoio Alto and Sancha, coated iron wire (7) the largest basket 35cm high, 63cm wide (13 3/4in high, 24 3/4in wide)

Provenance

Purchased directly from the designer by the current vendor.

£1,000-2,000

345

KONSTANTIN GRCIC (GERMAN 1965-)

FOR MAGIS, ITALY SET OF FOUR ‘ONE’ CHAIRS, DESIGN CONCEIVED 2002 moulded manufacturer’s mark, cast and extruded aluminium (4) 82cm high, 55cm wide (32 1/4in high, 21 1/2in wide)

£400-600

RONY PLESL (CZECH 1965-)

UOVO TERMIT VASE, 2007

signed and dated, glass

35cm high (13 3/4in high)

Provenance

Vessel Gallery, London, 2008; Private Collection, London.

£600-800

347 §

ANN UPTON (BRITISH 1941-2017)

RUG, 1981

initialled (lower right), signed and dated (to reverse)

324cm x 213cm (127 1/2in x 83 7/8in)

348 INGO MAURER (GERMAN 1932-2019) EL.E.DEE LAMP, DESIGN CONCEIVED 2001

circuit board, LEDs, metal and stainless steel, signed and dated Ingo Maurer 2001 approximately 51cm high (20in high)

£400-600

349 HERMÈS SET OF THREE VASES

each stamped HERMÈS PARIS, glazed porcelain (3)

the largest 14cm high (5 1/2in high)

£400-600

350

ANDRÉE PUTMAN (FRENCH 1925-2013) FOR POLTRONA FRAU

OCEANO MOBILE TRUNK, DESIGNED 2007

padded leather, chromed metal and wood 122cm (48in) high, 75cm (29 1/2in) wide, 62.2cm (24 1/2in) deep £2,000-3,000

351 §

MARK BRAZIER-JONES (BRITISH 1956-)

PAIR OF ‘OLYMPIA’ WALL APPLIQUES, CIRCA 1990

forged iron, copper, optical lens and glass (2)

75cm high, 28cm wide, 15cm deep (29 1/2in high, 11in wide, 5 7/8in deep)

Provenance

Wunderhaus, Munich, by family descent, where purchased by the present owner.

£1,000-1,500

352 §

MARK BRAZIER-JONES (BRITISH 1956-)

‘OLYMPIA’ WALL APPLIQUE, CIRCA 1990

forged iron, copper, optical lens and glass

75cm high, 28cm wide, 10cm deep (29 1/2in high, 11in wide, 3 7/8in deep)

£800-1,200

353

MARC NEWSON (AUSTRALIAN 1963-)

‘BUCKY II’ CHAIR, DESIGN CONCEIVED 1997

moulded manufacturer’s marks, moulded polyethylene

47cm high, 110cm wide, 104cm deep (18 1/2in high, 43 1/4in wide, 41in deep)

£400-700

354

ACHILLE AND PIER GIACOMO CASTIGLIONI (ITALIAN 1918-2002 AND 1913-1968) FOR ZANOTTA

‘STELLA’ STOOL, DESIGNED 1957

enamelled metal, chromium steel and leather Brook bicycle seat

71cm high (28in high)

£400-600

355

RON ARAD (BRITISH/ISRAELI 1951-) FOR MOROSI

TWO ‘VICTORIA AND ALBERT’ LOUNGE CHAIRS, DESIGNED 2000

one with original label (to base), leather (2)

75cm high, 72cm wide, 66cm deep (29 1/2in high, 28 1/4in wide, 26in deep)

£800-1,200

356 RON ARAD (BRITISH/ISRAELI 1951-) FOR ONE OFF LTD

‘KEE-KLAMP’ SHELVING UNIT tubular steel frame and mesh shelves

256.5cm high (101in high)

£600-900

357 §

TOM DIXON (BRITISH 1959-) & DAFT PUNK LED COFFEE TABLE, 2004

from an edition of 1000 for Habitat, toughened glass and plexiglass 82cm wide, 82cm deep, 28cm high (32 1/4in wide, 32 1/4in deep, 11 1/2in high)

Provenance

Purchased by the present owner at Habitat Paris, Rue de Faubourg, 2004. £2,000-3,000

358

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)

£3,000-5,000

“ Design has to work. Art does not. ”

Donald Judd

359

MARCEL WANDERS (DUTCH 1963-) FOR CAPPELLINI RARE ‘KNOTTED’ TABLE, DESIGN CONCEIVED 2001

chromed epoxied rope and glass, made as a prototype for Cappellini

52cm high, 80cm diameter (20 1/2in high, 31 1/2in diameter)

Provenance

Private Collection, UK.

Cappellini exhibited an example of this model at the Salone de Mobile in Milan in 2001. £1,000-2,000

360

TABLE LAMP, DESIGN CONCEIVED 2013 signed and numbered 2/30 (to base), concrete 60.5cm high (23 3/4in high)

£3,000-5,000

§ RICK OWENS (AMERICAN 1962-)

361 §

SIR ANTONY GORMLEY O.B.E., R.A. (BRITISH 1950-)

FEELING MATERIAL, 2006

signed, dated and numbered 34/250 in pencil (in the margin), etching on wove paper, published by Sadler’s Wells, London sheet 75cm x 57cm. (29 1/2in x 22 1/2in)

£2,000-3,000

362 § PETER RANDALL-PAGE R.A. (BRITISH 1954-)

MEMORY OF WATER, 2006

with facsimile copy of the signature and date (on label to reverse of backboard), burnt sienna on handmade paper 69cm x 102.5cm (27 1/4in x 40 3/8in)

Provenance

Acquired from the Artist by the present owner in 2006.

Exhibited Brigstock, Fermynwoods Contemporary Art, New Works on Paper, 2006.

£1,200-1,800

363 §

RACHEL WHITEREAD (BRITISH 1963-) DAYBED, 1999

3/10, manufacturer’s label (to underside), beech frame, foam and wool upholstery

44cm high x 80cm wide x 190cm deep (17 1/4in high x 31 1/2inwide x 74 7/8in deep)

Provenance

SCP Showroom, London.

Exhibited SCP Showroom, London, January 2000; Gimpel Fils, London, The (Ideal) Home Show, 11 July - 8 August 2001, no. 36; Gimpel Fils, London, Prescence, 7 July - 3 September 2005. Originally conceived in 1999 as part of the Please Touch exhibition of furniture by contemporary artists at SCP, Daybed closely relates to a series of works by Whiteread from the 1990s when she was working in rubber and plaster. £2,000-3,000

364 §

JONATHAN CLARKE (BRITISH 1961-)

ECLIPSE HEAD, 1999

initialled and dated JC 99, aluminium 48cm high (19in high)

£1,000-2,000

365

RICK WOLFRYD (AMERICAN 1953-)

IN THE BEGINNING (SELF-AWARENESS), 2023 signed, titled, dated and numbered TP0008 (to underside), applied glass beads on fibreglass form 47cm high (18 1/2in high)

£1,000-1,500

366 §

MICHAEL

ORDER OF APPEARANCE (BOOK, CANVAS AND DRAWER), 1990

each signed, dated and numbered 44/50 in pencil, screenprint in red and black on paper (3) each 118.5cm x 82.5cm (46 5/8in x 32 1/2in) £800-1,200

CRAIG-MARTIN (IRISH 1941-)

367 §

PATRICK HUGHES (BRITISH 1939-)

MOONSHINE, 2009

signed in pencil (lower right) and numbered AP 6/7 (lower left), an Artist’s Proof aside from the edition of 45, 3D lithograph with hand-colouring 42.5cm high x 88cm wide x 17 cm deep (16 3/4in high x 34 3/4in wide x 6 3/4in deep)

£2,500-3,500

368 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

IN TANGIER, 1991

initialled HH, dated and numbered 56/72 in pencil (in the margin), screenprint on Huntsman Velvet paper, published by Lincoln Center/ List Art Posters & Prints, New York sheet 82.5cm x 86.7cm (32 1/2in x 34 1/8in)

£2,000-3,000

369 †

JEFF KOONS (AMERICAN 1955-) KANGAROO MIRROR BOX (BLUE), 2003

signed and numbered 1364/2000, from an edition of 2000 plus 200 Artist Proofs, polystyrene and plexiglass, together with original fitted box

26.5cm x 16.7cm (10 1/2in x 6 1/2in)

£1,000-1,500

370 §

JOE TILSON (BRITISH 1928-) FOR STUDIO MARCONI STELE FOR DIONYSOS, 1981

signed and numbered 24/100, from an edition of 100 plus 10 Artist Proofs, mixed media wood relief held within a hinged wood box

57.4cm high, 9.8cm wide, 12cm deep (22 3/4in high, 3 7/8in wide, 4 3/4in deep) £700-900

371 §

ILLONA MORRICE (DANISH 1954-) BALANCING ACT signed, stoneware

92.5cm high, 61cm wide (36 3/8in high, 24in wide) £600-1,000

372

ANDRES SERRANO (AMERICAN 1950-) AMERICA (RODEO QUEEN JENNIFER RIDGELY), 2002 signed and numbered 1/3 (to reverse), from the AMERICA series, cibachrome, silicone and plexiglass

152.4cm x 125.7cm (60in x 49 1/2in)

Provenance

Gimpel Fils, London; with Paula Cooper Gallery, New York.

Exhibited

Gimpel Fils, London, ’America’ Andres Serrano, 25 October30 November 2002, no. 13; Forte Belvedere, Florence, Belvedere Dell’Arte / Orizzonti, 1 July - 26 October 2003.

£2,000-3,000

DAVID GAMBLE (BRITISH-AMERICAN 1953-)

ANDY WARHOL IN NEW YORK HOUSE, 1988 / 1998

titled, signed and dated in pen; titled, signed, inscribed and dated again in pen Proof of Andy Warhol’s House 0* / printed for Exhib 1998 / Best Wishes and / Tons of Thanks / David Gamble (to reverse), gelatin print 64.5cm x 50.3cm (25 3/8in x 19 3/4in)

Provenance

Given by the Artist to one of the technicians at Adplates and by descent to the present owner.

Soon after the death of Andy Warhol, British-American artist and photographer David Gamble was permitted access to his Manhattan home to photograph Warhol’s art work, furniture and personal effects. The project was commissioned by Sotheby’s as part of the publicity for their auction of Warhol’s property. Ten years later, in January 1998, an exhibition of Gamble’s collection of the resultant photographs was held at London’s Groucho Club. Adplates, a printing company in east London at the time, offered Gamble its facilities, and the photographer decided to superimpose a silk-screen spectre of Warhol upon some of the captured scenes. Working with Adplates’ technicians using a Quantel Paintbox computer system, the photographer conjured up such images. This is an example of one of the proofs thus created.

£700-1,000

TERRY ATKINSON (BRITISH 1939-)

THE STONE TOUCHERS 1 ART FROM THE BUNKER 4, 1985

acrylic on board

121cm x 90cm (47 1/2in x 35 1/2in)

Provenance

Gimpel Fils, London. Exhibited

Gimpel Fils, London, T. A. Art for the Bunker, April 1985; Tate Gallery, London, Turner Prize, 1985; Stampa, Basel, 10 February - 28 March 1987;

Arts Council of Great Britain, Innocence and Experience: Images of Children in British Art from 1600 to the Present, touring exhibition to Manchester City Art Gallery, Hull, Nottingham and Glasgow, 1992-93;

Touchstones, Rochdale, A Tall Order! Rochdale Art Gallery in the 1980s, 4 February - 7 May 2023.

In this painting based on a holiday snapshot, Atkinson’s daughters pose in a First World War cemetery. This juxtaposition links the personal and subjective with wider political and historical issues. The title perhaps refers to the girls’ place in a historical continuum which stretches from the death of a young soldier in 1916 to their nuclear-age future.

£800-1,200

373 §

374 §

375 §

ALASDAIR GRAY (BRITISH 1934-2019)

MRS. NANNI IN WHITE SLIP AND BRA AND A GLASS OF WINE signed and inscribed with artist’s contact details and ‘Mrs. Nanni in white . . . and a glass of wine’ to backboard, oil, gouache and pencil on paper 62.5cm x 28.5cm (24.5in x 11.25in)

£4,000-6,000

376 §

SUSAN HILLER (AMERICAN-BRITISH 1940-2019)

LUCID DREAMS IV, 1983

set of four works, C-type photograph with ink on Agfa lustre paper (4) each 67cm x 49.5cm (26 3/8in x 19 1/2in)

Provenance

Gimpel Fils, London.

Exhibited

Orchard Gallery, Derry, Susan Hillier New Work, March - April 1984; National Portrait Gallery, London, Self-Portrait Photography 1840s - 1980s, October 1986 - January 1987; Gimpel Fils, London, Collector’s Choice II, 8 March - 28 April 2017.

HILLER

INVESTIGATING THE CULTURAL UNCONSCIOUS: WORKS BY SUSAN

Susan Hiller (1940-2019) is widely regarded as one of the most influential women artists of her generation, as well as a pioneer of installation and multimedia art. Born in the USA, she made London her home in the late 1960s, where she became a key voice in the nascent counter-culture and feminist movements. Her practice spanned a broad range of media including installation, video, photography, painting, sculpture, performance, artist’s books and writing. Her work often took for its subject aspects of culture that were overlooked, marginalised, or disregarded – which in turn spoke to issues of gender, class and politics. Hiller freely collaged ordinary found objects into her work, using photomat machines, children’s wallpaper, postcards and other commonly disregarded or denigrated aspects of popular culture, blurring the boundaries between ‘high’ and ‘low’, challenging our perceptions of cultural value

After graduating from Smith College, Massachusetts, in 1961, Hiller had pursued doctoral studies in anthropology at Tulane University in New Orleans, conducting fieldwork in Mexico, Guatemala and Belize. However, she became uncomfortable with academic anthropology’s claim to objectivity; she wrote that she did not wish her research to become part of anthropology’s “objectification of the contrariness of lived events”. During a lecture on African art, she made the decision to abandon anthropology to become an artist. She lived in France, Morocco, Wales and India with her husband, the writer David Coxhead, before settling in London, where she made that very ‘contrariness of lived events’ the basis of her practise, focussing on the products of our society – our dreaming through commodities – that

£1,000-2,000

are often overlooked, ignored, or repressed. Her projects have been described as ‘investigations into the unconscious of our culture’. As she explained: “I’m committed to working with what I call ghosts, that is, with cultural discards, fragments and things that are invisible to most people but intensely important to a few: situations, ideas and experiences that haunt us collectively.”

In regards to the Lucid Dreams works, Hiller noted – “I’m trying to erode the supposed boundary between dream life and waking life. The work is clearly positioned in the waking world since [it] start[s] off with photomat portraiture, but uses the disconnected and fragmented images produced automatically by these machines as analogies for the kind of dream images we all know, for instance suddenly catching a glimpse of oneself from the back… it doesn’t seem to me accidental that the machines produce this kind of image because, as I’ve been saying for years about popular, disposable imagery, there is something there beyond the obvious, which is why it’s worth using in art (the Artist quoted in Susan Hiller 1973-83: The Muse My Sister, The Orchard Gallery, Londonderry, 1984, p.25)

Hiller’s work features in numerous international private and public collections including the Tate Gallery, London; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; National Portrait Gallery, London; British Museum, London; Centre Pompidou, Paris; National Museum of Norway, Oslo; Ludwig Museum, Cologne; Serralves Museum of Contemporary Art, Porto; Art Gallery of New South Wales, Sydney; and the Inhotim Centro de Arte Contemporañea, Brumadinho, Brazil.

377 §

SUSAN HILLER (AMERICAN-BRITISH 1940-2019)

SAVING AND SPENDING - IKONS OF DESIRE, 1977-80 set of 14 works, version 1 of 2, the final work signed (in pen), colour xerox and ink (14) each 29cm x 20.2cm (11 3/8in x 8in)

Provenance

Gimpel Fils, London.

Exhibited

Gimpel and Hanover, Zurich, Susan Hiller, March 1982; Midland Group, November 1982;

Gimpel Fils, London, Susan Hiller, Monument and Other Works, 1982; Third Eye Centre, Glasgow, Ten Years Work, 1984.

£2,500-3,500

378

ISSHAQ ISMAIL (GHANA 1989-)

ADAPTATION 7, 2021

signed (lower left), acrylic on canvas

151cm x 125.7cm (59 1/2in x 49 1/2in)

£12,000-18,000

381 §

DAVID SHRIGLEY O.B.E. (BRITISH 1968-)

BE KIND TO EVERYONE AND TO EVERY THING, 2022

initialled and dated in pencil and numbered 14/125 (to reverse), screenprint

75cm x 56cm (29 1/2in x 22in), unframed

Provenance

Galerie Nicolai Wallner, Copenhagen, where acquired by the present owner.

£2,000-3,000

380 §

DAVID SHRIGLEY O.B.E. (BRITISH 1968-)

IT’S ALL YOUR FAULT, 2019

initialled and dated in pencil and numbered 34/125 (to reverse), screenprint

75cm x 56cm (29 1/2in x 22in), unframed

Provenance

Jealous Gallery, London, where acquired by the present owner.

£1,000-1,500

TRAVEL & VINTAGE POSTERS

AUCTION 25 OCTOBER 2023

LIVE ONLINE | VIEWING IN THE MALL GALLERIES, LONDON

| £3,000-5,000 + fees

FOR BUYERS (UK)

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(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://

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 nontransferable.

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

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PAYMENT

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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:

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CASH

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COLLECTION OF PURCHASED LOTS

Please refer to page 6 of this catalogue.

INDEX OF ARTISTS

Aalto, Alvar 118

Adams, Robert 196, 200

Adler, Jankel 80, 98

Ammitzbøll, Anne 162

Andersen, Steffen 161

Anderson, Knud V. 154

Arad, Ron 355, 356

Armstrong, John 58

Atkinson, Terry 373

Aulenti, Gae 240

Ayrton, Michael 104

Banting, John 67

Barns-Graham, Wilhelmina 1

Beard, Peter 311, 312, 313

Bell, Trevor 148, 228, 230, 231

Bell, Trevor 138

Bellany, John 296

Bellini, Mario 241, 245, 246

Benjamin, Anthony 232, 233, 234, 235, 236

Bianconi, Fulvio 87, 88, 89, 90

Bloch, Kresten 167

Blow, Sandra 227

Bolton, Michael 327

Bowen, Clive 40

Bowey, Olwyn 71

Brazier-Jones, Mark 351, 352

Corbusier, Le 186

Craig-Martin, Michael 366

Creffield, Dennis 73

Crespi, Gabriella 82, 84

Crozier, William 201

Dannatt, George 140

Davie, Alan 202, 210

De Maistre, Roy 113, 114, 115

De Waal, Edmund 332

Diaz De Santillana, Ludovico 92, 239

Dixon, Tom 357

Džamonja, Dušan 195

Eames, Charles & Ray 183, 187

Evans, Paul 247

Fabricius, Preben Juhl & Jørgen

Kastholm 177

Farhi, Jean-Claude 258

Fedden, Mary 282, 284, 295

Feiler, Paul 229

Flynn, Sara 331

Fornasetti, Piero 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221

Friend, Donald 379

Frost, Sir Terry 2, 3, 5, 6, 7, 134, 144

Frost, Sir Terry 143

Gamble, David 374

Giles, Tony 222

Gluck, (Hannah Gluckstein) 31

Gormley, Sir Antony 361

Jeanneret, Pierre 48, 49, 50, 51, 52, 53, 54

Jones, David 99, 106

Judd, Donald 358

Juhl, Finn 166

Kelly, Rod 318, 320

Kerr-Wilson, Blott 314

Kjaer, Jacob 165

Kjaerholm, Poul 179, 180, 181

Koons, Jeff 369

Koppel, Henning 152, 153

Kramer, Jochen 259

Kukkasjärvi, Irma 173

Kwali, Ladi 38

Lancia, Emilio 83

Law, Bob 254

Le Witt, Sol 300

Leishman Stewart, Graham 315, 316, 317

Levene, Ben 75, 76

Lindstrand, Vicke 172

Mackie, Hamish 266, 267, 268

Maddox, Conroy 55

Magistretti, Vico 124

Maltby, John 18, 19, 20

Marin, Juan Carlos 263

Martens, Dino 93

Martin, Kenneth 256

Matsunaga, Nao 324

Maurer, Ingo 348

Meadows, Bernard 197, 198, 199

Ponti, Gio 81

Potter, Mary 281

Puisais, Antoine 265

Putman, Andree 350

Ramshaw, Wendy 326, 334, 335, 337

Randall-Page, Peter 362

RCA Secret 293, 294, 297

Rego, Paula 285, 286, 288, 289

Reuss, Albert 59, 60, 61, 62, 63, 64

Reynolds, Alan 255

Richards, Ceri 105

Rie, Dame Lucie 27, 28, 29

Rietveld, Gerrit 117

Rippl-Rónai, József 35, 36

Roberts, William 107, 108

Rohde, Johan 151

Sarfatti, Gino 182

Sarpaneva, Timo 168

Schöffer, Nicolas 260

Sciortino, Antonino 344

Scott, Ken 91

Serrano, Andres 372

Shonibare, Yinka 298

Shrigley, David 380, 381

Skinner, Freda 287

Sobrino, Francisco 261, 262

Sottsass, Ettore 250, 252

Storey, Paul 65

Studio Reggiani 242

Suddaby, Rowland 69

Breuer, Marcel 119, 120, 122

Brockhurst, Gerald Leslie 42, 43, 44, 45, 46

Broderick, Laurence 269, 270, 271, 272, 273, 274, 275, 276, 277, 278

Brook, Peter 66

Bryant, Anthony 338, 339, 340, 341

Bülow-Hübe, Vivianna Torun

155, 156, 157, 158

Burr, Clive 309

Caiger-Smith, Alan 21

Cardew, Michael 41

Castiglioni, Achille And Pier

Giacomo 354

Cazenave, Andre 251

Cesetti, Giuseppi 68

Chambers, Matthew 307

Chapo, Pierre 185

Chermayeff, Serge 125

Chiesa, Pietro 238

Christensen, Ane 319

Clare, Claudia 342

Clarke, Geoffrey 188, 189, 190, 191, 192, 193, 194

Clarke, Jonathan 264, 364

Clements, Eric 310

Collingwood, Peter 301

Collins, Cecil 103

Cooper, Emmanuel 24, 25, 26

Grant, Duncan 33

Gray, Alasdair 375

Grcic, Konstantin 345

Green, Anthony 70

Grenville, John 308

Guariche, Pierre 243

Guidi, Virgilio 204

Hald, Edvard 171

Hamada, Shoji 39

Haughton, David 223

Hayes, Peter 302, 303, 304, 305

Henningsen, Poul 176

Henningsen, Simon P. 237

Herman, Joseph 78, 79

Hermes 349

Heron, Patrick 4

Hiller, Susan 376, 377

Hilton, Rose 283

Hirai, Akiko 328, 329, 330, 333

Hodgkin, Sir Howard 368

Hosono, Hitomi 325

Hughes, Patrick 367

Hughes-Stanton, Blair 97

Ingham, Bryan 12, 13, 14, 15, 16, 17

Irvin, Albert 203, 205

Ismail, Isshaq 378

Italian 85

Jacobsen, Arne 174, 178

Melville, John 56

Mitchell, Denis 136, 141, 142, 145, 147, 149, 150

Modern British School 37

Morrice, Illona 371

Morrison, Jasper 343

Morrocco, Alberto 208

Mukaide, Keiko 306

Nagi, Abdo 22

Nash, John 34

Newcomb, Mary 279, 280

Newson, Marc 353

Nicholson, Ben 146

Nicholson, Kate 226

O’Casey, Breon 126, 127, 128, 129, 130, 131, 132, 133, 137

Owens, Rick 360

Paladino, Mimmo 299

Paolozzi, Sir Eduardo 8, 9, 10, 11

Partridge, Jim 321

Partridge, Nick 322

Paul, Celia 290, 291

Paulin, Pierre 244, 253

Pearce, Bryan 224, 225

Perry, Grayson 292

Pianon, Alessandro 94

Pietra, Ugo La 248, 249

Piper, John 72, 74, 116

Plesl, Rony 346

Summers, Gerald 121

Sutton, Philip 77

Taplin, Guy 323

Thonet 123

Tilson, Joe 370

Tomasello, Luis 257

Upton, Ann 347

Vaughan, Keith 100, 101, 102, 109, 110, 111, 112

Vestergaard-Jensen, Helge 164

Von Wicht, John 209

Wain, Louis 95, 96

Wanders, Marcel 359

Watkins, David 336

Weckström, Björn 159, 160

Wegner, Hans 163, 175

Welch, Robin 23

Wells, John 139

Wells, John 135

White, Ethelbert 32

Whiteread, Rachel 363

Wilson, Scottie 57

Wirkkala, Tapio 169, 170

Wolfryd, Rick 365

Yeats, Jack Butler 30

Yeo, Thomas 206, 207

Zalszupin, Jorge 184

Zanuso, Marco 86

Zorn, Anders Leonard 47