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 condition of a lot, or just want to find out more about the auction process.
Philip Smith | London Co-Head of Sale
philip.smith@lyonandturnbull.com
+44 7741 247 225
Alice Strang | Edinburgh
Paintings, Prints & Sculpture
alice.strang@lyonandturnbull.com
+44 7966 377 060
Simon Hucker | London Co-Head of Sale
simon.hucker@lyonandturnbull.com
+44 7442 575 266
Charlotte Riordan | Edinburgh
Paintings, Prints & Sculpture
charlotte.riordan@lyonandturnbull.com
+44 7467 953 724
John Mackie | Edinburgh Design
john.mackie@lyonandturnbull.com
+44 131 557 8844
Neil Graham | London Sale Co-ordinator
neil.graham@lyonandturnbull.com
+44 7714 699 084
Carly Shearer | Edinburgh
Paintings, Prints & Sculpture
carly.shearer@lyonandturnbull.com
+44 7818 190 726
Joy McCall | London Design
joy.mccall@lyonandturnbull.com
+44 7810 301 525
Sarah Duncan FGA | London Jewellery
sarah.duncan@lyonandturnbull.com
+44 7551 173 745
Matthew Yeats | London Design
matthew.yeats@lyonandturnbull.com
+44 7917 434 602
During the course of putting this edition of Modern Made together, it has felt almost overwhelming at times, with so many strands, so much creativity coming in such a wide variety of media – the idea of it all coalescing into a sale with a sense of direction and purpose seemed at times somewhat far off. But coalesce it has and looking at the proofs of the catalogue, what was amazing was how many of these seemingly unrelated things appeared so natural together, bouncing ideas off each other, lending each other depth and context, contrast and kinship. It is always our aim to make Modern Made feel like one person’s collection, no matter how eclectic it is, and this edition feels very much like it has a common thread – a line of beauty, if you will - running through it.
Yet for all the confluence and continuity, the sale has very distinct sections – from important works by some of the leading British artists of the 20th century through to a wonderful private collection of contemporary silver; from a fascinating group of British Constructive and Minimalist works from the 60s, 70s and 80s, through to exuberant examples of modern design by some of its great masters such as Ponti, Sottsass and Pesce (the latter from the second part of Steve Allison’s wonderful collection); from the best in contemporary craft to masterpieces by their mid-century forebears. And we are very privileged to be able to open the sale with a marvellous selection of photography and fine art from the personal collection of renowned British photographer, Dorothy Bohm – including some of the most iconic of Bohm’s own images.
Many of the works in the sale have not been on the open market for decades – or ever, not least since they were first shown and bought by early aficionados and adventurous collectors. As such, the sale is suffused by a sense of discovery. It has been a delight for us to find so many works that have been hidden from view and we hope that it will be an equal delight for you to see them at the Mall Galleries this autumn.
Philip Smith Simon Hucker
Co-Heads of Sale
My mother, the photographer Dorothy Bohm, who passed away in March 2023 at the grand old age of nearly 99, had lived in her beautiful upper maisonette in Hampstead’s historic Church Row since the early 1980s and was something of a Hampstead celebrity. Indeed, she and her beloved husband Louis (who died in 1994) had first settled in the area in the late 1950s. Her unique home environment comprised a richly eclectic and diverse mixture of items. Western fine and decorative artworks and artefacts were displayed alongside those from other cultures, with a particular penchant for Far Eastern and Indian art. The emphatically modern co-existed with the more traditional, with works acquired from well-known London art dealers as well as from art fairs, galleries and antique shops around the country. Many of the photographs on the walls were from her fine collection of work by other practitioners; many were her own work – predominantly life-affirming colour prints and mostly still lives, a very personal and private aspect of her professional output. Ultimately, the unifying and over-riding principle was that of aesthetic pleasure and discernment, resulting in a satisfyingly harmonious whole.
There was little in her early life, however, to anticipate this secure and happy life in London. Dorothy was born in 1924 into an affluent, assimilated and cultured Jewish family then living in Koenigsberg, East Prussia (now Kaliningrad, Russia) where she enjoyed a relatively untroubled childhood. In 1932 the family moved to what seemed the greater safety of nearby Memel (now Klaipeda) in Lithuania. But in June 1939, soon after the Nazis marched into Memel, her parents made the wise decision to send her to England. She wasn’t to see them again for over twenty years.
After managing to matriculate from a small school in Sussex in just one year, she moved to Manchester to study photographic technology there. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander, and earning enough to support her new husband while he was completing his PhD. In the late 1940s, while visiting the picturesque village and art colony of Ascona in the Italianspeaking part of Switzerland, she discovered the excitement of working outside the studio and never looked back.
By then, Louis was making enough money to ensure that Dorothy could work entirely for her own pleasure. Often accompanying him on his business trips around Europe and beyond, she honed her skills as an empathetic and sensitive observer of the lives of ordinary people, with an instinctive
eye for the perfect composition. Her black and white images of this post-war period reveal an affinity with that of humanist photographers Cartier-Bresson, Doisneau and others, although she didn’t in fact know their work at the time. In the mid-1950s the couple lived for a while both in Paris and New York before settling definitively in north-west London.
Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed; numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, the first of its kind in the country, if not in Europe, and served as its Associate Director for the next fifteen years.
In this capacity, she came to know and become friends with many of the big names in international photography (among them Bill Brandt, Manuel Alvarez Bravo and André Kertész), as well as nurturing the talents of many younger photographers (including Fay Godwin, Markéta Luskačová and Martin Parr). It was mainly during this period that she acquired her substantial private collection of prints by other photographers, some of them bought to encourage them and some received as gifts in recognition of her support.
In the early 1980s, inspired by a visit to André Kertész in New York, she started experimenting with the Polaroid medium, and in 1984, abandoned black and white completely, working in colour thereafter. While the human presence remained central to her work, the images became more allusive, painterly and spatially ambiguous, sometimes verging on abstraction.
By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. In 2009, she was elected an Honorary Fellow of the Royal Photographic Society. Although she stopped taking pictures in 2017, she remained passionately engaged with photography to the very end. Her life and work were recently celebrated with an exhibition at The Photographers’ Gallery, London and the publication of a new monograph, Dorothy Bohm at 100 – A Life in Photography.
Monica Bohm-Duchen July 2024
A LIFE IN PHOTOGRAPHY: THE DOROTHY BOHM COLLECTION
Dorothy Bohm, 1942
1 §
DOROTHY BOHM (BRITISH 1924-2023)
STILL LIFE - PEBBLES
signed in pencil (to backboard), unique Polaroid image: 8cm x 8cm (3 1/16in x 3 1/16in); sheet: 10.7cm x 9cm (4 ¼in x 3 ½in)
Provenance: The Estate of Dorothy Bohm.
£300-500
2 §
DOROTHY BOHM (BRITISH 1924-2023)
STILL LIFE - VASE
signed in pencil (to reverse), signed in pencil (to mount), unique Polaroid image: 8cm x 8cm (3 1/16in x 3 1/16in);
sheet: 10.7cm x 9cm (4 ¼in x 3 ½in)
Provenance: The Estate of Dorothy Bohm.
£300-500
MANUEL ALVAREZ BRAVO (MEXICAN 1902-2002)
THE DAUGHTER OF THE DANCERS, 1933
inscribed M. Alvarez Bravo, Mexico in pencil (to reverse), lifetime gelatin silver print, aside from an edition image: 24.4cm x 17.1cm (9 5/8in x 6 ¾in); sheet: 25.4cm x 20.3cm (10in x 8in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£2,000-3,000
4 § DOROTHY BOHM (BRITISH 1924-2023)
APPROACH TO THE CASTLE, LISBON, 1963 titled and dated in pencil (to reverse), signed in pencil to the mount (lower right), lifetime silver gelatin print
20.2cm x 26.5cm (8in x 10 ½in), unframed
Provenance: The Estate of Dorothy Bohm.
Literature: Jeffrey, Ian, Dorothy Bohm - Colour Photography 1984-1994, The Photographers’ Gallery, London, 1994, p.105, illustrated; Bohm-Duchen, Monica et al., Dorothy Bohm at 100 - A Life in Photography, Beam Editions, Nottingham, 2024, p.231, illustrated.
£800-1,200
5 §
BILL BRANDT (BRITISH 1904-1983)
LATE EVENING IN THE KITCHEN
signed in pen (lower right), lifetime print, aside from the edition of 25, gelatin silver print image: 30cm x 26.5cm (11 3/4in x 10 1/2in); sheet: 40.5cm x 30.2cm (16in x 12in)
Provenance: The Estate of Dorothy Bohm.
£800-1,200
6 § DOROTHY BOHM (BRITISH 1924-2023)
CORDOBA, SPAIN, c.1950s signed in pencil (to the mount lower right), vintage gelatin silver print
21.2cm x 16.1cm (8 3/8in x 6 3/8in)
Provenance: The Estate of Dorothy Bohm.
Literature: Bohm-Duchen, Monica et al., Dorothy Bohm at 100 - A Life in Photography, Beam Editions, Nottingham, 2024, p.128, illustrated.
£1,000-1,500
7 §
ANDRÉ KERTÉSZ (HUNGARIAN 1894-1985)
MELANCHOLIC TULIP, NEW YORK, 1939
signed and dated in pencil (to reverse), vintage gelatin silver print, aside from an edition image: 24.7cm x 18cm (9 ¾in x 7 1/8in); sheet: 25.8cm x 20.3cm (10in x 8in)
Provenance: The Estate of Dorothy Bohm.
Exhibited: Hayward Gallery, London, Flora Photographica - Masterpieces of Flower Photography, 1992-93, Arts Council of Great Britain touring exhibition, no. 66.
£5,000-8,000
8 § ERWIN BLUMENFELD (GERMAN / AMERICAN 1897-1969)
VICTORY OF SAMOTHRACE, LOUVRE, PARIS, c.1930s
stamped with Artist’s Estate stamp (to reverse), vintage gelatin silver print, aside from an edition image: 34.6cm x 27cm (13 5/8in x 10 5/8in); sheet: 35.5cm x 28cm (14in x 11in)
Provenance: The Erwin Blumenfeld Estate; The Estate of Dorothy Bohm.
£4,000-6,000
9 §
BILL BRANDT (BRITISH 1904-1983)
NUDE, EAST SUSSEX COAST, 17 JULY 1978, 1978 / 2004 numbered 25/100 in pencil within the Artist’s Estate blindstamp (lower left), archival inkjet print on paper, from the posthumous edition of 100, published by The Bill Brandt Archive, 2004, to accompany the deluxe edition of Brandt Nudes - A New Perspective, with commentary by Mark Haworth-Booth, offered alongside the book within its original solander box image: 22cm x 19.8cm (8 5/8in x 7 ¾in); sheet: 35 x 28.5cm (13 ¾in x 11 ¼in), unframed
Provenance: Acquired from The Bill Brandt Archive by Dorothy Bohm; The Estate of Dorothy Bohm.
£400-600
10 § RUTH BERNHARD (GERMAN/AMERICAN 1905-2006)
HAND ON BEACH, 1946
stamped with the Artist’s stamp, titled and dated in pencil (to reverse), lifetime gelatin silver print, mounted on card, aside from an edition 18.8cm x 24.5cm (7 3/8in x 9 5/8in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£700-1,000
LEE MILLER (AMERICAN 1907-1977)
AN EGYPTIAN PERSPECTIVE, 1936-39, PUBLISHED 2007
The complete set of six gelatin silver prints, in the original presentation solander box, with justification page signed and numbered by Anthony Penrose; each individually stamped with a specially produced centenary edition authentication stamp, signed and numbered by Anthony Penrose (to reverse), with Lee Miller Archives blindstamp in the margin (lower left), number 2 from an edition of 10, published by the Lee Miller Archives, 2007 image: 24.1cm x 24.1cm (9 ½in x 9 ½in); sheet: 36cm x 28cm (14 1/8in x 11in) [each], unframed
Provenance: The Lee Miller Archives; Their gift to Christie’s London, The Photographers’ Gallery Fundraising Auction, 17 February 2011, lot 37, where acquired by Dorothy Bohm; The Estate of Dorothy Bohm.
£4,000-6,000
12 §
RUTH BERNHARD (GERMAN/AMERICAN 1905-2006)
CLASSIC TORSO WITH HANDS, 1952
stamped, titled and dated in ink (to reverse), lifetime gelatin silver print on Kodak paper, aside from an edition image: 16.5 x 11.5cm (6 ½in x 4 ½in); sheet: 17.8cm x 12.8cm (6 ¾in x 7in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£500-800
14 §
13 §
RUTH BERNHARD (GERMAN/AMERICAN 1905-2006)
HIP HORIZONTAL, 1975
stamped with the Artist’s stamp (to reverse), lifetime gelatin silver print on Kodak paper, aside from an edition image: 11.8cm x 14.5cm (4 5/8in x 5¾in); sheet: 12.8cm x 17.8cm (7in x 6 ¾in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£500-800
RUTH BERNHARD (GERMAN/AMERICAN 1905-2006)
TWO FORMS, 1963
stamped with the Artist’s stamp and titled and dated in ink (to reverse), lifetime gelatin silver print on Kodak paper, aside from an edition image: 16.5 x 11.5cm (6 ½in x 4 ½in); sheet: 17.8cm x 12.8cm (6 ¾in x 7in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£500-800
15 §
PAUL TANQUERAY (BRITISH 1905-1991)
SELF-PORTRAIT PHOTOGRAPHING PEARL ARGYLE AS THE LADY OF SHALLOTT, c.1930s; GERTRUDE LAWRENCE, ACTRESS, c.1930s
i. Self-Portrait Photographing Pearl Argyll as The Lady of Shallott, signed in pen (lower right), stamped with the Artist’s stamp (to reverse), lifetime gelatin silver print, aside from an edition ii. Gertude Lawrence: signed in pen (lower right), stamped with the Artist’s stamp (to reverse), lifetime gelatin silver print, aside from an edition
i. image: 20.3cm x 16.5cm (8in x 6 ½in);
sheet: 30.5cm x 24.1cm (12 x 9 ½in), unframed
ii. image: 24.1cm x 16.5cm (9in x 6 ½in);
sheet: 30.5cm x 24.1cm (12 x 9 ½in), unframed (2)
Provenance: The Estate of Dorothy Bohm. £400-600
PAUL TANQUERAY (BRITISH, 1905-1991)
CECIL BEATON, 1937 signed in pen (lower right); also stamped with the Artist’s stamp (to reverse), lifetime gelatin silver print, aside from an edition image: 22.9cm x 16.5cm (9 x 6 ½in); sheet: 30.5cm x 24.1cm (12 x 9½in), unframed
Provenance: The Estate of Dorothy Bohm. £800-1,200
17 §
GERMAINE KRULL (POLISH/GERMAN 1879-1985)
TWO PUBLICITY PHOTOS FOR ‘MERCIER FRÈRES’ FURNITURE STORE, PARIS, 1931
i. vintage bromide print
ii. stamped with the Artist’s copyright stamp (to reverse), gelatin silver print, printed later
i. 24 x 18cm (9 ½ x 7 1/8in)
ii 16cm x 22.5cm (6 ¼in x 8 7/8in) (2)
Provenance: The Estate of Dorothy Bohm.
£700-1,000
18
BERENICE ABBOTT (AMERICAN 1898-1991)
PARABOLIC MIRRORS REFLECTING A GIRL’S EYE, c.1958
signed in pencil on mount (lower right), lifetime gelatin silver print mounted on card, aside from the edition of 50
34.5 x 27cm (13 ¼in x 10 5/8in)
Provenance: The Estate of Dorothy Bohm.
£1,000-1,500
19 §
DOROTHY BOHM (BRITISH 1924-2023)
PETTICOAT LANE, EAST END, LONDON, SUNDAY MORNING, c.1960s
vintage gelatin silver print
32cm x 27cm (12 ½in x 10 5/8in)
Provenance: The Estate of Dorothy Bohm
Literature: Bohm-Duchen, Monica et al., Dorothy Bohm at 100 - A Life in Photography, Beam Editions, Nottingham, 2024 , illustrated p. 69.
Another print of this image is held in the collection of Tate, London (P13365)
£1,000-1,500
Dorothy Bohm at home, Hampstead, London, June 2022. Photograph by Lydia Goldblatt
20 §
DOROTHY BOHM (BRITISH 1924-2023)
MARSEILLES, WINDOW IN THE MUSÉE DES BEAUX ARTS, OCTOBER 1989
signed, titled and dated in pen (to reverse), also signed in pencil on mount (to reverse), lifetime c-type print on Kodak paper
25.3cm x 17.7cm (10in x 7in)
Provenance: The Estate of Dorothy Bohm.
Literature: Jeffrey, Ian, Dorothy Bohm - Colour Photography, 198494, The Photographers’ Gallery, London, 1994, p.7, illustrated.
£700-1,000
21 §
DOROTHY BOHM (BRITISH 1924-2023)
PROVENCE, NOVEMBER 1991
signed, titled and dated (to reverse), lifetime c-type print on Kodak paper
25.3cm x 17.7cm (10in x 7in)
Provenance: The Estate of Dorothy Bohm.
£700-1,000
Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’.
Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade.
In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably
free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.
There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
22 §
IVON HITCHENS (BRITISH 1893-1979)
BLUE RIVER, 1932
signed and dated 32 (lower left), oil on canvas 50.8cm x 76.2cm (20in x 30in)
Provenance: with Leicester Galleries, London; Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm; The Estate of Dorothy Bohm.
£30,000-50,000
23 § ALAN LOWNDES (BRITISH 1921-1978)
HOT DAY, SHEFFIELD, 1967
signed (lower left) and dated 1967 (lower right); titled and inscribed Finished Sept Halsetown 1967 in pencil (to reverse)
15.5cm x 26cm (6in x 10 ¼in)
Provenance: The Estate of Dorothy Bohm.
£1,500-2,500
24 §
AVIGDOR ARIKHA (ROMANIAN/FRENCH 1929-2010)
THE MOURNERS, c.1950s
oil on board
64.5cm x 49.5cm (25 ¼in x 19 ½in)
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£800-1,200
25 § ANDRÉ KERTÉSZ (HUNGARIAN 1894-1985)
UNTITLED, 1984
signed André, dated and inscribed Only the best for Xmas in ink (to margin), unique Polaroid image: 8cm x 8cm (3 1/8in x 3 1/8in); sheet: 11cm x 9cm (4 ¼in x 3 ½in)
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£1,200-1,800
DOROTHY BOHM (BRITISH 1924-2023)
AUTUMN LEAVES ON THE PAVEMENT
signed in pencil (on backboard), unique Polaroid image: 8cm x 8cm (3 1/16in x 3 1/16in); sheet: 10.7cm x 9cm (4 ¼ x 3 ½in)
Provenance: The Estate of Dorothy Bohm.
£300-500
27 §
JOSEF SUDEK (CZECH 1896-1976)
PEAR STILL LIFE
lifetime gelatin silver print on wove-textured paper image: 8.5cm x 11.5cm (3 ¼in x 4 ½in); sheet: 23.8cm x 17.8cm (9 3/8in x 7in), unframed
Provenance: The Estate of Dorothy Bohm.
£800-1,200
28
ARNOLD NEWMAN (AMERICAN 1918-1906) VIOLINS
signed, titled, dated 1941 and inscribed For Dorothy / with admiration friendship and love / Augusta & Arnold / NYC Nov 2 1979 in pencil on mount, lifetime gelatin silver print mounted on card, aside from an edition 24.5cm x 29.1cm (7 ½in x 9 5/8in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm
£700-1,000
29 §
DOROTHY BOHM (BRITISH 1924-2023)
STILL LIFE, HAMPSTEAD, LONDON 1994 signed, dated and inscribed Church Row Terrace, Hampstead in pen (to reverse), lifetime c-type print on Kodak Royal paper 20.3cm x 30.5cm (8in x 12in)
Provenance: The Estate of Dorothy Bohm.
£700-1,000
30 §
DOROTHY BOHM (BRITISH 1924-2023)
COURTYARD
lifetime c-type print
25.3cm x 17.8cm (10in x 7in)
Provenance: The Estate of Dorothy Bohm.
£800-1,200
31 §
HANS CASPARIUS (GERMAN 1900-1985)
TWO PHOTOGRAPHERS AND A FILMMAKER, 1930/1970s
each signed in pen (lower right), with copyright stamp (to reverse), silver bromide prints, printed in the late 1970s under the Artist’s supervision
i) Near Berlin, 1930
ii) Nice, 1930
iii) Nice, 1930
image: 19cm x 17.7cm (7 ½in x 7in); sheet: 25.4 x 20.3cm (10 x 8in) [each], unframed (3)
Provenance: The Estate of Dorothy Bohm.
£300-500
32 §
HANS CASPARIUS (GERMAN 1900-1985)
FIVE SCENES OF AMERICAN & CANADIAN LIFE, 1931 / 1970s
each signed in pen (lower right), with copyright stamp (to reverse), silver bromide prints, printed in the late 1970s under the Artist’s supervision:
i) Girl on a Porch, Canada, 1931
ii) Railway Porter, Canada, 1931
iii) Rodeo, Canada, 1931
iv) Three Nuns, Canada, 1931
v) New York, Coney Island, 1931
various sizes, approx. image: 19cm x 17.7cm (7 ½in x 7in); sheet: 25.4 x 20.3cm (10 x 8in) [each], unframed (5)
Provenance: The Estate of Dorothy Bohm.
£700-1,000
§
33
ANDRÉ KERTÉSZ (HUNGARIAN 1894-1985)
UNTITLED (AUGUST 12, 1978 -No. 13), 1978
signed, titled, dated and inscribed To Dorothy Bohm / A.K. / Nov. 8 1978 in pencil (to reverse), vintage gelatin silver print, aside from an edition image: 24.6cm x 17cm (9¾ × 7in); sheet: 25.4cm x 20.3cm (10in x 8in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£1,500-2,500
34 §
IDA KAR (ARMENIAN 1908-1974)
AFRICAN DANCER, LONDON, 1957
signed in pen (upper right), titled, dated and inscribed (to reverse), vintage gelatin silver print
18.6cm x 29.1cm (7 3/8in x 11 ½in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£300-500
35 §
IDA KAR (ARMENIAN 1908-1974)
PORTRAIT OF CRAIGIE AITCHISON, 1957
signed in Chinagraph pencil (lower right), vintage gelatin silver print
18cm x 19.3cm (7 1/8in x 7½in)
Provenance: The Estate of Dorothy Bohm.
The negative for this work is held in the collection of the National Portrait Gallery, London [NPG x133282].
£300-500
36 §
MARKÉTA LUSKAČOVÁ (CZECH, 1944- )
HORSE MARKET, WEST IRELAND, 1973
titled and dedicated For Dorothy in gratitude & with love, Markéta (to reverse), gelatin silver print, printed in April 2001, aside from an edition image: 32.5cm x 21cm (12 ¾in x 8 ¼in); sheet: 39cm x 28cm (15 ¼in x 11in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£300-500
37 §
MARKÉTA LUSKAČOVÁ (CZECH, 1944-)
SLEEPING PILGRIM, LEVOČA, 1968
titled and dedicated For Dorothy with all my love, Markéta in pencil (to reverse), gelatin silver print, printed in April 2001, aside from an edition image: 21.8cm x 31.5cm (8 5/8in x12 3/8in); sheet: 28.6cm x 38.2cm (11 ¼in x 15 1/8in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£300-500
38 §
MARKÉTA LUSKAČOVÁ (CZECH, 1944-)
CHILDREN FROM CANON BARNETT SCHOOL ON THE TRAIN TO SEASIDE, EAST LONDON, 1988
titled and dedicated For Dorothy with all my love and thanks for all the help and support over the years, Markéta Luskačová in pencil (to reverse), gelatin silver print, printed in April 2001, aside from an edition image: 31.8cm x 21cm (12 ½in x 8 ¼in); sheet: 39cm x 28.2cm (15 ¼in x 11in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£300-500
39 §
MARKÉTA LUSKAČOVÁ (CZECH 1944-)
PRAGUE, 1999, CARNIVAL - CHILDREN FROM WALDORF’S SCHOOL, 1999
titled and dedicated For Dorothy with hugs, Markéta Luskačová in pencil (to reverse), gelatin silver print, printed in April 2001, aside from an edition image: 31.5cm x 21cm (12 ½in x 8 ¼in); sheet: 38.5cm x 28.5cm (15 ¼in x 11 ¼in), unframed
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£300-500
40 §
FAY GODWIN (BRITISH 1931-2005)
FIVE LANDSCAPES, c.1970s-1980s
i. RIDGEWAY: AVEBURY, SMALL STONE IN RIPPLING BANKS, 1973
signed in pencil (lower right) and dated (lower left), stamped with Artist’s stamp and titled and dated in pencil (to reverse of mount), gelatin silver print, mounted on card
ii. RIDGEWAY: HARVESTING NEAR STREATLEY WARREN signed in pencil (lower right), stamped with Artist’s stamp and titled in pencil (to reverse of mount), gelatin silver print, mounted on card
iii. RIDGEWAY: CLUMP. BARBURY CASTLE, SPRING, 1973-77
signed in pencil (lower right), stamped with Artist’s stamp and titled in pencil (to reverse of mount), gelatin silver print, mounted on card
iv. PONT SETHIN, LOW CLOUDS (FROM DROVERS’ ROADS, WALES)
signed in pencil (lower right), stamped with Artist’s stamp and titled in pencil (to reverse of mount), gelatin silver print, mounted on card
v. PADDLING POOL, RYDE, ISLE OF WIGHT, 1988 signed, titled, dated and inscribed For Dorothy and Louis / With very best wishes for 1990 / Lots of love Fay in pen (to reverse), Cibachrome print
i. image: 16.1cm x 22.5cm (6 3/8in x 8 7/8in)
ii. image: 14cm x 17.3cm (5 ½in x 6 ¾in)
iii. image: 17.3cm x 22.5cm (5 ½in x 8 7/8in)
iv. image: 17.5cm x 22.5cm (5 ½in x 8 7/8in)
v. image: 19.5cm x 19.5cm (7 ¾in x 7 ¾in)
(5)
Provenance: Gift of the Artist to Dorothy Bohm; The Estate of Dorothy Bohm.
£500-800
41 §
KEITH VAUGHAN (BRITISH 1912-1977)
ISLE OF WHITHORN, 1954
signed in pencil (lower right), inscribed and dated (to reverse), gouache and pencil on paper 17.5cm x 13.5cm (6 7/8in x 5 3/8in)
Provenance: Julian Andrews (British Council Arts Envoy); Private Collection, U.K.
£4,000-6,000
42 §
GRAHAM SUTHERLAND (BRITISH 1903-1980)
DRAGLINE BUCKET EXCAVATING OVERBURDEN, 1943
ink, pencil, pastel and gouache on paper 22cm x 19cm (8¾in x 7½in)
Provenance: Pier Paolo and Marzia Ruggerini, Milan, from whom acquired by the present owner in 2014.
Exhibited: Antibes, Musée Picasso, Graham Sutherland 1998, no. 42; Penlee House Gallery and Museum, Penzance and the National Waterfront Museum, Swansea, Graham Sutherland: From Darkness into Light: Mining, Metal and Machines 2013-2014, illustrated in catalogue, p. 73. The present work is a study relating to Opencast Coal Production: Dragline Bucket Removing Earth, 1943, held in the collection of the Manchester Art Gallery
£6,000-8,000
43 §
REG BUTLER (BRITISH 1913-1981) STUDY FOR CIRCUS, 1959 (RB 164) signed with artist’s monogram and numbered 7/8, bronze
68cm x 19cm x 17.5cm (26 ½in x 7 ½in x 7in)
Provenance: with James Goodman Gallery, Buffalo, 1964-65, from whom acquired by a Private Collection, Lockport, New York; James Goodman Gallery, New York. 1999, from whom acquired by a Private Collection, UK; Acquired from the above by the present owner
Exhibited: Hanover Gallery, London, Reg Butler: Sculpture, 9 June - 8 July 1960, illustrated in catalogue no.3 (as Circus), another cast; The Memorial Art Gallery of the University of Rochester, New York, Twentieth Century Art: The Charles Rand Penney Collection, 11th December - 1 August 1984, illustrated in catalogue, p.21, cat. no.36, touring to Roland Gibson Art Gallery, SUNY-Postdam, New York, October - December 1984; San Jose Museum of Art, California, September - November 1985; Stifel Fine Arts Centre, Wheeling, West Virginia, January - March 1986; Tampa Museum, Florida, June - July 1986; Arkansas Art Centre, Arkansas, August - September 1986; Oklahoma Art Centre, Oklahoma, November - December 1986; Mississippi Museum of Art, Mississippi, January - February 1987; MacKenzie Art Gallery, University of Regina, Saskatchewan, March - May 1987; Cheney Cowles Memorial Museum, Spokane, Washington, June - July 1987; Paine Art Centre, Oshkosh, Wisconsin, September - November 1987; Beaumont Art Museum, Texas, January - February 1988; Meadows Museum, Shreveport, Los Angeles, March - May 1988, another cast.
Literature: Garlake, Margaret, The Sculpture of Reg Butler, Henry Moore Institute in association with Lund Humphries, Aldershot, 2006, p. 152, fig. 187.
£8,000-12,000
BEN NICHOLSON O.M. (BRITISH 1894-1982) OCT. 55 (RADICOFANI), 1955
pencil and wash on paper
35.5cm x 44cm (14in x 17 ¼in)
Provenance: The Artist; E. Q. Nicholson, the Artist’s sister-in-law; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Place I, June - July 1983; Victoria Miro Gallery, London, Works on Paper from Acconci to Zittel, 26 June - 15 September 2001; Gimpel Fils, London, Drawing Show, 4 March - 3 April 2004, no. 31; Gimpel Fils, London, Collector’s Choice II, 8 March - 28 April 2017.
Literature: Read, Herbert, Ben Nicholson - Work Since 1947, Vol. 2, Lund Humphries, London, 1956, pl. 116, illustrated.
£4,000-6,000
45 §
JOHN PIPER C.H. (BRITISH 1903-1992) POINTE DU CHATEAU, BRITTANY, c.1960 oil on canvas
71.6cm x 91.6cm (28 ¼in x 36 1/8in)
Provenance: with Marlborough Fine Art, London (mis-labelled as Garn Fawr); Sotheby’s London, Modern British & Irish Art, 5 December 2001, lot 54 (sold as Garn Fawr), where acquired by the present owner.
Exhibited: Portland Gallery, London, John Piper (1903-1992), 22 February - 10 March 2023, p. 23, illustrated in catalogue.
£10,000-15,000
Pointe de Chateau, Brittany was painted on one of Piper’s frequent visits to the French peninsula during the 1960s, where he studied and drew the rocky beaches repeatedly. The current work is markedly different from Piper’s earlier portrayals of the mountains of Snowdonia or the quarries of Portland, which are far more literal representations. Pointe de Chateau, by contrast, is much more abstract, the landscape providing a starting-off point for layers of luminous colour, broad gestural brushstrokes and spontaneous lines of black that dance around the canvas, outlining the stones, cliffs and
buildings but also acting independently, as gestures in their own right. Piper is thought to have been inspired by the exhibitions of American Abstract Expressionism at the Tate in the late 50s, where he would have seen works by the likes of Willem de Kooning, Mark Rothko and Jackson Pollock.
The significance of this work - in particular, the suggestion that it shows the immediate influence of American painting - has only recently come to light, following a reappraisal of its true date of execution and subject matter, as the painting had previously been mis-labelled by Piper’s dealers.
46 §
DAVID JONES C.H., C.B.E. (BRITISH 1895-1974)
DEER, 1928
signed and dated 28 (lower left), pencil and coloured pencil on prepared paper 39cm x 53.5cm (15 ¼in x 21 1/8in)
Provenance: The Redfern Gallery, London (as Deer in Movement), 1948; Private Collection, U.K.
Exhibited: Tate Gallery, London, David Jones, 21 July - 6 September 1981, no. 50, not illustrated in catalogue. £1,500-2,500
DAVID JONES C.H., C.B.E. (BRITISH 1895-1974) ON THE TOW PATH, 1926
signed and dated 26 in pencil (lower right), pencil and watercolour on paper
36cm x 50cm (14 1/8in x 19 ¾in)
Provenance: Private Collection, U.K.
£10,000-15,000
David Jones is regarded as one of the most significant modernist writers of his generation. He served with the Royal Welch Fusiliers on the Frontline between 1915-1918 and his magnum opus, In Parenthesis - regarded by peers including T. S. Eliot and W. H. Auden as a masterpiece - is now recognised as one of the most important texts inspired by the First World War.
Jones, however, primarily regarded himself as an artist. Having studied at Camberwell Art School and the Westminster School of Art, he became an active participant in exhibition societies including the Seven and Five Group alongside the likes of Ben and Winifred Nicholson, Ivon Hitchens and Frances Hodgkins.
Jones’s work is largely figurative in technique, and the chosen medium of watercolour a symbolic decision on the artist’s part, being fluid, mutable and evocative of a long English tradition, from contemporaries including Bawden through Blake and reaching back to medieval illuminations.
His works evoke a sense of gentle poetry and depth of meaning. Complex in their apparent simplicity, his oeuvre is perhaps best described in the artist’s own words from 1935:
“I should like to speak of a quality which I rather associate with the folk tales of Wales or Celtic derivation, a quality congenial and significant to me which in some oblique way has some connection with what I want to do in painting. I find it impossible to define, but it has to do with a certain affection for the intimate creatureliness of things – a care for, and appreciation of the particular genius of places, men, trees, animals, and yet withal a pervading sense of metamorphosis and mutability.”
48 §
DAVID JONES C.H., C.B.E. (BRITISH 1895-1974)
SUMMER’S DAY, 1925
signed and dated in pencil (lower left), pencil and watercolour on paper
37cm x 52cm (14 ½in x 20 ½in)
Provenance: The Redfern Gallery, London, 1950; Private Collection, U.K.
£10,000-15,000
Ennui of 1972 by William Roberts reveals the confident and monumental treatment of a scene of outdoor leisure, full of human activity and infused with humour, which characterised his work of the decade. Its focal point is the bond between a dog and its owner, caught in a mid-walk moment of relaxation and happiness.
Following the launch of the touring retrospective exhibition of Roberts’ work at the Tate Gallery in London in 1965 and the refusal of an OBE in the same year, Roberts was elevated to the rank of Senior Royal Academician at the Royal Academy of Arts in 1970. Further professional recognition and the growth of his standing within the art world was to follow in the form of multiple solo exhibitions in the public and private sectors, his publication of books including Memories of the War to End War 1914-18 of 1975 and Paintings and Drawings by William Roberts R A in 1976 and the acquisition of his work for various public collections, including those of the Tate (Skipping (The Gutter), Playground (The Gutter) and Esther Lahr), the National Galleries of Scotland (Sarah), Glasgow Life (The Dancers) and the British Council (Howitzer in Action).
As Simon Martin explained when curating the exhibition William Roberts: England at Play of 2007, in which Ennui was shown:
“Roberts drew and painted the everyday life of the English people. Visiting local cafés, cinemas, parks, pubs, the races and occasionally the seaside, he captured the leisure activities of his fellow Londoners and portrayed the eccentricities and social interactions of those around him with respect, dignified humour and unerring affection.”
(Simon Martin, ‘William Roberts: England at Play’, Pallant House Gallery Magazine, no.10, January – March 2007, p.15)
WILLIAM ROBERTS R.A. (BRITISH 1895-1980)
ENNUI, 1972
oil on canvas
70.5cm x 50.5cm (27 ¾in x 19 7/8in)
Provenance: Sarah Roberts, the Artist’s wife, from whom acquired by the parents of the present owner, c.1980s.
Exhibited: Royal Academy of Arts, London, 1973; Pallant House Gallery, Chichester, England at Play, 20 January - 20 March 2007.
Literature: Roberts, William, Paintings and Drawings by William Roberts R.A., Royal Academy, London, 1976, pl. 34. £30,000-50,000
Ennui may well depict a scene beside Regent’s Canal in London, which the artist could access from his garden and on which he and his family enjoyed rowing. Scenes observed during regular walks around Camden Town and Regent’s Park were worked up from quick sketches to squared and precise drawings to finished paintings in the studio. As the current work demonstrates, detail was kept to a minimum, form was simplified and the human figure was rendered with a tubular solidity which has been related to the approach of Cubist Masters including Pablo Picasso, Georges Braque and Fernand Léger (see Simon Martin, op.cit., p.16).
A multi-layered narrative plays out before the viewer’s eye, from the affection between dog and woman in the foreground, the apparent boredom of the man beside her, as referred to in the work’s title, to the angularity of the rowers and punters reflected in the still water; each person appears to be in a world of their own. A strong sense of the horizontal and the vertical provides structure to the composition, which recedes through several spatial planes to reach the far bank.
It can be argued that Ennui is a somewhat wry response to the series of paintings of the same title by Walter Sickert (1860-1942), whom Roberts teasingly portrayed in He Knew Degas of 1938 (Private Collection). Created during the period from 1914 to 1918, the first of the quartet is in the Tate and the last at the Ashmolean Museum, Oxford, whilst their subject is the petering out of the relationship between a husband and wife. Roberts himself had a particularly close marriage, to Sarah Kramer (1900-92), sister of the artist Jacob Kramer (1892-1962), following their wedding in 1922. Roberts’ pride in his own Ennui is shown by the decision to exhibit it at the Royal Academy in 1973, the year after its completion.
“On Eigg, at the age of eighty-six, Winifred created a vigorous late body of work…During this final working trip, Winifred was able to combine her deeply felt love of Scotland and fascination with the light there, with her lifelong concern for colour and the edges of the visible spectrum. In works such as Rhododendrons, Eigg and Hebridean Roses, Eigg (Private Collection) she looked through a prism in order to paint flowers, picked on the island, which created the spectrum of light caught in the glass vessels. In both works she set the flowers before seascapes which shimmer with northern spring light.”
(Alice Strang, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, p.53)
Rhododendrons, Eigg (Pink Rhododendrons) and Sound of Rum from Bay of Laig, Isle of Eigg (The Singing Sands) epitomise Winifred Nicholson’s love for Scotland and in particular the Hebridean island of Eigg. They were acquired from the artist by her son, the designer Jake (Jacob) Nicholson (1927-2003), who cherished them for the rest of his life.
Nicholson worked in Scotland repeatedly in the late 1940s and early 1950s, often accompanied by her friend, the poet Kathleen Raine (1908-2003). They stayed on the islands of Eigg and Canna and also in Sandaig on the mainland; there they rented Gavin Maxwell’s cottage, which he immortalised as Camusfèarna in his Ring of Bright Water trilogy.
Eigg is just five miles long by five miles wide and is situated twelve miles from Mallaig on the mainland, just south of Skye. Some three decades passed between Nicholson’s first trip there, in the summer of 1950 with Raine and her last, in the Spring of 1980, with her daughter, the artist Kate Nicholson (1929-2019).
Raine had idyllic memories of her and Nicholson’s first experience of the island, later recalling:
‘The Factor [of Eigg] was previously employed by Winifred’s father... and he allowed us to camp during the day in an uninhabited cottage where Winifred painted and I wrote, or walked off gathering flowers, many of which Winifred painted…We boiled water and made ourselves cups of tea from time to time and enjoyed the illusion of living there…On our first visit to Eigg I remember it was sultry
summer weather and we walked to the top of the island.’ (Quoted in Alice Strang, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, p.47)
In her turn, whilst there Nicholson wrote to Jake exclaiming ‘Kathleen has written some magical poems. I’ve done about 16 pictures here, how good I don’t know until I get back to look at them against other things.’ (quoted in Strang, op.cit., p.48).
Sound of Rum from Bay of Laig, Isle of Eigg reveals Nicholson’s deep connection with the Scottish sea- and landscape and her sensitivity to the gentle, shimmering light unique to the area. The bay, on Eigg’s west coast, commands fine views over the sea to Rum, whose Cuillin peaks are seen emerging from diaphanous clouds. There is a sense of island remoteness and purity.
This painting is also known as The Singing Sands after the nearby beach of Camas Sgiotaig, where in certain conditions the sand makes noises when walked upon. This magical natural phenomenon has been explained by Geoffrey Grigson thus:
‘Dry blown sand around the coast may emit an unexpected sound, slight or pronounced, when you walk over it or drag a stick across it. Off the dunes and below the high-tide mark, water is drawn in and held between the grains of sand by capillary action. The grains do not touch. Without this watev r cushion dry grains rub together when they are moved, and if they are of the same shape and size they jerk against or across each other as they do so, vibrating and “singing”.’
(Geoffrey Grigson, The Shell Country Alphabet, from Apple Trees to Stone Circles, How to Understand the British Countryside, Particular Books, London, 2009, p.344)
Winifred Nicholson painting Rhododendrons, Eigg in the Gatekeeper’s Cottage, Eigg, 1980.
Photo: Donald Wilkinson
50 §
WINIFRED NICHOLSON (BRITISH 1893-1981)
RHODODENDRONS, EIGG (PINK RHODODENDRONS), 1980
Oil on canvas
43cm x 58cm (16 7/8in x 22 ¾in)
Provenance: Acquired from the Artist by her elder son, the late Jake (Jacob) Nicholson (1927-2003) and thence by descent to the present owner
Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Winifred Nicholson in Scotland, 10 July - 7 September 2003 and touring to Duff House, Banff, 8 November 2003 - 18 January 2004 and An Tuireann, Skye, 24 January - 20 March 2004; Pier Arts Centre, Stromness, on long-loan 2019 - 2024.
Literature: Nicholson, Andrew (ed.), Winifred Nicholson: Unknown Colour, Faber & Faber, London, 1987, p. 74, illustrated; Strang, Alice, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, p.53, p. 52, pl. 24, illustrated.
We are grateful to Jovan Nicholson for his help in researching this painting.
£25,000-35,000
When creating the work, Nicholson positioned herself behind and above the white foreshore in order to embrace the curve of the bay. Undulating ground, cliff and hill combine to create an awareness of natural rhythm, heightened by the edge of the wave at the boundary between water and beach. The sky holds muted sunshine as well as a suggestion of something more powerful. The delicate palette, based on blue, green and grey, carries an atmosphere of peace, beauty and a sense of wonder.
Nicholson and Kate spent two weeks on Eigg in May 1980, accompanied at first by the artist Donald Wilkinson (b.1937) and his family and secondly by the artists Valerie Thornton (193191) and Michael Chase (1915-2001). This time she stayed in the Gamekeeper’s Cottage. As Alice Strang has explained:
‘The Gamekeeper’s Cottage is the highest house on the island, with panoramic views across the sea to the mainland. Due to the atmospheric conditions in the area, rainbows occur there with unusual frequency. From an early age Winifred had been fascinated by them, as they were a natural display of the splitting of light into the colour spectrum.’ (Strang, op.cit., p.50)
This phenomenon is celebrated in Rhododendrons, Eigg. A painting infused with colour and joy, it was created with the aid of a prism that Nicholson had recently acquired. Her series of prismatic paintings, of which Rhododendrons, Eigg is one of the finest, were extremely important to the artist. Her grandson, Jovan Nicholson has explained, quoting her:
‘The way Winifred used a prism is straightforward: when you look through a prism the objects you see are rimmed with rainbow colours. “[My] prism is in a back pocket in my purse. I can put my hand into my pocket and pull it out whenever I want to see a rainbow. For the prism shows us rainbows everywhere.” She valued her prism as “a very little pot of gold”, for she “found out what flowers know, how to divide the colours as prisms do, onto longer and shorter wavelengths, and in so doing giving the luminosity and brilliance of pure colours…in the ordered sequence of the octave of colour.”’ (Jovan Nicholson, Winifred Nicholson: Liberation of Colour, Philip Wilson Publishers, London, 2016, p 32)
“‘Thirty years separate Winifred’s first and last known stays on Eigg; the first visit was with Kathleen [Raine] from June until July 1950. The last, which was to be her final working trip, was with her daughter Kate in May 1980… In 1950 Winifred and Kathleen stayed in the manse at night, but during the day worked in a crofter’s cottage at Kildonan…[They]…walked to Cleadale in the north of the island, Eigg’s only surviving group of crofts and it was near here that Winifred painted Sound of Rum from Bay of Laig, Isle of Eigg.’”
(Alice Strang, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003 p.47-48)
Moreover, Nicholson was drawn to paint flowers for much of her career, partly as a way to explore her theory that ‘colour is not just a coat over objects – it lies on the rim of objects between one form and the neighbouring form or space.’ (quoted in Judith Collins, Winifred Nicholson, The Tate Gallery, London, 1987, p.31). She sensed that flowers:
‘…create colours out of the light of the sun, refracted by the rainbow prism…The flowers are sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc…My paint brush always gives a tremor of pleasure when I let it paint a flower…to me they are the secret of the cosmos.’ (quoted in ed. Andrew Nicholson, Winifred Nicholson: Unknown Colour, Faber & Faber, London, 1987, pp. 239 & 216)
The rainbows that shimmer amidst the titular flowers in Rhododendrons, Eigg heighten the viewer’s awareness of their delicate beauty, as well as that of the patterned cloth on which they are presented and the expanse of their natural surroundings. These are more sensed and glimpsed than simply seen, in an image in which an element of spirituality is combined with heartfelt optimism.
Sound of Rum from Bay of Laig, Isle of Eigg (The Singing Sands) and Rhododendrons, Eigg (Pink Rhododendrons) were included in the National Galleries of Scotland touring exhibition Winifred Nicholson in Scotland (2003-04) and were reproduced in the accompanying book by Alice Strang. They returned to a Scottish island when they were on long-loan to the Pier Arts Centre in Stromness, Orkney between 2019 and 2024 (Nicholson having painted there during the summer of 1953). Examples of Nicholson’s Scottish paintings can be found in the public collections of the Art Gallery of Ontario (Mrs Campbell’s Window, 1951), Kettle’s Yard, Cambridge (Flodigarry Island, Skye, 1949) and Tullie House Museum & Art Gallery, Carlisle (Bonnie Scotland, c.1951).
We are grateful to Jovan Nicholson for his help in researching these paintings.
Rhododendrons, Eigg in the Gatekeeper’s Cottage, Eigg, 1980. Photo: Donald Wilkinson
51 §
WINIFRED NICHOLSON (BRITISH 1893-1981)
SOUND OF RUM FROM BAY OF LAIG, ISLE OF EIGG (THE SINGING SANDS), EARLY 1950s oil on board
58cm x 83.5cm (22 ¾in x 32 7/8in)
Provenance: Acquired from the Artist by her elder son, the late Jake (Jacob) Nicholson (1927-2003) and thence by descent to the present owner
Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Winifred Nicholson in Scotland, 10 July - 7 September 2003 and touring to Duff House, Banff, 8 November 2003 - 18 January 2004 and An Tuireann, Skye, 24 January - 20 March 2004; Pier Arts Centre, Stromness, on long-loan 2019 - 2024.
Literature: Strang, Alice, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, pp. 47-8, p. 51, pl. 23, illustrated. We are grateful to Jovan Nicholson for his help in researching this painting.
£15,000-20,000
52 §
HENRI MATISSE (FRENCH 1869-1954)
NU DRAPÉ SUR FOND COMPOSÉ DE CERCLES, 1931 (D.224)
signed and numbered 16/25 in pencil in the margin (lower right), etching on Chine appliqué paper plate: 11.7cm x 8.7cm (4 5/8in x 3 3/8in)
Provenance: Sotheby’s, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 419; Private Collection, U.K.
£3,000-5,000
53
PIERRE BONNARD (FRENCH 1867-1947)
LE BAIN (BOUVET 92a)
lithograph on paper, from Album des peintres lithographes de Manet à Matisse, from the unnumbered edition of 525, printed by Atelier
Duchatel, published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris
31cm x 23cm (12 1/8in x 9in)
Provenance: with William Weston Gallery, London; Property of a Private Aficionado.
£700-1,000
54 §
PABLO PICASSO (SPANISH 1881-1973)
MÈRE ET ENFANTS (B.737)
signed in pencil in margin (lower right), etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, published in 1961 by Galerie Louise Leiris plate: 25.4cm x 30.5cm (10in x 12in)
Provenance: Sotheby’s, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.
£10,000-15,000
55 §
ANDRÉ BRASILIER (FRENCH 1929-)
PIANO À NEW YORK, 2013
signed (lower right), signed, inscribed and dated (to stretcher to reverse), oil on canvas
47cm x 55.5cm (18 ½in x 21 ¾in)
Provenance: with Opera Gallery, London, from whom acquired by the present owner.
£25,000-35,000
56 §
ANDRÉ BRASILIER (FRENCH 1929-)
RÊVERIE BLEUE, 2013
signed (lower right), signed, titled and dated (to stretcher to reverse), oil on canvas
130cm x 89cm (51 1/8in x 35in)
Provenance: with Opera Gallery, London, from whom acquired by the present owner.
£50,000-70,000
These two paintings by André Brasilier (lots 55 and 56) speak to a number of important themes in the renowned, nonagenarian French artist’s work – nature (here in the form of flowers), music, musicians and the female figure in an interior (usually a stylised ‘portrait’ of his wife and muse Chantal). Chantal is often depicted arranging flowers and the present works are linked by the joyous floral presentations that vie for our attention equally with the figures, to the point that they become counterpart expressions of their emotional state.
Rêverie Bleue and Pianiste à New York are painted in Brasilier’s signature soft tones, dominated by blue, which lends them a dreamlike quality and a sensual coolness. Blue was, of course, the colour beloved by Matisse, whose influence on Brasilier is clear and unabashed. He deliberately aims for the romanticism, the lightness of touch of Matisse’s later years on the Côte d’Azur, as well as some of the calme, luxe et volupté of the Post-Impressionists in general – although in Brasilier the luxe et volupté are held in check a little more. There is a quiet restraint to his romanticism, which finds expression in the thin, almost dry application of paint in a work such as Rêverie Bleue. Pianiste à New York has a heavier weighting of paint, a little more luxe appropriate to the energy of the city.
Through the inspiration of Matisse and other PostImpressionists, there is also a strong element of Japonisme to Brasilier’s style – especially in his printmaking, of which he is a master. Like Hokusai or Hiroshige, he plays with clean, sinuous outlines that enclose areas of flat colour, where space and depth are described more by juxtaposing light and dark shapes than through shadow. He also uses the classic ukiyo-e technique of pushing the composition to the edges of the picture plane, with unusual crops, to create the sense of a world glimpsed (although a world that has arranged itself ‘accidentally’ into beautiful proportion and harmony).
Brasilier was born in Saumur, France in 1929, into a family of painters. Saumur is on the edge of the countryside, which was to become a lifelong source of inspiration – alongside that of the city, these two seemingly opposite sites of enquiry seamlessly interwoven in his art. Brasilier studied at the Ecole des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and in 1953 the Prix de Rome, which led him to stay in Italy from 1954 to 1957, before returning to Paris where he still lives and works. Brasilier had his first retrospective at Château de Chenonceau in 1980, with further retrospectives at the Musée Picasso-Château Grimaldi in Antibes in 1988, the State Hermitage Museum in Saint Petersburg in 2005 and the Museum Haus Ludwig für Kunstausstellungen in Saarlois, Germany, in 2007.
57 § BERNARD MEADOWS (BRITISH 1915-2005)
HEAD OF FALLEN BIRD, 1959 (OPUS 47, BM 69)
inscribed with Artist’s monogram, edition 1/6, bronze the bronze: 86.5cm high (34in high) excluding base; overall: 155cm high (61 ¼in high)
Provenance: The Artist (ex 5407); Mrs Campbell Salmon, London, August 1968; Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Heads, 15 January - 15 Februrary 1991; Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016; Gimpel Fils, London, Spring Group Exhibition, 4 May - 10 June 2017; Gimpel Fils, London, Group Show, 1 July - 5 August 2017.
Literature: Bowness, Alan, Bernard Meadows: Sculpture & Drawings, Lund Humphries, London, 1995, p. 90, pl. 72, illustrated (b&w).
£6,000-8,000
58 §
ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014)
SIGNS OF LIFE, FEBRUARY 1962 (OPUS O.446)
signed, titled and dated (to reverse), oil on canvas 152.4cm x 182.9cm (60in x 72in)
Provenance: The Artist; with Gimpel Fils, London; Private Collection, London.
Literature: Bowness, Alan (ed.), Alan Davie, Lund Humphries, London, 1967, cat. no. 382, illustrated (b&w).
£8,000-12,000
COLLECTING CONTEMPORARY CRAFT : SELECTED WORKS FROM “A PRIVATE AFICIONADO”
The importance of collectors in supporting contemporary craft and emerging makers has been critical in fostering new talent and encouraging new makers, especially in financially stringent times, and the current collection of works is a testament to one person’s passion for craft and, in particular, silversmithing.
The collection was built and shared with their family over their lifetime and embraces a multitude of celebrated crafts men and women and emerging makers, acquired over a forty-year period, throughout which the collector avidly visited exhibitions, shops and art fairs across the United Kingdom. Many of the pieces were bought from important centres for craft including the Craft Council Shop at the V&A, the Bishoplands Educational Trust, Chelsea Craft Fair, Electrum, Goldsmiths Fair and most recently Collect in London.
The panoply of makers’ work represented attests to a lifetime of collecting contemporary silver, with a notable focus on early-career works, and the exceptional range of creations produced by a generation of craft makers, including Fred Rich, Kevin Grey, Martin Keane, Sarah Denny, Adi Toch, Graham Stewart, Chein Wei-Chang, Jessica Jue, Sidsel Dorph-Jensen, Michael Lloyd, Ndidi Ekubia, Samuel Waterhouse, Adrian Hope, Angela Cork, Brett Payne, Julie Chamberlain, Tara Coomber and Wally Gilbert.
The collector also actively commissioned work directly from makers and often became firm friends with many of the craft people they supported. They believed that the point of commissioning was this direct contact with the silversmith. To talk over the drawings or models, offer opinions and be part of the creative process allowed the patron to put a little of oneself into the work, resulting in successful commissions that delighted both the maker and client.
Although the current collection is heavily focussed around makers in silver, the collector was passionate about all areas of contemporary craft and good design – in ceramic, glass, textile and wood – and bought works by Jim Partridge, Wendy Ramshaw, Neil Wilkin, Julian Stair, Rupert Spira, Mark Woods, Anna Gordon, Tadek Beutlich and Jennie Moncur, to name just a few.
As well as supporting makers by acquiring and commissioning work, the aficionado supported and was a huge advocate of the wider craft community, which included – but was not limited to – sponsoring notable awards within the field. The current collection is a testament to the importance of private patronage in allowing craft to gain wider significance. The collector would have been delighted to see the recent growing appreciation of craft beyond its historic boundaries and the emergence of a younger collecting sphere which is critical for its future.
80 §
MICHAEL LLOYD (BRITISH 1950-) BEAKER, 2005
stamped maker’s mark and hallmarked for Edinburgh 2005, 958 Britannia silver with gilt interior 6.5cm high (2 ½in high), 159 grams
Provenance: Made for the Final Show at the Crafts Council Shop at the V&A, London, July 2005; Property of a Private Aficionado.
£400-600
82 §
JESSICA JUE (BRITISH 1993-)
TULIP BEAKER, 2018
stamped maker’s mark, hallmarked for London 2018, 958 Britannia silver and gilt
9cm high (3 ½in high), 282 grams
Provenance: Collect, 2019; Property of a Private Aficionado.
£600-800
81 §
THERESA NGUYEN (BRITISH 1985-)
SQUARE TO CIRCLE BEAKER, 2009
stamped maker’s mark, 999 and hallmarked for London, silver 7cm high, 7cm wide (2 ¾in high, 2 ¾in wide), 195 grams
Provenance: Acquired at Bishopsland Educational Trust, 2013; Property of a Private Aficionado.
£300-500
STEVEN OTTEWILL (BRITISH 1968-)
SET OF 9 INTERLOCKING CANDLE HOLDERS, 1990
stamped maker’s marks, hallmarked for London 1990, silver, in fitted case each 4cm high, 14cm wide (1 ½in high, 5 ½in wide) (9)
Provenance: Acquired directly from the maker at The New Designers Competition in 1990; Property of a Private Aficionado.
Born out of a design brief for the Goldsmiths’ Craftsmanship and Design Awards, Steven Ottewill created the interlocking style. This led to his first ever commission as a young Silversmith at the age of 20 years when he created this set of nine candleholders. So popular was the organic shape, a range developed and now incorporates smaller tea-light holders, napkin rings and salt and pepper. The flowing nature of the design is intended to sit beautifully on any table and to be a delight to arrange.
£700-900
JACQUELINE SCHOLES (BRITISH 1979-)
CONDIMENT DISH, 2007
stamped maker’s mark and hallmarked for London 2007, silver and gilt, 10.5cm wide (4 1/8in wide), 70.5 grams; together with LINDA ROBERTSON (BRITISH 1965-), ABSTRACT EGG CUP, 1998, stamped maker’s mark and hallmarked for Edinburgh 1998, silver, 7cm high (2 ¾in high), approximately 187 grams (2)
Provenance: The condiment dish acquired directly from the maker at Goldsmiths’ Fair, 2008; Property of a Private Aficionado.
£250-350
85 §
ALEX RAMSAY (BRITISH CONTEMPORARY)
SHADOW BOWL, 2010
stamped maker’s mark and hallmarked for London 2010, silver, 4cm high, 7cm diameter (1 ½in high, 2 ¾in diameter), 127 grams; together with ANGUS MCFAYDEN, BOWL, stamped maker’s marks, hallmarked for Edinburgh, silver, engraved and with gilding, 3cm high, 5cm diameter (1 ¼in high, 2in diameter), 58 grams; and SARAH HUTCHISON, BOWL, 2006, stamped maker’s mark, hallmarked for London 2006, silver with cubic zirconia, 7cm diameter (2 ¾in diameter), 32.5 grams (3)
Provenance: Property of a Private Aficionado.
£300-500
£300-500 84
86 §
ANGELA CORK (BRITISH 1973-)
SQUARE TILTING DISH, 2009
stamped maker’s mark and hallmarked for London 2009, silver with fine gold plating 4cm high, 6.3cm wide (1 ½in high, 2 ½in wide), 160 grams
Provenance: Acquired directly from the maker, October 2009; Property of a Private Aficionado.
“Quirky! A little lovely lemon like shape which explodes wide open at the mouth - tight and small suddenly shouts out loud!… [making] it was a liberating experience which proved that spontaneity can sometimes better capture originality of the creative and perhaps wacky starting points. Incidentally it is one of my fondest pieces to date.”
§
for
Provenance: Property of a Private Aficionado.
£700-1,000
Sarah Denny, 2011
87
SARAH DENNY (BRITISH CONTEMPORARY) SINGING TRUMPET, 2010
stamped maker’s mark and hallmarked
Sheffield 2010, 958 Britannia silver 20cm high, 21cm wide (7 7/8in high, 8 ¼in wide), 210 grams
88 §
HAZEL THORN (BRITISH CONTEMPORARY)
VESSEL, 2016
stamped maker’s mark and hallmarked for Edinburgh 2016, 958 Britannia silver and metal 5.5cm high, 11.2cm long (2 1/8in high, 4 ½in long)
Provenance: Property of a Private Aficionado.
£300-500
89
PAMELA RAWNSLEY (BRITISH 1952-2014)
VESSEL, 2000, stamped maker’s mark, hallmarked for 2000 and with Millennium hallmark, oxidised silver and gilt, and a further BEAKER, 2013, stamped maker’s mark and hallmarked for Edinburgh 2013, silver and gilt, the vase 12cm high (4 ¾in high); the beaker 8cm high (3 1/8in high) together with EMMA-JANE RULE (BRITISH CONTEMPORARY), BOWL, 2015, stamped maker’s mark and hallmarked for London 2015, 958 Britannia silver, 7.2cm high, 14cm wide (2 7/8in high, 5 ½in wide), approximately 65 grams; (3)
Provenance: Property of a Private Aficionado.
£300-500
90
MARY ANN SIMMONS (BRITISH CONTEMPORARY)
‘PAPER’ BOX AND STRIP, 2010 / 2015
stamped maker’s mark and hallmarked for London, the pot hallmarked 2010 and the strip 2015, silver with gilt decoration, the pot 5.6cm long, 2.9cm high (2 1/8in long, 1 1/8in high), total weight approximately 55 grams; together with BENJAMIN RYAN, SHARD LETTER OPENER, 2019, stamped maker’s mark and hallmarked for London 2019, Sterling silver, 14.6cm long (5 ¾in long), approximately 23 grams; CHIHO HITOMI, REMINISCENSE LONG POD, mokume-gane, 28cm long (11in long); SARAH JONES, SWAN MARKER, 1982 silver, stamped maker’s mark, hallmarked for London 1982, 12cm long (4 ¾in long), 28.6 grams; and a MARION KANE, PILL BOX, stamped maker’s mark, hallmarked for Edinburgh 2003, silver and gold flash, 2.5cm diameter (1in diameter), 16.3 grams (6)
Provenance: The box acquired at the Goldsmith’s Fair in September 2012; Property of a Private Aficionado.
£300-500
92 §
MALIN WINBERG (FINNISH 1978-)
THREE ‘IN THE BEGINNING’ BEAKERS, 2011 each stamped maker’s mark and each hallmarked for Edinburgh 2011, silver, one oxidised 10.1cm high, 6cm high and 5cm high (4in high, 2 3/8in high and 2in high), 265 grams (3)
Provenance: Acquired directly from the maker in October 2013; Property of a Private Aficionado.
£300-500
LINDA ROBERTSON (BRITISH 1965-)
SIX ‘SHOT’ GLASSES, 1999/2000
stamped maker’s mark and hallmarked for Edinburgh 1999 / 2000, Sterling silver inlaid with fine gold detailing each 6.3cm high (2 ½in high), total weight approximately 408 grams (6)
Provenance: Acquired from the maker’s RCA degree show; Property of a Private Aficionado.
Robertson’s work is inspired by the urban environment from buildings to drain covers in the street. The inlay details are often inspired by sprayed pavement markings.
£400-600
93 §
MALIN WINBERG (FINNISH 1978-)
TWO AINO BOWLS, 2010
each stamped maker’s mark and hallmarked for Edinburgh 2010, Sterling silver the larger bowl 7cm high, 10.2cm wide (2 ¾in high, 4in wide), the smaller bowl 6.6cm high, 7in wide (2 5/8in high, 2 ¾in wide), overall weight approximately 284 grams (2)
Provenance: Acquired directly from the maker in July 2011; Property of a Private Aficionado.
£300-500
NDIDI
EKUBIA (BRITISH 1973-)
TWO BOWLS, 2003 and 2005
each stamped maker’s mark and hallmarked for London 2003 and 2005, silver
3.5cm high, 7cm wide (1 3/8in high, 2 ¾in wide) and 4cm high, 6.5cm wide (1 ½in high, 2 ½in wide), 146 grams (2)
Provenance: Property of a Private Aficionado.
£400-600
ALEX O’CONNOR (BRITISH CONTEMPORARY)
TWO VEER (COUPLE) VESSELS, 2017
stamped maker’s marks and hallmarked for London 2017, silver 16.5cm high and 14cm high (6 ½in high and 5 ½in high), 383 grams (2)
Provenance: Acquired directly from the maker, July 2018; Property of a Private Aficionado.
£300-500
96 §
SIDSEL DORPH-JENSEN (BRITISH 1973-)
BOWL WITH LAYERED EDGE, 2006
stamped maker’s mark and hallmarked for London, 958 Britannia silver; together with an open bowl, stamped maker’s mark and 925, silver the bowl with layered edge: 7cm high, 9.7cm diameter (2 ¾in high, 3 ¾in diameter), 298 grams; the open bowl: 10cm wide (4in wide), 91 grams (2)
Provenance: The bowl with layered edge acquired from Bishopsland Educational Trust, 2006; Property of a Private Aficionado.
£300-500
97 §
FRED RICH (BRITISH 1954-)
PAIR OF EARRINGS, 1994
stamped maker’s mark, hallmarked for London 1994, 18 carat gold, enamel and central bead each 2cm diameter (¾in diameter)
Provenance: Acquired from the maker in 1994; Property of a Private Aficionado.
This lot is sold with the original watercolour design of the earrings. £400-600
98 §
FRED RICH (BRITISH 1954-) FLORAL BOX, 2000
signed Fred Rich, stamped maker’s mark and hallmarked for London 2000 with Millennium mark, silver and cloisonné enamel
9.2cm long, 5.8cm wide (3 5/8in long, 2 ¼in wide)
Provenance: Acquired directly from the maker; Property of a Private Aficionado.
£1,500-2,500
99 §
FRED RICH (BRITISH 1954-)
‘ANGEL’S KISS’ BEAKER
signed Fred Rich, stamped maker’s mark and hallmarked for London, silver, yellow metal and cloisonné enamel with gilt interior, in original fitted box 10.2cm high (4in high), approximately 314 grams
Provenance: Acquired directly from the maker in October 2017; Property of a Private Aficionado.
Fred Rich wrote ‘the Angel’s Kiss beaker; it is one of my favourite pieces from the last couple of years… The inspiration for the piece came after a lecture from…a well known but local astronomer. It was a trip through inner and outer space…At the end of the lecture, as I understood it, it seems that all existence in the universe is contained within interfaces of concentrations of stars and galaxies…and that absolutely nothing exists in the voids between them. This gave me the inspiration for a web idea, with a star at each join, and I partnered this with an overall design of floating feathers which symbolise to me the touch or kiss of an angel, whether it be passing or a guardian. In this way I’m trying to convey the idea of a destiny for each and every one of us.
The piece is spun in sterling silver with applied fine silver and 18ct white and yellow gold. Everything is soldered on - the fine silver feathers are all carved and have 18ct yellow ribs and the white gold web is made up of sheet and wire. The stars are champlevé cut and enamelled in different shades of pink, and the background is hand cut in low relief to look a bit like soap suds. This is given a fine textured satin finish which contrasts well with the bright feathers and burnished gold wire. The piece was originally called ‘Angel’s Kiss with Pink Stars’, but we dropped the pink stars and just called it ‘Angel’s kiss’.
£2,000-3,000
101 §
GRAHAM STEWART (BRITISH 1955-2020)
FOOTED BOWL, 1993
stamped maker’s mark and hallmarked for Edinburgh 1993, silver, engraved Deep Peace of the Running Wave to You / Deep Peace of the Flowing Air to You / Deep Peace of the Quiet Earth to You / Deep Peace of the Shining Stars to You / Deep Peace of the Sun of Peace to You (inside bowl)
5.5cm high, 12.5cm diameter (2 1/8in high, 4 7/8in diameter), 208 grams
Provenance: Property of a Private Aficionado.
£600-800
100 §
GRAHAM STEWART (BRITISH 1955-2020)
SUGAR BOWL & SPOON, 2002/2017 stamped maker’s mark and hallmarked for Edinburgh 2002 / 2017, 958 Britannia silver and gilt the bowl: 7cm high (2 ¾in high); the spoon: 10.2cm long (4in long), total weight approximately 188 grams (2)
Provenance: Property of a Private Aficionado.
£400-600
“This is a hand-raised bowl decorated with pure gold and varying alloys of Green and White Gold. The pattern has been applied using the Korean technique Keum Boo which involves fusing metals together using only heat and pressure. This has been done when the main body of the bowl is flat and with alloys of green and white gold created by myself.
When the decorative design has been applied the patterned disc has then been hand raised into shape. A simple base has then been soldered to the bottom of the bowl and the exposed areas of fine silver have then been oxidized using a sulphur solution. These oxidized areas of fine silver have then been waxed in order to even the oxidised colour and also to protect its effect.”
Samuel Waterhouse
102 §
SAMUEL WATERHOUSE (BRITISH 1992-)
‘GREEN GOLD KEUM BOO’ BOWL, 2017
stamped maker’s mark, 999 and hallmarked for London, fine silver, yellow metal and various alloys of green and white yellow metal
4cm high, 14.5cm diameter (1 5/8in high, 5 ¾in diameter), 339 grams
Provenance: Goldsmiths’ Fair, London, 2017; Property of a Private Aficionado.
Exhibited: The Contemporary Craft Festival, 2017; Goldsmiths’ Fair, London, 2017.
£1,500-2,000
104
§
103
§
PHIL
JORDAN (BRITISH 1986-)
45 DEGREE HANDLE CREAM JUG, 2009
stamped maker’s mark, hallmarked for London 2009, silver 8cm high, 10.5cm wide (3 1/8in high, 4 1/8in wide), 273 grams
Provenance: Acquired directly from the maker, July 2009; Property of a Private Aficionado.
£200-300
TARA COOMBER (BRITISH 1975-)
JUG
stamped maker’s mark and hallmarked for Birmingham, silver and gilt with ebony handle
14.5cm high (5 ¾in high)
Provenance: Acquired directly from the maker, August 2002; Property of a Private Aficionado.
£250-350
§
105
JEFFREY SOFAER (BRITISH CONTEMPORARY)
SAUCE BOAT, 2000
stamped maker’s mark, hallmarked for London 2000 and with Millennium mark, silver with hardwood handle 7.5cm high, 19cm wide (3in high, 7 ½in wide) including handle
Provenance: The Metal Gallery, London, 2003; Property of a Private Aficionado.
£300-500
RICHARDSON & OTTEWILL
FLOWER DESIGN SILVER BOX, 1999/2000
stamped maker’s mark and hallmarked for London 1999/2000, with Millennium stamp, silver with Australian silk oak lined-interior
6.2cm high, 19.1cm wide, 19.1cm deep (2 ½in high, 7 ½in wide, 7 ½in deep)
Provenance: Commissioned directly from the maker’s in 1998; Property of a Private Aficionado.
Together with facsimile copies of the original designs.
£800-1,200
Justin Richardson and Steven Ottewill studied silversmithing at Kent Institute of Art and Design and they worked together in a contemporary design studio between 1993 and 2006.
Ottewill wrote: ‘The box was initially designed with several points in mind. One was to mark the celebration of the new millennium, the other was to link this new piece with other existing pieces in your collection, both points were successfully achieved with the image of the Canterbury cross relating to 2000 years of Christianity being part of the structure on the plan view with 4 intersecting candleholder shapes forming the relationship to your original collection.
A sterling silver box designed and made at Richardson and Ottewill in 1999. The box comprises of the main body with a lift-off lid or bezel fitted lid which reveals the Australian silk oak veneered interior. The base wire is a bold on section which is essential both for construction and the maintaining of the veneered interior’.
107 §
NAN NAN LIU (CHINESE / BRITISH 1982-)
‘OYSTER’ BOX, 2014
stamped maker’s mark and hallmarked for London 2014, silver 6cm wide (2 3/8in wide), 63 grams
Provenance: Acquired at Bishopsland Educational Trust, November 2014; Property of a Private Aficionado.
£300-500
109 §
KEVIN GREY (BRITISH 1967-)
SINEW BUD VASE AND SINEW BOWL, c.2012
108 §
WALLY GILBERT (BRITISH 1946-) BEAKER
stamped maker’s mark, 925 and hallmarked for Birmingham, silver 5.5cm high (2 1/8in high), 64 grams
Provenance: Property of a Private Aficionado.
£250-350
each stamped maker’s mark, hallmarked for Birmingham, 958 Britannia silver and the bowl with gilt interior the vase: 7cm high (12 ¾in high); the bowl: 7cm wide (12 ¾in wide), overall 180 grams (2)
Provenance: Acquired directly from the maker circa 2012; Property of a Private Aficionado.
£800-1,200
110 §
KEVIN GREY (BRITISH 1967-)
SINEW BLACK VASE, 2010 stamped maker’s mark, hallmarked for Birmingham 2010, 958 Britannia silver 30.5cm high (12in high), 843 grams
Provenance: Acquired directly from the maker, August 2011; Property of a Private Aficionado.
£2,000-3,000
111 §
BRETT PAYNE (BRITISH 1959-) HAND FORGED SERVER, 2012
KEITH TYSSEN (BRITISH 1934-)
SERVING SPOON, 2012
stamped maker’s mark, hallmarked for Sheffield 2012 and the Queen’s Diamond Jubilee hallmark, Britannia silver 24cm long (9 ½in long), approximately 237 grams
Provenance: Property of a Private Aficionado.
Literature: Contemporary British Silversmiths, Fit for Purpose: a practical & conceptual exploration of silver, 2012, pp.78-9, illustrated.
Exhibited: Victoria & Albert Museum, London, Fit for Purpose, 2012.
£300-500
stamped maker’s mark, hallmarked for Sheffield 2012, and with the Queen’s Diamond Jubilee hallmark, silver 24.7cm long (9 ¾in long), 605 grams
Provenance: Property of a Private Aficionado.
Literature: Contemporary British Silversmiths, Fit for Purpose: a practical & conceptual exploration of silver, 2012, pp. 60-1, illustrated.
Exhibited: Victoria & Albert Museum, London, Fit for Purpose, 2012.
£300-500
These two lots were part of a collection of work made by an array of silversmiths to coincide with the V&A’s British Design Season and to complement its major exhibition British Design 1948-2012: Innovation in the Modern Age.
In the exhibition silversmiths were asked to take an imaginative look at the theme , with the function of each object explored both practically and conceptually through the medium of silver, each piece described by its purpose.
113 §
Made by Julie Chamberlain, Chairman of the ABDS, to celebrate the 10th anniversary of the forming of the Association of British Designer Silversmiths. Members were asked to design and make a new piece of silver based on their individual response to the theme of Ten.
JULIE CHAMBERLAIN (BRITISH 1958-) ‘TEN’ DISH, 2006
stamped maker’s mark and hallmarked for London 2006, silver 4cm high, 26.5cm wide (1 ½in high, 10 ½in wide), 469 grams
Provenance: Acquired from the maker in 2006; Property of a Private Aficionado.
£300-500
CHIEN-WEI CHANG (TAIWANESE 1971-)
SURPRISINGLY MATCHED NO.B4 AND SURPRISINGLY MATCHED NO.D5
each with maker’s character stamp, Chinese porcelain snuff bottle, antique silver spoon (Exeter, 1837 and Sheffield 1903), white metal and acrylic gold paint (to the latter)
each 17.7cm long (7in long) (2)
Provenance: Acquired directly from the maker, August 2015; Property of a Private Aficionado.
Following on from the ladles series, created in 2004, in an Eastern functional form, as his debut work on the UK contemporary craft scene, Chang marked his 10 year milestone by choosing two significant objects as part of his new work - an antique English silver spoon, with its hallmark specifying the year and place of production, and a Chinese porcelain snuff bottle, which was produced in the late 19th century and imported from China.
Both are artefacts widely recognised by collectors from both Eastern and Western societies. The idea of combining these two objects together seems preposterous and contrived. But the motivation behind this
CHIEN-WEI CHANG (TAIWANESE 1971-)
LADLE SERIES, 2004
stamped maker’s marks, hallmarked for London, silver and Indian rosewood ladles on a Indian rosewood board the longest ladle 19.7cm long (7 ¾in long) (6)
Provenance: Acquired from the maker at New Designers, 2005; Property of a Private Aficionado.
In 2004 Chien-Wei developed the Ladle Series, combining drum-like brushed silver bowls with delicate rosewood stems, the ladles were influenced by the forms of utensils used in ancient Eastern cultures. Each ladle is subtly different from the next, the angle of the handle, depth or shallowness of the bowl, giving every piece a distinct character.
£300-500
CHIEN-WEI CHANG
(TAIWANESE 1971-)
SMOKING BOTTLE NO. 3 (LETTER ‘C’) stamped maker’s character mark, white metal, picture pin, fibre string 18cm long (7in long)
Provenance: Acquired directly from the maker, August 2015; Property of a Private Aficionado.
“To combine glass and silver in a quirky way, I cut the glass bottle into two halves geometrically, and then sealed the opened side with a piece of silver, which was inserted with an elaborately hand-made miniature form, such as: a little house, a mini chest of drawers or a tiny decorative vase.”
The silver miniature object he created serves as a conjunction, a channel between the internal and external spaces of the bottle. Inside each bottle he also deliberately placed one hand-made or found object. This vital finishing touch not only signifies the narrative of this object, but also enhances the poetic effect visually. With a radical transformation from their original dire state, these glass bottles are no longer deserted and redundant in the smoke, but glowing with smoke in their own beauty.
£300-500
117
CHIEN-WEI CHANG (TAIWANESE 1971-) TWO CONTAINERS FOR SPIRITS BOWLS, 2005 each stamped maker’s mark and hallmarked for London 2005, silver and yellow metal; 7cm high (2 ¾in high), 253 grams and 7cm high, 9cm wide (2 ¾in high, 3 ½in wide), 143 grams (2)
Provenance: Acquired directly from the maker at one-man exhibition at Pennybank Chambers, Clerkenwell, February 2006; Property of a Private Aficionado.
The Containers for Spirits series explores ancient forms and functions, and interprets them with a contemporary sensibility. The objects start life as a traditional vessel form in silver, which Chien-Wei embellishes by using combinations of richly coloured textures, adding gold, and making an indentation in each container.
The indentation is important. Finger-shaped, it invites the user to experiment with how their fingers fit the hole, and therefore explore different ways of holding the vessel. Alongside this playful interaction, the Containers for Spirits also make reference to popular pastimes in ancient and contemporary life - the drinking of alcoholic spirits. The title for the series also plays with meaning: do the spirits refer to alcohol, existential entities, or Chien-Wei’s sense of his own spirit as an artist?
£600-800
119 §
ADRIAN HOPE (BRITISH 1953-) VASE, 1994
stamped maker’s mark, hallmarked for Edinburgh 1994, silver 8.5cm high, 18.5cm wide (3 3/8in high, 7 ¼in wide), 156 grams
Provenance: Property of a Private Aficionado.
£300-500
118
DAVID BROMILOW (BRITISH CONTEMPORARY)
RADICAL TOAST RACK, 1996
stamped maker’s mark, hallmarked for London 1996, silver 14cm high, 14.5cm diameter (5 ½in high, 5 ¾in diameter), 203 grams
Provenance: Crafts Council Shop at the V&A, London, June 1997; Property of a Private Aficionado.
£300-500
120 §
PETER MUSSON (BRITISH CONTEMPORARY)
PARAMETRIC REPRESENTATION NO. 3 BOWL, 2005
stamped maker’s mark and hallmarked for London 2005, silver
6.5cm high, 16.5cm diameter (2 ½in high, 6 ½in diameter), 527 grams
Provenance: Acquired at Contemporary Applied Arts, London, May 2009; Property of a Private Aficionado.
Exhibited: Contemporary Applied Arts, London, Silvermaker, 8 May 2009 - 20 June 2009.
£400-600
121 §
CARA MURPHY (BRITISH 1969-) SWAYING REFLECTIONS BOWL, 2007
stamped maker’s mark, hallmarked for London 2007, silver the bowl 26.7cm diameter, 6cm high (10 ½in diameter, 2 3/8in high), approximately 737 grams (33)
Provenance: Acquired at the Connect exhibition of the ABDS in Birmingham, 2007; Property of a Private Aficionado.
Created using the techniques of raising, sinking and forging, this piece metaphorically grows from the table. Creating a fine movement and reflective illusion, the pieces are never static, constantly evolving.
The bowl was inspired by the swaying grasses outside Murphy’s window at her home.
£700-900
123 §
ADRIAN HOPE (BRITISH 1953-)
LARGE ‘CURVE’ BOWL AND ‘SNOWFLUTE’ BEAKER
each stamped maker’s mark and hallmarked for Edinburgh, silver the bowl: 4.7cm high, 15.5cm diameter (1 7/8in high, 6 1/8in diameter), 353 grams; the beaker: 7cm high (2 ¾in high), 101 grams (2)
Provenance: The bowl acquired directly from the maker, September 2003; Property of a Private Aficionado. £400-600
122 §
SIDSEL DORPH-JENSEN (BRITISH 1973-)
THREE ‘LIQUID VOLUME’ VESSELS
stamped maker’s marks, the larger two hallmarked for London, the smaller stamped 958, each 958 Britannia silver 11cm high, 7cm high, 6.3cm high (4 ¼in high, 7in high, 6.3in high), 265 grams (3)
Provenance: Property of a Private Aficionado. £500-800
MARTIN KEANE (BRITISH CONTEMPORARY)
YIN YANG CARAFE, 2015
stamped maker’s mark and hallmarked for London 2015, silver 18.5cm high, 18.5cm wide (7 ¼in high, 7 ¼in wide), 800 grams
Provenance: Acquired directly from the maker, October 2019; Property of a Private Aficionado.
£800-1,200
126 §
ADI TOCH (BRITISH 1979-)
VESSEL WITH PEARLS, 2009 white metal with seed pearls 6cm high, 10cm wide (2 3/8in high, 3 7/8in wide), 135 grams
Provenance: Acquired from the artist at New Designers, Property of a Private Aficionado.
£700-900
125 §
ADI TOCH (BRITISH 1979-)
VESSEL ON STILTS NO.8, 2015 stamped maker’s marks and hallmarked for London 2015, 958 Britannia silver, stainless steel and resin 14.5cm high (5 ¾in high)
Provenance: Acquired at Bishopsland Educational Trust in May 2015; Property of a Private Aficionado.
The maker wrote: ‘Can inanimate objects become sentient? Vessels on Stilts are inspired by museum displays of historic amphorae on tripod stands. They respond to vibrations and sound and offer an unexpected dialogue, provoking contemplation about the relationship between people and objects. The vessels pick up cues from the viewer, tremble and quiver in response to human movement or voice.’
£600-800
“
The internal space of an empty vessel contains everything or nothing, depending on our perception. Not only do vessels form part of our lives, they also shape our perception of the basic division between inside and outside, the notion of moving from one framed space into another. ”
Adi Toch
127 §
CHRIS KEENAN (BRITISH 1960-)
TEAPOT AND BEAKERS
comprising teapot, six small beakers and two larger beakers, each with impressed maker’s seal, porcelain, tenmoku, with carved wooden tray the teapot: 21.5cm high (8 ½in high); the smaller beakers: 7.6cm high (3in high); the larger beakers: 10.4cm high (4in high) and 11cm high (4 ¼in high) (9)
Provenance: Property of a Private Aficionado.
£300-500
128 §
CHRIS KEENAN (BRITISH 1960-)
THREE CANISTERS & VASE
each with impressed maker’s seal, porcelain with tenmoku glaze
the largest canister: 18.5cm high (7 ¼in high); the smallest canister: 12cm high (4 ¾in high); the vase 20.2cm high (8in high) (4)
Provenance: Property of a Private Aficionado.
£400-600
129 §
ROSA NGUYEN (BRITISH 1960-) TWO GLASS FORMS
glass, on associated glass stand the larger: 72cm long (28 3/8in long), the shorter: 35cm long (13 ¾in long) (2)
Provenance: Acquired directly from the maker; Property of a Private Aficionado.
Literature: Rosa Nguyen: Still Living, p.10, illustrated.
Exhibited: Bristol City Museum & Art Gallery, The Shape of Things: New Work by Alinah Azadeh and Rosa Nguyen, 6 February - 18 April 2010.
£300-500
130 §
NICOLA TASSIE (BRITISH 1960-)
WEB, 2015
each impressed artist’s seal, 26 pieces, Limoges porcelain with black iron oxide
the tallest 21.5cm high (8 ½in high)
Provenance: Wills Lane Gallery, St. Ives, Collect 2015; Property of a Private Aficionado.
£600-800
Web is a collection of twenty-six vessels precisely arranged on a table top, with taller jugs and jars occupying the centre and smaller mugs and bowls placed round the edges, the whole group resembling a cityscape. Black inlaid lines cut across the whole block, gradually intensifying in darkness towards the upper edge of the group to create a horizontal black strip that stretches across the pots, obliterating edges, rims, handles, styles, and looking like a band of cloud or rain hanging over a built environment. The vision of the group changes and mutates as it is viewed from different sides and angles. Individually the lines on the pots can simply be seen as decoration, with each pot having a functional value, but if used as an individual vessel, its removal would destroy the effect of the whole group or ceramic ‘landscape’. As such it can be seen as a meditation on the relation between function and form.
131 §
132 §
RING, 2008
MARK WOODS (BRITISH 1961-)
TWO RINGS
the ‘Moving Stalks’ ring, in white metal with yellow metal tips, c.1995, ring size: J; the loop ring, in white metal, ring size: O (2)
Provenance: Acquired directly from the maker; Property of a Private Aficionado.
£400-600
Mark Woods worked as an apprentice in a shipyard from 1979-83, before studying at Southampton College of Art (1984) and Middlesex College of Art (1988). He began developing his own work after travels in North Africa in 1991 and was awarded a Crafts Council Setting Up Grant in 1993.
MARK WOODS (BRITISH 1961-)
stamped maker’s mark, hallmarked for London, 2008, 22ct gold and Venetian glass beads, ring size: U (leading edge)
Provenance: Electrum Gallery, London, 2008; Property of a Private Aficionado.
£1,000-1,500
133 §
MARK WOODS (BRITISH 1961-)
TWO RINGS, c.1996
one ring in white metal, yellow metal, enamel and bakelite, ring size: L ½; the other ring in white metal and bakelite, ring size: M ½ (2)
Provenance: The enamel ring acquired from the Crafts Council Shop at the V&A in 1996; the other ring acquired directly from the artist’s studio in 1996; Property of a Private Aficionado.
£400-600
Early in his career he exhibited in From Paper to Platinum at the Lesley Craze Gallery in London in 1993 and New Faces at the Crafts Council Shop at the V&A Museum, London in 1994.
At New Faces at the V&A, Mark Woods was introduced as ‘anyone craving truly creative and highly original jewellery need look no further than Mark Woods. Incorporating the surprising shapes of irons and fishing reels, his ’jewels are
truly extraordinary. His ‘knuckle duster’ ring in metal is topped with semi-precious stones bulging incongruously out of this wearable sculpture.’
In 2007 the collector wrote that they had known Mark Woods for 20 years and stated that ‘he has an amazing flair of originality and his workmanship is excellent!’
In Wendy Ramshaw’s book on the ‘Picasso’s Ladies’ she describes in her personal notes this necklace:
‘‘Weeping Woman’, 1937, belongs to the series of paintings of Dora Maar. She weeps, expressing her sadness and grief. Picasso uses her to express a war-torn Europe.
The inspiration of the tears came from a segment of mauve glass with a droplet-like shape which was once part of a Victorian chandelier. The water-shaped form was recreated in luminous glass in shades of blue and green. The doublestranded necklace is strung to appear like a cascade of water drops. Over 100 of these glass droplets are hung on the steel of the necklace, achieving an apparently random effect.
WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)
CHAIN OF TEARS FOR ‘WEEPING WOMAN’ NECKLACE, 1998 glass and steel, from the Picasso’s Ladies collection, one of a series of four unique works, the glass elements made by glass artist Neil Wilkin, in perspex box approximately 41cm x 9cm
Provenance: Acquired directly from the maker, October 1998; Property of a Private Aficionado.
Literature: Picasso’s Ladies: Jewellery by Wendy Ramshaw, Arnoldsche Art Publishers, 1998, cat. no. 60, example illustrated and p.168 (artist’s notes). The Times, London, The Sparklers the Pablo Left Out, Friday 11 September 1998, example illustrated.
Exhibited: Victoria & Albert Museum, London, Picasso’s Ladies: Jewellery by Wendy Ramshaw, 8 September 1998-15 February 1999, one of the four variants exhibited.
£2,000-3,000
The necklace expresses my feelings for the beautiful Dora Maar who, according to the visual records of Picasso, wept many tears. The beauty of the colours may detract from her sadness and crying. Dora Maar’s tears are lifted into another realm, as one might find in a fairy tale, which might not necessarily have a happy ending.’ (Quoted in Picasso’s Ladies: Jewellery by Wendy Ramshaw, p.168)
One of the series was also exhibited at a Wendy Ramshaw exhibition in Damstadt in 2001 (27 January to 18 March 2001), and two of the four examples are help in the collections of the Museum of Art and Design, New York and the Aberdeen Gallery & Museums, Aberdeen.
135
§
WALES & WALES (BRITISH 1950- & 1952-)
WALL SHELF, 2007
maker’s disc (to the reverse), Indian Rosewood with inlaid stainless steel dot decoration, ripple sycamore and with gilded panel
142cm long, 43cm high (56in long, 16 7/8in high)
Provenance: Acquired directly from the maker’s in 2007; Property of a Private Aficionado.
The shelf was commissioned with the intention to display silver and ceramic works of art.
£500-700
136 §
DAVID IAN SMITH (BRITISH CONTEMPORARY)
CABINET ON STAND
sycamore and walnut, the internal drawers in white oak with burnt oak fronts and sycamore drawer handles
136.5cm high, 70cm wide, 30.5cm deep (53 ¾in high, 27 ½ wide, 12in deep)
Provenance: Acquired directly from the maker in May 2013; Property of a Private Aficionado.
£700-900
Dutch artists Lonneke Gordijn and Ralph Nauta founded studio DRIFT in 2007 after graduating from the Design Academy in Eindhoven. The first time the pair collaborated was on the project Fragile Future, which formed part of Gordijn’s graduation project, for which they were awarded the first prize Stichting ArtiParti award. The piece consists of numerous ball-shaped LED lamps with real dandelion seeds attached to them, giving the bulbs a flowerlike appearance, and the present work is part of this Fragile Future series from 2010.
Now working with a multidisciplinary team of 65, studio DRIFT work on experiential sculptures, installations and performances. With both depth
and simplicity, DRIFT’s work illuminates the parallels between man-made and natural structures through deconstructive, interactive and innovative processes. The studio’s work manifests the phenomena and hidden properties of nature with the use of technology to learn from the Earth’s underlying mechanisms, and to re-establish our connection to it. DRIFT have exhibited worldwide and have won numerous awards such as the Dezeen Designer of the Year award in 2017, and their work is held in numerous important institutions such as the V&A in London, LACMA in Los Angeles, and the Stedelijk Museum in Amsterdam.
STUDIO DRIFT (LONNEKE GORDJIN & RALPH NAUTA) FOR CARPENTERS WORKSHOP GALLERY
FRAGILE FUTURE 3.8, 2010
edition number 6/8, from an edition of 8 plus 4 Artist’s Proofs, dandelion seed, phosphorus bronze, LED and Perspex, in fitted wooden case 21cm high, 21cm long, 21.6cm wide
Provenance: Carpenters Workshop Gallery, London; Property of a Private Aficionado.
This work is sold together with a certificate of authenticity from the Carpenters Workshop Gallery
£1,000-1,500
JIM PARTRIDGE (BRITISH 1953-) & LIZ WALMSLEY (BRITISH 1952-) SPRUNG HALLSTAND
scorched oak
198cm high (78in high)
Provenance: Property of a Private Aficionado.
Exhibited: The New Brewery Arts, Cirencester, Made in the Middle Touring Exhibition, February 2008.
£800-1,200
END OF COLLECTION
(BRITISH 1920-2014)
TWO RINGS
each stamped maker’s mark JAD, white metal ring size: O and P
Provenance: The present owner inherited the rings from her mother, who whilst living in Hoddesdon, and possibly heard of Alan and Bili (Janet Gaul) Davie, then living in Hertford, through a friend, the textile artist Michael O’Connell who was living in Perry Green at the time.
It is likely the current vendor’s mother commissioned the rings from Davie in the 1950s, at a time he was making ends meet by silversmithing and playing in a jazz club, before he became world renowned as an artist
£300-500
141 §
DOROTHY HOGG (BRITISH 1945-2022)
OXIDISED PENDANT I WITH RED CORD, 2002
140 §
WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)
SEVEN PART RING SET, 1973-81
each stamped maker’s mark, and hallmarked for London, the wide plain band hallmarked for 1981, the other rings hallmarked for 1973, silver, five rings set with a singular circular or oval cabochon orange hardstone, probably amber, in a closed-back setting ring size: N-N½
Provenance: Private Collection, U.K.
£700-1,000
oxidised white metal on red cord, from 10 year retrospective at the Scottish Gallery the pendant 3.2cm wide (1 ¼in wide)
Provenance: The Scottish Gallery, Edinburgh; Private Collection, U.K.
Literature: Dorothy Hogg: 10 Year Retrospective 1994-2004, The Scottish Gallery, Edinburgh, 6 August - 8 September 2004, illustrated.
£400-600
142 §
WENDY RAMSHAW C.B.E. R.D.I.
(BRITISH 1939-2018)
‘NIGHT SKY VENICE’ NECKPIECE, 2007
initalled and dated WR 2007 (to reverse), one of 12 unique pieces, acrylic, crystals and linen cord
6cm x 9cm (2 3/8in x 3 1/2in)
Provenance: Private Collection, U.K.
£600-800
143 §
WENDY RAMSHAW C.B.E. R.D.I.
(BRITISH 1939-2018)
THREE PART RING SET, c.1980
two rings stamped maker’s mark and 750 and hallmarked for London, one ring with 1980 date hallmark, 18ct gold, yellow metal and diamond ring size: N-O
Provenance: Private Collection, U.K.
£500-700
144 §
GRAHAM CRIMMINS (BRITISH 1946-2017)
TWO BROOCHES
one stamped maker’s mark and hallmarked for Edinburgh 1985, silver with yellow metal highlights, the other stamped maker’s mark, white metal
5.4cm wide (2 1/8in wide) and 5.1cm diameter (2in diameter) (2)
Provenance: Private Collection, U.K.
Graham Crimmins studied jewellery at Birmingham College of Art and Design (1967-71), before establishing a workshop in Edinburgh in 1973. He held exhibitions at The Scottish Gallery in 1997, 1998 and 2000, and his work can be found in numerous British public and private collections, alongside the American Crafts Council and the Rohsska Museum, Sweden.
£300-500
146 §
ANNE FINLAY (BRITISH 1953-) TWO BROOCHES AND PAIR OF EARRINGS
Acrylic and white metal, and the larger brooch PVC, nylon, steel and rubber
7.6cm wide (3in wide) and 7.8cm wide (3 1/8in wide) (3)
Provenance: The Scottish Gallery, Edinburgh; Private Collection, U.K.
Literature: The larger brooch: The Scottish Gallery, Edinburgh, Classic Plastics: Contemporary British Jewellery, 29 June - 4 August 1990, p.10, illustrated.
£300-500
145 §
ANNE FINLAY (BRITISH 1953-) CLOCK
signed (to reverse), acrylic, metal and a feather 25cm diameter (9 7/8in diameter)
Provenance: Private Collection, U.K.
£300-500
Anne Finlay explored a wide range of non-precious materials in her jewellery, including fibre and wood as well as plastics. The current artworks show her use of screen printed PVC, with shapes cut from an engraving machine. The simple graphic aesthetic of these pieces are representative of her approach to jewellery design.
MANHEIM (BRITISH 1949-) NECKLACE, TREBLE SPIRAL BANGLE, PIN/BROOCH AND EARRINGS, c.1982-3
plastic coated steel and card
The necklace drop: 32cm (12 1/2in); the spiral bracelet: 7cm wide (2 3/4in wide) (4)
Provenance: Private Collection, U.K.
Julia Manheim studied at the Central School of Art & Design. In 1973 she set up a workshop with Caroline Broadhead and Nuala Jamison, before establishing her own studio in London in 1975. Manheim achieved noted acclaim for her work, exploring the boundaries between jewellery and clothing; jewellery and sculpture and drawing. Her 1982-3 ‘Wire Work’ collection was seminal, particularly in its use of industrial plastics.
£300-500
JULIA
148 §
IBE DAHLQUIST (SWEDISH 1924-1996)
‘NEFERTITI’ NECKLACE
stamped I. B. DAHLQUIST to two drops, bronze length 38cm (15in)
Provenance: Private Collection, U.K.
£500-700
149 §
PER SUNTUM (DANISH 1944-) BROOCH, 1996
signed, dated and inscribed 925s (to reverse), white and yellow metal
4.8cm x 4.5cm (1 7/8in x 1 ¾in)
Provenance: Private Collection, U.K.
Per Suntum trained with the renowned designer Hans Hansen, and received his goldsmith’s diploma in 1965. He is now internationally acclaimed and is a member of The Royal Danish Academy of Fine Arts.
He noted that ‘The basis for my work with jewellery is the singular moment, where man meets material and purpose stirs the soul into expression.’
£300-500
150 §
ROBERT WELCH (BRITISH 1929-2000)
NECKLACE, 1976
stamped maker’s mark and hallmarked for London 1976, silver drop length: 44cm long (17 ½in long), the pendant: 8.4cm long (3 ¼in long)
Provenance: Private Collection, London.
£250-350
151 §
BREON O’CASEY (BRITISH 1928-2011)
BROOCH, 1988
signed and dated, white and yellow metal
3.3cm high, 4.5cm wide (1 ¼in high, 1 ¾in wide), approximately 13.3 grams
Provenance: The Scottish Gallery, Edinburgh, Breon O’Casey: Jewellery, Weaving, Constructions, 12 August - 6 September 1988; Private Collection, U.K.
£400-600
152 § BREON O’CASEY (BRITISH 1928-2011) SPOON
white metal
8.8cm long (3 ½in long)
Provenance: From the Estate of an important St Ives artist.
£300-500
153 §
SUTTON TAYLOR (BRITISH 1943-) FOOTED BOWL
impressed maker’s seal, earthenware with lustre glaze
11.9cm high, 45.5cm diameter (4 5/8in high, 18in diameter)
Provenance: Private Collection, London.
£400-600
154 §
ASHRAF HANNA (EGYPTIAN 1967- )
VESSEL, 2008-9
collapsed and carved raku with burnished rim
23cm high, 49cm wide (9in high, 19 ¼in wide)
Provenance: Private Collection, London.
£600-800
155 §
PETER COLLINGWOOD (BRITISH 1922-2008)
MACROGAUZE M. 48 NO. 15
metal label embossed M. 48 NO. 15 and incised P. Collingwood, linen and steel rods
86.5cm long, 63cm wide (34in long, 24 ¾in wide)
Provenance: Private Collection, London.
£1,000-1,500
156 §
DAME LUCIE RIE D.B.E. (BRITISH 1902-1995)
FOOTED BOWL, c.1980
impressed artist’s seal, porcelain, yellow glaze with manganese rim
11.4cm high, 15cm diameter (4 1/2in high, 5 7/8in diameter)
Provenance: Private Collection, U.K.
£15,000-20,000
Left Lot 157 [detail]
157 §
DAME LUCIE RIE D.B.E. (BRITISH 1902-1995)
VASE WITH FLARING RIM, c.1980
impressed artist’s seal, porcelain, two bands of blue with sgraffito, manganese glaze
24.3cm high, 10.5cm diameter (9 1/2in high, 4 1/8in diameter)
Provenance: Private Collection, U.K.
£10,000-20,000
158 §
DAME LUCIE RIE D.B.E. (BRITISH 1902-1995)
FOOTED BOWL, c.1986
impressed artist’s seal, ‘spinach’ glaze, cratered with silicon carbide, manganese rim
11cm high, 22cm wide (4 1/2in high, 8 3/4in wide)
Provenance: Private Collection, U.K.
£8,000-12,000
159 §
DAVID PYE (BRITISH 1914-1993) BOWL
stamped D. W. PYE, walnut
35.5cm long, 23.8cm wide (14in long, 9 3/8in wide)
Provenance: Private Collection.
£800-1,200
160 §
LIAM FLYNN (IRISH 1969-2017)
FOOTED VESSEL, 2014 signed, ebonised oak
25cm high, 26cm wide (9 7/8in high, 10 ¼in wide)
Provenance: Private Collection, London.
£1,000-1,500
161 §
JIM PARTRIDGE (BRITISH 1953-) BOX
exhibition piece no. 3, stamped J. B. PARTRIDGE, scorched oak and steel
17cm high, 27cm wide, 18.5cm deep (6 5/8in high, 10 3/8in wide, 7 ¼in deep)
Provenance: Crafts Council Shop, V&A Museum, London, 1987; Private Collection, London.
£500-800
162 §
ZOË WILSON (BRITISH 1985-)
‘MERAK’ signed with mason’s mark (to reverse), Welsh slate 50cm high, 50cm wide, 4.7cm deep (19 5/8in high, 19 5/8in wide, 1 7/8in deep)
Provenance: Acquired directly from the artist at Collect, London; Private Collection, London.
£1,000-1,500
163 §
JUNKO MORI (JAPANESE 1974-) TWO WALL PIECES
wax-coated forged mild steel 12cm high and 11cm high (4 ¾in high and 4 3/8in high) (2)
Provenance: Acquired directly from the maker at Chelsea Craft Fair, London, 2005; Private Collection, London.
£500-800
164 §
ANTHONY BRYANT (BRITISH 1960-) BOWL
signed and inscribed ANTHONY BRYANT BURR ELM, burr elm
7.2cm high, 17.2cm wide (2 7/8in high, 6 ¾in wide)
Provenance: Private Collection, U.K.
£300-500
, blackwood with dot RK 657, blackened elm
the box 5.4cm high, 7.7cm diameter (2 1/8in high, 3in diameter); the vessel 11.5cm high, 13.3cm wide (4 ½in high, 5 ¼in wide) (2)
166 §
SARA FLYNN (IRISH 1971-)
HIPPED ESKER VESSEL (A), 2015
impressed maker’s seal, thrown and altered porcelain with manganese glaze
38cm high, 20cm wide (15in high, 7 7/8in wide)
Provenance: Private Collection, London.
£1,500-2,500
167 §
AKIKO HIRAI (JAPANESE 1970-)
THREE ‘MORANDI’ BOTTLES
each with incised initials, stoneware 21cm high, 17cm high and 16.5cm high (8 ¼in high, 6 ¾in high 6 ½in high) (3)
Provenance: Private Collection, London.
£600-800
168
JONGJIN PARK (SOUTH KOREAN 1982-)
DEFINITELY CERAMICS_4
signed (to base), porcelain with interleaved tissue sheets
21.2cm high, 12.5cm wide (8 1/8in high, 4 7/8in wide)
Provenance: Purchased from the maker, 2017; The Steve Allison Collection.
£400-600
169
JONGJIN PARK (SOUTH KOREAN 1982-)
ARTISTIC STRATUM
tissue paper soaked in porcelain
11.5cm high, 19cm wide (4 ½in high, 7 ½in wide)
Provenance: Puls Gallery, Brussels, 2017; The Steve Allison Collection.
£500-800
170 §
ANNA LORENZ (GERMAN 1967-)
‘WIRE BALL’ FRUIT BOWL & OBJECT, 2004 stamped maker’s mark, hallmarked for Birmingham 2004, silver, stainless steel and wooden fruit
37cm diameter (14 ½in diameter)
Provenance: Shoonhoven Silver Festival, The Netherlands, 2012, where acquired by the current owner; Private Collection, U.K.
£300-500
§
(IRISH 1953-) POD
willow and driftwood
31cm high, 43cm wide, 38cm deep (12in high, 17in wide, 15in deep)
Provenance: Private Collection, U.K.
£700-900
171
JOE HOGAN
172
JUN
TOMITA (JAPANESE 1951-)
IKAT WEAVING (OBI LENGTH KASURI), c.1978
cotton
203.2cm long, 30.5cm wide (80in long, 12in wide)
Provenance: The Estate of Mary Farmer by 1982, likely through an exchange between Tomita and Farmer.
Exhibited: The Maker’s Eye, Exhibition Catalolgue, Crafts Council, 1982, p. 85, cat. no. MF38, section illustrated.
Mary Farmer: A Life in Tapestry. Crafts Study Centre, May-September 2024.
Born in the Japanese Tomaya Prefecture in 1951, Jun Tomita is a prominent weaver and keen advocate of the kasuri method of ikat weaving. After studying and training in Australia and England, Tomita returned to Japan where he eventually established his home and studio in Koshihata, west of Kyoto in 1982. He has taught at the West Surrey College of Art and Design and at the Kyoto College of Art, and has exhibited internationally.
For Tomita, this move to the mountain village of Koshihata, surrounded by mountains and forests was significant. The exposure to the constant change of the natural landscape around him, inspired a personal and poetic response in his weavings rooted in nature. He dyes and weaves his own threads to produce traditional Japanese obi belts, traditionally worn with kimonos, as well as rugs for the wall and floor. For his chosen ikat weaves, he treats his thread and weaves it into the fabric - thus creating completely unique pieces.
Over the years, his community has grown, with more than thirty assistants completing their training with him in his textile studio. Tomita’s tranquil and multilayered style, reminiscent of paintings, is highly acclaimed in Japan and internationally. The present work was acquired by the celebrated British weaver Mary Farmer and selected by her for the 1982 exhibition hosted by the Crafts Council, The Maker’s Eye, in London.
Following on from the formation of the Crafts Advisory Committee in 1971, Mary Farmer was a significant figure in the contemporary craft scene that followed. For the seminal 1982 Crafts Council exhibition The Maker’s Eye, Farmer was one of the selectors and she chose this Ikat weaving by Jun Tomita as one of her selections.
£1,000-2,000
173 §
RUPERT SPIRA (BRITISH 1960-) CYLINDER ‘POEM’ VASE, 2004
impressed maker’s seal, stoneware with pale celadon glaze and embossed text, with a poem by Kathleen Raine
77cm x 16.7cm x 16.7cm (30 3/8in x 6 ½in x 6 ½in)
Provenance: Private Collection, London, acquired directly from the Artist; Acquired from the above by the present owner.
£2,000-3,000
The World
by Kathleen Raine
It burns in the void, Nothing upholds it.
Still it travels.
Travelling the void. Upheld by burning… The void upholds it…
Burning it travels.
174 §
SAM HERMAN
(AMERICAN/BRITISH 1936-2020)
VASE, 1975
signed and dated, glass 27.6cm high (10 7/8in high)
Provenance: Private Collection, London.
£400-600
175 §
SAM HERMAN
(AMERICAN/BRITISH 1936-2020) VASE, 1969
signed and dated, glass, 27.5cm high (10 ¾in high); together with SAM HERMAN STUDIO, VASE, signed Sam Herman Studio SS12, glass, 18.2cm high (7 ¼in high) (2)
Provenance: Private Collection, London.
£800-1,200
“
I’m not
trying to break the rules…I just want to apply a contemporary sensibility to pottery. I believe I can create something truly new, work that reflects our time.”
TAKURO KUWATA
TAKURO KUWATA (JAPANESE 1981-)
TEA BOWL, 2019
porcelain, glaze, pigment, gold and platinum
25cm high, 32cm wide, 31cm deep (9 7/8in high, 12 ½in wide, 12 ¼in deep)
Provenance: Alison Jacques Gallery, London; Private Collection, London.
£5,000-7,000
177 §
CHRISTOPHER NIGEL LAWRENCE (BRITISH 1936-)
CONDIMENT SET, 1981-4
comprising milk jug, sugar basin, salt and pepper, numbered 9/100, from The Heritage Collection, hallmarked for London, the salt and pepper hallmarked for 1981 and each numbered 9 (to base), the jug hallmarked for 1983 and numbered 9/100 (to base) and the sugar basin hallmarked for 1984 and numbered 9/100 (to base), silver and gilt, each engraved with monogram W. F. R. to the body the jug: 10cm high (3 7/8in high), 412 grams (4)
Provenance: Private Collection, U.K.
Sold together with a Certificate of Authenticity from The Heritage Collection
£600-800
ROBIN WELCH (BRITISH 1938-2019) FOR OLD HALL ‘ALVESTON’ 12 PIECE CANTEEN FLATWARE SERVICE, DESIGNED 1961
stamped maker’s mark, and hallmarked for Sheffield 1967 and 1972, silver, in a free-standing custom-built three-drawer oak canteen comprising: 12 Table Knives, 12 Table Forks, 12 Dessert Knives, 12 Dessert Forks, 12 Dessert Spoons, 12 Soup Spoons, 12 Tea Spoons, 12 Coffee Spoons, 12 Fish Knives, 12 Fish Forks, 12 Fruit Forks, 12 Fruit Knives, 8 Serving Spoons, 2 Butter Knives, and 2 Sauce Ladles (total of 170 items) the cabinet: 70cm high, 51cm wide, 45.7cm deep (27 ½in high, 20in wide, 18in deep); the serving spoons 22.6cm long (8 7/8in long)
Provenance: Private Collection, London.
The cabinet was designed by Robert Welch and made in light oak by Tony McMullen (a lecturer and cabinet maker at Birmingham Polytechnic). Robert Welch designed this service in 1961, taking its name from the Cotswold village where Welch lived. It received several awards including the Design Centre Award in 1965 and The Observer in 1969.
£7,000-9,000
179 §
MARK BRAZIER-JONES (BRITISH 1956-) ‘LORD CARTER’ CHANDELIER
brass plate, glass and iron
75cm diameter (29 ½in diameter)
Provenance: with Themes & Variations, London; Private Collection, U.K.
£5,000-7,000
180 § SIR TERENCE CONRAN (BRITISH 1931-2020) FOR BENCHMARK COLLECTOR’S CABINET / PLAN CHEST
113cm high, 109cm wide, 61.3cm deep (44 ½in high, 43in wide, 24 1/8in deep)
Provenance: Private Collection, London.
£1,000-1,500
cherrywood
181 §
STUART DEVLIN (AUSTRALIAN/BRITISH 1931-2018)
8 PIECE FLATWARE SERVICE, 1968 stamped maker’s marks, hallmarked for London 1968, silver and silver gilt, comprising: 9 Table forks, 8 Table knives, 10 Soup spoons, 8 Hors d’oeuvres forks, 8 Hors d’oeuvres knives, 8 Desert forks, 8 Dessert spoons, 8 Dessert knives, 8 Fish forks, 8 Fish knives, 8 Teaspoons, 8 Coffee spoons, and 2 Pair of salad servers (a total of 101 pieces) the table knives 27.7cm long (10 7/8in long); weight of silver items: 5443 grams; knives with steel blades: 1275; total weight: 6718 grams. Provenance: Private Collection, London.
£7,000-9,000
JOHN MAKEPEACE (BRITISH 1939-)
DINING SUITE, 1996
comprising dining table and set of twelve chairs, the chairs stamped John Makepeace, the table engraved Designed by John Makepeace and made in his workshop by Martin Thomas May 1996, cherry wood the table: 72.5cm high, 228cm long, 147cm deep (28 ½in high, 89 ¾in long, 57 ¾in deep); the chairs: 98.7cm high, 48cm long, 42cm deep (38 7/8in high, 18 7/8in long, 16 ½in deep) (13)
Provenance: Commissioned and acquired directly from John Makepeace in 1996; Private Collection, U.K.
This lot is sold together with facsimile copies of scale design drawings of the table and one of the chairs.
£6,000-9,000
JOHN MAKEPEACE (BRITISH 1939-) SET OF EIGHT ‘TRINE II’ ARMCHAIRS, 2001 each numbered and inscribed under seat JOHN MAKEPEACE, one inscribed DESIGNED BY JOHN MAKEPEACE AND MADE IN HIS WORKSHOP BY JAMES RALPH, JUNE 2001
½, yew wood and ash ply, designed by John Makepeace, and made in his workshops at Parnham House by James Ralph
82.5cm high, 57cm wide, 46cm deep (32 ½in high, 22 ½in wide, 18 1/8in deep) (8)
Provenance: Acquired directly from the maker, July 2001; Private Collection, London.
£10,000-15,000
John Makepeace wrote that ‘Comfort, compactness and visual quality were identified as priorities. Trine I fulfilled these requirements, but had no arms. The challenge was to develop a sequel, also with three legs, and for the front legs to wrap around the body to provide arm support and a sense of wellbeing for the sitter.’
184 §
SVEND BAYER (DANISH / BRITISH, 1946-) VASE
impressed maker’s and pottery seals, stoneware decorated with fish 22cm high (8 5/8in high)
Provenance: Private Collection, U.K.
£300-500
186 §
SVEND BAYER (DANISH/BRITISH 1946-) AT WENFORD BRIDGE JAR AND COVER
impressed maker’s and pottery seals, stoneware 21cm high, 20cm wide (8 ¼in x 7 7/8in)
Provenance: Private Collection, U.K.
£300-500
187 §
SIDDIG EL NIGOUMI (SUDANESE/BRITISH 1931-1996) DISH, 1972
signed and dated, stoneware with incised decoration of buildings, figure, crocodile and birds
36cm x 39cm (14 1/8in x 15 3/8in)
Provenance: Private Collection, U.K.
This is one of a few stoneware dishes made by Nigoumi celebrating the house decoration of Nubia.
£500-700
185 §
MOHAMMED AHMED ABDALLA
ABBARO (SUDANESE 1933-2016) TWO VESSELS, 1985
each signed and dated M. A. ABDALLA 85, stoneware 17cm high and 14.5cm high (6 ¾in high and 5 ¾in high) (2)
Provenance: Private Collection, U.K.
Abbaro was raised in the Nuba mountains of Sudan, when it was still a British colony. He studied at the Khartoum College of Fine and Applied Arts, before winning a scholarship to the Central School of Arts and Crafts in London. He was considered as one of the most experimental ceramicists, and through pioneering firing and glazing techniques, his work was noted for its innovative surfaces. Abbaro was also highly regarded as a tutor of the next generation of ceramicists, through his teaching post at the Camden Arts Centre (1966-1990), where he held the role of head of ceramics for over two decades.
£300-500
188 §
MICHAEL CARDEW (BRITISH 1901-1983) AT WENFORD BRIDGE
STOOL / DRUM SEAT, 1970s
impressed MC and pottery seals, stoneware
31cm high, 36cm diameter (12 ¼in high, 14 1/8in diameter)
Provenance: Provenance
Private Collection, U.K.
£800-1,200
189 § GABRIELE KOCH (GERMAN 1948-) VESSEL, 1985
incised signature and date (to base), burnished and smoke-fired earthenware
33cm high, 42cm diameter (13in high, 16 ½in diameter)
Provenance: Private Collection, London.
£800-1,200
191 §
BERNARD LEACH (BRITISH
1887-1979)
AT LEACH POTTERY VASE
impressed maker’s and pottery seals, stoneware with tenmoku glazes, with incised design to each side, and lug handles to the shoulder
13cm high, 17.5cm wide (5 1/8in high, 6 7/8in wide)
Provenance: Private Collection, U.K.
£400-600
190
§
CHARLES VYSE (BRITISH 1882-1971)
FOOTED BOWL, 1935
signed and dated VYSE 1935, stoneware, with a wax resist fish design
6cm high, 20.7cm diameter (2 3/8in high, 8 1/8in diameter)
Provenance: Private Collection, U.K.
£250-350
192 §
BERNARD LEACH
(1887-1979)
AT LEACH POTTERY BOTTLE VASE
impressed maker’s and pottery seals, stoneware with tenmoku and finger wipe motif front and back
19.7cm high, 13cm wide (7 ¾in high, 5 1/8in wide)
Provenance: Private Collection, U.K.
£800-1,200
193 §
MICHAEL CARDEW (BRITISH 1901-1983) OIL LAMP BASE
impressed MC seal, earthenware, with ear of wheat design
15cm high, 15.5cm wide (5 7/8in high, 6 1/8in wide)
Provenance: Private Collection, U.K.
£800-1,200
194 §
PRUNELLA CLOUGH (BRITISH 1919-1999) UNTITLED
oil on canvas with collage 20cm x 25.5cm (8in x 10in)
Provenance: Annely Juda Fine Art, London, from whom acquired by the present owner.
£2,000-3,000
195 §
SANDRA BLOW R.A. (BRITISH 1925-2006) SEA THROUGH, 2001
signed, titled and dated (to reverse), acrylic on canvas 45.5cm x 45.5cm (18in x 18in)
Provenance: Private Collection, U.K.
This painting was used as the basis for a Christopher Farr Design.
£2,000-3,000
196 § DENIS MITCHELL (BRITISH 1912-1993) UNTITLED
wood
49cm high, 14.8cm wide (19 ¼in high, 5 7/8in wide)
Provenance: From the Estate of an important St Ives artist.
£4,000-6,000
197 §
WILHELMINA BARNS-GRAHAM (BRITISH 1912-2004)
MILLENIUM SERIES - BLUE II, 2000 signed in pencil (lower right) and numbered 17/75 (lower left), screenprint on paper 24cm x 30cm (9 ½in x 11 ¾in)
£600-800
SIR TERRY FROST (BRITISH 1915-2003)
UNTITLED, 1984
signed and dated May 84 in pencil (lower right), acrylic and watercolour, with acrylic on canvas collage, on paper
63cm x 50cm (25in x 19 ¾in)
Provenance: Private Collection, U.K.
£2,000-3,000
199 § FRANCIS DAVIDSON (BRITISH 1919-1984) WINDOWS, 1960-63 estate stamp (to reverse), collage
60.5cm x 45cm (23 7/8in x 17 ¾in)
Provenance: The Estate of the Artist, from whom acquired by the present owner, 2014 £3,000-5,000
200 § JOHN PIPER (BRITISH 1903-1992) FOR FULHAM POTTERY ‘SPRING’ AND ‘SUMMER’ TILES, 1983 impressed manufacturer’s mark, earthenware, produced for the Tate Gallery John Piper Exhibition in 1983-4 each 16cm x 16cm (6 ¼in x 6 ¼in) (2)
Provenance: Private Collection, London. £300-500
201 §
C.B.E. (BRITISH 1912-2004)
MOVEMENT ACROSS BROWN, 1972-76
signed, titled and dated (to reverse), further signed and dated in pencil to stretcher, oil on hardboard
91.5cm x 91.5cm (36in x 36in) overall
Provenance: Bonham’s Edinburgh, The Scottish Sale, 13 April 2016, lot 100, where acquired by the previous owner; Private Collection, London.
£3,000-5,000
WILHELMINA BARNS-GRAHAM
202 §
DENIS MITCHELL (BRITISH 1912-1993)
NANQUIDNO (MAQUETTE), 1974
initialled, dated, titled and numbered 4/9 (to base), bronze on slate 15.4cm high, 17.4cm wide (6in highincluding base, 6 7/8in wide)
Provenance: From the Estate of an important St Ives artist.
Exhibited: Wills Lane Gallery, St. Ives, 1974, another cast; Oxford Gallery, Oxford, 1974, another cast; Marjorie Parr Gallery, London, 1975, another cast; Penwith Galleries, St. Ives, 1975, another cast.
£5,000-7,000
203 §
PAUL MOUNT (BRITISH 1922-2009)
GEOMETRIC FORM fibreglass
57.2cm high, 233cm wide, 27cm deep (22 ½in high, 92in wide, 10 5/8in deep)
Provenance: John and Gunni Crowther; David Lay Auctions, Penzance, 3 November 2022, Lot 62; Private Collection, U.K.
£1,500-2,000
204 § LESLIE THORNTON (BRITISH 1925-2016)
CANDELABRA IN WELDED BRONZE, 1958
signed and dated (lower right), titled and inscribed (to reverse), pen and watercolour on card
52cm x 64cm (20 ½in x 25 1/8in), unframed
Provenance: The Artist; Gimpel Fils, London.
£400-600
205 § COLETTE MOREY DE MORAND (CANADIAN/BRITISH 1934-2022)
RELEASING TIME-1
signed and dated (right margin), also signed, titled and dated in pen (to reverse), graphite on wove paper
76cm x 56.2cm (30in x 22 1/8in) unframed
Provenance: The Estate of the Artist.
£500-700
206 § WILLIAM GEAR R.A. (BRITISH 1915-1997)
BLACK FORM, 1982
signed and dated (lower right), and signed, dated and titled (to reverse), oil on canvas
74cm x 49cm (29 1/8in x 19¼in)
Provenance: Private Collection, U.K.
Literature: Lambirth, Andrew, William Gear, Sansom & Co., London, 2015, fig. 415, illustrated. £3,000-5,000
207 §
ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) SETTING FOR MAGICIAN NO.2, 1971 (OPUS 0.663)
signed, titled and dated (to reverse), oil on canvas 122cm x 152cm (48in x 59 ¾in)
£6,000-8,000
Provenance: Private Collection, UK; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Alan Davie Paintings, 1971, cat. no. 22, illustrated, touring to Gimpel & Hanover, Zurich, October 1971; Gimpel & Weitzenhoffer, New York, December 1971; Gimpel Fils, London, Alan Davie: The Seventies, 10 November 2016 - 14 January 2017.
208 §
PATRICK O’REILLY (IRISH 1957-)
BIRD AND FISH
signed and numbered 2/8, patinated bronze
overall: 187cm high (73 5/8in high); the fish: 79cm wide (31in wide)
Provenance: Private Collection, London.
£1,500-2,500
209 §
DAME ELIZABETH FRINK (BRITISH 1930-1993)
WARRIOR HEAD, 1963
signed and dated (lower left), pencil and watercolour on paper
75.5cm x 55cm (29 ¾in 21 5/8in)
Provenance: with Waddington Galleries Ltd, London; Christie’s, London, 20th Century British Art, 16 July 2008, lot 80; Private Collection, London.
Exhibited: David Jones Gallery, Sydney, Elizabeth Frink Sculpture, October - November 1986, no. 17, as ‘Head’.
£5,000-7,000
210 §
ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014)
CROSS FOR THE BLUE BIRDS, OCTOBER 1965 (OPUS O.567D)
signed, titled and dated (to reverse), oil on masonite
121.9cm x 152.4cm (48in x 60in)
Provenance: The Artist; with Gimpel Fils, London. Private Collection, London.
£7,000-9,000
211 §
BRYAN INGHAM (BRITISH 1936-1997)
MY HOUSE, 1990
initialled in pencil on mount (lower right), titled and dated in pen (to back board), stamped Estate stamp (to back board), collage on board
9cm x 5cm (3 ½in x 1 7/8in), unframed
Provenance: The Estate of the Artist.
£500-700
212 §
BRYAN INGHAM (BRITISH 1936-1997)
LITTLE LANE, 1990
titled and dated in pencil (to back board), oil on card
25.3cm x 7cm (10in x 2 ¾in)
Provenance: The Estate of the Artist.
£800-1,200
213 §
BRYAN INGHAM (BRITISH 1936-1997)
WORPSWEDE COLLAGE 14, c.1990
titled in pen (to reverse), stamped Estate stamp (to reverse), collage on board
5.7cm x 12cm (2 ¼in x 4 ¾in), unframed
Provenance: The Estate of the Artist.
£700-900
214 §
BRYAN INGHAM (BRITISH 1936-1997)
MEDITERRANEAN HEAD
stamped with Artist’s Estate stamp (to base), painted stone on marble head: 11.5cm high (4 ½in high); overall: 15.5cm high (6 1/8in high)
Provenance: The Estate of the Artist.
£800-1,200
215 §
BRYAN INGHAM (BRITISH 1936-1997)
MEDITERRANEAN HEAD
stamped with Artist’s Estate stamp (to base), plaster on marble base
head: 23.5cm high (9 ¼in high); 26cm high (10 ¼in high)
Provenance: The Estate of the Artist.
£1,500-2,000
216 §
BRYAN INGHAM (BRITISH 1936-1977) NUDE
collage on board
13.5cm x 13.8cm (5 ¼in x 5 3/8in), unframed
Provenance: The Estate of the Artist.
£800-1,200
217 §
BRYAN INGHAM (BRITISH 1936-1997)
EL GORRIAGA, 1988
signed, dated and titled (to reverse), collage on card, from the Barcelona Series
22.5cm x 18cm (8 3/4in x 7in)
Provenance: The Estate of the Artist; with Francis Graham-Dixon Gallery, London.
£600-800
218 §
BERNARD MEADOWS (BRITISH 1915-2005)
THREE SMALL RELIEFS: WATCHERS, 1966 (OPUS 86, BM 104)
edition of 6, brass
each relief: 28cm x 9.5cm (11in x 3 ¾in), overall: 38cm x 45.5cm (15in x 17 7/8in)
Provenance: Estate of the Artist; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Bernard Meadows: Recent Work, 25 April - 20 May 1967, cat. no. 13; New Art Centre, Roche Court, Shaping a Century: Works by Modern British Sculptors, 6 February - 27 March 2016; Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016.
Literature: Bernard Meadows: Recent Works, Gimpel Fils Exhibition Catalogue, London, 1967, pl. 14, illustrated; Bowness, Alan, Bernard Meadows: Sculpture & Drawings, Lund Humphries, London, 1995, p. 90, pl. 72, illustrated (b&w). £1,200-1,800
219 §
JOHN MALTBY (BRITISH 1936-2020)
ANGEL AND TIGER
impressed maker’s seal, stoneware
19.5cm high, 13.8cm long (7 5/8in high, 5 3/8in long)
Provenance: Private Collection, U.K.
£300-500
220 §
JOHN MALTBY (BRITISH 1936-2020)
MAD KING
signed and titled (to base), impressed maker’s seal, stoneware 24.6cm high (9 ¾in high)
Provenance: Private Collection, London.
£400-600
221 §
JOHN MALTBY (BRITISH 1936-2020)
ANGEL AND TOWER
signed and dated (to base), impressed maker’s seal, stoneware on wooden base
21cm high, 11.5cm deep (8 ¼in high, 4 ½in deep)
Provenance: Private Collection, U.K.
£300-500
222 § JOHN MALTBY (BRITISH 1936-2020)
BIRD AND TWO ANGELS
titled (to base), impressed maker’s seal, stoneware on wooden base
22.5cm high, 21.5cm deep (8 7/8in high, 8 ½in deep)
Provenance: Private Collection, U.K.
£400-600
224 §
223 § PETER HAYES (BRITISH 1946-) HEAD
stoneware on a slate base
27cm high (10 7/8in high) excluding base
Provenance: Property of a Private Aficionado.
£300-500
PETER HAYES (BRITISH 1946-)
BOW WITH BLUE DISC, 1994 signed and dated (to base), raku 11cm high, 6 3/4in wide (4 3/8in high, 2 5/8in wide)
Provenance: Private Collection, London.
£300-500
225 § PETER BEARD (BRITISH 1951-) VESSEL, 2023
impressed maker’s seals, stoneware 20cm high (7 7/8in high)
£1,000-1,500
226 §
PETER BEARD (BRITISH 1951-)
DARK BLUE DISC, 2024
impressed maker’s seals, stoneware on stone base
31cm high overall (12 ¼in high overall), 23.5cm diameter (9 ¼in diameter)
£1,500-2,000
Right
228
GWEN JOHN (BRITISH 1876-1939)
STUDY OF LAMIUM ALBUM (WHITE DEADNETTLE)
with studio stamp (lower right), watercolour and bodycolour on paper 22cm x 17.5cm (8 5/8in x 6 7/8in)
Provenance: Edwin John (Inventory Number EJ1303); Anthony d’Offay, London; Christie’s, London, 31 March 2010, lot 11; Private Collection, London.
Exhibited: Browse & Darby, London, Gwen John, 14 March - 5 April 2007, no.11.
£2,000-3,000
227 §
GILBERT SPENCER (BRITISH 1892-1979)
THE BARN
signed in pencil (lower right), pencil and watercolour
34.5cm x 51cm (13 ½in x 20 1/8in)
Provenance: with The Redfern Gallery, London, from who acquired by Lord Clewyd, 22 February 1961; Private Collection, U.K.
£1,000-1,500
229
CHARLES ISAAC GINNER
C.B.E., A.R.A. (BRITISH 1878-1952)
THE SLUICE GATES, STANDON signed (lower left), pen and ink and watercolour on paper
26.5cm x 40cm (10 ½in x 14 ¾in)
Provenance: The Estate of Professor Francis Wormald (1904-1972), palaeographer and art historian.
Exhibited: Royal Society of Painters in Watercolours, London (on loan from Francis Wormald); The Arts Council of Great Britain, London, Charles Ginner - Exhibition of Paintings and Drawings, 1953, cat. no. 39.
£1,500-2,500
SIR GEORGE CLAUSEN R.A., R.W.S (BRITISH 1852-1944)
THE BARN AT DEER’S FARM signed in pencil (lower right), pencil, watercolour and gouache on paper
32.3cm x 37.5cm (12 ¾in x 14 ¾in)
Provenance: Lord Clwyd; Private Collection, U.K.
Exhibited: Bradford Art Galleries and Museums and Tyne and Wear County Council Museums, Sir George Clausen, 1980, touring to London and Bristol, cat. no. 140.
£2,000-3,000
231
SIR MATTHEW SMITH
C.B.E. (BRITISH 1879-1959)
SKETCH FOR A STILL LIFE
signed (lower right), oil on gessoed board
27cm x 38cm (10 5/8in x 15in)
Provenance: Roland, Browse & Delbanco, London; Private Collection, U.K.
£1,000-1,500
232 §
STILL LIFE
signed (lower left), oil on canvas
57.5cm x 79.5cm (22 5/8in x 31 ¼in)
Provenance: From the Estate of the Late William (Billy) Skelly (1931-2019); Lyon & Turnbull, Edinburgh, Contemporary & Post-War Art, 15 January 2020, lot 7; Private Collection, U.K.
£3,000-5,000
ALFRED AARON WOLMARK (POLISH 1877-1961)
233 §
JOSEF HERMAN (POLISH/BRITISH 1911-2000)
COTTAGES AT DUSK oil on board
56cm x 73cm (22in x 28 ¾in)
Provenance: with Flowers Gallery, London; Private Collection, London.
£1,500-2,000
235 §
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 current owner.
£300-500
234 §
ROBERT MEDLEY C.B.E.. R.A. (BRITISH 1905-1994)
DESERT ENCAMPMENT, c.1942-45
signed in pencil (lower right), oil on canvas 45.5cm x 76.1cm (18in x 30in)
Provenance: Gifted to Lynette Cole by her mother, 1979; The Estate of the late Lynette F. H. Cole, Scotland.
£1,500-2,500
236
HENRI
GAUDIER-BRZESKA
(FRENCH 1891-1915)
‘FRAGMENTY’ DESIGN FOR BOOKJACKET, 1912 pencil, ink and wash on paper 12cm x 10cm (4 ¾in x 4in)
Provenance: Ex collection J. Rothschild; with Mercury Gallery, Moreton; Private Collection, U.K.
Exhibited: The Scottish Gallery, Edinburgh, Henri Gaudier BrzeskaSculptures & Drawings, 7 - 30 March 2005.
£600-800
237 §
SIR JACOB EPSTEIN
(BRITISH 1880-1959)
SUNFLOWERS
signed (lower left), watercolour and gouache on paper
42.5cm x 54.5cm (16 3/4in x 21 1/2in)
Provenance: Mrs Thelma
Cazalet-Keir M.P.; Sotheby’s, London, 20th Century British and Irish Art, 23 November 2006, lot 44; Private Collection, London.
Exhibited: Temple Newsam, Leeds, Sculpture and Painting by Jacob Epstein and Matthew Smith, July - September 1942, no. 72.
£1,500-2,500
238 §
JOSEF HERMAN O.B.E., R.A. (POLISH/BRITISH 1911-2000)
SONG OF THE MIGRANT BIRD, 1999
The complete boxed set of 54 colour lithographs, Archive 2, aside from the edition of 50, most of the lithographs signed in pencil (excluding Cover, For N., and In My Memory of Things, My Themes), with title page, editioned in pencil, and list of contents, printed by the Curwen Press, Chilford, with their blindstamp to each lithograph, loose as issued within the original burgundy linen covered box, with gold embossing to the front, each sheet 30cm x 21cm (11 ¾in x 8 ¼in), unframed;
‘BIRD,’ Screenprint, Archive proof, aside from the edition of 50, inscribed Josef Herman and Archive in pencil, with the CC blindstamp, the sheet 56cm x 65cm (22in x 25 ½in), unframed; ‘BIRD’, mixed media with collage working printer’s proof, with printer’s recommendations to the artist in ink (to lower edge), and further colour notations, the sheet 58cm x 42cm (22 ¾in x 16 ½in), unframed;
‘BIRD,’ printed acetate, the sheet 36cm x 28cm (14 ½in x 11in), unframed (4)
Provenance: Curwen Studio; Private Collection, U.K.
Josef Herman was captivated by birds and these printer’s proofs and working sheets from the studio are part of his initial exploration into the concept of the bird. They were worked up into finished screenprints, both entitled ‘Bird’ and each published in an edition of 50. The culmination of the artist’s interest in birds was the folio, Song of the Migrant Bird, with 53 vibrant and varied representations of their form.
£3,000-5,000
239 §
WILLIAM ROBERTS R.A. (BRITISH 1895-1980)
A WINDY DAY, c.1943
signed (lower left), pencil on paper, squared for transfer in crayon
16.5cm x 21.5cm (6 ½in x 8 ½in)
Provenance: d’Offay Couper Gallery, London, from whom acquired by Lord Clywd, October 1969; Private Collection, U.K.
Exhibited: d’Offay Couper Gallery, London, William Roberts R.A. - Drawings and Watercolours 1915-1968, 23 September - 10 October 1969, no. 30.
£3,000-5,000
240 §
GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF
SIMPLE FURNITURE
FRINTON PARK FOLDING TABLE, DESIGNED c.1935
birch plywood
72cm high, 110.2cm diameter (28 3/8in high, 43 3/8in diameter)
Provenance: Private Collection, London.
Literature: The Design History Journal 1992 Vol.5 No.3 - precis of Masters’ thesis by Martha Deese, Metropolitan Museum New York; Design for Today, 1934;
Furnishing the small Home published London and New York 1930’s by the Studio Ltd.; Ostergard, Derek E. (ed.), Bent Wood and Metal Furniture 1850-1946 University of Washington Press
Exhibited: Arts Council of Great Britain, London, Thirties British Art and Design before the War, 1979; Crafts Council Gallery, London, Constructivism in Art & Design, 1988; Victoria & Albert Museum: Summers work is now included in the new 20th Century Furniture Galleries which opened at the V & A in November, 2012; Museum of Modern Art, New York, The Magic of Plywood, 2014.
Another example of this table is in the collection of the Metropolitan Museum, New York.
£2,000-3,000
This folding dining table was made for the Show Home at the Frinton Park Estate which was designed by the Architect Oliver Hill. This was a Modernist self-contained seaside estate of 200 acres. Each site was planned to give uninterrupted views over the cliffs to the sea and the Show Home had a wide curved window on both the ground and upper floor with sweeping views over the water.
The most innovative designer in Britain in the 1930’s Gerald Summers’ significance is only now being appreciated as emphasis has heretofore been placed upon the achievements of European and Scandinavian designers and because ‘Makers of Simple Furniture’ was a small company, producing mainly to order, without the publicity machine of larger workshops.
Originally offered through Heals, Harrods and select department stores in the US, examples of Summers’ designs are now held by the Victoria & Albert Museum in London, the Museum of Modern Art, New York and the Vitra Design Museum in Germany.
This table is featured together with other Summers’ designs at the Frinton Park Estate Show Home in the “Home of the Month” article - October 1935 issue of The English Home.
241 §
GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ARMCHAIR, DESIGNED 1934
birch plywood
75cm high, 59.5cm wide (29 ½in high, 23 3/8in wide)
Provenance: Private Collection, London.
£8,000-12,000
242 §
GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE OCCASIONAL TABLE, DESIGNED 1933-4
birch plywood
40.5cm high, 73cm diameter (16in high, 28 ¾in diameter)
Provenance: Private Collection, London.
£4,000-6,000
243
CHARLES AND RAY EAMES (AMERICAN 19071978 AND 1912-1988) FOR HERMAN MILLER ‘LCM’ CHAIR, DESIGNED c.1952
with applied manufacturer’s label, plywood and steel
68cm high, 56cm wide, 58cm deep (26 ¾in high, 22in wide, 22 7/8in deep)
£600-800
244
CHARLES AND RAY EAMES (AMERICAN 19071978 AND 1912-1988) FOR HERMAN MILLER
‘TIME LIFE’ STOOL, DESIGNED 1960 walnut
38.5cm high, 33cm diameter (15 1/8in high, 13in diameter)
These stools were commissioned by Time Inc. in 1960 for the lobby of the Time-Life building in New York City.
£1,000-1,500
245 Y CHARLES AND RAY EAMES (AMERICAN 1907-1978 AND 1912-1988) FOR HERMAN MILLER LOUNGE CHAIR AND OTTOMAN, DESIGNED 1956
models 670 and 671, with manufacturer’s label, the ottoman dated 15th Sep 1977 (to base), aluminium, rosewood, black leather
Chair: 79cm high, 84cm wide, 77cm deep (31 1/8in high, 33in wide, 30 ¼in deep); ottoman: 40.6cm high, 65cm wide, 55cm deep (16in high, 25 5/8in wide, 21 5/8in deep)
Provenance: Private Collection, U.K.
Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction Specific Certificate no. 24GBA1080M7XB. £2,000-3,000
246 §
NANNA AND JØRGEN DITZEL (DANISH 1923-2005 AND 1921-1961) FOR KOLDS SAVVAERK
PAIR OF ‘RING’ CHAIRS, DESIGNED 1958
one with applied manufacturer’s label, teak and upholstery
70cm high, 63cm wide (27 ½in high, 24 7/8in wide) (2)
£2,000-3,000
247 §
PIERRE JEANNERET (SWISS 1896-1967)
STOOL, c.1960
stencilled P.G.I. (ST-4) 103 (to side of seat), teak and painted metal
49cm high, 33.5cm diameter (19 ¼in high, 13 1/8in diameter)
£1,000-1,500
WEGNER (DANISH 1914-2007) FOR FRITZ HANSEN
model nos. FH4602 and FH4103, comprising dining table and four chairs, with manufacturer’s stamp FH DENMARK to the table and one chair, oak and teak the chairs: 72.5cm high, 53cm wide, 46cm deep (28 ½in high, 20 7/8in wide, 18in deep); the table: 70cm high, 119cm diameter (27 5/8in high, 46 7/8in diameter) (5)
Provenance: Private Collection, London.
£2,000-3,000
HANS
DINING SUITE
250
WILLIAM KATAVOLOS
(AMERICAN 1924-2020) FOR LEATHERCRAFT ‘K-CHAIR’, DESIGNED c.1950
leather, with painted steel swivel base
94cm high, 65.5cm wide, 76cm deep (37in high, 25 ¾in x 30in deep)
Provenance: Private Collection, U.K.
£500-700
249
NORMAN CHERNER (AMERICAN 19201987) FOR PLYCRAFT SET OF SIX CHAIRS, DESIGNED 1958
five with manufacturer’s labels, plywood with walnut veneer
79cm high, 43cm wide, 46.5cm deep (31in high, 17in wide, 18 ¼in deep) (6)
£1,500-2,000
251 CHARLES EAMES (1907-1978) AND RAY EAMES (1912-1988) FOR VITRA LOUNGE CHAIR AND STOOL, DESIGNED 1958
model EA 115, the stool with applied manufacturer’s labels, aluminium and upholstery
the chair: 97cm high, 64.5cm wide, 63cm deep (38 ¼in high, 25 ½in wide, 24 ¾in deep); the stool: 39cm high, 55cm wide, 54.5cm deep (15 3/8in high, 21 5/8in wide, 21 ½in deep) (2)
Provenance: Vitra Ltd., London, where acquired by the present owner; Private Collection, London.
£600-800
252
CHARLES EAMES (1907-1978) AND RAY EAMES (19121988) FOR VITRA PAIR OF SOFT PAD CHAIRS AND OTTOMAN, DESIGNED 1969
models EA222 and EA223, with attached manufacturer’s label, the chairs stamped with manufacturer’s mark, leather and chromed aluminium the chairs: 100cm high, 65cm wide, 73cm deep (39 ½in high, 25 ½in wide, 28 ¾in deep); the ottoman: 43cm high, 57cm wide, 54cm deep (17in high, 22 ½in wide, 21 ¼in deep) (3)
Provenance: Private Collection, U.K.
£2,000-3,000
253
LE CORBUSIER (SWISS/FRENCH 1887-1965) FOR CASSINA PAIR OF ‘LC1’ ARMCHAIRS, DESIGNED 1928-9
stamped on the frame CASSINA LC1, NO. 54186 and facsimile signature, the other NO. 5475, chrome, steel and leather 66cm high, 59cm wide, 64cm deep (26in high, 23 ¼in wide, 25 ¼in deep) (2)
Provenance: Private Collection, U.K.
£600-800
254 §
JEAN LURCAT (FRENCH 1892-1966)
‘LE CIEL’ RUG
signed Lurcat (upper right), wool
303cm long, 199cm wide (119 ½in long, 78 ¾in wide)
Provenance: Private Collection, London.
£1,500-2,000
255 §
KIRSTI ILVESSALO (FINNISH 1920-2019)
‘PALOKARKI’ RUG, c.1954
woven label (to reverse), wool
125cm x 188cm (49 ¼in x 74in)
£800-1,200
256 §
FINN JUHL (DANISH 1912-1989)
ARMCHAIR, DESIGNED 1945
model no. NV45, teak and upholstery
84cm high, 69cm wide, 70cm deep (33in high, 27 1/8in wide, 27 ½in deep)
£5,000-8,000
258
SABURO INUI (JAPANESE 1911-1991) FOR TENDŌ MOKKO, TENDŌ, JAPAN
COFFEE TABLE, DESIGNED 1959 beech plywood, Japanese elm (zelkova) veneer 34cm high, 106cm wide, 76cm deep (13 3/8in high, 41 ¾in wide, 30in deep)
Literature: Serizawa, Mitsumasa, 天童木工 (Tendo Mokko), Tokyo: Bijutsu Shuppan-sha, 2008, pp. 174 - 179, for an example of this model; Design Japonais 1950-1995, Éditions de Centre Pompidou, Paris, 1996, p. 76, for an example of this model.
£800-1,200
257
SŌRI YANAGI (JAPANESE 1915-2021)
FOR AKITO MOKKO, YUZAWA CITY, JAPAN MIRROR, c.1975
manufacturer’s label (to reverse), beech wood and glass 49.3cm x 39.5cm (19 3/8in x 15 ½in)
Literature: Forms Born of Sori Yanagi, Kanazawa City, Noto Publishing Department, 2003, pp. 93 and 140 for examples of this model.
£500-700
JUNZO SAKAKURA (JAPANESE 1901-1969) & DAISAKU CHOH (JAPANESE 1921-2014) FOR IDÉE, JAPAN
PAIR OF ‘ZAISU’ CHAIRS, c.2000
beech plywood and rattan
63cm high, 46cm wide, 66cm deep (24 ¾in high, 18 1/8in wide, 26in deep) (2)
Literature: Urakawa, Ai (ed.), Long Masterpiece: 84 year old active designer, Rattles Co., Ltd., Tokyo, Japan, 2006, pp. 44 and 46 for examples of the design of this model; Japan Living Design, Eihachiro Baba, Tokyo, Japan, 1999/2002, pp. 106-9 for a similar example of this model.
£1,000-1,500
260 §
SLAVKO KOPAČ (CROATIAN / FRENCH 1913-1995)
CREPUSCULE (TWILIGHT), 1971
mixed media on panel
85.5cm x 52.5cm (33 ½in x 20 ½in)
Provenance: Galerie d’Art International, Paris (1984); with Waddington Galleries, London.
£3,000-5,000 Left
Lot 137 [detail]
261 §
DIETZ EDZARD (GERMAN 1893-1963) FOR PUHL WAGNER FLAGELLATION, 1925
signed and dated (lower left) and AUSF. PUHL U. WAGNER / GOTTFRIED HEINERSDORFF BERLIN (lower right), stained and leaded glass
166.5cm high, 156cm wide, 8cm deep (65 ½in high, 61 ¼in wide, 3in deep)
Provenance: Private Collection, London.
Exhibited: Monza Biennale, German Section, 1925, room 128.
£3,000-5,000
The 1925 Biennale aimed to encourage the development of Italian craftmanship. The exhibition program favoured heterogeneity in themes and sections from sacred to graphic arts, and from construction to public art. The German pavilion by the Deutscher Werkbund particularly stood out in 1925.
The current work reflects the early influence of the German Expressionists on Edzard’s work in the angular human bodies and use of Christian iconography. Before the First World War Edzard studied in Berlin under Max Beckmann, and he was surround by the exciting avant-garde notions of Die
Brucke. Following the traumatic war years having been in active military duty for the whole war his work took on a melancholic and reflective tone in the years immediately following the conflict, and it is reflective in his design for this unique stained glass work.
The design for the stained glass window gives the impression that it is a particularly personal work, and it has been suggested that it includes a selfportrait of the artist, and that the figure on the right hand side of the image is a portrait of his tutor and artist Max Beckmann.
262 §
DENIS WILLIAMS (GUYANESE/BRITISH 1923-1998)
UNTITLED, 1954
ink on paper, with a drawing for a mobile construction ‘in coloured plastic and metal’ to the reverse, inscribed and dated (to lower edge), pencil on paper 28.7cm x 13.2cm (11 ¼in x 5 ¼in), unframed
Provenance: The Artist; with Gimpel Fils, London.
£400-600
263
JOHN VON WICHT (AMERICAN 1888-1970)
UNTITLED, c.1950
black chalk on paper covered in tracing paper 21.2cm x 27.8cm (8 3/8in x 10 7/8in), unframed
Provenance: The Artist; with Gimpel Fils, London.
£400-600
264 §
ROBERTO MATTA (CHILEAN/ITALIAN 1911-2002)
ARMIDON, c.1961
signed and titled in pencil (lower right), pencil and crayon on paper laid on canvas
49.5cm x 64cm (19 1/2in x 25 1/4in)
Provenance: Exhibited: Gimpel Fils, London, Matta, March 1965, cat.no.23; Gimpel Fils, London, Works on Paper, February - March 1976; Gimpel Fils, London, A Cabinet of Drawings, Prints & Inuit Carvings, 19 November 1986 - 10 January 1987; Gimpel Fils, London, Roberto Matta Sculptures, 23 June - 24 July 1999, cat. no.9.
£2,500-3,500
265 §
ITALO VALENTI (ITALIAN 1912-1995)
QUARTE (INTERVAL OF FOUR), 1967
signed in pen (lower left), collage on paper 10.5cm x 15cm (4 ¼in x 6in)
Provenance: The Estate of the Artist; Wilson Stephens Fine Art, London, from whom acquired by the present owner, January 2008.
Literature: Carena, Carlo & Stefano Pult, Italo Valenti - Catalogo ragionato dei collage, Skira, Milano, 1998, p.416, cat. no. C391, inv. no. C 67.05/081.
£800-1,200
266 §
JEAN-MICHEL ALBEROLA (ALGERIAN/FRENCH 1953-) L’ENVERS EST L’ENDROIT, 1984
set of 6 works, pastel and charcoal on paper each 30cm x 22.5cm (11 ¾in x 8 7/8in) (6)
Provenance: with Galerie Daniel Templon, Paris; with Gimpel Fils, London.
Exhibited: Arnolfini Gallery, Bristol, To Kill Two Birds with One Stone, January - February 1985.
£1,200-1,800
267 § PRUNELLA CLOUGH (BRITISH 1919-1999)
ESTUARY 3, 1986
signed (to reverse), oil on canvas
79cm x 64cm (31in x 25 ¼in)
Provenance: Annely Juda Fine Art, London, from whom acquired by the present owner.
£6,000-9,000
268 ‡ § FELIM EGAN (IRISH 1952-2020)
ENCLOSURE, 1989
signed and dated 7 Egan 89 (to reverse), also signed, titled and dated on the stretcher, acrylic and mixed media on canvas 140cm x 160cm (55 ¼in x 63in)
£2,500-3,500
269 §
LAETITIA YHAP (BRITISH 1941-) TIMMY FILING A NEEDLE WITH BESS, 1980
signed, titled and dated (to reverse), oil on panel
43cm diameter (16 7/8in diameter)
including frame
Provenance: Private Collection, U.K.
£800-1,200
270 §
LAETITIA YHAP (BRITISH 1941-) RELAXING ON THE CART, 1990
signed, titled and dated (to reverse), oil on panel 23cm x 25cm (9in x 9 3/4in)
Provenance: Private Collection, U.K.
£800-1,200
271 §
LAETITIA YHAP (BRITISH 1941-) EXHAUSTION, 1992
signed, titled and dated (to reverse), oil on plaster 23cm x 25cm (9in x 9 ¾in)
Provenance: Private Collection, U.K.
£700-900
272 §
DOM ROBERT (GUY DE CHAUNACLANZAC) (FRENCH 1907-1997) MONKS WORKING IN FIELDS, 1945
signed and dated in ink (lower right), design for a tapestry, gouache on paper
32.5cm x 25cm (12 ¾in x 9 7/8in)
Provenance: The Artist; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Spring Group Exhibition, 4 May - 10 June 2017.
£800-1,200
273 §
LAURENCE BRODERICK (BRITISH 1935-2024)
HERON signed, titled and inscribed A/C, an Artist’s Cast, aside from the edition, patinated bronze 104cm high (41in high)
Provenance: Private Collection, London. £1,000-1,500
274 §
ALFRED DANIELS (BRITISH 1924-2015)
WEST STRAND, 1966
signed and dated (lower right), oil on canvas
71cm x 91cm (28in x 35 ¾in)
Provenance: Private Collection, U.K.
£1,200-1,800
275 §
DORIS CLARE ZINKEISEN (BRITISH 1898-1991)
THE FROZEN THAMES IN 1813 signed (lower right), oil on canvas
50.8cm x 76.1cm (20in x 30in)
Provenance: Private Collection, U.K.
£1,000-1,500
276 §
LAURENCE BRODERICK (BRITISH 1935 - 2024)
SANDAIG OTTER MAQUETTE II
signed, titled and numbered 23/50 (to lower edge), bronze 21cm x 20cm x 11cm (8.25in x 8in x 4.25in)
Provenance: Private Collection, U.K.
£800-1,200
277
LAURENCE BRODERICK (BRITISH 1935-2024) PLAYFUL MIJBIL
signed, titled and inscribed, African soapstone 16.5cm high, 28.5cm wide (6 1/2in high, 11 1/4in wide)
Provenance: Private Collection, London. £1,000-1,500
278 §
LAURENCE BRODERICK (BRITISH 1935-2024)
DIVING OTTER FOUNTAIN signed, titled, numbered 1/7, inscribed DE, patinated bronze
70.5cm high, 31.5cm wide (27 3/4in high, 12 3/8in wide)
Provenance: Private Collection, London.
£1,000-1,500
279
AFTER JEAN ROYÈRE (FRENCH 1902-1981)
‘LIANE’ WALL LIGHT
enamelled metal and paper shades 241cm high (95in high)
Provenance: Horacio Rodolfo de Sosa Cordero from whom acquired by the present owner, c.2000; Private Collection, London.
£1,500-2,000
AFTER JEAN ROYÈRE (FRENCH 1902-1981)
‘LIANE’ WALL LIGHT
enamelled metal and paper shades 234cm high (92 1/8in high)
Provenance: Horacio Rodolfo de Sosa Cordero from whom acquired by the present owner, c.2000; Private Collection, London. £1,500-2,000
281 §
GIO PONTI (ITALIAN 1891-1979) FOR CHRISTOFLE PAIR OF VASES, DESIGNED c.1956
one stamped with manufacturer’s mark CHRISTOFLE FRANCE / COLL. GALLIA, with knight chess figure, silver-plate
32.5cm high (12 ¾in high) (2)
Provenance: Private Collection, London.
£1,000-1,500
282 §
JACQUES ADNET (FRENCH 1900-1984)
TABLE LAMP, DESIGNED c.1930
chromed metal, stained oak and bakelite
46cm high, 35cm wide, 16cm deep (18in high, 13 ¾in wide, 6 ¼in deep)
£1,500-2,000
283 §
CARL AUBÖCK (AUSTRIAN 1900-1957)
MAGAZINE RACK, 1950s
model 3808, brass and leather
50.7cm high, 30cm wide, 15.5cm deep (20in high, 11 ¾in wide, 6 1/8in deep)
Provenance: Private Collection, London.
£500-700
284
FONTANA ARTE
CONSOLE TABLE, c.1935-40
bevelled thick-walled light green glass, nickel plated metal
75cm high, 180cm wide, 79cm deep (29 1/2in high, 70 1/2in wide, 31in deep)
Provenance: Originally from a Milanese apartment; Dorotheum 14 May 2013, Lot 57; Private Collection, London.
£4,000-6,000
285
ITALIAN
PAIR OF STANDARD LAMPS, 1950s
glass and metal
161cm high (63 ½in high) (2)
Provenance: Private Collection, London.
£2,000-3,000
MURANO, ITALY, AFTER NAPOLEONE MARTINUZZI
THREE VESSELS
hand-blown and applied glass, with iridescent wash, comprising a ‘Pulegoso’ Succulent, 19cm high (7 ½in high); another ‘Pulegoso’ Succulent, 19cm high (7 ½in high); and a ‘Pulegoso’ Vase, 12.5cm high (4 7/8in high) (3)
Provenance: Purchased by the current vendor in Venice, circa 1960. Napoleone Martinuzzi designed similar succulent vessels circa 1930.
£1,000-1,500
287
MURANO, ITALY, AFTER NAPOLEONE MARTINUZZI ‘PULEGOSO’ VASE
hand blown and applied glass, with gilt foil inclusions
26cm high (10 ¼in high)
Provenance: Purchased by the current vendor in Venice, circa 1960. Napoleone Martinuzzi designed a similar vase circa 1930.
£3,000-5,000
288 §
GOUDJI (FRENCH 1941-) PAIR OF CANDLESTICKS
each stamped Goudji Paris Sterling 925G, silver and blue agate, the square bases with stag motifs to both sides
19.5cm high (7 5/8in high) (2)
Provenance: Private Collection, U.K.
Literature: ASB Gallery, London, Goudji, Exhibition Catalogue, 1987, p.23 for a similar example.
£2,000-3,000
289 §
MAX INGRAND (FRENCH 1908-1969) FOR FONTANA ARTE CHANDELIER, DESIGNED c.1959
model no. 2088, clear and frosted glass and nickel plated brass 70cm diameter (27 ½in diameter)
Provenance: Private Collection, London.
Literature: Franco Deboni, Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand, Turin, 2012, fig. 320 for an example of this model.
£8,000-12,000
“ The most resistant element is not wood, is not stone, is not steel, is not glass. The most
resistant
element in building is art ”
Gio Ponti
290 ‡ §
GIO
PONTI
(ITALIAN 1891-1979) FOR GIORDANO CHIESA, MILAN
SOFA, c.1951
brass and upholstery
91.4cm high, 132cm wide, 80cm deep (36in high, 52in wide, 31 ½in deep)
Provenance: Casa Lucano, Milan; Phillips, London, Casa di Fantasia, 21 March 2019, lot 303, where acquired by the present owner.
This lot is sold together with a facsimile Certificate of Expertise from the Gio Ponti Archive.
The current work was designed for the Casa Lugano, a large apartment in the elegant Fiera district of Milan, around 1951. It became the height of his journey to create a fantasy home melding French Surrealist and Italian Metaphysical art of the mid-20th century into a domestic realm. The sofa captures Ponti’s dispensation with the house as ‘machine à habiter’, introducing a luxurious element and in the Casa Lugano he created a space where the client was a spectator for whom spatial inventions were being staged for endless divertimenti.
£15,000-25,000
291 §
JOHN HUTTON (NEW ZEALANDER 1906-1978) FOR JAMES POWELL & SON, WHITEFRIARS GLASSWORKS
‘COVENTRY CATHEDRAL ANGEL’ VASE, c.1962
signed JOHN HUTTON, engraved No. 13-79-81, glass
43.5cm high, 23.5cm wide (17 1/8in high, 9 ¼in wide)
Provenance: Lyon & Turnbull, Edinburgh, Paul Reeves: An Eye for Design, 14 February 2019, lot 293; Private Collection, London.
Literature: Stapleton, Annamarie, Richard Chamberlain & Geoffrey Raynor, Austerity to Affluence: British Art and Design: 1945-62, Merrell Publishers Ltd, London, 1997, pp.78-9, cat. no. G18 for an example of this vase from the series.
£1,000-1,500
This vase formed part of a limited series engraved by John Hutton and is engraved with a unique arrangement of the angels and figures he had designed and engraved for the Great West Screen of the new Coventry Cathedral. The vases were engraved in the Cathedral shop for 100 guineas, a sum which reflected both the supreme quality of the glass used in the manufacture of the vessel and the hard work of Hutton. It was hoped that the sale of the vases would help with the financial deficit on its completion. One of the vases and some of Hutton’s designs for the Great West Screen are in the collection of the Sarjeant Art Gallery in Wanganui, New Zealand, where Hutton spent much of his youth and another was in the collection of Princess Margaret.
Hutton wrote to Captain N.T. Thurston of the Coventry Cathedral Reconstruction Committee in 1960 about the making and marketing of the vases and commented
“The vases only have angels engraved on them. Under the present scheme I am to engrave all the flying angels of the screen in groups of two to each vase. Each grouping will be different so that although say Angel A appears many times on different vases it is never with the same angel. There are some 326 possible different groupings on this principle so I don’t suppose I shall work through them all before I leave this world.
It means that each buyer has an exclusive object. The glass is the finest British crystal specially blown by the Whitefriars Company. It represents in size about the limit of possibility in blowing for vases.”
292 §
ATTRIBUTED TO LUCIANO GASPARI (ITALIAN 1913-2007) FOR SALVIATI VASE
signed Salviati, glass
26cm high (10 ¼in high)
Provenance: Private Collection, London.
£300-500
293 §
FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D’ARTE SOMMERSO’ VASE, DESIGNED c.1961 glass
31.3cm high (12 ¼in high)
Provenance: Private Collection, London
Literature: Heiremans, Marc, Seguso Vetri D’Arte: Glass Objects From Murano (1932-1973), Arnoldsche Art Publishers, Stuggart, p. 156, cat. no. 13178, for a similar example of this model.
£300-500
294 §
ATTRIBUTED TO LUCIANO GASPARI (ITALIAN 1913-2007) FOR SALVIATI VASE
signed Salviati, glass
34.5cm high (13 ½in high)
Provenance: Private Collection, London.
£400-700
295 §
FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D’ARTE ‘SOMMERSO’ VASE, DESIGNED c.1960 glass
30.2cm high, 24.5cm wide (12in high, 9 5/8in wide)
Provenance: Private Collection, London.
Literature: Heiremans, Marc, Seguso Vetri D’Arte: Glass Objects From Murano (1932-1973), Arnoldsche Art Publishers, Stuggart, p. 151, cat. no. 12755, for a similar example of this model.
£600-800
296 † § MASSIMO VIGNELLI (ITALIAN 19312014) FOR VENINI, MURANO
‘FUNGO’ TABLE LAMP, DESIGNED 1956
glass
19cm high (7 ½in high)
Provenance: Private Collection, U.K.
£300-500
297 CENEDESE ‘DON QUIXOTE‘ VASE
glass with applied stylised figures
41cm high (16in high)
£700-900
298 § FLAVIO POLI (ITALIAN 1900-1984) FOR SEGUSO VETRI D’ARTE
each with applied manufacturer’s label, glass the larger example: 25cm high (9 ¾in high); the smaller example: 19cm high (7 ½in high) (2) Private Collection, London.
299 §
ANDRIES DIRK COPIER
(DUTCH 1901-1991) FOR LEERDAM ‘UNICA’ VASE, c.1950s
engraved A D Copier / AA139 / LEERDAMUNICA (to base), glass with black speckled inclusions and bands of dark ruby red/aubergine
16.5cm high (6 ½in high)
£600-800
Andries Dirk Copier started working at the Royal Dutch Glassworks at Leerdam in the Netherlands as an apprentice glass blower at the age of 13, becoming its General Artistic Director in 1927. In addition to the company’s utilitarian glassware, Copier experimented with one-off pieces produced in collaboration with a master glass blower. These unique works, marked ‘Leerdam Unica’ from 1925, were exclusively designed by Copier from 1929. They proved extremely popular and secured Copier’s reputation during his long career (70 years at Leerdam) as one of the best known Dutch glass artists of the 20th Century.
300 §
SEGUSO VETRI D’ARTE VASE, DESIGNED c.1964 with Seguso Vetri D’Arte paper label, sommerso glass with bullicante technique 35.2cm high (13 7/8in high)
£700-900
301
SIMON GATE (SWEDISH 1883-1945) FOR ORREFORS FOOTED BOWL
etched OF / GW109, black and clear glass
9.3cm high, 33cm diameter (3 5/8in high, 13in diameter)
Provenance: Private Collection, U.K.
£300-500
302 §
AFRO CELOTTO (ITALIAN 1963-)
‘SETA’ VASE, 2003
signed Afro Murano and with applied Murano MADE IN ITALY label, murrina and reticello glass, from the Bamboo Collection
34cm high (13 3/8in high)
Provenance: Private Collection, U.K.
£400-600
303 §
TIMO SARPANEVA (FINNISH 1926-2006) FOR VENINI
TWO ‘AAVA’ AND A ‘VIRO’ BOTTLE AND STOPPER, 1991 each signed and dated Venini 91 Sarpaneva (to base) and with Venini Murano labels, Incalmo glass the ‘Aava’ bottles 38cm high (15in high); the ‘Viro’ bottle 30cm high (11 ¾in high) (3)
£1,500-2,000
304 §
LINO TAGLIAPIETRA (ITALIAN 1934-) ‘BILBAO’ VASE, 2001
signed and dated, blown and cut glass
61cm high (24in high)
Provenance: with Barovier Gallery, Venice; Private Collection, London.
£10,000-15,000
“ Glass is a material that does not deceive. When it is blown and shaped, it reveals the wind it contains. ”
Lino Tagliapietra
The late photographer and graphic designer Steve Allison was born in Birmingham in 1948, although he spent his working life in Cardiff, where he pitched up in 1967 as an archaeology student. After graduation, he scratched a living as a concert promoter (putting on a twelve-hour gig in Cardiff in 1970, headlined by Pink Floyd), stage manager, occasional bookbinder and jobbing lithographer, until one day in 1973, walking across a road in Manchester, he decided to become a graphic designer.
He started The Steve Allison Studio in 1974, balancing typography work with his own photographic practice, until deciding to focus on design full-time in 1980. The studio ran successfully for the next thirty years, mainly working within Cardiff’s theatre, dance and music scene – all of which were enduring personal passions of Allison: in a private memoir written in 2014, he recalled owning nearly a thousand vinyl albums, although he removed all their covers as he did not like their design. For fifteen years, Allison produced almost all the visual communication for the Welsh National Opera – with some of the work he produced for it having since been acquired by the Victoria & Albert Museum.
As Allison’s children recall, their father’s connection with the world was “a visual and aesthetic one. Design was his life and he felt things viscerally when he looked at art and objects. The works he collected spoke to him deeply and we think tell us something about who he was and how he saw the world. He displayed some of his collection at home, but the extent of it wasn’t really clear until we were clearing the house and stumbled upon more than we were expecting! We suppose that his collecting really took off after we had left home and he had closed his business. Like much of his life, his collection was very personal, done on his own terms and not for the approval of others. He loved visual wit and we’re sure that’s what drew him to Gaetano Pesce’s work – which represents the more experimental, ‘outthere’ side of Dad’s taste.”
Steve Allison’s extensive collection of works by Gaetano Pesce was one of the most significant in private hands in the UK. An architect as well as a designer, Pesce challenged the orthodoxy of design, instilling his own radical vision with a mischievous grin, in a career that spanned 55 years. The Allison Collection represents all of Pesce’s aesthetic philosophies, as well as his hopes for a future filled with creativity, innovation and humour – values that Allison himself applied to his own work as a photographer and in his career as a graphic designer.
Steve Allison, Cardiff c.1970s, image courtesy of the Allison family
GAETANO PESCE BREAKING THE MOULD
WORKS FROM THE STEVE ALLISON COLLECTION
PART II
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO CHILD ‘CROSBY’ CHAIRS, DESIGNED c.1998
resin with steel pins
yellow example: 50.5cm high, 40cm wide, 28cm deep (19 7/8in high, 15 ¾in wide, 11in deep);
red example: 51.2cm high, 42cm wide, 34cm deep (20 ¼in high, 16 ½in wide, 13 3/8in deep)
Provenance: The Steve Allison Collection.
£1,500-2,000
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO CHILD’S ‘CROSBY’ CHAIRS, DESIGNED c.1998
resin with steel pins
red example: 49.9cm high, 41cm wide, 33cm deep
(19 ½in high, 16in wide, 13in deep);
yellow example: 50.5cm high, 40cm wide, 28cm deep
(19 7/8in high, 15 ¾in wide, 11in deep)
Provenance: The Steve Allison Collection.
£1,500-2,000
307 §
GAETANO PESCE (ITALIAN 1939-2024)
‘SALVATORE’ LAMP, DESIGNED 1999
resin and metal
49.5cm high (19 ½in high)
Provenance: The Steve Allison Collection.
£800-1,200
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
OPEN SKY ‘CROSBY’ CHAIR, DESIGNED 1995
resin fixed with four steel pins
80cm high, 54cm wide, 46.5cm deep (31 ½in high, 21 ¼in wide, 18 ¼in deep)
Provenance: The Steve Allison Collection.
£2,000-3,000
309 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN MEDIUM ‘AMAZONIA’ VASE
with manufacturer’s stamp FISH DESIGN 838, resin; together with a MINI ‘AMAZONIA’ VASE, TRIENNALE 2005, resin the medium vase: 26.5cm high (10 ½in high); the mini vase: 12cm high (4 ¾in high) (2)
Provenance: The Steve Allison Collection.
£300-500
310 §
GAETANO PESCE (ITALIAN 1939-2024)
TWO ‘AMAZONIA’ VASES, 1996 with manufacturer’s stamp and numbered 863 and 897, from an edition of 1000, resin the larger vase: 35cm high (13 ¾in high); the smaller vase: 17.7cm high (7in high) (2)
Provenance: The Steve Allison Collection.
£500-700
311 §
GAETANO PESCE (ITALIAN 1939-2024)
‘AMAZONIA’ VASE resin
18cm high (7in high)
Provenance: The Steve Allison Collection.
312 §
GAETANO PESCE (ITALIAN 1939-2024)
‘AMAZONIA’ VASE resin
35.5cm high (14in high)
Provenance: The Steve Allison Collection.
£600-800
313 §
GAETANO PESCE (ITALIAN 1939-2024)
‘AMAZONIA’ VASE resin
35.5cm high (14in high)
Provenance: The Steve Allison Collection.
£600-800
£300-500
315 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO PHOTO FRAMES, c.1994
one numbered 231 and the other 504, each with manufacturer’s stamp, resin the darker example: 30.5cm high, 25cm wide (12in high, 9 7/8in wide); the lighter example: 28.7cm high, 22.5cm wide (11 ¼in high, 8 7/8in wide) (2)
Provenance: The Steve Allison collection.
£200-300
314 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO OPEN SKY CLOCKS
one with manufacturer’s stamp for Fish Design, dated 1994 and numbered 229, resin
39.6cm high, 28cm wide (15 ½in high, 11in wide) and 37cm high, 27cm wide (14 ½in high, 10 5/8in wide) (2)
Provenance: The Steve Allison Collection.
£800-1,200
316 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO CHAIT DAY TILES, 1996, resin, the larger tile 35cm high, 35cm wide (13 ¾in high, 13 ¾in wide); together with PETIT TAPIS, 2005, signed and dated, with manufacturer’s stamp, resin, 45.7cm high, 65cm wide (18in high, 25 ½in wide) (3)
Provenance: The Steve Allison Collection.
£400-600
317 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
TWO OPEN SKY CLOCKS
with manufacturer’s stamp and one numbered 433, resin 37cm high, 26cm wide, 3cm deep (14 ½in high, 10 ¼in wide, 1 ¼in deep); 35.5cm high, 27cm wide (14in high, 10 5/8in wide) (2)
Provenance: Osenat, Paris, where acquired by Steve Allison, June 2009. The Steve Allison Collection.
£300-500
318 §
GAETANO PESCE (ITALIAN 1939-2024) FOUR ‘TRY’ TRAYS
resin; together with, MILLENNIUM PLATE FOR FISH DESIGN, 2000, with manufacturer’s stamp and numbered 286, resin the larger example 47.5cm long, 46cm wide (18 ¾in long, 18 1/8in wide) (5)
Provenance: The Steve Allison Collection.
£400-600
319 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT SWATCH CHAIR (VENDOME), 2005
numbered 85/299, dated 19.05.05 with an applied SWATCH label, resin 95cm high, 47cm wide, 41.5cm deep (37 3/8in high, 18 ½in wide, 16 ¼in deep)
Provenance: Fabienne Salanic, France, from whom acquired by Steve Allison; The Steve Allison Collection.
£1,200-1,800
320 §
GAETANO PESCE (ITALIAN 19392024) FOR ZERODISEGNO
NOBODY’S PERFECT ‘ETRO’ TABLE, 2004
with moulded signature and manufacturer’s mark, numbered 182 and dated 21/04/04, resin fixed with plastic pegs
49.5cm high, 38cm diameter (19 ¾in high, 15in diameter)
Provenance: The Steve Allison Collection.
£1,000-1,500
321 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
‘NOBODY’S PERFECT’ ROUND TABLE, 2003 with moulded signature and manufacturer’s mark for ZERODISEGNO, dated 27/02/03, resin with plastic pegs
49cm high (19 ¼in high)
Provenance: The Steve Allison Collection.
£1,000-1,500
322 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT LOW TABLE, 2005 resin
52cm high, 102cm wide, 100cm deep (20 ½in high, 39 ¼in wide, 40 1/8in deep)
Provenance: Zerodisegno, Italy, from whom acquired by Steve Allison; The Steve Allison Collection.
£1,500-2,000
324 §
GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI, ITALY SERIE LUIGI 902 SHELF, DSIGNED c.1981
cut plywood, timber frame with lead base
180.3cm high, 62.5cm wide (71in high, 24 5/8in wide)
Provenance: Urban Architecture, New York, from whom acquired by Steve Allison; The Steve Allison Collection.
£800-1,200
323 §
GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI, ITALY SERIE LUIGI 901 SHELF, DESIGNED c.1982
cut plywood, timber frame with enamelled steel base with shelves down 180.3cm high, 62.5cm wide (71in high, 24 5/8in wide)
Provenance: Urban Architecture, New York, from whom acquired by Steve Allison, January 2003. The Steve Allison Collection.
£800-1,200
326 §
GAETANO PESCE
(ITALIAN 1939-2024) FOR FISH DESIGN
TRIPLE PLAY TABLES, 1999
each stamped with manufacturer’s mark and numbered 65, resin with steel frame
blue chair: 38.5cm high, 40cm diameter
(15 1/8in high, 15 ¾in diameter)
red chair: 31cm high, 40cm diameter (12 ¼in high, 15 ¾in diameter)
yellow chair: 23.4cm high, 40cm diameter (9 ¼in high, 15 ¾in diameter) (3)
Provenance: The Steve Allison Collection.
£1,500-2,500
325 §
GAETANO PESCE
(ITALIAN 1939-2024) FOR ZERODISEGNO
FOUR UMBRELLA CHAIRS
with manufacturer’s stamp, cast resin, aluminium frame, leather ties 81cm high,43cm wide, 55cm deep (32in high, 17in wide, 21 ½in deep) (4)
Provenance: The Steve Allison Collection.
£300-500
327 §
GAETANO PESCE (ITALIAN 1939-2024)
‘SIT DOWN’ TWO-SEATER SOFA
cotton upholstery
70cm high, 157cm wide, 78cm deep, (27 ½in high, 61 ¾in wide, 30 ¾in deep)
Provenance: The Steve Allison Collection.
£600-800
328 §
GAETANO PESCE (ITALIAN 1939-2024) FOR CASSINA
SIT DOWN LOUNGE CHAIR, DESIGNED 1976
cotton upholstery over PVC inner filled with polyurethane foam
76cm high, 92cm wide, 77cm deep (30in high, 36 ¼in wide, 30 ¼in deep)
Provenance: Mike Ralphs, Nice, France, from whom acquired by Steve Allison; The Steve Allison Collection.
According to the previous owner, Mike Ralphs, the present work was presented on the Cassina stand at the Salone di Mobile in spring 1976.
£1,500-2,000
La sfogliata is a sweet made with puff pastry, rolled out thin and wrapped around a filling. In Gaetano Pesce’s armchair, the “wrapper” is a shell, either in colourful, doubleply natural canvas, or transparent and translucent. Held up by seven fibreglass ribs, it is the framework and support for a firm seat. The optional padding is a simple cushion, quilted and with colourful contours, which is attached to the outer surface. The firm, sturdy seat holds the thirteen legs in thirteen grips, like closed fists, and is padded with springy, flexible, filaments - little fingers reaching out to gently embrace and cushion the person who is the filling of “la sfogliata”.
GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA ‘LA SFOGLIATA PVC’ CHAIR AND CUSHION, DESIGNED c.2005 with applied manufacturer’s label, plastic coasted fibreglass rods in canvas sheath with upholstery 113cm high, 58cm wide, 51cm deep (44 ½in high, 22 ¾in wide, 20in deep)
Provenance: The Steve Allison Collection. £800-1,200
330 §
GAETANO PESCE (ITALIAN 1939-2024)
THREE ALVAR AALTO VIIPURI LIBRARY APPEAL MODELS, 1993
from an edition of 700, resin, with original box each 24.5cm long, 18cm wide (9 7/8in long, 7in wide) (3)
Provenance: The Steve Allison Collection.
£600-800
331 §
GAETANO PESCE (ITALIAN 1939-2024)
FOUR ‘GOTO’ VASES, 1995
cast resin
each 16cm high (6 ¼in high) (4)
Provenance: The Steve Allison Collection.
£400-600
332 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ALDA’ WALL LAMP, 2004
rubber and steel rods
52cm high, 33cm wide, 15cm deep (20 ½in high, 13in wide, 6in deep)
Provenance: Gaetano Pesce, 534 Broadway, New York, from whom acquired by Steve Allison; The Steve Allison Collection.
£800-1,200
333 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ALDA’ WALL LAMP, 2004
rubber and steel rods
52cm high, 33cm wide, 13cm deep (20 ½in high, 13in wide, 5 1/8in deep)
Provenance: Gaetano Pesce, 534 Broadway New York, from whom acquired by Steve Allison; The Steve Allison Collection.
£800-1,200
336 §
334 §
GAETANO PESCE (ITALIAN 1939-2024)
‘PORTO’ VASE
engraved 0021, stamped SB / RP / 125, glass 11.4cm high (4 ½in high)
Provenance: From Gaetano Pesce Office, 534 Broadway, New York. Steve Allison was told by Chrystel Grippy that Gaetano Pesce himself had chosen this particular vase to send to him; The Steve Allison Collection.
£500-800
335 §
GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA
‘FUOCO’ LAMP, 2007
signed and dated, with manufacturer’s stamp, resin, from an edition of 1000 for the Salone del Mobile Milan 14.5cm high, 9.8cm wide, 9cm deep (5 ¾in high, 3 7/8in wide, 3 ½in deep)
Provenance: The Steve Allison Collection.
£300-500
GAETANO PESCE (ITALIAN 1939-2024) FOR ZANI & ZANI
‘VESUVIO’ COFFEE MAKER, 1992 with impressed signature to the base, cast aluminium with resin top, in its original box 36cm high (14 ¼in high)
Provenance: The Steve Allison Collection.
£300-500
337 §
GAETANO PESCE (ITALIAN 1939-2024)
FOUR VITTEL BOTTLE PROTOTYPES, 1986 moulded PVC with original label 29cm high, 8.3cm wide, 8.3cm deep (11 ½in high, 3 ¼in wide, 3 ¼in deep) (4)
Provenance: The Steve Allison Collection.
£300-500
338 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ALDA’ LAMP, 2003
resin with steel rods
39.4cm high (15 ½in high)
Provenance: Purchased from Gaetano Pesce’s assistant; Moss Gallery; The Steve Allison Collection.
£500-700
339 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ALDA’ LAMP, 2003
rubber, steel rods and bells fixed to each frond with paper clips
61cm high (24in high)
Provenance: The Steve Allison Collection.
£1,000-1,500
340 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ALDA’ LAMP, 2004
resin with steel rods
68cm high (26 ¾in high)
Provenance: The Steve Allison Collection.
£500-700
341 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT SMALL CHAIR, 2002 stamped signature and manufacturer’s mark, resin
55.5cm high (21 7/8in high)
Provenance: The Steve Allison Collection.
£1,000-2,000
342 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
‘NOBODY’S PERFECT’ ROUND TABLE, 2005 with moulded signature and manufacturer’s mark for ZERODISEGNO, numbered 216 and dated 12/05/05, flexible and rigid Polyurethane pieces, fixed with plastic pegs
49.5cm high, 38cm diameter (19 ¾in high, 15in diameter)
Provenance: Fabienne Salanic, from whom acquired by Steve Allison; The Steve Allison Collection.
£1,000-1,500
344 §
GAETANO PESCE (ITALIAN 1939-2024) FOR EXPANSION ‘FONTESSA’ CURTAINS, DESIGNED c.1968
printed sheer nylon fabric
290cm high x 146cm wide (114in high x 57 ½in wide)
Provenance: Pron Design Turin, Italy, from whom acquired by Steve Allison; The Steve Allison Collection.
£600-800
343 §
GAETANO PESCE (ITALIAN 1939-2024)
THREE SAMPLE FABRIC DESIGNS
including Arlecchino and Kyoto, the Kyoto example titled ‘Kyoto’ Collezione Expansion to the selvedge, printed cotton, the Arlecchino example printed velvet and with applied sticker
Kyoto fabric: 131cm x 122cm (51 ½in x 48in)
Arlecchino fabric: 149cm x 125.5cm (58 ¾in x 49 ½in)
yellow fabric: 131cm x 128cm (51 ½in x 50 ½in) (3)
Provenance: The Steve Allison Collection.
£800-1,200
345 §
GAETANO PESCE (ITALIAN 1939-2024) UNTITLED, 1961
signed, possibly titled Problema, numbered 14/50 and inscribed Milano Vettore in pen (to reverse), serigraph on card 67cm x 67cm (26 ¼in x 26 ¼in)
Provenance: The Steve Allison Collection.
£250-350
346 §
GAETANO
PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘RAG’ LAMP, WALL VERSION, c.1995 with manufacturer’s stamp and numbered 120, resin and steel frame 90cm high, 38cm wide (35 ½in high, 15in wide)
Provenance: Christie’s Amsterdam 2003, sale 2588, from whom acquired by Steve Allison. The Steve Allison Collection. £800-1,200
347 §
GAETANO PESCE (ITALIAN 1939-2024)
543 BROADWAY CHAIR AND STOOL
resin, steel and rubber
the chair: 74cm high, 50cm wide, 39cm deep (29 1/8in high, 19 ¾in wide, 15 3/8in deep); the stool: 46cm high, 50cm wide, 39cm deep (18 1/8in high, 19 ¾in wide, 15 ¼in deep) (2)
Provenance: Urban Architecture, New York, from whom acquired by Steve Allison; The Steve Allison Collection.
£1,000-1,500 348 §
GAETANO PESCE (ITALIAN 1939-2024)
PAIR OF 543 BROADWAY HIGH CHAIRS, 1992
resin, steel and rubber
each 102cm high, 56cm wide, 40cm deep (40in high, 22in wide, 15 ¾in deep) (2)
Provenance: The Steve Allison Collection.
£2,000-3,000
GAETANO PESCE (ITALIAN 1939-2024) FOR MURANO MOURMANS ‘MILLEFIORI’ VASE, 1993
multicoloured blown glass
32.5cm high (12 ¾in high)
Provenance: Richard Kuiper, The Netherlands, from whom acquired by Steve Allison; The Steve Allison Collection.
£800-1,200
350 §
GAETANO PESCE (ITALIAN 1939-2024) MOURMANS ‘MILLEFIORI’ VASE, 1993
multicoloured blown glass
32.5cm high (12 ¾in high)
Provenance: !K Gallery, from whom acquired by Steve Allison; The Steve Allison Collection.
£800-1,200
351 §
GAETANO PESCE (ITALIAN 1939-2024) FOR CIRVA GLASS WORKS VESSEL, c.1993
glass
20cm high, 51cm wide, 35cm deep (8in high, 20in wide, 13 7/8in deep)
Provenance: Wright Auctions, Chicago, April 2008; Marseilles Museum at Vielle Charite, France; The Steve Allison Collection.
From the edition of 24 for the Réunion des Musées Nationaux, France.
£2,500-3,500
352 § GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
SEVEN BRACELETS AND A RING
the largest bracelet 13.5cm diameter (5 ¼in diameter) (8)
Provenance: Fish Design, from whom acquired by Steve Allison;
The Steve Allison Collection.
£300-500
353 §
GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA
TWO ‘SMORFIA’ MODELS, 2003
moulded Gaetano Pesce for Meritalia, resin, each 10.7cm high, 9cm wide, 6.7cm deep (4 ¼in high, 3 ½in wide, 2 ½in deep);
together with, LAVI AMICI - FOUR MINIATURE UP5 CHAIRS, 2005, soap and compressed sponge sealed in a polythene bag each 10.7cm high, 9cm wide, 6.7cm deep (4 ¼in high, 3 ½in wide, 2 ½in deep) (6)
Provenance: The Steve Allison Collection.
£300-500
GAETANO PESCE (ITALIAN 1939-2024)
FOUR NOBODY’S PERFECT
resin, each 26cm long (10 ¼in long); together with THREE SWATCH WATCHES, 2005, each swatch watch and parts bonded to a clear resin sheet, vacuum packed in clear polythene outer, each 39cm x 28cm
and ‘MELISSA’ FLIP FLOPS, 2012, plastic, together with ‘MELISSA’ amazonista shoes, 2010; and a further ‘MELISSA’ miniature shoe
The Steve Allison Collection.
GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA
SOFA AND CHAIR
with applied manufacturer’s label, velvet with black rubber spheres
sofa: 76cm high, 189cm wide, 103cm deep (30in high, 74 ½in wide, 40 ½in deep); the chair: 80cm high, 91cm wide, 91cm deep (31 ½in high, 35 ¾in wide, 35 ¾in deep)
Provenance: Meritalia Spa in Como, Italy, from whom acquired by Steve Allison, 2014; The Steve Allison Collection.
£1,000-1,500
‘NUBOLA’
357 §
356 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘MEDUSA’ VASE, 2004 resin
23cm high, 19cm diameter (9in high, 7 ½in diameter)
Provenance: Fish Design from whom acquired by Steve Allison; The Steve Allison Collection.
£300-500
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘MOSS’ VASE, 2004 with manufacturer’s stamp, resin 21cm high, 20cm diameter (8 ¼in high, 8in diameter)
Provenance: The Steve Allison Collection.
£300-500
358 §
GAETANO PESCE (ITALIAN 1939-2024)
OPEN SKY TWINS VASE resin, 32cm high (12 ½in high); together with RED ROCKY VASE, resin, 21cm high (8 ¼in high) (2)
Provenance: The Steve Allison Collection.
£500-700
359 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
SPAGHETTI VASE NO.5, 2005
with manufacturer’s stamp, resin
26cm high, 30cm wide (10 ¼in high, 11 ¾in wide)
Provenance: Fish Design from whom acquired by Steve Allison; The Steve Allison Collection.
Sold together with certificate of authenticity, £300-500
360 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘OGIVA’ BOWL, 2006
stamped signature and manufacturer’s mark, the original box numbered No. 06 / 2006, resin
40cm high, 57cm diameter (15 ¾in high, 22 ½in diameter)
Provenance: The Steve Allison Collection.
£400-600
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
‘THE FACES’ NOBODY’S PERFECT CHAIR, 2005
with moulded signature and manufacturer’s mark for ZERODISEGNO, resin fixed with plastic pegs
90cm high, 42cm wide, 40cm deep (35 ½in high, 16 ½in wide, 15 ¾in deep)
Provenance: Zerodisegno, Italy, from whom acquired by Steve Allison, September 2005.
The Steve Allison Collection.
£1,500-2,500
362 § GAETANO PESCE (ITALIAN 1939-2024)
THREE LEGS RESIN VASE, 1994 resin
41cm high, 63cm wide (16 ¼in high, 24 ¾in wide)
Provenance: Gaetano Pesce, New York, from whom acquired by Steve Allison, September 2005. The Steve Allison Collection.
Purportedly one of only three made, and apparently Gaetano Pesce kept one for himself.
£3,000-5,000
363 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘RAG’ TABLE LAMP, c.1995 with manufacturer’s stamp and numbered 27, resin
29cm high (10 ½in high)
Provenance: Russell Fine, New York; The Steve Allison Collection.
£600-800
364 §
GAETANO PESCE (ITALIAN 1939-2024)
‘RAG’ LAMP, FLOOR VERSION
with manufacturer’s stamp and numbered 30, resin
48cm high (19in high)
Provenance: The Steve Allison Collection.
£700-900
366 §
GAETANO PESCE (ITALIAN 1939-2024)
‘ABAT-JOUR’ LAMP, c.1995
resin with steel wire frame
66cm high (26in high)
Provenance: Los Angeles Modern Auctions, from whom acquired by Steve Allison; The Steve Allison Collection.
£300-500
365 §
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
‘RAG’ LAMP, WALL VERSION, DESIGNED c.1994
with manufacturer’s stamp and numbered 55, resin and steel frame
75cm high, 43cm wide (29 ½in high, 17in wide)
Provenance: Christie’s Amsterdam 2003, sale 2588, from whom acquired by Steve Allison. The Steve Allison Collection.
£700-900
367 §
GAETANO PESCE (ITALIAN 1939-2024)
SET OF SIX ‘GOTO’ VASES, 1995 cast resin each 16cm high (6 ¼in high) (6)
Provenance: The Steve Allison Collection.
£800-1,200
369 §
368 §
GAETANO PESCE (ITALIAN 1939-2024) FOR NILUFAR GALLERY
‘TRE PIEDE’ VASE, 2003
numbered 7/200, silicone shell with cast resin legs
36cm high (14 ¼in high)
Provenance: The Steve Allison Collection.
£800-1,200
GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN
OPEN SKY TABLE LAMP, DESIGNED 1995 resin
66.5cm high (26 ¼in high)
Provenance: Leonard Magi, Canada, from whom acquired by Steve Allison in 2007; The Steve Allison Collection.
£600-800
370 §
GAETANO PESCE (ITALIAN 1939-2024)
‘TRE PIEDE’ VASE, 2003
numbered 11/200, silicone shell with cast resin legs
35.5cm high (14in high)
Provenance: The Steve Allison Collection.
£800-1,200
371 §
GAETANO PESCE (ITALIAN 1939-2024)
‘O SOLE MIO’, 1972/1991
aluminium hoop with steel fixings, resin ‘sun’ fitted to aluminium transport housing electronic and lighting, purported to be one of three prototypes 180cm diameter (70 ¾in diameter)
Provenance: Urban Architecture, New York, from whom acquired by Steve Allison, March 2004. The Steve Allison collection.
Literature: Adamson, Glenn, Gaetano Pesce: The Complete Incoherence, The Monacelli Press, 2003, pp.144-5, an example illustrated.
£7,000-9,000
372 §
GAETANO PESCE (ITALIAN 1939-2024) FOR B&B ITALIA UP2 CHAIR, 2003 with manufacturer’s label, upholstery
47cm high, 58cm diameter (18 ½in high, 22 ¾in diameter)
Provenance: The Steve Allison Collection.
£700-900
373 §
GAETANO PESCE (ITALIAN 1939-2024) UP3 CHAIR, 2003
stretch jersey fabric over Polyurethane foam
73cm high, 92cm wide (28 ¾in high, 36in wide)
Provenance: The Steve Allison Collection.
£700-900
On O Sole Mio Pesce wrote ‘I made the model only, because the technology of that time was not able to develop such a complex project. It is a round rail with the sun moving - a superb piece because this is a lamp that works like the sun. The idea is that [with] a sensor switch on the light, the sun appears during the actual night, and when the day starts, the sun of the lamp disappears - it turns off…we did finally work with Meritalia to realize the round one, but they were not able to do it…
But it is a fantastic object. I want to repeat that. The sun is something so powerful - it is always moving…and the lamp does the same thing. And it’s a figurative object. This is also very very powerful.’ (Quoted in Gaetano Pesce: The Complete Incoherence)
375 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT CHAIR, 2002 with moulded signature and manufacturer’s mark for ZERODISEGNO, dated 11/04/02, resin fixed with plastic pegs 84cm high, 49cm wide, 45cm deep (33in high, 19 ¼in wide, 18in deep)
Provenance: The Steve Allison Collection.
£1,500-2,500
374 §
GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT SWATCH CHAIR, 2005
numbered 47/299, dated 04.05.05. and with applied SWATCH label, resin 93.5cm high, 48.5cm wide, 42cm deep (36 ¾in high, 19 1/8in wide, 16 ½in deep)
Provenance: Zerodisegno, Italy, from whom acquired by Steve Allison: The Steve Allison Collection.
£1,500-2,500
376 §
GAETANO PESCE
(ITALIAN 1939-2024) FOR ZERODISEGNO
NOBODY’S PERFECT
SHELVES, 2003
dated and with manufacturer’s stamp, resin 162cm high, 54cm wide, 44.5cm deep (63 ¾in high, 21 ¼in wide, 17 ½in deep)
Provenance: Zerodisegno, Milan, from whom acquired by Steve Allison, 2003; The Steve Allison Collection.
£1,000-2,000
377 §
GAETANO PESCE (ITALIAN 1939-2024)
GREEN STREET CHAIR, DESIGNED 1984
epoxy resin, steel and rubber
93cm high, 49cm wide, 49cm deep (36 ½in high, 19 ¼in wide, 19 ¼in deep)
Provenance: The Steve Allison Collection.
£2,000-3,000
378 §
GAETANO PESCE (ITALIAN 1939-2024)
PAIR OF CHIAT DAY STOOLS, DESIGNED 1996
resin and steel
each 45cm high, 22.5cm wide, 22.5cm deep
(17 ¾in high, 8 ¾in wide, 8 ¾in deep) (2)
Provenance: The Steve Allison Collection.
£700-900
379 §
GAETANO PESCE (ITALIAN 1939-2024)
CHIAT DAY TROLLEY, DESIGNED 1996
resin, wood, and steel
51cm high, 73.3cm wide, 55.5cm deep (20in high, 28 7/8in wide, 21 ¾in deep)
Provenance: The Steve Allison Collection.
£800-1,200
380 §
GAETANO PESCE (ITALIAN 1939-2024)
CHIAT DAY CUPBOARD DOORS, DESIGNED 1996
acrylic on shaped fibreboard each 175cm high, the largest width 37cm (68 ¾in high, 14 ½in wide) (4)
Provenance: The Steve Allison Collection.
£2,000-3,000
GAETANO PESCE (ITALIAN 1939-2024)
GREEN STREET ARMCHAIR, DESIGNED 1984
cast resin with steel rod legs and rubber feet and red paint
94cm high, 58.5cm wide, 50cm deep
(37in high, 23in wide, 19 5/8in deep)
Provenance: The Steve Allison Collection.
£3,000-5,000
Sydney and Francis Lewis founded Best Products Company in Richmond, Virginia in 1957. By 1982, their sales reached 1 billion with showrooms across the US. Due to the their success the Lewis’s patronised numerous causes in order to effect positive change, including support of the arts, which included allowing artist’s work to decorate the Best Company office and showrooms, and notable donations to the Virginia Museum of Fine Art.
The Lewis’ bought the current table directly from the artist in 1986, and also owned a blood-red lacquer desk designed by Pesce – the kind of pieces that the artist would have termed ‘interactive sculpture’.
STUDY MODEL FOR EVOLUTION OF SANSONE TABLE, 1986
resin, steel and PVC, the top in the form of a face 40.5cm high, 181cm long, 98.5cm deep (16in high, 71 ¼in long, 38 ¾in deep)
Provenance: Collection of Sydney and Frances Lewis, Richmond, Virginia, whom acquired this table directly from Gaetano Pesce in 1986; Acquired from the above by the present owner.
£10,000-20,000
382 ‡ § GAETANO PESCE (ITALIAN 1939-2024)
383 §
BERNARD RANCILLAC (FRENCH 1931-2021)
ELEPHANT CHAIR, DESIGNED 1966
impressed Rancillac and numbered 20/100, produced by Michel Roudillon in 1985, enamelled steel and plastic
109cm high, 141.3cm wide, 140cm deep
(43in high, 55 ¾in wide, 55 1/8in deep)
Provenance: Private Collection, London.
£1,000-1,500
384 §
BERNARD RANCILLAC (FRENCH 1931-2021)
ELEPHANT CHAIR, DESIGNED 1966
impressed Rancillac and numbered 20/100, produced by Michel Roudillon in 1985, enamelled steel and plastic
112.5cm high, 139cm wide, 137cm deep
(44 ¼in high, 54 ¾in wide, 54in deep)
Provenance: Private Collection, London.
The 1985 edition was manufactured in five colourways, including white, red and yellow, which were the most popular. The green examples were rarer, and it is thought that only two or three examples were probably produced.
£1,000-1,500
385 § VERNER PANTON (DANISH 1926-1988) FOR PLUS LINJE
CONE CHAIR, DESIGNED 1958
model K2, steel wire, upholstery and plastic disc feet
74.8cm high, 65cm wide, 54cm deep (29 ¼in high, 25 ½in wide, 21 ¼in deep)
£500-700
386 §
VERNER PANTON (DANISH 1926-1998) FOR PLUS-LINJE
CONE TABLE, DESIGNED 1958
lacquered wood and chrome steel
69.3cm high, 80cm diameter (27 ¼in high, 31 ½in diameter)
Provenance: Private Collection, London.
£800-1,200
387 §
MAX SAUZE (FRENCH 1933-) PAIR OF ‘ATLAS 3’ WALL LIGHTS, DESIGNED 1970-6
aluminium, one with applied Max Sauze label (to reverse) each 199.5cm high, 42cm wide (78 ½in high, 16 ½in wide) (2)
Provenance: Private Collection, London. £1,000-2,000
390 CONTINENTAL RUG, 1970s
wool, possibly attributable to V’Soske or Desso
231cm long, 165.5cm wide (90 7/8in long, 65in wide)
Provenance: Private Collection, London.
£300-500
388 §
PIERO FORNASETTI (ITALIAN 1913-1988) HOUSE OF CARDS
inscribed TAVOLO DIAM. CM. 60 and stamped COPYRIGHT FORNASETTI (to centre bottom edge under image), lithographic zinc plate in perspex frame the zinc plate 89.5cm x 64cm (35 ¼in x 25 ¼in)
Provenance: with Themes & Variations, London.
£500-700
389 § ANTONIO LAMPECCO (ITALIAN 1932-2019)
PEBBLE FORM, 1970-5 monogrammed (to base), glazed ceramic 33cm high, 38cm wide, 28cm deep (13in high, 15in wide, 11in deep)
£500-700
391 §
MARIO BELLINI (ITALIAN 1935-) CHIARA FLOOR LAMP, DESIGNED 1966 stainless steel and lacquered steel 143cm high (56.25in high)
Provenance: Private Collection, U.K. £1,000-1,500
392 §
VERNER PANTON (DANISH 1926-1998) FOR J. LÜBER, SWITZERLAND
FOUR WALL PANELS
molded plastic each panel 59.5cm x 59.5cm (23 1/2in x 23 1/2in) (4)
Provenance: London, 4 February 1995, lot 79; Private Collection, U.K.
£700-900
VERNER PANTON (DANISH 1926-1998)
‘SPIEGEL’ WALL LIGHT, DESIGNED 1968
brushed steel
62cm x 62cm (24 3/8in x 24 3/8in)
Provenance: Private Collection, London.
£800-1,200
OLIVIER MOURGUE (FRENCH 1939-) FOR AIRBORNE ‘DJINN’ CHAISE LONGUE, DESIGNED 1965
bent tubular steel frame, foam, stretch wool fabric
62cm high, 57cm wide, 166cm long (24 3/8in high, 22 ½in, wide, 65 3/8in long)
Provenance: Private Collection, London.
Stanley Kubrick’s 2001 A Space Odyssey featured this series in the space hotel scene. Kubrick later destroyed the furniture used on set in case a lesser director might use it at a later date.
£800-1,200
395 §
PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT
‘ABCD’ SOFA, DESIGNED 1968
chrome-plated steel, rubber and upholstery
60cm high, 234cm wide, 73cm deep (23 5/8in high, 92in wide, 28 ¾in deep)
Provenance: Private Collection, London.
£3,000-5,000
396 §
ETIENNE-HENRI MARTIN (FRENCH 1905-1997)
PAIR OF ‘1500’ CHAIRS, DESIGNED 1970-1 foam and fabric
71cm high, 62cm wide, 81cm deep (28in high, 24 ½in wide, 32in deep) (2)
Provenance: Private Collection, London.
£1,000-1,500
397 §
ENZO MARI (ITALIAN 1932-2020) FOR DANESE MILANO GROUP OF FIVE PAPER WEIGHTS, DESIGNED 1950s
including model 3018Q, synthetic resin
four examples: 7cm high, 7cm wide, 7cm deep (2 ¾in high, 2 ¾in wide, 2 ¾in deep); the orange
ball example: 6.5cm high, 6.5cm wide, 6.5cm deep (2 5/8in high, 2 5/8in wide, 2 5/8in deep) (5)
Literature: Enzo Mari: L’arte del Design, Galleria Civica d’Arte Moderna e Contemporanea di Torino, exhibition catalogue, pp. 62 and 175 for examples from the series
£3,000-5,000
398 §
PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT ‘GROOVY’ LOUNGE CHAIR, DESIGNED 1973
model F-598, with Jack Lenor-Larsen fabric and metal frame
67.5cm high, 75cm wide (26 ½in high, 29 ½in wide)
Provenance: Private Collection, London. £700-900
399
JACK LENOR LARSEN (AMERICAN 1927-2020)
TEXTILE, DESIGNED 1967
design no. F8858, the selvedge signed, numbered and dated, screenprint on cotton
363cm long x 119cm wide (143in long x 46 ¾in wide)
Provenance: Private Collection, London.
£300-500
400
ARCHIZOOM ASSOCIATI
‘SUPERONDA’ SOFA, DESIGNED 1967
comprising two sections in undulating form, upholstered in black vinyl
108cm high, 233cm wide, 34cm deep (42 ½in high, 91 ¾in wide, 13 ¼in deep)
Provenance: Private Collection, London.
£1,000-1,500
Designed by the Radical Florentine group Archizoom, this was one of the first sofas conceived without a conventional frame structure. The modular structure allowed it be used as sofa, bed or chaise longue and challenged the bourgeois conventional image of contemporary furniture design.
“ When I was young, all we ever
heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting. ”
RADICAL DESIGN: WORKS BY ETTORE SOTTSASS
Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in 1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture.
In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the field, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work.
401 §
ETTORE SOTTSASS (ITALIAN 1917-2007)
‘CLAIR DE LUNE’ TOTEM, DESIGNED 1988
wood, metal and glazed ceramic, outside the edition of 29
190cm high (74 ¾in high) including wooden base, 175cm high (68 7/8in high) excluding wooden base
Provenance: P. Brillet Esq, from whom acquired by the current vendor; Private Collection, London.
£8,000-12,000
Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.
This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigithe only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.
ETTORE SOTTSASS (ITALIAN 1917-2007)
‘PARK LANE’ COFFEE TABLE, DESIGNED 1983
fiberglass and marble
36.5cm high, 97cm diameter (40 3/8in high, 38in diameter)
Provenance: Private Collection, London.
Literature: Radice, Barbara, Memphis: Research, Experiences, Results, Failures and Successes of New Design, London, 1984, p. 177; Memphis Milano, manufacturer’s catalogue, Milan, 1986, p. 19.
£1,500-2,500
403 §
ETTORE SOTTSASS (ITALIAN 1917-2007)
‘ULTRAFRAGOLA’ MIRROR, DESIGNED 1970 white plastic, mirrored glass and fluorescent light
184cm high (72 ½in high)
Provenance: Private Collection, London.
£4,000-6,000
404
JOE COLOMBO (ITALIAN 1930-1971) FOR OLUCE SPIDER DESK LAMP, DESIGNED 1965
label dated 1967, enamelled and chromed steel with desk-clamp fitting the shade length: 22.5cm long (8 7/8in long); the height adjustable
£300-500
405 §
STEPHANE PARMENTIER (FRENCH CONTEMPORARY)
‘SUNRISE’ SCULPTURAL TABLE, 2011
edition no. 12/100, for Ormond Editions, from the Helios series, lacquered wood and silver leaf
89.5cm high, 64cm wide (35 ¼in high, 25 ¼in wide)
Provenance: with Themes & Variations, London.
Sold together with a facsimile copy of the Certificate from Ormond Editions dated 15 November 2011.
£1,500-2,500
406 §
ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO
TWO ‘DORAN’ TABLE LIGHTS, DESIGNED 1978
applied Murano labels (to the glass), glass and enamelled metal
22cm high, 19.5cm wide (8 5/8in high, 7 5/8in wide) and 20cm high, 19.5cm wide (7 7/8in high, 7 5/8in wide) (2)
£500-700
407 §
ANDREA BRANZI (ITALIAN 1938-2023)
COFFEE TABLE, 1985
from the Animali Domestici Exhibition, 1985, glass, gazelle antlers and painted wood
55cm high, 179.5cm wide, 58cm deep (21 ½in high, 71in wide, 22 ¾in deep)
Provenance: Bonhams, London, 20 September 1997, lot 252, where acquired by the present owner; Private Collection, London.
£1,000-2,000
Andrea Branzi created ‘Animali Domestici’ in the mid 1980s, a surreal collection that explored neo-primitive aesthetics, exploring the point where artificiality and nature converged, turning away from the highly stylised postmodern designs of the previous decades. The series explored industrial and rectilinear forms, combined with natural components, such as logs, wood offcuts and found objects.
408 §
BERNARD MEADOWS (BRITISH 1915-2005)
MOLLOY, c.1947-50
stamped M (lower left), portfolio with wood box and containers, plastic molded sculptural multiples & associated metal hanging elements box: 38cm x 39.3cm x 17cm (15in x 15 ½in x 6 5/8in)
Provenance: Estate of the Artist; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. £700-900
409 §
BARRY FLANAGAN
O.B.E., R.A. (BRITISH 1941-2009)
CHESS SET, 1971-73
signed on base and numbered 14/40, dyed canvas pieces, filled with sand, on a cork board with aluminium base, from the edition of 40
7cm x 47.5cm x 47.5cm (2 ¾in x 18 ¾in x 18 ¾in)
Provenance: Richard Saltoun, London, from whom acquired by the present owner, 2009. £1,000-1,500
410 §
STEPHEN WILLATS (BRITISH 1943-)
GIRL WITH GLASS CODES & PARAMETERS, OCTOBER 1974
photographic prints, gouache, ink and letter text
56cm x 76cm (22in x 30in)
Provenance: The Artist; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Christmas Exhibition, December 1984 - January 1985; ICA, London, Steve Willats, February 1986.
£800-1,200
411 §
COLIN SELF (BRITISH 1941-)
CINEMA STUDY NO. 14
signed, inscribed and dated COLIN SELF. CINEMA STUDY 1969. NO 14. (CINEMA CURTAIN). 22ND JULY 1969 (to reverse), ink and watercolour 15.9cm x 21.6cm (6 ¼in x 8 ½in)
Provenance: Acquired directly from the Artist by the previous owner. Exhibited: Studio Four, London, Colin Self, 1973.
£300-500
412 §
LUIS TOMASELLO (ARGENTINIAN/FRENCH 1915-2014)
PAPIER CHROMOPLASTIQUE S/T1
signed in pen and numbered PA 5/5 in pencil, mixed media, an Artist’s Proof aside from the edition of 40
Published by Editions MAK, Belgium.
50cm x 50cm (19 5/8in x 19 5/8in)
Provenance: Private Collection, U.K.
£1,000-1,500
413
BILL CULBERT (NEW ZEALAND/BRITISH 1935-2019)
Bill Culbert is regarded as one of New Zealand’s foremost contemporary artists, renowned for work centred around artificial light, explored across the mediums of painting, photography and, as here, sculptural installation. Found and recycled materials also commonly played a part in his practice.
Having begun to establish himself in his home country, in 1957 Culbert accepted a scholarship to study painting at the Royal College of Art, London. A truly international figure, Culbert would spend his career between Provence, France, New Zealand and London, also undertaking residencies in New York and San Franscisco in the 1980s.
Light became incorporated into his work in around 1967, after which time it became his central medium. Culbert was fascinated by its qualities, particularly once diffused through repurposed everyday objects and detritus, including plastic bottles and lamp shades.
GOLD SPHERE, 1982 signed, dated and inscribed Artists Proof, metal with pin holes, internally fitted with bulb 15cm diameter (5 7/8in diameter)
Provenance: Acquired directly from the artist; Private Collection, London.
£1,000-1,500
Sculptural installations became the most celebrated aspect of his oeuvre, highlighted in solo exhibitions for prestigious institutions such as the Serpentine Gallery, London (1977, 1979 and 1984), and City Gallery, Wellington, New Zealand (1997). He was also the recipient of many major public commissions, notably Skyline for the Millennium Dome in London (2000), and Void (2006), in the atrium of the Museum of New Zealand Te Papa Tongarewa. In 2013 Culbert represented New Zealand at the 55th Venice Biennale.
The works offered here represent a broad span of Culbert’s career. Cubic Projections, part of a series produced in 1968, dates to the very early days of his adoption of light; its aesthetic very much redolent of the Pop and sci-fi sensibilities of ‘Swinging Sixties’ London, sitting at the intersection of hard-edged abstraction and psychedelia. Gold Sphere (1982) is a later exploration of the same pierced spherical form, in which the artist has created a very different light effect and play of shadow. GALAXY RWB (1993) is comprised of the most quintessential materials in Culbert’s practice; a fluorescent tube bulb and two plastic bottles.
The light emitted from the pinholes will project an image of the bulb filament onto the surrounding surfaces in a dark room.
Culbert produced Cubic Projections in an edition of only 30 works, although more were originally planned.
BILL CULBERT (NEW ZEALAND/BRITISH 1935-2019)
CUBIC PROJECTIONS, 1968
black fibreglass with pin holes, internally fitted with bulb, from an edition produced for the Lisson Gallery
Provenance: Private Collection, London.
Literature: Mellor, David, The Sixties Art Scene in London, Phaidon, London, 1993, pp. 180-1, for an example in a mirrored chamber.
£500-700
BILL CULBERT (NEW ZEALAND/BRITISH 1935-2019)
GALAXY RWB, 1993
signed, titled and dated (to each bottle), fluorescent tube and plastic bottles
31.7cm high, 61cm wide (12 ½in high, 24in wide)
Provenance: Acquired directly from the artist; Private Collection, London.
£2,500-3,500
416
68cm x 76cm (26 ¾in x 29 7/8in)
Provenance: Private Collection, London.
£1,500-2,500
IAN TWEEDY (AMERICAN 1982-) UNIFORM, 2012
oil on found canvas
417 ‡ §
RYAN GANDER O.B.E, R.A. (BRITISH 1976-)
CORK ASSOCIATION BOARD - ‘N-SOME PARTS WERE VERY CLEAN AS WELL’, 2006 backed cork board, made from 16 cork tiles, originally used as a pin board to display research, bleached by sunlight, with the board then disassembled and the tiles reassembled at random and the documents removed; accompanied by foam exhibition boards describing the making of the work, CD and certificate of authenticity
120cm x 120cm (47 ¼in x 47 ¼in)
Provenance: STORE Gallery, London, from whom acquired by the present owner, 2007.
£3,000-5,000
418 §
RICHARD WOODS (BRITISH 1966-)
RADIATOR PAINTING No. 7
signed, titled and dated in pen (to reverse), enamel on aluminium
140cm x 100.5cm (55 1/8in x 39 ½in)
Provenance: Acquired directly from the Artist by Kenny Schachter, London; His sale, The Hoarder, Sotheby’s, London, December 2019, where acquired by the present owner.
£500-700
419 §
RICHARD WOODS (BRITISH 1966- )
RADIATOR PAINTING No. 4
signed, titled and dated in pen (to reverse), enamel on plywood laid on to aluminium sub-frame
122.5cm x 91.5cm (48 ¼in x 36in)
Provenance: Acquired directly from the Artist by Kenny Schachter, London; His sale, The Hoarder, Sotheby’s, London, December 2019, where acquired by the present owner.
£500-700
420 §
ALEXIS HARDING (BRITISH 1973-)
COLLAPSED PAINTING, 2000-01
signed, titled and dated (to reverse), oil on MDF
91.5cm x 91.5cm (36in x 36in)
Provenance: Private Collection, UK, acquired in 2002.
£700-1,000
421
AKS MISYUTA (RUSSIAN 1984-)
UNTITLED, 2019
signed and dated (to reverse), acrylic on canvas
69.8cm x 100cm (27 ½in x 39 3/8in)
£5,000-7,000
422 §
HELEN CHADWICK (BRITISH 1953-1996)
WREATH TO PLEASURE #4
signed, titled and numbered 2/4 (to reverse), cibachrome print on aluminium
89.7cm diameter (35 3/8in diameter); overall 110.5cm diameter (43 ½in diameter)
Provenance: Private Collection, London.
Exhibited: The Museum of Modern Art, New York, Helen Chadwick: Bad Blooms, 13 April - 11 July 1995.
£1,000-1,500
423 † §
THOMAS RUFF (GERMAN 1958-) NUDES AN40, 2000
pigment print on Somerset velvet fine art paper, from the edition of 50 74cm x 69cm (29 1/8in x 27 ¼in)
Provenance: Joseph Levine Gallery, New York, from whom acquired by the present owner.
£2,000-3,000
424 §
CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (SCOTTISH 1926-2009)
PINK CRUCIFIXION, 2004
signed in pen (lower right) and dedicated For Tom (lower left), etching, aquatint and carborundum, with hand colouring, on wove paper, a proof aside from the edition of 50 76cm x 65cm (29 7/8in x 25 ½in)
Provenance: Gift of the Artist to the present owner
£1,500-2,500
425 §
JEREMY DELLER (BRITISH 1966-)
BLESS THIS ACID HOUSE, 2020
initialled in pencil (to reverse) gloss digital print on 170gsm paper, from the un-numbered edition of 2000
42cm x 59.5cm
(16 ½in x 23 ½in), unframed
Provenance: Private Collection, U.K.
£300-500
CHROMA AKA RICK WOLFRYD (AMERICAN 1953-)
MONEY MOUSE (GRANDE), 2023
signed, dated and numbered 1/10, beaded vinyl
108cm high, 80cm wide (42 ½in high, 31 ½in wide)
Sold together with Certificate of Authenticity.
£2,500-3,500
427 ‡ §
SIR TERRY FROST (BRITISH 1915-2003)
TREMBATH BLUES, 2000 (KEMP 208)
signed in pencil (lower right) and numbered 288/300 (lower left), lithograph on paper, from the edition of 300
Published by Advanced Graphics and The Royal Academy of Art, London, to accompany the publication of the monograph Terry Frost - Six Decades. 23.5cm x 28.5cm (9 ¼in x 11 ¼in)
Provenance: The Royal Academy of Art, London, from whom acquired by the present owner; Private Collection, France.
£500-800
428 §
SIR TERRY FROST (BRITISH 1915-2003)
BLACK SPOTTED PLATE AND RED, BLACK & WHITE PLATE, c.1978 each with impressed manufacturer’s stamp, signed and numbered 6/50, ceramic, made by Colin Haxby each 33cm diameter (13in diameter) (2)
Provenance: Private Collection, U.K.
£300-500
429
SIR HOWARD HODGKIN C.H. C.B.E. (BRITISH 1932-2017), DAVID HOCKNEY
O.M., R.A. (BRITISH 1937-), LUCIAN FREUD O.M, C.H. (BRITISH 1922-2011)
MOMART XMAS CARDS, 2002-2005
HOWARD HODGKIN - BLUE SKIES, NOTHING BUT BLUE SKIES, 2002, screenprint in colours, scrunched up in presentation card box, from the un-numbered edition of 500; DAVID HOCKNEY - COMPOSITION RED & BLUE 2005, lithograph printed in colours on wove paper, in the original blue card portfolio with embossed cover; LUCIAN FREUD - ENCORE, 1949/2003, offset lithograph, mounted in folded buff card in matching envelope; all accompanied with relevant letters from MOMART Hodgkin: box, 13cm x 16cm x 3cm (5 ¼in x 6 ¼in 1 ¼in); Hockney 11cm x 28cm 4 ¼in x 11in); Freud: envelope, 24.2cm x 20.6cm (9 ½in x 8 ¼in) (3)
Provenance: Gifted by MOMART to the present owner
£600-800
430 §
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BRUSHSTROKE, 2010
signed and dated in pencil (lower right) and numbered 48/75 (lower left), silkscreen on Somerset rag paper, presented in the Artist’s bespoke frame. sheet: 36cm x 25cm (14 ¼in x 9 ¾in)
Provenance: Acquired directly from The Art Fund by Steve Allison, November 2012; The Steve Allison Collection.
£700-1,000
431 §
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) JARID’S PORCH, 1977 (HEENK 34)
signed and dated in pencil (lower right), and numbered 34/100 (lower left), lithograph with hand colouring on Lexington hand-made paper.
Published by Petersburg Press, 1977.
Printed and hand coloured by Bruce Porter and Jim Welty, The Petersburg Studios, New York.
52.5cm x 61.2cm (20 6/8in x 24in)
Provenance: Margot Gallery Inc., New York, from whom acquired by Steve Allison, May 2008; The Steve Allison Collection.
£800-1,200
432 §
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)
Provenance: Private Collection, U.K.
£700-900
433 §
JO NIEMEYER (GERMAN 1946-)
UNTITLED, c.1980
signed and numbered VIII/XX (to base), acrylic and screenprint on Plexiglas, from the edition of 20
22.5cm high, 19.7cm wide, 7.8cm deep (8 7/8in high, 7 ¾in wide, 3 1/8in deep)
Provenance: Wright’s, Chicago, Furniture Pimp: The Collection of Jim Walrod, 3 May 2018, Lot 194; Private Collection, London.
£800-1,200
434
STEVEN GONTARSKI (AMERICAN 1972-)
LUNAR OB 02, 2008 edition 1/2, fibreglass
50cm high, 30cm wide, 21cm deep (19 ¾in high, 11 ¾in wide, 8 ¼in deep)
Provenance: The Artist; with Gimpel Fils, London.
£600-800
435
ROBERT CRONIN (AMERICAN 1936-)
SUN SPOT, 1981
signed and dated, unique, tin plate and wire
45cm high, 30.3cm wide, 20.5cm deep (17 ¾in high, 11 7/8in wide, 8in deep)
Provenance: The Artist; with Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Sculptures, Reliefs & Drawings, 8 June - 9 September 1989, cat. no. 17, illustrated.
£400-600
ADAM ROSS (AMERICAN 1962-)
THE ETERNAL SPACE BETWEEN, #1, 2010
signed and dated (to reverse), oil, alkyd and acrylic on canvas laid on panel
76cm x 61cm (29 7/8in x 24in)
Provenance: Private Collection, London.
£800-1,200
437 § CHRISTOPHER LE BRUN (BRITISH 1951-)
STUDY FOR SACRED DESERT 1, 2013
signed and dated (to reverse), watercolour on paper
76cm x 56cm (29 7/8in x 22in)
Provenance: Albertz Benda, New York.
£1,000-1,500
438 § TREVOR BELL (BRITISH 1930-2017)
EVENING RAGA, 1979
titled, signed and dated in pencil (to reverse), oil on paper
75.5cm x 55.5cm (29 ¾in x 21 7/8in)
£800-1,200
439 §
ASTRID KLEIN (GERMAN 1951-) WENDEMORAL, 1985 photograph 127cm x 210cm (50in x 82 5/8in)
Provenance: The Artist; with Produzentengalerie, Hamburg; with Gimpel Fils, London.
£1,200-1,800
440 §
TERRY ATKINSON (BRITISH 1939-)
BUNKER IN ARMAGH, NO. 18, LOVERS WHO HARDLY KNOW EACH OTHER IN A GOODBYE EMBRACE...,1985 titled on label Bunker in Armagh No. 18 / Lovers who hardly know each other in a goodbye embrace near a Christmas kissing ball. He before going on a Christmas fundraising tour, she before going on an armed mission (to reverse), pastel and conté on paper 121cm x 149cm (47 5/8in x 58 5/8in)
Provenance: The Artist; with Gimpel Fils, London.
Exhibited: Basel Art Fair, Basel, 1986; Wolverhampton Art Gallery, Wolverhampton, Cease Fire: Reflections of Conflict, November 1994.
£800-1,200
441 ‡ § GEOFF UGLOW (BRITISH 1978-)
RINGDOVE, 2008
signed in pen (to reverse), oil on board 40cm x 40cm (15 ¾in x 15 ¾in)
Provenance: Connaught Brown, London, from whom acquired by the present owner.
£1,000-1,500
442 § DAMIEN HIRST (BRITISH 1965-)
UNTITLED (CIRCLE SPIN PAINTING)
signed and dedicated For Oscar ♡ Damien Hirst / Thanks So Much for Everything Man - You’re The Best!, acrylic on paper
51.7cm diameter (20 3/8in diameter)
Provenance: Private Collection, London, acquired directly from the artist.
£3,000-5,000
443 §
CORINNE DAY (BRITISH 1962-2010)
KATE 2000, 2012
black and white bromide print, printed in 2012, number 4 from an edition of 10 (plus 2 Artist’s Proofs)
33.5cm x 47.7cm (13 ¼in x 18 ¾in)
Provenance: The Artist; with Gimpel Fils, London.
Literature: Bright, Susan, Face of Fashion, National Portrait Gallery, London, 2007, p. 94, an example illustrated.
£1,000-1,500
444 §
MATS BÄCKER (SWEDISH 1958-)
IGGY II (FROM RAW POWER SERIES), 1977
signed in pen (to backing of the frame), gelatin silver print, no. 3 from the edition of 10, printed in 2012
88.5cm x 61.5cm (34 ¾in x 24 ¼in)
Provenance: Mondo Galeria, Madrid, from whom acquired by the present owner, May 2014 (accompanied by their certificate of authenticity).
£1,000-1,500
STAN GALLI (1912-2009)
LOS ANGELES, UNITED AIR LINES
offset lithographic poster, c.1960, condition A; not backed
40 x 25in (102 x 64cm)
£1,200-1,800 + fees
AUCTION 30 OCTOBER
LIVE ONLINE | VIEWING AT MALL GALLERIES, LONDON
RENÉ LALIQUE (1860-1945)
HIBOU INKWELL [DETAIL]
designed 1912 black, and sepia stained engraved LALIQUE
17.8cm (7in) high, 11.5cm (4 ½in) square
£20,000-30,000 + fees
AUCTION 31 OCTOBER LIVE AT MALL GALLERIES, LONDON & ONLINE
JAEGER LECOULTRE
STAINLESS STEEL
‘SHARK DEEP SEA CHRONOGRAPH’
Ref: E2643, made circa 1968
£7,000-9,000 + fees
