Design & Modern British Post-War Art - 25th & 26th May 2017 (Mallams Oxford) by Mallams Auctioneers

Mallams 1788

DESIGN & MODERN BRITISH + POST-WAR ART 25 MAY & 26 MAY OXFORD

Mallams 1788

DESIGN THURSDAY 25 MAY

MODERN BRITISH + POST-WAR ART FRIDAY 26 MAY

Exhibition: Saturday 20 May Monday 22 May Tuesday 23 May Wednesday 24 May Thursday 25 May

9am – 12.30pm 9am – 5pm 9am – 5pm 9am-5pm 9am – 10am

Exhibition + Auction Location: Bocardo House, 24a St. Michael’s Street, Oxford OX1 2EB +44 (0)1865 241358 Auction Time: 11am www.mallams.co.uk 3

Mallams 1788

SPECIALISTS

CONTENTS THURSDAY 25 MAY DESIGN:

Philip Smith MA (Courtauld) Director Head of 20th Century Design + Art philip.smith@mallams.co.uk

1. Studio Ceramics

1-183

2. Arts + Crafts & Art Nouveau

184-233

3. Art Deco and Pre-War Design

234-272

4. Post-War Design

273-389

5. Jewellery + Silver

391-420

FRIDAY 26 MAY MODERN BRITISH + POST-WAR ART 6. Artistâ&#x20AC;&#x2122;s Textiles + Books

421-458

7. Prints + Editions

459-538

8. The Art of The Surreal

539-606

9. Paintings

607-764

Louise Dennis FGA DGA Jewellery Specialist louise.dennis@mallams.co.uk

AUCTION ENQUIRIES & CONDITION REPORTS Jack Stinson oxford2@mallams.co.uk +44 (0)1865 241358 MARKETING & PRESS ENQUIRIES oxford@mallams.co.uk +44 (0)1865 241358

BIDS +44 (0)1865 241358 Fax +44 (0)1865 725483 or to bid via the internet www.the-saleroom.com

CONDITIONS OF SALE This auction is subject to important notices, conditions of sale and reserves, which can be found towards the end of the catalogue. online catalogue www.mallams.co.uk

PICTURE CATALOGUING TERMS Explanation of Picture Cataloguing Terms A work catalogued with the full name of the artist in our opinion, is or is probably a work by that artist, however intending buyers are respectfully reminded to fully satisfy themselves prior to bidding as the catalogue description does NOT represent a certificate of authenticity. Other wise the following terms are used: ‘Attributed to’ … in our opinion the work is probably by the artist named in whole or in part. ‘Circle of ’ … in our opinion the work is by an artist influenced by the named artist and of the period. ‘Follower of ’ … in our opinion the work is executed in the named artist’s style. ‘Manner of ’ … in our opinion the work is executed in the named artist’s style but is of a considerably later date. ‘School (together with place or country and date)’ … in our opinion the work was executed in that location at that time. ‘After’ … in our opinion the work is a copy of a known painting by the named artist. ‘Signed’ … in our opinion the signature is by the hand of the artist stated. ‘Bears signature’ … in our opinion there is an element of doubt over the signature or it has been added by another hand.

ARTIST’S RESALE RIGHTS Important Notices: Changes to the Droite de Suite or Artist’s Resale Rights Pictures produced by European Artists can be subject to the Droite de Suite or Artist’s Resale Right which took effect in the United Kingdom on the 14th February 2006. Under this legislation Mallams is required to collect a royalty payment for works by living artists which sell for more than 1000 Euros. This now also applies to works by artists who have died within the last seventy years. It is calculated on the Rate of Exchange at the European Central Bank on the date of sale. It is charged to the buyer as a percentage of the hammer price and in addition to the buyer’s premium. The Artist’s Resale right is not subject to VAT. The charge for Works of Art sold at or above 1000

Euros and below 50,000 Euros is 4%. For items selling above this figure the fee is calculated on a sliding scale. These charges are paid to the Design and Artist’s Copyright Society (DACS). No additional fees or handling costs are retained by Mallams. For more information visit www.dacs.org.uk. Please be aware of this extra charge and especially the recent changes if you intend to bid for any works which might fall into the above category.

DESIGN THURSDAY 25 MAY

Studio Ceramics 1. Katherine Pleydell-Bouverie (1895-1985) Vase incised decoration, fawn glaze impressed potter’s seal 18.3cm high. £100-200 (plus 24% BP* ARR*) 2. Katherine Pleydell-Bouverie (1895-1985) Vase leaf decoration, turquoise glaze impressed potter’s seal 10.5cm high. £80-120 (plus 24% BP* ARR*)

3. Katherine Pleydell-Bouverie (1895-1985) Vase tenmoku glaze impressed potter’s seal 10.5cm high. £70-100 (plus 24% BP* ARR*) 4. Katherine Pleydell-Bouverie (1895-1985) Two pots and covers one impressed potter’s seal each 8.5cm diameter (2). £60-100 (plus 24% BP* ARR*) 5. Katherine Pleydell-Bouverie (1895-1985) Vase leaf decoration, pale celadon glaze 9cm high. £70-100 (plus 24% BP* ARR*) 6. Katherine Pleydell-Bouverie (1895-1985) Bowl fluted, dark celadon glaze impressed potter’s seal 8.5cm high, 11.8cm diameter. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

7. Katherine Pleydell-Bouverie (1895-1985) Vase dripped glaze impressed potter’s seal 21cm high. £100-200 (plus 24% BP* ARR*) 8. Katherine Pleydell-Bouverie (1895-1985) Vase dark green glaze impressed potter’s seal 17cm high. £80-120 (plus 24% BP* ARR*)

9. Katherine Pleydell-Bouverie (1895-1985) Bowl grey glaze impressed potter’s seal 26.5cm diameter. £250-350 (plus 24% BP* ARR*) 10. Katherine Pleydell-Bouverie (1895-1985) Candlestick impressed potter’s seal 16cm high. £80-120 (plus 24% BP* ARR*) 11. Katherine Pleydell-Bouverie (1895-1985) Bowl crackled glaze impressed potter’s seal 20.5cm diameter. £100-200 (plus 24% BP* ARR*) 12. Gordon Forsyth (1879-1952) Vase, 1938 treacle glaze incised initials and dated 24cm high. £60-100 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

13. Henry Hammond (1914-1989) Two bowls each painted with fish each impressed potter’s seal 20cm and 13cm diameter (2). £80-120 (plus 24% BP* ARR*) 14. Charles Vyse (1882-1971) Vase ‘fleur-de-lis’ decoration signed 12cm high. £100-200 (plus 24% BP* ARR*)

15. Janet Leach (1918-1997) at Leach Pottery Bowl cut sides impressed potter’s and pottery seals 15cm diameter. £100-200 (plus 24% BP* ARR*) 16. David Leach (1911-2005) Tankard and vase linear decoration each impressed potter’s seal the tankard 11.3cm high (2). £50-100 (plus 24% BP* ARR*)

17. David Leach (1911-2005) at Lowerdown Pottery Bowl celadon with cut sides impressed potter’s and pottery seals 12cm high, 14.5cm diameter. £100-200 (plus 24% BP* ARR*) 18. David Leach (1911-2005) Vase tenmoku glaze impressed potter’s seal 18cm high. £100-200 (plus 24% BP* ARR*) 19. John Leach (b.1939) Vessel raku impressed potter’s seal 22.5cm high. Provenance: This vessel was used for the poster for the John Leach exhibition at the Rufford Exhibition, 1988. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

20. Michael Leach (1913-?) at Fremington Vase incised decoration impressed potter’s and pottery seals 21.5cm high. £80-120 (plus 24% BP* ARR*) 21. Trevor Corser (1938-2015) at Leach Pottery Vase red glaze, with cut sides impressed potter’s seal covered with glaze 35.5cm high. Provenance: The Leach Pottery, St. Ives. £100-200 (plus 24% BP* ARR*)

22. Trevor Corser (1938-2015) at Leach Pottery ‘Willow’ bowl ash glaze impressed potter’s and pottery seals 20cm diameter. Provenance: The Leach Pottery, St. Ives. £60-100 (plus 24% BP* ARR*) 23. Joanna Wason (b.1946) at Leach Pottery Vase of bottle form, dripped tenmoku glaze impressed potter’s seal 33cm high. Provenance: The Leach Pottery, St. Ives. £100-200 (plus 24% BP* ARR*)

24. Joanna Wason (b.1946) at Leach Pottery Lidded box ash glaze impressed potter’s and pottery seals 17.5cm across. Provenance: The Leach Pottery, St. Ives. £100-200 (plus 24% BP* ARR*) 25. Joanna Wason (b.1946) at Leach Pottery Vase resist decoration impressed potter’s seal covered in glaze 16.3cm high. Provenance: The Leach Pottery, St. Ives. £60-100 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

26. Geoffrey Whiting (1919-1988) at Avoncroft Vase, circa 1960s tenmoku, pressed leaf decoration impressed potter’s and pottery seals 11.5cm high. £50-100 (plus 24% BP* ARR*) 27. Geoffrey Whiting (1919-1988) at Avoncroft Vase stoneware impressed potter’s and pottery seals 15.5cm high. £80-120 (plus 24% BP* ARR*)

28. John Jelf (b.1946) Vase tenmoku, with pressed decoration impressed potter’s and pottery seals 15cm high. £80-120 (plus 24% BP* ARR*) 29. Geoffrey Whiting (1919-1988) Vase tree decoration impressed potter’s and pottery seals 10cm high. £80-120 (plus 24% BP* ARR*) 30. Ladi Kwali (c.1925-1984) Sugar shaker tenmoku, incised decoration on the screw lid 9.5cm high. Provenance: Purchased directly from Ladi Kwali by the current vendor in Nigeria, circa 1962. £50-100 (plus 24% BP* ARR*) 31. Ladi Kwali (c.1925-1984) at Abuja Pottery Pot and cover painted in blue with fish and wheat impressed potter’s and pottery seals 18.5cm diameter. £100-200 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

32. Bawa Ushafa (20th Century) Pot four handles, incised rim and green/brown glaze impressed potter’s and pottery seals 30cm high. £80-120 (plus 24% BP* ARR*) 33. Bawa Ushafa (20th Century) Pot four handles, incised rim and brown/blue glaze impressed potter’s and pottery seals 28cm high. £80-120 (plus 24% BP* ARR*)

34. Bawa Ushafa (20th Century) Charger tenmoku, combed and incised decoration impressed potter’s and pottery seals 40cm diameter. £100-200 (plus 24% BP* ARR*) 35. Jim Malone (b.1946) Jar and cover cut sides impressed potter’s seal 36cm high. £100-200 (plus 24% BP* ARR*) 36. Jim Malone (b.1946) Vase dripped ash glaze, four lugs and cut sides impressed potter’s and pottery seals 23cm high. £100-200 (plus 24% BP* ARR*) 37. Jim Malone (b.1946) Vase tenmoku with nuka, indented pattern impressed potter’s and pottery seals 32.5cm high. Provenance: CPA, London. £150-250 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

38. Jim Malone (b.1946) Bowl celadon glaze, incised flower decoration impressed potter’s seal 29cm diameter. £50-100 (plus 24% BP* ARR*) 39. Mike Dodd (b.1943) Teapot facetted sides and on three feet impressed potter’s seal 19cm across. £50-100 (plus 24% BP* ARR*)

40. Mike Dodd (b.1943) Bottle vase cut sides, black basalt glaze 19.5cm high. Provenance: Amalgam Gallery, London. £60-100 (plus 24% BP* ARR*) 41. Mike Dodd (b.1943) Vase wax resist and iron glaze, with foliate decoration 26cm high. Provenance: Amalgam Gallery, London. £80-120 (plus 24% BP* ARR*) 42. Mike Dodd (b.1943) Vase andesite resist decoration impressed potter’s seal covered with glaze 32.5cm high. Provenance: Amalgam Gallery, London. £250-350 (plus 24% BP* ARR*) 43. Mike Casson (1925-2003) ‘Gozo’ bowl with spots of colour impressed potter’s seal 28.5cm high. £150-250 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

44. Phil Rogers (b.1951) Jug pressed and combed decoration impressed potter’s seal 27.3cm high. £60-100 (plus 24% BP* ARR*) 45. Phil Rogers (b.1951) Albarello jar combed decoration impressed potter’s seal 25.5cm high. £60-100 (plus 24% BP* ARR*) 46. Phil Rogers (b.1951) Vase flattened form, grass decoration 18cm high.

Provenance: Porticus Gallery, Llandrindod Wells. £50-100 (plus 24% BP* ARR*) 47. Phil Rogers (b.1951) Vase blue glaze to the inside impressed potter’s seal 19cm high. Provenance: Bettles Gallery, Ringwood. £50-100 (plus 24% BP* ARR*) 48. Phil Rogers (b.1951) Vase straw ash glaze over iron clay slip impressed potter’s seal 14cm high. Provenance: Bettles Gallery, Ringwood. £50-100 (plus 24% BP* ARR*) 49. Ray Finch (1914-2012) at Winchcombe Pottery Vase incised decoration impressed potter’s seal 41cm high. £100-200 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

50. Ray Finch (1914-2012) at Winchcombe Pottery Vase incised decoration impressed potter’s seal 37.5cm high. £80-120 (plus 24% BP* ARR*) 51. Mark Griffiths (Contemporary) Vase ash glaze, with willow tree decoration 49cm high. Provenance: Purchased directly from the potter by the current vendor. £150-250 (plus 24% BP* ARR*)

52. Robert Sanderson (b.1952) Tsubo vase wood fired impressed potter’s seal 29cm high. Literature: Coll Minogue and Robert Sanderson, Wood-fired Ceramics: Contemporary Practices, 2000, illustrated front cover. £150-250 (plus 24% BP* ARR*) 53. Svend Bayer (b.1946) Jug painted fish 37cm high. £200-300 (plus 24% BP* ARR*) 54. Seth Cardew (b.1943) Rose bowl impressed potter’s and pottery seals 12cm high, 24cm diameter. £80-120 (plus 24% BP* ARR*) 55. Malcolm Pepper (1937-1980) Vase painted with foliate spray in blue on crackled glaze impressed potter’s seal 42cm high. £100-200 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

56. Richard Batterham (b.1936) Teapot salt glazed, pressed decoration 26cm across. £80-120 (plus 24% BP* ARR*) 57. Sarah Walton (b.1945) Bowl fluted, ash glaze 11.5cm high, 24cm diameter. £100-200 (plus 24% BP* ARR*)

58. Edward Hughes (1953-2005) Two plates wave decoration one impressed potter’s seal 26.5cm and 26cm diameter (2). £200-400 (plus 24% BP* ARR*) 59. Edward Hughes (1953-2005) Two plates combed decoration each impressed potter’s seal each 26cm diameter (2). £200-400 (plus 24% BP* ARR*)

60. Edward Hughes (1953-2005) Two plates combed decoration each impressed potter’s seal each 26cm diameter (2). £200-400 (plus 24% BP* ARR*) 61. Edward Hughes (1953-2005) Bowl decorated in blues with leaf type pattern impressed potter’s seal 5cm high, 25.5cm diameter. £200-300 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

62. Edward Hughes (1953-2005) Bowl scrolling tenmoku pattern 4.5cm high, 24.5cm diameter. £80-120 (plus 24% BP* ARR*) 63. Edward Hughes (1953-2005) Large square dish combed tenmoku decoration impressed potter’s seal 31cm x 37cm. £400-600 (plus 24% BP* ARR*)

64. Edward Hughes (1953-2005) Bowl fluted spiral decoration impressed potter’s seal 7.3cm high, 16cm diameter. £100-200 (plus 24% BP* ARR*) 65. Edward Hughes (1953-2005) Two plates linear tenmoku decoration each impressed potter’s seal each 21.5cm diameter (2). £100-200 (plus 24% BP* ARR*) 66. Edward Hughes (1953-2005) Two bowls fluted each impressed potter’s seal 8.5cm high, 17cm diameter and 8.8cm high, 21.5cm diameter (2). £200-300 (plus 24% BP* ARR*) 67. Edward Hughes (1953-2005) Footed dish partially combed decoration impressed potter’s seal 3.8cm high, 26.5cm diameter. £150-250 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

68. Edward Hughes (1953-2005) Large charger wave decoration, tenmoku impressed potter’s seal 52.5cm diameter. £500-700 (plus 24% BP* ARR*) 69. John Maltby (b.1936) Pot and cover signed ‘MALTBY’ 17cm high, 14cm across. Provenance: Galerie Besson, London. £150-250 (plus 24% BP* ARR*)

70. John Maltby (b.1936) Cup painted flowers signed ‘MALTBY’ 14.5cm high. £200-300 (plus 24% BP* ARR*) 71. John Maltby (b.1936) ‘Zuleika’, Cat on Boat signed ‘John MALTBY’ wood and ceramic 18.3cm long. £80-120 (plus 24% BP* ARR*) 72. John Maltby (b.1936) Pedestal vase painted decoration signed ‘MALTBY’ 19cm high, 19cm across. £150-250 (plus 24% BP* ARR*) 73. John Maltby (b.1936) Tile landscape decoration signed ‘MALTBY’ 15.5cm x 15.5cm. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

74. John Maltby (b.1936) Knight and Horse impressed potter’s seal 13.5cm across. £100-200 (plus 24% BP* ARR*) 75. John Maltby (b.1936) ‘Galleon’ tile signed and impressed potter’s seal 16.5cm x 16.5cm. £150-250 (plus 24% BP* ARR*)

76. John Maltby (b.1936) ‘3 Boats’, 2010 signed, dated and titled (to reverse) wall piece 17cm x 56.5cm (including frame). £200-300 (plus 24% BP* ARR*) 77. Angela Mellor (Contemporary) Bowl white with textured rim impressed potter’s seal 9cm high, 14cm diameter. £60-100 (plus 24% BP* ARR*)

78. Tessa Fuchs (1936-2012) ‘Tiger’ bowl impressed potter’s seal 8cm high, 17cm diameter. £80-120 (plus 24% BP* ARR*) 79. Peter Lane (b.1932) Vase graduated landscape incised signature 16.2cm high. £70-100 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

80. Kate Malone (b.1959) ‘Millennium’ mug incised signature 22.5cm across. Provenance: Galerie Besson, London. £100-200 (plus 24% BP* ARR*) 81. Andrew Osborne (Contemporary) Zig zag pot and cover 33.5cm high. £80-120 (plus 24% BP* ARR*)

82. Mary Rogers (b.1929) Ball stoneware impressed initials 9.5cm high. Provenance: Peter Dingley Gallery, Stratford-uponAvon. £200-300 (plus 24% BP* ARR*) 83. Bernard Irwin (Contemporary) Vessel painted design incised signature 24cm high. £80-120 (plus 24% BP* ARR*) 84. Joanna Constantinidis (1927-2000) Vase impressed potter’s seal 13.5cm high. £80-120 (plus 24% BP* ARR*) 85. Mary Rogers (b.1929) Abstract vessel porcelain incised initials 12cm across. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

86. Agnete Hoy (1914-2000) at Bullers Vase painted motifs impressed marks, cypher and numbered 18cm high. £30-50 (plus 24% BP* ARR*) 87. Sheila Fournier (1930-2001) Bowl white porcelain with blue band incised potter’s mark 7.5cm high, 21.3cm diameter. £80-120 (plus 24% BP* ARR*)

88. Mary White (1926-2013) Footed bowl inscribed ‘Naturam Expellas Furca Usque Recurret Horace / Epistles’ in gold impressed potter’s seal 10cm high, 25cm diameter. £80-120 (plus 24% BP* ARR*) 89. Mary White (1926-2013) Footed bowl dripped blue rim and white glaze impressed potter’s seal 7.5cm high, 23cm diameter. £60-100 (plus 24% BP* ARR*) 90. Walter Keeler (b.1942) Jug salt glazed impressed potter’s seal 27cm high. £100-200 (plus 24% BP* ARR*) 91. Walter Keeler (b.1942) Dish two handled, salt glazed impressed potter’s seal 20.5cm across. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

92. Walter Keeler (b.1942) ‘Apple’ jar and cover impressed potter’s seal 12cm high. £80-120 (plus 24% BP* ARR*) 93. Walter Keeler (b.1942) Leaning jug whieldon glaze impressed potter’s seal 22cm high. £200-300 (plus 24% BP* ARR*)

94. Walter Keeler (b.1942) Platform jug, circa 1998 sancai glaze impressed potter’s seal 16.5cm high. £200-300 (plus 24% BP* ARR*) 95. Walter Keeler (b.1942) Jug salt glazed impressed potter’s seal 24cm high. Provenance: Stafford Gallery, London. £150-250 (plus 24% BP* ARR*) 96. Mary White (1926-2013) Bowl inscribed ‘Longa Vita Brevis Ars’ impressed potter’s seal 9.5cm high, 15cm diameter. £40-70 (plus 24% BP* ARR*) 97. Mary White (1926-2013) Organic form 13cm high. £40-70 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

98. Eileen Lewenstein (1925-2005) Organic form black glaze impressed potter’s seal 13cm high, 20.7cm across. £50-100 (plus 24% BP* ARR*) 99. Ruth Duckworth (1919-2009) Bowl poured glazes painted potter’s initials 30cm diameter. £300-500 (plus 24% BP* ARR*)

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100. Alan Caiger-Smith (b.1930) Bowl, 1973 painted gold lustre motifs painted potter’s monogram and date cypher 8cm high, 21.3cm diameter. £150-250 (plus 24% BP* ARR*) 101. Alan Caiger-Smith (b.1930) Bowl ruby and gold lustre painted motifs painted potter’s monogram and date cypher 13.5cm high, 46cm diameter. £1000-1500 (plus 24% BP* ARR*) 102. Geoffrey Eastop (1921-2014) Two vases one with painted motifs each painted monogram 21cm and 14.5cm high (2). £80-120 (plus 24% BP* ARR*) 103. Colin Pearson (1923-2007) Footed dish turquoise glazes impressed potter’s seal 9cm high, 24.5cm across. £200-300 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

104. Colin Pearson (1923-2007) Cup yellow glaze impressed potter’s seal 16.5cm high. £100-200 (plus 24% BP* ARR*) 105. Richard Manz (1933-1999) Vase, circa 1960s incised signature 19cm high. £60-100 (plus 24% BP* ARR*) 106. Gutte Eriksen (1918-2008) Two bowls turquoise glaze incised signatures the larger 14cm across (2). £80-120 (plus 24% BP* ARR*)

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107. John Piper (1903-1992) for the Fulham Pottery Tile, 1983 stamped pottery mark made for The Tate Gallery 16cm x 16cm. £100-200 (plus 24% BP* ARR*) 108. Clare Conrad (Contemporary) Vase textured finish impressed potter’s seal 19cm high, 16.5cm across. £50-100 (plus 24% BP* ARR*) 109. Joanna Constantinidis (1927-2000) Vase pulled rim impressed potter’s seal 9.3cm high. £80-120 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

110. Peter Hayes (b.1946) Bottle vase textured surface 33cm high, 36.5cm across. £100-200 (plus 24% BP* ARR*) 111. Peter Hayes (b.1946) Bow, 1993 signed and dated raku 18cm high. £60-100 (plus 24% BP* ARR*) 110

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112. Mary Rich (b.1940) Footed bowl dripped pink and black glazes impressed potter’s seal 12cm high, 14.5cm diameter. £80-120 (plus 24% BP* ARR*) 113. David Garland (b.1941) Charger painted decoration signed 38cm diameter. £200-300 (plus 24% BP* ARR*) 114. David Frith (b.1937) Footed dish decorated with flowers 46cm across. £100-200 (plus 24% BP* ARR*)

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BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

115. Ruth Duckworth (1919-2009) Bowl stoneware with volcanic glazes initialled 16cm high, 46cm diameter. Provenance: Beaux Arts, Bath. £400-600 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

116. Morgan Hall (1960-2016) Dish scrolling decoration impressed potter’s seal 42cm across. £80-120 (plus 24% BP* ARR*) 117. Takeshi Yasuda (b.1943) Jug slip trailed, manganese on light honey glaze signed to label 26cm high. Provenance: Candover Gallery, Alresford. £150-250 (plus 24% BP* ARR*)

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118. Takeshi Yasuda (b.1943) Jug manganese on light honey glaze, impressed signed to label 23.5cm high. Provenance: Alpha House Gallery, Sherborne. £150-250 (plus 24% BP* ARR*) 119. Audrey Richardson (Contemporary) Vase grey and white textured surface impressed potter’s seal 13.5cm high. Provenance: Bettles Gallery, Ringwood. £30-50 (plus 24% BP* ARR*) 120. Bernard Charles (b.1930) Bowl grey glaze incised initials 14cm diameter. £30-50 (plus 24% BP* ARR*) 121. Elizabeth Raeburn (b.1943) Vase raku, squared pattern 27.8cm high, 23cm across. Provenance: Candover Gallery, Alresford. £150-250 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

122. Michael Allen (20th Century) Vase coiled and burnished with long neck impressed potter’s seal 32cm high. Provenance: Terrace Gallery, Worthing. £50-100 (plus 24% BP* ARR*) 123. Michael Allen (20th Century) Vase coiled and burnished impressed potter’s seal 24cm high.

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Provenance: Terrace Gallery, Worthing. £50-100 (plus 24% BP* ARR*) 124. Sandy Brown (b.1946) Pot and cover painted and incised decoration signed 36cm high. £80-120 (plus 24% BP* ARR*) 125. Sandy Brown (b.1946) Two plates painted each 27cm across (2). £80-120 (plus 24% BP* ARR*)

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126. Sandy Brown (b.1946) Two plates painted with stripes each 26.5cm across (2). £80-120 (plus 24% BP* ARR*)

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BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

127. Mary Rich (b.1940) Miniature teapot and vase highlighted in gold each impressed potter’s seal 16cm high and 9.8cm high (2). £50-100 (plus 24% BP* ARR*) 128. Jennie Hale (Contemporary) Grotesque bird pot and cover salt glazed impressed potter’s seal 11cm high. £30-50 (plus 24% BP* ARR*)

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129. Neil Ions (b.1949) Bird ocarina, 1981 earthenware painted in coloured slips signed and dated 16cm across. Note: Similar examples can be found in the V&A collection. £30-60 (plus 24% BP* ARR*) 130. Robin Welch (b.1936) Footed bowl raku, with black band to rim 11cm high, 15cm diameter. £60-100 (plus 24% BP* ARR*) 131. Robin Welch (b.1936) Vase raku, with bands of grey and blue 20cm high. £100-200 (plus 24% BP* ARR*)

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132. Robin Welch (b.1936) Vessel dripped blue glaze impressed potter’s seal 49.7cm high. Provenance: Purchased from a Robin Welch exhibition at the Rufford Gallery. £250-350 (plus 24% BP* ARR*)

133. Robin Welch (b.1936) Footed bowl impressed potter’s seal 21.5cm high, 38cm diameter. Provenance: Purchased directly from Robin Welch at his studio. £300-500

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134. Jane Hamlyn (b.1940) Pot and cover painted glaze impressed potter’s seal 15cm high. £50-100 (plus 24% BP* ARR*) 135. Toff Milway (b.1949) Jug salt glazed with fish handle signed 24cm high. £50-100 (plus 24% BP* ARR*) 136. Derek Emms (1929-2004) Teapot and a miniature tea set celadon including miniature teapot, sugar bowl, jug and teacup and saucer incised or impressed potter’s marks the larger teapot 23cm across (5). £50-100 (plus 24% BP* ARR*)

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137. Ken Matsuzaki (b.1950) Tea bowl raku, cut sided, painted foliate motif in original wooden box 9cm high. £60-100 (plus 24% BP* ARR*) 138. Tatsuzo Shimaoka (1919-2007) Tea set comprising teapot and four tea bowls each painted in red, green and yellow with foliate motif in a roundel the teapot 18cm across (5). £150-250 (plus 24% BP* ARR*)

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139. Jacques Blin (1920-1995) Charger sgraffito decorated with ladies signed ‘JBlin’ 34.3cm diameter. £250-350 (plus 24% BP* ARR*)

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140. Alan Wallwork (b.1931) Split pod incised initials 19cm high. £150-250 (plus 24% BP* ARR*) 141. Graeme James (b.1942) Vase with wide flared rim impressed potter’s seal 17.5cm high, 25cm diameter. £100-200 (plus 24% BP* ARR*)

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142. Graeme James (b.1942) ‘Sputnik’ vessel impressed potter’s seal 15cm high, 18cm diameter. £100-200 (plus 24% BP* ARR*) 143. Graeme James (b.1942) Vase budding form, mottled grey and white glaze impressed potter’s seal 23.5cm high. £80-120 (plus 24% BP* ARR*) 144. Graeme James (b.1942) Vessel white glaze impressed potter’s seal 21cm high. £60-100 (plus 24% BP* ARR*) 145. Chris Carter (b.1945) Vase pulled rim and green glaze impressed potter’s seal 22.3cm high. Provenance: The Stour Gallery, Warwickshire, 1998. £50-100 (plus 24% BP* ARR*)

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146. Julian King-Salter (b.1954) Bowl volcanic glaze impressed potter’s seal 14cm high.

146

Provenance: Peter Dingley Gallery, Stratford-uponAvon, 1989. £40-70 (plus 24% BP* ARR*) 147. Nancy Pickard (b.1963) Four sculptural heads ceramic each incised initials on white painted bases the tallest 21.5cm high (4). £400-600 (plus 24% BP* ARR*) 148. David Frith (b.1937) Footed dish decorated with a water lily impressed potter’s and pottery seals 8cm high, 29.3cm across. £100-200 (plus 24% BP* ARR*)

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149. Ha kyung-A (Contemporary) Three ‘Pretty Color’ jars and covers 11cm high (3). Provenance: Clay Sonic, Aberystwyth Arts Centre, 2009. £80-120 (plus 24% BP* ARR*) 148

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150. John Ward (b.1938) Vessel matt black and white geometric pattern impressed potter’s seal 25.5cm high. Provenance: The Stour Gallery, Warwickshire, 2009. £2000-4000 (plus 24% BP* ARR*)

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151. John Ward (b.1938) Vase black and white, of asymmetrical form impressed potter’s seal 15.5cm high, 15.5cm across. £1000-2000 (plus 24% BP* ARR*)

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152. John Ward (b.1938) Vase green and brown glaze impressed potter’s seal 13.5cm high. £400-700 (plus 24% BP* ARR*) 153. See page 38 154. John Ward (b.1938) Vase green and tan with blue spots impressed potter’s seal 7.3cm high, 5.5cm across. £100-200 (plus 24% BP* ARR*)

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155. John Ward (b.1938) Vase green and brown impressed potter’s seal 8.5cm high, 7.8cm across. £100-200 (plus 24% BP* ARR*) 156. Eric Astoul (b.1954) Vessel signed 20.4cm high. £50-100 (plus 24% BP* ARR*) 157. John Ward (b.1938) Vase ochre with green band impressed potter’s seal 26.5cm high, 22.5cm across. £1000-2000 (plus 24% BP* ARR*) 158. See page 39 159. John Ward (b.1938) Bowl pale blue, white and ochre glaze impressed potter’s seal 14.5cm high, 28.5cm diameter. £600-900 (plus 24% BP* ARR*)

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153. John Ward (b.1938) Vase of shouldered form, white and light blue glaze impressed potter’s seal 39cm high, 28cm across. £1000-2000 (plus 24% BP* ARR*)

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158. John Ward (b.1938) Vessel mottled glaze impressed potter’s seal 26cm high. £700-900 (plus 24% BP* ARR*)

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160. John Ward (b.1938) Vessel with carved turquoise lines impressed potter’s seal 15.5cm high. £600-800 (plus 24% BP* ARR*)

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161. John Ward (b.1938) Shouldered vessel blue/green glaze and geometric pattern impressed potter’s seal 24.5cm high.

Literature: see Amanda Game, Contemporary British Crafts - The Goodison Gift to the Fitzwilliam Museum, London: Philip Wilson Press, 2016, pp.144-5, cat. no.56, for a similar example and another example can be found in the Ashmolean Museum, Oxford. £1000-2000 (plus 24% BP* ARR*)

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162. Ruthanne Tudball (b.1948) Vase salt glazed, twisted form impressed potter’s seal 35.3cm high. £60-100 (plus 24% BP* ARR*) 163. Joanna Constantinidis (1927-2000) Bowl impressed potter’s seal 14cm high, 31cm diameter. £150-250 (plus 24% BP* ARR*)

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164. Jack Doherty (b.1948) Bowl mixed clays impressed potter’s seal 25.5cm across. £50-100 (plus 24% BP* ARR*) 165. Jack Doherty (b.1948) Bowl mixed clays impressed potter’s seal 25.5cm across. £50-100 (plus 24% BP* ARR*) 166. Waistel Cooper (1921-2003) Bowl ribbed and textured body painted potter’s initials 9.5cm high, 19cm diameter. £80-120 (plus 24% BP* ARR*) 167. Edith Holt (b.1933) Bowl raku impressed potter’s mark 20.7cm diameter. £30-50 (plus 24% BP* ARR*)

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168. Prue Venables (b.1954) Vase decorated with swirls signed 14.5cm high. £100-200 (plus 24% BP* ARR*) 169. Hein Severijns (b.1936) Bottle Vase crystalline signed 26.5cm high. £60-100 (plus 24% BP* ARR*)

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170. Wilhelm (b.1925) and Elly Kuch (1929-2008) Budding vase impressed potter’s seal 23cm high. £50-100 (plus 24% BP* ARR*) 171. Manner of Hans Coper Vase of spade form and with wide rim 17cm high. £80-120 (plus 24% BP* ARR*) 172. Joanna Constantinidis (1927-2000) Bowl white glaze impressed potter’s seal 8cm high, 15cm diameter. £80-120 (plus 24% BP* ARR*) 173. Edmund de Waal (b.1964) Bowl crackled celadon glaze, and dripped blue rim impressed potter’s seal 7.5cm high, 19.5cm diameter. £400-600 (plus 24% BP* ARR*) 174. Emmanuel Cooper (1938-2012) Bowl yellow with manganese rim, highlighted with green and gold spots impressed potter’s seal 9cm high, 9.5cm diameter. £300-500 (plus 24% BP* ARR*) 174

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175. Emmanuel Cooper (1938-2012) Footed bowl yellow with dripped manganese rim impressed potter’s seal 8cm high,11.4cm diameter. £400-700 (plus 24% BP* ARR*)

176. Emmanuel Cooper (1938-2012) Footed bowl blue with manganese rim impressed potter’s seal 6.7cm high, 16.3cm diameter. £400-700 (plus 24% BP* ARR*)

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177. Jennifer Lee (b.1956) White pot, grey speckled bands, shelf with emerging rim, 1991 painted potter’s year mark 19cm high.

This piece was made in May/June 1991, and logged in Jennifer Lee’s archive as JL292. It was oxidised to cone 9 and hand-built using coloured stoneware. We would like to thank Jennifer Lee for helping to catalogue this lot. £2000-3000 (plus 24% BP* ARR*)

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178. Lucie Rie (1902-1995) Bowl the exterior with dark manganese glaze, the interior with white glaze impressed potter’s seal 6.8cm high, 13.7cm across. £600-1000 (plus 24% BP* ARR*)

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179. Lucie Rie (1902-1995) Set of five cups and six saucers, 1956 the cups horizontally incised on manganese ground each impressed potter’s seal the cups 7cm high, the saucers 14cm diameter.

Provenance: Purchased directly from Lucie Rie at Albion Mews in 1956. Sold together with original receipt. Literature: see Margot Coates (ed.), Lucie Rie & Hans Coper: Potters in Parallel, Barbican Art Gallery, Herbert Press, 1997, cat. 2.26 for a pouring vessel with similar decoration. £800-1200 (plus 24% BP* ARR*)

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180. Peter Collingwood (1922-2008) M.84 No.185 macrogauze wall hanging pink and orange woven linen and stainless steel signed and titled 184cm high, 21cm across. £800-1200 (plus 24% BP* ARR*) 181. Peter Collingwood (1922-2008) M.84 No.24 macrogauze wall hanging cream and black woven linen and stainless steel signed and titled 180cm high, 21cm across. £800-1200 (plus 24% BP* ARR*)

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182. Peter Collingwood (1922-2008) M.96 No.1 Macrogauze wall hanging woven linen and stainless steel signed and titled 242cm high, 97cm across. £1000-2000 (plus 24% BP* ARR*)

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183. Peter Collingwood (1922-2008) Rug hand-woven wool in green and yellow 201cm x 96cm. £1000-2000 (plus 24% BP* ARR*)

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184. James Powell & Sons Mirror, circa 1870s white and red painted glass, with bevelled glass mirror 65.5cm x 35cm. Literature: Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass: James Powell & Sons of London, Museum of London, 1995, p.264, pl.386 which shows an illustration of this mirror from an 1870s catalogue. A similar but slightly more elaborate mirror can be seen hanging in the Whitefriars showroom in Tudor Street, p.104, pl.112. £1000-2000 (plus 24% BP* ARR*)

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185. Loetz Papillon ‘Pampas’ vase, circa 1900 in sinuous metal mount 45cm high. £500-700 (plus 24% BP* ARR*)

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186. Mintons Vase, 1873 decorated with stylised flowers and fruit stamped manufacturer’s mark, dated cypher and numbered 1492, and painted monogram 34cm high. £100-300 (plus 24% BP* ARR*) 187. Arts & Crafts Vase hammered copper with applied brass flower motif 48.5cm high. £100-200 (plus 24% BP* ARR*)

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188. Brannam Pottery Pair of vases decorated with fish impressed ‘Brannam, Barum, N.Devon’ 20.5cm high (2). £80-120 (plus 24% BP* ARR*) 189. Kenneth Clark (1922-2012) after William Morris Four flower tiles three stamped maker’s mark 15cm x 15cm (4). £60-100 (plus 24% BP* ARR*) 190. Kenneth Clark (1922-2012) after William De Morgan Two ‘Galleon’ Tiles stamped maker’s mark each 15cm x 15cm (2). £50-100 (plus 24% BP* ARR*) 191. Kenneth Clark (1922-2012) after William De Morgan Four ‘BBB’ tiles in turquoise and yellow colourways two stamped maker’s marks each 15cm x 15cm (4). £60-100 (plus 24% BP* ARR*)

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192. Kenneth Clark (1922-2012) after William De Morgan Six animal tiles stamped maker’s marks each 15cm x 15cm (6). £100-200 (plus 24% BP* ARR*) 191

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193. Manner of Gordon Russell (1892-1980) Arts & Crafts sideboard oak fitted two drawers with shaped fronts and open handles, flanked by cupboard doors on square legs and supports 113.5cm high, 137cm across, 46.5cm deep. £300-500 (plus 24% BP* ARR*) 194. Arts & Crafts Coal bucket and cover stylised fruit and flower head motifs with inner lining 42cm high. £100-200 (plus 24% BP* ARR*) 195. Manner of Walter Crane for Minton Three Aesthetic Movement plates one definitely after a design by Walter Crane impressed ‘Minton’ marks 24cm, 23.5cm and 20.5cm diameter (3). £200-300 (plus 24% BP* ARR*)

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196. Manner of Ellen Mary Rope (1855-1934) Arts & Crafts three fold screen inscribed ‘Sleep Like An Angel Kind, Folds Us At Night’ painted and carved with angels, poppies and fruit 168.5cm high, 158cm across. £300-500 (plus 24% BP* ARR*) 197. Robert Thompson of Kilburn (1876-1955) Mouseman tray oak carved two mice 47cm across. £200-300 (plus 24% BP* ARR*)

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198. Robert Thompson of Kilburn (1876-1955) Mouseman bowl oak carved mouse 28.5cm diameter. £200-300 (plus 24% BP* ARR*) 199. Robert Thompson of Kilburn (1876-1955) Mouseman pin tray oak carved mouse 10.5cm across. £80-120 (plus 24% BP* ARR*)

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200. Robert Thompson of Kilburn (1876-1955) Mouseman staff / walking stick oak of octagonal form carved mouse 87.5cm high. £300-400 (plus 24% BP* ARR*) 201. Robert Thompson of Kilburn (1876-1955) Mouseman fireside brush oak, carved face 56.5cm long. £120-180 (plus 24% BP* ARR*) 202. Robert Thompson of Kilburn (1876-1955) Mouseman stool, 1920s/1930s oak on three octagonal legs carved mouse 43.5cm high, 38.5cm across. £300-400 (plus 24% BP* ARR*) 203. Robert Thompson of Kilburn (1876-1955) Mouseman stool oak on octagonal column supports, leather seat carved mouse 45.5cm high, 41.5cm across. £500-800 (plus 24% BP* ARR*)

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204. Robert Thompson of Kilburn (1876-1955) Mouseman fire screen oak carved mouse 82.5cm high, 48.5cm across. £200-400 (plus 24% BP* ARR*) 205. Robert Thompson of Kilburn (1876-1955) Mouseman book trough oak carved mouse 45.8cm across. £150-250 (plus 24% BP* ARR*) 206. Robert Thompson of Kilburn (1876-1955) Mouseman occasional table oak, octagonal carved mouse 46.7cm high, 50cm across. £400-600 (plus 24% BP* ARR*)

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207. Edmund Elton (1846-1920) Jug crackled red and gold metallic glaze signed ‘Elton’ 18cm high. £150-250 (plus 24% BP* ARR*) 208. 20th Century School The Glasgow School of Painting gold calligraphy on green 47.5cm x 28cm. Provenance: Fine Art Society, London. £80-120 (plus 24% BP* ARR*) 209. Liberty & Co. Bureau mahogany, the drop flap inlaid with mother of pearl, abalone shell and coloured woods flower motif the flap opening to reveal letter compartments and ink well frieze drawer over square tapering supports 110.5cm high, 70cm across, 32.5cm deep. Literature: see Daryl Bennett, Liberty’s Furniture 1875-1915, Antique Collectors’ Club, 2012, p.278 for an example of the inlaid motif. £150-250 (plus 24% BP* ARR*)

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210. Hannah Barlow for Doulton Lambeth Biscuit barrel decorated with horses, donkeys and cows silver plated lid and handle incised monogram 17.5cm high (not including handle). £200-300 (plus 24% BP* ARR*) 211. William Mawson of Keswick Home Industries Charger copper repousse decorated with band of serpents stamped ‘W. H. MAWSON KESWICK’ 59cm diameter. £100-200 (plus 24% BP* ARR*) 212. W. H. Creswick of Newlyn Trade sign, circa 1900 copper roundel ‘W. H. Creswick, Modeller, Designer, Craftsman in Copper, Brass, Bronze, Iron, Gold & Silver’ 60.5cm diameter.

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Literature: see Studio International 1898. £100-200 (plus 24% BP* ARR*) 213. Frederick Hollyer after Burne Jones Two pre-raphaelite beauties plantinotype 24cm x 21.5cm. £100-200 (plus 24% BP* ARR*) 214. Arts & Crafts Large embroidered cover central flowering motifs, with wide flowering foliage borders in red and golden thread approximately 207cm x 190cm. £150-250 (plus 24% BP* ARR*) 214

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215. Attributed to Goodyers of Regent Street Set of four Arts & Crafts wall lights, in the manner of C.F.A. Voysey hammered copper and pewter with heart shaped motifs frosted glass shades 44.5cm high (4). Literature: see Charlotte & Peter Feill, 1900s & 1910s Decorative Art, Taschen, p.474 for an electric pendant hanging light designed by C. F. A. Voysey and executed by W. Bainbridge Reynolds for an example of a similar frosted glass shade. Examples of these lights can be seen in a photograph of a Music Room designed and carried out by Goodyers of Regent Street. £2000-3000 (plus 24% BP* ARR*)

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216. Robert Thompson of Kilburn (1876-1955) Mouseman bread board oak carved mouse 38cm long. £100-200 (plus 24% BP* ARR*) 217. Harry Powell for James Powell & Sons Amphora vase, circa 1890 sea green glass and wrought iron stand 28cm high. Literature: see Wendy Evans, Catherine Ross and Alex Werner, Whitefriars Glass: James Powell & Sons of London, Museum of London, 1995, p.51, cat. no. 44 for an example in a similar manner. £300-500 (plus 24% BP* ARR*)

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Cotswold School

The Collection of Arthur Mitchell – Lots 218-230 Arthur Mitchell was born in Smethwick in 1873 into the successful brewing family, Mitchell and Butlers. He had to spend his working life running the business rather than following his own artistic inclinations – however he became a major patron of the arts and particularly of the Cotswold crafts movement. Like a number of Birmingham industrialists he chose to move to the Cotswolds and in 1920 he bought Glenfall House, a modest early nineteenth-century building in Charlton Kings near Cheltenham. He worked with the architect and furniture maker Sidney Barnsley to enlarge and fit out his new home. In particular Barnsley supplied oak floor boards, panelling and built-in cupboards as well as individual pieces of furniture. Decorative plasterwork was executed by Ernest Gimson’s former assistant, Norman Jewson, and large amounts of additional furniture were commissioned from Gimson’s foreman Peter Waals who had set up a workshop in Chalford near Stroud following his employer’s death in 1919. It was the support of a few patrons such as Mitchell which ensured the survival of the Chalford workshop in the difficult years following the dramatic inflation after the end of the First World War. Mitchell bought work by a number of Cotswold artists and designer-makers and supported Cheltenham Art Gallery & Museum by paying for the photography of every piece brought together in the Exhibition of Cotswold Craftsmanship, the town’s contribution to the 1951 Festival of Britain.

In 1964 he moved out of Glenfall House into the former gamekeeper’s cottage in nearby Puckham Woods which was rebuilt and extended with a print room to house his large collection of etchings. Following his death on 25 March 1925 his tombstone in the church at Charlton Kings was designed by Jewson with a bronze plaque decorated with a tree, an allusion to his late-life passion for reforestation. Mary Greensted April 2017

Illustration: Frances A. de Biden Footner (1874-1961), Portrait of Arthur Mitchell, 1931

218. Peter Waals (1870-1937) Wardrobe on stand walnut with ebony and holly stringing ring and drop decorated handles, probably by Norman Bucknell feathered panelled doors, all on shaped feet 204cm high, 111cm across, 60cm deep. Provenance: Arthur Mitchell; thence by descent. £5000-8000 (plus 24% BP* ARR*)

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219. Peter Waals (1870-1937) Bedside cabinet walnut single drawer over panelled cupboard door on stepped feet 69cm high, 43cm across, 37.5cm deep. Provenance: Arthur Mitchell; thence by descent. £700-1000 (plus 24% BP* ARR*)

220. Peter Waals (1870-1937) Bedside cabinet walnut slide, open shelf, over panelled cupboard door with detailing with open curved side handles all on shaped base 69.8cm high, 38.5cm across, 38cm deep. Provenance: Arthur Mitchell; thence by descent. £700-1000 (plus 24% BP* ARR*)

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221. Peter Waals (1870-1937) Dressing table swing mirror walnut over two fitted drawers on shaped feet 78.5cm high, 57cm across, 22cm deep. Provenance: Arthur Mitchell; thence by descent. £800-1200 (plus 24% BP* ARR*)

222. Edward Barnsley (1900-1987) Side table walnut stamped ‘Barnsley’ fitted drawer, on square tapering supports, with curved stretcher 77cm high, 91.3cm across, 45cm deep. Provenance: Arthur Mitchell; thence by descent. £600-1000 (plus 24% BP* ARR*)

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223. Peter Waals (1870-1937) Long case clock macassar ebony mother of pearl and abalone inlay in the form of flower heads, trees and squirrels surrounding a green and cream enamel Roman chapter dial with three train movement 207.5cm high. Provenance: Arthur Mitchell; thence by descent. Literature: see Annette Carruthers, Ernest Gimson and The Cotswold Group of Craftsmen, Leicester Museum Services, pp.4 and 24 for similar decoration. £8000-12000 (plus 24% BP* ARR*)

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224. Peter Waals (1870-1937) Man’s dressing table oak seven shaped drawers flanking cupboard door on stepped feet 91.5cm high, 122cm across. Literature: The Furniture and Joinery of Peter Waals, The Alcuin Press, Chipping Campden, 1930, no.9 for a similar example with brass handles. Provenance: Arthur Mitchell; thence by descent. £3000-5000 (plus 24% BP* ARR*)

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225. Sidney Barnsley (1865-1926) Wardrobe oak cupboard doors with shaped fronts and detailing over two fitted drawers with carved and shaped open handles all on shaped feet 182.5cm high, 122cm across, 59.7cm deep. Provenance: Arthur Mitchell; thence by descent. £5000-8000 (plus 24% BP* ARR*)

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226. Peter Waals (1870-1937) Bed oak three panelled with chamfered surround 114cm high. Provenance: Arthur Mitchell; thence by descent. £600-800 (plus 24% BP* ARR*)

227. Edward Barnsley Workshop (attributed to) Bureau on stand walnut fall flap opening to reveal compartments over two fitted drawers 108cm high, 78.5cm across, 46.5cm deep. Provenance: Arthur Mitchell; thence by descent. £600-1000 (plus 24% BP* ARR*)

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228. Ernest Gimson (1864-1919) Tray walnut octagonal, with shaped concave handles and undulating rim showing mortise and tenon and dovetail joints 47cm x 66cm. Literature: see Leicester City Art Gallery & Museum, to see a similar tray with undulating rim. Provenance: Arthur Mitchell; thence by descent. £600-1000 (plus 24% BP* ARR*)

229. Stanley Anderson (1884-1966) The Discarded Old Hay Wain signed (lower right) watercolour 22.5cm x 32.5cm. Exhibited: Royal Academy, London, 1959, no.811. Provenance: Arthur Mitchell; thence by descent. £500-800 (plus 24% BP* ARR*)

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230. See pages 70 and 71 231. See page 72 232. (Book) Ernest Gimson Ernest Gimson His Life & Work 533/550, numbered Oxford: Shakespeare Head Press, 1924 printed on Kelmscott handmade paper, pale blue boards. £300-500 (plus 24% BP* ARR*) 233. (Book) Peter Waals The Furniture and Joinery of Peter Waals Chipping Campden: The Alcuin Press, 1930. £200-300 (plus 24% BP* ARR*)

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230. William G. Simmonds (1876-1968) Tribute to the Horse, 1956 signed and dated 30cm high, 38cm across, 22cm deep.

Exhibited: Royal Academy, London, 1956, no.1366. Provenance: Arthur Mitchell; thence by descent. £3000-6000 (plus 24% BP* ARR*)

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WILLIAM SIMMONDS (1876-1965) William Simmonds - the most British of British artists - is one of the great forgotten originals of the Arts and Crafts movement, its silent heart. Simmonds first won a reputation in the 1920s through his exquisite oak, pine, ebony and ivory carvings of wild and domestic creatures. After the First World War, he moved to the Cotswolds to work on his sculpture and to document and inhabit an 18th century world whose survival was hanging by a thread, joining his friends in the last wave of the Arts and Crafts movement. His circle was a vividly diverse community, in which the artists William Rothenstein and Charles Gere, the architects Gimson, Detmar Blow, Norman Jewson and Sidney and Ernest Barnsley, the potters and stained glass artists Alfred and Louise Powell and Edward Payne, and the textile printers Barron and Larcher all played their part - a world in which included the poets Tagore, WH Davies, John Masefield, John Drinkwater, and the writers Max Beerbohm, D H Lawrence and the Sitwells and the musicians Lionel Tertis, [Violet Gordon Woodhouse with her “four husbands” at Nether Lypiatt Manor a mile from William Simmonds house, were avid collectors of the sculpture over the years]. As Simmonds’ fame as a wood carver grew, he was also becoming a cult figure through his marionette shows. The beauty of Simmonds puppets, unlike any seen before or since, caught the public imagination. Booked annually in London by the Grafton Theatre and the Art Workers’ Guild and performing in private drawing rooms, he also travelled with shows into country towns and small villages in Britain and in parts of Europe. His gentle wittily scripted dialogue and brilliant manipulation was accompanied on the spinet and virginals by his wife Eve. William Rothenstein saw Simmond as “…. a little master in the old German sense” and Mary Greenstead writes that”Simmonds’ work has been so treasured by its original owners, that it has rarely escaped into the glare of the commercial art world …. “ . However Simmonds pieces are not only private collections but have been bought by Cheltenham Museum, Sheffield Museum, Manchester Museum, Reading Museum and the Tate Gallery. He exhibited at the Royal Academy for over 50 years and each piece was bought instantly. The Tribute to the Horse is one of Simmonds’s last carving in wood and where, unusually, he uses a jigsaw-like effect in blocks to create this little masterpiece. Throughout his life, Simmonds spent weeks watching and studying carthorses near his home in the Cotswolds. This piece is a homage to these magnificent animals, their strength and their unquestioning loyalty. The biography of William Simmonds by Jessica Douglas-Home is pencilled in for publication in 2017/18 and will include this current work. Jessica Douglas-Home, May 2017 We are grateful to Jessica Douglas-Home for helping to catalogue this lot.

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231. William G. Simmonds (1876-1968) Faun & Squirrel, 1928 initialled and dated carved oak 29cm high, 26cm across. £1500-2500 (plus 24% BP* ARR*)

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Art Deco and Pre-War Design 234. Rene Lalique (1860-1945) ‘Poissons’ bowl opalescent glass moulded ‘R. LALIQUE’ 29cm diameter. £200-400 (plus 24% BP* ARR*) 235. Rene Lalique (1860-1945) ‘Anna’ ashtray (Marcilhac 303) clear and opaque glass signed ‘Lalique France’ 8.5cm across. £40-70 (plus 24% BP* ARR*)

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236. Rene Lalique (1860-1945) ‘Roscoff’ bowl, originally designed 1932 opalescent glass stencilled ‘R. LALIQUE’ 35.5cm diameter. £800-1200 (plus 24% BP* ARR*) 237. Royal Doulton (attributed to) ‘Cumberland Wrestlers’ red flambé glaze colour trial titled and inscribed ‘colour trial’ 20cm high. £100-200 (plus 24% BP* ARR*) 238. Royal Doulton Flambe monkeys stamped manufacturer’s mark 7cm high. £80-120 (plus 24% BP* ARR*) 239. Poole Pottery Bowl painted foliate motif impressed pottery mark 33.5cm diameter. £80-120 (plus 24% BP* ARR*)

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240. Poole Pottery Vase no. 443 16.5cm high. £30-50 (plus 24% BP* ARR*) 241. Poole Pottery Charger decorated with flowering foliage stamped ‘Poole England’ 32.5cm diameter. £50-100 (plus 24% BP* ARR*) 240

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242. Charles Lemanceau (1905-1980) Deers signed ‘LEMANCEAU’ 35cm high. £80-120 (plus 24% BP* ARR*) 243. Longwy Pottery Charger decorated in enamels with a Rooster printed factory marks 31.8cm diameter. £150-250 (plus 24% BP* ARR*) 244. Ernst Groeber of Baveria Art Deco vase decorated with stylised deer in landscape printed manufacturer’s mark 18cm high. £80-120 (plus 24% BP* ARR*)

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245. Katzhutte Figure of a lady dancing in blue dress printed factory marks and numbered ‘912’ and ‘1950’ (to base) 24cm high. £159-250 (plus 24% BP* ARR*) 246. Stefan Dakon (1904-1992) for Goldscheider Figure of a lady dancing in red dress impressed factory mark, facsimile signature and numbered ‘7078, 301, 31’ (to base). 24cm high. £400-600 (plus 24% BP* ARR*) 247. Friedrich Hudler (1889-1982) Art deco bowl decorated with stylised horses to the wide border painted maker’s mark 33cm diameter. £80-120 (plus 24% BP* ARR*)

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248. Laurence Whistler (1912-2000) for Wedgwood ‘Clifton Suspension Bridge’ and ‘St. Paul’s Cathedral’ two plates from Outline of Grandeur series printed manufacturer’s marks each 15cm diameter (2). £60-100 (plus 24% BP* ARR*) 249. Manner of Schlevogt Bohemian Art Deco malachite vase designed with stylised ladies in relief 24.5cm high. £50-100 (plus 24% BP* ARR*)

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250. Attributed to Loetz Tazza, possibly a Michael Powolny design cased white, green and purple glass 9.5cm high, 30.3cm diameter. £80-120 (plus 24% BP* ARR*) 251. Marriott Powell for Whitefriars Two vases pattern numbers 8473 with ribbed and waved decoration in sapphire and ruby glass each 20cm high (2). £40-80 (plus 24% BP* ARR*)

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252. Whitefriars Two vases pattern number 9384 flanged, in amber and green glass colourways each 20cm high (2). £50-100 (plus 24% BP* ARR*) 253. Harry Powell for Whitefriars Vase, circa 1920s pattern number 9018 of trumpet form, with vertical ribbing and in amber colour way 15.5cm high. £30-50 (plus 24% BP* ARR*) 254. William Wilson for Whitefriars Vase, circa 1950s pattern number 9353 ribbed form, in sapphire colour way 14cm high. £30-50 (plus 24% BP* ARR*)

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255. Webb of England Two footed bowls one in amethyst glass colour way and the other in green each stamped manufacturer’s mark 10cm and 18.3cm high respectively (2). £40-80 (plus 24% BP* ARR*) 256. Stuart & Sons (attributed to) Pedestal bowl clear glass with green peacock style feather pads 24cm high. £80-120 (plus 24% BP* ARR*)

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257. Tom Hill for Whitefriars Vase, circa 1937 sea green glass, pattern no. 9124 21.5cm high. £40-70 (plus 24% BP* ARR*) 258. Manner of Max Le Verrier (1891-1973) Pair of ram bookends patinated metal on stands 15cm across (2). £80-120 (plus 24% BP* ARR*) 259. Attributed to Thonet Bros. Pair of armchairs steel frame, black wood arm-rests and upholstered seats 85cm high (2). £200-400 (plus 24% BP* ARR*) 260. Mart Stam (1899-1986) Set of four ‘S43’ chairs, originally designed circa 1932 two armchairs and two standard beech wood and tubular steel 80cm high (4). £400-600 (plus 24% BP* ARR*) 261. Manner of Max Le Verrier (1891-1973) Pair of Bison bookends patinated metal on marble base 12cm high, 14cm across (including base) (2). £100-200 (plus 24% BP* ARR*) 261

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262. Manner of Aubrey Beardsley (1872-1898) Four fold screen depicting a sleeping maiden lacquered and painted white 183cm high, 162cm across. £800-1200 (plus 24% BP* ARR*) BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

263. Manner of William Plunkett Coffee table and matching nest of three tables of curved form, aluminium with tinted glass tops the coffee table 40cm high, 132cm across (4). £100-200 (plus 24% BP* ARR*)

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264. After Marcel Bouraine (1886-1943) Dancer with Cymbals signed ‘Derenne’ patinated spelter on black base 25.5cm high. £250-350 (plus 24% BP* ARR*) 265. After Pierre Le Fagueys (1892-1962) Dancer with Cymbals signed ‘Fayral’ patinated spelter on black base 26.5cm high (including base). £250-350 (plus 24% BP* ARR*)

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266. After Pierre Le Fagueys (1892-1962) Javelin Thrower signed ‘Fayral’ to base patinated spelter on stepped black base 30.5cm high (including base). £250-350 (plus 24% BP* ARR*) 267. After Marcel Bouraine (1886-1943) Hoop Girl signed ‘Briand’ patinated spelter on marble base 30cm high (including base). £250-350 (plus 24% BP* ARR*)

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268. Riviere Girl holding ball signed ‘X. Riviere’ patinated spelter on stepped black base 26.5cm high (including base). £250-350 (plus 24% BP* ARR*)

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269. A. E. Carpenter (fl.1930-40) Dancers and Fawn, 1935 signed and dated (to the reverse) marquetry panel in burr walnut, pollard oak, french walnut, amboyna, maple and teak 57cm x 47cm. £80-120 (plus 24% BP* ARR*) 270. See page 80 271. Neil Morris for H. Morris & Co. Ltd. Pair of lounge chairs, designed 1948 birch plywood and red button back upholstery 62cm across, 107cm long (2).

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Provenance: Lyon and Turnbull, Edinburgh, 22 April 2009; Private Collection. Literature: see Charlotte & Peter Fiell, 30s and 40s Decorative Art, Taschen, 2000, p.402 for an illustration of this model. £1000-2000 (plus 24% BP* ARR*) 272. Art Deco Style Plaffonier glass and chrome 44cm x 44cm. £300-600 (plus 24% BP* ARR*)

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270. Marcel Breuer (1902-1981) Long chaise originally conceived in 1936, possibly Knoll Associates birch plywood and upholstered padded seat 61.5cm high, 84cm across. £400-700 (plus 24% BP* ARR*)

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Post-War Design 273. Eric Ravilious for Wedgwood Boat Race bowl 20/250, numbered and with manufacturer’s mark reissued in 1986 to mark the 50th anniversary of Ravilious’ first employment by Wedgwood 30cm diameter, with original certificate and box. £400-600 (plus 24% BP* ARR*) 274. Eric Ravilious for Wedgwood Lemonade set 48/250, numbered and with manufacturer’s mark comprising jug and four mugs reissued in 1986 to mark the 50th anniversary of Ravilious’ first employment by Wedgwood the jug 19.5cm high, with original certificate and box. £400-600 (plus 24% BP* ARR*)

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275. Christian Dior Two vases, 1954 clear glass one signed and dated 12cm high and 11cm high (2). £50-100 (plus 24% BP* ARR*) 276. Timo Sarpaneva (1926-2006) for OPA Finland Ice Bucket stainless steel stamped manufacturer’s mark 22cm high. £50-100 (plus 24% BP* ARR*) 277. See page 82 278. Carlo Scarpa (1906-1978) for Venini ‘Tessuto’ vase, 1981 yellow and red cane glass signed ‘Venini Italia ‘81’ 12.5cm high. £300-500 (plus 24% BP* ARR*) 279. Sergio Asti for Venini Two vases clear glass with red spiral cane each signed ‘Asti Venini Murano’ 18.5cm high (2). £500-700 (plus 24% BP* ARR*)

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277. Carlo Scarpa (1906-1978) for Venini ‘Tessuto’ vase yellow and red cane glass engraved ‘Venini Italia / Carlo Scarpa’ 31.5cm high. £600-800 (plus 24% BP* ARR*)

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280. Tapio Wirkkala (1915-1985) ‘Bicchieri de Tapio’ footed bowl glass signed ‘Venini, Italia, TW’ 10cm high, 11.3cm diameter. Literature: F. Deboni, Venini Glass Catalogue 1921-2007, no.287. £150-250 (plus 24% BP* ARR*) 281. Tapio Wirkkala (1915-1985) ‘Medusa’ bowl, 1966 wide flared rim, with white glass spiralling signed ‘Venini, Italia, TW, ‘66’ 11cm high, 33cm diameter. £300-500 (plus 24% BP* ARR*)

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282. Tapio Wirkkala (1915-1985) for Venini Vase, 1986 green glass with red disc signed ‘Venini, TW, ‘86’ labelled 27.5cm high. £300-500 (plus 24% BP* ARR*) 283. Timo Sarpaneva (1926-2006) for Venini ‘Tuuli’ bowl, 1990 black and yellow glass signed ‘Venini, Sarpaneva, ‘90’ labelled 13.3cm high, 20.5cm diameter. £200-400 (plus 24% BP* ARR*) 284. Ludovico Diaz De Santillana (1931-1989) for Venini ‘Colletti’ vase, 1998 two tone blue glass signed ‘Venini, ‘98’ 22cm high. £400-600 (plus 24% BP* ARR*)

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285. Gio Ponti (1891-1979) for Venini ‘Bottiglie Morandiane’ decanter and stopper, 1983 yellow and turquoise glass signed ‘Venini, Italia, ‘83’ 35.5cm high. £500-700 (plus 24% BP* ARR*)

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286. Venini Fazzoletto vase bands of blue and white latticinio three line Venini mark 15.5cm high. £80-120 (plus 24% BP* ARR*) 287. Venini Vase, 1985 pale jade glass signed and dated ‘Venini, Italia, 85’ 35.5cm high. £100-200 (plus 24% BP* ARR*)

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288. Venini Vase spiral decoration, in the manner of Paolo Venini acid etched three line Venini mark 46cm high. £100-200 (plus 24% BP* ARR*) 289. Nason of Murano Vase scrolling rim, cased clear over red glass with latticinio paper label 13cm high. £40-80 (plus 24% BP* ARR*) 290. Cenedese of Murano Vase incalmo glass, with two blue bands separated by band of coloured threads etched mark 25.5cm high. £100-200 (plus 24% BP* ARR*) 291. Sandro Frattin (20th Century) Head glass signed and with paper label 28.5cm high. £100-200 (plus 24% BP* ARR*)

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292. Stefano Toso (b.1958) of Murano Abstract sculpture blue, green, red and clear glass signed 37cm high overall. £150-250 (plus 24% BP* ARR*) 293. Hans Wegner (1914-2007) Pair of J16 rocking chairs painted white, with woven seat 108cm high, 63cm across (2). £400-700 (plus 24% BP* ARR*)

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294. R & Y Augousti Two side tables cabriole legs metal labels the largest 50.5cm high, 50.5cm across (2). £300-500 (plus 24% BP* ARR*) 295. André Cazenave (1928-2003) Five ‘Dorra’, designed in 1970 powdered marble two labelled for Atelier A, another for Tecta and one unlabelled the largest 33cm high, the smallest 13cm high (5). £500-700 (plus 24% BP* ARR*)

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296. Arne Jacobsen (1902-1971) for Fritz Hansen 3601 folding table, originally designed 1952 lacquered wood and chrome 49cm high, 70cm across. £500-700 (plus 24% BP* ARR*)

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297. Arne Jacobsen (1902-1971) for Fritz Hansen Set of six 3100 ‘Ant’ chairs, originally designed 1952 lacquered wood and chrome stamped manufacturer’s marks 77.5cm high (6). £400-600 (plus 24% BP* ARR*)

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298. Arne Jacobsen (1902-1971) for Fritz Hansen Set of six 3107 chairs, originally designed 1955 lacquered wood and chrome stamped manufacturer’s marks 74cm high (6). £400-600 (plus 24% BP* ARR*)

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299. Arne Jacobsen (1902-1971) for Fritz Hansen Table circular, lacquered wood and chrome 69cm high, 120cm diameter. £400-600 (plus 24% BP* ARR*) 300. Arne Jacobsen (1902-1971) for Fritz Hansen Pair of 3107 chairs, originally designed 1955 padded leather seats and chrome stamped manufacturer’s marks 77cm high. £200-400 (plus 24% BP* ARR*)

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301. See page 91 302. Arne Jacobsen (1902-1971) for Fritz Hansen Table white top and chrome base stamped manufacturer’s marks 70cm high, 75cm diameter. £200-300 (plus 24% BP* ARR*) 303. Arne Jacobsen (1902-1971) for Louis Poulsen AJ table lamp, designed in 1960 grey painted metal adjustable head. 39cm high. The AJ lighting series was originally designed in 1960 as part of the Gesamtkuntswerk, which was part of the ambitious project for Copenhagen’s SAS Royal Hotel. Provenance: Christie’s, South Kensington, 14 September 1996, lot 1216. £200-400 (plus 24% BP* ARR*) 304. Bruno Mathsson (1907-1988) for Firma Karl Mathsson Reading stand birch and nickel adjustable stand labelled. 89cm high. £400-600 (plus 24% BP* ARR*) 305. Manner of Jeanneret Le Corbusier (1896-1967) Pair of swivel stools padded seats and chrome supports 54cm high, 32cm diameter (2). £300-500 (plus 24% BP* ARR*)

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301. Arne Jacobsen (1902-1971) for Fritz Hansen 1167 dining table, originally designed 1955 rosewood and steel stamped manufacturer’s mark 70cm high, 152cm across, 80cm deep. £800-1200 (plus 24% BP* ARR*)

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306. Ernest Race (1913-1964) Pair of ‘BA3’ chairs, originally designed 1945 aluminium and orange fabric stamped ‘Reg. Des. No. 848794 / Made in England’ 79cm high, 44cm across. £200-400 (plus 24% BP* ARR*) 307. George Nelson (1908-1986) Platform bench, originally designed 1946 lacquered feet 34.5cm high, 122cm long, 47cm deep. £200-400 (plus 24% BP* ARR*)

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308. See page 93 309. British Modernist School Set of eight wall lights and one double light, circa 1950s aluminium domed shades and shaped arms each wall light 75cm long (9).

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The light fittings bear comparison to those in the auditorium at Colston Hall in Bristol, which was redesigned by the architect J. Nelson Meredith and opened as part of the Festival of Britain celebrations in Bristol in July 1951. £200-400 (plus 24% BP* ARR*) 310. British Modernist School Ceiling light, circa 1950s central stem with eight branches with aluminium domed shades and shaped arms each branch 133cm long. The light fittings bear comparison to those in the auditorium at Colston Hall in Bristol, which was redesigned by the architect J. Nelson Meredith and opened as part of the Festival of Britain celebrations in Bristol in July 1951. £300-500 (plus 24% BP* ARR*)

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308. Piero Fornasetti (1913-1988) ‘Winter’ chair, from The Four Seasons series, designed 1954 lithographic transfer-print on lacquered wood labelled 94.5cm high, 40cm across. Literature: see Patrick Mauries, Fornasetti: Designer of Dreams, London: Thames and Hudson, 1991, p.245. £600-800 (plus 24% BP* ARR*)

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311. British Modernist School Pair of hanging lights, circa 1950s each with three domed shades 88cm across (2). The light fittings bear comparison to those in the auditorium at Colston Hall in Bristol, which was redesigned by the architect J. Nelson Meredith and opened as part of the Festival of Britain celebrations in Bristol in July 1951. £200-400 (plus 24% BP* ARR*)

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312. Johannes Andersen (1903-1991) for Christian Linneberg Set of eight rosewood chairs, designed 1961 model 94 curved backs and on tapering legs labelled 77cm high (8). £600-1000 (plus 24% BP* ARR*)

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313. Vico Magistretti (1920-2006) ‘Chimera’ table lamp, designed 1969 manufactured by Artemide plastic on a metal base, stamped (under base) stamped ‘Patent Pending’ 80cm high. £300-500 (plus 24% BP* ARR*) 314. Warren Platner (1919-2006) Coffee table, originally design in 1966 wire rod base with bronze finish, tinted bevelled glass top probably produced by Knoll 38cm high, 106cm diameter. £200-400 (plus 24% BP* ARR*)

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315. Carl Jacobs (b.1925) for Kandya ‘Jason’ stacking chair, designed 1950 laminated beech labelled 71.5cm high. £100-200 (plus 24% BP* ARR*) 316. James Leonard for Esavian Teachers armchair, circa 1950s bentwood ply stamped manufacturer’s mark 80.5cm high, 56cm across. £80-120 (plus 24% BP* ARR*) 317. Charles Eames (1907-1978) for Herman Miller Aluminium Group armchair, originally designed 1958 orange upholstery and aluminium frame stamped manufacturer’s mark 84cm high, 56cm across. Provenance: From an Oxford institution. £150-250 (plus 24% BP* ARR*) 318. Charles Eames (1907-1978) for Herman Miller Five Aluminium Group series chairs, originally designed 1958 cream upholstery and aluminium frame stamped manufacturer’s mark 86.5cm high, 51.5cm across (4). Provenance: From an Oxford institution. £400-700 (plus 24% BP* ARR*)

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319. Herman Miller Inc. Action Office 2 Model Kit boxed the box 76.5cm x 51.5cm. £50-100 (plus 24% BP* ARR*) 320. Elio Martinelli for Martinelli Luce Flex Carlotta table lamp red plastic with clamp and adjustable neck approximately 71cm across. £60-100 (plus 24% BP* ARR*) 321. Piero Fornasetti (1913-1988) ‘A Giostra Di Lorenzo’ ashtray stamped manufacturer’s marks 16.5cm x 12.3cm. £50-100 (plus 24% BP* ARR*)

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322. Verner Panton (1926-1998) Set of four ‘Panton’ chairs, originally designed 1959-1960 from an early production, probably made in the material Baydur, circa 1968 black 81cm high (4). £400-600 (plus 24% BP* ARR*) 323. Scandinavian School Rug wool in blues, green and purple 205cm x 135cm. £300-500 (plus 24% BP* ARR*) 324. Gunni Omann Desk, model No.75 teak six drawers, with one drop-front door concealing storage 153cm across, 72cm high, 80.5cm diameter. £300-500 (plus 24% BP* ARR*)

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325. Fredrik Kayser (1924-1968) for Vatne Pair of armchairs teak grey upholstered cushions manufacturer’s labels 77cm high, 65cm across (2). £1000-2000 (plus 24% BP* ARR*)

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326. Marco Zanuso (1916-2001) for Zanotta Set of four ‘Celestina’ folding chairs, designed 1978 patinated steel, with leather seats stamped ‘Zanotta Italy’ 83.5cm high (4). £400-600 (plus 24% BP* ARR*)

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327. Niels Moller for J. L. Moller Armchair, model 65, designed in 1968 rosewood and leather seating 78cm high. Provenance: Oscar Woollens Ltd., London.

This lot is sold together with an Article 10 License. £150-250 (plus 24% BP* ARR*) 328. Aksel Kjersgaard Nest of ‘Cube’ tables rosewood the largests 44cm high, 58cm across (3).

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Provenance: Oscar Woollens Ltd., London.

This lot is sold together with an Article 10 License. £300-500 (plus 24% BP* ARR*) 329. See page 101 330. Peter Løvig Nielsen Side table rosewood fitted six drawers maker’s stamp 70.5cm high, 120cm across.

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Provenance: Oscar Woollens Ltd., London.

This lot is sold together with an Article 10 License. £400-600 (plus 24% BP* ARR*) 331. Howard Keith - HK Furniture Ltd. Side table rosewood fitted two drawers with ‘HK London’ label 100cm across, 47cm high. Provenance: Oscar Woollens Ltd., London.

This lot is sold together with an Article 10 License. £300-500 (plus 24% BP* ARR*)

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329. Arne Hovmand-Olsen for Mogens Kold Chest of drawers rosewood fitted three drawers 71cm high, 43.5cm deep, 81cm across. Provenance: Oscar Woollens Ltd., London. This lot is sold together with an Article 10 License. £400-700 (plus 24% BP* ARR*)

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332. Gianfranco Frattini (1926-2004) for Bernini Chest of drawers fitted eight drawers, the black lacquered metal handles in the form of Bernini sign on cylindrical feet 62cm high, 44.7cm deep, 109cm across. £600-900 (plus 24% BP* ARR*)

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333. Franco Raggi for Fontana Arte ‘Trude’ floor lamp, designed 2002 ribbed glass shade and chrome stand approximately 175cm high. Note: This lot is sold together with another similar lamp, however, the glass is broken on this model. £700-900 334. Manner of Charles (1907-1978) and Ray Eames (1912-1988) Stool walnut 38cm high, 32.5cm diameter. £300-400 (plus 24% BP* ARR*)

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335. Vallauris Pottery ‘Fawn’ wall mask black glazed pottery indistinctly sign and inscribed ‘Vallauris’ 24.5cm high. £100-200 (plus 24% BP* ARR*) 336. Pierre Guariche (1926-1995) ‘Prefacto’ table, originally designed 1951 yellow formica, black lacquered metal legs 51cm high, 77cm across. £300-500 (plus 24% BP* ARR*) 337. Pierre Guariche (1926-1995) Table glass, black lacquered metal frame and brass 39.5cm high, 94cm across. £200-400 (plus 24% BP* ARR*) 338. Alvar Aalto (1898-1976) Two pairs of door handles, 1950s probably manufacturered by Viljo Hirvonen, Valaistustyö brass 12.5cm high (2). £300-500 (plus 24% BP* ARR*) 339. Danish School Wall hanging, circa 1950s wool in red, white and black 278cm x 138cm. £100-200 (plus 24% BP* ARR*) 339

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340. Mies Van Der Rohe (1886-1969) for Knoll Daybed tan leather, walnut and stainless steel applied Knoll upholstery to underside 195cm long, 95cm across, 43cm high. £1000-2000 (plus 24% BP* ARR*)

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341. 20th Century School Modernist chaise longue woven brown leather seat on chrome support approximately 155cm long. £300-500 (plus 24% BP* ARR*) 342. Henry Dean of Belgium Dish opaque glass with red disc to centre signed and labelled 41.5cm diameter. £40-80 (plus 24% BP* ARR*)

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343. Richard Young for Merrow Associates Coffee Table chrome, glass and rosewood on wheels 41.3cm high, 53cm across.

This lot is sold together with an Article 10 license. £100-200 (plus 24% BP* ARR*) 344. Richard Sapper (1932-2015) for Artemide Tizio desk lamp, design conceived 1972 black patinated metal 74cn across. £60-100 (plus 24% BP* ARR*)

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345. Manner of Harvey Guzzini Table lamp chrome with white plastic shade 60cm high. £50-100 (plus 24% BP* ARR*) 346. Harvey Guzzini Table lamp black plastic with opaque shade stamped ‘Harvey Guzzini Design Studio’ 22cm diameter. £50-100 (plus 24% BP* ARR*)

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347. Manner of Harvey Guzzini Pair of table lamps shaped glass opaque shades 18cm high (2). £50-100 (plus 24% BP* ARR*) 348. Aksel Kjersgaard Stool teak, upholstered seat stamped marks 60cm across. £50-100 (plus 24% BP* ARR*)

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349. Manner of Jean Royere (1902-1981) ‘Tour Eiffel’ table iron, brass and with glass top 34cm high, 130cm long, 53cm deep. £1000-2000 (plus 24% BP* ARR*) 350. See page 107 351. Troika Wheel vase signed ‘TROIKA AB’ 11.4cm high. £60-100 (plus 24% BP* ARR*) 352. Alan Peters (1933-2009) Low table, circa 1970s stamped maker’s mark sycamore and Chilean pine 38cm high, 91cm across, 53cm deep. £400-700 (plus 24% BP* ARR*) 353. Norman Stuart Clarke (b.1944) at London Glassworks Paperweight, 1981 iridescent decoration signed and dated 11cm high. £40-70 (plus 24% BP* ARR*) 354. Bertil Vallien (b.1938) Vase glass, bubbled and streaked with white signed 23.5cm high. £80-120 (plus 24% BP* ARR*)

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350. Manner of Jean Royere (1902-1981) Set of six ‘Tour Eiffel’ wall lights iron and brass, with cream shades 42cm across (6). £1000-2000 (plus 24% BP* ARR*)

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355. Otto Brauer for Holmegaard ‘Gul’ vase, designed circa 1965 green glass 36cm high. £60-100 (plus 24% BP* ARR*) 356. Whitefriars ‘Yard of Ale’ glass red glass labelled 88cm long. £60-100 (plus 24% BP* ARR*) 357. Edward Hald (1883-1980) for Orrefors ‘Fish Graal’ vase originally designed in 1936 engraved ‘Orrefors Sweden / Graal nr.715 / Edvard Hald’ 14cm high.

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Orrefors Glasbruk in Sweden invented the Graal glass technique in 1916. This was a very complex and time consuming process, and a variation of this technique ‘Fishgrall’ was created by Hald in the 1930s. A design was painted on the glass, then all the green layer which was not covered with this design was acid etched, allowing the pattern to stand-out from the background. It would then be re-heated and covered with another layer of crystal. £250-350 (plus 24% BP* ARR*) 358. Bertil Vallien (b.1938) for Kosta Boda ‘Galaxy’ bowl engraved ‘Kosta Boda / B Vallien / 58015’ 11cm high, 15cm diameter. £150-250 (plus 24% BP* ARR*) 359. Marianne Buus (b.1967) The Pillars group of four glass vases each signed ‘BUUS’ the tallest 25.5cm high (4). £200-300 (plus 24% BP* ARR*) 360. Marianne Buus (b.1967) Vase smoky blue opaque glass signed ‘BUUS’ 22.3cm high. £80-120 (plus 24% BP* ARR*)

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361. Willy Johansson and Severin Broby for Hadeland Glass of Norway Two vases in smoky grey glass and opaque white glass engraved ‘Hadeland / 2106 / W.J.’ and ‘Hadeland / SB’ 14.5cm high and 17.5cm high (2). £100-200 (plus 24% BP* ARR*) 362 and 363. See page 110 364. Bente Bonne (1929-1996) Bowl, 1992 layered coloured glass signed and dated 12cm high, 40.5cm across.

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Bente Bonne was an important Danish glass engraver, who won numerous awards including the Ole Haslund’s Award. She participated in significant exhibitions around the world including The International Exhibition of Glass Craft in Japan and worked on glass enamel pieces for Georg Jensen. £300-500 (plus 24% BP* ARR*) 365. Karen Klim (b.1951) Vessel, 2000 opaque white, yellow and blue glass signed and dated 23.5cm high. £150-250 (plus 24% BP* ARR*) 366. Karen Klim (b.1951) Vessel, 1999 opaque white and purple glass signed and dated 22.5cm high. £150-250 (plus 24% BP* ARR*) 367. Karen Klim (b.1951) Vessel, 2000 opaque white, red, yellow and blue glass signed and dated 25cm high. £150-250 (plus 24% BP* ARR*) 368. Karen Klim (b.1951) Vessel, 2003 opaque white, blue and red glass, with red rim signed and dated 26.3cm high. £100-200 (plus 24% BP* ARR*)

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362. Per-René Larsen (b.1949) ‘Coral Reef’ vase, 1998 signed and dated 28cm high. £250-350 (plus 24% BP* APR*) 363. Per-René Larsen (b.1949) ‘The Sea’ vase 33cm high. £250-350 (plus 24% BP* ARR*)

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369. Karen Klim (b.1951) Two vases, 2003 acid etched in blue, yellow and opaque glass each signed and dated 41cm and 35.3cm (2). £100-200 (plus 24% BP* ARR*) 370. Mia Hegnhøj (b.1970) Figure, 2002 opaque glass signed, dated and numbered ‘8-35’ 25cm high. £80-120 (plus 24% BP* ARR*)

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371. Stephen Gilles (b.1967) and Kate Jones (b.1966) ‘Rain VII (Extremes)’, 2000 acid etched glass signed, dated, titled and inscribed ‘Rosedale 2299’ 12.5cm high, 28cm diameter. £200-300 (plus 24% BP* ARR*) 372. Alvar Aalto (1898-1976) ‘Savoy’ Vase clear and white cased glass inscribed ‘ALVAR AALTO’ 21cm across. £50-100 (plus 24% BP* ARR*) 373. Borek Sipek (1949-2016) for Ajeto Candelabra/vase clear and coloured glass, and steel signed and labelled 29.5cm high. £80-120 (plus 24% BP* ARR*) 374. Sam Herman (b.1936) Abstract sculpture, 1972 cased clear and purple glass signed and dated 31.2cm high, 32.5cm across. £200-400 (plus 24% BP* ARR*)

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375. Roger Tye (Contemporary) of Phoenix Hot Glass ‘Flame’ bowl freeform red glass signed ‘Phoenix Hot Glass’ 41.5cm across. £100-200 (plus 24% BP* ARR*) 376. Erik Hoglund (1932-1998) Six vases, 1950s green, orange, smoky grey and clear bubbled glass each engraved and numbered the largest 20.5cm (6). £150-250 (plus 24% BP* ARR*)

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377. Alvar Aalto (1898-1976) for Iittala ‘Savoy’ vase glass stamped ‘ALVAR AALTO IITALA’ 16cm high, 20.5cm across. £50-100 (plus 24% BP* ARR*) 378. Poltrona Frau R. & D. of Italy Set of 10 ‘Vittoria’ chairs, designed 1996 blue leather and square tapering beech legs labelled 90.5cm high (10). £800-1200 (plus 24% BP* ARR*) 379. Paul Priestman Floor standing heater aluminium and polished brass column 128cm high. Note: These were designed by Preistman at The Royal College of Art, with the goal of providing something in heating which was a ‘focal point, not an eyesore’. £80-120 (plus 24% BP* ARR*) 380. Pagani Paolo for Alessi MP1560 Pepper Mill, designed in 1991 beech and aluminium stamped manufacturer’s marks 60cm high. £50-100 (plus 24% BP* ARR*)

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381. Philippe Starck (b.1949) Prototype corner chair curved seat and back 75cm high. Provenance: Purchased by the current vendors from Christie’s, South Kensington, London, circa 1996. £300-500 (plus 24% BP* ARR*) 382. Philippe Starck (b.1949) for Kartell Ero/S chair, designed in 2001 blue polycarbonate and chrome stamped manufacturer’s mark 79.5cm high. £100-200 (plus 24% BP* ARR*)

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383. Terry Frost (1915-2003) Two plates stamped ‘For Tate by ECP Design’ 31.5cm diameter (2). £100-200 (plus 24% BP* ARR*) 384. Pablo Picasso for Desso ‘Artequin’ rug 20/500, numbered wool labelled 178cm x 101cm. £500-800 (plus 24% BP* ARR*) 385. Frank Goddard Two lidded boxes the taller with impressed mark 13cm high and 5.5cm high (2). £50-100 (plus 24% BP* ARR*)

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386. Peter Blake (b.1932) for Wedgwood ‘Demonstrations’ plate one of an edition of 500 commissioned by The National Arts Collection Fund facsimile signature and manufacturer’s marks 31cm diameter, cased. £100-200 (plus 24% BP* ARR*) 387. Peter Blake (b.1932) for Wedgwood ‘Demonstrations’ plate one of an edition of 500 commissioned by The National Arts Collection Fund facsimile signature and manufacturer’s marks 31cm diameter, cased. £100-200 (plus 24% BP* ARR*) 388. Patrick Heron (1920-1999) for Wedgwood ‘Garden’ plate one of an edition of 500 commissioned by The National Arts Collection Fund facsimile signature and manufacturer’s marks 31cm diameter, cased. £100-200 (plus 24% BP* ARR*)

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389. Jim Partridge (b.1953) Vessel scorched oak and painted red stamped ‘J. B. PARTRIDGE’ 36.5cm across, 25cm high. £400-600 (plus 24% BP* ARR*)

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Jewellery & Silver

391. Georg Jensen (1866-1935) ‘Ornamental’ salad servers numbered 38 stamped ‘Denmark Sterling’ maker’s mark for 1933-1944 the fork 21.5cm long (2). £400-600

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392. Albert Edward Jones (1878-1954) Arts & Crafts silver mug hammered, applied with stylised wirework decoration and inset oval turquoise Ruskin roundels maker’s mark, hallmarked for Birmingham 1904 7.8cm high. £200-300

393. Omar Ramsden (1873-1939) and Alwyn Carr (1872-1940) Arts & Crafts silver caddy spoon hammered bowl, sinuous openwork finial centred with green enamel panel maker’s mark, hallmarked for London 1906 8.9cm long. £300-500

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394. Manner of Wiener Werkstatte Photograph frame foliate and flower bud border stamped ‘WW’ (to the reverse) gilt-metal 20.2cm x 16.4cm. £80-120

395. Tiffany & Co. of New York Photograph frame rectangular form, embossed with flowerheads and C-scrolls signed and stamped ‘Sterling Silver 925-1000’ pattern number 12873 for 1896, 18.2cm long. £100-200 396. Art Nouveau Bronze ashtray terminating with a trio of flowerheads signed ‘Miault’, 16.5cm long. £50-100

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397. Omar Ramsden (1873-1939) Set of six Arts and Crafts silver teaspoons with hammered bowls, and each with the badge of the Queen’s Royal West Surrey Regiment, known as The Queens to the end one inscribed to the stem ‘Capt L. W. H. Bowler, MC, 1.3.24’ hallmarked for London 1929, and one for London 1923 in original ‘Omar Ramsden’ fitted case, the case marked ‘Captain L.W.H. Bowler, M.C. from C.F.H.G. 8th February 1930’ each spoon 11.2cm long. Provenance: Leslie William Harold Bowler (1893-1981) joined the Public Schools Battalion (TA) of the Middlesex Regiment, at the outbreak of war in 1914, but on being commissioned he transferred to the 22nd County of London Regiment (The Queen’s) which was based in Southwark. He served for more than three years in the trenches, was a platoon commander for 14 months, and then became Adjutant and later Company Commander. Capt. Leslie Bowler was awarded two Military Crosses and twice mentioned in Despatches. After the War, he helped the Colonel who had commanded the 22nd County of London Regiment, Colonel C. F. H. Greenwood, DSO, MC, to form a Territorial Battalion in Southwark and he served as Adjutant until 1924. These spoons were a gift from the Colonel in recognition of that service and the years they served together. £400-600 BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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398. Stella Campion (Contemporary) Silver ‘Frog’ brooch signed ‘SMAC’, with London hallmark for 2013 4.1cm across. British Jewellers Association 1st Prize Winner £100-150 399. Stella Campion (Contemporary) Silver ‘Wave’ brooch signed ‘SMAC’, with London hallmark for 2013 5.1cm long. £100-150

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400. Murrle, Bennett & Co. Pendant oval form with pierced and studded decoration enclosing enamel panel of landscape scene heightened in red, orange and green signed and stamped ‘950’ (drop deficient) 3.6cm long. £40-60 401. Georges Pierre (fl. 1900) Art Nouveau dragonfly pendant necklace stained and carved horn panel centred with paste cabochon and suspending tear-shaped drop on black ribbon with paste bead spacers signed ‘GIP’ the pendant 11cm long. £200-300

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402. Tiffany & Co. of New York Four spoons comprising two dessert spoons decorated with bamboo foliage, birds, insects and and vines heightened in shades of yellow and rose ice cream spoon, similarly decorated to hammered ground each stamped ‘Sterling’ and monogrammed with maker’s marks for 1907-1947 and further ice cream spoon, with marbled decoration also monogrammed the largest spoon 15.2cm long (4). £300-500

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403. Tiffany & Co. of New York Four spoons comprising Persian pattern dessert spoon stamped ‘Pat. 1872’ Olympian pattern dessert spoon, depicting Diana and her nymphs stamped ‘Pat. 1878’ and two ice cream spoons, decorated with lily pads, fish and a turtle each stamped ‘Sterling’ and monogrammed with maker’s marks for 1907-1947 the largest spoon 16cm long (4). £200-400

404. Tiffany & Co. of New York Four ice cream spoons comprising Audubon pattern spoon and three further spoons, variously decorated with birds and foliage each stamped ‘Sterling’ and monogrammed with maker’s marks for 1907-1947 the largest spoon 15.3cm long (4). £200-400

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405. Georg Jensen Silver brooch openwork oval panel with foliate terminals numbered 141 signed and stamped ‘925S Denmark’, London import marks for 1995 4.3cm across. £60-80 406. Flemming Eskildsen (b.1936) for Georg Jensen Silver collar necklace and bracelet suite with oval concave panels numbered 171 signed and stamped ‘925S Denmark’, London import marks for 1971 40cm long and 18cm long respectively (2). £500-700

407. Georg Jensen ‘Kneeling Fawn’ silver brooch numbered 256 signed and stamped ‘Sterling’, London import marks for 1971 4.5cm across. £100-150 408. Kristian Møhl-Hansen (1876 - 1962) for Georg Jensen Brooch oval panel enclosing an eagle and foliage numbered 166 signed and stamped ‘925 Sterling Denmark’ maker’s mark for 1933-1944 and Swedish three crowns mark later fitting 5.7cm across. £150-180

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409. Stella Campion (Contemporary) Silver ‘Flamingo’ brooch signed ‘SMAC’, with London hallmark for 2014 5.6cm long. £100-150

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410. Stella Campion (Contemporary) Silver ‘Swallow’ brooch signed ‘SMAC’, with London hallmark for 1996 4.2cm across. £100-150

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411. Atelier Borgila Collar necklace with repeating chevron links signed ‘ABA’ and stamped ‘Sterling Sweden’ with Swedish three crowns mark and date code for 1958 36.5cm long. £200-300 412. Maria Berntsen (Contemporary) for Georg Jensen ‘Mirror’ ring inset with moonstone cabochons numbered 261 signed and stamped ‘925S Denmark’ size K. £70-90

414. Jack Spencer (20th Century) Silver pendant openwork abstract form shield-shaped maker’s mark, Sheffield hallmark for 1971 and numbered 125 on a trace-link chain the pendant 5.5cm long. £50-70 415. British School Silver pendant necklace triangular frame enclosing an oval sodalite cabochon London hallmark for 1972 maker’s mark ‘ELW’ possibly for Elizabeth Liptay Wagner on trace-link chain the pendant 5.6cm long. £50-70

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413. Swedish School Modernist ring inset with two rhodochrosite cabochons signed ‘RCN’ with Swedish three crowns mark and date code for 1972 size M. £40-60

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416. Knud V Andersen (20th Century) for Anton Michelsen Pendant abstract sunburst form signed and stamped ‘KVA Danmark 925 S’ 6.5cm long. £80-120

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417. Gail Klevan (Contemporary) Pendant necklace and earrings suite acrylic panels heightened with shades of pink, purple and red the pendant signed and dated 2004 on segmented collar the pendant 5cm long (2).

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Gail Klevan trained in Silversmithing and Jewellery at the Royal College of Art and specialises in hand painted acrylic jewellery design. £50-70

418. Andrew Logan (Contemporary) Brooch mirrored glass, paste and resin unsigned 10.5cm long. Note: Andrew Logan is a sculptor, jewellery designer, portraitist and performance artist. Born in Oxford and educated as an architect, Andrew’s design work includes collaborations with Zandra Rhodes and Emmanuel Ungaro. £100-200

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419. Theo Fennell Panadol case silver London hallmark for 2003 10.5cm x 7.5cm, cased. £100-200

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420. Deakin and Francis Silver cruet set cylindrical form with textured finish and blue glass liners Birmingham hallmarks for 1969-75 the salt 5.5cm high (3). £100-200

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MODERN BRITISH + POST-WAR ART FRIDAY 26 MAY

Artist’s Textiles & Books 421. British Mid-Century School Flowering plants cotton furnishing fabric 350cm x 125cm. £80-120 (plus 24% BP* ARR*) 422. Trevor Coleman for Hull Traders Ltd. ‘Totem’, designed 1963 cotton satin in three colours inscribed ‘Totem Designed by Trevor Coleman’ on selvedge 58.5cm x 120cm. £200-300 (plus 24% BP* ARR*)

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423. Robert Stewart (1924-1995) for Liberty & Co. ‘Raimoult’, designed 1954 furnishing fabric 26cm x 53cm. £100-200 (plus 24% BP* ARR*)

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424. Robert Stewart (1924-1995) for Liberty & Co. ‘Masks’, designed 1954 furnishing fabric 27.5cm x 67.5cm. £100-200 (plus 24% BP* ARR*)

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425. John Piper (1903-1992) for Arthur Sanderson & Sons Ltd. ‘Chiesa Della Salute’, designed 1960 furnishing fabric 37.5cm x 48cm. £200-300 (plus 24% BP* ARR*) 424

426. John Piper (1903-1992) for Arthur Sanderson & Sons Ltd. ‘Northern Cathedral’, designed 1961 furnishing fabric 38.5cm x 53.5cm. £200-300 (plus 24% BP* ARR*)

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427. Marino Marini (1901-1980) for Edinburgh Weavers ‘Cavallo’, designed 1959 jacquard woven furnishing fabric 38cm x 49.5cm. This fabric was based on the painting referred to as ‘Horse on a Red Ground’. £200-300 (plus 24% BP* ARR*) 428. Keith Vaughan (1912-1977) for Edinburgh Weavers ‘Fishermen’, designed 1956 screen printed cotton furnishing fabric 27.5cm x 27.5cm.

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‘Fishermen’ is based on a lithograph called ‘Old Seaweed Hoist’. Fishing scenes were a theme Vaughan explored after a visit to Cornwall in 1948. £100-200 (plus 24% BP* ARR*) 429. John Drummond for Hull Traders Ltd. ‘Sabines’, designed 1957 furnishing fabric 37cm x 53cm. £100-200 (plus 24% BP* ARR*) 430. Anna Mayerson for Edinburgh Weavers ‘Agamemnon’, designed 1962 Jacquard woven spun rayon furnishing fabric 39.5cm x 49.7cm. £100-200 (plus 24% BP* ARR*) 431. Sylvia Chalmers (fl.1951-1990) for Heals ‘Jaborandi’, designed in 1953 screen-printed cotton printed in the border ‘Heal’s ‘Jaborandi’ by Sylvia Chalmers’ 117cm x 56cm. £100-200 (plus 24% BP* ARR*) 432. Donald Hamilton Fraser (19292009) for David Whitehead Ltd. ‘Cyclades’, design issued circa 1960 screen-printed cotton printed ‘Designed for David Whitehead by Donald Hamilton-Fraser’ to selvedge 58cm x 85cm, unframed. £60-100 (plus 24% BP* ARR*)

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433. Afro Basaldella (1912-1976) for David Whitehead Ltd. Abstract fabrics, circa 1957 in coral and blue colour ways screen-printed cotton the latter printed ‘David Whitehead Guaranteed Fabric’ to the selvedge 113cm x 48.5cm and 114cm x 48.5cm, unframed (2). £80-120 (plus 24% BP* ARR*) 434. Dorothy Carr (20th Century) for Heals ‘Oak’, designed in 1958 screen-printed cotton printed ‘Heal’s Oak by Dorothy Carr’ on selvedge 117.5cm x 60cm. £80-120 (plus 24% BP* ARR*)

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435. Hans Juda (1904-1975) for Heals ‘Tapa’, designed 1962 two screen-printed cotton panels in green and orange colourways each printed ‘Heals Tapa by Hans Juda’ to the selvedge 118cm x 49cm and 116cm x 51cm, unframed (2). £100-200 (plus 24% BP* ARR*) 436. Bernard Wardle Fabrics ‘Byzantine Horses’ screen printed fabric 123cm x 112cm, unframed. £80-120 (plus 24% BP* ARR*) 437. Barbara Brown (b.1932) for Heals ‘Ebb Tide’, designed in 1966 screen printed cotton crepe 111cm x 101cm. £50-100 (plus 24% BP* ARR*) 438. Edinburgh Weavers ‘Marimba’, circa 1950s/1960s linen printed ‘Marimba’ to the edge 123cm x 80cm, unframed. £50-100 (plus 24% BP* ARR*)

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439. Edinburgh Weavers Untitled, circa 1950s/1960s screen-printed fabric printed ‘EW’ monogram 125cm x 87cm, unframed. £80-120 (plus 24% BP* ARR*) 440. Shirley Craven (b.1934) for Hull Traders ‘Le Bosquet’, designed circa 1960 screen-printed fabric 103cm x 67cm, unframed. £50-100 (plus 24% BP* ARR*) 441. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘The Stones of Bath’, designed in 1959 screen-printed ‘Sanderlin’ in green colourway 78cm x 54cm £100-200 (plus 24% BP* ARR*)

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442. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘The Stones of Bath’, designed in 1959 screen-printed ‘Sanderlin’ in blue colourway 58cm x 54cm , unframed. £80-120 (plus 24% BP* ARR*) 443. Lucienne Day (1917-2010) for Heals Quarto, 1960 and Riga, 1961 printed fabric 24cm x 21cm and 34cm x 26cm, and a Robert Stewart ‘Mirage’ fabric fragment, 17cm x 17.5cm, unframed (3). £30-60 (plus 24% BP* ARR*) 444. Lucienne Day (1917-2010) for Heals Tarn cotton, in coral and white colourways printed ‘’Tarn’ By Lucienne Day’ to selvedge of coral fabric 63cm x 61cm and 62.5cm x 62cm (unframed) (2). £80-120 (plus 24% BP* ARR*)

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445. Humphrey Spender (1910-2005) for Edinburgh Weavers Inglewood, designed 1958 jacquard cotton and rayon blend furnishing fabric 88cm x 82cm, unframed. £80-120 (plus 24% BP* ARR*) 446. Mary Warren for Heals Nautilus, designed 1956 screen-printed cotton furnishing fabric 56cm x 58.5cm, unframed. £40-70 (plus 24% BP* ARR*) 445

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447. John Piper (1902-1993) for Arthur Sanderson & Sons Ltd. Arundel screen-printed cotton furnishing fabric 39.5cm x 48cm, unframed. £60-100 (plus 24% BP* ARR*) 448. David Hockney (illustrator) and David Posner A Rake’s Progress: A Poem in Five Sections London and New York: Lion & Unicorn Press, 1962. £100-200 (plus 24% BP* ARR*) 449. John Minton (illustrated) Time Was Away: A Notebook in Corsica written by Alan Ross, 1st edition, John Lehmann, 1948 with dust jacket. £150-250 (plus 24% BP* ARR*) 450. Edward McKnight Kauffer (illustrated) Benito Cereno, written by Herman Melville 1640/1650, numbered first edition, London: Nonesuch Press, 1926 printed by Curwen Press on Van Gelder paper. £40-70 (plus 24% BP* ARR*)

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451. John Piper (illustrated) and John Dyer Grongar Hill 112/175, signed by John Piper and numbered Hackney: The Stowton Press, 1982 printed at Curwen Studios and with marbled boards. £150-250 (plus 24% BP* ARR*) 452. John Piper (illustrated) Catalogue to an Exhibition of Paintings, Drawings, Prints and Illustrated Books signed by the artist Rigby Graham published in a limited edition of 450 Leicester: Gadsby Gallery, 1973. £40-70 (plus 24% BP* ARR*)

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453. Edward Bawden (illustrated) and Jeremy Greenwood Edward Bawden Editioned Prints first edition, from an edition of 450 Suffolk: The Wood Lea Press, 2005 patterned paper covered boards. £100-200 (plus 24% BP* ARR*) 454. Edward Bawden (illustrated) Hold Fast By Your Teeth first edition, signed by the author London: Routledge & Kegan Paul Ltd., 1963 pictorial boards. £100-200 (plus 24% BP* ARR*) 455. Edward Bawden (illustrated) and David McKitterick Wallpapers 37/40, one of the first 40 from the larger edition of 120, containing all the original Curwen wallpaper samples signed by the illustrator and author The Whittington Press, 1989 printed on Oxford mould-made paper and bound at The Fine Bindery where the 40 specials were quarter bound in Nigerian goatskin folio, over boards covered with facsimile of Bawden wallpaper design. £1000-2000 (plus 24% BP* ARR*)

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456. Paul Nash Genesis: Twelve Woodcuts by Paul Nash with the First Chapter of Genesis in the Authorised Version 300/375, numbered 12 woodcuts, printed on Zanders hand-made paper uncut Curwen Press for Nonesuch Press, 1924 with partial dust wrapper. £1000-2000 (plus 24% BP* ARR*) 457. Paul Nash and Jeremy Greenwood Wood Engravings of Paul Nash: Catalogue of the Wood Engravings, Pattern Papers, Etchings and an Engraving on Copper edition of 490, this copy no. 302 The Wood Lea Press, 1997 covered slipcase, including addendum sheet containing an 109th illustration. £100-200 (plus 24% BP* ARR*)

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458. Eric Ravilious and J. M. Richards High Street first edition, from an edition of 2000 unnumbered copies London: Country Life Ltd., 1938 printed at the Curwen Press pictorial paper covered boards. £1000-2000 (plus 24% BP* ARR*)

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Prints & Editions 459. Julian Trevelyan (1910-1988) Amsterdam, 1975 (Turner 304) 5/52, signed, titled and numbered in pencil (in the margin) etching and aquatint 35cm x 47.5cm. £200-400 (plus 24% BP* ARR*) 460. John Hall Thorpe (1874-1947) Primroses signed in pencil (lower right) woodcut 16.5cm x 15cm. £120-180 (plus 24% BP* ARR*)

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461. John Hall Thorpe (1874-1947) Primroses and Forget-Me-Nots signed in pencil (lower right) woodcut 16.5cm x 15cm. £120-180 (plus 24% BP* ARR*) 461A. Thomas Todd Blaylock (1876-1929) Kingcups silkscreen 26.5cm x 29.5cm, unframed. £80-120 (plus 24% BP* ARR*) 461B. Thomas Todd Blaylock (1876-1929) Christchurch signed and titled in pencil (in the margin) woodcut, 17cm x 21.5cm, and two further landscape silkscreens all unframed (3). £100-200 (plus 24% BP* ARR*) 462. Pat Douthwaite (1939-2002) Big Mother, 1994 a/p, signed, dated, titled and inscribed in pencil (in the margin) screenprint 41cm x 35cm. £100-200 (plus 24% BP* ARR*)

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463. Maurice Pasternak (b.1946) Staircase, 1976 16/50, signed, titled, dated and numbered in pencil (in the margin) etching and aquatint 40cm x 25cm. £40-70 (plus 24% BP* ARR*) 464. David Oxtoby (b.1938) ‘S. Wonderful’ (Stevie Wonder), 1974 22/50, signed, dated, titled and numbered in pencil (in the margin) etching and aquatint 16.7cm x 13.5cm. £60-100 (plus 24% BP* ARR*) 465. John Bellany (1942-2013) Head a/p, signed and inscribed in pencil (in the margin) etching 34.5cm x 24.7cm. £100-200 (plus 24% BP* ARR*)

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466. John Houston (1930-2008) Flowers, 1993 artist’s proof, signed and inscribed in pencil (in the margin) etching 23.5cm x 32.5cm. £100-200 (plus 24% BP* ARR*) 467. Peter Prendergast (1946-2007) Bethesda and Park Farm, 1974 each initialled, titled and dated in pencil (in the margin) linocuts each 9cm x 14cm, under the same mount (2). £100-200 (plus 24% BP* ARR*) 468. The Scottish Bestiary The complete portfolio, 1986 including text, justification and the set of 20 prints of which three by John Bellany, two by Steven Campbell, three by Peter Howson, three by Jack Knox, three by Bruce Maclean, three by June Redfern and three by Adrian Wiszniewski VII/XV, signed and numbered in pencil on Somerset paper, published by The Paragon Press, London with original green portfolio each sheet 56cm x 76cm. £700-1000 (plus 24% BP* ARR*)

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469. Paula Rego (b.1935) Witches at their Incantations after Salvator Rosa, 1991 6/13 A/P, signed and inscribed in pencil (in the margin) etching and aquatint 29.5cm x 44.5cm, unframed. £500-700 (plus 24% BP* ARR*) 470. John Keane (b.1954) Jungleburger, 1989 7/14 A/P, signed, dated, titled and numbered in pencil (in the margin) etching and aquatint 49.3cm x 39cm, unframed. £80-120 (plus 24% BP* ARR*) 471. Jock McFadyen (b.1950) ‘I ran the World’ 7/14 A/P, signed, titled and numbered (in the margin) etching and aquatint 39.5cm x 30.7cm, unframed. £80-120 (plus 24% BP* ARR*)

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472. Alexis Hunter (b.1949) ‘Lust in Pursuit of Desire’, 1989 7/14 A/P, signed, titled, dated and numbered in pencil (in the margin) etching and aquatint 60.5cm x 49cm. £50-100 (plus 24% BP* ARR*) 473. Vivien Blackett (b.1955) Untitled, 1991 11/14 A/P, signed, dated and numbered in pencil (in the margin) lithograph 51cm x 40cm, unframed. £40-70 (plus 24% BP* ARR*) 474. Jock McFadyen (b.1950) ‘Canary’, 1991 4/13, A/P, signed, titled, dated and numbered in pencil (in the margin) etching and aquatint 38cm x 30.7cm, unframed. £100-200 (plus 24% BP* ARR*)

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475. Maggie Hambling (b.1945) Untitled, 1991 9/13 A/P, signed, dated and numbered in pencil (in the margin) aquatint 47cm x 73cm, untitled. £200-300 (plus 24% BP* ARR*) 476. British School Collection of five etching and aquatints including Michael Porter; Madeleine Strindberg, Shadowlands, 1991; Kevin O’Brien, Figure; Adam Gray, Deadhead, 1989 and Paul Read, The Possibility of Loss, 1991 all unframed (5). £100-200 (plus 24% BP* ARR*)

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477. Paul Furneaux (b.1962) ‘Eclipse’ 2/5, signed, titled and numbered (in the margin) woodcut 183cm x 61cm. (plus 24% BP* ARR*) 478. Kaoru Kawano (1916-1965) Dandelions (Tranpotsu) signed in pencil (lower right) woodcut 37cm x 25cm. £50-100 (plus 24% BP* ARR*) 479. Ronald King (b.1932) Miller from The Canterbury Tales 19/50, signed, titled and numbered in pencil (in the margin) colour silk screen 39cm x 24cm. Provenance: with Lumley Cazalet Ltd., London. £80-120 (plus 24% BP* ARR*) 480. Bruce McLean (b.1944) Hot Slick, 1989 187/250, signed, dated, titled and numbered in pencil (in the margin) screenprint 100cm x 128cm. £300-500 (plus 24% BP* ARR*)

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481. Rachel Whiteread (b.1963) Mausoleum under Construction, 1992, from The London Portfolio 37/65, signed, titled and numbered in pencil (in the margin) screenprint 55.5cm x 78cm. £500-800 (plus 24% BP* ARR*) 482. Academy Century One ‘La Salamandre’ Ward & Foxlow Ltd. 74.5cm x 101cm. £500-700 (plus 24% BP* ARR*)

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483. Academy Century One ‘Hester Street’ Ward & Foxlow Ltd. 74.5cm x 101cm. £500-700 (plus 24% BP* ARR*) 484. Marc Chagall (1887-1985) God Creates Man (Dieu créa l’homme) from The Bible 63/100, initialled and numbered in pencil (in the margin) etching 30cm x 22.5cm. £100-200 (plus 24% BP* ARR*) 485. Mary Fedden (1915-2012) Oppede le vieux Archive II, signed and inscribed in pencil (in the margin) lithograph 27cm x 36cm, unframed. £150-250 (plus 24% BP* ARR*) 486. Mary Fedden (1915-2012) Aldeburgh Fishing Boat Archive 2, signed and inscribed in pencil (in the margin) lithograph 16.5cm x 19cm, unframed. £150-250 (plus 24% BP* ARR*)

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487. Bruce McLean (b.1944) Standing Figure, 1985 14/90, signed, numbered and dated in pencil (in the margin) lithograph 77cm x 51.5cm. £150-250 (plus 24% BP* ARR*) 488. John Piper (1903-1992) Babingley Church, Norfolk (Levinson 349) 6/100, signed and numbered in pencil (in the margin) screenprint 44cm x 59cm. £400-700 (plus 24% BP* ARR*) 489. David Gerstein (b.1944) Mother and Child a/p, signed and inscribed in pencil (in the margin) etching 49.5cm x 48.5cm. £80-120 (plus 24% BP* ARR*)

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490. Edward Bawden (1903-1989) The Round Trip, 1988 5/35, signed, dated, numbered and titled in pencil (in the margin) engraving published by Philip Bawden at Curwen Press, to celebrate the artist’s 85th Birthday 11cm x 17cm. Exhibited: Victoria & Albert Museum, London 1988. £400-600 (plus 24% BP* ARR*) 491. Edward Bawden (1903-1989) Southcliffe Beach, 1988 5/35, signed, dated, numbered and titled in pencil (in the margin) engraving published by Philip Bawden at Curwen Press, to celebrate the artist’s 85th Birthday 11cm x 17.3cm. Exhibited: Victoria & Albert Museum, London 1988. £400-600 (plus 24% BP* ARR*) 492. Alistair Grant (1925-1997) Mirrored Nudes 7/25, signed, titled and numbered in pencil (in the margin) lithograph 44cm x 58cm, unframed. £80-120 (plus 24% BP* ARR*)

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493. Alistair Grant (1925-1997) Harbour signed in pencil (in the margin) etching 25cm x 37cm, unframed. £80-120 (plus 24% BP* ARR*) 494. Edwin La Dell (1914-1970) On The Front Artist’s Proof, signed, titled and inscribed in pencil (in the margin) lithograph 40cm x 62cm, unframed. £50-100 (plus 24% BP* ARR*) 495. Edward Wadsworth (1889-1949) Crouching Nude lithograph 33cm x 48cm, unframed. £60-100 (plus 24% BP* ARR*)

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496. Bryan Ingham (1936-1997) Dartington Hall Gardens, 1975 62/75, signed, dated, titled and numbered in pencil (in the margin) etching 28.5cm x 43.7cm. £100-200 (plus 24% BP* ARR*) 497. Ronald Brooks Kitaj (1932-2007) With Scott to the Pole, 1969 initialled in pencil (lower right) screenprint 48cm x 36cm. £100-200 (plus 24% BP* ARR*) 498. Graham Sutherland (1903-1980) Hatching I, 1976-77 (Tassi 180) 55/66, signed and numbered in pencil (in the margin) etching and aquatint 40cm x 31cm. £400-600 (plus 24% BP* ARR*) 499. Eric Gill (1882-1940) The Purchaser wood engraving on tissue paper 13cm x 8.5cm. £50-100 (plus 24% BP* ARR*) 499

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500. Derek Hirst (b.1930) ‘Paradox No IV 1975’ 31/35, signed, titled and numbered in pencil (in the margin) screenprint 53cm x 53cm. £50-100 (plus 24% BP* ARR*) 501. Henry Moore (1898-1986) Seated Figure (Cramer 407-12) V/X, signed and numbered in pencil (in the margin) lithograph 24.5cm x 21cm. £500-700 (plus 24% BP* ARR*) 502. Henry Moore (1898-1986) ‘Moore’, 1983 104/3000 edited by Carmine Benincasa, and Ann Garrould, published by Seat, Turin, 1983 in cloth box 50 plates, sheet size 52cm x 37cm. £300-500 (plus 24% BP* ARR*) 503. Derek Boshier (b.1937) Invention of Marconi lithograph 62cm x 81cm. £70-100 (plus 24% BP* ARR*)

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504. Patrick Procktor (1936-2003) The Water Snakes from The Rime of the Ancient Mariner, 1976 17/75, signed and numbered in pencil (in the margin) etching and aquatint 34cm x 27cm, unframed. £80-120 (plus 24% BP* ARR*) 505. Patrick Caulfield (1936-2005) My Life Inspires So Many Desires Some Poems of Jules Laforgue, 1973 102 from an edition of 200 French Edition B screenprint 39cm x 34cm. £400-600 (plus 24% BP* ARR*)

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506. Patrick Caulfield (1936-2005) Making Circles on Park Lagoons, 1973 102 from an edition of 200 French Edition B screenprint. 39cm x 34cm. £400-600 (plus 24% BP* ARR*) 507. Ethel Gabain (1883-1950) The Art of Travel poster originally issued in 1921 for the Underground Electric Railways Co. of London lithograph. 100cm x 61.5cm. £100-200 (plus 24% BP* ARR*) 508. Terry Frost (1915-2003) Development of a Square Within a Square (Green), (Kemp 202) artist’s proof, signed and inscribed in pencil screenprint on wove paper printed at Coriander Studio, London 58.5cm x 58.5cm, unframed. £200-300 (plus 24% BP* ARR*)

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509. See page 146 510. Gilbert & George Two Jack Freak White Cube Exhibition Posters, 2009 each signed in silver pen lithographs 87cm x 56.5cm and 57cm x 87cm (2). £80-120 (plus 24% BP* ARR*) 511. Max Ernst (1891-1976) Fureur, tu me traites comme la tristesse, 1969 39/70, signed and numbered in pencil (in the margin) lithograph. 47cm x 39cm. £200-300 (plus 24% BP* ARR*) 512. Josef Herman (1911-2000) On The Way Home, 1974-5 57/100, signed and numbered in pencil (in the margin) lithograph. 34cm x 42cm. £100-200 (plus 24% BP* ARR*)

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509. Terry Frost (1915-2003) Sun Tree, 2003 (Kemp 259) a/p, signed and inscribed in pencil (in the margin) screenprint and collage 60cm x 60cm, unframed. £1000-1500 (plus 24% BP* ARR*)

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513. Josef Herman (1911-2000) Moon Lit Bird, 1981 edition of 100, signed in pencil (in the margin) lithograph 19.5cm x 28.5cm. £50-100 (plus 24% BP* ARR*) 514. John Piper (1903-1992) Prometheus, 1954 (Levinson 87b) edition of approximately 500 autolithograph 20cm x 13cm. £50-100 (plus 24% BP* ARR*)

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515. Henry Moore (1898-1986) Three Heads, 1973 (Cramer 376) 42/75, signed and numbered in pencil (in the margin) lithograph 10.5cm x 15.2cm. £300-500 (plus 24% BP* ARR*) 516. Richard Long (b.1945) A Cornish Slate Drawing, 2002 160/200, signed and numbered in light blue pencil (in the margin) silkscreen on arches printed by Advanced Graphics London 30.5cm x 19.5cm. £300-500 (plus 24% BP* ARR*) 517. William Littlejohn (1929-2006) Serpent & Mirror 21/30, signed and numbered in pencil (in the margin) etching and aquatint 17cm x 85cm. £100-200 (plus 24% BP* ARR*)

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518. Edward Bawden (1903-1989) Kew Palace, 1983 107/160, signed, titled and numbered in pencil (in the margin) lithograph 47cm x 61cm. £500-700 (plus 24% BP* ARR*)

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519. Robin Tanner (1904-1988) Flowers of May signed in pencil etching 26.5cm x 18.5cm. £80-120 (plus 24% BP* ARR*) 520. Robin Tanner (1904-1988) June signed in pencil etching 14cm x 16.5cm. £80-120 (plus 24% BP* ARR*) 521. See page 149

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522. Frank Brangwyn (1867-1956) Two figures signed in pencil (in the margin) woodcut 16.8cm x 13cm. £50-100 (plus 24% BP* ARR*) 523. After Pablo Picasso (1881-1973) Gallery exhibition poster for Galerie Louise Leiris printed ‘Picasso, Lundi 19.6.72’ (within the plate) lithograph 49cm x 36.5cm. £50-100 (plus 24% BP* ARR*) 524. Ruskin Spear (1911-1990) Nude and cat and nude each 30/85, signed and numbered in pencil (in the margin) lithographs each 48cm x 32.5cm (2). £150-250 (plus 24% BP* ARR*) 525. Jean Cocteau (1889-1963) Nude with goblet 81/150, numbered in pencil (lower left), studio stamp (lower right) 38cm x 27cm. £200-300 (plus 24% BP* ARR*)

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521. Roy Lichtenstein (1923-1997) ‘As I Opened Fire’, 1966 (Corlet 292) offset lithograph printed in red, yellow, blue and black the triptych on wove paper from the unlimited edition published by The Stedelijk Museum, Amsterdam with S.M.A. blind stamp each 64cm x 53cm. Provenance: Purchased from Christies 1998. £1000-2000 (plus 24% BP* ARR*)

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526. Victor Pasmore (1908-1998) Milky Way, 1986 (Lynton G.33) 29/70, signed and numbered in pencil (in the margin) screenprint published by Marlborough Fine Art, London and printed by Kelpra Studio, London 59cm x 73cm. £600-800 (plus 24% BP* ARR*) 527. Margorie Biscomb (fl.1930-1950) An Impression of the Head of the River Race signed and titled in pencil (in the margin) linocut 20.3cm x 30.3cm. £70-100 (plus 24% BP* ARR*)

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528. James Henry Dowd (1883-1956) Children on a beach signed in pencil (lower right) etching 12.5cm x 17.5cm. £100-200 (plus 24% BP* ARR*) 529. Robert P. Bevan (1865-1925) The White House, 1921 24/50, numbered in pencil (in the margin), stamped ‘RPB’ (to the reverse) lithograph on cream wove paper 19.5cm x 22.5cm. £300-500 (plus 24% BP* ARR*) 530. David Pizzanelli (Contemporary) Mother and Child, 1989 17/25, signed (to the reverse) mirror-backed achromate white light transmission hologram silver halide on glass 10cm x 12.5cm.

532. Tracey Emin (b.1963) Every Bodies Been There stamped signature and blind stamp lithograph produced in the studios of Alan Cox of Sky Editions, London 19cm x 23.5cm.

Provenance: Gallery 286, London. £80-120 (plus 24% BP* ARR*) 531. Albert Irvin (1922-2015) Three Christmas Cards, 2001, 2002 and 2003 each signed and dated (in pencil) screenprints 14.5cm x 20.5cm, 14.5cm x 20cm and 15cm x 20.5cm (3). £300-500 (plus 24% BP* ARR*)

Provenance: Collection of the art journalist John Windsor. £80-120 (plus 24% BP* ARR*) 532

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533. Zandra Rhodes (b.1940) Many Memories from India, 1982 H.C., signed and inscribed in pencil (lower right) lithograph 61cm x 49cm. £80-120 (plus 24% BP* ARR*) 534. Elizabeth Frink (1930-1993) Cyclops from The Odyssey 2/30, signed, titled and numbered in pencil (in the margin) lithograph in colour 24.7cm x 15.7cm. £300-500 (plus 24% BP* ARR*) 535. William Tillyer (b.1938) ‘Private Hotel’ XVI/XX, signed, titled and numbered in pencil (in the margin) aquatint 52.5cm x 47.5cm. £60-120 (plus 24% BP* ARR*)

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536. Julian Trevelyan (1910-1988) The Plough, 1976 (Turner 322) artist’s proof, signed, titled and inscribed in pencil (in the margin) etching and aquatint 32cm x 44.5cm. £200-400 (plus 24% BP* ARR*) 537. John Piper (1903-1992) Petworth Park Gate (Levinson 105) 63/75, signed and dated in pencil (in the margin) lithograph 42.2cm x 55cm. £400-700 (plus 24% BP* ARR*) 538. John Humphrey Spender (19102005) Reedy Pool, Essex, 1969 27/65, signed and numbered in pencil (in the margin) lithograph 44cm x 64cm. £100-300 (plus 24% BP* ARR*)

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The Art of the Surreal

The word ‘surrealism’ is a century old this year. It was first used in 1917 in a play by the French poet Guillaume Apollinaire to describe something between dream and reality - a notion that within a decade had morphed into an avant-garde artistic, intellectual, and literary movement championed by the André Breton in 1924. In the summer of 1936, the International Surrealist Exhibition came to London. André Breton, poet and author of the Manifeste du surréalisme, gave the opening address to a crowd of over 2000. Performance artist Sheila Legge stood in Trafalgar Square obscuring her head with a flower arrangement while Salvador Dali came close to suffocation delivering a lecture in a deep-sea diving costume. His slides were, of course, shown upside down. Reflecting on and in celebration of this important moment in the international art movement we have brought together an array of work by 20th Century artists who sought to release the creative potential of the unconscious mind who were directly involved or heavily influenced by the Surrealist movement. International heavyweights Alexander Calder (1898-1976) and Salvador Dali (1904-1989) - both key participants in the 1936 London exhibition - are represented by signature works on paper. Calder’s signed and dated gouache painted in 1963, the year he settled into his new workshop in Indre-et-Loire in France.

A Dali pen and ink drawing from 1966 titled La Fille en Fleur comes with a provenance to the Weinstein Gallery of San Francisco, specialist dealer in Surrealist art, and a certificate of authenticity from Pierre Argillet, Dali’s confidante and publisher for more than 30 years. Among the earliest British adherents to the Surrealist movement was the Plymouth artist Cecil Collins (1908-89) whose charcoal, pen, ink and watercolour drawing Anatomy of Storm is estimated at £800-1200. It is signed and dated 1933, the year Collins first visited Paris and saw the work of Paul Klee and Gertrude Stein. The sale is particularly representative of the Birmingham School of Surrealists, including works by Conroy Maddox (1912-2005), Desmond Morris (b.1928), Oscar Mellor (19212005), Emmy Bridgwater (1906-1999) and Grace Pailthorpe (1883-1971). Desmond Morris is sometimes dubbed the last living surrealist. In 1950 he held a surrealist art exhibition with Joan Miro at the London Gallery and continues to exhibit at the Taurus Gallery in North Parade, Oxford, close to his home. The Budding Force, a much-published sexually-charged oil from 1973 is included in the sale, alongside the final works from the studio of Oscar Mellor, who became fully engaged with the movement from the late 1940s after visiting Paris with Maddox and Morris. These paintings cover several decades of his work from his life in Oxford from 1948-69 and then as a lecturer at the Exeter College of Art until 1981.

The Art of The Surreal 539. Oscar Mellor (1921-2005) Flowers, Bottles and Bottle and Fruit, 1946 each signed and dated (lower left) the former two oils on canvas, the latter oils on board 45cm x 35cm, 45cm x 35cm and 40cm x 29cm respectively (3). £80-120 (plus 24% BP* ARR*) 540. Oscar Mellor (1921-2005) Standing nude, 1958 signed and dated (lower left) oils on board 37.7cm x 23cm. £80-120 (plus 24% BP* ARR*)

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541. Oscar Mellor (1921-2005) Bird, 1962 signed and dated (upper left) oils on board 40cm x 29.7cm. £80-120 (plus 24% BP* ARR*) 542. Oscar Mellor (1921-2005) Dead Bird, 1962 signed and dated (lower left) oils on board 49.5cm x 39.5cm. £80-120 (plus 24% BP* ARR*) 543. Oscar Mellor (1921-2005) The Gathering, 1962 signed and dated (lower right) oils on canvas 90.5cm x 75.5cm. Literature: The Paintings of Oscar Mellor (19212005), The Taurus Gallery, 2008, illustrated. £200-400 (plus 24% BP* ARR*) 544. Oscar Mellor (1921-2005) Hanging On, 1962 signed and dated (lower left) oils on board 45.5cm x 30.5cm. Literature: The Paintings of Oscar Mellor (19212005), The Taurus Gallery, 2008, illustrated. £80-120 (plus 24% BP* ARR*)

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545. Oscar Mellor (1921-2005) Small Object Imitating a Basket with a Ziggurat in the Distance, 1962 signed and dated (lower left) oils on canvas 40cm x 29.7cm. £80-120 (plus 24% BP* ARR*) 546. See page 155 547. Oscar Mellor (1921-2005) Three vessels oils on board 32cm x 38cm.

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Literature: The Paintings of Oscar Mellor (19212005), The Taurus Gallery, 2008, illustrated. £100-200 (plus 24% BP* ARR*) 548. Oscar Mellor (1921-2005) Bird and Glove, 1964 signed and dated (upper left) oils on canvas 59.5cm x 44cm. £100-200 (plus 24% BP* ARR*) 549. Oscar Mellor (1921-2005) Ice Landscape, 1964 signed and dated (lower right) oils on canvas 35.2cm x 29.3cm. £80-120 (plus 24% BP* ARR*) 550. Oscar Mellor (1921-2005) Nude and Plant, 1965 signed and dated (lower right) oils on board 51.7cm x 29cm. £80-120 (plus 24% BP* ARR*) 551. Oscar Mellor (1921-2005) Nude and Flower, 1965 signed and dated (upper right) oils on board 122cm x 61cm, unframed. £200-400 (plus 24% BP* ARR*)

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546. Oscar Mellor (1921-2005) ‘The Young Soldier’, circa 1963 signed and dated (upper left), titled (to reverse) oils on canvas 100cm x 75cm. Note: This depicts Mellor’s second wife, Yvonne. £300-500 (plus 24% BP* ARR*)

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552. Oscar Mellor (1921-2005) Nude oils on canvas. 23.7cm x 34cm. £60-100 (plus 24% BP* ARR*) 553. See page 157 554. Oscar Mellor (1921-2005) Curtain Raiser, 1972 signed and dated (lower right), titled (to reverse) oils on canvas. 50.5cm x 35cm. Literature: The Paintings of Oscar Mellor (19212005), The Taurus Gallery, 2008, illustrated. £80-120 (plus 24% BP* ARR*) 555. Oscar Mellor (1921-2005) La Grande Perche, 1972 signed and dated (lower left), titled (to reverse) oils on canvas 44.5cm x 34.2cm, and Components of Desire, 1973, 24.5cm x 35cm (2).

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Literature: The Paintings of Oscar Mellor ( 1921-2005), The Taurus Gallery, 2008, illustrated. £80-120 (plus 24% BP* ARR*) 556. Oscar Mellor (1921-2005) The Kiss, 1972 signed and dated (lower left) oils on canvas and collage 45.5cm x 60.5cm, unframed. £100-200 (plus 24% BP* ARR*) 557. Oscar Mellor (1921-2005) ‘Dressing Table’, 1972 signed and dated (lower right), titled (to reverse) oils on canvas. 60.5cm x 45cm. £80-120 (plus 24% BP* ARR*) 558. Oscar Mellor (1921-2005) ‘Maggie’, ‘Situation I’ and ‘Black Jenny’, 1971 9/27, 12/18 and 13/22 respectively each signed, titled, dated and numbered in pencil (in the margin) screenprints 49cm x 40.5cm, 53cm x 40cm and 50.5cm x 40.5cm respectively (3). £450-550 (plus 24% BP* ARR*)

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553. Oscar Mellor (1921-2005) ‘Gilgames’, circa 1968/9 signed, titled and dated (to reverse) oils on canvas 151.5cm x 91cm. Literature: The Paintings of Oscar Mellor (1921-2005), The Taurus Gallery, 2008, illustrated. £300-700 (plus 24% BP* ARR*) BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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559. Oscar Mellor (1921-2005) ‘Moeurs Contemporaines’, 1973 signed and dated (lower right), titled (to reverse) oils on canvas 35cm x 45cm. £60-120 (plus 24% BP* ARR*) 560. Oscar Mellor (1921-2005) ‘Zip 1’, ‘Zip 5’ and ‘Zip 6’, 1975 each signed and dated (lower right) and titled (to reverse) oils on canvas 46cm x 35.5cm, 50.3cm x 35.5cm and 35.5cm x 61cm, unframed (3). £100-300 (plus 24% BP* ARR*)

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561. Oscar Mellor (1921-2005) Self Portrait, 1977 signed and dated (lower right) oils on canvas 90cm x 59.5cm. £100-300 (plus 24% BP* ARR*) 562. Oscar Mellor (1921-2005) ‘High Flyer’, 1977 signed, titled and dated (lower right) mixed media and collage 38.3cm x 26cm. £60-120 (plus 24% BP* ARR*) 563. Oscar Mellor (1921-2005) Nude torso oils on canvas 61cm x 35cm. £60-120 (plus 24% BP* ARR*) 564. Oscar Mellor (1921-2005) Lady and the City oils on canvas 122cm x 91cm, unframed. £100-300 (plus 24% BP* ARR*)

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565. Oscar Mellor (1921-2005) The passage of time, with Self Portrait, 1982 signed and dated (upper left) oils on canvas 45.5cm x 66cm, unframed. £100-200 (plus 24% BP* ARR*) 566. Oscar Mellor (1921-2005) Venus and nude, 1982 signed and dated (lower right) oils on canvas 75.5cm x 60.3cm. £100-300 (plus 24% BP* ARR*)

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567. Oscar Mellor (1921-2005) Doppelgänger, 1982 signed and dated (upper left) oils on canvas 101cm x 65cm. Literature: The Paintings of Oscar Mellor (1921-2005), The Taurus Gallery, 2008, illustrated. £300-500 (plus 24% BP* ARR*) 568. Oscar Mellor (1921-2005) Levitation oils on canvas 62.7cm x 75cm. £100-300 (plus 24% BP* ARR*) 569. Oscar Mellor (1921-2005) Tre Figure Con Una Pittura Metafisica, 1987 signed and dated (upper left) oils on board 90cm x 64.5cm. £200-400 (plus 24% BP* ARR*) 570. Oscar Mellor (1921-2005) Rivals, 1992 signed and dated (upper right) oils on canvas 24.7cm x 29.5cm. Literature: The Paintings of Oscar Mellor (1921-2005), The Taurus Gallery, 2008, illustrated. £80-120 (plus 24% BP* ARR*)

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571. Cecil Collins (1908-1989) Anatomy of Storm, 1933 signed and dated (lower right), titled (to reverse) charcoal, pen, ink and watercolour 20cm x 23.7cm. £800-1200 (plus 24% BP* ARR*)

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572. Emmy Bridgwater (1906-1999) Running Figure and Cat, circa 1941 signed (lower left) pen and ink on paper 18.5cm x 24.5cm. £200-300 (plus 24% BP* ARR*) 573. Jack Taylor (act.1960s) The Saint with No Name, 1956 signed (lower right), titled and dated (to reverse) oils on board. 49.5cm x 39cm. Jack Taylor became a press sensation in the 1960s as ‘the spiv who found he had genius’. He found himself at the centre of the ‘primitive’ art scene and an Observer article in 1966 included an interview with Taylor and images of his work. Barely literate he was taken up by a number of Mayfair galleries, including the Redfern and Mercury Galleries, his first London show sold out. £200-300 (plus 24% BP* ARR*)

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574. Grace Pailthorpe (1883-1971) Switzerland, 1960 initialled, titled and dated gouache. 28.5cm x 39cm. £250-350 (plus 24% BP* ARR*) 575. Sse page 162 576. Desmond Morris (b.1928) War Hero, 1950 monogrammed and dated (lower left), titled and inscribed (to reverse) ink and gouache on paper 32cm x 19.5cm. £500-800 (plus 24% BP* ARR*) 577. See page 163 578. See page 164 579. Conroy Maddox (1912-2005) Endgame II, 1994 from an edition of 25 monochrome screenprint on cloth 45cm x 57.8cm.

Endgame was made on the occasion of the 1995 exhibition Conroy Maddox: Surreal Enigmas. Maddox always kept his own print draped over the back of an armchair in his lounge. £50-100 (plus 24% BP* ARR*)

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575. Salvador Dali (1904-1989) La Fille en Fleur, 1966 signed (lower right) pen and ink 45cm x 31.5cm.

Provenance: Weinstein Gallery, San Francisco; Certificate of Authenticity from Pierre Argillet of Museé de Surrealisme, 2000; Bernard Ewell Art Appraisals Professional Opinion Report, 2000. Literature: Weinstein Gallery, Salvador Dali: Originals 1952-1974, illustrated. £6000-8000 (plus 24% BP* ARR*)

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577. Desmond Morris (b.1928) The Budding Force, 1973 initialled and dated (to reverse) oils on canvas 40cm x 30cm.

Literature: Silvano Levy, Desmond Morris: Naked Surrealism, Barry & Jenkins, 1999, pp.122-3, illustrated; Michael Remy, The Surrealist World of Desmond Morris, Jonathan Cape, London, 1991, p.135, illustrated. £2000-3000(plus 24% BP* ARR*)

‘In The Budding Force (1973) it is the female and her sexual organs that are the subject of such a display. Ostensibly, this painting shows a rooted seed sending up a small shoot...This is an eruption of subterranean forces. The bulb-like mass is shown in all its elaborate, tensioned detail, and at its muscular heart a well protected kernel appears to throb. The title of the work denotes the idea of vigorous growth from a plant root’. (Silvano Levy, Desmond Morris, p.122)

‘What the picture emphasises then is the postponement ad infinitum of that which is born, since its place of origin - already dual in being both feminine and telluric - is itself duplicated’. (Remy, The Surrealist World, p.136)

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578. Conroy Maddox (1912-2005) The Black Arts, 1993 signed and dated (lower right), titled (to reverse) oils on canvas and collage 60.7cm x 50.5cm.

Exhibited: Gallery M, London. 1994; Hampstead Artists’ Council, London, 50th Anniversary Exhibition, November 1996; Galerie Les Yeux Fertiles, Paris, Conroy Maddox traverse la Manche avec 18 tableaux, 2001, no.14; Belgrave Gallery, The Scandalous Eye: The Surrealism of Conroy Maddox, 2003, no.10. £1000-2000 (plus 24% BP* ARR*)

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580. Mervyn Charlton (b.1945) White Bird, 1987 signed and dated (to reverse) oils on canvas. 25cm x 30cm. Provenance: Anne Berthoud Gallery; Miss Nancy Balfour; Contemporary Art Society; Private Collection. £60-120 (plus 24% BP* ARR*) 581. Paul Jonkers (b.1951) ‘Six O’Clock’, 1987 initialled and dated (upper left) oils on canvas. 19.5cm x 24.5cm.

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Provenance: Portal Gallery, London, 1988; Private Collection. £600-800 (plus 24% BP* ARR*) 582. Paul Jonkers (b.1951) ‘C for Crocodile’, 1987 initialled and dated (lower right) oils on canvas. 29.5cm x 24cm. Provenance: Portal Gallery, London, 1988; Private Collection. £600-800 (plus 24% BP* ARR*) 583. Paul Jonkers (b.1951) ‘Anniversary’, 1987 initialled and dated (lower right) oils on canvas. 38cm x 17.7cm. Provenance: Portal Gallery, London, 1988; Private Collection. £600-800 (plus 24% BP* ARR*) 584. Paul Birkbeck (b.1939) ‘Out of Season’ acrylic. 21.4cm x 28.2cm. £450-550 (plus 24% BP* ARR*) 585. Paul Storey (b.1957) Telemachus & Mentor, 1992-4 signed, titled and dated (to reverse) oils on canvas. 61cm x 61cm. Provenance: Jason & Rhodes, London; Private Collection. £400-700 (plus 24% BP* ARR*)

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586. Richard Allen (b.1957) ‘After Chardin, The Jar of Apricots 1958’, 1987 signed and dated (lower right) oils on paper 39cm x 31cm. £80-120 (plus 24% BP* ARR*) 587. Stefan Knapp (1921-1996) Surrealist landscape oils on canvas 91cm x 91cm. £500-700 (plus 24% BP* ARR*)

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588. Scottie Wilson (1888-1972) Head signed (lower right) pen and ink 23cm x 17.5cm. £100-200 (plus 24% BP* ARR*) 589. Scottie Wilson (1888-1972) Untitled, Imaginary Creatures, circa 1945 signed (lower right) pencil, pen, ink and coloured pencil 37.5cm x 26.3cm. £150-250 (plus 24% BP* ARR*) 590. Scottie Wilson (1888-1972) Head and Flowers signed (lower right) pencil and coloured crayons 37.5cm x 27cm. £200-400 (plus 24% BP* ARR*) 591. Scottie Wilson (1888-1972) Fantastical composition pen and coloured crayons 30.5cm x 21.5cm. £100-200 (plus 24% BP* ARR*)

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592. Scottie Wilson (1888-1972) Swan, Birds and Fish signed ink and coloured crayons 30.5cm x 30.5cm. £300-500 (plus 24% BP* ARR*) 593. Scottie Wilson (1888-1972) Birds, Fish and Buildings signed (lower right) pen and coloured crayons 26cm x 11.5cm. £100-200 (plus 24% BP* ARR*)

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594. Scottie Wilson (1888-1972) Buildings, Swans and Fish signed pen, ink and watercolour 29.3cm x 21.7cm. £150-250 (plus 24% BP* ARR*) 595. Scottie Wilson (1888-1972) Figure signed pencil and coloured crayons 37cm x 26cm. £200-300 (plus 24% BP* ARR*) 596. Scottie Wilson (1888-1972) Swans and Buildings signed (lower right) pen and watercolour 34.7cm x 35.5cm. £200-400 (plus 24% BP* ARR*) 597. Scottie Wilson (1888-1972) Swans, Birds and Butterflies signed (lower right) pen, watercolour and gouache 33cm x 24cm. £200-400 (plus 24% BP* ARR*)

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598. Scottie Wilson (1888-1972) Birds on Tree signed (lower right) ink and coloured crayons 35.5cm x 26.5cm. £200-400 (plus 24% BP* ARR*) 599. Scottie Wilson (1888-1972) Swan and Butterflies signed (lower right) gouache 47.5cm x 35cm. £300-500 (plus 24% BP* ARR*)

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600. Scottie Wilson (1888-1972) Self Portrait, circa 1970 signed (lower right) pen and ink 21cm x 14cm. £100-200 (plus 24% BP* ARR*) 601. Scottie Wilson (1888-1972) Tree and Bird plate signed (lower right) hand painted ceramic 38.5cm x 32.5cm. £300-500 (plus 24% BP* ARR*) 602. Scottie Wilson (1888-1972) Tree and Bird plate signed (lower right) hand painted ceramic on blue ground 25cm diameter. £200-300 (plus 24% BP* ARR*) 603. Scottie Wilson (1888-1972) Tree, Bird and Flower plate signed (lower right) hand painted ceramic on grey ground 25cm diameter. £200-300 (plus 24% BP* ARR*)

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604. Scottie Wilson (1888-1972) Tree, Bird and Swan plate signed (lower right) hand painted ceramic on yellow 25cm diameter. £200-300 (plus 24% BP* ARR*) 605. Scottie Wilson (1888-1972) Swans, Buildings, Fish, and Tree with Birds plate signed hand painted ceramic 32.5cm x 37cm. £300-500 (plus 24% BP* ARR*)

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606. Scottie Wilson (1888-1972) Birds, Swans, Fish and Butterflies signed ‘SCOTTIE’ pen and watercolour 37.5cm x 25cm. £300-500 (plus 24% BP* ARR*)

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607. Augustus John (1878-1961) Gypsy Girl signed in pencil (lower right) pencil on paper 30cm x 23cm. Provenance: Hamet Gallery, London, 1969; Mrs H. A. Shaw and thence by descent. £1500-2500 (plus 24% BP* ARR*) 608. Bernard Reder (1897-1963) The Bathers, 1937 initialled and dated coloured plaster 26cm high. £80-120 (plus 24% BP* ARR*)

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The Strachey Family and The Bloomsbury Group Lot 609-615 represent a small but significant group of works by Simon Bussy, Frances Hodgkins and Dora Carrington owned by the Strachey family. The collection was initially owned by Alix Strachey (4 June 1892 – 28 April 1973), née Sargant- Florence, an American-born British psychoanalyst, with her husband, James Strachey, (the brother of Lytton), who together translated into English of The Standard Edition of the Complete Psychological Works of Sigmund Freud. They were bequeathed to Simonette Strachey on Alix’s death, before being bequeathed to the current vendor.

Illustration: Photographic portrait of Simonnette Strachey.

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609. Simon-Albert Bussy (1870-1954) The Matterhorn signed (lower right), titled ‘Le Cervin’ (to reverse) pastels 24cm x 17.7cm. Provenance: Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. £2500-3500 (plus 24% BP* ARR*)

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610. Simon-Albert Bussy (1870-1954) View over the Mediterranean signed (lower left) pastels 24.5cm x 20cm. Provenance: Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. £1500-2500 (plus 24% BP* ARR*) 611. Simon-Albert Bussy (1870-1954) Scottish landscape, Rothiemurchus signed (lower right), titled ‘Paysage Ecossais’ (to reverse) pastels 19.5cm x 16.5cm. Provenance: Carfax & Co., London; Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. Rothiemurchus was the summer holiday home of the Strachey family. £1500-2500 (plus 24% BP* ARR*)

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612. Simon-Albert Bussy (1870-1954) Villefranche signed (lower left), titled (to reverse) pastels 35.5cm x 27.5cm. Provenance: The Rowley Gallery, London; Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. £3000-5000 (plus 24% BP* ARR*) 613. Simon-Albert Bussy (1870-1954) Souci Jaune signed (lower right), titled (to reverse) pastels 22cm x 18.5cm. Provenance: Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. £1500-2500 (plus 24% BP* ARR*)

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614. Frances Hodgkins (1869-1947) Still Life No. 3 signed in pencil (lower right), titled (to reverse) watercolour 45.5cm x 43cm. Provenance: Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. £5000-8000 (plus 24% BP* ARR*)

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615. Dora Carrington (1893-1932) Flowering Cactus, circa 1931 oils on canvas 75cm x 45cm. Provenance: Alix Strachey (née Sargant-Florence) and James Strachey (the brother of Lytton Strachey); Collection of Simonette Strachey, where bequeathed to the current owner. Literature: Jane Hill, The Art of Dora Carrington, The Herbert Press Ltd., London, 1995, p.112, illustrated. £15000-25000 (plus 24% BP* ARR*)

‘Carrington took a different approach again when she painted a red flowering cactus, perhaps one of the rare cactuses that Dorelia had given her in July 1931 for her hothouse. Such was her eagerness to paint it, she put the pot, still in its tissue paper, into a saucer of water and then placed it on the bare wooden floor against the corner of a blue wall; lightly painting it, by tone, almost twice the size she had been painting portraits.’ (p.112, Hill)

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616. William Gear (1915-1997) Standing Nude, 1938 ink 40.5cm x 25.5cm, unframed. Provenance: From the Estate of Rendall Wells. Notes: In the mid and late 1930s William Gear travelled around Europe on a scholarship, visiting Italy, Greece, the Balkans and France. In Paris he studied at the Académie Colarossi under Fernand Leger and many of his works from this period have the powerful, voluminous forms to be found in Leger’s figure paintings as well as the Neo-Classical sculptures of Maillol. Works by Gear from this period were exhibited in one of the first Surrealist Exhibitions to be held in Britain under the banner of the ‘New Era Group’. This exhibition at the Gladstone’s Land Galleries, Royal Mile, Edinburgh took place in 1939. As well as Gear it included Hugh Crawford, Joseph Forrester, Tom Pow and Rendall Wells. £200-400 (plus 24% BP* ARR*)

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617. William Gear (1915-1997) Standing Nude, 1938 ink 41cm x 25.5cm, unframed. Provenance: From the Estate of Rendall Wells. £200-400 (plus 24% BP* ARR*) 618. William Gear (1915-1997) Building with garden ink 41m x 25.5cm, unframed. Provenance: From the Estate of Rendall Wells. £200-400 (plus 24% BP* ARR*) 619. William Gear (1915-1997) Head in profile, 1938 ink 25.5cm x 40.5cm, unframed.

620. William Gear (1915-1997) Seated Nude, 1938 signed and dated (lower right) ink 25.5cm x 40.5cm, unframed.

Provenance: From the Estate of Rendall Wells. £200-400 (plus 24% BP* ARR*)

Provenance: From the Estate of Rendall Wells. £200-400 (plus 24% BP* ARR*) 620

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621. Frank Brangwyn (1867-1956) Figure Study initialled in pencil (upper right) pen, ink and crayon 29.5cm x 31.5cm. Provenance: B. F. Stevens & Brown Ltd., Godalming. £300-500 (plus 24% BP* ARR*) 622. George Bissill (1896-1973) Lovers signed (lower right) pen and ink 18.5cm x 21cm, unframed. £100-200 (plus 24% BP* ARR*)

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623. John Tunnard (1900-1971) Tree form, early 1930s signed (lower right) pastels 26.7cm x 36.5cm. £500-700 (plus 24% BP* ARR*) 624. John Tunnard (1900-1971) Study of organic form, early 1930s pastels 26.5cm x 36cm. £500-700 (plus 24% BP* ARR*) 625. John Tunnard (1900-1971) Trees, early 1930s pastels 36cm x 26.5cm. £400-600 (plus 24% BP* ARR*) 626. See page 180 627. Jacob Epstein (1880-1959) Helen of Troy signed and titled (lower right) pencil on paper 13cm x 16cm. £100-300 (plus 24% BP* ARR*)

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626. Jacob Epstein (1880-1959) Morna (Stewart), conceived 1935 signed ‘EPStein’ bronze 62cm high. Provenance: Property of a lady; By repute with the family during the Second World War.

Literature: Jacob Epstein, Epstein, An Autobiography, Hulton Press, London, illustrated (another cast); Richard Buckle, Jacob Epstein, Sculptor, Faber & Faber Ltd., London, p.224, illustrated pl.345 (another cast); Evelyn Silber, The Sculpture of Epstein, with a Complete Catalogue, Phaidon, Oxford, 1986, cat. no.264, p.180 illustrated (another cast). £4000-6000 (plus 24% BP* ARR*)

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628. Stanislawa De Karlowska (1876-1952) Morning Sunlight signed (lower left), titled and inscribed (to the stretcher) oils on canvas 44.2cm x 53.5cm. Provenance: Christies, King Street, London, 22 November 1994, Lot 128. £800-1200 (plus 24% BP* ARR*) 629. Arthur Henry Knighton-Hammond (1875-1970) On the coast signed (lower right) watercolour 32.5cm x 47.8cm. £80-120 (plus 24% BP* ARR*)

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630. See page 182 631. Harry Becker (1865-1928) Haymaking inscribed (to reverse) pencil and watercolour 27cm x 37.7cm. £600-800 (plus 24% BP* ARR*) 632. Edward Wolfe (1896-1981) Still Life of Flowers signed (lower left) pastels 12cm x 20.5cm. £200-400 (plus 24% BP* ARR*) 633. Laura Knight (1877-1970) Clowns signed (lower left) charcoal on paper 33cm x 23cm. Provenance: Euston Gallery, London. £300-500 (plus 24% BP* ARR*) 633A: John Nash (1893-1977) Woodland scene watercolour 27cm x 32cm. Provenance: J. S. Maas & Co. Ltd, London; Private Collection. £300-500

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630. Stephen Tomlin (1901-1937) Portrait of a gentleman signed bronze the plinth with inscription ‘’To The British Council with compliments from Margaret Nash, Oxford 1949’ 43cm high (including base). £800-1200 (plus 24% BP* ARR*)

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634. Kurt Ard (b.1925) The Proposal, circa 1958 signed (lower left) gouache 45.5cm x 51.5cm. £300-500 (plus 24% BP* ARR*) 635. Sandra Blow (1925-2006) Untitled Composition, circa 1950s watercolour on paper 12.8cm x 13cm. Provenance: Gimpel Fils, London; Belgrave Gallery, St. Ives. £300-500 (plus 24% BP* ARR*)

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636. Bretislav Benda (1897-1983) Bust of a woman signed bronze 25cm high. £200-400 (plus 24% BP* ARR*) 637. Dick Lee (1923-2001) Commemorating the retirement of L. Daniels from Camberwell School of Arts & Crafts, 1965 construction with found objects labelled 73cm x 42cm. £80-120 (plus 24% BP* ARR*) 638. Horace Brodzky (1885-1969) Sisters, 1958 signed and dated (lower left), titled (to reverse) oils on canvas 49.3cm x 59.7cm. £300-500 (plus 24% BP* ARR*) 639. See page 184 640. Rowland Hilder (1905-1993) Ruin on hillside signed (lower right) ink and watercolour 33.7cm x 51.7cm. £400-700 (plus 24% BP* ARR*)

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639. Nasser Assar (1928-2011) Untitled, 1959 signed and dated (lower right) oils on canvas 88cm x 127.5cm. £1000-2000 (plus 24% BP* ARR*)

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641. Rowland Hilder (1905-1993) Landscape with farm buildings signed (lower left) ink and watercolour 37cm x 54cm. £300-500 (plus 24% BP* ARR*) 642. William Gear (1915-1997) Dancing Forms, 1974 signed and dated (lower right) acrylic on paper 51cm x 73cm. £400-600 (plus 24% BP* ARR*)

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643. William Gear (1915-1997) Heated Motif, 1964 signed and dated (lower right) mixed media 52cm x 73cm. £400-600 (plus 24% BP* ARR*) 644. Attributed to David Hockney (b.1937) The Bridge, circa 1960 inscribed (to reverse) pen and ink 35.2cm x 24.6cm, unframed. Provenance: Purportedly drawn while a student of architecture, one of 12 such bought by Ian Shane from Sylvia Saunders in 1972. According to the inscription to the reverse this one was kept, five were given to friends, and the rest were auctioned at Christie’s in ‘73 or ‘74. £300-500 (plus 24% BP* ARR*) 645. Attributed to Paul Lucien Maze (1887-1979) Soldiers marching watercolour on cardboard 27cm x 35cm. £150-250 (plus 24% BP* ARR*)

645

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185

646. Geoffrey Clarke (1924-2014) Four slabs, 1965 stamped ‘//59’ aluminium 18cm high, 18.7cm long and 12cm deep. Notes: From 1960 Clarke gave each design a number, beginning with the last digit of the year. Being stamped ‘59’ would mean that this model would have been the 9th sculpture made/numbered in 1965. It is thought that ‘//’ refers to the size, as Geoffrey Clarke made sculptures in up to three sizes at this date.

Literature: This work is to be included in the forthcoming catalogue raisonné on Geoffrey Clarke being prepared by Dr. Judith LeGrove. A similar model can be found illustrated in the Redfern 1965 catalogue but of a larger size. We would like to thank Dr. Judith LeGrove for helping to catalogue this work. £1500-2500 (plus 24% BP* ARR*)

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186

647. John Hoskin (1921-1990) Winged form welded steel on wooden base 68cm across, 31cm high (including base). £1000-2000 (plus 24% BP* ARR*)

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187

648. Keith Vaughan (1912-1977) Harvesting artist’s studio stamp (lower left) pencil on paper 10.8cm x 16.5cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £500-700 (plus 24% BP* ARR*)

648

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649. Keith Vaughan (1912-1977) Onlooking harvest, circa 1943 artist’s studio stamp (lower left) pencil on paper 10.5cm x 16.5cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £500-700 (plus 24% BP* ARR*) 650. Keith Vaughan (1912-1977) Three harvesting sketches each with artist’s studio stamp pencil on paper 9.9cm x 10.3cm, 10.4cm x 11.4cm and 6.7cm x 16.2cm, unframed (3). Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £300-500 (plus 24% BP* ARR*) 651. Keith Vaughan (1912-1977) Cottage and trees artist’s studio stamp (lower right) pencil on paper 11.5cm x 20.3cm, unframed.

652. Keith Vaughan (1912-1977) Farm machinery artist’s studio stamp (lower left) pencil on paper 11.8cm x 20cm, unframed.

Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £300-500 (plus 24% BP* ARR*)

Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £200-400 (plus 24% BP* ARR*)

653. Keith Vaughan (1912-1977) Steam traction engine and roller one with artist’s studio stamp pencil on paper 9.5cm x 15.8cm and 8.5cm x 11cm, unframed (2). Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £300-500 (plus 24% BP* ARR*)

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188

654. Bernard Meninsky (1891-1950) Standing Nude signed (lower left) chalk 63cm x 31cm. £200-400 (plus 24% BP* ARR*) 655. John Bratby (1928-1992) Job’s Wife signed and titled (upper right) charcoal on paper 60cm x 32.5cm. £200-400 (plus 24% BP* ARR*)

654

655

656. John Bratby (1928-1992) Major General G. L. Hamilton signed oils on canvas 55cm x 40cm. £300-500 (plus 24% BP* ARR*) 657. Roland Vivian Pitchforth (1895-1982) The Bridge, Maldon, Essex signed (lower right) watercolour 34.5cm x 54cm. £80-120 (plus 24% BP* ARR*)

656

657

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189

658. Ivon Hitchens (1893-1979) Orange and Yellow Lilies signed (lower right) oils on canvas 55cm x 83.5cm. Provenance: Sothebys, London, 9 July 1958, lot 126; Private Collection. £30000-50000 (plus 24% BP* ARR*)

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190

‘I paint life as I see it, hear it, feel it, smell it, and think it – but above all see it’, wrote Hitchens in a letter to Alan Bowness (26 January 1960) (quoted in Peter Khoroche, Ivon Hitchens, Lund Humphries, 2007, p.86.) Orange and Yellow Lilies shows a grand piano – under the umbrella of vibrant flowers – with a chair to the side. In this homely image, Hitchens paints the flowers without shading, putting them in contrast to the flattened series of rich browns, blues and purple planes that create the background. Thus beside its subject matter, it can also be considered for its formal abstract qualities and in his construction of forms he is experimenting with the tensions of representation and arrangement, in order to try and create a formal essence from a perceived reality. Orange and Yellow Lilies is also a demonstration of Hitchens’ passion for flower paintings. ‘I love flowers…I love flowers for painting…One can read into a good flower picture the same problems that one faces with a landscape, near and far, meanings and movements of shapes and brush strokes. You keep playing with the object’ (quoted in T.G. Rosenthal, Ivon Hitchens, pp. 7-19, in A. Bowness, (ed.), Ivon Hitchens, London, 1973, p. 13).

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191

659. Alan Davie (1920-2014) Signs for a Sweet Life, 1965 signed, titled and dated (to reverse) oils on canvas 44.5cm x 59.7cm. Provenance: Gimpel Fils Gallery, London, 1966; Private Collection. £6000-8000 (plus 24% BP* ARR*)

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192

660. Alan Davie (1920-2014) Magician with a Snake Fetish, 1967 signed and dated (to reverse) oils on board 49.2cm x 59.5cm. Provenance: Gimpel Fils Gallery, London, 1968; Private Collection. Exhibited: Gimpel Fils Gallery, London, Magic in Art: Paintings by Alan Davie, December 1967/ January 1968, cat. no.110. £6000-8000 (plus 24% BP* ARR*)

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193

661. Dora Maar (1907-1997) ‘La Grand Range’ signed (lower left) oils on canvas 40cm x 32cm. Provenance: Ernest, Brown & Phillips Ltd., The Leicester Galleries, London, 1958. £1000-2000 (plus 24% BP* ARR*) 662. Michael Werner (1912-1989) Two Uprights composite on wooden stands 70.5cm high and 76cm high (excluding stands) (2). Michael Werner studied linguistics at Oxford University before moving to Paris to become a sculptor. He studied under S. W. Hayter at Atelier 17, moved in Surrealist circles and trained as a Freudian analyst before moving back to England in 1938. He taught at the Bath Academy of Art (1959), Bradford College of Art (1964-8), Watford School of Art (1968) and in classes at the Camden Arts Centre. His sculptures varied from Surrealist forms to depictions of the human form and he exhibited at the ICA and was represented with a a show at the Annely Juda Gallery in 1987 to celebrated his 75th birthday. £100-300 (plus 24% BP* ARR*)

661

662

663

663. Michael Werner (1912-1989) Standing Figure composite 74cm high. £100-200 (plus 24% BP* ARR*) 664. Michael Werner (1912-1989) Pointed Upright composite on wooden stand 56cm high. £100-200 (plus 24% BP* ARR*)

664

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194

665. Michael Werner (1912-1989) Upright composite on wooden stand 49cm high. £100-200 (plus 24% BP* ARR*) 666. Frank Dobson (1888-1963) Nude signed in pencil pencil and watercolour 21cm x 31.5cm. £600-800 (plus 24% BP* ARR*) 667. Josef Herman (1911-2000) Fisherman and baskets signed and titled (to reverse) pen and watercolour 19.5cm x 24.8cm. £300-500 (plus 24% BP* ARR*)

665

666

668. Philip Sutton (British, b.1928) Lux, Calm, 1968 signed, titled and dated (to reverse) oils on canvas 126.3cm x 126.3cm. Provenance: with Roland, Browse & Delbanco, London. £600-800 (plus 24% BP* ARR*) 669. Henry Cliffe (1919-1983) Untitled (red) initialled (lower right) gouache 21cm x 30cm. £400-600 (plus 24% BP* ARR*) 670. Henry Cliffe (1919-1983) Untitled (blue) initialled (lower right) gouache 19cm x 28cm. £400-600 (plus 24% BP* ARR*)

667

668

669

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671. Raymond Guerrier (1920-2002) ‘Pylons dans la campagne’, 1957 signed (lower right) watercolour, gouache and ink 42.5cm x 60cm. Provenance: Redfern Gallery, London. £600-900 (plus 24% BP* ARR*)

671

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195

672. Moshe Rosentalis (1922-2008) Three figures signed (lower left) oils on board 16cm x 24cm. £150-250 (plus 24% BP* ARR*) 673. Moshe Rosentalis (1922-2008) Seated figure signed oils on board 16cm x 24cm. £150-250 (plus 24% BP* ARR*)

672

673

674. Moshe Rosentalis (1922-2008) Landscape signed (lower left) oils on board 16cm x 24cm. £150-250 (plus 24% BP* ARR*) 675. Ian Henderson (b.1939) Quarry Near Skelmersdale, 1965 signed and dated (lower left) oils on board 70cm x 139cm. £100-300 (plus 24% BP* ARR*)

674

676. See page 197 677. See page 198 678. John Aldridge (1905-1986) Near Nimes, 1961 signed, dated and inscribed (lower right) pencil 19.8cm x 24.5cm.

675

Provenance: The Radlett Gallery, Radlett. £100-300 (plus 24% BP* ARR*) 679. Prunella Clough (1919-1999) Still life with vase, circa 1960 signed in pencil (lower right) watercolour 24cm x 26.2cm. Provenance: England & Co., London, 1988. £500-800 (plus 24% BP* ARR*) 678

679

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196

676. David Carr (1915-1968) Three Figures and Fishes, Lowestoft, circa 1948 signed (lower right) oils on canvas 45.5cm x 60.3cm. Provenance: The Mayor Gallery, London, 1987; Austin Desmond Fine Art, London, 1997; Private Collection. Literature: David Carr: The Discovery of an Artist, Quartet Books, London, 1987, illustrated p.87. £500-800 (plus 24% BP* ARR*)

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197

677. Paul Feiler (1918-2013) Untitled, 1964 signed and dated pastels and collage 23.7cm x 22.5cm. Provenance: Austin Desmond Fine Art, London. £2000-3000 (plus 24% BP* ARR*)

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198

680. Alexander Calder (1898-1976) Untitled, 1963 signed and dated (lower right) gouache and gold paint on paper 24.7cm x 31.5cm. Provenance: England & Co., London, 1995; Private Collection. £5000-7000 (plus 24% BP* ARR*)

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199

681. David Hibbert (1946-1992) Paying Tribute, 1973 signed and dated (lower right) oils on canvas 70.5cm x 91cm, unframed. £100-200 (plus 24% BP* ARR*) 682. David Hibbert (1946-1992) Heads and landscape, 1974 signed and dated (lower left) oils on canvas 40cm x 56cm. £60-100 (plus 24% BP* ARR*)

681

682

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684

685

686

683. David Hibbert (1946-1992) Figure and trees signed in pencil (lower left) pencil and watercolour 21cm x 19cm. £40-70 (plus 24% BP* ARR*) 684. Pat Douthwaite (1939-2002) Woman and skull, 1978 signed and dated (upper right) pastels 75.5cm x 54.5cm. £300-600 (plus 24% BP* ARR*) 685. Robert Mason (b.1946) Still Life VI (Pescaglia), 1982 signed and dated (lower right) watercolour, charcoal, crayon and rhoplex on Saunders paper 31.7cm x 24.3cm. Provenance: Anne Berthoud Gallery, London; BP International Ltd. £200-400 (plus 24% BP* ARR*) 686. John Hitchens (b.1940) Cliff Light signed (lower left), titled and dated (to reverse) oils on canvas 54.5cm x 49cm. £400-600 (plus 24% BP* ARR*)

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200

687. Michael Challenger (b.1939) ‘Again from Nothing to One’, 1973 inscribed, titled and dated (to reverse) oils on canvas 86cm x 96cm. £200-300 (plus 24% BP* ARR*) 688. Janine Loo (b.1920) Untitled signed (lower left) oils on canvas 80cm x 80cm. £100-200 (plus 24% BP* ARR*)

687

688

689. Guy Taplin (b.1939) Smiling Sun and Lizard Belt metal and leather the buckles 13.5cm diameter and 16cm across respectively (2). Provenance: Purchased directly from Guy Taplin in the 1970s. £60-120 (plus 24% BP* ARR*) 690. Ronald Ossory Dunlop (1894-1973) River landscape signed (lower right) oils on board 14.2cm x 24cm. £150-250 (plus 24% BP* ARR*)

689

690

691

692

691. John Shelley (b.1938) Early Evening, 1978-79 signed, titled and dated (to reverse) oils on board 59.5cm x 75cm. £600-800 (plus 24% BP* ARR*) 692. Padraig Macmiadhachain (b.1929) Yellow Hill of Gomera, Canaries, Spain, 1971 signed and dated (lower right), titled (to reverse) oils on board 29cm x 29cm. £200-400 (plus 24% BP* ARR*)

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201

693. Karin Jonzen (1914-1998) Gymnast bronze with green patina 142cm high. The plaster for this model was exhibited at The Royal Academy, London, 1982, No.1337. Provenance: Christie’s London, March 1994, Lot 100; Private Collection. Literature: Karin Jonzen Sculpture, Silent Books, Cambridge, 1994, illustrated contents pages and a similar model or the same model can be seen in a Studio photograph from 1977, p.6. £5000-7000 (plus 24% BP* ARR*)

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202

694. Sally Arnup (1930-2015) Italian Greyhound I/X, signed and numbered bronze on marble base 44.5cm across, 52.5cm high (including base). Provenance: This model was a paradigm of a greyhound called Isolde and was purchased in 1983. This lot is sold together with two sketch pencil drawings of Isolde aged 8 months. £1500-2500 (plus 24% BP* ARR*)

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203

695. Fred Yates (1922-2008) Figures in the village signed (lower right) oils on board 35.5cm x 50.5cm. £300-500 (plus 24% BP* ARR*) 696. Kenneth Rowntree (1915-1997) Summer in the Highlands, 1984 signed, titled and dated (to reverse) acrylic on board 60.5cm x 60.5cm. £1000-2000 (plus 24% BP* ARR*)

695

696

697. Ruth Burden (1925-2011) The Quarry, 1976 signed and dated (lower right) pencil and watercolour 25cm x 37cm. £80-120 (plus 24% BP* ARR*) 697 698. Tom Merrifield (b.1932) Troilus a/c, signed and inscribed bronze on marble base the bronze 66.5cm high. £1500-2500 (plus 24% BP* ARR*) 699. Tom Merrifield (b.1932) Garry 3/9, signed and numbered patinated bronze 51.5cm high, 37.5cm across. £1200-1800 (plus 24% BP* ARR*) 700. Tom Merrifield (b.1932) Amanda 6/9, signed and numbered bronze 58cm across. £1000-2000 (plus 24% BP* ARR*)

698

699

700

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204

701. Tom Merrifield (b.1932) Poppy 2/9, signed and numbered bronze 130cm high, 71cm across. £4000-6000 (plus 24% BP* ARR*)

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205

702. Tom Merrifield (b.1932) Tiffany a/c, signed and inscribed bronze 72cm high, 42cm across. £4000-6000 (plus 24% BP* ARR*) BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

206

703. Tom Merrifield (b.1932) Tiffany photo-lithograph 151cm x 105cm. £200-400 (plus 24% BP* ARR*) 704. Naomi Blake (b.1924) Turning Form verdigris bronze on square base 33.5cm high. £300-500 (plus 24% BP* ARR*)

703

704

705

706

705. Naomi Blake (b.1924) Turning Figure verdigris bronze on base the bronze 26cm high, 52cm across. £400-700 (plus 24% BP* ARR*) 706. John Petts (1913-1991) Three Cliffs by Moonlight, Gower, 1976 signed and dated (lower right) acrylic 51.5cm x 69cm. £300-500 (plus 24% BP* ARR*) 707. Adrian Ryan (1920-1998) Montauroux, Var, France signed in pencil (lower right) watercolour and pencil 19.2cm x 26.7cm. £100-200 (plus 24% BP* ARR*) 708. See page 208 709. Joan Cutts (20th Century) On the Rhine, a design for Thomas Cook Traveller’s Cheques together with two further designs each signed gouache 42cm x 60cm 44cm x 61cm and 48cm x 61cm (3). £100-200 (plus 24% BP* ARR*)

708 707

709

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207

708. Eduardo Paolozzi (1924-2005) Hooke, 1993 ac, signed, dated, inscribed and titled bronze 48.5cm high. Provenance: Gift from the artist to the current vendor, circa 1995. £10000-20000 (plus 24% BP* ARR*) BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

208

710. Carol Gibbons (b.1935) Portait of her partner oils on board 89.5cm x 69.3cm. £300-500 (plus 24% BP* ARR*) 711. Carol Gibbons (b.1935) Marble Head signed (lower right) gouache on paper 51.5cm x 47cm. £80-120 (plus 24% BP* ARR*) 712. See page 210

710

711

713. Robert Race (b.1943) Face Automata wood 25cm long. £80-120 (plus 24% BP* ARR*) 714. Hector Breeze (b.1928) ‘No, No, The Hilton was Last Year’ signed (lower right) pen and ink 17cm x 23cm. £50-100 (plus 24% BP* ARR*) 715. Leonard Rosoman (1913-2012) Cat, 2002 signed and dated (lower right) pencil 22.5cm x 32cm. £100-200 (plus 24% BP* ARR*)

713

714

716. Derya Erdem (Contemporary) Pebble Bay, 2011 initialled and dated (lower right) acrylic on board 90cm x 100cm. Provenance: Padstow Fine Art, Padstow. £400-600 (plus 24% BP* ARR*)

715

716

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209

712. Lucy Casson (b.1960) Kneeling Girl and Dog tin and found objects the girl 71cm high, the dog 142cm long (2). £800-1200 (plus 24% BP* ARR*)

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210

717. Derya Erdem (Contemporary) Coastal Form 1, 2011 initialled and dated (lower right) acrylic on board 75cm x 85cm. Provenance: Padstow Fine Art, Padstow. £400-600 (plus 24% BP* ARR*) 718. Frank Downton (b.1936) Black and White Ellipses signed in pencil (to the reverse) hand cut vinyl 47.5cm x 50cm. £60-100 (plus 24% BP* ARR*)

717

718

719

722

719. Frank Downton (b.1936) Coloured squares signed in pencil (to the reverse) hand cut vinyl 62cm x 60.5cm. £60-100 (plus 24% BP* ARR*) 720. Gwilym John Blockley (b.1921) Industrial Landscape signed (lower right) watercolour and gouache 18cm x 64cm. £80-120 (plus 24% BP* ARR*) 721. Gwilym John Blockley (b.1921) Hills in Winter signed (lower right) watercolour 12.7cm x 36cm. £50-100 (plus 24% BP* ARR*) 722. David Gerstein (b.1944) The Letter 30/295, signed and numbered (lower right) painted steel 90cm x 57cm. £600-800 (plus 24% BP* ARR*)

720

721

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211

723. David Gerstein (b.1944) Flowers 11/295, signed and numbered acrylic on wood 44cm high. £200-300 (plus 24% BP* ARR*) 724. John Hounam (b.1951) Garsington titled (to reverse) oils on board 24cm x 29cm. £200-300 (plus 24% BP* ARR*)

723

724

725

726

725. Martin Yeoman (b.1953) Land and Sea, Venice signed (lower right) oils on board 24.5cm x 38cm. £150-250 (plus 24% BP* ARR*) 726. Lionel Aggett (1938-2009) Trees in Spring signed (lower left) pastels 23.7cm x 31cm. £80-120 (plus 24% BP* ARR*) 727. Lionel Aggett (1938-2009) Les Alpilles signed (lower left), titled (to reverse) pastels 23.5cm x 31cm. £100-200 (plus 24% BP* ARR*)

727

728. Robert Oscar Lenkiewicz (1941-2002) Study of Feet of Christ oils on board 48cm x 22.5cm. £300-500 (plus 24% BP* ARR*) 729. Terry Frost (1915-2003) Self Portrait, 1979 signed and dated on label (to reverse) pencil 16cm x 11cm. £600-800 (plus 24% BP* ARR*)

728

729

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212

730. Thomas John Coates (b.1941) French Chateau monogrammed (lower right) oils on board 17.5cm x 22.5cm. £150-250 (plus 24% BP* ARR*) 730

731

732

733

731. Ken Howard (b.1932) Reflections at dusk signed (lower right) oils on board 19cm x 24cm. £500-800 (plus 24% BP* ARR*) 732. Ken Howard (b.1932) Building by a lake signed (lower right) oils on board 19cm x 24cm. £500-800 (plus 24% BP* ARR*) 733. Ken Howard (b.1932) Equestrian statue of Bartolomeo Colleoni, Venice signed (lower left) oils on board 22.7cm x 16.7cm. £500-800 (plus 24% BP* ARR*) 734. Thomas John Coates (b.1941) Artists on the Nile monogrammed (lower right) oils on board 29cm x 20.5cm. £150-250 (plus 24% BP* ARR*) 735. Linda Weir (b.1951) St. Ives initialled (lower right) oils on board 36cm x 58cm, unframed. £300-500 (plus 24% BP* ARR*)

734

735

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213

736. Thomas John Coates (b.1941) Still life of flowers monogrammed (lower left) oils on board 34.5cm x 26cm. £150-250 (plus 24% BP* ARR*) 737. William Bowyer (1926-2015) A Suffolk Hedgerow, 1988 signed and dated (lower right) oils on board 62cm x 75cm. Provenance: Fosse Gallery, Stow-on-the-Wold. £600-1000 (plus 24% BP* ARR*)

736

737

738

739

740

741

738. John Mackie (b.1953) Nude, 2014 signed and dated (lower left) pastels 46.3cm x 34cm. £100-200 (plus 24% BP* ARR*) 739. Rose Hilton (b.1931) ‘Sussex Beach’, 1992 signed, titled and dated (to reverse) oils on canvas 30cm x 34.5cm. £300-500 (plus 24% BP* ARR*) 740. Michael Brennand-Wood (b.1952) ‘Topkapi Saray’, 1989 signed, titled and dated (to reverse) construction in wood, textile, wire and metal 44cm x 44cm. £1000-2000 (plus 24% BP* ARR*) 741. Lisa Milroy (b.1959) Vase and cards signed (to reverse) oils on canvas 32.5cm x 37.5cm. Provenance: Purchased from Goldsmiths, University of London by the current vendor in 1981. £200-400 (plus 24% BP* ARR*)

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214

742. Frank Archer (1912-1995) Balcony, Florence signed (lower left) oils on canvas 59.5cm x 59.5cm. Provenance: with The Catto Gallery, London. £400-700 (plus 24% BP* ARR*) 743. Brian Ballard (b.1943) Lilies and Mirror, 1988 signed and dated oils on canvas 60cm x 75cm. £500-700 (plus 24% BP* ARR*)

742

743

744

745

744. Stuart Semple (b.1980) ‘I Baptize Myself’ mixed media on paper 59cm x 49cm. Provenance: Martin Summers Fine Art Ltd., London. £150-250 (plus 24% BP* ARR*) 745. Guido Mariani (b.1950) Two nudes each signed, dated and numbered bronze 21cm and 18.3cm high (2). £100-200 (plus 24% BP* ARR*) 746. Aneurin M. Jones (b.1930) Funeral, 1989 oils on board 20cm x 44.7cm. £300-500 (plus 24% BP* ARR*)

746

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215

747. Eric Luke (20th Century) Nene Valley oils on board, 27.5cm x 38cm. £50-100 (plus 24% BP* ARR*) 748. Tom Greenshields (1915-1994) Alison signed and titled in pencil pencil, 35.2cm x 49.5cm. £100-150 (plus 24% BP* ARR*) 747

748

749

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751

752

749. Sarah Adams (b.1958) Beach I oils on linen 50.5cm x 60.5cm. £100-200 (plus 24% BP* ARR*) 750. David Leverett (b.1938) Kingdoms of the Sun, from The Sacred Garden Series, 1988 signed, titled and dated in pencil (in the margin) acrylic on paper 56cm x 76cm. £500-700 (plus 24% BP* ARR*) 751. Anca Ionescu (b.1949) Irises initialled (lower right) pastels, 55.5cm x 53cm. £50-100 (plus 24% BP* ARR*) 752. Brian Bradshaw (b.1923) Lancashire Moorland signed and dated (lower left) oils on board 42.5cm x 59.5cm. £400-600 (plus 24% BP* ARR*) 753. Carolyn Gowdy (b.1956) ‘An Ideal Woman?; signed (lower right), titled (to reverse) pencil, ink, collage and gouache 20cm x 30.5cm. Provenance: Originally published in The Independent newspaper to accompany an article entitled ‘The Girl She Left Behind’. Exhibited: Tate Gallery, Liverpool, About Collage, exhibition curated by Peter Black, Spring-Autumn, 2000. £80-120 (plus 24% BP* ARR*)

753

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

216

754. Tessa Newcomb (b.1955) Nudes and Music Stands, 1997 companion pieces each initialled and dated (lower left) oils each 24.8cm x 19.5cm (2). £300-600 (plus 24% BP* ARR*) 755. Jessica Cooper (b.1967) ‘As You Reach The Sea’ signed and titled (to reverse) oils on canvas 19.5cm x 27cm. Provenance: Thompson’s Gallery, Stow-on-theWold. £80-120 (plus 24% BP* ARR*) 754

755

756

757

756. Tracey Emin (b.1963) Marlboro Cigarette Packet signed in felt-tip pen ‘Tracey Emin £3’ 13cm long. Provenance: Collection of art journalist John Windsor. This lot featured in his Guardian article in 2001; Excerpt from 2001 article by JW: ‘What price the begging dog, fashioned by Tracey Emin from a Marlborough cigarette packet, that she sold me from her ‘Tracey Emin Museum’, opposite Waterloo station, south London, in 1997, just before she became a household name? It is signed ‘Tracey Emin £3’. £100-200 (plus 24% BP* ARR*) 757. Albert Louden (b.1942) Heads pastels 36cm x 26.5cm. Provenance: Collection of the art journalist John Windsor. He wrote about Louden in Raw Vision, no.18, Sprint 1997, pp.50-53. £200-400 (plus 24% BP* ARR*) 758. David McKeran (b.1963) ‘Invest in Good Art’, 2001 inscribed and dated (to reverse) oils on canvas 40.5cm x 40.5cm. Provenance: Clapham Art Gallery, London. £80-120 (plus 24% BP* ARR*)

758

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

217

759. Hazel White (Contemporary) And Then She Made The Lassies Oh! bronze cast AE 8cm high. Provenance: Simmons Gallery, London, 2000. £50-100 (plus 24% BP* ARR*) 760. See page 219 759 761. Maurice Cockrill (1936-2013) Abstract composition, 1996 initialled and dated (to reverse) oils on board 21.3cm x 26cm. £200-400 (plus 24% BP* ARR*) 762. Maurice Cockrill (1936-2013) Portable Kingdon Series, 1996 initialled and dated (to reverse) oils on board 27.5cm x 26.5cm. £300-500 (plus 24% BP* ARR*)

761

762

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

218

760. Mary Fedden (British, 1915-2012) Mozart, 1992 signed and dated (lower right) gouache and collage 21cm x 29cm. £2500-3500 (plus 24% BP* ARR*)

BP* – Buyer’s Premium of 24% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

219

Arts + Crafts, Design + Studio Ceramics December 2017

For enquiries please contact Philip Smith on P: 01865 241358 E: philip.smith@mallams.co.uk www.mallams.co.uk Mallams Auctioneers, Bocardo House, St Michaelâ&#x20AC;&#x2122;s Street Oxford OX1 2EB

Mallams 1788

Modern British + Post-War Art December 2017

For enquiries please contact Philip Smith on P: 01865 241358 E: philip.smith@mallams.co.uk www.mallams.co.uk Mallams Auctioneers, Bocardo House, St Michaelâ&#x20AC;&#x2122;s Street Oxford OX1 2EB

Mallams 1788

Illustration for Lot 218

CONDITIONS OF SALE Mallams carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “auctioneer” means the firm of Mallams or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Mallams accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. (3)The Auctioneers reserve the right to charge a deposit for certain lots. These will be indicated before the sale. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon of 20%. This premium is subject to VAT at the rate imposed by law. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position). 6. PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us. (2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (3) No purchase can be claimed or removed until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION AND TELEPHONE BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf or by telephone. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14. DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17 (1) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. ENDANGERED SPECIES LAWS Due to international laws, any item on the Endangered species list (i.e. Ivory, Rhino horn etc.), whether it dates from the 18th/19th Century or the 1930s, requires re-export permits for bidders outside the EU (CITES). Some countries also require import permits as well and all permits must be in place prior to shipment. Mallams cannot be held liable if a purchaser buys a lot that comes within this field and then import/export licences cannot be arranged. Certain countries, particularly the USA, have their own Endangered Species Act (USESA) and possession or being involved in a commercial transaction with any item on this list can be an offence for a US resident. Therefore, it is the potential buyers responsibility to check Federal regulations before bidding for a lot, which comes under these or similar regulations. Please note no license is required to sell or advertise within the EU if items are pre-1947. ONLINE BIDDING Mallams Fine Art Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Mallams Fine Art Auctioneers, you: 1. authorise Mallams Fine Art auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Mallams Fine Art Auctioneers through www.the-saleroom.com and agree that Mallams Fine art Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale. Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price.