Design & Modern British Post-War Art - 7th & 8th December 2017 (Mallams Oxford) by Mallams Auctioneers

Mallams 1788

DESIGN & MODERN BRITISH + POST-WAR ART 7 & 8 DECEMBER OXFORD

Mallams 1788

DESIGN THURSDAY 7 DECEMBER

MODERN BRITISH + POST-WAR ART FRIDAY 8 DECEMBER

Exhibition: Saturday 2 December Monday 4 December Tuesday 5 December Wednesday 6 December Thursday 7 December

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 7 DECEMBER DESIGN:

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

Studio & Contemporary Ceramics including a Private Collection of work by Ruth Duckworth

1-175

Art Nouveau and Aesthetic Movement

176-196

Arts & Crafts

197-270

Art Deco and Pre-War Modernism

271-320

Post-War Modernism

321-364A

Jewellery & Silver

365-415

FRIDAY 8 DECEMBER MODERN BRITISH + POST-WAR ART: Modern British & Post-War Design Artistâ&#x20AC;&#x2122;s Textiles

416-438A

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

Prints 439-551

AUCTION ENQUIRIES & CONDITION REPORTS

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

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

Paintings and Sculpture

552-753

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

oxford@mallams.co.uk +44 (0)1865 241358

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 7 DECEMBER

Studio Ceramics 1. David Leach (1911-2005) at Lowerdown Pottery Teapot celadon, cut sides impressed potter’s and pottery seal 17cm across. £80-120 (plus 24% BP* ARR*) 2. David Leach (1911-2005) Bowl cut sides, celadon glaze impressed potter’s seal 11cm high, 20cm diameter. £100-200 (plus 24% BP* ARR*)

3. David Leach (1911-2005) Bowl celadon glaze impressed potter’s seal 10.8cm diameter. £100-200 (plus 24% BP* ARR*) 4. David Leach (1911-2005) Bowl celadon with cut sides impressed potter’s seal 10cm high, 17.5cm diameter. £150-250 (plus 24% BP* ARR*) 5. David Leach (1911-2005) Bowl painted grass motif faintly impressed potter’s seal 16cm 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

6. David Leach (1911-2005) Pedestal bowl celadon, incised motif pattern impressed potter’s seal 10cm high, 10.5cm diameter. £100-200 (plus 24% BP* ARR*) 7. David Leach (1911-2005) Vase celadon, incised motif impressed potter’s seal 31cm high. £200-400 (plus 24% BP* ARR*)

8. Lowerdown Pottery Teapot tenmoku brushwork, cane handle impressed pottery seal 19cm across. £100-200 (plus 24% BP* ARR*) 9. Lowerdown Pottery Footed bowl celadon, cut sides impressed potter’s seal 7.2cm high, 10cm diameter. £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

10. Bernard Leach (1887-1979) Sgraffito design for a pot, 1951 initialled, dated and inscribed in pen ink on paper 17cm x 22cm, and Bernard Leach, Asahi Shimbun Publishing Company, Tokyo, 1966, inscribed by Bernard Leach ‘To Paul, on his birthday, with love and regard from Bernard, 17.VIII.67’ (2). Provenance: Collection of the art critic and historian J. P. Hodin. £300-500 (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

11. Janet Leach (1918-1997) at Leach Pottery Vessel dripped glaze impressed potter’s and pottery seals 35cm high. £400-700 (plus 24% BP* ARR*) 12. Leach Pottery ‘Z’ bowl impressed pottery seal 23cm diameter. £50-100 (plus 24% BP* ARR*)

13. Robert Fishman at Leach Pottery Vase painted grass design impressed potter’s and pottery seals 29.5cm high. £50-100 (plus 24% BP* ARR*) 14. Trevor Corser (1938-2015) at Leach Pottery Jug tenmoku glaze impressed potter’s and pottery seals 30.5cm high. £80-120 (plus 24% BP* ARR*) 15. Trevor Corser (1938-2015) at Leach Pottery Vase with lug handles impressed potter’s and pottery seals 17.5cm high. £80-120 (plus 24% BP* ARR*) 16. Trevor Corser (1938-2015) at Leach Pottery Vase tenmoku glaze, faceted sides impressed potter’s and pottery seals 30cm 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

17. Joanna Wason (b.1946) at Leach Pottery Vase impressed potter’s and pottery seals 26.5cm high. £80-120 (plus 24% BP* ARR*) 18. Michael Cardew (1901-1983) Vase, circa 1920s decorated with wheat motifs impressed potter’s seal 15cm high. £400-600 (plus 24% BP* ARR*)

19. Winchcombe Pottery Cider Jar, circa 1930s/1940s, possibly Michael Cardew slip decoration impressed pottery seal 31.5cm high. £250-350 (plus 24% BP* ARR*) 20. Charlie Tustin (1921-1996) at Winchcombe Pottery Vase slip decoration impressed potter’s and pottery seals 11cm high, 12.3cm across. £40-70 (plus 24% BP* ARR*) 21. Ray Finch (1914-2012) at Winchcombe Pottery Teapot swirl decoration, cane handle impressed potter’s seal 18cm across. £50-100 (plus 24% BP* ARR*) 22. Ray Finch (1914-2012) at Winchcombe Pottery Jug slip decoration impressed potter’s seal 30cm high. £120-180 (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

23. Ray Finch (1914-2012) at Winchcombe Pottery Flagon tenmoku glaze impressed potter’s seal 63cm high. £200-400 (plus 24% BP* ARR*) 24. Peter Swanson (b.1950) Vase brushed white glaze impressed potter’s seal 25.5cm high. £80-120 (plus 24% BP* ARR*)

25. David Garland (b.1941) Teapot, 2009 brushwork decoration and cane handle signed and dated 21.5cm across. £120-180 (plus 24% BP* ARR*) 26. Mike Casson (1925-2003) Bowl impressed potter’s seal 20cm diameter. £50-100 (plus 24% BP* ARR*) 27. Michael Casson (1925-2003) Jug impressed potter’s seal 50.5cm high. Provenance: Elmslie Philip Collection. £200-300 (plus 24% BP* ARR*) 28. Mick Casson (1925-2003) Jug salt glazed with blue spots impressed potter’s seal 24.3cm 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

29. Mick Casson (1925-2003) Storage jar and cover tenmoku glaze impressed potter’s seal 38cm high. £200-400 (plus 24% BP* ARR*) 30. Richard Batterham (b.1936) Storage jar and cover ash glaze 30cm high. £100-300 (plus 24% BP* ARR*)

31. Richard Batterham (b.1936) Storage jar 23.5cm high. £80-120 (plus 24% BP* ARR*) 32. Mike Dodd (b.1943) Vase fluted potter’s seal covered with glaze 23cm high. £100-200 (plus 24% BP* ARR*) 33. Jim Malone (b.1946) Vase tenmoku, with grass motifs impressed potter’s seal 21cm high. £80-120 (plus 24% BP* ARR*) 34. Jim Malone (b.1946) Vase impressed potter’s seal 28cm 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

35. John Jelf (b.1946) Jug impressed potter’s seal 33cm high. £100-200 (plus 24% BP* ARR*) 36. Colin Kellam (b.1942) Planter poured glazes impressed potter’s seal 9.5cm high, 36cm across. £100-200 (plus 24% BP* ARR*)

37. Colin Kellam (b.1942) ‘Fish’ dish impressed potter’s seal 63cm long. £50-100 (plus 24% BP* ARR*) 38. Arthur Griffiths (20th Century) Bowl poured glazes impressed potter’s seal 34cm diameter. £60-100 (plus 24% BP* ARR*)

39. David Lloyd Jones (1928-1994) Bowl banded decoration impressed potter’s seal 29cm diameter. £150-250 (plus 24% BP* ARR*) 40. Robin Welch (b.1936) Bowl with blue band to the outside signed 34.4cm diameter. £80-120 (plus 24% BP* ARR*)

41. Peter Lane (b.1932) Vase partially glazed signed 16cm 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

42. Sarah Walton (b.1945) Bowl impressed potter’s seal 13cm diameter. £40-70 (plus 24% BP* ARR*) 43. Edward Hughes (British, 1953-2005) Bowl blue with poured white glaze 29.5cm diameter. Provenance: Studio of the artist. £150-250 (plus 24% BP* ARR*) 44. Edward Hughes (British, 1953-2005) Two footed bowls each impressed potter’s seal 19cm and 15.5cm diameter (2).

Provenance: Studio of the artist. £80-120 (plus 24% BP* ARR*) 45. Edward Hughes (British, 1953-2005) Vase turquoise and green glaze impressed potter’s seal 16.5 high. Provenance: Studio of the artist. £50-100 (plus 24% BP* ARR*)

46. Edward Hughes (British, 1953-2005) Bowl turquoise glaze with feathered decoration impressed potter’s seal 25cm diameter. Provenance: Studio of the artist. £150-250 (plus 24% BP* ARR*) 47. Edward Hughes (British, 1953-2005) Footed tray combed decoration impressed potter’s seal 35cm x 25.5cm.

Provenance: Studio of the artist. £200-400 (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

The Collector’s Eye: The Henly Collection of Ruth Duckworth I first met Ruth in her studio which she shared with her husband, a sculptor. I was then the site manager (and sometimes labourer!) of a self-build home close by, designed by my architect husband. We became friends and admirers of her work, and she and her husband were in turn fascinated by our unusual venture. This was in the early sixties when Ruth was eagerly exploring new ideas and experimenting with varied techniques and materials. She was tired of producing coffee sets, which incidentally are now sought after! Their home was modern like ours was to be, and formed a perfect backcloth for her work. I don’t know how the pieces survived the boisterous behaviour of their two large, much loved dogs! A great deal has been written about Ruth’s early life and journey to becoming such an adventurous and creative ceramist. I just knew her as a quiet, unassuming person – warm, gentle and totally dedicated to her work. The studio was always full of exciting unsold items and new work in various stages of development. But most of all I remember the delightful intimate informal garden, which she and her husband had created. Hidden amongst the prolific sprawling greenery of plants and weeds and colourful flowers was an assortment of pots and sculptures - some broken, some misshapen, and others not considered worthy of completion. All the pieces were thoughtfully arranged to give a garden in touch with nature, which influenced most of her sculpture and lesser known paintings. It must have been difficult to leave all this behind and make the decision to emigrate to Chicago, but the opportunity to teach and the potential of a wider market was too tempting. Locally we lost a great talent. Nearing the end of my life, I feel now is a good time to pass on these examples of her early work - illustrating her pioneering spirit - to those who will cherish them as much as my husband and I have done for more than fifty years. Joan Henly November 2017

The 19 pieces - produced by Ruth Duckworth in London before her move to Chicago (her third homeland) in 1964 - have been in a private collection for over 50 years. They are an important historical note in the development of an artist who shaped new ways of thinking about ceramics in the second half of the 20th Century. By 1960 Duckworth had become known for her innovative ceramic design, her coiled pots being truly original. Henry Rothschild saw her potential offering her one-person shows at Primavera in 1960 and again in 1962 which cemented her reputation as a serious ceramicist. By 1964 Duckworth’s reputation was so widespread that she was chosen as a selector for the British Council and Crafts Council for international exhibitions. Of particular note in this collection is lot 65, a rare surviving early painting by Duckworth, which was exhibited at her first one-person exhibition at the Apollinaire Gallery, London in 1953 and lot 66 closest to the sweeping wall sculptures Duckworth would create for a range of Chicago landmarks later in her career. This 1.22m wall plaque from 1962-3 was exhibited at the City of Bradford Art Gallery in 1963, and shows her developments towards some of her best known work particularly the mural series Earth, Water and Sky (1967-68) commissioned by Chicago University for its geophysical sciences building and the 1976 work Clouds Over Lake Michigan on display at the Chicago Board Options Exchange Building.

Illustrated: Christmas card sent from Ruth Duckworth to Joan Henly in the 1971.

48. Ruth Duckworth (1919-2009) Three small vessels poured blue glaze the tallest 9cm high, the smallest 5cm high. £60-100 (plus 24% BP* ARR*) 49. Ruth Duckworth (1919-2009) Ash tray black glaze to the inside initialled 13.8cm diameter. £60-100 (plus 24% BP* ARR*)

50. Ruth Duckworth (1919-2009) Cylindrical vase blue and black glazes incised initials 36cm high. £100-200 (plus 24% BP* ARR*) 51. Ruth Duckworth (1919-2009) Ash tray red and yellow glazes 16cm across. £80-120 (plus 24% BP* ARR*) 52. Ruth Duckworth (1919-2009) Two vases black glazes 9.5cm high and 7.8cm high (2). £100-200 (plus 24% BP* ARR*) 53. Ruth Duckworth (1919-2009) Bowl yellow and red glazes, stripe pattern to the outside 9cm high, 23.7cm diameter. £100-200 (plus 24% BP* ARR*) 54. Ruth Duckworth (1919-2009) Vase of inverted form, blue glazes to upper half 10cm 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

55. Ruth Duckworth (1919-2009) Candle holder 10cm high, 16cm across. £150-250 (plus 24% BP* ARR*) 56. Ruth Duckworth (1919-2009) Bowl poured blue glazes initialled 40cm diameter. £100-200 (plus 24% BP* ARR*) 57. Ruth Duckworth (1919-2009) Charger blue and white glazes impressed potter’s seal 38cm diameter. £100-200 (plus 24% BP* ARR*)

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58. Ruth Duckworth (1919-2009) Bowl poured green and black glazes initialled 30cm diameter. £400-600 (plus 24% BP* ARR*) 59. Ruth Duckworth (1919-2009) Bowl of square form, green glazes incised initials 29.5cm across. £100-200 (plus 24% BP* ARR*) 60. Ruth Duckworth (1919-2009) Vessel of square form, dripped black and green glazes uneven rim 9cm high. £80-120 (plus 24% BP* ARR*) 61. Ruth Duckworth (1919-2009) Sculptural vessel turquoise and black glazes uneven rim 15.5cm high. £100-200 (plus 24% BP* ARR*) 62. Ruth Duckworth (1919-2009) Wall piece red and ochre glazes 22cm x 10cm. £150-250 (plus 24% BP* ARR*) 62

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

63. Ruth Duckworth (1919-2009) Sculptural form green and black glazes impressed potter’s seal 17cm high. £300-500 (plus 24% BP* ARR*)

64. Ruth Duckworth (1919-2009) Sculptural Form impressed potter’s seal 23.5cm across, 23.5cm across. £500-700 (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

65. Ruth Duckworth (1919-2009) Nude and Sunflower oils on paper 55cm x 37cm. Exhibited: Apollinaire Gallery, London, 1953 in Ruth Duckworth’s first one-person exhibition. Literature: Jo Lauria and Tony Birks, Ruth Duckworth: Modernist Sculptor, Lund Humphries, 2005, p.23, figure 8 for a photograph of the picture in Duckworth’s first oneperson exhibition. £1000-2000 (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

66. Ruth Duckworth (1919-2009) January Sunflower, circa 1962 wall piece labelled (to reverse) 91cm x 122cm. Exhibited: City of Bradford Art Gallery, 1963. £3000-5000 (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

67. No Lot 68. John Maltby (b.1936) Cup decorated with landscape signed 11.5cm high, 18cm across. £100-200 (plus 24% BP* ARR*) 69. John Maltby (b.1936) Pot and cover tenmoku glaze, with grass motif to the cover impressed potter’s seal 7.7cm diameter. £60-100 (plus 24% BP* ARR*)

70. John Maltby (b.1936) ‘Horatio’, cat on boat wood and ceramic signed 21.5cm across. £150-250 (plus 24% BP* ARR*) 71. John Maltby (b.1936) ‘Marmalade’, cat on boat wood and ceramic signed 21cm across. £150-250 (plus 24% BP* ARR*) 72. John Maltby (b.1936) Knight and Horse impressed potter’s seal 15cm across. £80-120 (plus 24% BP* ARR*) 73. John Maltby (b.1936) Princess impressed potter’s seal 20.5cm high. £200-300 (plus 24% BP* ARR*) 74. John Maltby (b.1936) King and Queen box impressed potter’s seal 21cm high, 15cm across. Provenance: Beaux Arts, Bath, 1999. £200-400 (plus 24% BP* ARR*)

75. John Maltby (b.1936) Bowl decorated with tree and dog signed 18.3cm across. Provenance: Peter Dingley Gallery, Stratford-uponAvon, 1984. £200-300 (plus 24% BP* ARR*)

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76. John Maltby (b.1936) Bowl decorated with landscape signed 16.8cm across. Provenance: Peter Dingley Gallery, Stratford-uponAvon, 1984. £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

77. John Maltby (b.1936) ‘Suffolk Marshes with Black Bird’ vessel signed 36cm high, 31.5cm across. £1000-2000 (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

78. John Maltby (b.1936) Cup form vessel decorated with landscape signed 13.8cm high. £250-350 (plus 24% BP* ARR*) 79. John Maltby (b.1936) Teapot octagonal form, painted flowers, cane handle impressed potter’s seal 14cm across. £100-200 (plus 24% BP* ARR*)

80. John Maltby (b.1936) Teapot painted cross motif, cane handle impressed potter’s seal 16cm across. £100-200 (plus 24% BP* ARR*) 81. John Maltby (b.1936) ‘Two Figures and a Wall’ titled and impressed potter’s seal 27cm across. £200-400 (plus 24% BP* ARR*) 82. John Maltby (b.1936) ‘Angel Bearing Gifts’ titled and impressed potter’s seal 38.7cm high. £300-500 (plus 24% BP* ARR*) 83. John Maltby (b.1936) Guardians impressed potter’s seal 24cm high. £200-300 (plus 24% BP* ARR*) 84. John Maltby (b.1936) Cup form decorated with bird and flowers signed 16.5cm high, 21cm across. £300-500 (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

85. John Maltby (b.1936) Large vessel decorated with sunlit landscape signed 47cm high. £500-800 (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. Walter Keeler (b.1942) Teapot impressed potter’s seal 28.5cm across. £200-300 (plus 24% BP* ARR*) 87. Walter Keeler (b.1942) Three mound monuments salt glazed the larger two impressed potter’s seal 25cm, 23cm and 13cm high (3). £100-200 (plus 24% BP* ARR*)

88. Walter Keeler (b.1942) Jar and cover salt glazed impressed potter’s seal 16cm high. £50-100 (plus 24% BP* ARR*) 89. Walter Keeler (b.1942) Jug dark blue salt glaze impressed potter’s seal 31.5cm high. £200-400 (plus 24% BP* ARR*) 90. Walter Keeler (b.1942) Jug salt glazed impressed potter’s seal 34cm high. £200-400 (plus 24% BP* ARR*) 91. Walter Keeler (b.1942) Jug salt glazed impressed potter’s seal 14.5cm across. £40-70 (plus 24% BP* ARR*) 92. Walter Keeler (b.1942) Teapot salt glazed, with double barrel spout impressed potter’s seal 23.5cm high, 21cm across. £150-250 (plus 24% BP* ARR*) 93. Walter Keeler (b.1942) Jug sansai glaze impressed potter’s seal 18.5cm across. £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

94. Colin Pearson (1923-2007) Winged pedestal vase bronze glaze impressed potter’s seal 11cm high. £150-250 (plus 24% BP* ARR*) 95. See page 29 96. Colin Pearson (1923-2007) Vessel with uneven rim impressed potter’s seal 26cm across. £150-250 (plus 24% BP* ARR*)

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97. Takeshi Yasuda (b.1943) Bowl sansai glaze impressed potter’s seal 16cm high, 35cm across. £100-200 (plus 24% BP* ARR*) 98. Takeshi Yasuda (b.1943) Bowl and cover 20cm high, 18cm diameter. Provenance: Primavera, Cambridge. £100-200 (plus 24% BP* ARR*) 99. Takeshi Yasuda (b.1943) Tea bowl impressed potter’s seal 9.5cm high, 9.5cm diameter. £80-120 (plus 24% BP* ARR*) 100. Peter Hayes (b.1946) Seated figures and child ceramic and wood 42.5cm high. £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

95. Colin Pearson (1923-2007) Jug form bronze glaze impressed potter’s seal 40.5cm high. £400-700 (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

101. Peter Hayes (b.1946) Sculptural form, 1993 signed and dated overall 25.8cm high. £80-120 (plus 24% BP* ARR*) 102. Peter Hayes (b.1946) Keyhole Bow Form burnished black signed overall 34cm high. £200-400 (plus 24% BP* ARR*)

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103. Peter Hayes (b.1946) Pellas burnished red signed overall 46.5cm high. £200-400 (plus 24% BP* ARR*) 104. Peter Hayes (b.1946) Mother and Child Sculpture signed overall 20.5cm high. £100-200 (plus 24% BP* ARR*) 105. See page 31 106. Alan Wallwork (b.1931) Lamp base wheel type motif the lamp base 26cm high. £60-100 (plus 24% BP* ARR*) 107. Alan Wallwork (b.1931) Fossil form incised initial 14cm 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

105. Emmanuel Cooper (1938-2012) Jug white glaze impressed potter’s seal 21cm high. £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

108. Alan Wallwork (b.1931) Split form initialled 22cm high, 26cm across. £200-300 (plus 24% BP* ARR*) 109. David Frith (b.1943) Vase cut sides and lug handles impressed potter’s and pottery seals 24cm high. £100-200 (plus 24% BP* ARR*)

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110. David Frith (b.1943) Charger brushwork motifs impressed potter’s and pottery seals 34.5cm diameter. £80-120 (plus 24% BP* ARR*) 111. David Frith (b.1943) ‘Water Lilies’ plate impressed potter’s and pottery seals 26.5cm diameter. £50-100 (plus 24% BP* ARR*) 112. Ian Gregory (b.1942) Hound impressed potter’s seal 29.7cm high. £80-120 (plus 24% BP* ARR*) 113. Ian Gregory (b.1942) Hound impressed potter’s seal 13.5cm high. £50-100 (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

114. Alan Caiger-Smith (b.1930) Pair of goblets gold and red lustre brushwork painted potter’s monogram each 15cm high (2). £80-120 (plus 24% BP* ARR*) 115. Alan Caiger-Smith (b.1930) Two goblets with ruby and gold brushwork one with painted potter’s monogram 15cm high and 13cm high (2). £50-100 (plus 24% BP* ARR*)

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116. Alan Caiger-Smith (b.1930) Bowl ruby red lustre painted potter’s monogram 24.8cm diameter. £100-200 (plus 24% BP* ARR*) 117. Bridget Drakeford (Contemporary) Vase red glaze signed 13.5cm high. £50-100 (plus 24% BP* ARR*) 118. Bridget Drakeford (Contemporary) Vase yellow glaze with manganese rim signed 29.5cm diameter. £100-200 (plus 24% BP* ARR*) 119. Bridget Drakeford (Contemporary) Vase green glaze, with dripped manganese rim signed 24.5cm high. £100-200 (plus 24% BP* ARR*)

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120. Tina Vlassopulos (Contemporary) Unravelling sculpture burnished stoneware impressed artist’s mark 36cm long. £100-200 (plus 24% BP* ARR*) 121. Bernard Irwin (Contemporary) Two vessels each signed 19cm and 39.5cm high (2). £80-120 (plus 24% BP* ARR*)

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122. Richard Godfrey (1949-2014) Teapot signed 25cm across. £100-200 (plus 24% BP* ARR*) 123. Audrey Blackman (1907-1990) The Professor, 1957 signed and dated 28cm high. £100-200 (plus 24% BP* ARR*) 124. Rosemary Wren (1922-2013) Cat impressed potter’s seal 24cm high. £150-250 (plus 24% BP* ARR*) 125. Penny Fowler (b.1947) Vase white and grey decoration incised signature 14.5cm high. £50-100 (plus 24% BP* ARR*)

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126. Dartington Pottery Tea set comprising teapot, milk jug, footed bowl and two cups painted with flower motifs each impressed pottery seal the teapot 19.5cm across (5). £60-100 (plus 24% BP* ARR*) 127. Philip Wood (b.1957) Bowl and Pot with moulded animals impressed potter’s seals the bowl 18.3cm across (2). £60-100 (plus 24% BP* ARR*)

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128. Delan Cookson (b.1937) Vase with flaring rim signed 28cm high and another smaller vessel, 16cm high (2). £60-100 (plus 24% BP* ARR*) 129. See page 36

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130. See page 36 131. See page 36 132. Anne and Peter Stougaard ‘Viking Galleon’ bowl signed 34cm across. Literature: Josie Walters, Pots in The Kitchen, The Crowood Press, 2002, illustrated. £200-300 (plus 24% BP* ARR*) 128

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133. Elsa Benattar (Contemporary) Vase tenmoku decoration impressed potter’s seal 16cm high. £80-120 (plus 24% BP* ARR*) 134. Elsa Benattar (Contemporary) Vase earthenware signed ‘Elsa’ 14cm high. £50-100 (plus 24% BP* ARR*)

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129. Peter Wills (Contemporary) Bowl pink glaze signed 18cm diameter. £80-120 (plus 24% BP* ARR*)

130. Peter Wills (Contemporary) Bowl yellow glaze signed 11.7cm diameter. £60-100 (plus 24% BP* ARR*)

131. Peter Wills (Contemporary) Bowl yellow glaze with dripped manganese rim signed 12.3cm diameter. £60-100 (plus 24% BP* ARR*)

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135. Dorte Visby (Contemporary) Bowl signed 21.5cm high, 29cm diameter. £200-300 (plus 24% BP* ARR*) 136. Hanne Haukom (Contemporary) Footed bowl, 2012 signed and dated 17cm high, 33cm diameter. £150-250 (plus 24% BP* ARR*)

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137. Gurli Hjorth (b.1951) ‘Nude’ vase signed 18cm high. £80-120 (plus 24% BP* ARR*) 138. Anna Stina Naess (b.1974) Three cups, 2003 white porcelain the tallest 14cm high (3). £60-100 (plus 24% BP* ARR*) 139. Maia Jorgensen (Contemporary) Two teapots one impressed potter’s mark each 22.5cm across (2). £80-120 (plus 24% BP* ARR*) 140. Helle Bovbjerg (b.1965) Vessel impressed potter’s seal 22cm high, 25cm across. £150-250 (plus 24% BP* ARR*) 141. Helle Bovbjerg (b.1965) Two ‘Container Poetry’ boxes one impressed potter’s seal 12cm and 8.5cm across (2). £40-70 (plus 24% BP* ARR*) 142. Katrine Procter (Contemporary) Charger incised initials 43cm diameter. £150-250 (plus 24% BP* ARR*) 143. Anna Stina Naess (b.1974) Pair of wall chargers, 2006 decorated in black and red each signed and dated 41cm diameter and 43cm diameter (2). £200-300 (plus 24% BP* ARR*)

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144. Bill and Barbara Hawkins (currently Port Isaac Pottery) Pair of monumental vases, early 1980s painted and etched decoration of clowns and carnival figures each impressed potter’s seal 79.5cm and 79cm high (2). Provenance: Originally produced at Rooksmoor Mills in Stroud, specifically for The Kings Circus Gallery, Bath to coincide with the Bath City Festival of Arts; Private Collection, Gloucestershire. £800-1200 (plus 24% BP* ARR*)

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145. Hilary LaForce (Contemporary) Vase blue and orange mottled glaze with long neck signed 45.5cm high. Provenance: Beaux Arts, Bath, 1989. £100-200 (plus 24% BP* ARR*) 146. John Wheeldon (b.1950) Three bowls lustre geometric decorations each impressed potter’s seal 25cm, 21.7cm and 16.3cm diameter (3). £80-120 (plus 24% BP* ARR*)

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147. Christoph Zange (Contemporary) Tea bowl and cover raku with poured glazes 12cm across in wooden case. Zange won The Walter Gebauer Ceramic Award for ‘The Drinking Vessel’ in 2006. £40-60 (plus 24% BP* ARR*) 148. Martin Smith (b.1950) Charger raku 48cm across. £100-200 (plus 24% BP* ARR*) 149. Siddiq El Nigoumi (1931-1996) Vase, 1983 burnished terracotta signed, dated and with potter’s mark 11.5cm diameter. £50-100 (plus 24% BP* ARR*) 150. Ray Silverman (b.1943) Two sculptural vessels porcelain one impressed potter’s seal 18.2cm and 15cm high (2). £50-100 (plus 24% BP* ARR*) 151. Ray Silverman (b.1943) Vessel with wide rim impressed potter’s seal 25cm high. £50-100 (plus 24% BP* ARR*)

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152. Tessa Fuchs (1936-2012) Footed bowl blue glaze impressed potter’s seal 7.5cm high, 15.5cm diameter. £50-100 (plus 24% BP* ARR*) 153. Carol McNicoll (b.1943) Footed bowl of triangular form signed 19.5cm across. £60-100 (plus 24% BP* ARR*)

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154. Carol McNicoll (b.1943) Footed bowl of scrolling form signed 26cm across. £60-100 (plus 24% BP* ARR*) 155. Carol McNicoll (b.1943) Spotted cup signed 8.5cm high. £50-100 (plus 24% BP* ARR*) 156. Patricia Hassall (b.1945) Mountain World, circa 1974 signed 45cm high. £80-120 (plus 24% BP* ARR*) 157. Ruthanne Tudball (b.1948) Bucket form cut sides impressed potter’s seal 31cm high £80-120 (plus 24% BP* ARR*)

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158. Ruthanne Tudball (b.1948) Jug impressed potter’s seal 18cm high. £50-100 (plus 24% BP* ARR*) 159. Christie Keeney (b.1958) Head, 1997 signed and dated 40.5cm high. £100-200 (plus 24% BP* ARR*)

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160. Marcio Mattos (b.1946) Jug form impressed potter’s seal 28cm high. £50-100 (plus 24% BP* ARR*) 160A. Hein Severijns (b.1936) Vase crystalline glaze signed 18cm high. £50-100 (plus 24% BP* ARR*) 161. Kate Malone (b.1959) Pumpkin, circa 1995 crystalline glaze 8.3cm diameter. Provenance: Collection of John Windsor, Art Market Journalist; £100-200 (plus 24% BP* ARR*) 162. Kate Malone (b.1959) Pine Cone vase, circa 1994-5 crystalline glaze 35.5cm high. Provenance: Collection of John Windsor, Art Market Journalist; This lot comes with a letter of authenticity from the artist. £400-600 (plus 24% BP* ARR*)

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163. John Ward (b.1938) Shouldered vessel blue and black glazes impressed potter’s seal 23cm high. £1000-2000 (plus 24% BP* ARR*)

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164. John Ward (b.1938) Vessel matt white, with mottled green and brown glaze impressed potter’s seal 20.5cm high. £800-1200 (plus 24% BP* ARR*)

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165. John Ward (b.1938) Shouldered vessel black glaze impressed potter’s seal 22cm high. £1000-2000 (plus 24% BP* ARR*)

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166. John Ward (b.1938) Vessel green and white bands impressed potter’s seal 20cm high, 20cm across. £4000-6000 (plus 24% BP* ARR*)

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167. John Ward (b.1938) Vessel white and mottled green stripes impressed potter’s seal 20.2cm high, 18.3cm across. £1000-2000 (plus 24% BP* ARR*)

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168. John Ward (b.1938) Vase red glaze impressed potter’s seal 7.3cm high, 8.8cm across. Provenance: Bluecoat Display Centre, Liverpool, 1996. £200-400 (plus 24% BP* ARR*)

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169. John Ward (b.1938) Vessel ochre impressed potter’s seal 22cm high, 21cm across. Provenance: Peter Dingley Gallery, Stratford-upon-Avon, 1990. £1000-2000 (plus 24% BP* ARR*)

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170. John Ward (b.1938) Vase mottled white glaze, matt black glaze to the inside impressed potter’s seal 11.3cm high, 10.5cm across. £800-1200 (plus 24% BP* ARR*)

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171. John Ward (b.1938) Vase of square form, mottled white glaze impressed potter’s seal 16.5cm high, 14cm across. £800-1200 (plus 24% BP* ARR*)

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172. Lucie Rie (1902-1995) Pouring vessel sgraffito decoration impressed potter’s seal 13cm high. Provenance: Collection of the art critic and historian J. P. Hodin. £800-1200 (plus 24% BP* ARR*)

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173. Lucie Rie (1902-1995) Coffee Pot manganese glaze impressed potter’s seal 19cm high. Provenance: Collection of the art critic and historian J. P. Hodin. £1000-2000 (plus 24% BP* ARR*)

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174. Lucie Rie (1902-1995) and Hans Coper (1920-1981) Pouring vessel, circa 1960 black glaze with white rim impressed potter’s seals 7.3cm high, 13.5cm across. £500-800 (plus 24% BP* ARR*)

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175. Peter Collingwood (1922-2008) Macrogauze, model ‘M.143 No.81’ linen and steel rods metal label 115cm high. £800-1200 (plus 24% BP* ARR*)

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176. Attributed to Edward William Godwin (1833-1886) Armchair, manufactured by Gillow & Co., circa 1875 mahogany, with red and green ‘Griffen’ pattern upholstery stamped ‘Gillow’ on ring turned legs 72cm high, 58cm across. No design for this chair has been identified in the Gillow Sketch Books for chairs, but Godwin is known to have been associated with the firm and certain attributes that feature on this chair show similarities to other examples identified as Godwin designs. £300-500 (plus 24% BP* ARR*)

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177. Meriden B. Company of America Aesthetic Movement easel back dressing mirror with floral panels, and circular pierced roundel to the top section depicting cupids watering a garden stamped manufacturer’s mark and patent number ‘182655’ and dated ‘26 Sept 1876’ 51cm high, 43cm across. £100-200 (plus 24% BP* ARR*) 178. Manner of Christopher Dresser (1834-1904) Vase decorated with bands of scrolling flowers numbered ‘5592’ 24.5cm high. £40-70 (plus 24% BP* ARR*)

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179. (Books) The Yellow Book Volumes 1 to 4, 1894-5 including illustrations by Aubrey Beardsley London: Elkin Mathews & John Lane (4). £100-200 (plus 24% BP* ARR*) 180. (Books) Glasgow School Collection of Art Nouveau books mainly Blackie & Sons, London and Glasgow including five with covers attributed to Charles Rennie Mackintosh, six covers to Ethel Larcombe and twenty covers by Talwin Morris. £100-200 (plus 24% BP* ARR*)

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181. Glasgow School Chair, in the manner of Herbert MacNair oak, ladder back 97.5cm high. £60-100 (plus 24% BP* ARR*) 181 182 182. Walter Crane (1845-1915) Set of six ‘Flora’s Feast’ napkins, possibly manufactured by John Wilson & Sons silk, printed and hand coloured each napkin 15cm x 12.5cm (6). Literature: Greg Smith, Walter Crane: Artist, Designer and Socialist, Lund Humphries, page 126 catalogue number H4 for comparable examples illustrated. £200-300 (plus 24% BP* ARR*)

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183. Henry Stacey Marks (1829-1898) for Minton Set of ‘The Seven Ages of Man’ tiles including The Infant, The Whining Schoolboy, The Lover, The Soldier, The Justice and Sans Everything each set in oak frames each tile 15cm x 14.5cm (7). £1200-1800 (plus 24% BP* ARR*)

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184. Copeland Mandolin player tile stamped manufacturer’s mark 15cm x 15cm. £50-100 (plus 24% BP* ARR*)

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185. Minton Secessionist Set of four plates stamped maker’s marks each 23cm diameter (4). £200-300 (plus 24% BP* ARR*) 186. Minton Secessionist Plate in turquoise colour way stamped maker’s marks 23cm diameter. £60-100 (plus 24% BP* ARR*)

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187. J & J Kohn of Austria Rocking chair bentwood with cane seat labelled 55cm across. £200-400 (plus 24% BP* ARR*) 188. Art Nouveau Manner Ceiling light metal frame, inset opaque glass panels with scrolling foliate branch designs 30cm high (excluding hanging chains). £100-200 (plus 24% BP* ARR*)

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189. Tiffany Studios of New York ‘Bookmark’ letter rack, circa 1910 bronze stamped manufacturer’s mark and numbered ‘1020’ 23.3cm across. £100-200 (plus 24% BP* ARR*) 190. See page 59

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191. Secessionist School Tray repoussé decorated with long haired maiden and stylised birds on ball feet 32.3cm across. £60-100 (plus 24% BP* ARR*) 191

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190. Art Nouveau School Picture Frame, in the manner of Henry van de Velde gilded and with scrolling motif inset with a book cover by Jessie Marion King, ‘Werke Alter Meister, Konigl, Museum Berlin’, first edition, Berlin, Glovus Verlag, 1902 the frame 71cm x 63cm. Provenance: Purchased by the current vendor from Lillian Nassau, New York, 1973. £500-700 (plus 24% BP* ARR*)

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192. Manner of Richard Riemerschmid (1868-1957) Pair of Munich School candlesticks, circa 1900 angular curved handles 23cm across,, 10cm high (2). £80-120 (plus 24% BP* ARR*)

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193. Viennese Secessionist School Flatware service, possibly designed by Otto Prutscher, circa 1920s comprising six dinner forks, six dinner knives, six small forks, six small knives, six fish forks, six fish knives, eleven spoons (six dinner, five first course spoons) with hexagonal stems and stamped marks the dinner knives 21cm long (47). £100-200 (plus 24% BP* ARR*) 194. See page 61 195. Art Nouveau Pair of fire dogs in the form of bullrushes 48cm high (2). £100-200 (plus 24% BP* ARR*)

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196. Secessionist Manner Candelabra four branches, with leaf and berry decoration 40.3cm high. £80-120 (plus 24% BP* ARR*)

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194. Pierre Felix Fix-Masseau (1869-1937) Le Secret signed ‘Fix-Masseau’, stamped ‘Siot-Decauville, Paris Foundry’ and impressed ‘G178’ gilt bronze 30.5cm high. Literature: see A. Duncan, Art in Sculpture, New York, 1978, p.85 for an illustration of a similar model. A life-size version of this sculpture is in the collection of the Musée d`Orsay, Paris. £1000-2000 (plus 24% BP* ARR*)

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Arts and Crafts 197. Maw & Co. Set of four Arts & Crafts tiles, in the manner of Walter Crane manufacturer’s marks each 15.5cm x 15.5cm (4). £100-200 (plus 24% BP* ARR*) 198. John Hardman & Company Collection of stained glass and other designs three with John Hardman & Company monogram watercolour, pencil and gouache.

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John Hardman and Company was founded in 1838 and became a leading manufacturer of stained glass and church fittings. John Hardman worked in close association with A. W. Pugin amongst other designers. £100-200 (plus 24% BP* ARR*) 199. Manner of W.A.S. Benson (1854-1924) Table lamp, circa 1900 brass articulated stem, tripod base 36.5cm high. £100-200 (plus 24% BP* ARR*)

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200. Manner of Morris & Co. Set of four Arts & Crafts finger plates scrolling berry and foliage branch decoration brass each stamped ‘ST.’ 14.7cm high, 7.8cm across (4). £80-120 (plus 24% BP* ARR*)

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201. Attributed to Birmingham Guild of Handicrafts Arts & Crafts chandelier ceiling light hammered copper, the lower section inset glass with scrolling decoration and vaseline glass shades approximately 61cm high, 46cm diameter. £1500-2500 (plus 24% BP* ARR*)

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The Curator’s Eye: Arthur Mitchell and the Cotswold School of Craftsmen 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 1965 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 The following works (lots 202 to 205) come from the collection of Arthur Mitchell, some being commissioned by him around 1930 for Mrs. R. Cole and her London flat.

Illustrated: Frances A. De Biden, Portrait of Arthur Mitchell, 1931

202. Peter Waals (1870-1937) Centre table, after designs by Ernest Gimson walnut, with ebony and holly inlay on four chamfered supports, connected by cross stretchers 70.5cm high, 95cm diameter. Provenance: Arthur Mitchell; thence by descent. £1000-3000 (plus 24% BP* ARR*)

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203. Peter Waals (1870-1937) Two tier centre table walnut, with ebony and holly inlay curved supports 68.5cm high, 91cm diameter. Provenance: Arthur Mitchell; thence by descent. £1000-3000 (plus 24% BP* ARR*)

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204. Peter Waals (1870-1937) Bureau cabinet walnut fall front opening to reveal drawers, cupboard and compartments with holly and ebony inlay the lower half fitted drawers and cupboard all on shaped feet 129cm high, 99cm across, 45cm deep. Provenance: Reference to this bureau can be found in the Ledger of Peter Waals, 1920-1931, purchased by Arthur Mitchell as ‘Furniture for Mrs. R. Cole’ dated November 1931. Arthur Mitchell; Mrs R. Cole; thence by descent. £4000-7000 (plus 24% BP* ARR*)

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205. Peter Waals (1870-1937) Dresser oak the upper half with chamfered supports and panelled back the lower half with metal studded doors and wooden locks 137cm across, 180cm high, 50cm deep.

Literature: The wooden handles and locks in particular are close to other examples designed by Gimson. See Mary Greensted, Gimson and the Barnsleys, Evans Brothers Ltd., 2001, p.153 for a dresser with some similar features. Provenance: Arthur Mitchell; thence by descent. £4000-7000 (plus 24% BP* ARR*)

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206. Heartwood Cabinet Makers Display cabinet on square tapering supports 138cm high, 61.5cm across, 35.7cm deep. £300-600 (plus 24% BP* ARR*) 207. Cotswold School Jewellery box, in the manner of Oliver Morel walnut and burr oak, inlaid with ebony and holly stringing opening to reveal a removable tray with heart shape motif inset metal label stamped ‘WBJ’ to the base 26.9cm across, 16.5cm deep. £150-250 (plus 24% BP* ARR*)

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208. Colin Almack Beaverman book trough oak carved beaver signature 55cm across. £100-200 (plus 24% BP* ARR*) 209. Attributed to Liberty & Co. Wall mirror brass frame, inset turquoise Ruskin roundels 53cm x 64cm. £100-200 (plus 24% BP* ARR*) 210. Keswick School of Industrial Art Ink tray copper and brass hammered and repoussé decorated with flowering foliage stamped maker’s mark 35.5cm across. £200-400 (plus 24% BP* ARR*) 211. Manner of Liberty & Co. Arts & Crafts bowl pewter hammered and decorated with stylised flowers and red Ruskin roundels to the wide border 38cm diameter. £150-250 (plus 24% BP* ARR*)

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212. Carlo Manzoni for Della Robbia Vase decorated with flowering foliage incised manufacturer’s marks 24.5cm high. £150-250 (plus 24% BP* ARR*) 213. C. H. Brannam of Barnstaple Pair of napkin holders blue glaze, in the form of figures holding a plaque incised maker’s marks 10cm high (2). £150-250 (plus 24% BP* ARR*)

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214. Russell of Broadway Nest of three tables oak maker’s metal label the largest 45.5cm high, 62.5cm across (3). £50-100 (plus 24% BP* ARR*) 215. William G. Simmonds (1876-1968) Newel post oak, carved with oak leaves stamped maker’s mark 36cm high. £100-300 (plus 24% BP* ARR*) 216. Arts & Crafts Bowl hammered copper with three sinuous handles 35cm across. £200-400 (plus 24% BP* ARR*) 217. Attributed to Liberty & Co. Arts and Crafts wall mirror hammered copper, inset turquoise Ruskin Pottery roundels 98.5cm x 68cm. £250-350 (plus 24% BP* ARR*)

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218. Arts & Crafts School Wall mirror brass, hammered and repoussé decorated with grapes and vines 63cm x 88.5cm. £400-600 (plus 24% BP* ARR*) 218

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219. Nelson Arts & Crafts footed bowl hammered stamped maker’s mark 7cm high, 31cm across. £80-120 (plus 24% BP* ARR*) 220. Roger Guerin (1896-1954) Jardiniere dripped blue glaze signed and numbered 19cm high. £50-100 (plus 24% BP* ARR*)

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221. Belgian School Jug of grotesque form with claw handle 23cm high. £40-70 (plus 24% BP* ARR*) 222. Liberty & Co. Book trough oak the metal panel ‘Read! Mark! Learn!’ 30.5cm across. £80-120 (plus 24% BP* ARR*)

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223. Manner of Ford Madox Brown for Morris & Co. Set of four Arts & Crafts chairs ebonised and with rush seats the armchair 53cm across, 81cm high (4). £300-500 (plus 24% BP* ARR*)

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224. Manner of Mackay Hugh Baillie Scott (1865-1945) Arts & Crafts chair oak, the back panel carved with flowering tree 94cm high. £150-250 (plus 24% BP* ARR*) 225. Arts & Crafts School Table top writing desk, in the manner of Charles Voysey, circa 1900-1910 oak with fall front opening to reveal compartments 43.5cm across, 42cm high. £200-300 (plus 24% BP* ARR*)

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226. Robert Arthur Wilson (1884-1979) Tile depicting a Grecian muse inscribed (to reverse) 15cm x 15cm. £60-100 (plus 24% BP* ARR*) 227. Mogridge and Underhay for Heal & Son ‘Emundu’ jug and bowl stamped maker’s and retailer’s mark to the bowl registration number ‘607058’ the bowl 41cm diameter. £100-200 (plus 24% BP* ARR*)

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228. Manner of Newlyn School Arts and Crafts wall sconce copper repoussé decorated with a flower 27cm 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

229. Stanley Webb Davies (1894-1978) Dining table, 1952 oak, with chamfered trestle ends and shaped pegged stretcher monogrammed and dated, also including the craftsman’s monogram for Richard Cloudsdale (1908-1991) 182cm long, 88cm across, 71cm high. £1000-2000 (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

230. Stanley Webb Davies (1894-1978) Set of six dining chairs, 1952 oak, with shaped backs monogrammed and dated for Sidney Allan Johnson 98cm high (6). £600-1000 (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

231. Heals ‘Tilden’ table, designed by Philip Tilden and Ambrose Heal after the 1920s design for Winston Churchill’s home Chartwell limed oak, on double column end supports joined by stretcher inset manufacturer’s ivorine label 152cm long, 75cm high. £1000-2000 (plus 24% BP* ARR*) 232. William Mawson of Keswick Home Industries Sugar Bowl and Milk Jug, circa 1900 copper, repoussee decorated stamped maker’s marks the sugar bowl 17.5cm across (2). £30-50 (plus 24% BP* ARR*)

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233. Rowley Gallery Music marquetry panel 49.5cm x 75cm. £150-250 (plus 24% BP* ARR*) 234. William Moorcroft (1872-1945) for James Macintyre & Co. ‘Roses’ jug underglaze green ‘WM’ initials and manufacturer’s stamp 13.5cm high. £100-200 (plus 24% BP* ARR*)

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Mouseman

235. Robert Thompson of Kilburn (1876-1955) Four Mouseman ash trays oak carved mice signature 10.5cm across (4). £100-200 (plus 24% BP* ARR*) 236. Robert Thompson of Kilburn (1876-1955) Mouseman bowl oak carved mouse signature 29cm diameter. £150-250 (plus 24% BP* ARR*)

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237. Robert Thompson of Kilburn (1876-1955) Mouseman bowl oak carved mouse signature 29cm diamter. £150-250 (plus 24% BP* ARR*) 238. Robert Thompson of Kilburn (1876-1955) Mouseman bread board oak carved mouse signature 30cm across. £100-200 (plus 24% BP* ARR*) 239. Robert Thompson of Kilburn (1876-1955) Mouseman bread board oak carved mouse signature 30cm across. £100-200 (plus 24% BP* ARR*) 240. Robert Thompson of Kilburn (1876-1955) Three Mouseman cheese boards oak carved mice signature 37cm, 39cm and 40cm across (3). £300-500 (plus 24% BP* ARR*) 241. Robert Thompson of Kilburn (1876-1955) Mouseman box oak carved mouse signature 18.7cm across. £150-250 (plus 24% BP* ARR*)

241

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

242. Robert Thompson of Kilburn (1876-1955) Pair of Mouseman book ends oak carved mice signature each 15.5cm high (2). £150-250 (plus 24% BP* ARR*) 243. Robert Thompson (1876-1955) of Kilburn Mouseman book trough oak carved mouse signature 45.5cm across. £100-200 (plus 24% BP* ARR*)

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244. Robert Thompson (1876-1955) of Kilburn Mouseman book trough oak carved mouse signature 45.5cm across. £100-200 (plus 24% BP* ARR*) 245. Robert Thompson (1876-1955) of Kilburn Mouseman tray oak carved mice signature 47cm across. £150-250 (plus 24% BP* ARR*) 246. Robert Thompson (1876-1955) of Kilburn Mouseman nest of three tables oak carved mice signature the largest 47cm high, 60cm across (3). £400-600 (plus 24% BP* ARR*) 247. Robert Thompson (1876-1955) of Kilburn Mouseman stool oak, with curved adzed top carved mouse signature 57cm high, 55cm across. £200-400 (plus 24% BP* ARR*) 248. Robert Thompson (1876-1955) of Kilburn Set of six Mouseman chairs carved mice signature oak, with panelled backs and seats 71cm high (6). £500-700 (plus 24% BP* ARR*)

248

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249. Robert Thompson (1876-1955) of Kilburn Mouseman armchair oak with tan leather seat, and lattice back carved mouse signature 62.5cm across, 79.5cm high. £500-700 (plus 24% BP* ARR*) 250. Robert Thompson (1876-1955) of Kilburn Pair of Mouseman lounge chairs oak with tan leather seats carved mice signature 101cm high, 61.5cm across (2). £1500-2500 (plus 24% BP* ARR*)

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251. Robert Thompson (1876-1955) of Kilburn Mouseman coffee table oak with adzed top carved mouse signature 44cm high, 91cm across. £300-500 (plus 24% BP* ARR*) 252. Robert Thompson (1876-1955) of Kilburn Mouseman stool oak, curved adzed top carved mouse signature 38cm high, 40.5cm across. £150-250 (plus 24% BP* ARR*) 253. Robert Thompson (1876-1955) of Kilburn Mouseman stool oak, with woven tan leather top carved mouse signature 38cm high, 34cm across. £200-300 (plus 24% BP* ARR*) 254. Robert Thompson (1876-1955) of Kilburn Mouseman stool dark oak, curved adzed top carved mouse signature 35.5cm high, 39cm across. £200-300 (plus 24% BP* ARR*) 255. Robert Thompson (1876-1955) of Kilburn Mouseman stool oak, three octagonal legs carved mouse signature 45cm high. £150-250 (plus 24% BP* ARR*)

255

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

256. Robert Thompson (1876-1955) of Kilburn Mouseman stool oak, three octagonal legs carved mouse signature 35.5cm high. £120-180 (plus 24% BP* ARR*) 257. Robert Thompson (1876-1955) of Kilburn Buffet trolley oak, on castors carved mouse signature 102.5cm high, 117cm across. £400-600 (plus 24% BP* ARR*)

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258. Robert Thompson of Kilburn (1876-1955) Mouseman cheese board oak carved mouse signature to board 37cm across. £300-400 (plus 24% BP* ARR*) 259. Robert Thompson of Kilburn (1876-1955) Mouseman cheese board oak, of kidney shape carved mouse signature 39.5cm across. £200-300 (plus 24% BP* ARR*) 260. Robert Thompson of Kilburn (1876-1955) Mouseman bowl adzed oak carved mouse signature to outside of bowl 26cm diameter. £300-500 (plus 24% BP* ARR*) 261. Robert Thompson of Kilburn (1876-1955) Mouseman bowl adzed oak carved mouse signature 28.5cm diameter. £200-300 (plus 24% BP* ARR*) 262. Robert Thompson of Kilburn (1876-1955) Mouseman tray oak, of rectangular form carved mice signature 56cm across. £300-500 (plus 24% BP* ARR*)

262

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. Robert Thompson of Kilburn (1876-1955) Mouseman table lamp adzed oak carved mouse signature 25.5cm high. £200-300 (plus 24% BP* ARR*) 264. Robert Thompson of Kilburn (1876-1955) Mouseman standard lamp oak carved mouse signature 133cm high. £400-600 (plus 24% BP* ARR*)

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265. Robert Thompson of Kilburn (1876-1955) Mouseman stool adzed oak, curved seat carved mouse signature 38cm high, 40.5cm across. £300-500 (plus 24% BP* ARR*) 266. Robert Thompson of Kilburn (1876-1955) Mouseman small bookcase oak, fitted two shelves carved mouse signature 69cm high, 49.5cm across, 27cm deep. £600-800 (plus 24% BP* ARR*) 267. Robert Thompson of Kilburn (1876-1955) Mouseman bookcase oak, fitted three shelves carved mouse signature 121.5cm high, 84cm across, 26cm deep. £1000-2000 (plus 24% BP* ARR*) 268. Robert Thompson of Kilburn (1876-1955) Mouseman hall seat oak carved mouse signature 86cm high, 75.5cm across, 47cm deep. £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

269. Robert Thompson of Kilburn (1876-1955) Mouseman bedside cabinet oak carved mouse signature 68cm high, 48cm across, 37.5cm deep. £1000-1500 (plus 24% BP* ARR*) 270. Robert Thompson of Kilburn (1876-1955) Pair of Mouseman bookends oak carved mice signature 15cm high (2). £300-500 (plus 24% BP* ARR*)

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274

Art Deco and Pre-War Modernism 271. John Wadsworth (1879-1955) Design for enamelled Art Deco hand mirror, circa 1920s pencil, watercolour and gouache 14cm x 10cm. £100-200 (plus 24% BP* ARR*) 272. Jessamine Stella Bray and Sybil V. Williams for Dulwich Pottery Figure of a lady sewing, 1927 painted pottery marks and dated 22.5cm high. £200-300 (plus 24% BP* ARR*) 273. Phoebe Stabler (1879-1955) for Hammersmith Pottery Buster Boy, 1913 incised and dated stamped pottery mark 17.5cm high. £250-350 (plus 24% BP* ARR*) 274. Wiener Kunstkeramische Werkstatte Girl with bouquet of flowers stamped manufacturer’s mark and numbered ‘1392/236/14’ 13cm 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

275. Charles Lemanceau (1905-1980) Squirrel stamped maker’s mark 30.5cm high. £150-250 (plus 24% BP* ARR*) 276. Manner of Brantjes Purmerend Iris jug stamped ‘Au Bon Marche’ retailer’s mark 25cm high. £300-500 (plus 24% BP* ARR*)

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277. Maison Siegel of Paris Art Deco table mirror chrome stamped ‘Etable-is, Paris’ 95cm high. £400-600 (plus 24% BP* ARR*) 278. Robert Dudley Best (1892-1984) for Bestlite BL1 table lamp chrome with black lacquered shade and base stamped manufacturer’s mark 51.5cm high unextended. £80-120 (plus 24% BP* ARR*) 279. Paul Milet for Sevres Polar bear green and black glazes stamped maker’s mark 33cm high. £100-200 (plus 24% BP* ARR*) 280. Degue of France Ceiling light pink and blue glass with metal link hanging chains interspersed with millefiori beads signed 35cm diameter. £200-400 (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

281. Keralouve La Louviere ‘Elephant’ vase stamped maker’s mark 28cm high. £80-120 (plus 24% BP* ARR*) 282. Lars Hjorth of Bornholm ‘Dragon’ vase stamped maker’s mark 40cm high. £80-120 (plus 24% BP* ARR*)

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283. Andre Villien (1880-1956) Vase enamel, with verdigris metal stand the vase signed 25cm high overall. £150-250 (plus 24% BP* ARR*) 284. Clyne Farquharson for John Walsh Walsh ‘Kendal’ decanter, 1938 engraved glass signed and dated 37cm high. £80-120 (plus 24% BP* ARR*) 285. Sabino of Paris ‘Shell’ plate opalescent glass signed 25cm diameter. £80-120 (plus 24% BP* ARR*) 286. Schneider Footed bowl acid etched decoration signed and with ‘Objets d’Art Maire of Marseille’ label 41cm 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

287. Andre Delatte (1887-1953) Footed bowl acid etched glass, with floral design signed 40cm diameter. £80-120 (plus 24% BP* ARR*) 288. Josef Lorenzl (1892-1950) Art Deco Dancer bronze and ivory on onyx base signed ‘Renzl’ 20cm high including base. £200-400 (plus 24% BP* ARR*)

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289. Josef Lorenzl (1892-1950) Art Deco Figure depicting a lady in hunting outfit holding a riding crop bronze on onyx base signed ‘Renzl’ 20cm high including base. £200-400 (plus 24% BP* ARR*) 290. See page 86 291. Smith Metal Arts Company Art Deco Silver Crest Bronze box and photo frame maker’s marks the box 15.5cm across, the frame 19.5cm across (2). £60-100 (plus 24% BP* ARR*)

291 289

292. Attributed to Loetz Bowl white opalescent glass with blue rim 25.5cm diameter. £100-200 (plus 24% BP* ARR*) 293. See page 87 294. No Lot 292

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290. Clement Massier Vase lustre, painted with thistles impressed ‘Golfe-Juan A M’ 29cm high. £200-300 (plus 24% BP* ARR*)

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293. Rene Lalique (1860-1945) ‘Domremy’ vase opaque glass moulded and etched ‘R. Lalique’ 21cm high. £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

295. Paolo Buffa (1903-1970) Dining Room suite, circa 1940 comprising dining table with circular top and undulating border, and six chairs with shaped backs oak the table 82cm diameter, 133cm diameter, the chairs 105cm high (7).

Literature: R. Aloi, L’Arredamento Moderno, Terza Serie, 1947, p. 646 for a similar example illustrated. £800-1200 (plus 24% BP* ARR*)

296. Paolo Buffa (1903-1970) Stool/table oak and rattan 75cm high, 57cm across, 42.5cm deep. £100-300 (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

297. No Lot 298. No Lot 299. Art Deco School Pierrot bronze and ivory 11cm high. £60-100 (plus 24% BP* ARR*) 300. See page 90 301. See page 91 302. Manner of Josef Hoffmann (1870-1956) Creamer, circa 1905 brass with wooden handle 14.8cm across. £150-250 (plus 24% BP* ARR*)

299

303. Manner of Josef Hoffman for Wiener Werkstatte Two lidded boxes facetted brass on stamped ‘C23’, the other ‘12’ 13cm and 14.5cm across (2). Provenance: Originally purchased in Vienna; Galerie Metropol, New York, circa 1980; Private Collection. £100-200 (plus 24% BP* ARR*)

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303

304. See page 92 305. See page 93 306. Zsolnay Pecs Vase irridescent manufacturer’s mark 10cm high. £40-70 (plus 24% BP* ARR*)

306

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

300. Paul Philippe (1870-1930) The Flute Player bronze signed in the cast and with ‘AG Bronze Paris’ foundry mark on a shaped marble base 55cm high overall. £700-1000 (plus 24% BP* ARR*)

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301. Clarice Cliff (1899-1972) ‘Diamonds’ vase in the Meiping shape ‘Bizarre’ mark and facsimile signature 30.5cm high. £500-800 (plus 24% BP* ARR*)

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304. De Stijl School Stained glass, in the manner of Theo Van Doesburg leaded, in white frame 52.5cm x 39cm. Provenance: Purchased by the current vendor in Rotterdam in 1989. £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

305. Manner of Eliel Saarinen (1873-1950) Basket electro plated stamped ‘B.L.P.W.F.’ and numbered ‘3931’ 27cm high. Provenance: Fifty/50 Gallery, New York, 1980s; Private Collection. £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

307. Wedgwood & Co. Ltd. Monostatos hand painted porcelain figure numbered ‘1261’ and manufacturer’s mark 20cm high. £100-200 (plus 24% BP* ARR*) 308. See page 95 309. Czech School in the manner of Schlevogt Hoffmann Two green malachite vases each decorated with a band of cherubs in relief each 8.5cm high (2). £40-70 (plus 24% BP* ARR*)

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313

310. Manner of Vanessa Bell (1879-1961) and The Omega Workshop Seated lady in blue robes 29cm high. £200-300 (plus 24% BP* ARR*) 311. Manner of Duncan Grant (1885-1978) and The Omega Workshop Vase blue and yellow painted decoration 18.5cm high. £200-300 (plus 24% BP* ARR*) 312. Art Deco School Lemonade set comprising jug and four glasses clear and green glass the jug 23.2cm high (5). £150-250 (plus 24% BP* ARR*) 313. Art Deco School French coffee table limed oak, inset turquoise tiles 42cm across. £250-350 (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

308. Lomonosov Porcelain Factory Tamara Karsavina in ‘The Firebird’, circa 1920, designed by Dmitry Iosifovich (Ivanovich) Ivanov in a costume designed by Leon Bakst manufacturer’s mark 21.5cm high £1000-2000 (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

314. Lalique of France ‘Bagatelle’ vase opaque glass signed ‘Lalique France’ 17cm high. £150-250 (plus 24% BP* ARR*) 315. Lalique of France ‘Elisabeth’ vase opaque glass signed ‘Lalique France’ 13.5cm high. £100-200 (plus 24% BP* ARR*)

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318

316. Keith Murray for Stevens & Williams Decanter and six shot glasses, circa 1930 the sea green decanter of triple ring cut glass form pattern number 841a the decanter 20.5cm high (7). £40-70 (plus 24% BP* ARR*) 317. See page 97 318. Michael Powolny for Loetz Vase orange and black glass 20.5cm high. £150-250 (plus 24% BP* ARR*) 319. Michael Powolny for Loetz Jardiniere orange and black glass 12cm high. £200-300 (plus 24% BP* ARR*) 320. Guido Gambone (1909-1969) Desert set comprising central bowl and six flanking bowls each painted maker’s mark the central bowl 17.5cm diameter (7). £400-600 (plus 24% BP* ARR*)

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320

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

317. Josef Hoffmann (1870-1956) for the Wiener Werkstätte Tray brass impressed ‘Wiener/Werk/Statte’ and monogrammed ‘JH’ 31.3cm diameter. £1000-2000 (plus 24% BP* ARR*)

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321. Niels Koefoed for Koefoeds Mobelfabrik Set of six ‘lis’ chais teak, ladder backs stamped manufacturer’s mark 95cm high (6). £700-1000 (plus 24% BP* ARR*)

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322. Kurt Ostervig (1912-1986) for Jason Mobelfabrik ‘Eva’ drop-leaf dining table, circa 1960 teak 130cm across, 72cm high. £800-1200 (plus 24% BP* ARR*)

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323. Jessie Tait (1928-2010) for Midwinter Lazy Susan comprising central bowl and cover, four surrounding bowls and wooden stand stamped manufacturer’s marks overall 43cm across. £80-120 (plus 24% BP* ARR*)

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328

324. David Mellor (1930-2009) for Walker & Hall ‘Pride’ tea set comprising coffee pot, tea pot, milk jug and sugar bowl silver plated stamped manufacturer’s marks and numbered ‘53722; the coffee pot 15.5cm high (4). £200-300 (plus 24% BP* ARR*) 325. Meridiana of Italy Cuckoo clock manufacturer’s mark 26cm high. £60-100 (plus 24% BP* ARR*) 326. Kenneth Clark (1922-2012) and Ann-Wynn Reeves (1929-?) Set of four ‘Owl’ tiles in orange, red and yellow colour ways each 15cm x 15cm (4). £50-100 (plus 24% BP* ARR*) 327. Kenneth Clark (1922-2012) and Ann-Wynn Reeves (1929-?) Set of four ‘Flower’ tiles in blue, brown and green colour ways each 15cm x 15cm (4). £50-100 (plus 24% BP* ARR*) 328. Kenneth Clark (1922-2012) and Ann-Wynn Reeves (1929-?) Set of four ‘Fruit’ tiles in green, blue and orange colour ways each 15cm x 15cm (4). £50-100 (plus 24% BP* ARR*) 329. Kenneth Clark (1922-2012) and Ann-Wynn Reeves (1929-?) Set of four ‘Musical Instrument’ tiles in blue, red and yello colour ways each 15cm x 15cm (4). £50-100 (plus 24% BP* ARR*)

329

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100

330. Ernest Race (1913-1964) Set of six ‘BA3’ chairs, originally designed 1945 two armchairs and four standard chairs aluminium and green fabric stamped ‘Reg. Des. No. 848794 / Made in England’ 78.3cm high (6). £400-600 (plus 24% BP* ARR*) 331. Otto Breuer (1897-1938) for Holmegaard ‘Gul’ vase in yellow and white glass 44cm high. £50-100 (plus 24% BP* ARR*)

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331

332. Peter Blake (b.1932) for Wedgwood ‘Demonstrations’ plate from an edition of 500 commissioned by The National Arts Collection Fund facsimile signature and manufacturer’s marks 31cm diameter. £60-100 (plus 24% BP* ARR*) 333. Villeroy & Boch ‘Jardins Francais’ plate manufacturer’s marks 30.5cm diameter. £50-100 (plus 24% BP* ARR*)

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335

334. Troika Lamp base, possibly by Alison Brigden geometric designs signed 17cm high. £150-250 (plus 24% BP* ARR*) 335. Lino Sabattini (b.1925) for Christofle Pair of ‘Cardinal’ vases, originally designed 1957 silver plated stamped manufacturer’s marks 21cm high (2). £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

101

336. Geoffrey Baxter for Whitefriars Drunken Bricklayer vase glass in tangerine colour way 21.5cm high. £150-250 (plus 24% BP* ARR*) 337. Michael Harris (1933-1994) of Mdina Glass, Malta Free form sculpture signed and inscribed green and turquoise striated glass 23cm high. £150-250 (plus 24% BP* ARR*)

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337

338. Alvar Aalto for Iittala Two Savoy vases each stamped one in blue glass and the other in clear glass 16cm and 25cm high respectively, the former with box (2). £60-100 (plus 24% BP* ARR*) 339-343 No Lot 344. Richard Young for Merrows Associates Shelving unit chrome, with glass shelves 147cm high, 99cm aross. £200-300 (plus 24% BP* ARR*)

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344

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102

345. Poul Cadovius (1911-2011) Cado Modular Storage Wall Unit, 1960s rosewood including three wall cupboards, 7 shelves, wall rails and a quantity of brackets 345

This lot is sold together with an Article 10 CITES Certificate. £500-800 (plus 24% BP* ARR*) 346. Modernist School ‘Marilyn Monroe’ silk screen mirror, 1970s small limited edition 64.5cm x 59cm. £100-200 (plus 24% BP* ARR*) 347. Modernist School ‘Moon’ silk screen mirror, 1970s small limited edition 60cm x 50cm. £80-120 (plus 24% BP* ARR*) 348. See page 104 349. Pablo Picasso (1881-1973) for Desso ‘Women with Dove’ rug wool 68.5cm x 136cm. £400-600 (plus 24% BP* ARR*)

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349

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103

348. Yngve Ekstrom (1913-1988) for Swedese Lamino lounge chair, designed in 1956 probably manufactured by Swedese teak ‘Made in Sweden’ label 70cm across, 100cm high. £200-400 (plus 24% BP* ARR*)

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104

350. John Makepeace (b.1939) Table, 1980 limed oak 72cm high, 177cm across, 55cm deep. Provenance: This table was made for the current vendors by John Makepeace in 1980 in exchange for a rug. The proportion of the table was based on Oxford College’s narrow refectory tables, with upturned trestle supports and was designed to give it a feel of lightness in a confined space. £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

105

351. Ernest Race (1913-1964) Pair of ‘DA2’ chairs, originally designed in 1949 with Bute wool tweed upholstery 68.5cm across (2). Provenance: Purchased from the 1951 Festival of Britain end of exhibition sale; thence by family descent. £400-700 (plus 24% BP* ARR*)

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106

352. Poole Pottery Three vases with irridescent mottled glaze stamped factory mark the largest 22cm high (3). £100-200 (plus 24% BP* ARR*)

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356

353. Limoges of France ‘La Conquete du Cosmos’ plate, designed by Salvador Dali, 1974 3561/4000, inscribed, numbered and marked (to reverse) 21.5cm diameter, together with a Pablo Picasso designed plate, designed and issued in 1970, 24cm diameter (2). £50-100 (plus 24% BP* ARR*) 354. Herbert Krenchel Set of five ‘Krenit’ bowls enamelled metal the largest bowl 25.3cm diameter (5). £150-250 (plus 24% BP* ARR*) 355. Alessandro Pianon (1931-1984) for Vistosi Pendant light blue cased white glass 88.5cm high. £100-200 (plus 24% BP* ARR*) 356. Modernist School Pair of table lamps, circa 1950s clear acrylic and chrome 45cm high (2). £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

107

357. Timo Sarpaneva (1926-2006) ‘Finlandia’ vase glass signed and numbered 17.5cm high. £80-120 (plus 24% BP* ARR*) 362

357 358. Manner of Aldo Tura (1909-1963) Italian low table, circa 1970s with brass banding 40cm high, 140cm long. £350-450 (plus 24% BP* ARR*) 359. Manner of Ico Parisi (1916-1996) Italian sofa button back upholstery pointed wooden legs, with brass feet 212cm across. £200-300 (plus 24% BP* ARR*)

358

360. See page 109 361. Antonio Citterio (b.1950) for B&B Italia Maxalto ‘Amoenus’ sofa with five pillows circular and swivelling 167cm across. £500-700 (plus 24% BP* ARR*) 362. Poul Henningsen PH pendant ceiling light aluminium 47.5cm diameter. £200-300 (plus 24% BP* ARR*)

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361

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108

360. Brazilian School Chair with tan leather seat 81.5cm across, 106cm high. £600-800 (plus 24% BP* ARR*)

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109

363. Hans Wegner (1914-2007) for Carl Hansen & Son Set of five CH23 dining chairs teak, the top rails with inlay, cord seats stamped manufacturer’s marks 76cm high, 52cm across (5). £300-500 (plus 24% BP* ARR*) 364. Arne Hovmand-Olsen for Mogens Kold Side table teak 52cm high, 66cm across, 47cm deep. £100-200 (plus 24% BP* ARR*) 364A. George Nelson (1908-1986) ‘Coconut’ chair, designed 1955, model 5569 probably manufactured by Herman Miller purple woven fabric, enamelled steel and aluminium 81.5cm high, 103cm across.

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Provenance: Bought by the current vendors family in 1961. £700-900 (plus 24% BP* ARR*)

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Jewellery & Silver 365. Regitze Overgaard (Danish, Contemporary) for Georg Jensen 18ct yellow and white gold ‘Magic’ ring numbered 1314 signed, with Danish three towers mark and convention marks ring size N. £500-700 (plus 24% BP* ARR*) 366. Brett Payne (British, Contemporary) Silver and 18ct gold collar necklace with repeating leaves, fruits and berry clusters signed and hallmarked for Sheffield 1996 in maker’s case 43cm long. £300-500 (plus 24% BP* ARR*)

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368 367

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367. David Andersen Bracelet alternate flowerhead and sunburst panels heightened in green and black enamel signed and stamped ‘925S NorwaySterling’ 17.5cm long. £70-90 (plus 24% BP* ARR*) 368. Georg Jensen ‘Kneeling Fawn’ silver brooch numbered 256 signed and stamped ‘Sterling’ London import marks for 1971 4.5cm across. £100-150 (plus 24% BP* ARR*) 369. Georg Jensen Brooch of leaf and berry design numbered 107 signed and stamped ‘Sterling Denmark’ accompanied by a leaf brooch by Anton Michelsen stamped ‘Sterling Denmark’ and a pendant necklace by Jorgen Jensen, numbered 57 stamped ‘Pewter Denmark’ the first brooch 3.4cm wide (3). £100-150 (plus 24% BP* ARR*)

370. Bernard Instone (British, 1891-1987) Bracelet and ear clips suite with pink and white enamel four-petalled flowerheads the bracelet with hoop connectors signed and stamped ‘Sterling Silver’ the ear clips stamped ‘Silver’ the bracelet 19cm long (2). £100-150 (plus 24% BP* ARR*) 371. Georg Jensen Panel brooch stylised foliate form numbered 31 signature circa 1910-1925 stamped ‘830’ 2.6cm across. £80-120 (plus 24% BP* ARR*) 372. Arno Malinowski (Danish, 1899 - 1976) for Georg Jensen Brooch oval panel enclosing a bird in flight, beads and foliage numbered 238 signed and stamped ‘925S Denmark’ 4.4cm across. £150-200 (plus 24% BP* ARR*)

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373. Georg Jensen Torque bangle signed and stamped ‘Sterling Denmark’ in maker’s box 5.6cm diameter. £150-200 (plus 24% BP* ARR*) 374. Georg Jensen Heritage Collection pendant sinuous openwork form centred with an oval cabochon orange moonstone signed and stamped ‘2006 925S Denmark’ on trace-link chain the pendant 2.5cm long. £100-150 (plus 24% BP* ARR*) 375. Bjorn Sigurd Østern for David Andersen Pendant designed as a stylised viking ship centred with an oval cabochon amazonite signed and stamped ‘925S Norway-Sterling’ and ‘INV.B.S.Ø’ on trace-link chain the pendant 5cm long. £100-150 (plus 24% BP* ARR*) 376. Max Brammer (Danish, 20th Century) Brooch wirework frame applied with birds in flight signed ‘Brammer’ and stamped ‘Denmark Sterling’ 6.2cm across. £80-120 (plus 24% BP* ARR*)

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377. Matti Hyvarinen (Finnish, b. 1946) ‘Divide’ ring shaped circular panel of part-frosted finish on an adjustable band signed ‘MJH’ and stamped ‘925H’ date code for 1972 the panel 2.5cm long. £150-200 (plus 24% BP* ARR*) 378. Jøergen Ransby (Danish, 20th Century) Ring spiral design signed ‘Ransby’ and stamped ‘925S’ ring size Q. £80-100 (plus 24% BP* ARR*) 379. Jøergen Ransby (Danish, 20th Century) Ring tapered plaited design signed ‘Ransby’ and stamped ‘925’ ring size S. £100-150 (plus 24% BP* ARR*) 377

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380. Attributed to Bernard Instone (British, 1891-1987) Pendant the large oval mixed-cut amethyst surmounted by oval and pear-shaped mixed-cut peridots framed by leaves and berries on fancy-link long chain the pendant 7.9cm long. £500-700 (plus 24% BP* ARR*) 381. Manner of Bernard Instone Panel ring the openwork rectangular panel with collet set vari-coloured gemstones and pastes framed by leaves and scrolls ring size L. £40-60 (plus 24% BP* ARR*) 382. Murrle Bennett & Co. Panel brooch shield-shaped hammered and pierced form with central blister pearl and bead highlights signed and stamped ‘950’ 3cm across. £150-200 (plus 24% BP* ARR*)

383. Murrle Bennett & Co. Panel brooch sinuous openwork form centred with an oval cabochon turquoise between half pearls signed and stamped ‘15ct’ 3cm wide. £200-300 (plus 24% BP* ARR*) 384. Arts and Crafts Pendant simulated pearl drop enclosed by wirework frame decorated with flowerheads and green enamel foliage heightened with green and red cabochons below a similar surmount on trace-link chain the pendant 4.4cm long. £200-300 (plus 24% BP* ARR*)

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385

385. Franz Scheurle (German, fl. 1903-1970) Cufflinks each circular convex panel centred with an oval turquoise cabochon between wirework scrolls on hinged baton fittings signed and stamped ‘830S’ with German crown and crescent marks panel diameter 1.9cm. £60-80 (plus 24% BP* ARR*)

386

386. Arts and Crafts Pendant necklace scrolled panels heightened with graduated blue, green and white enamel centred with blister pearls and enamel flowerheads on trace-link back chain, later clasp 44cm long. £100-150 (plus 24% BP* ARR*)

387. Arts and Crafts Pendant necklace pear-shaped blue hardstone drop below triangular panel with central cabochon applied with scrolls and beads on fancy-link chain with bead spacers signed ‘M.M.F’ the chain 70cm long. £200-300 (plus 24% BP* ARR*) 388. Arts and Crafts Panel ring oval blister pearl enclosed by leaves, berries and plaited border the panel 4cm long. £100-200 (plus 24% BP* ARR*) 389. Keswick School of Industrial Art Pendant foliate and bead openwork scrolled form centred with an oval cabochon turquoise framed by blister pearls signed 3.9cm long. £70-90 (plus 24% BP* ARR*) 388

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Lots 390 – 401 From the Estate of a Private Collector 390. Ernest A. Blyth (British, 20th Century) for Ivan Tarratt Silver brooch abstract geometric form signed, with Birmingham hallmark for 1963 6.4cm long. £30-50 (plus 24% BP* ARR*)

392. Björn Weckström (Finnish, b.1935) for Lapponia Silver ‘Zombi’ pendant necklace signed and stamped 925 date code for 1974 and London import marks the pendant 3.4cm long. £150-200 (plus 24% BP* ARR*)

391. Tone Vigeland (Norwegian, b.1938) Silver collar necklace repeating openwork triangular panels signed and stamped ‘Sterling 925S Norway’ London import marks for 1983 38cm long. £70-90 (plus 24% BP* ARR*)

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393. Hans Hansen (Danish, 20th Century) Silver Brooch openwork form numbered 110 signed and stamped ‘925S Denmark’ London import marks for 1967 4.5cm long. £40-60 (plus 24% BP* ARR*) 394. Bent Knudsen (Danish, b.1924) Collar necklace repeating triangular links numbered 84 signed and stamped ‘Sterling Denmark’ 36cm long. £80-120 (plus 24% BP* ARR*) 395. Hans Hansen (Danish, 20th Century) Amazonite bead ring numbered 26 signed and stamped ‘925S Denmark’ ring size approximately M. £100-150 (plus 24% BP* ARR*)

394

396. Björn Weckström (Finnish, b.1935) for Lapponia Silver ‘Sirene’ ring signed and stamped ‘925’ date code for 1973 and London import marks ring size N. £100-150 (plus 24% BP* ARR*) 397. N. E. From (Danish, 1908 - 1986) Silver panel bracelet repeating square concave links signed and stamped ‘925S’ London import marks for 1973 19cm long. £120-180 (plus 24% BP* ARR*)

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395 397 396

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398. Wendy Ramshaw (British, Contemporary) Six silver stacking rings Variously collet set with cabochons of yellow and red hues hallmarked for London 1989, on perspex stand ring size N (6). £200-300 (plus 24% BP* ARR*) 399. Wendy Ramshaw (British, Contemporary) Four silver stacking rings applied with geometric panels signed and hallmarked for London 1993 on perspex stand ring size P½ (4). £100-150 (plus 24% BP* ARR*) 400. Wendy Ramshaw (British, Contemporary) Four 9ct gold stacking rings three with collet set cabochons of varied green hues one a polished band signed and hallmarked for London 1971 on perspex stand and three further cabochon set rings ring size O (7). £400-600 (plus 24% BP* ARR*)

401. Wendy Ramshaw (British, Contemporary) Seven silver stacking rings Variously collet set with cabochons of green and blue hues signed and hallmarked for London 1988-1989 ring size N (7). £200-300 (plus 24% BP* ARR*) 402. Gillian Packard (British, 1938-1997) Rose quartz and diamond pendant/brooch the rose quartz crystal surmounted by a cascade of gold batons, scatter set with marquise-cut diamonds 18ct gold mounted signed ‘GEP’, London hallmark for 1967 on a trace-link chain 4.4cm long. Provenance: Accompanied by purchase letter issued by R. L. Austen Ltd of Chichester, dated 31 May 1972 £1500-2000 (plus 24% BP* ARR*)

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403. Manner of Almeric Walter Owl pendant pate de verre glass, on metal mount stamped marks to mount 5cm high. £50-100 (plus 24% BP* ARR*) 404. See page 121 405. See page 122 406. After Charles Robert Ashbee (1863-1942) Pair of Arts & Crafts porringers, 1908 silver and chrysoprase stamped maker’s mark ‘TWM’, London 1908 17cm across (2). £400-600 (plus 24% BP* ARR*)

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407. Omar Ramsden (1873-1939) Napkin ring silver, of square form hallmarked for London 1938 5.3cm high. £100-200 (plus 24% BP* ARR*) 408. Omar Ramsden (1873-1939) and Alwyn Carr (1872-1940) Napkin ring silver, with repeating heart motif hallmarked for London 1899 5.5cm high. £150-250 (plus 24% BP* ARR*) 409. Omar Ramsden (1873-1939) Pair of salts with blue glass liners each hallmarked for London 1920 together with a pair of spoons, hallmarked for London 1927 the salts 7.5cm across, the spoons 9.7cm across (2). £600-900 (plus 24% BP* ARR*) 410. Guild of Handicrafts Pair of silver candlesticks of hexagonal form each hallmarked for 1965 23cm high (2). £1500-2500 (plus 24% BP* ARR*)

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404. Richard Garbe (1876-1957) Pendant, 1921 monogrammed and dated depicting a young lady in profile with flower ivory 6.5cm diameter. Richard Garbe studied at the Central School of Arts & Crafts. He later returned to teach there (1899-1929), before becoming Head of Sculpture at the Royal College of Arts (1926-1946). His primary affinities were with Chinese carvers in jade and crystal, Japanese netsuke and Gothic craftsmen. £500-700 (plus 24% BP* ARR*)

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405. Attributed to Archibald Knox or David Veasey for Liberty & Co. Arts & Crafts mantle clock pewter, with enamel dial stamped ‘0019’ 15cm high. £400-600 (plus 24% BP* ARR*)

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411. Attributed to The Artificer’s Guild Footed bowl, after designs by Edward Spencer silver plated band of flowers to the border and rope twist decorated to the base stamped ‘84’ 12cm high, 22cm diameter. £250-350 (plus 24% BP* ARR*) 412. Continental Art Nouveau School Tray silver, with handles in the forms of flowers stamped ‘900’ and ‘OE’ 29.5cm across. £150-250 (plus 24% BP* ARR*)

411

413. See page 124 414. Robert Welch (1929-2000) for Old Hall Canteen of RW2 satin cutlery for six place settings stamped manufacturer’s marks in cased and fitted wooden box. £150-250 (plus 24% BP* ARR*)

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415. See page 125

414

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413. Stuart Devlin (b.1931) Two bookmarks parcel-gilt silver stamped maker’s marks, London 1984 each 9.7cm long (2). £150-250 (plus 24% BP* ARR*)

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415. Eric Herlow for Anton Michelsen Three piece coffee set comprising coffee pot, milk jug and sugar bowl silver the coffee pot with turned ivory finial, the coffee pot and cream jug with rattan handles signed ‘A. Michelsen Copenhagen’ and stamped ‘Sterling Denmark’ the coffee pot 16cm high (3). This lot is sold together with an Article 10 CITES Certificate. £300-500 (plus 24% BP* ARR*)

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MODERN BRITISH + POST-WAR ART FRIDAY 8 DECEMBER

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Artist’s Textiles 416. John Piper (1903-1992) for David Whitehead Ltd. Foliate Heads screen printed cotton textile 52cm x 60cm. £250-350 (plus 24% BP* ARR*) 417. John Piper (1903-1992) for David Whitehead Ltd. Tombs Church Monument, 1954 screen printed cotton textile 49.5cm x 39cm. £200-300 (plus 24% BP* ARR*)

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418. John Piper (1903-1992) for A. Sandersons & Sons Northern Cathedral, 1962 screen printed ‘Sanderlin’ textile 41.5cm x 43cm. £100-200 (plus 24% BP* ARR*) 419. John Piper (1903-1992) for A. Sandersons & Sons Chiesa Della Salute, 1960 screen printed ‘Sanderlin’ textile 43cm x 54cm. £200-300 (plus 24% BP* ARR*) 420. John Piper (1903-1992) for A. Sandersons & Sons Arundel, 1960 screen printed ‘Sanderlin’ textile 39cm x 30.5cm. £100-200 (plus 24% BP* ARR*) 421. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘The Stones of Bath’, designed in 1959 screen-printed ‘Sanderlin’ textile in blue colourway 54cm x 89cm, unframed. £60-100 (plus 24% BP* ARR*)

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422. John Piper (1903-1992) for A. Sanderson & Sons ‘Stones of Bath’, designed in 1959 screen printed ‘Sanderlin’ textile in blue colour way 48.5cm x 48.5cm. £100-200 (plus 24% BP* ARR*) 423. John Piper (1903-1992) for A. Sanderson & Sons ‘Stones of Bath’, designed in 1959 screen printed ‘Sanderlin’ textile in green colour way 60cm x 118cm, unframed. £100-200 (plus 24% BP* ARR*)

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424. John Piper (1903-1992) for A. Sanderson & Sons ‘Glyders’, designed in 1959 screen printed ‘Sanderlin’ textile 65cm x 62cm, unframed. £300-400 (plus 24% BP* ARR*) 425. John Piper (1903-1992) for A. Sanderson & Sons ‘Arundel’, designed in 1959 screen printed ‘Sanderlin’ textile 38cm x 39cm, unframed. £80-120 (plus 24% BP* ARR*) 426. Alan Reynolds (1926-2014) for Edinburgh Weavers Legend, 1963 screen printed cotton textile 40cm x 55.5cm. £300-400 (plus 24% BP* ARR*) 427. Georges Braque (1882-1963) for Bloomcraft Saison Happily Married, 1956 screen printed cotton textile 21.5cm x 53cm. £200-300 (plus 24% BP* ARR*) 428. Pablo Picasso (1881-1973) for Bloomcraft Picadore, 1959 screen printed textile 40cm x 59.5cm. £300-400 (plus 24% BP* ARR*)

427

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429. Martin Bradley (b.1931) for Liberty of London Tampico, 1954 screen printed cotton textile 37.5cm x 54.5cm. £100-200 (plus 24% BP* ARR*) 430. Victor Vasarely (1908-1997) for Edinburch Weavers Kernoo, 1962 screen printed cotton textile 54.5cm x 74cm. £200-300 (plus 24% BP* ARR*) 431. Lucienne Day (1917-2010) for Heals Script, 1956 screen printed cotton textile 38cm x 58cm. £200-300 (plus 24% BP* ARR*)

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432. Sylvia Chalmers (fl.1951-1990) ‘Jaborandi’, designed in 1953 screen printed cotton textile 48.5cm x 48.5cm. £80-120 (plus 24% BP* ARR*) 433. Mary Warren for Heals ‘Nautilus’, designed in 1956 screen printed cotton textile 60.5cm x 65cm, unframed. £40-70 (plus 24% BP* ARR*)

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434. Donald Hamilton Fraser (19292009) for David Whitehead Ltd. ‘Cyclades’, design issued circa 1960 screen-printed cotton textile printed ‘Designed for David Whitehead by Donald Hamilton-Fraser’ to selvedge 61.5cm x 65cm, unframed £80-120 (plus 24% BP* ARR*) 433

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435. Marian Mahler (1911-1983) for David Whitehead Ltd. ‘Birdcage’, designed in 1947 screen printed cotton textile 53cm x 120cm, unframed. Marian Mahler was a freelance artist who studied at the Kunstgewerbeschule in Vienna from 1929 to 1932 and then at the Royal State Academy. In 1937 she emigrated to Britain where she worked for various leading textile manufacturers including Allan Walton, Edinburgh Weavers and Donald Brothers.

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‘Birdcage’ was one of the first commissioned designs by the design director of David Whitehead, John Murray. £80-120 (plus 24% BP* ARR*) 436. Tibor Reich (1916-1996) for Tibor Ltd. ‘Age of Kings’, designed in 1964 screen printed cotton textile inscribed to selvedge 64cm x 125cm, unframed. £80-120 (plus 24% BP* ARR*) 436A. Tibor Reich (1916-1996) for Tibor Ltd. ‘Age of Kings’, designed in 1964 screen printed cotton textile inscribed to selvedge 59cm x 120cm. £80-120 (plus 24% BP* ARR*)

436A

437. Robert McGowen (c.1926-1989) for Edinburgh Weavers ‘Romulus’, designed circa 1958 screen printed textile 35.5cm x 35.5cm. Literature: Lesley Jackson, Alistair Morton and Edinburgh Weavers, p.158. £80-120 (plus 24% BP* ARR*) 437

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438. Edinburgh Weavers Untitled, circa 1950s/1960s screen printed textile 115cm x 84cm, unframed. £80-120 (plus 24% BP* ARR*)

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438A. Marion Dorn (1896-1964) for Edinburgh Weavers ‘Magnolia’ furnishing fabric, 1936 cotton and rayon 202cm x 116cm. Literature: Lesley Jackson, Alastair Morton and Edinburgh Weavers, V&A Publishing, London, 2012, p.94, pl.135. £1000-2000 (plus 24% BP* ARR*)

“In 1936, Edinburgh Weavers proudly announced the launch of Magnolia (1936), a stylized floral in four ‘lovely new shades’ screen printed on undyed semi-lustre velvet. Composed of a large flower and a leafy stem in outline, overlaid with daubs of colour, the pattern was promoted as ‘languorous’ and ‘romantic’, evoking the ‘waxen-petalled magnolias of the Old South’. (Jackson, p.94)

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Prints 439. (Book) Rex Whistler (1905-1944) Restoration Love Songs numbered 645/660 edited by John Hadfield, collatypes from drawings by Rex Whistler The Cupid Press, 1950 printed at the University Press, Oxford by Charles Batey and with hand-marbled boards by Douglas Cockerell & Son. £50-100 (plus 24% BP* ARR*)

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440. Victor Pasmore (1908-1998) The Pool of Narcissus 73/100, monogrammed and numbered in pencil etching and aquatint in colours published by 2RC Edizioni d’art, Rome, with their blind stamp the full sheet 32cm x 56cm, unframed, together with Victor Pasmore: A Catalogue Raisonne of the Paintings Constructions and Graphics, signed by the artist and the book jacket numbered 273/400, Rizzoli International Publications, New York, 1980 (2). £200-400 (plus 24% BP* ARR*)

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441. (Book) Derrick Harris (1919-1960) Simon Brett, Mr. Derrick Harris, Denby Dale Fleece Press, 1998 from an edition of 280 copies printed on Zerkall paper in cloth covered box. £40-70 (plus 24% BP* ARR*)

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442. Terry Frost (1915-2003) for Tate Mobile, 2003 numbered to the box produced by Flensted Mobiles of Denmark approximately 48cm across, boxed. £50-100 (plus 24% BP* ARR*) 443. (Books) Henry Moore (1898-1986) Heads, First and Ideas, London, George Rainbird, 1958 with original lithograph and John Hedgecoe, Henry Moore, Thomas Nelson, 1968 (2). £200-300 (plus 24% BP* ARR*)

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444. (Book) Elizabeth Blackadder (b.1931) Duncan MacMillan, Elizabeth Blackadder, Scolar Press, 1999 76/100, the book signed and numbered with ‘The Lily’, etching, 76/100, signed and numbered (in the margin), 16.5cm x 12cm in original cloth slipcase. £200-300 (plus 24% BP* ARR*) 445. (Book) Zandra Rhodes (b.1940) Zandra Rhodes: a lifelong love affair with textiles, Antique Collectors’ Club, 2005 signed by the artist with original dust jacket. £30-50 (plus 24% BP* ARR*)

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446. Antony Gormley (b.1950) Field, 1995 exhibition poster for the Ikon Gallery signed in pen by the artist 58.8cm x 42cm, unframed. £40-70 (plus 24% BP* ARR*) 447. Breon O’Casey (1928-2011) Untitled, 1973 3/10, signed, dated and numbered in pencil (in the margin) screenprint 28cm x 47cm. £200-300 (plus 24% BP* ARR*) 448. See page 135 449. John O’Connor (1913-2004) A Hastings Lugger signed in pencil (in the margin) wood engraving 10cm x 13cm. £100-200 (plus 24% BP* ARR*)

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450. Ivy Anne Ellis (fl.1920-1939) Trawler woodcut 20.5cm x 13cm. £60-100 (plus 24% BP* ARR*)

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448. Joan Miro (1893-1983) Oiseau solaire, oiseau lunaire, étincelles, 1969 37/75, signed and numbered in pencil etching, aquatint and carborundum 31cm x 24cm. £800-1200 (plus 24% BP* ARR*)

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451. Sydney Buckley (1899-?) Cornish Harbour signed in pencil (in the margin) woodcut 17.8cm x 17.5cm. £60-100 (plus 24% BP* ARR*) 452. Raymond Collins (20th Century) The Back Garden, circa 1948 etching 17cmm x 23.5cm. £200-300 (plus 24% BP* ARR*)

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453. Morris Kestelman (1905-1998) Figure and Goat, 1951, and On the Beach, 1952 each signed in pencil in the margin (lower right) etchings 11cm x 16cm and 10.5cm x 18.5cm, unframed (2). Morris Kestelman was Head of Painting and Sculpture at the Central School from 1951 to 1971. £60-100 (plus 24% BP* ARR*) 454. Ronald King (British, b.1932) Lichen I artist’s proof, ed. 50, signed, titled, and inscribed in pencil (in the margin) screenprint 87cm x 57cm, unframed. £50-100 (plus 24% BP* ARR*) 455. Ronald King (British, b.1932) Slate Lichen I artist’s proof, ed. 50, signed, titled, and inscribed in pencil (in the margin) screenprint 86.5cm x 57.5cm, unframed. £50-100 (plus 24% BP* ARR*)

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456. David Hockney (British, b.1937) He Tore Himself in Two, 1969 from Six Fairy Tales From the Brothers Grimm artist’s proof, XX/XX, signed in pencil (lower right), numbered and inscribed (to reverse) etching and aquatint published by Petersburg Press, London 45cm x 31cm, unframed. £1000-2000 (plus 24% BP* ARR*)

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457. Richard Smith (British, 1931-2016) Bramble, 1970 signed, dated and inscribed ‘For Tamie’ in pencil (lower left) lithograph in colour with collage 50cm x 52cm. £250-350 (plus 24% BP* ARR*) 458. Ronald Brooks Kitaj (American, 1932-2007) Cap’n A. B. Dick (B), 1975 18/20, signed and numbered in pencil (in the margin) lithograph 17.2cm x 20.5cm, unframed. £250-350 (plus 24% BP* ARR*)

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459. Marcel Duchamp (1887-1968) Coeurs Volants screenprint the sheet 32.5cm x 51cm, unframed. £200-400 (plus 24% BP* ARR*) 460. Joe Tilson (b.1928) Shield of Achilles, 1990 10/45, signed, dated and numbered in pencil screen print 122cm x 92.5cm. £300-500 (plus 24% BP* ARR*) 461. See page 139 462. Willie Rodger (b.1930) ‘Anne’ 5/25, signed, titled and numbered in pencil (in the margin) linocut 82.5cm x 57.5cm. £80-120 (plus 24% BP* ARR*)

462

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461. Christopher R. W. Nevinson (1889-1946) Le Pont Neuf (Guichard 87) signed in pencil (lower right) etching and drypoint 18.5cm x 30cm. £1500-2500 (plus 24% BP* ARR*)

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463. William Gear (1915-1997) Three Christmas Cards each inscribed and two dated 1968 and 1969 screenprints in colour 11.5cm x 20cm, 12.5cm x 17.5cm and 15.5cm x 16.3cm (3). £80-120 (plus 24% BP* ARR*) 464. David Hockney (b.1937) ‘According to Prescriptions of Ancient Magicians’ from Fourteen Poems by C. P. Cavafy etching on handmade Crisbrook paper published by Editions Alecto 1966/7 from the numbered portfolio edition 134/500 35cm x 22cm, unframed. £300-400 (plus 24% BP* ARR*) 465. David Hockney (b.1937) ‘In Despair’ from Fourteen Poems by C. P. Cavafy etching on handmade Crisbrook paper published by Editions Alecto 1966/7 from the numbered portfolio edition 134/500 35cm x 22cm, unframed. £300-400 (plus 24% BP* ARR*)

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466. David Hockney (b.1937) ‘The Shop Window of a Tobacco Store’ from Fourteen Poems by C. P. Cavafy etching on handmade Crisbrook paper published by Editions Alecto 1966/7 from the numbered portfolio edition 134/500 35cm x 22cm, unframed. £300-400 (plus 24% BP* ARR*) 467. David Hockney (b.1937) ‘In The Dull Village’ from Fourteen Poems by C. P. Cavafy etching on handmade Crisbrook paper published by Editions Alecto 1966/7 from the numbered portfolio edition 134/500 35cm x 22cm, unframed. £300-400 (plus 24% BP* ARR*)

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468. Frank Brangwyn (1867-1956) Dock signed in pencil (in the margin) etching 13cm x 16cm. £60-100 (plus 24% BP* ARR*) 469. Dolf Rieser (1898-1983) Birds signed and numbered in pencil (in the margin) etching 23cm x 16.7cm. £50-100 (plus 24% BP* ARR*) 470. See page 142

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471. Arthur Luiz Piza (1928-2017) Composition 3/50, signed and numbered in pencil (in the margin) etching and aquatint 25.5cm x 18.5cm. £80-120 (plus 24% BP* ARR*) 472. Arthur Luiz Piza (1928-2017) Composition in black and brown 28/50, signed and numbered in pencil (in the margin) etching with burin relief 60cm x 49.5cm. £100-200 (plus 24% BP* ARR*) 473. George Braque (1882-1963) Nuage en échec (Maeght 1043) 114/250, numbered in pencil (lower right) lithograph the paper with ‘Maeght Editeur’ blind stamp 37cm x 27.5cm. Provenance: Maeght Editeur, Paris, 1969. £100-200 (plus 24% BP* ARR*) 474. George Braque (1882-1963) ‘LO3 - Flying Bird’ 27/75, signed and numbered in pencil (in the margin) lithograph 29.5cm x 24cm. Provenance: Maeght Editeur, Paris, 1969. £200-400 (plus 24% BP* ARR*)

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470. Prunella Clough (1919-1999) Geological Landscape, 1949 artist’s proof, signed and inscribed in pencil (in the margin) lithograph in colour 15cm x 20cm. Exhibited: Bear Lane Gallery, Oxford, 1967. £400-700 (plus 24% BP* ARR*)

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475. Marc Chagall (1887-1985) Plate 58, from Fables de la Fontaine signed and numbered ‘58’ in pencil (in the margin) from an edition of 100 etching 29.5cm x 23.5cm. Provenance: London Graphic Art Associates, London. £400-700 (plus 24% BP* ARR*)

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476. Jacques Villon (1875-1963) Shepherd signed in pencil (lower right) lithograph 22cm x 48.5cm. £80-120 (plus 24% BP* ARR*) 477. Jacques Villon (1875-1963) ‘Il Bucoliques’ signed and titled in pencil lithograph on BFK Rives paper 37cm x 56cm. £60-100 (plus 24% BP* ARR*) 478. Jacques Villon (1875-1963) Classical interior signed in pencil (lower right) lithograph 21cm x 49cm. £60-100 (plus 24% BP* ARR*) 479. Jacques Villon (1875-1963) First Bucolic, Imperial Rome, from Les Bucoliques signed in pencil (lower right) lithograph 19.5cm x 47.5cm. £50-100 (plus 24% BP* ARR*)

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480. Jacques Villon (1875-1963) Sheep in landscape signed in pencil (lower right) lithograph 21cm x 50cm. £50-100 (plus 24% BP* ARR*) 481. Jacques Villon (1875-1963) Untitled 1/60, signed and numbered in pencil (lower right) lithograph 39cm x 57cm. £50-100 (plus 24% BP* ARR*)

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482. Bernard Cheese (1925-2013) Pushing off the Boat, 1960 25/50, signed, titled, dated and numbered in pencil (in the margin) lithograph 40cm x 55.5cm. £100-200 (plus 24% BP* ARR*) 483. Claude Bogratchew (b.1936) Metro 11/15, signed, titled and numbered in pencil (in the margin) etching 29.5cm x 40cm. £50-100 (plus 24% BP* ARR*) 484. Allen Jones (b.1937) ‘That is the Question’, 1964 23/50, signed, titled, dated and numbered in pencil (in the margin) screenprint 48.5cm x 35.5cm. £200-400 (plus 24% BP* ARR*) 485. Ronald Brooks Kitaj (1932-2007) Good God, Where is the King, 1964 40/40, signed, dated and numbered in pencil (lower left) screenprint 76.5cm x 50.7cm. £200-300 (plus 24% BP* ARR*) 486. Rodolfo Krasno (1926-1982) ‘L’etrange’, 1961 10/36, signed, titled, numbered and dated in pencil (in the margin) aquatint 15cm x 26cm. £50-100 (plus 24% BP* ARR*)

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487. Edwin Ladell (1914-1970) The Mantelpiece, 1937 2/4, signed, numbered and dated in pencil lithograph 38cm x 25.5cm. Provenance: Sally Hunter Fine Art, London. £60-100 488. Edwin Ladell (1914-1970) Girl in Interior lithograph 39cm x 26cm. Provenance: Sally Hunter Fine Art, London ,1985. £50-100 (plus 24% BP* ARR*)

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489. Henry Moore (1898-1986) ‘Moore’, 1983 104/3000 edited by Carmine Benincasa, and Ann Garrould, published by Seat, Turin, 1983 50 plates, sheet size 52cm x 37cm, in cloth box. £80-120 (plus 24% BP* ARR*) 490. Stanley Spencer (1891-1959) Girls Gathering Flowers, 1975 trial proof 5.3.75, inscribed and dated in pencil (in the margin) lithograph taken from a set of drawings made by Spencer in the 1930s printed on handmade F. J. Head paper 41cm x 35cm. The lithograph titled under the print is thought to have been made by Spencer’s friend the artist Henry Trivick. £80-120 (plus 24% BP* ARR*) 491. Donald Hamilton Fraser (1929-2009) Church in the Pyrenees 160/225, signed and numbered in pencil (in the margin) screenprint 50.5cm x 38cm. £100-200 (plus 24% BP* ARR*) 492. Gerald Cooper (1898-1975) Striped Lily, 1946 lithograph in colour from the School Prints Series 67cm x 44cm. £50-100 (plus 24% BP* ARR*)

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493. Jack Coutu (b.1924) Plant Form, 1955 colour state II, signed, dated, titled and inscribed in pencil (in the margin) etching and aquatint 50cm x 37cm. £80-120 (plus 24% BP* ARR*) 494. Jack Coutu (b.1924) Summer Landscape, 1956 folio copy, signed, dated, titled and inscribed in pencil (in the margin) etching and aquatint 40cm x 54.5cm. £100-200 (plus 24% BP* ARR*) 495. Guy Worsdell (1908-1978) Calm Inside, 1973 artist’s proof, signed, dated, titled and inscribed in pencil (in the margin) woodcut 12.5cm x 18.5cm. £60-100 (plus 24% BP* ARR*) 496. Frank Brangwyn (1867-1956) Ship workers signed in pencil in the margin (lower right) etching 31cm x 44cm. £200-400 (plus 24% BP* ARR*)

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497. See page 147 498. See page 148 499. Allen Jones (British, b.1937) and James Wedge (British, b.1939) Thrill Me, 1969 offset lithograph in colour 103cm x 71cm, unframed. £80-120 (plus 24% BP* ARR*) 500. Antony Donaldson (b.1939) Untitled, 1969 19/20, signed, dated and numbered in pencil (in the margin) offset lithograph 55.7cm x 55.7cm. £80-120 (plus 24% BP* ARR*)

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497. Graham Sutherland (1903-1980) Cottage in Dorset, Wood End, 1929 (Tassi 28) 8/60, signed and numbered in pencil (in the margin) etching 14cm x 17.5cm. £1000-2000 (plus 24% BP* ARR*)

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147

498. Victor Pasmore (1908-1998) Points of Contact - Linear Developments, 1970 a/p, monogrammed, dated and inscribed in pencil (in the margin) screenprint in colors 41.5cm x 42cm. £500-700 (plus 24% BP* ARR*)

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148

501. Stamp Out Art Collection of stamps and postcards to include work by David Hockney, Allen Jones, Ralph Steadman, Richard Hamilton, Joe Tilson, Eduardo Paolozzi produced for Edizioni O various sizes. As a consequence of the prolonged postal strike of 1971, Hockney along with a group of British artists including Allen Jones and Richard Hamilton, published Culture Carriers Stamp Out Art to raise funds for striking workers. £100-200 (plus 24% BP* ARR*) 502. Arthur Boyd (1920-1999) and Peter Stark Tomorrow’s Ghosts, 1971 signed and dated by Boyd and Stark in pencil from an edition of 100 with 12 etchings Circle Press, Guildford, 1971 the sheets 58.5cm x 39cm, with original folio case. £200-400 (plus 24% BP* ARR*) 503. Sarah Van Niekerk (b.1934) The Wind from the Feet of the Dead 17/100, signed titled and numbered in pencil (in the margin) wood engraving 7.5cm x 24cm. £40-70 (plus 24% BP* ARR*) 504. John Piper (1903-1992) Stone Wall, Anglesey, circa 1949 (Levinson 71) 34/60, signed and numbered in pencil (in the margin) lithograph 38.5cm x 50cm.

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Provenance: The Redfern Gallery, London, 1964. £1000-1500 (plus 24% BP* ARR*) 505. Prunella Clough (1919-1999) Archive II inscribed in pencil (lower right) lithograph in colour the sheet 41.5cm x 72.5cm, unframed. £80-120 (plus 24% BP* ARR*)

505

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506. Henry Moore (1898-1968) Untitled, from the Henry Moore Shelter Sketchbook collotype 19cm x 16cm. Provenance: Goldmark Gallery, Uppingham. £80-120 (plus 24% BP* ARR*) 507. Charles Bartlett (b.1921) Fishing Boats artist’s proof, signed, titled and inscribed in pencil (in the margin) etching and aquatint 36.3cm x 44.5cm. £100-200 (plus 24% BP* ARR*) 506

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508. Patrick Caulfield (1936-2005) She’ll have forgotton her scarf, 1973 102 from an edition of 200 French Edition B screenprint 39cm x 34cm. £300-500 (plus 24% BP* ARR*) 509. Sharifa Brooks Read (Contemporary) Night Flyers II 2/5, signed, titled and numbered silkscreen 56cm x 37.5cm. £70-100 (plus 24% BP* ARR*) 510. Gwen Raverat (1885-1957) Farewell signed and inscribed in pencil (in the margin) wood engraving 8.7cm x 6.4cm. £80-120 (plus 24% BP* ARR*) 511. Katharine M. Clayton (Early 20th Century) Carp, 1926 signed and dated in pencil (in the margin) woodcut 15.3cm x 20cm. £60-100 (plus 24% BP* ARR*)

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150

512. Agnes Miller Parker (1895-1980) Fawn signed in pencil woodcut 12.5cm x 7.5cm. £100-200 (plus 24% BP* ARR*) 513. Monica Poole (1921-2003) Still life 4/100, signed, titled and numbered in pencil (in the margin) woodcut 12.3cm x 14.5cm. £60-100 (plus 24% BP* ARR*) 514. Peter Lawrence (b.1951) Interior, Brentwood, California, 2002 artist’s proof, signed, dated, titled and inscribed in pencil (in the margin) wood engraving 20.4cm x 15cm. £60-100 (plus 24% BP* ARR*)

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515. Hilary Paynter (b.1943) Ex Libris artist’s proof IV, signed and inscribed in pencil (in the margin) woodcut 8cm x 8cm. £40-70 (plus 24% BP* ARR*) 516. Miriam Macgregor (20th Century) ‘The Old Stone-Waller’ and ‘Shelter’ 43/50 and 24/50, each signed, titled and numbered in pencil (in the margin) woodcuts 13cm x 9.7cm and 6cm x 25cm respectively (2). £50-100 (plus 24% BP* ARR*)

516

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151

517. G. A. Miller (20th Century) Staircase, 1925 signed and dated in pencil (in the margin) wood engraving 18cm x 10cm. £30-50 (plus 24% BP* ARR*) 518. Abbas Kiarostami (1940-2016) Untitled, from the Snow White Series, 1980-2005 1/7, signed, numbered and dated in pencil (to reverse) chromogenic print 39cm x 61cm. £600-800 (plus 24% BP* ARR*) 519. Bill Brandt (1904-1983) Eton Sprawls signed in pen (lower right) originally created in 1933, but from a later printing silver gelatin print 20.5cm x 26.5cm. £200-400 (plus 24% BP* ARR*)

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520. Australian School Untitled 15/50, indistinctly signed and numbered in pencil (in the margin) etchinig 39.7cm x 48.5cm. £50-100 (plus 24% BP* ARR*) 521. Frank Brangwyn (1867-1956) The Mosque of Ortakevi, Constantinople signed in pencil (in the margin) etching 58cm x 73cm. £200-400 (plus 24% BP* ARR*) 522. Pierre August Renoir (1841-1919) ‘Femme Nue Assise’ etching 18cm x 14cm. Provenance: Barry Keene Gallery, Henley-onThames. £300-500 (plus 24% BP* ARR*)

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523. Frank Archer (1912-1995) ‘The Bell Ringers, Willingham’, 1937 signed, titled and dated in pencil (in the margin) etching 18.3cm x 12cm. Provenance: Barry Keene Gallery, Henley-onThames. £50-100 (plus 24% BP* ARR*) 524. Eric Gill (1882-1940) The Tennis Player woodcut 11.5cm x 10cm. £80-120 (plus 24% BP* ARR*)

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525. David Oxtoby (b.1938) Rod, 1970 11/50, signed, titled and dated in pencil (in the margin) etching and aquatint 16.5cm x 14cm. £60-100 (plus 24% BP* ARR*) 526. Eric Malthouse (1914-1997) Cockerel, 1937 signed, dated and numbered ‘N2/9c’ in pencil print in colour 52cm x 42cm. £100-200 (plus 24% BP* ARR*) 527. Derek L. Setford (b.1936) Boat Builders 4/25, signed and numbered in pencil (in the margin) wood engraving 20cm x 15cm. £50-100 (plus 24% BP* ARR*) 528. Elhelbert White (1891-1972) The River Bank 23/50, signed, titled and numbered in pencil (in the margin) woodcut 17.5cm x 22.3cm. £80-120 (plus 24% BP* ARR*)

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153

529. Gwen White (1901-1986) The Accordian Player 21/50, signed, titled and numbered in pencil (in the margin) woodcut 13.7cm x 12cm. £40-70 (plus 24% BP* ARR*) 530. Stephen Gooden (1892-1995) Pekingese, 1934 signed and dated in pencil (in the margin) possibly one of three or four impressions engraving 6.5cm x 11.5cm. £50-100 (plus 24% BP* ARR*)

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531. Job Nixon (1891-1938) Isola San Giulio, Lake Orta, Italy signed in pencil (in the margin) from edition of 60 etching 23.5cm x 37.7cm. £50-100 (plus 24% BP* ARR*) 532. Frederick Austin (1902-?) The Reluctant Pig, 1922 signed, dated and inscribed in pencil (in the margin) drypoint etching 14.8cm x 19.8cm. £80-120 (plus 24% BP* ARR*) 533. Frederick Austin (1902-?) Women at the Well, 1928 4/50. signed, dated and numbered in pencil (in the margin) drypoint etching 13cm x 11cm. £80-120 (plus 24% BP* ARR*) 534. Frederick Hollyer (1837-1933) Ignacy Jan Paderewski, after Edward Burne-Jones plantinotype 30cm x 27cm. £80-120 (plus 24% BP* ARR*)

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535. Eric Hesketh Hubbard (1892-1957) Hay Cutters signed in pencil (in the margin) woodcut 22.5cm x 26.5cm. £80-120 (plus 24% BP* ARR*) 536. John Hall Thorpe (1874-1947) Sweet Peas signed and titled in pencil (in the margin) woodcut 23.5cm x 29cm. £80-120 (plus 24% BP* ARR*)

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537. Laura Knight (1877-1970) The Trick Act lithograph 41.5cm x 52.5cm. £120-180 (plus 24% BP* ARR*) 538. Charles Shannon (1863-1937) Hanging the Curtain, 1918 signed and dated in pencil (in the margin) lithograph 36cm x 20cm. £80-120 (plus 24% BP* ARR*) 539. Feliks Topolski (1907-1989) Delivery of the Pyx Verdicts at Goldsmiths Hall, 1st May 1981 132/175, signed and numbered in pencil (in the margin) lithograph 40.5cm x 59cm, unframed. £80-120 (plus 24% BP* ARR*) 540. Frank Henry Mason (1876-1965) The Tees, LNER published by The London and North Eastern Railway lithographic poster in colour printed by The David Allen Printing Co., London 101cm x 126cm. £200-300 (plus 24% BP* ARR*) 541. Gilbert & George Dirty Words Pictures, Serpentine Gallery, London 2002 two exhibition posters each signed in pen by the artists off-set color lithographs each 99cm x 68.5cm (2). £100-200 (plus 24% BP* ARR*)

541

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542. Dan Hays (b.1966) Sanctuary, 2001 digital cibachrome print, perspex lenticular 46cm x 67.5cm. Provenance: Purchased from The Multiple Store, Central Saint Martins College of Art & Design, 2001. £50-100 (plus 24% BP* ARR*) 543. Edward Ardizzone (1900-1979) Two Christmas cards one initialled in pen lithographs each 12cm x 17cm (2). £50-100 (plus 24% BP* ARR*) 544. Andrew Stahl (b.1954) Night Angel, 1986 artist’s proof, signed, titled and dated (to reverse) from an edition of 15 lithograph 30cm x 30cm. £50-100 (plus 24% BP* ARR*)

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545. William Crozier (1930-2011) Hay Ricks, 1993 275/275, signed, dated, titled and numbered in pencil (in the margin) etching 15.5cm x 21cm. £80-120 (plus 24% BP* ARR*) 546. Michael Rothenstein (1908-1993) Three Butterflies 12/25, signed and numbered in pencil (in the margin) screenprint 28cm x 37cm. £80-120 (plus 24% BP* ARR*) 547. John Tunnard (1900-1971) Holiday lithograph school print 41.5cm x 68.5cm. £80-120 (plus 24% BP* ARR*)

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548. Ann-Helen English (Contemporary) ‘Three Poses for Posterity’, 1985 signed, dated and titled in pencil etching and collage 62cm x 81cm. £100-200 (plus 24% BP* ARR*)

549. Tom Merrifield (b.1932) Buster and Nagy lithograph 75cm x 49cm. £50-100 (plus 24% BP* ARR*)

549

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550. Anthony Caro (1924-2013) Leaf Pool (1996-2000) 102/500, signed and numbered (lower left) cardboard in perspex case 30cm x 60cm, with original slipcase. £600-900 (plus 24% BP* ARR*)

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551. Patrick Hughes (b.1939) Reverspective 17/35, signed and numbered in pencil (in the margin) 3D lithograph in perspex case the case 39.5cm x 75cm. £1500-2500 (plus 24% BP* ARR*)

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Paintings & Sculpture 552. Frederick H. Stonham (1924-2003) Still life of mixed flowers, 1959 signed and dated (lower left) oils on board 69cm x 90cm. £100-200 (plus 24% BP* ARR*) 553. John Brown (b.1931) Two seated figures 1/26, one monogrammed and numbered the tallest 19.5cm high (2). £80-120 (plus 24% BP* ARR*)

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554. Frederick Donald Blake (1908-1997) Tuscany II signed (lower right) watercolour 34cm x 47cm. £100-200 (plus 24% BP* ARR*) 555. John Blakeley Ballet No 3-24 bronze on green marble base 33cm high overall including base. £500-700 (plus 24% BP* ARR*) 555

554 556. Robert Anning Bell (1863-1933) Book plate for Eugenie Mary Ladenburg, 1909 signed and dated pen and ink 16.5cm x 12.5cm. £300-500 (plus 24% BP* ARR*) 557. Robert Anning Bell (1863-1933) Two page headings for ‘Gardening Notes’ and ‘Correspondence’ pen and ink on paper 10.5cm x 25cm and 12cm x 27.5cm respectively (2). £200-300 (plus 24% BP* ARR*)

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558. Frank Cadogan Cowper (1877-1958) Rosemary, daughter of the late Colonel Capel Miers, 1924 signed and titled to label (to reverse) oils on canvas 96cm x 78cm. Exhibited: Royal Academy of Arts, London, 1925, no.360. £2000-3000 (plus 24% BP* ARR*)

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160

559. Manner of Ivon Hitchens (1893-1979) Untitled inscribed ‘Hitchens’ and ‘Kalman’ (to the reverse) oils on canvas 60cm x 50cm. £800-1200 (plus 24% BP* ARR*) 560. See page 162 561. Attributed to William Nicholson (1872-1949) Landscape oils on board 19cm x 24cm. £300-500 (plus 24% BP* ARR*)

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562. See page 163 563. See pages 164 and 165 564. Stanley Anderson (1884-1966) Bringing in the Hay signed (lower left) watercolour 21.8cm x 32.3cm. £300-500 (plus 24% BP* ARR*) 565. Nguyen Dieu Thuy (b.1962) Strings watercolour on rice paper signed (upper right) 43cm x 67.5cm. £200-300 (plus 24% BP* ARR*) 566. Vuong Duy Bien (b.1958) Familly Life, 1997 signed and dated in the laquer (lower right) lacquer 28.5cm x 38.5cm. £150-250 (plus 24% BP* ARR*) 567. Bellamo Head with blue background, 2008 signed and dated (lower right) oils 41cm x 29cm. £150-250 (plus 24% BP* ARR*)

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560. Augustus John (1878-1961) Portrait of an Arabic Gentleman signed in pencil pencil on paper 26.5cm x 21.5cm. Provenance: Collection of Enaid Jones and by family descent.

Enaid Jones studied at art schools and privately with Philip de Laszlo, before enrolling at the Slade School of Art in 1910. Her fellow students included Dora Carrington, Mark Gertler, David Bomberg, C.R.W. Nevinson, Edward Wadsworth and Stanley Spencer. £1000-2000 (plus 24% BP* ARR*)

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562. Silvio Gazzaniga (1921-2016) for Bertoni of Milan Olympic trophy for 1960 Paralympics bronze, in the form of a figure beneath an arch with Olympic rings to the top manufacturer’s stamp on marble base overall 42cm high. This trophy was probably awarded to a Paralympian for outstanding individual performance at the first international Paralympic Games in Rome in 1960. Silvio Gazzaniga was a well renowned sculptor, most notably creating the FIFA World Cup Trophy, which was chosen by the committee in April 1971. His designs also include the UEFA Cup Trophy (1972), the UEFA Super Cup Trophy (1973) and the Baseball World Cup Trophy (2001). £400-700 (plus 24% BP* ARR*)

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563. Peter Randall-Page (b.1954) Common Ground II bath stone 1 elements, 3 components approximately 200cm x 220cm x 180cm. Literature: Sculptors and Modellers, 1984; Artists Newsletter, 1984, p.18; Peter Randall-Page: Sculpture and Drawings 1977-1992, no.43. Provenance: Property of an Oxford Institution. Please note that the cost and arrangement of collection of this lot would be the responsibility of the buyer. Collection arrangements would be able to be made directly with the institution after the sale, to be arranged at a mutually convenient time with them. Viewing of this item can be arranged by appointment with the institution on Monday 4, Tuesday 5 and Wednesday 6 December. Please ring our office in advance to arrange an appointment of the work in situ.

Peter Randall-Page studied sculpture at Bath Academy of Arts from 1973 to 1977. Over the last 35 years he has gained an international reputation through his sculpture, having undertaken numerous large-scale commissions and exhibiting widely. His work can now be found in public and private collections throughout the world, including Japan, Australia, USA, Turkey, Germany and the Netherlands. His work can also be found throughout the UK, including in the permanent collections of the Tate and British Museum. One of his most notable works is an enormous granite sculpture, Seed, at the Eden Project in Cornwall. Recent projects included a major one-person exhibition at the Underground Gallery at The Yorkshire Sculpture Park (2009-2010), ‘Walking The Dog’, Dulwich Picture Gallery (2010), ‘Harmonic Solids’, Karlsruhe University, Germany (2013) and ‘The One and The Many’, Fitzroy Place, London (2016). £15000-20000 (plus 24% BP* ARR*)

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165

568. Bellamo Head with pink background, 2008 signed and dated (lower right) oils 41cm x 29cm. £150-250 (plus 24% BP* ARR*) 569. Frank Downton (b.1936) Coloured lines signed in pencil (to the reverse) hand cut vinyl 50cm x 50cm. £50-100 (plus 24% BP* ARR*) 570. Frank Downton (b.1936) Black and Silver signed in pencil (to the reverse) hand cut vinyl 63cm x 62.5cm. £50-100 (plus 24% BP* ARR*)

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571. Bernard Meninsky (1891-1950) Leeks and Apples studio stamp (to reverse) oils on canvas 49.3cm x 74.5cm. Provenance: Bequest of Nora Meninsky; Contemporary Art Society; Belgrave Gallery, London; Private Collection. £800-1200 (plus 24% BP* ARR*) 572. George Birrell (b.1950) East Coast Harbour, 1977 signed and dated gouache 23.5cm x 23.5cm. Provenance: Clarges Gallery, London. £200-300 (plus 24% BP* ARR*) 573. George Birrell (b.1950) Gravestones signed (lower right) ink and wash 23.7cm x 23.7cm. Provenance: Clarges Gallery, London. £100-200 (plus 24% BP* ARR*)

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166

574. William Gear (1915-1997) Twin form yellow and blue, 1967 signed and dated (lower right) mixed media 71cm x 51cm. £300-500 (plus 24% BP* ARR*) 575. William Gear (1915-1997) Composition in green, yellow, red and black, 1959 signed (lower right) mixed media 54.5cm x 79cm. £400-600 (plus 24% BP* ARR*) 576. Stanley McMurtry ‘MAC’ (b.1936) ‘Gosh, Who’d have thought it Norma? Me on Desert Island Discs...Whatever Next?’ signed ‘MAC’ upper left ink, pen and watercolour 34.5cm x 53cm. £50-100 (plus 24% BP* ARR*)

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577. John Bellany (1942-2013) ‘Oaxaca’, Mexico signed titled in pencil (lower right) pencil on paper 36cm x 26.5cm. Provenance: Beaux Arts, London. £100-200 (plus 24% BP* ARR*) 578. David Young Cameron (1865-1945) Lorne signed and titled in pencil (lower right) watercolour and pencil 19cm x 33cm. £200-300 (plus 24% BP* ARR*) 579. David Muirhead Bone (1876-1953) Footbridge over the Cherwell, Oxford signed (lower right) pastels 32.5cm x 48cm. Literature: Gertrude Bone, Came to Oxford, Blackwells, 1952, p.130, illustrated. £400-600 (plus 24% BP* ARR*) 580. Duncan Grant (1885-1978) Lovers, circa 1920s ink and watercolour 19.5cm x 32cm. Provenance: Collection of Edward Le Bas; Private Collection. £700-900 (plus 24% BP* ARR*)

580

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167

581. Keith Vaughan (1912-1977) Male Nude studio stamp (to reverse) pencil on paper 25cm x 19cm, unframed. Provenance: From a Keith Vaughan album marked Harrow Hill. £600-800 (plus 24% BP* ARR*) 582. Keith Vaughan (1912-1977) Male Figure, 1975 dated in pen (upper right), studio stamp (to reverse) pencil on paper 24.8cm x 18.5cm, unframed.

581

582

Provenance: From a Keith Vaughan album marked Harrow Hill. £600-800 (plus 24% BP* ARR*) 583. Keith Vaughan (1912-1977) Three drawings, two of figures and another of a building each with studio stamp (to reverse) pencil on paper each 25cm x 19cm, unframed (3). Provenance: From a Keith Vaughan album marked Harrow Hill. £500-800 (plus 24% BP* ARR*)

583

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168

584. Norman Garstin (1847-1926) A Fish Stall signed (lower left) watercolour 17.3cm x 11.5cm, unframed. £100-200 (plus 24% BP* ARR*) 585. Jacques Villon (1875-1963) Self Portrait signed and dated (lower right) pen and gouache 12.5cm x 10cm. £400-700 (plus 24% BP* ARR*) 586. See page 170 587. See page 171 584

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588. Fred Milner (1863-1939) St. Ives harbour signed (lower left) oils on board 22.5cm x 32cm. £300-500 (plus 24% BP* ARR*) 589. J. Martin (20th Century) Crowd and Monument, 1963 signed and dated (lower right) mixed media 28.5cm x 47cm. Provenance: Royal West of England Academy, Bristol, 1963. £80-120 (plus 24% BP* ARR*) 590. Jane Pascoe (b.1955) Harbour, Near Lisbon signed (lower right) oils on board 59cm x 47cm. £100-200 (plus 24% BP* ARR*) 591. Just Mikailoff (1936-1969) ‘Le beat’ signed and titled (lower right) mixed media 32.5cm x 49cm. £100-200 (plus 24% BP* ARR*) 592. Stevenson Design for a fabric with flowering branches and bird signed in pencil (lower right) watercolour and pencil 41cm x 30cm. £100-200 (plus 24% BP* ARR*)

591

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169

586. Stanley Spencer (1891-1959) Head of woman looking down pencil on paper 25cm x 18cm. Provenance: Sir Stanley Spencer Exhibition, The Odney Club, May 1967, no. C.6061; Private Collection. £600-1000 (plus 24% BP* ARR*)

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170

587. Stanley Spencer (1891-1959) Adults and Children with Fairground Toys inscribed in pencil ‘Transfer’ (lower right) pencil on paper 51cm x 73cm. Provenance: Sir Stanley Spencer Exhibition, The Odney Club, May 1967; Arthur Tooth and Sons Ltd, London, 1969; Private Collection.

Adults and Children with Fairground Toys is one of the artist’s working drawings on tracing paper for the large unfinished canvas ‘The Apotheosis of Hilda’, which was to have been the central picture in the memorial chapel to his first wife, Hilda Carline. The drawing matches closely the relevant part of the picture as drawn out on canvas (by early 1957) and partially painted. The painted area of the canvas stops in the middle of the area corresponding to this drawing, leaving Hilda’s face, hat and hands drawn in but uncoloured. The hat Hilda is wearing here is the hat she was married in. Spencer described this picture as showing Hilda ‘…as standing with her hands raised in a gesture of boundless joy’, and children welcoming her by ‘making gestures of praise with their paper streamers’. The letters that are prominent in this and neighbouring areas of the picture represent hundreds of love letters the artist had written to her. £1000-3000 (plus 24% BP* ARR*)

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171

593. Terry Frost (1915-2003) Pisa, 1973 signed and dated (lower left) mixed media 98cm x 48.5cm. £2000-3000 (plus 24% BP* ARR*)

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172

594. Robert Sadler (1909-2001) Composition in Black, 1959 and 1962 signed (to reverse) oils on canvas 77cm x 122cm. Provenance: The Obelisk Gallery, Washington. £1000-2000 (plus 24% BP* ARR*)

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595. Patrick Oliver (1933-2009) High Force, 1990 signed and dated (to reverse) oils on canvas 74cm x 142cm. £700-1000 (plus 24% BP* ARR*) 596. Stephen Bone (1904-1958) Autumn Park signed (lower right) oils on board 24cm x 34cm.

595

Provenance: Sally Hunter Fine Art, London, 1989. £200-400 (plus 24% BP* ARR*) 597. Stephen Bone (1904-1958) Kirkwall signed (lower right) oils on board 24cm x 34cm. Provenance: Sally Hunter Fine Art, London, 1986. £200-400 (plus 24% BP* ARR*)

596

598. Olive Cook (1912-2002) Orford oils on canvas 35cm x 45cm. Provenance: Sally Hunter Fine Art, London, 1994. £100-300 (plus 24% BP* ARR*) 599. Harry Watson (1871-1936) Woodland, Summer oils on canvas on board 29cm x 39.5cm.

597

Provenance: Harry Watson Studio Sale, Bonhams, 1994; Sally Hunter Fine Art, London, 1999. £200-400 (plus 24% BP* ARR*)

599

598

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174

600. Jacob Epstein (1880-1959) Third Portrait of Kitty signed ‘Epstein’ bronze 49.5cm high.

Born 27 August 1926 to Epstein’s wife Kathleen Garman, Kitty features in two further busts by her father in addition to the present example (First Portrait of Kitty, 1944, and Second Portrait of Kitty, 1947). Kitty married artist Lucian Freud in 1948, a marriage which did not last long, but resulted in two daughters. £3000-5000 (plus 24% BP* ARR*)

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175

601. Lynn Chadwick (1914-2003) Miniature Lion IV 6/20, stamped ‘C/C 5’ and numbered bronze with brown patina 13cm across. Literature: D. Farr and E. Chadwick, Lynn Chadwick Sculptor, Oxford, 1990, p.329, no.C51 (another cast illustrated). £4000-6000 (plus 24% BP* ARR*)

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176

602. Charlotte Ardizzone (b.1943) The Open Door initialled (lower right) oils on canvas 29.5cm x 29.5cm. Provenance: Sally Hunter Fine Art, London, 1993. £80-120 (plus 24% BP* ARR*) 603. Stephen Bone (1904-1958) Low Tide, Scarborough signed (lower left) oils on board 24.5cm x 32.5cm. Provenance: Sally Hunter Fine Art, London, 1986. £300-500 (plus 24% BP* ARR*) 602

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604. Phyllis Pearsall (1906-?) Wren Officer, 1940 initialled and dated (lower right) pen and ink 14.5cm x 17cm. Provenance: Sally Hunter Fine Art, London, 1995; Collection of Lord Kingsland. Commissioned by the Ministry of Information for a projected book on women at war to be published in advance of conscription of women. They were not published at the time because the authorities deemed them irreverent. £50-100 (plus 24% BP* ARR*) 605. Edwin Ladell (1914-1970) Apple Tree, circa 1938 pen and watercolour 31.5cm x 20.5cm. Provenance: Sally Hunter Fine Art, London ,1986 £100-200 (plus 24% BP* ARR*) 606. James Henry Govier (1910-1974) Dancing Costers signed (upper left) pen and ink 21cm x 16cm. Provenance: Sally Hunter Fine Art, London, 1994. £50-100 (plus 24% BP* ARR*) 607. Roy Spencer (1918-2006) The cafe signed (lower right) pen and ink 33.5cm x 41cm. £50-100 (plus 24% BP* ARR*)

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177

608. Ernest Febarb (1905-?) Deck chair, Jargeau, 1962 signed (lower right) pen and watercolour 37.5cm x 52cm. Provenance: Sally Hunter Fine Art, London, 1986. £50-100 (plus 24% BP* ARR*) 609. Dennis Syrett (b.1934) Quiet Afternoon, Ferring, 1985 signed (lower left) oils on canvas 24cm x 35cm. £80-120 (plus 24% BP* ARR*)

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610. Rupert Shepherd (1909-1992) Flowers and Ferns in a White Jug, 1982 signed and dated (lower right) watercolour 43cm x 31.5cm. Provenance: Sally Hunter Fine Art, London, 1985. £80-120 (plus 24% BP* ARR*) 611. Adrian Daintrey (1902-1988) The Golfer ink and watercolour 24.5cm x 15cm. Provenance: Sally Hunter Fine Art, London, 1985. £80-120 (plus 24% BP* ARR*) 612. Adrian Daintrey (1902-1988) The Artist’s Studio, 1969 signed and dated (lower left) pen and wash heightened with white 44cm x 56cm. Provenance: Sally Hunter Fine Art, London, 1985. £100-200 (plus 24% BP* ARR*) 613. Adrian Daintrey (1902-1988) Boulogne, 1939 signed, dated and titled pen, ink and wash 27.5cm x 34.5cm. Provenance: Sally Hunter Fine Art, London, 1986. £100-300 (plus 24% BP* ARR*)

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178

614. John Erskine Milne (1931-1978) Figural form, 1977 1/6, initialled, numbered and dated verdigris bronze the bronze 20cm across. Provenance: Collection of the art critic and historian J. P. Hodin. £1500-2500 (plus 24% BP* ARR*)

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179

615. John Erskine Milne (1931-1978) Landscape (Isfahan), 1972 1/3, initialled, numbered and dated resin on base 72cm across, 30cm high, 39cm deep. Provenance: Collection of the art critic and historian J. P. Hodin. £2000-4000 (plus 24% BP* ARR*)

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180

616. George Clausen (1852-1944) Study for ‘A Spring Morning’, circa 1920 pencil 17.5cm x 12.5cm. Provenance: with Spink, London. £500-700 (plus 24% BP* ARR*) 617. Philip Kelly (1950-2010) Seated Nude, 2004 signed and dated (lower right) mixed media on canvas laid on board 69cm x 27cm.

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Provenance: The Frederick Gallery, Dublin, 2004. £500-700 (plus 24% BP* ARR*) 618. Laura Knight (1877-1970) Angel, 1968 signed ‘Laura’, dated and inscribed pen and ink on paper 24cm x 19cm. Provenance: Nicholas Bowlby Fine Art. £400-600 (plus 24% BP* ARR*) 619. (Books) Percy Wyndham Lewis (1882-1957) The Enemy: A Review of Art & Literature, Volume 1, 2 and 3 The Arthur Press, London, 1927-1929 edited and illustrated by Wyndham Lewis Volume 1 and 2 with original boards (3). £80-120 (plus 24% BP* ARR*)

618

619

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620. Percy Wyndham Lewis (1882-1957) for The Rebel Art Centre or Omega Workshops Robe, circa 1914 embroidered and block-printed silk robe with stylised foxes, fish, swans and kneeling figures 132cm long. Literature: Geoffrey Rayner, Richard Chamberlin and Annamarie Stapleton, Artist’s Textiles 19491976, pp.14-15, plates 4a and 4b, similar example illustrated. Another textile panel with the same design was also sold in Textiles as Art: From the Collection of Paul Reeves in February 2017.

The hand-blocked art silk robe in Artist’s Textiles 1949-1976 was assessed by Dr. Linda Parry of the Victoria and Albert Museum’s Department of Textiles to be the work of an avant-garde English artist, circa 1914. It was subsequently seen by the authority on the Omega Workshops and Rebel Art Centre, Dr. Judith Collins, who identified this design as the work of Wyndham Lewis. Although closely related to Lewis’s slightly earlier applied designs for the Omega Workshops and The Cabaret Theatre Club, Dr. Collins considered it to date from 1914 and the period of Lewis’s involvement with the Rebel Art Centre. £2500-3500 (plus 24% BP* ARR*)

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183

621. Keith Vaughan (1912-1977) Birds in romantic landscape artist’s studio stamp (lower right) pen and wash on paper 9.9cm x 15.3cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £400-600 (plus 24% BP* ARR*) 622. Keith Vaughan (1912-1977) Cow studies artist’s studio stamp (lower right) pen and wash 8.5cm x 12cm, unframed.

621

Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £250-350 (plus 24% BP* ARR*) 623. Keith Vaughan (1912-1977) Horse studies artist’s studio stamp (lower right) pencil on paper 20.3cm x 11.3cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £250-350 (plus 24% BP* ARR*)

622

623

624. Keith Vaughan (1912-1977) Two horse studies one with artist’s studio stamp (lower right) pen on paper 10cm x 8cm and 7.7cm x 6.5cm, unframed (2). Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £250-350 (plus 24% BP* ARR*) 624

624

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184

625. Keith Vaughan (1912-1977) House in garden artist’s studio stamp in margin (lower left) pencil on paper 7.5cm 10.5cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £300-500 (plus 24% BP* ARR*)

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629

626. Keith Vaughan (1912-1977) Figures study artist’s studio stamp in margin (lower right) pen on paper 18cm x 12.7cm, unframed. Provenance: from the Keith Vaughan sketchbook, 1943; Professor John Ball; Private Collection. £200-300 (plus 24% BP* ARR*) 627. Daphne Fedarb (1912-1992) Continental hill top village signed (lower right) oils on board 37.5cm x 49cm. £100-200 (plus 24% BP* ARR*)

626

628. James Lawrence Isherwood (1917-1989) Oxford Trees, 1971 signed and dated (lower left), inscribed and titled (to reverse) oils on board 24cm x 34cm. £200-400 (plus 24% BP* ARR*) 629. Mary Newcomb (1922-2008) Cattle Grazing, Barsham signed (lower right) pencil and wash on paper 12.8cm x 14.5cm. £200-400 (plus 24% BP* ARR*) 630. Ken Howard (b.1932) Summerlight, Newlyn signed (lower right) oils on board 14.5cm x 28.5cm. £400-700 (plus 24% BP* ARR*)

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185

631. William Dealtry (1915-2008) Castle in Loch signed (lower left) oils on board 30cm x 46cm. £100-300 (plus 24% BP* ARR*) 632. Jean Young (1914-1995) Mother and Child signed (upper left) oils on canvas 74cm x 62cm. £200-400 (plus 24% BP* ARR*) 633. Jean Young (1914-1995) Canadian Geese signed (lower right) oils on canvas 62.5cm x 74.5cm. £200-400 (plus 24% BP* ARR*)

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634. Jean Young (1914-1995) Lady Sewing signed (upper right) oils on canvas 60cm x 75.5cm. £200-400 (plus 24% BP* ARR*) 635. Peter Collis (1929-2012) The country lane signed (lower right) oils on board 22.5cm x 22cm. £1000-1500 (plus 24% BP* ARR*) 636. Peter Collis (1929-2012) The red field signed (lower right) oils on board 19cm x 25cm. £700-900 (plus 24% BP* ARR*)

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637. David Hazelwood (1932-1994) Untitled, 1982 signed and dated (lower right) mixed media 35cm x 28.8cm. £200-300 (plus 24% BP* ARR*) 638. Malcolm Drummond (1880-1945) London Roadworks pencil on paper 15cm x 14cm. Provenance: Margaret Drummond; Private Collection. £200-400 (plus 24% BP* ARR*)

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639. Thomas John Coates (b.1941) Orchestra studies, companion pieces one initialled (lower right) coloured crayons on paper 28.5cm x 40cm and 28cm x 40.5cm (2). £100-200 (plus 24% BP* ARR*) 640. Thomas John Coates (b.1941) The Green Field initialled (lower left) oils 12cm x 17cm. £100-200 (plus 24% BP* ARR*) 641. Donald Hamilton Fraser (1929-2009) The Yacht inscribed ‘Kay with love - Donald + Judy’ coloured crayons 14cm x 11cm. £80-120 (plus 24% BP* ARR*) 642. Noel Coward (British, 1899-1973) On the beach signed (lower left) oils on board 28.5cm x 48.5cm. Provenance: Gift from the artist to Cole Lesley, and thence by descent. £1000-2000 (plus 24% BP* ARR*) 641

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187

643. Rachel Jeffery (Contemporary) ‘Looking Out to Lizard Point’, 1999 inscribed (to reverse) oils 21cm x 30.5cm. £80-120 (plus 24% BP* ARR*) 643

644. Marc Janson (b.1930) Heads signed (lower right) mixed media 24.5cm x 32.5cm. £100-200 (plus 24% BP* ARR*) 645. Adrian Hill (1895-1977) Landscape, 1946 signed and dated (lower right) watercolour 37.5cm x 55cm. £150-250 (plus 24% BP* ARR*)

644

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646. Simon Garden (b.1960) ‘Rose’ signed and titled (to reverse) oils on board 44cm x 31.5cm. £250-350 (plus 24% BP* ARR*) 646

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647. Maggi Hambling (b.1945) Rite of Spring I, 2016 signed and dated (to reverse) oils on canvas 25cm x 35.5cm. £1000-2000 (plus 24% BP* ARR*)

“Stravinsky’s ‘Rite of Spring’ embodies the moment of sap rising, light banishing darkness, the earth moving. These paintings are my response to the spirit of the music”. (Maggi Hambling)

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189

648. Maggi Hambling (b.1945) War Requiem II: Victim, 2015 signed and dated (to reverse) oils on canvas 30cm x 25cm, unframed.

War Requiem II was a successor to Hambling’s celebrated 2013 installation War Requiem, now permanently in the collection of Aldeburgh Music. Portraits of war vicitms and landscapes of battlefields combine with an extract from Benjamin Britten’s War Requiem of 1962 £1000-2000 (plus 24% BP* ARR*)

“The profound and enduring power of Britten’s music...are important factors in my War Requiem...These paintings of victims...from the imagination, are my response to the horror; destruction and futility of war.” (Maggi Hambling) 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

190

649. Sandro Bocola (b.1931) Nude, 1970 270/500, numbered and stamped (to reverse) plastic 79cm high. £150-250 (plus 24% BP* ARR*) 650. Robert Organ (b.1933) The Old Sugar Factory, Nerja, Spain, 1982 initialled (lower right) oils on paper 12.5cm x 17cm. £50-100 (plus 24% BP* ARR*) 651. Margarete Heymann Marks (1899-1990) Vineyards in Spring, probably Southern Germany, circa 1934 signed (lower right) ink and watercolour 22cm x 26.5cm.

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Provenance: Artist’s daughter; Abbott and Holder, London; Private Collection. £250-350 (plus 24% BP* ARR*) 652. Vivian Forbes (1891-1937) Ariadne, circa 1935 signed (lower right) oils on canvas 50.5cm x 59.8cm.

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Exhibited: Redfern Gallery, London. Provenance: Abbott and Holder, London; Private Collection. £500-700 (plus 24% BP* ARR*) 653. John Eveleigh (b.1926) Head of a boy, 1971 signed and dated (lower right) pen on paper 42cm x 28cm. £80-120 (plus 24% BP* ARR*)

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652

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654. Warwick Reynolds (1880-1926) The Polecat illustration to Habits and Characters of British Wild Animals, by H. Mortimer Batten, 1920 signed upper right pencil, pen and body colour 22.5cm x 16cm, unframed. Provenance: The Fine Art Society, London. £100-200 (plus 24% BP* ARR*) 655. Warwick Reynolds (1880-1926) A Hare Escaping from a Weasel signed (lower left) pencil, pen and body colour 27cm x 21.5cm, unframed. Provenance: The Fine Art Society, London. £100-200 (plus 24% BP* ARR*)

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656. Margorie Heather (1904-1989) Malcolm as a Young Man oils on canvas 50.5cm x 40.5cm, unframed Exhibited: Newbury District Museum, Faces on the Wall: Portraits by Marjorie Heather, October - November 1996, no.40. Malcolm was one of the museum assistants at the museum. £80-120 (plus 24% BP* ARR*) 657. Rudolf Schlichter (1890-1955) Frau Erika, 1939 signed and dated (lower right) pencil on paper 57.5cm x 40cm. Provenance: The Piccadilly Gallery, London, 1986. £500-800 (plus 24% BP* ARR*) 658. Martin Yeoman (b.1953) Nude, 1987 inscribed and dated (to reverse) oils on board 36cm x 19cm. £200-300 (plus 24% BP* ARR*) 659. Jane Dowling (b.1925) The Au Pair Girl oils on board 29.5cm x 19.5cm. Provenance: New Grafton Gallery, London, 1982. £150-250 (plus 24% BP* ARR*)

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660. Erich Wolfsfeld (1884-1956) Portrait of a Lady oils on paper 32.7cm x 30.3cm. £200-400 (plus 24% BP* ARR*) 661. Nicholas Fairbairn (1933-1995) Worship signed and inscribed (to reverse) watercolour and gouache 52cm x 36.5cm. £100-200 (plus 24% BP* ARR*) 662. Nicholas Fairbairn (1933-1995) Hot Sea, 1970 signed and dated (lower right) oils on board 49.5cm x 61.5cm. £150-250 (plus 24% BP* ARR*) 663. Alexander Hollweg (b.1936) Theatre Land, 1985 signed and dated (lower right), inscribed (to reverse) oils on paper 33.8cm x 29cm. £50-100 (plus 24% BP* ARR*)

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664. Janet Woolley (b.1952) Lytton Strachey and Ottoline Morrell, 1976 signed and dated (lower left) gouache 45.8cm x 36.5cm. £100-300 (plus 24% BP* ARR*)

663

665. See page 194 666. Peter Kuhfeld (b.1952) In The Green Room, 1986 signed (lower left), inscribed and dated (to reverse) oils on canvas on board 58.5cm x 40cm. £300-500 (plus 24% BP* ARR*)

664

667. Mardi Barrie (1931-2004) ‘Bright Water’ signed (lower right) oils on canvas 49cm x 74.5cm. £150-250 (plus 24% BP* ARR*) 667

666

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665. Earl Haig (1918-2009) Landscape near Montrose signed (lower left) oils on canvas 64.5cm x 90.5cm. £1000-2000 (plus 24% BP* ARR*)

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668. See pages 196 and 197 669. Roland Vivian Pitchforth (1895-1982) Estuary signed (lower right) watercolour 43cm x 54.5cm. £100-200 (plus 24% BP* ARR*) 670. Linda Weir (b.1951) St. Ives, 2005 initialled and dated (lower right) oils on board 45cm x 60cm. £300-500 (plus 24% BP* ARR*)

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671. Linda Weir (b.1951) Boats in the Bay, St. Ives initialled (lower left) oils on canvas 45.5cm x 74cm. £300-500 (plus 24% BP* ARR*) 672. John Bellany (1942-2013) Lobster for Dinner signed (upper left) oils on canvas 76cm x 101.5cm. £1000-2000 (plus 24% BP* ARR*) 673. William Henry Innes (1905-1999) Riverside Pub signed (lower left) oils on board 49.5cm x 59.5cm. Exhibited: New English Art Club. £200-400 (plus 24% BP* ARR*) 674. William Henry Innes (1905-1999) Evening Light in the Harbour signed (lower right) oils on board 50cm x 60cm. Exhibited: The Mall Galleries, London. £200-400 (plus 24% BP* ARR*) 675. George Weissbort (1928-2013) Still life with violin, sculpture and carafe, 1961 signed and dated (lower right) oils on board 47cm x 59.5cm. £300-500 (plus 24% BP* ARR*)

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196

668. William Strang (1859-1921) Head of a Girl, purportedly Eileen O’Henry, circa 1914 oils on canvas on board 29.8cm x 21cm. Provenance: W. B. Simpson Gallery, Glasgow; Collection of J. E. Pettigrew Esq.; Michael Parkin Fine Art Ltd., London, 1981; Private Collection. The sitter is believed to be Eileen O’Henry, known as ‘Dolly’, who was shot dead by her lover, the artist John Currie in 1914. John Currie was an artist of whom it says in the ‘Dictionary of British Artists 1900-1950’ the following: ‘Established a relationship with Miss Dolly Henry and lived with her in Hampstead. This came to a bizarre end when he shot himself and his mistress in a fit of jealously and died the following day, 9th October 1914, in Chelsea Infirmary.’ Dolly O’Henry was a professional model in Chelsea, posing for many artists including Frank Dobson and Augustus John. It is known that Dolly O’Henry was sitting for a portrait by Strang in the period of her death. £3000-5000 (plus 24% BP* ARR*)

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197

676. Fred Yates (1922-2008) ‘La Strada, Tuscany’ signed and titled (lower left) watercolour 49cm x 39cm. £250-350 (plus 24% BP* ARR*) 677. Thomas John Coates (b.1941) Ventimiglia, Italy monogrammed (lower left) oils on board 14cm x 29cm. £150-250 (plus 24% BP* ARR*) 678. Thomas John Coates (b.1941) Sarah in the Studio, 1997 monogrammed (lower left), titled and dated (to reverse) oils on board 18cm x 22.5cm. £150-250 (plus 24% BP* ARR*)

676

679

679. Thomas John Coates (b.1941) Nude, 1979 monogrammed (lower left), dated (to reverse) oils on board 30cm x 22cm. £150-250 (plus 24% BP* ARR*)

677

680. See page 199 681. See page 200 682. Thomas John Coates (b.1941) Children Playing by Waterfall, Cornwall, 2004 monogrammed (lower left), titled and dated (to reverse) oils on board 24cm x 29cm. £150-250 (plus 24% BP* ARR*)

678

682

683. Thomas John Coates (b.1941) Two Portraits each monogrammed oils on board 35.5cm x 30.5cm and 30.5cm x 30cm (2). £150-250 (plus 24% BP* ARR*)

683

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198

680. Carel Weight (1908-1997) Clapham Junction signed (upper left) oils on board 36.2cm x 38.5cm.

This work is comparable to another picture of Clapham Junction in the Tate Collection dated 1978. This work depicts the original high-level entrance to Clapham Junction station, looking east towards Lavender Hill. To its right, across the road, can be seen the clock tower of Arding and Hobbs department store. £800-1200 (plus 24% BP* ARR*)

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199

681. Carel Weight (1908-1997) ‘With Uncle Joe’ signed (lower left) oils on canvas 34.8cm x 50.2cm. Provenance: Christies, London, 2 March 1989, lot 167; Bernard Jacobson Gallery; Austin Desmond Gallery; Private Collection. Uncle Joe appears in other compositions by the artist, notable ‘With Uncle Joe to Richmond’. £2500-3500 (plus 24% BP* ARR*)

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200

684. Anthony Devas (1911-1958) Pink Roses, 1935 signed (upper right), dated (to reverse) oils on canvas 34cm x 24cm. £600-800 (plus 24% BP* ARR*) 685. Harry Rountree (1878-1950) Mouse on Berry Branch signed (lower right) gouache 26cm x 36.5cm. £300-500 (plus 24% BP* ARR*) 686. David Louis Ghilchick (1892-1974) Boats, Menton, France, 1958 signed (lower left), titled and dated (to reverse) oils on canvas 29cm x 60cm. £100-200 (plus 24% BP* ARR*)

684

687

687. Pippa Mills (Contemporary) Spring Daffodils initialled (lower right) oils on paper 46cm x 29.5cm.

685

Provenance: with Richard Hagen Fine Art. £60-100 (plus 24% BP* ARR*) 688. Yasushi Tanaka (1886-1941) ‘Soir a Cagnes sure Mer’ signed (lower right), inscribed (to reverse) oils on board 32cm x 44.3cm. £400-600 (plus 24% BP* ARR*)

686

689. Yasushi Tanaka (1886-1941) Evening on the river signed (lower left) oils on board 31.5cm x 39.5cm. £400-600 (plus 24% BP* ARR*)

688

689

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201

690. Philip Naviasky (1894-1983) Self Portrait signed and inscribed in pencil (lower right) charcoal on paper 46.5cm x 36.5cm, unframed. £100-200 (plus 24% BP* ARR*) 691. Philip Naviasky (1894-1983) Toledo signed in pen (lower right) pen and watercolour 24cm x 32.5cm, unframed. £80-120 (plus 24% BP* ARR*)

690

691

692. Oliver Gilmore Brabbins (1912-1973) Self Portrait, 1944 signed and dated (lower right) oils on paper 51m x 35cm, unframed. £100-200 (plus 24% BP* ARR*) 693. Ken Howard (b.1932) St. Mark’s Square, Venice signed (lower right) oils on board 29.5cm x 24cm. £500-800 (plus 24% BP* ARR*) 694. Ken Howard (b.1932) Piazza Del Plebiscito, Napoli signed (lower right) oils on board 24.5cm x 29.5cm. £400-700 (plus 24% BP* ARR*)

692

693

695. Ken Howard (b.1932) Low Water, Mousehole signed (lower right) oils on canvas on board 19cm x 24cm. £400-700 (plus 24% BP* ARR*)

694

695

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202

696. Ken Howard (b.1932) Santorini signed (lower right) oils on canvas on board 24cm x 29cm. £500-700 (plus 24% BP* ARR*) 697. S. M. Robertson (20th Century) Children on the Beach signed (lower right) oils on canvas 39.5cm x 49.5cm. £200-400 (plus 24% BP* ARR*)

696

697

698. John Sullivan (b.1940) Flowers and fruit, 1980 signed and dated (lower left) oils on canvas 63cm x 78cm. £150-250 (plus 24% BP* ARR*) 699. Seah Kim Joo (b.1939) ‘A Serene Day’, 1973 signed (lower left) batik 59.5cm x 44.5cm.

698

Provenance: Seah Gallery, Singapore. £300-500 (plus 24% BP* ARR*) 700. See page 204 701. John Piper (1903-1992) Construction II signed and titled pen, ink and gouache 20cm x 19cm. Provenance: Michael Parkin, London, 2005; Private Collection. £1000-2000 (plus 24% BP* ARR*)

699

701

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203

700. John Piper (1903-1992) Venice with Santa Maria della Salute, circa 1973 inscribed and signed by Myfanwy Piper (to reverse) gouache 21cm x 58.5cm. Provenance: Bohun Gallery, Henley-on-Thames; Private Collection. £2000-3000 (plus 24% BP* ARR*)

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204

702. Hans Jurgen Kallmann (1908-1991) Country Doctor from the Village signed (lower right) pastels 59.5cm x 83.5cm. In 1937 Kallmann was declared a degenerate artist by the Nazi regime and forbidden to exhibit. Some of his works were confiscated and burned on 20 March 1939 by the Berlin Fire Brigade. £300-500 (plus 24% BP* ARR*) 703. See page 206 704. Australian School Girl brushing hair possibly signed ‘Ludene’ lower left watercolour 55cm x 38cm.

702

Provenance: South Yarra Gallery, South Yarra. £80-120 (plus 24% BP* ARR*) 705. After Edgar Degas (1834-1917) Little Dancer Aged Fourteen patinated bronze 25cm high. £100-200 (plus 24% BP* ARR*)

704

705

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205

703. Bill Culbert (b.1935) Cubic Projections, 1968 signed and numbered ‘18’ plastic with pin-holes radiating light 60cm diameter. Literature: David Mellor, The Sixties Art Scene in London, Phaidon, London, 1993, pp.180-181 for an example illustrated in a mirror-chamber. Bill Culbert was one of a handful of artists in the mid-sixties exploring kinetic and optical art forms. Cubic Projections is a light sculpture that sees the perforation of a black globe allowing spots of light to be projected and a regulated flow of light at intervals to be seen, depicting the image of the bulb filament onto the surrounding surfaces. This sculpture was one of a limited edition of multiples produced and sold by The Lisson Gallery in 1968. £300-500 (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

706. See pages 208 and 209 707. John Virtue (b.1947) Old Farm from Hameldon Hill, 1973 signed and dated (lower right), titled (to reverse) pencil on paper 76cm x 56.5cm. £500-700 (plus 24% BP* ARR*) 708. John Virtue (b.1947) The Fever Hospital on the Moor, Oswaldtwistle signed (lower right) oils on board 25.2cm x 76cm. £200-400 (plus 24% BP* ARR*)

707

711

709. Ian Humphreys (b.1956) ‘Spot the Pot and Jug’, 1991 signed and dated (lower left), titled (to reverse) oils on board 28.5cm x 28.5cm. £100-300 (plus 24% BP* ARR*) 710. Alfred Daniels (1924-2015) Temple Island, 1995 signed and dated (lower left) acrylic 21.5cm x 29.5cm. £200-400 (plus 24% BP* ARR*)

708

711. Donald Hamilton Fraser (1929-2009) Ballerina signed in pencil (lower right) mixed media 36.5cm x 29.5cm. £100-300 (plus 24% BP* ARR*) 712. Thomas John Coates (b.1941) Tightening the bodice initialled (lower right) watercolour 32.5cm x 50cm. £150-250 (plus 24% BP* ARR*) 713. Thomas John Coates (b.1941) Japonica initialled (lower left) oils on canvas 49.5cm x 29cm. £300-500 (plus 24% BP* ARR*)

709

713

710

712

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207

â&#x20AC;&#x2DC;My Welsh inheritance must remain a strong force in my work, for it is in Wales that I can paint with the greatest freedom...I have found the mood that touches the seam of melancholy that is within most Welshmen, a melancholy that derives from the dark hills, the heavy clouds and the enveloping sea mistsâ&#x20AC;&#x2122;. (K. Williams, Across the Straits, London, 1973) 208

706. Kyffin Williams (1918-2006) A Welsh Farmhouse oils on canvas 39cm x 49cm. Provenance: Richard Hagen Fine Art, Broadway, 2004; Private Collection. £15000-20000 (plus 24% BP* ARR*)

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209

714. Thomas John Coates (b.1941) Washing, Sicily initialled (lower right) oils on board 23cm x 28cm. £200-300 (plus 24% BP* ARR*)

714

715. Thomas John Coates (b.1941) Bathers initialled (lower left) oils on board 11.3cm x 24.3cm. £80-120 (plus 24% BP* ARR*)

715

716. Katherine Church (1910-1999) Trees, 1958 signed and dated (lower left) watercolour 38cm x 55cm. £200-400 (plus 24% BP* ARR*) 717. Adrian Hughes (Contemporary) Collecting The Hay and Romantic Landscape with Sheep each monogrammed (lower left) oils on paper 28cm x 38cm and 36cm x 26cm respectively (2). £100-300 (plus 24% BP* ARR*) 718. Simon English (b.1959) Cabinet, 1994 signed and dated (to reverse) oils on canvas 58cm x 69cm. £300-500 (plus 24% BP* ARR*)

716

718

717

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210

719. Geoffrey Dashwood (b.1947) Owl 3/12, signed and numbered bronze 26cm high. £2000-3000 (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

211

720. Geoffrey Dashwood (b.1947) Teal 4/12, signed and numbered bronze 22cm high, 30cm across. £2000-3000 (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

212

721. Geoffrey Dashwood (b.1947) Owl 6/12, signed and numbered verdigris bronze 16.5cm high. £1500-2500 (plus 24% BP* ARR*)

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213

722. Geoffrey Dashwood (b.1947) Torso 4/12, signed and numbered verdigris bronze 84cm high. £5000-7000 (plus 24% BP* ARR*)

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214

723. Alan Stenhouse Gourley PROI (1909-1991) Santa Maria della Salute, Venice signed (lower left) oils on board 29.8cm x 39cm. £50-100 (plus 24% BP* ARR*) 724. Alan Stenhouse Gourley PROI (1909-1991) Mediterranean Village, 1961 signed and dated (lower right) oils on board 49.5cm x 75cm. £100-200 (plus 24% BP* ARR*)

723

724

725. Christopher Neve (b.1942) Sickert’s Dieppe: Eglise St. Jacques titled (lower left) ink and brush 22cm x 16.5cm. Exhibited: Christopher Neve, ‘Journeys, Heroes and Pigs’, Michael Parkin Fine Art, London, 1981. £70-100 (plus 24% BP* ARR*) 726. Andrews Figural form, 1963 signed and dated Morris Singer Foundry stamp 30cm high. £120-180 (plus 24% BP* ARR*)

725

727. Hattakitkosol Somchai (1934-2000) Sor Duang 203/1000, signed and numbered bronze and polypropylene wire on a marble base overall 97.5cm high. £120-180 (plus 24% BP* ARR*) 728. Randolph Caldecott (1846-1886) The Horse Fair at le Folguet, Brittany, circa 1876 initialled bas relief bronze 15.5cm x 36cm. Better known for his illustrations, Caldecott also produced a small number of bronzes. A bronze of this subject was exhibited at the Royal Academy in 1876 and the V&A hold a terracotta version. £400-600 (plus 24% BP* ARR*)

726

727

728

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215

729. Florence Jamieson (1925-1971) Grapes and Pears signed (upper right) oil on canvas 22cm x 29.5cm. Provenance: Aitken, Dott & Son, Edinburgh. £150-250 (plus 24% BP* ARR*) 730. Mary Fedden (1915-2012) Sea Birds, 1979 signed and dated (lower left) watercolour 19.5cm x 19cm. £1500-2500 (plus 24% BP* ARR*)

729

730

731. Mary Fedden (1915-2012) Still life with pears and jug, 1996 signed and dated (lower right) watercolour 21cm x 23cm. £1000-2000 (plus 24% BP* ARR*) 731

732

732. Mary Lloyd Jones (b.1934) Welsh Landscape II (Llyn Eiddwen), 1975 signed and dated (lower right), titled (to reverse) mixed media 48.5cm x 68.5cm. £250-350 (plus 24% BP* ARR*) 733. Stuart Maxwell Armfield (1916-2000) Flowers signed (lower right) watercolour 68cm x 53cm. £200-300 (plus 24% BP* ARR*) 733

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216

734. Douglas Swan (1935-2000) Still Life with Pears, 1957 signed (upper left) oils on board 50cm x 68cm. Provenance: The Piccadilly Gallery, London. £2000-3000 (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

217

735. Anthony Whishaw (b.1930) Pandora I, 2002 acrylic on canvas on wood 52.5cm x 40cm. Provenance: Art First Contemporary Art, London. £500-700 (plus 24% BP* ARR*) 736. Nico Jungman (1872-1935) Old Dutchmen On Skates signed (lower right) pen, watercolour and gouache 37.5cm x 27.3cm. Literature: Beatrix Jungman, Holland, London, Adam and Charles Black, 1904, illustrated. £1000-2000 (plus 24% BP* ARR*)

735

736

737

739

737. Nico Jungman (1872-1935) The Nieuwe Kerk, Delft signed (lower right) pen, watercolour and gouache 32cm x 23cm. Literature: Beatrix Jungman, Holland, London, Adam and Charles Black, 1904, illustrated. £700-1000 (plus 24% BP* ARR*) 738. Charles James McCall (1907-1989) Hairdressing signed (upper right) oils on board 79cm x 43cm, together with pencil study for the same composition, 25cm x 14cm (2). £400-600 (plus 24% BP* ARR*) 739. Charles James McCall (1907-1989) Doing the hair by lamplight, 1968 signed (upper right) oils on board 28.8cm x 14cm. Provenance: Charles McCall Retrospective, Christie’s, London, 4th-13th September 1995 £300-400 (plus 24% BP* ARR*) 738

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

740. Charles James McCall (1907-1989) The Bedroom, 1948 signed and dated (lower right) oils on board 26cm x 19.5cm. Exhibited: Charles McCall Retrospective, Christie’s, London, 4th-13th September 1995 £300-400 (plus 24% BP* ARR*) 741. Charles James McCall (1907-1989) Women Resting, Eze-sur-Mer, 1979 signed and dated (upper right) oils on board 26cm x 46cm. Exhibited: Charles McCall Retrospective, Christie’s, London, 4th-13th September 1995 £350-450 (plus 24% BP* ARR*)

740

743

742. Charles James McCall (1907-1989) Damery-sur-Marne, 1985 signed and dated (upper left) oils on board 49.5cm x 59cm. Provenance: Charles McCall Retrospective, Christie’s, London, 4th-13th September 1995 £350-450 (plus 24% BP* ARR*) 743. Charles James McCall (1907-1989) Church on the Marne, signed (upper right) oils on board 28.8cm x 19cm.

741

Provenance: Charles McCall Retrospective, Christie’s, London, 4th-13th September 1995 £200-300 (plus 24% BP* ARR*) 744. Moon (20th Century) Landscape, 1988 signed and dated in pencil watercolour 20.5cm x 13cm. £40-70 (plus 24% BP* ARR*) 742

744

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219

745. Suzanne O’Driscoll (20th/21st Century) Meeting Place, 1988 acrylic on paper 10cm x 7cm. £80-120 (plus 24% BP* ARR*) 746. Duncan Grant (1885-1978) Lady Strachey, 1928 pencil on paper 19.5cm x 12cm. Provenance: Simon Watney Esq., Sally Hunter Fine Art Limited, London; The Hon. Robert and Mrs Montagu; The Court Gallery, Somerset; Private Collection. £500-800 (plus 24% BP* ARR*) 747. Andrew Stahl (b.1954) Nude and Bird plate, 1987 signed and dated oil on ceramic 26.5cm diameter. £50-100 (plus 24% BP* ARR*)

745

746

748. David Muirhead Bone (1876-1953) Ship signed in pencil (lower left) pencil, gouache and pastel 22cm x 31cm. £300-500 (plus 24% BP* ARR*) 749. John Humphrey Spender (1910-2005) Reed Landscape, 1962 signed and dated in pen (lower left) conté and wash 30.3cm x 44cm.

747

Provenance: with England & Co., London. £400-600 (plus 24% BP* ARR*)

748

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

220

749

750. Hervey Adams (1903-1996) Landscape signed (lower right) pen and watercolour 31cm x 64.5cm. £100-200 (plus 24% BP* ARR*)

750

751. Alexis Hunter (1948-2014) Artist and Muse signed and dated in pencil (lower right) monoprint, watercolour and printing ink 47.5cm x 63cm. Provenance: Edward Totah Gallery, London; Private Collection. £100-200 (plus 24% BP* ARR*)

751

752. James MacIntyre (1926-2015) Still Life inscribed (to reverse) oils on board 46cm x 56cm, unframed. £500-700 (plus 24% BP* ARR*) 753. James MacIntyre (1926-2015) Coastal Landscape signed (lower right) oils on board 51cm x 61cm, unframed. £800-1200 (plus 24% BP* ARR*)

752

753

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221

MODERN ART OXFORD

FREE EXHIBITION UNTIL FEB

Hannah Ryggen: Woven Histories FIND OUT MORE ONLINE AT WWW.MODERNARTOXFORD.ORG.UK Hannah Ryggen, A Free One / En Fri, 1947 Courtesy Nordenfjeldske Kunstindustrimuseum / Museene I SørTrøndelag. Photo: Anders S. Solberg/Nordenfjeldske Kunstindustrimuseum. © Hannah Ryggen / DACS 2017.

Supported by:

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.