Modern & Contemporary Art Tuesday 5 April by swordersfineart

Tuesday 5 April 2022

REGENERATION

THE MANY SIDES OF ISABEL RAWSTHORNE

Two exhibitions celebrating the reopening of their refurbished premises Sunday 8 May - Sunday 30 October

19A Castle Street Saffron Walden Essex | CB10 1BD

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MODERN AND CONTEMPORARY ART Tuesday 5 April 2022 at 10am ORDER OF SALE Lots 1-31 Lots 32-106 Lots 108-237 Lots 238-367

Great Bardfield and Benton End Early 20th Century and Mid-Century Modern British Modern and Contemporary

VIEWING TIMES We will be offering viewing by appointment. You can book an appointment at www.sworder.co.uk/appointments/ One hour time slots will be available from: Friday 1 April 9am - 5pm Sunday 3 April 10am - 1pm Monday 4 April 9am - 5pm

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SWORDERS’ DELIVERY SERVICE Sworders offer a delivery service for item(s) purchased. Please see our website where you can enter the necessary information to obtain a quote.

REMOVAL OF LOTS To save you having to wait, we operate a mandatory booking system for collections. Please book your appointment 24 hours in advance, to ensure your items are ready when you arrive. Please see our website for details.

FURTHER INFORMATION Contact:

Amy Scanlon Specialist

Jane Oakley Specialist

Telephone: 01279 817778 Email: auctions@sworder.co.uk To obtain more images and condition reports for lots in this catalogue, please visit our website www.sworder.co.uk

SECTION TITLE GREAT BARDFIELD AND BENTON END GREAT BARDFIELD AND BENTON END 1-31

XX-XX 1-31

Edward Bawden RA (1903-1989) Edward Bawden can be considered as the ‘master of the linocut’. He used this technique throughout his career, for posters, wallpaper, murals, book illustrations, as well as for limited edition prints. Sworders are pleased to offer two linocuts featuring Ives Farm in Great Bardfield. Lot 1 gives us a glimpse of the working day, but in Bawden’s distinctive style. Here we see the farmer, cattle and birds, brought to life by bright colours and strong lines. Ives Farm backed on to Bawden’s home, Brick House, and so the artist was able to study the subject matter at his leisure. He also captured the front of the farmhouse in ‘The Road to Thaxted’ (Lot 2). Here we see a woman peering out of the window at a policeman on a bicycle. At first it appears that he is approaching her property, but as the title suggests, he is in fact riding by along the Thaxted Road back into Great Bardfield. Both works were initially executed circa 1956, but Lot 2 was printed a little later in 1960. This rare impression, unlike the earlier editions, shows more vibrant colours. Noticeably with the orange door which has been replaced by a vivid yellow, perhaps suggesting a change in his style as he moved into a new decade.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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Lot 1 *Edward Bawden RA (1903-1989) Ives Farm, Great Bardfield, 1957 linocut in colours, artist’s proof, signed, inscribed, dated and numbered 32/35 in pencil image 40.5 x 61cm £1,500 - 2,500

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Lot 2 *Edward Bawden RA (1903-1989) ‘The Road to Thaxted’ linocut in colours, signed and dated ‘Edward Bawden 1960’, inscribed with title and numbered 33/55 artist’s proof sheet 57 x 79.5cm £3,000 - 5,000

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3 Lot 3 *John Aldridge RA (1905-1983) ‘Bluegate Hall Farm’ signed ‘John Aldridge’ l.l., also signed, inscribed with title and dated January 1952 verso, oil on panel 26.5 x 35.5cm £2,000 - 3,000

Lot 4 *John Aldridge RA (1905-1983) ‘Roadside Cottage, Thaxted’, 1968 inscribed and dated verso, oil on board 27 x 35.5cm £1,000 - 1,500 Exhibited: The Fry Public Art Gallery, 1988.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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5 Lot 5 *John Aldridge RA (1905-1983) ‘Cornwall, Summer, 1931’ signed and inscribed with title verso, with partially-covered exhibition label verso, oil on board 60 x 71cm £2,500 - 3,000 Exhibited: The 19th Biennial International Art Exhibition, Venice, 1934.

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6 Lot 6 *John Bellany RA (1942-2013) ‘Harbour scene - BK47’ signed ‘Bellany’ u.l., pencil and watercolour 38 x 57cm £600 - 800

Lot 7 *Olga Lehmann (1912-2001) ‘Two Dancers - Commedia del’Arte’ signed ‘Olga Lehmann’ l.r., dated 1997 l.l., acrylic on canvas board 32.5 x 26.5cm £300 - 400

Lot 8 *Olga Lehmann (1912-2001) ‘Lovers and Cupid’ signed and dated ‘Olga Lehmann 1997’ l.r., acrylic on canvas on board 26.5 x 34.5cm £300 - 400

Lot 9 *Arthur Lett-Haines (1894-1978) ‘Jardin d’Artiste’ signed and dated ‘Lett June 69’ l.l., mixed media on paper 57 x 35.5cm £1,000 - 1,500 Provenance: With the Ixion Society, Benton End, Suffolk. Exhibited: Hintlesham Festival.

8 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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GREAT BARDFIELD AND BENTON END 1-31

12 Lot 10 *Arthur Lett-Haines (1894-1978) Abstract composition signed and dated ‘Lett 62’, mixed media on paper 41 x 30cm £400 - 600

13 Lot 11 *Arthur Lett-Haines (1894-1978) ‘An Abstract of French Inspiration’ signed and ‘LETT 1965’ l.r., mixed media on paper 35 x 25cm £400 - 600 Provenance: The Collection of Prunella Clough.

Lot 12 *Arthur Lett-Haines (1894-1978) ‘Vamos! Los Hombres, Let’s get out of here boys’ inscribed with title and with annotations, pencil 36 x 26.5cm £300 - 400

Lot 13 *Arthur Lett-Haines (1894-1978) Estuary signed, inscribed and dated 1966 verso, watercolour 34.5 x 41cm £300 - 400 Exhibited: The Minories, Colchester, 1966.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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Lot 14 *Paul Earee (1888-1968) Still life of flowers in a green vase signed ‘Paul Earee’ l.r., watercolour 54.5 x 38.5cm £300 - 400

Lot 16 *Peggy Somerville (1918-1975) Roses in a vase charcoal, atelier stamp 1456 25 x 36cm £200 - 300

Frederick Percy Eary was born in 1888 in Sudbury, Suffolk. He trained as an ecclesiastical architect and worked as both an art teacher and illustrator. A member of the Ipswich Art Club and a friend of fellow artist Rowland Suddaby, he exhibited in Suffolk and Essex under the name Paul Earee.

Provenance: With David Messum, London.

Lot 15 *Paul Earee (1888-1968) Hilly landscape signed ‘Paul Earee’ l.r., watercolour 37.5 x 55cm £300 - 400

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Somerville was born into an artistic family and picked up her first paintbrush the same year she learned to talk. By the time she was ten, she had already exhibited at the Royal Society of Drawing and had a solo exhibition at the Claridge Gallery, London. Her work was admired and collected by Walter Sickert, John Lavary and Matthew Smith. Sickert purchased a work from her and claimed it was one of the finest landscapes he had seen by a living artist. Somerville travelled Europe widely before settling in Suffolk. She painted the coast around Aldeburgh many times, taking inspiration from the legacies of the Impressionists as well as John Constable and Philip Wilson Steer. Lot 17 Benton End School A landscape study pastel 34 x 41cm £200 - 300

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18 Lot 18 *Lucy Harwood (1893-1972) Vase of red flowers by a stream with figure boating oil on canvas 41 x 51cm £1,500 - 2,000 Lot 19 *Lucy Harwood (1893-1972) ‘Industrial landscape through the trees’ signed ‘LUCY HARWOOD’ upside down verso, inscribed as titled on the stretcher, oil on canvas 63 x 51cm £1,500 - 2,000 Provenance: With Louise Kosman. Lot 20 *Lucy Harwood (1893-1972) Still Life with Hellebores oil on canvas 64 x 51cm £2,000 - 3,000 Provenance: With Sally Hunter Fine Art, London; the Artist’s Estate.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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GREAT BARDFIELD AND BENTON END 1-31 Lot 21 *Alan Brooks (20th century) ‘Afternoon, Suffolk’ signed and inscribed with title verso, oil on canvas 51 x 63.5cm £300 - 500 This lot is thought to show the garden at Benton End. Alan Brooks was part of the artist’s circle, and in ‘Benton End Remembered’, artist Maggi Hambling recounts that Brooks was known as ‘China’ because he was Lett-Haines’ regular helper in the kitchen.

22 Lot 22 Benton End Circle Irises oil on board 56 x 46cm £300 - 400

23 Lot 23 *Gwynneth Reynolds (1926-2017) Flowers in a terracotta pot signed with initials l.l., oil on board 72 x 60cm £300 - 500 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

1-31 GREAT BARDFIELD AND BENTON END Lot 24 *Joan Warburton (1920-1996) ‘Vallons des Gardes, Provence’ signed with initials and dated ‘JW 1952’ l.r., oil on canvas 55 x 65cm £700 - 1,000 Exhibited: S ally Hunter Fine Art, ‘Joan Warburton’, March-April 2007.

25 Lot 25 *Joan Warburton (1920-1996) A pair of portraits of the artist Mary Jewels (1886-1997) both signed with initials and dated ‘Newlyn 1942’, pen and ink and watercolour 27.5 x 20cm (2) £300 - 500

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26 Lot 26 *Denise Broadley (1913-2007) Roses in a vase on a table with fruit, a mirror beyond signed and dated ‘1947/D Broadley’ l.l., gouache 36.5 x 45.5cm £300 - 400 Provenance: With D’Arcy Gallery, Ipswich. Denise Broadley studied at Ipswich and Westminster Schools of Art, also receiving tuition periodically at Benton End where she met Lucy Harwood. The two later toured Europe together. Broadley exhibited at the New English Art Club and also at the Royal Academy. 15

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Waveney Frederick (1911-1999) Waveney Frederick studied under Cedric Morris at Benton End in the 1940s. Alongside her career as a painter, she worked as a librarian in Birmingham and became a world authority on Shakespeare. In the 1950s, she founded the Harborne Group, whose aims were freedom from academic constraints and symbolic interpretation of nature. In 1964, she founded the Birmingham Pastel Society. She won many awards through her career and exhibited widely in the UK and America. She was a member of the Birmingham Society of Artists and the Pastel Society, London.

30 Lot 27 *Waveney Frederick (1911-1999) Benton End signed with initials l.r., oil on canvas 35 x 48cm £200 - 300

Lot 28 *Waveney Frederick (1911-1999) Landscape with trees oil on paper 48 x 38cm £100 - 150

31 Lot 29 *Waveney Frederick (1911-1999) A landscape with trees, a farm beyond signed with initials l.r., oil on board 36.5 x 37.5cm £100 - 150

Lot 30 *Waveney Frederick (1911-1999) Twisted willows signed with initials l.l., oil on canvas 33 x 44cm £100 - 150

Lot 31 *Waveney Frederick (1911-1999) Tree and bridge signed with initials l.r., oil on canvas 30.5 x 40.5cm £100 - 150

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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Lot 32 *Campbell Archibald Mellon (1876-1955) ‘Gorleston Beach’ signed ‘C A Mellon’, inscribed as titled and dated 1926 verso, oil on board 22.8 x 30.2cm £2,000 - 3,000 Growing up in Berkshire and later working in Nottingham, after the First World War Campbell Mellon was drawn to a quiet artist’s life and relocated to Norfolk. He lived in a house by Gorleston Harbour with fellow painter John Arnesby Brown, his studio overlooking the bustling activity on the beach, which is the subject of this work. Repeatedly painting Gorleston Beach, Campbell Mellon captures the rich blues of the sky against the stretch of white-yellow sand. His figures are painted with loose, quick strokes and are illuminated by their bright clothes and white sun hats. His understanding of the dazzling gleam of light around sand and sea, makes him uniquely capable of portraying this landscape.

EARLY 20TH CENTURY AND MID-CENTURY 32-106 Lot 33 *William Lee-Hankey RWS RI ROI (1869-1952) La Mechante signed ‘W. LEE HANKEY’ l.l., oil on board 35.5 x 29cm, feigned oval £600 - 800 The painting is a version of Lee-Hankey’s rare etching of the same title of 1921, included in Martin Hardie’s book ‘The Etched Work of W Lee-Hankey RE, From 1904 to 1920’, no.179.

Lot 34 Leonard Greaves (1918-1949) Portofino - the Red Cabin signed with initials l.l., inscribed on an old label verso, oil on canvas board 30.5 x 40.5cm £300 - 500

Lot 35 *Lionel Miskin (1924-2006) Portrait of Bev in profile, bust-length inscribed, signed and dated ‘Bev/by/Lionel Miskin/DUBLIN/1946’ verso, oil on canvas 61 x 50.5cm £300 - 500

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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36 Lot 36 English School, early 20th century The street seller oil on canvas 61 x 51cm £1,000 - 1,500

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Lot 37 French School, early 20th century Disembarkation indistinctly signed ‘Jean ...rarrd’ l.r., pastel 63.5 x 79cm £400 - 600

Lot 38 Sigismund Goetze (1866-1939) ‘Forsythia’ oil on canvas laid down on board 55 x 80cm £600 - 800

Lot 39 Sir George Clausen RA (1852-1944) Richmond Park inscribed ‘Richmond’ and dated ‘Mar19’ l.r., oil pastel 28 x 36cm £500 - 800 Provenance: From the collection of Henry Marriott Paget.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

32-106 EARLY 20TH CENTURY AND MID-CENTURY Lot 40 Attributed to Istvan Farkas (Hungarian, 1887-1944) Woman in a landscape with pencil inscription and stamp verso, oil on board 65 x 54cm £2,000 - 3,000 Provenance: F rom a private Lancaster collection.

Lot 41 English School, early 20th century Polperro signed with monogram ‘A.M’ l.l., oil on canvas 36 x 46cm £400 - 600

Lot 42 Henry Alfred Gsell (Swiss, 1859-1920) ‘Etude Nu’ signed ‘Henry A Gsell’ l.l., signed and inscribed with title verso, oil on canvas 65 x 54cm £600 - 800

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43 Lot 43 *Sir Stanley Spencer RA (1891-1959) Drawing of Hilda pencil, squared for transfer, with Christie’s ‘Stanley Spencer Studio Sale’ stamp verso sheet 50.5 x 41cm, unframed £400 - 600 Provenance: ‘Stanley Spencer Studio Sale’, Christie’s, 5 November 1998.

Lot 44 *Sir Stanley Spencer RA (1891-1959) Study for Christ Carrying the Cross pencil, with Christie’s ‘Stanley Spencer Studio Sale’ stamp verso 45.7 x 30.5cm, unframed £400 - 600 Provenance: ‘Stanley Spencer Studio Sale’, Christie’s, 5 November 1998.

Lot 45 *Sir Stanley Spencer RA (1891-1959) Portrait studies of Louis Behrend (1881-1972), c.1928 pencil, with Christie’s ‘Stanley Spencer Studio Sale’ stamp verso sheet 40.3 x 50.5cm, unframed £400 - 600 Provenance: ‘Stanley Spencer Studio Sale’, Christie’s, 5 November 1998. Louis Behrand was one of Spencer’s principal patrons, commissioning him to decorate a chapel at Burghclere, the village where they lived.

Lot 46 *Sir Stanley Spencer RA (1891-1959) Sketch of a Beseeching Man and a Clothes Line pencil, with Christie’s ‘Stanley Spencer Studio Sale’ stamp verso sheet 41 x 50.5cm, unframed £400 - 600 Provenance: ‘Stanley Spencer Studio Sale’, Christie’s, 5 November 1998.

46 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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47 Lot 47 *Sir Jacob Epstein (1880-1959) Sketch for ‘Day’ signed ‘Epstein’ l.l., pencil, ink and wash 57 x 42.5cm £2,000 - 3,000 Provenance: The Redfern Gallery(?); Lady Epstein (Kathleen Esther Garman); with Obelisk Gallery, London, c.1965: Anon, Bonham’s, London, 29 November 2005, lot 69.

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Sketch for ‘Day’ is a preparatory drawing of c.1929 for the monumental sculpture ‘Day’ commissioned along with its pair ‘Night’ for London Transport HQ (55 Broadway, a Grade 1 listed building close to St James’s Park, London). The sculptures, completed in 1929, are amongst Epstein’s most celebrated and, at the time, controversial public works. On their unveiling, there was outcry over the explicit nudity of the boy, which led to the offer of resignation from the Managing Director of London Underground (UERL), which had commissioned the works. In the end, Epstein made a compromise - shortening the boy’s penis - and the uproar was forgotten. The inscription verso, in (the elderly) Lady Epstein’s hand on an Obelisk Gallery label, states it was exhibited in 1927 at The Redfern Gallery - but this could be inaccurate as the commission for ‘Day & Night’ was received in 1928, and other ‘Day’ related studies are dated ‘28 or ‘29. See related Epstein studies in ‘Jacob Epstein Sculpture and Drawings’. Leeds City Art Galleries, 1987, pp.224-5. (Lot 47, Modern and Contemporary Art - 05/04/2022).

EARLY 20TH CENTURY AND MID-CENTURY 32-106 Lot 48 Frederick Landseer Griggs (1876-1938) ‘The Cross Hands’ etching, inscribed within the print ‘To my friend Thomas Pegram’ l.l. and signed and dated ‘FLGriggs.1935’ l.r., further signed ‘F L Griggs’ in pencil l.r. image 17.3 x 23.5cm, unframed £300 - 500

48 Lot 49 Frederick Landseer Griggs (1876-1938) ‘Laneham’, Comstock 30 etching, signed, dated 1923 and inscribed as titled within the print plate 13 x 12.2cm £250 - 350

49 Lot 50 Frederick Landseer Griggs (1876-1938) ‘Launds’, Comstock 39, v/VIII etching, signed in pencil image 17 x 25cm, unframed £300 - 500

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Lot 51 Robert Polhill Bevan (1865-1925) ‘Who-o-p!’, from the set of four hunting prints, rare first stone impression lithograph image 24.5 x 33.5cm £2,000 - 3,000 Provenance: The collection of the artist’s family. From the set including ‘The Meet’, ‘Found’ and ‘The Flying Pack’. The stone was broken for ‘Who-o-p!’ and Bevan had to redo it, with the second impression having the signature l.l. instead of l.r., as in this version.

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EARLY 20TH CENTURY AND MID-CENTURY 32-106 Lot 52 Henri Gaudier-Brzeska (French, 1891-1915) Standing nude pen and ink 37.5 x 25cm £1,000 - 1,500 Provenance: With Mercury Gallery, London, 9 March 1968; Mrs & Mrs Upton.

Lot 54 *Dame Laura Knight RA RWS (1877-1970) Actors at The Old Vic, Birmingham Rep, Aug 1, 1953 signed with initials and inscribed l.r., black chalk 36.5 x 25cm £400 - 600

Lot 53 Glyn Philpot RA (1884-1937) Study of the Artist’s sister, Gertrude; Study of the Artist’s sister, Daisy two, pencil 18.7 x 12.5cm each, framed as one £600 - 800 Provenance: Gabrielle Cross, the artist’s niece; with the Fine Art Society, London. Preparatory sketches for the oil painting ‘The Sisters of the Artist’, 1922, Bonhams, ‘20th Century British Art’, 26 June 2007, lot 16. Glyn Philpot was a British painter and sculptor, best known for his portraits of contemporary figures such as Siegfried Sassoon. This drawing is a preparatory study for one of the few portraits Philpot painted of his family members; the final painting was exhibited at the Academy of 1922 to wide acclaim. It is an intimate sketch of his two older and much-loved sisters, Gertrude and Daisy. Daisy often posed for her brother, but this is the first portrait featuring Gertrude. Philpot’s light pencil line, executed in swift movements, captures his sisters with great sensitivity. It creates a feeling of familial intimacy aided by their unforced expressions and composure, neither looking deliberately towards the painter nor away from him.

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55 Lot 55 *Dame Laura Knight RA RWS (1877-1970) Eastern Dancer signed ‘Laura Knight’ l.l., charcoal 28.5 x 19cm £300 - 500 Lot 56 *Erté (Romain de Tirtoff) (French, 1892-1990) Costume design for the Princess in Aladdin signed ‘Erté’ l.r., stamped with the atelier mark, inscribed with title and dated I-1929 verso, gouache and gold and silver paint on board 35.5 x 25.5cm £800 - 1,200

The revue ‘Aladin’ was designed by Erté and produced at the Folies-Bergère, Paris in 1929. Provenance: S otheby’s, 29 October 1981. Lot 57 *Erté (Romain de Tirtoff) (French, 1892-1990) Elegance signed ‘Erté’, gouache and silver pen 37 x 25.5cm £400 - 600 Lot 58 *Erté (Romain de Tirtoff) (French, 1892-1990) Showgirl signed ‘Erté’ l.r., gouache and silver pen 37 x 25.5cm £400 - 600

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EARLY 20TH CENTURY AND MID-CENTURY 32-106 Lot 59 *Pablo Picasso (Spanish, 1881-1973) ‘Trois Acteurs from the Suite Vollard’ (Bloch 145; Geiser 296) etching, with ‘Picasso’ watermark, from an edition of 260 (there is also an edition of 50 with wide margins) sheet 44.6 x 34cm £1,000 - 1,500 The Vollard Suite was commissioned by Ambrose Vollard, one of the most influential Parisian art dealers and the man responsible for giving Picasso his first exhibition. Picasso produced a series of 100 etchings between 1930 and 1937. After Vollard was tragically killed in a car crash in 1939, the etching plates and rights were sold to Henri Marie Petiet. Petiet paid Picasso to sign the etchings in batches, but Picasso eventually grew weary of this arrangement and stopped signing the prints.

59 Lot 60 *Pablo Picasso (Spanish, 1881-1973) ‘Scene d’Interieur’ (Bloch 74, Geiser 21) lithograph, 1926, printed on Van Gelder paper with watermark, outside the numbered edition therefore not signed or numbered image size 23 x 28.5cm, sheet size 33 x 50.8cm £400 - 600 In the edition there were 13 trial proofs; an edition on Velin Van Gelder paper, numbers 1-100 signed and numbered; on buff paper there were 1-10 signed and numbered; on white paper, 51-100 signed and numbered. Galerie Simon had the stone polished out.

Lot 61 SABARTÉS, Jaime - ‘A Los Toros avec Picasso’ André Sauret, Monte-Carlo 1961, the book is comprised of four lithographs, one printed in colours, the French edition, bound as issued in grey linen-covered boards and red paper-covered slipcase overall 26 x 33cm £1,500 - 2,000

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Lot 62 Henri de Toulouse-Lautrec (French, 1864-1901) ‘Navire de Guerre Americain et Poissons’, c.1879-1881 with red monogram stamp l.l., pencil 20 x 31cm £1,000 - 1,500 Provenance: Sotheby’s, 6 October 1966, lot 1; Private collection, UK. Literature: M G Dortu, Catalogue Raisonné de l’Œuvre de Toulouse-Lautrec, vol. V, New York, 1971, vol. IV, ref D. 1.175, illustrated p.197. With a copy of a letter from Comité Tolouse-Lautrec in 2013 confirming authenticity.

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63 Lot 63 *Georges Charles Robin (French, 1903-2003) Coastal landscape with cottages signed ‘Georges Robin’ l.l., oil on board 32 x 39.5cm £800 - 1,200

Lot 64 *Georges Charles Robin (French, 1903-2003) A harbour signed ‘Georges Robin’ l.r., oil on board 32 x 39.5cm £300 - 500

Lot 65 *Robert Chailloux (French, 1913-2006) Still life of a coffee pot, glass and apples signed ‘Robert Chailloux’ l.r., oil on canvas 26 x 34cm £500 - 700

65 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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Lot 66 *Jean-Franck Baudoin (French, 1870-1961) Église Notre-Dame-des-Champs signed ‘Jean-Franck Baudoin’ l.l., oil on canvas 116 x 81cm £1,000 - 1,500 Lot 67 *Jean-Franck Baudoin (French, 1870-1961) After the Rain, Côte Sauvage, France signed ‘J. F. Baudoin’ l.r., oil on canvas 38.1 x 55.3cm £400 - 600 Lot 68 *Jean-Franck Baudoin (French, 1870-1961) The Small Bridge signed ‘J. F. Baudoin’ l.r., oil on board 32.2 x 41cm £500 - 700 Lot 69 *Jean-Franck Baudoin (French, 1870-1961) Bouquet de Fleurs au vase noir signed ‘Jean Franck Baudoin’ l.r., oil on canvas 46.4 x 55.3cm £600 - 800

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70 Lot 70 John Albert Cooper (1894-1943) ‘Lyme Regis Harbour’ signed ‘JOHN COOPER’ l.l., oil on canvas 56 x 69cm, unframed £800 - 1,200

72 Lot 72 John Albert Cooper (1894-1943) Cottages in a winter landscape signed ‘JOHN COOPER’ l.l., oil on canvas 55 x 63cm, unframed £400 - 600

71 Lot 71 John Albert Cooper (1894-1943) ‘The Boatyard’ signed and dated ‘John Cooper 35’ l.l., oil on canvas 56 x 46cm, unframed £600 - 800

73 Lot 73 John Albert Cooper (1894-1943) ‘Goldsborough Hall’, Knaresborough, Yorkshire signed ‘John Cooper’ l.r., oil on canvas 51 x 61cm, unframed £400 - 600

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74 Lot 74 *Rowland Hilder (1905-1993) ‘Kentish Oast Houses’ signed ‘ROWLAND HILDER’ u.r., oil on canvas 51 x 61cm £2,500 - 3,500 Provenance: With the Fine Art Society, London, November 1952.

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75 Lot 75 *William Heaton Cooper RA (1903-1995) ‘Winter Sun on Pavey Ark’, c.1964 signed ‘W. Heaton Cooper’ l.r., also signed and inscribed as titled on artist’s label verso, watercolour 38 x 55.5cm £1,000 - 1,500 Lot 76 *Cathleen Mann (1896-1959) Still life vase of flowers signed and dated ‘CATHLEEN MANN 1938’ l.r., oil on canvas 77 x 63cm £600 - 800

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Lot 77 *Duncan Grant (1885-1978) A gateway, Firle, Lewes signed ‘D. Grant’ l.r., inscribed verso, oil on canvas board 35 x 46cm £4,000 - 6,000 In 1916, Firle, Lewes became the home of Grant when he moved to Charleston with Vanessa Bell and her two sons. This retreat from London was frequented by many of the Bloomsbury Set and was central to the ongoing artistic output of both Grant and Bell, who lived at the house for the rest of their lives.

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78 Lot 78 *Alfred Wolmark (1877-1961) An interior with two women signed ‘WOLMARK’ l.r., oil on canvas 76 x 51cm £1,000 - 1,500 Lot 79 *Patricia Preece (1894-1966) ‘Old Woman Knitting’ signed ‘R Preece’ l.l., inscribed as titled, also signed ‘PATRICIA PREECE. HOOKHATCH/COOKHAM BERKS’ verso, oil on canvas 61 x 51cm, unframed £400 - 600

Lot 80 Maurice Asselin (French, 1882-1947) Still life with mantel clock and bust signed and dated ‘M. ASSELIN . 08’ l.l., oil on board 65.5 x 53cm, unframed £300 - 500 Lot 81 Modern British School Portrait of a man inscribed ‘Tuersley, Portrait, Rome & Abbey Scholarships in Painting’ verso, oil on board 46 x 38cm £300 - 500

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Lot 82 Henry Lamb RA (1883-1960) Portrait of Carl Eric Bechhofer Roberts (1894-1949) oil on canvas 40.8 x 30.5cm £1,500 - 2,000 Provenance: C arl Eric Bechhofer Roberts. Illustrated: Albert Rutherston, Henry Lamb, London: Ernest Benn Ltd, 1924, plate 18.

C E Bechhofer Roberts was a widely published English author and journalist. He was an early patron of Henry Lamb and owned several other works including ‘A Bristol Committee’, 1921 and ‘Feeding Calves’, 1921. His portrait is among a number of contemporary men of letters who sat for Lamb, including Lytton Strachey, Thomas Hardy and Evelyn Waugh. Bechhofer Roberts was born in London and studied Classics at Berlin University. At the end of the First World War, he worked with H G Wells at the Information Department. He travelled extensively in Russia, encountering Grigori Rasputin in St. Petersburg, who kissed him, and the mystic philosopher George Gurdjieff (1866-1949), whose work he introduced to an English audience. Bechhofer published ‘Russia at the Crossroads’ in 1916. He returned to Russia as part of the British Military Mission and was London Times correspondent, covering the Russian famine in 1921, the year he published his book, ‘Through Starving Russia’. He went on to act as private secretary to Lord Birkenhead, 1924-1930. He was the first biographer of Winston Churchill, 1927. He also published lives of Madame Blavatsky, 1931, Stanley Baldwin, 1936, and Paul Verlaine, 1937. His book, ‘This Side Idolatry’, 1928, caused a scandal for its salacious revelations about the private life of Charles Dickens and his mistress. He also published under the pseudonyms, ‘Ephesian’ and ‘Arthur Milton’. He edited The Old Bailey Trial series and wrote extensively on some of the more lurid criminal cases of the day, such as the trial of William Joyce (Lord Haw Haw). Bechhofer uncovered fraudulent mediums in ‘The Truth about Spiritualism’, 1932, and among his works of fiction is a hilarious gangster spoof, ‘Don Chicago, or Crime Don’t Pay’, 1933. Bechhofer’s books were recommended by George Orwell. The present lot is to be sold with a selection of essays, fiction and non-fiction books written by C E Bechhofer Roberts, to include his biographies of Stanley Baldwin and Lord Birkenhead, amongst others titled ‘Don Chicago’, ‘Let’st Begin Again’, ‘The Mysterious Madame’ and more.

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Lot 83 *Karl Hagedorn (1889-1969) Cattle in a farmyard with figures beyond signed ‘Karl Hagedorn’ l.r., oil on canvas 60 x 76cm £300 - 500

Lot 84 *Karl Hagedorn (1889-1969) Harbour signed and dated ‘Karl Hagedorn 1957’ l.l., pen and ink and watercolour 32 x 52cm £250 - 350

Lot 85 *Edward Bouverie-Hoyton (1900-1988) Penberth, Cornwall signed ‘E BOUVERIE-HOYTON’ l.r., inscribed and dated 1930 on a label verso, oil on canvas laid on board 52.5 x 69.5cm £500 - 800 The boat-winch at Penberth Cove depicted here is still central to this rugged, unspoilt coastal spot.

Lot 86 *Alexander Forrester Turner (1867-1955) Cricketers after the match signed ‘A F Turner’ l.r., oil on canvas 47 x 81cm £600 - 800

Alexander Turner studied at the Newlyn School in 1912-13, under Alexander Stanhope Forbes. The present work probably dates from the 1930s.

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Lot 87 *Terence Cuneo (1907-1996) ‘The Miser’; ‘The Poacher’ two, both signed ‘Cuneo’ and dated ‘August 1964’ and ‘April ‘65’ respectively, oil on canvas 30.5 x 25.5cm, framed as a pair (2) £3,000 - 5,000

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Lots 88-94 A personal selection of John Strevens’ works from the artist’s estate Born in 1902, Strevens was the eldest child of a large family based in the East End of London. As a young man, a small windfall from his aunt in Dorset, and cash earned from playing the violin in silent cinemas, paid for a few art classes at the Regent Street Polytechnic and the Heatherley School of Art. It was there, during a lecture by Roger Fry on cubism, he famously walked out, saying ‘I thought art had something to do with beauty’. Instead he taught himself by copying painters like Delaroche and La Thangue at the Guildhall Museum in London, and by studying the technique of Velasquez and John Singer Sargent. Later he discovered and admired the sunlight in the works of Joaquin Sorolla and the colours of Pierre Bonnard. In 1943, Strevens had his first solo art exhibition off Bond Street and thereafter exhibited his figure paintings and flowers at the Royal Academy and the Paris Salon. For his portraits, Strevens preferred to paint from life so as to capture the spirit and vitality of the sitter, and he had a unique ability to show his sitters at their best. He enjoyed capturing subtleties in skin tone, as well as the challenge of capturing white, its reflected colours and the textures of varied fabrics and dress. This earned him many portrait commissions across the UK and USA, from Winston Churchill, to guitarist Julian Bream and the young film actress Laura Dern. This group of artworks demonstrates one of Strevens’ favourite subjects, women and children. It offers a familial connection, as many of the portraits feature his second wife, Julia Marzo, and their daughter, Bridget. Some portraits are painted directly and others are inspired rather than direct representations, but the warmth of each image speaks volumes of his affection for them. In lot 88, we see the baby Bridget held up by her mother and reaching out her arms towards her father. We are privy to a family supper in lot 94, where the painter is drawn by the soft yellow lighting he sees through the window at the laid table, having returned after a day in his garden studio. It is a celebration of the colour and peace he found in his later years. Having witnessed the hardship of two world wars and more across the twentieth century, Strevens sought refuge in, and was keen to share the beauty he found, in people, nature and in the simplicity of domestic life.

88 Lot 88 *John Frederick Lloyd Strevens (1902-1990) ‘Bridget’ signed ‘Strevens’ and dated 1957 u.l., also signed and inscribed as titled verso, oil on canvas 51 x 30.5cm, unframed £300 - 500

89 Lot 89 *John Frederick Lloyd Strevens (1902-1990) ‘Portrait of Bridget, aged three’, 1959 signed ‘Strevens’ u.r., inscribed ‘Bridget’ and dated ‘59’ l.r., oil on board 61 x 50.5cm, unframed £300 - 500

90 Lot 90 *John Frederick Lloyd Strevens (1902-1990) Portrait of the artist’s daughter reading, c.1970s oil on canvas 91.5 x 61cm £300 - 500

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93 Lot 91 *John Frederick Lloyd Strevens (1902-1990) ‘Badinage (Chatting)’, c.1950s signed ‘John Strevens’ u.r., also signed and inscribed as titled verso, oil on canvas 60.5 x 50.5cm, unframed £300 - 500

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94 Lot 92 *John Frederick Lloyd Strevens (1902-1990) Lady with a fan and choker signed and dated ‘STREVENS ‘54’ l.r., oil on canvas 51 x 41cm, unframed £500 - 700

Lot 93 *John Frederick Lloyd Strevens (1902-1990) ‘Annie Laurie’, c.1945-55 signed ‘Strevens’ l.r., also signed and inscribed as titled verso, oil on canvas 35.5 x 30.5cm, unframed £300 - 500 ‘Annie Laurie’ is an old Scottish folk song that was loved by the artist.

Lot 94 *John Frederick Lloyd Strevens (1902-1990) The artist’s daughter and wife at their home, c.1985-88 oil on board 76.5 x 80.5cm, unframed £300 - 500 Strevens was a great admirer of French post-impressionist painter Pierre Bonnard (1867-1947) and this work is inspired by his soft hues and through-the-window views.

EARLY 20TH CENTURY AND MID-CENTURY 32-106 Lot 95 *Odette Bruneau (French, 1891-1984) A bar interior signed ‘O Bruneau’ l.l., oil on canvas 73.5 x 92cm £500 - 700 Lot 96 *Odette Bruneau (French, 1891-1984) Musicians playing the accordion and the guitar, couples dancing beyond signed ‘O Bruneau’ l.l., oil on canvas 81 x 65cm £500 - 700 Lot 97 *Odette Bruneau (French, 1891-1984) An act of kindness signed ‘O Bruneau’ l.l., oil on canvas 116 x 90cm £400 - 600

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32-106 EARLY 20TH CENTURY AND MID-CENTURY Lot 98 *Halina Korn (Polish, 1902-1978) At the gallery signed ‘Korn’ l.r., oil on board 35 x 30cm £300 - 500 Leaning in to peer closer at a picture in this floor to ceiling filled gallery, Korn captures this gentleman’s passion in a humorous way. Always an admirer of art, Korn began her career as a journalist training at the Warsaw School of Political Sciences. Fleeing Poland at the outbreak of World War Two, she went to Paris and then the UK, where she stayed for the rest of her life. She began painting and sculpting in 1941, holding her first solo exhibition in 1948. She took inspiration from the immediate world around her, capturing people unawares as they underwent their daily activities. This elongated, hunched figure is reminiscent of contemporary painter, L S Lowry.

99 Lot 99 *Robert Lenkiewicz (1941-2002) Portrait of a woman signed ‘R O Lenkiewicz’ l.l., oil on canvas 45.5 x 35.5cm £800 - 1,200 Lot 100 Lidiya Buharova-Sporykhina (1927-2004) ‘Wrestler’, 1950s signed in Cyrillic l.r., oil on canvas 64 x 48cm £400 - 600

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Anne Harriet Fish (1890-1964) Anne Harriet Fish was successful cartoonist and illustrator contributing works to Vanity Fair, Vogue, The Sketch and Tatler. Her illustrations for the ‘Letters of Eve’ in Tatler caused a sensation and this illustrated figure became the influence behind subsequent films, theatre and books. Fish remained the illustrator of ‘Eve’ until 1920. Included with lot 101 are: ‘The Eve Book’, ‘The New Eve’, ‘The Third Eve Book’ and ‘Eve and her Evolution of a Pretty Kettle of Fish’.

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102 part lot Lot 101 *Anne Harriet Fish (1890-1964) Violet - a study of a cat signed ‘Fish’ and inscribed ‘Violet to Edmond & Don’, pencil and watercolour 16 x 34cm Four ‘Eve’ books to be sold with this lot. £150 - 250 Lot 102 *Anne Harriet Fish (1890-1964) Farm Hands; Figures on a beach two, oil on board 15.5 x 22cm and 14.5 x 20cm (2) £300 - 500 44

Lot 103 *Anne Harriet Fish (1890-1964) ‘Breton Sunday’ signed and inscribed with title on artist’s label verso, oil on canvas board 34.5 x 25.cm £300 - 500 Exhibited: Penrith Society of Arts in Cornwall, no.22.

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Lot 104 *Anne Harriet Fish (1890-1964) A market square oil on board 20.5 x 28cm £300 - 400

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Lot 105 *Anne Harriet Fish (1890-1964) Figures outside a church oil on board 31 x 41cm £300 - 500

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Lot 106 *Anne Harriet Fish (1890-1964) Cottages oil on board 21 x 29.5cm £200 - 300 Lot 107 Spare lot

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SECTION MODERN TITLE BRITISH GREAT BARDFIELD AND BENTON END 1-31

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Lot 108 *Fred Yates (1922-2008) Cape Cornwall signed ‘Fred Yates’ l.l., oil on canvas board 18 x 25.5cm £800 - 1,200

108 Lot 109 *Fred Yates (1922-2008) Hurdy Gurdy Man signed verso, pen and ink and brown gouache on board 20.5 x 25cm £1,000 - 1,500

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Lot 110 *Arthur Delaney (1927-1987) The Chip Shop signed ‘Arthur Delaney’ l.l., oil on board 26.5 x 33cm £2,000 - 3,000 ‘If I say this is not a real place it would not be quite true. It is a composite of two districts in Manchester. One was All Saints where I was born where the chip shop was and the other half was the New Cross district at the beginning of the main Manchester to Oldham Rd. The reason I did this was the streets around the chip shop at All Saints had been demolished and were just a wilderness and I needed the atmosphere so I borrowed a bit from the New Cross area.’

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Lot 111 *Laurence Stephen Lowry RA (1887-1976) ‘Lonely House’ offset lithograph in colours, signed ‘L. S. Lowry’ in pencil, numbered 163/500, published by Magnus Prints, with Fine Art Trade Guild blind stamp sheet 40 x 58.5cm, unframed £800 - 1,200

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Lot 112 *Laurence Stephen Lowry RA (1887-1976) ‘Deal Beach Sketch’ offset lithograph in colours, 1973, signed ‘L. S. Lowry’ in pen l.l., stamped 445 verso, with Fine Art Trade Guild blind stamp, published by Venture Prints Ltd. 17.8 x 25.5cm, unframed £500 - 700

Lot 113 *Laurence Stephen Lowry RA (1887-1976) ‘Deal Beach’ offset lithograph in colours, signed ‘L S Lowry’ in pencil l.r., with the Fine Art Trade Guild blind stamp l.l. image 26.2 x 50.5cm £2,000 - 3,000

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115 Lot 114 *Laurence Stephen Lowry RA (1887-1976) ‘Peel Park’ offset lithograph in colours, signed ‘LS Lowry’ in pencil l.r., with Fine Art Trade Guild blind stamp 41.5 x 78.5cm £2,000 - 3,000

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Lot 115 *Laurence Stephen Lowry RA (1887-1976) ‘Waiting for the Tide’ offset lithograph in colours, signed ‘L S Lowry’ and inscribed ‘South Shields Harbour/Entrance’ in pencil l.r. image 45 x 68cm £3,000 - 5,000

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Lot 116 *Laurence Stephen Lowry RA (1887-1976) ‘An Industrial Town’ offset lithograph in colours, signed ‘LS Lowry’ in pencil l.r., with Fine Art Trade Guild blind stamp 47 x 62cm £1,500 - 2,000

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Lot 117 *Laurence Stephen Lowry RA (1887-1976) ‘Market Scene in a Northern Town’ offset lithograph in colours, signed ‘L S Lowry’ in pencil l.r. image 46 x 61cm £2,000 - 3,000

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Lot 118 *Laurence Stephen Lowry RA (1887-1976) ‘Britain at Play’ offset lithograph, signed ‘L S Lowry’ in pencil l.r., with the Fine Art Trade Guild blind stamp l.l. image 44.5 x 59.5cm £2,000 - 3,000

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Lot 119 *Laurence Stephen Lowry RA (1887-1976) ‘Mrs Swindell’s Picture’ offset lithograph in colours, with Fine Art Trade Guild blind stamp, signed ‘L S Lowry’ in pencil 42.5 x 31.5cm £2,000 - 3,000

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Lot 120 *Laurence Stephen Lowry RA (1887-1976) ‘Huddersfield’ offset lithograph in colours, signed ‘L S Lowry’ in pencil l.r., with Fine Art Trade Guild blind stamp 48 x 60cm £2,000 - 3,000

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122 Lot 121 *Rowland Suddaby (1912-1972) ‘South Yorkshire Landscape’ signed and dated ‘R Suddaby 49’ l.r., inscribed as titled on gallery label verso, watercolour and gouache 38 x 56cm £300 - 500 Provenance: With Austin/Desmond Fine Art, London, 1988.

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Lot 122 *Edwin La Dell ARA (1914-1970) Working the land signed and dated ‘Edwin La Dell 53’ l.r., watercolour over pencil 35 x 52cm £200 - 300

Lot 123 *Edward Piper (1938-1990) ‘Cassis’ signed ‘Edward Piper’, inscribed and dated ‘14 IX 87’, pencil, watercolour and gouache 55 x 75cm £400 - 600

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Lot 124 *Philip Sutton RA (b.1928) Snape Common, Suffolk signed verso, oil on board 19.5 x 24cm £300 - 500

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125 Lot 125 *Attributed to John Tunnard ARA (1900-1971) ‘Sidings’ oil on board 14.8 x 41.4cm £800 - 1,200 Provenance: A private collector, Lincolnshire.

Lot 126 *Malcolm Arbuthnot (1877-1967) Trees near a picket fence watercolour 54.5 x 37cm £500 - 700

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Lot 127 *Julian Trevelyan RA (1910-1988) Olive Groves signed and dated ‘Julian Trevelyan 32’ in pencil l.l., watercolour over pencil 35 x 54cm £600 - 800

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Lot 128 *Paul Lucien Maze (French, 1887-1979) Royal Yacht Britannia entering the Pool of London, 15 May 1954 signed and dated ‘Paul Maze, 1954’ l.r., oil on board 14.2 x 46.7cm £1,500 - 2,000 In 1952, a new Royal Yacht was commissioned that could travel the globe and double as a hospital ship in time of war. This painting depicts The Queen and The Duke of Edinburgh on the new Royal Yacht Britannia travelling under Tower Bridge. The same day was also captured by painter Edward Seago. Lot 129 *Paul Lucien Maze (French, 1887-1979) A still life of roses in a vase on a table signed ‘Paul Maze’ l.l., pastel 55 x 75cm £2,000 - 3,000 Lot 130 *Paul Lucien Maze (French-British, 1887-1979) Jessie tying her hair signed ‘Paul Maze’ l.r., pastel 30.5 x 23.2cm, with a letter attached verso from Jessie Maze, the artist’s wife £300 - 500 Provenance: P hillips Auctioneers, 28 January 1986, lot 17b.

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Lot 131 John Minton (1917-1957) Widnes Lithopone Plant Rotary Calcinator; Widnes Lithopone Plant Gas Plant; Lithopone batch precipitation Barium sulphite reduced to sulphur by use of anthracite; Widnes Lithopone Plant Wet Slurrying Tanks - End Point & Wash a set of four, the last signed ‘John Minton’ l.r., pen, ink, watercolour and gouache 27.5 x 37.5cm (4) £6,000 - 8,000 Provenance: T he Medici Society Ltd. 56

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John Minton (1917-1957) John Minton was a prolific illustrator, contributing to many books, journals and magazines through his short career. He worked with Condé-Nast in publications like ‘Vogue’ and ‘The Strand’, and illustrated a number of books including Elizabeth David’s ‘French Country Cooking’. In 1948, Minton was commissioned by Everetts Advertising Ltd. on behalf of their client, the Imperial Smelting Corporation, to undertake some illustrations of industrial scenes, and he visited their plants at Widnes and Avonmouth to make a series of pictures, four of which are presented in this lot.

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133 Lot 132 *Betty Swanwick RA (1915-1989) ‘The Awakening’ signed and dated ‘Betty Swanwick ‘76’ l.r., pencil 32.5 x 56cm £300 - 500 Exhibited: Royal Academy of Arts Summer Exhibition, 1978, no.754. Literature: P addy Rossmore, ‘Betty Swanwick: Artist and Visionary’, Chris Beetles Limited, London, 2008, p.119.

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Lot 133 *Michael Ayrton (1921-1975) Head study for ‘Sceptic’ 1955 monotype, signed ‘Michael Ayrton’ in pencil l.r. and dated 29.7.55 24 x 25.5cm Sold together with Michael Ayrton, ‘Drawings and Sculpture’, Cory, Adams & Mackay, London, 1962. £300 - 500 The work is a study for one of Ayrton’s early sculptures, ‘Sceptic’, 1956 – ibid. pl.24. Provenance: From the collection of the artist; Andrew Burt Collection. Exhibited: James Goodman Gallery, Buffalo, New York, 1965. Literature: Michael Ayrton, ‘Drawings and Sculpture’, Cory, Adams & Mackay, London, 1962, pl.22.

Lot 134 *Ronald Searle (1920-2011) Rebirth signed and dated ‘Ronald Searle 1947’ l.l., inscribed ‘painted especially for Eileen and Andrew on the occasion of their marriage April 3 1947, with love from Kaye and Ronald’ and dated ‘March 23 1947’ verso, watercolour and gouache 49 x 38.5cm £300 - 500

Lot 135 *Keith Vaughan (1912-1977) ‘Boys Back to Back’, 1963 blue ballpoint pen, signed and dated ‘15 xii 63’ u.r., with studio stamp verso 28 x 20.5cm £500 - 700 Exhibited: ‘Keith Vaughan Four Decades of Drawing’, Gallery 27, London, no.31. Provenance: The estate of Professor Ball; acquired from Gallery 27, London, in 2010, sold with invoice and gallery label.

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108-237 MODERN BRITISH Lot 136 *Pauline Boty (1938-1966) The artist’s husband, Clive Goodwin, reclining, c.1963 pencil 25 x 20cm £2,000 - 3,000 Provenance: E state of Pauline Boty; estate of Clive Goodwin; Nicholas Grindley. Exhibited: The Mayor Gallery, London, ‘Pauline Boty and Other Modern British Artists’, 7 September 7 October 2009.

136 Pauline Boty was the only female founder of the British Pop Art movement and an icon of 1970s feminism. Born in South London in 1938, she was the youngest of four children and grew up in a conservative Catholic family. In 1954, she won a scholarship to Wimbledon School of Art, which she accepted with the support of her mother (whose artistic ambitions had been thwarted by her parents). Boty studied lithography and stained-glass making, but also painted in a distinctive style. She exhibited with the Young Contemporaries alongside Robyn Denny and Bridget Riley in 1957 and 1959. Her developing friendships with Pop artists such as David Hockney and Peter Blake drew her further into this circle, and in 1961, she participated in a group show titled ‘Blake, Boty, Porter, Reeve’. Just two years later, she had her first solo show at the Grabowski Gallery, which was received with acclaim. After a brief stint in acting and on radio, Boty returned to painting. Her work became increasingly political with anti-Vietnam War and anti-patriarchy themes emerging. After a whirlwind romance, she married Clive Goodwin, who Boty captures in this intimate drawing of her husband with eyes shut, reclined and apparently sleeping. In 1965, Boty became pregnant, but early into the pregnancy, doctors discovered a cancerous tumour. Knowing that treatment would damage the foetus, Boty chose not to pursue this. She died aged just twenty-eight, only five months after the birth of her daughter. In 2013, Boty received her first retrospective at the Wolverhampton Art Gallery; later travelled to Pallant House Gallery.

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138 Lot 137 *Donald McIntyre (1923-2009) House by the Sea No.5 signed ‘DMC’ l.l., oil on board 35 x 50cm £1,000 - 1,500

139 Lot 138 *John Bratby RA (1928-1992) John Bell Double Portrait both signed ‘JOHN BRATBY’, inscribed and dated Oct 61, one pencil, the other pencil and coloured pencils 31 x 18cm and 31 x 18.5cm, framed as one £400 - 600

Lot 139 *Josef Herman RA (1911-2000) Man Digging ink wash and gouache sheet 56 x 77cm, unframed £600 - 800 Provenance: Acquired by the present owner directly from the Curwen Studio.

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140 Lot 140 *Dame Elizabeth Blackadder RA RSA (1931-2021) A hilly landscape with stone walls pen and ink and watercolour 58 x 78cm, unframed £1,500 - 2,500

Lot 141 *Mary Fedden RA (1915-2012) A field of sunflowers signed and dated ‘Fedden 1972’ pencil 45 x 71cm, unframed £1,000 - 1,500

Provenance: A cquired by the present owner directly from the Curwen Studio.

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142 Lot 142 *Donald McIntyre (1923-2009) A windy day, two figures on a village road signed ‘D McIntyre’ l.r., with inscriptions in Welsh on the reverse, oil on board 36 x 46cm £1,500 - 2,000 Lot 143 *David Tress (b.1955) ‘Winter Moor’ signed and dated ‘David Tress 76’ l.l., mixed media 37 x 56cm £600 - 800

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144 Lot 144 *Donald McIntyre (1923-2009) The Anchorage, c.1967 signed ‘D McINTYRE’ l.r., oil on board 41 x 77cm £3,000 - 5,000 Provenance: The Phoenix Gallery, 1967.

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145 Lot 145 *Kenneth Webb (b.1927) A harbour scene signed ‘Kenneth Webb’ l.l., oil on canvas 38 x 91cm £1,000 - 1,500

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Lot 146 *Annabel Gosling (b.1942) The Terrace signed ‘Gosling’ l.r., oil on canvas 81 x 104cm £400 - 600

Lot 147 *Errol Neill (b.1941) ‘Crossing the Inlet’ signed ‘Errol Neill’ and dated 1986 l.r., inscribed with title on exhibition label verso, oil on board 37 x 61cm £300 - 400

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Lot 148 *Bernard Dunstan RA (1920-2017) ‘Trying on a Dress’ signed with initials l.l., inscribed with title by the artist on label verso, oil on canvas 112 x 112cm £3,000 - 5,000 Exhibited: Royal Academy, London, Summer Exhibition, 1966.

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149 Lot 149 John Ulbricht (Cuban, 1926-2006) ‘Campos Rosas’ signed ‘JOHN ULBRICHT’, inscribed as titled and dated 1985 verso, oil on canvas 73 x 93cm £1,500 - 2,000 Lot 150 *Alfred Reginald Thomson RA (1894-1979) Still Life with Flowers in a Vase signed and dated ‘A R THOMSON ‘73’ l.r., oil on board 42.5 x 35.5cm £200 - 300 Lot 151 *Wilfred Fairclough (1907-1996) Peonies signed and dated ‘FAIRCLOUGH 1982’ l.l., oil on board 48 x 20cm £400 - 600

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Provenance: With Thomas Agnew & Sons Ltd., London.

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154 Lot 152 *Fred Cuming RA (b.1930) Tynemouth signed ‘Cuming’ l.l., inscribed ‘Tynmouth’ (sic) verso, oil on board 16 x 30.5cm £1,000 - 1,500

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Lot 153 *Fred Cuming RA (b.1930) Moored yachts at sunset signed ‘Cuming’ l.r., oil on board 9 x 25cm £600 - 800

Lot 154 *Fred Cuming RA (b.1930) Beach ride signed ‘Cuming’ l.l., oil on board 16 x 33cm £800 - 1,200

MODERN BRITISH 108-237 Lot 155 *Arthur Stranraer Mull (1924-2021) ‘Abandoned Croft, Sutherland’ signed and dated ‘Arthur Mull 05’ l.r., inscribed with title on label verso, mixed media on paper 53 x 71cm £300 - 500 Arthur Stranraer Mull was born in India in 1924. Following his education in Scotland, he fought in Normandy in the Second World War and was awarded the Légion d’Honneur. He then trained as an architect and was one of the first town planners after the introduction of the Town and Country Planning Act in 1947. He practiced in Cambridgeshire for his whole career, but was also a keen and accomplished painter who exhibited with the Cambridge Drawing Society.

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156 Lot 156 *Arthur Stranraer Mull (1924-2021) Cottages in the Highlands signed and dated ‘Arthur Mull 00’ l.r., mixed media on textured paper 54 x 47cm £250 - 350

157 Lot 157 *Arthur Stranraer Mull (1924-2021) ‘Duart Castle, Isle of Mull’ signed and dated ‘Arthur Mull 98’ l.r., inscribed with title on label verso, mixed media on textured paper 41 x 55.5cm £250 - 350

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

108-237 MODERN BRITISH Lot 158 Allan Walton (1891-1948) ‘Pair of shafts’ oil on canvas 36.5 x 28.5cm £800 - 1,200 Provenance: W ith Sally Hunter Fine Art, London, ‘Under East Anglian Skies’, April-May 1994, no.81; David Marks Esq; with Louise Kosman.

Lot 159 *John Scorrer O’Connor RWS (1913-2004) East Anglian Landscape signed ‘John O’Connor’ l.l., oil on canvas 77 x 102cm £300 - 400

Lot 160 *Tom Coates (b.1941) ‘Provence, France, from hotel’ inscribed with title verso, oil on canvas 51 x 61cm, unframed £600 - 800

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MODERN BRITISH 108-237 Lot 161 *Hugo Grenville (b.1958) ‘San Basilio, 7.30am, March morning’ signed ‘Hugo Grenville’ l.l., inscribed with title on gallery label verso, oil on canvas 52 x 77cm £800 - 1,200 Provenance: With David Messum Gallery, London.

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Lot 162 *Ken Howard RA (b.1932) ‘Mousehole Gap Summer Sparkle’ signed ‘Ken Howard’ l.r., oil on canvas board 20.5 x 25.5cm, unframed £600 - 800

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Lot 163 *Ken Howard RA (b.1932) ‘China Town, from Nob Hill, San Francisco’ signed ‘Ken Howard’ l.r., inscribed with title and dated 16.05.15 verso, oil on canvas board 25.5 x 20.5cm, unframed £500 - 800

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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164 Lot 164 *Ken Howard RA (b.1932) ‘Florence Chiaroscuro’ signed ‘Ken Howard’ l.r., inscribed as titled verso, oil on canvas 63 x 54cm £4,000 - 6,000

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167 Lot 165 *Bernard Kay (1927-2021) A churchyard oil on canvas board 81 x 104cm £400 - 600 Provenance: M allams, The Bernard Kay Studio Sale, 28 July 2021.

Lot 166 *Linda Weir (b.1951) Sunflowers with view of St Ives signed ‘L Weir’ l.r., oil on canvas 74 x 51cm, unframed £400 - 600

Lot 167 *Cecil Rochfort Doyly-John (1906-1993) Portofino near Rapallo, Italian Riviera signed ‘DOYLY-JOHN l.r., inscribed as titled verso, oil on canvas 37 x 72cm £300 - 500

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

108-237 MODERN BRITISH Lot 168 *Markey Robinson (Irish, 1918-1999) Figures on the shore oil on board 38 x 48.5cm £1,500 - 2,000

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169 Lot 169 *Dawn Sidoli (b.1933) ‘Gossip on the Beach’ signed and dated ‘Sidoli ‘05’ l.r., oil on panel 31.5 x 29cm £300 - 500

170 Lot 170 *Christine Woodside (b.1946) ‘Venice, February’ signed ‘Woodside’ l.l., also signed and inscribed as titled verso, mixed media 21.5 x 21.5cm £300 - 500 Provenance: With Panter & Hall, London.

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Lot 171 *John Piper CH (1903-1992) ‘Exeter College Chapel, Oxford’ (Levinson 269) screenprint in colours, artist’s proof, one of 10 editions, signed in pencil image 81 x 60.5cm £1,000 - 1,500

Lot 172 *John Piper CH (1903-1992) ‘Ruishton’ (Levinson 381) lithograph in colours, 1986, printed by Kelpra Studio, published by CCA Galleries 73 x 53cm £1,000 - 1,500

Lot 173 *John Piper CH (1903-1992) ‘St Kew, Cornwall: Church in a Hilly Landscape’, 1964 (Levinson 127) lithograph in colours, studio proof, signed in pencil sheet 59.5 x 81.5cm, unframed £500 - 700 Provenance: Acquired by the present owner directly from the Curwen Studio.

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174 Lot 174 *John Piper CH (1903-1992) ‘Capesthorne’ (Levinson 268) screenprint in colours, one of 10 artist’s proofs, signed and inscribed in pencil image 63 x 101cm £1,000 - 1,500 Lot 175 *John Piper CH (1903-1992) ‘Death In Venice VI’ (Levinson 230) screenprint in colours, 1973, signed ‘John Piper’ in white crayon l.r. 38.5 x 68cm £500 - 800 Lot 176 *John Piper CH (1903-1992) ‘Death In Venice V’ (Levinson 229) screenprint in colours, 1973, signed ‘John Piper’ and numbered 58/70 38.5 x 68cm £700 - 900

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178 Lot 177 *Dame Elisabeth Frink CH RA (1930-1993) ‘Coriolanus’, 1964 lithograph, signed ‘Frink’ in pencil and numbered 26/50 image 50.5 x 37.5cm £250 - 350

177 Lots 178-184 Acquired by the present owner directly from the Curwen Studio. Lot 178 *Dame Elisabeth Frink RA (1930-1993) ‘Hare’, 1967 lithograph in colours, proof, from an edition of 25 sheet 59.2 x 77.8cm, unframed £300 - 500 Lot 179 *Dame Elisabeth Frink RA (1930-1993) ‘Wood Pigeons’, 1967 lithograph in colours, artist’s proof sheet: 58 x 78.5cm, unframed £300 - 500

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Lot 180 *Dame Elisabeth Frink RA (1930-1993) ‘Guillemot’, 1967 lithograph in colours, proof, from an edition of 25 sheet 58.5 x 78.5cm, unframed £300 - 500

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108-237 MODERN BRITISH Lot 181 *Dame Elisabeth Frink RA (1930-1993) ‘Owl’, 1967 lithograph in colours, proof, from an edition of 25 sheet 78.5 x 59.5cm, unframed £300 - 500 Lot 182 *Dame Elisabeth Frink RA (1930-1993) ‘Horse’, 1967 lithograph in colours, proof, from an edition of 25 sheet 77.5 x 59cm, unframed £300 - 500 Lot 183 *Dame Elisabeth Frink RA (1930-1993) ‘Bull’, 1967 lithograph in colours, proof, from an edition of 25 sheet 77.5 x 59cm, unframed £300 - 500

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Lot 184 *Dame Elisabeth Frink RA (1930-1993) ‘Wild Boar’, 1967 lithograph in colours, artist’s proof, from an edition of 25 sheet 79.5 x 59cm, unframed £300 - 500

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Lot 185 *William Scott RA (1913-1989) Cornish Harbour, Mousehole lithograph in colours, 1951, proof sheet 51 x 63cm, unframed £400 - 600 Provenance: A cquired by the present owner directly from the Curwen Studio.

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Lot 186 *Lynn Chadwick RA (1914-2003) ‘Two Winged Figures’, 1968 lithograph in colours, artist’s proof, signed and dated ‘68 in pencil sheet 51 x 41cm, unframed £600 - 800 Provenance: Acquired by the present owner directly from the Curwen Studio.

Lot 187 *Ceri Richards (1903-1971) ‘Violin d’Ingres’ lithograph printed in colours, signed, inscribed with title, ‘AP’ and dated ‘70 in pencil, an artist’s proof aside from the edition of 60, printed by Kelpra Studios for Marlborough Graphics image 39.8 x 57.8cm £500 - 700

Lot 188 *Sandra Blow RA (1925-2006) ‘Nymph in thy orisons be all my sins remembered’ (Hamlet: Act 3, Scene 1, Line 89) lithograph printed in colours, signed ‘Sandra Blow’, inscribed with title and numbered 49/50 in pencil image 51 x 38cm £250 - 300

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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189 Lot 189 *Peter Kinley (1926-1998) ‘Study for Reclining figure’ signed ‘Kinley’ l.l., inscribed with title and dated Dec 57 on label verso, oil on paper 20.5 x 28cm £1,500 - 2,000 Provenance: W ith Gimpel Fils Gallery Ltd., London. Kinley was born in Vienna in 1926. He was Jewish and his family were forced to flee the country following the annexation of Austria by Nazi Germany in March 1938. Reaching France, where his parents were interned, Kinley was sent to England and fostered by a Catholic family. He served in the British Army from 1944-8, before pursuing an education in art first at Düsseldorf Academy and then at St Martins School of Art, 1949-53. Enjoying early success, Kinley held a one-man show at Gimpel Fils in 1954. Created a few years later, this early work is a dynamic example of the post-war abstraction of the figurative. Using both brush and palette knife, Kinley renders the reclining figure with flesh-pink tones and minimalistic shape, offset only by the rich background created from layers of blacks and greys.

190 Lot 190 *Lionel Bulmer (1919-1992) ‘Looking Out’ signed ‘L Bulmer’ l.r., oil on board 40.5 x 51cm £300 - 500 Provenance: With Messums, London.

Lot 191 *Tessa Newcomb (b.1955) Looking through the window signed and dated ‘TN06’, oil over pencil on board 31.5 x 12.5cm £300 - 500

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193 Lot 192 *Maurice Cockrill (1936-2013) ‘Woman in Landscape No.5’ signed ‘Maurice Cockrill’, inscribed as titled and dated ‘1988’ verso, oil on canvas 61 x 76cm £500 - 800

Lot 193 *Maurice Cockrill RA (1936-2016) Divided #79 inscribed, signed and dated ‘Maurice Cockrill/2000/’Divided’ 79’ verso, oil on canvas 50 x 80cm, unframed £300 - 500

194 Lot 194 *Maurice Cockrill RA (1936-2013) Black Bridge over Smoke signed, inscribed and dated ‘Maurice Cockrill/2003/Black Bridge and Smoke’, acrylic and oil on canvas 80 x 100cm, unframed £500 - 700

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Lot 195 *Maurice Cockrill RA (1936-2013) ‘The Blue Deluge with Yellow Bridge’ signed, dated and inscribed ‘Maurice Cockrill/2003/The Blue Deluge with Yellow Bridge’ verso, oil on canvas 80 x 100cm, unframed £500 - 700

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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196 Lot 196 *George Rowlett (b.1941) ‘Dover Harbour from the Western Heights’ signed, inscribed with title verso, oil on canvas 76 x 107cm, unframed £800 - 1,200

Lot 197 *George Rowlett (b.1941) Waterfall, Puck’s Glen, Argyll signed, dated ‘80 and inscribed with title verso, oil on canvas 33 x 26cm £800 - 1,200

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198 Lot 198 *Will Roberts (1907-2000) Woman in Red signed, inscribed and dated ‘Will Roberts/1966/WOMAN IN RED’ verso, oil on board 61 x 76cm £3,000 - 5,000

Lot 199 *Will Roberts (1907-2000) Woman Seated signed and dated ‘WILL ROBERTS. 1959’ verso, oil on board 74 x 61cm £3,000 - 5,000

Welsh expressionist painter Will Roberts was born in Ruabon, Denbighshire in 1907. The son of a railwayman, his family moved to Neath in 1918 where his gift for drawing at a young age became known. He later studied at the Swansea Art School under William Grant Murray. Roberts found his inspiration from his local community, painting domestic scenes, industrial workers and the surrounding landscape. In 1945, he met fellow artist Josef Herman who was living nearby. The influence of the Polish artist's work can be seen in Roberts' use of line and colour. Will Roberts exhibited throughout the UK and, in 1992, he was awarded an honorary Fellowship by University College, Swansea. In 1994, a retrospective exhibition of his work was held at the National Eisteddfod of Wales. Now considered as a modern master of Welsh art, Roberts was one of the original members of the arts group '56 Group Wales', set up to raise the profile of Welsh art. He remained in Neath for the rest of his life, where he died in March 2000 aged 92.

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Lot 200 *Gerald Wilde (1905-1986) Night Scene signed and dated ‘WILDE/51’, oil on paper 51 x 61.5cm £1,000 - 1,500 Exhibited: The October Gallery, ‘Gerald Wilde Retrospective 1926-86’, Spring 1988.

Lot 203 *Francis Plummer (1930-2019) ‘Leapfrog’ signed ‘F Plummer’ l.l., tempera on board 91 x 70.5cm £300 - 500

Lot 201 *Scottie Wilson (1891-1972) Untitled signed ‘SCOTTIE’ l.r., pen and ink 38 x 27cm £400 - 600

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Lot 202 *Francis Plummer (1930-2019) Figures with willows signed ‘F.R.A. Plummer’ and dated ‘53 l.r., tempera on board 76 x 50.5cm £300 - 500

203 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

108-237 MODERN BRITISH Lot 204 *Martin Bradley (b.1931) ‘Silver Bird’ signed with initials and dated 1962 l.r., also signed ‘Martin Bradley’ and inscribed ‘Red Silver Bird’ and ‘Oiseau Argente’ and dated 1962 verso, oil on canvas 131 x 81cm £3,000 - 5,000

Lot 205 *Martin Bradley (b.1931) ‘Les Combattants Idiots’ signed ‘Martin’ u.r., oil on panel 34 x 92cm £2,000 - 3,000 Provenance: W ith the Piccadilly Gallery, London, April 1955.

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MODERN BRITISH 108-237 Robert Sadler (1909-2001) began his career as an artist following twenty-five years in the Royal Air Force. A pilot from 1930 and later a representative on the NATO Joint Chiefs of Staff Intelligence Committee in Washington, DC, he 'retired' in 1955, returning to Suffolk to devote the rest of his life to painting. Five years since our first exhibition of his work, Sworders are pleased to offer another selection showcasing his skill and diversity as a painter.

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208 Lot 206 *Robert Sadler (1909-2001) Girl in Orange signed ‘Sadler’, acrylic on board 41 x 30.5cm £300 - 500

Lot 207 *Robert Sadler (1909-2001) Seated nude signed ‘Sadler’ and dated 83 l.l., acrylic on board 40.8 x 30.5cm £350 - 450

209 Lot 208 *Robert Sadler (1909-2001) Flowers in a green vase signed and dated ‘82 l.l., acrylic on board 35.5 x 30.3cm £300 - 500

Lot 209 *Robert Sadler (1909-2001) ‘Bridge at Argenteuil’ signed ‘Sadler’ and dated 96 l.r., also signed and inscribed as titled on artist’s label verso, acrylic on canvas laid on board 31.9 x 35cm £350 - 500 Exhibited: Peter Pears Gallery, 2009; Art Space, 2017.

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211 Lot 210 *Robert Sadler (1909-2001) Abstract composition (1964) signed ‘Sadler’ l.l. and dated 1964 on artist’s label verso, oil on panel 77 x 104cm £1,000 - 1,500

212 Lot 211 *Robert Sadler (1909-2001) ‘Red on Blue’ inscribed on artist’s label verso, oil on paper 19 x 22cm £300 - 500

Lot 212 *Robert Sadler (1909-2001) Blue landscape (1981) signed ‘Sadler’ l.l. and dated 21/81 verso, acrylic on board 30 x 40.5cm £450 - 600

Exhibited: S table Studios, Ufford, Suffolk, 1960s.

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Lot 213 *Simeon Stafford (b.1956) ‘Near St Ives’ signed ‘SIMEON’ l.l., inscribed and signed verso, oil on canvas 80 x 80cm, unframed £800 - 1,200

Lot 214 *Simeon Stafford (b.1956) ‘St Michael’s Mount, Penzance’ signed ‘SIMEON’ l.l., signed and inscribed with title verso, oil on canvas 80 x 80cm, unframed £800 - 1,200

Lot 215 *Simeon Stafford (b.1956) ‘Piccadilly’ signed ‘SIMEON’ l.l., signed and inscribed with title verso, oil on canvas 80 x 80cm, unframed £800 - 1,200

Lot 216 *Alan Davie (1920-2014) ‘Cats Claw No 14’ signed and dated ‘Alan Davie, Jan 69’ and inscribed with title in pencil l.l., gouache 55 x 76cm £2,000 - 4,000 Provenance: With Gimpel Fils, London.

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Lot 217 *Alan Davie (1920-2014) ‘Snake Box No.2’ signed ‘Alan Davie Sept 72’ u.r., inscribed with title l.l., watercolour and gouache 51 x 75cm £700 - 1,000

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MODERN BRITISH 108-237 Lots 218-222 These bright, bold and fun paintings depict characters from the circus and from ‘the end of the pier’. Mick Rooney’s work is usually figurative, showing us stories from his own life, his travels or just the every day. However, they tend to have a mysterious nature to them, incorporating mythologies, dreams and nightmares into modern life. Rooney studied at the Royal College of Art, London from 1964 to 1967. The present owner’s father, Deryck Healey, was his tutor and encouraged him as a young artist. It was at Deryck Healey’s suggestion that Rooney painted the frames of this series. A further selection from this collection will be offered in Sworders’ Modern & Contemporary Art Sale on 4 October 2022.

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Lot 218 *Mick Rooney RA (b.1944) ‘The Clairvoyant’ signed in pencil with initials and dated ‘75, numbered 1 and inscribed verso, mixed media 33 x 23cm, within a frame painted by the artist £600 - 800

Lot 219 *Mick Rooney RA (b.1944) ‘Beauty Queen’ signed in pencil with initials and dated ‘75, numbered 2 and inscribed verso, gouache 25 x 25.6cm, in a framed decorated by the artist £600 - 800

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Lot 220 *Mick Rooney RA (b.1944) ‘On the pier’ signed in pencil with initials and dated ‘75, numbered 4 and inscribed verso, mixed media 28 x 24cm, in a frame painted by the artist £600 - 800 Lot 221 *Mick Rooney RA (b.1944) ‘The Trampolinist’ signed with initials and dated ‘75 l.r., numbered 4 and inscribed verso, mixed media 24 x 28cm, within a frame painted by the artist £600 - 800 Lot 222 *Mick Rooney RA (b.1944) ‘The Balancer’ signed in pencil with initials and dated ‘75, numbered 5 and inscribed verso, mixed media 26 x 25cm, within a frame painted by the artist £600 - 800

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MODERN BRITISH 108-237 Lot 223 *Sir Howard Hodgkin (1932-2017) ‘In Touch, Checking In’ etching and aquatint in colours, signed with initials, dated ‘91 and numbered 12/50 in pencil sheet 30 x 43cm £1,000 - 1,500

223 Lot 224 *Wilhelmina Barns-Graham (1912-2004) November IV, 1991 screenprint in colours, signed and dated l.r. and inscribed ‘Archive I’ l.l. in pencil sheet 56 x 75.5cm £600 - 800 Provenance: Acquired by the present owner directly from the Curwen Studio.

224 Lot 225 *Sir Terry Frost RA (1915-2003) Red, Black and White screenprint in colours, 2000, signed and dated ‘Terry Frost 00’ in pencil, numbered 72/100 23 x 27.5cm £500 - 700 Provenance: With Belgrave Gallery, London.

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108-237 MODERN BRITISH Lot 226 *Sir Terry Frost RA (1915-2003) Untitled lithograph in colours, 1975, with additional hand painting in 1984, signed and dated ‘Terry Frost 75/84’ in pencil l.r sheet 47.5 x 68cm £700 - 900

226 Lot 227 *Sir Terry Frost RA (1915-2003) ‘Small Yellow Timberaine’ (Kemp 216) screenprint in colours, printed and published by Galleria Multigraphic, Venice, signed ‘Terry Frost’ in pencil, numbered 33/60 sheet 40.2 x 50.2cm, unframed £600 - 800

227 Lot 228 *Sir Terry Frost RA (1915-2003) ‘Red and Black Squeeze’ (Kemp 213) screenprint in colours, collage, printed by Galleria Multigraphic, Venice, 2001, signed ‘Terry Frost’ and numbered 57/120 in pencil 36 x 58cm, unframed £700 - 1,000

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232 Lot 229 *Peter Denmark (1950-2014) Cross signed ‘Peter Denmark’ and dated 95, acrylic on canvas 122 x 122cm, unframed £400 - 600 Lot 230 *Peter Denmark (1950-2014) Untitled signed ‘Peter Denmark’ and dated ‘95 verso, acrylic on canvas 122.5 x 122.5cm, unframed £400 - 600

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Lot 231 *Peter Denmark (1950-2014) Stripes signed ‘Peter Denmark’ verso, acrylic on canvas 55 x 91.5cm, unframed £300 - 500 Lot 232 *Peter Denmark (1950-2014) Untitled signed ‘Peter Denmark’ verso, acrylic on canvas 54.5 x 91.5cm, unframed £250 - 350 Lot 233 *Peter Denmark (1950-2014) The audience signed ‘Peter Denmark’ and dated 1978 verso, mixed media on canvas 97 x 127cm, unframed £300 - 500

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235 Lot 234 *Peter Denmark (1950-2014) Red door signed ‘Peter Denmark’ and dated 1986 verso, mixed media on canvas 122 x 122cm, unframed £400 - 600 Lot 235 *Peter Denmark (1950-2014) Untitled signed ‘Peter Denmark’ and dated 1989, mixed media on canvas 122 x 122cm, unframed £300 - 500

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237 Lot 236 *Peter Denmark (1950-2014) Waiting for the train signed ‘Peter Denmark’ and dated 1990 verso, mixed media on canvas 151.5 x 152cm, unframed £500 - 700 Lot 237 *Peter Denmark (1950-2014) View through the window signed ‘Peter Denmark’ and dated 1978, acrylic on canvas 127.5 x 67.5cm, unframed £300 - 500 95

SECTION MODERN TITLE AND CONTEMPORARY GREAT BARDFIELD AND BENTON END 1-31

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Lot 238 *John Erskine Milne (1931-1978) ‘Persepolis’, 1971 patinated bronze, signed with initials ‘JEM’, dated 1971 and numbered 8/9 on base 21.5cm wide 17.5cm deep 18cm high £2,000 - 4,000 Provenance: Acquired by the present owner from Marjorie Parr Gallery, London, 1972. Sold with receipt.

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Sculptor John Milne was born in 1931 in Eccles, Lancashire. Following his training at Salford Royal Technical College, he became a prominent member of the St Ives Group. He was both pupil and assistant to Barbara Hepworth, and he later purchased Trewyn House next to her studio. Her influence and the landscape of Cornwall can clearly be seen in his work, but equally as significant were his travels to Greece and beyond. In 1971, Milne journeyed to Iran with designer David Field. He was greatly impressed by the ruins of 6th century BC Persepolis and, on his return to England in 1971, he cast this work in patinated bronze in an edition of nine. Due to the success of this work, he returned to the subject in 1973 and 1974, casting Persepolis in different scales and finishes.

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Lot 239 Josef Albers (German-American, 1888-1976) ‘I-Sc Homage to the Square’, 1969 screenprint in colours, signed with initial and dated ‘A 69’, inscribed with title and numbered 10/100 sheet 54.6 x 54.6cm £3,000 - 5,000 Provenance: With Alan Cristea Gallery, London.

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MODERN AND CONTEMPORARY 238-367 Lot 240 *Joan Miró (Spanish, 1893-1983) Untitled coloured etching and aquatint on handmade paper, signed ‘Miro’ and inscribed hors commerce proof XII/XX in pencil plate 25 x 29.5cm, sheet 48 x 64cm £1,000 - 1,500

240 Lot 241 *After Pablo Picasso ‘Notre Dame’, 1979-82 lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ l.r. and numbered 253/500 l.l., bears blind stamp 75.5cm x 55.5cm, unframed £300 - 500

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Lot 242 *After Pablo Picasso ‘Femme au Fauteuil Canne’, 1979-82 lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ in pencil l.r. and numbered 73/500 l.l., bears blind stamp 76 x 55.5cm, unframed £300 - 500

Lot 243 *After Pablo Picasso ‘Femme Assise’ (1979-82) lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ in pencil l.r. and numbered 89/500 l.l., bears blind stamp 74 x 53.5cm, unframed £300 - 500

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Lots 241-243 Each sold with a certificate of authenticity stating that this is ‘A limited edition after a work by Pablo Picasso’. After Picasso’s death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 244 *Sonia Delaunay (French, 1885-1979) ‘Losange’ lithograph in colours, signed and dated ‘Sonia Delauney 69’ in pencil l.r. and numbered 30/75, with Redfern Gallery label verso 60 x 50cm £600 - 800 Provenance: W ith the Redfern Gallery, London, 1970. Lot 245 *After Pablo Picasso ‘Femme au Beret’, 1979-82 lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ in pencil l.r. and numbered 131/500 l.l., bears blind stamp 73.5 x 52.5cm, unframed £300 - 500 Lot 246 *After Pablo Picasso ‘Pasage’, 1979-82 lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ l.r. and numbered 192/500 l.l., bears blind stamp 73.5 x 54cm, unframed £300 - 500 Lot 247 *After Pablo Picasso ‘Fillette Couronee au Bateau’, 1979-82 lithograph in colours on Arches paper, signed ‘Collection Marina Picasso’ in pencil l.r. and numbered 490/500 l.l., bears blind stamp 75 x 54.5cm, unframed £300 - 500

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Lots 245-247 Each sold with a certificate of authenticity stating that this is ‘A limited edition after a work by Pablo Picasso’. After Picasso’s death in 1973, his grand-daughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.

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Lot 248 Barbara McGivern (Canadian, 1945-2019) ‘Jam Jar Series, Dubai, Blue Red Green’ signed ‘McGivern’ l.l., also signed and inscribed as titled verso, acrylic and gold leaf on canvas 40 x 40cm, unframed £150 - 200

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Lot 249 Barbara McGivern (Canadian, 1945-2019) ‘Porky Goes to Hollywood’ signed ‘McGivern’ l.r., also signed and inscribed with title verso 122 x 122cm, unframed £300 - 500

Lot 250 Barbara McGivern (Canadian, 1945-2019) ‘Study for Green Yellow Square’; ‘Study for Chedi’ two, both signed ‘McGivern’ l.r., also signed and inscribed as titled verso, acrylic and gold leaf on paper stuck down to canvas 26 x 26cm (2) £250 - 350

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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252 Lot 251 *Cecil King (Irish, 1921-1986) ‘Two’ signed ‘Cecil King’ l.r., inscribed with title and dated 1973 verso, pastel 25.5 x 35.5cm £600 - 800 Born in 1921, it was not until 1964 that King started painting professionally. At first he adopted an expressionistic palette, but soon his work embraced an ordered, minimalistic style. King plays with the concept of balance in a clever way; he creates an image that is almost identical in each half, apart from the two rectangles, which are exactly the reverse of each other. Executed in just a few tones of colour, King creates a serious and thought-provoking piece of art. What do these ‘Two’ represent? And is this an image of hostility or harmony?

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253 Lot 252 Eugene Brimmerberg (b.1950) Dancers oil on canvas laid on board 94.5 x 117.5cm £400 - 600

Lot 253 *Roy Osborne (b.1948) ‘Chromotopia 16’ signed ‘Roy Osborne’, inscribed as titled and dated 2012 verso, acrylic and alkyd on canvas 80 x 80cm £500 - 800

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Lot 254 Vladimir Aldoshin (b.1951) On the way to the music school signed in Cyrillic l.r., also signed, inscribed as titled and dated 1999 verso, oil on canvas 55 x 63.5cm £400 - 600

Lot 255 Andrei Kulakov (b.1958) ‘Pereslavl-Zalessky’ signed l.l., inscribed in Cyrillic and dated 2017 verso, oil on canvas 40 x 50cm £300 - 500 Lot 256 Andrei Kulakov (b.1958) ‘Summer evening’, signed l.r., inscribed in Cyrillic and dated 2016, oil on canvas 40 x 50cm £300 - 500 Lot 257 Nikolay Mamontov (b.1953) ‘Sunflowers’ signed in Cyrillic l.r., also signed and dated ‘72 verso, oil on canvas 49 x 98cm £400 - 600 Lot 258 Lidiya Buharova-Sporykhina (1997-2004) ‘Still life with apples and flowers’, 1950s signed in Cyrillic l.r., also signed verso, oil on canvas 50 x 66cm £500 - 700

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258 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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260 Lot 259 Grigori Azizyan (Armenian, 1923-2008) ‘My Childhood Street, signed and dated ‘64’ l.r., inscribed and dated 1967 verso, oil on canvas 53 x 72cm £300 - 400 Lot 260 Elena Abramyan (Armenian, 1912-2012) ‘Weaving a carpet’, 1950 signed in Cyrillic and dated 1950 l.r., also dated verso, oil on canvas 65 x 57cm £400 - 600

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262 Lot 261 Artashes Abramyan (Armenian, 1921-2003) ‘Spring in the Valley’, 1970 signed in Cyrillic l.r., also signed, inscribed as titled and dated ‘1972’ verso, oil on canvas 54.5 x 74.5cm £500 - 700 Lot 262 Artashes Abramyan (Armenian, 1921-2003) Harvesting signed and dated 1961 l.r., inscribed in Cyrillic verso, oil on canvas 105 x 73cm £800 - 1,000

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MODERN AND CONTEMPORARY 238-367 Lot 263 *Thanos Tsingos (Greek, 1914-1965) ‘Elements of nature symbolised by colours’, 1958 signed ‘Tsingos’ l.r., with title and date on old label, oil on board 45.5 x 54.5cm £1,500 - 2,000 Lot 264 *Vasilis Zenetzis (Greek, 1935-2016) ‘The Acropolis, Athens’, 1996 a pair, both signed with initials l.r., also both signed and inscribed ‘Acropolis’ verso, oil on canvas both 40 x 30cm (2) £800 - 1,200 Exhibited: Hellenic Centre, Oct 2000, no.4. Zenetzis captures the beauty of spring on the Acropolis and around the Parthenon, his genius is his ability to portray the same scene, but always through a new lens and a fresh artistic interpretation.

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265 Lot 265 *Vasilis Zenetzis (Greek, 1935-2016) Hydra Harbour, Greece signed ‘Zenetzis’ l.l., also signed with monogram verso, oil on canvas 30 x 40cm £500 - 700

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Exhibited: Hallam Fine Art, May 1992, no.15; Ebury Galleries, Oct 1999, no.21; Greek Cypriot Brotherhood Centre, Nov 2004, no. 8E.

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266 Lot 266 *Emvin Cremona (Maltese, 1919-1987) Untitled signed and dated ‘Cremona ‘74’ u.l., mixed media 63 x 51cm £5,000 - 7,000

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268 Lot 267 Alexander Shevchuk (Ukrainian, 1960) Young ballerina signed l.l. and inscribed in Cyrillic and dated 2010 verso, oil on canvas 80 x 60cm £300 - 500 Lot 268 Alexander Shevchuk (Ukrainian, b.1960) The artist’s model signed l.l. and inscribed in Cyrillic and dated 2010 verso, oil on canvas 40 x 90cm £300 - 500

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Lot 269 Vitaly Baranenko (Ukrainian, b.1965) A summer’s day signed l.l., inscribed in Cyrillic and dated 2021, oil on canvas 45 x 60cm £300 - 400 Lot 270 Vitaly Baranenko (Ukrainian, b.1965) Cows in the pasture signed l.l., inscribed in Cyrillic verso, oil on canvas 41 x 56cm £300 - 400 Lot 271 Vitaly Baranenko (Ukrainian, b.1965) ‘Quiet Evening’ signed l.l., inscribed in Cyrillic and dated 2021 verso, oil on canvas 40 x 60cm £300 - 400

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Lot 272 Sergei Shapovalov (Ukrainian, b.1943) Irises signed and dated 2001 l.r., inscribed in Cyrillic and dated verso, oil on canvas 81 x 90cm £400 - 600

272 Lot 273 Georgi Kolosovski (Ukrainian, 1913-1988) Indian Summer, c.1970s signed l.r., oil on board 49 x 69cm £400 - 600 Provenance: With Roy Miles Gallery, London.

Lot 275 Mikhail Zharov (Ukrainian, b.1974) Still life with lilac signed l.r., inscribed in Cyrillic and dated 2013 verso, oil on canvas 75 x 100cm £300 - 500

Lot 274 Georgi Kolosovski (Ukrainian, 1913-1988) Forest Lake, c.1970s signed l.l., oil on board 43.5 x 66.5cm £400 - 600

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Lot 276 Syed Ali Imam (Pakistani, 1924-2002) The Ghee Maker signed and dated ‘S A Inam 75’ l.r., oil on canvas 76 x 106cm £4,000 - 6,000 Born in Narsinghpur, India, in 1924, Imam migrated with his family to Pakistan following the country’s independence in 1947. In the 1950s, following the completion of his degree at the University of Punjab, he was imprisoned three times due to his socialist beliefs and his involvement with the Progressive Writers Movement. To avoid the constant police surveillance in Lahore, Imam moved to London. Here he studied art at both Saint Martin’s and Hammersmith. Following an eleven-year stay, he returned to Pakistan, where he set up the Indus Gallery (named after the river), which became a ‘hub of cultural activity’ in Karachi in the 1970s.

Lot 277 Jamil Naqsh (Pakistani, 1939-2019) Seated nude with pigeon signed ‘Jamil Naqsh’ and dated 1974, Pakistan 106.5 x 76cm £8,000 - 12,000 The current lot is typical of the work of Jamil Naqsh as he included pigeons in most of his paintings. From his childhood, he saw them flutter around the courtyard of his home, and then as an adult, when he set up his artist’s studio, he had a rooftop garden where he would not only watch the birds, but invite them in. Here we see a female nude sit serenely with the bird, the soft lines of their forms gentler than some of his more abstracted works. His trademark richly-worked textured paint surface gives a fragmented look, almost as if it is a collage. Naqsh’s influences were from Indian and Pakistani artists, as well as Ingres and Picasso. He moved from Pakistan to London and lived as a recluse from 2012 until his death in 2019.

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Lot 278 Ahmed Parvez (Pakistani, 1926-1979) Untitled oil on canvas 76 x 61cm, unframed £3,000 - 5,000

Lot 279 Ahmed Parvez (Pakistani, 1926-1979) Untitled signed ‘A Parvez’ l.l, oil on canvas 61 x 76cm, unframed £3,000 - 5,000

Ahmed Parvez was one of Pakistan’s most widely exhibited artists of the 20th century. An important figure in the country’s modernist movement, he held over thirty solo exhibitions in Pakistan, Europe and the USA. Notably in 1962, when he joined American painter and the inventor of the mobile, Alexander Calder, in a two-man show at the Lincoln Gallery. The still life was a subject matter he often went back to, using bold colours and lines to create an energetic painting. Here we see his influence from cubism and abstract expressionism alongside the traditional mark-making of Islamic calligraphy.

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MODERN AND CONTEMPORARY 238-367 Lot 280 *Erik August Frandsen (Danish, b.1957) ‘Abstract Fear’ dated ‘93 verso, mixed media on canvas 120 x 100cm, unframed £1,000 - 1,500

280 Lot 281 *Graeme Todd (b.1962) ‘Lovely in Summer’ signed, inscribed with title and dated 1999 verso, mixed media on board 106 x 122cm £700 - 1,000 Provenance: With the Andrew Mummery Gallery, London.

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Lot 282 Maliheh Afnan (Palestinian,1935-2016) ‘Mighty Mo’ signed and dated ‘Afnan 92’, also signed under mount, mixed media on paper sheet 32 x 27.5cm £400 - 600 Lot 283 Arthur Aeschbacher (Swiss, 1923-2020) Untitled signed ‘aeschbacher’ l.r., collage 38.5 x 29cm £1,000 - 1,500 Lot 284 *Marek Zulawski (Polish, 1908-1985) Woman signed ‘Marek’ l.r., mixed media on paper 35 x 26cm £300 - 500 Polish artist Marek Zulawski was born in Zakopane to father, Jerzy, a noted intellectual from a family of artists. He studied at the Academy of Fine Arts in Warsaw from 1926-1933, travelled to Paris on a scholarship in 1935, before settling in London in 1937. Here he associated with other Polish artists, the best-known being Feliks Topolski. The current lot is typical of his use of line and muted palette that he adopted whilst working in post-war Britain. As well as fine art, illustrations, and posters, he executed murals for Our Lady’s Church in St John’s Wood. Zulawski exhibited his work with the London Group.

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MODERN AND CONTEMPORARY 238-367 Lot 285 Fabian Perez (Argentinian, b.1967) ‘Sensual Touch in the Dark’ signed ‘F Perez’ l.r., and numbered 16/195 l.l., hand-embellished giclée on canvas laid on board, from the UK edition of 195 with 20 artist’s proofs 69 x 54.5cm £400 - 600 Sold with certificate of authenticity from DeMontfort Fine Art. Lot 286 Fabian Perez (Argentinian, b.1967) ‘Man in Black Suit III’ signed ‘F Perez’ l.l. and numbered 108/195 l.r., also signed verso, hand-embellished giclée print on canvas laid on board, from an edition of 195 with 20 artist’s proofs 54.5 x 39cm £400 - 600 Sold with a certificate of authenticity from DeMontfort Fine Art. Lot 287 Fabian Perez (Argentinian, b.1967) ‘Valerie’ signed ‘F Perez’ l.l. and numbered AP11/20, also signed on backboard verso, hand-embellished giclée on canvas laid on board 55 x 39cm £400 - 600 Sold with a certificate of authenticity from DeMontfort Fine Art.

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287 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 288 Fabian Perez (Argentinian, b.1967) ‘Study for Lunares Negros II’ signed ‘F Perez’ l.r., also signed, inscribed as titled and dated 2006 verso, acrylic on canvas 45.5 x 35.5cm £3,000 - 5,000 Sold with a certificate of authenticity from Whitewall Galleries.

Argentinian born artist Fabian Perez is known for his paintings of ‘nightlife’, especially tango and flamenco dancers. The present lots depict the atmosphere of the clubs and the sultry figures that frequent them. He has coined the phrase ‘Neo-Emotionalism’ to express the feeling of his work.

288 Lot 289 Fabian Perez (Argentinian, b.1967) ‘Study for a Woman in the Bar’ signed ‘F Perez’ l.r., also signed, inscribed as titled and dated 2006 verso, acrylic on canvas 61 x 61cm £3,000 - 5,000 Sold with a certificate of authenticity from Whitewall Galleries.

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292 Lot 290 *William Oxer (contemporary) ‘Her Sanctuary’ signed ‘OXER’ l.l., oil on canvas board 41 x 24cm £600 - 800 Lot 291 *Peter Howson (b.1958) ‘The Money Lender’, 1990 signed ‘HOWSON’ l.r., pastel 29.5 x 21cm £400 - 600 Provenance: W ith Flowers East, London. Exhibited: Glasgow Art Gallery and Museums, McLellan Galleries, 2 July - 5 September 1993, no. 548.

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293 Lot 292 *Ken Currie (b.1960) ‘War Worries’ etching and aquatint, signed ‘K Currie’, inscribed with title and numbered 13/40 in pencil sheet 68.5 x 51cm £400 - 600 Provenance: RAAB Gallery. Lot 293 *Derrick Greaves (b.1927) Sleeping nude signed and dated ‘Greaves 72’ l.r., charcoal 44.5 x 60.5cm £400 - 600

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238-367 MODERN AND CONTEMPORARY Lot 294 *David Hockney RA (b.1937) ‘The Print Collector (Felix Mann)’, 1970 lithograph, artist’s proof, signed in pencil sheet 76 x 53cm, unframed £600 - 800 Provenance: Acquired by the present owner directly from the Curwen Studio. Lot 295 *David Hockney RA (b.1937) ‘The Connoisseur’, 1969 lithograph studio proof, signed and dated ‘69 in pencil sheet 76 x 57cm, unframed £600 - 800 Provenance: Acquired by the present owner directly from the Curwen Studio. Lot 296 *David Hockney RA (b.1937) ‘Olympische Spiele München 1972’ offset lithograph in colours, from an open edition 101 x 64cm, unframed £600 - 800

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Lot 297 After David Hockney Paintings and Drawings for ‘Parade’, 1981 Riverside Studios Hammersmith in association with Knoedler Gallery 99 x 68.5cm, unframed £100 - 150

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MODERN AND CONTEMPORARY 238-367 Lot 298 William Kentridge (South African, b.1955) Untitled (Artist Standing) - from the HMV set, 1997 etching, signed ‘W Kentridge’ in pencil and numbered 41/50, published by David Krut, Johannesburg, printed by Jack Shirreff at the 107 Workshop, Wiltshire 12.2 x 12.4cm £1,000 - 1,500 Provenance: Serpentine Gallery, London.

Lot 299 William Kentridge (South African, b.1955) Untitled (Artist Bending) - from the HMV set, 1997 etching, signed ‘W Kentridge’ in pencil, numbered 40/50, published by David Krut, Johannesburg, printed by Jack Shirreff at the 107 Workshop, Wiltshire 12.2 x 12.4cm £1,000 - 1,500 Provenance: Serpentine Gallery, London.

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South African artist William Kentridge is known for his prints, drawings and animated films. During the 1970s and 1980s, he worked as an actor, playwright and set designer, as well as studying mime in Paris. His visual artwork shows his early connection with the theatrical arts. Taking inspiration from the logo for HMV ('His Master's Voice'), Kentridge produced three prints, including 'Untitled (Artist Sitting)' which features the seated artist talking into a megaphone, echoing the famous HMV dog. The set also includes the two offered for sale, 'Untitled (Artist Standing)' and 'Untitled (Artist Bending)'. For the figures in these images, Kentridge used his thumbprints to create contours of the body on a copper plate prepared with soft ground.

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300 Lot 300 *Sir Eduardo Paolozzi RA (1924-2005) Untitled collage 19.6 x 15.4cm £1,500 - 2,000 Provenance: T he artist’s estate; thence by descent. www.sworder.co.uk

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MODERN AND CONTEMPORARY 238-367 Lot 301 *Antoni Tàpies (Spanish, 1923-2012) ‘Amor amb signes blancs’ etching and aquatint printed in colours, 1987, signed and numbered 58/60 in pencil sheet 36 x 51cm £300 - 400 Provenance: Galeria Toni Tàpies, Barcelona, 2006. Lot 302 *Antoni Tàpies (Spanish, 1923-2012) 1,2,3 etching with colour, Hors Commerce, signed ‘Tapies’ in pencil l.r. sheet 63.5 x 90.5cm £500 - 700 Provenance: Christie’s, 8 December 1998, lot 150.

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Lot 303 *Louise Hopkins (b.1965) Map (black), 1999 pen on photocopy of map 54 x 65cm £200 - 300 Provenance: Andrew Mummery Gallery. Lot 304 *Pierre Neret (‘NPier’) (French, b.1983) ‘Sound that only you can hear’ - Abandoned Villa Somewhere in Italia print on Hahnmulle Museum Etching paper, signed ‘NPier’, inscribed with title and numbered 6/25 in pencil sheet 50 x 70cm, unframed £300 - 500

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304 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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305 Lot 305 *Antony Gormley RA (b.1950) ‘Field’, 2010 lithograph, signed in pencil, inscribed as titled, dated 10 and numbered 6/40 verso 79 x 115.8cm, unframed £2,000 - 3,000 Lot 306 *Antony Gormley RA (b.1950) ‘Body’, 2014 giclée print from 2009 drawing, signed ‘Antony’ in pencil verso, inscribed as titled, dated 2014 and numbered 58/250 verso 28 x 21.5cm £700 - 900

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Lot 307 *Helen Brough (20th/21st century) ‘Lightscapes - Prussian Blue - Striped’ signed ‘Brough’, inscribed as titled and dated ‘2019’ verso, oil on aluminium 100 x 100cm, unframed £1,000 - 1,500

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Lot 308 *Helen Brough (20th/21st century) ‘Yellow Ochre, Earth II’ signed ‘Brough’ and dated ‘2013’ l.r., oil on aluminium 14.5 x 14cm £300 - 500

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Lot 309 *Rob & Nick Carter (contemporary) ‘Changing Spiral XI’ unique cibachrome print on aluminium, 2003, signed in pen on backboard 46.5 x 46.5cm £400 - 600 Lot 310 *Alexis Harding (b.1973) ‘Four Fold’ signed, inscribed with title and dated August 2002 verso, oil on board 61 x 60.5cm, unframed £500 - 800

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311 Lot 311 *Lisa Milroy (Canadian-British, b.1959) ‘Seamless’ signed ‘Lisa Milroy’ and inscribed as titled and dated 2013 verso, oil on canvas 141 x 138cm £2,000 - 3,000 Exhibited: R oyal Academy Summer Exhibition 2013.

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314 Lot 313 *Albert Louden (b.1943) Walking the Dog signed and dated ‘A Loudon1985’ l.r., pastel 54 x 80cm £400 - 600

312 Lot 312 *Genieve Figgis (Irish, b.1972) ‘Adam and Eve’, 2019 giclée print, signed ‘Genieve Figgis’ in pencil l.r., dated 2019 and numbered 53/150 l.r. 69.8 x 56.5cm, unframed £1,500 - 2,000

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Exhibited: The Arts Council, Serpentine Gallery, London, ‘Albert Loudon: Streets and Rooms’, 1985, no.11. Sold with a copy of the exhibition leaflet.

Lot 314 *Colin Self (b.1941) ‘The Parrot Show, Flamingo Park, Yorkshire’ signed and dated ‘Colin Self 1997’ l.r., also dated 19-4-1999 l.l., mixed media on paper 29.5 x 20.5cm £300 - 500 Lot 315 E B Watts (American, b.1940) Beach scene cheetahs on a rug signed and dated ‘E. B. Watts’ and ‘72’, gouache on paper 50 x 50cm £300 - 400

315 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 316 *Craigie Aitchison RA RSA (1926-2009) ‘Sugarbush Wearing Hat’ etching with aquatint printed in colours with carborundum, collage and hand-colouring in gouache, signed ‘Craigie Aitchison’ in black ink, numbered 32/50, published by Rabley Contemporary Editions, 2009, on wove paper, the full sheet printed to the edges sheet 75 x 50cm £1,500 - 2,000 Lot 317 *Michael Craig-Martin RA (Irish, b.1941) ‘Close Relations’ screenprint in colours, artist’s proof 3/12, signed and dated ‘Michael Craig-Martin 1996’ in pencil 96 x 75cm £400 - 600 Lot 318 *Michael Craig-Martin RA (Irish, b.1941) ‘Distant Relations’ screenprint in colours, artist’s proof 3/12, signed and dated ‘Michael Craig-Martin 1996’ in pencil 96 x 75cm £400 - 600

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David Reed is known for his narrow, abstract paintings that present incredible juxtapositions of colour and brushwork. Reed has commented on the significance of his brushwork, highlighting the deliberateness of his mark-making when choosing to paint with either a wet-on-dry or wet-on-wet technique. He is currently represented by the Gagosian and has work in many international public collections, including the Metropolitan Museum of Art, New York. He has named Cy Twombly as an influence.

Lot 319 David Reed (American, b.1946) ‘Study after Vampire painting for Graz for Las Vegas’ (#356) #21 signed ‘David Reed’, inscribed with title and dated 1996-97 verso, mixed media on board 21.5 x 70.8cm, unframed £4,000 - 6,000 Provenance: With Andrew Mummery.

Lot 320 David Reed (American, b.1946) ‘Study for Vampire painting for Graz’ (#5) signed ‘David Reed’, inscribed with title verso, mixed media on board 20.5 x 70.8cm, unframed £4,000 - 6,000 Provenance: With Andrew Mummery.

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Lot 321 Keith Haring (American, 1958-1990) Montreux Jazz Festival Posters (Pink, Yellow and Green) three screenprints in colours, 1983, printed by Serigraphie Uldry, Berne each sheet 100.5 x 70cm, unframed (3) £600 - 800

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Lot 322 Keith Haring (American, 1958-1990) and Andy Warhol (American, 1928-1987) ‘20th Montreux Jazz Festival’, 1986 offset lithograph in colours, printed by Serigraphie Uldry, Berne 100 x 70cm, unframed £400 - 600

Lot 323 Keith Haring (American, 1958-1990) Andy Warhol offset lithograph in colours, with printed signature, the Keith Haring Foundation blind stamp, numbered 84/150 image 69.5 x 49.5cm £400 - 600

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238-367 MODERN AND CONTEMPORARY Lot 324 Keith Haring (American, 1958-1990) Untitled offset lithograph in colours, with printed signature, the Keith Haring Foundation blind stamp, numbered 97/150 image 50 x 69cm £400 - 600

324 Lot 325 Andy Warhol (American, 1928-1987) ‘Neuschwanstein’, 1987 offset lithograph in colours, with stamped signature l.l., from an edition of 1200 (plus 250 artist’s proofs), commissioned by Bayerische Ruck 90.5 x 62cm £600 - 800 After Warhol’s death, the planned individual signatures on these posters were no longer possible. Instead, the work is stamped by ‘The Factory, New York’.

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Lot 326 Andy Warhol (American, 1928-1987) Marilyn Monroe, 1964 offset lithograph in colours, published by the Tate Gallery and printed by the Curwen Press, London, signed ‘Andy Warhol’ in pen l.r 55.5 x 50cm £600 - 800

Lot 327 Keith Haring (American, 1958-1990) Andy Mouse offset lithograph in colours, with printed signature, the Keith Haring Foundation blind stamp, numbered 130/150 image 69.5 x 49.5cm £400 - 600

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MODERN AND CONTEMPORARY 238-367 Lot 328 Nan Goldin (American, b.1953) ‘Self-Portrait in a Blue Dess, New York City’, 1985 archival print (pigment), printed 2020 12.7 x 17.7cm, unframed together with Aperture Magazine, 329, Spring, 2020 (2) £500 - 700 Nan Goldin writes ‘This is a picture in the ‘80s at a friend’s after the bar. The dress was my uniform at that time. These were the days of the nightlife’.

328 Lot 329 Nan Goldin (American, b.1953) ‘Couple on the Blue Beach’ (2021) c-type print on photopaper, signed ‘Nan Goldin’ in pen l.r., from an edition of 300 30 x 30cm, unframed; together with 180g heavyweight vinyl LP, ‘Memory Lost/ Sirens’, published by The Vinyl Factory, contained within a linen laminated sleeve, 31.5 x 31.5cm (2) £300 - 500

329 part lot Lot 330 Nan Goldin (American, b.1953) ‘Swan Like Embrace, Paris, 2001’, 2021 c-print archival print, signed ‘Nan Goldin’ on label verso 20.3 x 13.3cm, unframed £400 - 600

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Lot 331 *Cathy de Monchaux (b.1960) ‘Love does not apply itself to the sound principles of reason -part II’, 2005 silver frogs in a cushion casing, one of an edition of thirteen 31.5 x 29.7 x 5.5cm box handmade by the artist £600 - 800 Lot 332 Yayoi Kusama (Japanese, b.1929) with Louis Vuitton Red Dots Infinity Bracelet (Red and White) plastic, stamped ‘Yayoi Kusama’ and ‘Louis Vuitton’ on inside of bracelet, from a limited edition, with original presentation box diameter 7.7cm (or size medium) £300 - 500

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332 Lot 333 Yayoi Kusama (Japanese, b.1929) Pumpkin (Red) (2016); Pumpkin (Yellow) (2016) two, painted cast resin, both stamped ‘Yayoi Kusuma’ to base, published by Benesse Holdings, Japan, with original presentation boxes 9cm diameter 10cm high (2) £500 - 700

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Lot 334 Yayoi Kusama (Japanese, b.1929) ‘Red Pumpkin, Naoshima’ (2019) painted cast resin in red, stamped ‘Yayoi Kusuma’ and ‘Naoshima’ to base, published by Benesse Holdings, Japan, with original presentation box 15cm diameter 10cm high £600 - 800

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Lot 335 Jonathan Lasker (American, b.1948) Untitled (The Value of Pictures, 1993) signed and dated ‘J .Lasker 1992’ verso, oil and marker pen on paper 11.6 x 15.4cm £3,000 - 5,000 Provenance: W ith Timothy Taylor Gallery, London.

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Lot 336 Jonathan Lasker (American, b.1948) Untitled (These Are Not Our Dreams) apparently signed, inscribed ‘OLD H. MANG. VIOLET - BLUENESS/W/N/ FLAKE #2/W/N WINSOR YELLOW’ and dated ‘J. Lasker 1992’ verso, oil on cardboard 11.5 x 15.2cm £5,000 - 7,000 Provenance: W ith Timothy Taylor Gallery, London. Since the late 1970s, Lasker has developed a distinctive formal vocabulary that contrasts structured compositional elements such as grids against quick and intuitive mark making in thick impasto strokes. His work invites us to project meaning onto the abstract, allowing the viewer to independently imagine their own interpretation. Lasker was born in New Jersey and now lives and works in New York. He has exhibited internationally at top galleries such as Michel Werner, Thaddeaus Ropac and Timothy Taylor.

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MODERN AND CONTEMPORARY 238-367 Lot 337 Brett Whiteley (Australian, 1939-1992) ‘The Swinging Monkey 3’, 1965 screenprint in colours, signed ‘Brett Whiteley’ in pen l.r. and numbered 58/70, with printed title l.l. 77.5 x 57cm £1,200 - 1,500 This print is part of Whiteley’s series titled ‘My Relationship between Screenprinting and Regent’s Park Zoo between June and August 1965’.

337

Lot 338 *Louise Bourgeois (French-American, 1911-2010) ‘The Reticent Child (Ex-Libris)’, 2005 offset lithograph in colours, debossed, signed ‘LB’ in pencil l.r. and numbered 196/300 l.l. 11.7 x 8cm, unframed; together with accompanying book, ‘Recveil des Secrets de Lovyse Bovrgeois’, published by Sage, 15 x 9.5cm (2) £800 - 1,200

339 detail

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Lot 339 Sir Howard Hodgkin (1932-2017) and Susan Sontag (American, 1933-2004) ‘The Way We Live Now’, 1991 six etchings and aquatints in colours by Hodgkin, 1990, with Sontag’s essay, 1985, signed ‘Susan Sontag/Howard Hodgkin’ in pencil on inside cover, numbered 105 from an edition of 200 with 43 proofs, published by Karsten Schubert, London, 1991 30 x 22 x 2cm £2,000 - 3,000

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 340 Visual Aid for Band Aid (1985) screenprint in colours, signed in pencil in the margins by all 104 contributing artists and numbered 199/500 in pencil l.c., published by Coriander Studio, London 120 x 91cm £1,500-2,500 Sold with certificate of authenticity. Signatures include David Hockney, Bridget Riley, Howard Hodgkin, Eduardo Paolozzi, Peter Blake, Paula Rego, Sandra Blow, Elisabeth Blackadder, Elisabeth Frink, Patrick Caulfield. Band Aid were a charitable organisation featuring mostly British and Irish musicians and recording artists. It was founded by Bob Geldof and Midge Ure in 1984, to raise money for famine relief in Ethiopia, its largest event being Live Aid (1985). Visual Aid for Band Aid poster was created alongside this and aimed to raise £250,000 to support the charity. Lot 341 *John Lennon (1940-1980) Erotic 3, 1970 lithograph, signed l.r, numbered 39/300 l.l. image 57.5 x 75cm £400 - 600 Lot 342 *Storm Thorgerson (1944-2013) ‘Ummagumma - Pink Floyd’, 2001 screenprint in colours, printer’s proof 3/4, signed in pencil sheet 83.7 x 64.5cm, unframed £400 - 600 Provenance: A cquired by the present owner directly from the Curwen Studio.

340

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MODERN AND CONTEMPORARY 238-367 Lot 343 *Tracey Emin RA (b.1963) ‘Illustrations from Memory 1994’, 2007 four, polymer gravure etchings, each signed and dated ‘TE 07’ in pencil l.r., from an edition of 50, published by White Cube 42 x 33cm, unframed (4) £3,000 - 5,000

343

Lot 344 *Tracey Emin RA (b.1963) ‘Sixteen’ giclée print, signed and dated ‘Tracey Emin 2013’ in pencil l.r., inscribed as titled l.l., and numbered 48/100, with presentation box 25.3 x 20.2cm, unframed; together with Tracey Emin, ‘My Photo Album’, published by Fuel, London, 2013, hand-signed and dated ‘Tracey Emin 2013’ on inside cover, 22.5 x 18.5 x 2cm (2) £1,500 - 2,000

344

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238-367 MODERN AND CONTEMPORARY Lot 345 *Tracey Emin RA (b.1963) ‘You Forgot Who You Are’ etching, signed and dated ‘Tracey Emin 2013’ in pencil l.r., inscribed as titled and numbered 186/200 36.5 x 40.3cm, unframed £1,000 - 1,500

345

Lot 346 *Tracey Emin RA (b.1963) ‘Everybody Needs a Place to Think’, 2002 screenprint on handkerchief, signed and dated in plate, from an edition of 1500 52.5 x 53.5cm; together with the invitation to the VIP launch party of BBC Four (2) £400 - 600 Sold in original box, 14 x 14 x 1cm. Emin was commissioned by the BBC to create a gift to accompany the VIP invitation to the launch party of BBC Four. The invitation includes printed text by Tracey Emin in her recognisable handwriting with the instructions, ‘Please bring This invitation with you/otherwise, you’re not going to get in/Love Tracey X’. While event-goers were able to keep the handkerchief, they gave up their invitations on arrival, making this set of both invitation and handkerchief more rare.

346 part lot

Lot 347 *Tracey Emin RA (b.1963) ‘Closed’ etching, signed and dated ‘Tracey Emin 2013’ in pencil l.r., inscribed as titled and numbered 117/200 36.2 x 38cm, unframed £1,000 - 1,500

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MODERN AND CONTEMPORARY 238-367 Lot 348 Stephanie Brooks (American, b.1970) ‘Politeness Strategy Series’, 2002-3 three, etched zinc and enamel, each with gallery label verso 12.7 x 17.7cm, unframed (3) £800 - 1,200 Provenance: Rocket Gallery, London.

348 Lot 349 Jenny Holzer (American, b.1950) ‘Truisms’ six, screenprint in colours on board each 10 x 15.1cm, unframed (6) £400 - 600

349 Lot 350 *Markus Vater (German, b.1970) ‘You can see me. but I can’t see you. It feels like television’ signed and dated ‘Vater 2007’ verso, black acrylic on canvas 30.5 x 40.5cm, unframed £300 - 500

350

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351 Lot 351 Chris Levine (Canadian, b.1960) ‘Lightness of Being, Freedom edition’ giclée print on aluminium, numbered 632/1000 verso, published by Dominic Guerrini Fine Art 90 x 70cm, unframed £2,000 - 3,000 ‘I was working in the yellow drawing room at Buckingham Palace...the Queen was brightly lit, and I suggested to Ma’am she might rest between shots. It was during this moment between passes that we captured the Lightness of Being. This was around the time I had been introduced to meditation and was very conscious of her breathing in order to capture a sense of calm in the work.’

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Lot 352 * D*Face (b.1978) ‘Dog Save the Queen/Canis Servo Regina’ hologram print, signed ‘D.FACE’ three times and numbered AP 6/10 verso 40.5 x 58cm £600 - 800

Lot 353 *After Banksy Tesco Value ‘Petrol Bomb’ offset lithograph in colours sheet 51.5 x 41.5cm £600 - 800

Lot 354 *David Shrigley (b.1968) ‘Truth’; ‘I Did Not Ask To Be A Bird’; ‘People Expect So Much From Me’; ‘Life is Very Good’ four offset lithographs in colours each sheet 80 x 60cm, unframed (4) £400 - 600

354

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Lot 355 *David Shrigley (b.1968) ‘Albino Squirrel’ linocut on wove paper, signed and dated ‘DS 2017’ in pencil l.r., numbered 46/100 l.l. 75.5 x 55.8cm, unframed £1,200 - 1,800

Lot 356 *David Shrigley (b.1968) ‘Light’ linocut on wove paper, signed and dated ‘DS 2017’ in pencil l.r., and numbered 83/100 l.l. 75.4 x 55.7cm, unframed £1,500 - 2,000

Lot 357 *David Shrigley (b.1968) Animal posters series, 2020 ‘Some of my best friends are pigs’; ‘He will only eat squid ink pasta’; ‘You are too close, please move back’; ‘I will not fight’ offset lithographs in colours each sheet 80 x 60cm, unframed (4) £400 - 600

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MODERN AND CONTEMPORARY 238-367 Lot 358 *David Shrigley (b.1968) ‘White Elephant’ linocut on wove paper, signed and dated ‘DS 2021’ in pencil l.r. and numbered 91/100 56.8 x 43.8cm, unframed £1,000 - 1,500

Lot 359 *David Shrigley (b.1968) Vegetable Series, 2021 ‘If You Don’t Like Tomatoes, You Can Fuck Off’; ‘They Were Too Long, They Were Much Too Long’; ‘The Moment Has Arrived, The Banana is Ripe’; ‘You Win This Mushroom, It Is Poisonous’ four offset lithographs in colours each sheet 80 x 60cm, unframed (4) £400 - 600

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 360 *David Shrigley (b.1968) ‘When Life Gives You a Lemon’; ‘I Made My Mark’; ‘Look at This’; ‘Chocolate Is Not the Problem’ four, offset lithograph in colours 80 x 60cm, unframed (4) £400 - 600

360 Lot 361 *David Shrigley (b.1968) ‘Swan’, 2000 painted resin, published by Bywater Bros. Editions, signed ‘DS’ to the base 9cm wide 12.5cm deep 12.5cm high £500 - 700

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363 Lot 362 *The Connor Brothers (b.1968) ‘Every Saint Has a Past’ screenprint in colours, signed ‘Connor Brothers’ in pencil l.r., dated 21’ and numbered 33/150, from an edition of 150 with 15 artist’s proofs 118 x 74cm £2,500 - 3,500 Sold with a certificate of authenticity from Whitehall Galleries.

362

Lot 363 *The Connor Brothers (b.1968) ‘All She Wanted Was To Be Someone’s Most Precious Person’ screenprint in colours, signed ‘Connor Brothers’ and dated ‘19 in pencil l.r. 129.5 x 85cm, unframed £1,200 - 1,800 Lot 364 *The Connor Brothers (b.1968) The Honeymoon is Over (Mills & Boon); Two of a Kind (Mills & Boon) two, archival pigment print in colours, both numbered in pencil l.r., from an edition of 250, embossed with Heliotrope Foundation logo 48.3 x 32.8cm, unframed (2) £300 - 500

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

238-367 MODERN AND CONTEMPORARY Lot 365 *The Connor Brothers (b.1968) ‘I Tried To Drown My Sorrows But The Bastards Learned How To Swim’ giclée print with screenprinted varnish/wove, signed and dated 13 in pencil, numbered 55/95 120 x 75cm, unframed £1,000 - 1,500

365

Lot 366 *The Connor Brothers (b.1968) ‘I Can Resist Everything Except Temptation’ screenprint in colours, signed ‘Connor Brothers’ in pencil and dated ‘17’ l.r., numbered 21/50 l.l. 63.5 x 39.5cm £800 - 1,200

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Lot 367 *Paul McPhail (b.1966) ‘Emollient’ signed ‘Paul McPhail’ and dated ‘1998’ verso, oil on canvas 152.5 x 106.5cm, unframed £10,000 - 15,000 Provenance: With Houldsworth Fine Art. Paul McPhail’s ‘Emollient’ explores flesh in a strangely captivating way. This is a study of the human head with its finished, perfect face stripped away to reveal the under layers of flesh, blood, muscular structure, gums, and bloodshot eyes. It encourages the viewer to look closer at the head’s violent surface through its execution of texturally-rich brushwork. Even the title connotes texture – emollient, an oily, moisturising layer added to the skin. McPhail’s use of paint is dynamic and bold, his brush moves across the canvas in broad swathes. He uses heavy contrasts of tones from reds to fleshy pinks, which in combination with the easily distinguished layers of paint, creates a feeling of jaggedness close-up that falls away into one of vibrant life when appreciating the whole composition. This painting is evocative of the work of Jenny Saville, who is now married to Paul McPhail, but at the time of its execution was a close friend of the artist. The two studied together at Glasgow School of Art and later shared a studio space in Palermo. In 1994, both artists visited a plastic surgeon’s operating theatre, witnessing procedures that exposed the fragility of skin. Saville’s paintings explore the body’s imperfections, often depicting overweight, pale, bruised thighs, arms, bosoms, stomachs, redefining beauty. The influence of McPhail’s work is undeniable when we look at examples of her work, such as her head study, ‘Red Stare IV’.

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 150

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Sporting Art, Wildlife & Dogs TUESDAY 31 MAY 2022 | INVITING ENTRIES pictures@sworder.co.uk | 01279 817778

Old Master, British and European Art TUESDAY 27 SEPTEMBER 2022 | INVITING ENTRIES pictures@sworder.co.uk | 01279 817778

GLOSSARY OF PICTURE CATALOGUING TERMS A work catalogued with the forename(s) and surname of a recognised destination of an artist is or is probably a work by the artist, eg. David Cox. Nevertheless, intending buyers are reminded that while a full designation is our highest category or authenticity, no unqualified statement as to the authorship is made or intended. A full cataloguing does not necessarily imply a full warranty. Attributed to David Cox in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Bears/with signature, inscription, date in our opinion the signature/inscription/date are not by the hand of the named artist.

Circle of David Cox in our opinion a work from the period of the artist and showing his influence.

The addition of a question mark (?) after any of the above cataloguing terms indicates an element of doubt.

Follower of David Cox in our opinion a work executed in the style of David Cox After David Cox in our opinion a copy of any date after a work by the artist Signed/inscribed/dated in our opinion the work has been signed/inscribed/dated by the artist

A work catalogued as ‘School’ accompanied by the name of a place or country and a date means that in our opinion the work was executed at that time and in the location, eg. South Netherlands School, circa 1750. All references to signatures, inscriptions and dates refer to the present state of the work, ie. as at the time of inspection for the purpose of cataloguing. Condition reports are not included in the descriptions.

ARTIST’S RESALE RIGHT (ARR) What is Artist’s Resale Right? Following a European Directive in 2006, the Artist’s Resale Right entitles creators of original works of art to a royalty each time their work is resold, with the involvement of an auction house, for 1,000 Euros or more. This right covers sales of work by living artists and also the beneficiaries and heirs of artists deceased within the last 70 years of the sale. How are resale royalties calculated? The artist’s royalty depends on the hammer price (sale price without any VAT or Buyer’s Premium). The higher the sale price of the artwork, the lower the overall royalty rate. The royalty is worked out according to a sliding scale from 4% to 0.25%.

What nationality must an artist be to qualify? The Artist’s Resale Right applies to the sale of artworks in the European Economic Area (EEA). The following countries are in the EEA: Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovak Republic, Slovenia, Spain, Sweden, United Kingdom. Artists who are nationals of these countries are therefore generally eligible to receive resale royalties. The nationality criteria only applies to the artist and not to the beneficiaries or heirs.

From 0 to €50,000

From €50,000.01 to €200,000

Are all sales of artwork covered? The Artist’s Resale Right does not apply to all sales of artworks. A royalty is only due if the following conditions are met:

From €200,000.01 to €350,000

•

Hammer Price

From €350,000.01 to €500,000 Exceeding €500,000

Royalty

0.5% 0.25%

What is the qualifying threshold? An artwork must sell for more than €1,000 to qualify for a royalty. The law defines the price threshold in Euros and, because the exchange rate between the two currencies changes daily, the equivalent in Pounds Sterling must be worked out according to the exchange rate on the date the artwork was sold.

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• • •

the artwork is a copyright protected work of graphic or plastic art; it is sold for more than €1000; it is sold in the secondary market with the involvement of an art market professional (e.g. auction house); and it is sold in the UK or another country in the European Economic Area (EEA).

This royalty, where applicable, will be charged to the purchaser. It is exempt of VAT.

INDEX OF ARTISTS A Abramyan, Elena Abramyan, Artashes Aeschbacher, Arthur Afnan, Maliheh *Aitchison, Craigie Albers, Josef Aldoshin, Vladimir *Aldridge, John *Arbuthnot, Malcolm Asselin, Maurice *August, Erik *Ayrton, Michael Azizyan, Grigori

260 261, 262 283 282 316 239 254 3-5 126 80 280 133 259

B *Banksy 353 Baranenko, Vitaly 269-271 *Barns-Graham, Wilhelmina 224 *Baudoin, Jean-Franck 66-69 *Bawden, Edward 1, 2 *Bellany, John 6 Benton End Circle 22 Benton End School 17 Bevan, Robert Polhill 51 *Blackadder, Dame Elizabeth 140 *Blow, Sandra 188 *Boty, Pauline 135 *Bourgeois, Louise 338 *Bouverie-Hoyton, Edward 85 *Bradley, Martin 204, 205 *Bratby, John 138 Brimmerberg, Eugene 252 *Broadley, Denise 26 *Brooks, Alan 21 Brooks, Stephanie 348 *Brough, Helen 307, 308 *Bruneau, Odette 95-97 Buharova-Sporykhina, Lidiya 100, 258 *Bulmer, Lionel 190 C *Carter, Rob & Nick 309 *Chadwick, Lynn 186 *Chailloux, Robert 65 Clausen, Sir George 39 *Coates, Tom 160 *Cockrill, Maurice 192-195 *The Connor Brothers 362-366 Cooper, John Albert 70-73 *Cooper, William Heaton 75 *Craig-Martin, Michael 317, 318 *Cremona, Emvin 266 *Cuming, Fred 152-154 *Cuneo, Terence 87 *Currie, Ken 292

D *Davie, Alan 216, 217 *de Monchaux, Cathy 331 de Toulouse-Lautrec, Henri 62 *Delaney, Arthur 110 *Delaunay, Sonia 244 *Denmark, Peter 229-237 * D*Face 352 *Doyly-John, Cecil Rochfort 167 *Dunstan, Bernard 148 E *Earee, Paul 14, 15 *Emin, Tracey 343-347 English School, early 20th century 36, 41 *Epstein, Sir Jacob 47 *Erté (Romain de Tirtoff) 56-58 F *Fairclough, Wilfred Farkas, Istvan *Fedden, Mary *Figgis, Genieve *Fish, Anne Harriet *Frederick, Waveney French School, early 20th century *Frink, Dame Elisabeth *Frost, Sir Terry

151 40 141 312 101-106 27-31 37 177-184 225-228

G Gaudier-Brzeska, Henri 52 Goetze, Sigismund 38 Goldin, Nan 328-330 *Gormley, Antony 305, 306 *Gosling, Annabel 146 *Grant, Duncan 77 Greaves, Leonard 34 *Greaves, Derrick 293 *Grenville, Hugo 161 Griggs, Frederick Landseer 48-50 Gsell, Henry Alfred 42 H *Hagedorn, Karl 83, 84 *Harding, Alexis 310 Haring, Keith 321-324, 327 *Harwood, Lucy 18-20 *Herman, Josef 139 *Hilder, Rowland 74 *Hockney, David 294-297 *Hodgkin, Sir Howard 223, 339 Holzer, Jenny 349 *Hopkins, Louise 303 *Howard, Ken 162-164 *Howson, Peter 291 I Imam, Syed Ali K *Kay, Bernard Kentridge, William *King, Cecil

276 165 298, 299 251

*Kinley, Peter *Knight, Dame Laura Kolosovski, Georgi *Korn, Halina Kulakov, Andrei Kusama, Yayoi

189 54, 55 273, 274 98 255, 256 332-334

L *La Dell, Edwin 122 *Lamb, Henry 82 Lasker, Jonathan 335, 336 *Lee-Hankey, William 33 *Lehmann, Olga 7, 8 *Lenkiewicz, Robert 99 *Lennon, John 341 *Lett-Haines, Arthur 9-13 Levine, Chris 351 *Louden, Albert 313 *Lowry, Laurence Stephen 111120 M Mamontov, Nikolay 257 *Mann, Cathleen 76 *Maze, Paul Lucien 128-130 McGivern, Barbara 248-250 *McIntyre, Donald 137, 142, 144 *McPhail, Paul 367 *Mellon, Campbell Archibald 32 *Milne, John Erskine 238 *Milroy, Lisa 311 *Minton, John 131 *Miró, Joan 240 *Miskin, Lionel 35 Modern British School 81 *Mull, Arthur Stranraer 155-157 N Naqsh, Jamil *Neill, Errol *Neret, Pierre *Newcomb, Tessa

277 147 304 191

O *O’Connor, John Scorrer *Osborne, Roy *Oxer, William

159 253 290

P *Paolozzi, Sir Eduardo 300 Parvez, Ahmed 278, 279 Perez, Fabian 285-289 Philpot, Glyn 53 *Picasso, Pablo 59-61, 241-243, 245-247 *Piper, Edward 123 *Piper, John 171-176 *Plummer, Francis 202, 203 *Preece, Patricia 79 R Reed, David *Reynolds, Gwynneth *Richards, Ceri *Roberts, Will

319, 320 23 187 198, 199

*Robin, Georges Charles 63, 64 *Robinson, Markey 168 *Rooney, Mick 218-222 *Rowlett, George 196, 197 S *Sadler, Robert 206-212 *Scott, William 185 *Searle, Ronald 134 *Self, Colin 314 Shapovalov, Sergei 272 Shevchuk, Alexander 267, 268 *Shrigley, David 354-361 *Sidoli, Dawn 169 *Somerville, Peggy 16 Sontag, Susan 339 *Spencer, Sir Stanley 43-46 *Stafford, Simeon 213-215 *Strevens, John Frederick Lloyd 88-94 *Suddaby, Rowland 121 *Sutton, Philip 124 *Swanwick, Betty 132 T *Tàpies, Antoni 301, *Thomson, Alfred Reginald *Thorgerson, Storm *Todd, Graeme *Tress, David *Trevelyan, Julian *Tsingos, Thanos *Tunnard, John *Turner, Alexander Forrester

302 150 342 281 143 127 263 125 86

U Ulbricht, John

149

V *Vater, Markus *Vaughan, Keith Visual Aid for Band Aid

350 136 340

W Walton, Allan 158 *Warburton, Joan 24, 25 Warhol, Andy 322, 325, 326 Watts, E B 315 *Webb, Kenneth 145 *Weir, Linda 166 Whiteley, Brett 337 *Wilde, Gerald 200 *Wilson, Scottie 201 *Wolmark, Alfred 78 *Woodside, Christine 170 Y *Yates, Fred

108, 109

Z *Zenetzis, Vasilis Zharov, Mikhail *Zulawski, Marek

264, 265 275 284

Lots marked with a ‘*’ may attract the Artist’s Resale royalty charge at the rate of 4% of the hammer price. This royalty, where applicable, will be charged to the purchaser.

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TERMS AND CONDITIONS

Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.

These conditions of business consist of:

Electrical goods These are sold as ‘antiques’ only. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

Information for Buyers;

Terms of Consignment (for Sellers);

Terms of Sale (for Bidders and Buyers).

1. INFORMATION FOR BUYERS Introduction The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale. Methods of payment Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. We accept credit card payments to an upper limit of £5,000. Usually any cheques will need to be cleared before you can take the Goods away. Collection and storage All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. For our Homes and Interiors auctions, items not removed by 5pm on Friday may be removed at the purchaser’s expense and storage charges of £10 (plus VAT) for administration and £2 (plus VAT) per lot per day. Agency As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer. Estimates Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive. Buyer’s Premium The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased, except for our Fine Wine and Spirits auctions when it is 15%. In addition, VAT is charged on these Premiums (see below). VAT Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax. Shipping Costs are liable for VAT and are payable by the Buyer. Inspection of Goods by the Buyer As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 12.2 and 12.4. Condition reports We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale. Shipping of Goods We offer a delivery service for Lots purchased. Estimates for Shipping Costs for smaller items can be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world either in advance of the sale or after you have purchased.

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Export of Goods If you intend to export Goods you must find out: a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials such as ivory. Bidding Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion. Commission bidding You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time. Telephone bidding If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is for Lots with an estimate of £500 or more. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason. Online bidding Any Lots purchased via a live online bidding service will be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. From 1 January 2020, these charges will be charged at 0% while bidding via Sworders Website. If bidding through the-saleroom.com this will be charged at 4.95% plus VAT. These charges will be payable to us on top of the Hammer Price and our Buyer’s Commission.

IMPORTANT NOTICES Removal of Lots All Lots are to be removed from the premises by 5.00pm at the latest on the Friday following each sale. Sworders retain the right to remove Lots remaining after this time into safe storage, for which a charge will be made. Electrical Goods All electrical Goods offered in this sale have either been tested and certified safe or unsafe by an appropriately qualified electrician. All electrical Goods certified safe must be re-Commissioned by an appropriately qualified electrician and we recommend those certified safe are similarly re-Commissioned. Post 1950 Upholstered Furniture All items of furniture included in this sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling. Furniture made of Brazilian Rosewood (Dalbergia Negra) To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items have Article 10 certificates. If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal Health and Veterinary Laboratories Agency (‘AHVLA’) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is therefore the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.

TERMS OF SALE Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. These Terms of Sale relate to auctions conducted by an Auctioneer only. We have separate terms for online only auctions. 1. Definitions and interpretation 1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning: In these Terms of Sale the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics. 3.3 If you instruct us in writing, we may execute Commission bids on your behalf. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded we have the right to prefer the first bid made (where this can be reasonably ascertained).

‘Auctioneer’

means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Bidder’

means a person who places a bid for Goods at our auction;

‘Buyer’

means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Commission’

means the Commission that we charge you on the sale of the Goods as set out in Clause 5 below;

‘Consumer’

means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

‘Consumer Contracts Regulations’

means the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013;

‘Deliberate Forgery’

means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

‘FCA’

means the Financial Conduct Authority;

‘Goods’

means the Goods that have been consigned to us for sale at our auction;

‘Hammer Price’

means the level of the highest bid for a Lot accepted by the Auctioneer;

‘Premium’

means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale;

‘Price’

means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;

‘Proceeds’

means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Reserve’

means the minimum Price at which the Goods may be sold;

‘Seller’

means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’

means the charges applied to the shipping of all Goods purchased, should the Buyer ask for the Auctioneer’s shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’

means these Terms of Consignment;

‘Terms of Sale’

means the Terms of Sale for Bidders or Buyers at our auctions;

‘Trader’

means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’

means any value added tax or equivalent sales tax; and

‘Website’

means our Website available at www.sworder.co.uk.

2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

5. VAT 5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information. 5.2 We will charge VAT at the current rate at the date of the auction. 6. The contract between you and the Seller 6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning Lot in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by the Auctioneer under the Money Laundering Regulations 2019 in accordance with their internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by the Auctioneer as complete. 6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment. 6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim. 6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot). 7. Payment 7.1 Immediately following your successful bid on a Lot you will: 7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and 7.1.2 pay to us the total amount due in any way that we agree to accept payment. 7.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to the Auctioneer’s shipping agent delivering the Goods. 7.2 If you owe us any money, we may use any payment made by you to repay these debts. 8. Title and collection of purchases 8.1 Once you have paid us in full the total amount due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it. 8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue or on our Website. 8.3 If you agree to the Auctioneer delivering the Goods, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may re-offer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.

3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

8.5 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for any reasonable removal and storage charges in relation to that Lot.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

2.7 If you have any complaints, please send them to us directly at the address set out on our Website.

8.6 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot.

4. The purchase price As Buyer, you will pay: a. the Hammer Price; b. a premium of 25% plus VAT of the Hammer Price or 15% plus VAT for our Fine Wine and Spirits Auction; c. any artist’s resale right royalty payable on the sale of the Lot; and d. any VAT due.

8.7 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.

3. Bidding procedures and the Buyer 3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid.

8.4 Should you decide to use the delivery service, you thereby agree to allow the Auctioneer to share relevant personal data that we hold with the shipping agent in order to allow effective communication between the shipping agent and you, and to enable delivery.

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9. Remedies for non-payment or failure to collect purchases 9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures: 9.1.1 take action against you for damages for breach of contract; 9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you; 9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot and the Price we sell it for as well as the charges outlined in Clause 8.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; 9.1.4 remove, store and insure the Lot at your expense; 9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due; 9.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable; 9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or 9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us. 9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any noncompliance by you with these Terms of Sale. 10. Health and safety Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence. 11. Warranties 11.1 The Seller warrants to us and to you that: 11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction; 11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and 11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct. 11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below. 11.3 Please note that many of the Lots that you may bid on at our auction are second-hand. 11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.

12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction. 12.3 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 will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. 12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed. 13. Deliberate Forgeries 13.1 You may return any Lot which is found to be a Deliberate Forgery to us within thirty days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects. 13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if: 13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause 13.2. 13.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot. 13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale. 14. Our liability to you 14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction. 14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen. 14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot. 14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 14.4.2 fraudulent misrepresentation; or 14.4.3 any liability which cannot be excluded by law.

11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.

15. Notices 15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it.

12. Descriptions and condition 12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).

15.2 Any notice referred in Clause 15.1 may be given:

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15.3 Notices must be sent: 15.3.1 by hand or registered post; a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or 15.3.2 by email: a. to us, by sending the notice to the following email address: auctions@sworder.co.uk b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing. 15.4 Notices will be deemed to have been received: 15.4.1 if delivered by hand, on the day of delivery; 15.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt (provided that receipt is acknowledged by the recipient). 15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message. 16. Data Protection We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website. 17. General 17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person. 17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale. 17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues. 17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect. 17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them. 17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.

15.2.2 by first class pre-paid post or recorded delivery; or

17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any noncontractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers

15.2.1 by delivering it by hand;

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CORPORATE SOCIAL RESPONSIBILITY

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