Sworders The London Auction Tuesday 15 December, 1pm by swordersfineart

THE LONDON AUCTION TUESDAY 15 DECEMBER

Out of the

Ordinary Thursday 8 April 2021

Folk Art Witchcraft Macabre Tribal Art Military Space Travel Grayson Perry Medical History Waxworks Magic Erotica Mermaids Punk Devil Worship Film Posters

Circus Glamour Sculpture Motoring Art Photography Fine Taxidermy Hammer Horror Palmistry Freaks Unusual signs Contemporary Art Arcade Machines Contemporary Marilyn Monroe Travel history

Entries close 19 February 2021 To consign markwilkinson@sworder.co.uk | 01279 817778

THE LONDON AUC TION Live Online - Tuesday 15 December 2020 at 1pm ORDER OF SALE Lots 1-14

Swinging London

Lots 15-42

Live Aid - 13 July 1985

Lots 43-54

London at War

Lots 55-66

Early London

Lots 67-79

Architecture and Monuments

Lots 80-119

The Thames

Lots 120-142

The Streets of London

Lots 143-156

Maps of London

Lots 157-172

London Underground

Lots 173-184

London Transport

VIEWING TIMES Assuming prevailing government restrictions allow, viewing by appointment will be held at our London Gallery, Cecil Court, London WC2N 4EZ as follows. Please check our website for up-to-date information and to book an appointment.

FURTHER INFORMATION

Monday 7 December

10.30am - 4pm

Tuesday 8 December

10.30am - 4pm

Wednesday 9 December

10.30am - 4pm

Thursday 10 December

10.30am - 4pm

Friday 11 December

10.30am - 4pm

Monday 14 December

10.30am - 4pm

It is envisaged that, after the auction, lots will be available for collection from the London Gallery, but in the current climate, this may be subject to change. Please check our website for up-to-date information.

Contact:

ONLINE BIDDING Mark Wilkinson

Jane Oakley

Tel: 01279 817778 (Stansted) Tel: 0203 971 2500 (London) Email: auctions@sworder.co.uk

Leah Coley-Fisher

Bid live at www.sworder.co.uk (0% surcharge)

To obtain more images and condition reports for lots in this catalogue, please visit our website www.sworder.co.uk

SWINGING LONDON 1-14

1 Lot 1 *CHRISTINE KEELER Ray Bellisario (1936-2018): ‘Freedom - First Day Out Of Prison, Lying In A Field’ (Full Length) Signed By Christine Keeler, 1964 photograph printed later, no.7/10, the silver gelatin print, hand-printed from the original negative, depicting Christine Keeler in a field on the day she was released from Holloway prison in June, 1964, having served four and half months of a nine month sentence for perjury, signed by both the photographer and Keeler in black ink to the lower border £500 - 800

Lot 2 *CHRISTINE KEELER Ray Bellisario (1936-2018): ‘Freedom - First Day Out Of Prison, Lying In A Field’ Signed By Christine Keeler, 1964 photograph printed later, no.7/10, the silver gelatin print, hand-printed from the original negative, depicting Christine Keeler in a field on the day she was released from Holloway prison in June 1964, having served four and half months of a nine month sentence for perjury, signed by both the photographer and Keeler in black ink to the lower border 40 x 50cm £500 - 800 Provenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.

Provenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.

3 4

2 Lot 3 DIANA RIGG a rare group of three mid-1960s press photographs, probably to promote ‘The Avengers’, ABC Television copyright stamp to reverse of each print 24 x 19cm (3) £300 - 500

1-14 SWINGING LONDON Lot 4 CHRISTINE KEELER an unpublished photograph of a topless Christine Keeler, c.1960, a recent print from the original negative, 1/5, photographer unknown, framed photographic print 48 x 47cm £500 - 800 Provenance: C hristine Keeler, from the James Birch Collection.

Lot 5 MARILYN MONROE a photographic gelatin silver print of Marilyn Monroe and Arthur Miller, taken during their visit to London in July 1956 for the filming of ‘The Prince and the Showgirl’, bearing ‘Fox Photos’ ink stamp to the reverse 25.5 x 30cm £200 - 400 Marilyn Monroe and Arthur Miller landed at London Airport (now Heathrow) at 10.40am on 14 July 1956, met by one hundred photographers and fifty reporters, along with her co-star Sir Laurence Olivier and his wife Vivien Leigh. Monroe spent the next four months filming what became ‘The Prince and the Showgirl’, meanwhile beguiling the British public and press with her famous charm.

5 www.sworder.co.uk

4 Lot 6 MAN ON THE MOON a rare 1969 Evening Standard poster advertising a colour pictures edition of the Evening Standard newspaper, 20 July 1969, commemorating the Apollo 11 and astronaut Neil Armstrong’s subsequent moonwalk 74.5 x 50cm £200 - 300

6 5

SWINGING LONDON 1-14 Lot 7 *BRIDGET BARDOT Portrait of Bridget Bardot in large sunglasses during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), black and white print, edition of 10 35.5 x 23cm, framed £300 - 500 Provenance: The James Birch Collection. Lot 8 *BRIDGET BARDOT Bridget Bardot and Gunter Sachs photographed in Heathrow Airport during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), black and white print, edition of 10 36 x 23.5cm, framed £300 - 500 Provenance: The James Birch Collection.

Lot 9 *BRIDGET BARDOT A close up of Bridget Bardot and Gunter Sachs photographed in Heathrow Airport during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), black and white print, edition of 10 36 x 24cm, framed £300 - 500

Lot 10 *BRIDGET BARDOT Bridget Bardot on a London street during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), black and white print, edition of 10 24.5 x 24.5cm, framed £300 - 500

Provenance: T he James Birch Collection.

Provenance: The James Birch Collection.

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 60

1-14 SWINGING LONDON

Lot 11 *BRIDGET BARDOT Bridget Bardot photographed in London pub, ‘The Coach and Horses’ on Bruton Street in Mayfair, 1968, by Ray Bellisario (1936-2018), during promotion of her film ‘Shalako’, unique colour print 1/1 45 x 46cm, framed £500 - 800

Lot 12 *BRIDGET BARDOT Bridget Bardot photographed in the back of a limousine during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), unique colour print 1/1 46 x 46cm, framed £500 - 800

Lot 13 *BRIDGET BARDOT Bridget Bardot photographed surrounded by a crowd of people during the promotion of her film ‘Shalaki’ in London 1968, by Ray Bellisario (1936-2018), unique colour print 1/1 45 x 46cm, framed £500 - 800

Lot 14 *BRIDGET BARDOT Bridget Bardot photographed during the promotion of her film ‘Shalaki’ in London 1968, in a London pub, by Ray Bellisario (1936-2018), unique colour print 1/1 45 x 46cm, framed £500 - 800

Provenance: T he James Birch Collection.

Provenance: The James Birch Collection.

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LIVE AID - 13 JULY 1985 15-42

The following four photographs were taken by David Bailey backstage at the iconic Live Aid concert during the summer of 1985 for a benefit auction hosted by Sotheby’s later that year. Each print is signed by the photographer and some are signed on the reverse by the subject. Only three of each image were printed for the auction. Live Aid was a dual-venue benefit concert held on Saturday 13 July 1985, and an ongoing music-based fundraising initiative. The original event was organised by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. The event was held simultaneously at Wembley Stadium in London and John F Kennedy Stadium in Philadelphia, Pennsylvania, United States. On the same day, concerts inspired by the initiative happened in other countries, such as the Soviet Union, Canada, Japan, Yugoslavia, Austria, Australia and West Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time; an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast. This was nearly 40% of the world population at the time.

Lot 15 *DAVID BAILEY (b.1938) STATUS QUO, LIVE AID - 13 JULY 1985 Gelatin silver print, printed 1985, signed in pen by David Bailey, and also signed on reverse by Rick Parfitt, Francis Rossi, Alan Lancaster, Andy Brown and Pete Kircher, stamped ARCHIVAL DAVID BAILEY and pencil initials DB 85 3/3 50.5 x 40.5cm, framed £500 - 800

Lot 16 *DAVID BAILEY (b.1938) MIDGE URE, LIVE AID - 13 JULY 1985 Gelatin silver print, printed 1985, signed in pen by David Bailey, and also signed on reverse by Midge Ure, and stamped ARCHIVAL DAVID BAILEY and pencil initials DB 85 3/3 50.5 x 40.5cm, framed £500 - 800

Lot 17 *DAVID BAILEY (b.1938) SPANDAU BALLET, LIVE AID - 13 JULY 1985 Gelatin silver print, printed 1985, signed in pen by David Bailey, and stamped ARCHIVAL DAVID BAILEY and pencil initials DB 85 1/3 50.5 x 40.5cm, framed £500 - 800

Lot 18 *DAVID BAILEY (b.1938) HARVEY GOLDSMITH, LIVE AID - 13 JULY 1985 Gelatin silver print, printed 1985, signed in pen by David Bailey, and also signed on reverse by Harvey Goldsmith, and stamped ARCHIVAL DAVID BAILEY and pencil initials DB 85 2/3 50 x 39.5cm, framed £100 - 200

15-42 LIVE AID

Lot 19 ‘COCK HILL’, a rare 1920s Vitrolite opaque white glass original City of London street sign, etched and coloured ‘Cock Hill E1’, in original cast iron frame, 46 x 46cm £500 - 800 Cock Hill is a small alley just around the corner from Liverpool Street Station. Lot 20 DAVID HOCKNEY (b.1937) a rare 1974 theatre poster for The Three Penny Opera at the Piccadilly Theatre, Denman Street W1, designed by David Hockney and printed by A E King and Jackson Ltd. ‘The Threepenny Opera by Bertolt Brecht, Music: Kurt Weill, English Adaptation: Hugh MacDiarmid, Directed by: Tony Richardson, Sets: Patrick Robertson, Costumes: Rosemary Vercoe, Choreography: Eleanor Fazan’, actors included Barbara Windsor and Hermione Baddeley 50 x 32cm £300 - 500

An identical poster is included in the Victoria & Albert Museum collection. Lot 21 MIRACLE IN SOHO 1957, Rank Organisation, British quad film movie poster, starring John Gregson and Belinda Lee, poster designed by Renato Fratini 76 x 101.5cm £300 - 500 The artwork for this poster was by a young Renato Fratini, perhaps the finest of all poster artists. This poster is believed to be Fratini’s very first cinema poster artwork.

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LIVE AID 15-42

22 Lot 22 WHITBREAD’S LONDON STOUT, 20th century, a rare, early, cold painted cast aluminium advertising figure of a gentleman with beer bottle body, standing above the slogan ‘Good for Him & Good for You, since Seventeen Hundred & Forty Two’, 40cm high £200 - 300

Lot 23 *CHARLES BRONSON (b.1952) ‘Always look on the bright side of life’ signed l.r., pen and ink and watercolour 17 x 22.5cm £300 - 400

Lot 24 *CHARLES BRONSON (b.1952) Four handmade postcards of spider cartoons signed and dated 2003, 2005, and two dated 2006, inscribed ‘Charlie Bronson Specials’ pen and ink and watercolours 15.5 x 10.5cm (4) £300 - 400

Lot 25 LE PONT DE LA TOUR, 20th century, a set of Royal Doulton advertising dinner plates for the Terence Conran restaurant ‘Le Pont de la Tour’, each decorated with an Art Deco-style section of Tower Bridge, 30cm diameter (3) £150 - 200

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 60

15-42 LIVE AID

26 Lot 26 TWIGGY, a Twiggy board game, 1967, together with a British quad film poster for the 1971 Ken Russell movie ‘The Boy Friend’ starring Twiggy, poster 76 x 101.5cm (2) £150 - 200 Originally named Lesley Hornby, Twiggy was born on 19 September 1949 in Neasden, London. She became a British fashion model and actress, whose gamine frame and mod look defined the fashion industry during much of the late 20th century. Now known since her marriage as Dame Lesley Lawson, she is widely considered to have been one of the world’s first supermodels.

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Lot 27 CHRISTINE KEELER a contemporary Pop Art montage-style limited editing photographic print, designed by Ginny Manning and signed by Christine Keeler and Ginny Manning, edition 8/25 61 x 51cm £150 - 200 Lot 28 *DEREK BOSHIER AND CHRISTOPHER LOGUE ‘SEX WAR SEX CARS SEX’, 1966 poster, signed Derek Boshier 95/100 58 x 44cm £300 - 500 British pop artist Derek Boshier collaborated with poet Christopher Logue in the comic strip design of this poster.

LIVE AID 15-42

30 Lot 29 A CONTEMPORARY ‘ROLEX OFFICIAL RETAILER’ SIGN, circular with a neon light border, 68cm diameter 6.5cm deep £500 - 700

Lot 29A ‘PRIMITIVE LONDON’ 1965, British, oversized American one sheet film movie poster, Arnold Louis interviews ‘Swinging London’ 107 x 71cm £100 - 200 An exploitation film documentary on ‘Swinging London’ as it actually happened. Arnold Louis Miller, the director of ‘Nudist Memories’, interviews mods, rockers and beatniks. Wife swapping, an overworked stripper, childbirth, the killing of chickens and an interview with Billy J Kramer also feature. Lot 30 ‘BERTRAM MILLS CIRCUS’, a mid-20th century hand-painted ‘Book Here’ Bertram Mills Circus sign, 37 x 68cm, framed £500 - 800 Lot 31 ‘THE HURLINGHAM CLUB’ 1960, a rare amended tennis poster for The London Hard Court Championships, with pen amendments to the poster 76 x 50cm £80 - 120

29A

31 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 60

15-42 LIVE AID

Lot 32 NOEL COWARD AND FRIENDS, 1920s and later, a fascinating collection of ninety-three candid snapshot photographs of Noel Coward and his friends, including Joyce Carey and Graham Payn, some taken at his country house, Goldenhurst Farm in Aldington, Kent, contained in a modern black album (93) £500 - 800

32 part lot

Lot 33 NAIVE SCHOOL, mid-20th century London Jazz Cafe unsigned, oil on canvas 30 x 50cm £100 - 150

Lot 34 PETER EDWARDS Old Compton Street, Soho, original GPO poster PRD 1078, 1960 74 x 92cm £150 - 250

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LIVE AID 15-42 Lot 35 *ROBERT TAVENER (1920-2004) Horse Guards Parade (no. 4) signed and inscribed as titled, artist’s proof, linocut image 51 x 58cm £400 - 600

Lot 36 *ROBERT TAVENER (1920-2004) Horse Guards signed in pencil and numbered 31/50, linocut image 49.5 x 59cm £400 - 600

35 Lot 37 A VICTORIAN COURT SWORD BY JOHNSON, LONDON AND DUBLIN, with a flattened diamond section blade, etched with scrolling foliage, in a gilt-mounted black leather scabbard, complete with knot and storage bag, 97cm long £400 - 500

36 Lot 38 PRINCE CHARLES AND LADY DIANA SPENCER, an unusual pair of plywood coat hangers, each with a photographic portrait of Prince Charles or Lady Diana Spencer, the latter seems to be taken from a 1981 image by Lord Snowdon for Vogue, these coat hangers were probably made to commemorate the Royal Wedding on 29 July 1981, largest 47 x 44cm (2) £150 - 200

38 14

Lot 39 A RARE ROYAL STANDARD FLAG, c.1937, the large flag sectionally sewn and hand-painted, probably made for a palace or official building, 530 x 260cm £1,000 - 1,500 Lot 40 A BUCKINGHAM PALACE DINNER PLATE, c.1860, by Daniell London, the lobed plate with gilt scroll decoration and an Imperial State Crown to the centre, 25.5cm diameter £100 - 150

40 Lot 41 A QUEEN ELIZABETH II ROYAL MARINES TENOR SIDE DRUM, Gibraltar, rope tensioned, hand-painted and printed with the royal coat of arms and battle honours, 47cm diameter 36cm high £1,000 - 1,500

Lot 42 A SOUVENIR INVITATION, from her Majesty the Queen to the laying of the memorial stone of Tower Bridge, together with a souvenir invitation to Epping Forest, 1882, coloured prints, 20 x 27.5cm (2) £100 - 150

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LONDON AT WAR 43-54

44 Lot 43 A RARE WORLD WAR 2 CARDBOARD LONDON AIR RAID SIGN, with printed lettering ‘TO PASSERS-BY You are invited to TAKE SHELTER in this House DURING AN AIR RAID’, 25 x 31cm £150 - 200 In 1940, and again in 1944-45, London suffered severe damage, being bombed extensively by the Luftwaffe as part of the Blitz. Prior to the bombing, hundreds of thousands of children in London were evacuated to the countryside to avoid the bombing. Civilians took shelter from the air raids in underground stations. The heaviest bombing took place between 7 September 1940 and 10 May 1941. During this period, London was subjected to 71 separate raids, receiving over 18,000 tonnes of high explosive. Less intensive bombing continued over the following few years as Adolf Hitler concentrated on the Eastern front.

London suffered severe damage and heavy casualties, the worst hit part being the area around London docks. By the war’s end, just under 30,000 Londoners had been killed by the bombing and over 50,000 seriously injured; tens of thousands of buildings were destroyed, and hundreds of thousands of people were made homeless.

Lot 44 DONALD W VANDY (20th century) ‘Oil Bombs in Ewell’ signed l.r., oil on canvas 50.5 x 76cm £400 - 600 There were several ‘Firemen Artists’ exhibitions at The Royal Academy in the 1940s: September 1941, 28 Aug-26 Sept 1942, 4 Nov-3 Dec 1943 and 27 Oct-3 Dec 1944. Donald W Vandy was a fireman at Epsom Station38-E/5-Z. He exhibited two works in the 1940 catalogue (No. 100. ‘Three A.M.’; No. 135. ‘Scaffold Dam in Golden Square’). He did not exhibit in the 1944 exhibition, so we can assume therefore that this painting must have been exhibited in either the 1942 or 1943 exhibition - exhibition No. 16. Lot 45 *HUBERT ARTHUR FINNEY ARCA (1905-1991) WW2 poster design for Red Cross Fund for Russia watercolour, signed verso 65 x 52cm, unframed £100 - 200

43-54 LONDON AT WAR

Lot 46 ‘KEEP CALM AND CARRY ON’ a rare original WW2 poster red background with white lettering and crown, printed by HMSO, September 1939 74.8 x 50.5cm £7,000 - 10,000 This poster has now become one of the most famous propaganda icons of World War II, and the irony is that the poster was never displayed in public. In September 1939, ‘Keep Calm’ and two other letterpress posters had been put into production, ‘Freedom is in Peril…’ and ‘Your Courage…’ were displayed in public places, but the third - now recognised the world over with the unforgettable slogan - was not. It is now widely accepted that it was held back in anticipation of an invasion of Britain by the enemy or a severe air raid. The ‘Phoney War’, being the period September 1939 to May 1940, proved to be largely uneventful for the home front, and a change in attitude to the wording probably contributed to the poster never being used. Although many thousands in several sizes were originally printed, only a few examples have ever appeared for sale. This example is in the larger double crown format.

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LONDON AT WAR 43-54

Lot 47 WINSTON CHURCHILL, a contemporary neon sign titled ‘Winston’ designed by VIX, with a photographic image of Winston Churchill between the words in neon ‘Rule Britannia’, wax signature seal to the reverse, 94 x 64cm £500 - 800

Lot 48 IMPERIAL WAR MUSEUM 1971, a London Transport poster advertising the Imperial War Museum, designed by Brian Liddle, the design with vignettes in the shape of a medal of Britain and London at War 100 x 63cm £150 - 200 Lot 49 Spare lot

48 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 60

43-54 LONDON AT WAR Lot 50 A LONDON RIFLE BRIGADE SOUTH AFRICA 1900/1902 BELT AND POUCH, with whistle, badge and silver decoration, 96cm long £500 - 800 Lot 51 AN HONOURABLE EAST INDIA COMPANY SERINGAPATAM MEDAL, 1799, by the Soho Mint in silver, 4.8cm diameter £700 - 900

Lot 52 MATTHEW BOULTON’S TRAFALGAR MEDAL, 1805, unmounted with full edge inscription, 5cm diameter £800 - 1,200

Lot 53 A BRITISH 1897 PATENT INFANTRY OFFICER’S SWORD, with knot and regulation leather scabbard, shagreen handle, 100cm long £300 - 500 Lot 54 AN HOUSEHOLD CAVALRY TROOPER’S SABRE SWORD BY WILKINSON, with fish skin grip, in regulation scabbard with buff leather knot, numbered 129170, 106cm long £400 - 600

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EARLY LONDON 55-66

Lot 55 JAMES HEDDERLY (1814-1885) a collection of seven photographs of Chelsea before the building of the Embankment in 1871-3: Old Battersea Bridge (as depicted by Whistler); Chelsea Old Church; Cheyne Walk near Chelsea Physic Garden; Monument to Sir Hans Sloane at Chelsea Old Church; Statue of Sir Hans Sloane by John Michael Rysbrack in Chelsea Physic Garden; Houses on Cheyne Walk at the junction of Beaufort Street and Battersea Bridge; Cheyne Walk before the building of the Embankment largest 20.5 x 42cm, unframed, together with a further photograph by W Brown of the Inspection of the Main Drainage Works at Barking, July 14th 1862 (8) £1,000 - 2,000 This collection by the Chelsea born artist James Hedderly gives a fascinating insight to what Chelsea was like in the 1870s, before the building of the embankment which changed the landscape of London so fundamentally. Hedderly’s work focused on the Chelsea area and he did much to document the construction of the embankment. It was a time when Chelsea was established as a major artistic centre and community in London based around places like Cheyne Walk, which in 1870 boasted Dante Gabriel Rossetti (no.16) and James Abbott McNeill Whistler (no.96) as residents.

Hedderly’s work can be seen in the Kensington and Chelsea Archives and National Monuments Record. Photographs are also published in John Bignall, ‘Chelsea seen from 1860 to 1980’, London Studio B, 1978.

57 56 Lot 56 A PAIR OF LONDON FLINTLOCK POCKET PISTOLS, c.1800, with full safety numbered barrels finely engraved ‘L. Adams London’, 18cm long (2) £1,000 - 1,500

Lot 57 A PAIR OF ‘RIVIERE LONDON’ POCKET PISTOLS, c.1790, with 60 bore octagonal bands, rainproof pans, roller frizzens and side safety catch, finely engraved ‘Riviere London’, 21cm long (2) £1,500 - 2,000

55-66 EARLY LONDON

Lots 58-60 Billy and Charley came from the area of Shadwell, London and began making forgeries in the middle of the 19th century. They started out as mudlarks, scouring the banks of the Thames for anything of value which they could then sell on. This brought them into contact with William Edwards, a London antiques dealer, who paid them for anything of interest they found. It soon became clear to Billy and Charley that there was money to be made in antiques, and in 1857 they began their counterfeit operation. It is believed that in the four or five years they were in production, Billy and Charley produced between 5,000 and 10,000 forgeries. The sheer volume of items aroused suspicions and they were brought to the attention of the British Museum who believed them to be forgeries. However, many archaeologists and local historians believed them to be real, giving them dates ranging from 1300 to 1600. Even a court case could not prove that the objects were forged or that the two men were behind it.

58 59

Lot 58 BILLY AND CHARLEY (OR THE SHADWELL FORGERIES), c.1860, a pair of Billy and Charley brass medallions cast with decoration of medieval appearance, 8.5 x 6cm (2) £200 - 300 Lot 59 BILLY AND CHARLEY (OR THE SHADWELL FORGERIES), c.1860, a large Billy and Charley brass medallion cast with decoration of medieval appearance with a warlock or witch-like figure, 8.5 x 6cm £200 - 300 Lot 60 BILLY AND CHARLEY (OR THE SHADWELL FORGERIES), c.1860, a rare Billy and Charley brass medieval folding tomb diptych, cast as a spearhead form with a relief depicting the tomb of a knight below the date 1211, the reverse depicts a sword, and the diptych opens to reveal a figure in chain mail and another bishop or priest-like figure, 14.5 x 6cm open 26cm £300 - 400

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EARLY LONDON 55-66

Lot 61 TWO SECTIONS FROM LONDON’S WOODEN WATER MAIN, of log form with hollow centres, one bearing a silver plaque by Walker & Hall, Sheffield 1937, inscribed ‘Presented To Sir William Bird, Section of London’s wooden water main found in 1910 New Newgate Street’, 31cm diameter (2) £600 - 800

Lot 63 ‘JACK THE RIPPER’ ‘The most diabolical murderer who baffled Scotland Yard’, 1959, Paramount Pictures, American one sheet movie poster, starring Lee and Eddie Byrne 68.5 x 104.5cm £100 - 200

Wooden water mains were first laid in London by Sir Hugh Myddleton in 1613, with the last laid in 1797. Lot 62 A COOPER ROACH, mounted in a naturalistic setting of reeds with sandy base, inscribed ‘Taken by Mr Thos. B Sheppard at the Blue House Waters, Tottenham on the 5th May 1871, 1lb, 9oz.’, with J Cooper label, three-glass bowfronted case with verre églomisé border, 45cm wide 13cm deep 29cm high £300 - 400

63 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 60

55-66 EARLY LONDON

Lot 64 A LEATHER STRAP, possibly part of a harness, with two brass rings, one impressed ‘Alfred A Grosvenor, Guy’s Hospital, London S.E.’, the second ‘Greville Place, Maida Vale, London NW & Guy’s Hospital, London SE9’, each ring 5.7cm diameter £100 - 200

Lot 65 A 12LB CANNONBALL, 18th century, a mudlark beach find, 12cm diameter £80 - 120

Lot 66 LEATHER SHOE COMPONENTS, 16th/17th century and later, found in the river Thames, by mudlarks, including a nearly complete child’s shoe (qty.) £100 - 150

66 detail

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ARCHICTECTURE AND MONUMENTS 67-79

Lot 67 ATTRIBUTED TO FREDERICK NASH RWS (1782-1856) ‘A Procession in Westminster Abbey, Looking East From Behind the Choir Screen’ watercolour with pencil, highlighted with bodycolour 65 x 55cm £400 - 600

Lot 68 EDWARD SHERRATT COLE (1817-1905) ‘The Henry VII Chapel, Westminster Abbey’ signed and dated l.r. E S Cole/1875, watercolour 65 x 49.5cm £400 - 600

Nash’s first picture, exhibited at the Royal Academy in 1800, had been a drawing of the ‘North Entrance of Westminster Abbey’, and it was a location that he returned to on numerous occasions. Nash is recorded as having painted a further view of the Abbey’s interior in 1811 and a ‘repetition of the same subject’ (1) in 1824, the latter measuring c.110 x 90cm. This was exhibited on several occasions at the conversaziones of the RWS and at the Burlington Fine Arts Club and was owned by Sir Thomas Lawrence who later sold it to Sir Thomas Baring. Mention is made of a Westminster interior in 1827; a smaller work than the present one is in the collection of the Yale Centre for British Art (Acc. No. B1975.3.1063); finally Nash wrote in 1855, the year before his death, to John Mogford (then organiser of the Crystal Palace Exhibition) wondering if a drawing of his of Westminster Abbey was too large and required reframing.

The Henry VII Lady Chapel, at the far Eastern end of Westminster Abbey, was paid for using funds from the will of Henry VII. The tombs of Henry VII, Edward VI, Mary I, Elizabeth I, James I and Charles II are situated within the chapel. The chapel is also the mother church of the Order of the Bath: the banners, seen here in the right foreground and left background, are those of its members.

Lot 69 SAMUEL READ RWS (1815-1883) ‘The East End of Westminster Abbey’ (1868) titled, monogrammed and dated l.l., to backboard, watercolour 58 x 42cm £400 - 600 In his capacity as an illustrator for the ‘Illustrated London News’, Read contributed a series on the Cathedrals of England. It is likely that the present work was painting during that project. Extant prints after Read’s Westminster views also include ‘North Aisle’ (1872) and ‘Special Service in Westminster Abbey on Sunday Evening last’ (ibid. 1861). Several other views of the interior of Westminster were later engraved by Read’s old teacher, Whymper’s son (see third image above, reproduced in Rev. C Bullock, ‘Our Own Fireside Annual’, London (1874).

67-79 ARCHITECTURE AND MONUMENTS

Lot 70 *KEN HOWARD RA (b.1932) St Anne’s Church, Soho, London signed l.r., oil on canvas, there is a photograph of the original inscription, now covered by the relining, attached to the stretcher 107 x 61cm £3,000 - 5,000

Lot 71 *KEN HOWARD RA (b.1932) The Royal Exchange, City of London signed l.r., oil on canvas board 33.5 x 25.5cm £1,000 - 1,500

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ARCHITECTURE AND MONUMENTS 67-79 Lot 72 ST CHRISTOPHER’S CHURCH, THE BANK OF ENGLAND AND ST BARTHOLOMEW’S CHURCH a coloured engraving 19 x 25cm, and HANOVER SQUARE published according to Act of Parliament 1754 for Stones Survey engraving 35 x 47cm (2) £200 - 300

72 Lot 73 THORNTON’S ‘NEW HISTORY & SURVEY OF LONDON AND WESTMINSTER’ published 1784, seven engraved plates: Frontispiece; Sir Christopher Wren Presenting to Charles II and View of the Temporary Bridge of London as it appeared on fire on the night of April 11th 1758; Views of Kensington Palace, Ranelaugh Gardens and Vauxhall Gardens; Views of Gray’s Inn, Lincoln’s Inn and Northumberland House; North view of Old St Paul’s Church, South View of Old St Paul’s Church, South View of Old St Paul’s Church when the spire was standing; Views of Wandsworth and Clapham in Surrey, and Inside Views of Westminster Abbey, St Paul’s Cathedral and St Stephen’s Church, Walbrook hand-coloured and individually framed 33 x 21cm (7) £200 - 400

Lot 75 ACID-ETCHED LONDON, early 20th century, a set of acid-etched glass window panels depicting Windsor Castle, the Tower of London and St Paul’s Cathedral, probably from a public house largest 80 x 191cm (3) £300 - 500

Lot 74 DALGLISH, c.1943 St Paul’s and bomb ruins signed in pencil and dated 43, etching plate 26 x 36cm £100 - 150

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67-79 ARCHITECTURE AND MONUMENTS

Lot 76 M BAILEY, 20th century ‘Fleet Street’ signed l.l., watercolour 25.5 x 17.5cm £100 - 150

Lot 77 THOMAS COLMAN DIBDIN (1810-1894) St Paul’s from the General Post Office, 1837 signed and dated below the mount l.l., watercolour heightened with white 32.5 x 24.5cm £250 - 350 Provenance: Christie’s London, 25 October 1988, lot 126.

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Lot 78 HERBERT MILLER MARSHALL (1880-1925) Ludgate Hill from the cathedral steps signed and dated 1895 l.r., inscribed on a fragmentary label attached to the reverse 35.5 x 26.5cm £300 - 400

Lot 79 *PIETRO SANSALVADORE (Italian, 1892-1955) Trafalgar Square from the roof of Norway House inscribed verso, oil on board 23.5 x 19.5cm £200 - 300

THE THAMES 80-119

Lot 81 *ANNE BULITIS, 20th century Butler’s Wharf signed, inscribed as titled and numbered 1/50, etching and aquatint plate 48.5 x 33.5cm £200 - 300 Lot 82 JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Longshore Men (Wedmore 43; Kennedy 45) etching and drypoint, signed and dated 1859 in the print l.r. plate 15 x 22.5cm £300 - 500

Lot 80 *ANNE BULITIS, 20th century ‘Thames View’ artist’s proof, signed and inscribed in pencil, etching plate 15 x 30cm £200 - 300

Lot 83 LONDON FROM THE SOUTH SIDE OF THE THAMES a wood engraving by J Robert Loudon, after Thomas Sulman, issued as an extra supplement to the illustrated London News, 9 Feb 1861, framed, with separate frame key image 53 x 133cm key 23 x 55.5cm £200 - 400

80-119 THE THAMES

85 Lot 84 WILLIAM LIONEL WYLLIE (1851-1931) Southwark Bridge etching, signed in pencil plate 12.3 x 32.5cm £250 - 350 Lot 85 WILLIAM LIONEL WYLLIE (1851-1931) London Bridge etching, signed and inscribed in pencil plate 16 x 37.5cm £250 - 350

Lot 86 WILLIAM LIONEL WYLLIE (1851-1931) Westminster Bridge signed in pencil, etching plate 22.5 x 37.5cm £300 - 500 Lot 87 WILLIAM LIONEL WYLLIE (1851-1931) Somerset House (Waterloo Bridge) signed in pencil l.l., etching, framed plate 24 x 36cm £400 - 500

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THE THAMES 80-119 Lot 88 JAMES ABBOTT MCNEILL WHISTLER (1834-1903) Eagle Wharf (Wedmore 39; Kennedy 41) drypoint etching, signed and dated 1959 in the print l.c., from ‘The Thames Set’, published 1871 plate 13.5 x 21.5cm £400 - 450

Lot 90 JAMES ABBOTT MCNEILL WHISTLER (1834-1903) ‘The Pool’ (Wedmore 41; Kennedy 43) etching and drypoint, signed and dated 1859 in the print l.l., from ‘The Thames Set’, published 1871 plate 14 x 22.2cm £500 - 800

Lot 89 WILLIAM LIONEL WYLLIE (1851-1931) Cleopatra’s Needle signed in pencil, l.l., etching, framed plate 19.5 x 15cm £300 - 400

Lot 91 WILLIAM LIONEL WYLLIE (1851-1931) Greenwich signed in pencil l.l., etching, framed plate 8.5 x 35cm £350 - 400

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 60

80-119 THE THAMES Lot 92 WILLIAM LIONEL WYLLIE (1851-1931) The Palace of Westminster signed in pencil, l.l., etching, framed plate 20 x 40cm £400 - 500 Lot 93 WILLIAM LIONEL WYLLIE (1851-1931) Tower Bridge (Pool of London) signed in pencil l.l., etching, framed plate 10 x 34.5cm £350 - 400

94 Lot 94 WILLIAM LIONEL WYLLIE (1851-1931) London and Tower Bridge signed in pencil, etching, framed plate 12 x 32.5cm £350 - 400

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Lot 95 WILLIAM LIONEL WYLLIE (1851-1931) London Bridge before Southwark Cathedral signed in pencil l.l., etching, framed plate 30 x 22cm £400 - 500

THE THAMES 80-119

Lot 96 ARTHUR WILDE PARSONS (1854-1931) Tower Bridge signed l.r., further signed and dated 1914 under the mount, oil on canvas in a circular mount 63 x 63cm £2,000 - 3,000 The river Thames was a subject which Parsons returned to time and again. Here we see in the distance, beyond Tower Bridge, the outlines of dreadnought battleships moored near St. Paul’s. An effective, probably fictional touch, this broadens the depiction from an attractive topographical view, to one documenting British sea-power through time, including naval forces on the eve of war. It is worth noting that the first naval action of WWI took place off the Thames estuary. HMS Amphion encountered and sunk a German minelayer, but the next morning while returning to port, it struck a mine and sank.

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 60

80-119 THE THAMES

97 Lot 97 AFTER GIOVANNI ANTONIA CANAL, CALLED CANALETTO (ITALIAN 1697-1768) The Thames from Somerset House Terrace looking towards the City Oil on canvas 68 x 97cm £3,000 - 5,000 Canaletto’s original composition is in the Royal Collection.

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THE THAMES 80-119

Lot 98 FREDERICK EDWARD JOHN GOFF (1855-1931) London Bridge signed and inscribed l.r., watercolour heightened with white 25 x 35cm £2,000 - 3,000

Lot 99 LOUIS ASTON KNIGHT (1873-1948) Tower Bridge signed, inscribed ‘London’ and dated 1905 l.r., oil on canvas 55 x 45.5cm, unframed £2,500 - 3,500

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80-119 THE THAMES

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THE THAMES 80-119 Lot 100 FREDERICK WILLIAM SCARBOROUGH (1860-1939) Sunset, Greenwich Reach; The Thames at Greenwich Reach a pair, signed and inscribed l.l. and l.r., respectively, watercolour 24.5 x 34cm (2) £1,500 - 1,800

Lot 101 JOHN FULLYLOVE (1845-1908) The Old Customs House St. Magnus the Martyr; London Bridge a pair, both signed with initials and dated 84 l.r., watercolour 12.5 x 17.5cm (2) £500 - 700

Lot 102 *ROY PERRY (1935-1993) Shipping moored on the Thames, Tower Bridge open beyond signed l.l., oil on paper 44.5 x 68cm £800 - 1,200

Lot 103 WILLIAM RICHARDSON RA (fl.1842-1877) ‘View of Blackfriars Bridge and St Paul’s Cathedral, London’ signed and dated 1843 l.r., watercolour 39 x 65.5cm £800 - 1,200 Provenance: Lord Nathan, 1951.

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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 60

80-119 THE THAMES

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THE THAMES 80-119

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105 Lot 104 HERBERT MILLER MARSHALL (fl.1880-1925) On the Thames signed and dated 1889 l.l., watercolour 12.5 x 20.5cm £200 - 300 Lot 105 CIRCLE OF GIDEON YATES The Thames with St Paul’s in the distance watercolour 30 x 45.5cm £200 - 300 Lot 106 ARTHUR GORDON (1883-1944) Twickenham on Thames signed and dated 1896-7 l.l., and inscribed verso, oil on canvas 20 x 35.5cm £150 - 200

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107 part lot Lot 107 A SET OF FIVE LONDON VIEWS comprising: the Royal Exchange; Windsor Castle; Westminster Bridge; The Monument; Marylebone Gardens engraving with hand-colouring, printed by Jn Bowles & Son image 17.5 x 26.5cm (5) £100 - 200

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 60

Lot 108 *ROY PERRY (1935-1993) Shipping moored on the Thames in London signed l.r., oil on paper 44.5 x 68cm £800 - 1,200

Lot 109 *JACK MERRIOTT (1901-1968) London Bridge from the South Side of the Thames signed l.l., pen and ink and watercolour 39.5 x 35cm £300 - 500

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Lot 110 NORA BALDWIN (20th century) The Houses of Parliament, Westminster, from St Thomas’s Hospital signed ‘N Baldwin’ l.r., oil on canvas 70 x 90cm £300 - 400 Lot 111 WILLIAM FREDERICK LIDDELL (fl.1905-1927) the Pool of London, looking up river towards the Tower of London signed l.r., watercolour 18.5 x 27.5cm £200 - 300

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Lot 112 AFTER GEORGE VICAT COLE RA (1833-1893) The Pool of London bears signature ‘Vicat / Cole / 1888’ l.r. on the barge, watercolour 49 x 74cm £300 - 500

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Lot 113 *SYDNEY MAIDEN (1893-1963) ‘Royal Albert Docks signed l.l., Royal Albert Docks September 1951, watercolour 32.5 x 43.5cm, framed £300 - 500 Lot 114 CIRCLE OF GEORGE PYNE Richmond Bridge watercolour 24 x 34cm £150 - 250 Lot 115 *CHARLES BARTLETT (1921-2014) Westminster aquatint, signed artist’s proof plate 37 x 47cm £200 - 300

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115 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 60

80-119 THE THAMES

Lot 116 *CAREL WEIGHT (1908-1997) ‘Albert Bridge’ lithograph, published by J Lyons & Co. Ltd. image 74 x 98cm £100 - 150 Lot 117 *PETER KELLY (b.1931) ‘Fading Light, Royal Albert Dock - London’ signed with initials l.l., titled on a gallery label attached to the reverse, oil on board 29.5 x 44.5cm £300 - 500

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Lot 118 *RAPHAEL NELSON (1898-1968) Shadwell church from London docks; Study of Thames barges; Custom House from Hays Wharf; The Thames from Hays Wharf; Boats on the Thames, from the ‘Sunday in London’ series each signed l.r., watercolour 39 x 55cm, unframed (5) £200 - 300 Lot 119 *MICHAEL QUIRKE (b.1946) Evening on the River Thames signed l.r., oil on canvas £200 - 300

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THE STREETS OF LONDON 120-142

120 Lot 120 ANNE BULITIS, 20th century ‘Chapel Street’ artist’s proof, signed and inscribed in pencil, etching plate 13.5 x 26cm £200 - 300

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Lot 121 GEORGE BELCHER (1875-1947) ‘Two Ladies of Waltham Avenue taken from life’ etching and aquatint, signed in pencil plate 29 x 21cm £300 - 500

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Lot 122 GEORGE BELCHER (1875-1947) ‘A Lady of Battersea…’ signed in pencil, etching and aquatint plate 27.5 x 17.5cm £300 - 500

Lot 123 ENGLISH SCHOOL (20th century) Trafalgar Square at night oil on board 45 x 57.5cm, unframed £200 - 300

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120-142 THE STREETS OF LONDON

124 Lot 124 *WILLIAM RATCLIFFE (1870-1955) High Street, Hampstead ink and watercolour 37.5 x 46.5cm, framed £2,000 - 2,500 Provenance: A gift to the Victor Batte-Lay Trust in 1963 for the Colchester Contemporary Art Society, by the then curator of the Minories, Jack Wood Palmer. The work was included in the 1954 exhibition at Letchworth Museum and Art Gallery, priced at 10 guineas. Lot 125 *ATTRIBUTED TO RUSKIN SPEAR RA (1911-1990) On the platform at Notting Hill Gate oil on board 19 x 25.5cm, unframed £500 - 700

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THE STREETS OF LONDON 120-142 Lot 126 *FRANK BATESON MASON (1910-1977) Limehouse Wharf signed l.l., inscribed and signed verso, oil on board 42 x 71cm £400 - 600

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Lot 127 BRITISH SCHOOL (20th century) Hyde Park Corner oil on board 19.5 x 23.5cm £200 - 300 Lot 128 BERNARD SHANE (c.1964) 515 Mile End Road, London, Bow E3 signed l.r. July 1964, oil on board 53 x 68cm, framed £100 - 200 Lot 129 MARION REES (20th century) The Old House signed l.r., tempera on board 36.5 x 29cm £100 - 200

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120-142 THE STREETS OF LONDON

130 Lot 130 *JACK BRIDGER CHALKER (1918-2014) A bustling junction with St Paul’s Cathedral beyond signed and dated 1947 l.r., oil on canvas 71 x 91cm £2,000 - 3,000

Lot 131 LONDON BRIDGE AND ROTTEN ROW, c.1900, a pair of Austrian porcelain plates in the Vienna manner, finely painted with topographical panels of ‘London Bridge’ and ‘Rotten Row’, reserved within gilt cartouches and set with a cobalt blue and gilt ground border, painted beehive mark in blue and script title in black to the reverse, 24cm diameter (2) £800 - 1,200

The summer of 1947 was one of the hottest and driest of the 20th century in Britain; Chalker captures a sense of both heat and dust - and of a city slowly re-emerging from the destruction of war. The artist returned to the RCA to complete his studies after imprisonment by the Japanese in Burma during WWII. His time back at college coincided with the arrival of Carel Weight as a teacher at the RCA - and it is interesting to speculate whether there may be a link between this work by Chalker, and Weight’s much admired ‘Holborn Circus’ of the same year, which appears closely related in numerous ways.

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THE STREETS OF LONDON 120-142

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132A Lot 132 C MORRIS (c.1936) Finsbury Square signed and dated 36 l.l., watercolour 14 x 21.5cm £100 - 150

Lot 132A *MICHAEL RANDALL (1947-2000) Poll Tax Riots, 1990 signed and dated 96 l.r., gouache 34 x 52cm £250 - 350

133 Lot 133 *DAVID GENTLEMAN (b.1930) Seven Dials - Covent Garden lithograph, signed in pencil and numbered 20/120 image 54 x 40cm £100 - 150

Lot 134 AFTER GEORGE CRUIKSHANK Comic Almanack, 1936, 12 calendar prints of London scenes each 9.5 x 14cm, framed in four sets of three (4) £100 - 150

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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 60

120-142 THE STREETS OF LONDON Lot 135 *MICHAEL QUIRKE (b.1946) Leicester Square Signed, l.r., oil on canvas 51 x 61cm £200 - 300

Lot 135A *MICHAEL RANDALL (1947-2000) Soho Hairdressers signed with initials l.r., acrylic on card 23.5 x 16.5cm £150 - 250

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Lot 136 *SOPHY BRISTOL (b.1973) ‘Girly Gossip, Shepherd’s Market’ signed l.r., oil on canvas 73 x 73cm £200 - 300

Lot 136A *MICHAEL RANDALL (1947-2000) View from Kentish Town signed with initials l.r., charcoal and pastel 49 x 59cm £300 - 500

Lot 137 ROSS FOSTER (Contemporary) ‘Alice’s Portobello Road’ oil on canvas, signature l.r. with monogram 50 x 75cm £300 - 500 Alice’s world famous antique decorative modern vintage shop was established in 1877.

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THE STREETS OF LONDON 120-142 Lot 138 JOHN ELKAN’S RINGS, late 19th century, an enamel sign for a jeweller’s shop, ‘John Elkan’s Rings, Liverpool Street’, 71 x 163cm, including frame £1,500 - 1,800

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139 Lot 139 AN ENAMEL CITY OF LONDON STREET SIGN FOR WALBROOK EC4, in original metal frame, 30 x 102cm £100 - 200 Walbrook is a City ward and a minor street in its vicinity. The ward is named after a river of the same name. The ward of Walbrook contains two of the City’s most notable landmarks: the Bank of England and the Mansion House. The street runs between Cannon Street and Bank junction, though vehicular traffic can only access it via Bucklersbury, a nearby side-road off Queen Victoria Street.

Lot 140 BRITAIN - THE LONDON POLICE, 1960s, a British Travel and Holidays Association poster of a policeman standing in front of Big Ben, ‘Obliging, courteous, informative, ubiquitous - The London Police’, Sun Printers Limited, 76 x 51cm £100 - 200 Lot 141 ‘DO YOUR SHOPPING EARLY’ 1936, a rare London Underground panel poster designed by Fougasse (Cyril Kenneth Bird OBE), for display in Underground train carriages during Christmas 1936 25 x 32cm £200 - 300

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Lot 142 A PHILIPS 6 INCH TERRESTRIAL GLOBE, c.1890, on an ebonised wood turned base 26cm high £300 - 500

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142 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 60

MAPS OF LONDON 143-156

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Lot 143 GROWTH OF LONDON MAPS 1901-1902, a complete set of London County Council’s 6inch Maps - ‘Shewing the Growth of London - Edition 1901-1902’, 35 sheets, together with a smaller sheet noting that sheet 30 was not published as the image is on the margin of sheet 24, 40 x 56cm (36 sheets in total) £300 - 500

Lot 144 BOWLE’S REDUCED NEW POCKET PLAN OF THE CITIES OF LONDON AND WESTMINSTER 1785, a copper engraved and hand-coloured map of the Cities of London and Westminster laid down on to cloth and folding into the original slipcase, 38.5 x 55cm £300 - 400

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Lot 145 WANSTEAD HOUSE, an early map of Wanstead, Waltham and Leytonstone, by R Parr, titled ‘Carte Topographique des Villes de Londres et de Westminster, du Bourg de Southwark, et de Leurs Environs Levè Tres exactement fur les lieux heux par Jean Rocque en 1741, et finis en 1745. Publié en 1746, felon une Acte de Parlement’, 49 x 68cm, framed £100 - 200

The Bowles family were successful map publishers and sellers whose considerable output spanned a century. This map is the second, possibly third, edition of an original 1777 plan.

Lot 146 CASSELL’S MAP OF THE ENVIRONS OR TWENTY MILES ROUND LONDON, c.1864, map including four sheets covering Chelmsford to Guildford, published by Cassell, each sheet approximately 68.6 x 101cm £200 - 250

MAPS OF LONDON 143-156

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Lot 147 SUBURBS OF LONDON, c.1864, map covering Bromley and Blackwall, published by Cassell, 50.5 x 34.1cm £100 - 140

Lot 149 SUBURBS OF PECKHAM & C., c.1864, map covering Camberwell, Dulwich and Peckham, published by Cassell, 34.6 x 50.7cm £120 - 160

Lot 148 SUBURBS OF LONDON, c.1864, map covering Greenwich and Blackheath, published by Cassell, 50.5 x 34.2cm £140 - 180

Lot 150 SUBURBS OF LONDON - HAMMERSMITH & C., c.1864, map covering Holland Park, Ravenscourt Park and Fulham, published by Cassell, 34.3 x 50.5cm £120 - 160

Lot 151 SUBURBS OF LONDON, c.1864, map covering Bayswater, Notting Hill, Kensal Green and Shepherds Bush, published by Cassell, 34.9 x 50.6cm £140 - 180 Lot 152 SUBURBS OF LONDON, c.1864, map covering Stockwell and Clapham, published by Cassell, 50.4 x 34.6cm £120 - 160

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143-156 MAPS OF LONDON Charles Booth (1840-1916) was an English philanthropist and social researcher. He is best known for his innovative survey documenting London working class life at the end of the 19th century (most famously through his colour-coded poverty maps of the city of which this is one such map). This work influenced government intervention against poverty in the early 20th century and led to the founding of Old Age pensions. He popularised the concept of the ‘Poverty Line’. Lot 153 CHARLES BOOTH LONDON SOCIAL CONDITIONS 1929-1930, Charles Booth London Social Conditions 1929-1930, coloured lithograph map (sheet 11) covering Willesden, Acton, Hammersmith, Fulham, Kensington and Paddington, published by P S King & Son, 92.5 x 50cm £350 - 450 Lot 154 CHARLES BOOTH LONDON SOCIAL CONDITIONS 1929-1930, Charles Booth London Social Conditions 1929-1930, coloured lithograph map (sheet 10) covering Hornsey, Hampstead, St. Pancras and Islington, published by P S King & Son, 46 x 48.5cm £320 - 360 Lot 155 CHARLES BOOTH LONDON SOCIAL CONDITIONS 1929-1930, Charles Booth London Social Conditions 1929-1930, coloured lithograph map (sheet 9) covering Chelsea, Kensington, Westminster and Fulham, Lambeth, Southwark, Battersea and Camberwell, published by P S King & Son, 103.5 x 69.5 cm £450 - 550

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154 Lot 156 CHARLES BOOTH LONDON SOCIAL CONDITIONS 1929-1930, Charles Booth London Social Conditions 1929-1930, coloured lithograph map (sheet 8) covering Marylebone, Holborn, Finsbury, Paddington, Hampstead, St. Pancras, Islington and Westminster, published by P S King & Son, 64 x 79cm £350 - 400

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LONDON UNDERGROUND 157-172

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159 Lot 157 LONDON UNDERGROUND RAILWAY MAP 1937, a rare London Underground internal map showing the proposed authorised extensions and the interchange stations of the London Underground network, LT Code 37-957-55000, 60.7 x 45.7cm £180 - 200 Lot 158 VITALY MARKIN (Russian, 1924-1998) ‘On-Peak time in the tube’ signed and dated 60 l.l., pencil 53 x 35cm £150 - 200

Lot 159 PAUL E GARBUTT, 1979, a rare London Underground platform map quad royal, 127 x 101.6cm £250 - 300 Lot 160 CHANCERY LANE, c.1960s, a London Transport original enamel frieze, 160 x 23cm £400 - 450

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Lot 161 IMPERIAL WAR MUSEUM, late 20th century, a London Underground original enamel sign for ‘South Bank University Exit Imperial War Museum’, 20 x 81cm £100 - 150

157-172 LONDON UNDERGROUND

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Lot 162 TOWER HILL STATION ROUNDEL, c.1970s, a London Underground original enamel roundel, 125 x 125cm £500 - 600

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Lot 163 GOLDERS GREEN, late 20th century, a London Transport original enamel sign for Golders Green underground station, 125 x 125cm £600 - 900

164 Lot 164 CENTRAL LINE, a London Underground enamel frieze sign, 23 x 49.5cm £220 - 280

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Lot 165 NORTHERN LINE, a London Underground enamel frieze sign, printed on reverse DN 18465/24 CHROMO W’TON G4G17738, 23 x 71cm £220 - 280

Lot 166 PICCADILLY LINE, a London Underground enamel frieze sign, painted on reverse F1 GP, 24.5 x 53.5cm £220 - 280

166 www.sworder.co.uk

LONDON UNDERGROUND 157-172

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167 Lot 167 SHEPHERD’S BUSH, a London Underground enamel roundel, with bronze mount, the sign has been attached to backing board for wall mounting, 50 x 61.5cm £2,500 - 2,800

Lot 168 GREEN PARK, a London Underground enamel roundel, with bronze mount, the sign has been attached to backing board for wall mounting, 50 x 61.5cm £2,500 - 2,800

Lot 169 KNIGHTSBRIDGE, a London Underground enamel roundel, with bronze mount, the sign had been attached to backing board for wall mounting, 50 x 61.5cm £2,500 - 2,800

The London Transport roundel has become one of the most recognised and imitated logos in the world and its original design is over 100 years old, first appearing on Underground station platforms in 1908. The bar and circle, as it became known, comprised a solid red enamel disc and horizontal blue bar. These early roundels, framed with timber mouldings, were introduced as station nameboards. The new device gave prominence to the name of the station and helped passengers distinguish it from surrounding commercial advertising. In 1915, the Underground’s publicity manager, Frank Pick, commissioned the calligrapher Edward Johnston to design a company typeface. By 1917, the proportions of the roundel had been reworked to suit the new lettering and incorporate the Underground logotype. The solid red disc became a circle, and the new symbol was registered as a trademark. By 1919, Johnston’s standardised roundel symbol was being used on publicity, and it began to appear on station exteriors and platform nameboards from the early 1920s. Around this time, Johnston introduced exact guidelines for the reproduction of the roundel. The proportions of the ‘bullseye’, as he called it, were re-designed to incorporate the standardised company typeface.

168 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 60

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Lot 170 MARBLE ARCH, a London Underground enamel roundel, with bronze mount, the sign has been attached to backing for wall mounting, 50 x 61.5cm £2,500 - 2,800

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Lot 171 OXFORD CIRCUS, a London Underground enamel roundel, with bronze mount, the sign has been attached to backing board for wall mounting, 50 x 61.5cm £2,500 - 2,800 Lot 172 SWISS COTTAGE, a London Underground enamel roundel, 60 x 45cm £800 - 900

172 www.sworder.co.uk

LONDON TRANSPORT 173-184

Lots 173-178 The following six lots were designed by Hans Schleger (1898-1976). Working with Edward Johnson’s special typeface created for London Transport, Hans Schleger - or Zero as he signed himself - adopted the famous roundel used by London Underground for use at Bus Stops. Born in Germany, Hans Schleger was an influential graphic designer.

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Lot 173 LONDON TRANSPORT COACH STOP POSTER a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

Lot 174 LONDON TRANSPORT COACH STOP/ BUS STOP POSTERS a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

Lot 175 LONDON TRANSPORT BUS AND COACH STOP COMPULSORY STOP POSTER a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

Lot 176 LONDON TRANSPORT BUS STOP POSTER a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

Lot 177 LONDON TRANSPORT BUS STOP REQUEST RED ARROW a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

Lot 178 LONDON TRANSPORT BUS STOP REQUEST POSTER a 1970s screenprinted poster 40.64 x 35.56cm £70 - 100

173-184 LONDON TRANSPORT

180 179 Lot 179 AN EARLY RAILWAY MAP, a ‘Davies’s New Map of the British Metropolis: The Boundaries Of The Boroughs, County Court Districts Railways, And Modern Improvements’, ‘London: Published for the proprietor by Saunder & Stanford, Oct. 25th. 1852’, hand-coloured folding linen backed, in 32 segments, 67 x 98cm £150 - 250

Lot 180 LADIES’ ROOM, mid-20th century, a British Railway enamel sign ‘Waiting and Ladies Rooms’, 45 x 60.5cm £300 - 400

Lot 181 ‘GENTLEMEN’, mid-20th century, a British Railway enamel toilet sign ‘Gentlemen’, 30.5 x 91cm £250 - 350

181 Lot 182 MORNING CRESCENT STATION, 1959, a London Transport bus blind, and AN ALDWYCH BUS BLIND, 91 x 33cm (2) £70 - 100

182 part lot

183 part lot Lot 183 HACKNEY STATION, 1970, London Transport bus blind, A CLAPHAM POND BUS BLIND, and A TOOTING BEC BUS BLIND, 105 x 30cm (3) £100 - 150

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Lot 184 A LARGE LONDON TRANSPORT BUS BLIND, including Canning Town, Leyton Green, Silvertown and Walthamstow Central, 317 x 106cm £150 - 250

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Design

Arts & Crafts | Art Deco | Modern Design

Tuesday 26 January 2021 To consign johnblack@sworder.co.uk 01279 817778 Entries close 11 December 2020

Jewellery at SworderS To consign for 2021 Catriona Smith | jewellery@sworder.co.uk Catrin Jones | catrinjones@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%. Hammer Price

Royalty

From 0 to €50,000

From €50,000.01 to €200,000

From €200,000.01 to €350,000

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

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.

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. 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: • • • •

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.

TERMS AND CONDITIONS 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 Conditions of Business incorporating the Terms of Consignment (primarily applicable to sellers), the Terms of Sale (primarily applicable to bidders and buyers) and any notices that are displayed in our salerooms or announced by the auctioneer at the auction. Our Conditions of Business 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 Conditions of Business that you do not fully understand. Please make sure that you read our Terms of Sale set out in this catalogue or on our website 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. 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 web site, 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 within this time. Please note what the Terms of Sale say about collection and storage. Items not removed by 5pm on Friday may be removed at the purchaser’s expense and storage charges of £10 as an administration fee and £2 per lot per day may be charged (plus vat). Please note that we will apply these charges strictly to Furniture purchased in our Homes and Interiors Sales. Dispatch We are rarely able to pack and dispatch purchases. A choice of shippers is detailed on our web site. 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.

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. 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% plus VAT while bidding via Sworders website. If bidding through the-saleroom.com this will be charged at 4.95% plus VAT. Both charges will be payable to us on top of the hammer price and our buyer’s commission.

IMPORTANT NOTICES

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 Port auctions when it is 15%. In addition, VAT is charged on these premiums (see below).

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.

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.

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.

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. 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 condition of lots set out in the Terms of Sale at clause 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.

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 Both the sale of goods at our auctions and your relationship with us are governed by the Terms of Consignment (primarily applicable to sellers) the Terms of Sale (primarily applicable to bidders and buyers) and any notices displayed in the saleroom or announced by us at the auction (collectively, the ‘Conditions of Business’). The Terms of Consignment and Terms of Sale are available at our saleroom on request. Please read these Terms of Sale carefully. 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. Please note that these Terms of Sale relate to auctions held at our premises only. We have separate terms for online only auctions. 1. Definitions and interpretation 1.1 To make these Terms of Consignment easier to read, we have given the following words a specific meaning:

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

the dispute in another way. We will act reasonably when deciding how to settle the dispute.

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.

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

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

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

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

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

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.

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

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.

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 Port Auction; c. any artist’s resale right royalty payable on the sale of the Lot; and d. any VAT due. 5. VAT 5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price and premium 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.

‘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 you consign to us for sale at our auction;

‘Hammer Price’

means the level of the highest bid for the Goods 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 and any applicable VAT;

‘Proceeds’

means the Price less the Commission, the Premium, 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);

‘Terms of Consignment’

means these terms of consignment;

‘Terms of Sale’

means the terms of sale for bidders or buyers at our auctions;

7.2 If you owe us any money, we may use any payment made by you to repay these debts.

‘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);

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.

‘VAT’

means any value added tax or equivalent sales tax; and

‘Website’

means our website available at www.sworders.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.

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).

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.

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

Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle

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.

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 after the hammer falls when the highest bid for the Goods at the auction is written into the Auction book by the Auctioneer. 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 in 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. Note there is an upper limit of 10,000 euros equivalent for payments in cash.

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. 8.3 If you do not collect the Lot within this time period, you will be responsible for any reasonable removal and storage charges in relation to that Lot. 8.4 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot. 8.5 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.

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 8.5). 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;

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:

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.

15.3 Notices must be sent:

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.

9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

13. Deliberate Forgeries 13.1 You may return any Lot which is found to be a Deliberate Forgery to us within 30 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.

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.

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:

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, our employees’ or our agents’ negligence.

13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or

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

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.

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 Conditions of Business. 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.

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.

14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:

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.

14.4.3 any liability which cannot be excluded by law.

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 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.

15.2.1 by delivering it by hand; 15.2.2 by first class pre-paid post or Recorded Delivery; or 15.2.3 by email, provided that receipt of the email is acknowledged by the recipient. 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. 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. These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers

www.sworder.co.uk The Stansted Auction Rooms Cambridge Road Stansted Mountfitchet Essex CM24 8GE

London Office 15 Cecil Court London WC2N 4EZ

Tel 01279 817778 Fax 01279 817779 Email auctions@sworder.co.uk

Tel 0203 971 2500 Email london@sworder.co.uk

Hertford Office 42 St Andrew Street Hertford SG14 1JA Tel 01992 583508 Fax 01992 586074 Email hertfordoffice@sworder.co.uk

Kent Office Tel 01732 757675 Email kent@sworder.co.uk