Issuu

A N T H O N Y G I L B E RT BERNARD MYERS B RYA N I N G H A M CERI RICHARDS CYRIL MANN E A R D L E Y K N O L LY S H A L B U R ROW S HANS FEIBUSCH JOHN WELLS K AT H L E E N G U T H R I E L E O DAV Y LESLIE MARR LIONEL BULMER M A RG A R E T G R E E N M I C H A E L U P TO N PAU L R U DA L L P I E T RO L A Z Z A R I RO M I B E H R E N S FROM THE STUDIO: WORKS FROM EIGHTEEN ARTISTS’ ESTATES SUNDAY 11TH OCTOBER 2026

INDEX: BEHRENS, R

37-48

BULMER, L

106-108, 110, 112, 116-120

BURROWS, H

174-181

DAVY, L

143-154

FEIBUSCH, H

71-94

GILBERT, A

18-25

GREEN, M

103-105, 109, 111, 114-115

GUTHRIE, K

95-102

INGHAM, B

8-17

KNOLLYS, E

61-70

LAZZARI, P

164-173

MANN, C

49-60

MARR, L

155-163

MYERS, B

182-216

RICHARDS, C

1-7

RUDALL, P

121-130

UPTON, M

131-142

WELLS, J

26-36

FROM THE STUDIO: WORKS FROM EIGHTEEN ARTISTS’ ESTATES TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD TIMED AUCTION: Ends Sunday 11th October 2026 PUBLIC EXHIBITION: Sunday 4th October, 12pm to 4pm Monday 5th October, 10am to 8pm (Drinks 6-8pm) Tuesday 6th October, 10am to 5pm SALE NUMBER OA0187 ENQUIRIES: Adrian Biddell adrian.biddell@olympiaauctions.com Tazeena Thorowgood, Administrator tazeena.thorowgood@olympiaauctions.com Veronique Biddell veronique.biddell@olympiaauctions.com Nick Hemming-Brown nick.hemming-brown@olympiaauctions.com +44 (0)20 7806 5541 pictures@olympiaauctions.com ONLINE CATALOGUE AND LIVE INTERNET BIDDING ONLY VIA: www.olympiaauctions.com www.the-saleroom.com This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

One can say that all artists – poets, musicians, painters – are creating their own idioms for the nature of existence, for the secrets of their time. (Ceri Richards, 1960)

CERI RICHARDS (lots 1-7)

Born in Dunvant, a small mining village near Swansea, on the edge of the Gower Peninsula, Richards benefitted from a rich cultural heritage. His father, a tin-plate worker, was a choir master and poet, and Richards and his siblings were encouraged to read and play music. Music and poetry together with the drama of the coastline along the Gower Peninsula thus became central to his creative imagination. While at Swansea School of Art (1921-24), he attended a summer school at Gregynog Hall in mid-Wales, home of pioneering collectors Gwendoline and Margaret Davies. In the evenings students gathered in the music room at Gregynog, where the walls were hung with Impressionist and Post-Impressionist work from the sisters’ collection. It was here that Richards had his first encounter with such artists as Van Gogh, Cézanne and Monet. He wrote of the experience: ‘Imagine their effect on someone who’d dreamed of great painting but seen none at all.’ The encounter led to his application for a scholarship to the Royal College of Art, where he studied from 1924-1927. In London Richards became increasingly interested in European modernism, with Picasso and Matisse becoming lifelong influences (lots 1 & 2). Later on, the language of Surrealism gave him the tools to explore the far reaches of his imagination. In 1936 he exhibited at the London Gallery founded by E.L.T. Mesens assisted by Roland Penrose, and was elected to the London Group the following year. Although never an official ‘Surrealist’, he acknowledged that Surrealism ‘helped me to be aware of the mystery, even the unreality of ordinary things.’ (lot 3) Richards first taught at the Chelsea College of Art in the late 1930s, and during the Second World War was commissioned by the Ministry of 2

Information to make drawings of tin-plate workers in South Wales. He became Head of Painting at Cardiff School of Art (1940-44) and held his first one man show in London at the Leger Gallery in 1942. Moving back to London with his family after the War he resumed teaching at Chelsea, taught lithography at the Slade School of Art from 1954 and designed sets and costumes for opera and the theatre, including for a production of Noyes Fludde by Benjamin Britten. As an accomplished pianist, the piano became a recurring motif in his work. Inspired by Matisse, Richards went on to develop the theme of the music room, a series of interiors with women at the piano (lot 6). The writing of Welsh poets Dylan Thomas (1914-1953) and Vernon Watkins (1906-1967), both Swansea-born had a lasting influence on his work. Thomas’ lyricism, allusion and vivid imagery were the perfect fit for Richards’ romantic vision. In 1957 he began his most creative engagement with a single piece of music, French composer Claude Debussy’s piano prelude La Cathédrale Engloutie. (lots 4 & 5). Richards described Debussy as a ‘visual composer’, writing that ‘he gives me a feeling of the sounds of nature, as Monet does.’ In 1960 a retrospective of Richards work was held at the Whitechapel Art Gallery and he was awarded the CBE. Two years later he represented Britain at the XXXI Venice Biennale where he won the Einaudi Painting Prize with La Cathédrale Engloutie (Jeux de Vagues) offered in the present group (lot 4). In 1981 he was the subject of a posthumous retrospective at the Tate Gallery, where La Cathédrale Engloutie (Jeux de Vagues), La Cathédrale Engloutie, Arabesque I and Pianist were all exhibited (lots 4, 5 & 6).

CERI RICHARDS (BRITISH 1903-1971) THE BEEKEEPER II signed and dated Ceri Richards / July 25 / 48 lower left; pencil and coloured crayons on paper; 37 x 27.5cm (61 x 49.5cm framed) ⊕ £1,500-2,500

CERI RICHARDS (BRITISH 1903-1971) THE BEEKEEPER with the artist’s studio stamp lower right; pen and ink and watercolour on paper; 17 x 23cm (25.5 x 30.5cm framed) Painted circa 1947. ⊕ £1,000-1,500

CERI RICHARDS (BRITISH 1903-1971) SMALL METAMORPHOSIS signed and dated Ceri Richards / ‘65 lower right; pen and ink, black chalk and watercolour on paper; 22.5 x 18cm (39 x 31.5cm framed) Exhibited: London, Marlborough Fine Arts, Ceri Richards, 1967 ⊕ £900-1,200

CERI RICHARDS (BRITISH 1903-1971) LA CATHEDRALE ENGLOUTIE, JEUX DE VAGUES signed with initials and dated ‘61 lower right; signed, titled and dated La Cathédrale Engloutie / Oct 61 / Ceri Richards on the stretcher; signed, inscribed and dated V-I / October 1961 / Ceri Richards on the stretcher bar; oil on canvas; 152 x 152cm (155 x 155cm framed) Exhibited Venice, XXXI Biennale Internazionale d’Arte, British Pavilion, Ceri Richards, Robert Adams, Hubert Dalwood, 1962, no. CC Paris, Musée Nationale d’Art Moderne, Trois Artistes Britanniques: Ceri Richards, Robert Adams, Hubert Dalwood, 1962, no. 27 London Marlborough Fine Art, Ceri Richards, 1965, no. 24, illustrated in the catalogue Edinburgh, Edinburgh Festival International Exhibition, Ceri Richards, 1975, no. 48 London, Tate Gallery, Ceri Richards, 1981, no. 75, illustrated in the catalogue Literature Mel Gooding, Ceri Richards, London, 2002, p. 152, illustrated 4

Between 1957 and 1962 Richards worked on a series of semi-abstract seascapes in response to Claude Debussy’s piano prelude of 1910 – La Cathédrale engloutie (The Sunken Cathedral). The theme was based on the legend of the submerged cathedral in the mythical city of Ys on the coast of Brittany, where, it was said to rise from the depths of the sea at moments of profound calm with its bells ringing through the water. Debussy’s music reminded Richards of the coast of the Gower Peninsula in Wales where he grew up and the resultant body of work he produced on this subject evoke the changing moods and impressions to be found in Debussy’s composition. Richards’ series brings together once more the themes of art, nature and renewal that recur again and again in his work, the cathedral architecture morphing into the geology of the coastal landscape. ⊕ £8,000-12,000

CERI RICHARDS (BRITISH 1903-1971) LA CATHEDRALE ENGLOUTIE, ARABESQUE I 1959 signed and dated Ceri Richards / 1959 on the reverse; signed and titled La Cathédrale Engloutie / Ceri Richards on the stretcher; signed, titled and dated La Cathédrale Engloutie / Ceri Richards / ‘59 on a label on the stretcher; oil on canvas; 153 x 153cm (157 x 157cm framed) Exhibited Venice, XXXI Biennale Internazionale d’Arte, British Pavilion, Ceri Richards, Robert Adams, Hubert Dalwood, 1962, no. T London, Serpentine Gallery, Arts Council of Great Britain, Recalling the Fifties, British Painting and Sculpture 1950-1960, 1965 London, Marlborough Fine Arts, Ceri Richards, 1965, no. 23 Edinburgh, Edinburgh Festival International Exhibition, Ceri Richards, 1975, no. 42 London, Tate Gallery, Ceri Richards, 1981, no. 70, illustrated in the catalogue Literature David Thompson, Ceri Richards, London, 1963, illustrated Mel Gooding, Ceri Richards, London, 2002, p. 138, illustrated see note to previous lot ⊕ £7,000-10,000

CERI RICHARDS (BRITISH 1903-1971) PIANIST signed and dated Ceri / Richards ‘59 lower right; signed, titled, inscribed and dated ‘PIANIST’ 1959 / Pen & Wash / Ceri Richards on a label on the reverse; pen and brush and ink and watercolour and wash on paper; 33 x 49.5cm (53 x 69.5cm framed) Exhibited: London, Fischer Fine Art Ltd, Homage to Ceri Richards 1903-1971, 1972 London, Tate Gallery, Ceri Richards, 1981, no. 94 ⊕ £3,000-5,000

CERI RICHARDS (BRITISH 1903-1971) THE ARTIST’S STUDIO with the artist’s studio stamp lower right; pen and ink and grey wash on paper; 37.5 x 54.5cm (54 x 69.5cm framed) ⊕ £1,200-1,800

There is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways… I’ve been up and down a hell of a lot of pathways. (Bryan Ingham)

BRYAN INGHAM (lots 8-17) Ingham grew up in Totley, Sheffield where his parents were in the clothing business. On leaving school at 14 he worked in the tailoring department of a large Sheffield store. But after National Service in the RAF he determined to become a painter. He studied first at St Martin’s School of Art (1957-61), and thereafter won a scholarship to the Royal College of Art (1961-64), where he was taught by Carel Weight, and was voted Royal Scholar. Later, on a Leverhulme Research Award, Ingham spent a year in Italy followed in 1966 by a six month course at the British School in Rome. Despite early critical acclaim in London Ingham chose to base himself in Cornwall, where he bought a run down cottage in the remote village of Jollytown on the Lizard Peninsula, overlooking Kynance Cove. There he found the artistic inspiration that suited him: the rough and ragged rocks, ancient worn surfaces and undulating hillsides of the Cornish landscape (lot 16), and the legacies of previous generations of artists similarly lured west, Ben Nicholson amongst them. As well as Cornish influences, his collages, sculpture and reliefs reflect an international Modernism, including the styles of Braque and Juan Gris. John Russell Taylor wrote of Ingham: ‘he deconstructed the art of the past, the Cubism of 1912-20, the Nicholson of the later Thirties and early Forties, to reassemble and fuse together its parts with a new richness and concentration.’ (John Russell Taylor in Bryan Ingham, Sculpture and Related Prints & Drawings, The Book Gallery St Ives, 1996). Together with painting and sculpting, Ingham was an accomplished printmaker, expressing his pleasure as an etcher in ‘carving and quarrying’ the metal plate, and of the depths and layerings of relief that create the printed image. He attributed his success to ‘sheer, bloody hard work’ considering his career a 45-year ‘apprenticeship’. And over the years he was acknowledged as a significant figure within the St Ives School, later teaching at Falmouth School of Art.

Beyond Cornwall, it was Worpswede near Bremen in Northern Germany where Ingham kept a studio during the 1980s and early 1990s. His association with the village began through a chance encounter with a German couple who had lost their way when passing his cottage in Jollytown. Captivated by the quality of his print making in particular, he later received an invitation from the director of the Kunsthalle, Bremen to exhibit. When he visited the area he was decideldly underwhelmed by the the flat local landscape and the dull serried rows of houses of the towns and villages. But it gave rise to important exhibitions of his work both at the Worpsweder Kunsthalle and the Kunsthalle Bremen in 1981, and the beginning of a deep connection with North Germany. During the following decade and more Ingham enjoyed regular extended winter visits to Worpswede which offered him ‘communal solitude’ in a rural setting. He made full use of the studio premises put at his disposal there, and was very much welcomed into the local community. Indeed it was in Worpswede that he met his wife, the Turkish born writer Aysel Ozakin; the couple were married in 1989. And where during the winter of 1988-89 he produced his Worpswede Suite (lots 8, 9 & 10). Later Suites included his ‘Barcelona Series’ which record his travels south (lot 11), another example of where the originality of his work is reflected in the gathering of so many different media, ephemera and printed materials from abroad. As well as Worpswede and Bremen, solo shows of Ingham’s work were mounted at the Graffiti Gallery, London (1980) and with Francis Graham-Dixon Gallery, London (1988-1995), and a major posthumous retrospective of his work was held at The Fine Art Society, London in 2006. His work is in many public and private collections including the Victoria and Albert Museum, London and the Ashmolean Museum, Oxford.

BRYAN INGHAM (BRITISH 1936-1997) WORPSWEDE, THE HOUSE ON THE MOOR signed, titled and dated WORPSWEDE / The House on the Moor / B. Ingham / 1988 on the reverse; oil and collage on board; 24 x 6.5cm (50.5 x 26.4cm framed) Ingham executed his Worpswede Suite, a series of etchings and collages, during the winter of 1988-89. The suite drew upon the history of the Worpswede colony of artists that had been founded in 1889 by the painter Fritz Mackenden (1866-1953). Set in the Tenfelsmoor, the ‘Devil’s Moor’, a vast and rugged landscape of bogs and marshes, the village and surrounding fens had attracted many influential Modernists over the years, including writers Thomas Mann and Rainer Maria Rilke and artists Otto Modersohn and Paula Modersohn-Becker. But Mackenden’s later association with the Nazi party in Germany left a pall hanging over the colony. Ingham’s Worpswede Suite responds to the colony’s mixed history and the drama of the surrounding moorland over which, as detailed in German on the Francis Graham-Dixon gallery label on the reverse of lot 9, ‘The clouds of war always loom’. ⊕ £1,200-1,800

BRYAN INGHAM (BRITISH 1936-1997) WORPSWEDE SUITE 43 signed, titled, numbered and dated 43 / Bryan Ingham / worpsede suite / 1987 on the reverse; oil and collage on board; 13.5 x 9cm (34.5 x 29cm framed) Exhibited: London, Francis Graham-Dixon Gallery see note to previous lot ⊕ £900-1,200

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED – KING OF HEARTS collage on board; 13.5 x 5.5cm (24 x 16cm framed) see note to lot 8

⊕ £600-800

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED – TOTEM WITH GEOMETRIC SHAPES oil, sand and collage on panel; 244 x 45.5cm; unframed ⊕ £2,000-3,000

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED VERTICAL BAS-RELIEF cast and carved concrete; 81.5 x 16cm ⊕ £1,200-1,800

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED – ABSTRACT LANDSCAPE oil on plywood; 35 x 49cm; unframed ⊕ £1,500-2,500

BRYAN INGHAM (BRITISH 1936-1997) BULLFIGHT collage on board; 8.5 x 4.5cm (9 x 5cm framed) ⊕ £600-800

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED – VERTICALS WITH ARROWS collage on board; 8 x 4.5cm (18.5 x 15.2cm framed) ⊕ £500-700

BRYAN INGHAM (BRITISH 1936-1997) UNTITLED – ABSTRACT WITH ‘S’ collage on board; 8.5 x 4.5cm (19.2 x 15.4cm framed) ⊕ £500-700

BRYAN INGHAM (BRITISH 1936-1997) GLADIOLI signed with initials, titled and dated Gladioli / August 1977 / BI lower right; signed Bryan Ingham on the reverse; pencil on paper; 19 x 15cm (43.5 x 37cm framed)

⊕ £150-200

ANTHONY GILBERT (lots 18-25)

Anthony was not easy to know. Always immaculately dressed, the epitome of an English gentleman, he was also shy and reserved and not easily taken in conversation. But his work held so much appeal. Willie Landels, (Editor of Harpers & Queen)

Elegance and simplicity permeate the work of Anthony Gilbert, a leading post-war designer and illustrator during a renaissance in British advertising. Despite his retiring nature, Gilbert led major post-war campaigns for a range of leading brands including designs for Rowntree, Horlicks, Rose’s Lime Juice, London Transport (with ‘Enjoy your London’ series), and created the iconic Rococo mantel clock for After Eight mints still in use today. From the 1940s until the early 1970s Gilbert also contributed work for a range of magazines, including covers and pages for The Strand, Vogue, House & Garden and The Radio Times. A member of the Society of Industrial Artists, he supplied mural designs for the 1951 Festival of Britain. Born in Leamington Spa, Gilbert trained at Goldsmiths College of Art in London followed by a part-time teaching position at the Bromley School of Art where he met his future wife, Ann, a student. In 1943 he joined the London office of the American advertising agency J. Walter Thompson, where Ann was also a designer, and worked there for the next twenty-five years. At JWT he caught the eye of the young director Willie Landels (1928-2023), an admirer of Gilbert’s work after seeing his series of paintings ‘The Four Winds’ published in Lilliput magazine. In an interview with David Messum in 1996, Landels recalled Gilbert as ‘vastly talented, his excellence was unique, he had enormous taste - too much really…’

Reclusive by nature, Gilbert left London with Ann for Kent in 1969 before retiring to Charlbury in Oxfordshire. There, their house was filled with textiles, ceramics, and Japanese lacquer furniture that often feature in Gilbert’s still lifes. A great admirer of Japanese fashion prints of the Taisho period (1911-1926), Gilbert enjoyed reinterpreting them in his compositions of ‘Patterned Ladies’, with similar flat patterns and sinuous lines blending Art Deco and Modernism. Always interested in exploring new techniques, his choice of media ranged from felt-tip pens to woodblock print effects. In the latter he adopted the so-called ‘wash-off ’ technique that he had first learnt in advertising, where textures and colours of objects come to life, giving them three-dimensionality. His still lifes with jugs and fruit on a tabletop are reminiscent of the more severe compositions of Ben Nicholson, where forms and shapes become almost abstract, defined by the juxtaposition of earthy colour blocks. Active during what was a golden age of British advertising, Gilbert followed in the footsteps of a galaxy of extraordinarily gifted 20th century designers including such leading names as Edward McKnight-Kauffer (1890-1954), Edward Bawden (1903-1989) and Eric Ravilious (1903-1942).

ANTHONY GILBERT (BRITISH 1916-1995) APPLE STUDY I signed, inscribed and dated Anthony Gilbert Charlbury / November 1992 lower right; pencil and coloured pencil on paper; 18.5 x 26cm (36 x 42cm framed) Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 21 ⊕ £80-120

ANTHONY GILBERT (BRITISH 1916-1995) STILL LIFE WITH BOTTLE AND PEARS pencil and gouache on paper; 17 x 10cm (38 x 29cm framed) Executed in 1987. Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 84 ⊕ £80-120

ANTHONY GILBERT (BRITISH 1916-1995) STILL LIFE SILHOUETTE WITH CHAIR AND BOWLS black felt pen over traces of pencil on paper; 48 x 36cm (69 x 55cm framed) Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 85 ⊕ £100-150

ANTHONY GILBERT (BRITISH 1916-1995) STILL LIFE WITH A PEACH ON A PLATE signed with initials and dated 1990 lower right; pencil and watercolour on paper; 13 x 14cm (30.5 x 31cm framed) Exhibited: London, CCA Galleries ⊕ £50-80

ANTHONY GILBERT (BRITISH 1916-1995) PATTERNED LADY WITH APPLE signed with initials and dated 91 upper right; pencil, coloured pencil and wash on paper; 24.5 x 14.5cm (41 x 31cm framed) ⊕ £80-120

ANTHONY GILBERT (BRITISH 1916-1995) STILL LIFE SILHOUETTE WITH JUGS AND CUP black felt pen over traces of pencil on paper; 48 x 36cm (70 x 56cm framed) Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 89 ⊕ £100-150

ANTHONY GILBERT (BRITISH 1916-1995) EXOTIC BIRD pencil, coloured pen and wash on paper; 30 x 29cm (52 x 51cm framed) Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 102 ⊕ £100-150

ANTHONY GILBERT (BRITISH 1916-1995) FLOWERS ON THE TABLE pencil and watercolour on paper; 32 x 14cm (53 x 32cm framed) Exhibited: London, David Messum, Anthony Gilbert, 2012, no. 73 ⊕ £80-120

JOHN WELLS (lots 26-36)

Born in London to a Cornish mother and a bacteriologist father (a colleague of Alexander Fleming), Wells combined studying to be a doctor with his love of Cornwall and his keen artistic interests. During his training at University College Hospital where he qualified in 1930, he enrolled in evening classes at St Martin’s School of Art (1927-28). And on a visit to Cornwall in 1928 Wells attended Stanhope Forbes School of Painting in Newlyn and was introduced to Ben and Winifred Nicholson and Christopher Wood. At the time Nicholson worked largely from his Hampstead studio which allowed Wells to maintain contact whilst studying and working in London. From 1936-1945 Wells was based on the Isles of Scilly as a GP. The islands and its occupants proved inspirational. During the Second World War he befriended some of the RAF pilots and crew stationed there. On one occasion he wrote: ‘Yesterday four Hurricanes flew over and played about in a 70mph gale. To watch them all describing different curves in different directions at different speeds is very exciting’. Other notable artists whose art would be similarly inspired by the light, landscape and aerial flight over Cornwall included Peter Lanyon with whom Wells later collaborated. During Wells’ trips to the mainland from the Scillies he visited Ben Nicholson and Barbara Hepworth in St Ives, through whom he met Naum Gabo (1890-1977). Gabo was to become a significant and lasting influence on the artist, introducing him to the theories and possibilities of Constructivism, a style also informed by Wells’ own scientific

background. With Nicholson’s encouragement and support Wells’ work featured in the exhibition New Movements in Art: Contemporary work in England at the London Museum in 1942. At the end of the War, filled with a new confidence in his recent work, Wells turned to art full-time. He bought Stanhope Forbes’ studio on Trewarveneth Street in Newlyn, which he named Anchor Studio after discovering an old iron anchor abandoned in the garden (lot 33). Establishing himself there during the next several decades he became a central figure in the St Ives’ art scene, contributing to its reputation as a leading centre for British modernism. Wells co-founded the Crypt Group with Peter Lanyon and others, was a founding member of the Penwith Society of Arts in 1949 with Ben Nicholson and Barbara Hepworth, and worked with Hepworth from 1950 to 1951. In the late 1950s his work was exhibited in America, he visited Paris in 1959 with Patrick Heron (who described Wells as ‘certainly the most important abstract painter of his generation in Britain’), responded to the work of such international Modernists as Pierre Soulages (lot 35) and held his first solo exhibition at Waddington Galleries in 1960, and again in 1964. Although Wells’ style fell out of favour in the 1970s, interest in him was reignited when seven of his works featured in the Tate Gallery’s exhibition ‘St Ives: 25 Years of Painting‘ in 1985. Wells died on the Penwith peninsula at the south-west tip of Cornwall. An exhibition at Tate St Ives in 2007 celebrated the centenary of his birth.

JOHN WELLS (BRITISH 1907-2000) UNTITLED (COMPOSITION WITH YELLOW AND RED LINES) with the estate stamp impression lower right; monotype with hand colouring on paper; 17.5 x 22cm (28.5 x 33cm framed) with the studio inventory number JW1782 on the reverse ⊕ £600-800

JOHN WELLS (BRITISH 1907-2000) UNTITLED (GEOMETRIC COMPOSITION) signed and dated John Wells.1963 in pencil lower right; pastel over monotype with pen and ink and pencil on paper; 17.5 x 22cm (28.5 x 33cm framed) with the studio inventory number JW1793 on the reverse ⊕ £800-1,200

JOHN WELLS (BRITISH 1907-2000) UNTITLED (ORANGE, BLUE AND YELLOW SQUARES) with the estate stamp impression lower right; monotype with hand colouring on paper; 16.5 x 20cm (28.5 x 33.5cm framed) with the studio inventory number JW1780 on the reverse ⊕ £700-1,000

JOHN WELLS (BRITISH 1907-2000) UNTITLED (COLOURED SQUARES AND BLACK CIRCLE) with the estate stamp impression upper right; monotype with hand colouring on paper; 16.5 x 20cm (27 x 31cm framed) with the studio inventory number W1775 on the reverse ⊕ £600-800

JOHN WELLS (BRITISH 1907-2000) FLIGHT FORMS with the estate stamp on the reverse; dated 1975 NOV on the overlap; oil on canvas; 51 x 76cm; unframed with the studio inventory number JW105 on the reverse ⊕ £4,000-6,000

JOHN WELLS (BRITISH 1907-2000) UNTITLED (ABSTRACT SHAPES IN GREEN, BLUE AND RED) signed, inscribed and dated 62/8 / John Wells. 1961-62 / ANCHOR STUDIO. TREWARVENETH STREET / NEWLYN. / W. CORNWALL. / TOP / 33 X 48. on the reverse; with the estate stamp on the reverse; oil on board; 83.5 x 122cm; unframed with the studio inventory number JW094 on the reverse

⊕ £6,000-8,000

JOHN WELLS (BRITISH 1907-2000) UNTITLED (BLUE VISTA) with the estate stamp on the reverse; oil on board; 61 x 71cm; unframed with the studio inventory number JW097 on the reverse ⊕ £4,000-6,000

JOHN WELLS (BRITISH 1907-2000) ANCHOR STUDIO WINDOW, NEWLYN signed, inscribed and dated Sept. 1974 / John Wells / Anchor Studio Newlyn on the stretcher on the reverse; oil on canvas; 41 x 51cm; unframed with the studio inventory number JW043 on the reverse ⊕ £3,000-5,000

JOHN WELLS (BRITISH 1907-2000) UNTITLED (COMPOSITION IN RED, GREY AND BLACK) with the estate stamp impression lower right; monotype with hand colouring on paper; 25 x 38cm (36 x 49cm framed) with the studio inventory number JW1034 on the reverse ⊕ £600-800

JOHN WELLS (BRITISH 1907-2000) UNTITLED (BLACK, YELLOW, RED) with the estate stamp impression lower right; oil and gouache over traces of pencil on paper; 76 x 55cm (105 x 84cm framed) with the studio inventory number JW1795 on the reverse ⊕ £2,000-3,000

JOHN WELLS (BRITISH 1907-2000) UNTITLED (COMPOSITION IN GREEN) with the estate stamp impression lower right; monotype over lithographic base on paper; 17.5 x 22cm (28 x 33cm framed) with the studio inventory number JW0484 on the reverse ⊕ £600-800

It wasn’t Romi’s physical presence, it was her mind. ...it was her way of expressing things, the words she used, ...she had a huge personality. She was a big scale artist, not domestic. Her paintings were so powerful and so pure. She painted exactly what she was looking at and she was so quick. (Lyn Le Grice)

ROMI BEHRENS (lots 37-48) Humour, faith, character, Cornish painter Romi Behrens had all in abundance. Brought up in a vicarage in Wiltshire, she first experienced the unique quality of Cornwall’s light and landscape in her early ‘teens when she went to live with her uncle and aunt in Penzance. There, while applepicking on the estate of Porth-en-Alls, she met her husband-to-be, Michael ‘Mike’ Tunstall-Behrens, who had recently inherited the house and land known as Prussia Cove. The couple married in 1959, when Romi turned twenty, and moved into their home, Trenalls, where she began to paint in earnest. As the young wife of a gentleman farmer, her obligations were many: raising a family of three, running the home, helping with maintenance of the estate cottages, charming the tenants, moving cows and sheep between fields. But Romi always made time to paint. In 1960 she began attending classes at the Penzance School of Art; the following year she contributed to group exhibitions at Newlyn Art Gallery, and in 1962 she became a life member of the Newlyn Society of Artists. In parallel with Romi’s passion for painting emerged the Easter Music Festival at Porth-en-Alls. Romi and Mike were both from musical backgrounds, he an able horn player, she an enthusiastic violinist, and the Easter Festival itself was the brain-child of Mike’s brother, Hilary. Romi delighted in living at the epicentre of this confluence of artistic forms. The festival attracted leading musicians from London and across the UK, expanding into the International Musicians Seminar (IMS) in 1972. And after Romi began to explore portraiture in the early 1970s, many of those who played and attended would sit for her. In turn she established deep friendships with a wide-ranging network of fellow artists. Over the years these included such leading Cornish lights as John Wells, Bryan Wynter, Paul Feiler, Catherine Armitage, Jeremy Le Grice and Patrick Heron. The following eleven lots capture the spontaneity and spirited energy to be found in Romi’s

work. Each is painted on board - for speed and economy (she bought the board from the local hardware store ‘Parkers of Penzance’ and cut it herself, usually without measuring, so the edges of panels were rarely straight). Each is modest in scale, designed for ease of execution as she often painted outside. And each exhibits a tangible inner energy - buildings have faces, cups have character. She transformed mundane items lying around the home into the exotic through her painterly exuberance and her uncanny ability to see the potential in the commonplace (lots 37, 39, 43 & 47). Likewise in her landscapes she tended towards the ready-to-hand and local. Alverton and Hayle were within a few miles of Trenalls (lots 39, 42 & 44) and Clevedon, where she had been at school, wasn’t far up the Bristol Channel (lot 46). But in each she imbued a particular place or view with the pulsating life force that was Romi. Always looking anew at the world around her, Romi’s occasional trips to London and her travels abroad re-energised her. Matisse was a particular love - her visit to the Matisse exhibition at the Hayward Gallery in 1968 was especially formative (she noted: ‘I was bowled over and never quite recovered, stayed all day.’). Bonnard was another who inspired her, her interest re-kindled by the retrospective of his work at the Tate Gallery in 1998. And a visit to Hong Kong in 1986 spawned a fascination with Chinese pottery (lot 43). Over the years, Romi’s irresistible aesthetic grew an ever greater number of plaudits. Regularly featured in group exhibitions since the early 1960s, her first solo show was at Brunswick Gallery in London in 1978, followed by the Arnolfini, Bristol (1980), Margaret Fisher Gallery, London (1984), Michael Parkin Fine Art, London (1990), Rebecca Hossack Gallery, London (1991), Leighton House, London (1999), a retrospective at Royal Cornwall Museum, Truro (2009), and Penwith Gallery, St Ives (2014). Her last solo exhibition was at Tremenheere Sculpture Gardens, Penzance in 2018. 19

ROMI BEHRENS (BRITISH 1939-2019) TWO CANDLES oil on board; 25.5 x 17.5cm (unframed) Painted circa 1999. ⊕ £300-500

ROMI BEHRENS (BRITISH 1939-2019) ALVERTON signed and titled Alverton / Pz / Romi on the reverse; oil on board; 16 x 24cm; unframed Painted circa 1984, Alverton lies on the outskirts of Penzance. ⊕ £300-500

ROMI BEHRENS (BRITISH 1939-2019) ORANGE AND PINK DAFFS signed, titled and inscribed orange & pink daffs / Romi Behrens / Trenalls / Rosudgeon / Penzance on the reverse; oil over traces of black chalk on board; 60 x 50.5cm; unframed Painted circa 1988. ⊕ £500-700

ROMI BEHRENS (BRITISH 1939-2019) PINEAPPLE & MARMALADE signed, titled, inscribed and dated R. Behrens / pineapple / & / marmalade / Lodge / 81 on the reverse; oil on board; 24 x 19.5cm; unframed

⊕ £300-500

ROMI BEHRENS (BRITISH 1939-2019) BIRD, SHADOW, FOX signed and titled Bird, Shadow, Fox / Romi on the reverse; oil on board; 45.5 x 61cm; unframed Painted circa 2000. ⊕ £500-700

ROMI BEHRENS (BRITISH 1939-2019) SEA AND TREE signed, titled twice and inscribed C B / Romi / Sea and Tree / R. Behrens / Trenalls / Rosudgeon / Penzance / Cornwall / tel: 763265 on the reverse; oil on board; 61 x 51cm (69 x 59cm framed) Painted circa 2000. ⊕ £700-1,000

ROMI BEHRENS (BRITISH 1939-2019) CHINESE TEA MUGS signed with initials and dated 96 lower right; signed and titled Chinese tea mugs / R. Behrens on the reverse; oil on board; 30 x 38cm; unframed Romi’s interest in Chinese subjects blossomed following her visit to see her daughter Rebecca in Hong Kong in 1986. As well as the present work, subsequent still lifes included paintings of tins, mugs, a teacaddy and a cup and saucer each featuring Chinese influenced motifs (see Chris Stephens, Rachel Rose Smith et al., Romi Behrens, A Painting Life, Bristol, 2024, pp. 90, 103 & 121). ⊕ £350-500

ROMI BEHRENS (BRITISH 1939-2019) BOATS AT HAYLE XI signed, numbered and titled Boats at Hayle XI / 2257 / Romi on the reverse; oil on board; 31 x 45.5cm; unframed Painted circa 1989, the port town of Hayle lies on the north Cornwall coast at the mouth of the river Hayle that gives onto the estuary that features Carbis Bay and St Ives. It is a few miles from Penzance, and immediately north of Prussia Cove. ⊕ £500-700

ROMI BEHRENS (BRITISH 1939-2019) MOON IN A SUNSET signed and titled Moon in a Sunset / Romi on the reverse; oil on board; 41.5 x 51cm; unframed Painted circa 2004. ⊕ £400-600

ROMI BEHRENS (BRITISH 1939-2019) CLEVEDON WITH TREES signed, titled and numbered Clevedon / with trees / Romi / 2385 on the reverse; oil on board; 38 x 35cm; unframed Painted in January 1982 when Romi rented a cottage for a month in Clevedon on the coast near Bristol to focus on her painting. ⊕ £500-700

ROMI BEHRENS (BRITISH 1939-2019) TEAPOT & LITTLE JUG signed and titled R Behrens / Teapot & little / jug on the reverse; oil on board; 23.5 x 30cm; unframed Painted circa 1979. ⊕ £350-500

ROMI BEHRENS (BRITISH 1939-2019) FLORA DAY IV, HELSTON signed, titled and numbered Flora Day IV / 2350 / Romi on the reverse; oil on board; 35.5 x 38cm (40 x 42.5cm framed) Painted circa 1989, Helston is a few miles from Prussia Cove. Romi frequently attended Flora Day, the annual spring festival there, meeting up with friends John and Elizabeth Bonython who lived on Cross Street.

⊕ £400-600

I am convinced that Cyril will one day be recognized as one of the ‘greats’ of British art. (Renske Mann)

CYRIL MANN (lots 49-60)

Although London born, Mann’s parents had come from Nottingham. After Mann’s father was invalided out of the Great War suffering from shell-shock, the family moved back to the Midlands. With her husband incarcerated in Nottingham mental hospital, his mother raised her four children on his meagre War pension. Aged twelve Mann became the youngest student to enrol at Nottingham School of Art, but was obliged to leave two years later to earn his keep and help his mother. Later, however, he travelled to Canada to become a missionary. But the vast, arresting landscapes and his meeting with the Canadian Group of Seven painter Arthur Lismer rekindled his passion for painting.

to a softer, more natural treatment of form and light (lot 50), which coincided with his burgeoning relationship with Dutch-born Renske Van Slooten.

Returning to England in 1933 Mann enrolled at the Royal Academy Schools, his tuition supported by the benefactor and patron of the arts Erica Marx (1909-1969), niece of Karl Marx. He also spent time in Paris studying with the Scottish colourist J.D. Fergusson (1874-1961). In the Second World War he served as a gunner in the Royal Artillery but later became a conscientious objector, painted London’s bomb-scarred landscapes and taught at the London County Council Central School of Art.

Despite his intransigence, from the 1950s when he was teaching at Kingsway Day College and the Sir John Cass College he enjoyed a string of exhibitions, including in the West End at the Brook Street Gallery and Hanover Gallery. And in the 1960s Mann was given further shows in Mayfair at St Martin’s Gallery and Alwin Gallery.

The 1950s marked a distinctive shift in Mann’s work as he developed his ‘solid shadow technique’ of hard-edged, stylised outlines (lot 49). The style emerged when Mann was living in a council flat above a gold bullion dealer on Paul Street in Shoreditch. The barred windows left him reliant on artificial light, and under the stark glare of a bare bulb he began producing heavily worked canvases with bold outlines and exaggerated shadows. After he moved to a light-filled flat in Islington, however, the darkness dissolved, the shadows giving way

Renske became his muse, model and wife, shaping many of his works of the 1960s which typically explore the intimacy of their shared domestic world. Her memoirs describe both devotion and difficulty: the long hours spent posing, the instability of his health, and the precariousness of life with a mercurial, uncompromising artist. She recalled Mann’s intractability, including his resolute rejection of the gallery system: ‘They’re not interested in art, only money, and I won’t give them the satisfaction of rejecting me. They don’t know what I know.’

Through Renske’s eyes Mann emerges as a man fiercely devoted to his vision, for whom love and creativity were inseparable even as financial pressures mounted. Over half a century he sought to break new ground in figurative painting, exploring dynamic light effects and shadow shapes. But the strain on his mental health took its toll, and ultimately proved overwhelming, leading to Renske leaving him after twenty years together. After spells sectioned in Claybury mental hospital in 1979, he died from heart failure a year later. Renske Mann’s book on her husband The Girl in the Green Jumper, My Life with the Artist Cyril Mann was published in 2022.

CYRIL MANN (BRITISH 1911-1980) STILL LIFE, THROUGH THE KITCHEN DOOR signed MANN lower left; with the studio estate stamp and inventory number 96 on the reverse; oil on paper; 38 x 48cm (63 x 72cm framed) Painted circa 1952-55. ⊕ £500-700

CYRIL MANN (BRITISH 1911-1980) SUNLIT ROSES IN A BLUE VASE WITH GREEN, YELLOW AND RED PEPPERS signed and dated MANN / 62 lower right; oil on canvas; 70 x 54 cm (82 x 65.5cm framed) ⊕ £400-600

CYRIL MANN (BRITISH 1911-1980) ST JAMES’ CHURCH, SUNNY DAY, PENTONVILLE ROAD oil on canvas; 46 x 55cm; unframed Painted circa 1959, the shadow of Mann’s head and shoulders is evident in the foreground. ⊕ £350-500

CYRIL MANN (BRITISH 1911-1980) REFLECTION signed and dated MANN 61 lower left; oil on canvas; 55 x 72cm (58 x 74cm framed) ⊕ £400-600

CYRIL MANN (BRITISH 1911-1980) RENSKE IN STOCKINGS, READING signed and dated MANN. 61 lower left; oil on canvas; 61 x 91cm (63 x 93cm framed) ⊕ £600-800

CYRIL MANN (BRITISH 1911-1980) SUNLIT INTERIOR WITH RED CHAIR AND RUBBER PLANT signed and dated MANN / 64 lower right; oil on canvas; 101 x 71cm; unframed ⊕ £500-700

CYRIL MANN (BRITISH 1911-1980) SUSSEX HILLSIDE pastel on brown paper; 33 x 43cm (57.5 x 67.5cm framed) ⊕ £200-300

CYRIL MANN (BRITISH 1911-1980) BREAKFAST STILL LIFE signed C. Mann lower right; gouache on paper; 39 x 49cm (62 x 74cm framed) ⊕ £300-400

CYRIL MANN (BRITISH 1911-1980) DAHLIAS IN A WHITE VASE WITH FRUIT IN DYNAMIC SUNLIGHT signed Mann lower left; oil on board; 60 x 45.5cm (63 x 47.5cm framed) ⊕ £200-300

CYRIL MANN (BRITISH 1911-1980) RENSKE READING ARTS REVIEW IN SUNLIGHT signed MANN lower left; ‘The Reader’, by Cyril Mann on a label on the reverse; oil on board; 43 x 64 cm; unframed Painted in 1961. ⊕ £350-500

CYRIL MANN (BRITISH 1911-1980) SUNLIT STREET SCENE with the studio estate stamp and inventory number 2 on the reverse; pastel on brown paper; 48 x 34cm (72.5 x 58cm framed) ⊕ £300-500

CYRIL MANN (BRITISH 1911-1980) STILL LIFE WITH DAHLIAS IN A VASE (RECTO); BOATYARD (VERSO) signed and dated MANN.72 upper left (recto); oil on board; 64 x 51cm; unframed

⊕ £400-600

Such courageous enthusiasm… he is one of the purest painters I know (Duncan Grant)

EARDLEY KNOLLYS (lots 61-70) Artist, gallerist, dealer, advertising executive and aspiring Hollywood director are just a handful of the pursuits Eardley Knollys engaged in during his life. A descendant of the Earls of Banbury, after Christ Church College, Oxford, he worked for Lever Brothers and J Walter Thompson before travelling to America to work on silent films in California. Returning to London eighteen months later he was appointed private secretary to Lord Hambleden, and in 1936 joined the Storran Gallery opposite Harrods on the Brompton Road where his partner, the artist Frank Coombs, was assistant to the owner Ala Story. After buying out Story, Knollys and Coombs consolidated the Storran Gallery into a hub of avant-garde art, building up a strong culturally influential network in both London and Paris. Their deceivingly prosaic opening exhibition Flower Paintings featured works by Gauguin, Vlaminck, Modigliani and Monet. The show explored the innovative ways such everyday subject matter had been reinterpreted in modern art (something which would come to influence Knollys’ own work), and they welcomed a raft of esteemed collectors on to their premises, including Lady Ottoline Morrell and others of the Bloomsbury set as well as the influential George Eumorfopoulos. But the tragic death of Coombs in an air raid in 1941 whilst serving in the Royal Navy in Belfast signalled the end of The Storran Gallery’s activities. Knollys lost his enthusiasm for the venture and closed it for good shortly after the end of the War. Thereafter he took a job with the nascent National Trust and moved to live near Wimborne in Dorset. At the Trust he worked as assistant to the secretary, Donald Macleod Matheson. He joined James Lee-Milne on his visits to estates and country houses across Wessex and Wales and served as the South-West representative for the Trust for some fifteen years. At Crichel House near Wimborne he set up a communal menage

with the music critics Edward Sackville-West and Desmond Shawe-Taylor, later joined by the literary critic of the New Statesman Raymond Mortimer. Crichel became a house for creatives and intellectuals. Lees-Milne came to regard it as a second home, and visitors ranged from the interior designed Sybil Colefax to film director Anthony Asquith, writers included Nancy Mitford and Laurie Lee. Among visiting artists were Graham Sutherland and Ben Nicholson, while musicians included the composer Benjamin Britten and soprano Elisabeth Schumann. It was thus only when in his fifties that Knollys began his career as an artist when he was encouraged to paint by the artist Edward Le Bas during a holiday in Brittany. As a dealer, Knollys had encountered a wide range of contemporary art and developed a particular love for vibrant colour and pattern through his encounters with Post-Impressionism and Fauvism, stating that ‘I have always loved bright strong colours – muddy ones seem to me symbols of gloom’. Often sketching en plein air to be later translated to canvas in his studio, or from memories of his travels in Spain, France and Italy, Knollys deployed colour to build space and form. Of his painting process he commented: ‘When people ask me what place a landscape painting shows, I can only say it is based on a sketch I made here or there. And if they ask, ‘Was it really that colour?’ the answer is ‘No’’. He had his first solo exhibition in 1960 at the Minories, Colchester and a plethora of subsequent shows including with Michael Parkin in London and Achim Moeller in New York and at Southampton City Art Gallery. Remembered by his peers for his charm and sense of humour, Frances Partridge recalled that ‘everyone loved Eardley, you couldn’t help it’. Knolly’s joie de vivre left a mark on his contemporaries which continues to radiate from his playful and typically colourful works today. 27

EARDLEY KNOLLYS (BRITISH 1902-1991) FROM THE STUDIO, CLERKENWELL titled From The / Studio / Clerkenwell on the reverse; oil on canvas; 76 x 41cm; unframed ⊕ £400-600

EARDLEY KNOLLYS (BRITISH 1902-1991) VILLAGE POND, REFLECTIONS signed with initials lower left; oil on canvas; 47 x 62cm; unstretched and unframed ⊕ £300-500

EARDLEY KNOLLYS (BRITISH 1902-1991) SLADE HILL HOUSE VIEW signed Knollys lower right; titled and numbered 11 / Slade Hill House / view on the reverse; oil on canvas; 66 x 50.5cm; unframed ⊕ £400-600

EARDLEY KNOLLYS (BRITISH 1902-1991) THE QUARRY signed Knollys lower left; oil on canvas; 50.8 x 61cm; unframed ⊕ £400-600

EARDLEY KNOLLYS (BRITISH 1902-1991) RAVINE signed Knollys lower right; titled Ravine on the reverse; oil on canvas; 91 x 61cm; unframed ⊕ £600-800

EARDLEY KNOLLYS (BRITISH 1902-1991) WATER AND HILLS signed Knollys lower right; titled Water and hills on the reverse; oil on canvas; 61 x 91cm; unframed ⊕ £600-800

EARDLEY KNOLLYS (BRITISH 1902-1991) SUNSET signed Knollys lower right; oil on canvas; 44 x 59cm; unstretched and unframed ⊕ £300-500

EARDLEY KNOLLYS (BRITISH 1902-1991) THE FOLLY signed Knollys lower right; titled The Folly on the reverse; oil on canvas; 51 x 40.6cm; unframed ⊕ £400-600

EARDLEY KNOLLYS (BRITISH 1902-1991) WINTER TREES signed with initials lower right; pastel on paper; 46 x 60cm (66 x 79cm framed) ⊕ £200-300

EARDLEY KNOLLYS (BRITISH 1902-1991) DELPHINIUMS AND OTHER FLOWERS IN A JUG signed with initials lower left; pencil and pastel on buff paper; 63.5 x 51cm; unframed ⊕ £200-300

HANS FEIBUSCH (lots 71-94) To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch fought for the Kaiser in the First World War, emerged alive from the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood (lot 73). It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the eye of the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s.

Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built after the War. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lots 79, 81, 83, 85 & 93), or studying the model before him (lots 71, 76, 78), he captures each scene with a fine eye for detail. And as a gifted colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference for Hans Feibusch, the Heat of Vision The full details of the travelling exhibition either abbreviated or referred to in lots 72, 73, 77 & 89 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-97

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) PORTRAIT OF SIDONIE, THE ARTIST’S WIFE pastel on paper; 36.5 x 25cm (54.5 x 43cm framed) offered together with an unframed drawing in pencil of Sidonie; signed with initials and dated ‘35 lower right;18 x 23.5cm (2) Executed in 1935.

⊕ £150-250

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) SKETCH FOR FOOTWASHING signed with initials and dated 38 lower left; dedicated for Paul from Hans lower right; pastel on buff paper; 30 x 46cm (48 x 64cm framed) Exhibited: Chichester, Pallant House Gallery (and travelling), Hans Feibusch, The Heat of Vision, 1995-97, no. 24, illustrated in the catalogue The present work is a preparatory sketch for Feibusch’s mural for the Methodist Chapel, Colliers Wood, London SW19. The chapel has since been demolished and the finished panel lost. ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) LATONA AND THE FROGS signed with initials and dated 34 lower right; pastel on buff paper; 61.5 x 40.5cm (81.5 x 59.5cm framed) Exhibited: Chichester, Pallant House Gallery (and travelling), Hans Feibusch, The Heat of Vision, 1995-97, no. 5, pl. 3, illustrated in colour in the catalogue Executed circa 1934, the subject derives from the ancient story of the Goddess Latona turning the Lycian peasants into frogs after they prevented her from bathing and feeding her children Artemis and Apollo. There is a sketch of a standing woman with a frog on the reverse. ⊕ £300-500

No lot

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) AN ANGEL signed with initials and dated 55 lower left; lithograph on paper; 19.5 x 13.5cm (33 x 26cm framed) ⊕ £50-70

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) PORTRAIT OF MARIANNE FEIBUSCH, THE ARTIST’S MOTHER signed with initials and dated 1951 lower right; inscribed and numbered 37 Mutter on the reverse; pencil on paper; 17 x 12cm (27 x 21.5cm framed) ⊕ £60-80

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) APOLLO AND A LEOPARD signed with initials and dated 36 lower left; charcoal with coloured chalks on buff paper; 59 x 42cm (78.5 x 61cm framed) Exhibited: Chichester, Pallant House Gallery (and travelling), Eastbourne, Towner Art Gallery, Hans Feibusch, The Heat of Vision, 1995-97, no. 9, illustrated in the catalogue ⊕ £350-500

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) PORTRAIT OF THE ARTIST’S WIFE SIDONIE signed with initials and dated 11.7.50 lower right; charcoal with coloured chalks on paper; 50.5 x 33cm (70 x 51cm framed) ⊕ £150-200

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) MOUNTAINSCAPE WITH RIVER VALLEY signed with initials and dated ‘72 lower left; watercolour and gouache on paper; 41 x 51.5cm (53 x 64cm mounted); unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) STILL LIFE WITH SUNFLOWERS, A JUG, BOOKS AND FRUIT signed with initials and dated 82 lower right; oil on canvas; 90 x 60cm (104 x 74cm framed) ⊕ £150-250

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) TREES BY THE EDGE OF A RIVER, POSSIBLY THE RIVER WYE watercolour and gouache on paper; 38 x 54cm; unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) (I) FIGURE ON A HORSE; (II) THE STORM (II) signed and dated Hans Feibusch 1935 in pencil lower right; both lithographs printed in colour on paper; (i) 34 x 22cm (51 x 38.5cm framed); (ii) 42 x 24.5cm (58.5 x 41cm framed) (2) ⊕ £80-100

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) MEDITERRANEAN COASTAL VIEW signed with initials and dated ‘79 lower right; pastel and gouache on paper; 34 x 50.5cm; unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) KNEELING FIGURE lithograph on paper; 48.5 x 30cm (65 x 46cm framed) ⊕ £60-80

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) PATH ALONG A ROCKY RIVER VALLEY watercolour and gouache on paper; 37 x 52cm (50 x 63.5cm mounted); unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ANDROMEDA resin; height: 58cm (59.5cm including base) ⊕ £300-400

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) THREE ANGELS signed with initials and dated 88 lower right; red, black and white chalk on buff paper; 49 x 39.5cm (62 x 51cm framed) ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) MOTHER AND DROWNING CHILD signed and dated Hans Feibusch 1935 lower right; coloured lithograph on paper; 33 x 48.5cm (49 x 64.5cm framed) 89

⊕ £60-80

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) STUDY FOR THE FOUR SEASONS (RECTO & VERSO) signed with initials and dated ‘68 lower right (recto); gouache on paper (recto); watercolour and gouache over traces of charcoal on paper (verso); 68 x 101cm; unframed During 1967 and 1968 Feibusch completed a number of large scale gouaches of the Four Seasons, of which this is one - possibly Winter. For illustrations of Summer and Autumn see Hans Feibusch, The Heat of Vision, nos. 59 & 60. ⊕ £400-600

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ROGER DE SOMERY STAG HUNTING IN KNIVER FOREST signed with initials lower right; lithograph in colour on paper; 51 x 76cm; unframed The present lithograph derives from the central section of the mural Feibusch painted on the back wall of the stage in the auditorium of Dudley Town Hall in 1948.

⊕ £80-120

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) THE FLOOD signed with initials and dated 95 lower right; pastel on paper; 55 x 75cm; unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) STUDIES FOR BIBLICAL FIGURES, POSSIBLY ADAM (RECTO) AND EVE (VERSO) signed with initials and dated 55 lower centre (recto); pencil and pastel on paper; 48 x 63.5 cm; unframed ⊕ £80-120

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) GARDEN WITH PALM TREE AND PERGOLA watercolour and gouache on paper; 39.5 x 53cm; unframed ⊕ £200-300

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) FIGURES IN THE LAST JUDGMENT signed with initials and dated 95 lower right; charcoal and coloured pastel on paper; 73 x 59cm (94 x 78cm framed) ⊕ £300-400

She makes one realise that one already knew it, but had never seen it with quite that intensity, that quick eye for a silhouette or that gentle feminine touch of humour, [Kathleen Guthrie] is an interpreter. (Eric Newton, 1945)

KATHLEEN GUTHRIE (lots 95-102) Kathleen Guthrie with her second husband John Cecil Stephenson

Eric Newton, leading critic and broadcaster of the day, was quick to appreciate how Kathleen Guthrie incorporated everyday life into her work with a certain wry understatement in his review of her exhibition at the Little Gallery, Piccadilly. Likewise, in his monograph, Jonathan Eastaway comments how the artist ‘...was an inveterate people watcher, who found the behaviour of human beings and the humour that it inspired a source of endless fascination.’ (Eastaway, A Poet’s Eye, p. 5). Guthrie lived for the majority of her life in Hampstead, both with her first husband, painter Robin Guthrie, and subsequently with her second husband, artist John Cecil Stephenson. Like Kathleen, Robin Guthrie had been a fellow pupil at the Slade and the couple wed in secret in 1927 when Kathleen was at the Royal Academy Schools. Their life together began in an old chapel at 7 Park Hill, Hampstead, which they shared with the painter Rodney Burn. Good fortune followed when Tonks recommended Robin Guthrie and Burn for teaching positions at the Boston School of Fine Art in Massachusetts. In the USA, with a baby boy in tow, the Guthries enjoyed a vastly improved standard of living. Kathleen’s own work blossomed, and the intriguing whimsy of her subject matter found a ready audience. After the couple’s return to England two years later, however, although Kathleen showed with the Leicester Galleries, the New English Art Club, and at the Royal Academy, income from sales and commissions faltered. Robin looked for teaching posts in London and embarked on an affair. Kathleen was distraught, divorce and a nervous breakdown followed. But her recovery coincided with her burgeoning acquaintance with John Cecil Stephenson. Stephenson enjoyed a position at the centre of the London avantgarde. Herbert Read called him ‘one of the earliest artists in the country to 38

develop a completely abstract style.’ His neighbours in Hampstead were fellow modernists Ben Nicholson, Barbara Hepworth and Henry Moore. After Kathleen’s marriage to Stephenson in 1942 she began exhibiting her work with the Women’s International Art Club (WIAC), serving on the selection committee, and together with Stephenson co-founded the Hampstead Arts Council (HAC), subsequently the Camden Arts Centre. Hampstead life became Guthrie’s preferred subject matter, and in an HAC exhibition her talent was spotted by Kenneth Clark, recently retired from the National Gallery, who purchased two of her paintings. In 1950 she was commissioned to decorate the Maternity and Child Welfare Centre on Haverstock Hill, and the following year showed her work in Manchester at the Kalman Gallery. Friends with the Czech designer Jacqueline Groag, she started designing fabric, took up silkscreen printing, and explored writing and book illustration for children, eventually publishing The Magic Button with considerable success in 1958. Working in parallel with Stephenson, Kathleen also became fascinated by abstraction and began to paint in acrylic. She exhibited mainly abstract paintings at the New End Gallery in 1962, and a mix of abstract and figurative works at the Drian Gallery in 1966. Kathleen Goss in Art Review noted how Guthrie’s figurative works ‘…are delightful paintings of deliberately simplified and stylised figures. She invests them with the charm of Ardizzone’. Two years later Kathleen enjoyed being the subject of a joint exhibition of her and Stephenson’s work at the Brighton Pavilion. Subsequent solo exhibitions of her work were held at Camden Arts Centre; Erica Bourne Gallery, Golders Green and the Centaur Gallery, Highgate. Further afield she showed at the Trentham Gallery, Emsworth; Forge House Gallery, Cookham and Coach House, Guernsey.

KATHLEEN GUTHRIE (BRITISH 1905-1981) BLUE FISH acrylic on canvas; 66 x 78cm (73.5 x 85.5cm framed) Painted in the early 1970s. ⊕ £600-800

KATHLEEN GUTHRIE (BRITISH 1905-1981) GREY AND BROWN 2 signed KATHLEEN GUTHRIE in pencil lower right; signed, titled and inscribed 36 x 27 / by KATHLEEN GUTHRIE / 6 MALL STUDIOS / TASKER ROAD / LONDON NW3 on the reverse; acrylic on canvas; 68.5 x 91cm (70.5 x 93.5cm framed) ⊕ £700-900

KATHLEEN GUTHRIE (BRITISH 1905-1981) THREE GRACES acrylic on board; 68 x 56cm (79 x 67cm framed) Painted in the early 1970s. ⊕ £500-700

KATHLEEN GUTHRIE (BRITISH 1905-1981) ‘WOMAN’ signed KATHLEEN GUTHRIE lower right; chalk and pen and ink and ink scumbling on paper; 71 x 48cm (76 x 52cm framed) ⊕ £150-250

KATHLEEN GUTHRIE (BRITISH 1905-1981) NORTH SEA EVENING signed twice, titled and inscribed SUNSET [crossed out] by Kathleen Guthrie / 6 Mall Studios / Tasker Rd NW3 / North Sea Evening / by Kathleen / Guthrie; acrylic on canvas; 54.5 x 76cm (56.5 x 78cm framed) Probably painted in the 1970s. ⊕ £400-600

100

KATHLEEN GUTHRIE (BRITISH 1905-1981) GYNACK, KINGUSSIE signed, titled and inscribed Gynack, Kingussie, Near Loch Ness / Inverness / by KATHLEEN GUTHRIE 6 MALL STUDIOS TASKER ROAD / LONDON NW3 on the stretcher; acrylic on canvas; 51 x 76cm (53 x 76cm framed) Painted in 1976. ⊕ £300-500

101

KATHLEEN GUTHRIE (BRITISH 1905-1981) ST SERVAN, ST MALO signed, titled and inscribed by Kathleen Guthrie 6 Mall Studios Tasker Road London NW3 on the reverse; gouache over traces of pencil on paper; 21.5 x 33cm (34 x 44cm framed) Painted in 1955. ⊕ £200-300

102

KATHLEEN GUTHRIE (BRITISH 1905-1981) MEETING BY THE POND, HAMPSTEAD oil on canvas; 61 x 76cm; unframed ⊕ £250-350

MARGARET GREEN AND LIONEL BULMER (lots 103-120) Margaret Green and Lionel Bulmer were people and painters of singular convictions – but from their first meeting in 1944, until Lionel’s last breath 48 years later, their lives simply merged. Friends called them MargaretandLionel. (Ian Collins) Bulmer and Green met in the Lake District towards the end of the Second World War where the Royal College of Art was temporarily located, having transferred from London to Ambleside to escape the Blitz. Bulmer, the son of an architect, had originally enrolled at Clapham School of Art, but his studies had been cut short by his conscription into the military at the outbreak of the war. After being de-mobbed he transferred to the Royal College of Art. Green, the daughter of a Teesside steel worker in West Hartlepool had been inspired to become an artist by Patrick Heron, who drew her portrait during a family holiday in Yorkshire. She studied first at Hartlepool College of Art before also enrolling at the RCA. From their first meeting the two painters became inseparable. On the return of the RCA to Kensington, Bulmer and Green were taught by, among others, Ruskin Spear and Carel Weight. When Green received an RCA travel scholarship the couple embarked on a tour of discovery, painting their way through France and Ireland for the best part of a year. The French sun and deep greens of the Irish landscape left a permanent mark on both artists, whose works of the familiar and everyday are dappled with soft warm light and a vibrant freshness. Once back in England they settled in Chelsea. Bulmer took up a teaching position at Kingston School of Art, Green taught at Walthamstow School of Art and they both exhibited at the Royal Academy and New English Art Club. Keen to escape the austerity and smog of post-war London, however, they moved to the countryside. Initially they lived above a boat house in Littlehampton on the Sussex coast, but later moved into Lodge Cottage a dilapidated medieval

hall-house surrounded by rundown gardens on the banks of the River Rat in Shelland near Stowmarket, Suffolk, which they lovingly restored. From there they set out on their frequent painting expeditions to the seaside communities of Southwold, Aldeburgh and Walberswick. Relatively untouched by heavy industry, the Suffolk coast had been popular since the 18th century as a destination for healthy living as well as artists like Philip Wilson Steer (1860-1942) who after his studies on the Continent in the 1880s was quick to introduce an Impressionist style of painting to England. Wilson Steer, together with Sargent and Clausen was a founder member of the New English Art Club in 1886. Bulmer and Green became regular contributors to the Club’s annual exhibitions. Working side by side over many years, Bulmer and Green’s work became so close in style and technique that it was often difficult to tell their work apart. In Suffolk they combatted this by Bulmer consciously developing a more pointillist approach to his painting, reflecting the influence of Wilson Steer, the Neo-Impressionists and the work of Georges Seurat (1859-1891) in particular. His new-found style lent itself to the depiction of beach scenes and bathers, and his coastal views of summer on the Suffolk coast came to define his career. As the writer Ian Collins noted of Bulmer’s work: ‘the season appears to be one of permanent summer.’ Meanwhile, Green continued to paint in her signature enigmatic manner. An acute observer of her surroundings, and the incident to be found in everyday life, she captured the essence of post-war Britain in her thoughtful landscapes and canny figurative compositions. But after Bulmer’s death Green was so heartbroken that she stopped painting for the rest of her life. 41

103

MARGARET GREEN (BRITISH 1925-2003) ON THE PLATFORM oil on canvas; 51 x 76cm; unframed ⊕ £500-700

104

MARGARET GREEN (BRITISH 1925-2003) ORCHARD oil on board; 24 x 57cm; unframed ⊕ £250-350

105

MARGARET GREEN (BRITISH 1925-2003) COTTAGES signed M Green lower left; oil on canvas board; 21 x 47cm; unframed ⊕ £250-350

106

LIONEL BULMER (BRITISH 1919-1992) MOORED BOATS, SOUTHWOLD HARBOUR oil on canvas board; 30.5 x 46cm; unframed ⊕ £250-350

107

LIONEL BULMER (BRITISH 1919-1992) INTERIOR WITH MIRROR AND CORNER CUPBOARD inscribed, numbered and dated 36.28 / LTN / SEPT / ZZ / 1957 on the reverse; oil on canvas board; 91.5 x 71.5cm; unframed ⊕ £400-600

108

LIONEL BULMER (BRITISH 1919-1992) INTERIOR WITH OIL LAMP, SHELLAND signed L Bulmer lower right; oil on canvas board; 61 x 92cm; unframed ⊕ £500-700

109

MARGARET GREEN (BRITISH 1925-2003) IN THE GARDEN oil on canvas; 76 x 63cm; unframed ⊕ £300-500

110

LIONEL BULMER (BRITISH 1919-1992) PAVILION GARDENS, BRIGHTON signed and dated L Bulmer 54 lower right; oil on canvas board; 61.5 x 76.5cm; unframed ⊕ £400-600

111

MARGARET GREEN (BRITISH 1925-2003) SOUTHWOLD SEAVIEW signed M. Green lower left; oil on board; 51 x 61cm; unframed ⊕ £250-350

112

LIONEL BULMER (BRITISH 1919-1992) SELF-PORTRAIT oil in canvas board; 45 x 34cm; unframed ⊕ £250-350

113

No lot 114

MARGARET GREEN (BRITISH 1925-2003) CONNECTING DOORWAYS oil on board; 54 x 122cm (61 x 130cm framed) Exhibited: London, David Messum, Bulmer/Green, 2015, no. 41 ⊕ £500-700

115

MARGARET GREEN (BRITISH 1925-2003) THE GREEN DRESS oil on canvas board; 46.5 x 27.5cm; unframed

⊕ £200-300

116

LIONEL BULMER (BRITISH 1919-1992) THE PADDLING PLACE oil on board; 51.5 x 76cm; unframed ⊕ £350-450

117

LIONEL BULMER (BRITISH 1919-1992) BESIDE THE SEA signed L Bulmer lower left; oil on board; 61 x 61cm; unframed ⊕ £300-500

118

LIONEL BULMER (BRITISH 1919-1992) OCTOBER, ALDWICK signed with initials lower left; signed and inscribed OCTOBER, ALDWICK / BULMER. on the reverse; oil on canvas board; 41 x 54cm; unframed ⊕ £250-350

119

LIONEL BULMER (BRITISH 1919-1992) IN THE VALLEY oil on board; 46 x 61.5cm; unframed ⊕ £300-500

120

LIONEL BULMER (BRITISH 1919-1992) AUTUMN, VIBERNAM BOOKWOOD signed and dated Bulmer 51 lower left; signed and titled LIONEL BULMER / AUTUMN / VIBERNAM BOOKWOOD ii on the reverse; pencil, pen and grey ink and watercolour on paper laid down on board; 46 x 35cm; unframed ⊕ £80-120

Paul Rudall and Rosemary Williams, Corsham Court

PAUL RUDALL (lots 121-130)

My work is produced by instinct, deliberately devoid of subject matter – I need it to express feeling by purely visual means... Works of art – whatever styles, medium or period – are, in effect, self-portraits making inescapable expressions of the artist’s personality. Born in Kensington, West London, Rudall attended Regent Street Polytechnic (1934-38), before combining further study at St Martin’s School of Art with work as a layout designer in advertising agencies in central London. Bombed out of Kensington during the Blitz, in 1941 he moved with his parents to Swindon. There he joined the Swindon Contemporary Art Group, which included artists Desmond Morris, John Eyles and Mervyn Levy. One of his first solo exhibitions was held at the Swindon Arts Centre in 1947. For wartime national service he was drafted into the RAF and assigned to work on radar sites in the Cotswold. During this period, he became a member of the anti-fascist Artists’ International Association (AIA) alongside founders Cliff Rowe and Misha Black and contributed to collective exhibitions in London, including Pictures for Schools in 1947 and Artists for Peace in 1952. After the war, Rudall was awarded an ex-serviceman’s grant to apply to Bath Academy of Art. As a result of bomb damage, the academy had re-opened under the leadership of Clifford and Rosemary Ellis at Corsham Court, Lord Methuen’s country house set in extensive grounds. With relatively few students in its early years, Corsham offered a pioneering syllabus and an impressive roster of staff including painter William Scott and sculptor Kenneth Armitage. The campus in turn nurtured and encouraged an ethos of free expression from a highly able and motivated influx of budding artistic talent, many of them ex-forces. 46

(Paul Rudall) Rudall later married fellow Corsham student Rosemary Williams. After graduating from Corsham, Rudall became Head of Art at Chiswick Grammar School (1949-51), where he maintained his friendship with Julian Trevelyan, living nearby at Durham Wharf on the Thames, and recently married to Mary Fedden. Subsequently, he moved with Rosemary and their young family to the West Midlands to be Head of Art at Dudley Grammar School. In the Midlands Rudall lectured extensively on art history both for Birmingham University extra-mural department and the Workers Educational Association. He eventually returned to Bath, where he and Rosemary lived for the next three decades. Early commissions included an invitation by a private press (Myriad Press) to provide woodcuts for book illustrations to accompany poetry by Jack Beeching (1957), and Jack Lindsay (1959). In the 1960s, he designed a mosaic for Birdcage Walk shopping precinct in Dudley. His return to Bath in the 1980s led to a broader range of exhibitions, including at galleries in Bath and the west Country and some London galleries, notably with Wilson Hale Gallery on Golborne Road (solo exhibitions 1989, 1990) and the Moreton Street Gallery in Pimlico (solo exhibitions 2001–2004). His works are in various public collections, including in Museum & Art Swindon and the Victoria Art Gallery, Bath.

121

PAUL RUDALL (BRITISH 1921-2012) ABSTRACT FORMS ON YELLOW signed pRudall lower left; oil on paper; 49 x 49cm (69 x 69cm mounted); unframed with the studio inventory number PCR 949 on the reverse ⊕ £400-600

122

PAUL RUDALL (BRITISH 1921-2012) SEATED WOMAN signed pRudall lower right; oil and collage on paper; 56 x 58.5cm; unframed with the studio inventory number PCR 951 on the reverse ⊕ £400-600

123

PAUL RUDALL (BRITISH 1921-2012) BLUE STILL LIFE WITH JUG, VASE AND GOBLET signed pRuddall top left; oil on handmade khadi paper; 48 x 62cm; unframed Painted circa 1980. with the studio inventory number PCR 948 on the reverse ⊕ £300-500

124

PAUL RUDALL (BRITISH 1921-2012) ABSTRACT FORMS signed pRudall lower right; oil on board; 43 x 42.5cm (52 x 52cm framed) Painted in 2002. with the studio inventory number PCR 945 on the reverse ⊕ £400-600

125

PAUL RUDALL (BRITISH 1921-2012) MATERIAL CONSEQUENCES signed pRudall lower left; oil and pen and ink on paper; 23 x 51cm (43.5 x 71cm framed) Painted in 1996. with the studio inventory number PCR 944 ⊕ £200-300

126

PAUL RUDALL (BRITISH 1921-2012) PAUSE FOR THOUGHT signed pRudall top centre; oil on paper; 49.5 x 30cm (67 x 50.5cm framed) Painted in 1985. with the studio inventory number PCR 947 on the reverse ⊕ £300-500

127

PAUL RUDALL (BRITISH 1921-2012) STILL LIFE WITH BOTTLES, MUGS AND BOOK signed pRudall lower left; oil on paper; 45 x 57cm (60 x 79.5cm framed) Painted in 1984. with the studio inventory number PCR 637 on the reverse ⊕ £300-500

128

PAUL RUDALL (BRITISH 1921-2012) STILL LIFE WITH JUGS AND LEMONS signed pRudall lower right; pen and coloured ink on paper; 25 x 37.5cm (45 x 61cm framed) Painted circa 2004. with the studio inventory number PCR 946 on the reverse ⊕ £200-300

129

PAUL RUDALL (BRITISH 1921-2012) WHITE FLOWER STILL LIFE ON DARK BACKGROUND signed pRudall lower right; oil on paper; 50 x 42cm; unframed with the studio inventory number PCR 951 on the reverse ⊕ £300-500

130

PAUL RUDALL (BRITISH 1921-2012) ATTICA signed and dated pRudall / Feb 73 lower left; signed, titled, inscribed and dated PAUL RUDALL / PCR 933 / ATTICA / 1972 / OIL ON BOARD on the reverse; oil on board; 31 x 60cm (38.5 x 67.5cm framed) with the studio inventory number PCR 933 on the reverse

⊕ £300-500

MICHAEL UPTON (lots 131-142)

Tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard (John Russell Taylor)

Upton grew up in Birmingham where he attended Birmingham College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: ‘The exhibition fairly bubbles with bright ideas and visual excitement… its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton…’ A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton’s interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London’s performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools.

In this later period Upton’s preference was for small scale works. He often used photocopy or newsprint as the support and he regularly produced series of images, similar to stills from a reel of film. Upton considered them ‘conceptual paintings’, and gained a new fan for his work in John Russell Taylor the influential art critic in The Times. In a review of 1979 Russell Taylor enthusiastically described Upton’s paintings as ‘tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard’, and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of ‘highly sophisticated stylists’. Also won over to Upton was the critic Mel Gooding who commented on Upton’s ‘subtle allusiveness (hints of Piero, Vermeer, Sickert) …another way of deepening the game, of adumbrating the mystery. An art of intimations’. As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events. But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted to the innate beauty of the local landscape and coastal views became his primary focus (lots 135-136).

131

MICHAEL UPTON (BRITISH 1938-2002) EVENING STANDARD pastel over pencil on paper laid down on card; 25 x 44cm; unframed ⊕ £150-250

132

MICHAEL UPTON (BRITISH 1938-2002) RESTAURANT pastel and pencil on paper; 53 x 95cm; unframed ⊕ £300-500

133

MICHAEL UPTON (BRITISH 1938-2002) READING ROOM pastel on paper laid on card; 42 x 79cm; unframed ⊕ £200-300

134

MICHAEL UPTON (BRITISH 1938-2002) LIBRARY (MINING SECTION) oil on board; 17.5 x 37cm (35 x 54cm framed) Painted in 1985. Exhibited: London, Yale Centre for British Art, Michael Upton: Paintings 1977-87, 1987, no. 56; London, David Messum, Michael Upton, 2008, no.13

⊕ £200-300

135

MICHAEL UPTON (BRITISH 1938-2002) NORTHERN SEASIDE TOWN 2000 oil and pencil on paper; 25.5 x 95cm (39 x 109cm framed) ⊕ £300-500

136

MICHAEL UPTON (BRITISH 1938-2002) BRITTANY VILLAGE oil on card; 20.5 x 12.5cm (44 x 35.5cm framed) ⊕ £100-150

137

MICHAEL UPTON (BRITISH 1938-2002) SIX VISTAS (I-VI) each watercolour on paper; each 14.5 x 21cm; all unframed (6) (ii) inscribed Vimy Ridge / 2 July 01. / Thank you / Not what is the answer. / What is the question? / Questions forever !! / I loved you twice. / Just an affirmative. / Can a brushstroke parallel / a carress? Can a horizon / look like making love? on the reverse 138

⊕ £80-120

MICHAEL UPTON (BRITISH 1938-2002) INDUSTRIAL TOWN pastel and gouache on printed paper laid down on card; 53 x 40cm; unframed ⊕ £150-250

139

MICHAEL UPTON (BRITISH 1938-2002) THE STUDIO SAFE oil on two boards; each 18.5 x 13cm (46 x 56cm framed as one) Painted circa 1981-83. ⊕ £100-150

140

MICHAEL UPTON (BRITISH 1938-2002) GIRL WITH HANDS UP (FOR MAYA DEREN) (i) oil on canvas with traces of pencil laid on board, (ii) watercolour on paper laid on board; each 20 x 13.5cm (38 x 53cm framed as one) Painted circa 1979-80. Exhibited: London, Yale Centre for British Art, Michael Upton: Paintings 1977-87, 1987, no. 4; Lyme Regis, David Hibberd Gallery, 1992, n.n; London, Anne Berthoud Gallery, n.d., no. 49; London, David Messum, Michael Upton 1938-2002, 2021, no. 27 ⊕ £100-150

141

MICHAEL UPTON (BRITISH 1938-2002) TWO CHAIRS watercolour and gouache over pencil on paper laid on board; each 17.5 x 13.5cm (60 x 58cm framed as one) Painted in 1978. ⊕ £100-150

142

MICHAEL UPTON (BRITISH 1938-2002) LE POLDU; GEEVOR (I & II) each oil and collage on board; each 25.5 x 44.5cm; both unframed (2) Geevor refers to the Cornish tin mines of the same name; Le Poldu is a cove on the west coast of The Lizard Peninsula in Cornwall.

⊕ £100-150

LEO DAVY (lots 143-154)

There have been those who seem to have been artists, almost it appears from the day of their birth; such people are incapable of deviating from their natural and compulsive obsession in a world of their own, a world in which their lives are entirely consistent with their work and their being are one and the same thing. Leo Davy was one of these. (Sir Kyffin Williams)

Born on Ilkley Moor, West Yorkshire, Davy was one of nine children. He refused to attend school with his siblings and instead was home schooled by his painter-art teacher father and musician mother. He became an accomplished artist and pianist early in his life and aged fourteen entered one of his drawings into a National Newspaper Art Competition; he won and enrolled in the Kingston School of Art under Reginald Brill. Unable to be conscripted due to his inherited deafness, in 1942 he started at the Slade which had been evacuated to Oxford during the Blitz. One of only a few male students and with a keen interest in philosophy, Davy often attended lectures at the university and made several friends among the philosophy students. Art was for him a philosophical enquiry. It was at the Slade that Davy met Kyffin Williams who had been invalided out of the army. Both men later became teachers and lived for a while in Highgate North London where Williams became Head of Art at Highgate School. But Davy left teaching to concentrate on his art. Often described as an outsider and unconventional in his approach to life he communicated best

through his work. His art was a very personal manifestation of himself - his maxim being ‘to paint as only I can paint.’ Determined not to make a living from his painting he worked as a toolmaker and tomato picker while living in an abandoned coastguard’s cottage in Lancing, Sussex, and later became an accomplished framer and gilder, firstly in London and then living on the North Cornwall coast with his wife Antonia. Davy spent most of his life surviving with very little money, living the archetypal life of a bohemian artist. He often shied away from the art world and was frequently hostile to showing his work. In fact, he rarely exhibited at all and sometimes turned down prospective purchasers. However, in 1950 Davy’s work was included in a summer show at Gimpel Fils alongside the pre-eminent artists of the day including William Gear, Victor Pasmore, Prunella Clough, Alan Davie and Patrick Heron. Having spent most of his life refusing to travel, in his later life he visited Paris twice with Antonia, and was mesmerised by the city. Davy died unexpectedly of a heart attack at his home in North Cornwall in 1987.

143

LEO DAVY (BRITISH 1924-1987) INTERLOCKING FORMS IN GREEN AND BLACK signed and dated LEO DAVY 52 lower left; oil on board; 75.5 x 47cm (unframed) ⊕ £400-600

144

LEO DAVY (BRITISH 1924-1987) BLUE, RED, BLACK AND YELLOW ABSTRACT signed and dated LEO DAVY / 53. 4 upper right; signed LEO DAVY / 53.54 on the reverse; oil on board; 122 x 30cm; unframed ⊕ £400-600

145

LEO DAVY (BRITISH 1924-1987) BLACK AND WHITE INVERSIONS - A PAIR one signed and dated Leo Davy / 54 in pencil on the reverse; both oil on board; both 63.5 x 23cm; unframed (2) one with the studio inventory number 345 on the reverse ⊕ £300-400

146

LEO DAVY (BRITISH 1924-1987) HIEROGLYPHS signed and dated LEO DAVY 53 on the reverse; 28 x 95cm; unframed ⊕ £400-600

147

LEO DAVY (BRITISH 1924-1987) INTERLOCKING FORMS, RED AND BLACK signed and dated LEO DAVY 52 lower right; oil on board; 46 x 30.5cm; unframed ⊕ £250-350

148

LEO DAVY (BRITISH 1924-1987) BLACK, WHITE, RED AND BLUE ABSTRACT oil on board; 65 x 23cm; unframed Painted in the 1950s. ⊕ £300-500

149

150

LEO DAVY (BRITISH 1924-1987)

GREEN RECTANGLES oil on board; 40.2 x 30cm; unframed

BLACK VERTICALS WITH RED AND BLUE oil on board; 81 x 30cm; unframed

Painted in the 1950s. ⊕ £250-350

Painted in the 1950s. ⊕ £300-500

151

LEO DAVY (BRITISH 1924-1987) RED, BLACK, YELLOW AND BLUE HORIZONTAL COMPOSITION signed and dated LEO DAVY 53 lower right; oil on board 24.5 x 30.5cm; unframed with the studio inventory number 351 on the reverse ⊕ £200-300

152

LEO DAVY (BRITISH 1924-1987) STANDING FIGURES DECONSTRUCTED II signed and dated 1962 / LEO DAVY upper right; oil on board; 123 x 61cm (142 x 81cm framed) ⊕ £350-500

153

LEO DAVY (BRITISH 1924-1987) YELLOW AND WHITE FORMS ON PINK BACKGROUND signed and dated LEO DAVY 56 lower left; oil on board; 32.5 x 20cm; unframed ⊕ £200-300

154

LEO DAVY (BRITISH 1924-1987) WHITE PAINTING I signed with initials and dated 86 upper right; oil on board; 91.5 x 122cm (104 x 135cm framed)

⊕ £400-600

LESLIE MARR (lots 155-163)

Born in Durham into a family of engineers and shipbuilders, Marr studied Engineering at Cambridge and began to paint while with the RAF in the Middle East during the Second World War. Short on supplies, he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him.

spawned The Borough Group, founded in 1946 by Cliff Holden (1926-2020). Its members included Bomberg, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr.

On his return to London he enrolled in art school in Pimlico. But uninspired by the conventional approach offered, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London.

After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957.

Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (1931-2024) among them, as well as Marr himself. Bomberg’s non-conventional style

Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes - as far afield as New Zealand and used extreme contrasts and thrusting diagonals to depict untamed nature.

155

LESLIE MARR (BRITISH 1922-2021) EVENING OF THE DELUGE 2 dated 2015 on the reverse; oil on canvas; 127 x 127cm; unframed ⊕ £250-350

156

LESLIE MARR (BRITISH 1922-2021) UNTITLED 1981 signed and dated Marr / 1981 lower left; watercolour on paper; 75.5 x 38cm (77 x 39.5cm framed) ⊕ £200-300

157

LESLIE MARR (BRITISH 1922-2021) GLEN CEITLIN, SCOTLAND, 1977 dated, titled and inscribed 1977 / GLEN CEITLIN / home made frame on the canvas overlap; oil on canvas; 24.5 x 30.5cm; unframed ⊕ £150-250

158

LESLIE MARR (BRITISH 1922-2021) SCOTLAND, CARLO signed and dated Marr / 2014 - rework? painted 85? lower left; oil on canvas; 128 x 102.5cm; unframed ⊕ £250-350

159

LESLIE MARR (BRITISH 1922-2021) ALL AND EVERYTHING signed and dated Marr / 2010/11 lower left; oil on canvas; 110 x 165cm; unframed ⊕ £300-500

160

LESLIE MARR (BRITISH 1922-2021) SELF-PORTRAIT signed and dated Marr / July 2016 lower left; oil on canvas; 61 x 51cm (69 x 59cm framed) ⊕ £150-250

161

LESLIE MARR (BRITISH 1922-2021) UNTITLED IMAGINARY signed and dated Marr ‘76 lower right; oil on canvas; 101.5 x 127cm (111 x 136cm framed) ⊕ £300-500

162

LESLIE MARR (BRITISH 1922-2021) GLEN CEITLIN signed Marr lower left and dated ‘78 lower right; pen and ink and watercolour on paper; 20 x 28cm (30.5 x 39cm framed) ⊕ £80-120

163

LESLIE MARR (BRITISH 1922-2021) THE NIGHT VISITOR signed Marr lower left and dated 2010/ ‘73 lower right; watercolour on paper; 38 x 57cm (58 x 75cm framed) ⊕ £100-150

PIETRO LAZZARI (lots 164-173) Enlivening, fresh and rich… lyrical handling of colour, rhythm and general form (James Johnson Sweeney, curator of the Museum of Modern Art, New York and director of the Solomon R. Guggenheim Museum)

Pietro Lazzari trained in Rome with the sculptor Francesco Jerace (1853-1937) before serving as a soldier at the Front during the First World War. After the Armistice he studied at the Scuola di Arti Ornamentali in Rome, became an illustrator for the local newspaper Il Messaggero and had his first exhibition at the ‘Theatre of the Independents’ in Rome. There too he mixed with the Italian Futurists, including Balla, Boccioni, Marinetti and Severini and spent time in Paris, but with the rise of Facism in 1925 he made the first of several visits to the USA, before settling there permanently in 1929. In 1926 his work was included in an exhibition of nine European artists alongside Picasso, Modigliani, Gauguin, Douanier Rousseau and Jules Pascin at the New Gallery, New York. Working for the Works Progress Administration (WPA), that commissioned projects as part of the New Deal during the Depression, Lazzari shared a studio with Mark Rothko. In 1935 his work was selected for the major survey exhibition Abstract Painting in America at the Whitney Museum of American Art. Among the other sixty-five artists represented were works by Arthur B Davies, Charles Demuth, Arthur Dove, Arshile Gorky, Marsden Hartley, John Marin, Georgia O’Keefe and Max Weber. The same year Lazzari was commissioned by a newspaper to make court room sketches during the trial of Gruno Hauptman, convicted of the kidnapping and murder of Charles Lindbergh Jr., the twenty-month old son of the celebrated aviator. In 1936 Lazzari became one of a raft of artists commissioned by the United States Section of Fine Art to produce murals and sculpture for federal buildings across the country. Like the WPA, the programme was aimed to bolster work during

the Depression and engage artists with local communities. Over six years Lazzari completed four large scale projects. Judging an early example of his mural work Max Weber singled out Lazzari for an award, commenting how the artist had the ‘touch of an uncommon personality’. Bleeding Civilian, a life-size concrete polychrome by Lazzari was featured in the Artists for Victory exhibition at the Metropolitan Museum, New York that opened at the end of 1942 when the USA entered the Second World War. But 1942 also marked the end of the government funded WPA programme and Lazzari relocated to Washington DC where he taught at the American University and was represented by Caresse Crosby. In 1947 he showed at the Venice Biennale and was taken on by the influential Betty Parson’s Gallery in New York. Parsons recalled that Lazzari ‘has a very original feeling for materials of all kinds… [and] is a magnificent draughtsman’. From the American University he became head of art at Dumbarton College (1948-50), and in 1950 received a Fulbright Fellowship. During the 1960s he produced a series of sculptures of leading humanitarian figures including Pope Paul VI (Vatican Collection) and Eleanor Roosevelt (Franklin Roosevelt Library, New York). Throughout the post-war years his work was shown widely in commercial galleries and public exhibitions in Europe and the USA including at the Corcoran Biennal, the Rome Quadriennal, the Institute of Chicago, the Museum of Modern Art, New York and the Musée d’Art Moderne, Paris. In later years Lazarri continued to teach, including at the Corcoran School of Art, George Washington University.

164

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF TEN CARICATURES AND PORTRAITS one signed LAZZARI lower left; one inscribed Sabatini lower left; nine charcoal on paper; one blue pencil on paper; various sizes: 27 x 19cm (largest); all unframed (10) Executed in the 1920s.

£100-150

165

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) EIGHT CARICATURES four signed LAZZARI seven pen and ink over pencil on paper; one charcoal on paper; various sizes: (largest) 25 x 16cm; all unframed (8) Executed in the 1920s.

£100-150 166

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF SIX CARICATURES two signed Lazzari lower right; one inscribed meglio l’uoro oggi che la gallina domani upper right; three pencil on paper; three pen and ink on paper; 27 x 18cm (largest); all unframed (6) Executed in the 1920s.

£100-150 167

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF EIGHT MALE PORTRAITS all pencil on paper; various sizes: 25 x 20cm (largest); all unframed (8) Executed circa 1920s.

£100-150 168

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF SIX PORTRAITS two signed LAZZARI lower left; one titled Nel Surito? (verso and in the inside page); titled Bolzoni (verso); one titled Pozzi lower right (recto) and Meneyvreth (verso); five charcoal on paper; one brown chalk on paper; various sizes: 27 x 20cm (largest); all unframed (6) Executed in the 1920s.

£100-150 61

169

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF SIX FEMALE PORTRAITS AND CARICATURES three signed LAZZARI lower right; one indistinctly inscribed lower right; one pen and ink on paper; two pen and ink over pencil on paper; three charcoal on paper; various sizes: 27 x 19cm (largest); all unframed (6) Executed in the 1920s.

£100-150 170

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF SKETCHES AND CARICATURES one signed LAZZARI lower right; one inscribed in Italian (verso); all pencil on paper; one pencil and blue barrow on tracing paper; various sizes; 21 x 27cm (largest); all unframed (5) Executed in the 1920s.

£100-150 171

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF SKETCHES INCLUDING A BOXING SCENE AND A WAITER WITH BOXING GLOVES one signed and dated LAZZARI / Roma 25-7-21 lower right and lower left; one inscribed Stern (recto); one inscribed […] Laporte Barboresi / Roa 10-12 - 2 […]; two pencil on thin paper; three charcoal on paper; various sizes: 32 x 22cm (largest); all unframed (5) Executed in the 1920s.

£100-150 172

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) A COLLECTION OF MALE CARICATURES AND PORTRAITS pencil on paper; various sizes; 27 x 21cm (largest); all unframed (6) Executed in the 1920s.

£100-150 173

PIETRO LAZZARI (ITALIAN-AMERICAN 1898-1979) SKETCHES OF HORSES; STUDIES FOR A WAR MONUMENT; MEN SKETCHING AT THE VILLA BORGHESE (RECTO) - VARIOUS SKETCHES (VERSO) one signed and dated LAZZARI / 1921 lower left; one signed, dated and inscribed LAZZARI - Marzo 1921 / A Villa Borghese - Pinero lower right; one inscribed Tel. 31-789 / Instituto Copperativo; per le cose degli impiegati dello stato in Roma on the reverse; four pen and ink on paper; one pencil on paper (recto-verso); two pen and ink over pencil; various sizes; 20.5 x 25cm (largest); all unframed (7) Executed in the 1920s.

£100-150 62

HAL LONGMORE BURROWS (lots 174-181) Born in Salt Lake City, Utah, Burrows moved to New York aged 17 to study art with fellow Utahn artist Mahonri MacIntosh Young (1877-1957). Enrolment at the Art Students League followed, succeeded by studies at the New York School of Art under painters Walt Kuhn (1877-1949) and Robert Henri (1888-1986). The latter founded the Ashcan school of urban realists, a group of painters who coalesced around the depiction of contemporary life, including the public at leisure, enjoying resorts, theatres, restaurants and bars. Some years later in 1919, Burrows undertook further study at the Académie Julian, Paris. Together with several of his New York School of Art classmates, including Harold Ross, who founded The New Yorker and John Held Jr., Burrows was at the centre of a vanguard of illustrators who shaped the visual landscape of early 20th century print media in the USA. Burrows’ aptitude for stylized portraiture is evident in the range of his illustrations and cartoons reproduced in such publications as Life, Judge, Scribner’s and Puck from 1910-1930. During the First World War he received a special citation by General of the Armies, John J. Pershing for his work in the Army newspaper Stars & Stripes.

Later, after being appointed Art Director for MGM motion-picture studios, he supervised the promotion of projects including Gone with the Wind, the Wizard of Oz and Ben Hur, helping define MGM’s signature visual style. Besides his commercial work, he continued to paint landscapes, figures and mythological scenes. Solo exhibitions of his work were held at the Harlow MacDonald Gallery in 1920 and at the Grand Central Art Gallery in 1945. A life member of the American Watercolour Society, he showed in their 1923 exhibition of watercolours by American artists. Although he occasionally returned to Utah to sketch, he continued to live and work in New York City until his death. The following ten lots are candid illustrations of visitors to Bar Beach on Long Island’s North Shore and the newly opened Jones Beach Island, facing the Atlantic and linked by road to Long Island. Executed during the summers of 1946-47, they show the combined influence on Burrow’s stylistic development of Robert Henri and the Ashcan School and his time as a commercial artist. In 2008 Burrows’ Long Beach watercolours were the subject of a solo exhibition at Illustration House, New York.

174

HAL LONGMORE BURROWS (AMERICAN 1889-1965) BEACH DAY signed HAL Burrows lower right; pen and ink and watercolour on paper; 56.5 x 69.5cm; unframed Executed circa 1946-47.

£500-700

175

HAL LONGMORE BURROWS (AMERICAN 1889-1965) EXERCISE CLASS ON THE BEACH pen and ink and watercolour on paper; 65 x 49.5cm; unframed Executed circa 1946-47.

£500-700

176

HAL LONGMORE BURROWS (AMERICAN 1889-1965) SETTING UP ON BAR BEACH signed and titled Hal Burrows / BAR Beach lower right; pen and ink and watercolour on paper; 49.5 x 63cm; unframed Executed circa 1946-47.

£400-600

177

HAL LONGMORE BURROWS (AMERICAN 1889-1965) STROLLING ON BAR BEACH signed and titled Hal Burrows / Bar Beach lower right; pen and ink and watercolour on paper; 65 x 50.5cm; unframed Executed circa 1946-47.

£300-500

178

HAL LONGMORE BURROWS (AMERICAN 1889-1965) BEACH CHAT annotated with colour notes THIS / ONE / VERY / BLONDE / + / PINK upper left; Flesh / yellow / Ochre / with / grey - / glaze with / R.. madder - / DARK / ITALIAN upper right; LT / GREY SHADOWS lower right; pen and ink and watercolour on paper; 53.5 x 45cm; unframed Executed circa 1946-47.

£300-500

179

HAL LONGMORE BURROWS (AMERICAN 1889-1965) ON THE JETTY pen and ink and watercolour on paper; 49.5 x 38cm; unframed Executed circa 1946-47.

£400-600

180

HAL LONGMORE BURROWS (AMERICAN 1889-1965) LOOKING OUT FROM THE JETTY signed Hal Burrows centre right; pen and ink and watercolour on paper; 51 x 56cm; unframed Executed circa 1946-47.

£400-500

181

HAL LONGMORE BURROWS (AMERICAN 1889-1965) THREE FIGURES STANDING, MAN SMOKING pen and ink and watercolour on paper; 61 x 48cm; unframed Executed circa 1946-47.

£300-500

BERNARD MYERS (lots 182-216)

Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85).

As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels, including to Dieppe and Venice (lots 198, 200, 201, 204 & 206), the still-lifes he worked on in his studio (lots 184, 186, 187, 189, 193, 195-197, 203, 205, 208, 210, 213, 216), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 185, 188, 192, 207, 209, 212, 214 & 215).

Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’

In the 1950s he married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes, celebrated for his painting The Doctor of 1891 (Tate Britain). They lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace. Myers had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel, and Artists and Illustrators (1995) on his Venice views.

The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. 66

182

BERNARD MYERS (BRITISH 1925-2007) CUT FLOWERS BEFORE AN ITALIANATE LANDSCAPE signed with initials and dated 78; signed again B Myers lower right; oil pastel on paper; 56 x 76cm; unframed ⊕ £200-300

183

BERNARD MYERS (BRITISH 1925-2007) BLUE AND MAUVE CIRCLES WITH GEOMETRIC SHAPES oil pastel on paper; 50.5 x 40.5cm; unframed ⊕ £70-100

184

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE OF FLOWERS IN A VASE AND A PLATE OF FRUIT signed B Myers lower right; oil pastel on paper; 56 x 76cm; unframed with the studio inventory number 0236 on the reverse ⊕ £200-300

185

BERNARD MYERS (BRITISH 1925-2007) COSMIC COMPOSITION oil pastel on paper; 58 x 72.5cm; unframed with the studio inventory number 0433 on the reverse ⊕ £80-120

186

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH A BOUQUET OF VIOLETS, APPLES AND A PEAR signed B Myers lower right; oil pastel on paper; 38 x 56cm; unframed with the studio inventory number 0678 on the reverse ⊕ £150-200

187

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH VANITY MIRROR, DAISIES, CLOCK, MAP AND A BLUE POLKA DOT SCARF signed with initials and dated 76 lower right; oil pastel on paper; 56 x 76cm; unframed ⊕ £150-250

188

BERNARD MYERS (BRITISH 1925-2007) COSMIC REFLECTIONS IN BLUE signed with initials lower right; signed B Myers on the reverse; oil pastel on paper; 38 x 45cm; unframed ⊕ £70-100

189

BERNARD MYERS (BRITISH 1925-2007) YELLOW IRISES AND FOLIAGE IN A VASE, PEARS AND APPLES ON A TABLE signed B Myers lower right; oil pastel on paper; 56 x 76cm; unframed with the studio inventory number 0416 on the reverse ⊕ £100-150

190

BERNARD MYERS (BRITISH 1925-2007) RAIN AND SHINE signed B Myers lower right; oil pastel on paper; 76 x 56cm; unframed ⊕ £150-250

191

BERNARD MYERS (BRITISH 1925-2007) THE SWAN signed B Myers lower right; oil pastel on paper; 56 x 76cm; unframed ⊕ £150-250

192

BERNARD MYERS (BRITISH 1925-2007) COSMIC REFLECTIONS signed with initials and dated 73 twice lower right; oil pastel on paper; 56 x 76cm; unframed ⊕ £150-250

193

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE OF FLOWERS IN A VASE WITH PEARS AND APPLES ON BLUE signed B Myers lower right; 56 x 76cm; unframed with the studio inventory number 1062 on the reverse ⊕ £200-300

194

BERNARD MYERS (BRITISH 1925-2007) ABSTRACT PATTERNS IN ORANGE AND MAUVE signed with initials lower right; signed B Myers on the reverse; oil pastel on thin paper; 42.5 x 49cm; unframed ⊕ £70-120

195

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH FLOWERS IN A VASE, JUGS AND OIL PASTELS ON A TABLE oil pastel; 56 x 76cm; unframed with the studio inventory number 1071 on the reverse ⊕ £150-250

196

BERNARD MYERS (BRITISH 1925-2007) POTS OF GERANIUMS UNDER A FULL MOON oil pastel on paper; 76.5 x 56cm; unframed ⊕ £150-250

197

BERNARD MYERS (BRITISH 1925-2007) BLUE STOCKS AND FLOWERS IN A BLUE VASE ON AN ORANGE LEDGE signed with initials lower right; oil on paper; 55 x 75cm; unframed with the studio inventory number 0923 on the reverse ⊕ £150-200

198

BERNARD MYERS (BRITISH 1925-2007) THE GRAND CANAL WITH THE DOGANA, VENICE signed with initials lower right; titled Venice Grand Canal on the reverse; oil on paper; 55 x 75cm; unframed with the studio inventory number 1301 on the reverse ⊕ £150-250

199

BERNARD MYERS (BRITISH 1925-2007) AGAPANTHUS BY THE RIVERSIDE oil on paper; 55 x 75cm; unframed with the studio inventory number 1180 on the reverse ⊕ £150-250

200

BERNARD MYERS (BRITISH 1925-2007) A CANAL IN MURANO, VENICE signed with initials lower right; signed Bernard Myers and titled on the reverse; oil on paper; 55 x 75cm; unframed with the studio inventory number 1302 on the reverse ⊕ £100-150

201

BERNARD MYERS (BRITISH 1925-2007) OSTIA, ITALY signed with initials lower right; oil on paper; 55 x 75cm; unframed with the studio inventory number 0867 on the reverse

⊕ £100-150

202

BERNARD MYERS (BRITISH 1925-2007) ON BOARD ORPHEUS signed with the initials lower right; titled On board Orpheus on the reverse; oil on paper; 55 x 75cm; unframed with the studio inventory number 0863 on the reverse ⊕ £80-120

203

BERNARD MYERS (BRITISH 1925-2007) IRISES IN A VASE ON A MAUVE BACKGROUND signed with initials lower right; oil on paper; 55 x 75cm; unframed with the studio inventory number 0975 on the reverse ⊕ £200-300

204

BERNARD MYERS (BRITISH 1925-2007) EGLISE SAINT-REMY, DIEPPE signed with initials lower right; oil on paper; 55 x 75cm; unframed with the studio inventory number 0910 on the reverse ⊕ £100-150

205

BERNARD MYERS (BRITISH 1925-2007) BOUQUET OF FLOWERS IN A VASE IN A PINK ROOM signed B Myers lower left; oil pastel on paper; 56 x 38cm; unframed with the studio inventory number 0679 on the reverse ⊕ £100-150

206

BERNARD MYERS (BRITISH 1925-2007) MARCHE DE DIEPPE signed with initials lower right; oil on paper; 55 x 75cm; unframed with the studio inventory number 0913 on the reverse ⊕ £80-120

207

BERNARD MYERS (BRITISH 1925-2007) SPHERES IN THE COSMOS signed with initials lower right; signed B Myers on the reverse; oil pastel on paper; 43 x 47.5cm; unframed ⊕ £100-150

208

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH WHITE CYCLAMENS AND APPLES ON A TABLE signed B Myers lower right; oil pastel; 56 x 76cm; unframed with the studio inventory number 1073 on the reverse ⊕ £200-300

209

BERNARD MYERS (BRITISH 1925-2007) SHAPES IN THE COSMOS oil pastel on paper; 55.5 x 63.5cm; unframed ⊕ £80-120

210

BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH BLUE FLOWERS AND IRISES IN A VASE - A PAIR each signed B Myers lower left; both oil pastel on paper; both 53 x 36cm (72 x 25cm framed) (2) with the studIo inventory numbers 0333 and 0331 on the reverse ⊕ £100-200

211

BERNARD MYERS (BRITISH 1925-2007) SPHERES AND DIAGONALS signed B Myers lower right, inscribed NAC 20/ in the margin; oil pastel on paper; 76 x 56cm; unframed ⊕ £150-250

212

BERNARD MYERS (BRITISH 1925-2007) BLUE GEOMETRIC COMPOSITION III signed B Myers on the reverse; oil pastel on paper; 42 x 51cm; unframed ⊕ £70-100

213

BERNARD MYERS (BRITISH 1925-2007) COSMOS FLOWERS IN A JUG AND A PEAR ON A PLATE oil on paper; 55 x 75cm; unframed with the studio inventory number 1019 on the reverse ⊕ £150-200

214

BERNARD MYERS (BRITISH 1925-2007) HORIZONTAL GEOMETRIC COMPOSITION II signed B Myers on the reverse; oil pastel on paper; 42 x 50cm; unframed ⊕ £80-120

215

BERNARD MYERS (BRITISH 1925-2007) THREE DIMENSIONAL SHAPES IN COLOUR, ABSTRACT COMPOSITION I signed with initials lower right; signed B Myers on the reverse; oil pastel on paper; 40 x 52cm; unframed ⊕ £80-120

216

BERNARD MYERS (BRITISH 1925-2007) VASE OF FLOWERS signed with initials lower left; oil on canvas; 30.5 x 40.5cm; unframed with the studio inventory number 0373 on the reverse ⊕ £100-150

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5.VAT The following paragraphs are intended to give general advice on VAT for items purchased at auction. We have covered the common situations, and this may not be comprehensive. We are unable to offer Tax advice and we suggest you seek independent advice if you require clarifications or further information.

5.1 Items in our catalogue may be marked in the following ways: (a) (†) indicates that VAT is payable by the Buyer on both the Hammer Price and the Buyer’s Premium.VAT will be chargeable at the standard rate (presently 20%) for most Lots. Qualifying books will be charged at 0%. This imposition of VAT is likely to be because the Seller is registered for VAT within the UK and is not operating the Dealers’ Margin Scheme on their consignment to us. (b) (‡) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 5% (reduced rate due to nature of the Lot) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer. (c) (Ω) indicates that the Lot has been imported from outside the UK using customs Temporary Admissions procedures. Import VAT of 20% (higher rate) is due on the Hammer Price and an amount in lieu of VAT at 20% will be included in the Buyer’s Premium. This VAT on the Buyer’s Premium cannot be itemised separately on our invoices. The successful Bidder and therefore Buyer of the Lot will become its importer. (d) Lots which do not display one of the above symbols (referred to herein as unmarked Lots) have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. Therefore, an amount in lieu of VAT at the standard rate is included within the Premium and will not be shown separately on our invoice or be recoverable as input Tax. 5.2 For the items marked (‡) or (Ω), Buyers registered for VAT in the UK should notify us as soon as possible after the sale so that we can correctly instruct our shipping agents to complete the import into the UK under the Buyer’s VAT registration and HMRC can issue a form C79. The charge on our invoice for the import VAT is not sufficient evidence to make a claim for the import VAT.

6. REFUNDS OF VAT 6.1 For Buyers from outside the UK, the VAT charged on the Hammer Price and Buyer’s Premium or included in lieu of VAT in the Buyer’s Premium can be refunded so long as the Buyer has: (a) registered to bid with an address outside the UK; and (b) discussed with us the proof of export we require and the timeframes to complete the export. 6.2 Once we are satisfied that the requirements referred to in Clause 1.6.1 have been met, and with the proof of export provided, the following VAT will be refunded: (a) For Lots marked (†): The VAT on the Hammer Price and on the Buyer’s Premium. (b) For Lots marked (‡) and (Ω): the import VAT and, the VAT in lieu in the Buyer’s Premium.

(c) For unmarked Lots: the amount in lieu of VAT in the Buyer’s Premium. 6.3 To enable us to refund the VAT charged correctly we normally require the use of our international shippers to assist with the required paperwork. For private Buyers, we will only be able to refund the VAT if our shippers are used for the export of the Lot outside the UK.

7. REINVOICING SALES For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme.VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.

8. 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 the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.

9. GOODS WITH ELECTRICAL COMPONENTS These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

10. ENDANGERED SPECIES If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.

11. EXPORT OF GOODS If you intend to export goods you must find out: 11.1 whether an export licence is needed; and 11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.

12. 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. Please enquire in advance about our arrangements for telephone or online bidding.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 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.

13. BIDDING PLATFORMS We offer free online bidding directly through our Website (www.olympiaauctions.com).You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.

14. FINANCIAL CHECKS As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following: (a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document). (b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity. (c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information. 14.1 You may be asked for further information if we deem this necessary. 14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf. 14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.

15. COMMISSION BIDDING You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s 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). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.

16.4 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. 16.5 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted. 16.6 Credit Card payments in person: Payments above £6,000 cannot be accepted. 16.7 Debit card payments in person: Payments are without limit.

16. METHODS OF PAYMENT

17. COLLECTION AND STORAGE

Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges.You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.

16.1 Online: www.OlympiaAuctions.com/payments 16.2 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot. HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG IBAN No: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 401904 Account No: 22033119 Account Name: Olympia Auctions Ltd 16.3 Sterling Bankers Draft: Drawn on a recognised UK bank.

18. POTENTIAL CANCELLATION RIGHTS If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot.You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.

CATALOGUING PRACTICE SECTION B 1. Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.

2. CERAMICS Obvious faults may be recorded in italics at the end of a description for ceramics.

3.CLOCKS AND WATCHES All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The

Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.

4. DISPLAY ACCESSORIES Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.

5. FIREARMS Please note that all bore sizes are approximate.

6. JEWELLERY It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a

certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.

7. PHOTOGRAPHS In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description. Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated. All photographs are sold unframed unless stated otherwise in the Lot description.

8. PICTURES A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used: (a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part. (b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision. (c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence. (d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil. (e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date. (f) “After”: means in our opinion a copy (of any date) of a work of the artist. (g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt. (h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.

9. SILVER, GOLD AND PRECIOUS METALS Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.

10. THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES: (a) () indicates a Lot with no Reserve. (b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final. (c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above. (d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.

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(e) ( ) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot. (f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements. (g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID. (h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE WEDNESDAY 9TH DECEMBER 2026 INVITING ENTRIES

Yankel Adler (Polish 1895 - 1949) Seated Girl, 1944 £30,000 - £50,000

Autumn / Winter 2026 From the Studio: Works from Eighteen Artists’ Estates

European Works of Art, Objects & Silver

Timed sale: ends Sunday 11th October Viewing: Sunday 4th, Monday 5th & Tuesday 6th October

Live Sale: Wednesday 18th November Viewing: Sunday 15th, Monday 16th & Tuesday 17th November

Paintings, Works on Paper and Sculpture

Jewellery & Watches

Timed sale: ends Sunday 11th October Viewing: Sunday 4th, Monday 5th & Tuesday 6th October

The Pip Rau and Benjamin Collection of Embroideries, Costumes and Rugs Part 2 Timed sale: ends Sunday 25th October Viewing: Sunday 18th, Monday 19th, Tuesday 20th & Wednesday 21st October

Chinese and Japanese Works of Art Live Sale: Wednesday 4th November Viewing: Sunday 1st, Monday 2nd & Tuesday 3rd November

Modern & Contemporary African & Middle Eastern Art Live Sale: Wednesday 11th November Viewing: Sunday 8th, Monday 9th & Tuesday 10th November

Modern & Contemporary African & Middle Eastern Art Timed sale: ends Sunday 15th November Viewing: Sunday 8th, Monday 9th & Tuesday 10th November

Live Sale: Thursday 19th November Viewing: Sunday 15th, Monday 16th & Tuesday 17th November

Indian, Islamic, Himalayan and South-East Asian Art Live Sale: Wednesday 25th November Viewing: Sunday 22nd, Monday 23rd & Tuesday 24th November

Fine Antique Arms, Armour and Militaria Live Sale: Wednesday 2nd December Viewing: Sunday 29th & Monday 30th November and Tuesday 1st December

Antique Arms, Armour and Militaria Timed sale: ends Sunday 6th December Viewing: Sunday 29th & Monday 30th November and Tuesday 1st December

Fine Paintings, Works on Paper and Sculpture Live Sale: Wednesday 9th December Viewing: Sunday 6th, Monday 7th & Tuesday 8th December Please note sale dates are subject to change Please see our website for up-to-date information

enquiries@olympiaauctions.com | www.olympiaauctions.com 25 Blythe Road, London WI4 0PD

25 Blythe Road, London W14 0PD +44 (0)20 7806 5541 | pictures@olympiaauctions.com | www.olympiaauctions.com