Fine Paintings, Works on Paper & Sculpture | Wednesday 13th December 2023 by Olympia Auctions

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE WEDNESDAY 13TH DECEMBER 2023

ENQUIRIES: Adrian Biddell, Head of Sale adrian.biddell@olympiaauctions.com Charlotte Norman-Butler, Specialist and Cataloguer charlotte.normanbutler@olympiaauctions.com FREE LIVE ONLINE BIDDING

Maryam Daoudi, Administrator and Junior Cataloguer maryam.daoudi@olympiaauctions.com +44 (0)20 7806 5545 pictures@olympiaauctions.com ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.

FINE PAINTINGS, WORKS ON PAPER & SCULPTURE TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD AUCTION: Wednesday 13th December 2023, 12pm, precisely PUBLIC EXHIBITION: Sunday 10th December, 12pm to 4pm Monday 11th December, 10am to 8pm Tuesday 12th December, 10am to 5pm SALE NUMBER 34 Lot 60

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(ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

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Property from a Private Collection, Kew

ATTRIBUTED TO ALEXANDER RUNCIMAN (SCOTTISH 1736-1785) APOLLO AND ARTEMIS stamped with collector mark T.H. (Lugt 2432) and the eye cypher (Lugt 2793) lower left pencil, pen and brown ink and wash on paper 26 x 46.5cm; 10 1/4 x 18 1/4in 53.5 x 66cm; 21 x 26in (framed)

CIRO FERRI (ITALIAN 1634-1689) ST PAUL PREACHING AT ATHENS pencil, pen and ink and wash on paper 20.5 x 31cm; 8 x 12 1/4in 42.5 x 58cm; 16 3/4 x 22 3/4in (framed)

Provenance Thomas Hudson, London (Lugt 2432). In his day Hudson (British, 1701-1779) was the leading portrait painter in London. He counted Joshua Reynolds among his students. Nathaniel Hone RA, London (Lugt 2793). Hone (Irish, 1718-1784) was a portraitist and miniature painter and a founding member of the Royal Academy. The Manning Galleries Ltd, London Edgar Seaton Hyde, Cheshire (acquired from the above in the 1960s) Thence by descent In the present work Apollo rides through the sky silhouetted against the sun opposite his twin sister Artemis, her head profiled against the moon and in the company of a group of chaste nymphs. Sagitarius in the form of a centaur is to Apollo’s right. The subject derives from the top section of the etching by Pietro Testa (1611-1650), of the Allegory of Autumn. Not shown in the present work, but present in the lower part of Testa’s etching, a drunken Silenus with the god Pan leads a lustful parade of satyrs and centaurs to honour the return of Bacchus from his travels through India.

£800-1,200 4

Provenance The Manning Galleries Ltd, London Edgar Seaton Hyde, Cheshire (acquired from the above in the 1960s) Thence by descent Ferri’s source for the present work was very likely Raphael’s tapestry of the same subject from his series of Acts of the Apostles commissioned by Pope Leo X in 1517 and displayed on their completion in the Sistine Chapel in Rome. An etching by Cornelis Bloemaert (1603-1692) derived from Ferri’s composition was printed in 1678, copies of which are in the British Museum, the Metropolitan Museum of Art, New York and the Philadelphia Museum of Art. Chief pupil and assistant of the painter and architect Pietro da Cortona (1596/7-1669) in Rome, Ferri completed the internal decorations at the Pitti Palace in Florence that Cortona had begun. Among his own work, one of the most impressive is the vast frescoes in the Basilica of Santa Maria Maggiore, Bergamo. Another of his major paintings St Ambrose healing an invalid - was the main altarpiece in the Church of Sant’Ambrosio della Massima, Rome.

£4,000-6,000

2 5

Property from a Private Collection 3 FOLLOWER OF EGLON HENDRIK VAN DER NEER (DUTCH 1634-1703) ALLEGORIES OF VANITY AND FAITH - A PAIR oil on panel each: 25 x 19cm; 10 x 7.5in 43.5 x 38cm; 17 x 15in (framed) (2) Provenance (probably) James Ansell, London (sale, Christie’s London, 6 May 1773, lot 55 - as Willem van Mieris) Thought to be with the family of the present owner since at least the 1930s Literature G. Jansen & B.W. Meijer, Dipinti fiamminghi e olandesi: la raccolta del Conte Lodovico Belgiojoso d’Este, Milan, 1990, p. 98, no. 38, note 3, referenced Eddy Schavemaker, Eglon Hendrik Van der Neer, His Life and Work, Doornspijk, 2010, pp. 431-3, nos. 128.I & 129.I, catalogued; figs. 128a & 129a, illustrated Schavemaker records the present two panels as contemporary copies. Of the two fractionally larger prime versions, Vanity is in the collection of the Pinacoteca del Castello Sforzesco, Milan and Faith, signed and dated 1693, is in the Museum Amstelkring, Amsterdam.

£1,500-2,500

Property of a Lady

WILLIAM DE HEER (DUTCH CIRCA 1638-1681) TWO TRAVELLERS RESTING BY A FOUNTAIN gouache on vellum 27.5 x 21.5cm; 10 3/4 x 8 1/2in 42 x 35.5cm; 16 1/2 x 14in (framed)

WILLEM DE HEER (DUTCH CIRCA 1638-1681) THREE TRAVELLERS RESTING BY A FOUNTAIN gouache on vellum 27.5 x 21.5cm; 10 3/4 x 8 1/2in 42 x 35.5cm; 16 1/2 x 14in (framed)

Provenance Brian Koetser, London Bequeather to the present owner in the late 1980s

£1,000-1,500

7 8

Property from the Collection of a Distinguished British Scholar and Collector

Property from a Private Collection, West London

Property from a Private Collection, Kensington

ATTRIBUTED TO JAN WYCK (DUTCH 1644-1702) THE HEAT OF BATTLE inscribed Lach er zbit met yeel on the reverse pen and brown ink, with brown and grey wash on watermarked paper 29 x 44cm; 11 1/2 x 17 1/4in 44 x 59cm; 17 1/4 x 23 1/4in (framed)

FERDINAND VON KOBELL (GERMAN 1740-1799) LANDSCAPE WITH CLASSICAL RUINS IN THE FOREGOUND pen and brown ink on laid paper 19 x 27cm; 7 1/4 x 10 1/2 in 37 x 44.5cm; 14 1/2 x 17 1/2in (framed)

ATTRIBUTED TO ADAM SILO (DUTCH 1674-1760) A DUTCH MAN O’WAR ON MANOEUVRES IN BLUSTERY WEATHER oil on canvas 56.5 x 73.5cm; 22 1/4 x 29in 73.5 x 89.5cm; 29 x 35 1/2in (framed)

Provenance William Reid CBE, London (born in Glasgow, Reid -1926-2014 - was fascinated with arms and armaments from boyhood. After Trinity College, Oxford, he became a junior curator and then assistant keeper at the Tower of London, before being appointed the first director of the National Army Museum in Chelsea, opened by Queen Elizabeth II in 1970. It was a position he held for the following seventeen years. Reid was made CBE in 1988.

Provenance Maltzahn Gallery, London Purchased from the above by the mother of the present owner in February 1970

Provenance Purchased by the present owner in the late 1990s

Exhibited London, Maltzahn Gallery, Old Master Drawings, Winter Exhibition, 1969-1970

£1,500-2,500

£300-500

The enigmatic inscription Lach er zbit met yeel in pen and ink on the reverse can be translated from German as ‘he laughs and says yes’.

£300-500 9

10 10

Property from a Private Collection, Kew

Property from a Private Collection

CIRCLE OF GEORGE LAMBERT SENIOR (BRITISH 1700-1765) FIGURES WITH A DONKEY ON A COUNTRY ROAD watercolour on paper 18 x 23.5cm; 7 x 9 1/4in 36.5 x 41cm; 14 1/4 x 16 1/4in (framed)

CORNELIUS VARLEY (BRITISH 1781-1873) VIEW OF SNOWDON AND CAPEL CURIG, NORTH WALES signed and dated Cornelius Varley 1866 lower left watercolour on paper 17.5 x 25cm; 6 3/4 x 9 3/4in 41.5 x 48cm; 16 1/4 x 19in (framed)

Provenance The Manning Galleries Ltd, London Edgar Seaton Hyde, Cheshire (acquired from the above in the 1960s) Thence by descent

£300-500 Property from a Private Collection, Kew 10 ATTRIBUTED TO THOMAS SMITH (BRITISH fl.1780-1822) VIEW FROM POZZUOLI TOWARDS CAPE MISENO extensively inscribed on the reverse with details of the location and surrounding geography watercolour and pencil on laid paper 24 x 39cm; 9 1/2 x 15 1/4in 44 x 59.5cm; 17 1/4 x 23 1/2in (framed) Provenance The Manning Galleries Ltd, London Edgar Seaton Hyde, Cheshire (acquired from the above in the 1960s) Thence by descent

Provenance Spink-Leger, London Purchased from the above by the present owners in March 2000 Exhibited London, Spink-Leger, Feeling through the eye, 2000, no. 93 Initially educated by his uncle in the natural sciences, Cornelius Varley began to develop as an artist around 1800, when he accompanied his older brother, watercolourist John Varley (1778-1842), on a tour of Wales. During his career he depicted many Welsh landscapes such as this one as well as classical scenes and views of the Thames. Varley was also an inventor of scientific instruments, notably the graphic telescope which he exhibited at the Great Exhibition of 1851.

£800-1,200

£300-500 11

Property from a Private Collection, Kensington

Property from a Deceased Estate

AUGUSTE ANASTASI (FRENCH 1820-1889) VIEW ACROSS THE GIARDINO DEGLI ARANCI, ROME signed and dated AUG. ANASTASI.1863 lower left oil on panel 33 x 65cm; 13 x 25 1/2in 60.5 x 93.5cm; 24 1/2 x 36 3/4in (framed)

CARLO GRUBACS (MONTENEGRIN 1812/40-1870) (i) ST MARKS, VENICE; (ii) THE DUCAL PALACE, VENICE - A PAIR (ii) signed C. Grubacs lower left oil on canvas each: 26 x 30cm; 10 1/4 x 11 3/4in 42 x 47cm; 16 1/2 x 18 1/2in (framed) (2)

Provenance Acquired by the present owner in the 1990s A favourite subject for painters visiting Rome, the walled giardino degli aranci (orange garden) - also known as Savello Park - stands on the Aventine Hill to the south of the capital. Formally the site of a fortress built by the Savelli family that was demolished in the early 17th century, the garden is closely linked to the neighbouring Basilica Santa Sabina, consecrated in the 5th century and home to the Dominican Order since the 13th century, hence why prelates and monks are so often depicted in the garden’s precincts.

£1,500-2,500

Provenance Acquired by the late owner by 1990

£7,000-9,000

13 13

Property from a Private Collection

RICHARD ZOMMER (RUSSIAN 1866-1939) TRAVELLERS STOPPING FOR TEA, WITH THE CAUCASUS MOUNTAINS IN THE BACKGROUND signed R Zommer lower right oil on canvas 29 x 59cm; 11 1/2 x 23 1/4in 52 x 82cm; 20 1/2 x 32 1/4in (framed)

£7,000-9,000

BRAZILIAN SCHOOL (19TH CENTURY) A SET OF SIX VIEWS OF BRAZIL INCLUDING VISTA TOMADA DE SANTO CHEREZAE, LAGO DO PACO, ST. CHRISTOVAO, PRAYA D’AJUDA, FORTALEZA DE PRAYA VERMELHA AND ENTRADA DA BARRA DO RIO DE JANEIRO all: inscribed with title to margin lower centre pen and ink, watercolour and bodycolour heightened with gum arabic on paper each: 11 x 16.5cm; 4 1/4 x 6 1/2in 31.6 x 36cm; 12 1/2 x 14 1/4in (framed) (6) Provenance A gift to the late grandfather of the present owner Executed circa 1840. The present works are after illustrations from Johann Jacob Steinmann (Swiss 1800-1844) Souvenirs de Rio de Janeiro dessinés d’après nature first published in 1835. Steinmann was hired in Paris as the official lithographer to King Dom Pedro IV (1798-1834) who was briefly king of Portugal, and subsequently Emperor of Brazil (1822-1831). Steinmann travelled to Brazil in 1825 where he worked mainly in Rio de Janeiro at the Military Archives. After his employment ended he set up a lithography company in Rio. He returned to Switzerland in 1835 where he published his ‘Souvenirs’ which include many of the maps and sketches of the topography he made during his time in South America.

£1,500-2,500

Property from an English Private Collection 16 SIR WILLIAM ORPEN RA (IRISH 1878-1931) VATTETOT-SUR-MER titled, dedicated and dated VATTETOT / SUR MER / 1899 / WILL ROTHENSTEIN and ALICE ROTHENSTEIN lower centre gouache and watercolour on silk 16.5 x 37cm; 6 1/2 x 14 1/2in (fan shaped) 51.5 x 64cm; 20 1/4 x 25 1/4in (framed) Provenance William and Alice Rothenstein, London (a wedding present from the artist) Mrs Rachel Ward (née Rothenstein; 1903-1989, inherited from the above) Thence by descent to the present owner Exhibited London, The Leicester Galleries, The Collection of Sir William Rothenstein, 1946, no. 60 The present work, a wedding present from Orpen to William Rothenstein and his new bride Alice (née Newstub), celebrates the couple on holiday with friends in Vattetot on the Normandy coast. Rothenstein had married Alice on 11th June 1899. The figures depicted from top left are: Albert Rothenstein (later Rutherston) and William Orpen, Alice and William Rothenstein, Grace Knewstub (Alice’s sister, later Mrs. William Orpen) and John Herbert Everett, a fellow Slade student with Albert and Orpen. In the lower medallions are Augustus John (left) and Charles Conder (right). Orpen had first met William Rothenstein through his brother Albert when he was a fellow student at the Slade. Together with Augustus John the trio formed what William jocularly referred to as ‘the three musketeers’. William and Alice had discovered Vattetot on a bicycling trip out from Dieppe. In his memoires William writes: ‘On our return to London we spoke of Vattetot to John and Conder, who, with Orpen and my brother [Albert], proposed to join us there next summer. When the summer came, it was a large party which descended upon Vattetot; never had so many easels and paint-boxes been seen. It was a glorious time, divided between painting and play.’ (William Rothenstein, Men and Memories, London, 1931, vol. 1, p. 347)

£1,000-1,500 16

Property from a Distinguished Private Collection 17 HENRI EDMOND CROSS (FRENCH 1856-1910) A TREE IN BLOSSOM WITH COTTAGES BEHIND - RECTO; STUDY OF A TREE - VERSO Inscribed on the reverse: Recherche dans l’étude sur nature / l’emotion vraie et rapide, puis ne plus / en tenir compte dans le travail / d’atelier. Comparer et harmoniser / d’après ses impressions. Peindre / aussi la nature et la lumière / idéale d’après ses études rester / en mémoire watercolour on paper (recto); pencil on paper (verso) 10.5 x 17.5cm; 4 1/8 x 6 7/8in 24 x 32.5cm; 9 1/2 x 12 3/4in (framed) Provenance Galerie du Carlton, Cannes Purchased from the above by the present owner

£2,500-3,500

Property from a Distinguished Private Collection 18 • KEES VAN DONGEN (DUTCH 1877-1968) LA SOIREE signed Van Dongen lower left brush and Indian ink and charcoal 32 x 24.5cm; 12 1/2 x 9 3/4in 63 x 56.5cm; 24 3/4 x 22 1/4in (framed) Provenance Sale, Sotheby’s London, 13 October 1993, lot 38 Purchased at the above sale by the present owner

£4,000-6,000 18

Property from a Distinguished Private Collection 19 ELIZABETH (BESSIE) MACNICOL (SCOTTISH 1869-1904) PHYLLIS WITH A BOUQUET OF FLOWERS signed B. MacNichol lower right oil on panel 23 x 17.5cm; 9 x 7in 38.5 x 32cm; 15 1/4 x 12 1/2in (framed)

Provenance Richard Green Gallery, London Purchased from the above by the present owner in 1999 MacNicol was a student at the Glasgow School of Art (1887-1893) under Francis Henry Newbery, who encouraged her to travel to Paris to study at the more liberal Académie Colarossi where women were permitted to study alongside men. MacNichol was thus one of the first wave of female artists from Britain to study in France. Frustrated by the chauvinistic attitudes she encountered there, however, she soon returned to Scotland where she exhibited at the Royal Scottish Academy and the Royal Glasgow Institute. In 1896 she stayed in the artists’ colony in the fishing village of Kirkcudbright in Galloway on the Solway Firth, where she painted her striking portrait of Edward Atkinson Hornel (collection of Broughton House, Kircudbright), one of the Glasgow Boys, and the colony’s leading proponent. The same year she exhibited at the Munich Secession. She married Alexander Frew, a doctor and fellow artist, in 1899 and set up a large studio at their home in Glasgow, but died in the later stages of pregnancy in 1904. Now counted as one of the fabled ‘Glasgow Girls’, her work is all too little known as much was destroyed after her death.

£5,000-7,000

Property from a London Collection 20 SIR WILLIAM NICHOLSON (BRITISH 1872-1949) MIXED FLOWERS IN A BLACK JUG oil on canvas 75 x 62cm; 29 1/2 x 24 1/2in 92 x 80cm; 36 1/2 x 31 1/2in (framed) Painted circa 1912. Provenance Sir James Murray of Glenburnie Park, Aberdeen (by 1920) His sale, Christie’s London, 29 April 1927, lot 72 (as Flowers in a Black Vase) Lord Blanesburgh of Alloa Royal Caledonian Schools (bequeathed from the above in 1946) Sale, Christie’s London, 18 July 1969, lot 28 (as Mixed Flowers in a Black Jug Standing beside a Curtain) Mr Walker (purchased at the above sale) Sale, Christie’s London, 11 July 1976, lot 69 (as Mixed Flowers in a Jug) Mr O’Brien (purchased at the above sale) Exhibited Aberdeen, City Art Gallery, Sir James Murray’s Collection of Pictures, 1920 (as Flowerpiece) Literature ‘Sir James Murray’s Pictures’ in Aberdeen Press and Journal, 21 May 1920 Patricia Reed William Nicholson Catalogue raisonné of the Oil Paintings, London, 2011, p. 237, no 271, illustrated in colour William Nicholson’s flower pieces have always been popular, not least for the evident pleasure with which he approaches his subject. Often summer flowers that could be found in any garden are informally arranged in a variety of seemingly modest jugs and containers – creating a challenging combination of textures and colour. Here within the shallow picture space the flowers are dramatically presented against a dark chocolate velvet curtain, subtly distinguished from the glazed surface of the black Jackfield jug, with the flowers spot lit as on a stage. White nicotina stars with orange zinnias and blue delphiniums, while asters and others play a supporting role. Sometimes flowers depicted came from the artist’s garden in Rottingdean, but often when engaged on a portrait commission away from home Nicholson would chose flowers from his sitter’s gardens. Black Jackfield pottery jugs date from the mid-18th century, their distinctive look made from mixing manganese with a dark firing clay at Jackfield, part of the Ironbridge-Coalbrookedale area in Shropshire. The Jackfield factory is now better known for the glazed and painted tiles found in Victorian and Edwardian homes and shops. Nicholson’s famous painting of 1916 The Hundred Jugs (Liverpool Art Gallery) features several used in his flower pieces but not, as far as can be seen, a black Jackfield jug. The work is dated to circa 1912 on stylistic grounds; the composition is similar to Mauve Orchids in a Vase (Reed, ibid, p. 273) dated 1912. It is first recorded in the collection of Sir James Murray (1850-1933), when exhibited as part of the large art collection he had formed that hung in his London and Aberdeen homes. ‘…a beautiful composition of colouring’ declared the Aberdeen Press and Journal reviewing the 1920 exhibition. Having prospered in the Aberdeen meat trade Murray became Chairman of the Aberdeen Art Gallery Committee (1901-1928), and a major donor to the Gallery (founded 1885) both in terms of money and paintings. In 1917 he presented the Gallery with one of William Nicholson’s largest still lives The Brown Crow (1917) which, perhaps coincidentally, also includes a black Jackfield jug. We are grateful to Patricia Reed for preparing this catalogue entry.

£60,000-80,000

20 21

Property from a Private Collection

• EDWARD SEAGO (BRITISH 1910-1974) FLOWER PIECE signed Edward Seago lower left oil on board 65 x 49cm; 25 1/2 x 19 1/4in 81 x 65.5cm; 31 3/4 x 25 3/4in (framed)

• EDWARD SEAGO (BRITISH 1910-1974) FARM NEAR SOMERTON - NORFOLK signed Edward Seago lower left oil on board 34 x 49cm; 13 1/2 x 19 1/4in 52.5 x 67.5cm; 20 3/4 x 26 1/2in (framed)

Provenance Colnaghi, London Marion Easton, London (purchased from the above in the 1950s) Thence by descent to the present owner

Painted in 1969.

See note to the following lot

£6,000-8,000 22

Provenance A gift to the grandmother of the present owner in the mid-1980s Exhibited London, Marlborough Fine Art, Edward Seago Memorial Exhibition, 1974-1975 London, Portland Gallery, Edward Seago Centenary Exhibition, 2010, no. 86

22 Somerton, near where the present work was painted, lies near the Norfolk coast, some thirteen miles east of Seago’s home and studio in Ludham. The son of a coal merchant, Seago was born and raised in Norfolk, where he painted local views as a boy when bedridden with a heart condition. After leaving school aged 14 he ran away to join Bevan’s Travelling Show, touring widely with the troupe. He published the sketches and oils he completed of the performers and circus characters in Circus Company, Life on the Road in 1932. The introduction to the book was written by the poet laureate John Masefield, with whom Seago collaborated further, illustrating two volumes of Masefield’s poetry: The Country Scene (1937) and Tribute to Ballet (1939). As well as Masefield, Seago acquired several other influential patrons during the 1930s. One was Henry Mond, 2nd Lord Melchet who invited Seago to Venice and commissioned him to paint a series of portraits of his family. Another was Princess Mary, Countess of Harewood, whose patronage brought his work to the attention of the Royal Family after the Second World War. In 1946 Seago settled in Ludham on the Norfolk Broads, where he purchased the picturesque, seventeenth century Dutch House. There he focused on painting atmospheric views of the surrounding countryside, evoking the region’s distinctive flat landscape and vast skies, punctuated by windmills, churches and marshland farmhouses. Queen Mary, Queen Elizabeth the Queen Mother, Prince Philip, The Duke of Edinburgh and Prince Charles, Prince of Wales at the time, all became devotees of his work, and his exhibitions with his dealer Colnaghi sold out immediately. Typically collectors queued around the block to acquire a painting, the gallery having to limit purchases to one each, a rule not dissimilar to those imposed by leading fashion brands today selling their merchandise to eager buyers on Bond Street.

£10,000-15,000

Property from a Private Collection, London 23 • KEN HOWARD (BRITISH 1932-2022) CAMPO SAN BARNABA, VENICE signed Ken Howard lower right oil on canvas 60 x 50cm; 23 1/2 x 19 3/4in 69 x 59cm; 27 x 23 1/4in (framed) Provenance Anthony White, London (a friend of the artist) Bequeathed from the above to the mother of the present owner Exhibited London, Wildenstein & Co, Venice Observed, 1976, no. 39

£1,000-1,500 24

Property from a Distinguished Private Collection 24 KARL WALSER (SWISS 1877-1943) BERLIN STREET SCENE signed Walser lower right watercolour and pencil on paper 64 x 81cm; 25 1/4 x 32in 84.5 x 101.5cm; 33 1/4 x 40in (framed) Provenance Sale, Sotheby’s London, 22nd October 1986, lot 56 Jonathan Clark Fine Art, London Acquired from the above by the present owner

£3,000-5,000

Property from a Private Collection, Northampton 25 ARCHIBALD THORBURN (SCOTTISH 1860-1935) (i) A BATELEUR EAGLE; (ii) A RED-BILLED CHOUGH - A PAIR (i) signed A. Thorburn lower left; (ii) signed A. Thorburn lower right watercolour on paper each: 20 x 17cm; 8 x 6 3/4in (oval) 25.5 x 22.5cm; 10 x 8 3/4in (framed) (2) Provenance Basil and Phyllis Falkner, Oxford Susan Duncan (née Falkner), daughter of the above (by 1980) Thence by descent to the present owner, son of the above

£1,200-1,800

Property from a Private Collection, Isle of Man 26 DYLAN LEWIS (SOUTH AFRICAN B.1964) RUNNING GUINEA FOWL inscribed, numbered and dated Dylan Lewis 92 AP 1 bronze 38 x 44.5 x 19.5cm; 15 x 17 1/2 x 7 3/4in Cast in an edition of 10. Provenance Purchased from the artist by the present owners in April 2002

£2,500-3,500

Property from a London Collection 27 • VICTOR PASMORE (BRITISH 1908-1998) POINTS OF CONTACT signed with monogram and dated VP 79 lower right margin; numbered 36/70 lower left margin screenprint in colours 40.5 x 40.5cm; 16 x 16in 70.5 x 53.5cm; 27 3/4 x 21in (sheet) (unframed) £600-800 28

Property from a Private Collection 28 • PATRICK HERON (BRITISH 1920-1999) EIGHT INCLUDING ULTRAMARINE signed and dated Patrick Heron 71 lower right; numbered 56/75 lower left screenprint in colours 58.5 x 79cm; 23 x 31in 75 x 106cm; 29 1/2 x 41 3/4in (framed) Executed in 1971. Provenance Waddington Galleries, London John and Mary Goodyear (purchased from the above)

£2,000-3,000

Property from a Deceased Estate, London

Property from a Distinguished Private Collection

• WILLIAM GEAR (BRITISH 1915-1997) BLACK IDOL, 1958 signed and dated Gear ‘58 lower right oil on canvas 50.5 x 61cm; 19 3/4 x 24in 66.5 x 77cm; 26 1/4 x 30 1/4in (framed)

• EDGAR HUBERT (BRITISH 1906-1985) COMPOSITION, FEBRUARY 1944 gouache on paper 66.7 x 52cm; 26 1/4 x 20 1/2in 89.5 x 73cm; 35 1/2 x 29 3/4in (framed)

Provenance Redfern Gallery, London

£2,000-3,000 30

Provenance The Fine Art Society, London Purchased from the above by the present owner in 2005 Exhibited London, The Fine Art Society, Edgar Hubert 1906-1985, 2005

30 Considered amongst the most radical abstract painters of the 1930s, Hubert is often overlooked in discussions of British 20th century art. He studied initially at the Reading School of Art before attending the Slade (1926-1929). Between 1933-36 he became one of the leading voices of Objective Abstraction; others in the group included Graham Bell, William Coldstream, Rodrigo Moynihan and Geoffrey Tibble. Hubert exhibited regularly with the London Group (1931-47), showed with the Mayor Gallery (1948-53), and was the subject of a retrospective at the ICA in 1958. From the end of the 1940s he lived in the family home in Billingshurst, West Sussex, and following the death of his good friend Jeffrey Tibble in 1952 he lived an increasingly reclusive life.

£3,000-5,000 31

Property from a Private Collection, Putney 31 JOHN NASH (BRITISH 1893-1977) STUDY OF PYRENEAN VIOLETS signed, titled indistinctly and dated Ramondia Pyeraia, ‘natural...’ / 21 May / 26 / John Nash upper right pencil with touches of watercolour on paper 23.5 x 33cm; 9 1/4 x 13in 43 x 52cm; 17 x 20 1/2in (framed) Provenance New Grafton Gallery, London Purchased from the above by the present owner in 1987 Exhibited London, New Grafton Gallery, John Nash, 1987

£400-600

Property from a Private Collector 32 EDWARD MCKNIGHT KAUFFER (AMERICAN 1890-1954) COUNTRY ROSE signed with the initials EMcKK lower right; signed, inscribed and dated ‘A Rose’ / E. McKnight Kauffer / 1939 on the reverse; signed, titled and dated “Country Rose” / E. McKnight Kauffer / 1939 on the artist’s personal letter head glued to the backboard oil on panel 27 x 21.5cm; 10 1/2 8 1/2in 40 x 35cm; 15 3/4 x 13 3/4in (framed)

Provenance Sir Edward Howard Marsh KCVO CB CMG, London (probably acquired from the artist in 1939; Marsh (1872-1953), was a lifelong civil servant of note, and an influential writer, translator and patron of the arts who, like McKnight Kauffer had a flat in Swan Walk, Chelsea. Counting poets Rupert Brooke and Siegfried Sassoon among his circle of friends, Marsh served as assistant private secretary to Prime Minister H.H. Asquith and was personal private secretary to Winston Churchill in virtually every office Churchill held in government. Upon his retirement in 1937 Marsh was knighted for services to government. Sale, Arts Theatre Auction (for charity), Cambridge, c. 1950 (purchased by the family of the previous owner)

£800-1,200

Property from a Private Collection, West London 33 • LYNN CHADWICK (BRITISH 1914-2003) RAD LAD II bronze height: 43cm; 17in Executed in 1962 and cast in an edition of 4. Provenance Marlborough Fine Art Ltd, London Purchased from the above by the mother of the present owner 13 August 1965 Exhibited London, Marlborough Fine Art, Summer Exhibition, 1965, no.13 Literature Dennis Farr and Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, London, 2014, p. 198, no. 362 (illustration of the cast in the Museum of Fine Arts, Montreal) In Rad Lad II a rugged and ridged head and body sit on three angular, tapering legs. Its rough geometric form is half human, half robot. Chadwick’s light-hearted title - an abbreviation for ‘radiator man’ or plumber - refers to the work’s corrugated surfaces, but belies the more insidious presence the bronze’s spectre-like form suggests. Other more prescient titles he gave to similar sculptures of single figures he completed in the early 1960s included Watcher, Detector and Inquisitor. Such labels of monitoring and surveillance overtly reference the perceived existential threats present in the geo-politics of the day, when the Russian-American Cold War was entrenched, the Cuban Missile crisis was threatening, the Berlin Wall under construction and the horrors of the Vietnam War were unfolding. Trained as an architectural draughtsman, Chadwick’s early forays into sculpture began as mobiles and constructions using materials to hand, in particular sheet metal and steel rods, applying stolit - a mix of gypsum paste and powdered iron - to texture his surfaces. But by the end of the 1950s he had started to cast his work in bronze, as in the present example. Chadwick’s interest in casting followed a formidably successful decade of development, beginning with his first solo show at Gimpel Fils in Mayfair in 1950, three separate large scale commissions for the Festival of Britain in 1951 and inclusion both in the Battersea Park Open Air Sculpture Exhibition, and the exhibition American Abstraction in New York the same year. In 1952 he was featured as one of eight young emerging British sculptors in the Venice Biennale, alongside Robert Adams, Kenneth Armitage, Reg Butler, Geoffrey Clarke, Bernard Meadows, Eduardo Paolozzi and William Turnbull. This meteoric rise continued when in 1956 he represented Britain at the Venice Biennale, winning the International Sculpture Prize against the favourite Alberto Giacometti.

£20,000-30,000

Property from a Deceased Estate, London 34 • ADRIAN HEATH (BRITISH 1920-1992) ABSTRACT WITH RED AND ORANGE signed with initials AH lower right pencil, watercolour and bodycolour on paper 49 x 36cm; 19 1/4 x 14 1/4in 59.5 x 47cm; 23 1/2 x 18 1/2in (framed) Executed circa 1960. Born in Burma, after attending Bryanston school in Dorset, Heath took classes with Stanhope Forbes in Newlyn, Cornwall before enrolling at the Slade. During the Second World War he served with the RAF as a tail gunner on Wellington Bombers. Taken prisoner after a failed mission, he spent the majority of the war incarcerated at Stalag 383 in Bavaria. There he met fellow prisoner Terry Frost (1915-2003), and taught him to paint. Following an unsuccessful attempt to escape, Heath spent much of his time in solitary confinement during which he developed his abstract approach to form. After the War he finished his course at the Slade, and spent time in Paris and Carcassonne. In the late 1940s and early 1950s he lived in Cornwall where he met Ben Nicholson and William Scott in St Ives. He was also a close associate of both Victor Pasmore and Anthony Hill. Heath became the main link between the emerging St Ives School in Cornwall and the British Constructivists based in London. He helped to organise the first post-war show of abstract art at the Artists International Association gallery in 1951, wrote on the origin and meaning of Abstract Art, and became the AIA’s chairman (1954-1964). He served on the Arts Council’s advisory art panel from 1964 to 1967.

£500-700 36

Property from a Deceased Estate, London 35 • ADRIAN HEATH (BRITISH 1920-1992) H.D.D. 1969 inscribed, dated and signed “H.d.d’ 1969 / Heath on the reverse oil on canvas 170 x 140cm; 67 x 55in 176 x 146.5cm; 69 1/4 x 57 3/4in (framed) See note to previous lot.

£6,000-8,000 37

Property sold to benefit Turner’s House, Twickenham (lots 36-42)

The artist Richard Long photographed beside lot 36

Sandycombe Lodge, Turner’s House in Twickenham, offers a unique insight into the life and works of Britain’s greatest landscape painter, JMW Turner. Completed in 1813, Turner intended it as a quiet retreat, away from the pressures of the London art world; a place to which he would invite friends and indulge in his passion for fishing.

Some of the house’s features reflect the influence of Turner’s great friend and fellow fisherman Sir John Soane, who had built his own country property near by - Pitzhanger Manor in Ealing - just a few years earlier and was architect of the Bank of England and Dulwich Picture Gallery. But Turner was very much his own designer, his construction of Sandycombe Lodge revealing a lot about his ideal for living and, true to character, is typically idiosyncratic. A private residence since Turner sold the house in 1826, its last owner, Professor Harold Livermore, lived there since 1947. Professor Livermore died in 2010, and in his will left the house in Trust, now Turner’s House Trust. The Trust has since overseen its complete restoration, returning the property to how Turner had intended it, and recreating the quiet, domestic interiors that Turner would have known.

36 • RICHARD LONG RA (BRITISH B.1945) RIVER AVON MUD FINGERPRINTS signed and dated Richard Long 2014 on the reverse mud finger prints on painted cupboard door 73 x 59cm; 28 3/4 x 23 1/4in (unframed) Provenance A gift from the artist to Turner’s House, Twickenham In the present work, Long uses his index finger dipped in mud from the River Avon to make marks in lines which radiate from the centre. He says of his art: ‘All my work is simple. I like the primal energy of just handprints or fingerprints. It’s like cave painting.’ Born in Bristol, where he still lives, Long’s work is based around walking and the direct experience of nature. While still a student at St Martin’s School of Art in the mid-’60s he began making walks, photographing the traces he had made (the flattened grass, stones displaced, paths formed), or marking the course of the walk on a map. Long first used mud as a medium in 1969, describing it as ‘a simple, direct natural material’. Later he began laying rocks or twigs in straight lines or circles, and then started reconstructing these works in interior settings, although the walk remained the basis for collecting the natural material. Long represented Britain at the 37th Venice Biennale in 1976, and won the Turner Prize in 1989. He received the Chevalier de l’Ordre des Arts et des Lettres from the French Ministry of Culture in 1990, was elected a Royal Academician in 2001, and in 2009 was the recipient of the Praemium Imperiale for sculpture from Japan. He was awarded a Knighthood in 2018.

£4,000-6,000

Since opening to the public in 2017, the house has hosted a series of critically acclaimed exhibitions that have shone new light on Turner’s life and art. The Trust also works closely with community organisations, offering programmes to alleviate mental and physical ill health. Much of the funding for the house is from private donations, and the following seven lots by Richard Long and Peter Blake have been generously donated by the artists to raise funds to maintain the property and secure its future. To find out more about the house and how you can help support it visit www.turnershouse.org.uk. Sandycombe Lodge

Property sold to benefit Turner’s House, Twickenham

• PETER BLAKE RA (BRITISH B.1932) PARIS - DANCING signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

PETER BLAKE RA (BRITISH B.1932) PARIS - AQUARIUM signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

PETER BLAKE RA (BRITISH B.1932) PARIS - WORKING ELEPHANTS signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

Provenance A gift from the artist to Turner’s House, Twickenham

See note and provenance to lot 37

£300-500

The Paris portfolio, published in 2011, is one of a series from Blake’s great cities of the world, and follows his 2009 Venice suite. The portfolio comprises 20 screenprints;100 copies of each was printed on 400gsm somerset tub sized paper, plus 10 artist’s proofs, and 3 hors commerce copies. 50 complete sets were sold in portfolios, and the remainder were available individually.This and the following five lots have been taken from the portfolio number A/P IX/X, edited by Coriander Studio, London and printed by Coriander Studio and Paul Stolper, London.

£300-500

Property sold to benefit Turner’s House, Twickenham

PETER BLAKE RA (BRITISH B.1932) PARIS - CHICKEN ACT signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

PETER BLAKE RA (BRITISH B.1932) PARIS - GIRL signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

PETER BLAKE RA (BRITISH B.1932) PARIS - THE KISS signed, inscribed and numbered A/P IX/X Peter Blake lower margin screenprint on paper 38 x 21.5cm; 15 x 8 1/2in 54.5 x 37cm; 21 1/2 x 14 1/2in (sheet) (unframed)

See note and provenance to lot 37

£300-500

Property from a Private Collection, West London 43 • CESAR DOMELA (DUTCH 1900-1992) ABSTRACT COMPOSITION signed and dated Domela / 1953 lower right gouache on handmade paper 29 x 44cm; 11 1/2 x 17 1/4in 41 x 55.5cm; 16 1/4 x 21 3/4in (framed) Provenance A gift from the artist to his cousin, mother of the present owner (Domela’s wife Ruth was the present owner’s first cousin once removed)

£500-700 43

Property from a Private Collection, West London 44 MARCEL DUCHAMP (FRENCH 1887-1968) MONTE CARLO BOND signed on the plate offset lithograph in colours on wove paper 31 x 22.5cm; 12 1/4 x 8 3/4in 43.5 x 31cm; 17 1/4 x 12 1/4in (framed) Provenance William Weston Gallery, London Purchased from the above by the mother of the present owner in September 1977 Literature XXe siècle, Paris, 1938, no. 4 (Christmas edition) Arturo Schwarz, The Complete Works of Marcel Duchamp, London, 1969, pp. 490-91, no. 280, catalogued Executed in 1938 in an edition of 2000 and distributed with the periodical XXe siècle, published at Christmas that year. Duchamp originally issued the first impression in an edition of 30 in 1924, and included a third edition in The Box in a Valise in 1941 (see Schwarz ibid. p. 511, no. 311). In 1924 Duchamp decided to try and raise money for a system he had developed for gambling at roulette by issuing bonds for 500 francs at 20% interest. Of the 30 bonds he originally printed, he only managed to sell two to friends - Jacques Doucet, the noted fashion designer and collector, and the painter Marie Laurencin. The system was a failure, Doucet was only repaid 100 francs and Laurencin nothing. The present example is from Duchamp’s second edition issued in 1938. The portrait on the bond is from a photo by Man Ray of Duchamp covered in shaving soap.

£600-800 44 42

Property from a Private Collection 45 • JOAN MIRO (SPANISH 1893-1983) LES ESSENCIES DE LA TERRA 1968 signed Miró. lower right edition XI/XV CEAL lithograph in colours, brush and ink on japon nacré paper 47 x 34.5cm; 18 1/2 x 13 1/2in 78 x 64cm; 30 3/4 x 25 1/4in (framed) Provenance John and Mary Goodyear Collection Les Essencies de la Terra, a text by Juan Perucho and 8 texts in Old Catalan. 100 chief prints numbered from one to one-hundred with the colour lithograph, 8 variations embellished with supplementary original designs were exected in edition. Edited and printed by Poligrafa, Barcelona.

£2,000-3,000 43

46 • FRIEDENSREICH HUNDERTWASSER (AUSTRIAN 1928-2000) HWG 57 (GREEN POWER) signed, titled in Japanese, numbered and dated 98/249 Marghera 9. Aprile 1972 690 © Friederich Regentag lower right; screenprint in colours 83 x 62.5cm; 32 1/2 x 24 1/2in 86.5 x 66.5cm; 34 x 26 1/4in (framed) Provenance John and Mary Goodyear Literature Walter Koschatzky, Friedensreich Hundertwasser. The complete graphic work 1951–1986. New York, 2006, no. 57

£2,000-3,000 44

47 • FRIEDENSREICH HUNDERTWASSER (AUSTRIAN 1928-2000) LET US PRAY, FROM MANITOU WINS edition 126/428 signed, numbered and dated 126/428 © Friedensreich Regentag 8. Mai. 1981 Wien lower right screenprint with metallic embossing 55 x 75cm; 21 1/2 x 29 1/2in 56.5 x 77cm; 22 1/4 x 30 1/4in (framed) Provenance John and Mary Goodyear Literature Walter Koschatzky, Friedensreich Hundertwasser. The complete graphic work 1951–1986. New York, 2006, no. 79

£2,000-3,000

48 • FRIEDENSREICH HUNDERTWASSER (AUSTRIAN 1928-2000) NACHTZUG (NIGHT TRAIN) proof signed, numbered and dated Proof LXI/XC © Dunkelbunter Regentag, 16. März 1979 Wien lower left screenprint in colours 55.5 x 73cm; 21 3/4 x 28 3/4in 75 x 58.5cm; 29 1/2 x 23in (framed) Provenance John and Mary Goodyear Literature Walter Koschatzky, Friedensreich Hundertwasser. The complete graphic work 1951–1986. New York, 2006, no. 72

£1,500-2,000 48

Property from a Deceased Estate, London 49 • ALAN DAVIE (BRITISH 1920-2014) SNAKE PIT signed, titled, inscribed and dated Alan Davie 1998 / SNAKE PIT/ OPUS O.1384 / 30 X 38 INS on the reverse oil on canvas 76 x 96cm; 30 x 38 1/4in 110 x 87cm; 43 1/4 x 34 1/4in (framed) Provenance Gimpel Fils, London Alan Davie grew up in Grangemouth, near Edinburgh. His early career was dominated by music, his love of jazz, and playing tenor sax in the Tommy Sampson Orchestra. Davie travelled extensively and was introduced to the work of Paul Klee, Jackson Pollock and Joan Miro while in Venice. It was the American Abstract Expressionists which, along with his interest in Zen Buddhism, had the greatest influence on his work as an artist and, especially, brought about his love of the spontaneous. Davie worked in a similar way to Pollock: he would stand over a painting which was laid on the floor adding multiple layers of paint, often covering over the original work many times. As his technique became more controlled, recognisable symbols began to appear in his compositions often inspired by aboriginal art and native American ceramics as in the present lot and lot 50.

£2,000-3,000

Property from a Deceased Estate, London 50 • ALAN DAVIE (BRITISH 1920-2014) SHAMAN SPINNER signed, titled, inscribed and dated SHAMAN SPINNER / 1994 / OPUS 0.1273 / 30 X 38ins / Alan Davie 94 on the reverse oil on canvas 76 x 97cm; 30 x 38in 92 x 108cm; 36 1/4 x 42 1/2in (framed) Provenance Gimpel Fils, London See note to previous lot.

£2,000-3,000

Property from the Estate of Sir John Craven 51 • LINCOLN SELIGMAN (BRITISH B.1950) INDIAN TURBANS signed LINCOLN SELIGMAN lower right acrylic on canvas 293 x 218cm; 115 1/2 x 86in Provenance Sir John Craven, London (commissioned from the artist). Sir John Craven (1940-2022), founded Phoenix Securities in 1981 and quickly became one of the most successful bankers in the glory days of the City following de-regulation. One of the early boutique investment banks in the Square Mile, Phoenix profited enormously from mergers and acquisitions at the time of the 1986 stockmarket big bang. Craven was subsequently courted by Morgan Grenfell, becoming their CEO. And when it in turn was acquired by Deutsche Bank Craven became the German bank’s first non-German board member. Deutsche’s fabled corporate art collection awakened Craven’s interest in art, but it was via his connection with another significant corporate collection - that of Flemings Bank - he began collecting. His taste in art was eclectic and wide ranging, his particular interest in Asian culture influenced by his third wife Ning Chang - Lady Ning - who predeceased him in 2009.

£500-700 48

Property from a Deceased Estate, London 52 • TREVOR BELL (BRITISH 1930-2017) CALM, FIRE signed, titled and dated CALM,FIRE / 2005 / Trevor Bell on the reverse oil on canvas 92 x 91cm; 36 1/4 x 35 3/4in (unframed) £800-1,200

Property from a Deceased Estate 53 JAN SZANCENBACH (POLISH 1928-1998) GARDEN, OGRÓD signed and dated 87 / Szancenbach lower right oil on canvas 81 x 92cm; 32 x 36 1/4in 98 x 109cm; 38 1/2 x 43in (framed) Provenance Acquired by the late owner by 1990

£2,000-3,000

Property of a Lady, Chelsea 54 • RAINER FETTING (GERMAN B.1949) CHELSEA (G318) signed and dated Fetting / 2005 on the reverse acrylic on canvas 27.5 x 35.5cm; 10 3/4 x 14in (unframed) Painted in 2005. Provenance Rainer Fetting BCA Gallery, London (consigned for sale by the artist) Purchased from the above by the husband of the present owner in February 2006

£2,500-3,500

Property of a Lady, Chelsea 55 • ERNESTO TATAFIORE (ITALIAN B.1943) CONCERTO FOR VIOLIN AND MUSE signed and titled TATAFIORE / CONCERTO / PER VIOLINO / E MUSA upper left acrylic paint and pencil on four sheets of paper pinned adjacent to each other at each corner and along each vertical edge to the backboard 152 x 115.5cm; 59 3/4 x 45 1/4in 164 x 127cm; 64 1/2 x 50in (framed) Executed 1980-2000. Provenance Boukamel Contemporary Art Ltd, London Purchased from the above by the husband of the present owner in March 2000

£800-1,200 52

Property of a Lady, Chelsea 56 • JOHN DAVIES (BRITISH B.1946) HEAD OF WILLIAM JEFFREY WITH DEVICES painted polyester resin, fibreglass and fillers 28 x 15.3 x 23cm; 11 x 6 x 9in Executed in 1972. Provenance Wolpe Gallery Ltd, Cape Town Purchased from the above by the husband of the present owner in May 1986 Executed in 1972, the present work is one of a group of sculptures of William Jeffery’s head that Davies cast from life that year. Another version of Jeffery’s head by Davies was acquired by the Tate Gallery in 1972 (Collection of Tate Britain). Davies notes that his life casts were not intended as portraits of the sitter as they reveal little about their character, hence his addition of ‘devices’ to draw out and give expression to broader human qualities. In the Tate’s head he added chicken wire to the cast. In the present example he adds two dowells affixed with wire around the ears, sitting horizontally above the eyes, and on the tip of the nose. In a hand written note from March 1988 Davies noted of the present work that ‘I have cleaned and touched up the paint, renewed the wire in this Head of William Jeffrey 1972... ...probably the best way to keep its appearance sharp and clean is a perspex case’. Davies also includes a sketch of how the perspex case should look, which is how the work is currently displayed. (letter written ‘c/o Marlborough Fine Art’, dated 21 March 1988).

£1,500-2,500 53

Property of a Lady, Chelsea 57 • KEN CURRIE (BRITISH B.1960) THE WOMB OUT OF WHICH THAT CRAWLED IS FRUITFUL STILL signed, titled, inscribed and dated No 255 / “THE WOMB OUT OF WHICH THAT CRAWLED IS FRUITFUL STILL (STUDY)” 1994 / 23 x 31 cm/ oil and beeswax on map of Germany. / K. Currie on the reverse oil and beeswax on a map of Germany 30 x 22.5cm; 11 3/4 x 8 3/4in 57 x 47cm; 22 1/2 x 18 1/2in (framed) Provenance Raab Boukamel Galleries Ltd, London Purchased from the above by the husband of the present owner in January 1995

£1,000-1,500 54

Property from a Private Collection, Chelsea 58 • KEN CURRIE (BRITISH B.1960) HEAD OF A CRITIC signed, inscribed and dated No 73 “HEAD OF A CRITIC” 1990 / oil on wood / 35.5 x 46 cm / K. Currie 13/11/90 on the reverse oil on panel 46.5 x 35.5cm; 18 1/4 x 14in 57 x 46cm; 22 1/2 x 18in (framed) Provenance Raab Boukamel Galleries Ltd, London Purchased from the above by the husband of the present owner in October 1994 Exhibited London, Riverside Studios, Ken Currie, 1991 (illustrated in the catalogue) Edinburgh, Talbot Rice University Art Gallery, Ken Currie, The Age of Uncertainty, 1991 Literature Corinna Lotz, ‘Crucifixion of the Century’, in The Times Higher Education Supplement, 27 September 1991, illustrated In her review of Currie’s work in September 1991 Lotz comments how the artist: ‘...shows a world much more deeply symbolic. The inner core of meaning comes out of the human beings themselves, rather than being imposed on them, The figures are both more individualised and more anonymous. They are no longer specifically Scottish or Glaswegian, but tortured, suffering, doubting, brutal or brutalised, ugly, human creatures... In these disturbing works, we are made to confront the most painful and terrible experiences of our times.’ (Lotz, ibid, 1991)

£1,500-2,500 55

59 • MARKEY ROBINSON (IRISH 1918-1999) HARBOUR SCENE signed Markey lower left oil on board 51 x 62cm; 20 x 24 1/2in 62 x 73.5cm; 24 1/2 x 29in (framed) Provenance The Railings Gallery, London The Solomon Gallery, London

£1,000-1,500

Property from a London Collection 60 ERIC SLOANE (AMERICAN 1905-1985) CLOUDSCAPE signed and inscribed ERIC SLOANE A.N.A. lower left oil on board 59 x 120.5cm; 23 1/4 x 47 1/2in 83.5 x 145cm; 33 x 57in (framed) Baptised Everard Jean Hinrichs and raised in New York, as a boy Sloane studied type design and art with his neighbour the noted typographer Frederic Goudy, and thanks to the pioneering aviator Wiley Post experienced flying at a precociously young age, experiences which gave him a life-long love of painting and a fascination for the sky. He first worked in his ‘teens as a commercial artist, sign painting and creating advertisements for the likes of tobacco companies Red Man and Bull Durham. Then he enrolled at the Art Students League of New York where he changed his name to Eric Sloane. Subsequently settling in Lichfield County, Connecticut, where he was inspired by the Hudson River School of artists, Sloane became fascinated by Americana and the American folk tradition. He wrote prolifically on every day life during the Colonial-era, from tools to architecture, farming techniques to folklore and became friends with the landscape painter Andrew Wyeth. In the 1950s he spent time in Taos New Mexico, attracted to the vast desert landscapes and the huge ecocative skies. One of his best known works is the skyscape mural, Earth Flight Environment, commissioned by the Smithsonian’s Air and Space Museum for its opening in 1976, which remains on display there in the Independence Avenue Lobby. Sloane has a museum dedicated to his life and work in Kent, Connecticut.

£2,000-3,000

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1. INTRODUCTION (a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers; (iii) The Auctioneers Authenticity Guarantee;

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot.

(c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller.

2. DEFINITIONS

5. BIDDING AT AUCTION

“Bidder” is any person making, attempting or considering making a bid, including Buyers;

(a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained).

(iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement.

“Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller” is the person offering a lot for sale, including their agent, or executors; “Auctioneers” Olympia Auctions. “Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. EXAMINATION OF LOTS (a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion.

4.EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS (a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee. (b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise;

(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

(b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS (a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES). (b) Ivory and Restricted Materials (CITES) ‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s) he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. PAYMENT AND COLLECTION

11. DATA PROTECTION

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).

(b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer’s risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9. REMEDIES FOR NON-PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot;

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(c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot;

(ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i)

(d) reject future bids from the Buyer;

(b) Who gets to see your personal data?

(e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;

The Auctioneers, Olympia Auctions Ltd. who initially receives your data will process it.Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

(f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days’ written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings

10. FAILURE TO COLLECT PURCHASES (a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer’s expense and risk at the Auctioneers premises or in independent storage

Outside the Auctioneers The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct anti-money laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

CONDITIONS OF BUSINESS FOR BUYERS CONTINUED

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law. (c) How long will the Auctioneers keep your personal data? The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims. In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest. What steps do the Auctioneers take to keep your personal data secure? The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise. The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access. As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data. (d) Third party websites The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites.

(e) Your data You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above. How can I access the information you hold about me? You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers. The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect. (f) Complaints If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

12. MISCELLANEOUS (a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers. (b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

FORTHCOMING AUCTIONS 13TH MARCH 2024 PAINTINGS, WORKS ON PAPER & SCULPTURE & FROM THE STUDIO: WORKS FROM ARTISTS’ ESTATES 8TH MAY 2024 MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART 22ND MAY 2024 EUROPEAN WORKS OF ART 5TH JUNE 2024 ISLAMIC & INDIAN WORKS OF ART 5TH JUNE 2024 CHINESE & JAPANESE WORKS OF ART 19TH JUNE 2024 FINE PAINTINGS, WORKS ON PAPER & SCULPTURE 16TH JUNE 2024 ANTIQUE ARMS, ARMOUR & MILITARIA Please contact us for valuations and advice enquiries@olympiaauctions.com | www.olympiaauctions.com Please note these dates may be subject to change

ABSENTEE BID FORM OLYMPIA AUCTIONS SALE TITLE: FINE PAINTINGS, WORKS ON PAPER & SCULPTURE DATE: 13 DECEMBER 2023 CODE: VIOLET

Please print or type Name Address

Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546 Email: pictures@olympiaauctions.com Important Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot. I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price. Methods of Payment Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases. Online: www.OlympiaAuctions.com/payments Wire Transfer to our Bank Electronic transfers may be sent directly to our Bank: HSBC Bank, 38 High Street, Dartford, Kent DA1 1DG IBAN No: GB39HBUK40190422033119 BIC: HBUKGB4B Sort Code: 40-19-04 Account No: 22033119 Account Name: Olympia Auctions Payment Cards We are pleased to accept card payments – Visa, MasterCard and American Express. Sterling Bankers Draft Drawn on a recognised UK bank. Sterling Cash or Cheque Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

Postcode Telephone Alternative telephone Email Signed Date

Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address. Lot no.

Lot description

£ Cover bid

Artists Index Lot

Lot

ANASTASI, A

MCKNIGHT KAUFFER, E

BELL, T

MIRO, J

BLAKE, P

37-42

NASH, J

NICHOLSON, SIR W

ORPEN, SIR W

PASMORE, V

ROBINSON, MARKEY

RUNCIMAN, A

CHADWICK, L

CROSS, H. E

CURRIE, K

57 & 58

DAVIE, A

49 & 50

DAVIES, J

DE HEER, W

4&5

DOMELA, C

DUCHAMP, M

FERRI, C

FETTING, R

GEAR, W

GRUBACS, C

HEATH, A

34 & 35

HERON, P

HOWARD, K

HUBERT, E

HUNDERTWASSER, F

46-48

SEAGO, E

21 & 22

SELIGMAN, L

SILO, A

SLOANE, E

SMITH CAFE, T

SZANCENBACH, J

TATAFIORE, E

THORBURN, A

VAN DER NEER, E.H

VAN DONGEN, K

VARLEY, C

LAMBERT, G

VON KOBELL, F

LEWIS, D

WALSER, K

LONG, R

WYCK, J

MACNICOL, B

ZOMMER, R

25 Blythe Road, London W14 0PD +44 (0) 20 7806 5545 | pictures@olympiaauctions.com | www.olympiaauctions.com