Fine Art: Traditional to Modern & Contemporary Wednesday 25th June 2025
Fine Art: Traditional to Modern & Contemporary
Wednesday 25th June at 12.00noon
Kingsley House, 5 High Street, Chislehurst, Kent, BR7 5AB
020 8396 6970
VIEWING
Thursday 19th June 9am – 4pm
Friday 20th June 10am – 4pm
Monday 23rd June 10am – 2pm Tuesday 24th June 9am – 4pm
Wendesday 25th June 9am – 12noon
PHOTOGRAPHIC ID IS REQUIRED FOR VIEWING AND TO REGISTER FOR IN-PERSON BIDDING
IMPORTANT NOTICES
Please note that the condition of items are not noted in the catalogue. Condition reports can be viewed on www.the-saleroom.com
AUCTION VENUE
Kingsley House, 5 High Street, Chislehurst, Kent, BR7 5AB, Parking available at the adjacent Hornbrook House public car park.
AUCTIONS
LIVE INTERNET BIDDING
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The Company trades as Catherine Southon Auctioneers & Valuers Ltd. The Company’s registered office is: Lygon House, 50 London Road, Bromley, BR1 3RA. Company Registration Number 08020183. Registered in England and Wales.
1. Circle of Leandro Bassano (Italian, 1557-1622)
Portrait of a nobleman, bust length, adorned with beard and moustache, dressed in large white ruff and black cloak, oil on canvas, bearing typed gallery/auction cutting verso ‘Leandro Bassano (1557-1622)’, 51cm by 43cm
Provenance: A Private Collection
£1,500-£2,500
Provenance: A Private Collection, By descent from European family
£3,000-£5,000
2. After Anthony van Dyck (1599-1641) Samson & Delilah, oil on canvas, 84cm by 113cm
3. Circle of Giulio Romano/Jules Romain (Italian, c.1499-1546)
‘Departure of Andromache after the Siege of Troy’, indistinctly inscribed, bearing date 1618(?) and name ‘Jules Romain’ verso in ink, titled in French to later back, name plaque to frame, oil on copper, 15.8cm by 21.7cm
Provenance: A Private Collection, Acquired early/mid 20th century by vendor’s grandmother from art dealer Monsieur D. Piraud in Grenoble £8,000-£12,000
4. Follower of Jan Steen (Dutch, 1626-1679)
Tavern interiors, with old man and woman, sat beside a fireplace, a pair, oil on panel, 20cm by 18cm
Provenance: A Private Collection £300-£400
5. Follower of Nicholas Berchem (Dutch, 1620-1683)
Italianate landscape, inscribed and labelled verso, oil on canvas, 40cm by 51cm
Provenance: A Private Collection, Acquired early/mid 20th century by vendor’s grandmother from art dealer ‘D Piraud’ in Grenoble £1,000-£1,500
6. Circle of Jean-Baptiste Charles Claudot (French, 1733-1805)
Figures in an idyllic landscape with ruins, oil on canvas, 27.5cm by 42.5cm
Provenance: A Private Collection £800-£1,200
7. Follower of Jonas Akerstrom (Swedish, 1759-1795)
Dionysus and Ariadne, labelled ‘Pulborough’ verso, oil on panel, 11.5cm by 14.5cm
8. Pieter Gerardus Van Os (Dutch, 1776-1839)
Provenance: A Private Collection, acquired at a country sale in South East £300-£500
Stag and recumbent deer in landscape, signed and dated ‘P van Os f.1838’ (lower-left), oil on panel, 12cm by 14.3cm
Provenance: A Private Collection £250-£350
9. British School (mid 18th century) Bust-length portrait of a gentleman, with white waistcoat and stock, burgundy velvet jacket, oil on canvas, 73cm by 60cm
Provenance: A Private Collection £800-£1,200
10. Mughal School (late 18th/early 19th century)
‘Combat of Elephants’, handwritten titled label verso, gouache on paper, 20cm by 27cm
Provenance: A Private Collection, By family descent, acquired by an engineer, probably working for the Brahmaputra Steam Navigation Co
£2,000-£3,000
11. George Nicholson (British, 1787-1878)
‘Figures by a Lakeland waterfall’, initialled (lower-right), labelled verso, watercolour, chalk and crayon, 24cm by 34cm
Provenance: A Private Collection
£100-£150
12. Major General James Pattison Cockburn (British, 1779-1847)
‘Chislehurst, Kent’, c.1840, signed verso, titled mount, watercolour, 33cm by 50cm
Provenance: A Civic Collection
£100-£150
13. Attributed to Warner Gijselman (Dutch, 1827-1862)
Estuary scene with figures and boats, labelled verso, oil on canvas, 39cm by 58cm
Provenance: A Private Collection
£500-£700
14. William Payne (British, 1760-1830)
‘By the Serpentine, Hyde Park’, signed, dated 1821 and titled verso, oil on panel, 16cm by 21cm
Provenance: A Private Collection
£300-£500
15. Circle of Samuel Prout (British, 1783-1852)
Continental Church Interior, watercolour heightened in white, 42cm by 32cm
Provenance: A Private Collection
£100-£150
16. Follower of Joseph Mallord William Turner RA (British, 1775-1851)
Shipping in rough waters off a rocky coastline, watercolour, heightened in white, 26.5cm by 40.5cm
Provenance: A Private Collection
£300-£500
17. Attributed to Narcisse-Virgilio de la Pena (French, 1807-1876)
Fontainebleu woodland scene, name plaque to frame, oil on canvas, 28.5cm by 59cm
Provenance: A Private Collection £500-£700
18. Daniel Sherrin (British, 1868-1940)
Highland river landscape, signed ‘D. Sherrin’ (lower-right), oil on canvas, 49cm by 76cm
Provenance: A Private Collection £300-£500
19. Daniel Sherrin (British, 1868-1940)
Detling Hill near Maidstone, signed ‘D.Sherrin’ (lower-left), oil on canvas, 75cm by 176cm
Provenance: A Private Collection. By repute, the work hung for many years in a Kent public house, one of a pair £700-£900
20. William Shayer (British, 1787-1879) ‘Outside the White Lion inn 1854’, name and title plaque to frame, oil on canvas, 82cm by 98cm
Provenance: A Private Collection
£3,000-£5,000
21. Charles Euphrasie Kuwasseg (French, 1838-1904)
Northern French coastal views, a pair, name plaques to frames, labelled verso, oil on panel, 20.5cm by 40cm
Provenance: A Private Collection, Cooling Gallery
£1,500-£2,500
22. Attributed to Benjamin Williams Leader (1831-1923)
Ruined tower in a valley, oil on canvas, 49cm by 34cm
Provenance: A Private Collection
£300-£500
23. Edwin Frederick Holt (British, 1830-1920)
Farmyard scenes with horses and cattle, a pair, both signed ‘E.F.Holt’ and dated 1904 (lower-left and lowerright), oil on canvas (2), 39cm by 59cm
Provenance: A Private Collection
£400-£600
24. Edward Charles Williams (British, 1807-1881)
‘At Underriver Kent’, signed, titled verso, oil on canvas, 43cm by 58cm
Provenance: A Private Collection
£300-£500
25. William Mellor (British, 1851-1931)
Bridge over rocky river, signed (lower-right), oil on canvas, 54.5cm by 39cm
£500-£700
26. David Gould Green (British, 1854-1917)
Rye beach scene with fishing boats and crowd, signed “D. Green’ (lower-right), watercolour, 12cm by 15.5cm
Provenance: A Private Collection
£100-£150
27. George Armfield (British, 1808-1893)
‘Waiting for Master’, oil on canvas, signed and dated 1854, labelled verso, 23cm by 29cm
Provenance: A Private Collection, Richard Green, London £400-£600
28. Attributed to James Philip Sydney Streatfeild (British, 1879-1915)
English landscape with fisherman in a rowing boat on lake, inscribed verso, oil on canvas, 23cm by 31cm
Provenance:
A Private Collection, By descent from family near Chiddingstone Castle, Kent
£300-£500
29. William Mellor (British, 1851-1931)
Northern river landscape with castle atop hill, possibly Richmond, signed (lower-right), oil on canvas, 60cm by 90cm
Provenance: A Private Collection £1,200-£1,800
30. James D. Barnett (British, 1855-1892)
‘An Old Chateau at Carden on the Moselle Passing Shiowers’, monogrammed ‘JDB’ and dated 1862 (lower-left) titled and labelled verso, oil on board; together with another similar work by artist (2), first 29cm by 39cm; second 39cm by 29cm
Provenance: A Private Collection £200-£300
31. Richard Wane (British, 1852-1904)
Figures by a river, signed “R. Wane’ (lower-left), watercolour, 38cm by 56cm
Provenance: A Private Collection £150-£200
32. Richard Wane (British, 1852-1904) Lakeland view, signed ‘R.Wane’ (lower-left), watercolour, 37cm by 57cm
Provenance: A Private Collection £100-£150
33. Thomas Bush Hardy (British, 1842-1897)
Shipping off the coast in rough waters, signed ‘T.B.Hardy’ and dated 1889 (lower-right), watercolour heightened in white; together with a further work, shipping off the coast in calm waters, signed ‘T.B.Hardy’ and indistinctly dated (lower-right), watercolour, first 19cm by 24.5cm; second 14cm by 24.5cm
Provenance: A Private Collection £200-£300
34. English School (early/mid 19th century)
Shipping in rough waters off coast, possibly Reculver, Kent, unsigned, oil on canvas; with a further marine study, 24.5cm by 39.5cm
Provenance: A Private Collection £100-£150
Provenance: A Private Collection £400-£600
35. Edmund John Niemann (British, 1813-1876) ‘Gweeddoch Dolgelly Mill’, signed and dated ‘Niemann (18)62’ (lower-right), titled mount, oil on canvas, 49cm by 80cm
36. Arthur Claude Strachan (Scottish, 1865-1938) ‘Hodder Bridge, c.1890’, signed ‘Claude Strachan’ (lower-right), labelled verso, watercolour, 27cm by 45cm
The Lower Hodder Bridge marks the historic boundary between Lancashire and the West Riding of Yorkshire £200-£300
37. John Clarkson Issac Uren (British, 1845-1932)
Sailboats in choppy waters off coast, signed (lower-left), watercolour; together with two further watercolours by artist (3), first 28cm by 45.5cm; second 34cm by 17cm; third 16cm by 35cm £300-£500
38. Continental School (19th century)
A Roman parade, indistinctly signed (lower-left), watercolour, 10cm by 12.7cm
Provenance: A Private Collection
£150-£250
39. Manner of Smythe family (mid/late 19th century)
Summer and winter landscapes, with shire horse teams pulling hay cart and felled trees, unsigned, oil on canvas, unframed, 76cm by 127cm
Provenance: A Private Collection
£300-£500
40. English School (early/mid 19th century)
Pastoral ‘View of Chislehurst’ village, with shepherd and flock, surrounded by trees, Tiger’s Head inn, St Nicholas’ church and various cottages, unsigned, oil on canvas, elaborate gilt & gesso framed, canvas 57cm by 80cm
Provenance: A Local Private Collection
£400-£600
41. English School (late 19th/early 20th century)
River landscapes, a pair, indistinctly signed, oil on board, 19cm by 14cm and 17cm by 12cm
Provenance: A Private Collection in Ireland/Wales
£100-£150
42. Herbert Menzies Marshall (British, 1841-1913)
Pool of London with Tower Bridge, signed and indistinctly dated ‘H Marshall’ (lower-left, watercolour, 20cm by 30cm
Provenance: A Private Collection
£200-£300
43. William Jospeh Julius Caesar Bond (British, 1833-1926)
View of Venice and the Lagoon with fishermen, signed and dated (18)88 (lower-right), labelled verso, oil on copper panel, 11.5cm by 14.5cm
Provenance: A Private Collection, James King Galleries, Liverpool
£800-£1,200 43
44. Bernard Jean Corneille Pothast (Dutch, 1882-1966)
‘First Lessons’, signed (lower-right), title plaque to frame, oil on canvas, 94cm by 122cm £4,000-£6,000
A buyer’s premium of 27.6% inclusive of VAT @ 20% will be applied to each lot. Lots marked ‡ will be subject to an additional fee - please see page 60.
45. Possibly East Anglian School (early 20th century)
Beach scene with fishing boats coming ashore, initialled ‘JWD’ and dated 1909 verso, oil on canvas, 46cm by 66cm £200-£300
46. Gwendoline Mary Hopton (British, 1866-1913)
‘Driving Geese’, artist’s studio collection stamp, oil on canvas, 67cm by 71cm
Provenance: A Private Collection, John Noott Broadway, Worcestershire, with copy of original receipt £1,000-£1,500
47. ‡ Lotte Liebling Geidel (German, 1891-1955)
‘Weiden und angler’, signed ‘A Liebling’ (lower-right), title to stretcher, oil on canvas, 48cm by 33cm
Provenance: A Private Collection £150-£250
48. ‡ William Merrett Hodges (British, 1891-1961)
Portrait of artist’s daughter Constance, by candlelight, labelled verso, oii on canvas, 75cm by 59cm
Provenance: A Private Collection, By family descent from the artist £400-£600
49. ‡ William Merrett Hodges (British, 1891-1961)
Portrait of the artist’s faughter Constance, seated with arms resting on pottery jar, labelled verso, oil on canvas, 75cm by 60cm
Provenance: A Private Collection, By family descent
£400-£600
50. ‡ Harold Gresley (British, 1892-1967)
‘A French Market’, signed (lower-right), labelled verso, watercolour, 33cm by 29cm
Provenance: Derby Corporation Art Gallery
£150-£250
51. ‡ Alexander V. Vyatkin (Ukrainian, 1922-2012)
‘Urals Village’, signed (lower-left), titled and dated 1959 verso, oil on board, 19cm by 30.5cm
Provenance: A Private Collection
£80-£120
52. ‡ Adrian Bury (British, 1891-1991)
Woodland scene with bridge over stream, signed and dated 1958 (lower-right) watercolour, 27.5cm by 38cm
Provenance: A Private Collection
£150-£250
53. ‡ Claire Maillot (French, 20th century)
Vichy forest scene, signed and inscribed verso, watercolour, pencil and crayon, 58cm by 47cm
Provenance: A Private Collection
£100-£150
54. ‡ James Fry (British, 1911-1985)
‘Purbeck landscape near Wytch Farm’, initialled ‘JF’ (lower-right), labelled and titled verso, oil on board, 29cm by 59cm
Provenance: A Private Collection
£300-£400
55. ‡ Paul Lemasson (French, 1897-1971)
A French townscape in winter, with coaches, horses and figures outside a restaurant, signed ‘Paul LEMASSON.J.’ (lower-right), oil on board, 20.5cm by 26cm
Provenance: A Private Collection
£250-£350
56. ‡ Paul Lemasson (French, 1897-1971)
A French townscape in winter, with gypsy caravan and horse, various figures outside a cafe and boulangerie, signed ‘Paul LEMASSON.J.’ (lower-right), oil on board, 21cm by 26cm
Provenance: A Private Collection £250-£350
57. ‡ Lincoln Rowe (British, b.1951) ‘Evening light on Mount Everest, Nuptse and Lhotse’, signed (lower-right), labelled verso, pastel, 28.5cm by 44cm
Provenance: A Private Collection, Bought 1993 Exhibition, with copy of biography etc £200-£300
58. ‡ Daniel van der Putten (Dutch, b.1960)
English pastoral landscape, signed ‘D van der Putten’ (lower-right), oil on board, 32cm by 42cm
Provenance: A Private Collection £200-£300
59. ‡ Gudrun Sibbons (German/British, 1924-2020)
Figures in woodland, signed ‘Gudrun Sibbons’ (lower left), oil on canvas, 39cm by 49cm
Provenance: A Private Collection £150-£250
60. Manner of Georges Braque
Abstract cubist style collage, indistinctly signed and dated 1959 (lower-right) mixed media, in original frame, 62cm by 50cm
Provenance: A Private Collection £700-£900
61. Norwegian School (mid 20th century)
Abstract landscape, unsigned, oil on canvas, 77cm by 98cm
Provenance: A Private Collection £300-£500
62. ‡ Alfredo Serri (Italian, 1897-1972)
Still life with mandolin, artist’s signature within composition, oil on board, 29.5cm by 14cm
Provenance: A Private Collection
£100-£150
63. ‡ Gerald Moore (British, 1926-2018)
‘The Conspirators’, signed ‘G E Moore’ (lower-left), inscribed to reverse of original frame ‘Dr Gerald Moore The Vineyard Crouch Kent title: ‘The Conspirators’ 25gns’, oil on canvas, 59cm by 49cm
Provenance: A Private Collection. Gifted to vendor’s parents as a wedding present from artist, who was their dentist, c.1959
£300-£500
64. French School (mid 20th century)
Abstract landscape, unsigned, oil on canvas, 33.5cm by 40.5cm
Provenance: A Private Collection
£200-£300
65. ‡ Antoine Blanchard (French, 1910-1988)
Champs Elysees and the Arc de Triomphe, signed (lower-left), oil on canvas, 45cm by 54cm
£2,000-£3,000
66. British School (late 20th century)
Deer in dense woodland, bearing indistinct signature, heavy impasto oil on canvas, 89cm by 91cm
Provenance: A Private Collection
£300-£500
67. ‡ Gilbert Speechley (British, 1926-1999)
St Paul’s Cathedral from Ludgate Hill, Signed (lower-right), oil on board, 80cm by 60cm
Provenance: A Private Collection, Accompanied by letter detailing history
£300-£400
68. ‡ Lord Paul Ayshford
Methuen RA, RWS, PPRWA (British, 1886-1974)
St. Paul’s Cathedral and the River Thames, signed ‘Methuen’ (lower left), oil on canvas, 75cm by 62cm
Provenance: A Private Collection, The Stow Gallery, Gloucestershire, with copy of original receipt
£1,500-£2,500
69. ‡ Ken Howard (British, 1932-2022)
‘Campo Santa Maria della Formosa’, signed ‘Ken Howard’ (lower-right), labelled and inscribed verso, oil on canvas, 49cm by 60cm
Provenance: A Private Collection, W.H.Patterson, London, with copy of original receipt and a letter from artist to buyer £4,000-£6,000
70. ‡ John Heseltine (British, 1923-2016)
‘Along the Grand Canal’, signed ‘John Heseltine’ (lower-right), labelled vesro, oil on canvas, 28.5cm by 33cm
Provenance: A Private Collection, W.H. Patterson, London, with copy of original receipt
£300-£500
71. ‡ David Gluck RWS, RE, NEAC (British, 1939-2007)
‘From the Rialto Bridge, Venice’, signed ‘D. Gluck’ (lower-left), labelled verso, watercolour, 21cm by 25.5cm
Provenance: A Private Collection
W.H. Patterson, London, with copy of original receipt
£200-£300
72. ‡ Sylvette David/ Lydia Corbett (French, b.1934)
Lady selling bears in market, signed in both names, watercolour, 28.5cm by 37.5cm
Provenance: A Private Collection
Footnote: David/Corbett was Picasso’s muse during period of spring/summer 1954
£1,000-£1,500
73. ‡ Pierre de Clausade (French, 1910-1978)
Bretagne, signed ‘P. de Clausade’ (lower-left), gallery label verso, oil on canvas, 52cm by 62cm
Provenance: A Private Collection, Stewart Gallery
£500-£800
74. ‡ Pierre de Clausade (French, 1910-1978)
‘De Marais’, signed ‘P. de Clausade’ (lower-right), gallery labels verso, oil on canvas, 48cm by 60cm
Provenance: A Private Collection, E. Stacy-Marks Ltd £800-£1,200
75. ‡ John Bratby (British, 1928-1992)
‘Melons on a scattered table cloth’, signed and dated ‘Bratby 1961’ (lower-left), title to middle stretcher, oil on canvas, 90cm by 69cm
Provenance: A Private Collectrion, John Noott, Broadway, Worcestershire, with copy of original receipt
£5,000-£7,000
76. ‡ Tom Merrifield (British 1933-2021)
a bronze sculpture of a ballet dancer tying her hair in a bun, signed, height 45cm
Provenance: Purchased from the Tom Merrifield studio and presented to Doreen Bird to celebrate the 50th anniversary of Bird CollegeConservatoire for Dance and Musical Theatre in Sidcup
£400-£600
77. ‡ John Bratby (British, 1928-1992) ‘Lily against mauve roof’, signed ‘Bratby’ (lower-left) titled, signed and bearing artist’s address, labelled verso, oil on canvas, 105cm by 29cm
Provenance: A Private Collection, Abbort and Holder, London, with copy of original receipt, Douglas and Foulis, Edinburgh, Harrod’s, London
£3,000-£5,000
78. ‡ Ken Howard RA (British, 1932-2022)
‘Udaipur’, signed ‘Ken Howard’ (lower-right), watercolour, 10.5cm by 14cm
Provenance: A Private Collection, Abbot and Holder, London, with copy of original receipt
£300-£500
79. ‡ George Lewis (British, Contemporary)
‘The Gateway of India, Bombay’, signed and dated 2006 verso, with gallery label, oil on canvas, 46cm by 56cm
Provenance: A Private Collection, The Smithfield Gallery
£200-£300
80. ‡ Richard Tratt (British, b.1953)
‘Echinotsia Polyancistra’, signed and dated ‘Tratt 1991’ (lower-left), labelled verso, oil on board, 20cm by 17.5cm
Provenace: A Private Collection, Bought RA Summer
Exhibition 1991
£80-£120
81. ‡ Patricia O’Brien (Irish, b.1927)
‘The Fruit Eaters’, signed (lower-left), labelled verso, oil on canvas, 35cm by 30cm
Provenance: A Private Collection, RA Summer Exhibition 1990, used in national press, with copy of advert and list of exhibitions
£300-£500
82. ‡ Vanessa Bowman (Contemporary)
‘Walking the dog in January, Cattistock village Dorset’, Signed (lower-left), titled and inscribed verso, oil on board, 30cm by 35cm
Provenance: A Private Collection
£300-£500
83. ‡ Laura Wright (Contemporary)
Sussex landscape, signed (lower-right) acrylic on canvas, 44cm by 59cm
Provenance: A Private Collection
£200-£300
84. ‡ Douglas Earle (British, Contemporary)
Geometric abstract, signed and dated ‘Earle Aug’ 83/6’ (lower-left), inscribed and dedicated to lower frame, coloured pigments on wove paper, in heavy frame and glazed, 216cm by 103cm
Provenance: A Private Collection. Hung in Italian restaurant, New Eltham, South-East London
£400-£600
85. ‡ James B. Nicholson (British, Contemporary)
Abstract study, signed ‘J.B.Nicholson J.F.-1999-33’ (lower-right) oil on canvas, unframed, 152cm by 152cm
Provenance: A Private Collection
£300-£500
Provenance: A Private Collection, 8 Holland Street
Footnote: Painted 2017
£8,000-£12,000
86. ‡ Francesca Mollett (Contemporary)
‘Overlay’, labelled verso, oil on canvas, unframed, 100cm by 80cm
87. ‡ Paul Wright (British, b.1973)
Portrait of a Young Man, Signed (upper-right), oil on canvas, 45cm by 30cm
Provenance: A Private Collection
Footnote: Artist twice nominated for the National Portrait Gallery BP award, in 2006 and 2025
£300-£500
88. ‡ James B. Nicholson (British, Contemporary)
Healing Angel, signed ‘JB Nicholson’ to stretcher, acrylic on canvas, unframed, 165cm by 155cm
Provenance:
A Private Collection £600-£900
89. ‡ James B. Nicholson (British, Contemporary)
Portrait of Pablo Picasso with other figures, signed and dated ‘JB Nicholson (19)87’ (lower-right), oil on canvas, unframed, 61cm by 122cm
Provenance: A Private Collection, Acquired directly from artist £150-£250
90. ‡ James Nicholson (British, Contemporary)
Healing angel, acrylic on canvas, unframed, 157.5cm by 111.5cm
Provenance: A Private Collection £300-£500
91. ‡ Sacha Jafri (British, Contemporary b.1977) ‘Beckham- A Celebration’, signed, titled and inscribed verso ‘Beckham- A Celebration artist’s proof by Sacha Jafrin 4/07 1/1 one off no. 5 of 6’, print on canvas, unframed, 97cm by 113cm
Provenance: A Private Collection, acquired by vendor directly from artist in exchange for a central London parking space
£5,000-£7,000
92. ‡ Nelson Mandela (RSA, 1918-2013)
‘The Cell’ From the ‘My Robben Island Collection.’ Hand-printed lithograph on ‘the Velin B F K Rives paper’, signed in pencil (lower-centre), numbered in pencil 224/500 (lower-left), 50 artists proofs numbered A/PI to A/P XXV, 7 printer proofs marked P/PI to P/PVII and one cancellation print, framed, glazed and mounted. Print comes with documentation of authenticity, Belgravia Gallery catalogue, Patek Philipe Magazine, and ‘Mandela - The Authorised Portrait’, within mount 58 x 43cm, overall 80 x 65cm
Provenance Belgravia Gallery: ‘The printing was done under supervision of the Michaelis School of Fine Art, University of Cape Town by Professor Stephn Inggs and Tamarind Institute Master Printer Ernestine White, Assisted by Russell Jones and Klaus Fricke… signed on behalf of Belgravia Gallery.’
£400-£600
93. After Henry Moore OM, CH, FBA (British, 1898-1986) standing figures, labelled verso, lithograph, printed by W.S. Cowell, published by Penrose 1950, 14cm by 21cm
Provenance: A Private Collection £300-£500
94. L. S. Lowry RBA RA (British, 1887-1976)
‘Mill scene, 1959’, an offset lithograph in colours 1972, signed in pencil (lower-right), printed by Durwen Press, published by Sunday Observer, limited edition of 3000, 750 of which were signed, framed, glazed and mounted, print 32.5 by 42cm
Provenance: A Private Collection £1,000-£1,500
95. L. S. Lowry RBA RA (British, 1887-1976)
‘St Luke’s Church, Old Street, 1945’, limited edition offset lithograph in colours, signed in pencil by artist (lower right) and numbered 850/390 (lower-left), Fine Art Trade Guild blind stamp bottom left, text above image found in provenance, framed, glazed and mounted, within mount 63 x 48cm, overall 82 x 66cm
Provenance:
A Private Collection
£1,000-£1,500
96. L. S. Lowry RBA RA (British, 1887-1976)
‘The Pond, 1950’, limited edition offset lithograph in colours, from an edition of 850, signed in pencil by artist (lower-right), Fine Art Trade Guild blind stamp to bottom left, framed, glazed and mounted, within mount 46 x 58cm, overall 66 x 79cm
Provenance: A Private Collection
£2,000-£3,000
97. L. S. Lowry RBA RA (British, 1887-1976)
‘The Harbour, 1957’, limited edition offset lithograph in colours, from an edition of 850, signed in pencil by artist (lower-right), Fine Art Trade Guild blind stamp bottom left, text above print: ‘Published in 1972 by Venture Prints Limited of Bristol, England. Copyright in all countries including the U.S.A. Printed in England,’ framed, glazed and mounted, within mount 44 x 57cm, overall 64 x 77cm
Provenance: A Private Collection
£1,000-£1,500
98. Frederick Lord Leighton PRA (British, 1830-1896)
‘At the Fountain’, with studio stamp beneath mount, black and white chalk on coloured paper, 24.5cm by 22.5cm
Provenance: A Private Collection, Abbot and Holder, London, with copy of original receipt
£500-£700
99. Sir Edward Coley Burne-Jones, Bt, ARA, FWS (British, 1833-1890)
‘Study for Fame’, monogrammed (lower-left), inscribed beneath mount ‘Fame and Fortune’, labelled verso, pencil, 16cm by 8.5cm
Provenance: A Private Collection, Julian Hartnoll, London Cat. no.13, with copy of the original receipt
Footnote: This is a design for one of the Predella Panels for the Troy Triptych £1,000-£1,500
101. John Dobie (British, 1849-1923) after John William Waterhouse RA (British, 1849-1917)
‘Ophelia’, pencil signed by printmaker and original artist, labelled verso, etching on wove paper, 28.5cm by 18.5cm
Provenance: A Private Collection, J.S. Maas & Son, London, with copy of original receipt
£250-£300
102. Felix Topolski (Polish, 1907-1989)
Figural study with police constable and man in bowler hat, initialled (lower-left), pencil and crayon, 19cm by 26.5cm
Provenance: A Private Collection, Abbot and Holder, London, with copy of original receipt
£150-£250
100. Sir Edward John Poynter (British, 1836-1919)
‘King Solomon’, catalogue cutting verso, with studio stamp beneath mount, black and white chalk on orange-brown, 26cm by 18cm
Provenance: A Private Collection, Abbot and Holder, with copy of original receipt
£500-£700
The
Professor Zacron Collection of Posters
We are delighted to offer a vibrant and visually interesting collection of over 70 posters from the Estate of the Late Professor Zacron (Dip. RA. British, 1943–2012).
As an artist, designer, and creator of the iconic Led Zeppelin III album cover, Zacron was known for his eccentric flair and bold visual language, moving freely between the worlds of fine art, music, and academia.
Coming directly from his estate, this collection is both visually and intellectually stimulating, and one with real insight into the creative mind of a true British original.
103. London Transport - Station Sign and Shelter, 1933. Photographic monochrome poster displaying ‘Station Sign and Shelter - Reinforced concrete with wooden seat; London Transport 1933.’ The evocative image: The Council of Industrial Design, Design Folios Book L, Plate 8. Single-sided, unframed, 44 x 37cm
£40-£60
104. Royal Academy Exhibition of Chinese Art, Burlington House, 1935-36.
Reproduction poster for The Royal Academy Exhibition of Chinese Art, held at Burlington House, London, from November 1935 to March 1936. Designed in a bold, modernist, art-deco aesthetic evocative of woodblock prints, the image features two stylised equestrian figures and Chinese calligraphy, evoking Han dynasty motifs. The 1935-36 exhibition was a landmark cultural event, widely regarded as one of the most important showcases of Chinese art ever held in the UK, this reproduction captures both its gravitas and visual sophistication. Single-sided, unframed, 76 x 56cm
£40-£60
105. Royal Academy 17th Century Art in Europe Exhibition, 1938.
Letterpress poster for the Royal Academy’s ‘17th Century Art in Europe’ exhibition, 1938. Poster features a reproduction of Rubens’ ‘The Duke of Buckingham’ (lent by the Earl of Jersey). The design reflects the prestigue of the event and the insitution, which bought together the baroque and high Renaissance works. Printed by William Clowes & Sons, Ltd. Single-sided, unframed, 76 x 51cm
£70-£100
106. Royal Academy Exhibition of Indian Art, 1947-49.
Letterpress poster for the ‘Exhibition of Indian Art - Chiefly form The Dominions of India and Pakistan’ at the Royal Academy of Arts, London, 29 November - 29 February 1948. Issued just months after Indian Independence and partition, the exhibition was one of the first major British displays of Indian art from the new dominions of India and Pakistan. Printed by William Clowes & Sons, Limited, Little New Street, E.C.4, in bold maroon type, poster carries an austere and authoritative presence representative of the partition. Single-sided, unframed, 76 x 50.5cm
£80-£120
107. Royal Academy Chantrey Collection Exhibition, 1949. Exhibition poster for the ‘Exhibition of the Chantrey Collection of British Painting and Sculpture, 1877-1948’ at Royal Academy of Arts, Piccadilly, London W.1, 8 January - 6 March 1949. Poster features a black and white reproduction of John S. Sargent’s Carnational, Lily, Lily, Rose’ showing children with lanterns in a garden setting. Open daily with weekday hours 10am to 5.30 pm, Sundays 2 p.m. to 5.30 pm, admsission 1s. 6d. Printed by William Clowes & Sons, Limited, Little New Street, E.C.4. Single-sided, unframed, 76 x 51cm
£40-£60
108. Royal Academy, Leonardo Da Vinci Quincentenary Exhibition, 1952. Lithographic exhibition poster illustrating ‘Head of Leda’, by Leonardo Da Vinci. Printed by Harrison & Sons, London. Single-sided, unframed, 76 x 51cm
£50-£80
109. Royal Academy, Portuguese Art 800-1800, Exhibition 1955-56. Offset lithographic exhibition poster for ‘Portuguese Art 800-1800’ at the Royal Academy of Arts, October 29, 1955 to February 19, 1956. Features a classical baroque figure against an ornate yellow decorative background pattern. Exhibition hours: weekdays 10-7, Sundays 2-6, admission 2/-. Printed by Harrison & Sons Ltd. by appointment to Her Majesty the Queen. Single-sided, unframed, 76 x 51cm
£50-£80
110. Royal Academy, The Age of Louis XIV, 1958.
Lithographic exhibition poster featuring ‘The Newborn Child’ by George de La Tour. Printed in France by Les Presses
Artistiques for the Royal Academy’s ‘The Age of Louis XIV’ exhibition, held January 2 to March 9, 1958. Single-sided, unframed, 76 x 51cm
£70-£100
111. Royal Academy, Painting of l’Ecole de Paris 1900-1950, 1951.
Lithographic exhibition poster illustrating ‘Corner of the Table’, by Pierre Bonnard. Printed by Les Presses Artistiques, Paris. Single-sided, unframed, 74 x 51cm
£50-£80
112. Royal Academy Summer Exhibition, 1953.
Printed by William Clowes and Sons Limited, London and Beccles, on dark blue background with cream coloured lettering. Exhibition: May 2 to August 16, 1953, Weekdays 9.30-7, Sundays 2-6, Admission 2/-, Single-sided, unframed, 76 x 51cm
£50-£80
113. Royal Academy Summer Exhibition, 1954.
Printed by William Clowes and Sons Limited, London and Beccles, on crimson red background with off-white lettering. Exhibition: May 1 to August 15, 1954, Weekdays 9.30-7, Sundays 2-6, Admission 2/-, Single-sided, unframed, 76 x 51cm
£50-£80
114. Royal Academy Summer Exhibition, 1956.
Printed on pink background with white lettering. Exhibition: May 5 to August 19, 1956, Weekdays 9.30-7, Sundays 2-6, Admission 2/6. Single-sided, unframed, 75 x 49.5cm
£50-£80
115. Royal Academy Summer Exhibition, 1957.
Printed on a blue (aqua) background with offwhite lettering. Exhibition: May 4 to August 18, 1957, Weekdays 9.30-7, Sundays 2-6, Admission 2/6. Single-sided, unframed, 76 x 51cm
£50-£80
116. Royal Academy Summer Exhibition, 1957.
Printed on a purple background with lighter (pink/purple) lettering. Exhibition: May 4 to August 18, 1957, Weekdays 9.30-7, Sundays 2-6, Admission 2/6. Single-sided, unframed, 76 x 51cm
£50-£80
117. Royal Academy Summer Exhibition, 1960.
Printed on white background with pink and blue lettering, block pink bordering to margins. Exhibition: April 30 to August 14, 1960, Weekdays 9.30-7, Sundays 2-6, Admission 3/- (1/6 after 5 p.m). Single-sided, unframed, 75.5 x 51cm
£50-£80
118. Royal Academy Summer Exhibition, 1960.
Printed on pink background with paler pink lettering, block white and blue bordering to margins, kelpra studio. Exhibition: April 30 to August 14, 1960, Weekdays 9.30-7, Sundays 2-6, Admission 3/- (1/6 after 5 p.m). Single-sided, unframed, 77 x 51cm
£50-£80
119. Royal Academy Summer Exhibition, 1961.
Lithographic exhibition poster designed by Theo Ramos (Spanish 1928-2018), utilising a detail of Sir Joshua Reynolds and the Prince of Wales at the exhibition of 1787 in ‘Exhibition of the Royal Academy’, by Johann Heinrich Ramberg. Printed by Kelpra Studio. Single-sided, unframed, 76 x 56cm
£50-£80
120. Royal Academy Summer Exhibition, 1962.
Lithographic exhibition poster designed by Theo Ramos (Spanish 1928-2018), incorporating ‘Burlington House’ by Henry Rushby. Printed by Kelpa Studio. Single-sided, unframed, 76 x 56cm
£50-£80
121. Royal Academy Summer Exhibition, 1963. Offset lithographic exhibition poster for ‘The Royal Academy Summer Exhibition’, held from 4 May to 18 August 1963. Features a dramatic silhouette of the statue of Sir Joshua Reynolds in the Annenberg Courtyard of Burlington House, off Piccadilly, Westminster, London. This classical image, printed in striking red, pink, and in black screen-print style design, also shows the pop art influence on institutional poster design of the early 1960s. Single-sided, unframed, 76 x 51cm
£100-£150
122. Royal Academy, Painting in England 1700-1850, 1964-1965.
Lithographic exhibition poster designed by Theo Ramos (Spanish, 1928-2018), featuring ‘White Poodle in a Boat’ by George Stubbs A.R.A. Printed by Balding-Mansell for the Royal Academy’s ‘Painting in England 1700-1850’ exhibition, held 1964-1965, from ‘The Collection of Mr and Mrs Paul Mellon.’ Single-sided, unframed, 76 x 51cm
£70-£100
123. Royal Academy Summer Exhibition Announcement, 1964.
Original letterpress announcement poster for the Royal Academy Summer Exhibition held from May 2 to August 16, 1964. Features the Royal coat of arms and detailed submission instructions for artists. The poster outlines specific receiving dates for different works: water colours (March 20), oil paintings (March 21 & 23), and sculpture (March 24). Signed (printed) by Humphrey Brooke as Secretary. Black text on cream paper with decorative treble-lined rectangular border. Single sided, unframed, 63.5 x 48cm
£100-£150
124. Royal Academy Final Year Students Exhibition c.1963.
Lithographic exhibition poster advertising the RA Final Year Students exhibition, taking place on June 18-23 in the Diploma Galleries. The thirty graduates are photographed with their numbered silhouettes and corresponding names beneath. Single-sided, unframed, 76 x 51cm
£40-£60
125. Harrogate Opera House, Diversion Exhibition c.1963.
Lithographic exhibition poster advertising the ‘Diversion’ exhibition, taking place on Sunday April 21 at Harrogate Opera House. An image of pegged stockings rendered in black and metallic sheen. Single-sided, unframed, 76 x 51cm
£40-£60
126. The King’s War & The King’s Peace, C.V. Wedgwood, 1964.
Offset lithographic poster promoting Fontana Library’s paperback history series, ‘History in Paperback’, featuring historian C.V. Wedgwood. Central image: ‘Charles I at the Hunt’ by Anthony van Dyck(c.1635). The exhibition ran from 12 December 1964 to 28 February 1965, covering the period 1700-1850. Single-sided, unframed, 61 x 38.5cm
£50-£80
127. Royal Academy Summer Exhibition, 1964. Lithographic exhibition poster designed by Theo Ramos (Spanish 1928-2018), displaying a photomontage of Burlington House gateway and courtyard. Printed by Mount Pleasant Studios. Single-sided, unframed, 76 x 51cm
£50-£80
128. Royal Academy Summer Exhibition, 1965. Lithographic exhibition poster designed by Theo Ramos (Spanish, 1928-2018), based on ‘Meeting in the Country’ by Leonard Rosoman. Printed by Balding-Mansell for the Royal Academy’s Summer Exhibition. Single-sided, unframed, 76 x 51cm
£50-£80
129. Masterpieces from the Print Room, British Museum, 1965-66.
Lithographic exhibition poster for ‘Masterpieces from the Print Room’, British Museum, 17 July 1965-10 January 1966, featuring the ‘Bust of a Warrior’ by Leonardo da Vinci. Produced for the department of prints and drawings, showcasing works from the museum’s permanent collection spanning the 15th to 19th centuries. Printed for Her Majesty’s Stationery Office by Lowe & Brydone, London. Single-sided, unframed, 73 x 48cm
£70-£100
130. Dilemma of the Art Gallery Director in the 1960s, Richard Demarco.
Offset lithographic poster for ‘Dilemma of the Art Gallery Director in the 1960s’ by Richard Demarco at Leeds City Art Gallery, ‘tuesday thirtieth january, lecture theatre 40-40 p m.’ Features an abstract halftone dot pattern in gold/yellow with purple dots, reflecting the op art and psychedelic design aesthetics of the 1960s. Richard Demarco was a significant figure in contemporary Scottish art and international art exchanges. Single-side, unframed, 57 x 47cm
£50-£80
131. Royal Academy, Portuguese Art 800-1800, Exhibition 1955-56.
Offset lithographic exhibition poster for ‘Portuguese Art 800-1800’ at the Royal Academy of Arts, 29 October 1955 to 19 February 1956. Designed in red with a central monochrome reproduction; Detail from the ‘Surrender of St Vincent.’ Printed by Harrison & Sons Ltd. by appointment to Her Majesty the Queen. Single-sided, unframed, 76 x 50.5cm
£50-£80
132. Royal Academy, British Portraits, 1956-57.
Offset lithographic exhibition poster for the British Portraits exhibition held at the Royal Academy of Arts from 24 November 1956 to 3 March 1957. The central image is a monochrome reproduction of a late 19th century British portrait painting by Sir John Singer Sargent RA (1856-1925). Printed by Harrison & Sons Ltd, London. Single-sided, unframed, 76 x 51cm
£50-£80
133. Russian-Soviet, Constructivist Poster.
‘Prozodezhda Aktepa No.7, 1921.’ Reproduction. Translation: ‘Production Clothing for Actor No. 7, 1921.’ Lithographic reproduction poster based on a work by Soviet-Russian avant-garde artist Lyuboc Popova, a costume design made for a theatrical play called ‘The Magnanimous Cuckold’ (c.1920s).
Single-sided, unframed, 65.5 x 51cm
£80-£120
134. Russian-Soviet Constructivist Typography Poster.
Lithographic Russian-Soviet avant-garde poster featuring bold red geometric text blocks arranged in dynamic diagonal composition on white paper. The text includes fragmentary words in the revolutionary constructivist style, ‘235mm’ is faintly printed to the left hand side of the bolder text. Poster exemplifies the radical typography experiments of the early Soviet period, with strong geometric forms and asymmetrical layout characteristic of the movement. Single-side, unframed, 76 x 49cm
£50-£80
135. Royal Academy, Flemish Art 1300-1700, Exhibition 1953-54. Offset lithographic exhibition poster for ‘Flemish Art 1300-1700’ at the Royal Academy of Arts, December 5, 1953 to March 6, 1954. Designed on a blue background with central monochrome reproduction from Jan van Eyck’s ‘The Artist’s Wife.’ Printed by Harrison & Sons Ltd, London. Single-sided, unframed, 76 x 51cm
£50-£80
136. Modernist Abstract Landscape Poster c.1950s-60s. Screen / block printed modernist poster, likely mid-century 1950s-60s, British, rendered in vivid tones of crimson, orange, and ochre. Abstract composition appears to depict a semi-rural / industrial scene - scattered tools, ladders, wheels, and organic motifs are layered in a collage-like manner suggestive of both destruction and decay. The work is stylistically reminiscent of the School of London printmakers, blending expressionism with post war abstraction. Single-side, backed on another piece of paper, unframed, 72 x 47cm
£40-£60
137. Atelier 17, Leeds College of Art, 1964.
Screen-print exhibition poster for ‘An exhibition of prints from ATELIER 17’ in arrangement with Editions Alecto, at Leeds College of Art, 5-27 November 1964. Features a bold abstract design in green, navy blue, gold, and white, printed in dynamic overlapping layers evocative of the gestural, experimental ethos of Atelier 17. A fine example of British post-war design and print culture. Single sided, unframed, 76 x 50.5cm
£50-£80
138. ‘Protest Art and Protest Culture’ - Edward Lucie-Smith Lecture c.1960s.
Screen-print poster advertising: ‘a lecture by Edward Lucie-Smith, 4.30pm Tuesday 21st May, Leeds City Art Gallery.’ Organised by Leeds College of Art. Features an abstract halftone dot pattern with purple dots on a red paper with Jimi Hendrix the central figure in the background, the design is reflective psychedelic design aesthetics of the 1960s and the impact of ‘Rock n Roll’. Single-sided, unframed, 47 x 39.5cm
£50-£80
139. Chinese Export Porcelain. A Travelling Exhibition, Harrogate Art Gallery.
Screen-print exhibition poster for ‘Chinese Export Porcelain - A Travelling Exhibition arranged by the circulation department of the Victoria and Albert Museum at Harrogate Art Gallery, 23rd March - 19th May, Weekdays 9.30 a.m. - 7 p.m. Sundays 2 p.m. - 5 p.m. Admission Free.’ 74 x 48.5cm
£50-£80
140. Royal Academy, European Masters of the 18th Century, 1954-55.
Offset lithographic poster for the ‘European Masters Of The Eighteenth Century’ at the Royal Academy of Arts, November 27, 1954 To February 27, 1955, Weekdays 10-7, Sundays 2-6, Admissions 2/6’. Designed on a orange / red background, central image a monochrome reproduction of Francois Boucher’s ‘The Toilet of Venus’. Printed by Harrison & Sons Ltd, London. Single-sided, unframed, 76 x 51cm
£50-£80
141. Royal Academy - ‘Goya and his times’, 1963-64. Offset lithographic exhibition poster designed by Theo Ramos (Spanish, 1928-2018) for the ‘Goya and his times’ exhibition held at the Royal Academy of Arts from 9 December 1963 to 1 March 1954, ‘The first major exhibition of the art of Francisco Goya to be held in Great Britain…’, The central image is a monochrome reproduction of Francisco Goya’s ‘Conde de Fernan Nuñez’. Printed by Balding & Mansell, London. Single-sided, unframed, 76 x 51cm
£50-£80
142. Carlton and Eldridge, Paintings & Prints, 1974. Screen-print poster advertising the Ryde Gallery exhibition, 29 October - 11 November, 1974. Executed with a silver pigmented sheen on purple. Single-sided, unframed, 46 x 35cm
£40-£60
143. An Arts Council Exhibition, Delacroix 1964. Lithographic exhibition poster depicting Delacroix’s ‘Medea About to Kill Her Children’ (1862), a fine work encapsulating the spirit of Romanticism. An Arts Council Exhibition arranged in association with the Edinburgh Festival Society, taking place at the Royal Academy of Arts from 1 October to 8 November 1964. Shenval Press. Single-sided, unframed, 76 x 51cm
£50-£80
144. Gulbenkian Museum of Oriental Art, Durham University c.1960-1975.
Offset lithographic promotional poster for the Gulbenkian Museum of Oriental Art, part of Durham University, Printed by The City printing Works (Chester-le-Street) Ltd. Design features a Chinese dragon in metallic gold and a magenta figure of an Asian deity or scholar, offset against a an off-white background. The text promotes the museum’s ‘superb collections of paintings, sculpture, porcelain, jades, bronzes, lacquer and antiquities’ at its Elvet Hill location, 76 x 51cm
£50-£80
145. Peter Schmidt - Curwen Gallery, 1966. Exhibition poster for Peter Schmidt ‘Paintings and prints’ at the Curwen Gallery, London W1, held from 3-26 February 1966. Poster designed by Philip Thompson, printed by P & B Graphics Ltd. Bold modernist design features a dynamic abstract motif in tonal greys radiating concentrically from the top right, emblematic of Schmidt’s interest in systems and process. A rare piece of post-war British art ephemera. Single-sided, unframed, 76 x 51cm £70-£100
146. Ready Steady Nouveau c.1967.
Lithographic poster with a striking psychedelic sign in deep purple, orange, black and grey, advertising the club ‘Nouveau’ at 69 Albion Street. Featuring concentric rings and bold, distorted typography characteristic of the 1960s British underground graphic design. The title, “Ready Steady Nouveau,” likely riffs on the popular TV show Ready Steady Go!, anchoring the poster firmly in the swinging 60s London countercultural scene. Single-sided, unframed, 75 x 49.5cm
£50-£80
147. Vincent van Gogh Exhibition, The Hayward Gallery, 1968-69.
Lithographic exhibition poster with Van Gogh’s ‘Sunflowers’ (1888) as the central image. He created two series of sunflower paintings, the second series, painted in Arles in 1888, is the most famous and the one depicted in this poster. Exhibition at the Hayward Gallery, South Bank, 24 October 1968 to 12 January 1969. Daily 10.30-7, Sunday 10-6, Admission 5s, organised by The Arts Council. Printed in the Netherlands, Photo-offset Smeets. Single-sided, unframed, 76 x 49.5cm
£50-£80
148. Tate Gallery Cubist Art from Czechoslovakia Exhibition, 1967.
Offset lithographic exhibition poster for ‘Cubist Art from Czechoslovakia’ at the Tate Gallery, running from 15 September to 29 October, featuring works by Kupka, Gutfreund, Picasso, Braque and others. The poster displays a dynamic black and white cubist artwork with geometric circular and spiral forms against an architectural background, printed on a bright yellow background. This is an Arts Council Exhibition poster typical of major British museum exhibitions in the 1960s. Single-sided, unframed, 76 x 50.5cm
£50-£80
149. Lunch-time Lectures at The British Museum c.1970s. British Museum promotional poster advertising lunchtime lectures, likely dating from the 1970s or early 1980s. Featuring minimalist modernist typography in white on a black background, with a bold central image of a intricately decorated classical silver dish likely from the museum’s collection. Printed for H.M.S.O. by Swindon Signcraft Ltd, Dd. 142301. Designed by H.M.S.O. Single-sided, unframed, 74 x 48cm
£50-£80
150. Charles Biederman - A Retrospective, Hayward Gallery, 1969.
Exhibition poster for ‘Charles Biederman - A Retrospective’, held at the Hayward Gallery, South Bank, from 18 September to 23 October 1969, this exhibition placed special emphasis on his Structurist works from 1936 to 1969. Published by the Arts Council, the poster features a high-contrast black and white photographic image of Biederman’s Red Wing studio in Minnesota, printed above minimalist silver and red typography, the design captures both the conceptual clarity and rural introspection often associated with Biederman’s output. Single-sided, unframed, 76 x 50.5cm
£70-£100
151. City Art Gallery, Bruce Lacey, 1968.
Lithographic poster advertising Bruce Lacey’s exhibition, taking place on January 16th in Leeds. A tetraptych of kinetic sculptures features at the top, illustrating Lacey’s artistic practice combining elements of humour, technology and social commentary. Single-sided, unframed, 76.5cm x 56cm
£40-£60
152. The Seligman Collection of Oriental Art Exhibition, 1969.
Offset lithographic exhibition poster for ‘The Seligman Collection of Oriental Art’ at City Art Gallery and Museum, Carwright Hall, Bradford 9, 13 July - 14 December 1969. Exhibition featured Chinese, Central Asian and Luristan bronzes, Chinese jades and sculptures, and Chinese and Korean Ceramics. Poster shows dramatic black silhouette of ornate Chinese ritual bronze vessel against white background with green border. Designed by Gordon House. Published by Lund Humphries. Single-sided, unframed, 76 x 50.5cm
£50-£80
153. Central School of Art & Design Exhibition, 1969.
Offset lithographic exhibition poster for the ‘Diploma Exhibition’ at Central School of Art & Design, Southampton Row, London, WC1, 1-9 July 1969, 10.30-8. Poster features a modernist design with white rectangular grids creating a three-dimensional optical illusion against vibrant green background, exemplifying late 1960s op-art aesthetics. Single-sided, unframed, 76 x 50cm £50-£80
154. Hornsey College of Art Diploma Exhibition, 1969.
Offset lithographic exhibition poster for ‘The Hornsey College of Art Diploma Exhibition’ held at the Great Hall, Alexandra Palace, N.22 on 10th and 11th July 1969, 10am to 6pm. Poster features a design with a black and white fisheyelens photograph of Alexandra Palace’s distinctive Victorian architecture, dramatically enhanced with a vibrant rainbow arc emerging from the building’s dome against a white background. The design reflects 1960s psycheldelic and pop art aesthetics, poster includes small text listing various departments including Foundation, Visual Research, Three Dimensional Studies, Fine Art, Fashion/Textiles, Graphics, Advanced Studies/Film/Teacher Training. Single-sided, unframed, 76 x 51cm £50-£80
155. Art Spectrum Ulster. A Contemporary Art Exhibition, 1971. Colour offset lithographic exhibition poster for ‘Art Spectrum Ulster’, an exhibition of contemporary art in Ulster: Belfast, Arts Council Gallery, 27 May - 19 June 1971. Organised by the Arts Council of Northern Ireland. This exhibition in Ulster (Belfast), as 1/7 regions used throughout the UK to exhibit, others; North (Leeds, Newcastle, Manchester), Central (Leicester, Coventry, Lincoln), South (Southampton, Folkestone, Bristol), London, Scotland (Aberdeen, Glasgow, Dundee) and Wales (Cardiff, Bangor, Newtown). Exhibition poster designed by Richard Eckersley, printed by Graphis Press, photo by Bill Patterson. Single-sided, unframed, 76 x 51cm
£40-£60
156. ‘The Travelling People’A Lecture by Gratton Puxon c.1970s. Photographic monochrome poster advertising a lecture by activist and writer Gratton Puxon at Leeds City Art Gallery Lecture Theatre, Tuesday 13th February at 4.30pm, c.1970s. Features a striking image of a young man leaning on a bicycle in front of traditional Romani wagons. Puxon has campaigned for Gypsy Roma Traveller (GRT) rights for over 50 years. Single-sided, unframed, 37.5 x 47cm
£40-£60
157. Surrealist Pictures from the Edward James Collection Exhibition, 1969.
Offset lithographic exhibition poster for the ‘Surrealist Pictures from the Edward James Collection’, held at Leeds City Art Gallery, organised by the Arts Council (UK). Poster features a reproduction of Rene Magritte’s enigmatic painting ‘La reproduction interdite’, alongside the names of major surrealists such as Giorgio de Chirico, Salvador Dalí, Max Ernst, Léonor Fini, Paul Nash, Pablo Picasso etc…, Single-sided, unframed, 76 x 51cm
£70-£100
158. Bill Brandt photographs, Hayward Gallery, 1970.
Photographic exhibition poster for ‘Bill Brandt - photographs’, held at The Hayward Gallery, London, 1970. Exhibition poster was created for Bill Brandt’s retrospective exhibition in 1970 in the UK by the British Arts Council and reproduced by The Hayward Gallery, originally, An Arts Council Exhibition organised by the Museum of Modern Art, New York. Poster reproduces Brandt’s ‘Tic-Tac Men, Ascot Races’ (1935). Single-sided, unframed, 76 x 51cm
£50-£80
159. Royal Academy Diploma Galleries Student Exhibition, 1971.
A poster for ‘An exhibition of paintings by students of the The Royal College of Art, Slade School of Fine Art & Royal Academy Schools at the Royal Academy Diploma Galleries, March 11-17.
Hours: 10-5.30 (Sunday 2-5.30). Minimalist design featuring simple blue text on pint paper, reflecting the conceptual art aesthetic of the early 1970s.
Single-sided, unframed, 76 x 51cm
£70-£100
160. Satire. Rugby: A Hooligan’s Game Played by Gentlemen, 1971.
Screen-print poster produced by the Poster Workshop, London, 1971. Features a sequence of photomontage images and typewritten-style text in alternating panels of vivid red and cyan blue against and black background. The work presents a critical commentary on rugby’s tribalism and social ritual, with satirical captions such as ‘The traditional enemies of the village-dwellers… like themselves in language, dress and custom.’ From a noted critic: ‘A critique of the misguided superiority complex that rugby has over other sports, based on class, and baseless in nature.’ A striking example of early 1970s countercultural graphic art, combining political undertones with experimental design. Single-sided, unframed, 76 x 52cm
£70-£100
161. ‘Midseason’ Kensington Exhibition Centre, 1983. Colour offset lithographic promotional poster for ‘Midseason’, an exhibition held at Kensington Exhibition Centre, Derry Street, London, W8, from June 7-9, 1983. Poster features distinctive 1980s graphic design with a silhouetted figure from behind wearing a geometric chevron-patterned jacket in red, blue, and yellow against a white background with blue accent elements. Exhibition hours were Tuesday - Wednesday, 9.30-7.00 and Thursday 9.30-6.00, with £3 admission and further information available from Dreswell at 27 Queensdale Place, London W11. Single-sided, unframed, 64 x 45cm
£50-£80
162. Modern Prints, Bethnal Green Museum, 1973-1974. Offset lithographic exhibition poster for ‘Modern Prints: Recent Acquisitions from the Department of prints and Drawings, Victoria and Albert Museum, held at the Bethnal Green Museum, 22 November 1973-27 January 1974’, artwork featuring a replication of the screen-print (serigraph) ‘Left to Right 4’ by Ruth Blench, 1972. Single-sided, unframed, 76 x 51cm
£80-£120
163. Carlton and Eldridge, Paintings & Prints, 1974. Screen-print poster advertising the Ryde Gallery exhibition, 29 October - 11 November, 1974. Executed with a silver pigmented sheen on red sugar paper. Single-sided, unframed, 47 x 35cm
£40-£60
164. Fine Art Diploma Show - Portsmouth College of Art & Design c.1980s.
Offset lithographic poster advertising a student diploma exhibition at Portsmouth College of Art & Design, dated 25 June - 2 July (year unspecified, like 1980s). The artwork, signed ‘D.B.’ in the corner, features a bold cartoon-like seaside scene rendered in a style reminiscent of comic books or zine art, with chunky outlines and halftone shading, 76 x 51cm
£40-£60
165. Leeds College of Art, Graphic Design Diploma Show, 1967.
Photographic monochrome poster advertising the Graphic Design Diploma Show at Leeds College of Art, 3 to 8 July. The informal image of the class of 1967 is positioned centrally, with equipment, such as a poise lamp, COW gum etc, featuring at the base of the foreground. Single-sided, unframed, 51 x 37.5cm
£40-£60
166. Barry John Wilkinson ‘Illustration’
Advertising Poster c.1970s.
An Art Nouveau-inspired monochrome lithographic promotional poster by Barry John Wilkinson, advertising his services in ‘visuals, storyboards, (and) finished art.’ Likely dating from the early to mid 1970s, this poster channels the flowing, organic line work and decorative aesthetic of Alphonse Mucha, repurposed here for commercial illustration in a post-psycheldelic area. The elegantly intertwined female figures and ornamental typography reflect a deliberate nod to turn-of-the-century poster design, popular again in counterculture graphic art of the 1960s-70s. Single-sided, unframed, 76.5 x 50.5cm
£70-£100
167. Bruce Bernard Exhibition - Artists and Their Studios, 2005.
Monochrome offset lithographic poster advertising a National Touring Exhibition at Wingfield Arts, Suffolk, 30 April - 3 July 2005. Bernard (British, 1928-2000) was a reknowned photographer with his prints currently housed in the National Portrait Gallery, London. Design features the iconic 1984 image of Francis Bacon seated among the authentically chaotic state of his studio. Single-sided, unframed, 42 x 29cm
£40-£60
168. J. Christopher Jones, Industrial Design Technology c.1960.
Screen-print poster advertising the Industrial Design Technology lecture at City Art Gallery, Tuesday 20th February. John Christopher Jones was an internationally renowned researcher who applied ergonomics within engineering design, his portrait can be seen beneath the geometric composition. Yellow pigment on white. Single-sided, unframed, 59 x 49.5cm
£40-£60
169. Summit Photographic Advertisement c.1980s.
Advertisement for Summit Photographic, 1-5 Poland Street, London, showcasing their graphic conversions services in black & white and multicolour. Poster demonstrates various photographic processing techniques applied to the same image of a 1980s couple, displaying halftone screening effects including denim, random dot, straight line, weave-plus highlight mark, wavy line, tone line/burn out, fine mezzo etc, along with texture effects such as flake, basswood, burlap, walnut, twill, cherry, walnut swirl, birch, fibril, terry, mesh, and brackets. These represent pre-digital commercial printing and photographic techniques used for converting photographs into various graphic treatments for commercial and artist applications during the 1980s. Single-sided, unframed, 65 x 44cm
£50-£80
170. J. Christopher Jones, Industrial Design Technology c.1960.
Screen-print poster advertising the Industrial Design Technology lecture at City Art Gallery, Tuesday 20th February. John Christopher Jones was an internationally renowned researcher who applied ergonomics within engineering design, his portrait can be seen beneath the geometric composition. Pastel yellow pigment on black. Single-sided, unframed, 59 x 51.5cm
£40-£60
171. Peter Blake, Tate Gallery, 1983.
Lithographic exhibition poster designed for the Tate Gallery’s Peter Blake retrospective, held 9 February20 March 1983. Published by the Tate Gallery Publications Department, featuring a montage of key works including ‘Babe Rainbow’, ‘A Little Museum for Tom Phillips’ and ‘The Beatles 1967’ etc…. Printed by The Hillingdon Press, UK. Single-sided, unframed, 76 x 51cm
£80-£120
172. Graham Sutherland, Tate Gallery Exhibition, 1982. Lithographic exhibition poster designed by Sue Fowler, based on Graham Sutherland’s ‘Thorn Tree’ (1945-46). Published by the Tate Gallery publications department. Printed by The Hillingdon Press, UK. Single-sided, unframed, 76 x 51cm £70-£100
173. Ø 18th century School, possibly Irish ‘Portrait miniature of a naval officer’ facing right, wearing a powdered wig en queue, blue coat with epaulettes and frilled chemise, signed S 78, 3.8 x 3.2cm
Irish family collection and thence by descent
IMPORTANT NOTE: This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: VFNC49U6
£100-£150
174. Ø Attributed to Frederick Buck of Cork (Irish, 1771-1840)
Portrait miniature of an Infantry Officer, 40th (2nd Somersetshire) Regiment of Foot, facing right wearing a red coat with cream facings, gold epaulettes, frilled chemise, and badge white sash, watercolour on ivory, oval gold locket frame with glazed compartment verse containing plaited hair, 6.8 x 5.3cm
Irish family collection and thence by descent
IMPORTANT NOTE: This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: U77Q773T
£200-£300
175. Ø Attributed to Frederick Buck of Cork (Irish, 1771-1840)
A double sided portrait miniature of an Infantry officer and a lady, the officer facing right wearing a red coat with cream facings, silver epaulettes, white sash and frilled chemise, the lady facing right with long curled and powdered hair, wearing a bonnet and white dress with blue ribbons, watercolour on ivory, oval, gold frame with chased decoration, 6.2 x 4.8cm
Irish family collection and thence by descent
IMPORTANT NOTE: This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission number reference: YHLLHJRN
£400-£600
176. Attributed to George Engleheart (British, 1750-1829)
Miniature portrait of a gentleman, oval, on card, handwritten labels and retailer label verso, framed, height 7.5cm
Provenance: A Private Collection, Boswell’s, London
£300-£500
IMPORTANT INFORMATION FOR BIDDERS AND BUYERS
Each auction is prepared in advance and is on public view at the saleroom for one day before the sale, and the morning of the sale. No passes or appointments are required
CONDITIONS OF BUSINESS
All lots are offered subject to Catherine Southon Auctioneers & Valuers Ltd’s Conditions of Business
ESTIMATES AND RESERVES
Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may be higher or lower than the range of figures given and there are no predetermined starting prices. Estimates may be subject to revision. Published estimates are exclusive of buyer’s premium and VAT
All lots are subject to reserves. The reserve price is never higher than the low pre-sale estimate
BUYER’S PREMIUM AND VAT
A buyer’s premium of 27.6% is applicable to all the lots in this sale. The buyer’s premium is inclusive of VAT at the current standard rate (20%), Lots are normally offered for sale under the auctioneers margin scheme and VAT is payable on the buyer’s premium by all buyers
Lots marked with a dagger † will be offered under normal UK VAT rules and VAT will be charged on both the hammer price and the buyer’s premium Lots marked with a will be exempt from VAT
PRE-SALE EXHIBITION
All auctions are on public view the day before the sale and on the morning of the sale
CONDITION REPORTS
All prospective bidders are encouraged to attend the pre-sale exhibition and view the lots in person. If this is not possible, we will be pleased to provide a brief condition report where practical. All condition reports are provided in good faith. Buyers are reminded that it is their responsibility to satisfy themselves of the condition of lots. All weights and measurements are approximate only. Please refer to Conditions of Business for further information
BIDDING IN PERSON
To bid with us you must register to obtain a bidding number. You will be asked to provide proof of identity. All lots sold will be invoiced in the name and address in which the paddle has been registered and will not and cannot be transferred to other names or addresses. If you instruct an agent to bid on your behalf, you will need to provide a letter of authority to this effect.
ABSENTEE & TELEPHONE BIDDING
Catherine Southon Auctioneers & Valuers Ltd is pleased to execute bids on behalf of clients unable to attend the sale in person. All bids should be submitted in writing and in good time, no later than 4.00pm on the day prior to the sale. No absentee or telephone bidding requests will be accepted without a landline telephone number. Lots will be purchased as cheaply as possible (subject to other bids received, reserves and competition in the saleroom), It will be possible to arrange auction room telephone bidding, but subject always to the availability of lines and staffing. These services are offered free of charge and are subject to our Conditions of Business PAYMENT
Payment is due in sterling immediately after the sale and before purchases can be released. Payment in person can be made in the saleroom on the day of the auction. After this, payments must be made by post, card transactions by telephone or electronic transfer to our bank. Catherine Southon Auctioneers & Valuers Ltd welcomes the following methods of payment:
DEBIT CARD
We are pleased to accept Debit Cards
STERLING CHEQUE OR CASH
Cheques are not acceptable tender unless agreed in advance by Catherine Southon Auctioneers & Valuers Ltd.
We are no longer accepting cash.
ELECTRONIC AND WIRE TRANSFERS
Wire transfers can be made directly to our bank: National Westminster Bank plc 33 High Street
West Wickham
Kent BR4 0WH
Please refer to the office for bank details
PLEASE NOTE THAT THE FULL AMOUNT OWED MUST BE TRANSFERRED. CATHERINE SOUTHON AUCTIONEERS & VALUERS LTD WILL NOT ACCEPT TRANSFER CHARGES. ALL BANK TRANSFER/COMMISSION CHARGES MUST BE PAID BY THE BUYER
Ø - IMPORTANT NOTE:
This lot contains elephant ivory and is therefore subject to both CITES regulations and the UK Ivory act 2018. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. It is the buyers responsibility to obtain any export or import licenses, certifications and any other required documentation. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. The Ivory declaration submission reference number can be found in the catalogue description of the lot.
Y CITES
All Lots marked with the Y symbol are sold in compliance with CITES regulations. The Cites Transaction Specific Certificate number can be found in the catalogue description of the lot.
For more information visit http://www.defra.gov.uk/ahvla-en/import-exports/cites
When exporting outside the UK, Regulations maybe found at: https://www.gov.uk/guidance/cites-imports-and-exports#how-to-apply
Furniture made of Brazilian Rosewood (Dalbergia Negra)
To comply with CITES Regulations on post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items have Article 10 certificates.
If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate.
It is the responsibility of commercial buyers to ensure a copy of the certificate is obtained from Catherine Southon Auctioneers.
CATALOGUING TERMS APPLICABLE TO PAINTINGS, DRAWINGS & PRINTS
Where a work is catalogued with the name(s) or recognized pseudonym(s) of an artist, it is our opinion that it is a work by the named artist.
In other instances, the following expressions are used:
“Attributed to…” denotes that in our opinion the work is probably by the named artist or the named artist has made a contribution to the work.
“Circle of…” denotes that in our opinion the work shows the stylistic influences of the named artist and dates from the period of the named artist.
“Follower of…” denotes that in our opinion the work shows the stylistic influences of the named artist but probably dates from a later period to that of the named artist.
“Manner of…” denotes that in our opinion the work is a copy or pastiche of a work or works by the named artist and dates from a later period to that of the named artist.
“After…’ denotes that in our opinion the work is a copy by another artist or a printed reproduction of a known work by the named artist.
The terms “signed” and/or “dated” denote that in our opinion the work has been signed and/or dated by the named artist.
The terms “bears signature” and/or “bears date” denote that in our opinion the work has been signed and/or dated by a hand other than that of the named or quoted artist.
Measurements of pictures are given height before width.
CONDITIONS OF BUSINESS FOR SELLERS
The Conditions of Business for Sellers govern all aspects of the consignment, report, holding and sale of Property by Catherine Southon Auctioneers & Valuers Ltd and the Conditions of Business for Buyers, as printed in sale catalogues and available from Catherine Southon Auctioneers & Valuers Ltd upon request. Catherine Southon Auctioneers & Valuers Ltd act as agent for Sellers. Conditions of Business for Buyers and/or Sellers may be amended by additional terms printed in the sale catalogue and/or by notices posted up in the saleroom or announced by the auctioneer.
DEFINITIONS
“Seller” is the owner of the Property, their agent, executors or the person in possession of the Property (as appropriate)
“The Company” means Catherine Southon Auctioneers & Valuers Ltd., Lygon House, 50 London Road, Bromley, BR1 3RA, Company registration number
“Seller’s Commission” is the commission The Company charges Sellers of Property.
“Expenses” are The Company’s expenses, fees and charges relating to the Property, including legal expenses, insurance charges, illustration fees, administration fees, customs duties, shipping and packing costs and any other expenses and VAT on these amounts
“Buyer’s Premium” is the commission The Company charges Buyers of Property
“Hammer Price” is the highest bid for the Property accepted by the auctioneer
“Reserve Price” is the minimum Hammer Price at which the Property may be sold, as agreed between the Seller and The Company
“Net Sale Proceeds” are the proceeds of sale actually received by The Company, less Seller’s Commission, Buyer’s Premium and Expenses.
“Property” means any item or items of any kind accepted by The Company with a view to its or their sale at auction
“Buyer” means the bidder (including a commission bidder) whom The Company has accepted by the fall of the auctioneer’s hammer
“Deliberate Forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description.
The Seller’s Commission, Hammer Price, Buyer’s Premium and all Expenses are subject to VAT, where applicable
1. SELLER’S WARRANTIES
(a) The Seller warrants to The Company and the Buyer that:-
(i) the Seller is the owner of the Property or is properly authorised to sell it;
(ii) the Seller shall transfer possession and good title in the Property to the Buyer, free from any third party claims;
(iii) the Seller has provided all relevant information about the ownership, condition, authenticity, attribution, provenance and import/export history of the Property;
(iv) there are no copyright or other restrictions on The Company’s rights to produce and publish images of the Property.
(b) The Seller will indemnify The Company, its directors, employees, officers and Buyers of the Property against all losses and damages resulting from a breach of any of these warranties or other Conditions of Business. The Company may cancel, rescind or postpone sales of Property where it reasonably believes that there has been or may be a breach of these warranties or any other Conditions of Business by the Seller
2. SALE PREPARATION
(a) The Company shall have sole discretion as to how Property is described, illustrated and marketed, and the date, venue and conduct of the sale.
(b) All oral or written estimates, appraisals and reports are statements of opinion only, and may not be relied upon as a prediction of the sale price and may be revised from time to time by The Company. The Company is not responsible for error of description (made either orally or in any catalogue) or for the genuineness or authenticity of any lot
(c) The Company may, without obligation, consult with third party experts and carry out such other research for the Property as it deems necessary. The Company may transfer possession of the Property to such third parties and shall not be responsible for the acts and omissions of such third parties
(d) The Company shall have the absolute right to produce and publish images of any Property consigned for sale and will retain copyright in any such images it produces (e) The Company will charge a Buyer’s Premium on the sale of the Property at
The Company’s standard rates. The Company reserves the right to pay out of its commissions a fee to any third party introducing Sellers or Property to it
(f) Sellers are prohibited from bidding on their own Property.
3. WITHDRAWAL OF PROPERTY
(a) If the Seller withdraws any Property from sale after their written agreement to sell it, The Company may charge the Seller 50% of the Seller’s Commission and Buyer’s Premium that The Company would have received had the Property sold at its mid estimate, plus all Expenses (the “Withdrawal Fee”),
(b) The Company may withdraw any Property from sale without liability for any of the following reasons:- if (i) it reasonably believes that the authenticity or attribution is questionable; (ii) it reasonably believes that the Seller’s Warranties or other Conditions of Business have been breached; (iii) there is a competing ownership claim or lien over the Property; (iv) the Property does not have all licences and permits required by law, including those required under the Convention on the International Trade in Endangered Species (CITES); (v) the condition of the Property has deteriorated since consignment; (vi) the auction has been postponed for any reason.
(c) If the Property is withdrawn for any of reasons 3(b)(ii), or (iii) the Seller shall pay the Withdrawal Fee, as per Condition 3(a), If withdrawn for any other reason, the Property shall be returned to the Seller at the Seller’s expense.
4. EXCLUSION OF LIABILITY
(a) The Company shall not be liable for any errors or omissions in any written or oral information provided to Sellers or for acts or omissions relating to the conduct of the auction or any other matter relating to the sale of Property, whether negligent or otherwise, subject always to Condition 4(c),
(b) Without prejudice to Condition 4(a), any claim against The Company shall be limited to the Net Sale Proceeds for the relevant Property. The Company shall not in any circumstances be liable for any indirect or consequential losses
(c) The Company’s liability to the Seller in respect of death or personal injury caused by The Company’s negligent acts or omissions shall not be excluded or limited
5. LOSS OR DAMAGE TO PROPERTY
(a) Unless otherwise agreed in writing, The Company will assume the risk of loss or damage to Property received from the Seller until:-
(i) risk passes to the Buyer; or
(ii) if unsold, 30 days after the sale or when released to the Seller (whichever is earlier); or
(iii) 6 months after receipt of the Property by The Company, if not consigned for sale
(b) If damage or loss occurs whilst the Property is at the risk of The Company, the maximum amount of The Company’s liability shall be:
(i) the Hammer Price of the Property, if sold;
(ii) the Reserve Price of the Property or as otherwise stated on the Property Receipt, if unsold; or
(iii) the mid estimate, if not offered for sale (or The Company’s reasonable estimate of auction value where there are no pre-sale estimates);
less Seller’s Commission and Expenses
(c) The Company will not be liable for any loss or damage caused by:- (i) normal wear and tear, gradual deterioration or inherent vice or defect; (ii) errors in processing; (iii) war or radioactive contamination
6. VAT
If any Property is an asset of the Seller’s business, the Seller must notify The Company on delivery of the Property to The Company, whether or not he is registered for VAT purposes and if so, his registered number and whether or not he intends to operate the VAT Used Goods Scheme covering amongst other goods, works of art and antiques
7. POST AUCTION SALES
If any Property fails to sell at auction, The Company shall be entitled for a period of 35 days after the auction to sell the Property privately for no less than the Reserve Price (unless otherwise agreed with the Seller) and on the terms of these Conditions of Business.
8. PAYMENT OF NET SALE PROCEEDS
(a) Subject in all cases to prior receipt of cleared funds by The Company and subject to rescission of the sale under Condition 10, 35 days after the sale date or 5 working days after receipt of cleared funds from the Buyer (whichever is later), The Company shall send the Seller the Net Sale Proceeds in pounds sterling, less any other amounts owed by the Seller to The Company.
(b) The Company shall not be obliged to check the ability of Buyers to pay for Property and shall have absolute discretion whether to use any of the rights and remedies against defaulting Buyers contained in the Conditions of Business for Buyers.
9. UNSOLD/ UNCOLLECTED PROPERTY
(a) The Company will advise Sellers whether or not their Property has sold. Unsold Property may either:-
(i) be reconsigned for sale; or
(ii) be collected by the Seller, in which case a Reduced Commission of 50% of the Seller’s Commission may be payable calculated as if the Property sold for its Reserve Price (where applicable), plus relevant Expenses.
(b) If the Seller does not reconsign or collect the Property within 60 days of the auction as per Condition 8(a) (i) or (ii) above, The Company shall be released from any duty of bailment and may in its sole discretion be entitled to:-
(i) transfer the Property to independent storage at the Seller’s expense; or
(ii) re-offer the Property at auction for no less than 50% of the original Reserve Price agreed with the Seller (where applicable), and subject to the Seller’s Commission on the
CONDITIONS OF BUSINESS FOR BUYERS
1. INTRODUCTION
(a) The contractual relationship of Catherine Southon Auctioneers & Valuers Ltd 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 Catherine Southon Auctioneers & Valuers Ltd;
(iii) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement
(b) As auctioneer, Catherine Southon Auctioneers & Valuers Ltd acts as agent for the Seller. Occasionally, Catherine Southon Auctioneers & Valuers Ltd may own or have a financial interest in a lot
2. DEFINITIONS
“Bidder” is any person making, attempting or considering making a bid, including Buyers;
“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;
“THE COMPANY” means Catherine Southon Auctioneers & Valuers Ltd., registered office: Lygon House, 50 London Road, Bromley BR1 3RA. Company Registration number: 08020183;
“Buyer’s Expenses” are any costs or expenses due to Catherine Southon Auctioneers & Valuers Ltd from the Buyer;
“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the current rate of 26.4% (inc VAT);
“Hammer Price” is the highest bid for the Property accepted by the auctioneer 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
re-sale plus all relevant Expenses
(c) If the Seller deposits the Property with The Company for more than 1 year and neither collects or consigns it for sale, The Company shall be entitled to sell such Property at a future sale conducted by The Company or elsewhere, with estimates and reserves at The Company’s discretion, after giving the Seller 60 days written notice sent to the Seller’s last known address
10. RESCISSION OF SALES
The Company may rescind the sale where it reasonably believes that the Property is a Deliberate Forgery, in which case The Company shall send the Seller a notice of such rescission. The Seller agrees to return to The Company the Net Sale Proceeds received from the sale of such Property together with any additional Expenses incurred by The Company. The Company will return the Property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented from doing so for reasons beyond The Company’s control
11. DATA PROTECTION
(a) The Company will use information supplied by Sellers or otherwise obtained lawfully by The Company for the provision of auction related services, client administration, marketing and as otherwise required by law.
(b) By agreeing to these Conditions of Business, the Seller 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),
12. MISCELLANEOUS
(a) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect
b) These Conditions of Business shall be interpreted in accordance with English Law under the exclusive jurisdiction of the English Courts, in favour of The Company.
3. EXAMINATION OF LOTS
(a) THE COMPANYs knowledge of lots is partly dependent on information provided by the Seller and THE COMPANY is 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 COMPANY’s opinion and not representations of fact. Each lot is sold by the Seller with any and all errors of description, faults and imperfections. All weights and measurements are approximate and should not be relied upon as 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 COMPANY’s absolute discretion
4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS
(a) THE COMPANY shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit
(b) Subject to Condition 4(a), neither THE COMPANY nor the Seller: (i) is liable for any errors or omissions in any oral or written information provided to Bidders by THE COMPANY, 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 Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by THE COMPANY in connection with the conduct of auctions or for any matter relating to the sale of any lot
(c) Without prejudice to Condition 4(b), any claim against THE COMPANY and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither THE COMPANY 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 COMPANY or the Seller for death or personal injury caused by the negligent acts or omissions of THE COMPANY or the Seller
continued over page
5. BIDDING AT AUCTION
(a) THE COMPANY 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 COMPANY 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 COMPANY’s prior and express consent must be obtained)
(b) THE COMPANY advises Bidders to attend the auction, but THE COMPANY will endeavour to execute absentee written bids provided that they are, in THE COMPANY’s 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 COMPANY’s other commitments; THE COMPANY is therefore not liable for failure to execute such bids. Telephone bidding may be recorded
6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS
THE COMPANY 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 licenses required by law under the International Trade in Endangered Species (CITES)
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
(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 COMPANY has received the Purchase Price in cleared funds. THE COMPANY 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 immediately after the sale on the day of the auction, or until 12noon on the day after the auction; failing this, only on prior agreement, a mutually convenient day agreed by The Company and the Buyer.
Purchased lots are at the Buyer’s risk from the earlier of (i) collection or release to a nominated carrier (ii) 5 working days after the auction. Until risk passes, THE COMPANY 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 COMPANY’s 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 COMPANY 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 COMPANY may in its sole discretion exercise 1 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;
(c) set off any amounts owed to the Buyer by THE COMPANY against any amounts owed to THE COMPANY by the Buyer for the lot;
(d) reject future bids from the Buyer;
(e) charge interest at 4% per annum above NatWest Bank Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;
(f) re-sell the lot by auction or privately, with estimates and reserves at THE COMPANY’s 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 COMPANY’s possession, applying the sale proceeds to any amounts owed by the Buyer to THE COMPANY. THE COMPANY 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 COMPANY’s premises or in independent storage
(b) If a lot is paid for but uncollected within 1 month of the auction, following 60 days written notice to the Buyer, THE COMPANY will re-sell the lot by auction or privately, with estimates and reserves at THE COMPANY’s discretion. The sale proceeds, less all THE COMPANY’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction
11. DATA PROTECTION
(a) THE COMPANY will use information supplied by Bidders or otherwise obtained lawfully by THE COMPANY for the provision of auction related services, client administration, marketing and as otherwise required by law
(b) 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) and to Sellers as per Condition 9(i)
12. MISCELLANEOUS
(a) All images of lots, catalogue descriptions and all other materials produced by THE COMPANY are the copyright of THE COMPANY
(b) These Conditions of Business are not assignable by any Buyer without THE COMPANY’s 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 COMPANY.
13. ARTIST’S RESALE RIGHTS
From 14th February 2006 all UK art market professionals (which includes, but is not limited to: auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by living artists. This payment is only calculated on qualifying works of art which are sold for a hammer price more than £1,000.
Since 1st April 2024 price thresholds are calculated in pounds rather than euros in accordance with The Design Right, Artist’s Resale Right and Copyright (Amendment) Regulations 2023.
All items in this catalogue marked with ‡ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than £1,000. The royalty charge will be added to all relevant invoices, and must be paid before items can be cleared. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with respect to these charges will be retained by the auctioneer.
The royalty charge that will be applied to qualifying items which achieve a hammer price of more than £1,000, but less than £50,000 is 4% payable by the buyer. For qualifying items that sell for more than £50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges ad threshold levels, please see www.dacs.org.uk. There is no VAT payable on this charge.
For all questions relating to the regulations regarding Driot de Suite royalty charges, please see www.dacs.org.uk, telephone +44 (0) 845 410 3410, or email arr@dacs.org.uk
