Rogers Jones by Park Communications

Kevin Sinnott Oil ‘In The Wind’

Estimate: £5,000-7,000

Jack Jones | Oil ‘Houses

Jack Jones | Oil ‘Houses with Gas Works’

The Welsh Sale Part I: Principal Works of Art

Cardiff Saleroom | Sunday November 30th, 10am

The Welsh Sale Part II: Welsh Ceramics, Welsh Antiques & Unreserved Welsh Art

Cardiff Saleroom | Tuesday December 2nd 1pm

Viewing for both parts: by prearranged appointment from November 20th

Open Viewing: Saturday November 29th 10am-2pm

The View Welcome to the third and final edition of 2025

As we approach the summit of 2025, we take a look back at an exciting year at Rogers Jones & Co. It has been a year of significant stand-alone auctions, record Welsh Sales and a notable expansion through acquisition.

The first stand-alone sale was on March 13th when collectors from around Europe competed for the principal contents Plas Teg. It was a fiercely competed affair with all lots selling on the day. Then we were immensely proud to be instructed by the family of the late JPR Williams to sell the great full-back’s rugby union jerseys which was again a ‘white glove sale’ culminating with a hammer price of £27,500 for JPR’s 1973 Barbarians jersey .

In late summer the incredible Phillip Clarkson collection acted as the final swansong for Pullman House in Chester, the venue which has been Adrian Byrne’s auction house for the last twenty years, before Byrnes were acquired by us in April of this year.

The Phillip Clarkson Collection: An Eye for Design was expertly put together and catalogued by Adrian and I am sure the late-Mr Clarkson would have been very pleased. Richard Hughes then joined Adrian on the rostrum for a most memorable two day auction in early September.

Those who were lucky enough to view the sale would have seen Pullman House rammed full of eclectic treasures, from Whitefriars and Murano glass, to Goldscheider ceramics, vintage travel posters, British Railway signs, guitars, music memorabilia, enamel signs, sculpture, and over 700 items of Poole pottery! It was mind-blowing mid-Century heaven!

Remarkably out of the 1000+ lots only one failed to sell! A testament to Mr Clarkson’s astute eye and the experience and knowhow of Adrian and the team in Chester. There were too many items that surpassed all expectations to mention, but the appearance of all that ‘design’ in one room

at Pullman House was the greatest success and will stay in my memory for a long time as I am sure it will for Adrian Byrne who mused;

“The auction formed a swansong for us at Pullman House, which has been my Byrnes of Chester home for the last 19 or so years. Fittingly, I had been taught art by Philip Clarkson before I decided on a career in fine art auctioneering. Later Philip would become a great loyal customer of mine at Byrnes. So the relationship was reignited after many years, passion was shared once again. I never stopped learning from Philip Clarkson.”

Pullman House is now closed as the site is redeveloped to become a McDonalds. But just around the corner is our new bespoke designed Chester saleroom at 6, Central Trading Estate. And while we do not offer drive-thru assessments (yet), if I do so say so myself, No.6 is a fabulous space. The rooms are designed with modern auctioneering in mind. The space will enable efficient service for every visitor, whether that be to view auctions, to collect items from other sales, or to receive an assessment. At the time of writing we will have already had an auction of British & European Fine Art that resulted in some fabulous prices for paintings and sculpture. Many of those who viewed the auction spoke very positively of the new Chester saleroom.

We now look forward to 2026 with regular monthly auctions at three venues (Chester, Colwyn Bay and Cardiff), together with a bi-monthly auction of Jewellery, Coins & Watches and three seasonal auctions in the form of the Club House and British & European Fine Art.

More exciting times ahead in 2026 I am sure!

Best Wishes, Ben Rogers Jones

Bwrw Golwg

Croeso i drydydd rhifyn ac un olaf 2025

Wrth i ni agosáu at gopa 2025, rydym yn edrych yn ôl ar flwyddyn gyffrous i gwmni Rogers Jones. Mae wedi bod yn flwyddyn o arwerthiannau annibynnol sylweddol, Arwerthiannau Cymreig llwyddiannus iawn ac ehangu nodedig trwy brynu busnes arall.

Roedd yr awerthiant annibynnol cyntaf ar Fawrth 13eg pan roedd casglwyr o bob cwr o Ewrop yn cystadlu am brif gynnwys Plas Teg. Roedd yn fater cystadleuol iawn gyda phob eitem yn gwerthu ar y diwrnod. Yna, roeddem yn hynod falch o gael ein cyfarwyddo gan deulu’r diweddar JPR Williams i werthu crysau rygbi’r cefnwr gwych a oedd unwaith eto’n ‘arwerthiant maneg wen’ a gyrhaeddodd ei anterth wrth i grys JPR o dîm y Barbariaid ym 1973 werthu am bris morthwyl o £27,500.

Ar ddiwedd yr haf, roedd casgliad anhygoel Phillip Clarkson yn ddiweddglo cymwys i Tŷ Pullman yng Nghaer, lleoliad sydd wedi bod yn dŷ arwerthiant Adrian Byrne am yr ugain mlynedd diwethaf, cyn i ni brynu Byrnes ym mis Ebrill eleni.

Cafodd Casgliad Phillip Clarkson: Llygad am Ddylunio ei lunio a’i gatalogio’n arbenigol gan Adrian ac rwy’n siŵr y byddai’r diweddar Mr Clarkson wedi bod yn falch iawn. Fe ymunodd Richard Hughes ag Adrian ar y rostrwm ar gyfer ocsiwn deuddydd cofiadwy iawn ddechrau mis Medi.

Byddai’r rhai a oedd yn ddigon ffodus i weld yr arwerthiant wedi gweld Tŷ Pullman yn llawn trysorau eclectig, o wydr Whitefriars a Murano, i serameg Goldscheider, posteri teithio hen ffasiwn, arwyddion Rheilffordd Prydeinig, gitarau, memorabilia cerddoriaeth, arwyddion enamel, cerfluniau, a dros 700 o eitemau o grochenwaith Poole! Roedd yn nefoedd o eitemau canol y ganrif ddiwethaf!

Yn rhyfeddol, o’r 1000+ o eitemau, dim ond un wnaeth ddim gwerthu! Tyst i lygad craff Mr Clarkson a phrofiad a gwybodaeth Adrian a’r tîm yng Nghaer. Roedd gormod o eitemau a ragorodd ar bob disgwyliadau i’w crybwyll yma, ond yr olygfa anhygoel o’r holl ‘design’ mewn un ystafell yn Nhŷ Pullman oedd y llwyddiant mwyaf a bydd yn aros

yn fy nghof am amser hir, yn yr un modd ag y bydd i Adrian Byrne, a fyfyriodd;

“Roedd yr arwerthiant yn gân ffarwel i ni yn Nhŷ Pullman, sydd wedi bod yn gartref i mi yn ‘Byrnes of Chester’ am y 19 mlynedd diwethaf neu fwy. Yn briodol, roeddwn i wedi cael gwersi celf gan Philip Clarkson cyn i mi benderfynu ar yrfa mewn arwerthu celfyddyd gain. Yn ddiweddarach, byddai Philip yn dod yn gwsmer ffyddlon iawn i mi yn Byrnes. Felly, roedd y berthynas wedi’i ailgynnau ar ôl blynyddoedd lawer, ac roedd angerdd yn cael ei rannu unwaith eto. Wnes i ‘rioed stopio dysgu gan Philip Clarkson.”

Mae Tŷ Pullman bellach ar gau wrth i’r safle gael ei ailddatblygu i ddod yn McDonalds. Ond nepell o’r safle, o amgylch y gornel. mae ein hystafell arwerthu newydd, sydd wedi’i chynllunio’n bwrpasol, yn 6, Ystâd Fasnachu Ganolog, Caer. Ac er nad ydym yn cynnig asesiadau gyrrudrwodd (eto), mae Rhif 6 yn ofod gwych, os caf i ddweud hynny fy hun? Mae’r ystafelloedd wedi’u cynllunio gydag arwerthiannau modern mewn golwg. Bydd y gofod yn galluogi gwasanaeth effeithiol i bob ymwelydd, boed hynny i weld arwerthiannau, i gasglu eitemau o arwerthiannau eraill, neu i dderbyn asesiad. Ar adeg ysgrifennu hwn, byddwn eisoes wedi cael arwerthiant o Gelfyddyd Gain Brydeinig ac Ewropeaidd yno a arweiniodd at rai prisiau gwych am baentiadau a cherfluniau. Siaradodd llawer o’r rhai a welodd yr arwerthiant yn gadarnhaol iawn am yr ystafell arwerthu newydd yng Nghaer.

Rydym yn edrych ymlaen nawr at 2026 gydag arwerthiannau misol rheolaidd mewn tair lleoliad (Caer, Bae Colwyn a Chaerdydd), ynghyd ag arwerthiant bob deufis o Emwaith, Darnau Arian ac Oriorau a thri arwerthiant tymhorol ar ffurf Y Clwb a Chelf Gain Brydeinig ac Ewropeaidd.

Mwy o gyfnodau cyffrous o’n blaenau yn 2026, rwy’n siŵr!

Dymuniadau Gorau

Ben Rogers Jones

The Welsh Sale (Part I & II) 26 July & 5 August

Lots 496 | Total £547,220

The Welsh Sale – Summer 2025 Review

Arwerthiant Cymreig (Rhan I & II) 26 Gorffennaf & 5 Awst Eitemau 496 | Cyfanswn: £547,220

Top 10 Hammer Prices: The Welsh Sale 10 Uchaf yr Arwerthiant Cymreig

1. SIR KYFFIN WILLIAMS RA ‘Farmer below the Ridge’ £32,000

2. SIR KYFFIN WILLIAMS RA ‘Snow Nant Peris’ £26,000

3. SIR KYFFIN WILLIAMS RA ‘Snowdon from Drws y Coed’ £25,000

4. SIR KYFFIN WILLIAMS RA ‘Rough Seas’ £24,500

5. SIR KYFFIN WILLIAMS RA ‘Trefignath’ £19,000

6. SIR KYFFIN WILLIAMS RA ‘Snowdon from Beddgelert’ £16,000

7. Shani Rhys James MBE ‘Blue Armoire’ £13,000

8. SIR KYFFIN WILLIAMS RA ‘Moelwyn Bach’ £11,000

9. SIR KYFFIN WILLIAMS RA ‘Nant Mor’ £9000

10. Ceri Richards CBE ‘The Stork’ £9000

Full Results Am Ganlyniadau Llawn

Summer’s Welsh Sale was arranged into two bite sized chunks with the first part held for the second time at Gregynog Hall. The Hall’s location offering convenience for viewers from many parts of Wales and further afield whilst the house’s wonderful gardens and history adding to the ambience of a mid-summer sale. The second part of The Welsh Sale was conducted from our conventional home in Cardiff.

The sell through was especially pleasing with 89% of lots finding new homes across the two parts. Evidently the interest in Welsh art and Welsh heritage continues to boom and we are proud to be at the forefront of this thriving market.

The Top 10 prices are unsurprisingly dominated by Sir Kyffin Williams with no less than forty-nine associated lots on offer with all of them selling except a single print and a book, this included ten oil paintings. However, the Top 10 hammer prices dominated by Kyffin, only tell part of the story.

Valerie Ganz (1936-2015)

There are several Welsh artists who forever will be associated with capturing the coal mining of South Wales; there is Nicholas Evans (1907-2004) and his dark apocalyptic scenes of figures amassed like huge labours of moles. Then there is Vincent Evans (1896-1976) a former miner himself who started as a coal-miner at thirteen years old and then in the 1930s went on to create a substantial body of work depicting the lives of miners, their families and the industrial scenes around them. But the importance of Valerie Ganz’s mining work lies in its relative modernity, most were painted in the 1980s during times of significant change - strikes and pre-mass pit closures. The mining communities of the South Wales valleys can no longer be described as such and so her work is an important artistic documentary on the setting sun of an industry that shaped lives, landscapes and communities for generations and Valerie Ganz’s work has an appropriate ghostly quality. It is perhaps underappreciated that Valerie Ganz ventured underground with her materials to sketch these mining scenes, In doing so, she would have likely been the only female and the conditions harsh and uncomfortable. Valerie Ganz’s mining work tells us much about her character.

Ceri Richards

There were a strong showing of Ceri Richards (1903-1971) works in the Summer Welsh Sale. The leading example being ‘The Stork’, a mixed media illustration for Dylan Thomas’ poem of the same name. There was plenty of symbolism in this surreal arrangement; towering stork together with another bird, reclining nude and with added gothic motifs of white blossom and skull-form vase. Dylan Thomas inspired works by the artist are among those consistently collected from Ceri Richard’s oeuvre. And at a hammer price of £9000, The Stork is the secondhighest Thomas-themed work sold at auction. In a strange coincidence another similar Stork composition by Richards has been entered for this November Welsh Sale – a crazy and innocent coincidence with the vendor of the latest Stork completely unaware of the one sold in July’s Welsh Sale. I am not sure what two storks flying in to auction symbolises!

Gwilym Prichard

Those who follow our auctions will know that it has been quite a year for Gwilym Prichard (1931-2015) at auction. By my calculation we have sold over 120 examples this year. As a result, one might expect the prices to falter, but this was not the case in July’s Welsh Sale and especially in the case of ‘Sea and Farm’. This oil painting was full of texture and impasto loveliness; the colour of the sea in stunning cobalt, the land earthy and rugged while the paint application in the sky gentle creating a dramatic comparison. On the edge of the cliff a desolate farm with one of Gwilym’s trademark gusty trees. But the icing on the cake was the provenance for this example. It was one of six oils by the artist to have been entered by a London family, and all the paintings had been purchased from Heal’s in Tottenham Court Road in the early 1970s by the family. ‘Sea & Farm’, as with the others from the vendor, came in fresh condition with the original mid-Century Heal’s frame in tip-top condition.

David Jones Letters

The highest price in Welsh Sale Part II was a trio of handwritten personal letters from the poet and artist David Jones (18951974). They came with charming ink doodles in the margin including of churches which were reminiscent of his black-line engravings for which he is celebrated. Aptly Christianity and faith gave form to much of Jones’ work in poetry and pictures. So, the intimate letters offered academic collectors an insight to David Jones’ musings but also offered a chance to acquire original drawings from one of 20th Century British Art’s most enigmatic figures. The letters realised £1800 after a battle with multiple bidders from around the UK.

Donald McIntyre

Former dentist turned artist, the late Donald McIntyre (1923-2009) made a significant contribution to Welsh Sale Part I at Gregynog Hall. There were as many as seventeen examples in the auction and all of them got away with several selling considerably higher than the pre-sale guides. McIntyre’s work evolved over the decades from earthy impasto to electric acrylic and both genres are selling exceptionally well. Donald McIntyre’s work is as popular as it ever and bids came from all corners of the UK. We were especially grateful to receive one acrylic by McIntyre all the way from Melbourne, Australia. This painting arriving in good time in a well packed box without any issues. The vendor stated that he had ‘done his research’ and felt that Rogers Jones & Co had the best track record for the artist. It is always very pleasing to receive Welsh themed paintings and Welsh objects from overseas to demonstrate how well The Welsh Sale has developed since its inception twenty or so years ago.

Sir Kyffin WIlliams

Finally, Sir Kyffin Williams (19182006) in numbers! In our two Welsh Sales so far in 2025, we have offered ninety-eight works with ninety-one of them selling successfully on the day. Sixteen oils by Sir Kyffin have been offered in the same period at these two Welsh Sales and all of them have sold. According to the-saleroom.com twenty-one oil paintings by Sir Kyffin Williams have been offered at auctions in 2025, with sixteen of them at The Welsh Sale. The highest price for a painting by Kyffin this year was the smallish oil ‘Farmer Below the Ridge’ which graced the front cover of the Summer Welsh Sale. As of October 2025, we retain the top three hammer-prices ever recorded for Sir Kyffin’s work and two of these prices have been achieved in the last four years.

Adolygiad

Yr Arwerthiant Cymreig

– Haf 2025

Fe gafodd Arwerthiant Cymreig yr haf ei dorri’n ddau ddarn gyda’r rhan gyntaf yn cael ei chynnal yn Neuadd Gregynog, am yr eildro. Roedd lleoliad y Neuadd yn cynnig cyfleustra i wylwyr o sawl rhan o Gymru a thu hwnt, tra bod gerddi a hanes hyfryd y tŷ yn ychwanegu at awyrgylch arwerthiant canol haf. Cynhaliwyd ail ran yr Arwerthiant Cymreig o’n cartref confensiynol yng Nghaerdydd.

Roeddem yn hynod o bles gyda chyfanswm y nifer a werthwyd, gyda 89% o eitemau’n dod o hyd i gartrefi newydd ar draws y ddwy ran. Yn amlwg, mae’r diddordeb mewn celf a threftadaeth Cymreig yn parhau i ffynnu ac rydym yn falch o fod ar flaen y gad yn y farchnad lewyrchus hon.

Nid yw’n syndod mai gwaith Syr Kyffin Williams oedd yn rhagori yn y 10 pris uchaf gyda dim llai na 49 o eitemau cysylltiedig ar werth. Gwerthwyd pob un ohonynt ag eithrio un print a llyfr, roedd hyn yn cynnwys deg paentiad olew. Fodd bynnag, mae’r ffaith bod Kyffin yn flaenllaw yn y 10 pris morthwyl uchaf ‘mond yn adrodd rhan o’r stori.

Valerie Ganz (1936-2015)

Mae sawl artist Cymreig a fydd yn cael eu cysylltu bob tro â chyfleu y cloddio am lo yn Ne Cymru; mae Nicholas Evans (1907-2004) a’i olygfeydd tywyll apocalyptaidd o ffigurau wedi’u casglu fel grwp enfawr o dyrchod daear. Yna mae Vincent Evans (1896-1976) cyn-löwr ei hun a ddechreuodd fel glöwr yn dair ar ddeg oed ac yna yn y 1930au, aeth ymlaen i greu corff sylweddol o waith yn darlunio bywydau glowyr, eu teuluoedd a’r golygfeydd diwydiannol o’u cwmpas. Ond mae pwysigrwydd gwaith mwyngloddio Valerie Ganz yn deillio o’i foderniaeth gymharol, peintiwyd y rhan fwyaf yn y 1980au yn ystod cyfnodau o newid sylweddol - streiciau a chau pyllau. Ni ellir disgrifio cymunedau glofaol cymoedd y De fel y cyfryw bellach ac felly mae ei gwaith yn ddogfen artistig bwysig ar fachlud haul diwydiant a luniodd fywydau, tirweddau a chymunedau am genedlaethau ac mae gan waith Valerie Ganz ansawdd ysbrydol priodol. Efallai nad yw’n cael ei werthfawrogi’n ddigonol bod Valerie Ganz wedi mentro o dan y ddaear gyda’i deunyddiau i fraslunio’r golygfeydd glofaol hyn. Wrth wneud hynny, mae’n debyg mai hi fyddai’r unig fenyw a’r amodau’n llym ac yn anghyfforddus. Mae gwaith glofaol Valerie Ganz yn dweud llawer wrthym am ei chymeriad.

Ceri Richards

Roedd arddangosfa gref o weithiau Ceri Richards (19031971) yn Arwerthiant Cymreig yr haf. Yr enghraifft orau oedd ‘Y Crëyr’, darlun cyfrwng cymysg ar gyfer cerdd Dylan Thomas o’r un enw. Roedd digon o symbolaeth yn y trefniant swreal hwn; crëyr yn sefyll uwchlaw aderyn arall, person yn gorwedd yn noeth, a chyda motiffiau Gothig o flodau gwyn a fâs siâp penglog. Mae gweithiau gan yr artist sydd wedi’u hysbrydoledi gan Dylan Thomas, ymhlith y rhai a gesglir yn gyson o gyfanwaith Ceri Richards. Ac am bris morthwyl o £9000, ‘Y Crëyr’ yw’r ail waith uchaf ar thema Dylan Thomas a werthwyd mewn ocsiwn. Mewn cyd-ddigwyddiad rhyfedd, mae cyfansoddiad arall tebyg o grëyr gan Richards wedi’i gyflwyno ar gyfer yr Arwerthiant Cymreig ym mis Tachwedd – cyd-ddigwyddiad gwallgof a diniwed gyda gwerthwr y crëyr diweddaraf yn gwbl anymwybodol o’r un a werthwyd yn Arwerthiant Cymreig fis Gorffennaf. Dydw i ddim yn siŵr beth mae dau grëyr yn hedfan i mewn i’r ocsiwn yn ei symboleiddio!

Gwilym Prichard

Bydd y rhai sy’n dilyn ein harwerthiannau yn gwybod ei bod wedi bod yn dipyn o flwyddyn i weithiau Gwilym Prichard (1931-2015) mewn arwerthiant. Yn ôl fy nghyfrifiad i, rydym wedi gwerthu dros 120 o enghreifftiau eleni. O ganlyniad, byddai rhai yn disgwyl i’r prisiau arafu, ond doedd hyn ddim yn wir yn Arwerthiant Cymreig mis Gorffennaf ac yn enwedig

yn achos ‘Môr a Fferm’. Roedd y paentiad olew hwn yn llawn gwead ac impasto hardd; lliw’r môr mewn glas llachar, y tir yn ddaearol a garw tra bod y paent yr awyr wedi’i daenu’n ysgafn gan greu cymhariaeth ddramatig. Ar ymyl y clogwyn mae fferm unig gydag un o goed nodweddiadol Gwilym yn hyrddio yn y gwynt. Ond yr eisin ar y gacen oedd tarddiad yr enghraifft hon. Roedd yn un o chwe olew gan yr artist a gyflwynwyd gan deulu o Lundain, ac roedd yr holl baentiadau wedi’u prynu gan Heal’s yn Tottenham Court Road ddechrau’r 1970au gan y teulu. Daeth ‘Môr & Fferm’ atom, megis y gweddill gan y gwerthwr, mewn cyflwr ffres gyda ffrâm wreiddiol Heal’s o ganol y Ganrif mewn cyflwr perffaith.

David Jones Letters

Fe aeth y pris uchaf yn yr Ail Arwerthiant Cymreig am driawd o lythyrau personol wedi’u hysgrifennu â llaw gan y bardd a’r artist David Jones (1895-1974). Daethant gyda dwdlau inc hyfryd ar ymylon y tudalennau gan gynnwys o eglwysi a oedd yn atgoffa rhywun o’i engrafiadau llinell ddu adnabyddus. Yn briodol iawn, rhoddodd Cristnogaeth a ffydd ffurf i lawer o waith Jones mewn barddoniaeth a lluniau. Felly, roedd y llythyrau personol yn cynnig cipolwg i gasglwyr academaidd ar fyfyrdodau David Jones ond hefyd yn cynnig cyfle i gael gafael ar ddarluniau gwreiddiol gan un o ffigurau mwyaf enigmatig Celf Prydain yr 20fed Ganrif. Gwerthwyd y llythyrau am £1800 ar ôl brwydr gyda nifer o gynigwyr o bob cwr o’r DU.

Donald McIntyre

Gwnaeth y diweddar Donald McIntyre (1923-2009), cyn-ddeintydd a drodd yn artist, gyfraniad sylweddol i Ran I yr Arwerthiant Cymreig yn Neuadd Gregynog.

Roedd cymaint â dwy ar bymtheg o enghreifftiau yn yr ocsiwn a llwyddodd pob un ohonynt i werthu gyda nifer yn gwerthu’n sylweddol uwch na’r amcanbrisiau. Esblygodd gwaith McIntyre dros y degawdau o impasto daearol i acrylig trydanol ac mae’r ddau genre yn gwerthu’n eithriadol o dda. Mae gwaith Donald McIntyre mor boblogaidd ag erioed a daeth cynigion o bob cwr o’r DU. Roeddem yn arbennig o ddiolchgar o dderbyn un acrylig gan McIntyre yr holl ffordd o Melbourne, Awstralia. Cyrhaeddodd y paentiad hwn mewn da bryd mewn blwch wedi’i bacio’n dda heb unrhyw broblemau. Dywedodd y gwerthwr ei fod wedi ‘gwneud ei ymchwil’ a’i fod o’r farn bod gan gwmni Rogers Jones y record orau ar gyfer yr artist. Mae bob amser yn bleser mawr derbyn paentiadau â thema Gymreig a gwrthrychau Cymreig o dramor i ddangos pa mor dda y mae’r Arwerthiant Cymreig wedi datblygu ers ei sefydlu ugain mlynedd a mwy yn ôl.

Sir Kyffin WIlliams

O’r diwedd, Syr Kyffin Williams (1918-2006) mewn niferoedd! Yn ein dau Arwerthiant Cymreig hyd yn hyn yn 2025, rydym wedi cynnig naw deg wyth o weithiau gyda naw deg un ohonynt yn gwerthu’n llwyddiannus ar y diwrnod. Cynigiwyd un deg chwech o olewau gan Syr Kyffin yn yr un cyfnod yn y ddau Arwerthiant Cymreig hyn ac mae pob un ohonynt wedi gwerthu. Yn ôl the-saleroom. com, cynigiwyd un ar hugain o baentiadau olew gan Syr Kyffin Williams mewn arwerthiannau yn 2025, gydag un deg chwech ohonynt yn ein Harwerthiant Cymreig. Y pris uchaf am baentiad gan Kyffin eleni oedd yr olew bychan, ‘Ffermwr Islaw’r Grib’ a oedd yn addurno clawr blaen Arwerthiant Cymreig yr haf. Ers mis Hydref 2025, rydym yn cadw’r tri phris morthwyl uchaf a gofnodwyd erioed ar gyfer gwaith Syr Kyffin ac mae dau o’r prisiau hyn wedi’u cyrraedd yn y pedair blynedd diwethaf.

Donald McIntyre

Rogers Jones & Co

Sir Kyffin Williams RA ‘Above Ogwen’

Estimate: £15,000-20,000

Sir Kyffin Williams RA

Oil ‘Capel Pensarn’

Estimate: £12,000-18,000

Selected Summer Highlights 2025

Arthur Dooley Bronze ‘Gladiator Sold / Gwerthwyd £3,100

Sold / Gwerthwyd £2,200

Poole Art Deco Vase

Attributed to Evelyn Mary Dunbar Oil

Five-Coin Sovereign

/ Gwerthwyd £4,000

Four Coin Sovereign Set

/ Gwerthwyd

Gold Patek Wristwatch

/ Gwerthwyd £4,200

Whitefriars Glass Vase

Gold & Diamond Bracelet

Yacht-Master Wristwatch

Anne Said Charcoal

Chinese Jadeite & Gold Bangle Sold / Gwerthwyd £7,200

Diamond Ring

/ Gwerthwyd £4,400

Anne Said Charcoal

/ Gwerthwyd

James Clarke Hook Oil

John Henry Foley Marble Bust

/ Gwerthwyd £4,400

Rolex Oyster Perpetual

Cartier Santos Wristwatch Sold / Gwerthwyd £2,900

After Vincenzo Livi Marble Sculpture

/ Gwerthwyd £5,000

Welsh Gold Sovereign

Diamond Cluster Ring

/ Gwerthwyd £3,600

Henry De La Beche Lithograph

Rogers Jones & Co

Successful Bidders

Room Bidders: debit card payment and then purchases can then be removed from the auction rooms on the auction day

Remote Bidders in Wales (telephone, online or commission): following the auction, items are automatically dispatched to the nearest Rogers Jones & Co venue for your collection. Purchases for clients located nearer Cardiff will remain at the auction rooms for collection. Please enquire if unsure

Remote Bidders further afield: please contact us with your instructions. Most items can be transported to our alternative venues ie. Cardiff / Carmarthen / Colwyn Bay / Gregynog Hall / Chester.

Remote Bidders for invoices over £4,000: when invoices are £4000 or over, purchasers can enjoy a free delivery service to their homes (England and Wales only)

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A Z of Welsh Art

G

is for

Ganz

“I always … wondered what life was like inside”

Valerie Ganz, a Passionate Observer

South Walian artist Valerie Ganz (1936-2015) is now most widely remembered for her portraits of coal miners in their work environment, a theme for which she expressed a “special fascination.” And yet, as some of the works in the present auction demonstrate, Ganz’s output is considerably more diverse.

“Over the years I have studied various subjects,” Ganz summed up her remarkable career in 2012, three years before her death. She spent twelve months among students at the Central School of Ballet in London and accompanied the Moscow State Circus as it toured the UK. She also worked on oil rigs in the Patagonian Desert and created an intimate record of life inside Swansea Prison.

Wide-ranging as her interests were, Ganz’s oeuvre is defined by her inquisitive nature and unified by her a commitment to carrying out long-durational projects that often involved working under challenging conditions. Bold and immediate, many of her paintings and drawings engage with subjects that Ganz refused to regard as being beyond her sphere.

Ganz grew up in Mumbles, a headland situated on the western edge of Swansea Bay (lot 49). Her birthplace, as she put it, overlooks the “dramatic sweep” of the bay, a picturesque scenery in which the “heavy industry” that intrigued her at an early age lay in the distant “background.”

Intent on approaching that “background” by training as an artist—a privileged and often misunderstood position that is not always recognised as socially integrated or integral—Ganz started out by making drawings at Swansea Docks, her “first” if tentative “connection to the coal mining industry.”

As her landscapes of Italy (lot 52) and the South of France (lot 55) suggest, Ganz did not go in search of an alternative aesthetic. What she was after—and got at—was far more elementary and profound: she sought to capture aspects of

the human condition in settings and situations that bore little resemblance to the comparatively sheltered life her upbringing afforded.

From 1951 to 1957, Ganz was enrolled at Swansea College of Art, where she studied painting, sculpture and stained glass. Upon graduating, she stayed on at Swansea School of Art as a tutor until 1973 before working full time as an artist.

Notable Swansea-born artists associated with the College during Ganz’s studies there are painter Alfred Janes (19111999), sculptor Ronald Cour (1914-1978), and stained-glass designer Howard Martin (1907-1972), who also served as head of the College’s Architectural Stained Glass department.

Whatever her medium, Ganz almost invariably “chose coal mining” whenever she was given a choice of subject. Without being documentarian, Ganz tended to observe rather than impose her views or vision. “I am good at becoming invisible,” Ganz commented on her work among the miners. Not content to look on as a detached outsider, Ganz aimed to become part of the communities with which much of her output was concerned. “The men got used to me being with a crew quietly working alongside them,” Ganz reflected on her work in the coalmines, and they “were most generous in the way they accepted me.”

Ganz preferred her subjects to “get on with their work” instead of posing for hers. But once the miners emerged from the pit, she “would deliberately stand right in their path” in order to “study the effect” of the men “marching” towards her, a view that is exemplified by the dramatic composition Dusk at Tower Colliery (lot 47). Ganz referred to Tower Colliery near Hirwaun in the Cynon Valley as “an amazing community” with a “very special atmosphere.”

Getting access to the coalface “proved very difficult” at first, especially for a female artist. The approach was gradual, and

the trust hard earned. Ganz was initially able only to work above ground at various collieries, where she was given what she realised to be a “‘white gloved’ tour.” As fascinated as she was by the hidden workings of the mines, Ganz was hoping to gain an understanding of the milieu of the individuals at work there. “From the outset,” she insisted, “I had stated that I wanted to make a study of the complete day in a miner’s life.”

Ganz was aware that she was working against time. In 1984, her project was delayed due to the National Strike. “As soon as this ended in 1985,” Ganz stated, she “spent a year at Six Bells Colliery in Abertillery, where the colliery was in the heart of the village.” While the National Coal Board offered her a house “further up the valley,” Ganz felt that to keep work and home strictly “separate” would make it difficult for her “get to know anybody.” She eventually moved directly opposite the pit, and long after Six Bells closed in 1988, she kept in touch with her former neighbours and continued to visit them “all these years later.”

Beginning in 1986, Ganz exhibited the works resulting from her time at Six Bells in a number of group exhibitions. That year, at the Glynn Vivian Art Gallery, her paintings were featured in the exhibition Mining in Art alongside works by Jack Crabtree (b. 1938), Nicholas “Nick” Evans (1907-2004; lot 180), and Josef Herman (1911-2000).

What Ganz referred to as her “coal-mining project”—which would entail work at fourteen different collieries—remained her

“most rewarding experience,” as it gave her “real insight” into another world. When the mines closed, Ganz went in search of other tight-knit communities—from circus performers to oil riggers—she would strive to get to know from within.

For her work at Swansea Prison (lot 54), Ganz was granted admittance to all parts of the facility, and, over a period of six months, worked closely with inmates and staff. According to Ganz, her decision to pursue this project derived from a childhood memory. The train she took to school stopped outside the prison. “There was something about those big, blank walls,” she recalled. “I always used to stare at them and wondered what life was like inside.”

We expect artists to show us how they perceive the world. Practitioners like Ganz, however, tell us what they are eager to understand. Driven by a need fully to immerse themselves in experiences remote from their own, they take us along on a journey of discovery.

Art historians have yet to catch up with Valerie Ganz. Meanwhile, auction sales figures bear out that her work is increasingly attracting the attention of private collectors in and beyond Wales who are drawn into the worlds Ganz’s empathetic pictures open to us.

Dr Harry Heuser

Dr Harry Heuser is a writer and exhibition curator

Valerie Ganz ‘The Long Track Home’ Sold at The Welsh Sale for a record price of £7,500 (July 2025)

A Z o Gelf Cymreig

Ganz

“Roeddwn i bob amser … yn meddwl tybed sut beth oedd bywyd y tu mewn”

Valerie Ganz, Sylwebydd Angerddol

Mae’r artist o Dde Cymru, Valerie Ganz (1936-2015), bellach yn cael ei chofio fwyaf am ei phortreadau o lowyr yn eu hamgylchedd gwaith, thema y mynegodd “ddiddordeb arbennig” ynddi. Ac eto, fel y mae rhai o’r gweithiau yn yr arwerthiant presennol yn ei ddangos, mae holl gynnyrch Ganz yn llawer mwy amrywiol.

“Dros y blynyddoedd, rydw i wedi astudio gwahanol bynciau,” crynhodd Ganz ei gyrfa nodedig yn 2012, dair blynedd cyn ei marwolaeth. Treuliodd ddeuddeg mis ymhlith myfyrwyr yn Ysgol Ganolog y Bale yn Llundain a bu’n canlyn Syrcas Talaith Moscow wrth iddo deithio o amgylch y DU. Gweithiodd hefyd ar rigiau olew yn Anialwch Patagonia a chreuodd gofnod personol o fywyd y tu mewn i Garchar Abertawe.

Er mor eang oedd ei diddordebau, mae cyfanwaith Ganz wedi’i ddiffinio gan ei natur chwilfrydig ac wedi’i uno gan ei hymrwymiad i gyflawni prosiectau hirhoedlog a oedd yn aml yn cynnwys gweithio o dan amodau heriol. Yn feiddgar ac uniongyrchol, mae llawer o’i phaentiadau a’i lluniau’n ymwneud â phynciau y gwrthododd Ganz eu hystyried y tu hwnt i’w maes.

Magwyd Ganz yn y Mwmbwls, pentir ar ymyl gorllewinol Bae Abertawe (lot 49). Mae ei man geni, fel y dywedodd hi, yn edrych dros “ehangder dramatig” y bae, golygfa brydferth lle’r oedd y “diwydiant trwm” a’i denodd yn ifanc yn gorwedd yn y “cefndir” pell.

Gan fod Ganz wedi bod yn benderfynol o fynd at y “cefndir” hwnnw drwy hyfforddi fel artist—swydd freintiedig sy’n aml yn cael ei chamddeall, ac nad yw bob amser yn cael ei chydnabod fel un sydd wedi’i hintegreiddio’n gymdeithasol nac yn annatod—dechreuodd Ganz drwy wneud darluniau yn Nociau Abertawe, ei chysylltiad “cyntaf”, er yn betrusgar “â diwydiant y pyllau glo”.

Fel mae ei thirweddau o’r Eidal (lot 52) a De Ffrainc (lot 55) yn eu hawgrymu, ni aeth Ganz i chwilio am estheteg amgen.

Roedd yr hyn yr oedd hi’n chwilio amdano—ac yn ei gael— yn llawer mwy elfennol a dwfn: ceisiodd ddal agweddau ar y cyflwr dynol mewn lleoliadau a sefyllfaoedd nad oeddent yn debyg iawn i’r bywyd cymharol gysgodol yr oedd ei magwraeth wedi’i gynnig.

O 1951 i 1957, cofrestrwyd Ganz yng Ngholeg Celf Abertawe, lle astudiodd baentio, cerflunio a gwydr lliw. Ar ôl graddio, arhosodd yn Ysgol Gelf Abertawe fel tiwtor tan 1973 cyn gweithio’n llawn amser fel artist.

Artistiaid nodedig a aned yn Abertawe ac a oedd yn gysylltiedig â’r Coleg yn ystod astudiaethau Ganz yno yw’r arlunydd Alfred Janes (1911-1999), y cerflunydd Ronald Cour (1914-1978), a’r dylunydd gwydr lliw, Howard Martin (19071972), a fu’n gweithio hefyd fel pennaeth adran Gwydr Lliw Pensaernïol y Coleg.

Beth bynnag oedd ei chyfrwng, bron yn ddieithriad byddai Ganz yn “dewis y pyllau glo” pryd bynnag y byddai’n cael dewis pwnc. Heb fod yn ddogfennwr, byddai Ganz yn tueddu i arsylwi yn hytrach na gorfodi ei barn na’i gweledigaeth. “Rwy’n dda am ddod yn anweledig,” meddai Ganz ar ei gwaith ymhlith y glöwyr.

Yn anfodlon i edrych ar bethau fel rhywun ar y cyrion, roedd Ganz yn anelu at ddod yn rhan o’r cymunedau yr oedd llawer o’i gweithiau yn ymwneud â nhw. “Daeth y dynion yn gyfarwydd â’m cael o’u cwmpas, yn gweithio’n dawel ochr yn ochr â nhw,” myfyriodd Ganz ar ei gwaith yn y pyllau glo, ac roeddent “yn hael iawn yn y ffordd y gwnaethon nhw fy nerbyn.”

Roedd yn well gan Ganz i’w phynciau “fwrw ymlaen â’u gwaith” yn hytrach na sefyll a ffugio ar ei chyfer hi. Ond unwaith y byddai’r glöwyr yn dod allan o’r pwll, byddai hi’n “sefyll yn fwriadol yn eu llwybr” er mwyn “astudio effaith” y dynion yn “gorymdeithio” tuag ati, golygfa a ddangosir gan y cyfansoddiad dramatig Dusk at Tower Colliery (lot 47).

Cyfeiriodd Ganz at Lofa’r Tŵr ger Hirwaun yng Nghwm Cynon fel “cymuned anhygoel” gydag “awyrgylch arbennig iawn”.

Roedd cael mynediad i’r talcenni glo yn “anodd iawn” ar y dechrau, yn enwedig i artist benywaidd. Fe wnaeth hynny’n raddol, ac fe adeiladodd yr ymddiriedaeth dros amser. I ddechrau, dim ond uwchben y ddaear mewn amrywiol byllau glo y gallai Ganz weithio, lle cafodd yr hyn a sylweddolodd oedd yn “daith ‘menyg gwyn’.” Er ei bod wedi’i swyno gan weithrediadau cudd y pyllau glo, roedd Ganz yn gobeithio cael dealltwriaeth o amgylchedd yr unigolion oedd yn gweithio yno. “O’r cychwyn cyntaf,” mynnodd, “roeddwn wedi datgan fy mod eisiau gwneud astudiaeth o ddiwrnod cyfan ym mywyd glöwr.”

Roedd Ganz yn ymwybodol ei bod hi’n gweithio yn erbyn amser. Ym 1984, cafodd ei phrosiect ei ohirio oherwydd y Streic Genedlaethol. “Cyn gynted ag y daeth hyn i ben ym 1985,” meddai Ganz, “treuliodd flwyddyn ym Mhwll Glo’r Six Bells yn Abertyleri, lle’r oedd y lofa yng nghanol y pentref.” Er bod y Bwrdd Glo Cenedlaethol wedi cynnig tŷ iddi “ymhellach i fyny’r dyffryn,” teimlai Ganz y byddai cadw gwaith a chartref “ar wahân” yn ei gwneud hi’n anodd iddi “ddod i adnabod unrhyw un.” Yn y pen draw, symudodd yn uniongyrchol gyferbyn â’r pwll, ac ymhell ar ôl I’r Six Bells gau ym 1988, cadwodd mewn cysylltiad â’i chyn-gymdogion a pharhaodd i ymweld â nhw “yr holl flynyddoedd hyn yn ddiweddarach.”

Gan ddechrau ym 1986, arddangosodd Ganz y gweithiau a ddeilliodd o’i hamser yn Six Bells mewn nifer o arddangosfeydd grŵp. Y flwyddyn honno, yn Oriel Gelf Glynn Vivian, cafodd ei phaentiadau eu cynnwys yn yr arddangosfa Mining in Art ochr yn ochr â gweithiau gan Jack Crabtree (g. 1938), Nicholas “Nick” Evans (1907-2004; lot 180), a Josef Herman (1911-2000).

Yr hyn y cyfeiriodd Ganz ato fel ei “phrosiect cloddio glo”—a fyddai’n golygu gweithio mewn pedwar ar ddeg o byllau glo gwahanol—oedd ei “phrofiad mwyaf gwerth chweil”, gan iddo roi “mewnwelediad gwirioneddol” iddi i fyd arall. Pan gaeodd y pyllau glo, aeth Ganz i chwilio am gymunedau clos eraill agos—o berfformwyr syrcas i rigwyr olew—y byddai’n ymdrechu i ddod i’w hadnabod o’r tu mewn.

Am ei gwaith yng Ngharchar Abertawe (lot 54), cafodd Ganz fynediad i bob rhan o’r safle, a thros gyfnod o chwe mis, bu’n gweithio’n agos gyda charcharorion a staff. Yn ôl Ganz, deilliodd ei phenderfyniad i ddilyn y prosiect hwn o atgof plentyndod. Roedd y trên i’r ysgol yn stopio y tu allan i’r carchar. “Roedd rhywbeth am y waliau mawr, gwag hynny,” cofiodd. “Roeddwn i bob amser yn arfer syllu arnyn nhw ac yn meddwl tybed sut beth oedd bywyd y tu mewn.”

Rydym yn disgwyl i artistiaid ddangos i ni sut maen nhw’n gweld y byd. Fodd bynnag, mae ymarferwyr fel Ganz yn dweud wrthym beth maen nhw’n awyddus i’w ddeall. Wedi’u cyflyrru gan yr angen i ymgolli’n llwyr mewn profiadau sydd ymhell o’u profiadau eu hunain, maen nhw’n mynd â ni ar daith o ddarganfyddiad.

Nid yw haneswyr celf wedi dal i fyny â Valerie Ganz eto. Yn y cyfamser, mae ffigurau gwerthiant arwerthiannau yn dangos bod ei gwaith yn gynyddol ddenu sylw casglwyr preifat yng Nghymru a thu hwnt, sy’n cael eu denu at y byd sy’n cael ei agor i ni gan luniau empathig Ganz.

Dr Harry Heuser

Mae Dr Harry Heuser yn awdur ac yn guradur arddangosfeydd

Valerie Ganz Swansea Bay, dated ‘77 Sold at The Welsh Sale for £1600 (July 2024)

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Mixed media ‘Lucy sur Yonne’

Estimate: £7,000-10,000

Ray Howard-Jones Visionary Artist of the Wild Pembrokeshire Coast

by David Moore

Ray sketching at Marloes, c.1980 [Photograph copyright the estate of Roger Worsley. Courtesy of David Phillips] Ray yn braslunio ym Marloes, tua 1980 [Hawlfraint y ffotograff yw ystâd Roger Worsley. Trwy garedigrwydd David Phillips]

Ray Howard-Jones (1903-1996), one of Wales’s most enigmatic artists, is particularly renowned for her paintings of south Wales in the Second World War, for deeply spiritual watercolours and gouaches of the wild Pembrokeshire coast and for outstanding mosaics in the Welsh and Scottish capital cities. A remarkable, vivid and unconventional personality, she was a distinctive presence in the Welsh art world.

I knew Ray in her last decade while working for the museum service in Pembrokeshire in the latter half of the 1980s. I used to visit her on the coast at Marloes where she spent several months of the year living in a caravan. On four occasions I drove her, in her own vehicle, back to her home in London. Much later, some time after

Ray had died, I became interested in researching and writing about her life and work. I came to appreciate what an exceptional artist she was. In 2023 Bird Eye Books, an imprint of Graffeg, published my in-depth biography, Ray Howard-Jones: My Hand is the Voice of The Sea. This is illustrated with 250 images, many of them specially photographed.

Ray was born in 1903, christened Rose Mary Howard-Jones, and brought up by her prosperous grandfather and guardians in Penarth. She flourished at the progressive London Garden School and, in the early 1920s, at the Slade School of Fine Art, where her tutors included Henry Tonks and Philip Wilson Steer. Afflicted by nonpulmonary tuberculosis, she endured dangerous operations and a long period of convalescence. Her career

as a professional artist was not revived until 1935, when, for professional reasons, she adopted the name Ray. She worked as an illustrator at the National Museum of Wales in Cardiff in the 1930s where she befriended archaeologists including William F. Grimes who, obligingly, posed for a life study as did his family. During this period, too, she became artistic director of the East Moors Players in a deprived area of Splott.

Ray made a significant contribution to recording the impact of the Second World War in south Wales. The War Artists’ Advisory Committee acquired many of her paintings, including several of preparations of merchant shipping for D-day, and it commissioned her to record the heavily fortified Bristol Channel islands of Flat Holm and Steep Holm. At Amgueddfa

Cymru are sketchbook drawings of gun emplacements, military activities with boats and personnel on these islands. A significant wartime gouache, Western Approaches, depicting the lighthouse and a gun emplacement on Flat Holm, was presented to the museum by the Contemporary Art Society for Wales. After the war, in need of respite, Ray was awarded a place, in 1946, at the post-graduate art school at Hospitalfield in Arbroath to develop her work with the warden James Cowie.

In the late 1940s Ray settled in London and met Raymond Moore, a mature graduate from the Royal College of Art, with whom she would live for two decades. Theirs was a mutually supportive creative relationship and they mostly lived and worked in a Victorian house in Hammersmith. During their time together Raymond developed from a painter into a distinguished photographer. Through the 1950s they regularly spent summers on the Pembrokeshire island of Skomer followed, in the 1960s, by seasons on the nearby mainland coast. At this time Ray had five successful and influential solo exhibitions at the Leicester Galleries in London. She also designed two major mosaics in Cardiff and Edinburgh. The former, An Eye for the People, was a threestorey work on the old Western Mail building, sadly demolished in 2008 just as the Twentieth Century Society was about to list it as one of the finest post-war murals in Britain. The Edinburgh mosaic survives, a striking alterpiece in the parish church of Marchmont St Giles. Ray split with Moore in 1970 and continued to visit Marloes in Pembrokeshire until she was quite elderly. She became increasingly celebrated in Wales with major publicly-funded touring exhibitions.

Key concerns of the artist were impressionistic, romantic and deeply spiritual studies of the Pembrokeshire coast, particularly of Skomer and, notably, around the mainland coast of Marloes. She made large numbers of studies of the ever-changing visual relationship between the structure of rocks, the sea and sky affected by seasons, times of day, tides, light and weather. Many of these were made

in a bay to the south of the Deerpark which could only be reached by a treacherous path down two-hundredfoot cliffs. During the 1960s these works became more abstract and displayed an often dazzling variety of colours, shapes and textures derived from close observation of the coast between the Deerpark, overlooking Skomer, and Marloes Sands. Rockpools were often a source of inspiration. The majority are graphite drawings, chalks, watercolours and gouaches but there are also oils, mixed-media collages, charcoal and crayon drawings and, particularly later in life, pastels. Her rocks often have a surreal quality, being anthropomorphised and attributed names such as The Brother. She also made mumerous sketches of the wildlife including seals, woodmice, rabbits, gannets, shearwaters, hermit crabs, starfish and butterflies.

Ray’s later work is often characterised by a more contrasting and vibrant use of colour and a strong sense of mysticism. Ray had a profound Christian faith and much of her work was driven by a need to bring her closer, through a deeper understanding of the natural world, to God. Her faith was reinforced by exposure to the wildness of the Pembrokeshire coast. A particular rock which she repeatedly drew was a triangular one that she named Te Deum, an abbreviation of Te Deum Laudamus, a Latin hymn in praise of God. She became an oblate of the Benedictines at Nashdom Abbey in Buckinghamshire, painted decorated crosses on bookmarks, sketched churches and produced unexecuted designs for altarpieces.

Ray also covered wider ground with studies of landscapes and historic sites in west Wales as well as on Gower and mid-Wales. London features less frequently, highlighting Ray’s Welsh focus. Her travels abroad include Alderney, Tuscany, Cyprus, the United States and Portugal. She has painted portraits of her friends Professor Mary Williams and the painter-poet David Jones, as well as the Argentine pianist Alberto Portugheis.

When Ray died in 1996, after an intrepid and eventful life of ninety-

three years, she left a considerable legacy of artwork. One of the largest single-artist collections of work at Amgueddfa Cymru is by Ray HowardJones. It comprises her bequest of around 1,800 catalogued works. The actual number of images, however, is probably at least double that due to 95 sketchbooks containing numerous pages. Ray is also well represented in the art collection of the National Library of Wales and in public collections throughout the United kingdom, notably at the Imperial War Museum.

David Moore worked for Pembrokeshire Museums from 1985 until 1992. He then became curator of Brecknock Museum where he built up the art collection and established the art gallery with an extensive programme of exhibitions featuring Welsh artists. Since 2004 he has worked independently writing about modern art, artist groups and public art collections in Wales. Some of this has been published under the Crooked Window imprint, www. crookedwindow.co.uk, the most recent being the 2025 Championing Artists in Wales: 25 Years of the Brecknock Art Trust. Graffeg, however, published in 2020 his Art for Wales: The Legacy of Derek Williams which explores the impact of the Derek Wiliams Trust upon the post-1900 art collection at Amgueddfa Cymru. In 2023 Bird Eye Books published his major biography, Ray Howard-Jones: My Hand is the Voice of the Sea [www.birdeyebooks. com].

The cover of David Moore’s 2023 biography of the artist [Courtesy of Bird Eye Books] Clawr bywgraffiad David Moore o’r artist yn 2023 [Trwy garedigrwydd Bird Eye Books]

Ray Howard-Jones Artist Gweledigaethol

Arfordir Gwyllt Sir Benfro

Mae Ray Howard-Jones (19031996), un o artistiaid mwyaf enigmatig Cymru, yn arbennig o adnabyddus am ei phaentiadau o dde Cymru yn yr Ail Ryfel Byd, am ddyfrlliwiau a gouaches ysbrydol iawn o arfordir gwyllt Sir Benfro ac am fosaigau rhagorol ym mhrifddinasoedd Cymru a’r Alban. Yn bersonoliaeth nodedig, fywiog ac anghonfensiynol, roedd hi’n bresenoldeb arbennig ym myd celf Cymru.

Roeddwn i’n adnabod Ray yn ei degawd olaf tra roeddwn i’n gweithio i’r gwasanaeth amgueddfeydd yn Sir Benfro yn ail hanner y 1980au. Roeddwn i’n arfer ymweld â hi ar yr arfordir ym Marloes lle treuliodd hi sawl mis o’r flwyddyn yn byw mewn carafán. Ar bedwar achlysur, fe yrrais hi, yn ei cherbyd ei hun, yn ôl i’w chartref yn Llundain. Yn ddiweddarach, rhywbryd ar ôl i Ray farw, dechreuais ymddiddori mewn ymchwilio ac ysgrifennu am ei bywyd a’i gwaith. Deuthum i werthfawrogi pa mor eithriadol oedd hi fel artist. Yn 2023, cyhoeddodd Bird Eye Books, argraffnod o Graffeg, fy nghofiant manwl, Ray Howard-Jones: My Hand is the Voice of The Sea. Mae hwn wedi’i ddarlunio â 250 o ddelweddau, llawer ohonynt wedi’u ffotograffio’n arbennig. Ganwyd Ray ym 1903, wedi’i bedyddio yn Rose Mary Howard-Jones, a’i magu gan ei thaid llewyrchus a’i gwarcheidwaid ym Mhenarth. Fe ffynnodd yn Ysgol Ardd flaengar Llundain ac, yn gynnar yn y 1920au, yn Ysgol Gelfyddyd Gain Slade, lle’r oedd Henry Tonks a Philip Wilson Steer ymhlith ei thiwtoriaid. Wedi’i

heffeithio gan Dwbercwlosis heb fod ar yr ysgyfaint, bu’n rhaid iddi gael sawl llawdriniaeth peryglus a chyfnod hir o wella. Ni chafodd ei gyrfa fel artist proffesiynol ei hadfywio tan 1935, pan, am resymau proffesiynol, mabwysiadodd yr enw Ray. Gweithiodd fel darlunydd yn Amgueddfa Genedlaethol Cymru yng Nghaerdydd yn y 1930au lle daeth yn ffrindiau ag archaeolegwyr gan gynnwys William F. Grimes a wnaeth, yn garedig, eistedd iddi ar gyfer astudiaeth bywyd fel y gwnaeth ei deulu. Yn ystod y cyfnod hwn hefyd, daeth yn gyfarwyddwr artistig yr East Moors Players mewn ardal ddifreintiedig o Sblot.

Gwnaeth Ray gyfraniad sylweddol at gofnodi effaith yr Ail Ryfel Byd yn ne Cymru. Cafodd Pwyllgor Ymgynghorol Artistiaid Rhyfel lawer o’i phaentiadau, gan gynnwys nifer o baratoadau y llynges fasnachol ar gyfer D-Day, ac fe gafodd ei chomisiynu ganddynt i gofnodi ynysoedd Môr Hafren, sef Ynys Echni a Ynys Rhonech. Yn Amgueddfa Cymru, mae darluniau bras o lwyfannau gynnau, gweithgareddau milwrol gyda chychod a phersonél ar yr ynysoedd hyn. Cyflwynwyd gouache arwyddocaol o gyfnod y rhyfel, Western Approaches, sy’n darlunio’r goleudy a llwyfan gynnau ar Ynys Echni, i’r amgueddfa gan Gymdeithas Gelf Gyfoes Cymru. Ar ôl y rhyfel, gan fod angen seibiant arni, dyfarnwyd lle i Ray, ym 1946, yn yr ysgol gelf ôlraddedig yn Hospitalfield yn Arbroath i ddatblygu ei gwaith gyda’r warden James Cowie.

Yn niwedd y 1940au, ymsefydlodd Ray yn Llundain a chyfarfu â Raymond Moore, gŵr gradd hŷn o‘r Coleg

Brenhinol Celf, a byddai’n byw gydag ef am ddau ddegawd. Roedd eu perthynas greadigol yn gefnogol i’w gilydd ac roeddent yn byw ac yn gweithio’n bennaf mewn tŷ Fictoraidd yn Hammersmith. Yn ystod eu hamser gyda’i gilydd, datblygodd Raymond o fod yn beintiwr i fod yn ffotograffydd nodedig. Drwy gydol y 1950au, buont yn treulio’u hafau yn rheolaidd ar ynys Sgomer yn Sir Benfro, ac yna, yn y 1960au, tymhorau ar arfordir y tir mawr cyfagos. Ar y pryd, roedd Ray wedi cael pum arddangosfa unigol lwyddiannus a dylanwadol yn Orielau Leicester yn Llundain. Bu hefyd yn dylunio dau fosaig fawr yng Nghaerdydd a Chaeredin. Roedd y cyntaf, An Eye for the People, yn waith tair llawr ar hen adeilad y Western Mail, a ddymchwelwyd yn anffodus yn 2008, wrth i Gymdeithas yr Ugeinfed Ganrif fod ar fin ei restru fel un o’r murluniau gorau ar ôl y rhyfel ym Mhrydain. Mae mosaig Caeredin wedi goroesi, darn allor trawiadol yn eglwys blwyf Marchmont St Giles. Gwahanodd Ray â Moore ym 1970 a pharhaodd i ymweld â Marloes yn Sir Benfro nes iddi fod yn eithaf oedrannus. Daeth hi’n fwyfwy enwog yng Nghymru gydag arddangosfeydd teithiol mawr a ariannwyd yn gyhoeddus.

Prif themau yr artist oedd astudiaethau argraffiadol, rhamantus ac ysbrydol iawn o arfordir Sir Benfro, yn enwedig Sgomer ac, yn arbennig, o amgylch arfordir tir mawr Marloes. Gwnaeth nifer fawr o astudiaethau o’r berthynas weledol, gyfnewidiol rhwng strwythur creigiau, y môr a’r awyr a effeithir gan y tymhorau, amseroedd y dydd, llanw, golau a thywydd. Gwnaed llawer o’r rhain mewn bae i’r de o Barc Ceirw

gan David Moore

ger Martin’s Haven, na ellid ond ei gyrraedd trwy lwybr peryglus i lawr clogwyni dau gan troedfedd. Yn ystod y 1960au, daeth y gweithiau hyn yn fwy haniaethol a ddechrau arddangos amrywiaeth ddisglair o liwiau, siapiau a gweadau yn aml yn deillio o arsylwi manwl ar yr arfordir rhwng Parc Ceirw, sy’n edrych dros Sgomer, a Thraeth Marloes. Roedd pyllau creigiau yn aml yn ffynhonnell ysbrydoliaeth. Darluniau o graffit, sialc, dyfrlliwiau a gouaches yw’r mwyafrif ond mae yna hefyd olewau, collages cyfryngau cymysg, darluniau siarcol a chreonau ac, yn enwedig yn ddiweddarach mewn bywyd, pasteli. Yn aml mae gan ei chreigiau ansawdd swreal, gan eu bod wedi’u dynweddu a’u priodoli i enwau fel Y Brawd. Gwnaeth hefyd frasluniau niferus o’r bywyd gwyllt gan gynnwys morloi, llygod coed, cwningod, mulfrain, palod, crancod meudwy, sêr môr a gloÿnnod byw.

Mae gwaith diweddarach Ray yn aml yn cael ei nodweddu gan ddefnydd mwy cyferbyniol a bywiog o liw a synnwyr cryf o gyfriniaeth. Roedd gan Ray ffydd Gristnogol ddofn ac roedd llawer o’i gwaith wedi’i gyflyrru gan yr angen i’w dwyn yn agosach, trwy ddealltwriaeth ddyfnach o’r byd naturiol, at Dduw. Atgyfnerthwyd ei ffydd trwy ddod i gysylltiad â gwylltineb arfordir Sir Benfro. Craig

benodol yr oedd hi’n ei llunio dro ar ôl tro oedd un drionglog a enwodd yn Te Deum, talfyriad o Te Deum Laudamus, emyn Lladin i glodfori Duw.

Daeth yn oblad i’r Benedictiaid yn Abaty Nashdom yn Swydd Buckingham, peintiodd groesau addurnedig ar nodau tudalen, brasluniodd eglwysi a chynhyrchodd ddyluniadau heb eu gweithredu ar gyfer allorau.

Aeth Ray ati ymhellach hefyd i astudio tirweddau a safleoedd hanesyddol yng ngorllewin Cymru yn ogystal ag ar Benrhyn Gŵyr a chanolbarth Cymru. Mae Llundain yn ymddangos yn llai aml, gan amlygu ffocws Cymreig Ray. Mae ei theithiau tramor yn cynnwys Alderney, Twsgani, Cyprus, yr Unol Daleithiau a Phortiwgal. Mae hi wedi peintio portreadau o’i ffrindiau, yr

Athro Mary Williams a’r arlunydd-fardd David Jones, yn ogystal â’r pianydd o’r Ariannin, Alberto Portugheis.

Pan fu farw Ray ym 1996, ar ôl bywyd dewr a chyffrous o naw deg tri o flynyddoedd, gadawodd waddol sylweddol o gelf. Un o’r casgliadau gwaith mwyaf gan un artist yn Amgueddfa Cymru yw un Ray HowardJones. Mae’n cynnwys ei gwaddol o tua 1,800 o weithiau wedi’u catalogio. Fodd bynnag, mae’n debyg bod nifer gwirioneddol y delweddau o

leiaf ddwywaith hynny yn sgil 95 o lyfrau braslunio sy’n cynnwys nifer o dudalennau. Mae Ray hefyd wedi’i chynrychioli’n dda yng nghasgliad celf Llyfrgell Genedlaethol Cymru ac mewn casgliadau cyhoeddus ledled y Deyrnas Unedig, yn enwedig yn Amgueddfa Ryfel Ymerodrol Llundain.

Gweithiodd David Moore i Amgueddfeydd Sir Benfro o 1985 hyd 1992. Yna daeth yn guradur Amgueddfa Brycheiniog lle adeiladodd y casgliad celf a sefydlu’r oriel gelf gyda rhaglen helaeth o arddangosfeydd yn cynnwys artistiaid o Gymru. Ers 2004, mae wedi gweithio’n annibynnol yn ysgrifennu am gelf fodern, grwpiau artistiaid a chasgliadau celf cyhoeddus yng Nghymru. Mae rhywfaint o hyn wedi’i gyhoeddi o dan argraffnod Crooked Window, (www.crookedwindow. co.uk), a’r mwyaf diweddar, o 2025, yw Championing Artists in Wales: 25 Years of the Brecknock Art Trust. Fodd bynnag, cyhoeddodd Graffeg yn 2020 ei lyfr Art for Wales: The Legacy of Derek Williams sy’n archwilio effaith Ymddiriedolaeth Derek Williams ar y casgliad celf ar ôl 1900 yn Amgueddfa Cymru. Yn 2023, cyhoeddodd Bird Eye Books ei brif gofiant, Ray HowardJones: My Hand is the Voice of the Sea [www.birdeyebooks.com].

Ray Howard Jones ‘Tide on the Gann’ sold at The Welsh Sale for a record price of £3600 (November 2023) Gwerthwyd ‘Tide on the Gann’ gan Ray Howard Jones yn yr Arwerthiant Cymreig am bris record o £3600 (Tachwedd 2023)

Estimate: £20,000-25,000

Sir Kyffin Williams RA Oil ‘Farmer with Sheepdog’

GOLD IS SKY HIGH

We are now offering all our clients exceptional vendor commission rates on SOVEREIGNS, HALF-SOVEREIGNS & KRUGERRANDS etc.

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For a preliminary verbal offer for purchase or a reduced sale commission rate please phone John Rogers Jones 01492 532176

Estimate: £14,000-17,000

Sir Kyffin Williams RA Oil ‘Castell Dolwyddelan’

Valerie Ganz

Mixed media ‘Tower Colliery at Dusk’

Estimate: £6000-9000

Sir Kyffin Williams RA

Oil ‘Rough Sea and Moonlight’

Estimate: £30,000-40,000

‡ BERNARD MITCHELL collection of nine rare photographic prints of various Welsh artists, each titled, artists include, Philip Sutton, Manorbier ‘97, 30 x 30cms; Ceri Richards, Edith Grove, London 1966, 30 x 30cms; Sir Kyffin Williams, 1990, 20 x 29cms; Peter Prendergast ‘97, 19 x 29cms; Josef Herman, London ‘97, 19 x 29cms; Ivor Davies, Penarth ‘97, 20 x 29cms; Colin See-Paynton ‘96, 19 x 29cms; Shani Rhys James, Llangadfan, ‘97, 20 x 29cms; and Arthur Giardelli, 19.5 x 29cms, all signed by Bernard Mitchell

Provenance: private collection Herefordshire £1,000-1,500

‡ JOSEF HERMAN OBE RA limited edition (78/150) lithograph - entitled ‘Cockle Gatherers’, fully signed in pencil, published by Christie’s Contemporary Art, printed by the Curwen Studio on T. H. Saunders paper using six plates, 52 x 66cms

Auctioneer’s Note: The Cockle Gatherers is based on a scene in the Welsh village of Penclawdd

Provenance: private collection West Midlands, with Certificate of Authenticity from Christie’s Contemporary Art

£200-300

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA woodblock prints - set of four, each depicting a bird in its natural habitat, Cuckoos, Corn Crakes, Goldfinches and Fieldfares, all signed with initials and dated 1933, all 14 x 9cms

Provenance: private collection West Sussex

£500-1,000

‡ EDGAR HOLLOWAY etching - ‘Self Portrait No. 7’, dated 1936, 25 x 30cms

Auctioneer’s Note: a later impression of one of Holloway’s most sought-after self-portraits, aside from the edition of 50, printed by the artist’s wife under his supervision. The Rijksmuseum in Amsterdam holds Self Portrait No.7 to demonstrate how for centuries artists have been inspired by Rembrandt’s example.

Provenance: private collection Ceredigion

£200-400

‡ EDGAR HOLLOWAY limited edition (8/50) etching - entitled ‘Capel-y-Ffin’ on Wolseley Fine Arts Gallery label, signed and dated 1991, 18 x 24cms

Provenance: private collection

Herefordshire

£400-600

‡ GEORGE CHAPMAN coloured hard ground etching on zinc - entitled ‘Terraced Houses, Swansea’, 50 x 73cms

Provenance: private collection West Midlands

£250-350

‡ JOHN KNAPP-FISHER limited edition (189/500) print - ‘Chapel Goers, Croesgoch’, fully signed, 24 x 76cms

Provenance: private collection Ceredigion

£300-500

‡ JOHN PIPER print - entitled, ‘Llangloffan’, with blind stamp, fully signed in pencil, 39 x 57cms

Provenance: private collection Somerset

£250-350

‡ JOHN PIPER Gregynog Press lithographs - a selection of eight coloured lithographs from ‘Deaths and Entrances’ by Dylan Thomas, including Laugharne Castle, loose pages, seven are 35 x 47cms with one being smaller at 35 x 24cms

Provenance: by descent the collection of the late Dr Glyn Tegai Hughes (1923-2017), scholar, politician and the first warden of Gregynog Hall, where he set about reorganising its library, replanning its 750 acres, and reviving the Gregynog Press

£1,000-1,500

‡ JOHN ELWYN limited edition (195/300) lithographview of Laugharne Estuary, signed in pencil, 35 x 52cms

Provenance: private collection Ceredigion £200-400

£1,000-1,500

‡ HARRY HOLLAND monotype print - entitled verso ‘Figure’, ‘Unique monotype 81 block’ on Wolseley Fine Arts Gallery label, signed, dated verso 1989, 120 x 81cms

Provenance: private collection Herefordshire

£300-400

‡ HARRY HOLLAND monotype print - entitled verso ‘Block’ on Wolseley Fine Arts Gallery label, signed, dated verso 1990, 110 x 75cms

Provenance: private collection Herefordshire £300-400

‡ HARRY HOLLAND monotype print - entitled verso ‘Bev’ on Wolseley Fine Arts Gallery label, signed, 118 x 81cms

Provenance: private collection Herefordshire £300-400

‡ HARRY HOLLAND monotype print - abstract, signed, 104 x 75cms

Provenance: private collection Herefordshire £300-400

‡ HARRY HOLLAND monotype print - entitled verso ‘79. Mask, 1989’ on Wolseley Fine Arts Gallery label, signed, 120 x 81cms

Provenance: private collection Herefordshire £300-400

‡ JONAH JONES limited edition (26/350)

print - entitled, ‘The Three Men on a Winter Hill’, 46 x 41cms

Auctioneer’s Note: “The three men on a winter hill” combines text from John Berryman’s poem “Winter Landscape” and Psalm 147, Verse 16. Berryman’s poem depicts “the three men coming down the winter hill”, while Psalm 147:16 speaks of God spreading “snow like a blanket” and scattering “frost like dust”, a description of the winter scene.

Provenance: private collection Cardiff £200-300

JONAH JONES limited edition (26/350) print - entitled, ‘Llyn Caseg Fraith & Tryfan’ Lakes and Mountains, 55 x 38cms

Auctioneer’s note: In 1981-82 Jonah Jones served a year’s fellowship at Gregynog Hall, the University of Wales’s residential study centre near Newtown, Powys. He aimed to spend the time developing his watercolour painting, a medium he had used intermittently for many years.

Provenance: private collection Cardiff £200-300

‡ PAUL PETER PIECH three colour lithograph - rampant Welsh dragon between flanking blue hands above Dafydd Iwan’s lyrics from ‘A Cherddyn Ymlaen’ (sic: ‘A Cerddwn Ymlaen), with the lyrics below between a pair of ‘Tafod y Ddraig’ (dragon’s tongues) being the logo for Cymdeithas yr Iaith (the Welsh Language Society), ‘Cerddwn drwy ddwr a than, cerddwn a ffydd yn ein can ymlaen ’, signed by both artist and Dafydd Iwan, dated 1988, 59 x 41.5cms

Provenance: private collection Carmarthenshire, ‘A Cerddwn Ymlaen’ (Let’s March On) was released by the folk-singer and Welsh language campaigner Dafydd Iwan in 1981. Cymdeithas yr Iaith have campaigned and pressured for Welsh language rights since the 1960s contributing to various successes including the establishment of S4C and the Welsh Language Act of 1993 £500-1,000

‡ ROBERT MACDONALD watercolour - entitled verso, ‘Jazz in the Bulwark, Brecon’, signed and dated 2000, 57 x 76cms

Provenance: private collection Cardiff £250-350

‡ CERI RICHARDS CBE pencil, pen, brush, black ink and gouacheentitled verso, ‘Homage to Dylan Thomas’ on Kooywood Galley label, signed, 35 x 52cms

Provenance: private collection Vale of Glamorgan, coincidentally a similar slightly smaller work was sold at The Welsh Sale in July

(£9000 hammer price)

Comments: glazed, box frame, glass is a little loose bottom corner £5,000-8,000

‡ DAN LLYWELLYN HALL mixed media on paper - landscape, signed and dated verso 2006, 56 x 75cms

Provenance: private collection Cardiff £200-300

‡ ANTHONY EVANS mixed mediaentitled verso, ‘Gilfach’, 17 x 17cms

Provenance: private collection Cardiff £150-250

‡ ROBERT ALWYN HUGHES watercolour, ink and gesso - entitled verso, ‘Homage to Exhibit No. 779, The Louvre, Paris’, signed and dated verso 2003, 20.5 x 20.5cms

Provenance: private collection Cardiff £250-350

‡ BERT ISSAC water soluble mediaentitled verso, ‘The Red Hill’, signed and dated 1997, 19 x 19cms

Provenance: private collection Cardiff £200-300

‡ ARTHUR PRITCHARD oil on paper - entitled verso, ‘Pine Trees, Porth Tocyn’, signed, 14 x 23cms

Provenance: private collection Cardiff £200-300

‡ WILL EVANS watercolour - Castle Square Buildings, Swansea, after the blitz of February 1941, 35 x 53cms

Provenance: from part of a portfolio of the artists ‘Blitz’ work, private collection Ceredigion

£250-350

‡ BERT ISSAC water soluble mediaentitled verso, ‘Welsh Landscape’, signed and dated 1998, 21 x 21cms

Provenance: private collection Cardiff

£300-400

‡ CLIVE HICKS-JENKINS mixed mediaentitled verso, ‘Missing Trevor’ on Martin Tinney Gallery, signed and dated ‘99, 35 x 35cms

Provenance: private collection Cardiff £400-700

‡ KAREL LEK pen and ink wash - chapel with graveyard, signed, 34 x 49cms

Provenance: private collection Ceredigion £200-300

‡ WILL EVANS watercolour - farmstead with poultry feeding, signed, 36 x 48cms

Provenance: private collection Carmarthenshire £300-400

‡ WILL EVANS watercolour - farmstead with vast mountain range behind, 42.5 x 53.5cms

Provenance: private collection Carmarthenshire

£300-400

‡ SELWYN JONES pen, pencil and gouache - entitled verso, ‘Moelfre’, dated 1996, 29 x 39cms

Provenance: private collection Hampshire £200-300

‡ SELWYN JONES pen and gouacheentitled verso, ‘Criccieth Castle’, dated verso 1956, 23 x 35.5cms

Provenance: private collection Hampshire £200-300

‡ SELWYN JONES pen and gouacheruins of an old whitewashed house, 25 x 36cms

Provenance: private collection Hampshire £200-300

‡ SELWYN JONES pen and gouacheentitled verso, ‘Holyhead’, 25 x 35cms

Provenance: private collection Hampshire £200-300

‡ DAVID TRESS watercolour - entitled verso, ‘Lane behind Newport’, signed and dated ‘83, 25 x 45cms

Provenance: private collection Cardiff £200-300

‡ DAVID TRESS watercolour - entitled verso, ‘Bright Sea, Near Croesgoch’, signed and dated 1983, 29 x 45cms

Provenance: private collection Cardiff £200-300

‡ KEVIN SINNOTT watercolour - crowded beach viewed from above, signed and dated ‘83, 25 x 35cms

Provenance: private collection Ceredigion £400-600

‡ ANEURIN JONES mixed media - ‘Gwelaf Afon (There is a River)’, self-portrait, titled verso on Washington Gallery label, signed on the mount, 36.5 x 48cms

Provenance: Washington Gallery ‘There is a River’ exhib. no.10, Jan 4-24 2004; private collection Vale of Glamorgan

Comments: professionally reframed and restored tear (as referred to in correspondence from the artist and conservator, see accompanying paperwork), framed, glazed and ready to hang £700-1,000

‡ DONALD MCINTYRE watercolour - entitled verso, ‘Cottage in the Hills’, signed, 42 x 52cms

Provenance: private collection Buckinghamshire, originally purchased in 1978

£600-800

‡ DONALD MCINTYRE watercolour - entitled verso, ‘Hafod-Y-Brain’, 36 x 54cms

Provenance: private collection Buckinghamshire, originally purchased in 1978

£600-800

‡ JOHN ROGERS watercolourlandscape with farm and cottages below crag, signed and dated ‘96, 36 x 64cms

Provenance: private collection Vale of Glamorgan

£200-300

‡ ALASTAIR ELKES-JONES oil on card - entitled verso, ‘Norwegian Church, Cardiff Bay Evening’ on Albany Gallery label, signed, 38 x 54cms

Provenance: private collection Vale of Glamorgan £300-500

‡ HARRY HOLLAND charcoal on paperhead portrait of a female, signed, 30 x 23cms

Provenance: private collection Cardiff £300-400

‡ VALERIE GANZ mixed media - head and shoulders portrait of a miner with illuminated head-torch, signed, 29 x 23cms

Provenance: private collection Vale of Glamorgan

£2,000-3,000

‡ VALERIE GANZ mixed media - entitled verso, ‘Tower Colliery at Dusk’ on Albany Gallery label verso, signed, 43 x 102cms

Provenance: private collection Vale of Glamorgan

£6,000-9,000

‡ VALERIE GANZ mixed mediacolliery with miners grouped in front of a large pit-head wheel, signed, 29 x 52cms

Provenance: private collection Vale of Glamorgan

£3,000-4,000

‡ VALERIE GANZ watercolour - the Gower Peninsula at low tide with Pier and Mumbles Lighthouse in the distance, signed, 48 x 71cms

Provenance: private collection Cardiff £250-350

‡ VALERIE GANZ watercolour - Castell Dryslwyn with Paxton’s tower in distance, signed, 45 x 61cms

Provenance: private collection Swansea, by family descent £200-300

‡ VALERIE GANZ watercolour - Carreg Cennen Castle, signed, 36 x 49.5cms

Provenance: private collection Swansea, by family descent

£200-300

‡ VALERIE GANZ mixed media - entitled verso, ‘North Italian Church and Square’ from her Italian Tour 1979, signed and dated ‘79, 46 x 38cms

Provenance: private collection Cardiff, purchased from Manor House Fine Arts Gallery, Pontcanna £200-300

‡ VALERIE GANZ watercolour - entitled ‘Caswell Bay’, signed, 49 x 39cms

Provenance: private collection Surrey £300-400

‡ VALERIE GANZ mixed media - entitled verso, ‘A-Wing’ on Attic Gallery label, signed, 39 x 27cms

Provenance: with original Attic Gallery invoice, private collection Swansea, most likely depiction of Swansea Prison

£500-1,000

‡ VALERIE GANZ watercolour - entitled verso, ‘Lurs, Provence’, signed, 34 x 23cms

Provenance: private collection Cardiff, purchased from Albany Gallery

£200-300

‡ DONALD MCINTYRE watercolour - entitled verso, ‘Rocky Shore’ on Watercolour Society of Wales label, signed with initials, 29 x 41cms

Provenance: private collection Vale of Glamorgan

£1,000-1,500

‡ JOHN KNAPP FISHER watercolour - entitled verso, ‘Pembrokeshire Harvest from Rhoslanog’ on Albany Gallery label, signed and dated 1999, 27 x 35cms

Provenance: private collection Vale of Glamorgan

£3,000-4,000

WILLIAM GERSHOM COLLINGWOOD watercolourentitled verso, ‘The Mawddach from Arthog’, signed and dated 1923, 25 x 37cms

Provenance: private collection Powys

£200-300

‡ DAVID TRESS mixed media - entitled verso, ‘Coast, Light Briefly’ on Albany Gallery label, signed and dated ‘99, 37 x 51cms

Provenance: private collection Vale of Glamorgan

£1,000-1,500

60 NICK HOLLY mixed mediaschool children playing, signed, 16.5 x 16.5cms

Provenance: private collection Neath, South Wales

£300-400

‡ NICK HOLLY mixed media - entitled verso, ‘Snowflakes & Rooftops’ on Attic Gallery label, signed, 12 x 17cms

Provenance: private collection Neath, South Wales

£300-400

‡ MIKE JONES mixed media - entitled ‘The Holy Six’, signed, 72 x 84cms

Provenance: private collection Carmarthenshire

£400-600

‡ JOSEF HERMAN OBE RA ink wash on paper - entitled verso, ‘Figure in Orchard’, 17 x 22cms

Provenance: private collection Cardiff £400-600

‡ OGWYN DAVIES acrylic and print - entitled verso, ‘Welsh Chapel’, signed and dated 1994, 26 x 39cms

Provenance: private collection Powys

£300-500

‡ JOHN PIPER mixed media on paper - entitled verso ‘Lucy sur Yonne’, signed, 35 x 53cms

Provenance: private collection

Monmouthshire

£7,000-10,000

‡ JOHN PIPER mixed media on paper - entitled verso ‘Noailles’, signed, 37 x 54cms

Provenance: private collection

Monmouthshire

£6,000-9,000

Rogers Jones & Co •

67 ‡ RAY HOWARD-JONES gouache on paperentitled verso ‘Te Deum Meditations’ on Ffin Y Parc Gallery label and Rocket Contemporary Art, Oxfordshire label, signed, 25 x 29cms

Provenance: private collection Conwy

£200-400

PETER PRENDERGAST mixed media on paper - entitled verso ‘Sunset over Rachub’, dated verso 1971, 45 x 69cms

Provenance: private collection Gwynedd £300-500

PETER PRENDERGAST oil on paper - entitled verso ‘Dark Hill, Gerlan’, signed, circa 1987, 28 x 39.5cms

Provenance: private collection Gwynedd £200-300

PETER PRENDERGAST ink and ink wash on paper - entitled verso ‘Study of Corris’, 1991, signed and dated ‘91, 39 x 40cms

Provenance: private collection Gwynedd £300-400

PETER PRENDERGAST pencil on paper - entitled verso, ‘Mist Beyond Gerlan’, signed and dated ‘79, 12 x 21cms

Provenance: no ARR, artist’s family, by descent £200-300

‡ DONALD MCINTYRE pencil and acrylic on paper - entitled verso ‘Beach Study, Sand’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy

£400-600

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Cliff Study’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy

£300-400

‡ GWILYM PRICHARD mixed media - entitled verso, ‘Nant Peris’, signed, 51 x 35cms

Provenance: private collection Vale of Glamorgan

£800-1,200

‡ MAX HAMBLEN watercolour - Nant Ffrancon, signed, 61 x 102cms

Provenance: private collection Denbighshire

£300-500

‡ JOHN MACFARLANE large oil on paper - entitled verso, ‘Fish Waiter with Soup Tureen’ on Martin Tinney Gallery label, signed and dated ‘08, 107 x 77cms

Provenance: private collection Denbighshire, believed to be a design for an operatic performance of ‘Hansel & Gretel’

£2,000-3,000

‡ JOHN ELWYN monochrome watercolour - entitled verso, ‘Enclosed Balcony’, signed, dated verso 1980, 53 x 76cms

Provenance: private collection Ceredigion

£300-500

78 No lot

‡ VIVIENNE WILLIAMS mixed mediaentitled verso, ‘Black Jug, Red Bowl’ on Martin Tinney Gallery label, signed, dated verso 1997, 41 x 51cms

Provenance: private collection

South Yorkshire

£400-600

‡ NEIL CANNING mixed media on paper - entitled verso, ‘Fierce Velocity’ on Martin Tinney Gallery label, signed, dated verso ‘99, 54 x 74cms

Provenance: private collection

£1,000-1,500

‡ RAY HOWARD-JONES gouacheentitled verso, ‘Moon on the Deer Park, Martin’s Haven’ on The Leicester Gallery label, London, signed and dated ‘63, 23 x 32cms

Provenance: private collection Powys

£300-400

‡ JOHN CLEAL mixed media on paper - landscape with winding road and fields, signed, 34 x 54cms

Provenance: private collection Cardiff £300-400

‡ RAY HOWARDJONES gouacheentitled verso, ‘Dock Scene’, signed, circa 1960s, 42 x 53cms

Provenance: private collection Powys £300-400

ERNEST ZOBOLE mixed mediasemi-abstract landscape, 29 x 39cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £400-700

ERNEST ZOBOLE mixed mediaurban landscape with buildings and trees, 31 x 24cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £300-500

ERNEST ZOBOLE mixed medialandscape at night, 12 x 17cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £200-400

GWASG GREGYNOG: ‘CUTTING IMAGES’, a selection of linocuts by Sir Kyffin Williams, copy no. 275, bound by John Sewell, printed on T. H. Saunders Waterford mould-made paper, presented in slip case

Provenance: private collection Ceredigion £200-300

GWASG GREGYNOG: ‘KYFFIN: A CELEBRATION’, edited & with preface by Derec Llwyd Morgan, forward by HRH The Prince of Wales, copy no. 76, bound by John Sewell in quarter leather, in slip case

Provenance: private collection Ceredigion £100-150

GWASG GREGYNOG: ‘TWO OLD MEN & OTHER STORIES’, illustrated by Sir Kyffin Williams, by Kate Roberts, copy no. 23, designed & printed by Eric Gee, assisted by David Vickers, printed on Zerkall mould-made paper

Provenance: private collection Ceredigion £100-150

GWASG GREGYNOG: ‘PRYDERI ’, signed by Sir Kyffin Williams, copy no. 266, designed & illustrated by Sir Kyffin Williams, printed by David Vickers, pure cotton mould paper

Provenance: private collection Ceredigion £100-150

‘PATAGONIA REVISITED’, signed by Bruce Chatwin & Paul Theroux, illustrated by Kyffin Williams, Michael Russell Publishing

Provenance: private collection Cheshire £100-150

COLLECTION OF SIR KYFFIN WILLIAMS PUBLICATIONS to include photograph by Nicholas Sinclair (2/150), initialled K.W & signed by Nicholas Sinclair, portraits by Kyffin Williams signed to inner sleeve, essay by Ian Jeffrey for Lund Humphries with inscription ‘Kyffin, to John and Hannah’ to inner sleeve, ‘Obsessed: The Biography of Kyffin Williams’ by David Meredith & John Smith, ‘The Art of Kyffin Williams’ by Nicholas Sinclair, ‘Boyo Ballads’ by Kyffin Williams, ‘Kyffin Williams: The Land and The Sea’, Kyffin Williams drawing, ‘Kyffin in Venice’, ‘David Meredith talks to Sir Kyffin Williams’, ‘Kyffin Williams: A Wider Sky’, ‘Across The Straits’ an Autobiography by Kyffin Williams, ‘Gwladfa Kyffin: Kyffin in Patagonia’ hardback, ‘Kyffin: A Figure in Welsh Landscape’ by Ian Skidmore, ‘Patagonia Revisited’ by Bruce Chatwin & Paul Theroux, ‘Painting the Mountains: Kyffin Williams’ by Carol Davies and Lynne Bebb, ‘Gwladfa Kyffin: Kyffin in Patagonia’ paperback and various gallery publications

Provenance: private collection Ceredigion £200-300

SIR KYFFIN WILLIAMS RA limited edition (38/275) volume of ‘Cutting Images’designed by Kyffin Williams and David Vickers, signed by Kyffin Williams, published in an edition limited to 295 signed and numbered copies, 20 of which were in a special binding. Typeset in Monotype Baskerville and printed letter press (in two colours) at Gregynog on TH Saunders mould-made paper. There are more than 50 linocuts, and with few exceptions due to technical restrictions all images in the selection are printed from original blocks. These are accompanied by the artist’s personal reflections on each image. The book sold out three weeks after its launch.

Provenance: private collection West Midlands

Comments: condition excellent, possibly unused £300-400

SIR KYFFIN WILLIAMS RA limited edition (18/100) Gwasg Gregynog portfolio of six prints, all numbered (18/100) comprising ‘Venice’, ‘Rhosgadfan’, ‘The Farmer, His Dog, and His Cottage’, ‘Welsh Blacks’, ‘The Villages of Carmel and Cesarea’, and ‘Hunting the Fox’, together with certificate of authenticity, each 52 x 62cms

Provenance: private collection Ynys Môn £1,000-2,000

‡ SHEILA-JEAN NEWTON

bronze bust of Sir Kyffin Williams, raised over square wooden base, signed, 35cms (h)

Provenance: private collection

Denbighshire

£1,500-2,000

‡ SIR KYFFIN WILLIAMS RA print - Ogwen Falls, with personalised message ‘Happy Christmas Love Kyffin’, each section is 20 x 9.5cms

Provenance: private collection Cardiff

£100-150

‡ SIR KYFFIN WILLIAMS RA print - entitled, ‘Tŷ Mawr, Wybrnant’, the birthplace of William Morgan 1545-1604, published by the National Trust with the support of the North Wales Arts Association to commemorate four hundred years of the Bible in Welsh, 1588-1988, printed signature, 38 x 42cms

Auctioneer’s note: William Morgan (c.1545-1604) was a Welsh bishop and scholar who translated the entire Bible into Welsh, a monumental achievement that was published in 1588. His translation was a crucial factor in the preservation and growth of the Welsh language, making the scriptures accessible to Welsh speakers and helping to strengthen the Reformation in Wales.

Provenance: private collection Ynys Môn

£100-200

‡ SIR KYFFIN WILLIAMS RA monochrome printview across farmland with moon and extract from Kate Roberts’ autobiography ‘Y Lon Wen’, fully signed in pencil, 60 x 43cms

Provenance: private collection Cardiff

£200-400

‡ SIR KYFFIN WILLIAMS RA limited edition (53/150) print - farmer walking down a farmstead path led by a sheepdog, fully signed in pencil, 53 x 36cms

Provenance: private collection Vale of Glamorgan

£150-250

100

‡ SIR KYFFIN WILLIAMS RA limited edition (9/50) print - a hilltop farmstead, Hendre Waelod, fully signed in pencil, 37 x 54cms

Provenance: private collection Vale of Glamorgan £150-250

101

Provenance: private collection Bridgend £150-250 101 100

‡ SIR KYFFIN WILLIAMS RA limited edition (artist’s proof) lithograph - Conwy Castle, fully signed in pencil, 40 x 60cms

102

‡ SIR KYFFIN WILLIAMS RA limited edition (134/150) coloured print - entitled verso, ‘Penrhyn Du, Aberffraw, Anglesey’, fully signed in pencil, 38 x 56cms

Provenance: private collection Ceredigion £250-500

103

‡ SIR KYFFIN WILLIAMS RA limited edition (173/750) print - entitled verso, ‘Porth Cwyfan, Ynys Mon’, fully signed in pencil, 29.5 x 37cms

Provenance: private collection Cardiff

Comments: slightly faded £250-350

104

‡ SIR KYFFIN WILLIAMS RA limited edition (187/750) print - entitled verso, ‘Llanddwyn, Ynys Mon’, fully signed in pencil, 23 x 32cms

Provenance: private collection Cardiff

Comments: slightly faded £250-350

105

‡ SIR KYFFIN WILLIAMS RA limited edition (16/150) print - Anglesey Farm, Penrhyn Du, Aberffraw, fully signed in pencil, 55 x 72cms

Provenance: private collection Cardiff £1,000-1,500

106

‡ SIR KYFFIN WILLIAMS RA limited edition (AP) lithograph - Gower Headland at Sunset, signed with initials in pencil, 60 x 60cms

Provenance: private collection Merseyside £500-800

107

‡ SIR KYFFIN WILLIAMS RA ink on cartridge paper - entitled verso ‘Girl’s Face Study’, circa 2000, 17.5 x 13cms

Provenance: gifted Daler Lyndhurst sketchbook containing many preparatory sketches and a Whatman sketchbook by the artist to the late William ‘Bill’ Lloyd Williams, his gardener, and by descent; private collection Powys

£400-600

‡ SIR KYFFIN WILLIAMS RA ink drawing on paper - study of a farmer with sheepdogs, signed with initials, 18 x 27cms

Provenance: private collection Ynys Môn

£800-1,200

109

‡ SIR KYFFIN WILLIAMS RA ink on paper - three Welsh mountain ponies, on The Kyffin Gallery label verso, 32 x 24cms

Provenance: was gifted by the artist to his friend Bill Lloyd Williams and from there to the Kyffin Gallery, private collection Ceredigion

£1,200-1,500

110

‡ SIR KYFFIN WILLIAMS RA pencil on paper - Eryri mountain landscape, Wales, 39 x 49cms

Provenance: private collection Powys

£800-1,200

111

‡ SIR KYFFIN WILLIAMS RA watercolour and pencilfarmstead with dry stone walls, signed with initials, 20 x 29cms

Provenance: private collection Ynys Môn

£1,000-1,500

112

‡ SIR KYFFIN WILLIAMS RA limited edition (14/100) Gwasg Gregynog portfolio of six linocut prints, all numbered (14/100) comprising ‘Venice’, ‘Rhosgadfan’, ‘The Farmer, His Dog, and His Cottage’, ‘Welsh Blacks’, ‘The Villages of Carmel and Cesarea’, and ‘Hunting the Fox’, each 52 x 62cms and 30 x 36cms

Provenance: private collection Denbighshire

Comments: one framed, five unframed but mounted, complete with original portfolio and additional hard case

£1,500-2,000

113

‡ SIR KYFFIN WILLIAMS RA limited edition (artists proof) print - Welsh black bull, fully signed, 40 x 58cms

Provenance: private collection Cardiff

£1,000-1,500

114

‡ SIR KYFFIN WILLIAMS RA pencil and watercolourentitled verso, ‘Above Bethesda’ on Thackeray Gallery label, signed with initials, 40 x 49cms

Provenance: private collection Conwy

£1,000-1,500

115

‡ SIR KYFFIN WILLIAMS RA ink & wash - upland landscape with cottages and meandering dry stone walls, signed with initials, 28 x 40cms

Provenance: private collection Ynys Môn

£1,500-2,500

116

‡ SIR KYFFIN WILLIAMS RA inkwash - Anglesey cottages, signed with initials, fully signed personally to the owner verso, 25 x 34cms

Provenance: private collection Ceredigion

£2,000-3,000

‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - landscape with cottages and mountains beyond, signed with initials, 33 x 50cms

Provenance: private collection Swansea

£2,500-3,500 117

118

‡ SIR KYFFIN WILLIAMS RA ink wash - village scene, possibly Carmel in Gwynedd, signed with initials, 36 x 54cms

Provenance: private collection Vale of Glamorgan

£3,000-4,000

119

‡ SIR KYFFIN WILLIAMS RA watercolour - entitled verso, ‘Towards Lleyn’ on Albany Gallery label, signed with initials, fully signed verso, 20 x 41cms

Provenance: private collection Ceredigion

£3,000-4,000

120

‡ SIR KYFFIN WILLIAMS RA large watercolour and pencil - entitled verso, ‘Farmer on a Hill’ on Albany Gallery label, signed with initials, 41 x 58cms

Provenance: private collection Cheshire

£10,000-15,000

121

‡ SIR KYFFIN WILLIAMS RA watercolour and graphite - landscape with cottages and dry stone walls, signed with initials, 27 x 40cms

Provenance: private collection Gwynedd £3,500-4,500

122

‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - Pen Llyn coastal landscape with farmstead, lane and farmer with stick, signed with initials, 34 x 49cms

Provenance: private collection Ynys Môn

£5,000-7,000

123

‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - Anglesey landscape with Penmon Priory, signed with initials, 36 x 44cms

Provenance: private collection Cardiff £3,500-4,500

124

‡ SIR KYFFIN WILLIAMS RA watercolour & pencil - three ponies on a hillside, signed with initials, larger than usual size of 34 x 47cms

Provenance: private collection Gwynedd

£4,000-6,000

125

‡ SIR KYFFIN WILLIAMS RA watercolour & pencilentitled verso, ‘Coast, Porth Dafarch’, signed with initials, 39 x 58cms

Provenance: private collection Vale of Glamorgan

£4,000-6,000

126

‡ SIR KYFFIN WILLIAMS RA pencil and watercolourmountain landscape with farmer and sheepdog, signed with initials, 28 x 40cms

Provenance: private collection Ynys Môn

£5,000-7,000

127

‡ SIR KYFFIN

WILLIAMS RA ink wash - Eryri landscape, fully signed verso, 36 x 52cms

Provenance: private collection France

£4,000-6,000

128

‡ SIR KYFFIN WILLIAMS RA watercolour and graphite on paper - standing farmer holding a shotgun, signed with initials, 37 x 26cms

Provenance: private collection Monmouthshire

£3,000-5,000

129

‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - bow-legged farmer with walking stick, signed with initials, 43 x 33cms

Provenance: private collection Powys

£4,000-6,000

130

‡ SIR KYFFIN WILLIAMS RA ink washshepherding farmer in overcoat, signed with initials, 30 x 41cms

Provenance: private collection France

£4,000-6,000

131

‡ SIR KYFFIN WILLIAMS RA watercolour and pencil - entitled verso, ‘Farmer with Stick VI’ on Albany Gallery Label, signed with initials, 51 x 38cms

Provenance: private collection Cardiff

£4,000-7,000

132

‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - standing profile of farmer in cap with stick, signed with initials, 41 x 28cms

Provenance: private collection Ynys Môn

£5,000-7,000

133

Provenance: private collection Monmouthshire

£12,000-18,000

‡ SIR KYFFIN WILLIAMS RA oil on canvas - Capel Pensarn, signed with initials, 49 x 66cms

Rogers Jones & Co • The Welsh Sale

‡ SIR KYFFIN WILLIAMS RA large exhibition style oil on canvas - entitled verso ‘Rough Sea and Moonlight’ on The Kyffin Williams Exhibition at Leicester Galleries, London label, signed with initials, 73.5 x 125cms

Provenance: private collection London

£30,000-40,000

134

135

‡ SIR KYFFIN

WILLIAMS RA oil on canvas - entitled verso ‘Castell Dolwyddelan’, signed with initials, 50 x 60cms

Provenance: private collection Cardiff

£14,000-17,000

136

‡ SIR KYFFIN

WILLIAMS RA oil on canvas - entitled verso, ‘Above Ogwen’, signed with initials, 50 x 90cms

Provenance: private collection Vale of Glamorgan

£15,000-20,000

Rogers Jones & Co

SIR

RA oil on canvas - farmer holding bucket with sheepdog beside barn, steps and rocks, signed with initials, 60 x 60cms

Provenance: private collection Vale of Glamorgan

£20,000-25,000

137

‡

KYFFIN WILLIAMS

137

138

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Ponies, Porth Dafarch’ on Martin Tinney Gallery label, signed with initials, dated verso 1989, 49.5 x 75cms

Provenance: private collection Vale of Glamorgan

£30,000-40,000

138

The Welsh Sale • Rogers Jones & Co

139

‡ SIR KYFFIN WILLIAMS RA oil on canvas - head and shoulders portrait of ‘John Williams, Caeau Gwynion’, signed with initials, 63 x 76cms

Provenance: private collection, by descent, illustrated P.105 ‘Portraits’ (Gomer 1996)

Caeau Gwynion is a long low cottage in the parish of Llansadwrn which, with an extension at one end, could also be described as a farmhouse. I visited it often to talk to John Williams who lived there and farmed the land. He was a short and wiry little man with an untidy moustache, an unshaven face and a habit of spitting ferociously when making what he considered to be an important statement. ‘John Williams’, I enquired, ‘why is it that you are eighty-six and you haven’t got a grey hair in your head?’ He looked at me and spat. ‘I’ll tell you why.’ He spat again. ‘I’ll tell you for why, because my father and mother were very young when they got married.’ It was a strange reply but John Williams was a man without doubts on that particular matter. He always wore the same untidy coat and trousers and a stud held together the top of his shirt that was never improved by the addition of a collar and tie. He once described to me in biblical terms the happy marriage of two local people. ‘And the blood was full in the woman and the money was full in the man, so they make champion together.’ I often sat at the table near the fireplace in his dark and untidy living-room while he talked of the day he went to Liverpool and of the brief time he spent in England during the First World War. He always appeared to have lost his false teeth for it was difficult at times to understand what he was saying; but his English was better than my Welsh so I used to resign myself to understanding only part of what he related. When he died he left his farm to the parishes of Llansadwrn, Llandrygarn and Coedana. It was bought eventually by a neighbouring farmer who needed the land but not the house. This was bought by a friend who has retained it as one of the few cottage-farmhouses left on the island. (extract from Kyffin Williams ‘Portraits’ )

£20,000-30,000

140

‡ WILL ROBERTS oil on board - entitled verso ‘Field Worker’ on Martin Tinney Gallery label, signed with initials and dated ‘72, fully signed and dated verso, 59 x 74cms

Provenance: private collection Cardiff

£800-1,400

141

GWILYM PRICHARD oil on card - entitled verso ‘Carcass 8’, signed, 38 x 28cms

Provenance: estate of Claudia Williams and Gwilym Prichard, no ARR applicable

£200-400

142

‡ PETER PRENDERGAST oil on panelentitled verso, ‘Sky Over Deiniolen’, signed and dated verso 1998, 14 x 30cms

Provenance: private collection Gwynedd

£400-700

143

‡ DAVID TINKER acrylic on canvasinscribed verso ‘Bird Coast’ and ‘56 Group’, circa 1996, 100 x 100cms

Provenance: private collection Cardiff £300-400

144

‡ DAVID TINKER oil on board - entitled verso ‘Bexhill Hotel’, signed and dated ‘57, 68 x 48cms

Provenance: private collection Cardiff

148

‡ LEWIS ALLAN acrylic on panel - entitled verso ‘Puffer in the Cabbage Patch’, signed and dated ‘92, 59 x 91cms

Provenance: private collection Cardiff £300-400

145

‡ DAVID TINKER acrylic on canvasentitled ‘ York Visit’, signed with initials verso, circa 1980s, 101 x 127cms

Provenance: private collection Cardiff £300-500

146

‡ ALAN SALISBURY oil on paper - entitled verso ‘Alan Meets Juan Sanchez Cotan’, signed and dated 2006, 59 x 75cms

Provenance: private collection Cardiff £200-300

147

‡ DAN LLYWELYN HALL oil on canvasentitled verso ‘The Rot of Wales, Llanberis Pass’, inscribed and dated verso 2007, 50 x 76cms

Provenance: private collection Cardiff £300-500

149

‡ LAURIE WILLIAMS oil on panelabstract landscape with figures, boats, mermaids, geese, and lighthouse, signed, circa 1995, 76 x 76cms

Provenance: private collection Cardiff; exhibited at the Denbigh Library £200-300

150

‡ ANTHONY GOBLE oil on wood panelentitled verso, ‘Voyage/Encounter’, 30 x 61cms

Provenance: private collection Cardiff £300-400

151

‡ WILLIAM BROWN oil on canvasentitled verso, ‘The Road Up to Muskoka, signed and dated verso ‘03, 82 x 53cms

Provenance: private collection

Cardiff

£400-600

152

‡ LEWIS ALLAN oil on boardentitled verso, ‘Dusk, Barry Docks’, signed and dated verso ‘97, 19.5 x 19.5cms

Provenance: private collection

Cardiff

£200-300

153

‡ MAGGIE JAMES oil on panelentitled verso, ‘The Icelandic Rip’ on Martin Gallery label, dated verso 2003, 22 x 22cms

Provenance: private collection Cardiff

£200-300

‡ LEWIS ALLAN oil and wax on canvas - entitled verso, ‘Tilting Load’, signed and dated ‘87, 60 x 45cms

Provenance: private collection Cardiff £200-400

155

‡ JACK CRABBTREE oil on panel - entitled verso, ‘Bedwas Head Colliery’ on Manor House Fine Arts Gallery label, signed, dated verso 1972, 55 x 60cms

Provenance: private collection Cardiff £300-400

156

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘South Beach, Tenby’ on Martin Tinney Gallery label, signed and then signed and dated verso 2000, 23 x 32cms

Provenance: private collection Cardiff £800-1,400

157

‡ SELWYN JONES oil on panel - entitled verso, ‘Celtic thoughts’, 61 x 92cms

Provenance: private collection Hampshire £200-400

158

‡ DAVID KNIGHT oil on panel - entitled verso, ‘Still’, signed, 45 x 35cms

Provenance: private collection Cardiff £300-400

159

‡ SALLY MOORE oil on panel - entitled verso ‘Portrait’ on Martin Tinney Gallery label, signed and dated verso 1993, 35 x 20cms

Provenance: private collection Cardiff £400-700

160

‡ DONALD MCINTYRE oil on boardentitled verso, ‘Winter, River Ogwen’, signed, 39 x 49cms

Provenance: private collection Gwynedd £700-1,000

161

‡ JACK JONES oil on board - entitled verso, ‘Houses with Gas Works’, signed and dated ‘70, 19.5 x 24.5cms

Provenance: private collection Nottinghamshire

Comments: small amount of paint craquelure

£2,000-4,000

162

‡ ED FORREST oil on board - entitled verso, ‘September Sunshine’ on Wirral Society of Arts Exhibition label, signed, 49 x 59cms

Provenance: private collection Merseyside

£700-900

163

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘The Boathouse’ on Martin Tinney Gallery label, signed, dated verso 2002, 45 x 64cms

Provenance: private collection Vale of Glamorgan

£3,000-4,000

164

‡ THOMAS WATERS oil on canvas - Caerphilly Castle with children in the foreground, signed, 43 x 67cms

Provenance: private collection Vale of Glamorgan

£400-800

165

‡ DONALD MCINTYRE oil on panel - winter landscape, signed with initials, 25 x 30cms

Provenance: private collection

South Yorkshire

£500-800

166

‡ WARREN P. WILLIAMS oil on canvas - entitled verso, ‘14 Across: 2 Things’, on Attic Gallery label, signed and dated verso 2004, 25 x 36cms

Provenance: private collection

South Yorkshire £300-500

167

‡ WILL ROBERTS oil on boardentitled verso, ‘Farmer in the Field, Dyfed’, signed with initial, signed and dated verso ‘87, 19 x 24cms

Provenance: private collection South Yorkshire £500-800

168

‡ WILL ROBERTS oil on boardentitled verso, ‘Worker’, signed with initials, signed and dated verso ‘87, 19 x 24.5cms

Provenance: private collection South Yorkshire £800-1,400

169

‡ IVOR DAVIES MBE oil on canvas - entitled verso, ‘Gwynedd’, view of Bwlch y Gorddinen, signed and dated verso ‘89, 29.5 x 39.5cms

Provenance: private collection

South Yorkshire £300-500

170

‡ IVOR DAVIES MBE oil on canvas - entitled verso, ‘A View of the Skirrid from Berllanderi, Gwent’, signed and dated verso ‘86, 28 x 38cms

Provenance: private collection South Yorkshire £300-500

171

‡ HEINZ KOPPEL oil on canvas - entitled ‘Edith’, village scene with female figure in centre next to chimney with dwelling in the distance, signed, 71 x 91cms

Provenance: private collection Devon, with 1988 Gillian Jason Exhibition Catalogue listing the painting as No. 12 and dated 1954

Comments: good overall, framed, Bourlet & Sons label verso £1,500-2,500

172

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Western Shore, Arran 2’, signed with initials, 31 x 39cms

Provenance: private collection Gwynedd £1,000-2,000

173

‡ IWAN BALA oil on board - entitled verso, ‘Hedfan Dros Yr Eglwys / Flying Over the Church’, signed, dated verso 1986, 61 x 48cms

Provenance: private collection Powys £400-600

Rogers Jones & Co • The Welsh Sale

174

‡ WILLIAM BROWN oil on canvas - entitled verso, ‘En Plein Coeur, Romp! / Right in the heart, Romp!’, signed and dated ‘07 verso, 50 x 60cms

Provenance: private collection Vale of Glamorgan

£500-1,000

175

‡ WILLIAM BROWN oil on canvas - two bears in moonlight, 30 x 100cms

Provenance: private collection Vale of Glamorgan

£500-1,000

176

‡ WILLIAM BROWN oil on canvas - entitled verso, ‘The View from the End of the Pier’, signed and dated verso ‘03, 24 x 60cms

Provenance: private collection Vale of Glamorgan

£300-500

177

‡ WILLIAM BROWN oil on canvas - a single white bear in a winter landscape, 40 x 30cms

Provenance: private collection Vale of Glamorgan

£400-600

178

‡ ROBERT HUNTER oil on board - entitled verso, ‘Abstract Composition’, inscribed and dated verso 1970, 90 x 60cms

Auctioneer’s Note: Robert Hunter (1920-1996) was a prominent Welsh-based artist, a founding member of the 56 Group Wales, and a major influence on the Welsh Art Scene through his decades as Head of Art at Trinity College, Carmarthen. Though born in Liverpool, Hunter moved to Wales in 1952, where he became a central figure in the country’s modern art movement.

Provenance: private collection Powys £500-1,000

179

‡ WILLIAM BROWN oil on canvasentitled verso, ‘Llandarcy’, signed and dated verso ‘90, 39 x 54cms

Provenance: private collection Vale of Glamorgan

£300-500

180

‡ NICHOLAS EVANS large oil on board - group of miners standing around a hoist, signed and dated 1978, 120 x 120cms

Provenance: private collection Vale of Glamorgan £1,500-3,000

181

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Cwellyn’, signed, 23.5 x 54cms

Provenance: private collection Worcestershire

£300-450

182

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Mymbyr’, signed, 37 x 90cms

Provenance: private collection Worcestershire

£300-400

183

‡ CHARLES WYATT WARREN oil on boardentitled verso, ‘Farm Near Cader Idris’, signed, 18 x 34cms

Provenance: private collection Merseyside

£350-450

184

‡ CHARLES WYATT WARREN oil on boardentitled verso, ‘Snowdon from Llyn Mymbyr’, signed, 24 x 55cms

Provenance: private collection Merseyside

£350-450

185

‡ CHARLES WYATT WARREN oil on boardEryri landscape with whitewashed cottage, signed, 24 x 54cms

Provenance: private collection Worcestershire

£400-600

186

‡ CHARLES WYATT WARREN oil on boardentitled verso, ‘Llyn-y-Gadair’, signed, dated verso 1973, 23 x 54cms

Provenance: private collection Worcestershire

£400-600

187

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘The Road to Snowdon’, signed, 23.5 x 54cms

Provenance: private collection Worcestershire

£400-600

189

‡ CHARLES WYATT WARREN oil on boardentitled ‘View of Abersoch, North Wales’, signed, 36 x 90cms

Provenance: private collection Newport

£1,000-1,500

190

‡ CHARLES WYATT WARREN oil on boardLlyn Y Gader and Mynydd Mawr, signed, 36 x 89cms

Provenance: private collection Surrey

£600-1,000

191

‡ CHARLES WYATT WARREN oil on boardEryri landscape with lake and silver birch in the foreground, signed, 18 x 34cms

Provenance: private collection Cardiff

£250-350

192

‡ CHARLES WYATT WARREN oil on boardEryri landscape with a large lake and silver birch, signed, 18 x 34cms

Provenance: private collection Cardiff

£250-350

188

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Mymbyr’, signed, 29 x 75cms

Provenance: private collection North Yorkshire

£350-450

193

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Cottage, Ardtun’ on Thackeray Gallery label, signed with initials, 29 x 39cms

Provenance: private collection Merseyside £1,500-2,500

194

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Rocks and Sea, Iona’ on Thackeray Gallery label, signed with initials, 20 x 27cms

Provenance: private collection Merseyside £1,500-2,500

195

‡ DAVID GRIFFITHS oil on canvas - entitled verso, ‘Dillon’s Book Shop, Malet Street’, signed and dated ‘88, 35 x 45cms

Provenance: private collection Cardiff

£300-500

196

‡ DAVID GRIFFITHS oil on canvas - London scene with Horse Guard’s Parade, signed and dated ‘88, 35 x 45cms

Provenance: private collection Cardiff

£300-500

197

‡ DAVID GRIFFITHS oil on canvas - London with Thames barge and Houses of Parliament, signed and dated ‘88, 35 x 45cms

Provenance: private collection Cardiff

£250-350

198

‡ DAVID GRIFFITHS oil on canvas - London scene with Piccadilly Circus and the Eros Statue, signed and dated ‘88, 34 x 44cms

Provenance: private collection Cardiff

£300-500

199

‡ DAVID GRIFFITHS oil on canvas - park scene with swans on boating lake, and with figures on deck chairs, signed and dated ‘88, 35 x 45cms

Provenance: private collection Cardiff

£300-500

Rogers Jones & Co • The Welsh Sale

202

PETER PRENDERGAST oil on panel - entitled verso ‘Cornfield in Rosslare’, inscribed and dated verso 1984, 23.5 x 60cms

Provenance: private collection Gwynedd

£500-1,000

200

‡ WILL ROBERTS oil on board - figure riding a horse and cart, signed with initials, 29 x 38cms, together with a National Eisteddfod of Wales exhibition poster, ‘Contemporary Work by Will Roberts 1994’, signed in biro, 50 x 40cms (2)

Provenance: private collection Worcestershire

£1,200-1,800

201

‡ HYWEL HARRIES oil on board - Welsh village scene with river and arched stone bridge, signed and dated 1968, 46 x 79cms

Provenance: private collection Powys

£1,000-2,000

203

‡ PETER PRENDERGAST oil on board - entitled verso, ‘Self Portrait’, signed and dated verso 1986, 53 x 31cms

Provenance: private collection Gwynedd

£500-700

204

‡ KEVIN SINNOTT oil on panel - entitled verso, ‘The Artist and His Dog’ on Martin Tinney Gallery label, signed with initials, dated verso 1995, 37 x 34cms

Provenance: private collection Worcestershire

£3,000-4,000

205

‡ KEVIN SINNOTT oil on board - entitled verso, ‘Close Contact’ on Martin Tinney Gallery label, signed with initials, 40 x 30cms

Provenance: private collection Vale of Glamorgan

£2,000-3,000

206

‡ KEVIN SINNOTT oil on canvas - entitled verso, ‘The Outsiders’ on Martin Tinney Gallery label, 110 x 85cms

Provenance: private collection Vale of Glamorgan

£7,000-10,000

‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see our website).

207

‡ KEVIN SINNOTT oil on board - entitled verso, ‘Beach Family’ on Martin Tinney Gallery label, signed with initials, 30 x 40cms

Provenance: private collection Vale of Glamorgan

£3,000-4,000

208

‡ KEVIN SINNOTT large exhibition quality oil on canvas - entitled verso ‘In the Wind’ on Angela Flowers Gallery London label, signed with initials, dated verso 1996, 145 x 110cms

Provenance: private collection Buckinghamshire

£5,000-7,000

207

209

‡ GWYN ROBERTS oil on canvas - entitled verso, ‘Castell Y Geifr / Cwm Idwal’ on Albany Gallery label, signed verso, 61 x 51cms

Provenance: private collection Vale of Glamorgan

£1,000-1,500

210

‡ GWYN ROBERTS oil on canvas - the infamous and dramatic ridge of Crib Goch and Yr Wyddfa (Snowdon), signed with initials, 89 x 89cms

Provenance: private collection Vale of Glamorgan

£1,800-2,500

211

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Tryfan’ on Martin Tinney Gallery label, signed, dated verso 2002, 58 x 71cms

Provenance: private collection Vale of Glamorgan

£2,000-3,000

212

‡

GWILYM PRICHARD oil on canvas - entitled verso, ‘Ynys’ on Martin Tinney Gallery label, signed, dated verso 2000, 37 x 44cms

Provenance: private collection Vale of Glamorgan

£1,000-1,500

213

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Lydstep, Pembs’ on Martin Tinney Gallery label, signed with initials, fully signed and dated verso 2006, 31 x 45cms

Provenance: private collection Ceredigion

£1,700-2,200

214

‡ GWILYM PRICHARD oil on panel - entitled verso, ‘Hillside’ on Heal’s Mansard Gallery London label, signed, 19.5 x 37cms

Provenance: private collection New Mexico, USA

£600-1,200

215

‡ ANTHONY EVANS acrylic on canvas - entitled verso, ‘Ar Lwybr Chwarel’, signed, signed and dated verso 2014, 75 x 75cms

Provenance: private collection Vale of Glamorgan

£400-600

216

‡ ED FORREST oil on panel - entitled verso, ‘The Red Sail’, signed, 23 x 30cms

Provenance: private collection Conwy, purchased by the vendor from The Royal Cambrian Academy of Art, 1991

£600-800

217

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Rocks and Sea, Iona’, signed with initials, 20 x 29cms

Provenance: private collection Conwy, purchased by the vendor from The Royal Cambrian Academy of Art, 1996

£2,000-3,000

218

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Rocky Coast, Iona, No. 1’, fully signed, 53 x 78cms

Provenance: private collection France £5,000-8,000

219

‡ 496 DONALD MCINTYRE acrylicentitled verso, ‘Two Men, Two Boats’, signed with initials, 23 x 39cms

Provenance: private collection Cardiff £1,500-2,500

220

‡ DAVID KNIGHT oil on panel - two intimate figures in half-light, 57 x 48cms

Provenance: private collection Cardiff

£200-300

221

BRITISH SCHOOL pastel on paper - portrait of a gentleman holding a document, believed to be ‘The Great’ Sir Watkin Williams-Wynn, 3rd Baronet (1693-1749), circa 1740, 27 x 22cms

Provenance: private collection Gloucestershire

£200-300

222

HUGH HUGHES oil on board - landscape believed to be Llansantffraid Glyn Ceiriog, Denbighshire, with Chirk Castle beyond, 44 x 55cms

Provenance: private collection

Gloucestershire

£300-500

223

‡ DONALD MCINTYRE

acrylic - entitled verso, ‘Cottages Overlooking the Sea’, fully signed, 52 x 62cms

Provenance: private collection Ynys Môn

£5,000-8,000

224

‡ SION MCINTYRE acrylic on board - entitled verso, ‘The Fish House, Ynys Môn’ on Ffin y Parc Gallery label, signed, 61 x 74cms

Provenance: private collection Ynys Môn

£400-600

225

‡ DONALD MCINTYRE oil on board - entitled verso, ‘The Old Farmhouse’, fully signed, 56 x 80cms

Provenance: private collection Ynys Môn

£4,000-6,000

226

CHRISTOPHER WILLIAMS RBA oil on canvas laid on boardentitled verso, ‘Seaweed and Mussels, Llangrannog’, 20 x 30cms

Provenance: private collection

Ceredigion

£300-400

227

‡ JOHN ELWYN acrylic on paperentitled verso, ‘Collapsed Barn’ with John Elwyn Studio stamp, 33 x 42cms

Provenance: private collection

Ceredigion

£400-600

228

‡ JOHN ELWYN acrylic on paperentitled verso, ‘Welsh Landscape’ on Ash Barn Gallery label, 49 x 70cms

Provenance: private collection

Ceredigion

£1,000-1,500

229

‡ JOHN ELWYN acrylic‘Dyfed Upland Farm II’, late 80s/early 90s, studio stamp, 31.5 x 40cms

Provenance: private collection Ceredigion £300-500

230

‡ JOHN ELWYN acrylic - ‘The Long Road Home’, studio stamp, 1980s, 30.5 x 50.5cms

Provenance: private collection Ceredigion £400-600

231

‡ JOHN ELWYN oil on board - ‘Farm Approaches’, studio stamp verso, circa 1980s, 122 x 122cms

Provenance: private collection Ceredigion £2,000-4,000

232

‡ JOHN ELWYN acrylic - ‘The Artist in his Garden’, 1980s, 56 x 76cms

Provenance: exhibited posthumously at the Mall Galleries, London 1998; sold Bonham’s, 14 March 2012; private collection Ceredigion £400-700

233

‡ JOHN ELWYN oil on linen - Sir Alun Talfan Davies QC dated 1986, studio stamp, 102 x 92cms

Auctioneer’s Note: Alun Talfan Davies (1913-2000), was a Welsh judge, publisher and Liberal politician. Co-published Y Geiriadur Mawr and founded the current-affairs magazine Barn. With a group of friends, he formed Harlech Television (HTV), was its first Vice-Chair, and then its Chair 1967-73. He co-founded the Welsh Portrait Sculpture Trust in 1980, and in 1982 he became a trustee of the Welsh Sculpture Trust. Responding to an HTV commission, John Elwyn painted a few versions. A smaller, head-and-shoulders variation is in the collection of the National Library of Wales, Aberystwyth.

Provenance: private collection Ceredigion £200-400

234

‡ JOHN ELWYN oil on panelfemale reading in bed, 24 x 29cms

Provenance: private collection Ceredigion

£400-700

235

‡ WILL ROBERTS oil on canvas - entitled verso, ‘Red Boat’ on Attic Gallery label, signed, signed and dated verso 1994, 19 x 24cms

Provenance: private collection Somerset

£600-900

236

‡ DAVID HUMPHREYS oil on canvas - entitled verso, ‘On the Way to Rye’, signed, dated verso 1970, 46 x 90cms

Provenance: private collection Neath Port Talbot

£200-400

237

‡ JOHN BOWEN oil on board - entitled verso, ‘Fishsellers at Tossa De Mar’, signed, 53 x 67cms

Provenance: private collection Neath Port Talbot

£300-400

238

‡ ANEURIN JONES

acrylic on panel - entitled verso ‘Codi Maip/Pick up a Turnip’, signed verso, 60 x 60cms

Provenance: private collection Gwynedd

£1,500-2,500

239

‡ RAY HOWARD-JONES oil on board - entitled verso, ‘Ffenestre’, signed and dated ‘67, 75 x 60cms

Provenance: private collection Powys

£400-700

240

‡ RICHARD BARRETT acrylic on canvas - entitled verso, ‘Waves from a Raw Sea’ on Martin Tinney Gallery label, signed and dated verso 2017, 25 x 25cms

Provenance: private collection Powys

£200-300

241

‡ MARK SAMUEL oil on panel, entitled verso, ‘St Mary’s Street’ on Martin Tinney Gallery label, signed and dated verso 1997, 40 x 46cms

Provenance: private collection Cardiff

£300-500

242

‡ DONALD MCINTYRE acrylicentitled verso, ‘Busy Beach’, signed with initials, 16 x 26cms

Provenance: private collection Cardiff, purchased from Albany Gallery

£2,000-2,500

243

‡ IAN HOUSTON oil on boardentitled verso, ‘Sunlit Houses, Tenby’, signed, 12 x 23cms

Provenance: private collection Cardiff

£200-400

241

243 240 239

The Welsh Sale • Rogers Jones

244

‡ DAVID BARNES oil on board - cottage below mountain, signed verso, 23 x 33cms

Provenance: private collection Gwent

£300-400

245

‡ SALLY MOORE oil on canvas - entitled verso, ‘Not Playing Games’, signed and dated verso 1990, 81 x 121cms

Provenance: private collection Cardiff

£900-1,400

246

‡ MURIEL DELAHAYE oil on canvas - entitled verso, ‘Different Strokes’, signed, 41 x 59cms

Provenance: private collection Powys

£2,000-3,000

247

‡ MURIEL DELAHAYE oil on canvas - entitled verso, ‘Family Day Out’, signed, 50 x 75cms

Provenance: private collection Carmarthenshire

£2,400-3,000

248

‡ PAUL ANTHONY BARKER oil on canvasentitled verso ‘Dylan Thomas, The Writing Shed’, signed with initials, fully signed and dated verso 2015, 44.5 x 75cms

Provenance: private collection Ceredigion

£800-1,000

249

‡ GLYN MORGAN oil on panelentitled verso, ‘Teddy Boy’ on Arts Council of Great Britain label, signed and dated ‘56, 90 x 45cms

Provenance: private collection Powys £200-400

250

‡ JOHN ELWYN oil on board - still life, signed and John Elwyn studio stamp verso, 29 x 38cms

Provenance: private collection West Midlands £300-500

251

‡ CHARLES BURTON oil on canvasentitled verso, ‘Table, Fruit and Glass’ on Martin Tinney Gallery label, signed and dated ‘60, 50 x 60cms

Provenance: private collection Powys £300-500

252

‡ GWYN ROBERTS oil on canvasentitled verso ‘Tryfan Hydref’, signed with initials, fully signed verso, 51 x 40cms

Provenance: private collection Bridgend £400-600

253

‡ GARETH PARRY oil on canvasentitled verso, ‘Tryfan Yn Y Gaeaf / Tryfan in Winter’ on Oriel Tegfryn Gallery label, signed, dated verso 2012, 50 x 60cms

Provenance: private collection Cardiff £600-1,000

254

No lot

255

‡ DAVID BARNES oil on board - white washed hillside cottage, signed verso, 29 x 23.5cms

Provenance: private collection Ynys Môn

£200-400

256

‡ DAVID BARNES oil on board - entitled verso, ‘Across Cardigan Bay’, signed verso, 60 x 60cms

Provenance: private collection Conwy £800-1,200

257

‡ DAVID BARNES oil on board - entitled verso, ‘Below Siabod’, signed verso, 49 x 39cms

Provenance: private collection Conwy

£600-900

258

‡ MAURICE COCKRILL oil on canvas - entitled verso ‘Across the Lake’, signed with initials, fully signed and dated 1983 verso, 39 x 49cms

Provenance: private collection Conwy £300-400

259

‡ MAURICE COCKRILL oil on canvas - entitled verso ‘Cwm Pennant’, fully signed and dated 1984 verso, 45 x 60cms

Provenance: private collection Conwy £300-400

260

‡ MAURICE COCKRILL oil on canvas - entitled ‘Untitled’ on Bernard Jacobson Gallery label, signed and dated verso 1988, 125 x 153cms

Provenance: private collection Conwy £300-500

261

‡ ERNEST ZOBOLE oil on canvas - entitled verso ‘House, Exterior and Figure’, signed and dated ‘88 verso, 73 x 97cms

Provenance: private collection Ynys Môn

£1,000-2,000

262

ERNEST ZOBOLE oil on canvas - view from a window with the sun set, 55 x 31cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £400-700

263

ERNEST ZOBOLE oil on card - early self portrait of sitting gentleman, possibly a self portrait, 51 x 29cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £300-500

264

‡ FRED UHLMAN oil on canvas - entitled ‘A Welsh LandscapeCroesor Valley’, 59 x 90cms

Provenance: receipt from Dreweatts Auction House; private collection Ynys Môn

£2,000-3,000

265

‡ OGWYN DAVIES acrylic and oil - semi-abstract in yellow, entitled verso ‘Harvest Bird Machine’, signed and dated 1974/75, 75 x 100cms

Provenance: private collection Ynys Môn £600-800

266

‡ NICK HOLLY oil on card - entitled verso, ‘Gateway to Mumbles Pier’ on Attic Gallery label, signed, 20 x 20cms

Provenance: private collection Neath, South Wales £400-600

267

‡ JACK JONES oil on boardentitled verso, ‘Terrace, Man and Dog’ on Attic Gallery label, signed and dated ‘71, 20 x 39cms

Provenance: private collection Powys £1,500-2,000

268

‡ ALASTAIR ELKES-JONES oil on canvas - entitled verso, ‘Figure with Dog 1’ on Fountain Fine Art Gallery label, 40 x 30cms

Provenance: private collection Rhondda Cynon Taf

£200-400

269

‡ ALASTAIR ELKES-JONES oil on canvas - entitled verso, ‘Two Figures 1’ on Fountain Fine Art Gallery label, 40 x 30cms

Provenance: private collection Rhondda Cynon Taf

£200-400

270

‡ ALASTAIR ELKES-JONES oil on canvas - entitled verso, ‘Figure with Rake’ on Fountain Fine Art Gallery label, 40 x 30cms

Provenance: private collection Rhondda Cynon Taf

£200-400

271

NEALE HOWELLS mixed media on wood - entitled verso, ‘Skyscape, Pink & Blue’, signed and dated verso 2023, 29 x 39cms

Provenance: no ARR, direct from the artist’s studio, South Wales £200-300

272

NEALE HOWELLS mixed media on wood - entitled verso, ‘Skyscape, Blue & Yellow’, signed and dated verso 2000, 29 x 46cms

Provenance: no ARR, direct from the artist’s studio, South Wales £200-300

273

NEALE HOWELLS mixed media on wood panelentitled verso, ‘Black Ship’, inscribed and dated verso 2002, 63 x 48cms

Provenance: no ARR, direct from the artist’s studio, South Wales £300-500

274

NEALE HOWELLS mixed media on wood - entitled verso, ‘Small Work’, signed and dated verso 2023, 17 x 22cms

Provenance: no ARR, direct from the artist’s studio, South Wales £200-300

275

NEALE HOWELLS mixed media on wood panelentitled verso, ‘Red Eye’, signed and dated verso 2020, 25 x 25cms

Provenance:no ARR, direct from the artist’s studio, South Wales £200-300

273

272 271

276

‡ SUE WILLIAMS oil on canvas - entitled verso ‘Mirror Image 2’ on Ffin Y Parc Gallery label, signed and dated verso 2003, 45 x 45cms

Provenance: private collection Conwy

£200-300

277

‡ SUE WILLIAMS oil on canvas - entitled verso ‘Mirror Image 3’ on Ffin Y Parc Gallery label, signed and dated verso 2003, 45 x 45cms

Provenance: private collection Conwy

£200-300

278

‡ CARL MELEGARI oil on canvas - entitled verso, ‘Lapo’ on Kooywood Gallery label, 61 x 45cms

Provenance: private collection Neath Port Talbot

£600-1,000

279

‡ EVELYN WILLIAMS oil on canvas - entitled verso, ‘By a Wood, No.2’, inscribed verso, 20 x 25cms

Provenance: no ARR, sold by order of the Director and Trustees of the Evelyn Williams Trust: Proceeds will go towards funding the Trust’s biennial Evelyn Williams Drawing Award. The 2025 awardee is artist Eric Butcher, announced in the Trinity Buoy Wharf Drawing Prize exhibition in October 2025. The 2023 award holder Isabel Rock is currently showing her exhibition Things Fall Apart The Centre Cannot Hold at Hastings Contemporary 27 September 2025-15 March 2026

£300-400

Rogers Jones & Co • The Welsh Sale

280

EVELYN WILLIAMS oil on canvas - entitled, ‘Sea in Rain’, 152 x 91cms

Provenance: see lot 279

£1,000-2,000

281

EVELYN WILLIAMS oil on canvas - entitled verso, ‘Early One Morning’, signed and dated verso 2009, 120 x 120cms

Provenance: see lot 279

£1,000-2,000

282

‡ DAVID HUMPHREYS oil on canvas - entitled verso, ‘Red Landscape’, signed, 61 x 88cms

Provenance: private collection Cardiff

£300-500

283

‡ KARL DAVIES oil on board - farmer and dogs at night on path leading to cottage, signed and dated 2010 verso, Oriel Tegfryn Gallery label verso, 29.4 x 30.5cms

Provenance: private collection Cardiff

Comments: framed, with printed photocopy of an article, ‘Kyffin, Bryn Terfel a’r cymoedd…’ from Golwg dated 14 Jan 2010, signed by the artist. £250-350

303

SILVER GILT MODEL OF A CORACLE, Garrard & Co, London 1957, with oar, the marks also including crowned M, the monogram of Princess Margaret, 10.1cms w, 3.6ozt, accompanied by Certificate of Provenance, signed by Edward Dolman, Executive Officer, Christie’s International plc and Viscount Linley, in brown leather folder stamped in gilt “Kensington Palace” with crowned M above Provenance: Collection of Her Royal Highness The Princess Margaret Countess of Snowdon, Christies 14th June 2006, ex. lot 656; private collection Bridgend

£600-900

300

‡ JOHN CLEAL cedar, leather and seashell composition - entitled verso, ‘O Frabjous Day’, signed verso, 68 x 39cms

Provenance: private collection Cardiff

£200-300

301

‡ JOHN CLEAL octagonal tilt-top table, tripod oak base with triangular section column, table top with leather covered chip-board, decorated with trees and inscribed with the Bible verse from the book of Kells, ‘Bonus Homo De Bono, Thesauro Profert Bono / A Good Man From a Good Treasure Brings Forth Good Things’, signed verso and numbered 525 on registration card, 62cms (diam.)

Provenance: private collection Cardiff

Comments: some staining to the leather top

£200-300

302

INTERESTING BELIEVED PORTHMADOG SAMPLER 1860s, worked with titled depictions of ‘Bardsey Lighthouse’, ‘Tower of Babylon’, and ‘St James Walk’ named for ‘E. Evans her work’ and dated ‘186’ (last digit missing), age missing after ‘Aged’, also featuring a tall ship which is probably a ‘Porthmadog Ship’ built locally, together with five black birds, the tree of life and surrounding foliate meander, 61 x 85cms

Provenance: private collection Merseyside, Porthmadog family descent

Comments: framed and glazed, glazing cracked top right, some discolouration, see images

£300-600

303

304

EXCEPTIONAL QUALITY ELIZABETH II SILVER GILT REPLICA OF ‘THE DOLGELLAU CHALICE’, Elkington & Co., Sheffield 1969, 25.5ozt, 18.5 (h) x 16cms (diam.) presented in case of issue

Provenance: Deceased estate Cardiff, offered with copy of The Bulletin of the Board of Celtic Studies, vol. XXVII, May 1977, and correspondence

Auctioneer’s Note: the original chalice and paten were found on 13 February 1890, on the mountainside on the west of Cwm Mynach, about 5 miles from Dolgellau, by Griffith Griffiths and Ellis Jones both of Llanfachreth whilst prospecting for manganese. After several owners and a Christie’s auction, they were bequeathed to King George V in 1910 who subsequently donated them to the National Museum of Wales. They date to the late 13th century and the chalice is inscribed ‘Nicol’vs Me Fecit De Herfordie’, thought to be Nicholas of ‘Herford’, now the village of Hartford in Cheshire, where the family of Nicholas was based. This replica is thought to have been made to commemorate the Investiture of Prince Charles.

£2,000-4,000

305

RICHARD BURTON INTEREST, two signed, rare LP records, ‘Camelot’, featuring the original Broadway cast of Burton and Julie Andrews together with ‘Shakespeare’s Hamlet’, an original cast recording, both sleeves signed verso in ink, ‘Best wishes Richard Burton’

Provenance: private collection Cardiff

Comments: both LP’s in clear slip cases, edges slightly toned and creased £150-200

306

RICHARD BURTON’S ASTRAKHAN WOOL COAT FROM M.G.M.’s ‘THE V.I.P.s’, 1963, co-starring Elizabeth Taylor, Orson Welles, Maggie Smith, and Margaret Rutherford who won the Academy Award for Best Supporting Actress as well as a Golden Globe, the Costume Designer was Pierre Cardin. The Aquascutum-labelled black 3-button wool coat with astrakhan wool lapels, burgundy lining, inside pocket, angled pockets with ivory velvet lining, single vent, and button cuffs, size REG 42, no. 17230, featured throughout the film (paired with burgundy scarf), including the iconic scene with Taylor resting her head on Burton’s shoulder in the back of a taxi, as well as on the publicity posters and stills

Provenance: the coat has remained in the family since 1963, passed from Richard Burton to his older sister Hilda Owen (née Jenkins); inherited by her son (and Burton’s nephew), Richard Gerwyn Owen; inherited by his son, the present owner

Comments: thought to have been shortened slightly, length 39in, otherwise in very good lightly used condition, with some lining stitching loose only

£1,000-1,500

307

HANDWRITTEN SONNET BY VERNON WATKINS, signed and dated by Vernon Watkins on the death of Alun Lewis, April 28th 1944, 40 x 36cms, together with a John Petts woodcut and annotations relating to Alun Lewis

Provenance: private collection Carmarthenshire

Comments: some light fading and creasing to sonnet paper

£200-300

308

JOHN SPEED ‘WALES’ John Sudbury & George Humble edition, circa 1627, hand-coloured engraved map, inset views of Bangor, St Asaph, S. Davids and Llandaff, with 12 oval vignettes of principal Welsh cities and towns to the vertical margins, printed in English verso, 38.5 x 50.5cms

Provenance: private collection Monmouthshire

Comments: some vignettes with historic ink annotations/’corrections’, slight creasing, slight toning

£400-600

309

SIGNED WELSH ART BOOKS, comprising (1) Lord (Peter) The Tradition, A New History of Welsh Art 1400-1990, signed by the author, 2017; (2) Mitchell (Bernard) Pieces of a Jigsaw, Portraits of Artists and Writers of Wales, signed by the author, 2017; (3) Maskell (Barrie) & Thomas (Ceri) Twelve/56, 12 artists in 1956 Wales and beyond, 2012; (4) Heuser (Harry) & Meyrick (Robert) Claudia Williams, An Intimate Acquaintance, signed by the artist, 2013; (5) Heuser (Harry) & Meyrick (Robert), Gwilym Prichard, A Lifetime’s Gazing, signed by the artist, 2013

Provenance: private collection Neath Port Talbot

£100-150

310

CERI RICHARDS / ROBERTO SANESI: ‘The Graphic Works of Ceri Richards’, 1973, first edition hardback, Cerastico Editore in Milan, introduction by Roberto Sanesi, translated by Richard Burns, illustrated throughout in colour and black and whitethe catalogue raisonné of all of Ceri Richards prints; and booklet, ‘Journey Towards The North’, Cerastico Editore in Milan, 1973, in English and Italian (2)

Provenance: private collection Neath Port Talbot

Comments: minor marks to cover, otherwise a good clean copy

£200-250

311

GWASG GREGYNOG: BLUNT (ANNE AND WILFRID SCAWEN )

The Celebrated Romance of the Stealing of the Mare. Translated from the Original Arabic by Lady Anny Blunt and Done into English Verse by Wilfrid Scawen Blunt, hand-coloured and gold-illuminated illustrations and initials by R.A. Maynard, publisher’s calf-backed repeat printed boards, limited edition no. 74 of 275 copies, signed by Herbert John Hodgson, 4to

Provenance: son of Herbert Hodgson, pressman at Gregynog Press (1927-1936); private collection Cardiff

Comments: calf with minor spotting, edges rubbed, and corners showing £200-300

312

GWASG GREGYNOG: HERMES (GERTRUDE ) Wood

Engravings…being Illustrations to Selborne, with extracts from Gilbert White. introduced by William Condry, with postscript by James Hamilton, 1988, limited edition no 35 of 200 copies, printed on Zerkall mould made paper, 6 full-page wood-engravings originally intended for the cancelled Gregynog Press edition of ‘Natural History of Selborne’, text in black and brown, original quarter fawn cloth backed brown printed boards after a design by Gertrude Hermes, untrimmed, folio

Provenance: private collection Cardiff

Comments: includes compliment slip, and three leaflets for other Gregynog press publications, two with printed illustrations

£300-400

313

GREGYNOG PRESS: ‘Pennant and his Welsh LandscapesSelected Readings from A Tour in Wales (1778-1784)’, edited by Gwyn Walters, with woodcuts by Rigby Graham, 2006, quarter yellow leather backed orange cloth boards pictorial gilt, deckle edge, limited edition no. 67 of 170 copies, purple slipcase

Provenance: private collection Cheshire

Comments: excellent

£300-400

314

SWANSEA PORCELAIN ALE TANKARD circa 1814-1826, ribbed, gilded detail, gilded initials ‘FP’, elaborate scrolled handle, unmarked, 13cms (h)

Provenance: deceased estate Hampshire

Comments: decoration ware only #

£150-250

315

SWANSEA PORCELAIN VASE circa 1814-1826, twin ram head handles, duck-egg porcelain, flower spray to both sides, gilded, 15cms (h)

Provenance: deceased estate Hampshire

Comments: professionally restored with regilding #

£150-250

316

SWANSEA PORCELAIN TWIG-HANDLED DISH circa 1814-1826, solid gilt rim, solid gilt to handles, large spray and surrounding sprigs of enamelled flowers, iron-red stencil SWANSEA to base, 29cms (diam.) (handle to handle)

Provenance: deceased estate Hampshire

Comments: structurally sound, undamaged, slight wear to gilding, surface marks to body only, hairline from handle #

£150-250

317

SWANSEA PORCELAIN FAN-HANDLED DISH circa 1814-1826, David Evans decorated, solid gilt rim, fan moulding with gilding, centred spray of flowers and surrounding smaller sprays, unmarked, 21.5cms (diam.) (handle to edge)

Provenance: deceased estate Hampshire

Comments: structurally sound, slight wear to gilding, gilding to fan moulding retained well #

£150-250

318

SWANSEA PORCELAIN TWIG-HANDLED DISH circa 1814-1826, solid gilt rim, twig moulding and terminals picked out in gold, enamelled flowers with centre spray to interior, iron-red Swansea script mark to base, label for FE Cashmore, 28.5cms (diam.) (handle to handle)

Provenance: deceased estate Hampshire

Comments: structurally good, wear to gilding only #

£150-250

319

SWANSEA PORCELAIN TWIG-HANDLED DISH circa 1814-1826, solid gilt rim, twig moulding and twig terminals picked out in gold, centred spray of flowers surrounded by further smaller sprays, iron-red Swansea script mark, label to underside for EE Cashmore collection, 32cms (diam.) (handle to handle)

Provenance: deceased estate Hampshire

Comments: good condition, wear to gilding only #

£150-250

320

SWANSEA PORCELAIN CHOCOLATE CABARET

SUCRIER & COVER circa 1814-1826, elaborate twin handles with shell terminals and disc finials, body bell shaped with spreading and ribbed foot, cover with entwined sea serpents, non-decorated example in white glaze only, labels for Roland Hembrow collection, 9.5cms (h)

Provenance: deceased estate Hampshire

Comments: base with firing crack to rim only, v. slight discolouration to knop and handles #

£150-250

321

SWANSEA PORCELAIN CHAMBER STICK circa 1814-1826, decorated by William Pollard, nozzle with gilt decoration including circling vine, serpent loop handle in gold and with gold rim, body decorated with wildflowers and wild strawberries, unmarked, 13cms (diam.)

Provenance: deceased estate Hampshire

Comments: crack to base and restuck section of saucer, minor gilt wear #

£150-250

322

NANTGARW PORCELAIN DESSERT PLATE circa 1818-20, locally painted by Thomas Pardoe with central spray of summer flowers including daffodil, bluebell, and rose, within moulded c-scroll border incorporating scattered sprigs, wildflowers, and chocolate line rim, impressed mark, 22cms (diam.)

Provenance: private collection Carmarthenshire

Comments: four small scratches to glaze in moulded border, small firing fault in red flower vignette, kiln dust accretion beside rose leaf, inspection advised #

£150-250

323

SWANSEA PORCELAIN POTPOURRI circa 1814-1820, twin handles, iron-red Swansea script mark, 13cms (h)

Provenance: deceased estate Hampshire

Comments: cover extensively repaired, knop restuck, body of potpourri with staining, handles appear to be regilded / restored #

£200-400

324

SWANSEA PORCELAIN PEDESTAL STANDING TABLE CENTREPIECE circa 1814-1820, twin twig-handles, interior colourful enamelled flower sprays with large centre spray, gilt rim, circling gilt vine to foot, iron-red Swansea script mark to base, 32cms (w) (handle to handle)

Provenance: deceased estate Hampshire

Comments: faint hairline to handle terminal, wear to gilding #

£200-300

325

SWANSEA PORCELAIN TEAPOT, COVER & STAND circa 1814-1820, both elements with pattern no. 436, teapot of curved rectangular form with bellied fluted spout, upturned loop handle, pyramidal knop, iron-red Swansea stencilled to teapot base, 31cms (w) (spout to handle)

Provenance: deceased estate Hampshire

Comments: scrape from corner of knop to cover, otherwise structurally excellent, slight wear to gilding, tiny crack to handle #

£200-300

326

RARE SWANSEA PORCELAIN CABINET CUP circa 1814-1820, painted by Henry Morris in the duck-egg paste, the cylindrical body on three paw feet, scrolling handle having a mask terminal, feet and handle picked out in gold and with solid gilt rims to foot and mouth, exterior decorated with a basket of overflowing wildflowers and strawberries seated on a plinth, reverse with further flowers and strawberries, iron-red stencilled Swansea mark to base, 12cms (h)

Provenance: deceased estate Hampshire

Auctioneer’s Notes: cf. Bonhams lot 277, 18 Apr 2012 sale for similarly decorated cup and saucer. The same design of a basket of flowers is also found on the Lysaght service, mostly painted by Henry Morris and probably made during the Bevington period.

Comments: cracked body, glaze with extensive minute bubble imperfections #

£200-300

327

SWANSEA PORCELAIN MANDARIN DECORATED SPILL VASE circa 1814-1820, printed in outline and hand-coloured, with everted rim, circular spreading foot, unmarked, 9.5cms (h)

Provenance: deceased estate Hampshire

Comments: good structural condition #

£200-300

328

FINE NANTGARW PORCELAIN TEACUP & SAUCER circa 1818-20, with beaded border between pale blue ground and floral decorated sprays, the gilding tooled, centres painted with sprays of summer flowers, unglazed base to saucer, teacup 10cms (h), saucer 13.5cms (diam.) (2)

Provenance: private collection Carmarthenshire

Comments: raised gilding rubbed in some places, handle gilding slightly worn, otherwise good #

£200-300

329

SWANSEA PORCELAIN CABINET CUP circa 1814-1820, of bell shaped form, with circular spreading foot, everted rim and scroll loop handle with acanthus terminal, upper rim moulded with fleur-de-lis all around, handle rim in solid gilt work, gilt trailing vine to interior and foot, body decorated by William Pollard with wildflowers and strawberries, unmarked, 11cms (h)

Provenance: deceased estate Hampshire

Comments: interior gilt vine slightly rubbed, hairline crack to rim at base of scroll handle #

£250-350

330

FINE NANTGARW PORCELAIN TRIO

circa 1818-20, painted with bright blue border, raised gilt and summer flower sprays, centres painted with sprays of summer flowers, interior cup gilding, dotted tracework border (3)

Provenance: private collection Carmarthenshire

Comments: generally excellent all around, a rare opportunity to acquire a trio # £250-350

331

FINE NANTGARW PORCELAIN COFFEE

CUP & SAUCER circa 1818-1820, painted by Thomas Pardoe with a border of summer flowers, saucer centred with gilt sprig, cup with high kidney shaped handle, saucer with unglazed base (2)

Provenance: private collection Carmarthenshire

Comments: gilding to saucer slightly rubbed, otherwise good #

£250-350

332

NANTGARW PORCELAIN SOUP PLATE

circa 1818-20, from the Althorp Service, lobed form with moulded border, painted with scattered sprigs of summer flowers within a blue rocaille border, gilt rim, impressed marks, 21.2cms (diam.)

Provenance: private collection Carmarthenshire

Comments: gilt rim and blue border rubbed, otherwise good #

£250-350

333

SWANSEA PORCELAIN INKWELL circa 1814-1820, shell form, open pink roses sequence, stencilled iron-red Swansea mark, complete with lining, Harry Sherman label, 10cms (diam.)

Provenance: deceased estate Hampshire # £300-500

334

SWANSEA PORCELAIN SAUCE

TUREEN & STAND circa 1814-1820, upturned gilded handles, crest for Bruce-Pryce, inscribed ‘Duw ar fy Rhan’, moulded, acorn knop, 21cms (w) (handle to handle); together with matching plate, 20cms (diam.)

Provenance: deceased estate Hampshire # £300-500

335

RARE SWANSEA PORCELAIN DISH

circa 1814-1820, centre painted with an exotic bird in the London workshop of John Bradley, moulded border, inscribed in distinctive iron-red script to the base ‘rose or carnation-colour’d Ouzel of Aldrov’, 21.5cms (diam.)

Provenance: deceased estate Hampshire Auctioneer’s Note: the source of the bird studies was George Edward’s Natural History of Uncommon Birds , published 1843-1851. Comments: minor loss to decoration, structurally sound # £300-500

336

LARGE SWANSEA PORCELAIN OVAL CENTRE DISH circa 1814-1820, interior decoration trail of wildflowers and wild strawberries, centred posy, spreading oval foot with similar trail, fluted form, unmarked, 41cms (w) (handle to handle)

Provenance: deceased estate Hampshire

Comments: hairline crack to body of approx. 18cms #

£300-500

337

SWANSEA PORCELAIN TUREEN & STAND circa 1814-1820, tureen with upturned spindle handles, cover with pineapple knop within bead circle, handle moulding and knop moulding picked out in gold, solid gilt rims, decorated with sprays of enamelled flowers to body and shoulder, conforming with stand and cover, impressed SWANSEA mark to stand, tureen 19cms (diam.) (handle to handle)

Provenance: deceased estate Hampshire

Comments: cover in good condition, body with hairline to shoulder, stand in good structural condition #

£300-500

338

SWANSEA PORCELAIN CABINET CUP & ASSOCIATED STAND circa 1814-1820, topographical scenes to both, with titles to base, cup being ‘Hurstbourne Park’, stand with ‘Basingwerk Abbey, Flintshire’, cup with three gilded paw feet, elaborate gilded scroll handle with centre spindle and mask terminal to base, gilding lattice and stipple work, iron-red Swansea script marks to both, stand 16.5cms (diam.), cup 11cms (h)

Provenance: deceased estate Hampshire

Comments: stand is structurally fine, surface marks, slight losses to decoration and gilding, cup with small hairline in the interior from the handle (possibly from firing), small nick to paw feet #

£300-400

339

SWANSEA PORCELAIN CUP & SAUCER circa 1814-1820, topographical saucer titled to base ‘Island House on Derwent Water, Cumberland’, both scenes surrounded by elegant floral and scrolling gilt work, saucer unmarked, 14cms (diam.); together with a bellied and ribbed milk jug, similarly decorated and with two topographical scenes, one being of a lake/loch, the other of an abbey

Provenance: deceased estate Hampshire

Comments: structurally sound, exterior decoration good, slight wear to gilding, interior of cup with extensive wear to gilding; milk jug structurally sound, wear to gilding #

£300-500

340

SWANSEA PORCELAIN SAUCE TUREEN & STAND circa 1814-1820, moulded body, upturned twin handles, handles gilded together with solid gilt rims, associated cover with pineapple finial picket out in gold, decorated all around with sprays and sprigs of flowers, iron-red stencilled Swansea mark, 21cms (diam.) (handle to handle)

Provenance: deceased estate Hampshire

Comments: cover associated (awkward fit) good condition, tureen in good condition, stand also, very slight rubbing to gilding, overall excellent #

£300-500

341

NANTGARW PORCELAIN PLATE circa 1818-20, decorated in London with tumbling baskets in the border, with scattered sprigs of summer flowers within elaborate gilt scrolled border, centre spray of summer flowers, back with four scattered insects in flight, gilt rim, impressed marks, 23.7cms (diam.)

Provenance: private collection Carmarthenshire

Comments: foot rim with some staining, gilding partially rubbed in the cavetto, gilt rim slightly rubbed, inspection advised #

£300-500

342

SWANSEA PORCELAIN PART SET circa 1814-1820, set no. 194, in the Imari style of decoration, comprising sauce tureen and stand, cup and saucer, teapot stand, sucrier and cover, and two dessert plates, set numbers to some bases, iron-red Swansea script mark to some elements

Provenance: deceased estate Hampshire

Comments: tureen, cover, stand in good condition, teapot stand in good structural condition, teacup and saucer in good condition, one dessert plate with stacking wear but both plates structurally sound, sucrier cover and base in good condition #

£400-600

343

RARE SWANSEA PORCELAIN SMALL TWIN-HANDLED POTPOURRI circa 1814-1820, elevated swan handles and with pair of masks to the body, on an unusual three-claw stem over a circular dimpled foot, body decorated with opposing panels of flowers on a plinth, elaborate gilding of vines and scrolls elsewhere, and with moulding picked out in gold, iron-red Swansea script mark to base, 10cms (h), lacking cover

Provenance: deceased estate Hampshire

Comments: structurally sound, decoration fresh, no cover/lid #

£400-600

344

NANTGARW OVAL DESSERT DISH circa 1818-20, painted with green border with tooled gilt floral frames to the flower vignettes, centre painted with central spray of summer flowers, gilt rim, impressed mark, 29.4cms (diam.)

Provenance: private collection Carmarthenshire

Comments: some discolouration to foot ring, minor rubbed gilt rim #

£400-700

345

NANTGARW PORCELAIN INK WELL circa 1818-20, of reel shape, decorated in London with sprays of summer flowers, gilt dentil rim, 7.5cms (diam.)

Provenance: see f. similar ink well in Rowland Williams, Nantgarw Porcelain, p. 32, fig. 83, private collection Carmarthenshire

Comments: dentil rim possibly regilded #

£500-700

345

344

343

342 341

346

FINE NANTGARW PORCELAIN SQUARE

DESSERT DISH circa 1818-20, painted in London, probably at the Bradley workshop, large central floral spray surmounted with chrysanthemum, flanked by insects in flight, bright blue enamel line around the cavetto, c-scroll border moulded with roses, other wildflowers, fruit, and birds, moulding picked out in gilt, gilt dentil rim, impressed marks, 24.2cms (diam.)

Provenance: Harry Sherman collection label; private collection Carmarthenshire

Comments: very good overall # £500-700

347

NANTGARW PORCELAIN OVAL DESSERT

DISH circa 1814-1820, of Brace Service type, painted with central floral spray summer flowers, moulded border with fruit, flower, and bird painted vignettes, gilt dentil rim, impressed mark, 30cms (w)

Provenance: Harry Sherman collection no. 53/5; private collection Carmarthenshire

Comments: enamels good and bright, some very minor rubbing to gilt rim # £600-800

348

NANTGARW PORCELAIN SOUP PLATE

circa 1818-20, later painted to the centre with fruit (damsons, pears, apples, strawberries, and gooseberries) within moulded border incorporating fruit and wild strawberries, moulded decoration later picked out in gilt, impressed mark, 23.8cms (diam.)

Provenance: private collection Carmarthenshire

Comments: excellent all round, N.B. later decorated # £100-200

349

FINE NANTGARW

PORCELAIN PLATE

circa 1818-20, from the Mackintosh Service, painted with an exotic bird perched on a tree beside shrubs, within elaborate gilt scrolling and shell border, incorporating four sprays of summer flowers, gilt dentil rim, impressed marks, 23.4cms (diam.)

Provenance: private collection Carmarthenshire # £700-1,000

350 FINE & RARE

NANTGARW

PORCELAIN COMPORT

CENTREPIECE circa 1818-20, from the Althorp Service, painted with scattered sprigs of summer flowers within a blue rocaille border, gilt rim, impressed marks, 15.8 (h) x 28cms (diam.)

Provenance: private collection Carmarthenshire

Comments: very good overall, minor firing issues only # £800-1,400

351

ASSORTED WELSH PORCELAIN

CUPS & SAUCERS circa 1815-20, all Nantgarw or Swansea including set pattern 194 London shape coffee cup and saucer; Kingfisher pattern London shape teacup and saucer; wild rose sprig and floret border kidney-handled teacup and saucer; exotic bird Japan pattern kidney handled teacup and saucer; Derby pattern Bute shaped teacup and saucer; chocolate rim kidney handled coffee cup and saucer; chained parakeets saucer; and wildflower painted coffee can

Provenance: private collection Carmarthenshire # £300-500

352

NANTGARW PORCELAIN FAN-HANDLED

DISH circa 1813-1820, gilt dentil border, moulding to handle picked out in gold, interior with multiple posies, sprigs of flowers, and insects, impressed Nantgarw CW, old label stating ‘Painted by De Junic’, 21cms (diam.) from handle

Provenance: deceased estate Hampshire

Comments: fine structural condition, wear to gilding #

£150-250

353

NANTGARW PORCELAIN DESSERT DISH circa 1813-1820, moulded Brace type, gilt dentil border, decorated with cartouches of flowers, arrangement of fruit, and exotic bird, centre with large spray of flowers, impressed Nantgarw CW, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: excellent structural order, decoration fresh #

£150-250

354

NANTGARW PORCELAIN FAN-HANDLED

DISH circa 1813-1820, moulded gilt dentil rim, handle picked out in gold, decorated to the border with five open roses, interior with a posy of roses with leaves, two hovering insects, impressed Nantgarw CW, 23cms (diam.) from handle

Provenance: deceased estate Hampshire

Comments: excellent structural order, wear to gilding, especially at handle #

£150-250

355

NANTGARW PORCELAIN PLATE circa 1813-1820, moulded border picked out in gold, large centre spray of enamelled flowers, further six sprigs to the border, impressed Nantgarw CW, labels for Ann and June Kieft collection 1960, label for Sotheby’s 1999, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally fine, very slight wear only #

£150-250

356

NANTGARW PORCELAIN MOULDED

DESSERT PLATE circa 1818-1820, sprays of colourful summer flowers, central blue morning glory, and three insects, gilt dentil rim, impressed mark

Provenance: deceased estate Hampshire

Comments: wear to enamel at cavetto # £200-300

357

NANTGARW PORCELAIN SQUARE DISH circa 1813-1820, two butterflies, flowers, and berries, gilt stencil rim, impressed Nantgarw CW, 24.5cms²

Provenance: deceased estate Hampshire # £200-300

358

NANTGARW PORCELAIN SQUARE DISH

circa 1813-1820, lobed form, border with trail of open pink roses amongst leaves, centred posy of roses, gilt rim, impressed Nantgarw CW, 24cms²

Provenance: deceased estate Hampshire

Comments: fine condition, wear to gilding only #

£200-300

359

NANTGARW PORCELAIN CIRCULAR

FLUTED CRUCIFORM DISH circa 1813-1820, gilt dentil rim, interior border with a series of colourful enamelled sprigs of flowers separated by gilded vine leaves, centred posy of flowers, impressed Nantgarw CW, 23cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally excellent, slight wear to gilding only #

£200-300

360

RARE NANTGARW PORCELAIN PLATE

circa 1813-1820, moulded gilt dentil rim, centre decoration of two magnificent hummingbird species perched amongst honeysuckle, border with six further hummingbirds, interior decorated with a pinkish sky, impressed Nantgarw CW, possibly later decorated, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally sound, extensive wear to gilding #

£200-300

361

NANTGARW PORCELAIN PLATE circa 1813-1820, moulded border picked out in gold, large centre spray of enamelled flowers, further six sprigs to the border, impressed Nantgarw CW, labels to underside for Geoffrey Godden and Billie Pain, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally fine, decoration good, very slight wear to gilding only #

£200-300

362

NANTGARW PORCELAIN PLATE

circa 1813-1820, border with high relief moulding, Duke of Newcastle service, solid gilt rim, scattered flowers and posy to centre and off centre, border with single sprigs, impressed Nantgarw CW, label to underside for Sotheby’s 1964, possibly WD John collection, 25cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally sound, slight wear to enamel, excellent overall #

£200-300

363

NANTGARW PORCELAIN PLATE circa 1813-1820, moulded border picked out in gold, large centre spray of enamelled flowers, further six sprigs to the border, impressed Nantgarw CW, label to underside Ann and June Kieft collection 1960, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally sound, slight wear to gilding only #

£200-300

366

RARE NANTGARW PORCELAIN PEN TRAY circa 1813-1820, locally decorated in the style of William Billingsley, with separate sprigs of summer flowers, unusual gilt dentil rim, unglazed base, impressed marks, 24cms (diam.)

Provenance: private collection Carmarthenshire

Comments: base smoke damaged, gilding rubbed, inspection advised # £200-300

367

NANTGARW PORCELAIN BRACE SERVICE PLATE circa 1813-1820, having a typically moulded border with panels of fruit, birds and flowers, the centre with large spray of colourful flowers, 21.5cms (diam.)

Provenance: deceased estate Hampshire # £250-350

364

NANTGARW PORCELAIN PLATE circa 1813-1820, moulded border picked out in gold, large centre spray of enamelled flowers, further six sprigs to the border, impressed Nantgarw CW, label to underside Ann and June Kieft collection 1960, 22cms (diam.)

Provenance: deceased estate Hampshire

Comments: structurally sound, blemishes, slight discolouration, very good overall # £200-500

365

NANTGARW PORCELAIN MINIATURE TAZZA circa 1813-1820, shallow form with spreading circular base, exterior decorated with drapery and gilt vines, interior with flowers and insects within stippled and scroll work gilding, unmarked, 11cms (diam.)

Provenance: deceased estate Hampshire

Comments: restored # £200-300

368

NANTGARW PORCELAIN SQUARE DISH circa 1813-1820, elaborate gilding, cartouches of centred open pink roses and inset to centre, impressed Nantgarw CW, 24cms²

Provenance: deceased estate Hampshire # £250-350

369

NANTGARW PORCELAIN SQUARE DISH circa 1813-1820, moulded gilded border, four small posies to border, large centre spray, impressed Nantgarw CW, 24cms²

Provenance: deceased estate Hampshire # £250-350

370

NANTGARW PORCELAIN CIRCULAR LOBED PLATE circa 1813-1820, turquoise enamelled border, gilt dentil rim, gilt trailing vine terminating with springs of enamelled flowers, centred flower posy, impressed Nantgarw CW, 23.5cms (diam.)

Provenance: deceased estate Hampshire #

£300-400

371

Provenance: deceased estate Hampshire

Comments: structurally excellent, slight discolouration / blemishes only #

£300-400

372

NANTGARW PORCELAIN PLATE circa 1813-1820, gilt dentil rim, centred with large spray of flowers and two hovering insects within a segmented blue line border, outer border with five sprays of smaller flowers and further insects, impressed Nantgarw CW, 23cms (diam.)

Provenance: deceased estate Hampshire

Comments: good structural condition, very slight wear to enamelling, overall excellent #

£300-400

373

PAIR OF NANTGARW CRUCIFORM DESSERT DISHES circa 1818-20, painted with central spray of summer flowers, within elaborately gilded border incorporating small flower sprays, bold dentil border, impressed marks, 23.3cms (diam.) (2)

Provenance: other dishes from this service in the Worcester Art Gallery collection, Massachusetts USA, part of the Mary Ellis collection; private collection Carmarthenshire

Comments: stacking wear to gilding, enamels good and bright #

£300-400

374

NANTGARW PORCELAIN OVAL PEN TRAY circa 1813-1820, interior with flower posies and multiple insects, gilt rim, circling gilt vine to exterior, impressed Nantgarw CW, 24.25cms (l)

Provenance: deceased estate Hampshire

Comments: original condition sl. crazing issues due to original firing; excellent overall, wear to gilding #

£400-600

375

RARE NANTGARW PORCELAIN PLATE circa 1813-1820, gilt dentil rim, border with elaborate gilding of cornucopia, floral scrolls, and trailing vines, interior with five open variegated carnations and two buds, impressed Nantgarw CW, 24cms (diam.)

Provenance: deceased estate Hampshire

Comments: good structural order, wear to gilding only, overall excellent for an exceptionally rare Nantgarw plate #

£500-1,000

376

NANTGARW PORCELAIN TUREEN, COVER & STAND circa 1813-1820, from the Marquis of Anglesey service, painted in London in bright enamels with a broad border of colourful flowers including morning glory, wild rose, chrysanthemum, and tulip, reserved on a solid gold ground, the stand centre with purple flower sprig within leaf moulded cavetto, chain link borders and spindle handles, cover with bud knop tureen 15cms (h) including cover, stand 19cms (diam.)

Provenance: stand ex-Ann & June Kieft collection; private collection Carmarthenshire

Comments: handles of tureen restored, stand crazed and with minor staining, cover knop with two tiny chips, gilding fairly good overall #

£500-1,000

376

377

LLANELLY POTTERY COCKEREL PLATE circa 1900, naively painted with a standing cockerel and plants, within blue sponged floral border between maroon lines, wavy rim, 25cms (diam.)

Provenance: private collection London

Auctioneer’s Note: These primitive and vibrantly decorated plates are icons of Welsh design, the work of Sara Jane Roberts, who is now appreciated as a folk artist with a uniquely distinctive style. It is thought that Sarah, also known as Aunt Sal, was left-handed and produced all the cockerel plates from the pottery. #

£250-350

378

LLANELLY POTTERY GROUP OF EIGHT PIECES, decorated in roses and cherries, circa 1914

Provenance: private collection Cheshire # £300-400

379

LLANELLY POTTERY

BREAD PLATE inscription in Shufflebotham’s hand, ‘Presented to E. G. Davies on her 25th Birthday, Feb 7th, 1914’, oval, 33cms at its widest

Provenance: private collection Cheshire # £350-450

380

LLANELLY POTTERY SHUFFLEBOTHAM PLATE

black cock and hen, circa 1914, 24cms (diam.)

Provenance: private collection Cheshire # £400-500

381

PAIR OF LLANELLY POTTERY VASES decorated with branches of fruit by Shufflebotham circa 1914, 21cms (h)

Provenance: private collection Cheshire #

£450-550

382

LLANELLY POTTERY WATER

JUG decorated with flowers by Walter Shufflebotham circa 1914, 20cms (h)

Provenance: private collection Cheshire

Comments: pot is far lighter than the usual Llanelly pottery, the decoration is particularly fine #

£500-600

383

EWENNY SLIPWARE POTTERY JUG with single handle, orange glaze over red earthenware body, inscribed with the line ‘Dwfr Pur, Rhodd Rhad Duw / Pure Water, God’s Free Gift’, 17cms (h)

Provenance: private collection Ceredigion

Comments: rim chips # £80-120

384

EWENNY SLIPWARE POTTERY ZOOMORPHIC JUG, yellow and brown glaze, inscribed ‘Y Mochyn Gwyllt / The Wild Boar’, inscription on base reads, ‘Made in Wales, Ewenny, For H Parsons, Boston 1900’, 21cms (h)

Provenance: private collection Ceredigion

Comments: small chips around spout # £500-800

385

EWENNY CLAYPITS SLIPWARE POTTERY JARDINIÈRE modelled by Evans Jones circa 1900, inscribed in Welsh ‘Gobeithia yn yr Arglwydd, A’th holl galon’ (hope in the Lord with all your heart), 23 (h) x 22cms (diam.)

Provenance: private collection Cheshire # £300-400

386

EWENNY CLAYPITS SLIPWARE POTTERY CAT circa 1900, in green glaze, 21cms (h)

Provenance: private collection Cheshire # £350-450

Tuesday / Dydd Mawrth 02.12.25

Heb Brisiau Cadw

387

‡ PAUL PETER PIECH limited edition (2/25) woodcut print - quote from Japanese Poet Kobayashi Issa, ‘Through This World of Ours the Butterfly’s Existence Such a Hastening!’, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk £150-200

388

‡ PAUL PETER PIECH limited edition (19/25) woodcut print - quote from the Japanese Poem ‘A Crow on a Bare Branch’ by Matsuo Bash, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk £150-200

389

‡ PAUL PETER PIECH limited edition (2/25) woodcut print - quote from the Japanese Poem Flowery Dale, ‘Narrowly a Trail Fades Away into the Flowers Blooming in the Dale’, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk £150-200

390

‡ PAUL PETER PIECH limited edition (21/25) woodcut print - quote from Japanese Poet Bonch, ‘See the River Flow in a Long Unbroken Line on the Field of Snow’, signed and dated 1991, 45 x 64cms

Provenance: private collection Suffolk £150-200

391

‡ PAUL PETER PIECH limited edition (6/25) woodcut print - quote from Japanese Poet Kobayashi Issa, ‘A Long, Long Wait I’ve Had for You Here - O Cuckoo, Bird of Time!’, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk £150-200

392

‡ COLIN SEE-PAYNTON limited edition (35/50) wood engraving - entitled verso, ‘The Approach to Twll Du’, signed, 21 x 31cms

Provenance: private collection Cheshire

£100-150

393

DAY & SON AFTER HUGH JONES lithograph - entitled ‘A West View of The Britannia Tubular & Menai Suspension Bridges’, 27 x 46cms

Provenance: private collection West Midlands

£100-150

394

‡ EDGAR HOLLOWAY wood engravingabbey, 7.5 x 12.5cms

Provenance: private collection

Herefordshire

£100-200

395

‡ EDGAR HOLLOWAY wood engravingentitled verso ‘Llanthony Priory’, dated verso 1948, 7.5 x 12.5cms

Provenance: private collection Herefordshire

£100-150

396

‡ HYWEL HARRIES colour print - Pisgah Chapel in Aberystwyth, printed signature, dated ‘90, 25 x 35cms

Provenance: private collection Ceredigion

£100-150

397

‡ JOHN PIPER offset lithographentitled ‘Kidwelly Castle’, 34 x 46cms

Auctioneer’s Note: one of approx. 20 copies printed by Adrian Lack at the Senecio Press as spares for the Gwasg Gregynog ‘Deaths and Entrances’ by Dylan Thomas and subsequently sold with John Piper’s permission.

Provenance: bought from Gregynog by the present owner; private collection West Midlands

£150-250

398

‡ JOHN PIPER offset lithographentitled ‘Swansea Towards the Gower’, 34 x 46cms

Provenance: bought from Gregynog by the present owner; private collection

West Midlands

£150-250

399

‡ JONAH JONES limited edition (26/350) print - entitled, ‘Homage to Miss M.N. of Kew’ unsigned, 56 x 44cms

Auctioneer’s note: in 1981-82 Jonah Jones served a year’s fellowship at Gregynog Hall, the University of Wales’s residential study centre near Newtown, Powys. He aimed to spend the time developing his watercolour painting, a medium he had used intermittently for many years. The result was a substantial body of work of which Homage to Miss M.N. of Kew is a striking example. It pays tribute to the Victorian botanist and artist Marianne North whose meticulous records of exotic plants and landscapes around the world fill a gallery at Kew Gardens.

Provenance: private collection Cardiff £150-250

400

‡ MARTYN BREWSTER monoprintentitled ‘Lowick 407’, signed in pencil and dated ‘96, 58 x 58cms

Provenance: private collection Cardiff £150-200

401

‡ SEAN HARRIS limited edition (31/40) coloured collagraph - entitled, ‘The Wren Horse’, signed and dated ‘03, 28 x 37cms

Provenance: private collection Cardiff £150-250

402

‡ ALAN EVANS charcoal on paperentitled verso, ‘ Nurturing Landscape’, signed and dated ‘98, 54 x 79cms

Provenance: private collection Surrey £100-150

403

‡ ANNIE GILES HOBBS mixed mediaportrait of a seated figure, signed, 87 x 60cms

Provenance: private collection Cardiff £150-250

404

‡ BERT ISAAC mixed media on paperentitled verso ‘Hill Workings’, signed and dated 1999, 54 x 73cms

Provenance: private collection Cardiff; exhibited at the Denbigh Library £200-300

405

‡ CHRIS GLYNN pastel and charcoalentitled verso, ‘Naughty Man’, signed and dated ‘03, 40 x 57cms

Provenance: private collection Cardiff £150-250

406

‡ CHRIS NEALE watercolour - entitled, ‘Porthclais’, signed, 23 x 34cms

Provenance: private collection Gwent £100-150

407

‡ DAVID LLOYD GRIFFITH oil on cardstorms looming over large mountainous landscape, signed with initials, 20 x 31cms

Provenance: private collection Conwy £150-200

408

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Beach Study IV’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

409

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Beach Study’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

410

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Beach Study V’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

411

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Beach Study VI’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

412

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Anglesey Beach Study VII’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

413

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Near Trearddur Bay’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

414

‡ DONALD MCINTYRE pencil and crayon on paper - entitled verso ‘Trearddur Bay II’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

415

‡ DONALD MCINTYRE watercolour and pencil on paper - entitled verso ‘Anglesey Sea Study’ on Ffin Y Parc Gallery label, 18 x 24cms

Provenance: private collection Conwy £200-300

416

‡ GEORGE LITTLE watercolourentitled verso, ‘Industrial Dereliction, Lower Swansea Valley, White Rock’, on Attic Gallery label, circa 1996, signed, 26 x 37cms

Provenance: private collection Powys £100-150

417

‡ GLYN JONES mixed media on paperentitled verso, ‘Hesdin Angels’, inscribed and dated verso 1991, 40 x 55cms

Provenance: private collection Cardiff £150-250

418

GWILYM PRICHARD mixed media and construction on card - entitled verso ‘Carcass 9’, signed, 31 x 25cms

Provenance: estate of Claudia Williams and Gwilym Prichard, no ARR applicable £200-400

419

GWILYM PRICHARD pastel on cardentitled verso ‘Carcass 2’, signed, 28 x 35cms

Provenance: estate of Claudia Williams and Gwilym Prichard, no ARR applicable £200-400

420

‡ JIM RATTENBURY oil, collage and wax on paper - entitled verso, ‘Hinterland’ on Martin Tinney gallery label, signed, 75 x 54cms

Provenance: private collection Cardiff £150-250

421

‡ JOHN CLEAL watercolour - entitled verso, ‘What the Seals See’, signed, 30 x 40cms

Provenance: private collection Cardiff

£150-250

422

‡ JOHN ELWYN watercolour - ‘Maidenhair Fern on the Studio Windowsill’, signed and dated 1985, 33 x 39cms

Provenance: private collection Ceredigion

£150-250

423

‡ JOHN McDOUGAL watercolourentitled verso, ‘Porth Padrig, Cemaes Bay’, signed and dated ‘33, 50 x 69cms

Provenance: private collection Ynys Môn

£150-250

424

‡ JOHN McDOUGAL watercolourthatched cottage with figures and feeding poultry, signed and dated 1890, 33 x 48cms

Provenance: private collection Ynys Môn

Comments: frame has a little damage £150-250

425

‡ JOHN UZZELL EDWARDS ink on paperharbour scene with fishing boat in dry dock, signed, 63 x 55cms

Provenance: private collection Surrey

Comments: light water damage bottom edge

£100-150

426

‡ JOHN UZZELL EDWARDS ink on papernarrow street scene, possibly Sergeants Lane, Tenby, signed and dated ‘62, 66 x 52cms

Provenance: private collection Surrey £100-150

427

‡ JOSEF HERMAN OBE RA ink and wash on paper - figure walking along a path carrying a bucket, 19 x 25cms

Provenance: private collection Conwy

Comments: appears to be foxing present £150-250

428

‡ MARTIN HUMPHRIES pastel and ink on paper - untitled dancing figures, signed with initials, 23.5 x 22cms

Provenance: private collection Cardiff £100-200

429

‡ NICK HOLLY mixed media - cyclists with Swansea docklands in the background, signed, 16 x 16.5cms

Provenance: private collection

Neath Port Talbot

£150-250

430

‡ OGWYN DAVIES ink and watercolourentitled, ‘Colton Grass’, signed, 18 x 18cms

Provenance: private collection Surrey

£100-200

431

PETER PRENDERGAST pencil on paperentitled verso, ‘Hexham Abbey’, signed and dated ‘99, 55 x 39cms

Provenance: no ARR, artist’s family, by descent

£150-250

432

‡ PETER PRENDERGAST pencil on paperentitled verso, ‘Houses in Carneddi II’, signed and dated 1974, 14.5 x 20cms

Provenance: private collection Gwynedd £100-200

433

‡ PETER PRENDERGAST pencil on paperentitled verso, ‘Liverpool Model’, signed and dated ‘72, 23 x 17cms

Provenance: private collection Gwynedd £100-200

434

‡ RAY EVANS watercolour - entitled verso, ‘Merthyr Tydfil’, signed and dated 1981, 11.5 x 47.5cms

Provenance: private collection Rhondda Cynon Taf £150-250

435

‡ RAY HOWARD-JONES watercolourmoon and feathers, circa 1980s, 43 x 56cms

Provenance: private collection Powys £100-200

436

‡ SELWYN JONES pen and colour washentitled verso, ‘HMS Conway on the Rocks-Menai Strait’, dated verso 1953, 24 x 34cms

Provenance: private collection Hampshire £100-150

437

‡ SELWYN JONES pen and colour washentitled verso, ‘Stone Bridge’, dated verso 1953, 24 x 35cms

Provenance: private collection Hampshire £100-150

438

‡ SELWYN JONES pen and colour washentitled verso, ‘Tumbledown Cottage’, dated verso 2002, 26 x 36cms

Provenance: private collection Hampshire £100-150

439

‡ SIGRID MULLER mixed media - entitled verso, ‘Red Roses’ on Martin Tinney Gallery label, signed, dated verso 2002, 35 x 30cms

Provenance: private collection Neath Port Talbot £150-250

440

‡ URSULA RAINNIE mixed media on card - Tenby, signed, dated verso 1962, 56 x 33cms

Provenance: private collection Merseyside £150-250

441

‡ VERA BASSETT watercolour - a group of ladies in conversation, signed, 36 x 54cms

Provenance: private collection Cardiff

£150-200

442

‡ VERA BASSETT watercolour - a group of ladies singing in the street, signed, 54 x 37cms

Provenance: private collection Cardiff

£150-200

443

‡ VERA BASSETT watercolour - figures dancing, 53 x 37cms

Provenance: private collection Cardiff

£150-200

444

‡ WILLIAM SELWYN watercolour - entitled verso, ‘Coed Helen’, signed, 45 x 53cms

Provenance: private collection Ynys Môn

£150-250

445

‡ ALAN SALISBURY collage, oil and resin on board - entitled verso ‘Clouds, Hands, and Feathers’, unsigned, dated verso 2003, 28 x 21cms

Provenance: private collection Cardiff

£150-250

446

‡ ALAN SALISBURY mixed media on paper - entitled verso ‘Lake Escarpment and Tree’, signed and dated ‘98, 40 x 20cms

Provenance: private collection Cardiff

£150-250

447

ALFRED OLIVER oil on board - entitled verso, ‘Capel Curig, North Wales 1902’, signed, 16 x 24cms

Provenance: private collection Cardiff, purchased from Manor House Fine Arts Gallery, Pontcanna

£100-150

448

‡ ANTHONY GOBLE oil on wood panelentitled verso ‘A Tree Full of Angels’, 23 x 19cms

Provenance: private collection Cardiff

£150-250

449

‡ CHRIS GRIFFIN acrylic - entitled verso, ‘The Sleeping Painter’ on Kooywood Gallery label, signed, 20 x 19cms

Provenance: private collection Neath Port Talbot

£150-250

450

‡ DAVID LLOYD GRIFFITH oil on boardentitled verso ‘Brooding Tryfan with Rain Cloud’ on Ffin Y Parc Gallery label, signed with initials, fully signed and dated 2010 verso, 23 x 35cms

Provenance: private collection Conwy £100-150

451

‡ GERAINT DODD mixed media on canvas - entitled verso ‘Melting Snow’ on Ffin Y Parc Gallery label, signed and dated 2008, 37.5 x 54.5cms

Provenance: private collection Conwy £150-250

452

‡ KEITH BAYLISS oil on paper - entitled verso ‘Touch’, signed with initials, 49 x 65cms

Provenance: private collection Cardiff

£150-250

453

‡ LEONARD BEARD oil on card - interior, signed, circa 1990, 25 x 29cms

Provenance: private collection Cardiff

£100-200

454

‡ OWEN MEILIR oil on card - farmer and sheepdog walking through the snow, signed, 35 x 27cms

Provenance: private collection Gloucestershire

£150-250

455

‡ RAY HOWARD-JONES gouacheentitled verso, ‘Shearwater’ on West Wales Art Centre label, signed and dated 1953, 37 x 52cms

Provenance: private collection Powys

£150-250

456

‡ RAY HOWARD-JONES gouacheentitled verso, ‘South Haven, Scalmeye’, signed and dated ‘72, 25 x 34cms

Provenance: private collection Powys

£100-200

457

ROBERT FOWLER oil on canvas - entitled, ‘River Mawddach’, signed, 40 x 55cms

Provenance: private collection Cardiff

£100-200

458

‡ SARAH THWAITES acrylic on boardentitled verso, ‘Traeth Coch, Anglesey’ on Oriel Tegfryn Gallery label, signed, dated verso 2015, 18 x 66cms

Provenance: private collection Neath Port Talbot

£150-250

459

SUE WILLIAMS acrylic and oil on canvasentitled, ‘Avesta Art’, inscribed and dated verso 2000, 166 x 180cms

Provenance: private collection Neath Port Talbot

£200-400

460

‡ WYN HUGHES oil on board - entitled verso ‘Cae Bach Aur / Little Golden Field’, signed, dated verso 2009, 23 x 16cms

Provenance: private collection Ynys Môn

£150-250

461

‡ JIN EUI KIM small earthenware trinket box with lid, 8cms (h), stamped with monogram

Provenance: private collection Cardiff

£150-250

462

‡ JAN BEENY earthenware sculpture of a Celtic ram, signed with monogram, 41cms (h)

Provenance: private collection Cardiff £100-200

463

‡ JIN EUI KIM earthenware jar with reversible lid, 10cms (h), stamped with monogram

Provenance: private collection Cardiff £200-300

464

‡ JIN EUI KIM earthenware trinket box with lid, 6.5cms (h), stamped with monogram

Provenance: private collection Cardiff £150-250

467

‡ DILYS JACKSON pink marble sculptureentitled ‘Together’, dated 2006

Provenance: private collection Cardiff £100-200

468

‡ ROBERT HARDING cast iron and steel sculptureentitled ‘Vegetable Spoons’, 58cms (h)

Provenance: private collection Cardiff £100-200

465

DARREN YEADON sandstoneAmmonite, signed, 28cms (h)

Provenance: direct from the artist’s studio, no ARR applicable Comments: light wear overall £200-300

466

DARREN YEADON Carrara marbleAmmonite, signed, 18.5cms (h)

Provenance: direct from the artist’s studio, no ARR applicable Comments: light wear overall £200-300

469

‡ ROBERT HARDING metal sculpture entitled, ‘Cocksure’, dated 2005, 55cms (l)

Provenance: private collection Cardiff £100-200

Provenance: private collection Herefordshire

Comments: light general wear around rim, small chips

£150-250

‘Love is Nature’s Second Sun’, with artist’s studio sticker verso, 28cms (diam.)

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