Rogers Jones 26 July

(Please quote RJC25)

AFTER THE AUCTIONS

Please pay by bank transfer within 7 working days.

Card payments accepted at salerooms on auction day only for room bidders. Lots sold to remote bidders (telephone, commission, online) at The Welsh Sale 1 will be transferred automatically to the Rogers Jones venue nearest to your address for your collection (Colwyn Bay, Cardiff, Carmarthen, Chester). (London & South England will be transferred to Cardiff saleroom for collection).

Invoices of £4,000 or over will qualify for FREE transport to your address (England and Wales only and provided payment is made within 7 working days of the auction).

Please enquire before the auction regarding these terms or to request other arrangements.

The Welsh Sale (Part I)

(Lots 1 to 316)

Gregynog Hall

Saturday, July 26th, 10.30am

Cardiff Viewing by pre-arranged appointment up until 16th July

Gregynog Hall ‘Open’ Viewing

Friday July 25th 2.30-6.30 (drinks & music)

Saturday July 26th 9am to 10.15am

The Welsh Sale (Part II)

(Lots 330 to 509)

Cardiff Saleroom

Tuesday August 5th, 1.30pm

Cardiff Open Viewing (no appointments necessary)

Tuesday August 5th 9am to 1pm (prior to the sale)

If you wish to view any specific lots from Part II at Gregynog Hall please contact us prior to July 20th

We will, if we can (and at our discretion), bring those lots with us for inspection at the viewing event at Gregynog Hall.

The View

Welcome to the second edition of 2025

If ever there was a first half of the year containing multiple milestones, then it would have been in 2025. Firstly, we have undertaken the biggest house clearance in our history by clearing and selling the contents of Plas Teg in Flintshire. The principal auction of the contents of the Jacobean home, took place in March, and it was a resounding success. All lots found new homes and there were some incredible prices for furniture and garden effects, even when there were condition issues (as there was on many of the lots). Certainly, the Plas Teg factor drove prices over and above the expected market prices, demonstrating the importance of provenance.

Then, in April, we were delighted to complete the purchase of Byrne’s Auctioneers & Valuers in Chester. As with Rogers Jones, Byrnes are a family business with auctioneer Adrian Byrne at the helm. We are so very pleased that Adrian has decided to stay on with Rogers Jones & Co to continue to serve clients in Chester and the wider North-West region. We were sure from the beginning of our conversations with Adrian that he would fit seamlessly into the RJ team. Highly knowledgeable, highly experienced and with an excellent reputation in the North-West region and beyond. Adrian is a fantastic addition for us, and I am already enjoying working with Adrian and learning from him.

Whilst Byrnes were trading successfully, Adrian and codirector Jo Boucher felt that it was the appropriate time for a buy-out; for them personally and to ensure that their clients - be that solicitor or private, continue to enjoy a professional service from a dedicated family-run auction house in the Chester area. Continuity and longevity were the key words.

Naturally we are all very excited by the new opportunities it brings to Rogers Jones & Co. Please do note for those who have expressed concern, that this does not mean the end of auctioneering at our Colwyn Bay saleroom for which there are plans being formulated. We are proud to call North Wales our birthplace and the home of our head-office as we call it now.

On the rostrum, two other ‘milestone’ auctions have taken place in the last six months.

We were privileged to offer for auction the rugby jerseys of the late, great JPR Williams in the auction ICONIC: The JPR Williams Collection. JPR, with his unmistakable appearance and fearless defending, was an icon of the sport and one of my heroes as a young lad. The most significant and historic jersey in the collection was JPR’s Barbarians jersey which

was worn against New Zealand in the ‘greatest match’. This jersey made £27,500. Three jerseys from this match have now appeared at auction, two of them with us for a total of £267,500 under the hammer! Each of the twenty-nine JPR lots found the homes of collectors across the globe.

Another great privilege was offering to market The Family Collection of Gwilym & Claudia. The auction celebrated the life of the most prominent Welsh husband and wife artists in Welsh art history - Claudia Williams and Gwilym Prichard. The paintings came from the Prichard family home in Tenby, forming a very personal auction which included many of Claudia and Gwilym’s favourite paintings. Such an auction can be quite unnerving; how will the collecting audience respond to so many pictures from just two artists? But knowing how popular Gwilym and Claudia’s work is, perhaps the success was never in doubt. 133 out of the 142 lots offered were sold successfully and the sale total was over £160,000. We were delighted and it was lovely to hear from the Prichard family that they were too!

Apart from those three milestone auctions, we have also packed in twenty-five other auctions by the half-way point of 2025. We also have made changes to our auction calendar to accommodate a regular specialist auction of Jewellery, Coins & Watches. If you have items which fall into this sphere, then Adrian in the North and Charles in the South have a wealth of experience and knowledge with the market being a very buoyant one presently.

So, it has been a lot to take in thus far in 2025! We now look forward to a more regular second half of the year… probably! But in truth, who knows what the second half will bring but I am sure there will be plenty of excitement, starting with this Welsh Sale – what an absolute belter as David Rogers Jones used to say.

Best Wishes, Ben Rogers Jones

Bwrw Golwg

Croeso i ail rifyn 2025

Os bu erioed hanner cyntaf blwyddyn llawn cerrig milltir, yna 2025 oedd hi. Yn gyntaf, rydym wedi ymgymryd â’r prosiect clirio tŷ mwyaf yn ein hanes trwy glirio a gwerthu cynnwys Plas Teg yn Sir y Fflint. Cynhaliwyd prif arwerthiant cynnwys y cartref Jacobeaidd ym mis Mawrth, ac roedd yn llwyddiant ysgubol. Fe aeth pob eitem i gartref newydd ac roedd prisiau anhygoel am ddodrefn ac eitemau gardd, hyd yn oed pan oedd problemau cyflwr (fel yr oedd ar lawer o’r eitemau). Yn sicr, roedd enw Plas Teg wedi gyrru’r prisiau y tu hwnt i’r prisiau marchnad disgwyliedig, gan ddangos pwysigrwydd tarddiad.

Yna, ym mis Ebrill, roeddem wrth ein bodd yn cwblhau pryniant cwmni arwerthu Byrne yng Nghaer. Yn union fel gyda Rogers Jones, mae Byrne’s yn fusnes teuluol gyda’r arwerthwr Adrian Byrne wrth y llyw. Rydym mor falch bod Adrian wedi penderfynu aros gyda chwmni Rogers Jones i barhau i wasanaethu cleientiaid yng Nghaer a rhanbarth ehangach y Gogledd-orllewin.

Roedden ni’n siŵr, o ddechrau ein sgyrsiau gydag Adrian, y byddai’n ffitio’n esmwyth yn nhîm RJ. Yn wybodus iawn, yn brofiadol iawn ac yn meddu ar enw da rhagorol yn rhanbarth y Gogledd-orllewin a thu hwnt. Mae Adrian yn ychwanegiad gwych i ni, ac rwyf eisoes yn mwynhau gweithio gydag Adrian a dysgu oddi wrtho.

Er bod Byrne’s yn masnachu’n llwyddiannus, teimlai Adrian a’r cyd-gyfarwyddwr, Jo Boucher, mai dyma’r amser priodol i werthu; iddyn nhw’n bersonol ac i sicrhau bod eu cleientiaid - boed yn gyfreithiwr neu’n breifat, yn parhau i fwynhau gwasanaeth proffesiynol gan dŷ arwerthu teuluol ymroddedig yn ardal Caer. Parhâd a hirhoedledd oedd y geiriau allweddol.

Wrth gwrs, rydym i gyd yn gyffrous iawn am y cyfleoedd newydd y mae’n eu cynnig i gwmni Rogers Jones. Noder i’r rhai sydd wedi mynegi pryder, nad yw hyn yn golygu bod arwerthu yn ein hystafell werthu ym Mae Colwyn yn dod i ben, ac mae cynlluniau’n cael eu llunio ar ei chyfer. Rydym yn falch o alw Gogledd Cymru yn fan geni y cwmni a chartref ein pencadlys fel yr ydym nawr yn ei alw. Ar y rostrwm, cynhaliwyd dau arwerthiant arwyddocaol yn ystod y chwe mis diwethaf, oedd yn ‘gerrig milltir’ i’r cwmni.

Cawsom y fraint o gynnig crysau rygbi’r diweddar JPR Williams i’w harwerthu yn yr arwerthiant EICONIG: Casgliad JPR Williams. Roedd JPR, gyda’i ymddangosiad digamsyniol a’i chwarae amddiffynol dewr, yn eicon o’r gamp ac yn un o fy arwyr yn fachgen ifanc. Y crys mwyaf arwyddocaol a hanesyddol yn y casgliad oedd crys JPR o dîm y Barbariaid a wisgodd yn erbyn Seland Newydd yn y ‘gêm fwyaf erioed’. Fe gyrhaeddodd y crys hwn bris o £27,500. Mae tri chrys o’r gêm hon bellach wedi ymddangos mewn ocsiwn, dau ohonynt gyda ni am gyfanswm o £267,500 o dan y morthwyl! Daeth pob un o’r naw ar hugain o eitemau JPR o hyd i gartrefi casglwyr ledled y byd.

Braint fawr arall oedd gallu cynnig gwerthu Casgliad Teulu Gwilym a Claudia. Dathlodd yr ocsiwn fywyd yr artistiaid priod Cymreig mwyaf amlwg yn hanes celf Cymru - Claudia Williams a Gwilym Prichard. Daeth y paentiadau o gartref y teulu Prichard yn Ninbych-y-pysgod, gan ffurfio ocsiwn personol iawn a oedd yn cynnwys llawer o hoff baentiadau Claudia a Gwilym. Gall ocsiwn o’r fath fod yn eithaf anesmwyth; sut fydd y gynulleidfa sy’n casglu yn ymateb i gynifer o luniau gan ddau artist yn unig? Ond gan wybod pa mor boblogaidd yw gwaith Gwilym a Claudia, efallai nad oedd amheuaeth o gwbl am ei llwyddiant. Gwerthwyd 133 allan o’r 142 eitem a gynigiwyd ac roedd cyfanswm y gwerthiant dros £160,000. Roeddem wrth ein bodd ac roedd yn hyfryd clywed gan y teulu Prichard eu bod hwythau hefyd!

Ar wahân i’r tair ocsiwn carreg filltir hynny, rydym hefyd wedi llwyddo i wasgu pump ar hugain o ocsiynau eraill erbyn hanner ffordd drwy 2025. Rydym hefyd wedi gwneud newidiadau i’n calendr ocsiwn i ddarparu ocsiwn arbenigol rheolaidd o Emwaith, Darnau Arian ac Oriorau. Os oes gennych chi eitemau o’r math yma,yna mae gan Adrian yn y Gogledd a Charles yn y De gyfoeth o brofiad a gwybodaeth, gyda’r farchnad yn un fywiog iawn ar hyn o bryd.

Felly, mae ‘na gryn dipyn wedi digwydd yn barod hyd yn hyn yn 2025! Rydym nawr yn edrych ymlaen at ail hanner mwy rheolaidd i’r flwyddyn... o bosib! Ond mewn gwirionedd, pwy a ŵyr beth fydd yr ail hanner yn ei gynnig, ond rwy’n siŵr y bydd digon o gyffro, gan ddechrau gyda’r Arwerthiant Cymreig hwn – ‘arwerthiant anhygoel’ fel y byddai David Rogers Jones yn arfer ei ddweud.

Dymuniadau Gorau, Ben Rogers Jones

Welsh Sale 13 April 2025 Lots 511 | Total £501,780

Arwerthiant Cymreig 13 Ebrill 2025

Eitemau 511 | Cyfanswn: £501,780

The Welsh Sale – April 2025

1. SIR KYFFIN WILLIAMS RA ‘Hendre Waelod’ £24,000

2. SIR KYFFIN WILLIAMS RA ‘Ponies in the Sea’ £21,000

3. SIR KYFFIN WILLIAMS RA ‘Llandrygarn’ £14,000

4. SIR KYFFIN WILLIAMS RA ‘Llyn Ogwen’ £13,000

5. GEORGE CHAPMAN

‘Church and Mine’ £12,550

6. SIR KYFFIN WILLIAMS RA ‘Lower Thames Street, London’ £12,000

7. SIR KYFFIN WILLIAMS RA ‘Cwm Eilir’ £12,000

8. CLAUDIA WILLIAMS ‘Listening to Music’ £12,000

9. JOHN KNAPP-FISHER ‘Farmstead at Night’ £8,000

10. GWILYM PRICHARD

‘I Lawr am Trefdraeth’ £7,500

April’s Welsh Sale was a strange one in that the auction total was one of the highest we have ever had but paradoxically the ‘sell through’ was down to 88% when we are accustomed to 92% or more lots being sold on the day. Of course, 88% is high by fine art auction standards, yet I felt the lower percentage was worthy of some analysis. My conclusion is that occasionally auctions, especially art auctions, can be affected by over subscription and especially of large format paintings. Ultimately, walls for paintings are not unlimited and there has been a trend towards hanging many various small pictures on a section of wall rather than a single showstopper, such as a six-foot Shani Rhys James. I had never seen as many large format paintings as I did in April’s Welsh Sale, several of which unfortunately struggled. That said the sale total of over £0.5m is the third highest recorded for any Welsh Sale! So, no complaints but an interesting observation, nonetheless. Big is not always best.

George Chapman

‘Church and Mine’: Auction Record

In 1953, when the London-born artist George Chapman (1908-1993) first travelled to the Rhondda Valley he happened to be reading a series of books by US writer William Faulkner.

As the artist recalled “ (Faulkner) deals with a particular locality in America, and I began to wonder whether I couldn’t do a similar thing”. Chapman imagined producing something akin to a “visual novel of the mining valleys”.

So, the artist made regular trips to south Wales in his Volkswagen campervan from his Essex home. In the Rhondda, he would spend days at a time wandering around

the dark industrial hills, the steep puddled backstreets and stepped cut-throughs of the Welsh coalmining communities. These pilgrimages shifted the artist’s focus and are the scenes for which George Chapman is best known.

Consequently, George Chapman became something of an adopted son of Wales and was awarded the gold medal for painting at the National Eisteddfod in 1957. He later moved to Aberaeron in 1964, where he lived until his death.

Church and Mine depicts St David’s church at Hopkinstown, near Pontypridd, with the evocative pithead winding gear and chimney of the Ty Mawr colliery and the Taff Vale Railway steam engine beyond the burial place of countless local working men, women and children. The painting was very much a ‘known’ work having featured in an episode of BBC’s Monitor which discussed George Chapman’s work and inspiration. It was also exhibited at the 1989 retrospective George Chapman: A Welsh Story at Aberystwyth Arts Centre.

Chapman mentioned how the nostalgic scene of headstones, and church with the colliery and slag heaps, and heavy rainclouds, gave the painting “a rather romantic air about it… and a sense of drama”.

Chapman gifted the painting to his friend Alick Potter (1912-2000) – a professor of architecture, and it hung in his study in Pennant near Aberaeron. On Potter’s death in 2000, it was consigned to Phillips in Bath (where it was titled Chapel Beside a Pit Head, South Wales), selling at £2100.

Latterly, ‘Church and Mine’ had been on long term loan to the Cardiff & County Club from where we collected the painting for sale.

The £12,500 hammer price represented an excellent return on the sum fetched in 2000 (even accounting for inflation), but it also nearly doubled the previous auction record for George Chapman’s work sold at another auction room in 2022 and our own previous record of £5000 in 2022 and 2016.

John Knapp Fisher

One of the surprises of the day – for me at least, was the performance of Lot 123, a modest sized John Knapp Fisher watercolour. We hold sixteen of the top twenty recorded prices for Knapp Fisher, so we do know the market.

But this one took me by surprise. It sold for £8000 to become number 8 in the highest priced Knapp Fisher works at auction of all time (six of the top seven above this one, all fell under the Rogers Jones hammer). As if to conveniently demonstrate the point I made above regarding small paintings; Lot 123 came in at a very manageable 10 x 49cms, the other top Knapp Fisher prices are all for much larger paintings. Compositionally, it was typically Knapp Fisher with an illuminated whitewashed cottage centre stage in a sheer black Pembrokeshire nocturnal landscape. Not too large, not too small (as his work can be very small) the signature dish clearly ticked the boxes, and it saw a fierce bidding battle between multiple Rogers Jones Live bidders and the room. The room bidder won the day, and the painting has now crossed the Severn Bridge to a private collector.

Sir Kyffin Williams RA

Without sounding complacent, Sir Kyffin had a typically robust day at the April Welsh Sale auction with 35 out of 39 works successfully selling. The appetite for owning a painting by Wales most popular artistic son shows no sign of abating. Top of the league this time was ‘Hendre Waelod’, an Eryri landscape. The 50 x 75cms oil on canvas had a label for Martin Tinney Gallery in Cardiff verso, and came for sale from a private collection in the Vale of Glamorgan.

The title refers to a remote farm in Cwm Nantcol, near Llanbedr (and not the burial chamber of the same name in the Conwy Valley). It was a place that Sir Kyffin returned to many times for works on paper, oil paintings and a place which was captured in various limited edition prints by Kyffin too.

Sensibly estimated to sell at £12,000-18,000, it sold to a bidder in the room for £24,000. Interestingly, a similar composition in ink and wash of Hendre Waelod was sold by us three years ago for £10,400.

Adolygiad

Yr Arwerthiant Cymreig

– Ebrill 2025

Roedd Yr Arwerthiant Cymreig ym mis Ebrill yn un rhyfedd gan fod cyfanswm yr arwerthiant yn un o’r uchaf a gawsom erioed ond, yn baradocsaidd, roedd canran y gwerthu i lawr i 88% pan rydyn ni wedi arfer â 92% neu fwy o eitemau yn cael eu gwerthu ar y dydd. Wrth gwrs, mae 88% yn uchel, yn ôl safonau arwerthiant celfyddyd gain, ond roeddwn i’n teimlo bod y ganran is yn haeddu rhywfaint o ddadansoddiad. Fy nghasgliad yw y gall arwerthiannau weithiau, yn enwedig arwerthiannau celf, gael eu heffeithio gan or-danysgrifio ac yn enwedig o beintiadau fformat mawr. Yn y pen draw, nid yw waliau ar gyfer paentiadau yn ddiddiwedd ac mae tuedd wedi bod tuag at hongian llawer o luniau bach amrywiol ar ran o wal yn hytrach nag un trawiadol anferth, fel un chwe throedfedd gan Shani Rhys James. Doeddwn i erioed wedi gweld cymaint o beintiadau fformat mawr ag a welais yn Arwerthiant Cymreig mis Ebrill, ac roedd nifer ohonynt yn anffodus wedi cael trafferth gwerthu. Wedi dweud hynny, roedd cyfanswm y gwerthiant dros £0.5m, y trydydd uchaf a gofnodwyd ar gyfer unrhyw Arwerthiant Cymreig! Felly, dim cwynion ond sylwad diddorol, serch hynny. Nid mawr yw’r gorau bob amser.

George Chapman ‘Eglwys a Glofa: Torri Record

Ym 1953, pan deithiodd yr artist George Chapman (19081993), a aned yn Llundain, i Gwm Rhondda am y tro cyntaf, roedd digwydd bod yn darllen cyfres o lyfrau gan yr awdur o’r Unol Daleithiau William Faulkner.

Fel y cofiodd yr artist “mae (Faulkner) yn ymdrin ag ardal benodol yn America, a dechreuais feddwl tybed a allwn i wneud rhywbeth tebyg”. Dychmygodd Chapman gynhyrchu rhywbeth tebyg i “nofel weledol am y cymoedd glofaol”.

Felly, fe deithiodd yr artist yn rheolaidd i dde Cymru yn ei fan wersylla Volkswagen o’i gartref yn Essex. Yn y Rhondda, byddai’n treulio dyddiau ar y tro yn crwydro o amgylch y bryniau diwydiannol tywyll, y strydoedd cefn serth a phyllau dŵr a’r llwybrau troed grisiog yng nghymunedau glofaol Cymru. Newidiodd y pererindodau hyn ffocws yr artist a dyma’r golygfeydd y mae George Chapman wedi dod yn adnabyddus amdano.

O ganlyniad, daeth George Chapman yn ryw fath o fab mabwysiedig i Gymru a dyfarnwyd y Fedal Aur iddo yn yr Eisteddfod Genedlaethol ym 1957. Symudodd yn ddiweddarach i Aberaeron ym 1964, lle bu’n byw hyd at ei farwolaeth.

Mae ‘Eglwys a Glofa’ yn darlunio eglwys Dewi Sant yn Nrehopcyn, ger Pontypridd, gyda’r offer weindio pen pwll a simnai atgofus o lofa Tŷ Mawr ac injan stêm Rheilffordd Dyffryn Taf y tu hwnt i fynwent nifer dirifedi o ddynion, menywod a phlant gweithwyr lleol. Roedd y paentiad yn waith ‘adnabyddus’ iawn ar ôl ymddangos mewn pennod o ‘Monitor’ y BBC a fu’n trafod gwaith ac ysbrydoliaeth George Chapman. Cafodd hefyd ei arddangos yn yr arddangosfa adolygol George Chapman: A Welsh Story ym 1989 yng Nghanolfan y Celfyddydau, Aberystwyth.

Soniodd Chapman sut yr oedd yr olygfa hiraethus o gerrig beddi, yr eglwys gyda’r lofa a’r tomenni slag, a chymylau glaw trwm, yn rhoi “naws eithaf rhamantus ... ac ymdeimlad o ddrama” i’r paentiad.

Rhoddodd Chapman y paentiad i’w ffrind Alick Potter (1912-2000) - athro pensaernïaeth, ac roedd yn cael ei hongian yn ei swyddfa ym Mhennant ger Aberaeron. Ar farwolaeth Potter yn 2000, cafodd ei drosglwyddo i Phillips yng Nghaerfaddon (lle cafodd ei alw’n ‘Capel ger Glofa’, De Cymru), gan werthu am £2100.

Yn fwy diweddar, roedd ‘Eglwys a Glofa’ wedi bod ar fenthyciad hirdymor i Glwb Caerdydd a’r Sir lle y casglom ni y paentiad i’w werthu.

Roedd y pris morthwyl o £12,500 yn cynrychioli elw rhagorol ar y swm a gafwyd yn 2000 (hyd yn oed gan ystyried chwyddiant), ond roedd hefyd bron â dyblu record yr arwerthiant blaenorol ar gyfer gwaith gan George Chapman a werthwyd mewn ystafell arwerthu arall yn 2022 a’n record blaenorol ein hunain o £5000 yn 2022 a 2016.

Un o werthiannau annisgwyl y dydd – i mi o leiaf, oedd perfformiad Lot 123, dyfrlliw maint cymedrol gan John Knapp Fisher. Rydym yn dal un deg chwech o’r ugain pris uchaf a gofnodwyd ar gyfer Knapp Fisher, felly rydym yn adnabod y farchnad yn dda. Ond fe wnaeth yr un hon fy synnu. Fe’i gwerthwyd am £8000 i ddod yn rhif 8 yn y gweithiau Knapp Fisher drutaf mewn ocsiwn erioed (mae chwech o’r saith uchaf uwchben yr un hon, wedi syrthio o dan forthwyl Rogers Jones). Fel pe bai, yn gyfleus iawn, i atgyfnerthu’r pwynt a wneuthum uchod ynglŷn â phaentiadau bach; roedd Lot 123 yn 10 x 49cm hawdd ei ddefnyddio, mae prisiau uchaf eraill Knapp Fisher i gyd am baentiadau llawer mwy. Yn gyfansoddiadol, roedd yn nodweddiadol o Knapp Fisher gyda bwthyn gwyngalchog wedi’i oleuo yn ganolbwynt y llun o fewn tirwedd nosweithiol ddu Sir Benfro. Ddim yn rhy fawr, ddim yn rhy fach (gan y gall ei waith fod yn fach iawn) roedd hi’n

amlwg fod y darn nodweddiadol hwn yn yn ticio’r bocsus a gwelwyd brwydr ffyrnig rhwng nifer o gynigwyr Rogers Jones arlein ac yn yr ystafell. Enillodd y cynigydd ystafell y dydd, ac mae’r paentiad bellach wedi croesi Pont Hafren i gasglwr preifat.

Sir Kyffin Williams RA

Heb swnio’n hunanfodlon, cafodd Syr Kyffin ddiwrnod nodweddiadol o gryf yn ocsiwn yr Arwerthiant Cymreig ym mis Ebrill gyda 35 allan o 39 o’i weithiau’n gwerthu’n llwyddiannus. Nid yw’r awydd i fod yn berchen ar baentiad gan fab artistig mwyaf poblogaidd Cymru yn dangos unrhyw arwydd o bylu. Ar frig y gynghrair y tro hwn roedd ‘Hendre Waelod’, tirwedd o Eryri. Roedd gan y gwaith olew ar gynfas 50 x 75cm label ar gyfer Oriel Martin Tinney yng Nghaerdydd ar y cefn, ac roedd wedi dod o gasgliad preifat ym Mro Morganwg.

Mae’r teitl yn cyfeirio at fferm anghysbell yng Nghwm Nantcol, ger Llanbedr (ac nid y siambr gladdu o’r un enw yn Nyffryn Conwy). Roedd yn lleoliad y dychwelodd Syr Kyffin iddo sawl gwaith am weithiau ar bapur, paentiadau olew a lleoliad a ddarluniwyd mewn amrywiol brintiau rhifyn cyfyngedig gan Kyffin hefyd.

Wedi’i amcanbrisio yn synhwyrol i werthu rhwng

£12,000-18,000, fe’i gwerthwyd i gynigwr yn yr ystafell am £24,000. Yn ddiddorol, gwerthwyd cyfansoddiad tebyg o Hendre Waelod, mewn inc a golchiad, gennym ni dair blynedd yn ôl am £10,400.

John Knapp Fisher

Selected Highlights from April 2025 The Welsh Sale

Claudia Williams ’Listening to Music’ Sold / Gwerthwyd £12,000

Charles Frederick Tunnicliffe - coastal wading bird Sold / Gwerthwyd

Gwilym Prichard ‘I Lawr am Trefdraeth’ Sold / Gwerthwyd £7,500

Frances Richards ‘The Family’ Sold / Gwerthwyd £3,400

£4,000

John Elwyn ‘Recollections of A Welsh Farm’ Sold / Gwerthwyd £5,000

Thomas signed first edition Sold / Gwerthwyd £3,000

Dylan

Augustus John ‘Portrait of a Lady’ Sold / Gwerthwyd £3,600

Signed ‘Terra Nova’ dinner menu card Sold / Gwerthwyd £2,000

Silver car mascot Sold / Gwerthwyd £1,200

Sir Kyffin Williams RA ‘Llyn Ogwen’ Sold / Gwerthwyd £13,000

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)

Special Arrangements: other arrangements outside of these parameters can be made, but please enquire before bidding brj@rjauctions.co.uk

Cynigwyr Llwyddiannus

Cynigwyr Ystafell: taliad cerdyn debyd ac yna gellir symud pryniannau o stafell ocsiwn Gaerdydd ar ddiwrnod yr arwerthiant

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A Z of Welsh Art

F

is for

56 WalesGroup

Abstraction, Representation and Identity in a

Changing Welsh Environment

The modern and contemporary works featured annually in the Summer Welsh Sale attest to the heterogeneity of the art scene in Wales. Reflecting this diversity, the current auction includes works by artists—Robert Alwyn Hughes (Lot 371), Mary Lloyd Jones (lots 117, 121 & 435), and Ernest Zobole (lots 205, 214, 227, 243, 268, 296) among them—who, at varying stages in their careers, were members of the 56 Group Wales.

The Group was formed in response to the prospect with which artists working in Wales were faced in the middle of the last century. As David Bell, curator of the Glynn Vivian Art Gallery, asked rhetorically in the final chapter of his critical survey The Artist in Wales (1957): “How much opportunity […] is there in Wales to-day?” As painted by Bell, the picture looked decidedly bleak.

“In the first place,” Bell pointed out, “there is no art dealer in the wider meaning of the term in the whole of Wales.” Due to a lack of “sufficient traffic in the business and selling of pictures even in the big towns to make a dealer’s business commercially possible,” artists had to be their “own agent and undertake the business of exhibitions without the advantage of a dealer’s professional experience and without the even greater advantage of a dealer’s gallery.”

Determined to be their “own agent,” the three originators of the 56 Group—David Tinker, Eric Malthouse and Michael Edmonds—invited fellow artists active in Wales, many of whom made their living as art teachers, to join an organisation whose stated aim was to “achieve a feeling of unity that a group gives” and to “hold an annual exhibition in Wales, of a specific number of works from each member.”

As painter-sculptor David Tinker (1924–2000; lot 508) put it, “the need was felt to voice a clear radical point of view, radical in the sense of forward-looking.” The group’s name—to which “Wales” was added in 1966 to emphasise

that its members were based here, whatever their place of birth—referenced the volatile year of its inception, the year of the Hungarian Revolution. Responding to the anti-Soviet uprising in one of his figure compositions, Tinker came to the conclusion that, when trying to “draw tanks and people,” he “couldn’t get sufficiently expressive shapes and colours using realist techniques.”

Alive to the currents of the international artworld—and to the western art centres of Paris and New York City in particular—the Group aimed to create an environment that would enable artists in Wales to move past the “mimicry of everyday surroundings,” notwithstanding the market demand for such art.

In “The Liberating Quality of Avant-Garde Art” (1957), the US American art historian Meyer Shapiro argued that “what makes painting and sculpture so interesting in our times is their high degree of non-communication.” Not all of the founder members of the 56 Group would have agreed wholeheartedly. Will Roberts (1907–2000; lots 97, 202, 245, 257, 284, 303) declared that his “sympathies” were “not with abstract painting that rejects, completely, subject.” Nonetheless, he added, “all good painting has always had its measure of abstraction.”

Rather than advocating a unifying style aligned with Abstract Expressionism, the Group provided support for artist individually to explore relationships between abstraction and representation according to a felt need for an engagement with the localities and communities in which they had chosen to live and work.

Roberts left the 56 Group in 1964. He later stated that his “role” in the organisation was “not important” to him “at all,” and that, even “when abstract work became fashionable and realist painting and the like was not wanted,” he “never had any difficulty in selling [his] work in Wales.”

Nor did all artists accept the invitation to join the group. Resentful of a letter that presumed membership unless recipients voiced their objection, which they were asked do “as soon as possible,” Brenda Chamberlain (1912–1971; lots 69, 70, 71, 94, 100, 312) replied that she had “heard nothing” of the 56 Group and had never “expressed a wish” that such an organisation should be formed.

Chamberlain would have been the only female founder member, and it was not until 1971 that the heretofore exclusively male group elected Mary Lloyd Jones (b. 1934;), initially as an associate. By that time, eight of the twelve founder members had left the Group. An influx of new members—and, gradually, a greater representation of female artists such as Shani Rhys James (b. 1953; lot 235)—helped to maintain the Group’s relevance not only in the changing artworld but also in an evolving social environment.

Degrees of abstractions in response to place and identity vary among members of the Group, as is apparent in Waterfall, Cardigan (1959; lot 446) by founder member John Wright (1931–2013) and Pont-y-Rhyl (2005; lot 225, 231, 298) by Kevin Sinnott (b. 1947), who joined 56 Group Wales in 2009. Wright came to Wales as a Second World War evacuee from London, whereas Sinnott, who was born in South Wales, returned home after successfully pursuing his career in London and New York City.

Although it was produced over a quarter century after Ernest Zobole (1929–1999) had left the 56 Group, Painter and Subject Matter (1995/96; lot 252), corresponds closely with the Group’s tenets as articulated in the invitation Zobole had accepted: that while artists “consciously seek a place to work” where they feel “at home,” they should “search for a powerful image that transcends the everyday world” to communicate “the effect of environment,” which “is deeper and more all-embracing” than can be expressed in a faithful copy of an observed subject.

The title of Zobole’s painting—which was part of an extended project—draws attention to this “search.”

According to Zobole, works like Painter and Subject Matter are “about the place where I live essentially.” In the act of painting, he reflected, “I think of myself being surrounded by it, rather than at some vantage point looking at a view of it. Representing myself in the painting probably has something to do with this.”

On the twentieth anniversary of the Group in 1976, founder member Arthur Giardelli insisted that the “purpose of art is effective communication.” At a time when major art institutions promoted conceptual art at the expense of traditional practice, the 56 Group reaffirmed the status of the professional creative as integral to modern society: “The artist can make an advertising poster, a portrait to commemorate, a symbolic image in bronze or wood for a children’s playground or a library entrance hall, a landscape reminiscent of a loved place, an illustration for a book, or a stained glass window.”

Due to their diversity, it may be difficult to see works by individuals associated with the 56 Group Wales as being part of a group or related to its long and complex history; but the range of approaches and media makes it easy to appreciate the “forward-looking” endeavour of networking artists who set out to reconcile international Modernism with the actualities of working in an environment that, in 1956, seemed remote from the centres of the western artworld.

Dr Harry Heuser

Dr Harry Heuser is a writer and exhibition curator

A Z o Gelf Cymreig

56 GrŵpCymru

Haniaethu, Cynrychiolaeth a Hunaniaeth mewn Amgylchedd Cymreig sy’n newid

Mae’r gweithiau modern a chyfoes a ddangosir yn flynyddol yn Yr Arwerthiant Cymreig yn yr haf yn tystio i amrywiaeth y sîn gelf yng Nghymru. Gan adlewyrchu’r amrywiaeth hon, mae’r arwerthiant presennol yn cynnwys gweithiau gan artistiaid megis, yn eu plith, Robert Alwyn Hughes (lot 371), Mary Lloyd Jones (lotiau 117, 121 & 435), ac Ernest Zobole (lotiau 205, 214, 227, 243, 268, 296)—a oedd, ar wahanol gyfnodau yn eu gyrfaoedd, yn aelodau o Grŵp 56 Cymru.

Ffurfiwyd y Grŵp mewn ymateb i’r rhagolygon yr oedd artistiaid a oedd yn gweithio yng Nghymru yn eu hwynebu yng nghanol y ganrif ddiwethaf. Fel y gofynnodd David Bell, curadur Oriel Gelf Glynn Vivian, yn rhethregol ym mhennod olaf ei arolwg beirniadol The Artist in Wales (1957): “Faint o gyfle […] sydd yng Nghymru heddiw?” Fel y disgrifiwyd gan Bell, roedd y darlun yn edrych yn llwm iawn.

“Yn y lle cyntaf,” nododd Bell, “nid oes deliwr celf, yn ystyr ehangach y term, yng Nghymru gyfan.” Oherwydd diffyg “traffig digonol yn y busnes a gwerthu lluniau hyd yn oed yn y trefi mawr i wneud busnes deliwr yn bosibl yn fasnachol,” roedd yn rhaid i artistiaid fod yn “asiantau eu hunain ac ymgymryd â busnes arddangosfeydd heb fantais profiad proffesiynol deliwr a heb fantais, hyd yn oed yn fwy, o oriel deliwr.”

Yn benderfynol o fod yn “asiantau i’w hunain,” gwahoddodd tri sylfaenydd Grŵp 56 sef David Tinker, Eric Malthouse a Michael Edmonds—artistiaid eraill oedd yn weithgar yng Nghymru, llawer ohonynt yn ennill eu bywoliaeth fel athrawon celf, i ymuno â sefydliad oedd â nod datganedig o “gyflawni teimlad o undod y mae grŵp yn ei roi” ac i “gynnal arddangosfa flynyddol yng Nghymru, o nifer penodol o weithiau gan bob aelod.”

Fel y dywedodd yr arlunydd-gerflunydd David Tinker (1924–2000; lot 508), “teimlwyd yr angen i leisio safbwynt radical clir, radical yn yr ystyr o edrych ymlaen.” Roedd enw’r grŵp—ychwanegwyd “Wales” ato ym 1966 i bwysleisio bod ei aelodau wedi’u lleoli yma, ble bynnag fo’u man geni—yn cyfeirio at flwyddyn ei sefydlu, blwyddyn Chwyldro Hwngari. Wrth ymateb i’r gwrthryfel gwrthSofietaidd yn un o’i gyfansoddiadau ffigurol, daeth Tinker i’r casgliad, wrth geisio “tynnu llun tanciau a phobl,” na allai “gael siapiau a lliwiau digon mynegiannol drwy ddefnyddio technegau realistig.”

Yn ymwybodol o ddigwyddiadau’r byd celf rhyngwladol— ac i ganolfannau celf gorllewinol Paris ac Efrog Newydd yn benodol—nod y Grŵp oedd creu amgylchedd a fyddai’n galluogi artistiaid yng Nghymru i symud heibio y “dynwarediad o’u hamgylchoedd bob dydd,” er gwaethaf y galw yn y farchnad am gelf o’r fath.

Yn “The Liberating Quality of Avant-Garde Art” (1957), dadleuodd yr hanesydd celf Americanaidd, Meyer Shapiro, mai “yr hyn sy’n gwneud peintio a cherflunwaith mor ddiddorol yn ein hoes ni yw eu gradd uchel o ddiffyg cyfathrebu.” Ni fyddai pob un o sylfaenwyr Grŵp 56 wedi cytuno’n llwyr. Dywedodd Will Roberts (1907–2000; lotiau 97, 202, 245, 257, 284, 303) nad oedd ei “gydymdeimlad” “â pheintio haniaethol sy’n gwrthod, yn llwyr, pwnc.” Serch hynny, ychwanegodd, “mae pob peintiad da wedi bod ag elfen o haniaeth erioed.”

Yn hytrach na dadlau dros arddull unedig sy’n cyd-fynd â Mynegiadaeth Haniaethol, rhoddodd y Grŵp gefnogaeth i artistiaid yn unigol i archwilio’r berthnas rhwng haniaeth a chynrychiolaeth, yn ôl yr angen a deimlid i ymgysylltu â’r lleoliadau a’r cymunedau yr oeddent wedi dewis byw a gweithio ynddynt.

Gadawodd Roberts Grŵp 56 ym 1964. Yn ddiweddarach, dywedodd nad oedd ei “rôl” yn y sefydliad yn “bwysig” iddo “o gwbl,” a hyd yn oed “pan ddaeth gwaith haniaethol yn ffasiynol ac nad oedd neb eisiau paentiadau realistig a’u tebyg,” ni chafodd “erioed unrhyw anhawster i werthu ei waith yng Nghymru.”

Ni dderbyniodd pob artist y gwahoddiad i ymuno â’r grŵp chwaith. Yn flin gyda llythyr a oedd yn tybio bod artistiaid am ymaelodu oni bai eu bod yn lleisio eu gwrthwynebiad, a hynny “cyn gynted â phosibl,” atebodd Brenda Chamberlain (1912–1971; lotiau 69, 70, 71, 94, 100, 312) nad oedd hi wedi “clywed dim” am Grŵp 56 ac nad oedd hi erioed wedi “mynegi dymuniad” y dylid ffurfio sefydliad o’r fath.

Chamberlain fyddai wedi bod yr unig sylfaenydd benywaidd, ac nid tan 1971 y gwnaeth y grŵp, a oedd yn wrywaidd yn unig hyd yma, ethol Mary Lloyd Jones (g. 1934;), fel aelod cyswllt, yn wreiddiol. Erbyn hynny, roedd wyth o’r deuddeg o aelodau cyntaf wedi gadael y Grŵp. Daeth llu o aelodau newydd— ac, yn raddol, bu’r cynrychiolaeth well o artistiaid benywaidd fel Shani Rhys James (g. 1953; lot 235)—yn help i gynnal perthnasedd y Grŵp, nid yn unig yn y byd celf newidiol, ond hefyd mewn amgylchedd cymdeithasol oedd yn esblygu.

â’r lle rwy’n byw yn ei hanfod.” Yn y weithred o baentio, myfyriodd, “Rwy’n meddwl amdanaf fy hun yn cael fy amgylchynu ganddo, yn hytrach nag ar ryw safle uwch yn edrych ar olygfa ohono. Mae cynrychioli fy hun yn y paentiad yn debygol o fod â rhywbeth i’w wneud â hyn.”

Mae graddau haniaethiadau mewn ymateb i le a hunaniaeth yn amrywio ymhlith aelodau’r Grŵp, fel sy’n amlwg yn Rhaeadr, Aberteifi (1959; lot 446) gan y sylfaenydd, John Wright (1931–2013) a Pont-y-Rhyl (2005; lotiau 225, 231, 298) gan Kevin Sinnott (g. 1947), a ymunodd â Grŵp 56 Cymru yn 2009. Daeth Wright i Gymru fel faciwî o Lundain yn ystod yr Ail Ryfel Byd, tra bod Sinnott, a aned yn Ne Cymru, wedi dychwelyd adref ar ôl dilyn gyrfa lwyddiannus yn Llundain ac Efrog Newydd.

Er iddo gael ei gynhyrchu dros chwarter canrif ar ôl i Ernest Zobole (1929–1999) adael Grŵp 56, mae Painter and Subject Matter (1995/96; lot 252), yn cyfateb yn agos â daliadau’r Grŵp fel y’u mynegwyd yn y gwahoddiad a dderbyniodd Zobole: er bod artistiaid “yn ymwybodol yn chwilio am le i weithio” lle maent yn teimlo’n “gartrefol,” dylent “chwilio am ddelwedd bwerus sy’n mynd y tu hwnt i’r byd bob dydd” i gyfleu “effaith yr amgylchedd,” sydd “yn ddyfnach ac yn fwy cwmpasog” nag y gellir ei fynegi mewn copi ffyddlon o bwnc sy’n cael ei astudio.

Mae teitl paentiad Zobole—a oedd yn rhan o brosiect estynedig—yn tynnu sylw at y “chwilio” hwn. Yn ôl Zobole, mae gweithiau fel Painter and Subject Matter “yn ymwneud

Ar ugeinfed pen-blwydd y Grŵp ym 1976, mynnodd y sylfaenydd, Arthur Giardelli, mai “pwrpas celf yw cyfathrebu effeithiol.” Ar adeg pan oedd sefydliadau celf mawr yn hyrwyddo celf gysyniadol ar draul arfer traddodiadol, cadarnhaodd Grŵp 56 statws y creadigol proffesiynol fel rhan annatod o gymdeithas fodern: “Gall yr artist wneud poster hysbysebu, portread i goffáu, delwedd symbolaidd mewn efydd neu bren ar gyfer maes chwarae plant neu neuadd fynedfa llyfrgell, tirwedd sy’n atgoffa rhywun o le annwyl, darlun ar gyfer llyfr, neu ffenestr wydr lliw.”

Oherwydd eu hamrywiaeth, gall fod yn anodd gweld gweithiau gan unigolion sy’n gysylltiedig â Grŵp 56 Cymru fel rhan o grŵp neu’n gysylltiedig â’i hanes hir a chymhleth; ond mae’r ystod o ddulliau a chyfryngau yn ei gwneud hi’n hawdd gwerthfawrogi ymdrech “flaengar” artistiaid sy’n rhwydweithio a aeth ati i gymodi Moderniaeth ryngwladol â gwirioneddau gweithio mewn amgylchedd a oedd, ym 1956, yn ymddangos yn bell o ganolfannau byd celf y gorllewin.

Dr Harry Heuser

Mae Dr Harry Heuser yn awdur ac yn guradur arddangosfeydd

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Professor Tony Curtis

CERI RICHARDS AT GREGYNOG

Gregynog Hall, the saleroom for this coming Welsh Sale, seems ever so appropriate as a venue to showcase two of Wales best known creative minds - Ceri Richards and Dylan Thomas.

In 1923, Ceri Richards was taken to visit Gregynog Hall where the Davies sisters entertained students from Swansea College of Arts. There he saw Monet, Manet and Renoir’s paintings for himself. “Imagine their effect on someone who’d dreamed of a great painting, but had seen none.” This remarkable private collection was, a few years later, to become the core of the National Museum of Wales’s French collection as we now know it.

These paintings were life-changing for the son of a steel worker from Dunvant who had barely left that area. That young man would go on to be an artist collected by Gwendoline and Margaret Davies; then to become a Trustee of The Tate Gallery, a C.B.E. and to represent Great Britain at the Venice Biennale in 1961. His “Cathedrale Engloutie” works would be awarded the Einaudi Prize that year in Venice.

When I interviewed Gwen Watkins in 2002, she said that these late works were in the spirit of her husband Vernon Watkins: They both “responded to the miraculous and eternal and sacred.”

See Lot 395 “La Cathedrale Engloutie II”, colour lithograph, 1959.

Some ten years after that Gregynog visit, Ceri Richards began to read the poetry of Dylan Thomas; in 1945 he provided a double-sided colour lithograph for the Poetry London magazine, four stunning images from Dylan’s great poem “The Force that Through the Green Fuse Drive the Flower” – a visualising of the Dylan metaphors that would drive Richards’s own painting force and also give insights into the work of the poet.

See Lot 57 “And Death Shall have no Dominion”

See Lot 92 “Fallen Figure”

Alfred Janes, a mutual friend of Ceri and Dylan was to introduce the artist to the poet on a visit to the Boathouse in Laugharne: both men immediately responded to each other

as persons and artists. They planned to collaborate on a future project. But that was in the late summer of 1953 and within weeks Dylan would be dead in a New York hospital.

When, in the following February, an evening of tribute was organised in a London theatre, it was Ceri Richards who designed the backcloth to those readings. Ceri’s versions of “And Death Shall Have No Dominion” are the most moving of those responses.

See Lot 51 First Edition 26 Poems signed

Ceri wrote a report of the tribute for Vernon Watkins: “Betty Lutyens doesn’t possess the appropriate spirit for it… Edith Evans as a reader was completely out her depth - Emlyn Williams was good but not so good as in the rehearsal…” However, “R. Burton read ‘Fern Hill’ very well. Obviously, he loved this poem and knew it inside out so to speak and that is very important.”

He ends with the P.S., “Whatever would Dylan say or think if he was able to see what is happening – he would

perhaps blow the froth off his celestial beer at us and say we blasphemed – and that we took his name in vain – but he would like it if he feels we do it for love.”

For the remaining two decades of his life, Ceri Richards returned again and again to the poems of Dylan Thomas; his art was inspired by admiration and love of the Swansea poet’s words.

See Lot 59 “The Stork”

See Lot 131 “The Broken Rose”

When I interviewed Fred Janes for my book Welsh Artists Talking (2001) he told me his Boathouse story. Fred had been one of the “Kardomah boys” and a “wonderful friend” of Richards’s in London. Janes considered his friend to be “the most creative and inventive British painter of this century”. Though he thought that Dylan had not known of Ceri’s work, “In 1953, we saw him two or three days before he left for America that last time. He’d never met Ceri, so Mary and I took him down to Dylan at the Boathouse, in Laugharne. I had a lovely little Sunbeam Talbot drop-head coupe at that time…I don’t think Dylan was terribly well acquainted with Ceri’s work.

Dylan Thomas had first been taken to the Boathouse in the 1930s by his friends Glyn Jones when they ferried across the estuary from the Llansteffan side.

Gregynog Hall and the Boathouse: those two encounters were to galvanise Ceri Richards and secured his mature vision. He was to become the most significant and international-acclaimed painter from Wales and one of the most sensitive intelligent interpreters of Wales’s greatest poet. He was also a close friends of Dylan’s friend Vernon Watkins and created works inspired by “the other Swansea poet”:

See Lot 62 “Black Swan” mixed media, 1972

It is intriguing to speculate what might have become of the relationship between Thomas and Richards. Certainly, the untimely death of Dylan Thomas impacted dramatically on the painter. Ceri Richards, hearing of Dylan’s collapse and coma, bought four copies of the Collected Poems and began to re-read the poems, drawing copiously on the pages of the books in the days before Dylan’s

death. Three copies survive and it is from these that the poet Richard Burns has re-constructed Ceri Richards –Drawings to Poems by Dylan Thomas and has written the accompanying monograph. Burns explains that he discovered, with great surprise and excitement the existence of the drawings when collaborating with Frances Richards on a separate publishing project. In that time of loss, the rereading and those drawings of Dylan informed much of the artist’s later works.

In a series of profound and visionary works, the mature Ceri Richards wove together images of birds and manuscripts and skulls and bodies -nature forcing re-birth through the cycles of nature that would be the unequalled by any other British artist of the Twentieth Century. Drowned cathedrals would arise from the waves.

No serious collector of Welsh art should be without a work by Ceri Richards.

Prof. Tony Curtis, poet, author and professor of poetry, former winner of The Dylan Thomas Award

CERI RICHARDS YNG NGREGYNOG

Mae Neuadd Gregynog, yr ystafell arwerthu ar gyfer Yr Arwerthiant Cymreig nesaf, yn ymddangos yn lleoliad addas iawn i arddangos dau o feddyliau creadigol enwocaf Cymru - Ceri Richards a Dylan Thomas.

Ym 1923, aethpwyd â Ceri Richards i ymweld â Neuadd Gregynog lle roedd y chwiorydd Davies yn diddanu myfyrwyr o Goleg Celfyddydau Abertawe. Yno gwelodd beintiadau Monet, Manet a Renoir drosto’i hun. “Dychmygwch eu heffaith ar rywun a oedd wedi breuddwydio am baentiad gwych, ond heb weld yr un.” Ychydig flynyddoedd yn ddiweddarach, byddai’r casgliad preifat rhyfeddol

hwn yn graidd i gasgliad Ffrengig yr Amgueddfa Genedlaethol.

Newidiodd y paentiadau hyn fywyd mab y gweithiwr dur o Ddyfnant a oedd prin wedi gadael yr ardal honno. Byddai’r dyn ifanc hwnnw’n mynd ymlaen i fod yn artist a gasglwyd gan Gwendoline a Margaret Davies; yna i ddod yn Ymddiriedolwr Oriel Tate, i dderbyn C.B.E. ac i gynrychioli Prydain Fawr yn Biennale Fenis ym 1961. Byddai ei weithiau “Cathedrale Engloutie” yn ennill Gwobr Einaudi y flwyddyn honno yn Fenis.

Pan y bum yn cyfweld â Gwen Watkins yn 2002, dywedodd fod y gweithiau hwyr hyn yn naws ac ysbryd ei gŵr, Vernon Watkins: Roeddent ill dau yn

“ymateb i’r gwyrthiol a’r tragwyddol a’r cysegredig.”

Gweler Lot 395 “La Cathedrale Engloutie II”, lithograff lliw, 1959. Rhyw ddeng mlynedd ar ôl yr ymweliad hwnnw â Gregynog, dechreuodd Ceri Richards ddarllen barddoniaeth Dylan Thomas; ym 1945 darparodd lithograff lliw dwy ochr ar gyfer cylchgrawn Poetry London, pedair delwedd syfrdanol o gerdd wych Dylan “The Force that Through the Green Fuse Drive the Flower” –delweddu o drosiadau Dylan a fyddai’n gyrru grym peintio Richards ei hun a hefyd yn rhoi cipolwg ar waith y bardd.

Gweler Lot 57 “And Death Shall Have No Dominion”

Gweler Lot 92 “Fallen Figure”

Byddai Alfred Janes, ffrind i Ceri a Dylan, yn cyflwyno’r artist i’r bardd ar ymweliad â’r Tŷ Cwch yn Nhalacharn: ymatebodd y ddau ddyn ar unwaith i’w gilydd fel pobl ac artistiaid. Roeddent yn bwriadu cydweithio ar brosiect yn y dyfodol. Ond roedd hynny ddiwedd haf 1953 ac, o fewn wythnosau, byddai Dylan wedi marw mewn ysbyty yn Efrog Newydd.

Y mis Chwefror canlynol, pan drefnwyd noson deyrnged mewn theatr yn Llundain, Ceri Richards a ddyluniodd y cefndir i’r darlleniadau hynny.

Fersiynau Ceri o “And Death Shall Have No Dominion” yw’r mwyaf byw o’r ymatebion hynny.

GWELER Lot 51 Argraffiad Cyntaf 26 Poems wedi’u llofnodi

Ysgrifennodd Ceri adroddiad o’r deyrnged i Vernon Watkins: “Nid oes gan Betty Lutyens yr ysbryd priodol ar ei gyfer… Roedd Edith Evans fel darllenydd allan o’i dyfnder yn llwyr - roedd Emlyn Williams yn dda ond nid cystal ag yn yr ymarfer…” Fodd bynnag, “darllenodd R. Burton ‘Fern Hill’ yn dda iawn. Yn amlwg, roedd wrth ei fodd â’r gerdd hon ac yn ei hadnabod yn drylwyr fel petai ac mae hynny’n bwysig iawn.”

Mae’n gorffen gyda’r gair N.B., “Beth feddyliai neu ddywedai Dylan pe bai’n gallu gweld beth sy’n digwydd – efallai y byddai’n chwythu’r ewyn oddi ar ei gwrw nefol atom ac yn dweud ein bod wedi cablu – a’n bod wedi cymryd ei enw yn ofer – ond byddai’n ei hoffi pe bai’n teimlo ein bod yn ei wneud er mwyn cariad.”

Am y ddau ddegawd sy’n weddill o’i fywyd, dychwelodd Ceri Richards dro ar ôl tro at gerddi Dylan Thomas; ysbrydolwyd ei gelf gan edmygedd a chariad at eiriau’r bardd o Abertawe.

Gweler Lot 59 “The Stork”

Gweler Lot 131 “The Broken Rose”

Pan y bum yn cyfweld â Fred Janes ar gyfer fy llyfr Welsh Artists Talking (2001) dywedodd wrthyf ei stori am y Tŷ Cwch. Roedd Fred wedi bod yn un o “fechgyn Kardomah” ac yn “ffrind gwych” i Richards yn Llundain. Ystyriai Janes ei ffrind fel “peintiwr Prydeinig mwyaf creadigol a dyfeisgar y ganrif hon”. Er ei fod yn meddwl nad oedd Dylan yn gwybod am waith Ceri, “Ym 1953, gwelsom ef ddau neu dri diwrnod cyn iddo adael am America y tro diwethaf hwnnw. Nid oedd erioed wedi cwrdd â Ceri, felly aeth Mary a minnau ag ef i lawr at Dylan yn y Tŷ Cwch, yn Nhalacharn. Roedd gen i gar coupe Sunbeam Talbot bach hyfryd ar y pryd…Dydw i ddim yn credu bod Dylan yn gyfarwydd iawn â gwaith Ceri. Aethpwyd â Dylan Thomas i’r Tŷ Cwch am y tro cyntaf yn y 1930au gan ei ffrindiau, Glyn Jones, pan roedden nhw’n croesi’r aber o ochr Llansteffan ar fferi.

Neuadd Gregynog a’r Tŷ Cwch: y ddau gyfarfyddiad hynny oedd i ysgogi Ceri Richards a sicrhau ei weledigaeth aeddfed. Byddai’n dod yn arlunydd mwyaf arwyddocaol Cymru, yn cael ei glodfori yn rhyngwladol, ac yn un o’r dehonglwyr mwyaf sensitif a deallus o fardd mwyaf Cymru. Roedd hefyd yn ffrind agos i ffrind Dylan, Vernon Watkins, a chreodd weithiau wedi’u hysbrydoli gan “y bardd arall o Abertawe”:

Lot 62 “Black Swan” cyfrwng cymysg, 1972

Mae’n ddiddorol dyfalu beth allai fod wedi digwydd i’r berthynas rhwng Thomas a Richards. Yn sicr, cafodd marwolaeth Dylan Thomas yn rhy gynnar effaith ddramatig ar yr arlunydd. Ar ôl clywed am gwymp a choma Dylan, prynodd Ceri Richards bedwar copi o’r Collected Poems a dechrau ailddarllen y cerddi, gan ddarlunio’n helaeth ar dudalennau’r llyfrau yn y dyddiau cyn marwolaeth Dylan. Mae tri chopi wedi goroesi ac o’r rhain y mae’r bardd Richard Burns wedi ail-greu Ceri Richards – Drawings to Poems by Dylan Thomas ac wedi ysgrifennu’r monograff cysylltiedig.

Mae Burns yn egluro iddo ddarganfod, gyda syndod a chyffro mawr, fodolaeth y dyluniadau wrth gydweithio â Frances Richards ar brosiect cyhoeddi ar wahân. Yn y cyfnod hwnnw o golled, fe wnaeth yr ailddarllen a’r dyluniadau hynny o Dylan lywio llawer o weithiau diweddarach yr artist.

Mewn cyfres o weithiau dwys a gweledigaethol, plethodd yr aeddfed Ceri Richards ddelweddau o adar a llawysgrifau a phenglogau a chyrffnatur yn gorfodi aileni trwy gylchoedd natur – a fyddai heb ei debyg ymysg artistiaid Prydeinig yr Ugeinfed Ganrif. Byddai eglwysi cadeiriol dan ddŵr yn codi o’r tonnau.

Ni ddylai unrhyw gasglwr celf Gymreig gwerth ei halen fod heb ddarn gan Ceri Richards.

Yr Athro Tony Curtis, bardd, awdur ac athro barddoniaeth, cyn-enillydd gwobr Dylan Thomas

Rogers Jones & Co are proud to be announced as the headline sponsor for this summer’s 2025 Forever Flowers Campaign for City Hospice.

Karen Timbrell and her family will be among those supporting the campaign this time. Karen will be dedicating her flower to her daughter Holly who sadly passed away shortly after her 21st birthday. Holly was diagnosed with a brain tumour as a teenager and received care from City Hospice towards the end of her life.

City Hospice were great; they made everything as easy as possible for all of us and allowed us to spend meaningful quality time with Holly. They listened to our needs sensitively and provided the right care for Holly and her circumstances. Although our time with City Hospice was brief, the support was immeasurable.

After Holly’s death, I was able to access the counselling service provided by the charity. I felt I had a safe space where I could offload my emotions and just let everything out.

This is the fourth year that I will be supporting Forever Flowers. I love visiting the display and attending the Celebration of Life events with my mum, remembering Holly’s smile, laugh and sense of fun with others. We are looking forward to seeing our daffodil at the display at the castle, before it comes home and is planted with our other Forever Flowers at Holly’s bench.

Karen Timbrell

Kyffin’s Island Muse

With news that Kyffin’s Anglesey home is now available for short-stays, I thought I would revisit the fond memories I have of the village I used to share with Kyffin when I was growing up. I promise I am not being paid anything at all by the Anglesey Tourist Board!

During primary school days, I lived in that world-famous tongue-twisting village in Anglesey, just over the Britannia Bridge which straddles the picturesque Menai Straits. The village we locals, for ease of use and efficiency call Llanfair PG!

It must have been around 1983, when, in my last years of primary school, the teachers went on an unusual strike - for a whole summer-term we were required to entirely vacate the school grounds at lunchtimes. Thrilling for us kids but worrying for those parents who couldn’t pick up their prideand-joys at 12pm for a 60 minute recall. And worrying even still for the residents of the village, as every weekday they saw an invasion of excitable splinter-groups aiming to make the most of their escape from educational imprisonment.

I spent those liberated lunch hours down at the village railway station with another likely lad. Not trainspotting though…instead we had an eye on making a few quid!

In the peak season, tour buses would arrive throughout the day at the famous station with (normally) American tourists eager to get their Kodaks out to capture the elongated platform sign. My fellow entrepreneur and I would invite ourselves on to each bus before it set off again to its next Anglesey destination. With the tour-guide’s microphone in our hand we would sing to a tune (that I can still recall to this day); Llanfairpwllgwyngyllgogerychwyrndro bwll-llantysilio-gogogoch. Then the tour guide would prompt us to walk down the aisle of glory as the smiling passengers plied us with coins, sweets and compliments. This Dickensian-type scheme was a lucrative business for a ten-year-old and our packed lunches were followed by ice-cream cone desserts once the spoils were shared.

Llanfair PG railway station is the first island stop if you are coming by train from the mainland, and the first Anglesey village you come to when you drive across the Britannia Bridge. Peel off the A55 after the bridge, and you are immediately in the village.

Ben Rogers Jones

The famous railway station is then another mile further down the road, but before you get there you, will see a lovely woodland on your right. Towering above, in the centre of this woodland, is a 89-foot tall Doric column topped by a bronze figural statue of Earl of Uxbridge, second-incommand under Wellington at the Battle of Waterloo where Uxbridge lost his right leg. In recognition of his bravery, Uxbridge was named The First Marquess of Anglesey. If you can muster the strength of 115 steps you can enjoy majestic views of Anglesey and the mountainous mainland from the top of the column.

After the woods on your right, take the next left and you are en-route to some of the best beaches in Wales and the world in my opinion. After about half a mile there is a turning to the left called ‘Lôn Pwllfanogl’. This bumpy wooded lane takes you down to the water’s edge of the Menai Straits and to a small cluster of waterside houses.

This is where we find Min-y-Môr, which was owned by the 7th Marquess of Anglesey, a descendant of he who watches over the village from the top of the column. Min-y-Mor was the home to the most famous Welsh artist of the twentieth century who was a former friend of the the then Marquess. We are of course referring to Sir Kyffin Williams

During my bus-singing street-urchin days we would explore around the coastline of Pwllfanogl. We’d skim pebbles and walk across the rocky edge to another statue, this time of Nelson. When I was a lad, I distinctly remember the moment a friend told me that a famous artist lived at the house. Little did I know that forty years later I would have auctioned more paintings by Kyffin than any other auctioneer, that the company started by my father, David, would hold the world auction record for his work and indeed, that we would be instructed to value the artist’s estate when he died in 2006. It really is strange how things turn out – even though I never knew Kyffin well, he was in the background during my childhood and has, for twenty-five years been at the forefront of my professional life.

In 1974, Kyffin decided to return to Anglesey to live after teaching at Highgate School. In his (amusing and highly recommended) second biography ‘A Wider Sky’, the artist explained how and why he ended up at Min-y-Môr after searching around Lord and Lady Anglesey’s estate for a suitable dwelling;

‘Rhoscolyn’ (The Welsh Sale, July 2021) (Yr Arwerthiant Cymreig, Gorffennaf 2021) Sold / Gwerthwyd £62,000

‘…we turned down a rough track towards the Menai Strait. After about a quarter of a mile it turned sharply, and from a bridge over the river Braint, I could see some buildings beside a harbour. It was Pwllfanogl. The car stopped at the water’s edge in front of a house with broken windows. Inside, the floor hardly existed, and there was no kitchen and no bathroom. A door in the living-room opened into some dark and sinister vaults, a reminder that the building had been a public house before the First World War. One small room had been used as a kitchen and another as an extension of the bar. The house had been empty for six years. It was an ideal situation: outside the front door lay the Menai Strait and beyond woods that grew to the water’s edge, rose the mountains of Caernarfonshire. I felt I would be lucky to live in such a place’

Sir Kyffin Williams ‘A Wider Sky’ (Gomer Press)

Of course, the house has benefitted from some substantial improvements since 1974!

Kyffin was a prolific artist and would venture out to sketch the Welsh landscape in all weathers. After moving out in his tank-like Volvo to do battle with the elements in long overcoat, flat cap and his battle-plan sketch book, Min-yMôr would have acted as the officer’s retreat. A solace away from Kyffin’s artistic front-line in the shadow of the harsh mountain landscape. Pwllfanogl was a place where he could peacefully work his sketches into imposing oil paintings. I imagine that when inspiration was needed to get that final section of oil down on his canvas, there would have been a gaze towards the distant Carneddau mountain range, across the straits, and which can be seen from the cottage windows.

Sir Kyffin painted the wonderful coastline too. Rough Seas at Trearddur was a subject he returned to on many occasions as were sunsets over the idyllic Menai Straits. It does seem that when the weather was too rough for the mountains, he painted Trearddur’s powerful seas and when it wasn’t moody enough for the mountains, he painted the Straits!

One of Kyffin’s most popular prints is of the small hamlet of Llanedwen, a mile or so down the straits from Min-y-Môr and on the other side of Plas Newydd. Plas Newydd being the seat of the Marquess of Anglesey - Kyffin’s friend and landlord. This National Trust attraction is one not to be missed, beautifully set on the water’s edge, it will be familiar to many of viewers of Antiques Roadshow! At Plas Newydd, Sir Kyffin Williams’ paintings are on show, as is the work of Rex Whistler (1905-1944) including an 18-metre long fantastical mural which is bizarre as it is huge. It really needs to be seen to be believed!

Opposite the infamous village station, next to the ice-cream shop, is the Penrhos Arms. A proper village pub where Kyffin was a regular. He wasn’t a drinker, but he enjoyed being taken out for a modest bar-meal with his many callers. Many of these places which were key to Kyffin’s existence are a walkable distance from Min-y-Môr where he lived for thirty years. But across, and all around the island,

Lot 173, Trefignath, a neolithic burial chamber near Trearddur

there are numerous places which acted as Sir Kyffin’s muse. He painted many large dramatic canvases of the unnerving cliffs of South Stack near Holyhead. He painted the beautiful solitary church, Eglwys Cwyfan, which sits resolutely on a small island near the beautiful Aberffraw. He also frequently painted the quieter corners of the island - like Llanddona, an area beyond Beaumaris and around Llanerchymedd with its old windmills, together with the cottages in Mynydd Bodafon, near the quaint port village of Moelfre. And at Moelfre he painted the coastal beaches and cliffs found easily on the amazing Ynys Môn Coastal Path. On a visit to Anglesey, these are places one can seek out and which have changed very little. Then, of course, there is the Eryri mountains which are easily reached from Llanfair PG, at its heart the bustling village of Llanberis, around which Sir Kyffin painted and produced numerous prints such as his popular ‘Fach Wen’. And from where you can walk upwards and feel those timeless mountain scenes of drystone walls, sheep pens and crumbling farmsteads, which drew Kyffin back to Wales.

But Kyffin’s legacy can be felt most strongly just outside his birth town of Llangefni, a fifteen-minute drive away from Min-y-Mor into the island centre. Here you can visit the gallery Oriel Môn, outside of which sits a statue by David Williams-Ellis, depicting Kyffin Williams sketching, facing his beloved mountains. Inside the Oriel is a spectacular permanent exhibition of his work that should not be missed.

For those who are interested in art and for those who love the work of Wales’ best loved artist, a trip to Anglesey and to Pwllfanogl should be on the bucket-list. But to stay in Min-y-Môr would be the icing on the cake… and hopefully my other half will read this in time for my next birthday! I am sure I’ll be allowed to skim stones but singing on buses might be pushing it.

Ynys Ysbrydoliaeth Kyffin

Gyda’r newyddion bod cartref Kyffin ar Ynys Môn bellach ar gael am wyliau byr, roeddwn i’n meddwl y byddwn i’n ail-ymweld â’r atgofion melys sydd gen i o’r pentref roeddwn i’n arfer ei rannu gyda Kyffin pan oeddwn i’n tyfu i fyny. Rwy’n addo nad ydw i’n cael fy nhalu o gwbl gan Fwrdd Twristiaeth Ynys Môn!

Yn ystod fy nyddiau yn yr ysgol gynradd, roeddwn i’n byw yn y pentref byd-enwog hwnnw ar Ynys Môn, nepell dros

Bont Britannia sy’n ymestyn dros yr Afon Menai hardd. Y pentref rydyn ni’r bobl leol, er hwylustod ac effeithlonrwydd, yn ei alw’n Llanfair PG!

Rhaid ei fod tua 1983, pan, yn fy mlynyddoedd olaf yn yr ysgol gynradd, aeth yr athrawon ar streic anarferol - am dymor haf cyfan, roedd yn ofynnol i ni adael tir yr ysgol yn llwyr amser cinio. Cyffrous i ni’r plant ond digon pryderus i’r rhieni hynny na allent nôl eu plant ganol dydd ar gyfer yr egwyl 60 munud. Ac yn fwy pryderus o bosib i drigolion y pentref, gan eu bod nhw’n gweld grwpiau o blant gwyllt a chyffrous yn heidio i mewn i’r pentref bob dydd o’r wythnos yn anelu at wneud y gorau o’u dihangfa o garchar addysgol. Treuliais yr oriau cinio rhydd hynny i lawr yng ngorsaf reilffordd y pentref gyda bachgen ifanc arall. Nid gwylio trenau, serch hynny… yn hytrach, roedden ni’n ceisio gwneud punt neu ddwy!

Yn y tymor brig, byddai bysiau gwyliau yn cyrraedd drwy gydol y dydd yn yr orsaf enwog gyda thwristiaid Americanaidd (fel arfer) yn awyddus i gael eu Kodaks allan i ddal cip o’r arwydd platfform enwog. Byddai fy nghydentrepreneur a minnau’n gwahodd ein hunain ar bob bws cyn iddo gychwyn eto i’w gyrchfan nesaf ar Ynys Môn. Gyda meicroffon y tywysydd teithiau yn ein llaw, byddem yn canu i alaw (y gallaf ei chofio hyd heddiw); Llanfairpwllg wyngyllgogerychwyrndrobwll-llantysilio-gogogoch. Yna byddai’r tywysydd teithiau yn ein hannog i gerdded i lawr yr eil ganol tra bod y teithwyr llawen yn taflu arian, melysion a chanmoliaeth atom. Roedd y cynllun Dickensaidd hwn yn fusnes proffidiol i blentyn deg oed ac, unwaith i’r ysbail gael ei rhannu, roedd ein pecynnau cinio yn cael eu dilyn gan hufen iâ yn bwdin!

Gorsaf reilffordd Llanfairpwllgwyngyll yw’r arhosfan gyntaf ar yr ynys os ydych chi’n dod ar drên o’r tir mawr, a’r pentref cyntaf y dewch iddo pan fyddwch chi’n gyrru ar draws Pont Britannia. Trowch oddi ar yr A55 ar ôl y bont, ac rydych chi yn y pentref yn syth. Mae’r orsaf reilffordd enwog filltir ymhellach i lawr y ffordd, ond cyn i chi gyrraedd yno, fe welwch goetir hyfryd ar eich ochr dde. Yn sefyll uwchlaw, yng nghanol y coetir hwn, mae colofn Ddorig 89 troedfedd o uchder wedi’i choroni â cherflun efydd o Iarll Uxbridge, dirprwy Wellington ym Mrwydr Waterloo lle collodd Uxbridge ei goes dde. I gydnabod ei ddewrder, enwyd Uxbridge yn Farcwis Cyntaf Ynys Môn. Os oes ganddoch chi’r egni I ddringo 115 o risiau, gallwch fwynhau golygfeydd godidog o Ynys Môn a’r tir mawr mynyddig o ben y golofn.

Ar ôl y coed ar eich ochr dde, cymerwch y tro nesaf i’r chwith ac rydych chi ar y ffordd i rai o’r traethau gorau yng Nghymru a’r byd, yn fy marn i. Ar ôl tua hanner milltir, mae troad i’r chwith o’r enw ‘Lôn Pwllfanogl’. Mae’r lôn goediog anwastad hon yn mynd â chi i lawr i ymyl y Fenai ac i glwstwr bach o dai ar lan y dŵr.

Dyma lle mae dod o hyd i Min-y-Môr, a oedd yn eiddo i 7fed Marcwis Môn, disgynnydd i’r un sy’n gwylio dros y pentref o ben y golofn. Min-y-Môr oedd cartref artist Cymreig enwocaf yr ugeinfed ganrif a oedd yn gyn-gyfaill i’r Marcwis ar y pryd. Wrth gwrs, rydym yn cyfeirio at Syr Kyffin Williams.

Yn ystod fy nyddiau yn canu ar y bws, byddem yn crwydro o amgylch arfordir Pwllfanogl. Byddem yn sgimio cerrig mân ac yn cerdded ar draws yr ymyl greigiog at gerflun arall, y tro hwn, o Nelson. Pan oeddwn i’n fachgen, rwy’n cofio’n glir y foment y dywedodd ffrind wrthyf fod artist enwog yn byw yn y tŷ. Ychydig a wyddwn i y byddwn i, ddeugain mlynedd yn ddiweddarach, wedi arwerthu mwy o baentiadau gan Kyffin nag unrhyw arwerthwr arall, y byddai’r cwmni a sefydlwyd gan fy nhad, David, yn dal record arwerthiant y byd am ei waith ac yn wir, y byddem yn cael ein gofyn i werthuso ystâd yr artist pan fyddai’n marw yn 2006. Mae wir yn rhyfedd iawn sut mae pethau’n troi allan - er nad oeddwn i erioed wedi adnabod Kyffin yn bersonol, roedd yn y cefndir yn ystod fy mhlentyndod ac, ers pum mlynedd ar hugain, mae wedi bod ar flaen y gad yn fy mywyd proffesiynol.

Ym 1974, penderfynodd Kyffin ddychwelyd i Ynys Môn i fyw ar ôl bod yn dysgu yn Ysgol Highgate, Llundain. Yn ei ail hunangofiant (difyr ac rwy’n ei argymell yn fawr) ‘A Wider Sky’, eglurodd yr artist sut a pham y daeth i Fin-y-Môr ar ôl chwilio o gwmpas ystâd Arglwydd a’r Arglwyddes Ynys Môn am gartref addas;

‘…troesom i lawr rhyw lôn arw tuag at yr Afon Menai. Ar ôl tua chwarter milltir, trodd yn sydyn, ac o bont dros yr afon Braint, gallwn weld rhai adeiladau wrth ymyl harbwr. Pwllfanogl ydoedd. Stopiodd y car ar lan y dŵr o flaen tŷ gyda ffenestri wedi torri. Y tu mewn, prin bod llawr yn bodoli, a doedd dim cegin nac ystafell ymolchi. Roedd drws yn yr ystafell fyw yn agor i seler tywyll a sinistr, atgof bod yr adeilad wedi bod yn dafarn cyn y Rhyfel Byd Cyntaf. Defnyddiwyd un ystafell fechan fel cegin ac un arall fel estyniad o’r bar. Roedd y tŷ wedi bod yn wag ers chwe blynedd. Roedd yn sefyllfa ddelfrydol: y tu allan i’r drws ffrynt roedd Afon Menai a thu hwnt i goedwigoedd a dyfodd at lan y dŵr, roedd mynyddoedd Sir Gaernarfon yn codi. Teimlais y byddwn yn lwcus i fyw mewn lle o’r fath’.

Ben Rogers Jones

Syr Kyffin Williams ‘A Wider Sky’ (Gwasg Gomer)

Wrth gwrs, mae’r tŷ wedi elwa o rai gwelliannau sylweddol ers 1974!

Roedd Kyffin yn artist toreithiog a byddai’n mentro allan i fraslunio tirwedd Cymru ym mhob tywydd. Ar ôl neidio yn ei Volvo, oedd yn debyg i danc, i frwydro yn erbyn yr elfennau mewn côt hir, cap fflat a’i lyfr braslunio a chynllunio, byddai Min-y-Môr wedi gweithredu fel lloches y swyddog. Cysur i ffwrdd o linell flaen artistig Kyffin yng nghysgod y dirwedd fynyddig garw. Roedd Pwllfanogl yn lleoliad lle gallai weithio’n heddychlon ar droi ei frasluniau yn baentiadau olew trawiadol. Rwy’n dychmygu, pan oedd angen ysbrydoliaeth i gael y darn olaf hwnnw o olew i lawr ar ei gynfas, y byddai wedi bod yn edrych tuag at fynyddoedd y Carneddau yn y pellter, ar draws y Fenai, a ellir eu gweld o ffenestri’r bwthyn.

Peintiodd Syr Kyffin yr arfordir rhyfeddol hefyd. Roedd Moroedd Garw Trearddur yn bwnc y dychwelodd ato ar sawl achlysur, yn ogystal â machlud haul dros yr Afon Fenai ddelfrydol. Mae wir yn ymddangos, pan oedd y tywydd yn rhy arw i’r mynyddoedd, ei fod yn peintio moroedd pwerus Trearddur, a phan nad oedd awyrgylch a naws y mynyddoedd yn ddigon tywyll, ei fod yn peintio’r Fenai!

Un o brintiau mwyaf poblogaidd Kyffin yw un o bentref bach Llanedwen, milltir neu fwy i lawr y Fenai o Fin-yMôr ac ar ochr arall Plas Newydd. Plas Newydd yw cartref Marcwis Môn - ffrind a landlord Kyffin. Mae’r atyniad Ymddiriedolaeth Genedlaethol hwn yn un na ddylid ei golli, wedi’i leoli’n hyfryd ar lan y dŵr, a bydd yn gyfarwydd i lawer o wylwyr Antiques Roadshow! Ym Mhlas Newydd, mae paentiadau Syr Kyffin Williams i’w gweld, yn ogystal â gwaith Rex Whistler (1905-1944) gan gynnwys murlun rhyfeddol 18 metr o hyd sy’n hynod ac enfawr. Mae wir angen ei weld i’w gredu!

Gyferbyn â gorsaf enwog y pentref, wrth ymyl y siop hufen iâ, mae Tafarn y Penrhos. Tafarn bentref go iawn lle’r oedd Kyffin yn ymweld yn rheolaidd. Nid oedd yn yfed, ond roedd yn mwynhau cael ei wahodd am bryd o fwyd bar cymedrol gan ei nifer o ymwelwyr.

Aberffraw hardd. Byddai hefyd yn aml yn peintio corneli tawelach yr ynys - fel Llanddona, ardal y tu hwnt i Fiwmares ac o amgylch Llanerchymedd gyda’i hen felinau gwynt, ynghyd â’r bythynnod ym Mynydd Bodafon, ger pentref porthladd hyfryd Moelfre. Ac ym Moelfre, peintiodd y traethau a’r clogwyni arfordirol a welir yn hawdd ar Lwybr Arfordirol anhygoel Ynys Môn. Ar ymweliad ag Ynys Môn, dyma leoliadau y gall rhywun fynd i chwilio amdanynt ac sydd wedi newid ychydig iawn. Yna, wrth gwrs, mae mynyddoedd Eryri sy’n hawdd eu cyrraedd o Lanfair PG, yn eu canol mae pentref prysur Llanberis, lle y peintiodd Syr Kyffin a chynhyrchu nifer o brintiau fel ei ‘Fach Wen’ poblogaidd. Dyma hefyd o ble y gallwch gerdded i fyny a theimlo’r golygfeydd mynyddig tragwyddol hynny o waliau cerrig sych, corlannau defaid ac adfeilion adeiladau fferm, a ddenodd Kyffin yn ôl i Gymru.

Ond gellir teimlo gwaddol Kyffin gryfaf y tu allan i’w dref enedigol, Llangefni, pymtheg munud o daith mewn car o Min-y-Môr i ganol yr ynys. Yma gallwch ymweld ag oriel

Oriel Môn, y tu allan iddi mae cerflun gan David WilliamsEllis, yn darlunio Kyffin Williams yn braslunio, yn wynebu ei fynyddoedd annwyl. Y tu mewn i’r Oriel mae arddangosfa barhaol ysblennydd o’i waith na ddylid ei cholli.

Mae llawer o’r lleoedd hyn, a oedd yn allweddol i fodolaeth Kyffin, o fewn pellter cerdded hawdd o Min-yMôr lle bu’n byw am ddeg ar hugain o flynyddoedd. Ond ar draws, ac o amgylch yr ynys, mae nifer o leoliadau a oedd yn gweithredu fel awen i Syr Kyffin. Peintiodd lawer o gynfasau dramatig mawr o glogwyni brawychus Ynys Lawd ger Caergybi. Fe beintiodd yr eglwys unig, hardd, Eglwys Cwyfan, sy’n eistedd yn gadarn ar ynys fach ger

I’r rhai sydd â diddordeb mewn celf ac i’r rhai sy’n caru gwaith artist mwyaf poblogaidd Cymru, dylai taith i Ynys Môn ac i Bwllfanogl fod ar y rhestr o bethau i’w gwneud.

Ond byddai aros ym Min-y-Môr yn eisin ar y gacen… a gobeithio y bydd fy mhartner yn darllen hwn mewn pryd ar gyfer fy mhen-blwydd nesaf! Dwi’n siŵr y caf sgimio cerrig ond efallai bod canu ar fysiau yn gwthio’n lwc!

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Lot 170

Lot 172

Kyffin’s Return Home

Essay by Ian Jones

Buildings & Collections Manager at Oriel Mon

Sir Kyffin Williams’ mother returned to live at Llansadwrn on Anglesey in 1954, and on his visits back from London, the southeastern corner of the island provided him with a wealth of subjects for drawing and painting.

Kyffin’s father, Henry Inglis Wynne Williams (1870-1942) was born in Llanfairynghornwy, and later worked for the North and South Wales Bank. He helped set up a branch in Penydarren, near Merthyr Tydfil, then moving to Porthmadog. After marrying Essyllt Mary, he accepted a position at the Llangefni branch. They moved into Tanygraig, a house on the outskirts of the town, and Kyffin was born there in 1918.

In 1919 Henry Inglis was made manager of the newly opened Midland Bank in Chirk, and the family moved to the town that sits close to the English border. From there Kyffin and his brother Richard were sent to Trearddur House school in Trearddur Bay, Anglesey.

In 1926 Essyllt’s inherited Brynhyfryd, a large house near Llangoed, from her cousin Ellen Pritchard and the family returned to Anglesey. Kyffin took an immediate dislike to the house, but he and his brother did enjoy the grounds, and soon discovered the surrounding countryside.

The family soon sold the house [to cover the costs of a court case], and moved to Pentrefelin, near Criccieth. Kyffin lived in this property from the age of eight until he was eighteen. In 1936 they moved to Abererch, near Pwllheli. It was at this time that Kyffin started work with land agents Yale and Hardcastle. It was also where he became passionate about painting landscapes.

In 1942, while he was studying at the Slade School of Art, Kyffin’s father passed away. Having left art school, he secured the post of art master at Highgate school. He returned regularly to visit his mother in north Wales and where he found inspiration for his artwork. He claimed he lived in London but painted Wales. From the late 1940s onwards, he exhibited in various London galleries and so began his career as a landscape painter.

In 1954 when Essyllt returned to Anglesey, moving to Cefn Gadlys in Llansadwrn, close to Treffos, the family’s ancestral home. Kyffin built a studio for himself at the back of the house, so he could paint during visits from London, although it never really suited him as he claimed the ‘light wasn’t right’. This return to the island offered him a new variety of subjects– rural landscapes with traditional cottages, dramatic seascape with its pearly light qualities, and enough characters who were willing to sit for him’.

Cefndir Kyffin

Traethawd gan Ian Jones

Rheolwr Adeiladau a Chasgliadau yn Oriel Mon

Dychwelodd mam Syr Kyffin Williams i fyw yn Llansadwrn ar Ynys Môn ym 1954, ac ar ei ymweliadau yn ôl o Lundain, rhoddodd cornel de-ddwyreiniol yr ynys gyfoeth o destunau iddo ar gyfer lluniadu a phaentio.

Ganwyd tad Kyffin, Henry Inglis Wynne Williams (18701942) yn Llanfair-yng-Nghornwy, ac yn ddiweddarach bu’n gweithio i Fanc Gogledd a De Cymru. Helpodd i sefydlu cangen ym Mhenydarren, ger Merthyr Tudful, yna symudodd i Borthmadog. Ar ôl priodi Esyllt Mary, derbyniodd swydd yng nghangen Llangefni. Fe symudon nhw i Danygraig, tŷ ar gyrion y dref, a ganwyd Kyffin yno ym 1918.

Ym 1919, gwnaed Henry Inglis yn rheolwr cangen Banc Midland oedd newydd agor yn y Waun, a symudodd y teulu i’r dref sy’n agos i’r ffin â Lloegr. Oddi yno, anfonwyd Kyffin a’i frawd Richard i Ysgol Tŷ Trearddur ym Mae Trearddur, Ynys Môn.

Ym 1926, etifeddodd Esyllt Brynhyfryd, tŷ mawr ger Llangoed, gan ei chefnder Ellen Pritchard a dychwelodd y teulu i Ynys Môn. Fe gymerodd Kyffin yn erbyn y tŷ ar unwaith, ond fe ddaeth ef a’i frawd i fwynhau’r ardd, ac yn fuan iawn, dod i nabod y tir a’r wlad o’i amgylch.

Gwerthodd y teulu’r tŷ yn weddol fuan [i dalu costau achos llys], a symud i Bentrefelin, ger Cricieth. Bu Kyffin yn byw yn yr eiddo hwn o wyth oed hyd nes ei fod yn ddeunaw oed. Ym 1936, symudon nhw i Abererch, ger Pwllheli. Ar yr adeg hon y dechreuodd Kyffin weithio gyda’r asiantaethau tir, Yale a Hardcastle. Dyma hefyd lle datblygodd yr angerdd am beintio tirweddau.

Ym 1942, tra roedd yn astudio yn Ysgol Gelf Slade, bu farw tad Kyffin. Ar ôl gadael yr ysgol gelf, cafodd swydd athro celf yn Ysgol Highgate. Dychwelodd yn rheolaidd i ymweld â’i fam yng ngogledd Cymru a lle cafodd ysbrydoliaeth ar gyfer ei waith celf. Honnodd ei fod yn byw yn Llundain ond yn peintio Cymru. O ddiwedd y 1940au ymlaen, arddangosodd mewn amrywiol orielau yn Llundain ac felly y dechreuodd ei yrfa fel peintiwr tirwedd.

Ym 1954, pan ddychwelodd Esyllt i Ynys Môn, gan symud i Gefn Gadlys, Llansadwrn, ger Treffos, cartref hynafol y teulu, adeiladodd Kyffin stiwdio iddo’i hun yng nghefn y tŷ, fel y gallai beintio yn ystod ymweliadau o Lundain, er nad oedd byth yn gwbl addas iddo gan ei fod yn honni nad oedd y ‘golau’n iawn’. O ddychwelyd i’r ynys, roedd amrywiaeth newydd o destunau ar gynnig iddo – tirweddau gwledig gyda bythynnod traddodiadol, golygfeydd môr dramatig gyda’i olau perlaidd, a digon o gymeriadau a oedd yn fodlon eistedd iddo’.

FINE DRAWING, SIGNIFICANT SPACING, AND SIMPLE, RIGID DESIGN: ARTISTS AT GREGYNOG PRESS

Philanthropists and patrons of the arts, Gwendoline and Margaret Davies of Gregynog had great wealth and a social conscience. In 1923, they established the Gregynog Press as part of a wider initiative to nurture interest in the arts in Wales in the aftermath of the Great War. Their ambition was for Gregynog Hall to become a rural centre for the arts to benefit those affected by war.

Artist-engravers and designers, typographers, printers and bookbinders lived and worked together at Gregynog, employing traditional techniques to create limited-edition hand-made books. During its first decade, Gregynog established a reputation as one of the world’s finest private presses.

Gwendoline Davies’ closest friend and advisor was Dr Thomas Jones of Rhymney (‘TJ,’ as he was affectionately known). A senior public servant, TJ was well connected in Wales and beyond. Though he was behind much of the sisters’ philanthropy and activities at Gregynog, it was Hugh Blaker, brother of the sisters’ former governess Jane Blaker, and advisor to the sisters in the formation of their internationally renowned collection of paintings and sculpture, who recommended that his protégé Robert Ashwin Maynard be appointed first Artistic Director of the so-called Arts and Crafts Department at Gregynog.

In fact, Maynard knew nothing of the crafts. He was selling cattle medicine in Shrewsbury at the time. At the Davies sisters’ expense, Maynard was sent to Central School of Arts and Crafts in London. While he tried his hand at several crafts, he was most interested in printing and book production. In a 1922 letter to Blaker, Maynard enclosed his ‘first woodcuts printed at the School.’ He advocated a ‘simple, rigid design, relying on fine drawing and significant spacing.’ This marks the genesis of the Gregynog Press.

Many students of the creative engraving classes at Central found an outlet for their work in the private presses that flourished in Britain during the 1920s and 30s. The twentiethcentury private presses were a legacy of the Arts and Crafts Movement. They grew out of a belief that technology and mass production had destroyed craft, led to a decline in standards, and resulted in loss of the personal fulfilment and community function of meaningful work.

By July 1922, Maynard had relocated to Gregynog where he set up a composing room and print workshop in the courtyard. Over the next ten years, Gregynog would become the most self-sufficient of private presses; every stage in the manufacture of a book, except papermaking, was undertaken inhouse.

The first book was not published until December 1923. The Poems of George Herbert is a simple volume of devotional verse with a woodengraved frontispiece and initial letters by Maynard. The more richly illustrated Poems by Henry Vaughan followed in December 1924. [Lot 7] Maynard was now assisted by master printer John Henry Mason, who had taught him at Central. The wood engravings are by Maynard and Horace Walter Bray who joined the team in 1924 as Press Artist. The medium suited the clarity and simplicity of Maynard’s draughtsmanship, enabling him to achieve dramatic contrasts of light and shade.

By 1924, Press business was formalised. A Board of Directors was established: Gwendoline and Margaret Davies, TJ, and Ernest Rhys as literary editor. Rhys was author as well as founder and editor of J. M. Dents’ Everyman’s Library series of affordable classics. Gregynog Press aimed to publish Welsh works in translation; works in English by Welsh writers; and fine editions of texts in Welsh. The Press also produced ephemera: illustrated Christmas cards, concert programmes, addresses for the Welsh Council for the League of Nations, as well as programmes for concerts, conferences and religious services held at Gregynog. [Lot 47]

David Jones

At its peak, the Press employed seventeen staff, most of whom were local to Gregynog. George Fisher was appointed binder in 1925. Widely regarded now as one of the greatest bookbinders of the twentieth century, Fisher was responsible for the exquisite gold-tooled full-leather specials that distinguish Gregynog Press outputs.

Maynard’s most ambitious project was The Celebrated Romance of the Stealing of the Mare, a medieval Islamic love story. The full-page frontispiece and decorated initials were designed and engraved by Maynard, watercoloured by hand and embellished with gold leaf. [Lots 37,38]

Maynard and Bray left the Press in February 1930, as Blaker puts it, ‘in a huff.’ Their two-volume Plays of Euripides, richly illustrated with woodengraved illustrations after Greek vase paintings, was published in 1931. [Lots 24,29]

TJ insisted that a Welshman be appointed as replacement Controller, but the other Directors fought to engage the best artist for the job. Blaker argued that artists, rather than craftsmen-printers, should be at the helm. They would bring a freshness to the book designs, unlike the trained pressmen, typographers and printers who tended to conform to tradition. On Blaker’s recommendation, Blair Hughes-Stanton was invited to succeed Maynard.

An established wood-engraver, Hughes-Stanton declined the managerial role, proposing instead

that he become Press Artist, with Scottish painter-sculptor William McCance serving as Controller. In 1930, Hughes-Stanton and McCance moved to Gregynog with their wives Gertrude Hermes and Agnes Miller Parker. Both women had trained in printmaking at Central and were at the vanguard of wood engraving in Britain.

The books produced during the tenure of Hughes-Stanton and McCance, such as The Revelations of St John the Divine [Lot43] and XXI Welsh Gypsy Folk-Tales [Lots 36, 41, 42], were acclaimed internationally for their modernist design, the virtuosity of the engravings, unsurpassed printing, and innovative special bindings. For Hughes-Stanton, letterforms had the same aesthetic attraction and design potential as the images. Revelations, in particular, exemplifies his positive interaction between image and text. Herbert John Hodgson, who joined the staff in 1927, is credited with the outstanding quality of the printing of the finely-wrought engravings. Hughes-Stanton’s scantily clad or naked figures troubled Gwendoline Davies’s Calvinistic Methodist sensibilities. ‘How ever will we woo

Mr Hughes Stanton from his delectable young ladies?’ she wrote to TJ. Blaker too regretted that Hughes-Stanton had gone ‘into harness with the firm determination to cut in wood sexual organs in his illustrations.’ Like ‘sex obsessed’ Eric Gill—whom Blaker deemed to be ‘so full of Faith, so full of filth’—he thought Stanton was ‘supreme in technique, extreme in message.’

Hermes and her children left Gregynog in 1933 following her husband’s affairs with women in the village. She had designed and engraved blocks for two books, but her departure meant the projects were never realised. Gwasg Gregynog, however, borrowed from the National Library of Wales her boxwood blocks for Gilbert White’s Natural History and Antiquities of Selborne and W. H. Davies’ The Lover’s Song-book and published them in 1988 and 1993 respectively. [Lot 14]

Agnes Miller Parker’s imaginative compositions are distinctive in their stylisation and meticulous in the fineness of her free-flowing lines. She was originally contracted for one year with a retaining fee of £100. Hughes-Stanton set the fees for the

XXI Welsh Gypsy Folktales

Gregynog Press Bindery in the 1930’s

woodblocks according to size. But he was a fast engraver and Parker felt disadvantaged engraving 37 blocks for her 1932 volume Fables of Esope When her contract expired, she was taken on as freelance to work on XXI Welsh Gypsy Folk Tales

When Gwendoline Davies admonished Parker—telling her it had been a ‘discourtesy’ to illustrate Rhys Davies’s Daisy Matthews for the Golden Cockerel Press while contracted freelance to Gregynog—she tendered her resignation. Meanwhile, relationships between Hughes-Stanton and McCance had become strained.

Gregynog was evidently too isolated and suffocating for artistic endeavour. Building a contented community was ever thwarted by shenanigans, suspicions, parochial attitudes, and petty jealousies.

After Hughes-Stanton’s and McCance’s contracts terminated in 1933, there were no resident Controllers or Press Artists at Gregynog. Lloyd Haberly, a young American who chose to work from Oxford, joined as part-time Controller. Consequently, there was little supervision of staff, and this led to delays during his short tenure. He was succeeded by James Wardrop who worked in the manuscript department of the British Museum. He was neither

artist nor printer. Haberly and Wardrop mostly commissioned artists such as Stefan Mrozewski to illustrate The Romance of Parzival and the Holy Grail and Helen Waddell’s poem New York City, and John Farleigh for the engraved frontispiece and Paul Nash for binding design of Shaw Gives Himself Away. Most books produced at Gregynog after 1933 were sparsely decorated. Though exquisite in presswork and binding, they lack the ingenuity and typographic sensitivity of earlier publications.

Gradually staff drifted away and the Press wound up. The forty-second and last book—Lyrics and Unfinished Poems by Lascelles Abercrombie—was published in August 1940. ‘It won’t be possible to open the Press ever again,’ Gwendoline wrote to TJ. ‘The First War knocked my life and health to pieces. It had to be rebuilt. And you were the builder and restorer. […] All I’ve been able to do during the last thirty years has been almost entirely your doing.’

The company did not enter voluntary liquidation until 1965, by which time Gregynog Hall had passed from Margaret Davies to the University of Wales. Presses, paper and type continued to gather dust until the University funded the year-long appointment of a Printing Fellow who was charged to produce a book. During 1975-76, Michael Hutchins of Camberwell School of Arts and Crafts designed and printed R. S. Thomas’s Laboratories of the Spirit on a small Albion handpress. [Lot 32]

Building on the book’s success, the Arts Council for Wales supported the newly-formed Gwasg Gregynog with annual grants from 1977 to 1998. Head of Birmingham School of Printing Eric Gee was appointed Controller and David Vickers (Gwasg Gregynog’s last Controller) as compositor/printer. The production of limited-edition books continued much as it did during the inter-war years, though there were no resident artists or inhouse binders until the appointment of Alan Wood in 1990. Gwasg Gregynog commissioned its illustrators, binders and occasionally designers.

Gee retired in 1985 and was succeeded by David Esslemont, a protégé of Hughes-Stanton at Central in the 1970s. He remained in post until 1998 when Arts Council funding ceased. David Vickers was appointed Controller. Preserving the highest standards of production, Vickers worked closely with Kyffin Williams on Cutting Images [Lot 39], Colin See-Payton on Of a Feather, and Rigby Graham on Pennant and his Welsh Landscapes. [Lots 31, 33]

Each private press has its own design characteristics, historical references, and typographic peculiarities. Gregynog Press / Gwasg Gregynog achieved unity and harmony of design, materials and construction by ensuring papers, inks, typefaces, illustrations, decoration and bindings were chosen according to the demands of the text. There is no better way to understand this than to visit Gregynog to handle the books at Rogers Jones’ viewing, and to see, feel and smell for yourself what makes Gregynog books so special.

Robert Meyrick

Art historian, Gregynog Trustee, served on the Editorial Board of Gwasg Gregynog 1998-2016, designed The Twelve (2000) and Pennant and his Welsh Landscapes (2006)

For its 2025 Summer Welsh Sale at Gregynog Hall, Rogers Jones has assembled a large and representative corpus of books as well as printed ephemera from both Gregynog Press (1923-1940) and its successor Gwasg Gregynog (1975-2016). The majority are from the collections of the late Warwick Brown, former proprietor of Galloway Booksellers, Aberystwyth; Professors Hazel and Walford Davies, also of Aberystwyth; and Dr Glyn Tegai Hughes (1923-2017), scholar and the University of Wales’ first Warden of Gregynog Hall.

Pennant and his Welsh Landscapes

Rogers Jones &

Lord Herbert of Cherbury 1926

Parzival

Natural History of Selborne

Kyffin Cuttings

Stealing of the Mare

Stealing of the Mare frontispiece

Revelations Revelations

LLUNIADU CAIN, BYLCHAU SYLWEDDOL, A DYLUNIAD SYML, CALETSYTH:

ARTISTIAID

GWASG GREGYNOG

Yn ddyngarwyr a noddwyr y celfyddydau, roedd gan

Gwendoline a Margaret Davies o Gregynog gyfoeth mawr a chydwybod gymdeithasol. Ym 1923, fe sefydlon nhw Wasg Gregynog fel rhan o fenter ehangach i feithrin diddordeb yn y celfyddydau yng Nghymru yn sgil y Rhyfel

Mawr. Eu huchelgais oedd i Neuadd Gregynog ddod yn ganolfan wledig ar gyfer y celfyddydau er budd y rhai oedd wedi cael eu heffeithio gan ryfel.

Roedd artistiaid-engrafwyr a dylunwyr, teipograffwyr, argraffwyr a rhwymwyr llyfrau yn byw ac yn gweithio gyda’i gilydd yng Ngregynog, gan ddefnyddio technegau traddodiadol i greu llyfrau rhifynnau cynfyngedig â llaw. Yn ystod ei ddegawd gyntaf, sefydlodd Gregynog enw da fel un o weisgfeydd preifat gorau’r byd. Ffrind a chynghorydd agosaf

Gwendoline Davies oedd Dr Thomas Jones o’r Rhymni (‘TJ,’ fel y’i gelwid yn annwyl). Yn uwch was cyhoeddus, roedd gan TJ gysylltiadau da yng Nghymru a thu hwnt. Er mai ef oedd y tu ôl i lawer o waith elusennol a gweithgareddau’r chwiorydd yng Ngregynog, Hugh Blaker, brawd cyn-athrawes y chwiorydd, Jane Blaker, a chynghorydd i’r chwiorydd wrth ffurfio eu casgliad rhyngwladol enwog o baentiadau a cherfluniau, a argymhellodd y dylid penodi Ashwin Maynard, oedd dan adain Hugh Blaker, yn Gyfarwyddwr Artistig cyntaf yr hyn a elwid yr Adran Gelf a Chrefft yng Ngregynog.

Mewn gwirionedd, doedd Maynard ddim yn gwybod dim am y crefftau. Roedd yn gwerthu meddyginiaeth gwartheg yn yr Amwythig ar y pryd. Ar draul y chwiorydd Davies, anfonwyd Maynard i Ysgol Gelf a Chrefft Central yn Llundain. Er iddo roi cynnig ar sawl crefft, ei ddiddordeb mwyaf oedd argraffu a chynhyrchu llyfrau. Mewn llythyr at Blaker ym 1922, amgaeodd Maynard ei ‘doriadau pren cyntaf a argraffwyd yn yr Ysgol.’ Roedd o blaid ‘dyluniad syml, caletsyth, yn dibynnu ar luniadu manwl a bylchau sylweddol.’ Mae hyn yn nodi tarddiad Gwasg Gregynog.

Roedd llawer o fyfyrwyr y dosbarthiadau ysgythru creadigol yn Central wedi dod o hyd i fynegiant i’w gwaith yn y gweisg preifat a ffynnodd ym Mhrydain yn ystod y 1920au a’r 30au. Gwaddol o’r Mudiad Celf a Chrefft oedd gweisg preifat yr ugeinfed ganrif. Fe dyfont allan o’r gred bod technoleg a masgynhyrchu wedi dinistrio crefft, wedi arwain at ddirywiad mewn safonau, ac wedi arwain at golli’r cyflawniad personol a’r swyddogaeth gymunedol o waith ystyrlon.

Erbyn Gorffennaf 1922, roedd Maynard wedi symud i Gregynog lle sefydlodd ystafell gyfansoddi a gweithdy argraffu yn y cwrt. Dros y deng mlynedd nesaf, Gregynog fyddai’r wasg breifat fwyaf hunangynhaliol; roedd pob cam o gynhyrchu llyfr, ac eithrio gwneud y papur, yn cael ei wneud yn fewnol.

Ni chyhoeddwyd y llyfr cyntaf tan fis Rhagfyr 1923. Mae The Poems of George Herbert yn gyfrol syml o farddoniaeth ymroddedig gyda blaenlun wedi’i ysgythru mewn pren a llythrennau bras gan Maynard. Yn dilyn roedd Poems gan Henry Vaughan, [Lot 7] sydd wedi’i ddarlunio’n fwy cyfoethog, ym mis Rhagfyr 1924. Roedd Maynard yn derbyn cymorth bellach gan y meistr argraffu John Henry Mason, a oedd wedi’i ddysgu yn Central. Mae’r ysgythriadau pren gan Maynard a Horace Walter Bray a ymunodd â’r tîm ym 1924 fel Artist y Wasg. Roedd y cyfrwng yn addas i eglurder a symlrwydd gwaith lluniadu Maynard, gan ei alluogi i gyflawni cyferbyniadau dramatig o olau a chysgod.

Erbyn 1924, roedd busnes y Wasg wedi’i ffurfioli. Sefydlwyd Bwrdd Cyfarwyddwyr: Gwendoline a Margaret Davies, TJ, ac Ernest Rhys yn olygydd llenyddol. Roedd Rhys yn awdur yn ogystal â sylfaenydd a golygydd cyfres glasuron fforddiadwy Everyman’s Library gan J. M. Dents. Nod Gwasg Gregynog oedd cyhoeddi gweithiau Cymreig mewn cyfieithiad; gweithiau yn Saesneg gan awduron Cymreig; a rhifynnau cain o destunau yn y Gymraeg. Cynhyrchodd y Wasg hefyd effemera: cardiau Nadolig darluniadol, rhaglenni cyngerdd, anerchiadau ar gyfer y Cyngor Cymreig ar gyfer Cynghrair y Cenhedloedd, yn ogystal â rhaglenni ar gyfer cyngherddau, cynadleddau a gwasanaethau crefyddol a gynhaliwyd yng Ngregynog. [Lot 47]

David Jones

Yn ei hanterth, roedd y Wasg yn cyflogi dau ar bymtheg o staff, y rhan fwyaf ohonynt yn lleol i Gregynog.

Penodwyd George Fisher yn rhwymwr ym 1925. Yn cael ei ystyried erbyn hyn fel un o rwymwyr llyfrau gorau’r ugeinfed ganrif, roedd Fisher yn gyfrifol am y llyfrau lledr, coeth, arbennig ag offer aur sy’n nodweddu cynnyrch Gwasg Gregynog.

Prosiect mwyaf uchelgeisiol Maynard oedd The Celebrated Romance of the Stealing of the Mare, stori garu Islamaidd ganoloesol. Dyluniwyd ac ysgythrwyd y dudalen flaen a’r llythrennau cyntaf addurnedig gan Maynard, eu lliwio â dyfrlliw â llaw a’u haddurno â dail aur. [Lotiau 37,38]

Gadawodd Maynard a Bray y Wasg ym mis Chwefror 1930, fel y dywed Blaker, ‘wedi pwdu.’ Cyhoeddwyd eu dwy gyfrol Plays of Euripides, wedi’i ddarlunio’n gyfoethog â darluniau wedi’u cerfio â phren ar ôl paentiadau fas Groegaidd, ym 1931. [Lotiau 24,29]

Mynnodd TJ y dylid penodi Cymro yn Rheolwr newydd, ond brwydrodd y Cyfarwyddwyr eraill i gyflogi’r artist gorau ar gyfer y swydd. Dadleuodd Blaker y dylai artistiaid, yn hytrach na chrefftwyr-argraffwyr, fod wrth y llyw. Byddent yn dod â ffresni i ddyluniadau’r llyfrau, yn wahanol i ddynion y wasg, teipograffwyr ac argraffwyr hyfforddedig a oedd yn tueddu i gydymffurfio â thraddodiad. Ar argymhelliad Blaker, gwahoddwyd Blair Hughes-Stanton i olynu Maynard. Yn ysgythrwr pren profiadol, gwrthododd Hughes-Stanton rôl y rheolwr, gan gynnig, yn hytrach, y dylai ddod yn Arlunydd y Wasg, gyda’r arlunydd-gerflunydd Albanaidd, William McCance, yn gwasanaethu fel Rheolwr. Ym 1930, symudodd HughesStanton a McCance i Gregynog gyda’u gwragedd Gertrude Hermes ac Agnes Miller Parker. Roedd y ddwy fenyw wedi hyfforddi mewn argraffu yn Central ac roeddent ar flaen y gad o ran ysgythru pren ym Mhrydain.

Cafodd y llyfrau a gynhyrchwyd yn ystod cyfnod Hughes-Stanton a McCance, fel The Revelations of St John the Divine [Lot 43] ac XXI Welsh Gypsy Folk-Tales [Lotiau 36, 41, 42], glod rhyngwladol am eu dyluniad

modernistaidd, meistrolaeth yr engrafiadau, argraffu heb ei ail, a rhwymiadau arbennig arloesol. I Hughes-Stanton, roedd gan ffurfiau llythrennau’r un atyniad esthetig a photensial dylunio â’r delweddau. Mae Revelations, yn benodol, yn enghraifft o’i ryngweithio cadarnhaol rhwng delwedd a thestun. Mae Herbert John Hodgson, a ymunodd â’r staff ym 1927, yn cael y clod am ansawdd rhagorol argraffu’r engrafiadau cain. Roedd ffigurau hanner noeth neu’n gwbl noeth Hughes-Stanton yn pryderi teimladau Methodistiaid Calfinaidd Gwendoline Davies. ‘Sut byth y byddwn ni’n denu Mr Hughes Stanton oddi wrth ei ferched ifanc hyfryd?’ ysgrifennodd at TJ. Roedd Blaker hefyd yn difaru bod Hughes-Stanton wedi mynd ‘i’r afael â’r penderfyniad cadarn i dorri organau rhyw pren yn ei ddarluniau.’ Fel Eric Gill, a oedd ‘ag obsesiwn â rhyw’—yr oedd Blaker yn ei ystyried yn ‘llawn Ffydd, llawn budreddi’—roedd o’r farn bod Stanton yn ‘oruchaf o ran techneg, eithafol o ran neges.’

Gadawodd Hermes a’i phlant Gregynog ym 1933 yn dilyn perthynas ei gŵr â menywod yn y pentref. Roedd hi wedi dylunio ac ysgythru blociau ar gyfer dau lyfr, ond oherwydd ei hymadawiad, ni wireddwyd y prosiectau erioed. Fodd bynnag, benthycodd Gwasg Gregynog ei blociau bocs pren o Lyfrgell

Genedlaethol Cymru ar gyfer Natural History and Antiquities of Selborne gan Gilbert White a The Lover’s Song-book gan W. H. Davies a’u cyhoeddi ym 1988 a 1993 yn y drefn honno. [Lot 14]

Mae cyfansoddiadau dychmygus Agnes Miller Parker yn nodedig yn eu steilio ac yn fanwl iawn yng ngwychder ei llinellau rhydd. Cafodd ei chytundebu’n wreiddiol am flwyddyn gyda ffi gadw o £100. Gosododd Hughes-Stanton y ffioedd ar gyfer y blociau pren yn ôl maint. Ond roedd yn ysgythrwr cyflym ac roedd Parker yn teimlo dan anfantais wrth ysgythru 37 bloc ar gyfer ei chyfrol Fables of Esope ym 1932. Pan ddaeth ei chytundeb i ben, cafodd ei chyflogi fel gweithiwr llawrydd i weithio ar XXI Welsh Gypsy Folk Tales.

Pan geryddodd Gwendoline Davies Parker—gan ddweud wrthi ei fod yn ‘anghwrteisi’ darlunio Daisy Matthews gan Rhys Davies ar gyfer Gwasg y Golden Cockerel tra’n gweithio’n llawrydd i Gregynog— ymddiswyddodd. Yn y cyfamser, roedd y berthynas rhwng Hughes-Stanton a McCance wedi dod dan straen. Roedd Gregynog yn amlwg yn rhy ynysig ac yn rhy fyglyd ar gyfer ymdrechion artistig. Roedd adeiladu cymuned fodlon yn cael ei rwystro’n gyson gan helynt, amheuon, agweddau plwyfol, a chenfigen dibwys.

Ar ôl i gytundebau Hughes-Stanton a McCance ddod i ben ym 1933, nid oedd unrhyw Reolwyr preswyl nac Artistiaid y Wasg yng Ngregynog. Ymunodd Lloyd Haberly, Americanwr ifanc a ddewisodd weithio o Rydychen, fel Rheolwr rhan-amser. O ganlyniad, ychydig iawn o oruchwyliaeth oedd ar staff, ac arweiniodd hyn at oedi yn ystod ei gyfnod byr. Olynwyd ef gan James Wardrop a oedd yn gweithio yn adran llawysgrifau’r Amgueddfa Brydeinig. Nid oedd yn artist nac yn argraffydd. Comisiynodd Haberly a Wardrop artistiaid fel Stefan Mrozewski yn bennaf i ddarlunio The Romance of Parzival and the Holy Grail a cherdd Helen Waddell New York City, a John Farleigh ar gyfer y darn blaen wedi’i ysgythru a Paul Nash ar gyfer dyluniad rhwymo Shaw Gives Himself Away. Roedd y rhan fwyaf o’r llyfrau a gynhyrchwyd yng Ngregynog ar ôl 1933 yn brin eu haddurniadau. Er eu bod yn goeth o ran gwaith gwasg a rhwymo, nid oedd ganddynt yr un dyfeisgarwch a sensitifrwydd teipograffig â chyhoeddiadau cynharach.

Yn raddol, diflannodd y staff a daeth y Wasg i ben. Cyhoeddwyd y llyfr olaf, yr 42ain, Lyrics and Unfinished Poems gan Lascelles Abercrombie, ym mis

Awst 1940. ‘Fydd hi ddim yn bosibl agor y Wasg byth eto,’ ysgrifennodd Gwendoline i TJ. ‘Lloriodd y Rhyfel Cyntaf fy mywyd a’m hiechyd yn ddarnau. Roedd rhaid ei hailadeiladu. A chi oedd yr adeiladwr a’r adferwr. […] Mae popeth rydw i wedi gallu ei wneud yn ystod y tri deg mlynedd diwethaf yn gyfan gwbl oherwydd eich gwaith chi.’

Ni aeth y cwmni i ymddatodiad gwirfoddol tan 1965, ac erbyn hynny roedd Neuadd Gregynog wedi trosglwyddo o ddwylo Margaret Davies i Brifysgol Cymru. Bu’r gwasgfeydd, y papur a theip yn casglu llwch hyd nes i’r Brifysgol ariannu penodiad Cymrawd Argraffu am flwyddyn a gafodd y dasg o gynhyrchu llyfr. Yn ystod 1975-76, dyluniodd ac argraffodd Michael Hutchins o Ysgol Gelf a Chrefft Camberwell Laboratories of the Spirit R. S. Thomas ar wasg law fach Albion. [Lot 32]

Gan adeiladu ar lwyddiant y llyfr, fe benderfynodd Cyngor Celfyddydau Cymru gefnogi Gwasg Gregynog, oedd newydd ei ail-ffurfio, gyda grantiau blynyddol o 1977 i 1998. Penodwyd Pennaeth Ysgol Argraffu Birmingham, Eric Gee, yn Rheolwr a David Vickers (Rheolwr olaf Gwasg Gregynog) yn gysodwr/argraffydd.

Parhaodd cynhyrchu llyfrau rhifynnau cyfyngedig yn debyg iawn i’r blynyddoedd rhwng y rhyfeloedd, er nad oedd unrhyw artistiaid preswyl na rhwymwyr mewnol tan I Alan Wood gael ei benodi ym 1990. Comisiynodd Gwasg Gregynog ei ddarlunwyr, rhwymwyr a dylunwyr yn achlysurol. Ymddeolodd Gee ym 1985 a chafodd ei olynu gan David Esslemont, protégé Hughes-Stanton yn Central yn y 1970au. Arhosodd yn y swydd tan 1998 pan ddaeth cyllid Cyngor y Celfyddydau i ben. Penodwyd David Vickers yn Rheolwr. Gan gynnal y safonau cynhyrchu uchaf, gweithiodd Vickers yn agos gyda Kyffin Williams ar Cutting Images [Lot 39], Colin See-Payton ar Of a Feather, a Rigby Graham ar Pennant and his Welsh Landscapes. [Lotiau 31, 33]

Mae gan bob gwasg breifat ei nodweddion dylunio, cyfeiriadau hanesyddol, a rhyfeddodau teipograffig ei hun. Cyflawnodd Gregynog Press / Gwasg Gregynog undod a chytgord dylunio, deunyddiau ac adeiladwaith trwy sicrhau bod papurau, inciau, ffontiau, darluniau, addurniadau a rhwymiadau wedi’u dewis yn ôl gofynion y testun. Nid oes ffordd well o ddeall hyn nag o ymweld â Gregynog i drin y llyfrau yn arwerthiant Rogers Jones, ac i weld, teimlo ac arogli drosoch eich hun beth sy’n gwneud llyfrau Gregynog mor arbennig.

Robert Meyrick

Hanesydd celf, Ymddiriedolwr Gregynog, gwasanaethodd ar Fwrdd Golygyddol Gwasg Gregynog 1998-2016, dyluniodd The Twelve (2000) a Pennant and his Welsh Landscapes (2006).

Ar gyfer yr Arwerthiant Cymreig Haf 2025 yn Neuadd Gregynog, mae Rogers Jones wedi casglu corff mawr a chynrychioliadol o lyfrau yn ogystal ag effemera printiedig o Gregynog Press / Gwasg Gregynog (1923-1940) a’i olynydd Gwasg Gregynog (1975-2016). Daw’r mwyafrif o gasgliadau’r diweddar Warwick Brown, cyn-berchennog siop lyfrau Galloway, Aberystwyth; yr Athrawon Hazel a Walford Davies, hefyd o Aberystwyth; a Dr Glyn Tegai Hughes (19232017), ysgolhaig a Warden cyntaf Neuadd Gregynog Prifysgol Cymru.

Rogers Jones &

Sold £6500 (April 2025)

British & European Fine Art

Antonietta Brandeis ‘San Giorgio’

Sold £6500 (April 2025)

Jewellery, Coins & Watches

Hunt & Roskell diamond pendant

Sold £3500 (March 2025)

The Club House

Distinguished Flying Cross group

Beyond Europe

Chinese ‘Star Gods’ vase

Sold £5500 (May 2025)

Next Specialist Auctions (entries close one month prior):

Jewellery, Coins & Watches | September 11th

British & European Fine Art | September 30th

The Club House | October 28th

Beyond Europe | November 25th

1

GWASG GREGYNOG: ‘Cerddi Saunders Lewis’, edited by R. Geraint Gruffydd, 1986, limited edition (268/450)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: light wear to front

£50-100

2

GWASG GREGYNOG: ‘Detholiad o Ganiadau’ by T. Gwynn Jones, 1926, limited edition number 252

Provenance: private collection Rhondda Cynon Taf

Comments: discolouration to page edges and front and back pages, light foxing

£70-100 3

GWASG GREGYNOG: MORRIS-JONES (JOHN, translated.) Penillion Omar Khayyam, no. 134 of 310 copies, with wood-engravings by Robert Maynard, blue and black print, yellow over cream linen, spine gilt, 4to., Newtown, 1978

Provenance: private collection France

Comments: good clean copy

£70-100 4

GWASG GREGYNOG: NATIONAL ASSEMBLY FOR WALES, no. 34 of 250 copies, being an impression of the type used to print the Representation of the Government of Wales Act 1998, on Zerkall mould-made paper and hand-bound in full green cloth gilt by Alan Wood, designed and hand-set by David Vickers in Monotype Bembo and Monotype Perpetua Titling, folio, Gregynog Bindery, Newtown, 1998, in slipcase

Provenance: private collection Conwy

Comments: surface marks/scratches to slip-case only

£70-100

5

THE GREGYNOG PRESS: ‘An Account of the Convincement Exercises, Services, and Travels of that Ancient Servant of the Lord Richard Davies’, 1928, limited edition (41/175)

Provenance: private collection Rhondda Cynon Taf

Comments: fading to spine, light shelf wear

£70-100

6

THE GREGYNOG PRESS: ‘Poems’ by Henry Vaughan, limited edition (107/500), 1924

Provenance: private collection Rhondda Cynon Taf

Comments: light shelf wear, discolouration to page edges

£70-100

7

THE GREGYNOG PRESS: VAUGHAN (HENRY) Poems, no. 243 of 500 copies, printed by Robert Ashwin Maynard with designs by Maynard and Walter Bray, original cloth-backed patterned-paper boards, 1924

Provenance: private collection France

Comments: good overall

£70-100

8

GWASG GREGYNOG: ‘A Machynlleth Triad’ by Jan Morris, illustrations by Brenda Berman, 1993, green quarter goatskin, limited edition (XVIII/L), green slipcase

Provenance: private collection Gwynedd

Comments: immaculate edition from an immaculate collection, unused and still in retail wrapping

£80-120

9

GWASG GREGYNOG: GRUFFYDD (W. J.) Caniadau, numbers 168 & 106 of 400 copies, printed in red & black, 4 wood-engravings by Blair HughesStanton, original mottled red paper over buckram boards gilt, gilt spines, 4to, Newtown, 1932 (2)

Provenance: private collection France

Comments: both stained covers, one with torn faded paper

£80-120

10

THE GREGYNOG PRESS: GREVILLE (FULKE, Lord Brooke) Cælica, Una Ellis-Fermor (Ed). no. 112 of 225 copies, red and black print, diagonal patterned cloth, gilt tooled calf spine by Gregynog Bindery, 4to, Newtown, 1936

Provenance: private collection France

Comments: excellent clean copy

£80-120

11

THE GREGYNOG PRESS: MILTON (JOHN) Four Poems by John Milton: L’Allegro, Il Penseroso, Arcades, Lycidas, no. 195 of 250 copies, with Wood-Engravings by Blair Hughes-Stanton, original red Heritage calf, lettered on spine and blind-embossed on upper cover, 1943 dated presentation inscribed card pasted in, Newtown 1933.

Provenance: private collection France

Comments: internally good, clean, minor toning; calf faded and spotted upper margin and spine, lightly worn all over, corners bumped

£80-120

12

THE GREGYNOG PRESS: ‘Selected poems of Edward Thomas’, introduction by Edward Garnett, 1927, limited edition (205/275)

Provenance: private collection Rhondda Cynon Taf

Comments: shelf wear, light discolouration to pages

£80-120

13

THE GREGYNOG PRESS: ‘Selected poems of Edward Thomas’, introduction by Edward Garnett, 1927, limited edition (219/275)

Provenance: private collection Powys

Comments: some shelf wear, light discolouration to pages

£80-120

14

THE GREGYNOG PRESS: ‘The Lovers’ Song-Book’ by W. H. Davies, 1933, limited edition (215/250)

Provenance: private collection Powys

Comments: light discolouration to pages, light shelf wear, otherwise fine

£80-120

15

GWASG GREGYNOG: ‘A Machynlleth Triad’ by Jan Morris, limited edition (51/400), 1993, soft bound with case and slip case

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: very fine, in original sold condition with compliment slip from David Vickers

£100-150

16

GWASG GREGYNOG: ‘Cerddi Robert Williams Parry’, 1980, limited edition (153/200)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: foxing present on back pages

£100-150

17

GWASG GREGYNOG: ‘Cerddi Robert Williams Parry’, 1980, limited edition (155/200)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: foxing, light discolouration to front pages, marks to the cover and spine

£100-150

18

GWASG GREGYNOG: ‘Clych Atgof’ by Owen Edwards, 1933, limited edition number 140

Provenance: the collection of Professors Hazel and Walford Davies

Comments: some spine wear, leather worn in places, yellowing and foxing around page edges

£100-150

19

GWASG GREGYNOG: collection of small booklets from ‘Gregynog Poets’ series of twelve poems, selected by Meic Stephens and each accompanied by a specially commissioned wood engraving, Harri Webb / Yvonne Skargon ‘A Crown for Branwen’; Bobi Jones / Hilary Paynter ‘Bwyta’n Te’; Gwyn Thomas / Leslie Benenson ‘Ceffylau’; Alun LlywelynWilliams / Harry Brockway ‘Seren Bethlehem’; Alan Llwyd / David Esslemont ‘Yr Hebog Uwch Felindre’; along with ‘The Mountains of Wales: An Anthology in Verse & Prose’ by Ioan Bowen Rees; and ‘Coed Glyn Cynon’, 1990, etc.

Provenance: private collection Ceredigion

Comments: good overall, viewing recommended £100-200

20

GWASG GREGYNOG: ‘Wood Engravings by Gertrude Hermes being illustrations to Selborne’ limited edition (169/215), 1988

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: very fine, finger prints to early pages only £100-150

21

THE GREGYNOG PRESS: (1) ‘The Autobiography of Edward Lord Herbert of Cherbury’ with an introduction by C H Herford and wood-engravings by H W Bray, limited edition (9/300), 1928 (2) ‘Poems by Henry Vaughan, limited edition (329/500) 1926

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: (1) good overall (2) good overall £100-150

22

THE GREGYNOG PRESS: (1) ‘The Story of a Red Deer’ by the Honourable J W Fortescue, illustrated by Dorothy Burroughes, limited edition (50/25), 1935, and (2) ‘Chosen Essays by Edward Thomas’, limited edition (310/350) 1926 (2)

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: (1) structurally sound, surface marks to binding, discolouration to edges (2) fading to binding, foxing, discolouration

£100-150

23

THE GREGYNOG PRESS: ROSETTI (CHRISTINA) Poems chosen by Walter de la Mare, woodcut portrait by Robert Ashwin Maynard, no. 112 of 300 copies, printed in black and red, original calf backed marble boards, gilt tooled spine, 8to. Newtown, 1930

Provenance: private collection Gwent

Comments: pages uncut, no slipcase, spine slightly spotted £100-150

24

THE GREGYNOG PRESS:

‘The Plays of Euripides’ Vol. I ‘Hippolytus, The Bacchae, The Trojan Women, Electra’, limited edition number 159, and Vol. II ‘Medea, The Iphigenia in Tauris, Alcestis, The Rhesus’, limited edition number 159, translated into English rhyming verse by Gilbert Murray, wood engravings from the Greek vase paintings by Robert Ashwin Maynard and Horace Walter Bray (2)

Provenance: private collection Rhondda Cynon Taf

Comments: light discolouration to pages £100-200

25

VARIOUS GREGYNOG PRESS WOOD CUTS comprising (1) Agnes Miller Parker ‘The Fiery Dragon’, (2,3,4) three 1974 Christmas greetings from Gregynog each with David Jones ‘The Crucifixion’ (5) loose David Jones ‘The Crucifixion’ (6) portrait by Blair Hughes-Stanton (7,8,9) three pamphlets ‘New York City’ with a wood-cut by Stefan Mrozewski

Provenance: collection of the late 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

Comments: very fine condition £100-200

26

GWASG GREGYNOG: ‘Four Great Castles - An Essay by Arnold Taylor’ with etchings by David Woodford, limited edition (52/150) 1983, slip-case

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: very fine £120-180

27

GWASG GREGYNOG: collection of three titles, ‘Emynau Morgan Rhys’, selected and edited by D. Simon Evans, illustrated by Rhiain M. Davies, 2001, quarter leather, limited edition (XIII/C), with slipcase, ‘Goethe: Poems’, collection published to celebrate the 250th anniversary of the birth of Johann Wolfgang Goethe and the 600th of the birth of Johann Gutenberg, edited and introduced by T. J. Reed, 2000, quarter cloth, cover illustrated with Neil Holland linocut, limited edition (17/150), green slipcase and ‘Emynau Morgan Rhys’, selected and edited by D. Simon Evans, illustrated by Rhiain M. Davies, 2001, quarter cloth, limited edition (62/250), with slipcase (3)

Provenance: private collection Gwynedd

Comments: immaculate edition from an immaculate collection, unused and still in retail wrapping

£150-200

28

GWASG GREGYNOG: ‘The Mountains of Wales - An Anthology in Verse & Prose’ by Ioan Bowen Rees, limited edition (56/255), 1987

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: as per original sale, compliment slip and outer box (surface scratch to box only)

£150-250

29

THE GREGYNOG PRESS: The Plays of Euripides…translated into English Rhyming Verse by Gilbert Murray…no. 103 of 500 copies, printed in red and black, with wood-engravings from the Greek Vase Paintings, by Robert Ashwin Maynard and Horace Walter Bray, one with Harold James Leighton bookplate, 2 vols, folio, red gilt-blocked linen, Newtown, 1931 (2)

Provenance: private collection France

Comments: end paper toned, covers slightly faded and worn £150-200

30

THE GREGYNOG PRESS: ‘The Singing Caravan: A Sufi Tale’ by Robert Vansittart, 1932, limited edition (177/250)

Provenance: private collection Powys

Comments: some shelf wear, leather wear to most of book and spine, light discolouration to pages, some light foxing to front pages

£150-250

31

GWASG GREGYNOG: ‘Pennant and his Welsh landscapes - Selected readings from A Tour in Wales (1778-1784)’, edited by Gwyn Walters, with woodcuts by Rigby Graham, 2006, quarter yellow leather, limited edition (106/150), purple slipcase

Provenance: private collection Gwynedd

Comments: immaculate edition from an immaculate collection, unused and still in retail wrapping

£200-400

32

GWASG GREGYNOG: ‘Laboratories of the Spirit’, by R S Thomas being the first post-War undertaking at Gwasg Gregynog, limited edition (54/200), 1975, outer-box, original parchment-paper and single-page compliment sheet still present

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: as new in original presentation, sl. discolouration to early pages

£200-300

33

GWASG GREGYNOG: WALTERS (GWYN, ed.) Pennant and his Welsh Landscapes…1778-1784, no. 132 of 150, with woodcuts by Rigby Graham, yellow quarter calf gilt over gilt embossed terracotta cloth, folio, Newtown, 2006, in purple slipcase.

Provenance: private collection Conwy Comments: excellent overall

£200-300

34

THE GREGYNOG PRESS: ‘CHOSEN ESSAYS’ by Edward Thomas, 1926, limited edition (230/350)

Provenance: private collection Rhondda Cynon Taf

Comments: foxing to the title pages, fading to spine, discolouration to front pages, light general wear

£200-300

35

GWASG GREGYNOG: ‘Emynau Williams Pantycelyn’, 1991, preface by Derec Llwyd Morgan, illustrated by Rhiain Davies, limited edition (40/250)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: good condition

£250-350

36

THE GREGYNOG PRESS: SAMPSON (JOHN, editor) XXI Welsh Gypsy FolkTales, number 48 of 250 copies, woodengraved title-vignette and illustrations by Agnes Miller Parker, original citron sheepskin gilt by the Gregynog Bindery, bookplate for Harold James Leighton, 4to, Newton, Gregynog Press, 1933

Provenance: private collection France

Comments: end-papers with marginal toning, cover edges and spine rubbed/ scuffed, inspection advised

£250-350

37

THE GREGYNOG PRESS: ‘The Stealing of the Mare’, translated from the original Arabic by Lady Anne Blunt, and done into verse by Wilfred Scawen Blunt, 1930, limited edition (235/275)

Provenance: private collection Rhondda Cynon Taf

Comments: discolouration to title pages, shelf wear

£250-350

38

THE GREGYNOG PRESS: ‘The Stealing of the Mare’, translated from the original Arabic by Lady Anne Blunt, and done into verse by Wilfred Scawen Blunt, 1930, limited edition (96/275)

Provenance: private collection Powys Comments: foxing to the spine, light discolouration to title pages

£250-350

39

GWASG GREGYNOG: ‘Cutting Images’, a selection of linocuts by Sir Kyffin Williams, 2002, fully signed by Kyffin in pencil, limited edition (172/275)

Provenance: private collection Powys

Comments: fine condition, slip case with very light shelf wear

£300-500

40

GWASG GREGYNOG: limited edition (74/250) ‘Deaths and Entrances’ by Dylan Thomas and illustrated by John Piper, 1984, in slipcase

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion Comments: very fine

£300-500

41

GWASG GREGYNOG: ‘Agnes Miller Parker Wood Engravings; from XXI Welsh Gypsy Folk-Tales’, quarter cloth and with matching slipcase, 1997, limited edition (167/185)

Provenance: private collection Gwynedd Comments: immaculate edition from an immaculate collection, unused and still in retail wrapping

£400-700

42

THE GREGYNOG PRESS: ‘Welsh Gypsy Folk-Tales’ by John Sampson, 1933, limited edition (85/250)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: slight yellowing to the page edges, foxing to the front pages, leather wear

£500-800

43

THE GREGYNOG PRESS: ‘The Revelation of St John the Divine’, 1932, with woodengravings by Blair Hughes-Stanton, limited edition (179/250)

Provenance: the collection of Professors Hazel and Walford Davies

Comments: wear to red leather spine and corners, discolouration to pages, torn slipcase

£600-900

44

GWASG GREGYNOG: ‘Two Old Men and Other Stories’ by Kate Roberts, 1981, illustrated by Sir Kyffin Williams

Provenance: the collection of Professors Hazel and Walford Davies

Comments: good condition

£700-1,000

45

NINE VARIOUS WELSH ANTIQUARIAN & PRIVATE PRESS BOOKS: including (1, 2) two volumes of ‘The Black Book of Carmarthen’ by John Gwenogvryn Evans, (3) Gwasg Gregynog ‘The Curate of Clyro’, (4) Whittington Press ‘The Diary of Edward Thomas’, (5) Tern Press ‘Prince Bluebeard’s Castle’ (and in same volume) ‘The Splendid Stag’ (6) Tern Press ‘The Poems on Llywarch Hen’ (7) Tern Press ‘Bardsey’ by Gerallt Jones (8) same title as No.7 but not leather bound (9) ‘The Vale of Nantgwilt- A Submerged Valley’ (in poor condition)

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: overall good except No.8, please examine £300-500

46

PRIVATE PRESS: GROUP OF FOUR VOLUMES, including Shakespeare (William) Venus & Adonis, no. 41 of 275 copies, wood-engs. by Horace Walter Bray, t.e.g., remainder untrimmed, orig. marble patterned cloth gilt embossed in matching slipcase, 4to., Raven Press, Harrow Weald, 1931 (partial spine label, case dust soiled); Harrop (Dorothy A.) History of the Gregynog Press, 1980 (covers minor blemishes); Esslemont (David) & Hughes (Glyn Tegai) (compiled) Gwasg Gregynog...A descriptive catalogue of printing at Gregynog 1970-1990, no. 10 of 755 copies, tipped in engravings, grey card covers, Newtown, 1990; Ann GriffithsPedwar Emyn, no. 32 of 50 copies, designed by Eric Tranter, illustrated linocuts by Penny Melvill, commissioned by North Wales Arts Association, Celtic cross printed brown paper wrap cover, loose pages of five hymns in Welsh with English transcriptions, narrow folio, 1976 (cover creased, small blemish) (4)

Provenance: private collection France

Comments: good overall, viewing recommended £100-200

47

TEN ITEMS OF GREGYNOG HALL EPHEMERA comprising five Gregynog Press printed Christmas greetings from Gwendolin and Margaret Davies for (1) 1930 with wood engraving by Blair Hughes Stanton and poetry by Robert Bridges (2) 1930-1931 with illustration of a dove by Agnes Miller Parker (3 & 4) 2 x 1935-1936 with the score of ‘An Old Welsh Carol’ 1936-1937 with poem by G K Chesterton (5) 1937-1938 with wood-engraving by Eric Gill (6)1938-1939 with Biblical passage. Together with (7 & 8) a pair of 1941 concert programmes for a concert at Gregynog ‘To honour the memory of Sir Walford Davies’ and a 1930 programme for St Matthew Passion given at Gregynog Hall under direction of Sir Walford Davies (10)

Provenance: collection of the late 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

Comments: very fine condition, rare £100-200

48

‡ MARGARET SIDNEY DAVIES (1884-1963) rare oil on canvas – Welsh valley landscape, signed, titled on label verso, 34 x 45cms

Provenance: gifted by the artist to the owner a former employee at Ocean Coal founded by David Davies of Llandinam, deceased estate Vale of Glamorgan

Comments: framed ready to hang £300-500

49

‡ MARGARET SIDNEY DAVIES (1884-1963) oil on canvas – still life of pink roses, signed, 29 x 25cms

Provenance: gifted by the artist to the owner a former employee at Ocean Coal founded by David Davies of Llandinam, deceased estate Vale of Glamorgan

Comments: framed ready to hang £200-300

50

‡ MARGARET SIDNEY DAVIES (1884-1963) oil on board – Grasse Farm, signed, titled verso, 34 x 39cms

Provenance: gifted by the artist to the owner a former employee at Ocean Coal founded by David Davies of Llandinam, deceased estate Vale of Glamorgan

Comments: framed ready to hang £300-500

THE WELSH SALE PART I / YR ARWERTHIANT CYMREIG

Dylan Thomas & Related Artworks

Dylan Thomas & Creu Arbrofannau

51

DYLAN THOMAS: ‘Twenty-Six Poems’, JM Dent & Sons Ltd, London, first edition, limited edition number 20, signed by Dylan Thomas

Provenance: the collection of Professors Hazel and Walford Davies, Professor Walford Davies is a leading authority on Dylan Thomas, the author of ‘Dylan Thomas’ (Open University Press), coeditor with Ralph Maud of the definitive editions of ‘Thomas’s Collected Poems, 1934-1953’ and ‘Under Milk Wood’ (Dent), and editor of ‘Selected Poems’ and ‘Under Milk Wood’ for Penguin Comments: foxing and yellowing on inside pages, wear to the slip case (held together with tape) £3,000-5,000

53

COLLECTION OF SEVEN BOOKS RELATING TO CERI RICHARDS / POETRY comprising (1) Richard Burns ‘Ceri Richards and Dylan Thomas: Keys to Transformation’, Enitharmon Press, 1981, fully illustrated; (2) Mel Gooding ‘Ceri Richards’, Cameron and Hollis, Moffat, 2002 hardback, the full critical biography by Ceri’s son-in-law and leading art critic; (3) Glyn Jones ‘The Learning Lark’, Dent, 1960, first edition hardback; (4) Vernon Watkins ‘The Death Bell’, Faber, 1954, second edition; (5) Walford Davies ‘Dylan Thomas: Writers of Wales’, University of Wales Press, 1972, hardback; (6) Tony Curtis essay ‘”Life’s Miraculous Poise Between Light and Dark” - Ceri Richards and the Poetry of Vernon Watkins’ in the journal ‘Welsh Writing in English’ Vol. 9, 2004, cover by Ceri Richards; (7) Interview with Alfred Janes in ‘Welsh Artists Talking’, Seren Books, 2002, ed. Prof. Curtis

Provenance: private collection Vale of Glamorgan

Comments: please view £100-120

52

DYLAN THOMAS / CERI RICHARDS ‘Drawings to Poems by Dylan Thomas’, Enitharmon Press, 1980, hardback first edition, with over sixty drawings by Ceri Richards, with introduction from Richard Burns

Provenance: private collection Vale of Glamorgan

Comments: marks to dust-cover, good overall £100-150

54

VERNON WATKINS (1906-1967): ‘Poesie’, Guanda Press, 1968, poem translations into the Italian by Roberto Sanesi (1930-2001), dedicated to Ceri and Frances Richards and thereafter by them to Vernon Watkins’s widow Gwen Watkins, signed by Sanesi and Richards

Provenance: private collection Vale of Glamorgan

Comments: good overall £200-250

55

SALUBRIOUS PRESS: THOMAS (DYLAN)

Letter to Loren, no. 52 of 200 copies, printed in navy and black, with tipped-in portrait frontis, original blue cloth with applied labels, 4to., Swansea, 1993, additional loose photographic frontis, prospectus, introduction by Jeff Towns, Xerox letters etc.

Provenance: private collection France

Comments: internally good, clean, cover slightly marked £70-100

56

RICHARD BURTON / HUGH GRIFFITH,

Original LP sleeve for the 1954 BBC production of ‘Under Milk Wood’ with signed piece in pencil of Richard Burton (First Voice) and Hugh Griffith (Captain Cat) framed together, 41 x 31cms

Provenance: private collection Cardiff, rare item having been signed by both actors

Comments: framed and glazed £150-250

57 ‡ CERI RICHARDS CBE mixed media - inscribed verso, ‘Death Shall Have No Dominion’, signed and dated 1965, 49 x 62cms

Provenance: private collection South Wales

Comments: framed and glazed

£3,000-5,000

58

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

Provenance: the collection of Professors Hazel and Walford Davies

Comments: unframed

£1,000-1,500

59

‡ CERI RICHARDS CBE pen, brush, black ink and watercolour on paper - illustration fowr ‘The Stork’, a poem by Dylan Thomas, signed, 37 x 55cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£5,000-8,000

60

‡ CERI RICHARDS CBE artist’s proof colour screenprint - entitled ‘Over St. John’s Hill’, part of the portfolio based on poems by Dylan Thomas, signed and dated ‘65 in pencil, (I) 81.5 x 60cms

Provenance: private collection Monmouthshire

Comments: framed and glazed

£150-250

‡ JOHN SELWAY mixed media - entitled verso, ‘Our Eunuch Dreams - All Seedless in Light/Love on a Reel/The Gunman and His Moll - Dylan Thomas’, signed and dated 2003, 50 x 69cms

Provenance: bought directly from the artist in 2004, private collection Vale of Glamorgan

Comments: framed and glazed

£200-400

62

‡ CERI RICHARDS CBE mixed media - inscribed verso, ‘Black Swan: Elegy for Vernon Watkins’, signed and dated ‘71, 40 x 28cms

Provenance: private collection South Wales

Comments: framed and glazed

£1,000-1,500

63

‡ JOHN PETTS limited edition (19/50) etching - entitled, ‘The Boathouse, Laugharne’, signed and dated 1989, 14 x 10cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £300-400

64

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

Provenance: the collection of Professors Hazel and Walford Davies

Comments: unframed

£1,000-1,500

65

CALON TV acetate cel - for the animated adaption of ‘Under Milk Wood’, 1982, depicting Butcher Beynon’s Dream, signed on Calon compliment slip verso by Producer, Robin Lyons, with original painted background, 23.5 x 38cms

Auctioneer’s Notes: illustrating text

“Mr. Beynon, in butcher’s bloodied apron, spring-heels down Coronation Street, a finger, not his own, in his mouth. Straight-faced in his cunning sleep he pulls the legs of his dreams and hunting on pigback shoots down the wild giblets.”

Provenance: from the Dylan Thomas House collection, Swansea who were gifted the cel to sell or be retained after an event in 2023, featuring Robin Lyons and Andrew Ofilier from Calon TV to discuss the making of the film, including the use of original images from the production

Comments: framed and glazed £200-300

66

CALON TV acetate cel - for the animated adaption of ‘Under Milk Wood’, 1982, depicting Willy Nilly the Postman, with original painted background, 45 x 28cms

Auctioneer’s Notes: Depicts “And Willy Nilly, rumbling, jockeys out again o’ the three sided shack called the House of Commons in the back where hens weep, and sees, in sudden Springshine,...herring gulls hecking down to the harbour...”

Provenance: from the Dylan Thomas House collection, Swansea who were gifted the cel to sell or be retained after an event in 2023, featuring Robin Lyons and Andrew Ofilier from Calon TV to discuss the making of the film, including the use of original images from the production

Comments: framed and glazed £200-300

67

CALON TV acetate cel - for the animated adaption of ‘Under Milk Wood’, 1982, depicting Mrs. Dai Bread One and Mrs. Dai Bread Two, with original painted background, 28 x 40cms

Auctioneer’s Notes: illustration text, “Mrs. Dai Bread Two - There’s two women in bed. He looks at them both, with his head cocked to one side. He’s whistling through his teeth. Now he grips his little arms round one of the women. Mrs Dai Bread One - Which One, which one? Mrs. Dai Bread Two - I can’t see anymore. There’s great clouds blowing again. Mrs. Dai Bread One - Ach, the mean old clouds!”

Provenance: from the Dylan Thomas House collection, Swansea who were gifted the cel to sell or be retained after an event in 2023, featuring Robin Lyons and Andrew Ofilier from Calon TV to discuss the making of the film, including the use of original images from the production.

Comments: unframed

£150-200

68

CALON TV acetate cel - for the animated adaption of ‘Under Milk Wood’, 1982, depicting Sinbad Sailors, with original painted background, 45 x 28cms

Auctioneer’s Notes: illustration text - “The ship’s clock in the bar says half past eleven. Half past eleven is opening time. The hands of the clock have stayed at half past eleven for fifty years. It is always opening time in the Sailors Arms.”

Provenance: from the Dylan Thomas House collection, Swansea who were gifted the cel to sell or be retained after an event in 2023, featuring Robin Lyons and Andrew Ofilier from Calon TV to discuss the making of the film, including the use of original images from the production.

Comments: unframed £150-200

Lots

THE WELSH SALE PART I / YR ARWERTHIANT CYMREIG

Works On Paper

Celf ar Bapur

For full bidding terms including charges and ARR qualified art

69

‡ BRENDA CHAMBERLAIN ink on paper - ink drawing with fruit and a vase, signed and dated 1970, 41 x 55cms

Provenance: purchased from Tegfryn Gallery, private collection South Yorkshire

Comments: framed and glazed

£200-300

70

‡ BRENDA CHAMBERLAIN pen ink on paper - reclining figure and flowers, signed and dated 1970, 41 x 55cms

Provenance: private collection

South Yorkshire

Comments: framed and glazed

£400-600

72

71

‡ BRENDA CHAMBERLAIN ink on papersurrealist ink drawing with stones and fruit, signed and dated 1970, 41 x 55cms

Provenance: purchased from Tegfryn Gallery, private collection South Yorkshire

Comments: framed and glazed

£250-350

‡ CERI RICHARDS CBE pen & ink, crayon gouache - entitled verso ‘Lyre Birds, Purple and Yellow’, on Thompson’s Gallery, London label, 22 x 20cms, together with copy of letter written by artist “Francis and I are sending you our Lyre birds for your Christmas Fayre, I hope that it will be to your taste… Love from Ceri and Francis”

Auctioneer’s Notes: the framing is noteworthy; the work of Alfred Hecht, German-born Chelsea art dealer and framer, whose clients included Ceri Richards, Graham Sunderland and Francis Bacon. He was celebrated for his trademark gilt frames and coloured mounts. His obituary in The Independent on 12/01/1991 included the following defining quote: “When I die, let my epitaph be, ‘Alfred Hecht, the man who invented the coloured mount’ “.

Provenance: private collection Cheshire

Comments: framed and glazed £700-1,400

73

‡ GWILYM PRICHARD mixed media on torn paper - entitled verso ‘Cadair Idris’ on Martin Tinney Gallery label, signed, signed and dated verso 1997, 14 x 19.5cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£300-400

74

‡ JOSEF HERMAN ink wash and pastelseated figure, 20 x 14cms

Provenance: private collection Conwy

Comments: framed and glazed

£300-500

75

‡ MIKE JONES pastel on paper - entitled verso ‘Sheep Mart, Newcastle-Emlyn’, signed, signed verso ‘05, 19 x 24cms

Provenance: private collection Cardiff

Comments: framed and glazed

£300-500

76

‡ WILLIAM SELWYN watercolour - Eisteddfod standing stones with Yr Wyddfa, entitled, ‘Yn Wyneb Haul, Llygad Goleuni’ (the face of the sun, the eye of light), signed, 30 x 50cms

Provenance: private collection Conwy, as per the Welsh inscription to mount, the painting was commissioned in 1993 for Ifan Eryri, the ‘Gorsedd Architect’

Comments: framed and glazed

£300-500

77

‡ DONALD McINTYRE watercolourentitled verso, ‘Harbour, Port Isaac’, signed with initials, 29 x 39cms

Provenance: bought directly from the artist, private collection South Yorkshire

Comments: some foxing present, framed and glazed

£300-400

78

‡ JOSEF HERMAN ink and washentitled verso, ‘Men Chatting’ on Martin Tinney Gallery label, dated verso 1950, 20 x 25cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£300-500

79

‡ DAVID NASH RA stencil with red acrylic - ‘Red Form’, signed with initials, dated 2014, 18.5 x 14cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £300-400

80

PETER PRENDERGAST pencil and ink-biro on paper - entitled verso ‘Pencil and Biro Study from Parc’, signed and dated ‘72, 20 x 30cms

Provenance: from the Estate Collection of Peter Prendergast (1946-2007), no ARR applicable

Comments: framed and glazed

£300-400

81

‡ LESLIE MOORE watercolour and inkentitled verso, ‘Landscape at Dinas Powys’, signed and dated ‘64, 47 x 67cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed

£300-500

82

‡ DONALD McINTYRE watercolour and pencil - entitled verso, ‘Painting the Boat’, signed with initials, fully signed and dated 1984 verso, 28 x 39cms

Provenance: private collection South Yorkshire

Comments: framed and glazed

£300-500

83

‡ JOSEF HERMAN mixed media on paperstanding figures in conversation, 21 x 14cms

Provenance: private collection London, purchased directly from artist

Comments: framed and glazed

£300-600

84

‡ WILLIAM SELWYN mixed media - entitled verso ‘Farmer and his Dog’, on Albany Gallery label, signed, 34 x 25cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£300-500

85

‡ JOHN KNAPP-FISHER watercolourentitled verso, ‘A Storm in Wales’ on Martin Tinney Gallery label, signed and dated 1967, 10 x 31cms

Provenance: private collection

Vale of Glamorgan

Comments: framed and glazed

£300-500

86

‡ JOHN KNAPP-FISHER watercolourentitled verso, ‘Back Street, Lower Fishguard’ on Martin Tinney Gallery label, signed and dated 1968, 16 x 22cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£300-500

87

‡ MIKE JONES crayon & wash - ‘The Waitress’, signed verso, Attic Gallery label, 20 x 25cms

Provenance: private collection Newport

Comments: framed and glazed

£400-600

The Welsh Sale • Rogers Jones & Co

88

‡ WIL ROWLANDS mixed mediaentitled verso ‘Porth Llechog’, signed, 50 x 72cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed, ready to hang £400-600

89

‡ MARY LLOYD JONES (b.1934) watercolour - entitled verso ‘Kite Festival 1’, on Martin Tinney Gallery label, signed and dated 1988, 22 x 22cms

Provenance: private collection Swansea

Comments: framed and glazed £400-600

90

‡ AUGUSTUS JOHN RA pencilentitled verso, ‘Study for Edith Lees with Lute’ on Martin Tinney Gallery label, signed, 43 x 25cms

Provenance: private collection Vale of Glamorgan

Auctioneer’s Notes: it is perhaps not a surprise that writer and Edith Lees, later Edith Ellis (1861-1916) and artist Augustus John were acquainted and that their social circles would have overlapped. Both led, what was for the time, unconventional lives - Edith was openly lesbian and had several relationships whilst married to sexologist Havelock Ellis. While John’s bohemian lifestyle and unconventional relationships are well documented. A portrait of Edith Lees by Augustus John, circa 1910, forms part of the Matsukata Collection at the National Museum of Western Art in Tokyo

Comments: framed and glazed £1,000-1,500

91

‡ DONALD McINTYRE mixed mediaentitled verso, ‘Alley, Port Isaac’, signed with initials, fully signed and dated 1984 verso, 29 x 39cms

Provenance: purchased from the artist, private collection South Yorkshire Comments: framed and glazed £400-600

92

‡ CERI RICHARDS CBE ink wash - reclining figure, signed and dated 1958, 38 x 56cms

Provenance: private collection South Wales

Comments: framed and glazed

£1,500-2,500

93

‡ JOHN ELWYN mixed media - entitled verso, ‘The Poet’s Garden’, circa 1958 (from the artist’s ‘Midnight Roses’ series), signed, 26 x 36cms

Provenance: private collection South Yorkshire

Comments: framed and glazed £400-700

94

‡ BRENDA CHAMBERLAIN pastel on paper - entitled, ‘Krischan of Schoenau’, signed and dated 1955, 43 x 29cms

Provenance: purchased 1963 Brenda Chamberlain exhibition, private collection

South Yorkshire

Comments: framed and glazed £400-700

95

PETER PRENDERGAST mixed media on paper - entitled verso ‘The Lying Lady’ on Royal Academy of Arts Summer Exhibition 2004 label, signed and dated 2003, 81 x 57cms

Provenance: from the Estate Collection of Peter Prendergast (1946-2007), no ARR applicable

Comments: framed and glazed £400-600

96

JOHN McDOUGAL watercolour

- Ynys Môn (Anglesey) landscape with harvest and children resting, signed, 41 x 73cms

Provenance: private collection

Lincolnshire £400-800

97

‡ WILL ROBERTS charcoal on paper - two figures, possibly farmers, signed, 37 x 32cms

Provenance: private collection

South Yorkshire

Comments: framed and glazed £400-700

98

‡ VALERIE GANZ mixed media

- four standing female dancers, signed, 33 x 37cms

Provenance: deceased estate

Cardiff

Comments: framed and glazed £400-600

99

‡ DONALD McINTYRE

watercolour and pencil - entitled verso, ‘Boats and Buildings, Port Isaac’, signed with initials, 29 x 39cms

Provenance: purchased from the artist, private collection

South Yorkshire

Comments: framed and glazed £400-600

100

‡ BRENDA CHAMBERLAIN mixed media - entitled verso, ‘Figure with Child’, 28 x 15cms

Provenance: private collection

South Yorkshire

Comments: framed and glazed £400-600

101

‡ DONALD McINTYRE watercolour and pencil - entitled verso, ‘Findhorn’, signed with initials, fully signed and dated verso 1983, 33 x 44cms

Provenance: purchased at Tegfryn Gallery, Menai Bridge 1984, private collection

South Yorkshire

Comments: framed and glazed £400-600

103

‡ JOSEF HERMAN mixed media on papervase of blue flowers, 25 x 19cms

Provenance: private collection London, purchased by the vendor directly from artist

Comments: framed and glazed

£500-1,000

102

‡ MEG STEVENS gouache - wildflowers on verge, signed and dated 90, 27 x 27cms

Provenance: private collection Conwy

Comments: framed glazed ready to hang £400-600

104

‡ HARRY HOLLAND chalk on paper - ‘Spy’, signed, on Martin Tinney Gallery label, 42 x 45cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£500-800

105

‡ WILLIAM SELWYN mixed media - entitled verso, ‘Penllyn’ on Thackeray Gallery label, signed, 37 x 55cms

Provenance: private collection West Sussex

Comments: framed and glazed

£500-800

106

WARREN WILLIAMS watercolourwalkers and sheep on the slopes of Yr Wyddfa (Snowdon), signed, 34 x 52cms

Provenance: private collection

Berkshire

Comments: framed and glazed

£500-1,000

107

‡ ANEURIN JONES chalk on boardWelsh National Opera Conductor (probably Carlo Rizzi), signed, 35 x 26cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£500-900

109

‡ RAY HOWARD JONES mixed mediainterior scene with fireplace, signed and dated ‘76, 29 x 41cms

Provenance: private collection

Shropshire

£400-600

108

‡ VALERIE GANZ mixed media on paper - sitting ballet dancer adjusting her ballet shoes, signed, 27 x 38cms

Provenance: private collection Ceredigion

Comments: framed and glazed

£600-800

110

‡ WILLIAM SELWYN mixed media - entitled verso, ‘Seascape, Islay’ on Thackeray Gallery label, signed, 30 x 40cms

Provenance: private collection West Sussex

Comments: framed and glazed

£600-900

111

‡ JOSEF HERMAN mixed media on paper - portrait of a newspaper delivery boy, from the artist’s ‘Children of the North End Road’ series, circa 1984 25 x 20cms

Provenance: private collection London, gifted to the vendor by Nini Herman

Comments: framed and glazed

£700-1,200

112

‡ MALCOLM EDWARDS

watercolour - entitled verso ‘Hen Gorlan’, signed, 53 x 73cms

Provenance: private collection Conwy

Comments: framed and glazed £700-1,000

113

‡ JOHN ELWYN gouacheentitled verso ‘Hir Nos Hâf’ 1’, on Howard Roberts Gallery label, signed and dated 1965, 23 x 32cms

Provenance: private collection Cardiff, probably for Leicester Galleries exhibition mid-1960s

Comments: framed and glazed £700-1,000

114

‡ JOHN KNAPP-FISHER

watercolour - entitled verso, ‘Fishing Boat’, signed and dated 1991, 11 x 15cms

Provenance: private collection Gwynedd

Comments: framed and glazed £700-1,000

115

‡ MALCOLM EDWARDS

watercolour - entitled verso ‘Pen Y Ffridd’, signed, 53 x 73cms

Provenance: private collection Conwy

Comments: framed and glazed

£700-1,000

116

‡ WILLIAM SELWYN mixed media - Eryri landscape near Llanberis with historic bridge, entitled verso on Albany Gallery label ‘Pont Y Gromlech’, signed, 36 x 53cms

Provenance: private collection Pembrokeshire

Comments: framed & glazed

£700-1,000

117

‡ MARY LLOYD JONES mixed media - entitled verso ‘Glyndwr’s Way / Ffordd Glyndwr’, signed and dated 2007, 26 x 31cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£700-1,000

118

‡ MAURICE COCKRILL watercolour and ink -

‘The Portable Kingdom’, signed and dated ‘96, 38 x 56cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£700-1,000

121

‡ MARY LLOYD JONES

mixed media‘Trysorau Manod (Manod Treasures)’ on Martin Gallery label, signed and dated 2020, 36 x 46cms

Auctioneer’s Notes: the Slate Caverns in Blaenau Ffestiniog, in particular the Manod Caves, served as repository for many of Britain’s priceless works of art during World War Two

Provenance: private collection Newport

Comments: framed and glazed

£800-1,200

122

‡ CERI RICHARDS CBE crayon, pen and ink on paper - entitled verso, ‘Le Poisson d’Or’ being an homage to Claude Debussy’s ‘La Cathédrale Engloutie’, on Julian Lax Gallery label verso, signed, 17 x 14cms

Provenance: private collection Oxfordshire, with exhibition label verso, Julian Lax, ‘A Summer Miscellany’, 30th May June 2002, catalogue number 28

Comments: framed and glazed £900-1,200

123

‡ JOSEF HERMAN

mixed media on paperfigure working, windmill and landscape, circa late 1990s, 23 x 17cms

Provenance: private collection London, with Christie’s Comments: framed and glazed

£1,000-1,500

119

‡ JAMES DICKSON INNES pastelentitled verso, ‘Coastal Landscape, Wales’, signed, dated verso 1911, 26 x 36cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £800-1,300

120

‡ JOHN KNAPP-FISHER mixed media‘The Watch Cottage’, signed and dated 1994, 17 x 22cms

Provenance: deceased estate Cardiff

Comments: framed and glazed £800-1,200

124

‡ VALERIE GANZ charcoal & watercolour - entitled verso ‘Be Glad when the Shift is Over’, on Albany Gallery label, signed 27 x 37cms

Provenance: private collection Bridgend

Comments: framed and glazed

£1,200-1,800

125

‡ VALERIE GANZ mixed media - entitled verso, ‘Tomos at the Coalface, Tower Colliery’, signed, 33 x 27cms

Provenance: private collection Cardiff

Comments: framed and glazed

£1,500-2,000

127

‡ WILLIAM SELWYN mixed media - entitled verso ‘Sunset Over Caernarfon’ on Oriel Tegfryn Gallery receipt, signed, 54 x 75cms

Provenance: private collection Pembrokeshire

Comments: framed and glazed

£1,800-2,500

126

‡ VALERIE GANZ mixed media - portrait of a coal miner, signed, 38 x 27.5cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£1,500-2,000

128

‡ DAVID TRESS mixed media - entitled verso, ‘Sarnesfield Church’ on Albany Gallery label, signed and dated ‘01, 57 x 76cms

Provenance: private collection Shropshire

Comments: framed and glazed

£1,500-2,500

130

‡ VALERIE GANZ mixed media - coal miners departing from colliery at end of shift, signed, 44 x 59cms

Provenance: private collection Powys

Comments: framed and glazed

£2,500-3,500

131

‡ CERI RICHARDS CBE mixed media‘The Broken Rose’, signed and dated 1965, with an accompanying letter of provenance and appreciation from Ceri’s daughter Rhiannon, dated 2004, ‘Thank you for your letter and photo of Ceri’s drawing. It certainly looks a fine one… Gower cliffs and coast in the background are clearly visible…’ 41 x 59cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£3,000-4,000

129

‡ JOHN KNAPPFISHER watercolourwhitewashed farmhouse, Pembrokeshire, signed and dated 1992, 43 x 42cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£2,500-3,500

132

‡ DAVID CARPANINI pencil and watercolour - entitled verso ‘On the Trail of Our Own Presence’ on Attic Gallery label, signed, 73 x 52cms

Provenance: private collection Pembrokeshire

Comments: framed and glazed

£3,000-4,000

133

‡ VALERIE GANZ mixed media - entitled verso ‘The Long Track Home’, signed, 31 x 46cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£3,000-5,000

THE WELSH SALE PART I / YR ARWERTHIANT CYMREIG

Sir Kyffin Williams RA / Syr Kyffin Williams RA 134-179 Lots

For full bidding terms including charges and ARR qualified art

134

SIR KYFFIN WILLIAMS RA ‘Across the Straits: An Autobiography’, published by Duckworth, first edition, the first page illustrated with a cartoon of Kyffin sat at a table at the National Gallery, fully signed

Provenance: private collection Ceredigion

£200-300

135

‡ SIR KYFFIN WILLIAMS RA three loose Gwasg Gregynog printed linocuts for ‘Two Old Men and Other Stories’ by Dr Kate Roberts, 1981

Provenance: collection of the late 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

Comments: fine condition

£150-250

136

‡ SIR KYFFIN WILLIAMS RA limited edition (13/150) print - farmer and sheepdog, signed and numbered in pencil, 49 x 39.5cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed, ready to hang

£250-350

137

‡ SIR KYFFIN WILLIAMS RA limited edition (186/250) print - sheepdog eyeing, signed fully in pencil, 28 x 41.5cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed, ready to hang

£250-350

138

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) linocut - farmer struggling up a hill, fully signed in pencil, 26 x 38cms

Provenance: private collection Cheshire

Comments: framed and glazed

£300-500

139

‡ SIR KYFFIN WILLIAMS RA limited edition (63/250) print - farmer below Yr Wyddfa (Snowdon), fully signed in pencil, 56 x 56cms

Provenance: private collection Cheshire

Comments: unframed, in cellophane sleeve

£300-500

140

‡ SIR KYFFIN WILLIAMS RA limited edition (64/250) print - title plaque to mount, ‘Pen-y-Wyddfa a’i Chriw o Ddrws-y-Coed’, fully signed in pencil, 40 x 48cms

Provenance: private collection Conwy

Comments: framed and glazed £250-350

141

‡ SIR KYFFIN WILLIAMS RA limited edition (180/250) print - entitled, ‘Ffermwyr Ar Y Glyder Fach’ fully signed, 49 x 74cms

Provenance: private collection Conwy

Comments: framed and glazed £400-600

142

‡ SIR KYFFIN WILLIAMS RA limited edition (117/150) linocut print - herd of Welsh Black bulls, fully signed in pencil, 24 x 30cms

Provenance: private collection County Fermanagh

Comments: framed and glazed £500-700

143

‡ SIR KYFFIN WILLIAMS RA limited edition (42/85) linocut - entitled verso, ‘Rhoscryman’ on Martin Tinney Gallery label, signed with initials, dated verso 2002, 16 x 18cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £200-300

144

‡ SIR KYFFIN WILLIAMS RA limited edition (76/100) lithograph - Penygraigwen, signed with initials, 33 x 73cms

Provenance: private collection Vale of Glamorgan

Comments: unframed £300-500

145

‡ SIR KYFFIN WILLIAMS RA limited edition (25/50) linocut - farmer struggling up a hill, fully signed in pencil, 26 x 37cms

Provenance: private collection Gwynedd

Comments: framed and glazed £200-400

146

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - ‘Welsh Black Bull’, fully signed in pencil, 38 x 59cms

Provenance: private collection Gwynedd

Comments: framed and glazed £700-1,400

147

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - figure below Yr Wyddfa (Snowdon), fully signed in pencil, 55 x 56cms

Provenance: private collection Gwynedd

Comments: framed and glazed £250-350

148

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - Penrhyn Du Farm, Ynys Môn, with Welsh black cattle, fully signed in pencil, 60 x 76cms

Provenance: private collection Gwynedd

Comments: framed and glazed £700-1,200

149

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - the village of Carmel, signed with initials, 44 x 60cms

Provenance: private collection Gwynedd

Comments: framed and glazed £300-500

150

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - farmer in snow, 52 x 43cms

Provenance: private collection Gwynedd

Comments: framed and glazed £300-500

151

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) lithograph - Eryri landscape with storm clouds, fully signed in pencil, 30 x 36cms

Provenance: private collection Gwynedd

Comments: framed and glazed £200-300

152

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) print - sheepdog eyeing, signed with initials, 33 x 46cms

Provenance: private collection Gwynedd

Comments: framed and glazed

£300-400

153

‡ SIR KYFFIN WILLIAMS RA unnumbered coloured print - Nant Peris with farmstead, signed fully in pencil, 58 x 40cms

Provenance: private collection Powys

Comments: framed and glazed

£400-600

154

‡ SIR KYFFIN WILLIAMS RA limited edition (52/85) linocut - self-portrait, signed with initials and numbered, 21 x 26cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£600-800

155

‡ SIR KYFFIN WILLIAMS RA limited edition (84/150) lithograph - ‘Hendre Waelod’, fully signed in pencil, 39 x 65cms

Provenance: private collection Monmouthshire

Comments: unframed

£300-400

156

‡ SIR KYFFIN WILLIAMS RA limited edition (141/150) coloured printGower cliffs at sunset, signed with initials, 61 x 61cms

Provenance: private collection Gwynedd

Comments: unframed, mounted, in cellophane

£250-350

157

‡ SIR KYFFIN WILLIAMS RA pen & inkentitled verso, ‘Farmer with Stick I’, signed with initials, 34 x 25cms

Provenance: private collection West Sussex

Comments: framed and glazed

£3,000-4,000

Rogers Jones & Co • The Welsh Sale

158

‡ SIR KYFFIN WILLIAMS RA watercolour & pencilentitled verso, ‘Penrhiwiau I’ on Thackeray Gallery label, signed with initials, 29 x 41cms

Provenance: private collection West Sussex

Comments: framed and glazed

£3,000-4,000

159

‡ SIR KYFFIN WILLIAMS RA fine mixed media - entitled verso, ‘Road, Waunfawr’, signed with initials, 36 x 44cms

Provenance: private collection West Sussex

Comments: framed and glazed

£5,000-7,000

160

‡ SIR KYFFIN WILLIAMS RA inkwash - entitled verso, ‘Tan-y-Grisiau’, signed with initials, 22.5 x 33cms

Provenance: private collection South Yorkshire, by descent

Comments: sl. foxing, framed and glazed

£1,500-2,500

161

‡ SIR KYFFIN WILLIAMS RA unusually large watercolour - entitled verso, ‘Castell y Gwynt, Glyder Fach’, signed with initials, 43 x 74cms

Provenance: private collection Bridgend

Comments: framed and glazed

£4,000-6,000

162

‡ SIR KYFFIN WILLIAMS RA pencil, ink and wash on paper - sheepdog study, fully signed in pencil, 29 x 46cms

Provenance: private collection Gwynedd

Comments: framed and glazed, some paper creasing

£1,500-2,500

163

‡ SIR KYFFIN WILLIAMS RA watercolourinscribed

verso ‘Crib

Goch’, signed with initials, 25 x 35cms

Provenance: private collection

Powys

Comments: framed and glazed

£1,500-2,500

164

‡ SIR KYFFIN WILLIAMS RA (1918-2006) inkwash - entitled verso ‘Farmer on Welsh Cob’, on Howard Roberts Gallery label, signed with initials, 25 x 34cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed, mount with discolouration

£2,000-4,000

164

163

Rogers Jones & Co • The Welsh Sale

SIR KYFFIN WILLIAMS RA ink and wash - portrait of farmer, inscribed verso ‘Hugh Rowlands’, signed with initials, 28 x 26.5cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£8,000-12,000

165

‡

166

‡ SIR KYFFIN WILLIAMS RA mixed media - ‘Barrister VII’, signed with initials, 29 x 20cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£5,000-7,000

167

‡ SIR KYFFIN WILLIAMS RA

watercolour and pencil - Eryri (Snowdonia) landscape at Devil’s Kitchen, signed with initials, 39 x 49cms

Provenance: private collection Merseyside

Comments: framed and glazed, ready to hang

£2,500-3,500

168

‡ SIR KYFFIN WILLIAMS RA watercolour - portrait of a lady, signed with initials, 31 x 26.5cms

Provenance: with Albany Gallery; deceased estate Rhondda Cynon Taf

Comments: framed glazed ready to hang.

£3,000-4,000

169

‡ SIR KYFFIN WILLIAMS RA fine mixed media - entitled verso, ‘Rough Sea at Llanddwyn’, signed with initials, 50 x 39cms

Provenance: private collection Gloucestershire

Comments: quality hessian type frame, glazed

£6,000-8,000

170

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Snowdon from Drws-Y-Coed’ on Martin Tinney Gallery label, painting has a reverse image on the canvas, a vase of blue irises, 50 x 75cms

Provenance: private collection Vale of Glamorgan

Comments: framed

£18,000-25,000

171

‡ SIR KYFFIN WILLIAMS RA oil on canvas - ‘Farmer Below the Ridge’, signed with initials bottom right, 75 x 63cms

Provenance: deceased estate Cardiff

Comments: framed

£40,000-60,000

172

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso

‘Snow, Nant Peris’, signed with initials, 71 x 91cms

Provenance: deceased estate Cardiff

Comments: framed

£30,000-40,000

172

173

‡ SIR KYFFIN WILLIAMS RA oil on canvas‘Trefignath (Cairn)’, signed with initials, 50 x 75cms

Provenance: deceased estate Cardiff

Auctioneer’s Notes: Trefignath is a neolithic burial chamber near Trearddur, Ynys Môn (Anglesey)

Comments: framed

£20,000-30,000

174

‡ SIR KYFFIN WILLIAMS RA oil on boardentitled verso, ‘Orvieto’, signed verso, 28 x 39cms

Provenance: bought directly from the artist, private collection South Yorkshire

Comments: framed

£3,000-5,000

Rogers Jones & Co •

175

‡ SIR KYFFIN WILLIAMS RA large oil on canvas - rough seas with distant land, probably Trearddur, signed with initials, 76 x 126cms

Provenance: private collection Warwickshire

Comments: framed

£25,000-35,000

176

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso ‘Moelwyn Bach’, signed with initials, 40 x 50cms

Provenance: private collection Warwickshire

Comments: framed

£10,000-15,000

176

177

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso on Thackeray Gallery label ‘Snowdon from Beddgelert’, dated 1975, signed with initials, 50 x 60cms

Provenance: private collection Gloucestershire

Comments: framed

£7,000-10,000

178

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Nant Mor, November 1992’, signed with initials, 60 x 60cms

Provenance: private collection Surrey

Comments: framed

£15,000-20,000

Provenance: private collection Surrey

Comments: framed

£18,000-24,000 179

179

‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Moon Over Crib Goch’ on Thackeray Gallery label, signed with initials, dated verso 1991, 77 x 77cms

180

‡ GWILYM PRICHARD oil on board - entitled verso ‘Menai Bridge, Snow on the Carneddau’ on Martin Tinney Gallery label, signed, 59 x 120cms

Provenance: private collection Vale of Glamorgan

£2,000-3,000

181

‡ MERYL WATTS oil on boardentitled verso ‘Misty Sails’, signed, 37 x 47cms

Provenance: private collection Herefordshire

Comments: framed £300-400

182

‡ CHARLES WYATT WARREN oil on board - Llyn Mymbyr and Yr Wyddfa (Snowdon), signed, 24 x 54cms

Provenance: private collection Cardiff

Comments: framed

£400-600

183

184 ‡ DONALD McINTYRE oil on canvas - portrait of four children, signed, 54 x 59cms

Provenance: private collection Powys

Comments: framed

£1,000-1,500

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Padarn’, signed, 29 x 74cms

Provenance: private collection Flintshire

Comments: framed

£300-500

185

‡ CHARLES WYATT WARREN oil on board - Nant Gwynant, Eryri (Snowdonia) with silver birch trees, signed, 29 x 74cms

Provenance: private collection Flintshire

Comments: framed £300-500

186

‡ HUW JONES oil on board - entitled verso, ‘Cromlech’, signed, 30 x 59cms

Provenance: private collection Conwy

Comments: framed £300-400

187

‡ NICK HOLLY oil on canvas - entitled verso ‘Rain clouds over Townhill’ on Attic Gallery label, 36.5 x 36.5cms

Provenance: deceased estate Swansea

Comments: framed £300-500

188

‡ GWYN ROBERTS large oil on canvas - entitled verso ‘Crib Goch A’r Wyddfa - Gaeaf / Crib Goch and Snowdon - Winter’ on Albany Gallery label, signed with initials, 90 x 90cms

Provenance: private collection Ceredigion

Comments: framed, ready to hang £400-600

189 ‡ ANEURIN JONES oil on panel - entitled verso ‘West Wales Farmers’, signed verso, 24 x 18cms

Provenance: private collection Vale of Glamorgan

Comments: framed £800-1,200

190

‡ DAVID CARPANINI

acrylic - entitled verso, ‘And You Still Dear to My Enchanted Eyes’ on Attic Gallery label, fully signed, 28 x 27cms

Provenance: private collection Pembrokeshire

Comments: framed and glazed

£1,600-2,000

192

‡ NICK HOLLY oil on board - entitled verso ‘St Thomas, Swansea’, signed, 17 x 17cms

Provenance: private collection Nottinghamshire

Comments: framed £300-500

191

‡ WILLIAM SELWYN

gouache on cardentitled verso ‘Dinorwic, North Wales’, signed, 24 x 45cms

Provenance: private collection Ceredigion

Comments: framed and glazed £450-650

193

‡ CARL MELEGARI oil on canvas - head and shoulders portrait, 25 x 20cms

Provenance: private collection Bridgend

Comments: framed £600-800

194

‡ TOM NASH oil on board - large abstract in green, signed verso, 119 x 81cms

Provenance: private collection Carmarthenshire

Comments: framed £300-500

196

‡ ED FORREST oil on board - entitled verso, ‘Criccieth Castle from Black Rock Sands’, signed, 25 x 30cms

Provenance: private collection Denbighshire

Comments: framed

£300-500

197

‡ HARRY HOLLAND oil on canvas - ‘Trio’, still life, signed, on Martin Tinney Gallery label, 56 x 50cms

Provenance: deceased estate Cardiff

Comments: framed

£1,000-2,000

195

‡ GWILYM PRICHARD oil on canvasentitled verso ‘Cnicht and Snow’ on Martin Tinney Gallery label, signed with initials, fully signed and dated 2005 verso, 31 x 44cms

Provenance: private collection

Vale of Glamorgan

Comments: framed

£1,000-1,500

198

‡ MIKE JONES oil on canvas - entitled verso ‘Collier with Block’, signed, titled, dated ‘05 and further signed verso, 29 x 24cms

Provenance: private collection Cardiff

Comments: framed and glazed

£400-600

199

200

‡ GARETH PARRY oil on canvas - entitled verso ‘Llygedyn o Haul Llanddwyn, Ynys Môn’ / ‘Flash of Sunlight, Llanddwyn, Ynys Môn’, on Ffin y Parc Gallery label, signed, 49 x 59cms

Provenance: private collection Herefordshire

Comments: framed £400-600

199

‡ GWILYM PRICHARD oil on canvashayrick, figures and cottage, signed, 54 x 43cms

Provenance: private collection Conwy

Comments: framed, ready to hang £1,500-2,000

201

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Cornfields, Normandy I’ on Heal’s Gallery London label, signed, 40 x 50cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1974, private collection London

Comments: framed £1,200-1,800

202

‡ WILL ROBERTS oil on canvas - entitled verso ‘Farm with Figure’ on Attic Gallery label, signed and dated 1981, 60.5 x 75.5cms

Provenance: deceased estate Swansea

Comments: framed £1,000-1,500

203

‡ CLAUDIA WILLIAMS oil on canvas - entitled verso ‘Peaches and Grapes’ on Martin Tinney Gallery label, signed, signed and dated 1998 verso, 79 x 98cms

Provenance: private collection Vale of Glamorgan

Comments: framed

£4,000-7,000

204

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Ty Hir’ on Heals Gallery London label, signed, circa 1970s, 35 x 45cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1974, private collection London

Comments: framed

£1,200-1,800

203

Rogers Jones & Co • The Welsh Sale

207

205

ERNEST ZOBOLE oil on canvassnow in the valley, 94 x 79cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: framed

£1,000-2,000

206

‡ ED FORREST oil on board - entitled verso, ‘Gower Road, Trefriw, Winter’, signed, 51 x 71cms

Provenance: private collection Hampshire

Comments: framed

£1,000-1,500

207

‡ WILF ROBERTS oil on cardentitled verso ‘Caersalem’, signed and dated 2002, 24 x 24cms

Provenance: private collection Cardiff

Comments: framed and glazed

£1,000-1,500

208

‡ DONALD McINTYRE acrylic on boardentitled verso, ‘Boats Collioure No.3’, signed with initials, 20 x 23cms

Provenance: gifted to the vendor’s father by the artist, private collection South Yorkshire Comments: framed and glazed

£700-1,000

209

‡ VALERIE GANZ oil on card - entitled verso ‘Mining Valley - Evening’ on Albany Gallery label, signed, 35 x 48cms

Provenance: private collection Berkshire Comments: framed and glazed

£1,500-2,500

210 ‡ WILF ROBERTS oil on card - entitled verso ‘Black Cottage, Anglesey’, signed and dated 1998, 19 x 25cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £600-800

211

‡ DONALD McINTYRE oil on board - entitled verso, ‘Before the Race’, signed with initials, 34 x 49cms

Provenance: private collection Suffolk Comments: framed

£2,000-3,000

212

‡ DONALD McINTYRE acrylic on boardentitled verso, ‘Farm Buildings’ on Ashgate Gallery, Surrey label, signed, 39 x 100cms

Provenance: private collection

Vale of Glamorgan

Comments: framed £2,500-3,500

213

‡ GARETH PARRY oil on boardentitled verso ‘Painting the Slate Tips, Gwynedd’ / ‘Peintio’r Tomenydd Llechi’, signed, 49 x 60cms

Provenance: private collection Cardiff

Comments: framed £400-600

214

ERNEST ZOBOLE oil on canvas - kitchen interior with breakfast table and figures’, signed and dated verso ‘86, 108 x 180cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: framed canvas

£3,000-5,000

215

‡ DAVID TRESS mixed media & construction - entitled verso ‘Grey Sound (Ramsey)’ on Albany Gallery label, signed and dated ‘01, 80 x 107cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£3,000-4,000

216

‡ ERNEST ZOBOLE oil on canvas - entitled verso ‘Painter, Ystrad Penrhys’ on Martin Tinney Gallery label, signed and dated verso May/August 1994, 76 x 101cms

Provenance: private collection Pembrokeshire

Comments: framed

£3,000-5,000

217

‡ MARK SAMUEL oil on board - Lower Bute Street, Cardiff, signed verso, dated 1997, on Martin Tinney Gallery label, 41 x 61cms

Provenance: deceased estate Cardiff

Comments: framed

£400-500

218

‡ GWILYM PRICHARD large oil on canvas - entitled verso ‘I Lawr am Trefdraeth’ on Martin Tinney Gallery label, signed with initials, fully signed and dated verso 2012, 58 x 90cms

Provenance: private collection Pembrokeshire

Comments: framed

£7,000-8,000

219

‡ GWILYM PRICHARD oil on canvas - view of Capel-y-Ffin, entitled verso, ‘Capel’, signed, 49 x 59cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1973, private collection London

Comments: framed

£1,500-2,000

220

‡ ED FORREST oil on board - entitled verso, ‘Small Boats, Low Tide, Penmaenmawr’, signed, 23 x 30cms

Provenance: private collection Hampshire

Comments: framed £600-800

221

‡ DONALD McINTYRE acrylic on cardentitled verso ‘Portincaple No. 2’, signed with initials, fully verso, 20 x 28cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed

£1,500-2,500

222

‡ GWYN ROBERTS large oil on canvasentitled verso ‘Yr Wyddfa O Glyder Fach / Snowdon From Glyder Fach’ on Albany Gallery label, signed with initials, 100 x 100cms

Provenance: private collection Ceredigion

Comments: framed, ready to hang £400-600

223

‡ DARREN HUGHES mixed media on canvas - entitled verso, ‘Parallel Roads’ on Thackeray Gallery label, signed and dated 2009 verso, 50 x 120cms

Provenance: private collection West Sussex

Comments: framed £1,000-1,500

223

224

‡ GWILYM PRICHARD oil on canvasentitled verso ‘Cader IdrisYr Haf’ on Martin Tinney Gallery label, signed with initials, fully signed and dated verso 2006, 38 x 46cms

Provenance: private collection Vale of Glamorgan Comments: framed £800-1,300

225

‡ KEVIN SINNOTT oil on panelentitled verso

‘Resting’ on Bernard Jacobson Gallery label, signed with initials, dated verso 1988, 27 x 21cms

Provenance: private collection Conwy Comments: framed £1,000-1,500

226

‡ DONALD McINTYRE

acrylic - entitled verso ‘Rocky Coast Anglesey’, signed, 50 x 60.5cms

Provenance: deceased estate

Swansea

Comments: framed and glazed £3,000-5,000

227

ERNEST ZOBOLE oil on canvas - parent and child and figures in street at night, 120 x 90cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: canvas relined, framed £1,000-2,000

228

NEALE HOWELLS mixed media diptych on wood panel - entitled verso ‘Blue Cymru’, signed and dated verso 2001, 97 x 148cms

Provenance: consigned from Neath Port Talbot

Comments: framed £600-1,000

229

‡ DONALD McINTYRE

acrylic - entitled verso, ‘Rocky Shore, Pembs No. 3’, signed with initials, 36 x 43cms

Provenance: private collection Conwy

Comments: framed and glazed £1,500-2,500

230

‡ CHARLES

WYATT WARREN oil on boardentitled verso ‘Llyn y Gader, Near Snowdon’, 36 x 89cms

Provenance: private collection Berkshire Comments: framed £400-700

231

‡ KEVIN SINNOTT large scale oil on linen - entitled verso, ‘Don’t Go’ on Martin Tinney Gallery label, signed with initials, dated verso 2006, 110 x 143cms

Provenance: private collection Pembrokeshire

Comments: framed

£15,000-20,000

232

‡ ANEURIN JONES

acrylic on board - chatting farmers at red-roofed barn, entitled verso, ‘Cymdogion’ (neighbours), signed, 41 x 59cms

Provenance: private collection

Powys

Comments: framed

£1,400-1,800

233

‡ MEIRION GINSBERG oil on canvas - entitled verso, ‘Melon Dress’ on Martin Tinney Gallery label, signed and dated verso 2017, 40 x 30cms

Provenance: deceased estate

Cardiff

Comments: framed

£1,000-1,500

234

‡ GWILYM PRICHARD oil on canvas - entitled verso ‘Lleiniog’ on Heal’s Gallery London label, signed, circa 1970s, 35 x 45cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1973, private collection London

Comments: framed £2,500-3,500

235

‡ SHANI RHYS

JAMES MBE very large oil on canvasentitled verso ‘Blue Armoire’ on Martin Tinney Gallery label, signed and dated verso 2005, 183 x 122cms

Provenance: private collection Pembrokeshire

Comments: framed £17,000-22,000

Rogers Jones & Co • The Welsh Sale

236

‡ MARK SAMUEL oil on board‘Late Sun’, signed verso, dated 1999, on Martin Tinney Gallery label, 32 x 47cms

Provenance: deceased estate Cardiff

Comments: framed

£400-600

237

CHRISTOPHER WILLIAMS RBA fine and large oil on canvas - untitled portrait of a ten year old girl sat in a chair in a summer dress next to a vase of flowers, dated to 1910, 125 x 100cms

Provenance: portrait of the vendor’s grandmother Mary Lloyd, the artist also painted Mary’s two sisters and the portrait of one sister, Constance, believed to have been exhibited nationally, private collection Cardiff, by descent

Comments: large gilt frame

£3,000-5,000

238

‡ DARREN HUGHES mixed mediaentitled verso, ‘Spring above Bethesda’, signed and dated 2008 verso, 70 x 100cms

Provenance: private collection Gwynedd

Comments: framed £300-600

239

‡ CLAUDIA WILLIAMS oil on boardentitled verso ‘Nude Against Blue Background’, signed and dated ‘83, further signature verso and inscribed ‘Caernarfon’, 44 x 29cms

Provenance: private collection Pembrokeshire

Comments: Bonhams label verso, bought by vendor at an auction in aid of Tenby Museum approximately 20 years ago, framed

£700-1,000

240

‡ CHARLES WYATT WARREN oil on board - Yr Wyddfa and Llyn Mymbyr, signed, 24 x 54cms

Provenance: private collection Merseyside

Comments: framed £300-400

241

‡ GARETH PARRY oil on canvas - entitled verso, ‘Lane to the Sea’ on Thackeray Gallery label, signed, 51 x 61cms

Provenance: private collection West Sussex

Comments: framed £600-1,000

242

‡ JACK JONES oil on board –entitled verso ‘Front Row’ on Martin Tinney Gallery label, signed and dated ’77, 19 x 25cms

Provenance: private collection Vale of Glamorgan

Comments: framed £300-500

243

ERNEST ZOBOLE oil on cardwinter street scene, unsigned, 26 x 74cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: framed and glazed £400-700

244

‡ MARY JOLLEY oil on panelentitled verso ‘Promenade’, on Albany Gallery label, signed, 50 x 50cms

Provenance: private collection Vale of Glamorgan

Comments: damage to frame £300-500

245

‡ WILL ROBERTS oil on boardvillage buildings with two figures in conversation, signed, 41 x 52cms

Provenance: private collection South Yorkshire

Comments: framed £1,000-1,500

246

‡ OGWYN DAVIES

acrylic - entitled verso, ‘Adeiladau Fferm - Dwy Res / Farm Buildings, Two Rows’, signed and dated ‘06, 17 x 23cms

Provenance: private collection Powys

Comments: framed and glazed

£500-800

247

‡ CHARLES BYRD oil on board - entitled verso, ‘Night Scene’, inscribed and dated verso 1963, 78 x 60cms

Provenance: private collection Monmouthshire

Comments: framed

£300-500

248

‡ GARETH PARRY oil on canvas - entitled verso ‘Summer Landscape with Shower / Tirlun Haf Hefo Cawod’, signed, 50 x 60cms

Provenance: private collection Cardiff

Comments: framed

£600-800

249

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Ar Ôl Glaw’ (After Rain), signed, signed and dated verso 1998/99, 58 x 90cms

Provenance: private collection Carmarthenshire, by family descent

Comments: framed

£1,000-2,000

250

NEALE HOWELLS mixed media diptych on wood panels - ‘Titled, Part 1 & 2’, signed and dated 2025, first exhibited in MONA Machynlleth in 2001, each panel 205 x 49cms

Provenance: consigned from the artist’s studio, Neath Port Talbot, no ARR

Comments: unframed panels

£300-500

251

‡ DONALD McINTYRE oil on board - ‘Green Sea Macduff’, signed, 49 x 87cms

Provenance: deceased estate Cardiff

Comments: framed and glazed

£7,000-9,000

252

‡ ERNEST ZOBOLE large oil on canvasentitled verso, ‘Painter and Subject Matter’ on Martin Tinney Gallery label, fully signed and dated verso 1996-1997, 121 x 152cms

Provenance: private collection Pembrokeshire

Comments: framed

£6,000-10,000

Rogers Jones & Co •

253

‡ TOM NASH oil on canvas - red abstract, signed, 75 x 75cms

Provenance: private collection Carmarthenshire

Comments: framed £300-400

254

‡ ED FORREST oil on board - Penmaenmawr with sailing dinghies and figures, signed, 22.5 x 50cms

Provenance: private collection Vale of Glamorgan £400-600

255

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Sea & Farm, Pembs’, signed, 29 x 39cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1974, private collection London

Comments: framed £800-1,200

256

‡ JOHN ELWYN acrylic on panel - entitled verso, ‘Ceredigion Landscape’ on Martin Tinney Gallery label, signed, dated verso 1980, 29 x 40cms

Provenance: private collection Vale of Glamorgan

Comments: framed £700-1,200

257

‡ WILL ROBERTS oil on board - sheep shearing, signed, 61 x 73.5cms

Provenance: private collection Swansea

Comments: framed, ready to hang £2,500-3,500

The Welsh Sale • Rogers Jones

260

‡ ED FORREST oil on boardentitled verso, ‘The Ice Cream Van, Constantine Bay, Cornwall’, signed, 23 x 30cms

Provenance: private collection Hampshire

Comments: framed £400-600

261

‡ DONALD McINTYRE acrylicentitled verso, ‘Brighouse Bay, No. 2’, signed, 53 x 78cms

Provenance: private collection Australia, despatched directly from Melbourne

Comments: framed and glazed

£4,000-6,000

258

‡ IAN HOUSTON oil on board - entitled verso ‘Fading Light, Criccieth’, on Abbott & Holder Gallery London label, signed, 49 x 74cms

Provenance: private collection Gwynedd

Comments: framed

£400-600

259

‡ MEIRON GINSBERG oil on canvas - figure asleep on bench, in the company of two dogs, signed and dated 2016, on Martin Tinney Gallery label, 50 x 40cms

Provenance: deceased estate Cardiff

Comments: framed

£1,500-2,000

262

‡ CERI AUCKLAND DAVIES egg tempera - coastal cliffs over turquoise sea, entitled verso ‘Cave Strata, Caldey Series’, signed, 59 x 65cms

Provenance: private collection Gwynedd

Comments: heavy quality frame, glazed £700-1,000

263

‡ MEIRION GINSBERG oil on canvasentitled verso, ‘Girl with Interior’ on Martin Tinney Gallery label, signed and dated verso 2015, 40 x 30cms

Provenance: deceased estate Cardiff

Comments: framed

£1,000-1,500

264

‡ GWILYM PRICHARD oil on canvas - entitled verso ‘Wybren Coch, Trefdraeth / Red Sky at Night, Newport’, on Martin Tinney Gallery label, signed with initials, fully signed and dated verso 2010, 48 x 98cms

Provenance: private collection Pembrokeshire

Comments: framed £6,000-8,000

265

‡ WILF ROBERTS oil on board - entitled verso ‘Quarry’, signed and dated ‘71, 61 x 73cms

Provenance: private collection

Herefordshire

Comments: framed

£2,500-3,500

266

‡ GARETH PARRY oil on board - entitled verso, ‘Llan Isel, Ger Criccieth’, signed, 37 x 49cms

Provenance: private collection Gwynedd

Comments: framed

£400-600

267

‡ NEALE HOWELLS large format oil on canvas - entitled verso ‘Wall-Peace’, signed, signed and dated verso July ‘07, 99 x 150cms

Provenance: private collection Suffolk

Comments: unframed canvas

£1,000-1,500

268

ERNEST ZOBOLE oil on canvas - entitled verso ‘Rhondda View’, signed verso, c. 1980s, 150 x 166cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: framed canvas

£2,000-3,000

269

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Grey Sea No. 7’, signed with initials, 39 x 49cms

Provenance: private collection Cornwall

Comments: framed and glazed

£1,500-2,000

270

‡ MATTHEW SNOWDEN acrylic on canvas - entitled verso ‘Afon Glaslyn’, signed, 29 x 39cms

Provenance: private collection Cardiff

Comments: framed

£400-600

271

‡ GWILYM PRICHARD oil on canvas - entitled verso, ‘Snow, Penmon Priory’, signed, 40 x 50cms

Provenance: vendor’s family purchased directly from Heal’s Gallery London in 1974, private collection London

Comments: framed

£1,000-1,500

272

‡ VALERIE GANZ oil on canvas - squally sea with two ships on the horizon, signed and dated ‘76, 60 x 100cms

Provenance: deceased estate Cardiff

Comments: framed

£1,000-1,500

273

‡ ANDREW SOUTHALL oil on canvas laid to board - cubist Caernarfon Castle, signed and dated ‘09, 41 x 51cms

Provenance: private collection Cardiff

Comments: framed and glazed £400-700

274

‡ ED FORREST oil on board - entitled verso, ‘The Red Barn, Winter’ signed, 49 x 69cms

Provenance: purchased from exhibition 1982, private collection South Yorkshire

Comments: framed £600-900

275

‡ MARK SAMUEL oil on board - ‘Sam’s Bar’, signed and dated 1997 verso, on Martin Tinney Gallery label, 51 x 76cms

Provenance: deceased estate Cardiff

Comments: framed £500-700

The Welsh Sale • Rogers Jones

276

‡ GARETH PARRY oil on canvas - entitled verso, ‘The Sea from the Cliff Top’, signed, 60 x 60cms

Provenance: private collection West Sussex

Comments: framed and glazed

£600-1,000

278

277

‡ CHARLES BURTON oil on canvas - still life with cheese and fish, 54 x 54cms; with an accompanying book ‘Charles Burton: Painting Still’ by Peter Wakelin, published by Sansom & Co., signed by Charles Burton and Peter Wakelin

Provenance: private collection

Powys

Comments: framed

£800-1,000

‡ MEIRION GINSBERG oil on canvas - lady with dog, signed and dated 2016, on Martin Tinney Gallery label, 59 x 49cms

Provenance: deceased estate Cardiff

Comments: framed

£3,000-4,000

279

NEALE HOWELLS mixed media on wood panel - entitled verso ‘Upgraded’, signed and dated 2025, 65 x 65cms

Provenance: consigned from the artist’s studio, Neath Port Talbot, no ARR

Comments: unframed panel

£300-500

280 ‡ DONALD McINTYRE

acrylicentitled verso ‘Sennen Cove’, signed, 42.5 x 57.5cms

Provenance: deceased estate

Swansea

Comments: framed and glazed

£3,000-5,000

281

‡ NICK HOLLY oil on canvas - Cardiff Bay with figures and The Pierhead Building, signed, 60 x 60cms

Provenance: private collection Cardiff

Comments: box canvas £1,500-2,000

282

‡ DAVID WOODFORD oil on canvas - entitled, ‘Ynys Môn’, 60 x 90cms

Provenance: private collection Conwy

Comments: framed £400-700

283

‡ HARRY HOLLAND oil on board - ‘Souvenir’, signed and dated 1999, on Martin Tinney Gallery label, 104 x 66cms

Provenance: deceased estate Cardiff

Comments: framed £3,000-4,000

284

‡ WILL ROBERTS oil on canvas - entitled verso, ‘Cockle Carts, Burry Estuary’ on Attic Gallery label, signed with initials, signed and dated verso 1997, 59 x 74cms

Provenance: private collection

Carmarthenshire, by family descent

Comments: framed £800-1,200

285

‡ CLAUDIA WILLIAMS oil on panel - entitled verso ‘After Bonnard, Enjoying the Bath’ on Martin Tinney Gallery label, signed, dated verso 2002, 32 x 45cms

Provenance: private collection Vale of Glamorgan

Comments: framed £800-1,200

286

‡ JOHN ELWYN acrylic on paper - entitled verso ‘Off the Main Road’, signed, 24.5 x 34.5cms

Provenance: deceased estate Swansea

Comments: Winchester label verso, signed in full verso and No. 25, framed and glazed £500-700

287

‡ DONALD McINTYRE acrylic - entitled verso, ‘Anglesey Lane’, signed, 31 x 54cms

Provenance: private collection Cardiff

Comments: framed and glazed

£1,200-1,800

288

‡ ROBERT DAWSON oil on board - entitled verso, ‘Slate Fence’, signed with initials, 19 x 30cms

Provenance: private collection

South Yorkshire

Comments: framed £400-600

291

289

‡ JOHN ELWYN acrylic on paper - entitled verso ‘Away from it All’, signed, 25 x 35cms

Provenance: deceased estate

Swansea

Comments: Winchester label verso, signed in full verso and No. 29, framed and glazed £500-700

290

‡ DAVID WOODFORD oil on canvas - entitled verso, ‘Gwynant’, signed verso, dated 1999, 83 x 90cms

Provenance: private collection Conwy

Comments: framed £600-1,000

‡ GARETH PARRY oil on canvas - entitled verso, ‘The Sea Waves Breaking’ on Thackeray Gallery label, signed, 61 x 61cms

Provenance: private collection West Sussex

Comments: framed £400-600

292

‡ MARTIN LLEWELLYN oil on canvasentitled verso ‘Pyg Track, North Wales’ on Albany Gallery label, signed with initials, 74.5 x 74.5cms

Provenance: private collection Ceredigion

Comments: framed, ready to hang £400-600

293 ‡ TOM NASH pair of vinyl on wood panels - abstract, inscribed verso ‘version for commissioned mural at University of Bradford’, both signed verso, 65 x 26cms the largest Provenance: private collection Berkshire

Comments: both framed, damage to larger frame

£300-400

294

‡ DAVID GRIFFITHS oil on board - entitled verso ‘The Waverley Leaving Penarth’, signed, 39 x 50cms

Provenance: private collection Shropshire

Comments: framed

£400-600

295

‡ GYRTH RUSSEL oil on canvas - entitled verso ‘Cottages, Anglesey’, signed verso, 52 x 75cms

Provenance: private collection Cardiff

Comments: framed

£800-1,200

296

ERNEST ZOBOLE oil on canvas - entitled verso ‘House and Exterior 2’, signed and dated verso Jan/Feb ‘88, 74 x 100cms

Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable

Comments: framed

£2,000-4,000

297

‡ TERENCE LAMBERT (b.1951) watercolour, bodycolour and gum arabic - entitled ‘Buzzard and a Red-Legged Partridge’, signed and dated 1993, 48 x 92cms

Provenance: deceased estate Montgomeryshire, same family ownership since 1993, purchased October 1993 Exhibition at Country works Gallery, Montgomery, selected for 1999 Exhibition Tour in Wales of T. Lambert’s work

Comments: framed and glazed, ready to hang £1,000-1,500

298

‡ KEVIN SINNOTT oil on linen - entitled verso, ‘Pont-y-Rhyl’ on Martin Tinney Gallery label, signed with initials, dated verso 2005, 84 x 110cms

Provenance: private collection Pembrokeshire

Comments: framed £7,000-10,000

299

‡ NICK HOLLY oil on card - entitled, ‘The Goalkeeper’, signed, 21 x 21cms

Provenance: private collection Nottinghamshire

Comments: framed £300-500

300

‡ MARK SAMUEL oil on panel - entitled verso ‘Paris Pharmacy’, on Martin Tinney Gallery label, signed and dated verso 1999, 35 x 54cms

Provenance: private collection Vale of Glamorgan

Comments: framed

£400-600

301

‡ MARK SAMUEL oil on board - ‘Morning Windsor Esplanade’, dated 1996, on Martin Tinney Gallery label, 53.5 x 36cms

Provenance: deceased estate Cardiff

Comments: framed

£400-600

302

‡ CERI AUCKLAND DAVIES egg temperacoastal arch over turquoise sea, entitled verso ‘Luminescence’, signed, 59 x 65cms

Provenance: private collection Gwynedd

Comments: heavy quality frame, glazed £700-1,000

303

‡ WILL ROBERTS oil on canvas - figure in hat at dusk, entitled verso, ‘White Barn, Late Evening’, signed with initials, fully signed and dated verso 1978, 50 x 60cms

Provenance: private collection South Yorkshire, by descent

Comments: framed and glazed £1,500-2,500

My Friend

Josef by Roger Thornton

Right from the word go, working with Josef was a voyage into the unknown.

From the very first time I rang the bell on his large, red front door, to be greeted by his diminutive, rotund figure topped by a halo of white hair; to be dragged over the threshold by his chubby, welcoming hands; to be taken through the dark hallway lined with drawings, through his bedroom to descend the caramel coloured wooden steps into his studio; I never knew what to expect and, I suspect, neither did he.

I had been visiting Josef for 12 months, as a collector, having fallen in love with his work which I first saw at the Camden Retrospective in 1980. I wasn’t aware of his subject matter before then and was completely “bowled over” by the miners. So much so that I could almost smell coal and taste it on my tongue whilst I was viewing the exhibition.

I reached a nadir in my personal life later that year, and, out of nowhere, started to draw.

At the time I also took advice from Howard Hodgkin, Leon Kossoff, Willam Coldstream and Carel Weight. They all had ideas but it was only Josef who offered me a solid way forward, and so we started to work together.

I’d go, on a Sunday morning, to his studio, taking my studies with me. I couldn’t wait for those days; to descend into his cavernous studio, to be in that warm, comforting atmosphere, where the smell of oil paint, the light and the presence of his African figures held so much for me - promised so much. Offered me a world which I wanted to take for my own.

He’d sit me on an old country chair whilst, opposite, he nestled comfortably into his old leather armchair, which had been with him since the Glasgow days. Snuggled in his old painting coat which must have been, years ago, while he would look through my studies making comments where necessary and setting my task to be tackled next.

Then he’d sit back and expound. Expound at length, on anything and everything: his childhood in Poland, old Jewish tales, his family, his flight across Europe, the artists he’d known, his time in Wales. Stories, stories, stories. Taking me to unknown lands, unimagined experiences, times long gone. Leading me, expanding my very limited horizons. And he’d chuckle. I’ll never forget his chuckle. So full of life, love and experience.

We’d then work- whether it was rehanging some of his extensive collection of European drawings and paintings. Handling Rouault close-up. And Carriere and Bonnard and Derain- an education. We would frame and reframe some of his own studies, I would photograph his latest watercolours or earlier work for a book or article. He would get so excited at seeing the results. Or, maybe, we would rearrange some of his wonderful Tribal collection. If there was nothing to be done, Josef would let me rifle through his sketchbooks on the shelves in a corner of the studio. Work from every period, some of which, he himself had forgotten- great discoveries were to be made. But, all the time, learning and assimilating those lessons which would be essential to my ongoing development and would sustain me in my work which is now in its 45th year.

Josef took me down neglected pathways, down roads less travelled, and always deeper and deeper into myself, undoing the years of damage wrought by a well-meaning but unsuspecting family.

And always, at the end of a phone, his deep rich-brown voice reassuring and encouraging, supporting and life-affirming.

I shall never forget him- my friend Josef.

Roger Thornton, Studio Assistant to Josef Herman OBE RA, friend and, on occasion, confidant 1980-199 3

304

‡ JOSEF HERMAN oil on canvas - still-life, vase of flowers to blue background, 52 x 42cms

Provenance: private collection London

Comments: paint craquelure, framed and glazed

£1,500-2,500

305

‡ JOSEF HERMAN oil on canvas - figure with horse and cart, 54 x 65cms

Provenance: private collection London, with Christies, formerly with Joseph Wolpe Fine Art, Cape Town

Comments: canvas relined, framed and glazed

£3,000-5,000

304

Rogers Jones & Co • The Welsh Sale

306

‡ DAVID WILLIAMS-ELLIS ceramic sculpture maquette - Sir Kyffin Williams sat with sketchbook in hand, 26cms (h)

Auctioneer’s Notes: study for life-size bronze model at the grounds of Oriel Ynys Môn, Llangefni, Anglesey, with the artist gazing towards Eryri (Snowdonia) mountains

Provenance: collection Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George (1863-1945)

£200-400

307

‡ JONAH JONES bronze - portrait bust of John Cowper Powys (1872-1963) on a square wooden base, 43cms high overall

Provenance: private collection Carmarthenshire, by family descent

Auctioneer’s Notes: John Cowper Powys was born in Shirley, Derbyshire, the son of a vicar. He published his first novel in 1915, although widespread recognition came only with his fifth, Wolf Solent, in 1929. In 1935, after years as an itinerant lecturer in America, Powys settled in Corwen, Meirionnydd, and later moved, in 1955, to a quarryman’s cottage in Blaenau Ffestiniog. After moving to Wales, he learned Welsh and immersed himself deeply in the country’s history and mythology. During this period, he wrote two of his most acclaimed works: the historical novels Owen Glendower (1940) and Porius (1951).

While living in Blaenau Ffestiniog, Powys was introduced to the artist Jonah Jones, a long-time admirer of his work. Jones asked permission to sculpt a bust of the writer, and by 1957, the piece was underway. As Powys was already quite frail, the bust had to be modelled in a single sitting. When Powys saw the finished work several months later, he is said to have exclaimed to the bust, “I love you! You look just the way I feel!”.

Comments: rare opportunity, appears unsigned, scuffs to base

£2,000-3,000

308

DARREN YEADON Preseli bluestoneram, marked with artist’s monogram, 22 (h) x 25cms (l)

Provenance: direct from the Artist’s Studio, no ARR applicable

Comments: light wear overall, one foot not touching floor

£800-1,000

309

ATTRIBUTED TO CHRISTOPHER WILLIAMS oil on boardhead and shoulders portrait of Rt Hon. David Lloyd George in ceremonial gown, 39 x 42cms

Provenance: collection Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family (1863-1945)

Comments: framed, in our opinion the work is by Christopher Williams an artist who painted Lloyd George’s portrait on more than one occasion, one such portrait at the Lloyd George Museum in Llanystumdwy

£1,000-1,500

310

EVAN WALTERS oil on board - half-portrait of Lady Megan Lloyd George, signed, 40 x 30cms

Provenance: collection Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family

Auctioneer’s Notes: Megan Lloyd George (1902-1966) was a prominent Welsh politician and the daughter of British Prime Minister David Lloyd George. She played a significant role in British politics, especially in the mid-20th century, and was notable for her advocacy of Welsh issues and progressive policies. Originally a Liberal Party member, she became the first female MP for a Welsh constituency when she was elected for Anglesey (Ynys Môn) in 1929. She was a strong advocate for Welsh nationalism, devolution, and social justice. Later in her career, she defected to the Labour Party in 1955, expressing frustration with the Liberal Party’s decline and alignment with Conservative policies. Returned to Parliament in 1957 as a Labour MP for Carmarthen, serving until her death

Comments: losses to frame

£1,000-2,000

312

‡ HAMISH CONSTABLE PATERSON (Scottish. 1890-1955) pencil on paper - head and shoulders portrait of a relaxing Rt Hon. David Lloyd George with cigar, inscribed bottom right ‘Blair Castle 1921’ and signed, 33 x 24cms

Provenance: collection of Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family

Auctioneer’s Notes: Hamish Constable Paterson (1890-1955) was a Scottish painter renowned for his portraits and landscapes, and a member of the distinguished Paterson artistic family. Born James Constable Paterson in 1890, he was the third son of James Paterson RSA, a prominent figure among the Glasgow Boys. His middle name honoured the English landscape painter John Constable. Initially working in an architect’s office, Paterson transitioned to art, studying at Edinburgh College of Art from 1910. He also apprenticed with stained glass designer James Ballantyne. During World War I, Paterson served in the 9th Royal Scots Regiment and sustained severe injuries, leading to lifelong health challenges and periods of depression. Despite this, he continued his artistic pursuits, exhibiting at the Royal Scottish Academy (RSA) Annual Exhibitions from 1912 to 1949, as well as at the Royal Academy, Royal Glasgow Institute of Fine Arts, and Royal Hibernian Academy. In 1922, his uncle William Bell Paterson organized a major exhibition of 150 of his works in London, featuring portraits of notable figures such as the sitter here - Prime Minister David Lloyd George. Public collections of his work include at National Galleries of Scotland.

311

‡ SIR DAVID LOW (New Zealand. 1891-1963) black crayon on paper - rare original caricature portrait of Rt Hon. Lloyd George alongside an infant, inscribed ‘What makes you that way Gran’ Pa?’, signed, 54 x 73cms

Provenance: collection of Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family (1863-1945)

Comments: framed and glazed, some discolouration to paper

£200-400

In 1921, when Lloyd George sat for this portrait at Blair Castle, Perthshire, the castle was the residence of John George Stewart-Murray, 8th Duke of Atholl. Born at Blair Castle in 1871, he inherited the dukedom in 1917 following the death of his father, the 7th Duke of Atholl. Stewart-Murray was a distinguished soldier and Unionist politician, the 8th Duke served in the British Army during the Second Boer War and World War I, attaining the rank of Brigadier General. He was also a Member of Parliament and In November 1921 was sworn of the Privy Council and appointed Lord Chamberlain of the Household by Lloyd George. It is said that Hamish C Paterson painted the Duke’s wife, the Duchess of Atholl at Blair Castle in 1921, possibly at the same visit.

Comments: framed and glazed

£150-250

313

KATHLEEN SCOTT bronze bust - Rt Hon David Lloyd George, fully signed, 50cms (h)

Provenance: collection Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family

Auctioneer’s Notes: born Edith Agnes Kathleen Bruce (1878-1947), a distinguished British sculptor renowned for her expressive portraiture and public monuments. While often recognized as the widow of Antarctic explorer Captain Robert Falcon Scott, she was a formidable artist in her own right, with a career that spanned several decades and continents. Born in Carlton-in-Lindrick, Nottinghamshire, Scott was orphaned young and raised by relatives in Edinburgh. She studied at the Slade School of Fine Art in London (1900-1902) and later at the Académie Colarossi in Paris (1902-1906), where she trained under Auguste Rodin and mingled with artistic luminaries like Gertrude Stein and Isadora Duncan. In 1908, she married Captain Robert Falcon Scott. Following his death during the 1912 Antarctic expedition, she was granted the title Lady Scott. In 1922, she married politician Edward Hilton Young (who became Chief Whip of the Lloyd George Liberals hence the potential connection with the sitter). Kathleen bore two sons Sir Peter Scott, the noted naturalist and artist, and Wayland Young, a writer and politician.

Kathleen Scott specialized in portrait busts and statues, capturing figures such as George Bernard Shaw, T.E. Lawrence, and King George V. Her notable works include: Captain Robert Falcon Scott Memorials, A bronze statue in Waterloo Place, London (1915), and a white marble version in Christchurch, New Zealand (1917).“These Had Most to Give” (1922): Also known as “Youth,” this bronze statue stands outside the Scott Polar Research Institute in Cambridge, serving as a memorial to her husband and his expedition team, she also created the Edward Smith Statue - a tribute to the Titanic captain located in Lichfield, Staffordshire.

During World War I, Scott contributed to medical efforts by working with plastic surgeons, applying her sculpting skills to aid in facial reconstructions. Elected a Fellow of the Royal Society of British Sculptors in 1946, Scott was described by the Oxford Dictionary of National Biography as “the most significant and prolific British woman sculptor before Barbara Hepworth”. Her traditional style, however, led to her being overshadowed in an era that increasingly favoured modernism. Her granddaughter, Louisa Young, authored a biography titled A Great Task of Happiness, aiming to shed light on Scott’s artistic achievements. Kathleen Scott passed away from leukaemia in London on July 25, 1947. Her contributions to sculpture remain a testament to her skill and dedication to the arts.

£2,000-3,000

314

RT HON DAVID LLOYD GEORGE’S OAK & WALNUT SIDE CABINET, brass plaque mounted inside central drawer inscribed ‘This sideboard was Made after 8 Months Training in Cabinet Making at Tanner St. Government Instructional Factory by Mr. J. G. Jones age 39 Late of the Royal Inniskilling Fusiliers Disabled by Gun Shot Wound in Left Leg PREVIOUS OCCUPATIONBUILDERS LABOURER. PRESENTED TO THE RIGHT HON D. LLOYD GEORGE . O.M - M.P. at the Exhibition of Disabled Ex-servicemen’s Work Central Hall Westminster - July 1920.’, crossbanded drawers and cupboard fronts with nicely book-matched veneers, 79 (h) x 126 (w) x 54cms (d)

Provenance: collection of Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family (1863-1945)

Comments: gallery missing, general stains and minor bumps, drawers missing thin side mouldings, inspection advised £1,000-1,500

315

RT HON DAVID LLOYD GEORGE white metal medallion with raised profile and title, 5cms diam

Provenance: collection of Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family

Comments: sealed in a small glazed circular frame £100-200

RICHARD, EARL LLOYD GEORGE (1889-1968) a typed and annotated script for a play by Maurice Moiseiwitsch, adapted for radio from a book by Richard, Earl LLoyd-George, broadcast on BBC Home Service, Monday 5th September 1966, summarised by the BBC ‘...tempestuous Cabinet Minister in the First World War battles against military prejudice in order to give the troops the means to win a war he abhors. Within himself - as his son discovers - are the seeds of his own political decline’. with William Squire as the Minister, David Buck, Laurence Payne, Eira Heath, produced by H.B. Fortuin

Provenance: collection of Mr & Mrs T Carey-Evans (descendants of Lloyd George), items until recently located at ‘Eisteddfa’, Criccieth, former home of Rt Hon. David Lloyd George’s family

Comments: title page slightly worn and the bottom, some yellowing to pages otherwise nice and complete, no loose pages

£100-20

For full bidding terms including charges and ARR qualified art

The Welsh Sale (Part II) Unreserved Tuesday August 5th 1.30pm

Lots 330-344

Welsh Furnishings, Collectables & Academia

Dodrefn, Casgliadau ac Academia Cymru

330

BRYNMAWR ARTS & CRAFTS

‘CRICKHOWELL’ STAINED OAK NEST OF TABLES, stamped, staining appears to be shade No.119 from the Company’s Shade Card (Dark), as they moved on from a simple clear hard wax finish, 25.9.39

Provenance: private collection Carmarthenshire

Comments: slight fading to uprights, inspection advised £250-350

331

BRYN MAWR ARTS & CRAFTS

OAK DRESSING CHEST, rear towel rail, signature fielded panels, oak drawer boxes, Paul Matt label, uncatalogued model but pre-1936, 128 (h) x 63 (w) x 54cms (d)

Provenance: private collection Carmarthenshire

Comments: small section in rear panel loose, minor stains, inspection advise £300-500

332

MELIN TREGWYNT ‘ST. DAVID’S CROSS’ DOUBLE BLANKET, green, fringed, 100% wool, 220 x 220cms

Provenance: private collection County Fermanagh

Comments: very good condition, inspection advised £250-350

333

MELIN TREGWYNT ‘VINTAGE STAR’ THROW, red/grey/black, 100% wool, 210 x 90cms

Provenance: private collection County Fermanagh

Comments: very good condition, inspection advised £60-100

334

MELIN TREGWYNT PLAID SINGLE BLANKET, blues/cream/yellow, blanket stitched, labelled, 100% wool, 225 x 170cms

Provenance: private collection County Fermanagh

Comments: very good condition, inspection advised £60-100

335

MELIN TREGWYNT THROW/CUSHION COVERS, black/brown ‘mondo’ style pattern, 100% lambswool, labelled, blanket stitched, 180 x 150cms, plus two cushion covers, 50 x 47cms (3)

Provenance: private collection County Fermanagh

Comments: good condition, inspection advised £60-100

336

MELIN TREGWYNT ‘BASKET’ WEAVE THROW, cream & brown with pale blue accents, blanket stitched and fringed, labelled, 60% wool, 40% other fibres, 220 x 130cms

Provenance: private collection County Fermanagh

Comments: good condition, inspection advised £60-100

337

WELSH MARRIAGE LOVE SPOON elaborately carved with the initials of bride and groom, above a single carved bell with inscription around ‘Adferaf hyd at farw’, below wedding date of 9.5.58 (1958) below centre hollowed wheel with ‘Nerys - Glyn’ below caduceus symbol and padlock finial with two hollowed keys, 52cms (h)

Provenance: private collection Cardiff

Comments: slight damage to bell, grain stained in places, overall good, inspection advised £100-200

338

RICHARD BURTON HAMLET personally signed photo, framed with original programme for the 1953/54 Old Vic Company production, and publicity photo of Richard Burton as Hamlet, framed together 27 x 45cms

Provenance: private collection Cardiff

Comments: framed and glazed

£100-150

339

DAVID JONES (1895-1974) three handwritten letters with two associated envelopes, each addressed from the poet/artist’s home, Northwick Lodge, Harrow-on-the-Hill, comprising, (1) dated ‘Xmas 1948’, handwritten on the reverse of a calligraphic print by Jones ‘Gloria in Excelsis’ and addressed to ‘Dearest Petra...’, and being a warm Christmas message to his former fiancé and daughter of Eric Gill includes a warm message to Petra’s husband Denis (Tegetmeier). The letter also briefly mentions a church that he frequents with a stained glass installation by ‘Eddie N’ and a tablet by artist ‘Anthony Foster’ (2) a three sheet extensive letter handwritten on both sides to artist, Desmond Macready Chute (1895–1962) dated 1954, and addressed ‘My Dear Desmond...’, who was at this stage a Catholic priest, includes an ink doodle of a church and the crossed feet of Christ during crucifixion, with envelope bearing Chute’s address in Rapallo, Italy (3) a shorter letter to the same recipient, dated 1956, with similar envelope

Provenance: private collection Gwent

Comments: please view £200-400

HUMPHREY LLWYD Cambriae Typus map of Wales, tinted and later coloured, 39 x 52cms

Provenance: private collection Powys

Comments: framed and glazed £150-250

341

CERI RICHARDS / ROBERTO SANESI (1930-2001): ‘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 white - the catalogue raisonné of all of Ceri Richards prints

Provenance: private collection Vale of Glamorgan

Comments: surface marks/ink to cover £150-200

342

CHRISTOPHER SKELTON:

‘The Engravings of Eric Gill’ 1983, substantial volume in slip-case

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: very fine £100-150

343

VARIOUS R S THOMAS VOLUMES: including: ‘Frequencies’, Macmsillan, 1978, ‘What is a Welshman?’, ‘The Bread of Truth’, Rupert Hart-Davis, 1963, ‘Tares’, Rupert Hart-Davis, 1961, ‘Pieta’, HartDavis, 1961, ‘H’m’, Macmsillan, 1972, ‘Song at the Year’s Turning’, Hart-Davis, 1960. (7)

Provenance: collection of Warwick Brown (Deceased) former proprietor of Galloway Booksellers, Aberystwyth, thence by descent, private collection Ceredigion

Comments: overall good, please examine £80-120

344

VARIOUS WELSH RELATED ANTIQUARIAN BOOKS comprising (1) Thomas Pennant ‘Tours in Wales’, London: for Wilkie and Robinson [et al.], 1810, 3 vols, full calf, vol 1 with replaced spine, portrait frontispiece and multiple engraved plates of which several fold-out, 8vo; (2) Thomas Roscoe ‘Wanderings and Excursions in South Wales’; including the scenery of the River Wye, London: C. Tilt, 1836, engraved titles, 48 engraved plates, lightly spotted, calf backed marbled boards, bound by Dykes & Cooper, gilt spine (rubbed), 8vo; (3) Thomas Pennant ‘A Tour in Wales’, London: for Benjamin White, vol 1, 1773, and 1781, Vol 2, , half calf over marbled boards, gilt titled spine in compartments (rubbed), engraved frontispieces and multiple engraved plates of which several fold-out, with advertisements pages uncut, 8vo (3 titles, 6 vols)

Provenance: private collection Monmouthshire

Comments: please view £200-300

Lots 345-366

Welsh Ceramics including Swansea & Nantgarw Porcelain

Cerameg Gymreig gan gynnwys Porslen Abertawe a Nantgarw

345

SWANSEA CAMBRIAN POTTERY

‘MONOPTEROS’ blue and white transfer pattern centre supper-tureen together with two matching curved side-dishes

Provenance: private collection Ceredigion

Comments: repair to knop, clips/ nibbles to tureen, please examine # £200-300

346

SWANSEA CAMBRIAN POTTERY

‘MONOPTEROS’ blue and white transfer pattern platter, 49cms (diam.) and eight matching plates, 23cms (diam.) (9)

Provenance: private collection

Ceredigion

Comments: two hairlines, good overall, please examine # £200-300

347

SWANSEA CAMBRIAN POTTERY

‘MONOPTEROS’ blue and white transfer pattern sauce tureen with cover and matching ladle, trefoil dish and soup tureen-ladle

Provenance: private collection Ceredigion

Comments: nick to tureen, please examine # £200-300

348

SWANSEA OVAL DESSERT DISH, 1815-17, moulded C-scroll border, painted with sprays of summer flowers and insects, 26.4cms wide

Provenance: private collection Bridgend

Comments: stacking wear, gilt rubbed # £250-350

349

SWANSEA PORCELAIN SOUP PLATE, 1815-17, of Burdett-Coutts service type, painted by James Turner at the Sims workshop in London, the centre with a wicker basket of flowers, small flowering plants growing in the foreground, the border around the cavetto gilded with scrolls and fine dots, three brightly coloured insects inside the gilded dentil rim, 23.4cms (diam.)

Provenance: private collection Bridgend

Comments: gilt rubbed at rim and cavetto, partial old collection label # £200-300

350

SWANSEA PORCELAIN PLATE, 1815-17, L ondon decorated with a border of densely clustered flowers including roses, poppies, morning glory, gilt dentil and arrow and ribbon borders, impressed SWANSEA mark, 21.2cms (diam.)

Auctioneer’s Notes:

Cf. A cabaret service with similar border painting with Cyril Kieft collection label, formerly in the Robert Drane Collection, sold in the Sir Leslie Joseph Collection sale, 14.5.92 lot 26.

Comments: hairline crack #

£150-250

351

SWANSEA PORCELAIN PAIR OF SHELL DISHES circa 1815-17, solid gilt rim and gilt fan moulded handle, decorated with many single cornflower heads, stencilled SWANSEA, 22cms (diam.)

Provenance: private collection Ceredigion, by descent, Harry Sherman Collection label to underside

Comments: both dishes gilt slightly rubbed, one with scratches to the underside around footring, otherwise good #

£200-300

352

SWANSEA PORCELAIN TWIG-HANDLE DISH circa 1815-17, gilt naturalistic handles, decorated with various stems of flowers, 31 x 21cms

Provenance: private collection Ceredigion, by descent, Harry Sherman Collection label to underside

Comments: gilt rims and handles slightly rubbed, otherwise good # £150-250

353

SWANSEA PORCELAIN PAIR OF PLATES

circa 1815-17, scalloped edge, typically moulded with flowers and c-scrolls, gilt rim from which gilt scrolls trail to cavetto and frame six floral panels at the border, centred spray of colourful flowers, 21cms (diam.)

Provenance: private collection Ceredigion, by descent

Comments: both dishes gilt slightly rubbed, stacking wear to both, one with firing fault and small chip to foot, other with residual adhesive (?) to inner footring # £300-500

354

SWANSEA PORCELAIN BREAKFAST CUP & SAUCER

circa 1815-1817, Paris flute moulded, gilded with repeat shell decoration to the border, centred with boar’s head crest, saucer 15cms (diam.)

Provenance: private collection Ceredigion, by descent

Comments: gilding to both slightly rubbed, marks rubbed # £150-250

355

SWANSEA PORCELAIN CABINET CUP & SAUCER circa 1815-17, bell-shaped cup applied with beaded collar, gilded bird head high loop handle, decorated with wildflowers and wild strawberries by William Pollard, saucer 10.5cms (diam.)

Provenance: private collection Ceredigion, by descent

Comments: cup with restored rim, saucer broken and restored, with over painting/regilding thereon # £300-500

356

SWANSEA PORCELAIN

DESSERT PLATE circa 1815-17, of lobed form, border typically moulded and with gilt decorated moulding of cornucopia bursting with green and gold vines, the interior finely decorated with four sprays by William Pollard, 21.5cms (diam.)

Provenance: private collection Ceredigion, by descent, old collection label to underside

Comments: gilt slightly rubbed, stacking wear, otherwise good # £300-500

357

RARE SWANSEA PORCELAIN

CUP & SAUCER circa 1815-17, Paris flute moulded, elaborately gilded with dentil border, scrolls, shells and foliage around sprays of colourful flowers, saucer with three border sprays and centre spray, saucer 15cms (diam.)

Provenance: private collection Ceredigion, by descent

Comments: hairline crack to saucer # £200-400

358

SWANSEA PORCELAIN DESSERT

DISH, 1815-17, probably painted by David Evans with summer flowers in a central spray and five others at the border, broad gilt line rim, red Swansea script mark, 29.3cms (w)

Provenance: private collection Bridgend

Comments: crack, gilt rubbed # £200-300

359

SWANSEA PORCELAIN DESSERT PLATE, 1815-17, probably painted by Henry Morris with summer flowers in a central spray within a gilt line border, red printed SWANSEA mark, 21cms (diam.)

Provenance: private collection Bridgend

Comments: minor gilt rubbing, mark faint #

£150-250

360

NANTGARW PORCELAIN PLATE circa 1818-20, of Brace service type, typically moulded and with gilt dentil rim, the border with panels of flower sprigs, cherries and a colourful bird, the interior with a large spray of colourful flowers, impressed NANT GARW CW to base, 25cms (diam.)

Provenance: private collection Ceredigion, by descent

Comments: nicks to foot rim on underside only # £300-500

361

NANTGARW PORCELAIN OVAL DISH circa 1818-20, of lobed form, gilt dentil rim around elaborate gilt work of scrolls and leafy vines, four flower sprays around a centred smaller flower study, impressed NANT GARW CW, 30.5 x 21cms

Provenance: private collection Ceredigion, by descent, Harry Sherman Collection label to underside

Comments: trailing flower gilding rubbed, dentil rim gilding rubbed in parts, glaze finely crazed # £150-250

362

NANTGARW PORCELAIN PAIR OF SHELL

DISHES circa 1818-20, solid gilt rim and gilded handle with fan detail, decorated with five sprays of blue flowers, impressed NANT GARW CW, 22cms (diam.)

Provenance: private collection Ceredigion, by descent, old collector’s label on underside

Comments: both dishes gilt slightly rubbed, one with firing faults to foot, other with kiln grit adhesion to underside, otherwise good # £200-300

363

WELSH PORCELAIN PLATE, 1818-20, attributed to Nantgarw, painted with summer flowers in a central spray withing a border of triplet flower sprigs united by gilt line and scrolling vine, gilt dentil border, 23cms (diam.)

Provenance: private collection Bridgend

Comments: gilt rubbed #

£150-250

364

NANTGARW PORCELAIN

DESSERT PLATE, 1818-20, with C-scroll borders, painted in London with full central spray of flowers and fruit including poppy, iris, blackberry, the borders unusually painted with six fruit sprigs, including red currants, plum, gooseberry, wild strawberry, gilt dentil rim, impressed NANT-GARW CW, 22cms (diam.)

Provenance: private collection Bridgend Auctioneer’s Notes: fruit sprigs to the border are rare

Comments: minor gilt rubbing, stacking glaze wear #

£250-350

365

NANTGARW PORCELAIN DESSERT PLATE, 1818-20, painted in London, probably in the Bradley workshop with C-scroll borders, painted three sprays of summer flowers, three other flower sprigs and a blackberry sprig, three flying insects, gilt dentil rim, 21.7cms (diam.)

Provenance: private collection Bridgend

Comments: minor gilt rubbing, minor stacking glaze wear #

£250-350

366

NANTGARW PORCELAIN DISH, 1818-20, with C-scroll borders, painted in London, probably in the Bradley workshop with a spray of summer flowers including rose, pansy and poppy, gilt dentil rim, impressed NANT GARW CW mark, 25.5cms (diam.)

Provenance: private collection Bridgend

Comments: good overall #

£250-300

Lots 367-403

Welsh Prints & Multiples

Printiau a Lluosogion Cymreig

367

‡ DAVID JONES wood engravingentitled verso ‘Noah Receives God’s Commands (From The Chester Play of The Deluge)’ on Martin Tinney Gallery label, 18.5 x 16cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £200-300

368

‡ DAVID JONES limited edition (36/80) wood engravingentitled verso ‘The Drowning of The Wicked (From The Chester Play of The Deluge)’ on Martin Tinney Gallery label, dated verso 1927, 18.5 x 16cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £200-300

369

‡ DAVID JONES limited edition

(89/100) wood engraving - entitled verso ‘Jonah is Seized by the Sailors (From The Book of Jonah)’ on Martin Tinney Gallery label, 8 x 12cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £200-300

370

‡ GEORGE CHAPMAN etchingRhondda valley scene, fully signed in pencil, 29 x 34cms

Provenance: private collection Pembrokeshire

Comments: framed and glazed £200-300

371

‡ ROBERT ALWYN HUGHES limited edition (1/6) giclee print - entitled, ‘Self Portrait, Dreaming is Free’, from the Lollypop Pink Series, signed with initials and dated ‘06, 38 x 58cms

Provenance: private collection Monmouthshire

Comments: framed and glazed £150-250

372

‡ GEORGE CHAPMAN etchingentitled verso, ‘Pigeon Houses’, fully signed in pencil, 50 x 50cms

Provenance: private collection Gwynedd

Comments: framed and glazed £300-400

The Welsh Sale • Rogers Jones & Co

373

‡ JOHN KNAPPFISHER limited edition (375/850) print - Tenby with North Beach, fully signed in pencil, 46 x 52cms

Provenance: private collection Cardiff

Comments: framed and glazed £200-300

374

‡ PETER PRENDERGAST limited edition (artist proof) etching - entitled, ‘September’, signed and dated 2000, 24 x 29cms

Provenance: private collection

Monmouthshire

Comments: framed and glazed £200-300

375

‡ JACK CRABTREE limited edition (18/35) silkscreen print - entitled, ‘Flowers in Landscape with Ominous Clouds’ on Welsh Arts Council label verso, signed and dated ‘71, 40 x 57cms

Provenance: private collection Monmouthshire

Comments: framed and glazed £150-200

376

‡ DAVID CARPANINI limited edition (8/50) etching - entitled, ‘On the Beach’, signed, 19 x 27cms

Provenance: private collection Powys

Comments: framed and glazed £150-200

377

‡ PHILIP GREENWOOD limited edition (20/75) etching - entitled, ‘Silver Snow’, signed, 39 x 46cms

Provenance: private collection Gwynedd

Comments: framed and glazed £150-250

378

‡ AUGUSTUS JOHN RA etching - entitled verso ‘The Serving Maid, State VI’ on Martin Tinney Gallery label, signed, c. 1919, 16 x 15cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £250-350

379

‡ JOHN PETTS wood engravingentitled verso ‘Nant Ffrancon Flock’ on Oriel Tegfryn Gallery label, dated verso 1939, 14 x 11.5cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £120-180

380

‡ JOHN PETTS wood engravingentitled verso ‘Bwlch Tyddiad’ on Oriel Tegfryn Gallery label, dated verso 1949, 12 x 14cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £100-150

381

‡ JOHN PETTS wood engravingentitled verso ‘The Horseshoe Ridge’ on Oriel Tegfryn Gallery label, dated verso 1947, 10 x 16cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed, ready to hang £150-250

382

‡ JOHN PETTS wood engraving - entitled verso ‘Y Graig Yr Ysfa’ on Oriel Tegfryn Gallery label, dated verso 1940, 9 x 11.5cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed, ready to hang £100-150

383

‡ PAUL PETER PIECH limited edition (1/25) woodcut print - quote from Japanese Poet Taigi Tan, ‘Immediately…On Their Spring, Return Tireless Swallows Zig-Zagging’, signed and dated 1992, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board £100-150

384

‡ PAUL PETER PIECH limited edition (16/25) woodcut print - quote from Japanese poet Kobayashi Issa entitled, ‘In The House’, At the Butterflies, The Caged Bird Gazes, Envying-Just Watch His Eyes!, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board £100-150

385

‡ PAUL PETER PIECH limited edition (16/25) woodcut print - quote from Japanese poet Kobayashi Issa entitled, ‘A Meeting’, Right at my Feet-and When Did You Get Here Snail?, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board

£100-150

386

‡ PAUL PETER PIECH limited edition (20/25) woodcut print - quote from Japanese poet Kobayashi Issa, ‘With Philosophy He Contemplates The Mountain…Old Professor Frog’, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board

£150-250

387

‡ PAUL PETER PIECH limited edition (3/25) woodcut print - quote from Japanese artist and poet Shôson entitled, ‘White Swans’, White Swans, One or Two, Draw Near, Pushing the Water for the Food I Threw, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board

£100-150

388

‡ PAUL PETER PIECH limited edition (21/25) woodcut print - quote from Japanese artist and poet Shôson entitled, ‘Crimson Dragonfly’, A Crimson Dragonfly As It Lights, Sways Together With a Leaf of Rye, signed and dated 1991, 64 x 45cms

Provenance: private collection Suffolk

Comments: unframed, mounted on board

£100-150

389

‡ MERYL WATTS limited edition (8/50) etching - entitled ‘Angel Fish’, signed, 25 x 33cms

Provenance: private collection Herefordshire Comments: framed and glazed, foxing present £150-250

Rogers Jones & Co • The Welsh Sale

390

‡ AUGUSTUS JOHN RA limited edition (14/25) etching - entitled verso, ‘The Brook’ on Martin Tinney Gallery label, signed, dated verso 1919, 9 x 11cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £200-300

391

‡ AUGUSTUS JOHN RA etching - entitled verso, ‘The Glass of Wine’ on Martin Tinney Gallery label, signed, dated verso 1902, 16 x 10cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £150-250

392

‡ AUGUSTUS JOHN RA limited edition (23/25) etching - entitled verso, ‘Old Arthy’ on Martin Tinney Gallery label, signed, dated verso 1902, 22 x 15cms

Provenance: private collection South Wales

Comments: framed and glazed £150-250

393

‡ CERI RICHARDS CBE artist’s proof colour screenprint - ‘Bagatelle’, part of the ‘Beethoven Suite with Variations’ portfolio, signed, ‘numbered’ and dated ‘70 in pencil, (I) 40.5 x 58.5cms

Provenance: with Fischer Fine Art, London 1974, private collection Monmouthshire

Comments: framed and glazed £250-350

394

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA

wood engraving on Japan paper - entitled ‘Gallowstree of the Failures, 1934’, signed in pencil, 16 x 10cms

Provenance: private collection Anglesey, illustration from Henry Williamson’s ‘The Wood Rogue’

Comments: framed and glazed £200-300

395

‡ CERI RICHARDS CBE limited edition (29/50) colour lithograph - entitled verso, ‘La Cathedrale Engloutie II’ on Kooywood Gallery label, signed and dated 1959, 77 x 50cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £500-800

396

‡ JOHN PIPER screen print on cottonentitled verso ‘Figures from a Cretan Seal, 1954’, 32 x 44cms

Provenance: private collection Cheshire

Comments: framed and glazed £150-250

397

‡ JOHN PIPER screen print on cotton - entitled verso ‘Northern Cathedral, for Sanderson & Co, circa 1960’, 38 x 58cms

Provenance: private collection Cheshire

Comments: framed and glazed £150-250

398

FRANK LLOYDWRIGHT screen print on linen - entitled verso ‘Taliesin Design 2, for Schumacher, USA, circa 1955’, 46 x 72cms

Provenance: private collection Cheshire

Comments: framed and glazed £200-400

399

‡ JOHN PIPER screen print on linen - entitled verso ‘Cotswolds, for David Whitehead, circa 1960’, 58 x 38cms

Provenance: private collection Cheshire

Comments: framed and glazed

£200-300

395

400 GRAHAM SUTHERLAND gallery poster - entitled ‘Road at Porthclais with Setting Sun, 1975’, for the Graham Sutherland Gallery, Dyfed, 68 x 49cms

Provenance: private collection Cheshire

Comments: unframed

£80-140

401

‡ JOHN PIPER screen print on linenentitled ‘Glyders’, 100 x 60cms

Provenance: private collection Cheshire

Comments: unframed £200-300

402

‡ JOSEF HERMAN limited edition (78/150) lithograph - entitled verso ‘Mother and Child’, fully signed, 38 x 30cms

Provenance: private collection Conwy

Comments: framed and glazed £150-200

403

‡ JOHN JONES limited edition (1/20) linocut - entitled verso ‘Landscape, Houses’, signed in pencil and dated ‘65, 35 x 72cms

Auctioneer’s Notes: born in Ynyshir and trained at Cardiff School of Art & Design and Cardiff University, John Jones was a printmaker, weaver and painter. He was married to the artist Mary Lloyd Jones

Provenance: collection of the late 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; thought to have been exhibited at Gregynog in the 70s

Comments: framed and glazed £150-250

Lots 404-441

Welsh Works on Paper

Gweithiau Cymreig ar Bapur

404

‡ MARGARET HOLGATE (20th century) ink on felt - red dragon, Investiture of the Prince of Wales, 1969, signed upper left, 90 x 66cms

Provenance: private collection Vale of Glamorgan

Comments: framed, some surface bobbling, minor fading

£100-200

407

‡ GWILYM PRICHARD

watercolour on card - snowy landscape, signed, 24 x 33cms

Provenance: private collection

Herefordshire

Comments: framed and glazed

£150-250

408

‡ VALERIE GANZ watercolourfarmhouse and landscape, signed, 45 x 32cms

Provenance: private collection

Ceredigion

Comments: framed & glazed, ready to hang

£200-300

405

‡ WILLIAM SELWYN watercolour - view of Santes Fair, Caernarfon, unsigned, 14 x 19cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed

£150-200

406

‡ CLAERWEN HOLLAND ink and pastel on paper - entitled verso, ‘Abereiddy Beach’ on Thackeray Gallery label, signed, 40 x 47cms

Provenance: private collection West Sussex

Comments: framed and glazed

£150-250

409

‡ MIKE JONES graphite on paper - entitled verso ‘Ffermwr a Ffon/Farmer with Stick’, signed, 25 x 20cms

Provenance: private collection Conwy

Comments: framed and glazed

£200-300

410

‡ NEIL CANNING watercolourentitled verso ‘The Valley’, signed and dated verso 1990, 15 x 21cms

Provenance: private collection Cardiff

Comments: framed and glazed

£150-250

411

‡ ROGER CECIL watercolour - entitled verso, ‘Landscape Study’ on Howard Roberts Gallery label, signed, 24 x 74cms

Provenance: private collection Powys

Comments: framed and glazed

£200-300

414

‡ NEIL CANNING watercolour - entitled verso, ‘Lake I’, signed, 56 x 59cms

Provenance: private collection Powys

Comments: framed and glazed

£200-400

412

‡ GEORGE CHAPMAN pencil on paper - preliminary sketch with annotations entitled verso, ‘Aberavon’ on Howard Roberts Gallery label, 30 x 46cms

Provenance: purchased from Howard Robert Gallery, private collection South Yorkshire

Comments: framed and glazed

£150-250

413

‡ KIM ATKINSON mixed media - entitled verso, ‘Great Snipe’, signed, 51 x 36cms

Provenance: private collection South Yorkshire

Comments: framed and glazed

£200-400

415

‡ CLAUDIA WILLIAMS watercolour - entitled verso ‘Looking into Patisserie Window - Vannes’, signed and dated 1988, 25.5 x 14cms

Provenance: private collection Carmarthenshire, by family descent

Comments: framed and glazed £200-300

416

‡ JONAH JONES ink on paper - entitled ‘Farm Minffordd’, signed and dated ‘82, 19 x 29cms

Provenance: private collection Gwynedd

Comments: framed and glazed £150-200

417

‡ WILLIAM SELWYN watercolour - Montmartre, signed in pencil, titled verso on Albany Gallery label, 19 x 27cms

Provenance: deceased estate Rhondda Cynon Taf

Comments: framed glazed, ready to hang £100-200

418

‡ CLAERWEN HOLLAND ink and pastel - entitled verso, ‘Two Men on a Bench, Aberystwyth’ on Thackeray Gallery label, 12 x 17cms

Provenance: private collection West Sussex

Comments: framed and glazed £150-250

419

‡ CHARLES BURTON charcoal on paper - bowl of fruit, signed and dated ‘59, 53 x 74cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed, foxing present £200-300

420

‡ WILLIAM SELWYN

watercolour - Parish Church of Llanbeblig, Caernarfon, signed, 21 x 33.5cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed £200-300

421

‡ ROB PIERCY watercolour - Cnicht and valley floor, signed, 36 x 53cms

Provenance: private collection Conwy

Comments: framed and glazed £200-300

422

‡ CLAUDIA WILLIAMS pencil and blue crayon - entitled verso, ‘Girl, Head in Towel’, signed and dated ‘78, 27 x 19cms

Provenance: with Sotheby’s 1983, private collection South Yorkshire

Comments: framed and glazed £200-300

423

‡ GWILYM PRICHARD watercolour - coastal landscape, signed, 29 x 49cms

Provenance: purchased from the artist, private collection South Yorkshire

Comments: framed and glazed £200-400

424

‡ VALERIE GANZ charcoal and watercolour - entitled verso ‘Claude Williams, U.S.A. Visits Wales’ on Attic Gallery label, signed and dated 1980, 23 x 33cms

Provenance: private collection Carmarthenshire, by family descent

Auctioneer’s Notes: Claude “Fiddler” Williams (1908-2004) was an American jazz violinist and guitarist

Comments: framed and glazed £200-300

425

‡ DAVID WOODFORD pencil on paper - tree in high wind, signed, 24 x 26cms

Provenance: private collection Powys

Comments: framed and glazed £150-250

426

‡ ROB PIERCY watercolour - Eryri (Snowdonia) landscape in winter, signed, 35 x 53cms

Provenance: private collection Conwy

Comments: framed and glazed £250-350

427

‡ SELWYN JONES mixed mediaentitled verso, ‘Merched IV’, 24 x 31cms

Provenance: purchased Bangor City Art Gallery 1973, private collection South Yorkshire

Comments: framed and glazed £150-250

428

‡ CLIVE HICKSJENKINS pencil & body colour on paper - entitled verso ‘The Selkie King’, design for an animatronic figure, signed verso, 22 x 14cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed £150-250

429

‡ CLAERWEN HOLLAND pastelentitled verso, ‘Afternoon at Aberystwyth I’ on Thackeray Gallery label, signed with initials, 12 x 16cms

Provenance: private collection West Sussex

Comments: framed and glazed £150-250

430

‡ VIVIENNE WILLIAMS mixed media - entitled verso ‘Wild Daisies’ on Attic Gallery label, signed, 34.5 x 24.5cms

Provenance: deceased estate Swansea

Comments: framed and glazed £200-300

431

‡ GWILYM PRICHARD mixed media - Continental landscape with rolling hills, signed, 22 x 29cms

Provenance: purchased from the artist, private collection South Yorkshire, by descent

Comments: framed and glazed £150-250

432

‡ TOM NASH mixed media on paper - horse & cart rider, entitled verso ‘Etude, Cabourg’, signed, 23 x 18cms

Provenance: private collection

Berkshire

Comments: framed and glazed

£200-300

433

‡ JOHN KNAPPFISHER mixed media - entitled verso ‘Beach Fisherman’ on label with artists address, signed and dated 2005, 4 x 56cms

Provenance: private collection

Pembrokeshire

Comments: framed and glazed, ready to hang

£200-300

434

‡ KEN ETHERIDGE watercolour and ink - entitled verso, ‘Dear Bridegroom Death’, signed and dated ‘72, 28.5 x 38cms

Provenance: private collection Carmarthenshire

Auctioneer’s Notes: Ken Etheridge (1911-1981) was a Welsh painter, writer, and educator. Born in Ammanford, Carmarthenshire, attended Swansea School of Art and University College, Cardiff, from 1933, blending interests in both visual and literary arts. From 1947 to 1971, he served as the head of the art department at Queen Elizabeth Boys’ Grammar School in Carmarthen. Exhibited work at Paris Salon, Piccadilly Gallery, and Woodstock Gallery and regular contributor to the National Eisteddfod, where he received multiple awards. Public collections at Carmarthenshire Museum, the National Library of Wales, and the World Rugby Museum. Beyond painting, Etheridge was an accomplished writer authoring several books on scenic design and stage costume, as well as Collecting Drawings, published in 1970. His literary repertoire also includes radio plays in both English and Welsh

Comments: framed and glazed £200-300

435

‡ MARY LLOYD JONES watercolour - rocks, Brittany, signed and dated 1981, 19 x 25cms

Provenance: purchased from Mostyn Gallery 1982, private collection

South Yorkshire

Comments: framed and glazed £250-350

436

‡ PHYLLIS JENKINS watercolour - entitled verso, ‘Criccieth Castle’, signed, 33 x 41cms

Provenance: private collection

South Yorkshire

Comments: framed and glazed £150-250

434

437

‡ WILL ROBERTS charcoal - entitled verso, ‘Star-Y-Ffin’ on Attic Gallery label, signed, 54 x 73cms

Provenance: private collection Carmarthenshire, by family descent

Comments: framed and glazed £200-300

438

‡ GYRTH RUSSELL watercolourLondon barges and industry along the Thames, signed, 37 x 56cms

Provenance: private collection South Yorkshire, by descent

Comments: framed and glazed £200-300

439

‡ ELERI MILLS watercolour & pencilgulls in flight, signed, 29 x 22cms

Provenance: private collection Cardiff

Comments: framed and glazed £150-250

440

‡ WILL ROBERTS charcoal on paperfarmer with scythe, signed, 56 x 44cms

Provenance: private collection South Yorkshire

Comments: framed and glazed £200-400

441

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA mixed media - coloured sketch of a pigeon with annotations, signed C. F. Tunnicliffe, 24 x 28cms, together with two further unsigned sketches of pigeons (3)

Provenance: private collection Carmarthenshire, by family descent, Sotheby’s label to signed sketch dated 19/10/99

Comments: framed and glazed, foxing / wear / stains, viewing recommended £200-400

‡ Artist’s Resale

Rogers Jones & Co • The Welsh Sale

445

Lots 442-509

Welsh Oil Paintings & Other Artworks

Paentiadau Olew Cymreig a Gweithiau Celf Eraill

442

‡ GWILYM PRICHARD watercolour - abstract beach scene, signed, 20 x 35cms

Provenance: private collection Gwynedd

Comments: framed and glazed £100-150

443

‡ ROSEMARY BURTON collage - entitled verso ‘White Table’, on Martin Tinney Gallery label, signed and dated verso 2009, 39 x 30cms

Provenance: private collection Bridgend

Comments: framed and glazed £200-400

‡ TERRY JONES oil on canvas - untitled street scene with standing figure, signed verso, 91 x 71cms

Auctioneer’s Notes: painter, teacher, enameller and draughtsman, born in Abersychan, Monmouthshire, son of a miner. He attended Newport College of Art, 1955-60, under Thomas Rathmell, then Royal College of Art, 1960–3, where Carel Weight was a strong influence. Taught at Medway, Canterbury and Kingston Colleges of Art part-time, 1963–7, then was a much-liked teacher full-time at Kingston, 1967-92, from 1973 senior lecturer in fine art. He painted extensively in Portugal from 1962 and America from 1980. Showed at Young Contemporaries, RA, LG and Society of British Enamellers, of which he was a founder-member, and solo at Rowan Gallery, 1962 and 1964. There was a retrospective at Watermans Art Centre/Kingston University, 1994, and tour. Jones was a prize winner at Royal National Eisteddfod in 1976, WAC buying an enamel by him.

Provenance: private collection Torfaen

Comments: unframed canvas

£150-200

444

‡ FELICITY CHARLTON oil on board - entitled verso, ‘Island Excursion’, signed and dated verso 1989, 60 x 90cms

Provenance: private collection Monmouthshire

Comments: framed £200-300

446

‡ JOHN WRIGHT oil on board - entitled verso ‘Waterfall, Cardigan’, signed and dated verso 1959, 121 x 60cms

Provenance: private collection Powys

Comments: framed £200-400

447

‡ DARREN HUGHES

mixed media on boardentitled verso, ‘Yr Hen Wal’ on Thackeray Gallery label, signed and dated verso 2011, 15 x 20cms

Provenance: private collection West Sussex

Comments: framed £250-350

448

‡ HOWARD COLES oil on card - entitled verso ‘Sea Cliff 2’, signed, 52 x 73cms

Provenance: private collection Devon

Comments: framed and glazed

£150-250

449

‡ WILLIAM H BOND (British 1862-1918) oil on canvas - entitled ‘Criccieth Castle’, signed, 43 x 67cms

Provenance: private collection Gwynedd

Comments: framed (damaged), canvas re-lined £200-300

450

‡ GEORGE LITTLE oil on board - entitled verso, ‘Mumbles Lighthouse and Pier from West Cross’, signed verso, 29 x 59cms

Provenance: private collection Powys

Comments: framed £250-350

451

‡ TERRY JONES oil on canvas - entitled verso, ‘A Cole Up the Balance’, signed verso, 124 x 98cms

Provenance: private collection Torfaen

Comments: framed

£150-250

452

‡ GWILYM PRICHARD mixed media on hand-cut paper - entitled verso ‘Offa’s Dyke’, signed with initials, dated verso 2005, 14.5 x 19.5cms

Provenance: private collection Vale of Glamorgan

Comments: framed and glazed £150-200

453

‡ TERRY JONES oil on canvas - untitled Rhymney valley scene with miners, 120 x 120cms

Provenance: private collection Torfaen

Comments: framed £200-400

455

‡ HOWARD COLES oil on card - entitled verso ‘Tide Rising’, signed, 54 x 73cms

Provenance: private collection Devon

Comments: framed and glazed

£150-250

456

‡ MARK SAMUEL oil on board - entitled verso, ‘Corner Shop’ on Martin Tinney Gallery label, signed and dated verso 1997, 15.5 x 23cms

Provenance: deceased estate Cardiff

Comments: framed

£150-250

454

‡ VICTOR NEEP oil on board - entitled verso, ‘Figures in a Landscape’, dated verso ‘79, 17 x 74cms

Provenance: private collection

South Yorkshire

Comments: framed

£200-300

457

‡ GARETH THOMAS acrylic on cardentitled verso, ‘Snowdon, Llyn Mymbyr’, signed and dated 1986, 29 x 38cms

Provenance: private collection Cardiff

Comments: discoloration to mount, framed and glazed

£200-300

458

‡

AUDREY HIND oil on board - entitled verso ‘Ruin, Rhosybol’, signed, 39 x 74cms

Provenance: private collection Cardiff

Comments: framed

£200-300

459

‡ MARK SAMUEL oil on board - The Queen’s Vaults, dated 1996, on Martin Tinney Gallery label, signed verso, 20.5 x 30.5cms

Provenance: deceased estate Cardiff

Comments: framed £200-300

454

457

456 455

459 458

460

‡ THOMAS RATHMELL oil on board - entitled verso, ‘Man at the Surface’, painting is accompanied with preliminarily sketches, signed, 52 x 38cms

Provenance: private collection Monmouthshire

Comments: framed

£150-200

461

‡ CERI PRITCHARD oil on canvas - ‘Illuminati III’, signed with initials, signed, titled, and dated 2019 verso, 46 x 55cms

Provenance: private collection Gwynedd £150-200

462

‡ TOM NASH oil on cardsemi-abstract coastal scene, signed, 35 x 47cms

Provenance: private collection Berkshire

Comments: framed and glazed, mount has water damage

£200-300

463

NEALE HOWELLS mixed media on vinyl record together with collage sleeve - entitled verso ‘Double A-Side’, signed and dated verso 2025, 30 x 30cms

Provenance: consigned from the artist’s studio, Neath Port Talbot, no ARR

Comments: framed and glazed

£200-400

464

‡ EMRYS WILLIAMS oil on panel - entitled verso ‘Woman with Umbrella 1’, on Benjamin Rhodes Gallery label, signed and dated verso 1986, 92 x 122cms

Provenance: private collection Carmarthenshire

Comments: unframed panel £200-300

465 ‡ DAVID TRESS mixed media with paper construction - abstract, green landscape, signed and dated ‘95, 27 x 37cms

Provenance: private collection South Yorkshire

Comments: framed and glazed £250-350

469

‡ CHARLES WYATT WARREN oil on board - Llanddwyn from Traeth Penrhos, Ynys Môn (Anglesey), signed, 25 x 55cms

Provenance: private collection Conwy

Comments: framed and glazed

£250-350

470

‡ CHARLES WYATT WARREN oil on board - Llyn Mymbyr and Cefn-yr-Wyddfa (Snowdon Horseshoe), signed, 24 x 54cms

Provenance: private collection Conwy

Comments: framed and glazed

£250-350

466

‡ MEIRION JONES acrylic on board‘Waiting for the Date’, signed, 19 x 60cms

Provenance: private collection Swansea

Comments: framed £300-400

467

NEALE HOWELLS mixed media collage - entitled verso ‘Dai-Knot’, signed and dated verso 2025, 50 x 40cms

Provenance: consigned from the artist’s studio, Neath Port Talbot, no ARR

Comments: framed and glazed £200-400

468

‡ SARAH YOUNG oil on canvas - ‘Abereiddi’, signed with initials, 49.5 x 60cms

Provenance: private collection Ceredigion

Comments: framed £150-250

471

‡ DAVID WOODFORD acrylic on card - Eryri (Snowdonia) landscape, signed, 14 x 21cms

Provenance: private collection South Yorkshire

Comments: framed and glazed £150-250

468 467 466

472

‡ PETER WINSTANLEY oil on board - entitled verso ‘Mynydd Bodafon Skyscape’, signed with initials, fully signed verso, 34 x 29cms

Provenance: private collection Gwynedd

Comments: framed £200-300

473

‡ AUDREY HIND oil on board - farmstead on hillside, signed, 39 x 75cms

Provenance: private collection Cardiff

Comments: framed £300-400

474

‡ PETER PRENDERGAST mixed media on canvas laid to board - entitled verso ‘Self Portrait’, signed and dated verso 1997, 17 x 12cms

Provenance: private collection Carmarthenshire, Look without Prejudice show 1998 St David’s Hall, Cardiff

Comments: framed and glazed £150-200

475

‡ MARY GRIFFITHS oil on papercrucifixion scene, 29 x 56cms

Provenance: private collection Cardiff

Comments: framed and glazed £200-400

477

‡ ROSEMARY BURTON oil on panelabstract with standing figure, signed and dated verso ‘97/98, 19 x 25cms

Provenance: private collection Carmarthenshire, vendor purchased directly from artist

Comments: framed, inscribed verso ‘Purchased December 1998, personally from the artist Rosemary Burton’ £200-400

‡ DAVID WOODFORD oil on boardentitled verso ‘The Glyders’, signed, 13 x 19cms

Provenance: private collection Powys

Comments: framed £150-250

480

‡ BIM GIARDELLI

fabric collage / appliqué - ‘Not Waving but Drowning’, circa 1980, signed, 56 x 48cms

Provenance: private collection Carmarthenshire

Auctioneer’s Notes: based upon Stevie Smith’s (1902-1971) poem of the same title, from 1957

Comments: framed and glazed £150-250

481

‡ SARAH YOUNG oil on canvasentitled ‘Afon Solfach’ (River Solva), signed fully in pencil, 44.5 x 35cms

Provenance: private collection

Ceredigion

Comments: framed and glazed, ready to hang £250-350

478

‡ JAMES DONOVAN acrylic on paper - entitled verso ‘The Heir’, signed and dated verso 1997, 16 x 18cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed £150-250

479

‡ STEPHEN JOHN OWEN oil on card - whitewashed farmhouse, signed with initials, 12 x 17cms

Provenance: private collection

Cardiff

Comments: framed and glazed £150-250

482

‡ GWILYM PRICHARD acrylic on cardautumn landscape, signed, 18 x 44cms

Provenance: bought directly from the artist, private collection South Yorkshire

Comments: framed and glazed £200-300

483

‡ ROSEMARY BURTON oil on panel - entitled ‘Red Gladioli’, signed and dated verso ‘99, 90 x 59cms

Provenance: private collection Carmarthenshire

Comments: framed £200-400

479

478 480 482

481

485

484

‡ STEPHEN JOHN OWEN oil on card - whitewashed farmhouse with red barn, 17 x 12cms

Provenance: private collection Cardiff

Comments: framed and glazed £150-250

‡ GWILYM PRICHARD mixed media - entitled verso ‘Dyfed’ on Martin Tinney Gallery label, fully signed and dated verso 2013, 25 x 32cms

Provenance: private collection Cardiff

Comments: framed and glazed £200-300

486

‡ SARAH CARVELL oil on canvas - entitled verso ‘Blustery Landscape’, on Martin Tinney Gallery label, signed, signed and dated verso 2009, 18 x 24cms

Provenance: private collection Vale of Glamorgan

Comments: framed £150-250

487

‡ TOM NASH oil on card - entitled verso, ‘Late Harvest’, signed, 35 x 51cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed £150-200

488

‡ TOM NASH oil on card - entitled verso, ‘Late Ride’, signed, 36 x 46.5cms

Provenance: private collection

Carmarthenshire

Comments: framed and glazed £150-200

489

‡ TOM NASH oil on card - semiabstract, signed, 35 x 48cms

Provenance: private collection Swansea

Comments: framed and glazed £200-300

490

‡ TOM NASH oil on card - red abstract, signed, 47 x 35cms

Provenance: private collection Carmarthenshire

Comments: framed and glazed £200-300

491

‡ TERRY JONES oil on canvas - entitled verso, ‘Gran’, signed, 126 x 101cms

Provenance: private collection Torfaen

Comments: framed

£150-200

492

‡ ARTHUR HENRY MILES rare oil on board - landscape at Gwaelod-y-Garth near Cardiff, with rolling hills and rooftop, signed and dated ‘75, 39 x 73cms

Provenance: private collection Cardiff

Comments: framed

£200-300

493

‡ STEPHEN JOHN OWEN oil on board - wooded landscape with red gate, signed with initials, 29 x 42cms

Provenance: private collection Conwy

Comments: framed

£150-250

494

‡ DAVID WOODFORD oil on board - Eryri (Snowdonia) landscape, signed, 27 x 40cms

Provenance: private collection Conwy

Comments: framed £250-350

495

‡ DAVID WOODFORD oil on board - Eryri (Snowdonia) landscape with lake at the centre, signed, 20 x 29cms

Provenance: private collection Conwy

Comments: framed

£250-350

496

‡ DAVID WOODFORD oil on board - flowing woodland stream, signed, 27 x 27cms

Provenance: private collection Conwy

Comments: framed £200-300

492 491

493

496

497

‡ WYN HUGHES oil on board - St. Cwyfan’s Church, Llangadwaladr, Ynys Môn (Anglesey), signed, 26 x 32cms

Provenance: private collection Conwy

Comments: framed

£250-350

498

‡ KEITH GARDNER oil on board - entitled, ‘Y Bont Newydd Dros Afon Gwynant, Beddgelert’, signed, 50 x 60cms

Provenance: private collection Conwy

Comments: framed £250-350

499

‡ EMRYS WILLIAMS oil on panel - entitled verso, ‘From the Window 1’, signed and dated 1997 verso, 20 x 20cms

Provenance: private collection Conwy

Comments: framed £150-250

500

‡ ANEURIN JONES mixed mediaentitled verso, ‘Sheppard (sic) and Dog’ on Albany Gallery label, signed verso, 14 x 16cms

Provenance: private collection Conwy

Comments: framed and glazed £250-350 501

‡ DAVID WOODFORD oil on board - fast flowing woodland river, 36 x 44cms

Provenance: private collection Conwy

Comments: glue residue on painting where mount has been stuck down along top edge, framed £200-300

502

‡ DAVID WOODFORD oil on board - entitled, ‘Llyn Dinas’, signed, 19 x 28cms

Provenance: private collection Conwy

Comments: framed £200-300

503

‡ KEITH GARDNER oil on board - entitled, ‘Y Bont Dros Afon Colwyn, Beddgelert’, signed, 50 x 60cms

Provenance: private collection Conwy

Comments: framed £250-350

504

‡ STEVEN JONES oil on board - laburnum arch, Bodnant Gardens, Conwy, signed, 38 x 50cms

Provenance: private collection Conwy

Comments: framed and glazed

£150-250

505

‡ DAVID GROSVENOR mixed media - entitled verso, ‘Llyn Gwynant II’, signed, 50 x 70cms

Provenance: private collection Conwy

Comments: painting has slipped under the mount, framed and glazed

£150-250

506

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from the Gwryd’, signed, 25 x 55cms

Provenance: private collection West Midlands

Comments: framed

£250-350

507

LILIAN WOODCOCK (1864-1932) oil on canvas - entitled, ‘Llandudno’, inscribed verso, 45 x 54cms

Provenance: private collection Denbighshire

Comments: framed

£250-350

508

‡ DAVID TINKER clay sculpture - circular and tapering tower with doorways, arches and masks, signed and dated ‘95, 62cms (h)

Provenance: private collection Cardiff

Comments: fine

£150-250

509

‡ VIC WELCH watercolour & gouache on board - ‘Cambrian Coast Express, Talerddig’, signed, 33 x 50cms

Provenance: private collection Cardiff

Auctioneers Notes: Welch’s paintings featured in numerous railway magazines and on British Railway posters in the 50s and 60s. The small hamlet of Talerddig in mid-Wales is notable for a significant civil engineering achievement of the 1860s as the railway cutting was the deepest in the world at the time of completion in 1862, being 120 feet (37m) deep

Comments: framed and glazed

£200-300

508

509

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