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The Welsh Sale / Selections

Yr Arwerthiant Cymreig / Dewisiadau

April / Ebrill 2024

Lot 577
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The Welsh Sale / Selections Yr Arwerthiant Cymreig / Dewisiadau April / Ebrill 2024 The Welsh Sale 10am Saturday 27th April Both auctions at our Cardiff Saleroom. Viewing & collection of lots by scheduled appointment 17 Llandough Trading Estate, off Penarth Rd, Cardiff CF11 8RR | Tel: 029 2070 8125 Selections 2pm Tuesday 30th April Buyer’s Premium for both auctions: 24% + VAT (28.8%) on all lots Droit de suite applicable (see terms at back of catalogue) 3

The View

Welcome to the first edition of The View of 2024

Welcome back once again. I am starting to feel rather sheepish about repeating this…but for the fifth year running 2023 was another record year for auction sales at Rogers Jones & Co.

In 2023 we posted record auction figures of £3.82m. Our year was bolstered by the strong Welsh art market, a focus on quality in all our other auctions and of course a rather special rugby jersey consignment which we were very proud to offer to the market on behalf of Sir Gareth Edwards and his family. What a Grand Slam year!

Our success in the last few years has a lot to do with the amazing team which supports the auctioneering front-line, a big thank you to all of them in the North, South and West.

There have though been some personnel changes in the last few months; we were sorry to see Alys Lloyd leave the Cardiff office after several years of impeccable service and then a month later our Cardiff matriarch, Sian Russ retired. I know that regulars will miss Alys and Sian but will give a warm welcome to Olivia Chappell who has seamlessly arrived in position within the Cardiff frontoffice. Olivia has brought new ideas and further efficiency to the operation already, a lucky find indeed.

I recently had the privilege of presenting a lecture about Sir Kyffin Williams at Highgate School. Whilst at the event, it was a joy to hear such enthusiastic responses from attendees about this here catalogue, we produce. The trend in the industry has been to do away with printed catalogues in exchange for digital catalogues only. But this is not our strategy presently. Instead, we are focused on improving these publications further. I pledge that our catalogue strategy will be maintained, providing that the positive feedback that we have been receiving continues.

We have been told on many occasions that the catalogue is ‘something that we look forward to’ and is an ‘invaluable reference for Welsh art and more’. Please keep these compliments coming and the best place to do it would be our Google Review page. We won’t blush and we would be immensely grateful for your (five star) reviews!

The two auctions in the catalogue this time feel BIG! Not necessarily numerically, but in terms of extensive collections entered for auction, including a vast library of Gregynog Books, the Pat Llewellyn Collection (which you may read about in the next few pages) and a large important archive of letters from Sir Kyffin Williams. There are big stories, large objects, sizable collections and a nice thick catalogue to go with your coffee-table.

Please do enjoy the catalogue, and if you have a moment, please do spend a minute and post a review to say we are on the right tracks!

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The View / Bwrw Golwg • Rogers Jones & Co

Bwrw Golwg

Croeso i rifyn cyntaf Bwrw

Golwg yn 2024

Croeso nôl unwaith eto. Mae gen i ychydig o gywilydd yn dechrau drwy ailadrodd hyn ... ond am y bumed flwyddyn yn olynol, roedd 2023 yn flwyddyn arall o dorri record o ran arwerthiannau cwmni Rogers Jones.

Yn 2023, fe wnaethom gyrraedd ein ffigyrau arwerthiant uchaf erioed o £3.82m. Fe gafodd ein blwyddyn ei hatgyfnerthu gan farchnad gelf gref Cymru, ffocws ar ansawdd yn ein holl arwerthiannau eraill ac wrth gwrs, casgliad o grysau rygbi go arbennig yr oeddem yn falch iawn o’i gynnig i’r farchnad ar ran Syr Gareth Edwards a’i deulu. Am gamp lawn o flwyddyn!

Mae ein llwyddiant yn yr ychydig flynyddoedd diwethaf yn sicr o ganlyniad i’r tîm anhygoel sy’n cefnogi rheng flaen yr arwerthu, felly diolch yn fawr i bob un ohonynt, yn y Gogledd, y De a’r Gorllewin.

Serch hynny, bu rhai newidiadau personél yn ystod yr ychydig fisoedd diwethaf. Roedd yn ddrwg gennym weld Alys Lloyd yn gadael swyddfa Caerdydd ar ôl sawl blwyddyn o wasanaeth rhagorol ac yna fis yn ddiweddarach, ymddeolodd ein matriarch o Gaerdydd, Siân Russ. Dwi’n gwybod y bydd ein cwsmeriaid rheolaidd yn gweld colli Alys a Siân ond byddant yn siŵr o roi croeso cynnes i Olivia Chappell, sydd wedi dechrau gyda ni yn swyddfa Caerdydd. Mae Olivia eisoes wedi dod â syniadau newydd ac effeithlonrwydd pellach i’r ffordd rydyn ni’n gweithio. Rydyn ni wir yn lwcus i’w chael hi’n rhan o’r tîm.

Yn ddiweddar, cefais y fraint o gyflwyno darlith am Syr Kyffin Williams yn Ysgol Highgate, Llundain. Tra yn y digwyddiad, roedd yn bleser clywed ymateb mor frwd am y catalog hwn rydym yn ei gynhyrchu. Y duedd yn y diwydiant ydi cael gwared ar gatalogau print am rai digidol yn unig. Ond nid dyma ein strategaeth ni, ar hyn o bryd. Yn hytrach, rydym yn canolbwyntio ar wella’r cyhoeddiadau hyn ymhellach. Rwy’n addo y bydd ein catalogau yn parhau, cyn belled â’n bod yn cael yr adborth cadarnhaol yr ydym wedi bod yn ei gael.

Rydym wedi clywed droeon fod y catalog yn ‘rhywbeth yr ydym yn edrych ymlaen ato’ ac yn ‘gyfeirlyfr amhrisiadwy at gelfyddyd Gymreig a mwy’. Rydym wrth ein boddau, wrth gwrs, yn derbyn canmoliaeth a byddem yn gwerthfawrogi’n fawr petaech yn fodlon gadael gair neu ddau i ni ar dudalen adolygiadau Google. Wnawn ni ddim gwrido gormod a byddem yn hynod ddiolchgar am eich adolygiadau (pum seren)!

Mae’r ddau arwerthiant yn y catalog y tro hwn yn teimlo’n FAWR! Nid o reidrwydd o ran nifer yr eitemau ond o ran y casgliadau helaeth sydd wedi eu rhoi i’r ocsiwn, gan gynnwys llyfrgell helaeth o Wasg Gregynog, casgliad Pat Llewellyn y gallwch ddarllen amdano yn yr ychydig dudalennau nesaf, ac archif fawr bwysig o lythyrau gan Syr Kyffin Williams. Mae yna straeon swmpus, eitemau mawr, casgliadau sylweddol, y cyfan i gyd-fynd â chatalog trwchus braf ar gyfer eich bwrdd coffi.

Cofiwch fwynhau’r catalog, ac os oes gennych chi eiliad, postiwch adolygiad i ddweud ein bod ar y trywydd iawn!

Ben Rogers Jones

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& Co • The View / Bwrw Golwg
Rogers Jones

Review

The Welsh Sale

18 November 2023

Lots: 364 | Total: £463,020

Adolygiad

Yr Arwerthiant Cymreig

18 Tachwedd 2023

Eitemau: 364 | Cyfanswm: £463,020

Top 10 Hammer Prices: Welsh Sale Deg uchaf yr Arwerthiant

1. SIR KYFFIN WILLIAMS RA oil ‘Llyn Ffynhonnau £40,000

2. SIR KYFFIN WILLIAMS RA oil ‘Landscape with Farm’ £38,000

3. KEVIN SINNOTT oil ‘Running Away with the Hairdresser’ £27,000

4. SIR KYFFIN WILLIAMS RA oil ‘Pembroke Coast’ £24,000

5. SIR KYFFIN WILLIAMS RA oil ‘Walk in Hampstead’, £15,000

6. SIR KYFFIN WILLIAMS RA oil ‘Moelwyn Mawr’ £12,000

7. SIR KYFFIN WILLIAMS RA oil ‘Rhodes’ £11,000

8. CLAUDIA WILLIAMS oil ‘Joggers and Bathers, Tenby’ £9,000

9. SIR KYFFIN WILLIAMS RA oil ‘ Holy Trinity, Paddington’ £8,500

10. JACK JONES oil ‘Ebenezer Street’ £8000

Welsh Sale November 2023: Lots of Surprise

The final Welsh Sale of 2023 was the climax of another record year for Rogers Jones & Co.

It was an auction that will be remembered for a strong Welsh art market and especially for Wales’ favourite artist Sir Kyffin Williams. I will also regard selling the iconic ‘Running Away with the Hairdresser’ by Kevin Sinnott as a career highlight.

The first bit of excitement in November’s Welsh Sale arose with the lovely porcine slipware pottery zoomorphic jug. The pig’s characteristic long snout stirred the bidders from their Saturday morning slumber. A new auction record was made for any such Ewenny pig that has gone to market before. That pig really did fly.

Yr Arwerthiant Cymreig Tachwedd 2023: Eitemau o Ryfeddod

Arwerthiant Cymreig olaf 2023 oedd uchafbwynt blwyddyn wych arall i gwmni Rogers Jones.

Roedd yn arwerthiant a fydd yn cael ei chofio am farchnad gelf Gymreig gref ac yn arbennig i hoff artist Cymru, Syr Kyffin Williams. Byddaf hefyd, yn bersonol, yn ystyried gwerthu’r llun eiconig ‘Running Away with the Hairdresser’ gan Kevin Sinnott fel uchafbwynt gyrfa.

Roedd cyffro cyntaf yr Arwerthiant Cymreig ym mis Tachwedd yn ymwneud â jwg crochenwaith slip sŵmorffig hyfryd. Roedd trwyn hir nodweddiadol y mochyn wedi deffro’r cynigwyr o’u trwmgwsg fore Sadwrn.

Fe dorrodd yr eitem record am y pris uchaf am fochyn Ewenni sydd erioed wedi cael mynd i’r farchnad o’r blaen! Roedd y mochyn hwn wir wedi hedfan!

Estimate £400-600

Amcan bris: £400-600

Sold: £2200 + Fees

Gwerthwyd: £2200 + Ffioedd

For Full Results Am Ganlyniadau Llawn
Cymreig
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The
View / Bwrw Golwg • Rogers Jones & Co

Valerie Ganz (1936-2015) painted at fourteen different south Wales collieries during the demise of the coal industry. It is this body of work by Ganz, which commands the highest prices. We were blessed with two such mining scenes in November, and both exceeded their respective estimates, with an atmospheric charcoal drawing entitled ‘Tired Pair, Heading Home’ discovering new found energy in the saleroom to take top billing.

Estimate £700-1000

Sold: £3200 + Fees

The special dedicated sections for Sir Kyffin Williams invariably prove to be exciting stages of The Welsh Sale. In November’s event there were thirty-nine lots in a strong Kyffin section. Thirty eight out of the thirty-nine Kyffin lots found new homes. The highest price of the auction was for the stunning oil of ‘‘Llyn Ffynhonnau’, which came with a 1990 Royal Academy Summer Exhibition label on the back. The painting sold to a lady living in England, but originally from Kyffin’s town of birth in Ynys Mon. It was the bidder’s first foray into the Kyffin market – and what an incredibly powerful picture to start with. We hope she will come back for another soon!

Estimate £30,000-40,000

Sold £40,000 + Fees

The second placed Kyffin in the auction, coming in at £38,000, ticked many of those boxes we look for when we are assessing the great man’s oils. Size, period, sheepdog, farm, drystone walls….

Estimate £20,000-30,000

Sold £38,000 + Fees

We had eight original paintings by another of our favourites, Aneurin Jones. All of them sold and most of them above estimate. My personal favourite was the mellow scene of two cockle picking ladies foraging away in the evening, with an amber beach and sky.

Estimate £2500-3500

Sold £4,000 + Fees

Another successful shock came in the form of Carey Morris’ oil portrait of Mrs Evans, a Llangwm fisherwoman, wearing a wide brimmed hat. The portrait was a newly discovered version of a larger painting that we sold back in 2017. The sitter is described in Glyn Rhys’ book ‘A Celtic Canvas’, and she would ‘get up at four in the morning to walk the 35 miles each way, if necessary, to Carmarthen to sell fish she had caught the day before’.

Estimate £1000-1500

Sold £4400 + Fees

Further on in the auction another entry for the pleasant surprise list, was Harry Holland’s oil portrait of a lady with a candle. Not only a surprise because of the price but also because she was fully clothed this time. This was perhaps a factor that proved popular with bidders but moreover it was very finely executed and the skin tone in the light of the candle was exquisite.

Estimate £500-800

Sold £4000 + Fees

Ray Howard Jones was another artist where the bidding exceeded our expectations. Her work is not common to the market and this one was even rarer being a large example. It came with favourable London gallery provenance.

Estimate £1000-1500

Sold £3600 + Fees

November’s Welsh sale finished on a high with the last lot of the day realising almost six times its guide. It was one of those Arthur Giardelli constructions which are rare and have a special ‘retro’ feel to them which appeals to the current market.

Estimate £500-800

Sold £3400

One of the biggest hits of the day was for the Jack Jones oil painting of Ebenezer Street, Swansea. Jack Jones’ work is now highly sought after and this was a super example with wonderful balance in colour and composition.

Estimate £3500-4500

Sold £8000 + Fees

A A B C D B C D E F G H I E 7
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Jones & Co
The View / Bwrw Golwg

Peintiodd Valerie Ganz (1936-2015) mewn pedwar ar ddeg o wahanol lofeydd yn ne Cymru yn ystod dirywiad y diwydiant glo. Y corff hwn o waith gan Ganz sy’n cyrraedd y prisiau uchaf. Cawsom ein bendithio â dwy olygfa lofaol o’r fath ym mis Tachwedd, a rhagorodd y ddau ar eu hamcan brisiau, gyda llun golosg atmosfferig o’r enw ‘Tired Pair, Heading Home’ yn cael egni o’r ystafell arwerthu i gyrraedd pris da.

Amcan bris: £700-1000

Gwerthwyd: £3200 + Ffioedd

Mae’r adrannau pwrpasol arbennig ar gyfer Syr Kyffin Williams yn yr Arwerthiant Cymreig bob tro’n profi’n gyffrous. Yn nigwyddiad mis Tachwedd, roedd tri deg naw o eitemau mewn adran gref o ‘Kyffins’. Fe aeth tri deg wyth ohonynt i gartrefi newydd. Roedd pris uchaf yr arwerthiant ar gyfer olew trawiadol ‘Llyn Ffynhonnau’, a ddaeth gyda label ‘Arddangosfa Haf yr Academi Frenhinol ym 1990’ ar y cefn. Gwerthodd y paentiad i wraig yn byw yn Lloegr, ond yn wreiddiol o dref enedigol Kyffin ar Ynys Môn. Hwn oedd y tro cyntaf iddi gynnig ar gasglu gwaith gan Kyffin – ac am ddarlun hynod bwerus i ddechrau. Gobeithiwn y daw yn ôl am un arall yn fuan!

Amcan bris: £30,000-40,000 Gwerthwyd: £40,000 + Ffioedd

Roedd y darn ‘Kyffin’ a werthwyd am ail bris uchaf y dydd, a hynny am £38,000, yn ticio llawer o’r blychau hynny rydyn ni’n edrych amdanyn nhw pan rydyn ni’n asesu olewau’r dyn talentog. Maint, cyfnod, ci defaid, fferm, waliau sychion….

Amcan bris: £20,000-30,000

Gwerthwyd: £38,000 + Ffioedd

Roedd ganddom wyth paentiad gwreiddiol gan un arall o’n ffefrynnau, Aneurin Jones. Gwerthwyd pob un ohonynt a’r rhan fwyaf ohonynt uwchlaw’r amcan brisiau. Fy ffefryn personol oedd yr olygfa o ddwy ddynes yn hel cocos gyda’r hwyr, gyda thraeth ac awyr felyngoch.

Amcan bris: £2500-3500

Gwerthwyd: £4,000 + Ffioedd

Daeth sioc lwyddiannus arall ar ffurf portread olew Carey Morris o Mrs Evans, pysgotwraig o Langwm, yn gwisgo het lydan. Roedd y portread yn fersiwn newydd ei ddarganfod o baentiad mwy a werthwyd ganddom yn ôl yn 2017. Mae’r wraig yn cael ei disgrifio yn llyfr Glyn Rhys ‘A Celtic Canvas’, ac mae’n dweud y byddai’n “codi am bedwar y bore i gerdded y 35 milltir un ffordd, os oedd angen, i Gaerfyrddin i werthu’r pysgod yr oedd hi wedi’u dal y diwrnod cynt”.

Amcan bris: £1000-1500 Gwerthwyd: £4400 + Ffioedd

Ymhellach ymlaen yn yr arwerthiant, fe gafwyd un arall i’w ychwanegu at y rhestr o syrpreisus, - portread olew Harry Holland o ddynes gyda channwyll. Nid yn unig yn syndod oherwydd ei bris ond hefyd oherwydd bod ei holl ddillad amdani y tro hwn! Efallai fod hwn yn ffactor a brofodd yn boblogaidd gyda chynigwyr ond, ar ben hynny, roedd y darlun wedi’i beintio’n goeth a chywir ac roedd lliw y croen yng ngolau’r gannwyll yn gywrain iawn.

Amcan bris:£500-800

Gwerthwyd: £4000 + Ffioedd

Paentiad arall a ragorodd ar ein disgwyliadau oedd un Ray Howard Jones. Nid yw ei gwaith yn dod i’r farchnad yn aml iawn ac roedd hon yn brinnach fyth gan ei bod yn enghraifft fawr a daeth gyda tharddiad ffafriol oriel yn Llundain.

Amcan bris: £1000-1500

Gwerthwyd: £3600 + Ffioedd

Daeth Arwerthiant Cymreig mis

Tachwedd i ben gydag eitem ola’r dydd yn cyrraedd bron i chwe gwaith yn fwy na’i amcan bris. Roedd yn un o weithiau prin Arthur Giardelli sydd â naws ‘retro’ arbennig iddynt ac yn apelio at y farchnad bresennol.

Amcan bris:£500-800

Gwerthwyd: £3400 + Ffioedd

Un o lwyddiannau mwyaf y dydd oedd paentiad olew Jack Jones o Stryd Ebeneser, Abertawe. Mae galw mawr am waith Jack Jones bellach ac roedd hon yn enghraifft wych gyda chydbwysedd gwych o ran lliw a chyfansoddiad.

Amcan bris:£3500-4500

Gwerthwyd: £8000 + Ffioedd

A C D B E F H I G F G H 8
I

Review Selections

21 November 2023

Lots: 92 | Total: Total: £114, 445

Adolygiad

Dewisiadau

21 Tachwedd 2023

Eitemau: 92 | Cyfanswm: £114, 445

Top 10 Hammer Prices: Selections Deg Uchaf yr Arwerthiant Dewisiadau

1. PATRICK HERON gouache £17,000

2. PETER LANYON gouache £9,500

3. ROLEX ‘Pepsi’ £7000

4. IMPERIAL WEIGHTS £6,800

5. EMERALD & DIAMOND RING £5,500

6. ROLEX £4000

7. TREVOR BELL oil £4,000

8. DIAMOND, EMERALD & CORAL PENDANT £3,800

9. PAUL FOLLOT rug £3,400

10. DUTCH SCHOOL oil £3400

For Full Results

Selections November 2023: Lots of Surprise

The last of three Selections auctions of 2023 commenced with a high-quality jewellery and watches section. The sale was off to an estimate smasher as early as the second lot when a wonderful pendant in white gold, coral and with a lovely deep emerald sparked a five-way bidding battle.

Estimate £200-400

Sold: £3800 + Fees

The next estimate demolisher was in the fine art section when two camels appeared on the screen. The bronze sculpture was by American Robert Glen (b.1940) whose work is by now in prestigious collections including the British Royal Family and the Aga Khan.

Estimate £1000-1500

Sold: £2400 + Fees

A few lots later a rare Aynsley bone china ‘Butterfly’ tea-set landed before us. The market strength of rare Shelley and Aynsley sets is well documented and we have achieved excellent prices in the last twelve months.

Estimate £400-600

Sold: £1300 + Fees

The middle of the auction was exceptionally heavy in comparison to butterflies! We were offering for auction the second part of a tranche of rare weights and measures. The first of these lots was a set of kettle weights that realized £1000 (estimate £150-250), then a set of ‘County of Carnarvon’ bell weights which weighed in at £1200 (estimate £250-350), but the best was yet to come with a set of brass fluid measures for the ‘County of Glamorgan’.

Estimate £1500-2500

Sold £6800 + Fees

However, the highlight of the entire auction was when we moved on to a very strong entry of early paintings followed by a collection of Modern Art from a deceased estate in north Wales. There was strong bidding for antique pictures which was encouraging in what can be a tough market. But the best prices of the day and the stand-out performers were in the modern art section of the Selections auction. Particularly in respect of abstractionism. A piece by Peter Lanyon caught the eye of many and realised £9500 (estimate £3000-5000) and then a fabulous abstract work by Patrick Heron, with good provenance stole the show.

Estimate £3000-5000

Sold £17000 + Fees

A B C D E
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Am Ganlyniadau Llawn
The View / Bwrw Golwg • Rogers Jones & Co

Dewisiadau Tachwedd 2023: Eitemau o Ryfeddod

Dechreuodd yr olaf o dri arwerthiant Dewisiadau 2023 gydag adran gemwaith ac oriorau o ansawdd uchel iawn. Fe chwalodd yr ail eitem yr amcan bris yn rhwydd wrth i’r gadwen hyfryd o aur gwyn, cwrel ac emrallt danio diddordeb pum person a dechrau brwydr bidio danllyd amdani.

Amcan bris: £200-400

Gwerthwyd: £3800 + Ffioedd

Yn yr adran celfyddyd gain roedd y nesaf i chwalu’r amcan bris. Roedd y cerflun efydd o ddau gamel wedi’i greu gan yr Americanwr Robert Glen (g.1940). Mae ei waith bellach mewn casgliadau mawreddog megis y teulu Brenhinol Prydeinig a’r Aga Khan.

Amcan bris: £1000-1500

Gwerthwyd: £2400 + Ffioedd

Ychydig yn ddiweddarach, glaniodd set o lestri te prin, cynllun ‘Pili Pala’, gan gwmni Aynsley, o’n blaenau. Mae cryfder marchnad setiau prin Shelley ac Aynsley wedi’i ddogfennu’n dda ac rydym wedi cael prisiau rhagorol yn ystod y deuddeg mis diwethaf.

Amcan bris: £400-600

Gwerthwyd: £1300 + Ffioedd

Roedd canol yr arwerthiant yn eithriadol o drwm o’i gymharu â gloÿnnod byw! Ar werth roedd ail ran cyfres o bwysau a mesurau prin. Fe werthodd y cyntaf o’r eitemau hyn, sef set o bwysau tegell, am £1000 (amcan bris £150-250), yna set o bwysau cloch ‘Sir Caernarfon’ a werthwyd am £1200 (amcan bris £250-350), ond roedd y gorau eto i ddod gyda set o fesurau hylif efydd ar gyfer ‘Sir Morgannwg’.

Amcan bris: £1500-2500

Gwerthwyd: £6800 + Ffioedd

Uchafbwynt yr arwerthiant cyfan, fodd bynnag, oedd pan symudom ymlaen at baentiadau cynnar cryf iawn a ddilynwyd gan gasgliad o Gelfyddyd Fodern o ystâd ymadawedig yng ngogledd Cymru. Roedd cynigion cryf am luniau hynafol a oedd yn galonogol mewn marchnad sy’n gallu bod yn un anodd. Ond roedd prisiau gorau’r dydd a’r perfformwyr amlycaf yn adran celf fodern yr arwerthiant Dewisiadau. Yn arbennig, y darluniau haniaethol. Roedd darn Peter Lanyon wedi dal sylw llawer un ac fe werthodd am £9500 (amcan bris £3000-5000) ond gwaith haniaethol gwych gan Patrick Heron, gyda tharddiad da, a ddygodd y sylw.

Amcan bris: £3000-5000

Gwerthwyd: £17000 + Ffioedd

A A B B C C D D E E 11
Jones & Co • The View / Bwrw Golwg
Rogers

Top 100 prices in 2023 Y 100 pris gorau yn 2023

1 2 5 6 7 8 9 3 4 10 11 12 14 15 13 16 19 20 21 17 18 22 23 24 25 29 30 31 32 26 27 28 100 12 The View / Bwrw Golwg • Rogers Jones & Co
33 35 36 37 38 39 34 40 42 44 45 46 47 48 49 50 51 52 53 54 55 56 58 59 61 62 63 64 69 70 71 72 66 67 68 60 65 41 43
&
• The View / Bwrw Golwg 13
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73 77 81 87 95 79 80 82 83 84 85 86 88 89 90 91 92 74 75 76 78 93 94 96 97 98 99 100 14

1 Sir Gareth Edwards’ 1973 Barbarians jersey

SOLD £240,000

2 Sir Kyffin Williams RA oil

SOLD £40,000

3 Sir Kyffin Williams RA oil

SOLD £38,000

4 Francis Turnbull Glasgow’s 1905 New Zealand Rugby jersey

SOLD £33,000

5 Sir Kyffin Williams RA oil

SOLD £32,000

6 Sir Kyffin Williams RA oil

SOLD £29,000

7 Kevin Sinnott oil

SOLD £27,000

8 Sir Kyffin Williams RA oil

SOLD £24,000

9 Sir Kyffin Williams RA oil

SOLD £22,000

10 Sir Kyffin Williams RA oil

SOLD £22,000

11 Claudia Williams oil

SOLD £18,000

12 Patrick Heron gouache

SOLD £17,000

13 Sir Kyffin Williams RA oil

SOLD £16,000

14 Sir Kyffin Williams RA oil

SOLD £16,000

15 Sir Kyffin Williams RA oil

SOLD £15,000

16 Sir Gareth Edwards’ 1974 British Lions jersey

SOLD £10,000

17 Sir Kyffin Willimas RA oil

SOLD £15,000

18 Rolex Single Red Submariner wristwatch

SOLD £15,000

19 1908 Anglo-Welsh Rugby jersey

SOLD £15,000

20 Sir Kyffin Williams RA oil

SOLD £14,000

21 Sir Kyffin Williams RA oil

SOLD £13,000

22 Italian cassone

SOLD £12,500

23 Sir Kyffin Williams RA oil

SOLD £12,000

24 Sir Gareth Edwards’ 1977 Wales Jersey

SOLD £12,000

25 Sir Kyffin Williams RA watercolour

SOLD £12,000

26 Sir Kyffin Williams RA oil

SOLD £11,000

27 Gerald Davies’ 1971 British Lions jersey

SOLD £10,500

28 Peter Lanyon gouache

SOLD £9,500

29 Claudia Williams oil

SOLD £9,000

30 1910 French International Rugby Jersey

SOLD £9000

31 1954 MGTF

SOLD £8600

32 Sir Kyffin Williams RA oil

SOLD £8,500

33 Sir Kyffin Williams RA oil

SOLD £8,500

34 Welsh gold

SOLD £8,100

35 Sir Kyffin Williams RA watercolour

SOLD £8,000

36 Jack Jones oil

SOLD £8,000

37 1908 Australian Rugby Union Jersey

SOLD £7,800

38 Sir Gareth Edwards’ 1971 British Lions Track Suit

SOLD £7,500

39 1906 Springbok Rugby Union Jersey

SOLD £7,000

40 Italian micro-mosaic panel

SOLD £7,000

41 Rolex GMT Master wristwatch

SOLD £7,000

42 Brass fluid measures

SOLD £6,800

43 Art Nouveau light

SOLD £6,600

44 Donald McIntyre acrylic

SOLD £6,500

45 Richard Wilson RA oil

SOLD £6,500

46 Art Deco diamond ring

SOLD £6,500

47 John Piper mixed media

SOLD £6,200

48 Rolex Explorer wristwatch

SOLD £6,200

49 Graham Sutherland mixed media

SOLD £6,000

50 Claudia Williams oil

SOLD £6,000

51 Sir Kyffin Williams RA mixed media

SOLD £6,000

52 Claudia Williams oil

SOLD £5,400

53 Sid Going’s 1969 All-Blacks jersey

SOLD £6,000

54 Sir Kyffin Williams RA mixed media

SOLD £5,750

55 Charles Frederick Tunnicliffe RA watercolour

SOLD £5,500

56 18ct gold ruby bracelet

SOLD £5,500

57 Platinum emerald diamond cluster ring

SOLD £5,500

58 Sir Gareth Edwards’ 1974 British Lions Track Suit

SOLD £5,500

59 Donald McIntyre acrylic

SOLD £5,500

60 David Hockney RA. etching

SOLD £5,500

61 Sir Kyffin Williams RA watercolour

SOLD £5,500

62 Violin

SOLD £5,400

63 Harold Riley charcoal

SOLD £5,200

64 Donald McIntyre acrylic

SOLD £5,200

65 1966 Rolex Oyster Perpetual Explorer wristwatch

SOLD £5,000

66 Sir Gareth Edwards’ 1973-1976 Wales jersey

SOLD £5,000

67 Swansea dessert plate

SOLD £5,000

68 Will Roberts oil

SOLD £5,000

69 Gwilym Prichard oil

SOLD £5,000

70 Kevin Sinnott oil

SOLD £4,800

71 Kevin Sinnott oil

SOLD £4,800

72 Mervyn Davies 1974

SOLD £4,800

73 John Swete sketches

SOLD £4,400

74 Kevin Sinnott oil

SOLD £4,400

75 Valerie Ganz mixed media

SOLD £4,400

76 Carey Morris oil

SOLD £4,400

77 22CT Gold curb link bracelet

SOLD £4,200

78 Kevin Sinnott oil

SOLD £4,200

79 Sir Kyffin Williams RA inkwash

SOLD £4200

80 Assorted jewellery

SOLD £4,200

81 18th Century mourning ring

SOLD £4,200

82 John Knapp Fisher watercolour

SOLD £4,000

83 Aneurin Jones acrylic

SOLD £4,000

84 Winifred Nicholson oil

SOLD £4,000

85 Harry Holland oil

SOLD £4,000

86 Rolex Datejust bracelet wristwatch

SOLD £4,000

87 David Hockney RA Fourteen Poems

SOLD £4,000

88 Sir Kyffin Williams RA inkwash

SOLD £4,000

89 Trevor Bell oil

SOLD £4,000

90 18th Century Flemish School oil

SOLD £4,000

91 Japanese tray

SOLD £4,000

92 1906 Ireland Rugby Jersey

SOLD £4,000

93 Paul Sandby RA watercolour

SOLD £4,000

94 David Roberts RA watercolour

SOLD £3,900

95 Coral pendant

SOLD £3,800

96 Donald McIntyre acrylic

SOLD £3,800

97 City of Westminster brass weights

SOLD £3,800

98 Kevin Sinnott oil

SOLD £3,800

99 Donald McIntyre acrylic

SOLD £3,800

100 Sir Kyffin Williams RA oil

SOLD £3,800

15
& Co • The View / Bwrw Golwg
Rogers Jones

A Z of Welsh Art o Gelf Cymreig is for owen

Last November’s Welsh Sale we began our series of A to Z of Welsh art whereby A was for Aneurin as in Aneurin Jones, an artist affectionately referred to by first name only. But B is for the surname Bowen. There are a few Bowens in the story of Welsh art, but Keith Bowen is our artist this time.

Keith Bowen, born 1950, was originally from Wrexham but now works and lives in Deganwy, north Wales. Deganwy, across the Conwy Estuary from the Castle, being a short drive to Wales’ rugged peaks of Eryri (Snowdonia). Eryri has been Keith Bowen’s muse for more than 50 years.

Keith Bowen is an artist of extraordinarily careful and evocative studies. It is testament to this that the artist was twice awarded the Gold Medal for Fine Art at the National Eisteddfod. And that he has exhibited at the Royal Academy, the National Portrait Gallery, and the National Library of Wales. In 1992, he was elected a member of the Royal Cambrian Academy after an invitation by Sir Kyffin Williams. In the same year the artist was the designer for special Royal Mail stamps.

It is Keith Bowen’s paintings of Eryri for which he is synonymous. In Bowen’s Eryri body of work, he not only beautifully captures the wild mountainous landscape of upland Wales, but also the lives of the people who depend on that landscape. Keith Bowen has documented the human imprint within the Welsh mountains like no other artist before.

The visitors and inhabitants of the bustling National Park towns and villages catch only glimpses of the culture and tradition which operates in the higher ground. There has been shepherding on the slopes for hundreds of years and their work and their lives have evolved very little. Change has until recent times been at an unnoticeable pace - small generational tweaks only.

But now the world is changing dramatically; modern technology, changing public attitudes to farming and pressures from government are a threat to the shepherd’s way of life. This is why Keith Bowen’s ‘Snowdon Shepherd’ is as important now, than it ever was.

‘Snowdon Shepherd’ was the result of Keith Bowen immersing himself in upland sheep farming back in 1990. He documented the lives and landscape of Welsh shepherds in his seminal publication, fully titled ‘Snowdon Shepherd: Four Seasons on the Hill Farms of North Wales’ (Pavillion Books / Gomer Press, 1991/1997).

They say timing is everything and it is most certainly true for art. In the early ‘90s, when Bowen lived amongst the shepherds, their long-established traditions would have not likely felt under threat as they are now. Although it is true that there’s always been pressures - the Welsh sheep farmers in the 1990s had the aftermath of Chernobyl to contend with. But the implications of the disaster would have been considered a temporary condition rather than a greater threat to their way of life.

In ‘Snowdon Shepherd’, Bowen documented the calendar of Welsh shepherding. From the selection of the new flocks in October, gathering from higher ground in November, the harsh winter months, the lambing season, the return to the hills for summer, shearing and so on. It sounds like a straightforward life when it is listed thus! But through Bowen’s written work and studies the calendar is in detail. There is a revealing of the relentless unforgiving life of shepherds battling the elements, with each season accompanied by new challenges. But we see in ‘Snowdon Shepherd’ the best of human qualities – adaptability, humour, loyalty, friendship, community, physical strength, inherited skills as well as the spirit of the Welsh mountains.

‘Snowdon Shepherd’ is full of Bowen’s illustrations – sketches, pastel drawings, and oil paintings. It is thought that sheep are one of the most difficult animals to paint but Keith Bowen captures the flocks with supreme skill, it is as though we are looking through the eyes of the shepherd. Worked largely in (the very difficult medium) pastel, it is as if Bowen’s compositions have a hazy filter which furthers this notion of fading memories and the timelessness of the landscape and its people. It is that Welsh word ‘hiraeth’ once again. I cannot recommend ‘Snowdon Shepherd’ more highly, it is a beautiful publication by one of Wales’ best modern landscape artists.

16
Sold £2500 16.7.22

am owen

Yn Arwerthiant Cymreig fis Tachwedd diwethaf, fe ddechreuon ni ein cyfres ‘A i Y o gelfyddyd Gymreig’ lle’r oedd ‘A ar gyfer Aneurin’, sef Aneurin Jones, artist y cyfeirir ato yn annwyl wrth ei enw cyntaf yn unig. Ond mae B ar gyfer cyfenw, Bowen. Mae sawl Bowen yn stori lawn celfyddyd Gymreig, ond Keith Bowen yw ein hartist y tro hwn.

Ganed Keith Bowen ym 1950, yn wreiddiol o Wrecsam ond bellach yn gweithio ac yn byw yn Neganwy, gogledd Cymru. O Ddeganwy, ar draws Aber Conwy o Gastell Conwy, mae’n daith fer i gopaon garw Eryri, mynyddoedd sydd wedi bod yn ysbrydoliaeth i Keith Bowen ers dros 50 mlynedd.

Mae Keith Bowen yn artist sy’n astudio’i luniau yn hynod ofalus ac mewn ffordd sy’n deffro’r cof. Mae’r ffaith iddo ennill y Fedal Aur am Gelfyddyd Gain ddwywaith yn yr Eisteddfod Genedlaethol yn dyst i hyn. Mae hefyd wedi arddangos ei waith yn yr Academi Frenhinol, yr Oriel Bortreadau Genedlaethol, a Llyfrgell Genedlaethol Cymru. Ym 1992, cafodd ei ethol yn aelod o Academi Frenhinol Cambria ar ôl derbyn gwahoddiad gan Syr Kyffin Williams. Yn yr un flwyddyn, roedd yn ddylunydd ar gyfer stampiau arbennig y Post Brenhinol.

Am ei baentiadau o Eryri y mae Keith Bowen yn fwyaf adnabyddus.Yng nghasgliad Eryri o waith Bowen, nid yn unig mae’n darlunio tirwedd mynyddig, gwyllt, ucheldir Cymru mewn modd prydferth, ond mae hefyd yn portreadu bywydau’r rheiny sy’n dibynnu ar y dirwedd honno. Does yr un artist o’i flaen wedi dogfennu ôl dynol o fewn mynyddoedd Cymru fel Keith Bowen.

Dim ond cipolwg a gaiff ymwelwyr a thrigolion trefi a phentrefi prysur y Parc Cenedlaethol o’r diwylliant a’r traddodiad sy’n treiddio drwy’r tir uwch. Bu bugeilio ar y llethrau ers cannoedd o flynyddoedd ac ychydig iawn sydd wedi esblygu yng ngwaith a bywydau’r bobl. Mae newid wedi bod ar gyflymder ansylweddol - newidiadau bychain, cenhedlaeth wrth genhedlaeth, yn unig.

Ond nawr mae’r byd yn newid yn aruthrol; mae technoleg fodern, newid yn agweddau’r cyhoedd at ffermio a phwysau gan y llywodraeth, i gyd yn fygythiad i ffordd o fyw y bugail. Dyna pam bod ‘Bugail Eryri’ Keith Bowen, fel corff o waith, yr un mor bwysig heddiw nag erioed.

Mae ‘Bugail Eryri’ yn ganlyniad profiad Keith Bowen o ymgolli mewn ffermio defaid yr ucheldir yn ôl yn 1990. Fe gofnododd fywydau a thirwedd bugeiliaid Cymreig yn y cyhoeddiad arloesol hwn, dan y teitl llawn ‘Bugail Eryri: Pedwar Tymor ar Ffermydd Ucheldir Gogledd Cymru’ (Llyfrau Pavillion / Gwasg Gomer, 1991/1997).

Maen nhw’n dweud mai amseru yw popeth ac yn sicr mae’n wir am gelf. Yn y 90au cynnar, pan oedd Bowen yn byw ymhlith y bugeiliaid, ni fyddai eu traddodiadau hirsefydlog yn debygol o fod wedi teimlo dan fygythiad fel y mae nhw’n awr. Er ei bod yn wir bod pwysau wedi bod erioed - roedd gan ffermwyr defaid Cymru yn y 1990au ganlyniadau Chernobyl i ddelio â nhw. Ond byddai goblygiadau’r drychineb wedi cael eu hystyried yn broblem dros dro yn hytrach na bygythiad mwy i’w ffordd o fyw.

Yn ‘Bugail Eryri’, dogfennodd Bowen y calendr bugeilio Cymreig. O ddethol y praidd newydd ym mis Hydref, y casglu o dir uwch ym mis Tachwedd, misoedd garw’r gaeaf, y tymor wyna, dychwelyd i’r bryniau ar gyfer yr haf, y cneifio ac ati. Mae’n swnio fel bywyd syml pan gaiff ei restru felly! Ond trwy waith ysgrifenedig ac astudiaethau Bowen, mae’r calendr yn fanwl iawn.

Ceir yma weld bywyd di-baid, anfaddeugar bugeiliaid yn brwydro yn erbyn yr elfennau. a chyda phob tymor, mae set o heriau tymhorol yn cael eu cyfleu. Ond gwelwn yn ‘Bugail Eryri’ y rhinweddau dynol gorau – y gallu i addasu, hiwmor, teyrngarwch, cyfeillgarwch, cymuned, cryfder corfforol, sgiliau etifeddol ac ysbryd mynyddoedd Cymru a’i phobl.

Mae ‘Bugail Eryri’ yn llawn o ddarluniau Bowen – brasluniau, darluniau pastel, a phaentiadau olew. Y gred yn gyffredinol ydi mai defaid yw un o’r anifeiliaid anoddaf i’w darlunio ond mae Keith Bowen yn cyfleu y praidd gyda’r medrusrwydd mwyaf, y mae fel pe baem yn edrych trwy lygaid y bugail ei hun.

Drwy weithio’n bennaf mewn pastel (sy’n gyfrwng anodd iawn), mae fel petai bod ffilter niwlog ar gyfansoddiadau Bowen, sy’n hybu’r syniad hwn o atgofion yn pylu a natur digyfnewid y dirwedd a’i phobl. Mae’r gair ‘hiraeth’ hwnnw yn codi’i ben unwaith eto.

Ni allaf argymell ‘Bugail Eryri’ yn uwch, mae’n gyhoeddiad hardd gan un o artistiaid tirwedd modern gorau Cymru.

17
Gwerthwyd £4200 16.7.22 Rogers
Jones & Co • The View / Bwrw Golwg
Over 120 years of combined experience & knowledge serving the whole of Wales & UK
18

Our Auctioneers & Valuers

Richard Hughes

NORTH WALES / NORTH WEST REGIONAL AUCTIONEER & VALUER

Based in Wrexham and our Colwyn Bay auction house. Regional valuer for North Wales & North West England incl. Anglesey, North Wales coast, Cheshire, Liverpool, The Wirral, Shrops & Borders.

T:07593 181017 | richard.hughes@rogersjones.co.uk

Stephen Roberts

NORTH WALES REGIONAL AUCTIONEER & VALUER

Based at our Colwyn Bay auction house. Regional valuer for North Wales. Specialist valuer for jewellery, silver & collectables.

T: 07464 355648 | stephen.roberts@rogersjones.co.uk

Ben Rogers Jones (HEAD OF AUCTIONS)

REGIONAL VALUER FOR RURAL / MID-WALES & BORDERS

Specialist valuer for Welsh art, Welsh ceramics, and all items for The Welsh Sale, together with a specialist valuer worldwide for sporting antiques including rugby union jerseys, caps, and rugby memorabilia.

T: 07760 261023 | brj@rjauctions.co.uk

Charles Hampshire

WEST WALES REGIONAL AUCTIONEER & VALUER

Based at our Carmarthen office & Cardiff auction house. Regional valuer for South West Wales incl. Carmarthenshire, Pembrokeshire, Swansea & Vale of Glamorgan. Specialist valuer for jewellery, coins, watches, whisky & wine.

T: 07732 434120 | charles.hampshire@rogersjones.co.uk

Philip Keith

SOUTH WALES & WEST COUNTRY REGIONAL AUCTIONEER & VALUER

Based at our Cardiff auction house. Regional valuer for South Wales incl. Cardiff, Newport, Monmouthshire & South East England incl. Bristol, Bath, Somerset, Devon & Cotswolds. Specialist valuer for Chinese & Asian antiques & fine art, tribal artefacts.

T: 07876 255060 | philip@rjauctions.co.uk

19

Welsh Connections to The Northern Powerhouse

When those of us living in Yr Hen Wlad think about our relationship with the country next door, it is most certainly the north West region of England to whom we have the closest association.

The Welsh (and particularly us Gogs) are fully aware of the histories and cultures of Liverpool, Manchester, Chester and their environs. We are aware too, that the Welsh have played major roles in the development and history of these cities.

Liverpudlians will often proclaim proudly of their Irish immigrant heritage but for some reason rarely talk up their Welsh heritage.

Yet according to the most recent survey, Jones is the most common surname in the city while Williams is third, Davies, is fourth, Hughes is fifth and Roberts is sixth! Poor old Murphy was but tenth.

In fact, Liverpool was built by the Welsh, and I am not referring to Toshack or Rush (although that is partly true but with a very important Scot called Shankly thrown in).

In the early part of the 19th Century, 1 in 10 Liverpool dwellers were from north Wales. Then in the mid part of the century, Welsh architect Richard Owens from Pwllheli, together with David Roberts Co started building Liverpool streets - with a Welsh workforce and Welsh materials.

They erected Wynnstay Street, Rhiwlas Street, Powis Street, Madryn Street, Kinmel Street, Pengwern Street and Treborth Street. They were followed by numerous other brigades of Welsh builders such as Owens & Roberts and J W Jones & Sons. By the 1850s and 1860s, Welsh involvement in the Liverpool construction sector was well established. There were more than 20,000 Welsh builders working in the city by 1850.

Not all these Welsh builders named their streets after Welsh places and Welsh people and so there is a very good chance that anyone living in a traditional Liverpool terrace, near the city-centre, is occupying a house designed and built by Welsh hands and with Welsh materials.

As well as Welsh labour, bricks, and mortar, we also brought Welsh culture to Liverpool in the form of the National Eisteddfod in 1884, 1900 and 1929.

The poet Saunders Lewis – a fiercely proud Welshman and prominent Welsh Nationalist and co-founder of Plaid Cymru, was born in Wallasey, in 1893.

Continuing in a political vein, Yr Amserau, the Victorian bi-weekly Welsh language newspaper that supported radical and nonconformist ideas, was also founded, and edited, in Liverpool.

Of course, it is natural to have such close ties with Liverpool. After all, on a clear day, the Clwydian range can be seen from the city. Liverpool famously benefits from

the natural resources of Wales, not just in the easy access to our stunning mountain ranges, but through Liverpool kitchen taps too. Remember Tryweryn.

So, it follows that it is no surprise to hear north Wales slants in the football stadium crowds (I used to regularly sit in the same seat at Anfield and the chap behind me was from Llandudno Junction)! Neither is it unusual to hear Welsh accents within the aisles of the department stores and at the bars of Liverpool pubs. While just over the Mersey, in Port Sunlight, Welsh people make the pilgrimage to see the most famous Welsh art icon of all, ‘Salem’ by Sydney Curnow Vosper.

The Welsh builders didn’t travel in the same numbers down the East Lancs Road to Manchester, but the links are still strong. The 19th Century saw an influx of migrants from Wales to Manchester to seek employment after the decline of industries in Wales such as copper mining in Anglesey.

The most famous Welsh person of all, David Lloyd George, was born in Manchester. The important socialist of the 19th Century R J Derfel lived in Manchester as did Ceiriog, Wales’ most loved sentimental poet and lyricist.

I apologise now for returning to the beautiful game, but my footy interest is a testimony to the influence that the north West of England had on my childhood, and my parent’s daily delivery of the

20

Liverpool printed North Wales Daily Post. The back-pages of which were divided between Everton and Liverpool (preHollywood Wrexham FC’s coverage was lost somewhere amongst the classifieds).

Billy Meredith was one of the first football superstars before the First World War. Meredith plied his trade as winger for both Manchester clubs - Utd and City. The Welshman, from Chirk, had a lasting impact on The Professional Football Association when he contributed to the creation of Professional Footballers’ Association.

Seemingly moving from football to our artistic destination, Billy Meredith was a special fascination to the artist L S Lowry who was enthralled with the culture around football matches.

So, when we consider these inextricable links between Wales and the north West of England, it should be no surprise that we regularly auction pictures by Manchester and Liverpool artists and that these pictures turn up in homes across Wales.

We are delighted to offer our second L S Lowry oil for auction in the last few years. Also in the same Selections auction are two L S Lowry lithographs, an oil painting by Helen Bradley and an oil painting by Theodore Major. Whilst in recent months we have been selling a collection of works by Harold Riley. These artists are considered part of the Northern Powerhouse of artists, and each were consigned from Welsh clients or families with Welsh connections.

L S Lowry was a frequent visitor to Wales and the nation provided the artist with subject matter in at least two points in his career. In the 1920s, he spent time on the north Wales coast and in the late 1950s / early 1960s his Rhondda-born patron Monty Bloom encouraged him to paint the industrial south Wales valleys.

A little-known fact about a well-known Lowry painting is that the 1959 ‘Woman With a Beard’ is based on a passenger who joined the artist’s train at Newport, when he was travelling from Cardiff to Paddington (what is more surprising is that I think I saw the same unshaven passenger some 65 years later disembarking in Cwmbran!)

Lowry’s more famous Welsh scenes include ‘Hillside in Wales’, 1962, ‘A Winding Road’ which was a scene near Denbigh and painted in 1961, ‘Ebbw Vale’ painted in 1960, and perhaps the best-known of all Welsh scenes to a Welsh art lover, ‘Six Bells Colliery, Abertillery’ which was painted in 1962. The latter hangs at the National Museum of Wales in Cardiff.

There is an obvious appeal of Lowry’s work to a Welsh audience. The oil painting which we are offering this time, ‘ Man Looking at Something’ painted in 1961, is a typical Chaplinesque caricature which is observed with a sense of detachment. The figure wears a Lowrytype uniform of long coat, bowler hat and big boots. The late twentieth century Welsh art collector is familiar with such lonely caricatures in trademark clothing and accessories. But more usual to us are the flat-caps and walking sticks which are synonymous with Welsh artists.

Certainly ‘Man Looking at Something’ would not look out of place on the walls amongst a collection of farmers by Aneurin Jones, Mike Jones, Will Roberts or ‘Kyffins’. And the comparisons with Jack Jones and Lowry are well documented. We have two fabulous Jack Jones examples in this Spring’s Welsh Sale in which the Lowry’s influence is clearly demonstrated, despite Jack’s denial of the moniker of the Welsh Lowry, preferring to declare himself Leonardo of the Slag Heap.

Helen Layfield Bradley (1900-1979) is another artist from the north West region who has captured the imagination of collectors across the UK and in America.

Although Helen Bradley had been interested in art all her life, one of the pivotal moments for the artist was when she was in her 60s and met L S Lowry. Lowry encouraged her narrative style and to base her work on her own childhood memories growing up in Lees, near Oldham. It is these pictorials that recall her Edwardian childhood for which she is famous. They were first exhibited at The Saddleworth Art Society in 1965, followed by a London exhibition in 1966, followed by sell outs at the Carter Gallery in Los Angeles in 1968.

The narrative within Bradley’s paintings is infused with nostalgic innocence and rosetinted incidence. In contrast to some of the other narrative artists in this catalogue, such as L S Lowry, Kevin Sinnott, Sally Moore and Jack Jones, Bradley informs us of the story of the composition, it is not up to our interpretation.

In the example on offer in this Spring’s Selections auction, Bradley’s written recollection is of 1906, when ‘Helen and Aunt Mary’ returned from a dog walk… without the necessary dogs.

It might not leave a lot to our imagination, but it is innocent fun and will appeal to the Welsh collector’s hiraeth for the old days.

Harold Riley (1934-2023)

Sold £5200 29.8.23

Theodore Major (1908-1999) of Wigan, was a good friend of L S Lowry and they shared several commonalities; both artists were as Lancashire as they come, they were both members of the Manchester Group, and they both shared a fascination with the plight of the post-industrial landscape and society. The comparisons between Lowry and Major are not new.

There is dark humour to much of Lowry’s work but in Theodore Major’s landscape paintings there is simply dark without the humour. Many of Major’s paintings are unapologetically bleak, brutal even. Typically, there is driving rain and smoggy skies broken only by glimpses of light from a hazy streetlight, cloudy moon, or smoky industrial lamps. There is nothing Bradleylike about Major’s gritty compositions. In his own words, Theo Major was out to capture “the longings, the sufferings, the ideals and fears” of ordinary northern folk. Major was not afraid to take on major themes, such as the threat of atomic wars, poverty, and pollution.

The Theodore Major painting in this Spring’s Selections auction shows a night scene of figures sheltering under a tree from torrential rain, near an isolated farm. The landscape is likely to be Lancashire, as Theodore Major rarely ventured far. But the scene could quite easily be a north Wales upland farm.

There is no ‘fun’ to be had in this painting, it is bleak, it is brutal, and unforgiving. But to me there is beauty in just those factors.

We are delighted to bring each of these northern paintings and prints to the market. It will be interesting to see whether Wales’ close connection to the north West of England will result in bidding from Welsh collectors.

21

Cysylltiadau Cymreig â

Phwerdy Gogledd Lloegr

Pan fydd y rhai ohonom sy’n byw yng Nghymru yn meddwl am ein perthynas â’r wlad drws nesaf, â rhanbarth gogledd-orllewin Lloegr y byddwn ni’n sicr yn teimlo’r cysylltiad agosaf.

Mae’r Cymry (ac, yn enwedig, ni’r Gogs) yn gwbl ymwybodol o hanes a diwylliannau Lerpwl, Manceinion, Caer a’u cyffiniau. Rydym hefyd yn ymwybodol bod y Cymry wedi chwarae rhan bwysig yn natblygiad a hanes y dinasoedd hyn.

Mae pobl Lerpwl yn aml yn datgan eu balchder yn eu cefndir Gwyddelig ond am ryw reswm, anaml y byddant yn siarad am eu treftadaeth Gymreig.

Ac eto, yn ôl yr arolwg diweddaraf, Jones yw’r cyfenw mwyaf cyffredin yn y ddinas tra bod Williams yn drydydd, Davies yn bedwerydd, Hughes yn bumed a Roberts yn chweched! Mae’r hen Murphy druan yn ddegfed!

Yn wir, adeiladwyd Lerpwl gan y Cymry, ac nid wyf yn cyfeirio at Toshack na Rush (er bod hynny’n rhannol wir, ond gydag Albanwr pwysig iawn o’r enw Shankly wedi’i daflu i mewn hefyd).

Ar ddechrau’r 19eg ganrif, roedd 1 o bob 10 o drigolion Lerpwl yn dod o ogledd Cymru. Yna yng nghanol y ganrif, dechreuodd y pensaer Cymreig Richard Owens o Bwllheli, ynghyd â chwmni David Roberts adeiladu strydoedd Lerpwl - gyda gweithlu Cymreig a deunyddiau Cymreig. Fe godon nhw Stryd Wynnstay, Stryd Rhiwlas, Stryd Powis, Stryd Madrin, Stryd Cinmel, Stryd Pengwern a Stryd Treborth. Dilynwyd hwy gan nifer o adeiladwyr Cymreig eraill fel Owens & Roberts a J W Jones & Sons. Erbyn y 1850au a’r 1860au, roedd cysylltiad y Cymry yn sector adeiladu Lerpwl wedi’i hen sefydlu. Roedd dros 20,000 o adeiladwyr o Gymru yn gweithio yn y ddinas erbyn 1850.

Ond wnaeth pob un adeiladwr o Gymru ddim enwi eu strydoedd ar ôl lleoedd neu bobl Gymreig, felly mae ‘na siawns go dda iawn bod unrhyw un sy’n byw mewn tŷ teras traddodiadol yn Lerpwl, ger canol

y ddinas, yn meddiannu ar dŷ a ddyluniwyd ac a adeiladwyd gan ddwylo Cymreig a gyda deunyddiau Cymreig.

Yn ogystal â llafur, brics a morter Cymru, daethom â diwylliant Cymru i Lerpwl ar ffurf yr Eisteddfod Genedlaethol yn 1884, 1900 a 1929.

Yn Wallasey, yn 1893, ganwyd y llenor a’r gwleidydd, Saunders Lewis - Cymro a chenedlaetholwr balch oedd yn gyd-sylfaenydd Plaid Cymru.

Gan barhau gyda’r elfen wleidyddol, sefydlwyd ‘Yr Amserau’, papur newydd Fictorianaidd, Cymraeg, oedd yn cefnogi Anghydffurfiaeth a radicaliaeth, yn Lerpwl hefyd.

Wrth gwrs, mae’n naturiol cael cysylltiadau mor agos â Lerpwl. Wedi’r cyfan, ar ddiwrnod clir, gellir gweld bryniau Clwyd o’r ddinas. Mae Lerpwl yn enwog hefyd am elwa o adnoddau naturiol Cymru, nid yn unig drwy fod â mynediad hawdd i’n mynyddoedd prydferth, ond trwy dapiau cegin Lerpwl hefyd. Cofiwch Dryweryn.

Mae’n dilyn felly nad yw’n syndod clywed acenion gogledd Cymru yng nghanol tyrfaoedd y stadiwm pêl-droed (roeddwn i’n arfer eistedd yn rheolaidd yn yr un sedd yn Anfield ac roedd y gŵr y tu ôl i mi yn dod o Gyffordd Llandudno)! Nid yw’n anarferol chwaith clywed acenion Cymreig o fewn siopau mawr a thafarndai’r ddinas. Doedd yr adeiladwyr o Gymru ddim wedi teithio yn yr un niferoedd i lawr East Lancs Road i Fanceinion, ond mae’r cysylltiadau’n dal yn gryf. Yn y 19eg Ganrif, gwelwyd mewnlifiad o Gymru i Fanceinion i chwilio am waith wedi dirywiad diwydiannau yng Nghymru fel cloddio copr ar Ynys Môn.

Ganwyd y Cymro enwocaf oll, David Lloyd George, ym Manceinion. Roedd sosialydd pwysig y 19eg Ganrif, R J Derfel, yn byw ym Manceinion, fel yr oedd Ceiriog, y bardd telynegol poblogaidd.

Dwi’n ymddiheuro rŵan am ddychwelyd at y bêl gron, ond mae fy niddordeb mewn pêl-droed yn dyst i’r dylanwad a gafodd gogledd orllewin Lloegr ar fy mhlentyndod, a’r ffaith bod fy rhieni yn derbyn copi dyddiol o’r North Wales Daily Post, a brintiwyd yn Lerpwl. Rhannwyd y

tudalennau cefn rhwng Everton a Lerpwl (Roedd sylw i glwb pêl-droed Wrecsam yn y dyddiau cyn-Hollywood wedi’i golli rhywle ymysg yr hysbysebion!)

Billy Meredith oedd un o’r sêr pêl-droed cyntaf cyn y Rhyfel Byd Cyntaf. Fe ddatblygodd Meredith ei grefft fel asgellwr i ddau glwb Manceinion - United a City. Cafodd y Cymro, o’r Waun, effaith barhaol ar bêl-droed cymdeithas pan gyfrannodd at greu Cymdeithas Pêl-droedwyr Proffesiynol.

Wrth symud o bêl-droed at y byd celf, roedd Billy Meredith, o ddiddordeb arbennig i’r artist L S Lowry a gafodd ei swyno gan y diwylliant oedd yn amgylchynu gemau pêl-droed.

Ychydig bellter yn unig i ffwrdd hefyd, dros y Mersi yn Port Sunlight, mae’r eicon celf Cymreig enwocaf oll o bosib, ‘Salem’ gan Sydney Curnow Vosper, yn hongian.

Felly, pan ystyriwn y berthynas annatod hon rhwng Cymru a gogledd orllewin Lloegr, nid yw’n syndod ein bod yn gwerthu lluniau gan artistiaid Manceinion a Lerpwl yn ein harwerthiannau yn rheolaidd a bod y lluniau hyn yn ymddangos mewn cartrefi ledled Cymru.

Rydym yn falch iawn o gynnig darlun olew gan L S Lowry yn ein harwerthiant, ein hail gan Lowry yn yr ychydig flynyddoedd diwethaf. Hefyd yn yr un Arwerthiant Dewisiadau, mae dau lithograff gan L S Lowry, paentiad olew gan Helen Bradley a phaentiad olew gan Theodore Major. Yn ystod y misoedd diwethaf, rydym wedi bod yn gwerthu casgliad o weithiau gan Harold Riley. Mae’r artistiaid hyn yn cael eu hystyried yn rhan o Bŵerdy Gogledd Lloegr o arlunwyr ac fe gafodd pob un ohonynt eu rhoi i’w gwerthu gan gleientiaid Cymreig neu deuluoedd sydd â chysylltiadau Cymreig.

Roedd L S Lowry yn ymwelydd cyson â Chymru ac roedd y genedl wedi bod yn ysbrydoliaeth iddo ar ddwy adeg yn ei yrfa. Yn y 1920au, treuliodd amser ar arfordir gogledd Cymru ac ar ddiwedd y 1950au / dechrau’r 1960au, fe ddaru ei noddwr, Monty Bloom, a anwyd yn y Rhondda, ei annog i beintio cymoedd diwydiannol de Cymru.

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The View / Bwrw Golwg • Rogers Jones & Co

Ffaith ddifyr am baentiad adnabyddus gan Lowry yw bod darlun ‘Dynes gyda barf’ o 1959 yn seiliedig ar deithiwr a ymunodd â thrên yr artist yng Nghasnewydd, pan oedd yn teithio o Gaerdydd i Paddington. (Yr hyn sy’n fwy o syndod yw fy mod yn credu i mi weld yr un teithiwr blewog rhyw 65 mlynedd yn ddiweddarach yn gadael y trên yng Nghwmbrân!)

Mae golygfeydd Cymreig mwyaf enwog Lowry yn cynnwys ‘Bryn yng Nghymru’ o 1962; ‘Ffordd droellog’ a oedd yn olygfa ger Dinbych ac a baentiwyd ym 1961; paentiwyd ‘Glyn Ebwy’ yn 1960; ac efallai’r mwyaf adnabyddus o bob golygfa Gymreig i rywun sy’n caru celf Gymreig, ‘Glofa’r Six Bells, Abertileri’ a beintiwyd ym 1962. Mae’r olaf yn hongian yn Amgueddfa Genedlaethol Cymru yng Nghaerdydd.

Mae apêl amlwg i waith Lowry i gynulleidfa Gymreig. Mae’r paentiad olew sy’n cael ei gynnig y tro hwn, ‘Dyn yn edrych ar rywbeth’ a baentiwyd ym 1961, yn gymeriad Chaplinaidd nodweddiadol, sy’n ymddangos wedi’i ddatgysylltu, yn unig. Mae’r ffigwr yn gwisgo gwisg debyg i Lowry - côt hir, het bowliwr ac esgidiau mawr. Mae’r casglwr celf Gymreig o ddiwedd yr ugeinfed ganrif yn gyfarwydd â chymeriadau unig fel hyn mewn dillad ac ategolion tebyg. Ond yn fwy cyfarwydd i ni y mae’r capiau fflat a’r ffyn cerdded sy’n gyfystyr ag artistiaid Cymreig.

Yn sicr ni fyddai ‘Dyn yn edrych ar Rywbeth’ yn edrych allan o’i le ar wal ymhlith casgliad o ffermwyr gan Aneurin Jones, Mike Jones, Will Roberts neu ‘Kyffins’. Ac mae’r cymariaethau gyda Jack Jones a Lowry wedi’u cofnodi eisoes. Mae gennym ddwy enghraifft wych o luniau Jack Jones yn Arwerthiant Cymreig y Gwanwyn lle mae dylanwad Lowry yn amlwg, er bod Jack yn gwadu mai fo ydi’r Lowry Cymreig, gan ffafrio’n hytrach galw’i hun yn Leonardo o’r Domen Slag.

Mae Helen Layfield Bradley (1900-1979) yn artist arall o ranbarth gogledd orllewin Lloegr sydd wedi dal dychymyg casglwyr ar draws y DU ac yn America.

Er bod Helen Bradley wedi bod â diddordeb mewn celf ar hyd ei hoes, un o’r eiliadau allweddol i’r artist oedd pan gwrddodd hi L S Lowry pan oedd hi yn ei 60au.

Fe ddaru Lowry ei hannog i ddatblygu ei steil naratif ac i seilio ei gwaith ar atgofion ei phlentyndod ei hun yn tyfu i fyny yn Lees, ger Oldham. Y darluniau hyn, sy’n atgofion o’i phlentyndod Edwardaidd, y mae hi’n enwog amdano. Fe’u harddangoswyd gyntaf yng Nghymdeithas Gelf Saddleworth ym 1965, ac yna mewn arddangosfa yn Llundain ym 1966, cyn gwerthu allan yn Oriel Carter yn Los Angeles ym 1968.

Mae’r naratif o fewn paentiadau Bradley wedi’i drwytho â diniweidrwydd hiraethus, syml. Mewn cyferbyniad â rhai o arlunwyr naratif eraill sydd yn y catalog hwn, megis L S Lowry, Kevin Sinnott, Sally Moore a Jack Jones, mae Bradley yn glir wrth ddangos i ni stori’r cyfansoddiad, nid yw fyny i ni i’w ddehongli.

Yn yr enghraifft a gynigir yn Arwerthiant Dewisiadau’r gwanwyn hwn, mae atgof ysgrifenedig Bradley o 1906, pan ddychwelodd ‘Helen a Modryb Mary’ o daith yn cerdded y cŵn.... heb y cŵn angenrheidiol.

Efallai nad yw’n gadael llawer i’n dychymyg, ond mae’n hwyl diniwed a bydd yn apelio at y casglwr Cymreig sy’n hiraethu am yr hen ddyddiau.

Roedd Theodore Major (1908-1999) o Wigan, yn ffrind da i L. S Lowry ac roedd ganddynt gryn dipyn yn gyffredin; roedd y ddau artist o Swydd Gaerhirfryn, roedd y ddau yn aelodau o Grŵp Manceinion, ac roedd y ddau ohonynt yn rhannu diddordeb yn nhrafferthion y gymdeithas ôl-ddiwydiannol. Nid yw’r cymariaethau rhwng Lowry a Major yn newydd.

Mae hiwmor tywyll i lawer o waith Lowry ond ym mhaentiadau tirwedd Theodore Major, mae yna dywyllwch ond heb yr hiwmor. Mae llawer o baentiadau Major yn llwm iawn, heb ymddiheuriad, creulon hyd yn oed.

Yn nodweddiadol, mae glaw trwm ac awyr myglyd, wedi’i thorri yn unig gan gip o olau stryd gwan, lleuad niwlog neu fwg diwydiannol. Does dim byd tebyg i Helen Bradley am gyfansoddiadau tywyll Major. Yn ei eiriau ei hun, roedd Theo Major am ddarlunio “yr hiraeth, y dioddef, y delfrydau ac ofnau” pobl gyffredin y gogledd. Doedd Major ddim ofn ymgymryd â themâu mawr, megis y bygythiad o ryfeloedd atomig, tlodi a llygredd.

Mae paentiad Theodore Major yn Arwerthiant Dewisiadau’r gwanwyn hwn yn dangos golygfa nos o ffigurau yn cysgodi o dan goeden rhag glaw trwm ofnadwy, ger fferm ynysig. Mae’n debyg mai Swydd Gaerhirfryn yw’r dirwedd, gan mai anaml y byddai Theodore Major yn mentro’n bell. Ond fe allai’r olygfa fod yn fferm ucheldir yng ngogledd Cymru yn hawdd iawn. Does dim ‘hwyl’ i’w gael yn y paentiad hwn, mae’n llwm, mae’n greulon, ac yn anfaddeuol. Ond i mi mae harddwch yn y ffactorau hynny.

Rydym yn falch iawn o ddod â phob un o’r paentiadau a phrintiau o ogledd Lloegr i’r farchnad. Bydd yn ddiddorol gweld a yw cysylltiad agos Cymru â gogledd orllewin Lloegr yn arwain at gynigion gan gasglwyr Cymreig.

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Werthwyd £65,000 3.3.2019
&
• The View / Bwrw Golwg
Rogers Jones
Co

The Collecting Visions of a Television Visionary

We often express how selling important personal collections is a privilege - but it truly is. This is especially so when items have significant meaning to the lives of those who owned them and act as symbols of special moments and memories in lives lived.

We are genuinely humbled when a family entrusts us with such collections.

This privilege was felt acutely last year, when Sir Gareth Edwards and his family entered the greatest’s collection of match-worn international jerseys that he and his rugby union opponents had worn for huge rugby matches.

We are always proud to receive this faith from vendors and particularly when such consignments could have graced any of our competitors’ auctions across the UK, or even overseas.

The honour and privilege will be strongly felt by us again this spring with the entry of another collection which, item by item, meant so much to the lives of those who acquired it.

This time the collection is far more eclectic than Sir Gareth’s Edwards’ rugby jerseys. But there are similarities in that both collections come from very proud Welsh people who had the Midas touch in their

chosen disciplines, and helped make stars of those around them. Similarly, both Sir Gareth’s collection and this new collection have Wales running through them like a stick of rock.

Patricia Llewellyn was born in Carmarthen in 1962 to Anne and Eric, who ran The Emlyn Arms, a hotel and restaurant in Newcastle Emlyn. This inspired her lifelong interest in, and love of, food. As a child, her mother used to sit her on a beer barrel outside the hotel kitchen door and keep her busy by giving her a quail to eat.

Pat was educated at Netherwood Boarding School in Saundersfoot, before attending Westonbirt Girls’ School, near Tetbury, in Gloucestershire. After which she studied French and Film at Middlesex Polytechnic including a year at the Sorbonne, Paris, later completing an MA in Film Studies at the Polytechnic of Central London.

Inspired by her studies, Pat went to the British Universities Film & Video Council before getting a job at Channel 4, as an

assistant in the Education Department. There she was encouraged to get into production by a commissioning editor who recognised her burgeoning talent.

In 1992, Llewellyn began working at the production company Wall To Wall and helped create the cookery show Eat Your Greens (1993) with Sophie Grigson. In 1994 she joined Optomen Television, where she created the pioneering programme Police, Camera, Action! Which was a ratings sensation for ITV.

Later, Pat became Managing Director of Optomen from 2005 until 2016.

It was during the filming of Eat Your Greens - and its accompanying series Grow Your Greens - that Llewellyn first met Clarissa Dickson Wright, then a recovering alcoholic, working in a cookery bookshop in Edinburgh. Shortly afterwards, she lunched with Jennifer Paterson, a cook and columnist at The Spectator – Pat had a “eureka” moment when she saw Paterson speed off on a motorbike.

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Ignoring the advice of others, who believed there was no appetite for “large, posh middle-aged ladies” on television cooking old-fashioned dinner-party food, Llewellyn introduced the two cooks to one another, added a sidecar as a prop and, in 1996, Two Fat Ladies became TV gold.

With emphasis on “suet and tipsy cake rather than rocket salad and sun-dried tomatoes”, four series were commissioned, and it became the most-watched cookery programme in the mid-Nineties, attracting more than 3.5 million viewers a week, as well as a global audience of 70 million. Its two stars charmed with their eccentricity, politically incorrect views and enthusiasm for cholesterol infused dinners. ‘You really want to get it well-greased. Did you see Last Tango in Paris? Something like that’, exclaimed Dickson Wright!

The spin-off books became bestsellers; the shows and books went on to further success in America and Australia and around the globe.

After the incredible success of Two Fat Ladies, Pat embarked on something very different, when she spotted a young, freshfaced Jamie Oliver chopping spinach in the background of a documentary about The River Café in London. “This is the guy,” she told colleagues at Optomen.

The BBC, however, was not easily convinced. The Naked Chef, in which Pat Llewellyn’s voice was heard in every episode asking Oliver questions about what he was cooking, sat shelved for five months before finally being broadcast, in 1999. By the end of the first few episodes of the first series audience figures rocketed and cooking-cool was born.

Jamie Oliver soon became Optomen’s major earner, a situation which came to an end when, after the third series, Oliver decided to leave to set up his own production company. He later acknowledged Pat’s “huge impact” on his early TV career and called her “one of the most gifted matriarchs of the TV industry”. Llewellyn said Oliver’s departure taught her a valuable business lesson, aptly, “to not to put all the eggs in one basket”.

In 2004, Pat brought Gordon Ramsay to mainstream prominence on Channel 4’s Ramsay’s Kitchen Nightmares, transforming the terrifying, sweary outspoken chef into the wise Godfather of the restaurant industry, troubleshooting struggling establishments. They would cofound One Potato Two Potato, a joint venture production company, to produce all of Ramsay’s television series, including

The F Word. The company opened a Los Angeles office in 2010, which Llewellyn ran with her husband, Ben Adler.

Pat’s other credits included Heston’s Feasts (2009), with experimental chef Heston Blumenthal. Llewellyn also acted as co-producer of several American cookery and reality television programmes, such as Ramsay’s Kitchen Nightmares, MasterChef, Hotel Hell, and MasterChef Junior.

Pat also launched the BBC2 series Mary Queen Of Shops (2007) and the media career of Mary Portas - another ratings hit. She was executive producer of The F***ing Fulfords (2004), a BAFTAnominated documentary for Channel 4, which introduced bemused, horrified and entertained audiences to the foul-mouthed residents of Great Fulford, an 800-year old crumbling manor house in Devon.

I will always remember ‘Dylan Thomas’ garden gate which they eventually won after a protracted bidding battle in the room.

Llewellyn won her first BAFTA for The Naked Chef and two more (plus an International Emmy and a Grierson Award) for Ramsay’s Kitchen Nightmares. Heston’s Feasts won a Royal Television Society Award, and in 2002 she won the Independent Spirit Award at the annual Glenfiddich Food and Drink Awards.

Former BBC2 controller Mark Thompson described The Naked Chef as “spectacularly influential in the development of factual TV” and said Pat Llewellyn was “the single most important creator of the new wave of food shows which eventually swept the world”.

I first came across Pat Llewellyn and her husband, Ben Adler, in the early years of our second saleroom in Cardiff, when they were enthusiastic bidders in our Welsh Sale auctions.

I will always remember ‘Dylan Thomas’ garden gate which they eventually won after a protracted bidding battle in the room. The rusty iron gate from DT’s garden had been salvaged from Laugharne beach by actor Michael Sheen and the graffiti artist Pure Evil, together with his late father, the artist, John Uzzell Edwards. A fabulous provenance that you just couldn’t make up! Pat and Ben had the gate lovingly restored, and it now opens into the vegetable garden of their east London house.

Pat was fiercely proud of her Welsh roots, and together with Ben (who equally proudly described himself as “Welsh by marriage”) she curated a Welsh fine art and Welsh antique collection for their homes in west Wales, the Cotswolds and London.

They approached collecting with the same freshness as they did the television industry – by avoiding the mainstream. They bought Welsh art and Welsh furniture from around the UK, always with the condition that the object must speak to them vernacularly. The age of the item was secondary to the item making a statement about Welsh heritage and Pat’s Welsh roots. A version of ‘Salem’ by Hywel Harries being one of those statement pieces. They also purchased, at The Welsh Sale, John Uzzell Edwards’ monumental Welsh quilt canvases, which are very much in the manner of 20th Century abstractionism but are inspired by the ancient tradition of Welsh quilt making. One of these giants is in this April Welsh Sale. Also consigned is the haunting print ‘Soar y Mynydd’ by Ogwyn Davies, which portrays the spirit of the remotest chapel in Wales, which stands alone in the Cambrian Mountains (at the end of a “seemingly unending winding road” according to Ben, which Pat and Ben drove down together in winter 2015).

Another isolated chapel is on offer in Cefyn Burgess’ textile collage, and there is a trio of antique Welsh samplers, each worked by young girls of the period with the triumvirate of Welsh surnames - Jones, Davies and Thomas.

Ben and Pat were also very fond of Welsh stick-back chairs. These humble little chairs having only recently caught the imagination of the collector in a big way. There are several in the auction, all carefully selected by Pat and Ben on their buying missions in London and Wales.

Pat Llewellyn died in 2017 at the too young age of 55 years. All of us at Rogers Jones & Co were shocked and saddened to hear of the death of one of Wales’ greatest modern Cymraes. Pat was a television pioneer and one of the sharpest visionaries to have worked in the TV industry.

We are very grateful to Ben Adler for entrusting us to sell this wonderful collection, which has Pat and Ben’s personality stamped on every lot. Not only is it a privilege to auction this collection which will have meant so much to Ben and his life with Pat, it is also a privilege to be given access to the vision and leftfield approach of Pat through the Welsh objects that she loved.

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Jones & Co • The View / Bwrw Golwg

Casgliad Gweledol Cynhyrchydd Teledu

oedd â Gweledigaeth Glir

Rydym yn aml yn dweud bod gwerthu casgliadau personol pwysig yn fraint – ond dwi wirioneddol yn ei feddwl. Mae hyn yn arbennig o wir pan fydd gan eitemau ystyr arwyddocaol i’w perchnogion ac yn symbolau o eiliadau arbennig ac atgofion yn eu bywydau.

Rydym yn teimlo ei bod hi’n anrhydedd pan fydd teulu yn ymddiried ynom gyda chasgliadau o’r fath.

Teimlwyd y fraint anferth hon y llynedd, pan ddaeth Syr Gareth Edwards a’i deulu atom i werthu casgliad anhygoel o grysau rhyngwladol yr oedd o a rhai o’i wrthwynebwyr o rygbi’r undeb wedi’u gwisgo mewn gemau rygbi enfawr. Rydym bob amser yn falch o weld bod gan werthwyr ffydd ynom ni, yn enwedig pan allai casgliadau o’r fath fod wedi mynd at unrhyw un o’n cystadleuwyr yn y byd arwerthu, yn y DU, neu hyd yn oed dramor.

Mae’r anrhydedd a’r fraint yn cael ei deimlo’n gryf gennym eto’r gwanwyn hwn gyda chasgliad arall a oedd, fesul eitem, yn golygu cymaint i fywydau’r rhai a’u casglodd.

Y tro hwn mae’r casgliad yn llawer mwy eclectig na chrysau rygbi Syr Gareth Edwards. Ond mae yna debygrwydd gan fod y ddau gasgliad yn dod oddi wrth Gymry balch iawn oedd â chyffyrddiad Midas yn eu gyrfaoedd, ac wedi helpu i ddatblygu sêr o’r bobl o’u cwmpas. Mae Cymru a Chymreictod yn llifo’n gryf trwy wythiennau’r casgliad newydd hwn, yn yr un modd â chasgliad Syr Gareth.

Fe gafodd Patricia Llewellyn ei geni yng Nghaerfyrddin ym 1962 i Anne ac Eric, a oedd yn rhedeg Gwesty’r Emlyn yng Nghastell Newydd Emlyn. Ysbrydolodd hyn ei diddordeb a’i chariad gydol oes mewn bwyd. Yn blentyn, arferai ei mam ei rhoi i eistedd ar ben casgen gwrw y tu allan i ddrws cegin y gwesty a’i chadw’n brysur drwy roi sofliar (quail) iddi i’w bwyta. Bu Pat yn Ysgol Breswyl Netherwood yn Saundersfoot, cyn mynychu Ysgol Ferched Westonbirt, ger Tetbury, yn Swydd Gaerloyw. Wedi hynny, fe aeth i astudio Ffrangeg a ffilm yng Ngholeg Polytechnig Middlesex gan gynnwys blwyddyn yn y Sorbonne, Paris, gan gwblhau MA mewn astudiaethau ffilm yn ddiweddarach yng Ngholeg Polytechnig Canol Llundain. Wedi’i hysbrydoli gan ei hastudiaethau, aeth Pat at Gyngor Ffilm a Fideo Prifysgolion Prydain cyn cael swydd gyda Channel 4, fel cynorthwy-ydd yn yr adran addysg. Yno cafodd ei hannog i drio mynd i mewn i’r byd cynhyrchu gan olygydd comisiynu a oedd wedi sylwi ar ei dawn a’i photensial.

Ym 1992, dechreuodd Llewellyn weithio i gwmni cynhyrchu Wall To Wall ar sioe goginio Eat Your Greens (1993) gyda

Sophie Grigson. Ym 1994, ymunodd â chwmni teledu Optomen, lle creodd y rhaglen arloesol Police, Camera, Action! a ddenodd gynulleidfa dda i ITV. Yn ddiweddarach, daeth Pat yn rheolwr gyfarwyddwr Optomen o 2005 tan 2016. Yn ystod ffilmio Eat Your Greens, a’r gyfres Grow Your Greens oedd yn cydfynd â hi, fe ddaru Pat gyfarfod â Clarissa Dickson Wright, a oedd ar y pryd yn gwella o alcoholiaeth ac yn gweithio mewn siop lyfrau coginio yng Nghaeredin. Yn fuan wedyn, cafodd ginio gyda Jennifer Paterson, cogydd a cholofnydd The Spectator. Cafodd Pat syniad “eureka” pan welodd Paterson yn gyrru i ffwrdd ar gefn beic modur!

Gan anwybyddu cyngor eraill, a gredai nad oedd unrhyw awydd gan wylwyr am “ferched canol oed mawr, crand” yn coginio bwyd ciniawa hen ffasiwn, fe gyflwynodd Llewellyn y ddwy gogyddes i’w gilydd, ychwanegodd sidecar fel prop ac, yn 1996, daeth Two Fat Ladies yn glasur teledu.

Gyda phwyslais ar “gacen ddiod a siwet yn hytrach na salad roced a thomatos wedi’u sychu yn yr haul” comisiynwyd pedair cyfres, ac fe ddatblygodd i fod y rhaglen

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goginio a gafodd ei gwylio fwyaf yng nghanol y nawdegau, gan ddenu dros 3.5 miliwn o wylwyr yr wythnos yn ogystal â chynulleidfa fyd-eang o 70 miliwn. Roedd y ddwy seren ecsentrig yn swyno pawb gyda’u hynodrwydd, eu safbwyntiau gwleidyddol amhriodol a’u brwdfrydedd am giniawau llawn colesterol. ‘Rydych chi wir angen ei iro’n dda. Welsoch chi Last Tango in Paris? Rhywbeth felly!’, ebychodd Dickson Wright!

Datblygwyd llyfrau yn sgil y gyfres ac fe werthon nhw yn dda iawn; yn wir, aeth y cyfresi a’r llyfrau ymlaen i brofi llwyddiant pellach yn America ac Awstralia a ledled y byd.

Ar ôl llwyddiant anhygoel Two Fat Ladies, dechreuodd Pat ar rywbeth gwahanol iawn, pan welodd Jamie Oliver ifanc ei olwg yn torri sbigoglys yng nghefndir rhaglen ddogfen am The River Café yn Llundain. “Dyma’r boi,” meddai wrth gydweithwyr yn Optomen.

Doedd y BBC ddim mor hawdd eu hargyhoeddi. Bu The Naked Chef, lle clywyd llais Pat Llewellyn ym mhob pennod yn gofyn cwestiynau i Oliver am yr hyn yr oedd yn ei goginio, yn eistedd ar y silff gomisiynu am bum mis cyn cael ei darlledu, o’r diwedd, yn 1999. Erbyn diwedd yr ychydig benodau cyntaf, roedd ffigurau gwylio’r gyfres wedi saethu i fyny a choginio-cŵl wedi’i sefydlu

Yn fuan iawn, roedd llwyddiant Jamie Oliver yn talu’n dda i Optomen, sefyllfa a ddaeth i ben pan benderfynodd Oliver adael, ar ôl y drydedd gyfres, er mwyn sefydlu ei gwmni cynhyrchu ei hun. Yn ddiweddarach, fe ddaru gydnabod “cyfraniad enfawr” Pat ar ei yrfa deledu gynnar a’i galw’n “un o fatriarchiaid mwyaf dawnus y diwydiant teledu”.

Dywedodd Llewellyn fod ymadawiad Oliver wedi dysgu gwers fusnes gwerthfawr iddi, a hynny’n eironig “i beidio â rhoi’i hwyau i gyd yn yr un fasged”.

Yn 2004, daeth Pat â Gordon Ramsay i amlygrwydd ar Channel 4, drwy’r gyfres Ramsay’s Kitchen Nightmares. Roedd wedi trawsnewid y cogydd brawychus, di-flewynar-dafod, llawn rhegfeydd, yn dad doeth y diwydiant bwytai, gan ddatrys problemau sefydliadau oedd yn ei chael hi’n anodd cadw dau ben llinyn ynghyd. Fe ddaru nhw fynd ati i gyd-sefydlu One Potato Two Potato, cwmni cynhyrchu ar y cyd, i gynhyrchu holl gyfresi teledu Ramsay, gan gynnwys The F Word. Agorodd y cwmni swyddfa yn Los Angeles yn 2010, y bu Llewellyn yn ei reoli gyda’i gŵr, Ben Adler.

Ymysg cyfresi llwyddiannus eraill Pat mae Heston’s Feasts (2009) gyda’r cogydd arbrofol Heston Blumenthal. Bu Llewellyn hefyd yn gyd-gynhyrchydd ar nifer o raglenni coginio a theledu realiti Americanaidd, megis Ramsay’s Kitchen Nightmares, MasterChef, Hotel Hell, a MasterChef Junior

Pat hefyd oedd yn gyfrifol am y gyfres Mary Queen Of Shops ar BBC2 (2007) a lansiodd yrfa Mary Portas yn y cyfryngau - llwyddiant arall o ran ffigyrau gwylio. Hi oedd yr uwch gynhyrchydd hefyd ar The F***ing Fulfords (2004), rhaglen ddogfen ar gyfer Channel 4 a gafodd ei henwebu am BAFTA; rhaglen ddaru ddrysu, dychryn a diddanu cynulleidfaoedd a’u cyflwyno i drigolion rheglyd Great Fulford, plasdy 800 mlwydd oed oedd yn dadfeilio yn Nyfnaint.

gyda’r un ffresni â phan yn y diwydiant teledu – drwy osgoi’r brif ffrwd. Fe brynon nhw gelf Gymreig a dodrefn Cymreig o bob rhan o’r DU, gyda’r amod bob amser bod yn rhaid i’r gwrthrych siarad â nhw.

Byddaf bob amser yn cofio giât gardd Dylan Thomas a brynwyd ganddynt yn y diwedd ar ôl brwydr bidio hirfaith yn yr ystafell.

Fe enillodd Llewellyn ei BAFTA cyntaf am The Naked Chef a dwy arall (ynghyd ag Emmy Rhyngwladol a Gwobr Grierson) am Ramsay’s Kitchen Nightmares. Enillodd Heston’s Feasts Wobr y Gymdeithas Deledu Frenhinol, ac yn 2002, fe enillodd wobr am ei chymeriad annibynnol yng Ngwobrau Bwyd a Diod flynyddol Glenfiddich.

Disgrifiodd cyn-reolwr BBC2, Mark Thompson, The Naked Chef fel rhaglen “hynod o ddylanwadol yn natblygiad teledu ffeithiol” a dywedodd mai Pat Llewellyn oedd y “dyfeisiwr unigol pwysicaf o’r don newydd o sioeau bwyd ddaru ledaenu ar draws y byd maes o law.”

Fe ddes i ar draws Pat Llewellyn a’i gŵr, Ben Adler, ym mlynyddoedd cynnar ein hail ystafell arwerthu yng Nghaerdydd, pan oedden nhw’n gynigwyr brwd yn arwerthiannau’r Arwerthiant Cymreig. Byddaf bob amser yn cofio giât gardd Dylan Thomas a brynwyd ganddynt yn y diwedd ar ôl brwydr bidio hirfaith yn yr ystafell. Roedd y giât haearn rhydlyd o ardd Dylan Thomas wedi cael ei hachub o draeth Talacharn gan yr actor Michael Sheen a’r artist graffiti Pure Evil, ynghyd â’i ddiweddar dad, yr arlunydd, John Uzzell Edwards. Hanes tarddiad anhygoel yn wir, fyddai’n amhosib ei ffugio! Adferwyd y giât yn ofalus gan Pat a Ben, ac mae bellach yn agor i ardd lysiau eu tŷ yn nwyrain Llundain. Roedd Pat yn hynod falch o’i gwreiddiau Cymreig, ac, ynghyd â Ben (a ddisgrifiodd ei hun yr un mor falch fel “Cymro trwy briodas”) bu’n curadu casgliad o gelfyddyd gain Gymreig a hen bethau Cymreig ar gyfer eu cartrefi yng ngorllewin Cymru, y Cotswolds a Llundain. Aethant ati i gasglu

Roedd oedran yr eitem yn eilradd i’r ffaith ei fod yn gwneud datganiad am dreftadaeth Gymreig a gwreiddiau Cymreig Pat. Roedd y fersiwn o ‘Salem’ gan Hywel Harries yn un o’r darnau trawiadol hynny. Fe brynon nhw hefyd, yn Yr Arwerthiant Cymreig, gynfasau cwilt Cymreig anferthol John Uzzell Edwards, sydd, i raddau helaeth, yn null haniaethol yr 20fed ganrif, ond sydd wedi’u hysbrydoli gan draddodiad hynafol gwneud cwiltiau Cymreig. Mae un o’r cewri hyn yn Arwerthiant Cymreig mis Ebrill.

Hefyd wedi’i roi i’w werthu, mae’r print hiraethus o ‘Soar y Mynydd’ gan Ogwyn Davies, sy’n portreadu naws capel mwyaf anghysbell Cymru, sy’n sefyll ar ei ben ei hun ym Mynyddoedd Cambria (ar ddiwedd “ffordd droellog sy’n ymddangos yn ddiddiwedd” yn ôl Ben, wedi iddo fo a Pat yrru yno gyda’i gilydd yn ystod gaeaf 2015).

Mae capel diarffordd arall i’w weld yng ngludwaith tecstilau Cefyn Burgess, ac mae triawd o sampleri hynafol Cymreig, pob un wedi’u cynhyrchu gan ferched ifanc y cyfnod gyda thri o brif gyfenwau CymruJones, Davies a Thomas.

Roedd Ben a Pat hefyd yn hoff iawn o gadeiriau cefn-ffyn Cymreig. Dim ond yn ddiweddar y mae’r cadeiriau bach diymhongar hyn wedi dal dychymyg y casglwr o ddifri. Mae yna sawl un yn yr arwerthiant, i gyd wedi’u dewis yn ofalus gan Pat a Ben ar eu teithiau prynu yn Llundain a Chymru.

Bu farw Pat Llewellyn yn 2017, yn rhy ifanc o lawer, yn 55 oed. Roedd pob un ohonom yng nghwmni Rogers Jones wedi ein syfrdanu ac yn drist o glywed am farwolaeth un o Gymry modern gorau Cymru. Roedd Pat yn arloeswraig yn y diwydiant teledu ac yn un â gweledigaeth glir.

Rydym yn ddiolchgar iawn i Ben Adler am ofyn i ni werthu’r casgliad gwych hwn ar ei ran, casgliad sydd â phersonoliaeth Pat a Ben yn amlwg ym mhob eitem. Nid yn unig y mae’n fraint cael gwerthu’r casgliad hwn a fydd wedi golygu cymaint i Ben a’i fywyd gyda Pat, mae hefyd yn fraint cael cip ar weledigaeth a dull anarferol Pat Llewellyn drwy’r eitemau Cymreig yr oedd hi’n eu caru.

Gan Ben Rogers Jones

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Like the gardens, the Hall is historic and spectacular.

BOOKS, MUSIC & SERIOUS ART AT THE UNEXPECTED HOUSE

If I was to pinpoint the birthplace of art collecting in Wales in the twentieth-century, it would undoubtedly be the outskirts of Tregynon, near Newtown in Powys.

Our pilgrimage to this historic site starts near the village when we turn onto a woodland drive. The carriageway, known as Galloping Drive, is long; dog walkers and speed bumps force the foot from the pedal. This slow approach is fitting preparation for the magnificent spectacle of the old-world sanctuary that awaits.

For first-time visitors, the sheer scale of Gregynog Hall as it appears through the trees will be a surprise. But then, Gregynog is a Welsh house of the unexpected.

Grade I listed gardens surround the colossal building. They are the beating heart of a 750 acre estate. The gardens include elements of eighteenth-century designs by Sir William Emes, who created nearby Powis Castle gardens. But the gardens are much older, elements date from the 1500s. Much is now a National Nature Reserve. The Great Wood, to the rear of the Hall, comprises ancient oaks and rare lichens and is a designated Site of Special Scientific Interest.

In 1920, wealthy heiresses Gwendoline and Margaret Davies purchased Gregynog Hall — initially to establish a residential centre dedicated to training in the arts and crafts for soldiers and those affected by war. In 1924, however, it became the sisters’ home.

The Davies sisters were granddaughters of the Victorian industrialist David Davies “Top Sawyer” of nearby Llandinam. They were devout Calvinistic Methodists and possessed a deep social conscience. The sisters contributed to a wide range of philanthropic causes. They also shared a love for music and art. Gwendoline and Margaret were prolific and passionate collectors of paintings, sculptures and prints, and they believed in the spiritual value of art.

So, at Gregynog Hall they established their centre for art and crafts, music-making, and debate. By this time, their now worldrenowned collection of nineteenth-century French painting and sculpture was very near complete. After 1920, they made few major acquisitions as they focussed attentions on their philanthropic endeavours.

The sisters’ Impressionist and Post-impressionist paintings, eighteenth and nineteenth-century British painting, sculptures by Rodin and Degas, and some Old Masters too, were transferred from their family home at Plas Dinam to Gregynog.

Gwendoline and Margaret owned artworks by Botticelli, El Greco, Turner, Gainsborough, Wilson, Millet, Corot, Monet, Manet, Renoir, Cézanne, Van Gogh, Rodin, and Augustus John. These works hung throughout Gregynog Hall. In the Music Room, composers such as Ralph Vaughan Williams, Gustav Holst and Edward Elgar heard their compositions performed at festivals staged for the benefit of invited audiences who were surrounded by masterpieces. It must have been an unbelievable sight. In return, guests were encouraged to give generously to the sisters’ chosen charities.

After Gwendoline and Margaret’s deaths in 1951 and 1963, their respective art collections were bequeathed to the Nation and can now can be seen at the National Museum of Wales in Cardiff.

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As the sisters hoped, their collections serve to introduce the people of Wales to some of the best of European art. They also set an example for collecting practices in Wales and for the ownership of ‘serious’ pictures. In that respect, Gregynog Hall was a vital launch pad for the Welsh art market, and for that we should be grateful.

Wider arts and crafts activities at the Hall ceased when Gregynog became the sisters’ home. Only the art of fine printing continued in workshops set up in Gregynog’s stables courtyard. In 1922, the sisters, guided by their friend and mentor Dr Thomas Jones, a senior civil servant and educator, founded a press that was to become unique among British private presses in that the entire book production was undertaken on site — the design, type casting and type setting, the boxwood engraving of the illustrations, printing, and the binding.

Under the Controllership of Robert Ashwin Maynard and from 1930 Blair Hughes-Stanton, Gregynog Press earned international acclaim and is now considered to be one of the world’s great private presses. Much of the printing from 1927 to 1936 was carried out by the consummate pressman Herbert John Hodgson. He had previously worked on the 1926 edition of T. E. Lawrence’s Seven Pillars of Wisdom. Artist-engravers, printers and binders were all salaried and lived on site in estate properties.

In 1925, the Press was fortunate to enlist the fine bookbinder George Fisher. He introduced special full-leather bindings of exceptional quality. Gregynog was one of the first private presses to pay particular attention to fine bindings.

At the outset of the Second World War, the Press closed having printed forty-two books and well over two hundred items of ephemera. For eighteen years, Gregynog Press had been at the forefront of fine book production.

In 1978, after a thirty-eight year hiatus, the Press was reopened and production resumed under the Welsh title Gwasg Gregynog. The relaunch was made possible through the endeavours of Michael Hutchins, a Gregynog Arts Fellow from Camberwell College who spent much of 1975 and 1976 labouring over R. S. Thomas’s Laboratories of the Spirit. This sought-after book, the first off the Press in decades, is available to bidders in this April’s Welsh Sale. The Press was once more up and running and active.

In 1999, the Press was commissioned to produce the inaugural document for the opening of the National Assembly for Wales. In celebration of the occasion, the first instrument of Welsh government for more than 600 years, a 250 limited edition souvenir volume was printed. Two special editions of this publication are available in this April’s Welsh Sale.

2002 saw the production of one of Gwasg Gregynog’s most successful publications. Cutting Images is a delightful collection of 50 linocuts by Sir Kyffin Williams. Spectacularly, it sold out three weeks after its launch. Sir Kyffin was a generous supporter of Gwasg Gregynog. We are very pleased to offer three copies of this publication in the auction including a very special rare edition. Also in the same sale, we have a fine volume from 2002 — a new translation of poems by Johann Wolfgang von Goethe with an arresting portrait of the author commissioned from Aberystwythbased artist Neil Holland.

Other volumes offered in the auction include the superb edition of Thomas Pennant’s tours of North Wales, entitled Pennant and his Welsh Landscapes. With bold, colourful woodcuts by Rigby Graham, and design by Robert Meyrick, this edition sold out well in advance of its launch at the National Museum of Wales.

Another extraordinary magnum opus in the Welsh Sale, Of a Feather, is an avian alphabet of collective nouns written and illustrated by Colin See-Paynton, and includes a foreword by Sir David Attenborough.

As Professor Robert Meyrick, who served on the Editorial Board of Gwasg Gregynog at that time, and designed some of their books, points out:

“The 20th-century private presses were a legacy of the 1890s Arts and Crafts Movement. They grew out of a belief that technology and mass production had destroyed craft and led to a decline in standards. William Morris’s answer was to reinstate the medieval community of craftsmen and return to historical hand-printing methods – thereby reaffirming John Ruskin’s belief in the joy that is to be derived from workmanship. Artisans who take pride in and responsibility for their craft, he believed, would be personally fulfilled by the community function of meaningful work.”

“The high standards established at Gregynog by Robert Maynard were maintained to the end. The Press made a major contribution to the history of the illustrated book in Britain and to the private press movement. Their bindings, in design and execution, invariably excel those of other private press.”

“Any study of British private presses reveals that each had its own characteristics, eccentricities, ideologies, design preferences, historical sources and typographic peculiarities. All strove for unity and harmony of design, materials and construction: the papers, inks, typography, illustrations, decoration and bindings individually designed according to the demands of the text.”

And there is no better way to understand this than to handle the book — to own one perhaps — and to see, feel and smell for yourselves what makes private press books – especially Gregynog books – so special.

The books included in this Welsh Sale form part of a magnificent one-owner collection of Gwasg Gregynog books from a Swansea home. They present a fantastic opportunity to start a collection of the cream of Welsh book production, or to add to an existing library.

We do ask that the books are only handled by those with a serious intent to bid and that viewing is done by prearranged appointment prior to the day of the auction.

I would highly recommend a visit to Gregynog Hall this summer – no appointment necessary. It truly is a remarkable house that exceeds expectations. The gardens and woodland walks are fantastic, and the house itself is an important landmark in Welsh art history.

Librarian Mary Oldham
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LLYFRAU, CERDDORIAETH

A CHELFYDDYD O BWYS MEWN TŶ ANNISGWYL

Gan Ben Rogers Jones ganrif bron wedi’i gwblhau. Ar ôl 1920, ychydig iawn o gasglu wnaethon nhw, gan ganolbwyntio yn hytrach ar eu hymdrechion dyngarol.

Pe bawn i’n nodi man geni casglu celf yng Nghymru yn yr ugeinfed ganrif, byddai’n ddiamau ar gyrion Tregynon, ger y Drenewydd ym Mhowys.

Mae ein pererindod i’r safle hanesyddol hwn yn dechrau ger y pentref pan fyddwn yn troi i lawr lôn goedwig. Mae’r lôn hon yn hir; mae cerddwyr cŵn a thwmpathau cyflymder yn gorfodi’r droed i dynnu’r pwysau oddi ar y pedal. Arafu fel hyn yw’r paratoad priodol ar gyfer y noddfa sydd ar ben draw’r ffordd.

I ymwelwyr am y tro cyntaf, bydd maint Neuadd Gregynog wrth iddo ymddangos drwy’r coed yn ddigon o ryfeddod. Ond wedyn, mae Gregynog yn dŷ Cymreig o’r annisgwyl.

Mae gerddi rhestredig Gradd I yn amgylchynu’r adeilad anferth. Nhw yw calon ystâd 750 erw. Mae’r gerddi’n cynnwys elfennau o ddyluniad o’r ddeunawfed ganrif gan Syr William Emes, a ddyluniodd erddi Castell Powys gerllaw. Ond mae’r gerddi yn llawer hŷn, gydag elfennau yn dyddio o’r 1500au. Mae llawer bellach yn Warchodfa Natur Genedlaethol. Mae’r Goedwig Fawr, y tu ôl i’r Neuadd, yn cynnwys coed derw hynafol a chennau prin ac mae’n Safle o Ddiddordeb Gwyddonol Arbennig dynodedig.

Fel y gerddi, mae’r Neuadd ei hun yn hanesyddol ac yn ysblennydd.

Ym 1920, prynodd yr aeresau cyfoethog, Gwendoline a Margaret Davies, Neuadd Gregynog — i ddechrau er mwyn sefydlu canolfan breswyl i hyfforddi milwyr a’r rhai gafodd eu heffeithio gan ryfel yn y celfyddydau a chrefft. Ym 1924, fodd bynnag, daeth yn gartref i’r chwiorydd.

Roedd y chwiorydd Davies yn wyresau i’r diwydiannwr lleol, cyfoethog o oes Fictoria, David Davies o Landinam gerllaw. Roeddynt yn Fethodistiaid Calfinaidd cadarn, ac yn meddu ar gydwybod gymdeithasol ddofn. Fe gyfrannodd y chwiorydd at ystod eang o achosion dyngarol. Roeddent hefyd yn rhannu’r un cariad at gerddoriaeth a chelf. Roedd Gwendoline a Margaret yn gasglwyr toreithiog ac angerddol o baentiadau, cerfluniau a phrintiau, a chredent yng ngwerth ysbrydol celfyddyd.

Felly, yn Neuadd Gregynog fe sefydlon nhw eu canolfan ar gyfer celf a chrefft, creu cerddoriaeth, a thrafod. Erbyn hyn, roedd eu casgliad byd-enwog o baentiadau a cherfluniau Ffrengig o’r 19eg

Trosglwyddwyd paentiadau Argraffiadol ac Ôl-argraffiadol y chwiorydd, paentiadau Prydeinig o’r 18fed a’r 19eg ganrif, cerfluniau gan Rodin a Degas, a rhai’r Hen Feistri hefyd, o gartref eu teulu ym Mhlas Dinam i Gregynog.

Roedd Gwendoline a Margaret yn berchen ar weithiau celf gan Botticelli, El Greco, Turner, Gainsborough, Wilson, Millet, Corot, Monet, Manet, Renoir, Cézanne, Van Gogh, Rodin, ac Augustus John. Roedd y gweithiau hyn yn hongian ledled Neuadd Gregynog. Yn yr Ystafell Gerdd, clywodd cyfansoddwyr fel Ralph Vaughan Williams, Gustav Holst ac Edward Elgar eu cyfansoddiadau’n cael eu perfformio mewn cyngherddau a lwyfannwyd er budd cynulleidfaoedd gwadd a oedd wedi’u hamgylchynu gan gampweithiau. Mae’n rhaid ei bod yn olygfa anghredadwy. Yn gyfnewid, roedd gwesteion yn cael eu hannog i roi’n hael i elusennau dewisol y chwiorydd.

Ar ôl marwolaeth Gwendoline a Margaret ym 1951 a 1963, fe roddwyd eu casgliadau celf i’r Genedl ac maent bellach i’w gweld yn Amgueddfa Genedlaethol Cymru yng Nghaerdydd. Fel yr oedd y chwiorydd wedi’i obeithio, mae eu casgliadau yn fodd i gyflwyno pobl Cymru i’r gelf Ewropeaidd gorau. Maent hefyd yn gosod esiampl ar gyfer arferion casglu yng Nghymru ac ar gyfer perchnogaeth lluniau ‘o bwys’. Yn hynny o beth, roedd Neuadd Gregynog yn fan lansio hollbwysig i’r farchnad gelf Gymreig, a dylem fod yn ddiolchgar am hynny.

Daeth gweithgareddau celf a chrefft ehangach yn y Neuadd i ben pan ddaeth Gregynog yn gartref i’r chwiorydd. Dim ond y grefft o argraffu cain a barhaodd mewn gweithdai a sefydlwyd yng nghwrt stablau Gregynog. Ym 1922, sefydlodd y chwiorydd wasg, dan arweiniad eu ffrind a’u mentor Dr Thomas Jones, uwch was sifil ac addysgwr. Fe ddaeth y wasg yn unigryw ymhlith gweisg preifat Prydain gan fod holl elfennau o gynhyrchu llyfr yn cael ei wneud o dan yr un to — y dyluniad, y deipograffeg, yr ysgythru bocs pren y darluniau, yr argraffu a’r rhwymo.

O dan reolaeth Robert Ashwin Maynard ac, o 1930, Blair HughesStanton, fe enillodd Gwasg Gregynog glod rhyngwladol ac mae bellach yn cael ei hystyried yn un o weisg preifat mawr y byd. Yn gyfrifol am lawer o’r gwaith argraffu o 1927 hyd 1936 roedd Herbert John Hodgson a fu’n gweithio cyn hynny ar rifyn 1926 o ‘Seven Pillars of Wisdom’ gan T. E. Lawrence. Roedd arlunwyrysgythrwyr, argraffwyr a rhwymwyr, i gyd yn gyflogedig ac yn byw ar y safle mewn eiddo stad.

Ym 1925, bu’r Wasg yn ffodus i gael y rhwymwr llyfrau gwych, George Fisher i ddod atynt i weithio. Cyflwynodd rwymiadau lledr llawn arbennig oedd o ansawdd eithriadol. Gregynog oedd un o’r gweisg preifat cyntaf i roi sylw arbennig i rwymiadau cain.

Ar ôl dechrau’r Ail Ryfel Byd, daeth y wasg i ben ar ôl argraffu pedwar deg dau o lyfrau cain ac ymhell dros ddau gant o eitemau amrywiol. Am ddeunaw mlynedd serch hynny, roedd Gwasg Gregynog ar flaen y gad o ran cynhyrchu llyfrau cain.

Ym 1978, ar ôl bwlch o dri deg wyth mlynedd, ail-agorwyd y Wasg ac ailddechreuodd y cynhyrchu dan yr enw Cymraeg, Gwasg Gregynog. Daeth yr ail-lansiad yn bosibl trwy ymdrechion Michael Hutchins, Cymrawd Celfyddydau Gregynog o Goleg Camberwell a dreuliodd lawer o 1975 a 1976 yn llafurio dros lyfr Laboratories of the Spirit R. S. Thomas. Mae’r llyfr poblogaidd hwn, y cyntaf o’r Wasg ers degawdau, ar gael i gynigwyr yn Arwerthiant Cymreig mis Ebrill eleni. Roedd y Wasg unwaith eto ar ei thraed.

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Ym 1999, comisiynwyd y Wasg i gynhyrchu’r ddogfen gyntaf un ar gyfer agoriad Cynulliad Cenedlaethol Cymru. I ddathlu’r achlysur hwn, eitem gyntaf llywodraeth Cymru ers dros 600 mlynedd, argraffwyd cofraglen o 250 argraffiad cyfyngedig. Mae dau rifyn arbennig o’r cyhoeddiad hwn ar gael yn Arwerthiant Cymreig mis Ebrill eleni.

Yn 2002, cynhyrchwyd un o’r cyhoeddiadau mwyaf llwyddiannus i Wasg Gregynog ei chynhyrchu erioed. Mae Cutting Images yn gasgliad hyfryd o 50 o doriadau leino gan Syr Kyffin Williams. Yn rhyfeddol, fe werthodd pob cyhoeddiad o fewn tair wythnos ar ôl ei lansio. Roedd Syr Kyffin yn gefnogwr hael o Wasg Gregynog.

Rydym yn falch iawn o gynnig tri chopi o’r cyhoeddiad hwn yn yr arwerthiant gan gynnwys un rhifyn prin, arbennig iawn.

Hefyd yn yr un arwerthiant, mae ganddom gyfrol gain o 2002 — cyfieithiad newydd o gerddi gan Johann Wolfgang von Goethe gyda phortread trawiadol o’r awdur a gomisiynwyd gan yr artist Neil Holland o Aberystwyth.

Ymhlith y cyfrolau eraill a gynigir yn yr arwerthiant, mae rhifyn gwych o deithiau Thomas Pennant o amgylch Gogledd Cymru o’r enw ‘Pennant and his Welsh Landscapes’. Gyda thorluniau pren beiddgar, lliwgar gan Rigby Graham, a dyluniad gan Robert Meyrick, gwerthodd y rhifyn hwn allan ymhell cyn ei lansio yn Amgueddfa Genedlaethol Cymru. Mae gwaith mawr hynod arall yn yr Arwerthiant Cymreig, Of a Feather, a ysgrifennwyd ac a ddarluniwyd gan Colin See-Paynton, ac yn cynnwys rhagair gan Syr David Attenborough.

Fel y mae’r Athro Robert Meyrick, a oedd ar Fwrdd Golygyddol Gwasg Gregynog ar y pryd, ac a gynlluniodd rai o’u llyfrau, yn nodi: “Roedd gweisg preifat yr 20fed ganrif yn etifeddiaeth i Fudiad Celf a Chrefft y 1890au. Fe dyfon nhw allan o’r gred bod technoleg a masgynhyrchu wedi dinistrio crefft ac wedi arwain at ddirywiad mewn safonau. Ateb William Morris oedd adfer y gymuned ganoloesol o grefftwyr a dychwelyd at ddulliau hanesyddol o brintio â llaw – a thrwy hynny, ail-gadarnhau cred John Ruskin yn y mwynhad sydd yn dod o grefftwaith. Credai y byddai crefftwyr sy’n ymfalchïo ac yn gyfrifol am eu crefft, yn cael teimlad o foddhad o wneud gwaith ystyrlon o fewn cymuned.

“Cafodd y safonau uchel a sefydlwyd yng Ngregynog gan Robert Maynard eu cynnal hyd y diwedd. Gwnaeth y Wasg gyfraniad mawr i hanes y llyfr darluniadol ym Mhrydain ac i fudiad y wasg breifat. Mae eu rhwymiadau, o ran dyluniad a’u gwneuthuriad, yn ddieithriad yn rhagori ar rai y gweisg preifat eraill.”

“Mae unrhyw astudiaeth o weisg preifat Prydeinig yn datgelu bod gan bob un ei nodweddion, ei hynodrwydd, ideolegau, hoffterau dylunio, ffynonellau hanesyddol a hynodion teipograffeg ei hun. Roedd pob un yn ymdrechu i gael undod a harmoni o ran dyluniad, deunyddiau ac adeiladwaith: roedd y papurau, inciau, teipograffeg, darluniau, addurniadau a rhwymiadau wedi’u dylunio’n yn unol â gofynion y testun.”

Does dim ffordd well o ddeall hyn na thrin a theimlo’r llyfr ei hun — bod yn berchen ar un efallai — a gweld, teimlo ac arogli, drosoch eich hunain, yr hyn sy’n gwneud llyfrau gwasg breifat – yn enwedig llyfrau Gregynog – mor arbennig.

Mae’r llyfrau sydd wedi’u cynnwys yn ein Harwerthiant Cymreig nesaf yn rhan o gasgliad godidog o lyfrau Gwasg Gregynog gan un perchennog o’i gartref yn Abertawe. Mae’n gyfle gwych i ddechrau casgliad eich hunain o’r goreuon o wneuthurwyr llyfrau Cymreig neu ychwanegu at lyfrgell sydd eisoes yn bodoli.

Gofynnwn i’r llyfrau gael eu trin gan gynigwyr o ddifrif yn unig a bod apwyntiad i’w gweld yn cael ei drefnu ymlaen llaw cyn diwrnod yr arwerthiant.

Byddwn hefyd yn argymell yn fawr eich bod yn ymweld â Neuadd Gregynog yr haf hwn. Mae’n wir yn dŷ rhyfeddol sy’n rhagori ar eich holl ddisgwyliadau. Mae’r gerddi a’r llwybrau gwych drwy’r coed, ac mae’r tŷ ei hun o bwys arwyddocaol yn hanes celf Cymru.

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Yr Athro Robert Meyrick Rogers
Jones & Co • The View / Bwrw Golwg
Native & World Fine Arts Non-European Auction May 29th 2024 Entries Invited by May 10th Chinese ceramics, Japanese ceramics, Oriental & Indian furniture & fine art, Asian bronzes, Native arts including African, South Pacific, North American & Australasian etc Contact our specialist Philip Keith for a free no-obligation assessment philip.keith@rogersjones.co.uk T: 07876 255060
Asian,

The Welsh Sale / Yr Arwerthiant Cymreig

10.00am 27.04.24

1-34 Lots

THE WELSH SALE/ YR ARWERTHIANT CYMREIG (10.00am)

Welsh Antiques & Welsh Ceramics including Swansea & Nantgarw Porcelain

Hên Bethau & Serameg Cymreig gan gynnwys Porslen Abertawe a Nantgarw

1

EARLY WELSH FLAG (Y DDRAIG GOCH), circa 1960s, printed cotton with stitched edge and ‘British Made’ in the print, 43 x 88cms, affixed to short bamboo pole as originally used

Provenance: Women’s Institute Wales, private collection Bridgend

Comments: corner small tear, minor stain, small rust spots, otherwise very good £250-350

2 ‡ WELSH EMBROIDERED SAMPLER circa 1890s, alphabetical, numerical and pictorial, worked by Mona Llewellin, aged 7, worked with flora and fauna, 39 x 63cms

Provenance: from a former sea captain’s house in St Dogmaels, Pembrokeshire, private collection Ceredigion

Comments: unframed, colours have held well

£100-200

3 WELSH FOLK ART SLATE TEA CADDY circa 1850, with four hand-painted panels depicting North Wales landmarks, including Eagle Tower Caernarfon Castle, Yr Wyddfa (Snowdon), Conwy Castle and Cader Idris, 23cms h

Provenance: private Collection Cheshire

Comments: lid finial damage

£200-300

4

WELSH CARVED MINING DOCUMENTARY WALKING CANE of mining-strike interest, the handle carved as the head of a miner wearing helmet, the shaft incised with ‘matchstick’ figures with coal trucks, with pit pony, at the coalface, and a pair carrying an emergency stretcher, lift and wheelhouse above, engraved, ‘Fernhill Collieries, Stay in Strikes, Oct 17-22 1935, 141 Hours, Aug 28-Sep 9 1936, 292 Hours’, 88cms long

Provenance: private collection South Wales Valleys

Comments: chip to peak of helmet, ferrule missing £200-300

5

RARE WELSH SCRIMSHAW PEARLY TURBAN SHELL SOUVENIR mid19th Century, relating to Ynys Mon (Anglesey) history, engineering and civil engineer Thomas Telford (1757-1834), the commemorative shell engraved with a profile of the bridge over the Menai Straits engineered by Telford and which crosses from mainland Wales to the Isle of Anglesey (Ynys Mon in Welsh), the bridge celebrates its bicentennial anniversary of completion in 2026, the shell inscribed ‘A Present from Menai Suspension Bridge’ and measurements for total length, height, length of chain and weight, also with the name ‘Glasynys’ (translation being Blue Isle) which may relate to the Welsh writer Owen Wynne Jones (1828-1870) who’s bardic name was Glasynys, 11cms wide

Provenance: private collection Gwynedd

Comments: very sl. losses to edges £200-300

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

6

THE CAMBRIAN VISITOR WITH ENTRY BY WILLIAM WESTON YOUNG being ‘A Monthly Miscellany for The Principality of Wales and the Adjoining Counties’, January to August 1813, bound with its continuation

‘The Cambrian Magazine’, published Swansea, engraved frontispiece Swansea Castle, bookplate for Arthur Owen Evans Archdeacon of Bangor 1921, quarter calf, gilt titled spine, 8vo

Provenance: private collection Cardiff

Auctioneer’s Notes: William Weston Young (1776-1847), the Quaker entrepreneur of Bristol and Glamorganshire, artist, botanist, wreck-raiser, surveyor, potter, and inventor of the firebrick and the major investor in the Nantgarw porcelain enterprise

Comments: corners bumped, boards worn, foxing to print £200-300

7

EWENNY SLIPWARE POTTERY MODEL OF A SEATED PIG with coin slot at the top, yellow and brown glaze inscribed with ‘Take care of the pence, the pounds will take care of themselves’, 19cms in length

Provenance: private collection Cheshire

Comments: both legs and both ears have been restored, minor nibbles around the coin slot, no signatures or attribution marks to underside # £400-700

Comments: glaze crazed commensurate with age, surface sticky-tape adhesive residue # £500-700 6

8

RARE LLANELLY POTTERY COFFEE POT & COVER circa 1910, painted in the ‘Blackberry’ pattern with green banded borders, of baluster form with moulded dentil rim, half fluted body and reeded spout, printed mark, 23cms (h)

Provenance: deceased estate Newport

Notes: compare with a similar shaped, but wild rose-painted, coffee pot sold in these rooms, 20.2.16, lot 5

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9

SWANSEA

CASSOLETTE circa 1806, elevated by three tall tapering square legs with moulded lions masks, over concave triangular base, undecorated frieze, reserved on blue ground, reversible cover, 29cms (h)

Provenance: deceased estate Newport

Auctioneer’s Notes: Cf. Jonathan Gray, The Cambrian Company, p. 151, pl. 6.16., and E. Morton Nance, The Pottery & Porcelain of Swansea & Nantgarw, (XVII)

Comments: small chips to foot, nibbles to floral knop, candle nozzle deficient # £150-250

CAMBRIAN PEARLWARE
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Rogers Jones & Co • The Welsh Sale # Condition reports in this section do not act as a guarantee and later amendments to condition reports may have been applied to the online listing. Please examine / enquire prior to bidding.

10

RARE SWANSEA CAMBRIAN

PEARLWARE CASSOLETTE circa 1806, elevated by three tall tapering square legs with moulded lion’s masks, over concave triangular base, finely painted below the rim with a band of polychrome acanthus, anthemion and seaweed ornament, reserved on blue ground, reversible candle holder/cover, 28.8-31.5cms (h)

Provenance: deceased estate Newport

Auctioneer’s Notes: Cf. Jonathan Gray, The Cambrian Company, p. 151, pl. 6.16. and p. 128 pl. 5.26, and E. Morton Nance, The Pottery & Porcelain of Swansea & Nantgarw, (XVII), and Sothebys 14-16.5.92, Sir Leslie Joseph Collection, lot 782 where the decoration is attributed to Thomas Pardoe

Comments: small chips to foot, nibbles to floral knop, crack to candle nozzle # £250-350

11

SWANSEA CAMBRIAN PEARLWARE

PUZZLE JUG circa 1810, printed in blue with the ‘Longbridge’ pattern, intricately pierced neck and rim, 19cms (h)

Provenance: deceased estate Newport

Comments: overall good # £200-300

12

SWANSEA ‘NAMED’ BLUE & WHITE TANKARD printed in black with cartouche ‘John Price Llanwrtyd’ reserved on a pattern of cows, figures and country house landscape 12cms (h)

Provenance: deceased estate Newport

Comments: glaze crazed, possible hairline to base of handle # £200-300

13

SWANSEA CAMBRIAN POTTERY NAPOLEON JUG circa 1815, printed and coloured with caricatures with speech bubbles, beneath legend at neck “Bonaparte Dethron’d April 1st 1814”, signed in the print ‘engraved J. Brindley’, 14cms (h)

Provenance: deceased estate Newport

Auctioneer’s Notes: the Allies entered Paris on 31st March 1814 and whilst Napoleon did not abdicate until 6th April, clearly potters could not resist the temptation of declaring April Fool’s Day that of his downfall. Cf. David Drakard, Printed English Pottery, pls. 712a, b and c.; also Helen Hallesy, Swansea Commemorative Pottery, p. 120, pl. 12.3b

Comments: chips and wear on rim and spout # £250-300

14

WILKINSON TOBY JUG designed by Sir Francis Carruthers Gould depicting the Right Honourable David Lloyd George holding a shell inscribed ‘Shell Out’, printed marks to base, facsimile signature and Sloane & Smith stamp, 25.5cms high Provenance: private collection Gwynedd, consigned during a valuation day event at the David Lloyd George Museum, Llanystumdwy

Comments: without restoration or damage # £300-400

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

16

15

LIVERPOOL CREAMWARE ‘NAMED’ JUG OF CARDIGANSHIRE INTEREST

c.1810, probably Herculaneum, printed in black with foliate cartouche ‘Mary Moress, Quay, Cardigan’, between two large prints, one titled ‘Palemon & Lavinia’ above three line verse, black line borders and spout flourish, 21cms (h)

Provenance: deceased estate Newport, Auctioneer’s Notes: the location ‘Quay’ refers to New Quay, until the early 19th century the coastal village consisted of a few thatched cottages surrounded by agricultural land, the natural harbour providing a safe mooring for fishing boats and a few small trading vessels. Following the construction of a stone pier in 1834 trading activity increased, and new houses were built as economic migrants arrived. When shipbuilding commenced, the town increased in size with the construction of terraced housing up the slopes of the sheltered bay. By the 1840s, more than three hundred men were employed in building ships in New Quay and surrounding area

Comments: good all around with minor abrasions to the handle and spout only # £300-500

WELSH CERAMIC REFERENCE BOOKS INCLUDING UNIQUE SCRAP BOOK BY W J GRANT DAVIDSON comprising ‘The Pottery and Porcelain of Swansea and Nantgarw’ by E Morton Nance, ‘Nantgarw Porcelain’ and ‘The Nantgarw Porcelain Album’ by W. D. John, the W. J. Grant-Davidson British ceramic Library Reference Works, a Nantgarw Porcelain catalogue by Rowland Williams and a Sir Leslie Joseph Exhibition catalogue of Swansea Porcelain at the Vivian Gallery, Swansea (6)

Provenance: private collection Powys, Wallace James Grant-Davidson, FSA, FRSA, was a noted Swansea personality who had gained an international reputation as an expert in ceramics. He was the author of The Pottery of South Wales|: An Illustrated Guide

Comments: all in used condition, please examine # £100-150

17

COLLECTION OF AUCTION CATALOGUES WITH WELSH PORCELAIN CONTENT mainly Sotheby’s 1960s / 70s / 80s, English and Welsh porcelain auctions from many important dispersals including well-known collections such as Sidney Heath, Miss Margaret Meager, Elis Jenkins, C W Kieft, Rt Hon the Lord Swansea, Sir David Llewellyn etc

Provenance: private collection Cardiff

Comments: appear to be in excellent condition overall, some annotations # £150-250

18

SWANSEA PORCELAIN PART TEA SERVICE circa 1820, set pattern ‘251’, decorated with green and gilt leaf bands, comprising teapot, cover and stand, milk jug, and two plates, red script numeral and printed Swansea marks (5)

Provenance: deceased estate Newport

Comments: plates with some rim gilding rubbed, base of teapot with firing fault # £200-300

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# Condition reports in this section do not act as a guarantee and later amendments to condition reports may have been applied to the online listing. Please examine / enquire prior to bidding.
Rogers Jones & Co
The Welsh Sale

19

SET OF FOUR SWANSEA PORCELAIN DESSERT PLATES circa 1818-1820, in the Trident paste, each painted with sprays and sprigs of summer flowers, plain gilt rim, two with impressed Swansea marks, 19.6cms (diam.) (4)

Provenance: private collection Newport

Comments: rims gilding rubbed, firing faults and stacking wear # £200-300

20 SWANSEA DESSERT PLATE circa 1815-1817, painted by David Evans, the centre with spray of summer flowers, gilt cavetto band, C scroll moulded border picked out in gilt, 21.2cms (diam)

Provenance: private collection Bristol

Comments: very minor rubbed gilt to cavetto and rim # £300-400

21 SWANSEA PORCELAIN PLATE circa 1815-17, painted by Henry Morris with tight sprays of summer flowers in the centre and at the border, gilt rim, red ‘Swansea’ script mark, 20.5cms diam

Provenance: deceased estate Newport, compare with similar dishes offered Bonhams 8 Apr 2009, lots 226 & 227

Comments: good overall #

£300-50 0

22

PAIR OF NANTGARW PORCELAIN FAN-HANDLED DESSERT DISHES circa 1813-1820, centres painted with sprays of three roses, within three flowers sprigs in the cavetto, gilt dentil border, gilt acanthus and fan handles, impressed mark, 21.7cms (w) (2)

Provenance: private collection Bristol

Comments: gilding rubbed # £300-400

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

23

NANTGARW PORCELAIN

SQUARE DESSERT DISH circa 1817-1820, moulded c-scroll borders, painted by Thomas Pardoe with floral sprays including thorny rose, forget-me-not and chrysanthemum, a smaller spray to one side and floral sprigs in the border, within a chocolate rim, impressed NANT GARW CW to base, 24cms wide

Auctioneer’s Notes: chocolate brown is usually associated with more naive local decoration rather than the sophisticated floral decoration as shown on this dish. Also note that the finely detailed petals in the orange chrysanthemum are the result of Pardoe wiping away the enamela technique which is more widely associated with the decoration of William Billingsley

Provenance: private collection

Surrey

Comments: rare dish in fresh condition, no structural issues, v. minor losses to rim decoration # £300-500

24

NANTGARW PORCELAIN

DESSERT PLATE circa 1813-1820, painted by Moses Webster, with full blown summer flowers on a dentil moulded marble plinth, C-scroll moulded rim and gilt band, impressed mark, 21.6cms (diam)

Provenance: private collection

Bristol

Auctioneer’s Notes: Cf. E. Morton Nance, The Pottery & Porcelain of Swansea & Nantgarw, pl. CLXXII fig F for a similar Webster-painted plate featuring flowers on a plinth

Comments: very good # £400-600

25

PAIR OF NANTGARW PORCELAIN DESSERT PLATES circa 1813-1820, each painted with full blown roses and wild summer flowers, C-scroll moulded border and gilt band rim, impressed marks, 21.7cms (diam) (2)

Provenance: private collection

Bristol

Comments: gilt partially rubbed, one with small rim chip, other with ground foot-ring and chip to footring, worn glaze underneath # £400-600

PAIR OF NANTGARW PORCELAIN DESSERT PLATES circa 1815-1821, moulded c-scroll borders, three sprays of flowers to each amongst scattered sprigs, both with three hovering insects, within gilt dentil rims, impressed NANT GARW CW to base, 22cms diam

Provenance: private collection Surrey

Comments: wear to areas of enamelling # £400-600

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Sale
Rogers
Jones & Co • The Welsh
reports in this section do not act as a guarantee and later amendments to condition reports may have been applied to the online listing. Please examine / enquire prior to bidding.
# Condition

27

NANTGARW PORCELAIN PLATE circa 1818-1820, having a centred full flower spray including open pink rose, the border typically moulded with c-scrolls, forget-me-knots and tied ribbons which is unusually picked out in gold, six small rose sprigs to border, impressed NANT GARW CW to base, 22cms diam

Provenance: private collection Surrey

Comments: excellent, gilding and decoration is fresh # £500-700

NANTGARW COFFEE CUP & SAUCER circa 1815-1818, painted finely with full blown roses and small insects, gilt dentil rims, kidneyshaped handle, saucer with unglazed base (2)

Provenance: private collection Bristol

Comments: rims regilded, handle with firing fault # £500-600

29

NANTGARW PORCELAIN PLATE FROM THE BRACE SERVICE circa 1818-1820, having C-scroll moulded border, painted in London, probably in the Bradley workshop, with a centred flower spray including open roses, the border with six panels painted with three flower sprigs, two colourful birds on twigs and a single panel of fruit including pear, gilt dentil rim, impressed NANT-GARW CW to base, 21.5cms diam

Provenance: private collection Surrey

Auctioneer’s Notes: ‘The Brace Service’, after a square dish with the same decorative scheme presented to the Rt. Hon. William Brace, P.C. illustrated by W D John ‘Album.’ (1948)

Comments: v. good, without damage or restoration, sl. wear to gilding as expected, one of a pair in this auction (see next lot) # £600-800

30

NANTGARW PORCELAIN PLATE FROM THE BRACE SERVICE circa 1818-1820, having C-scroll moulded border, painted in London, probably in the Bradley workshop, with a centred flower spray including open rose, the border with six panels painted with three flower sprigs, two colourful birds on twigs and a single panel of fruit including peach and strawberries, gilt dentil rim, impressed NANT-GARW CW to base, 21.5cms diam

Provenance: private collection Surrey

Auctioneer’s Notes: ‘The Brace Service’, after a square dish with the same decorative scheme presented to the Rt. Hon. William Brace, P.C. illustrated by W D John ‘Album.’ (1948)

Comments: v. good, without damage or restoration, sl. wear to gilding as expected, one of a pair in this auction (see previous lot) # £600-800

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PAIR OF MATCHING NANTGARW

PORCELAIN PLATES circa 1817-1820, with large central floral spray to the interior and highly gilded borders around four further sprigs, gilt dentil rims, impressed marks NANT GARW CW to bases, 21.5cms diam

Provenance: private collection Surrey

Comments: minor gilding loss only # £700-1,200

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

NANTGARW PORCELAIN PLATE circa 1817-1820. non-moulded border, decorated with large full floral spray and two insects, segmented blue line to the cavetto, the border with five sprays within a gilt dentil rim, two insects to underside, impressed NANT GARW CW to base, 23cms diam

Provenance: private collection Surrey

Comments: superb example with stunning enamels, sl. wear to petals of one, to match two further plates (see next lots) # £700-1,000

NANTGARW PORCELAIN PLATE circa 1817-1820. non-moulded border, interior decorated with large full floral spray and two insects, segmented blue line to the cavetto, the border with five sprays and one insect within a gilt dentil rim, impressed NANT GARW CW to base, 23cms diam

Provenance: private collection Surrey

Comments: superb example with stunning enamels, to match two further plates (see previous / next lots) # £700-1,000

NANTGARW PORCELAIN PLATE circa 1817-1820. non-moulded border, interior decorated with large full floral spray and four insects, segmented blue line to the cavetto, the border with five sprays within a gilt dentil rim, two insects to underside, impressed NANT GARW CW to base, 23cms diam

Provenance: private collection Surrey

Comments: superb example with stunning enamels, to match two further plates (see previous lots) # £800-1,200

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Sale
Condition reports in this section do not act as a guarantee and later amendments to condition reports may have been applied to the online listing. Please examine / enquire prior to bidding.
Rogers Jones & Co • The Welsh
#

35-53 Lots

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Gregynog Press Books

Llyfrau Gwasg Gregynog

35

GWASG GREGYNOG PRESS: PENNANT AND HIS WELSH LANDSCAPES very fine limited edition (9/20) with special binding of ‘Pennant and his Welsh Landscapes - Selected Reading from A Tour in Wales (1778-1784)’ executed by James Brockman, to include full set of twenty-seven editioned prints, in a drop-back box, edited by Gwyn Walters, woodcuts by Rigby Graham, designed by Robert Meyrick, printed by David Vickers

Provenance: private collection Swansea

Comments: complete with certificate, appears unopened £500-1,000

36

GWASG GREGYNOG PRESS: GIRALDUS CAMBRENSIS ITINERY THROUGH WALES 1989 limited edition (110/280), edited by Brynley F. Roberts, illustrated with wood engravings by Colin See-Paynton, quarter-leather bound, designed and printed by David Esslemont, outer case

Provenance: private collection Swansea

Comments: fine condition £200-300

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GWASG GREGYNOG PRESS: OF A FEATHER extra special limited edition (7/15) folio size volume, with special full leather binding designed and executed by Julian Thomas, titled ‘Of a Feather: Avian Collective Nouns & Terms of Assembly, Group Names & Associated Terms’ compiled, designed and illustrated with 61 wood engravings (31 full page) by Colin See-Paynton, forwarded by David Attenborough outer box and ephemera

Provenance: private collection Swansea

Comments: fine condition, sl. surface marks to outer box as expected £600-1,000

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35 Rogers Jones & Co • The Welsh Sale

38

GWASG GREGYNOG PRESS: OF A FEATHER very fine 2008 folio size limited edition (5/150) ‘Of a Feather: Avian Collective Nouns & Terms of Assembly, Group Names & Associated Terms’, bound by John Sewell in quarter leather, written, compiled, designed and illustrated with 61 wood engravings (31 full page) by Colin SeePaynton, forwarded by David Attenborough, packaging box and ephemera

Provenance: private collection Swansea

Auctioneer’s Note (Gwasg Gregynog): Colin See-Paynton has spent more than four years in extensively researching and writing the text, and creating the sixty-one new wood engravings for this illustrated lexicon of avian collective nouns: an unprecedented achievement. In a critical essay David Alston, Arts Director of the Arts Council Wales, writes: ‘not since Thomas Bewick, who both wrote and engraved in the late eighteenth century, have both literary and pictorial aspects been found conjoined in the one talent as here in this work’. That the observation and study of the natural world has been a lifelong interest is evident both from the engravings and the enthusiasm revealed in the text. From ‘Abandonment of Cuckoos’ to ‘Zephyr of Long-Tailed Titmice’ it enriches our knowledge of avian nomenclature far beyond the well-known ‘Gaggle of Geese’ - though that, too, is included

Comments: fine condition, a beautiful volume for ornithology enthusiasts and book collectors £400-700

39

MALDWYN PRESS / GWASG GREGYNOG COLLABORATION: MURMURA MALDWYN

rare 2003 limited edition (2/9) Welsh language ‘Casgliad o Nodau Clustiau Defaid Maldwyn

a’i Hanesion’ (A Collection of Montgomery Sheep’s Ears and Histories), specially published for Eisteddod Genedlaethol Maldwyn, 2003, illustrations by Carlos Pinatti and Christine Mills, printed and bound at Gregynog by Eric Franklin, David Vickers and Alan Wood, beautifully presented in a sack-clothed drop-back outer and a wove sack fastened with wooden peg

Provenance: private collection Swansea

Comments: fine condition

£150-250

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GWASG GREGYNOG PRESS: PARZIVAL AND THE HOLY GRAIL 1990 limited edition (44/195) ‘Wolfram Von Eschenbach - The Romance of Parzival and the Holy Grail’ retold by Carl Lofmark, wood engravings by Stefan Mroewski, one of ninety-five copies bound in quarterleather by Alan Wood

Provenance: private collection Swansea

Comments: fine condition

£150-250

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

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GWASG GREGYNOG

PRESS: PENNANT AND HIS WELSH LANDSCAPES 2006 folio size limited edition (125/150) ‘Pennant and his Welsh Landscapes - Selected readings from A Tour in Wales (1778-1784)’, bound by John Sewell, and presented in a slipcase, edited by Gwyn Walters, woodcuts by Rigby Graham

Provenance: private collection

Swansea

Comments: fine condition, surface marks to outers only £300-500

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GWASG GREGYNOG PRESS: AGNES MILLER PARKER WOOD ENGRAVINGS (2 x) both volumes similarly presented and comprising (1) 1996 limited edition (38/185) ‘Agnes Miller Parker Wood Engravings from the Fables of Esope - The Story of a Remarkable Book’’, outer case together with (2) 1997 limited edition (38/185) ‘Agnes Miller Parker Wood Engravings from XXI Welsh Gypsy Folk-Tales’, outer case,

Provenance: private collection

Swansea

Comments: both in slipcases, very fine £200-400

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GWASG GREGYNOG PRESS: SELBORNE 1988 limited edition (60/200) ‘Wood Engravings by Gertrude Hermes, being Illustrations to Selborne with Extracts from Gilbert White’, mouldmade paper bound in quarter cloth, printed at Gregynog Press by David Esslemont, with accompanying two-fold edition details

Provenance: private collection

Swansea

Comments: in good condition £200-300

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GWASG GREGYNOG PRESS: WRENCHING TIMES 1991 limited edition special binding (17/30) ‘Poems from Drum-Taps by Walt Whitman - Wrenching Times’, selected by M Wynn Thomas, bound in quarter leather, wood engravings by Gaylord Schanilec who resided at Gregynog January to June 1991, designed and printed by David Esslemont, bound by Alan Wood and Rhian Ticehurst

Provenance: private collection

Swansea

Comments: fine condition £400-600

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GWASG GREGYNOG PRESS: THE SPECIAL BINDINGS OF GWASG GREGYNOG 2004 limited edition (4/15) ‘The Special Bindings of Gwasg Gregynog - An Illustrated Catalogue of the Special Bindings Produced at Gwasg Gregynog between 1977 and 2002’, compiled and introduced by Anthony Dowd and with a memoir by James Brockman, bound by James Brockman, presented in drop-back box, printed by David Vickers and bound by John Sewell, with images of title pages and volumes published by the press, outer case in the form of a book

Provenance: private collection Swansea

Comments: very fine, case has surface marks, excellent overall £300-400

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GWASG GREGYNOG PRESS: MISCELLANEA Red Box Edition, containing at least 35 pieces, signed prints, special items and selection of booklets, with extra items, presented in drop-back box

Provenance: private collection

Swansea

Comments: fine condition £300-400

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GWASG GREGYNOG PRESS: NATIONAL ASSEMBLY FOR WALES FACSIMILE-SPECIAL 1998 Gregynog commissioned souvenir limited edition (6/16) declaration of ‘Government of Wales Act 1998’ being a facsimile of the inaugural document which was signed by HM The Queen at the opening of the National Assembly for Wales, hand bound in green full cloth, blocked in gold and presented in a slipcase (there were specially-annotated copies available for Assembly members), signed by printer and binders David Vickers, Alan Wood and Eric Franklin, cased with accompanying ephemera

Provenance: private collection

Swansea

Comments: fine condition £200-400

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GWASG GREGYNOG PRESS: THE ROMANTICS IN WALES AN ANTHOLOGY 2009 limited edition (9/150) in quarter leather binding, edited by Glyn Tegai Hughes, illustrated with wood engravings by Hilary Paynter, designed and printed by David Vickers

Provenance: private collection

Swansea

Comments: fine condition, small bump to presentation sleeve £200-400

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The Welsh Sale • Rogers Jones & Co

49

GWASG GREGYNOG PRESS: NATIONAL ASSEMBLY FOR WALES

FACSIMILE-SPECIAL Gregynog commissioned souvenir limited edition (11/16) of the ‘Statutory Instrument of the National Assembly for Wales’, presented to the assembly by the Law Society 27th June 2000, hand bound in red full cloth, blocked in gold and presented in a drop-back outer, signed by printer and binders David Vickers, Alan Wood and Eric Franklin, with accompanying ephemera

Provenance: private collection Swansea

Comments: fine condition

£300-500

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GWASG GREGYNOG PRESS: LABORATORIES OF THE SPIRIT important 1976 limited edition (120/200) ‘Laboratories of the Spirit’ by R S Thomas, quarter leather with boards covered in specially printed cloth, an important volume being the first book produced by Gwasg Gregynog for over thirtyyears, the paper is from Gregynog Press stock before 1940 and was printed using much of the original equipment, designed and printed by Michael Hutchins, outer box

Provenance: private collection Swansea

Comments: fine condition

£200-300

Comments: discoloured boards, otherwise fine £200-300 49

51

GWASG GREGYNOG PRESS: A MACHYNLLETH TRIAD 1993 limited edition (26/50) by Jan Morris CBE (1926-2020), bound in quarter goat’s skin, illustrations by Brenda Berman, slipcase

Provenance: private collection Swansea

Comments: good overall, fading, surface marks to spine and outer case £200-300

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GWASG GREGYNOG PRESS: WRENCHING TIMES

1991 limited edition (19/400) ‘Poems from Drum-Taps by Walt Whitman - Wrenching Times’, selected by M Wynn Thomas, bound in quarter leather, wood engravings by Gaylord Schanilec who resided at Gregynog January to June 1991, designed and printed by David Esslemont, bound by Alan Wood and Rhian Ticehurst

Provenance: private collection Swansea

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LIBRARY OF SIXTEEN GWASG GREGYNOG PRESS PUBLICATIONS comprising (1) Agnes Miller Carter, limited edition (8/15) special binding, wood engravings from XXI Welsh Gypsy Folk-Tales, John Sampson and the Gypsies of Wales by Ian Rogers, fine condition (2) Cerddi Waldo Williams, limited edition (9/250), written and illustrated by J. E. Caerwyn Williams and Rhian Davies, (3) Gwendolin Seventy Five Years On’, limited ‘red box’ edition, one of 25, (4) ‘Cathedral Builders and Other Poems’ by John Ormond, limited edition (16/50), with drawings by the author, (5) ‘A Descriptive Catalogue of Printing at Gregynog, 1970-1990’ by David Esslemont & Glyn Tegai Hughes, limited edition (791/900), quarter leather copy by Alan Wood, one of one hundred bindings, (6) ‘Gregynog Poets’, limited edition (23/400), series of twelve poems by some of the best known poets in Wales, selected by Meic Stephens, each poem presented individually and accompanied by a specially commissioned wood engraving, presented in Solander drop-back box, (7) Johann Wolfgang Goethe (1749-1832) limited edition (12/200) volume of Goethe Poems bound in quarter leather and printed on mould-made paper at Gwasg Gregynog 2000, (8) ‘Cerddi Robert Williams Parry’, limited edition (6/200), in quarter green goatskin, blind rule, with green buckram boards, the title blind embossed on upper cover and titles in gold to spine, printed in 1980, (9) ‘Inwards Where All the Battle’, limited edition (4/300) a selection of Alun Lewis’s writings from India, with drawings by David Gentleman, bound in quarter-leather and printed by Gwasg Gregynog, 1997, (10) ‘Emynau Williams Pantycelyn’, limited edition (32/100) quarter leather binding, (11) ‘David Lewis Jones - A Tribute’, limited edition (9/30) in full cloth binding, (12) ‘Lazarillo de Tormes’, limited edition (9/80) quarter leather bound, drawn out of Spanish by David Rowland with wood engravings by Frank Martin, (13) The Story of the Afanc King & The Sons of Teyrnon’, limited edition (55/200), with words by Christopher Meredith, images by Sara Philpott, (14) ‘Hwiangerddi’ by O M Edwards, limited edition (6/100), quarter leather bound by Alan Wood, illustrations by Jac Jones, (15) ‘The Lost Children’ by Byron Rogers, 2005, limited edition (4/300), in red cloth slipcase, (16) ‘Gwyddau Yng Ngregynog (Geese at Gregynog)’, limited edition (42/250) R. Gerald Jones, wood engravings by Colin See-Paynton £1,000-2,000

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Sale •
Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh
Rogers

54-98 Lots

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

The Pat Llewellyn Collection: The Visions of a Television Visionary

Casgliad Pat Llewellyn: Gweledigaeth y Cynhyrchydd Teledu

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WELSH & ENGLISH LANGUAGE WOOLWORK SAMPLER showing Adam and Eve flanking the apple tree, above ‘Elizabeth Thomas Her Work aged 15’ dated 1845, and containing ‘...fy enaid bendithia yr Arglwydd..’ (The Lord is forgiving and gracious), at the base the names of John and Lewis (thought to be brothers of Elizabeth), dated again 1825, 36 x 35cms (incl. frame)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: framed and glazed £400-600

55

VICTORIAN WELSH LANGUAGE WOOLWORK SAMPLER worked by Alice Jones, dated 1877, Welsh language version of Proverb 14:26 translated by William Morgan ‘Yn ofn yr Arglwydd y mae gobaith cadarn: ac i’w blant ef y bydd noddfa’ (In the fear of the Lord one has strong confidence, and his children will have a refuge) with Adam and Eve beside apple tree and additional trees, birds and flowers, 76 x 61cms (incl. frame)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: framed and glazed £700-1,200

VICTORIAN WOOLWORK SAMPLER, dated 1890, very well and profusely worked in different colours by Elizabeth Davies, alphabetical and pictorial with centred house surrounded by many items of flora and fauna, 72 x 76cms (incl. frame)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: colours good, framed and glazed, very good example £500-1,000

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

57

WELSH ELM AND BEECH YOKE-BACK CHAIR, 18th Century, north Pembrokeshire or Cardiganshire, thick shaped seat-rail above three vase splats, thick dished seat with shaped back edge, on three hand shaped legs mortised and wedged through the seat, 70 (h) x 77 (w) x 36cms (d)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: generally good with wear commensurate with age £1,000-1,500

58

WELSH OAK, ELM & ASH YOKEBACK CHAIR 18th Century, probably Cardiganshire, thick shaped rail above three rectangular splats, demilune seat on hand shaped legs mortised and wedged through the seat, 75 (w) x 54 (d) x 76cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: legs slightly loose, back part of seat split and repaired £800-1,200

59

WELSH ELM AND ASH ARMCHAIR c. 1800, probably Swansea Valley, of ‘lobster-pot’ form, the back of seven tapering spindles, gently drawn-in and secured by a slightly curved cresting rail, the angular arm bow with splayed rounded-ends above further side spindles and turned uprights, the elm saddleseat with flat front, on turned legs joined by H-stretcher, 65 (w) x 61 (d) x 114cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: underside of seat inscribed in ink “This chair resided in the waiting room of DTM Jones Solicitors, 18 Market Sq., Landovery until 1960. ‘There were so many chairs it became a social meeting place’“. Seat with metal strap repairs, bowed arms with old repairs and damage, spindle joint to cresting rail chipped £800-1,200

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60

WELSH OAK INLAID CHEST ON STAND early 18th Century and later, Glamorgan, with double plank top with cyma recta moulding, above arrangement of graduated drawers, with double-reeded rail-applied mouldings, the short drawers inlaid with pairs of scrolled tulips, further curvilinear line inlay to the remaining drawers of the upper-section, the central drawer also foliate-inlaid, flanked by simple line-inlaid drawers, all over a triple-arcaded apron, the lower part of the stand later, with baluster-turned legs, concave-shaped flat stretchers and bun feet, brass drop handles, 98 (w) x 58 (d) x 144.5cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Auctioneer’s Notes: although the legs, stretchers and feet of the stand are later it is interesting to note that a box-on-stand, with similar south Glamorgan regional inlay and dated 1734, illustrated R. Bebb, Welsh Furniture 1250-1850: A Cultural History of Craftsmanship and Design (2007), p. 65, fig. 740, also has original legs, stretchers and feet in the 17th century style. It is therefore feasible that the base of the stand is re-constructed to the original design. For further illustrated Welsh oak furniture with this regional inlay, possibly from one particular workshop, see ibid., pages 66, 68-70. The author notes that on all pieces ‘the inlay was delicate and restrained covering only a small area, relating to the space rather than merely filling it, and accentuated the main parts as opposed to using them as simply a base for ostentatious decoration. There was a balance between ornament and the shape of the piece, whose necessary heavy proportions were lightened and given movement and rhythm’

Comments: good overall, some elements later £1,500-2,000

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See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co *

61

SYCAMORE & ASH ‘CHEESE TOP’ CRICKET TABLE, late 18th Century, believed Welsh, single-piece circular top on three hand shaped legs morticed and wedged through the top, 44.5cms (diam) x 58cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: top repair £800-1,200

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OAK AND ASH CRICKET TABLE, late 18th C., believed Welsh, oak and ash, circular top raised on three hand-shaped legs united by T-shaped stretcher, 45cms (diam) x 55cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017).

Comments: top shrunk and rejoined, old nailed repairs through the top £500-700

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WELSH ASH & OAK ARMCHAIR, late 18th Century, probably Montgomeryshire, six-spindle back united by straight cresting rail, slightly bowed arms on spindles, seat with straight front raised on hand shaped splayed legs morticed and wedged through the seat, 51(w) x 60 (d) x 85cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: one arm with old damage to end, other with wear, good proportions, lovely colour and patina £800-1,200

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64

WELSH OAK & ASH COMBBACK ARMCHAIR late 18th Century, Cardiganshire, the back of seven spindles secured by a slightly curved cresting rail, the angular arm bow above further side spindles, the seat with shaped front, on hand shaped splayed legs joined by H-stretcher, 56 (w) x 39 (d) x 99cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: old metal repairs above and below the seat, seat front repaired or is possibly later £1,000-1,500

65

RARE PRIMITIVE WELSH OAK, ELM & ASH BACKSTOOL late 18th Century, the single archshaped back board pierced with heart motif, mortise and tenon-jointed through the seat and held in place by two faceted pegs, the form of the thick seat partly determined by the natural shape of the timber (making full use of the heart-wood), raised on three hand-shaped legs, mortised and wedged through the seat, 34.5 (w) x 38.5 (d) x 89cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Auctioneer’s Notes: similar primitive backstool in the Hereford City Museum and Art Gallery collection. Illustrated Victor Chinnery, Oak Furniture: The British Tradition (2016), p. 55, fig. 2:46. The explanatory text notes that this was ‘the first and most simple development from the primary stool, here with a single narrow vertical board acting as a backrest. An extremely rare type, but commonly plagiarised in reproductions and referred to as a ‘spinning-chair’

Comments: excellent patina, back board loose, age cracks and chips commensurate with age £1,500-2,500

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BELIEVED WELSH ELM & ASH ARMCHAIR late 18th Century, fourteen spindles below square shaped joined armrest, on splayed circular section, legs mortised and wedged through the square seat, 62 (w) x 42 (d) x 66cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Auctioneer’s Notes: these chairs are commonly found with comb backs where the rear spindles continue through the back rail to a uniting cresting rail. However, this chair appears to have been made in this form originally

Comments: old worm to front rail, legs slightly loose

£500-700

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WELSH ELM & ASH STICK BACK ARMCHAIR, c.1800, probably Carmarthenshire, the arched back above seven spindles, bisecting joined arms with tapered ends and supported on ten further spindles, D-shaped seat with flat front, on slightly splayed circular section legs mortised and wedged through the seat, H-stretcher, 63 (w) x 62 (d) x 100cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: good overall with lovely honey gold patina £700-1,000

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WELSH ELM & ASH YOKE BACK ARMCHAIR late 18th Century, Pembrokeshire or Cardiganshire, the bowed back with low crest and flat scrolled arms supported on nine spindles, above shaped oval seat with natural knots to the flat front, on splayed legs mortised and wedged through the seat, remains of original claret-brown paint, 79 (w) x 40 (d) x 71cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: lovely patina and wear £800-1,200

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The Welsh Sale • Rogers Jones & Co

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: generally good with wear commensurate with age £500-700

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WELSH ELM AND ASH YOKE-BACK CHAIR, late 18th Century, U-shaped joined seat-rail above nine spindles, D-shaped seat with flat front, on shaped legs mortised and wedged through the seat, joined by matching H-stretcher, remains of black paint, 81 (h) x 64 (w) x 53cms (d)
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The Welsh Sale

70

WELSH ELM & ASH COMB-BACK ARMCHAIR, circa 1800, probably Carmarthenshire, the back of seven spindles secured by a shaped cresting rail and bisecting the U-shaped arm bow supported by six further spindles/shaped supports, the saddle seat with applied shaped front, on hand shaped slightly splayed legs joined by H-stretcher, 53 (w) x 47 (d) x 95cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: wear and patina commensurate with age £800-1,200

71 PAIR PRIMITIVE JOINED OAK LONG BENCHES, 19th Century, on A-shaped trestle end supports mortised through the seats, 187 (w) x 38 (d) x 48.5cms (h) (2)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: good overall patina, old wear to ends £600-800

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GEORGE III WELSH OAK MURAL SPOON RACK, pierced tall two-piece back applied with two lateral rails for fourteen spoons, above hinged-lid candle box, with fruitwood inlays and appliques, 103.5 (w) x 40 (d) x 123cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: patina and wear commensurate with age £400-600

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CHARLES II JOINED OAK FOOD CUPBOARD, late 17th Century, double plank top above panelled doors pierced with wheel motifs within run moulded rails, sides similarly pierced, 103.5 (w) x 40 (d) x 123cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: old restoration, later handles, old splits, wear commensurate with age £800-1,200

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

74

WELSH SYCAMORE AND ASH CRICKET TABLE, 19th Century, circular top with top with natural insect damage adding inersting texture, raised on hand shaped splayed legs sicketed to an under block with presumed original claret red paint,

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: old damage to rim, top slightly worn £600-800

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WELSH ASH MILKING STOOL, 19th Century, probably Carmarthenshire, the thick chamfered seat with flat front, undercut and raised on three hand shaped splayed legs, 33 (w) x 23 (d) x 24cms (h)

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017)

Comments: old wear commensurate with age, seat has old gauge marks and broken nail ends £200-300

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‡ PAUL PETER PIECH two colour limited edition (1/25) lithograph - opening verse from Dafydd Iwan’s 1979 track ‘Bod yn Rhydd’ (to be free), above rampant Welsh dragon, signed by both artist and the musician, dated 1988, 63 x 44cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: framed and glazed, ready to hang £400-800

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‡ ANN LEWIS b.1962 limited edition (5/15) linocut - entitled, ‘Big Cloud Over the Boathouse’ on Oriel Tegfryn Gallery label, signed, dated 2012 verso, 27 x 16cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £100-200

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‡ GWYN ROBERTS oil on canvas - entitled verso, ‘Cottage Below Tryfan, Snowdonia in Winter’ on Fosse Gallery label, signed with initials, 60 x 45cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £500-1,000

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JENKINS oil on canvas - entitled verso, ‘Tai Glan Mor, Abereiddy’ signed verso, 40 x 50cms

Provenance: the Welsh art collection of awardwinning television producer, the late Pat Llewellyn (1962-2017), by descent £1,000-2,000

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

80

‡ HYWEL HARRIES oil on board - entitled verso, ‘Salem Revisited’, signed and dated ‘73, 59 x 75cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £3,000-5,000

Auctioneer’s Note (Prof. Robert Meyrick):

Hywel Harries’ Salem Re-visited is an interpretation of Salem, a 1908 watercolour by Sydney Curnow Vosper. It is a reminder of the historic significance of chapel-going in Wales and the centrality of Nonconformist Christianity in Wales. An art teacher, painter and cartoonist, Harries understood the cultural reference in Vosper’s painting, which shows the interior of Capel Salem Cefncymerau near Harlech. Purchased by industrialist William Hesketh Lever, the image became familiar through mass-circulated reproductions advertising Sunlight Soap.

In October 2019, Rogers Jones successfully brokered the purchase by the National Library of Wales of Vosper’s second version of the painting. Vosper painted Salem in the wake the 1904-05 Welsh Revival, which saw a resurgence of religion. Once a national icon, emblematic of religious piety among the rural poor in Wales, Salem’s ubiquity depended on that context. In the intervening years it was distributed through Urdd Gobaith Cymru, reproduced as covers for Cymru Fydd calendars, and used by nationalists and Welsh language activists. As art historian Peter Lord points out, framed prints of Salem are nowadays consigned to ‘folk memory,’ a curious relic of times past. Carmarthenshire born, Harries trained at Llanelli School of Art until 1941, when his studies were interrupted by RAF service. After resuming his studies at Cardiff Technical College in 1947, he held teaching posts at Ealing and Machynlleth before his 1954 appointment as Head of Art at Ardwyn Grammar School (later Penglais Comprehensive School) at Aberystwyth, a position he held until his retirement in 1981.

Harries is best known for his paintings of Aberystwyth townscapes and the landscape of Ceredigion. He developed a distinctive handling of layered dry paint using a soft warm palette. His landscapes often explored spatial effects and the decorative flattening of interlocking planes of colour, pattern and form, while his townscapes deploy a narrower tonal range and muted colours. Harries’ Salem Re-visited paintings were a rare dalliance with abstraction. Fellow Welshman Ceri Richards had likewise sought contemporary responses to familiar subjects when he made paintings after Rubens’ The Rape of the Sabine Women in the National Gallery, London, in 1946. Harries would also have been

aware of Pablo Picasso’s abstracted translations of paintings by Cranach, Velázquez, and Ingres.

Salem portrays the 71-year-old widow Siân Owen T’n y Fawnog taking her pew before the start of a service. Even in 1908 the scene depicted by Vosper was something of an anachronism. Stovepipe hats were rarely worn then; in fact, only one such hat could be sourced for the women to model. In 1938, Vosper recalled the names of his sixpence-an-hour models; among them were a local carpenter, farmer, shopkeeper and a tailor’s dummy he named Leusa Jones. In Salem Re-visited, Harries has lettered their names on or alongside each character. The popular belief is that the devil lies in the detail of the folds of Siân Owen’s richly patterned paisley shawl, even though Vosper refuted that the likeness was intentional. There is no ambiguity in Harries’ flat monochrome rendering of the shawl as the profile of a demonic face in contrast to its colourful surroundings. Uncharacteristically for Harries, the act of painting appears on this occasion to be more important than representation or narrative. The illusion of pictorial space being abandoned, the relative position of the congregation becomes unclear. The jigsaw arrangement of overlapping shapes allude to the fragmentary nature of appearances in momentary glances. Peter Lord described this approach as a ‘Cubist-cum-patchwork quilt oil painting.’

For Harries, there was an additional resonance in Vosper’s Salem. He was himself a man of faith and a staunch chapel-goer. He was an elder at Capel Salem (later to become Capel Morfa) in Aberystwyth. Always smartly presented in jacket, collar and tie, there was nothing bohemian about him. Indeed, Harries looked every bit the chapel deacon. Founding Ceredigion Art Society in 1963, Harries placed his knowledge, experience and enthusiasm for art into the service of the community. He was Vice-President of the Royal Cambrian Academy and chaired the Art and Craft Committee of the Council of the National Eisteddfod. In retirement, he authored several books, among them Cymru’r Cynfas: Pymtheg Artist Cyfoes [Wales on Canvas: Fifteen Contemporary Artists] (1983).

Prof. Robert Meyrick, art historian, curator and educator, until recently Professor, Head of Aberystwyth University’s School of Art and Keeper of the School of Art Museum and Galleries

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80 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

81

‡ GWILYM PRICHARD oil on boardentitled verso, ‘Road to Rhos Cottage’, signed, 90 x 120cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £3,000-6,000

82

‡ DAVID HUMPHREYS oil on panel - entitled verso, ‘Farm, St. Davids, Pembrokeshire’, signed, 75 x 120cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £1,000-1,500

83

‡ JOHN PIPER lithograph - entitled verso, ‘Bethesda Baptist Chapel, Swansea’, dated verso 1966, 53 x 69cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £200-400

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‡ JOHN PIPER lithograph - entitled verso, ‘Swansea Chapel’, dated verso 1964

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £200-400

85

‡ PAUL PETER PIECH three colour lithographquote from Welsh literary figure and politician Saunders Lewis (1893-1985) ‘There is no hope for Wales until the young generation study the past of Wales’, 60 x 44cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £200-400 81

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The Welsh Sale • Rogers Jones & Co

86

‡ OGWYN DAVIES limited edition (97/98) print - ‘Soar y Mynydd’, signed, 51 x 38cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent Auctioneer’s Notes: an image of one of the remotest chapels in Wales over typed with Welsh hymns and musical notes, by now an iconic print of 20th Century Welsh art £400-800

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‡ JOHN PETTS limited edition (artist’s proof) wood engraving - entitled, ‘The Boathouse, Laugharne’, signed and dated 1989, 12 x 9cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £300-500

88

‡ CERI RICHARDS b.1903 facsimile print - from ‘Twelve Lithographs for Six Poems by Dylan Thomas’, including ‘The force that through the green fuse drives the flower”, printed signatures, 25 x 38cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £200-400

89

JOHN SPEED coloured 1610 copper engraved map - entitled in cartouche ‘Caermarden, Both Shyre and Town described’, with inset plan of Carmarthen town, scale of miles, compass and other illustrations, 39 x 52cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £300-500

85 86
63
87 88 89
Sale
Rogers
Jones & Co
The Welsh
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn

90 ‡ JOHN KNAPP-FISHER oil on board - entitled verso, ‘Llanwnda with Moon’ on Martin Tinney Gallery label, signed and dated 2004, 53 x 70cms
64
(1962-2017), by descent £6,000-12,000 90
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale
• Rogers Jones & Co

Provenance: the Welsh

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

91 ‡ JOHN ELWYN oil on canvas - entitled verso, ‘Welsh Landscape’, signed, 50 x 50cms art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £6,000-12,000
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92

‡ JOHN UZZELL EDWARDS oil and mixed media on canvas - entitled verso, ‘Blaenau’, from the artist’s Welsh Quilt Series, signed and dated 2008 verso, 119 x 118cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £800-1,500

93

JOSEF HERMAN oil on board - entitled verso, ‘The Mexican Girl’, signed and dated verso 1978, 88 x 73cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent, with Bonhams £3,000-7,000

94

JOHN UZZELL EDWARDS oil and mixed media on canvas - entitled verso, ‘Carmarthen I’ from the artist’s Welsh Quilt Series, signed and dated verso 2008, 169 x 160cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £800-1,500

92
93 66
94
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The
Welsh Sale • Rogers Jones & Co

95

‡ CEFYN BURGESS textile collage - isolated chapel and landscape, 28 x 29cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

£300-600

98

19TH CENTURY PRIMITIVE SCHOOL oil on canvas - farmer shearing sheep with female companion, 42.5 x 55cms

Provenance: the Welsh art collection of awardwinning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: paint craquelure, framed £1,000-2,000

96

‡ CERI RICHARDS portfolio of seven limited edition (90/100) colour lithographs - to illustrate the text by the artist’s associate Roberto Sanesi, entitled ‘Viaggio Verso Il Nord’, numbered (90/100), signed, 43 x 30cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: shelf wear to the box and damaged sides £700-1,000

97

EARLY 19TH CENTURY WELSH SCHOOL MANNER OF JOHN CAMBRIAN ROWLAND oil on canvas - inscribed verso, ‘Welsh Couple Going to Market’, 35.5 x 43cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

Comments: craquelure and paint loss, framed £400-600

All

96 95 97
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98
• The Welsh Sale
Rogers Jones & Co
pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Printiau Cymreig a Lluosog 99-135

Welsh Prints & Multiples

Lots

99

JOHN PIPER screenprint by Sanderson on Sanderlin cotton - entitled verso, ‘Chiesa Della Salute’, dated verso 1959, 47 x 40cms

Provenance: private collection Cheshire £200-300

100

FRANK LLOYD-WRIGHT screenprint on cotton for F. Schumacher & Co - entitled verso, ‘Taliesin, Design 102’, dated verso 1950s, 68 x 99cms

Provenance: private collection Cheshire £300-500

101

JOHN PIPER screenprint by Sanderson on Sanderlin cotton - entitled verso, ‘Stones of Bath’, dated verso 1962, 47 x 38cms

Provenance: private collection Cheshire £200-300

102

JOHN PIPER screenprint by Sanderson on Sanderlin cotton - entitled ‘The Glyders’, dated verso 1960, 100 x 122cms

Provenance: private collection Cheshire

Comments: unframed £200-300

103

‡ JOHN ELWYN lithograph - entitled ‘Laugharne Estuary from Dylan Thomas’ Boathouse’, numbered 190/300, signed in pencil, from 1988, 35 x 52cms

Provenance: private collection Ceredigion Auctioneer’s Notes: following a visit to Thomas’s boat house at Laugharne, Elwyn made a series of watercolour paintings of the Taff estuary and the Gower beyond. This limited edition print was produced at the same time

Comments: unframed, excellent condition £200-300

103 102 101 100
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99 Rogers Jones & Co • The Welsh Sale All
pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

104

106

105

104

ARCHIBALD BERTRAM WEBB (English-Australian, 1887-1944) large lithograph posterWelsh landscape, entitled verso, ‘Castell Carreg Cennen, Carmarthenshire’, 83 x 118cms

Provenance: private collection Gloucestershire

Auctioneer’s Notes: image used for 1935 GWR advertising campaign poster for ‘Wales’, please see Science Museum Collection

Comments: trimmed and laid down

£200-400

105

‡ KIM ATKINSON colour lithograph - titled ‘Siskins, Minsmere’, signed, dated 1987, 30 x 85cms

Provenance: private collection West Midlands

£150-250

Provenance: private collection Powys £150-250

107

106

‡ AUGUSTUS JOHN RA etchinghead portrait of a young woman, signed in pencil, 15 x 10cms

Provenance: private collection Cardiff £300-500

‡ JOHN PIPER limited edition (55/70) etching and aquatintentitled verso, ‘Old Church of Mynachlogddu’ on Goldmark Gallery label, signed fully in pencil, 40 x 53cms

Provenance: private collection Gwynedd

£1,000-2,000

108 ‡ ISLWYN WATKINS limited edition (7/8) monochrome lithograph - abstract, signed and dated 1984, 38 x 55cms 108 107
70
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The Welsh Sale • Rogers Jones & Co

109

112

109

‡ CERI RICHARDS two colour limited edition (48/100) lithograph - ‘The Story Lost in the Snow’ 1971, from Journey Towards the North by Robert Sanesi, signed fully in pencil, printed by Stanley Jones at Curwen Studios, 43 x 32cms

Provenance: private collection Ceredigion £100-150

110

110

‡ GEORGE CHAPMAN etching and aquatint in two colours - inscribed verso ‘Maerdie’ (sic) signed in pencil, dated verso 1980, 36 x 29cms

Provenance: private collection Ceredigion £200-300

111

‡ PETER PRENDERGAST limited edition (12/35) etching - entitled, ‘September’ signed and dated 2000, 25 x 29cms

Provenance: private collection Cardiff £200-300

112

‡ CHARLES BURTON limited edition (18/35) screenprint - entitled verso, ‘February’, signed and dated 2000, 27 x 34cms

Provenance: private collection Cardiff £150-250

113

‡ JANE EVE DIXON colour photograph and accompanying giclee portfolio - ‘Spirit of Ynyslas IV, Lost Kingdom of Cantre’r Gwaelod’, signed and dated verso 2015, 29 x 37cms

Provenance: private collection Cardiff

Auctioneer’s Notes: Cantre’r Gwaelod is Wales’s own version of the legend of Atlantis, located under the sea of Cardigan Bay, it was said to be once an ancient rich and fertile ‘lowland hundred’ and sixteen cities governed by Gwyddno Garanhir, whose palace, Caer Wyddno, was reputedly near Aberystwyth. The guardian of the sea defences was Seithennyn, a friend of the king charged with the allimportant role of shutting the sea gates every night. One night Seithennyn, who liked his drink, was at a feast in the king’s palace, and forgot to shut the sea gates. It was a stormy night and the high spring tides broke through, quickly flooding Cantre’r Gwaelod, and forcing its people to flee to the hills. Some say that the story of Cantre’r Gwaelod is actually a parable to warn people about the perils of over-indulging. However, there is physical evidence that inhabited land did disappear under the waves during the period that the tale is set. In all likelihood, this flooding was due to the rising sea levels at the end of the last glacial period. As well as the stumps of an ancient sunken forest that featuring in Jane Eve Dixon’s work and can be seen at very low tide at Ynyslas, archaeologists have also found a timber walkway, dated between 3,000 and 4,000 years ago, which was probably built so locals could continue to live in an increasingly waterlogged environment. Human and animal footprints have also been found preserved in the hardened top layer of peat, along with burnt stones that came from ancient hearths

Comments: with certificate of authenticity, framed, glazed, ready to hang, the individual portfolio giclee prints are unframed £200-400

113
111
71
Rogers Jones & Co
• The Welsh Sale
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

114

‡ EIRIAN LLWYD colograff/monoprint - a pair, woodland scene at sunset together with another at night, both signed and dated 2005, 30 x 41cms (2)

Provenance: private collection Powys

£150-250

115

‡ VALERIE GANZ limited edition (56/200) printentitled ‘Night Shift Leaving’ on Fountain Fine Art Gallery label, signed, 40 x 58cms

Provenance: private collection Rhondda

Cynon Taff

£200-300

116

‡ NICK HOLLY limited edition (1/15) print - street with figure, possibly St Thomas, Swansea, signed, 25 x 39cms

Provenance: private collection Rhondda

Cynon Taff

Comments: sl. blemishes, framed and glazed

£150-250

115

117

117

‡ PAUL PETER PIECH two lithographs - exhibition poster from ‘The Old Fire Station, George Street, Oxford’, supporting threatened tribal people, entitled ‘Injustice Around the World’, signed and dated 1987, 76 x 51cms, together with another twocolour lithograph relating to Aboriginal land rights, signed and dated 1988, 64 x 45cms (2)

Provenance: private collection overseas-based vendor, vendor met Piech during the 1980s through Tony Evora (creator of the iconic Che Guevara posters) and when studying at Oxford Polytechnic. In 1987, the vendor and the artist organised an exhibition to raise awareness for Survival International with a focus on Aboriginal land rights, held successfully at the Old Fire Station, Oxford. This was followed by an exhibition at Oxford Polytechnic focusing on Piech’s work for Amnesty International

Comments: unframed, the old fire station print with water stain, sl. creasing to both £100-200

114

116

118

118

‡ PAUL PETER PIECH two lithographs - two colour lithograph, Australian First Nations land rights poem by Bill Day, ‘Australian Crucifixion’, signed and dated 1988, 76 x 51cms, together with a three colour lithograph - stark image of figure with neck in noose and Christian cross suspended, with words from Australian Aboriginal Jack Davis’ poem ‘Aboriginal Australia’, signed and dated 1988, 51 x 75cms (2)

Provenance: private collection overseas-based vendor, vendor met Piech during the 1980s through Tony Evora (creator of the iconic Che Guevara posters) and when studying at Oxford Polytechnic. In 1987, the vendor and the artist organised an exhibition to raise awareness for Survival International with a focus on Aboriginal land rights, held successfully at the Old Fire Station, Oxford. This was followed by an exhibition at Oxford Polytechnic focusing on Piech’s work for Amnesty International

Comments: unframed, sl. creasing to both £100-200

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* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

119

119

‡ ANEURIN JONES monochrome print - farmers in flat caps, mount signed in pencil, 19 x 26cms

Provenance: private collection Derbyshire £300-400

120

‡ HARVEY THOMAS two limited edition prints - entitled (1) ‘Towy Coraclemen, Carmarthen’ (45/200), signed and dated ‘78, 37 x 52cms, (2) entitled ‘Ffairfach, Llandeilo’ with printed signature, 33 x 47cms

Provenance: private collection Derbyshire £100-200

121

‡ ELERI MILLS limited edition (9/10) hand coloured lithograph - entitled verso, ‘Sycharth’ on Martin Tinney Gallery label, signed, 27 x 34cms

Provenance: private collection Cardiff £200-300

122

‡ JOHN PIPER numbered artist’s proof lithograph - entitled verso, ‘Foliate Head’, signed, dated verso 1976, 44 x 30cms

Provenance: private collection Bridgend £150-250

123

‡ KING CHARLES III limited edition (16/100) lithograph - entitled, ‘Cwm Berwyn’, signed and dated 2008, 26 x 38.5cms

Provenance: private collection Ceredigion

Comments: with COA and carry case, framed, ready to hang £200-300

120

121

123

122

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

73
Rogers Jones & Co
• The Welsh Sale

124

126

126

‡ PAUL PETER PIECH four colour lithograph - poster for a production of Dylan Thomas’s ‘Under Milk Wood’ at the Bridgend College Hall, signed and dated 1991, 64 x 95cms

Provenance: private collection Oxfordshire

Comments: unframed £150-250

125

127

127

‡ PAUL PETER PIECH limited edition (25/25) three colour lithograph - verse from American poet Walt Whitman, ‘Not Until the Sun Excludes You, Will I Exclude You’, signed and dated 1991, 64 x 45cms

Provenance: private collection Oxfordshire

Comments: unframed £100-150

124

‡ CERI RICHARDS limited edition (30/30) colour lithograph - ‘Elegiac Sonnet I’, signed and dated ‘70, 50 x 36cms

Provenance: private collection

Neath-Port Talbot £400-600

125

‡ CERI RICHARDS limited edition (30/30) colour lithograph - ‘Elegiac Sonnet II’, signed and dated ‘70, 50 x 36cms

Provenance: private collection

Neath-Port Talbot £400-600

128

128

‡ PAUL PETER PIECH limited edition (8/20) five colour lithograph - Aneurin Bevan with the accompanying Welsh language slogan, ‘Tad y Cynllun’ (The Father of the Plan), signed and dated 1990, 64 x 45cms

Provenance: private collection Oxfordshire

Comments: unframed £150-250

74
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

129

130

129

Provenance: private collection Oxfordshire

Comments: unframed £100-150

130

‡ PAUL PETER PIECH

colour lithograph - poem by English novelist Doreen Wallace entitled ‘Felis Cattus’ signed and dated 1991, 64 x 45cms

Provenance: private collection Oxfordshire

Comments: unframed £150-250

131

‡ GEORGE CHAPMAN artist’s proof etchingstreet with figures at bus stop and sheep in the road, signed in pencil, 68 x 30cms

Provenance: private collection Cardiff £200-300

131

132

‡ TERENCE CUNEO poster - railway advertising for ‘Dolgoch Station on the Tal-yLlyn Railway, Towyn, Merioneth, Wales’, printed by Waterlow & Sons Ltd, London, circa 1960, 100 x 62cms

Provenance: private collection Ceredigion

Comments: fold lines, framed and glazed £250-350

132

‡ PAUL PETER PIECH two colour lithographpoem by William Blake entitled ‘Tyger, Tyger’, signed and dated 1991, 64 x 45cms two
75
Rogers Jones & Co
• The Welsh Sale
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

133

134

133

‡ JOHN PIPER limited edition (20/70) lithograph - Malmesbury Abbey, signed and numbered in pencil, 61 x 52cms

Provenance: Goldmark Gallery, Rutland; private collection Cardiff

Comments: minor creases

£200-300

134

EDGAR HOLLOWAY (1914-2008) etching - self-portrait, No.10 ‘The Grey Topper, 1937’, signed, 19 x 16cms

Provenance: artist’s estate, consigned via our Mid-Wales office

£150-180

135

EDGAR HOLLOWAY (1914-2008) limited edition (21/50) engraving from 1978 - entitled verso, ‘Self Portrait No.17, The Artist as a Young Man’, signed, 27 x 18cms

Provenance: artist’s estate, consigned via our Mid-Wales office

£150-180

135
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Sale •
Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh
Rogers

Lots

136-244

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Welsh Works on Paper

Gweithiau

Cymreig ar Bapur

Provenance: private collection Vale of Glamorgan £2,000-2,500

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

Provenance: private collection Cheshire Auctioneer’s Notes: the painting is from the artist’s Pit Tragedy Series, it is concerned with miners returning home heavily after an explosion at a mine. The artist worked from sketchbook drawings he had produced of the mining communities near Pont-Rhyd-y-Fen, where he had lived during the Second World War. During war-time, Elwyn was living in the Afan Valley area while he conducted forestry work once Conscientious Objector status had been granted to him £1,000-1,500

136 ‡ ROGER CECIL mixed media - barren landscape with single tree, signed and dated 1971, 31 x 89cms 137 JOHN KNAPP FISHER watercolour - entitled verso, ‘North Pembrokeshire’, signed and dated 1993, 17 x 47cms 138 ‡ JOHN ELWYN oil on paper - figures in a dark landscape, signed with initials, dated 1949, 28 x 45cms 137
78
136 138
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The Welsh Sale
Rogers Jones

139

‡ GORDON STUART oil on paperPenclawdd beach with cockle cart, signed, 48 x 66cms

Provenance: private collection

Swansea £300-500

140

‡ GORDON STUART oil on paper - view of Swansea Bay from the late artist’s home, signed, 54 x 73cms

Provenance: private collection

Swansea £400-600

141

‡ DEWI TUDUR mixed mediaentitled verso, ‘Ger Y Copa’ / ‘Near the Summit’ on Martin Tinney Gallery label, signed and dated 2001, 14 x 25cms

Provenance: private collection

Cardiff £300-400

142

‡ DEWI TUDUR mixed mediaentitled verso, ‘Mae’n Cychwyn Bwrw Eira’ / It’s Starting to Snow’ on Martin Tinney Gallery label, signed and dated verso 1998, 29 x 41cms

Provenance: private collection Vale of Glamorgan £350-450

139

141

143

‡ WILLIAM SELWYN watercolour - entitled verso, ‘Regatta, Caernarfon’, signed, 40 x 57cms

143

140

142

144

145

144

SIR ERNEST ALBERT WATERLOW RA watercolour - entitled verso, ‘Ogmore Castle, South Wales’, signed, 25.5 x 46cms

Provenance: private collection Birmingham £300-400

145

MALCOLM EDWARDS watercolour - entitled verso, ‘Rhinog, Autumn’, signed, 16.5 x 29cms

Provenance: private collection Newport £200-300

Provenance: private collection Caernarfonshire £700-1,000
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Jones & Co • The Welsh Sale
Rogers
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

146

146

‡ GARETH THOMAS watercolourentitled verso, ‘Early Evening Near Valreas’ on Albany Gallery label, signed, 53 x 74cms

Provenance: private collection

Pembrokeshire

£300-500

147

‡ WILLIAM SELWYN mixed mediaentitled verso, ‘The Launch’ on Albany Gallery label, signed, 43 x 54cms

Provenance: private collection

Pembrokeshire

£500-700

148

‡ WILLIAM SELWYN mixed mediaentitled verso ‘Fishermen Launching’ on Albany Gallery label, signed, 48 x 68cms

Provenance: private collection Pembrokeshire

£600-1,000 149

149

‡ VALERIE GANZ red chalk on paperentitled verso ‘Standing Figure’, signed, 48 x 25cms

Provenance: private collection Pembrokeshire £200-300

150

‡ GARETH THOMAS watercolour - entitled verso, ‘Winter Sun, Three Cliffs Bay’ on Albany Gallery label, signed, 26 x 75cms

Provenance: private collection Pembrokeshire £300-400

148 147
150 80
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The
Welsh Sale • Rogers Jones & Co

151

151

Provenance: private collection Devon £200-300

152

152

Provenance:

153

153

Provenance: private collection Cardiff

154

154

Provenance: private collection Cardiff

‡ GLORIA (GLO) WILLIAMS charcoal on papertwo girls on swings, signed, 85 x 75cms ROGER CECIL large mixed media on card - abstract, 59 x 81cms private collection Monmouthshire, purchased at Roger Cecil exhibition, Brecon, 2021 £1,500-2,000 ‡ MIKE JONES mixed media - entitled verso, ‘Ystalyfera’, on Albany Gallery label, signed, 47 x 53cms £400-600 ‡ VALERIE GANZ watercolour - group of miners, signed, 20 x 31cms
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£700-1,000
Rogers Jones & Co
The Welsh Sale
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

155

155

‡ CERI RICHARDS pen, ink and wash - entitled verso, ‘Nude’ on Martin Tinney Gallery label’, signed and dated ‘47, 18 x 24cms

Provenance: private collection Vale of Glamorgan £750-850

157

156

156

‡ HELEN STEINTHAL pencil and watercolour - entitled verso, ‘Bird Worshippers’, signed with initials, 40 x 58cms

Provenance: private collection West Midlands £200-300

157

‡ MILDRED ELSI ELDRIDGE watercolour - entitled verso, ‘Orange Tip Butterflies on Horse Grass’ signed and dated 1962, 47 x 36cms

Provenance: private collection West Midlands £700-1,000

158

‡ HELEN STEINTHAL watercolour - entitled verso, ‘Derelict Quarry’, signed with initials, 36 x 48cms

Provenance: private collection West Midlands £200-300 158

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The Welsh Sale • Rogers Jones & Co

159

‡ NINA HAMNETT pencil - entitled verso, ‘Life Class’, signed with initials, dated verso c.1920, 44 x 28cms

Provenance: private collection West Midlands Auctioneer’s Notes: born Tenby, studied at the Pelham Art School and the London School of Art between 1906 and 1910. Then launched herself into the London art world on the strength of a fifty pound advance on an inheritance from her uncle and a stipend of two shillings and sixpence a week from her aunts. She socialised with the likes of Augustus John, Walter Sickert, and Henri Gaudier-Brzeska. She became very popular as a result of her high spirits, her devil-may-care attitude, and her sexual promiscuity. Like other women at the time revelling in a newfound independence, she had her hair cut short in a ‘crophead’ style (what we would now call a basin cut) and she wore eccentric clothing: It was said that at this phase in her life Nina Hamnett had the knack of being in the right place at the right time. In 1914 she went to live in Montparnasse, Paris, immediately meeting on her first night there the Italian painter Amedeo Modigliani. He introduced her to Picasso, Serge Dighilev, and Jean Cocteau, and she went to live at the famous artist’s residence of La Ruche which housed many other Bohemian artists and modernist writers. It was there that she met the Norwegian artist Roald Kristian, who became her first husband. Rapidly she established herself as a flamboyant and unconventional figure - bisexual, drank heavily, and had liaisons with many other artists in Bohemian society, often modelling for them as a way of earning a (precarious) living. She established her reputation as ‘The Queen of Bohemia’ by such antics as dancing nude on a cafe table amongst her drinking friends. Her reputation as a Bohemian and an artist eventually filtered back to London, where she returned to join Roger Fry and his circle working on the application of modernist design principles to fabrics, furniture, clothes, and household objects as part of the Omega Workshops. She acted as a model for the clothes along with Mary Hutchinson, Clive Bell‘s mistress, and she mingled with other members of the Bloomsbury Group, such as Vanessa Bell and Duncan Grant. Her paintings were exhibited at the Royal Academy and the Salon d’Automne in Paris. She also taught at the Westminster Technical Institute in London. Around this time she divorced her first husband and lived with the composer and fellow alcoholic E.J. Moeran. During the 1920s (and for the rest of her life) she made the area in central London known as Fitzrovia her home and stomping ground. This new locale for arty-Bohemia was centred on the Fitzroy Tavern in Charlotte Street which she frequented along with fellow Welsh artists Augustus John and Dylan Thomas, making occasional excursions across Oxford Street to the Gargoyle Club in Soho.

After the glamorous world of modernism and the artistic avant-garde, there was a no less spectacular descent into poverty, squalor, and alcoholism, living in a bed-sit in Howland Street, infested with lice and littered with rodent droppings. It was said that the flat was furnished only with a broken-down chair, a piece of string for a clothes line, and newspapers instead of proper bedding. In 1932 she published a volume of memoirs entitled ‘Laughing Torso’, which was a best-seller in both the UK and the USA. Following its publication she was sued by Aleister Crowley, whom she had accused of practising black magic. The ensuing trial caused a sensation which helped sales of the book, and Crowley lost his case.

Her success in this instance only fuelled her downward spiral, and she spent the last three decades of her life propping up the bar of the Fitzroy trading anecdotes of her glory years for free drinks. She took little interest in personal hygiene, was incontinent in public, and vomited into her handbag. Her ending was as spectacular as had been her previous life. Drunk one night she either fell or jumped from the window of her flat and was impaled on the railing spikes below. She lingered miserably in hospital for three more days, where her last words were “Why don’t they let me die?”

£400-600

160

‡ HELEN STEINTHAL watercolour and pencil - flock of birds above landscape with sun and distant mountains, 35 x 52cms (verso a watercolour female figure asleep under a tree), 30 x 42cms

Provenance: private collection

West Midlands

Comments: both paintings framed and glazed recto and verso

£200-300

159 160

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

83
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161

162

‡ CERI RICHARDS mixed media - figure at piano, signed and dated 1947, 36 x 54cms Provenance: private collection Cardiff £2,500-3,500

161

‡ HELEN STEINTHAL portfolio of approximately thirty unframed works on paper - early drawings of landscapes, fine quality life-drawings and various, some titled, various sizes, the largest, 38 x 47cms

Provenance: private collection West Midlands Auctioneer’s Notes: Steinthal studied at Salford Polytechnic from 1928 to 1929, Grosvenor School of Art, 1930 to 1932 under Ian McNab and at the Slade School of Fine Art, where she studied stage design and decorative painting under Vladimir Polunin, 1933-38. She worked as a scene painter at the Old Vic and Sadlers Wells, before returning to Manchester at the outbreak of World War II. She exhibited at Manchester Academy of Fine Arts, Leeds City Art Gallery, Manchester Society of Modern Painters and relocated to Wales after the Second World War. While in Wales she exhibited National Eisteddfod and was included in Welsh Arts Council exhibitions of Contemporary Welsh painting at the Royal Academy, Royal Cambrian Academy, Howard Roberts Gallery, Cardiff, Roland, Browse & Delbanco, and Ceri Richards Gallery at Swansea University. Bangor University holds examples of her work

Comments: all unframed, most are mounted and in cellophane covers

£400-600

162

163

163

‡ DAVID GROSVENOR mixed media - landscape with dark skies with reflection, signed, 36 x 54cms

Provenance: private collection Powys £200-300

84
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The Welsh Sale • Rogers Jones & Co

164

164

‡ JOHN ELWYN gouache on paper - entitled verso, ‘Approaching Rain’, signed, circa mid-1980s, 25 x 35cms

Provenance: private collection Ceredigion £500-700

166

165

165

‡ JOHN ELWYN watercolour - inscribed verso, ‘Road to Swansea from Pontrhydyfen where John Elwyn worked on the land during the war’, with John Elwyn Studio stamp verso, signed with initials, circa 1952, 24 x 36cms

Provenance: private collection Ceredigion £400-600

167

166

‡ JOHN ELWYN gouache on paper - entitled verso, ‘Hill Farm, Dyfed’, with John Elwyn Studio stamp verso, circa 1980, 22 x 17cms

Provenance: private collection

Ceredigion £250-350

167

‡ JOHN ELWYN acrylic on paper - entitled verso, ‘Shaded Barns’, with John Elwyn Studio stamp verso, circa 1990, signed, 34 x 50cms

Provenance: private collection

Ceredigion £700-1,000

85
Jones & Co • The Welsh Sale
pictures
/
and
to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers
All
framed
framed
glazed, ready

168

168

‡ JOHN ELWYN acrylic on paper - entitled verso, ‘September Afternoon’, circa 1985, signed, 36 x 52cms

Provenance: private collection Ceredigion £700-1,000

170

169

169

‡ JOHN ELWYN mixed media - entitled verso, ‘Pheasants in Hiding’, John Elwyn Studio stamp verso, circa 1957, 35 x 37cms

Provenance: private collection Ceredigion £300-500

170

‡ JOHN MACFARLANE mixed media - entitled verso, ‘Clock’ on Martin Tinney Gallery label, signed and dated 2009, 34 x 55cms

Provenance: private collection Cardiff £400-600

171

‡ VIVIENNE WILLIAMS mixed media - entitled verso, ‘Green Bowl with Eggs’ on Martin Tinney Gallery label, signed, dated verso 2013, 30 x 30cms

Provenance: private collection Cardiff £200-300

172

‡ VIVIENNE WILLIAMS mixed media - entitled verso, ‘Still Life with Lemons and Raspberries’ on Martin Tinney Gallery label, signed, dated verso 2003, 45 x 61cms

Provenance: private collection Cardiff £400-700

172 171
86
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The Welsh Sale • Rogers Jones & Co

174

173

‡ DEWI TUDUR mixed media - entitled verso, ‘Awyr Stormus/Stormy Sky’ on Martin Tinney Gallery label, signed and dated 2004, 15 x 50cms

Provenance: private collection Cardiff £200-300

174

‡ OLIVER GAIGER acrylic on paper - entitled verso, ‘Passes By’ on Martin Tinney Gallery label, signed, dated verso 2012, 61 x 85cms

Provenance: private collection Cardiff, together with Oliver Gaiger solo exhibition card from the Martin Tinney Gallery February 2016 £500-700

175

‡ IWAN GWYN PARRY watercolour on paper - entitled verso, ‘Distant Blue Peninsula with Estuary River II’ on Martin Tinney gallery label, signed and dated verso 2008, 67 x 100cms

Provenance: private collection Cardiff £400-600

173

175

176

177

176

‡ NEIL CANNING mixed mediaentitled verso, ‘High Plateau’ on Martin Tinney Gallery label, signed and dated verso 2003, 23 x 25cms

Provenance: private collection

Cardiff £300-400

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

177

‡ NEIL CANNING mixed mediaentitled verso, ‘Tango’ on Martin Tinney Gallery label, signed and dated verso 2003, 23 x 25cms

Provenance: private collection

Cardiff £300-400

87
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178

179

181

178

‡ GLYN BAINES mixed mediacollage on board, untitled, Martin Tinney Gallery label, signed, dated verso 2016, 30 x 30cms

Provenance: private collection Cardiff

£300-500

179

‡ ROSEMARY BURTON collageentitled verso ‘Flowers on a Table’ on Martin Tinney Gallery label, signed and dated verso 2011, 23 x 23cms

Provenance: private collection Cardiff

£200-400

180

‡ ELFYN LEWIS acrylic on paperentitled verso, ‘Dadmer’ on Gallery Ten label, signed and dated verso 2014, 21 x 25cms

Provenance: private collection Cardiff, with solo exhibition card entitled ‘Beautiful Mistake’ July 2014

£200-300

181

‡ ROGER CECIL watercolourlandscape with grasses, signed and dated ‘68, 30 x 50cms

Provenance: private collection Oxfordshire

£250-350

182

DAVID TRESS watercolour - flowering gorse bush, signed and dated ‘87, 31 x 29cms

Provenance: private collection Oxfordshire

£150-250 182

180
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The Welsh Sale • Rogers Jones & Co

183

183

‡ MIKE JONES crayon and wash - entitled verso, ‘Farmers’, signed, 20 x 26cms

Provenance: private collection

Cardiff £300-500

184

‡ MIKE JONES inkwash on paperentitled verso, ‘Tyle Mount’, signed, 21 x 26cms

Provenance: private collection

Denbighshire

£300-500

184

185

‡ MIKE JONES inkwash on paper - entitled verso, ‘Farmers on a Rail’, signed, 23 x 27cms

Provenance: private collection

Denbighshire

£300-400

186

‡ MIKE JONES inkwash on paper - entitled verso, ‘Monday’, signed, 20 x 13cms

Provenance: private collection

Denbighshire £200-300

187

187

Provenance:

185

186

‡ WILLIAM SELWYN mixed media on paper - blacksmith in his workshop with burning furnace, Oriel Tegfryn Gallery label, signed, 34 x 27cms
89
private collection Cheshire £300-500 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

188

190

189

191

192

188

‡ WILLIAM SELWYN mixed mediaentitled verso, ‘The Young Shrimper’, signed, 26 x 36cms

Provenance: private collection Cheshire £300-500

189

‡ DAVID GROSVENOR watercolourentitled verso, ‘Tryfan II’ on Oriel Tegfryn Gallery label, signed, 37 x 55cms

Provenance: private collection Cheshire £250-350

190

‡ MALCOLM EDWARDS watercolour - entitled verso, ‘Shepherd, Llanberis’, signed, 40 x 33cms

Provenance: private collection Cheshire £500-700

191

‡ ALED PRICHARDJONES pastel on paper - entitled verso, ‘Crib y Ddysgl’ on Oriel Tegfryn Gallery label, signed with initials, 52 x 72cms

Provenance: private collection Cheshire £300-400

192

‡ MIKE JONES oil on card - entitled verso, ‘Two Farmers’, signed, 25 x 30cms

Provenance: private collection Cheshire £400-600

193

‡ WILL ROWLANDS watercolour - entitled verso, ‘Penrhyn’, signed and dated ‘02, 50 x 72cms

Provenance: private collection Cheshire £300-400 193

90
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The
Welsh Sale • Rogers Jones & Co

Provenance: private collection Cumbria £2,000-3,000

‡ MURIEL DELAHAYE charcoal and pastel - entitled verso, ‘The Bag Lady’, signed, 84 x 59cms

Provenance: private collection Cumbria £400-600

Provenance:

Provenance: private collection Cardiff £500-800

194 ‡ MURIEL DELAHAYE large pastel on paper - scene from ‘The Tempest’ with nymphs underwater, entitled verso, ‘Hourly Ring His Knell’, signed, 103 x 83cms 195 194 195 196 ‡ JOSEF HERMAN mixed media - vase of flowers, 46 x 60cms private collection Powys, Illustrated in ‘Related Twilights - Notes from an Artist’s Diary’ (Seren, 2002) £1,000-1,500 197 ‡ ROGER CECIL mixed media - entitled verso, ‘Untitled 0367’ on Kooywood Gallery label, 19 x 14cms 197
91
196 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

198

200

201

198

‡ WILLIAM SELWYN mixed media - entitled verso, ‘Llanberis Pass’ on Albany Gallery label, signed, 20 x 40cms

Provenance: private collection Cardiff £300-500

199

‡ LESLIE MOORE mixed media - entitled verso, ‘Walton on Thames’ on Martin Tinney Gallery label, signed and dated ‘57, 50 x 70cms

Provenance: private collection Bridgend £500-800

200

‡ WILL ROBERTS charcoal - entitled verso, ‘Study of a Pensive Female’ on Attic Gallery label, signed and dated 1950, 75 x 50cms

Provenance: private collection Powys £300-400

201

‡ BERT ISAAC acrylic - entitled verso, ‘Vortex’, signed and dated ‘02, 17 x 17cms

Provenance: private collection Powys £150-250

199

202

202

‡ MEGAN JONES conté and wash - entitled verso, ‘Hawthorn, Garn Goch’, signed, 40 x 51cms

Provenance: private collection Powys £200-300

203

‡ ARTHUR GIARDELLI watercolour - entitled verso, ‘Amroth Bay’, signed with monogram, signed and dated 1956 verso, 38 x 57cms

Provenance: private collection Powys

Comments: water damage to the mount £200-300

203
92
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

204

‡ RAY HOWARD JONES gouache on paper - entitled verso, ‘Marloes Coast, Pembrokeshire’, signed and dated ‘93, 37 x 54.5cms

Provenance: private collection Powys £500-700

207

‡ VIVIENNE WILLIAMS mixed media - entitled verso, ‘Jug with Plate of Beans’ on Martin Tinney Gallery label, signed, dated verso 2010, 40 x 40cms

Provenance: private collection Vale of Glamorgan £300-400

208

‡ SIGRID MULLER mixed mediaentitled verso, ‘White Poppies’ on Martin Tinney Gallery label, signed, dated verso 1998, 25 x 45cms

Provenance: private collection Vale of Glamorgan

£200-300

209

‡ SIGRID MULLER mixed media - entitled verso, ‘Raspberries and Plum’ on Martin Tinney Gallery label, signed, dated verso 2003, 21 x 19cms

Provenance: private collection Vale of Glamorgan £300-400

205

‡ RAY HOWARD JONES gouache on paper - winter sunset over a headland with tree, 20 x 25cms

Provenance: private collection Powys £300-500

206

‡ LESLIE MOORE mixed media - entitled verso, ‘Romilly Park’ on Martin Tinney Gallery label, signed and dated ‘71, 55 x 76cms

Provenance: private collection Vale of Glamorgan £300-400

206 205 204 208 209 207
93 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

213

‡ ERIC MALTHOUSE pen and watercolour - entitled verso, ‘Sorting Fish, St Ives III’ on Martin Tinney Gallery label, signed, dated verso c.1952, 22 x 27cms

Provenance: private collection Vale of Glamorgan £300-400

210

‡ ERIC MALTHOUSE mixed media - entitled verso, ‘Pithead’ on Martin Tinney Gallery label, 28 x 37cms

Provenance: private collection Vale of Glamorgan £300-400

211

‡ ROSEMARY BURTON collage - entitled verso, ‘Flowers on a Windowsill’ on Martin Tinney Gallery label, signed and dated 2011 verso, 30 x 22cms

Provenance: private collection Vale of Glamorgan £250-350

212

‡ DARREN HUGHES mixed media on paper - entitled verso, ‘Early Morning, Waunfawr’ on Martin Tinney Gallery label, signed and dated verso 2007, 19 x 49.5cms

Provenance: private collection Vale of Glamorgan £200-300

214

215

214

‡ SARAH THWAITES mixed media on paper - entitled verso, ‘Study for Looking Across Llyn Celyn’ on Martin Tinney Gallery label, signed with initials, dated verso 2014, 8 x 34cms

Provenance: private collection Vale of Glamorgan £150-250

215

‡ FELICITY CHARLTON pencilentitled verso, ‘Portrait of Evan Charlton’ on Martin Tinney Gallery label, 33 x 23cms

Provenance: private collection Vale of Glamorgan £100-150

213 211 212
94
210
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The Welsh Sale • Rogers Jones & Co

216

‡ LESLIE MOORE mixed media - still life of flowers, entitled, ‘Evening - The Studio’, signed and dated ‘75, 75 x 55cms

Provenance: deceased estate

Vale of Glamorgan £200-300

217

‡ LESLIE MOORE mixed media - park with gnarled tree and figures, 47 x 65cms

Provenance: deceased estate

Vale of Glamorgan

Comments: mount believed to be obscuring signature, framed and glazed £200-300

218

‡ LESLIE MOORE mixed media - semiabstract landscape with red flowers, signed and dated ‘70, 53 x 36cms

Provenance: deceased estate

Vale of Glamorgan £250-350

219

‡ LESLIE MOORE mixed media - abstract, signed and dated ‘64/65, 40 x 50cms

Provenance: deceased estate

Vale of Glamorgan £300-400

220

‡ LESLIE MOORE mixed media - abstract, 60 x 45cms

Provenance: deceased estate

Vale of Glamorgan £250-350

221

‡ LESLIE MOORE ink and washPorthkerry Viaduct, Barry, signed and dated 1975/6, 55 x 74cms

Provenance: deceased estate

Vale of Glamorgan £150-250

221 220 218 216 219 217
95
Sale
Rogers
Jones & Co
The Welsh
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

222

223

222

ATTRIBUTED TO THOMAS BAXTER pen and ink on paper - entitled, ‘St John’s Church, Swansea’, 15 x 19cms

Provenance: private collection Cardiff £150-250

WILLIAM WESTON YOUNG watercolour - entitled, ‘Swansea Castle’, 33 x 46cms

Provenance: private collection Cardiff, as per attached sheet, ‘this picture was found amongst a large cache of drawings, letters, documents of his life starting when he was at school in Gilderson, Yorkshire, a range of personal topics together with a written record of his capture by a French warship off the coast of Ireland when he was attempting to emigrate to America. This included details of his attempt to escape from the French warship when it was moored off Brest. William Weston Young was joined by an English naval officer attempting to swim from the prison ship to a nearby vessel. This venture failed as the naval officer drowned, and William Weston Young on reaching the nearby ship climbed aboard and was horrified to discover the vessel was a French ship, not a neutral as he had hoped. All these documents and drawings are strong evidence that this drawing is by William Weston Young’

Comments: faded with age £500-600

224

224

‡ WILL ROBERTS ink and pastel on paper - entitled verso, ‘Phyllis Reading in the Garden’, signed and dated 1998, 40 x 29cms

Provenance: private collection Cardiff £150-250

223

225

225

‡ VALERIE GANZ watercolour - Mumbles Pier, Swansea with moored boats at sunset, signed at dated ‘76, 35 x 48cms

Provenance: private collection Swansea £300-400

226

226

‡ KIM ATKINSON mixed media - entitled, ‘Razorbill with Sand Eels’, signed and dated 1988, 42 x 29cms

Provenance: private collection Cardiff £150-250

96
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

227

‡ GWILYM PRICHARD pastel - entitled verso, ‘Two Seagulls’, signed, 15 x 29cms

Provenance: private collection Cardiff £200-300

228

‡ ROGER CECIL mixed media - barren landscape with colliery and figure, 28 x 90cms

Provenance: private collection Cardiff £800-1,400

229

‡ WILLIAM SELWYN mixed media - entitled verso, ‘Lon i’r Chwarel’ (Road to the Quarry), signed, 25 x 27cms

Provenance: private collection Caernarfonshire £300-400

230

‡ VALERIE GANZ mixed media - portrait of a seated ballerina, signed, 38 x 27cms

Provenance: private collection Powys £300-400

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

229 230 228
97
227 Rogers Jones & Co
The Welsh Sale

232

231

‡ VALERIE GANZ mixed media - standing portrait, entitled verso, ‘Luke of the Moscow State Circus’ on Attic Gallery label, signed, 29 x 35cms

Provenance: private collection Powys £200-300

232

‡ GEORGE LITTLE mixed media - entitled verso, ‘Drawing 3’ on Attic Gallery label, signed, 25 x 25cms

Provenance: private collection Cardiff £150-250

233

‡ MARY LLOYD JONES watercolour - entitled verso, ‘The Burren’, signed and dated ‘88, 20 x 26cms

Provenance: private collection Denbighshire £200-300

234

‡ SEREN BELL ink on paper - entitled verso, ‘Spot with Piglets’, 38 x 50cms

Provenance: private collection Denbighshire £200-300

235

‡ KEITH BOWEN pastel on paper - child and white horse, 70 x 50cms

Provenance: private collection Denbighshire £300-400

231
235 234 98
233
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The Welsh Sale • Rogers Jones & Co

236

‡ SEREN BELL pen and ink - two Rhode Island cockerels, signed, 44 x 38cms

Provenance: private collection Ceredigion £400-600

monogram, dated ‘92, 56 x 37cms

Provenance: artist’s estate £150-250

Provenance: artist’s estate £150-250

Provenance:

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

237 TOM JONES mixed media - entitled verso, ‘Criccieth Castle’, signed with 239 238 237 236 238 TOM JONES watercolour - entitled verso, ‘Rhuddlan Castle’, signed with monogram, 51 x 31cms 239 TOM JONES mixed media - entitled verso, ‘Beaumaris Castle, North Gatehouse’, signed with monogram, 53 x 58cms
99
artist’s estate £200-300
Rogers Jones & Co
The Welsh Sale

240

‡ WILLIAM SELWYN conté and wash - harbour view with yachts, signed in full, 30 x 39cms

Provenance: private collection Conwy £300-500

241

‡ GWILYM PRICHARD mixed media - entitled verso ‘Y Garn’, signed, 53 x 36cms

Provenance: deceased estate Ynys Mon, by descent £500-800

242

‡ WIL ROWLANDS mixed media - entitled verso ‘Dwy Am Lwc (Two For Joy)’, signed with initials, 35 x 35cms

Provenance: deceased estate Ynys Mon, by descent £300-500

243

‡ WILL EVANS watercolour - Gower landscape, believed Arthur’s Stone and Reynoldston, 37 x 46cms

Provenance: private collection Carmarthenshire, previously with Peter Francis Auctioneers where provenance stated as ‘consigned from a member of the artist’s family’

Comments: recently framed and glazed £300-400

244

EDGAR HOLLOWAY watercolour and pencil - entitled ‘Snowdon’, signed and dated ‘98, 28 x 38cms

Provenance: artist’s estate, consigned via our Mid-Wales office £180-200

244 243 242 241
100
240
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

245-284 Lots

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Sir Kyffin Wiliams: Art & Letters

Syr Kyffin Williams: Celf & Llythyron

245

GWASG GREGYNOG PRESS & SIR KYFFIN WILLIAMS RA extra-special and rare 2002 limited edition (4/20) volume of ‘Cutting Images’, specially bound and signed by Alan Wood, black Morocco with pictorial inlay, grey suede pastedowns, pencil signed preface by Kyffin Williams, with an additional nine linocuts retained in original sleeve and each numbered and initialled, presented in a fine quality drop-back box

Provenance: private collection Swansea

Comments: fine condition, sl. surface marks as expected, a high quality and rare presentation

£1,000-2,000

245 102
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones &
Co

246

GWASG GREGYNOG PRESS & SIR KYFFIN WILLIAMS RA limited edition (24/350) ‘Pryderi’ by Llewelyn Wyn Griffith (1890-1977), illustrated and designed by Sir Kyffin Williams RA with eight linocut prints, on Velin Arches pure cotton mouldmade paper bound at Gregynog Press 1998, bound by Alan Wood and John Sewell, signed by the artist in pencil

Provenance: private collection Swansea

Comments: in good condition £150-250

247

GWASG GREGYNOG PRESS & SIR KYFFIN WILLIAMS RA limited edition (52/275) ‘Cutting Images - A Selection of Linocuts by Kyffin Williams’, dated 2002, signed by the artist in pencil, designed by Sir Kyffin and David Vickers, bound by John Sewell, with slip-case, now out of print

Provenance: private collection Swansea

Comments: very good condition overall, usual scuffs and surface marks to binding and case £400-600

248

GWASG GREGYNOG PRESS & SIR KYFFIN WILLIAMS RA limited edition (7/250) ‘Two Old Men and Other Stories’ by Kate Roberts (1891-1985), illustrated by Sir Kyffin Williams RA, printed by Gwasg Gregynog, 1981, designed and printed by Eric Gee, Zerkall mould-made paper, outer box

Provenance: private collection Swansea

Comments: sl. fading to spine, fading to outer box, yellowing of initial pages £200-300

249

‡ SIR KYFFIN WILLIAMS RA limited edition (6/100) linocuts - Gwasg Gregynog Kyffin Portfolio comprising six prints from original linocuts printed by hand on Gregynog watermarked hand-made paper and presented in a hand-made quartercloth portfolio

Provenance: private collection Swansea

Comments: all prints unframed as issued, light shelf wear to the portfolio cover, front of cover with marks £800-1,400

248
103
246 247 249
Rogers Jones & Co
• The Welsh Sale
further details.
this lot (please see terms and conditions).
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for
‡ Artist’s Resale Rights/Droit de Suite may apply to

Provenance: private collection Cheshire

Comments: unframed, in cellophane sleeve £250-350

250

‡ SIR KYFFIN WILLIAMS RA limited edition (artist’s proof) lithographcottages and chapel at Aberffraw, signed with initials, 40 x 50cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £300-500

251

‡ SIR KYFFIN WILLIAMS RA limited edition (65/75) printstanding Welsh Black bull, fully signed in pencil, 41 x 61cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent £1,000-2,000

254

252

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) print - entitled verso, ‘Hendre Waelod’, signed fully in pencil, 35 x 52cms

Provenance: private collection Ynys Mon (Anglesey) £300-500

‡ SIR KYFFIN WILLIAMS RA limited edition (432/500) printConwy castle, signed fully in pencil, 49 x 66cms

Provenance: private collection Cheshire

Comments: unframed, in cellophane sleeve £150-250

253 ‡ SIR KYFFIN WILLIAMS RA limited edition (64/250) lithograph‘Farmer Below Snowdon’, signed fully in pencil, 56 x 56cms 251 250 252 253
104
254
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

255

‡ SIR KYFFIN WILLIAMS RA limited edition (162/750) print -’Farmer at Funeral’, fully signed, 59 x 40cms

Provenance: private collection Denbighshire £300-400

256

‡ SIR KYFFIN WILLIAMS RA artist’s proof print - standing farmer, fully signed, 54 x 31cms

Provenance: private collection Denbighshire £250-350

257

‡ SIR KYFFIN WILLIAMS RA artist’s proof print - shepherd on mountainside with two sheepdogs, fully signed, 51 x 36cms

Provenance: private collection Denbighshire £300-500

258

‡ SIR KYFFIN WILLIAMS RA numbered artist’s proof print - winter scene with cottage and figure, signed with initials, 45 x 55cms

Provenance: private collection Denbighshire £400-600

259

‡ SIR KYFFIN WILLIAMS RA limited edition (249/500) printPatagonian horse and rider, fully signed in pencil, 33 x 43cms

Provenance: private collection Denbighshire £200-300

259 258 257
105
256 255
Sale
pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers
Jones & Co
The Welsh
All

260

‡ SIR KYFFIN WILLIAMS RA artist’s proof print - study of a pausing sheepdog, fully signed, 51 x 36cms

Provenance: private collection Denbighshire

£300-500

261

‡ SIR KYFFIN WILLIAMS RA signed colour print - coastal sunset, fully signed in pencil, 36 x 54cms

Provenance: private collection Denbighshire

£300-400

262

‡ SIR KYFFIN WILLIAMS RA limited edition (206/350) lithograph‘Sea at Trearddur’, signed with initials, 28 x 40cms

Provenance: private collection Swansea

£300-400

263

‡ SIR KYFFIN WILLIAMS RA limited edition (artist proof) linocutGwastadnant, fully signed in pencil, 43 x 43cms

Provenance: private collection Caernarfonshire

Comments: foxing to upper margin

£500-1,000

261 260 263 262
106
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The Welsh Sale • Rogers Jones & Co

264

‡ SIR KYFFIN WILLIAMS RA limited edition (128/250) print‘Farmer Below Snowdon’, fully signed in pencil, 60 x 57cms

Provenance: private collection Caernarfonshire £300-500

265

‡ SIR KYFFIN WILLIAMS RA artist’s proof lithograph - Penrhyn Du Farm, Ynys Mon (Anglesey) with Welsh Black cattle, fully signed in pencil, 59 x 74cms

Provenance: private collection Caernarfonshire

Comments: sl foxing to margin, mount dirty £1,000-1,500

266

‡ KYFFIN WILLIAMS RA artist’s proof lithograph - Mott the sheepdog, signed in pencil, 30 x 40cms

Provenance: private collection Cardiff £300-500

267

‡ SIR KYFFIN WILLIAMS RA limited edition (95/150) linocutWelsh Black Cattle, signed and number in pencil, titled verso on Attic Gallery label, 24.5 x 30cms

Provenance: private collection Cardiff £300-500

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

267 266 265
107
264
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The Welsh

268

‡ SIR KYFFIN WILLIAMS RA important archive of letters - being mainly correspondences between the artist and his dear friends Anwen Carey Evans and husband David Lloyd ‘Bengy’ Carey-Evans, includes over 30 x letters on Sir Kyffin’s headed paper from his Llanfairpwll home, together with many doodles, additional postcards, additional greeting cards and other related ephemera. The correspondences span twentyyears from 1984 and show a close relationship between the Carey-Evans family and the epileptic batchelor Sir Kyffin. In the letters Kyffin often confided in the couple about his health, depression, incidences at home, state of mind, artistic woes, the art world and his grievances. He also writes of his pending Knighthood which he describes as his ‘gonging’. With regards to depression and ill-health, Sir Kyffin writes candidly of his feelings on several occasions, notably ‘…I have been ill ever since you went away. Down in Cardiganshire I couldn’t speak, eat or sleep as a huge depression came on me’. Returned to doctor visits and concerns from neighbours, ‘…weak as a kitten, haven’t painted for over 3 months…’ Many of the letters thank the couple for their caring hospitality and their ‘…soothing effect…’ and good food on occasions when he had visited. Within several of the letters Sir Kyffin is scathing of the governing of Welsh public art particularly at the National Museum of Wales, and he berates the lack of a Welsh National Gallery. In a letter dated 27th October 1999, ‘…things were rather ruined today when I got the information from the Museum saying that Dafydd Lewis is not only chairman of the Arts Committee, for which he is in no way qualified, but he is in charge of education as well. How can art possibly flourish in Wales if people qualify on the golf course? As a fully qualified artist it makes me sick….’ Sir Kyffin was famously concerned for the direction of the modern art world, within these letters he references controversial exhibitions by Tracey Emin, Damien Hirst and Mark Riley and in particular a British Art Show exhibition that travelled to Cardiff in 1996 (within a copy of a letter to the then Director of the National Museum of Wales), he writes ‘…alarmed of the reports of the current exhibition in the museum…art lovers have been deeply shocked by what is on show….police have been called in’ and regarding the keeper of art’s decision to have such an exhibition ‘…lack of responsibility and judgement together with an insensitivity that is disturbing, especially as we have been trying to bring more people to the galleries. Can you assure me that no similar exhibitions are shown in the Museum? If I do not have such an assurance, I cannot see that I am able to continue as a member of the Committee. I must now insist that my two Welsh landscapes that hang in the Galleries be taken off the walls immediately’. To ensure that the archive retains an element of exclusivity to the purchaser, we will not be sending images of all the letters by email or posting more than a small sample to our website. There is a brief summary of correspondences available by email. Interested parties are able to view the entire archive in person at our Cardiff offices by prearranged appointment on a day prior to the auction. The overall condition of the letters is excellent, no detailed condition report available

Provenance: directly from the Carey-Evans family, Sir Kyffin’s friendship with the Carey-Evans family began in the 1950s when Anwen was living in London with three girlfriends, at the same time Sir Kyffin was teaching at Highgate School. Through Anwen, Sir Kyffin met Bengy and all remained friends until Sir Kyffin’s death in 2006

£5,000-7,000

108 * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
268 109 Rogers Jones & Co • The Welsh Sale
unless
Please
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All pictures framed / framed and glazed, ready to
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stated.
see our website for
Artist’s Resale

269

269

‡ SIR KYFFIN WILLIAMS RA ink on paper - cartoon of the artist and another figure, inscribed, ‘Kyffin Just Wants to Say Very Many Thanks’, dated ‘02, 27 x 20cms

Provenance: private collection Ceredigion, formerly in the ownership of Molly Tomlinson who was gifted the sketch by the artist for her 80th birthday. Molly was of the Old Cutter Inn, Moel-y-Don near the Menai Straits, and Kyffin was a regular customer

£250-350

270

‡ SIR KYFFIN WILLIAMS RA watercolour on paper - entitled verso, ‘Rocks, Fedw Fawr’, dated verso 1991, 38 x 56cms

Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descent

£4,000-7,000

270
110
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

271

‡ SIR KYFFIN WILLIAMS RA watercolourentitled verso, ‘Evening Storm’, signed with initials, 39 x 48cms

Provenance: private collection

£3,000-4,000

272

‡ SIR KYFFIN WILLIAMS RA inkwash on paperentitled verso, ‘Houses Near Halifax’, signed with initials, 30 x 24cms

Provenance: private collection Cardiff

Comments: localised foxing

£2,000-3,000

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

272
111
271
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Welsh

273

‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - entitled verso, ‘Ponies in Anglesey’, signed with initials, 23 x 30cms

Provenance: the Estate of the late Major General and Mrs C N Last, original Gorstella Gallery receipt and two Thackery Gallery exhibition catalogues £5,000-7,000

274

‡ SIR KYFFIN WILLIAMS RA mixed media - landscape with upland dwelling and drystone walls, signed with initials, 29 x 40cms

Provenance: private collection Flintshire £3,000-5,000

274
112 The Welsh Sale • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
273

Talysarn Village, Caernarfon in the Nantlle Valley with Nantlle Ridge in the background, signed with initials, 50 x 72cms

Provenance: private collection Flintshire £10,000-15,000

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

275 ‡ SIR KYFFIN WILLIAMS RA unusually large mixed media on paper
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Jones & Co

276

‡ SIR KYFFIN WILLIAMS RA ink and wash sketch - Eryri with possibly Yr Wyddfa (Snowdon), signed with initials and signed fully verso, 12 x 17cms

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

277

‡ SIR KYFFIN WILLIAMS RA pencil and watercolour - entitled verso, ‘Welsh Black Bull’ on Thackeray Gallery, signed with initials, 32 x 40cms

Provenance: private collection Cheshire

Auctioneer’s Notes: rare opportunity to acquire an original work of a Welsh Black bull by Sir Kyffin Williams, the artist’s limited edition print of a similar bull is well-known and highly sought £5,000-10,000

277
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The Welsh Sale • Rogers Jones & Co

278

‡ SIR KYFFIN WILLIAMS RA ink and wash - entitled verso, ‘Hill Farmer No.2’ on Thackeray Gallery label, signed with initials, 53 x 35cms

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

279

‡ SIR KYFFIN WILLIAMS RA ink and wash - farmstead with dry stone walls, Tegfryn Art Gallery label verso, signed with initials, 33 x 48cms

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

279 278
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Rogers Jones
Co
Welsh
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Artist’s Resale
see

Provenance: collection of the Late James Joseph Mundell CBE and thence by descent £15,000-17,000

280 ‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Lliwedd in Snow’, dated verso ‘60, 60 x 90cms
116
280
& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale
Rogers Jones

281

‡ SIR KYFFIN WILLIAMS RA oil on canvasYnys Mon (Anglesey) whitewashed cottage and farm, entitled verso, ‘Rhyd Syr Williams’, signed with initials and accompanied with a personal hand written letter from Sir Kyffin explaining how much he liked the painting, dated 1991, signed with initials, 59 x 90cms

Provenance: the Estate of the late Major General and Mrs C N Last, the location of the farm is at the village of Llanfair-yn-Neubwll near to Sir Kyffin’s childhood home, with original sales receipt and auction catalogue from ‘Morgan Evans & Co, Anglesey’ 1991 (so likely to have been sold by the late David Rogers Jones at the end of his tenure at the company), two Albany Gallery exhibition catalogue £15,000-25,000

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

281
117
281 details Rogers Jones & Co
The Welsh Sale

Provenance: private collection Ynys Mon (Anglesey)

282 ‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Cottage in Anglesey’ on label for New Art Centre, Sloane Street, London, 49 x 59cms £15,000-20,000
118
& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
282
The Welsh Sale
Rogers Jones

‡ SIR KYFFIN WILLIAMS RA oil on canvas - Ynys Môn (Anglesey) coastal scene with flowers and path in foreground, entitled verso ‘Fedw Fawr’ on Thackeray Gallery label with purchase date ‘16th May 1989’, signed with initials, 50 x 75cms

Provenance: bought by current vendor’s mother (named on Thackeray label), same family ownership since, deceased estate Pembrokeshire

Comments: very good overall, viewing highly recommended £18,000-25,000

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

283
119 Rogers Jones & Co • The Welsh Sale
283

Provenance: private collection Cardiff £6,000-8,000

284 ‡ SIR KYFFIN WILLIAMS RA oil on canvas - entitled verso, ‘Rough Sea off Llanddwyn’, signed with initials, 19.5 x 49.5cms
120
284
Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones
&

WORKS BY CHARLES WYATT WARREN (1908-1993)

285

Provenance: private collection Monmouthshire £250-350

286

‡ CHARLES WYATT WARREN oil on boardYr Wyddfa (Snowdon) from Llyn Y Gader, signed, 24 x 54cms

Provenance: private collection Yorkshire £250-400

287

‡ CHARLES WYATT WARREN oil on boardthe peak of Tryfan with stream and trees, signed, 24 x 54cms

Provenance: private collection Vale of Glamorgan £300-500

288

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘South East from Llyn Peris, Through the Llanberis Pass’, signed, 29 x 65cms

Provenance: private collection Hampshire £300-500

289

Provenance: private collection Lincolnshire £300-500

‡ CHARLES WYATT WARREN oil on boardYr Wyddfa (Snowdon), from Llyn Padarn, signed, 40 x 49cms ‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon From Llyn Mymbyr’, signed, 24 x 55cms 289 288 287 286
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The Welsh Sale
All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

290

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Merioneth Lake’, signed in full, 24 x 54cms

Provenance: private collection Denbighshire £300-400

291

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Anglesey Farmhouse’, signed, 13.5 x 49cms

Provenance: private collection Gwynedd £300-400

292

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Harbour Cottages’, signed, 36.5 x 46.5cms

Provenance: private collection Herefordshire

£300-500

293

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Llyn Crafnant’, signed, 23.5 x 53.5cms

Provenance: private collection Portugal

Auctioneer’s Notes: Charles Wyatt Warren’s paintings often depict the valley lakes of Eryri, which have been for many years popular destination for walkers. But in recent times Wyatt Warren’s lakes have become increasingly popular for wild-swimming. Swimming in natural spaces within the Eryri National Park has seen a surge in popularity, the natural waters within the dramatic Welsh mountain landscape having a powerful draw for those who enjoy braving the elements. In ‘Wild Swimming Walks Eryri / Snowdonia’ (Wild Things Publishing), author Emma Marshall describes the scene in Crafnant, ‘view from the little beach at the head of the lake, looking up over its waters to the craggy hills of Crimpiau and Craig Wen, is breathtaking and one of the prettiest in Eryri. Both evergreen and deciduous trees fill the beautiful, wooded valley that the lake occupies and, in the spring, it is filled with wild garlic, hence the name ‘Crafnant’, which means ‘garlic stream’

£400-600

293 292 291
122
290
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The Welsh Sale • Rogers Jones & Co

294

‡ CHARLES WYATT WARREN oil on board - Eryri (Snowdonia) landscape with lake, signed, 28 x 74cms

Provenance: private collection

Ceredigion

£400-500

295

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

Provenance: private collection

Monmouthshire

£400-500

296

‡ CHARLES WYATT WARREN oil on board - entitled verso, ‘Snowdon from Llyn Mymbyr’, signed, 36 x 74cms

Provenance: private collection

Hertfordshire

£500-700

297

‡ CHARLES WYATT WARREN oil on board - Llyn Padarn, Eryri (Snowdonia) with Yr Wyddfa (Snowdon) inscribed verso, ‘Elaine with best wishes Charles Wyatt Warren’, signed, 36 x 90cms

Provenance: private collection Merthyr

£600-800

297 296 295 294
123
pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers
Jones & Co • The Welsh Sale All

298

‡ DAVID WOODFORD (b.1938) large, fine exhibition quality oil on canvas - Eryri (Snowdonia) with clouds and shaft of sunlight illuminating Blaen y Nant, Nant Ffrancon and Cwm Idwal, as viewed by the artist from the lower slopes of Pen yr Ole Wen, near the artist’s home, inscribed verso, 82 x 118cms

Provenance: private collection West Midlands, smaller version of this scene illustrated as Plate 32, ‘The Art of David Woodford - Mountains and Memories’ by Tom Dutton (Gwasg Carreg Gwalch) 2016

Auctioneer’s Note (Dr Harry Heuser): rooted in the experience of nature and its close observation, David Woodford’s paintings are at once monumental and of the moment. Ranging from pochades (or pocket-size plein-air sketches) of arresting immediacy to sublime large-scale canvases, such as this example, on which the artist keeps working in his studio for as long as ten years, these landscapes are as much concerned with the eternal as they are with the evanescent.

Woodford captures the distinctive features of the rugged Welsh countryside, with special focus on the grandeur of Eryri (Snowdonia), where the Shropshire-born artist has been living for over half a century. More than achieving topographical transcripts of the land, however, his paintings captivate us with their intentness on the atmosphere and the mercurial temperament of the elements – the ‘fugitive … moods’ of nature, as Woodford puts it – that make startlingly new and revelatory what we might assume to be unchanging.

A Royal Cambrian Academician who trained at West Sussex College of Art and, as a mature student returning to college

after a five-year period of teaching, at the Royal Academy Schools in London, Woodford has been committed to a sustained engagement with nature since the late 1960s. At a time when drawing and painting were being challenged by conceptualism, when academic and curatorial attention was diverted from traditional methods and materials to new media, Woodford set out rigorously to pursue the essentials that many practitioners and educators temporarily and, in some cases, permanently abandoned. As Woodford acknowledges, his practice has benefitted greatly from the instruction and insights he received in his schooling from ‘painters who taught, not teachers who painted.’ Woodford’s works have been exhibited widely in England and Wales; a major retrospective featuring over 200 paintings and drawings was staged in 2023 at Oriel Môn. The subject of books including The Art of David Woodford (2016), his works are in the collections of The Arts Council, The National Library of Wales, and the National Museum of Wales.

Woodford’s landscapes are only gaining in relevance. They are increasingly resonant in an age in which human interventions into nature threaten what we thought would not only take care of itself but continue to sustain us. Anticipating contemporary debates, Woodford has long presented us with a world without people, a world that, he says, ‘will survive without them.’ Contemplative, studious and unwavering, his art, both singly and collectively, brings home how rewarding a lifelong creative process of discovery can be.

Dr Harry Heuser, curator, art writer and researcher, co-author of Welsh artist biographies £4,000-6,000

298 124
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The
Welsh Sale • Rogers Jones
Co

299

‡ DAVID WOODFORD oil on card - entitled verso, ‘Bethesda Quarry’, signed, 18 x 25cms

Provenance: private collection West Midlands £300-400

300

‡ DAVID WOODFORD oil on card - Eryri (Snowdonia) winter landscape, signed, 16.5 x 27cms

Provenance: private collection West Midlands £300-400

301

‡ DAVID WOODFORD oil on board - entitled verso, ‘Tryfan’, signed, 22.5 x 20cms

Provenance: private collection West Midlands £300-400

302

‡ DAVID WOODFORD oil on board - entitled verso, ‘Tryfan and the Glyders’, 14.5 x 19cms

Provenance: private collection West Midlands £300-400

303

‡ DAVID WOODFORD oil on board - Eryri (Snowdonia) under stormy sky, entitled verso, ‘On the Glyders’, signed verso, 13 x 19cms

Provenance: private collection West Midlands £250-350

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only).

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

304

‡ DAVID WOODFORD oil on boardEryri (Snowdonia) landscape with clouds, 18 x 23.5cms

Provenance: private collection West Midlands £250-350

300 299 304 303 302
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301
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The Welsh

305

‡ DAVID WOODFORD pencil and wash - entitled verso, ‘Nant Gwynant, Under Crib Goch’, signed, dated verso 2002, 33 x 41cms

Provenance: private collection West Midlands £200-300

306

‡ DAVID WOODFORD watercolour - Eryri (Snowdonia) landscape, inscribed verso, ‘Pen Maen’, signed, 21 x 28cms

Provenance: private collection West Midlands £200-300

307

‡ DAVID WOODFORD watercolour - Eryri (Snowdonia) landscape with sheep in the foreground, signed, 21 x 30cms

Provenance: private collection West Midlands £200-300

308

‡ DAVID WOODFORD oil on card - entitled verso, ‘Cwm Caseg in January’ on Martin Tinney Gallery label, signed, dated verso 1999, 16 x 27.5cms

Provenance: private collection Vale of Glamorgan £200-300

309

‡ DAVID WOODFORD oil on card - entitled verso, ‘Snowdon’ on Martin Tinney Gallery label, signed, dated verso 1999, 18 x 29.5cms

Provenance: private collection Vale of Glamorgan £200-300

310

‡ DAVID WOODFORD oil on card - landscape with rain clouds, signed, 12 x 18cms

Provenance: private collection Gwynedd £100-200

308 307 306 305 310
126
309
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The Welsh Sale • Rogers Jones & Co

WORKS BY HUGH HUGHES (1790-1863)

311

HUGH HUGHES (1790-1863) oil on canvas - 1822 head and shoulders self-portrait, inscribed on stretcher ‘Portrait of H.Hughes painted by himself, 1822’, and ‘Died at Malvern March 11th 1863’, 29 x 24cms

Provenance: passed through several generations from artist to present owner an ancestor of Hugh Hughes, none of the artist’s children survived him so the picture descended in the family from one of the artist’s siblings, probably John Hughes formerly of Meddiant, Glan Conwy, Auctioneer’s Notes: in 1822 Hugh Hughes (1790-1863) had completed the several tours of Wales that he had undertaken since 1819, drawing landscapes and buildings for his volume of wood engravings, The Beauties of Cambria . However, the final group of engravings was not issued until 1823, and it seems likely that Hughes was still at work on them when he painted this self-portrait. Many of the engravings were undertaken while staying at his mother’s family home, Meddiant, Glan Conwy, and the family provenance of the portrait suggests that it too was painted there. Hughes holds his silver drawing pencil, and it may be that the portrait marks the completion of the three year’s work that the preparation of The Beauties of Cambria had entailed. Our thanks to art historian Peter Lord for assisting with research on the paintings by Hugh Hughes in this auction

Comments: later but synthetic antique moulded gilt frame, relined and stabilised, ready to hang £1,500-2,500

312

HUGH HUGHES (1790-1863) oil on canvas - circa 1848 halfportrait of the artist’s son Thomas Charles Hughes, aged 16, 27 x 20cms

Provenance: picture known to have been formerly inscribed verso, ‘T.C. Hughes, aged 16’ but now lost / not visible as a result of lining of canvas. By descent through several generations from artist to present owner an ancestor, none of the artist’s children survived Hugh Hughes so the picture descended in the family from one of the artist’s siblings, probably John Hughes formerly of Meddiant, Glan Conwy Auctioneer’s Notes: Hugh Hughes painted at least four portraits of his son, Thomas Charles Hughes (1832-1851), the second of his three children by his wife Sarah. He had been named after Sarah’s uncle, Revd Thomas Charles of Bala. The present portrait was painted a few years before the sitter’s death at the age of 18, on 1st July, 1851. Like his sister, Sarah Phillips Hughes, Thomas Charles Hughes had received the encouragement of his father to paint and ‘A view of Pont Aberglaslyn’ (1848) survives in the collection of the National Library of Wales. Our thanks to art historian Peter Lord for assisting with research on the paintings by Hugh Hughes in this auction

Comments: framed, relined, ready to hang £500-800

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

312 311
127
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313

HUGH HUGHES (1790-1863) oil on canvas - circa 1815-1820 half-portrait of John Hughes, inscribed verso John Hughes painted by his brother Hugh Hughes, 33 x 25cms

Provenance: later inscription verso believed to be a copy of lost inscription as the painting has been relined, please see provenance in Lot 311

Auctioneer’s Notes: Hugh Hughes was the eldest of seven children of whom four survived to adulthood, the sitter, his younger brother, John, was born in 1795, and the portrait appears to depict him in his twenties. Hughes’s work as a portrait painter evolved considerably in the decade after his earliest known works were painted in 1812. The style of the present portrait suggests a date after 1820. Our thanks to art historian Peter Lord for assisting with research on the paintings by Hugh Hughes in this auction

Comments: framed, relined, ready to hang £300-500

314

HUGH HUGHES (1790-1863) oil on canvas - circa 1812 halfportrait of William Williams, probably the artist’s maternal uncle, inscribed indistinctly to top stretcher ‘William Williams of Meddiant’, 33 x 27cms

Provenance: inscription verso can be viewed better with UV light, see full provenance in Lot 311

Auctioneer’s Notes: our thanks to art historian Peter Lord for assisting with research on the paintings by Hugh Hughes in this auction

Comments: framed, surface scratches, relined £150-250

314
128
313
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The Welsh Sale • Rogers Jones & Co

315-456 Lots

THE WELSH SALE/ YR ARWERTHIANT CYMREIG

Welsh Oils, Sculpture & Other Media

Olewau Cymreig, Cerfluniau a Chelf Arall

315

‡ CHARLES WHITE oil on board - entitled verso, ‘Lambing in Welsh Mountains’, signed and dated ‘59, 60 x 72cms

Provenance: private collection Denbighshire £150-250

318

‡ MARY GRIFFITHS oil on canvasentitled verso, ‘Eve’ on Martin Tinney Gallery label, signed and dated verso 1997, 52 x 35cms

Provenance: private collection Vale of Glamorgan £150-250

316

‡ DANIEL CRAWSHAW oil on canvas - entitled verso, ‘Nant Ffrancon 1’ on Martin Tinney Gallery label, signed and dated verso 2016, 30 x 25cms

Provenance: private collection Vale of Glamorgan £150-250

319

‡ SHAUN G DAY oil on linen on panel - entitled verso, ‘Portrait study’ on Fountain Fine Art Gallery label, signed and dated verso 2011, 20 x 17cms

Provenance: private collection

Neath-Port Talbot £150-200

317

‡ JOAN BAKER oil on canvasentitled verso, ‘Fruit Cage’ on Martin Tinney Gallery label, signed and dated verso 1952, 56 x 47cms

Provenance: private collection Vale of Glamorgan £150-250

320

‡ ALAN SALISBURY mixed media and oil on glass panel - entitled verso, ‘Durer’s Cock’ on Kooywood Gallery Cardiff label, 23 x 18cms

Provenance: private collection Cardiff £200-400

320 319 318 317 316 315
130
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The Welsh Sale • Rogers Jones & Co

Provenance: private collection Pembrokeshire £200-300

Provenance: private collection Cardiff

Comments: the book, slipcase format, is unused £200-300

Provenance: private collection Cardiff £200-300

Provenance: private collection Ceredigion

Comments: later framed £200-300

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

Provenance: private collection Vale of Glamorgan £200-300

321 ‡ ANDREW DOUGLAS FORBES gouache on card - entitled verso ‘Finished for the Day’ on Albany Gallery label, signed, 21 x 93cms 322 ‡ BRENDAN STUART BURNS oil and wax on board - entitled verso, ‘Shadow Into Parent Light Series, Weep’ on Kooywood Gallery label, dated verso 2010, 25 x 30cms together with a signed copy of the book ‘Glimpse’ the body of work by Brendan Stuart Burns 323 ‡ BRENDAN STUART BURNS oil, wax and graphite on board - entitled verso, ‘Liquid Light Series, Nocturne’, signed and dated 2008 verso, 20 x 25cms 323 322 324 CHRISTOPHER WILLIAMS RBA oil on canvas - entitled verso ‘Cloud Study over Carmarthenshire’, 16 x 22cms 325 ‡ DICK CHAPPELL oil on panel - entitled verso, ‘Beating on Clouds’ on Martin Tinney Gallery label, signed and dated verso ‘93, 29 x 29cms 325 324
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326

‡ DICK CHAPPELL oil on panel - entitled verso, ‘Sound Dampened by Mist’, on Martin Tinney Gallery label, signed and dated verso 2006, 29 x 29cms

Provenance: private collection Vale of Glamorgan £200-300

327

‡ DONNA CRAWSHAW oil on board - entitled verso, ‘Snow, Snow, Snow’ on The Gallery at Trap label, signed in full, 25 x 30cms

Provenance: private collection Powys £200-300

328

‡ EMRYS WILLIAMS acrylic on panel - entitled verso, ‘Parrot and Mirror’ on Underground Gallery label, inscribed and dated verso 1998, 60 x 45cms

Provenance: private collection Powys £200-400

329

‡ EVAN CHARLTON oil on board - seated three-quarter portrait of Zillah Silcocks, signed, 91 x 70cms

Provenance: private collection Vale of Glamorgan £200-300

330

‡ JOHN BOWEN oil on board - entitled verso, ‘The Straw Hat’, signed, 27 x 24.5cms

Provenance: private collection Swansea £200-300

331

‡ MARY GRIFFITHS oil on panel - entitled verso, ‘La Petite Danseuse’ on Martin Tinney Gallery label, signed and dated 2010 verso, 30 x 25cms

Provenance: private collection Vale of Glamorgan £200-300

326 331 330 329 328
132
327
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The Welsh Sale • Rogers Jones & Co

Provenance: private collection Cheshire £200-300

‡ RALPH SPILLER

on cardlandscape and village, signed with initials and dated ‘95, 40 x 50cms

Provenance: private collection Flintshire £200-300

Provenance: artist’s family

Provenance: private collection Gwynedd £200-300

x 29cms

Provenance: private collection Hertfordshire £250-350

‡ CHARLES WHITE oil on

- entitled verso, ‘Bethesda’r Fro’, signed and dated ‘68, 19.5 x 27cms

Provenance: private collection Cardiff Auctioneer’s Notes: a simple whitewashed chapel in Llantwit Major, Vale of Glamorgan it was established in 1807 when Thomas William brought his congregation here from Burton, Aberthaw. The land had been purchased from Thomas Redwood for five shillings. William was a Welsh hymn writer of some repute £250-350

Provenance: artist’s family £250-350

Provenance: private collection Herefordshire £250-350

332 ‡ PIP KNIGHT-JONES acrylic on canvas - entitled verso, ‘Fron, Towards Snowdonia’, signed, 96 x 76cms 333 oil 333 332 334 ‡ STEVEN JONES acrylic - entitled, ‘Llanddwyn Beach’, signed in pencil, 35 x 54cms 336 335 334 337 ‡ AUDREY HIND oil on board - entitled verso, ‘Farm, Trecastell’, signed, 19 338 board 339 ‡ DAVID BARNES oil on board - entitled verso, ‘Near Rowen’, signed verso, 26.5 x 39cms 339 338 337 335 ALAN WILLIAMS acrylic - entitled verso, ‘Cockle Pickers’, signed, 33 x 51cms £250-350 336 ALAN WILLIAMS acrylic - entitled verso, ‘The Catch’, signed, 33 x 50cms
133
Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

Provenance: private collection Flintshire

Provenance:

340

‡ GARETH THOMAS oil on boardentitled verso, ‘Three Cliffs from Penmaen’, signed, 24 x 29cms

Provenance: private collection Swansea £250-350

‡ PETER

mixed media on canvas - entitled verso, ‘Three CliffsGower Peninsula’ on Albany Gallery label, signed, 23 x 30cms

Provenance: private collection Cheshire £250-350

Provenance: private collection Flintshire

19TH CENTURY WELSH PRIMITIVE oil on canvas - folk art portrait of a brig struggling in a storm at sea, with small naive figures, 51 x 58cms

Provenance: from an historic country property in Lleyn Peninsula where it has hung for generations, possibly relating to a vessel built at one of the nearby Porthmadog shipyards

Comments: in likely to be original maple wood frame with gilt slip, canvas aged and with slight incision, no labels or information verso, please see further images £300-500

344 341 KETTLE 342 ‡ RALPH SPILLER oil on board - entitled verso, ‘Bargoed Terrace’, signed with initials and dated ‘92, 18 x 38cms £250-350 343 ‡ RALPH SPILLER oil on board - entitled verso, ‘Singleton, Brynymor’, signed with initials and dated ‘92, 21 x 34cms £250-350 342 343 340 341 345 ‡ ALAN WILLIAMS acrylic - entitled verso, ‘Coraclers’, signed, 33 x 51cms artist’s family £300-400 345
134
344
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

346

ALFRED WORTHINGTON oil on boardentitled verso ‘Glaspwll, Llyfnant Valley’ on Windmill Gallery label, Aberystwyth, 50 x 64cms

Provenance: to accompany a handwritten George V stamped pictorial postcard of the same location, private collection Ceredigion £300-400

348

‡ AUDREY HIND oil on board - entitled verso ‘Cefn Coch’ signed, 49 x 89cms

Provenance: private collection Cardiff £300-500

349

‡ AUDREY HIND oil on board - entitled verso, ‘Mountain Road, Holyhead’, signed, 24 x 49cms

Provenance: private collection Hertfordshire £300-500

350

‡ CHRISTOPHER WILLIAMS RBA oil on canvas - entitled verso, ‘Fairweather Clouds, Carmarthenshire’, 23 x 30cms

Provenance: private collection Ceredigion

Comments: pinholes in the corners of the canvas, large creases in the canvas from top right corner to the bottom £300-400

Provenance: private collection Cardiff £300-500

‡ DAVID KNIGHT oil on canvas - entitled verso, ‘Tie’ on Albany Gallery label, signed, 54 x 42cms

Provenance: private collection Rhondda Cynon Taff £300-500

347 ‡ ARTHUR PRITCHARD oil on board - Bull Bay, Anglesey, signed, 29 x 61cms 347 346 346 detail 350 349 348 351
135
351
Sale
Rogers
Jones & Co • The Welsh
All pictures framed / framed and glazed, ready to hang unless stated.
Please see our website for further details.
‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see
terms and conditions).

352

352

‡ FRANCES RICHARDS embroidery on silk - entitled verso, ‘Head on Gold Silk’, signed with initials, 22 x 22cms

Provenance: private collection Cardiff £300-500

354

‡ GARETH THOMAS oil - entitled verso, ‘Sunlit Lane, Haverfordwest’ on Albany Gallery label, signed, 26 x 34cms

Provenance: private collection Cheshire £300-500

355

‡ GARETH THOMAS oil on boardGower coastal cliffs, signed, 39.5 x 30cms

Provenance: private collection Swansea £300-400

353

FRANCIS EMIL KRAUSE (German. 1836-1900) oil on canvas - entitled verso, ‘A Welsh Cottage’, signed, 25 x 19cms

Provenance: private collection Cheshire £300-500

356

‡ HELEN STEINTHAL oil on board - entitled verso, ‘Above Creigiau, Dref Tremadog’ signed with initials, 50 x 60cms

Provenance: private collection West Midlands

Comments: verso a painting of white horse amongst palms £300-400

357

‡ HELEN STEINTHAL oil on canvasentitled verso, ‘Snowstorm’, signed verso, 50 x 60cms

Provenance: private collection West Midlands £300-400

355 357 356 354 353
136
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

‡ JACK CRABTREE oil on paperentitled verso, ‘Valleys Landscape’, signed, 29 x 30cms

Provenance: private collection Cardiff £300-400

359

JAMES WEBB (English 1825-1895) oil on board - entitled verso, ‘Beddgelert, On the Road to Porthmadog’ signed and dated 1876, 30 x 60cms

Provenance: private collection West Midlands £300-400

- entitled verso, ‘Nude Study No.4’, artist’s studio stamp and dated 1990 verso, 34 x 42cms

Provenance: estate of artist and latterly private collection Ceredigion £300-500

Provenance: private collection Denbighshire £300-400

with initials and fully verso, 44 x 34cms

Provenance: private collection Pontypridd £300-500

Provenance: artist’ estate, then private collection Ceredigion £300-500

358 360 ‡ JOHN ELWYN oil on board 361 ‡ JOHN ELWYN oil on board - nude study, artist’s studio stamp verso, 37 x 49cms 362 ‡ MATTHEW SNOWDEN acrylic on panel - river and trees, possibly Afon Glaslyn, signed, 25 x 32cms 363 ‡ PETER JOHN JONES acrylic on board - entitled verso, ‘Remembering When’, signed 360 361 363 362 358
137
359 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

‡ ROBERT FOWLER oil on canvassailing boats on the Conwy estuary from Deganwy, signed, 40 x 55cms

Provenance: private collection West Midlands £300-400

‡ ROBERT FOWLER oil on canvas - Ynys Mon (Anglesey) garden with Caernarfon in the distance across the Menai, signed, 39 x 54cms

Provenance: private collection West Midlands £300-500

TOM JONES oil on board - entitled verso, ‘Llyn Landscape’, signed with monogram, 59 x 118cms

Provenance: artist’s estate £300-500

‡ WILF ROBERTS oil - entitled verso, ‘Creigiau, Ynys Lawd / Rocks, South Stack’, signed and dated 1999, 28 x 20cms

Provenance: private collection Cheshire £300-500

‡ ANDREW VICARI oil on board - figures flying kites, signed, 90 x 16cms

Provenance: private collection Swansea £400-500

364 365 366 368 366 367 365 364 367 368
138
Sale •
& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh
Rogers Jones

DAVID KNIGHT oil on canvas - entitled verso, ‘Bedside’ on Albany Gallery label, signed, 65 x 47cms

Provenance: private collection Rhondda Cynon Taff £400-600

371

‡ ERIC MALTHOUSE oil on boardentitled verso, ‘Mother and Child’ on Martin Tinney Gallery label, signed, dated verso 1950, 45 x 35cms

Provenance: private collection Vale of Glamorgan £400-600

CHARLES BURTON oil on canvas - entitled verso, ‘Pears and Cherries’ on Martin Tinney Gallery label, dated verso 2002, 32 x 40cms

Provenance: private collection Pembrokeshire £400-600

‡ GARETH THOMAS oil - entitled verso, ‘Rain Near Aberdaron’ on Albany Gallery label, signed in full, 36 x 36cms

Provenance: private collection Cheshire £400-600

373

GARETH THOMAS oil on boardentitled verso, ‘White House Near Pernesles-Fontaines’ on Fountain Fine Art Gallery label, signed, 33 x 42cms

Provenance: private collection Rhondda Cynon Taff £400-600

374

‡ GWILYM PRICHARD oil on board - entitled on original retained frame, ‘Ty Newydd-Fferm’, signed verso, 21 x 29cms

Provenance: private collection

Neath-Port Talbot

Comments: later framed, ready to hang, with additional original frame £400-600

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

369 369 371 370 372 374 373 370 372
139
& Co • The
Sale
Rogers Jones
Welsh

375

GWILYM PRICHARD oil on boardlandscape, possibly Greece, entitled verso, ‘Poplars of Keramp…’ on Heals Art Gallery label, signed, 19.5 x 30cms

Provenance: private collection

Neath-Port Talbot £400-600

with initials, 40 x 30cms

Provenance: private collection Cardiff £400-700

376

GWILYM PRICHARD oil on canvasentitled verso, ‘Ffestiniog’ on Martin Tinney Gallery label, signed with initials and fully verso, dated 2010 verso, 23 x 33cms

Provenance: private collection Cheshire £400-700

377

GWILYM PRICHARD oil on panellandscape with buildings and trees, signed, 19 x 29cms

Provenance: deceased estate Ynys Mon, by descent £400-600

379

IWAN GWYN PARRY oil on canvasentitled verso, ‘Burning Gorse, Melting Snow’ on Martin Tinney Gallery label, signed and dated verso 2006, 61 x 76cms

Provenance: private collection Ceredigion

Comments: unframed canvas, ready to hang £400-600

380

‡ RAYMOND MARTINEZ oil on panelentitled verso, ‘Oil Tanks, Barry Docks’ on Martin Tinney Gallery label, signed, 92 x 61cms

Provenance: private collection Vale of Glamorgan, with original ‘Industrial Wales Exhibition Tag, 1960’ £400-600

381

‡ TOM GERRARD oil on panel - entitled verso, ‘Talwrn, Anglesey’, on Martin Tinney Gallery label, 37 x 52cms

Provenance: private collection Vale of Glamorgan £400-600

377 376 375 378 ‡ GWYN ROBERTS oil on canvasentitled verso, ‘Idwal Slabs’ on Albany Gallery label, signed 378 381 380 379
140
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

382

‡ VIVIENNE WILLIAMS oil on paper - entitled verso, ‘Dark Table with Tulips’, 56 x 76cms

Provenance: private collection Rhondda Cynon Taff £400-600

383

‡ WILL ROBERTS oil on canvasentitled verso, ‘Flower Piece’ on Martin Tinney Gallery label, signed, 60 x 50cms

Provenance: private collection Vale of Glamorgan £400-600

384

‡ THOMAS RATHMELL oil on canvas - entitled verso ‘The Garden Portrait’, signed, dated verso ‘72, 47 x 57cms

Provenance: acquired directly form the artist, private collection Cardiff Auctioneer’s Notes: the subject is the artist’s daughter, Elizabeth (Betty), and first wife of musician Ian Dury £450-650

385

CHRISTOPHER WILLIAMS RBA oil on panel - entitled verso, ‘Welsh Landscape’ on Martin Tinney Gallery label, signed and dated 1913, 29 x 37cms

Provenance: private collection Vale of Glamorgan £500-700

386

‡ GWYN ROBERTS oil on canvas - entitled verso, ‘Golau ar Fae Ceredigion’ (Light over Ceredigion Bay) on Fountain Arts Gallery label, signed, 61 x 76cms

Provenance: private collection Cardiff £500-700

Provenance: private collection Denbighshire

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

383 382 387 ‡ MATTHEW SNOWDEN acrylic on panel - coastal cliffs, signed, 46 x 61cms £500-700 387 386 385
141
384 Rogers Jones & Co • The Welsh Sale

388

‡ MEIRION GINSBERG oil on canvas - entitled verso, ‘Topless Self Portrait’ on Martin Tinney Gallery label, signed and dated 2010 verso, 51 x 40cms

Provenance: private collection Bridgend £500-800

389

‡ ROBERT DAWSON oil on board - village scene with white cottages, signed with initials, 48 x 60cms

Provenance: private collection Cheshire £500-700

‡ VIVIENNE LUXTON oil on board - entitled verso, ‘Long Shadows, Tenby’ on Albany Gallery label, signed and dated ‘11, 50 x 59cms

Provenance: private collection Cheshire £500-800

390

‡ TOM GERRARD oil on board - entitled verso, ‘Bryniau Bodafon, Anglesey’, signed, 30 x 60cms

Provenance: private collection Cardiff £500-800

‡ WILF ROBERTS acrylic on paper - Ynys Mon (Anglesey) landscape with rooftops and Parys Mountain beyond, signed and dated 1997, 19 x 27cms

Provenance: private collection £500-700

‡ WILLIAM BROWN oil on canvasentitled verso, ‘Brown Bear Admiring Venus of Blaengwynfi’, signed and dated 1998 verso, 48 x 102cms

Provenance: private collection Herefordshire, purchased by the vendor from the artist’s widow, copy of receipt

Comments: unframed canvas, ready to hang £500-600

388 389 391 392 393 393 392 391
142
390
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

394

‡ ANEURIN JONES oil on paperstanding farmer, with message verso, ‘Dymuniadau Gorau’, signed, 32 x 25cms

Provenance: private collection

Ceredigion

Comments: sl. localised lifting to paper

£600-800

395

‡ DAVID GROSVENOR oil on canvas - entitled verso, ‘Clogwyn y Barcut, Drws-y-Coed’ on Ffin y Parc Gallery label, signed, 79 x 79cms

Provenance: private collection

Denbighshire

£600-800

396

‡ EDWIN FORREST oil on board - entitled verso, ‘The Landing, Ellesmere’, signed, 53 x 71cms

Provenance: private collection Powys £600-800

397

‡ GARETH PARRY oil on canvasentitled verso ‘Tri Cymydog, Ar Foncyn / Three Friends on a Hillside’, signed, 49 x 59cms

Provenance: private collection Gwynedd

£600-900

398

‡ GWYN ROBERTS oil on canvasentitled verso, ‘Tryfan a Llyn Ogwen’ on Albany Gallery label, signed with initials and fully verso, 59 x 42cms

Provenance: private collection Cheshire

£600-1,000

399

‡ JOHN ELWYN oil on canvaslandscape with lane and buildings, signed and dated verso 1989, 39 x 50cms

Provenance: artist’s estate and then private collection Ceredigion £600-800

395 394 398 397 396
143
399 Rogers Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

‡ WILL ROBERTS

- entitled verso, ‘Maentwrog, N.Wales’, signed, dated verso 1977, 24 x 29cms

Provenance: private collection Swansea £600-800

Provenance: private collection Bridgend £600-800

400

‡ KEITH BOWEN oil on canvas - entitled verso, ‘Whistling the Dogs’, signed, dated verso 2003, 18 x 24cms

Provenance: private collection Cheshire £600-1,000

401

‡ MARTIN LLEWELLYN oil on canvas - entitled verso, ‘Cottage, Garn Fawr’ on Fountain Fine Art label, signed with initials, 59 x 59cms

Provenance: private collection Swansea £600-800

402

‡ MATTHEW SNOWDEN acrylic on canvasentitled verso, ‘Afon Ogwen, Cwm Idwal’, signed, 99 x 69cms

Provenance: private collection Denbighshire £600-1,000

CHRISTOPHER WILLIAMS RBA oil on panel - entitled verso, ‘Bussana Vecchia’, signed, 39 x 31cms

Provenance: private collection London £700-1,000

402 401 400 403 ‡ NICK HOLLY oil on canvas laid on board - football supporters outside the players entrance at Swansea City’s stadium, signed, 28 x 28cms 404 oil on canvas 405 405 404
144
403
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

406

‡ IFOR PRITCHARD oil on canvas - quarrymen tipping a wagon, signed, 60 x 45cms

Provenance: private collection Gwynedd £700-1,000

407

‡ JOHN ELWYN acrylic on paper - entitled verso, ‘Dyfed Farm III’, signed, dated verso 1984, 27 x 36cms

Provenance: private collection Ceredigion £700-1,000

408

‡ MEIRION GINSBERG oil on canvas - entitled verso, ‘Camera Kid’ on Oriel Tegfryn Gallery label, signed and dated verso 2012, 59.5 x 50cms

Provenance: private collection Vale of Glamorgan £700-1,000

409

‡ MEIRION GINSBERG oil on canvas - entitled verso, ‘Old Couple’ on Martin Tinney Gallery label, signed and dated verso 2013, 49.5 x 39.5cms

Provenance: private collection Vale of Glamorgan £700-1,000

410

‡ WYNNE JENKINS oil on canvas - entitled verso ‘Bwthyn Traeth’, signed verso, 24 x 30cms

Provenance: private collection Cheshire £700-1,000

406 409 408 410
145
Jones & Co • The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
407
Rogers

Provenance: private collection Derbyshire

411

‡ GWYN ROBERTS oil on canvas - entitled verso, ‘Crib Goch, Crib y Ddysgl a’r Wyddfa / Snowdon’ on Albany Gallery label, signed with initials, 119 x 119cms

Provenance: private collection Cheshire £800-1,400

412

‡ HYWEL HARRIES oil on board - fishing boats in ‘the gap’ near Aberystwyth harbour, signed and dated ‘68, 32 x 46cms

Provenance: wedding gift 1960s, same family ownership since £800-1,200

413

‡ RAY HOWARD JONES oil on canvas - abstract with bird, horse and figure in the foreground, signed and dated ‘55, 49.5 x 75cms

Provenance: private collection Powys £800-1,200

414

‡ WYNNE JENKINS oil on canvasentitled verso, ‘Beach House, Abereiddy’, signed verso, 39 x 50cms

Provenance: private collection Powys £800-1,200

Provenance: private collection Ceredigion

Auctioneer’s Notes: Ebbw Victor is regarded as the most successful Welsh Cob Section D stallion of all time, it is believed that a staggeringly high proportion of Royal Welsh Showfeatured cobs have been sired by Ebbw. A legend in Welsh Cob circles! £1,000-1,500

414 413 412 411 415 ‡ ANEURIN JONES oil on board - elderly farmer with stick, signed, 50 x 40cms £1,000-1,500 416 ‡ ANEURIN JONES oil on board - standing Welsh cob, inscribed verso, ‘Ebbw’, signed, 55 x 70cms 416
415 146
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

418

EDWIN

- entitled

‘Welsh

and dated 1871, 39 x 59

Provenance: private collection Ceredigion, with Rogers Jones 26/04/08 Lot 259

Comments: heavy ornate frame, good overall, ready to hang £1,000-1,500

420

NYC’, signed, dated verso 2007, 100 x 70cms

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

Near Nazareth’, (sic), signed, 50 x 75cms

Provenance: private collection Ceredigion

Comments: may benefit from light clean £1,000-1,500

69 x 43cms

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

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

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

50 x 60cms

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

422 421 420 419 418 417 419 ‡ NICK HOLLY oil on canvasentitled verso, ‘Steeplechase Pier, Coney Island, ‡ SALLY MOORE oil on panel - entitled verso, ‘Baptism’, signed and dated verso 2002, 421 ‡ SALLY MOORE oil on panelentitled verso, ‘Globe Trotter’ on Martin Tinney Gallery label, signed and dated verso 2009, 26 x 32cms 422 ‡ WYNNE JENKINS oil on canvas - entitled verso, ‘Aberdyfi’, signed verso, 417 BENJAMIN WILLIAMS LEADER RA oil on board - ‘Llyn Llydaw’, signed FORREST oil on board verso, Hill Farm
147
& Co • The Welsh Sale
Rogers Jones

on canvas - entitled verso, ‘Cnicht’ on Attic Gallery label, signed, dated verso ‘92, 44 x 53cms

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

423

‡ JACK JONES oil on board - figures in street with The Flint Mill establishment and Parry Jones Wholesale Grocer, signed and dated, 27 x 33.5cms

Provenance: purchased by the vendor’s family at the ‘Exhibition of Paintings by Jack Jones’ held at the Swansea Arts Workshop from 31st August to 16th September 1977 for £50, photocopy of exhibition details available, one family ownership £1,200-1,800

424

‡ ANEURIN JONES oil on board - two female cockle pickers with a donkey in the background, signed verso, 62 x 52cms

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

425

‡ GWILYM PRICHARD oil on boardentitled verso, ‘Twigs by a Window’, signed, 90 x 42cms

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

IFOR PRITCHARD oil on canvas - portrait of a Dinorwic slate splitter known in Welsh as a ‘holltwr’, signed, 59 x 35cms

Provenance: private collection Cheshire

Auctioneer’s Notes: remembering the song ‘Y Chwarelwr’ (The Quarryman), sung by Leah Owen (1953-2024) who died earlier this year, Leah Owen was a highly influential figure in Welsh music, was awarded the Sir T.H. Parry Williams Medal at the National Eisteddfod in 2010, a Lifetime Achievement Award at the Denbighshire Community Awards ceremony in 2023, and an honorary Doctor of Music from Bangor University for her contribution to Welsh and Welsh culture, music and arts £1,500-2,500

Y Chwarelwr (lyrics by Lisi Jones) 1974 Llechen yn tincial sydd falm i’r galon Yn aur gloch ar ei glyw; A diau dan hud y dewin Ei allu i drin y gyllell Yn rhoi ansawadd i’r Prinsis

A’r Cowntis a’r Dytsis yn datsain Yna’i dasg fesul mwrw eu dwyn I’r cei megis saffir coeth

423 426 GWILYM PRICHARD oil 427 427 426 425
148
424
See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co
*

Provenance: purchased by the vendor’s family at the ‘Exhibition of Paintings by Jack Jones’ held at the Swansea Arts Workshop from 31st August to 16th September 1977 for £50, photocopy of exhibition details available, one family ownership £1,500-2,500

Provenance:

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

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

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

All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

428 ‡ JACK JONES oil on canvas - ‘St Ioan’s, Morriston’, figures and dog outside church, bill boards with one reading ‘Croeso Y Gymri’ (sic), beyond the Powell Arms and other Swansea establishments, signed and dated, 29 x 39.5cms 429 ‡ KEITH BOWEN oil on board - shepherd in winter landscape, 50 x 74cms private collection Cheshire £1,500-2,500 428 429 432 431 430 430 ‡ NICHOLAS EVANS oil on board - miner and pit pony, signed and dated 1973, 98 x 75cms 431 ‡ NICK HOLLY large oil on canvas - entitled verso, ‘Talacre Lighthouse, Prestatyn, Flintshire’ on Albany Gallery label, signed, 100 x 100cms 432 ‡ SALLY MOORE oil on panelentitled verso, ‘Portrait’ on Martin Tinney Gallery label, signed and dated verso 1993, 35 x 20.5cms
149
Rogers Jones & Co • The Welsh Sale

434

‡ WILF ROBERTS oil on board - entitled verso, ‘Tan y Graig’, signed and dated 2014, 30 x 40cms

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

Provenance: private collection Ceredigion £1,800-2,500

435

‡ CARL MELEGARI oil on canvasentitled verso, ‘Miner 1’ on Kooywood Gallery label, 46 x 35cms

Provenance: private collection Cardiff £2,000-3,000

436

ERNEST ZOBOLE large oil on canvas - entitled verso, ‘Street Incident No.3’, signed and dated verso August ‘86, 127 x 122cms

Provenance: artist’s estate

Comments: framed canvas, ready to hang £2,000-4,000

437

ERNEST ZOBOLE

monumental oil on canvas - entitled verso, ‘Looking Out’, signed and dated verso Nov/Dec 1986, 116 x 167cms

Provenance: artist’s estate

Comments: unframed canvas £2,000-4,000

434 433 436 435 437 433 ‡ WILL ROBERTS oil on board - farmstead, 36 x 43cms
150
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

438

‡ GWILYM PRICHARD large oil on canvaslandscape possibly Pyrenees mountains with glacier, entitled verso, ‘Y Cwm Eira’, on Martin Tinney Gallery label, signed, dated 2007 verso, 72 x 144cms

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

439

NEALE HOWELLS mixed media on wood - entitled, ‘Let Me Tell You What I Ain’t’, signed and dated verso 2010, 229 x 122cms

Comments: in two sections, ready to hang £2,000-4,000

440

NEALE HOWELLS mixed media on wood - entitled, ‘The Album Club’, signed and dated verso 2010, 229 x 122cms

Comments: in two sections, ready to hang £2,000-4,000

438
151
440 439
Rogers Jones & Co The Welsh Sale All pictures framed / framed and glazed, ready to hang unless stated. Please see our website for further details. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

441

‡ WILL ROBERTS oil on canvas - entitled verso, ‘The Mower’, signed, 49 x 59cms

Provenance: private collection Bridgend £2,000-2,500

442

‡ ERNEST ZOBOLE oil on panel - entitled verso, ‘In The Valley No.5’, inscribed verso, circa 1962, 183 x 122cms

Provenance: private collection Vale of Glamorgan £2,500-3,500

443

HYWEL HARRIES oil on boardsunset over Borth, Ceredigion, with two beachcombers, circa 1970s, signed, 51 x 70cms

Provenance: private collection Ceredigion Comments: original frame, ready to hang £2,500-3,500

444

WILF ROBERTS

on

- entitled verso, ‘Pentre Pella’, signed and dated 1999, 55 x 121cms

Provenance: private collection Cheshire £2,500-3,500

443 442 441 oil canvas
152
444
& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The
Welsh Sale • Rogers Jones

445

‡ WILF ROBERTS oil on panelentitled verso, ‘Tan-y-Castell and Cowshed’ on Kooywood Gallery label, signed and dated 2010, 39.5 x 28cms

Provenance: private collection Cardiff £2,500-3,500

446

‡ KEVIN SINNOTT oil on canvas - entitled verso, ‘A Kind of Deposition’ on Fountain Fine Art Gallery label, signed with initials, 54 x 70cms

Provenance: private collection Rhondda Cynon Taff £3,000-4,000

1998, 85 x 104cms

Provenance: private collection Cardiff £4,000-6,000

Provenance: private collection Cardiff £5,000-7,000

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only). ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).

448 447 447 ‡ SALLY MOORE oil on board - entitled verso, ‘The Franklin’s Tale’ on Martin Tinney Gallery label and additional label for exhibition at Pontypridd Polytechnic ‘88, signed and dated verso 448 ‡ SALLY MOORE oil on board - entitled verso, ‘Another Party’ on Martin Tinney Gallery label, signed and dated verso 1992, 95 x 80cms 445
153
446 Rogers Jones & Co • The Welsh Sale

449

‡ CHARLES BURTON large oil on canvas - entitled verso, ‘Red Fruits’ on Martin Tinney Gallery label, dated verso 2003, 121 x 150cms

Provenance: private collection Cardiff £6,000-8,000

450

‡ KEVIN SINNOTT oil on linen - entitled verso, ‘The Pioneers’ on Martin Tinney Gallery label, signed with initials, dated verso 2000, 176 x 142cms

Provenance: private collection Vale of Glamorgan £7,000-10,000

450
154
449
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The Welsh Sale • Rogers Jones & Co

451

‡ DONALD MCINTYRE acrylic - upland farm in winter with figure, signed, 56 x 79cms

Provenance: private collection Conwy £6,000-7,000

452

‡ DONALD MCINTYRE oil on canvas - entitled verso, ‘Sea Iona II’ on Tib Lane Gallery label, signed with initials, 34 x 44cms

Provenance: private collection Rhondda-Cynon-Taff £2,000-3,000

453

‡ DONALD MCINTYRE acrylic - entitled verso, ‘Storm, Port Eynon No.2’ on Thackeray Gallery label, signed, 40 x 82cms

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

454

‡ DONALD MCINTYRE acrylic on board - entitled verso, ‘Low Tide’ signed with initials, 18 x 25cms

Provenance: private collection South Yorkshire £1,500-2,500

454 453 452 451
155 FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction benefit from a complimentary delivery option for their purchases (England & Wales only). ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers Jones & Co • The Welsh Sale

455

‡ JONAH JONES sandstone sculpture - two tackling rugby players, entitled ‘Full Back’, 51cms in length

Provenance: collection of John Willcox, former England and British Lion rugby player, North Yorkshire, sculpture was presented to the him at Ratcliffe College

Auctioneer’s Notes: it is rare for Jonah Jones’ sculptures to appear on the market, see similar at Glynn Vivian Gallery Swansea, titled ‘Jacob and the Angel’, a sculpture influenced by German expressionist Ernst Barlach (1870-1938)

Comments: restoration to leg £300-400

456

‡ DAVID WILLIAMS-ELLIS limited edition (12/25) bronze maquettes - portrait of a seated Sir Kyffin Williams RA (1918-2006) sketching, signed with initials, dated 2012 and numbered 12, 27cms h

Provenance: private collection

Auctioneer’s Notes: the large full-size bronze version is exhibited in the grounds of Oriel Ynys Mon (Anglesey), and was funded by the sale of the twenty-five maquettes in 2012 £300-400

456
156
455
* See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
The
Welsh Sale • Rogers Jones & Co

Selections / Dewisiadau

2.00pm 30.04.24

Selections / Dewisiadau

2.00pm 30.04.24

Coins, Watches and Jewellery – Lots 500-549

ROYAL MINT THE 100TH ANNIVERSARY OF THE ENTENTE CORDIALE 1904 GOLD SET, L imited Edition (98/600), comprising Edward VII 1904 gold sovereign and a 1904 French 20 Francs coin, in capsules with certificate of authenticity booklet and original box

Provenance: deceased estate Cardiff

Comments: very good overall, light wear to box £400-600

ROYAL MINT THE SOVEREIGN 2015 THREE-COIN GOLD PROOF SET, Limited Edition (103/1000), comprising sovereign, half-sovereign and quarter-sovereign, in capsules with certificate of authenticity, booklet, original box, outer box and sleeve

Provenance: deceased estate Cardiff

Comments: very good overall £800-1,200

Provenance: deceased estate Cardiff

Comments: wear commensurate with age overall, see close up images £400-500

THE EAST INDIA COMPANY ‘THE EMPIRE COLLECTION’ GOLD COIN SET, comprising nine gold proof £2 coins, each weighing 8gms, dated 2019, Limited Edition (17/100), in presentation box with booklet and outer box

Provenance: private collection Ceredigion

Comments: very good overall £1,500-2,500

500 501 502 GEORGE III GOLD ‘SPADE’ GUINEA, 1790, fifth laureate head right, 7.9gms, in capsule 503 503 502 501
160 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
500

Provenance: deceased estate Cardiff

Comments: very good overall £800-1,200

Provenance: deceased estate Cardiff

Comments: wear commensurate with age overall, see close up images £400-600

Provenance: deceased estate Cardiff

Comments: very good overall £800-1,200

£100, £50, £25 and £10 coins, in capsules with certificate of authenticity and original box

Provenance: deceased estate Cardiff

Comments: very good overall, wear to box, clasp not catching £2,000-3,000

504 GEORGE III GOLD ‘SPADE’ GUINEA, 1794, fifth laureate head right, 8.4gms, in capsule and box 505 ROYAL MINT THE SOVEREIGN 2017 THREE-COIN GOLD PROOF SET, Limited Edition (542/1000), comprising sovereign, half-sovereign and quartersovereign, in capsules with certificate of authenticity, booklet, original box, outer box and sleeve box 506 ROYAL MINT 1994 GOLD PROOF BRITANNIA COLLECTION, Limited Edition (120/500), comprising 507 ROYAL MINT THE SOVEREIGN 2016 THREE-COIN GOLD PROOF SET, Limited Edition (275/750), comprising sovereign, half-sovereign and quarter-sovereign, in capsules with certificate of authenticity, booklet, original box, outer box and sleeve 507 506 505
161
504 Rogers Jones & Co • Selections

508

509

ROYAL MINT 1980 FOUR COIN GOLD PROOF SET, comprising encapsulated £5, £2, Sovereign and half Sovereign in original case with COA, and original shipping cardboard box

Provenance: private collection Gwynedd

Comments: excellent £2,000-3,000

511

508 GROUP OF COLLECTABLE GOLD COINS comprising an Islamic Abbasid gold dinar, 4.0gms, Conrad III 1 Goldgulden, bishop with crozier, star to right, 3.4gms, Republic of Venice 1 Zecchino gold coin, 3.4gms, drilled Mahmud II Ottoman gold coin, 0.6gms (4)

Provenance: deceased estate Cardiff

Comments: viewing recommended £600-1,000

509

510

VICTORIAN GOLD £2 (DOUBLE SOVEREIGN), 1887, Jubilee head, 16.0gms, in square capsule and box

Provenance: deceased estate Cardiff

Comments: very good overall £600-800

14CT GOLD AMERICAN FULL HUNTER POCKET WATCH, top wind, stepped Roman & Arabic white enamel dial signed ‘Marshall Field & Co. Chicago’, subsidiary seconds, cuvette engraved ‘Evan Jones’, 3/4 plate 15J lever movement numbered 1309768, stamped ‘Safety Pionion’, chased shoulders and engine turned case, 50mm diam

Provenance: by descent, private collection Cardiff, Evan Jones who’s name appears on the back of the watch was the vendor’s father’s grandfather’s brother who emigrated from Bryncrug, Gwynedd to Chicago, Illinois. Evan Jones worked in the ribbon department at Marshall Field and Company, commonly known as Marshall Field’s, an upscale department store in Chicago. Founded in the 19th century, it grew to become a large chain before Macy’s, Inc. acquired the company in 2005. Evan Jones was given the pocket watch on his retirement from the company after which he returned to Wales to live Comments: dial cracked and missing glass £400-600

510
162 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
511

512

VICTORIAN 18CT GOLD CHRONOGRAPH POCKET WATCH, 1882, 2-part enamel dial signed ‘Chas. Keene, Birmingham’, Roman hours and Arabic minutes, outer 1/5th sec. track, centre seconds, caseback with hallmarks and numbered 82520, 3/4 plate jewelled movement with matching number, case maker AW FT, London hallmarks, 52mm diam., 133.9gms

Provenance: private collection Cardiff

Comments: ticks when wound, stop/start slide not working, not tested for accuracy

£1,000-1,500

512

513

MID-18TH C. GOLD PAIR CASED WATCH, C harles Cabrier, London 1750, with white enamel dial, black Roman numerals and Arabic numeral minute markers, blued beetle and poker hands, pierced scrolled balance bridge with fancy pillars and serpent, diamond end stone, movement signed ‘C. Cabrier, London, 5358’, outer case embossed with classical figures in an interior, within rocaille borders, case maker WB, matching number and hallmarks, 50cms diam

Provenance: private collection North Wales

Comments: outer case unmarked, not working at present, later bulls eye glass, dial cracked, slight corrosion to hands

£1,000-2,000

514

18CT GOLD

CHRONOGRAPH OPEN FACE POCKET WATCH, stepped white enamel dial with Roman numerals, the movement signed Josh Critchley, 16 St John’s Lane, Liverpool, 125.7gms, together with yellow metal propelling pencil (2)

Provenance: private collection Gwynedd

Comments: glass loose, loop missing, seconds hand tip bent, wear overall to both pieces £500-800

514

515

515

TWO 18CT GOLD POCKET WATCHES, the larger by Adam Burdess, Coventry, London 1879, with foliate engraved gold dial with black Roman numerals and unusual subsidiary seconds dial, blued steel hands, signed key wind lever movement numbered 12***, foliate engraved case, 39mm diam. 50.6gms, in J.W. Benson velvet and silk line purple leather case., the smaller a Swiss top wind fob watch, London import marks for 1912, also with subsidiary seconds dial, 30mm diam., 30.9gms (2)

Provenance: private collection Newport

Comments: first-dial numerals slight worn, dial with minor surface scratches, does not wind; secondscratched glass, minor scratches to dial, ticks when wound £400-600

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& Co • Selections
Rogers Jones

516

18CT GOLD J.W. BENSON HALF HUNTER POCKET WATCH, signed white enamel Roman dial with subsidiary seconds, blued steel hands, signed Swiss 15J lever movement stamped 938a, in Dennison case hallmarked for Birmingham 1927, 49mm diam., gross wt 105g

Provenance: private collection Cardiff

Comments: back with minor dings, cover with minor scratches, dial good, blue enamel numerals good, ticks when wound, hands adjust as normal £1,200-1,800

518

517

18CT GOLD WALTHAM FULL HUNTER POCKET WATCH, the white enamel dial signed ‘Waltham U.S.A. Colonial’, Arabic numerals, subsidiary seconds dial, side wind, 18ct gold cuvette, with 18ct gold bi-colour Albert chain with T-bar and yellow metal circular attachment, 104.1gms gross

Provenance: private collection Gwynedd

Comments: good overall condition, light wear overall, ticking, not tested long term £1,000-1,500

18K GOLD GENT’S OMEGA ‘CONSTELLATION’ WRISTWATCH, ref. 1061, cal. 712 automatic 24J movement, serial no. 23652xxx, circa 1966, gold dial with applied baton markers, minute markers and sweep centre seconds, signed screwdown case with logo, aftermarket calf strap, 33mm. diam

Provenance: private collection Swansea

Comments: minor surface scratches to case and glass, ticks when wound, not tested for accuracy, strap creased and worn. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained £600-800

519

SANTOS DE CARTIER LADIES’ YELLOW GOLD & STAINLESS STEEL AUTOMATIC BRACELET WATCH, Ref: 0907, slate grey dial with gilt hands and centre seconds, signed to case back ‘Cartier Automatique’, sapphire crown, 23mm case, stainless steel and gold screw tapering bracelet signed ‘Cartier’, original box, receipt and International Guarantee Certificate booklet, International Service booklet, repair invoice

Provenance: private collection Pembrokeshire

Comments: good overall, light wear commensurate with age, rare grey dial, ticking not tested long term, guarantee dated 10/10/84, viewing recommended £400-600

519 518 517
164
• Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
516
Selections

520

18CT GOLD ROLEX LADIES’ ‘ORCHID’ BRACELET WATCH, ref. 9876, case no. 6***0, Swiss 17J manual wind movement, silvered dial with baton hours and spade hands, facet rim glass, triangular section woven mesh bracelet, deployant clasp, case, movement, dial and clasp all signed, stamped ‘750’, 15mm diam., 34g

Provenance: private collection Cardiff

Comments: excellent £600-800

521 SILVER GILT MUST DE CARTIER LADIES’ ‘TANK’ WRISTWATCH, stepped cream dial with Arabic numerals, signed to case back ‘Cartier Paris Vermeil Tank Quartz Argent 925’, sapphire crown, 23mm case, leather strap with Cartier buckle, original receipt and International Guarantee Certificate booklet

Provenance: private collection Pembrokeshire

Comments: good overall, light wear commensurate with age, not tested long term, original reciept from Ernest Jones dated 25/9/93, viewing recommended £300-500

522

18k GOLD PATEK PHILIPPE FOR TIFFANY & CO LADIES’ BRACELET WATCH, the signed small circular dial with hour baton markers, inside back cover signed and numbered 2642196 3266, signed movement numbered 987104, integrated 18k gold tapering bracelet, back cover engraved with initials ‘K. D. B’, 40.1gms

Provenance: private collection Caerphilly County Borough

Comments: damage to bracelet, wear overall, viewing recommended £1,000-1,500

523

18K GOLD TIFFANY & CO. LADIES’ ‘ATLAS’ WRISTWATCH, Roman numeral bezel, case back signed, US Patent NOD286.753 23152, Tiffany & Co leather strap, 31mm diam

Provenance: private collection Caerphilly County Borough

Comments: light wear, buckle not signed, no box or paperwork, viewing recommended £400-600

524

18CT GOLD ROLEX LADIES’ ‘PRECISON’ BRACELET WATCH, case no. 1***1, Swiss cal. 1401 18J manual wind movement, silvered dial with baton hours and spade hands, engraved fancy link bracelet, deployant clasp, case, movement, dial and clasp all signed, stamped ‘18’, 15mm diam., 31.4g

Provenance: private collection Cardiff

Comments: excellent £600-800

525

18CT GOLD OMEGA GENEVE GENT’S BRACELET WATCH, the gold colour dial with baton hour markers, signed movement cal 601, integrated hinged and textured 14k gold tapering bracelet, diamond set yellow metal dolphin attachment, 89.5gms, in vintage Omega World Service Organization box

Provenance: private collection Conwy County Borough

Comments: with O’Hare’s insurance valuation dated October 1986, slightly twisted, ticking not tested long term, viewing recommended £1,000-2,000

521 524 523 522 520
165
525
Rogers Jones & Co
Selections

18CT WHITE GOLD ZENITH LADIES’ BRACELET WATCH, diamond bezel, silvered dial with Roman numerals at 3, 6, 9 and 12 o’clock, quartz movement, integrated tapering 18ct white gold bracelet, 45.4gms in box

Provenance: private collection Torfaen

Comments: light wear overall, slightly twisted, viewing recommended £1,000-1,500

Provenance: private collection Gwynedd

Comments: appears in good overall condition, not tested long term, light wear overall £1,000-1,500

YELLOW METAL DOUBLE FLOWER HEAD DIAMOND BROOCH, each flowerhead encrusted with graduated old cut diamonds, the two principal stones measuring 0.5cts each approx., 14.3gms, in vintage Martin & Co of Cheltenham jewellery box

Provenance: private collection Ceredigion

Comments: all stones present, inclusions throughout, diamonds bright and well matched, viewing recommended £600-1,000

OMEGA SPEEDMASTER AUTOMATIC ‘REDUCED’ STAINLESS STEEL WRISTWATCH, signed black dial, luminous baton hour markers, minute track, three subsidiary dials arranged as running seconds at 3, 12-hour totalizer at 6 and 30-minute totalizer at 9, tachymetre bezel, the case back marked Speedmaster, signed stainless steel bracelet numbered 1469 and the end links 811, in box with International Warranty Card, operating booklets

Provenance: private collection Torfaen

Comments: crown missing, wear overall, ticking, not tested long term, box scuffed with losses, viewing recommended £800-1,200

528 526 527 18CT WHITE GOLD BUECHE GIROD LADY’S WRISTWATCH, the circular bezel set with diamonds and sapphires, cobalt blue dial, integrated 18ct white gold tapering textured bracelet, 51.3gms 527 529 526 529
166 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
528

533

530

9CT GOLD DIAMOND TENNIS BRACELET, square panel design, integrated clasp with safety chain, 2.0cts overall approx., 16.8gms

Provenance: private collection Carmarthenshire

Comments: good overall, all stones present £300-500

531

CHERRY RED AMBER BAKELITE GRADUATED BEAD NECKLACE, beads from 30mm to 13mm (w), appr. 102cms (long), 99gms

Provenance: private collection North Wales

Comments: good overall strung on red cord £400-600

532

18CT GOLD TRIPLE ROW WIDE BRACELET, flower head and crescent link, integrated box link clasp, 19cms long, stamped ‘750’, 29.1gms

Provenance: private collection Carmarthenshire

Comments: good overall condition, clasp working well, light wear £700-900

534

18CT GOLD SAPPHIRE & DIAMOND THREE STONE RING, the central oval cut sapphire measuring 2.1cts approx., flanked by two round brilliant cut diamonds measuring 0.7cts overall approx., ring size Q, 3.4gms

Provenance: private collection Gwynedd

Comments: insurance document states - diamond clarity SI, colour H/I, viewing recommended £500-700

18CT GOLD DIAMOND SOLITAIRE RING, the single claw set round brilliant stone measuring 2.2cts approx., ring size O, 4.3gms, in modern ring box

Provenance: family ownership for three generations since the 1950s

Comments: 2023 insurance document states Colour K-L, Clarity SI1, viewing highly recommended £4,500-5,500

534 533 532 531
167
530
Rogers
Jones & Co
Selections

535

WHITE METAL SAPPHIRE & DIAMOND CLUSTER RING, the three vertical sapphires complimented by six old cut diamonds, ring size L 1/2, 3.1gms, in modern ring box

Provenance: private collection Vale of Glamorgan

Comments: white metal believed platinum, inclusions in diamonds £600-800

537

9CT GOLD SNAKE COILED BANGLE, the snake head terminal set with two ruby eyes, 26.3gms

Provenance: private collection Pembrokeshire

Comments: the item has a lightweight steel spring within, light wear overall £300-500

536

SEVEN STONE DIAMOND & 18CT WELSH GOLD HALF HOOP RING, the modern brilliant cut diamonds about 0.35ct each and claw-set in recessed field, 18ct yellow gold setting hallmarked for London 1995 and sponsor AJW, ring size M, overall diamond weight 2.45cts approx., 8.3gms, in scarlet ring box

Provenance: private collection Usk

Comments: colour range G-H-I, clarity range SI1-2, one diamond exhibiting moderate blue fluorescence £2,000-3,000

538

PLATINUM DIAMOND SOLITAIRE RING, the single claw set round brilliant cut diamond measuring 1.45cts approx., ring size N, 3.5gms, in vintage Alca ring box

Provenance: private collection Gwynedd

Comments: insurance valuation states - clarity SI/II, colour I/J, £2,500-3,500

539

OPAL & DIAMOND BAR BROOCH, set with seven oval opals of graduating size divided by twenty-two old mine cut diamonds, in unmarked yellow metal valued as 18ct gold, 5cms long, 5.0gms, in B.Barnett (Holborn) silk & velvet lined green leather case

Provenance: private collection Cardiff

Comments: very good overall £400-600

539 535 536 538
168 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
537

540

18CT WHITE GOLD AQUAMARINE & DIAMOND CLUSTER RING, the central aquamarine measuring 3.3cts approx., surrounded by twenty-four round brilliant cut diamonds measuring 0.05cts each approx., ring size O 1/2, 6.6gms in vintage John Crouch of Queen Street Cardiff ring box

Provenance: private collection Torfaen

Comments: light wear overall, inclusions, viewing recommended £1,000-1,500

541

18TH CENTURY GOLD MOURNING RING, set

with oval cut rock crystal and two rose cut diamond shoulders, the scrolled panel shank engraved and white enamel-filled with inscription: ‘Emblin Mabley OB:8 May 1761 AE:9’, similarly engraved to the inside of the shank: ‘I* Mabley OB:8 June 1764 AE:10’, recording the death of two children, 3.5gms

Provenance: private collection Cardiff

Comments: very small enamel loss, inside shank worn, vacant receptacle beneath crystal £1,000-1,500

543

9CT GOLD TURQUOISE & SEED PEARL BRACELET, of panelled arrow design, 18.5cms long, together with similar 9ct gold turquoise and seed pearl ring, 40.3gms gross in ‘Galerie Jean Renet’ box (2)

Provenance: private collection Torfaen

Comments: light wear overall, clasp working, ring size L, viewing recommended £500-700

544

TIFFANY & CO PLATINUM DIAMOND CROSS PENDANT, set with eleven round brilliant cut diamonds, on platinum chain, 3.5gms in Tiffany box and outer box

Provenance: private collection Caerphilly County Borough

Comments: good overall, diamonds bright and well matched, viewing recommended £400-600

545

542

9CT GOLD DIAMOND ENCRUSTED BRACELET, repeating helix design, 19cms long, 14.5gms in box

Provenance: private collection Torfaen

Comments: stamped ‘3.03’ indicating approx. 3cts of diamonds overall, all stones present, clasp broken £1,000-1,500

18CT GOLD RUBY & DIAMOND BANGLE, of graduating alternate row design, together with pair of yellow metal ruby earrings, 17.0gms gross in box

Provenance: private collection Torfaen

Comments: earrings unmarked, good overall, all stones present, viewing recommended £600-900

544

545 543 542 541 540
169
& Co • Selections
Rogers Jones

546

1982 CHATEAU LÉOVILLE POYFERRÉ, 2ème Cru Classé SaintJulien, 12 x 75cl bottles, OWC (opened)

Provenance: private collection Vale of Glamorgan

Comments: owned by vendors estate three decades plus, laid down within ex-brewery stone-walled storage room, levels min. top shoulder, most base neck, one label with tear £1,000-1,500

548

RARE COLLECTION OF SINGLE CASK MALT WHISKY including, two bottles of 31yo 1972 Macduff Speyside, both from cask no. 2360, distilled 23rd March 1972, consecutive bottle nos. 97 and 98, 46% vol., one bottle of 24yo 1980 Inchgower Speyside, cask no. 14147, distilled 10th December 1980, bottle no. 82, 46% vol, one bottle of 24yo 1980 Glenlivet Speyside, cask no. 13742, distilled 4th August 1980, bottle no. 31, 46% vol., one bottle of 23yo 1981 Highland Park Highland, cask no. 6059, distilled 17th September 1981, bottle no. 191, 46% vol., all independently bottled by Direct Wines Ltd for their First Cask range (5)

Provenance: private collection Vale of Glamorgan

Comments: excellent levels, capsules intact, labels with some foxing but generally very good £500-600

547

1982 CHATEAU LÉOVILLE POYFERRÉ, 2ème Cru Classé SaintJulien, 12 x 75cl bottles, OWC

Provenance: private collection Vale of Glamorgan

Comments: owned by vendors estate three decades plus, laid down within ex-brewery stone walled storage room, sealed case, no signs of damage/losses

£1,000-1,500

549

SUITE OF SAINT-LOUIS ‘THISTLE GOLD’ PATTERN CRYSTAL, comprising decanter and stopper, 39cms (h) four stemmed thistleshaped glasses, 13cms (h) and a water ewer, 30.5cms (h), all with gilt decoration (6)

Provenance: private collection Cardiff

Auctioneer’s Notes: ‘Thistle’ was created at the height of the Art Nouveau movement for the 1908 Nancy exhibition. The thistle is the original inspiration behind this famous pattern and remains to this day one of the most luxurious services of the Maison Saint-Louis

Comments: excellent £500-700

546 547 549
170 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
548

Fine Art and Antiques – Lots 550-595

550

HENRY ENFIELD (1839-1908) monumental oil on canvas - racing yachts in Norwegian Fjord, signed, 98.5 x 209cms

Provenance: private collection Rhondda Cynon Taf

Comments: framed ready to hang £2,000-3,000

551

EDWARD LEAR (1812-1888) ink, pencil and watercolour - Passo di Abetone, Italy, annotated and dated ‘7.30. pm, August 28, 1883’, titled verso on gallery label, 9.5 x 17cms

Provenance: with Colnaghi & Co. Ltd., no. 146, English Exhibition, 1973; private collection North Wales

Comments: a little faded, nicely framed and glazed ready to hang £3,000-4,000

552

ATTRIBUTED TO THOMAS W. BRETLAND (1802-1874) oil on canvas - untitled, portrait of a field master on horseback, unsigned, 70 x 90cms

Provenance: private collection Conwy

Comments: paint shrinkage and minor paint loss lower left and lower right, framed, £300-500

553

CHARLES BESTLAND (act. 1783-1837) oil on metalportrait of a gentleman, seated half length wearing dark blue jacket beside table with letters and large silver trophy cup, signed, painted by C. Bestland in a new permanent manner, 16.5 x 13.3cms

Provenance: private collection Carmarthenshire

Comments: in period frame with minor chips to extremities, perimeter with tiny chips to paint, framed and glazed £400-600

550 551 552 553
171
‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers
Jones & Co • Selections

554

‡ RICHARD JACK RA RI RP (1866-1952)

oil on canvas - untitled, portrait of a gentleman in dark suit and tie, possibly a war veteran, signed, 45 x 35cms

Provenance: private collection Conwy

Auctioneer’s Notes: Richard Jack was Canada’s first official war artist. Born in Sunderland, England in 1866, the British subject studied at the Academie Julien in Paris, France, before he was hired by Canada to become their first war artist in 1916

Comments:

craquelure and paint flaking, framed, ready to hang

£300-500

555

JOHN HALL THORPE (1874-1947) woodcut - The Country Bunch, wildflowers in a blue vase, a window reflected in the glaze, signed, 75 x 62cms

Provenance: consigned from Cardiff

Comments: framed and glazed, not examined out the frame, frame amateurly sealed with tape verso £400-500

556

‡ LUIGI KASIMIR (Austro-Hungarian 1881-1962) aquatint etching - ‘Brooklyn Bridge’ circa 1927, tug boats in the East River, Brooklyn Bridge in the centre, silhouette of Lower Manhattan in the background, signed in pencil, lower centre, open edition, gallery label verso J. Assenheim & Son, 37 New Street, New York, inscribed in ink ‘Original Proof Etching NY Skyline + Brooklyn Bridge’, (pl.) 29.5 x 43cms

Provenance: private collection Vale of Glamorgan

Comments: foxing to mount, small spots of foxing to the river, lower right, framed, glazed, ready to hang £500-600

557

‡ MARCEL DYF (French, 1899-1985) oil on canvas - entitled verso, ‘Dahlias et Cosmos’, signed, dated verso 1967, 53 x 44.5cms

Provenance: private collection Flintshire

Comments: framed with name plaque £3,000-5,000

556 555 554
172 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
557

558

ERIC GILL (1882-1940) pencil - sketch for The Midland Hotel mural, Morecambe Bay, 1932, inscribed lower left circle inside 8’.3’’ approx. & outside 9’.4’’, and lower right Wall light brown, colours Red Blue Green Black, band: blue (mostly), 19cms (diam.), together with 2008 Midland Hotel commemorative plate and book by Barry Guise and Pam Brook (3)

Provenance: Phillips Auctioneers, London; Wolseley Fine Arts Ltd.; Victoria Art Gallery, Bath, Eric Gill Prints & Drawings Exhibition 2003; Velma Reed, thence by descent Auctioneer’s Notes: Gill received a commission from Oliver Hill to provide a carved relief for the new hotel he was designing at Morecambe Bay and to paint a mural on the ceiling of the staircase well. The theme of the mural is Christ the King with two female attendants. The size of the mural is specified lower left and the colour scheme lower right. Drawing published in ‘The Midland Hotel: Morecambe’s White Hope’, 2007, p. 66

Comments: framed and ready to hang £500-700

559

ALBERT IRVIN (1922-2015) limited edition (81/90) screenprint - ‘Montcada I’, dated ‘93, signed, dated and titled in pencil, blind stamp Advanced Graphics London, (i) 86 x 70cms

Provenance: private collection Cardiff

Comments: framed, glazed, ready to hang, CCA Galleries label verso £300-500

560

ALBERT IRVIN (1922-2015) - limited edition screenprint (27/90), ‘Copperas’, dated ‘91, signed, dated and titled in pencil, blind stamp Advanced Graphics London (i) 88 x 120cms

Provenance: private collection Cardiff

Comments: framed, glazed, ready to hang, CCA Galleries label verso £500-700

561

‡ ALBERT IRVIN (1922-2015) limited edition (51/90), screenprint - ‘Montcada II’, dated ‘93, signed, dated and titled in pencil, blind stamp Advanced Graphics London, (i) 86 x 70cms

Provenance: private collection Cardiff

Comments: framed, glazed, ready to hang £300-500

‡ CHRIS ORR RA (b.1943) limited edition (20/25) triptych etching - entitled, ‘Bones’, signed in pencil and dated 1989, 56 x 72cms

Provenance: private collection Powys

Comments, framed and glazed, ready to hang £200-400

563

‡ PETER HAYES (b. 1946), resin and rakuBlue Wave, wall plaque, 74 x 74cms

Provenance: private collection Cardiff

Comments: good overall, mounts lacking £400-600

561 559 560 562 563 562
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& Co • Selections ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
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564

‡ ROY TURNER DURRANT (1925-1998) mixed media - entitled, ‘Lovers, Swanwall’, signed and dated 18.7.71 in pencil, 34 x 44cms

Provenance: deceased estate Gwynedd

Comments: paper folded twice, framed and glazed £400-600

565

‡ SIR JACOB EPSTEIN (1880-1959) pencil and pink wash - nude female, signed, 33 x 21cms

Provenance: deceased estate Denbighshire

Comments: brown staining to paper £500-700

566

‡ DAVID TINDLE RA (b. 1932) oil on board - ‘The Thames at Rotherhithe’, signed, dated ‘59, 59 x 59cms

Provenance: private collection Cardiff, presented to the vendor as a retirement gift in 1958, purchased from Howard Roberts Gallery, Cardiff (vendor supplied information)

Comments: framed, ready to hang, mount foxed, gilt frame with minor chips/loss £600-800

567

‡ MARTIN LANYON (b.1954) gouache and collage - entitled verso, ‘Still Life Forming’, signed and dated ‘92, 19.5 x 28cms

Provenance: deceased estate Gwynedd

Comments: framed and glazed, ready to hang £600-800

568

‡ PETER JOYCE (b.1964) oil on canvasentitled verso, ‘Action Farmlands’, signed and dated 1992 verso, 102 x 134cms

Provenance: deceased estate Gwynedd

Comments: ready to hang £1,000-1,500

567 564 565 566
174
& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
568
Selections
Rogers Jones

Provenance: with the Scottish Gallery (Edinburgh), exhibited 2-8 April 2021, private collection North Wales

Comments: float mounted on deckle edge paper, framed, glazed ready to hang £1,500-2,500

Provenance: private collection Cardiff

Comments: framed, glazed, ready to hang £2,000-3,000

Provenance: private collection Cardiff

Comments: framed, glazed, ready to hang £3,000-4,000

569 ‡ BARBARA RAE CBE RA RSA RSW (Scottish, b. 1943) mixed media on paperAnasazi Angel, signed, titled and numbers PD3/14 00 verso, gallery label verso, 28 x 38cms 571 570 569 570 ‡ DIANA ARMFIELD RA RWA MSIA (b. 1920) oil on board‘Nasturtiums and Campanula at Llwynhir’, signed with initial bottom left, Brown & Derby Gallery label verso, 29 x 20cms 571 ‡ DIANA ARMFIELD RA RWA MSIA (b.1920) oil on board - ‘Flowers in the Victorian Goblet’, signed with initial lower left, The Mall Galleries NEAC exhibition label verso, 29 x 25cms
175
• Selections ‡ Artist’s
Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers Jones & Co
Resale

572

‡ KIT WILLIAMS (b. 1946) oil on canvas laid on panel - ‘Madonna of the Snails’, signed with monogram and dated ‘91, 182 x 58cms

Provenance: deceased estate Ynys Mon (Anglesey), with Portal Gallery, London and Bonhams, to accompany a photograph of the model with the finished picture, ‘Preview’ numbered ‘9/25’, by the same hand

Comments: framed £5,000-8,000

Comments: card reads, ‘Oh where Oh where can Gyp and Barney be? We had been on a lovely walk that afternoon with the dogs romping along and enjoying themselves, but when we got near home they were not with us. We had our tea and still they did not come, so Aunt Mary lit the storm lantern and took George and me with her to see if we could find them. She asked some boys playing in Dove Street, if they had seen two little black dogs, “No Missus we haven’t” they said, so sadly we had to return home without them and the year was 1906. Helen Layfield Bradley’.

‡ THEODORE MAJOR (1908-1999), oil on board - Storm at Farm, landscape with farm buildings and figures sheltering from the rain under a tree, 30 x 36cms; together with a copy of ‘Theodore Major: His Life & Works’ by May Gaskell, dedicated to his sister Marion and signed by the artist; Greetings card inscribed ‘Love to Marion from Kathleen & Theo’ with small painting by the artist of crocuses above birthday dedication; Turnpike Gallery 1979 exhibition leaflet

Provenance: gifted to vendor’s aunt from Theo Major’s younger sister, Marion (greetings card confirms); private collection North Wales

Comments: good, ready to hang £4,500-5,500

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& Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
Selections
Rogers Jones

574

‡ HELEN BRADLEY MBE (1900-1979) oil on board - ‘Oh where. Oh where can Gyp and Barney be!’, lady with a lantern and children at play, inscribed on card verso detailing the 1906 occasion when Helen and Aunt Mary returned from a walk without the pet dogs, signed and dated 1972 (see additional image), 28.5 x 24cms Provenance: private collection Cardiff Framed, ready to hang £15,000-20,000

Auctioneer’s Notes:

Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation’s most loved painters, but not until her late sixties. Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following

the Second World War, Tom’s work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should ‘paint someone you know well, go home and paint your mother’. This she did, and the resultant portrait proved to be an important

turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail. It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street’s Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as ‘The Jolly Granny’ and ‘England’s own Grandma Moses’ (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen’s Birthday Honours, but sadly died before her investiture

177
574
‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers
Jones & Co
Selections

575

575

‡ LAURENCE STEPHEN LOWRY RBA RA (1887-1976) limited edition (850) off-set lithograph - ‘Peel Park’ (Salford), Fine Art Trade Guild blindstamp, published by Venture Prints 1975, signed in pencil, 41.5 x 78.5cms

Provenance: private collection Powys

Comments: framed and glazed with conservation glass, colours are fresh, ready to hang £3,000-4,000

577

‡ LAURENCE STEPHEN LOWRY

RBA RA (1887-1976) oil on board - three figures in an archway with centre figure in large boots, overcoat and cap, all to an ivory and ochre background, entitled verso ‘Man Looking at Something’, dated 1961, 21 x 18.8cms

Provenance: collection of the Late James Joseph Mundell CBE and thence by descent, label verso for The Tib Lane Gallery (Manchester), the painting was gifted to Mr J Mundell by his aunt the artist José Christopherson (1914-2014) who was a friend of Lowry and a friend of Andras Kalman, Hungarian-British art dealer and former tennis-player who founded Crane Kalman Gallery in London. Kalman were instrumental in widening Lowry’s audience to London collectors and the international market. Mr Mundell was a Manchester industrialist with business in Trafford Park, after his death in 2014, the painting was left to his widow and thence to the vendor after her death.

576

‡ LAURENCE STEPHEN LOWRY RBA RA (1887-1976) offset lithograph printed in colours - ‘Industrial Scene’, published in 1974 by Venture Prints Ltd, Bristol, signed in pencil, Fine Art Trade Guild blindstamp, 34 x 24cms

Provenance: private collection Swansea since purchase in the 1970s

Comments: framed and glazed, a few chips to lower frame £1,500-2,500

576

Auctioneer’s Notes: ‘The artist’s acute sense of man’s isolation in the scheme of things is perhaps best illustrated by his passion for the portrayal of lonely and eccentric characters. Derelicts and tramps, cripples, and bearded ladies, these are the very substance of his view of man as essentially an oddity, the Charlie Chaplin of creation. In this respect it is interesting to note that the comedian is one of the artist’s great formative characters. Thus, the big boots, the bowlers and the umbrellas’. (‘The Paintings of L S Lowry Oils & Watercolours’ by Mervyn Levy, published by Book Club Associates, 1979).

Comments: framed and glazed, please note that viewing of this painting can be arranged by appointment at any of our venues including Cardiff and Colwyn Bay in North Wales £50,000-70,000

178 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
577
& Co • Selections 179 ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions).
Rogers Jones

578

GEORGE II ENGLISH DELFT MARRIAGE PLATE, dated 1728, centre painted with initials ‘R+M M’ within laurel wreath, the border with Chinese style diaper and foliate band, 21.5cms diam

Provenance: private collection Swansea

Comments: broken and restored, expected fritting and crazing. reverse with stilt marks £400-600

580

579

ENGLISH DATED DELFTWARE ‘MERRYMAN’ PLATE, probably London, dated 1730, inscribed in the centre ‘To Entertain is (sic) Guest’ beneath the number 3, inside a stylised laurel wreath 19.6cms diam

Provenance: private collection Swansea

Auctioneer’s Notes: Merryman plates satirize the perennial tussle between husband and wife and were made in sets of six, often numbered, each decorated with part of a well-known drinking verse:

1. What is a merryman

2. Let him do what he can 3. To entertain his guests

4. With wine and merry jests 5. But if his wife do frown 6. All merryment goes down

Dated examples range from 1682 to 1752, illustrating the popularity of the sentiment. A set dated 1734 is illustrated by Frank Britton, London Delftware (1987), p 143 and an earlier one of 1717 by Louis Lipski and Michael Archer, Dated English Delftware (1984), p 76

Comments: fritting, glaze imperfection

to letter ‘o’ of ‘To’

£600-1,000

RARE PAIR ROYAL WORCESTER ‘JAPONISME’ MOON FLASKS, dated 1874, in the Aesthetic taste with angular handles and moulded bracket feet, sides decorated with circular panels depicting artisans making and decorating porcelain, reserved on a speckled gilt ground, gilt rims and highlights, printed and moulded marks, incised shape no. 210, date code, 26cms (h) (2)

Provenance: private collection Cardiff

Comments: both reglued damaged feet £400-600

581

CLARICE CLIFF ‘CAPRI’ BON JOUR COFFEE SET, comprising coffee pot and cover, jug, sugar bowl, six cups and saucers, printed marks to base ‘Bizarre by Clarice Cliff, Wilkinson Ltd’, c.1935, coffee pot 19cms high (15)

Provenance: private collection Carmarthenshire

Comments: small chip to lip of jug, light wear and crazing overall, minor firing flaws, viewing highly recommended £400-600

582

582

RARE WILLIAM MOORCROFT ‘’DAMSON’ PATTERN

VASE, c.1915, of waisted form, painted to the interior rim and exterior with bunches of trailing indigo damsons amid green-toned leaves, on a variegated green ground, base with ‘W. Moorcroft’ painted signature in green and impressed ‘Moorcoft, Burslem, England’, 26cms (h)

Provenance: private collection Newport

Auctioneer’s Notes: the pattern is likely to have been a trial

Comments: very good, minor glaze crazing, base glaze crazed with minor staining £1,000-2,000

580 579 578
180 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
581

583

RARE SCOTTISH THREE PIECE SILVER ARTS & CRAFTS COFFEE SERVICE each element cylindrical, tapered and with naturalistic handles, the coffee-pot having hinged-lid, raised natural turquoise knop and protective leather binding to handle, each with clear conforming hallmarks for lesser known silversmith McDonald and Creswick Ltd, Edinburgh, 1926, 49.9ozs gross

Auctioneer’s Notes: McDonald Creswick were better known as an architectural bronze and metalworking foundry, silver items from the workshop are rare to the market but those silver items that were produced were done so in the Arts & Crafts style and tradition. The company began as a partnership between William McDonald (1887-1932) and the sculptor, Charles d’Orville Pilkington Jackson (1887-1973), in 1911 or 1912. Jackson enlisted at the outset of the First World War and McDonald followed in 1916 but by then he had brought Charles Creswick (1883-1965), a silversmith from Birmingham, into the business. Following the war, the foundry was incorporated as M’Donald and Creswick Limited in April 1920, with McDonald, Creswick and McDonald’s father, John William McDonald, a brewer’s manager in Glasgow, as directors

Provenance: private collection Gwynedd, by descent from the McDonald of McDonald Creswick family £700-1,000

584

LIBERTY & CO. TUDRIC PEWTER & ENAMEL MANTEL CLOCK, c. 1905, model no. 0629, designed by Archibald Knox, architectural form set with Art Nouveau foliate enamel panel in red blue and turquoise, the copper dial with Roman numerals and green and blue enamel centre, stamped marks, Lenzkirch stamped movement, 19cms (h)

Provenance: deceased estate North Wales

Auctioneer’s Notes: Cf. Stephen A Martin, Archibald Knox, ARTMEDIA, page 233 and Victor Arwas, Liberty Style, Parco, Japanese exhibition catalogue, page 104 p.39, for illustrations of this design

Comments: case naturally tarnished matt, enamels all good £700-1,200

585

MAHOGANY AND GILT BRONZE MOUNTED BRACKET CLOCK, 20th C., 7in. brass dial, silvered chapter ring with Roman hours and Arabic minutes, applied pierced spandrels, pierced arched allegorical grilles to the side, caryatid angles, grille door, pineapple finials, lions paw bracket feet, unsigned three-train movement striking 8-bells and a coiled gong, Westminster and Eight Bells chimes, strike/silent, regulator and chime selection dials to the arch, 72cms (h)

Provenance: private collection North Wales

Comments: strikes most bells on the quarter, half an hour, but not the gong, needs some adjustment/attention £1,000-1,500

584 583
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588

586

DETMOLD, EDWARD J. (illustrator) The Fables of Aesop, London: Hodder & Stoughton, 1909. First edition, deluxe issue, 53/750 copies signed and numbered by the artist, 4to, original cream pictorial cloth gilt, 25 tipped-in colour plates, uncut

Provenance: private collection mid Wales

Comments: spine bumped, 3 plates creased, spine browned, back cover stained, slip case distressed £600-700

587

THE CHIMAERA PRESS: VORAGINE (JACOBUS A.) In The State of Innocensye, 1988, no. 1 of 100 copies signed by the artist, Ron King, and the puiblisher, Michael Hutchins, unpaged, 27 leaves uncut, illustrated with nine relief prints by Ron King, printed in black and red on mould-made Waterford paper, bound by Robert Paling with black-titled vellum spine over pictorial boards, the covers with designs from relief prints that are not repeated in the text, 4to., with accompanying leaflet, letter and compliment slip from Michael Hutchins

Provenance: private collection Swansea

Comments: no slip case, very slight handling marks on spine

£150-250

588

ANGELO TESTA (American 1921-1984) designed furnishing textile, ‘Shingles’, hand screen-print on plain weave cotton, produced by Angelo Testa & Company 1942, length 72” by the full selvedge width of 49”

Provenance: Target Gallery letter/invoice, June 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘This early, important design by Testa dates from his studies at the Chicago Bauhaus. An identical example is held in the collection of the Chicago Institute of Art.’ Richard Chamberlain

Comments: excellent used condition

£150-250

589

ANDY WARHOL (American 1928-1987) designed screen-print cotton textile, ‘Happy Bug Day’, orange colourway, produced circa 1955, design originally conceived as a greeting card in 1954, length 35” by full selvedge width of 38”, together with a copy of Textile Design: Artists’ Textiles 1940-1976 (2)

Provenance: Target Gallery letter/invoice, dated 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘A dress made from an example of Happy Day Bug in this orange colour-way is on display in the touring exhibition ‘Artists’ Textiles: Picasso to Warhol. A rare and important textile retailed by the American firm of JCPenny (Pennys’ as it later became to be known)’ Richard Chamberlain

Comments: unused £1,500-2,500

587
182 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
589

590

PABLO PICASSO

(Spanish 1881-1973) designed screen-print furnishing textile, ‘Sketchbook’, produced by Bloomcraft Inc. 1963, length 80” by selvedge to selvedge width of 49”

Provenance: Target Gallery letter/invoice dated June 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘In 1963 the New York based company Bloomcraft collaborated with Picasso to produce a series of dazzling furnishing textiles. ‘Sketchbook’ featured the interior of Pablo Picasso’s studio at La Californie’, his home in the south of France, and was produced on a large scale repeat aimed at the exclusive American decorators market.’ Richard Chamberlain

Comments: unused £250-350

591

PABLO PICASSO

(Spanish 1881-1973) designed screen-print furnishing textile, ‘Musical Fawn’ produced by Bloomcraft Inc. 1963, length 37” by the full selvedge to selvedge width of approx, 49”

Provenance: Target Gallery invoice/letter, dated 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘Bloomcraft, the New York based textile design company was founded by Charles Bloom. The company had a history of commissioning artists and illustrators to create designs for them, including Rockwell Kent and Georges Braque, before engaging with Picasso in the early 1960s.’

Richard Chamberlain

Comments: unused, traces of original paper label to top left £200-300

592

ALEXANDER CALDER

(American 1898-1976) textile, ‘Calders Acrobats’, 1976, length 16.5” by 24.5”

Provenance: Target Gallery invoice/letter, dated June 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘This rare design was produced in conjunction with the Whitney Museum of New York, who held a retrospective of Calders work in 1976. The artist worked in preparation of the exhibition with the museum, including this textile, but unfortunately died weeks before the opening. This fabric is thus one of Calders last projects.’

Richard Chamberlain

Comments: unused £200-300

593

GEORGES BRAQUE

(French 1882-1963) screenprint furnishing textile, ‘Saison Happily Married’, produced by Bloomcraft Inc. circa 1955, length 70” by the full selvedge width approx. 46”

Provenance: Target Gallery invoice/letter, dated June 2016, signed Richard Chamberlain, private collection West Wales

Auctioneer’s Notes: ‘Braque’s textile design was marketed by Bloomcraft as part of their ‘Saison Happily Married’ range. Around the same time, the artist also collaborated with DB Fuller & Co. Inc for a series of designs for fabric.’

Richard Chamberlain

Comments: unused £150-250

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• Selections

595

594

EGYPT

MEDAL GROUP OF THREE to Trooper

J. Almonds (Royal Horse Guards) 1152, Egypt Medal 1882-1889 with Abu Klea and The Nile 1884-85 clasps, Khedive 1884-6 Star, EVII Long Service & Good Conduct Medal (3)

Provenance: private collection Cardiff

Comments: naming on Egypt medal partially erased with dints all over, Star with dent to one point, Long Service with small dent to rim and lacks ribbon, other ribbons ragged £600-800

ROYAL WELCH FUSILIERS EPHEMERA & BOER WAR GROUP OF SIX, to Pte. Robert Langford Williams (Royal Welch Fusilers) no. 5891, Queen’s South Africa Medal with Orange Free State, Transvaal, Relief of Ladysmith, Tugela Heights and Cape Colony clasps, King’s South Africa Medal with South Africa 1901 & 1902 clasps, 1914 Star with clasp and RWF badge, War Medal, Victory Medal with RWF badge and GV Long Service & Good Conduct Medal, all in glazed wood case/frame; together with Lce Corpl Robert Williams Character Certificate dated 1920, Royal Welsh Fusiliers photograph album containing 27 photographs of soldiers in uniform and in sporting clubs, 1911 map of the Coronation Durba in Delhi, 91 x 75cms (grp)

Provenance: consigned from North Wales

Comments: medals good, album covers worn with loss to spine binding, map discoloured along the creases with tears, inspection advised £400-600

595 184 Selections • Rogers Jones & Co * See page 3, or paragraph 7 of our company terms & conditions at the back of the catalogue for additional charges on the hammer price.
594

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THE ART OF MUSIC Branding the Welsh Nation

Peter Lord and Rhian Davies

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MINER’S DAY/RHONDDA IMAGES (editor; by B. L. Coombes and Isabel Alexander) 978-1913640385 • £20 • HB • 144pp

This is the first biography, fully illustrated, of Ray Howard-Jones (1903-1996), the renowned Welsh woman war artist, sea painter, mosaicist, community theatre pioneer, poet and Christian mystic.

Ray Howard-Jones: My Hand is The Voice of The Sea author David Moore, hardback 256 pages size 250 x 250mm, publication 20 June 2023 £35, ISBN 978180258188

www.birdeyebooks.com

04/03/2024 13:30

04/03/2024 14:09

Welsh Sale Magazine Art Ad 2 (middle of page).indd 1

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Carmarthen: Morganna Hampshire

Payment Terms

Payment is required by BACS (bank transfer) within five working days from the auctions. Please use your bidding invoice number reference. Presently cheques, chip and pin and cash are not acceptable.

For clients who do not use online banking, payments can be made at their bank over the counter. Please see your banking terms.

Condition Reports

The onus rests on prospective bidders to satisfy themselves as to the condition of items in this auction. Most items have a condition report with the description; this does not imply that items are without fault. We advise requesting further images / condition reports on all lots and this will be provided by us by e-mail only. Comments on condition are declared on some items of pottery / porcelain but are an opinion only. It is usual for us to declare if there is a problem with the condition of picture(s). But we advise that all prospective purchasers enquire / examine lots as ‘items are bought as seen’.

Carriage to North Wales / Carmarthen Office / Storage & Postage

ALL COLLECTIONS OF PURCHASED GOODS BY PRE-ARRANGED APPOINTMENT UNLESS BIDDING IN THE ROOM.

NON-ROOM BIDDERS ARE NOT PERMITTED TO COLLECT ON AUCTION DAY.

ALL ITEMS MUST BE PAID FOR PRIOR TO ARRANGING COLLECTION.

COLLECTIONS FROM CARDIFF SALEROOM MUST BE PRIOR TO 10 MAY TO AVOID STORAGE CHARGES.

All purchased lots in this auction may be shipped to our Colwyn Bay & Carmarthen offices without charge for collection from 10 May. This service is offered providing that payment is complete prior to 4 May (Welsh Sale) 6 May (Selections) and that they are then collected from Colwyn Bay / Carmarthen by 5pm, 18 May (BY APPOINTMENT).

Please note that this delivery will be the one free carriage to Colwyn Bay & Carmarthen undertaken by Rogers Jones & Co for items purchased at this auction. Free carriage excludes furniture items.

Rogers Jones & Co does not offer a P&P service for this auction unless items are of a non-fragile nature and can be posted in a Jiffy bag. Postage of these items is undertaken at a cost and at the buyer’s risk. We can recommend associates for a fully insured P&P service.

FREE DELIVERY: All clients with invoices over £4,000 in The Welsh Sale auction may benefit from a complimentary delivery option for their purchases (England & Wales only).

Please email brj@rjauctions.co.uk for further information.

187

THE WELSH SALE / SELECTIONS:

CONTENTS & INDEX OF ARTISTS / CYNNWYS A MYNEGAI ARTISTIAID

Welsh Antiques & Welsh Ceramics including Swansea & Nantgarw Porcelain / Hên Bethau & Serameg Cymreig gan gynnwys Porslen Abertawe a Nantgarw

Lots 1-34

Gregynog Press Books/ Llyfrau Gwasg Gregynog

Lots 35-53

The Pat Llewellyn Collection: The Visions of a Television Visionary / Casgliad Pat Llewellyn: Gweledigaeth y Cynhyrchydd

Teledu

Lots 54-98

Welsh Prints & Multiples / Printiau Cymreig a Lluosog

Lots 99-135

Welsh Works on Paper / Gweithiau Cymreig ar Bapur

Lots 136-244

Sir Kyffin Wiliams RA: Art & Letters / Syr Kyffin Williams RA: Celf & Llythyron

Lots 245-284

Works by Charles Wyatt Warren / Celf gan Charles Wyatt Warren

Lots 285-297

Works by David Woodford / Celf gan David Woodford

Lots 298-310

Works by Hugh Hughes / Celf gan

Hugh Hughes

Lots 311-314

Welsh Oils, Sculpture & Other Media / Olewau Cymreig, Cerfluniau a Chelf Arall

Lots 315-456

Selections / Dewisiadau

Lots 500-595

Rogers
& Co 188
Jones
19th CENTURY PRIMITIVE SCHOOL 97, 98 19th CENTURY WELSH PRIMITIVE 344 A ARMFIELD, Diana (b.1920) 570, 571 ‡ ATKINSON, Kim (b.1962) 105, 226 B BAXTER, Attr. Thomas (1782-1821) 222 ‡ BAINES, Glyn (1930-2023) 178 ‡ BAKER, Joan (1922-2017) 317 ‡ BARNES, David (1942-2021) 339
BELL, Seren
234
236 BESTLAND, Charles
553
(b.1950)
,
(act. 1783-1837)
BOWEN, John (1914-2006) 330
BOWEN, Keith (b.1950) 235
400
429 BRETLAND, W, Attributed to (1802-1874) 552
BROWN, William (1953-2008) 393
BURGESS, Cefyn (b.1961) 95
BURNS, Brendan Stuart (b.1963) 322
323
,
,
,
BURTON, Charles (b.1929) 112, 369, 449 ‡ BURTON, Rosemary (b.1939) 179, 211 C ‡ CANNING, Neil (b.1960) 176, 177 ‡ CECIL, Roger (1942-2015 ) 136, 152, 181, 197, 228 ‡ CHAPMAN, George (1908-1993) 110, 131 ‡ CHAPPELL, Dick (b.1954) 325, 326 ‡ CHARLES, King III (b.1948) 123 ‡ CHARLTON, Evan (1904-1984) 329 ‡ CHARLTON, Felicity (1913-2009) 215 ‡ CRABTREE, Jack (b.1938) 358 ‡ CRAWSHAW, Daniel (b.1967) 316 ‡ CRAWSHAW, Donna (b.1960) 327 ‡ CUNEO, Terence (1907-1996) 132 D ‡ DAVIES, Ogwyn (1925-2019) 86 ‡ DAWSON, Robert (1926-1997) 389 ‡ DAY, Shaun G (b.1964) 319 ‡ DELAHAYE, Muriel (1931-2021) 194, 195 ‡ DIXON, Jane Eve (Contemporary) 113 ‡ DOUGLAS FORBES, Andrew (Contemporary) 321 DURRANT, Roy Turner (1925-1998) 564 E ‡ EDWARDS, Malcolm (b.1934) 145, 190 ‡ ELDRIDGE, Mildred Elsi (1909-1991) 157 ‡ ELWYN, John (1916-1997) 91, 103, 138, 164, 165, 166, 167, 168, 169, 360, 361, 399, 407 EMIL KRAUSE, Francis (1836-1900) 353 ENFIELD, Henry (1839-1908) 550 EPSTEIN, Sir Jacob (1880-1959) 565 ‡ EVANS, Nicholas (1907-2004) 430 ‡ EVANS, Will (1888-1957) 243 F ‡ FORREST, Edwin (1918-2002) 396, 418 ‡ FOWLER, Robert (1853-1926) 364, 365 G ‡ GAIGER, Oliver (b.1972) 174 ‡ GANZ, Valerie (1936-2015) 115, 149, 154, 225, 230, 231 ‡ GERRARD, Tom (1923-1976) 381, 390 ‡ GIARDELLI, Arthur (1911-2009) 203 GILL, Eric (1882-1940) 558 ‡ GINSBERG, Meirion (b.1985) 388, 408, 409 ‡ GRIFFITHS, Mary (b.1956) 318, 331 ‡ GROSVENOR, David (b.1956) 163, 189, 395 H ‡ HAMNETT, Nina (1890-1956) 159 ‡ HARRIES, Hywel (1921-1990) 80, 412, 443 HAYES, Peter (b.1946) 563 ‡ HERMAN, Josef (1911-2000) 93, 196, ‡ HIND, Audrey (b.1936) 337, 348, 349 HOLLOWAY, Edgar (1914-2008) 134, 135, 244 ‡ HOLLY, Nick (b.1968) 116, 403, 419, 431 HOWELLS, Neale (b.1965) 439, 440 ‡ HUGHES, Darren (b.1970) 212 HUGHES, Hugh (1790-1863) 311-314 ‡ HUMPHREYS, David (b.1937) 82

David (b.1965) 351, 370 ‡

Pip (1933-2009) 332 L

‡ MALTHOUSE, Eric (1914-1997) 210, 213, 371

‡ MARTINEZ, Raymond (b.1937) 380

‡ MCINTYRE, Donald (1923-2009)

451, 452, 453, 454

‡ MELEGARI, Carl (b.1958) 435

‡ MILLS, Eleri (b.1955) 121

‡ MOORE, Leslie (1913-1976)

199, 206, 216, 217, 218, 219, 220, 221

‡ MOORE, Sally (b.1962)

420, 421, 432, 447, 448

‡ MULLER, Sigrid (b.1962) 208, 209

‡ PARRY, Gareth (b.1951) 397

‡ PARRY, Iwan Gwyn (b.1970) 175, 379

‡ PETTS, John (1914-1991) 87

‡ PIECH, Paul Peter (1920-1996) 76, 85,

117, 118, 126, 127, 128, 129, 130

‡ PIPER, John (1903-1992) 83, 84, 99, 101, 102, 107, 122, 133

‡ PRENDERGAST, Peter (1946-2007) 111

‡ PRICHARD, Gwilym (1931-2015)

,

,

,

, 227, 241,

Aled (b.1945)

‡ PRITCHARD, Arthur (1927-1993)

‡ PRITCHARD, Ifor (1940-2010) 406, 427

RAE, Barbara RA (b.1943) 569

‡ RATHMELL, Thomas (1912-1990) 384

‡ RICHARDS, Ceri (1903-1971) 88, 96, 109, 124, 125, 155, 162

‡ RICHARDS, Frances (1903-1985) 352

‡ ROBERTS, Gwyn (b.1953) 78, 378, 386, 398, 411

‡ ROBERTS, Wilf (1941-2016)

, 392, 434, 444, 445

‡ SPILLER, Ralph (1934-2011) 333, 342, 343

‡ STEINTHAL, Helen (1911-1991)

156, 158, 160, 161, 356, 357

‡ STUART, Gordon (1924-2015) 139, 140

Gareth (1955-2019)

, 150, 340, 354, 355, 372, 373 ‡

Harvey (d.2017)

John Hall (1874-1947)

Sarah (b.1959)

David RA (b.1932)

(b.1955)

Dewi (b.1957)

, 142, 173

EDWARDS, John (1937-2014) 92, 94

‡ VICARI, Andrew (1932-2016) 368

WATERLOW, Sir Ernest Albert RA (1850-1919) 144

‡ WATKINS, Islwyn (1938-2018) 108 WEBB, Archibald Bertram (1887-1944) 104 WEBB, James (1825-1895) 359

‡ WHITE, Charles (1928-1997) 315, 338 WILLIAMS LEADER, Benjamin RA (1831-1923) 417

‡ WILLIAMS, Alan (Contemporary)

335, 336, 345

‡ WILLIAMS, Christopher (1873-1934)

324, 350, 385, 405

WILLIAMS-ELLIS, David (b.1959) 456

‡ WILLIAMS, Emrys (b.1958) 328

‡ WILLIAMS, Gloria (b.1940) 151

‡ WILLIAMS, Sir Kyffin RA (1918-2006)

245-267, 268-279, 280-284

‡ WILLIAMS, Vivienne (b.1955) 171, 172, 207, 382

Frank (1867-1959) 100

Eirian (1951-2014) 114

Laurence Stephen RBA RA (1887-1976) 575-577

‡ ROBERTS, Will (1907-2000) 200, 224, 383, 404, 433, 441

‡ ROWLANDS, Wil (b.1948)

, 242

‡ SALISBURY, Alan (b.1946) 320

‡ SELWYN, William (b.1933)

143, 147, 148, 187, 188, 198, 229, 240

‡ SINNOTT, Kevin (b.1947) 446, 450

‡ SNOWDEN, Matthew (b.1969)

362, 387, 402

‡ WOODFORD, David (b.1938) 298-310 WORTHINGTON, Alfred (1834-1927) 346

‡ WYATT WARREN, Charles (1908-1993) 285-297

YOUNG, William Weston (1776-1847) 223

‡ ZOBOLE, Ernest (1927-1999)

436, 437, 442

Rogers Jones & Co 189 ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see terms and conditions). I IRVIN, Albert (1922-2015) 559-561
ISAAC, Bert (1923-2006) 201 J JACK, Richard (1866-1952) 554
JENKINS, Wynne (1937-2019) 79
410
414
422
,
,
,
JOHN, Augustus RA
106
JONES, Aneurin (1930-2017) 119, 394, 415, 416, 424 ‡ JONES, Jack (1922-1993) 423, 428 ‡ JONES, Jonah (1919-2004) 455
JONES, Megan (b.1936) 202
JONES, Mike (1941-2022) 153
183
184
185
186
192
(1878-1961)
,
,
,
,
,
JONES, Peter John (Contemporary) 363
JONES, Ray Howard (1903-1996) 204
205
413 ‡ JONES, Steven (1959-2017) 334 JONES, Tom (1936-2017) 237, 238, 239, 366 JOYCE, Peter (b.1964) 568 K KASIMIR, Luigi (1881-1962) 556 ‡ KETTLE, Peter (b.1987) 341 ‡ KNAPP FISHER, John (1931-2015) 90, 137 ‡ KNIGHT,
LANYON, Martin (b.1954) 567 LEAR, Edward (1812-1888) 551 ‡ LEWIS, Ann (b.1962) 77 ‡ LEWIS, Elfyn (b.1969) 180 ‡ LITTLE, George (1927-2017) 232
,
,
KNIGHT-JONES,
LLEWELLYN, Martin (b.1963) 401
LLOYD JONES, Mary
(b.1934) 233
LLOYD-WRIGHT,
LLWYD,
LOWRY,
LUXTON, Vivienne
391
(b.1942)
M
MACFARLANE, John (b.1948) 170 MAJOR, Theodore (1908-1999) 573
P
374
81
375
376
377, 425, 426, 438 PRICHARD-JONES,
191
347
R
367
S
193
T
THOMAS,
146
THOMAS,
120 THORPE,
555
THWAITES,
214 TINDLE,
182
TUDUR,
141
U
566 TRESS, David
UZZELL
V
W
Y
Z
Rogers Jones & Co 190 HAMMER PRICES FOR THE SELECTIONS SALE 21 NOVEMBER 2023 TOTAL: £114,445 HAMMER PRICES FOR THE WELSH SALE 18 NOVEMBER 2023 TOTAL: £463,020 Lot Price 400 £480 401 £3,800 402 £1,900 403 £5,500 404 £520 405 £700 406 £700 408 £420 410 £4,000 411 £7,000 Lot Price 412 £2,400 413 £400 414 £700 415 £600 416 £1,300 417 £360 418 £360 419 £700 420 £200 421 £120 Lot Price 422 £500 423 £1,300 424 £300 425 £160 426 £240 427 £260 428 £340 429 £200 430 £250 432 £220 Lot Price 433 £1,000 434 £1,200 435 £6,800 436 £420 437 £420 438 £2,200 439 £280 444 £220 445 £500 446 £3,400 Lot Price 447 £1,700 448 £1,000 449 £420 451 £700 452 £3,400 453 £1,000 454 £240 455 £175 456 £500 457 £380 Lot Price 458 £200 460 £240 462 £300 464 £960 466 £600 468 £2,400 469 £460 470 £9,500 471 £17,000 472 £400 Lot Price 473 £400 474 £900 475 £800 476 £1,400 477 £800 478 £4,000 479 £300 480 £750 481 £600 482 £3,200 Lot Price 483 £420 484 £380 485 £400 486 £2,400 487 £250 488 £1,000 489 £1,000 491 £1,500 Lot Price 1 £340 2 £340 3 £100 5 £150 6 £100 7 £100 8 £100 12 £100 13 £160 14 £100 15 £440 16 £1,200 17 £140 21 £200 23 £200 25 £600 26 £100 27 £2,000 28 £160
£1,800
£1,200 31 £650 32 £550 33 £750 34 £700 35 £1,500 36 £300 37 £280 38 £240 40 £180 41 £140 42 £550 43 £300 44 £280 45 £140 46 £2,200 47 £320 48 £700 49 £420 Lot Price 50 £300 51 £600 52 £600 53 £460 54 £300 55 £260 56 £200 57 £120 58 £120 59 £120 60 £120 61 £120 62 £120 63 £360 64 £360 65 £100 67 £950 68 £340 69 £520 70 £220 71 £240 72 £300 74 £140 78 £240 79 £120 80 £160 81 £140 82 £240 83 £140 84 £850 85 £200 88 £280 89 £260 90 £150 91 £600 92 £150 93 £260 94 £1,000 95 £380 Lot Price 96 £150 97 £240 98 £220 99 £600 100 £250 101 £380 102 £100 103 £700 104 £300 105 £400 106 £150 107 £400 108 £100 109 £800 110 £500 111 £200 114 £440 115 £200 116 £650 117 £600 118 £320 119 £420 120 £300 121 £6,200 125 £400 126 £240 127 £220 128 £460 129 £600 130 £340 131 £750 132 £400 133 £1,500 134 £600 135 £600 136 £320 137 £550 138 £600 139 £550 Lot Price 140 £260 141 £250 142 £250 143 £360 144 £360 145 £400 146 £350 147 £550 148 £850 149 £400 150 £600 151 £420 153 £850 154 £380 155 £650 156 £1,100 157 £100 158 £3,200 159 £2,000 160 £220 161 £300 162 £340 163 £300 164 £400 167 £900 169 £480 170 £480 171 £300 172 £460 173 £750 174 £360 175 £480 176 £440 177 £250 178 £480 179 £550 180 £250 181 £300 182 £340 Lot Price 183 £340 184 £220 185 £340 186 £460 187 £280 188 £280 189 £340 190 £550 191 £800 192 £400 193 £340 194 £1,500 195 £1,050 196 £2,200 197 £5,750 198 £3,500 200 £4,000 201 £6,000 202 £3,600 203 £6,500 204 £40,000 205 £38,000 206 £24,000 207 £12,000 208 £8,500 209 £8,500 210 £3,800 211 £15,000 212 £11,000 213 £320 214 £650 215 £1,100 216 £2,800 217 £2,800 218 £1,100 219 £1,400 220 £480 221 £4,000 222 £340 Lot Price 223 £650 224 £400 225 £280 226 £1,600 228 £1,700 229 £460 230 £400 231 £600 232 £340 233 £500 234 £500 237 £4,400 238 £360 239 £400 240 £1,000 242 £440 243 £670 244 £900 245 £360 246 £460 247 £460 248 £600 249 £320 250 £1,200 251 £260 252 £650 253 £600 254 £850 255 £280 257 £150 258 £400 259 £300 260 £250 261 £200 262 £500 263 £200 264 £100 266 £220 267 £280 Lot Price 268 £480 269 £150 270 £200 271 £250 272 £1,300 273 £400 274 £400 275 £300 278 £750 280 £420 281 £320 283 £400 285 £360 286 £460 287 £300 288 £400 289 £600 290 £300 291 £1,500 292 £340 293 £750 294 £750 295 £280 296 £320 297 £450 298 £4,000 299 £800 300 £450 301 £650 302 £1,700 303 £650 304 £480 305 £700 306 £750 307 £700 308 £800 309 £800 311 £3,000 312 £950 Lot Price 313 £1,900 315 £900 316 £1,800 317 £650 318 £700 319 £1,000 321 £3,600 322 £1,000 323 £950 325 £2,200 327 £1,200 329 £1,300 330 £2,000 332 £3,000 334 £1,900 335 £3,200 336 £2,000 337 £2,600 341 £2,400 342 £2,200 344 £3,200 345 £2,900 346 £8,000 347 £5,000 348 £6,000 350 £9,000 351 £27,000 352 £950 353 £5,200 355 £3,200 356 £1,500 357 £1,200 358 £3,000 360 £2,200 361 £700 363 £550 364 £3,400
29
30

Auctioneer Charles Hampshire invites you to bring items of interest for FREE, no-obligation auction valuations.

APRIL 12th 19th

MAY 28th

JUNE 6th 18th

JULY 3rd 12th 30th

SEPTEMBER 24th

NOVEMBER 26th

Myddfai Community Hall & Visitor Centre, Llandovery | 10am-2pm

Penally Village Hall, Tenby | 10am-2pm

Newton Village Hall, Gower | 11am-2pm

Newport Memorial Hall, Pembrokeshire | 10am-1pm

Broad Haven Village Hall, Pembrokeshire | 10am-2pm

Giraldus Centre, Manorbier | 10am-2pm

Llandybie Public Memorial Hall | 10am-2pm

Newton Village Hall, Gower | 11am-2pm

Newton Village Hall, Gower | 11am-2pm

Newton Village Hall, Gower | 11am-2pm

APPOINTMENTS ESSENTIAL For larger collections/furniture and large items, separate appointments may be arranged at your home Tel: 01267 468282 | www.rogersjones.co.uk | mh@rjauctions.co.uk
FREE Antiques Valuation Days

NEXT WELSH SALE / SELECTIONS

27 JULY 2024

Entries invited NOW and by 7 June 2024 but please call earlier to ensure entries are confirmed.

VINTAGE & ANTIQUES IN COLWYN BAY Every 2 weeks

FINE ART & INTERIORS IN CARDIFF Every 6 weeks

JEWELLERY & COLLECTABLES IN CARDIFF Every 6 weeks

Please see schedule on our website

Appraisals conducted by email or by appointment at the salerooms or at your home.

South Wales Saleroom

17 Llandough Trading Estate, Penarth Road, Cardiff, CF11 8RR

Tel: 02920 708 125

cardiffinfo@rogersjones.co.uk

VAT no: 560 0387 62

HOW TO BID!

Room Bidding (Now Available) COMMISSION BIDDING

North Wales Saleroom

The Auction Rooms, 33 Abergele Road, Colwyn Bay, North Wales, LL29 7RU

Tel: 01492 532 176

info@rogersjones.co.uk

VAT no: 560 0387 62

www.rogersjones.co.uk

Please ensure you have read our viewing and bidding terms for these two auctions on Page 187.

About: commission bids are when you leave us your highest price to bid on your behalf. We will bid up to your price(s) and you will win items if another bidder drops out before your maximum price. If there is no other bidder then you may win the item at the bottom estimate / reserve.

Commission bids must be received by 4pm the day before the auction. We are not answering the phones on auction day!

How: this can be done on our website by clicking on the lot(s) you are interested in and then clicking ‘REGISTER / LOG IN TO BID’.

Or you can complete a copy of the bidding form at the back of this catalogue and send a clear image of the form to us by email.

Tips: there is little point in bidding below the bottom of the auction estimate and enter as high as you can so as not to regret missing out. It is always a good chance you may win the item at a smaller price.

TELEPHONE BIDDING

About: we phone you a few minutes prior to the lot you have booked a phone line on. Our operator will communicate the price and ask whether you want to bid.

How: as with ‘Commission Bids’ a form be completed and returned to us BUT by 1pm the day before the auction. Forms can be emailed, posted or are at the back of this publication. Telephone lines are limited so are on a first come first served basis.

Tips: calculate or ask us at approximately what time you are likely to receive a call from us and ensure you are available on the line with a good signal, you can leave a back-up line on the form in case of any problems. It is better to have a good sense of what prices you are likely to go up to before-hand as there may be no time for indecisions!

ROGERS JONES LIVE INTERNET BIDDING

About: the auction is broadcast live on our website www.rogersjones.co.uk where you will see a video and hear the sale. You will also see the bidding numerically. You can bid with your keyboard providing you have registered. There is a surcharge on each lot for using the-saleroom.com platform to bid.

How: Very simply ‘click bid’ but remember that your bid is binding when successful!

Tips: ensure that you your device’s speaker is switched to ‘on’, bid quickly as there may be a slight delay and remember the auctioneer cannot see you!

Rogers Jones & Co 192

TELEPHONE BIDDING FORM

YOU CAN PHOTOGRAPH THE FULLY COMPLETED FORM AND EMAIL THE IMAGE TO US MAKE SURE YOUR PHOTO IS CLEAR & COMPLETE

You are required to read all conditions, tick all boxes and sign before your bids are placed

Telephone bidding requests must be submitted by 1pm the day prior to the auction without exception. Telephone lines are available on a first-come, first served basis

PLEASE NOTE: CALLS TO OUR OFFICE PHONES WILL NOT BE ANSWERED ON THE AUCTION DAY.

IF YOU HAVE AN URGENT ENQUIRY ON AUCTION DAY PLEASE EMAIL cardiffinfo@rogersjones.co.uk

Name

Address Telephone:

Bidding Telephone no: �������������������������� Back up telephone no:

continued overleaf

I wish to bid during the auction on telephone number supplied & agree to full terms and conditions as explained in the catalogue / on www.rogersjones.co.uk

I will notify Rogers Jones & Co as soon as possible, if I am unable to bid as requested

I am aware of the current rate of buyer’s premium (+VAT) and other charges which may be applicable

I am prepared to bid above the lower estimate(s)

If successful, I will either pay by bank transfer within 5 days of the auction

Signed: ��������������������������������

Date: ��������������������������

Sale Date:

For use by Rogers Jones & Co

Bid Submission Date: ��������������������� Time: �������������������������� Bidding No:

������������������������������������
Email:
LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO
LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO LOT NO

ABSENTEE / COMMISSION BIDDING FORM

YOU CAN PHOTOGRAPH THE FULLY COMPLETED FORM AND EMAIL THE IMAGE TO US MAKE SURE YOUR PHOTO IS CLEAR & COMPLETE

Bidding forms should be submitted by 4pm the day prior to the auctions.

You are required to read all conditions, tick all boxes and sign before your bids are placed.

PLEASE NOTE: CALLS TO OUR OFFICE PHONES WILL NOT BE ANSWERED ON THE AUCTION DAY.

IF YOU HAVE AN URGENT ENQUIRY ON AUCTION DAY PLEASE EMAIL cardiffinfo@rogersjones.co.uk

I instruct Rogers Jones & Co to bid up to the values I have indicated below.

No commission bids accepted under £30.

Bids accepted in increments of £5 to £100 / £10 to £300 / £20 to £1000 / £100 at £1000+ Please ensure that your bids are not below estimates.

Name

Address Telephone: ������������������������������������

Email:

Bidding Telephone no: �������������������������� Back up telephone no:

continued overleaf

I am aware of, and agree to all bidding and purchase / payment terms for this auction (stated in catalogue or on website)

I am aware that the onus is mine to ascertain the outcome of my bids

I am aware of the current rate of buyer’s premium (+VAT) and other charges which may be applicable

I am prepared to bid above the lower estimate(s)

I am aware that saleroom bids and earlier commission bids take precedence when raised /left at the same price

Signed: ��������������������������������

Date: ��������������������������

Sale Date:

For use by Rogers Jones & Co

Bid Submission Date: ��������������������� Time: �������������������������� Bidding No:

LOT NO BID UP TO LOT NO BID UP TO LOT NO BID UP TO LOT NO BID UP TO £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £
LOT NO BID UP TO LOT NO BID UP TO LOT NO BID UP TO LOT NO BID UP TO £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £

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Rogers Jones & Co 197

COMPANY TERMS & CONDITIONS

These conditions of business for auctions held at our premises consist of:

(1) Information for Buyers;

(2) Terms of Sale (for bidders and buyers).

(1) INFORMATION FOR BUYERS AT AUCTIONS

1. Introduction. The following notes are intended to assist bidders and buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Conditions of Business incorporating the Terms of Consignment (primarily applicable to sellers), the Terms of Sale (primarily applicable to bidders and buyers) and any notices that are displayed in our salerooms or announced by the auctioneer at the auction. Our Conditions of Business are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Conditions of Business that you do not fully understand.

Please make sure that you read our Terms of Sale set out in this catalogue or on our website carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.

2. Methods of Payment. Lots must be paid for before they are collected. For those attending the auction we ask that lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our web site, including online payment upon receipt of your invoice, and these should be paid by 5pm within five working days following the sale. We accept cash to an upper limit of 1,000 euros equivalent. We do not accept credit card payments. We are unable to accept debit-card payments when the card holder is not present. Cheques will need to be cleared before you can take the goods away.

3. Collection and storage. All lots should be paid for and collected by 5pm within five working days following the auctions in this catalogue. Absentee bidders should check the success of their bids and arrange payment and collection within this time. Please note the Terms of Sale concerning collection and storage. Items not removed in the timescale stated will be removed at the purchaser’s expense and storage charges of £10 as an administration fee and £5 per lot per day may be charged (plus VAT).

4. Dispatch. We do not offer postage for lots sold at auction in this catalogue unless they can be packed within a Jiffy-bag. We can recommend agents who can undertake packing and postage.

5. Agency. As auctioneers we usually act on behalf of the seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the goods is with the seller, not with us as auctioneer.

6. Estimates. Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular lot. Estimates may change and should not be thought of as the sale price. The lower estimate may represent the reserve price (the minimum price for which a lot may be sold) and will not be below the reserve price. Estimates do not include the buyer’s premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the auctioneer before the auction of the lot. They are not definitive.

7. Buyer’s Premium for both The Welsh Sale and Selections: The Terms of Sale oblige you to pay 24% + VAT (28.8%) on each purchased lot in the auctions contained within this catalogue. In addition, VAT is charged on the premium (see below).

8. VAT. VAT is payable by the buyer on the buyer’s premium at either the standard rate depending upon the legal requirements relating to that lot.

9. Artist’s Resale Right/Droit De Suite. EU & UK law states that the artist or artist’s estate are entitled to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with a ‡ symbol. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will then pay the royalty to the appropriate authority on the seller’s behalf. The royalty applies if the hammer price of the lot is £1,000 or more. The total royalty for any lot can not be more than £12,500. The percentages are as follows: 4% up to £50,000 / 3% between £50,000.01 and £200,000. Royalties for Droit de Suite are as follows:

4% Up to £50,000

3% £50,000.01 - £200,000

1% £200,000.01 - £350,000

0.5% £350,000.01 - £500,000

0.25% In excess of £500,000 Up to a maximum levy of £10,000

10. Inspection of goods by the buyer. As we act on behalf of the seller, we are dependent on information provided by the seller about their goods. We may inspect lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of lots to check their condition in the way a buyer would do. You will have ample opportunity to inspect the goods. You must inspect and investigate lots that you might wish to bid for. Please note carefully the exclusion of liability for the condition of lots set out in the Terms of Sale on our website and www.the-saleroom.com

11. Condition Reports. We may be able to assist buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy.

Intending buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale. In many cases condition reports are stated in the catalogue description but this does not act as a guarantee that the report is factually correct and it must not be taken as guaranteed that items without condition reports stated in the description are free from issues, such as damage, restoration or other problems.

12. Electrical goods. These are sold as “objects” only. If you buy electrical goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

13. Export of goods. If you intend to export goods you must find out:

1. whether an export licence is needed; and

2. if there is a prohibition on importing goods of that character e.g. because the goods contain prohibited materials such as ivory.

14. Bidding. Bidders will be required to register with us before the auction starts. We reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You

will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.

15. Absentee bidding. You may leave absentee bids with us indicating the maximum amount to be bid against a lot (excluding the buyers’ premium and/or any applicable VAT). We will execute absentee bids as economically as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical absentee bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving absentee bids online via our website. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute absentee bids received after this time.

16. Telephone Bidding. If you are unable to come to the auction it may be possible to bid on the telephone for some lots at our discretion. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.

17. Online Bidding. Any lots purchased via a live online bidding service will be subject to an additional commission charge on the hammer price payable by the bidder, in accordance with rates specified by the online service. If bidding through the-saleroom.com this will be charged at 5% plus VAT. The charges will be payable to us on top of the hammer price and the buyer’s premium.

(2) TERMS OF SALE

Both the sale of goods at our auctions and your relationship with us are governed by the Terms of Consignment (primarily applicable to sellers) the Terms of Sale (primarily applicable to bidders and buyers) and any notices displayed in the saleroom or announced by us at the auction (collectively, the “Conditions of Business”). The Terms of Consignment and Terms of Sale are available at our saleroom on request.

Please read these Terms of Sale carefully. Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale.

Please note that these Terms of Sale relate to auctions held at our premises only. We have separate terms for online only auctions.

1. Definitions and interpretation

1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:

“Auctioneer” means, Rogers Jones & Co, a company registered in England and Wales registered office is located at 33 Abergele Road, Colwyn Bay, LL29 7RU or its authorised auctioneer, as appropriate;

“Bidder” means a person participating in bidding at the auction;

“Buyer” means the person who makes the highest bid for a Lot accepted by the Auctioneer;

Rogers Jones & Co 198

“Deliberate Forgery” means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

“Hammer Price” means the level of the highest bid for a Lot accepted by the Auctioneer by the fall of the hammer;

“Lot(s)” means the goods that we offer for sale at our auctions;

“Premium” means the premium that we will charge you on your purchase of a Lot to be calculated as set out in Clause 4;

“Reserve” means the minimum hammer price at which a Lot may be sold;

“Sale Proceeds” means the net amount due to the Seller;

“Seller” means the persons who consign Lots for sale at our auctions;

“Terms of Consignment” means the terms on which we agree to offer Lots for sale in our auctions as agent on behalf of Sellers;

“Terms of Sale” means these terms of sale, as amended or updated from time to time;

“Total Amount Due” means the Hammer Price for a Lot, the Premium, any applicable artist’s resale right royalty, any VAT due and any additional charges payable by a defaulting buyer under these Terms of Sale;

“Trader” means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the trader’s name or on the trader’s behalf;

“VAT” means Value Added Tax or any equivalent sales tax; and

“Website” means our website available at www.rogersjones.co.uk

In these Terms of Sale the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words “we”, “us”, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

2. Information that we are required to give to Consumers

2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

2.3 The price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.

2.4 The arrangements for collection of the Goods as set out in Clauses 8 and 9.

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

2.7 If you have any complaints, please send them to us directly at the address set out on our Website.

3. Bidding procedures and the Buyer

3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid.

3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition.

3.3 If you instruct us in writing, we may execute absentee bids on your behalf. Neither we nor our employees or agents will be responsible for any failure to execute your absentee bid, unless our failure to do so is unreasonable. Where two or more absentee bids at the same level are recorded we have the right to prefer the first bid made (where this can be reasonably ascertained).

3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

4. The purchase price

As Buyer, you will pay:

1. the Hammer Price;

2. a premium of 24% plus VAT on all lots;

3. any artist’s resale right royalty payable on the sale of the Lot; and

4. any VAT due.

5. VAT

5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price and premium due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the “Information for Buyers” in our auction catalogue for further information.

5.2 We will charge VAT at the current rate at the date of the auction.

6. The contract between you and the Seller

6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the hammer falls accepting the highest bid for the Lot at the auction.

6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.

6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may in our discretion provide the Seller with information or assistance in relation to that claim.

6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).

7. Payment

7.1 Immediately following your successful bid on a Lot you will:

7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering

obligations); and

7.1.2 pay to us the Total Amount Due in any way that we agree to accept payment. Note there is an upper limit of 1,000 euros equivalent for payments in cash.

7.2 If you owe us any money, we may use any payment made by you to repay these debts.

8. Title and collection of purchases

8.1 Once you have paid us in full the Total Amount Due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it.

8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 7 days following the auction.

8.3 If you do not collect the Lot within this time period, you will be responsible for any reasonable removal and storage charges in relation to that Lot.

8.4 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot.

8.5 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling commission at our standard rates on any such resale of the Lot.

9. Remedies for non-payment or failure to collect purchases

9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:

9.1.1 take action against you for damages for breach of contract;

9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the price you should have paid for the Lot and the price we sell it for as well as the charges outlined in Clause 8.5). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;

9.1.4 remove, store and insure the Lot at your expense;

9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

9.1.6 keep that Lot or any other Lot sold to you until you pay the Total Amount Due;

9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.

Rogers Jones & Co 199

10. Health and safety

Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our, our employees’ or our agents’ negligence.

11. Warranties

11.1 The Seller warrants to us and to you that:

11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the lot at auction;

11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and

11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct.

11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the Total Amount Due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.

11.3 Please note that many of the Lots that you may bid on at our auction are second-hand.

11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.

11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.

12. Descriptions and condition

12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (ii) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).

12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot.

12.3 Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold “as is” (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

13. Deliberate Forgeries

13.1 You may return any Lot which is found to be a Deliberate Forgery to us within 21 days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.

13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if:

13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or

13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause 13.2.

13.3 If you have sold the Lot to another person, we will only be liable to refund the price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot.

13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.

14. Our liability to you

14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Conditions of Business. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.

14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot.

14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:

14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);

14.4.2 fraudulent misrepresentation; or

14.4.3 any liability which cannot be excluded by law.

15. Notices

15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it.

15.2 Any notice referred in Clause 15.1 may be given:

15.2.1 by delivering it by hand;

15.2.2 by first class pre-paid post or Recorded Delivery; or

15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.

15.3 Notices must be sent:

15.3.1 by hand or registered post:

1. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and

2. to you, at the last postal address that you have given to us as your contact address in writing; or

15.3.2 by email:

1. to us, by sending the notice to the following email address: info@rogersjones.co.uk

2. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.

15.4 Notices will be deemed to have been received:

15.4.1 if delivered by hand, on the day of delivery;

15.4.2 if sent by first class pre-paid post or Recorded Delivery, two business days after posting, exclusive of the day of posting; or

15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt (provided that receipt is acknowledged by the recipient).

15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message.

16. Data Protection

We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website.

17. General

17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.

17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.

17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues.

17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.

17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.

17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.

17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the British law and British courts.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers.

Rogers Jones & Co 200

The Welsh Sale: every time brought to you with love

Yr Arwerthiant Cymreig: bob tro, gydag angerdd a chariad

Next Welsh Sale

Yr Arwerthiant Cymreig Nesaf

27.7.24

Entries Invited by Cynigion erbyn

7.6.24

Arwerthwr

Ben Rogers Jones Auctioneer & Partner a Phartner

Rogers Jones & Co

17 Llandough Trading Estate

Penarth Rd, Cardiff, CF11 8RR

17 Ystad Masnachu Llandochau

Ffordd Penarth, CF11 8RR

Tel/Ffôn: 02920 708 125

rogersjones.co.uk

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