Woolley & Wallis Modern British & 20th Century Art

MODERN BRITISH & 20TH CENTURY ART INCLUDING THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET WEDNESDAY 26TH AUGUST 2020

Lot 236

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

VALUATIONS FOR INSURANCE & PROBATE 446961 446962 446970

424598 Jeremy Lamond MRICS ASFAV FRSA Paul Viney ASFAV 424509 424509 Amanda Lawrence

ASIAN ART

MARKETING

John Axford MRICS ASFAV 424506 +44 (0)7812 601098 Jeremy Morgan 424571 Amber Lees Sarah Lopez-Ferreiro 424591

Sally Trench

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424507 446964

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 411854

JEWELLERY Marielle Whiting FGA 424595 424504 Jonathan Edwards FGAA (Consultant) Charlotte Glyde FGA 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

SILVER Rupert Slingsby Lucy Chalmers

Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie Megan Corbett

CASTLE GATE RECEPTION 424505 446955

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

ACCOUNTS Janice Clift (Office Manager)

Sally Litherland

BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director

ASSOCIATE DIRECTORS Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Mark Yuan-Richards

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

424500

GENERAL OFFICE

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

446959

339752 446980

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk

Front Cover: Lot 290 Back Cover: Lot 275 (detail) Catalogue £12.00 (£15.00 by post)

424500

MODERN BRITISH & 20TH CENTURY ART INCLUDING THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

WEDNESDAY 26TH AUGUST 2020 10.00am at our Castle Street Salerooms, SP1 3SU

PAINTINGS Victor Fauvelle +44 (0)1722 446961 vf@woolleyandwallis.co.uk

Ed Beer +44 (0)1722 446962 eb@woolleyandwallis.co.uk

Hannah Vernon +44 (0)1722 446970 hv@woolleyandwallis.co.uk

VIEWING

BY APPOINTMENT ONLY - Please contact the department to make an appointment.

20TH CENTURY DESIGN Michael Jeffery +44 (0)1722 424505 mj@woolleyandwallis.co.uk

There will be no viewing on the morning of the sale.

Saturday 22nd August Monday 24th August Tuesday 25th August

10.00am­– 1.00pm 10.00am­– 4.00pm 10.00am­– 4.00pm

BUYER’S PREMIUM See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.

TELEPHONE BIDDING Requests for telephone bidding cannot be accepted after 5pm on Tuesday 25th August.

IMPORTANT CHANGES TO OUR BIDDING PROCEDURE Please note that, owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction will be asked to provide two forms of identification. This applies to both new and existing clients.

COLLECTION OF LOTS ALL lots will be moved from the saleroom back to Castle Gate on 27th and 28th August - collection of lots on these days MUST BE by prior arrangement on 01722 424500 or pictures may be in transit and unavailable.

From 1st September collection will be from the Picture department at Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX. If making payment at Castle Gate, cash cannot be accepted.

Collection of sold and unsold lots must be within 21 days of the sale failure to collect within this time may result in storage fees.

TRIBAL ART Will Hobbs +44 (0)1722 339752 wh@woolleyandwallis.co.uk

LIVE ONLINE BIDDING - FREE OF CHARGE

bid.woolleyandwallis.co.uk Please register by 5pm on Tuesday 25th August.

ARTIST’S RESALE RIGHT / DROIT DE SUITE ‡ This symbol indicates that an additional levy may apply for this lot – please see our Terms & Conditions, Section 21, for details.

GLOSSARY OF TERMS Please refer to our Terms & Conditions, Section 21, for a glossary of terms used in the cataloguing of paintings.

CONDITION OF LOTS Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

Extra images, a catalogue word search facility and condition reports are available at www.woolleyandwallis.co.uk

Elisabeth Frink and Woolland

Lis and Alex lived at Woolland until their deaths within a few months of one another. Frink liked to go to the studio early most mornings: ‘I get up, have a swim, have my breakfast and go into the studio about eight, maybe a bit earlier. My mind works well in the morning, and in the evening I do something else – cooking, listening to music, things like that.’ Her need for quiet and privacy within the studio meant that unlike many sculptors she worked without assistants. Finished plasters were cast in small editions of bronzes with the help of specialist foundries and foundrymen, unless they were kept unique for a commission.

In the house, the other heart of Woolland, Lis and Alex constantly welcomed guests. Members of the family, friends, collectors and dealers, people connected with foundries and exhibitions all enjoyed lively meals at the long dining room table that dominated the main room, as well as parties round the pool. Lucie-Smith recalls that ‘no one was made to feel out of place or in the way’. Frink enjoyed cooking: ‘I married a Frenchman, so I learned the hard way.’ Her first husband, the architect Michel Jammet, came from a French family with a famous restaurant, Jammets, in Dublin. It was at this time that Frink’s interest in cooking was honed, as well as her political and social awareness as she listened to the writers, poets and filmmakers that frequented the restaurant.

Elisabeth Frink and Lin Jammet, Bulbarrow Hill, Dorset

Annette Ratuszniak former Curator of the Elisabeth Frink Estate and Archive Woolland sits high on the chalk grasslands of the Dorset Downs, just below Bulbarrow Hill, with expansive views over Blackmore Vale. The sculptor Elisabeth Frink and her third husband Alex Csáky moved to Woolland House in 1976. The quiet rural domesticity and spaciousness suited them. They created a family home with a purpose-built studio. The extensive grounds enabled Frink to have her larger sculptures around her. As Lis explained to Edward Lucie-Smith during conversations recorded in the months before she died: ‘The house and garden are my gallery.’

There were two hearts to Woolland: the studio and the house. The studio was the private world where she gave form to her imagination through the images she created. Male figures, human heads and animal forms were fashioned using plaster, her hands and simple tools. The deeper meaning of each shape embodied her concerns about humanity: the tension between our capacity for aggression and our inherent vulnerability. She was preoccupied with our misplaced sense of superiority within the chain of life, the dangers of feeling invulnerable whatever our actions and our impact on the planet.

Frink’s sculptures, drawings and original prints established her reputation as one of Britain’s leading 20th century sculptors. Exhibitions and public commissions were constant throughout her life. In recognition of her contribution to Britain’s cultural life she was made a Royal Academician, a Dame of the British Empire and awarded the Companion of Honour.

In the late recordings Frink says: ‘I’ve been very lucky in that I’ve had very happy times with my family. I don’t resent the time I give up to running a household because I enjoy it so much.’ She liked to create ‘an interesting space to live in that’s very important to me. I buy primitive furniture - old chairs and tables and cupboards - and I do look at them.

I think they tie in very much with doing sculpture.’

The house was full of art: paintings and drawings exchanged with or as gifts from her contemporaries, and many studio ceramics. She also bought work by other artists ranging from Kandinsky and Moore to Taplin, and supported younger talents such as Nicola Hicks. After travelling to Australia, she began to acquire Aboriginal artworks as inspirations for colour and mark-making in her bronzes and drawings.

Everything was mingled with her own work. The house and garden reflected her life and pre-occupations as a sculptor.

Intimacy with her domestic environment was creatively useful. She was able to play with arrangements, groupings, see relationships of forms in different lights and observe juxtapositions and silhouettes. As Lucie-Smith wrote: ‘the interior was in its own way a self-portrait.’

In 1993, Elisabeth Frink died of cancer. In her last recordings she said prophetically: ‘The only thing now is that I wouldn’t throw all our stuff away… I might put it in a warehouse because I’d like my son to have it. Then he could do what he liked with it.’ After her death a detailed room-by-room inventory was made. It illustrates how she grouped within each room items of particular furniture, paintings and decorative works. Among the domesticity of the kitchen we find a pot by John Piper, two plates

by Picasso, a watercolour by Julian Trevelyan and an Aboriginal bark painting.

Lin, his wife and young family stayed on at the house for a few years. When he sold Woolland most of the contents were packed into a large farm building at the home he established with his new partner. An area was sectioned off with controlled conditions for the storage of Frink artworks. The Elisabeth Frink Estate and Archive of sculptures, drawings and original prints was created and used for exhibitions and educational projects. The rest of her estate was left unpacked and stacked in the main floor and mezzanines of the barn.

Lin died suddenly in 2017. As curator of the Frink estate and archive I began the mammoth task of recording everything that had survived from Elisabeth Frink’s former home at Woolland. Methodically I embarked, with the help of my husband, on recording the contents of the barn in order to fulfil Lin’s wishes that his mother’s artworks, archive and studio materials be given to a spread of museums across the British Isles. Along with the thousands of artworks and archive material were mountains of unpacked boxes and furniture that had languished in the barn for years.

Lis in Dining Room, Woolland with ‘On the Road to Chartres’ tapestry on wall, 1986 Copyright Bob Willoughby, Image held within Frink Archive, Dorset History Centre.

Not to be used without permission.

Lin had left to his sons, Tully and Bree, their grandmother’s chattels. Together we picked our way through years of dust, unpacked boxes and shrouded packages, never knowing what we would find. Among the chattels were more original plasters, studio contents, papers, photographs and other material that related to Frink’s life. This important historic material was identified, recorded and added to the artworks already destined for the beneficiary museums and the Frink Archive at the Dorset History Centre.

It was an emotional time for everyone involved, but one that had a positive outcome. A comprehensive range of Frink artworks and related materials is now in the care of ten public museums and galleries across England, Scotland and Northern Ireland.

Lis and Lin with ‘Tribute Head’ plasters, Southwark studio, circa 1975 Copyright unknown, Image held within Frink Archive, Dorset History Centre.

Not to be used without permission.

Dorset Museum, one of the beneficiaries, is creating the world’s first permanent display dedicated to Frink and her artworks as part of the Artists’ Dorset gallery within their newly redeveloped building.

During those two years of work it felt equally significant and moving that the objects and art that had surrounded her were being given a new life. These personal possessions eloquently and sensitively re-establish connections with the life and work of Elisabeth Frink, an extraordinary woman and artist.

May 2020 Recordings: Lucie-Smith, Edward and Frink, Elisabeth, Frink, A Portrait, Bloomsbury, London, 1994

Lis in front of Woolland studio with sculptures and plasters including ‘Walking Man’ and ‘Leonardo’s Dog’ plasters, circa 1990

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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A large collection of art reference books and catalogues Including; ’John Piper The Complete Graphic Works’ by Orde Levinson; ‘Henry Moore at the British Museum’; ‘Manzu’ published by Electa; ‘Donatello’ by Frederick Hartt; ‘Edoardo Villa Sculpture’; ‘Marini Lithographs 1942-1965’; ‘The Sculptures of Houdon’ by H.H. Amason; ‘David Gentleman’s Britain’; ‘Hugh Casson’s London’ (dedicated to Liz); ‘Coming to Terms’ by Robert Montagu (dedicated); ‘Tales of the Early World’ by Ted Hughes (dedicated); ‘The Umbrella of Aesculapius’ by Thomas Meyer; and Issey Miyake ‘Photographs by Irving Penn’ (dedicated and containing a typed letter from Miyake to Frink), (a lot) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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2 FRANCESCO BARTOLOZZI RA Italian 1727-1815

AFTER GIOVANNI BATTISTA CIPRIANI RA Italian 1727-1785

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Elisabeth Frink’s Royal Academy diploma Engraving, signed by Elizabeth II 78 x 57.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £50-100

3‡ SVEND BAYER Danish b.1946

A stoneware plate, painted with two fish to the well, in blue on a pale grey ground, five smaller plates by Svend Bayer decorated with a wading bird, a large stoneware pedestal bowl by Richard Batterham, covered with a celadon ash glaze, a Derek Davies stoneware vase and a small collection of studio pottery, impressed seal mark for Svend Bayer, Davis pieces painted signature, damages and repairs, 25cm diam. (Bayer plate), 39cm diam. (Batterham bowl) (24) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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£150-250

4‡ RICHARD BATTERHAM b.1936

A stonewareware storage jar and cover, swollen cylindrical form with incised column band, covered to the foot with a pale celadon ash glaze, another similar, a smaller storage jar and cover by Richard Batterham and two footed dishes, unsigned, painted 4 to base and applied paper label numbered 254, chips to pedestal bowls, 23cm high (8) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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£150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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5‡ JASON CAMPBELL

b.1942

Moon Bird Series, 1990 An earthenware charger, painted in colours, incised JC 90 14 Campbell, small glaze frit, 35.5cm diam.

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

6 TATSUZO SHIMAOKA Japanese 1919-2007

A stoneware footed vase, shouldered, square section with four loop handles, covered to the foot with a translucent ash glaze, and slip inlaid rope pattern, brushed olive and white grass motif, impressed mark to base, paper S-7 gallery label, 25.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-250

7‡ JOHN PIPER CH

1903-1992

A large and early vase probably thrown by Geoffrey Eastop, dated 1971, tapering cylindrical form, incised with a butterfly and stylised flowers, painted in green, blue and yellow on cream, cut to terracotta body, painted JP monogram, IX and 71, 32cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet John Piper’s experiments with ceramics began in the early 1970s with his first public exhibition held at the Marlborough Gallery in 1972. He later produced designs which were manufactured at the Fulham Pottery from 1982. £800-1,200 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

8‡ PABLO PICASSO Spanish 1881-1973

Toros A Madoura Pottery plate, glazed in shades of black, turquoise and grey/blue with two bulls resting impressed marks, etched Edition Picasso Madoura 21cm diam.

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £1,500-2,500

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9‡ PABLO PICASSO Spanish 1881-1973

Still Life with Spoon A Madoura Pottery platter, glazed in black and white impressed marks, incised E100, painted 32/200 32.5 x 33cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £1,500-2,500

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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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10 ‡ PABLO PICASSO Spanish 1881-1973

Quatre Poissons Polychromes (Four Polychrome Fish), AR.31 A Madoura Pottery platter, glazed in colours on a white ground impressed marks, incised 14/200 37 x 30.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £3,000-5,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 11

A set of twelve Gerald Benney silver gilt beakers Flaring cylindrical form, stamped marks, AGB London 1989, 8.5cm high, 63ozt (12) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £2,500-3,500

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A pair of Gerald Benney silver gilt beakers Slightly swollen cylindrical form with textured surface, stamped marks, AGB, London 1978, 10.5cm high, 16ozt (2) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £800-1,200

A diamond-point engraved commemorative glass goblet Engraved with a Woolland House stables and clock tower vignette below inscription Dame Elisabeth Frink 19.ii.82, apparently unsigned, 18.2cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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14 MS Two pebbles dated 1977, each painted with an owl, another similar and another smaller painted with a crab dated 1975, a carved wood Green Man mask, and two painted wood fish, a large fish-hook, two painted wood paddle blades, one dated 1909, and a pair of painted wood wings painted monogram and date to the pebbles, 18cm long (12) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £100-150

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15 R. TINNYUNT 20th Century

Madonna and child Serpentine, signed on the base 27.5cm high An Inuit greenstone model of a bird, signed with initials K A, 23cm high, an Inuit stone model of a bird, with a Canadian Eskimo Art sticker, 10cm long and an Inuit soapstone model of a polar bear, 9cm long (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-400

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Australia

Australia

Eight Aboriginal artefacts Including a Queensland club, 72cm long, two fibre baskets, 37cm and 46cm long, a carved wood model of a fish, 104.5cm long, a painted wood boomerang, 37.5cm long, a painted wood hooked club, 67.5cm long, a chalk panel carved a figure of Wanjina, 28cm high and a didgeridoo, 131cm long (8) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-250 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

An Aboriginal bark container Cylindrical with gum and fibre, painted with natural pigments depicting two figures of Wanjina and two serpents 46cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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An Aboriginal model of a spoonbill Tiwi Islands, Australia

Wood with white, red and black pigment 85cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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Tiwi Islands, Australia

Tiwi Islands, Australia

Tiwi Islands, Australia

An Aboriginal model of a bird

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Tiwi Islands, Australia

Tiwi Islands, Australia

An Aboriginal model of a bird

An Aboriginal model of a bird

Wood with white, yellow, back and red pigment 75.5cm high

Wood with white, yellow, black and red pigment 61cm high

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

£300-500

£150-250

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An Aborignal model of a bird

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An Aboriginal model of a bird

Wood with yellow, black and white pigment 46.5cm high

Ironwood with white, red, black and yellow pigment 79cm high

Wood with white, black, yellow and red pigment 59cm high

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

£200-400

£200-300

£200-300

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Concepta Kantilla

Australian act.1980s Tiwi Islands, Australia

Bird Wood with white, black, yellow and red pigment, inscribed to the base 35cm high and two Aboriginal wood models of fish, the longer by Bob Jungar, 60.5cm and 50cm long (3) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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£150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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An Aboriginal model of a bird Tiwi Islands, Australia

Wood with white, black, yellow and red pigment 29cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-400

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An Aboriginal figure of Bima Tiwi Islands, Australia

Ironwood with black, white, yellow and red pigment, with a feather headdress 44.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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An Aboriginal figure of Bima Tiwi Islands, Australia

Ironwood with black, red, white and yellow pigment 56cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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£300-500

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An Aboriginal model of a turtle Tiwi Islands, Australia

Ironwood with white, black and yellow pigment 65.5cm long Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

£300-500

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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29 PETER MARRALWANGA

Australian 1916-1987 Arnhem Land, Australia

Kangaroo Eucalyptus bark with natural pigment, inscribed to the verso Maralwanga 60.5 x 124.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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30 PETER MARRALWANGA

Australian 1916-1987 Arnhem Land, Australia

Fish Eucalyptus bark with natural pigment, inscribed to the verso Artist: Maralwongo Group: Gunwingu Location: Maragalidban 59 x 138cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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31 WALLY MANDARRK

32 APRIL JONES

Australian 1915-1987 Arnhem Land, Australia

Australian born c.1950 Fitzroy Crossing, Kimberley, Western Australia

Mimi spirit woman

Fish, turtles and serpents in a river

Eucalyptus bark with natural pigment, with a Maningrida Arts & Crafts certificate to the verso, stating artist, group Cune/Dangbon and clan - Barabba, painted at Birba during Dry season 1980 105 x 31cm

Natural pigments on canvas board 56 x 71cm and two birds in a landscape, natural pigments on canvas board, 38 x 45.5cm, both mounted and framed (2)

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

£300-500

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32 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

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DECOYS, CARVINGS AND SCULPTURE

Lot 42 (detail)

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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A large American carved wood decoy model of a Grey Heron by J P Hand Painted in colours, on rectangular wood base, stamped J P Hand, Omoh NJ, 79cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-250

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A Thomas Langan Roslyn Harbor carved wood decoy Painted in colours, on tree trunk stand, and a carved wood decoy stick, stamped marks to bird stand, 54cm high (2) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

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A Paradise Maine carved wood Curlew decoy Painted in colours, on rectangular base, and three other wading bird decoy/sculptures printed Paradise Maine, 1986 to base, 29cm high (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-400

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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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A carved wood Mallard duck decoy Painted in colours, a carved wood Moorhen decoy with applied metal stud eyes, and three other carved wood duck decoys unsigned, Moorhen with re-attached exhibition labels, 37cm wide (5) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Exhibited: Moorhen exhibited West Baton Rouge Historical Association, Nov/Dec 1976, no.109 £150-250

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A carved wood Canvasback duck decoy by AW Possibly dated 1932, painted in colours, with applied glass eyes, another AJ Paradise Loon decoy and two other duck decoys, signed AW 1932, 41cm wide (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-250

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Two carved wood Canada Geese decoys Painted in colours, one modelled feeding, the other head up, one with applied glass eyes, the other with metal eyes, unsigned, 68cm wide (2) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-250

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Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

Guy Taplin’s ‘Birds’ have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting.

Dame Elisabeth Frink 39 ‡ GUY TAPLIN b.1939

Sandling A wood sculptural Christmas card sent from Guy Taplin to Elisabeth Frink inscribed Happy Christmas to Liz and Alex from Guy 14cm high Provenance: Dame Elisabeth Frink and Alexander Csaky; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

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39 (detail)

40 ‡ GUY TAPLIN b.1939

Black Winged Stilt Painted wood on driftwood base incised Black Winged Stilt and Guy Taplin signature 36.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-800

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41 ‡ GUY TAPLIN b.1939

Grebe Painted wood sculpture incised signature Guy Taplin and titled Grebe 71cm wide, 26.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

41 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

42 ‡ GUY TAPLIN b.1939

Mallard Painted wood bird sculpture with applied eyes incised signature Guy Taplin and titled Mallard 35cm wide Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-800

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43 ‡ GUY TAPLIN b.1939

Canvas Back Painted wood bird sculpture incised signature Guy Taplin and titled Canvas Back 34cm wide, 28cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

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£500-800

44 ‡ GUY TAPLIN b.1939

Blue Winged Teal Painted wood bird sculpture incised Blue Winged Teal and Guy Taplin signature 27cm wide, 13cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-800

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

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THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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A large carved wood pineapple 90.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-300

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A carved wood Indian Elephant With carved headdress and saddle, painted decoration, 80cm high, 100cm long (6) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

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A carved wood model of a lioness Modelled standing, painted in yellow and black, unsigned, 56cm wide, 44cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

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A carved wood model of an anteater With applied metal tongue, a carved wood model of a bird with applied bead eyes, modelled as a stylised hornbill, and two wooden saddles, unsigned, 75cm wide (anteater) (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £100-200

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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

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A large pair of carved wood sheep With painted detailing, 122cm wide, 111cm high (18) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

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A pair of large carved wood deer Carved and painted blanket saddle, painted decoration and real antlers, 202cm high, 148cm wide (17) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

49

51

A carved wood model of a deer Modelled standing with head down, remains of paint, unsigned, 55cm wide, 44cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

52

A pair of tall carved wood deer heads With carved and painted decoration and real antlers, 154cm high (9) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

50

52 51 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

21

22

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

SCULPTURE 53 CHRISTY RUPP

55 ‡ JOHN TAULBUT RWA

American b.1949

b.1934

Acid Rain Brook Trout, 1984

Crucifix

Four painted cardboard and aluminium sculptures signed Rupp 84 to reverse, applied gallery label 35cm wide (4)

Carved yew sculpture with brass wall hanging stamped Taulbut to base, paper label number 181 54 x 43cm

Provenance: The Piccadilly Gallery, PPOE Exhibition.

July 1984; The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: Dame Elisabeth Frink; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet

£120-180

John Taulbut won the sculpture prize at the Royal Academy Summer Exhibition in 1987. As a prize winner he was invited to lunch where he met Elisabeth Frink - striking up a rapport he was invited to Woolland House where she asked to see more of his work, and saw this crucifix, probably carved in 1986-87.

54 ‡ NATALIE DOWES

b.1931

White Circular Relief on Three Levels Oil on plywood Paper label to reverse, dated July 1987 in ink 31cm diam.

£150-250

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

53

Natalie Dowes has a comparable work in the Government Art Collection titled Circular Relief on Eight Levels. £120-180

54

55 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 56 ‡ RALPH BROWN RA

1928-2013

Three Slanting Curtains Aluminium on slate base unsigned 60cm high, 40.4cm square slate base Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-200

56

57

57 ‡ ANN CHRISTOPHER RA

58 ‡ ANN CHRISTOPHER RA

b.1947

b.1947

Bronze no 4, 1975-76

Through the Dark, 1985

Patinated bronze on wooden base stamped AC 7/9 23cm high

Patinated bronze on slate base stamped AC 86, 3/9 28.5cm high

Provenance: Purchased by Dame Elisabeth Frink from the artist directly; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

We are grateful to Ann Christopher for her assistance cataloguing this work.

We are grateful to Ann Christopher for her assistance cataloguing this work. £800-1,200

£800-1,200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

58

23

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

24

59 ‡ NICK HUME 20th Century

Female Nude Patinated bronze on stone base Numbered 3/6 22.4cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

60 ‡ NICK HUME 20th Century

Twisting Figure Green patinated bronze on stone base 27cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

59

60

£120-180

61 ‡ NICK HUME 20th Century

Female Nude Patinated bronze on stone base 24cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

62 BRITISH SCHOOL

20th Century

Abstract Form Polished bronze 14.5cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

61

62

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

63 FOLLOWER OF SIR ANTHONY CARO Assemblage Welded metal highlighted with paint 27.8cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

64 BRITISH SCHOOL

20th Century

Male Nude Cast metal on stone base 27.3cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

63

64

65 ‡ ANGELA CONNER

b.1935

Male Figure Imploring Bronze on a stone base Signed to figure and base 20cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

66 ‡ ANGELA CONNER

b.1935

Female Nude Bronze on a wooden base Signed 15.7cm high Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £200-300

65

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

66

25

PAINTINGS AND PRINTS

Lot 98 (detail)

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

67

67 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Cat Signed, dated 1981, and inscribed Lin / with love Watercolour and bodycolour 18.5 x 24.5cm Provenance: Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex. £4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

27

28

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

68

68 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Man and a horse Signed and dated 1977 Gouache 10 x 15cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex. £2,000-3,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

69

69 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Girl and horse Signed and dated 1977 Gouache 11.9 x 16.6cm Provenance: Dame Elisabeth Frink (her estate stamp to frame); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £2,000-4,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

29

30

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

70

70 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Hoopoes in a landscape Signed and dated 1974 Pencil 55.5 x 75.5cm Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex. £800-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

71 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Julian Trevelyan on a beach Signed, dated 1981 and inscribed Lis & Alex/ with Love Watercolour 26.5 x 12cm Provenance: Dame Elisabeth Frink and Alexander Csaky (Frink estate stamps to backing board); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £2,000-4,000

71 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

31

32

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

72

72 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Still life with poppies and butterflies on a windowsill Signed and dated 1974 Pencil and watercolour 55.8 x 76cm Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex. £800-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

73

73 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Shell III Signed and dated 1973 Pen and ink 10.6 x 12cm Provenance Hamet Gallery, London; From whom purchased by Dame Elisabeth Frink, 6th June 1973; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £800-1,200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

33

34

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

74

74 ‡ JULIAN TREVELYAN RA 1910-1988

Self portrait with cat; Two cats Two, the former signed and inscribed Lis & Alex from Julian & Mary with love in pencil to the margin, the latter signed and inscribed Alex & Lis from Julian & Mary with love in pencil to margin The former aquatint and coloured etching, the latter coloured etching 12.2 x 9.8cm; 9.8 x 14.2cm (plates) (2)

Provenance: Each Dame Elisabeth Frink and Alexander Csaky (Frink estate stamps to both backing boards); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet Mary Fedden and Julian Trevelyan were close friends of Elisabeth Frink. They often visited Lis and her second husband Ted Pool when they lived at Corbès in the Cévennes. Later they would stay at Woolland with Lis and Alex. £400-600

75 ‡ JULIAN TREVELYAN RA 1910-1988

Me and Tom Signed, titled, and numbered 8/25 in pencil to margin Etching and aquatint in colours, 1976 34.9 x 47.3cm (plate) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £600-800

75 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 76 ‡ JULIAN TREVELYAN RA 1910-1988

Game Park Signed, titled and numbered 2/125 in pencil to margin Etching and aquatint in colours 34.9 x 47.2cm (plate) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £600-800

76

77 ‡ JULIAN TREVELYAN RA 1910-1988

Sahara Signed, titled, and inscribed artists proof in pencil to margin Etching and aquatint in colours, 1973 35.2 x 47.6cm (plate) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £600-800

77 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

35

36

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

78

78 FOLLOWER OF SIR THOMAS LAWRENCE Portrait of a young girl, head and shoulders Oil on canvas, in a painted oval 54.5 x 46cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-700

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 79 ‡ JOHN SKEAPING RA

1901-1980

Bull charging the picador; Picador lancing the bull Two, each signed Each watercolour and bodycolour 47.7 x 66.4cm; 46.4 x 65.3cm (2) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

79

80 ‡ ROBERT GILLMOR

b.1936

September Swallows Signed and titled Watercolour 7.8 x 10.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Exhibited: Reading Guild of Artists £150-200

80 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

37

38

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 81 ‡ WILLIAM THOMSON 1926-1988

Portrait of Dame Elisabeth Frink Signed Oil on canvas 80.5 x 64.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-500

81

82 ‡ WILLIAM THOMSON 1926-1988

Portrait of Dame Elisabeth Frink with her son Lin Jammet Signed Oil on canvas 61 x 50.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

82 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

83

83 ‡ HENRIETTA YOUNG

b.1951

Portrait of Dame Elisabeth Frink Signed and dated 1988 Oil on board 111.5 x 89.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-700

84 BRITISH SCHOOL

20th Century

Portrait of Dame Elisabeth Frink with her first husband Michel Jammet Oil on canvas 101 x 49.5cm Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £300-400

84 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

39

40

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 85 ‡ JOHN HUBBARD American 1931-2017

Abstract Signed, initialled and dated 76 Gouache and watercolour 12.4 x 19.9cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet John and Caryl Hubbard were good friends of Lis and Alex.

In 1997, John selected works for ‘Man and the Animal World’ at Dorset County Museum.

The exhibition was curated by Richard de Peyer and Annette Downing (née Ratuszniak), part II of the major Salisbury retrospective ‘Elisabeth Frink: A Certain Unexpectedness’ curated by Annette Downing. £200-300

85

86 ‡ JOHN HUBBARD American 1931-2017

Kew Gardens, No. 10; Clodgy Point No. 3 Two, the former signed and dated 1980; the latter titled, and further signed, titled and dated 1977, to backing board Each charcoal 56.8 x 77cm; 56.5 x 68cm (2) Provenance: ‘Kew’ with Fischer Fine Art, London; The Estate of Dame Elisabeth Frink and Lin Jammet Exhibited: ‘Kew’, London, Hayward Gallery, Hayward Annual 1982: British Drawing, 17 July 30 August 1982 £400-600

86

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

87

87 ‡ SOPHIE RYDER

b.1963

Greyhounds Signed and dated 1987 Collage 53.5 x 73.1cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Sophie Ryder knew both Elisabeth Frink and Lin Jammet from childhood, and would often visit them at Frink’s Dorset home. When Ryder, at the age of 20, finished studying at the Royal Academy of Arts, it was Frink who encouraged her to leave education and start working, saying ‘What do you want to go back to school for? You know what you want to do, and you are already doing it. You don’t follow the trends and you don’t do what your tutors tell you to do anyway, so what’s the point?’. £800-1,200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

41

42

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

88

88 ‡ NICOLA HICKS MBE

b.1960

Chickens Signed and dated 92 Coloured chalks on brown paper 94.4 x 63cm Unframed Together with Nicola Hicks, Rooster, signed, dated ‘93, and inscribed AP in pencil to margin, drypoint etching, 10.8 x 9.2cm (plate), unframed (2) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Elisabeth Frink was a mentor to the young Nicola Hicks, and in 1985 selected her for a solo exhibition The Artist of the Day, at the Flowers Gallery, London. Frink described Hicks as ‘one of our most talented young sculptors, and also a most wonderful draughtsman’. £400-600

89 ‡ NICOLA HICKS MBE

b.1960

89

Hound Watercolour, bodycolour and chalk on paper 97 x 123cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £600-800

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

90

90 ‡ NICOLA HICKS MBE

b.1960

Bull Signed and dated 83 Watercolour and bodycolour 113 x 174cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £700-900

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

43

44

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

91

92

91 ‡ HENRY MOORE OM, CH

92 ‡ GORDON HOUSE

1898-1986

1932-2004

Moore: a Cura di Carmine Benincasa

Mumbles Pontardawe Penrhos

Containing 50 lithographs of drawings by Henry Moore together with a folder of texts, in original board folio No. 133/300, published by Edizione Seat, 1983 55 x 40cm

Each signed and inscribed proof for Lis, ten titled and dated 84 in pencil Eleven (ten plus title) etchings and aquatints on rivs paper, in original folio Each 51 x 41cm (sheet)

Together with Walter J Strachan, A Relationship with Henry Moore 1942-1976 (Bishop’s Stortford: The Elliott Group, 1988), with dedication to Elisabeth Frink from the author (2)

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £800-1,200

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-700 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 93 WASSILY KANDINSKY

Russian 1866-1944

Radierung für den Kreis der Freunde des Bauhauses (Etching for Circle of Friends of the Bauhaus) Signed in pencil to margin Drypoint, 1932 From the unnumbered edition of 100, published Kreis der Freunde des Bauhauses 19.7 x 23.5cm (plate) Provenance: Dame Elisabeth Frink (Frink estate stamp to backing board); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £1,500-2,000

93

94 ‡ OSKAR KOKOSCHKA Austrian 1886-1980

The Crucified Christ Helping the Hungry Children (‘En Memoria de los Nonos de Viena’) Signed and dated 1946 in the plate Lithograph 74 x 49cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

94

45

46

95

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

96

95 ‡ JEANNE MASOERO

96 ‡ RALPH BROWN RA

97 ‡ SANDRA BLOW RA

A Rose Shall Beget the Spring

Couple embracing

Four studies

Signed, dated 78, numbered 35/125, and dedicated For Lis with love - 14.11.80 in pencil to margin Lithograph 73 x 54.5cm (sheet)

Signed and dated ‘84, and further inscribed LOVE TO LIZ + ALEX 86 to mount Watercolour 22.8 x 31.3cm

b.1937

Signed, dated 1984/5, and titled to backing board Pen and ink 42 x 29.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

97

1928-2013

Provenance: Dame Elisabeth Frink; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

1925-2006

Provenance: Dame Elisabeth Frink; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 98 ‡ CRAIGIE AITCHISON CBE, RSA, RA Scottish 1926-2009

Dog Below Crucifix Oil on canvas 12.6 x 10cm Provenance: Albemarle Gallery, 1989, cat no. 35; Dame Elisabeth Frink (estate stamp to verso); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £6,000-10,000

98

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

47

48

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 99 ‡ PHILIP HICKS b.1928

Sheep and Fence on Dartmoor; Windy Beach; Boat in the Bay; City Haze Four, each signed, titled and variously dated ‘78, ‘81-2, ‘78, and ‘73 to verso One acrylic on canvas, three acrylic on board Largest 35.3 x 45.4cm; Smallest 30 x 30cm (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £500-700

99

100 ‡ MARZIA COLONNA MRBS Italian b.1951

Relics on a beach Signed Pastel and gouache 79.5 x 110cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £100-200

100 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

101 ‡ ROGER ARGUILE b.1952

En Camargue - Study after Francis Bacon Signed with initials, dated 2002, and titled Acrylic on board 111.5 x 80cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet Exhibited: London, Royal Academy, Summer Exhibition, 2003 £400-600

102 ‡ PETER KENNELLY

b.1965

Framed Man I Signed, titled, and dated May 2nd 1989 Oil on board 17.2 x 13.1cm Unframed Provenance: Dame Elisabeth Frink (her estate stamp to verso); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

101

103 ‡ LEWIN BASSINGTHWAIGHTE 1928-1983

Dancing Girl Oil on board, indisctinctly stamped lower left 33.2 x 17.5cm Provenance: Piccadilly Gallery, London; The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

102 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

103

49

50

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

104

105

104 ‡ TI PARKS

105 ‡ KIM LIM

b.1939

Twelve works from the 10,000 Collages series Nine signed, and further inscribed FOR TULLY, LIN + AVLERIE JAMMET/FOR OR ON THE OCCASION OF TULLY’S/CHRISTENING AND ALL BIRTHDAYS/MAY/JUNE 1992/WITH LOTS OF LOVE FROM/TI, SUE, JOSIE + MOLLY/ TI PARKS/1990/FROM THE ‘10,000 COLLAGES’ 1970s 1980s 1990s to backing board

Singaporean 1936-1997 All collage All 14.5 x 10.3cm (12) Framed as one Provenance: Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £200-300

Abstract Signed, dated 1988, numbered 20/20, and inscribed For Lis & Alex with thanks for your tolerance in pencil to margin Screenprint in colours 75.5 x 55.5cm (sheet) Provenance: Dame Elisabeth Frink and Alexander Csaky; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £200-300

106 ‡ KIM LIM

Singaporean 1936-1997

Untitled Signed and dated 1969 in pencil to margin Etching 7.6 x 17.8cm (plate) Provenance: Dame Elisabeth Frink (her estate stamp to backing board); By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £100-200

106 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 107 ANN CHRISTOPHER RA

b.1947

Drawing no. 20 Signed and dated 1981 Pencil 37.8 x 60.6cm Together with Ann Christopher, Hill Line, Signed and numbered 8/35 in pencil to margin, and further signed and dated 1987 in the plate, Etching and aquatint, 42 x 74cm (sheet) (2) Provenance: Both gifted by the artist to Dame Elisabeth Frink and Alexander Csaky; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet Ann Christopher’s talent was spotted by Elisabeth Frink at an early age, and the two became life-long friends. Christopher’s partner Ken Cook worked with Frink, casting many of her small sculptures over 30 years.

We are grateful to Ann Christopher for her assistance cataloguing these works. £500-800

107

108 ‡ DAVID HUMPHREYS

b.1937

Bulbarrow Signed with monogram Gouache 10.3 x 11.4cm Provenance: Acquired from the artist by Dame Elisabeth Frink; By descent to Lin Jammet; The Estate of Dame Elisabeth Frink and Lin Jammet £100-150

108 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

51

52

109

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

110

109 ‡ HENRI HAYDEN

Polish 1883-1970

Landscape Signed, dated 1968, and numbered 66/75 Lithograph 49.4 x 64.8cm (sheet) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

110 P.B.

20th Century

Sweet Pea Tangle (With Chun Ware Additions) Signed with monogram, and further titled and dated June-July 1990 to verso Oil on board 60.5 x 82.5cm Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

111 BRUCE GOOLD

Australian b.1948

Australian Gannet; Hunting a Zebra; Escaped Convict; Bird of paradise

111

Four, each signed, variously dated ‘87, ‘89, ‘84, and ‘89, two titled, and ‘Australian Gannet’ inscibed Linocut 7th proof, in pencil to margins Three linocuts, and one woodcut Largest 35.4 x 69.9cm; Smallest 21.5 x 35cm (images) (4) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £400-600

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 112 ‡ LIN JAMMET

1958-2017

The Fall of Desaix Signed, dated 97, and numbered 40/50 in pencil Screenprint in colours 121 x 83.5cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

113 ‡ LIN JAMMET

1958-2017

Two horses Signed, dated 97, and numbered 43/50 in pencil, and blindstamped Screenprint in colours 120 x 83.5cm (sheet) Unframed

112

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

114 ‡ LIN JAMMET

1958-2017

Two Horses (recto); Two figures holding hands (verso) Signed, dated 97, and inscribed Trial Proof in pencil (recto) Screenprint in colours 112 x 81cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

114 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

113

53

54

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

115 ‡ LIN JAMMET

1958-2017

Fighters Signed, dated 98 and numbered 9/30 in pencil, with blindstamp Etching with dry-point and aquatint, printed at Greshams 49.5 x 32.6cm (plate); 68.5 x 49cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet From a series of seven etchings. £120-180

115

116

116 ‡ LIN JAMMET

1958-2017

Figure by a river Signed in pencil, dated 97, and numbered 9/50 Screenprint in colours 106 x 76cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £120-180

117 ‡ LIN JAMMET

1958-2017

Woolland Signed, titled and numbered 11/18 in pencil Screenprint in colours 74.5 x 59.7cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

117

£120-180

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

118

119

118 ‡ DAME ELISABETH FRINK CH, DBE, RA

119 ‡ DAME ELISABETH FRINK CH, DBE, RA

120 ‡ DAME ELISABETH FRINK CH, DBE, RA

Hades and Persephone (Wiseman 147)

Ganymede (Wiseman 146)

Signed and inscribed A/P VII in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 56 x 37.5cm (plate); 72.5 x 55cm (sheet) Unframed

Signed and numbered 21/70 in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 56 x 38.8cm (plate); 72.5 x 55cm (sheet) Unframed

Jason and the Golden Fleece (Wiseman 151)

1930-1993

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet ‘Children of the Gods’ were a series of 10 etchings with aquatint printed with Nigel Oxley, Kelpra studio.

They followed on from the drawings she made to illustrate ‘Children of the Gods: Myths and Legends of Ancient Greece’ (Kenneth McLeish, Longman, 1983).

1930-1993

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £250-350

1930-1993

Signed and inscribed A/P IX in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint in brown on Velin Arches paper, part of the Children of the Gods series, 1988 53.5 x 37.2cm (plate); 73 x 55cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £250-350

£250-350 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

120

55

56

121

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

122

121 ‡ DAME ELISABETH FRINK CH, DBE, RA

122 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

1930-1993

Hermes (Wiseman 145)

Hades and Persephone (Wiseman 147)

Signed and numbered 70/70 in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint on brown paper, part of the Children of the Gods series, 1988 56 x 37.5cm (plate); 72.5 x 55cm (sheet) Unframed

Signed and numbered A/P VIII in pencil to margin, with Kelpra Studio blindstamp Etching and aquatint on brown Velin Arches paper, part of the Children of the Gods series, 1988 53 x 37cm (plate); 73 x 55cm (sheet) Unframed

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

£150-200

£300-500

123 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

125 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

The Squire’s Tale (Wiseman 73) Titled in pencil to verso Etching with aquatint in black drawn on copper, on J Barcham Green paper, part of The Canterbury Tales II series of 19 etchings, 1972, published by Leslie Waddington Prints Ltd, with White Ink blindstamp 49.7 x 34.5cm (plate); 79.5 x 57.5cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-200

124

123 ‡ DAME ELISABETH FRINK CH, DBE, RA

124 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

1930-1993

Anthony and Cleopatra (Wiseman 128)

The Franklin’s Tale (Wiseman 74)

Signed in pencil, inscribed and numbered A/P, 15/15, and with Waddington Graphics blindstamp Etching in colours on Velin Arches paper by Kelpra Studio, 1982, published by the Royal Shakespeare Company 75 x 56.7cm (plate); 87.5 x 66.5cm (sheet) Unframed

Etching with aquatint in black drawn on copper, on J Barcham Green paper, part of The Canterbury Tales II series of 19 etchings, 1972, published by Leslie Waddington Prints Ltd, with White Ink blindstamp 49.7 x 34.5cm (plate); 79.5 x 58cm (sheet) Unframed

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet

The two actors depicted are Helen Mirren and Michael Gambon.

£150-200

£300-500

125 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

57

58

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET

126 ‡ DAME ELISABETH FRINK CH, DBE, RA 1930-1993

Baboon (Wiseman 155) Inscribed 3 in pencil to verso Screenprint in five colours on watermarked BFK Rives paper, 1990, co-published by the artist and Curwen Chilford Prints 76.5 x 56.5cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet This print was produced in an edition of 70, 10 APs, 2 PPs, 5 HCs. 2 BAT and 2 archive proofs. £500-700

126

127 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

Water Buffalo Signed and numbered 26/50 in pencil Lithograph in colours 41.5 x 59cm (sheet) Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet See Edward Lucie Smith, Elisabeth Frink Sculpture Drawings since 1984 (Art Books International) p.153, for the original drawing. This print was produced for the World Wildlife Fund in 1984. £500-1,000

127 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

THE ESTATE OF DAME ELISABETH FRINK RA & LIN JAMMET 128 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

Water Buffalo Lithograph, 1984 42 x 59 (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-200

128

129 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

Water Buffalo Lithograph, 1984 42 x 59cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet £150-200

129

130 ‡ DAME ELISABETH FRINK CH, DBE, RA

1930-1993

Bullring (Wiseman 133) Etching with aquatint in colours on Velin Arches paper, published by Waddington Graphics, 1985 24 x 35cm (plate); 40 x 52cm (sheet) Unframed Provenance: The Estate of Dame Elisabeth Frink and Lin Jammet This print was produced in an edition of 45 plus 10APs and 3PPs. £200-300

131

No lot

130 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

59

60

GABRIEL VAN SCHNELL

LOTS 132 TO 159 GABRIEL VAN SCHNELL Although there is a portrait of Gabriel van Schnell by Dame Ethel Walker in the National Gallery of Canada, and we have letters addressed to the artist’s residence in Worthing, Sussex, very little is known about him. This is particularly astonishing given the quality of his works. From small sketches of grumpy landlords, to dreamlike compositions that echo the radical freedom his contemporaries were exploring, to the illustrated letters from friends travelling around the world, the works in this collection are beautifully executed. They provide an interesting insight into the mind of a seemingly eccentric and uniquely imaginative artist, blending surrealism with fantasy and caricature, in a variety of media and he was undoubtedly ahead of his time.

Photographic portrait of Gabriel van Schnell (Lot 144)

132

132 GABRIEL VAN SCHNELL Dutch act.1908-1946

Surrealist townscene Ink and watercolour 23.6 x 35.7cm Unframed ÂŁ100-150 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

GABRIEL VAN SCHNELL

133

134

133 GABRIEL VAN SCHNELL Dutch act.1908-1946

City view with painted murals; Middle-Eastern street scene; London street scene Three, two signed, one dated 1946, one dated 1927 Ink and wash Largest 18.2 x 15cm; Smallest 7.7 x 5.5cm (3) £100-150

134 GABRIEL VAN SCHNELL

135 GABRIEL VAN SCHNELL

Dawn; Man on a horse

Surrealist landscape

Two, ‘Dawn’ titled and dated 7 July 08; Man on a horse signed and dated 1931 Ink and wash 22.5 x 17cm; 16.8 x 15.6cm (2)

Signed and dated OCT 1912 Ink and wash 25.5 x 36.3cm

Dutch act.1908-1946

Dutch act.1908-1946

135

£200-300

£100-150

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

61

62

GABRIEL VAN SCHNELL 136 GABRIEL VAN SCHNELL Dutch act.1908-1946

Head study of a man in monastic dress; and further portrait studies Fourteen, variously signed and dated 1930, 1931, or 1932 Ink Largest 26.2 x 24.6cm; Smallest 19.2 x 10cm Unframed (14) £100-150

137 GABRIEL VAN SCHNELL

Dutch act.1908-1946

Study of a woman in a Middle-Eastern headdress; and further portrait studies Nine, variously signed, monogrammed, inscribed and dated 1926, 1930 or 1931 Ink and wash Largest 22.5 x 21.1cm; Smallest 12.3 x 8.1cm Unframed (9)

138 GABRIEL VAN SCHNELL Dutch act.1908-1946

Portrait of a lady in a headscarf Ink and wash 14.3 x 13.5cm £80-120

£80-120

136

137

138 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

GABRIEL VAN SCHNELL

139

140

139 GABRIEL VAN SCHNELL

140 GABRIEL VAN SCHNELL

Portrait of a figure in a landscape; and further portrait studies

Portrait of a lady in a yellow and blue headdress; and further portrait studies

Six, each signed, and dated 1931, 1932, or 1933 Ink Largest 21 x 17cm; Smallest 13.6 x 15.8cm Unframed (6)

Ten, variously signed, monogrammed, titled and/or dated 1930, 1931 or 1946 Ink, coloured ink and bodycolour Largest 23.1 x 16.5cm; Smallest 13.4 x 8.6cm Unframed (10)

Dutch act.1908-1946

£100-150

Dutch act.1908-1946

£80-120

141 GABRIEL VAN SCHNELL Dutch act.1908-1946

Cubist portrait of a man in a hat; Portrait of a man in a landscape, a town beyond Two, one signed and dated 1930 Ink 27.3 x 22.3cm; 19.5 x 16.3cm (2) £80-120

141 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

63

64

GABRIEL VAN SCHNELL

142 GABRIEL VAN SCHNELL Dutch act.1908-1946

Portrait of a man in a town; Portrait of a figure grimacing; Portrait of a man in a kufi Three, two signed, one dated 1931, one dated 1932 Ink Largest 20.5 x 28.5cm; Smallest 19 x 14.3cm (3) £200-300

142

143

143 GABRIEL VAN SCHNELL

144 GABRIEL VAN SCHNELL

A town of two halves

Dance Comic: Monsieur Quenot en Vacances

Dutch act.1908-1946

Signed and dated Aug 19th 1929 Pencil, ink, watercolour, wash, and gum arabic 22.1 x 28cm Unframed £100-150

Dutch act.1908-1946

Titled Ink and wash 38 x 27.7cm Unframed Together with a photographic portrait of the artist; 15.8 x 11.3cm; unframed (2) £80-120

144

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

GABRIEL VAN SCHNELL

145

145 GABRIEL VAN SCHNELL Dutch act.1908-1946

City view with a viaduct; Cold Windy Day (recto); Portrait studies (verso); A town at twilight Three, ‘City view’ signed and dated 1911 and further signed and dated 1912 to mount; ‘Cold Windy Day’ signed, titled and dated May 18th 1912 Variously ink, watercolour, gum arabic and pencil Largest 26.3 x 35.8cm; Smallest 27.7 x 25.8cm Unframed (3) £100-150

146 GABRIEL VAN SCHNELL Dutch act.1908-1946

Figure in a mountainous landscape; Figure wearing a headdress in a town; Four figures in a town; The Sudden Shower Four, three works signed, two dated 1946 or 1947, and one inscribed Sudden Shower/ Sunshine. Wind and Rain Watercolour, ink and wash Largest 36.4 x 26.6cm; Smallest 17.2 x 14.1cm Unframed (4) £100-150

146 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

65

66

GABRIEL VAN SCHNELL 147 GABRIEL VAN SCHNELL Dutch act.1908-1946

View of St. Stephen Walbrook, London; and further urban views Seven, each signed and variously dated 1928, 1929, 1930 or 1932 Mixed media Largest 25.8 x 34.3cm; Smallest 19.7 x 30cm Unframed (7) £100-150

148 GABRIEL VAN SCHNELL Dutch act.1908-1946

View of an arcade in the city; and further city views Seven, each signed and dated Ink and wash Largest 27.3 x 34.4cm; Smallest 19.4 x 14.5cm Unframed (7)

147

£100-150

148

149 GABRIEL VAN SCHNELL Dutch act.1908-1946

Figure on a balcony overlooking a city; Two figures standing over a body; River landscape; and further city views Seven, one signed and dated AP 20 1931 Ink and watercolour Largest 25.5 x 35.7cm; Smallest 33.7 x 21cm Unframed (7)

149

£100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

GABRIEL VAN SCHNELL 150 GABRIEL VAN SCHNELL Dutch act.1908-1946

Figures in the undergrowth Signed and dated 1911 Watercolour and ink 26.4 x 17.5cm £200-300

150

151 GABRIEL VAN SCHNELL Dutch act.1908-1946

Fantasy grotesques Eleven, one inscribed Glick Coloured ink and watercolour Largest 24.6 x 30.4cm; Smallest 18.7 x 8.1cm Unframed (11) £150-250

151 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

67

68

GABRIEL VAN SCHNELL 152 GABRIEL VAN SCHNELL Dutch act.1908-1946

Street curving into the distance Signed and dated 1931 in plate, and signed and dedicated To Albert Dear. with my compliments GVS 1931 in pencil to margin Etching 25.1 x 32.5cm (plate) Unframed £150-250

152

153 GABRIEL VAN SCHNELL Dutch act.1908-1946

Rooftops at twilight; Townscape Two, ‘Twilight’ signed and dated July 1946; ‘Townscape’ signed and dated Aug 9-1929 Each ink and watercolour 17.2 x 19.2cm; 13.3 x 25.5cm (2) £100-150

153 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

GABRIEL VAN SCHNELL 154 GABRIEL VAN SCHNELL

Dutch act.1908-1946

Portrait of a lady; Cubist townscape with reclining nude Two, each signed, ‘Portrait’ dated 1932; ‘townscape’ dated 1930 Ink and wash 37 x 26.3cm; 25.3 x 33.8cm (2) £100-150

155 GABRIEL VAN SCHNELL Dutch act.1908-1946

Study of a standing female nude; Portrait of a lady in a headdress standing; Portrait study of a woman in a headdress; and further studies of female nudes Six, four signed and variously dated 1929 or 1936 Ink and wash Largest 24.2 x 35.9cm; Smallest 16.7 x 9cm Unframed (6) £100-150

154

155

156 GABRIEL VAN SCHNELL Dutch act.1908-1946

Female nude on a unicorn; Female nude in a river landscape; Study of a female nude Three, one signed and dated 1933; One signed, dated 1931 and inscribed Modernistic society woman listening to portable wireless Pencil and coloured ink Largest 26.8 x 40cm; Smallest 27.7 x 28.5cm Unframed (3) £100-150

156

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

69

70

GABRIEL VAN SCHNELL

157

Three albums of watercolours and letters addressed to the artist Gabriel van Schnell Various works dated and inscribed Ink and watercolour Largest 23 x 17.8cm; Smallest 4.5 x 4cm (3) £80-120

158 GABRIEL VAN SCHNELL Dutch act.1908-1946

View of a fortified city with tower; and further city views Fourteen, variously signed and dated June 1908 1926, Aug 6 1929, Aug 8th 1929, or 1931 Mixed media Largest 14.2 x 19.2cm; Smallest 13.2 x 9.1cm Unframed (14) £100-150

157

158

159 GABRIEL VAN SCHNELL Dutch act.1908-1946

Etching plates Thirteen, each copper Largest 29.6 x 16.5cm; Smallest 13.4 x 7cm (13) £60-80

159 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

71

OTHER PROPERTIES 160 CIRCLE OF MARK SENIOR Portrait of a young lady holding a parasol Oil on canvas 48.8 x 35.9cm Unframed £250-350

161 M. NAUMENKO 20th Century

Portrait of a young lady, bust length, in a maroon blouse Signed, dated and inscribed Roma 47 Oil on board 49.2 x 36.7cm Provenance: The late Greta Morrison, widow of Bryan Morrison £200-300

162 ‡ ALFRED KINGSLEY LAWRENCE

160

1893-1975

Three studies for ‘Elizabeth I Commissions Raleigh to Sail for America, 1584’ One signed and variously inscribed Two black chalk, one pencil, one squared for transfer Largest 76.2 x 54.7cm Smallest 49.4 x 33.2cm Unframed Together with Alfred Kingsley Lawrence, Study of a 16th-century soldier, black chalk heightened with white on blue paper, 62 x 48.2cm (unframed) (4) These are studies for the depiction of Elizabeth I and Sir Walter Raleigh, commissioned for St. Stephen’s Hall in the Houses of Parliament, as part of the Building of Britain series. The finished work was unveiled in 1927 and depicts the Queen instructing Raleigh to ‘discover unknown lands, to take possession of them in the Queen’s name, and to hold them for 6 years’. The lands acquired were Rokoken, Roanoke, and the mainland adjacent which were later called Virginia.

162

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

161

72

163 ‡ LAWSON WOOD

1878-1957

The blackmail Signed and dated 10 Watercolour, pencil and bodycolour 35.1 x 50.5cm Provenance: Christie’s, London, Illustrated Books and Original Book Illustrations, 3 July 1998, lot 124; By descent to the present owner £300-500

163

164 ‡ JOHN SANDERSON-WELLS 1872-1955

On the scent Signed Watercolour heightened with bodycolour 25.8 x 35.3cm £150-250

165 AFTER HERBERT DICKSEE Against the Spy; Tiger lying by long grass Two, each drypoint etching Each signed with initials and dated 1928 in the plate 20.5 x 39.9cm; 20.8 x 38.7cm (plate) (2) £300-500

164

165 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

73

166 CAMILLE PISSARRO French 1830-1903

Deux femmes dans un marché Stamped with artist’s initials (Lugt 613e) Pencil 15.2 x 9.2cm Provenance: The estate of the artist; William Weston Gallery, London, no. D7539/1 £1,000-1,500

166

167 KONSTANTIN IVANOVICH GORBATOV Russian 1876-1945

Capri Signed, titled and dated 1926 in the plate Lithograph 31.9 x 39.4cm Unframed £150-250

167 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

74

168

168 JAMES BOLIVAR MANSON

169 ‡ WOLFGANG HEINZ

170 ‡ ALGERNON NEWTON RA

Cornfield in summer

Harvesting

Trees beneath a darkening sky

Signed Oil on board 25 x 35.5cm

Signed Oil on canvas 61.5 x 92cm

Oil on board 21.8 x 29.3cm

Provenance: Duncan R Miller Fine Arts, London

Provenance: E. Stacy-Marks, Eastbourne

£400-600

£200-400

1879-1945

169

German 1930-2014

1880-1968

Provenance: The Fine Art Society, London £600-800

170 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

75

171

171 HENRY SCOTT TUKE RA, RWS

172 ‡ GODWIN BENNETT

1858-1929

Leghorn Signed, titled and dated 1912 Watercolour 24.3 x 34.7cm Provenance: Probably M.C.F. Leach, Vale Lodge, Leatherhead, 1912

Literature: Probably Henry Scott Tuke, Register of paintings by Henry Scott Tuke, p.29 Exhibited: Probably London, Royal Watercolour Society, Autumn Exhibition, 1912

1888-1960

20th Century

Fishing boats in a bay

Boats on a river, a factory in the distance

Signed Oil on canvas 30.4 x 40.4cm £200-300

£800-1,200

172 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

173 ENGLISH SCHOOL

Indistinctly signed W.M.F*** Watercolour 31.7 x 44.9cm Provenance: By descent to the present owner £120-180

173

76

174 ‡ FRANS MASEREEL

Belgian 1889-1972

Die Passion eines Menschen 25 woodcuts, 23 signed with initials in the woodblock and one dated 1918 Published Kurt Wolff, Munich, 1921, no. 554/750, bound in marbled covers 28.4 x 22.7cm £150-250

175 BRITISH SCHOOL

Mid 20th Century

View of a Middle-Eastern courtyard with a fountain; and further architectural views 174

175

Ten, one inscribed Etchings Wyndham Lewis in pencil to margin Each etching Largest 19.8 x 13.1cm (plate); Smallest 13.5 x 6cm (plate) Unframed (10) £100-200

176 ‡ LEO MARCHUTZ German 1903-1976

Textes Choisis L’Évangile Selon Saint Luc 85 lithographs in-texte, 30 hors-texte, on unbound paper, no. 77/150, published 1949 Loose in cardboard slip-case 31.5 x 24.9cm £350-500

176

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

77

177 OTTO LANGE

German 1879-1944

Dame in Grün Signed in pencil to margin Coloured woodcut 35.7 x 24.1cm Unframed £500-700

178 RUSSIAN SCHOOL Early 20th Century

Abstract compositions Five, each variously signed, dated and inscribed Variously watercolour, pencil and gouache Largest 45.2 x 28.3cm; Smallest 20.4 x 16cm Together with a watercolour copy of a pre 1917 Russian poster of St George Slaying the Dragon All unframed (6) £300-500

179 ‡ MARCEL MARCEAU French 1923-2007

Bip flying over the city Signed, dated and inscribed To Andrew/ O’Connor/ with all my heart/Best/Marcel Marceau/1988 Lithograph 62 x 82cm (sheet) £80-120

177

178

179

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

78

180

181

180 GEORGE DENHOLM ARMOUR

1864-1949

Pack donkey; Study of two lions Two, the former pencil, the latter black and white chalks within black and white framing lines 8.2 x 8.2cm; 13.2 x 18.2cm (2) Provenance: ‘Pack donkey’ with The Tryon Gallery, London £150-250

182 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

79

183

181 GEORGE DENHOLM ARMOUR

183 JACQUES-ÉMILE BLANCHE

Strathavon; Road at Kittock Mill; Old Stable Window, Prestonpans

Racing at Auteuil

Three, each titled Each pencil Largest 17.4 x 13.3cm; Smallest 11.6 x 8.4cm (3)

Signed, and further signed, titled and dated 1935 verso Oil on board 33 x 41cm

Provenance: All with The Tryon Gallery, London

Provenance: Lucien Lefebvre-Foinet, Paris, no. 5117; Exposition Biennale Internationale des Beaux Arts, Venice, 1936 (with the title Courses en Angleterre); Michael Parkin Fine Art Ltd, London, no. 4140; The Estate of Professor Rodney Fitch CBE

1864-1949

£150-250

182 GEORGE DENHOLM ARMOUR

1864-1949

The Grand National - The Water Jump Watercolour, pencil and bodycolour 19.4 x 29.5cm Provenance: The Tryon Gallery, London £300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

French 1861-1942

Exhibited: 20th Venice Biennale, 1936; Leicester Galleries, May 1939, no. 102; Arthur Tooth & Sons, 1939, no. 32; Leicester Galleries, October 1969, no. 30 £800-1,200

80

184 ‡ ROGER WAGNER

b.1957

Canning Town Signed with initials Oil and mixed media on paper 52.5 x 68.8cm Provenance: Blackman Harvey, London Exhibited: Oxford, Ashmolean Museum, Roger Wagner Paintings 1982-1994, 25 January - 27 March 1994, no. 14 £400-600

184

185 ‡ PATRICK GEORGE

186 ‡ ENOTRIO PUGLIESE

Lower Marsh II

Ferrovia

Signed Oil on canvas 64 x 81cm

Signed, and further signed, titled and dated 1957 to verso Oil on canvas 30 x 45.2cm

1923-2016

Provenance: Baroness Anne Louise de Graevenitz; By descent to the present owner £400-600

185

Italian 1920-1989

Provenance: Baroness Anne Louise de Graevenitz; By descent to the present owner £200-300

186 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

81

187

187 SIR GEORGE CLAUSEN RA 1852-1944

Farm buildings Oil on canvas 29.7 x 34.8cm Provenance: Sotheby’s, London, Modern British Paintings, Drawings & Sculpture, 14 October 1987, lot 4 £2,000-3,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

82

188 ‡ SIR CLAUDE FRANCIS BARRY

1883-1970

Cowes Regatta Signed and titled in pencil to margin, and further inscribed to verso Aquatint, 1937 29 x 35.6cm (plate) Unframed Provenance: Tom Skinner, the artist’s executor, and by descent £600-800

189 ‡ SIR CLAUDE FRANCIS BARRY

1883-1970

St. Marks, Venice Signed and titled in pencil to margin Etching, 1938 26.4 x 33.1cm (plate) Unframed Provenance: Tom Skinner, the artist’s executor, and by descent £500-700

188

190 ‡ SIR CLAUDE FRANCIS BARRY

1883-1970

The Lonely Tower, San Gimignano Signed with monogram, and further signed, dated 62, and titled to verso Oil on board 91.7 x 66.7cm Unframed Provenance: Tom Skinner, the artist’s executor, and by descent Exhibited: Paris Salon (according to label) £2,500-3,500

189 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

83

190 Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

84

191 ‡ CLAUDE ROGERS 1907-1979

Request Stop Signed Oil on board 21.3 x 26.8cm Provenance: Leicester Galleries, London, 1947; from whom purchased by Mrs G. Buxton; Baroness Anne Louise de Graevenitz; By descent to the present owner Exhibited: London, Leicester Galleries, June 1947, no. 41 £600-800

191

192

193

192 ‡ BERNARD MENINSKY

193 ‡ WILLEM KORTELING

Three women in a village

Children in the snow

Oil on canvas board 21.5 x 16.5cm

Signed Oil on canvas 33.5 x 44.5cm

1891-1950

Provenance: Ashgate Gallery, Farnham Sir John Verney Bt; By descent to the present owner £800-1,200

Dutch 1889-1964

Provenance: Baroness Anne Louise de Graevenitz; By descent to the present owner £200-300 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

85

194 ‡ KENNETH ROWNTREE

195 ‡ GORDON ELLIS

Parisian scene with figures on a bridge

A view of the Pier Head, Liverpool, with the Royal Liver Building, the Cunard Building and the Port of Liverpool Building

1915-1997

Signed and dated ‘37 Oil on canvas 32.8 x 46cm Provenance: Sir John Verney Bt; By descent to the present owner Kenneth Rowntree and Sir John Verney were great friends and in the summer of 1956 rented a small cottage for their families overlooking the sea at Selsey in Sussex. £700-1,000

1921-1979

Signed Oil on canvas board 29 x 44.2cm Provenance: Dreweatt Neate, 22 October 2008, lot 672; Property of a retired Master Mariner; By whom sold, Woolley and Wallis, Paintings, 5 June 2013, lot 326; And by descent to the present owner £500-800

194

196 ‡ PHYLLIS GINGER 1907-2005

Building work near St. Pauls Cathedral; The Tower of London tour Two, the latter signed and dated 1947 Each watercolour 32.1 x 50.2cm; 33.2 x 49cm (2) Provenance: Chris Beetles, London; And by descent to the present owner Literature: Mrs Robert Henrey, London (London, J.M.Dent & Sons, 1948), pp. 5, 15 (each illustrated) Exhibited: London, Chris Beetles, Summer Show, nos. 69 & 70 £200-300

195

196

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

86

197 EDMUND G. FULLER 1858-1944

Landing Pilchards Signed, also titled verso Oil on canvas 35.3 x 45.8cm £200-300

198 JAMES STEPHEN YABSLEY act.1913-1930

View of the Sloop Inn, St Ives Signed Oil on canvas 45.7 x 61cm £100-150

199 ‡ JOHN ANTHONY PARK RBA, ROI 1880-1962

St Ives street scene Signed Oil on canvas 59.5 x 49.5cm

197

£1,500-2,500

198

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

87

199

Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

88

200 JULIUS OLSSON RA 1864-1942

Coastal landscape Signed Oil on canvas 46 x 61.5cm Provenance: Property of a deceased estate £1,000-1,500

200

201 DIYARBAKIRLI TAHSIN

Turkish 1875-1937

Sunset over a choppy sea Signed Oil on canvas 50 x 69.5cm Provenance: Turkish private collection, 1940s £800-1,200

201

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89

202

202 HAROLD HARVEY

1874-1941

Boats in a harbour Signed and dated 09 Oil on canvas 30.6 x 41cm £3,000-5,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

90

203

204

203 ‡ BERNARD VENABLES 1907-2001

204 CIRCLE OF STANLEY ROY BADMIN

A fisherman on the bank

South Hinksey

Signed Watercolour and pencil heightened with white 34.8 x 37.8cm

Titled and dated 1942 Watercolour and pencil 34.5 x 40.9cm

Provenance: Anne Hull Grundy (1926-1984); By descent to the present owner

£200-300

£150-250

205

205 HELY AUGUSTUS MORTON SMITH RBA, RBC

1862-1941

A whaler sailing through cold sea

206 ‡ TREVOR CHAMBERLAIN ROI, RSMA

b.1933

Cool Welsh Morning

Signed Watercolour and pencil 25.7 x 36.3cm

Signed and dated ‘76, and titled and further inscribed to verso Oil on canvas 25.6 x 35.7cm

Provenance: By descent to the present owner

£300-400

Provenance: Property of a deceased estate

£150-250

206 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

91

207

208

209

207 FRANZ MÜLLER-GOSSEN German 1871-1946

Battleships at sea Signed and dated 1918 Oil on canvas 80.3 x 120.4cm £400-600

210

208 ‡ ALDO PAGLIACCI

209 ‡ PABLO PICASSO Spanish 1881-1973

20th Century

The bird seller

Moroccan Woman (From Carnet de Californie)

Signed and dated 1961 Oil on board 41.8 x 73.3cm

Numbered in pencil 142/300, and with printed date 26.11.55 Lithograph 44.9 x 29.8cm

Rural landscape with houses and a waterpump by a road

Italian 1913-1992

Provenance: Baroness Anne Louise de Graevenitz; By descent to the present owner £300-500

Provenance: The Savage Gallery, London, no.209; The late Greta Morrison, widow of Bryan Morrison £300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

210 FRENCH SCHOOL

Oil on canvas 55.5 x 55.2cm Unframed £120-180

92

211

211 L. THOMPSON A shepherd and his flock on the road Signed Oil on canvas 68.4 x 92cm £800-1,200

212

212 MAO ZONGZE

213 ‡ REINHOLD R. ZELLER

Gateway in the Great Wall of China, Badaling

Figures in a boatyard, possibly Hong Kong; Rice farmer with a buffalo; Boats in a harbour, possibly Hong Kong

Signed and with the artist’s stamp Oil on canvas 161.8 x 112.5cm

Three, each signed, one dated ‘54, two dated 1956 Each oil on board One 53.4 x 42.5cm; Two 39.4 x 50.1cm (3)

£300-500

£200-400

Chinese 20th Century

German 1908-1977

213

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93

214 ‡ ROWLAND SUDDABY 1912-1972

A pond in Thetford Forest Signed Watercolour heightened with bodycolour 51.4 x 59.5cm Provenance: The Leger Galleries Ltd., London, 1965 £200-300

214

215 ‡ ROWLAND SUDDABY 1912-1972

Mill Pool on the River Stour, Essex Signed Watercolour and pencil 41.3 x 55cm Provenance: The Leger Galleries Ltd., London, 1967 £200-300

215

216 ‡ ROWLAND SUDDABY 1912-1972

Smallbridge Reach, Essex Signed Watercolour and pastel 26.5 x 55.7cm Provenance: The Leger Galleries Ltd., London, 1967 £200-300

216 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

94

217

217 ‡ EDWARD WESSON RI, RBA

218 ‡ EDWARD WESSON RI, RBA 1910-1983

1884-1946

Burton Pond near Pulborough

Stormy weather over Devil’s Punch Bowl, Surrey

Rural landscape with haycarts on a road

Signed Oil on board 49.7 x 75.7cm

Signed Oil on canvas 50 x 59.7cm

Provenance: Property of a deceased estate

Provenance: Property of a deceased estate

£200-300

£300-500

1910-1983

Signed, and further titled and inscribed to verso Oil on board 18.2 x 24.5cm Provenance: Gallery Thirty Three, Billinghurst; Property of a deceased estate £250-350

218

219 SIDNEY DENNANT MOSS

219 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

95

220

220 ‡ EDWARD SEAGO RWS 1910-1974

Jasper’s Farm, Norfolk Signed Oil on canvas 26 x 35cm Provenance: Keys Fine Art Auctioneers, Norfolk, 15th December 2000, lot 640; By descent to the present owner £5,000-8,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

96

221 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

97

221 SAMUEL JOHN PEPLOE RSA Scottish 1871-1935

Buildings, Paris Black ink, c.1906 20.3 x 14.6cm Provenance: The Scottish Gallery, Edinburgh £3,000-5,000

222 CHRISTOPHER WOOD

1901-1930

The Christening Pencil 32.7 x 23.7cm Provenance: Jim Ede (1895-1990), Kettle’s Yard, Cambridge; Mercury Gallery, London, where purchased by the previous owner, July 1978; By descent £1,500-2,500

223 ‡ KEITH VAUGHAN 1912-1977

Landscape with a figure and birds; Landscape Two, each pencil 9.1 x 12.3cm; 8.9 x 12.4cm (2) Provenance: Both Anthony Hepworth Fine Art, Bath £400-600

222

223 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

98

224 ‡ ERIC FRASER FSIA 1902-1983

Machines! That Was All I Saw In The Ranks Of The German Army Signed Pen and black ink, heightened with bodycolour 11.9 x 16.1cm Provenance: Chris Beetles, London; And by descent to the present owner Literature: Radio Times, 11 October 1940, p.9, illustrating Noah Sails Again, episode 3 Exhibited: London, Chris Beetles, The Illustrators: The British Art of Illustration 1870-2010, no. 260 Noah Sails Again was a BBC radio production of a translation of the 1930 play Noé, by the French author André Obey (1892-1975). The Radio Times, when describing episode 3, said ‘Don Quixote tells Noah how he and Rosinante gallantly rode against Hitler’s hoards in Poland’.

224

£200-300

225 ‡ ERIC FRASER FSIA 1902-1983

Elizabeth I; The Clergyman Two, the latter signed with initials Each pen and ink heightened with bodycolour 29.5 x 11.5cm; 9.6 x 8.8cm (2) Provenance: Each in the collection of the artist’s family; Chris Beetles, London; And by descent to the present owner Exhibited: London, Chris Beetles, Eric Fraser 1902-1983, April-May 2013, nos. 124 & 284 Elizabeth I was a design for the mural of the Kings and Queens of England, produced for The History of Parliament exhibition, House of Commons Gallery, 1951. £150-200

226 ‡ ROBERT FURNEAUX JORDAN 225

226

1905-1978

Robin Hood Signed, and further inscribed, titled and dated 1945 in pencil to mount Pen and ink 41.1 x 26.2cm Provenance: By descent to the present owner £200-300

227 ‡ CHARLES TUNNICLIFFE OBE, RA 1901-1979

Cattle in a farmyard Signed and numbered 39/75 in pencil to margin Etching 22.2 x 28.4cm £300-500

227 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

99

228

228 ‡ THOMAS SAUNDERS NASH 1891-1968

Workers at rest Signed and dated 1929 Oil on board 28.5 x 30.5cm £1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

100

229

229 ‡ DORIS ZINKEISEN ROI

Scottish 1898-1991

Christmas morning Signed Oil on canvas 49.1 x 74.9cm Provenance: Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 13 December 2016, lot 159; And by descent to the present owner £1,000-1,500

230 ‡ DORIS ZINKEISEN ROI

Scottish 1898-1991

The skaters Oil on canvas 51 x 40.6cm Provenance: Chris Beetles, London; And by descent to the present owner Exhibited: London, Chris Beetles, The Illustrators: The British Art of Illustration 1800-2008, November 2008-January 2009, no. 186 Commissioned by Royles as a design for a Christmas card. £1,200-1,800

230 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

101

231

231 ‡ DORIS ZINKEISEN ROI

Scottish 1898-1991

Elizabeth I on horseback at the end of a procession Signed Oil on canvas, painted in 1961 according to label 51 x 76cm Provenance: By descent to the present owner £1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

102

232

232 ‥ ERIC HOLT 1944-1997

Street scene Signed and dated 1977 Tempera on board 10 x 8.5cm

Provenance: The Piccadilly Gallery, London; From whom purchased by A. E. Bodie, Esq., May 1977 ÂŁ1,000-1,500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

103

233 ‡ ERIC HOLT 1944-1997

Domestic scene Signed and dated 1978 Tempera on board 20 x 13cm Provenance: The Piccadilly Gallery, London; From whom purchased

by A. E. Bodie, Esq., October 1980 £2,000-3,000

233 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

104

234

235

234 ‡ RICHARD EURICH OBE, RA

235 ‡ RICHARD EURICH OBE, RA

1903-1992

1903-1992

Weymouth Bay

The Seals of Farne

Signed and dated 79, and further titled and inscribed to verso Oil on board 39.2 x 90.3cm

Signed and dated 74, and further titled to verso Oil on board 20 x 48cm

Together with correspondence between the artist and the previous owner, which mentions the present work

Provenance: Ash Barn (Werner Haub), Stroud, from whom purchased by the late owners, September 1975; Property of a deceased estate

Provenance: Ash Barn (Werner Haub), Stroud, from whom purchased by the late owners, February 1987; Property of a deceased estate We are grateful to Philippa Bambach, the artist’s daughter, for confirming the authenticity of this work.

We are grateful to Philippa Bambach, the artist’s daughter, for confirming the authenticity of this work. £1,000-1,500

£2,000-2,500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

105

236

236 ‡ RICHARD EURICH OBE, RA

1903-1992

From Bolton Abbey to Barden Tower Signed and dated ‘59-6, and further titled and inscribed to verso Oil on canvas 79 x 113cm Together with various letters from the artist to the previous owner Provenance: Fine Art Society, London, May 1981, where purchased by the late owners; Property of a deceased estate Exhibited: Royal Academy, 1960, no. 436; Bradford, Bradford Art Galleries and Museum; Glasgow, Fine Art Society; London, Fine Art Society; Southampton, Southampton Art Gallery, Richard Eurich Retrospective Exhibition, 1979-1980, no. 61 We are grateful to Philippa Bambach, the artist’s daughter, for confirming the authenticity of this work. £4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

106

237 ‡ ÉDOUARD PIGNON

French 1905-1993

Battage Signed and dated 62, and further signed, dated and title to verso Oil on canvas 46.1 x 55.4cm Provenance: Sotheby’s, London, 29 June 1967, lot 107; Mallams, Oxford, Modern & Post-War British Art, Design, 10 December 2015, lot 539 £1,200-1,800

237

238 ‡ PATRICK HAYMAN

1915-1988

By the Lake Signed, and further titled to stretcher Oil on canvas 62 x 92.1cm Provenance: Christie’s South Kensington, Modern British and Continental Pictures, Watercolours and Drawings, 28 March 1991, lot 195 £700-1,000

238

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107

239

239 ‡ JOHN SKEAPING RA

240 ‡ JOHN SKEAPING RA

241 ‡ JOHN SKEAPING RA

1901-1980

1901-1980

1901-1980

The final furlong

Studies of antelope running

Studies of antelope

Signed and dated 67 Watercolour and bodycolour 54.3 x 74cm

Signed and dated 78 Pastel and pencil 48.3 x 63.3cm

Signed and dated 78 Pastel 43.2 x 55.3cm

£600-800

Provenance: Arthur Ackermann & Son, London

£400-600

£400-600

240 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

241

108

242

243

242 ‡ FRANK TAYLOR

b.1946

Back Home Signed and inscribed … so free of fear…and we walked all the way…

Gouache 46.2 x 59.8cm Provenance: Christie’s, South Kensington, Twentieth Century British Art, 13 June 2001, lot 327

243 ‡ OSSIP ZADKINE Russian/French 1888-1967

Hommage à Rodin Signed, titled and numbered 91/120 in pencil Lithograph 73.6 x 54.8cm £200-300

£500-800

244 IQBAL GEOFFREY

244

245

245 ‡ MARIO RUSSO

Pakistani b.1939

Italian 1925-2000

Goddess of Love

Circus seal

Signed Pastel, 1960 34 x 24cm

Signed and dated 1954 Oil on board 64.4 x 25.4cm

Exhibited: London, Portal Gallery, December 1960January 1961; Galerie de Seine, London, One-Man Show, 1961 £100-150

Provenance: Galleria La Barcaccia; Baroness Anne Louise de Graevenitz; By descent to the present owner £150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

109

246 ADRIEN KARBOWSKY French 1855-1945

Young lady lying on a bed with a pipe Signed and dated 1912 Oil on canvas 38.5 x 55.1cm £300-500

247 ‡ ALBERT MALET

248 ‡ VERA JICÍNSKÁ

Le Harneau, Le Village Montagnard

Street scene

French 1905-1986

Signed Oil on canvas 81 x 64.7cm £500-800

Czech 1898-1961

Signed and dated 1927 Oil on canvas 91 x 50.2cm £600-800

246

247

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

248

110

249

249 ‡ HENRYK GOTLIB

250 ‡ HENRYK GOTLIB

Girls in Cascais

Fruit in two bowls

Signed and dated 66 Oil on canvas 63.5 x 76.5cm

Signed Oil on canvas, 1962 75.5 x 63cm

Provenance: Mrs Janet Gotlib, the artist’s widow, 1970

£800-1,200

Polish 1890-1966

Polish 1890-1966

Exhibited: Edinburgh, Scottish National Gallery of Modern Art, Henryk Gotlib 1890-1966, July-August 1970, no. 48; Surrey, Ashgate Gallery, Henryk Gotlib - Paintings, Watercolours, Drawings, October 1974; Surrey, University of Surrey Library Gallery, Henryk Gotlib Exhibition, 1982 £800-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

111

250 Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

112

251 ‡ SIR FRANK BRANGWYN RA, RWS, RBA 1867-1956

Captain Shas Signed with monogram, titled and indistinctly inscribed Watercolour and pastel 24.2 x 19.1cm Provenance: By descent to the present owner £300-500

252 ‡ SIR FRANK BRANGWYN RA, RWS, RBA 1867-1956

The artist as a boy made to say his prayers 251

252

Signed with monogram and inscribed Co. W. de Belleroche, and 2½” Pen and ink within pencil framing lines 21.8 x 16.5cm Provenance: Count William de Belleroche; Liss Fine Art; By descent to the present owner £200-300

253

253 ‡ SIR FRANK BRANGWYN RA, RWS, RBA 1867-1956

Designs for London street decorations for the coronation of George V, three to recto, five to verso

Pencil with pen inscriptions, 1911 22.6 x 18.6cm

Inscribed March 27 1911/ To the President of the Royal academy of Arts, Berlin/ Dear Sir/St James St, and with printed letterhead (recto), and numbered 60 (verso)

Provenance: By descent to the present owner £200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

113

254

254 ‡ SIR FRANK BRANGWYN RA, RWS, RBA 1867-1956

The Bridge Signed with initials Oil on board 49.5 x 70.3cm Provenance: Painted for The Cooling Galleries, London, in exchange for three of the artist’s earlier works which he did not think representative of his best work (according to label); Thompson’s, Aldeburgh; By descent to the present owner £4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

114

255

256

257

255 ‡ MICHAEL FOREMAN RDI

256 ‡ MICHAEL FOREMAN RDI

257 ‡ MICHAEL FOREMAN RDI b.1938

1928-1998

It was just me and a big round moon up there and tomatoes all around me

Treasure Island: ‘Both My Pistols Went Off…’

Treasure Island: ‘I beheld great heaps of coin…’

Captain Hook; The Shepherds are Listening to the Good News

Signed and inscribed Bad Lad (according to label on reverse) Watercolour with pencil 24.7 x 38.9cm

Signed, titled, dated 2009, and numbered 174 Watercolour and pencil within pencil framing lines 49.7 x 39cm

Signed, titled, dated 2009, and numbered 223 Watercolour and pencil 49.5 x 34.4cm

Two, each watercolour heightened with bodycolour 34.5 x 54.5cm; 45.6 x 32.3cm (2)

Provenance: Chris Beetles, London; And by descent to the present owner

Provenance: Chris Beetles, London; And by descent to the present owner

Literature: Michael Morpurgo, Not Bad for a Bad Lad (London, Templar Publishing, 2010) pp.24-25 (illustrated)

Literature: Robert Louis Stevenson, Treasure Island, illustrated by Michael Foreman (London, Pavilion Children’s Books, 2009), page 171 (illustrated)

b.1938

Exhibited: London, Chris Beetles, The British Art of Illustration 1870-2010, 2010, no.382 £200-300

b.1938

Exhibited: London, Chris Beetles, The Illustrators: The British Art of Illustration 1870-2009, no. 340 £200-300

Provenance: Chris Beetles, London; And by descent to the present owner Literature: Robert Louis Stevenson, Treasure Island, illustrated by Michael Foreman (London, Pavilion Children’s Books, 2009), page 220 (illustrated) Exhibited: London, Chris Beetles, The Illustrators: The British Art of Illustration 1870-2009, no. 343 £200-300

258 ‡ ANNE GRAHAME-JOHNSTONE

Provenance: Both Chris Beetles, London; And by descent to the present owner Literature: ‘Captain Hook’: J.M. Barrie, Peter Pan and Wendy, Award Publications Ltd, London, 1988, p.30; ‘The Shepherds’: Another Book About Jesus, Deans, London, 1972, illustrated p.5-6; Dean’s Gift Book of Bible Stories, Deans, London, 1974, p.5-6 Exhibited: Captain Hook: London, Chris Beetles, The Illustrators of the British Art of Illustration 1800-2007, no.452 £200-300

259 ‡ PAUL COX

b.1957

The Pirate Captain Signed, and further inscribed Unpublished - promotional piece for illustration award to verso Pen, ink and watercolour 58 x 40.6cm Provenance: Chris Beetles, London; And by descent to the present owner Exhibited: London, Chris Beetles, Paul Cox: A journey through his Art, October 2013, no 177 This work was drawn c.1996 as part of a commission by Jim Henson’s Creature Shop, for promotional material for Muppet Treasure Island. £200-300

258

259 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

115

260

261

260 ‡ RONALD SEARLE

261 LOVIS CORINTH

And this was all the Harvest that I reap’d, ‘I came like Water, and like Wind I go.’

Strasse in Königsberg

Signed and titled Pen and ink 31.6 x 22.8cm

Literature: Karl Schwarz, Das graphische Werk von Lovis Corinth (Berlin, Fritz Gurlitt, 1922), no. 321

1920-2011

Provenance: Chris Beetles, London; And by descent to the present owner

German 1858-1925

Signed in pencil Lithograph 39 x 25cm (image)

£1,000-1,500

Exhibited: London, Chris Beetles, Ronald Searle, October 2003, no.22

262 ‡ RALPH THOMPSON

£500-800

Tiger in the water

1913-2009

Signed Watercolour 74.5 x 105cm

262

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

263

263 ‡ JOHN PIPER CH

1903-1992

Five Gates of London (Levinson 287) Signed and numbered 91/100 in pencil to margin Screenprint in colours, 1978 41.9 x 159.3cm (image) Provenance: By descent to the present owner £1,500-2,500

264 ‡ JOHN PIPER CH

1903-1992

Coventry Cathedral, 1940 Signed and numbered 5/500 in pencil to mount Woven silk tapestry 11.3 x 14.3cm £300-500

265 ‡ JOHN PIPER CH

1903-1992

264

Buckden in a Storm (Levinson 281) Signed and numbered 21/100 in pencil to margin, with Christie’s Contemporary Art blindstamp Screenprint in colours, 1977 68.3 x 94cm With a certificate of authenticity from Christie’s Contemporary Art £500-700

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

265

Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

118

266

266 ‥ JOHN PIPER CH

1903-1992

Obelisks Watercolour, collage and wax 41 x 74.8cm Provenance: Chris Beetles, London; And by descent to the present owner Exhibited: London, Chris Beetles, The Chris Beetles Summer Show, 2003, no. 92 ÂŁ5,000-8,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

119

267

267 ‡ JOHN PIPER CH

1903-1992

Newbold Pacey, Warwickshire Signed, titled and dated Newbold Pacey Warw. 1979 Watercolour heightened with bodycolour, with felt-tipped pen 38.4 x 55.8cm Provenance: Marlborough Galleries, London, 1979 £4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

120

268 ‡ ALEXANDER CRESWELL b.1957

Biddulph Grange: Egypt Signed Watercolour 36.8 x 54.7cm Provenance: Spink, London; By descent to the present owner £250-350

269 ‡ ALEXANDER CRESWELL b.1957

Felucca Moored Near Luxor, Egypt 268

Signed Watercolour and pencil 26.6 x 36.6cm Provenance: Spink-Leger, London; By descent to the present owner Exhibited: London, Spink-Leger Pictures, In an Antique Land - Egypt, 1997, no. 17 £250-350

270 ‡ CHRISTOPHER SANDERS RA 1905-1991

Boats in Bénodet, France; Landscape in Calabria Two, each signed Each oil on canvas 38.5 x 46cm; 38 x 45.5cm (2) Provenance: ‘Benodet’ with D.M.Nesbit & Co., Southsea, 13 November, 1991, lot 248; ‘Calabria’ with Ash Barn (Werner Haub), Stroud, February 1987; Each property of a deceased estate £200-300

269

270 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

121

271 ‡ JUAN GENOVÉS Spanish 1930-2020

Prostrate figures Signed and dated 66 Watercolour and bodycolour 49.4 x 68.4cm Provenance: The late Greta Morrison, widow of Bryan Morrison £1,500-2,500

271

272

273

272 ‡ MAXWELL ASHBY ARMFIELD RWS

273 ‡ ABIGAIL EDGAR

Tulips in a Porphyry Duck

Night Wedding, Juhu Beach, Mumbai

Signed with monogram and inscribed op600 (lower right) Tempera on board 36.8 x 31.2cm

Signed with initials and dated 01, and further inscribed with title to verso Acrylic with varnish on tinted paper 30.5 x 44.6cm

Provenance: The Fine Art Society, London, July 1977, no. 5203; Bonhams, Knightsbridge, Modern Pictures, 13 July 2010, lot 42; The Fine Art Society, London

Provenance: Chris Beetles, London; And by descent to the present owner

£500-800

£150-250

1881-1972

Contemporary

Exhibited: London, Chris Beetles, Abigail Edgar, July 2001, no. 52

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

122

274 ‡ MARY FEDDEN OBE, RA, RWA 1915-2012

The Black Lemon Signed and dated 1977 Gouache, watercolour and pencil 67.2 x 46.8cm Provenance: Lady Jan Verney; And by descent to the present owner Exhibited: London, New Grafton Gallery, 1 December 1977, cat no. 32 Mary Fedden and her husband Julian Trevelyan were great friends with Sir John and Lady Verney.

According to Fedden ‘we met first, I think, just after we were together… and have been great friends of theirs ever since…I’m godmother to the youngest, and we were great friends with all of them as a tribe, the parents and the children’ (Mary Fedden interviewed

by Mel Gooding, 19 January 1991). £6,000-8,000

274

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123

275

275 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

White Arches Signed and dated 1955 Oil on canvas 50.5 x 60.9cm Provenance: Redfern Gallery, London; From whom purchased by John Verney Esq (later Sir John Verney Bt)., 12 June 1956; And by descent to the present owner Mary Fedden and her husband Julian Trevelyan were great friends with Sir John and Lady Verney. According to Fedden ‘we met first, I think, just after we were together…and have been great friends of theirs ever since…I’m godmother to the youngest, and we were great friends with all of them as a tribe, the parents and the children’ (Mary Fedden interviewed by Mel Gooding, 19 January 1991). £15,000-20,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

124

276 ‡ MARY FEDDEN OBE, RA, RWA

1915-2012

Woman with a black horse Signed and dated 1977 Gouache on card 17.8 x 20.2cm Unframed £1,000-1,500

276

277 ‡ CRAIGIE AITCHISON CBE, RSA, RA 1926-2009

Dusty in a Green Coat Signed, dated 2002, and numbered 42/75 in pencil to verso Screenprint in colours 30 x 25cm £800-1,200

277 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

125

278 ‡ BEN NICHOLSON OM 1894-1982

Tesserete (Lafranca 29) Signed, dated 65, and numbered 24 in pencil, with Lafranca blindstamp Etching with tone and hand colouring in black ink 18.8 x 22.5cm (plate); 31.9 x 37.6cm (sheet) Provenance: Alan Cristea Gallery, London £1,000-1,500

279 ‡ BEN NICHOLSON OM 1894-1982

Tesserete (Plate for Lafranca 29a) Scratched-through copperplate 18.5 x 22.6cm Together with Ben Nicholson, Tesserete, Etching, Cancellation proof, 18.9 x 22.8cm (plate) (2) Provenance: Both with Alan Cristea Gallery, London £800-1,200

278

279

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

126

280 ELI KARPEL

American 1916-1998

Twisted forms Signed and numbered 20/20 Patinated bronze 18.2 x 20.6cm (including integral base) £300-500

281 ‡ ERNST MÜLLER-BLENSDORF German 1896-1976

Dancing Couple Signed with monogram and further signed, titled and dated 1957 to mount Red crayon 55.9 x 38cm £200-300

280

282 ‡ BRIAN WILLSHER

1930-2010

Abstract forms Signed and dated 1985 in pen to base Carved and assembled wood 23.8cm high £200-400

281

282 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

127

283 ‡ HAMISH MACKIE b.1973

Cheetah outstretched Signed with initials and dated 2005 Bronze on a black marble base 51.5cm long £1,200-1,800

283

284 ‡ NICOLA TOMS

Zimbabwean b.1969

Zebra Signed and numbered 2/9 Bronze, on wooden base 28cm wide Provenance: The late Greta Morrison, widow of Bryan Morrison £500-700

284

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

128

285

285 ‥ MICHAEL AYRTON 1921-1975

Minotaur Complete suite of ten etchings plus title, no. 19/75, each signed and numbered in pencil Printed on 140lb Saunders Imperial mould-made paper by Studio Prints, London, 1971 Each sheet approx. 77.9 x 58.6cm Unframed (11) ÂŁ2,000-3,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

129

286

286 ‡ MICHAEL AYRTON 1921-1975

Minotaur Sleeping Bronze on a wooden base, conceived and cast in 1972 in an edition of nine 11.3 x 23cm Provenance: The artist’s estate; Christie’s, King Street, Post-War and Contemporary British Paintings and Watercolours and Twentieth Century British Sculpture, 26 March, 1993, lot 151, where purchased by the present private collector Literature: Justine Hopkins, Michael Ayrton: A Biography (Andre Deutsch, 1994), p.360; Jacob E. Nyenhuis, Myth and Creative Process: Michael Ayrton and the Myth of Daedalus, the Maze Maker (Detroit, Wayne State University Press, 2003), p.286, no. 757, fig. 228 We are grateful to the Ayrton Estate for confirming the authenticity of this work. £5,000-7,000

286 (alternative views) Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

130

287 ‡ DAME ELISABETH FRINK CH, DBE, RA 1930-1993

Etchings illustrating Chaucer’s ‘Canterbury Tales’ Signed and numbered c.134 on final page The complete book including a set of 19 etchings, 1972, on J Barcham Green paper, with title, introduction by Nevill Cogjill, one of 175 boxed unbound editions (from a total edition size of 300) Each sheet 65 x 45.5cm, loose in a green cloth box £1,000-1,500

287

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

131

288 ‡ DAME ELISABETH FRINK CH, DBE, RA 1930-1993

Drawing #2 (Birdman) Signed and dated 57 Pen and ink wash 75 x 55cm Provenance: Bertha Schaefer Gallery, New York, no. 7274.11.59 £3,000-5,000

288

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

132

289

289 ‡ LYNN CHADWICK CBE, RA 1914-2003

Sitting Woman III Numbered and dated c30 7/9 1986 Bronze 14.5cm high Provenance: Christie’s, King Street, British & Irish Traditionalist & Modernist Paintings, Watercolours, Drawings & Sculpture, 13 November 1987, lot 218; Christie’s, King Street, Modern British and Irish Paintings, Watercolours, Drawings and Sculpture, 25 September 1992, lot 101, where purchased by the present private collector Literature: Dennis Farr & Eva Chadwick, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-2005 (Aldershot, 2006), no. C30, p. 364 We are grateful to to Sarah Chadwick for confirming the authenticity of this work. £8,000-12,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

133

289 (another view)

Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

134

290

290 ‥ HENRY MOORE OM, CH 1898-1986

Maquette for Seated Torso Bronze on a marble base, conceived in 1954, cast in 1956, in an edition of 9 13.8 x 14.7cm (figure) Provenance: Faustus Fine Art, London, where purchased by the present private collector Literature: W. Grohmann, The Art of Henry Moore (London, 1960), no. 178 (larger version illustrated); R. Melville, Henry Moore Sculpture and Drawings 1921-1969 (London, 1970), no. 468 (larger version illustrated); A. Bowness (ed)., Henry Moore, Complete Sculpture 1949-54, vol. 2 (London, 1986), p. 52, no. 361 (another cast illustrated) ÂŁ30,000-40,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

135

290 (another view)

Lots marked ‥ may be subject to an additional fee - please see ARR information on page 177

136

291 ‡ HENRY MOORE OM, CH 1898-1986

Upright Connected Forms Signed and numbered 3/7’ (on the side of the integral bronze base) and stamped with the foundry mark MORRIS SINGER FOUNDERS LONDON (at the base) Patinated bronze on a wooded base, conceived in 1979 20.5cm high (excluding wooden base) Provenance: By descent from the present owner’s father Literature: A. Bowness (ed.), Henry Moore, Sculpture and Drawings: 1974-80, vol. 5 (London, 1983), pp. 46, 184, no. 782 (another cast illustrated); Hatfield, Hatfield House, Moore at Hatfield, exh. cat. 2011, p. 50 (another cast illustrated) £25,000-35,000

291

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137

292

292 ‡ HENRY MOORE OM, CH 1898-1986

Hand Relief No. 1 Bronze, with green patination, conceived in 1952 and cast in 1956 in an edition of nine plus one artist’s proof 33.5 x 35cm This work is registered with the Henry Moore Foundation, no. LH 354 Provenance: Either Laing Gallery, Toronto or Marlborough Gallery, Montreal; where purchased by Benjamin Luxenberg Q.C., Toronto; By descent to Leon Root, New York Literature: Alan Bowness, ed., Henry Moore, Complete Sculpture, 1949-54, vol. 2 (Lund Humphries, London), no. 354 (another cast illustrated but incorrectly labelled as no. 355)

According to Moore the present work is a ‘study for the hands on a larger work, actually of the King and Queen, 1952/53. When I was making the large version of the King and Queen, and getting to working on the hands in detail, I got a little stuck with them, and contrary to any previous practice, I felt I needed to have a model of a real hand. And so I asked my wife to come into the studio and hold her hand in the position I required - she posed for about a quarter of an hour and then said she couldn’t stay any longer as the lunch she was cooking needed her attention. I then asked Mary, my daughter who was six years old, to come and hold her hand in the position I wanted, and in this way I was helped in completing the hands of the full-size sculpture.’ (Henry Moore, letter to Allan D. Emil, 21 October 1966, reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.283). £12,000-18,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

138

293 ‡ PETER SEDGLEY b.1930

Untitled, 1966 Signed and dated ‘66 Gouache on paper laid on board 50.8 x 75.6cm Provenance: Redfern Gallery, London, 1968; The late Greta Morrison, widow of Bryan Morrison Exhibited: London, Redfern Gallery, 1968 £400-600

293

294

295

294 ‡ PETER SEDGLEY

295 ‡ PETER SEDGLEY

296 ‡ PETER SEDGLEY

Untitled, 1964

Looking Glass No. 9

Blue Scale

Signed and dated ‘64 Acrylic and watercolour on paper laid on board 50.8 x 50.3cm

Signed and numbered 36/75 Screenprint from the ‘Looking Glass Suite’ 49.4 x 49.4cm

Screenprint 48 x 48cm

b.1930

Provenance: The late Greta Morrison, widow of Bryan Morrison. £400-600

b.1930

Provenance: Redfern Gallery, London; The late Greta Morrison, widow of Bryan Morrison

b.1930

Provenance: Redfern Gallery, London The late Greta Morrison, widow of Bryan Morrison £200-300

£200-300

296 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

139

297 ‡ JOE TILSON RA

b.1928

Sea Mantra Signed, dated 1979 and numbered 34/75 in pencil to margin, and with Waddington Graphics blindstamp Etching and aquatint 73.6 x 84cm (plate) £400-600

298 ‡ JOE TILSON RA

b.1928

Ziggurat Signed and numbered 60/300 in pencil Screenprint in colours 28 x 23.8cm Unframed £200-300

299 ‡ JOE TILSON RA

b.1928

297

Transparency, Vellegrande Bolivia, October 10th Signed, dated 1969, and numbered 12/70 in pencil Screenprint on PVC, silver lumiline and paper 70 x 50cm Provenance: The late Greta Morrison, widow of Bryan Morrison £500-700

298

299

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

140

300

300 ‡ SIR PETER BLAKE CBE, RDI, RA b.1932

Penny Black; Red Power; The Tuareg, from The Wrestlers Suite Three, each signed and numbered 66/125, 68/125, and 66/125 respectively in pencil Each screenprint in colours Each 44.6 x 28.8cm (sheet) (3) Provenance: The late Greta Morrison, widow of Bryan Morrison £500-700

301 ‡ TOM PHILLIPS RA, CBE b.1937

Vincent Signed and numbered a/p 4/10 in pencil to margin Screenprint in colours 81 x 60.5cm (sheet) Unframed £250-350

301 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

141

302 ‡ SERGIO SARRI

Italian b.1938

Contact (Le Eta’della Vita) Signed, dated 993, titled and further inscribed to verso Acrylic on canvas 145 x 140cm £1,000-1,500

302

303 AFTER JOHN LENNON A Day in the Life Signed by Yoko Ono Lennon and numbered 148/300 in pencil, with blind stamp Screenprint 67.4 x 84.9cm With a certificate of authenticity from Bag One Arts, Inc., New York £200-300

303 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

142

304

304 ‡ PATRICK CAULFIELD CBE, RA

305 ‡ PATRICK CAULFIELD CBE, RA

Some Poems of Jules Laforgue

All The Benches Are Wet, The Woods Are So Rusty; Oh! If One Of Them, Some Fine Evening, Would Try; You’ll Be Sick If You Spend All Your Time Indoors; And With My Eyes Bolting Toward the Unconscious;

1936-2005

1936-2005

Signed and inscribed Edition C 52/100 to the justification 22 screenprints in colours, Petersburg Press, London, 1973, lacking the 22 loose screenprints, bound within pale grey leather covers and slipcase 41.7 x 36.4cm (slipcase) Together with two other editions of the same book, Edition C no 57/100; and Edition A, no. 57/200 (lacking slipcase), each lacking the loose screenprints (3) Provenance: The late Greta Morrison, widow of Bryan Morrison £500-700

Four, three signed and numbered 57/100 in pencil to margins Each screenprint in colours from the ‘Some Poems of Jules Laforgue’ series Largest 40.8 x 35.6cm; Smallest 40 x 35.2cm (image) (4) Provenance: The late Greta Morrison, widow of Bryan Morrison £800-1,200

305

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143

306

306 ‡ MARK LANCASTER

b.1938

Untitled Liquitex on canvas, 1967 183 x 228cm Unframed Provenance: Rowan Gallery, London, where purchased by the previous owner in 1968; Their sale, Christie’s South Kensington, Twentieth Century British Art, 24 October 2007, lot 214, where purchased by the present owner £1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

144

307 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

145

308

307 ‡ PATRICK PROCKTOR RA

308 ‡ PATRICK PROCKTOR RA

St John on Patmos (After Velásquez)

Interior scene reflected

Oil on canvas 91.3 x 63.3cm

Oil on canvas 53.9 x 40.7cm

Exhibited: Bradford, Bradford City Art Gallery, Spring Exhibition, 1964

£3,000-5,000

1936-2003

£3,000-5,000 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

1936-2003

146

310

309 ‡ PATRICK PROCKTOR RA 1936-2003

309

Seated nude Signed and dated ‘61 Pencil 55 x 42.5cm £250-450

310 ‡ JAMES HORTON PPRBA

b.1948

Study of a female nude Red pencil 26.2 x 18.7cm £100-150

311 ‡ TIM SCOTT BOLTON

b.1947

Reclining female nude Signed and dated 1993 Watercolour, pencil and bodycolour 34.5 x 41.8cm Provenance: The Summerleaze Gallery, Wiltshire

311

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

147

312

312 ‡ SVEN BERLIN

313

313 ‡ DEREK HYATT

313A ‡ JAMES MCNAUGHT RSW, RGI

314 20TH CENTURY SCHOOL

1911-1999

1931-2015

b.1948

Shepherd and a ram

Sunset Field

Tattooed Lady

Signed and dated 99 Oil on board 59 x 87cm

Indistinctly inscribed Oil on board 25 x 28.4cm

Signed and dated 1990 Gouache 28.2 x 26.5cm

£300-500

Provenance: The Waddington Galleries, London The late Greta Morrison, widow of Bryan Morrison

Provenance: Portal Gallery, London

Provenance: The late Greta Morrison, widow of Bryan Morrison

£200-300

£100-150

£300-500

313A Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

314

Studies of chariots Indistinctly signed Mixed media on board 61 x 50.2cm

148

315 ‡ CHERYL WREN

Contemporary

Gentians in the Pyrenees Signed Acrylic 44 x 59.3cm £200-300

316 ‡ SARAH BOWMAN

b.1975

Hyacinths and Sailboats Signed and dated 2005 Oil on card 34.7 x 55.4cm £200-300

317 ‡ SIR HUGH CASSON CH, KKCVO, PRA, RDI 1910-1999

315

Langstone Harbour Signed with initials and titled Watercolour 12.2 x 21.8cm Together with a letter from the artist to the late owner Provenance: Purchased directly from the artist by the late owner, February 1990; Property of a deceased estate £80-120

318 ‡ TIMOTHY GIBBS

1923-2012

Portimao Evening Signed and dated 64 Watercolour and bodycolour 36.4 x 55.8cm Provenance: The Leicester Galleries, London, April 1966 Exhibited: London, The Leicester Galleries, Exhibition of Works by Timothy Gibbs, April 1966

316

£80-120

317

318 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

149

319 ‡ JO DIXON

Contemporary

A view over the Blackdown Hills Signed Pastel 64.1 x 95.7cm £350-500

320 ‡ VICTORIA CROWE OBE, FRSE, RSA, RSW

Scottish b.1945

Karnak Signed, titled, dated December ‘88, and inscribed DK mud brick pair Watercolour 17.3 x 24.2cm £150-250

321 ‡ MICHELLE SAUNDERS

319

b.1963

Kettleness, North Yorkshire Signed, and further titled and dated 30/5/99 to stretcher Oil on canvas 36.4 x 46.1cm £150-250

322 ‡ G. H. SCALES

act.1960-1990

Impalas in a landscape Signed and dated 20/2/60 Oil on board 91.7 x 137.5cm Provenance: Woolley and Wallis, Paintings, 16 March 2016, lot 472, where purchased by the present owner £100-150

320

321

322

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

150

323

323 ‥ GORDON BENINGFIELD

1936-1998

Monarch (Danaus plexippus); Arctic grayling (Oeneis bore); Lapland fritillary (Hypodryas iduna); Dusky grizzled skipper (Pyrgus cacaliae) Four, each signed Each watercolour heightened with white Largest 16.5 x 14.1cm; Smallest 16.2 x 14cm (4) Provenance: Each with Burlington Paintings, London ÂŁ700-1,000

323

324

324

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

151

325

324 ‡ GORDON BENINGFIELD

325 ‡ GORDON BENINGFIELD

1936-1998

1936-1998

Purple-shot copper (Heodes alciphron gordius); Eastern orange tip (Anthocharis damone); Common eggfly (Hypolimnas bolina); Fenton’s wood white (Leptidea morsei)

Holly blue (Celastrina argiolus); Emperor dragonfly (Anax imperator); False grayling (Arethusana arethusa); Emperor dragonfly (Anax imperator)

Four, each signed Each watercolour heightened with white Largest 16.4 x 14cm; Smallest 16.3 x 13.8cm (4) Provenance: Each with Burlington Paintings, London £700-1,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

Four, each signed Each watercolour heightened with white Largest 14 x 16.5cm; Smallest 16.2 x 14cm (4) Provenance: Each with Burlington Paintings, London £700-1,000

152

326 ‡ DONALD MCINTYRE RCA 1923-2009

Snow, Ogwen Valley Signed with initials Oil on canvas 17.1 x 21cm Provenance: Ash Barn (Werner Haub), Stroud; Where purchased by Mrs. W. C. Arnold, May 1974 £500-700

326

327 ‡ DONALD MCINTYRE RCA 1923-2009

Riders on the beach Signed with initials Watercolour, gouache and charcoal 14.5 x 20.1cm Provenance: Ash Barn (Werner Haub), Stroud, December 1980; Property of a deceased estate £250-350

327 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

153

328

328 ‡ FREDERICK GORE CBE, RA

1913-2000

Looking towards Sóller Signed Oil on canvas 69.6 x 91.5cm £6,000-8,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

154

329

329 ‥ FRED CUMING RA

b.1930

Waiting for the catch, Hastings Signed Oil on board 60 x 60cm ÂŁ3,000-5,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

155

330

330 ‡ FRED CUMING RA

b.1930

Winter landscape Signed Oil on board 59.5 x 59.5cm £3,000-5,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

156

331 SHADI GHADIRIAN Iranian b.1974

Qujar #6 Signed and numbered 3/10 C-print, 1998 94 x 61cm (image) £1,500-2,500

332 ‡ JENNIFER DICKSON RA b.1936

Lord Burlington Remembers Rome (Chiswick House); Temple in Spring Mist, Chatsworth; Morning Mist, Isola Bella Three, each signed, titled and numbered 2/20, 5/20, 8/20 respectively in pencil to margin Each coloured aquatint Largest 41.7 x 56cm; Smallest 29.6 x 41cm (3)

331

£150-250

332 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

157

333

333 ‡ ALESSANDRO PAPETTI

Italian b.1958

Fabricca Signed and dated 92, and further signed, titled, dated and inscribed to stretcher Oil on canvas 80 x 80cm Provenance: Cavallino Gallery, Venice; Where purchased by Timothy Taubes, Connecticut, USA, 1992; From whom purchased by the present private collector, November 2012 £2,000-3,000 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

158

334 ‥ LORENZO QUINN Italian b.1966

Time Flies Signed and numbered 8/8 Bronze on marble base 75.3cm high (excluding base) ÂŁ2,500-3,500

334 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

159

335 ‡ LORENZO QUINN Italian b.1966

Sedentarism Signed and numbered 1/9 Bronze on a painted wooden base 57.5cm high (excluding base) £2,500-3,500

335 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

160

336 ‡ JOHN WATSON 1923-1992

Mussels with a Loaf of Bread Signed and dated 91, and further signed, dated 1990, titled and inscribed to verso Oil on canvas 111 x 101cm Provenance: The New Academy Gallery, London £400-600

336

337 ‡ LESLIE PROTHERO b.1946

Windows and Curtains, Afternoon Signed with initials Oil on canvas 122.2 x 132.3cm Provenance: Thackeray Gallery, London; Gifted to Sir Francis Avery Jones (1910-1998), 1979; By descent to the present owner Exhibited: London, Thackeray Gallery, Leslie Prothero, 23 May - 15 June 1979 £400-600

337 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

161

338 ‡ SUSAN RYDER RP, NEAC b.1944

Conservatory with Blue Glass Signed Oil on canvas 76.5 x 91.5cm £1,000-1,500

338

339 ‡ PETER KUHFELD b.1952

Christ Church Gate, Canterbury Cathedral Signed Oil on canvas 91.8 x 71.5cm £600-800

339 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

162

340 ‡ CHRIS GREENE Contemporary

Dreaming Signed and dated 1984 to verso Oil on canvas 110.5 x 110.5cm £300-500

341 ‡ CHRIS GREENE Contemporary

The Bargain Oil on board, 1991 59 x 39.9cm £300-500

342 ‡ MARJ BOND RSW Scottish b.1939

Head Hunter Signed and dated 94, and further inscribed and titled to verso Mixed media on board 91.5 x 91.5cm Unframed Provenance: The Contemporary Fine Art Gallery, Eton £200-300

340

341

342 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

163

343 ‡ SOPHIE RYDER

b.1963

Paintpots Signed, dated 2001, numbered AP/9, and dedicated for André & Galina with / love from Sophie in pencil to margin Screenprint in colours, 1 of 9 artist’s proofs aside from the edition of 50 53 x 67.8cm £200-300

343

344 ‡ BRENDA HARTILL b.1943

La Crestalina Signed, dated 91, titled and inscribed A/P Embossed collagraph 77 x 100cm £200-300

344

345 ‡ CHRIS ORR MBE, RA b.1943

The Secret Life of Britannia Signed, titled, dated 2006, and numbered 7/10 to margin Etching and aquatint, with hand colouring 9.5 x 9.5cm (plate)

345

£150-250

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

164

346 ‡ FRANCES MABEL HOLLAMS 1877-1963

Portrait of a racehorse Signed Oil on board 37.2 x 47.2cm Provenance: Vicars Brothers, London £500-700

346

347 ‡ NICHOLAS TOLLEY b.1958

Two figures helping Lester Piggott mount a racehorse Signed Mixed media on board 48.5 x 63.2cm £1,500-2,500

347

348 ‡ NICHOLAS TOLLEY b.1958

A jockey in purple and yellow preparing to mount a chestnut racehorse Signed Mixed media on board 93 x 115.5cm £1,000-2,000

348 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

165

349

349 ‡ FRED YATES 1922-2008

Cornish Cottage Interior Signed, and further titled and inscribed to verso Oil on canvas 73 x 60.2cm £3,000-5,000 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

166

350

351

350 ‡ HARRY HOLLAND

351 ‡ HARRY HOLLAND

b.1941

b.1941

Veiled nude

Study of a female nude

Signed Oil on board 51.5 x 42cm Unframed £700-900

Signed Pastel 45.6 x 30.5cm Unframed £300-500

352 ‡ HARRY HOLLAND b.1941

Study of a female nude Signed Pencil 29.7 x 41.9cm Unframed

352

£150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

167

353 ‡ SIMEON STAFFORD

b.1956

Fair on the Pier Signed, and further signed, titled and inscribed to stretcher Oil on canvas 90 x 90cm Unframed £700-900

354 ‡ ALAN M. HUNT b.1947

Blue Breeze Signed and dated 2013, and further titled to stretcher Acrylic on canvas 65.4 x 53.8cm Unframed £400-600

353

355

355 ‡ ALAN M. HUNT b.1947

Border Collie

354

Signed and dated 2015, and further signed, dated and titled to verso Oil on canvas 30.8 x 40.5cm Unframed £300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

168

356

357

358

356 ‡ GAIL LILLEY

357 ‡ GAIL LILLEY 20th Century

20th Century

Still life with pears and a copper sauce pan; Still life with garlic, onion and a lemon

Still life with bowls of fruit; Still life with a cheeseboard

Garlic; Prawns

20th Century

Two, the former signed and dated 97 Each pastel 44.2 x 47.4cm; 33.7 x 46.1cm (2) £70-100

Two, each signed and dated 97 Each pastel 44.4 x 60.8cm; 37.8 x 53cm (2) £70-100

358 ‡ PAT PORTER

Two, each signed and titled to stretcher Each oil on canvas 20.4 x 25cm; 30.3 x 35.3cm (2) £300-400

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

169

359

359 ‡ SARAH COLLINS

360 ‡ JUDITH RENDLE

Mountainside village; Classical urn; A pond at dusk

Twelve still lifes of food and drink

Three, one signed with initials and dated 88 Each pastel One 53.4 x 74cm, two 73 x 54cm (3)

Eleven signed Each watercolour with pen and ink Largest 29.5 x 23.4cm; Smallest 12.5 x 17.6cm (12)

£80-120

Provenance: Commissioned for Interlude Restaurant through New Academy Gallery, London; Private Collection, UK

Contemporary

20th Century

£200-400

360

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

170

362

361

363

361 FERNAND PIERRE

362 PRÉFÈTE DUFFAUT

Two houses

View of a coastal town with sailing boats in the bay

Haitian 1919-2002 Signed Oil on board 101.5 x 45.3cm £100-150

Haitian 1923-2012

Signed and dated Le73/7/75 Oil on canvas 41.5 x 61.4cm Provenance: Nader’s Art Galleries, Haiti £150-250

363 MICIUS STÉPHANE

364 E. P. AUGUSTIN

Three women at the market

Toussaint Louverture Contemple La Flotte Française Arrivée Dans La Baie De Samaná (30 Janvier 1802)

Haitian 1912-1996

364

Signed Oil on board 30.2 x 40.8cm Unframed £150-250

Haitian 20th Century

Signed and titled Oil on board 60.6 x 71cm £100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

171

367

365

368

365 LOUINÈS MENTOR

367 GERTIE HUDDLESTON

Village life

Bush scene after rain

Signed Oil on board 91.3 x 60.7cm

Inscribed with artist’s name, Shades of Ochre and numbered 819985 to verso Acrylic on canvas Painted in 1994 93.5 x 124cm Unframed

Haitian b.1936

£100-150

366 FRITZNER LAMOUR Haitian b.1948

View of a coastal town, with ships in the bay Signed Oil on board 60.8 x 50.6cm £200-400

366 Lots marked ‡ may be subject to an additional fee - please see ARR information on page 177

Australian c.1933-2013

Provenance: Shades of Ochre, Darwin, 1995 £500-700

368 ESTHER HAYES NAPANGATI

Australian 20th Century

Untitled Acrylic on canvas 60.4 x 90cm Unframed £200-300

172

INDEX OF ARTISTS 20th Century School

314

A Aitchison, Craigie 98, 277 Arguile, Roger 101 180, Armour, George Denholm

181, 182 Armfield, Maxwell Ashby 272 Augustin, E. P. 364 285, 286 Ayrton, Michael B Badmin, Circle of Stanley Roy 204 Barry, Sir Claude Francis 188,

189, 190 Bassingthwaighte, Lewin 103 Bartolozzi, Francesco after Cipriani, Giovanni Battista 2 4 Batterham, Richard Bayer, Svend 3 Beningfield, Gordon 323, 324, 325 Bennett, Godwin 172 Benney, Gerald 11, 12 Berlin, Sven 312 300 Blake, Sir Peter Blanche, Jacques-Émile 183 97 Blow, Sandra Bond, Marj 342 Bowman, Sarah 316 Brangwyn, Sir Frank 251, 252, 253, 254 British School 62, 64, 84,175 56, 96 Brown, Ralph C Campbell, Jason 5 Caro, Follower of Sir Anthony 63 317 Casson, Sir Hugh Caulfield, Patrick 304, 305 289 Chadwick, Lynn Chamberlain, Trevor 206 Christopher, Ann 57, 58, 107 Clausen, Sir George 187 359 Collins, Sarah Colonna, Marzia 100 Conner, Angela 65, 66 Corinth, Lovis 261 259 Cox, Paul Creswell, Alexander 268, 269 Crowe, Victoria 320 Cuming, Fred 329, 330 D Dicksee, After Herbert Dickson, Jennifer Dixon, Jo Dowes, Natalie Duffaut, Préfète E Edgar, Abigail Ellis, Gordon English School Eurich, Richard

165 332 319 54 362

273 195 173 234, 235, 236

F Fedden, Mary 67, 68, 69, 70, 71,

72, 73, 274, 275, 276

255, 256, 257 Foreman, Michael Fraser, Eric 224, 225 French School 210 Frink, Dame Elisabeth 118, 119,

120, 121, 122, 123, 124, 125, 126 127, 128, 129, 130, 287, 288 Fuller, Edmund G. 197 Furneaux Jordan, Robert 226 G Genovés, Juan 271 Geoffrey, Iqbal 244 George, Patrick 185 Ghadirian, Shadi 331 Gibbs, Timothy 318 80 Gillmor, Robert Ginger, Phyllis 196 Goold, Bruce 111 Gorbatov, Konstantin Ivanovich 167 328 Gore, Frederick Gotlib, Henryk 249, 250 Grahame-Johnstone, Anne 258 Greene, Chris 340, 341 H Hand, J P 33 Harbor, Thomas Langan Roslyn 34 Hartill, Brenda 344 Harvey, Harold 202 109 Hayden, Henri Hayman, Patrick 238 169 Heinz, Wolfgang Hicks, Nicola 88, 89, 90 Hicks, Philip 99 346 Hollams, Frances Mabel Holland, Harry 350, 351, 352 Holt, Eric 232, 233 Horton, James 310 92 House, Gordon Hubbard, John 85, 86 367 Huddleston, Gertie Hume, Nick 59, 60, 61 Humphreys, David 108 354, 355 Hunt, Alan M. Hyatt, Derek 313 J Jammet, Lin

Jicínská, Vera Jones, April K Kandinsky, Wassily Kantilla, Concepta Karbowsky, Adrien Karpel, Eli Kennelly, Peter Kokoschka, Oskar Korteling, Willem Kuhfeld, Peter

112, 113, 114, 115, 116, 117 248 32

93 24 246 280 102 94 193 339

L Lamour, Fritzner 366 Lancaster, Mark 306 Lange, Otto 177 Lawrence, Alfred Kingsley 162 Lawrence, Follower of Sir Thomas 78

Lennon, After John Lilley, Gail Lim, Kim

303 356, 357 105, 106

M Mackie, Hamish 283 247 Malet, Albert Mandarrk, Wally 31 Manson, James Bolivar 168 Marceau, Marcel 179 Marchutz, Leo 176 Marralwanga, Peter 29, 30 Masereel, Frans 174 Masoero, Jeanne 95 McIntyre, Donald 326, 327 McNaught, James 313A 192 Meninsky, Bernard Mentor, Louinès 365 Moore, Henry 91, 290, 291, 292 Moss, Sidney Dennant 219 281 Müller-Blensdorf, Ernst Müller-Gossen, Franz 207 N Napangati, Esther Hayes Naumenko, N. Newton, Algernon Nicholson, Ben Nash, Thomas Saunders O Olsson, Julius Orr, Chris P Pagliacci, Aldo Papetti, Alessandro Park, John Anthony Parks, Ti Peploe, Samuel John Phillips, Tom Picasso, Pablo Pierre, Fernand Pignon, Édouard Piper, John

Pissarro, Camille Porter, Pat Procktor, Patrick Prothero, Leslie Pugliese, Enotrio Q Quinn, Lorenzo R Rendle, Judith Rogers, Claude Rowntree, Kenneth Rupp, Christy Russian School Russo, Mario Ryder, Sophie Ryder, Susan

368 161 170 278, 279 228

200 345

208 333 199 104 221 301 8, 9, 10, 209 361 237 7, 263, 264, 265, 266, 267 166 358 307, 308, 309 337 186

334, 335

360 191 194 53 178 245 87, 343 338

S Sanders, Christopher 270 Sanderson-Wells, John 164 Sarri, Sergio 302 Saunders, Michelle 321 Scales, G. H. 322 311 Scott Bolton, Tim 220 Seago, Edward Searle, Ronald 260 Sedgley, Peter 293, 294, 295, 296 Senior, Circle of Mark 160 6 Shimaoka, Tatsuzo Skeaping, John 79, 239, 240, 241 Smith, Hely Augustus Morton 205 353 Stafford, Simeon Stéphane, Micius 363 214, 215, 216 Suddaby, Rowland T Tahsin, Diyarbakirli 201 Taplin, Guy 39, 40, 41, 42, 43, 44 Taulbut, John 55 Taylor, Frank 242 Thompson, L. 211 Thompson, Ralph 262 Thomson, William 81, 82 297, 298, 299 Tilson, Joe Tinnyunt, R. 15 Tolley, Nicholas 347, 348 Toms, Nicola 284 Trevelyan, Julian 74, 75, 76, 77 Tuke, Henry Scott 171 Tunnicliffe, Charles 227 V van Schnell, Gabriel 132, 133, 134,

135, 136, 137, 138, 139, 140,

141, 142, 143, 144, 145, 146,

147, 148, 149, 150, 151, 152,

153, 154, 155, 156, 158, 159 Vaughan, Keith 223 Venables, Bernard 203 W Wagner, Roger Watson, John Wesson, Edward Willsher, Brian Wood, Christopher Wood, Lawson Wren, Cheryl

184 336 217, 218 282 222 163 315

Y Yabsley, James Stephen Yates, Fred Young, Henrietta Z Zadkine, Ossip Zeller, Reinhold R. Zinkeisen, Doris Zongze, Mao

198 349 83

243 213 229, 230, 231 212

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS TUESDAY 8TH SEPTEMBER 2020

Studio of Hyacinthe Rigaud Portrait of Cardinal de Fleury (1653-1743), half-length Oil on canvas 80.6 x 64.5cm; 31¾ x 25in Estimate £2,000 - 3,000*

ENQUIRIES Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

TRIBAL ART AND ANTIQUITIES TUESDAY 22ND SEPTEMBER 2020

Twins Seven Seven (1944-1977) The Ram Masqurade and Anti-Masqurade nesting in the home of the Red Skulls, Mixed media on plywood 121.5cm x 60cm Estimate £1,000 - 2,000* each

ENQUIRIES Will Hobbs | +44 (0)1722 339752 | wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

ARTS AND CRAFTS & DESIGN TUESDAY 6TH OCTOBER 2020

William McMillan RA (1887-1977) Resting Infantryman Patinated bronze Provenance: Armstrong-Davis Gallery Estimate £500 - 800*

ENQUIRIES Michael Jeffery | +44 (0)1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

176

AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

+44 (0)1582 493099 Alban Shipping info@albanshipping.co.uk www.albanshipping.co.uk

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk

Pack & Send +44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

177

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Debit cards: Delta, Switch, Connect, American Express, Union Pay

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Where practical, payment can be made and purchases collected during the auction.

Please enquire for the accepted exchange rate on the day of the sale.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

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

LOT SYMBOLS VAT Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

178

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price.

This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first.

The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.

Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

179 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed.

Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made

by BACS or cheque five weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) (i) (ii) (b)

Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. (c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges. (c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur

180 liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS

Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY

21. English law applies to the interpretation of these Conditions.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue.

Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, 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 shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE

concession only; in all other respects these Conditions shall be construed as having full force and effect.

(a)

(b) (c) (d) (e) (f) (g) (h) (i)

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction.

Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

After Edward Lear: In our opinion a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

Pictures are framed unless otherwise stated.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

(j) (k)

15. FORGERIES

BOOKS AUCTIONS

Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular

If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

Lots marked with a ‡ symbol are potentially subject to the levy.

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. •

By email – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources:

•

From you when you: - interact with us before entering into a contract with us, for example when you express your interest in our Services; - instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; - communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; - in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

•

From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; - thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider); - sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); - shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT We may collect the following personal data about you: • your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

In this respect we will provide your data to the following: • our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • •

external auditors; the police and other competent authorities, including HMRC;

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182 CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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Woolley and Wallis valuations are accepted by all leading insurance companies.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

MARLBOROUGH & SWINDON

Old Sarum Park

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

Old Sarum

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.02998482 VAT No: 631 9832 29

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

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ABSENTEE BID FORM

MODERN BRITISH & 20TH CENTURY ART WEDNESDAY 26TH AUGUST 2020 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

BUYER’S PREMIUM Each lot is subject to a buyer’s premium of 25% plus VAT at 20%

Billing Name (please print) �������������������������������������� ������������������������������������������������������������������ Address ���������������������������������������������������������� ������������������������������������������������������������������ ������������������������������������������������������������������ _______________________________ Postcode ����������������������� Daytime Telephone ���������������������������������������������� Email �������������������������������������������������������������

All accounts must be settled within 21 days.

ID may be required even if you have bid with us before.

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 Fax: +44 (0)1722 424508

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Description of lot

Price excluding buyer’s premium & VAT

AUCTION CALENDAR AUGUST 11th

Furniture, Works of Art & Clocks

26th

Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink and Lin Jammet

SEPTEMBER 8th

Old Masters, British & European Paintings

22nd

Tribal Art & Antiquities

23rd

Medals & Coins, Arms & Armour

OCTOBER 6th

Arts and Crafts, Design

21st

Furniture, Works of Art & Clocks

NOVEMBER 10th

Asian Art, Chinese Paintings & Japanese Works of Art

12th

Fine Jewellery

24th

English & European Ceramics & Glass

25th

Silver & Objects of Vertu

DECEMBER 9th

Modern British & 20th Century Art

16th

British Art Pottery

Dates may be subject to change

+44 (0)1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR DECEMBER 2020 AUCTION Paul César Helleu (French 1859-1927) Madame Helleu apres le bal (detail) SOLD FOR £7,500*

www.woolleyandwallis.co.uk