Chiswick Auctions Modern & Post-War British Art June 2018

Modern & Post-War British Art 28 June 2018

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Modern & Post-War British Art London 28th June 2018

SPECIALISTS

Krassi Kuneva

Julian Laurence Samuels

Head of Sales Modern & Post-War British Art kkuneva@chiswickauctions.co.uk

Department Coordinator Fine Art

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Modern & Post-War British Art

Thursday 28th June 2018, 13.00

VIEWING AT SOUTH KENSINGTON selected highlights only Saturday 16 June - Thursday 21 June 11.00 - 17.30

VIEWING AT CHISWICK full sale Saturday Sunday Monday Tuesday Wednesday Thursday

23 June 24 June 25 June 26 June 27 June 28 June

11.00 - 17.00 11.00 - 17.00 10.00 - 18.00 10.00 - 18.00 10.00 - 18.00 10.00 - 13.00

PHOTOGRAPHERS Steven McCauley Jordan Salzmann Darrell Russell Monika Olek

+44(0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk 1 Colville Road, London W3 8BL 127 Fulham Road, London SW3 6RT

Front cover: Lot 8 Back cover: Lot 138 Inside front cover: Lot 76 Inside back cover: Lots 44, 62 Index: Lot 1

"Previous forms have seemed inadequate…I had to start remaking a visual language that seemed real to me.”

Jack Smith 1 ARR JACK SMITH (1928-2011) Celebration: Sounds and Silences signed, inscribed and dated ‘CELEBRATION.SOUNDS AND/SILENCES./Jack Smith 1984’ (on the reverse) oil on canvas 353⁄8 x 353⁄8 in. (90 x 90 cm.)

Provenance: with Flowers Gallery, London.

Private collection, Europe. £2,500-3,500 4

*See page two for information regarding fees

2 ARR BREON O’CASEY (1928-2011) Abstract composition signed and dated in pencil ‘Breon O’Casey 1999’ (in the margin, lower right), numbered ‘12/15’ (in the margin, lower left) linocut Image: 12 x 12¼ in. (30.5 x 31 cm.) £150-250

3 ARR PETER SEDGLEY (B.1930) Rainbow Studies IV signed, inscribed and dated ‘“Rainbow Studies” IV/1980/Peter Sedgley’ (on the reverse) spray paint on paper 38 x 6½ in. (96.7 x 16.5 cm.)

Originally an architecture and building work student, Sedgley turned to painting in the mid-60s. Inspired by the writings of Goethe and Klee, the artist focused on colour and collaborated with Bridget Riley and Peter Townsend for the setup of SPACE in 1968. Since the 70s Sedgley has been focusing on light kinetic art, exploring the relationship between light and music. £300-500 5

4 ARR JACK SMITH (1928-2011) Activities signed and inscribed (on the reverse) oil on board 13 in. (33 cm.), diameter Provenance: with Flowers Gallery, by 1984.

Private collection, Europe.

Exhibited: London, Piano Nobile, Aspects of Abstraction: 1952-2007, catalogue untraced. £1,500-2,500

5 THEO MENDEZ (1934-1997) Meandering Key inscribed and dated ‘Meandering Key/1966’ (on the artist’s label on the reverse) oil on board, unframed 48 x 48 in. (122 x 122 cm.)

Provenance: The artist’s estate. £1,000-1,500

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*See page two for information regarding fees

6 ARR BRIDGET RILEY (B.1931) To Midsummer signed and dated in pencil ‘Bridget Riley ‘89’ (in the margin, lower right), inscribed and numbered in pencil ‘To Midsummer 82/100’ (in the margin, lower left) screenprint in colours Image: 28 x 28 in. (71.2 x 71.2 cm.)

Printed by Graham Henderson, London, published by the artist in 1989 in an edition of 100.

Literature: K. Schubert, Bridget Riley: the complete prints, 1962-2012, London, 2012, no. 34. £500-700

7 ROBERT O’RORKE (B.1945) Untitled signed ‘ROBERT O’RORKE’ (on the reverse) oil on board 18 x 24 in. (45.7 x 61 cm.) £800-1,200

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8 ARR ALAN DAVIE, R.A. (1920-2014) Wriggle a little closer signed and dated 'Alan Davie/JUN 64' (on the reverse) oil on canvas 12 x 16 in. (30.5 x 40.8 cm.)

Provenance: with Gimpel Fils, London.

Private collection, USA. This work is opus OG292B in the Gimpel Fils archive. £8,000-12,000

In 1963, a year before Wriggle a little closer was painted Davie wrote in a catalogue for an exhibition:

“I married me a wife, and we went away together, and we found the mountains and the snows together, and the Italian sunshine, and the marvellous mosaics and the gold and the white and the white and the pink and the bottlegreen sea. Then I really began to paint in the way I had learned to write and to play jazz and in the way I had learned to make love: and I learned that All is in me and I in All; and I discovered that I really am a child for evermore, and an animal still, thank God; just like them: my parrot my canary my poodles my dachshund my cats my budgerigars; they really know: and my little blond baby daughter knows too.”

(I Confess, by Alan Davie, cited in exhibition catalogue Visione Colore, Venice, Palazzo Grassy, July-October 1963.)

Davie refers to his travels through Europe with his wife Bili between 1948/9. This journey through France, Switzerland, Italy and Spain was full of visual stimulation for the artist. He was impressed by the mosaics and stained glass and the structure of the Romanesque churches. When in Venice, in 1948 Davie met Peggy Guggenheim, who bought his painting Music of The Autumn Landscape. Mrs Guggenheim’s collection was rich in early Surrealist works, in which Davie was already deeply interested, and in American Abstract Expressionist painters, then unseen in Europe, such as Jackson Pollock. Pollock’s works provided Davie with an instinctive method of working, which appealed to the accomplished jazz musician he was.

On his return from Europe Davie settled in Hertfordshire and it wasn’t ]V\QT \PM UQL [ \PI\ PQ[ _WZS [\IZ\ML OIQVQVO I _QLMZ NIUM 0Q[ ÅZ[\ one-man show in New York in 1956 led to the Museum of Modern Art purchasing two of his works for their collection and by the end of the 50s Davie was enjoying an international appreciation from both sides of the Ocean.

The 60s were a period of burst of creativity and in 1963 Davie won the internationally renowned Sao Paolo Bienal. Painted a year later, Wriggle a little closer is a great example of the works from the period. Here, vigorous brush marks, dribbles and splashes are framed by yellow forms, typical of Davie’s visual symbolism - the work possesses a powerful composition created at the height of the artist’s fame.

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*See page two for information regarding fees

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9 ARR SIR TERRY FROST, R.A. (1915-2003) Red, yellow, black signed and dated in pencil ‘Terry Frost 90’ (in the margin, lower right), numbered in pencil ‘11/25’ (in the margin, lower left) screenprint in colours Image: 93⁄4 x 5¼ in. (24.8 x 13.4 cm.) £300-500

10 ARR STEPHEN GILBERT (1910-2007) Cobra drawing signed and dated ‘Gilbert. 51’ (lower right) ink and gouache 10½ x 8¼ in. (27 x 21 cm.)

Gilbert moved to Paris in 1945, where he got involved with the CoBrA movement of avant-garde artists and embraced fluid abstraction. £700-1,000

11 ARR ALISTAIR GRANT (1925-1997) Abstract composition signed in pencil ‘Alistair Grant’ (lower right), numbered in pencil ‘1/20’ (lower left) screenprint Sheet: 23 x 303⁄4 in. (58.4 x 78.2 cm.) £150-250

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*See page two for information regarding fees

12 THEO MENDEZ (1934-1999) Ceiling lights at the Gare D’Orsay cafe oil on canvas, unframed 48 x 48 in. (122 x 122 cm.)

Provenance: The artist’s estate.

‘If I achieve anything at all it has for me to satisfy lasting contemplation – mystical, intangible.’

Theo Mendez in a letter to Ron King, September 1990. £800-1,200

13 ROBERT O’RORKE (B.1945) Lift off signed and inscribed ‘LIFT OFF ROBERT O’RORKE’ (on the canvas overlap) oil on canvas 45 x 61 in. (114.3 x 155 cm.)

‘I painted Lift Off in 1973 when space exploration was an exciting topic providing new images for the artist of rockets launching and dramatic views of the earth from the moon. But the astronaut is also linked to a dancing figure on the left who is also taking off with energy and movement, and I wanted the painting to combine these two ideas in an image of vitality and excitement.’

Robert O'Rorke We are grateful to the artist for the assistance in cataloguing this lot. £1,000-1,500

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PROPERTY FROM THE ESTATE OF BERNARD MYERS

14 BERNARD MYERS (1925-2007) Along the coast oil on board 15 x 25 in. (38 x 63.2 cm.)

Painted in the 1950s Provenance: The artist’s estate. £250-350

15 BERNARD MYERS (1925-2007) Thames sailing barge, estuary, Essex signed with initials ‘BM’ (lower right), signed again ‘Bernard Myers’ (on the reverse), signed again and inscribed ‘Bernard Myers - Thames sailing barge Estuary, Essex’ (on the canvas overlap) oil on canvas, unframed 20 x 24 in. (50.8 x 61 cm.)

Provenance: The artist’s estate.

Myers retained a keen interest in all sorts of transport throughout his life, from steam trains to the Apollo space missions. When an art student at Central School of Art and the RCA after the War Myers was attracted to the traditional flat bottomed Thames sailing barges still used in the ferrying of goods and cargo, but whose numbers were in decline. He occasionally persuaded one of the crews to take him on board for a sail along the Thames estuary. £350-450

16 BERNARD MYERS (1925-2007) South London Park signed and inscribed ‘Myers S. London Park’ (on the reverse) oil on board 15 x 243⁄4 in. (38 x 62.8 cm.)

Provenance: The artist’s estate. £250-350

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*See page two for information regarding fees

PROPERTY FROM THE ESTATE OF BERNARD MYERS

17 BERNARD MYERS (1925-2007) Houses, Windsor oil on board, unframed 93⁄4 x 15 in. (24.8 x 38.1 cm.)

Painted circa 1956-57 Provenance: The artist’s estate.

Myers lived at 88 Osborne Road, Windsor for about five years before moving to Kensington in the early 1960s. He painted the present view from the top floor of his house, looking across to the backs of the terrace opposite and over the roof tops to the distinctive form of Windsor Castle in the distance. £200-300

18 BERNARD MYERS (1925-2007) Still life with fruit oil on canvas, unframed 25 x 30 in. (63.5 x 76.2 cm.)

Painted in the 1960s Provenance: The artist’s estate. £300-400

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19 ARR JOHN BRATBY, R.A. (1928-1992) Gloria with Irises signed ‘JOHN BRATBY.’ (upper right) oil on canvas 23¼ x 34 in. (59 x 86 cm.)

Provenance: with Zwemmer Gallery, London.

Gloria Bishop was one of Bratby’s favourite models, here the composition focuses on her face, almost sculpted by the thick impasto, with beautifully painted Irises in the background. £5,000-7,000

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*See page two for information regarding fees

20 ARR PAUL AYSHFORD METHUEN, R.A. (1886-1974) Blue poppies signed ‘Methuen’ (lower left) oil on canvas 25 x 30 in. (63.5 x 76.2 cm.)

Exhibited: Edinburgh, Royal Scottish Gallery, 30 September-13 October 1957, no.33. £600-800

21 ARR ROBERT HILL (1932-1990) Lilies signed and dated ‘R.Hill.1968’ (upper right) oil on board 12 x 15 in. (30.5 x 38.2 cm.)

This lot is sold without reserve. £100-200

22 ARR JONAS PLOSKY (1940-2011) A day on the river, Norfolk Broads signed ‘PLOSKY’ (lower right) oil on board 21 x 30 in. (53 x 76 cm.) £1,800-2,200

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23 ARR JOHN BRATBY, R.A. (1928-1992) Sun over cupola signed ‘BRATBY’ (lower left), inscribed and dated ‘EASTER Sun over Cupola TOWER. APRIL.1979’ (on the stretcher) oil on canvas 30½ x 25 in. (77.5 x 63.5 cm.) £2,000-4,000

24 ARR NORMAN ADAMS, R.A., R.W.S. (1927-2005) Sunflowers signed with initials and dated ‘NA 85’ (lower left) oil on board 23½ x 55 in. (60 x 140 cm.) £2,000-4,000

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*See page two for information regarding fees

25 ARR FRANCIS DODD, R.A. (1874-1949) Elm Tree in the Suburbs signed ‘Francis Dodd’ (lower right) oil on canvas 31½ x 24 in. (80 x 60.9 cm.)

It has been suggested that this is a view of Dulwich College. £2,000-4,000

26 ARR ROBERT BUHLER (1916-1989) Lukyns signed ‘Buhler.’ (lower right) oil on canvas 36 x 60 in. (91.5 x 152.5 cm.) £1,500-2,500

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27 ARR PATRICK PROCKTOR, R.A. (1936-2003) Tiny blue-eyed goldfish signed ‘Procktor’ (lower right), inscribed ‘Tiny Blue-eyed goldfish/Muscat Jan 19’ (lower left) watercolour 13½ x 19¼ in. (34.2 x 49 cm.)

Executed circa 1970. £600-800

28 ARR ROBERT KELSEY (B.1949) Spanish courtyard, Malaga signed ‘Kelsey’(lower left) oil on canvas 12 x 12 in. (30.5 x 30.5 cm.)

Provenance: with Richmond Hill Gallery, where purchased by the present owner in 1997. £800-1,200

29 ARR HENRY ENSLIN DU PLESSIS (1894-1978) On the rocky coast signed ‘du Plessis’ (lower right) oil on canvas, unframed 18 x 24 in. (45.7 x 61 cm.) £300-500

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*See page two for information regarding fees

30 ARR GERALD FESTUS KELLY (1879-1972) La plage des Barraques inscribed and dated ‘La Plage des Barraques No. 2/July 1906’ (on the reverse) oil on panel 73⁄4 x 93⁄4 in. (20 x 25 cm.)

Provenance: Anonymous sale; Bonhams, Knightsbridge, 7 September 2010, lot 404, where purchased by the present owner. £1,500-2,500

31 ARR PATRICK PROCKTOR, R.A. (1936-2003) Early morning, Venice signed in pencil ‘Patrick Procktor’ (in the margin, lower right), numbered in pencil ‘68/350’ (lower left) lithograph, unframed 19½ x 133⁄4 in. (49.5 x 35 cm.)

Printed by Western Press Limited in an edition of 350. £200-400

32 ARR SIDNEY d’HORNE SHEPHERD (1909-1993) Il Redentore, Venice signed ‘Shepherd.’ (lower left) oil on panel 16 x 20 in. (40.8 x 50.8 cm.)

Painted circa 1960.

Provenance: with Wenlock Fine Art, Shropshire. £600-800

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33 ARR GORDON STEWART CAMERON A.R.S.A. (1916-1994) Suspension Bridge signed ‘G.S.CAMERON.’ (lower right) oil on canvas 25 x 30 in. (62.5 x 76.2 cm.)

Exhibited: Edinburgh, Royal Scottish Academy, Festival Exhibition, 1960. £800-1,200

34 ARR FRED CUMING (B.1930) Harbour signed ‘Cuming’ (lower left) oil on board 8 x 10¼ in. (20.3 x 26 cm.) £600-800

35 ARR MALCOLM J. HITCHCOCK (1929-1998) Quarry with Llyn Peris signed ‘M.J.HITCHCOCK’ (centre left) oil on board 18 x 24 in. (45.7 x 61 cm.) £400-600

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*See page two for information regarding fees

36 ARR HELEN HALE, R.O.I. (B.1936) April snow signed ‘Helen Hale’ (lower left) oil on canvas 213⁄4 x 173⁄4 in. (55 x 45 cm.) £300-500

37 ARR ADRIAN ALLINSON (1890-1959) Lake Vista in Oberland signed and dated ‘Allison/1919’ (lower left) oil on canvas 24 x 36 in. (61 x 91.5 cm.)

Allinson won the Slade Scholarship - he was among a notable group of students working under Henry Tonks, Philip Wilson Steer, Fred Brown and Walker Westley Russell. He was an athletic man with a passion for skiing and climbing. The present work is a beautiful mountainous landscape possibly completed while pursuing his outdoor hobbies. £2,000-4,000

38 ARR KEN HOWARD, R.A. (B.1932) Rogaska signed ‘KEN HOWARD’ (lower right), inscribed and dated ‘7.1-06 Rogaska’ (on the stretcher) oil on canvas 12 x 16 in. (30.5 x 40.7 cm.) £800-1,200

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PROPERTY FROM THE ESTATE OF JOHN AVIS John Augustus Avis was born in Surbiton, Surrey in 1931. A student at Camberwell from 1947-50, he was taught by John Minton, Sam Carter and Susan Einzig, before winning the scholarship to the Slade School of Art, where he was taught by Coldstream, Rogers and Patrick George. There his talent for draughtsmanship won him the Slade Tonks Drawing Prize.

Amongst his contemporaries and friends at this time were Ewan Uglow, Gordon Davies, Tom Espley, Anthony Eyton, Patrick George, Geri Morgan, Patrick Symons, John Thompson. Avis showed his works in numerous group exhibitions, including Young Contemporaries and at the R.B.A. at the Mall Galleries. He held numerous teaching posts: in Kumasi, Ghana, in 1964, where he had been appointed Senior Lecturer in charge of Painting on the BA course at the University’s Faculty of Art and Design.

Here early works from London, showcasing carefully measured XIQV\ IXXTQKI\QWV IVL [\ZWVO KWUXW[Q\QWV[ IZM KWV\ZI[\ML Ja \PM Æ ]QL abstracts inspired by Ghanaian music and the bright compositions recording Avis’s surroundings in Kumasi and journey to Mozambique.

The brighter palette the artist used in Africa can be traced in his later painting of Beachy Head, near Eastbourne. Coming directly from the estate most of the works in this sale have not been seen in public before.

They provide an exciting insight into the output of the artist, who deserves a wider appreciation.

Other teaching posts include: Senior Lecturer in Foundation Studies in Ipswich School of Art; Head of School of Art & Design at the Evelyn Hone College in Lusaka, Zambia (1970), Head of Foundation Studies at the Faculty of Art & Design, Doncaster Institute of Higher Education (1974); and Head of the Department of Foundation and Diploma Studies at the Chelsea School of Art where he stayed until retirement.

After completing my studies at the Slade, I felt that I needed to escape from the system of studio set-up subject matter, and to get out and look at life around me where I lived in London…In 1961, I married my love, Susan, also an ex-Camberwell art student and post-Grad at Goldsmiths. Together, our main sources of visual references remained being in South London. In 1964, I took ]X Ua Å Z[\ IXXWQV\UMV\ QV )NZQKI QV 3]UI[Q /PIVI <PQ[ UIRWZ KPIVOM QV our environment inspired new developments in my painting, based on direct observation of life in this large capital city of the Ashanti region.

John Avis

39 JOHN AUGUSTUS AVIS (1931-2015) Model in the studio oil on canvas 26 x 33 in. (66.1 x 83.8 cm.)

Painted circa 1940s. £400-600

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*See page two for information regarding fees

PROPERTY FROM THE ESTATE OF JOHN AVIS

40 JOHN AUGUSTUS AVIS (1931-2015) Portrait of M.G. signed, inscribed and dated ‘John Avis 1956/57./Port. Of M.G.’ (on the reverse) oil on board 42 x 24 1/2 in. (106.8 x 62.2 cm.)

Michael Gerrard was an English poet, who Avis met in the American Camp in Wiltshire in the early 50s £400-600

41 JOHN AUGUSTUS AVIS (1931-2015) Cheese and wine signed 'Avis.' (upper left), signed again and dated 'John Avis/1960' (on the reverse) oil on board 24 x 36 in. (61 x 91.5 cm.) £300-500

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PROPERTY FROM THE ESTATE OF JOHN AVIS

42 JOHN AUGUSTUS AVIS (1931-2015) Rhytm and movement signed, inscribed and dated ‘John Avis ‘69/Composition based on West African music’ (on the reverse) oil on board 24 x 36 in. (61 x 91.4 cm.) £500-700

43 JOHN AUGUSTUS AVIS (1931-2015) African music signed, inscribed and dated ‘John Avis 1969/African Music’ (on the reverse) oil on board, unframed 30 x 48 in. (76.2 x 122 cm.) £500-700

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*See page two for information regarding fees

PROPERTY FROM THE ESTATE OF JOHN AVIS

44 JOHN AUGUSTUS AVIS (1931-2015) West African Music, Baule, Xylophone signed and dated ‘John Avis. 72/W.African Music/(xylophone + percussion instruments’(on the reverse) oil on board 153⁄4 x 24 in. (38.2 x 61 cm.)

Inspired by the energy of the xylophone and Ghanaian music. £500-700

45 JOHN AUGUSTUS AVIS (1931-2015) The garden from the bedroom window signed, inscribed and dated ‘John Avis 1966/Kumasi, Ghana’ (on the reverse) oil on board 34½ x 29½ in. (87.7 x 74.9 cm.) £500-700

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PROPERTY FROM THE ESTATE OF JOHN AVIS

46 JOHN AUGUSTUS AVIS (1931-2015) The Garden in Kumasi signed, inscribed and dated ‘John Avis/Kumasi Ghana.

1966’ (on the reverse) oil on canvas 30 x 40 in. (76.2 x 101.6 cm.) £600-800

47 JOHN AUGUSTUS AVIS (1931-2015) Banana Trees signed, inscribed and dated ‘John Avis/Banana Trees/Kumasi Garden/1968’ (on the reverse) oil on board 30 x 48 in. (76.2 x 121.9 cm.) £800-1,200

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*See page two for information regarding fees

PROPERTY FROM THE ESTATE OF JOHN AVIS

48 JOHN AUGUSTUS AVIS (1931-2015) Portrait of Kwesi signed, inscribed and dated ‘John Avis/Portrait of Kwesi/Ghana, 1965’ (on the reverse) oil on canvas 24 x 18 in. (61 x 45.5 cm.) £400-600

49 JOHN AUGUSTUS AVIS (1931-2015) Beira, Mozambique signed, inscribed and dated ‘John Avis.

‘72./Beira Mozambique.’ (on the reverse) oil on board 14¼ x 24 in. (36.2 x 61 cm.)

Painted from the veranda of the hotel.

Avis and his wife Susan travelled to Mozambique shortly after the declaration of Independence. £500-600

50 JOHN AUGUSTUS AVIS (1931-2015) Eastbourne, at the foot of Beachy Head oil on board, unframed 12 x 24 in. (30.5 x 61 cm.)

Painted in 1999. £200-400

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51 ARR PETER KINLEY (1928-1988) Seated nude pencil and oil on paper 9¼ x 7¼ in. (23.5 x 18.4 cm.)

Provenance: The artist’s estate. £800-1,200

52 ARR DANY DASTO (B.1940) Tree of life signed ‘Dasto’ (lower right) acrylic on canvas 17½ x 14¼ in. (44.5 x 36.2 cm.)

Dany Dasto is known for being life partner of the playwright Noël Coward £400-600

53 ARR DEREK SOUTHALL (B.1930) Chapel Garden signed and inscribed ‘Southall Chapel Garden’ (on the frame), inscribed ‘Glad Day’ (on the reverse) acrylic on canvas 24 x 24 in. (61 x 61 cm.) £200-300

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*See page two for information regarding fees

54 ARR GRAHAM PAYN (1918-2005) Driveway to Firefly Hill signed ‘G Payn’ (lower right), signed again, inscribed and dated ‘DRIVEWAY TO FIREFLY HILL/JAMAICA/NOEL COWARD HOUSE/(Graham Payn.)’ (on the stretcher) oil on canvas 14 x 10½ in. (35.7 x 26.7 cm.)

‘Firefly Hill has given me the most valuable benison of all: time to read and write and think and get my mind in order,’ Coward wrote in his diary. ‘I love this place. It deeply enchants me. Whatever happens to this silly world, nothing much is likely to happen here.’

Graham Payn was a South African-born English actor and singer, also known for being life partner of the playwright Noël Coward. (Also see lot 56) £300-500

55 ARR PHILIP SUTTON (B. 1928) N.S.W. Australia oil on canvas 39¼ x 39¼ in. (100 x 100 cm.)

Provenance: Private collection, UK. £1,500-2,500

56 ARR GRAHAM PAYN (1918-2005) Trees, South of France signed ‘G. Payn.’ (lower left) acrylic on canvas 18¼ x 213⁄4 in. (46.4 x 55.3 cm.) £300-500

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57 ARR HENRY MOORE, OM (1898-1986) Two Heads (after Donatello’s ‘Magdalen’) signed and dated ‘Moore/78’ (lower left), inscribed ‘Donatello’ (lower right) ink 7½ x 103⁄4 in. (19 x 27.3 cm.)

Provenance: with Raymond Spencer Company.

Private collection, UK. Anonymous sale; Christie’s, London, 1 December, 1998, lot 316, where purchased by the present owner.

Literature: A. Garrould (ed.), Henry Moore: Complete Drawings 1977-1981, volume V, London, 1994, AG 78.11, HMF 78 (11), p. 29, illustrated.

This is one of two studies after Donatello made in the course of a BBC television film on Moore. They are based on photographs taken

by David Finn for a monograph on Donatello published in 1973 by Abrams, New York. £4,000-6,000

58 CHARLES SARGEANT JAGGER, A.R.A. (1885-1934) Shells and seaweed pencil 5¼ x 9¾ in. (13.3 x 24.8 cm.)

Design for a relief panel.

Provenance: with Liss Fine Art, London, where purchased by the present owner. £200-400

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*See page two for information regarding fees

59 AFTER SIR STANLEY SPENCER, R.A. (1891-1959) Girls gathering flowers with signature and inscription ‘STANLEY SPENCER/GIRLS GATHERING FLOWERS’ (lower left), dated and numbered ’30.6.78.

42/75’ (lower right) photo-lithograph 17¼ x 15¼ in. (43.8 x 38.7 cm.)

A ‘Trial Proof 30.6.78.’ photo-lithograph reproduction taken from a set of drawings made by Stanley Spencer in the 1930’s. The lithograph and titling under the print is thought to have been made

by Spencer’s friend the artist Henry Trivick. £100-200

60 ROGER FRY (1866-1934) Four lithographs from ‘Ten Architectural Drawings’ (one illustrated) with signature on the plates ‘Roger Fry’ (lower left) lithograph Image: 16½ x 12½ in. (41.9 x 31.7 cm.)

The lot includes: ‘Arles sur Tech’; ‘Rock-cut Church, Aubeterre’; ‘Baroque Altar, Perpugnan’; ‘Rock-cut Church, Saint-Emilion’.

(4) £200-400

(part lot)

61 ARR KARL WESCHKE (1925-2005) Dog walking on the edge of the desert signed in pencil ‘Weschke’ (in the margin, lower right), inscribed ‘BAT’ (lower left) etching Image: 83⁄4 x 63⁄4 in. (22.3 x 17.2 cm.) £150-250

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62 ARR GRAHAM SUTHERLAND, O.M. (1903-1980) +WUXW[Q\QWV [\]La NWZ I XWZ\ZIQ\ WN ;QZ 3MVVM\P +TIZS 4WZL +TIZS 3+* .*) CH, OM, (1903-1983) dated '7.1.62' (upper right) pencil and watercolour 10 x 8 in. (25 x 20 cm.)

Provenance: Acquired from the artist's studio, by the Bergamini Gallery, Milan.

Private collection, Europe.

Exhibited: Varese, Musei Civici di Villa Mirabello, 23 May - 26 July 1992.

Conegliano, Galleria Comunale d'Arte, Sutherland Ritratti,2 March 28 April 1996, unnumbered.

Literature: Exhibition catalogue, G. Testori, Sutherland L'atelier dei ritratti, MIlan, 1992, p. 44, illustrated.

Exhibition catalogue, M. Goldin, Sutherland Ritratti, Milan, 1996, p.160, illustrated. £12,000-18,000

Sir Kenneth Clark remembers this conversation in his autobiography: ‘One day in 1940 Graham said to me: ‘You know, when the war is over, I should like to paint portraits’. I was dumbfounded… [this] did not I\ ITT Å\ QV _Q\P \PM KPIZIK\MZ WN /ZIPIU¼[ IZ\ )\ \PI\ \QUM PM _I[ known almost entirely by his landscapes of an estuary in South Wales, inhabited by twisted trees and somewhat sinister roots. Occasionally these roots took the stage alone... They were the nearest he had got to a portrait. I said: ‘I somehow don’t see you as a professional portrait painter; technically you can do anything [which is true] – but just think of how some of your sitters would bore you’ ‘Of course I would make my own selection. The human head is only an objet trouvé – and a most interesting one.’’…When I saw his portrait of Mr Somerset Maugham, to whom I had introduced him, I realised how foolish I had been’ (K. Clark, The Other Half – A Self-Portrait, London, 1977, p. 43.) ;]\PMZTIVL XIQV\ML NM_MZ \PIV ÅN\a XWZ\ZIQ\[ QV \PM KW]Z[M WN \PQZ\a aMIZ[ and was very selective refusing numerous commissions, focusing only on the ones that provided stimulus to his painting. On the one side, the physical element was crucial for him, similarly to the ‘hidden forms; he _W]TL ÅVL QV I TIVL[KIXM WV \PM W\PMZ [QLM \PM XMZ[WVITQ\a _I[ WN OZMI\ QUXWZ\IVKM" ¼1°ÅVL Q\ QUUMV[MTa NI[KQVI\QVO \W LMIT _Q\P XMWXTM _PW have had pressures put upon them or who have the character necessary to direct great enterprises. There are psychological overtones in such people which is absorbing to try and render’ (G.S. quoted in J. Hayes, The Art of Graham Sutherland, Oxford, 1980, p. 33.) It is no wonder that Sir Kenneth Clark was to be a choice of sitter: a personal friend of \PM IZ\Q[\ IVL IV QUXWZ\IV\ ÅO]ZM QV \PM IZ\ _WZTL I[ IV IZ\ PQ[\WZQIV critic, writer, teacher and the youngest Director at the National Gallery (1934-45), Clark seems to have possessed all the features Sutherland found intriguing. At the time the portrait was painted, Clark was a Trustee of the British Museum, on the Advisory Council of the Victoria and Albert Museum and had recently been Slade Professor at Oxford.

as a president of the War Artist’s committee, he played a key role in IXXWQV\QVO ;]\PMZTIVL I[ IV W‫ٻ‬KQIT ?IZ )Z\Q[\ IVL PM Q[ IT[W SVW_V \W PI^M XIQL \PM UWZ\OIOM WV ;]\PMZTIVL[¼ PW][M I\ <ZW\\Q[KTQ‫ٺ‬M QV 3MV\ 1\ Q[ QV <ZW\\[KTQ‫ٺ‬M¼[ OIZLMV _PMZM \PM XZM[MV\ KWUXW[Q\QWV [\]La _I[ executed. By that point Sutherland had already been widely recognised as one of the leading contemporary artists and was enjoying fame and prosperity. Lord Clark was proud to be portrayed by Sutherland, as he wrote in September 1962 and enjoyed it also because this allowed him time for uninterrupted conversations with the artist during the sittings. In the present work a powerful rhythm of movement has been created by the intensity of Sutherland’s drawing, his pencil moulding \PM ÅO]ZM¼[ TQVM[ NWK][QVO WV \PM NIKQIT M`XZM[[QWV ;MQbQVO \PM XI[[QVO moment, Sutherland is aiming to capture a fresh, honest and truthful expression of Clark’s personality. With a few strokes of colour the artist has masterfully created an atmosphere of a landscape without \PM TIVL[KIXM /WTLMV []V TQOP\ ÆQKSMZ[ W‫\ ٺ‬PM [Q\\MZ¼[ NIKM KZMI\QVO IV almost palpable feeling of warmth. The relaxed pensive pose and soft colours are imbued with the ease of a long-standing friendship.

It was Clark’s idea to put a hat on, as he thought he’d look better in it, it was subsequently discarded as an element, which places the XZM[MV\ _WZS IUWVO[\ \PM ÅZ[\ KWUXW[Q\QWVIT [\]LQM[ _Q\P \PM WQT JMQVO KWUXTM\ML \_W aMIZ[ TI\MZ <PM ÅVQ[PML XWZ\ZIQ\ VW_ QV \PM KWTTMK\QWV of the National Portrait Gallery, focuses solely on the sitter’s face in XZWÅTM *MIZQVO KWUXW[Q\QWVIT ZM[MUJTIVKM \W \PM \P KMV\]Za 1\ITQIV tradition of Pierro Della Francesca’s .MLMZQOW LI 5WV\MNMT\ZW L]SM WN =ZJQVW, the piece is undoubtedly one of the masterpieces of British portraiture – craggy and eagle-like. The present sketch, painted in a lighter key, bears the same psychological marksmanship, capturing a more intimate moment between old friends.

The friendship between Clark and Sutherland dates back to 1934. Clark _I[ IUWVO[\ ;]\PMZTIVL¼[ ÅZ[\ IVL UW[\ QUXWZ\IV\ []XXWZ\MZ[ IKY]QZQVO V]UMZW][ _WZS[ IVL WZOIVQ[QVO PQ[ ÅZ[\ M`PQJQ\QWV I\ :W[MVJMZO IVL Helft’s in 1938. At the outbreak of the war in 1939 he invited the artist and his wife, Kathleen, to stay with the Clarks in the country, in 1941, 32

*See page two for information regarding fees

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63 ARR MICHAEL ANDREWS (1928-1995) Study of a girl pencil, unframed 7 x 8 in. (17.8 x 20.3 cm.)

Executed in 1957.

Provenance: with Beaux Arts Gallery, London. £400-600

64 ARR SIR JACOB EPSTEIN (1880-1959) Jackie signed 'Epstein.' (upper left) pencil 22 x 18 in. (55.8 x 45.7 cm.) £1,000-1,500

65 ARR HUBERT WELLINGTON (1879-1967) The artist’s wife and child signed with monogram (lower left) pencil 10½ x 6½ in. (26.7 x 16.5 cm.)

Provenance: with The Piccadilly Gallery, London.

A Adcock, by December 1969. £200-400

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66 ARR GRAHAM SUTHERLAND, O.M. (1903-1980) Landscape with trees signed with initials and dated ‘G.S. 1939.’ (lower right) ink and gouache on paper 4¾ x 7¾ in. (12.1 x 19.7 cm.) £1,500-2,500

67 PAUL NASH (1889-1946) Cleeve hill, Gloucestershire pencil and watercolour 7½ x 93⁄4 in. (19.1 x 24.8 cm.)

Executed circa 1939-42.

Provenance: with Blong Fine Art, London.

Mrs. W.B. Morrell, by 4 June 1980. £800-1,200

68 LUCIEN PISSARRO, N.E.A.C. (1863-1944) View from Lambert’s Castle signed with monogram, inscribed and dated ‘1915/View from Lambert’s Castle’ (lower right) ink, watercolour and crayon 5 x 8¼ in. (12.7 x 21 cm.)

Provenance: with Spink, London, No. K310013.

Lambert’s Castle Hill is in Dorset near Fishpond, where Lucien was staying for the last part of 1915. He and Esther let the Brook for three guineas a week and rented a cottage at Fishpond, near Charmouth in Dorset. £1,000-1,500

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69 ARR CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. (1889-1946) Le Louvre signed in pencil ‘C.R.Nevinson’ (in the margin, lower right) etching and drypoint Image: 103⁄4 x 63⁄4 in. (27.4 x 17.4 cm.)

Printed in 1922.

Literature: J. Black, C.R.W. Nevinson: the complete prints, London, 2014, no. 90.

This etching shows the entrance to the Palais du Louvre, with a view towards the busy streets beyond. Here, Nevinson has balanced the imposing nature of the massive archway against the lively atmosphere of the Parisian streets with the skill of a masterly artist. Once again, Nevinson has demonstrated his exceptional ability in the control of light by the way in which he has handled the increasing depth of shadow across the paving stones, from the entrance of the archway, towards the viewer. The cleverly arranged perspective of this composition forces the viewer's eye away from the foreground figures, who appear incidental, towards a non-specific point in the distance, in the lower right-hand area of the image. £1,500-2,500

70 ARR RONALD SEARLE (1920-2011) Pas de Quatre signed and dated ‘Ronald Searle 54.’ (lower left) ink 18¼ x 14½ in. (46.4 x 36.8 cm.)

Pas de Quatre, The Soviet authorities have announced that they are sending the Moscow Ballet to entertain the Four Power Conference was published in Punch Magazine on 27th January 1954, p. 137. £2,000-4,000

36

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71 ARR BILL JACKLIN, R.A. (B.1943) The Coney Island Suite: Bathers I; Coney Island incident; The Bar; The Benches; In Deck chair each signed and dated in pencil ‘Jacklin 92’ (in the margin, lower right), each numbered in pencil ‘10/30’ (in the margin, lower left) etching Image: 9¼ x 12¼ in. (31 x 23.5 cm.)

(5) £400-600 37

72 ARR PHILIP SUTTON (B.1928) Still life signed ‘P.Sutton’ (lower left), signed again, inscribed and dated ‘Still life 1959 Philip Sutton’ (on the reverse) oil on canvas 48 x 36 in. (122 x 91.5 cm.)

Provenance: Private collection, UK. £1,500-2,500

73 ARR RUSSELL SIDNEY REEVE, R.E., R.B.A. (1895-1970) Victoriana signed and dated ‘Russell Reeve/66’ (lower right) oil on canvas 24 x 20 in. (61 x 50.8 cm.) £600-800

74 ARR JOHN MCCUTCHEON, R.O.I. (1910-1995) Poppies in a Vase signed ‘J.MCCUTCHEON’ (lower left) oil on board 23¼ x 19½ in. (59 x 49.5 cm.) £600-800

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75 ARR ALFRED WOLMARK (1877-1961) The striped gown inscribed ‘21.’ (on the reverse) oil on canvas 30 x 20 in. (76.2 x 50.8 cm.) £1,500-2,500

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76 ARR SIR MATTHEW SMITH (1879-1959) Portrait of Dudley Wallis signed with initials 'MS' (lower left) oil on canvas 30 1/2 x 25 in. (77.5 x 63.5 cm.)

Painted circa 1936.

Provenance: Dudley Wallis, 1936 [?]. with Arthur Tooth & Sons, London, where purchased by Sir David Scott, 13 September 1960 for £550.

A great British collection: the pictures collected by Sir David and Lady Scott, Sotheby's, London, 19 November 2008, lot 172.

Private collection, London.

Private collection, North Yorkshire.

Literature: J. Glendhill, Catalogue Catalogue Raisonné of the Oil Paintings of Matthew Smith with a Critical Introduction of his Work, Farnham, 2009, p. 189, no 471, illustrated. £7,000-10,000

In November 1936, the year Portrait of Dudley Wallis was completed, \PM <MTMOZIXP ZM^QM_MZ WN ;UQ\P¼[ M`PQJQ\QWV I\ \PM <WW\P¼[ LMÅVML him as ‘the most exciting of British post-war painters.’ (quoted in M. Yorke, Matthew Smith: His life and Reputation, London, 1997, p. 155.)

Smith’s fame and reputation had been growing over the 20s, securing him his dealer and a retrospective exhibition in 1929. Smith spent most of the 30s in France, travelling to London to see friends and arrange M`PQJQ\QWV[ <PM XZM[MV\ _WZS _I[ XZWJIJTa ÅVQ[PML I\ \PM [IUM ^Q[Q\ I[ the Tooth’s exhibition in 1936. It was a particularly successful one with the Tate buying Model Turning on this occasion and Kenneth Clark, then a rising star in the art establishment, also acquiring two paintings for his personal collection.

Dudley Wallis had been an ardent admirer and collector of Smith’s work since the late 1920s and amassed a considerable collection. (ibid, p. 136.). He was the curator at the Holburne Museum in Bath from November 1913-1917, where he oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. In the 20s he went on to be the Director of the Whitworth Art Gallery in Manchester.

Portrait of Dudley Wallis is a great example of Smith’s mature style marked by masterful use of bold colours. The pigments are wonderfully luminous, creating a strong composition where one can hardly separate the idea of the colour from the feel of the paint or either from the []JRMK\ XIQV\ML <PM ÅO]ZM Q[ ITUW[\ [K]TX\]ZITTa UW]TLML _Q\P \PQKS KWV\W]Z[ LMÅVQVO \PM []Q\ <PM LMTQKI\M ZMVLMZQVO WN \PM NIKQIT NMI\]ZM[ is directly contrasted by the rapid brushstrokes in the blue background WZ \PM ITUW[\ IJ[\ZIK\ML IZMI[ WN QUXI[\W LMÅVQVO \PM K]Z\IQV IVL KPIQZ <PM ÅO]ZM MUMZOM[ \PZW]OP KWVÅLMV\ JZ][P[\ZWSM[ _PMZM KWTW]Z MY]IT[ light and light equals space - the picture possesses particular rhythm that pulls the viewer in.

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77 ARR PETER SAMUELSON (1912-1996) Ali Standing oil on board 253⁄4 x 163⁄4 in. (65.4 x 42.3 cm.)

Provenance: with Adonis Art, London, where purchased by the present owner.

Peter Samuelson came from an affluent family, as the son of a rich hotelier. He went to Eton where his talent for painting was highly encouraged. He served as a soldier in World War II, after which he settled in London where he lived in large 19th century houses, which he often filled with lodgers. With a regular income, he did not need to work and painted for himself and friends. Ali Standing is painted in the rooms Upper Phillimore Gardens, where the artist lived in 1959.

It has been suggested that the sitter is probably an immigrant from the Windrush Generation, who was then a lodger with Samuelson. £1,000-1,500

78 ARR ANSEL KRUT (B. 1959) Study (at table) oil on panel 113⁄8 x 14 in. (29 x 35.5 cm.)

Painted in 1988.

Provenance: with Fischer Fine Art, London.

Mr. & Mrs. Kirby. £500-700

79 ARR DONALD HAMILTON FRASER, R.A. (1926-2009) Young ballerina signed ‘Fraser’ (lower right) charcoal, watercolour and pastel 23 x 18 in. (58 x 46 cm.) £800-1,200

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80 ARR ALFRED WOLMARK (1877-1961) Portrait of a woman signed ‘Wolmark’ (lower left) oil on board 18¼ x 15½ in. (46.4 x 39.3 cm.)

Painted in 1932.

A self-portrait of the artist is visible in the background. £2,500-3,500

81 ARR DORIS VAUGHAN (1894-1975) Seated woman oil on canvas 26 x 22 in. (66 x 55.8 cm.) £500-700

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82 ARR JOHN BRATBY, R.A. (1928-1992) Blasted windows signed and dated ‘BRATBY.NOV.59’ (lower left) oil on canvas 44 x 34 in. (110.8 x 86.4 cm.)

Provenance: with Zwemmer Gallery, London.

Anonymous sale; Phillips, London, 17 July 2001, lot 104, where purchased by the present owner.

Painted in 1959, three years after Bratby exhibited in the Venice Biennale, Blasted Windows is an accomplished example of the Kitchen and Sink figurative realism the artist was highly praised for. £6,000-8,000 44

*See page two for information regarding fees

83 ARR JOHN BRATBY, R.A. (1928-1992) Telecon on keeler three times signed ‘BRATBY’ (upper left), signed again and dated ‘BRATBY/63’ (on the canvas overlap), inscribed ‘TELECON ON KEELER THREE STAR’ (on the canvas overlap) with further inscriptions on the reverse oil on canvas 50 x 40¼ in. (127.5 x 102.3 cm.)

Provenance: with the Zwemmer Gallery, London.

Telecon was an enormous factory producing cables, which Bratby represented with great attention to detail. £4,000-6,000 45

84 ARR JOHN BRATBY, R.A. (1928-1992) Clouding over, Orb and Fortune, Venice signed ‘John Bratby’ (lower right), inscribed and dated ‘Clouding over/19 Oct 85 Orb Fortune VENICE’ (lower left) pencil 13½ x 10 in. (34.4 x 25.4 cm.) £200-300

85 ARR JOHN BRATBY, R.A. (1928-1992) Two young carnival chatters on the river signed and inscribed ‘Two young carnival/chatters on the/riva [sic].

John Bratby’ (upper left) pencil and crayon 9¼ x 13¼ in. (23.5 x 33.7 cm.) £200-300

86 ARR JOHN BRATBY. R.A. (1928-1992) Young couple, seated with a table of roses, candle and a crucifix oil and gouache with scratching out on paper 30¼ x 21¼ in. (76.8 x 54 cm.) £400-600

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87 ARR ALFRED WOLMARK (1877-1961) Christ preaching signed ‘WALMARK’ (lower left), numbered ‘157.’ (on the reverse) oil on canvas 30¼ x 20 in. (67 x 51 cm.) £1,000-2,000

88 ARR CAREL WEIGHT, R.A. (1908-1997) Study after El Greco signed ‘Carel Weight’ (upper left) oil on board 8 x 12 in. (20.3 x 30.5 cm.)

Provenance: Acquired directly from the artist by the present owner in 1988. £1,000-1,500

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89 ARR GEORGE MANCHESTER (1922-1966) Dinghies on the river signed ‘GEORGE MANCHESTER’ (lower left) oil on board 13½ x 17½ in. (34.2 x 44.4 cm.) £600-800

90 ARR KEN MORONEY (B.1949) Sailboats signed ‘Moroney.’ (lower left) oil on canvas-board 10 x 12 in. (25.4 x 30.5 cm.) £500-700

91 ALBERT MOULTON FOWERAKER (1873-1942) An evening walk by the sea signed ‘A.M.Foweraker.’ (lower right) watercolour and gouache 9½ x 133⁄4 in. (24 x 34.9 cm.) £500-700

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92 ARR BERNARD FLEETWOOD-WALKER, R.A., R.W.S., P.R.B.S.A. (1893-1965) Portrait of a woman oil on board 16 x 12 in. (41 x 30 cm.) £800-1,200

93 JOHNSON (20th Century, British) Portrait of a girl signed ‘Johnson’ (lower left) oil on board 16 x 12 in. (41 x 31 cm.) £300-500

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94 ARR DAVID ATKINS (B.1964) Sunny fields oil on canvas 22½ x 27½ in. (57.2 x 69.8 cm.) £300-500

95 STAN SMITH (1929-2001) The yellow blind oil on board 41¼ x 34½ in. (104.7 x 87.7 cm.)

Provenance: The artist’s estate. £700-1,000

96 ARR DAVID ATKINS (B.1964) In the field oil on canvas 20 x 22 in. (50.8 x 55.8 cm.) £200-300

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97 ARR JOHN BRATBY, R.A. (1928-1992) Baker and grocer’s cart signed ‘BRATBY’ (lower left) oil on canvas 20 x 24 in. (50.8 x 61 cm.) £3,000-5,000

98 FREDERICK W BURRIDGE (20th Century, British) Mrs Burridge in the Embankment Gardens signed and dated ‘F.W.BURRIDGE/SEPT. 1962’ (lower right) oil on canvas 24 x 20 in. (61 x 50.8 cm.) £500-700

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99 ARR CLIFFORD HALL (1904-1973) Standing nude signed, inscribed and dated ‘To John/from Clifford/Dec.1946’ (lower left) pencil on blue paper 15 x 11 in. (38.1 x 27.9 cm.) £200-400

100 ARR BEN LEVENE, R.A. (1938-2010) Still life with nude sculpture signed with monogram ‘LB’ (lower right), signed again and inscribed ‘Levine/Antique’ (on the reverse) oil on board, unframed 38 x 29¼ in. (96.5 x 74.3 cm.)

Provenance: Anonymous sale; Christie’s, South Kensington, 6 September 2001, lot 209, where purchased by the present owner. £600-800

101 ARR RONALD OSSORY DUNLOP, R.A. (1894-1973) Nude seated by stove signed and inscribed ‘R.O. Dunlop/“Nude seated by Stove’’’ (on the reverse) oil on board, unframed 15 x 20 in. (38.1 x 50.8 cm.) £150-250

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102 ARR ARTHUR AMBROSE MCEVOY, A.R.A. (1878-1927) Study of a young girl pencil and watercolour 13 x 6½ in. (33 x 16.5 cm.) £400-600

103 ARR PETER HOWSON (B.1958) The Queen of Hell charcoal 112⁄3 x 9 in. (30 x 23 cm.) £400-600

104 ARR PATRICK HAYMAN (1915-1988) Hamlet and Ophelia by the sea signed and dated ‘Hayman. 84’ (lower right), inscribed ‘Hamlet and Ophelia By The Sea’ (upper left), inscribed ‘Hamlet & Ophelia/By the SEA/or/the Prince of Denmark/with familiar Spirits/1984’ (on the reverse) gouache 12 x 17½ in. (30 x 44.5 cm.) £400-600

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105 ARR CONROY MADDOX (1912-2005) The Velocipedist signed and dated ‘Conroy Maddox/’54’ (lower right) gouache and collage on paper 103⁄4 x 103⁄4 in. (26.5 x 26.5 cm.)

Exhibited: London, John Bonham Murray Feely Fine Arts, The Birmingham Seven, 11 June-13 July 1991, no 21.

We are grateful to Mr Silvano Levy for the assistance in cataloguing this lot. The work will be included in the forthcoming catalogue raisonné. £700-1,000

106 ARR JOHN UZZELL EDWARDS (1934-2010) In flight signed and dated ‘1965’ (lower right) oil on canvas 48½ x 36 in. (123.3 x 91.5 cm.)

John Uzzell Edwards was a Welsh artist. He avoided attending art college and spent time painting in Paris and Switzerland. This seagull was probably painted when the artist moved to Tenby, where he focused on painting barges in Burryport, skeletal seagulls washed up on the to beach. The artist said he went ‘right back to my Celtic roots for inspiration’ which resulted in strong primitive-looking highly colourful images. (See D. Buckman, Artists in Britain since 1945, volume 2, Bristol, 1998, p. 1615.) £500-700

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107 ARR DAVID TINDLE, R.A. (B.1932) Child with eye shade moving head signed, inscribed and dated ‘David Tindle 64/Child With eye shade/Moving head’ (on the reverse) charcoal and gouache on paper laid down on board 193⁄4 x 193⁄4 in. (50.3 x 50.3 cm.)

Provenance: with The Piccadilly Gallery, London, by 1966.

Peter Adcock.

Private collection. £400-600

108 ARR ANTHONY BROWN (20th Century, British) Fossil Rocks signed and dated ‘BROWN 55’ (lower right) oil on canvas 16¼ x 24 in. (41.3 x 61 cm.) £700-1,000

109 ARR JULIAN GORDON MITCHELL (B.1952) Surrealist still life signed ‘JULIAN/GORDON/MITCHELL’ (on the reverse) oil on canvas, unframed 30 x 40 in. (76.3 x 101.7 cm.) £400-600

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110 ARR CECIL BIRTWHISTLE (1910-1990) Portrait of a boy signed ‘Cecil Birtwhistle’ (lower right) oil on board, unframed 143⁄4 x 10¼ in. (37.5 x 26 cm.) £150-250

111 ARR FLORENCE ST JOHN CADELL (1877-1966) Learning to walk signed and dated ‘S. John Cadell/1935’ (lower right) oil on canvas 30 x 22 in. (76.2 x 55.8 cm.)

Cousin of Francis Campbell Boileau Cadell, Florence St John Cadell was a figurative painter, who often signed St John Cadell to disguise her femininity. She exhibited widely in the Royal Scottish Academy and the Alpine Club Gallery. £400-600

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112 ARR JOHN MCCUTCHEON, R.O.I. (1910-1995) Flowers in a Vase signed ‘F.MCCUTCHEON’ (lower right) oil on board 20 x 16 in. (50.8 x 40.6 cm.) £500-700

113 KATE WYLIE (1877-1941) Still life signed ‘Kate Wylie’ (lower right) oil on canvas, unframed, inscribed ‘B’ (on the reverse) 24 x 17 in. (61 x 43.2 cm.) £400-600

114 ARR CECIL BIRTWHISTLE (1910-1990) Street scene, Richmond, London oil on canvas, unframed 353⁄4 x 28 in. (90.8 x 71 cm.) £400-600

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115 ARR ANTHEA CHAPMAN (B.1933) A walk in the field signed ‘Anthea C.’ (lower left) oil on board 353⁄4 x 47½ in. (90.7 x 120.6 cm.) £300-500

116 ARR LOUISE BALAAM, R.W.A., N.E.A.C. (B.1954) Coast high, wind and surf; and Deep brown and Ochre ground (i) signed and inscribed on the reverse; (ii) signed and inscribed on the reverse; oil on board (i), (ii) 19½ x 19½ in. (49.5 x 49.5 cm.)

(2) £800-1,200

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117 ARR JACOB BORNFRIEND (1904-1975) Flowers signed and dated ‘64/J.Bornfriend’ (lower left) oil and sand on board 14 x 9½ in. (35.6 x 24.2 cm.)

Provenance: with Roland, Browse and Delbanco, London. £1,000-1,500 118 ARR JOHN BOLAM (1922-2009) Landscape with orange and brown oil on board 10 x 16 in. (25.4 x 40.6 cm.)

Provenance: with Liss Fine Art, London. £150-250 119 ARR JOHN BOLAM (1922-2009) Nocturnal landscape signed with initial ‘B’ (lower right) ink and watercolour 9¾ x 13¾ in. (24.8 x 35 cm.) £80-120

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118

119 59

“It is not a question of painting .. as realistically as I can, but to get the right tonality, so that memory and presence are very close.”

David Tindle, 1985 120 ARR DAVID TINDLE, R.A. (B.1932) Still life with a fish signed and dated ‘David Tindle 1957’ (upper right) oil on canvas 453⁄4 x 34 in. (115.8 x 116.2 cm.)

The focus on tonality and composition is present in David Tindle’s early works: Still life with fish was completed two years after Tindle’s first solo exhibition in London. As noted by Rachel Cooke in an exhibition review in November 2016: ‘by the critics’ account, [Tindle] 60

was coming up hard on the heels of Prunella Clough, Francis Bacon, Lucian Freud and Keith Vaughan.’ Friends with John Minton, Tindle was introduced to Freud and Vaughan who played a key role in his stylistic development. The artist’s early works are celebrated for his almost sacramental arrangement of objects where the human presence is only suggested by the present objects. Still life with fish with its muted tonality, strong lines and masterful rendering of light and shadow possesses a particular presence of its own which places the work amongst the most accomplished early pieces by the artist. £3,000-5,000 *See page two for information regarding fees

121 ARR CRAIGIE AITCHISON, R.A. (1926-2009) Daffodils and candlestick signed in white ink ‘Cragie Aitchison’ (in the margin, lower right), numbered ‘30/75’ (in the margin, lower right) screenprint Image: 19½ x 15 in. (49.5 x 38.1 cm.)

Published in 1998 in an edition of 75 plus 12 artist’s proofs. £300-500

122 MARY BALLANTINE (Exhib. 1910-1920) Summer flowers and apples signed and dated ‘M.BALLANTINE/1944’ (lower left) oil on canvas, unframed 28 x 36 in. (71.1 x 91.5 cm.) £400-600

123 ARR PHILIP SUTTON (B.1928) Cristina oil on canvas, unframed 40 x 40 in. (101 x 101 cm.)

Painted circa 1963.

Provenance: with Roland Browse & Delbanco, London.

John Moores.

Private collection, UK. Exhibited: Liverpool, The Walker Gallery, John Moores Exhibition, 1963, no. 22, catalogue untraced. £1,000-1,500

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124 ARR PASCOAL DE SOUZA (B.1928) Portrait of a girl signed ‘Pascoal de Souza’ (lower left) oil on canvas, laid down on board 31¼ x 24 in. (79.4 x 61 cm.) £400-600

125 ARR VICTORIA RUSSELL (B.1962) Head Study (Lou Lou III) oil on board 8 x 6 in. (20.3 x 15.3 cm.)

Provenance: with Cassian de Vere Cole Fine Art, London, where purchased by the present owner.

The winner of the National Portrait Gallery's BP Portrait Award in 2000, Russell is a widely recognised portrait painter whose commissions include Dame Shirley Williams and the Queen of Denmark, HM Margarethe II. She is also known for her works focusing on theatre audiences and social projects. Head Study (Lou Lou III) is an accomplished study showcasing Russell's masterful treatment of the human head. £1,000-2,000

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126 ARR PETER KINLEY (1928-1988) Standing nude pencil and oil on paper 9 x 63⁄4 in. (22.3 x 17 cm.)

Provenance: The artist’s estate. £800-1,200

127 ARR PETER CLOSSICK (B.1948) Fé signed and inscribed ‘Peter Clossick/“Fé”’ (on the reverse) oil on canvas 10 x 8 in. (25.4 x 20.3 cm.)

Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and a member of The New English Art Club under the Federation of British Artists. £1,500-2,500

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128 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Large head plaster 173⁄4 in. (45 cm.), high Provenance: A gift from the artist to the present owner. £1,200-1,800

(front)

(back)

In the 1970s Paolozzi began to make the quasi-cubist sculptures which became one of the leading motifs in his works. The artist was particularly keen that plaster should achieve a higher status than had previously been the case and some of his works in the medium were not cast in any other material.

The sculptures offered in this sale (lots 128-135) were given by Paolozzi to his assistant and have been kept in their private collection since.

129 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Pair of feet, left and right plaster each 3½ in. (9 cm.), high (2) Provenance: A gift from the artist to the present owner. £300-500

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*See page two for information regarding fees

130 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Female Head signed ‘E.Paolozzi’ (on the back) plaster 7½ in. (19 cm.), high Provenance: A gift from the artist to the present owner. £400-600

131 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Josephie Baker signed and inscribed plaster with lacquered finish 12 in. (30 cm.), high Provenance: A gift from the artist to the present owner.

Josephine Baker (1906-1975) was an American-born French expatriate singer and dancer, cabaret artiste and movie star, Civil Rights activist and international symbol of black emancipation. She became Paolozzi's first historical female portrait. In the summer of 1948 Paolozzi wrote in a letter from Rome that he had just seen Josephine Baker. Many versions of the head of Josephine Baker were developed and the present study was given to Paolozzi’s assistant as a gift when working on the sculpture later installed in Selfridges. £1,500-2,500

132 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) John Smith signed with initials and inscribed ‘ J.S./E.P./SFM’ (on the reverse) segmented plaster 15 in. (38 cm.), high Provenance: A gift from the artist to the present owner. £800-1,200

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133 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Krokodeel signed with initials, inscribed and dated ‘EP KROKODEEL 1998’ (on the base) plaster 83⁄4 in. (22 cm.), long Provenance: A gift from the artist to the present owner. £300-500 The Krokodeel was among a number of small animal sculptures made for Noah's Ark.

134 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Rat with whiskers; and Hare plaster (i) 6½ in. (16 cm.), long; (ii) 8½ in. (22 cm.), long Provenance: A gift from the artist to the present owner. £300-500

135 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Large flayed horse plaster 20 in. (50 cm.), high, including the base Provenance: A gift from the artist to the present owner.

Original plaster model for a one-off bronze produced for the owner of an Italian Restaurant patronised by Paolozzi. £1,500-2,500

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*See page two for information regarding fees

136 ARR CLIVE BARKER (B.1940) King of diamonds signed ‘Clive Barker’ (lower right) pencil and gouache 14 x 10 in. (35.5 x 25.4 cm.)

Provenance: Acquired directly from the artist by the present owner. £200-400

137 ARR STANLEY WILLIAM HAYTER (1901-1988) Untitled signed and dated ‘Hayter/30.6.46.’ (lower right) ink 21¼ x 28 in. (54 x 71 cm.) £800-1,200

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138 ARR SIR PETER BLAKE, R.A. (B.1932) New ways in history - 2 signed, inscribed and dated 'New Ways in History - 2/Drawing and collage/Peter Blake JULY 1966.' (lower right) ink, collage and white paint 17 5/8 x 12 1/2 in. (44.8 x 31.8 cm.)

Provenance: with Robert Fraser Gallery, London.

The Collection of Mr and Mrs Lester Francis Avnet, and by descent.

Exhibited: New York, Museum of Modern Art, on loan. ÂŁ8,000 -12,000

â&#x20AC;&#x153;Collage is now so much part of everyday visual culture, fuelled by numerous technological changes in methods of reproduction, that the diverse strands of its histories may be overlooked. It has played a prominent role in closing the gap between elite and popular art, and questions of aesthetic value are no longer determined in the way they once were.â&#x20AC;?

Dawn Ades (N.Rudd, D. Ades, P. Blake, About Collage, London, 2000, p. 43.)

Collage as a medium takes a special place in the art of Sir Peter Blake.

In a published conversation with Natalie Rudd the artist confesses that his involvement with it dates back to his teenage years when he was acquiring objects of interest including collages from a junkyard near his art school in Gravesend. This was the beginning of a collection that has grown over the years and is known to have served as continuous inspiration for a lot of his works.

Originally a graphic design student, Blake was accepted onto the painting course at the Royal College of Art in London in 1950 on the [\ZMVO\P WN PQ[ NM_ MIZTa XIQV\QVO M`XMZQUMV\[ 1V PQ[ Ă&#x2026;VIT aMIZ I\ \PM college, when sharing a room with Richard Smith, Blake found out about collage as an artistic medium from Smithâ&#x20AC;&#x2122;s friend Jasia Reichardt, who had moved to England from Europe in the 1930s and had known Kurt Schwitters and Raoul Hausmann. As a result from this, Blake notes, that he would come back home from college and make collages as a hobby. â&#x20AC;&#x2DC;Gradually I realised that I could base my work on my life and on the things I was interested in. I used my interests in typography, pop music and popular culture as sources for my work. I remember the dinner XIZ\a I\ _PQKP \PM IZ\ KZQ\QK 4I_ZMVKM )TTW_Ia Ă&#x2026;Z[\ ][ML \PM \MZU Âť8WX Artâ&#x20AC;&#x2122;.. to describe my work, which aimed to have the directness and distribution of pop music. This was my main aim as a Pop artist..â&#x20AC;&#x2122; Blake in (ibid, pp.19-20) The discovery of collage was key for Blakeâ&#x20AC;&#x2122;s output and has been a medium he alludes to even in his oil paintings where collaged elements XW[[M[[ I UWZM \ZWUXM T WMQT Mâ&#x20AC;ŤŮşâ&#x20AC;ŹMK\ -`MK]\ML QV ! I\ \PM PMQOP\ WN \PM Pop Art movement, New Ways In History â&#x20AC;&#x201C; 2 encompasses many of the SMa MTMUMV\[ QV *TISMÂź[ _WZS 0MZM \PMZM Q[ I UI[\MZN]T Ă&#x2020;]QLQ\a JM\_MMV the ink drawing and all collaged elements, which in turn are all framed by the typography with a poster-like message.

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*See page two for information regarding fees

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139 ARR SIR PETER BLAKE, R.A. (B.1932) Some of the sources of Pop Art V signed in pencil ‘Peter Blake’ (in the margin, lower right), numbered in pencil ‘104/175’ (in the margin, lower left) screenprint in colours Image: 20 x 20 in. (50.7 x 50.8 cm.) £2,000-4,000

140 ARR CLIVE ARROWSMITH (B.1952) David Hockney signed, inscribed and dated ‘David Hockney/Arrowsmith/2015’ (in the margin, lower right), numbered ‘1/50’ (on the artist’s label, on the reverse) digital print Image: 12 x 12 in. (30.5 x 30.5 cm.) £500-700

141 ARR SIR PETER BLAKE, R.A. (B.1932) Some of the sources of Pop Art VI signed in pencil ‘Peter Blake’ (in the margin, lower right), numbered in pencil ‘104/175’ (in the margin, lower left) screenprint in colours Image: 20 x 20 in. (50.7 x 50.8 cm.) £2,000-4,000

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142 ARR SIR PETER BLAKE, R.A. (B.1932) Summer days signed in pencil ‘Peter Blake’ (in the margin, lower right), numbered in pencil ‘56/175’ (lower left) screenprint in colours Image: 35 x 17 in. (88.8 x 43.2 cm.) £1,000-2,000

143 ARR SIR PETER BLAKE, R.A. (B. 1932) Union Flag signed in pencil ‘Peter Blake’ (lower right), numbered ‘33/75’ (lower left) screenprint with glitter printed in colours Image: 21½ x 32 in. (55 x 82 cm.)

Printed in 2016 at Coriander Studio in an edition of 75 to celebrate the Queen’s 90th birthday. £1,200-1,800

144 ARR SIR PETER BLAKE, R.A. (B.1932) Sgt. Pepper’s Lonely Hearts Club Band Poster signed in pen ‘Peter Blake’ (lower right) 35½ x 233⁄4 in. (90 x 60 cm.) £200-400

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145 ARR THEO MENDEZ (1934-1997) The Land signed, inscribed and dated ‘Theo Mendez. 1959/The Land’ (lower right) oil on board 47½ x 47½ in. (120.7 x 120.7 cm.)

Provenance: The artist’s estate.

Exhibited: London, Whitfield Fine Art, Theodore Mendez: The late 1950s & early 1960s, February 2010.

Contemporary of Gillian Ayres, Terry Frost and Howard Hodgkin and Euan Uglow, Mendez studied at Camberwell School of Art. The Land was painted a few years after a successful solo show at the Redfern Gallery and a show of the artist's textile designs in the V&A. £1,000-1,500

‘The works are sometimes symbolic of a moment in time - an event witnessed felt or experienced.

Accretions of the experience of painting itself the physical pleasures of spreading colour flowing- dense- solid-transparent-contrast- the surface of the support.’

Theo Mendez in a letter to Ron King, September 1990

146 ARR HOWARD HODGKIN (1932-2017) Blood signed in pencil with initials, numbered and dated ‘23/50 HH 83’ (lower centre) colour lithograph with handcolouring in watercolour and gouache 31 x 393⁄4 in. (78.5 x 101 cm.)

Published in 1983 by the Petersburg Press.

Provenance: with Alan Cristea Gallery, London.

Literature: Tate Gallery, Howard Hodgkin: prints 19771983, London 1985, no. 41. £2,000-4,000

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*See page two for information regarding fees

147 ARR TONI SCRIVENER (B. 1944) Blackors Hole signed ‘TonyScrivener’ (lower left) pencil and oil on card 7 x 7½ in. (17.8 x 18.4 cm.)

Provenance: with Gordon Hepworth Fine Art, Devon.

Art for life, charity sale; Christie’s, 13 March 2006, lot 212, where purchased by the present owner. £200-300 148 ARR BRYAN INGHAM (1936-1997) Summer evening (First Study) signed, inscribed and dated ‘Summer Evening/1987 (1st study)/Bryan Ingham’ (on the reverse) oil and collage 27¼ x 3 in. (69.3 x 7.7 cm.) £2,000-4,000 149 LEO DAVY (1924-1987) Figures Deconstructed signed and dated ‘Leo Davy/’56’ (lower right) oil on paper 301⁄8 x 265⁄8 in. (76.3 x 67.6 cm.)

Provenance: The estate of the artist.

Exhibited: London, Piano Nobile Gallery, 22 May-28 June 2014, no. 12. £3,000-5,000

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Courtesy of Piano Nobile, © Leo Davy Estate

PROPERTY FROM THE ESTATE OF LEO DAVY Leo Davy became an active patrticipant in the London art scene in the 1950s and early 60s, following studies under Reginald Brill at Kingston School of Art in the late 1930s, and later at the Slade from 1942-5 (mobbing with it to the Ruskin in Oxford). He settled in North Cornwall in 1968, where he lived and worked until his unexpected death in 1987.

Davy was included in a mixed summer show at Gimpel Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott. Among his circle of friends were the abstract artist Jon Latham, philosopher and novelist John and Eva Tucker, the art editor of Penguin Books Germano Facetti and John Roberts (son of William Roberts).

The works we have in this sale are from the Gimpel Fils era, revealing Davy’s dedication to the development of abstraction. Carefully considered abstractions with thick paint and washes and angular shapes allude to an international dialogue to movements like CoBrA in Europe and the beginning of abstract expressionism in New York, paralleling the work of artists such as Mark Toby, Willem de Kooning, Jackson 8WTTWKS IVL +Ta‫ ٺ‬WZL ;\QTT

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*See page two for information regarding fees

PROPERTY FROM THE ESTATE OF LEO DAVY

149 LEO DAVY (1924-1987) .QO]ZM[ ,MKWV[\Z]K\ML signed and dated ‘Leo Davy/’56’ (lower right) oil on paper 30 1/8 x 26 5/8 in. (76.3 x 67.6 cm.)

Provenance: The estate of the artist.

Exhibited: London, Piano Nobile Gallery, 22 May-28 June 2014, no. 11. £3,000-5,000

150 LEO DAVY (1924-1987) *T]M IJ[\ZIK\ signed and dated 'Leo Davy 57' (lower right) oil on paper 29 3/4 x 21 in. (75.5 x 53.5 cm.)

Provenance: The estate of the artist.

Their sale, Sotheby's, London, 25 March 2015, lot 239.

Exhibited: London, Piano Nobile Gallery, 22 May-28 June 2014, no. 12. £3,000-5,000

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Index A Adams, N., 24 Aitchison, C., 121 Allinson, A., 37 Andrews, M., 63 Arrowsmith, C., 140 Atkins, D., 94, 96 Avis, J.A., 39-50

K Kelly, G.F., 30 Kelsey, R., 28 Kinley, P., 51, 126 Krut, A., 78

B Balaam, L, 116 Ballantine, M., 122 Barker, C., 136 Birtwhistle, C., 110, 114 Blake, Sir P., 138, 139, 141 - 144 Bornfriend, J., 117 Bolam, J., 118, 119 Bratby, J., 19, 23, 82-86, 97 Brown, A., 108 Buhler, R., 26 Burridge, F., W., 98

M Maddox, C., 105 Manchester, G., 89 McCutcheon, J., 74, 112 McEvoy, A., A., 102 Mendez, T., 5, 12, 145 Methuen, P.,A., 20 Mitchell, J.G., 109 Moore, H., 57 Moroney, K., 90 Myers, B., 14-18

C Cadell, F.S.J., 111 Cameron, G.S., 33 Chapman, A., 115 Clossick, P., 127 Cuming, F., 34 D Dasto, D., 52 Davie, A., 8 Davy, L., 149, 150 Dodd, F., 25 Du Plessis, H., E., 29 Dunlop, R., O., 101 E Epstein, Sir J., 64 Edwards, J., U., 106 F Fowaker, A.M., 91 Frost, Sir T., 9 Fry, R., 60 Fraser, D.H., 79 Fleetwood Walker, B., 92 G Gilbert, S., 10 Grant, A., 11 H Hale, H., 36 Hall, C., 99 Hayman, P., 104 Hauter, S.W., 137 Hill, R., 21 Hitchcock, M.J., 35 Hodgkin, H., 146 Howard, K., 38 Howson, P., 103

L Levene, B., 100

N Nash, P., 67 Nevinson, C.R.W., 69 O O’Casey, B., 2 O’Rorke, R., 7, 13 P Paolozzi, Sir E., 128-135 Payn, G., 54, 56 Pissarro, L., 68 Plosky, J., 22 Procktor, P., 27, 31 R Riley, B., 6 Reeve, R.S., 73 Russell, V., 125 S Samuelson, P., 77 Scriener, T., 147 Searle, R., 70 Sedgley, P., 3 Shepherd, S.d’H., 32 Smith, J., 1, 4 Smith, Sir M., 76 Smith, S., 95 Southall, D., 53 Souza, P., 124 Spencer, Sir S., (After), 59 Sutherland, G., 62, 66 Sutton, P., 55, 72, 123 T Tindle, D., 107, 120 V Vaughan, D., 81 W

I Ingham, B., 148 J Jacklin, B., 71 Jagger, C.S., 58 Johnson, 93

Weight, C., 88 Wellington, H., 65 Weschke, K., 61 Wolmark, A., 75, 80, 87 Wylie, K., 113

Glossary of Picture Cataloguing Terms 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 reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1.

JMW Turner: 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.

2.

Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3.

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

4.

Circle of JMW <]ZVMZ" 1V W]Z WXQVQWV I _WZS Ja IV I[ aM\ ]VQLMV\QÅML J]\ LQ[\QVK\ PIVL KTW[MTa I[[WKQI\ML with the named artist and of the period, but not necessarily his pupil.

5.

Style of…; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6.

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

7.

After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8.

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.

9.

The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10. Dimensions are given height before width.

11. Pictures are framed unless otherwise stated.

78

<MZU[ IVL +WVLQ\QWV[ NWZ *]aMZ[ I\ +PQ[_QKS )]K\QWV[

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79

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Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneerâ&#x20AC;&#x2122;s entire discretion.

3. CONTRACT FORMATION AND EFFECTS 3.1 Contract of sale The contract of sale is between the Buyer and the Seller.

The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd. ?PMV I *]aMZ X]ZKPI[M[ U]T\QXTM 4W\[ MIKP 4W\ Q[ \PM []JRMK\ WN I separate contract of sale. <ZIV[NMZ WN XZWXMZ\a Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyerâ&#x20AC;&#x2122;s premium, relevant taxes, and costs in relation to shipping.

80

+IVKMTTI\QWV WN \PM [ITM At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel \PM [ITM WN \PM 4W\ WZ ZMWâ&#x20AC;«Ùºâ&#x20AC;¬MZ IVL ZM[MTT \PM 4W\ QN Q\ JMKWUM[ I_IZM WN any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

3.5 Returns and refunds CA Ltd will only issue a refund using the same method of payment originally used by the Buyer to pay for the purchase, or by bank transfer.

The Buyerâ&#x20AC;&#x2122;s refund will be processed without undue delay and in any M^MV\ _Q\PQV VW UWZM \PIV LIa[ WN \PM LIa \PM *]aMZ OI^M +) 4\L notice of cancellation.

1N \PM *]aMZ M`MZKQ[M[ \PMQZ ZQOP\ WN ZM\ZIK\QWV _PMV I]\PWZQ[ML \W LW [W

by Law, CA Ltd shall proceed to issue a complete refund, comprising the hammer price of the Lot, buyerâ&#x20AC;&#x2122;s premium and shipping fees. However return fees shall remain at the expense of the Buyer.

4. AFTER THE SALE 8IaUMV\ All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be in cash, debit, credit card or bank transfer. Cheques are not accepted. +I[P XIaUMV\[ [PITT VW\ JM ZMKMQ^IJTM NWZ IUW]V\[ W^MZ Ã&#x201A; ZMOIZLTM[[ of the payment being for one or multiple Lots.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer. *]aMZ¼[ 8ZMUQ]U The Buyer will pay CA Ltd a premium of 25% on the hammer price XT][ >)< WV \PI\ KWUUQ[[QWV WV \PM Ã&#x2026;Z[\ Â&#x160; IVL XT][ >)< WV \PM JITIVKM \PMZMIN\MZ ) *]aMZ¼[ 8ZMUQ]U WN ! XT][ >)< Q[ charged on Wine & Spirits Lots.

The standard rate of VAT is charged on the premium except on Lots marked â&#x20AC;&#x2DC;â&#x20AC; â&#x20AC;&#x2122; where normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

1V WZLMZ \W ZMKMQ^M I ZMN]VL WN >)< IUW]V\[ 1UXWZ\ >)< I[ applicable) non-EU buyers must: (a) have registered to bid with an address outside of the EU; and J M`XWZ\ \PM TW\ NZWU \PM -= _Q\PQV LIa[ WN KWTTMK\QWV NWZ TW\[ IVL 3 months of collection for all other lots and immediately afterwards provide us with satisfactory proof of export. (c) Details of the documents which you must provide to us to show

[I\Q[NIK\WZa XZWWN WN M`XWZ\ [PQXXQVO IZM I^IQTIJTM NZWU W]Z .QVIVKM \MIU ) XZWKM[[QVO NMM WN Â&#x160; XMZ QV^WQKM Q[ KPIZOML \W KPMKS [PQXXQVO M`XWZ\ LWK] UMV\[ L 6W >)< IUW]V\[ WZ 1UXWZ\ >)< _QTT JM ZMN]VLML _PMZM \PM \W\IT ZMN]VL IN\MZ LML]K\QVO \PM XZWKM[[QVO NMM Q[ ]VLMZ Â&#x160;

+WTTMK\QWV Purchased Lots can be collected from the auction room after the sale PI[ MVLML WZ JM\_MMV IU IVL XU ]X ]V\QT KTW[M WN J][QVM[[ WV the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltdâ&#x20AC;&#x2122;s discretion.

4.3 Taxes The Buyer is responsible for paying VAT on any Lot, above hammer price and Buyerâ&#x20AC;&#x2122;s premium. The rate applicable shall be the legal rate at the date of the sale. /WWL[ []KP I[ JWWS[ IVL IV\QY]M JWWS[ U][QK UIX[ IVL KPIZ\[ M\K IZM []JRMK\ \W bMZW ZI\ML >)< 1V ILLQ\QWV IVa QUXWZ\ \I`M[ \PI\ UIa JM QVK]ZZML [PITT JM XIQL Ja \PM Buyer above hammer price, VAT and Buyerâ&#x20AC;&#x2122;s premium. The present paragraph applies in particular to imports within the United-States and Australia. The Buyer is advised to verify such matters prior to the sale.

4.7 Storage Purchased Lots not collected before 6pm on the day after the sale shall QVK]Z [\WZIOM KPIZOM[ WN Â&#x160; XMZ 4W\ XMZ LIa WZ XIZ\ \PMZMWN +) 4\L shall be entitled to retain purchased Lots sold until all sums due have been XIQL \W +) 4\L 1N IVa X]ZKPI[ML TW\ ZMUIQV[ ]VKWTTMK\ML LIa[ IN\MZ \PM [ITM [\WZIOM KPIZOM[ [PITT \PMZMIN\MZ JM Â&#x160; XMZ LIa IVL +) 4\L [PITT in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding.

Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

)Z\Q[\ :M[ITM :QOP\[ ,ZWQ\ LM ;]Q\M 4W\[ UIZSML _Q\P »)::¼ UIa JM []JRMK\ \W I TM^a Droit de Suite is a royalty payable to a qualifying artist or to the artistâ&#x20AC;&#x2122;s heir each time a work is resold during the artistâ&#x20AC;&#x2122;s lifetime and up to I XMZQWL WN aMIZ[ IN\MZ \PM IZ\Q[\¼[ LMI\P :WaIT\QM[ IZM KITK]TI\ML on a cumulative sliding percentage scale based on the hammer price excluding the buyerâ&#x20AC;&#x2122;s premium. The royalty does not apply to Lots [MTTQVO JMTW_ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; IVL \PM UI`QU]U ZWaIT\a XIaIJTM WV IVa [QVOTM 4W\ Q[ \PM [\MZTQVO MY]Q^ITMV\ WN Ã&#x201A; Royalties for Droit de Suite are as follows:

;PQXXQVO Any shipping costs that may arise subsequently to the sale shall be at the Buyerâ&#x20AC;&#x2122;s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union. +) 4\L LWM[ VW\ Wâ&#x20AC;«Ùºâ&#x20AC;¬MZ QV[]ZIVKM NWZ [PQXXQVO 0W_M^MZ +) 4\L UIa arrange insurance upon the Buyerâ&#x20AC;&#x2122;s request and at the Buyerâ&#x20AC;&#x2122;s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

Â&#x152; .ZWU \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; .ZWU Ã&#x201A; \W Ã&#x201A; Â&#x152; -`KMMLQVO Ã&#x201A; :MUMLQM[ NWZ VWV XIaUMV\ 1N \PM *]aMZ NIQT[ \W UISM N]TT XIaUMV\ QV KTMIZML N]VL[ _Q\PQV \PM \QUM required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available: â&#x20AC;¢ To cancel the sale â&#x20AC;¢ To charge interest at 4% per annum above the base rate of Lloyds Bank Plc. â&#x20AC;¢ To resell the Lot on such terms by auction or otherwise entirely at CA Ltdâ&#x20AC;&#x2122;s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale. Â&#x152; <W Wâ&#x20AC;«[Ùºâ&#x20AC;¬M\ IOIQV[\ IVa []U[ _PQKP +) 4\L UIa W_M \PM *]aMZ \PM outstanding sums unpaid by the said Buyer Â&#x152; ?PMZM \PM *]aMZ W_M[ []U[ \W +) 4\L QV ZM[XMK\ WN LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums. Â&#x152; <W ZMN][M MV\Za \W \PM *]aMZ I\ IVa N]\]ZM I]K\QWV IVL WZ ZMRMK\ IVa N]\]ZM JQL[ Ja \PM *]aMZ IVL WZ [MMS I LMXW[Q\ NZWU \PM *]aMZ entirely in the discretion of CA Ltd. â&#x20AC;¢ To exercise a lien over the Buyerâ&#x20AC;&#x2122;s property in the possession of CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law. â&#x20AC;¢ To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs. â&#x20AC;¢ To take such other action as is permissible by Law and in the discretion of CA Ltd.

! 4W[[ WZ ,IUIOM CA Ltd does not accept liability for loss or damage occurring to Lots after \PM [ITM +) 4\L _QTT ][M ZMI[WVIJTM Mâ&#x20AC;«Ùºâ&#x20AC;¬WZ\[ _PMV PIVLTQVO XIKSQVO IVL shipping of Lots purchased, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third partyâ&#x20AC;&#x2122;s care. +]T\]ZIT /WWL[ QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +]T\]ZIT OWWL[ UIa JM []JRMK\ \W QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ =VLMZ EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the itemâ&#x20AC;&#x2122;s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyerâ&#x20AC;&#x2122;s duty to WJ\IQV \PMU ;WUM KW]V\ZQM[ ZM[\ZQK\ \PM QUXWZ\ WN [XMKQÃ&#x2026;K K]T\]ZIT OWWL[ For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural OWWL[ QV XZW^MVIVKM NZWU [WUM KW]V\ZQM[ []JRMK\ \W IZUML KWVÃ&#x2020;QK\[ The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible. +1<-; QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ +MZ\IQV MVLIVOMZML [XMKQM[ IZM TQ[\ML QV \PM +1<-; +WV^MV\QWV 4Q[\ML [XMKQUMV[ IVL IVa XIZ\[ WZ XZWL]K\[ \PMZMWN IZM []JRMK\ \W Q[[]IVKM WN IV export permit when leaving the European Union. )XXMVLQ` 1 [XMKQM[ IZM IT[W []JRMK\ \W Q[[]IVKM WN I XZQWZ QUXWZ\ XMZUQ\ from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyerâ&#x20AC;&#x2122;s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter. ?WZSML Q\MU[ \PI\ IZM LI\ML JMNWZM ! IZM M`MUX\ NZWU QUXWZ\ restrictions for intra-EU trade and shall not require export licences.

Please be aware that all Lots marked with the symbol Æ&#x20AC; IZM []JRMK\ \W +1<-; ZMO]TI\QWV[ 81

4QUQ\I\QWV WN TQIJQTQ\a ZMOIZLQVO +1<-; M`XWZ\ TQKMV[M[ Where licences are required for importing or exporting outside of the European Union, it is the Buyerâ&#x20AC;&#x2122;s duty to obtain them.

CA Ltd cannot be held responsible if the Buyerâ&#x20AC;&#x2122;s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale. ?IZZIV\QM[ CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law. )]\PMV\QKQ\a _IZZIV\a 1V \PM M^MV\ WN I 4W\ JMQVO [WTL I[ I]\PMV\QK ]VLMZ \PM KI\ITWO]M description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not, CA Ltd will refund the purchase price. <PM *]aMZ [PITT OQ^M VW\QKM \W +) 4\L _Q\PQV LIa[ NZWU SVW_TMLOM or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall JM LMÃ&#x2026;VML I[ \PM [\I\M WN I 4W\ \PI\ Q[ OMV]QVM IVL VW\ I NWZOMZa WZ I KWXa 5. ANTIQUITIES AND TRIBAL ART 1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ IVL ZMO]TI\QWV[ )ZKPIMWTWOQKIT OWWL[ W^MZ aMIZ[ WN IOM ]VTM[[ KW^MZML Ja M`MUX\QWV WN TQUQ\ML [KQMV\QÃ&#x2026;K QV\MZM[\ _QTT ZMY]QZM IV -= 4QKMVKM NWZ M`XWZ\ \W I third country, regardless of their value.

1\ Q[ ZMKWUUMVLML \PI\ \PM *]aMZ KWV\IK\ \PM -`XWZ\ 4QKMV[QVO =VQ\ at Arts Council England in order to be assured the good is or not of TQUQ\ML IZKPIMWTWOQKIT WZ [KQMV\QÃ&#x2026;K QV\MZM[\ Archaeological goods found on United-Kingdom soil or in UK \MZZQ\WZQIT _I\MZ[ W^MZ aMIZ[ WN IOM [PITT ZMY]QZM I =3 4QKMVKM regardless of their value and regardless of the export destination.

7\PMZ IZKPIMWTWOQKIT WJRMK\[ ZMOIZLTM[[ WN \PMQZ WZQOQV _QTT ZMY]QZM IV 1VLQ^QL]IT 4QKMVKM WZ 7/-4 LMXMVLQVO WV \PMQZ ^IT]M Both European-Union and UK Licences may be required simultaneously NWZ [WUM Q\MU[ 1\ Q[ \PM *]aMZ¼[ L]\a \W ]VLMZ\ISM \PM VMKM[[IZa [\MX[ CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY /MU[\WVM \ZMI\UMV\ IVL M[\QUI\M[ Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to: â&#x20AC;¢ Heat treatment to enhance sapphires and rubiesâ&#x20AC;&#x2122; clarity and colour Â&#x152; 7QT IVL ZM[QV \ZMI\UMV\[ NWZ MUMZITL[ IXXTQML QV LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ _Ia[ \W enhance clarity of the stone â&#x20AC;¢ Staining Â&#x152; 1ZZILQI\QWV â&#x20AC;¢ Coating Estimates provided by CA Ltd are deemed to be based on the fact that the OMU[\WVM UIa PI^M JMMV []JRMK\ \W IVa \aXM WN \ZMI\UMV\ QV \PM XI[\ +) Ltd shall not be responsible in the absence of mention thereof. ) KMZ\QÃ&#x2026;KI\M UIa JM Q[[]ML Ja I TIJWZI\WZa XZW^QLQVO _Q\P LM\IQTML information on the condition of the gemstone and any treatment applied \PMZM\W <PM *]aMZ U][\ JM I_IZM \PI\ LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ TIJWZI\WZQM[ PI^M LQâ&#x20AC;«Ùºâ&#x20AC;¬MZMV\ approaches as to the degree or type of treatment for a particular gemstone.

1N I KMZ\QÃ&#x2026;KI\M IKKWUXIVQM[ \PM 4W\ \PM *]aMZ U][\ JM I_IZM \PI\ Q\ Q[ merely a statement of the laboratoryâ&#x20AC;&#x2122;s opinion and in no way can CA Ltd 82

JM PMTL ZM[XWV[QJTM NWZ IVa UMV\QWV[ \PMZMQV ;]KP KMZ\QÃ&#x2026;KI\M[ IZM LMMUML to be delivered with the Lot for informative purposes only.

-[\QUI\ML _MQOP\[ 1N I [\WVM¼[ M`IK\ _MQOP\ IXXMIZ[ _Q\PQV \PM JWLa WN \PM LM[KZQX\QWV \PM [\WVM PI[ JMMV ]V UW]V\ML IVL _MQOPML Ja +) 4\L 1N \PM _MQOP\ WN a stone is stated to be approximate, the stone has been assessed by CA 4\L _Q\PQV Q\[ [M\\QVO IVL \PM LMÃ&#x2026;VML _MQOP\ Q[ I [\I\MUMV\ WN WXQVQWV only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy. ;QOVI\]ZM[ â&#x20AC;&#x2DC;) LQIUWVL ZQVO Ja @â&#x20AC;&#x2122;: When the makerâ&#x20AC;&#x2122;s name appears in the title, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion the piece is by that maker. â&#x20AC;&#x2DC;) LQIUWVL ZQVO [QOVML @â&#x20AC;&#x2122;: Has a signature that, in Chiswick Auctionsâ&#x20AC;&#x2122; opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. â&#x20AC;&#x2DC;) LQIUWVL ZQVO UW]V\ML Ja @â&#x20AC;&#x2122;: Has been created by the RM_MTTMZ QV +PQ[_QKS )]K\QWV[¼ WXQVQWV J]\ ][QVO [\WVM[ WZ LM[QOV[ supplied by the client. â&#x20AC;&#x2DC;5ISMZ¼[ UIZS NWZ @â&#x20AC;&#x2122;: Has a makerâ&#x20AC;&#x2122;s mark which in Chiswick Auctionsâ&#x20AC;&#x2122; opinion is authentic.

Some items may include parts or products derived from endangered [XMKQM[ []KP I[ Q^WZa WZ KWZIT ;]KP Q\MU[ UIa JM []JRMK\ \W QUXWZ\ WZ M`XWZ\ ZM[\ZQK\QWV[ ;MM [MK\QWV WV +1<-; ZMO]TI\QWV[ NWZ UWZM LM\IQT[ 7. CLOCKS AND WATCHES All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and _Q\PW]\ LMNMK\[ WZ PI[ JMMV []JRMK\ \W ZMXIQZ WZ ZM[\WZI\QWV CA Ltd makes no representation or warranty that any clock or watch Q[ QV _WZSQVO WZLMZ )[ KTWKS[ IVL _I\KPM[ WN\MV KWV\IQV Ã&#x2026;VM IVL complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for QUXWZ\ WZ M`XWZ\ X]ZXW[M[ QV IKKWZLIVKM _Q\P +1<-; ZMO]TI\QWV[ CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8. FURNITURE =XPWT[\MZML N]ZVQ\]ZM IN\MZ !

According to The Furniture and Furnishings (Fire Safety) Regulations ! N]ZVQ\]ZM \PI\ _I[ ]XPWT[\MZML IN\MZ \PM [\ WN 2IV]IZa ! Q[ []JRMK\ \W ZM[\ZQK\QWV[ QV \PM =VQ\ML 3QVOLWU Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes.CA Ltd shall not be ZM[XWV[QJTM NWZ TI\MZ IT\MZI\QWV[ \W \PM N]ZVQ\]ZM UISQVO Q\ ]VÃ&#x2026;\ NWZ [ITM 9. FINE ART .QVM )Z\ XIQV\QVO[ I[ QVKT]LML QV \PM KI\ITWO]M LM[KZQX\QWV »@ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ IV I]\PMV\QK work by the artist.

»)\\ZQJ]\ML \W @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ probably a work by the artist. »+QZKTM WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL L]ZQVO \PM period of the artist’s life. ».WTTW_MZ WN @ ¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM KWV\MUXWZIZa or near contemporary. »;KPWWT WN @ \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with that artist. ».ZMVKP ;KPWWT \P KMV\]Za¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS executed in that period and in the style associated with a particular location. »5IVVMZ WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM J]\ I\ I TI\MZ LI\M IT\PW]OP not of recent execution. »;\aTM WN @¼" 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I _WZS Ja IV ]VQLMV\QÅML IZ\Q[\ _WZSQVO QV \PM IZ\Q[\¼[ [\aTM IVL WN ZMKMV\ M`MK]\QWV »)N\MZ @ " 1V +PQ[_QKS )]K\QWV[¼ WXQVQWV Q\ Q[ I KWXa Ja IV ]VQLMV\QÅML IZ\Q[\ WN I VIUML _WZS Ja \PM IZ\Q[\ Lots sold ‘as seen’ or ‘as found’ are deemed to be sold in their present condition, with their faults and defects. The Bidder must be aware that purchase of such Lots is at there own risk.

CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

10. ASIAN ARTS

15. SEVERABILITY

1UXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ ?PMV LMITQVO _Q\P )[QIV )Z\[ IVL UWZM [XMKQÅKITTa _Q\P Q\MU[ UILM WN exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must JM I_IZM WN QUXWZ\ IVL M`XWZ\ ZM[\ZQK\QWV[ QV IKKWZLIVKM _Q\P +1<-; Regulations. As aforementioned in the Section relating to such matters, QUXWZ\ IVL M`XWZ\ XMZUQ\[ WZ ZM M`XWZ\ KMZ\QÅKI\M[ UIa JM ZMY]QZML >MZQÅKI\QWV TM\\MZ[ _QTT JM ZMY]QZML NWZ ZM M`XWZ\ WN _WZSML ZPQVWKMZW[ Q\MU[

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, []KP XZW^Q[QWV Q[ \W \ISM M‫ٺ‬MK\ WVTa QV [W NIZ I[ Q\ UIa LW [W without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way \W JM I‫ٺ‬MK\ML WZ QUXIQZML I[ I ZM[]T\

13. COPYRIGHT CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the abovementioned materials without the prior written consent of CA Ltd. ;WUM 4W\[ UIa JM []JRMK\ \W KWXaZQOP\ XZW\MK\QWV +) 4\L LWM[ VW\ guarantee said Lots are free thereof.

14. DATA PROTECTION The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

16. AMENDMENTS .QVM +PQVM[M 8IQV\QVO[ +]ZZMV\ [KPWTIZ[PQX QV \PM ÅMTL WN +PQVM[M 8IQV\QVO[ IVL +ITTQOZIXPa LWM[ VW\ XMZUQ\ ]VY]ITQÅML [\I\MUMV\[ I[ \W \PM I]\PWZ[PQX WZ LI\M WN execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings.

6W\_Q\P[\IVLQVO QN _Q\PQV LIa[ WN \PM [ITM WN IVa []KP 4W\ \PM original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, I »NWZOMZa¼ Q[ LMÅVML I[ I _WZS KZMI\ML _Q\P \PM QV\MV\ \W LMKMQ^M 11. BOOKS AND MANUSCRIPTS *WWS[ IVL UIV][KZQX\[ [WTL I[ QVKWUXTM\M IZM VW\ []JRMK\ \W ZM\]ZV[ Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales. .WZ \PM JMVMÅ\ WN +) 4\L ITT JQLLMZ[ IVL [MTTMZ[ IOZMM \PI\ \PM +W]Z\[ WN -VOTIVL IZM \W PI^M M`KT][Q^M R]ZQ[LQK\QWV \W [M\\TM ITT LQ[X]\M[ IZQ[QVO in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply. All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.

12. WINES AND SPIRITS 1V IKKWZLIVKM _Q\P IOZMML [\IVLIZL[ QV \PM \ZILM M[\QUI\M[ [PITT JM LMMUML \W PI^M \ISMV QV\W IKKW]V\ \PM ÅTT TM^MT For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of IV »IKKMX\IJTM¼ ÅTT TM^MT NZWU +) 4\L 83

Autographs & Memorabilia

Original hand-painted animation cel from the Beatles 1968 movie ‘Yellow Submarine’ Estimate £400 - £600

12 JULY 2018 FOR ENQUIRIES CONTACT Head of Sales, Valentina Borghi valentina.borghi@chiswickauctions.co.uk

AN INVITATION TO CONSIGN FOR

British & European Fine Art to include Portrait Miniatures

JEAN MARCHAND (FRENCH 1882-1941) Paysage au Viaduc. Oil on canvas 60 x 50cm (23 1/2 x 19 3/4in). Realised £3,500

03 OCTOBER 2018 FOR A COMPLIMENTARY VALUATION CONTACT Head of Department, Suzanne Zack suzanne@chiswickauctions.co.uk

SPECIALISTS

20th CENTURY DESIGN James Nurse, Head of Department james@chiswickauctions.co.uk

JEWELLERY Sarah Duncan, Head of Department sarah@chiswickauctions.co.uk

ANTIQUITIES & TRIBAL ART Alice King, Head of Department alice.king@chiswickauctions.co.uk

Charlotte Peel, Specialist charlotte.peel@chiswickauctions.co.uk

ASIAN ART Lazarus Halstead, Head of Department lazarus@chiswickauctions.co.uk

Clive Moss, Head of Department

Yasuko Kido, Japanese Art Specialist yasuko@chiswickauctions.co.uk CERAMICS & GLASS Dr. Jim Peake, Head of Department jim@chiswickauctions.co.uk CONTEMPORARY & URBAN ART Harry Parkinson, Sales Coordinator harry@chiswickauctions.co.uk DESIGNER HANDBAGS & FASHION Meg Randell, Head of Department meg@chiswickauctions.co.uk EUROPEAN WORKS OF ART & CLOCKS Rachael Osborn-Howard, Head of Department rachael@chiswickauctions.co.uk FINE ART Suzanne Zack, Head of Department suzanne@chiswickaucions.co.uk Rohan McCulloch, Specialist rohan@chiswickauctions.co.uk Krassi Kuneva, Head of Sales - Modern & Post-War British Art kkuneva@chiswickauctions.co.uk Melissa Van Vliet, Head of Sales - Old Masters melissa.vanvliet@chiswickauctions.co.uk GUITARS & MUSICAL INSTRUMENTS Dr. David MacGregor, Specialist david@chiswickauctions.co.uk ISLAMIC & INDIAN ART Beatrice Campi, Head of Sales beatrice.campi@chiswickaucions.co.uk

PRINTED BOOKS & MANUSCRIPTS clive.moss@chiswickauctions.co.uk

Dr. Carmen Donia, Specialist carmen.donia@chiswickauctions.co.uk

Nicholas Worskett, Specialist nicholas@chiswickauctions.co.uk

Valentina Borghi, Head of Sales - Autographs & Memorabilia valentina.borghi@chiswickauctions.co.uk RUGS & CARPETS Mark Henry Lampé, Head of Department mark.lampe@chiswickauctions.co.uk Chris Vin, Specialist chris@chiswickauctions.co.uk SILVER & OBJECTS OF VERTU John Rogers, Head of Department john.rogers@chiswickauctions.co.uk Amicie de Villenfagne, Specialist amicie@chiswickauctions.co.uk WATCHES Matthew Caddick, Head of Department matt@chiswickauctions.co.uk WINE & SPIRITS Peter Mansell, Head of Department peter.mansell@chiswickauctions.co.uk

SALE CALENDAR

JUNE

29

FRIDAY

Antiquities & Tribal Art

JULY

03

TUESDAY

Interiors & Design Ceramics & Glass

10

TUESDAY

20th Century Design

11

WEDNESDAY

Islamic & Indian Art featuring the Arts of the Qajar Era (1794-1924) Fine Rugs & Carpets

12

THURSDAY

Books from the Library of Giancarlo Beltrame, Part III, to include Other Antiquarian Book Properties Autographs & Memorabilia

17

TUESDAY

Interiors & Design

31

TUESDAY

Interiors & Design

Lot 75

Modern & Post-War British Art 28 June 2018

1 Colville Road, London W3 8BL +44 (0)20 8992 4442 info@chiswickauctions.co.uk chiswickauctions.co.uk

Modern & Post-War British Art London 28th June 2018