Page 1

Modern & Post-War British Art London, 3rd December 2019


2

*See inside front cover for information regarding fees


3


Paintings & Fine Art Department

Krassi Kuneva Head of Sale Modern & Post-War British Art krassi.kuneva@chiswickauctions.co.uk

Adrian Biddell Head of Department Paintings & Fine Art adrian.biddell@chiswickauctions.co.uk

Laetitia Masson Acting Head of Sale Old Master Paintings laetitia.masson@chiswickauctions.co.uk

Luke Price Specialist Paintings & Fine Art luke.price@chiswickauctions.co.uk

Suzanne Zack Head of Sale British & European Fine Art suzanne.zack@chiswickauctions.co.uk

Madeleine White Department Coordinator Paintings & Fine Art madeleine.white@chiswickauctions.co.uk

Online Bidding

Bid online with Chiswick Live to benefit from Chiswick Auctions’ standard buyer’s premium terms with no additional surcharges. invaluable.co.uk Please note there is a 5% +VAT surcharge for using this service. Telephone Bidding +44 (0)20 8992 4442 Please note that requests for telephone bids should be submitted 12 hours before the start time of the auction.

Chiswick Saleroom, Viewings & Valuations 1 Colville Road, London W3 8BL +44 (0)20 8992 4442

Opening Hours Monday to Friday 10am – 6pm Saturday to Sunday 11am – 5pm

South Kensington Showroom & Selected Highlights 127 Fulham Road, London SW3 6RT +44 (0)20 3949 7130

Opening Hours Monday to Friday 10am – 6pm Saturday to Sunday – Closed

General Enquiries info@chiswickauctions.co.uk +44 (0)20 8992 4442 chiswickauctions.co.uk

Bank Holiday Hours 11am – 5pm

Bidding bids@chiswickauctions.co.uk Vendor Accounts harminder.keane@chiswickauctions.co.uk Buyer Accounts mel.oneill@chiswickauctions.co.uk

Catalogue Price £10


Modern & Post-War British Art Tuesday 3rd December 2019, 2pm Selected Highlights at South Kensington Wednesday 27th November Full Sale & Viewing at Chiswick Saturday 30th November 11am – 5pm Sunday 1st December 11am – 5pm Monday 2ndDecember 10am – 6pm Tuesday 3rd December 10am – 2pm Buyer’s Premium The buyer shall pay Chiswick Auctions Ltd. a premium on the hammer price of 25% +VAT on that commission. Collection of Lots Buyers are asked to collect their lots on the day of the sale or between 10am - 6pm up until close of business on Friday following the sale. Cites Please be aware that all lots marked with the symbol λ are subject to CITES regulations. Please see our Terms & Conditions for more information. Artist’s Resale Right/Droit De Suite Lots marked with ARR indicates that an additional levy may apply for this lot. Please see our Terms & Conditions for more information. Photography Darrell Russell Steven McCauley Jordan Salzmann Basak Ulukose

Front Cover Lot 83 Inside Front Covers Lot 144, 134 Sale Calendar Lot 55 Index Lot 46 Inside Back Covers Lot 135, 21 Back Cover Lot 16


1 ARR PROPERTY FROM THE ESTATE OF KARTHERINE ‘KITTY’ CHURCH JULIAN TREVELYAN, R.A. (1910-1988) Villa Gamberia signed and dated Trevelyan ‘65 (lower right), signed again and inscribed Julian Trevelyan ‘’Villa Gamberia’’ (on the stretcher) oil on canvas 51.2 x 41.3 cm (20 ¼ x 16 ¼ in) Katherine Church, also known as Kitty, grew up around family friends from the fabled Bloomsbury Group. She studied at the Slade School of Art and at the Royal Academy, where she exhibited regularly in the early 1930s, alongside several London galleries. In 1936 she married Anthony West, the son of HG Wells and Dame Rebecca West, the eminent writer and journalist. They were visited regularly in the Dorset/Wiltshire countryside by a wide circle of friends that included painters Frances Hodgkins, John Piper and his wife Myfanwy, Ralph and Frances Partridge, Julian Trevelyan and Mary Fedden, as well as the publisher Noel Carrington, brother of Bloomsbury artist Dora. (See: J. Duncalfe, Katherine Church (19101999) A Life in Colour, Harrogate, 2015) £1,500-£2,500

2 ARR PATRICK PROCKTOR, R.A. (1936-2006) Camels, Tomb of the First Emperor of the Ming Dynasty, 1980 inscribed and signed in pencil Ed’A (lower left) Patrick Procktor (lower right) aquatint, unframed image: 44.7 x 59.7 cm (17 1/2 x 23 1/2 in) sheet: 68.5 x 80.6 cm (27 1/4 x 31 1/2 in) £200-£300

6

*See inside front cover for information regarding fees


3 BERNARD MYERS (1925-2007) Big City signed, inscribed and dated Myers/BIG CITY 58/ Myers (on the reverse) oil on canvas, unframed 91.6 x 122 cm (36 x 48 in) PROVENANCE: The artist’s estate £500-£700

4 BERNARD MYERS (1925-2007) Nightfall estuary signed and dated Myers 54 (lower right), signed again, inscribed and dated again Bernard Myers/ Nightfall.Estuary 1954 (on the reverse) oil on board 62.8 x 75.2 cm (24 ¾ x 29 ½ in) PROVENANCE: The artist’s estate £400-£600

7


5 BERNARD MYERS (1925-2007) San Marco, Venice signed with initials BM (lower right) oil on paper 72 x 52.3 cm (28 ¼ x 20 ½ in) PROVENANCE: with Nevill Gallery, London The artist’s estate £300-£500

6 ARR HANS SCHWARZ, N.E.A.C., R.W.S., R.B.A. (1922-2003) Blackfriars Bridge signed and dated H Schwarz/87 (lower left) oil on board 61 x 85.7 cm (24 x 33 ¾ in) PROVENANCE: with The Mall Galleries, London  £700-£1,000

8

*See inside front cover for information regarding fees


7 ARR OSMUND CAINE (1914-2014) Battersea Power Station signed and dated Caine.’57 (lower left)  oil on canvas 76 x 101.6 cm (30 x 40 in) PROVENANCE: Sale, Christie’s, South Kensington, 14 November 1997, lot 272, were purchased by the present owner (sold as Caine 20th Century). £600-£800

8 ARR MELISSA SCOTT-MILLER (B. 1959) Liverpool Road at Night signed, inscribed and dated MELISSA SCOTTMILLER/’LIVERPOOL RD AT NIGHT’/1995 (on the reverse) oil on canvas 61 x 91.4 cm (24 x 36 in) PROVENANCE: with Abbott and Holder, London with Bartley Drey Gallery, London, where purchased by the present owner in 1996 Private collection, UK £1,000-£2,000

9


9 ARR THEODORE MAJOR (1908-1999) The cyclist pastel 55 x 43 cm (21 1/3 x 17 in) PROVENANCE: Acquired directly from the artist by Henry Donn Private collection, UK £250-£350

10 ARR THEODORE MAJOR (1908-1999) Travelling in carriage pastel 47 x 60 cm (18 ½ x 23 ½ in) PROVENANCE: Acquired directly from the artist by Henry Donn Private collection, UK £400-£600 10

*See inside front cover for information regarding fees


11 ARR ALBERTO MORROCCO, R.S.A., R.S.W. (1917-1998)            Woman and Cockerel I signed and dated Morrocco/92 (upper right) oil on board 33 x 28 cm (13 x 11 in) PROVENANCE: with Thackeray Gallery, London C.L. Beck, by 1992 Private collection, UK £4,000-£5,000

11


12 ARR PROPERTY OF A CONNOISSEUR, LONDON LUCY KEMP-WELCH (1869-1958) Whimsical Walker signed with initials L.K.W (lower left) oil on board 51 x 41 cm (20 x 16 in) £1,000-£1,500

12

The son of a circus manager, Thomas Dawson Walker (1851-1934) first appeared as a professional clown under the sobriquet ‘Whimsical Walker’ in 1865. He worked both in pantomime and circus, first in London for Sanger’s Circus (see lot 14), and also frequently in the USA. He appeared before Queen Victoria in a royal command performance at Windsor Castle in 1886, and in his later years performed regularly at the Theatre Royal, Haymarket and the fabled Christmas circus held annually at Olympia. His last royal performance was before the eight year old Princess Elizabeth in 1934.

*See inside front cover for information regarding fees


13 ARR PROPERTY OF A CONNOISSEUR, LONDON LUCY KEMP-WELCH (1869-1958) Gypsy wagons signed, L. K. Welch (lower right) watercolour and gouache on buff paper 19.5 x 26.5 cm (7 ¾ x 10 ½ in) £200-£300

14 ARR PROPERTY OF A CONNOISSEUR, LONDON LUCY KEMP-WELCH (1869-1958) Circus wagons, Sanger’s Circus signed with initials L.K.W (lower right) watercolour  25 x 37 cm (9 ¾ x 14 ½ in) The legendary Sanger’s Circus was established in 1851 by the colourful ‘Lord’ George Sanger (18251911) assisted by his brother John. Whimsical Walker (see lot 13) was one of many stars that he promoted. Later in life George Sanger was active in defending the rights of showmen. He sold his zoo and circus effects in 1905 and was murdered with a hatchet by a disgruntled employee in 1911. £300-£500

15 ARR PROPERTY OF A CONNOISSEUR, LONDON EDWARD MCKNIGHT KAUFFER (1890-1954) Berkshire signed, dated and inscribed To “Lukie” with best wishes/E. McKnight-Kauffer/Berkshire 1918 (lower right), annotated with colour notes in pencil pencil and watercolour 29.5 x 44.4 cm (11 ½ x 17 ½ in) £500-£800 13


THE FOLLOWING FIVE LOTS ARE TO BE SOLD TO BENEFIT THE WORMWOOD SCRUBS PONY CENTRE

© The Lucian Freud Archive / Bridgeman Images

The Wormwood Scrubs Pony centre is a registered charity providing riding and equine therapy to children, specialising in those with special needs and physical disabilities. Founded in 1989, it celebrates its 30th anniversary this year continuing its dedication to the mission of improving the quality of the lives of children and young people who attend it. Over three decades a number of artists have been attracted by the centre’s horses, and between 2003 and 2006 Lucian Freud was its unofficial ‘artist in residence’. Setting up a

temporary studio, Freud’s regular visits to the centre combined his love of horses, riding and painting. On eventually departing the stables Freud left behind him many of his professional accoutrements – his easel, the charcoal he used for sketching out his compositions, including on the present work, his brushes and palette, tubes of oil paint, the turps tin for thinning his paints, and bundles of the rags he used to wipe off paint from both canvas and brushes. He also left behind Sketch of Goldie. Sister Mary Joy Langdon, the centre’s founder has kindly shared her memories of Freud with us.

Envelope from Freud containing donations to the Pony Centre

14

*See inside front cover for information regarding fees


INTERVIEW WITH SISTER MARY JOY LANGDON 11th November 2019

KK: Tell us about the first time you met Lucian, what was he like? How did he come across? MJL: I first met Lucian in the stable yard with David Dawson. I showed him around and he seemed to be a very quiet gentleman. I also invited him to take a look at our equestrian library and whilst in there I offered him a book on how to draw horses. [Painting and drawing Horses by Jennifer Bell] At this stage I had no idea how famous an artist he was. He intently looked at the book, carefully turning over each page. He then passed the book back to me saying it’s very good. KK: What was his attitude to horses? Did anything make any particular impression on you? MJL: Lucian wanted to paint an Arab so I took him to the back paddock where he met Releef who is a grey Arab. Lucian seemed keen on Releef despite me telling him that this horse was inclined to nip. He said he wasn’t ‘bothered by nipping’. Lucian was always relaxed in the presence of the horses. He would softly talk to them and the horses always seemed to enjoy the time being drawn and painted. KK: Was Goldie the first horse he chose to paint? MJL: Goldie was the second horse he chose following the painting of ‘The Grey Gelding’. Initially I was a little disappointed that he chose Goldie as I was hoping he would choose to paint Sioux, the skewbald mare. I could certainly understand why he chose Goldie as she was very beautiful and a stunning looking horse and

a very different type to Releef the Arab. She looked a very strong and powerful animal with a long flaxen mane and tail. Goldie was a very independent horse with a strong will. Lucian commenced to work with her but after a few days he said Goldie’s personality didn’t suit him. He then left the sketch and spent time looking for another equine model. It was then that Lucian chose Sioux. I was delighted as Sioux was an extremely special horse to me. It was not long before Sioux also became a special horse to Lucian. KK: What other horses did he paint? Did he have a favourite? MJL: Lucian completed three paintings One of Releef ‘The Grey Gelding’, two Paintings of Sioux ‘The Skewbald Mare’, ‘Mare eating hay’ Sioux was definitely his favourite horse. She responded to him in a positive and interactive manner owing to Lucian’s quietness and love of horses. KK: How often did he come to the Wormwood Scrubs Pony Centre? Did he come to ride much? MJL: Lucian came several times a week. It would always be in the morning as he said the light was at its best. During conversations with Lucian I soon learnt that he had always enjoyed being around horses. He told me, as a boy at school he would ride his friends pony without a saddle. I invited him to a ride and and he rode Sioux several times. I believe he enjoyed being at the WSPC because as most people there had no knowledge of how famous an artist he was.

Copyright of Mary Joy Langdon

This meant he could just freely be himself. On occasions he would hand over an envelope on which he had hand written ‘For SIOUX’. This would be a donation for the charity. KK: What is your fondest memory of Lucian? MJL: One day he came to my house to meet a fox cub that I had hand reared. The fox was so relaxed sitting on Lucian’s lap. Lucian seemed to appreciate this little wild animal who had given him permission to pet him. Following conversations with Lucian I soon realised what a truly honest person he was and of course this is seen in all his art. I can still hear his voice saying in the stable to Sioux, ‘Come on then’. Personally for me it was a great privilege to have known Lucian albeit only for a few years. I remember having a conversation with him about Leonardo da Vinci. At the time I was working through a book called How to think like Leonardo da Vinci. I was surprised that Lucian didn’t have the same enthusiasm as I did for Leonardo. We also spoke about George Stubbs paintings of horses. Lucian was also not a fan of Stubbs. It was also an incredible honour for Sioux and myself to be invited by his family to attend Lucian’s funeral. Sioux stood at the back of the chapel during the service & then walked in front of the coffin to the graveside. Whilst I sat on Sioux near the grave, I watched a little fox sitting out of sight of the family mourners. This little fox appeared to be paying homage to a lover of creation.

Copyright of Mary Joy Langdon

15


16 ARR LUCIAN FREUD, O.M., C.H. (1922-2011) Sketch of Goldie charcoal on primed canvas 24 ¼ x 28 in (61.5 x 71.1 cm) This work will be included in the forthcoming catalogue raisonné of Lucian Freud’s works, prepared by Catherine Lampert and Toby Treves £40,000-£60,000

A strong and mystical connection to animals was a constant theme throughout Freud’s art and life. In a conversation with Georgie Greig the artist confessed: ‘I am a sort of biologist. My interest in humans as a subject is as an observer, examiner and watcher of people. I worked a lot from horses in this way.’ John Richardson remarked of Freud: ’I don’t know if he could break a horse, but if anyone could, it was him… He adored animals and they him. It was like some psychic power. Just as Picasso could put his head into a cage of wild birds and one would quietly allow itself to be taken, so too did Lucian have a gift.’ (G. Greig, Breakfast with Lucian A Portrait of the Artist, London,2013, p. 147) Born in Berlin, Freud’s earliest encounters with horses were in the stables at his maternal grandfather’s estate near Cottbus, Germany, where he learnt to ride. Upon his arrival in England at both Bryanston School and Dartington Hall it was reputedly not uncommon for Freud to sleep in the stables. He enjoyed riding so much that he even considered a career as a jockey, and throughout his life he was always partial to a bet. Horses were one of the main subjects of the artist’s early drawings and a small sculpture he completed very early on of a Three-legged horse proved to be a key piece for his acceptance into art school. When asked why it only had three legs, Lucian replied – ‘I ran out of stone’ (ibid, p. 43). It was in his later years when he came across the Wormwood Scrubs Pony Centre that he embarked on completing some of his finest portraits of horses. His famous Grey Gelding of the Arab stallion Releef painted in 2003, (private collection), Skewbald Mare of Sioux painted in 2004, (Collection of the Duke and Duchess of Devonshire) and Mare Eating Hay also of Sioux of 2006 (private collection) were all painted at the Wormwood Scrubs Pony Centre, which he had turned into a temporary studio. Compositionally all three paintings bear resemblance to the works of Théodore Géricault, whom Freud admired. Grey Gelding’s bold frontal head view of Releef share similarities with The head of white horse (1815, Musée du Louvre) that Freud would no doubt have been familiar with. But Freud removes the horse’s body to focus on the head. Skewbald Mare, commissioned by the Duchess of Devonshire, moves forward to an even more intriguing composition by depicting a side view of Sioux, Freud’s choice of focus being very similar to the present work - Sketch of Goldie - in which Freud deliberately chose to leave the horse’s muzzle truncated. Freud sketched Goldie on a number of occasions, but in the end did not feel a sufficiently strong affinity to complete the horse in oil. Freud is known to have destroyed most of his unfinished works. As a result Sketch of Goldie is not only the sole unfinished piece to have survived from the time he spent riding and painting near the Wormwood Scrubs prison, but also one of the very few such works to exist within his whole oeuvre. The present work provides a rare insight into how Freud embarked on a canvas, first sketching his subject in charcoal then working it up with oil rags dipped in turps. The result is highly gestural: a canvas that possesses the physicality of a painting yet the delicacy of a drawing. Both canvas and line give clear vent to Goldie’s restless energy, while the work itself was Freud’s parting gift to his much cherished Wormwood Scrubs Pony Centre and the warm welcome its founder and director Mary Joy Langdon and the community there always offered him.

16

*See inside front cover for information regarding fees


‘I have a connection to horses, all animals, almost beyond humans. They have always been important.’ Lucian Freud

17


18

*See inside front cover for information regarding fees


“It is the only point of getting up every morning: to paint, to make something good, to make something even better than before, not to give up, to compete, to be ambitious.” Lucian Freud

17 ARR LUCIAN FREUD, O.M., C.H. (1922-2011) The artist’s easel 198.2 x 47 cm (78 x 18 1/2 in) Used by Lucian Freud at the Wormwood Scrubs Pony Centre between 2002-2006 £600-800

18 ARR LUCIAN FREUD, O.M., C.H. (1922-2011) The artist’s palette and a brush oil on wooden palette 34.8 x 24.7 cm (13 3/4 x 9 3/4 in) Used by Lucian Freud when working on the portraits of horses at the Wormwood Scrubs Pony Centre between 2002-2006

19 ARR LUCIAN FREUD, O.M., C.H. (1922-2011) The artist’s turps tin; a quantity of his rags; three of his brushes, nine of his paint tubes; two used pieces of his charcoal in a box and a mug he used various sizes multiple lot £500-700

£2,000-3,000

20 ARR ROMAINE DENNISTON (B. 1946) Head of Releef oil on canvas 41 x 30.5 cm (16 1/4 x 12 in) Painted in 2019 PROVENANCE: A gift form the artist to the Wormwood Scrubs Pony Centre. Romaine Denniston is currently working as an artist in residence at the Wormwood Scrubs Pony centre and has completed this portrait of Releef, the only surviving horse from the three painted by Lucian Freud which is still living at the centre. The piece is an homage to Freud’s Grey Gelding (2003) recalling its striking composition and is also to be sold in aid of the centre’s work. £400-600 19


21 ARR LUCIAN FREUD, O.M., C.H. (1922-2011) Head of a Naked Girl signed in pencil with initials L.F. (lower right), numbered 28/46 (lower left) etching image: 38.1 x 38.1 cm (15 x 15 in) sheet: 59.1 x 56.8 cm (23 ¼ x 26 ¼ in) Printed by Marc Balakjian at Studio Prints, London, published by Matthew Marks Gallery

PROVENANCE: with Timothy Taylor Gallery, London LITERATURE: S.Figura, Lucian Freud: The Painter’s Etchings, New York, 2007, no.60 W. Feaver, Lucian Freud, London, 2002, no.317

£12,000-£18,000

“For me, portraits have always held the greatest potential… but I don’t want to talk about them as they should hold up on their own as paintings.’’ (…) etchings from recent years include Head of a Naked Girl in which a cloud of irregular shading behind the head casts a woozy spell over the sitter’s features, thereby translating into graphic terms the troubled mood and disturbing greenish cast of the face in the related painting, made the previous year.” S. Figura, Lucian Freud: The Painter’s Etchings, The Museum of Modern Art, New York, 2007, p.28.

20

*See inside front cover for information regarding fees


21


22 ARR MAURICE SUMRAY (1920-2004) Les Parepluies signed, inscribed and dated after the painting ‘les parapluies’ by Renoir/Maurice Sumray/1994 (upper left) pencil 24 x 16.5 cm (9.5 x 6.5 in) £200-£400

23 ARR MAURICE SUMRAY (1920-2004) Revellers signed and dated Maurice Sumray 1990 (lower right) pencil 28.2 x 17.2 cm (11 ¼ x 7 in) PROVENANCE:  with Porthmeor Gallery, Cornwall £200-£400

24 ARR MAURICE SUMRAY (1920-2004) Seated man with a cup of tea signed and dated Maurice Sumray 1945 (lower right) pencil 17.6 x 12 cm (7 x 4 ¾ in) £150-£250

25 ARR MAURICE SUMRAY (1920-2004) At the printers signed and dated Maurice Sumray 49 (upper right) pencil 14 x 10.4 cm (5 ¾ x 4 in) £100-£200

22

*See inside front cover for information regarding fees


26 ARR NORMAN ACKROYD, R. A. (B. 1938) Black Forum; Square Composition (i) signed and numbered (bottom margin) 34/50, Ackroyd (ii) signed and numbered (bottom margin) 19/50, Ackroyd  etching, unframed  image: 11.7 x 11.7 cm (4.4 x 4.5 in) sheet: 16 x 19 cm (6.7 x 7.5 in) (2) £350-£400

27 ARR BILL JACKLIN, R.A. (B. 1943) The Sandwich Eaters, 1987 signed, titled, numbered and dated in pencil 5/50, The Sandwich Eaters, Jacklin ‘87 (along the lower margin) lithograph, unframed image: 73.5 x 106.3 cm (29 x 41 ¾ in) sheet: 92.5 x 124 cm (36 ½ x 48 ¾ in) £80-£120

28 ARR NORMAN STEVENS (1937-1988) Construction Company, 1983 signed, numbered, titled and dated in pencil 142/150, Construction Company, Norman Stevens, 1983 (along the lower margin) screenprint, unframed image: 60.5 x 83.7 cm (24 x 33 in) sheet: 79.7 x 101.5 cm (31 ¼ x 40 in) £200-£300 23


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

‘My husband was interested in art and in the 1970s, having seen an article by the Daily Telegraph art critic, we visited Abbott and Holder in Hammersmith where we bought a picture for £5, frame 7/6d. We then discovered Redfern, the Fine Art Society, Peter Nahum and started buying regularly only what we liked, never following fashion ... Alfred became a Patron at Tate - we discovered Carel Weight, Keith Grant (both of whom became friends), John Armstrong, John Nash, John Tunnard and other 20th Century painters (here we can say Josef Herman, Augustus John, John Piper, Alfred Wolmark and other 20th Century painters) and became regulars at Art Fairs and pre-exhibition receptions where we met knowledgeable critics, artists and writers some of whom have visited us. A weekend without a gallery visit was almost unheard of, not to mention weekends away with Tate’ (Helen Mignano, Private correspondance, November 2019) 29 ARR JACOB KRAMER (1892-1962) Portrait of Augustus John signed and dated J. Kramer/1915 (lower right), inscribed Portrait of Augustus John (lower left) ink and wash 50 x 34.5 cm (19 ½ x 13 ½ in) PROVENANCE:  Sale, Sotheby’s, London, 25 May 2006, lot 44 £3,000-£5,000

30 ARR EDWARD ARDIZZONE, R.A. (1900-1979) On the way to Greenwich signed with initials EA (lower right) pencil, ink and wash 20.5 x 32 cm (8 x 12 ½ in) PROVENANCE: with New Grafton Gallery, London, where purchased by Helen and Alfred Mignano on 26 January 1978 £600-£800

31 ARR JOSEPH HERMAN, R.A. (1911-2000) signed and inscribed To Helen/in friendship/Joseph Herman (lower left) black and brown ink and wash 21.5 x 18.5 cm (8 ½ x 7 ¼ in) PROVENANCE: A gift from the artist to Helen Kapp with Duncan R. Miller Fine Arts, London, where purchased by Helen and Alfred Mignano on19 June 1984 £300-£500 24

*See inside front cover for information regarding fees


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

32 ARR JOHN PIPER, C.H. (1903-1992) Seventeenth century monument of Sir Hugh Wyndham, Silton, Dorset pencil, ink and gouache 28.5 x 24 cm (11 ¼ x 9 ¼ in) £1,200-£1,800

33 ARR LEON UNDERWOOD (1890-1975) Abraham sacrificing Isaac signed and dated Leon U./ ‘61.(lower right), inscribed Abraham Issac (lower centre) ink, watercolour and gouache 34 x 40 cm (13 ½ x 15 ¾ in) £400-£600 25


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

34 ARR OLWYN BOWEY, R.A. (B. 1936) In the Garden signed Olwyn/Bowey (lower right) gouache  63.5 x 43 cm (25 x 17 in) £300-£500

35 ARR ALFRED WOLMARK (1877-1961) Industrial landscape, power station in Hampstead signed WOLMARK (lower right) oil on canvas 51.5 x 41 cm (20 ¼ x 16 ¼ in) Painted in 1934 PROVENANCE: with Boundary Gallery, London £800-£1,200

36 ARR KEITH GRANT (B. 1930) Mountainous seascape, North Lofoten 70 x 89 cm (27 ½ x 35 in) Influenced by Neo-Romantic landscape artists such as Graham Sutherland and Paul Nash, Keith Grant continues the tradition with his captivating landscapes of numerous lands, never painted by British artists before. At the Royal College of Art Grant studied under Kenneth Rowntree, John Minton, Carel Weight and Colin Hayes. It was Hayes’ initial support that helped Grant develop an interest in Norway, where, after extensive travels, he moved to in 1996 £400-£600 26

*See inside front cover for information regarding fees


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

37 ARR DAME ETHEL WALKER, A.R.A. (1861-1951) The bathers signed Ethel Walker (on the stretcher), inscribed as title The Bathers (on a label attached to the stretcher) oil on canvas, unframed 146.3 x 90 cm (58 x 35 ½ in) PROVENANCE:  Sale, Bonhams, London, 4 July 1985, lot 6 with Abbot and Holder, London, where purchased by Helen and Alfred Mignano on 4 October 1986 £600-£800

38 ARR ALFRED WOLMARK (1877-1961) Alpine landscape oil on canvas 51.5 x 41 cm (20 ¼ x 16 ¼ in) Painted circa1920 PROVENANCE: Alfred Wolmark Studio Sale, Christie’s, South Kensington, February 1983, lot 40/4. with Abbott and Holder, London £700-£1,000

39 ARR KEITH GRANT (B. 1930) Sunburst over the Negev, Israel signed, inscribed and dated SUNBURST OVER THE NEGEV./ISRAEL/acrylic and gesso/KeithGrant 89 (on the backboard) acrylic and gouache on board 61 x 118 cm (66 x 120 in) PROVENANCE: Private collection, UK £400-£600 27


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

40 ARR JOHN NASH, R.A. (1893-1977) Comic drawing signed John Nash (lower right) 19 x 16 cm (7 ½ x 6 ¼ in) PROVENANCE:  Lancelot de G. Sieveking. EXHIBITED: Worthing, Worthing Art Gallery, John Nash, JuneJuly1971, no. 10 £500-£700

41 ARR GEORGE CHARLTON(1899-1979) Rotterdam signed and dated George.J.Charlton 1924  (lower right) pencil, ink and watercolour 33.5 x 27 cm (13 ¼ x 10 ½ in) PROVENANCE: with Highgate gallery, London £300-£500

42 ARR EDWARD ARDIZZONE, R.A. (1900-1979) Operations Room pen, ink and wash on paper 14 x 21 cm (5 ½ x 8 ¼ in) PROVENANCE: with Abbot and Holder, London, where purchased by Helen and AlfredMignano on 26 January 1978 £300-£500 28

*See inside front cover for information regarding fees


PROPERTY FROM THE COLLECTION OF HELEN AND ALFRED MIGNANO LOTS 29-45

43 ARR KEITH GRANT (B. 1930) Eruption for land Heimaey Iceland signed, inscribed and dated K Grant/Heimaey 73  (upper right) pencil  10 x 13.8 cm (4 x 5 ½ in) £100-£200

44 ARR ANDREW LANYON (B. 1947) Harbour signed, inscribed and dated ‘Harbour’/Andrew Lanyon 1981(on a label attached to the reverse) oil and pencil on card 9 x 10 cm (3 ¾ x 4 in) PROVENANCE: with Beaux Arts Gallery, London, where purchased by Helen and Alfred Mignano £100-£200

45 ARR MORRIS KESTELMAN (1905-1998) Attack signed and dated M. Kestelman ‘65 (lower right) oil on canvas 71 x 91 cm (28 x 36 In) PROVENANCE: with Belgrave Gallery, London, where purchased by Helen and Alfred Mignano on1 August 1997 £300-£500 29


46 ARR MARY FEDDEN, R.A. (1915-2012) The Orange Table signed and dated Fedden 1996 (lower left) oil on canvas 76.5 x 92 cm (30 x 36 in) EXHIBITED: London, Royal Academy,  Summer Exhibition, July - August 1996, no. 2, where purchased by the present owner London, Portland Gallery, Mary Fedden, January February 2019, no.15 £18,000-£22,000

30

*See inside front cover for information regarding fees


I’m back to still life. It’s my real love.’ Mary Fedden

31


47 ARR IVON HITCHENS (1893-1979) Still life lithograph in colours, unframed  sheet: 61 x 47 cm (24 x 18.5 in)  Published by Contemporary Lithographs, London LITERATURE: R. Artmonsky, Art For Everyone Contemporary Lithographs, Suffolk,2010, pp. 76-77, illustrated. £400-£600

48 ARR PATRICK HAYMAN (1915-1988) Lovers near the sea signed Hayman (lower right), signed again and inscribed LOVERS near The Sea/Patrick Hayman (on the reverse) ink and watercolour on canvas-board 16.5 x 25.4 cm (6 ½ x 10 in) £250-£350

49 FERNANDO GUIBERT (B. 1957) Untitled signed F. Guibert (lower right) pencil, ink and wash  40.4 x 57.2 cm (15 ¾ x 22 ½ in) This lot is from the artist’s Divine Comedy series £100-£200 32

*See inside front cover for information regarding fees


50 ARR JULIAN TREVELYAN, R.A. (1910-1988) Fisherman, from The Second Malta Suite signed Julian Trevelyan (lower right), inscribed Fisherman (lower centre), numbered 7/50 (lower left) etching and aquatint image: 47.5 x 35 cm (18 ¾ x 13 ¾ in) £500-£700

51 ARR JOHN CHRISTOPHERSON (1921-1996) Garden at night with bay tree signed with initials JC (lower right), signed again and inscribed 637/JOHN/CHRISTOPHERSON/GARDEN AT NIGHT WITH/ BAY TREE (on the reverse) oil on board 46 x 30.5 cm (18 x 12 in) £500-£700 33


52 ARR PETER SAMUELSON (1912-1996) Violin concerto in B minor, Saint-Saens; and Liapunov, Shades of Warsow; variously inscribed ink and watercolour, unframed 25.4 x 20.4 cm (10 x 8 in); and similar PROVENANCE:  Acquired directly from the artist by the present owner (2) £200-£400

53 ARR PETER SAMUELSON (1912-1996) Sketches of musicians playing ink, unframed 20 x 25 cm (8 x 10 in) PROVENANCE: Acquired directly from the artist by the present owner (4) £100-£200

54 PROPERTY OF A CONNOISSEUR, LONDON VIVIAN FORBES (1891-1937) Children playing signed with initials and dated VF/1935 (lower right) ink and watercolour 33 x 24 cm (13 x 9 ¼ in) PROVENANCE: Corinne de Souza with Milne & Moller, London where purchased by the present owner in the1980s.  £400-£600 34

*See inside front cover for information regarding fees


55 ARR ALFRED WOLMARK (1877-1961) The Three Graces signed Wolmark (lower right) oil on canvas 110.2 x 86.3 cm (43 ¼ x 34 in)

PROVENANCE: The Artist’s Studio Sale, Sotheby’s, London, 21 September 1983, lot 181 (as ‘For Chopin’) Private collection, France

£6,000-£8,000

35


56 ARR THE PROPERTY OF A CONNOISSEUR, LONDON SIR WILLIAM ROTHENSTEIN (1872-1945) Eric Kennington red chalk 14.4 x 13.5 cm (5 ¾ x 5 ½ in) Executed in the 1920s. Sir William Rothenstein is known to have drawn the sculptor Eric Kennington (1888-1960) on more than one occasion in the 1920s. When Rothenstein became the Principal of the Royal College of Art in July 1920, he asked Kennington to lecture there a few times between 1922-28. On the reverse there is a light sketch possibly of T.E. Lawrence, who was painted by Rothenstein in the early 20s as well.  We are grateful to Dr Jonathan Black for his assistance in cataloguing this lot.  £1,500-£2,500

57 ARR REGINALD BUTLER (1913-1981) Nude, 1965 signed in pencil Reg Butler (lower right) lithograph, unframed studio proof of edition of 65 sheet: 50 x 65 cm (19 ¾ x 25 ½ in) £180-£220

36

*See inside front cover for information regarding fees


58 ARR ERIC KENNINGTON, R.A. (1988-1960) Female nude signed with initials EHK (lower left) red and black chalk 58 x 39 cm (23 x 15.5 in) PROVENANCE: The Estate of the Artist Graham Snow Private Collection, U.K., circa 2005  with The Fine Art Society, London, 2016, where acquired by the present owner We are grateful to Dr. Jonathan Black for his assistance in cataloguing this lot £1,500-£2,500

59 ARR PROPERTY FROM THE ESTATE OF KARTHERINE ‘KITTY’ CHURCH JOHN PIPER, C.H. (1903-1992) Female nude signed John Piper (lower left) ink, pastel and gouache 35 x 52.5 cm (14 x 21 in) £2,000-£4,000

37


60 ARR GILBERT SPENCER, R.A. (1892-1979) A.J. Richardson; D W Birchill (i) signed, inscribed and dated ‘A.J. Richardson/To Charterhouse/Football XI/53 54./Rugger XV/55/ CricketXI/53.54.55/Captain/55/Bowling Cup 54.55/ Gilbert Spencer 1955’ (lower right); (ii) inscribed ‘D W Birchill/To/Trent College’ (lower right) pencil (i) 34.5 x 27.5 cm. (13 ½ x 10 ¾ in.) (ii) 35.5 x 26 cm. (13 ¾ x 10 in.) PROVENANCE: The artist’s estate. (2) £200-£300

61 ARR GILBERT SPENCER, R.A. (1892-1979) R O R Gosling; M Perkins (i) inscribed and dated ROR Gosling/ To Densling [?]/1955(lower right) (ii)inscribed and dated M Perkings/Rugger XV 1950/ To Repton (lower right) pencil (i) 30 x 21 cm (11 ¾ x 8 ½ in) (ii) 30 x 20 cm (11 ¾ x 8 in) PROVENANCE: The artist’s estate. (2) £200-£400

62 ARR GILBERT SPENCER, R.A. (1892-1979) Charles Hilder; S.J.C Scovell (i)signed, inscribed and dated Charles Hilder/To Stowe/Gilbert Spence/1952 (lower right) (ii)signed, inscribed and dated S.J.C Scovell/To Charter House/GilbertSpencer/1950 (lower right) pencil (i) 35 x 24.5 cm (13 ¾ x 9 ½ in) (ii) 37.5 x 25.3 cm (14 ¾ x 10 in) PROVENANCE: The artist’s estate.  (2) £200-£300 38

*See inside front cover for information regarding fees


63 ARR PROPERTY OF A CONNOISSEUR, LONDON SYLVIA GOSSE, R.B.A. (1881-1968) Study of a lady reading signed SYLVIA GOSSE. (lower right) pencil and ink 25 x 19 cm (9 ¾ x 7 ½ in) £300-£500

64 ARR DUNCAN GRANT (1885-1978) The conversation signed with initials D.G. (lower right) red chalk and pastel 16 x 23 cm (9 ¼ x 6 ¼ in) We are grateful to Dr Richard Shone for the assistance in cataloguing this lot  £1,000-£1,500 39


65 ROGER FRY (1866-1934) Lalla Vandervelde Lalla Vandervelde oil on canvas 91.5 x 71 cm (36 x 28 in) Painted in 1917 PROVENANCE: with Michael MacCarthy (son of Desmond and with Michael MacCarthy (son of Desmond and Molly MacCarthy), by 1960s with Gallery Edward Harvane, London, by early 1974 with Belgrave Gallery, London, by 1980, where acquired by the present owner Private collection, Europe

Painted in 1917, Roger Fry’s depiction of Lalla Vandervelde ranks among his finest portraits. Lalla wears an alluring low-cut yellow dress and in the background is a vase of paper flowers from the Omega Workshops as well as a piece of Omega designed ‘Margery’ fabric. The work belongs to a striking group made in the First World War which includes Edith Sitwell and Nina Hamnett. The setting was Fry’s studio at 21 Fitzroy Street. In December 1917 Fry wrote to Vanessa Bell that ‘Lalla’s very good and punctual and sits very well’ (R. Fry to V. Bell, 12th December 1917).

EXHIBITED: London, Gallery Edward Harvane, Bloomsbury Pie, 1974, no. 24 London, Gallery Edward Harvane, A Homage to Duncan Grant, 1975, no. 27 London, Courtauld Gallery, Portraits by Roger Fry, 1976, no. 19, this exhibition travelled to Sheffield, Mappin Art Gallery, Portraits by Roger Fry, 1976, no 19 London, Courtauld Gallery, Art Made Modern. Roger Fry’s Vision of Art, 1999, no.77

Lalla and Fry were great friends and almost certainly lovers (London gossips certainly thought so). She supported Fry’s Omega Workshops, bought paintings by Duncan Grant and Vanessa Bell, and in early 1916 Fry and his Omega assistants decorated her Chelsea flat for her. (Several pieces, including her bed, are now in the Victoria & Albert Museum).

LITERATURE: D. Sutton, (ed.), Letters of Roger Fry, 1974, London,  vol. II, pl. 74, illustrated F. Spalding, Roger Fry: Art and Life, London, 1999, no.59, illustrated Exhibition catalogue, C. Green (ed.), Art Made Modern, Roger Fry’s Vision of Art, London, 1999, p. 122, no. 77, fig. 72, illustrated

Osbert Sitwell described her as ‘a woman of striking intelligence and humour’... her war-time home being... ‘the resort of modern painters and writers, and of the more unconventionally minded of politicians... Intrepid in mind, with a liking for all new ideas, in music, literature or politics – indeed she tended, perhaps, to like the new for its newness’ (O. Sitwell, Laughter in the Next Room, 1949, p. 9). She was friendly with a number of writers including Arnold Bennett and George Bernard Shaw, and was intimate with Edward Elgar.

We are grateful to Richard Shone for his assistance in cataloguing this lot. £25,000-£35,000

40

Born Charlotte Helen Frederique Speyer in Camberwell, London in 1870, Lalla’s father Eduard Anton Speyer, of German Jewish descent, was a rich financier. In 1901 she became the wife of Emile Vandervelde (1866-1938), a prominent leader in the Belgian Socialist Party and later a Minister of State. During and after the First World War Lalla entertained many writers and painters and was devoted to the Belgian refugees in London. Although later estranged from her husband, she remained faithful to his Socialist and pacifist beliefs and was not averse to using her position as a Minister’s wife to further any cause she espoused.

In 1925 she published her autobiography titled Monarchs and Millionaires. Her character is nicely summed up in her late motor racing endeavours, having taken up the sport as a hobby at the age of sixty. Allanah Harper, editor of Echanges, describing Lalla in Brussels in the late 1920s with ‘flaming, dyed red hair’ driving very fast in an open-topped car. Rumoured to have kept a stream of lover into her old age, Lalla died in London in 1965. Fry had founded The Burlington Magazine in 1903, been appointed Curator of Paintings at The Metropolitan Museum of Art, New York in 1906, and in 1910 organised the seminal exhibition Manet and the PostImpressionists at the Grafton Galleries, London. It was at this time also that he became associated with the Bloomsbury circle, and it was during the following decade that portraiture in his oeuvre flourished. Working closely with Clive Bell and Duncan Grant, Fry sought to create a ‘directness of sensuous response’ in his compositions, his sitters typically being relaxed, with his finished works epitomizing the personal relationships held between him and his subjects, as in the present example.

*See inside front cover for information regarding fees


41


66 PROPERTY OF A CONNOISSEUR, LONDON BRITISH SCHOOL Two seated figures, mother and child dated 1881 (lower centre) pencil 37.5 x 25 cm (14 ¾ x 10 in) £300-£500 67 - NO LOT

68 ARR PROPERTY OF A CONNOISSEUR, LONDON JOHN SKEAPING, R.A. (1901-1980) Gazelles signed J.R.SKEAPING (lower left) pencil 17.5 x 25 cm (7 x 10 in) £150-£250

42

*See inside front cover for information regarding fees


69 ARR AUGUSTUS JOHN, O.M., R.A. (1878-1961) Portrait of a young woman signed John (centre right) and inscribed To Dr Jerome Martin /Ziegler /1923 (lower right) charcoal 30.5 x 22.5 cm (12 x 9 in) PROVENANCE: The Artist, by whom gifted to Dr Jerome Martin Ziegler and thence by descent to the previous owner Private Collection Their sale, Bonhams, Knightsbridge, 10 March 2015, where acquired by the present owner £2,500-£3,500

70 ARR PROPERTY FORMERLY IN THE ESTATE OF CAPTAIN JOHN ERNEST CRAWFORD FLITCH HENRY LAMB, R.A. (1883-1960) John Ernest Crawford-Flitch signed and dated Henry Lamb./1909. (lower right) chalk 28.3 x 21 cm (11 1/8 x 8 ¼ in) PROVENANCE: Captain John Ernest Crawford Flitch, the sitter, and by descent. £700-£1,000

43


71 ARR HENRY LAMB, R.A. (1883-1960) Portrait of Rosaline Pollock signed and dated ‘Lamb 39’ (upper right) oil on canvas 50.8 x 61 cm (20 x 24 in.) PROVENANCE: Sale, Phillips, London, 12 September 1989, lot 78, where purchased by the present owner £500-£700

72 ARR SIR JACOB EPSTEIN (1880-1959) Ninth portrait of Peggy Jean (laughing at 2 years 9 months) bronze with brown patina 23.4 cm (9 ¼ in) high, excluding base Conceived circa 1921 LITERATURE: E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 150, no. 124 (another cast illustrated). £1,000-£2,000 44

*See inside front cover for information regarding fees


73 ARR MELANIE LE BROCQUY (1920-2018) Head of a cat signed, numbered and dated M le B 1/6 1938 (to neck); stamped DAF86 (lower right) bronze with green patina 17 x 14 cm (6 ½ x 5 ½ in) high £1,500-£2,000

74 ARR TERENCE CUNEO (1907-1996) Isambard Kingdom Brunel Vole signed Cuneo (lower left) oil on canvas 42 x 30.5 cm (16.5 x 12 in) EXHIBITED: London, The Institution of Civil Engineers, The Terence Cuneo Summer Exhibition - A Journey of Engineering Discovery, 29 August 1997 London, Defence Postal and Courier Service Agency, Cuneo Exhibition,14 May 1999 £600-£800 45


75 PROPERTY FORMERLY IN THE ESTATE OF CAPTAIN JOHN ERNEST CRAWFORD FLITCH ALEXANDER JAMIESON, R.O.I. (1873-1937) Versailles signed and dated Alexander Jamieson/1906 (lower left) oil on canvas 63.5 x 76.2 cm (25 x 30 in) PROVENANCE: Captain John Ernest Crawford Flitch, and by descent. Exhibited: London, New English Art Club, Winter Exhibition, 1906, no. 129, as ‘Versailles The Palace’ £3,000-£5,000

76 ARR HAROLD HITCHCOCK (1914-2009) And did those feet... signed with monogram and dated HH 1962 (lower left) watercolour on paper laid on board 122 x 152.4 cm (48 x 60 in) PROVENANCE: Sale, Christie’s, London,11 July 2013, lot 419, where purchased by the present owner £800-£1,200

46

*See inside front cover for information regarding fees


77 ARR KEN HOWARD, R.A. (B. 1932) Afternoon light, Campese signed M Ken Howard. (lower right), signed again, inscribed and dated Afternoon light Campese 11.07.04 (on the reverse) oil on canvas board 24 x 30.5 cm (9 ½ x 12 in) PROVENANCE: with Richard Green, London, where purchased by the present owner £500-£700

78 ARR JOHN MILLER (1911-1975) Gwynver oil on board 27.2 x 43.8 cm (10 ¾ x 17 ¾ in) PROVENANCE: Private collection, UK £200-£400

47


79 ARR ADRIAN RYAN (1920-1998) Dieppe signed with studio stamp (on the reverse) oil on canvas 45.7 x 35.5 cm (18 x 14 in) PROVENANCE: with Redfern Gallery, London  Private collection, UK £400-£600

80 ARR KEN HOWARD, R.A. (B.1932) Campese, Isola del Giglio; and Campese each signed Ken Howard (lower right) oil on canvas board each 19 x 24 cm (7 ½ x 9 ½ in) PROVENANCE: with Richard Green, London, where purchased by the present owner (2) £700-£1,000

48

*See inside front cover for information regarding fees


81 ARR SUSAN BOWER, R.B.A., R.O.I. (B. 1969) The wedding dance signed Bower (lower centre) oil on board 36 x 40 cm (14 ¼ x 15 ½ in) £300-£500

82 ARR ADRIAN RYAN (1920-1998) Newlyn signed with studio stamp (on the reverse) oil on canvas 40.8 x 55.7 cm (16 x 22 in) PROVENANCE: Private collection, UK £400-£600

49


83 ARR EDWARD WADSWORTH, A.R.A. (1889-1949) Still Life with Chrysanthemums in a Vase signed Wadsworth. (lower right) oil on canvas  81.8 x 70.6 cm (32 x 28 ¼ in) Painted in 1912 PROVENANCE: Jimmy Wormser, from whom acquired by the present owner Private collection, France LITERATURE: J.Black, Edward Wadsworth : form, feeling and calculation : the complete paintings and drawings, London, 2005, p. 14, no. 25, illustrated We are grateful to Dr Jonathan Black for his assistance in cataloguing this lot £20,000-£40,000

Still life played an important role in Wadsworth’s output and was a genre he preferred in key periods throughout his career: 1926-1929, 1934-38; 1941-44. His still lifes of the 1920s prompted press on the Continent to describe him as an English Surrealist. He was the first British artist to earn this label and it was one he strongly disputed. Still life was also a genre that carried a very personal meaning for him. Having died days after his birth, the artist’s mother, Helen, herself a talented amateur artist, left Wadsworth with a small painting of a still life which he is known to have kept and moved with him throughout his life. Painted in 1912 Still Life with Chrysanthemums in a Vase is one of the first known paintings of the genre by the artist and is one of very few he painted real flowers in. The only other comparable piece completed by the artist is Still life with fruit and a bottle in the Government Art Collection. The bright Fauvist palette, the flattened perspective and the Cézanesque contour to the orange all show a great dept to the Post-Impressionist style favoured by Roger Fry and the Bloomsbury Group at the time. Wadsworth was still at the Slade when Roger Fry’s ground-breaking first Post-Impressionist exhibition took place in London in 1910. Although Professor Henry Tonks did his best to keep his students from the influence of these latest trends, by his last year Wadsworth had already developed links with the adventurous Bloomsbury-backed exhibition group, the Friday Club, which displayed work by, amongst others, Vanessa Bell, Duncan Grant and C.R.W. Nevinson. It is also no surprise that 1912 was also the year Wadsworth visited Paris for the first time to explore the exciting trends there, clearly carrying through that influence into his own work. Still Life with Chrysanthemums in a Vase may hold an even greater personal importance to the artist as it has been suggested that he painted it for his wife, violinist Fanny Mary Eveleigh, whom he married when he was still at the Slade in June 1912. By 1912 Wadsworth was already gaining the respect of his fellow students and other influential figures in the art world in London. In September 1912, Christopher Nevinson wrote to fellow painter Dora Carrington (another ex-Slade student) that he judged Wadsworth’s most recent canvases to be ‘bloody good’ while he admired their ‘healthy strength and vigour and modern feeling and independence’. It is exactly these qualities that Wadsworth cherished the most in his art throughout his career, he believed that ‘a composition should have strength and vigorous immediacy that quickly secured the attention of the viewer.’ Still Life with Chrysanthemums in a Vase holds a special place in the artist’s career, marking the beginning of his ambitious output. Wadsworth participated in a number of key cultural events: in 1913-14 he helped to found the London Group, as a forum for the exhibition of stylistically challenging art; in 1914 he helped to found the Vorticist movement with Wyndham Lewis. Throughout his career he was not labouring under one particular influence and managed to cleverly carve a niche of his own, reserving a significant place for himself in British Art during the first half of the twentieth century. (See J. Black, Edward Wadsworth: form, feeling and calculation: the complete paintings and drawings, London, 2005, pp. 7-25) 50

*See inside front cover for information regarding fees


51


84 ARR HUBERT WELLINGTON (1879-1967) In the Zillertal, Tyrol signed with initials and dated HW 17.8.29 (on the reverse) oil on canvas 50 x 62 cm (19.8 x 24 in) PROVENANCE: Sale, Christie’s, London, 8 November 1985, lot 157 £300-£500

85 ARR GEORGE ELMSLIE OWEN, R.B.A. (1899-1964) Cacti signed and dated ELMSLIE OWEN/1957 (lower right) pencil and gouache 32 x 47.5 cm (12 ¾ x 19 in) £200-£300

52

*See inside front cover for information regarding fees


86 ARR MARY FEDDEN, R.A. (1915-2012) Two brushes signed and dated Fedden ‘10 (lower left); signed and titled Mary Fedden/Two Brushes (on a label attached to the reverse) oil on canvas 50.9 x 61 cm (20 x 24 in) PROVENANCE: with Portland Gallery, London A gift from Philip Trevelyan to the present owner Private collection, London £3,000-£5,000

53


87 ARR MARY FEDDEN, R.A. (1915-2012) Lamp, 1980 signed in pencil Fedden (lower right) lithograph, unframed studio proof of edition of 75 image: 56.5 x 47 cm (22 ¼ x 16 in) sheet: 77.3 x 57 cm (30 ½ x 22 ½ in) £400-£600

88 ARR MARY POTTER, A.R.A. (1900-1981) The Thames at Chiswick lithograph, unframed image: 61 x 45.8 cm (23.9 x 18 in) sheet: 66 x 50.8 cm (26 x 20 in) Published by Contemporary Lithographs, London £400-£600 54

*See inside front cover for information regarding fees


89 PROPERTY FROM THE ESTATE OF KARTHERINE ‘KITTY’ CHURCH FRANCES HODGKINS (1869-1947) Still life signed Frances Hodgkins (lower right), inscribed For/ Kitty + Anthony/From (lower left) pencil, watercolour and gouache  47.5 x 62 cm (18 ¾ x 24 ½ in) PROVENANCE: Anthony West EXHIBITED:  Purbeck, The Isle of Purbeck Arts Club, Frances Hodkins exhibition, March 1948  £4,000-£6,000 55


89A ARR CHARLES WILLIAMS (B. 1956) Living Room signed with initials CW (lower right) acrylic on canvas 51 x 76.4 cm (20 x 30 in) £600-£800

90 ARR PADRAIG MACMIADHACHAIN, R.W.A. (1929-2017) Houses on the hill beside the sea signed Macmiadhachain(lower left) oil on board 25.4 x 30.4 cm (10 ¼ x 11 ½ in) PROVENANCE: with The New Academy Gallery, London £500-£700

91 ARR THEODORE MAJOR (1908-1999) Walk on the road gouache and pastel 35 x 44 cm (13 ¾ x 17 ¼ in) PROVENANCE: Acquired directly from the artist by Henry Donn Private collection, UK £300-£500 56

*See inside front cover for information regarding fees


92 ARR SCOTTIE WILSON (1889-1972) Bird on vase signed SCOTTIE (lower right) felt tip pen and watercolour 32 x 23 cm (12 ½ x 9 ¼ in) £700-£1,000

93 ARR CORNELIA PARKER (B. 1956) The tower that does not fall signed Cornelia Parker (lower right) pencil, crayon and gouache 59 x 51.5 cm (23 ¼ x 20 ¼ in) £700-£1,000

94 ARR KATHRYN ENSALL (B. 1956) Two Figures with Nectarines oil on canvas, unframed 61 x 61 cm (24 x 24 in) Painted in 2005 PROVENANCE:  with Jill George Gallery, London £300-£500 57


95 ARR KEITH VAUGHAN (1912-1977) Covent Garden pencil 22.8 x 17 cm (9 x 6 ½ in) PROVENANCE: The artist’s studiowith Louise Kosman, Edinburgh, where purchased by the present owner £400-£600

96 ARR MICHAEL AYRTON (1921-1975) Charing inscribed and dated Charing. July 28 ‘41 (lower right) pencil and ink 28.3 x 21.8 cm (11 ¼ x 8 ½ in) £400-£600

97 ARR GRAHAM SUTHERLAND, O.M. (1903-1980) Landscape study, green and black ink and watercolour 21.7 x 16.7 cm (8 ½ x 6 ½ in) Executed circa 1970 PROVENANCE: with Goldmark Gallery, Uppingham £1,000-£2,000 58

*See inside front cover for information regarding fees


98 ARR PROPERTY OF A CONNOISSEUR, LONDON ALBERT VICTOR ORMSBY WOOD (1904-1977) Robot inscribed Robot (upper right) pencil and gouache 27.3 x 22.2 cm (10 ¾ x 8 ¾ in) Sold together with an A4 sketchbook by Wood containing 22 sketchesof various figurative and abstract subject matter (2) £300-£500

99 ARR JOHN BOLAM (B. 1922) Awareness of beginning signed with initials and inscribed JB/ awareness of Beginning (lowerright) ink, watercolour and pastel 36 x 25.5 cm (14 ¼ x 10 in) £200-£300

100 ARR JOHN PIPER, C.H. (1903-1992) Nursery Frieze Part II, Night scene lithograph, unframed  45.2 x 121.6 cm (18 x 47 ½ in) Executed in 1936 LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no.9, p. 23 £800-£1,200

59


101 ARR LEON UNDERWOOD (1890-1975) Daphne signed in pencil Leon Underwood (lower centre), dated 1925 (lower centre), titled Daphne (lower centre), numbered ‘30/50’ (bottom centre) woodcut on very fine Japanese paper, unframed sheet: 23 x 15.5 cm (9 x 6 in) £100-£200

102 ARR LEON UNDERWOOD (1890-1975) Crouching Venus signed and dated Leon Underwood ‘25 (in pencil lower right) woodcut 20.5 x 16 cm (8 x 6 ¼ in) £100-£200

103 ARR MAGGI HAMBLING (B. 1945) Portrait of Oscar Wilde signed and dated Hambling ‘98 (lower right) watercolour and gouache 76 x 56 cm (30 x 22 in) £500-£800 60

*See inside front cover for information regarding fees


104 ARR TOM COATES (B. 1941) Alex Koolman Sketching signed with initials TC (lower left) oil on canvas board 50.8 x 30.5 cm (20 x 12 in) PROVENANCE: with New Grafton Gallery, London English Private Collection £200-£400

105 ARR PATRICIA PREECE (1900-1971) Anna dressing signed P. Preece (lower left) oil on canvas 61 x 46 cm (24 x 18 in) PROVENANCE: Pictures and drawings removed from the studio of the late miss Dorothy Hepworth (Patricia Preece), Christies’s, South Kensington, 2 April 1984, lot 85, where purchased by the present owner Sold together with the catalogue of the studio sale. £400-£600 61


106 ARR MICHAEL CARLO (B. 1945) Path through the trees, 1981 signed, numbered, titled and dated in pencil Path through the Trees,111/ XXV, Michael Carlo 1981(along the lower margin) screenprint, unframed image: 35 x 50.2 cm (13 ¾ x 19 ¾ in) sheet: 50 x 65.5 cm (19 ¾ x 25 ¾ in £70-£100

107 ARR CLIVE GARDINER (1891-1960) Buckinghamshire Farm lithograph, unframed image: 52.3 x 77.5 cm (20 ½ x 30 ½ in) sheet: 58.4 x 84 cm (23 x 33 in) Published by Contemporary Lithographs, London £300-£500

108 ARR JOHN PIPER, C.H. (1903-1992) Geffrye Museum signed in pencil John Piper (lower right), numbered 49/100 (lower left) screenprint in colours image: 46.5 × 63 cm (18 ¼ × 24 ¾ in) sheet: 56.5 x 73.8 cm (22 ¼ x 29 in) Published in 1985 LITERATURE: O. Levinson, The Complete Graphic Works: a catalogue raisonné 1923-1983, London, 1987, no. 379 £700-£1,000 62

*See inside front cover for information regarding fees


109 ARR P.J. CROOK (B.1945) Triptych signed P.J.Crook (lower right), signed again, inscribed and dated P.J.Crook Triptych 1992 (on the reverse) acrylic on tabernacle 12 x 9 in (30 x 23 cm) £2,000-£4,000

63


110 ARR SIR MUIRHEAD BONE (1876-1953) Messina signed Muirhead Bone (lower left) pencil and watercolour 12.5 x 24.6 cm (5 x 9 ¾ in) PROVENANCE: with Colnaghi, London with Babbington Fine Art, London  £150-£250

111 ARR ALBERTO MORROCCO, R.S.A., R.S.W. (1917-1998) Beached Boat pencil, felt tip pen and pastel 17.2 x 25.5 cm (6 ¾ x 9 ¾ in) PROVENANCE: The artist’s studio with Louise Kosman, Edinburgh, where purchased by the present owner £600-£800

112 ARR ADRIAN RYAN (1920-1998) Guernsey signed Ryan (lower left) oil on board 21 x 26 cm (8 ¼ x 10 ¼ in) PROVENANCE:  Private collection, UK £200-£400 64

*See inside front cover for information regarding fees


113 ARR BO HILTON (B. 1961) Lady sitting at a window signed B. Hilton (lower left) oil on canvas 30 x 25 cm (12 x 10 in) £300-£500

114 ARR FRED CUMING, R.A. (B.1930) Beach Party signed Cuming (lower left) oil on board 39.3 x 39.3 cm (15 ½ x 15 ½ in) PROVENANCE:  with New Grafton Gallery, London English Private Collection £1,000-£2,000 65


115 ARR JOSEF HERMAN, R.A. (1911-2000) Women at Dusk pencil, watercolour and gouache 24 x 18.4 cm(9 ½ x 7 ¼ in) PROVENANCE: with Roland, Browse and Delbanco, London  £200-£300

116 ARR DIANE HILLS Mr John Bratby: Artist and model; and John Bratby (i) signed DIANE HILLS (lower right), inscribed as title (on the reverse) oil on board (i) 80.7 x 58.3 cm (31 ¾ x 23 in) (ii) 95 x 45.6 cm (37 ¾ x 18 in) (2) £300-£500 66

*See inside front cover for information regarding fees


117 ARR ANTHONY GREEN, R.A. (B. 1939) A Gardener’s Palette signed and dated Anthony Green 06 (lower right), signed again, inscribed and dated again  A gardeners palette./2006/anthonygreen’06 (on the reverse) oil on panel, shaped 98.5 x 121 cm (38 ¾ x 47 ¾ in) PROVENANCE:  with Portal Gallery, London £2,500-£3,500

67


118 ARR SIR PETER BLAKE, R.A. (B. 1932) C is for Clown signed, numbered, titled and dated in pencil 16/95, C is for Clown, Peter Blake (along the lower margin) screenprint, unframed sheet: 102.5 x 77 cm (40 ½ x 30 ¼ in) image: 72.3 x 50. 5 cm (28 ½ x 20 in) £150-£250

119 ARR BILL JACKLIN, R.A. (B. 1943) The March - Sixth Avenue, 1987 signed, titled, numbered and dated in pencil 23/50, The March - Sixth Avenue, Jacklin ‘87 (along the lower margin) lithograph, unframed sheet: 126 x 91.3 cm (50 x 36 in) image: 106 x 73.5 cm (41 ¾ x 29 in) £80-£120

120 ARR PATRICK PROCKTOR, R.A. (1936-2006) Opera, 1980 signed and numbered in pencil 95/500 (lower left) Patrick Procktor (lower right) etching, unframed sheet: 47 x 85.2 cm (18 ½ x 33 ½ in) image: 27 x 68.5 cm (10 ¾ x 27 ¼ in) £120-£180

68

*See inside front cover for information regarding fees


121 ARR NORMAN ACKROYD, R.A. (B.1938) MACGILLYENDDY’S REEKS signed, numbered and inscribed  MacGillyenddy’s Reeks, 5/35, Norman Ackroyd (lower margin) etching, unframed image: 16.7 x 20.2 cm (6 ½ x 8 in) sheet: 25 x 30.5 cm (10 x 12 in) £150-£250

122 ARR STANLEY WILLIAM HAYTER (1901-1988) Death by Water signed and dated in pencil SWHayter 1948 (lower right), inscribed as titled Death by Water (lower centre), numbered 1/5 (lower left) etching, unframed image: 35.3 x 58.7 cm (14 x 23 in) sheet: 46.4 x 66 cm (18 ¼ x 26 in £300-£500

123 ARR MICHAEL KIDNER, R.A. (1915-2009) The Elastic Membrane signed and numbered 272/300 (on the sheets attached) mixed media sculpture 35.6 x 45.2 cm (14 x 17.2 in) £400-£600 69


124 ARR HOWARD HODGKIN, C.H. (1932-2017) Summer signed with initials and dated HH ‘97 (lower right), numbered 68/80 (lower left), with blind stamp by the Metropolitan Museum (lower right) etching and aquatint 29 x 36.5 cm (11 ¼ x 14 ¼ in) Published in 1997 in an edition of 100, plus 10 Artist Proofs, 5 printers proofs and 1 B.A.T.  The Metropolitan Museum of Art, New York holds a print from this edition. LITERATURE: A. Cristea, Howard Hodgkin. Volume I: Small Prints,  London, 200, illustrated. L. Heenk, Howard Hodgkin: the complete prints, London, 2003,pp 6, 205, no.98, another example illustrated Sold together with: Liesbeth Heenk,  Howard Hodgkin: the complete prints, (London: Thames and Hudson Ltd, 2003) £2,000-£3,000

125 ARR JOHN HOYLAND, R.A. (1934-2011) Turn Turn 30.8.83 signed, inscribed and dated 30.8.83/TURN TURN/ John Hoyland (on the reverse) acrylic on canvas, unframed 253.5 x 228.2 cm (99 ¾ x 89 ¾ in) PROVENANCE: Sale, Christie’s, New York, 4 May 1989, lot 433 Private collection, France EXHIBITED: London, Waddington Galleries, Groups VII, January 1984 LITERATURE: M. Gooding, John Hoyland, London, 1990, no. 38, illustrated This lot will be included in the forthcoming catalogue raisonné of the artist. The Hoyland Estate is gathering information on works by the artist. Please get in touch with catrais@johnhoyland.com. £12,000-£18,000

70

*See inside front cover for information regarding fees


“[Abstraction] is just too abstract a word. It smacks always of geometry to me, of rational thought. There’s no geometry, there are no rectangles in nature, no real straight lines. There’s only the circle, the only really powerful form in nature I keep getting drawn back to.” John Hoyland

71


126 THEO MENDEZ (1934-1999) Visit to Paris with Target acrylic and collage on canvas, unframed 76 x 61.2 cm (30 x 24 in) Painted circa 1969/70 PROVENANCE The artist’s estate £600-£800

127 ARR GERALD LAING (1936-2011) Deceleration II signed, titled, dated and numbered, with the artist’s blind stamp, Deceleration II 1968, 105/150(lower left) Gerald Laing (lower right) screenprint in colours, unframed  73 x 45.5 cm (28 ¾ x 17 ¾ in) £400-£600 72

*See inside front cover for information regarding fees


128 ARR JOHN BANTING (1902-1972) Fruit Stall signed and dated in pen John Banting 1963 (lower right) dye-line print, unframed sheet: 55.7 x 67.2 cm (20 x 26 ½ in) £150-£250

129 ARR DESMOND MORRIS (B. 1928) The Chorus signed with initials and dated DM/15 (lower right) ink, watercolour and gouache, unframed 29.2 x 41.5 cm (11 ½ x 16 ¼ in) PROVENANCE: Acquired directly from the artist by the present owner We are grateful to Dr Silvano Levy for his assistance in cataloguing this lot £1,000-£1,500 73


130 ARR JOHN MILNES-SMITH (1912-1998) Red signed with initials and dated JMS 53 (upper left), signed again Milnes-Smith (lower right) ink and watercolour  32.5 x 34.5 cm (13 x 13 ½ in) £600-£800

131ARR KENNETH MARTIN (1905-1984) Rotation Frankfurt III signed and dated Kennetth Martin 77 (lower right), numbered 37/61 (lower left) screenprint, unframed sheet: 74 x 74 cm (29 x 29 in) £400-600

131A ARR STEPHEN BUCKLEY (B. 1944) Chung signed numbered and dated in pencil Stephen Buckley 14/35 (lower centre) lithograph, unframed sheet: 71.5 x 71 cm (28 ¼ x 28 ¼ in) £100-£200 74

*See inside front cover for information regarding fees


132 ARR JOHN MILNES-SMITH (1912-1988) Yellow signed with initials and dated J MS/54 (lower right) signed and dated again Milnes Smith ‘54 (lower left) ink and watercolour 49 x 38 cm (19 ¼ x 15 in) £600-£800

133 ARR WILLIAM GEAR, R.A. (1915-1997) Facade signed and dated GEAR 94 (lower right), signed again, inscribed and dated again Gear/July 94/Facade (on the reverse) ink, oil pastel and watercolour, unframed 25.5 x 30.4 cm (10 x 12 in) PROVENANCE: with Redfern Gallery, London, where acquired from the present owner Private collection, UK £300-£500 75


134 ARR FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Birdwatcher I bronze with a black patina 25 cm (10 in) high Conceived in 1964 We are grateful to Sarah Gretton and Dr Riann Coulter for the assistance in cataloguing this lot. £7,000-10,000

PROVENANCE: with Waddington Galleries, London, Florence Lindon-Travers and by descent. LITERATURE: D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 140, no. 274, another cast illustrated. J. Marle, T.P. Flanagan, F.E. McWilliam, Arts Council of Northern Ireland, 1981, pp. 52, no. 65, another cast illustrated.

Most famous for her role in Alfred Hitchcock’s 1939 The Lady Vanishes. Better known as Linden Travers, Florence Lindon Travers was one of the leading actresses of the British cinema in the 1930s and 40s. She played both femme fatale and comedic roles. In 1962, along with her sisters Alice and Pearl she opened The Travers Gallery in Kensington.

‘We are used to one idea, worked at obsessionally, but McWilliam’s imagination is diverse, ignites at different levels… Recurringly characteristic of all his work is its thin elegance its lightness and delicacy’ Br yan Rober tson, quoted in D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 58

76

*See inside front cover for information regarding fees


77


135 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Large Head plaster 45.75 cm (18 in) high PROVENANCE: Acquired directly from the artist by the present owner £3,000-£5,000

78

*See inside front cover for information regarding fees


136 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Newton after Blake plaster 45.5 x 20 x 20 cm (18 x 8 x 8 in), high, wide PROVENANCE: Acquired directly from the artist by the present owner £4,000-£6,000

79


137 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Newton after Blake signed, titled, dedicated and dated For Nancy / Eduardo Paolozzi / 1996 / NEWTON after / Blake (on the reverse) plaster 15.5 x 21 cm (6 x 8 ¼ in) PROVENANCE: Acquired directly from the artist by the present owner

138 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Two machine cars plaster 30 cm (11 in); 53.25 cm (21 in) long (2) PROVENANCE: Acquired directly from the artist by the present owner £1,000-£1,500

£700-£1,000

80

*See inside front cover for information regarding fees


139 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Robot playing the saxophone plaster 28 x 18 cm (11 x 7 ¼ in) PROVENANCE: Acquired directly from the artist by the present owner £200-£400

140 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Hand plaster 43 x 30.4 x 23 cm (17 x 12 x 9 in) high, wide, deep PROVENANCE: Acquired directly from the artist by the present owner £1,000-£2,000

81


141 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Greek warrior with spear plaster 21.5 cm (8 ½ in) diameter  PROVENANCE: Acquired directly from the artist by the present owner £200-£400

142 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Two frogs plaster 18.5 cm (7 ¼ in); 14 cm (5 ½ in) long (2) PROVENANCE: Acquired directly from the artist by the present owner £300-£500

143 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) A tortoise, a hare and a rat plaster tortoise: 11 cm (4 ¼ in) long hare: 11.5 cm (4 ½ in long rat: 12.5 cm (5 in) long (3) PROVENANCE: Acquired directly from the artist by the present owner £250-£350

82

*See inside front cover for information regarding fees


144 ARR GERALD LAING (1936-2011) Brigitte Bardot signed Gerald Laing (lower right), inscribed, dated and numbered 177/200 B.B. 1968 (lower left) sceenprint image: 54 x 52.4 cm (21 ¼ x 20 ½ in) sheet: 59.1 x 85.5 cm (23 ¼ x 35 ¼ in) Published by the artist, with his blindstamp LITERATURE: R. Halliwell, L. Ingram, Gerald Laing: Prints and Multiples, A Catalogue Raisonné ,London, 2016, pp.80-81, no.22 £4,000-£6,000 83


145 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-1962) Moonstrips Empire News, 1967 eight sheets signed and numbered Eduardo Paolozzi 99/500 in pencil (lower right, one lower left), also stamped and numbered EA 489 (on the back of each sheet) lithographs and screenprints in colours 40 x 28 cm (15.7 x 11 in)

146 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) General Dynamic F.U.N title page signed, inscribed and numbered Volume B /Eduardo Paolozzi 72/350 in pencil (lower centre), also six sheets signed and numbered Eduardo Paolozzi 72/350 in pencil (lower right) lithographs and screenprints in colours 40 x 28 cm (15 ¾ x 11 in)

PROVENANCE: Acquired directly from the artist by the present owner

PROVENANCE: Acquired directly from the artist by the present owner

The complete portfolio of 100 prints in colours, 1967, on various papers and acetate, including title page and introductory text by Christopher Finch, printed by Kelpra Studio, London, published by Editions Alecto, London, each with the printer’s and publisher’s inkstamp verso, ed. 243/500

The complete portfolio of lithographs and screenprints in colours, 1965-70, on various papers and acetate, including introductory text by J.G. Ballard, lithographs printed by Richard Davis, London and screenprints by Alecto Studios, London, published by Editions Alecto, London, each with the printer’s and publisher’s inkstamps verso, in the original acrylic resin box, ed. 62/350

£2,000-£3,000

£1,000-£2,000 84

*See inside front cover for information regarding fees


147 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-1962) The Road to the Isles signed, inscribed and dated A/P/Eduardo Paolozzi/ NANCY/1993/The Road to the Isles/ 1993 (along the lower margin) screenprint, unframed sheet: 29.8 x 36 cm (12 x 14 ½ in) PROVENANCE: Acquired directly from the artist by the present owner £100-£150

148 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-2005) Portrait of Matta signed E. Paolozzi (to base) bronze, dark brown patina 11.8 cm (4 ½ in) high PROVENANCE: Sale, Christie’s, South Kensigton, 21 March 2013, lot 173, as ‘Euston Square Piece’ a gift from the artist to the previous owner £1,000-£2,000 85


149 ARR GRAHAM SUTHERLAND O.M. (1903-1980) Standing Forms signed Graham Sutherland. (lower right) lithograph image: 40 x 40.6 cm (15 ¾ x 16 in) £200-£300

150 ARR WILLIAM SCOTT, R.A. (1913-1989) Still life with Frying pan signed and dated in pencil Scott73 (upper left) and numbered 26/250 (lower left) screenprint, unframed 67 x 88 cm (25 ½ x 36 ½ in) Printed by Kelpra Studio, published by CCA Galleries, London, with their blind, on wove paper £1,000-£1,500

151 ARR SIR EDUARDO PAOLOZZI, R.A. (1924-1962) A New Spirit of Painting signed, inscribed and dated A/P/ For Nancy/1982/ Eduardo Paolozzi (lower right) screenprint image: 30.5 x 42.6 cm (12 x 16 ¾ in) PROVENANCE: Acquired directly from the artist by the present owner £150-£250 86

*See inside front cover for information regarding fees


152 ARR DESMOND MORRIS (B. 1928) Silent witness signed with initials DM 88 (lower left) ink and gouache, unframed 29.4 x 21 cm (11 ¾ x 8 ¼ in) PROVENANCE: Acquired directly from the artist by the present owner We are grateful to Dr Silvano Levy for his assistance £800-£1,200

153 ARR JOE TILSON, R.A. (B. 1928) Earthcube I, 1981 signed, numbered and dated in pencil 40/80 (lower left) Tilson 1981(lower right) etching, unframed sheet: 114 x 98.5 cm (45 x 38 ¾ in) £200-£300

154 ARR SIR WILLIAM ROTHENSTEIN (1872-1945) Penwith signed and titled in pencil Penwith, Rothenstein (lower right) lithograph, unframed sheet: 57.5 x 79.2 cm (22 ¾ x 21 ¼ in) image: 48 x 69.5 (18 ¾ x 27 ¾ in) £200-£300 87


155 ARR ROGER HILTON (1911-1975) Composition with Nude Torso pencil, charcoal and pastel 25 x 40.5 cm (10 x 16 in) PROVENANCE: with Waddington and Tooth Galleries, London Sale, Christie’s, London, 10 November 1989, lot 386 with Christopher Hull Gallery, London, where purchased by David McKee, 1994 with McKee Gallery, New York, where purchased by the present owner in 2013 £3,000-£5,000

88

*See inside front cover for information regarding fees


156 ARR BRYAN WYNTER (1915-1975) Inland Landscape felt tip pen 36 x 25 cm (14 x 10 in) PROVENANCE: with The New Art Centre, London with Gillian Jason Gallery, London Sale, Phillips, London, 4 September 2001, Lot 110 Sale, Christie’s, London, 25 August 2005, lot 148 £600-£800

157 ARR ROGER HILTON (1911-1975) Please get envelopes inscribed 109 (upper right) ink 25.5 x 19.5 cm (10 x 7 ¾ in) Executed between 1970-1975 LITERATURE: R. Hilton, M. Canney, Roger Hilton: Night Letters and selected drawings, London, 1980, illustrated, unpaginated £800-£1,200

158 ARR KENNETH ARMITAGE (1916-2002) Seated Group signed and dated Armitage 1960 (lower left), numbered 257/300 (lower right) lithograph, unframed sheet: 40 x 57.5 cm (15 ¾ x 15 ¾ in) £200-£400 89


159 ARR DAVID HOCKNEY, O.M., C.H., R.A. (B.1937) An Etching and a Lithograph for Editions Alecto signed, inscribed and dated in plate rep. proof david hockney (lower right) collotype sheet: 92 x 64 cm (25 x 1/8 in) This collotype was produced to mark the tenth anniversary of ea (editions alecto) in an edition of 2000

160 ARR SIR PETER BLAKE, R.A. (B. 1932) Z is for Zebra signed, inscribed and dated in pencil 41/95, ‘Z’ is for Zebra, Peter Blake (along the lower margin) screenprint, unframed sheet: 102. 5 x 76.5 cm (40 ½ x 30 ¼ in) image: 72 x 50.5 cm (28 ¼ x 20 in) £150-£250

£300-£500

161ARR SIR EDUARDO PAOLOZZI, R.A. (1924-1962) Magic flute a new scenario, the Queen of the night signed,inscribed and dated For Nancy/AP Eduardo Paolozzi 1991 (in the lower margin) screenprint 40.6 x 30.6 cm (16 x 12 in) PROVENANCE: Acquired directly from the artist by the present owner £150-£250

162 ARR ALMA SLOCOMBE (1914-2002) Petit Vert signed ‘A.Slocombe’ (lower left), signed again, inscribed and dated ‘1988/Alma RemondletSlocombe/Petit Vert’ (on the reverse) acrylic on canvas, unframed 46 x 38 cm (18 x 15 in) PROVENANCE: The artist’s estate £250-£350 90

*See inside front cover for information regarding fees


163 ARR R.B. KITAJ, R.A. (1932-2007) Actress oil on canvas 45.7 x 45.7 cm (18 x 18 in) Painted in 2007 PROVENANCE: Purchased at the 2008 exhibition by Howard Weinstein, Atlanta His sale, Leslie Hindman, Chicago, 2 October 2018, lot 6, where purchased by the present owner.  EXHIBITED: New York, Marlborough Gallery, R.B. Kitaj: Little Pictures, April-May 2008, no. 61  LITERATURE: Exhibition catalogue, R.B. Kitaj: Little Pictures, New York, Marlborough Gallery, 2008, p. 65, no. 61, illustrated M. Livingstone, Kitaj, London, 2010, p. 282, no. 999 £4,000-£6,000

164 ARR PATRICK PROCKTOR, R.A. (1936-2006) Katsura, Kyoto, 1991 signed in pencil Patrick Procktor (lower right) and numbered 52/75 (lower left) screenprint, unframed  sheet: 74 x 125 cm (29 ¼ x 49 ¼ in) £150-£250 91


165 ARR ROBERT O’RORKE (B. 1945) A signed, inscribed and dated ‘ROBERT O’RORKE/1973 ‘A’ collage/from the series FROMM/EDEEARHTH’ (on a label attached to the reverse) ink, pastel, gouache and collage on paper 49.5 x 36.2 cm (19 ½ x 14 ¼ in) ‘The original idea for this series was fifteen random letters - FROAMMEDEEARHTH - suggested by Robert Rauschenberg, which you could combine in different ways to make different meanings. From this idea I made fifteen collages, each containing one of the letters.’ Robert O’Rorke We are grateful to Mr O’Rorke for his assistance in cataloguing this lot £500-£700

166 THEO MENDEZ (1934-1999) Petanque signed, inscribed and dated PETANQUE 1979/80/ T. MENDEZ (on the stretcher) acrylic and collage, unframed 76 x 65.7 cm (30 x 26 in) PROVENANCE: The artist’s estate. £600-£800

167 ARR GERALD LAING (1936-2011) CT Strokers signed Gerald Laing (lower right), inscribed, dated and numbered, with the artist’s blind stamp,  45/150 C.T. Strokers 1968 (lower left) screenprint, unframed image: 43 x 74 cm (16 ¾ x 29 ¼ in) sheet: 58.5 x 89 cm (23 x 35 in) £400-£600 92

*See inside front cover for information regarding fees


168 ARR DEREK BOSHIER (B. 1937) Sex War Sex Cars Sex screenprint in colours 58.5 x 44.5 cm (23 x 17 ½ in) £150-£250

169 ARR GERALD LAING (1936-2011) Swamp Rat IV signed Gerald Laing (lower right), inscribed, dated and numbered, with artist’s blind stamp, Swamp Rat IV 1968, 73/150 (lower left) screenprint, unframed image: 49.5 x 45.6 cm (19.5 x 18 in) sheet: 58.5 x 34.8 cm (23 x 89 in) £400-£600

170 ARR GERALD LAING (1936-2011) Deceleration I signed Gerald Laing (lower right), titled, dated and numbered, with artist’s blind stamp, 81/150 Deceleration I 1969 (lower left) screenprint, unframed  image: 52 x 54 cm (20 ½ x 21 ½ in) sheet: 59 x 89 cm (23 ¼ x 35 in) £400-£600 93


94

*See inside front cover for information regarding fees


A Ackroyd, N., 26, 121 Ardizzone, E., 30, 42 Armitage, K., 158 Aryton, M., 96

L Laing, G, 127, 144, 167, 169, 170 Lamb, H., 70, 71 Lanyon, A., 44 Le Brocquy, M., 73

B Banting, J., 128 Blake, Sir P., 118, 160 Bolam, J., 99 Bone, Sir M., 110 Boshier, D., 168 Bower, S., 81 Bowey, O., 34 British School, 20th Century, 66 Buckley, S., 131A Butler, R., 57

M Macmiadhachain, P., 90 Major, T, 9, 10, 91 Martin, K., 131 McKnight Kauffer, E., 15 McWilliam, F. E., 134 Mendez, T., 126, 166 Miller, J., 78 Milnes-Smith, J., 130, 132 Morris, D,. 129, 152 Morrocco, A., 11, 111 Myers, B., 3, 4, 5

C Caine, O., 7 Carlo, M., 106 Charlton, G., 41 Christopherson, J., 41 Coates, T., 104 Crook, P.J., 109 Cuming, F., 114 Cuneo, T., 74 D Denniston, R., 20 E Elmslie Owen, G., 85 Ensall, K., 94 Epstein, Sir J., 72 Ethel Walker, D., 37 F Fedden, M., 46, 86, 87 Forbes, V., 54 Freud, L., 16, 17, 18, 19, 21 Fry, R., 65 G Gardiner, C., 107 Gear, W., 133 Gosse, S., 63 Grant, D., 64 Grant, K., 36, 39, 43 Green, A., 117 Guibert, F., 49 H Hambling, M., 103 Hayman, P., 48 Herman, J., 31, 115 Hills, D., 116 Hilton, B., 113 Hilton, R., 155, 157 Hitchcock, H., 76 Hitchens, I., 47 Hockney, D., 159 Hodgkin, H., 124 Hodgkins, F., 89 Howard, K., 77, 80 Hoyland, J., 125 Jacklin, B., 27, 119 Jamieson, A., 75 John, A., 69 K Kemp-Welch, L., 12, 13, 14 Kennington, E., 58 Kestelman, M., 45 Kidner, M., 123 Kitaj, R.B., 163 Kramer, J., 29

N Nash, J., 40 O O’Rorke, R., 165 P Paolozzi, Sir E., 135, 136, 137, 138, 139, 140, 141, 142, 143, 145, 148, 151, 161 Parker, C., 93 Piper, J. 32, 59, 100, 108 Potter, M., 88 Preece, P., 105 Procktor, P., 2, 120, 164, R Rothenstein, M., 154 Rothenstein, Sir W., 56 Ryan, A., 79, 82, 112 S Samuelson, P., 52, 53 Schwarz, H., 6 Scott-Miller, M., 8 Scott, W., 150 Skeaping, J., 68 Slocombe, A., 162 Spencer, G., 60, 61, 62 Spencer, Sir S., 67 Stevens, N., 28 Sumray, M., 22, 23, 24, 25 Sutherland, G., 97, 149 T Tilson, J., 153 Trevelyan, J., 1, 40 U Underwood, L., 33, 101, 102 V Vaughan, K., 95 Victor Ormsby Wood, A., 98 W Wadsworth, E., 83 Wellington, H., 84 William Hayter, S., 122 Williams, C., 89A Wilson, S., 92 Wolmark, A., 35, 38, 55 Wynter, B., 156

95


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 reserves the right, in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable. In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the list below: 1.

JMW Turner: In our opinion, a work by the artist. When the artist’s forname(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 Turner: In our opinion, a work by an as yet unidentified but distinct hand, closely associated with the named artist 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, contemporary or nearly contemporary, 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 a known work of the artist.

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. The term ‘bears the signature’ and/or ‘bears the date’ and/or ‘bears the inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated. For editions, we measure the image where possible and sheet only when unframed ARR after the lot number stands for Artist Resale Right

96

*See inside front cover for information regarding fees


AUCTION CALENDAR

DECEMBER

3

Tuesday

5

Thursday

Modern & Post-War British Art Wine & Spirits

10

Tuesday

11

Tuesday

Affordable Luxury Design & Interiors Rugs & Carpet

12

Thursday

European Works of Art & Clocks

97


8,

British and European Fine Art including Portrait Miniatures 2019 Highlights

An invitation to consign for 11th March 2020 Closing for entries 22nd January 2020 Enquiries suzanne.zack@chiswickauctions.co.uk 98

*See inside front cover for information regarding fees


Old Master Paintings & Drawings An invitation to consign for Old Master Paintings in 2020

CHERUBINO ALBERTI ( SAN SEPOLCRO 1553 - ROME 1615) The Torture of Prometheus; Study for a putto £3,000 – 4,000 Enquiries laetitia.masson@chiswickauctions.co.uk

99


Urban & Contemporary Art

An invitation to consign for 2020

Enquiries penelope.sonder@chiswickauctions.co.uk Visit chiswickauctions.co.uk 100

*See inside front cover for information regarding fees


FROM THE CURIOUS TO THE EXTRAORDINARY Seeking the weird, the wonderful and ever ything in between...

Tuesday 21st January 2020

An invitation to consign Closing for entries 22nd November Enquiries curious@chiswickauctions.co.uk Visit chiswickauctions.co.uk 101


102

*See inside front cover for information regarding fees


103


Profile for Chiswick Auctions

Chiswick-Auctions-Modern-British-&-Post-War Art-December-2019  

Chiswick-Auctions-Modern-British-&-Post-War Art-December-2019