Modern British & Irish Art 26th March, 2024 14:00

MODERN BRITISH & IRISH ART

Tuesday 26 th March, 2pm

MODERN BRITISH & IRISH ART

Tuesday 26 th March 2pm

Viewing exclusively at the Barley Mow Centre, W4 4PH:

Friday 22 March: 10am-4pm (Preview evening 6-9pm)

Saturday 23 March: 11am-3pm

Sunday 24 March: 11am-3pm

Monday 25 March: 10am-5pm

Tuesday 26 March: 10am-1pm (Auction at 2pm)

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Modern British & Irish Art james.flower@chiswickauctions.co.uk

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Modern British & Irish Art emily.smaje@chiswickauctions.co.uk

+44 (0)20 3089 6888

Barley Mow Centre, Chiswick, W4 4PH modernbritishart@chiswickauctions.co.uk www.chiswickauctions.co.uk

by a Window

‘Ken Howard’

canvasboard

£2,500 - 3,500

Provenance

With Thomas Agnew & Sons Ltd., London, circa 1975, where purchased by Joan Gluckstein, thence by family descent

Lot 1 §

KEN HOWARD, R.A. (BRITISH, 1932-2022)

Girl

signed

(lower right) oil on

35 x 27 cm. (13 3/4 x 10 1/2 in.)

Nude with Beads signed with initials ‘BD’ (lower left); titled ‘NUDE WITH BEADS’ (verso) oil on board 28 x 32.5

£1,000 - 1,500

Provenance

With Tegfryn Gallery, Anglesey

With Thomas Agnew & Sons Ltd., London, where purchased by Joan Gluckstein, mid 1970s, thence by family descent

Lot 2 §

BERNARD DUNSTAN (BRITISH, 1920-2017)

cm. (11 x 12 3/4 in.)

Lot 3 §

Back Yard Scene - Shepherds Bush signed, titled and dated ‘Back yard Scene/Shepards Bush/by Adrian Pearson/83’ (verso) oil on board 44 x 38 cm. (17 1/4 x 15 in.)

£600 - 800

ALAN PEARSON (BRITISH, 1929-2019)

Paris, Hotel de Ville signed and dated ‘M Mooney/1993’

£2,000 - 3,000

Provenance With Waterman Fine Art Limited, London

Lot 4 §

MARTIN MOONEY (IRISH, b.1960)

(lower right); titled ‘Paris, Hotel de Ville’ (verso) oil on panel 46.5 x 65 cm. (18 1/4 x 25 1/2 in.)

MARTIN MOONEY (IRISH,

Evening Light, Peratella Emporda signed and dated ‘M Mooney/1993’ (lower right); titled ‘Evening light/Peratella Empordan’ (verso) oil on panel 33

41

£2,000 - 3,000

Provenance

With Waterman Fine Art Limited, London

Lot 5 §

b.1960)

x

cm. (13 x 16 1/4 in.)

The Boats oil on board

15.8 x 29.5 cm. (6 1/4 x 11 5/8 in.)

£300 - 500

Provenance

With Wildenstein & Co. Ltd., London

Exhibited

London, Wildenstein & Co .Ltd., Contemporary British Painters, 21 Nov-21 Dec 1956, cat.no.31

Lot 6 §

JOHN EVELEIGH (BRITISH, 1926-2016)

River Police signed ‘Stephen Bone’ (lower right); further signed and titled ‘RIVER POLICE/Stephen Bone’ (verso)

oil on board

24 x 34.2

£500 - 800

Provenance

With The Leicester Galleries, London Sale; Christie’s, London, 19 May 1994, lot 64, where purchased by the present owner

Lot 7 §

STEPHEN BONE (BRITISH, 1904-1958)

cm. (9 1/2 x 13 1/2 in.)

Lot 8 §

STEPHEN BONE (BRITISH, 1904-1958)

Portrait of an MCC Member signed ‘Stephen Bone’ (lower left) oil on canvas 61.5 x 51.5 cm. (24 1/4 x 20 1/4 in.)

£300 - 500

Lot 9

Boats in a quay crayon

27.4 x 40.2 cm. (10 3/4 x 16 in.)

Executed between 1941-2

£3,000 - 5,000

Provenance

Denis Mitchel (1912-1993), from whom acquired by Wills Lane Gallery, Cornwall, 16 October 1998, where purchased by the present owner

ALFRED WALLIS (BRITISH, 1855-1942)

Ludham Marshes

signed and dated ‘Edward Seago 50’

£4,000 - 6,000

Provenance

Rt Hon Viscount Camrose

With P & D Colnaghi & Co, Ltd., London, where purchased by Sir John & Lady Lowther, thence by family descent

Lot 10 §

EDWARD SEAGO (BRITISH, 1910-1974)

(lower left); titled ‘LUDHAM MARSHES’ (verso) oil on panel 31 x 41 cm. (12 1/4 x 16 1/4 in.)

Udaipur, the Palace signed ‘Julian Barrow’ (lower right) oil on canvas 30.5 x 46 cm. (12 x 18 in.)

£800 - 1,200

Provenance

With The Fine Art Society, London, where purchased by the present owner

Exhibited

London, The Fine Art Society, Julian Barrow Traveling Light, 2008, cat no.77

Lot 11 §

JULIAN BARROW (BRITISH, 1939-2013)

Lot 12 §

REBECCA

Seagull Quay signed ‘Rebecca Lardner’ (lower right); further signed and titled ‘SEAGULL QUAY-Rebecca LARDNER’

oil on canvas

£800 - 1,200

Provenance

The artist, from whom commissioned by the present owner

LARDNER (BRITISH, b.1971)

(on the stretcher)

20 x 50 cm. (7 7/8 x 19 5/8 in.) (unframed)

Lot 13 §

PHILIP SUTTON, R.A. (BRITISH, b.1928)

Lions

signed, titled and dated ‘Lions/Philip Sutton/1986’ (verso); inscribed ‘A PAINTING/FOR SASKIA’S/BIRTHDAY’ (verso)

oil on canvas in the artist’s painted frame 82 x 91.5 cm. (32 1/8 x 36 in.)

£2,000 - 3,000

Provenance

With Nicholas Bowlby Fine Art, London, 21 October 2009, where purchased by the family of the present owners

The Dancer signed, titled and dated ‘THE/DANCER/Philip Sutton/1979/86’ (verso) oil on canvas in the artist’s painted frame 85 x 68.5 cm. (33 1/2 x 27 in.)

£800 - 1,200

Provenance

Acquired from the Royal Academy, Summer Exhibition in 1987, by the present owners

Exhibited

Royal Academy, Summer Exhibition, London, 1987

Lot 14 §

PHILIP SUTTON, R.A. (BRITISH, b.1928)

Love You

Lot 15 §

GARY BUNT (BRITISH, b.1957)

I

signed ‘Gary Bunt’ (lower left); further signed, titled and dated ‘I LOVE YOU/GARY BUNT 2007’ (verso) oil on canvas 55.8 x 45.7 cm. (22 x 18 in.)

£3,000 - 5,000

Zebra signed and dated ‘Fedden 1987’

£4,000 - 6,000

Provenance

The artist, from whom acquired directly by the family of present owner

Lot 16 §

MARY FEDDEN (BRITISH, 1915-2012)

(lower left)

oil on board

15.2 x 20.3 cm. (6 x 8 in.)

Lot 17 §

MARY FEDDEN (BRITISH, 1915-2012)

Still Life of Flowers signed and dated ‘Fedden 1967’ (lower right) oil on board

61 x 51 cm. (24 x 20 in.) (unframed)

£5,000 - 8,000

Provenance

The artist, circa 1970, from whom acquired by Brian Wilson, thence by family descent

From a very early age, Mary Fedden wanted to be a painter. She left school at 16 and went on to study at Slade Art School between 1932 to 1936. Born in Bristol in 1915, her departure to the capital city of London brought new experiences. She studied under the well-known theatre designer Vladmir Polunin; he had worked with Sergei Diaghilev on sets for the Ballet Ruses. This undoubtably influenced Fedden’s work; during the war years she produced propaganda murals while working at the Arts Theatre in Great Newport Street. However, despite her formal training in set and theatre design, she decided shortly after to depart from this area to focus on painting. During the war years not only did she produce murals, but also worked as a driver for the NAAFI (Navy, Army and Air Force Institutes).

She later became characterised by her renderings of interesting still-life paintings, as is very much the case in the example her Still Life of Flowers, captured in such rich blue tones.

By 1949, Fedden had located to Durham Wharf studios on the Thames in Chiswick. Fedden sought inspiration from many sites, not only still life sets that she staged and created in and outside of her studio, but also her many trips abroad. In 1951, she married artist Julian Trevelyan and travel became an important part of their working practice. Many examples include Fedden’s many images of Zebras and other animals whereby she captured her marvel towards new places, things and experiences.

Fedden remains a significant artist, holding her own unique place among the trajectory of Modern British artist. In 1995, she herself acknowledged her own inspirations from many artist who had come before her.

‘I really float from influence to influence… I found the early Ben Nicholsons fascinating as were the paintings of his wife Winifred. I also admire the Scottish artist Anne Redpath…’ - The Artist Magazine, 1995

Her work went onto hold pride of place in many institutions, from the major exhibition at the Royal West of Academy in 1996, to Redfern Gallery, London in 1953 and New Grafton Gallery, London in the 1960s.

Fedden in no doubt went onto influence many British artists that followed her. She help a prestigious position as a tutor at the Royal Collage of Art between 1958-1964 – and was the first woman to do this. David Hockney and Allen Jones, became two examples of successful pupils who were taught by Fedden.

Lot 18 §

TANYA BRETT (BRITISH, b.1974)

Horse signed with initials and dated ‘TB 01’ (back of the base)

ceramic

67 cm. (26 3/8 in.) high

£1,500 - 2,500

Bedroom

signed with initials ‘NHH’ (lower left) gouache and pastel

56 x 48.2 cm. (22 x 19 in.)

Executed in 2000

£800 - 1,200

Provenance

With Portland Gallery, London, 2000, where purchased by the present owner

Exhibited London, Portland Gallery, artLONDON, 2000

Lot 19 §

NICHOLAS HELY HUTCHINSON (BRITISH, b.1955)

Lot 20 §

Birds Nest

signed ‘J.Lloyd’ (lower right) and titled ‘BIRD NEST’ (verso)

oil on board

38.1 x 52.1 cm. (15 x 20 1/2 in.)

£700 - 1,000

JAMES LLOYD (BRITISH, 1905-1974)

£800 - 1,200

Lot 21 §

FREDERICK ETCHELLS (BRITISH, 1886-1973)

Bridge signed ‘Etchells’ (lower right) watercolour, wash, pen & ink 50 x 40 cm. (18 1/8 x 15 3/4 in.)

Introduction to the Peter Adam Collection

The present examples from the estate of Peter Adam perfectly and appropriately capture the essence of his friendship with artists Keith Vaughan and Prunella Clough.

Peter Adam, charming to all he encountered, was not only known for his flamboyant and stylish attire but also for his impact on arts and culture at the BBC, where he served as a filmmaker and executive producer for 22 years. During his tenure, he covered the lives of numerous artists, including Andy Warhol, Man Ray, and David Hockney. Notably, he authored the biography of architect and designer Eileen Gray.

Born in Berlin, he experienced his developmental years in Germany amidst the Nazi era of the 1930s. Adam, through his book ‘Art of the Third Reich,’ offered insights into the complex web of artworks linked to the Third Reich. The publication explored diverse facets, ranging from the significance of architecture as a representation of absolute author ity to nationalist artworks depicting the romantic realism of the oppressive regime. This book exemplified Adam’s noteworthy findings and contributions.

In 1959, Peter Adam relocated to Britain and fully immersed himself in British life. His personality, optimism, and supportive demeanor are unmistakably evident in his correspondences with his friend and artist Keith Vaughan. On 14th January 1975, just two years before his tragic death, Vaughan expressed his gratitude in a letter to Adam

“Dear KP What a fun evening. I cannot tell you how much I enjoyed it. I’d forgotten what it was like to laugh & feel happy. The best psychotherapy, thank you…”

The postcard sent to Adam is just one of the numerous correspondences exchanged between the two friends, including Christmas cards and letters. The compilation of works acquired by Peter Adam vividly illustrates the intricate connections not only between Peter Adam and Vaughan but also their camaraderie with Prue Clough.

Clough established friendships with several artists, including Vaughan, John Craxton and Michael Ayrton. These bonds were formed during her time at the Office of War Information, amidst the creation of graphs and maps. By 1945, their relationships had deepened, leading to frequent socialisation and the cultivation of a tight-knit community among themselves. Additionally, Clough, who was the niece of architect and designer Eileen Gray, further solidified the connection between the three individuals, especially considering Adam had previously written a biography of Gray.

The inclusion of many of Vaughan’s works in the Estate of Peter Adam attests to the network of support that existed among artists, creatives, and friends.

Vaughan’s diaries contained references indicating that the painting “Foreshore with Three Figures” was priced at £125. However, Adam, a supporter of Vaughan’s artistic endeavours, paid him £95 for the artwork. Consequently, this painting became part of Adam’s personal collection during both men’s lifetimes.

Lot 22 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Codford, Summer Landscape

titled and dated ‘CODFORD 1942/SUMMER LANDSCAPE’ and signed with estate stamp ‘K.V’ (verso) sketchbook of fourteen ink drawings, each sheet signed with estate stamp ‘K.V’ (verso) 17 x 13 cm. (6 5/8 x 5 1/8 in.)

£5,000 - 7,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

Exhibited

Olympia, London, The Spring Fair: Loan Exhibition of paintings and drawings Keith Vaughan 1912-1977, 26 Feb-3 March 2002, (ill.col. p.15)

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

In 1919, at the tender age of seven, Vaughan was awarded a Royal Drawing Society certificate at school. In 1931 he began work as a layout artist and drawing became incorporated into his daily professional activities as a means of recording source material and familiarising himself with the object before him. During the war he maintained this creative routine despite army restrictions. Rationing meant materials were scarce and paper was rarely of high quality. Some war-time sketch pads measure only 15 x 10 centimetres and have decorative drawings and inscriptions inscribed on the covers. His essential aim as an artist was to capture the essence of a figure or the genius loci (spirit of place) of a specific landscape. The process began with a drawing where objects were summarised, reduced and reshaped into simple motifs. Vaughan cultivated a particular line to delineate the human form and suggest corporeal volume; it is serrated, almost nervous and made with jagged strokes. Sometimes drawings are accompanied by written notations indicative of colours or suggestive of mood.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 23 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Sketchbook dated ‘1951’ (front cover)

sketchbook of seven pencil drawings, each stamped with estate stamp ‘K.V.’ (verso) 28 x 21.5 cm. (11 x 8 1/2 in.)

£4,000 - 6,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

During the early 1950s, drawing became an essential ingredient in Vaughan’s creative life. He drew stilllife subjects and life-drawings, designs for magazines and book illustrations and made presentation or ‘table drawings.’ Drawing provided the raw material for his painting and he made many drawing trips to the south coast, the landscapes of Yorkshire, Berkshire, Ireland and France to gather material. In 1963 he exhibited drawings at the Biennale in Sao Paolo and three further drawing exhibitions took place between 1967 and 1969 in London and Manchester. By now he had accumulated a wide vocabulary of graphic marks including novel ways to shade, hatch and delineate form.

He wrote in his journal on 6th January 1964:

“There must be some way of using the brush and colour with the same spontaneity as the pencil. I should have found this out by now. What a difference it would make if painting just went along, with the same total involvement as drawing.’”

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 24 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Slade School

signed, titled and dated ‘KEITH VAUGHAN - SLADE SCHOOL U.C.L/1962’ (on the front cover); inscribed ‘Making Drawings’ (verso) sketchbook of seven charcoal drawings 18 x 13 cm. (11 x 9 in.)

Please note the sketchbook is accompanied by a loose sketch and three further framed drawings by the same hand.

£5,000 - 7,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 25 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Two Seated Figures

signed ‘Keith Vaughan’ (lower right); titled and dated ‘Two Seated Figures/1955’ (to a backboard) gouache and indian ink

24.7 x 19 cm. (9 3/4 x 7 1/2 in.)

£8,000 - 12,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

Exhibited

Olympia, London, Keith Vaughan, 26 Feb-3 Mar 2002, cat no.KV280

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

1955 was an unusual year for Vaughan. He completed only fifteen oil paintings (fourteen of which were landscape subjects) and attended to his journal on only three occasions.

His entry for February 1st, perhaps, explains why this may have been the case:

“Am not conscious of having worked really hard for about a year. Yet I have today delivered 70 gouaches to the Leicester Gallery & a show of about 55 works opens in N.Y. Alternate between feeling I have come to the end of myself as an artist & feeling I am just about to do my best work. Vow also to try & live & especially more outwardly.”

It seems that Vaughan spent the year working with the medium of gouache. The Leicester Galleries held an exhibition consisting entirely of his gouaches and Durlacher Brothers Gallery in New York exhibited around twenty of them. At the time, gouache was a medium generally associated with the designer’s studio, but Vaughan, extended its expressive range and became, perhaps, its greatest exponent in Britain in the post-war years.

The foreground figure is probably derived from a life drawing made at the Central School of Art, where Vaughan was teaching. As is often the case with his domestic subjects, the mood of Two Seated Figures echoes the tensions which he was experiencing in his relationship with his partner Ramsay McClure. They met in 1948 and moved to a flat on Belsize Park four years later. Long periods of smouldering tension and resentment were common as Vaughan tried to work and Ramsay tip-toed around him on eggshells.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 26 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Self-portrait

signed and dated ‘Keith Vaughan March 17th/50’ (lower right)

gouache, wash, pen & ink

31.6 x 24.2 cm. (12 1/2 x 9 1/2 in.)

£12,000 - 18,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

Exhibited

Olympia, London, The Spring Fair: Loan Exhibition of paintings and drawings Keith Vaughan 1912-1977, 26 Feb-3 March 2002, (ill.col. p.15)

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Vaughan made a handful of self-portrait gouaches and drawings. In the present work he depicts himself as typically introspective, staring out intently at the viewer, while engaging in the act of drawing. Pen and ink lines are infilled with diluted Indian ink and, here and there, areas such as the face, collar and hand are picked out with white gouache. The direct stare of the artist is both self-revealing and disarming. From 1939 until the moment he died, Vaughan kept an intimate and personal journal, with the intention of revealing his true nature to an imagined, future reader. This self-portrait is, perhaps, an extension of that confessorial revelation of his inner personality.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 27 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Foreshore with Three Figures signed ‘Vaughan’ (lower right)

oil on board

40.6 x 43.2 cm. (16 x 17 in.)

Painted in 1963

£30,000 - 50,000

Provenance

The estate of Peter Adam (1929-2019), thence by family descent.

Exhibited

Olympia, London, Keith Vaughan, 26 Feb-3 Mar 2002, cat no. KV285

Literature

Anthony Hepworth and Ian Massey, Keith Vaughan, The Mature Oils, 1946-1977, Sansom & Company, Bristol, 2012, p.143, cat.no.AH395

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Three male nude figures bathe together in the shallow waters of a secluded cove. One of them, on the left and viewed in profile, sits on a rock watching his companions wash and dry themselves. A steep, background cliff encloses the scene at the right.

Groups of male bathers is a quintessential Vaughan subject, one which he painted throughout his career. During the early 1930s he frequented the male swimming enclosure at Highgate Ponds and, later, spent his summer weekends at Pagham Beach taking photographs and making drawings of his friend larking about on the hot shingle. In the 1970s he dug out a sizeable pool at the end of his garden in Essex and, in the summer months, invited friends to stay over and have a swim. Peter Adam brought along David Hockney, the grand master of the swimming pool genre, who spent an afternoon splashing around and sunbathing on the railway sleepers which lined the pool. Patrick Proctor and Prunella Clough were also frequent visitors. Invariably Vaughan took photographs and made drawings to inform his work.

But it was his first visit to Greece in 1960 which transformed Vaughan’s approach to painting bather subjects. From then on, the Aegean Sea was translated into expanses of blue in his oil paintings and gouaches, while his once sombre, earthy palette became infused with hot, succulent colours. A new sensuousness also appeared in his handling of pigment, supremely evident in the present work, where pigment becomes a tactile equivalent of flesh rather than a mere representation of it.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 28 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Bending Figure

bronze with a dark brown patina numbered and stamped with estate stamp ‘5/1 K.V.’ (beneath base)

20 cm. (7 7/8 in.) high

£7,000 - 10,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Vaughan’s free-standing sculptures were never exhibited in his lifetime. They were originally fashioned in modelling clay, probably to work out formal problems associated with his painting. He made three figurines: a standing black youth, a male figure bending forward and a smaller, three-quarter length figure. He also made a relief medallion, or amulet, in wax and pierced it with a hole to be threaded and worn around the neck. They most likely date from around 1960 since, on June 1 that year, he wrote in his journal, with typical self-effacement, ‘Painting and attempts at jewellery making in wax today. Neither went well.’

In 1976, while Vaughan was in hospital undergoing an operation to remove a large kidney stone, Prunella Clough and Peter Adam arranged for two of his clay figures to be cast at a foundry. Their intention was to divert and amuse him, since he had fallen into a depression, having also undergone a colostomy operation. Adam recalled, ‘Years earlier, Keith had made small clay figures – a bending nude and a torso. As a surprise, Prunella had them cast in bronze and these figures, the only sculptures he had ever made, gave him much pleasure’ (Peter Adam A Short Anatomy of a Friendship from Gerard Hastings, Visions and Recollections: Prunella Clough and Keith Vaughan, Pagham Press, 2014). According to Adam, Clough asked for five bronze casts to be made of Standing Figure and Bending Figure. During the process, unfortunately, both original clay models were destroyed. Clough was an executor of Vaughan’s estate and, when he died in 1977, took possession of the plaster mould of Standing Figure, the other having been broken and discarded. On her death, the mould came into Adam’s possession, and he made a further five, unnumbered casts. The smaller clay figure, deemed too fragile to be cast, was the only original model that survived. However, it also has had an unfortunate history. For many years it sat, much treasured, on top of an Eileen Gray table in Adam’s Parisian flat, until it was damaged by a workman mending his roof. After this, it was placed in a box and put away it for safe keeping.

The original clay surface of Bending Figure was fashioned with determination and the modelling is broad and confident. It is a hand-sized sculpture, conceived on an intimate scale as a free-standing form in-the-round. The dark, polished patina ensures a play of light on the forms, catches the edges of the anatomical parts and animates the surface values.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 29 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Two Amulets

silver nickel alloy

7 cm. (2 3/4 in.) high

Executed circa 1976 (2)

£500 - 700

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Vaughan’s Amulet Medallion is a stylised interpretation of a male figure with outstretched arms. Its imagery is in keeping with his oil painting of the late 1950s and early 1960s (see Bather 1958/9 and both Figure and Figure with Outstretched Arms, 1961). The thorax is reduced to as a series of formalised blocks and slabs of muscular matter while the head, arms and legs are abridged into simple, geometrical masses. Despite the miniature scale, the medallion still possesses dynamic force as limbs reach out to the edge of the relief surface and lock the form firmly into place.

We are grateful to Gerard Hastings for compiling this catalogue entry.

Lot 30 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Christmas greetings cards collage

each approximately 18 x 12 cm. (7 1/8 x 4 3/4 in.) together with;

Postcard of September 1956 dated ‘Jan 14/75’ and inscribed extensively 10.1 x 15.2 cm. (4 x 6 in.) (unframed) (4)

£1,200 - 1,800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 31 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Two figures, one seated stamped with estate stamp ‘K.V.’ (lower right) pencil

28 x 20 cm. (11 x 8 in.)

Executed in 1951 (unframed)

£1,000 - 1,500

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 32 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Study for Linear Group signed with initials ‘KV.’ (lower right); further signed, dated and titled ‘Study for Linear Group/1963/Keith Vaughan’ (to a label attached to the backboard); signed again and inscribed ‘For Clauss Peter/from Keith with Love/Jan 1st/65’ (to another label attached to the backboard)

pencil

16.5 x 19 cm. (6 1/2 x 7 1/2 in.)

£1,500 - 2,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 33 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Standing nude figure charcoal 28 x 20 cm. (11 x 8 in.)

Executed in 1951 (unframed)

£1,000 - 1,500

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Two boys playing rugby stamped with estate stamp ‘K.V.’ (lower right) charcoal

28 x 20 cm. (11 x 8 in.)

Executed in 1951 (unframed)

£1,000 - 1,500

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 34 § *

Lot 35 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Abstract landscape study stamped with estate stamp ‘K.V.’ (verso) charcoal

24.5 x 18 cm. (9 3/8 X 11 in.)

Executed in 1958 (unframed)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Figures stamped with estate stamp ‘K.V.’ (lower right)

charcoal

28 x 20 cm. (11 x 10 in.)

Executed in 1951 (unframed)

£1,000 - 1,500

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 36 § *

Lot 37 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Cottage dated ‘56’ (verso) charcoal

20.7 x 28 cm. (8 1/2 x 11 in.) (unframed)

£700 - 1,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 38 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Linsay Tye titled ‘Linsay Tye’ (lower right, beneath the study) and dated ‘1956’ (verso) pencil

28 x 20.5 cm. (11 x 8 1/8 in.) (unframed)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 39 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Donegal titled ‘Donegal.’ (lower right); inscribed ‘Water behind dark trees’ (upper right); titled again and dated ‘Donegal/58’ (verso)

charcoal

28 x 20.5 cm. (11 x 8 1/8 in.) (unframed)

£700 - 1,000

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

House behind trees stamped with estate stamp ‘K.V.’ (verso)

charcoal

13 x 18 cm. (5 1/8 x 7 1/8 in.)

Executed in 1951 (unframed)

£400 - 600

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 40 § *

Lot 41 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Hillside signed with initials ‘K.V.’ (verso) charcoal

25.5 x 20.5 cm. (10 x 8 1/4 in.)

Executed in 1951 (unframed)

£600 - 800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Hillscape

stamped with estate stamp ‘K.V.’ (lower right)

charcoal

23 x 30.5 cm. (9 x 12 in.)

Executed in 1951 (unframed)

£500 -700

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 42 § *

Lot 43 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Still life study

charcoal

13 x 22 cm. (5 1/8 x 8 5/8 in.)

Executed in 1951 (unframed)

£500 - 700

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 44 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Study

stamped with estate stamp ‘K.V.’ (lower left) 19 x 16.5 cm. (7 1/2 x 6 1/2 in.)

Executed in 1956 (unframed)

£600 -800

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 45 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

KEITH VAUGHAN (BRITISH, 1912-1977)

Architectural study stamped with estate stamp ‘K.V.’ (verso)

25.5 x 20.5 cm. (10 x 8 1/8 in,)

Executed in 1951 (unframed)

£500 - 700

Provenance

The artist, from whom acquired by Peter Adam (1929-2019), thence by family descent.

We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.

Lot 46 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

PATRICK PROCKTOR (BRITISH, 1936-2003)

Story board for a BBC film signed ‘Patrick Proctor’ (lower right); inscribed indistinctly verso watercolour 46 x 60 cm. (18 x 23.5 in.) (unframed)

£1,500 - 2,000

Provenance

The estate of Peter Adam (1929-2019), thence by family descent

Please note this work is enclosed in an inscribed sleeve reading ‘Magazine by David Hockney/Set by Patrick Proctor/Directed by Peter Adam’.

Lot 47 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

PATRICK PROCKTOR (BRITISH, 1936-2003)

Story board for a BBC film collage and watercolour

23 x 31.5 cm. (9 1/8 x 12 1/2 in.) (4 works)

18 x 26 cm. (7 1/8 x 10 1/4 in.) (2 works) (unframed)

£800 - 1,200

Provenance

The estate of Peter Adam (1929-2019), thence by family descent

Lot 48 § *

PROPERTY FROM THE COLLECTION OF THE LATE PETER ADAM (LOTS 22-48)

ELSBETH JUDA (BRITISH, 1911-2014)

Hommage à Matisse inscribed and dated ‘to Peter/with much/love/de la part/d’une femme seule/ (hommage à/ matisse)/1992’ (to the backboard) collage 10 x 12.5 cm. (3 7/8 x 4 7/8 in.)

£400 - 600

Provenance

The artist, by whom gifted to Peter Adam (1929-2019), thence by family descent

Lot 49 §

Walkway signed ‘Clough’ (lower right)

chalk and pencil

37.5 x 25.5 cm. (14 3/4 x 10 in.)

£800 - 1,200

Provenance

With Annely Juda Fine Art, London, 16 October 1998, where purchased by the family of the present owner

Exhibited

London, Annley Juda Fine Art, Prunella Clough - Work in Drawing 1946-1998, 24 Sep-24 Oct 1998

PRUNELLA CLOUGH (BRITISH, 1919-1999)

Lot 50 §

GILLIAN AYRES (BRITISH, 1930-2018)

Untitled signed ‘Gillian Ayres’ (lower right); further signed and inscribed ‘GILIAN AYRES/10 GUS’ (to a label attached to the backboard)

oil on board

28 x 21.5

£2,000 - 3,000

Provenance

The artist, from whom acquired by the family of the present owner

cm. (11 x 8 1/2 in.)

Lot 51 §

BRYAN INGHAM (BRITISH, 1936-1997)

A German Suite ‘Bremische’ signed, titled and dated ‘A German Suite/’Bremische’/ ByranIngham/1993’ (back of frame) collage

13 x 3.5 cm. (5 1/4 x 1 1/2 in.)

£800 - 1,200

Provenance

The estate of the artist, from whom acquired by Bohun Gallery, Henley, circa 2002, where purchased by the present owner

Over There signed, titled and dated ‘OVER THERE/3/2000/Trevor Bell’ (verso) oil on canvas 73 x 73 cm. (28 3/4 x 28 3/4 in.) (unframed)

£1,500 - 2,500

Provenance

With The New Millennium Gallery, St Ives, circa 2002, where purchased by the present owners

Exhibited St Ives, The New Millennium Gallery, The New Millennium Show, 2001

Lot 52 §

TREVOR BELL (BRITISH, 1930-2017)

Blenkarne 7

signed and dated ‘Irvin ‘94’ (lower right)

gouache

56 x 75 cm. (22 x 29 1/2 in.)

£2,000 - 3,000

Provenance

With Gimpel Fils, London

With Kings Place Gallery, London, where purchased by the present owner

Lot 53 §

ALBERT IRVIN (BRITISH, 1922-2015)

Relief No.1

signed and dated ‘michael canney 86’ (to the backboard)

oil and pencil on card relief

33.5 x 18.5 cm. (13 1/4 x 11 1/2 in).

£1,000 - 1,500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 54 §

MICHAEL CANNEY (BRITISH, 1923-1999)

Lot 55 §

FRANK AUERBACH (BRITISH, b.1931)

Drawing for Mornington Crescent felt tip pen and pencil 22.2 x 33 cm. (8 3/4 x 13 in.)

Executed circa 1970

£15,000 - 25,000

Provenance

With Malborough Fine Art, London, 8 February 1971

Sale; Bonhams, London, 5 March 2013, lot 149, where purchased by Private Collection

Their sale; Sotheby’s, London, 30 September 2015, lot 113, where purchased by the present owner

Frank Auerbach has emerged as one of the most prominent and accomplished artists of his era. Collaborating with fellow artists Francis Bacon, Lucien Freud and Leon Kossoff as part of the London Group, he forged a distinctive style that would later become synonymous with his name, elevating his stature to that of one of the most influential artists in the post-war period.

Auerbach was born in Berlin, in 1931, to a lawyer, Max Auerbach and former art student Charlotte Nora Borchardt. He was sent to Britain to escape the horrors of Nazism as part of the Kindertransport, he arrived in England at the tender age of seven, alone. His parents wrote often but tragically fell victim to the Holocaust in 1942. Now, at the age of 92, he has devoted nearly half a century to capturing the essence of his art, consistently portraying the cityscape surrounding his studio in Camden Town, North London, and a cast of enduring models. The artist was recorded describing his work as:

“a sense of survivors scurrying among a ruined city”

Auerbach studied at St Martin’s School of Art and afterwards at the Royal College of Art. Yet, perhaps the clearest influence on his art training came from a series of additional art classes he took at London’s Borough Polytechnic, under David Bomberg.

From the age of 17, Bomberg had a profound influence on Auerbach’s artistic approach with an emphasis on the fundamental role of drawing. Auerbach expresses his admiration for his master, stating:

“I didn’t realize that I had encountered perhaps the most original, tenacious, and radical intellect to be found in art schools... There was a sense that in other art schools, one had to present something presentable, but in those classes, there was an atmosphere of research and radicalism that was highly stimulating. Bomberg was extraordinarily courageous and serious in a way that very few painters are... I believe that during my time as a student, Bomberg was far more significant to me than anyone else.”

Mornington Crescent is a location in London that holds special significance in Auerbach’s art. Auerbach has lived and worked near Mornington Crescent for many years, and the area has been a recurring subject in his paintings and drawings. His depictions of Mornington Crescent capture the essence of the city, portraying the streets, buildings, and people with a raw and emotional intensity. The repeated exploration of this locale reflects Auerbach’s commitment to capturing the essence of his surroundings through his distinctive artistic process.

“I thought I would be modern painter doing sensational canvases with marvellous shapes and colours. Working on the streets was not what I had planned, but I realised years later that it had a certain symbolism. I had been through the war, we’d all survived. This must have in some way affected me and it seemed to be rather urgent that I try and pin this down.”

Alongside fellow members of the London Group, Auerbach is acknowledged for significantly influencing a new wave of important contemporary painters. Notable names influenced by his work include Jenny Saville, Cecily Brown, Adrian Ghenie, and Antony Micallef, among others.

Auerbach is arguably Britain’s greatest living artist, whose work has had a deep and profound affect of the landscape of art for generations. Some of his work is currently the subject of a major exhibition at Courtauld Gallery, Frank Auerbach - The Charcoal Heads, which runs until 27 May 2024.

£800 - 1,200

Provenance

The artist, 1964, from whom acquired by the present owner

Lot 56 §

MICHAEL AYRTON (BRITISH, 1921-1975)

Figure Under Stress signed and dated ‘6.11.61/Michael Ayrton’ (lower left)

72 x 55.8 cm. (28 1/4 x 22 in.)

Lot 57 §

Icarus Multiple signed and dated ‘Michael Ayrton/24.6.61’ (lower right) graphite, wash and mixed media on board, in the artist’s original frame 53 X 40.7 cm.

£600 - 800

Provenance

The artist, 1964, from whom acquired by the present owner

Literature

C.P. Snow, Michael Ayrton: Drawings and Sculpture, Cory Adams Mackay, London, 1966, cat.no.108

MICHAEL AYRTON (BRITISH, 1921-1975)

(20 3/4 x 16 in.)

Lot 58 §

Acrobat signed and dated ‘Bulter 57’ (upper left)

pencil

50 x 69 cm. (19 5/8 x 27 1/8 in.)

£2,000 - 3,000

Provenance

With Pierre Matisse Gallery, New York

With Staempfli Gallery Inc., New York

With Lee Alt & Company Inc., New York

Sale; Sotheby’s, New York, 29 September 1994, lot 299, where purchased by Joseph and Blanche Blank

Their sale; Sotheby’s, London, Ground Breaking: Works from the Collection of Joseph and Blanche Black, 17 November 2020, lot 328, where

REG BUTLER (BRITISH, 1913-1981)

purchased by the present owner

Grotesque Devil Head glazed stoneware

29.3 x 16 x 29.5 cm. (11 1/2 x 6 1/4 x 11 3/8 in.)

Executed in 1988

£2,000 - 3,000

Provenance

The artist, circa 1990, where gifted to the present owner

Exhibited

Bath, The Holburne Museum, Grayson Perry, The Pre-Therapy Years, 24 Jan-25 May 2000, pp.108-109 (ill.col); this exhibition travelled to York, City Art Gallery, 19 Jun-20 Sep, Norwich, Sainsbury Centre for Visual Arts, 18 Oct 2000-31 Jan 2021

Lot 59 §

GRAYSON PERRY (BRITISH, b,1960)

Lot 60 §

EVELYN WILLIAMS (BRITISH, 1929-2012)

Portrait of a woman signed and dated ‘Evelyn Williams 2008’ (on the canvas overlap) oil on canvas

91.5 x 71 cm. (36 x 28 in.) (unframed)

£1,000 - 1,500

Provenance

The artist, from whom acquired by the family of the present owner

The Chess Players signed with initials and dated ‘W.S 1941’ (lower right) watercolour and pencil 37 x 29 cm. (14 1/2 x 11 3/8 in.)

£300 - 500

Provenance

With The Belgrave Gallery, London

With Caroline Gee, 5 February 2000, from whom purchased by the family of present owner

Exhibited

London, The Belgrave Gallery, Willi Soukop Exhibition, 1991, cat no.40

Lot 61 §

WILLI SOUKOP, R.A. (AUSTRIAN/BRITISH, 1907-1995)

Lot 62 §

Greedies and Beaks signed ‘Scottie’ (lower right)

coloured crayon and pen 27.5 x 18.5 cm. (10 3/4 x 7 1/4 in.)

Executed in 1941

£600 - 800

Provenance

With Brook Street Gallery, London, where purchased by Jon Pertwee (1919-1996), thence by family descent

Exhibited

London, Brook Street Gallery, Scottie Wilson, Oct 12-Nov 12 1966, probably cat.no.69

Please note this Lot is accompanied by the Brook Street Gallery exhibition catalogue.

SCOTTIE WILSON (BRITISH, 1888-1972)

Lot 63 §

Isaiah signed, titled and inscribed ‘Isaiah/66 ch47/Let now the astrologers, the stargazers, the/monthly pronosticators/ Stand up and save thee from those things/that shall come upon thee/Oxford Un. Press Illustrated Old Testament/ Carel Weight.’ (on a label attached to the backboard) ink and wash

16.5 x 20 cm. (6 1/2 x 7 7/8 in.)

together with; King Solomon signed ‘Carel Weight’ (lower right) ink and wash 20 x 16.5 cm. (8 x 6 3/4 in.) (2)

£300 - 500

Exhibited With Bankside Gallery, London Private Collection, U.K.

Their sale; Bonhams, 19 March 2019, lot 18, where purchased by the present owner

CAREL WEIGHT (BRITISH, 1908-1997)

Village Common

signed ‘Carel Weight’ (upper left)

oil on board

30.2 x 46.5 cm. (12 x 18 1/4 in.)

£1,000 - 1,500

Provenance

Possible sale; Christie’s, London, 7 June 1990, lot 97

With Brandler Galleries, Brentwood

Sale; Sworders, London, 10 June 2020, lot 79, where purchased by the present owner

Lot 64 §

CAREL WEIGHT (BRITISH, 1908-1997)

Lot 65 §

Portrait of Jack Wolsey oil on board

75.5 x 60.5 cm. (29 3/4 x 23 3/4 in.)

£800 - 1,200

Provenance

Sale; Bonhams, London, 13 November 2012, lot 241, where purchased by present owner

Exhibited

Glasgow, Royal Glasgow School of Arts, 1968

RUSKIN SPEAR (BRITISH, 1911-1990)

Self-portrait oil on panel 73.5 x 47 cm. (29 x 18 1/2 in.)

£1,000 - 2,000

Provenance

With Redfern Gallery, London, May 1944, where purchased by WP Scott

Jerry Rodwell, circa 1990, whom gifted to family of present owner

Exhibited London, Redfern Gallery, May 1944

Lot 66 §

ADRIAN RYAN (BRITISH, 1920-1998)

Lot 67 §

Ballerinas

signed, inscribed and dated ‘Laura Knight/20 July 1922’ (lower left) pen & ink

26 x 18 cm. (10 1/4 x 7 1/8 in.) (unframed)

Please note the work came from a folio compiled by Betty Rothenstein, the daughter of artist Sir William Rothenstein (1905-1989)

£400 - 600

Provenance

Betty Holiday (née Rothenstein, 1905-1989), thence by descent Their sale; Bonhams, 21 November - 1 December 2023, where purchased by the present owner

DAME LAURA KNIGHT (BRITISH, 1877-1970)

CATHLEEN MANN (BRITISH, 1896-1959)

Flowers, Contre-Jour signed and dated ‘Cathleen Mann 1944’ (lower right) oil on canvas

75.5 x 62.5

£400 - 600

Provenance

With The Lefevre Gallery, London, where purchased by the family of the present owner.

Lot 68 §

cm. (26 1/2 x 24 3/4 in.)

Group of Cats signed ‘Louis Wain’ (lower left) gouache and watercolour

27 x 65 cm. (10 1/2 x 25 1/2 in.)

£3,000 - 5,000

Provenance

The artist, whom gifted to Raphael Tuck, thence by family descent

It is thought that the present work was gifted in gratitude to the Tuck family, who employed the artist. The cats faces are thought to have been based on various Tuck family members. Please note this Lot is accompanied by a Louis Wain book.

Lot 69 §

LOUIS WAIN (BRITISH, 1860-1939)

Massed Blooms

signed ‘John Yardley’ (lower right); titled ‘Massed Blooms’ (on the canvas overlap)

oil on canvas 76.2 x 61 cm. (30 x 24 in.)

£300 - 500

Provenance

With Llewellyn Alexander Fine Paintings Ltd., London, 22 November 2010, where purchased by the present owners

Exhibited

London, Llewellyn Alexander Fine Paintings Ltd., John Yardley RI, 15 Nov-3 Dec 2010

Lot 70 §

JOHN YARDLEY, R.I. (BRITISH, b.1933)

Poppyfield

signed with initials ‘SEVD’ (lower right) oil on board

25.5 x 25.5 cm. (10 x 10 in.)

£3,000 - 5,000

Provenance

With De Montford Fine Art, Lichfield, November 2008, where purchased by the present owners

Lot 71 §

SHEREE VALENTINE-DAINES (BRITISH, b.1959)

£3,000 - 5,000

Provenance

With Thackeray Gallery, London, 5 October 1971, where purchased by Mr S Dove Sale; London, Bonhams, 20 November 2007, lot 205

James Huntington-Whiteley, from whom acquired by the present owner

Lot 72 §

JOHN BRATBY, R.A. (BRITISH, 1928-1992)

The Pear Tree signed ‘BRATBY’ (lower left)

oil on canvas 122 x 91 cm. (48 x 35 3/4 in.)

Painted in 1971

The Return of the Fishing Fleet signed and dated ‘P. W. Steer 1920’ (lower right)

watercolour 23 x 33 cm. (9 1/8 x 13 in.)

£400 - 600

Provenance With Agnew & Sons, London

Lot 73

PHILIP WILSON STEER (BRITISH, 1860-1942)

Lot 74

Southampton signed and dated ‘P. W Steer 1921’ (lower left)

watercolour

20.8 x 30.6 cm. (8 1/4 x 12 in.)

£400 - 600

Provenance With Agnew & Sons, London

PHILIP WILSON STEER (BRITISH, 1860-1942)

Framlingham Meadows

signed and dated ‘P. W. Steer 1928’ (lower right)

watercolour

23.5 x 33.5 cm. (9 1/4 x 13 1/8 in.)

£400 - 600

Provenance With Agnew & Son, London

Lot 75

PHILIP WILSON STEER (BRITISH, 1860-1942)

Lot 76

PHILIP WILSON STEER (BRITISH, 1860-1942)

Cottages Among Trees

signed and dated ‘P. W. Steer 1924’ (lower left)

watercolour

20.9 x 31 cm. (8 1/4 x 12 1/4 in.)

£400 - 600

Provenance

With Agnew & Son, London

Sunset, Bosham

signed and dated ‘P. W Steer 1914’ (lower left)

watercolour

24.2 x 34 cm. (9 1/2 x 13 3/8 in.)

£400 - 600

Provenance With Spink, London

Lot 77

PHILIP WILSON STEER (BRITISH, 1860-1942)

Lot 78 §

The hunt signed ‘Dunlop’ (lower right)

oil on board

29 x 38.5 cm. (11 1/4 x 15 1/8 in.)

£400 - 600

Provenance

The estate of Jon Pertwee (1919-1996), thence by family descent

RONALD DUNLOP (IRISH, 1894-1973)

GRAHAM ARNOLD (BRITISH, 1932-2019)

The Harbour signed ‘Arnold’ (lower left); further signed ‘G.C.Arnold’ (verso) oil on canvas 121.5 x 91 cm. (40 x 35 3/4 in.)

Please note, there is a further painted image verso.

£500 - 800

Lot 79 §

Lot 80 §

Almond blossom signed ‘D’OYLY-JOHN’ (lower right) oil and gouache on card 24.2 x 36.3 cm (9 1/2 x 14 1/4 in.)

£400 - 600

Provenance

The artist, whom gifted to Jon Pertwee (1919-1996), thence by family descent

CECIL ROCHFORD D’OYLY-JOHN (BRITISH, 1906-1993)

Tending to the flowers signed ‘Leonard Rosoman’ (lower left) oil on canvas 50.8 x 75.5 cm. (20 x 29 3/4 in.)

£800 - 1,200

Lot 81 §

LEONARD ROSOMAN, O.B.E., R.A. (BRITISH, 1913-2012)

Lot 82 §

BLAIR HUGHES-STANTON (BRITISH, 1902-1981)

The vision signed and dated ‘Blair HS 52’ (lower right) watercolour

77.5 x 54.6 cm. (30 1/2 x 21 1/2 in.) (unframed)

£400 - 600

Sycamore & Fir, Cumberland signed with initials and dated ‘JMH/’37’ (lower left) oil on canvas

£400 - 600

Lot 83 §

JOSEPH MELLOR HANSON (BRITISH,1900-1963)

60 x 73 cm. (23 5/8 x 28 3/4 in.)

Lot 84

HUMPHREY JENNINGS (BRITISH, 1907-1950)

The yellow house signed ‘Humphrey Jennings’ (on the backboard) oil on canvas 33 x 28 cm. (13 x 11 in.)

£300 - 500

Provenance

John Armbruster, from whom acquired by the present owner

Lot 85 §

Yellow Red Paradise signed and dated ‘Gear ‘89’ (lower right); further signed, dated again and titled ‘Gear NOV 89/YELLOW RED PARADISE’ (verso) oil, gouache and chalk 49

£1,000 - 1,500

WILLIAM GEAR (BRITISH, 1915-1997)

x 68 cm. (19 1/4 x 26 3/8 in.)

Lot 86 §

Blue Structure

signed and dated ‘Gear ‘89’ (lower right); further signed, titled and dated again ‘Gear/Dec 89/BLUE STRUCTURE’ (verso)

pastel

47 x 66.7 cm. (18 1/2 x 26 1/4 in.)

£400 - 600

WILLIAM GEAR (BRITISH, 1915-1997)

Lot 87 §

Untitled gouache and chalk on paper 61 x 91.8 cm. (24 x 36 1/4 in.)

£300 - 500

Provenance

With October Gallery, London, where purchased by the present owner

GERALD WILDE (BRITISH, 1905-1986)

Lot 88 §

Caernarfon Castle I

signed and dated ‘Dennis Creffield ‘01’ (lower right) mixed media on paper

29.5 x 56.5 cm. (11 7/8 x 22 1/4 in.)

£500 - 800

Provenance

With Globe Gallery, Hay-on-Wye, where purchased by the present owner

DENNIS CREFFIELD (BRITISH, 1931-2018)

Caernarfon Castle II

signed and dated ‘Dennis Creffield ‘01’ (lower right) mixed media on paper 29 x 56.5 cm. (11 1/4 x 22 1/4 in.)

£500 - 800

Provenance

With Globe Gallery, Hay-on-Wye, where purchased by the present owner

Lot 89 §

DENNIS CREFFIELD (BRITISH, 1931-2018)

GERALD SCARFE, C.B.E., R.D.I. (BRITISH, b.1936)

Pink Floyd and Marching Hammers signed ‘Gerald Scarfe’ (lower right)

oil on canvas

91 x 120 cm. (35 3/4 x 47 1/2 in.)

£15,000 - 25,000

Provenance

The artist, 31 October 2018, from whom commissioned by the present owner

Gerald Scarfe is a British artist and political cartoonist is best known for his work with the iconic rock band Pink Floyd. Born on June 1, 1936, in London, Scarfe gained prominence for his distinctive and often satirical artistic style. He became associated with Pink Floyd during the making of their 1977 album “Animals.”

Scarfe’s collaboration with Pink Floyd extended beyond album artwork to include the creation of animations for their live shows. One of his most notable contributions is the animation sequences in the film adaptation of Pink Floyd’s album “The Wall,” released in 1982. Scarfe’s animations, which blend his surreal and often dark imagery with the band’s music, played a significant role in the visual representation of Pink Floyd’s concept albums.

His work with Pink Floyd also includes the cover art for “The Wall” album, featuring his distinctive illustrations and the iconic “marching hammers” imagery. Scarfe’s art reflects the themes of alienation, war, and authoritarianism explored in Pink Floyd’s music.

In addition to his collaboration with Pink Floyd, Gerald Scarfe has had a successful career as a political cartoonist for various publications, including The Sunday Times. His work often critiques political figures and societal issues with a sharp and satirical edge.

Overall, Gerald Scarfe’s artistic contributions have left an indelible mark on the visual representation of Pink Floyd’s music, making him an integral part of the band’s history.

Lot 90 §

Justice signed ‘P. Rudall’ (lower right)

oil, crayon, pen & ink on paper

56.5 x 77.5 cm. (22 1/4 x 30 1/2 in.)

Executed in 1989

£400 - 600

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 91 §

PAUL RUDALL (BRITISH, 1921-2012)

Wineglasses

signed ‘P Rudall’ (upper left)

oil on paper

35 x 50.5 cm, (13 3/4 x 21 5/8 in.)

Executed in 1983

£300 - 500

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 92 §

PAUL RUDALL (BRITISH, 1921-2012)

In the Pink signed ‘P Rudall’ (lower right)

oil and chalk on board 60 x 60 cm. (23 5/8 x 23 5/8 in.)

Painted in 1975

£300 - 500

Provenance

The estate of the artist, by whom acquired by the present owners

Lot 93 §

PAUL RUDALL (BRITISH, 1921-2012)

Self-Portrait signed and inscribed ‘R.O.Lenkiewicz/Profile Self-Portrait/Lower Compton Studio/R.O.Lenkiewicz/ Non Project Piece’ (verso)

oil on linen

61.5 x 60.5 cm. (24 1/4 x 23 3/4 in.)

£5,000 - 7,000

Provenance

Sale; Plymouth Auctions, 18 January 2023, lot 50, where purchased by the present owner

In today’s context, it’s a rarity for the passing of an artist to evoke such a profound and emotional public reaction as was witnessed with Robert Oscar Lenkiewicz. His paintings spoke directly to the everyday individual, resonating not just as the work of a highly talented artist but as the creation of someone with the ability to prompt contemplation about their own lives and the world they inhabit.

“The Bluebeard of British art” - Daniel Farson

Robert Lenkiewicz, a natural maverick and provocateur, intentionally stood in contrast to prevailing views on ethical and aesthetic matters. Nevertheless, he managed to cultivate a broad following among regular people who were drawn to his charismatic personality, generosity, and abundant artistic and educational talents. When asked about his preferred legacy, whether as a sociological inquirer or as a skilled painter with insights into the human condition, he characteristically responded, “When one has a choice between two things, always take both.”

Lot 94 §

ROBERT LENKIEWICZ (BRITISH, 1941-2002)

Lot 95 §

GEOFFREY KEY (BRITISH, b. 1941)

Study for Late for the Ball signed and dated ‘GKey 14.2.14’ (upper right); further signed, titled and dated ‘late for the Ball/GKey 14’ (on the frame verso) watercolour, pen & ink 52.5 x 38.2 (20 3/4

15 in.)

£500 - 800

Provenance

With Cheshire Art Gallery, Stockport, 27 December 2016, where purchased by the present owner

x

Lot 96 §

GEOFFREY KEY (BRITISH, b.1941)

Harlequin signed, titled and dated ‘Harlequin GKey 30.1.14.’ (lower edge); further signed, titled and dated ‘Harlequin/GKey 14’ (on the frame verso)

pen & ink

49 x 29 cm. (19 1/4 x 11 1/4 in.)

£500 - 800

Provenance

With Cheshire Art Gallery, Stockport, 27 December 2016, where purchased by the present owner

Lot 97 §

Envelop Me

signed, initialled, titled and dated ‘ENVELOP ME/ Whittaker DKW/2009’ (verso)

oil, acrylic, collage and graphite on board 30.6 x 30.6 cm. (12 1/2 x 12 1/2 in.) (unframed)

£1,000 - 1,500

DAVID KIM WHITTAKER (BRITISH, b.1964)

Lot 98 §

Through to England signed, initialled, titled and dated twice’ THROUGH TO ENGLAND/2009 Whittaker DKW/2009-2015’ (back of frame)

oil, acrylic, collage and graphite on board 26 x 26 cm. (10 1/4 x 10 1/4 in.)

£1,000 - 1,500

DAVID KIM WHITTAKER (BRITISH, b.1964)

Lot 99 §

Quietly I Make You signed, initialled, titled and dated ‘QUIETLY I MAKE YOU/ Whittaker DKW/2009’ (verso) oil, acrylic, collage and graphite on board 30.6 x 30.6 cm. ( 12 1/2 x 12 1/2 in.) (unframed)

£1,000 - 1,500

DAVID KIM WHITTAKER (BRITISH, b.1964)

Whitehall Rain

‘Bruce

£400 - 600

Provenance

With Llewellyn Alexander Fine Paintings Ltd., London, 22 December 2011, where purchased by the present owners

Lot 100 §

BRUCE YARDLEY (BRITISH, b.1962)

signed

Yardley’ (lower left) oil on canvas 40.5 x 40.5 cm. (16 x 16 in.)

BA Party, Browns signed ‘Bruce Yardley’

canvas 60

£400 - 600

Provenance

With Llewellyn Alexander Fine Paintings Ltd., London, 21 December 2009, where purchased by the present owners

Lot 101 §

BRUCE YARDLEY (BRITISH, b.1962)

(lower left); titled ‘BA Party, Browns’ (on the stretcher) oil on

x 75 cm. (23 5/8 x 29 1/2 in.)

Cabs Outside the R.A.C Club signed ‘Bruce Yardley’ (lower right) oil on canvas 51 x 61 cm. (20 1/8 x 24 cm.)

£400 - 600

Provenance

With Llewellyn Alexander Fine Paintings Ltd., London, 3 May 2013, where purchased by the present owners

Lot 102 §

BRUCE YARDLEY (BRITISH, b.1962)

Crossing Fifth Avenue signed ‘Bruce

£400 - 600

Provenance

With Llewellyn Alexander Fine Paintings Ltd., London, 22 December 2011, where purchased by the present owners

Lot 103 §

BRUCE YARDLEY (BRITISH, b.1962)

Yardley’ (lower left); further signed ‘Yardley’ (on canvas overlap) oil on canvas 30.4 x 51 cm. (12 x 20 in.)

Lot 104 §

Treelined avenue oil pastel and crayon

21.7 x 14.9 cm. (8 1/2 x 6 in.) (unframed)

£400 - 600

Provenance

The artist, from whom acquired by the family of the present owner

TOM FAIRS (BRITISH, 1925-2007)

£400 - 600

Provenance

The artist, from whom acquired by the family of the present owner

Lot 105 §

TOM FAIRS (BRITISH, 1925-2007)

Village green signed ‘Fairs’ (lower right) oil pastel and crayon

17.5 x 24.2 cm. (6 7/8 x 9 3/4 in.) (unframed)

Untitled gouache, pen & ink

£1,000 - 1,500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 106 §

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

29.2 x 21.7 cm. (11 1/2 x 8 1/2 in.)

Mechanical man

plaster and wood 74.1 (29 in.) high

£1,500 - 2,500

Provenance

The estate of the artist, from whom acquired by the present owner

Eduardo Paolozzi (1924-2005) stood out as one of the 20th century’s most inventive and irreverent artists. Recognized as the ‘godfather of Pop Art,’ his collages, sculptures, and prints were at the forefront of challenging artistic norms, spanning from the 1950s through the Swinging Sixties and into the era of ‘Cool Britannia’ in the 1990s.

“Paolozzi’s approach, like that of Picasso and the Surrealists, often involved the use of found objects. His studio was filled with plaster casts of the objects that appealed to him - dolls, toys, machine parts etc. Sometimes these objects would simply be cast, at other times they were chopped up and reassembled, or individually coloured by the artist. As with Rodin’s approach to plaster, Paolozzi often regarded the plaster as the final work and most of Paolozzi’s plasters were never intended for casting or editioning.’’

(Robin Spencer on the artist)

Lot 107 §

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot 108 §

Abstract form

bronze with gold patina 10 cm. (3 7/8 in.) long

Conceived circa 1980s

£600 - 800

Provenance

The estate of the artist, from whom acquired by the present owner

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH, 1924-2005)

109 §

Plaster Head

plaster

9.5 x 5.5 cm. (3 3/4 x 2 1/4 in.)

Together with two further paster reliefs

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

Lot

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH, 1924-2005)

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Mechanical metropolis pencil

24.7 x 17 cm. (9 3/4 x 6 3/8 in.) (unframed)

£400 - 600

Provenance

The estate of the artist, from whom acquired by the present owner

Lot 110 §

Lot 111 §

Abstract landscape

pencil

14.5 x 20 cm. (5 3/4 x 7 7/8 in.) (unframed)

£400 - 600

Provenance

The estate of the artist, from whom acquired by the present owner

SIR EDUARDO PAOLOZZI, C.B.E., R.A. (BRITISH 1924-2005)

Lot 112 §

KEITH RICHARDSON JONES (BRITISH, 1925-2005)

Untitled (Blue, orange and red) oil on canvas 70 x 70 cm. (34 x 34 in.)

£1,500 - 2,500

Provenance With Redfern Gallery, London

Ins and Outs

signed, titled and dated ‘Beattie/Ins and Outs - 2012’ (verso)

oil and pencil on canvas

40 x 50 cm. (15 3/3 x 19 5/8 in.)

£2,000 - 3,000

Lot 113 §

BASIL BEATTIE (BRITISH, b.1935)

Lot 114 §

KATHLEEN GUTHRIE (BRITISH, 1905-1981)

Five Colours signed and titled ‘FIVE COLOURS/Kathleen Guthrie’ (verso)

acrylic on canvas 18 1/2 x 23 cm. (47 x 58.4 cm.)

£400 - 600

Provenance

The Bertrand Russell Peace Foundation

Garden Arch #4 (Afternoon)

signed and dated ‘John Hubbard 1988’ (lower right) oil on paper

30.2 x 24 cm. (12 3/4 x 9 1/2 in.)

£500 - 800

Provenance

With Contemporary Art Society Market, London

Private Collection

Sebastain Walker

His sale; Sotheby’s, Modern British Paintings - Drawings and Sculptures from the Collection of the Late Sebastain Walker, London, 20 November 1991, lot 65

Lot 115 §

JOHN HUBBARD (BRITISH, 1931-2017)

Lot 116 §

Squares IV

signed and dated ‘Blow 04’ (lower right) collage and acrylic on card 30 x 30 cm.

11 3/4 in.)

£1,500 - 2,500

Provenance

With Howarth Art Gallery, Burnley, May 2005, where purchased by the present owner

SANDRA BLOW, R.A. (BRITISH, 1925-2006)

(11 3/4 x

Lot 117 §

Squares III

signed and dated ‘Blow 04’ (lower right) collage and acrylic on card 28.5

£1,500 - 2,500

Provenance

With Howarth Art Gallery, Burnley, May 2005, where purchased by the present owner

SANDRA BLOW, R.A. (BRITISH, 1925-2006)

x 30 cm. (11 1/4 x 11 3/4 in.)

Lot 118 §

£400 - 600

Provenance

Sale; Christie’s, London, Brian Sewell, Critic & Collector, 27 September 2016, lot 103, where purchased by the present owner

Please note this work is an unpublished illustration to chapter IV of The Armfield’s Animal Book: How the Camel Unbent

MAXWELL ARMFIELD (BRITISH, 1881-1972)

How the Camel Unbent signed with device and dated ‘12’ (lower left) watercolour, pen & grey ink with white heightening 23 x 20.4 cm. (9 1/8 x 8 1/8 in.)

Melons signed twice and dated ‘LM/Leonard McComb 1975’ (lower

watercolour

£400 - 600

Lot 119 §

LEONARD MCCOMB (BRITISH, 1930-2018)

right)

36 x 50.4 cm. (14 x 19 7/8 in.)

Lot 120 §

Starry Night

signed and dated ‘Robin Baring/1964’ (lower right); further dated and titled ‘STARRY NIGHT 1964’ (verso)

oil and tempera on board

32.5 x 38.7 cm. (12 3/4 x 15 1/4 in.)

£400 - 600

Provenance

With Crane Kalman Gallery, London

ROBIN BARING (BRITISH, b.1930)

Lot 121 §

TONY SHIELS (BRITISH, b.1938)

The Red Haired Man in a bit of a Field signed, titled and dated ‘The Red Haired Man/in a bit of a field/Shiels 29|6|84’ (lower right) watercolour, pen & ink 42 x 51 cm. (16 1/2 x 20 in.)

£300 - 500

Lot 122 §

£2,000 - 3,000

Provenance

With Cadogan Contemporary, London, where purchased by the present owner

NICOLA BEALING (BRITISH, b.1963)

Puff Fish Shoal signed with initials ‘NB’ (lower right); further signed, titled and dated ‘NICOLA BEALING 2007 PUFF FISH SHOAL’ (canvas stretcher) oil on canvas 119.3 x 139.7 cm. (47 x 55 in.) (unframed)

Lot 123 §

STEPHEN WILTSHIRE (BRITISH, b.1974)

Canary Wharf

signed, titled and dated ‘20th 25th October 1988 Stephen Wiltshire Canary Wharf (london Dockland)’ (lower edge)

pencil

21 x 29.5 cm. (8 1/4 x 11 5/8 in.)

£500 - 700

Lot 124 §

Triptych Group No.1 signed with initials ‘DT’ (lower right); further signed, titled and dated ‘David Tindle/ April 2017/TRIPTYCH GROUP NO1.’ (verso)

acrylic on board

£700 - 1,000

DAVID TINDLE (BRITISH, b.1932)

58 x 48.4 cm. (22 7/8 x 19 1/4 in.)

Lot 125 §

Breakfast with a Computer signed, titled and dated ‘David Tindle/2018/Breakfast with a Computer’ (verso)

acrylic on board

30.5 x 40 cm. (12 x 15 3/4 in.)

£700 - 1,000

DAVID TINDLE (BRITISH, b.1932)

Lot 126 §

BETTY SWANWICK, R.A (BRITISH, 1915-1989)

Sketch for “The Divestyre of the Dreamer of Dreams” pencil

51 x 69 cm. (20 x 27 1/8 in.)

£300 - 500

Supper in the Caravan, Loch Doine signed, titled and dated ‘Supper in the Caravan/Loch Doine July 1941/Alan Davie’ (upper

pencil 22 x 18 cm. (8 5/8 x 7 in.) together with two further works by the same hand (unframed) (3)

£600 - 800

Provenance

The artist, 1941, whom gifted to the family of the present owner on their holiday together in Loch Doine

Lot 127 §

ALAN DAVIE (BRITISH, 1920-2014)

left)

Homage to the Earth Spirts No.2 gouache

51.5 x 76.2 cm. (20 1/4 x 30 in.)

Executed in 1979

£600 - 800

Lot 128 §

ALAN DAVIE (BRITISH, 1920-2014)

Sky Stack

signed and dated ‘Alan Davie 2010’

£300 - 500

Provenance

With Gimpel Fils, London

Lot 129 §

ALAN DAVIE (BRITISH, 1920-2014)

(upper right); titled ‘SKY STACK’ (verso) oil and felt-tip pen on paper 22.2 x 15 cm. (8 3/4 x 5 7/8 in.)

Lot 130 §

ALAN DAVIE (BRITISH, 1920-2014)

Untitled signed and dated ‘Alan Davie 2010’ (lower right)

oil and felt-tip pen on paper

15.2 x 22.2 cm. (6 x 8 3/4 in.)

£500 - 800

Provenance With Gimpel Fils, London

Lot 131 §

ALAN DAVIE (BRITISH, 1920-2014)

Untitled each signed and dated variously three pen & ink drawings, mounted as one each approximately 13.5 x 14.5 cm. (5 3/8 x 5 7/8 in.)

£300 - 500

Lot 132 §

ALAN DAVIE (BRITISH, 1920-2014)

Untitled each signed and dated variously three pen & ink drawings, mounted as one each approximately 13.5 x 14.5 cm. (5 3/8 x 5 7/8 in.)

£300 - 500

Term and Conditions for Buyers at Chiswick Auctions

1. BEFORE THE SALE

1.1 Agent for the seller

Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer.

1.2 Definitions

For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot.

The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot.

The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

1.3 Catalogue descriptions

Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof. Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot.

The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1.4 Inspection

Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

1.5 Condition report

CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

1.6 Electricals

All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety.

It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.

1.7 Estimates

Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8 Reserves

Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot below the reserve by placing a bid on behalf of the seller, and may in

their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids.

1.9 Registration to the sale

New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale. Registration thereafter shall be at the auctioneer’s entire discretion.

International bidders may be required to register 48 hours before the sale and to submit bank details.

A deposit may be requested prior to each sale. Failure to register shall result in the impossibility for the bidder to purchase a Lot.

1.10 Proof of identity

Bidders not previously known to CA Ltd will be required to provide:

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.

• Proof of address of main residence. Only official documents showing name and address will be accepted.

• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the abovementioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE

2.1 Attendance at auction

Attending the auction in person is recommended.

CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.

Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

2.2 Personal bidding

Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.

2.3 Commission bids

CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it.

Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.

In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.

2.4 Telephone bids

If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone.

CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids

Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or untilising said platforms.

CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

2.6 Bidding on behalf of someone

A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

2.7 Bidding on an item

Bid incrementation is at the auctioneer’s entire discretion.

2.8 Video transmission

For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome.

2.9 Online-only auctions

Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd.

2.10 Dispute resolution during the auction

Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’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.

When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale.

3.2 Transfer of property

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 Buyer’s premium, relevant taxes, and costs in relation to shipping.

3.3 Transfer of risks

Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

3.4 Cancellation of the sale

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 the sale of the Lot or reoffer and resell the Lot if it becomes aware of 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.

Grounds for cancellation under the present section shall include but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc. In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

4. AFTER THE SALE

4.1 Payment

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 made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express.

CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance.

Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

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.

4.2 Buyer’s Premium

The Buyer will pay CA Ltd a premium of 25% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below:

No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis.

†: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

*: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice.

If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

4.3 Online Bidding Surcharges

Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms

Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

4.4 Taxes

VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot.

W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met:

1. Have registered to bid with an address outside of the UK

2. Provide immediate proof of export out of the UK within 90 days from the date of the auction

Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70.

Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes.

4.5 Artist Resale Rights / Droit de Suite

Lots marked with ‘ARR’ may be subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500.

Royalties for Droit de Suite are as follows:

• From 0 to €50,000 4%

• From €50,000.01 to €200,000 3%

• From €200,000.01 to €350,000 1%

• From €350,000.01 to €500,000 0.5%

• Exceeding €500,000 0.25%

4.6 Remedies for non-payment

If the Buyer fails to make full payment in cleared funds within the time 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:

• To cancel the sale

• To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’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.

• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionarily apply any sum paid by the Buyer for discharge of any owed sums.

• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd.

• To exercise a lien over the Buyer’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.

• To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.

• To take such other action as is permissible by Law and in the discretion of CA Ltd.

4.7 Collection

Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).

4.8 Storage

CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/larger items) per day and CA Ltd shall, 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.

4.9 Shipping

Any shipping costs that may arise subsequent to the sale shall be at the Buyer’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.

CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.

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

4.10 Loss or Damage

CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.

4.11 Cultural Goods import and export restrictions

Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’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 Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of preColumbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.

4.12 CITES

Import and export restrictions

Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to issuance of an export permit when leaving the European Union.

Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’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.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.13 Limitation of liability regarding CITES export licenses

Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them.

CA Ltd cannot be held responsible if the Buyer’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.

4.14 Warranties

CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.15 Authenticity warranty

In the event of a Lot being sold as authentic under the catalogue 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 authentic, CA Ltd will refund the purchase price.

The Buyer shall give notice to CA Ltd within 28 days from knowledge 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 be defined as the state of a Lot that is genuine and not a forgery or a copy.

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations

Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value.

It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.

Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value. Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY

6.1 Gemstone treatment and estimates

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:

• Heat treatment to enhance sapphires and rubies’ clarity and colour

• Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone

• Staining

• Irradiation

• Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof.

A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.

If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.

6.2 Estimated weights

If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

6.3 Signatures

‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.

‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.

Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

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 without defects, or has been subject to repair or restoration.

CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and 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 import or export purposes in accordance with CITES regulations.

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

8.1 Upholstered furniture after 1950

According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. 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 Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated 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 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions

When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items.

10.2 Fine Chinese Paintings

Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the 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, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

Books and manuscripts sold as incomplete are not subject to returns. 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’.

12. WINES AND SPIRITS

In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

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 an ‘acceptable’ fill level from CA Ltd.

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.

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 above-mentioned materials without the prior written consent of CA Ltd.

Some Lots may be subject to copyright protection, CA Ltd does not 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.

15. SEVERABILITY

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

16. AMENDMENTS

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.

For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising 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.