Wednesday 25 June, 14:00
Modern British & Irish Art
Wednesday 25 June, 14:00
Viewing exclusively at the Barley Mow Centre, W4 4PH
Friday, 20 June 12:00 - 17:00 (Preview evening 17:00 - 20:00)
Saturday, 21 June 11:00 - 15:00
Sunday, 22 June 11:00 - 15:00
Monday, 23 June 10:00 - 17:00
Tuesday, 24 June 10:00 - 17:00
Wednesday, 25 June 10:00 - 12:00 (auction begins at 14:00)
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Meet the Specialists
James Flower
Head of Modern British & Irish Art
Co-Head of Pictures james.flower@chiswickauctions.co.uk
+44 (0)20 3089 6874
Emily Smaje
Junior Specialist
Modern British & Irish Art emily.smaje@chiswickauctions.co.uk
+44 (0)20 3089 6888
Get in touch
Gallery: Barley Mow Centre, Chiswick, W4 4PH
Collections: 1 Roslin Square, Roslin Rd, W3 8DH modernbritishart@chiswickauctions.co.uk chiswickauctions.co.uk
1 §
Samuel Lamorna Birch R.A. R.W.S. (British, 1869-1955)
The Mouth of the Frome at Wareham, Dorset signed and dated ‘S.Lamorna Birch/1942’ (lower left) oil on canvas
50 x 61 cm. (19 3/4 x 24 in.)
£1,500 - 2,500
Provenance
With J.Leger & Son, London, September 1952
Sale; Sotheby’s, 10 October 1990, lot 2, where purchased by the family of the present owner
William Lee Hankey R.W.S. (British, 1869-1952)
St Ives signed ‘W LEE HANKEY’ (lower right) oil on canvas 61 x 73.6 cm. (24 x 29 in.)
£1,500 - 2,500
Provenance Sale; Christie’s, London, 20 September 1990, lot 172, where purchased by the family of the present owner
3 §
George Fisher Gilmour (British, 1904-1984)
Fontainebleau signed ‘G.F.GILMOUR’ (lower right) oil on canvasboard
48.3 x 60.3 cm. (19 x 23 3/4 in.)
£300 - 500
Provenance
Purchased from The Mall Galleries exhibition by Mrs. Mary Spain, thence by family descent
Exhibited
London, The Mall Galleries, National Society Exhibition, 1980
4 §
Sir William Russell Flint (British, 1880-1969)
Sleeping Dryad
signed ‘W Russell Flint’ (lower left); further signed and inscribed ‘Sleeping Dryad/W Russell Flint/ No.74 in my RA Diploma Gallery Exhibition 1962’ (to a backboard)
watercolour on board
13.3 x 17.1 cm. (5 1/4 x 6 3/4 in.)
Please note this work is accompanied with a folio of William Russell Flint collotypes
£800 - 1,200
Provenance
The artist, whom gifted to the family of the present owner
Exhibited
London, Royal Academy, Diploma Galleries, Sir William Russell Flint, 1962, cat.no.74
5
Roger Fry (British, 1866-1934)
Diana and Actaeon watercolour and ink
22.4 x 35.5 cm. (9 x 14 in.)
£500 - 800
Provenance
With Abbott and Holder, London, 1972, from whom purchased by the present owner
We are grateful to Richard Shone for his assistance in cataloguing the present lot
6
Charles Sargeant Jagger (British, 1885-1934)
Cathal and the Woodfolk plaster relief
49.5 x 78.2 cm. (19 1/2 x 31 in.)
Conceived in 1914
Please note this work is accompanied with a photograph of Jagger’s No Man’s Land (1919-20) including a dedication ‘To Norah and Claude Senecal with fondest remembrances from Charles Sargeant Jagger’. The photograph was given and dedicated to the family of present owner, who were regular visitors as per their address book in which Jaggar is mentioned. it thought that the present work was gifted by Jaggar to the family.
£3,000 - 5,000
Literature
Ann Compton (ed.), War and Peace Sculpture Centenary Exhibition 1885-1985, Imperial War Museum, London, 1985, pp. 56-57, no.51, the bronze cast (ill.b&w.)
Ann Compton, The Sculpture of Charles Sargeant Jagger, Much Hadham, 2004, p. 109, no. 12, bronze (ill.b&w.)
The original bronze has been in important private collections, including that of Sir Robert Mond (1867-1938), British chemist and archaeologist. The bronze is now in the collection of the Victoria & Albert Museum and was exhibited at both The Royal Academy in May 1914 and much later at the Imperial War Museum in 1985. The V&A documents the bronze as the earliest known piece in which Jagger produced for the purpose of exhibition at the Royal Academy.
This particular work titled Cathal and the Woodfolk, pays tribute to Cathal, the Irish hero, who is surrounded by woodland figures or fantastical spirits. The work clearly departs from much of Jagger’s traditional oeuvre given it incorporates movement, storytelling and themes of folklore. The bronze relief was produced with the intension of being viewed in a gallery. Jagger pays reference to multiple sculptural practices from New Sculpture of the late 19th Century using realistic imaginations of the human body to Italian Renaissance with Jagger’s handling of bronze.
In stark contrast, Charles Sargeant Jagger is most remembered for his commemorative memorials of the First World War, found through London, the most iconic works include Royal Artillery Memorial at Hyde Park Corner, and Great Western Railway War Memorial, in Paddington. These works are not only monumental in scale but embody our contemporary perception of what a monument is fixed, static and permanent, not only in place but also subject matter and execution. Cathal and the Woodfolk is rendered with more fluidity, movement and narrative.
7 §
Jack Butler Yeats R.H.I. (Irish, 1871-1957)
Ballycastle, County Mayo, Morning signed with artist’s monogram (lower right) pastel
25.5 x 35 cm. (10 1/8 x 13 3/4 in.)
£3,000 - 5,000
Provenance
With The Waddington Galleries, London, where purchased by Dr. Martin Lederman
Sale; Sotheby’s, London, 4 November 1992, lot 14, where purchased by the present owner
Exhibited
London, The Waddington Galleries, Early Watercolours, April 1961, no.61 (ill.)
Literature
Hilary Pyle, Yeats: His Watercolours, Drawings and Pastels, Dublin, 1993, p.168, no.712 (incorrectly illustrated as no.713)
8 §
Laurence Biddle (British, 1880-1968)
Pansies, Sweet Williams and Forgetmenots signed and dated ‘Laurence Biddle 45’ (lower right); titled ‘Pansies, Sweet Williams/and Forgetmenots’ (on a label verso) oil on canvas 28 x 43.1 cm. (11 x 17 in.)
£500 - 800
Provenance
With The Fine Art Society, London, 9 July 1945
9 §
Laurence Biddle (British, 1880-1968)
Pansies, Lobelia, Pholox Drummondii, Nemesia, Arabis signed and dated ‘Laurence Biddle ‘37’ (lower right); further signed and extensively inscribed, with a sketch (to various labels verso) oil on board 23 x 34 cm. (9 x 13 1/4 in.)
£400 - 600
Provenance
The artist, whom painted for Miss Dennis and her sister in 1937
Harold Knight R.A. (British, 1874-1961)
Low Tide, Staithes signed ‘Harold Knight’ (lower right) watercolour
29.8 x 31.7 cm. (11 3/4 x 12 1/2 in.)
£800 - 1,200
Provenance
With The Fine Art Society, London
With Peter Haworth, Cumbria
Exhibited
London, The Fine Art Society, The Staithes Group, 2002, cat.no.38
Maxwell Armfield (British, 1882-1972)
San Giorgio, Venice signed with initials ‘MA’ (lower right) gouache and pastel
22.8 x 28 cm. (9 x 11 in.)
£1,000 - 1,500
Provenance
Sale; Sotheby’s, London, 4 March 1998, where purchased by the present owner
§
Ken Howard O.B.E. R.A. (British, 1932-2022)
Venice signed ‘Ken Howard’ (lower right) oil on canvasboard
29 x 23.5 cm. (11 3/8 x 9 1/2 in.)
£1,000 - 1,500
13 §
Sir Kyffin Williams R.A. (British, 1918-2006)
Sheepdog at Work signed with initials ‘KW’ (lower right) watercolour and crayon
38.1 x (15 x 22 in.)
£5,000 - 8,000
Provenance With Thackery Gallery, London, 12 May 1998, where purchased by the present owner
§
Sir Kyffin Williams R.A. (British, 1918-2006)
Cottages signed with initials ‘KW’ (lower right) ink and wash
25 x 34 cm. (9 5/8 x 13 3/8 in.)
£1,500 - 2,500
Eric Gill (British, 1882-1940)
Nude dated ‘4.8.30’ (beneath the mount)
pencil
35.6 x 27.9 cm. (14 x 11 in.) (unframed)
£400 - 600
Provenance
Howards Roberts Gallery, Cardiff, circa 1965, where purchased by the family of the present owner
Ruskin Spear (British, 1911-1990)
Portrait of a man reading signed ‘Ruskin Spear’ (lower centre-right) oil on board
55.8 x 45.7 cm. (22 x 18 in.)
£1,500 - 2,500
Provenance
The artist, from whom purchased by the family of the present owner
We are grateful to Roger Spear for his assistance cataloguing the present lot
17 §
Ruskin Spear (British, 1911-1990)
Still life with pint glass and fruit signed ‘Ruskin Spear’ (lower right) oil on canvas
33 x 44.5 cm. (13 x 17 1/2 in.)
£1,500 - 2,500
Provenance
With Crane Kalman Gallery, London, 23 February 1995, where purchased by the family of the present owner
We are grateful to Roger Spear for his assistance cataloguing the present lot
18 §
Ruskin Spear (British, 1911-1990)
Girl’s Head signed ‘Ruskin Spear’ (lower right); further signed and titled (on various labels verso) oil on board
25.4 x 35.6 cm. (10 x 14 in.)
£1,200 - 1,800
Provenance
With Crane Kalman Gallery, London, 23 February 1995, where purchased by the family of the present owner
We are grateful to Roger Spear for his assistance cataloguing the present lot
Sir Jacob Epstein (British, 1880-1959)
Portrait of Anna Neagle signed ‘Epstein’ (on the back of the neck) bronze with a black patina 68.5 cm. (27 in.) high (including the base)
Conceived circa 1953
Please note this work is accompanied by a photograph of Anna Neagle with Sir Jacob Epstein by Ida Kar.
£5,000 - 8,000
Provenance
Dame Florence Marjorie Wilcox (Anna Neagle) (1904-1986), whom bequeathed to Joyce Wright (1922-2020), 29 October 1996, from whom purchased by the present owner
Literature
Richard Buckle, Jacob Epstein Sculptor, Faber and Faber Limited, 1963, p.428 (dated 1949)
Evelyn Silber, The Sculpture of Jacob Epstein: A Complete Catalogue, Phaidon Press, Oxford, 1986, p.215, cat.no.460 (ill.b&w.)
We are grateful to Dr. Evelyn Silber for her assistance cataloguing this lot.
‘By the 1950s almost all Epstein’s portraits were commissioned by the famous, rich and beautiful!’ - (Dr Evelyn Silber)
Dame Anna Neagle (1904-1986) was an English film and stage actress, known for her elegance and charm. Named, Florence Marjorie Roberston, and born in 1904, Florence rose to fame in the 1930s, using Anna Neagle as her stage name. Neagle was perhaps best known for her role as Queen Victoria in Victoria the Great (1937). In 1943 she married film producer and director, Herbet Sydney Wilcox CBE (1890-1977).
The bust of Anna Neagle is dated to circa 1953 and is just one example of many of the public and culturally significant figures that Sir Jacob Epstein created portraits of. These figures included Winston Churchill, George Bernard Shaw and Albert Einstein. This bust, like many others by Epstein, capture the depth and craftmanship in the artist’s execution. However, the photograph, taken by photographer Ida Kar provides us with in a further insight into Epstein’s working practice. There were three known photographs taken of Anna Neagle, Jacob Epstein and the bronze Epstein’ created taken by photographer Ida Kar. These photographs dated to circa 1953, artworks in their own right document the length of process in the creation of Epstein’s bronze and also the relationship between artist and sitter. The photographs capture Epstein in the act of making and moulding and Neage both posing and observing the work. Neagle, is dressed differently, in one picture she appears to be wearing the outfit featured in Epstein’s bronze, the other she wears a blazer and poses next to work, which appears to be almost completed. This gives us an indication that perhaps there were multiple sittings and encounters between Epstein and Neagle.
Epstein’s influences are clear in much of his sculptural works; these included classical sculpture and African and Oceanic art, in addition to the work of Augustus Rodin. During his time at both École des Beaux-Arts and Académie Julian, Epstein would have experienced works by the artist.
The freedom in which Epstein approached the sculpting process, was an obvious point of similarity. Both artists used clay for preliminary modelling and bronze for casting, exchanging an expressive quality and capturing the maker’s markings. Rodin and Epstein also shared their realistic depictions of people, they both had direct interactions with their sitters.
It wasn’t until the 1950s when many of Epstein’s works were commissioned by and for the rich. He produced over 100 portrait busts, but perhaps the most notable was his work of Winston Churchill (1947) commissioned by both Private Collectors and the State, specifically War Artist’s Advisory Committee in 1946.
In 1954, Epstein received a Knighthood for his services to art making. This clearly marked a departure from the controversy which followed his early works that explored non-Western influences, nudity and a more raw approach. Epstein now remains one of the most significant founders of modern British sculpture.
20 §
Bryan Ingham (British, 1936-1997)
Still life with jug signed with initials ‘BI’ (lower right) oil and pencil on board
20 x 32 cm. (7 5/8 x 12 1/2 in.)
£800 - 1,200
Provenance
The estate of the artist
Their sale; Lyon & Turnbull, Edinburgh, 29 April 2022, lot 295, where purchased by the present owner
§
Bryan Ingham (British, 1936-1997)
Female nude stamped with artists estate stamp (to the base) plaster on marble base
20.3 cm. (8 in.) high (including the base)
£800 - 1,200
Provenance
The estate of the artist
Their sale; Lyon & Turnbull, Edinburgh, 28 October 2022, lot 231, where purchased by the present owner
§
Grace Pailthorpe (British, 1883-1971)
Untitled
signed with initials, inscribed and dated ‘3.30.pm-Jan.4.1945-NO2 GWP’ (verso)
watercolour
30.5 x 44.5 cm. (12 x 17 1/2 in.)
£800 - 1,200
Provenance
The estate of the artist, from whom acquired by the present owner
§
Grace Pailthorpe (British, 1883-1971)
Untitled
signed with initials and dated ‘Nov.10 1946-1/G.W.P’ (verso)
watercolour
28.6 x 39.4 cm. (11 1/4 x 15 1/2 in.)
£800 - 1,200
Provenance
The estate of the artist, from whom acquired by the present owner
24 §
Reuben Mednikoff (British, 1906-1972)
Untitled signed ‘R MEDNIKOFF’ (lower left) watercolour
24 by 17 cm. (9 3/8 x 6 5/8 in.)
Executed circa 1945
Please note the backboard is signed, inscribed and date ‘Title/Minor Event/not for sale/24.11.45.’ in the hand of Grace Pailthorpe (1883-1971) the artist’s wife.
£1,000 - 1,500
Provenance
The estate of the artist, from whom acquired by the present owner
Grace Pailthorpe (British, 1883-1971)
Untitled signed and dated ‘Grace Pailthorpe/11.3.68’ (lower left)
watercolour
38.1 x 54.6 cm. (15 x 21 3/4 in.)
£700 - 1,000
Provenance
The estate of the artist, from whom acquired by the present owner
Grace Pailthorpe (British, 1883-1971)
Untitled
signed and dated ‘Grace Pailthorpe/23.1.68’ (lower left)
watercolour
38.1 x 54.6 cm. (15 x 21 3/4 in.)
£700 - 1,000
Provenance
The estate of the artist, from whom acquired by the present owner
Reuben Mednikoff (British, 1906-1972)
Cave Dweller signed ‘R.MEDNIKOFF’ (lower left) watercolour
22 x 30 cm. (8 5/8 x 11 7/8 in.)
Executed circa 1946
Please note the backboard is dated ‘Nov 10.1946-No.8’ in the hand of Grace Pailthorpe (1883-1971), the artist’s wife.
£700 - 1,000
Provenance
The estate of the artist, from whom acquired by the present owner
28 §
Victor Reinganum (British, 1907-1995)
Untitled signed and dated ‘Reinganum 73’ (lower right) gouache, collage, pencil and ink
25.4 x 20.3 cm. (10 1/2 x 8 in.)
£1,000 - 1,500
Provenance
With JHW Fine Art, London, circa 2005, from whom acquired by the present owner
29 §
Desmond Morris (British, b.1928)
Muckamuck
signed with initials and dated ‘DM 22’ (lower left); further signed twice, titled and dated again ‘2022/2 DM/ Desmond Morris/Muckamuck’ (to the backboard) gouache, watercolour, pen & ink 28 x 41.2 cm. (11 x 16 1/4 in.)
£400 - 600
Exhibited
London, Redfern Gallery, Desmond Morris: The Last Surrealist, 11 May-10 Jun 2022
Literature
Desmond Morris, Biomorphia: The Watercolours of 2020-2023, Dark Window Press, Wales, p.57 (col.ill.)
This work was part of an A3 series of works created by Desmond Morris. In the year of 2021, there was little painting activity in the spring and summer and the artist completed only eleven oils between March and November. However, on 18th November 2021, Morris begun a new series of watercolours on paper. Eleven were completed by the end of the year and in the following year, 2022, this series was continued, with another 51 being added, before coming to a natural end on 28th June.
We are grateful to the artist for his assistance cataloguing the present lot
Desmond Morris (British, b.1928)
Imaginary Saboteur signed with initials and dated ‘DM 02’ (lower left) mixed media and collage 29.2 x 21.5 cm. (11 1/2 x 8 1/5 in.)
£300 - 500
Exhibited London, Redfern Gallery, Desmond Morris: Works on Paper 1948-2018, 16 May-9 Jun 2018
Literature Desmond Morris, Wordworks, 2020, Dark Window Press, Colwyn Bay, p.164 (col.ill.)
In 2002 I was exploring the attic above my Oxford studio when, at the very back of an old, builtin cupboard, I noticed a wadge of paper. I extracted it with difficulty and discovered that it was a neatly hand-written legal document dating from Victorian times. The building that had been extended to create my large studio had once been a coach-house and the cupboard in question was inside what would have been the Victorian coachman’s bedroom. The document was a land transfer deed that had been hidden there for safe keeping and had long since been forgotten. It was now of no legal value and, as it had many faded pages, I decided to cut it up and use it as the basis for a series of collages, making the shaped pages into the bodies of a series of biomorphic figures. When cutting these figures, I turned the document on its side, so that it would be difficult to read the words, as these were meant to to be seen as patterning, rather than as analysed script. In this respect, I was using the words as a decorative element in the collages, in the same manner as Picasso had done in the early years of the 20th century, when he glued sections of newspapers into his collage compositions. I made a suite of 11 of these collages, all 11.5 x 8 inches in size.
Essay on Collages with Words, 2002, by Desmond Morris
We are grateful to the artist for his assistance cataloguing the present lot
31 §
Desmond Morris (British, b.1928)
A Moon Dream signed with initials and dated ‘DM 97’ (lower right); further signed twice, once with initials, and dated ‘21 January 1997 DM Desmond Morris’ (verso)
oil, watercolour, pen & ink with marbling on paper
26.7 x 21 cm. (10 1/2 x 8 1/4 in.) (unframed)
£700 - 1,000
Provenance
The artist, from whom acquired by the present owner
Literature
Silvano Levy, Desmond Morris: Late Work - Analytical Catalogue Raisonné 2012-2020, Sansom & Co., Bristol 2020, p.274 (cat.no.1997/20)
We are grateful to the artist for his assistance cataloguing the present lot
Alastair Morton (British, 1910-1963)
No.32
signed, titled and dated ‘Alastair Morton 44/No.32’ (verso) oil on canvasboard
29.2 x 39.4 cm. (11 1/2 x 15 1/2 in.)
£8,000 - 12,000
Provenance
The artist, from whom acquired by Cherry Morton, early 1980s, from whom acquired by the present owner
Exhibited
London, Redfern Gallery, Modern British Art Spring Exhibition, 5-28 Apr 2017
Literature
Redfern Gallery, Modern British Art Spring Exhibition, London, 2017, p.29 (col.ill.)
Alastair Morton, was born in 1910 in Carlise. Despite studying mathematics for a year at Edinburgh University, Morton joined the family’s business aged 21, a textile firm, founded in 1928 by James Morton. It was during this time at his father’s business, Edinburgh Weavers, where he encountered many contemporary artists, such as Barbara Hepworth and Ben Nicholson.
In 1932, Morton was appointed as the Artistic Director of the company and subsequently became the diving force. The role combined his logical mind and business acumen with his creative sensibilities. Art Historian Nikolaus Pevsner described the business as a ‘laboratory for the best modern textile art’.
Morton was clearly interested in not only the workings of British Modernist’s namely Nicholson, but also looked further a field to the workings of El Lissitzky and Piet Mondrian. Both of which explored geometric shape and formal purity within compositions. The present work, No.32, painted in 1944, clearly demonstrates these influences.
Morton gained recognition not only through his collaboration with artist’s but also his working principles that good textiles were as good as good paintings. Whilst he was clearly focused on his work at Edinburgh Weavers, he also exhibited alongside other significant British Modernists in a range of exhibitions namely, Art in England and Abstract Paintings by Nine British Artists at Lefevre Gallery both in 1939. In 1974 the Scottish National Gallery exhibited Alastair Morton and Edinburgh Weavers, displaying his collaborative weavings and paintings alongside one another and marking Morton a key figure in 20th Century British Art and Design.
33 §
Margaret Mellis (British, 1914-2009)
Small Imperial oil on canvas, laid on two boards signed, dated and stamped with estate stamp ‘Margaret Mellis/small imperial/Sep 69-DEC’ (verso)
58.5 x 58.5 cm. (23 x 23 in.)
£1,800 - 2,500
Provenance
The artist, thence by descent to Private Collection, U.K
Their sale; Bonhams, London, Blazing a Trail: Modern British Women, 20 September 2023, where purchased by the present owner
Exhibited
Stirling, Stirling University, 1970, cat.no.32
Exeter, Exeter University (details untraced)
London, Basil Jacobs Gallery, Margaret Mellis, 20 April-13 May 1972, un-numbered exhibition
George Dannatt (British, 1915-2009)
Project for a Stained Glass Window signed, titled and dated ‘Project for a Stained glass window/George Dannatt 2008’ (to the frame verso) oil on board
97.8 x 43.2 cm. (38 1/2 x 17 in.)
£500 -800
Provenance
The estate of the artist, from whom acquired by Modern Contemporary Art, London, March 2022, where purchased by the present owner
35 §
George Dannatt (British, 1915-2009)
Structural Syntax signed, titled and dated ‘George Dannatt/Structural Syntax 1996’ (verso) oil on board
37 x 28 cm. (14 1/2 x 11 in.)
£800 - 1,200
Provenance
The estate of the artist, from whom acquired by Modern Contemporary Art, London, March 2022, where purchased by the present owner
Exhibited
Bournemouth, Atrium Gallery, Oct 2005-Jan 2006
36 §
Margaret Geddes (British, 1914-1998)
Signals
signed ‘Geddes’ (verso); further signed ‘Geddes’ (to the canvas stretcher) oil on canvas
65 x 54 cm. (25 5/8 x 21 1/4 in.)
Painted circa 1976
£600 - 800
Provenance
With Camden Fine Art, Bath, 2001, where purchased by the present owner
Exhibited
Bath, Camden Fine Art, Spring Exhibition, 2001
37 §
Paul Mount (British, 1922-2009)
Villagescape signed ‘Paul Mount’ (verso) oil on canvas
70 x 80 cm. (27 1/2 x 31 1/2 in.)
£600 - 800
Provenance
The artist, from whom acquired directly by the present owner
38 §
Paul Mount (British, 1922-2009)
The Dictator cast iron
63 cm. (24 3/4 in.) high Executed in 1977
£7,000 - 10,000
Provenance
The artist, from whom acquired by Private Collection, U.K., from whom acquired by the present owner
Exhibited London, New Art Centre, Paul Mount: Recent Work, 1-25 Oct 1980 (ill.b&w.)
Literature
Ronald Gaskell, Paul Mount Sculpture: A Retrospective Selection, Nancherrow Studio Production, Cornwall, 1981, cat.no.35, (ill.b&w.)
‘The way two shapes relate is as important as the way two people relate’ - (Paul Mount)
A powerful fusion of industrial modernism and sculptural vitality, The Dictator exemplifies Paul Mount’s unique visual language. Cast in iron, the work projects angular force and architectural clarity while evoking the grounded presence of African carving traditions - a reflection of Mount’s formative years in Nigeria. Created during a prolific period in the 1970s, this sculpture reveals the influence of both European modernism and Yoruba aesthetics, shaped by Mount’s global experience and deep formal sensibility.
Often compared to Hepworth and Chillida, Mount’s work bridges abstraction with humanist intent. In The Dictator, his concern with space, mass, and relational form speaks to his belief that “the way two shapes relate is as important as the way two people relate.” A rare and significant piece by one of the last sculptors of the postwar British modernist tradition.
39 §
John McLean (British, 1939-2019)
Balloch
signed with initials and dated ‘JM ‘97’ (lower left)
acrylic and mixed media
57 x 76 cm. (22 3/8 x 29 7/8 in.)
£800 - 1,200
Provenance
With Bourne Fine Art, Edinburgh, 1999, where purchased by Private Collection, U.K.
Their sale; Bellmans, Sussex, 15 May 2024, lot 1484, where purchased the present owner
40 §
Dennis Hawkins (British, 1925-2001)
Setting Sun signed and dated ‘Dennis Hawkins/1955-6’ (verso) oil on canvas
36 x 25.5 cm. (14 1/4 x 10 in.)
£400 - 600
Provenance
With Katharine House Gallery, Marlborough, 2011, where purchased by the present owner
Exhibited
Marlborough, Katharine House Gallery, Modern British Art, 14 May-12 Jun 2011
41 §
Paul Philp (British, b.1941)
Abstract Relief signed and dated ‘PAUL PHILP/2020’ (to a label verso)
painted ceramic on board
55.9 x 68.6 cm. (22 x 27 in.)
£400 - 600
Provenance
The artist, from whom acquired directly by the present owner
42 §
Geoffrey Robinson (British, b.1945)
Abstract Landscape signed ‘Geoffrey Robinson’ (lower left) oil on canvas
34.3 x 45.3 cm. (13 1/2 x 18 in.)
£300 - 500
Provenance
With Modern Contemporary Art, London, where purchased by the present owner
43 §
Geoffrey Robinson (British, b.1945)
Assembled Objects
signed ‘G Robinson’ (lower right) oil and charcoal on board
49.5 x 62 cm. (19 3/4 x 24 in.)
£400 - 600
Provenance
With Modern Contemporary Art, London, where purchased by the present owner
Prunella Clough (British, 1919-1999)
Landscape Detail oil on board
25 x 23.5 cm. (10 x 9 1/2 in.)
£3,000 - 5,000
Provenance
With The Redfern Gallery, London, 27 October 1965, where purchased by Mrs H Vyner, from whom acquired by the present owner
Exhibited
London, The Redfern Gallery, 45th Summer Exhibition, 1965, cat.no.13
45 §
Prunella Clough (British, 1919-1999)
Cell mixed media on board
21.5 x 23.8 cm. (8 1/2 x 9 in.)
Executed in 1988
£1,000 - 1,500
Provenance
Contemporary Society Art Market, where purchased by Mrs Shelley Her sale; Mallams, Oxford, 12 August 2016, where purchased by the present owner
§
Dame Rachel Whiteread (British, b.1963)
Double, Double Plinth gouache and pencil
31.5 x 50.5 cm. (12 3/8 x 19 7/8 in.)
Executed in 1999
£8,000 - 12,000
Provenance
With Gagosian Gallery, London, from whom purchased by the present owner
Exhibited
Los Angeles, Hammer Museum, Rachel Whiteread: Drawings, 31 Jan-1 Feb 2010; this exhibition toured to Dallas, Nasher Sculpture Centre, 22 May-15 Aug 2010 and London, Tate Britain, 8 Sep 2010-16 Jan 2011.
Literature
Allegra Pesenti, Rachel Whiteread Drawings, Hammer Museum and DeMonico Books, 2010, p.83, cat.no.38 (col.ill)
“My drawings are a diary of my work” (Rachel Whiteread)
Rachel Whiteread is known for her monumental sculpture from the controversial Judenplatz (2000) housed in Vienna to her Turner Prize winning House (1993).
Whilst Whiteread is known for these large works, monumental in materiality, scale and subject matter, her drawings are quiet intimate examples of her working practice. The present lot, Double, Double Plinth (1999) is no exception to this.
It was noted that in 1992-93 during a residency program in Berlin, Whiteread began dedicating herself more to her drawings and her working practice on paper. The exhibition featuring this work highlights how drawing consistently remained a fundamental principle and method in her artistic practice throughout her career. Many of the works within the show had never been seen in a public gallery. The exhibition toured to Nasher Sculpture Centre in Dallas and to Tate Britain’s London, demonstrating how despite best known for larger sculpture, Whiteread’s drawings are significant in their own right. Her drawings are unique and special given their multifaceted function as preparatory sketches for her sculptures and standalone artworks in their own right. Space, absence and memory are key themes in both Whitered’s works on paper and sculptures.
In this present work Whiteread explores notions of negative space. Double, Double Plinth achieves this through its subtle colour and soft materiality of gouache and pencil. It is unclear whether Untitled (Trafalgar Square Plinth), (1999) also known as Inverted Plinth directly corresponding with this particular work on paper, or whether Double Plinth is a reoccurring theme based on the fact it explores space and negative space. Other iterations of the ‘double plinth’ appear in Whiteread’s oeuvre, namely Untitled (Double Rubber Plinth) (1996).
Such examples employ the inverted form of the plinth to explore ideas of spatial reversal and negative space. Whether or not the work on paper served as a preparatory study for the sculpture, both pieces share a conceptual approach which centres on inversion and absence. In the sculptural work especially, the use of transparent resin and the upside-down replication of the plinth transform the piece into a powerful anti-monument, challenging traditional notions of public statuary and commemoration.
Two iconic vases
by Sir Grayson Perry
47 §
Sir Grayson Perry C.B.E. R.A. (British, b.1960)
Isms glazed earthenware
58 cm. high (22 3/4 in.)
Executed in 1998
£30,000 - 50,000
Provenance
With Laurent Delaye Gallery, 31 March 2000, where purchased by the present owners
“I like the whole iconography of pottery. It hasn’t got any big pretensions to being great public works of art, and no matter how brash a statement I make, on a pot it will always have certain humility… For me the shape has to be classical invisible: then you’ve got a base that people can understand.”
- (Sir Grayson Perry)
Sir Grayson Perry is arguably best known for his ceramic vessels. Perry’s ceramics earned him the Turner Prize in 2003, both solidifying his position as a leading British contemporary artist, but also affirming ceramics as a legitimate medium in which Perry’s art practice could flourish.
Perry is perhaps most identifiable through his choice of medium - both as an artist and ceramicist. Perry is both an artist in his idealism and creativity and a maker by virtue of his medium and craft. Both subject and medium work simultaneously as both are used to explore challenging subject and to push the boundaries of what is traditionally considered fine art.
Perry uses ceramics to subverts conventional forms of artistic practice, such as painting, drawing, and sculpting by incorporating craft-based practices like pottery, printmaking, and weaving, blending high art with forms often seen as domestic or decorative.
However, his subject matter is far from decorative, and this is true in the two present examples.
Isms, the more overtly political in subject matter, executed in 1998, is a physical vessel in which the artist’s documents his exploration of overarching themes and Isms, from, feminism to socialism, consumerism and fauvism to name just a few. In this work a host of themes are challenged and explored. Identity and gender, class and society, consumerism and irony are all at the forefront of the work’s substance. Such examples are found within the ironic details embedded into the depts of the vase.
Perry writes out his isms and pairs them with contrasting imagery, layering sarcasm and irony into the finer details of his work. This is especially evident with Constructivism - a term he scrawls onto the surface of a vase, juxtaposed with a highly Rococo-inspired image reminiscent of JeanHonoré Fragonard’s The Swing (1767), housed in the Wallace Collection. The contrast is striking: Constructivism, the 1920s artistic movement rooted in mechanical forms and functional design, is set against an image that’s playful, ornamental, and unapologetically decorative in the Rococo style.
Isms incorporates the written word into Perry’s ceramics, one of the most distinctive features of his practice, in order to portray both word and image to challenge societal notions and preconceptions.
48 §
Sir Grayson Perry C.B.E. R.A. (British, b.1960)
Quilt glazed earthenware
58 cm. (22 3/4 in.) high Executed in 1998
£30,000 - 50,000
Provenance
With Laurent Delaye Gallery, 31 March 2000, where purchased by the present owners
In contrast to Isms, which subverts notions of identity and gender, class and society, consumerism and irony, Quilt uses entirely different motifs. Both popular culture and Pop Art references in Quilt are more prominent through the use of strong colour and images. Pop Art, plays a vital role in how his work communicates irony, satire, and cultural critique. While his subject matter is often dark or provocative, the colours he chooses are frequently bright, bold, and deliberately playful, a tactic that creates visual tension and emotional contradiction. Rather than championing consumerism, in Quilt, Perry highlights its fragility, bright colours, rainbow palette and images of superficial beauty are placed onto an imperfect and somewhat fragile vase. Quilt also pays homage to Perry’s own craft, Quilt being far from a piece of glazed earthenware but handsewn and crafted cover.
In conclusion, most have a complex surface employing many techniques, including “glazing, incision, embossing, and the use of photographic transfers”, which requires several firings. To some he adds sprigs, little relief sculptures stuck to the surface. The high degree of skill required by his ceramics and their complexity distances them from craft pottery. It has been said that these methods are not used for decorative effect but to give meaning. Perry challenges the idea, implicit in the craft tradition, that pottery is merely decorative or utilitarian and cannot express ideas.
‘Map
by
of an Englishman’
Sir Grayson Perry
From the same property, being offered in Chiswick Auctions’ Prints & Multiples auction on 3 rd July
Sir Grayson Perry C.B.E. R.A. (British, b.1960)
Map of an Englishman 2004
signed and numbered from the edition of 50 verso etching on 400gsm Rives wove printed by Stoneman Graphics, Cornwall, published by Paragon Press, London sheet 112 x 150cm framed
£70,000 - 100,000
Provenance
With Victoria Miro Gallery, London, Feb 2005, where purchased by the present owners.
Reference
See Museum of Modern Art, New York, accession number 212.2005; The British Museum, London, accession number 2005,0429.22; and The Government Art Collection, London, accession number 17893, for other examples of this edition.
3 July 2025
Click or scan the QR-code to view this lot in the Prints & Multiples sale
Breon O’Casey (British, 1928-2011)
Rainforest VI
signed, dated and titled ‘Breon O’Casey/2010/’Rainforest VI’ (verso) oil on canvas
52.5. x 52.5 cm. (20 5/8 x 20 5/8 in.)
£5,000 - 8,000
Provenance
Collection of Antoinette and Patrick Murphy, Ireland
Their sale; Adams, Dublin, 28 July 2020, lot 8, where purchased by the present owner
A key figure of post-war British art, Breon O’Casey forged a distinctive path as a painter, sculptor, and silversmith, shaped by his early education at Dartington Hall and later years in St Ives, where he worked alongside Barbara Hepworth and Dennis Mitchell. Rooted in abstraction and simplicity of form, his work is defined by a poetic use of colour and balance, often drawing from natural motifs and ancient symbols.
This painting exemplifies O’Casey’s mature visual language, bold, elemental forms rendered with rhythmic brushwork and quiet energy. The interplay of shape and texture evokes both the organic and the totemic, aligning with his deep interest in the primal and the timeless.
The work was previously in the esteemed collection of Antoinette and Patrick Murphy, celebrated patrons of 20th-century British art whose eye for innovative and significant works has been widely recognised. Their support of artists like O’Casey reflects a deep commitment to the avant-garde and to preserving the legacy of British modernism.
50 §
Gillian Ayres C.B.E. R.A. (British, 1930-2018)
Untitled signed and dated ‘Gillian Ayres 1990/91’ (lower right) gouache
40 x 56 cm. (15 3/4 x 22 in.)
£1,500 - 2,500
Provenance
Veronica Seddon
With Purdy Hicks Gallery, London Sale; Bonhams, London, 25 October 2006, lot 258, where purchased by the present owner
51 §
John Hoyland R.A. (British, 1934-2011)
Untitled acrylic on paper signed and dated ‘John Hoyland 1980’ (lower right)
54.6 x 71.8 cm. (21 1/2 x 28 1/4 in.)
£3,000 - 5,000
Provenance
With Galerie von Braunbehrens, Munich, where purchased by Private Collection, Germany
Their sale; Ketterer Kunst, Munich, 8 December 2017, lot 389, where purchased by the present owner
We are grateful to Wiz Patterson Kelly at Hoyland Studios LPP for her assistance in cataloguing the present lot
Hoyland Studios is preparing a forthcoming catalogue raisonné of the Artist’s paintings and would like to hear from owners of any works by John Hoyland. Please write to Hoyland Studios, c/o Modern British and Irish Art, Chiswick Auctions, Barley Mow Centre, Chiswick London, W4 4PH Auctions, Barley Mow Centre, Chiswick London, W4 4PH or email: modernbritishart@chiswickauctions.co.uk
Sir Peter Blake C.B.E R.D.I. R.A. (British, b.1932)
Whisky (Bertram Mills Circus Season) signed, titled and dated ‘Whisky/Bertram Mills Circus/Season 1966-67/Peter Blake JAN 1967’ (lower right)
pencil and coloured pencil
31.5 x 25 cm. (12 1/8 x 9 7/8 in.)
£1,500 - 2,500
Provenance
With Robert Fraser Gallery, London, 1967, from whom acquired by the present owner
§
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Untitled gouache on a printed outline
29.3 x 21 cm. (11 1/2 x 8 1/4 in.)
£1,000 - 1,500
Provenance
The artist, from whom acquired by the present owner
54 §
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Large head plaster
23 cm. (9 1/8 in.) high
£800 - 1,200
Provenance
The artist, from whom acquired by the present owner
55 §
Mark Lancaster (British, 1938-2021)
Portrait oil on canvas
50 x 60.3 cm. (19 3/4 x 23 3/4 in.)
Painted in 1990
£1,000 - 1,500
Provenance
With Mayor Rowan Gallery, London
With The Redfern Gallery, London
Exhibited
London, The Redfern Gallery, Mark Lancaster 1938-1990: Thinking and Feeling Painting 1960-1990, p.64 (col.ill)
56 §
Mark Lancaster (British, 1938-2021)
Marilyn signed and dated ‘1987 Mark Lancaster/29-30 Oct-Nov 7/87’ (to the canvas overlap) oil on canvas
30.5 x 25.4 cm. (12 x 10 in.) (unframed)
£400 - 600
Provenance
With Mayor Rowan Gallery, London
57 §
Mark Lancaster (British, 1938-2021)
Marylin
signed and dated ‘Mark Lancaster 87/October 1987’ (to the canvas overlap) oil on canvas
30.5 x 25.5 cm. (12 x 10 in.) (unframed)
£400 - 600
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Designs and preparatory workings for The 1990 Burlington Ball Programme one signed and dated ‘Eduardo Paolozzi R.A. 1990’ (lower right) coloured pencil, collage with printed elements
29.8 x 21 cm. (11 3/4 x 8 1/4 in.) (unframed) together with; various other colours printed and collaged versions approximately 29.8 x 21 cm. (11 3/4 x 8 1/4 in.) (unframed)(16)
Please note the group is accompanied with a copy of The 1990 Burlington Ball programme
£500 - 800
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Two hands plaster each 9.5 cm. (3 3/4 in.) high together with; Head plaster
8 cm. ( 3 1/4 in.) high (3)
£400 - 600
Provenance
The artist, from whom acquired by the present owner
60 §
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Mechanical study with blue elements crayon and pencil
35 x 25 cm. (13 3/4 x 9 3/4 in.) (unframed)
£300 - 500
Provenance
Sale; Lyon and Turnbull, 27 January 2021, lot 1, where purchased by the present owner
61 §
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Small head bronze with green patina
7.5 cm. (3 in.) high
£500 - 800
Provenance
The artist, from whom acquired by the present owner
62 §
Mark Lancaster (British, 1938-2021)
Marylin
signed and dated twice ‘1987 Mark Lancaster/Dec 25-6-87’ (to the canvas overlap); dated again ‘DEC 25-6 ‘87’ (to the canvas stretcher) oil on canvas
30.5 x 25.4 cm. (12 x 10 in.) (unframed)
£400 - 600
Provenance
With Mayor Rowan Gallery, London
§
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Small head plaster
13.4 cm. (5 1/4 in.) high
£400 - 600
Provenance
The artist, from whom acquired by the present owner
64 §
William Crosbie R.S.A. (British, 1915-1999)
Still life signed ‘Crosbie XCV’ (lower left) oil on board
34 x 45 cm. (13 3/8 x 17 3/4 in.)
£1,000 - 1,500
§
John Bratby R.A. (British, 1928-1992)
Melons signed and dated ‘BRATBY 8/61’ (lower left) oil on canvas
91.4 x 71.1 cm. (36 x 28 in.) (unframed)
£3,000 - 5,000
Provenance
Sale; Christie’s, South Kensington, 25 July 1996, lot 284, where purchased by Private Collection, U.K
Their sale; Bonhams, London, 19 March 2019, lot 144, where purchased by the present owner
Graham Knuttel (Irish, 1954-2023)
Still life with striped table signed ‘Knuttel’ (lower left) oil on canvas
94 x 94.5 cm. (37 x 37 1/4 in.)
£2,000 - 3,000
Provenance
With Emer Gallery, Belfast, circa 2002, where purchased by the present owner
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Abstract landscape
crayon and pencil
24.1 x 31.6 cm. (9 1/2 x 12 1/2 in.)
(unframed)
£400 - 600
Provenance
The artist, from whom acquired by the present owner
68 §
Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)
Mechanical study plaster
12 cm. (4 3/4 in.) high
£300 - 500
Provenance
With James Hyman Fine Art, London, 2006, where purchased by the present owner
69 §
Tim Woolcock (British, b.1952)
Blue and Turquoise Amalgam signed, titled and dated ‘Blue and Turquoise/Amalgam/Tim Woolcock/2017’ (verso) oil on board
63 x 84 cm. (24 3/4 x 33 1/8 in.)
£1,000 - 2,000
Provenance
The artist, from whom acquired directly by the present owner
§
Portrait of a woman signed ‘Bellany’ (upper right) oil on canvas
50 x 60 cm. (19 3/4 x 23 5/8 in.)
£2,000 - 3,000
70
John Bellany C.B.E. R.A. (British, 1942-2013)
John Bellany C.B.E. R.A. (British, 1942-2013)
Woman with Fish signed ‘Bellany’ (below the fish) watercolour
58 x 36 cm. (22 3/4 x 14 1/8 in.)
£800 - 1,200
Provenance
With Commune Galleria, Barga, 2002, where purchased by the family of the present owner
Exhibited Barga, Commune Galleria, John Bellany, 2002
Patrick Procktor R.A. (British, 1936-2003)
Portrait of a man standing signed with initials ‘P.P’ (lower right); further signed ‘Patrick Procktor’ (verso) oil on board
53.5 x 43.2 (21 x 17 in.)
We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life, for his assistance cataloguing the present lot.
£1,500 - 2,500
§
Tessa Newcomb (British, b.1955)
The Hen Show signed and dated ‘The Hen Show 94’ (verso) oil on canvas
64 x 60 cm. (25 1/4 x 23 5/8 in.) (unframed)
£500 - 800
Provenance
The artist With Crane Kalman Gallery, London, March 1995, where purchased by the present owner
Exhibited
London, Crane Kalman Gallery, Reticence, Feb-Mar 1995, March 1995
Alan Lowndes (British, 1921-1978)
The Weavers Arms, Huddersfield signed and dated ‘Alan Lowndes 66’ (lower left); titled ‘THE WEAVERS ARMS, HUDDERSFIELD’ (verso) oil on board 55 x 46 cm. (21 5/8 x 18 1/8 in.)
£4,000 - 6,000
Provenance
Private Collection, Geneva With Crane Kalman, London, December 1995, where purchased by the present owner
Exhibited London, Crane Kalman Gallery, A Lowndes A Retrospective, Oct-Dec 1995
‘I know every stick and stone here. I paint what I know.’ - (Alan
Lowndes)
Alan Lowndes born in 1921, grew up in Stockport and was a self-taught artist. He began painting after serving in WWII and attended Stockport College in the evenings and began painting full-time in the late 1940s.
His first solo-show was held at Crane Kalman, which in 1950 had its gallery roots in Manchester. To many, Alan Lowndes painted in a style reminiscent of one of Britain’s most significant artists, Laurence Stephen Lowry (1887-1976). There were some key similarities between the two artists despite the fact Lowndes was born much later and not recognised as a follower of Lowry. Both artists were identified through their vivid depictions of working class life and northern scenes.
Lowndes in comparison to Lowry, Lowndes were on occasion affectionate view of the communities he painted in comparison to Lowry’s eerie tone. Lowndes was encouraged by artist John Minton and became associated with the Kitchen Sink School and St Ives group. During the 1950s, he spent time in St Ives, Cornwall, where he formed friendships with members of the St Ives School, including Sir Terry Frost. This experience had a notable impact on his art, inspiring him to explore a wider variety of subjects and develop a more sophisticated painting style.
75 §
Alan Lowndes (British, 1921-1978)
Tower of Birds
signed ‘Alan Lowndes’ (lower left); dated ‘1970’ (lower right); titled ‘TOWER OF BIRDS’ (verso) oil on board
76 x 51 cm. (29 7/8 x 20 in.)
£3,000 - 5,000
Provenance
The artist, from whom acquired by Valerie Lowndes
With Crane Kalman, London, December 1995, where purchased by the present owner
Exhibited
London, Crane Kalman Gallery, A Lowndes A Retrospective, Oct-Dec 1995
76 §
Elisabeth Collins (British, 1904-2000)
Woman Reading (Cambridge) signed ‘Elisabeth C’ (lower right) gouache and ink
21.5 x 28 cm. (8 1/2 x 11 in.)
Executed circa 1946
£400 - 600
Provenance
With England & Co., London, where purchased by the present owner
Exhibited
With England & Co., Elisabeth Collins: Paintings 1936-1996, Sep-Oct 1996, cat.no.13
77 §
Elisabeth Collins (British, 1904-2000)
Woman with Flowers in her Hair signed ‘Elisabeth Collins’ (lower right) mixed media
29 x 21 cm. (11 3/8 x 8 1/4 in.)
Executed circa 1994
£300 - 500
Provenance
With England & Co., London, where purchased by the present owner
Exhibited
With England & Co., Elisabeth Collins: Paintings 1936-1996, Sep-Oct 1996, cat.no.38
78 §
Elisabeth Collins (British, 1904-2000)
Couple in a landscape signed ‘Elisabeth Collins’ (lower right) gouache and ink
28 x 21.5 cm. (11 x 8 3/8 in.)
£300 - 500
Provenance
With England & Co., London, where purchased by the present owner
Exhibited
With England & Co., Elisabeth Collins: Paintings 1936-1996, Sep-Oct 1996, cat.no.119
79 §
Elisabeth Collins (British, 1904-2000)
Mysterious Woman signed ‘Elisabeth Collins’ (lower right) gouache and mixed media
35 x 25 cm. (13 3/4 x 9 3/4 in.)
Executed circa 1997-98
£300 - 500
Provenance
With England & Co., London, from whom purchased by the present owner
Exhibited
With England & Co., Christmas Exhibition, 14 Nov-23 Dec 1998, cat.no.2
80 §
Elisabeth Collins (British, 1904-2000)
Woman with a fan signed twice ‘Elisabeth Collins/Elisabeth C’ (lower right) gouache and mixed media
31 x 21.5 cm. (12 1/4 x 8 1/2 in.)
Executed circa 1997
£300 - 500
Provenance
With England & Co., London, from whom purchased by the present owner
Exhibited
With England & Co., Christmas Exhibition, 14 Nov-23 Dec 1998, cat.no.3
81 §
Mary Audsley (British, 1919-2008)
Portrait of woman signed and dated ‘Audsley/93’ (lower left) pastel
55.9 x 38.7 cm. (22 x 15 1/4 in.)
£300 - 500
82 §
Brian Ballard (Irish, 1943)
Portrait of Grace signed and dated ‘Ballard 72’ (lower right); further signed, titled and dated ‘GRACE Brian Ballard 1972’ (to the canvas stretcher) oil on canvas
63 x 45.7 cm. (24 7/8 x 18 in.)
£800 - 1,200
Provenance
The artist, from whom commissioned by the family of present owner
83 §
Brian Ballard (Irish, 1943)
Girl at Window signed ‘Ballard’ (lower left) oil on board
20 x 15 cm. (7 7/8 x 5 7/8 in.)
£600 - 800
Provenance
The artist, from whom acquired by the family of present owner
Robert Lenkiewicz (British, 1941-2002)
Study of Edward Fry signed, inscribed and dated ‘Best wishes - but you owe/me a book!/Study/Mr Edward Fry-/Observations on local/Education-Cat.no.81/Project 17/Relationship Series/R.O Lenkiewicz 84’ (verso) oil on canvas
77.5 x 62.2 cm. (30 1/2 x 24 1/2 in.) (unframed)
Please note this work was painted as part of a series ‘Observations on Local Education’ in 1984
£1,000 - 1,500
Provenance
The artist, whom gifted to Edward Fry, thence by family descent
85 §
Michael Ayrton (British, 1921-1975)
Dwarf I dated ‘12.6.55.’ (upper left) on paper laid onto board
35.5 x 24.3 cm. (14 x 9 1/2 in.)
£400 - 600
Provenance
Possible sale; Phillips, London, lot 50 (according to attached label verso)
This work is a study for the painting Catalan Caged Birds (1955), which was inspired by a trip Michael Ayrton and his wife Elisabeth, took Spain in 1954. During this period, Ayrton was using this technique of paper being laid onto board. However, it is clear that the subject matter of the work was of particular interest to the artist. This particular work is titled Dwarf I, there was a second work titled Dwarf II, and a unique bronze, which made its way into a private collection, created from same year, in addition to the oil, which made its way into a private collection.
We are grateful to Dr. Justine Hopkins for her assistance cataloguing the present lot
Michael Ayrton (British, 1921-1975)
Portrait of Norman Douglas signed, inscribed and dated ‘Capri May 47’/Michael Ayrton’ (lower left); inscribed again ‘cat.68’ (to the frame verso)
pencil
36.8 x 29.9 cm. (14 1/2 x 11 3/4 in.)
£600 - 800
Provenance
Sale; Christie’s, London, 18 November 1977, lot 255, where purchased by the family of the present owner
This pencil drawing is one of at least two known versions of Michael Ayrton’s portrait of the sitter, Norman Douglas (1868–1952). Douglas, Ayrton’s sitter was best known for his 1917 novel South Wind and various other travel books. The 1948 version of his portrait by Michael Ayrton titled ‘Norman on Capri’ is from the estate of Michael Ayrton and is within the National Portrait Gallery’s collection. The present example is an early version in pencil.
We are grateful to Dr. Justine Hopkins for her assistance cataloguing the present lot
87 §
David Jan Curtis (British, b.1948)
From Cowbar Nab, Staithes signed and dated ‘D.J. CURTIS 00’ (lower left) oil on canvasboard
61 x 67.3 cm. (24 x 26 1/2 in.)
£300 - 500
Provenance
With Richard Hagen Fine Paintings, Broadway
88 §
David Jan Curtis (British, b.1948)
Last Light of the Day signed ‘D.J. CURTIS’ (lower left) oil on board
24 x 25.4 cm. (9 1/2 x 10 in.)
£300 - 500
Provenance
With Mall Galleries, London, 10 October 2022
89 §
David Jan Curtis (British, b.1948)
Walking The Dogs, Sandsend signed and dated ‘D.J. CURTIS 98’ (lower left) oil on canvas
60 x 76.2 cm. (24 x 30 in.)
£300 - 500
Provenance
With Richard Hagen Gallery, Worcestershire
90 §
David Jan Curtis (British, b.1948)
Start Of The Day, Runswick signed and ‘Dan Jan Curtis 98’ (lower left) oil on board
18 x 25.5 cm. (7 1/8 x 10 in.) together with;
The Family Group, Sandsend dated ‘Dan Jan Curtis 96’ (lower left) oil on board
18 x 25.5 cm. (7 1/8 x 10 in.) (2)
£300 - 500
Provenance
With Richard Hagen Fine Paintings, Worcestershire
91 §
Sir Matthew Smith C.B.E. (British, 1931-1959)
Women’s Head signed with initials ‘MS’ (verso) pencil
56 x 38.1 cm. (22 x 15 in.)
£300 - 500
Provenance
With New Grafton Gallery, London, 27 January 1977, where purchased by Miss Stefanie Grant
Possible sale; Christie’s, London, 10 November 1983
Exhibited
London, New Grafton Gallery, 27 January 1977
Kenneth Martin (British, 1905-1984)
Portrait of Mary Martin signed ‘Martin’ (lower right); further signed, inscribed and dated ‘Painted by Kenneth Martin about 1945’ (to the stretcher verso) oil on canvas
47 x 38 cm. (18 1/2 x 15 in.)
£300 - 500
Provenance
With Austin/Desmond Fine Art, London
Sale; Christie’s, London, 1990s, where purchased by the present owner
93 §
Mervyn Peake (British, 1911-1968)
Fighting imps
signed ‘Mervyn Peake’ (lower left)
pen & ink on card
51.5 x 40 cm. (20 1/4 x 15 3/4 in.) (unframed)
£400 - 600
§
Adrian Heath (British, 1920-1992)
Untitled signed and dated ‘Heath 60’ (lower right) gouache
61 x 50.8 cm. (24 x 20 in.)
£600 - 800
Phillip King P.R.A. (British, 1934-2021)
Three plaster figures
Woman plaster
28 cm. (11 in.) high
Standing Figure plaster
26 cm. (10 1/4 in.) high
Standing Figure
23 cm. (9 in.) high
All executed in 1958 (3)
Please note all three works are accompanied with signed paperwork from the artist
£1,200 - 1,800
Provenance
The artist, 2009, from whom acquired by the present owner
Literature
Woman
Franck Gautherot, Michael Gauthier, Clarrie Wallis, Phillip King, les presses du réel, Dijon, 2016, p.96 (ill.b&w. fig.4)
Phillip King was born in 1934, in Tunisia and arrived in the UK at the end of the Second World War. King studied at St Martin’s prior to working as Henry Moore’s assistant in 1964.
He became Professor of Sculpture at the Royal Academy Schools, London in 1990 until he was voted the President in 1999. He is known as one of Anthony Caro’s best students, despite the fact the two were near contemporaries. The two exhibited together in a seminal 1966 exhibition Primary Structures at the Jewish Museum, New York.
Robert Medley C.B.E. R.A. (British, 1905-1994)
Untitled signed and dated ‘Robert Medley 66’ (lower right)
charcoal and pencil
45 x 65 cm. (17 3/4 x 25 5/8 in.)
£300 - 500
Provenance
With Coram Gallery, London, where purchased by Gerry Hunt (1927-2023), from whom acquired by the present owner
Exhibition London, Coram Gallery, Robert Medley RA Paintings Drawings and Prints from the Artist’s Studio, 23 Jun-30 July 1994
97 §
Alexander Mackenzie (British, 1923-2002)
Trefrize
signed, inscribed and dated ‘To John & Gunni/with love & best/wishes Coraline+Alex/October 67/ Alexander Mackenzie/Trefrize’ (to a backboard attached verso)
pencil
65 x 43 cm. (25 1/2 x 16 7/8 in.)
£400 - 600
Provenance
The artist, whom gifted to John & Gunni Crowther in 1967
Their estate sale; Lay’s Auctioneers, Cornwall, 3 November 2022, where purchased by the present owner
John Hoskin (British, 1921-1990)
Standing Figure steel
51.5 cm. (20 1/4 in.) high (including the base) Executed in 1960 unique
£2,000 - 3,000
Provenance
The estate of the artist, from whom acquired by Pangolin, London, 2013, where purchased by the present owner
Exhibtied
London, Pangolin, Cast in a Different Light: George Fullard and John Hoskin, 17 Jun-19 Jul 2013, (coll.ill)
John Banting (British, 1902-1972)
Clown II
signed and dated ‘John Banting 1957’ (lower left); further signed and dated ‘John Banting 1957’ (to a backboard attached verso)
pen and ink
54.5 x 40.7 cm. (21 1/2 x 16 in.)
£300 - 500
Provenance
Sale; Sotheby’s, Billingshurst, 16 January 2001, lot 921
100 §
Peter Howson (British, b.1958)
Prophetess Deborah signed and dated ‘Howson 09’ (lower right) pastel, coloured chalk and crayon
28.6 x 21 cm. (11 1/4 x 8 1/4 in.)
£500 - 800
Provenance With The Contemporary Fine Art Gallery, Eton
101 §
Peter Howson (British, b.1958)
The Visitor signed ‘Howson’ (lower right) oil on canvas
122 x 91.5 cm. (48 x 36 in.)
Painted in 1990
£3,000 - 5,000
Provenance
Mr Robert Solo
With Flowers East, London, where purchased by the present owner
Exhibited
Glasgow, Glasgow Art Gallery and Museum, Peter Howson: A Retrospective, 2 Jul-5 Sep 1993, cat.no.468
102 §
John Kirby (British, b.1949)
Untitled signed, titled and dated ‘UNTITLED 1991 JOHN KIRBY’ (to the canvas stretcher) oil on canvas
45.6 x 61 cm. (18 x 24 in.)
£2,000 - 3,000
Provenance With Flowers East, London, 1991, from whom purchased by the present owner
Exhibited Liverpool, Walker Art Gallery, The Living and the Dead: Paintings and Sculpture by John Kirby, 13 Jan 2011-15 Apr 2012
103 § Mitch Griffiths (British, b.1971)
Portrait of Liam & Noel Gallagher, Oasis signed and dated ‘Mitch Griffiths 96’ (lower right) oil on canvas 120 x 302.3 cm. (47 1/4 x 119 in.)
£15,000 - 25,000
Provenance
The artist, from whom commissioned by Chris Eubank, from whom purchased by Michael Wood Art, Plymouth, 12 December 2008, from whom purchased by the present owner
Mitch Griffiths is a contemporary British painter renowned for his meticulous oil paintings that fuse classical techniques with modern themes. His work often addresses issues such as identity, consumerism, and societal contradictions, drawing inspiration from Old Masters like Caravaggio while incorporating contemporary symbols like drones and social media icons.
Griffiths’ stature in the art world has been solidified through exhibitions at prestigious venues, including the State Hermitage Museum in St. Petersburg, which showcased 21 of his works in the 2016 exhibition Realisms. His solo exhibitions at London’s Halcyon Gallery, such as Immortal in 2022, have further cemented his reputation.
Early in his career, Griffiths gained attention with a portrait of boxer Chris Eubank, leading to a patronage that lasted three years. Eubank commissioned multiple works and provided Griffiths with a studio, significantly influencing his artistic development.
Oasis remain one of the most influential British bands of the 1990s, credited with spearheading the Britpop movement and reshaping the landscape of UK rock with their anthemic sound and raw attitude. With landmark albums like Definitely Maybe and (What’s the Story) Morning Glory?, they captured a generation and built a legacy that continues to resonate.
Oasis is set to embark on their highly anticipated “Live ‘25” reunion tour, marking their first performances together since their 2009 split. The tour kicks off on July 4, 2025, at Cardiff’s Principality Stadium and includes multiple sold-out dates across the UK, Ireland, North America, Asia, Oceania, and South America, concluding on November 23 in São Paulo, Brazil .
Photo credit: Jill Furmanovsky, Oasis, Wonderwall, 1995
104 §
Mitch Griffiths (British, b.1971)
Portrait of Liam Gallagher signed and dated ‘Mitch Griffiths 96’ (lower right) oil on canvas
242 x 120 cm. (95 1/4 x 47 1/4 in.)
£8,000 - 12,000
Provenance
The artist, from whom commissioned by Chris Eubank, from whom purchased by Michael Wood Art, Plymouth, 12 December 2008, from whom purchased by the present owner
§
Mitch Griffiths (British, b.1971)
Portrait of Noel Gallagher signed and dated ‘Mitch Griffiths 96’ (lower right) oil on canvas
119 x 89 cm. (47 7/8 x 35 in.)
£8,000 - 12,000
Provenance
The artist, from whom commissioned by Chris Eubank, from whom purchased by Michael Wood Art, Plymouth, 12 December 2008, from whom purchased by the present owner
106 §
Alan Davie C.B.E. R.A. (British, 1920-2014)
Virgin’s Milk titled ‘Virgin’s Milk’ (upper left); signed, titled and dated ‘Alan Davie 2003/VIRGIN’S MILK/OPUS
0.16.30’ (verso) oil on canvas
76.1 x 96.5 cm. (30 x 38 in.)
£2,000 - 3,000
Provenance
With Gimpel Fil, London
Alan Davie C.B.E. R.A. (British, 1920-2014)
Relationship and Meeting titled ‘RELATIONSHIP AND MEETING’ (lower left); signed, titled again and dated ‘Alan Davie 2010/ RELATIONSHIP/AND MEETING/OPUS 0.2330’ (verso) oil on canvas
122.5 x 101.5 cm. (48 1/4 x 40 in.)
£2,000 - 3,000
Provenance With Gimpel Fil, London
108 §
Alan Davie C.B.E. R.A. (British, 1920-2014)
Mechanical Beastie signed, titled and dated ‘Alan Davie 2011/MECHANICAL BEASTIE/Opus 0.2343’ (verso) oil on canvas
76.2 x 96.5 cm. (30 x 38 in.)
£2,000 - 3,000
Provenance With Gimpel Fil, London
109 §
Trevor Bell (British, 1930-2017)
Link signed, titled and dated ‘LINK/TREVOR BELL 1987’ (verso) mixed media
95.2 x 100.4 cm. (37 1/2 x 39 1/2 in.)
£300 - 500
110 §
Trevor Bell (British, 1930-2017)
Untitled signed ‘Trevor Bell’ (verso) mixed media
71 x 94 cm. (28 x 37 in.)
£400 - 600
111 §
Trevor Bell (British, 1930-2017)
Violet Green signed, titled and dated ‘VIOLET GREEN 1983/TREVOR BELL’ (verso) mixed media
56 x 76.2 cm. (22 x 30 in.)
£300 - 500
Robert MacGowan (British, 1926-1989)
Palazzo Vecchio signed ‘Robert MacGowan’ (upper right) oil and gouache on paper
46.4 x 31.7 cm. (18 1/4 x 12 1/2 in.)
Painted circa 1965
£300 - 500
Provenance
With The Redfern Gallery, London, 6 June 1956, where purchased by Sir Michael Posten
Their sale; Kinghams Auctioneers, 3 March 2022, lot 813, where purchased by the present owner
Exhibited
London, The Redfern Gallery, Exhibition of Paintings by Patrick Heron, Mary Fedden and Robert MacGowan, June 1956
113 §
John Keane (British, b.1954)
Brick Wall signed and dated ‘John Keane 1989’ (lower right); titled ‘Brick Wall’ (lower left)
PVA, wax crayon and collage 115 x 85 cm. (41 1/4 x 33 1/2 in.)
£400 - 600
Provenance
With Flowers East, London, where purchased by the present owner
Exhibited Newcastle upon Tyne, Laing Art Gallery, John Keane Conflicts of Interests A Retrospective, 3 Oct-13 Dec 1998, cat.no.19
We are grateful to the artist for his assistance cataloguing the present lot
114 §
John Keane (British, b.1954)
Metropolitan Love
signed and dated ‘Keane 93’ (lower right); titled ‘Metropolitan Love’ (lower left); further signed, titled and dated again ‘John Keane 1993/Metropolitan Love’ (verso) oil on canvas
50.8 x 40.7 cm. (20 x 16 in.)
£300 - 500
Provenance
With Flowers East, London, 25 March 1993, where purchased by the present owner
We are grateful to the artist for his assistance cataloguing the present lot
115 §
Richard Cook (British, b.1947)
Partou signed ‘Richard/Cook’ (verso) oil on panel
44 x 41 cm. (17 1/4 x 16 1/8 in.)
Executed circa 2003 (unframed)
£400 - 600
Provenance
The artist With Austin Desmond Fine Art, London, where purchased by the present owner
116 §
Richard Cook (British, b.1947)
Marwenny signed ‘Richard/Cook’ (verso) oil on panel
35.5 x 26.7 cm. (14 x 10 1/2 in.)
Executed circa 2000 (unframed)
£400 - 600
Provenance
The artist With Austin Desmond Fine Art, London, where purchased by the present owner
117 §
Richard Cook (British, b.1947)
Leslie signed ‘Richard/Cook (verso) oil on panel
35.5 x 25.4 cm. (14 x 10 in.)
Executed circa 1995 (unframed)
£400 - 600
Provenance The artist With Austin Desmond Fine Art, London, where purchased by the present owner
118 §
Mary Potter O.B.E (British, 1900-1981)
Flower in a Crevice watercolour
7 x 11.5 cm. (2 3/4 x 4 1/2 in.)
Executed in 1969
£300 - 500
Provenance With The New Art Centre, London
Exhibited London, The New Art Centre, Mary Potter, 1969
Bernard Dunstan R.A. (British, 1920-2017)
Woman in negligee signed with initials ‘BN’ (lower right) pastel
19.7 x 21 cm. (7 3/4 x 8 1/4 in.)
£300 - 500
Provenance
With New Grafton Gallery, London, where purchased by Tony Hull
Sale; Christie’s, London, 24 November 2005, lot 2005, where purchased by the family of the present owner
Exhibited
Possibly, London, New Grafton Gallery, Artists of Yesterday, Today and Tomorrow Part II, 23 Jul-9 Sep 1981
120 §
Charles Knight R.O.I (British, 1901-1990)
Evening Skies
signed ‘CHARLES KNIGHT’ (lower right); further signed and titled ‘EVENING SKIES/CHARLES KNIGHT/CHETTLES/DITCHLING/SUSSEX’ (to a label attached to the frame verso)
watercolour
25.4 x 37 cm. (10 x 14 1/2 in.)
£300 - 500
Jacqueline Williams N.E.A.C. (British, b.1962)
Seated Nude signed with initials ‘JW’ (lower right) oil on board
36.8 x 29.2 cm. (14 1/2 x 11 1/2 in.)
£300 - 500
Provenance
With New Grafton Gallery, London, 1995, where purchased by John Simmons (1931-2009), from whom acquired by the family of the present owner
Exhibited London, New Grafton Gallery, Summer Show Part 2, 1995
122 § Anthony Fry (British, 1927-2016)
Figures in a Landscape oil on canvas laid onto board 38 x 41 cm. (15 x 16 in.)
£700 - 1,000
Provenance With The Leicester Galleries, London, January 1957, where purchased by F. West
Exhibited London, The Leicester Galleries, New Years Exhibition, January 1957, cat.no.62
123 §
Charles Neal (British, b.1955)
The Old Watergate signed ‘C.NEAL’ (lower right) oil on canvas
66 x 76.2 cm. (26 x 30 in.)
£400 - 600
Provenance
With Harrods Fine Art, London, 7 August 1984, where purchased by the family of the present owners
Henry Mayo Bateman (British, 1887-1970)
Sketch for Songs of Araby signed ‘HM BATEMAN’ (lower centre-left) wash, pen & ink
30 x 23 cm. (11 3/4 x 9 in.) (unframed)
This drawing is probably one drawn at the time of a large series published in Burlesques in 1916. It is not included in the book but could be dated between 1911-1915. The present work is a good example of one of Henry Mayo Bateman’s early works. The format of this work used his favourite format of a main image with small vignettes below, much utilised in Burlesques.
We are grateful to Lucy Willis, the granddaughter of the artist, for her assistance in cataloguing the present lot.
£400 - 600
125 §
Carl Ronald Giles O.B.E. (British, 1916-1995)
Well I Don’t Think This is Better Than Spending the Weekend in Aunty Rosie’s Stuffy Front Room signed ‘GILES’ (lower left)
pen & ink
31.7 x 49.5 cm. (12 3/4 x 19 1/2 in.)
Executed circa 1963
Please note this work was published in the Sunday Express on 2nd June 1963, and is accompanied by a copy of Giles Sunday Express & Daily Express Cartoons Seventeenth Series
£2,000 - 3,000
Provenance
Sale; Bruun Rasmussen, Denmark, 17-25 June 2024, lot 559, where purchased by the present owner
§
Carl Ronald Giles O.B.E. (British, 1916-1995)
Study for caricatures signed ‘Giles’ (lower right) watercolour, pen & ink on watercolour board
42.8 x 75.3 cm. (16 3/4 x 29 3/4 in.) (unframed)
£1,000 - 1,500
Percy French (Irish, 1854-1920)
To Prevent Invasion signed and dated ‘Percy French 1902’ (lower left); titled ‘To Prevent Invasion’ (lower right) watercolour
17 x 24.5 cm. (6 3/4 x 9 5/8 in.)
£800 - 1,200
128
Percy French (Irish, 1854-1920)
The Garden that I Love signed and dated ‘Percy French 1907’ (lower left); titled ‘The Garden That I Love’ (verso) watercolour
19 x 26 cm. (7 1/2 x 10 1/4 in.)
£800 - 1,200
129 §
Harold Riley (British, 1934-2023)
The Cart signed and dated ‘Riley 68’ (centre) oil on board
33 x 47.6 cm. (13 x 18 3/4 in.)
£1,500 - 2,500
130 §
Michael Kidd (British, 1937-2022)
Cottage path signed and date ‘M C Kidd 93’ (lower right) oil on board
40.5 x 58 cm. (15 3/4 x 22 3/4 in.)
£400 - 600
Provenance
The artist, from whom purchased by the family of the present owner
131 §
Michael Kidd (British, 1937-2022)
Flower trough
signed and dated ‘M C Kidd 94’ (lower right)
gouache on board
27.3 x 39.4 cm. (10 3/4 x 15 1/2 in.)
£300 - 500
Provenance
The artist, from whom purchased by the family of the present owner
Sherree Valetine-Daines (British, b.1959)
Among the poppies signed with initials ‘SD’ (lower right) oil on board
21 x 26 cm. (8 1/4 x 10 1/4 in.)
£1,500 - 2,500
Provenance With Burlington Paintings, London
133 §
Simeon Stafford (British, b.1956)
Bumper Cars signed ‘Simeon’ (lower right); further signed, titled and dated ‘BUMPER CARS/Simeon/18/03’ (verso) oil on board
76.2 x 99 cm. (30 x 39 in.)
£400 - 600
134 §
Simeon Stafford (British, b.1956)
Church square signed and dated ‘Simeon 02’ (lower left); further signed ‘Simeon’ (verso) oil on board
45.7 x 58.5 cm. (18 x 23 in.)
Please note there is a further signed work painted verso
£300 - 500
135 §
Simeon Stafford (British, b.1956)
Sledging signed ‘Simeon’ (lower left) oil on board
45.7 x 58.5 cm. (18 x 23 in.)
£400 - 600
136 §
Pádraig MacMiàdhachain (Irish, 1929-2017)
Our Garden By The Harbour St Ives signed ‘P.MacMiàdhachain’ (lower left); further signed and titled ‘OUR GARDEN BY THE HARBOUR/ ST IVES/P.MACMIADHACHAIN’ (to the frame verso) oil on canvas
20 x 25.5 cm. (7 7/8 x 10 in.)
£400 - 600
Provenance
With New Academy Gallery, London, 1998, where purchased by the present owner
137 §
Pádraig MacMiàdhachain (Irish, 1929-2017)
Summer Day, St Ives signed ‘P.MacMiàdhachain’ (lower left); further signed and titled ‘SUMMER DAY-ST IVES/P. MACMIADHACHAIN’ (to the frame verso) oil on canvas
20 x 25.5 cm. (7 7/8 x 10 in.)
£400 - 600
Provenance
With New Academy Gallery, London, 1998, where purchased by the present owner
138 §
Lucy Jones (British, b.1955)
River Walk signed ‘Lucy/Jones’ (verso) oil on canvas
91.4 x 106.6 cm. (36 x 42 in.)
Painted in 1995
£1,000 - 1,500
Provenance
With Flowers East, London, where purchased by the present owner
139 §
Alan Davie C.B.E. R.A. (British, 1920-2014)
Ziggy’s Dessert signed, titled and dated ‘Alan Davie/2010/ZIGGY’S DESSERT’ (verso) oil on canvas 122 x 101.5 cm. (48 x 40 in.)
£2,000 - 3,000
Provenance With Gimpel Fils, London
Alan Davie C.B.E. R.A. (British, 1920-2014)
An Unusual View of the Village signed, titled and dated ‘An Unusual view of the Village Alan Davie 96’ (upper-left edge) gouache
55 x 67 cm. (21 1/2 x 26 1/2 in.)
£500 - 700
141 §
Alan Davie C.B.E. R.A. (British, 1920-2014)
Embrace signed, titled and dated ‘Alan Davie/EMBRACE/2011’ (verso) oil on board
36.8 x 32 cm. (14 1/2 x 12 1/2 in.)
£600 - 800
Provenance With Gimpel Fils, London
142 §
Glenys Barton (British, b.1944)
Daniel Craig signed and dated twice ‘Glenys Barton/2003/2003/4’ (to the inside)
ceramic
35.5 cm. (14 in.) high
£400 - 600
Provenance
With Flowers East, London, where purchased by the present owner
§
The Connor Brothers (British, b.1968)
August is a Wicked Month signed ‘The Connor Brothers’ (to a label attached to frame verso) acrylic, collage, crayon and mixed media on paper
67.3 x 55.2 cm. (26 1/2 x 21 3/4 in.)
£2,000 - 3,000
Provenance
With Artisan Gallery, Epping, November 2020, where purchased by the present owner
The Connor Brothers (British, b.1968)
Ill Tempered Man Lives Here signed ‘The Connor Brothers’ (to a label attached to frame verso) acrylic, collage, crayon and mixed media on paper 73 x 59 cm. (28 3/4 x 22 1/4 in.)
£2,000 - 3,000
Provenance
With Artisan Gallery, Epping, November 2020, where purchased by the present owner
145 §
Sarah Ball (British, b.1965)
Hare Child signed and dated ‘Sarah Ball/2011’ (to the canvas overlap) oil on linen
30.5 x 30.5 cm. (12 x 12 in.) (unframed)
£2,000 - 3,000
Provenance
With Hybrid Art & Design, Devon, 26 March 2011, where purchased by the present owners
“I’m obsessed with the way the figure can either grow from the ground or sit in stark contrast with it.”
Sarah Ball in 2022
Sarah Ball, born in 1965 in South Yorkshire, has in recent years gained prominence within the Contemporary British Art scene. Based in near Penzance, Cornwall, Ball began her representation with Stephen Friedman Gallery in 2011. The present work titled ‘Hare Child’, was painted during this period of transition.
Ball’s works are often intimate portraits that carry a unique tension - while they may appear sterile and emotionally distant, they also evoke a deep sense of emotion. Many of her subjects, with their porcelain-like gazes, seem devoid of personal identity, inviting viewers to engage with the intricate details and complex perspectives of each portrait.
In this case Ball focuses specifically on elements of the surreal. Ball’s work often explores themes of identity, transformation, and the relationship between humans and animals. Hare Child specifically seems to evoke a sense of myth or fantasy, drawing on the hare’s symbolic associations with fertility, the lunar cycle, and the wild.
Damien Hirst (British, b.1965)
Spin (Red, Yellow & Orange) stamped with signature, copyright and dated ‘April 25-26th 2009’ (verso) acrylic on paper
51.5 x 52.5 cm. (20 1/4 x 20 3/4 in.) (unframed)
This painting was made to celebrate the opening of Damien Hirst: Requiem at the Pinchuk Art Centre on April 25th-26th 2009
£1,000 - 1,500
147 §
Marc Quinn (British, b.1964)
Orchids
signed with initials and dated ‘MMQ/10/12’ (lower left)
acrylic and wash on archival inkjet print
20 x 32 cm. (7 7/8 x 12 1/2 in.)
£1,500 - 2,500
148 §
Tony Bevan R.A. (British, b.1951)
Head signed with initials ‘TB’ (lower right)
pen & ink
21 x 14.7 cm. (8 1/4 x 5 3/4 in.)
£800 - 1,200
Provenance
Donated by Ben Brown Fine Art, London, to a charity auction where purchased by the present owner
Mat Collishaw (British, b.1966)
Ultraviolet Angel steel, UV bulb, paper, UV sensitive ink and wire, illuminated by ultraviolet light
36.2 x 27.3 cm. (14 1/4 x 10 3/4 inches) Executed in 1993
£800 - 1,200
150 §
John Latham (British, 1921-2006)
Canvas Event [4] spray paint on canvas with wooden stretcher
54.7 x 46 cm. (21 1/2 x 18 1/4 in.)
Executed in 1994
£1,500 - 2,000
Provenance
With Karsen Schubert, London, where purchased by the present owner
151 §
Robert Holyhead (British, b.1974)
Untitled (Drawing) watercolour
21.1 x 15.5 cm. ( 8 1/4 x 6 1/8 in.)
Executed in 2013
£700 - 1,000
Provenance
With Karsten Schubert, London, where purchased by the present owner
152 §
Robert Holyhead (British, b.1974)
Untitled (Drawing) signed, titled and dated ‘Robert Holyhead/UNTITLED (DRAWING)/2016’ (verso) watercolour
21.1 x 15.5 cm. ( 8 1/4 x 6 1/8 in.)
£700 - 1,000
Provenance
With Karsten Schubert, London, where purchased by the present owner
153 §
Robert Holyhead (British, b.1974)
Untitled (Drawing) watercolour
21.1 x 15.5 cm. (8 1/4 x 6 1/8 in.)
Executed in 2013
£700 - 1,000
Provenance
With Karsten Schubert, London, where purchased by the present owner
154 §
Robert Holyhead (British, b.1974)
Untitled (Drawing) watercolour
21.1 x 15.5 cm. ( 8 1/4 x 6 1/8 in.)
Executed in 2014
£700 - 1,000
Provenance
With Karsten Schubert, London, where purchased by the present owner
§
Scottie Wilson (British, 1889-1972)
Butterfly and Bird signed ‘Scottie’ (lower left) gouache
17.2 x 15.2 cm. (7 x 6 in.)
Executed circa 1970
£300 - 500
Provenance
With Monika Kinley O.B.E. (1925-2014), from whom acquired by the present owner
156 §
Rob Ryan (British, b.1962)
Once You Say ‘A’ You Must Say ‘B’ signed with initials ‘RB’ (lower left) collage
Executed circa 2005
£300 - 500
Provenance
With Vertigo Gallery, London, 2005, where purchased by the present owner
157 §
Patrick Procktor R.A. (British, 1936-2003)
Untitled (crossed fence) charcoal and wash
21.6 x 26.6 cm. (8 1/2 x 10 1/2 in.)
£300 - 500
We are grateful to Dr. Ian Massey, author of Patrick Procktor: Art and Life , for his assistance cataloguing the present lot
158 §
William Johnstone O.B.E. (British, 1897-1981)
Pollinate signed and dated ‘Johnstone 72’ (lower right) gouache and watercolour
34 x 46 cm. (13 3/8 x 18 1/8 in.)
£300 - 500
Provenance
Sale; McTear’s, Glasgow, 7 June 2015, lot 2363, where purchased by the present owner
159 §
Peter Ward (British, 1932-2003)
Wave Figure
signed and dated ‘Peter Ward 93’ (to the base) and stamped ‘PETER WARD’ (lower right edge)
polished bronze on a stone base
22.5 cm. (8 7/8 in.) high (including the base)
Conceived in 1993
£300 - 500
Provenance
With Hillsboro Fine Art, Dublin, where purchased by the present owner
Exhibited
Cornwall, Penwith Gallery, Peter Ward Painter/Sculptor, Mar-Apr 1997 (col.ill)
Please note this lot is accompanied the Penwith Gallery exhibition catalogue Peter Ward Painter/Sculptor
160 §
Steve
Easby (British, b.1958)
By the Lakeside of Malcesine, Lake Garda signed and dated ‘Steve Easby 03’ (lower left); further signed and titled ‘By the Lakeside at Malcesine, Lake Garda, Italy Steve Easby’ (to the canvas stretcher)
acrylic on canvas
25.3 x 30.5 cm. (10 x 12 in.)
£300 - 500
Provenance
With Portal Gallery, London, 2005, where purchased by the present owner
161 §
Trevor Bell (British, 1930-2017)
Image with a Purple signed, titled and dated ‘IMAGE WITH A PURPLE/TREVOR BELL/1991’ (verso) mixed media
79 x 97 cm. (31 x 38 in.)
£400 - 600
162 §
Trevor Bell (British, 1930-2017)
Dark Green Held signed, titled and dated ‘DARK GREEN HELD/TREVOR BELL 1984’ (verso) mixed media
56 x 76 cm. (22 x 30 in.)
£400 - 600
163 §
William Gear R.A. (British, 1915-1997)
Untitled acrylic signed and date ‘Gear 80’ (lower right)
73.6 x 45.7 cm. (29 x 18 in.)
£600 - 800
Provenance Sale; Mallams, Oxford, 25 June 2020, lot 295, where purchased by the present owner
164 §
Alma Slocombe (British, 1914-2002)
Sous-bois a Chantilly signed ‘A Slocombe’ (lower right); further signed, inscribed and dated ‘1993/a.Slocombe-Remondet/ SOUS-BOIS CHANTILLY’ (verso) oil on canvas
61 x 46.3 cm. (24 x 18 1/4 in.)
£300 - 500
Provenance
The estate of the artist, from whom acquired by the present owner
165 §
Alma Slocombe (British, 1914-2002)
Le Cheval Bleu
signed ‘a.Slocombe’ (upper left); further signed, titled and dated ‘alma Remonde-Slocombe/1983/le cheval bleu’ (verso) oil on canvas
61 x 60.3 cm. (24 x 23 3/4 in.)
£300 - 500
Provenance
The estate of the artist, from whom acquired by the present owner
166 §
Alma Slocombe (British, 1914-2002)
Farnworth Mill signed ‘Roger Hampson’ (lower right) oil on board
22.3 x 15.2 cm. (9 x 6 in.)
£300 - 500
Provenance
With Gateway Gallery, Shrewsbury
Sale; Capes Dunn & Co., Manchester, 14 April 2015, lot 100
167 §
Michael Leventis (British, b.1944)
Portrait of AA David II signed, titled and dated ‘Leventis/AUGUST 1984/A.A. DAVID II’ (verso) oil and acrylic on canvas
120 x 98.5 cm. (47 1/4 x 38 3/4 in.)
£400 - 600
Provenance
With The Solomon Gallery, London Private Collection, U.K
Their sale; Chiswick Auctions, 4 July 2023, lot 118, where purchased by the present owner
168 §
Michael Leventis (British, b.1944)
Jean-Paul Satre II
signed twice, inscribed and dated twice ‘Leventis/ 11/92 / 4/93 /Jean-Paul Satre II/Leventis’ (verso)
61 x 50.5 cm. (24 x 20 in.)
£300 - 500
Provenance
Private Collection, U.K
Their sale; Chiswick Auctions, 4 July 2023, lot 119, where purchased by the present owner
Exhibited
London, David Messum Fine Art, Michael Leventis Paintings, 19th October-5 November 1994, cat.no.9
James Gemmill (British, b.1954)
The Thames at Tower Bridge signed, titled and dated ‘The Thames of Tower Bridge/or Dawn at Tower Bridge/J Gemmill/2022’ (to a backboard) oil on canvas
43.2 x 64.1 cm. (17 x 25 1/4 in.)
£1,000 - 1,500
Provenance
With Mall Galleries, London, 29 October 2022, where purchased by the present owner
170 §
Julian Barrow (British, 1939-2013)
Ponte Vittorio Emmanuele signed ‘Julian Barrow’ (lower right) oil on canvas
25.4 x 35.5 cm. (10 x 14 in.)
£300 - 500
Provenance
With W.M. Brady & Co., Inc., New York, where purchased by the family of the present owner
Exhibited
New York, W.M. Brady & Co., Inc., Julian Barrow Manhattan to Mandalay, 1 Dec-17 May 2004, cat.no.26
171 §
Julian Barrow (British, 1939-2013)
View of the Thames signed and dated ‘Julian Barrow/84’ (lower right) oil on canvas
22.8 x 30.5 cm. (9 x 12 in.)
£400 - 600
172 §
Julian Perry (British, b.1960)
Oliver Road
signed with initials and dated ‘JP/99’ (lower right)
oil on panel
31.5 x 40 cm. (12 1/4 x 7 7/8 in.)
£300 - 500
Provenance
The artist
With Austin Desmond Fine Art, London, where purchased by the present owner
173 §
Julian Perry (British, b.1960)
Bean Frame I signed, titled and dated ‘ ‘BEAN FRAME/I/Julian/Perry/95’ (verso) oil on board
28 x 36.8 cm. (11 x 14 1/2 in.)
£300 - 500
Provenance
The artist
With Austin Desmond Fine Art, London, where purchased by the present owner
Alan Davie C.B.E. R.A. (British, 1920-2014)
Dreaming in the Curtained Bed signed, titled and dated ‘Alan Davie/2010/DREAMING/IN THE CURTAINED BED’ (verso) oil on board
25.4 x 30.5 cm. (10 x 12 in.)
£700 - 1,000
Alan Davie C.B.E. R.A. (British, 1920-2014)
Zen Poem Noir signed, titled and dated ‘Zen Poem Noir 2 78/Alan Davie’ (upper right) oil on paper
30 x 40 cm. (12 x 16 in.)
£400 - 600
176 §
Richard Gorman (Irish, b.1946)
Vinylic Ringsend signed, titled and dated ‘March 1981/Vinylic Ringsend/Richard David Gorman’ (verso) oil on canvas
91 x 86 cm. (35 3/4 x 33 5/8 in.)
£500 - 800
Provenance
The artist, from whom gifted to the family of the present owner
177 §
Pat Harris (Irish, b.1953)
Red Flowers II signed, titled and dated ‘PAT HARRIS/RED FLOWER II 2011’ (verso) oil on canvas
80 x 80 cm. (31 1/2 x 31 1/2 in.)
£1,500 - 2,500
Provenance
With Purdy Hicks Gallery, London, April 2011, where purchased by the present owner
Exhibited London, Purdy Hicks Gallery, Pat Harris Nuba Suite, 1-30 Apr 2011
178 §
Colin Self (British, b.1941)
Cinema Study - Cinema curtain with shadows signed, titled and dated ‘COLIN SELF CINEMA STUDY 1969 NO.34 28TH JULY 1969/(CINEMA CURTAIN WITH SHADOWS)’ (verso) ink
17 x 21.5 cm. (6 5/8 x 8 1/2 in.) (unframed)
£300 - 500
179 §
Alistair Grant (British, 1925-1997)
Untitled (orange) watercolour and ink
31.7 x 24.5 cm. (12 1/2 x 9 3/4 in.) together with Untitled (maroon) watercolour and ink
31.7 x 24.5 cm. (12 1/2 x 9 3/4 in.)
(unframed)(2)
£300 - 500
Provenance
The artist, whom gifted to Private Collection, U.K., from whom acquired by the present owner
180 §
Alistair Grant (British, 1925-1997)
Untitled (yellow) watercolour and ink
30.5 x 23.5 cm. (12 x 9 1/4 in.) together with Untitled (blue) watercolour and ink
30.5 x 23.5 cm. (12 x 9 1/4 in.)
(unframed)(2)
£300 - 500
Provenance
The artist, whom gifted to Private Collection, U.K., from whom acquired by the present owner
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 above mentioned 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 26% 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 discretionary 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 pre-Columbian 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.
8.1 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.
