Roseberys by Jamm Design Ltd

IMPRESSIONIST, MODERN, POST WAR & CONTEMPORARY ART Wednesday 4 December 2019

IMPRESSIONIST, MODERN, POST WAR & CONTEMPORARY ART Wednesday 4 December 2019 Starting at 12 noon VIEWING Sunday 1 December 10am-2pm Monday 2 December 9.30am-5.30pm Tuesday 3 December 9.30am-5.30pm Wednesday 4 December 9.30am-11.45am Head of Sale: Tess O’Brien Specialist: Kate Pritchard Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Cover: Lot 32 Inside Front Cover: Lot 62 Inside Back Cover: Lot 63

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys. Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have. Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots. New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk. Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

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The buyer shall pay the hammer price together with a premium thereon of: 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

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VAT

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VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

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(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional. It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.

Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction. • Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000. To make a payment of over £1000 please make a bank transfer or visit the auction house in person. • Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.) Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613. • Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements. Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 68

1 Émile-Antoine Bourdelle, French 1861-1929 ‘L’homme à la cruche’, 1960 bronze with brown patina, signed with monogram on the right side of the base; numbered, inscribed with foundry mark and signed ‘IV/CIRE/Valsuani/© BY Bourdelle’ on the reverse of the base, height 36.8cm Provenance: Private collection, London Note: Émile-Antoine Bourdelle,, was an influential and prolific French sculptor, painter, and teacher. His studio became the Musée Bourdelle, an art museum dedicated to his work, located at 18, rue Antoine Bourdelle, in the 15th arrondissement of Paris, France. This sculpture was executed posthumously in 1960. £2,000 - 3,000*

2 After Émile-Antoine Bourdelle, French, 1861-1929 'Marocain Assis' bronze, inscribed '© BY BOUDELLE', and bears the Susse Fondeur Paris mark, numbered 'No 2', height 25cm Note: Only 3 versions were cast at Susse Fondeur. The second cast, which this work was based on, was ordered in April 1962 and invoiced in July 1962. According to the Susse archives the original piece weight 4.11 kg, this piece weights 1.252kg. £600 - 800*

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3 Ricardo Gomez Campuzano, Colombian 1891-1981 Paisaje con montañas de fondo oil on canvas, signed lower left, 31 x 39cm Provenance: Private collection, London £500 - 700*

4 Louis van Engelen, Belgian 1856-1940 ‘Veere’, 1899 oil on board, signed, titled and dated ‘1899’ lower right; signed and inscribed ‘Vue de Veere en Zetlande-14 Aout 1899’ on the reverse, 11 x 14cm Provenance: Private collection, London £300 - 400*

5 Samuel Mützner, Romanian 1884-1959 Travailler les hommes près d’une gare, 1903 oil on canvas laid down on board, signed, inscribed 'Paris' and dated '1903' lower right, 45 x 75cm, (ARR) Provenance: Private collection, London Note: Mützner was a Impressionist Painter who studied art in Munich, Germany and France. His works can be found in Romanian institutions including the Modern Romanian Art Gallery of the National Museum of Art of Romania.

£800 - 1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

Périclès Pantazis was one of the first Greek painters to explore the new discourse suggested by French Realism and Impressionism. Significantly, each artist began his training in Nikiforos Lytras’ Athens studio during the early 1870s, before establishing a vision and career in a foreign city. In 1872 he moved to Paris, and it was there he met Gustave Courbet, whose approach to painting became the cornerstone of Pantaszis style. ‘’Courbet’s Realism offered the young artist new means of self-expression: no longer would his perception of nature concern merely the purely visible aspect, but its inherent truth also. The object would be invested with a spiritual content, not through embellishment or exaltation, but because, however rude, it could be shown as it really existed.’’ (S.G. de Heusch, O. Metzafou-Polyzou & S. Samaras, ‘Pericles Pantazis’, Athens, 1994, p. 23)

6 6 Périclès Pantazis, Greek 1849-1884 ‘La petite gitane’ oil on canvas, 42 x 31.5cm Provenance: Private collection, Athens Literature: Serge Goyens de Heusch, Olga Metzafou-Polyzou & Stephanos Samaras,’ Périclès Pantazis, Athens’, 1994, no.381 £1,200 - 1,800*

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7 Périclès Pantazis, Greek 1849-1884 ‘Nature morte au coq’ oil on canvas, signed lower left, 45.5 x 55.5cm Provenance: Private collection, Athens Literature: Serge Goyens de Heusch, Olga Metzafou-Polyzou & Stephanos Samaras,’ Périclès Pantazis, Athens’, 1994, no.212 £1,000 - 1,500*

8 Périclès Pantazis, Greek, 1849-1884 Nature morte au poisson dans un plat vert oil on canvas, signed lower right, 59 x 72.5cm Provenance: Private collection, Athens £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

9 Henri Eugène Augustin Le Sidaner, French 1862-1939 ‘Happy New Year’, 1905-1906 pastel in colours and ink on buff, signed lower right, and signed and inscribed ‘HAPPY NEW YEAR- Henri et Camille le Sidaner’, in the lower margin, 10.5 x 11.5cm Note: This drawing was sent to Henri and Camille Le Sidaner’s friends in London during the December of 1905-1906 This work is accompanied with a certificate of authenticity issued by Yann Farinaux-Le Sidaner and will be included in his upcoming supplement to his catalogue raisonné ‘ Le Sidaner L’oeuvre peint et grave.’ 9

£1,000 - 1,500*

10 Max Stern, German, 1872-1943 Men gathered next to a canal, 1905 black and white chalk, signed lower left and signed and dated ‘1905’, lower right, inscribed indistinctively on the reverse, 17.5 x 24cm Provenance: Private collection, London £800 - 1,200*

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12 11 Roger Parent, French 1881-1963

12 Alvaro Guevara, Chilean 1894-1951

Par un canal, Bruges

‘The Flooded Camp’, circa 1923

oil on board, signed lower right; signed on the reverse, 48.5 x 63.5cm, (ARR)

oil on canvas, 89 x 73.5cm

Provenance: Private collection, London £200 - 300*

Provenance: P. & D. Colnaghi & Co Ltd., London; Sotheby’s, London 30 September 1998, lot 11; Private collection, London Exhibited: ‘Paintings of Chile by Alvaro Guevara’, Leicester Galleries, November 1926, No.66; ‘A Chilean Artist in London and Paris’, 1974/75, P. & D. Colnaghi & Co Ltd, London, No.10 £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

13 Sándor Bortnyik, Hungarian 1893-1976

14 Mario Sironi, Italian 1885-1961

Portrait of a man, 1917

Schizzo di due uomini

charcoal drawing, signed and dated ‘1917’ lower right, 33 x 23cm, (ARR)

ink, signed on the reverse, 31 x 13.5cm, (ARR)

Provenance: Private collection, London

Note: A comparable sketch to this piece is Mario Sironi’s, ‘Mannequin’, which can be found at Museum of Modern Art, New York (151.1962).

£600 - 800*

Provenance: Private collection, London

The artist’s archive have confirmed the authenticity of this work £600 - 800*

15 Kunitaro Teramatsu, Japanese 1876-1936 Seated male nude, 1909 oil on canvas, signed lower left and dated ‘1909’ lower right, 66 x 50cm, (ARR) Provenance: Private collection, London £400 - 600*

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16 Wolf Kibel, Polish/South African 1903-1938 Woman seated at a table charcoal on paper, signed and indistinctly inscribed on the lower right corner of the mount, 20 x 15.5cm, (ARR) Provenance: Joe Wolpe Gallery, South Africa, where purchased by the present owner. £500 - 700*

17 Pál Fried, Hungarian, 1893-1976 Ballerina pastel on paper, laid down on canvas, laid down on panel, signed lower right, 46.5 x 35.8cm, (ARR) £300 - 500*

18 Paul Kapell, German 1876- 1943 Portrait of a lady seated wearing a broad brimmed hat, 1917 oil on canvas, signed and dated ‘1917’ upper left hand corner, 82 x 78cm Provenance: Private collection, London £500 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

19 19 Zygmunt Sigmond Menkes, Polish 1896-1986 ‘Les Roses Rouges’ oil on canvas, signed lower left, 49 x 64cm, (ARR) Provenance: Lucien Lefebvre-Foinet, Paris; Galerie Barreiro Stiebel, Paris; Redfern Gallery, London; Boundary Gallery, London, where purchased by the present owner Exhibited: ‘Russian Emigré Artists in Paris,’ Redfern Gallery, London, 1 December 1953 - 9 January 1954 no.66 (ils) Note: Zygmunt Sigmond Menkes was a member of the École de Paris group in the 1920s and 1930s. From the beginning of 1935 he lived and worked in the United States; he was a representative of the Expressionistic Colorism movement £3,000 - 5,000*

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20 20 Béla Czóbel, Hungarian 1883-1976 Intérieur à Paris, late 1920s oil on canvas, signed lower right, 64 x 76cm, (ARR) Provenance: Hungarian art collector, Paul Szeben; thence by descent. Note: In 1904, like many other young artists from Hungary, Béla Czóbel moved to Paris to study at the Académie Julian, as a pupil of Jean Paul Laurens. After meeting painters of the Fauves group in 1905 and seeing their work at the influential Salon d’Automne exhibit that year, he began to incorporate strong colours into his works. During the First World War, Czóbel went to the Netherlands, where he continued to work in the fauvist style. He also spent time in Berlin, where he became part of the New Secession movement. From 1925-1939, Czóbel settled in Paris, where he had a studio in Montparnasse, which is most likely where this painting was painted.

Béla Czóbel in the his studio in Paris in the 1920s (image courtsey from the Béla Czóbel museum)

With thanks to Gergely Barki curator of the Béla Czóbel Múzeum, Hungry for his assistance in cataloguing this lot. £4,000 - 6,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

Manana was influenced by the exotic Arabian fairy-tales and sumptuous ornamentation typical of Art Nouveau. His unique Oriental and decorative style is notable for a palette rich in gold and intricate arabesque outlines subordinating all the elements of the composition to their rhythm.

21 Georges Henri Manzana Pissarro, French 1871-1961 Femme devant des feuilles de palmier mixed media and technique on board, signed lower left, 32 x 39.8cm, (unframed) (ARR) Provenance: Acquired from the estate of the artist by the present owner. £800 - 1,200*

22 Georges Henri Manzana Pissarro, French 1871-1961 Nu assis; charcoal on buff stuck down on canvas, estate stamp lower left, and estate stamp on the reverse of the stretcher, 96 x 61.5cm, (ARR) Provenance: Acquired from the estate of the artist by the present owner. £800 - 1,200*

23 Georges Henri Manzana Pissarro, French 1871-1961 'Fille au Pigeon' etching & aquatint, 36 x 14 cm (ARR) £200 - 400*

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24 24 Roger Bissière, French 1886-1964 ‘Jeune Femme Plumant un Perdreau’ 1922 oil on canvas, signed lower right and dated ‘22’, 124 x 65cm, (ARR) Provenance; Léonce Rosenberg (L’effort modern) Paul Rosenberg; Marc-Arthur Kohn, Drout-Montaigne, 24 March 1998, lot 115, France; Hanina Fine Art, London, where purchased by the present owner. Note: After the war, Bissière became a member of the new Paris school, during this period he befriended André L’hote and Georges Braque. Bissière was encouraged to develop a more humanized version of Cubism. The artist best known for the stain glass windows he created for the cathedral in Metz, France. His works can be found in institutions around the world including the Tate, London, Museum of Modern Art, New York and Centre Georges Pompidou, Paris. According to Mr Jean-Claude Lalnne, the painting represents the wife of André L’hote, a close friend of Madame Bissière. This lot is accompanied with a certificate of authenticity from Mr Jean-Claude Lalanne dated 10 April 1999. £2,500 - 3,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

25 Alexander Archipenko, Russian/ American 1887-1969 Untitled (Stylised Standing Figure) circa 1925 gouache on paper, stuck down on board, 31.5 x 20cm Note: When Alexander Archipenko began his studies at the Kiev Art School in 1902, the exposure to the local Byzantine icons, frescoes, and mosaics would evidently go on to inspire many of his future works. Moving to Paris in 1908, Archipenko attended the Ecole des Beaux-Arts for a short period, before continuing his studies independently at the Musée du Louvre, where he drew inspiration from Egyptian, Assyrian, archaic Greek, and early Gothic sculpture. In 1910, he began exhibiting at the Salon des Indépendants and the following year exhibited at the Salon d’Automne. During this period Archipenko became increasingly acquainted with the radical Cubist movement that was taking over Paris. In 1912 he joined the Section d’Or group, exhibiting alongside artists such as Georges Braque, Marcel Duchamp, Sonia Delaunay, Fernand Léger and Pablo Picasso. His revolutionary interpretation of this new found style saw his exploration of the human figure through concave and convex forms, developing unique and innovative sculptures which in turn have earnt him the status as one of the leading sculptors of the movement. At the same time he joined the Section d’Or group, he began producing the first of his carved and painted reliefs; the ‘Sculpto-Peintures’. The works played with colour and form to create the illusion of depth and concavity, with the difference between sculpture and painting being bridged by this new art form. The present work evidently aspires to achieve this idea and shows his careful consideration of colour to create the concave and three-dimensional aspect inherent of this style. This painting closely resembles a relief construction in Yale University’s collection ‘Woman’ executed in 1923. This lot is accompanied with a letter of authenticity from Frances Archipenko Gray, and will be included in her forthcoming catalogue raisonné. £10,000 - 15,000*

Kunstausstellung Der Sturm exhibition label attached on the reverse of the backing

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

The following lots 26 and 27 are by Alice Halicka. Halicka exhibited at the Salon des Independants and began to work under the influence of art dealer Leopold Zborowski (1889-1932), who was a strong proponent of Cubism. Zborowski began to represent her work, however her husband strongly discouraged it; as a result Halicka destroyed much of her cubist work, and from 1919 focused on collage and fabric design. 26 Alice Halicka (Alicja Halicka), Polish 1894-1975 Nature morte, circa 1912 oil on paper, 36 x 51cm, (ARR) Provenance: John Denham Gallery, London; Bonhams, London 21 October 2003 lot 85; Private collection, London Note: With thanks to John Denham for his assistance cataloguing this piece. £800 - 1,200*

27 27 Alice Halicka (Alicja Halicka), Polish 1894-1975 Nature morte, circa 1912 oil on paper, signed lower left, 30 x 44cm, (ARR) Provenance: John Denham Gallery, London; Bonhams, London, 21 October 2003 lot 85; Private collection, London Note: For a similar example see Gérald Schurrt, ‘Alice Halicka -Les petits maîtres de la peinture, valeur de demain, 1820-1920’ , 1975 With thanks to John Denham for his assistance in cataloguing this piece. £3,000 - 5,000*

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The following lots 28 to 31 are fabric designs by Raoul Dufy. Dufy was a French Fauvist painter, brother of Jean Dufy. He developed a colourful, decorative style, which became fashionable for designs of ceramics and textiles, as well as decorative schemes for public buildings. The following lots are examples of his designs. 28 Raoul Dufy, French 1877-1953 ‘Réalisée pour la Maision Pour Bianchini- Férier’ gouache on paper, inscribed lower right, 39 x 46cm, (unframed) (ARR) Provenance: Christie’s, London, 27 July 2001, lot 1429 where purchased by the present owner. Note: This lot is accompanied with a certificate of authenticity from Fanny Guillon, and will be included in her forthcoming catalogue raisonné

£1,200 - 1,800* 29 Raoul Dufy, French 1877-1953 ‘Etude de Fleurs Pour Bianchini- Férier no.559’ gouache on paper, 23 x 21cm, (unframed) (ARR) Provenance: Christie’s, London, 27 July 2001, lot 1546 where purchased by the present owner. Note: This lot is accompanied with a certificate of authenticity from Fanny Guillon, and will be included in her forthcoming catalogue raisonné.

£500 - 800* 30 Raoul Dufy, French 1877-1953 ‘Etude de Fleurs Pour Bianchini- Férier no.569’ gouache on paper, 23 x 21cm, (unframed) (ARR) Provenance: Christie’s, London, 27 July 2001, lot 1546 where, purchased by the present owner. Note: This lot is accompanied with a certificate of authenticity from Fanny Guillon, and will be included in her forthcoming catalogue raisonné. £500 - 800*

31 Raoul Dufy, French 1877-1953 ‘Etude de Fleurs Pour Bianchini- Férier no.587’ gouache on paper, 26 x 24cm, (unframed) (ARR) Provenance: Christie’s, London, 27 July 2001, lot 1546, where purchased by the present owner. Note: This lot is accompanied with a certificate of authenticity from Fanny Guillon, and will be included in her forthcoming catalogue raisonné. £500 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

32 32 Marie Raymond, French 1908-1988 Composition oil on canvas, signed lower left, 130 x 151cm, (ARR) Provenance: Pierre Berge & AssociĂŠs, Paris, 18 November 2003, lot 31; Hanina Fine Art, London, where purchased by the present owner Note: Marie Raymond was a leading female exponent of Abstraction Lyrique, which was a group of artists including Vieira da Silva, Hans Hartung, Gerard Schneider, Jean Deyrolle, and Jean Dewasne, who were brought together by the critic Charles Estienne in 1946. Despite her success in the world of abstract art she is best remembered as the mother of the renowned artist Yves Klein. ÂŁ3,000 - 5,000*

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33 Maurice-Henri Gaudefroy, French 1883-1972 ‘Composition Rayonniste’, circa 1930 oil on canvas, estate stamp on the reverse, 58 x 46cm, (ARR) Provenance: Purchased from the artist’s estate by the present owner. £200 - 400*

34 Maurice-Henri Gaudefroy, French 1883-1972 ‘Nature Morte- Rouge et Noir’, circa1930 oil on canvas, bears estate stamp on the reverse, 38 x 46cm, (ARR) Provenance: Purchased from the estate of the artist by the present owner. £200 - 400*

35 Jean Signovert, French 1919-1981

‘LA.SAghA’, 1958 oil on canvas, signed and dated ‘58’; signed, titled and dated ‘1958’ on the reverse, 100 x 81cm, (ARR) Provenance: Galerie Sennelier, Paris; Hanina Fine Art, London, where purchased by the present owner Note: Signovert was a widely acclaimed catalyst of post-war abstraction in Paris, and this work is a superb example of his oeuvre. The artist’s work is represented in major museums of modern art including Musée Nationale d’Art Moderne, Paris; Bibliotheque National, Paris; Museum of Modern Art, New York. £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

36 Arthur Emptage, American 1903-1982 ‘Deux vases’ circa 1935 oil and encaustic on canvas, 41 x 36 cm, (ARR) Provenance: Private collection, London £100 - 200*

37 Géa (Geo) Augsbourg, Swiss 1902-1974 ‘Le Char Flamand ‘, 1932 37

oil on canvas, signed, titled and dated ‘XI, 1932’ on the reverse, and inscribed ‘30 rue Dutot’, 100 x 66cm, (unframed) (ARR) Provenance: Private collection, London £600 - 800*

38 Joseph Mellor Hanson, French/ British 1900-1967 Femme avec deux chats oil on canvas, signed with initials lower right, 102 x 76cm, (ARR) Note: Joseph Mellor Hanson moved to Paris in 1925 and worked under André L’hote, Joseph Fernand Henri Léger and Amédée Ozenfant. He exhibited in 1924 at the Salon des Independants and had his first one-man show in the Galerie Mots et Images in 1928, which was soon followed by another exhibition at the prominent Galerie Aubier, Paris £800 - 1,200*

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39 Jean-Claude Bédard, French 1928-1982 ‘Oiseau d’or’, 1956 signed and dated ‘1956’ lower right, 54 x 65 cm, (unframed) (ARR) Provenance: Private collection, London £200 - 300*

40 Hans Feibusch, German 1898-1998 ‘Dog and Goose Sketch’, 1936 pastel, signed with initials and dated ‘36’ lower right corner, and signed and titled on the mount in pencil, 57 x 34cm, (ARR)

Provenance: Private collection, London £200 - 300*

41 Béla Kádár, Hungarian, 1877-1956 ‘Frauen und Engel’, 1940 ink on paper, signed lower right, 23.5 x 15cm, (ARR) Provenance: Altstadt Galerie Wiesbaden, where purchased by the present owner in 1986 Literature: ‘Béla Kádár’, Alstadat Galerie Wiesbaden, 1986, p.85(ils) Note: A copy of ‘Béla Kádár’, Alstadat Galerie Wiesbaden, 1986, accompanies this lot. £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

The following lots 42 to 44 are by the artist Erich Kahn, and come from a private collection whom directly acquired the works from the Erich Kahn Studio sale, held at The John Denham Gallery, London, March 1989

42 Erich Kahn, German/British 1904-1980 ‘The Beggar’, 1973 red chalk, signed, titled and numbered ‘IXII 73’ in blue biro, bears artist’s studio stamp on the reverse, 38 x 53cm; together with seven other figurative red chalk sketches by the artist, variously signed and dated, each bears the artist’s studio stamp, each 38 x 53cm, (8) (unframed) (ARR) Note: John Denham has kindly confirmed the authenticity of these works. 42

£400 - 600* 43 Erich Kahn, German/British 1904-1980 Figurative studies, circa 1959 eight black in studies, each bear artist’s stamp on the reverse, each 26 x 28cm, (8) (unframed) (ARR) Note: John Denham has kindly confirmed the authenticity of this work £300 - 500*

43 44 Erich Kahn, German/British 1904-1980 Figurative studies, circa 1950 ink on paper, twenty sheets, each bear artist’s stamp on the reverse, maximum 27 x 21cm, (20) (unframed) (ARR) Note: John Denham has kindly confirmed the authenticity of these pieces. £600 - 800*

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45 45 Karl Weschke, German 1925-2005 ‘Sturmflöten’, 1965-6 oil on canvas, 213.5 x 152 cm, (ARR) Provenance: Purchased in the early 1970s by the present owner, who was friends with the artist. Exhibited: ‘Karl Weschke’, Whitechapel Gallery, London 1974; ‘Karl Weschke: Beneath a Black Sky: Paintings and Drawings 1953-2004’, Tate St Ives, 7 February- 9 May 2004 Literature: Jeremy Lewison, ‘Karl Weschke’, Kunstsammlung Gera, 2001 p.70 (ils); ’ Jeremy Lewison, ‘Karl Weschke- Portrait of a Painter,’ 1998 p.81 (ils) Note: A similar painting to this is Weschke’s ‘Pillar of Smoke’ 1964 in the Tate collection Ref. T06894

A photograph of the artist in his cottage (image courtesy of the vendor)

£5,000 - 8,000*

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Walter Nessler was born in Leipzig in 1912. He studied at the Technical Art College and the Castelli Italian Art School 1933-35. Nessler opposed Hitler’s National Socialism, and moved to Britain in the 1930s to avoid Nazi repression. Nessler left a large quantity of work in Dresden, which was destroyed during Allied bombing. The following lots 46 to 53 are pieces created during the artist’s time in London and where acquired by the present owner from the artist’s gallery, John Denham, London. John Denham, discussed the landscapes from this period, as places known to us, however we are seeing them through the artist’s interpretation “…the features of the landscape may be re-worked and quite stable elements shifted about to new site.” (‘London, A Personal View- Paintings, Collages, Watercolours, Drawings 1940s-1980s by Walter Nessler,’ John Denham Gallery, 1988) 46 Walter Nessler, German/British 1912-2001

48 Walter Nessler, German/British 1912-2001

‘Mill Lane- John Denham’s Gallery’, 1984

The artist’s studio, 1943

pencil, crayon and gouache on paper, signed and dated ‘84’ lower right, 36 x 51 cm, (ARR) 46

Note: This work depicts the John Denham Gallery, whom had commissioned it, to be used as the design for the gallery’s postcard. The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £300 - 400*

47 Walter Nessler, German/British 1912-2001 ‘Victoria Embankment’, circa 1950 mixed media on paper, signed lower right and titled lower left, 40 x 59cm, (mounted, unframed) (ARR)

Exhibited: ‘London, A Personal View- Paintings, Collages, Watercolours, Drawings 1940s-1980s by Walter Nessler,’ John Denham Gallery, London 13-31 March 1988 Note: The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £300 - 400*

watercolour on paper, signed and dated ‘43’ lower right in pencil, 19 x 24cm, (ARR) Provenance: John Denham Gallery, London; Private collection, London Note: The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £300 - 400* 49 Walter Nessler, German/British 1912-2001 ‘Balleroy’, 1944 watercolour on paper, signed and dated ‘44’ lower right, titled lower left, 15 x 18cm, (ARR) Note: When serving with the British Pioneer Corp the artist was stationed in France, and this work dates from this period. The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £300 - 400* 50 Walter Nessler, German/British 1912-2001 ‘Mill Lane’, 1984 crayon on paper, two, each signed and dated ‘84’ lower left, (2) (unframed) (ARR) Exhibited: ‘London, A Personal ViewPaintings, Collages, Watercolours, Drawings 1940s-1980s by Walter Nessler,’ John Denham Gallery, 13-31 March 1988 Note: The artist’s son Conrad, has kindly confirmed the authenticity of this piece. £300 - 400*

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51 51 Walter Nessler, German/British 1912-2001 ‘Box’, circa 1940 watercolour and pencil on paper, signed and dated ‘Oct’ lower right and titled lower left, 27 x 36.5cm, (unframed) (ARR) Exhibited: ‘London, A Personal ViewPaintings, Collages, Watercolours, Drawings 1940s-1980s by Walter Nessler,’ John Denham Gallery, London, 13-31 March 1988 Note: Nessler was stationed in Box in Gloucestershire during the Second World War. The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £300 - 400*

53 53 Walter Nessler, German/British 1912-2001 Portrait of Prudence Ashbee, the wife of the artist, late 1930s/early 1940s oil on canvas, 54.5 x 43.5cm, (ARR)

52 Walter Nessler, German/British 1912-2001 ‘Box’, October 1940s watercolour and pencil on paper, signed lower right, and titled lower left, 26 x 34.5cm, (unframed, mounted) (ARR) Provenance: John Denham Gallery, London Exhibited: ‘London, A Personal ViewPaintings, Collages, Watercolours, Drawings 1940s-1980s by Walter Nessler,’ John Denham Gallery, London, 13-31 March 1988

Note: In May 1940 Nessler was forced to leave his young wife and baby Conrad, when he was sent to the Huyton Internment Camp. The pressures of the war saw the disintegration of his marriage, Claudia Tobin, described in another portrait by the artist of his wife from this period that there was this ‘ …mournful expression and averted eyes ..[reflecting the] relationship’s internal conflicts.’ (Claudia Tobin, ‘Walter Nessler 1912-2001’ 2013 p.6) There is a similar expression here in the portrait of Ashbee. Prudence Ashbee was the daughter of the renowned Arts & Crafts designer C. R. Ashbee The artist’s son, Conrad, has kindly confirmed the authenticity of this piece. £1,500 - 2,500*

Note: The artist’s son Conrad, has kindly confirmed the authenticity of this piece. £300 - 400*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

54 Paul Sieffert, French 1874-1957 Nu étendu pastel on paper, laid on board, signed lower right, 42 x 57cm, (ARR) Provenance: The great-granddaughter of the artist £400 - 600*

54 55 Pierre Grisot, French 1911-1995 Deux soeurs oil on board, signed lower left, and signed and titled on the reverse, 32 x 23cm, (ARR) Provenance: Private collection, London £200 - 400*

55 56 Marcel Dyf, French 1899-1985 ‘Portrait d’une Inconnue’, 1944 oil on canvas, signed and dated ‘44’ lower right, 46 x 38 cm, (ARR) Provenance: Christie’s, South Kensington, 10 November 2009, lot 540; Christie’s South Kensingtonn, 7 October, 2015, Lot 679; Private collection, London Note: The piece is registered under no. 4613 in the artist’s forthcoming catalogue raisonné being compiled by the daughter Mrs Claudine Dyf £400 - 600*

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57 Maud Frances Eyston Sumner, South African 1902-1985 Still life with flowers in a vase on a table mixed technique on buff coloured paper, signed lower right, 54.5 x 43.3cm Provenance: Private collection, London £400 - 600*

57 58 Jeanne-Marguerite Fournials, French b.1910 ‘Fleurs Printanières’, circa 1930s oil on canvas, signed lower right, 74 x 100 cm, (ARR) Provenance: Private collection, London £200 - 300*

58 59 Renzo Zanutto, Italian 1909-1979 'Il Fagiano', 1956 oil on canvas, signed with initials, and dated '56' lower left, 86 x 63cm, (ARR) Provenance: A gift from the artist to the father of the present owner. Exhibition: 'L'arte e il Convito', Opera esposta, alla, Mostra Nazionale di Pittura, Milan 1957 Note: Vincenzo Zanutto, on behalf of the artist's estate, has kindly confirmed the authenticity of this piece. £300 - 500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

61 60 Walter Gilbert Wiles, South African 1875-1966

61 Giorgio Celiberti, Italian b.1929

Knysna

‘Thames Festival- London’, 1957

oil on canvas, signed lower right, 22 x 27cm

oil on canvas, signed and indistinctly inscribed lower right; signed, titled and dated ‘1957’ on the reverse, 60 x 90cm, (ARR)

Provenance: Private collection, London £300 - 500*

Provenance: Private collection, London £800 - 1,200*

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62 62 Gaston André, French 1884-1970 Bateaux dans un port tropical oil on canvas, signed lower left , 176 x 247cm, (unframed) (ARR) Provenance: Private collection, Paris Note: Gaston André was notable figure in the “Belle Époque” period, and known for his genre scenes, landscape, seascapes, still lifes and animals. He was a pupil of the artists Jean Paul Laurens and Adrien Karbowsky, and was exhibited at the “Salon des artistes Indépendants” in Paris between 1910 and 1939. £5,000 - 8,000*

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63 Freida Lock, South African 1902-1962 Interior, 1960 oil on canvas, signed lower left, 60 x 49cm Provenance: Joe Wolpe Gallery, South Africa where purchased by the present owner. Note: Lock explored a number of genres throughout her artistic career, however she is perhaps most renowned for her balanced and colourful interior scenes. She was one of the founding members of the New Group (1938-54), an artistic circle made up of young South African artists, including Gregoire Boonzaier, Lippy Lipshitz, Cecil Higgs and Terence McCaw. Lock and her contemporaries brought a unique and innovative style to the conservative South African art scene, sometimes even being referred to as the ‘Cape Impressionists’. Born in Cheadle Hume, England, Lock initially studied agriculture at Reading University, however after a year of study her family moved to Stellenbosch in 1921 to establish a fruit farm. She decided at the age of 30 to become an artist, and returned to England to study at the Heatherley School of Art, the first art school to admit women, in equal terms, with men into the life room. Through her expert use of colour, Lock has been able to evoke a sense of light and shadow in this cropped composition. Her characteristic use of darker outlines, particularly apparent in the chair, assist in delineating the object from the background, thus creating depth and definition in this busy and colourful work. With thanks to Max Wolpe, Joe Wolpe’s son, for his assistance in cataloguing this work. £10,000 - 15,000*

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Ben Enwonwu is considered to be one of the most influential and pioneering African artists of the 20th Century. Born in Nigeria in 1917, Enwonwu studied fine art under Kenneth C. Murray at Government College, Nigeria, from 1934 before being awarded a scholarship in 1944 to study in the UK at the Slade School of Fine Arts. It is likely that lot 65 and 66 were completed during his time at the Slade where he received academic and classical training in art education. Exposed to the British modernist artists of the period and encouraged by the Slade to experiment with alternative modes of representation, Enwonwu’s style continued to evolve through these multiple external influences.

Photograph of Ben Enwonwu (image courtesy of The Ben Enwonwu Foundation)

Enwonwu signed and dated the majority of his works, including sketches, which in turn documented his new ideas and displayed his response to changing stylistic fashions in art. Often he would title his paintings, write out the themes explored and added working notes to the reverse of his preparatory sketches for later paintings; this can be seen on both lot 65 and 66. During his studies within the UK, the British colonial government employed Enwonwu to create posters for their propaganda campaigns directed towards skilled, colonised Nigerians assisting in the post-war reconstruction efforts within the UK. In many aspects he was presented as a result of the British colonial governments efforts of tutelage in their colonies, however he was also adopted by African activists who considered him a part of Nigeria’s quest for political independence. His unusual position within Western society and back home in Nigeria meant his talent was exploited for multiple parties; evidently he actively contributed to both sides, and his artwork of this period document his interaction with both contexts. As a result his work is considered to be pioneering and consequently a unique form of African Modernist art.

64 Benedict Chukwukadibia Enwonwu MBE, Nigerian/British 1917-1994 Portrait of a young girl, head and shoulders, 1950 red chalk on coloured paper, signed and dated ‘1950’ lower right corner, 46 x 28.5cm, (ARR) Provenance: Private collection, London Note: This work is accompanied by a certificate of authenticity from the artist’s foundation. £1,500 - 2,000* 64

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65 Benedict Chukwukadibia Enwonwu MBE, Nigerian/British 1917-1994

66 Benedict Chukwukadibia Enwonwu MBE, Nigerian/British 1917-1994

Standing male nude, 1946

Seated female nude

charcoal on wove, signed, dated and inscribed ‘Slade’ lower right, 51.5 x 21.5cm, (ARR)

charcoal on buff, 51.5 x 30.5cm, (ARR)

Provenance: Private collection, London

Note: This work is accompanied by a certificate of authenticity from the artist’s foundation.

Provenance: Private collection, London

£2,000 - 3,000*

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The following lots 67 to 70 are by the Belgian artist Marcel Delmotte. He was largely self-taught and lived his whole life in Belgium, originally working commercially as an interior decorator, which later informed many of his artistic endeavours. Early influences from other artists included Piero della Francesca, Caravaggio, Poussin, and David, as well as surrealists such as Dali and Magritte. His output was prolific, and oscillated from biblical, figurative and abstract compositions to strong geometric statements, made in multiple mediums. 67 Marcel Delmotte, Belgian 1901 - 1984 ‘Valeur Travail’, 1951 mixed media, collage on board, signed and dated ‘1951’ lower left corner, 36 x 26cm, (ARR) Provenance: Private collection, Paris Note: Marc Ottavi expertise sticker number 1104.77 attached to the reverse £1,500 - 2,500*

68 Marcel Delmotte, Belgian 1901 - 1984 ‘Les Grandes Orgues du Temps’, 1951 mixed media, collage on board, signed and dated ‘1951’ upper left corner, 37 x 26cm, (ARR) Provenance: Private collection, Paris Note: Marc Ottavi expertise sticker number 1104.86 attached to the reverse £1,500 - 2,500*

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69 Marcel Delmotte, Belgian 1901 - 1984 ‘La Poux’, 1951 mixed media, collage on board, signed and dated ‘1951’ in lower left corner, 36 x 26cm, (ARR) Provenance: Private collection, Paris Note: Marc Ottavi expertise sticker number 1100.55 attached to the reverse £1,500 - 2,500*

70 Marcel Delmotte, Belgian 1901 - 1984 Untitled composition, 1951 mixed media, collage on board with black ink, signed and dated ‘1951’ in lower right corner, 36.6 x 26cm, (ARR) Provenance: Private collection Paris £1,500 - 2,500*

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The following lots 71 to 79 are by the artist Jiří Kolář. He with other notable artists and dissidents, including Václav Havel, Jan Vladislav and Václav Černý, used to meet in the famous Café Slavia to exchange progressive and artistic ideas of the day. Kolář created arresting and unique visual art throughout his lifetime, and has been referred to as the ‘Master of Collage’. He influenced and invented many new techniques in collage, including confrontage, froissage and rollage. The following works were purchased from the late Rodney Capstick-Dale, who represented the artist in London.

71 Jiří Kolář, Czech 1914-2002 ‘Salon Prince’ rollage collage, paper stuck down on card, 37 x 28cm, (ARR) £400 - 600* 72 Jiří Kolář, Czech 1914-2002 71

‘Pozdrav z Laosu’ rollage collage, paper stuck down on card, 24 x 34cm, (ARR) £400 - 600* 73 Jiří Kolář, Czech 1914-2002 ‘Panna a Muzikant,’ chiasmage/collage, paper on board, 40 x 29.5cm, (ARR)

£400 - 600*

74 Jiří Kolář, Czech 1914-2002

75 Jiří Kolář, Czech 1914-2002

‘Birds for Hans Sachs’, 1969-1972

intercollage, paper stuck down on card, 21.5 x 31cm, (ARR)

intercollage, paper stuck down on card, 22 x 32cm, (ARR)

Exhibition: ‘Jiří Kolář’ Albemarle Gallery, London, 3 June- 3 July 1987, no.62

Exhibition: ‘Jiří Kolář’ Albemarle Gallery, London, 3 June- 3 July 1987 no.63

Literature: ‘Jiří Kolář Collages 1952-1982, Albemarle Gallery, London 1987 p.62 (ils)

Literature: ‘Jiří Kolář Collages 1952-1982’, Albemarle Gallery, London 1987 p.62 (ils)

£300 - 500*

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76 Jiří Kolář, Czech 1914-2002

77 Jiří Kolář, Czech 1914-2002

‘Dreaming Earth’ 1979

‘Kalenderrollage’, 1970

chiasmage, paper stuck down on board, 36 x 50cm, (ARR)

collage, paper stuck down on board, 84 x 20cm, (ARR)

Exhibition: ‘Jiří Kolář’ Albemarle Gallery, London, 3 June- 3 July 1987 no.111

Exhibited: Galerie R Johanna Ricard, Nürnberg, 1973, no.172

Literature: ‘Jiří Kolář Collages 1952-1982, Albemarle Gallery, London 1987 p.61 (ils)

£500 - 800*

£400 - 600*

The following lots 78 and 79 are from Jiří Kolář’s ‘Baudelaire- Les Fleurs de Mal’, series. In each piece the artist used a painting interwoven with a portrait of the poet, Charles Baudelaire. Each work captures a particular line from Baudelaire’s collection of poems ‘Les Fleurs de Mal (The Flowers of Evil)’. This is one of Kolář’s most iconic images, and works from this series can be found in institutions around the world including the Tate (reference no.T05031)

78 Jiří Kolář, Czech 1914-2002

79 Jiří Kolář, Czech 1914-2002

Baudelaire and a Renaissance woman, from the ‘Baudelaire- Les Fleurs de Mal’ series, circa 1972

Baudelaire and Thomas Gainsborough painting ‘Mrs William Hallett’, from the ‘Baudelaire- Les Fleurs de Mal’ series, circa 1972

prollages, paper stuck down on board, 26 x 36cm, (unframed, mounted) (ARR) £600 - 800*

prollage, paper stuck down on card, 26 x 39cm, (unframed, mounted) (ARR) £600 - 800*

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The following lots 80 to 88 are from the estate of Charles B. Moses, the American art dealer and owner of Galleria 88, Rome. He was known for exhibiting emerging artists, and these following works are mainly gifts from these artists. 80 Henry Koehler, American 1927-2018 Portrait of the art dealer Charles B. Moses, Rome, 1962 oil and crayon on canvas, inscribed ‘For Charles, Henry Koehler, Rome 1962’ lower right; signed, titled, dated ‘1962’ and titled on the reverse, 52 x 61cm Note: This work is the same year Moses held an exhibition for Koehler at Galleria 88, Rome. £300 - 500*

81 Gene Charlton (Eugene Charlton Rafalsky), American 1909-1979

83 Eugene Berman, Russian/American 1899-1972

Untitled collage, 1959

Temple, 1958

collage and mixed technique on board, signed and dated ‘59’ upper left corner, 25 x 19.5cm; together with another collage and mixed technique on board by the same artist, signed and dated ‘58’ upper right, 20 x 15cm (2)

black and red ink with black wash on paper, signed with initials and dated ‘1958’ lower center, 15.5 x 20.5cm; together with a night-time drawing of a building by the same artist, watercolour, pencil and black ink, signed with initials and dated ‘1958’ lower center, 21 x 16.5cm, (2)

£300 - 500*

Exhibited: ‘Eugene Berman,’ Galleria 88, Rome, 1962 82 Jacques Gabriel, Haitian 1934-1988 ‘Après-midi D’un Fauve’ mixed media on paper, signed and titled in ink lower center, 49 x 62cm £300 - 500*

£400 - 600* 84 Kurt Craemer, German 1912-1961 ‘Fischer’, 1957 monotype on board, signed and dated ‘LVII’, 28.5 x 45.5cm, (ARR) £300 - 500*

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85 85 Fredrich J. Fuchs, American, late 20th century/ early 21st century

86 Jerome Paul Witkin, American b.1939

‘Boxed Arrangement’, 1966

oil on canvas, signed and titled on the reverse, 85 x 90cm

oil on canvas, signed and dated ‘66’ lower right corner, 30 x 40cm Exhibited: ‘Frederick Fuchs’, Galleria 88, Rome, 30 March-15 April 1966

‘The World has Dust and Dead’

Note: The artist has kindly confirmed the authenticity of this work £400 - 600*

£400 - 600* Jack Frankfurter’s first solo exhibition was held at Galleria 88 in 1961. From then, every year until the gallery’s closure in 1972, Moses held an exhibition of Frankfurter’s works. 87 87 Jack Frankfurter, Austrian/American b.1929 ‘Fontana dei Quattro Fiumi, Piazza Navona, Rome’, 1958 -59 watercolour and crayon, signed lower right and inscribed ‘#1’ lower left, 69 x 74.5cm; together with another drawing ‘Fontana dei Quattro Fiumi, Piazza Navona, Rome. ca 1958 -9’, in black ink, signed lower right and inscribed ‘to Charles with gratitude’ lower left, 29 x 20.5cm; and a lithograph by the same artist, ‘Sogni’, inscribed ‘To Charles, with much love and affection, Rome 19 July 1971’ in pencil lower left, 49 x 69cm, (3) (ARR)

88 Jack Frankfurter, Austrian/American b.1929 ‘Vento dal SVD’ circa 1950s oil on canvas, signed lower left; titled on the reverse, 60 x 100cm, (ARR) Note: The artist has kindly confirmed the authenticity of this work. £300 - 500*

Note: The artist has kindly confirmed the authenticity of these works. £500 - 800* 88 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

89 Sam Middleton, American 1927-2015 Abstract composition, 1965 gouache, ink, and traces of pencil on wove, signed and dated ‘65’ lower right, 48.5 x 36.5cm Provenance: Private collection London Note: with thanks to Gavin Spanierman, Spanierman Modern Gallery, New York, in the authentication of this work £800 - 1,200*

89 90 François Dreulle, French b.1940 Sans titre composition style cubique, 1969 mixed media collage on card and pencil, signed and dated ‘1969’ lower right, 33 x 18cm: together with two further Cubist style compositions, mixed media collages with watercolour and pencil on card, by the same artist, both signed and dated ‘1963’ and ‘1975’ respectively, 33 x 25cm & 27.5 x 20.2cm, (3) (ARR) Provenance: Wilson Stephens and Jones, London; Private collection, London Note: With thanks to Wilson Stephens and Jones, London for their assistance in cataloguing these lots. £400 - 600*

90 91 François Dreulle, French b.1940 Sans titre composition style cubique, 1969 mixed media collage with watercolour and pencil on thick card, signed and dated ‘1969’ lower right, 28 x 24cm: together with two further Cubist style compositions, mixed media collages with watercolour and pencil on card, by the same artist, both signed and dated ‘1968’ and ‘1976’ respectively, 30.2 x 22.5cm and 31 x 22.5cm (3) (ARR) Provenance: Wilson Stephens and Jones, London; Private collection, London 91

Note: With thanks to Wilson Stephens and Jones, London for their assistance in cataloguing these lots. £400 - 600*

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92 Manuel Hernández Mompó, Spanish 1927-1992 Untitled, 1968 watercolour and ink, signed and dated ‘68’ lower right, 36 x 39cm, (ARR) Provenance: Tajan, Paris, 24 April 2012 lot 137; Private collection, London Note: Mompó was at the height of his career towards the end on the 1960s, having exhibited at Galerie Claude Bernard in Paris in 1966. He went on to represent Spain at the 34th Venice Biennale in 1968. He won the UNESCO Prize for his seminal works exhibited there, and the present painting also executed in 1968 - demonstrates his wellestablished and distinctive style, reaffirming his status as one of the leading Spanish abstract artists of the mid-20th century.

£800 - 1,200* 93 Colin Lanceley, New Zealander/Australian 1938-2015 ‘Salome’s Dance’, 1972 pen and brush and black ink, pastel, watercolour and mixed media on buff coloured paper, signed, titled and dated ‘72’ in black pen, 112 x 111.5cm, (rolled, unframed) Provenance: Private collection, London £300 - 400* 94 Michelangelo Conte, Italian 1913-1996 ‘Calore Bianco’, 1960 mixed media on canvas, signed, titled and dated ‘1960’ on the reverse, 30 x 75cm, (ARR) 93

Note: Bruno Conte has confirmed the authenticity of this piece. £1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

95 Aubrey Williams, Guyanese/ British 1926-1990 ‘Savannah Sun’, 1959 oil on canvas, signed, titled and dated ‘59’ on the reverse, 61 x 76cm, (ARR) Provenance: Commonwealth institute, London where it was purchased by the father of the present owner. Exhibition: ‘Aubrey Williams’, Commonwealth Institute, Great Britain, 1965

Note: This work is similar to the artist’s other work made in the same year ‘Death and the Conquistador’ which can be found in the Tate collection (reference no.T13341) Aubrey Williams Estate has kindly confirmed the authenticity of the work £500 - 800*

96 Yannis Gaïtis, Greek 1923-1984 Untitled composition, 1960 mixed media on canvas, signed and dated ‘60’ lower center, 64.5 x 53.5cm, (ARR) Provenance: Private Collection, Paris Note: Yannis Gaitis is perhaps best known for his formalist and repetitive depictions of men dressed identically in hats and plaid jackets. Although not directly associated with the style that he is famous for this particular work is considered to be of the ‘art informel’ phase he experienced in Paris during the mid-1950s up until the end of that decade; evidently the artist is exploring the effects of texture and material in a repetitive manner. Gaitis studied at the Athens School of Fine Arts and spent the last 26 years of his life living and working in Paris. This lot is accompanied with a certificate of authentication from Loretta Gaïtis. £1,500 - 2,500* 96

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97 97 Arthur Aeschbacher, Swiss, b.1923 Untitled abstract composition, circa 1960 mixed media, collage on canvas, signed lower right corner, 130 x 81cm Provenance: Private collection, Paris Note: Aeschbacher is a prominent member of the ‘Nouveau Réaliste’ group, active in Paris during the 19501960s. The group established the décollage technique, which was considered opposite to collage. It was a creative process, which saw the disintegration of paper, to be then carefully reconstructed through selected choices of paper to use for the final composition. However Aeschbacher slightly differed the technique, so rather than focussing on using lacerated posters in order to create another image, Aeschbacher used the poster as a painter’s medium. For the artist, the lacerated poster is above all, a way to compose an image with colour and texture, guiding him to superimpose so many layers of lacerated posters, so they become an abstracted composition. £3,000 - 5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

98 Jesper Neergaard, Danish b.1939 Untitled composition marble, incised signature and inscribed ‘HDHF’ on the base, 20 x 14 x 11cm, (ARR) Provenance: Court Gallery, Copenhagen; Private collection London Note: This lot is accompanied with the exhibition catalogue, ‘Jesper Neergaard, 1988-91’, Court Gallery, Copenhagen, 1991 £800 - 1,200* 99 Bernhard Svendsen, Danish 1915-1999 ‘Portrait in Asdur’, 1968 oil on board, signed and dated ‘1968’ lower right; signed and titled in Danish on the reverse, 59.4 x 41cm, (ARR) Provenance: Court Gallery, Copenhagen; Private collection London

£200 - 300* 100 Jack Friling (Tandberg), Norwegian b.1927 Untitled, 1956 oil on canvas, signed and dated ‘56’ lower right, 44 x 54cm, (ARR) Provenance: Private collection, London £300 - 500* 101 Børge Sornum, Danish, 1920-1985 Untitled composition 100

mixed paint technique on canvas, signed lower right, 49 x 71cm, (ARR) Provenance: Private collection, London £400 - 600* 102 Børge Sornum, Danish 1920-1985 Untitled Abstract, 1962 oil on paper, signed and dated ‘62’ in biro on oval mount, 24 x 29.5cm, (ARR) Provenance: Private collection, London £200 - 400* 101

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103 Børge Sornum, Danish 1920-1985 Untitled tree trunk bronze, incised signature and inscribed ‘NR1’, 36.5 x 20.5 x 9.5cm, (ARR) Provenance: Private collection London £400 - 600* 104 Erró (Guðmundur Guðmundsson), Icelandic b.1932 ‘Studio per il Inverno ela Epoca no.3, Firenze’ oil on board, signed and titled on the reverse, 42 x 71cm, (unframed) (ARR) Provenance: Believed to be acquired from the Commonwealth Institute, London, by the parents of the present owner. Note: Recorded as having studied at the Accademia di Belle Arti di Firenze between 1954 and 1956, it is thought this present work would have been executed during his period in Italy based on the inscription to the reverse. Erró’s early recorded compositions feature scenes of skeletal forms, a repeated subject throughout the late 1950s. Comparable works in colour and form by the artist include- ‘Les Carcasses’ (1955) and ‘Nord du Sahara’ (1958) (‘Erroì, 1984-1998: IIIe catalogue geìneìral’, Paris, 1998, p. 14.).

103

£800 - 1,200*

104

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

105 Jacques Prévert, French 1900-1977 ‘Agenda’ - Mardi from the ‘Ephéméride’ series, 1950 felt-tip ink and crayon, inscribed in both black ink and crayon, 41x26cm; together with another version of ‘Mardi’ from the same series; black felt-tip ink, watercolour and crayon, inscribed in pencil and bears inscription on the reverse in colour crayon, 26.5 x 21cm, (2) (ARR)

105

Provenance: Madame Prévert whom sold the pieces to Galerie 1900-2000, Paris; Private collection, London Exhibition: ‘Ca C’est Le Bouquet!’, Galerie d’Art du Conseil General des Bouches-du-Rhone, Provenance, France 18 January-22 April 2001 Note: With thanks to Galerie 19002000, Paris for their assistance in cataloguing this work. £500 - 800* 106 André Masson, French 1896-1957 ‘L’un sur l’autre’, 1970 pencil, wax, crayon and charcoal, inscribed, bears estate stamp, 45.8 x 35.7cm, (ARR) Provenance: Christie’s South Kensington: Thursday, October 27, 2005 lot 203, where purchased by the present owner Note: This lot is accompanied with a certificate of authenticity from the comité André Masson. £1,000 - 1,500* 107 Patrice Vermeille, French b.1937 ‘Etude (XXV)’, 1976 acrylic on canvas, signed and dated ‘76’ lower left, and titled and dated ‘1976’ on the reverse, 41 x 33cm, (ARR)

106

Provenance: Private collection, London £300 - 400*

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108 108 Yannis Tsarouchis, Greek 1910-1989

109 Gastone Novelli, Italian 1925-1968

Triptych of Costume Designs for ‘The Birds’, From Sir Peter Daubeny’s World Theatre season of 1964

‘Mail art’, (recto & verso), 1967

watercolour and biro on paper (three framed as one in shared mount), signed and dedicated ‘A Peter Daubeny’ in the central sheet, 23 x 17cm (max), (ARR) Provenance: Sir Peter Daubeny; ‘1000 Ways of Seeing: The Private Collection of the Late Stanley K. Seeger’, Sotheby’s London, 05-06 March 2014, lot 762 where it was purchased by the present owner. £1,200 - 1,800*

coloured crayon on wove, signed, inscribed and dated ‘67’, stamped twice ‘Mail Art - Archivo Eraldo Di Vita’ verso, 19 x 16cm, (ARR) Provenance: from the collection of Eraldo Di Vita Note: Mail art began in the 1960s when artists sent postcards inscribed with poems or drawings through the post rather than exhibiting or selling them through conventional commercial channels. Eraldo di Vita has kindly confirmed the authenticity of this piece. £300 - 500*

110 Guy Bezançon, French 1924-2006 Sans titre composition abstracte, 1982 Indian ink and pastel in colours on coloured paper, signed and dated ‘82’ in black pencil lower right, each 9 x 22.5cm, (in shared mount) (9) (ARR) Provenance: Private collection, Paris £800 - 1,200*

110

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111 Jean Souverbie, French 1891-1981 ‘L’été’, 1976 oil on canvas, signed and dated '76' lower left; signed, titled and dated '76' on the reverse, 39 x 62cm, (ARR) Provenance: Chochon-Barre & Allardi SW SARL, Paris. 25 November 2011 lot 128: Private collection Paris. Note: Jean Souverbie was influenced by Pierre Bonnard, Édouard Vuillard and Georges Braque. He is best known for his paintings which were unique modern interpretations of neoclassical art and Greek sculptures. In this piece, Souverbie has taken this neoclassical theme of the reclining nude and approached her form as a Greek sculpture. His works can be found in private and public institutions world wide including the Philadelphia Museum (reference number 1995086-16) £10,000 - 15,000*

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111

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112 Sir Sidney Nolan OM AC RA, Australian, 1917-1992 Tropical birds, circa 1969 coloured inks on card, signed, and inscribed in blue biro on the reverse, 30.5 x 25.3cm, (unframed) Provenance: Gifted from Sydney Nolan’s wife to the present owner £1,800 - 2,200* 113 Ray Austin Crooke, Australian 1922-2015 ‘Storm Beyond Cooktown’ oil on board, signed lower right, 76 x 101cm Note: Ray Austin Crooke was a renowned Australian landscape painter. He is one of the few contemporary artists to capture the sublime nature of the Australian outback. He has exhibited internationally including the Tate in 1963. £2,000 - 3,000* 112

113

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114 114 David Boyd, Australian 1924-2011 ‘The Bishop’, 1965 signed and dated ‘1965’ lower left, oil on board, 122 x 91.5cm Provenance: The estate of the artist Gerald Moore, whom bequeathed it to Eltham College, London, the present owners Note: This painting is from Boyd’s ‘Church and State’ series, which followed his second trip to General Franco’s Spain in 1964. The series explored his opinion on the corrupt nature of the clergy and totalitarian regime in Spain, presenting his attack on the church and state into symbolic, figurative images. This bold and impactful series was first exhibited at the Zwemmer Gallery in London in July 1965, and it is very likely this painting was exhibited there. Property sold to benefit Eltham College £2,000 - 3,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

115 Charles Blackman OBE, Australian 1928-2018 Young Girl and Old Cat, circa 1958 oil on canvas, stretched over board, signed top right corner; titled and inscribed on the backboard, 124.5 x 156cm Provenance: Christie’s London, 28th November 1991, lot 58; The estate of the artist Gerald Moore, by whom bequeathed it to Eltham College, London Note: A key figure in Australian art, Charles Blackman gained the support of art patrons John and Sunday Reed in the early 1950s. Sunday introduced him to the poetry of John Shaw Neilson, which informed his compelling ‘Schoolgirl’ painting series, while his wonderous Alice in Wonderland series is infused with references to life at Heide (the property of the Reeds). However it was in his subsequent series of young girls and flowers when this painting was created, which truly found him popular acclaim. The inspirational muse for the whole series was Blackman’s wife, Barbara. A writer and poet, Barbara was already legally blind when she married him in 1952. Her condition worsened considerably over the next decade, to the point many believe, these paintings may have been the last she saw. Blackman focussed his attention on the senses of touch and smell, which gained greater importance in Barbara’s reality, as her life in darkness overwhelmed her existence. ‘World of trance and dream - of things sensed rather than seen.’ (Shapcott, ‘Focus on Charles Blackman’, University of Queensland Press, Brisbane, 1967, p. 36) Property Sold to Benefit Eltham College £10,000 - 15,000*

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115

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116 Vladimir Ryklin, Russian/American b. 1934 Surrealist interior with hot air balloons, 1983 oil on canvas, signed lower left corner, 82 x 82cm Provenance: Bought direct from the artist by the present owner in the 1980s. Note: The artist has kindly confirmed the authenticity of this work. £400 - 600*

116

117 Marevna (Marie Vorobieff), Russian 1892-1984 Portrait of Matthew, 1964 oil on board, signed and dated ‘64’ lower left, 109 x 54.5cm Provenance: Private collection, London Note: This is a portrait of the present owner and was commissioned by a close friend from the artist in 1964. £400 - 600* 118 Imre Goth, Hungarian/ British 1893-1982 Portrait of a woman, 1974 oil on board, signed with initials and dated ‘1974’ upper left hand corner, 50 x 40cm, (ARR) Provenance: Private collection, London £200 - 300*

117

119 Cirilo Martínez Novillo, Spanish 1921 -2008 El mar, 1971 oil on board, signed lower right corner, 33 x 26cm, (ARR) Provenance: New Grafton Gallery, London where it was purchased by Dr R.N. Jackson, London in 1971; Private collection London Exhibition: ‘Cirilo Martínez Novillo’ New Grafton Gallery, London, 1971 no.31 £800 - 1,200*

119

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120 120 Wega Nery, Brazilian 1912-2007 ‘Mediterranean Evocation 20 Londres’, 1970 oil on canvas, signed and dated ‘70’ lower right; signed, titled, and dated ‘1970’ on the reverse, 72 x 91cm Note: Wega Nery attended the School of Fine Arts in São Paulo from 1946 to 1949. In 1950 she received the bronze medal in the National Salon of Fine Arts and also in the Official Salon of Fine Arts in Santos. She joined at the invitation of the painter Alzira Pecorari the Guanabara Group), which included Yoshiya Takaoka, Arcangelo Ianelli, Ismênia Coaracy and the Japanese Manabu Mabe and Tikashi Fukushima. Nery participated with her works in 12 art biennials of São Paulo. In 1970 she came to London to exhibit at the Brazilian Embassy, it is believed that this work was created during this trip and most likely exhibited at the Embassy. £3,000 - 5,000*

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121 Helene Fesenmaier, American 1937-2013 ‘Books for Christmas’, 1972 mixed media construction in perspex box, signed and dated in white chalk,16 x 20.5 x 24cm Provenance: The New Art Centre, London, stock number: 957/n, where it was purchased by Robert Heller in 1979; The estate of Robert Heller Exhibited: The New Art Centre, London, 1979 Note: This work is similar to another work by the artist known as ‘Shoe Tree.’ 121

David Hodgson, the artist’s husband, has kindly confirmed the authenticity of this work. £200 - 400*

122 122 Robert Owen, Australian b.1937 ‘Kinetic Relief No II’, 1969 mixed media construction, edition 2 of three, 86 x 86cm Provenance: Marlborough New London Gallery; Robert Heller estate Exhibited: ‘Robert Owen- Relief Constructions’, Tolarno Galleries, Melbourne 1971 (another edition); ‘Four Australian Artists: Arthur Boyd, Leonard Hessing, Sidney Nolan, Robert Owen,’ Richard Demarco Gallery, Edinburgh, 9 July- 1 August 1970 Literature: Margaret Plant, ‘The Eclipse of Self Robert Owen in Green and London’ in the Between Shadow and Light 1966-1975 Exhibition catalogue, Monash University Gallery, Melbourne, 1999 pp.9-36 illustrated il. p.16 (another edition) Note: The artist has kindly confirmed the authenticity of this work. £1,000 - 1,500*

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123 Michael Michaeledes, Greek/British 1927-2015 ‘Mirror’, 1972 mullinex & perspex, 35 x 35 x 6.5cm, (ARR) Provenance: Annely Juda Fine Art where it was purchased by Robert Heller in 1972; Robert Heller Estate £300 - 500* 124 Panayiotis Vassilakis Takis, Greek 1925-2019 ‘Miroir Magnetique’, 1971

123

magnets, nylon thread, mirror, nails and metal fixings, numbered 69 of 100, 51 x 51cm, (ARR) Provenance: Private collection, Paris

Note: “Using magnetism, light and sound as his raw materials, Takis’s audacious sculptures were a radical break from convention...”(Achim Borchardt-Hume, Director of Exhibitions & Programmes, Tate Modern) A similar work by the artist ‘Radar’, 1960 was exhibited at Tate Modern in their 2019 retrospective of him. £2,000 - 4,000*

124

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125 Bruce Boice, American b. 1941 Untitled, 1974 watercolour and coloured pencils on wove, signed and dated ‘5-30-74’, 21 x 26.5cm Provenance: Private collection, London Note: The artist has kindly confirmed the authenticity of this work. £200 - 300* 125 126 Christian Roeckenschuss, German 1929-2011 Untitled, 1977 alkyd paint on card, signed on the reverse of the frame, 22 x 22cm, (ARR) Provenance: Private collection, London Note: This work was object no.: 295/1977 in the artist’s archive £700 - 900*

126 127 Peter Kalkhof, German 1933-2014 ‘Colour and Space - Horizontal Space’ 1972 acrylic on canvas, signed and numbered ‘072’ on the reverse, 102 x 76cm, (unframed)(ARR) Provenance: Annely Juda Fine Art, London, where purchased by Robert Heller in the 1970s; Estate of Robert Heller £150 - 200*

127

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128 Stefan Knapp, Polish 1921-1996 Untitled composition acrylic on canvas, 91 x 91.5cm: together with one other acrylic on canvas by the same artist, depicting an abstract composition in shades of green and pink, 91 x 91.5cm, (2) (unframed) (ARR) Provenance: Private collection, Italy Note: Stephan Knapp was one of the post-war visionaries of the possibilities of integrating art and architecture, and became internationally renowned for his monumental projects that transformed our urban landscape into vibrant organic environments. His works can be found in major collections around the world including the Museum of Modern Art, New York and the Tate, London. £500 - 800*

128 129 Maurice Pré, French 1907-1988 ‘Entre Grèce et Egypte’, 1985 oil on canvas, signed and dated ‘85’ lower left corner; signed and inscribed verso, 100 x 80.5cm, (ARR) Provenance: Piasa, Paris 16 November 2012, lot 6; Private collection, Paris £600 - 800*

129

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In 1948 Alicia Perez Penalba moved to Paris where she enrolled at the School of Fine Arts, in engraving. She worked from 1950, in the studio of the prominent Russian sculptor, Ossip Zadkine (1888-1967). During the 50s and 60s her work became widely recognized, however it was her retrospective ‘Totems et Tabous’ at the Musée d’Art Moderne de la Ville de Paris in May 1968, with Wifredo Lam and Roberto Matta, which finally assured her international recognition. Penalba’s works can be found in private and public institutions, including Centre Pompidou. Paris and the Brooklyn Museum and the Schulhof Collection, New York. 130 Alicia Perez Penalba, Argentinean 1913-1982 Silk papers, 1981 mixed media, collage on paper, signed and dated ‘1981’, 68 x 33cm Provenance: Estate of Alicia Penabla, where acquired by the present owner Note: Alicia Penalba archive (AliciaPenalba.com) have confirmed the authenticity of the work £3,000 - 5,000*

130

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131 Alicia Perez Penalba, Argentinean 1913-1982 Untitled composition Chinese ink on coloured card, signed lower right, 17.8 x 23.8cm Provenance: Private Collection, Paris Note: Alicia Penalba archive (AliciaPenalba.com) have confirmed the authenticity of the work £200 - 300*

131

132 Alicia Perez Penalba, Argentinean 1913-1982 ‘Créature-Dedans’,1970 polished bronze on steel plate, incised signature, title and numbered 3/100 on the reverse of the base, 30 x 23 x 10cm Provenance: Private collection Paris Note: Alicia Penalba archive (AliciaPenalba.com) have confirmed the authenticity of the work, and confirmed the archive as no.77A. £1,000 - 1,500*

132

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133 Margarita Lozano, Colombian b.1936 ‘Egg Basket’, 1977 tempera and pastel, signed and dated ‘77’ lower right corner, and titled upper left, 70 x 66cm; together with another tempera and pastel by the same artist, ‘Homage to Odilon Redon’, signed and dated ‘76’ lower left, 74 x 60cm, (2) Provenance: Aberbach Fine Art, London, where purchased by the present owner. Exhibition: ‘Pastels by Margarita Lozano,’ Aerbach Fine Art, London, 15 June- 12 August, 1977 no.17, no.6 £800 - 1,200*

133

134 Iaponi Araújo, Brazilian 1942-1996 ‘João Cambadinho no Reino de Deus’, 1978 acrylic on canvas, signed lower left, 80 x 80cm Provenance: Christie's, London, 24 June 2011, lot 93 (it was the front cover lot for the sale catalogue), where it was purchased by the current owner Note: On the reverse there is a label which states it is filed as no. 0337 in the artist’s archive £1,500 - 2,000* 135 Cristina Rodriguez, Columbian b.1964 ‘One, Two, Three’, 1991

134

oil on canvas, signed, titled, and dated ‘1991’ on the reverse, 122 x 61cm, (unframed) Provenance: Private collection, London Note: The artist has kindly confirmed the authenticity of this work. £200 - 300*

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136 Juarez Machado, Brazilian b.1941 Personas con Champagne, 2006 mixed technique on wove, signed, dated ‘2006’, and inscribed Paris in black ink lower right corner, 108.5 x 73.5cm Provenance: Private collection, London £300 - 500* 137 Lia Mittarakis, Brazilian 1934 - 1998 ‘Paquetá’ 1982 oil on canvas, signed, dated and titled lower left, 70 x 94cm Provenance: Christie’s, London 24 June 2011 lot 92 (the work was titled ‘Rio de Janeiro’) where purchased by the present owner. £2,000 - 3,000* 136

137

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138 Frédérique Edy, Belgian b.1967 Femme debout aux étoiles filantes bronze, height 28.5cm, (ARR) Provenance: Andreas Henn, from Andreas Henn Kunsthandel Galerie GmbH & Co., Stuttgart has kindly confirmed the authenticity of this piece. £500 - 800*

138

139 Paulette Rolland, French b.1939 ‘Jumbo en Lévitation’ serpentine stone on metal base, 22 x 32 x 32cm, (ARR) Provenance: Acquired from the artist by the present owner. Note: The artist has kindly confirmed the authenticity of this work. £1,500 - 2,000*

139 140 Brian Bradshaw, South African/British 1923-2016 Landscape in South Africa, circa 1990 oil on canvas, signed lower right, 61 x 76cm, (ARR) Provenance: The Brian Bradshaw foundation has kindly confirmed the authenticity of this work £600 - 800*

140

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141 Yannis Kottis, Greek b.1949 ‘Hedgehog’, 1988 mixed media on canvas, signed and dated, 60 x 60cm, (unframed) (ARR) Provenance: Private collection, London £800 - 1,200*

141 142 Mounto Reinhardt, French b.1972 Untitled, 2016 oil on canvas, signed, titled inscribed and dated on the reverse, 60 x 60cm, (unframed) (ARR) Provenance: Acquired directly from the artist by the present owner. Note: The artist has kindly confirmed the authenticity of the work. £1,200 - 1,800*

142 143 Alex Kremer, Israeli b.1966 Self-portrait, 2005 oil on canvas, signed; signed verso on canvas, 55 x 55cm, (unframed) Note: The artist has kindly confirmed the authenticity of this piece. £800 - 1,200*

143

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The following lots 144 to 155 are by the artist Friedemann Hahn, and come from the estate of Robert Heller. “The work of Friedemann Hahn makes its always powerful impact through multiple layers of substance and meaning. The first, forceful impression may be of substance, the paint itself. Some Hahn canvasses are rich tapestries of swirling, heavy strokes of pigment that at first no image seems to appear. But these are figurative works; and from the heavy carpet of paint the hidden image emerges, like an animal glimpsed in a thicket…” Robert Heller ‘Friedemann Hahn’, Flowers Gallery, London, 1988 p.2

144 144 Friedemann Hahn, German b.1949 ‘Jane Russell in “The Outlaw”‘, 1984 oil on canvas, signed and dated ‘84’ on the reverse, 160 x 130 cm, (unframed) (ARR) (VAT ON HAMMER PRICE) £2,500 - 3,500*

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145 145 Friedemann Hahn, German b.1949 ‘Maler Im Licht’ (Triptych), 1989 oil on canvas, each panel signed and dated ‘89’ on the reverse, 235 x 305cm, (all three panels together) (unframed) (ARR) (VAT ON HAMMER PRICE) £3,000 - 5,000*

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146 Friedemann Hahn, German b.1949 Untitled (Van Gogh), 1985 watercolour on paper, signed and dated ‘85’, 44 x 35cm, (ARR) £200 - 400*

146 147 Friedemann Hahn, German b.1949 ‘Auf See’, 1997 oil on canvas, signed and dated ‘97’ on the reverse, and indistinctively inscribed in pencil on the stretcher, 35.1 x 45.4cm, (unframed) (ARR) £300 - 500*

147 148 Friedemann Hahn, German b.1949 ‘Der Kapitan’, 2004 oil on canvas, signed and dated ‘04’ on the reverse, and inscribed in pencil on the stretcher, 60 x 60cm, (unframed) (ARR) £500 - 800*

148

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149 Friedemann Hahn, German b.1949 Untitled composition, 1993 oil on canvas, initialed and dated '93' on the reverse, inscribed in pen on the stretcher, 30 x 30cm, (unframed) (ARR) £400 - 600* 150 Friedemann Hahn, German b.1949 E.L. Kirchner mit Zigarette, 1985 oil on canvas, signed and dated ‘85’ on the reverse, 121 x 100cm, (ARR) 149

£2,000 - 3,000*

150

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151 151 Helmut Swoboda, Austrian b.1958 Untitled, 1984 acrylic on canvas, signed and dated ‘84’ lower right; signed and dated ‘84’ on the reverse, 174 x 161cm, (ARR) Provenance: Galerie-Lang, Wien; the Estate of Robert Heller Note: The artist has kindly confirmed the authenticity of the estate. £2,000 - 4,000*

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Lots 152 to 154 are by the artist Jiro Osuga and come from the Robert Heller estate. Osuga studied fine art at Central Saint Martins, Chelsea School of Arts, and the Royal College of Art. He now lives and works in London.

152

153

152 Jiro Osuga, Japanese b.1968

153 Jiro Osuga, Japanese b.1968

‘Endless Journey’, 2002

‘Reading’, 2001

acrylic and oil on MDF cube, 18 x 18 x 18cm

acrylic and oil on MDF, 10.6 x 6.2cm & 10.5 x 5.5cm hinged together, (2) (unframed)

£300 - 500*

£200 - 400*

154 Jiro Osuga, Japanese b.1968 Untitled (pigeon), 2000 oil on MDF with hinges, 25 x 25cm, (unframed) £200 - 400*

155 Yuko Shiraishi, Japanese b.1956 ‘Double Reflection’, 1989 oil on canvas, signed, titled and dated ‘1989’ on the reverse, 137 x 122cm, (unframed) Provenance: Annely Juda Fine Art, where purchased by Robert Heller; The Estate of Robert Heller. £800 - 1,200*

155

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156 Ry Rocklen, American b.1978 ‘Rock Balance’, 2007 photo, wood, metal, plaster, foam, foam coat, 104 x 30.5 x 30.5cm Provenance: Private collection, London £500 - 800*

156

Lots 157 and 158 by Sir Terry Frost were produced from a series of works in Murano. He was enthralled by the artisans he met and did not merely design these pieces, but was present and participated in their manufacture. Although these are editioned artist’s proofs no further edition was made and each work is, by the nature of being hand-blown, unique.

157 Sir Terry Frost RA, British 1915-2003 ‘Serenissimo - A tribute to Venice and the Lagoon’, 2001 hand-blown Murano glass with applied glass ‘brushstrokes’, etched title, inscribed ‘Venice’ and dated ‘2001’, AP II/III from the edition of 9 plus 3 AP, 30 x 22cm, (vase) (ARR) Note: This lot is accompanied by a certificate of authenticity from the Murano Glass Project Curator. £1,800 - 2,200*

158 Sir Terry Frost RA, British 1915-2003 ‘Serenissimo - A tribute to Venice and the Lagoon’, 2001 157

hand-blown Murano glass disc with applied glass ‘brushstrokes’ on a metal stand, signed, titled, inscribed ‘Venice’ and dated ‘ 2001’, ii/iii AP, 48cm diameter, (multiple) (ARR) Note: This lot is accompanied by a certificate of authenticity from the Murano Glass Project Curator. £1,800 - 2,200*

158

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159 Michael Rey, American b.1979 ‘O2 Copy’, 2014 oil on plasticine on panel, signed and dated ‘2014’ on the reverse, 147 x 58cm Provenance: Private collection, London £1,500 - 2,000* 160 Cynthia Poole, Zimbabwean b.1956 ‘Kit Kat Chunky VI’, 2006 acrylic on canvas, signed and dated '2006' on the salvage, 76 x 76cm Provenance: Plus One Gallery, London, where purchased by the present owner. Note: Plus One Gallery, London have confirmed the authenticity of the piece. £500 - 700* 161 Keegan McHargue, American b. 1982 'Untitled (Bouquet)', 2008 acrylic on panel, signed and dated on the reverse, 76 x 63.5cm Provenance: Galerie Emmanuel Perrotin, Paris; Max Wigram Gallery, London; Private Collection

159

Note: The artist has kindly confirmed the authenticity of the work £500 - 800*

160

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161

162 Rochelle Andrews, New Zealander b.1975 ‘Amber Orchids’ acrylic on canvas, signed lower right corner, 90 x 140cm, (unframed) Provenancee: Private commission from the artist by the present owner. Note: Together with a signed certificate of authenticity from the artist 162

£700 - 1,000*

163 Kevin Appel, American b.1967 ‘The Tutor’, 2007 oil and acrylic on canvas laid down on board, signed and dated '2007' on the reverse, 120 x 95.5cm, (unframed) Provenance: Marianne Boesky Gallery, New York; Sotheby’s, London, 21 November 2017, lot 65 where it was purchased by the present owner. Exhibited: ‘Kevin Appel- Small Paintings’, Marianne Boesky Gallery, New York, 8 September- 29 September 2007 Note: Kevin Appel’s oeuvre explores environmental, social, and psychological impact of architecture in his varied paintings since the mid-1990s. “The works of Kevin Appel occupy places within and between the practices of painting, architecture, and design…Appel uses the computer to aid in the design of the spaces and reclaims them, as he has said, through the more practical and clearly more labour-intensive process of painting. Yet within a pictorial structure based on a disorienting two-point perspective and a repetition or even replication of forms, the paintings veer from physical reality to virtual reality, at once excluding and enveloping the viewer.” (Janet Bishop, ‘010101: Art in Technological Times’, San Francisco Museum of Modern Art, 2001) £1,200 - 1,800* 163

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164 164 Marine Hugonnier, French b. 1969 ‘Etude D’enfant Par Son Oncle (ChampContrechamp), after E de Michelin’, 2007 oil on panel, 23 x 32.5cm; together with two text panels, ink on paper, each 29.5 x 21cm, (3) (ARR) Provenance: Private collection, London £200 - 300*

165 Philippe Hiquily, French 1925-2013 ‘Etude Tapa 13’, 2007 black felt tip pen over traces of pencil, signed in the center, 35 x 25.5cm, (ARR) Provenance: Collection of the artist; Artcurial, Paris, 20th March 2019, lot 294; Private collection, Paris £1,000 - 1,500*

165

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166 William Wegman, American b.1943 ‘River City’, 1990 oil and acrylic on canvas, 30.5 x 41cm Provenance: Holly Solomon Gallery, New York; Private collection, London Exhibited: London, SalamoCaro Gallery, September 1990 £700 - 900*

166

167 Wawrzyniec Tokarski, Polish b.1968 ‘Betrayer II’, 2006 acrylic on canvas, signed and dated ‘06’ on the reverse, 80 x 70cm, (unframed) (ARR) Provenance: Modern Art Inc Gallery, London where purchased by the present owner. £300 - 500*

167

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168

169

168 Ben Horns, American b. 1989

169 John Roebas, American b. 1985

‘Untitled (Daniel)’, 2014

‘Close Cover/Strike Gently’, 2012

mixed media on fabric, signed, titled and dated ‘2014’ on the reverse, 59.5 x 42cm, (unframed)

mixed media on canvas, signed, titled and dated ‘2012’ to the reverse, 92 x 76cm, (unframed)

Provenance: Private collection, London

£200 - 300*

£200 - 400*

170 John Roebas, American b. 1985 ‘Oh The Guilt, (1993)’ and ‘Puss, (1993)’, 2013 Two works, each acetone, enamel, epoxy, rubber & urethane resin on linen, signed, titled and dated ‘2013’ on the reverse, 157.5 x 122.5cm, (2)(unframed) Provenance: Private collection, London Notes: These works were sold by Levy Delval Gallery, Brussels, who have confirmed the authenticity of the works

170

£800 - 1,200*

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171 171 Cris Brodahl, Belgian b. 1963 ‘Pages’, 2007 oil on canvas, wood, black glass and mirror panels, 205 x 318cm, (made up of 15 panels) (ARR) Provenance: The Approach Gallery, London; Private collection, London Note: Cris Brodahl is an assembler of ideas and cleverley edited images. Her palette is often subtle, muted and paired down to the bare minimum. She works with photographs, film stills, interior decoration, and fragmented body parts; then like a surgeon, cuts them up, re-orders them, to create a topsy turvey surrealist world. With thanks to The Approach Gallery, London for their assistance cataloguing this lot £3,000 - 5,000*

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172 Mimmo Paladino Hon RA, Italian b.1948 ‘Senza Titolo 13’, 2008 mixed media on paper, 29 x 38cm, (ARR) Provenance: Private collection, London £2,000 - 3,000*

172

173 Mimmo Paladino Hon RA, Italian b.1948 ‘Senza Titolo 12’, 2008 mixed media on paper, 29 x 38 cm, (ARR) Provenance: Private collection, London £2,000 - 3,000*

173

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174 Helder Batista, French b.1964

176 Justin Lieberman, American b. 1977

VW Beetle, 2019

‘The Longest Drive’, 2007

mixed media suspended in resin, signed, 12 x 9cm, (ARR)

mixed media on fabric, signed and dated ‘07’ on the reverse, 91 x 81cm, (unframed)

Note: This lot is accompanied with a certificate of authenticity signed by the artist. 174

£300 - 500*

£500 - 800*

175 Helder Batista, French b.1964

177 Justin Lieberman, American b. 1977

Lego tower, 2014

‘The Mean Season’, 2007

mixed media suspended in concrete, signed and dated, 35 x 13cm, (ARR)

mixed media on canvas, signed and dated ‘07 on the reverse, 122 x 173.5cm, (unframed)

Note: This lot is accompanied with a certificate of authenticity signed by the artist.

Provenance: Private collection, London

£700 - 900*

175

Exhibition: ‘In Geneva No One Can Hear You Scream’, organised by Marc Jancou, Blondeau Fine Art Services, Geneva, 13 March - 26 April 2008 £400 - 600*

176

Provenance: Private collection, London

177

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178

178 Philippe Pasqua, French b.1965

179 Seen UA (Richard Mirando), American b.1961

180 Seen UA (Richard Mirando), American b.1961

‘Vanité aux papillions’

Untitled, 1998

resin skull, butterflies and acrylic paint, mounted on painted board, artist’s stamp printed on board, 24 x 48 x 48cm, (ARR)

spray paint on canvas, signed and dated ‘1998’ on the reverse, 76 x 60.5cm, (unframed)

spray paint on canvas, signed in pencil and numbered ‘10/10’ in red marker pen on the reverse, 50.5 x 40.3cm, (unframed)

Note: The artist’s studio has kindly confirmed the authenticity of this piece

Provenance: Planet6 Inc. New York, where purchased by the present owner. £500 - 800*

Provenance: Planet6 Inc. New York, where purchased by the present owner. £400 - 600*

£1,800 - 2,000*

179 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

180

181 181 Cesar Santander, Spanish/American b.1947 ‘Astro Scout’, 2005 acrylic and airbrush paint on canvas, laid down on board, signed, titled, dated and inscribed in black marker pen on the reverse, 122 X 91.5cm, (unframed) (ARR) Provenance: Plus One Gallery, London, where purchased by the present owner. Note: Cesar Santander was born in Spain and enjoyed his artistic training in the US. He uses photorealist techniques with nostalgic themes from 1960s tin toys to classic Crayola crayons, to create vibrant and dynamic compositions, often much larger than life. £3,000 - 5,000*

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182 182 Donald Baechler, American b. 1956 ‘Creamsicle’, 1999 acrylic and fabric collage on canvas, signed, titled and dated ‘DB99’ on the reverse, 101.5 x 101.5cm, (unframed) Provenance: Velge & Noirhomme Gallery, Brussels; Private Collection Note: Donald Baechler was a key figure in the Neo-Expressionist and Pop Art movements during the 1980s. Naïve child-like depictions of iconic items such as flowers, birds and ice cream, such as ‘Creamsicle’, are iconic for the artist. The layer and fragments built from his exhaustive archive, come together on the canvas to create what he calls an “Illusion of History”. Beachler reflected “I see them as shapes, allowing an image to become an abstraction and for pure painting to take place.” The artist’s studio have confirmed the authenticity of the work £4,000 - 6,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

183 Bruce Davidson, American b.1933 ‘Girl Holding Kitten, London’, 1960 vintage gelatin silver print, photographer’s ‘1966 Magnum’ stamp and inscribed in pencil on the reverse, 25.2 x 20.4cm, (unframed) Provenance: The estate of Alita Naughton Exhibition: ‘Another London’, Tate, London 27 July16 September 2012 (another edition) Literature: ‘Another London’, Tate Britain, London, 2012, pl. 67, p. 92 (another edition) Note: Bruce Davidson discussed the girl in the photograph: “There was a great deal of mystery to her. I didn’t know where she had come from, and I didn’t get her name, but there was something about that face - the hopefulness, positivity and openness to life - it was the new face of Britain… I still feel close to this picture. I wonder what that young girl is doing now. She must be lurking around London someplace, or she may not be alive, you never know.” (‘The Guardian, January 2007) The artist has kindly confirmed the authenticity of this work. 183

£1,000 - 1,500*

184 René Burri, Swiss 1933-2014 ‘Student Ball, Heidelberg’, circa 1960 vintage gelatin silver print, ‘Rene Burri Magnum’ stamp in black ink on the reverse, 18 x 28.5cm, (unframed) Provenance: The estate of Alita Naughton. £400 - 600* 184 185 Elliot Erwitt, American b. 1928 Mother and Child, New York City, 1953 vintage gelatin silver print, dedicated ‘For my beloved Christopher’ in blue ink in the margin lower right, 36.7 x 50cm, (unframed) Provenance: The estate of Alita Naughton. Note: The artist has kindly confirmed the authenticity of this work 185

£800 - 1,200*

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186

187

186 Wolfgang Suschitzky BSC, Austrian 1912-2016

187 John Bulmer, British b.1938

Views of London, Charing Cross Road, 1935

Young Ghanaian girl in rehearsals for visit of Queen Elizabeth II, 1977

gelatin silver print signed and dated ‘1935/1989’ lower right, 50 x 41cm; together with another gelatin silver print, signed and dated ‘1935/1989’ on the reverse, 50 x 41cm, (2) (ARR) Provenance: Private Collection, Europe; Sotheby's, London, 29 May 2007, lot 41, where purchased by the present owner

vintage gelatin silver print, Camera Press stamp, Agencia Zardoya stamp, and Ramon Sopena stamp on the reverse, 25.4 x 17cm, (unframed) (ARR) Note: The artist has kindly confirmed the authenticity of this work. £300 - 500*

£400 - 600* 188 Colin Jones, British b.1936 Upper Volta, Lougsi - The Village Beer Maker, 1979 gelatin silver print, printed later on Ilford Multigrade paper, signed and titled in pencil, with photographers’ stamp verso and photographers’ blindstamp, 40.5 x 50.5cm: together with seven further gelatin silver prints by the same photographer, printed later, on Ilford Multigrade paper, depicting Villagers in Upper Volta, Lougsi,1979, all signed and titled, with photographer’s stamp verso and photographers’ blindstamp, ea. 40.5 x 50.5cm approx., (8) (unframed) (ARR)

188

Note: Michael Hoppen Gallery, London has kindly confirmed the authenticity of these works. £800 - 1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

189 Leonid Nikolaevich Lazarev, Russian b.1937 People walking with long shadows, 1959

189

gelatin silver print on gloss paper, signed, titled in Cyrillic and dated ‘1959’ in pencil, 40 x 24.5cm: together with two further gelatin silver prints on gloss paper by the same artist, depicting- A path through the snow, and Concert pianist Marcus Zadkovereno, both signed, dated ‘1957’ & ‘1962’, and titled in Cyrillic on the reverse with photographer’s stamp, 26.2 x 40cm & 27 x 40cm, (3) (unframed) Provenance: Acquired from the studio of the artist by the present owner £700 - 900* 190 Philippe Van Wolputte, Belgian, b. 1982 ‘Looking Back While Walking Forward’, 2013 photographic collage, 175 x 117cm, (ARR) Provenance: Private collection, London Exhibition: ‘Looking Back While Walking Forward’, Palais des Beaux Arts, Brussels, 2013; Part of a larger installation for the ‘Prix de la Jeune Peinture’ in BOZAR, 2013 £600 - 800*

190

191 Steven Giué, American b.1979 ‘Untitled (Feta)’, 2005 digital C-print mounted on perspex, signed and numbered ‘1/7’ on label attached to the reverse, 81.3 x 101.6cm, (unframed) Provenance: Galeria Ramis Barquet, New York; Timothy Taylor Gallery, London; Private collection, London £400 - 600*

191

192 Ori Gersht, Israeli b.1967 'Rear Window V', 1999 cibachrome print on aluminum backing, 122 x 122cm, (unframed) Provenance; Christie's, London, 6 April 2005 lot 152, where it was purchased by the present owner £1,200 - 1,800*

192

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193 Peter Max, German/American b.1937 'Land of the Free home of the Brave II', 2005 mixed media with acrylic and colour lithography on paper, signed lower left, 59.5 x 44cm, (ARR) Provenance: Park West Gallery, Delaware, where purchased by the present owner Note: This lot is accompanied with a certificate of authenticity from Park West Gallery, Delaware. Registration no: 158046.0944 £800 - 1,200* 194 Julian Rosefeldt, German b. 1965 ‘Clown (ii)’, 2005 Lightjet print, from an edition of 4, 182 x 180cm, (ARR) Exhibition: ‘Clown’, Max Wigram Gallery, London 2006 (another edition) Literature: Cook, Xerxes. ‘The Talk of the Clown.’ Tank Magazine 7, Nr. 4. 2006, p.41 (another edition illustrated) Note: This photo comes from a video installation ‘Clown’ 2005 created by the artist. In this video a clown emerges from the impenetrable lushness of the Brazilian jungle. “His red nose contrasts with the green forest. Starting from the right-hand side, he passes through all three screens, stumbling towards us, following a streamlet, before finally disappearing back into the jungle. As often in Rosefeldt’s work, this film’s protagonist is an uncommunicative, selfabsorbed nomad: a wanderer in a world he either does not understand or - caught up in activities required by the closed circuit of his solecistic, madcap logic - wishes to ignore. As the essence of absurdity, this film work can be read as a metaphor for modern man’s alienation from nature and an epilogue to Rosefeldt’s Trilogy of Failure (2004/2005).” (Stefan Berg, Katerina Gregos and David Thorpe, ‘Julian Rosefeldt: Film Works’, 2008)

193

194

£400 - 600* 195 Marnie Weber, American b. 1959 ‘The Lamb Lies Down’, 2007 c-print collage, 100 x 105cm Provenance: Emily Tsingou Gallery, London; Private collection, London £400 - 600* 195

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

The following lots 196 to 254 come from the Galerie Natalie Boldyreff. After 31 years running the gallery, Boldyreff has decided to retire and close her gallery to devote her time to new activities in the arts. The gallery was located close to the Louvre Museum, Paris on rue Saint Honoré. Boldyreff is known for her speciality in 20th and 21st century Russian art. The gallery featured contemporary French and Eastern European artists.

196 Larissa Gousterina, Russian b.1943 ‘Composition N518’ 1992 gouache on paper, signed lower right; initialled in Cyrillic and dated ‘1992’ lower left, 30 x 20cm, (unframed) £800 - 1,200*

196

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197 Larissa Gousterina, Russian b.1943 'Composition sur noir', 1996 gouache on paper, signed and dated '96' lower right, and signed in Cyrillic initials lower left, 60 x 40cm £1,500 - 2,500*

198 Alexandre Khanine, Russian b.1955 ‘Assise’ 1999 pastel, signed, dated ‘1999’ and titled in Cyrillic on the reverse, 43.5 x 25cm, (unframed) £200 - 400*

199 Alexandre Khanine, Russian b.1955 ‘Baigneuses de nuit huile’ 1999 oil on canvas, signed lower right; signed, dated ‘1999’ and inscribed in Cyrillic on the reverse, 90 x 80cm, (unframed) £300 - 500* 197

198

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199

200 Dmitri Korjanov, Russian b.1941 Bouquet, 1995 oil on canvas, signed lower right; inscribed in Cyrillic and dated '1995' on the reverse, 74 x 54cm £200 - 400*

200 201 Victor Abramian, Russian 1938-2008 Nature Morte au pot Jaune, 1993 oil on canvas, signed lower right; signed, dated '1993' and inscribed in Cyrillic on the reverse, 75 x 80cm, (unframed) £400 - 600*

201 202 Alexandre Kharkovsky, Russian 1921-1991 ‘N-t aux vaisselles’ oil on canvas, signed lower right; inscribed in Cyrillic on the reverse, 60 x 80cm £700 - 900*

202

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203 Youri Mejirov, Russian 1933-2012 Nature morte oil on canvas, signed lower left; inscribed in Cyrillic on the reverse, 60 x 46cm £300 - 500*

204 Rostislav Vovkouchevski, Russian 1917-2000 ‘Kalas et tulipes’, 1988 oil on canvas, signed upper left corner, 92 x 81cm, (unframed) £600 - 800* 203

205 Guennadi Bernadski, Russian b.1956 ‘Nature morte d’automne’, 1996 oil on canvas, signed lower right; inscribed in Cyrillic and dated '1996' on the reverse, 80 x 70cm, (unframed) £250 - 350*

206 Natalia Plamadeala, Russian b.1954 ‘Les Roses’ oil on canvas, signed, and titled on reverse, 73 x 92cm, (unframed) £150 - 250* 204

205

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

206

207 Dmitri Oboznenko, Russian 1930-2002 ‘La Belle Endormie’, 1994 oil on canvas, signed lower right; signed, inscribed in Cyrillic and dated ‘1994’ on the reverse, 60 x 80 cm, (unframed) £300 - 500*

207 208 Boris Lavrenko, Russian 1920-2001 ‘Nu à l’éventail’ 1984 oil on canvas, signed and dated ‘84’ lower right; signed, inscribed in Cyrillic and dated ‘1984’ on the reverse, 80 x 66cm, (unframed) £300 - 500*

208 209 Boris Kuznetsov, Russian b.1936 ‘Dentelle verte’, 1993 oil on canvas, signed and dated ‘93’ lower right; signed, inscribed and dated ‘1993’ on the reverse, 70 x 70cm £300 - 500*

209

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210 Boris Kuznetsov, Russian b.1936 ‘La femme et les fleurs’, 1993 oil on canvas, signed and dated '93' lower left; inscribed in Cyrillic on the reverse, 75 x 93cm £400 - 600* 211 Guennadi Bernadski, Russian b.1956 ‘Une Coupe de vin,’ 1996 oil on canvas, signed lower left; and inscribed in Cyrillic on the reverse, 52 x 65cm £300 - 500*

210

212 Guennadi Bernadski, Russian b.1956 ‘A midi’, 1996 oil on canvas, signed lower left; inscribed in Cyrillic on the reverse, 73 x 60cm £200 - 400* 213 Nina Serguieieva, Russian 1921-2018 'Cerises', 1978 oil on canvas, initialed 'H.C' lower left; inscribed in Cyrillic on the reverse, 80 x 100cm, (unframed) £600 - 800*

211

212

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

213

214 Valentin Jmakine, Russian 1928-2007 ‘Le serveur de thé’, 1995 oil on canvas, signed lower right; signed and inscribed in Cyrillic on the reverse, 33 x 29cm £300 - 500*

214 215 Tatiana Yanovskaia, Russian b.1960 ‘Portrait de famille’, 1996 oil on canvas, signed, and dated ‘96’ lower right; dated ‘1996’ and titled in Cyrillic on the reverse, 50 x 70cm, (unframed) £150 - 250*

215 216 Tatiana Yanovskaia, Russian b.1960 ‘Histore de Moscou no. 2,3,4’, 1996 oil on canvas, three, each signed and dated '66' lower left; signed and titled in Cyrillic, dated '1996', and stamped on the reverse, each 50 x 70cm, (3) (unframed) £400 - 600*

216 217 Tatiana Yanovskaia, Russian b.1960 ‘L’Amour’, 1996 oil on canvas, signed and dated ‘96’ lower left; signed, dated ‘1996’, and titled on the reverse, 50 x 70cm, (unframed) £150 - 200*

217

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In 1978 Alexei Bazanova graduated from Saratov Art School and in 1989 from the monumental painting studio of I.E.Repin Academy of Arts in St. Petersburg. He is known for narratives about nude bathers, often wearing turbans, and scenes featuring naked figures in their ablutions became one of the artist’s favourite themes.

218 Alexei Bazanova, Russian b.1959 ‘La baigneuse au drap’, 1999 oil on canvas, signed lower right; signed, dated '1999' and inscribed in Cryllic on the reverse, 66 x 55cm, (unframed) £500 - 800*

218

219

220

219 Alexei Bazanova, Russian b.1959

220 Alexei Bazanova, Russian b.1959

‘La baigneuse à la serviette,’ 1995

‘La baigneuse à la serviette’ 1996

oil on canvas, signed with initials and dated '95' lower right; inscribed in Cyrillic on the reverse, 75 x 60cm

oil on canvas, signed with initials and dated '96' lower right; signed, dated '1996' and inscribed in Cyrillic on the reverse, 75 x 60cm

£400 - 600*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

221 Andreï Averianov, Russian b.1948 ‘Près de la fenêtre’ 1990 oil on canvas, signed and dated ‘90’ lower right; inscribed in Cyrillic on the reverse, 70 x 60cm £200 - 400*

221 222 Andreï Averianov, Russian b.1948 Sans titre, 1995 oil on canvas, signed and titled in Cyrillic on the reverse, 80 x 60cm £200 - 400*

222

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223 Andreï Averianov, Russian b.1948 ‘Boutique de chaussures’ 1995 oil on canvas, signed, titled in Cyrillic and dated ‘95’ on the reverse, 78 x 70cm £400 - 600*

223

224

225

224 Andreï Averyanov, Russian b.1948

225 Andreï Averianov, Russian b.1948

‘Maison de couture’, 1991

‘La toilette’, 1992

oil on canvas, signed and dated ‘91’ lower right; inscribed in Cyrillic and dated ‘1991’ on the reverse, 80 x 90cm, (unframed)

oil on canvas, inscribed in Cyrillic and dated '1992' on the reverse, 90 x 80cm, (unframed) £300 - 500*

£300 - 500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

226 Victor Abramian, Russian 1938-2008 ‘Musique à la datcha’ 1993 oil on canvas, signed lower right; inscribed in Cyrillic on the reverse, 71 x 90cm £600 - 800*

226 227 André Troufanov, Russian 1960-2004 ‘Poker’ oil on canvas, signed lower left; signed and titled on the reverse, 80 x 60cm £600 - 800*

227 228 André Troufanov, Russian 1960-2004 ‘Di sera’ oil on canvas, signed lower left; signed and titled in Cyrillic on the reverse on the reverse, 40 x 45cm £600 - 800*

228 229 Lubov Bazanova, Russian b.1957 ‘Les chevaux’, 1997 oil on canvas, signed and dated ‘97’ lower left; inscribed in Cyrillic on the reverse, 60 x 85cm £300 - 500*

229

100

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230 Alexandre Maslak, Russian b.1958

233 Alexandre Maslak, Russian b.1958

‘Les papillons’, 1998

‘Nature morte au violon et à la flûte’, 1998

oil on canvas, signed lower right; signed, dated '1998' and inscribed in Cyrillic on the reverse, 24 x 33cm

oil on canvas, signed upper centre; inscribed in Cyrillic on the reverse, 60 x 73cm

£100 - 150*

£300 - 500*

231 Alexandre Maslak, Russian b.1958

234 Alexandre Maslak, Russian b.1958

‘Nature morte aux cartes’ 1998

‘Nature morte à la cassette’, 1998

oil on canvas, signed lower center; signed, dated '1998' and titled in Cyrillic on the reverse, 50 x 40cm £200 - 300*

230

oil on canvas, signed and dated '1998' lower center; indistinctly inscribed on the reverse, 40 x 50cm £200 - 300*

232 Alexandre Maslak, Russian b.1958

231

‘Diane’ 1997 oil on canvas, signed lower right, dated ‘31.08.1997’ lower left; inscribed in Cyrillic and dated ‘1997’ on the reverse, 61 x 50cm £250 - 350*

232

233

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

234

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235

237

236

235 Lev Diakonitsine, Russian b.1931

237 Vladimir Feoktistov, Russian b.1948

239 Alanne Cyrille, Russian b.1974

‘Bar de jour’, 1993

‘Scène n4’

‘Paris’, 1999

oil on canvas, signed with initials lower right; inscribed in Cyrillic and dated '1993' on the reverse, 70 x 50cm, (unframed)

watercolour on paper, inscribed in Cyrillic on the reverse, 67 x 50cm, (unframed)

brush and black ink, watercolour and gouache on paper, signed and dated '99' lower left, 65 x 39cm, (unframed)

£300 - 500* 236 Natalia Kornilova, Russian b.1952

£400 - 600* 238 Alanne Cyrille, Russian b.1974

‘Marché’ 1983

'L'escalier vers le ciel, Paris', 1999

gouache on paper, 70 x 52cm, (unframed)

mixed technique on paper, signed lower right, 62 x 44cm

£200 - 400*

£200 - 400* 240 Youri Lukchine, Russian b.1949 Deux Amis, 1984 watercolour, pastel and ink on paper, signed and dated '84' lower left, 38 x 34cm: together with an untitled work in mixed media on paper by the same artist, signed lower right and dated '85', 52 x 38cm, (2) £200 - 400*

238

102

239

240

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241 Valentin Blinov, Russian b.1944 ‘Le perroquet’, 2000 mixed technique on card, signed and dated ‘2000’ lower left, 36 x 50cm, (unframed) £300 - 500*

241 242 Valentin Blinov, Russian b.1944 ‘La fête à Paris’, 2000 mixed media on card, signed and dated ‘2000’ lower right, 58 x 48cm, (unframed) £400 - 600*

242 243 Valentin Blinov, Russian b.1944 ‘Le joueur d’orgue’, 2000 mixed media on card, signed and dated '2000' both lower left and lower right; inscribed in Cyrillic on the reverse, 36.5 x 36.5cm, (unframed) £250 - 350*

243

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103

244

245 244 Vladimir Vanine, Russian b.1953 ‘Diodon’, 1999 silver ink on paper, signed in initials and dated ‘99’ lower right, 15.5 x 15.5cm £150 - 250*

245 Vladimir Vanine, Russian b.1953 ‘Adaptation n°1’, 1999 silver ink and pencil on paper, signed with initials and dated lower right, 22.5 x 16cm, (unframed, mounted) £200 - 400*

246

246 Vladimir Vanine, Russian b.1953 ‘Diodon’ 1999 ink and helium on paper, signed with initials and dated '99' lower right, 20.5 x 20.5cm, (unframed) £200 - 400*

104

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247 Alexandre Vassiliev, Russian b.1950 ‘Simbad’ and ‘La Reine de Shemaka’, 1994 watercolours with traces of pencil on collage, two, both signed and dated ‘1994’ lower left, each 52 x 57cm, (2) (unframed) £200 - 400*

247 248 Gladys Marcotulli, Spanish late 20th century/21st century ‘Los Lenqyales del Continente,’ 1991 mixed media on hand-crafted paper, signed and dated ‘91’ lower right, also signed, titled and dated ‘1991’ on the reverse, 56 x 36cm; together with two other mixed media on hand-crafted paper by the same artist, ‘Cantos en el Continente’ and ‘Huellas en el Continente’, both signed and dated ‘91’ lower right, both, 56 x 36cm, (3) (unframed) (ARR) £200 - 300*

248 249 J. M. Doron, French, late 20th/early 21st century 'Composition en Rose' and 'Etna III', 1992 acrylic on paper, two, each signed and dated '92' lower left, each 24 x 23cm, (2) (unframed) (ARR) £200 - 400* 249

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

105

250

251

250 Michel Politzer, Russian b.1933

252 Alexandre Boutenko, Russian b. 1954

'Cap Tourmenté' 1989 and 'Falis', 1989

'Une couronne pour les héros', 1995

oils on spiral bound board, two, each signed lower left and dated '89' and '90' respectively, each 122 x 82cm, (2) (unframed)

oil on canvas, signed lower right; signed, inscribed in Cyrillic, and dated '1995' on the reverse, 70 x 50cm: together with one work other oil on canvas by the same artist entitled 'Question de Croissance', signed and dated '95' lower right; inscribed in Cyrillic on the reverse, 100 x 78cm, (2)

£300 - 500*

251 Alexandre Boutenko, Russian b.1954

253 Konstantin Altunin, Russian b.1967

'Aïkido' 1994 oil on canvas, signed and dated '94' lower right; signed, dated '1994' and titled in Cyrillic on the reverse, 80 x 75cm £150 - 250*

‘Femme se coiffe’, 2007 mixed media collage on canvas, signed and dated ‘07’ lower right; signed, dated ‘07’ and inscribed in Cyrillic on the reverse, 92 x 60cm, (unframed) £200 - 300*

252

106

253

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A photograph of lot 254 when it was exhibited at the gallery 254 Paprikka, Russian b.1984 ‘Passage à l’âge adulte’, 2011 mixed technique on canvas, signed lower right; signed and titled on reverse, 100 x 100cm, (unframed) 254

£200 - 400*

255 255 Verodalla (Véronique Anne Chabroll), French b.1970 'LivenLuLu' series, 2011 four works, each mineral paste and acrylic, each signed and numbered '1/1', maximum 27 x 13 x 4cm, (4) (ARR) Note: Each work is accompanied with a certificate of the authenticity from the artist. £300 - 500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

107

INDEX OF ARTISTS A Abramian, Victor 201, 226 Aeschbacher, Arthur 97 Altunin, Konstantin 253 André, Gaston 62 Andrews, Rochelle 162 Appel, Kevin 163 Araújo, Iaponi 134 Archipenko, Alexander 25 Augsbourg, Géa (Geo) 37 Averianov, Andreï 221, 222, 223, 224, 225 B Baechler, Donald 182 Batista, Helder 174, 175 Bazanova, Alexei 218, 219, 220 Bazanova, Lubov 229 Bédard, Jean-Claude 39 Berman, Eugene 83 Bernadski, Guennadi 205, 211, 212 Bezançon, Guy 110 Bissière, Roger 24 Blackman, Charles OBE 115 Blinov, Valentin 241, 242, 243, 244, 245, 246 Boice, Bruce 125 Bortnyik, Sándor 13 Bourdelle, Émile-Antoine 1, 2 Boutenko, Alexandre 251, 252 Boyd, David 114 Bradshaw, Brian 140 Brodahl, Cris 171 Bulmer, John 187 Burri, René 184 C Campuzano, Ricardo Gomez 3 Celiberti, Giorgio 61 Charlton, Gene (Eugene Charlton Rafalsky) 81 Conte, Michelangelo 94 Craemer, Kurt 84 Crooke, Ray Austin 113 Cyrille, Alanne 238, 239 Czóbel, Béla 20 D Davidson, Bruce Delmotte, Marcel Diakonitsine, Lev Doron, J. M. Dreulle,François Dufy, Raoul Dyf, Marcel

183 67, 68, 69, 70 235 249 90, 91 28, 29, 30, 31 56

E Edy, Frédérique 138 Emptage, Arthur 36 Engelen, Louis van 4 Enwonwu, Benedict Chukwukadibia 64, 65, 66 Erró (Guðmundur Guðmundsson) 104 Erwitt, Elliot 185 F Feibusch, Hans Feoktistov, Vladimir Fesenmaier, Helene Fournials, Jeanne-Marguerite Frankfurter, Jack Fried, Pál Friling, Jack (Tandberg) Frost RA, Sir Terry Fuchs, Fredrich J.

40 237 121 58 87, 88 17 100 157, 158 85

G Gabriel, Jacques Gaïtis, Yannis Gaudefroy, Maurice-Henri Gersht, Ori Giué Steven Goth, Imre Gousterina, Larissa Grisot, Pierre Guevara, Alvaro

82 96 33, 34 192 191 118 196, 197 55 12

H Hahn, Friedemann

144, 145, 146, 147, 148, 149, 150 Halicka, Alice (Alicja Halicka) 26, 27 Hanson, Joseph Mellor 38 Hiquily, Philippe 165 Horns, Ben 168 Hugonnier, Marine 164 J Jmakine, Valentin Jones, Colin

214 188

K Kádár, Béla 41 Kahn, Erich 42, 43, 44 Kalkhof, Peter 127 Kapell, Paul 18 Khanine, Alexandre 198, 199 Kharkovsky, Alexandre 202 Kibel, Wolf 16 Knapp, Stefan 128 Koehler, Henry 80 Kolář, Jiří 71, 72, 73, 74, 75, 76, 77, 78, 79 Korjanov, Dmitri 200 Kornilova, Natalia 236 Kottis, Yannis 141 Kremer, Alex 143 L Lanceley, Colin Lavrenko, Boris Lazarev, Leonid Nikolaevich Lieberman, Justin Lock, Freida Lozano, Margarita Lukchine, Youri

93 208, 209, 210 189 176, 177 63 133 240

M Machado, Juarez 136 Marcotulli, Gladys 248 Marevna (Marie Vorobieff) 117 Maslak, Alexandre 230, 231, 232, 233, 234 Masson, André 106 Max, Peter 193 McHargue, Keegan 161 Mejirov, Youri 203 Menkes, Zygmunt Sigmond 19 Michaeledes, Michael 123 Middleton, Sam 89 Mittarakis, Lia 137 Mompó, Manuel Hernández 92 Mützner, Samuel 5 N Neergaard, Jesper 98 Nery, Wega 120 Nessler, Walter 46, 47, 48, 49, 50, 51, 52, 53 Nolan , Sir Sidney OM AC RA 112 Novelli, Gastone 109 Novillo, Cirilo Martínez 119

0 Oboznenko, Dmitri Osuga, Jiro Owen, Robert

207 152, 153, 154 122

P Paladino Hon RA, Mimmo 172, 173 Pantazis, Périclès 6, 7, 8 Paprikka 254 Parent, Roger 11 Pasqua, Philippe 178 Penalba, Alicia Perez 130, 131, 132 Pissarro, Georges Henri Manzana 21, 22, 23 Plamadeala, Natalia 206 Politzer, Michel 250 Poole, Cynthia 160 Pré, Maurice 129 Prévert, Jacques 105 R Raymond, Marie Reinhardt, Mounto Rey, Michael Rocklen, Ry Rodriguez, Cristina Roebas, John Roeckenschuss, Christian Rolland, Paulette Rosefeldt, Julian Ryklin, Vladimir

32 142 159 156 135 169, 170 126 139 194 116

S Santander, Cesar 181 Seen UA (Richard Mirando) 179, 180 Serguieieva, Nina 213 Shiraishi, Yuko 155 Sidaner, Henri Eugène Augustin Le 9 Sieffert, Paul 54 Signovert, Jean 35 Sironi, Mario 14 Sornum, Børge 101, 102, 103 Souverbie, Jean 111 Stern, Max 10 Sumner, Maud Frances Eyston 57 Suschitzky BSC, Wolfgang 186 Svendsen, Bernhard 99 Swoboda, Helmut 151 T Takis, Panayiotis Vassilakis Teramatsu, Kunitaro Tokarski, Wawrzyniec Troufanov, André Tsarouchis, Yannis

124 15 167 227, 228 108

V Vassiliev, Alexandre Vermeille, Patrice Verodalla (Véronique Anne Chabroll) Vovkouchevski, Rostislav

247 107 255 204

W Weber, Marnie Wegman, William Weschke, Karl Wiles, Walter Gilbert Williams, Aubrey Witkin, Jerome Paul Wolputte, Philippe Van

195 166 45 60 95 86 190

Y Yanovskaia, Tatiana Z Zanutto, Renzo

215, 216, 217

Inviting Consignments MODERN & CONTEMPORARY BRITISH ART TUESDAY 11 FEBRUARY 2020

Boyd & Evans, British b. 1944/1945-Shelter, 1986;acrylic on canvas Sold for Â£5,000 *plus bp

For further information or a complimentary valuation please contact Helena Anderson | helenaanderson@roseberys.co.uk +44 (0)20 8761 2522 | www.roseberys.co.uk

EXPLANATION OF CATALOGUING TERMS Any statement as to authorship, attribution, origin, date, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. Roseberys reserve the right, in forming their opinion, to consult and rely upon an expert or authority considered by them to be reliable. 1.

‘Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by the artist.

‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.

‘Studio of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

‘Circle of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style and during the period of the artist’s life.

‘Follower of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary.

‘School of Peter Paul Rubens, Flemish 17th century’ * In our opinion, a work executed during this period and in the style associated with that artist.

‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.

‘Manner of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution.

‘Style of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

10.

‘After Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a copy by an unidentified artist of a named work by the artist.

11.

A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12.

The terms ‘signed’, ‘dated’, ‘inscribed’ means that in our opinion these are by the artist’s hand.

13.

The terms ‘bears signature’, ‘bears date’, ‘bears inscription’ means that in our opinion that these have been added by another hand other than the artist.

14.

All references to signature, inscriptions and dates refer to the present state of the work.

15.

Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16.

All pictures are framed, unless otherwise stated in the catalogue.

17.

Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional. It applies to lots with a hammer value over €1,000 as follows: 0 to €50,000 - 4% €50,001 to €200,000 - 3% €200,001 to €350,000 - 1% €350,001 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500. Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.

Lot 197

SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Bill Forrest Associate Director Head of Department Asian Arts billforrest@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts fionabaker@roseberys.co.uk Mark Bowis FGA DGA FSA Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Sophie Hetherton Junior Cataloguer & Departmental Assistant Paintings & Prints sophiehetherton@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD

Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk

Complimentary valuations Monday to Friday: 9.30am to 5.00pm

Tess Oâ&#x20AC;&#x2122;Brien Specialist Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk

+44 (0)20 8761 2522 clientservices@roseberys.co.uk

Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk

Central London OfďŹ ce Valuations by appointment.

Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Elizabeth Wormald Cataloguing Assistant & Administrator Prints & Multiples / Japanese Arts elizabethwormald@roseberys.co.uk

Lot 130

Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk

Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk Geoff Young FGA DGA Senior Consultant Jewellery geoffyoung@roseberys.co.uk

TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London. 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%. 3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken. 4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold. Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing. 5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate. 7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it. 11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges. 12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate. 5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax. 6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank. 7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician. 9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. 11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website. These bids are executed via the RoseberysLive software and there is no surcharge. 13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website. 14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment. 15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1.

Definitions

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

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3.

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

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position). 6.

Payment

(1) (a) (b)

Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us. Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(2)

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction. A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction. Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid. 8. (1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system. By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

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

13.

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

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 â&#x20AC;&#x153;information to buyersâ&#x20AC;?. Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term. Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. 16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement. We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system. General 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable. 19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting. 21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 23. English law applies to the interpretation of these Conditions. These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS:

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SUBSCRIPTION OPTIONS Auction Title

Number of auctions annually

Cost of annual Subscription including UK postage

Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

£25

£30

£35

Fine & Decorative

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

£37.50

£45

£52.50

Jewellery & Watches

£37.50

£45

£52.50

Modern & Contemporary British Art

£25

£30

£35

Modern & Contemporary Prints

£25

£30

£35

Print & Multiples

£25

£30

£35

Old Master, 18th & 19th Century Pictures

£37.50

£45

£52.50

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Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613. I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate). Signed:

Date:

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS:

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BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts. Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy. I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I conﬁrm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

AUCTION CALENDAR 2019/2020 December 2019

February

Urban & Contemporary Art in association with Artsy Monday 18 November â&#x20AC;&#x201C; Monday 2 December

Modern & Contemporary British Art Tuesday 11 February

Impressionist, Modern, Post War & Contemporary Art Wednesday 4 December

Design: Decorative Arts 1860 to the present day Tuesday 3 March

Fine & Decorative Thursday 5 December

Jewellery & Watches Tuesday 24 March

January 2020

Old Master, 18th & 19th Century Pictures Wednesday 25 March

Traditional & Modern Home Saturday 25 January

March

Fine & Decorative Thursday 26 March

70/76 Knights Hill, London SE27 0JD +44 (0)20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk