MODERN MADE: Modern British & Post-War Art, Design & Studio Ceramics

28TH & 29TH OCTOBER 2021 LONDON

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THURSDAY 28 OCTOBER 2021 AT 6PM

FRIDAY 29 OCTOBER 2021 AT 10AM Sale Number LT664 Sale Number LT650

BIDDING AT THIS SALE

Front cover: Lot 55 [detail) Inside front cover: Lot 200 Left: Wilhelmina Barns-Graham at

Porthmeor Studios, St Ives

In-room bidding will be available for this auction.

Limited spaces available, booking essential. Please book at www.lyonandturnbull.com/ appointment-bookings Online, telephone and commission bidding are available - please see the guide to bidding on page 240.

Mall Galleries The Mall LONDON SW1

VIEWING Tuesday 26th October 4pm - 8pm Wednesday 27th October 10am - 5pm Thursday 28th October 10am - 5pm Friday 29th October 9am - 10am

CONTACT LONDON +44 (0) 207 930 9115 EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com

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BUYER'S GUIDE

This sale is subject to our Standard Conditions of Sale (available at the back of every catalogue and on our website). If you have not bought with us before we will be delighted to help you.

BUYER’S PREMIUM

We may, at our option, also ask you to provide a bank reference and/ or deposit.

COLLECTION & STORAGE OF PURCHASED LOTS

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Post sale, clients will be able to collect from The Mall Galleries on Friday 30th October: (Wilhelmina Barns-Graham Collection only) from 10am–5pm. Saturday 31st October: (Wilhelmina Barns-Graham Collection & Modern Made) from 10am-4pm.

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

25% up to £300,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT †V AT at the standard rate payable on the hammer price ‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

REGISTRATION All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration: 1– G overnment issued photo ID (Passport/Driving licence) 2– P roof of address (utility bill/bank statement).

BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell.

Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites

Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice.

Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.

After that time the works will be divided, with works belonging to Scottish buyers/ vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or restof-UK buyers/vendors moving to Stephen Stephen Morris Shipping PLC, Unit 15 Ockham Drive, Greenford Park, Greenford, Middlesex UB6 0FD. Telephone +44 (0) 20 8832 2222.

Open 9am-5pm by prior appointment only.

FOR INTERNATIONAL & UK OUTSIDE SCOTLAND CLIENTS Items will be available to collect by appointment from Wednesday 3rd November from Stephen Morris Shipping PLC (address above). Items will be stored free of charge until Sunday 14th November. From Monday 15th November, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or Furniture pieces - £5.50 admin fee then £2.50 per day.

FOR CLIENTS IN SCOTLAND Scottish buyers and vendors items will be available to collect from Monday 15th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book by telephone on 0131 557 8844.

Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice.

Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.

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MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Philip Smith Head of Sale philip.smith@lyonandturnbull.com

Charlotte Riordan Paintings & Prints charlotte.riordan@lyonandturnbull.com

Carly Shearer Paintings & Prints carly.shearer@lyonandturnbull.com

Alice Strang Paintings & Prints alice.strang@lyonandturnbull.com

Joy McCall Design joy.mccall@lyonandturnbull.com

John Mackie Design john.mackie@lyonandturnbull.com

Matthew Yeats Sale Administrator matthew.yeats@lyonandturnbull.com

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“I RARELY DRAW WHAT I SEE. I DRAW WHAT I FEEL IN MY BODY.”

BARBARA HEPWORTH, 1966

We are excited and delighted to present to the market the

At the centre of this edition are works that capture the story of St.

Wilhelmina Barns-Graham Collection alongside the fifth edition of

Ives and its growing influence on the wider art scene, encapsulating

our flagship Modern Made sale at the Mall Galleries in London this

a moment in time when the British avant-garde was grappling with

October.

the traumas of the Second World War and its aftermath. Including

Viewed together the works of art in both collections are a true testament to the vitality of the British Art scene in the mid to late 20th Century, and the international influences seeping in from around the world. Featuring paintings, sculpture, prints, design and studio and contemporary ceramics, by some of the century’s most celebrated artists and makers, they capture the essence of creativity and excitement that abounded in the art world during those years.

many works never before seen on the market by the likes of Barbara Hepworth, Alfred Wallis, John Wells, Terry Frost, Paul Feiler, Robert Adams, Denis Mitchell, Bernard Leach, Janet Leach and Breon O’Casey, they tell the story of a rich cultural history and the focus of landscape and abstraction emanating from the small fishing village in Cornwall.

Works by Pierre Paulin, the Memphis Group, Tom Dixon and Gio Ponti highlight the diversity and innovation in design practices during the period, and pieces by an array of artists including Helen Bradley, Barry Flanagan, Ivon Hitchens, Boaz Vaadia, Mary Fedden, Takis, Petra Cortright and Peter Collingwood are not to be missed.

Overall we hope the exhibition and auctions are intriguing, whatever your budget or taste, and we believe that presented together these works provide a captivating and thought-provoking insight into the dynamism of British and International Art in the pre and post war years.

PHILIP SMITH | October 2021

THE WILHELMINA BARNS-GRAHAM COLLECTION THURSDAY 28 OCTOBER at 6PM Lots 1-72

Left: Lot 380

MODERN MADE FRIDAY 29 OCTOBER at 10AM Lots 73-389

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In 1987 Scottish and St Ives-based artist Wilhelmina

Over 50 of Barns-Graham’s much admired screenprints have

Barns-Graham, CBE (1912-2004), legally established her

also been given to public galleries, educational institutions

Trust, though it only became fully active in the wake of her

and especially healthcare providers, where their bold designs

death at 91 in 2004. Through exhibitions, publications,

and bright colours have been particularly welcomed.

online resources and an active gifting programme to public museums and galleries, it aims broaden the understanding and reputation of her work and to promote it to as wide an audience as possible. The Trust’s responsible custodianship of works of art by Barns-Graham, alongside her library, archive and photographic records allows unique access to the life and work of one of Britain’s most significant 20th-century artists. In accordance with Barns-Graham’s wishes, the Trust actively supports individuals to fulfil their potential in the visual arts by providing financial support in education, through a portfolio of bursaries at art colleges and universities across the UK, funding artists’ residencies via

Since moving to new premises in Edinburgh in 2017, the Trust has begun new programmes of conservation and photography of the Barns-Graham art collection, with the linked aims of protecting its long-term future, making more works available for loans and exhibitions and ensuring as much of the collection as possible is accessible online.

Cataloguing and digitisation of the historic photographic collection, which records both Barns-Graham’s life and individual works from the 1930s until her death in 2004, is revealing new information and a greater understanding of her practice and achievements over a long career.

partnerships in both Cornwall and Scotland and sponsoring

The Trust has ambitions to continue and extend its financial

specific projects relevant to the Trust’s aims.

support for artists, which was so central to Barns-Graham’s

Since 2006, the Wilhelmina Barns-Graham Trust has given funds totalling £400,000 to individuals and institutions.

Funding for summer schools in Fife and St Ives and a £25,000 contribution to Tate St Ives’ re-opening education programme has been aimed at the younger generation, while

wishes. Care of and increasing accessibility to both the art and archive collections through publications, exhibitions and web-based resources is of critical importance, as is increasing physical access to the collections at the Trust’s Edinburgh base.

bursaries in higher education support travel abroad and

In order to help achieve these ambitions, the Trust has

provide financial assistance to enable fine art students to

decided to sell works from Barns-Graham’s private collection

complete their studies successfully. Working closely with the

of paintings, drawings, prints, sculptures, ceramics and

Royal Scottish Academy in Edinburgh and Porthmeor Studios

jewellery by artists other than herself. Many of the pieces

in St Ives, the Trust supports residencies for more established

are by artist friends closely associated with St Ives, where

artists, encouraging career development and new ways of

between 1940 and 2004 Barns-Graham spent much of her

thinking and working.

working life. Discussed further in Lynne Green’s excellent

Over the last 14 years, the Trust has donated Barns-Graham artworks valued at over £0.75 million to a wide range of public institutions. This includes major gifts of original works to Tate, National Galleries of Scotland, Pallant House Gallery, Hepworth Wakefield, Leeds Art Gallery, Pier Arts Centre, Aberdeen Art Gallery and Abbot Hall, Kendal.

catalogue essay, this group of works well represents the network of relationships that existed within the artistic community working within a very small and distinct geographical area in the immediate post-war period.

Rob Airey | Director | Wilhelmina Barns-Graham Trust

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Right: A Meeting of the Crypt Group 1947.

Left to right: Peter Lanyon, Bryan Wynter (hidden), Sven Berlin, Wilhelmina Barns-Graham, John Wells and Guido Morris.

WILHELMINA BARNS-GRAHAM

BY LYNNE GREEN The painter Wilhelmina Barns-Graham (1912-2004) worked

In the 1960s Barns-Graham inherited Balmungo, a small

for most of her long life at the heart of the modernist

estate outside St Andrews in Fife. Despite it being some

movement in St Ives. Yet the formative importance of

700 miles from St Ives, she chose to split her time between

her Scottish roots, and the rigorous formal training (rare

the two. This arrangement allowed her to re-establish links

among her artist colleagues) taught by members of staff at

with her native Scotland and its cultural life (though she had

Edinburgh College of Art, made her the artist she became.

never stopped exhibiting there). In the years that followed,

Barns-Graham (known to all as ‘Willie’) was a consummate

she moved between two studios, current work travelling

draftswoman and an intensely subtle and inventive colourist.

with her. The tranquillity of Balmungo in its woodland

Engaged as she was by, at times extreme, abstract responses

setting provided respite from the intensity of the St Ives

to the world and her experience in it, she was recognised

artistic community (by then internationally famous), as well

as one of the few artists of her generation to embrace

as alternative sources of inspiration. In this place of refuge

constructivist abstraction. In a process of intensification

Barns-Graham formed a loyal and close-knit group of friends.

and distillation, abstract compositions became meditations

Most significantly, by the early 1970s she was no-longer

on the geometries, textures and colours of the observed

managing her life and career alone. The two having met in St

world. No less powerful are the sequences in which she

Ives, Rowan James (subsequently based in Balmungo), was to

turned her attention to the human condition and the

become Willie’s secretary, manager and companion. As Willie

capacity of her visual language (of repeated forms and subtle

grew older and bouts of illness increased, this relationship

changes of hue), to express fundamental emotions. She

became crucial in her ability to continue to work. In these last

continued, however, throughout her career, to refresh her

years, Barns-Graham talked of her sense of ‘letting go’ as an

eye in drawing and painting from life. Representation and

artist, of a new freedom prompted in part, by there being no

abstraction were, for her, different points of reference in a

one left to please, no constraints of expectation or criticism

continuum.

within which to work. Almost all her contemporaries, the

In 1940 Barns-Graham left Edinburgh for St Ives, in the wake of a small group of Modernist artists escaping from London and imminent war. The art of this band of friends was already known to her, having seen their work in exhibition and been encouraged in her choice of St Ives by her College Principal Hubert Wellington who was acquainted with them. Wellington believed Barns-Graham would find in Cornwall and specifically in the company of the Modernists, a warm welcome and a conducive environment in which to blossom as an artist – and he was right. Upon arrival, she quickly met and was drawn into the circle of Ben Nicholson, Barbara Hepworth, Naum Gabo, and later Bernard Leach, as well as local figures such as Alfred Wallis. While this formidable group of painters, sculptors and potters certainly had a profound effect on the 27-year-old Scot, she did not arrive entirely unprepared. Her origins, training, and new life in Cornwall, combined to provide the inspiration and structure for her own career.

friends and artists with whom she had lived in such close proximity for so long, were gone. With a growing urgency and a new-found energy and economy of mark-making, BarnsGraham created a sequence of pared back, breathtakingly beautiful works on canvas. It was in these years too, that the most influential and inspirational creative partnership of Barns-Graham’s career was established. Her collaboration, with Carol Robertson and Robert Adam of Graal Press, (based near Edinburgh) began in 1998, the year of their founding, and continued until her death. Their pioneering use of water-based inks brought the silkscreen process closer to Barns-Graham’s studio practice, resulting in some of the most ravishingly beautiful images of her career. When she died aged 91, she was at work on a new sequence of prints.

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THE WILHELMINA BARNS-GRAHAM COLLECTION Given her long-established position at the heart of

Just behind her, incongruous but holding its own, hangs Allan

succeeding generations of St Ives artists, Barns-Graham’s

Ramsay’s portrait of his wife Anne Bayne, of c.1739, (now in

collection is relatively modest and select, acquired largely

the Scottish National Portrait Gallery).

from within her own circle. She seldom acquired beyond that, only occasionally purchasing from young artists whom she wished to support. That personal motivation continues today in the work of the Wilhelmina Barns-Graham Trust, that she herself established in 1987. Its work embodies her belief in the crucial importance of support for art students and recent graduates: something she herself benefitted from. It was a Travel Scholarship (restricted by the outbreak of war) that enabled her to settle in St Ives.

The Wilhelmina Barns-Graham Collection presented here, was assembled almost entirely through professional and personal relationships. Willie purchased works (and indeed sold works on) or was gifted them, sometimes by the artist in question, whilst others she received as gifts from third parties. Although there is little clear evidence, from our conversations I believe, as with so many other artists, she also acquired and gave works through direct exchange. In some rare but identifiable cases the acquisition sparked

The motivation behind the acquisition of Barns-Graham’s

an idea that Barns-Graham made her own. It may well be

collection is then, comparatively specific and personal,

that this openness to influence was reciprocal. She left in

perhaps even domestic. This despite it including many of the

some cases a written reference to her seeing these works

senior artists crucial to the history of pre and post-Second

as forming ‘a collection’ and notes too of specific purchases

World War British art, contributing as they did, to its stature

and gifts. There is at least one record of a purchase, the oil by

and international prestige. By ‘domestic’ I mean no criticism,

Agnes Drey, (a neighbour in the Porthmeor Studios during

rather that this collection seems to me to be almost entirely

the 1950s) being added to Barns-Graham’s ‘Point of View

assembled through affection and admiration. That is, through

Collection’. But otherwise her acquisitions have little to

relationship and connection. In no small way, it therefore

indicate in what circumstances, or when she acquired them.

provides insight into the significant figures, influencers and

Arguably the interest to an art historian like myself is what

close friends of Wilhelmina Barns-Graham’s life.

the collection reveals of her relationships to the artists and

I have known artists who live only with their own work, and

makers represented.

also those who prefer to surround themselves with the art

Every work of art in Willie’s collection is individual and

of others. Barns-Graham struck more of a balance, there

personal, because they map her friendships, and reveal the

was always a selection of her work alongside items from

people that meant most to her as a woman and as an artist

this collection in her St Ives studio-home. Directly on the

of the first rank. Collectively they throw light on Barns-

beach, simple and modern, Barnaloft Piazza Studios were

Graham herself and on those fellow artists she knew well and

custom-built apartments, completed in 1963. Willie chose

admired. In their different ways, almost all those represented

No.1, a three-storey end of row property, with two working

in her collection, played a significant (sometimes profound)

studios (for drawing and painting respectively) not far

role in Barns-Graham’s story. What follows is a small number

from her first St Ives studio, at 1 Porthmeor Studios. Both

of ‘stories’, indicating what can be drawn from individual

Barbara Hepworth and Bernard Leach bought studios in the

works Willie acquired. Some of the artists and their works

complex and thus became close neighbours. Barns-Graham

were crucial to Willie’s life or career and the time has come to

herself occupied Barnaloft for the rest of her life. While it

tell these stories.

offered a contemporary setting for her own work and that of others, her Scottish home-studio, Balmungo, had a strong personality and character of its own. It being an inherited family house, the works displayed there were more diverse.

Willie’s own work predominated, but some family heirlooms did provide a strong visual note. A striking photograph in the Barns-Graham Trust archive, shows the artist sitting in the original imposing dining room, surrounded by her own work.

Lynne Green, author of W. Barns-Graham: a studio life, Lund Humphries, London, 2011, and Trustee of the Wilhelmina Barns-Graham Trust.

Right: Wilhelmina Barns-Graham sits in the dining room of Balmungo, 1982. To her left hangs Allan Ramsay’s portrait of his wife Anne Bayne.

Photo © Antonia Reeve

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1§ PATRICK HAYMAN (BRITISH 1915-1988) FAMILY SEASIDE, 1982 signed (lower left), titled, dated and inscribed ‘Purchased 1984 from artist by W BarnsGraham’ (to reverse), oil on board 25.5cm x 30.5cm (10in x 12in) Provenance: Purchased directly from the artist

by Wilhelmina Barns-Graham in 1984.

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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2§ MARY JEWELS (BRITISH 1886-1997) THE GATHERING STORM signed (lower right), titled (to reverse), oil on canvas 40.5cm x 51cm (16in x 20in), unframed

£500-700

3§ DAVY BROWN (BRITISH 1950-) TWO ROCKS, 1992 signed and dated (lower right), oil on board 22.25cm x 15cm (8.75in x 6in) Provenance: A gift from the artist to BarnsGraham on 3 July 1992.

£500-700

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4§ AGNES DREY (BRITISH 1890-1957) WOMAN WITH SHOPPING BASKET signed (lower right), oil on canvas 75cm x 49.5cm (29.5in x 19.5in) Provenance: Wilhelmina Barns-Graham noted in her diary: “15 Sept 1988 WBG bid at auction in Lanes, Penzance for Agnes Drey painting Woman with a Shopping basket £557-50 30x20 inches; Added to her ‘Point of View’ Collection” Note: Agnes Drey worked in Studio 2 (next door to WBG) at Porthmeor Studios in the 1950s.

£500-700

5 DAVID LEWIS (SOUTH AFRICAN 1922-2020) TWO BIRDS, RAINCLOUD AND MOON, 1990 initialled and dated (lower left), inscribed (to reverse), gouache on paper 23.5cm x 14.5cm (9.25in x 5.7in) Provenance: Probably given by the artist to BarnsGraham in 1991.

Note: Wilhelmina Barns-Graham married David Lewis in 1949, with Peter Lanyon acting as Best Man; the marriage was annulled in 1963.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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6§ ROSE HILTON (BRITISH 1931-2019) YOUNG BOY, 1972 signed ‘Phipps’ (artist’s maiden name), titled and dated (to reverse), oil on wooden cabinet door panel with keyhole lock 25.5cm x 17cm (10in x 6.75in) Provenance: In Barns-Graham’s notes about her collection she states she purchased a wood panel of a boy by Rose Hilton.

£500-700

7 DAVID LEWIS (SOUTH AFRICAN 1922-2020) MOLES, 1990 initialled and dated in pencil (upper right), inscribed (to reverse), gouache on paper 8.5cm x 14.5cm (3.25in x 5.75in) Provenance: Given by the artist to Barns-Graham in 1991.

Note: Dedicated and dated ‘for Willie with / love Sept 91’ (on the backboard), and signed, inscribed and dated again ‘Moles, in their winter nests below the / frozen earth, dream of tropical / islands where antelopes leap under the/ rising moon/ David Lewis/ April 1990’ (on the backboard)

£300-500

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Above: Wilhelmina Barns-Graham with George Downing at Downing Bookshop, 1947.

Above: The Sloop Inn, 1947, with Mrs Rodger in the foreground to the left, and Barns-Graham in the centre.

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8§ WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) PORTRAIT OF MRS. ROGERS - SLOOP INN, CIRCA 1945 oil on canvas 76cm x 63cm (29.75in x 24.75in) Note: Extract below from Barns-Graham’s notebook c.1940-1947

£6,000-8,000

WBG/1/4/1/2 . pg 89-90 OCT. 30th [1940] Wrote to Mr [Hubert] Wellington today.

I have begun two portraits since writing in this. Margarita Medina. + Mrs Rogers. BOTH 25 x 30. […]

MRS ROGERS of “The Sloop”. I am painting in the Sloop [Inn].

This is a job. The light is poor + time limited. 2.45-4 pm. I hope to keep this a decorative composition. In a different colour scheme to my recent paintings - using … Yellow, Alizarine [sp], Crimson, Viridian Green

She is a handsome clear-cut woman with most distinctive hair dressing + a charming attractive personality. Tall + angular. With a sensous [sp] mouth yet almost hard face.

Something of the Duchess of Windsor style. So she has often been told + I can see it.

Mrs Rogers gives me tea after upstairs in a tiny well furnished room overlooking the harbour. A wonderful orange russet thick carpet + when the light is on it – oh!

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ALFRED WALLIS

Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh

The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away.

College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere.

Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.

Essay by Lynne Green

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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9 ALFRED WALLIS (BRITISH 1855-1942) ST. IVES BAY pencil and oil on board 7.5cm x 30.1cm (3in x 11.9in) Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin.

This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis.

Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56; 1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26; 1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July; 1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16; 1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6.

Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56 The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16.

£15,000-25,000

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10 § ALFRED WALLIS (BRITISH 1855-1942) HOUSES IN ST. IVES oil, pencil and chalk on cardboard 18.5cm x 26.5cm (7.25in x 10.5in)

Exhibited: 1950: Possibly shown with title ‘Houses’, Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;

Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson.

1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;

£30,000-50,000

1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;

1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;

Literature: Possibly published with title ‘Houses,’ Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;

1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25; 1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3.

2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.

1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;

The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII; Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25; Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3.

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11 § ALFRED WALLIS (BRITISH 1855-1942) PLYMOUTH signed in pencil (upper left), oil and chalk on card 26.5cm x 35.5cm (10.5in x 14in) Provenance: In Barns-Graham’s notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’.

Literature: Published with title ‘Portsmouth and the Victory’ Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17.

The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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12 LEACH POTTERY COLLECTION OF TABLEWARE each impressed with pottery seal, comprising tall jug, three smaller jugs, pouring bowl, two open bowls, small vase, egg cup, plate and four small dishes (14) the tall jug 21cm high (8.25in high)

£300-500

13 § BERNARD LEACH (BRITISH 1887-1979) (ATTRIBUTED TO) AT LEACH POTTERY TEAPOT, 1920S impressed pottery seal, stoneware with mottled green/gray glaze 11.5cm high, 21.5cm wide (4.5in high, 8.5in wide) Provenance: Label to base inscribed ‘Attributed to Bernard Leach - given as such. Early one by Phyllis Bottome 1948 - Verified by Janet Leach 1988’

£200-300

14 § BERNARD LEACH (BRITISH 18871979) (ATTRIBUTED TO) AT LEACH POTTERY TEAPOT impressed pottery seal, porcelain with celadon glaze 13cm high, 24cm wide (5.1in high, 9.5in wide) Provenance: Label to base states ‘Attributed to Bernard Leach / Porcelain / Verified by Janet Leach 1988’.

£100-200

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15 § BERNARD LEACH (BRITISH 1887-1979) YAYEMA ISLANDS, SOUTH OF THE RYNKYNS, 1964 initialled in pen (lower left), titled and dated (lower right), pen and ink on paper 18.25cm x 26.75cm (7in x 10.5in); mount 33.5cm x 41.25cm (13.25in x 16in) Provenance: Gifted by Trudi Scott to Wilhelmina Barns-Graham in 1987.

Trudi Scott had been Leach’s housekeeper / personal secretary later in life and the work is inscribed to the reverse “Given to me by Trudi Scott 9/8/87”.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

16 LEACH POTTERY THREE VASES, A TEA BOWL AND A JUG each impressed with pottery seal (5) the largest vase 13cm high (5.1in high)

£200-300

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17 § BERNARD LEACH (BRITISH 1887-1979) AT LEACH POTTERY VASE partially impressed artist’s seal and pottery seal, stoneware, incised Willow Tree design, tenmoku glaze 36cm high, 17cm wide (14.1in high, 6.7in wide)

£700-900

One day in fine weather I went round to the Penwith Society of Art and there I saw a large tall brown Bernard Leach pot and immediately decided I would buy it, went up to the curator (Kathy Watkins) and told her I would bring in the cheque tomorrow (£35).

I walked down the gallery studying at Bernard’s small porcelain pots and was joined by some Americans. We got talking and I so fired them with my enthusiasm I sold some there and then to the Americans.

Returning to the curator to confirm I was coming in tomorrow. Kate Nicholson was standing beside her ‘Too late’ said the curator ‘Too late’ said Kate, ‘you should be quicker I have just bought it!’

I was furious but kept control and left the gallery.

shrieking ‘Bernard that is just like the pot I wanted’

Who should I meet coming up from Barnaloft about to cross the road but Bernard and his housekeeper, Trudi Scott, Bernard half blind waving his stick at me said ‘And what is the matter with you?’ I told him the story and mentioned the artist, to my

and Bernard replied (still standing with his back to me and facing the sea) ‘Well you had better hurry up this time!’ adding ‘Make the cheque to the Leach pottery’ the price was less the commission of the Penwith (£23).

surprise Bernard roared and roared with laughter saying ‘Typical, Typical!!’ meaning the Nicholson family getting into the front row. I stamped off.

I could not believe he had made it specially for me! But he had! Sometime later the Central Office of Information requested to photograph this pot, Bernard decided

Some time later just before one of his trips to Japan, I think, Bernard walked in to my studio with a large pot and placed it on my shelf in the lower studio, walked to the window with his hands behind his back, meanwhile I was

to be photographed holding the pot at my studio Barnaloft, so he came in and was photographed holding it and the Central Office of Information suggested another photograph was taken, this one to be taken of us together.

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18 § DENIS PEPLOE R.S.A (BRITISH 1914-1993) STILL LIFE, CIRCA 1937 signed (to reverse), oil on canvas 51cm x 55.5cm (20in x 21.75in), unframed Provenance: In Barns-Graham’s notes on her collection she states she was given one oil painting by Denis Peploe, from his Edinburgh College of Art Degree Show. The pair studied together there and remained lifelong friends.

With another still life to the reverse of the canvas.

Note: Denis Peploe was the son of famous Scottish Colourist Samuel John Peploe. He studied at the Edinburgh College of Art, and in Paris under André Lhote. He is known for his landscapes and still lives and was, for many years, also a teacher at the Edinburgh College of Art.

£4,000-6,000

Above: Image from the degree show of Denis Peploe. The painting he gifted to Wilhelmina BarnsGraham can be seen in the second column from the right, centre row.

19 § WILLIAM JOHNSTONE O.B.E. (BRITISH 1897-1981) UNTITLED initialled in ink (lower right), inscribed ‘William Johnston / Gift to Rowan James 1988’ (to reverse), pen, ink and watercolour on paper 13cm x 19cm (5in x 7.5in) Provenance: Rowan James Collection.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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20 § BEN NICHOLSON O.M. (BRITISH 1894-1982) TRENDRINE, 1948 1/6, numbered in pencil in the margin (lower right), etching on paper 17.5cm x 25cm (6.9in x 9.8in) Literature: Alan Cristea Gallery, Ben Nicholson: Prints 1928-1968, Alan Cristea Gallery London, 2007, cat. no. 17. (another example from the edition).

Barns-Graham bought this etching in a series of instalments stating in a letter to Nicholson: ‘Dear Ben, I have chosen the Drypoint titled “Terendine” - from those we took away on Sunday. I enclose £2 & will send another £2 next month if that really is alright with you. How grateful I am.”

£6,000-8,000

21 § BEN NICHOLSON O.M. (BRITISH 1894-1982) JUG & GLASS, 1948 6/20, signed, numbered and inscribed ‘for Willy / Xmas 53’ in pencil in the margin, drypoint etching on paper 24.75cm x 19.5cm (9.75in x 7.5in) Provenance: In Barns-Graham’s notes about her collection she states she was gifted three etchings and prints by Ben Nicholson: ‘he gave me all’.

Exhibited: St Ives: Movements in Art and Life, 14 March - 19 September 2020, Royal West of England Academy, Bristol, (another example from the edition).

Literature: Alan Cristea Gallery, Ben Nicholson: Prints 1928-1968, Alan Cristea Gallery London, 2007, cat. no. 19 (another example from the edition).

Inscribed on backboard ‘W. BarnsGraham or Lewis / 1 Barnaloft / St Ives / Cornwall / Ben Nicholson silver point / personal gift 1953 Xmas’

£5,000-7,000

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SVEN BERLIN

Essay by Lynne Green

The solitary wooden sculpture by Sven Berlin may represent

Due to libel action, Dark Monarch was withdrawn, and the

the earliest years of their friendship. They met quite soon

edition largely destroyed. It was reissued in 2009, with

after Barns-Graham arrived in St Ives, in early 1940. He

the addition of a useful who’s who. That Willie retained

admired her beauty from the first. She understood him to

Berlin’s sculpture may indicate loyalty to an important early

be an adagio dancer and gardener, who was also a painter, in

friendship. Its solitary presence in her collection belies the

the process of becoming a sculptor. The Mother and Child [?]

impact of Berlin’s later actions. When I interviewed him

being undated, I wonder if this is not a gift, contemporaneous

for A Studio Life, he spoke of her with deep affection. Like so

with the new friendship. The family unit of Berlin, his wife

many other friendships amongst the artist-community, theirs

Helga and their two small children may have offered the new

was soured, I think, by forces, not clearly understood by the

arrival stability and homely comfort. During the war, when

protagonists. The St Ives artistic community could be febrile.

Berlin was in the Army the two women were particularly close companions.

Berlin was later to alienate most of the artistic community of St Ives (almost ten years after he left it), with the publication in 1962 of The Dark Monarch: A Portrait from Within. As a fictionalised autobiography, it is both vicious and inaccurate. His characters are thinly disguised friends and fellow artists. Resented by some of her peers for her posh Scottish accent, and perceived relative wealth, Barns-Graham became for Berlin ‘ffrederika ffirth-fforth’, Barbara Hepworth, ‘Diana ‘Delphi’ Coracle’ and Ben Nicholson, ‘Sir Stanislas Robinson’ and so on. The physical description of Nicholson is I must say, entertaining, and not without something of the original. The Modernist, breakaway Crypt Group (of which both Berlin and Barns-Graham were founding, exhibiting-members) became the ‘Cuckoo Group’ within the traditional St Ives Society of Arts. Though unflattering, it is not without some truth.

Right: 1947 Crypt Group poster, printed by Guido Morris.

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22 § SVEN BERLIN (BRITISH 1911-1999) MOTHER AND CHILD, 1941 monogrammed and dated (to base), wood 26cm high, 9.5cm wide (10.25in high, 3.75in wide)

£1,000-1,500

Sven Berlin was an interesting figure within the St Ives school and part of one of the earliest waves of settlers to the artists’ colony. Born in London, Berlin had originally begun a career as an adagio dancer, before moving to Cornwall in 1938. It was via his job in the market garden belonging to Adrian Stokes and Margaret Mellis in Carbis Bay that he made an introduction to Hepworth and Nicholson. One of his most significant contributions to the legacy of the St Ives School was the publication of his biography of the fisherman / artist Alfred Wallis; the first text to be written on this fascinating figure whose aesthetic so influenced the development of Nicholson and his followers. Berlin became a well-known figure and something of an attraction within the St Ives community; he could frequently be observed in his studio garden, stripped to the waist, working on his sculpture. He exhibited paintings, drawings and sculpture regularly with the St. Ives Society of Artists and in London, and was a founding member of the Crypt Group, alongside artists including Barns-Graham, Peter Lanyon, John Wells and Bryan Wynter, and was also a member of the Penwith Society of Arts for a short time.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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23 § JOHN WELLS (BRITISH 1907-2000) DANCER, 1952 artist’s proof, signed, inscribed and dated in pencil in the margin, engraving 20cm x 13.5cm (7.9in x 5.4in) Note: Two different impressions/states of this print dated to 1950 are in the British Museum.

£600-800

John Wells and Wilhelmina Barns-Graham shared a particular friendship. Both had benefited from the mentorship of Ben Nicholson who, of the many artists that gathered in St Ives, seemed to have had a particular interest in Barns-Graham’s work. She and Wells had also been significantly influenced by the work of Naum Gabo, a leading figure in Russian Constructivism who, as an emigrant during the war, followed his friends Nicholson and Hepworth to St Ives, playing a key role in the modernist developments that took place there.

This impact was seen in the pair’s artistic practices which shared an affinity with an analytical, at times scientific approach to abstraction. As a result there is often something more linear and hard-edged to their output than some of their more expressionistic peers: a theory of the landscape and its forms as much as a representation of it.

Right: Wilhelmina Barns-Graham and John Wells at the Tate

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24 § JOHN WELLS (BRITISH 1907-2000) WINDOW, 1948 signed, titled and dated (to reverse), oil and pencil on board 29.5cm x 35cm (11.6in x 13.75in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased two oils by John Wells.

Exhibited: 1949: Paris, Salon des Réalités Nouvelles, 1949.

2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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25 § ANTHONY BENJAMIN (BRITISH 1931-2002) UNTITLED, 1958 1/50, signed, dated and numbered in pen in the margin, etching on paper 44cm x 32.5cm (17.25in x 12.75in)

£1,000-1,500

26 §

Anthony Benjamin is regarded as a talented polymath; a painter, sculptor and printmaker. Having studied in Paris under Fernand Léger, Benjamin came to St Ives in the late 1950s as a rebellious young artist. Using a small legacy, he purchased a cottage which previously belonged to Sven Berlin. Here, he found encouragement from the likes of Peter Lanyon, accepting his suggestion to join the Newlyn Society of Artists. He had his first one-man exhibition there in 1958. His work developed rapidly here, and he was apparently well supported and encouraged by significant figures in the art world, including Henry Moore and Francis Bacon who gave him canvases. Originally rooted in a more ‘kitchen-sink’ aesthetic, in Cornwall Benjamin’s work became more Abstract Expressionist in concept.

ANTHONY BENJAMIN (BRITISH 1931-2002) UNTITLED (MOROCCO SERIES), 2002 12/20, numbered in pencil (lower left), etching on paper 42.5cm x 42.5cm (16.75in x 16.75in)

£300-500

27 § BRYAN WYNTER (BRITISH 1915-1975) CRAYFISH, 1949 signed and dated in pencil in the margin (lower right), lithograph on wove paper 21cm x 31cm (8.25in x 12.25in) Note: Bryan Wynter gave Crayfish to Barns-Graham as a wedding present in 1949. It is thought to be from an intended edition of 50, but it is unknown whether the full edition was produced.

£400-600

Right: Wilhelmina Barns-Graham at Porthmeor Studios, 1955. Photo © Adrian Flowers Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

I never met anybody; any woman, who worked as she did. She was formidable in a way but excellent to work with on committees: she had a good mind and good ideas and good contacts. She and Ben were the most professional of us then.

Wilhelmina Barns-Graham discusses Barbara Hepworth during a 1996 Interview with Susan Loppert

BARBARA HEPWORTH When Barns-Graham arrived in Cornwall, less than a year

Hepworth’s drawing Figure and Mirror, of 1948 was gifted

after Hepworth and Nicholson, she was already very well

to Barns-Graham on the occasion of her marriage to David

aware of the central figures of British Modernism she was

Lewis in 1949. He had arrived in St Ives as a young author

about to meet in person. Having attended the lectures given

and aspiring poet who, having added a quickly achieved and

in Edinburgh by Herbert Read, as Watson Gordon Professor

not inconsequential knowledge of contemporary art, became

in Fine Arts, she had become acquainted with the key

a part of the artistic communities of St Ives and Carbis Bay.

apologist of the Movement. When they met again in Little

Among a succession of practical roles, he acted for a time as

Park Owles this no doubt helped her quick acceptance by the

Hepworth’s secretary.

group.

Figure and Mirror was not the only Hepworth Willie

Willie’s first meeting, just days after her arrival, with Barbara

acquired. Around 1949 she purchased from her friend Mary

Hepworth made a lasting impression on the young artist.

Buchanan, Sculpture with Colour (Deep Blue and Red) 1940.

She noted in particular Hepworth’s physical appearance, the

Some ten years later, at a time of personal turmoil and

delicacy of her features and her quick, neat movements. As

loss, she sold it to a dealer, from whom Hepworth herself

the years passed she and Hepworth had a friendship based

reacquired it. Upon Hepworth’s death, it was bequeathed to

partly on the fact of their shared experience of being woman

the Tate.

artists in a man’s world. In the small Cornish artists’ enclave both women could be resented by their fellow male artists.

By sheer strength of personality, determination and growing reputation, Hepworth succeeded better at overcoming the prejudice and pit falls. Willie was not so adept. But when each woman found themselves living alone, they were glad of each other’s presence in the town.

Essay by Lynne Green

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28 § DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) FIGURE AND MIRROR, 1948 signed and dated in pencil (upper left), inscribed and titled (to reverse), pencil and gesso on board 45cm x 34.5cm (17.75in x 13.6in) Provenance: In Barns-Graham’s notes about her collection she states she owns one drawing by Barbara Hepworth given to her as a wedding present.

Exhibited: Hazlitt Holland-Hibbert, London, Barbara Hepworth Drawings from the 1940s, 12 October-18 November 2005

£100,000-150,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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29 § MARTIN BRADLEY (BRITISH 1931-) UNTITLED, 1952 signed and dated lower right, gouache on paper 18cm x 24cm (7in x 9.5in); mount 29.5cm x 35cm (11.5in x 13.75in)

£300-500

30 § MARTIN BRADLEY (BRITISH 1931-) UNTITLED, 1952 signed and dated lower centre, gouache on paper 22.5cm x 32cm (8.75in x 12.75in); mount 41.75cm x 31.75cm (16.5in x 12.5in)

£400-600

31 § MARTIN BRADLEY (BRITISH 1931-) ONSLAUGHT, 1952 signed and dated lower right, gouache and ink on paper 29cm x 43cm (11.5in x 17in)

£500-700

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32 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VASE impressed artist’s and pottery seal, cut sides and with glazed rim 18.5cm high, 20cm wide (7.25in high, 7.9in wide)

£200-300

33 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY BOWL AND COVER impressed artist’s and pottery seals, stoneware, cut-sided and partially glazed 15.2cm high, 21cm wide (6in high, 8.25in wide)

£200-300

34 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY TWO VASES each impressed with artist’s and pottery seals, with lug handles (2) 16cm high and 11cm high (6.25in high and 4.3in high)

£300-500

35 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY VASE WITH LUG HANDLES impressed artist’s and pottery seals, stoneware, cut and torn form 24.5cm high (9.75in high) Provenance: Purchased from New Craftsman Gallery, St Ives in 2004; Rowan James Collection.

£200-300 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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36 § DENIS MITCHELL (BRITISH 1912-1993) SELENA, 1968 signed and dated (lower left), oil on board 15.25cm x 20.3cm (6in x 8in) Provenance: Gifted by the artist to BarnsGraham in 1992.

Inscribed to the reverse: “To Willie with love and best wishes from Denis & Jane 8, June 1992 and many happy returns of the day”.

£1,000-1,500

37 § DENIS MITCHELL (BRITISH 1912-1993) BALMUNGO, 1988 titled, dated and inscribed (to base) ‘BALMUGO / To Willie with Love from Denis & Jane / 8-VI-88’, slate 22cm high (including base) (8.6in high) Provenance: Gift from the artist, 1988 Note: Balmungo House, near St Andrews, was left to Barns-Graham by her aunt Mary Neish in 1960, and from this point she divided her time between St Ives and Scotland. This personal gift from Mitchell to Barns-Graham is inspired by the landscape around her studio in Balmungo.

£2,500-3,500

38 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY FOOTED DISH impressed artist’s and pottery seals, stone with poured and dipped glaze 10cm high, 37cm wide, 28.5cm deep (4in high, 14.5in wide, 11.25in deep) Provenance: In Barns-Graham’s note about her collection she states she purchased “one plate type” by Janet Leach.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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39 § DENIS MITCHELL (BRITISH 1912-1993) TREVEDRAN, 1991 1/7, initialled, titled, dated and numbered (to base), bronze on slate base 15.2cm high (including base) (6in high (including base) Provenance: Information from WBG diaries: “Nov 15 1991 WBG bought a small sculpture from Denis Mitchell for £600”

£4,000-6,000

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BRIAN WALL Brian Wall came to St Ives as a young artist in the 1950s

Though obvious parallels with the work of Anthony Caro can

and was, for a time, Secretary of the Penwith Society. His

be drawn, it should be noted Caro adopted the techniques of

early work was heavily influenced by Mondrian, but he

welding metal several years after Wall, and Wall was widely

evolved away from this aesthetic whilst working as a welder

perceived by critics of the time to be under-sung. After

in Hepworth’s studio. It is from this transitional period that

working in the thick of swinging Sixties London for a time,

these works date, Barns-Graham having acquired them in the

Wall went to the San Francisco Bay area of America where

late 1950s. Sparse, almost industrial and austerely Post-War

he continued to base himself for over thirty years. He was a

in aesthetic, and reflective somehow of the ruggedness of

faculty member at the Central School of Art in London, and a

the Cornish landscape, they were very avant-garde by the

professor of art at the University of California, Berkeley.

standards of the time. Wall welded his metal forms in an intuitive manner, simultaneously beginning to divorce his sculptures away from human or naturally rooted formalities.

These works were in Barns-Graham’s garden at Balmungo, Scotland (hence the weathering).

40 § BRIAN WALL (BRITISH/AMERICAN 1931-) UNTITLED, CIRCA 1959 iron and black paint 42.5cm x 51cm x 39cm (16.75in x 20in x 15.3in) Provenance: In Barns-Graham’s notes about her collection, she states she purchased one ‘iron sculpture’ by Brian Wall and was given another.

This work was displayed outside Wilhelmina Barns-Graham’s studio in the garden at Balmungo.

Note: Confirmed by Brian Wall Studio as not the work Minus Three.

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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Above: The gardens at Balmungo

41 § BRIAN WALL (BRITISH/AMERICAN 1931-) UNTITLED, CIRCA 1959 iron and black paint 72cm x 53cm x 56cm (28.3in x 20.9in x 22in) Provenance: In Barns-Graham’s notes about her collection, she states she purchased one ‘iron sculpture’ by Brian Wall and was given another.

£7,000-10,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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48

Wilhelmina Barns-Graham and Sir Terry Frost

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42 § SIR TERRY FROST R.A. (BRITISH 1915-2003) GREY, BLACK AND WHITE, CIRCA 1950 signed and inscribed ‘Grey, Black, White’ (to reverse), oil on board, with painting of a nude to reverse of canvas 60cm x 22cm (23.6in x 8.5in) Exhibited: Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020.

Literature: Published with title ‘Walk Along the Quay, 1948 (first edition)’ Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30; Published with title ‘Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44.

£15,000-25,000

Terry Frost arrived in Cornwall in 1946, staying in a caravan at Carbis Bay and then a house on Quay Street, St Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented: “[These...] paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed “you’ve got on to something that can last you for the rest of your life” and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract.

Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations at this period.

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43 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED, 1962 signed and dated (lower right), watercolour and gouache on paper 28.5cm x 77.75cm (11.25in x 30.5in)

£6,000-8,000

People only need to breathe deeply and look; if there’s anything they enjoy – a shape or a colour – that’s tremendous.

They musn’t worry about or be anxious about ‘understanding’ it all. I can look at a page of beautiful Chinese calligraphy and not have a clue what it’s about, but sense a worthwhile idea there.

Wilhelmina Barns-Graham, Painting as Celebration, 2001

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44 § TONY O’MALLEY (IRISH 1913-2003) UNTITLED, 1972 signed and dated lower right, gouache on paper 20.75cm x 29.75cm (7.9in x 11.75in) Provenance: In Barns-Graham’s notes about her collection she states she purchased two artworks by Tony O’Malley.

Note: Text on reverse states: “Tony O’Malley £15 Purchased 1972 by WBG”

£800-1,200

45 § TONY O’MALLEY (IRISH 1913-2003) UNTITLED signed in pencil (lower right), mixed media on paper 56.5cm x 89.5cm (22.25in x 35.25in) Provenance: In Barns-Graham’s notes about her collection she states she purchased two artworks by Tony O’Malley.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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46 § BREON O’CASEY (BRITISH 1928-2011) FRINGED NECKLACE stamped ‘BOC’, composed of a single row of hammered silver beads, between a graduated row of hammered ‘leaf’ pendants, to a hook clasp with facetted agate bead detail Overall length: 40cm (15.7in) Overall length of longest drop: 5.5cm (2.1in) Provenance: In Barns-Graham’s notes on her collection she states she purchased one silver necklace by Breon O’Casey. In a later amendment to her will, she states she owned two leaf shaped necklaces by Breon O’Casey, the other was previously sold by the Trust.

£500-800

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47 § ULLA HORNFELDT (SWEDISH/BRITISH) NECKLACE hallmarked for silver, London 2000, sponsors mark ‘UH’, composed of a single string of black ceramic beads, suspending a stylised silver crescent pendant Overall length: 42cm (16.5in). Length of pendant: 5cm (2in) Provenance: Possibly given by Rowan James. In Barns-Graham’s notes about her collection she states she was given by Rowan three necklaces by Edinburgh artists.

£200-300

48 ANNE FINLAY (BRITISH B.1953) (ATTRIBUTED TO) TWO BROOCHES acrylic both of stylised scrolling form with feature pins (2) each 8.5cm wide (3.3in wide)

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.

Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home.

This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956.

During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.

The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.

Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the

work and glimpse elements of the other side.

However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London.

Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61) Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).

Sphere (1980) by comparison, belonging to Adams last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement.

Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.

This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

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49 §

Provenance: In Barns-Graham’s notes about her collection, she states she was given one engraving by Robert Adams.

ROBERT ADAMS (BRITISH 1917-1984)

Exhibited: Gimpel Fils, London, 1955, (another example from the edition).

DESCENDING FORMS, 1955 7/25, signed, dated and numbered in pencil in the margin (lower right), inscribed ‘Descending Forms / etching / series of 25 / 4’2gns / Robert Adams’ in pencil (to reverse), etching 30cm x 10cm (11.75in x 4in)

£400-600

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992 (described as an engraving), p.66. (another example from the edition).

Grieve, Alastair, Robert Adams 1917-1984 A Sculptor’s Record, Tate Gallery, 1992 (described as an engraving), p.36. (another example from the edition).

50 § ROBERT ADAMS (BRITISH 1917-1984) UNTITLED signed and inscribed ‘For Willie [,] Robert Adams’ in pencil (to reverse), oil on board 37.75cm x 19cm (14.75in x 7.5in) Provenance: Gift from the artist to Wilhelmina Barns-Graham.

£1,500-2,500

51 § ROBERT ADAMS (BRITISH 1917-1984) PLATE, CIRCA 1952 signed ‘ADAMS’ (to reverse), painted earthenware 25cm diameter (9.8in diameter)

£800-1,200

Provenance: In Barns-Graham’s notes about her collection she states she purchased a plate by Robert Adams.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no.

138c, illus. pg.38 with a paper design.

Note: This is possibly from a set of 10 different designs, although Grieve only identifies three.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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52 § ROBERT ADAMS (BRITISH 1917-1984) RECTANGULAR BRONZE FORM NO.2., 1953 from an edition of 6, bronze

Above: Wilhelmina Barns-Graham sitting by the window at Barnaloft, St Ives, 1993.

Photo © Anne Purkiss

15.5cm high, 10.2cm wide (6.1in high, 4in wide) Provenance: In Barns-Graham’s notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.

Note: This sculpture inspired Wilhelmina Barns-Graham’s painting Ultramarine II, 2000 (Lynne Green, 2011, p.276).

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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53 § ROBERT ADAMS (BRITISH 19171984) MAQUETTE NO. 2 FOR TRIANGULATED STUDY NO. 1, 1960 steel wire painted grey on black base 23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide) Provenance: In Barns-Graham’s notes about her collection she states she purchased a ‘wire sculpture’ by Robert Adams.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296.

£800-1,200

54 § ROBERT ADAMS (BRITISH 1917-1984) SPHERE, 1980 signed, numbered and dated ‘ADAMS OO/ 1980’ (to base), bronze 9cm high, 7cm wide (3.5in high, 2.75in iwde) Provenance: In Barns-Graham’s notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680.

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

55 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) RED AND VIOLET, 1961 inscribed, titled and dated to stretcher (to reverse), oil on canvas

Through the 1950s Barns-Graham developed an abstract language that was derived from close observation of the landscape, but which increasingly emphasised geometric forms. In the early 1960s and for over 20 years through her mid-career, she turned away from landscape and based much of her art on careful arrangements of

91cm x 70.5cm (35.75in x 27.75in)

either squares or circles. The richly coloured ‘Red and Violet’, which sees a precarious

£10,000-15,000

balancing of squares, is one of the earliest examples of this new, hard-edged style.

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56 § ROBERT ADAMS (BRITISH 1917-1984) SCREEN FORM, 1973 50/90, signed and numbered in pencil in the margin, lithograph in 4 colours on T. H. Saunders paper 56cm x 28.5cm (22in x 11.25in) From The Penwith Portfolio, Penwith Society, St Ives, 1973.

£400-600

57 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED (CELEBRATION), 1989 93/250, embossed ‘K.G.’ (lower right), screenprint 25.5cm x 13.25cm (10in x 5.25in) Provenance: Printed to commemorate opening of new Curwen Chilford Studio at Cambridge on 14th December 1989.

According to Kemp (2010), there was an unsigned edition printed as ‘giveaways’ to celebrate Curwen’s [Studio] move to Chilford Hall.

58 § SIR TERRY FROST R.A. (BRITISH 1915-2003) UNTITLED, 1988 signed, dated and inscribed in pencil in the margin, collage and aquatint 18cm x 13cm (7in x 5.1in)

£1,000-1,500

Provenance: Wilhelmina Barns-Graham noted in her diary: “16 Sept to new gallery run by Suddaby bought a “small joyful Terry Frost collage”. This probably refers to Sims Gallery, run by Leon Suddaby.

Literature: Kemp, Dominic, Terry Frost Prints: A Catalogue Raisonné, Lund Humphries, Farnham, 2010, cat no. 95.

Note: Image is Black Sun, 1988 with additional collage.

Kemp (2010) notes the aquatint Black sun, 1988 often exists with added collage and hand colouring.

Literature: Kemp, Dominic, Terry Frost Prints: A catalogue raisonné, Lund Humphries, Farnham, 2010, cat. no. 118.

£600-800

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59 § DENNY LONG (BRITISH 1944-2018) UNTITLED

60 § DENNY LONG (BRITISH 1944-2018)

etching on paper 5.75cm x 5.75cm (2.25in x 2.25in)

£250-350

CH3SCROSS X, 2003 titled, dated and inscribed (to reverse), etching and chine collé on paper the sheet 64cm x 47.5cm (25.25in x 18.5in)

£300-500

61 § MICHAEL O’DONNELL (BRITISH 1946-) 7 AND 5 FOR W.B-G., 1981 Signed, inscribed and dated in pencil (lower right), pencil and crayons on paper 12.5cm x 17.5cm (5in x 7in) Provenance: In Barns-Graham’s notes about her collection she states she was given one work by O’Connel [sic].

Inscribed to back board ‘For ‘Willy’ BarnesGraham, you were so kind to write to me after the Newlyn exhibition. Michael’.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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62 § PATRICK HERON C.B.E. (BRITISH 1920-1999) BRUSHWORKS NO. 8, 1998-99 11/38, numbered, stamped with Patrick Heron Estate Stamp, and signed in pencil by Katherine Heron and Susanna Heron (to reverse), etching on paper 43.75cm x 58cm (17.25in x 22.75in), unframed Note: From The Brushworks Series of 11 etchings printed by Hugh Stoneman.

£800-1,200

63 § TONY GILES (BRITISH 1925-1994) PENZANCE STATION, 1985 signed, titled ‘PZ Station’ and dated (lower right), pen, ink and watercolour on paper 35cm x 52cm (13.75in x 20.5in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased one watercolour by Tony Giles.

£1,000-1,500

64 § KATE NICHOLSON (BRITISH 1929-) TITAN, 1962 signed, dated and titled (to reverse), oil and gouache on paper/card, Schoellers Aspis dry stamp (lower right) 50.75cm x 72.25cm (20in x 28.5in)

£500-700

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65 § RACHEL NICHOLSON (BRITISH 1934-) GREY GLASS & WHITE JUG, 1979 signed, titled and dated (to reverse), oil on board 26.5cm x 31.5cm (10.5in x 12.5in) Provenance: In Barns-Graham’s notes about her collection she states she purchased one oil by Rachel Nicholson.

£1,000-1,500

66 § MARY RICH (BRITISH 1940-) FOOTED BOWL impressed artist’s seal, porcelain with green / turquoise glaze 5.5cm high, 11.5cm diameter (2.25in high, 4.5in diameter)

£100-200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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67 § JOHN WELLS (BRITISH 1907-2000) UNTITLED, 1956 signed, dated and inscribed ‘Anchor Studio, Trewarveneth Street, Newlyn’ in pencil (to reverse), oil and pencil on board, 19cm x 80cm (7.5in x 31.5in) Provenance: In Barns-Graham’s notes about her collection she notes she purchased two oils by John Wells.

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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68 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) NEWLYN 2, 1984-87 signed and dated in pencil (lower right), inscribed and titled (to reverse) acrylic on board

Between 1982-87 Barns-Graham made a group of works she described (and often titled) as ‘collages’. Although they do all employ stuck down paper or card, they are perhaps better described as painted reliefs. Beginning very

35cm x 105.5cm (13.75in x 41.5in)

small - built up from layers of the tiny circles

£8,000-12,000

of paper made by a hole-punch, as the series developed the works became larger, more ambitious and often associated with specific places or landscapes, as with ‘Newlyn 2’.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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69 § ROY CONN (BRITISH 1931-2018) UNTITLED, 1980 artist’s proof, signed, inscribed and dated in pencil in the margin, screenprint 26cm x 40cm (10.25in x 15.75in)

£300-500

70 § JOHN HOYLAND R.A. (BRITISH 1934-2011) TWIN PEAKS, 1992 inscribed ‘Given to WBG by Kip Gresham / Silk Screen

by John Hoyland’, screenprint 55.5cm x 57cm (21.75in x 22.5in) Provenance: Gift to Barns-Graham from Kip Gresham, 1994.

Wilhelmina Barns-Graham states in her diary : “October 22 1994 Kip Gresham came with a portfolio & showed me some prints - John Hoyland & the wife of Bill Turnbull doing very subtle hard edge abstracts & Hilton’s son amongst others as Gillian Ayres. Gave me a Hoyland.”

£300-500

71 § FERGUS HILTON (BRITISH 1966-) UNTITLED, 1992 inscribed and dated (to reverse), gouache and pencil on paper 54cm x 74cm (21.25in x 29cm) Note: Fergus Hilton is the son of the artists Roger and Rose Hilton

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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72 § ROGER HILTON C.B.E. (BRITISH 1911-1975) CAT, 1973 signed and initialled and dated twice (lower right), gouache and charcoal on paper 28.5cm x 41cm (11.25in x 16.1in)

£4,000-6,000

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I seldom work from my drawings.

The discipline used releases me in my paintings, to work more freely, expand with ideas and imagination involving joy in colour, texture and harmony, I start creating.

Wilhelmina Barns-Graham, Some Thoughts on Drawing, 1992

Wilhelmina Barns-Graham at Barnaloft, 1966. Photo © Ander Gunn

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FRIDAY 29 OCTOBER 2021 AT 10AM

Above: Lot 243

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73 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) SELF-PORTRAIT, 1948 signed and dated in pencil (lower right), ink on paper 32cm x 28cm (12.5in x 11in) Provenance: The Redfern Gallery, London; Private Collection, London.

£500-700

74 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) COLLIOURE, 1947 signed and dated in pencil (lower right), watercolour and ink on paper 27cm x 43cm (10.6in x 17in) Provenance: Art First Contemporary Art; Private Collection, UK.

£1,000-2,000

75 § DOM ROBERT (GUY DE CHAUNAC-LANZAC) (FRENCH 1907-1997) PROVENCE MONKS GARDENING, 1955 signed (lower left), watercolour and gouache on paper 47.5cm x 55cm (18.75in x 21.6in) Provenance: Gimpel Fils, London.

Exhibited: Herbert Art Gallery and Museum, Coventry, 1962.

£800-1,200

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76 ROBERT POLHILL BEVAN (BRITISH 1865-1925) BRETON PEASANTS monogrammed (lower left), charcoal 27.5cm x 41.5cm (10.75in x 16.25in)

£800-1,200

77 § STANLEY WILLIAM HAYTER C.B.E. (BRITISH 1901-1988) UNFOLDING, 1946 XVII / XX, signed, dated, titled and numbered (in margin), engraving 14cm x 17.5cm (5.5in x 6.9in)

£700-900

78 § TSUGUHARU FOUJITA (FRENCH / JAPANESE 1886-1968) FROGS signed in ink (lower right), Indian ink on paper 18.5cm x 16.2cm (7.25in x 6.3in)

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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79 § FRED UHLMAN (GERMAN/BRITISH 1901-1985) CAFÉ BEL HORIZON oil on canvas 45cm x 59.5cm (17.75in x 23.5in) Provenance: Ernest, Brown & Phillips, The Leicester Galleries, London; Private Collection, UK. Exhibited: Ernest, Brown & Phillips, The Leicester Galleries, London, Exhibition of Works by Artists of Fame & Promise, July 1943, no.138.

£700-900

80 § ISMAEL GONZALES DE LA SERNA (SPANISH 1898-1968) THE DOORWAY, VENICE, 1924 signed and dated (upper right), oil on canvas 91cm x 71.5cm (35.75in x 28.25in) Provenance: Galerie Zak, Paris; Brook Street, Gallery, London; Private Collection, UK.

£1,000-1,500

81 § ANDRÉ PLANSON (FRENCH 1898-1981) NORMANDY LANDSCAPE, 1953 signed and dated (lower left), inscribed and possibly titled ‘Vallée de Chevreuse’ (to reverse), oil on canvas 53.5cm x 66cm (20.75in x 25.1in) Provenance: Brook Street Gallery, London; Private Collection, UK.

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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82 § BASSETT FITZGERALD WILSON (BRITISH 1888-1972) BIRDS IN THE PARK, 1958 signed and dated (lower left), oil on canvas 59.5cm x 73cm (23.5in x 28.75in) Provenance: Chita Campbell; Underhill Gallery, London; The Millinery Works, London.

£600-800

83 § SOPHIE FEDOROVITCH (RUSSIAN 1893-1953) THE ARCHITECT’S TABLE, CIRCA 1930 signed (centre left), oil on canvas 63.5cm x 80cm (25in x 31.5in) Provenance: The artist Edward Wolfe (1897-1982); Private Collection, UK. Exhibited: Southport, Atkinson Art Gallery, 7 and 5 Society 1920-1935, 1979, no.11. This exhibition travelled to Cardiff, National Museum of Wales; Colchester, The Minories; London, Parkin Gallery and Penzance, Newlyn Orion Gallery.

£700-900

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84 ACHILLE LAUGÉ (FRENCH 1861-1944) LADY READING IN AUTUMNAL LANDSCAPE pastel 60cm x 45cm (23.75in x 17.75in)

£2,000-3,000

85 ACHILLE LAUGÉ (FRENCH 1861-1944) VIEW OF THE SEINE IN PARIS Signed (lower right), pastel 46.5cm x 61cm (18.25in x 24in) Provenance: Private Collection, London.

This work appears to relate to a work in oil by Achille Laugé dated to 1920 , depicting a similar viewpoint along the Seine in Paris, which sold at Sotheby’s London on 25 June 2002 (Lot 215).

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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86 § BÉLA KÁDÁR (HUNGARIAN 1877-1956) VILLAGE SCENE, 1922 Inscribed and dated in pencil (lower right), gouache on paper 23cm x 36.5cm (9in x 14.3in) Provenance: Dunkelman Gallery, Toronto; Private Collection, London

£2,000-3,000 Béla Kádár was a Hungarian painter and one of the most famous painters of the Hungarian avant-garde whose paintings reflected many of the leading artistic movements of the early 20th Century including Der Blaue Reiter, Cubism, Futurism and Metaphysical painting.

Like other artists of his day he had been drawn to Paris and Berlin in 1910 to study, before permanently moving to Western Europe in 1918. By 1923 he had his first significant exhibition in Berlin at the invitation of Herwath Walden, who was a significant figure in the German avant-garde being publisher of Der Sturm which featured the works of Paul Klee, Wassily Kandinsky and Marc Chagall amongst others. During this exhibition Kádár met Katherine Dreier whose Societe Anonyme was central to bringing the work of the European avant-garde to America, and as a result by 1928 he had held two exhibitions of his work at the Brooklyn Museum of Art in New York.

87 § BÉLA KÁDÁR (HUNGARIAN 1877-1956) MOTHER AND CHILD Signed (lower right), pen, ink, and watercolour on paper 41cm x 29cm (16in x 11.5in) Provenance: Dunkelman Gallery, Toronto; Private Collection, London

£1,500-2,500

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88 § KEN MORONEY (BRITISH 1949-2018) COTTAGE IN THE PARK signed (lower left), artist’s studio stamp (to reverse), oil on board 38.5cm x 49cm (15.25in x 19.25in)

£500-700

89 § KEN MORONEY (BRITISH 1949-2018) THE INNER TEMPLE IN THE SNOW signed (lower left), oil on board 23.5cm x 29cm (9.25in x 11.3in)

£300-500

90 § KEN MORONEY (BRITISH 1949-2018) PIAZZA DELLA SIGNORIA, FLORENCE faintly signed (lower right), artist’s studio stamp (to reverse), oil on canvas laid on board 60cm x 75cm (23.6in x 29.5in)

£600-800

91 § KEN MORONEY (BRITISH 1949-2018) GIRL ON THE BEACH signed (lower left), artist’s studio stamp (to reverse), oil on canvas 48.5cm x 58.5cm (19.1in x 23in)

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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92 § DUNCAN GRANT (BRITISH 1885-1978) VIEW BETWEEN PILLARS, ASOLO, ITALY signed (lower left), initialled and inscribed ‘Asolo’ (to reverse), oil on paper laid on board 61.5cm x 49cm (24.25in x 19.25in) Provenance: Mrs C. Campbell; New Grafton Gallery, London, 1970; Private Collection, London.

£3,000-5,000

As a leading figure in the Bloomsbury Group, Duncan Grant played a key role in the development of Modern British art.

Following studies in London and Paris, Grant kept abreast of the latest developments in French painting before World War One, including visiting Pablo Picasso’s studio. His work was included in Roger Fry’s landmark Second Post-Impressionist Exhibition held at the Grafton Galleries, London in 1912. In 1916 Grant moved with the artist Vanessa Bell to Charleston, a house near Lewes.

From this East Sussex base, Grant maintained a long and prolific career, involving multiple painting trips to the Continent. View between Pillars, Asolo, Italy is believed to have resulted from one such trip. The titular pillars frame an idyllic view over terracotta-tiled villas to distant hills, realised with a varied and rhythmic technique, with a lilac undertone to its warm palette.

Charleston is now open to the public and is hosting a major exhibition of Grant’s work until 13 March 2022.

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93 § JOSÉ MANUEL DE ALBERDI (SPANISH 1922-2008) PORTRAIT HEAD OF A MAN, 1954 signed and dated, verdigris bronze on stepped marble base Overall 37cm high, 25cm wide (14.9in high, 9.5in wide) A similar portrait head by José Manuel de Alberdi is located in Huddersfield Art Gallery.

£400-600

94 § GRIZEL NIVEN (BRITISH 1906-2007) TWO SEATED FIGURES each signed, patinated bronze (2) 25cm high, 20.5cm wide (9.9in, 8in wide) and 25cm high, 14cm wide (9.9in high, 5.5in wide)

£300-500

Grizel Niven was a pupil of Henry Moore in the 1930s and began direct carving under his influence. Later in her career she won acclaim for her sculpture for the Dachau Concentration Camp memorial. After hearing Kate Mosse talking on BBC Radio 4’s Woman’s Hour about setting up a Women’s Prize for Fiction, Niven offered a cast of a sculpture of Moss as a prize. Her younger brother was the actor David Niven.

95 § GRIZEL NIVEN (BRITISH 1906-2007) BUST OF A HEAD signed, patinated bronze the bronze 44cm high x 38cm wide (17.24in x 15in)

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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96 § DUNCAN GRANT (BRITISH 1885-1978) MALE NUDE, CIRCA 1950 watercolour and charcoal on paper laid on canvas 55cm x 37.5cm (21.75in x 14.75in) Provenance: Geoffrey Harley Collection; Julian Lax Gallery, London.

£1,000-1,500

97 § JANKEL ADLER (POLISH 1895-1949) PORTRAIT OF DE BORGRAVES, 1944 signed and dated in ink (lower right), watercolour and crayon on paper 41cm x 26cm (16in x 10.24in)

£1,000-1,500

98 § ADRIAN DAINTREY R.W.A. (BRITISH 1902-1988) THE LSEA WARDEN signed and titled (on stretcher), oil on canvas 76cm x 51cm (30in x 20in)

£500-700

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99 § DAVID JAGGER R.O.I (BRITISH 1891-1958) MRS THELMA BADER (WIFE OF WING COMMANDER DOUGLAS BADER, D.S.O., D.F.C.), 1942 signed and dated (lower left), oil on canvas 49.5cm x 42cm (19.5in x 16,5in) Provenance: Property of a Gentleman, Glasgow.

Exhibited: Royal Society of British Artists (RBA) & Royal Institute of OiI Painters (ROI), Joint Summer Exhibition, Suffolk Street Galleries, London 1942, no.23.

Literature: Woman’s Journal Magazine, May 1942 (illustrated on front cover).

The current work will be included in the forthcoming catalogue raisonné of David Jagger

by Timothy Dickson.

£7,000-9,000

Jagger was at the height of his fame on the outbreak of the Second

As a counterpoint to his rather austere male portraits of British

World War. The doubts and uncertainties of war-time London did

military personnel, Jagger painted a select group of portraits of

not diminish his output, notable portraits included the future Prime

female sitters. These included Dorothy Hyson, a cryptographer at

Minister, Winston Churchill (1939) and the theatre and film actress,

Bletchley Park, Eileen Joyce, an Anglo-Australian concert pianist,

Vivien Leigh (1941)

who rose to fame during the Second World War and was regarded

This head and shoulders portrait of Mrs. Olive Thelma Exley Bader, née Edwards (1907-1971), wife of Wing-Commander Douglas Bader, D.S.O., D.F.C., was painted at a point when the country was in the depth of the conflict and her husband, the famed and inspirational RAF fighter pilot, had been captured and held prisoner by the Germans.

Douglas Bader had become a legend because of his skill and dogged determination, and in refusing to let the loss of both his legs following a plane crash in 1931 prevent him flying Spitfires during the Second World War. He fought valiantly over Dunkirk in the Battle of France. During the Battle of Britain he was given the command of No. 242 Squadron which brought down 67 German aircraft. His luck ran out during a mission over France in 1941, when his plane was damaged and he was captured, but he continued to make multiple escape attempts from countless prisons including Stalag Luft III (the scene of the Great Escape) eventually ending up in Colditz from where he was freed in 1945.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

by the general public in a similar vein to Gracie Fields and Vera Lynn and latterly Mrs. Thelma Bader, wife of Wing-Commander Douglas Bader, D.S.O., D.F.C. Jagger also produced two portraits of countesses, one of whom was an ATS ambulance driver. Most of the aforementioned female portraits were reproduced as front cover images for the popular magazine, ‘Women’s Journal’. The portrait images were carefully selected to ‘reflect strength and fortitude during a time of adversity’. This portrait of Mrs. Thelma Bader is arguably the most visually striking and accomplished work of the group. Unusually for Jagger the portrait of Mrs. Thelma Bader was painted at her residence in Bagshot, Surrey. Most of Jagger’s portrait sittings were conducted in his Chelsea studio but it had been virtually destroyed during the London Blitz two years earlier.

We are grateful to Timothy Dickson for his kind assistance in cataloguing the current work.

84

100 § SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) THIRD PORTRAIT OF SUNITA (BUST WITH NECKLACE), CONCEIVED 1926 patinated bronze 58cm high (22.8in high) Literature: R. Buckle, Jacob Epstein Sculptor, New York, 1963, p. 146, no. 223 (another cast); E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 159, no. 166 (another cast).

£6,000-8,000

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85

Lot 110

86

101 ANGELO OSTUNI (ITALIAN 20TH CENTURY) SET OF THREE TABLES, CIRCA 1950S black lacquered metal, glass and brass (3) Largest table: 52cm high, 60cm wide, 43cm deep (20.5in high, 23.6in wide, 13in deep)

£600-800

102 PAOLO BUFFA (ITALIAN 1903-1970) BUREAU, CIRCA 1940 mahogany inlaid with sycamore and exotic woods, with bronze sabot feet 145.5cm high, 81cm wide, 43cm deep(57.25 in high, 31.75 in wide, 17in deep)

£2,000-3,000

103 GIO PONTI (ITALIAN 1891-1979) (ATTRIBUTED TO) PAIR OF PIER TABLES black lacquered wood with ivory stringing detail to the swivel frieze drawers (2) 77.5cm high, 75cm wide, 35cm deep (30.5in high, 29.5in wide, 13.75in deep) Provenance: De Parma Gallery, London, 2006; Private Collection, London.

The tables were purportedly part of a unique commission by Gio Ponti for the industrialist Petrone-Avallone Family in Milan in 1929.

These works bear similarity to a collection of works by Gio Ponti which came up for sale at Sothebys Gio Ponti: A Collection auction in Milan on 18 April 2005 (Lots 61-64).

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

£2,000-3,000

87

104 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI ‘FUNÉRAILLES DE THAIS’ FOOTED BOWL marked ‘Richard Ginori / Pittoria / Di Doccia / 1924’, ‘GINORI / L’ and ‘ITALIA’, porcelain 18cm high, 15.2cm diameter (7.1in high, 6in diameter) Literature: Livia Frescobaldi, Oliva Rucellai, Maria Teresa Giovannini (eds.), Gio Ponti: La collezione del Museo Richard-Ginori, Maretti Editore, 2021, p.231, cat. no.145 (another example).

£2,000-3,000

88

105 VENINI ‘POLIEDRI’ CHANDELIER, CIRCA 1960 hand blown glass and metal Approx 70cm diameter, approx 24cm deep (25.5in diameter, 9.25in deep)

£2,000-3,000

106 FONTANA ARTE APPLIQUE LIGHT model 2340, bevelled, curved crystal and frosted glass with engraved detail, brass mounting (2) 59cm high, 20cm wide (23.25in high, 7.9in wide) Provenance: Purchased in 1984 from a building sale in Mayfair by the current vendor.

Literature: Quaderno Fontana Arte 7, Milan, 1965, p.23 (another example); Domus, no. 430, September 1965, n.p. for an advertisement; Laura Falconi, Fontana Arte: Una storia trasparente, Milan, 1998, p. 217.

£1,500-2,500

107 BAROVIER PAIR OF LARGE WALL APPLIQUES moulded glass with patinated metal mounts (2) 82cm high (32.35in high)

£800-1,200

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89

108 OSVALDO BORSANI (ITALIAN 1911-1985) CABINET, EARLY 1950S manufactured by ARREDAMENTI BORSANI, Varedo, mahogany wood, mahogany veneered wood with ceramic handles attributed to Federico Quatrini 147cm high, 220cm wide, 43cm deep (58in high, 86.5in wide, 17in deep) This cabinet is sold together with a copy of the certificate of authenticity from the Archivio Osvaldo Borsani, certificate number 59/2018, dated 6 October 2018.

£1,500-2,500

90

109 Y FRANCO ALBINI (ITALIAN 1905-1977) BOOKCASE LB 7, 1950S rosewood, including five uprights, two cabinets and 4 shelves 317cm high, 342cm wide, 35cm deep (124.75in high, 134.5in wide, 13.75in deep) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 598658/01.

£6,000-9,000

91

110 GUIDO GAMBONE (ITALIAN 1909-1969) TEA / COFFEE SET, 1950S

111 GUIDO GAMBONE (ITALIAN 1909-1969) LAMP BASE signed ‘GAMBONE / ITALY’ and with Donkey mark, stoneware 25.5cm high (10in high)

£800-1,200

glazed signature ‘GAMBONE ITALY’ and artist’s donkey symbol to bases, ceramic, glazed in turquoise with patterned banded decoration, comprising milk jug, pot and cover and six tea cups and saucers (8) the jug 11cm high (4.25in high)

£800-1,200

92

112 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) THASSOS, GREECE signed in pencil (lower right), oil and pencil on artist’s paper laid on canvas 39.5cm x 49.5cm (15.5in x 19.3in)

£600-800

113 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) ABSTRACT oil on board 60cm x 24cm (23.5in x 9.5in)

£800-1,200

114 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) THE CASTLE ISCHIA, 1947 signed (lower right), dated to label (to reverse), oil on canvas laid on board 44.5cm x 54cm (17.5in x 21.25in)

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

93

115 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) HEAD OF CHRIST oil on paper/card 59.5cm x 43cm (23.5in x 17in)

£600-800

116 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) THE MANDOLIN signed (lower left), oil on canvas on board 51cm x 40.7cm (20in x 16in)

£1,000-1,500

117 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) PORTRAIT OF DIANA GREER signed (lower left), signed and titled to label (to reverse), oil on board 73cm x 54cm (28.75in x 21.25in) Exhibited: Odette Gilbert Gallery, London, no. 107 as Portrait of a Woman.

The present work was most likely a commission during Wolfe’s visit to South Africa in the 1950s.

£800-1,200

94

118 § EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) PORTRAIT OF JIM WYLIE AT PORTMEIRION signed (lower right), oil on canvas 121cm x 74.5cm (47.5in x 29.3in) Provenance: Everard Read Gallery, Johannesburg.

The war years had cast a sense of despondency over Wolfe. After the war, his travels in Wales resulted in a productive period at Portmeirion, the holiday village designed by Sir Bertram Clough William-Ellis. Jim Wyllie managed Portmeirion and was also a fellow Slade-trained artist.

£800-1,200

95

119 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) THE ROAD, CIRCA 1936 Inscribed to contemporary label (to reverse), oil on canvas 41cm x 51cm (16in x 20in) Provenance: Allan Barns-Graham.

A note to the reverse states ‘Authenticated by Geoffrey Bertram, Chairman of the Barns-Graham Charitable Trust’ and that the painting dates from c.1936.

£5,000-8,000

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96

120 § IVON HITCHENS (BRITISH 1893-1979) SPRING FLOWERS, 1932 signed and dated (lower right), oil on canvas 61cm x 51cm (24in x 20in) Provenance: Ernest, Brown & Phillips, The Leicester Galleries, London.

£60,000-80,000

Ivon Hitchens was born into an artistic family and studied at St John’s Wood School of Art and the Royal Academy in London where Clausen and Sargent were among his teachers. Along with contemporaries Ben Nicholson, John Piper and Barbara Hepworth, he joined the Seven and Five Society and the London Group in the 1920s, both of which declared a firm position away from the artistic mainstream of the time. Hitchens had a quiet demeanour but maintained close contact with his contemporaries, holidaying with the Nicholsons, Barbara Hepworth and John Skeaping and exhibiting with Victor Pasmore and Ceri Richards. He did, however, prefer the peaceful surrounds of East Sussex to the hustle and bustle of London. Marrying Mary Cranford Coates in 1935, the war forced him to leave London in 1939 and he bought a caravan and six acres of woodland at Lavington Common near Petworth, East Sussex, whilst keeping his Hampstead studio. The following year a bomb damaged that and the Hitchens family moved permanently to Lavington Common, retaining the caravan which later on in his life served as guest living quarters. It was in the mid to late 1930 that Hitchens departed from his experiments with reductive abstraction to evolve his own personal style of abstract figuration.

In art historical terms, the biggest influence felt in Hitchens’ work is that of Cézanne. Not only did he find Cézanne’s approach to deconstructing the motif helpful to his own work but in the same way that Cézanne was able to paint his own artistic vision of Provence, Hitchens dedicated much of his career to depicting his beloved East Sussex. His approach to painting is enormously indebted, as with many twentieth-century artists, to Cézanne’s insistence on conveying the underlying structure of his subject matter. The viewer is always aware of the backbone of his composition and how all components fit together.

The vast majority of the Hitchens’ large output is painted on canvases of three specific sizes. In narrow long ‘Cinematoscope’ shape, Hitchens was dedicated to painting the Sussex landscape but he did depart from that to depict the nude and some impressive still lifes, the present canvas being a splendid example. In a conversation with T G Rosenthal, he stated: “I love flowers for

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painting. One can read into a good flower picture the same problems that one faces with a landscape, near and far, meaning and movements of shapes and brush strokes. You keep playing with the object.” The flowers appear to have been posed in the artist’s home in East Sussex.

Hitchens’ painting style can be described as highly selective, with economical brushstrokes, long sweeping lines of paint and a delicate balance between light and shade, substance and void. He describes his approach to painting volume and space as such: “I am really only interested in the structure of the three-dimensional canvas – the visual structure...It’s really converting the current distance of reality, near and far and half-way, into two dimensions so that only as your eye travels around the passage, the two dimensional passage, dark to light and light to dark, warm to cool, cool to warm or broad up to narrow – as it travels along those things – so it suddenly subconsciously finds that it’s doing something in depth as well.”

In a conscious effort to distract the viewer from immediately and instinctively seeking a recognisable figurative pattern, a conventional three dimensional object, Hitchens paints in a way which first demands that we explore the two dimensional canvas: the juxtaposition of cool and warm shades, light and dark tones, a variety of edges, textures and organic lines. Then and only then do we identify the flowers bowing their heads towards the viewer, perhaps the blue sky seen through a window on the left. It is not three-dimensional shading that conveys the presence of the flowers in conventional perspective but rather the layering of fields of colour one on top of each other that implies recession into space. The compositional elements in this flower piece take on a general structural role, and Hitchens, not unlike Cézanne, blurs the lines between still life and landscape. Thus the area on the left becomes a general sign for the sky whereas the dark linear shape on the right could be a wall by a country lane or a fence.

Unlike that of some of his contemporaries, Hitchens’ work did not undergo dramatic shifts in style or subject matter so that after he synthesised his approach by around the early to mid 1930s his works can be difficult to place precisely within a chronology.

98

121 § HEATHER COPLEY (BRITISH 1918-2001) STILL LIFE OF ROSES, 1958 inscribed and dated (to reverse), oil on board 61cm x 51cm (24in x 20in), unframed

£800-1,200

122 § HEATHER COPLEY (BRITISH 1918-2001) SASKIA, 1954 signed and dated (lower left), oil on board 76cm x 61cm (30in x 24in), unframed

£1,000-1,500

123 § CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984) MR HEDGES, 1959 signed and dated (lower right), oil on board 107cm x 84cm (42in x 33in), unframed

£1,000-1,500

99

Mary Newcomb referred to herself as an ‘untaught artist’. She studied Natural Sciences at Reading University and began to paint following her marriage and move to rural Norfolk. Her sensitive imagery is based on keen observation of her natural surroundings, in which field studies are infused with a lyrical romanticism. This can be seen in Autumnal Landscape, which is a rare early work. Her biographer, Christopher Andreae, identified an entry in the artist’s diary in which she explained how she worked: “I paint with the canvas against a wall … I tilt it forward at the base for stability. This seems to give me a foothold actually within the canvas about ¾ down, a little platform of my own, for myself on the stage … so that I have a measured amount of space all round me as an actor might have and feel. This gives me the ability to reach out to left and right and behind my shoulders and I am part of the action, in the trees, on the water, in the air, with the figures, in a landscape, totally involved and living in there.” A major exhibition of Newcomb’s work was held at Compton Verney, Warwickshire in 2021 and her work is being increasingly acquired for UK public collections.

124 § MARY NEWCOMB (BRITISH 1922-2008) FIGURES IN AUTUMNAL LANDSCAPE, 1957 signed and dated (lower right), oil on board 54cm x 89cm (21.25in x 35in)

£7,000-9,000

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100

125 § DAME ELISABETH FRINK (BRITISH 1930-1993) HORSE AND RIDER, 1970 lithograph 25.5cm x 32cm (10in x 12.5in) The print run for this edition was 500, but it was not signed and editioned as Frink decided to reprint and issue the lithograph with wider margins.

£500-700

126 § MARTIN BRADLEY (BRITISH 1931-) WARRIOR, 1956 signed, titled and dated in ink, Indian ink, gouache and wash on paper 59.5cm x 44cm (23.5in x 17.25in)

£600-800

127 § ROBERT CLATWORTHY (BRITISH 1928-2015) FIGURE IN ROOM, 1954 3/30, signed, titled, dated and numbered in pencil (in the margin), etching and aquatint on paper 40.5cm x 30.5cm (16in x 12in)

£500-700

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101

128 § REG BUTLER (BRITISH 1913-1981) GIRL, CONCEIVED 1951 6/8, signed with monogram, and stamped with the Susse Foundry Paris stamp, patinated bronze 24cm high (9.5in high) Provenance: Alan Wheatley Fine Art, London, where purchased by the present owner.

Literature: Margaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, 2006, p.130, cat.no.94 (ill.b&w, p.131, another cast).

The subject of Girl is Reg Butler’s student Rosemary Young, a sculptor who became his muse, companion, colleague and second wife.

In this early example of his female studies in bronze, Young is depicted holding a modelling knife.

£5,000-7,000

102

129 LOUIS ROBERT JAMES (AUSTRALIAN 1920-1996) LANDSCAPE WITH WHITE HOUSES, 1953 signed and dated (lower left), oil on canvas 40cm x 50cm (15.75in x 19.75in)

£700-900

130 § JOHN BAINBRIDGE COPNALL (BRITISH 1928-2007) SPANISH LANDSCAPE, CIRCA 1959 signed and indistinctly dated in pencil (lower right), gouache and watercolour on paper 28.5cm x 19cm (11.25in x 7.5in) Provenance: Piccadilly Gallery, London; The Millinery Works, London.

£400-600

131 § PETER KELLY N.E.A.C. R.B.A. (BRITISH 1931-2019) ENTRANCE TO THE RED ROOM, YUSUPOV PALACE, ST. PETERSBURG monogrammed (lower left), oil on canvas laid on board 36cm x 29cm (14.1in x 11.3in) Provenance: Thompson’s Gallery, Aldeburgh; Private Collection, London.

£500-700

132 § PETER KELLY N.E.A.C. R.B.A. (BRITISH 1931-2019) LIGHT AND SHADOWS, LORD BYRON’S ROOM, NEWSTEAD ABBEY monogrammed (lower right), oil on canvas laid on board 44.5cm x 31cm (17.5in x 12.25in) Provenance: Thompson’s Gallery, London; Private Collection, London.

£500-700

103

133 § JOHN PIPER C.H. (BRITISH 1903-1992) THE FORUM, ROME, 1961 signed (lower right), watercolour and gouache on paper 55.5cm x 68cm (21.9in x 26.75in) Provenance: Brook Street Gallery, London; Private Collection, UK.

£5,000-7,000

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104

SIR BASIL SPENCE & THE ALLEGRO SUITE Sir Basil Spence was one of the leading British architects and designers of the 20th century, whose monumental or ‘’brutalist’’ style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-62), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a Diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow exhibition, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951).

134 SIR BASIL SPENCE O.M., O.B.E., R.A. (BRITISH 1907-1976) FOR H. MORRIS & CO., GLASGOW ‘ALLEGRO’ ARMCHAIR, DESIGNED 1947-8 maker’s label, the drop-in seat stamped ‘17’, laminated wood 88cm high, 54cm wide, 42cm deep (34.6in high, 21.2in wide, 16.5in deep)

£1,500-2,500

135 SIR BASIL SPENCE O.M., O.B.E., R.A. (BRITISH 1907-1976) FOR H. MORRIS & CO., GLASGOW ‘ALLEGRO’ DINING TABLE, DESIGNED 1947-8 maker’s label ‘MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW’, laminated wood 74cm high, 166cm long, 58cm deep (29in high, 65.3in long, 22.8in deep)

£4,000-6,000

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136 SIR BASIL SPENCE O.M., O.B.E., R.A. (BRITISH 1907-1976) FOR H. MORRIS & CO., GLASGOW ‘ALLEGRO’ SIDEBOARD, DESIGNED 1947-8 maker’s label ‘MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW’, laminated wood 94.5cm high, 158.5cm wide, 55cm deep (37in high, 62.4in wide, 21.6in deep)

£5,000-8,000

The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs, table and sideboard. Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that it went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.

Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised); ‘’Austerity to Affluence: British Art & Design 1945-1962’’, The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated); Long, Philip and Thomas, Jane (Edit.) ‘’Basil Spence’’, Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig. 55 (another example illustrated).

106

137 § ZAO WOU-KI (CHINESE / FRENCH 1921-2013) FOR ASCHER ‘PAYSAGE BLEU’ SCARF / SQUARE, DESIGNED 1955 89/175, numbered (lower right), silk twill 92cm x 92cm (36in x 36in)

£1,500-2,500

138 § ANDRÉ DERAIN (FRENCH 1880-1954) FOR ASCHER ‘FRUITS’ SCARF / SQUARE, DESIGNED 1947 from an edition of 350, silk crepe 83cm x 85cm (32.5in x 33.4in) Provenance: Mercury Gallery, Edinburgh, 1984.

£700-900

107

139 SIR TERENCE CONRAN (BRITISH 1931-2020) CABINET, DESIGNED CIRCA 1953 walnut, black enamelled steel and glass sliding doors 121.5cm high, 123cm wide, 38cm deep (47.8in high, 48.4in wide, 15in deep) Exhibited: London, The Design Museum, Terence Conran, The Way We Live Now, 16 November 2011 - 12 April 2012 (another example, with black and white lower sliding doors).

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

108

140 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) BOWL, CIRCA 1956 impressed artist’s seal, stoneware, with speckled oatmeal glaze inlaid blue lines 6.3cm high, 13cm wide (2.5in high, 5.15in wide)

£1,000-1,500

141 § WILLIAM NEWLAND (BRITISH 1919-1998) BULL, 1958 signed and dated, earthenware with trailed slip decoration 25.3cm high, 22cm wide (10in high, 8.6in wide)

£500-700

142 § RUTH DUCKWORTH (BRITISH 1919-2009) LARGE OPEN BOWL partially incised initials, stoneware, deep green glaze to the inside of bowl 14cm high, 45cm diameter (5.5in high, 17.75in diameter)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

109

143 § DAME LUCIE RIE D.B.E. (BRITISH 1902-1995) FOOTED BOWL impressed artist’s seal, stoneware, matte white glaze with manganese rim 9cm high, 25.5cm diameter (3.5in high, 10in diameter) Provenance: Casson Gallery, London.

£7,000-9,000

110

144 § QUENTIN BELL (BRITISH 1910-1996) FOR FULHAM POTTERY VASE inscribed ‘Fulham Pottery / Quentin Bell’, stoneware 17cm high, 20cm wide (6.7in high, 7.9in wide)

£300-500

145 ELFORD BRADLEY COX (CANADIAN 1914-2003) MALE HEAD incised ‘E B Cox’, porcelain 19cm high (7.5in high)

£300-500

146 § QUENTIN BELL (BRITISH 1910-1996) FOR FULHAM POTTERY PLATE inscribed ‘Fulham Pottery / Quentin Bell’ and stamped pottery marks, earthenware incised with design of landscape 28cm diameter (11in diameter)

£400-600

147 HAP GRIESHABER (GERMAN 1909-1981) AND AMBROGIO POZZI (ITALIAN 1931-2012) FOR ROSENTHAL ‘DUO FORM’ TEA SET comprising teapot, sugar bowl and cover, milk jug, large plate, six side plates and six cups and saucers, stamped manufacturer’s marks (16) the teapot 21cm high (8.25in high)

£300-500

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111

148 Y KAI LYNGFELDT LARSEN (DANISH 1920-2001) FOR VEJEN DINING TABLE AND SET OF SIX CHAIRS manufacturer’s label to the chairs, and the table stamped ‘124’, rosewood (7) table 71cm high, 195cm wide (extended), 88cm deep (28in high, 76.5in wide, 34.5in deep); carver 81cm high, 60cm wide, 45cm deep (32in high, 23.5in wide, 17.7in deep) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 606624/01 and 606624/02.

£1,000-1,500

112

149 § PETER COLLINGWOOD O.B.E. (BRITISH 1922-2008) RUG wool, in blues, purple and black 151cm x 93cm (59.5in x 36.6in) Provenance: Purchased by the parents of the current vendor directly from Peter Collingwood in 1961 at the Digswell Art Foundation where Collingwood had his studio.

£300-500

150 BØRGE MOGENSEN (DANISH 1914-1972) FOR FREDERICIA PAIR OF ARMCHAIRS, DESIGNED 1963 model 2207, black leather and wood (2) 79cm high, 70cm wide, 81cm deep (31in high, 27.5in wide, 32in deep)

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

113

151 FINN JUHL (DANISH 1912-1989) FOR KAY BOJESEN SET OF SIX BOWLS teak, each stamped ‘DESIGN FINN JUHL / TEAK’, and two stamped ‘KAY BOJESEN’ (6) each 15cm wide (5.9in)

£3,000-5,000

152 TAPIO WIRKKALA (FINNISH 1915-1985) FOR KULTAKESKUS OY, HÄMEENLINNA, FINLAND PAIR OF CANDLESTICKS, 1964 silver, marked artist’s initials ‘TW’ in script, Finnish hallmarks for 1964 (2) 23cm high (9in high) Literature: Marianne Aav, Rosa Barovier Mentasti, Gordon Bowyer et al., Tapio Wirkkala: Eye, Hand and Thought, exh. cat., Museum of Art and Design, Helsinki, 2000, p. 363.

£1,000-1,500

153 TAPIO WIRKKALA (FINNISH 1915-1985) FOR IITTALA ‘MIRACUS’ BOWL, DESIGNED 1968 model 3433, lead filled glass 18cm high, 31cm wide (7in high, 12.1in wide)

£400-600

114

154 JOHANNES ANDERSEN (DANISH 1903-1991) FOR TRENSUM, SWEDEN PAIR OF CHAIRS AND STOOL, 1960S beech frame with upholstered fabric (3) Chairs: 75cm high, 87cm wide, 74cm deep (29.5in high, 34in wide, 29in deep); Stool: 48cm high, 59cm long, 34cm deep (18.9in high, 23in long, 13.4in deep) Provenance: Private Collection, London.

£2,000-3,000

155 JOHANNES ANDERSEN (DANISH 1903-1991) FOR TRENSUM, SWEDEN SOFA, 1960S beech frame with upholstered fabric 74cm high, 234cm wide, 66cm deep (29in high, 92in wide, 26in deep)

£2,000-3,000

115

156 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN THE CHAIR model JH-501, stamped manufacturer’s marks and monogram, with Georg Jensen retailer’s label (to underside of seat) 76cm high, 58cm wide, 51cm deep (30in high, 22.8in wide, 20in deep)

£1,200-1,800

157 ARNE JACOBSEN (DANISH 1902-1971) FOR FRITZ HANSEN SWAN CHAIR, DESIGNED 1958 cast manufacturer’s mark ‘FH / Made in Denmark / 331620.22’ (to base), aluminium, steel and upholstery 77cm high, 76cm wide (30.25in high, 30in wide)

£800-1,200

158 ARNE JACOBSEN (DANISH 1902-1971) EGG CHAIR AND OTTOMAN aluminium and yellow and black fabric Chair: 107cm high, 88cm wide (42in high, 34.6in wide) Ottoman: 43cm high, 55cm wide (17in high, 21.6in wide)

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

159 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BROOCH model 339, silver, stamped Georg Jensen mark, ‘925s Denmark’, and with import marks; necklace, model 2380, silver, stamped Georg Jensen mark, ‘925s Denmark’; Vivianna Torun Bülow-Hübe, pair of drop earrings, silver, stamped Georg Jensen mark, ‘925’, and with import marks; Edvard Kindt-Larsen, pair of earrings, silver, model 116A, stamped Georg Jensen mark ‘925S Denmark’; Nanna Ditzel, pair of earrings, silver, model 1360, stamped Georg Jensen mark ‘925S Denmark’ £400-600

160 NANNA AND JØRGEN DITZEL (DANISH 1923-2005 AND 1921-1961) FOR GEORG JENSEN BRACELET model 124, silver, stamped with Georg Jensen mark, ‘925S Demark’, artist’s monogram, and with import marks 19.5cm long

£300-500

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161 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR NECKLACE with integral smoky quartz pendant drop, model 242, stamped with Georg Jensen mark, ‘TORUN’ and ‘925S’ internal width 15.2cm (5.8in)

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

118

162 GEORG JENSEN THREE PAIRS OF CLIP EARRINGS Allan Schraff silver and black onyx earrings, model 209; Regtiz Overgaard silver drop earrings, model 380B and Astrig Fog square silver earrings, model 191, each stamped with Georg Jensen mark, model numbers and ‘925S Denmark’, the Astrig Fog earrings with import marks (3) The Schraff earrings 3.5cm wide

£300-500

163 FLEMMING ESKILDSEN (DANISH 1936-) FOR GEORG JENSEN NECKLACE model 171, silver, stamped Georg Jensen mark, ‘925S Denmark’ and with import marks 39cm long

£300-500

164 GEORG JENSEN THREE BROOCHES Hans Hansen brooch; Henning Koppel brooch, model 375; and Ole Kortzau brooch, model 395, silver, each stamped with Georg Jensen mark and ‘925s’, and with import marks (3) 5.7cm wide, 6cm wide and 6.5cm wide respectively

£300-500

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165 HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE & BRACELET model 190, silver, each stamped with Georg Jensen mark, ‘925S’ (2) The necklace 39.5cm long, the bracelet 18.5cm long

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

120

166 § JACQUELINE RYAN (BRITISH 1966-) PAIR OF EARRINGS, 1994 18ct gold, of circular outline, with a layered geometric pattern 3.6cm diameter (1.35in diameter)

£800-1,200

167 HANS HANSEN (DANISH 1866-1935) FOR GEORG JENSEN BROOCH stamped ‘750’, with Georg Jensen mark, designer’s monogram and import mark; pair of clip earrings, with Georg Jensen mark, stamped ‘750’ and with import marks; and a three band rope twist ring, with Georg Jensen mark, stamped ‘750’ and with import marks (3) £600-800

168 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN BROOCH AND RING model 391 and 155, silver, each stamped with Georg Jensen mark, ‘TORUN’ and ‘925S Denmark’ (2) brooch 10cm long (4in long) / ring size: leading edge T/U

£300-500

169 ANDREAS MIKKELSEN (DANISH 1928-2008) FOR GEORG JENSEN COLLAR NECKLACE AND BRACELET model ‘A70’ and ‘A70A’, each stamped with Georg Jensen marks and ‘925S / Denmark’ internal width of collar necklace 11.5cm (4.5in), 137 grams

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

121

170 VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) NECKBAND AND PENDANT, 1960S silver and rock crystal, neckband stamped with Georg Jensen mark and ‘925S DENMARK / TORUN / 1730’, the pendant stamped ‘925S DENMARK / 130 / TORUN’ internal width of neckband 15cm wide (5.9in wide), the pendant 5cm long (2in long)

£600-800

171 BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA ‘PISARANMUOTO’ (BIG DROP) PENDANT NECKLACE mould cast silver and acrylic pendant, marked with maker’s mark, ‘925H’, Finnish assay mark, date mark ‘S7’, ‘STERLING / FINLAND’

172

the pendant 8.5cm high (3.3in high)

BRACELET, 1960S

Literature: Björn Weckström, Björn Weckström, Keuruu, 1980, p. 66; Marianne Aav and Nina Stritzler-Levine (eds.), Finnish Modern Design: Utopian Ideals and Everyday Realities: 19301997, exh. cat., The Bard Graduate Center for Studies in the Decorative Arts, New Haven, 1998, p. 352; Björn Weckström, Marianne Aav and Eeva Viljanen, Björn Weckström, exh. cat., Design Museum, Helsinki, 2003, p. 104.

£500-700

HANS HANSEN (DANISH 1884-1940) silver, stamped artist’s facsimile signature and ‘925S DENMARK 254’ internal width 6.3cm (2.4in)

£300-500

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And Miss Carter Wore Pink

of characters that recur across her oeuvre, from the suited bank manager Mr. Taylor, to the now-famous Miss Carter, the family friend always clad in signature bubble-gum pink. The artist herself

When Helen Bradley’s grandchildren expressed curiosity about

appears in many compositions as a child accompanied by her family

Edwardian-era life, she turned to her paintbrushes. Seeking to

and two pet dogs, Gyp and Barney. Bradley often drafted short

illustrate how much the world had changed, Bradley drew on

narrative texts to accompany her paintings, further elucidating the

her memories of her childhood in Oldham, painting scenes of

memory she had felt compelled to paint.

townspeople going about their daily lives. Her grandchildren must have delighted at the unfamiliar Edwardian clothes, the stiff highnecked dresses, the suits and top hats. Yet Bradley’s paintings also touched on ideas that transcend the intervening decades: each is a celebration of family life and community, and is realised with a deep and earnest affection.

From 1965 until her death in 1979, Bradley’s fame increased, earning the artist an MBE and generating BBC and NBC documentaries about her life, and a Northern Ballet adaptation of her work. Yet, Bradley had only resumed a regular painting practice in the early 1960s. Her artistic talent was evident from an early age: at thirteen, she was awarded a scholarship to attend

The familial origins of Bradley’s artwork scarcely presupposed

Oldham Art School. Later, when living in London, Bradley recalled

the phenomenal following she would garner in little more than

being particularly taken with exhibitions of early Chinese painting

five years. By the early 1970s, Bradley was an artist with an

and displays of Persian miniatures at the British Museum, perhaps

international reputation. Viewers delighted at the distinctive cast

an early indication of her predilection for art with the capacity to

123

transport the viewer to another world. Also familiar is the approach

the early 1970s, and epitomises the artist’s ability to recall the past

to figures largely in-profile and rendered in vivid colour, as well as

with playful tenderness, without succumbing to nostalgia. Bradley

the strong narrative function. Unfortunately, with the outbreak of

spent her childhood holidays in Blackpool where her grandparents

war Bradley’s plans to pursue the arts were cut short. In 1926, she

lived, and they proved the most beloved and prolific of her

married the artist and textile designer John Bradley, and would not

childhood adventures. Brimming with the fun of the seaside - kite

consistently paint again until her mid-sixties.

flying, donkey rides and Punch and Judy shows - Bradley’s works of

It was a chance encounter with L.S. Lowry in the 1960s that encouraged Bradley to approach her painting as a personal document. Blackpool Sands with Punch and Judy Show likely dates to

Blackpool are perhaps her most iconic and charming works. They were generally painted on a larger scale than her other pictures, and this example is arguably one of the foremost examples of her Blackpool reminiscences. The composition evokes a leisurely family day at the beach punctuated by small moments of chaos: to the alarm of three onlooking children, a small boy brandishes a spade behind the Punch & Judy puppeteer, while Miss Carter rushes to intervene. Relishing in the poignancy of life’s quiet, incidental moments is quintessential Bradley.

124

173 § HELEN BRADLEY M.B.E. (BRITISH 1900-1979) GEORGE AND I LOVED GOING TO GRANDPA’S AT BLACKPOOL FOR CHRISTMAS signed and with fly insignia (lower right), oil on board 22.7cm x 30.5cm (9in x 12in) Provenance: Willow Gallery, London; Private Collection, UK. ‘George and I loved going to Grandpa’s at Blackpool for Christmas, and we loved it to snow, all the fields and little woods near to Grandpa’s Farm looked like fairyland “but”, said Mother “the birds don’t like all this snow, it’s very difficult for them to find their food”, so we collected all the crumbs we could and every afternoon we set off with Miss Carter (who wore Pink) and Mr Taylor (The Bank Manager) and all the Birds were waiting for us and the year was 1906’ (to label to reverse).

£15,000-25,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

125

174 § HELEN BRADLEY M.B.E. (BRITISH 1900-1979) ONE GLORIOUS DAY SPRING CLEANING BEGAN, 1971 fly insignia (lower left), oil on canvas on board 38.5cm x 54cm (15.25in x 21.25in) ‘The Glorious day Spring Cleaning began... Aunt Mary, Aunt Frances, Aunt Charlotte, also Miss Carter (who wore Pink) called at our house ready to start on Father’s Room. Everyone was having a delightful time. Aunt Frances sat on the stepladder reading something that made them all laugh. They loved Father’s books on the top shelf and they read so much with such joy that it took them a week to do out the bookcases, but just when everyone was thoroughly enjoying themselves including George & I who were building houses with books, young Sarah opened the door and announced Mrs Hope-Ainsworth. “Oh dear”, said Miss Carter, dropping her books, “we’ve all got our aprons on”, and the year was 1906. Helen Rayfield Bradley, 1971’ (to label to reverse).

£25,000-35,000

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175 § HELEN BRADLEY M.B.E. (BRITISH 1900-1979) OH! THE POT MARKET’S ARRIVED signed and with fly insignia (lower left), oil on canvas on board 39.7cm x 49.5cm (15.6in x 19.5in) Provenance: MacConnal-Mason, London; Private Collection, UK. ‘Oh! The Pot Market’s arrived. George and I were delighted. We knew that grandma, mother, the aunts and Miss Carter, (who wore Pink) would stop and look at all the Pots and buy something, although they hadn’t brought bags with them, “Because”, they said “the market’s earlier than usual”. The Pot Markets only came about once every six months and they were exciting. All the men showing their wares and some offering a huge clothes basket full of pots for very little money. We are on our way to visit Great Aunt Buckley who, alas, George and I didn’t like, so by the time all the pots had been looked at and we’d walked quite a long way, there wouldn’t be much time to spend at Great Aunt Buckley’s and the year was 1907. Helen Layfield Bradley 1975’ (to label to reverse).

£30,000-50,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

127

176 § HELEN BRADLEY M.B.E. (BRITISH 1900-1979) BLACKPOOL SANDS WITH PUNCH AND JUDY SHOW signed with fly insignia (lower left), oil on canvas on board 75cm x 94cm (29.5in x 37in) Exhibited: Windsor & Eton Fine Arts Co. Ltd, 1974; Bonhams, London, Modern British & Irish Art, 17 March 2010, Lot 13; Haynes Fine Art, Broadway.

£60,000-80,000

‘“Willie Murgatroyd”, cried Miss Carter (who wore Pink) / “stop this minute” / George & I and the dogs Gyp & Barney, were at the back watching the Punch & Judy man. Willie & Annie Murgatroyd were there also, when all at once he lifted his spade and was about to whack the poor man when Miss Carter saw him. His mother rushed forward also, so I thought I had better get George back to mother and father before there was any trouble. They had stood at the back of the crowd to let Cousin Edward & Cousin Marion see the Punch & Judy show. Father held them up in turn. Mother, Aunt Charlotte & Aunt Frances were chatting when Aunt Frances noticed Bertie and Nellie Hope-Ainsworth standing near. “Look who’s near you Jane”, she said “Be careful what you say”, for Nellie Hope Ainsworth listened to everyone’s conversation and then passed it on to her mother who was enjoying the show. She was wearing her Parma Violet outfit. And the year was 1907 and it was late September at Blackpool. Helen Layfield Bradley 1971’ (to label to reverse).

128

177 PIERO FORNASETTI (ITALIAN 1913-1988) SET OF SIX ‘PISCIBUS’ TROMPE L’OEIL PLATES hand coloured transfer printed earthenware with fish over blue and white ground, printed labels ‘Piscibus / Fornasetti / Milano / Made in Italy / 1955’ (6) 25.5cm diameter (10in diameter)

£1,200-1,800

178 SERGIO RODRIGUES (BRAZILIAN 1927-2014) ‘MOLE’ ARMCHAIR, DESIGNED 1957 wood, dark green leather cushions 72.5cm high, 80cm wide, 77cm deep (28.5in high, 31.5in wide, 30.25in)

£800-1,200

129

130

179 NORMAN CHERNER (AMERICAN 1920-1987) FOR PLYCRAFT ARMCHAIR, DESIGNED 1958 applied manufacturer’s label (to underside), plywood 79.5cm high, 68.5cm wide (31.25in high, 27in wide)

£600-800

180 GEORGE NAKASHIMA (AMERICAN 1905-1990) (ATTRIBUTED TO) HEADBOARD English walnut 93cm high, 204cm wide (36.25in high, 80.25in wide) Provenance: Purportedly from a house full of works by Nakashima, bought directly from George Nakashima in the late 1960s.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

131

181 WARREN PLATNER (AMERICAN 1919-2006) FOR KNOLL INTERNATIONAL PAIR OF ARMCHAIRS steel and orange upholstery, with ‘Knoll International’ sticker labels (2) 77cm high, 91cm wide (30.25in high, 35.75in wide)

£3,500-4,500

182 ISAMU KENMOCHI (JAPANESE 1912-1971) FOR TENDŌ MOKKŌ JAPAN TWO OCCASIONAL TABLES, CIRCA 1966 designed for the National Kyoto Conference Centre, 1961, Japanese elm (zelkova) plywood, zelcova veneer (2) 45cm high, 60cm wide, 60 deep (17.75in high, 23.6in wide, 23.6in deep) Literature: Isamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, Akita, 2005, pp. 102 &195.

£1,500-2,000

132

183 EDWARD WORMLEY (AMERICAN 19071995) FOR DUNBAR PAIR OF ARMCHAIRS, DESIGNED 1957 model 5862, produced by Jules Wabbes and Mobilier Universel, walnut and green velvet upholstery (2) 82.5cm high, 61.5cm wide (32.5in high, 24.25in wide)

£500-700

184 GEORGE NELSON (AMERICAN 1908-1986) FOR HERMAN MILLER SLAT BENCH, DESIGNED 1947 aluminium Herman Miller label, lacquered wood 35.5cm high, 122cm wide, 47cm deep (14in high, 48in wide, 18.5in deep)

£400-600

185 EDWARD WORMLEY (AMERICAN 1907-1995) FOR DUNBAR NEST OF THREE TABLES Dunbar Furniture Corporation label (to the underside of one table), walnut and plated brass (3) the largest table 56cm high, 71cm wide, 51cm deep (22in high, 28in wide, 20in deep) Provenance: Private Collection, New York; Private Collection, London.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

133

186 ITALIAN CHANDELIER brass, opaline glass, metal, in the manner of Stilux and Stilnovo approximately 72cm wide x 74cm high (28.3in x 29in)

£500-800

187 PIA GUIDETTI CRIPPI (ITALIAN 20TH CENTURY) FOR LUMI (ATTRIBUTED TO) PAIR OF WALL APPLIQUES glass and chrome (2) 38cm high (15in high)

£400-600

188 CHARLES AND RAY EAMES (AMERICAN, 1907-1978, 19121988) FOR HERMAN MILLER PAIR OF SOFT PAD CHAIRS brown leather and aluminium, with Herman Miller labels and cast with Herman Miller mark and numbered ‘938-138’ (2) 83cm high, 52cm wide (32.75in high, 20.5in wide)

£800-1,200

189 CHARLES AND RAY EAMES (AMERICAN, 1907-1978, 1912-1988) FOR HERMAN MILLER PAIR OF SOFT PAD CHAIRS brown leather and aluminium, with Herman Miller labels and cast with Herman Miller mark and numbered ‘938-138’ (2) 83cm high, 52cm wide (32.75in high, 20.5in wide)

£800-1,200

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190 VICO MAGISTRETTI (ITALIAN 1920-2006) FOR O-LUCE, ITALY ‘ATOLLO’ TABLE LAMP, DESIGNED 1977 manufacturer’s label, aluminium and plastic 70cm high, 50cm diameter (27.5in high, 19.6in diameter)

£700-1,000

191 JEAN CAMUSET (FRENCH 20TH CENTURY) KINETIC SCULPTURE, 1970S steel wire and polished stainless steel base 71cm high (28in high)

£600-900

192 RENZO FRAU (ITALIAN 1881-1926) FOR POLTRONA FRAU PAIR OF ‘VANITY FAIR’ ARMCHAIRS no.s 8054 and 8055, each with metal manufacturer’s label, leather (2) each 96cm high, 92cm wide (37.8in high, 36in wide) Originally called ‘model 904’, but since 1984 as the ‘Vanity Fair’ armchair, this chair has become one of the emblem’s of Poltrona Frau. Developed from designs that Renzo Frau left his wife Savina, it first went into production in 1930, and these examples were produced around 1993.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

135

193 HARRY BERTOIA (AMERICAN 1915-1978) SET OF FOUR DIAMOND CHAIRS steel (4) 76cm high, 86cm wide, 49cm deep (30in high, 33.8in wide, 19.3in deep)

£600-800

194 ERWINE AND ESTELLE LAVERNE (AMERICAN 1909-2002 AND 1915-1997) FOR FORMES NOUVELLES ‘CHAMPAGNE’ CHAIR, DESIGNED 1957 clear acrylic moulded seat on aluminium pedestal foot, orange leather cushion, underside cast ‘Made in Italy, Champagne Chair, Laverne, Formes Nouvelles’ 82cm high, 61cm wide, 55cm deep (32.25in high, 24in wide, 21.6in deep)

£500-700

195 HARRY BERTOIA (AMERICAN 1915-1978) BIRD CHAIR AND OTTOMAN, DESIGNED 1952 enamelled steel (2) Chair: 103cm high, 96cm wide, 60cm deep (40.1in high, 37.8in wide, 23.5in deep); Stool: 32cm high, 61cm wide, 42cm deep (12.5in high, 24in wide, 16.5in deep)

£500-700

136

196 § WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) FIGURE INTO LANDSCAPE, CIRCA 1960 charcoal with traces of coloured crayon on paper 25cm x 34.5cm (9.75in x 13.6in) Provenance: Phillips, London, 20 March 2001 (Lot 126); Whytes, Dublin, 15 December 2007 (Lot 52); Private Collection, UK. From the sketchbook recorded as no. 1777 in the William Scott Foundation archive.

£800-1,200

197 § ROY TURNER DURRANT (BRITISH 1925-1998) UNTITLED, 1968 signed and dated (lower right), oil on board 15.2cm x 21cm (6in x 8.25in)

£600-800

198 § GWYTHER IRWIN (BRITISH 1931-2008) (ATTRIBUTED TO) JETTY II signed (lower left), titled in pencil in the margin (lower right), acrylic on paper

199 § JULIAN TREVELYAN (BRITISH 1910-1988)

24cm x 35.5cm (9.5in x 14in)

SPINNAKERS, 1971

£400-600

steel plate with etching and soft ground 48.2cm x 35.5cm (19in x 14in) Provenance: Estate of the Artist; Bohun Gallery, Henley-on-Thames; Private Collection, UK.

£300-500

137

200 § CERI RICHARDS C.B.E. (BRITISH 1903-1971) THE FORCE THAT THROUGH THE GREEN FUSE DRIVES THE FLOWER signed and dated indistinctly (lower left), watercolour, gouache, pen and ink on paper 37cm x 56cm (14.5in x 22in) Provenance: Marlborough Gallery, London; Christie’s, London, 26 October 1994 (Lot 68); Private Collection, UK. The present work is a design for Dylan Thomas’s poem of 1934, and a subsequent lithograph that Richard’s produced. As reports began to surface in America in 1953 of Dylan Thomas’ looming death Ceri Richards executed a number of drawings centred on Thomas’ poems. Following on from Thomas’ death Richards became obsessed with his poetry, and made a series of works including the present example which featured the poet’s work.

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

138

TERRY FROST & THE LEGACY OF ST IVES Terry Frost’s joyous and life-affirming art had its roots, somewhat

An openness to American Abstract Expressionism and recent

surprisingly, in his experience as a prisoner of war during World War

developments in French painting, including those of the Paris-based

Two. It had its finale in a triumphant display of new work at Tate St

Pierre Soulages and Sam Francis, stimulated Frost’s technique in

Ives, after a career spanning some six decades.

the late 1950s, as he revelled in the physicality and application

Born in Leamington Spa in 1915, Frost was encouraged to paint by his fellow inmate at Stalag 383, the artist Adrian Heath. It was on Heath’s suggestion that he moved to St Ives in 1946, before studying at Camberwell School of Art in London. On his full-time return to Cornwall in 1950, Frost received early career support from the ‘first generation’ of the modern St Ives School; Ben Nicholson helped to secure a Porthmeor Studio for him, whilst Barbara Hepworth employed him as an assistant. During the 1950s Frost emerged as a leading member of the St Ives ‘middle generation’ of artists, alongside Wilhelmina Barns-Graham, Peter Lanyon and his particular friend Roger Hilton, amongst others.

A champion of art’s restorative power, Frost attempted to capture what he described as ‘moments of truth’. This sublimity was often experienced in nature, from observing boats in St Ives harbour to walking through snow in the Yorkshire Dales. In 1991 he recalled Lanyon helping him to understand the Cornish landscape, explaining ‘Peter would drive me all over the place, along the coast and up on the moors…he taught me to experience landscape…you walked over

of his materials. His reputation grew hand-in-hand with that of the ‘St Ives School’ at large and in 1960 he received his first solo show in New York, at the Bertha Schaeffer Gallery. Developments in his work during the 1960s and 1970s could be seen in regular exhibitions mounted by Waddington Galleries in London. In 1989, Frost described this period as ‘one of total confidence…any mark I made seemed to be fine.’ A formal and technical simplicity grew more present in his work. Structural discipline combined with rhythm, tonal warmth and discord and a dynamic rather than literal use of form came to the fore. The ability of acrylic paint to be thinned whilst maintaining its intense colour was deployed with vigour.

Teaching posts, including those at the universities of Leeds and Reading, saw Frost live beyond Cornwall for extended periods of time. However, on his retirement in 1974, Frost settled in Newlyn where he lived for the rest of his life. As a link to post-war St Ives and as a highly-successful professional in his own right, Frost was a role model for a younger generation of artists associated with the area, including Trevor Bell and Karl Weschke.

the hills and the high grounds so that you knew what was above and

Frost emerged as a celebrated printmaker during the 1980s and

below you and what was above and below the forms you were going

1990s, particularly for his exuberant screenprints. A reconnection

to draw and all the while you’re feeling those forms all through.’

with the Cornish landscape and trips to the Mediterranean re-

This understanding was expressed through a vocabulary of forms

invigorated his work and he was elected to the Royal Academy

and symbols and a bold palette which Frost made his own. Circles

of Arts in London in 1998. Frost’s cross-generation validity was

brought alive as spirals, semi-circles stretching towards edges and

embodied in Tate St Ives’s Painting not Painting exhibition of 2003.

chevrons piercing space were given direction and character through

A significant body of work was shown in the context of that of

the use of red, black, yellow and other high-keyed colours, combined

younger British artists, such as Jim Lambie, Victoria Morton and

with space-manipulating white.

Julie Roberts. At the heart of Frost’s presentation was the jubilant Installation: Contrast in Red, Black and White, a room installation featuring multiple paintings and painted hardboard cubes. This was to be Frost’s swansong, as he died seven months later.

As a pioneer of British abstraction and a leading figure in the St Ives School, Frost’s legacy as an artist and teacher is significant.

The work he made during a long, prolific and committed career is characterised by a joie de vivre which brings pleasure to many. At the same time it was founded on a serious exploration of universal principles of existence, which gives his work a lasting importance. As seen in Painting not Painting, the work produced by artists associated with St Ives in the second half of the twentieth-century continues to resonant with the artists of today.

Image © Franzfoto 2010

139

140

201 § SIR TERRY FROST R.A. (BRITISH 1915-2003) BLACK AND GREY CHEVRON, 1960 signed and dated in pencil (lower right), gouache on paper 36cm x 55cm (14.1in x 21.75in) Provenance: Beaux Arts, London.

£2,000-4,000

141

202 § SIR TERRY FROST R.A. (BRITISH 1915-2003) BLUE AND BLACK, DECEMBER 1968 titled and dated (to reverse of one canvas), oil on canvas (in two parts) 102.5cm x 136cm (40.5in x 53.5in)

£15,000-20,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

142

203 § SIR TERRY FROST R.A. (BRITISH 1915-2003) COMPOSITION WITH PURPLE, RED, BLUE AND BLACK signed in pencil (to reverse), oil and canvas collage on board 51cm x 31.5cm (20in x 12.5in)

£2,000-3,000

204 § SIR TERRY FROST R.A. (BRITISH 1915-2003) ORANGE AND YELLOW, 1976/77 signed and dated (to canvas frame to reverse), oil on canvas 63cm x 46cm (24.5in x 17.75in) Provenance: Oxford Gallery, Oxford; Beaux Arts, London.

205 § SIR TERRY FROST R.A. (BRITISH 1915-2003) SPIRAL FOR SUN, 2001 (KEMP 217) 32/150, signed and numbered in pencil (in the margin), screenprint 46cm x 31.5cm (18in x 12.5in)

£700-900

This work is related to Summer Collage of 1976, an acrylic and paper collage on canvas measuring an imposing 215.9 x 165.1cm, which is in the collection of the Artist’s Estate. Chris Stephens wrote of this work: ‘[Frost]...returned to more geometrical arrangements in which the bright, discordant colours became the dynamic elements in a stable structure.’

(Chris Stephens, Terry Frost, Tate Publishing, London 2000, repr.col p. 59, fig. 47, discussed p. 60).

£4,000-6,000

206 § SIR TERRY FROST R.A. (BRITISH 1915-2003) SPRING SPIRALS, 1997 signed and titled in pencil, signed and dated (to reverse), acrylic and screenprint laid on board 90cm x 176cm (35.5in x 69.25in)

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

144

207 § SIR TERRY FROST R.A. (BRITISH 1915-2003) TWO NUDES, 1996 signed and dated (lower right), acrylic on paper 31.5cm high x 56.5cm wide (12.3in x 22.25in) Provenance: Wiseman Originals Ltd, London; Private Collection, London.

£2,000-3,000

208 § SIR TERRY FROST R.A. (BRITISH 1915-2003) PAUL FIELDING AND TERRY LIMPETT, 1947 double-sided portrait, each side signed, titled and dated in pencil, watercolour and pencil on paper 38.5cm x 27cm (15.1in x 10.5in)

£800-1,200

145

209 § MICHAEL CARDEW (BRITISH 1901-1983) AT WENFORD BRIDGE EWER impressed artist’s and pottery seal, stoneware with sgraffito design of a bird, screw lid 27cm high (10.6in high)

£300-500

210 § MICHAEL CARDEW (BRITISH 1901-1983) AT WENFORD BRIDGE JAR AND COVER impressed artist’s and pottery seal, stoneware 39.5cm high (15.5in high) Provenance: Collection of Jacob van Achterbergh, purchased from British Potters Exhibition, Boijmans van Beuningen Museum, Rotterdam, 1960; Private Collection, UK. Exhibited: Boijmans van Beuningen Museum, Rotterdam, 1960 and 1969.

£1,000-1,500

211 § SVEND BAYER (DANISH 1946-) LARGE FOOTED BOWL impressed artist’s seal, painted with a stork to the centre of the bowl, stoneware 14.5cm high, 57cm diameter (5.75in high, 22.5in diameter)

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

146

212 § BERNARD LEACH (BRITISH 1887-1979) VASE impressed artist’s and pottery seals, stoneware, pale celadon glaze with incised motif repeated around the body 8cm high, 10.5cm wide (3.1in high, 4.1in wide)

£200-300

213 § BERNARD LEACH (BRITISH 1887-1979) ‘BIRD ON NEST’ TILE painted monogrammed (lower right), stoneware 10cm x 10cm (4in x 4in)

£200-300

214 § WILLIAM STAITE MURRAY (BRITISH 1881-1962) VASE, 1924 incised ‘W. S. Murray / 1924 / London / D.30’, stoneware, with band of brushwork iron brown designs to upper body 12cm high, 19cm wide (4.75in high, 7.5in wide)

£400-600

215 § JANET LEACH (AMERICAN 1918-1997) VESSEL impressed artist’s and pottery seals, stoneware, with lug handles, cut sides and dripped ash glaze 26cm high (10.25in high)

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

147

216 § WILLIAM MARSHALL (BRITISH 1923-2007) BOTTLE VASE impressed artist’s seal and ‘ENGLAND’, stoneware 18cm high (7.1in high), in wooden box

£200-300

217 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY TWO VASES impressed artist’s and pottery seals, stoneware with poured glazes (2) 19cm and 13cm high (7.5in and 5.1in high)

£300-500

218 § WILLIAM MARSHALL (BRITISH 1923-2007) BOTTLE VASE impressed artist’s seal, stoneware 37cm high (14.5in high)

£300-500

219 § JANET LEACH (AMERICAN 1918-1997) AT LEACH POTTERY LARGE OPEN FOOTED BOWL, 1981 impressed artist’s and pottery seals, stoneware, with ash green glaze, in original wooden box initialled and dated to the lid 8cm high, 37cm diameter (3.1in high, 14.5in diameter)

£600-800

149

Left:

220 §

Lot 269

PAUL MOUNT (BRITISH 1922-2009)

[detail]

POINT OF DEPARTURE Below

signed (to base), stainless steel on slate base

(background):

57cm high (including base), 86cm wide (22.4in high (including base) 33.75in wide)

Lot 308

£5,000-7,000

150

221 § PAUL MOUNT (BRITISH 1922-2009) THE WAITING ROOM, 2003 inscribed (to back board), oil on canvas 50cm x 40cm (19.75in x 15.75in) Provenance: Beaux Arts, London; Private Collection, UK.

£1,000-2,000

222 § PAUL MOUNT (BRITISH 1922-2009) CHIMERA, 1980 signed and titled (to reverse), oil on canvas 49.5cm x 39.5cm (19.5in x 15.75in)

£2,000-3,000

223 § WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) ORANGE AND LEMON PLAYING GAMES II, 1999 20/70, signed, dated and numbered in pencil, screenprint 29cm x 40cm (11.3in x 15.75in) Provenance: Belgrave Gallery, London.

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

151

224 § DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) SUN SETTING, 1971 21/60, signed and numbered in pencil (in the margin), with blindstamp, from The Aegean Suite, lithograph 76cm x 54cm (30in x 21.25in) Provenance: Berkeley Square Gallery, London; Private Collection, London.

£1,500-2,000

225 § DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975) TWO MARBLE FORMS (MYKONOS), 1969 signed in pencil (in the margin), lithograph 74cm x 48cm (29in x 18.75in) Provenance: Berkeley Square Gallery, London, 1991; Private Collection, London.

This work was noted as a printer’s proof by the Berkeley Square Gallery in 1991.

£1,500-2,000

152

226 § DENIS MITCHELL (BRITISH 1912-1993) HEAD, 1977 initialled, dated and titled (to base), Honister slate 37cm high (including base) (14.5in high (including base)) Exhibited: Festival Gallery, Bath, 1978, no.58; Glynn Vivian Art Gallery, Swansea, 1979, no.53; Provenance: Wills Lane Gallery, St Ives, circa 1980; Private Collection, London.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

153

227 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) TENSION SERIES - HOT DAY, 1968 Signed and dated (to artist’s painted mount), signed, inscribed ‘Burnt scienna [sic] + orange on cobalt blue’ and dated (to reverse), oil on board 41cm x 41cm (16.25in x 16.25in)

£4,000-6,000

154

228 § BREON O’CASEY (BRITISH 1928-2011) BLUE MOONS, 2003 10/15, signed, numbered and dated ‘MMIII’ in pencil (in the margin), linocut 46.5cm x 60cm (18.25in x 23.5in)

£600-900

229 § STEPHEN CLUTTERBUCK (BRITISH 1932-) TWO PIECE RECLINING FIGURE, 2003 II/VIII, signed, titled, numbered and dated (to base), patinated resin on slate base the base 46cm wide (18in wide)

£400-600

230 § WOLFGANG ALTMANN (GERMAN 1952-) GRAZING IN PEACE, 1993 welsh heather slate and marble 38cm wide (15in wide) We would like to thank the artist for his assistance in cataloging this work.

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

155

231 § TONY O’MALLEY (IRISH 1913-2003) ‘PANEL’, 1969 signed, dated, titled and inscribed ‘4 Porthmeor Studios, St. Ives’ (to reverse), oil on panel 47cm x 32cm (18.5in x 12.5in) Provenance: Butler Gallery, Kilkenny, 1993; Private Collection, London.

£1,500-2,500

232 § TOMMY ROWE (BRITISH 1941-) WAVE FORM, 2001 signed and dated (to base), steel plate and rod 102.5cm high (40.3in high) Provenance: Penwith Galleries Ltd., St Ives, 2001; Private Collection, London.

£700-1,000

156

233 §

234 §

KARL WESCHKE (GERMAN 1925-2005)

DENIS MITCHELL (BRITISH 1912-1993)

THE WAVE, 1974

GULVAL, 1990

oil on board

initialled, dated and titled (to base), Delabole slate

90cm x 122cm (35.5in x 48in)

37cm high (including base), 31cm wide (14.5in high (including base), 12.2in wide)

Provenance: Beaux Arts, London.

Born in Gera, Germany in 1925, Karl Weschke’s childhood was one of hardship. He found his first sense of belonging with the Hitler Youth and soon after joined the Luftwaffe at the age of 17, which ultimately led to him being taken to the UK as a prisoner of war in 1945. Four years later, Weschke enrolled at Saint Martin’s School of Art in London, and despite only lasting one term, he solidified his connection to the country and put him on course for his future with the St Ives School.

While living in London, Weschke met artist Bryan Wynter who encouraged a move to Cornwall in 1955, where Weschke remained for fifty years.

From this date, he truly became a painter. Inspired by the natural beauty of the local landscape, he blended this with a hostile painterly application reminiscent of his complex upbringing. This duality became a frequent theme of his work in the 1960s and 1970s, such as in his 1974 painting The Wave, which is both tranquil and quiet, yet dark and brutal with existentialist sensibilities. His work demonstrates the complexity of artists working in St Ives during this period, and how they turned to the landscape in an attempt to understand the changing world around them.

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

Exhibited: Penwith Gallery, St Ives, 1992; Flowers East, London, 1993; Glynn Vivian Art Gallery, Swansea, 1994; Penwith Gallery, St Ives, 1996; Bridge Gallery, Dublin, 1997.

Literature: Denis Mitchell Sculptor, Penwith Galleries, St Ives, 1992, cat. no. 104.

Gulval is based on the Cornish village bearing the same name, overlooking Mount’s Bay, and continues Mitchell’s use of historic Cornish sites for titles and inspiration for his work. Gulval, alongside Nanjivy and Boleigh, was the final series of slate sculptures that Mitchell created and displays his implicit mastery of line and form.

£8,000-12,000

158

235 § BRYAN ILLSLEY (BRITISH 1937-) RUSSIAN LINE, 1986 signed, titled and dated (to reverse), oil and collage 30cm x 55cm (11.75in x 21.6in)

£600-800

236 § ALEXANDER MACKENZIE (BRITISH 1923-2002) REFLECTIONS ON A MARINE VENUS, 1989 signed, titled and dated (to reverse), oil and pencil on board 14.5cm x 24cm (5.7in x 9.5in)

£500-700

237 § BERTRAM EATON (BRITISH 1912-1978) EXPANDING FORM V, CIRCA 1975-77 wood 77cm high, 62cm wide (30.4in high, 24.8in wide) Exhibited: Northampton Museum and Art Gallery, Northampton, Exhibition, of Sculptures 1975-1977, 4 March - 1 April 1978.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

159

238 § SANDRA BLOW R.A. (BRITISH 1925-2006) IRIDESCENT WAVE, 1990 signed, dated and titled (to reverse), acrylic on canvas 122cm x 122cm (48in x 48in) Provenance: Private Collection, Yorkshire, where acquired by the present vendor.

Iridescent Wave was used as the basis for the popular silkscreen print of the same name produced in 2004.

£10,000-15,000

160

239 § JIM PARTRIDGE (BRITISH 1953-) VASE stamped ‘J. B. Partridge’, oak 13cm high (5.1in high)

£400-600

240 § JIM PARTRIDGE (BRITISH 1953-) BOX AND COVER scorched oak 16cm high (6.25in high) Provenance: Scottish Gallery, Edinburgh.

£300-500

241 § JIM PARTRIDGE (BRITISH 1953-) BOX scorched oak and steel wires 16cm high, 39.5cm long, 19cm deep (6.25in high, 15.5in long, 7.5in deep) Provenance: Crafts Council Shop, Victoria & Albert Museum, 1989.

Sold together with original Crafts Council Shop receipt.

£800-1,200

242 § ROBIN NANCE (BRITISH 1907-1990) OF ST IVES PAIR OF STOOLS each stamped ‘Nance / Workshops / St Ives’, wood (2) 22.5cm high (9in high)

£300-500

161

243 § PETER COLLINGWOOD O.B.E. (BRITISH 1922-2008) M.84 X NO.1 AND M.84 NO.257 pair of macrogauze wall hangings, each signed ‘P. Collingwood’ and titled (on a metal strip), woven linen and stainless steel (2) 183cm x 23cm (72in x 9in) and 182cm x 22.5cm (71.5in x 8.8in)

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

162

244 § EWEN HENDERSON (BRITISH 1934-2000) OPEN DISH FORM mixed laminated clays 10cm high, 40.5cm wide (4in high, 16in wide)

£500-700

163

245 § EWEN HENDERSON (BRITISH 1934-2000) TEA BOWL mixed laminated clays 10cm high, 10.5cm wide (4in high, 4.2in wide)

£300-500

246 § EWEN HENDERSON (BRITISH 1934-2000) VESSEL FORM stoneware, pitted dark green glazes 48cm high (19in high)

£1,500-2,500

247 § EWEN HENDERSON (BRITISH 1934-2000) BOWL mixed laminated clays, with dark green and mottled cream glazes 9cm high, 16cm wide (3.5in high, 6.25in wide)

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

164

“…most people have chosen to stick to just one pathway, not the pathways of construction, collage, oil painting, drawing, etching lithograph and of their various components... it’s taken all of that time just to arrive at the beginning.”

Bryan Ingham

248 § BRYAN INGHAM (BRITISH 1936-1997)

AN INDEPENDENT ARTISTIC LIFE: BRYAN INGHAM

SELF PORTRAIT, 1959 titled, dated and inscribed ‘To Aysel fr. Bryan 1997’ in pencil, pencil and body colour on cardboard 18cm x 9.5cm (7in x 3.5in) Provenance: The Estate of the Artist.

£1,500-2,500

Bryan Ingham was an independent and dedicated artist, who

travelling and then studying at the British Academy in Rome. At

furrowed his own artistic path throughout a long and productive

this stage, Ingham seemed poised to become an establishment

career, attributing his successful endeavours to ‘sheer, bloody hard

artist, with works already receiving prime positions and sales at

work.’

the Royal Academy. Yet, eternally independent, he instead made

Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a female artist shared her watercolours with the troop; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, as an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had

the decision to purchase a remote cottage on the Lizard peninsula in west Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times when he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives School, of which he became an important figure.

attended the Royal College of Art, who further encouraged Ingham’s

Throughout his career, Ingham worked in a variety of mediums,

creative instincts and set him up still-life studies to work from.

creating a large body of work that drew on the rich artistic legacy of

Ingham returned to Britain following his was service armed with the

Britain, and artists such as Nicholson and Peter Lanyon, alongside

ambition to be an artist.

the wider continental influences of Mondrian, Braque and Picasso.

Ingham’s ensuing formal training took place at Central St. Martins and then the Royal College of Art, as the young artist felt a move to London entirely necessary to both his personal and creative development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy,

Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’

165

249 § BRYAN INGHAM (BRITISH 1936-1997) LANDSCAPE initialled in pencil (lower right), pencil, oil and collage on board 22cm x 29cm (8.6in x 11.3in) Provenance: The Estate of the Artist.

£1,500-2,500

250 § BRYAN INGHAM (BRITISH 1936-1997) LANDSCAPE oil, crayon and pencil 27.5cm x 42.5cm (10.75in x 16.75in) Provenance: The Estate of the Artist.

£1,200-1,800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

166

251 § BRYAN INGHAM (BRITISH 1936-1997) OST, 1986 signed ‘Bryan’ (lower left), inscribed and dated in pencil (to reverse), collage on card and board 10cm x 19cm (4in x 7.5in) Provenance: The Estate of the Artist.

£1,000-1,500

252 § BRYAN INGHAM (BRITISH 1936-1997) PARC, 1986 titled, dated and with Estate studio stamp (to reverse), collage on board 11cm x 10.5cm (4.25in x 4.1in) Provenance: The Estate of the Artist.

£800-1,200

253 § BRYAN INGHAM (BRITISH 1936-1997) THE MUSE bronze 13.5cm high, 8.5cm wide (5.25in high, 3.3in wide) Provenance: The Estate of the Artist.

£3,000-5,000

167

254 § ROBERT ADAMS (BRITISH 1917-1984) UNTITLED, CIRCA 1952 collage and gouache on paper 40.5cm x 60.5cm (16in x 23.75in) Provenance: Gimpel Fils, London.

£1,000-1,500

255 § ROBERT ADAMS (BRITISH 1917-1984) STUDIES OF MOVEMENT,1957 signed and dated (lower left), conté pencil on paper 28.5cm x 43.5cm (11.25in x 17.1in) Provenance: Gimpel Fils, London.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

168

Polarity (1968) was exhibited at Robert Adams’s one-man show at Gimpel Fils in 1968. The works shown were sculptures in steel and several were on a large scale. This was a milestone in his practice, before turning to smaller scale bronze and marble works, perhaps a reflection on the new wave of British sculptors of the ‘New Generation’, including Philip King and Sir Anthony Caro, that had shown at the Whitechapel Art Gallery in 1965.

256 § ROBERT ADAMS (BRITISH 1917-1984)

Formed of rectangular plates, bent through 90 degrees and painted with a smooth glossy black paint, Polarity and the other contemporary sculptures display a higher

POLARITY, 1968

level of three-dimensionality and controlled movement

painted steel

than Adams had produced in a decade. He commented

246cm high, 101cm wide, 40.5cm deep (96.8in high, 39.75in wide, 15.9in deep)

soon after the Gimpel Fils exhibition that ‘My show in

Provenance: Gimpel Fils, London;

out were three-dimensional. Polarity, attempting to get

The Patsy R. and Raymond D. Nasher Collection, Dallas Collection, Texas, USA;

away from flat sheets and create volume.’ (Quoted in

Sotheby’s, New York, 9 May 2008, lot 3.

Exhibited: Robert Adams: Recent Scupture, Gimpel Fils, London, 1968.

Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, cat. no.542, illustrated p.224.

September was a turning point. Things as you pointed

Alastair Grieve & Robert Adams, The Sculpture of Robert Adams (British Sculptors and Sculpture Vol.3), Ben Uri Gallery & Museum, London, 1992, p.115) There was a incredible confidence to Adams’s large works in his 1968 exhibition, and Polarity can be considered one of his major sculptures of the period,

The present work is unique.

selling to the influential collectors Patsy and Raymond

£6,000-8,000

Nasher of Dallas, Texas.

169

170

257 § STUART DEVLIN A.O. C.M.G. (AUSTRALIAN/BRITISH 1931-2018)

258

SET OF 12 CHAMPAGNE FLUTES, LONDON 1977-1981

ITALIAN

silver and silver gilt, textured stems, hallmarked (12)

WINE COOLER

22cm high (8.75in high)

each part stamped ‘800’, and the base stamped ‘850MI’

£6,000-8,000

19.5cm high (7.75in high), weight 830 grams

£1,500-2,500

259 § STUART DEVLIN A.O. C.M.G. (AUSTRALIAN/BRITISH 1931-2018) PAIR OF PLATES, LONDON 1968 silver and silver gilt, with textured border and spot hammered centre, hallmarked (2) each 28cm diameter (11in diameter)

£1,500-2,500

171

260 § STUART DEVLIN A.O. C.M.G. (AUSTRALIAN/BRITISH 1931-2018) SIX BEAKERS, LONDON 1968-1969 silver and silver gilt, textured surface, hallmarked (6) 11cm high (4.25in high)

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

172

261 § GERALD BENNEY C.B.E. (BRITISH 1930-2008) SIX COCKTAIL GLASSES, LONDON 1966 silver and silver gilt, bark effect textured surface to the bowls, hallmarked and stamped ‘GERALD BENNEY / LONDON / ENGLAND’ (6) 12cm high (4.75in high)

£4,000-6,000

262 § CHRISTOPHER LAWRENCE (BRITISH 1936-) JUG & STAND, LONDON 1970 silver, bark effect textured surface to the handle of jug and rim of stand, hallmarked overall 11cm high, 25.5cm wide (4.25in high, 10in wide)

£1,000-1,500

263 § GERALD BENNEY C.B.E. (BRITISH 1930-2008) BOX, LONDON 1980 silver, bark effect textured surface to the sides, hallmarked and stamped ‘GERALD BENNEY / LONDON / ENGLAND’ 6.5cm high, 23cm wide, 11.5cm deep (2.5in high, 9in wide, 4.5in deep)

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

173

264 § ALEX BROGDEN (BRITISH 1954-) LARGE FOOTED BOWL, 1993 silver, double skinned and with wave design, hallmarked 42cm diameter (16.5in diameter) Alex Brogden is a leading contemporary British silversmith. Born in 1954, he studied at the Royal College of Art (1983-1986) and his work now resides in many of the leading private and public collections around the world, including the Victoria & Albert Museum, London; the Silver Trust Collection at 10 Downing Street and the Fitzwilliam Museum, Cambridge. He has also designed the Winner’s Bowl for the Loewe Craft Prize since 2017.

Brogden is fascinated with the reflective elements of silver, epitomised in his ‘ripple’ dishes, and in creating an object poised between lightness and strength, calm and movement, and between the natural and man-made.

£6,000-8,000

174

265 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) BLACK BOTTLE, PEAR AND APPLES, 2009 signed and dated (lower left), oil on canvas 40cm x 50cm (15.75in x 19.75in)

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

175

266 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) CATS WITH APPLES, 1994 signed and dated (lower right), oil on canvas 24.5cm x 39.5cm (9.6in x 15.5in) Provenance: Portland Gallery, London.

Exhibited: Mary Fedden, Portland Gallery, London, July 2009, no. 62.

£2,000-3,000

267 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) THE FRUITS, 1982 signed and dated (lower right), watercolour and gouache on paper 15.5cm x 22cm (6.1in x 8.6in) Provenance: Odette Gilbert Gallery, London; Private Collection, UK.

£1,000-1,500

268 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) JUG AND ORANGES, 1981 signed and dated (lower left), watercolour and gouache on paper 22cm x 15.1cm (8.6in x 6in)

£1,500-2,000

Below, from left: Lots 297, 282, 245

177

269 § MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012) FISH, GOURD AND FLOWERS, 2007 signed and dated (lower left), oil on canvas 61cm x 71cm (24in x 28in) Provenance: The Willow Gallery, London; Private Collection, UK.

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

178

270 § ROBIN WELCH (BRITISH 1938-2019) VESSEL impressed artist’s seal, stoneware 20cm high (8in high)

£200-300

271 § JOHN MALTBY (BRITISH 1936-) ‘WEATHER’ VESSEL signed ‘MALTBY’, stoneware 16.5cm high, 13cm wide (6.5in high, 5.1in wide)

£250-350

272 § JOHN MALTBY (BRITISH 1936-) BOX AND COVER incised ‘MALTBY’, painted stoneware 18.5cm wide, 17cm high (7.25in wide, 6.7in high)

£300-500

273 § PETER HAYES (BRITISH 1946-) BOW WITH TURQUOISE DISC signed, raku 28cm high (11in high) overall

£250-350

274 § PETER HAYES (BRITISH 1946-) BOW WITH DISC AND BLUE WAVE, 2013 signed and dated, raku 27cm high (10.6in high) overall

£250-350

179

275 § JENIFER JONES (BRITISH 1940-) VESSEL incised decoration to the body, stoneware 36cm high (14.1in high)

£300-500

276 § JENIFER JONES (BRITISH 1940-) SIX BAY CHEVRON II, 2000 impressed artist’s seal, stoneware 84cm high (33in high) Provenance: New Art Centre & Sculpture Park, Roche Court, East Winterslow, 2000; Private Collection, London.

£600-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

180

277 § GEOFFREY SWINDELL (BRITISH 1945-) TEAPOT impressed artist’s mark, porcelain 12cm high (4.75in high)

£250-350

278 § ANGUS SUTTIE (BRITISH 1946-1993) SCULPTURAL FORM earthenware, coloured slips 34cm high, 30cm wide (13.3in high, 11.75in wide)

£500-700

279 § JAMES OUGHTIBRIDGE (BRITISH 1977-) PLANTER VESSEL, 2001 stoneware 47cm wide, 26cm high (18.5in wide, 10.25in high) This piece was included in the artist’s degree show at the Royal College of Art in London.

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

181

280 CARINA CISCATO (BRAZILIAN 1970-) VESSEL painted artist’s mark in cobalt blue, porcelain 7.5cm high, 19.5cm wide (3in high, 7.7in wide)

£200-300

281 § EDMUND DE WAAL (BRITISH 1964-) SMALL POT porcelain 4.5cm high, 6cm wide (1.75in high, 2.3in wide)

£300-500

282 § EDMUND DE WAAL (BRITISH 1964-) JUG impressed artist’s mark, porcelain, pale celadon glaze with cobalt blue rim 8.2cm high (3.25in high)

£400-600

283 § BRYAN ILLSLEY (BRITISH 1937-) CONSTRUCTION, 1978 signed and dated (to base), wood 51cm high (20in high)

£400-600

182

284 § INGER ROKKJAER (DANISH 1934-2008) VASE impressed maker’s mark, in deep yellow glaze 10.5cm high (4.25in high)

£200-300

285 § RUPERT SPIRA (BRITISH 1960-) BOWL, CIRCA 1995 impressed artist’s seal, turquoise glaze 10cm high, 13cm diameter (4in high, 5.1in diameter)

£400-600

286 AKIKO HIRAI (JAPANESE 1970-) SAKE BOTTLE painted artist’s mark, stoneware with porcelain deposits over layered slips 15cm high (6in high)

£300-500

287 AKIKO HIRAI (JAPANESE 1970-) TWO CHARGERS stoneware, layered white glazes (2) each 36cm diameter (14.1in diameter)

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

183

288 AKIKO HIRAI (JAPANESE 1970-) TSUBO stoneware, running glazes 36cm high (14.1in high) Provenance: Origins Art Fair, 2011; Private Collection, London.

£800-1,200

184

289 HANS EICHENBERGER (SWISS 1926-) FOR GIRSBERGER PAIR OF LOUNGE CHAIRS chrome metal and black leather, each with manufacturer’s 1967 guarantee label (2)

290

68cm high, 60cm wide (26.75in high, 23.5in wide)

VICO MAGISTRETTI (ITALIAN 1920-2006) FOR OLUCE

£600-800

DIM 303 FLOOR LAMP chrome plated and lacquered metal 203cm high (80in high)

£300-500

291 HAN BELLMANN (SWISS 1911-1990) ‘POPSICLE’ OCCASIONAL TABLE laminate and painted wood 51cm high, 61cm diameter (22in high, 24in diameter)

£300-500

292 JAN LUNDE KNUTSEN (NORWEGIAN 1922-1990) FOR KARL SORLIE & SONS SET OF SIX ‘RONDO’ CHAIRS, DESIGNED 1961 steel and black vinyl (6) 69.2cm high, 58cm wide (27.2in high, 22.8in wide)

£400-600

185

293 GINO SARFATTI (ITALIAN 1912-1985) PAIR OF ‘600G’ TABLE LAMPS black leather and metal (2) 21cm high (8.25in high)

£300-500

294 ERNEST RACE (BRITISH 1913-1964) FOR ISOKON PENGUIN DONKEY MARK II, DESIGNED 1963 manufacturer’s paper label (to base), white painted wood 39.5cm high, 53.5cm wide, 40cm deep (15.5in high, 21in wide, 15.75in deep) Provenance: Jack & Molly Pritchard, England, and thence by descent to the present owners.

£300-500 The original ‘Book Donkey’ in plywood was created in 1939 for Egon Riss (1901-1964) and Jack Pritchard (1899-1992). Manufacturered

by Pritchard’s Isokon company, the bookcase became known as the ‘Penguin Book Donkey’ due to the fact that it was the perfect size for the publisher Allen Lane’s new Penguin paperbacks. A patent was taken out for the ‘Mark II’ model designed by Ernest Race in 1963.

295 LUDWIG MIES VAN DER ROHE (GERMAN 1886-1969) PAIR OF ‘BARCELONA’ CHAIRS & OTTOMANS chrome and leather (4) chairs: 78cm high, 77cm wide, 82cm deep (30.5in high, 30in wide, 32indeep); ottomans 36cm high, 58cm wide, 56cm deep (14in high, 23in wide, 22indeep) Provenance: The Millinery Works, London.

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

186

Lot 380 [detail]

187

296

“We might well call the scope of his contribution ‘Leonardian,’ so versatile and colorful it has been.” - Walter Gropius, 1946

LÁSZLÓ MOHOLY-NAGY (HUNGARIAN 1895-1946)

Described by the art critic Peter Schjeldahl as “relentlessly experimental” due to his innovative work in painting, drawing, photography, sculpture, writing, theatre and film, László Moholy-Nagy was the epitome of what the Bauhaus represented working alongside the likes of Walter Gropius and Marcel Breuer.

COMPOSITION, 1938 initialled and dated (lower right), and inscribed ‘For Molly’ (lower left), pen, ink and pastel on paper 27.8cm x 21.4cm Provenance: A gift from the Artist to Jack & Molly Pritchard, England and thence by descent to the present owners.

£5,000-7,000

In 1937, on the recommendation of Gropius, Moholy-Nagy moved to Chicago and became the director of the newly formed IIT Institute of Design known as the ‘New Bauhaus’. It would go on to become one of his most significant accomplishments and what historian Elizabeth Siegel named ‘his overarching work of art’.

The present work is dated 1938, a year after he moved to Chicago. It was a gift to Isokon Furniture Company founder Jack Pritchard and his wife Molly. Moholy-Nagy and his wife Sibyl moved to the Lawn Road Flats in London (also known as the ‘Isokon Building’), where the Pritchards were resident, after arriving in Britain from Germany in May 1935. Moholy-Nagy designed numerous promotional materials for Isokon, including the logo for the Isokon firm itself, based on the outline of a plywood chair.

Composition uses the vocabulary of de Stijl and Constructivism in its primary colors, line and simple geometric forms. It embodies the abstract language that Moholy-Nagy was aiming towards in his intention to be free from elements redolent of natur,e in order to work only with the particular characteristics of colours and their inter-relationship. In this way Moholy-Nagy is investigating a number of the themes in this work that he had been exploring in London prior to his move to America. By exploring the limitless potential of colour and simple forms, he hoped to instil Composition with a sense of the enigmatic and emotion, stating ‘My belief is that mathematically harmonious shapes, executed precisely, are filled with emotional quality, and that they represent the perfect balance between feeling and intellect’ (‘Abstract of an artist’, in R. Motherwell, ed., Lázsló Moholy-Nagy, Documents of Modern Art, New York, 1947).

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

188

297 § MICHAEL CANNEY (BRITISH 1923-1999) RELIEF 2, 1985 signed, titled and dated (on backboard), acrylic and relief on board relief 25cm x 25cm (9.75in x 9.75in)

£1,500-2,500

298 § DEREK CARRUTHERS (BRITISH 1935-) CONSTRUCTION, 1961 signed and dated ‘oct 1961’ (to reverse), oil, wood and board overall including box case 127.5cm high, 41.5cm wide, 22cm deep (50.25in high, 16.4in wide, 8.6in deep)

£2,000-3,000

299 § MARY MARTIN (BRITISH 1907-1969) SPIRAL MOVEMENT, CONCEIVED 1951 fibreglass with painted finish 29cm x 29cm (11.5in x 11.5in) This work was produced in the early 1970s in an edition by Tate, London

£1,200-1,800

189

300 § ADRIAN HEATH (BRITISH 1920-1992) G 1983 signed and dated (lower right), pencil, charcoal, watercolour and gouache on paper 73.5cm x 53cm (28in x 20.75in) Exhibited: Adrian Heath, The British Council, Norwegian touring exhibition, 1983/84, cat. no. 23.

Provenance: Christie’s, London, 4 November 1998, lot 158; Private Collection, London.

£1,000-1,500

301 § MARCELLE CAHN (FRENCH 1895-1981) COMPOSITION, 1966 signed and dated, collage on paper 14.5cm x 6.5cm (5.75in x 2.5in) Provenance: Gimpel & Hanover Galerie, Zurich, 1979; Private Collection, UK.

£500-700

302 HELENE FESENMAIER (AMERICAN 1937-2013) STUDY FOR A CONSTRUCTED PAINTING, 1975 signed and dated in pencil (lower right), titled (lower left), collage on paper 25cm x 36cm (9.75in x 14in) Provenance: M. Knoedler & Co., New York.

£400-600

190

303 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) UNTITLED, 1959 signed and dated (lower right), mixed media on paper 46cm x 67cm (18in x 26.25in)

£1,000-1,500

304 § ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) UNTITLED, 1970 signed and dated in pencil (lower right), watercolour and gouache on paper the sheet 56cm x 76cm (22in x 30in), unframed

£800-1,200

305 § LUKE FROST (BRITISH 1976-) COMPOSITION signed (lower right), acrylic 15.2cm x 30.5cm (6in x 12in)

£300-500

191

“Feiler is an artist who lets us really stand in front of a

306 §

painting and give ourselves over to it and let ourselves concentrate, remind ourselves what it is to think about

PAUL FEILER (BRITISH 1918-2013)

colour, form and that particular moment, to think about

ZENYTUM II, 2011

the relationship of painting to our minds and our world.”

inscribed, titled and dated (to reverse), oil and silver leaf on canvas laid on panel in the artist’s frame

Tom Marks, Art Critic

61cm x 61cm (24in x 24in) (including frame) Provenance: Purchased from the estate of the artist by the present owner.

£10,000-15,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

192

307 § PATRICK HERON C.B.E. (BRITISH 1920-1999) THREE REDS IN GREEN AND MAGENTA IN BLUE : APRIL 1970 artist’s proof, signed, dated and inscribed in pencil (in the margin), screenprint on paper 59cm x 77.5cm (23.25in x 30.5in)

£1,000-1,500

308 § PATRICK HERON C.B.E. (BRITISH 1920-1999) SMALL RED : JANUARY 1973 : 2 artist’s proof, signed, dated and inscribed in pencil (in the margin), screenprint on paper 42.5cm x 51.5cm (16.75in x 20.25in) Provenance: CCA Galleries, London, 1990; Private Collection, London.

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

193

309 § VASSILAKIS TAKIS (GREEK 1925-2019) SIGNALS, 1968 series 3, number 96, titled and numbered on ‘Unlimited Bath Widcome Manor’ label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system 220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep) “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist.

The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies.

His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top.

These long, flexible rods bend and move to create an almost musical harmony of colour and vibration.

Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy.

The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.

£5,000-7,000

194

“ At Artifort, I started using new foam and rubber from Italy and a light metallic frame, combined with “stretch”

material. Those new, rounder, more comfortable shapes were such a success that they’re still being copied today.

I have always considered design to be a mix of invention and industrial innovation.

”

Pierre Paulin 310 PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT ‘MULTIMO’ SOFA, DESIGNED 1969 stretch jersey fabric over foam and metal frame 74cm high, 228cm wide, 66cm deep (29in high, 89.5in wide, 26in deep) Provenance: Private Collection, London.

£7,000-9,000

195

Renowned as a visionary and one of the great French 20th-

The Multimo sofa and armchairs were conceived in 1969 at a

century designers, Pierre Paulin (1927-2009) was revered for his

critical point in Paulin’s oeuvre. He was by then working for

modernist vision and chic style. His forward-looking furniture was

the Dutch firm Artifort, in that year he won the Chicago design

embodied by simplicity, durability and functionality that had been

award, whilst his furniture designs had also been acquired for the

inspired by the work of Charles and Ray Eames, Scandinavian

collection of the Museum of Modern Art, New York. The Multimo

furniture and the Japanese aesthetic. Somewhere between the

series conveys the main characteristics which placed him at the

organic and naturalistic, the flowing lines, surreal forms and use

forefront of 20th-century furniture design practice with their

of rich colours and fabrics fostered a new space-age style that

graphic colours, smooth sculptural curves and chic sensuality. This

made him a firm favourite with the rich and famous, including two

is a rare and outstanding example of the designer’s furniture that

French presidents who commissioned him to decorate areas of

infrequently comes to the market due to the fact that it was only

the Élysée Palace in Paris.

made in very small numbers.

311 PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT PAIR OF ‘MULTIMO’ LOUNGE CHAIRS, DESIGNED 1969 stretch jersey fabric over foam and metal frame (2) 74cm high, 107cm wide, 84cm deep (29in high, 42in wide, 33in deep) Provenance: Private Collection, London.

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

196

A NEW LANGUAGE OF DESIGN “When I was young, all we ever heard about was functionalism, functionalism, functionalism.

It’s not enough. Design should also be sensual and exciting”. (Ettore Sottsass) A “new painting” came to the fore at the end of the 1970s, led by

The Memphis Group was active from 1980 to 1987. Its postmodern

Italians Francesco Clemente, Sandro Chia, Enzo Cucchi, and the

furniture, lighting, fabrics and objects were characterised by

Americans David Salle and Julian Schnabel, which was forcefully

colourful and abstract decoration, asymmetrical forms, and

expressive, figuratively representative and colourful, presenting a

references to earlier and exotic designs and styles. One of the great

new illustrative vocabulary in painting.

breaks from the immediate past was the idea that form and function

In parallel to this trend, a new furniture aesthetic developed under the name Memphis in Milan. The name made reference to the home of rock-and-roll in America and on the other hand made allusion to ancient Egyptian culture. Under this aegis a number of designers including Ettore Sottsass, Michele de Lucchi, Alessandro Mendini, Martine Bedin and Nathalie du Pasquier, overstepped

should stand in equal partnership – the Memphis artists believed in an uninhibited aesthetic freedom. As a result Memphis changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look.

Its legacy is significant in allowing a new generation of designers the freedom to break all the rules.

all previous conventions and asked questions of what before then was considered modern. They presented a ‘new design’ radically bursting through previous design boundaries.

312 NATHALIE DU PASQUIER (ITALIAN 1957-) FOR MEMPHIS ‘MADRAS’ TABLE, DESIGNED 1986 wood, plywood and polychromatic plastic laminate, with glass preserve 75cm high, 160cm wide, 85cm deep (29.5in high, 63in wide, 33.5in deep)

£2,000-3,000

197

313 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO PAIR OF DORAN TABLE LIGHTS, DESIGNED 1978 glass and enamelled metal (2) each 25cm high (9.8in high)

£600-800

314 ETTORE SOTTSASS (ITALIAN 1917-2007) FOR MEMPHIS ‘ASHOKA’ TABLE LAMP, DESIGNED 1981 Memphis label (to base), wood, laminate and metal 88cm high, 83cm wide, 8cm deep (34.5in high,32.5in wide, 3.1in deep)

£1,200-1,800

315 MICHELE DE LUCCHI (ITALIAN 1951-) FOR MEMPHIS ‘OCEANIC’ TABLE LAMP, DESIGNED 1981 Memphis label (to base), wood, laminate and metal 74 cm high, 93 cm wide, 12.2 cm deep (29in high, 36.6in wide, 4.8in deep)

£1,200-1,800

198

“

Maybe poets express more directly a sense of sympathy for other human beings. Painting is a little bit more of a retreat from human beings in real life; painting is more about the extreme moments when speech doesn’t help anymore.

”

Francesco Clemente

316 § FRANCESCO CLEMENTE (ITALIAN 1952-) FRAGMENT, 1983 fresco on cement block fragment, impressed ‘25’ (to the side) 37.5cm high, 27cm wide, 12.5cm deep (14.75in high, 10.5in wide, 5in deep) Provenance: Sperone Westwater Fischer Gallery, New York, 1983; Private Collection, London.

Literature: H. Geldzahler, R. Crone & D. Cortez, Francesco Clemente: Affreschi, Madrid, 1987 (illustrated pp.83 & 137).

£8,000-12,000

199

317 § SIR KYFFIN WILLIAMS O.B.E., R.A. (BRITISH 1918-2006) MAN WITH SICKLE, CIRCA 1988 initialled (lower right), pen, ink and wash on paper 50.5cm x 35cm (19.8in x 13.75in) Provenance: Thackeray Gallery, London, 1989; Collection of Michael Sargent; Duncan R. Miller Fine Art, London; Private Collection, UK.

£4,000-6,000

318 § LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) CROUCHING NUDE A/C, signed, incised and stamped foundry mark, patinated bronze 29.5cm high (11.6in high)

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

200

French ceramicist Pierre Bayle was considered one of the foremost ceramic artists of his generation, known for his beautifully crafted and intricate terra-sigillata smoke fired vessels. He obtained the first prize at the Biennale of Châteauroux in 1981. In 2002 he was was honoured with the Liliane Bettencourt Prize and was decorated Chevalier de Arts et des Lettres. Bayle’s work is now part of many of the leading institutional and private collections of ceramics around the world including the Musée de Sèvres, the Musée des Arts Décoratifs and the Victoria & Albert Museum.

In an interview Bayle stated ‘I spend much time looking at nature. Certain potters have a mystic approach to life, worry about the Cosmos. I only look at plants, insects, nature, the bodies of people. My pots have bellies, necks, breasts, shoulder …’. He also explained: ‘I never sell a pot I do not love’. - Pierre Bayle, C. Humboldt and translated by Elke Blodgett, Ceramic Review, February 1990, no. 121)

319 § PIERRE BAYLE (FRENCH 1945-2004) GENITALIA, 1995 signed and dated ‘23 12 95’, smoke fired earthenware 22.5cm long (8.9in long)

£1,000-1,500

320 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) LOVERS, 1963 signed and dated (lower left), pen and ink on paper 43cm x 24cm (16.9in x 9.4in)

£800-1,200

201

321 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) PORTRAIT (HEAD), 1952 signed and dated (lower left), pen and ink on paper 34cm x 23cm (13.4in x 9in), unframed

£700-900

322 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) FEMALE NUDE, 1964 signed and dated (upper right), pen and ink on paper 55cm x 37cm (21.6in x 14.5in)

£800-1,200

323 § FRANCIS NEWTON SOUZA (INDIAN 1924-2002) TWO HEADS, 1961 signed and dated (upper right), pen and ink on paper 27cm x 21cm (10.6in x 8.3in)

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

202

324 § ANTHONY GROSS (BRITISH 1905-1984) CHURCH, LESNES ABBEY WITH THAMESMEAD AND CHILDREN, CIRCA 1980 watercolour and ink on paper 39cm x 56cm (15.25in x 22in) Provenance: Beaux Arts, Bath.

£600-800

325 § ANTHONY GROSS (BRITISH 1905-1984) LESNES ABBEY WITH THAMESMEAD, CIRCA 1980 titled in pencil (lower right), watercolour and ink on paper 39cm x 58cm (15.25in x 22.75in) Provenance: Beaux Arts, Bath.

£600-800

326 § PHILIP SUTTON R.A. (BRITISH 1928-) THE SEA AT ALDEBURGH, 1980 signed, titled and dated (to reverse), oil on canvas 59.5cm x 59.5cm (23.5in x 23.5in)

£700-900

327 § PHILIP SUTTON R.A. (BRITISH 1928-) THE FIELD AT MANOBIER, 1984 signed, titled and dated (to reverse), oil on canvas 45cm x 45cm (17.75in x 17.75in)

£700-900

203

328 § GERALD WILDE (BRITISH 1905-1986) COSMIC MAN, SERIES B, NO. 46 signed, inscibed and numbered in pen (to reverse), watercolour, gouache and crayon on paper 55cm x 76cm (21.75in x 29.8in)

£600-800

329 § GERALD WILDE (BRITISH 1905-1986) SERIES B, NO. 47, 1955 signed and titled (to reverse), gouache and crayon on paper 55cm x 76cm (21.6in x 30in)

£500-700

330 § GERALD WILDE (BRITISH 1905-1986) SERIES B, NO. 30, 1955 signed and titled (to reverse), gouache on paper 54.5cm x 75cm (21.5in x 29.5in)

£500-700

331 § GERALD WILDE (BRITISH 1905-1986) SERIES B, NO. 34, 1955 signed and titled (to reverse), gouache, crayon and pencil on paper 54cm x 75cm (21.25in x 29.5in)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

204

332 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) TWO WIVES signed in pencil (lower left) and titled (upper right), watercolour and pencil on paper 75.5cm x 57cm (29.75in x 22.5in) Exhibited: Summer Exhibition, Royal Academy of Arts, London, 1989, no. 5.

£3,000-5,000

333 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORTRAIT OF A LADY signed (upper right), oil on canvas 75.5cm x 50cm (29.75in x 19.75in) Provenance: Christie’s, South Kensington, London, 6 March 2003; Private Collection, London.

£3,000-5,000

334 § JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE HULK, 1961 signed and dated (lower left and to reverse), oil on cardboard 87.5cm x 86.5cm (34.5in x 34in)

£4,000-6,000

205

Lot 386 & lot 379 [detail]

“ THE EARS

[OF A HARE] ARE REALLY ABLE TO CONVEY FAR MORE THAN A SQUINT IN AN EYE OF A FIGURE, OR A GRIMACE ON THE FACE OF A MODEL ” Barry Flanagan, 1986

207

335 § BARRY FLANAGAN O.B.E., R.A. (BRITISH 1941-2009) PROM, CONCEIVED 2001 6/8, incised monogram twice, dated and numbered ‘-19 / 6/8’, incised ‘MOZARTKUGELN / FOR THE LOVE OF MUSIC’, stamped with AB Fine Art Foundry, London mark (to base), bronze with black patina 38.5cm high (15.1in high) Provenance: Waddington Custot Galleries, London, where purchased by the present owner.

We are grateful to the Estate of the Artist for their kind assistance with the cataloguing of this work.

£15,000-25,000

“The ears [of a hare] are really able to convey far more than a squint in an eye of a figure, or a grimace on the face of a model” (Barry Flanagan in conversation with Judith Bumpus in: Exh. Cat., London, Tate Gallery, Barry Flanagan: Prints 1970-1983, 1986, p. 15) Barry Flanagan and the hare are indelibly linked, having first appeared in Flanagan’s work in 1979 and continuing to preoccupy him for the next 30 years. He spoke of his sculptures of hares in an interview with Judith Bumpus on the occasion of his exhibition at the 1982 Venice Biennale: ‘Thematically the choice of the hare is really quite a rich and expressive sort of mode; the conventions of the cartoon and the investment of human attributes into the animal world is a very well practised device, in literature and film etc., and is really quite poignant, and on a practical level, if you consider what conveys situation and meaning and feeling in a human figure, the range of expression is in fact far more limited than the device of investing an animal -a hare especially - with the expressive attributes of a human being.’ (Barry Flanagan in conversation with Judith Bumpus, Tate Gallery, London, Barry Flanagan: Prints 1970-1983, exh. cat., 1986, p. 93) Instantly recognisable as a work by Flanagan, Prom, conceived in 2001, is a quintessential work by the artist - full of movement, energy and joyfulness, and reflects the artist’s interest in dance and music. Flanagan collaborated with the Strider dance assemblage in London, choreographing two dance performances, and movement and dance elements are forever present in his hares. Furthermore, Flanagan’s work of this later period is some of the most tactile that he ever produced. Indeed Prom invites the observer to pick it up to handle its smooth linear forms and contouring lines, inviting the viewer into the frivolity and wit of the work and epitomising the elements for which Flanagan is best known.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

208

336 § PATRICK PROCTOR (BRITISH 1936-2003) NUDE RECLINING, 1986 signed and dated in ink (lower right), pen, ink and watercolour on paper 28.5cm x 41cm (11.25in x 16.25in)

£1,500-2,500

337 § CLARKE HUTTON (BRITISH 1898-1984) ANTHROPOMORPHIC FIGURE, 1973 initialled and dated (lower right), signed, titled and dated (to reverse), oil on panel 28cm x 14.5cm (11in x 5.75in)

£600-800

338 § DORA HOLZHANDLER (BRITISH 1928-2015) LOVERS, 1985 signed and dated (lower right), studio stamp (to reverse), oil on canvas 44cm x 54.5cm (17.3in x 21.5in) Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

£600-800

209

339 § ANDREW GADD (BRITISH 1968-) ‘27TH NOVEMBER 1993’, 1995 oil on canvas 118cm x 149cm (46.5in x 58.5in) Provenance: Agnew’s, London; Private Collection, UK.

£3,000-5,000

340 § ROBERT O. LENKIEWICZ (BRITISH 1941-2002) ALBERT FISHER ‘THE BISHOP’ signed (to reverse), oil on board 13cm x 38.5cm (5.25in x 15.25in) Exhibited: ’Old Age’ Project Exhibition, Plymouth, 26 July - 30 September 1979.

£1,000-1,500

341 § STEPHEN GODDARD (BRITISH 1959-) UNTITLED initialled (lower right), oil and oil stick on gesso panel 83cm x 66cm (32.75in x 26in) Provenance: Private Collection, London.

£700-900

210

342 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) CARACTERISTICAS PALEONTOLOGICAS, 1991 signed, dated, titled and numbered ‘G2156’ in pencil (upper right), gouache on paper 74.5cm x 54.5cm (29.25in x 21.5in) Provenance: Estate of the artist, from whom purchased by the present owner.

£2,000-3,000

343 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) SACRED COW MEDITATION NO.2, OPUS G.1920, 1985 signed, dated and titled in pencil, gouache on paper 36.5cm x 29.5cm (14.3in x 11.6in) Provenance: Gimpel Fils, London.

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

211

344 § SCOTTIE WILSON (BRITISH 1890-1972) BIRDS & FLOWERS, 1958 signed (lower right), crayon and ink on paper 49.5cm x 61.5cm (19.5in x 24.25in) Provenance: Gimpel Fils, London.

Exhibited: Third Eye Centre, 1986.

£800-1,200

345 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) HOMAGE TO THE EARTH SPIRITS NO.39, 1980 signed, titled and dated in pencil (upper left), gouache and watercolour on paper 21cm x 29.5cm (8.25in x 11.5in)

£1,000-1,500

346 § SCOTTIE WILSON (BRITISH 1890-1972) MASK signed (lower right), pen, ink and crayon on paper 37.4cm x 28cm (14.75in x 11in)

£700-900

212

347 § SCOTTIE WILSON (BRITISH 1890-1972) UNTITLED, CIRCA 1970S signed (lower right), oil on canvas 75.5cm x 63cm (29.75in x 24.75in) Provenance: Collection of Ronald Robert and Philippa Paton-Walker; Acquired from the sale of their Collection in Toulouse by the present owner.

£3,000-5,000

The former owner of this work, Bob Paton-Walker, lived and worked

important design work for significant corporate, financial and

in the artistic community in New York in the 1970s. Having run

art clients such as the ICA, Granada TV and the National Portrait

Marlborough Graphics in the city, he established his own company,

Gallery. However, the couple chiefly gained fame working for large

The Art Collective, dealing with important corporate clients such as

theatres and touring companies, designing theatre posters and

IBM and General Tyres.

programmes for the likes of the Royal Shakespeare Company, the

By the mid 1970s, Paton-Walker worked on designing and producing

National Theatre and Glyndebourne Opera.

canvases for the National Exhibition Centre in Birmingham before

During this time a number of works were commissioned by them for

joining forces with his wife Pip, an established graphic designer. The

the agency directly from leading artists, and this could presumably

Paton-Walkers set up a contemporary graphic design company in

be the case with this rare oil by Scottie Wilson.

London, Paton-Walker Associates Ltd. It specialised in producing

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

213

348 § JOHN BRATBY (BRITISH 1928-1992) ANVIL & AXE signed (lower left), oil on canvas 50.5cm x 76cm (19.75in x 29.75in)

£2,500-3,500

349 § SIMEON STAFFORD (BRITISH 1956-) RAIN, INDUSTRIAL TOWN signed (lower left), oil on board 60cm x 46cm (23.5in x 18in) Provenance: Purchased directly from the artist by the present owner.

£800-1,200

350 § CLIFFORD HALL R.B.A., R.O.I. (BRITISH 1904-1973) STONES AND ELLIPSE, 1954 signed and dated (lower right), oil on board 34.5cm x 45cm (13.5in x 17.75in)

£300-500

214

351 § JOHN MELVILLE (BRITISH 1902-1986) A GRAIN OF THE ABSOLUTE, 1967 signed and dated (lower right), titled (to reverse), oil on canvas 97cm x 135cm (38in x 53in)

£1,500-2,000

352 § JOHN MELVILLE (BRITISH 1902-1986) CONTENTMENT, CIRCA 1955 inscribed by the artist’s daughter (to reverse), oil on board 109cm x 88cm (42.9in x 34.5in)

£800-1,200

353 § JOHN MELVILLE (BRITISH 1902-1986) TREE OF HOPE, 1973 signed and dated (lower right), oil on hessian 68cm x 55cm (26.75in x 21.6in)

£600-800

215

‘I don’t practice painting or drawing as an art, in the sense of artifice, of making an imitation of something. It’s something I do from an inner compulsion, that has to come out.’

Alan Davie

354 § ALAN DAVIE C.B.E., R.A., H.R.S.A. (BRITISH 1920-2014) BASHFUL DRAGON, OPUS O.556B, 1964 signed, dated, titled and inscribed (to reverse), oil on canvas 122cm x 152.5cm (48in x 60in) Provenance: Estate of the artist, from whom purchased by the present owner.

£20,000-30,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

216

355 BOAZ VAADIA (ISRAELI / AMERICAN 1951-2017) ADAM, 1985 slate 44.5cm high, 11.5cm wide, 15cm deep (17.5in high, 4.5in wide, 6in deep) Provenance: Art Palace Gallery, New York; Private Collection, London.

£8,000-12,000

Boaz Vaadia was an internationally renowned sculptor known for hand-cutting slabs of bluestone and slate and then stacking them thus, creating male and female forms. In 1985 he created Adam, named after a guest who was staying in his loft, which was his first such figural sculpture. This would mark a significant moment in his oeuvre, and a development into a distinct new sculptural style that would become synonymous of his work. It set him on a path to international prominence and his personal totems, evoking ritual and primal forces, with an instinctive nod to his homeland but without overt religious connotations, grace prominent private and public collections around the world including the Metropolitan Museum of Art, New York, the Museum of Modern Art, San Francisco, the Time Warner Building, New York, the Israel Museum, Jerusalem and the private collection of Elton John.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

217

356 ACHILLE AND PIER GIACOMO CASTIGLIONI (ITALIAN 1918-2002, 1913-1968) FOR FLOS TARAXACUM 88 PENDANT LIGHT aluminium and glass bulbs approximately 93cm diameter (36.5in diameter) The Taraxacum 88 hanging lamp was designed for the Euroluce international lighting show in Milan. The lamp was manufactured in three sizes. The smallest version has three bulbs per triangular facet, the medium-sized lamp has six bulbs per facet (offered here) and the largest lamp has ten bulbs on each side.

£1,000-1,500

357 STEVEN NEWELL (AMERICAN 1948-) FISH AND SWIMMER BOWL engraved ‘Newell’, sand blasted glass 18cm high, 27cm diameter (7in high, 10.6in diameter)

£300-500

358 FABIO TOSI (ITALIAN) FOR CENEDESE VASE signed ‘Fabio Tosi / ARS Cenedese / Murano’, and with stickered label, glass, spiralling bands in green, pink, blue, white and averturine 31.5cm high (12.5in high)

£500-700

359 § PER-RENÉ LARSEN (DANISH 1949-) TWO VASES, 1998 glass, the coral example signed and dated (2) Blue vase 33cm high (13in high); coral vase 28.5cm high (11.25in high)

£300-500

218

360 HAMED OUATTARA (BURKINABÉ 1971-) ARMCHAIR re-calibrated and painted oil drums 82cm high, 78cm wide, 60cm deep (32.25in high, 30.75in wide, 23.6in deep)

£500-800

219

361 § MASSIMO MICHELUZZI (ITALIAN 1957-) VASE, 2003 signed and dated (to base), black glass wheel-carved in swirling pattern 28cm high (11in high)

£600-800

362 ASHRAF HANNA (EGYPTIAN 1967-) UNDULATING CUT AND ALTERED BLACK BOWL signed ‘ASH’, with lilac interior, earthenware 17cm high, 18cm wide (6.75in high, 7in wide)

£800-1,200

363 ASHRAF HANNA (EGYPTIAN 1967-) YELLOW CUT AND ALTERED VESSEL signed ‘ASH’, earthenware 25cm high, 17cm wide (9.8in high, 6.75in wide)

£1,200-1,800

364 § MASSIMO MICHELUZZI (ITALIAN 1957-) VASE, 2004 signed and dated (to base), black wheel-cut glass cased with cobalt blue glass, wheel-carved exterior 35cm high (13.5in high)

£700-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

220

365 § TREVOR BELL (BRITISH 1930-2017) IMAGE WITH A BLUE CUT, 1986 signed and dated in pencil (lower left), signed, titled and dated in pencil (to reverse), oil and watercolour on paper 78cm x 98cm (30.75in x 38.5in)

£1,000-1,500

366 § MARK BRAZIER-JONES (BRITISH 1956-) ‘LYRA’ CONSOLE TABLE, 1991 signed and dated, iron, burnt metal, glass, marble and cement 90cm high, 103cm wide, 48cm deep (35.5in high, 40.5in wide, 18.9in deep) Provenance: Wunderhaus, Munich from whom purchased by the present owner.

£2,000-3,000

221

367 § JOHN HUGGINS (BRITISH 1938-) SWING-WING, 1981 bronze, raised on a granite plinth bronze 133cm high (52.5in high), total height 140.5cm high (55.5in high) Literature: Peter Davies, John Huggins: Sculptor, Halsgrove, 2006, p.52, cat. no.50 for an example of a smaller version of this model.

£3,000-5,000

368 § DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) OLYMPISCHE SPIELE MÜNCHEN 1972 lithograph, published by Edition Olympia 1972 GmbH, Munich, 1971 the sheet 101cm x 64 cm (39.75in x 25.5in), unframed

£700-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

222

369 § MICHAEL TYZACK (BRITISH 1933-2007) SMALL SERPENTINE, 1964 signed (to reverse), emulsion on board 89cm x 89cm (35in x 35in) Provenance: Mrs Vivian Gough-Cooper; Richard Demarco Gallery, Edinburgh; Private Collection, London.

£800-1,200

370 § MATTHEW CHAMBERS (BRITISH 1982-) TRIPLETS, 2018 each signed and dated, stoneware (3) each approximately 12cm high (4.74in high)

£600-800

371 GORDON HART (AMERICAN 1940-) BLACK AND BLUE, 1982 signed, dated, titled and inscribed (to reverse), oil, enamel and silver leaf on panel 85cm x 64cm (33.5in x 25in)

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

223

“ When you put something on the Internet, it’s mine.”

Petra Cortright

372 PETRA CORTRIGHT (AMERICAN 1986-) LINKBOYLINKSBOYLINKS, 2014 digital painting on anodized aluminium 163cm x 122cm (64in x 48in) Provenance: Simchowitz Gallery, Los Angeles; Private Collection, London.

£10,000-20,000

Petra Cortright has been called ‘the Monet of the 21st century’ and is considered one of the foremost artists of the ‘Post Internet’ and ‘Net Art’ movements, known for her digitally created art works across multiple mediums including You Tube videos, digital paintings as well as projections on metallic and archival surfaces. Her works questions new technology and its effects on contemporary aesthetics, society and culture.

Lifted from Google Images and Pinterest, Cortright creates her paintings by manipulating these images on photoshop and reintegrating them into ‘digital’ paint, morphed and layering them on top of one another, which are then presented as still-life paintings as with Boylinks.

224

373 MAARTEN BAAS (DUTCH 1973-) ‘CLAY’ BASEL CHAIR, DESIGNED 2007 yellow clay, impressed BASEL 07, inset metal maker’s mark ’BAAS’, signed ‘Maarten October ‘07 Basel’ and impressed ‘For All Organisers of Design Miami / Basel Thanks!’ (to underside) 89cm high (35in high)

£1,000-1,500

374 FERNANDO AND HUMBERTO CAMPANA (BRAZILIAN 1961- AND 1953-) TRANSPLASTIC CHAIR, DESIGNED 2006 plastic and woven fibres 87.5cm high, 82.5cm wide (34.5in high, 32.5in wide)

£1,000-1,500

375 KONSTANTIN GRCIC (GERMAN 1965-) MARS CHAIR, DESIGNED 2003 synthetic resin, felt and metal 78cm high (30.75in high)

£300-500

225

376 CHRISTINE VAN DER HURD (BRITISH CONTEMPORARY) (ATTRIBUTED TO) PAIR OF TABLE LAMPS cloisonné enamel, with shades (2) 82cm high (32.25in high) total height including shades Provenance: Commissioned by Edric Van Vredenburgh’s firm Zig Zag in the 1990’s.

£800-1,200

377 PIERRE PAULIN (FRENCH 1927-2009) FOR ARTIFORT PAIR OF ‘TULIP’ ARMCHAIRS, 1960S maker’s label and cast ‘ARTIFORT’, chromiumplated metal and leather (2) 74cm high, 66cm wide, 52cm deep (29.1in high, 26in wide, 20.5in deep)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

226

378 LI LIHONG (CHINESE 1974-) 3 STARS: RED STAR, YELLOW STAR AND GOLD STAR, 2007 one signed and dated and another dated (to reverse), wallmounted ceramic stars with dragon and flaming pearl motifs, in individual presentation boxes (3) each 37cm diameter (14.5in diameter)

£600-900

379 JOHANNA GRAWUNDER (AMERICAN 1961-) FOR GLAS ITALIA XXX LOW TABLE, DESIGNED 2009

380

§

TOM DIXON (BRITISH 1959-) EXTRUDED CHAIR, DESIGNED 2007 extruded PETG plastic 82cm high (32.25in high) Provenance: Reputedly produced as part of a performance by Tom Dixon at Art Basel.

£500-700

laminated glass 39cm high, 50cm diameter (15.3in high, 19.7in diameter) Drawing from her experience in the world of lighting, Johanna Grawunder designed the XXX table to emanate coloured light without the need of electrical aid.

£1,000-2,000

227

381 MASSIMILIANO ADAMI (ITALIAN 1969-) ‘METEORE’ HANGING CHANDELIER, DESIGNED 2007 found objects and polyurethane foam approximately 73cm wide (28.75in wide) Literature: Stefano Maffei (ed.), Massimiliano Adami - Magma Fossile, La Triennale di Milano Design Museum, Milan, 2009, pp. 74-75 (another example of a Meterore Hanging Chandelier illustrated).

Massimiliano Adami takes inorganic waste matter and transforms it by setting disparate elements with the more organic medium of foam. He reappropriates discarded obsolete pieces by combining them to create new forms in the tradition of assemblage and found objects or ready-mades. Adami’s intention is always to create functional works that serve a purpose. In 2005 he began a project entitled Modern Fossils in which his recycled elements were placed in polyurethane foam, through which he cut a cross-section. In 2007 his experimentation led him to create a series of Meteore Hanging Chandeliers which were similar to his Modern Fossils. These incorporated lighting elements that he angled on the same axis as the found object that accommodated it.

£1,000-1,500

382 § DAMIEN HIRST (BRITISH 1965-) FRUITFUL (LARGE), 2020 1866/1928, HENI Editions catalogue no. H8-1, with printed signature and edition number on HENI label (to reverse), laminated Giclée print on aluminium composite panel 78cm x 78cm (30.7in x 30.7in)

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

228

383 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) FOR LIBERTY SISSY, DESIGNED 2008 textile 92cm high, 68cm wide (36.1in high, 26.75in wide)

£400-600

384 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) FOR LIBERTY FLO, DESIGNED 2008 textile 100.5cm high x 68.5cm wide (39.5in high x 27in wide)

£400-600

385 § GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) ‘100% ART’ PLATE, 2020 porcelain, developed for the Holburne Museum, Bath in collaboration with Kit Grover, to celebrate the exhibition The Pre-Therapy Years 21.7cm diameter (8.6in diameter)

£300-500

386 § ANE CHRISTENSEN (DANISH CONTEMPORARY) NERVOUS BOWL 3/25, impressed maker’s mark and numbered, verdigris copper, from Kinetic Series 19cm wide, 9.5cm high (7.5in wide, 3.75in high) Provenance: Contemporary Applied Arts, London, 2002; Private Collection, London.

£400-600

229

387 § SONIA DELAUNAY (FRENCH 1885-1979) GRAND HELICE ROUGE, 1970 64/75, signed and numbered in pencil (in the margin), lithograph on paper 56cm x 74.5cm (22in x 29.25in)

£1,500-2,000

388 § ALBERT IRVIN O.B.E., R.A. (BRITISH 1922-2015) RUTLAND, 1990 93/120, signed and dated (upper left) and numbered in pencil (lower right), screenprint on paper 51cm x 73cm (20in x 28.75in)

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

230

389 § CHRIS LEVINE (BRITISH/CANADIAN 1960-) LIGHTNESS OF BEING - FREEDOM EDITION Edition size 1000, giclée print on aluminium composite panel, diasec-mounted 90cm x 70cm (35.5in x 27.5in)

£2,000-3,000

Right: Lot 191 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

GLOSSARY OF CATALOGUING TERMS The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Buyers are recommended to to inspect the property themselves. Written condition reports are usually available on request.

Dimensions are given height before width.

Names or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist Attributed to...

In our opinion probably a work by the artist in whole or in part Studio of... / Workshop of...

In our opinion a work executed in the studio or workshop of the artist, possibly under their supervision Circle of...

In our opinion a work of the period of the artist and showing their influence Follower of...

In our opinion a work executed in the artist’s style, but not necessarily by a pupil Manner of...

In our opinion a work executed in the artist’s style but of a later date

Signed... / Dated... / Inscribed... / In our opinion the work has been signed/ dated/inscribed by the artist Bears Signature... / Date... / Inscription... / In our opinion the signature/date/ inscription appears to be by a hand other than that of the artist

RENÉ LALIQUE (FRENCH 1860-1945) LA CHASSE CHANDELIER, NO. 2258 £80,000-120,000

233

28 OCTOBER 2021 MALL GALLERIES | LONDON Dedicated to the works of René Lalique JOY McCALL | 0207 930 9115 joy.mccall@lyonandturnbull.com Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1883-1937)

SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935)

ST. COLUMBA’S BAY, IONA

THE STATUETTE [DETAIL]

Signed, oil on canvas

Signed, oil on canvas

51cm x 76cm (20in x 30in)

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

£80,000-120,000

£150,000-200,000

SCOTTISH PAINTINGS & SCULPTURE FEATURING SCOTTISH COLOURIST | S.J. PEPLOE AT 150 AUCTION 09 DECEMBER 2021 AT 6PM | EDINBURGH | LIVE ONLINE

ENTRIES NOW INVITED NICK CURNOW | 0131 557 8844 nick.curnow@lyonandturnbull.com

235

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

236

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue.

These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS 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 applied to a Lot. 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website

21.2

or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale.

Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any

improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent.

The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order.

As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed.

Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration.

We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. F AILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism

237 financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website.

We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are zgly 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so

made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots.

The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While

we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium.

No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX 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 see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots

offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed.

Please also note that all customs formalities of the destination country are the responsibility of the buyer.

3. A RTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else.

If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense.

The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

238 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by

the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing

by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will

transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 2. IN THE EVENT OF NON-PAYMENT 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 Sellers and on their 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: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (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). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the 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 which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any

purpose until the debt due is satisfied.

You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING (a) We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider.

2. 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, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS

239 AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission.

We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. 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 premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

21.2

240

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities will be by appointment. No cash will be accepted.

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS Please refer to page 4 of this catalogue.

- ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

Inside back cover:

Lot 72

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM