MODERN MADE | Auction 25 & 26 April 2024

25TH & 26TH APRIL 2024

BUYER'S GUIDE

BUYER’S PREMIUM

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

26% up to £20,000

25% from £20,001 to £500,000 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

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard 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

BIDDING & PAYMENT

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

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 before we will be delighted to help you.

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 – 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. (Particularly for bidding on lots marked by the high value lot symbol )

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).

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

COLLECTION OF PURCHASED LOTS

Purchased items will be available to collect from Mall Galleries on Saturday 27th April from 10am until 3:30pm. Following the auction, 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 rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.

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.

ITEMS MARKED ‡ (ADDITIONAL VAT)

Additional time should be allowed for customs clearance by HMRC if the item is to remain in the UK. For items being exported from the UK these items will be stored at Crown Fine Art, Art Central, Union Court, 20-22 Union Road, London, SW4 6JP, United Kingdom (+44 (0)20 7732 7610) and can be shipped by Crown Fine Art or via another approved shipper with a Temporary Admissions account.

LONDON LOT COLLECTION

Items will be available to collect from Mall Galleries on Saturday 27th April from 10am until 3:30pm. Following this, items will be moved to Stephen Morris Shipping where they can be collected from Wednesday 1st May. They will be stored free of charge until Wednesday 15th May. From Thursday 16th May, 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. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.

EDINBURGH LOT COLLECTION

Scottish buyers and vendors items will be available to collect from Thursday 9th May 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 appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844..

MEET THE SPECIALISTS

Philip Smith | London Co-Head of Sale

philip.smith@lyonandturnbull.com

+44 7741 247 225

John Mackie | Edinburgh Design

john.mackie@lyonandturnbull.com

+44 131 557 8844

Carly Shearer | Edinburgh Paintings, Prints & Sculpture

carly.shearer@lyonandturnbull.com

+44 7818 190 726

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.

Simon Hucker | London Co-Head of Sale

simon.hucker@lyonandturnbull.com

+44 7442 575 266

Joy McCall | London Design

joy.mccall@lyonandturnbull.com

+44 7810 301 525

Matthew Yeats | London Design

matthew.yeats@lyonandturnbull.com

+44 7917 434 602

Alice Strang | Edinburgh Paintings, Prints & Sculpture

alice.strang@lyonandturnbull.com

+44 7966 377 060

Charlotte Riordan | Edinburgh Paintings, Prints & Sculpture

charlotte.riordan@lyonandturnbull.com

+44 7467 953 724

Neil Graham | London Sale Administrator

neil.graham@lyonandturnbull.com

+44 7714 699 084

INTRODUCTION

For this year, the 10th edition of the sale (where did the time go?), we have decided to combine Avant-Garde: Art from 1890 to Now with Modern Made, to form a single, two-part sale, presented in day and evening sessions.

The Evening Session, on Thursday evening, contains highlights of modern and contemporary art in a variety of media, although we have been careful, too, to mix in objects that may not be the most valuable, but which create a dialogue with the more important works. The Day Session, on Friday, is as Modern Made has been for the last five years, a curated selection of the best in modern and contemporary art, design, craft, printmaking and ceramics.

Within the first session are exemplary works by some of the most important artists of the 20th and 21st centuries, both international – such as Zao Wou-Ki and Amedeo Modigliani – and British – such as Roger Hilton, Howard Hodgkin, Tracy Emin and Grayson Perry. And it is within this session that we also introduce The Steve Allison Collection, although this is so rich and varied that in the end it made sense to spread it across both sessions. Allison’s collection is an exemplar of how to acquire fantastic things on a relatively modest budget, by following your eye and your passions – which in a way has been the guiding principle of Modern Made since its inception.

As ever, the auction spans all media – we’re particularly delighted to be offering the largest and most significant early domestic commission by renowned stained-glass artist, Sir Brian Clarke, as well as a seminal piece of jewellery by legendary British maker Wendy Ramshaw –shown alongside exceptional pieces by Claude Lalanne and Georg Jensen. Contemporary craft is represented by a rare offering of works by British wood artist Richard Kell, as well as experimental ceramics-based work by up-and-coming Korean and Japanese makers, such as Jong-Jin Park and Osamu Kojima. And then there is Steve Allison’s collection of the weird and wonderful work of Italian polymath Gaetano Pesce, including one of the doors from Pesce’s interior for the TBWA/Chiat/Day advertising agency in 1994, an interior that in many ways shaped the open-plan, playful communal office spaces of today’s culture industries.

Modern Made is always designed to feel as if it is a single collection, albeit belonging to someone with incredibly wide and eclectic taste. For us, it is about making combinations and juxtapositions based on aesthetic and conceptual confluences, rather than pairing things based on value. And so it is especially pleasing to have a number of real collections within our own fabricated, temporary one – and to be able to go further and take you into an artist’s studio archive, in this instance that of the sculptor Laurence Broderick.

Philip Smith Co-Heads of Sale

Simon Hucker

THURSDAY 25 APRIL 2024

EVENING SESSION LOTS 1 – 51

1

§

CORINNE DAY (BRITISH 1945-2010)

KATE 1990, 2014

inscribed Corinne Day / Authorised by Corinne Day 12 August 2010 on printed authentication label (to reverse), number 2 from the edition of 10, plus 2 artist’s proofs, photograph 48.5cm x 29.5cm (17 7/8in x 11 5/8in)

Provenance:

The Estate of the Artist; Gimpel Fils, London.

This print was used as the cover of The Face magazine, Issue no.22, July 1990.

£1,000-1,500

§

2

WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004)

GROUND SWELL 2, NOVEMBER 1976

signed and dated in pencil (in margin), titled and inscribed (to backboard), pen and oil on board 26.3cm x 18.5cm (10 3/8in x 7 ¼in)

Provenance:

The Estate of the Artist; Art First, London.

Authenticated by the Barns-Graham Charitable Trust, cat. no. BGT 1221.

£2,000-3,000

§

3

SUSAN HILLER (AMERICAN/BRITISH 1940-2019)

LUCID DREAMS III, 1983

set of four C-type photographs, with ink, on Agfa lustre paper each 67cm x 49.5cm (26 3/8in x 19 1/2in) (4)

Provenance:

Gimpel Fils, London.

Exhibited:

Orchard Gallery, Derry, The Muse My Sister: Susan Hiller’s New Work, 1984; Third Eye Centre, Glasgow, Scotland, 1984;

Gimpel Fils, London, England, 1984; Interim Art, London, England, 1984; Vivienne Esders Galerie, Paris, France, 1984.

£1,500-2,000

5 §

DAME PAULA REGO R.A. (BRITISH/PORTUGUESE 1935-2022)

UNTITLED, 2004

inscribed in pen (lower margin) For Colette and James / a very happy Christmas and New Year 2004 / lots of love / Paula, hand-coloured lithograph on paper, unframed 29.8cm x 21cm (11 3/4in x 8 1/4in )

Provenance:

Gift of the Artist to Colette Morey de Morand and thence by descent.

£1,500-2,000

4 §

DAME PAULA REGO

R.A. (BRITISH/PORTUGUESE 1935-2022)

CELESTINA’S GOD-DAUGHTER, 2001 (R. 183)

signed in pencil (lower right), inscribed A/P (lower left) and dedicated Happy Birthday Dear Colette (lower centre), etching and aquatint, artist’s proof aside from the edition of 17, unframed 20cm x 29.5cm (7 3/4in x 11 1/2in) [plate]; 36 x 48cm (14 1/4in x 19in) [sheet]

Provenance:

Gift of the Artist to Colette Morey de Morand and thence by descent.

£600-800

6 §

DAME PAULA REGO R.A.

(BRITISH/PORTUGUESE 1935-2022)

THE CROW’S HOUSE, 1994 (R.108)

signed in pencil (lower right) and inscribed A/P (lower left), etching and aquatint on paper, with blindstamp, artist’s proof aside from the edition of 20, unframed 18cm x 26.5cm (7 x 10 1/2in) [plate]; 30cm x 38.5cm (11 3/4in x 15 1/4in) [sheet]

Provenance:

Gift of the Artist to Colette Morey de Morand and thence by descent.

£600-800

WORKS FROM THE ESTATE OF COLETTE MOREY DE MORAND

8 §

DAME PAULA REGO

R.A. (BRITISH/PORTUGUESE 1935-2022)

MOTHER WITH BIG DAUGHTER, 1997 (R.156)

signed (lower right) and inscribed Proof (lower left) For Colette, Happy Birthday - much, much love (lower centre), screenprint in colours on wove paper, a proof aside from the edition of 100.

Published by the National Museum of Women in the Arts, Washington, D.C, USA.

Printed by Gresham Studio, Ltd, Cambridge. 74cm x 56cm (29 ¼in x 22in)

Provenance:

Gift of the Artist to Colette Morey de Morand and thence by descent.

£1,500-2,000

9 §

LOUISE BOURGEOIS (FRENCH/AMERICAN 1911-2010)

LES FLEURS, 2009

initialled in pencil (lower right), numbered 58/175 (lower left) and inscribed To Lynx (to reverse), screenprint on Magnani paper 28cm x 21.5cm (11in x 8 ½in)

Provenance:

Private Collection, U.K. £4,000-6,000

10 §

CHRIS LEVINE (CANADIAN 1960-)

LIGHTNESS OF BEING (BLUE), 2017

initialled and dated in pencil (lower right), numbered 105/200 (to reverse), archival inkjet print on wove paper, with artist’s blindstamp image: 30.3 x 23.5cm (11 7/8 x 9 ¼in); sheet: 41.3 x 30cm (16 1/4 x 11 ¾in)

£1,200-1,800

WILHELMINA BARNS-GRAHAM

C.B.E. (SCOTTISH 1912-2004)

BY CHELSEA OLD CHURCH (AFTER THE RAID), 1942 oil on canvas

61cm x 91.5cm (24in x 36in)

Provenance:

Acquired by the Artist’s parents from the Royal Scottish Academy exhibition in 1943 and thence by descent to the present owner.

Exhibited:

Royal Scottish Academy, Edinburgh, 117th Exhibition, AprilAugust 1943, Room 1, no. 78 as ‘Chelsea Church’ (£25)

Literature:

Green, Lynne, W. Barns-Graham: A Studio Life, Lund Humphries, Farnham, 2011, p.81, fig.26, illustrated.

£6,000-8,000

Wilhelmina Barns-Graham’s biographer, Lynne Green, has noted: ‘The Royal Scottish Academy’s (RSA) 117th Exhibition, which opened in April 1943, included an oil painting…by Barns-Graham…By Chelsea Old Church (After the Raid) of 1942 and its related drawing…belong to a small series of works from this year that record bomb damage in the Chelsea area of London. They stand out in Barns-Graham’s work of the time for their attention to volumetric form and to figurative detail. She was more often interested in emphasising the abstract qualities of her subject, by flattening form and space, and reducing the detail of windows, doors, etc, to simple notation. In the translation of the Chelsea drawing into oil, specific details in the buildings’ structure were simplified and thereby strengthened…Both her oil painting and its drawing are arguably closer in feel to the peculiarly English, romantic rending of the townscape as a stage-set, in which the studied silence is palpable’ (Lynne Green, W. Barns-Graham: A Studio Life, Lund Humphries, Farnham, 2011, pp.79 & 82).

Our thanks are due to Tilly Heydon, Archivist, Wilhelmina BarnsGraham Trust, for her help with our research.

12

SPENCER FREDERICK GORE (BRITISH 1878-1914)

BEEHIVE IN TOWN GARDEN oil on canvas

36.5cm x 46cm (14 3/8in x 18in)

Provenance:

Roland, Browse & Delbanco, London; Dr David Brown, Nairobi.

Exhibited:

Southampton City Art Gallery, on loan from Dr. David Brown.

£12,000-18,000

This work formerly belonged to Dr David Brown (1925-2002), who began his career as a veterinarian in Kenya. In 1970, he retrained and became one of the leading modern and contemporary art curators and art historians of his generation in Great Britain, holding posts at the Scottish National Gallery of Modern Art, Edinburgh and the Tate Gallery in London. Brown began collecting modern British art whilst in Africa, on the basis of photographs, and his acquisitions came to fill his home in Brixton. Following his death in 2002, significant bequests of works were given to his former places of employment, as well as to Southampton City Art Gallery (to whom he lent this painting and which has the most important representation of the Camden Town Group outside the Tate), Swindon Art Gallery and the British Museum, London.

§

13

GEORGE KENNETHSON (BRITISH 1910-1994)

GIRL WITH A FLOWER IN HER HAIR

Clipsham limestone

34.5cm high, 15cm wide, 27cm deep (13 ½in high, 6in wide, 10 5/8in deep)

Provenance: The Estate of the Artist.

£10,000-15,000

HENRY MOORE O.M., C.H. (BRITISH 1898-1986)

DRAPED SEATED GIRL, c.1930 signed (lower right), charcoal, chalk, watercolour wash and pen and ink on paper

43.7cm x 30.5cm (17 1/4in x 12in)

£12,000-18,000

Provenance:

Ralph Keene, London, acquired c.1946, and thence by descent;

Sotheby’s, London, 19 October 1988, lot 365; Gillian Jason Gallery, London, acquired in 1988; Christie’s, London, 28 November 1989, lot 207; Berkeley Square Gallery, London; The Estate of Leonard Newman; Their sale, Sotheby’s New York, Impressionist & Modern Art Day Sale, 5 November 2009, lot 225, where acquired by the present owner.

Exhibited:

Venice, XVIIIe Esposizione Biennale Internazionale d’Arte, 1930, no.53; Tate Gallery, London, Sculpture and Drawings by Henry Moore, 2 May-29 July 1951, no. 5.

Literature:

Garrould, Ann (ed.), Henry Moore - Complete Drawings, 1930-39, London, 1998, vol. II, no. AG 30.28 (HMF 763), illustrated in black & white, p. 23.

§

15

PATRICK PROCKTOR R.A. (BRITISH 1936-2003)

PORTRAIT STUDIES OF FRANCIS BACON (FROM LIFE)

Inscribed Francis Bacon, from Life in pen (lower left), graphite on paper, double-sided 49cm x 32cm (19 1/4in x 12 1/2in)

Provenance:

Private Collection, London, by descent from the grandmother of the present owner.

£2,500-3,500

Looking today at this delicate, elegant drawing by Amedeo Modigliani, radiating as it does a sense of calm and certainty, it is hard to imagine the circumstances of its making, the extremity of Modigliani’s life in Paris, as he drifted from shambolic studio to dishevelled room, from Montparnasse to Montmartre and back. The only evidence, in a way, of any of the circumstances of the drawing’s making is the tiny – and somehow perfect – pinhole to the top centre, which immediately placed it amongst the many such drawings that Modigliani would attach to his bare studio walls, in search of inspiration and in the hope of sales.

The model in this drawing also has nothing really to hold her to the physical world, to Paris at the turn of the 20th century, to the working-class streets in which artists found their sitters amongst the laundry girls, prostitutes and other habitués of the demi-monde. She has been turned instead into ‘a Modigliani’- and such is Modigliani’s profound impact on the history of modern art, we know exactly what ‘a Modigliani’ looks like. Her body is reduced to sinuous curves in counterpoint, lightly shaded to hint at a sense of volume. Her face is a deliberate mask, part-African, part-Cycladic, anchored by a long curving nose, with two blank, pupil-less almond eyes that somehow – despite their emptiness –return our gaze.

AMEDEO MODIGLIANI (ITALIAN 1884-1920)

NU ACCROUPI, c.1916-17

signed (lower right), pencil on paper 44cm x 33.2cm (17 ¼in x 13in); sheet: 43.5cm x 35cm (17 1/8in x 13 3/4in)

Provenance:

The Leicester Galleries, London, from whom acquired by Roland, Browse & Delbanco Ltd, August 1947; Acquired from the above by the father of the present owner, c.1950s.

Exhibited:

Leicester Galleries, London, Artists of Fame and of Promise, Part Two, August-September 1947, no.14.

£25,000-35,000

Dating the work precisely is very difficult, although the ease of the design, its sensuous flow, suggests some point during the years of the Great War when Modigliani turned away from sculpture – up to that point his passion, the reason that drove him to Paris – and became almost exclusively a painter. The drawing certainly has a painterly quality. The figure is set up for contrasting blocks of colour: pink skin, white pillow and dark, plain studio backdrop. The subtle contrapposto of her body creates movement and depth, whilst preserving a stillness and hieratic quality that underpins much of Modigliani’s painting from the last five years or so of his life. And 1917, of course, is the year of his great series of painted nudes.

A year earlier, Modigliani had met the Polish poet-turned-art dealer, Léopold Zborowski, perhaps the only man who could deal with the artist’s notorious temperament – one minute full of charm, the next seized with rage – all exacerbated by drugs and alcohol. It was ‘Zbo’ who created the market for the artist’s work and is in most part responsible for his recognition as one of the great geniuses of modern French art. This is certainly how Modigliani would have been known to the sophisticated London audience that attended the Leicester Galleries’ 1947 exhibition of ‘Artists of Fame and of Promise’, where the present work was shown and sold; Modigliani was shown alongside Picasso as ‘fame’. Intriguingly, the work sold to another gallery – Roland, Browse & Delbanco, which at that time was relatively newly formed and trying to carve out a similar niche to that of the Leicester Galleries, as purveyors of the best in continental modernism.

The paintings 25.1.67 and 1.3.67, by Zao Wou-Ki, are intimate in scale yet majestic in scope. They embody the artist’s declaration, stated twenty-one years after they were created, that he ‘wanted to paint that which cannot be seen, the breath of life, the wind, movement, the life of forms.’ (Zao Wou-Ki and Françoise Marquet, Autoportrait, Édition Fayard, Paris, 1988, p.117)

As was amply illustrated in the recent retrospective exhibition of his work, The Way is Infinite, mounted at the China Academy of Art in Hangzhou (September 2023February 2024), Zao occupies a unique position within the history of post-war art. His fusion of Eastern and Western artistic traditions to create a universal, international language of abstraction transcends notions of cultural heritage, aesthetic techniques and creative arts genres.

Born in Beijing in 1920, Zao was steeped in traditional Chinese calligraphy from childhood and learnt to draw the characters of the Chinese alphabet under his grandfather’s tutelage. The training he received at the School of Fine Arts in Hangzhou, between 1935 and 1941 (based in Chongqing from 1938) was provided by Eastern and Western teachers. Zao learnt the basics of brush and ink, as well as oil painting techniques and studied the work of European masters, including Henri Matisse and Pablo Picasso, from magazine reproductions.

Zao’s work was first shown in Paris in 1946, as part of a group exhibition of contemporary Chinese painters. Two years later and with two solo exhibitions in his native country to his name, he moved to the French capital. Based in the artists’ quarter of Montparnasse, he enrolled at the Académie de la Grande Chaumière and studied under Othon Friesz. He soon settled at no.51 bis on rue Moulin-Vert, where Alberto Giacometti was a neighbour.

Already an English-speaker, Zao became fluent in French and quickly established himself as a central figure in the thriving art world of 1950s Paris. A heady international mix of artists, including North Americans and Europeans from

ZAO WOU-KI

THE BREATH OF LIFE

Sam Francis, Jean-Paul Riopelle and Maria Helena Vieira da Silva, to Hans Hartung, Pierre Soulages and Joan Mitchell, became friends, sources of stimulation and what Zao described as a ‘community of thought’ (Gilles Chazal, Zao Wou-Ki: Watercolours and Ceramics, Memphis, 2023, p.21). He was nourished by friendship and also counted poets, writers and composers amongst his intimates, such as Henri Michaux, René Char and Edgard Varèse.

The 1950s was a decade of artistic evolution for Zao, not least via the example of the Swiss artist Paul Klee, whose symbolism encouraged him to make the decision, around 1954, to abandon figuration. He was emboldened in this path by a trip to New York in 1957, where he experienced American Expressionism at first hand and came into contact with some of its proponents, such as Franz Kline, Philip Guston and Adoph Gottlieb. Multiple solo exhibitions were staged, from Paris to Cincinnati and New York, whilst a warehouse in Paris in 1959 was purchased and renovated to create a top-lit, spacious studio which provided the solitude Zao required for his creative process.

25.1.67 and 1.3.67 date from the decade in which Zao established himself irrevocably as an international master of abstraction; international not only in the reach of his career but also in his vision. They exemplify his explanation that it was not until 1964 that he ’really understood the concept of freedom in oil painting’ (quoted by Ankeney Weitz, ‘Zao Wou-Ki and the Split-Space of Enunciation’, Melissa Walt et al. Zao Wou-Ki: No Limits, New York, 2016, pp.28-29). Moreover, they are works in which the concerns of poetry and musical composition are at play as much as those of visual imagery. Their titles reference the date on which they were completed, thirty-five days apart, signalling the freedom of their content from established notions of subject matter, yet anchoring them to a specific moment in time and to a fixed point within his oeuvre. The paintings may also contain a reflection of the artist’s thoughts about his country of birth – which he had not visited since 1948 – in light of the commencement of Mao Zedong’s Cultural Revolution the year before.

Measuring 22 x 33cm and 22 x 35cm respectively and presented in a landscape format (itself a description laden with a reference to the natural world that the artist would have questioned) both paintings exemplify the extraordinary technique and visual language that Zao devised. As Ankeney Weitz has described:

‘The eye is continually drawn to recognise the materiality of the work and the three-dimensionality of the surface, so that it becomes an abstraction trying to resolve itself into a landscape, which then disintegrates again into an abstraction. The painting mesmerizes viewers as it draws them into a constantly changing cycle of perceptions; the overall calm of these paintings is belied by the perpetual movement of the surface.’ (Ankeney Weitz, op.cit, p.29)

A central band of activity is offset by the relative calm above and below it. There is a suggestion of reading from right to left, as if to understand a progression of time and movement, yet the rhythm and variety of markmaking, from fine wash to delicate line and laden stroke, encourages a widening of mind beyond the linear and the representational, to a joining in a state of mind with the artist. Layers, texture and a muted palette fuse into a sense of enigma which is profound, beautiful and infinite. A training in Chinese aesthetics and a deep understanding of Western Modernism is detectable, if not signalled specifically. By way of some explanation, in 1967 Zao exclaimed: ‘I like people to be able to stroll in my works, as I do when creating them.’ (Interview by Jean-Jacques Leveque, ‘Promenezvous dans le jardin de Zao Wou-Ki’, Arts Ioisir, Paris, no. 80, 11 April 1967, p. 19)

Not long after completing 1.3.67, Zao was represented in the French section of the World Fair in Montreal, Expo 67 (28 April-27 October 1967), having attained French citizenship three years earlier. Preparations were already underway for solo exhibitions in Los Angeles and San Francisco in 1968, to be followed by a touring retrospective in Canada in 1969.

Zao continued to paint for a further almost forty years, becoming ever more esteemed and in 2006 was made a Grand Officier de l’Ordre de la Légion d’honneur. He died in Switzerland in 2013 and is buried in Montparnasse cemetery. The artist’s foundation promotes and protects his legacy, whilst the mounting of The Way is Infinite represents a posthumous recognition of his achievements by China and framing of him within that country’s cultural history. Zao Wou-Ki’s unique lyrical vision traversed Western and Eastern traditions and chimed with international audiences in a way which continues to evolve today.

As Adeney Weitz has written: ‘From the beginning Zao Wou-Ki’s goal was to transcend a binary view of world art in which East and West stood apart from each other. Early in his career he began looking for a path toward a more universal language that could express the conditions of the world, both his internal emotional experience and the environment around him.’ (Adeney Weitz, ibid, p.29) 25.1.67 and 1.3.67 show that he very much succeeded in this aim.

17 § 

ZAO WOU-KI (CHINESE/FRENCH 1921-2013)

25.1.67

signed (lower right), signed and dated Zao Wou-Ki / 25.1.67 (to reverse), oil on canvas

22cm x 33cm (8 5/8in x 13in)

Provenance:

Galerie Gerald Cramer, Geneva, December 1967, from whom acquired by the present owner; Private Collection, London.

Literature:

Hendgen, Yann and Marquet-Zao, Françoise, Zao Wou-Ki: Catalogue raisonné des Peintures - Volume II - 1959-1974, Flammarion, Paris, 2023, p.165, cat. no. P-0895, illustrated.

The present work is registered in the archive of the Fondation Zao Wou-Ki.

£150,000-250,000

17 § 

趙無極（1921-2013）

25.1.67

22cm x 33cm (8 5/8in x 13in)

油畫畫布

款識右下：ZaoWou-Ki；畫背：25.1.67

來源：私人收藏，倫敦；現任藏家於1967年12月購自日內瓦畫廊

Galerie Gerald Cramer

著錄：Hendgen Yann及Marquet-Zao Françoise著，《Zao Wou-Ki：

Catalog raisonné des Peintures - Volume II - 1959-1974》，巴黎： Flammarion，2023年，頁165，圖版P-0895。

註：此作品已登記在趙無極基金會之文獻庫。

£150,000-250,000

18 § 

ZAO WOU-KI (CHINESE/FRENCH 1921-2013)

1.3.67

signed (lower right), signed and dated Zao Wou-Ki / 1, Mars 67 (to reverse), oil on canvas

22cm x 35cm (8 5/8in x 13 ¾in)

Provenance:

Galerie Gerald Cramer, Geneva, December 1967, from whom acquired by the present owner; Private Collection, London.

Literature:

Hendgen, Yann and Marquet-Zao, Françoise, Zao Wou-Ki: Catalogue raisonné des Peintures - Volume II - 1959-1974, Flammarion, Paris, 2023, p.166, cat. no. P-0902, illustrated.

The present work is registered in the archive of the Fondation Zao Wou-Ki.

£150,000-250,000

18 § 

趙無極（1921-2013）

1.3.67

22cm x 33cm (8 5/8in x 13in)

油畫畫布

款識右下：ZaoWou-Ki；畫背：Mars67

來源：私人收藏，倫敦；現任藏家於1967年12月購自日內瓦畫廊

Galerie Gerald Cramer

著錄：Hendgen Yann及Marquet-Zao Françoise著，《Zao Wou-Ki：

Catalog raisonné des Peintures - Volume II - 1959-1974》，巴黎：

Flammarion，2023年，頁166，圖版P-0902。

註：此作品已登記在趙無極基金會之文獻庫。

£150,000-250,000

SLAVKO KOPAČ (CROATIAN/FRENCH 1913-1995)

PETITE MUSIQUE DE NUIT, 1977

collage laid on canvas

100cm x 81cm (39 3/8in x 31 7/8in)

Provenance:

Galerie d’Art International, Paris, by 1984; Waddington Galleries, London.

£4,000-6,000

“The neglected genius of post-war British sculpture.”

Brian Glasser, Time Out, 1993

20 §

ROBERT ADAMS (BRITISH 1917-1984)

TWO CURVES, 1959 (OPUS 78)

bronzed steel

190.5cm high, 52cm wide, 31cm deep (75in high, 20 1/2in wide, 12 1/8in deep)

Provenance: The Estate of the Artist; Gimpel Fils, London.

£10,000-15,000

21 §

ALAN DAVIE (BRITISH 1920-2014)

CAN’T WAIT, 1964 (OPUS 0.547)

signed, titled and dated May 1964 (to reverse), oil on canvas 152.5cm x 122cm (60in x 48in)

Provenance: Gimpel Fils, London.

Literature:

Bowness, Alan (ed.), Alan Davie, Lund Humphries, London 1967, no.485. £7,000-10,000

22 §

ROGER HILTON C.B.E. (1911-1975)

JAN ‘65, 1965

signed and dated (to reverse), oil on canvas 40.6cm x 50.8cm (16in x 20in)

Provenance: The Estate of the Artist; Waddington Galleries, London; Redfern Gallery, London, from whom acquired by the present owners. £25,000-35,000

PROPERTY FROM THE COLLECTION OF DRs ANTONY & ZARRINA KURTZ

BROWN

Provenance:

Gimpel Fils, London.

PROPERTY FROM THE COLLECTION OF DRs ANTONY & ZARRINA KURTZ

UNTITLED, 1948

signed and dated in pencil (lower right),

on paper 32cm x 48cm (12 5/8in x 18 7/8in)

Provenance:

The Redfern Gallery, London, from whom acquired by the present owners.

23 §

BRAM BOGART (DUTCH 1921-2012)

COMPOSITION, c.1957-59

signed (lower left), oil, ash, charcoal and sand on canvas 50cm x 65.5cm (19¾in x 25 ¾in)

£2,500-3,500

24 §

WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997)

gouache

£2,500-3,500

ALAN DAVIE (BRITISH 1920-2014)

DOUBLE JIVE, 1962 (OPUS O.483)

signed and dated Alan Davie / JUN 62 (to reverse), also titled, dated and inscribed DOUBLE JIVE / JUNE 62 / OPUS: 0.483 (to reverse), oil on canvas

152.4cm x 182.9cm (60in x 72in)

£18,000-25,000

Provenance: Gimpel Fils, London, from whom acquired by the present owner, November 2007.

Literature:

Bowness, Alan (ed.), Alan Davie, Lund Humphries, London 1967, no.419, illustrated.

EDMUND DE WAAL (BRITISH 1964-)

AFTER RAIN, 2012

four porcelain vessels, three with an ivory-coloured glaze and one with a celadon glaze, on a black anodized metal shelf vessels: (i) 6.7cm diameter (2 5/8in diameter), (ii) 6.2cm diameter (2 ½in diameter), (iii) 3.8cm diameter (1 ½in diameter), (iv) 7cm diameter (2 ¾in diameter); shelf: 8.5cm high, 30cm wide (3 3/8in high, 11 ¾in wide)

Provenance:

Donated by the Artist to an auction to raise funds for The Judi Meadows Memorial Fund, 2012, from where acquired by the present owner.

£6,000-8,000

“

Clay is a simple substance with a complex structure playing havoc without and within our kilns, keeping us guessing and daring to change its natural composition. Yet, like an alchemist seeking to make gold, I continue to seek to create that ultimate elusive simple vessel which will hold magic for me. ”

Magdalene Odundo

DAME MAGDALENE ODUNDO O.B.E. (KENYAN 1950-)

UNTITLED, VESSEL, 1986 signed and dated ODUNDO 1986, burnished and carbonised terracotta

27.5cm high, 21.5cm wide (10 7/8in high, 8 1/2in wide)

Provenance:

Christie’s, London, British Decorative Arts 1860 to the Present Day, 1 March 1996, lot 497; Private Collection, U.K. £25,000-35,000

John Coburn is one of Australia’s most important abstract artists of the second half of the 20th century, best-known in his homeland for the curtains he designed for Jørn Utzon’s Sydney Opera House. These curtains were created at the Aubusson workshops in France, where at the same time Coburn conceived and created his monumental textile suite, The Seven Days of Creation. Fittingly, the present work – day two of the seven – was formerly in the collection of the civil engineer, Sir Jack Zunz, who ran the team that designed the Opera House's iconic roof with Utzon in the early days and who ensured the vision was completed following Utzon’s resignation from the project in 1966.

28

JOHN COBURN (AUSTRALIAN 1925-2006)

THE SECOND DAY: GOD SEPARATED THE LIGHT FROM THE DARK (FROM ‘THE SEVEN DAYS OF CREATION’ SERIES), 1969-70

woven signature Coburn (lower right), wool

Aubusson tapestry, number 1 from the edition of 3 188cm x 227cm (74in x 89 3/8in)

Provenance:

Sir Jack and Lady Zunz, London and thence by family descent

£8,000-12,000

Exhibited:

Bonython Galleries, Sydney, Aubusson Tapestries, 21 April13 May 1970, and touring to Melbourne, Adelaide and Perth.

Literature:

Rozen, Alan, The Art of John Coburn, Ure Smith, Sydney, 1979, p. 62, pl. 28 (illustrated another example);

Klepac, Lou, John Coburn: The Spirit of Colour, The Beagle Press, Sydney, 2003, p.99, pl. 67 (illustrated another example).

The present work hanging in Sir Jack & Lady Zunz’s house in Drax Avenue, Wimbledon, c.1970-71. Photo courtesy of the Zunz family.

SIR GRAYSON PERRY

A RECIPE FOR HUMANITY

“I’ve never seen myself as a potter or as part of the crafts movement. I am a conceptual artist masquerading as a craftsman”

Grayson Perry

Controversial, creative and incredibly humorous, Sir Grayson Perry CBE RA Hon FRIBA (1960 -) has dominated media headlines for over 20 years since winning the Turner Prize in 2003. Delighting in the combination of opposites, Perry’s work creates an intriguing fusion between form and content by transforming classical objects with unexpected or explicit imagery. In this way Perry captivates his audience, simultaneously stimulating feelings of attraction and surprise.

We are delighted to feature selected works by Perry showcasing the artist’s use of different media. Rising to fame as a potter, Perry challenged the art world by championing a medium traditionally considered a craft rather than a fine art. Within his early ceramic work, This Crude Charger Was Wrought on the 20th of January for the Serving of an Aphrodisiac before the Consummation of a Godless Orgy, 1984, Perry questions the boundaries of respectability. By contrasting traditional images of noblemen dressed in their best with a title suggestive of riotous behaviour, Perry illustrates two different sides to human nature. Respectability, however, was the last thing on Perry’s mind when he created Untitled, 2005 and gifted it to his godson for his 18th birthday. Capturing the spirit of youth in a uniquely Perry way, the artist created a coming-of-age gift that is sure to have surprised the recipient.

“I love religion – it’s just the belief bit I have a problem with” Grayson Perry

Strong religious themes run throughout Perry’s monumental work Map of Nowhere, 2008, which references early medieval cartography, and particularly the German Ebstorf map. However rather than placing Jesus at the centre of the world, Perry courts controversy by inserting himself claiming, “my daughter always accuses me of setting myself up as God, so I made the lakes and rivers into my body”. Further intrigue is generated by substituting place names for modern day experiences including ‘internet dating’ and ‘binge drinking’ to encourage reflection on the relationship between experience and place. Perry’s sense of humour is also never far away, thus should anybody believe that he is taking himself too seriously, his work is quick to address this. In this case, the shaft of light coming directly from Perry’s bottom illuminating the world beneath cannot fail to raise a wry smile. Perry’s artistic sense of humour is often compared to 18th and 19th century

caricaturists William Hogarth, James Gillray and George Cruikshank, whilst his drawing style and enjoyment of social comment, erotica and the grotesque are reminiscent of the work of Otto Dix and George Grosz. (See Klein, Jacky, Grayson Perry, Thames and Hudson, London, 2013, pp10-11.)

Within Recipe for Humanity, 2005, Perry further explores concepts of God and religion. Crafted in the style of a traditional sampler it features a joyous scene of Adam and Eve in the Garden of Eden, inspired by American Folk Art. However rather than include traditional religious references, Perry disrupts convention by instead quoting renowned psychotherapist Irwin D. Yalom’s ‘Four Givens of Life’: you will die, you are alone, there isn’t a God and life is meaningless apart from the meaning you give it. As a result, the viewer is attracted by the colourful imagery, yet provoked by its accompanying commentary.

“In life, as in art, I have been dusted with the perversion brush” Grayson Perry

Perry’s love of traditional craft is evident within lot 479, the Sissy and Flow fabrics (2008) which reflect artistic changes in traditional Aghan rug weaving following the Soviet occupation of their lands. Alongside traditional flowers, wildlife and geometric patterns, weavers began to depict tanks, landmines, artillery and aircraft. Strong themes of war are also apparent in the textiles presented here; however, Perry softens the overall design by overlaying pink lacy borders and surrounding them with flowers, bows and high-heeled shoes. In doing so Perry questions traditional ideas of masculinity and brings an autobiographical dimension to the design by referencing his own transvestism.

Alan Measles: teddy bear, alter ego and now cult object has become one of Perry’s most popular and enduring motifs. Featuring in works as diverse as Vote Alan Measles for God, Outsider Alan, and The Near Death and Enlightenment of Alan Measles, Alan’s persona is under constant re-invention. Alan is the sole focus of the handbag in the present collection, lot 480, depicted on one side as happy and joyous in a pretty dress and bow reminiscent of Perry’s alter ego Claire. On the other side Alan is stripped back, naked and seemingly angry. Whilst Perry may be depicting his own personalities through the guise of his childhood toy, he is also offering the wearer the opportunity to do the same by displaying the side of the handbag which best represents them in that moment. It is perhaps people’s ability to relate and interact with Perry’s work in this way which makes it so enduringly popular.

29 §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-)

RECIPE FOR HUMANITY, 2005

signed and numbered XX/250 in black felttip pen (to reverse), embroidery on cotton

Published by Victoria Miro Gallery, London.

47.5cm x 35.5cm (18 ¾in x 14in)

Provenance:

Private Collection, London.

£3,000-5,000

30 §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-)

THIS CRUDE CHARGER WAS WROUGHT ON THE 20TH JANUARY 1984 FOR THE SERVING OF AN APHRODISIAC

BEFORE THE CONSUMMATION OF A GODLESS ORGY, 1984 titled and dated 1984 (to rim), impressed artist seals (to rim) and raised artist marks (to base), earthenware

34cm x 25cm (13 3/8in x 9 7/8in)

Provenance:

Bonhams, London, Contemporary Art & Design, 11 October 2012, lot 42; Phillips, London, Evening & Day Editions, 9 June 2016, lot 167, where acquired by the present owner.

£2,500-3,500

31 §

SIR GRAYSON PERRY C.B.E. R.A. (BRITISH 1960-)

UNTITLED, 2005

raised W and Anchor marks (to reverse), glazed earthenware 37cm x 28.7cm (14 ½in x 11 ¼in)

Provenance:

Gift of the artist to his godson for his 18th birthday in April 2005. £10,000-15,000

32 §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-)

THE MAP OF NOWHERE, 2008

signed and numbered 57/68 (to reverse), etching, from five plates, on Arches wove paper.

Published by The Paragon Press, London.

152.2cm x 112cm (59 7/8in x 44 1/8in)

Provenance:

The Paragon Press, London, from whom acquired by the present owner, September 2008.

£12,000-18,000

A WINDOW ONTO ANOTHER WORLD:

SIR BRIAN CLARKE & THE PLUMB WINDOWS

Commissioned for the home of a northern business family (together with the smaller, related Plumb Window II), The Plumb Window is the largest of Clarke’s domestic, and secular, architectural commissions from the period. The composition divided across fifteen individual panels, read as a whole, depicts an abstracted landscape. An exemplar of Clarke’s maturing style, using characterful and richly textured transparent and translucent mouth-blown glasses. The work is in the lyrical mode which characterises Clarke’s early stained glass; displaying what art historian Martin Harrison describes as ‘Clarke’s devotion to flowers as events — literally and metaphorically — in a field’, the leading is expressively graphic, and in rendering the imagined landscapes of both Plumb windows, Clarke has eschewed the use of glass paint, emphasising the innate qualities of the material. The two Plumb windows should also be seen as kinetic artworks, with a secondary visual dynamic created by the passage of light through them over the course of each day.

As the present owner has noted; “The window has for me always been about rootedness - my husband loved mountains and I was engaged with the earth through gardening - so the picture Brian captured so delicately expressed our joint interests. Those roots into the land have sustained us through the decades as we brought up our family.

The work feels so pertinent now in an era of climate change embodying as it does the connectivity of the earth from soil to glacier, and I cannot thank Brian enough for this leading light that has been in our life.”

We would like to thank the Studio of Sir Brian Clarke for their assistance in cataloguing the present works.

“The 1974 work is I think the most significant of my early works and one that I remain fascinated by today. I was 21 when I created it — and actually fabricated it myself — during the brief period I lived in Preston. I saw it then, and see it now, as a sort of doorway or window onto another world. An Arcadian experience that also was the beginning of a lifetime of experiments in the medium around the globe. It possesses, I like to think, an innocence that is impossible to fake — an uncluttered belief in abiding and endless affection.”

Sir Brian Clarke, 2024

33 §

SIR BRIAN CLARKE (BRITISH 1953-) THE PLUMB WINDOW I, 1974

polyptych in fifteen parts, mouth-blown English, French Antique and Belgian Opal glass with mirrors, cut and leaded approximately 210cm x 243cm (82 5/8in x 95 5/8in)

Provenance: Private Collection, U.K. £30,000-50,000

Exhibited & Literature:

Please see the information for the following lot.

Collection & Storage for this lot: Following the sale this work will be disassembled and packaged by stained glass specialists Recclesia and will then be available for collection at Crown Fine Art, SW4 6JP, by appointment. Storage will be free of charge at Crown Fine Art for two weeks, before storage fees will begin to apply from Monday 13th May.

Sir Brian Clarke in front of the cartoons for the Plumb Window I, photographed for the Lancashire Evening Post

Photo by Mike Williams, courtesy of the studio of Sir Brian Clarke

34 §

SIR BRIAN CLARKE (BRITISH 1953-)

THE PLUMB WINDOW II, 1974

vertical window screen, mouth-blown English, French Antique and Belgian Opal glass with mirrors, cut and leaded approximately 192.5cm x 58.5cm (75 ¾in x 23in)

Provenance: Private Collection, U.K. £10,000-15,000

Exhibited: Panel from Plumb Window II: Derby Cathedral, Glass Art One, 1975, touring to Mid-Pennine Arts Association Gallery, Blackburn, Blackburn Cathedral, Manchester Cathedral and Bakewell Parish Church.

Designs and Preliminary Studies:

Sheffield City Polytechnic, Brian Clarke: Paintings and Installations, 1977; Robert Fraser Gallery, London, c.1984;

Sainsbury Centre for Visual Arts, Norwich, Brian Clarke: The Art of Light, 2018; Museum of Arts and Design, New York, Brian Clarke: The Art of Light, 2020-21.

Literature:

Wolfenden, Ian, ‘Brian Clarke : Glass Art One’, Crafts Magazine, London, January 1976, pp.50, no.18.

Coleman, Marigold, ‘Glass from the North’, Crafts Magazine, Crafts Council of Great Britain, London, May 1977, p.17, no.26;

Clarke, Brian (ed.), Architectural Stained Glass, John Murray Publishers, London, 1979, p.153;

Harrison, Martin and Brian Clarke, Brian Clarke: Paintings and Projects, Quartet Books, London, 1981, pp.93-94, 187 and 191;

Clarke, Brian, Paul, Greenhalgh and Norman Foster, The Art of Light, HENI Publishing, London, 2018, Museum of Arts and Design/ HENI, 2020, pp.18, Plumb Window I illustrated and pp.11 for an illustration of the preliminary design of Plumb Window I;

Hans Ulrich Obrist, Brian Clarke: Collages 2022 –2023, HENI Publishing, London, 2023, pp.16 for an illustration of the preliminary design of Plumb Window I

Collection & Storage for this lot: Following the sale this work will be disassembled and packaged by stained glass specialists Recclesia and will then be available for collection at Crown Fine Art, SW4 6JP, by appointment. Storage will be free of charge at Crown Fine Art for two weeks, before storage fees will begin to apply from Monday 13th May.

35 §

JUNKO MORI (JAPANESE 1974-)

PROPAGATION PROJECT SUPER PINECONE, 2006

forged steel coated with black wax

40.5cm high, 36.2cm wide (16in high, 14 1/4in wide)

Provenance:

Private Collection, Palm Beach, Florida 2006-15; Private Collection, U.K.

£2,500-3,500

36 §

MATTHEW COLLINGS (BRITISH 1955-) & EMMA BIGGS (BRITISH 1956-)

THE EARTH DIVIDED, 2012

signed, titled and dated (to reverse), oil on canvas 203.5cm x 204cm (80 1/8in x 80 ¼in)

Provenance:

Vigo Gallery, London, from whom acquired by the present owner. £2,000-3,000

“My most recent work consists of a contemporary landscape that evokes memories of the past… used stones are an image that I use as a symbol of technology created by civilizations throughout time.”

Osamu Kojima

stoneware

73cm high, 94cm wide, 83cm deep

(28 ¾in high, 36 5/8in wide, 32 ¾in deep)

£6,000-8,000

37 §

OSAMU KOJIMA (JAPANESE 1973-) NOSTALGIA 10-TW-04, 2010

and fused glass

ANTONI MUNTADAS (SPANISH 1942-) ON TRANSLATION: STAND BY, 2005

Duratrans lightbox, number 3 from the edition of 3

129.5cm x 250cm x 17.8cm (51 1/8in x 98 1/2in x 7 7/8in)

Provenance:

Gimpel Fils, London.

£1,500-2,000

Exhibitied: Gimpel Fils, London, On Translation: Stand By, 10 October - 18 November 2006; Gimpel Fils, London, Photography Since 1970, 20 April - 27 May 2011.

39 §

ANDY GOLDSWORTHY (BRITISH 1956-)

LOWTHER EARTH SPLASHES; MUDSTONES THROWN INTO SCAUR WATER PENPONT, DUMFRIESSHIRE, JULY 1992, 1992

signed, titled and dated in pencil on accompanying hand-made justification sheet, nine individual photographs, each 37cm x 47cm (14 ½in x 18 ½in), mounted in three frames 213cm x 185cm (83 7/8in x 72 ¾in) overall, framed £5,000-8,000

Provenance:

With Turske Hue-Williams Ltd., London; Michael Hue-Williams, London, from whom acquired by the present owner.

40

MAY THE JOURNEY MADE MANY YEARS AGO

TEACH US ALL A VALUABLE LESSON, 1993

titled, dated and inscribed LUV BOB LAW XMAS 1993 (to front), lead

24.4cm x 17cm (9 5/8in x 6 5/8in)

Provenance:

Gift of the Artist to the present owner, 1993. £3,000-5,000

41

signed and dated (to base of head), cement fondue and enamel, with cornflakes

the head: 11cm high, 9cm wide, 13cm deep (4 ¼in high, 3 ½in wide, 5 ¼in deep); overall installation approximately: 70cm x 100cm x 100cm

Provenance:

Galerie Nicolai Wallner, Copenhagen, from whom acquired by the present owner, 1997.

Exhibited:

Galerie Nicolai Wallner, Copenhagen, David ShrigleySculptures and Drawings, February 1997. £3,000-5,000

§ BOB LAW (BRITISH 1934-2004)

§

DAVID SHRIGLEY O.B.E. (BRITISH 1968-) GOD, 1996

THE STEVE ALLISON COLLECTION

THURSDAY 25 APRIL 2024

EVENING SESSION LOTS 44 – 51

FRIDAY 26 APRIL 2024

DAY SESSION LOTS 52 – 110,

325 – 331, 402 – 460

THE STEVE ALLISON COLLECTION

The photographer and graphic designer Steve Allison was born in Birmingham in 1948, although he spent his working life in Cardiff, where he’d pitched up in 1967 as an archaeology student. After graduation, he scratched a living as a concert promoter (putting on a 12-hour gig in Cardiff in 1970, headlined by Pink Floyd), stage manager, occasional bookbinder and jobbing lithographer, until one day in 1973, walking across a road in Manchester, he decided to become a graphic designer.

He started The Steve Allison Studio in 1974, in the midst of the worst economic situation since the Great Depression, balancing typography work with his own photographic practice, until deciding to focus on design full-time in 1980. The studio ran successfully for the next 30 years, mainly working within Cardiff’s theatre, dance and music scene –all of which were enduring personal passions of Allison (in a private memoir, written in 2014, he recalled owning nearly a thousand vinyl albums, although he’d removed all their covers, as he didn’t like their design). For fifteen years, Allison produced almost all the visual communication for the Welsh National Opera (WNO) – with some of the work he produced there having since been acquired by the V&A. Whilst at WNO, he worked with the writer Antony Peattie, the partner of the painter Howard Hodgkin – although, in typically diffident and cool style, Allison never once mentioned to Peattie that he collected Hodgkin’s work, until well after the painter’s death.

As Allison’s children recall, Steve’s connection with the world was “a visual and aesthetic one. Design was his life and he felt things viscerally when he looked at art and objects. The works he collected spoke to him deeply and we think tell us something about who he was and how he saw the world. He displayed some of his collection at home, especially the ceramics, but the extent of it wasn’t really clear until we were clearing the house and stumbled upon more than we were expecting! We suppose that his collecting really took off after we had left home and he had closed his business. Like much of his life, his collection was very personal, done on his own terms and not for the approval of others, although during lockdown he was a bit more openly active, buying a lot through the Artist Support Pledge. We remember there were always interesting pieces on the walls growing up, a Hodgkin here, a Kapoor there, mixed in with some of Dad’s own photographs, which showed his unique perspective on the world - he had a sharp and sometimes dark sense of humour which he managed to capture in photographs. He loved visual wit and we’re sure that’s what drew him to Gaetano Pesce’s work – on the more experimental, ‘out-there’ end of things – but also to Howard Hodgkin, who is perhaps more subtle and sophisticated, but still joyful and witty – like music.”

The Steve Allison Collection is offered in both sessions of the sale – lots 44-51 in the Evening Session (Paintings and Prints); lots 52-110 (Prints & Studio Ceramics; 325-331 (Ewen Henderson); 402-460 (Gaetano Pesce) in the Day Session.

Steve Allison, Cardiff c.1970s, image courtesy of the Allison family

Venezuelan artist Darío Pérez-Flores was an Op Art pioneer. Over a long and prolific career, he led sustained research into colours and the optical effects of their combination, in strict abstract compositions, earning him a reputation as one of the pre-eminent Latin American Constructivists of the later 20th century.

Pérez-Flores began his artistic studies in the 1960s in his native Venezuela and then in Valencia, Spain. In 1970 a scholarship enabled him to attend the University of Paris at Vincennes-Saint-Denis, where he studied Bauhaus and De Stijl colour theory. By this time the Optical Art (or ‘Op Art’) movement was flourishing in response to the commercial imagery, popular culture and mass-consumerism that had proliferated over the 1950s and ‘60s. Op Art proponents sought to interrogate our response to this imagery by creating affecting visuals of their own. In Paris Pérez-Flores joined the ranks of other Op Art practitioners including Victor Vasarely and fellow South Americans Jesús Rafael Soto and Carlos Cruz-Diez.

44 §

DARIO PEREZ-FLORES

(VENEZUELAN 1936-2022)

DYNAMIC CHROMATIQUE No.25, 1992 signed, titled and dated (to reverse of largest panel), acrylic on canvas on wood relief 120cm x 110cm x 5cm (47 ¼in x 43 1/4in x 2in ) £5,000-8,000

Pérez-Flores’ early artworks were generally sculptural, but from the 1980s he began to create paintings and assemblages referred to as Chromatiques and Prochromatiques. Bright and boldly contrasting pigment was applied in thin vertical lines across the composition, each slice of colour either applied in gradient or as a solid hue. Pérez-Flores’ polychromatic stripes were arranged in such a way that they appear to shimmer and vibrate or to catalyse new shapes and colours in response to the viewer’s gaze. Later in his career, Pérez-Flores embellished his paintings with three-dimensional vertical metal rods to add a physical kineticism to enhance the optical sense of movement.

Pérez-Flores’ work is represented in several significant public collections including the Museo de Bellas Artes in Caracas, the Musée d’Art Moderne de la Ville de Paris, Centre Apollo in Lausanne, and the Künzeslau and Waldenbuch Museums in Germany.

45 §

DARIO PEREZ-FLORES (VENEZUELAN 1936-2022)

DYNAMIC CHROMATIQUE #No.11-B, 1993

signed, titled and dated in felt-tip pen (to reverse of larger element), also titled (to reverse of the smaller elements), acrylic on canvas mounted on wood relief 90cm x 120cm (35 ½in x 49in) overall

Provenance:

Galeria Espaço Arte, São Paulo, Brazil, from whom acquired by Steve Allison, June 2014.

£5,000-8,000

46 §

DARIO PEREZ-FLORES (VENEZUELAN 1936-2020)

PROCHROMATIQUE No.1017, 2006

signed, titled and dated in pen (to reverse), acrylic on canvas laid on wood, with aluminium kinetic elements

90.5cm x 90.5cm (35 5/8in x 35 5/8in)

Provenance:

Scott Richards Contemporary Art, San Francisco, from whom acquired by Steve Allison, May 2008.

£5,000-8,000

47 §

BRIDGET

RILEY (BRITISH 1931-)

COLOURED GREYS 1, 1972 (S.16)

signed and dated in pencil (lower right), inscribed Artist’s Proof (lower left), screenprint on paper, one of ten artist’s proofs aside from the edition of 125 73.6cm x 69.6cm (28 7/8in x 27 3/8in)

Provenance:

Sotheby’s, London, Made in Britain, 25 March 2015, lot 183, where acquired by Steve Allison. £6,000-8,000

48 §

TRACEY EMIN C.B.E., R.A. (BRITISH 1963-)

I THINK OF YOU, 2014

signed, dated and numbered 13/100 in pencil (lower right), titled (lower left), lithograph on Somerset wove paper.

Published by Counter Editions, London. sheet: 90.5cm x 68cm (35 ½in x 26 ¾in), unframed

Provenance:

Counter Editions, London, from whom acquired by Steve Allison, October 2014. £3,000-5,000

HOWARD HODGKIN PRINTMAKER

Howard Hodgkin’s prints are singularly vibrant, evocative and expressive. It is difficult to draw parallels between the artist and his printmaking contemporaries; Hodgkin carved his own path. Yet he always considered himself an amateur printmaker and referred to himself as ‘a painter who makes prints.’ He preferred to bring his artistic sensibility to the medium and was only interested in the technical aspects of printmaking insofar as they could serve his distinct artistic vision. It is this very innovative approach to traditional printmaking techniques that makes his work in the medium so powerful and immediate.

Hodgkin started making prints in 1957, only four years after he began painting. Although his paintings feel gestural and spontaneous, his process is in fact laborious: over long periods spent in insolation within a quiet and empty studio, he applies his paint in stages. This inclination towards a ‘layered’ approach translates well to printmaking, but beyond that it is a different way of working altogether. Unless an artist is trained as a printmaker they must rely upon collaboration, with the artist dependent on the skill, expertise and understanding of the printmaker or technician they are working with, and access to their equipment in an often-busy print studio. In her catalogue raisonné of Hodgkin prints (covering those produced up until 2002), Liesbeth Heenk identifies two significant moments of collaboration in the artist’s evolution in print, where master printmakers introduced Hodgkin to new techniques that were to become integral to his method: these were Maurice Payne in 1977 and Jack Shirreff in 1986.

Hodgkin commenced printmaking with lithography and the occasional screenprint but as his interest progressed, he explored other techniques for which he would eventually become known. His collaboration with Maurice Payne started in 1977, beginning a use of hand colouring which would become an increasingly important technique in later years. More importantly, this introduced Hodgkin to the technique of soft-ground etching. He reflected that ‘softground etching is about the most immediate [medium] imaginable . . . because it is just the plate covered with grease which can be easily removed or worked into, with almost fatal facility.’ This meant he could engage with the plate in a more painterly fashion, free from some of the rigours of traditional printmaking, and allowed him to express himself with a direct spontaneity. This repudiation of the traditional appears in other aspects of Hodgkin’s approach to printmaking, such as his rejection of the plate-mark, a standard identifier of intaglio printing; he wished to eschew the fussiness of these lines and the mechanical framing they provided. Instead, Hodgkin printed either on plates larger than the paper, or tore the sheet down after printing so that he could frame the image in his own way. The resultant images retain a striking modernity and immediacy.

“ My prints are the result of thinking about what prints can be. The last thing I want them to be is substitute paintings ” Howard Hodgkin

In 1986 he began working with Jack Shirreff, who introduced Hodgkin to the combining of techniques such as lift-ground aquatint and the relatively new medium of carborundum. This added a richness to his prints, with the carborundum enabling a transference of both the inked image and surface texture to the sheet through a process of embossing, with varied depth and intensity across the plate. However the most significant evolution was the approach to hand colouring. Historically this would have been the application of watercolour or gouache at the end of the printing process, either because the technology for colour printing wasn’t available or to simulate the appearance of a unique work on paper. True to irreverent form, Hodgkin turned this on its head by utilising hand colouring at any stage of the printing process, either as a starting wash, between print layers or at the end. This makes the distinct layers difficult to distinguish in the finished work and brings a luminosity and lushness. Hodgkin subverts this technique even further, as the hand colouring is never by his hand: he delegates this part of the process to someone else, a technician or friend. He often doesn’t even demonstrate what he wishes but offers instructions instead; on the thickness of the brush, volume of pigment and the intensity of the application, using poetic instructions including ‘like a silk-stocking’, ‘like a whisper’ or ‘like a bold explosion’. This allows a distance to be maintained between the artist and the print, simultaneously drawing both closer to, and further away from, painting, even as Hodgkin retains control of the finished print when he approves and marks the final editions.

In conversation with Heenk, Hodgkin mused that on seeing the finished version of his prints: ‘. . . I still cannot believe it and I find that magic. That is probably the reason I have gone on making prints.’ On consideration of Hodgkin’s print career, we can attribute this magic to his enduring artistic vision and continued appetite for evolution and innovation, and his ability to manipulate and expand the medium to serve his aims. It is this magic which draws us to Hodgkin’s prints and ensures their continued popularity and enduring power.

initialled, dated and numbered 4/60 in pencil on one sheet (second from left on bottom row), lift-ground etching and aquatint with carborundum and hand colouring on sixteen sheets of torn Velin Arches paper, unframed.

Place Auctions, Hallandale, Florida, where acquired by Steve Allison, June 2008. £5,000-7,000

50 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

ACQUAINTED WITH NIGHT, 2012

initialled, dated and numbered 21/50 in pencil (lower left), sugar-lift aquatint, with hand colouring, on Arches Moulin du Gué paper; the work is accompanied by a deluxe exhibition catalogue in a presentation box 38.7cm x 49.5cm (15 ¼in x 19 ½in) (2)

Provenance:

Alan Cristea Gallery, London, from whom acquired by Steve Allison, April 2012. £5,000-8,000

51 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

FROST, 2000-2002

initialled, dated MMI and numbered 10/50 in pencil (lower centre), lift-ground etching and aquatint in colours, with hand colouring, on Velin Arches paper.

Published by Alan Cristea Gallery, London.

Printed and hand coloured by Jack Shirreff, assisted by Andrew Smith and Claire Wait, 107 Workshop, Wiltshire. 116.2cm x 115.7cm (45 6/8in x 45½in)

Provenance:

Scolar Fine Art, London, from whom acquired by Steve Allison, April 2002. £10,000-15,000

FRIDAY 26

APRIL 2024

DAY SESSION AT 10AM

LOTS 52 – 481

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) JARID’S PORCH, 1977 (HEENK 34) signed and dated in pencil (lower right), and numbered 34/100 (lower left), lithograph with hand colouring on Lexington hand-made paper.

53 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

SNOW, 1995 (HEENK 92)

initialled, dated and inscribed PP 4/5 (lower right), intaglio print with carborundum and hand colouring on hand-made cotton paper, printer’s proof aside from the edition of 80 plus 10 artist’s proofs.

Published by The Metropolitan Museum of Art, New York.

Printed and hand coloured by Jack Shirreff, 107 Workshop, Wiltshire.

27.5cm x 36cm (10 ¾in x 14 1/8in)

Provenance:

Christies, South Kensington, Prints & Multiples, 19 May 2016, lot 89, where acquired by Steve Allison. £3,000-5,000

54 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

BLUE SKIES, NOTHING BUT BLUE SKIES (MOMART CHRISTMAS CARD), 2002

screenprint in colours, scrunched up in presentation card box, from the un-numbered edition of 500 box: 13cm x 16cm x 3cm (5 ¼in x 6 ¼in 1 ¼in)

£300-500

55 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

ICE, 2013

initialled and dated in pencil (lower right) and numbered 35/350 (lower left), screenprint in colours on Somerset White Satin paper.

Published by Counter Editions, London.

Printed by King & McGaw, Newhaven. 76cm x 60cm (30in x 23 ½in)

Provenance:

Counter Editions, London, from whom acquired by Steve Allison, November 2013. £1,200-1,800

56 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

BRUSHSTROKE, 2010

signed and dated in pencil (lower right) and numbered 48/75 (lower left), silkscreen on Somerset rag paper, presented in the Artist’s bespoke frame. sheet: 36cm x 25cm (14 ¼in x 9 ¾in)

Provenance:

Acquired directly from The Art Fund by Steve Allison, November 2012. £1,000-1,500

57

§

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

STORM CLOUD, 2014

initialled, dated and numbered 1/18 in pencil (lower right), hand-painted carborundum relief on Moulin du Gué paper sheet: 74cm x 90.5cm (29 1/8in x 35 5/8in)

Provenance:

Alan Cristea Gallery, London, from whom acquired by Steve Allison, September 2014. £4,000-6,000

58 §

SIR HOWARD HODGKIN

C.H., C.B.E. (BRITISH 1932-2017)

RED PRINT, 1994 (HEENK 91)

initialled, dated and inscribed PP1/5 in pencil (lower centre), intaglio print with carborundum and hand colouring in tempera on BFK Rives paper, from the edition of 200 with 10 artist’s proofs, 5 printer’s proofs and 1 BAT.

Published by Thames & Hudson, London, 1994.

Proofed, printed and coloured by Jack Shirreff, 107 Workshop, Wiltshire.

sheet: 22cm x 26cm (8 ¾in x 10 ¼in)

Provenance:

107 Workshop, Melksham, from whom acquired by Steve Allison, October 2010.

£1,500-2,000

59 §

EWEN HENDERSON (BRITISH 1934-2000)

UNTITLED, 1993

initialled and dated in pencil (to reverse), mixed media on paper

44cm x 56cm (17in x 22in)

Provenance:

Oxford Ceramics Gallery, Oxford, from whom acquired by Steve Allison, August 2018.

£600-800

60 §

SIR HOWARD HODGKIN

C.H., C.B.E. (BRITISH 1932-2017)

SUNSET, 2008

initialled, dated and numbered 9/30 in pencil (lower centre), sugar-lift aquatint on paper.

61 §

Published by Whitechapel Gallery, London, to support the gallery’s education programme. sheet: 31.5cm x 69.5cm (12 ½in x 27 ¼in)

Provenance:

Acquired directly from Whitechapel Gallery by Steve Allison, June 2008.

£1,500-2,000

SIR HOWARD HODGKIN

C.H., C.B.E. (BRITISH 1932-2017)

NEW WORLDS, 1999

initialled, dated and numbered XXV/XXX in pencil (lower centre), silkscreen in colours on Velin Arches paper.

Published by Alan Cristea, London.

Printed by Bob Saich, Advanced Graphics, London.

image; 26cm x 27.2cm (10 ¼in x 10 ¾in), sheet: 45cm x 44.8cm (17 ¾in x 17 ¾in)

Provenance:

The Artery Fine Art, Boston, from whom acquired by Steve Allison, June 2009.

£800-1,200

62 §

SIR

RED FLOWERS, 2015

initialled, dated and numbered 2/75 in pencil (lower centre) silkscreen in colours on Somerset Satin rag paper with hand-torn edges.

Printed by King and McGaw, Newhaven.

Published by Tate, London. sheet: 43cm x 47cm (16 7/8in x 18 ½in)

Provenance:

Acquired directly from Tate, London, by Steve Allison, July 2015.

£1,500-2,000

63 §

SIR

1932-2017)

BOOKS FOR THE PARIS REVIEW, 1997-99 (HEENK 100)

initialled and dated 97 in pencil (lower right), numbered 29/80 (lower left), lift-ground etching and aquatint with carborundum and hand colouring on handmade cotton paper, from the total edition of 100 (80 numbered in Arabic, 20 numbered in Roman numerals), plus 20 artist’s proofs, 5 printer’s proofs and 1 BAT.

Published by the Paris Review, New York, 1998.

Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait, 107 Workshop, Wiltshire. sheet: 38cm x 42cm (15in x 16 1/2in)

Provenance:

The Watermill Gallery, Aberfeldy, from whom acquired by Steve Allison, December 2008.

£3,000-5,000

HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

HOWARD HODGKIN C.H., C.B.E. (BRITISH

64 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

A SUMMER DRESS, 2013

initialled, dated and numbered 4/30 in pencil (lower left), carborundum etching on Arches Moulin du Gué paper

sheet: 39.5cm x 50cm (15 ½in x 19 ¾in)

Provenance:

Alan Cristea Gallery, London, from whom acquired by Steve Allison, November 2013. £3,000-5,000

65 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

MULTIPLICATION, 2013

initialled and dated in pencil (lower centre), numbered 57/150 (lower left), screenprint in colours on Somerset satin wove paper, after the painting of the same title.

Published by Terrence Higgins Trust, London to mark their 30th anniversary.

Printed by King and McGaw, Newhaven. sheet: 27cm x 33cm (10 5/8in x 13in)

Provenance:

Terence Higgins Trust 30th Anniversary auction, where acquired by Steve Allison £1,500-2,000

66 §

SIR HOWARD

HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

TURKISH DELIGHT, 2004

initialled and dated in pencil (lower centre), numbered 11/80 (lower left), lift-ground etching with aquatint in colours with hand colouring on wove paper.

Published by The Mezzanine Gallery, Metropolitan Museum of Art, New York, with their blindstamp (lower right).

Printed and hand coloured by Jack Shirreff, 107 Workshop, Wiltshire.

sheet: 24cm x 29cm (9 ½in x 11 ½in)

Provenance:

Dranoff Fine Art, New York, from whom acquired by Steve Allison, February 2008. £3,000-5,000

67 §

SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

CARDO’S BAR (RED), 1979 (HEENK 48)

initialled in crayon (lower centre), numbered in pencil (to reverse), soft-ground etching with hand colouring on John Koller handmade paper, from the edition of 50.

Published by Petersburg Press, New York.

Printed by Ken Farley, Petersburg Press Studio, New York.

sheet: 11.5cm x 15.2cm (4 ½in x 6in)

Provenance:

Sotheby's Online, where acquired by Steve Allison, February 2003. £800-1,200

69 §

ASHRAF HANNA (EGYPTIAN/BRITISH 1967-)

TAPERED VESSEL, c.2000

68 §

ASHRAF HANNA (EGYPTIAN/BRITISH 1967-)

VESSEL WITH TRIANGULAR CUT RIM

incised ASH (to base), earthenware 25cm high, 15cm wide (9 7/8in high, 5 7/8in wide)

Provenance:

Contemporary Ceramics Fair, Central St Martins, London, 2017. £600-800

incised ASH (to base), stoneware, raku-fired with smoke fired white slip 29.2cm high, 11.5cm wide (11 ½in high, 4 ½in wide)

Provenance:

Maak Contemporary Ceramics, London, 2 May 2019, lot 257. £500-700

70 §

ASHRAF HANNA (EGYPTIAN/BRITISH 1967-)

UNDULATING VESSEL WITH TRIANGULAR BASE

incised ASH (to base), earthenware

41cm high, 29cm wide (16 1/8in high, 11 3/8in wide)

Provenance:

Contemporary Ceramics Fair, Central St Martins, London, 2017. £1,000-1,500

71 §

DAVID NASH (BRITISH 1945-)

RED AND BLACK TRIANGLE, 2009

signed and dated in pencil (lower right), titled and numbered 4/12 (lower left), pochoir on wove paper, with blindstamp (lower left) 57.5cm x 38cm (22 ¾in x 15in)

Provenance:

Galerie Lelong, Paris, from whom acquired by Steve Allison, July 2016.

£700-1,000

72 §

DAVID NASH (BRITISH 1945-)

RED AND BLACK CIRCLE, 2009

signed and dated in pencil (lower right), titled and numbered 12/12 (lower left), pochoir on wove paper 57cm x 38cm (22 3/8in x 15in)

Provenance:

Galerie Lelong, Paris, from whom acquired by Steve Allison, July 2016.

£600-900

73 §

JAMES WARD (BRITISH CONTEMPORARY)

PATH

acrylic on wood and board

29cm x 79.5cm (11 3/8in x 31 ¼in) including frame

Provenance:

Gallery 57, Arundel, from whom acquired by Steve Allison, May 2020. £500-800

74

CUT THROUGH COLUMN, 2015

signed and dated in pencil (lower right), titled and numbered 17/30 (lower left), pochoir on wove paper

51cm x 31cm (20in x 12 ¼in)

Provenance:

Royal Academy, London, where acquired by Steve Allison, July 2016. £700-1,000

signed and dated in pencil (lower right), numbered 45/50 and titled (lower left), direct gravure on wove paper, with printer’s blindstamp (lower right).

Printed and published by Crown Point Press, San Francisco 40.6cm x 50.8cm (16in x 20in)

Provenance:

Crown Point Press, San Francisco, from whom acquired by Steve Allison, January 2016. £600-800

§ DAVID NASH (BRITISH 1945-)

75 §

DAVID NASH (BRITISH 1945-)

ASH DOME (FROM ‘WHY DRAW LANDSCAPE’ PORTFOLIO), 1998

76 §

GABRIELE KOCH (GERMAN 1948-)

‘PORCELAIN BOWL’, 2012

signed, stoneware, heavily grogged black body with roughly textured surface beneath poured white porcelain slips 10.8cm high, 11.8cm wide (4 ½in high, 4 5/8in wide)

Provenance:

Contemporary Ceramics Centre, London, Gabriele Koch New Departures, 2012, cat. no. 12; The Dayabandhu (Michael Evans) Collection, London; Maak Contemporary Ceramics, London, 14 May 2020, lot 88.

£300-500

77 §

78 §

GABRIELE KOCH (GERMAN 1948-)

VESSEL

signed (to base), earthenware, burnished and smoke-fired, black and yellow mottled body 31cm high, 20cm wide (12 ¼in high, 7 7/8in wide)

Provenance:

Ceramic Art London, Royal College of Art, 2015. £400-600

GABRIELE KOCH (GERMAN 1948-)

VESSEL

signed (to base), earthenware, burnished and smoke fired, black, white and grey mottled body 33cm high, 22cm wide (13in high, 8 5/8in wide)

Provenance:

Ceramic Art London, Royal College of Art, 2015. £400-600

79 §

GABRIELE KOCH (GERMAN 1948-)

VESSEL

signed (to base), earthenware, burnished and smoke-fired, blue and black mottled body 23cm high, 19cm wide (9in high, 7 ½in wide) £400-600

80 §

GABRIELE KOCH (GERMAN 1948-)

TALL VESSEL

signed (to base), earthenware, burnished and smoke fired, blue, black and orange mottled body 51.5cm high, 17cm wide (20 ¼in high, 6 ¾in wide)

Provenance:

Oxford Ceramics, Oxford, 2016. £1,000-1,500

81 §

GABRIELE KOCH (GERMAN 1948-)

FLATTENED VESSEL

signed (to base), earthenware, burnished and smoke fired, blue, black and dark grey mottled body, pierced holes to front 25cm high, 26cm wide (9 7/8in high, 10 ¼in wide)

Provenance:

The George Kyriacou Collection; Maak Contemporary Ceramics, 14 November 2019, Lot 245. £500-700

82 §

TALL VESSEL WITH SPIRAL impressed artist’s seal, stoneware with white porcelain 52cm high, 15cm wide (20 ½in high, 5 5/8in wide)

Provenance: Hilton Fine Art, March 2015. £1,000-1,500

GABRIELE KOCH (GERMAN 1948-)

83 §

CARINE NEUTJENS (BELGIAN 1956-) CORAL LARGE OBJECT

pâté de verre glass

17.5cm high, 30.5cm wide (6 7/8in high, 12in wide)

Provenance:

Galerie Phase, April 2015. £400-600

84 §

CARINE NEUTJENS (BELGIAN 1956-) TWO VESSELS

pâté de verre glass

19.5cm high, 17.5cm wide (7 5/8in high, 6 7/8in wide); the wider example 18cm high, 25cm wide (7in high, 9 7/8in wide) (2)

Provenance:

Galerie Carla Koch, April 2015. £600-800

85 §

ANISH KAPOOR

(INDIAN-BRITISH 1954-)

UNTITLED, 2002

signed in pencil (lower right) and numbered 41/200 (lower left), etching with aquatint on wove paper

plate: 49cm x 66cm (19 ¼in x 26in); sheet; 72cm x 86 (28 ¼in x 33 7/8in)

Provenance:

Dreweatt’s, London, Modern & Contemporary Prints, 27 June 2013, lot 209, where acquired by Steve Allison.

£1,000-1,500

86 §

ANISH KAPOOR

(INDIAN-BRITISH 1954-)

UNITITLED AK-3, 2014

signed in pencil (lower right) and numbered 18/150 (lower left), etching on wove paper

plate: 22.8cm x 29.5cm (9in x 11 ¾in); sheet: 32cm x 36.4cm (12 ½in x 14¼in)

Provenance:

Terrence Higgins Trust, from whom acquired by Steve Allison, May 2014.

£1,000-1,500

“ My practice explores the remarkable ability of ceramics to deceive the eye. ”

Jongjin Park in an interview with Ceramics Now, October 2020.

Jongjin Park is one of the most exciting ceramicists currently working in South Korea. By employing tissue paper and clay slip as his tools, he creates works that appear at first glance to be paper, but which slowly reveal themselves as delicate and elegant ceramics. Park is interested in relational art and the idea that artistic practice is not an independent space but connected to the whole human experience, with the artist acting as a catalyst in artistic production rather than the figure at the centre of it. Park finds this relevant to him as a ceramicist who can understand his materials through their own manipulation to engage in a dialogue with his viewers to create his ceramics. His innovative technique finds its inspiration in the traditional craft of Moon jars, which evolved during the Imperial Joseon Dynasty (1392-1897). Jongjin Park obtained his PhD in ceramics at Kookmin university in South Korea, where he currently lives and works.

87

JONGJIN PARK (SOUTH KOREAN 1982-)

ARTISTIC STRATUM W0105-2

signed (to base), tissue paper soaked in porcelain 17.5cm high, 21cm wide (6 7/8in high, 8 ¼in wide)

Provenance:

Cynthia Corbett Gallery, London, March 2017. £800-1,200

88

JONGJIN PARK (SOUTH KOREAN 1982-)

ARTISTIC STRATUM ROUND

porcelain soaked tissue paper, with original wooden box 17cm high, 12cm wide (6 ¾in high, 4 ¾in wide)

Provenance:

Purchased from the maker, 2017. £500-800

SIR ANTONY GORMLEY O.B.E., R.A. (BRITISH 1950-) ANOTHER PLACE, 2013

signed and inscribed D2013.053 and numbered 40/100 (to reverse), etching on BFK Rives naturel paper plate: 18cm x 25cm (7in x 9 ¾in); sheet: 30.5cm x 36.5cm (12in x 14 1/2in)

Provenance: White Cube, London, from whom acquired by Steve Allison, March 2014. £2,000-3,000

90

CLAES OLDENBURG (AMERICAN 1929-2022)

NOTEBOOK TORN IN HALF, 1997

initialled in charcoal pencil (lower right), numbered 34/97 (lower left), lithograph on St Armand etching paper with blindstamp.

Published by Brooke Alexander Inc., New York. sheet: 64.1cm x 54.9cm (25 ¼in x 21 5/8in)

Provenance:

Brooke Alexander, New York; Artspace, New York, from whom acquired by Steve Allison, April 2014. £400-600

91 §

SIR

PORTRAIT OF ROPSIE OPPENHEIM, 1948

initialled and dated (lower right), titled (lower left), pen and ink on paper

28cm x 21.5cm (11in x 8 ½in)

Provenance:

Purchased directly from the Artist by Beatrice Freeman; Gifted by the above to a private collection, 2008; Their sale, Sotheby’s, London, Made in Britain, 25 March 2015, lot 37, where acquired by Steve Allison. £400-600

HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)

TRACEY EMIN C.B.E., R.A. (BRITISH 1963- )

ABOUT TO FLY, 2014

signed, dated and numbered 173/200 in pencil (lower right), titled (lower left), polymer gravure etching on Somerset wove paper, adapted from a monoprint drawn by the Artist in 1993.

Published by Turner Contemporary, Margate. plate: 16cm x 20.5cm (6 ¼in x 8in); sheet: 30cm x 33cm (11 6/8in x 13in), unframed

Provenance:

Acquired directly from Turner Contemporary, Margate by Steve Allison, December 2014.

£1,500-2,000

93

RICHARD SERRA (AMERICAN 1938-2024)

STILL FROM ‘HAND CATCHING LEAD’, 1968/2009

signed, dated and numbered 56/117 in crayon (lower right), lithograph and screenprint on Hahnemuhle Copperplate and Warm White paper, with blindstamp (lower right).

Published by Lincoln Center Editions, New York

image; 31.5cm x 40.5cm (12 ½in x 16in ); sheet; 41.5cm x 53cm (18in x 20 7/8in)

Provenance:

Lincoln Center Editions, New York, from whom acquired by Steve Allison, December 2011. £700-1,000

94 §

PROCHROMATIQUE, 2012

signed in pencil (lower right) and numbered 9/20 (lower left), digital print on paper, unframed; accompanied by a second, smaller signed digital print 57cm x 57cm (22 3/8in x 22 3/8in) (2)

Provenance:

Kunzt Gallery, London, from whom acquired by Steve Allison, May 2020. £300-500

95 §

PROCHROMATIQUE 1, 2012

signed and numbered 14/15 in pen on publisher’s label (to reverse), silkscreen on canvas, laid on board with steel kinetic elements, from the edition of 15 plus 3 proofs.

Published by Mike-Art-Kunst, Belgium. 100cm x 27.5cm x 10cm (39 3/8in x 10 ¾in x 4in)

Provenance:

Mike-Art-Kunst, Belgium, from whom acquired by Steve Allison, July 2015. £1,000-1,500

DARIO PEREZ FLORES

(VENEZUELAN 1936-2022)

DARIO PEREZ-FLORES

(VENEZUELAN 1936-2022)

96 §

DARIO PEREZ-FLORES (VENEZUELAN 1936-2022)

DYNAMIC CHROMATIQUE No.70, 1993 signed, titled and dated in felt-tip pen (to reverse), acrylic on wood relief 40cm x 40cm (15 6/8in x 15 6/8in)

Provenance:

Germann Auktionhaus AG, Zurich, 4 June 2014, lot 172, where acquired by Steve Allison. £3,000-5,000

97 §

LAURA DE SANTILLANA (ITALIAN 1958-)

FOR ARCADE, MURANO

SET OF ELEVEN ‘BAMBU’ VASES, DESIGNED 1998

etched signature, numbered 42, 64, 95, 98, 108, 145, 150, 152, 203, 225 and one obscured by label, and inscribed Arcade Laura De Santillana 300 Murano to each example, blown, shaped, and hand-ground glass the largest 56cm high (22in high) (11)

£1,500-2,500

98 §

GILLIAN AYRES (BRITISH 1930-2018)

BAGATELLE, 2014

signed and dated in pencil (lower right), numbered 9/25 (lower left), sugarlift aquatint and carborundum on Arches Moulin du Gué paper.

plate: 67cm x 95cm (26 ¼in x 37 3/8in); sheet: 87cm x 113.cm (34 ¼in x 44 ¾in)

Provenance:

Alan Cristea Gallery, London, from whom acquired by Steve Allison, April 2015. £1,000-1,500

99 §

GILLIAN AYRES (BRITISH 1930-2018)

MALDONADA, 2017

signed and dated in pencil (lower right) numbered 15/65 (lower left), woodcut on Unryushi Japanese paper.

Accompanied by the deluxe Gillian Ayres monograph, published by Art Books, 2017. image: 33cm x 42cm (13in x 16 ½in); sheet 40cm x 48cm (15 ¾in x 19in) (2)

Provenance:

Alan Cristea Gallery, London, from whom acquired by Steve Allison. April 2017. £1,000-1,500

100 §

GILLIAN AYRES (BRITISH 1930-2018)

PHEASANT TAIL, 1999

signed and dated in pencil (lower right) and numbered 4/30 (lower left), etching with carborundum and acrylic on BFK Rives paper plate: 45cm x 50cm (17 ¾in x 19 ¾in); sheet: 62.5cm x 66.5cm (24 5/8in x 26 1/8in)

Provenance: Bonham’s, Knightsbridge, Prints and Multiples, 9 December 2015, lot 180, where acquired by Steve Allison. £800-1,200

101

TOKUJIN YOSHIOKA (JAPANESE 1967-)

RAINBOW CHURCH, 2013

signed and numbered 20/100 in pencil (lower right), screenprint on paper 44cm x 29cm (17 ¼in x 11 ½in)

Provenance:

Acquired directly from the Artist by Steve Allison, October 2013.

£200-300

102 §

SONIA DELAUNAY (FRENCH 1885-1979)

AFFREUX JOJO, 1969

signed and dated in pencil (lower right), and numbered 5/75 (lower left), colour lithograph on watermarked Arches paper plate: 55.5cm x 44cm (21 ¾in x 17 ¼in); sheet: 76.5cm x 56.5cm (30 1/8in x 22 2/8in)

Provenance:

Adam Gallery, Bath, from whom acquired by Steve Allison, April 2015. £1,500-2,000

103 §

SONIA DELAUNAY (FRENCH 1885-1979)

CATHÉDRALE, 1971

signed and dated in pencil (lower right), numbered 11/75 (lower left), colour lithograph on wove paper plate: 59cm x 45cm (23 ¼in x 17 ¾in), sheet: 76.2cm x 55.8cm (29 7/8in x 22in)

Provenance:

Bonham’s, Knightsbridge, Prints and Multiples, 9 December 2015, lot 176, where acquired by Steve Allison. £1,500-2,000

104 §

SONIA DELAUNAY (FRENCH 1885-1979)

LES TROIS GRÂCES, 1972

signed and dated in pencil (lower right), inscribed E.A. (lower left), colour lithograph on paper, artist’s proof aside from the edition of 75 plate: 57cm x 39cm (22 1/2in x 15 3/8in); sheet: 76.2cm x 56cm (30in x 22in)

Provenance:

Galerie La Ligne, Zurich, from whom acquired by Steve Allison, August 2015. £1,200-1,800

105 §

AKIKO HIRAI (JAPANESE 1970-)

‘POPPY POD’ VASE, c.2019

painted maker’s mark, stoneware, dry, crackled white slip glaze

17cm high, 15cm wide (6 5/8in high, 5 7/8in wide)

£300-500

107 §

AKIKO HIRAI (JAPANESE 1970-)

THREE BOWLS

each with painted maker’s mark, stoneware 8.5cm high, 9.5cm wide (3 3/8in high, 3 ¾in wide); 9cm high, 9.5cm wide (3 ½in high, 3 ¾in wide); 7cm high, 12.7cm wide (2 ¾in high, 5in wide) (3)

£300-500

106 §

AKIKO HIRAI (JAPANESE 1970-)

‘INDUSTRIAL’ BOWL

painted maker’s mark, stoneware, crawling white glaze to the exterior, the interior with a pale speckled blue celadon glaze

14.5cm high, 34.5cm diameter

(5 ¾in high, 13 5/8in diameter)

£400-600

108 §

AKIKO HIRAI (JAPANESE 1970-)

LARGE SAKE FLASK

painted maker’s mark, grogged stoneware, rugged porcelain deposits

21cm high, 17cm wide (8 ¼in high, 6 ¾in wide)

Provenance:

Bevere Gallery, Worcester, June 2017.

£700-1,000

109 §

AKIKO HIRAI (JAPANESE 1970-)

THREE VASES, 2017

each with painted maker’s mark, porcelain, applied with slip with oxides and glazes

19.5cm high, 19.5cm wide (7 5/8in high, 7 5/8in wide); 8cm high, 8.5cm wide (3 1/8in high, 3 3/8in wide); 6cm high, 6cm wide (2 3/8in high, 2 3/8in wide) (3)

Provenance:

The Scottish Gallery, June 2017. £300-500

§

110

DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975)

SUN AND WATER (FROM THE AEGEAN SUITE), 1971

signed in pencil (lower right), numbered x7/30 (lower left), lithograph on Crisbrook paper with publisher’s blindstamp (lower left), from the total edition of 90 (60 ‘domestic’, 30 ‘export’), plus 7 proofs.

Published by Curwen Press Limited, London, 1971 (with their letter of authentication attached to reverse of frame) plate: 76cm x 54cm (30in x 21 ¼in), sheet; 81.5cm x 59.5cm (32 ¼in x 23 ½in)

Provenance:

Bonham’s, Knightsbridge, Prints and Multiples, 9th December 2015, lot 31, where acquired by Steve Allison. £1,500-2,500

111 §

MICHAEL CARDEW (BRITISH 1901-1983) AT VOLTA FOOTED BOWL

impressed potter’s and pottery seals, earthernware 4.5cm high, 19cm diameter (1 3/4in high, 7 1/2in diameter)

Provenance:

The Cardew Family Collection, and by descent to the present owner. £250-350

113 §

SETH CARDEW (BRITISH 1934-2016) AT WENFORD BRIDGE

BOWL

faintly impressed seals, stoneware; together with a footed bowl by Seth Cardew at Wenford Bridge, impressed potter’s and pottery seals, 13cm high, 31cm diameter (5 1/8in high, 12 1/4in diameter); and a further Wenford Bridge bowl, impressed pottery seal, stoneware, 5cm high, 37.5cm wide (2in high, 14 3/4in wide)

7.5cm high, 46cm wide (3in high, 18 1/8in wide) (3)

Provenance:

The Cardew Family Collection, and by descent to the present owner. £500-700

112 §

SETH CARDEW (BRITISH 1934-2016)

FOOTED PLATE AND BOWL

the plate with painted artist’s monogramme and the bowl impressed potter’s seal and Wenford Bridge pottery seal, stoneware

28.5cm diameter (11 1/4in diameter) and 24.5cm diameter (9 5/8in diameter)

Provenance:

The Cardew Family Collection, and by descent to the present owner.

£400-600

114 §

MICHAEL CARDEW (BRITISH 1901-1983) AT WENFORD BRIDGE

POT

impressed potter’s and pottery seals, stoneware 23cm high, 23cm wide (9in high, 9in wide)

Provenance:

The Cardew Family Collection, and by descent to the present owner. £500-700

‘THISTLE’

‘BEAN’

115 §

RICHARD BATTERHAM (BRITISH 1936-2021)

TALL BOTTLE VASE

stoneware, green ash glaze

60cm high (23 5/8in high)

Provenance: Private Collection, U.K.

£1,500-2,000

116 §

SETH CARDEW (BRITISH 1934-2016)

TALL VASE

impressed potter’s seal, decorated with nude figures, stoneware 50cm high (19 3/4in high)

Provenance:

The Cardew Family Collection, and by descent to the present owner. £500-700

117

ADRIEN AUDOUX & FRIDA MINET FOR VIBO VESOUL ‘ROPE’ LOUNGE CHAIR, 1940s rope cord and bentwood

72cm high, 63.5cm wide, 64cm deep (28 3/8in high, 25in wide, 25 1/8in deep) £1,000-1,500

118

PIERRE JEANNERET (SWISS 1896-1967)

TWO STOOLS, c.1960 with ‘X’ supports, teak the taller stool 67cm high, 38cm diameter; the shorter stool 51.5cm high, 38cm diameter (2) £1,000-1,500

119

EDWARD WORMLEY (AMERICAN 1907-1995) FOR DUNBAR

PAIR OF ‘MISTER’ ARMCHAIRS, c.1955

upholstery and wood

90cm high, 64cm wide, 73cm deep (35 ½in high, 25 ¼in wide, 28 ¾in deep) (2)

Provenance: Private Collection, U.K. £1,000-2,000

121

ATTRIBUTED TO OMERSA & COMPANY

RHINOCEROS OTTOMAN

hand-stitched leather

35cm high, 63cm long (13 ¾in high, 24 ¾in long)

£500-800

120

ALVAR AALTO (FINNISH 1898-1976)

TWO TIER SIDE TABLE, DESIGNED 1932 model 915, birch plywood

58.7cm high, 60cm wide, 51.5cm deep (23in high, 23 5/8in wide, 20 ¼in deep)

£1,000-1,500

122

SIR BASIL SPENCE O.M. O.B.E.

R.A. (BRITISH 1907-1976) FOR SWISS COTTAGE LIBRARY

WRITING TABLE, c.1964

mahogany and brushed chrome steel, later ebonised 72.5cm high, 107cm wide, 53cm deep (28 3/4in high, 42 1/8in wide, 20 7/8in deep)

Provenance:

James Graham-Stewart Ltd., London, 2009; Private Collection, London.

£500-700

123

SIR BASIL SPENCE O.M. O.B.E. R.A. (1907-1976)

FOR H. MORRIS & CO., GLASGOW

TWO ‘ALLEGRO’ ARMCHAIRS, DESIGNED 1947-1948

maker’s label MORRIS MADE / GUARANTEED TRADE MARK

/ GLASGOW, laminated wood

85cm high, 52cm wide, 50cm deep (33 ½in high, 20 ½in wide, 19 5/8in deep) (2)

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; Long, Philip and Thomas, Jane (ed.), Basil Spence, Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55, illustrated.

£1,500-2,000

125 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN/BRITISH 1894-1968)

THE PARTING OF HIS GARMENTS

pen, ink, watercolour and gouache on paper

33.6cm x 24.4cm (13 1/4in x 9 5/8in)

Provenance:

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£400-600

124 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN/BRITISH 1894-1968)

JACOB AND THE ANGEL crayon and pencil on paper, laid on board

91cm x 142cm (35 7/8in x 56in), together with five further sketches, pen, ink and watercolour on postcards, each 11.3cm x 17.6cm (4 3/8in x 6 7/8in) (6)

Provenance:

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie’, considered one of de Maistre’s major works.

£1,500-2,000

126 §

ROY DE MAISTRE C.B.E. (AUSTRALIAN/BRITISH 1894-1968)

THE CRUCIFIXION

oil and pastel on paper

51.3cm x 50cm (20 1/4in x 19 3/4in)

Provenance:

Celia Broadbent (neé Keogh) and by direct descent to the present owner.

£1,500-2,000

127 §

ATRTRIBUTED TO IAIN MACNAB (BRITISH 1890-1967)

VILLAGE SCENE

inscribed in pencil IAIN MACNAB (to stretcher), oil on canvas 75cm x 100cm (29 ½in x 39 3/8in)

Provenance: Private Collection, U.K.

£2,500-3,500

§

128

STILL LIFE - BOUQUET OF FLOWERS, 1930

signed and dated (lower right), oil on canvas

49cm x 59cm (19 ¼in x 23 ¼in)

Provenance: Private Collection, London.

£1,000-1,500

129

SUNFLOWER oil on canvas

41cm x 32.7cm (16 1/8in x 12 7/8in)

Provenance:

Parkin Gallery, London; Private Collection, London.

£800-1,200

LEON UNDERWOOD (BRITISH 1890-1975)

ALVARO GUEVARA (CHILEAN 1898-1951)

130 §

SIR JACOB EPSTEIN (BRITISH 1880- 1959)

PRINCIE (SAYAJI RAO GAEKWAD, SON OF THE MAHARANI OF BARODA), 1951 (SILBER 440)

patinated bronze, on stepped marble base the bronze 22cm high (8 5/8in high)

Provenance:

Acquired by the grandmother of the present owner before 1965. £2,000-3,000

132 §

MILDRED BENDALL (BRITISH/FRENCH 1891-1977)

LANDSCAPE

signed (lower left), oil on canvas, with a portrait of a women with flowers (to reverse)

47.5cm x 60cm (18 ¾in x 23 ½in)

Provenance:

Private Collection, U.K. £800-1,200

131 §

CHRISTOPHER CHAMBERLAIN (BRITISH 1918-1984)

STILL LIFE OF BOWL OF FRUIT AND VESSEL

oil on board

63.5cm x 36cm (25in x 14 1/8in), unframed

Provenance:

The Estate of the Artist. £800-1,200

133 §

HEATHER COPLEY (BRITISH 1918-2001)

STILL LIFE OF JUG OF FLOWERS

oil on canvas

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

Provenance: The Estate of the Artist. £800-1,200

134 §

RUTH DOGGETT

(BRITISH 1881-1974)

A GARDEN IN CAMBRIDGE

signed (lower right), oil on canvas

60.5cm x 49.5cm (23 3/4in x 19 1/2in), unframed

Provenance:

Private Collection, U.K. £5,000-8,000

Ruth Doggett studied at the Westminster School of Art, where she was taught by Camden Town Group painters Walter Sickert and Harold Gilman, who painted her around 1915. She became a member of the newly formed London Group in 1913, and was one of a group of contemporary women painters that reflected the work of Gilman in use of colour and craftsmanship.

She held a solo exhibition at the Fine Art Society in 1934, titled August in England, with positive reviews. The Times review noted how she ‘achieved an admirable and intelligent balance between pure impressionism…and a method of sound, at times systematic, construction… [and] for the most part she is remarkably successful’. (The Times, 1 March 1934).

A GREAT BARDFIELD

COUPLE: JOHN & LUCIE ALDRIDGE

John Aldridge met Lucie Brown (née Saunders) in London in the early 1930s. Having studied at Corpus Christi College, University of Oxford, the self-taught Aldridge was emerging as an artist of promise in the capital’s art scene, showing with the Seven and Five Society from 1931, at the invitation of Ben Nicholson and receiving a solo exhibition at the Leicester Galleries two years later.

Brown trained at the Heatherley School of Fine Art and had established a dress-making studio. In 1933 they moved to Place House in the Essex village of Great Bardfield, where they became central figures in the informal gathering of artists based there, headed by Edward Bawden and Eric Ravilious, along with their wives Charlotte Epton and Tirzah Garwood.

The group of works presented here cover forty years of Aldridge’s career, from 1930 and one of the first of many visits to his friend Robert Graves in Deià on Majorca, to a pastoral scene near Great Bardfield of approximately 1970. It ranges across genres from landscape to still life and the interior in paintings and works on paper. A rare surviving example of Lucie’s rag rugs, Garden of c.1935, completes the collection.

Aldridge and Brown married in 1940, so that she would inherit his pension should he die whilst on active service during World War Two. He joined the Intelligence Corps and was stationed in the UK, Africa and Mediterranean. He painted and sketched when circumstances permitted, as can be seen in San Severo of 1945 and Grotto in the Boboli Gardens, Florence of 1944-45. Lucie’s sister Agnes and their nanny Ninnie, moved in with her at Place House for three years whilst John was away on war duties. Ninnie taught Lucie the art of hooked rug weaving and, as can be seen in Garden, she ’transformed a humble popular craft into a rich and original art form’ (Olive Cook quoted in Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge with a Postscript by Robjn Cantus, Inexpensive Progress, Cambridge, 2021, p.176). Following his demobilisation, John joined in the pursuit and a jointly made carpet of 1953 is in the collection of the Victoria & Albert Museum (CRIC.529-1953).

The decorating and furnishing of the artists’ houses is a key aspect of the Great Bardfield art historical legacy, as captured in The Place House: The Artist’s Drawing Room, Great Bardfield. The historic

Lucie and John Aldridge in Place House, Great Bardfield, 1955. Photo: The Sphere, courtesy Robjn Cantus

property was in a state of neglect when purchased by Aldridge and he and Lucie worked hard to renovate the house and its overgrown garden. Cantus has explained how:

‘Colour started to come in as the walls were painted; John decorated one room red with a fantasy mural of exotic plants. They changed the wine-red sitting room carpet for a yellow one... The sitting room had the Moss wallpaper [designed by Aldridge], a blue and white striped sofa much like a butcher’s apron and Victorian furniture. There was a curious selection of china throughout the house… Lucie made the house a home, arranging furniture and the crafted items John loved. She was an excellent arranger of floral displays, using flowers from the garden of Place House. Visitors commented on how it made the house feel more alive.’ (Robjn Cantus, ibid, p. 176)

Paintings by artist friends including Ben Nicholson, Stanley Spencer and Frances Hodgkins hung on the walls, but Olive Cook was especially drawn to Lucie’s creations, writing: ‘The interior of The Place was…striking, with its bold wallpapers, draped mantelshelves, Victoriana, opulent flower arrangements and cottage furniture. The rugs above all caught the eye. They were rag rugs designed and made by Lucie.’ (Olive Cook, ‘The Fry Art Gallery’, Olive Cook and Andrew Lambirth, Artists at the Fry: Art & Design in the North West Essex Collection, Fry Art Gallery, Saffron Walden, 2012, pp.9-10)

Following Lucie’s departure in 1960, she and Aldridge divorced and he married Margaret ‘Gretl’ Cameron. With the death of Ravilious in 1942, Bawden’s move to Saffron Walden in 1970 and the dispersal of the generation of artists who had arrived in the village after World War Two, Aldridge became the sole survivor of the glory days of Great Bardfield’s artistic chapter, remaining in Place House until his death in 1983; Lucie had pre-deceased him in 1974.

Provenance: The Estate of the Artist; Abbott & Holder, London, from whom acquired by the present owner. £2,500-3,500

JOHN ALDRIDGE R.A. (BRITISH 1905-1983) STREAM BELOW DEYA (DEIÀ), 1930 signed, inscribed and dated (to reverse), oil on card 41.5cm x 52cm (16 1/4in x 20 1/2in)

137 §

JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

GROTTO IN THE BOBOLI GARDENS, FLORENCE, CONTAINING GIAMBOLOGNA’S ‘VENUS OF THE LITTLE GROTTO’, 1944-45

pen, ink and watercolour

30.5cm x 42.5cm (12in x 16 3/4in)

Provenance: Abbott & Holder, London, from whom acquired by the present owner. £500-700

136 §

JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

SAN SEVERO, 1945

titled, inscribed JA for AEOW and dated Feb 45 (to lower edge), pencil, sepia ink and wash on paper

23.5cm x 30cm (9 1/4in x 11 3/4in) £300-500

138 §

JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

MEDITERRANEAN VILLAGE

oil on card

40cm x 64cm (15 3/4in x 29in)

£1,500-2,000

Provenance: Abbott & Holder, London, from whom acquired by the parents of the present owner.

139

SEA KALE, 1931

signed, inscribed and dated (to reverse), oil on board

59.5cm x 85cm (23 1/2in x 33 1/2in)

Provenance:

The Collection of Sir Michael Sadler; Craddock & Barnard, London.

£3,000-5,000

140 §

COWS GRAZING NEAR GREAT BARDFIELD, c.1970 oil on card

23.5cm x 28.5cm (9 ¼in x 11 ¼in)

Provenance:

Abbot and Holder, London, from whom acquired by the present owner.

£1,500-2,000

JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

§ JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

141 §

JOHN ALDRIDGE R.A. (BRITISH 1905-1983)

THE PLACE HOUSE: THE ARTIST’S DRAWING ROOM, GREAT BARDFIELD

initialled (lower left), oil on board

59.5cm x 49.5cm (23 1/2in x 19 1/2in)

Provenance:

Abbott and Holder, London, from whom acquired by the present owner.

£3,000-5,000

142 §

‘GARDEN’ RAG RUG

cotton, mixed textiles

176cm x 118cm (69 ¼in 46 ½in)

Provenance:

The Artist, from whom acquired by the present owner.

Exhibited:

Primavera, Cambridge.

Literature:

Aldridge, Lucie and Robjn Cantus, Before & After Great Bardfield: The Artistic Memoirs of Lucie Aldridge, Inexpensive Progress, Cambridge, 2021, pp.175, illustrated.

£600-800

LUCIE ALDRIDGE (BRITISH 1889-1974)

143

HUGO GRENVILLE (BRITISH 1958-)

THE HEART OF THE MATTER, 2014

initialled (lower left), oil on canvas

106.5cm x 152.4cm (42in x 60in)

£3,000-5,000

§

144

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

MODEL IN THE STUDIO signed (lower right), oil on canvas 61cm x 30cm (24in x 11 ¾in)

Provenance: Private Collection, U.K.

£3,000-5,000

145 §

JOHN COPNALL (BRITISH 1928-2007)

SUNSET DOCKS, 1958

signed and dated (lower left), titled and dated (to reverse), oil on board

70cm x 90cm (27 ½in x 35 ½in)

Provenance: Private Collection, London.

£800-1,200

146 §

WILLIAM TURNER (BRITISH 1920-2013)

NORTHERN RAILWAY STATION, 1979

signed and dated (lower right), titled and inscribed (to reverse), oil on canvas

39.5cm 49.5cm (15 ½in x 19 ½in)

Provenance: Private Collection, London.

£1,500-2,000

147 §

HEATHER COPLEY (BRITISH 1918-2001)

NEAR SOMERTON, SUFFOLK, 1987

signed and dated (lower right), oil on board 51cm x 76.5cm (20in x 30 1/8in)

Provenance: The Estate of the Artist.

£800-1,200

148 §

HEATHER COPLEY (BRITISH 1918-2001)

AUTUMN EVENING - HARVEST, 1997

signed and dated (lower left), oil on canvas

49.7cm x 75cm (19 ½in x 29 ½in)

Provenance: The Estate of the Artist.

£800-1,200

149 §

TRISTRAM HILLIER (BRITISH 1905-1983)

ESTUARY AT LOW TIDE, 1954

signed in pencil (lower right), inscribed To John Guest September 1954, pencil on squared-up paper

28cm x 45cm (11in x 17 ¾in)

Provenance:

Wolseley Fine Art, from whom acquired by the present owner.

£800-1,200

150 §

BRYAN INGHAM (BRITISH 1936-1997)

COASTAL LANDSCAPE, YORKSHIRE

initialled in pencil (lower right), pencil, pen, ink, crayon and gouache on hinged paper 39.7cm x 50.5cm (15 5/8in x 19 7/8in)

Provenance:

The Estate of the Artist. £700-900

151 §

JOHN BROMFIELD GAY REES (BRITISH 1912-1965)

VIEW FROM A WINDOW, 1940

signed and dated 19.IV.40 (lower left), oil, pencil and watercolour on paper 68cm x 51.5cm (26 3/4in x 20 1/4in)

Provenance:

Private Collection, U.K. £800-1,200

153 §

152 §

ROBERT ADAMS (BRITISH 1917-1984)

PORTRAIT OF A WOMAN, 1949

signed and dated in pencil (lower left), monoprint on paper plate: 68cm x 49cm (26 3/4in x 19 1/4in); sheet: 75cm x 56cm (29 1/2in x 22in), unframed

Provenance: Gimpel Fils, London.

£400-600

HUBERT DALWOOD (BRITISH 1924-76)

BLACK NUDE, 1957

initialled and dated in pen (lower left), signed, dated and titled in green ink (to reverse), ink on newspaper 54cm x 36cm (21 1/4in x 14 1/8in), unframed

Provenance: Gimpel Fils, London.

£400-600

154 §

DAME ELIZABETH FRINK C.B.E. R.A. (BRITISH 1930-1993)

SEATED NUDE (FROM ‘THIRTY FIVE

ARTISTS PRINTMAKING’ PORTFOLIO), 1982

signed in pencil (lower right) and inscribed H/C (lower left), lithograph on paper, a hors commerce copy aside from the numbered edition of 85.

Published by the Royal College of Art, London. sheet: 65cm x 50cm (25 5/8in x 19 ¾in), unframed

Provenance: Private Collection, U.K.

£500-800

155 §

Provenance: Vincent Kosman Fine Art, Edinburgh; Private Collection, U.K. £4,000-6,000

MICHAEL AYRTON (BRITISH 1921-1975)

LANDSCAPE WITH GOATS, CUMAE, SOUTHERN ITALY, 1956 signed and dated (lower right), oil on canvas 50cm x 59cm (19 3/4in x 23 1/4in )

156 §

LEONARD ROSOMAN (BRITISH 1913-2012)

FIGURE ON STAGE

signed (lower left), oil on canvas

44.5cm x 59.5cm (17½in x 23 3/8in )

Provenance: Private Collection, London. £800-1,200

SELECTED WORKS FROM THE COLLECTION OF DRs ANTONY & ZARRINA KURTZ

157 §

MALCOLM

STILL LIFE, c.1950

oil on board

23cm x 50cm (9 1/8in x 19 5/8in)

Provenance:

Osborne Samuel, London, from whom acquired by Drs Antony & Zarrina Kurtz

Exhibited:

Artists International Association Exhibition, Lisle Street, London. £1,000-2,000

HUGHES (BRITISH 1920-1997)

158 §

WINIFRED NICHOLSON (BRITISH 1893-1981)

PLUM BLOSSOM, GREECE, 1973

signed, titled and dated (to reverse), gouache and pastel

40.5cm x 29.5cm (16in x 11 5/8in)

Provenance:

Redfern Gallery, London, from whom acquired by Drs Antony & Zarrina Kurtz, July 1993; £6,000-8,000

159 §

GERTRUDE HERMES (BRITISH 1901-1983)

SEAWEED AND SHELLS, 1948

signed and dated in pencil (upper right), pastel and pencil on paper

29cm x 22cm (11 3/8in x 8 5/8in)

Provenance:

The Redfern Gallery, London, from whom acquired by Drs Antony & Zarrina Kurtz, November 2003; £600-800

160 §

initialled and dated in pencil (lower left), titled on Artist’s label (to reverse), tempera on panel 34.5cm x 35cm (13 ½in x 13 ¾in)

Provenance:

Fine Art Society, London, from whom acquired by the present owners; The Collection of Drs Antony and Zarrina Kurtz. £6,000-8,000

JOHN CECIL STEPHENSON (BRITISH 1889-1965) FUNGI, 1933

161

GABRIELE MUCCHI (ITALIAN 1899-2002) FOR ZANOTTA ‘GENNI’ LOUNGE CHAIR AND OTTOMAN, DESIGNED 1935 chrome-plated steel and leather

the chair 82cm high, 58cm wide, 100cm deep (32 ¼in high, 23in wide, 39 ¾in deep); the ottoman 37cm high, 45cm wide, 54cm deep (14 ½in high, 17 ¾in wide, 21 ¼in deep) (2)

£1,000-2,000

162

MARCEL BREUER (HUNGARIAN 1902-1981) FOR KNOLL

PAIR OF ‘WASSILY’ ARMCHAIRS, DESIGNED 1925 with applied MADE IN ITALY label, chrome-plated tubular steel and leather 70cm high, 79.5cm wide, 68.5cm deep (27 ½in high, 31 ¼in wide, 27in deep) (2)

£800-1,200

163

ARNE VODDER (DANISH 1926-2009) FOR FRANCE & SON

SET OF FOUR DINING CHAIRS, 1957-60

model no.203, each with applied manufacturer’s labels, teak and leather upholstery 84cm high, 50cm wide, 54cm deep (32 ½in high, 20in wide, 21in deep) (4)

£1,000-1,500

164

POUL KJAERHOLM (DANISH 1929-1980) FOR FRITZ HANSEN

PK65 COFFEE TABLE, DESIGNED 1979

marble and steel

39cm high, 100cm wide, 100cm deep (15 3/8in high, 39 3/8in wide, 39 3/8in deep)

Provenance:

De Parma, London, 2006; Private Collection, London.

£2,000-3,000

NANNA AND JØRGEN DITZEL (DANISH 1923-2005 AND 1921-1961) FOR KOLDS SAVVAERK PAIR OF ‘RING’ CHAIRS, DESIGNED 1958

applied manufacturer’s label, teak and upholstery 70cm high, 63cm wide (27 ½in high, 24 7/8in wide) (2)

£2,000-3,000

166

HANS WEGNER (DANISH 1914-2007)

FOR JOHANNES HANSEN

THE CHAIR

branded manufacturer’s mark, teak

77cm high, 63cm wide, 51cm deep (30 ¼in high, 24 ¾n wide, 20 1/8in deep)

£1,800-2,200

167

FINN JUHL (DANISH 1912-1989)

FOR NIELS VODDER

NV53 ARMCHAIR, DESIGNED 1953

teak and upholstery

72cm high, 70.5cm wide, 67cm deep

(28 ¼in high, 27 ¾in wide, 26 ½in deep)

Provenance:

Private Collection, U.K.

£3,000-5,000

“ The simple joy of taking an idea into one’s own hands and giving it proper form, that’s exciting ”

George Nelson

168 Y

GEORGE NELSON (AMERICAN 1908-1986)

THIN EDGE CHEST, c.1950

rosewood with steel feet

77.7cm high, 118.5cm wide, 50cm deep (30 ½in high, 46 5/8in wide, 19 ¾in deep)

Provenance: Private Collection, U.K. £1,500-2,000

170

ISAMU KENMOCHI (JAPANESE 1912-1971) FOR TENDŌ MOKKŌ, JAPAN

'HACO' COFFEE TABLE, DESIGNED 1961

with applied manufacturer's label, beech plywood with teak veneer

36cm high, 108cm wide, 77cm deep (14 ¼in high, 42 ½in wide, 30 ¼in deep))

Literature:

Kenmochi, Isamu, et. al., Japanese Modern: Retrospective Kenmochi Isamu, exhibition catalogue, Akita Senshū Museum of Art, 2005, p. 195, for similar examples. This table was originally designed for the Kyoto International Conference Hall, 1966.

£500-700

169

REIKO TANABE (JAPANESE 1934- ) FOR TENDŌ MOKKŌ, JAPAN

‘MURAI’ STOOL, DESIGNED 1960-61 / c.2019

stamped MHS 90, teak plywood

36cm high, 44cm diameter (14 ¼in high, 17 ¼in diameter)

Literature:

Viatte, Germain, Design Japonais 1950 – 1995, Paris: Éditions du Centre Pompidou, 1996, p. 74, for similar examples;

Japanese Wooden Chairs, Tokyo: Shotenkenchiku-sha Co., Ltd., 1995, p. 70, for similar examples. £800-1,200

172

ISAMU KENMOCHI (JAPANESE 1912-1971)

FOR YAMAKAWA RATTAN, JAPAN COFFEE TABLE, DESIGNED 1960

rattan and glass

32cm high, 59cm diameter (12 ½in high, 23 ¼in diameter)

Literature:

Kenmochi, Isamu, et. al., Japanese Modern: Retrospective Kenmochi Isamu exhibition catalogue. Akita Senshū Museum of Art: Kokusho Kanko Kai, 2005, p. 189, for similar models.

£700-900

171

SABURO INUI (JAPANESE 1911-1991) FOR TENDŌ MOKKŌ, JAPAN

‘ZATAKU’ TABLE, DESIGNED 1959

with applied manufacturer’s labels, beech plywood, Japanese elm (zelkova) veneer

45cm high, 120cm wide, 60cm deep (17 ¾in high, 47 ¼in wide, 23 ½in deep)

Literature:

Serizawa, Mitsumasa, 天童木工 (Tendo Mokko), Tokyo: Bijutsu Shuppan-sha, 2008, pp. 174-179, for similar examples;

Design Japonais 1950-1995, Paris: Éditions de Centre Pompidou, 1996, p. 76, for similar examples.

£600-800

“A chair is not just a product of decorative art in a space, it is a form and a space in itself.”

Finn Juhl

173

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

NV45 ARMCHAIR, DESIGNED 1945

branded manufacturer’s marks CABINETMAKER NIELS VODDER / COPENHAGEN DENMARK / DESIGN FINN JUHL, teak and upholstery

84cm high, 68.5cm wide, 55cm deep (33in high, 27in wide, 21 ¾in deep)

Provenance:

Christie’s, London, 15 September 1999, lot 71; Private Collection, U.K.

£5,000-8,000

RICHARD NISSEN (DANISH 1928-2013)

‘YIN AND YANG’ DINING SUITE

comprising dining table and four armchairs, beech and cane with black lacquered steel fittings

the table 141cm diameter, 73cm high (55 ½in diameter, 28 ¼in high); the chairs

77.5cm high, 63.5cm wide, 47cm deep (30 ½in high, 25in wide, 18 ½in deep)

£2,500-3,500

175

TIAS ECKHOFF (NORWEGIAN 1926-2016) FOR GEORG JENSEN ‘CYPRESS’ 97 PIECE FLATWARE SERVICE,

DESIGNED 1953

stamped manufacturer’s marks, import marks for London 1967-8, silver and stainless steel, comprising 8 soup spoons, 8 tea spoons, 16 desert spoons, 16 desert forks, 8 desert knives, 6 serving spoons, 8 fish knives, 8 fish forks, 8 dinner knives, 8 dinner forks, a carving fork, a carving knife and a knife sharpener, in fitted wooden case dinner knives: 22.5cm long (8 7/8in long) (97)

Provenance: Private Collection, U.K. £1,200-1,800

176

KAY BOJESEN (DANISH 1886-1958 )

SAUCEBOAT AND STAND

stamped designer’s buoy mark and STERLING DENMARK, retailer’s stickers to wooden coaster, silver and teak sauceboat: 9cm high, 21cm wide (3 ½in high, 8 ¼in wide); coaster 16.5cm wide (6 ½in wide)

Provenance: Private Collection, U.K. £300-500

177

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN BOWL

model 1131A, stamped manufacturer’s mark, designer’s mark and STERLING DENMARK, silver 7cm high, 28cm diameter (2 ¾in high, 11in diameter), approximately 1147 grammes

Provenance:

Private Collection, U.K. £800-1,200

178

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN

PILL BOX

model 325, stamped manufacturer’s mark, designer’s mark and STERLING DENMARK, silver

closed dimensions 5cm long, 4.5cm wide (2in long, 1 ¾in wide), approximately 58.5 grammes

Provenance:

Private Collection, U.K. £300-500

179

HENNING KOPPEL (DANISH 1918-1981)

FOR GEORG JENSEN

PILL BOX

model 325, stamped maker’s mark, manufacturer’s mark and 925S / DENMARK / STERLING, silver

closed dimensions 5cm long, 4.5cm wide (2in long, 1 ¾in wide), approximately 57 grammes

Provenance:

Private Collection, U.K. £300-500

180

HENNING KOPPEL (DANISH 1918-1981)

FOR GEORG JENSEN

‘SWAN’ PITCHER, DESIGNED 1956

model 1052, stamped manufacturer’s mark, designer’s mark and STERLING DENMARK, silver 42cm high, 24cm wide (16 ½in high, 9 ½in wide), approximately 1870 grammes

Provenance:

Private Collection, U.K. £6,000-8,000

181

PENTTI SARPANEVA (FINNISH 1925-1978)

WALL HANGING

signed, bronze

47cm long, 12cm wide (18 ½in long, 4 ¾in wide) including chain £300-500

ERIK SJODAHL ANDERSEN (DANISH 1940-2012)

FOR V. HOLMSTRUP OF COPENHAGEN, DENMARK

SET OF FOUR CANDLESTICKS, 1978

stamped manufacturer’s marks, SJODAHL / STERLING / DENMARK / 925S / 78, silver two 21cm high (8 ¼in high), two 16cm high (6 ¼in high) (4)

Provenance:

Private Collection, U.K. £1,000-1,500

183 §

TAPIO WIRKKALA (FINNISH 1915-1985) FOR CHRISTOFLE ‘SOL LUMINAIRE’ CANDLESTICK HOLDER, DESIGNED 1959

stamped CHRISTOFLE FRANCE / COLL GALLIA, silver plate

32cm high, 19cm wide, 22.5cm deep (12 ½in high, 7 ½in wide, 8 7/8in deep)

£1,000-1,500

HENNING KOPPEL (DANISH 1918-1981)

FOR GEORG JENSEN

‘AMOEBA’ NECKLACE AND BRACELET model 89, each stamped with manufacturer’s mark and STERLING / DENMARK, silver the necklace: 48cm long (19in long); the bracelet: 20cm long (7 7/8in long) (2)

£1,200-1,800

Following the passings of Georg Jensen in 1935 and Gustav Pedersen in 1937, the George Jensen Company was able to endure at the forefront of avant-garde silversmithing as a result of designers such as Henning Koppel. Koppel’s designs were famed for their beautiful organic quality and sculptural biomorphic forms, inspired by contemporary artists such as Hans Arp and Constantin Brancusi.

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004)

PILL BOX BRACELET

stamped MADE IN FRANCE / TORUN, metal and quartz

the pill box 4.7cm high (1 ¾in high)

£6,000-8,000

A similar model to this example can be found in the British Museum and Torun made another similar construction in 1958, but mounted with an Egyptian scarab. (see Westin, Ann, Torun, Carlssons, Stockholm, 1993, p.55).

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN

THREE RINGS AND BRACELET models 440, 148, and 187, silver, together with a VIVIANNA TORUN BULOW-HUBE FOR GEORG JENSEN bracelet, model 212, silver, each stamped manufacturer’s marks and 925S ring sizes: J ½, K, H ½; internal width of bracelet: 6.3cm (2 ½in) (4)

Provenance: Private Collection, London. £500-700

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN

BROOCH

model 373, stamped with manufacturer’s mark and TORUN / 925S / DENMARK, silver with moonstone

7.6cm high, 6.7cm wide (3in high, 2 5/8in wide)

£600-800

188 §

VIVIANNA TORUN BÜLOW-HÜBE

(SWEDISH 1927-2004)

RING

stamped TORUN / 18k, gold and quartz ring size M

£1,000-2,000

189

VIVIANNA TORUN BÜLOW-HÜBE

(SWEDISH 1927-2004) FOR GEORG JENSEN

BRACELET

model 203, stamped manufacturer’s mark, TORUN 925S / DENMARK, silver

internal width: 5.3cm (2 1/8in)

£500-700

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE AND BRACELET model 130B, each stamped with manufacturer’s mark and STERLING DENMARK / 925, silver the necklace 43cm long (17in long); the bracelet 19.7cm long (7 ¼in long) (2)

£2,000-3,000

191

HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN

NECKLACE

model 190H, stamped with manufacturer’s mark and 925S DENMARK, silver

28.6cm long (11 ¼in long) excluding the chain £400-600

192

AGNETE DINESEN FOR GEORG JENSEN

THREE RINGS

models 409, 412 and 422, silver; together with a further Georg Jensen ring, model 433, silver, each stamped manufacturer’s mark, 925S / DENMARK ring size M, M, P and I respectively (4)

Provenance:

Private Collection, London. £300-500

193

KIM NAVER (DANISH 1940-) FOR GEORG JENSEN

BRACELET, DESIGNED 1975

model 259, stamped with manufacturer’s mark and 925S / DENMARK, silver 17.5cm long (6 7/8in long)

Provenance:

Private Collection, U.K. £400-600

194

HENNING KOPPEL (DANISH 1918-1981)

FOR GEORG JENSEN BRACELET

stamped with manufacturer’s mark and HK / STERLING DENMARK, silver, cabochon sodalite and pink tourmalines 19cm long (7 ½in long)

£4,000-6,000

195 §

ALBERT REUSS (AUSTRIAN 1889-1975)

ROCKS AND METAL SHEET, 1952

monogrammed and dated (lower left), oil on canvas

61cm x 71cm (24in x 28in)

Provenance: Private Collection, U.K. £700-900

196 §

ALBERT REUSS (AUSTRIAN 1889-1975)

LANDSCAPE WITH DARK ROCK, 1957

monogrammed and dated (lower left), oil on canvas

61cm x 71cm (24in x 28in)

Provenance: Private Collection, U.K.

£700-900

197 §

ALBERT REUSS (AUSTRIAN 1889-1975)

LANDSCAPE WITH GREEN METAL SHEET, 1957

monogrammed and dated (lower left), oil on canvas 68cm x 79cm (26 3/4in x 31in)

Provenance: Private Collection, U.K. £700-900

198 §

ALBERT REUSS (AUSTRIAN 1889-1975)

SLEEPING FIGURE IN RED, 1964

monogrammed and dated (lower left), oil on canvas 61cm x 71cm (24in x 28in)

Provenance: Private Collection, U.K. £700-900

199 §

ALBERT REUSS (AUSTRIAN 1889-1975)

FORMS IN LANDSCAPE, 1959

monogrammed and dated (upper left), oil on canvas 73cm x 91cm (29in x 36in)

Provenance: Private Collection, U.K. £700-900

200 §

ALBERT REUSS (AUSTRIAN 1889-1975)

FENCE AND CORRUGATED IRON, 1955 monogrammed and dated (lower left), oil on canvas 61cm x 71cm (24in x 28in)

Provenance: Private Collection, U.K. £700-900

201 §

HUMPHREY SPENDER (BRITISH 1910-2005)

INDUSTRIAL LANDSCAPE WITH PYLONS, 1938

oil on canvas

60cm x 39cm (23 5/8in x 15 3/8in)

£1,500-2,000

Provenance:

Peter Nahum at the Leicester Galleries, London; His sale, Christie’s South Kensington, The Poetry of Crisis: The Peter Nahum Collection of British Surrealist and Avant-Garde Art, 15 November 2006, lot 26, where acquired by the present owner.

Exhibited: Chichester Art Festival, The Bishop’s Palace, Chichester, Urban Images, 1995; Yale Center for British Art, New Haven, Humanist Landscapes: Humphrey Spender’s Photo Documents, 1932-1942, 10 September - 9 November 1997, no.48; Aldeburgh Festival Exhibition, Peter Pears Gallery, Aldeburgh, 2006, no.15.

Literature:

Frizzell, Deborah, Humphrey Spender’s Humanist Landscapes: Photo-documents, 1932-1942, Yale Center for British Art, New Haven, Connecticut, 1997, p.74, illustrated fig. 27.

202 § SCOTTIE WILSON (BRITISH 1891-1972)

UNTITLED

signed (lower right), pen and coloured inks on paper 60cm x 48cm (23 5/8in x 18 7/8in), unframed

Provenance:

Gimpel Fils, London.

Exhibited:

James Colman Fine Art, London, Scottie Wilson [1888-1972]

- Works on Paper and Ceramics, 29 June - 18 July 2000.

£800-1,200

JOHN PIPER C.H. (BRITISH 1903-1992) FOR ARTHUR SANDERSON & SONS LTD

PAIR OF ‘STONES OF BATH’ CURTAINS, c.1960

titled ‘Stones of Bath’ An original screenprint by Sanderson (to selvedge), printed cotton each 295cm drop, 225cm wide (116in drop, 88 ½in wide) (2)

Provenance:

Private Collection, U.K. £700-900

203 §

204 §

JOHN CECIL STEPHENSON (BRITISH 1889-1965)

UNTITLED (TWO WORKS), c.1940s

stamped with studio signature (to reverse), oil on paper

each 16cm x 12cm (6 ½in x 4 ¾in) (2)

Provenance:

The Estate of the Artist; Keith Chapman Fine Art; Private Collection, UK, from whom acquired by the present owner.

£800-1,200

205 §

CLARKE HUTTON (BRITISH 1898-1984)

COMPOSITION, 1983

signed and dated (to reverse), oil on panel, mounted on artist’s backboard

20.2cm x 25.5cm (8in x 10in)

Provenance:

Criterion Auctions, London, where acquired by the present owner, c.2016.

£1,500-2,500

206 §

CERI RICHARDS C.B.E. (BRITISH 1903-1971)

CHALICE, 1963

signed and dated (lower right), oil and collage on canvas

30.5cm x 30.5cm (12in x 12in)

Exhibited:

Marlborough New London Gallery, London, Ceri Richards: Retrospective Exhibition, 1965.

£3,000-5,000

207 §

JULIAN TREVELYAN R.A. (BRITISH 1910-1988)

MUDBANKS, 1978 (TURNER 339)

signed in pencil (lower right), titled (lower centre) and numbered 2/50 (lower left), colour etching and aquatint on Arches paper

plate: 35cm x 47.7cm (13 ¾in x 18 ¾in)

Provenance:

Private Collection, U.K. £600-800

208 §

JULIAN TREVELYAN R.A. (BRITISH 1910-1988)

LOW TIDE, 1974 (TURNER 298)

signed in pencil (lower right), titled (lower centre) and numbered 14/52 (lower left), colour etching and aquatint on T. H. Saunders paper.

Provenance: Private Collection, U.K. £700-900

209 §

JULIAN TREVELYAN R.A. (BRITISH 1910-1988)

GREENWICH, 1969 (TURNER 222)

signed in crayon (lower right), titled (lower centre) and numbered 5/75 (lower left), colour etching and aquatint on paper.

Published by London Graphics.

plate: 35cm x 47cm (13 ¾in x 18 ½in)

Provenance: Private Collection, U.K. £500-700

210 §

JULIAN TREVELYAN R.A. (BRITISH 1910-1988)

AMSTERDAM, 1974 (TURNER 304)

signed in pencil (lower right), titled (lower centre) and numbered 5/52 (lower left), colour etching and aquatint on T.H. Sanders paper.

Published by Leslie Waddington Prints Ltd.

Printed by Studio Prints, London.

plate: 35cm x 48cm (13 ¾in x 18 7/8in); sheet: 61cm x 77.5cm (24in x 30 ½in)

Provenance:

Waddington Galleries, London; Private Collection, U.K. £600-800

211 §

JULIAN TREVELYAN R.A. (BRITISH 1910-1988)

ENTRE DEUX MERS, 1980

signed in pencil (lower right), titled (lower centre) and inscribed Artists Proof (lower left), etching with aquatint, artist’s proof aside from the edition of 50 plate: 35cm x 47.5cm (13 ¾ x 18 ½in)

Provenance:

Zuleika Gallery, Woodstock; Private Collection, U.K. £500-700

212 §

BRYAN INGHAM (BRITISH 1936-1997)

ROMANTIC LANDSCAPE, 1970

signed Bryan, dated and indistinctly inscribed (to reverse), etching mounted on artist-shaped panel

17.8cm x 15.2cm (7in x 6in)

Provenance:

The Estate of the Artist.

£700-900

213 §

MARGARET MELLIS (BRITISH 1914-2009)

THISTLES AT NIGHT

initialled in pencil (lower left), pastel on unfolded envelope

34cm x 29cm (13 3/8in x 11 ½in)

Exhibited:

Gainsborough’s House, Sudbury, Margaret Mellis, 22 August - 18 October 1992.

£1,000-1,500

BRYAN INGHAM (BRITISH 1936-1997)

MEDITERRANEAN HEAD I - STUDY FOR SCULPTURE, 1995

initialled and dated 11.6.95 in pencil (lower left), titled (upper left), pencil and crayon on paper

37.3cm x 28.8cm (14 5/8in x 11 3/8in)

Provenance:

The Estate of the Artist.

£1,200-1,800

215 §

BRYAN INGHAM (BRITISH 1936-1997)

STUDY FOR SCULPTURE - MEDITERRANEAN HEAD VII, JUNE 1995

signed, dated and titled in pencil (to lower edge), pencil and crayon on paper

37.5cm x 29.7cm (14 3/4in x 11 3/4in), unframed

Provenance:

The Estate of the Artist.

£1,000-1,500

216 §

BRYAN INGHAM (BRITISH 1936-1997)

MEDITERRANEAN HEAD V, STUDY FOR SCULPTURE, 1995

initialled, dated and titled in pencil (lower left), pencil and crayon on paper

37.2cm x 29cm (14 5/8in x 11 3/8in)

Provenance:

The Estate of the Artist.

£1,200-1,800

SELECTED WORKS FROM THE COLLECTION OF LORD & LADY STEVENSON

217 §

BRYAN INGHAM (BRITISH 1936-1997)

STILL LIFE WITH GLASS AND MATCHES, BREMEN, 1985 signed, titled and dated (to backboard), collage on board 10.5cm x 10.2cm (4 1/8in x 4in)

Provenance: Francis Graham-Dixon Gallery, London. £1,000-1,500

218 §

BRYAN INGHAM (BRITISH 1936-1997)

KYNANCE I (FROM KYNANCE SUITE), 1985 signed (to backboard), collage on board 10.5cm x 14cm (4 ¼in x 5 ½in)

Provenance: Francis Graham-Dixon Gallery, London. £1,000-1,500

BRYAN INGHAM (BRITISH 1936-1997)

TREMAYNE STILL LIFE, 1990-94

signed, titled and dated in charcoal pencil (to backboard), oil and collage on board 35cm x 48cm (13 ¾in x 18 7/8in)

Provenance: Francis Graham-Dixon Gallery, London. £2,500-3,500

220 §

MALI MORRIS (BRITISH 1945-)

MULBERRY, 1997

signed, titled and dated (to reverse), acrylic on canvas 46cm x 91.5cm (18in x 36in)

Provenance: Francis Graham-Dixon Gallery, London. £400-600

221 §

LISA MILROY (CANADIAN 1959-)

JAPANESE SWEET I & II, 1996-97

oil on canvas each 38.7cm x 43.8cm (15 ¼in x 17 ¼in) (2)

Provenance: Waddington Galleries, London, from whom acquired by Lord and Lady Stevenson. £600-800

222 §

NATALIE DOWER (BRITISH, 1931-2023)

DODECAGON: THE MIRAGE, 1993

signed (to reverse), also signed, titled and dated (to stretcher bar), oil on canvas 85cm x 85cm (33 ½in x 33 ½in)

Provenance: The Artist. £300-500

223 §

BILL WOODROW (BRITISH 1948-)

signed and dated (lower right), oil paint on printed cloth map 34.5cm x 74.5cm (13 5/8in x 29 5/8in)

Provenance:

Waddington Galleries, London, from whom acquired by Lord and Lady Stevenson. £500-700

SMALL STUENES OSCILLATOR 2, 2008

224

PIERO FORNASETTI (ITALIAN 1913-1988)

‘MUSICALE’ CHAIR hand-painted and lithographically printed wood, enameled steel, possibly produced from an edition produced in 1991 93cm high, 41cm wide, 41cm deep (36 ½in high, 16 ¼in wide, 16 ¼in deep)

Provenance: Themes & Variations, London; Private Collection, London. £1,000-1,500

PIERO FORNASETTI (ITALIAN 1913-1988)

AND GIO PONTI (ITALIAN 1891-1979)

‘BIGLIETTA DE VISTA’ WRITING TABLE, c.1950

lithographically printed, brass sabots and Bakelite handles

79cm high, 68.5cm wide, 45.7cm deep (30 1/8in high, 27in wide, 18in deep)

Provenance:

Private Collection, U.K.

£8,000-12,000

226

PIERO FORNASETTI (ITALIAN 1913-1988)

SET OF SIX ‘SEZIONE

DI FRUTTA’ PLATES

each stamped with manufacturer’s marks

and numbered 2, 3, 4, 7, 8, 9, porcelain each 23.3cm diameter (9 1/8in diameter) (6)

Provenance: Private Collection, U.K.

£600-800

227

PIERO FORNASETTI (ITALIAN 1913-1988)

SET OF EIGHT ‘SEZIONE

DI FRUTTA’ COASTERS

each stamped with manufacturer’s marks (to reverse), porcelain each 10.2cm diameter (4in diameter) (8)

£400-600

228 †

PIERO FORNASETTI (ITALIAN 1913-1988)

SET OF SIX ‘MASCHERE ITALIANE’ DISHES each stamped with manufacturer’s mark (to reverse), porcelain each 10.5cm diameter (4 1/8in diameter) (6)

Provenance: Private Collection, U.K. £300-500

229

PIERO FORNASETTI (ITALIAN 1913-1988) FOR ROSENTHAL

SET OF EIGHT ‘TEMA E VARIAZIONI’ PLATES printed manufacturer’s marks, porcelain 23.5cm diameter (9 ¼in diameter) (8)

£700-900

SIMON GATE (SWEDISH 1883-1945) FOR ORREFORS GRAAL GOBLET, 1918

signed SGraal Orrefors 1918 nr 643, KB HW (to base), glass 23.2cm high, 12.5cm diameter (9 1/8in high, 4 7/8in diameter)

£800-1,200

231 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

‘FAZZOLETTO’ VASE, DESIGNED c.1949

signed Venini [...] Italia (to base), clear glass with zanfirico decoration 15cm high (6in high)

Provenance:

Private Collection, U.K. £600-800

232 §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

‘FAZZOLETTO’ VASE, DESIGNED c.1949

clear glass with zanfirico decoration 27.5cm high (10 3/4in high)

Provenance:

Private Collection, U.K. £600-800

233 �� §

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI

DOUBLE INCALMO VASE, 1951

model 4392, signed with 3 line acid stamp Venini, Murano, ITALIA (to base), glass 24cm high (9 1/2in high)

Literature:

Barovier, Marino and Carla Sonego. Fulvio Bianconi at Venini. SKIRA. p 228.

£800-1,200

234 §

ERCOLE BAROVIER (ITALIAN 1889-1974)

FOR FERRO TOSO BAROVIER

‘MEDUSA’ VASE, c.1938

iridised glass

39.3cm high, 31.5cm wide (15 ½in high, 12 3/8in wide)

Provenance:

Acquired from the Antiques Department of Peter Jones, London, by the mother of the present owner in the 1960s.

£2,500-3,500

235

VITTORIANO VIGANO (ITALIAN 1919-1996)

APPLIQUE WALL LIGHT

enamelled aluminium and brass width of shade 24.5cm (9 5/8in wide)

£500-700

236

VITTORIANO VIGANO (ITALIAN 1919-1996)

APPLIQUE WALL LIGHT

enamelled aluminium and chromed metal width of shade 24cm (9 ½in wide)

£500-700

237 §

ERCOLE BAROVIER (ITALIAN 1889-1974)

STANDARD LAMP, 1938-40

from the Mugnoni series, glass and brass 170cm high, 42cm diameter (66 7/8in high, 16 ½in diameter)

Provenance:

Bonham’s, London, 28 April 2022, lot 136; Private Collection, U.K.

£2,000-3,000

CARLO MOLLINO

MESSAGE FROM THE DARK ROOM

Carlo Mollino’s relationship with photography spanned a lifetime and encompassed everything he did. Whether working as an architect or artist he saw photography as an essential modern tool for creativity and expression. Through working with other photographers, retouching images and producing photomontages Mollino constantly refined his ideas to push the boundaries of this evolving art form. In 1949 he captured his knowledge within a book dedicated to the subject. Il Messaggio dalla Camera Oscura (Message from the Darkroom) quickly became a leading text and allowed readers insight into the dark room of Mollino’s mind.

The two Untitled Polaroid photographs featured here relate to an exciting period of productivity between 1962 and 1973. Mollino was initially drawn to the immediacy and mellow characteristics of Polaroid film but also saw qualities in the thick rectangular cardboard upon which the images were produced. His devotion to this medium is evident through his prolific productivity across this ten-year period where he produced over one thousand Polaroids. He went on to overpaint some of these images using a very fine brush to achieve an effect comparable to medieval miniaturists.

Drawn to the long artistic tradition of the nude and influenced by the qualities of Polaroid film Mollino’s work began to take on a more genuine and realistic appearance. This can be seen within the two Untitled works where the women are pictured as wives and girlfriends, rich in character and individuality. At the same time the physical settings and backgrounds have become minimal and anonymous ensuring focus remains firmly on the subjects. It has been argued that many of Mollino’s Polaroids hold autobiographical references. Perhaps they represent his quest for a partner or perhaps they seek more holistic answers to the complexities of eroticism and sexuality.

238 §

CARLO MOLLINO (ITALIAN 1905-1973)

UNTITLED unique polaroid print

10.5cm x 8.2cm (4 1/8in x 3 1/4in)

Provenance:

Galleria Cristiani, Turin; Private Collection, London.

£2,000-3,000

239 §

CARLO MOLLINO (ITALIAN 1905-1973)

UNTITLED unique polaroid print

10.5cm x 8.2cm (4 1/8in x 3 1/4in)

Provenance:

Galleria Cristiani, Turin; Private Collection, London.

£2,000-3,000

Inspiration is not prompted; it springs forth from a state of grace

Mollino “ ”

Carlo

240

CHRISTOPHER WOOD (BRITISH 1901-1930)

TREES IN THE SOUTH OF FRANCE, 1928

inscribed, titled and dated (to label to backboard), and inscribed Redfern Nov 18 1968 in pencil (to reverse of sheet), pencil on paper

31cm x 41cm (12 1/4in x 16 1/4in)

Provenance: Collection of Sir Rex de Charembac Nan Kivell; Trumpington Gallery, Cambridge, 1977; James Crabtree (Axiom Gallery), London; Private Collection, U.K.

£1,000-1,500

241 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

DESIGN FOR A PLATE: RAM’S HEAD, 1973 initialled and dated in pencil (lower centre), watercolour, gouache and pencil on paper 37cm x 37cm (14 ½in x 14 ½in) £2,000-3,000

242 §

BEN NICHOLSON O.M. (BRITISH 1894-1982)

FORMS IN A LANDSCAPE (COLUMNS AND JUGS), 1966 (LAFRANCA 15)

signed and dated in pencil (lower right), etching with plate-tone, unnumbered, aside from the edition of 300

plate (irregular): 20cm x 21cm (7 ¾in x 8 ¼in)

£700-1,000

243 §

BEN NICHOLSON O.M. (BRITISH 1894-1982)

URBINO,1965 (LAFRANCA 1)

signed, dated and numbered 44/50 in pencil (lower left), etching with platetone on wove paper

plate: 21.3cm x 15cm (8 ½in x 5 7/8in)

sheet: 30cm x 25.3cm (12in x 10in)

£700-1,000

WORKS FROM THE ESTATES OF GEORGE KENNETHSON & EILEEN GUTHRIE

244 §

EILEEN GUTHRIE (BRITISH 1913-2003)

TREES, OUNDLE, c.1970s watercolour on paper

20cm x 31cm (7 7/8in x 12 ¼in)

Provenance:

The Estate of the Artist. £250-350

245 §

1910-1994)

FISHERMAN, DORSET, c.1970s initialled in pencil (lower left), brush and ink on paper

34.5cm x 24.5cm (13 ½in x 9 5/8in)

Provenance:

The Estate of the Artist. £700-1,000

GEORGE KENNETHSON (BRITISH

247 §

GEORGE KENNETHSON (BRITISH 1910-1994)

GIRL’S HEAD

brush and ink with wash on paper

22.5cm x 18cm (8 7/8in x 6in)

Provenance: The Estate of the Artist. £400-600

246 §

EILEEN GUTHRIE (BRITISH 1913-2006)

WINSPIT, DORSET, c.1970s watercolour on paper

40cm x 50cm (15 ¾in x 19 ¾in)

Provenance: The Estate of the Artist. £300-500

PROPERTY FROM THE COLLECTION OF LESLIE MARTIN & SADIE SPEIGHT

Verona by Ben Nicholson and Design for a Mobile by Arthur Jackson were given by the artists to the architect Leslie Martin (19082000) and his wife, the designer Sadie Speight (1906-92). Martin and Speight played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.

The Martins first saw Nicholson’s work at the Unit One exhibition at the Major Gallery, London in April 1934. Shortly afterwards they visited Nicholson in the Hampstead studio he shared with Barbara Hepworth, thus beginning lifelong friendships. They also became friends with Hepworth’s cousin and Nicholson’s pupil, the artist and architect Arthur Jackson Hepworth. The group found their own professional interests closely affiliated and as a result the Martins joined the vanguard of modernism in England.

248 §

ARTHUR JACKSON (BRITISH 1911-2003)

DESIGN FOR A MOBILE

coloured pencils on paper; accompanied by a Christmas card from Jackson in coloured pencils and wash, addressed to Leslie and Sadie Martin

20.3cm x 28cm (8in x 11in)

Provenance:

Gift of the Artist to Leslie Martin and Sadie Speight and thence by descent to the present owner.

£700-1,000

Highlights of their relationships included Martin working with Nicholson and Naum Gabo as co-editors of Circle: International Survey of Constructive Art, published in 1937, for which Sadie Martin acted as Secretary. It included reproductions of two of Jackson’s paintings. Between 1937 and 1939 Jackson trained under Martin at Hull School of Architecture and worked as his assistant for a time before 1940. On Nicholson’s return from Switzerland to England in 1971, he spent three years living beside the Martins in Cambridgeshire. He died two weeks before an exhibition dedicated to Circle opened at Kettle’s Yard in Cambridge, for which Martin wrote the introduction, stating:

‘What has remained for me and others of my generation, is a confirmation of the belief that art, whether it is painting, sculpture or architecture can be one of the great constructive and unifying forces in our lives. That is what we intended Circle to express.’ (Leslie Martin, ‘Introduction’, ed. Jeremy Lewison, Circle: Constructive Art in Britain 1934-40, Kettle’s Yard Gallery, Cambridge, 1982).

249 §

BEN NICHOLSON (BRITISH 1894-1982)

VERONA, 1966

signed, inscribed Sadie & Leslie and dated March 66 in pencil (lower right), also inscribed Artist’s proof (Verona) (to reverse), etching on paper, blind-stamped (lower left); accompanied by a framed photograph of another work by Nicholson, annotated by the Artist (to reverse)

plate: 23cm x 11cm (9in x 4 ¼in): sheet; 35.6cm x 25.5cm (14in x 10in) (2)

Provenance:

Gift of the Artist to Leslie Martin and Sadie Speight and thence by descent to the present owner.

£1,000-1,500

250 §

PAUL FEILER (BRITISH 1918-2013)

SEKOS GXV, 1977

signed and dated in pencil (lower right), titled (lower left), gouache on paper image: 7cm x 7cm (2 ¾in x 2 ¾in)

£700-900

251 §

NAUM GABO (BRITISH/PRUSSIAN 1890-1977)

OPUS XX, 1933/1957

signed in pencil (lower right), numbered 59/150 (lower left), lithograph on paper

plate: 17cm x 19cm (6 ¾in x 7 ½in); sheet: 28.5cm x 23cm (11 ¼in x 9in)

£300-500

252 §

ROGER HILTON (BRITISH 1911-1975)

GOUACHE (CAMEL), 1973

signed and dated (lower left), gouache and charcoal on paper

23.5cm x 34cm (9 ¼in x 13 ¼in)

Provenance:

Private Collection, U.K.; Their sale, Chiswick Auctions, London, Modern & Post-War British Art, 7 April 2022, lot 44, where acquired by the present owner.

£4,000-6,000

253 §

ROGER HILTON C.B.E. (BRITISH 1911-1975)

DRAWING (LANDSCAPE), c.1966

charcoal and pencil on paper

12.7cm x 20.3cm (5in x 8in)

Provenance:

The Estate of the Artist; Jonathan Clark Fine Art, London, from whom acquired by the present owner, c.2006.

Exhibited:

Newlyn Art Gallery, Newlyn, Roger Hilton - A Centenary Celebration, 29 January - 2 May 2011, no.14.

Literature:

Lambirth, Andrew, Roger Hilton: The Figured Language of Thought, Thames & Hudson, London, 2007, illustrated p.207.

£1,200-1,800

254 §

TREVOR BATES (BRITISH 1921-2008)

UNTITLED (TOTEM), c.1959

cut, welded and patinated steel on a wooden base

53.3cm high (21in high) excluding base

Provenance:

Waddington Galleries, London, 1959.

£500-800

255 §

NORMAN DILWORTH (BRITISH 1931-2023)

TWO OF A KIND (B), 2008

signed and dated (to base), corten steel 23.5cm high, 28cm wide, 21cm deep (9 1/4in high, 11in wide, 8 1/4in deep)

Provenance:

Gimpel Fils, London.

Exhibited:

Gimpel Fils, London, Generation, 10 March - 16 April 2011.

£600-800

256 §

MARGARET LOVELL (BRITISH 1939-)

ZIG ZAG WALL

initialled and numbered 4/4, bronze 31cm high, 32cm wide (12 ¼in high, 12 5/8 wide)

£2,000-3,000

257 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

NIGHT INTERIOR

photo collage

36cm x 45cm (14 1/4in x 17 3/4in)

Provenance:

Annely Juda Fine Art, London; Private Collection, U.K.

£1,500-2,500

258 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

DARK FLOWER, 1997

oil on canvas

30.5cm x 35cm (12in x 13 3/4in)

Provenance:

Annely Juda Fine Art, London; Private Collection, U.K.

Exhibited:

Annely Jude Fine Art, London, Prunella Clough: 50 Years of Making Art, 28 January - 21 March 2009, no. 65. £2,500-3,500

259 §

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

TORIIJ & TORIIK, 1965 (S290c, S291c)

each stamped with maker’s mark, from an edition of 10, aluminium 8cm high, 12.5cm wide (3 1/8in high, 4 7/8in wide) and 8cm high, 11.5cm wide (3 1/8in high, 4 1/2in wide) (2)

Provenance: Private Collection, U.K.

Literature:

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, Pangolin and Lund Humphries, London, 2017, p.109, nos S290c and S291c, illustrated. £2,000-3,000

260 §

GEOFFREY CLARKE R.A. (BRITISH 1924-2014)

INDUSTRIAL COMPLEXITIES, 2007 (S871)

28 elements, the bowl and one element stamped with artist’s mark, aluminium 15cm high, 34cm wide (5 7/8in high, 13 3/8in wide)

Provenance: Private Collection, U.K.

Literature:

LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, Pangolin and Lund Humphries, London, 2017, p.251, S871, illustrated. £1,000-1,500

261 §

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

FOUR NOTES, 2005

signed, titled and dated (to reverse), acrylic and collage on canvas 122cm x 122cm (48in x 48in)

£8,000-12,000

Provenance: Bonham’s Knightsbridge, Modern British and Irish Art, 15 September 2015, lot 93, where acquired by Market House Gallery, Penzance; Acquired from the above by the present owner.

Exhibited: New Millennium Gallery, St Ives, Sandra Blow, 2005, illustrated in catalogue.

262 §

WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004)

MILLENNIUM SERIES RED, 2000 (GUNN 61)

signed and dated in pencil (lower right), inscribed AP-3 (lower left), screenprint on wove paper, an artist’s proof aside from the edition of 75 sheet: 22cm x 28cm (8 ¾in x 11in)

£600-800

263 §

SIR TERRY FROST (BRITISH 1915-2003)

SMALL BLUE TIMBERAINE (BLUE FOR VENICE) & SMALL TIMBERAINE YELLOW, 2001 (KEMP 215 & 216) each signed in pencil (lower right) and numbered respectively 53/60 and 24/60 (lower left), screenprint on wove paper, with publisher’s blindstamp (lower left).

Published by Galleria Multigraphic, Venice.

image: 29cm x 40cm (11 3/8in x 15 ¾in) and 29cm x 41cm (11 ½in x 16 1/8in) respectively (2)

£1,000-1,500

THOSE...PLANTS, 1980 (HEENK 58)

initialled and dated in crayon (lower centre) and numbered 48/100 (lower left), soft-ground etching with hand colouring on hand-made Stoneridge paper. Published

£800-1,200

265 §

ROBERT ADAMS (BRITISH 1917-1984)

UNTITLED, 1970

Sicilian marble

30.5cm high, 20cm wide, 4.8cm deep (12in high, 7 7/8in wide, 1 7/8in deep)

Provenance:

The Estate of the Artist; Gimpel Fils, London. £2,000-3,000

DAME BARBARA HEPWORTH D.B.E. (BRITISH 1903-1975)

SUN AND MOON (FROM ‘TWELVE LITHOGRAPHS’), 1969 signed in pencil (lower right) and numbered x22/30 (lower left), lithograph on paper with publisher’s blindstamp (lower left), from the total edition of 90 (numbered out of 30 and 60 respectively), plus 7 proofs

image: 73cm x 54.5cm (28 ¾in x 21 ½in); sheet: 81cm x 58cm (31 7/8in x 22 7/8in), unframed £2,000-3,000

267 §

SIR TERRY FROST R. A. (BRITISH 1915- 2003)

SIX CHRISMAS CARDS

five inscribed in pen or crayon to Breon & Doreen [O’Casey] from Kath & Terry [Frost], and variously inscribed, one dated 86 and one 89, gouache on card largest: 17cm x 13.3cm (6 5/8in x 5 ¼in) (6)

£800-1,200

SHAPING THE NATURAL WORLD

WORKS FROM THE STUDIO OF LAURENCE BRODERICK

This exceptional collection is a testament to Laurence Broderick’s enduring commitment to the natural world. Distilling figural and animal forms into fluid, organic curves, Broderick expresses not only his subjects’ likeness, but also articulates something of their personality and physicality.

This is all achieved through the expert manipulation of stone and bronze. Broderick tends to work with British stone, including English alabaster, Cornish soapstone, limestone from Hopton Wood and Ancaster and marble from Purbeck, Portsoy and Ledmore. The artist has stated that he does not use preparatory drawings, instead allowing the intrinsic quality of his material to inform the appearance of his sculpture as he carves. His work is usually highly polished to emphasise the smooth lines of his subject’s form and to enhance the intrinsic hues of his medium. However, on occasion he also implements passages of unpolished stone, as can be seen in Nude with Long Hair (lot 273) and Dancer I (lot 272).

Broderick is best known for The Bull (2003), installed at The Bull Ring in Birmingham, and for the otters that recur across his work. Following a visit to the Isle of Skye in 1978 Broderick was enchanted by his first sighting of a wild otter and devoted much of his later career to capturing the creature’s playful agility. The artist is a passionate campaigner for wildlife conservation, and many of his sculptures depict endangered species.

The following lots represent the first of two selections of the last works available directly from the Broderick studio archive.

268

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

DOWNING CAT

signed and numbered 4/7, patinated bronze 34cm high, 20cm wide (13 3/8in high, 7 7/8in wide)

269

LAURENCE BRODERICK

M.R.B.S. F.R.S.A. (BRITISH 1935-)

KOALA

signed and numbered 1/7, bronze 38.5cm high, 49.5cm wide (15 1/8in high, 19 ½in wide)

£1,000-1,500

£1,500-2,000

270

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

TEKO THE SWIMMING OTTER

signed, titled and numbered 46/100, patinated bronze 49cm high, 39cm wide (19 ¼in high, 15 3/8in wide) £2,000-3,000

272

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

DANCER I

signed, titled and numbered 2/4, bronze and verdigris bronze 34cm high, 34cm wide (13 3/8in high, 13 3/8in wide)

£800-1,200

271

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

FIGURE WITH LONG HAIR

signed, Ancaster stone 25cm high, 27cm wide (9 7/8in high, 10 5/8in wide)

273

LAURENCE BRODERICK

M.R.B.S. F.R.S.A. (BRITISH 1935-)

NUDE WITH LONG HAIR, 1999

signed, titled and dated, Cornish soapstone

27cm high, 43cm wide (10 5/8in high, 17in wide)

£1,000-1,500

£600-800

signed, titled and dated, English alabaster on green Indian marble base

66cm high, 28cm wide (26in high, 11in wide) including base

£1,500-2,000

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

EVE, 1996

276

275

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

14cm high (5 ½in high)

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) HERON III

signed, titled and numbered 5/7, bronze 18.5cm high, 26cm wide (7 ¼in high, 10 ¼in wide)

277

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

signed and dated, with foundry mark, patinated bronze 23cm high, 46cm wide (9in high, 18in wide)

£500-800

ELEPHANT CALF bronze

£400-600

RHINO, 1982

£1,200-1,800

278

THE FAMILY signed, titled and numbered 7/7, bronze 58cm high, 17cm wide (22 7/8in high, 6 ¾in wide) £1,000-1,500

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

MAQUETTE FOR ‘THE BULL’, BULLRING, BIRMINGHAM, 2003

signed, titled and numbered AC/10 (to edge of base), bronze, mounted on circular bronze base, from the edition of 10 artist’s casts including base: 36cm high, 80cm wide (14 1/8in high, 31 ½in wide) £3,000-5,000

280

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

REARING HORSE

signed, titled and numbered 4/10, patinated bronze 31.5cm high, 36cm wide (12 3/8in high, 14 1/8in wide) £600-800

281

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-) WILD BOAR

signed, titled and numbered 1/5, patinated bronze 12cm high, 22cm wide (4 ¾in high, 8 5/8in wide) £500-700

282

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

ELEPHANT GROUP

signed and numbered 2/10, with Morris Singer Foundry mark, bronze on marble base 20cm high, 34cm wide (7 7/8in high, 13 3/8in wide) including base £1,200-1,800

284

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

LITTLE SITTING NUDE

signed, titled and numbered 1/7, bronze on black marble base 14.5cm high, 15cm long (5 ¾in high, 5 7/8in long) including base

283

LAURENCE BRODERICK

M.R.B.S. F.R.S.A. (BRITISH 1935-)

JOUSTING

signed and numbered 1/10, verdigris bronze on black marble base

27cm high, 29 ½cm wide (10 5/8in high, 11 5/8in wide) including base

285

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

IT ALMOST FEELS LIKE THE REAL THING, 2009

signed, titled, dated and inscribed, pink Portuguese marble 12cm high, 29cm wide (4 ¾in high, 11 3/8in wide)

£700-1,000

£800-1,200

£700-1,000

286

LAURENCE BRODERICK

M.R.B.S. F.R.S.A. (BRITISH 1935-)

LEAPFROG II

signed, titled and numbered 2/7, verdigris bronze

55cm high, 28cm wide (21 5/8in high, 11in wide)

£1,000-1,500

287

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

SWIMMER BUTTERFLY

signed and numbered 1/4, with Morris Singer Foundry mark, patinated bronze on black marble base 22.5cm high, 49.5cm wide (8 7/8in high, 19 ½in wide) including base £800-1,200

288

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

FEMALE TORSO

initialled and inscribed A/C, bronze on black marble base, artist’s cast the bronze 6.5cm high (2 ½in high), including the base 19cm high (7 ½in high) £300-500

289

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

TURTLE LXIII, 2013

signed, titled and dated, Drumnadrochit serpentine on English alabaster base

15.2cm high, 33cm wide (6in high, 13in wide) £800-1,200

291

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

SLEEP OTTER CUB X, 1999

signed, titled and dated, Cornish soapstone 24cm high, 27cm wide (9 ½in high, 10 5/8in wide) £1,500-2,000

290

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

SKYE THE OTTER

signed, titled and numbered 2/9, patinated bronze 19cm high, 35cm wide (7 ½in high, 13 ¾in wide)

£1,500-2,000

OTHER PROPERTY

292 §

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

SALMON AND OTTER

signed, titled, inscribed AC, with Pangolin Editions foundry mark, verdigris bronze, an artist’s cast aside from the edition 18cm high, 15.5cm wide (7in high, 6 1/8in wide)

Provenance:

Private Collection, London. £500-800

293 §

LAURENCE BRODERICK M.R.B.S. F.R.S.A. (BRITISH 1935-)

GIRL NUDE

signed, titled, and numbered 2/7, with foundry mark, patinated bronze

25.5cm high, 40cm wide (10in high, 15 3/4in wide)

Provenance: Private Collection, London. £1,000-1,500

294 §

LAURENCE BRODERICK M.R.B.S.

F.R.S.A. (BRITISH 1935-)

TEKO MAQUETTE III

signed, titled, numbered 22/50, bronze 23cm high, 22.5cm wide (9in high, 8 7/8in wide)

Provenance:

Private Collection, London. £600-800

295 §

LAURENCE BRODERICK M.R.B.S.

F.R.S.A. (BRITISH 1935-)

PLAYFUL OTTER CUB MAQUETTE VIII

signed, titled, numbered 5/25, with foundry mark, bronze

12.5cm high, 19cm wide (5in high, 7 1/2in wide)

Provenance:

Private Collection, London. £500-800

296 §

HUBERT DALWOOD (BRITISH 1924-1976)

COLUMN STRUCTURE, 1967

laquered brass

4.7cm high, 6.8cm wide, 4.2cm deep (1 3/4in high, 2 5/8in wide, 1 5/8in deep)

Provenance:

Gimpel Fils, London.

£600-800

298 §

HUBERT DALWOOD (BRITISH 1924-1976)

BONZAI GARDEN I, 1974

bronze with plant, from the edition of 6

10.2cm x 49.5cm x 48.3cm (4in x 19 1/2in x 19in)

Provenance:

The Estate of the Artist; Gimpel Fils, London.

Exhibited:

New Art Centre, Wiltshire, Hubert Dalwood, 12 September - 8 November 2009.

Literature:

Stephens, Chris, The Sculpture of Hubert Dalwood, The Henry Moore Foundation in association with Lund Humphries Publishers, London, 1999, p.135, fig.159, no.234 (possibly this cast).

£1,000-1,500

297 §

HUBERT DALWOOD (BRITISH 1924-1976)

UNTITLED, c.1955-62

aluminium on slate base

43cm high, 15cm wide, 15cm deep (16 7/8cm high, 5 7/8in wide, 5 7/8in deep)

Provenance:

Mallam’s, Oxford, Modern Art & Design, 8 December 2021, lot 278 (sold as ‘Attributed to Hubert Dalwood’), where acquired by the present owner. £600-800

ALBERT IRVIN (BRITISH 1922-2015)

PROSPECT, 1980

signed and dated (to reverse), oil on canvas 213cm x 305cm (84in x 120in)

Provenance:

Gimpel Fils, London.

£4,000-6,000

Exhibited:

Acme Gallery, London: 1980; Coventry Gallery, Sydney, Australia, 1985; Advanced Graphics, London, Albert Irvin - A Celebration of Twenty Years of Printmaking with AGL 1980 - 2000, 3 November - 31 December 2000; Bloomberg SPACE, London, 1979, 4 August - 17 September 2005, illustrated.

Literature:

Moorhouse, Paul, Albert Irvin - Life to Painting, Lund Humphries, London, 1998, pp. 95-96, p.149, illustrated.

300 §

BERNARD MEADOWS (BRITISH 1915-2005)

TWO DIRECTOR RELIEFS, 1963 (OPUS 73) bronze, from the edition of 6 62cm x 36cm x 12cm (24 1/4in x 14 1/8in x 4 3/4in), 72cm x 35cm x 17cm (28 1/4in x 13 3/4in x 63/4in) respectively

Provenance:

Gimpel Fils, London.

Exhibited:

Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016.

Literature:

Bowness, Alan, Bernard Meadows: Sculpture & Drawings, Lund Humphries, London, 1995, BM 93, p.79, pl.61, illustrated (another cast). £2,000-3,000

302 §

301 §

KIT BARKER (BRITISH 1916-1988)

TWO CARAFES, 1959

signed and dated in pencil (lower right), mixed media on paper 33cm x 50.2cm (13in x 19 ¾in)

Provenance:

Bear Lane Gallery, Oxford, from whom acquired by Michael Palmer Esq., February 1961; Waddington Galleries, London. £300-500

R.B. KITAJ (AMERICAN 1932-2007)

POSTSCRIPT / THE TWIN BIRTHDATES OF MARTIN LUTHER, 1960

ink on partially burnt paper, laid on marbled paper

29cm x 22.8cm (11 3/8in x 9in)

Provenance:

Marlborough Fine Art, London; Tony Reichardt; His sale, Christies, London, Modern British Art & Irish Art, 11 July 2013, lot 320, where acquired by the present owner.

Exhibited:

Marlborough-Gerson Gallery, New York, R.B. Kitaj, February 1965, no.46. £1,000-1,500

303

ALEXANDER CALDER (AMERICAN 1898-1976) FOR ASCHER FABRICS

LA MER, 1947

signed in the screen by the artist (lower right) and publisher (lower left), screenprint on silk. 91.5cm x 91.5cm (36in x 36in)

Provenance:

The Ascher Family Collection; Whitford Fine Art, London, from whom acquired by the present owner, August 2021.

Exhibited:

Lefevre Gallery, London, 1947; Galerie Doucet, Paris, 1950; Neiman Marcus, Dallas, The Ascher Squares, 1975; Redfern Gallery, 1983;

Victoria and Albert Museum, London, Zika and Lida Ascher: Fabric - ArtFashion, 1987;

Comme de Garçons, Tokyo, Ascher Artists Scarves, 1990; Fine Art Center, Colorado Springs, Styling the Modern: Fine Art Meets Fashion, 2008;

Towner, Eastbourne, Designing the Everyday: from Bloomsbury and Ravilious to the Present Day, 2014.

Literature:

Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club, 2012, p.45. £1,000-1,500

304

§

COLIN SELF (BRITISH 1941-) AMERICAN INDIAN, 1970-71

signed and dated June 1970- finished 24th Oct 1971 (to reverse), ballpoint pen on paper

25.4cm x 34.3cm (10in x 13 1/8in)

Provenance:

Private Collection, acquired directly from the Artist; Their sale, Christie’s South Kensington, 20th Century British Art, lot 110, where acquired by the present owner.

Exhibited:

Pallant House Gallery, Chichester, Colin Self - Art in the Nuclear Age, 21 June - 12 October 2008.

Literature:

Martin, Simon and Livingstone, Marco, Colin Self - Art in the Nuclear Age, AVA Publishing, 2008, pp.12 & 64. £700-1,000

KOBE (JACQUES SAELENS) (BELGIAN 1950-2014)

SEATED LADY

signed and numbered 3/8, verdigris bronze 53cm high, 34cm wide (20 7/8in high, 13 3/8in wide)

Provenance: Private Collection, U.K.

£2,000-3,000

307 §

LOET

signed LOET and numbered 254/500, patinated bronze 12cm high, 18cm wide (4 ¾in high, 7in wide) £600-800

306 §

LOET VANDERVEEN (DUTCH 1921-2015)

signed LOET and numbered 178/750, bronze 14cm high, 34cm wide (5 ½in high, 13 3/8in wide) £800-1,200

308

NICHOLA

signed and numbered 21./24., stoneware 30.5cm high, 61cm wide (12in high, 24in wide) £500-800

VANDERVEEN (DUTCH 1921-2015) WALRUS

PLAYFUL CHEETAHS

THEAKSTON (BRITISH 1967-) WHITE RHINO

HAMISH MACKIE (BRITISH

1973-)

LEOPARD COMING OUT OF A TREE, 2008

initialled, dated and numbered 11/12, patinated bronze 67.5cm high, 35.5cm wide (26 5/8in high, 14in wide)

Provenance:

Private Collection, London.

£3,000-5,000

CONTEMPORARY CRAFT

310 §

AKIKO HIRAI (JAPANESE 1970-)

SAKE BOTTLE AND CUP

each with painted maker’s mark, stoneware with porcelain deposits

the bottle: 14cm high (5 ½in high); the cup: 4.9cm high (1 7/8in high)

£500-700

311 §

AKIKO HIRAI (JAPANESE 1970-)

SIX ‘MORANDI’ BOTTLES

each incised maker’s initials, glazed stoneware the tallest 21.7cm high (8 ½in high)

£800-1,200

312

PETER BEARD (BRITISH 1951-)

SHELL FORM, 2023

impressed maker’s seals, stoneware on Cumbrian Blue slate base 44cm high including base, 28.3cm wide (17 1/4in high including base, 11 1/8in wide)

£1,500-2,000

313 §

GABRIELE KOCH (GERMAN 1948-)

VESSEL signed (to base), earthenware, smoke fired and burnished 34cm high, 34cm wide (13 1/2in high, 13 1/2in wide)

Provenance: Anthony Hepworth Gallery, Bath; Private Collection, U.K. £300-500

314

PETER BEARD (BRITISH 1951-)

VESSEL, 2023

impressed maker’s seals, stoneware, with dash pattern 26.5cm high (10 1/2in high)

£1,200-1,800

Provenance: Private Collection, U.K.

DAVID ROBERTS (BRITISH 1947-) VESSEL impressed maker’s seal, raku 47cm high, 35cm wide (18 1/2in high, 13 3/4in wide)

£500-700

316 §

PAUL PHILP (BRITISH 1941-) ANCHOR FORM

impressed maker’s seal, stoneware 26cm high, 38cm wide (10 ¼in high, 15in wide)

Provenance: Private Collection, U.K.

£800-1,200

317 §

PAUL PHILP (BRITISH 1941-) FOOTED BOWL

impressed maker’s seal, stoneware

13.5cm high, 22.8cm diameter

(5 ¼in high, 9in diameter)

£500-700

318 §

PAUL PHILP (BRITISH 1941-) LARGE FLAT VESSEL

impressed maker’s seal, stoneware

50.5cm high, 47cm wide (19 7/8in high, 18 ½in wide)

Provenance: Private Collection, U.K.

£1,000-1,500

319 § PETER HAYES (BRITISH 1946-)

HEAD I, 2000

signed, dated and numbered (to the base), stoneware on stone base 36cm high (14 ¼in high) including base £300-500

320

PETER BEARD (BRITISH 1951-)

SAIL FORM

initialled PFB and numbered 24/25, bronze on Cumbrian Blue slate base

38.5cm high including base, 12cm wide (15 1/4in high including base, 4 3/4in wide) £800-1,200

EWEN HENDERSON FLUXED EARTH

For the celebrated British sculptor Ewen Henderson, ‘fluxed earth’, as he called clay, was capable of transforming and growing into abstract new forms. Remembered today for his expressive and emotive use of his materials, Henderson’s legacy as one of the most influential and innovative ceramicists of the late-twentieth century in Britain is a testament to his creativity and passion.

Born in Staffordshire in 1934, Ewen Henderson’s first foray into the arts was as a part-time student when he enrolled in evening classes during his National Service. From 1964, he became a full-time student at Goldsmiths College and then studied ceramics at Camberwell School of Art, where he was taught by Lucie Rie, Hans Coper, and Ian Godfrey. The technical mastery that Henderson developed and inherited from his teachers is immediately apparent when handling one of his ceramics. However, unlike Lucie Rie’s celebrated smooth and symmetrical forms, Henderson found success in his naturalistic and splintered pieces. Henderson soon abandoned his traditional potter’s wheel and opted to work by hand, feeling a greater dynamism that romantically connected him with the naturalistic asymmetry that was inherent to his materials.

During Henderson’s long career, he established himself as a prominent figure in modern British ceramics. With influences that ranged from ancient Mediterranean, Far Eastern, and Pre-Colombian cultures to early modernist sculpture, he developed his signature technique of applying different types of clay to compose a coherent and contemporary approach to his craft. After his formal training, Henderson continued to work at the Camberwell School of Art from 1970 until his death in 2000. Over these three decades, his work evolved and developed as he continually explored and experimented with the limits of clay as a means of three-dimensional drawing.

We are delighted to be able to offer a curated selection of works by Ewen Henderson that tell the story of the artist’s career, from works such as his two early vessels (lots 321 and 324), whose elegant simplicity of form and shows his interest in ancient and Far Eastern civilisations. This continuation of his stylistic journey can be seen when considered alongside pieces such as his Standing Vessel (lot 325) from the 1980s, through to his Amphora Form (lot 326) from circa 1992 – demonstrative of Henderson’s fascination with the power of clay and how its materiality could be manipulated in evocative manners to create fascinating works of art that interrogate form and functionality.

321 § EWEN HENDERSON (BRITISH 1934-2000) EARLY VESSEL mixed laminated clays 34.5cm high, 24cm wide (13 5/8in high, 9 ½in wide)

Provenance: Private Collection, U.K. £600-800

323 §

OPEN BOWL

mixed laminated stoneware, with light blue colour glaze 6cm high, 19cm wide (2 3/8in high, 7 ½in wide)

322 §

TEA BOWL, 1990s

mixed laminated clays, textured surface with white, pink and grey colours 7.3cm high, 11cm wide (2 7/8in high, 4 3/8in wide)

324 §

EARLY VESSEL

mixed laminated clays

18.5cm high, 29cm wide (7 ¼in high, 11 3/8in wide)

Provenance: Private Collection, U.K.

EWEN HENDERSON (BRITISH 1934-2000)

£500-800

EWEN HENDERSON (BRITISH 1934-2000)

£600-800

EWEN HENDERSON (BRITISH 1934-2000)

£300-500

WORKS FROM THE STEVE ALLISON COLLECTION

325 §

EWEN HENDERSON (BRITISH 1934-2000)

STANDING VESSEL, 1980s mixed laminated clays, textured volcanic surface with pink, cream, dark brown and blue colours 23cm high, 15.5cm wide (9in high, 6 1/8in wide)

Provenance:

Exhibition Hall of Ceramics and Gallery of Applied Arts, Krefeld, Germany, 2018; The Steve Allison Collection. £1,000-1,500

326 §

EWEN HENDERSON (BRITISH 1934-2000)

AMPHORA FORM, c.1992 mixed laminated clays, thick volcanic surfaces in mottled green, brown and cream colours 13cm high, 29cm wide (5 1/8in high, 11 3/8in wide)

Provenance:

MAAK Contemporary Ceramics, London, 25, June 2020, lot 60; The Steve Allison Collection. £1,000-1,500

327 §

EWEN HENDERSON (BRITISH 1934-2000)

FOOTED VASE, 1970s

stoneware, with running glazes 10cm high, 5cm wide (4in high, 2in wide)

Provenance:

The Steve Allison Collection. £250-350

328 §

EWEN HENDERSON (BRITISH 1934-2000)

TEA BOWL, c.1990

mixed laminated clays, textured surface with cream, dark brown and pink colours 8cm high, 9.5cm wide (3 1/8in high, 3 ¾in wide)

Provenance:

St Ives Ceramics, April 2017; The Steve Allison Collection. £500-700

329 §

EWEN HENDERSON (BRITISH 1934-2000)

TEA BOWL, c.1990

mixed laminated clays, textured volcanic glazes

in brown ochre, green, pink and blue colours 11.5cm high, 11cm wide (4 ½in high, 4 3/8in wide)

Provenance:

St Ives Ceramics, April 2017;

The Steve Allison Collection. £600-800

330 §

EWEN HENDERSON (BRITISH 1934-2000)

TEA BOWL

mixed laminated clays, heavily-textured crawling surface in pale pink, blue and black 13cm high, 11cm wide (5 1/8in high, 4 3/8in wide)

Provenance:

Oxford Ceramics, Oxford, March 2018; The Steve Allison Collection. £600-800

WORKS FROM THE STEVE ALLISON COLLECTION

EWEN HENDERSON (BRITISH 1934-2000)

HEAD FORM

mixed laminated glazes, thick volcanic glazes in white, yellow and bronze colours

11cm high, 29cm wide (4 3/8in high, 11 3/8in wide)

Provenance:

Oxford Ceramics, May 2020; The Steve Allison Collection. £1,000-1,500

SELECTED WORKS FROM THE HAMME COLLECTION

“I have spent a lifetime in awe of nature and never tire of studying it. Every piece I make enhances my understanding. My aim is to develop my ability as a craftsman to communicate this deep admiration through my work.”

Martin Baker in ‘Contemporary British Silver Designers: The Lion & Hamme Collections. p. 223.

MARTIN BAKER (BRITISH 1952-) AND JANE SHORT (BRITISH 1954-) TRICORN BOWL, 1993

stamped maker’s mark and hallmarked for London 1993, initialled MB 93 (to each dragon), silver and enamel 8.6cm high, 21.5cm wide (3 3/8in high, 8 3/8in wide), approximately 1935 grammes

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 225, fig. 451, illustrated. £5,000-7,000

Martin Baker’s practice is a celebration of nature. He works across numerous mediums including silver, gold, enamel, carved stone, glass, and wood - choosing each piece with care to best realise his designs. Baker attended the Central School of Art and the Royal College of Art where he was contemporary with Jane Short, with whom he shared a studio. Baker and Short joined forces for this piece, with Baker carving the dragons and Short executing the enamel - the result of which being a harmonious and elegant design that shows a clear understanding of each other’s sensibilities and design approach.

Baker’s work is held in important collections internationally including the Victoria & Albert Museum in London, and the cvorporate collections of Tiffany, De Beers, and Disney.

333 §

MARTIN BAKER (BRITISH 1952-)

STRAWBERRY POT, 1990

stamped maker’s mark and hallmarked for London 1990, silver and enamel with coloured glass liner and silver spoon the pot 14cm high, 8.5cm diameter (5 ½in high, 3 ¼in diameter) approximately 444 grammes; the spoon 19cm long (7 ½in long), approximately 54 grammes

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 224, fig. 450, illustrated.

£1,200-1,800

334 §

MARTIN BAKER (BRITISH 1952-)

AND GILLIE HOYTE BYROM (BRITISH CONTEMPORARY)

‘STORM’ CENTREPIECE, 2008

stamped maker’s mark and hallmarked for London 2008, sterling silver, silver gilt and enamel 26.5cm long, 7cm high, 13.3cm wide (10 ½in long, 2 ¾in high, 5 ¼in wide)

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 239, fig. 469, illustrated.

£7,000-9,000

The name Fred Rich has become synonymous with the fine craft of contemporary British silver as one of the leading designers of the moment, particularly in the area of art enamelling. Rich studied at the Central School of Art and Design in London before continuing his studies at the Sir John Cass School of Art in enamelling. It was during this time that his experimentations with bold colours and enamel emerged and would later become his trademark.

During the 1980s, Rich received numerous accolades and important commissions, beginning with The Worshipful Company of Goldsmiths acquiring the enamelled vase for which he won another award in 1982. In 1983, he started exhibiting at the Goldsmiths Fair, primarily displaying jewellery and small pieces of silver. In 1984, De Beers

335 §

FRED RICH (BRITISH 1954-) ‘THE MEADOWS VASE’, 1997 signed Fred Rich 97, 18ct gold with silver gilt and cloisonné enamel with 22ct cloisonne, with box 17.1cm high, 10.7cm diameter (6 ¾in high, 4 ¼in diameter)

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 249, fig. 488, illustrated. £20,000-30,000

purchased one of his necklaces for the winning trainer of the King George VI and Queen Elizabeth Diamond Stakes. Commissions arrived from the British Museum, De Beers, Lambeth Palace and the World Gold Council.

This vase is important in that it was his first piece to employ 18ct gold as the base. It depicts an abundance of vivid flowers and butterflies in flight, with each flower represented originating from the garden of the commissioner. The vase is elegantly fitted with a silver gilt foot that elevates and enlivens the naturalistic composition to the vase’s band. Rich’s use of relief carving gives the enamel definition and vitality, and he regards this as the ‘brush strokes in a painting’ in his work, which is immediately apparent with this piece.

336 §

MAUREEN EDGAR (BRITISH 1949-)

‘PARADISE GARDEN’ CUP, 2000

stamped maker’s mark and hallmarked for Edinburgh 2000, sterling silver and enamel with gilded interior 10cm high, 13cm diameter (4in high, 5 1/8in diameter)

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 232, fig. 460, illustrated. £5,000-7,000

KATHRYN HINTON (BRITISH CONTEMPORARY)

RELAXED CAKE STAND, 2008

stamped maker’s mark and hallmarked for London 2008, sterling silver and lacquered sycamore

11.5cm high, 25cm diameter (4 ½in high, 9 ¾in diameter); the slice 21cm long (8 ¼in long)

Provenance:

Commissioned from the artist following her RCA degree show.

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 238, fig. 468, illustrated. £1,000-1,500

337 §

338 §

CLIVE BURR (BRITISH CONTEMPORARY) AND JANE SHORT (BRITISH 1954-) CRYSTAL CLOCK, 1990

stamped maker’s mark and hallmarked for London 1990, glass and enamel 17cm high, 11.2cm wide (6 ¾in high, 4 7/8in wide)

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 230, fig. 457, illustrated. £2,500-3,500

339 §

WALLY GILBERT (BRITISH CONTEMPORARY)

TALL VASE, 2011

stamped maker’s mark and hallmarked for Birmingham 2011, chased sterling silver with glass liner and slate stand 49.5cm high, 7.5cm diameter (19 ½in high, 3in diameter), approximately 1264 grammes

Literature:

Davis, John and Gordon Hamme. Contemporary British Silver Designers: The Lion & Hamme Collections. ACC Art Books: Suffolk, 2022, p. 235, fig. 464, illustrated. £1,500-2,000

340 §

341 §

WALLY GILBERT (BRITISH 1946-)

BEAKER, 2006

stamped maker’s mark and hallmarked for Birmingham 2006, silver and silver gilt

11.2cm high (4 3/8in high), approximately 252 grammes

£800-1,200

CHRIS KNIGHT (BRITISH 1964-)

DOUBLE-ENDED DRINKING VESSEL, 1995

stamped maker’s mark and hallmarked for Sheffield 1995, silver and silver gilt

16cm high (6 1/4in high), approximately 220 grammes

£800-1,200

342 §

SHIMARA CARLOW (IRISH 1979-)

BOWL, 2005

stamped maker’s mark and hallmarked for Edinburgh 2005, silver

12.3cm high, 15cm wide (4 7/8in high, 5 7/8in wide), approximately 547 grammes

£400-600

343 §

stamped maker’s mark and hallmarked for London 1980, the outside of the bowl embossed and chased with a foliate design, Britannia silver and silvergilt 5cm high, 7cm diameter (2in high, 2 3/4in diameter), approximately 100 grammes

345 §

344 §

stamped maker’s mark and hallmarked for Edinburgh 2010, Britannia silver

15cm high, 36cm diameter (5 7/8in high, 14 1/4in diameter), approximately 1818 grammes £2,000-3,000

stamped maker’s mark and hallmarked for London 1980, the outside of the bowl embossed and chased with a foliate design, Britannia silver 5cm high, 7.5cm diameter (2in high, 2 7/8in diameter), approximately 98.8 grammes

ADRIAN HOPE (BRITISH 1953-) LARGE FOOTED BOWL, 2010

MICHAEL LLOYD (BRITISH 1950-) TUMBLER, 1980

£700-900

MICHAEL LLOYD (BRITISH 1950-) TUMBLER, 1980

£700-900

347 §

CREAM JUG, 1989

346 §

ABIGAIL BROWN (BRITISH CONTEMPORARY)

ROUND ‘FOLDS’ BOX, 2007

stamped maker’s mark and hallmarked for Birmingham 2007, sterling silver and leather 5.9cm high, 4.9cm diameter (2 ¼in high, 1 ¾in diamter)

stamped maker’s mark and hallmarked for London 1989, sterling silver with gilt interior 12.5cm high, 6cm wide (4 ¾in high, 2 3/8in wide), approximately 223 grammes

348 §

stamped maker’s mark and hallmarked for London 2001, silver 6cm high, 10cm wide (2 3/8in high, 4in wide), approximately 109 grammes

£250-350

TOM TUDOR-POLE (BRITISH CONTEMPORARY)

£250-350

DEBBIE NOBLE (BRITISH 1968-) MANIPULATED VESSEL, 2001

£200-300

349 §

DEBBIE NOBLE (BRITISH 1968-)

MANIPULATED VESSEL, 1998 stamped maker’s mark and hallmarked for London 1998, silver

7.5cm high, 15cm wide (3in high, 5 7/8in wide), approximately 242 grammes

£300-400

350 §

THERESA NGUYEN (BRITISH 1985-)

‘TULIPI’, ‘EVERLASTING ARMS’ AND ‘PETAL’ BOWLS

with maker’s mark and hallmarked for Birmingham, Brittania silver 8.5cm wide, 20.5cm wide, 14.5cm wide (3 3/8in wide, 8in wide, 5 ¾in wide), approximately 203 grammes (3)

Provenance:

Purchased from the Artist at the Schoonhoven Silver Festival, The Netherlands, May 2012, by the present owner.

£1,000-1,500

CRUCIFIXION, c.1961-64

gilt bronze, prototype for the central part of the new altar cross of Ely Cathedral 15.2cm high, 17.8cm wide (6in high, 7in wide)

Provenance:

Acquired when Osman’s house, Harpton Court, Presteigne, was sold by his daughter, Marie-Louise; Brightwells, Leominster, 16 March 2016, lot 673, where acquired by the present owner. £2,500-3,500

Designed by Graham Sutherland and Louis Osman, the new cross for Ely Cathedral was unveiled in 1964 and the four feet high work was created to be the focal point for tens of thousands of visitors and worshippers who visited the Cathedral. The finished work shows the twisted body of an ascending Christ, before curving petals or flames in silver, and a projecting form made in black niello enamel on silver. The work was jointly designed over three years by Sutherland and Osman and the cost - several

thousand pounds - was paid by the Worshipful Company of Goldsmiths and by public subscription.

Ely Cathedral subsequently sold the full work to Winston Churchill's great friends, art collectors Emery and Wendy Reves, who displayed it for many years in their home in the south of France. Sometime after Emery died in 1981 it was on loan and exhibited in the Dallas Museum of Art, alongside Osman's drawings.

351 § LOUIS OSMAN (BRITISH 1914-1996) AND GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

Louis Osman with the finished Ely Cross at Goldsmith’s Hall in London in 1964. Image ©Keystone Pictures USA/ZUMAPRESS

POT

impressed maker’s mark, stoneware 26cm high, 21.2cm wide (10 ¼in high, 8 3/8in wide)

Provenance: Private Collection, U.K.

impressed maker’s seals, stoneware 12cm high and 10cm high (4 ¾in high and 4in high) (2)

Provenance: Private Collection, U.K. £400-600

353 § JOANNA CONSTANTINIDIS (BRITISH 1927-2000) TWO POTS

352 § JOANNA CONSTANTINIDIS (BRITISH 1927-2000)

WITH EXTENDED RIM

£600-800

JOANNA CONSTANTINIDIS (BRITISH 1927-2000)

EIGHT BOWLS

impressed maker’s marks, porcelain each approximately 8cm high, 13cm wide (3 1/8in high, 5 1/8in wide) and one 14cm wide (5 ½in wide) (8)

Provenance: Private Collection, U.K. £500-700

355

BOWL

impressed maker’s mark, porcelain, crackled celadon glaze with gold decoration

5.5cm high, 28.9cm diameter (2 1/8in high, 11 3/8in diameter) £600-800

356

THREE BOWLS, c.1975

impressed maker’s marks, stoneware, each with a cream interior with blue ring and cross hatch disc in the well 12.5cm high, 23.5cm diameter

(4 7/8in high, 9 ¼in diameter); 11cm high, 20cm diameter

(4 3/8in, 3 7/8in diameter); 9.7cm high, 17.5cm diameter

(3 7/8in high, 6 7/8in diameter) (3)

Provenance:

The Berkeley Collection; Maak Contemporary Ceramics, London, 15 November 2012, from whom acquired by the present owner. £400-600

GWYN HANSSEN PIGOTT (AUSTRALIAN 1935-2013)

GWYN HANSSEN PIGOTT (AUSTRALIAN 1935-2013)

357

SHOZO MICHIKAWA (JAPANESE 1953-)

KOHIKI BOWL, 2005

incised maker’s mark, stoneware

15cm high, 30.8cm wide (5 7/8in high, 12 1/8in wide)

358 §

TAKESHI YASUDA (JAPANESE 1943-)

PLATTER WITH HANDLE, 1999

porcelain, with creamware glaze

30.4cm diameter (12in diameter) £300-500

£500-800

359

GUSTAVO PEREZ (MEXICAN 1950-)

VASE-SCULPTURE, 2013

initialled and numbered GP 13-109, stoneware 21.5cm high, 30cm wide (8 ½in high, 11 ¾in wide)

360

GUSTAVO PEREZ (MEXICAN 1950-)

VASE-SCULPTURE, 2012

initialled and numbered GP 12-48, stoneware 24cm high, 27cm wide (9 ½in high, 10 5/8in wide)

£1,200-1,800

£1,200-1,800

361 §

NICHOLAS HOMOKY (HUNGARIAN/BRITISH 1950-)

impressed maker’s seal, porcelain, black inlaid linear design inside and out

13cm high, 19cm diameter (5 1/8in high, 7 ½in diameter)

Provenance: Private Collection, U.K.

362 §

NICHOLAS HOMOKY (HUNGARIAN/BRITISH 1950-)

impressed maker’s seal, porcelain, black inlaid linear designs inside and out

13.5cm high, 17cm diameter (5 ¼in high, 6 ¾in diameter)

Provenance: Private Collection, U.K.

£400-600

BOWL

£500-700

BOWL

364 §

JOHN WARD (BRITISH 1938-2023)

VESSEL WITH CUT RIM, c.1994

impressed maker’s seal, stoneware, off-set circular design

12.5cm high, 11cm wide (4 7/8in high, 4 3/8in wide)

Provenance:

Private Collection, U.K.

£1,500-2,000

363 §

JOHN WARD (BRITISH 1938-2023)

ROUND POT WITH SQUARE NECK

impressed maker’s seal, stoneware, inlaid design forming concentric circles

25.3cm high, 19.5cm wide (10in high, 7 5/8in wide)

Provenance:

Private Collection, U.K.

£1,500-2,000

‘ENGINEERING CRAFT’

RICHARD KELL (BRITISH 1958-)

Since January 1983, when he began working as a craftsman, Richard Kell has honed his skill and developed a signature style that established him as one of the finest and most talented makers in Britain. He is celebrated not only for the creation of unique honing guides for woodworkers, but also for his wide range of objects that span from large and commanding sun dials to delicate and intricately carved boxes that require carefully considered and well-engineered construction. Meticulous design and high workshop standards are at the core of all his work.

Kell’s early formation into life as a craftsman began at home in his father’s workshop where he would read magazines on woodworking and model engineering. He notes that one particular catalyst that stirred his interest was an article on David Pye in the Craft Council Magazine from around 1979-80, which stressed the importance of design when constructing an object. This interest was nourished at school and then Kell undertook a five-year apprenticeship at Hardys of Alnwick, followed by four years in their Design and Development Department. This training set him up for immediate success when he was awarded with a grant from the Craft Council in 1982, which he refers to as ‘a wonderful vote of confidence’.

We are delighted to be offering this rare collection of early works by Kell that demonstrate his passion for craftmanship, and his capacity to carve out highly-detailed forms on the most miniature scale retaining an elegance and confidence in their presentation. He began his career creating these containers for institutions such as Prescote Gallery, the Victoria & Albert Museum Craft Shop, and Contemporary Applied Arts in the early 1980s, and this private single-owner collection (lots 365 to 375) attests to his capacity to connect with his audience through the intimacy that is expressed in the materiality of his work. Jewellery boxes are intrinsically personal objects and Kell’s mastery over his technique allows him to create elegant and engaging works that draw on this connection between an object and its user. The way in which Kell consciously chooses different types of wood for the outer box and the inner layers further add to this modest elegance and prove an exciting discovery for the user.

During the later 1980s and throughout the 1990s, Kell developed and produced many innovative tools for craftsmen, securing his legacy as a true authority of his craft and allowing him to share his knowledge and skills with his communities. The 2000s saw Kell receive numerous important commissions including a group of six kinetic sculptures for David Linley’s showroom in London in 2001, and a sundial for the Crathes Estate in Aberdeenshire in 2005. His work, and in particular his earlier pieces, are highly coveted today and testify to the successful career that lay before him.

365 §

RICHARD KELL (BRITISH 1958-)

TWO JEWELLERY

BOXES

the octagonal example stamped RICHARD KELL MAKER NO.

233B, blackwood with boxwood trays and nickel hinge; the square example stamped RKELL MAKER NO.

133, blackwood with boxwood trays and nickel hinge

the octagonal example 7cm high (2 ¾in high); the square example 8cm high (3 1/8in high) (2)

Provenance:

Purchased from the Bluecoat Display Centre, Liverpool, by the present owner. £500-700

366 §

RICHARD KELL (BRITISH 1958-)

TWO COMPACT BOXES

each stamped RICHARD KELL MAKER and numbered, blackwood with nickel hinges and one with maple lined interior; together with two boxes, each stamped RICHARD KELL MAKER and numbered, blackwood with maple lined interior

the largest compact 1.7cm high, 8cm diameter (½in high, 3 ¼in diameter), the smaller compact 1.5cm high, 7.5cm diameter (½in high, 3in diameter); the larger box 4cm high (1 ½in high), the smaller box 3.5cm high (1 ¼in high) (4)

Provenance:

Purchased from the maker by the present owner. £500-700

368 § RICHARD KELL (BRITISH 1958-)

DICE SHAKER

stamped RICHARD KELL MAKER NO. 625, blackwood with inlaid decoration with two blackwood dice inlaid with maple 10cm high (4in high) (3)

Provenance:

Purchased from the maker by the present owner.

£300-500

367 §

RICHARD KELL (BRITISH 1958-)

TWO JEWELLERY BOXES

each stamped RICHARD KELL MAKER and numbered, blackwood with boxwood interior trays and nickel hinges the larger box 10cm high (4in high); the smaller box 6.9cm high (2 ¾in high) (2)

Provenance:

Bluecoat Display Centre, Liverpool.

£500-800

369 § RICHARD KELL (BRITISH 1958-)

TWO SEWING BOXES

the larger box stamped RK 675, blackwood with inlaid decoration and maple interior and a blackwood thimble; the smaller box stamped RICHARD KELL MAKER 630, blackwood with maple interior

the larger box 6cm high, 7.7cm diameter (2 3/8in high, 3in diameter); the smaller box 9.5cm high, 3.8cm diameter (3 ¾in high, 1 ½in diameter) (3)

Provenance:

Purchased from the maker by the present owner.

£500-800

370 §

RICHARD KELL (BRITISH 1958-)

FOUR PILL BOXES

each numbered, two stamped RKELL MAKER and one stamped RICHARD KELL MAKER, blackwood with maple lined interior and nickel hinge

the largest box 2.9cm high (1 1/8in high) (4)

Provenance:

Purchased from the Hartree Prescott exhibition, Bluecoat Display Centre, 1983, by the present owner.

£500-700

371 §

RICHARD KELL (BRITISH 1958-)

THREE JEWELLERY BOXES

the widest example stamped RICHARD KELL MAKER NO. 604, blackwood with maple lining and nickel hinge; the other two examples stamped RKELL MAKER and numbered, blackwood with boxwood trays and one with maple inlay to the lid

the widest example 2.5cm high (1in high); the maple inlaid example 4.7cm high (1 ¾in high); the further example 5.2cm high (2 1/8in high) (3)

Provenance:

Purchased from the Bluecoat Display Centre, Liverpool by the present owner.

£400-700

372 §

RICHARD KELL (BRITISH 1958-)

TWO JEWELLERY BOXES

each stamped RICHARD KELL MAKER and numbered, blackwood with boxwood interior trays and nickel hinges

the larger box 11.3cm high (4 ½in high); the smaller box 7.4cm high (3in high) (2)

Provenance:

The larger box purchased from the maker, and the smaller box purchased from the Bluecoat Display Centre, Liverpool.

£700-900

373 §

JEWELLERY BOX

stamped RICHARD KELL 401, blackwood with recessed maple lined trays

2.2cm high, 15.2cm long, 6cm wide (1in high, 6in long, 2 3/8in wide)

Provenance: Purchased from the maker by the present owner. £300-500

374 §

FOUR BOXES

each signed and numbered in pencil, blackwood with boxwood lined interior each 14.7cm high (5 ¾in high) (4)

Provenance: Purchased from the maker by the present owner. £600-900

RICHARD KELL (BRITISH 1958-)

RICHARD KELL (BRITISH 1958-)

375 § RICHARD KELL (BRITISH 1958-)

TWO JEWELLERY BOXES

each stamped RICHARD KELL MAKER and numbered, maple with anodised aluminium mechanism

each 10.6cm high (4 1/8in high) (2)

Provenance:

Purchased from the maker by the present owner.

£500-800

VASE, 1982

signed and dated, glass

21.5cm high, 19cm wide (8 ½in high, 7 ½in wide)

Provenance: Private Collection, U.K.

£400-600

“ [Glass is]... like a dance … it requires immense attention and foresight to handle a material that has what amounts to a life of its own in a molten state.”

SAM HERMAN (AMERICAN/BRITISH 1936-2020)

SAM HERMAN (AMERICAN/BRITISH 1936-2020)

17.3cm high, 22.5cm wide (6 ¾in high, 8 7/8in wide)

Sam Herman

378 §

PAVEL HLOSKA (CZECH 1953-)

BLUE LENS, 2003 optical glass

7.5cm high, 28cm diameter (3in high, 11in diameter)

Provenance:

Etienne Gallery, Oisterwijk, Netherlands, 2005, from whom acquired by the present owner. £600-900

379 §

WINNIE TESCHMACHER (DUTCH 1958-)

EYE INSIDE optical glass

5Cm high, 38.7cm diameter (2in high, 15 1/4in diameter)

Provenance:

Etienne Gallery, Oisterwijk, Netherlands, 2005, from whom acquired by the present owner.

380 §

MARIANNE BUUS (DANISH 1967-)

VASE

signed (to base), blown and cut glass 34cm high (13 3/8in high)

Provenance:

The Artist, from whom acquired by the present owner, 2005; Private Collection, U.K. £200-300

381 §

ALICE KETTLE (BRITISH 1961-)

JOURNEY, c.2015

machine embroidery

36cm x 30cm (14 ¼in x 11 ¾in)

Provenance:

Art in Action, c.2004, from whom acquired by the present owner.

£500-800

“ To see a rug grow so slowly, from thread after thread, was one of the greatest delights of my life! I loved weaving. If my legs allowed me, I would be working away still. It is the most delightful of occupations…Each rug is guaranteed to make you despair at least once, to curse the lack of exact colour you want, to make do with what you have to, turn water into wine. It has helped me with my painting. Painting is so quick. To decide to put a red line across a painting, and it’s done, and then what. To put a red line across a rug takes the best part of a morning and during that time the next step is clear. ”

Breon O’Casey

382 §

BREON O’CASEY (BRITISH 1928-2011)

‘COLOURED HILLS’ RUG

wool

133.5cm x 111cm (52 ½in x 43 5/8in)

Provenance:

Private Collection, U.K.

Literature:

Fallon, Brian and Breon O’Casey, Breon O’Casey, Scolar Press, Aldershot, 1999, p.140, illustrated.

£4,000-6,000

384 §

BREON O’CASEY (BRITISH 1928-2011)

RIVER, 2001

383 §

BREON O’CASEY (BRITISH 1928-2011)

FIGURE 1, 2008

signed and dated in pencil (lower right), numbered 5/15 (lower left), screenprint on wove paper

image: 59cm x 29cm (29 ¾in x 11 3/8in); sheet: 76cm x 45.2cm (29 7/8in x 17 ¾in)

Provenance:

Private Collection, U.K. £800-1,200

signed and dated MMI in pencil (lower right), inscribed BAT (lower left), screenprint on wove paper

image: 40.5cm x 56cm (15 7/8in x 22in); sheet: 58cm x 76cm (22 7/8in x 29 7/8in)

Provenance:

Private Collection, U.K. £1,000-1,500

385 §

BREON O’CASEY (BRITISH 1928-2011)

BLUE FIGURE, 2009

signed and dated in pencil (lower right), numbered 15/15 (lower left), screenprint on wove paper

image: 39.5cm x 43.5cm (15 ½in x 17 1/8in); sheet: 58cm x 60.5cm (22 ¾in x 23 ¾in)

Provenance:

Private Collection, U.K. £1,000-1,500

386 §

BREON O’CASEY (BRITISH 1928-2011)

COCKEREL

stamped BOC, white metal

9.4cm high, 11cm wide (3 ¾in high, 4 3/8in wide)

£1,500-2,000

387 §

GUY TAPLIN (BRITISH 1939-)

SWAN

signed and titled SWAN GUY TAPLIN (to base), painted wood 79cm high, 77cm deep (31in high, 30 1/2in deep)

Provenance: Private Collection, U.K. £2,000-3,000

388 §

GUY TAPLIN (BRITISH 1939-)

TEAL

signed, titled and numbered 6, painted driftwood 11cm high, 22.5cm long (4 ¼in high, 8 7/8in long)

Provenance: Private Collection, U.K. £300-500

389 §

BRYAN ILLSLEY (BRITISH 1937-2024) NECKLACE

hallmarked for London, silver drop 21.5cm (8 ½in)

Provenance: Private Collection, U.K. £300-500

390 §

ALAIN LEROLLE (FRENCH 1947-2012) TWO BROOCHES

each signed A Lerolle Paris and one numbered 1/1, mixed metals with applied elements, one set with a round-cut diamond and a round-cut sapphire and the other with two cultured pearls 14.7cm wide and 11cm wide (5 ¾in x 4 3/8in) (2)

Provenance: Private Collection, U.K. £300-500

391

BJÖRN WECKSTRÖM (FINNISH 1935-) FOR LAPPONIA ‘ORCHID PSYCHEDELIC’ NECKLACE AND BRACELET, 1991 each stamped 585 / O8 / LAPPONIA, gold necklace drop 17cm (6 5/8in), approximately 45.4 grammes (2)

Provenance: Private Collection, U.K. £1,500-2,000

§

392

CLAUDE LALANNE (FRENCH 1925-2019)

COLLIER ‘RONCE’, DESIGNED 1989

stamped C.LALANNE, numbered 42/150 with the maker’s and editor’s marks ARTCURIAL, traces of vermeil finish 48cm drop (19in drop)

Provenance: Private Collection, U.K. £4,000-6,000

393 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SILVER SENTINEL NECKPIECE, 1990

stamped 925 and hallmarked for London, silver with yellow metal sections to six points approximately 48cm diameter (18 7/8in diameter), internal width 19cm (7 ½in)

Provenance:

The Scottish Gallery, Edinburgh from whom acquired by the present owner, 2017.

Literature:

Game, Amanda and Elizabeth Goring (eds.), Jewellery Moves: Ornament of the 21st Century, NMSE Publishing Limited, 1998, p.58, illustrated; Wendy Ramshaw, Room of Dreams, Ruthin Crafts Centre, 2012, p.150, illustrated.

Exhibited:

Royal Museum of Scotland, Edinburgh, Jewellery Moves: Ornament for the 21st Century, 1998.

£5,000-7,000

Wendy Ramshaw in her studio, 1982, photographed by her husband David Watkins. Image © Wendy Ramshaw Estate

394 †

MARTINO GAMPER (ITALIAN 1971-) FOR THONET

TWO ‘CHAIR OF THE RINGS’ CHAIRS, DESIGNED 2008

bentwood

each chair 121cm high, 54cm wide, 56cm deep (47 1/2in high, 21 1/4in wide, 22in deep) (2) £800-1,200

395

BERNT PETERSEN (DANISH 1937-2017) FOR CARL HANSEN

PAIR OF ‘CRATE’ CHAIRS, DESIGNED 1982

beech and plywood

73.5cm high, 64cm wide, 54cm deep (29in high, 25 1/4in wide, 21 1/4in deep) (2)

Provenance: Private Collection, U.K. £300-500

396

ATTRIBUTED TO ROMEO REGA FOR MARIO SABOT

SIX ‘TOPIAZIO’ CHAIRS, c.1970-5 rattan, brass and upholstery

each 89.7cm high, 52cm wide, 55.5cm deep (35 ¼in high, 20 ½in wide, 21 ¾in deep) (6) £1,000-1,500

397 §

MARK BRAZIER-JONES (BRITISH, 1956-) PAIR OF ‘OLYMPIA’ WALL APPLIQUES, c.1990

forged iron, copper, optical lens and glass 73cm high, 28cm wide, 14.5cm deep (28 ¾in high, 11in wide, 5 ¾in deep) (2)

Provenance: Private Collection, U.K. £1,000-2,000

398 §

ETTORE SOTTSASS (ITALIAN 1917-2007) FOR VENINI ‘YEMEN’ VASE, 2006 signed, inscribed and dated, with applied manufacturer’s label, glass 30.4cm high, 26cm diameter (12in high, 10 ¼in diameter)

Provenance: Purchased from Venini by the present owner, c.2006. £1,200-1,800

399

PETER SHIRE (AMERICAN 1947-) FOR MEMPHIS

‘HOLLYWOOD’ TABLE, 1983

laminated wood and painted metal 83cm high, 98cm wide, 98cm deep (32 ¾in high, 38 ½in wide, 38 ½in deep)

Provenance:

Private Collection, London.

£800-1,200

400

ANTONELLO MOSCA (ITALIAN 1941-) FOR CINOVA

CHEST OF DRAWERS

model 1008, lacquered wood and chromed metal, inset glass top 74cm high, 135cm wide, 55cm deep (29 ¼in high, 53in wide, 21 ¾in deep)

Provenance:

Themes & Variations, London; Private Collection, London.

£600-800

‘THE CHANKLEY BORE, DUUK’ CHEST OF DRAWERS, 2000

from an edition of 4, stone, aluminium and plastic 125cm high, 140cm wide, 130cm deep (49 ¼in high, 55in wide, 51in deep)

Provenance:

Private Collection, U.K.

£6,000-8,000

401 §

MAARTEN BAAS (DUTCH 1973-)

GAETANO PESCE: BREAKING THE MOULD

WORKS FROM THE STEVE ALLISON COLLECTION

Known for his innovative vision and radical designs, Gaetano Pesce has had a significant influence on the history of contemporary design. As an architect, artist and designer, Pesce’s work challenges the boundaries between these disciplines, as he developed his own bold aesthetic in the use of vibrant colours, experimental materials and inventive organic forms. He particularly asserted the connections between the individual and society in his designs, as a response to the time we live in: ‘Designers have to understand they are practising something that is maybe better than art. Because art goes to the gallery, goes to the museum. But design goes to families. Objects stay inside the family and people are in contact with them every minute of the day. That is very, very powerful.’ (Gaetano Pesce, 1 January 2023, see Glenn Adamson, Gaetano Pesce: The Complete Incoherence, Monacelli Press, New York, 2023, p.294)

Born in La Spezia in Italy in 1939, Pesce studied architecture at the University of Venice. After graduating in 1965 he began investigating industrial manufacturing processes, seeking to humanise them through experimentation, variation and his own colourful expression. His investigations in the use of new materials such as resin and polyurethanes broke the mould, creating unique art-design pieces that invited flaws as part of the design process, as can be seem in the Moss and Spaghetti range vases (lots 408 and 408), which celebrate the uncertainty of their manufacture. This ideology, that runs against standardisation, broke with the modernist philosophy of the period that saw the idea of perfection as the ideal outcome, setting Pesce on a radical and ground-breaking course.

Herbert Muschamp of the The New York Times described Pesce as ‘the architectural equivalent of a brainstorm’. Pesce’s well-known architectural projects include the Organic Building in Osaka, Japan, a vertical garden building with a complex concealed hydration system to sustain plant growth, where the ‘co-existence of greenery, architecture, and human beings’ is central. The interior architecture of the TBWA/Chiat/Day’s offices in New York (1994) was another important commission and was conceived as an early ‘workplace village’ with an experimental layout, described at the time as ‘the furthest flight from the rectangle ever achieved in office design’. (Architectural Review, January 1995). Grey cubicles were replaced in Pesce’s bright colours, with playful doors featuring dripping handles (Lot 451) and colourful communal tables and stools (lots 449, 450). Likewise his furniture is charged with deeper meaning, as well as humorous elements, that range from the whimsical Crosby chairs (lots 410, 411, 414) with their anthropomorphic qualities to the Tramonto sofa that pays homage to the New York skyline at sunset (lot 459).

Across a career of over 55 years, Pesce has challenged the orthodoxy of design, instilling his own radical vision with a mischievous grin. Steve Allison’s extensive collection – one of the most significant in private hands in the UK – represents all of Pesce’s philosophies and his hopes for a future filled with creativity, innovation and humour –values that Allison himself valued in his own work as a photographer and in his career as a graphic designer. The current selection represents approximately half of Allison’s collection of Pesce – with a further selection to be sold in the October 2024 edition of Modern Made.

Gaetano Pesce at his solo exhibition 'The Sound of Time', Triennale di Milano, Milan, 2005. Photo by Pino Montisci © Mondadori Portfolio / Bridgeman images

402

GAETANO PESCE (ITALIAN 1939-2024)

PAIR OF SMALL ‘AMAZONIA’ VASES resin

each 17.5cm high (6 7/8in high) (2)

£400-600

403

GAETANO PESCE (ITALIAN 1939-2024)

PAIR OF ‘GOTO’ VASES, 1995 cast resin

each 16cm high (6 ¼in high) (2)

405

404

GAETANO PESCE (ITALIAN 1939-2024)

PAIR OF ‘GOTO’ VASES, 1995 cast resin

each 16cm high (6 ¼in high) (2)

£400-600

GAETANO PESCE (ITALIAN 1939-2024)

FOR FISH DESIGN

MEDIUM ‘AMAZONIA’ VASE

with manufacturer’s stamp FISH DESIGN 838, resin; together with a MINI ‘AMAZON’ VASE, TRIENNALE 2005, resin

26.5cm high (10 ½in high) (2)

£600-800

“An object should express more than beauty – it should be subversive.”

406

GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO

‘THE FACES’ NOBODY’S PERFECT CHAIR, 2005

with moulded signature and manufacturer’s mark for ZERODISEGNO, resin fixed with plastic pegs

90cm high, 42cm wide, 40cm deep (35 ½in high, 16 ½in wide, 15 ¾in deep)

Provenance:

Zerodisegno, Italy, from whom acquired by Steve Allison, September 2005. £1,500-2,500

407

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

YELLOW ‘TUTTI FRUTTI’ BASKET, 1996

with manufacturer’s stamp FISH DESIGN 168, resin

14cm high, 35.5cm diameter (5 ½in high, 14in diameter) £300-500

408

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

‘MOSS’ VASE, 2004

with manufacturer’s stamp, resin

21cm high, 20cm diameter (8 ¼in high, 8in diameter) £300-500

409

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

MEDIUM SPAGHETTI VASE resin

25cm high, 19cm diameter (9 7/8in high, 7 ½in diameter)

Provenance:

Fish Design, Italy, from whom acquired by Steve Allison, July 2005. £300-500

410

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

OPEN SKY ‘CROSBY’ CHAIR, DESIGNED 1995

resin fixed with four steel pins

80cm high, 54cm wide, 46.5cm deep (31 ½in high, 21 ¼in wide, 18 ¼in deep)

£2,000-3,000

411

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

CHILD ‘CROSBY’ CHAIR, DESIGNED c.1998

resin with steel pins

50.5cm high, 40cm wide, 28cm deep (19 7/8in high, 15 ¾in wide, 11in deep)

£1,500-2,000

413

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

FLAT RESIN VASE, DESIGNED 2004

with manufacturer’s stamp, resin

29.2cm high, 19cm wide (11 ½in high, 7 ½in wide)

Provenance:

Fish Design, Italy, from whom acquired by Steve Allison, December 2004. £300-500

412

GAETANO PESCE (ITALIAN 1939-2024)

OPEN SKY APPLIQUE LAMP resin

40cm high, 34cm wide, 22cm deep (15 ¾in high, 13 3/8in wide, 8 5/8in deep)

£600-800

414

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

CHILD’S ‘CROSBY’ CHAIR, DESIGNED c.1998

resin with steel pins

50.5cm high, 40cm wide, 28cm deep (19 7/8in high, 15 ¾in wide, 11in deep)

£1,500-2,000

416

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

BELT, 2004

with moulded manufacturer’s mark, resin 128cm long (50 ½in long)

Provenance:

Fish Design, Italy, from whom acquired by Steve Allison, December 2004.

£300-500

415

GAETANO PESCE (ITALIAN 1939-2024)

SEVEN INVITATIONS

two for Meritalia, 2007, foam pads in stitched plastic folders; two for an opening of Temps de Questions at the Centre Georges Pompidou, 7 October 1996; two for swatch, resin; and one further for the opening of Pushing the Limits at Philadelphia Museum of Art, 2005, resin

the largest 35cm x 25cm (13 ¾in x 9 ¾in) (7)

£500-700

417

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

SIX INVITATIONS

dated 2004, 2005, 2006

and 2008, resin

the largest 13.2cm high, 22.3cm long (5 ¼in high, 8 ¾in long) (6)

£300-500

418

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

FOUR BRACELETS

resin; together with a further ring for FISH DESIGN

the interior dimensions of spaghetti bracelet 7cm diameter (2 ¾in diameter) (5)

Provenance:

Fish Design, from whom acquired by Steve Allison. £300-500

419

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

‘RIBBON’ RING AND BRACELET, 2004

resin; together with a further Gaetano Pesce Necklace and Bracelet, 1990s.

interior bracelet 6.5cm diameter (2 ½in diameter) (4)

Provenance:

Fish Design, Italy, from whom acquired by Steve Allison, December 2004. £300-500

420

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

THREE BRACELETS, 1990s resin

the largest 13.5cm diameter (5 ¼in diameter) (3)

Provenance:

Pron Design Turin, Italy. £300-500

422

421

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

CLOCK, 1995

with manufacturer’s stamp and numbered 136, resin

37.5cm high, 24.5cm wide, 3cm deep (14 ¾in high, 9 ½in wide, 1 ¼in deep) £300-500

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

CLOCK, 1994

with manufacturer’s stamp and numbered 433, resin 37cm high, 26cm wide, 3cm deep (14 ½in high, 10 ¼in wide, 1 ¼in deep)

Provenance:

Osenat, Paris, where acquired by Steve Allison, June 2009. £300-500

423

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

TWO PHOTO FRAMES

one numbered 504 and the other 466, each with manufacturer’s stamp, resin

504: 30cm high, 24.5cm wide, 3cm deep (11 7/8in high, 9 ½in wide, 1 ¼in deep); 466: 24.7cm high, 24cm wide, 3cm deep (9 ¾in high, 9 ½in wide, 1 ¼in deep) (2) £400-600

424

GAETANO PESCE (ITALIAN 1939-2024)

RAG LAMP

with manufacturer’s stamp, cast resin 46cm high, 60cm diameter (18in high, 23 ½in diameter)

Provenance:

Phillips, New York, where acquired by Steve Allison, April 2009.

£600-800

425

GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI, ITALY

SERIE LUIGI 901 SHELF, DESIGNED c.1982

cut plywood, timber frame with enamelled steel base with shelves down 180.3cm high, 62.5cm wide (71in high, 24 5/8in wide)

Provenance:

Urban Architecture, New York, from whom acquired by Steve Allison, January 2003.

£800-1,200

426

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

‘LOOK AT ME’ MIRROR, 2004

with moulded manufacturer’s mark, signature, and date, resin 99cm high, 65cm wide (39in high, 25 ¾in wide)

Provenance:

Fish Design. Italy, from whom acquired by Steve Allison, December 2004. £500-700

427

GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA

‘LA SFOGLIATA PVC’ CHAIR AND CUSHION, 2005

structure in aluminium supported by slats in fibreglass with PVC sheath 113cm high, 60cm wide, 51cm deep (44 ½in high, 23 5/8in wide, 20in deep)

Provenance:

Meritalia Spa Furniture, Italy, from whom acquired by Steve Allison, September 2005.

La sfogliata is a sweet made with puff pastry, rolled out thin and wrapped around a filling. In Gaetano Pesce’s armchair, the “wrapper” is a shell, either in colourful, double ply natural canvas, or transparent and translucent. Held up by seven fibreglass ribs, it is the framework and support for a firm seat. The optional padding is a simple cushion, quilted and with colourful contours, which is attached to the outer surface. The firm, sturdy seat holds the thirteen legs in thirteen grips, like closed fists, and is padded with springy, flexible, filaments - little fingers reaching out to gently embrace and cushion the person who is the filling of ‘la sfogliata’.

£1,000-1,500

428

GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI, ITALY

‘BROADWAY’ CHAIR

with moulded manufacturer’s marks, cast translucent epoxy resin with steel frame and rubber feet

75cm high, 54.5cm wide, 39cm deep (29 ½in high, 21 ½in wide, 15 3/8in deep)

£1,000-1,500

429

GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI

'BROADWAY 543’ ARMCHAIR, DESIGNED 1993

cast epoxy resin with steel frame

76cm high, 61.5cm wide, 49cm deep (30in high, 24 ¼in wide, 19 ¼in deep)

Provenance:

Galleria Modernariato, Milan from whom acquired by Steve Allison, February 2003.

£1,200-1,800

430

GAETANO PESCE (ITALIAN 1939-2024)

MOURMANS VASE, 1993

white glass with blue powder inclusions

33cm high (13in high)

Provenance:

!K Gallery, Netherlands, from whom acquired by Steve Allison, April 2004.

£800-1,200

431

GAETANO PESCE (ITALIAN 1939-2024)

MOURMANS VASE, 1993 blown glass

33.5cm high (13 ¼in high)

Provenance:

!K Gallery, Netherlands, from whom acquired by Steve Allison, April 2004.

£800-1,200

432

GAETANO PESCE (ITALIAN 1939-2024)

MOURMANS VASE, 1993

white glass with yellow powder inclusions 31cm high (12 ¼in high)

Provenance:

Quittenbaum, Munich, where acquired by Steve Allison, January 2009.

£800-1,200

433

GAETANO PESCE (ITALIAN 1939-2024)

MOURMANS VASE, 1996

clear glass with spotty polychromatic powder inclusions

33.5cm high (13 ¼in high)

Provenance:

Quittenbaum, Munich, where acquired by Steve Allison, February 2012.

£800-1,200

434

GAETANO PESCE (ITALIAN 1939-2024)

MOURMANS VASE, 1993

multicoloured blown glass 28cm high (11in high)

Provenance:

!K Gallery, Netherlands, from whom acquired by Steve Allison, April 2004.

£800-1,200

436

GAETANO PESCE (ITALIAN 1939-2024) FOR CASSINA

PAIR OF CASSINA SCULPTURES, 1968-69

with printed signature Gaetano Pesce 1963 / per Cassina 1968-1969, wood and enamelled steel

each 37cm x 37cm (14 ½in x 14 ½in) (2)

Provenance:

Quittenbaum, Munich, where acquired by Steve Allison, December 2006.

435

WALL SIGN resin

54cm x 99cm (21 ¼in x 39in)

437

GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA

TWO ORANGE ‘FUOCO’ LAMPS, 2007

signed and dated, with manufacturer’s stamp, resin, from an edition of 1000 for the Salone del Mobile Milan

14.5cm high, 9.8cm wide, 9cm deep (5 ¾in high, 3 7/8in wide, 3 ½in deep) (2)

£400-600

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

£300-500

£400-600

GAETANO PESCE (ITALIAN 1939-2024)

BOWL SANS TITRE #6, 1989-90 signed and dated, glass 11cm high, 29cm wide (4 ¼in high, 11 ½in wide)

Provenance:

Rago Modern Arts, New Jersey, where acquired by Steve Allison, April 2007. £800-1,200

GAETANO PESCE (ITALIAN 1939-2024)

THREE POSTERS

one NOBODY'S PERFECT lithoprint on paper, one OLO POSTER, 2001, lithoprint on paper, and one LE FUTUR

EST PEUT-ETRE PASSE lithoprint on paper; together with a MODERN TIMES AGAIN INVITATION AND CARD, 1988, printed linen handkerchief, printed card invitation nobody’s perfect poster 68.7cm x 49cm (27in x 19 ¼in) (4) £200-400

441

GAETANO PESCE (ITALIAN 1939-2024) FOR CASSINA

SIT DOWN LOUNGE CHAIR, DESIGNED 1976

cotton upholstery over PVC inner filled with Polyurethane foam 76cm high, 92cm wide, 77cm deep (30in high, 36 ¼in wide, 30 ¼in deep)

Provenance:

Mike Ralphs, Nice, France, from whom acquired by Steve Allison.

According to the previous owner, Mike Ralphs, the present work was presented on the Cassina stand at the Salone di Mobile in spring 1976.

£1,500-2,000

440

GAETANO PESCE (ITALIAN 1939-2024) FOR EXPANSION

‘FONTESSA’ RUG, DESIGNED 1968

with manufacturer’s label, wool 302cm long, 194cm wide (119in long, 76 3/8in wide)

Provenance:

Spazio900, Milan, from whom acquired by Steve Allison, May 2003.

£1,000-1,500

443

GAETANO PESCE (ITALIAN 1939-2024)

‘ALDA’ LAMP, 2002

rubber, steel rods and bells fixed to each frond with paper clips

63cm high (25in high)

Provenance:

Gaetano Pesce, New York, from whom acquired by Steve Allison, December 2003.

£1,000-1,500

This work is from a unique series of lamps commissioned for Moss, New York. It is believed that fewer than thirty were produced. The model was created in two sizes, some with and some without bells, with the intention that those with bells produce a symphony of sound when touched, whilst the others glow silently by contrast.

442

GAETANO PESCE (ITALIAN 1939-2024)

‘ALDA’ LAMP, 2003

cast resin with steel rods and bells fixed to each frond with paper clips

60cm high, 51cm diameter (23 ½in high, 20in diameter)

Provenance:

Wrights, Chicago, 2 June 2009, lot 127.

£1,000-1,500

444

GAETANO PESCE (ITALIAN 1939-2024)

‘ITALY’ VASE, 2004 resin

66cm high, 34cm wide, 27cm deep (26in high, 13 ½in wide, 10 ½in deep)

Provenance: Nilufar Gallery, Milan; Private Collection; Wright, Chicago, where acquired by Steve Allison, September 2005.

Literature:

Yashar, Nina. Gallery. Milan: Nilufar Gallery, 2004, p. 75.

Produced in a small edition of six, each example in the series is unique.

£1,200-1,800

445

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

‘FIOCA’ VASE, DESIGNED 2004

with manufacturer’s stamp, resin 22.5cm high, 31cm wide (8 ¾in high, 12in wide)

£250-350

446

GAETANO PESCE (ITALIAN 1939-2024) FOR NILUFAR EDITIONS

‘TRE PIEDE’ VASE, DESIGNED 2003 numbered 51/200, silicone shell with cast resin legs 35cm high, 25cm diameter (13 ¾in high, 9 7/8in diameter)

Provenance:

Wright’s, Chicago, where acquired by Steve Allison, June 2009. £800-1,200

447

GAETANO PESCE (ITALIAN 1939-2024) FOR FISH DESIGN

WALL VASE, 2004

signed, dated, and numbered No.3, with manufacturer’s stamp, resin

44.8cm high, 36cm wide, 22cm deep (17 ¾in high, 14 ¼in wide, 8 ½in wide)

£300-500

GAETANO PESCE (ITALIAN 1939-2024)

GREEN STREET ARMCHAIR, 1984

cast resin with steel rod legs and rubber feet and red paint 94cm high, 58.5cm wide, 50cm deep (37in high, 23in wide, 19 5/8in deep)

£3,000-5,000

449

GAETANO PESCE (ITALIAN 1939-2024)

CHIAT/DAY WAFFLE TABLE, 1996

poured resin and enamelled steel

72.5cm high, 114.3cm diameter

(28 ½in high, 45in diameter)

Provenance:

Wright’s, Chicago, where acquired by Steve Allison, April 2009.

£2,500-3,500

450

resin and steel

each 45cm high, 22.5cm wide, 22.5cm deep (17 ¾in high, 8 ¾in wide, 8 ¾in deep) (4)

Provenance:

TBWA/Chiat/Day, New York; Wrights, Chicago, where acquired by Steve Allison, March 2009.

Literature:

Bartolucci, Gaetano Pesce. pp. 84-87, illustrated.

Heyden, Leupen, Heijne and von Zwol. Time-based Architecture, pp. 144-147.

£3,000-5,000

GAETANO PESCE (ITALIAN 1939-2024)

FOUR CHIAT/DAY STOOLS, 1996

451

GAETANO PESCE (ITALIAN 1939-2024)

CHIAT/DAY DOOR, 1996

steel frame with acrylic resin 214cm high, 87.5cm wide (84 ¼in high, 34 1/2in wide)

Provenance: LA Modern Auctions, Los Angeles, where acquired by Steve Allison, December 2003. £2,000-3,000

454

GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA

‘LA PAGNOTTA’ CHAIR, 2005

with applied manufacturer’s label, carbon fibre structure with upholstery

110cm high, 84cm wide, 50cm deep (43 ¼in high, 33in wide, 19 5/8in deep)

Provenance:

Meritalia Spa Furniture, Italy, from whom acquired by Steve Allison, September 2005.

“La pagnotta” (“the loaf”) is a small armchair with fourteen flexible, jointed legs which can be mounted and dismounted, constructed with tension rods and braces; they hold up a thin, invisible seat padded with a cushion, and wear soft, colourful “slippers”. Fourteen legs, fourteen feet, and fourteen rods that follow the body’s movements, fourteen special fibre ribs to rein force, contain, and support the anthropomorphic cushions; two faces - one male and the other female, one looking right and the other looking left which offer a soft welcome.

£2,000-3,000

452

GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO

‘NOBODY’S PERFECT’ SWATCH CHAIR, 2005

with manufacturer’s label and moulded manufacturer’s mark, numbered 69/299 and dated 10/05/05, flexible and rigid Polyurethane fixed with plastic pegs

93.5cm high, 47cm wide, 42cm deep (36 ¾in high, 18 ½in wide, 16 ½in deep)

Provenance:

Zerodisegno, Italy, from whom acquired by Steve Allison, April 2004.

£1,200-1,800

453

GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO

‘NOBODY’S PERFECT’

ROUND TABLE, 2005

with moulded signature and manufacturer’s mark for ZERODISEGNO, numbered 216 and dated 12/05/05, flexible and rigid Polyurethane pieces, fixed with plastic pegs

49.5cm high, 38cm diameter (19 ¾in high, 15in diameter)

Provenance:

Fabienne Salanic, from whom acquired by Steve Allison.

£1,000-1,500

GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA

‘LA SMORFIA’ CHAIR AND POUFFE, DESIGNED 2003

printed PVC, the seat and side arms of skinned expanded polyurethane foam the chair 110.5cm high, 90.5cm wide (43 ½in high, 35 ½in wide) (4)

Provenance:

Meritalia Spa Furniture, Italy, from whom acquired by Steve Allison, April 2004. £1,500-2,500

The present work characterises Gaetano Pesce’s interdisciplinary approach. The text printed on the piece reads, “Italy is the one region in Europe whose sole natural resource is the creativity of its inhabitants. Today this wealth is mainly expressed through cooking, fashion and the “design” of the objects associated with these two sectors. Those who appear impervious to an understanding of this wealth have been, and still are, local administrators and politicians. If the government were to efficiently aid creativity and research, the country would benefit in economic and cultural terms. The prestige of products “Made in Italy” is largely due to the curiosity of Italian businessmen. Their commitment

is on the wane today. Many creative persons as for instance architects express themselves within the traditional limits of the form. But the culture of objects and architecture have become mature expressions that contribute to testify the essence of our time. This means, in general, less fashion and style but more freshness in our technical, commercial and expressive processes and use of materials. Less nostalgia and an indiscriminate respect for History, and more confidence in and curiosity for the future. Otherwise our life may become duller due to repetitiveness, monotony and a lack of novelty. Just now it is raining in our world. But the sun will soon shine again. Gaetano Pesce February 2003.”

456

GAETANO PESCE (ITALIAN 1939-2024)

‘ABAT-JOUR’ LAMP, DESIGNED c.1995

cast Polyurethane over steel wire frame with three resin feet 37cm high, 38cm wide (14 ½ high, 15in wide)

Provenance:

Purchased by Steve Allison, December 2002. £300-500

457

GAETANO PESCE (ITALIAN 1939-2024) FOR GALLERIA MODERNARIATO

OLO LAMP, DESIGNED 2000

signed and numbered 73/100, resin and steel 77.5cm high (30 ½in high)

Provenance:

Christie’s, London, where acquired by Steve Allison, December 2008. £1,000-1,500

458

GAETANO PESCE (ITALIAN 1939-2024)

‘SOME OF US’ LAMP, 2000

signed, dated and numbered 2/20, resin and steel 92cm high, 73cm wide, 19cm deep (36 1/4in high, 28 ¾in wide, 7 ½in deep)

Provenance:

Wright’s, Chicago, where acquired by Steve Allison, May 2008. £1,500-2,500

“ When I came to New York for the first time, I found the city full of energy.

But on a subsequent visit, I felt that its vitality was less strong. I thought that the lack of it was the sign of decadence of this city. Sometime later I saw that the energy was back and New York was still the capital of twentieth century.

Anyway I wanted to mark this impression with an object and so I made the Sunset of New York ”

Gaetano Pesce

459

GAETANO PESCE (ITALIAN 1939-2024) FOR CASSINA

‘TRAMONTO A NEW YORK / SUNSET OVER NEW YORK’ THREE-SEATER SOFA fabric with plywood base with steel brackets the orange element 118cm high, 120cm wide (46 ½in high, 47 ¼in wide)

Provenance:

MAD Design, Netherlands, 2003, from whom acquired by Steve Allison, January 2003.

Literature:

France Vanlaethem, Gaetano Pesce: Architecture, Design, Art, Milan, 1989, p. 41 for the preliminary model, p. 76 for the designer pictured with a similar example.

£3,000-5,000

460

DAME ZAHA HADID (IRAQI/BRITISH 1950-2016) FOR UNITED NUDE PAIR OF ‘NOVA’ SHOES

each numbered 39/100 (to the leather), chrome vinyl, leather and rubber, in original fitted box

22cm high, 26cm wide (8 5/8in high, 10 ¼in wide) (2)

Provenance:

The Steve Allison Collection. £800-1,200

462 §

MARKUS LÜPERTZ (GERMAN 1941-) DITHYRAMBE, 1993

incised artist’s mark and numbered 275/998 (to one sculpture), painted and polished bronze each sculpture 15.5cm high, 17.5cm wide, 14.5cm deep (6 1/8in high, 6 7/8in wide, 5 ¾in deep) (2)

£600-800

461 §

CAROLEIN SMIT (DUTCH 1960-)

JEWEL BUG I & JEWEL BUG II, 2019

glazed ceramic

the larger example 23cm high, 28cm wide (9in high, 11in wide); the smaller example 19cm high, 26cm wide (7 1/2in high, 10 1/4in wide) (2)

Provenance:

Messum’s, Wiltshire, from whom acquired by the present owner, 2020.

£1,500-2,500

463

FELICIANO BÉJAR (MEXICAN 1920-2007)

MAGISCOPIO, 1970

signed and dated 70 (in the glass), scrap metal assemblage with custom-made glass 101.5cm high (40in high)

Provenance:

Grosvenor Gallery, London, from whom acquired by the parents of the present owner, c.1970s.

£1,000-2,000

464 §

TERRY ATKINSON (BRITISH 1939-)

THE STONE TOUCHERS 3, 1985

acrylic on board 90cm x 121cm (35 ½in x 47 ¾in)

Provenance:

Gimpel Fils, London.

Exhibited:

Gimpel Fils, London, Terry Atkinson - Art for the Bunker, April 1985; Galerie Stampa, Basel, February - March 1987;

Gimpel Fils, London, Summer Show: Painting & Sculpture, 23 June - 29 August 1987;

Mappin Art Gallery, Sheffield, Depicting History Today, November - December 1987; touring to Leeds City Art Gallery and Rochdale Art Gallery, 1988. £1,000-1,500

ANTOINE PUISAIS (FRENCH 1975-) UNITITLED, 2015

signed, dated and stamped A.P (to reverse), acrylic, screenprint, spray paint and filler on panel 185cm x 137cm (72 ¾in x 54in)

Provenance:

Vigo Gallery, London, from whom acquired by the present owner, 2015. £1,000-1,500

467 §

RICHARD SMITH (BRITISH 1931-2016)

SPHINX NO. 1 &

SPHINX NO. 4, 1967

No. 4 signed and numbered 39/50, screenprint transfer on fabricated metal.

Published by Editions Alecto, London.

40.5cm high, 15cm wide, 27.5cm deep (16in high, 6in wide, 10 7/8in deep) and 38cm high, 18cm wide, 27.5cm deep (15in high, 7in wide, 10 7/8in deep) respectively (2)

£300-500

468 §

IAN STEPHENSON (BRITISH 1938-2000)

SANDSEND SERIES FROM BEYOND THE WORLD’S END: UNDERSTUDY, 1972

signed in pencil (lower right), oil and enamel on paper relief

37.5cm x 27.5cm (14 ¾in x 11in)

£700-1,000

469 §

PATRICK SCOTT (IRISH 1921-2014)

RAINBOW NO. 5

with V’Soske Joyce label, wool tapestry

Provenance:

Commissioned for the Kilkenny Design Centre, Kilkenny City.

£2,000-3,000

470

KEITH SONNIER (AMERICAN 1941-2020)

ELLIPTICAL SHIELDS SERIES V, OCTAGONAL SUITE #8, 2005

signed with initials, dated and numbered 0-8 (to reverse), aluminium with honeycomb core, neon lights, from the edition of 30, plus 5 AP and 5 PP.

70cm x 33.5cm (27 1/2in x 13 1/4in)

£800-1,200

471

KEITH SONNIER (AMERICAN 1941-2020)

ELLIPTICAL SHIELDS SERIES V, CIRCULAR SUITE #3, 2005

signed with initials, dated and numbered C-3 (to reverse), aluminium with honeycomb core, neon lights, from the edition of 30, plus 5 AP and 5 PP.

72cm x 33cm (28 1/5in x 13in)

£800-1,200

472

KEITH SONNIER (AMERICAN 1941-2020)

ELLIPTICAL SHIELDS SERIES V, ELLIPTICAL SUITE/PUBLISHER’S PROOF #1, 2005

signed with initials, dated and inscribed P.P.1 (to reverse), aluminium with honeycomb core, neon lights, from the edition of 30, plus 5 AP and 5 PP.

72.5cm x 33.5cm (28 1/2in x 13 1/4in)

£800-1,200

473 §

NICOLA L (FRENCH 1932-2018)

TÊTE CULTIVÉE, c.1970

acrylic and ping pong balls

42cm high, 34cm wide, 20cm deep; (16 1/2in high, 13 3/8in wide, 7 7/8in deep)

Provenance:

Wright’s, Chicago, Furniture Pimp: The Collection of Jim Walrod, 3 May 2018, lot 124, where acquired by the present owner.

Literature:

Favardin, Patrick and Alain Chiglien, Nicola L, Norma Editions, 2003, pp. 66-67, for similar example.

£1,000-1,500

474 §

THE

Provenance: Haunch of Venison, London.

£4,000-6,000

MARK ALEXANDER (BRITISH 1966-)

BLACKER GACHET X, 2005

signed and inscribed HB05 No10 (to reverse), oil on canvas 67cm x 56cm (26 3/8in x 22in)

§

JEREMY DELLER (BRITISH 1966-)

BLESS THIS ACID HOUSE, 2020

signed (to reverse), digital print on gloss paper, un-numbered sheet from the edition of 2000, unframed 42cm x 60cm (16 ½in x 23 5/8in)

£300-500

476 §

DAMIEN HIRST (BRITISH 1965-)

BURNING WHEEL (FROM ‘IN A SPIN: THE ACTION OF THE WORLD ON THINGS, VOL. I’), 2002 signed in pencil (lower right margin) etching on paper, from the portfolio of 23 works.

Published by The Paragon Press, London.

Printed by Hope (Sufferance) Press, London.

Plate: 43.5cm x 29.8cm (16 ¾in x 11 ¾in):

Sheet: 90.5cm x 70.5cm (35 5/8in x 27 ¾in)

Provenance: Private Collection, London.

£1,000-1,500

477 §

TRACEY EMIN C.B.E., R.A. (BRITISH 1963-) AND THEN YOU LEFT ME, 2008

signed, dated and numbered 23/100 in pencil (lower right), titled in pencil (lower left), polymer etching on Japanese Atsukuchi paper.

Published by Emin International. 31.7cm x 39.8cm (12 ½in x 15 ¼in)

Provenance: Private Collection, U.K. £600-800

478

AFTER KEITH HARING (AMERICAN 1958-1990)

FOR VILLEROY & BOCH

‘SPIRIT OF ART’ COFFEE SERVICE, 1991

numbered 178/500, comprising sixteen bone China pieces, with introductory booklet and certificate, in original box decorated with Keith Haring design

30cm x 40cm x 52cm (11 ¾in x 15 ¾in x 20 ½in) overall

Provenance:

Christie’s London, 23rd April 2013, lot 496, from whom acquired by the present owner.

£600-1,000

479 �� §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) FOR LIBERTY & CO.

‘SISSY’ AND ‘FLO’ FABRICS, DESIGNED 2008-09 cotton textile

Sissy: 92cm high, 68cm wide (36 1/4in high, 26 3/4in wide); Flo: 100.5cm high x 68.5cm wide (39 1/2in high x 27in wide) (2) £400-600

480 §

SIR GRAYSON PERRY C.B.E, R.A. (BRITISH 1960-) FOR SELFRIDGES & CO.

ALAN MEASLES EVENING BAG, 2010 numbered 124/300 in black ink (to label) and with original Selfridges & Co. label, embroidered cotton with embellishments.

Manufactured by Kit Grover. 33cm x 24cm (13in x 9 ½in)

Provenance: Private Collection, London. £300-500

481

YAYOI KUSAMA (JAPANESE 1929-) FOR THE MORI ARTS CENTER

‘THE ME THAT I ADORE’ (THE GRAND SET), 2013 signed and numbered 93/100 in black marker pen on the accompanying certificate of authenticity (from The Grand Set, aside from the regular edition of 400), each item is also stamp signed, dated 2013, titled, and numbered 093 on the reverse, manufactured by Nikko Company for the Mori Arts Center Museum Shop, Mori Building Co., Ltd., contained in individual red fabric covered boxes with titles, within original red velvet case with title in gold 39.6cm x 39.6cm x 29.6cm (15 5/8in x 15 5/8in x 11 5/8in)

Provenance: Private Collection, London.

This tea service was commissioned by the Nikko Company for the Mori Arts Center Museum Shop, Mori Building Co., Ltd., to commemorate the 10th anniversary of Roppongi Hills and the Mori Art Museum.

£3,000-5,000

CONDITIONS OF SALE 22.3

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. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.

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. OUR 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 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. FAILURE 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 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 strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we 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 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 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.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price 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 European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate

of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’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.

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 antimoney 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 moneylaundering, 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 held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NONPAYMENT

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

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.

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 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.

GUIDE TO BIDDING & PAYMENT

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 – 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.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

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

- 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.

PAYMENT

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 are available by appointment.

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 6 of this catalogue.

INDEX OF ARTISTS

Aalto, Alvar 120

Adams, Robert 20, 152, 265

Aldridge, John 136 to 141

Aldridge, Lucie 142

Alexander, Mark 474

Atkinson, Terry 464

Audoux, Adrien 117

Ayres, Gillian 98 to 100

Ayrton, Michael 155

Baas, Maarten 401

Baker, Martin 332 to 334

Barns-Graham, Wilhelmina 2, 11, 262

Barovier, Ercole 234, 237

Barker, Kit 301

Bates, Trevor 254

Batterham, Richard 115

Bianconi, Fulvio 231 to 233

Beard, Peter 312, 314, 320

Bejar, Feliciano 463

Bendall, Mildred 132

Blow, Sandra 261

Bogart, Bram 23

Bojesen, Kay 176

Bourgeois, Louise 9

Brazier-Jones, Mark 397

Breuer, Marcel 162

Broderick, Laurence 268 to 295

Bromfield Gay Rees, John 151

Brown, Abigail 346

Burr, Clive 338

Buus, Marianne 380

Calder, Alexander 303

Cardew, Michael 111, 114

Cardew, Seth 112, 113, 116

Carlow, Shimara 342

Cecil Stephenson, John 160, 204

Chamberlain, Christopher 131

Clarke, Brian 33, 34

Clarke, Geoffrey 259, 260

Clough, Prunella 257, 258

Collings, Matthew 36

Constantinidis, Joanna 352 to 354

Copley, Heather 133, 147, 148

Copnall, John 145

Coburn, John 28

Dalwood, Hubert 153, 296 to 298

Davenport, Ian 466

Davie, Alan 21, 25

Day, Corinne 1

Delaunay, Sonia 104

Deller, Jeremy 475

De Maistre, Roy 124 to 126

De Santillana, Laura 97

De Waal, Edmund 26

Dilworth, Norman 255

Dinesen, Agnete 192

Ditzel, Nanna and Jorgen 165

Doggett, Ruth 134

Dower, Natalie 222

Eckhoff, Tias 175

Edgar, Maureen 336

Emin, Tracey 48, 92, 477

Epstein, Jacob 130

Feiler, Paul 250

Fornasetti, Piero 224 to 229

Frederick Gore, Spencer 12

Frink, Elizabeth 154

Frost, Terry 263, 267

Gabo, Naum 251

Gamper, Martino 394

Gate, Simon 230

Gear, William 24

Gilbert, Wally 339, 340

Goldsworthy, Andy 39

Gormley, Antony 89

Grenville, Hugo 143

Guthrie, Eileen 244, 246

Guevara, Alvaro 129

Hadid, Zaha 460

Hanna, Ashraf 68, 69, 70

Hanssen Pigott, Gwyn 355, 356

Haring, Keith 478

Hayes, Peter 319

Herman, Sam 376, 377

Henderson, Ewen 59, 321 to 331

Hepworth, Barbara 110, 266

Hermes, Gertrude 159

Hiller, Susan 3

Hillier, Tristram 149

Hilton, Roger 22, 252, 253

Hinton, Kathryn 337

Hirai, Akiko 105 to 109, 310, 311

Hirst, Damien 476

Hloska, Pavel 378

Hodgkin, Howard 49 to 58, 60 to 67, 91, 264

Homoky, Nicholas 361, 362

Hope, Adrian 344

Howard, Ken 144

Hughes, Malcolm 157

Hutton, Clarke 205

Illsley, Bryan 389

Ingham, Bryan 150, 212, 214 to 219

Inui, Saburo 171

Irvin, Albert 299

Jackson, Arthur 248

Jeanneret, Pierre 118

Juhl, Finn 167, 173

Kapoor, Anish 86

Kell, Richard 365 to 375

Kenmochi, Isamu 170, 172

Kennethson, George 13, 245, 247

Kettle, Alice 381

Kitaj, R.B. 302

Kjaerholm, Poul 164

Knight, Chris 341

Kobe 305

Koch, Gabriele 76 to 82, 313

Kojima, Osamu 37

Kopac, Slavko 19

Kusama, Yayoi 481

Koppel, Henning 177 to 180, 184, 190, 191, 194

L, Nicola 473

Lalanne, Claude 392

Law, Bob 40

Lerolle, Alain 390

Levine, Chris 10

Lloyd, Michael 343, 345

Lovell, Margaret 256

Lupertz, Markus 462

Mackie, Hamish 309

Macnab, Iain 127

Meadows, Bernard 300

Mellis, Margaret 213

Michikawa, Shozo 357

Milroy, Lisa 221

Modigliani, Amedeo 16

Mollino, Carlo 238, 239

Mori, Junko 35

Moore, Henry 14

Morey de Morand, Colette 7

Morris, Mali 220

Mosca, Antonello 400

Mucchi, Gabriele 161

Muntadas, Antoni 38

Nash, David 71, 72, 74, 75

Naver, Kim 193

Nelson, George 168

Neutjens, Carine 83, 84

Nguyen, Theresa 350

Nicholson, Ben 242, 243, 249

Nicholson, Winifred 158

Nissen, Richard 174

Noble, Debbie 348, 349

O’Casey, Breon 382 to 386

Odundo, Magdalene 27

Oldenburg, Claes 90

Omersa 121

Osman, Louis 351

Park, Jongjin 87, 88

Perry, Grayson 29 to 32, 479, 480

Perez, Gustavo 359, 360

Perez-Flores, Dario 44 to 46, 94 to 96

Pesce, Gaetano 402 to 459

Petersen, Bernt 395

Philp, Paul 316 to 318

Piper, John 203

Procktor, Patrick 15

Puisais, Antoine 465

Ramshaw, Wendy 393

Rega, Romeo 396

Rego, Paula 4 to 6, 8

Reuss, Albert 195 to 200

Rich, Fred 335

Richards, Ceri 206

Riley, Bridget 47

Roberts, David 315

Rosoman, Leonard 156

Sarpaneva, Pentti 181

Scott, Patrick 469

Self, Colin 304

Serra, Richard 93

Shire, Peter 399

Shrigley, David 41

Sjodahl Andersen, Erik 182

Smit, Carolein 461

Smith, Richard 467

Sonnier, Keith 470 to 472

Sottsass, Ettore 398

Spence, Basil 122, 123

Spender, Humphrey 201

Stephenson, Ian 468

Sutherland, Graham 241

Tanabe, Reiko 169

Taplin, Guy 387, 388

Teschmacher, Winnie 379

Theakston, Nichola 308

Torun Bulow-Hube, Vivianna 185 to 189

Trevelyan, Julian 207 to 211

Tudor-Pole, Tom 347

Turner, William 146

Underwood, Leon 128

Vanderveen, Loet 306, 307

Vigano, Vittoriano 235, 236

Vodder, Arne 163

Ward, James 73

Ward, John 363, 364

Weckstrom, Bjorn 391

Wegner, Hans 166

Wilson, Scottie 202

Wirkkala, Tapio 183

Wood, Christopher 240

Woodrow, Bill 223

Wormley, Edward 119

Wou-ki, Zao 17, 18

Yasuda, Takeshi 358

Yoshioka, Tokujin 101