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30TH OCTOBER 2026 LIVE FROM LONDON & ONLINE

FRIDAY 30 OCTOBER 2026 AT 10AM MALL GALLERIES, LONDON

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Front cover Lot 149 [detail]

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Left Lot 151 [detail]

EXHIBITION & VIEWING Mall Galleries, The Mall, London, SW1Y 5AS Tuesday 27 October 1pm-5pm Wednesday 28 October 10am-5pm Thursday 29 October 10am-5pm Friday 30 October 9am-12 noon

BUYER'S GUIDE

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

BUYER’S PREMIUM

REGISTRATION

IMPORT/EXPORT

The buyer shall pay the hammer price together with a premium, at the following rate, thereon. 28% up to £25,000 27% from £25,001 to £500,000 26% 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).

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

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.

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 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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.

26.2

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction. CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale. 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 LONDON LOT COLLECTION Items will be available for collection from the Mall Galleries on Saturday 31st October 10am - 2:30pm. Following this, the items will be available to collect from Thursday 5th November 9am from Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB60FD. They will be stored free of charge until Thursday 19th November. From Friday 20th November clients will be charged by our storage partners: Smalls paintings and objects: £20.50 moving and admin fee then £1.00 per day. Large items – £32.50 moving and admin fee then £2.50 per day. Insurance: 0.25% of hammer price per 28-day period or part thereof, subject to 20% VAT. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 4pm by prior appointment only. EDINBURGH LOT COLLECTION If you would like to collect from our Edinburgh office, please contact Amelia Hacking by 5pm on Wednesday 4th November (amelia.hacking@ lyonandturnbull.com). Items will then be available for collection from Friday 13th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@ lyonandturnbull.com or telephone 0131 557 8844.

MEET THE SPECIALISTS

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

Philip Smith

Simon Hucker

Amelia Hacking

London | Co-Head of Sale

London | Sale Co-ordinator

philip.smith@lyonandturnbull.com

simon.hucker@lyonandturnbull.com

amelia.hacking@lyonandturnbull.com

+44 7741 247 225

+44 7442 575 266

+44 7788 394 555

Alice Strang Edinburgh | Fine Art

Carly Shearer Edinburgh | Fine Art

Kirstie Davidson London | Prints & Multiples

Sarah Duncan FGA London | Jewellery

alice.strang@lyonandturnbull.com

carly.shearer@lyonandturnbull.com

kirstie.davidson@lyonandturnbull.com

sarah.duncan@lyonandturnbull.com

+44 7966 377 060

+44 7818 190 726

+44 7714 699 083

+44 7551 173 745

Joy McCall

Francesca Christodoulou

John Mackie

Ursula Goldsmith

London | Design

Edinburgh | Design

joy.mccall@lyonandturnbull.com

fc@lyonandturnbull.com

john.mackie@lyonandturnbull.com

ursula.goldsmith@lyonandturnbull.com

+44 7810 301 525

+44 7917 434 602

+44 7714 699 802

+44 7795 208 148

We are delighted to present this catalogue for the 15th

The influence of emigrés on the British art scene of the 40s

edition of Modern Made. As ever, we have tried to balance

and 50s should never be underestimated, especially not

the varying elements that the sale aims to cover – the best in

in our current political climate where immigration is often

fine art, design, photography, craft and studio ceramics – but

presented through a negative lens and religious, ethnic

this edition feels even more balanced than others, with no

and racial intolerance is on the rise. The world of post-war

one area in excess, nor one underrepresented. It truly does

British Art, design, photography, craft and studio ceramics

provide a panorama of creativity across media and genre,

just wouldn’t be the same without the ecosystem of artists,

style and movements, from the beginning of the 20 Century

makers, gallerists, writers, publishers and patrons who

up until now.

arrived on these shores, escaping persecution and death, for

Collectors never – or at least very, very rarely – collect one thing and Modern Made has always tried to reflect this,

the whole of the 20th century, but especially in the 1930s and 40s.

creating interplays between objects as we’d imagine them in

We are proud to represent this key aspect of our cultural

a collector’s home. And perhaps the sense of balance in this

history, whether through the studio ceramics owned by

sale comes from it containing a number of ‘mini’ collections,

celebrated jewellery designer Gerda Flöckinger C.B.E.

all quite different, all equally eclectic. There is a group from

(born in Austria), the ceramics of Lucie Rie and Hans Coper

Tom Alexander’s wonderful collection of Modern British

(Austrian and German respectively), photographs by Dorothy

art and studio ceramics, put together from the £40 annual

Bohm (German) or the small collection of works by Peter

stipend he received for acting as an Emergency Army

Potworowski (born Piotr, Polish), who became an influential

Reserve on the Isle of Arran and the result of him writing

teacher in the 1950s.

directly to the artists he admired and asking them to send whatever they might have spare that fit his modest means. It’s a collection that certainly speaks of different times – as does that of Leonard & Dorothy Elmhirst, founders of Dartington Hall – nominally a school, but also a workshop of art, philosophy and spiritualism, a Bauhaus set in a Medieval manor in Devon. The Gerald Summers furniture featured in the sale perfectly encapsulates the Dartington spirit, with form and function in absolute harmony, the aesthetic defiantly purist, but still wearing materiality and making on its sleeve. The celebrated lighting designers John & Sylvia Reid were certainly the inheritors of Dartington’s internationalist spirit. As the greats of European art, design and architecture – Mondrian, Moholy-Nagy, Gropius etc – passed through London in the late 30s and early 40s, they sparked a new generation of artists who shaped the destruction of postWar into a bright, new Modern Britain, exemplified in the aesthetic of the Festival of Britain in 1951.

Another arrival on our shores is Cedric Morris’s Experiment in Red, which for the last 50 years has been more and less hidden in Kenya, first with the dealer Kathleen Firmin, who bought it on a trip to London in 1975, and then latterly in a private collection. It forms the third part in a trilogy of major flower paintings by Morris that we have had the honour of presenting in the last year. The Morris is joined by important works of Modern British art – by some of our greatest artists such as Paul Nash and Victor Pasmore – with a healthy dash of European Modernism too, including such names as Picasso, Delvaux and Marquet. Our cover lot, Paolo Scheggi’s Zone Riflesse, is in some ways the ‘poster child’ for Modern Made as a whole. A serious work of modernist painting, that would hang perfectly above your Gio Ponti headboard (Lot 148) or Hans Wegner sofa (Lot 98), lit by a Reid or Angelo Lelii lamp (Lots 197 & 133, amongst others) whilst you have an espresso from a Rupert Spira cup (Lots 357 & 359). It’s the collector’s life we wish we had and which we hope you’ll enjoy too.

Philip Smith Co-Heads of Sale

Simon Hucker

1§ CHARLES MARESCO PEARCE (BRITISH 1874-1964) TREES IN A SQUARE, MENTON, 1921 signed and dated (lower left), oil on board 40.5cm x 32cm (16in x 12 ½in) Provenance: Rebecca Mirkin, the Artist’s grand-daughter, from whom acquired by the previous owner in 2008 and thence by family descent.

£1,500-2,500

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

2§ LOUIS VALTAT (FRENCH 1869-1952) VOILIER ET BARQUE À OUISTREHAM, c.1930 signed (lower right), oil on canvas 27cm x 35cm (10 ½ in x 13 ¾in) Provenance: Private Collection, Hamburg (acquired in the 1930s) and thence by descent; Their sale, Bonham’s, London, Modern & Contemporary Art, 30 June 2021, lot 55, where acquired by the present owner. Note: The authenticity of this work has kindly been confirmed by Les Amis de Louis Valtat. This work will be included in the forthcoming Louis Valtat catalogue raisonné, currently being prepared.

£3,000-5,000

3§ BERNARD GANTNER (FRENCH 1928-2018) SEINE BRIDGE, 1959 signed and dated (lower right), oil on canvas 31.5cm x 44.5cm (12 3/8in x 17 ½in) Provenance: with The Piccadilly Gallery, London, where acquired by J.W. Peyton, March 1960; Bonham’s Knightsbridge,Modern Pictures, 21 September 2004, lot 32; Private Collection, U.K.

£800-1,200

4§ ADRIAN ALLINSON (BRITISH 1890-1959) VILLAGE, PROVENCE. c.1922 embossed estate stamp (lower right), chalk and watercolour on paper 29.5cm x 39.5cm (11 ½in x 15 ½in) Provenance: The Estate of the Artist; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

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

5§ CHARLES MARESCO PEARCE (BRITISH 1874-1964) MENTON, 1927 signed and dated (lower right), oil on canvas 93.5cm x 63.5cm (36 ¾in x 25 ¾in) Provenance: possibly Wyndham Vint, Bradford; Private Collection, England, and thence by direct descent to the present owner. Exhibited: French Gallery, New Bond Street, London; Cartwright Memorial Hall, Bradford; Christie’s, London, Centenary Exhibition of the New English Art Club, 1986, no.221.

£2,000-3,000

6§ CHARLES LACOSTE (FRENCH 1870-1959) SÉEZ (SAVOIE), 1938 stamped with studio stamp (lower left), titled and dated (to reverse), oil on paper 27.5cm x 34.5cm (10 ¾in x 13 ½in) Provenance: Acquired from Galerie Thierry Mercier, Paris by the present owner, 2006.

£2,000-3,000

7 TENG-HIOK CHIU A.R.B.A. (CHINESE 1903-1972) MOROCCAN SCENE signed (lower right), further signed on Artist’s label (to reverse), oil on board 40.5cm x 50.8cm (16in x 20in) Provenance: Private Collection, UK.

£2,000-3,000

8 ALBERT MARQUET (FRENCH 1875-1947) MUSTAPHA SUPÉRIEUR, 1924 signed (lower right), oil on canvas board 33 x 40.5cm (13in x 16in)

Albert Marquet first visited Algiers in the winter of 1920, in an attempt to

Provenance: Galerie Druet, Paris, acquired from the artist, 24th June 1924; René Dreyfus, acquired from the above; with Galerie Druet, Paris, 10th October 1930; Private Collection, Ile-de-France; Aguttes, Neuilly-sur-Seine, Impressioniste & Moderne, 4 May 2021, lot 13, where acquired by the present owner.

escape the illness that plagued him at that time of year in Paris, and he fell

Literature: Jean-Claude Martinet & Guy Wildenstein, Marquet, L’Afrique du Nord, Catalogue de l’oeuvre peint, Skira Seuil, Wildenstein Institute, Paris, 2001, n° I-88, p.132.

that then opened out onto sweeping views of the pink and ochre city, with

A certificate of authenticity from Marcelle Marquet, dated 13th January 1968 accompanies this lot.

in love with the city, with its strong, clear light, cool, deep shadows and the soft pastel colours of its low-slung buildings. He first painted Mustapha Supérieur the following year. At the time it was a suburb just beyond the city, lush with trees and flowers, which gave him a bright, articulated foreground the wide expanse of the azure sea beyond. In 1924 Marquet bought a house in Algiers, the Villa Miramar, on the hill facing Mustapha Supérieur, with a mirrored view of the city of his dreams and the endless blue beyond.

£25,000-35,000

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

9§ KARL HUBBUCH (GERMAN 1891-1979) WEIBLICHER AKT MIT ZIGARETTE (FEMALE NUDE WITH A CIGARETTE) signed (lower right), pen and ink on paper 27.5cm x 21.5cm (11in x 8 ½in) Provenance: Ketterer Kunst, Hamburg, Auktion 403, 20 April 2013, lot 235, where acquired by the present owner.

£300-500

10 §

11 §

PAUL DELVAUX (BELGIAN 1897-1994)

PABLO PICASSO (SPANISH 1881-1973)

NUDE WOMAN RECLINING

PORTRAIT DE PIERRE MASCOT, 1921

pen and blue ink on paper

pencil on paper

26.7cm x 35.5cm (10 5/8in x 14in)

24.5cm x 16cm (9 ¾in x 6 ¼in)

Provenance: with Jean-Luc Baroni Ltd, London.

Provenance: Marina Picasso, the Artist’s grand-daughter; Her sale, Sotheby’s, London, The World of Picasso: Unique Works from the Collection of Marina Picasso, 8 June 2020, lot 14, where acquired by the present owner.

£2,000-3,000

Exhibited: with Galerie Jan Krugier, Geneva. Literature: Christian Zervos, Pablo Picasso, Supplement aux annees 1920 à 1922, Paris, 1975, vol. XXX, no.247, illustrated pl.79. The authenticity of the work was confirmed by Claude Picasso at the Sotheby’s sale.

£10,000-15,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

12 § AUSTIN OSMAN SPARE (BRITISH 1886-1956) UNTITLED initialled AOS in pencil (lower left), pencil, watercolour and gouache on paper 40.2cm x 29.2cm (15 7/8in x 11 ½in) Provenance: Lilian Laws (1888–1947), painter and sculptor, thence by direct family descent. A fellow occultist, Laws may have known Austin Osman Spare, according to the present owner, although any acquaintance and the circumstances of her acquisition remain undocumented; Private Collection, U.K.

£3,000-5,000

13 § CYRIL SAUNDERS SPACKMAN (AMERICAN/BRITISH 1887-1963) STANDING FIGURE, c.1930 incised with artist’s monogram, Belgian fossil marble, on later granite base 65.5cm high, 23.2cm wide, 10.7cm deep (25 ¾in high, 9 1/8in wide, 4 ¼in deep); including base: 83.5cm high, 38cm wide, 23cm deep (32 7/8in high, 15in wide, 9in deep) Provenance: Private Collection, London.

£2,500-3,000

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

The Very Light not only takes the viewer

to illuminate No Man’s Land at night.

It’s becoming quite the fashion for

straight to the trenches of the First

The letter can be taken to describe the

artist men who’ve been “out there”

World War, but also played a part in

present work:

to give shows of their war pictures

Paul Nash becoming one of Britain’s most important Official War Artists.

Twilight quivers above, shrinking

Nash was born in London and trained

moon sits uncannily below pale

at the Slade School of Fine Art in the

stars. As the dark gathers, the

English capital. On 10 September 1914

horizon brightens and again

he enlisted in the 28th Battalion London

vanishes as the Very lights rise and

Regiment (Artists’ Rifles) for home

fall, shedding their weird greenish

service. Following officer training, he

glare over the land ... At intervals

was appointed a Second Lieutenant

we send up Very lights, and the

and was posted to the 15th (Service)

ghastly face of No Man’s Land leaps

Battalion of the Hampshire Regiment,

up in the garish light, then as the

an infantry unit. In late February 1917

rocket falls, the great shadows flow

Nash set out for France, disembarking

back, shutting it into darkness

at Le Havre and reaching the Ypres

again.

Sector by March, where he drew The Very Light. Recording life in the trenches in sketches, drawings and letters, Nash was acutely sensitive to the conflict’s impact on the surrounding landscape and nature’s resilience in the face of military devastation. On Good Friday, 6 April 1917, he wrote about this ‘terrible beauty’ (Paul Gough) to his wife, Margaret Odeh, not least the effect of the Very lights or flares used

into night, and a perfect crescent

(Letters and Papers of Paul Nash, Tate Archive, TGA 8313/1/1/141)

when they come back. But it isn’t all of them who’ve done their “impressions” actually in the trenches, under fire, like Mr Paul Nash of the Hampshires, whose clever sketches of the Ypres Salient are now on view at the Goupil Gallery – impressions, too, that are distinctly intriguing. I hadn’t imagined, for instance, that “over there” there was still colour. One pictures the Front one dreary waste of mud-tones. (‘The Letters of Eve’, The Tatler, 4 July 1917, no.836, p.4) The exhibition’s impact contributed to Nash’s appointment as an official war artist, in which capacity he returned to the front in November 1917. The

After four months, Nash was invalided

works he made thereafter, including

home after an accident. During

of the aftermath of the Battle of

his convalescence he created the

Passchendaele, made his reputation

drawings, including The Very Light,

and climaxed in The Menin Road of

which were shown at the Goupil

1919 (Imperial War Museums, Art.

Gallery in London in an exhibition

IWM ART 2242), which is arguably

which opened on 20 June. It was very

the most widely known image of the

well received, soliciting, for example,

conflict.

the following review in The Tatler:

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

14 PAUL NASH (BRITISH 1889-1946) THE VERY LIGHT, 1917 signed and dated in pencil (lower left), pen & ink, wash and chalk on paper 18.6cm x 24.2cm (7 ¼in x 9 ½in) Provenance: The Fine Art Society, London, where acquired by the present owner, c.1980s. Literature: Eates, Margot (ed.), Paul Nash – Paintings, Drawings and Illustrations, Lund Humphries, London, 1948, p.45 (listing of Goupil Gallery exhibition); Causey, Andrew, Paul Nash, Clarendon Press, London, 1980, p.360, cat. 158 Exhibited: Goupil Gallery, London, Drawings Made in the Ypres Salient by Paul Nash, 1917, no.18; The Fine Art Society, London, Watercolours & Drawings 1800-1950, May 1983, no.34.

£60,000-80,000

15 § DAVID JONES (BRITISH 1895-1974) ST. ANDREW, c.1922 pencil and watercolour on wove paper 18cm x 11cm (7in x 4 ¼in) Provenance: The Estate of the Artist; Anthony D’Offay, London; The Piccadilly Gallery, London where acquired by Austin / Desmond Fine Art, 1989; with Austin / Desmond Fine Art, London.

£3,000-5,000

16 § DAVID JONES (BRITISH 1895-1974) DAVID AND THE LION, 1928 inscribed and dated (to lower margin), pencil on coloured paper 26cm x 16.5cm (10 ¼in x 6 ½in) Provenance: The Estate of the Artist; Anthony D’Offay, London, from whom acquired by the present owner. Exhibited: Austin / Desmond Fine Art, London, David Jones, 1989, no.25;

£800-1,200

17 § BLAIR HUGHES-STANTON (BRITISH 1902-1981) BATHERS, 1926 signed and dated (lower right), oil on canvas 66cm x 88cm (26in x 34 ¾in)

£800-1,200

18 CHRISTOPHER RICHARD WYNN NEVINSON A.R.A. (BRITISH 1889-1946) EARLY EVENING, c.1920s signed (lower right), oil on canvas 45.5cm x 60.5cm (18in x 24in) Provenance: Albemarle Gallery, London; Bonhams, London, 20th Century British Art, 28 March 2006, lot 10; with The Piccadilly Gallery, London, where acquired by Malcolm Borthwick.

£3,000-5,000

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

19 § DUNCAN GRANT (BRITISH 1885-1978) COTTAGE IN THE WOODS, c.1950 signed and indistinctly dated (lower right), oil on canvas board 52.5cm x 37cm (20 ¾in x 14 ½in) Provenance: Private Collection, Edinburgh. We are grateful to Richard Shone for his kind assistance in cataloguing this lot.

£4,000-6,000

20 § DUNCAN GRANT (BRITISH 1885-1978) STILL LIFE WITH POT PLANTS oil on board 31.5cm x 39.5cm (12 3/8in x 15 ½in) Provenance: Paul Roche; Christie’s South Kensington, Modern British Paintings, Watercolours, Drawings & Sculpture, 21 September 1995, lot 72; Belgrave Gallery, London; Lindy Skinner Fine Art, Wiltshire, April 1996, from whom acquired by the present owner; Private Collection, U.K. Note: This work was very likely painted at Paul Roche’s home in Aldermaston, Berkshire, where he maintained an extensive garden. We are grateful to Richard Shone for his kind assistance with cataloguing this lot.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

21 §

DAVID JONES (BRITISH 1895-1974)

GWEN JOHN (BRITISH 1876-1939)

SEATED WOMAN, c.1935-40

STUDY OF A SEATED BOY, c.1928

pencil on paper

studio stamp (lower right), inscribed EJ II 6 (to reverse), black chalk on brown paper

59cm x 41cm (23 ¼in x 16in)

31.5cm x 25.5cm (12 ½in x 10in)

Provenance: The Estate of the Artist; Anthony D’Offay, London, from whom acquired by the present owner.

Provenance: with Faerber and Maison, London; Stanhope Shelton Esq. (collection stamp to back of frame); Christie’s South Kensington, Twentieth Century British Art, 4 October 2007, Lot 87 with Abbot and Holder Ltd, London.

£1,500-2,500

Exhibited: Faerber and Maison, London, Gwen John Exhibition, June 1970, cat. no. 35.

£600-800

23 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) MODEL READING c.1938 signed (lower right), oil on canvas 50cm x 40cm ( 19 ¾in x 15 ¾in) Provenance: Redfern Gallery, London, where acquired by Stephen Harrison Esq., February 1946; Sotheby’s, London, Modern British Paintings, Drawings & Sculpture, June 1988, lot 115, where acquired by the present owner. Exhibited: Salon d’Automne, Paris, 1938.

£30,000-50,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

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

Right Lot 103 [detail]

24 § VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998) SEA FRONT, 1932 signed and dated (lower right), oil on canvas 51cm x 68.5cm (20in x 27in) Provenance: Mr & Mrs Lynton Lamb; Private Collection, UK. Exhibited: London Group, October 1932, no.205; Cooling Galleries, London, Victor Pasmore, November 1933, no.1; Arts Council Gallery, Cambridge, Victor Pasmore - Selected Works 1926-1954, February-March 1955, no. 4; Tate Gallery, London, Victor Pasmore - Retrospective Exhibition 1926-1965, 14 May – 27 June 1965, cat.4 (not illustrated). Literature: Lambertini, Luigi and Alan Bowness, Victor Pasmore – with a catalogue raisonné of the paintings, constructions and graphics, 1926-1979, Thames & Hudson, 1980, cat.11.

£30,000-50,000

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

Experiment in Red of 1934 by Cedric Morris is an exceptional

Following the move to Suffolk, Morris ended his contract

example of the flower paintings with which he made his name

with the dealers Arthur Tooth & Sons Ltd, resigned from

as one of Britain’s most important artists of the twentieth

society memberships and concentrated on first growing and

century. However, for over 50 years, it has been untraced,

then painting the products of the four acres of land which

quietly tucked away in Nairobi, Kenya. Its return to its

were now his to cultivate. The extraordinarily direct and

country of origin represents an important opportunity to

physical depiction of flowers in Experiment in Red, rendered

re-assess Morris’s contribution to British art history as an

in clearly delineated and generously loaded brushstrokes,

artist-plantsman.

bears out his friend, the plantswoman Beth Chatto’s remark

Morris was born in Sketty, Swansea in 1889. His unconventional art training included attendance at various Parisian academies, such as the Académie Delacluse, before the First World War. Time was spent in the midst of artistic

that ‘Cedric could not have painted flower pictures with so remarkable a degree of insight if he had not known the plants intimately by being a ‘dirty hands gardener’ on his knees from dawn to dusk.’ (quoted by Richard Morphet, op.cit., p.86).

circles in Newlyn, Paris and London, with his partner since

The present painting reveals how Morris was as experimental

1918, the artist Arthur Lett-Haines, before a move to The

on canvas as he was in the soil, exploring in both solutions

Pound farmhouse in Higham, Suffolk in 1929. By this point,

to the challenges of combining different tones of red and

Morris had achieved a rare combination of critical admiration

related areas of the colour spectrum in paint as well as

and commercial success, with solo exhibitions in Rome, The

in garden borders. In this, he may have been guided by

Hague and London, inclusion in group exhibitions in New

Gertrude Jekyll’s Colour Schemes for the Flower Garden, which

York and Venice and membership of the London Artists

was published in 1925.

Association and the Seven and Five Society.

Morris’s skills as a visionary horticulturalist are clear to see,

Experiment in Red epitomises the thrilling independence

whilst the symbolism of the selected flowers adds another

from London’s commercial art world that Morris achieved at

layer of interpretation to the painting. The single purple

The Pound during the 1930s. It was here that he was able to

iris at its centre is most likely to be the cultivar ‘Pioneer’,

establish the first of his ambitious and impressive gardens,

raised by Arthur Bliss in 1924 and therefore a newcomer in

whilst the present painting was created in the year in which

breeding terms. Other flowers featured include Hollyhock,

he first planted irises, of which he became a celebrated

whose blooms in the Victorian Language of Flowers

breeder after the Second World War.

represent fecundity and ambition, Snapdragon (freedom),

The artist Joan Warburton recalled of The Pound: At the back of the house lay a garden which ran down a slope to a pond … and beyond a marvellous view of the whole valley. The garden was a series of low-hedged beds, Cedric’s studio was beside the house in the garden. To go in there quietly when Cedric was painting the favourite of all his flowers, irises, was a revelation. (as quoted by Richard Morphet in Cedric Morris, Tate Gallery, London, 1984, p.48)

Catmint (love), Cone Flower (justice), Corn Poppy (sleep and latterly military remembrance), Sunflower (pride), Clary (wisdom) and Sweet William (sensitivity). Thrust to the very frontal plane of the image, the various flowers depicted are used to light the edge-to-edge composition through the varying brightness of their petals. In addition, the varying sizes of the flower heads are orchestrated to create a formal rhythm across the

thickly-woven support, which climaxes at the image’s

As Wolfers reported to Morris, Experiment in Red was ‘sold

centre. Morris’s mastery of colour is clear in the selection

at your preview party to the owner of the Firmin Gallery in

and combination of a broad tonal spectrum of orange, red,

Nairobi’, for the sum of £325 (letters of 27 November 1975

pink and purple, offset against various shades of green.

and 1 October 1975, TGA 83176). The gallerist referred to

Shallow perspective and a black background exclude

was Kathleen Firmin (née Barry), who – following the death

narrative context and forces all the viewer’s attention

of her photographer and mountaineer husband Arthur

onto the specimens presented. It illustrates Tate Curator

Firmin – ran a gallery that specialised in hand-tinted prints

Mary Chamot’s description of Morris’s work in 1937 as

of Arthur’s photographs, as well as paintings and prints.

a ‘decorative mosaic of colour’ with ‘brushwork which

As Morris had travelled in north Africa in 1921, 1925 and

produces an almost tapestry-life effect’ (Country Life, 1937,

1926, it was fitting that Kathleen selected Experiment in Red,

p.97), as well as Morphet’s praise of its ‘richness, simplicity

believing it would appeal to the cultured community of the

and tactility’ (Richard Morphet, Morris, Sir Cedric Lockwood,

capital of Kenya – then, as now, one of the most important

Oxford Dictionary of National Biography, 2009).

cities in the Commonwealth, geopolitically, economically

The artistic freedom underlying the painting is encompassed in its title, Experiment in Red. At especially creative periods throughout his career, Morris used this titling, such as the ‘Experiment in Texture’ and ‘Textures’ works of the 1920s (examples held in the collections of Tate and Gainsborough’s House. He was to return to his exploration of the titular colour in Essay in Red of 1959 (untraced), shown in his solo exhibition of that year at The Minories, Colchester. Indeed, a revival of interest in Morris’s achievements was witnessed in the 1960s and 1970s, including the retrospective exhibition mounted by the National Museum of Wales and the Welsh Arts Council in 1968. A further retrospective was held by David Wolfers at his influential New Grafton Gallery in London in 1975. Wolfers had been introduced to Morris by the artist and collector Natalie

and culturally. It was, in fact, during a royal tour of the Commonwealth, on behalf of her ailing father, King George VI, that Queen Elizabeth II came to Kenya for the first time in February 1952 and it was during this tour, at Treetops Lodge, north of Nairobi in the Aberdare National Park, that she received the tragic news of her father’s passing, thus becoming queen. Experiment in Red passed to Linda Lomonaco, Kathleen Firmin’s long-time assistant (who had worked with her hand-tinting Arthur’s prints). Linda went on to run Monaco Fine Arts Ltd in Nairobi, from where Experiment in Red was acquired by the present owner in 2006. After five decades in Africa, its return to the UK allows European admirers of Morris and of Modern British Art to savour a painting which embodies Richard Morphet’s declaration that:

Bevan, who formerly co-owned Morris’s paintings Paysage

Cedric is one of the most exceptional colourists in twentieth

du Jardin no.2 of 1931 and The Blue Poppy of 1932, which

century British art. It is not only the intensity of his colours

were sold by Lyon & Turnbull in 2026 and 2025 respectively

that tells, but above all the originality and the strange beauty

(Letter from Wolfers to Morris of 11 October 1974, Personal

of the relationships between them which he established …

Papers of Cedric Morris and Arthur Lett-Haines, Tate

he not only made each painting’s basic elements of colour,

Archive, TGA 83176). Experiment in Red was one of twenty-

material and composition come alive in its own right in ways

nine works shown by Wolfers, covering his career from

uniquely his own, but he fused them with a personal vision of

1922 to 1963, of which Greek Wallside, Turkey (no.18) and

extraordinary directness. (Morphet, op.cit., p.87)

Palace at Oeiras, Portugal (no. 27) are now in the collection of Gainsborough’s House. Such was the exhibition’s success that its run was extended to 14 July 1975 (letter from Wolfers to Morris of 14 July 1975, TGA 83176).

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

We are grateful to David R. Mitchell, Curator, Muddy Feet Consulting for his help with our research.

25 ‡ § SIR CEDRIC MORRIS (BRITISH 1889-1982) EXPERIMENT IN RED, 1934 signed and dated (lower left), inscribed ‘DARK FLOWERS Cedric Morris 1934’ (on the stretcher) possibly in the Artist’s hand, oil on canvas 68.5cm x 55.5cm (27in x 22in) Provenance: New Grafton Gallery, London, from whom acquired by Kathleen Firmin, Firmin Gallery, Nairobi, June 1975; Monaco Fine Arts, Nairobi, where acquired by the present owner, March 2006. Exhibited: New Grafton Gallery, London, Cedric Morris - Retrospective Exhibition, 19 June - 9 July 1975, no. 11.

£60,000-80,000

26 § ARTHUR LETT-HAINES (BRITISH 1894-1978) LE BAS-VENTRE, 1926 signed and dated (lower right), pastel and watercolour on paper 41cm x 30cm (16in x 12in) Provenance: Sworder’s, Modern and Contemporary Art, 05 April 2022, lot 10, where acquired by the present owner.

£500-800

Benton End: The Artists’ House Cedric Morris and his partner, the artist

artistic, horticultural and culinary

posted 24 February 2024). Her work,

Arthur Lett-Haines, established the

history of 20th Century Britain, thanks

Kersey Mill [Lot 28], was painted outside

East Anglian School of Painting and

to their work and that of their students,

the titular village, some three miles

Drawing in Dedham, Essex in 1937. Its

Morris’s success as a cultivator of irises

away from the School. Joan Warburton

object was ‘to provide an environment

and Lett-Haines’ prowess in the kitchen.

[Lot 27] , nicknamed ‘Maud’ by Lett-

where students can work together with more experienced artists in a common endeavour to produce sincere painting’.

Whilst Morris’s position within the history of Modern British art is assured, Lett-Haines’ practice [Lot 26] has only

Haines, was one of six artists chosen to represent the Benton End community in the recent Benton End: A Paradise of Pollen and Paint exhibition at the Garden

After the original school was destroyed

recently begun to receive the academic

in a fire (allegedly started by a young

and curatorial appraisal that it merits.

Lucian Freud), in 1940 Morris and

As Hugh St Clair has related about Lucy

Lett-Haines moved to Benton End, a

Harwood, ‘having met Cedric Morris in

sixteenth-century house in the nearby

the 1930s, she was an integral part of

town of Hadleigh, where they re-

bohemian Benton End life for the next

The Garden Museum is currently

established the School and were to live

three decades, the only member of the

restoring and reviving Benton End as a

for the rest of their lives. Benton End

community with a car, ancient and full of

new centre of art and horticulture. It is

became a centre of the post-Second

paint brushes and rags.’ (‘Lucy Harwood:

due to open in Spring 2027.

World War East Anglian creative

A Painter at the Heart of Bohemian

renaissance and gained a place in the

Benton End’, Garden Museum Stories,

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Museum, London. She joined the School at its Hadleigh outset and remained friends with Morris and Lett-Haines thereafter.

27 § JOAN WARBURTON (BRITISH 1920-1996) LAGOS BAY, ALGARVE, 1958 signed and dated in pen (lower right), pastel on paper 35cm x 36cm (13 ¾in x 14 ¼in) Provenance: The Estate of the Artist; Private Collection, Suffolk.

£300-500

28 § LUCY HARWOOD (BRITISH 1883-1972) KERSEY MILL signed (to reverse), oil on hessian 61cm x 51cm (24in x 20in) Provenance: Private Collection, Suffolk.

£800-1,200

29 † JACQUES ADNET (FRENCH 1900-1984) TABLE LAMP model 7706, chromed metal and glass, with later shade and fitment base to fitment 12.5cm high (4 7/8in high), including shade 33.5cm high (13 ¼in high) We would like to thank Alain-René Hardy for his assistance in cataloguing the present work.

£1,000-1,500

30 SYLVIA SHAW JUDSON (AMERICAN 1897-1978) DOVE FAUCET, DESIGNED 1928 stamped S.PAT.75428, and inscribed draft (to base), brass 12cm high, 17cm wide, 8cm deep (4 ¾in high, 6 ¾in wide, 3 1/8in deep) Provenance: Private Collection, U.K.

£400-600

This unusual brass dove-form fitting

registered in the United States under

Conceived as a decorative faucet

relates to a design by the noted

patent no. 75,428 in 1928, with the

fitting, the dove reflects Judson’s

Chicago sculptor Sylvia Shaw Judson

patent drawings corresponding closely

characteristic interest in birds and

(1887–1978), best known for her

to the present model. The patent

the natural world, translated here

elegant naturalistic sculpture and

number is stamped, though partially

into a functional piece of late 1920s

garden ornament. The design was

worn, beneath the tail feathers.

American design.

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

31 § PAUL BONY (FRENCH 1917-1998) STAINED GLASS WINDOW, 1947 inscribed and dated PAUL BONY 1947, stained glass 194cm high, 57cm wide, 3cm deep (76 3/8in high, 22 3/8in wide, 1 1/8in deep) Provenance: Private Collection, U.K.

£1,000-1,500

Paul Bony was a French master glassmaker whose collaborations with Henri Matisse, Marc Chagall and Georges Rouault helped translate their designs into stained glass. He worked closely with Matisse on the windows for the Chapelle du Rosaire at Vence, a project conceived in 1947 and completed in 1951. Bony’s technical expertise was essential to realising Matisse’s carefully judged interplay of blue, green and yellow glass, which fills the chapel’s white interior with coloured light.

Lot 60

32 LUDWIG MIES VAN DER ROHE (GERMAN 1886-1969) ‘D42’ CHAIR, DESIGNED 1927 / MANUFACTURED c.1996 chromed metal and grey synthetic wicker 80cm high, 56.5cm wide, 83cm deep (31 ½in high, 22 ¼in wide, 32 5/8in deep) Provenance: Aram, London; Private Collection, London.

£1,000-1,500

33 MARCEL BREUER (HUNGARIAN 1902-1981) FOR THONET SET OF FOUR ‘LACCIO’ TABLES, DESIGNED 1924 each with manufacturer’s label (to underside of table), chromed metal and laminated wood 45.5cm high, 59cm wide, 45cm deep (19 5/8in high, 23 ¼in wide, 17 ¾in deep); 55.3cm high, 69.5cm wide, 44.5cm deep (21 ¾in high, 27 3/8in wide, 17 ½in deep); 55.3cm high, 69.5cm wide, 45cm deep (21 ¾in high, 27 3/8in wide, 17 ¾in deep); 50cm high, 130cm wide, 45cm deep (19 5/8in high, 51 1/8in wide, 17 ¾in deep) (4) Provenance: Private Collection, London.

£600-900

34 LUDWIG MIES VAN DER ROHE (GERMAN 1886-1969) PAIR OF ‘MR10’ CANTILEVER CHAIRS, DESIGNED 1927 chrome and leather 77.5cm high, 48cm wide, 65cm deep (30 ½in high, 18 7/8in wide, 25 ½in deep) (2)

£600-800

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

35 AFTER EDWARD MCKNIGHT KAUFFER (BRITISH 1890-1954) FOR HABITAT RUG, DESIGNED 1930 / MANUFACTURED c.2008 initialled within the weave EMCKK, wool 178.5cm x 112cm (70 ¼in x 44in) Provenance: Private Collection, London. Note: Originally designed in 1930, this example was part of a limited run produced for Habitat in conjunction with the V&A’s 2008 exhibition Modernism: Designing a New World.

£600-800

36 EILEEN GRAY (IRISH 1878-1976) FOR CLASSICON BY ARAM DESIGNS, LONDON ‘E1027’ TABLE, DESIGNED 1927 stamped ClassiCon / AA1970 / Eileen M. Gray, chromed metal and glass 63cm high, 50.5cm wide (24 ¾in high, 19 7/8in wide) Provenance: Aram, London; Private Collection, London.

£400-600

37 LE CORBUSIER (SWISS/FRENCH 1887-1965) FOR CASSINA LC2/2 SOFA, DESIGNED 1928 / MANUFACTURED 2010 with manufacturer’s mark and label to underside of padded seat, chromed metal and white leather 68.5cm high, 129.5cm wide, 70cm deep (27in high, 51in wide, 27 ½in deep) Provenance: Aram, London, 2010; Private Collection, London.

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

38 EILEEN GRAY (IRISH 1878-1976) FOR CLASSICON BY ARAM DESIGNS, LONDON PAIR OF ‘BONAPARTE’ CHAIRS, DESIGNED 1935 each chair with manufacturer’s label, chromed metal and tan leather 74.5cm high, 59.5cm wide, 61.5cm deep (29 3/8in high, 23 3/8in wide, 24 ¼in deep) (2) Provenance: Aram, London; Private Collection, London.

£1,200-1,800

Gray trained as a painter before becoming one of the

practical explanation. Gray’s interest in geometry did not

twentieth century’s most inventive designers and architects.

require her to abandon suggestion: here, space seems to

She continued to draw and paint throughout her career,

emerge from the relationships between marks rather than

although this part of her practice was largely kept private. As

from conventional perspective.

Peter Adam recounts in Eileen Gray: The Private Painter, she discussed painting with her niece, the artist Prunella Clough, but regarded her own work in the medium with considerable modesty. Only later did exhibitions bring sustained attention to her drawings and gouaches. The present work shows how readily Gray could move between the discipline of design and the freedom of painting. Its upright structure and crossing lines evoke the organisation of an interior or an architectural drawing. Yet the soft-edged colour and ambiguous forms resist any

Long overshadowed by her furniture and buildings, Gray’s works on paper offer a more intimate view of her imagination. This drawing is compelling for the balance it holds between measured construction and uncertainty, inviting the viewer to keep looking as its forms shift between image and abstraction. See Peter Adam & Andrew Lambirth, Eileen Gray: The Private Painter, Lund Humphries & Osborne Samuel, London 2015.

39 § EILEEN GRAY (IRISH 1878-1976) UNTITLED pencil, watercolour, gouache and pastel on wove paper 23.2cm x 21.2cm (9 1/8in x 8 3/8in) Provenance: Gifted to art book publisher Andreas Landshoff (1930–2021) by his close friend, the filmmaker and author Peter Adam (1929–2019), and thence by direct descent. Adam first met Eileen Gray in 1960 and remained a close friend and confidant until her death in 1976. He later authored Eileen Gray: Her Life and Work: The Biography (2009), an important account of Gray’s life and career.

£3,000-5,000

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

WORKS FROM THE DARTINGTON HALL TRUST

THE ELMHIRSTS AND THE ART OF MODERN LIVING Left: Leonard and Dorothy Elmhirst at Dartington Hall, late1930s. Photograph courtesy of The Dartington Hall Trust.

For Leonard and Dorothy Elmhirst,

well beyond the restoration of a

Street in 1933–34 brought a similarly

the rooms in which people lived,

neglected medieval house. Leonard’s

thoughtful approach to their domestic

worked and gathered deserved serious

work with Rabindranath Tagore in

surroundings. Furniture mattered

consideration. Their choice of furniture

India had helped shape his belief in

within these interiors, both for its

formed part of the same thinking that

the relationship between education,

usefulness and for the way it shaped the

shaped Dartington Hall, where they

agriculture and cultural life. Dorothy

experience of a room.

brought progressive education, rural

brought an independent commitment

regeneration and the arts into close

to social reform and an informed

association. The works offered here

interest in contemporary art. Together,

give that history a tangible form. Gerald

they supported artists, architects and

Summers’s six ‘CB’ chairs and ‘ADN’

makers whose ideas could find practical

dining table furnished the Chekhov

expression within the community they

Theatre Studio at Dartington, while the

were establishing.

six Gordon Russell chairs were chosen

Gerald Summers’s work was well suited to such patrons. In 1931, he and Marjorie Butcher established Makers of Simple Furniture, producing designs that explored the possibilities of plywood with considerable originality. Summers understood how much

Their architectural commissions reveal

could be achieved through the careful

the scope of that patronage. William

cutting and bending of the material.

Lescaze’s High Cross House introduced

His furniture had a directness that

an assured modern presence to

depended on close attention to

When the Elmhirsts purchased

the Dartington estate, while Serge

construction, proportion and use.

Dartington Hall in 1925, they began

Chermayeff’s remodelling of their

a project whose ambitions reached

London residence at 42 Upper Brook

for the Elmhirsts’ London dining room before joining the furnishings of the Devon estate.

Ballet Jooss on the Tiltyard, Dartington Hall, 1936. Photograph courtesy of The Dartington Hall Trust.

WORKS FROM THE DARTINGTON HALL TRUST

The six chairs designed and manufactured by Gordon Russell Ltd. in collaboration with Ernest Brander Musman have an equally revealing history. The design originated in the clubroom of the Ace of Spades roadhouse on the Kingston By-Pass, where Musman’s architecture and Russell’s furnishings contributed to a thoroughly contemporary setting for leisure. Advertised by Gordon Russell in the June 1933 issue of Design for To-Day, the chair can also be identified in period photographs and surviving British Pathé footage of the building. The Elmhirsts selected examples for the dining room of their remodelled London home. They appear in the December 1934 feature on 42 Upper Brook Street in Architecture Illustrated, recording their place within Chermayeff’s interior. Subsequently transferred to Dartington Hall, they connect the couple’s metropolitan life with their wider undertaking in Devon. Their choice also shows how readily a design developed for a public clubroom could find a place in a carefully considered private interior. Chairs by Ernest Brander Musman for Gordon Russell (Lot 40) on display in the Elmhirst’s London home, appearing in Architecture Illustrated, 1934.

Together, these works reveal the discernment behind the Elmhirsts’ patronage. They recognised the achievements of designers working in different settings and gave their furniture a place in their own lives. The surviving photographs are especially compelling in this respect: they

Commissioned by the Elmhirsts, the ‘CB’ chairs

show the objects in the rooms for which the Elmhirsts chose

and ‘ADN’ table were used in the Chekhov

them, as part of a lived environment. Offered today, the

Theatre Studio at Dartington, where they

furniture retains that direct connection to the people and

are recorded in a contemporary photograph.

places through which modern design took root in Britain.

Martha Deese also discusses Dorothy’s acquisition of the table and six chairs in late 1934 or 1935 in her study, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931–1940. Their presence in the studio places them within one of the most creatively active settings on the estate. The ‘CB’, or curved back, chair is a particularly accomplished exercise in making a small amount of material do a great deal. Flat plywood side supports are combined with a moulded backrest, set low enough for the chair to slide beneath a table or desk. From the front, the thin edges of the supports give the chair an almost insubstantial appearance; seen from the side, their profile supplies its distinctive shape. These are practical decisions with a strong visual consequence. Around the ‘ADN’ table, the six chairs formed an ensemble appropriate to the adaptable working space of the theatre studio.

Gerald Summers furniture in the relaxing area of the Chekhov Theatre Studio, Dartington Hall, circa 1935. Photograph courtesy of The Dartington Hall Trust.

WORKS FROM THE DARTINGTON HALL TRUST

40 ERNEST BRANDER MUSMAN (BRITISH 1888-1972) FOR GORDON RUSSELL LTD. SET OF SIX CAFÉ CHAIRS, c.1933 white painted wood with drop-in upholstered seats 76cm high, 43cm wide, 44cm deep (30in high, 17in wide, 17 ¼in deep) (6) Provenance: Acquired by Dorothy Whitney Elmhirst, c.1934 for flat at 42 Upper Brook Street, London; The Dartington Hall Trust, Devon. Literature: Design for To-Day, June 1933, p.iii, similar examples illustrated in advertisement; Architecture Illustrated, December 1934, p.197, illustrated in the dining room of Elmhirsts’ London flat, at 42 Brook Street, London.

£1,500-2,000

41 ALVAR AALTO (FINNISH 1898-1976) SET OF FIVE STACKING CHAIRS, DESIGNED 1929 model 611, painted birch 80cm high, 48.5cm wide, 48cm deep (31 ½in high, 19in wide, 18 7/8in deep) (5) Provenance: The Dartington Hall Trust, Devon.

£1,000-1,500

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

WORKS FROM THE DARTINGTON HALL TRUST

42 § GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ‘ADN’ DINING TABLE, c.1934 cream painted plywood and linoleum top 74cm high, 125cm diameter (29 1/8in high, 49 ¼in diameter) Provenance: Acquired by Dorothy Whitney Elmhirst, probably directly for Dartington Hall, c. 1934–35. An archival photograph dating from around 1935 shows the table and chairs in the school’s Chekhov Theatre. The Dartington Hall Trust, Devon. Literature: Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 19311940, Hatje Cantz Verlag Berlin, 2024, pp.128-9, fig.5.4, illustrated in the Chekhov Theatre Studio, Dartington Hall, c.1935.

£2,500-3,500

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

WORKS FROM THE DARTINGTON HALL TRUST

43 § GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE PAIR OF ‘CB’ ARMCHAIRS, c.1934 cream painted plywood and upholstered seats 67cm high, 50cm wide, 47cm deep (26 3/8in high, 19 5/8in wide, 18 ½in deep) (2) Provenance: Acquired by Dorothy Whitney Elmhirst, probably directly for Dartington Hall, c. 1934–35. An archival photograph dating from around 1935 shows the table and chairs in the school’s Chekhov Theatre; The Dartington Hall Trust, Devon.

GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE PAIR OF ‘CB’ ARMCHAIRS, c.1934 cream painted plywood and upholstered seats 67cm high, 50cm wide, 47cm deep (26 3/8in high, 19 5/8in wide, 18 ½in deep) (2) Provenance: Acquired by Dorothy Whitney Elmhirst, probably directly for Dartington Hall, c. 1934–35. An archival photograph dating from around 1935 shows the table and chairs in the school’s Chekhov Theatre; The Dartington Hall Trust, Devon. Literature: Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931-1940, Hatje Cantz Verlag Berlin, 2024, pp.128-9, fig.5.4, illustrated in the Chekhov Theatre Studio, Dartington Hall, c.1935.

£6,000-8,000

Literature: Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931-1940, Hatje Cantz Verlag Berlin, 2024, pp.128-9, fig.5.4, illustrated in the Chekhov Theatre Studio, Dartington Hall, c.1935.

£6,000-8,000

WORKS FROM THE DARTINGTON HALL TRUST

45 § GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE PAIR OF ‘CB’ ARMCHAIRS, c.1934 cream painted plywood and upholstered seats 67cm high, 50cm wide, 47cm deep (26 3/8in high, 19 5/8in wide, 18 ½in deep) (2) Provenance: Acquired by Dorothy Whitney Elmhirst, probably directly for Dartington Hall, c. 1934–35. An archival photograph dating from around 1935 shows the table and chairs in the school’s Chekhov Theatre; The Dartington Hall Trust, Devon. Literature: Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931-1940, Hatje Cantz Verlag Berlin, 2024, pp.128-9, fig.5.4, illustrated in the Chekhov Theatre Studio, Dartington Hall, c.1935.

£6,000-8,000

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

WORKS FROM THE DARTINGTON HALL TRUST

46 MARCEL BREUER (HUNGARIAN 1902-1981) PAIR OF ‘WASSILY’ LOUNGE CHAIRS, DESIGNED 1925 model B3, chromed metal and white and grey leather 73.5cm high, 78cm wide, 64cm deep (29in high, 30 ¾in wide, 25 1/4in deep) (2) Provenance: The Dartington Hall Trust, Devon.

£1,000-1,500

47 LUDWIG MIES VAN DER ROHE (GERMAN 1886-1969) SET OF 6 ‘WEISSENHOFF’ CHAIRS, DESIGNED 1927 model MR10, stainless steel, leather and cord 82.5cm high, 46cm wide, 70cm deep (32 ½in high, 18 1/8in wide, 27 ½in deep) (6) Provenance: The Dartington Hall Trust, Devon. Literature: Blaser, Mies van der Rohe: Furniture and Interiors, Blaser, pp. 40-41, for an example of this model.

£1,000-1,500

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

48 § GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ARMCHAIR, c.1933-4 applied metal plaque inscribed Reg No 791116, birch moulded plywood 75cm high, 60cm wide, 83cm deep (29 ½in high, 23 5/8in wide, 32 5/8in deep) Provenance: Private Collection, London.

£8,000-12,000

49 HAN PIECK (DUTCH 1923-2010) PAIR OF ‘BAMBI’ CHAIRS, DESIGNED c.1946 moulded plywood 79cm high, 41.5cm wide, 42cm deep (31 1/8in high, 16 3/8in wide, 16 ½in deep) (2) Provenance: Private Collection, U.K.

£1,500-2,000

50 GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE WASTE PAPER CYLINDER / STOOL, c.1935 birch plywood 52.2cm high, 32.7cm diameter (20 ½in high, 12 7/8in diameter) Provenance: Private Collection, U.K. Literature: Furnishing Trades Organiser Publication, 1935, for similar example illustrated of a waste paper cylinder without lid in a library; Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931-1940, Hatje Cantz, Berlin, 2024, p.340, for similar example of waste paper cylinder without lid.

£1,500-2,500

The waste paper cylinder is a well-documented design by Gerald Summers; however, examples incorporating a fitted lid are previously unrecorded, making this an exceptionally rare variant. The addition of the lid transforms the design into a versatile dual-purpose object, allowing it to function equally as a small table or stool. Research has demonstrated that the method of construction is entirely consistent with Summers’ wider body of work. The lid is secured by a recessed plywood disc that fits precisely within the cylinder, employing the same ingenious solution found on Summers’ centre pedestal table, where a plywood disc beneath the upper tier slots securely into the cylindrical pedestal in much the same manner as a cork fitting into a bottle. This distinctive constructional detail provides

compelling evidence that the lid was conceived as an original element of Summers’ design, rather than a later adaptation, further illustrating his continual refinement of existing forms to enhance both functionality and economy of manufacture. The adaptation also reflects Summers’ characteristic approach to design. Throughout his career he continually revisited existing models, refining them to improve practicality while simplifying manufacture. The transformation of the cylinder into a dual-purpose waste paper basket and stool with a fitted lid is entirely in keeping with this philosophy, illustrating his enduring interest in creating versatile, economical furniture through intelligent engineering rather than unnecessary complexity. We would like to thank Martha Deese for her assistance in cataloguing this work.

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

51 HAN PIECK (DUTCH 1923-2010) ‘LaWo’ ARMCHAIR, DESIGNED 1945-6 moulded birch plywood 79.5cm high, 66cm wide, 72cm deep (31 3/8in high, 26in wide, 28 3/8in deep) Provenance: Private Collection, London.

£3,000-5,000

52 NEIL MORRIS FOR H. MORRIS & CO. LTD, GLASGOW CLOUD TABLE, DESIGNED 1947 stamped CUMBRIA Morris of Glasgow, and number 025058 (to underside), mahogany and Canadian betula wood 47cm high, 97.5cm wide, 94cm deep (18 ½in high, 38 3/8in wide, 37in deep)

£500-700

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

53 ANTHONY ARMSTRONG-JONES, LORD SNOWDON (BRITISH 1930-2017) FOR REMPLOY PAIR OF ‘PRINCE OF WALES’ INVESTITURE CHAIRS, 1969 Red-painted ash-laminate, with red upholstered seat 78.2cm high, 54cm wide, 52.5cm deep (30 ¾in high, 21 ¼in wide, 20 5/8in deep) (2) Provenance: Private Collection, U.K.

£1,500-2,000

54 ANDRÉ BLOC (FRENCH 1896-1966) ‘BELLEVUE’ CHAIR, DESIGNED 1951 plywood and enamelled steel 80cm high, 40cm wide, 46cm deep (31 ½in high, 15 ¾in wide, 18 1/8in deep)

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

55 VERNER PANTON (DANISH 1926-1998) FOR THONET S CHAIR, DESIGNED 1956 model 275, manufacturer’s label (to underside), lacquered plywood 82.5cm high, 43cm wide, 46cm deep (32 ½in high, 17in wide, 18 1/8in deep)

£2,000-3,000

56 ALBERTO CHURBA (ARGENTINE 1932-) ‘CINTA 5’ ARMCHAIR, DESIGNED 1968-9 painted plywood 60.5cm high, 69.5cm wide, 70cm deep (23 ¾in high, 27 3/8in wide, 27 ½in deep)

£1,500-2,000

57 CHARLES EAMES (AMERICAN 1907-1978) & RAY EAMES (AMERICAN 1912-1988) FOR VITRA PAIR OF ‘LCM’ CHAIRS, DESIGNED 1945 / MANUFACTURED 2001 manufacturer’s label, cow hide, plywood and chromed steel 65cm high, 55cm wide, 59cm deep (25 ½in high, 21 5/8in wide, 23 ¼in deep) (2)

£1,000-1,500

58 STUDIO BBPR FOR ARFLEX ‘URANIA’ ARMCHAIR, DESIGNED 1954 with manufacturer’s fabric label (to underside), enamelled steel and upholstery 81cm high, 75.5cm wide, 57cm deep (31 7/8in high, 29 ¾in wide, 22 ½in deep) Provenance: Private Collection, U.K.

£400-600

59 CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR HERMAN MILLER ‘LCW’ CHAIR, DESIGNED 1945 with manufacturer’s applied foil label, plywood 68cm high, 55.5cm wide, 57cm deep (26 ¾in high, 21 ¾in wide, 22 3/8in deep)

£800-1,200

60 Y JORGE ZALSZUPIN (POLISH/BRAZILIAN 1922-2020) FOR L’ATELIER MÓVÉIS, BRAZIL ‘CARINHO DE CHÁ’ ROLLING DRINKS TROLLEY, DESIGNED 1959 bears l’Atelier Móvéis paper label, rosewood, brass and painted metal 70cm high, 110cm wide, 48cm deep (27 ½in high, 43 3/8in wide, 18 7/8in deep) Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 26GBA10DB47MM.

After emigrating from Poland to Brazil in

The trolley’s large brass wheels re-call the

1949, the architect Jorge Zalszupin began

prams Zalszupin knew in Poland as a child. Set

designing furniture for his own interiors.

against a fine iron frame and curved wooden

Growing demand led him to establish L’Atelier

forms, they give the design both movement

in São Paulo in 1959. The Carrinho de Chá,

and visual balance. The model also shows

among the firm’s earliest designs, re-imagined

how Zalszupin adapted an ambitious idea for

the tea trolley then common in Brazilian

production: in its first iteration the upper tray,

homes as a light, sculptural piece of modern

carved with organic forms in pine or oak, was

furniture.

costly to make. He then created the model with a jacaranda-laminate tray with simpler rectangular forms, preserving the character of the design while making it more practical to produce.

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

61 Y ANDREW JOHN MILNE FOR HEALS & SONS LTD., SET OF 12 ARMCHAIRS, DESIGNED c.1953 rosewood and upholstery 88.5cm high, 55cm wide, 56cm deep 34 7/8in high, 21 5/8in wide, 22in deep) (12) Literature: Geoffrey & Richard Chamberlain, Austerity to Affluence: British Design 1945-1962, London, 1997, p. 29, cat. no.F51, for example of the armchair illustrated. Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 26GBA10RM98CG.

£5,000-7,000

62 WARREN PLATNER (AMERICAN 1919-2006) FOR KNOLL INTERNATIONAL PAIR OF LOUNGE CHAIRS, DESIGNED 1966 each with manufacturer’s labels, chrome and wool upholstery 77cm high, 93cm wide, 67cm deep (30 3/8in high, 36 5/8in wide, 26 3/8in deep) (2)

£2,000-3,000

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

63 CHARLES & RAY EAMES (AMERICAN 1907-1978 & 1912-1988) FOR HERMAN MILLER LOUNGE CHAIR AND OTTOMAN, DESIGNED 1956 models 670 and 671, each with applied manufacturer’s labels, walnut, aluminium and black leather chair: 84cm high, 83cm wide, 75cm deep (33in high, 32 5/8in wide, 29 ½in deep); ottoman: 44cm high, 66cm wide, 55cm deep (17 3/8in high, 26in wide, 21 5/8in deep)

£3,000-5,000

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

64 § KENNETH ROWNTREE (BRITISH 1915-1997) SHAPES ON A BLUE GROUND (1), 1961 oil on panel 41.5cm x 52cm (16in x 20in) Provenance: A gift of the Artist to Mr & Mrs Cyril Winksell and thence by direct descent to the present owner. Exhibited: Laing Art Gallery, Newcastle-Upon-Tyne, Kenneth Rowntree - Paintings, Drawings & Collages, 15 December 1976 23 January 1977, cat. no.86 (illustrated on cover of catalogue).

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

65 § KENNETH ROWNTREE (BRITISH 1915-1997) WADHAM COLLEGE BARGE signed in pencil (lower left), also signed and titled on Artist’s label (to reverse), watercolour on wove paper 23cm x 38cm (9in x 15in) Provenance: With Stocksfield Studio, Stocksfield; A gift of the Artist to Mr & Mrs Cyril Winksell and thence by direct descent to the present owner.

£400-600

66 § KENNETH ROWNTREE (BRITISH 1915-1997) DISTANT VIEW OF CHARTRES, 1956 initialled (lower right), oil on hardboard 64.5cm x 77cm (25in x 30in) Provenance: A gift of the Artist to Mr & Mrs Cyril Winksell and thence by direct descent to the present owner. Exhibited: Laing Art Gallery, Newcastle-Upon-Tyne, Kenneth Rowntree - Paintings, Drawings & Collages, 15 December 1976 - 23 January 1977, cat. no.46; Hatton Gallery, Newcastle-Upon-Tyne, Every Home Should Have One, 4 November 2000 - 20 January 2001.

£1,500-2,500

Tom Alexander in the drawing room of the family home, Harar, sitting on a padauk stool by David Gilbert, with Ben Nicholson’s Composition and Hans Coper’s Digswell Composite Form behind. Photograph courtesy of the Estate.

‘A SMALL OASIS’: WORKS FROM THE TOM ALEXANDER COLLECTION From his home on the Isle of Arran, Tom Alexander (1915–

reflect the breadth of Alexander’s interests. Spencer’s

2000) assembled a collection that brought together many of

correspondence is particularly revealing. In March 1955,

the leading artists of his time. Its beginnings were modest: an

he offered Alexander a study for The Resurrection of Soldiers

annual allowance of thirty or forty pounds, a close interest

at Burghclere, which he had bought back for £25 and was

in contemporary art and the confidence to write directly to

prepared to sell for £30. Despite protesting, “I never if I can

the artists he admired. Over the following decades, works by

help it write letters. I hate writing letters”, Spencer described

Ben Nicholson, Henry Moore, Graham Sutherland, Barbara

the picture at length, explaining the mules, their discarded

Hepworth, William Scott and L. S. Lowry joined a collection

pack saddles and the straw in the foreground.

shaped by personal correspondence and the pleasure of living with art.

Pasmore’s letters have a different humour. Apologising for a delay in July 1959, he explained that “I have had to paint

Alexander’s interest developed during the Second World

something specially for you.” Later, asked about its meaning,

War, when he visited galleries while stationed near towns

he replied: “There is no title and, as to its meaning, this is as

and cities. His first purchase, a painting by James Treen, was

much a mystery to me as it is to your small children!”

acquired in Lewes in 1943 and taken to the nursing home where his daughter Judith had just been born. Catherine, his wife, remembered the doctor and nurses laughing at this unfamiliar modern picture.

Catherine shared actively in the decisions, and neither was overawed by reputation. When Nicholson initially sent a drawing of a jug, they returned it, explaining their preference for his abstract paintings. He responded with a small

After the war, Alexander and his brother Jim bought the

composition of two standing forms. Such exchanges give the

village store in Brodick, returning to the island where they

collection its unusually personal character.

had spent childhood holidays. His collecting budget came from payment for a fortnight’s annual training with the Officers Supplementary Reserve. With four children, he had to buy carefully. Books and reproductions informed his choices, and his letters combined knowledge of an artist’s work with a frank account of what he could afford.

At Harar, the family home, pictures hung alongside ceramics and furniture chosen with comparable care. Photographs show Rie bowls and a Coper vase on the mantelpiece; Clough’s work and Nolan’s landscapes formed part of the same domestic surroundings. The collection also encompassed Ivon Hitchens, John Piper, William Roberts,

Writing to William Scott in 1962, he explained his wish to

Alan Davie, Anne Redpath, William Gillies and William

buy one picture each year before admitting: “And now we

Johnstone. In 2010, its history was celebrated in an

come to the snag.” His budget was £40. Scott responded with

exhibition at the Talbot Rice Gallery, Edinburgh.

an offer of a gouache entitled Arran, pleased by the prospect of its finding a home on the island. Ceri Richards expressed a similar delight: “it is fascinating to think of this small oasis of contemporary painting existing in that island setting”.

The surviving letters record how much this appreciative audience meant to the artists themselves. Barbara Hepworth wrote to Alexander in 1967: “The great thing is the affection that somebody feels for the work, that is more rewarding

The works presented here by Lucie Rie, Hans Coper, Stanley

than anything else.” It is an apt expression of the relationships

Spencer, Victor Pasmore, Prunella Clough and Sidney Nolan

behind the collection, and of the affection with which its works were chosen and lived with.

Tom Alexander in the drawing room of the family home, Harar, holding Victor Pasmore’s Untitled, 1959 with Hans Coper’s Digswell Composite Form and a Lucie Rie bowl behind. Photograph taken for the BBC’s Anderson Country programme, March 1994. Photograph courtesy of the Estate.

67 § PRUNELLA CLOUGH (BRITISH, 1919-1999) UNTITLED, 1967 signed in pencil to mount (lower right), monotype with gouache 18cm x 22cm (7in x 8 ¾in) Provenance: The Tom Alexander Collection, thence by direct descent. Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010.

£1,200-1,800

68 § SIR SIDNEY NOLAN (AUSTRALIAN, 1917-1992) LANDSCAPE oil pastel, crayon, watercolour and gouache with wax resist on paper 9cm x 14cm (3 ½in x 5 ½in) Provenance: The Tom Alexander Collection, thence by direct descent. Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010.

£600-800

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

Victor Pasmore, writing to Tom Alexander; (18 February 1959) …I must apologise for the delay in replying to your letter. Yes, I should be glad to let you have a painting if I can find a good small one,the price of which can approximate to the amount proposed in your letter. Unfortunately I have nothing at present in my studio here in Newcastle; but I shall be returning to my home in London in about a fortnight and I will see what I have there…. (11 July 1959) Herewith at last the picture as promised. I must apologise for the long delay, but I have had to paint something especially for you. I hope you will not be disappointed. The picture should not be framed. However, if you do find a frame necessary, the frame should be kept well away from the edges of the painting. To get the best effect, the picture should be hung on a white or near white background…. (18 July 1959) …Many thanks indeed for your letter and cheque. I am delighted that you are all pleased with the painting and I hope when you find a suitable place to hang it, it will continue to give you pleasure. There is no title and, as to its meaning, this is as much a mystery to me as to your small daughter! All good wishes, Victor Pasmore

69 § VICTOR PASMORE C.H. C.B.E. (BRITISH, 1908-1998) UNTITLED, 1959 signed in pen (lower right), oil on panel 54cm x 33cm (21 ¼in x 13in) Provenance: The Tom Alexander Collection, thence by direct descent. Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010.

£10,000-15,000

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

Stanley Spencer writing to Tom Alexander, (26 May 1954) …. I will have to pass your letter to my dealer as I am in haste trying to paint trees and I am tired out by the

Mules is a study for the central panel of Spencer’s inter-war masterpiece, The Sandham Memorial Chapel at Burghclere, painted between 1927 and 1932. Whilst made in the mid-20s, long after Spencer had returned from the War, Mules retains the immediacy and intimacy of the works the

struggle against flowers dying and the icey [sic] wind….

artist painted in 1919, when his experience as a medical

(2 March 1955)

works such as to Travoys With Wounded Soldiers Arriving at

….I have not forgotten about doing a painting for you for the price you originally stated...I am sending an oil-on-paper painting (a study made for my altarpiece at Burghclere). You will see in the Penguin book a reproduction of this altarpiece and the study was for the top left-hand portion of this picture. I had not seen this study for many years and when I saw it I bought it for £25. If you care to give me £30 for it you may have it… (3 March 1955)

orderly on the Macedonian front was still vivid and fresh, a Dressing Station at Smol, Macedonia (1919), commissioned by The Ministry of Information and now in the Imperial War Museum. Stylistically, Mules is also closer to Spencer’s more simplified, more roughly painted works of the early 1920s, such as The Last Supper (1920) or The Resurrection, Cookham (1920-1) which wore their child-like facture as a sign of modernity, a break from the old world that died in the mud. As such, Mules could be seen as an independent work, as much as a study, a simple idea simply put, in the loose, frank

“It is […] so difficult to find a painting of mine at all that

style Spencer developed in the 20s. (Spencer has been

fits your price. I never, if I can help it, write letters. I

exhibited in Cambridge in 1919 alongside Matisse, Picasso

hate writing letters and I am very bad at answering

and Modigliani amongst others).

letters. The parcel I shall send off this morning. The painting you will find in it is […] oil on paper. The scene is of mules in the “Resurrection of Soldiers” altarpiece painting at Burghclere. These mules have been relieved of their burdens and the objects on the ground are the mules’ pack saddles and lying between the mules are their mounts. A portion of a truss of straw is in the foreground…

This is not to deny, though, that its composition – of serried ranks of mules at rest, their drivers wedged between them, seeking shelter and comfort - is extensively reprised at the top left of the magisterial Resurrection of the Soldiers at Burghclere, where the mules lie on the ground, formulating an undulating sea, much as Nash’s hollowed out Messerschmitts would in his 1941 Totes Meer. But rather than being at rest, as they could be in Mules, one senses now that they too are dead. Amongst them, white crosses sprout up, as the muleteers climb out between their bodies, towards eternal life. In the ‘study’ then, the path between the living and the dead isn’t clear – the discarded saddle in the middle of the composition the only indication of possible violence. Sleep may not be eternal, but instead, to paraphrase Primo Levi, a ‘moment of reprieve’.

70 § SIR STANLEY SPENCER R.A. (BRITISH, 1891-1959) MULES - STUDY FOR ALTARPIECE, SANDHAM MEMORIAL CHAPEL, c.1926-7 oil on paper 23cm x 29.5cm (9in x 11 ½in) Provenance: With Arthur Tooth & Sons Ltd, London; Reacquired by the Artist and then sold directly to Tom Alexander; The Tom Alexander Collection, thence by direct descent. Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010. Literature: Bell, Keith, Stanley Spencer, Phaidon, London, 1992, p.383, cat.121, illustrated p.73.

£20,000-30,000

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

71 §

72 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

BOWL

LARGE BOWL

impressed maker’s mark, stoneware, white glaze to the exterior, managnese glaze to the interior

impressed maker’s mark, stoneware, manganese glaze to exterior, and white glaze to interior

7.3cm high, 14cm diameter (2 7/8in high, 5 ½in diameter)

13cm high, 27.7cm diameter (5 1/8in high, 10 7/8in diameter)

Provenance: The Tom Alexander Collection, thence by direct descent.

Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010.

£1,500-2,000

£4,000-6,000

73 § HANS COPER (GERMAN/BRITISH 1920-1981) DIGSWELL COMPOSITE FORM, c.1968 impressed maker’s mark, stoneware, manganese glaze 20cm high, 13.5cm diameter (7 7/8in high, 5 ¼in diameter) Provenance: The Tom Alexander Collection, thence by direct descent. Exhibited: Talbot Rice Gallery, Edinburgh, The £40 Art Collection, 23 October - 11 December 2010. Literature: Birks, Tony, Hans Coper, Stenlake Publishing Ltd., 2013, p.112 for a similar example.

END OF COLLECTION

£15,000-25,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

74 § PETER COLLINGWOOD (BRITISH 1922-2008) RUG wool, with chevron design, plaited tassels 213cm high, 88.5cm wide (83 ¾ high, 34 ¾in wide)

£800-1,200

75 § GWEN MULLINS (BRITISH 1904-1997) & BARBARA MULLINS (BRITISH 1927-2023) ‘LITTLE BOATS’ RUG wool 182.5cm x 79cm (71 7/8in x 31 1/8in) Provenance: The Estate of Alan Peters. Note: Gwen Mullins was an important figure in the development of British studio weaving in the mid20th century, combining a close understanding of traditional handweaving techniques with the increasingly modernist concerns of the period. At Graffham in West Sussex, she established a thriving craft centre and, together with her daughter Barbara, developed Graffham Weavers, providing training for a new generation of textile artists, among them Mary Farmer. Mullins was also an important patron of the crafts: through the Gwen Mullins Trust she supported young makers with grants for training, apprenticeships and equipment, with Peter Collingwood among those who benefited from her support.

£500-700

76 § THEO MOORMAN (BRITISH 1907-1990) WALL HANGING linen, cotton and silk 118cm high, 66cm wide (46 3/8in high, 26in wide) Provenance: The Estate of Anne James. Anne James, a studio ceramicist and member of The Gloucestershire Guild of Craftsmen, exhibited her work in 1985 at the Peter Dingley Gallery in Stratford-upon-Avon, alongside new hangings by Theo Moorman.

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

77 § PETER COLLINGWOOD (BRITISH 1922-2008) MACROGAUZE M.84 NO. 198 aluminium Artist’s aluminium label, linen and steel rods 183cm high, 21.8cm wide (72in high, 8 ½in wide) Provenance: Private Collection, London.

£2,000-3,000

78 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) & HANS COPER (GERMAN/BRITISH 1920-1981) BOWL, c.1958 impressed maker’s marks, white glaze, with blue glaze to the interior 8cm high, 14.5cm wide (3 1/8in high, 5 ¾in wide) Provenance: Private Collection, London.

£800-1,200

79 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) TEAPOT, c.1958 impressed maker’s mark, stoneware, manganese and white glazes, bamboo and brass handle 22.5cm high, 19.3cm wide (8 7/8in high, 7 5/8in wide) Provenance: By repute purchased by the present owner’s mother directly from Lucie Rie’s Albion Mews Studio, London in the late 1950s.

£1,500-2,500

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

80 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) FOOTED BOWL, c.1958 impressed maker’s mark, stoneware, green and brown glazes, over radiating sgraffito lines to the exterior, the glazes running to the interior, and with incised cross hatched sgraffito lines to the central well of bowl 10cm high, 35cm diameter (4in high, 13 ¾in diameter) Provenance: The Robert Strauss Collection, thence by direct descent; Private Collection, London.

£6,000-8,000

WORKS FROM THE COLLECTION OF GERDA FLÖCKINGER C.B.E.

81 §

82 §

FRITZ LAMPL (AUSTRIAN 1892-1955) & BIMINI

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

SET OF 48 PRESS MOULDED BUTTONS

EARLY OPEN BOWL, c.1942-5

glass with brass backs, 25 with Bimini marks to the brass backs

initialled L.R. mark in blue (to base), earthenware, matt black glaze heavily loaded with copper oxide to the outside of the bowl, creating a crackled effect, with white opaque glaze to the inside

the largest 2.5cm wide (1in wide) (48) Provenance: Acquired by Gerda Flöckinger’s mother, Anny Frankl-Flöckinger, from Lucie Rie’s representative while working as a designer at Koupy Fashion. The buttons were designed and made by Rie between about 1945 to 1947 and were given to Flöckinger’s mother on her retirement from the company. The Collection of Gerda Flöckinger C.B.E.

£500-800

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

7.3cm high, 19.5cm diameter (2 7/8in high, 7 5/8in diameter) Provenance: The Collection of Gerda Flöckinger C.B.E. Exhibited: Crafts Council Gallery, London, Lucie Rie: A Crafts Council Exhibition, 30 January - 5 April 1992, cat. no.2.1.

£3,000-5,000

WORKS FROM THE COLLECTION OF GERDA FLÖCKINGER C.B.E.

83 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) FOOTED BOWL, c.1976-8 impressed maker’s seal, stoneware, matt white glaze, and golden manganese rim 8.3cm high, 13.7cm diameter (3 ¼in high, 5 3/8in diameter) Provenance: Acquired directly by Gerda Flöckinger C.B.E. from Lucie Rie, c.1976-8; The Collection of Gerda Flöckinger C.B.E.

£7,000-10,000

WORKS FROM THE COLLECTION OF GERDA FLÖCKINGER C.B.E.

84 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) SET OF 7 BUTTONS, c.1945-7 earthenware, six in yellow and one in red the yellow buttons 2.3cm wide (7/8in wide), the red button 2.6cm wide (1in wide) Provenance: Acquired by Gerda Flöckinger’s mother, Anny Frankl-Flöckinger, from Lucie Rie’s representative while working as a designer at Koupy Fashion. The buttons were designed and made by Rie between about 1945 to 1947 and were given to Flöckinger’s mother on her retirement from the company. The Collection of Gerda Flöckinger C.B.E.

£1,000-1,500

Between roughly 1945 and 1947, alongside her early work on domestic tableware, Lucie Rie also turned to making press-moulded ceramic buttons, jewellery and accessories. Finished in glazed and lustred earthenware, these pieces were sometimes created as special commissions for fashion houses, other times sold through wool shops, and were designed either to complement particular fabrics or to be attached to knitted garments.

85 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) SET OF 17 PRESS MOULDED BUTTONS, c.1945-7 earthenware, five in black, three in deep blue, two in turquoise, three in brown and four in orange the largest 2.2cm wide (7/8in wide) (17) Provenance: Acquired by Gerda Flöckinger’s mother, Anny Frankl-Flöckinger, from Lucie Rie’s representative while working as a designer at Koupy Fashion. The buttons were designed and made by Rie between about 1945 to 1947 and were given to Flöckinger’s mother on her retirement from the company. The Collection of Gerda Flöckinger C.B.E. Exhibited: Crafts Council Gallery, London, Lucie Rie: A Crafts Council Exhibition, 30 January - 5 April 1992, where some of the buttons were exhibited, probably cat. no.12.16. A photograph of Gerda Flöckinger shows her wearing some of the dark blue buttons on a checked material dress.

£1,000-1,500

WORKS FROM THE COLLECTION OF GERDA FLÖCKINGER C.B.E.

86 § DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) FOOTED BOWL, c.1976-8 impressed maker’s seal, stoneware, matt white glaze, and golden manganese rim 10.8cm high, 19.7cm diameter (4 ¼in high, 7 ¾in diameter) Provenance: Acquired directly by Gerda Flöckinger C.B.E. from Lucie Rie, c.1976-8; The Collection of Gerda Flöckinger C.B.E.

£15,000-25,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

WORKS FROM THE COLLECTION OF GERDA FLÖCKINGER C.B.E.

87 § EWEN HENDERSON (BRITISH 1934-2000) TEA BOWL volcanic turquoise glaze 9.2cm high, 8.5cm wide (3 5/8in high, 3 3/8in wide) Provenance: Acquired directly by Gerda Flöckinger C.B.E. from Ewen Henderson; The Collection of Gerda Flöckinger C.B.E.

£500-700

88 §

89 §

EWEN HENDERSON (BRITISH 1934-2000)

TEA BOWL

volcanic turquoise glaze

9.3cm high, 10cm wide (3 5/8in high, 3 7/8in wide)

8.3cm high, 8.8cm wide (3 ¼in high, 3 3/8in wide)

Provenance: Acquired directly by Gerda Flöckinger C.B.E. from Ewen Henderson; The Collection of Gerda Flöckinger C.B.E.

£500-700

END OF COLLECTION

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

90 § EWEN HENDERSON (BRITISH 1934-2000) EARLY VESSEL AND TWO OPEN BOWLS mixed laminated clays vessel: 34cm high (13 ¼in high); bowls: 10cm high, 25.5cm wide (4in high, 10in wide) and 11cm high, 16.5cm wide (4 ¼in high, 6 ½in wide) (3) Provenance: Craft Potter’s Association; Collection of Professor John Chambers.

£400-600

91 § EMMANUEL COOPER (BRITISH 1938-2012) ‘HIGHWAY I’ BOWL, 2001 impressed maker’s mark, applied paper label inscribed 3 / Emmanuel Cooper / Highway I, volcanic blue glaze, stoneware 12cm high, 32.5cm diameter (4 ¾in high, 12 ¾in diameter) Exhibited: Sotheby’s, London, Contemporary Art Exhibition, 2001.

£3,000-5,000

“My work is influenced by the urban city environment, by such things as hard, textured surfaces, by street lighting, endless movement and sense of urgency. Colours are those of roads, pavements and building, textures those we encounter in the metropolis. All the work is fired to 1260˚C in an electric kiln.” Emmanual Cooper, 2001

92 § PABLO PICASSO (SPANISH 1881-1973) FOR MADOURA POTTERY CHOPE VISAGE, DESIGNED 1959 (A.R. 432) numbered 121/300, inscribed ‘Edition Picasso’ and ‘Madoura’, with the Edition Picasso and Madoura stamps, earthenware pitcher 21.5cm high (8 ½in high) Provenance: Private Collection, U.K.

£6,000-8,000

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

93 ALVAR AALTO (FINNISH 1898-1976) FOR FINMAR LTD. PAIR OF CANTILEVER CHAIRS, DESIGNED 1932 model 21, each with Finmar Ltd. label, birch plywood 86.7cm high, 48cm wide 57cm deep (34 1/8in high, 18 7/8in wide, 22 3/8in deep) (2) Provenance: Private Collection, U.K.

£6,000-8,000

94 ALVAR AALTO (FINNISH 1898-1976) FOR FINMAR LTD. DINING TABLE AND LAZY SUSAN the table model 91, with Finmar Ltd. label (to underside of table), birch plywood 71cm high, 127cm diameter (28in high, 50in diameter); lazy susan: 60.5cm diameter (23 7/8in diameter)

£3,000-5,000

95 ALVAR AALTO (FINNISH 1898-1976) ARMCHAIR, DESIGNED 1932 model 31, laminated birch plywood, probably manufactured by Oy Huonekalu-ja Rakennustyötehdas Ab, Turku, Finland 65cm high, 61cm wide, 65cm deep (25 ½in high, 24in wide, 25 ½in deep)

£3,000-5,000

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

96 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN ‘ROUND’ CHAIR, DESIGNED 1949 model JH503, branded manufacturer’s mark JOHANNES HANSEN, COPENHAGEN, and applied Knoll International label, mahogany and leather 76.5cm high, 63cm wide, 53cm deep (30 1/8in high, 24 ¾in wide, 20 7/8in deep)

£2,000-3,000

97 HANS WEGNER (DANISH 1914-2007) FOR GETAMA PAIR OF LOUNGE CHAIRS, DESIGNED 1954 model GE270, one stamped with branded mark GETAMA / GEDSTED / DENMARK / DESIGN HANS J. WEGNER, teak, with the cushions upholstered in fabric by Kvadrat 74cm high, 67cm wide, 73cm deep (29 1/8in high, 26 3/8in wide, 28 ¾in deep) (2)

£1,800-2,200

98 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SØN SOFA, DESIGNED 1952 model CH72, teak, re-covered in Rose Uniacke fabric 84cm high, 128cm wide, 64cm deep (33in high, 50 3/8in wide, 25 ¼in deep)

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

99 HANS WEGNER (DANISH 1914-2007) FOR FRITZ HANSEN ‘HEART’ DINING SUITE, DESIGNED 1952 models FH4602 and FH4103, comprising dining table and set of six chairs, each with manufacturer’s label numbered 164, beech and teak table: 72cm high, 120cm diameter (28 3/8in high, 47 ¼in diameter); chairs: 72cm high, 53cm wide, 45cm deep (28 3/8in high, 20 7/8in wide, 17 ¾in deep) (7)

£3,000-5,000

100 POUL HUNDEVAD (DANISH 1917-2011) ‘GULDHØJ’ FOLDING STOOL paper label (to underside of leather), teak and leather 39cm high, 48.5cm wide, 36cm deep (11 3/8in high, 19in wide, 14 1/8in deep)

£600-800

101 JENS HARALD QUISTGAARD (DANISH 1919-2008) FOR RICHARD NISSEN SET OF THREE NESTING TABLES, DESIGNED 1981 teak largest table: 45cm high, 50cm wide, 37cm deep (17 ¾in high, 19 5/8in wide, 14 ½in deep)

£1,500-2,500

102 HANS WEGNER (DANISH 1914-2007) FOR A. P. STOLEN PIANO STOOL model AP30, stamped Made in Denmark / Designer: / Hans J. Wegner / A. P. STOLEN Copenhagen, and with Danish Furnituremakers’ Control metal disc, teak and upholstery 51.5cm high, 70cm wide, 42cm deep (20 ¼in high, 27 ½in wide, 16 ½in deep)

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

103 FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER PAIR OF ARMCHAIRS, DESIGNED 1953 model NV53, one stamped Cabinetmaker Niels Vodder / Copenhagen / Denmark / Design Finn Juhl, teak, upholstery and brass 74.5cm high, 72cm wide, 72cm deep (29 3/8in high, 28 3/8in wide, 28 3/8in deep) (2) Provenance: The present owner acquired these works from the original owner in Denmark who had purchased them new in 1956.

£8,000-12,000

104 FINN JUHL (DANISH 1912-1989) FOR KAY BOJESEN, DENMARK FOOTED BOWL, 1950’S stamped DESIGN / FINN JUHL / TEAK / KAY BOJESEN / DENMARK (to base), teak Provenance: 7.5cm high, 23.7cm wide, 22cm deep (3in high, 9 ¼in wide, 8 5/8in deep)

£2,000-3,000

105 PETER HVIDT (DANISH, 1916-1986) AND ORLA MØLGAARD-NIELSEN (DANISH, 1907-1993) FOR FRANCE & SØN ‘BOOMERANG’ ARMCHAIR, DESIGNED 1954 model FD135, manufacturer’s branded stamp and metal disc label, teak, brass and white boucle fabric 81cm high, 67cm wide, 77cm deep (31 7/8in high, 26 3/8in wide, 30 3/8in deep)

£1,000-1,500

106 FINN JUHL (DANISH 1912-1989) FOR SØREN WILLADSEN LOUNGE CHAIR, DESIGNED 1954 model SW96, oak, teak and cane 78cm high, 75cm wide, 70cm deep (30 ¾in high, 29 ½in wide, 27 ½in deep)

£3,000-5,000

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

107 VILHELM LAURITZEN (DANISH 1894-1984) FOR LOUIS POULSEN PAIR OF ‘RADIOHUS’ PENDANT LIGHTS, DESIGNED c.1936 model VL45, brass and opal glass pendant: 38.5cm high, 36cm diameter (15 1/8in high, 14 1/8in diameter), not including cord (2) Provenance: Private Collection, London.

£300-500

108 NANNA DITZEL (DANISH 1923-2005) FOR SØREN WILLADSEN DESK, DESIGNED c.1955 model 93/4, teak, fitted four drawers 71.7cm high, 175cm wide, 74.5cm deep (28 ¼in high, 68 7/8in wide, 29 3/8in deep)

£3,000-5,000

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

109 ACTON SCHUBELL (DANISH, 20TH CENTURY) AND IB MADSEN (DANISH, 20TH CENTURY) ‘PRAGH’ LOUNGE CHAIR AND OTTOMAN, DESIGNED c.1950 beech, white boucle and leather chair: 100cm high, 77cm wide, 92cm deep (39 3/8in high, 30 3/8n wide, 36 ¼in deep); ottoman: 42cm high, 59cm wide, 36cm deep (16 ½in high, 23 ¼in wide, 14 1/8in deep) (2)

£5,000-7,000

110 § LAURA DIAZ DE SANTILLANA (ITALIAN 1955-2019) FOR ARCADE, MURANO ‘BAMBU’ VASE, DESIGNED 1998 signed, inscribed and numbered Arcade / Laura De Santillana / 300 / Italy, and Arcade / Made in Italy label (to base), blown, shaped and hand ground glass 56cm high, 7cm wide (22in high, 2 ¾in wide) Provenance: Private Collection, U.K.

£300-500

111 § BRUNO GAMBONE (ITALIAN 1936-2021) VASE signed GAMBONE ITALY (to base), stoneware 45.5cm high, 13cm wide (17 7/8in high, 5 1/8in wide) Provenance: Private Collection, London.

£600-800

112 § HELENA TYNELL (FINNISH 1918-2016) FOR RIIHIMÄEN LASI OY VASE signed HELENA TYNELL T.H. KAPPI - RIIHMAEN LASI OY 59, wheel engraved glass 25cm high, 12cm wide (9 7/8in high, 4 ¾in wide) Provenance: Private Collection, London.

£400-600

113 ALVAR AALTO (FINNISH 1898-1976) FOR IITTALA PAIR OF VASES model 0541 and 3030, each etched Alvar Aalto and numbered, the former with partial manufacturer’s label, glass 16.5cm high, 25.5cm wide, 23cm deep (6 ½in high, 10in wide, 9in deep) and 15.5cm high, 21cm wide, 17cm deep (6 1/8in high, 8 ¼in wide, 6 5/8in deep) (2) Provenance: Private Collection, London.

£300-500

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

114 AXEL SALTO (DANISH 1889-1961) FOR ROYAL COPENHAGEN, DENMARK ‘LIVING STONES’ VASE, DESIGNED 1943 model number 20561, incised SALTO, painted with the blue wave mark, stamped ROYAL/COPENHAGEN/DENMARK, and numbered, stoneware, with Sung glaze 22cm high, 23cm wide (8 5/8in high, 9in wide) Provenance: Private Collection, London.

£8,000-12,000

115 FRITS HENNINGSEN (DANISH 1889-1965) FOR CARL HANSEN & SØN ‘SIGNATURE’ CHAIR AND STOOL, DESIGNED 1954 / MANUFACTURED 2020 models FH429 and FH430, each with manufacturer’s label with serial nos. 1079318 and 1093430, walnut and upholstery chair: 101cm high, 66.5cm wide, 90cm deep (39 ¾in high, 26 1/8in wide, 35 3/8in deep); stool: 40cm high, 59cm wide, 53.5cm deep (15 ¾in high, 23 ¼in wide, 21in deep) (2) Provenance: Private Collection, U.K.

£800-1,200

116 ATTRIBUTED TO ARNOLD MADSEN (DANISH 1907-1989) FOR MADSEN & SCHUBELL, ITALY ‘MS-30’ LOUNGE CHAIR AND OTTOMAN, c.1960 stamped to the metal NORSK/ PAT NR/ 96981, leather and teak Provenance: chair: 104cm high, 80cm wide, 49cm deep (40 7/8in high, 31 ½in wide, 19 3/8in deep); ottoman: 39cm high, 56cm wide, 48cm deep (15 3/8in high, 22in wide, 18 7/8in deep) (2)

£1,000-1,500

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

117 BITTE AHLGREN (SWEDISH 20TH CENTURY) FLAT WEAVE RUG woven initials (lower right), wool 247cm x 163cm (97 ¼in x 64 1/8in)

£700-900

118 ARNE NORELL (SWEDISH 1917-1971) PAIR OF ‘INCA’ ARMCHAIRS AND OTTOMAN, DESIGNED c.1965 with manufacturer’s applied foil labels NORRELL / Made in Sweden to each chair, beech, brass, leather and upholstery chairs: 89cm high, 88cm wide, 90cm deep (35in high, 34 5/8in wide, 35 3/8in deep) Provenance: Private Collection, London.

£2,000-3,000

119 † POUL KJAERHOLM (DANISH 1929-1980) FOR FRITZ HANSEN ‘PK-O’ LOUNGE CHAIR, DESIGNED 1952 / MANUFACTURED 1997 manufacturer’s metal disc, numbered 38 from an edition of 600, black coloured ash veneer 68cm high, 64.5cm wide, 61cm deep (26 ¾in high, 25 3/8in wide, 24in deep)

£2,500-3,500

120 † GRETE JALK (DANISH 1920-2006) FOR LANGE PRODUCTIONS ‘GJ BOW’ CHAIR, DESIGNED 1963 / MANUFACTURED 2008 manufacturer’s brass plaque numbered 105, black stained ash plywood 77.5cm high, 62cm wide, 73cm deep (30 ½in high, 24 3/8in wide, 28 ¾in deep)

£1,000-1,500

121 HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SØN PAIR OF ‘SHELL’ CHAIRS, DESIGNED 1963 model CH07, each with CARL HANSEN & SØN / MADE IN DENMARK / Hans J. Wegner / Serial No. 434936 and No. 434939 label, painted oak and leather 74.5cm high, 91cm wide, 80cm deep (29 3/8in high, 35 ¾in wide, 31 ½in deep) (2)

£1,200-1,800

123 GRETA MAGNUSSON GROSSMAN (SWEDISH 1906-1999) FOR BERGBOMS ‘GRASSHOPPER’ FLOOR LAMP, DESIGNED 1947 model 831, manufacturer’s paper label S, painted aluminium, metal and brass 124.5cm high, 38cm wide (49in high, 15in wide)

£5,000-7,000

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

122 KAI KRISTIANSEN (DANISH 1929-) FOR MIYAZAKI CHAIR FACTORY CO. LTD. SET OF 14 ‘MIYAZAKI’ DINING CHAIRS, DESIGNED 1956 model 42, applied manufacturer’s metal labels numbered 2850, 2856, 2857, 2860, 2868, 2870, 2871, 2873, 2876, 2878, 2883, 2884, 2885, 2889, walnut and upholstery 73cm high, 54cm wide, 52cm deep (28 ¾in high, 21 ¼in wide, 20 ½in deep) (14) Provenance: Private Collection, London.

£3,000-5,000

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

124 JØRGEN FABRICIUS (DANISH, 1931-2007) AND PREBEN FABRICIUS (DANISH, 19311984) FOR ALFRED KILL INTERNATIONAL

125 Y HANS BRATTRUD (NORWEGIAN 1933-2017)

PAIR OF ‘X’ LOUNGE CHAIRS, DESIGNED 1968

DINING TABLE & SIX CHAIRS, c.1957

model FK82, one with manufacturer’s labels, stainless steel and leather

rosewood, teak and chrome, dining table with two extra leaves

82.5cm high, 80.5cm wide, 78cm deep (32 ½in high, 31 ¾in wide, 30 ¾in deep) (2)

£2,500-3,500

dining table: 72cm high, 115cm wide closed, 208cm wide extended (28 3/8in high, 45 ¼in wide closed, 81 7/8in wide extended); chairs: 97cm high, 48cm wide, 45cm deep (38 1/8in high, 18 7/8in wide, 17 ¾in deep) (7) Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 26GBA10TRXCY2.

£3,000-5,000

100

126 § TAPIO WIRKKALA (FINNISH 1915-1985) SET OF THREE ‘LAPPONI’ VASES, DESIGNED 1966 each signed and dated Venini Italia tw, incalmo glass 30cm high, 15cm wide (11 ¾in high, 5 7/8in wide); 25cm high, 15cm wide (9 ¾in high, 5 7/8in wide); 23.5cm high, 12cm wide (9 ¼in high, 4 ¾in wide) (3) Provenance: Piasa, Paris, 22 November 2017, lot 95; Private Collection, U.K. Literature: Av, Marianne (ed.), Tapio Wirkkala: Eye, Hand and Thought, WS Bookwell Oy, Porvoo, 2000, p.332, for an illustrated example of this model.

£2,000-3,000

101

127 § FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI TWO COMMEDIA DELL’ARTE HEADS, DESIGNED c.1948-50 glass Green and red: 11cm high, 8cm wide (4 3/8in high, 3 1/8in wide); Black and white: 15.5cm high, 9.7cm wide (6 1/8in high, 3 ¾in wide) Provenance: Private Collection, London. Literature: Bossaglia, Rossana, I vetri di Fulvio Bianconi, Umberto Allemandi & C., 1993, no.15, for an example of the black and white masked figure. Barovier, Marino and Carla Sonego, Fulvio Bianconi at Venini, Skira Editore, Milan, 2015, pp.327 and 332, nos. 2908 and 2900, for complete examples of the Harlequin and Giangurgolo figurines with comparable heads. Belonging to the ‘bibelot’ category of opaque glass, inspired during the 1700s which led the designer Bianconi to re-open Venini’s production after the ware.

£600-800

128 § TOBIA SCARPA (ITALIAN 1935-) FOR VENINI THREE OCCHI VASES, c.1960 each vase with (or traces of) acid etched venini murano ITALY mark (to base), fused murrine glass 30.5cm high, 9cm wide (12in high, 3 ½in wide); 21.5cm high, 4cm wide (8 ½in high, 1 ½in wide) and 20.7cm high, 10cm wide (8 1/8in high, 3 7/8in wide) (3) Provenance: Christies, Paris, 23 November 2016, First Open Home, lot 45; Private Collection, U.K.

£4,000-6,000

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

102

129 § FULVIO BIANCONI (ITALY 1915-1996) FOR VENINI ‘PEZZATO’ VASE, DESIGNED 1950 acid etched venini murano (to base), glass 22cm high, 10cm wide (8 5/8in high, 3 7/8in wide) Provenance: Collection A. Warnecke; Piasa, Paris, Interieur Design, 25 January 2017, lot 18; Private Collection, U.K. Literature: Barovier, Marino and Carla Sonego, Fulvio Bianconi at Venini, Skira Editore, Milan, 2015, pp.184-5 for similar examples.

£3,000-5,000

130 § FULVIO BIANCONI (ITALY 1915-1996) FOR VENINI ‘PEZZATO’ VASE, DESIGNED 1950 engraved venini Italia (to base), glass 20cm high, 11cm wide (7 7/8in high, 4 3/8in wide) Provenance: Piasa, Paris, Interieur Design, 25 January 2017, lot 17; Private Collection, U.K. Literature: Barovier, Marino and Carla Sonego, Fulvio Bianconi at Venini, Skira Editore, Milan, 2015, pp.184-5 for similar examples.

£1,500-2,000

131 § FULVIO BIANCONI (ITALY 1915-1996) FOR VENINI ‘PEZZATO’ VASE, DESIGNED 1950 acid stamp venini Italia murano, glass 24cm high, 15.5cm wide (9 ½in high, 6 1/8in wide) Provenance: Collection A. Warnecke; Piasa, Paris, Interieur Design, 25 January 2017, lot 16; Private Collection, U.K. Literature: Barovier, Marino and Carla Sonego, Fulvio Bianconi at Venini, Skira Editore, Milan, 2015, pp.184-7 for similar examples: Warnecke, publicatio rouge, p. 30.

£2,500-3,500

132 § FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI SOMMERSO VASE, 1991 incised Fulvio Bianconi 1991/09 / Venini (to base), glass 33cm high, 18cm wide, 16cm deep (13in high, 7in wide, 6 ⅓in deep)

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

103

133 ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE EASEL, FLOOR LAMP WITH SUPPORT FOR FRAMES, DESIGNED c.1950 model 12377S, chromed metal and adjustable diffuser in lacquered aluminium 208.5cm high, base: 57cm wide (82in high, base: 22 ½in wide) Provenance: Christie’s, London, First Open Home, 25 May 2016, lot 76; Private Collection, U.K. Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.126, for example illustrated, and p.282, cat. no.29.

£2,500-3,500

134 ATTRIBUTED TO STILNOVO, ITALY FLOOR LAMP lacquered metal, brass and marble 171cm high, 46cm wide (67 3/8in high, 18 1/8in wide)

£1,200-1,800

104

135 GIO PONTI (ITALIAN 1891-1979) FOR RICHARD GINORI SET OF FOUR ‘II CIRCO’ CUPS & SAUCERS, DESIGNED 1923 retailed by SAKS FIFTH AVENUE, each with manufacturer’s mark for 1950-2000 and retailer’s marks, porcelain cups: 5.2cm high, 7.2cm wide (2in high, 2 ¾in wide); saucers: 2.3cm high, 11cm diameter (7/8in high, 4 3/8in wide) (4) Provenance: Private Collection, U.K.

£400-600

136 § ARCHIMEDE SEGUSO (ITALIAN 1909-1999) VASE engraved signature Archimede Seguso Murano, pale blue glass with aventurine inclusions 28cm high, 29cm diameter (11in high, 11 3/8in diameter) Provenance: Sworders, Stansted, Design, 9 July 2024, lot 257; Private Collection, U.K.

£300-500

137 FONTANA ARTE, MILAN, ITALY ‘CARTOCCIO’ VASE, DESIGNED 1935 model no. 2072A, glass 21.5cm high, 30cm wide (8 ½in high, 11 ¾in wide) Provenance: Bonhams, London, 28 April 2022, lot 133; Private Collection, U.K. Literature: Domus, no. 96, January 1935, n.p.; Quaderni Fontana Arte 6, 1964, p. 200; Sergio Montefusco, Fontana Arte: repertorio 1933-1943 dalle immagini dell’epoca, Genoa, 2012, p. 63; ‘Design Italia 1928-2016, 100 Record’, Domus, no. 1000, March 2016, p. 152.

£500-700

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

105

138 STILNOVO, ITALY CEILING LIGHT, DESIGNED c.1950 manufacturer’s applied label STILNOVO / MILANO / ITALY, enamelled aluminium, glass and brass 53cm high, 83cm diameter (20 7/8in high, 32 5/8in diameter) Literature: This model has previously been attributed to Gino Sarfatti, see Romanelli, Marco and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Silvana Editoriale, Milan, 2012, pp.170-1 and 467, model 2055, where this model is recorded as having been designed for the first-class dining room of the liner Conte Biancamano, which was redesigned by Gustavo Pulitzer Finali and Gio Ponti following the vessel’s military service during the Second World War.

£3,000-5,000

139 ITALIAN SIDE CABINET, 1950s in the manner of Vittorio Dassi, beech, blue, pink and yellow panelling to each door, the two end panels opening to reveal 5 long sliding drawers, and the central panel opening to reveal 10 short sliding drawers 109cm high, 263cm wide, 60cm deep (42 7/8in high, 103 ½in wide, 23 5/8in deep) Provenance: with Themes & Variations, London; Private Collection, London.

£1,000-1,500

106

140 ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE TWIN ARM APPLIQUÉ WALL LIGHT, DESIGNED c.1954 brass, lacquered aluminium and perforated metal longest arm: 87cm long (34 ¼in long) Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.158, for example illustrated and p.294, cat. no.90.

£3,000-5,000

141 ITALIAN WALL CONSOLE in the manner of Ico Parisi, wood and black lacquered metal, with fall front drawer and two metal flower holders 21cm high (not including metal inserts), 247cm long, 22cm deep (8 ¼in high, 97 ¼in long, 8 5/8in deep)

£700-900

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

107

142 ANGELO LELII (ITALIAN 1915-1987) FOR ARREDOLUCE ‘SCRITTOIO’ DESK LAMP, DESIGNED c.1950 model 12297, brass and lacquered metal 36cm high, 29cm wide, 24cm deep (14 1/8in high, 11 ½in wide, 9 ½in deep) Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.122, for example illustrated, and p.281, cat. no.22.

£1,500-2,000

143 GINO SARFATTI (ITALIAN 1912-1985) FOR ARTELUCE TABLE LAMP, DESIGNED 1956 model 566, enamelled aluminium, chromeplated steel and iron 49.5cm high, 37cm wide, 13cm deep (19 ½in high, 14 ½in wide, 5 1/8in deep) Literature: Romanelli, Marco and Sandra Severi, Gino Sarfatti: Opere Scelte 1938-1973, Silvana Editoriale, Milan, 2012, p.278-9, for an example of this model.

£800-1,200

144 ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE PAIR OF ‘STELLINE’ TABLE LAMPS, DESIGNED c.1950 model 12291, brass, painted aluminium and glass each 34.5cm high, 10cm wide (13 5/8in high, 3 7/8in wide) Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.121 for example illustrated and p.280, cat. no.21.

£2,500-3,000

108

145 STILNOVO, ITALY PENDANT LIGHT applied STILNOVO / MILANO / ITALY paper label, brass, cord, and with blue, red and yellow enamelled metal shades 105cm high (41 3/8in high)

£800-1,200

146 ALDO TURA (ITALIAN 1909-1963) CONSOLE TABLE, c.1970 brass and parchment 86.5cm high, 140.5cm wide, 40cm deep (34in high, 55 3/8in wide, 15 ¾in deep)

£800-1,200

147 ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE FLOOR LAMP, DESIGNED c.1950 enamelled aluminium, brass and cast iron base, with adjustable arms base: 35.5cm diameter (14in diameter) Provenance: Private Collection, U.K. Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.119, for example illustrated, and p.280, cat. no.19.

£3,000-5,000

109

110

111

148 GIO PONTI (ITALIAN 1891-1979) PAIR OF HEADBOARDS, DESIGNED c.1955 from the Royal Continental Hotel, Naples, manufactured by Dassi, in two parts, with fitted bedside tables, a magazine rack, built in reading lights, and switch plate 80cm high, 269cm long, 42.5cm deep (31 ½in high, 106in long, 16 ¾in deep) Provenance: Acquired by the present owner directly from the dispersal of original furniture and fixtures during the refurbishment of the Parco dei Principi, Rome, in 2000. The Royal Hotel, Naples, had previously been stripped out in 1998-9. Private Collection, London.

£2,500-3,500

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

113 SOLD BY THE HUGO BURGE FOUNDATION AS PART OF ITS CHARITABLE AIMS TO SUPPORT THE ARTS AND CRAFTS ACROSS THE UNITED KINGDOM

Zone Riflesse (Reflected Zones) comes from a celebrated

Initially working in metal sheet assemblages and collages, a

series of that title created by Paolo Scheggi in the early

move to Milan in 1961 resulted in Scheggi’s emergence as

1960s. Scheggi is recognised as one of the leaders of

an artist of national importance. He attracted the attention

Spazialism (Spatialism) and the Italian neo-avant-garde

of the master of modern Italian art, Lucio Fontana, the

of the period. The series consists of works which are as

following year, who soon wrote to the Tuscan ‘I can only

much sculptures as paintings and are constructed of three

wish you a “happy” career and remind you to be humble,

overlapping monochrome canvases into which irregular,

very humble, since in “time” we are “nothing”.’ (quoted by von

elliptical or circular openings have been introduced. As the

Hoffmanstahl, op.cit.) Scheggi became a leading member of

artist’s foundation has explained, Scheggi’s Intersuperfici

Milan’s art world and Zone Riflesse is a beautiful example of

(Intersurfaces), including Zone Riflesse, ‘are the matrix of

the ‘extraordinary poetic and formal coherence’ of the works

a unique multidisciplinary research that in just ten years

he made between 1962 and 1964. (von Hoffmanstahl, ibid.) It

crossed all languages, from painting to architecture, from

inspires a rich viewer experience, starting with the particular

fashion to design, from poetry to theatre, and was analysed

pitch of the ‘rosa’ (pink) acrylic paint which vibrates on the

by the most important critics of the time, from Germano

colour spectrum somewhere between pink and orange.

Celant to Carlo Belloli. (‘The Artist’, Associazione Paolo

Shadows cast by the ovoids onto the multiple layers of canvas

Scheggi website, accessed 25 April 2026).

encourage close and lateral inspection, prompting a physical

Due to Scheggi’s premature death in Rome in 1971, at the age of thirty, his practice is not extensive and as a result

engagement with the work and the space within which it – and the viewer – exist together.

his works are highly sought after by collectors. Born in

Professional momentum was built with Scheggi’s

Settignano in Tuscany in 1940, Scheggi trained at the Istituto

participation in landmark exhibitions such as 44 protagonisti

Statale d’Arte (State Institute of Art) and the Accademia

della visualità strutturata (44 Protagonists of Structured

di Belle Arti (Academy of Fine Arts), both in Florence. A

Visuality) at the Lorenzellis Gallery in Milan in 1964 and by

connection with London, unusual for his cohort, began

showing with the Zero and Nove Tendencjie (New Tendencies)

when he was nineteen and moved to the city. As Hugo

groups. International stature came with the invitation to

von Hoffmanstahl has explained: ‘it was here, not Paris –

participate in the 33rd Biennale di Venezia (Venice Biennale)

which remained a more common destination for young

of 1966, followed by a solo exhibition at the Ewan Phillips

Italian artists in search of inspiration and rebellion – that

Gallery in London that November.

Scheggi decided to reflect on the new ideas of the imminent cultural revolution.’ (Hugo von Hoffmanstahl, ‘Depth is hidden. Where? On the surface’, Paolo Scheggi: In Depth, Estorick Collection, London, 2019, unpaginated) He studied graphic design and researched the work of British artists, including Ben Nicholson’s reliefs whose spatial concerns and physicality can be seen informing the younger artist’s eventual oeuvre.

Scheggi’s posthumous reputation has been secured with, for example, the publication of a catalogue raisonné in 2016, the Estorick Collection’s exhibition Paolo Scheggi: In Depth held in London in 2019 and the acquisition of Inter-ena-cubo of 1970 by the Tate in 2022 (acc.no.T15924).

114

149 § PAOLO SCHEGGI (ITALIAN 1940-1971) ZONE RIFLESSE, 1963 signed, titled and dated (to reverse), acrylic on three superimposed canvases 50cm x 70cm x 5cm (19 ¾in x 27 ½in x 2in) This work is being sold by the Hugo Burge Foundation as part of its charitable aims to support the arts and crafts across the United Kingdom.

£60,000-80,000

Provenance: Gianni and Mina Malabarba, Milan; Galleria Il Cenobio, Milan; Galleria Artesilva, Milan Private Collection, Italy, by 2005; Their sale, Sotheby’s Milan, Arte Moderna e Contemporanea, 20 May 2015, lot 5, where acquired by Hugo Burge; Bequeathed by Hugo Burge to the Hugo Burge Foundation, 2023.

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

Exhibited: Galleria d’Arte Moderna, Bologna, Paolo Scheggi, October – November 1976, no.14; Museo d’Arte dell’Otto e Novecento (MAON), Rende (Cosenza), Around Rotella: L’Artista e il suo tempo, 13 December 2008-18 January 2009. Literature: Barbero, Luca Massimo, Paolo Scheggi - Catalogue Raisonné, Skira, Milan, 2016, cat. no. 63 T 42 (illustrated).

115 SOLD BY THE HUGO BURGE FOUNDATION AS PART OF ITS CHARITABLE AIMS TO SUPPORT THE ARTS AND CRAFTS ACROSS THE UNITED KINGDOM

116

117

150 § ALAN REYNOLDS (BRITISH 1926-2014) STRUCTURES - GROUP II (11), 1986 signed, titled and dated (to reverse), painted card relief construction on wood, in Artists frame 140cm x 93cm x 1cm (55in x 35 ¾in x ¼in) Provenance: with Juda Rowan Gallery, London. Exhibited: Annely Juda Fine Art / Juda Rowan Gallery, From Figuration to Abstraction, 17 October 19 December 1986, cat. no. 50.

£2,500-3,500

151 § ROBERT ADAMS (BRITISH 1917-1984) THREE PLANES (OPUS 111), 1960 bronzed steel height: 153cm (60in) Provenance: Christie’s South Kensington, Modern British & Irish Art, 20 March 2014, lot 9, where acquired by the present owner. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.194, no.321 (illustrated). Exhibited: Gimpel Fils, London, September 1960, no.21; Gainsborough’s House, Sudbury, Suffolk, one-man exhibition, 8-30 July 1978, no.5.

£10,000-15,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

118

152 § JEAN SPENCER (BRITISH 1942-1998) MAQUETTE FOR RELIEF 1 (PANEL 2), 1972 signed and inscribed (to reverse), painted wood construction 60.7cm x 60.5cm (23 7/8in x 23 ¾in) Provenance: Acquired directly from the Artist’s estate by the present owner. Exhibited: Whitechapel Art Gallery, London, Systems, Arts Council touring exhibition, touring to Manchester, Sheffield, Billingham, Newcastle, Birmingham, Leicester, Leeds. Southampton, Newport & Oxford, March 1972 - June 1973, full 11 part work illustrated in catalogue.

£2,000-3,000

153 § MARC VAUX (BRITISH 1932-) UNTITLED, 1965 signed and dated in pencil (to reverse), acrylic on canvas 77.5cm x 77.5cm (30in x 30in) Provenance: Bernard Jacobson Gallery, London, from whom acquired by the present owner.

£800-1,200

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

119

154 § GWYTHER IRWIN (BRITISH 1931-2008) PHANTOM, 1964 cut-out and assembled painted wood construction 106.5cm x 78cm (42in x 30in) Provenance: With Gimpel Fils, London; Acquired directly from the Artist by the previous owner, Jean Ferrero; Christie’s, Paris, Post War & Contemporary Art, 3 June 2021, lot 45, where acquired by the present owner. Exhibited: British Council, XXXII Venice Biennale, British Pavilion: Roger Hilton, Gwyther Irwin, Joe Tilson, Bernard Meadows, 1964, no.40 (illustrated in catalogue).

£8,000-12,000

120

155 § VICTOR ANTON (BRITISH 1909-1980) BLACK, WHITE, RED, 1967 signed and dated (to reverse), acrylic on perspex 76.2cm x 91.4cm (30in x 35 ½in) Provenance: Christie’s, South Kensington, Modern British and Irish Art, 12 December 2014, lot 13, where acquired by the present owner.

£800-1,200

156 § VICTOR ANTON (BRITISH 1909-1980) BLACK, WHITE, RED 2, 1966 signed, titled and dated in pen (to reverse), acrylic on perspex 91.5cm x 61cm (36in x 24in) Provenance: Christie’s, South Kensington, Modern British and Irish Art, 12 December 2014, lot 14, where acquired by the present owner.

£1,000-1,500

121

157 § COLETTE MOREY DE MORAND (CANADIAN/BRITISH 1934-2022) BECOMING NOT BEING I, c.2015 signed (to reverse), acrylic on linen 100cm x 100cm (39 ½in x 39 ½in) Provenance: The Estate of the Artist.

£2,000-3,000

158 § MICHAEL CANNEY (BRITISH 1923-1999) DIVISION signed and titled (to reverse), oil on board 63.5cm x 63.5cm (25in x 25in) Provenance: Private Collection, Wales.

£2,000-3,000

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

122

159 §

160 §

ALAN GREEN (BRITISH 1932-2003)

JOHN COPNALL (BRITISH 1928-2007)

PAST GLORY, 1967

STUDY, 1972

signed and dated (to reverse), painted wood construction

signed (to reverse), titled and dated (to stretcher), acrylic on canvas

61cm x 91.6cm (24in x 36in)

178cm x 30.5cm (70in x 12in)

Provenance: Private collection, London.

Provenance: Acquired directly from the Artist by the present owner.

£500-800

£400-600

161 § JEREMY MOON (BRITISH 1934-1973) COLLAGE (C6/71), 1971 signed and dated in pencil on backing sheet (lower right), card collage over acrylic on paper 25.5cm x 56cm (10in x 22in) Provenance: The Estate of the Artist; Rocket Gallery, London, where acquired by the present owner, c.2005.

£600-800

123

162 § BERNARD COHEN (BRITISH 1933-) MEMPHIS, 1961 signed, titled and dated (to reverse), oil on canvas 183cm x 243.7cm (72in x 96in) Provenance: Acquired directly from the Artist by the parents of the present owner, c. mid-1960s

£5,000-8,000

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

124

163 § GEOFFREY CLARKE (BRITSH 1924-2014) COUNTERPOISE VI, 2008 cast aluminium, unique 8.5cm x 9.5cm (3 ¼in x 3 ¾in) Exhibited: The Strand Gallery, Aldeburgh, 2008. Literature: le Grove, Judith, Geoffrey Clarke Sculptor: A Catalogue Raisonne, Lund Humphries, Farnham, 2017, p.291, M104.

£500-800

164 § GEOFFREY CLARKE (BRITSH 1924-2014) COUNTERPOISE V, 2008 initialled (centre right), cast aluminium, unique 10cm x 10cm (4in x 4in) Exhibited: The Strand Gallery, Aldeburgh, 2008. Literature: le Grove, Judith, Geoffrey Clarke Sculptor: A Catalogue Raisonne, Lund Humphries, Farnham, 2017, p.291, M103.

£500-800

165 § PETER HAIGH (BRITISH 1914-1994) JULY ‘92, 1992 signed, titled and dated (to reverse), oil on canvas 79cm x 48cm (31in x 19in) Provenance: The Estate of the Artist.

£1,000-1,500

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

125

166 § PETER HAIGH (BRITISH 1914-1994) JUNE ‘85, 1985 signed, titled and dated (to reverse), oil on canvas 89cm x 81.5cm (35in x 32in) Provenance: The Estate of the Artist.

£1,200-1,800

167 PETER WINCHELL SAGER (CANADIAN 1920-1985) TWO UNTITLED SCULPTURAL FORMS, c.1957 the larger work signed and numbered 1/3, painted plaster 56cm high, 32cm wide, 10cm deep (22in high, 12 5/8in wide, 4in deep) and 13cm high, 15cm wide, 16cm deep (5 1/8in high, 5 7/8in wide, 6 ¼in deep) (2) Provenance: Private Collection, London. Note: Peter Winchell Sager was a Canadian sculptor and printmaker whose work embraced abstraction from an early stage. Based in Paris and London between 1947 and 1952, he exhibited internationally and was included in the ICA’s landmark Young Sculptors exhibition in 1952, alongside an exceptional group of artists several of whom were later associated with the influential Geometry of Fear movement. His work is represented in major public collections including the National Gallery of Canada, the Victoria and Albert Museum, London, and the Brooklyn Museum, New York.

£400-600

126

168 § GEORGE DANNATT (BRITISH 1915-2009) PAINTING - SEPTEMBER 19TH, 1988 signed, titled, dated and dedicated in pen on back board (to reverse), oil on card 17.6cm x 12.5cm (7in x 5in) Provenance: The Estate of an important St Ives Artist.

£300-500

169 § ROBERT ADAMS (BRITISH 1917-1984) MAQUETTE NO. 1 FOR HORIZONTAL MOVEMENT (I) (OPUS 276), 1968 unique, enamelled steel length: 21cm (8 ¼in) Provenance: Estate of the artist; with Gimpel Fils, London. Exhibited: Gimpel Fils, London, Robert Adams, London: 1968, no.28. Literature: Grieve, Alastair, The Sculpture of Robert Adams, Lund Humphries, London in association with The Henry Moore Foundation, 1992, no.549, reproduced p.225 in sketch form.

£800-1,200

170 § ROBERT ADAMS (BRITISH 1917-1984) CYLINDER (OPUS 311), 1969 stamped, dated and numbered 2/3 (to inside of base), anodised steel height: 27cm (10 ½in) Provenance: The Estate of the Artist; with Gimpel Fils, London. Exhibited: Camden Arts Centre, London, Robert Adams, 1971, no. 58. Literature: Grieve, Alastair, The Sculpture of Robert Adams, Lund Humpries, London in association with The Henry Moore Foundation, 1992, p. 227, no. 567.

£2,000-3,000

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

127

171 § PRUNELLA CLOUGH (BRITISH 1919-1999) SACK 1, 1997 signed (to reverse), oil on canvas 66cm x 79cm (26in x 31in) Provenance: with Annely Juda Fine Art, London; Private Collection, Wales.

£5,000-7,000

128

172 § HARRY THUBRON (BRITISH 1915-1985) UNTITLED, 1973 signed (lower right), also signed, titled and dated in pen on Artist’s label (to reverse), further inscribed To Rose in crayon (to reverse), mixed media construction mounted on panel 51cm x 29.5cm (20in x 11 ½in) Provenance: With Keith Chapman, London; Private Collection, London.

£800-1,200

173 § BRIAN WILLSHER (BRITISH 1930-2010) UNTITLED, 1968 signed and dated (to underside of base), wood construction, unique height: 95cm (37 ½in) including base Provenance: Acquired by the uncle of the present owners, London, c. 196869 and thence by descent.

£600-800

174 § BRIAN WILLSHER (BRITISH 1930-2010) SCULPTURE, 1979 signed and dated (to base), teak 29cm high (11 ½in high) Provenance: Private collection, London.

£300-500

129

175 § SANDRA BLOW R.A. (BRITISH 1925-2006) UNTITLED, 1999 signed and dated (on canvas overlap), oil and collage on canvas 90cm x 111cm (35 3/8in x 43 ¾in) Provenance: Private Collection, St. Ives, from whom acquired by the present owner.

£3,000-5,000

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

130

176 § SAM SZAFRAN (FRENCH 1934-2019) PAYSAGE 3 signed and indistinctly dated (lower left), titled in pencil 6 - paysage 3 (to reverse), India ink and mixed media on paper, unframed 35.5cm x 19.3cm (14in x 7 5/8in) Provenance: with Gimpel Fils, London, where acquired by the present owner.

£300-500

177 § SAM SZAFRAN (FRENCH 1934-2019) UNTITLED signed (lower centre), India ink and mixed media on paper, unframed 30.7cm x 52cm (12in x 20 ½in) Provenance: with Gimpel Fils, London, where acquired by the present owner.

£500-700

131

178 § STEPHEN GILBERT (BRITISH 1910-2007) UNTITLED, 1959 initialled and dated (lower right), further inscribed (to stretcher to reverse), oil on canvas 60cm x 73cm (23 5/8in x 28 ¾in) Provenance: Arles Encheres, Arles, sale, 25 July 2020, lot 139; Private Collection, U.K.

£2,500-3,500

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

132

179 § LYNN CHADWICK C.B.E., R.A. (BRITISH 1914-2003) TWO FIGURES, 1959 signed, inscribed For Derek and dated Christmas 1959 in ink (lower right), pen, ink, watercolour and gouache on paper 45.5cm x 52.5cm (17 7/8in x 20 5/8in) Provenance: Private Collection, U.K.

£2,500-3,500

180 § ROGER HILTON C.B.E. (BRITISH 1911-1975) GOUACHE (BIRD), 1973 signed and dated in pencil (lower right), gouache and charcoal on paper 39.5cm x 56cm (15 ½in x 22in) Provenance: The Estate of the Artist; Kettle’s Yard, Cambridge, Artists for Kettle’s Yard fundraiser exhibition, donated by the above, where acquired by the present owner, May 2011.

£3,000-5,000

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

133

181 § GEORGES MATHIEU (FRENCH 1921-2012) UNTITLED, c.1968 gouache on paper 50cm x 71.5cm (19 ¾in x 28 ¼in), unframed Provenance: with Gimpel Fils, London.

£2,500-3,500

134

182 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) BURNT EARTH, 1960 signed and dated (lower left), further signed and dated (to left margin) and on the backing card (lower right), gouache on paper 51.5cm x 39.5cm (20 ¼in x 15 ½in) Literature: Green, Lynne, Wilhelmina Barns-Graham: A Studio Life, Lund Humphries, London, 2026, p.178, fig.98.

£3,000-5,000

135

183 § TONY O’MALLEY (IRISH 1913-2003) GOUACHE AND INK No. 2, 1972 signed on backboard (to reverse), gouache on paper 25cm x 20cm (10in x 8in) Provenance: Sotheby’s, London, Irish Art, 24 October 2006, Lot 2, where acquired by the present owner.

£1,500-2,500

184 § ALAN DAVIE C.B.E., R.A. (BRITISH 1920-2014) THE MARKS OF K (OPUS OG.20L), 1958 titled and inscribed (to back board), oil and collage on paper 17.7ccm x 29.2cm (7in x 11 ½in) Provenance: with Gimpel Fils, London. Private Collection, U.K.

£1,500-2,000

185 § ALAN DAVIE C.B.E., R.A (BRITISH 1920-2014) YOGA STRUCTURES No. 20 JANUARY 1978 (OPUS G.1392), 1978 signed, titled and dated in pencil (lower right), watercolour, gouache and charcoal on paper 28.5cm x 38.5 cm (11 1/4in x 15 1/8 in), unframed Provenance: with Gimpel Fils, London.

£1,000-1,500

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

136

186 ‡ § MICHAEL AYRTON (BRITISH 1921-1975) UNTITLED, 1964 signed and dated 18.6.64 (lower right), ink on paper laid on card 38.5cm x 47.5cm (15in x 18 ¾in)

£300-500

187 § MARTIN BRADLEY (BRITISH 1931-2023) TENSIONS BLANCHES, 1961 signed and dated (lower right), titled and dated (to reverse), oil on canvas 130cm x 81.5cm (51in x 32in) Provenance: Private Collection, London, from whom acquired by the present owner.

£1,200-1,800

137

188 § WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (BRITISH 1915-1997) STRUCTURE - AUGUST 54, 1954 signed and dated (lower right), further signed, titled and dated (to reverse) 80cm x 50cm (31 ½in x 19 ¾in) Provenance: The Estate of the Artist; The Redfern Gallery, London, from whom acquired by the present owner, 2006.

£8,000-12,000

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

138

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

John & Sylvia Reid Exhibition, 2019, at Margaret Howell, Wigmore Street, London. Photograph courtesy of Tim Osborn.

At the Festival of Britain in 1951, a pair of tripod floor lamps

The couple met while studying architecture at Regent Street

stood at either end of a wall installation incorporating real

Polytechnic in London, married in 1948 and established their

musical instruments. The setting was Robin Day’s ‘High-cost’

practice in 1951. Sylvia worked for Jane Drew and Maxwell

room in the Homes and Gardens Pavilion; the installation

Fry before becoming an assistant to Robin Day. At the

was by John Reid, who had also collaborated with Day

Festival, she contributed to the signage programme involving

on the lamps. Alongside Day’s bent-plywood furniture,

Day and Milner Gray, while John worked on the room setting

manufactured by Hille, they offered visitors a carefully

and its lighting. These commissions brought together skills

composed view of contemporary domestic life. Lighting had

that would remain closely connected throughout their

become part of the architecture of the room.

careers: architecture, exhibition design, graphics and the

For John and Sylvia Reid, the Festival was an important early

arrangement of objects in space.

opportunity. Their subsequent work would help establish

The Festival gave such work an unusually public platform.

the character of British lighting during the 1950s and 1960s:

Britain was still living with the consequences of wartime

slender supports, considered proportions and an inventive

destruction and shortages, yet its displays proposed a

use of materials. Their reputation rests partly on the

domestic future shaped by new materials and thoughtful

distinctive lamps they designed, but also on their ability to

design. Day’s separate ‘Purposeful Lighting’ interior, which

work with manufacturers, turning an experimental process

included fittings by Merchant Adventurers and Troughton

or a practical brief into a convincing commercial product.

& Young, addressed illumination as a subject in its own right. The position of a lamp, the direction of its beam and its relationship to furniture were all matters for design.

John & Sylvia Reid, circa 1956-6. Reproduced with kind permission of John & Sylvia Reid LLP.

MASTERS OF LIGHT:

JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

140

Forrest Modern: Early Lighting Designs for Thorn

Forrest Modern Floor Lamp, circa 1952, shown in the 1st Forrest Modern Catalogue, 1953. Reproduced with kind permission of John & Sylvia Reid LLP.

The Reids’ route from exhibition work to commercial lighting can be traced through the Festival tripod lamp. Manufactured by Thorn Electrical Industries, it belonged to a period in which the company was expanding its lighting interests. Thorn had acquired George Forrest & Son in 1950, and in 1952 John designed the Forrest Modern range. Sylvia designed the catalogues. Soon afterwards, they adopted the practice of crediting their architectural and design work jointly. That decision matters when looking back at their careers. Early commissions sometimes carry an individual attribution, but their mature practice was founded on shared authorship. The design of a fitting and the way it was presented to architects, retailers and customers formed parts of the same undertaking. Forrest Modern received coverage in D. Dewar Mills’s ‘Light Fittings’, published in The Architectural Review in November 1952. The article placed the range before an architectural readership at a time when manufacturers were seeking a place in the growing market for contemporary interiors. It also provides a valuable record of the Reids’ lighting before their better-known association with Rotaflex. Rotaflex Lighting: New Materials and Modern Lampshades

freedom of shape. Cellulose acetate filament was wound around a wooden former and bonded to produce a selfsupporting shade, its surface marked by closely spaced ribs. The technique had been patented in 1946 by Danish engineers Bent Højberg-Pedersen and Bent Panker, and was subsequently licensed to manufacturers internationally. Cylinders, globes and elongated forms could be made using the same underlying method. For a designer, the attraction went beyond the outline. The

Bernard Stern founded Rotaflex Great Britain in July 1953.

material itself became part of the lighting effect, filtering the

An artist who developed a substantial business career,

bulb through successive strands of translucent plastic. The

Stern recognised the commercial possibilities of a Danish

Reids used this quality with restraint. In their pendants, table

process for making lightweight, translucent lampshades.

lamps and floor lamps, the shade’s volume was balanced

By about 1954–55, the Reids were working as his principal

against a spare supporting structure. Decoration emerged

design consultants. The process gave them considerable

from the ribs, the proportions and the passage of light.

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

The Ovoid Lampshade and International Recognition Their ‘Ovoid’ shade received a Council of Industrial Design Designs of the Year award in 1957. Its rounded profile demonstrated how effectively a relatively simple manufacturing process could produce a distinctive domestic object.

Around these designers stood an extensive manufacturing industry. Troughton & Young, Atlas Lighting, Merchant Adventurers, Hiscock & Appleby, G.E.C. and Falk Stadelmann all belong to the broader account. Their presence helps explain the variety of surviving British lighting: sculptural metalwork, translucent plastic shades, adjustable reading lamps and fittings developed for particular architectural uses.

Rotaflex also places the Reids within a wider European

There was ample room for individual invention within this

history. The manufacturing process crossed national borders,

expanding field.

and designs circulated between related businesses. Two Reid lamps entered the Disderot catalogue in France in

Collecting Post-War British Lighting

1957, including a brass-and-glass pendant with an earlier

For collectors, that variety makes documentation especially

version in the British Forrest Modern range. British lighting

valuable. A familiar shade may survive with an unfamiliar

was participating in an international exchange of designs,

base; a design may appear in more than one catalogue.

materials and manufacturing expertise.

Rotaflex is a particular case in point, since the name was used

British Lighting in the 1960s: Aluminium and Adjustable Spotlights Nor was the Reids’ lighting confined to translucent plastic. Their adjustable spotlights for Rotaflex received a Design Centre Award in 1961. Natural anodised aluminium housings, black metal components and white enamel demonstrated another aspect of their work: precise adjustment and a careful distinction between materials. These fittings helped connect the domestic experimentation of the 1950s with the more technical architectural lighting of the following decade. Bernard Schottlander’s Mantis Lamps and Peter

in connection with both a manufacturing process and several business names. Original advertisements, catalogues, labels and provenance help establish the identity of an individual fitting. The Reids’ achievement is clearest when their lamps are considered as objects intended for use. Their proportions were judged for rooms, their shades for the light they transmitted, and their structures for the demands of manufacture and adjustment. A Rotaflex pendant can still hold a room through the simplest means: a well-drawn outline, a ribbed surface and the glow of the material itself. Overall the Reids helped give post-war Britain a new way of seeing the modern home through lighting.

Nelson’s Architectural Lighting Other designers approached the same period’s opportunities differently. Bernard Schottlander brought a sculptor’s understanding of balance to his Mantis lamps, conceived in 1951. An admirer of Alexander Calder, he used counterweights, slender metal arms and shaped reflectors to give an adjustable lamp an unusually animated presence. The mechanics were integral to its appearance: the reach of an arm and the poised weight of a shade supplied much of its character. Peter Nelson’s work took a more explicitly engineering-led direction. Having made precision aircraft models, he founded Architectural Lighting in 1961. His aluminium fittings made adjustment and construction readily apparent, with cylindrical heads and economical supports suited to both domestic and professional interiors. The company’s own history records the progression from his early Series S to Series A in 1967.

Selected Bibliography Jackson, Lesley. Modern British Furniture: Design Since 1948. V&A Publishing, 2013, p.119 for information on J & S Reid’s early years. Jackson, Lesley. Robin & Lucienne Day: Pioneers of Contemporary Design. Mitchell Beazley, 2001, pp. 47 and 51. ‘Homes & Gardens’. Design, no. 31, July 1951. Council of Industrial Design, p.18-19 Dunnett, H. McG. ‘Three Types of Team-work’. Design, no. 64, April 1954. Council of Industrial Design, p. 9. Dewar Mills, D. ‘Light Fittings’. The Architectural Review, November 1952, pp. 314 and 320. Hodin, J. P. Bernard Stern: Paintings and Drawings. Three Eagles Publications Limited, 1972, pp. 14–15. Gregson, Tom. Plastic Lighting Fittings, Design, no. 83, November 1955. Council of Industrial Design, p. 24.

141

142

The Forrest Modern range was selected for inclusion in the Council of Industrial Design’s (CoID) Design Review and exhibited widely internationally, notably at the 10th Milan Triennale in 1954, where it was awarded a silver medal. Retail stockists during the 1950s included Dunns of Bromley, Bowmans of Camden Town, Peter Jones of Sloane Square, Liberty of London, Harrods and Woollands of Knightsbridge. ‘Forrest Modern interchangeable fittings are assembled from a number of basic components to suit your particular requirements, and the only limitations are your imagination and the laws of statics. Shades are spun aluminium stove enamelled a colour and are guaranteed heat resisting. Each shade is a complete unit consisting of spinning, lamp holder, switch, flexible cable, supporting tube and clamp. 189

Clamps, rods and tubes are

JOHN REID (BRITISH 1925-1992) FOR GEORGE FORREST & SON, LONDON

of black anodised aluminium

FORREST MODERN PENDANT CEILING LIGHT, c.1954

alloy. Bolts, lever handles,

model FM7001, one shade stamped BRIT REGD DESIGN 868453, red enamelled aluminium shades, black anodised aluminium tube, cord and adjustable clamps with brass handles

bushes and universal joints,

48.5cm high, 51cm wide (19 1/8in high, 20in wide) Provenance: From a Private Collection of Post-War British Lighting. Literature: Architectural Review, March 1955, pp.214-6, for an example of this model in a different orientation. A rare model, this is the only known surviving example at the time of writing. The Forrest Modern range belongs to the formative period of John & Sylvia Reid’s design partnership. Although the fittings were designed by John Reid and consequently attributed to him, Sylvia Reid designed the accompanying catalogues through which the range was presented to architects, retailers and customers. Soon afterwards, the Reids adopted the practice of crediting their architectural and design work jointly. This is important when considering their careers retrospectively: while early commissions sometimes carry an individual attribution, their mature practice was founded upon shared authorship. The design of an object and the way in which it was communicated and brought to market formed complementary parts of the same undertaking.

£1,200-1,800

etc. are of polished brass. Bases are cast iron covered with aluminium spinnings and stove enamelled white. Colour - white bases and black rods are contrasted against brightly coloured shades. The standard colour range consists of “House and Garden” Cherry, Lemon Peel, Middy Blue, Bitter Green, and Black and White.’ (Forrest Modern Catalogue, 1954)

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

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

190 JOHN REID (BRITISH 1925-1992) FOR GEORGE FORREST & SON, LONDON FORREST MODERN FLOOR LAMP, c.1952-4 model GD6110/D, with two stove-enamelled spun aluminium fittings, single bulb shade in black, and twin bulb Diablo shade in yellow, anodised aluminium stand and rods, and adjustable clamps with brass handles, and cast iron base approximately 160cm high, 76cm wide (63in high, 30in wide) Provenance: From a Private Collection of Post-War British Lighting. Exhibited: Margaret Howell, London, John & Sylvia Reid: Pioneers of Modern Design, 12 October - 3 November 2019. Literature: Architectural Review, November 1952, cover, for similar examples; Mills, D. Dewar, Light Fittings, in Architectural Review, November 1952; Designers in Britain, Volume 4, Allan Wingate Publishers Limited, London, 1954, p.16, for similar example.

£2,000-3,000

143

144

191 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN LIGHTPLAN TWIN SPOT REFLECTOR TABLE LAMP, 1958 model T366, white and black enamelled aluminium shades, brass and cast iron, with dual stem 45cm high, 45cm wide (17 ¾in high, 17 ¾in wide)

£600-800

Provenance: From a Private Collection of Post-War British Lighting. Exhibited: Margaret Howell, London, John & Sylvia Reid: Pioneers of Modern Design, 12 October - 3 November 2019. There is only one other known example with this shade shape type.

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

145

192 ATTRIBUTED TO BEVERLEY PICK (BRITISH 1916-1995) FOR G.E.C., LONDON FLOOR LAMP, c.1955 black aluminium shade with adjustable relfector, brass, teak and steel, and wood with adjustable reflector 152cm high, approximately 73cm wide (59 7/8in high, approximately 28 ¾in wide)

193 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN LIGHTPLAN SPOT REFLECTOR TABLE LAMP, 1958 model T358, cast ROTAFLEX mark, black enamelled aluminium shade, brass and cast iron 45.5cm high, 26.5cm wide (17 7/8in high, 10 3/8in wide) Provenance: From a Private Collection of Post-War British Lighting. Exhibited: Margaret Howell, London, John & Sylvia Reid: Pioneers of Modern Design, 12 October - 3 November 2019. Literature: Larkman, Brian, Metalwork Designs of Today, John Murray Publishers Limited, London, 1969, p.71, for similar example. This table lamp is a rare model, of which only two examples are known.

£400-600

Provenance: From a Private Collection of Post-War British Lighting.

194 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN UNIVERSAL LIGHTPLAN SPOT FLOOR LAMP, 1960 model 4201, 1st production model, anodised aluminium bulb housing, chrome steel, and white vitreous enamelled base 118cm high, 25.5cm wide (46 ½in high, 10in wide) Provenance: From a Private Collection of Post-War British Lighting.

Literature: The Daily Mail Ideal Home Book, 1956, p.125, for similar example. Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Austerity to Affluence: British Design 1945-1962, Merrell Publishers Ltd., London, 1997, p,101-2, cat. no.PD.39or a similar example. Beverley Pick began working as a design consultant for GEC in 1954, creating a new collection of contemporary light fittings. This floor lamp shares clear stylistic similarities with his other lighting designs for the company. A comparable example appears in The Studio Yearbook of Decorative Art, 1959–60.

£800-1,200

Literature: Phillips, Derek. Lighting, Macdonald & Co., 1966, p.46, for a similar example. This design was a winner at the Design Centre Awards 1961.

£300-500

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

146

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

195 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN TRI-ARM METALLUX PENDANT CEILING LIGHT, c.1957-60 teak, flex and each arm supporting a black perforated metal pendant shade from Rotaflex’s ‘Metallux’ range, c.1958-61 68.5cm high, 57cm wide (27in high, 22 ½in wide) Provenance: From a Private Collection of Post-War British Lighting. Literature: Ideal Home, Close-Up - The Reids and The Days, February 1959, pp.52-6,, with a Metallux Cascade illustrated on p.56.

£500-700

196 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN TRI-ARM PENDANT CEILING LIGHT, c.1955-60 manufacturer’s applied label (to inside of ceiling rose), teak, flex and each arm supporting a spun acetate pendant shade from the Rotaflex ‘Lanterns’ range 79cm high, 58.5cm wide (31 1/8in high, 23in wide) Provenance: From a Private Collection of Post-War British Lighting. Literature: Society of Industrial Artists, Designers in Britain 5, Andre Deutsch Limited, London, 1957, p.70, for a Rotaflex exhibition stand (likely 1956), designed by John & Sylvia Reid, featuring a large number of acetate shade types / shapes from the Rotaflex Pendants range. The seminal Light Fittings article in Architectural Review (November 1952) likely brought knowledge of the Reids to an émigré artist called Bernard Stern. Stern licensed the spun acetate production technique from a Danish inventor called Bendt Hojberg Pedersen, and founded Rotaflex in 1953, employing the Reids as design consultants from c.1954/55.

£500-700

197 JOHN & SYLVIA REID (BRITISH 1925-1992 & 1924-2022) FOR ROTAFLEX, GREAT BRITAIN TELESCOPIC TRIPOD FLOOR LAMP, c.1958-9 model F347/A, spun cellulose acetate Ovoid diffuser shade, brass and black steel tripod base 120cm high, 38.5cm diameter (47 ¼in high, 15 1/8in diameter) Provenance: From a Private Collection of Post-War British Lighting. Literature: Weaving, Andrew, Living Retro, Ryland Peters & Small, London, 2008, p.75, for a similar example with a Sphere type shade. The ‘Ovoid’ pendant, with its innovative cellulose acetate shade, earned Rotaflex and the Reids a Designs of the Year award from the Council of Industrial Design in 1957. Examples of the shade are held in the permanent collections of the Museum of the Home (formerly the Geffrye Museum) and the Victoria and Albert Museum, London.

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

147

148

MASTERS OF LIGHT: JOHN & SYLVIA REID & THE MAKING OF MODERN BRITISH LIGHTING IN THE POST WAR YEARS

198 TROUGHTON & YOUNG TABLE LAMP, c.1955 yellow enamelled shade, brass, painted wooden base 49.5cm high, 36cm wide (19 ½in high, 14 1/8in wide) Provenance: From a Private Collection of Post-War British Lighting. Literature: Larkman, Brian and S H Glenister, Contemporary Design in Metalwork, John Murray Publishing, London, 1963, p.37, for similar example. Rayner, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Austerity to Affluence: British Design 1945-1962, Merrell Publishers Ltd., London, 1997, p,102, cat. no.PD43, for a similar example.

£300-500

199 PETER NELSON (BRITISH 1928-2009) OUTDOOR WALL LIGHT, 1960 model 421, enamelled metal and plastic 82cm high, 22cm wide (32 ¼in high, 8 5/8in wide) Provenance: Anderson & Garland, Newcastle, Peter Nelson Studio Sale, September 2010, lot 553, where acquired by the present owner; From a Private Collection of Post-War British Lighting. Note: The present example is a rare survivor, removed from outside the Peter Nelson Studio. A technical drawing for the work, dated December 1960, was offered in the Anderson & Garland sale (Lot 517), documenting one of Nelson’s earliest explorations into lighting design.

£300-500

The logo was designed by Ernő Goldfinger, whose collaboration with Paul and Marjorie Abbatt encompassed graphics, toys and the design of their London shopfront and interior. His involvement across these disciplines helped establish a coherent visual identity for the business, linking its products and branding with the space in which they were displayed.

200 ISAAC WEINFELD & JAN VINOT FOR PAUL & MARJORIE ABBATT AND ABBATT TOYS, LONDON JUMBLING JUMBO, DESIGNED 1955 painted wood, in original cardboard box with paper insert instruction sheet each elephant 5.5cm high, 8.5cm wide, 2.3cm deep (2 1/8in high, 3 3/8in wide, 7/8in deep) Provenance: Private Collection, London. Exhibited: Margaret Howell, London, Abbatt Toys: The Right Toys for the Right Age, 24 October - 24 December 2020. Literature: Powers, Alan, Abbatt Toys: Modern Toys for Modern Children, Design for Today, 2020, p.103, illustrated, and pp.32-49, for a detailed history of Erno Goldfinger and Paul & Marjorie Abbatt’s working relationship.

£300-500

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

149

201

202

POOLE POTTERY

COLLECTION OF FREEFORM CERAMICS, c.1950s

including a footed bowl, vase and double gourd vase in pattern PKT, a Featherdrift plate in pattern NN, two vases in pattern YHP and one further small bowl in pattern HZU, each with stamped manufacturer’s mark

including two bowls and three vases in pattern PRP, a double gourd vase in pattern PLC, a footed dish in pattern YAP and a small beaker, each with stamped manufacturer’s mark, except the footed dish

the large footed bowl 18.5cm high, 18cm diameter (7 ¼in high, 7in diameter) and the double gourd vase 19cm high, 9cm wide, (7 ½in high, 3 ½in wide) (8)

the double gourd vase 26.5cm high (10 ½in high) and the footed dish 32.5cm diameter (12 ¾in diameter) (7)

Provenance: Private Collection, London.

£500-800

150

203 § LOUIS JAMES (AUSTRALIAN 1920-1996) ARCADIA, 1962 signed, dated and inscribed in ink To Sandy & Harry 16th Dec ‘02 Louis James (lower right) and signed, further dated and titled in pen (to reverse), gouache, watercolour and crayon on paper 27cm x 37cm (10 5/8in x 14 ½in) Provenance: Private Collection, U.K.

£500-700

204 § PATRICK HAYMAN (BRITISH 1915-1988) SOLDIER FROM THE WAR RETURNING, 1984 signed (lower left), signed, titled and dated (to reverse), oil on board 25.5cm x 35.5cm (10in x 14in) Provenance: with Timothy Hobart Fine Art, London; Belgrave St. Ives, St Ives, 2015; Collection of Professor John Chambers. Exhibited: Hayward Gallery, London, Southbank Centre Touring Exhibition, Patrick Hayman - A Voyage of Discovery, 1990, cat. no.126.

£400-600

151

205 § SHAY DOCKING (AUSTRALIAN 1928-2000) COASTAL CITY, 1963 signed and dated (lower right), oil pastel on paper laid on board 51.5cm x 63.5cm (20 ¼in x 25in) Provenance: The Artist’s Family, from whom acquired by the present owner.

£800-1,200

206 § ALAN INGHAM (NEW ZEALANDER 1920-1994) RECLINING FIGURE monogrammed AI, bronze 9cm high, 22cm wide, 14.5cm deep (3 ½in high, 8 5/8in wide, 5 ¾in deep) Provenance: Private Collection, U.K.

£1,000-1,500

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

152

PETER POTWOROWSKI A Painter in Exile Tadeusz Piotr (Peter) Potworowski was born in Warsaw in

In January 1946, he held an exhibition of 33 works at the

1898 – three years after his compatriot Jankel Adler, with

prestigious Redfern Gallery, thereby announcing himself to

whom he would share many similarities, in both art and

British collectors as an artist of ‘note and promise’. This was

life, not least in being one of a small group of émigré avant-

followed by regular exhibitions with the Redfern, Gimpel

gardists who were to have an outsized influence on art and

Fils (1948 onwards) and The London Group, to which he was

culture in Britain in the post-war years.

elected a member in 1949, establishing him as a significant

In showing this group of works by Potworowski, we not only celebrate his talent as an individual artist but also pay homage to this wider group of artists, writers, photographers and gallerists whose contribution to British cultural life

figure within the British art world (hence the Anglicization of his Christian name). He was also the president of the Association of Polish Artists and published regularly in the monthly magazine “Nowa Polska”.

should neither be forgotten or underestimated, particularly

Potworowski’s influence was also felt though his teaching,

today with the current political discourse around ‘outsiders’.

not least his eight years as Professor of Painting at the Bath

After serving in the First World War, Potworowski enrolled at the Warsaw University of Technology to study architecture. His studies were disrupted, however, by the newly-formed Soviet Union’s invasion of Poland and when Potworowski returned to Warsaw in 1921, he abandoned

Academy of Art, Corsham (1949-57), at the time one of the most progressive schools in the country, with a teaching staff that read like a ‘who’s who’ of abstract painting in Britain: Peter Lanyon, Terry Frost, Bryan Wynter, Adrian Heath (and, later, the likes of Howard Hodgkin and Robyn Denny).

architecture for painting. In 1922 he enrolled at the

From Bath, Potworowski followed Lanyon, Frost and

Academy of Fine Arts in Krakow, where he studied under

Wynter down to Cornwall, taking a studio at Sancreed near

Józef Pankiewicz. It was with Pankiewicz’s encouragement

Penzance. And like these painters, he melded the lessons

that Potworowski went to Paris, then still very much the

of the European avant-garde – Picasso, Kandinsky and

epicentre of the avant-garde. There he joined the ‘Kapists’,

specifically Klee – with the wild and numinous landscape

as the group of young Polish modernists hanging around

of Penwith, to create an art that balances finely between

Montparnasse were known. During his time in Paris,

abstraction and figuration.

Potworowski spent time with Picasso, Bonnard, Cocteau and Brancusi, as well as doing a short stint working at Léger›s studio. It was through this job that he met his first wife Magdalena Makowska, an anthropology student. They married in Paris but returned to Poland in 1930.

After so much turmoil in his life, Potworowski found a certain amount of peace in the 1950s, travelling and painting extensively with his professional and romantic partner Doreen Heaton Potworowska, whom he met in 1952 while teaching at Corsham. Together they visited a Europe in

The 1930s were a period of sustained success for

recovery, including France, Spain and Italy. They returned to

Potworowski in his home country, where he was considered

Potworowski’s native Poland in 1958, where the artist spent

one of the country’s leading Modernist painters. However,

the last four years of his life, dying in is home city of Warsaw

war was to catch up with him again. Following the Nazi

in 1962.

invasion of Poland in 1939, Potworowski, along with his wife and two young children, escaped to Sweden, via Lithuania, before making his way to Britain in 1943. As with many of his contemporaries, he found himself initially in Scotland, being processed as an ‘alien’ from an Allied country, before settling in London.

In 1996 a major retrospective exhibition was held at the Polish National Gallery of Contemporary Art in Warsaw and his work is held in major institutions in both Poland and Britain, including Tate, Victoria Art Gallery, Bath and The Royal West of England Academy, Bristol.

153

207 § PETER POTWOROWSKI (POLISH 1898-1962) RECLINING NUDE, c.1950s oil on Masonite 13.5cm x 30.5cm (5 ¼in x 12in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£2,000-3,000

208 § PETER POTWOROWSKI (POLISH 1898-1962) UNTITLED oil on domestic wooden tray 42cm x 31cm x 3cm (16 ½in x 12 ¼in x 1 ¼in) Provenance: Doreen Heaton Potworowska, the Artist’s widow, form whom acquired by the previous owner and thence by descent.

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

154

209 § PETER POTWOROWSKI (POLISH 1898-1962) SPANISH VILLAGE, c.1953-54 mixed media on paper 23.5cm x 33cm (9 ¼in x 13in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

210 § PETER POTWOROWSKI (POLISH 1898-1962) HILL TOWN, SPAIN pen & ink on paper 22.5cm x 33cm (9in x 13in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£300-500

211 § PETER POTWOROWSKI (POLISH 1898-1962) CITY WALLS, SPAIN pastel and pen & ink on paper 23cm x 33cm (9in x 13in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£400-600

155

212 § PETER POTWOROWSKI (POLISH 1898-1962) OWL gouache and watercolour on paper 22.5cm x 16.5cm (9in x 6 ½in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

213 § PETER POTWOROWSKI (POLISH 1898-1962) WOMAN READING, c.1940s gouache and watercolour on paper 34.5cm x 24.5cm (13 ½in x 9 ¾in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

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

156

214 § PETER POTWOROWSKI (POLISH 1898-1962) COTTAGE DOOR, c.1956 gouache and watercolour on paper 24cm x 37cm (9 ½in x 14 ½in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

215 § PETER POTWOROWSKI (POLISH 1898-1962) ABSTRACT gouache and watercolour on paper 90.5cm x 31cm (35 ½in x 12 ¼in) Provenance: Doreen Heaton Potworowska, the Artist’s widow; Grant Waters Fine Art, Angmering; Private Collection.

£700-1,000

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

157

216 § STANISŁAW ELESZKIEWICZ (POLISH 1900-1963) THREE TREES, c.1950s initialled (lower left), mixed media on board 14.5cm x 14.5cm (5 ¾in x 5 ¾in) Provenance: Mieczysław Lurczyński (Polish painter, friend of the Artist); Marek Greliak; Gifted by the above to Grant Waters, Angmering; Private Collection.

£500-800

217 § STANISŁAW ELESZKIEWICZ (POLISH 1900-1963) THE BLUE HORSE, c.1950s initialled (lower right), oil on board 20.2cm x 32.3cm (8in x 12 ¾in) Provenance: Mieczysław Lurczyński (Polish painter, friend of the Artist); Marek Greliak; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

218 § STANISŁAW ELESZKIEWICZ (POLISH 1900-1963) STILL LIFE WITH FRUIT, c.1950s initialled (lower right), oil on board 18.5cm x 29cm (7 ¼in x 11 ½in) Provenance: Mieczysław Lurczyński (Polish painter, friend of the Artist); Marek Greliak; Grant Waters Fine Art, Angmering; Private Collection.

£500-800

158

219 JOACHIM WEINGART (POLISH 1895-1942) PORTRAIT NO. 14 signed in pen (lower right), titled in charcoal to reverse, oil on paper, unframed 61cm x 49 cm (24in x 19 1/4in) Provenance: with Gimpel Fils, London.

£600-800

220 JOACHIM WEINGART (POLISH 1895-1942) COMPOSITION No. 1 signed in pencil (lower right), titled in pencil (to reverse), watercolour on paper, unframed 58cm x 45.5cm (22 ¾in x 18in) Provenance: with Gimpel Fils, London.

£700-900

159

221 § THEODORE MAJOR (BRITISH 1908-1999) OFF TO WORK signed in pen (to reverse), oil on panel 75.5cm x 93.5cm (29 ½in x 36 ¾in) Provenance: Private Collection, U.K.

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

160

222 § ALBERT REUSS (AUSTRIAN 1889-1975) BLANKET ON A LINE, 1963 signed and dated (lower left), oil on canvas 68.5cm x 79cm (27in x 31in)

£800-1,200

223 § ALBERT REUSS (AUSTRIAN 1889-1975) LANDSCAPE WITH WHITE ROCK, 1952 signed and dated (lower left), oil on canvas 61cm x 72cm (24in x 28 ¼in)

£700-1,000

161

224 § ALBERT REUSS (AUSTRIAN 1889-1975) SLATS, 1954 signed and dated (lower left), oil on canvas 73cm x 91.5cm (28 ½in x 36in)

£1,000-1,500

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

162

225 § JOSEF HERMAN O.B.E., R.A (POLISH/BRITISH 1911-2000) TAKING A BOW (KIROV BALLET), 1968 pen & ink and wash on paper 20.1cm x 25.4cm (8in x 10in) Provenance: with Martin Tinney Gallery, Cardiff; Private Collection, Wales.

£300-500

226 § WILLI SOUKOP R.A. (AUSTRIAN/BRITISH 1907-1995) BIRD signed W. SOUKOP (lower right), labelled Willi Soukop / 26 Greville Rd / London NW6 5JA (to reverse), copper 32.5cm high, 54.5cm wide (12 ¾in high, 21 ½in wide) Provenance: Private Collection, London.

£800-1,200

227 § JOSEF HERMAN O.B.E., R.A. (POLISH/BRITISH 1911-2000) NINI (THE ARTIST’S WIFE) oil on canvas 66cm x 51cm (26in x 20in) Provenance: Private Collection, Wales.

£700-1,000

163

228 § JOHN CRAXTON (BRITISH 1922-1971) UNTITLED, 1986 signed and dated (top left), felt-tip pen, pen & ink on paper 13.5cm x 21cm (5 ¼in x 8 ¼in) Provenance: The Estate of the Artist; Osborne Samuel, London, from whom acquired by the present owner.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

164

229 § KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985) TEA BOWL, c.1930 impressed maker’s mark, stoneware 5.5cm high, 8.5cm diameter (2 1/8in high, 3 3/8in diameter) Provenance: Private Collection, U.K.

£300-500

230 PRIMAVERA GALLERY EXHIBITION OF CERAMICS POSTER, c. 1960 inscribed PRIMAVERA / EXHIBITION OF CERAMICS / MARGARET HINE NICHOLAS VERGETTE HANS COPER LUCIE RIE / 129 SLOANE ST. 7 MAY - 5 JUNE, gouache on paper 23.3cm x 11.5cm (9 1/8in x 4 ½in), unframed Provenance: Private Collection, U.K.

£300-500

231 § BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY ‘LEAPING SALMON’ BOWL impressed maker’s and Leach Pottery marks 8.5cm high, 19.5cm diameter (3 3/8in high, 7 5/8in diameter) Provenance: Private Collection, U.K.

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

165

232 § BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY BOTTLE VASE impressed maker’s marks and pottery marks, stoneware, tenmoku glaze 37cm high, 28.5cm wide (14 ½in high, 11 ¼in wide) Provenance: Private Collection, Wales.

£1,000-1,500

233 § DAVID LEACH O.B.E. (BRITISH 1911-2005) VASE impressed maker’s mark, stoneware, tenmoku glaze with iron foxglove design 24.5cm high, 27.5cm wide (9 5/8in high, 10 ¾in wide) Provenance: Bonhams, London, Contemporary Ceramics: Master Works, 17 June 1992, lot 21, where acquired by the present owner; Private Collection, London.

£500-700

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

166

234 § JANET LEACH (AMERICAN/BRITISH, 1918-1997) AT LEACH POTTERY LARGE CHARGER impressed maker’s and pottery seals, stoneware 7cm high, 42.5cm diameter (2 ¾in high, 16 ¾in diameter) Provenance: Private Collection, U.K.

£600-800

235 § STEVE HARRISON (BRITISH 1967-) JUG, 2007 impressed maker’s mark and year, salt glazed 29.5cm high, 28.5cm wide (11 5/8in high, 11 ¼in wide) Provenance: Private Collection, U.K.

£2,000-3,000

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

167

236 § WAISTEL COOPER (BRITISH 1921-2003) GOBLET FORM VASE, 1950s signed Waistel (to base), stoneware, with vertical sgraffito lines 18.3cm high, 8.3cm diameter (7 1/8in high, 3 ¼in diameter)

£500-700

237 § WAISTEL COOPER (BRITISH 1921-2003) ABSTRACT SCULPTURE, 1970s signed Waistel (to base), stoneware, with a rough textured cream rust surface 15.5cm high, 34.5cm wide, 28cm deep (6 1/8in high, 13 ½in wide, 11in deep)

£800-1,200

238 § WAISTEL COOPER (BRITISH 1921-2003) FLARED BOWL, c.1972 signed Waistel (to base), stoneware 17.5cm high, 27cm diameter (6 7/8in high, 10 5/8in diameter) Provenance: Private Collection, U.K.

£1,000-1,500

239 § JANET LEACH (AMERICAN/BRITISH 1918-1997) AT LEACH POTTERY FOOTED BOWL impressed maker’s and pottery marks, stoneware 9cm high, 32cm wide, 29cm deep (3 ½in high, 12 ½in wide, 11 3/8in deep) Provenance: Private Collection, London.

£500-700

Works from the Estate of an Important St Ives Artist

169

240 § DENIS MITCHELL (BRITISH 1912-1993) RIETI, 1971 initialed, titled and dated (to underside of base), numbered 0 (Artist’s Proof) aside from the edition of 9, polished and patinated bronze on a cast bronze base 28cm high (11in high), including base Provenance: The Estate of an important St Ives Artist. Exhibited: Marjorie Parr Gallery, London, 1971; Penwith Galleries, St Ives, 1972; Oxford Gallery, Oxford, 1972.

£4,000-6,000

Left Lot 242 [detail] Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

170

241 § DAVID LEWIS (SOUTH AFRICAN/BRITISH 1922-2020) FAT CHAP, 1988 initialled and dated (lower right), signed, titled, and dated in pencil, dedicated in pen to back board (to reverse), watercolour and gouache on paper 8.5cm x 13.5cm (3 ¼in x 5 ¼in) Provenance: The Estate of an important St Ives Artist.

£250-350

242 § SVEN BERLIN (BRITISH 1911-1999) LANDSCAPE AND BONE, 1945 signed and dated (lower right), signed and titled on Artists label (to reverse), further signed and dedicated (on back board), mixed media on found board 24cm x 29cm (9 ½in x 11 ¼in) Provenance: The Estate of an important St Ives Artist. Exhibited: Crypt Group, St Ives, First Exhibition, September 1946, no. 17.

£600-800

171

243 § DENIS MITCHELL (BRITISH 1912-1993) CARBIS BAY CUTTING, 1947 signed, titled and dated in pencil (to reverse), oil on board 28cm x 21cm (11in x 8 ¼in) Provenance: The Estate of an important St Ives Artist.

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

172

244 § DENIS MITCHELL (BRITISH 1912-1993) STUDY FOR SCULPTURE, c.1960s/70s signed (lower right), pen and ink and wash on paper, unframed 28cm x 19cm (11in x 7 ½in) Provenance: The Estate of an important St Ives Artist.

£400-600

245 § DENIS MITCHELL (BRITISH 1912-1993) STUDY FOR SCULPTURE, 1970 signed and dated in pen (lower right), indistinctly dedicated (lower left), pen and ink, chalk and wash on brown paper 32cm x 22cm (12 ½in x 8 ¾in) Provenance: The Estate of an important St Ives Artist.

£300-500

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

173

246 § DENIS MITCHELL (BRITISH 1912-1993) TWO FORMS IN SPACE NO.3, 1954 signed, titled and dated (to underside of base), painted wood construction 35.5m high (14in high), including base Provenance: The Estate of an important St Ives Artist. Exhibited: Penwith Galleries, St Ives, 1992.

£4,000-6,000

174

247 § DENIS MITCHELL (BRITISH 1912-1993) STUDY FOR SCULPTURE IN A LANDSCAPE, 1968 signed and dated (lower right), ink, watercolour and pastel on paper, unframed 19cm x 28cm (7 ½in x 11in) Provenance: The Estate of an important St Ives Artist.

£300-500

248 § WILHELMINA BARNS-GRAHAM C.B.E. (BRITISH 1912-2004) JUNE EVENING, PORTHMEOR, 1990 signed and dated in pencil (to mount), further signed, titled, dated and dedicated in pen on back board (to reverse), acrylic and pen on card 9cm x 9cm (3 ½in x 3 ½in) Provenance: The Estate of an important St Ives Artist.

£800-1,200

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

175

249 § SIR TERRY FROST (BRITISH 1915-2003) UNTITLED (CHRISTMAS 1951), 1951 dedicated in pen on back board (to reverse), oil pastel on found foiled card 20cm x 15cm (8in x 6in) Provenance: The Estate of an important St Ives Artist.

£500-700

250 § MICHAEL CANNEY (BRITISH 1923-1999), BREON O’CASEY (BRITISH 1928-2011), JOHN EMMANUEL (BRITISH 1930-2024) AND CONOR FALLON (IRISH 1939-2007) FOUR CHRISTMAS CARDS, 1988-2005 variously signed, dated, dedicated and inscribed, mixed media on paper 18cm x 18cm (7in x 7in), 11cm x 20cm (4 ¼in x 8in), 19.5cm x 14cm (7 ¾ x 5 ½in), 21cm x 26.5cm (8 ¼in x 10 ½in) (4) Provenance: The Estate of an important St Ives Artist.

£400-600

251 § TOM CROSS (BRITISH 1931-2009) STILL LIFE AND THREE CHRISTMAS CARDS, 1980s-1990 still Life: signed and dated 1980 in pencil (lower left), collage, gouache and watercolour on paper; Christmas cards variously inscribed and dated within, collage on paper Still Life: 15cm x 16cm (6in x 6 ¼in); Christmas cards: 14cm x 19cm (5 ½in x 7 ½in), 18cm x 12cm (7in x 4 ¾in), 21cm x 7.5cm (8 ¼in x 3in) (4) Provenance: The Estate of an important St Ives Artist.

£300-500

END OF COLLECTION

176

252 § LAURENCE BRODERICK (BRITISH 1935-2024) GIRL WITH LONG HAIR, 1991 signed, titled and dated, alabaster on slate base including base 30cm high, 25.5cm wide, 18cm deep (11 ¾in high, 10in wide, 7in deep) Provenance: Private Collection, U.K.

£700-1,000

253 § LAURENCE BRODERICK (BRITISH 1935-2024) FIGURE WITH LONG HAIR signed and numbered 1/9, verdigris bronze 24cm high, 26cm wide (9 ½in high, 10 ¼in wide) Provenance: The Estate of the Artist.

£600-800

177

254 § LAURENCE BRODERICK (BRITISH 1935-2024) LEAPFROG MAQUETTE signed and numbered 3/7, bronze 46cm high, 33cm wide (18in high, 13in wide) Provenance: The Estate of the Artist.

£400-600

255 § LAURENCE BRODERICK (BRITISH 1935-2024) BATHER signed and numbered 10/14, patinated bronze 9.5cm high, 25cm wide (3 ¾in high, 9 7/8in wide) Provenance: The Estate of the Artist.

£300-500

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

178

256 § LAURENCE BRODERICK (BRITISH 1935-2024) DANCER VII, 1999 signed, titled and dated, Cornish Soapstone 18cm high, 27cm wide (7in high, 10 5/8in wide) Provenance: The Estate of the Artist.

£700-1,000

257 § LAURENCE BRODERICK (BRITISH 1935-2024) TORTOISE, 1976 signed and dated, Cornish Soapstone 10cm high, 20cm wide (4in high, 7 7/8in wide) Provenance: The Estate of the Artist.

£700-1,000

258 § LAURENCE BRODERICK (BRITISH 1935-2024) TORTOISE VI, 2013 signed, titled, dated and inscribed, Portsoy marble 11cm high, 24cm wide (4 3/8in high, 9 ½in wide) Provenance: The Estate of the Artist.

£700-1,000

179

259 § LAURENCE BRODERICK (BRITISH 1935-2024) DIVING EDAL MAQUETTE signed LAURENCE BRODERICK, titled and numbered 7/100, patinated bronze 39cm high, 21cm wide (15 3/8in high, 8 ¼in wide) Provenance: Private Collection, U.K.

£1,500-2,000

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

Works from The Estate of the late

LADY CONNIE MIDDLETON sold to benefit The Royal College of Music

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

181

260 § LEON UNDERWOOD (BRITISH 1890-1975) BANANA LAUNCH, 1934 signed Leon U. (lower right), oil on canvas 39.5cm x 29.5cm (15 ½in x 11 5/8in) Provenance: Christie’s, London, 20th Century British Art, 13 December 1999, lot 25; The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music. Exhibited: Brighton, Kemp Town Gallery, Mexican Images 1928-1938, Catalogue of an Exhibition of Paintings and colour Prints by Leon Underwood, 6 Nov-11 Dec 1971, no.19. Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.112, illustrated (b&w).

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

182

261 § CRAIGIE AITCHISON C.B.E., R.S.A., R.A. (BRITISH 1926-2009) STILL LIFE WITH BIRDS AND BERRIES (PECK 23) etching and aquatint with carborundum printed in colours and hand-colouring, 2001, signed in ink, numbered 6/60, printed by 107 Workshop, Wiltshire, co-published by Timothy Taylor Gallery and Waddington Galleries, London, on wove paper, framed plate: 28.25cm x 33.75cm (11 1/8in x 13 1/4in) sheet: 39.75cm x 44cm (15 6/8in x 17 1/4in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£1,000-1,500

262 § IVON HITCHENS C.B.E. (BRITISH 1893-1979) DAFFODILS offset lithograph printed in colours, 1975, signed in pencil and numbered 27/375 in black ink (the first 100 impressions are signed), printed by The Cavendish Press Ltd., Leicester, with the publishers blindstamp, The Adam Cavendish Collection Ltd., Cheshire, on wove paper, framed image: 49.2cm x 59.2cm (19 ⅓in x 23 ⅓in) sheet: 58.5cm x 67cm (23in x 26 ⅓in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£400-600

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

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

263 § PATRICK HERON C.B.E. (BRITISH 1920-1999) JANUARY 1973: 1 screenprint in colours, 1973, signed in pencil, dated (lower right), numbered 29/72 (lower left), printed by Kelpra Studio, published by Waddington Graphics, London, on wove paper, framed image: 58.7cm x 81cm (23 1/8in x 31 7/8in) sheet: 69cm x 90.5cm (27 1/8in x 35 5/8in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£1,000-1,500

264 § PATRICK CAULFIELD C.B.E., R.A. (BRITISH 1936-2005) FRUIT AND BOWL (CRISTEA 60) screenprint in colours, 1979, signed in pencil, numbered 37/100 (lower right), total edition includes 15 artist’s proofs, with the publisher’s blindstamp, Waddington Graphics, London, on wove paper, framed sheet: 83.5cm x 59.5cm (33in x 23 1/2in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£2,000-3,000

183

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

184

265 § VALERY YURLOV (RUSSIAN 1932-) UNTITLED, 1987 signed, dated 19.8.87 and inscribed Moska (to reverse), pencil and gouache on card 37.7cm x 28.5cm (14 7/8in x 11 ¼in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£400-600

266 § BOB ALLEN (BRITISH 1955-) FAMILY resin bronze on hardstone base overall: 57.5cm high, 23cm wide (22 5/8in high, 9in wide) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£300-500

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

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

267 § LAURENCE STEPHEN LOWRY R.B.A., R.A. (BRITISH 1887-1976) CRIME LAKE offset lithograph printed in colours, 1971, signed in pencil (lower right), stamp-numbered 393 (lower left), from the edition of 500, printed by Max Jaffé, Vienna, published by the Adam Collection Ltd., London, with the Fine Art Trade Guild blindstamp, on wove paper, framed image: 45.7cm x 60.7cm (18in x 23 7/8in) sheet: 57.7cm x 70.8cm (22 3/4in x 27 7/8in) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£1,200-1,800

268 § PENKRIDGE CERAMICS DOUBLE CONKER hand painted pewter and ceramic 6cm high, 12cm wide, 10cm deep (2 3/8in high, 4 ¾in wide, 4in deep) Provenance: The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£300-500

269 § DAVID TINDLE R.A. (BRITISH 1932-) BOY IN A BEE HAT, 1978 initialled (lower right) and titled (to reverse), acrylic on board 19cm x 19cm (7 ½in x 7 ½in) Provenance: with The Piccadilly Gallery, London; The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£600-800

185

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

186

270 § EDWARD SEAGO R.B.A., A.R.W.S., R.W.S. (BRITISH 1910-1974) EVENING IN THE PLACE DE LA CONCORDE, PARIS signed (lower left), titled (to reverse), oil on board 44cm x 59cm (17 ¼in x 23 ¼in) Provenance: Phillips, London, Modern British and Irish Paintings, Drawings and Sculpture, 2 June 1992, lot 113; The estate of the late Lady Connie Middleton, sold to benefit the Royal College of Music.

£15,000-25,000

Edward Seago (1910–1974) was a leading figure in twentieth-century British landscape painting, working in both oil and watercolour to capture coastal and urban scenes, as well as landscapes encountered throughout his extensive travels. Largely self-taught, his distinctive style combined the immediacy of late Impressionism with a keen observational eye, resulting in compositions that remain firmly rooted in the reality of the places he saw. Particularly sensitive to subtle shifts in colour, light and weather, Seago could evoke an atmosphere with remarkably fluid and spontaneous brushwork.

Evening in the Place de la Concorde, Paris is a particularly lively expression of this fascination. Rather than concentrating on the monumental architecture of the square, Seago lowers the horizon and devotes much of the composition to an expansive evening sky. Broad, loosely worked passages of cream, grey and pale blue capture the luminous and transient quality of clouds as they drift. Against this soft modulation, the buildings which boarder the square are rendered in silhouette with remarkable simplicity, their increasingly indistinct forms creating an almost abstract sense of aerial perspective.

Paris became an important subject for Seago during the 1950s and 1960s. Between 1951 and 1967 he made eight major painting expeditions to France, frequently travelling aboard his yacht and floating studio, Capricorn. Sailing across the Channel and along the Seine, he would stop at Dieppe, Honfleur and Rouen before reaching Paris, seeking for what he recounted as ‘an endless search for explanations and discovery’. There, the Champs-Élysées, Tuileries Gardens and Place de la Concorde became recurring subjects, providing Seago with the compelling combination of grand architecture, bustling city life and ever-changing light that so fascinated him.

The characteristic bustle of the Place de la Concorde has not been overlooked. Cars and clusters of figures animate the lower edge of the panel; their forms conveyed through deft dabs of paint. Seago’s expressive brushwork lends the foreground an almost flickering quality, capturing the constant movement and vivacity of the city he so adored.

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

END OF COLLECTION

WORKS FROM THE ESTATE OF THE LATE LADY CONNIE MIDDLETON

187

188

271 § TERRY WHYBROW (BRITISH 1932-2020) PAINTING 238, 1993 & PAINTING 611, 1997 each signed, dated and titled (to reverse), oil on board 23cm x 25cm (9in x 9 7/8in) and 23cm x 25.3cm (9in x 10in) (2) Provenance: Private Collection, U.K.

£600-800

272 CHUCK CONNELLY (AMERICAN 1955-2025) STILL LIFE WITH FLOWERS, 1997 signed, dated and numbered 24 (to reverse), oil on canvas 71cm x 55.5cm (28in x 21 7/8in) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£800-1,200

189

273 § ELIZABETH BUTTERWORTH (BRITISH 1949-) STUDY OF MILITARY MACAW AND YELLOW-NAPED MACAW, c.1990-2 gouache, pencil, pen and ink on paper 29cm x 34.7cm (11 3/8in x 13 5/8in) Provenance: Acquired directly from the artist by the present owner, c.2005; Private Collection, U.K. Note: Elizabeth Butterworth is a renowned ornithological artist, celebrated for her vivid, finely detailed depictions of birds, especially parrots and macaws.

£2,500-3,500

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

190

274 § CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (BRITISH 1926-2009) LANDSCAPE, c.1975 oil on canvas-board 29.8cm x 19.4cm (11 ¾in x 7 ¾in) Provenance: with Rutland Gallery, London, 1975; Sotheby’s London, Modern British & Irish Paintings, 8 March 1995, lot 101; Private Collection, Wales.

£8,000-12,000

191

275 § GERALD BENNEY C.B.E. (BRITISH 1930-2008) TABLE FLATWARE SERVICE, 1969-74 84 pieces, ten 8-piece setting, together with four butter knives, with textured handles, stamped maker’s marks, hallmarked for London, predominantly 1973, silver and stainless steel, comprising 10 table knives with steel blades, 20 dessert / cheese knives with steel blades, 4 butter knives with steel blades, 10 table forks, 10 dessert forks, 10 soup spoons, 10 dessert spoons and 10 teaspoons table knives 22.5cm long (8 7/8in long), the weighable silver approximately 3700 grams, total weight including with steel bladed knives approximately 7100 grams (84) Provenance: Private Collection, acquired directly from Gerald Benney; Bonhams, Knightsbridge, London, 15 November 2016, lot 128; Private Collection, U.K.

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

192

276 § SARAH JONES (BRITISH 20TH CENTURY) MINIATURE FLORAL VASE, 1981 stamped maker’s mark, hallmarked for London 1981, silver, enamel and glass 10cm high, 7cm wide (4in high, 2 ¾in wide) Provenance: Private Collection, U.K.

£300-500

277 § STUART DEVLIN A.O. C.M.G. (AUSTRALIAN/BRITISH 1931-2018) PAIR OF CHAMPAGNE FLUTES, 1978 each hallmarked for London 1978, with feature mark of a Falcon and numbered 227 and 356, silver and silver-gilt, the conical bowl to a silver-gilt textured stem, each presented in a fitted box, one marked Falcon Award 1978 with accompanying certificate 22.5cm high (8 ¾in high), 6.5oz each (2) Provenance: Private Collection, U.K. Note: ‘Senior Falcon award’ relates to a scheme introduced by Hambro Life assurance company, who awarded items for quality and quantity of sales.

£500-800

278 § GERALD BENNEY C.B.E. (BRITISH 1930-2008) BOX, 1967 stamped SILVER AND 18K, GERALD BENNEY / LONDON, 31, hallmarked for London 1967, silver, 18ct gold and leather 12.5cm x 6.2cm x 2.7cm (4 7/8in x 2 3/8in x 1in); gross weight: 336 grams Provenance: Private Collection, U.K.

£1,200-1,800

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

279 § DAVID MELLOR C.B.E. F.C.S.D. R.D.I. (BRITISH 1930-2009) ‘EMBASSY’ TABLE FLATWARE SERVICE, 1963-68 50 pieces, eight 6-piece setting, together with serving spoons, stamped maker’s marks, hallmarked for Sheffield 1963-66, silver and stainless steel, comprising 8 table knives with steel blades, 8 dessert knives with steel blades, 8 table forks, 8 dessert forks, 8 soup spoons, 8 dessert spoons and two serving spoons the dinner knives 23.5cm long (9 ¼in long), the weighable silver approximately 2438 grams, total weight approximately 3320 grams (50) Provenance: Sold together with original Walker & Hall Limited, Sheffield, Receipt, 28 February 1972, from whom acquired by the present owner; Private Collection, U.K.

£3,000-5,000

Lot 298 [detail]

CONTEMPORARY JEWELLERY & CRAFT

195

280 § CATHY CHOTARD (FRENCH 1950-) TWO PAIRS OF EARRINGS each stamped maker’s mark and 750, gold length of drop earrings: 6cm (2 3/8in); oval earrings: 1.6cm long (5/8in long), gross weight: 8.15 grams Provenance: Private Collection, U.K.

£800-1,200

281 FRENCH NECKLACE AND TWO BRACELETS each stamped F, the smaller bracelet stamped with crab hallmark twice, and diamond maker’s mark, possibly CL, and the necklace with crab hallmark and partial diamond mark to collar, silver, white metal & acrylic collar necklace 17cm x 11.5cm (6 ¾in x 4 ½in); bracelets: 8.2cm x 7cm (3 ¼in x 2 ¾in) and 5.5cm x 6cm (2 1/8in x 2 3/8in) (3) Provenance: Private Collection, U.K.

£400-600

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

196

282 § BJÖRN WECKSTRÖM FOR LAPPONIA ‘JANUS’ PENDANT stamped 750 / MADE IN FINLAND, set with a square-cut rock crystal and Smokey quartz, to an integral textured link chain, silver Length of pendant: 6.4cm (2 ½in) Provenance: Private Collection, U.K.

£2,000-3,000

283 § AUGUSTIN JULIA-PLANA (SPANISH 1934-1979) RING set with three polished rough lapis lazuli panels and a central stylised cluster of graduated round brilliant-cut diamonds, textured band, stamped DESIGN JULIA PLANA 750, European control mark Ring size: N Provenance: Private Collection, U.K.

£1,000-1,500

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

WORKS FROM THE COLLECTION OF THE LATE NAOMI E.A. TARRANT (1942-2025)

Works from the Collection of The Late Naomi E.A. Tarrant (1942-2025) As Curator of European Costume and Textiles at National Museums of Scotland, 1974-2002, Naomi Tarrant was a renowned expert in the field of textiles. The author of five major books on the subject, she had a particular passion for Scottish samplers, and became an authority not just in their craftsmanship, but also their place in social and genealogical history. Born in Murree, British Punjab (now Pakistan) in 1942, she later studied History at Leicester University, graduating in 1964, after which she received her Museums Association Diploma in 1970. Tarrant worked as a curator in various museums throughout her career, including the London Museum at Kensington Palace, before taking her position at the National Museums of Scotland in the 1970s. Her keen eye for design and craftsmanship transcended the world of textiles, enabling her to curate a personal collection of modern jewellery and design. The collection comprises lots 284-300, 303, and 311.

284 COLLECTION OF JEWELLERY a silver and enamel ‘Brolin’ brooch by Sheila MacDonald, stamped maker’s mark, hallmarked London 1997; a ‘Concentration 2’ spun paper cord and thread brooch by Susan Cross, c.2001, unmarked; an anodised, dyed and textured aluminium and pearl ‘Pod’ brooch by Jane Adam, c.2006, unmarked; and an enamel, white metal and gold leaf brooch by Ann Little, c.2001, unmarked (4) Provenance: The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£400-600

197

WORKS FROM THE COLLECTION OF THE LATE NAOMI E.A. TARRANT (1942-2025)

198

285 COLLECTION OF JEWELLERY Including an abstract bronze mask brooch pin and an enamelled white metal mask brooch pin, each by Pierre Cavalan, circa 1999/2000; and a pierced yellow metal mask brooch, by David Hensel, c.1993, unmarked (3) Provenance: The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£300-500

286 COLLECTION OF THREE RINGS Including an amethyst cocktail ring, by Linda Lewin, hallmarked for Edinburgh 1979, 9ct gold; a silver and green tourmaline ring, by Emily Thatcher, hallmarked for Sheffield 2010; and a ‘Neptune’ pattern garnet silver ring, by Lucy Copleson, hallmarked for London 1989 (3) Provenance: The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£300-500

287 COLLECTION OF JEWELLERY Including a bi-colour silver brooch, by Sigrid Ebeling, stamped 925; a silver rainbow pattern brooch, stamped MED, hallmarked London 1992; an oxidised white metal brooch, by Fiona Macquire, c.1996, unmarked; a silver star brooch, by Susan Barr, hallmarked for Edinburgh, c.1983; a turquoise cabochon silver ring, signed ... Johnson, stamped sterling; and a single ‘Sunface’ pattern button by Malcolm Appleby MBE, unmarked (6) Provenance: The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£300-500

WORKS FROM THE COLLECTION OF THE LATE NAOMI E.A. TARRANT (1942-2025)

199

288

290

289

291

288 §

289 §

290 §

291 §

JACQUELINE MINA O.B.E. (BRITISH 1942- )

CATHERINE MARTIN (BRITISH 1949-)

GERLINDE HUTH (GERMAN CONTEMPORARY)

MARK NUELL (BRITISH CONTEMPORARY)

PAIR OF EARRINGS, 1993

PAIR OF EARRINGS, 2000 stamped maker’s mark, hallmarked for London 2000, 18ct gold, Kumihimo braided gold wire, in original wooden box

PAIR OF CAST SHELL EARRINGS

TOURMALINE RING, 1997

stamped maker’s mark, hallmarked for London 1993, 18ct gold and platinum fusion inlay each 1.7cm wide (5/8in wide), total weight: 3.5 grams

each 1cm wide (3/8in wide), total weight: 2.7 grams

Provenance: The Scottish Gallery, Edinburgh, 1993; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

Exhibited: The Scottish Gallery, Edinburgh, Jacqueline Mina - New Work in Platinum & Gold, 1993, no.38.

stamped maker’s mark, yellow metal, stamped 750 each 1cm wide (3/8in wide), total weight: 3.2 grams

stamped maker’s mark, hallmarked for Birmingham 1997, gold plated silver setting, silver band ring size: R, weight: 15.1 grams

Provenance: The Collection of The Late Naomi E. A. Tarrant (19422025).

£300-500

£500-700

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

WORKS FROM THE COLLECTION OF THE LATE NAOMI E.A. TARRANT (1942-2025)

200

292 § ANDREW LAMB (BRITISH 1978-) PAIR OF EARRINGS, 2000 stamped maker’s mark, hallmarked for Edinburgh 2000, 18ct gold bi-colour each 0.7cm x 1.1cm (¼in x 3/8in), total weight: 2 grams Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£400-600

293 § MALCOLM APPLEBY M.B.E. (BRITISH 1946-) PAIR OF ‘MALKIE MIX’ EARRINGS, 1993 signed M. A. Appleby and dated 21-12-1993, hallmarked for London 1993, 18ct gold and opal each 2.5cm wide (1in wide); weight: 7.8 grams Provenance: The Scottish Gallery, Edinburgh, c.1998; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£600-800

294 § ANDREW LAMB (BRITISH 1978-) RING, 2001 from the Changing Colour series, stamped maker’s mark, hallmarked for Edinburgh 2001, 18ct gold and bi-colour wire ring size: S-T, weight: 4.1 grams Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£400-600

295 § HAMISH BOWIE (BRITISH CONTEMPORARY) RING, 1987 stamped maker’s mark, hallmarked for Birmingham 1987, fineness mark indistinct, boulder opal and gold Ring size: P Provenance: The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£300-500

296 § DOROTHY HOGG M.B.E. (BRITISH 1945-2022) BANGLE, 2001 stamped maker’s mark, hallmarked for Edinburgh 2001, hammered silver and yellow metal internal width 7cm (2 ¾in), weight: 57.8 grams Provenance: Acquired directly from the artist, 2002; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£600-800

201

297 § CATHERINE MARTIN (BRITISH 1949-) NECKLACE Kumihimo braided white and yellow metal wire and hand braided tasselled silk rope, unmarked, in original wooden box 107cm long (42 1/8in long) Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£500-700

298 § GIOVANNI CORVAJA (ITALIAN 1971-) PAIR CLIP-ON EARRINGS, 1997 signed G. Corvaja and dated ‘97, Italian hallmarks for 18ct and 22ct gold, province mark for Padova, gold and niello wirework each 2.8cm wide (1 1/8in wide), total weight: 29.6 grams Provenance: The Scottish Gallery, Edinburgh, 1999; The Collection of The Late Naomi E. A. Tarrant (1942-2025). Exhibited: The Scottish Gallery, Edinburgh, Jacqueline Ryan & Giovanni Corvaja New Jewellery, 6 August - 1 September 1999, no.23.

£6,000-8,000

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

202

299

300

301 §

YASUKI HIRAMATSU (JAPANESE 1926-2012)

SUSAN WRAIGHT (BRITISH 1955-2026)

RING

SCULPTURE

CRANE, c.1991

stamped maker’s mark and Japanese character marks for Yasuki, stamped Japan, K20, yellow metal

stamped Japanese character marks, further stamped 10, bronze

monogrammed on an inset gold tablet, stained holly netsuke, with inlaid horn eye

ring size: R-S, weight: 7.6 grams

Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

4cm x 4cm (1 ½in x 1 ½in)

Provenance: The Scottish Gallery, Edinburgh, 2001; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

Exhibited: The Scottish Gallery, Edinburgh, Yasuki Hiramatsu, 20 November - 24 December 2001, no.45.

Exhibited: The Scottish Gallery, Edinburgh, Yasuki Hiramatsu, 20 November - 24 December 2001, no.64.

3.5cm high, 4.5cm wide, 3.5cm deep (1 3/8in high, 1 ¾in wide, 1 3/8in deep) Provenance: The Scottish Gallery, Edinburgh, where acquired by the present owner in 1992; Private Collection, U.K.

£500-700

£700-1,000

299

301

300

302

303

304

TAKAHIRO KONDO (JAPANESE 1958-)

DIMENSION BOX, 1999

signed (to base), porcelain, lid of quadripartite design, with metallic geometric design on black underglaze and blue underglaze with silver-mist (gintekisai) overglaze, in signed tomobako box

signed (to base), porcelain, with gold and silver mist 8cm high, 13cm wide, 8.3cm deep (3 1/8in high, 5 1/8in wide, 3 ¼in deep) Provenance: The Scottish Gallery, Edinburgh, where acquired by the present owner, 2000; Private Collection, U.K.

£1,000-1,500

‘SILVER MIST’ BOX, c.2000

3.5cm high, 5.6cm wide, 5.6cm deep (1 3/8in high, 2 ¼in wide, 2 ¼in deep) Provenance: The Scottish Gallery, Edinburgh, 2000, where acquired by the present owner; The Collection of The Late Naomi E. A. Tarrant (1942-2025).

£500-700

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

‘SILVER MIST’ BOX, 2000 porcelain 5cm high, 7.2cm diameter Provenance: The Scottish Gallery, Edinburgh, where acquired by the present owner; Private Collection, U.K.

£500-700

203

Since 1993, Kondó Takahiro has employed his original, now patented technique known as Silver Mist (gintekisai), in which a mixture of platinum, gold, silver, and glass crystallizes into fine granular droplets on the ceramic surface. The technique lends the porcelain a delicate shimmer and everchanging visual effects created by these surface droplets.

302

304

303

204

305 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) MOONSTONE PENDANT NECKLACE the cabochon moonstone collet-set in yellow metal to a silver wire pendant, suspending a pear-shaped drop to a belcher chain, unmarked Lengths: chain 40.5cm (16in); pendant 9cm (3 ½in) Provenance: Michael Beer, Wendy Ramshaw’s financial advisor, and by direct descent; Private Collection, U.K.

£800-1,200

306 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) BUTTERFLY PENDANT white metal wirework, centrally set with a polished amethyst rough, unmarked 7.5cm high, 8cm wide (3in high, 3 1/8in wide) Provenance: Michael Beer, Wendy Ramshaw’s financial advisor, and by direct descent; Private Collection, U.K.

£600-800

205

307 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) 5 STRAND NECKLACE, 1996 stamped maker’s marks, hallmarked for London 1996, comprising five separate necklaces, each composed of straight silver links Length of each necklace approximately: 31cm (12 ¼in) (5) Provenance: Private Collection, U.K.

£600-800

308 § WENDY RAMSHAW (BRTISH 1939-2018) RING, 1968 stamped maker’s mark, hallmarked for London 1968, silver and glass ring size: P / P ½ Provenance: Private Collection, U.K.

£500-700

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

206

309 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) SET OF EIGHT STACKING RINGS, 1974-5 eight silver bands, five set with flower adornment, five hallmarked for London 1974 and one for London 1975, two plain bands unmarked, on white acrylic stand Ring sizes: G ½ - H Provenance: Acquired directly from Wendy Ramshaw in 1976; Private Collection.

£800-1,200

310 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) SET OF FIVE STACKING RINGS, 1975 five silver bands, two unmarked plain bands, two unmarked with granulation and a central band with flower adornment hallmarked for London 1975, on clear Perspex stand Ring sizes: M - M ½ Provenance: Acquired directly from Wendy Ramshaw in 1976; Private Collection.

£600-800

311 § WENDY RAMSHAW C.B.E. R.D.I. (BRITISH, 1939-2018) SET OF THREE STACKING RINGS, 1987 from the Indian Series, comprising an 18ct yellow gold ring collet-set with a pear-shaped opal, hallmarked for London 1987; and two silver bands set with cream enamel, unhallmarked, on a Perspex display stand ring size: R Provenance: The Scottish Gallery, Edinburgh, 1989; The Collection of The Late Naomi E. A. Tarrant (1942-2025). Exhibited: The Scottish Gallery, Edinburgh, Wendy Ramshaw: Picasso Ladies, 1989, no.31.

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

207

“The magic of the object lies in the creative ability of the artist and craftsman to see the hidden potential and to tease it out.” PETER CHANG, 2007 Written to accompany his retrospective exhibition ‘Unnatural Selection’, 2007, at the Walker Art Gallery, National Museums Liverpool.

312 § PETER CHANG (BRITISH 1944-2017) RING, c.2009 acrylic and resin 4cm x 7cm x 3cm (1 ½in x 2 ¾in x 1 1/8in) Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the present owner, May 2009; Private Collection, London. Exhibited: Lyon & Turnbull, London, More is More: The Magical World of Peter Chang, a solo exhibition in collaboration with London Design Festival, 14 - 19 September 2027.

£2,000-3,000

208

313 § PAUL PRESTON (BRITISH 1943-) PAIR OF ‘SUN & MOON’ EARRINGS the sun drop stamped PP, yellow metal, hardstone, moonstone and sunstone length of drop: 5.3cm (2 1/8in) Provenance: Private Collection, U.K.

£800-1,200

314 § PAUL PRESTON (BRITISH 1943-) NECKLACE, 2008 stamped maker’s mark PP, dated NOV:2008 and impressed with maker’s Red Mole symbol, yellow and white metal drop: 22.5cm (8 7/8in); length of chain unclasped: 48cm (18 7/8in) Provenance: Private Collection, U.K.

£2,000-3,000

315 § BREON O’CASEY (BRITISH 1928-2011) PAIR OF BIRD EARRINGS, 1979 one stamped maker’s mark BOC and hallmarked for Birmingham, silver 2.7cm wide (1in wide) Provenance: Private Collection, U.K.

£400-600

316 § BREON O’CASEY (BRITISH 1928-2011) BANGLE stamped BOC, white metal internal width: 6.7cm (2 5/8in), weight: 125 grams Provenance: Private Collection, U.K.

£800-1,200

209

317 §

318 §

BREON O’CASEY (BRITISH 1928-2011)

FIGURE VII, c.1995

HEAD, c.1993

bronze, on marble base, unique

bronze, on wooden base, unique

13cm high, 11.5cm wide. 7.2cm deep (5 1/8in high, 4 ½in wide, 2 7/8in deep)

11.7cm high, 6cm wide, 4.9cm deep (4 5/8in high, 2 3/8in wide, 1 7/8in deep)

Provenance: The Estate of the Artist.

Exhibited: Pangolin, London, Breon O’Casey: A World Beyond, 2018.

£1,500-2,000

£2,000-3,000

319 §

320 §

BREON O’CASEY (BRITISH 1928-2011)

FEMALE FIGURE, c.1995

HEAD WITH EARRINGS, c.1995

bronze, unique

the base stamped BOC, copper, with yellow metal and beads, on oak base, unique

17.5cm high, 7.3cm wide, 3.8cm deep (6 7/8in high, 2 7/8in wide, 1 ½in deep) Provenance: The Estate of the Artist.

16.5cm high, 4.2cm wide, 4.2cm deep (6 ½in high, 1 5/8in wide, 1 5/8in deep)

£2,000-3,000

Provenance: The Estate of the Artist.

£1,200-1,800

317 319

320

318

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

210

321 § JIM PARTRIDGE (BRITISH 1953-) BOWL, c.1990-4 stamped J. B. PARTRIDGE (to base), scorched oak 7cm high, 12.4cm wide (2 ¾in high, 4 7/8in wide) Provenance: Private Collection, U.K.

£300-500

322 § LIAM FLYNN (BRITISH 1969-2017) VESSEL, 1991 signed, dated and inscribed (to base), gold infused oak 11.5cm high, 18cm wide (4 ½in high, 7in wide) Provenance: Liam Flynn Exhibition, Oxford, 2008; Private Collection, U.K.

£400-600

323 § JIM PARTRIDGE (BRITISH 1953-) THREE-LEGGED BOWL, c.1990-4 stamped J B PARTRIDGE (to base), scorched oak 6.3cm high, 35cm wide (2 ½in high, 13 ¾in wide) Provenance: Private Collection, U.K.

£400-700

324 § JIM PARTRIDGE (BRITISH 1953-) SIX LEGGED BOWL, c.1990-4 stamped J. B. PARTRIDGE (to base), scorched oak 11.5cm high, 34.8cm wide (4 ½in high, 13 ¾in wide) Provenance: Private Collection, U.K.

£600-800

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

325 § JIM PARTRIDGE (BRITISH 1953-) & LIZ WALMSLEY (BRITISH 1952-) SET OF 8 CHAIRS, DESIGNED 2006/7 oak 79.5cm high, 43cm wide, 40cm deep (31 3/8in high, 16 7/8in wide, 15 ¾in deep) (8) Provenance: Made for the Ruthin Crafts Centre Cafe, and purchased by the present owner from the Ruthin Crafts Centre Shop; Private Collection, U.K. Note: The present chairs were designed and prototyped by Jim Partridge and Liz Walmsley in 2006–07 and installed at Ruthin Craft Centre in 2008, ahead of its relaunch in January 2009. As artists in residence for the new building project, Partridge and Walmsley also made the gallery benches and courtyard furniture and designed the reception desk. The chairs were manufactured by C. S. Contract Furniture, a small company based in Whitchurch, Shropshire. We would like to thank Jim Partridge and Liz Walmsley for their kind assistance in cataloguing this work.

£2,500-3,500

326

327

ANTHONY BRYANT (BRITISH 1960-)

YEW VESSEL NO.3, 2024

YEW VESSEL NO.2, 2023

signed, dated and inscribed (to base), yew

37.5cm high, 35.5cm wide (14 ¾in high, 14in wide)

45.5cm high, 30cm wide (17 7/8in high, 11 ¾in wide)

£1,200-1,800

£1,500-2,000

213

328 DANIEL LOOMIS VALENZA (AMERICAN 1934-) FOR INDUSTRIES CAPRI SALT AND PEPPER MILLS, DESIGNED 1968 from the El Salvador series, stamped MADE IN U.S.A. and with partial paper label (to underside of the pepper mill), walnut 38.5cm high, 9.5cm wide (15 1/8in high, 3 ¾in wide) and 39cm high, 9.5cm wide (15 3/8in high, 3 ¾in wide) (2) Provenance: Private Collection, U.K.

£600-800

329 § JIM PARTRIDGE (BRITISH 1953-) BOWL stamped J.B. Partridge, scorched and polished burr oak 16cm high, 32.3cm diameter (6 ¼in high, 12 ¾in diameter) Provenance: Acquired by the present owner in St. Ives, Cornwall, c. 1986; Private Collection, U.K.

£400-600

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

215

Left Lot 379 [detail]

330 KODAI UJIIE (JAPANESE 1990-) UNOMI, c.2021 lacquer infused stoneware, with signed Tomobako box 8.5cm high, 10cm wide (3 3/8in high, 3 7/8in wide) Provenance: Private Collection, U.K.

£300-500

331 RYOJI KOJE (JAPANESE 1938-2020) TSUBO JAR, 1985 inscribed Hong Kong 1985 (to base), porcelain 19cm high, 20cm wide (7 ½in high, 7 7/8in wide) Provenance: Private Collection, U.K.

£500-700

332 YOSHIKAWA MASAMICHI (JAPANESE 1946-) LARGE SQUARE PLATTER, 2012 maker’s incised abstract signature (to reverse), porcelain, in signed Tomobako box 7cm high, 39cm wide, 37cm deep (2 ¾in high, 15 3/8in wide, 14 ½in deep) Provenance: Private Collection, U.K.

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

216

333 § AKIKO HIRAI (JAPANESE 1970-) SMALL MOON JAR painted artist’s mark, stoneware, with porcelain deposits 15.2cm high 12cm wide (6in high, 4 ¾in wide) Provenance: Private Collection, London.

£1,000-1,500

334 § AKIKO HIRAI (JAPANESE 1970-) SAKE BOTTLE AND CUP faint painted artist’s mark to the bottle, stoneware, with porcelain deposits bottle: 14.5cm high, 10cm wide (5 ¾in high, 4in wide); cup: 6.3cm high, 6cm wide (2 ½in high, 2 3/8in wide) (2) Provenance: Private Collection, London.

£600-800

335 § AKIKO HIRAI (JAPANESE 1970-) LARGE FOOTED CHARGER

336 §

faint artist’s mark, stoneware, with kintsugi

AKIKO HIRAI (JAPANESE 1970-)

7cm high, 42.5cm diameter (2 3/4in high, 16 3/4in diameter)

LARGE MOON JAR, 2017

Provenance: Private Collection, London.

painted artist’s mark and date, grogged stoneware, porcelain deposits over white and black slips under running green glazes, with embedded iron nails

£400-600

48cm high, 44cm diameter (18 7/8in high, 17 3/8in diameter) Provenance: Private Collection, London.

£5,000-7,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

217

Background image reproduced by kind permission of the photographer Jo Metson Scott

218

337 §

338 §

SIDDIG EL NIGOUMI (SUDANESE/BRITISH 1931-1996)

PRISCILLA MOURITZEN (SOUTH AFRICAN/DANISH 1945-)

GEDDAH BOWL, 1987

TRIO OF BOWLS

incised signature and dated 9.10.87, red burnished earthenware with scorpion and bird motifs

each incised maker’s mark, porcelain

5cm high, 15.7cm diameter (2in high, 6 1/8in diameter)

£300-500

5.2cm high, 9cm wide (2in high, 3 ½in wide); 5.8cm high, 8cm wide (2 3/8in high, 3 1/8in wide); 5.5cm high, 8.6cm wide (2 1/8in high, 3 3/8in wide) (3)

£400-600

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

219

339 § MARY ROGERS (BRITISH 1929-2021) SCULPTURAL BOWL impressed maker’s seal, stoneware 16.5cm high, 9.3cm wide (6 ½in high, 3 5/8in wide) Provenance: Acquired directly from the maker; Private Collection, U.K. Note: While holidaying in Greece, Mary Rogers became fascinated by the local boats and photographed them to capture the shapes she admired. On returning home, she created this piece, inspired by those forms.

£800-1,200

340 § JOANNA CONSTANTINIDIS (BRITISH 1927-2000) BOWL impressed maker’s mark, porcelain, celadon glaze with integral spiral decoration 11cm high, 10.7cm diameter (4 3/8in high, 4 ¼in diameter)

£400-600

220

341 § MO JUPP (BRITISH 1938-2018) HELMET incised maker’s mark, earthenware, with grey and white slip detailing, an aperture revealing a white earthenware panel 20cm high, 15cm wide (7 7/8in high, 5 7/8in wide)

£500-700

342 § JOHN MALTBY (BRITISH 1936-2020) ANCIENT KING & QUEEN impressed maker’s mark twice, signed and titled (to base), stoneware and wood 43cm high, 19cm wide, 9cm deep (16 7/8in high, 7 ½in wide, 3 ½in deep) Provenance: Private Collection, U.K.

£800-1,200

343 § JOHN MALTBY (BRITISH 1936-2020) TWO FIGURES WITH A SCULPTURE impressed maker’s mark, signed and titled (to base), stoneware 34.5cm high, 19cm wide, 7.5cm deep (13 5/8in high, 7 ½in wide, 3in deep)

£400-600

221

344 § NICHOLAS RENA (BRITISH 1963-) ABSTRACT JUG FORM 1 AND ABSTRACT JUG FORM 2, c.2000 earthenware, stained and polished 47cm high, 26.5cm wide, 15.5cm deep (18 ½in high, 10 ½in wide, 6 1/8in deep) and 45.5cm high, 36cm wide, 29cm deep (17 7/8in high, 14 1/8in wide, 11 3/8in deep) (2) Provenance: Private Collection, U.K.

£700-900

345 § BETTY BLANDINO (BRITISH 1927-2011) THREE VESSELS each impressed maker’s mark, coiled stoneware 29cm high, 23cm wide (11 3/8in high, 9in wide); 29cm high, 17cm wide (11 3/8in high, 6 ¾in wide) and 29cm high, 28cm wide (11 3/8in high, 11in wide) (3) Provenance: Private Collection, London.

£600-800

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

222

346 § ALAN CAIGER-SMITH (BRITISH 1930-2020) FOOTED BOWL painted monogram and date cypher, earthenware, with ruby and gold brushwork designs 8cm high, 27.5cm diameter (3 1/8in high, 10 ¾in diameter) Provenance: Private Collection, U.K.

£500-800

347 § ALAN CAIGER-SMITH (BRITISH 1930-2020) SET OF SIX GOBLETS, 1983 each with painted monogram and date cypher, earthenware, with lustrous brushwork designs, together an Aldermaston Pottery bottle vase, painted pottery mark, earthenware goblets: 13cm high, 9cm diameter (5 1/8in high, 3 ½in diameter); bottle vase: 26cm high, 10cm diameter (10 ¼in high, 3 7/8in diameter) (7)

348 § ALAN CAIGER-SMITH (BRITISH 1930-2020) BOWL, 1970 painted monogram and date cypher, earthenware, with ruby and gold brushwork designs 15.2cm high, 19.5cm diameter (6in high, 7 5/8in diameter)

Provenance: Private Collection, U.K.

£300-500

223

349 § PETER BEARD (BRITISH 1951-) VESSEL impressed maker’s seals, stoneware 32cm high (12 ½in high)

£600-800

350 § PETER BEARD (BRITISH 1951-) SHELL FORM, 2025 impressed maker’s marks, stoneware, on stone base 51.5cm high, 51cm wide, 16.3cm deep (20 ¼in high, 20in wide, 6 3/8in deep)

£1,500-2,000

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

224

351 § JOHN WARD (BRITISH 1938-2023) ROUNDED POT impressed maker’s mark, stoneware 10.5cm high, 11cm wide (4 1/8in high, 4 3/8in wide) Provenance: Private Collection, U.K.

£600-900

352 § JOHN WARD (BRITISH 1938-2023) POT WITH CUT RIM, 1990s impressed maker’s mark, stoneware 27cm high, 23cm wide (10 5/8in high, 9in wide) Provenance: Private Collection, London.

£2,500-3,500

353 § JOHN WARD (BRITISH 1938-2023) STEPPED RIM POT impressed maker’s mark, stoneware 21cm high, 18cm wide (8 ¼in high, 7in wide) Provenance: Private Collection, U.K.

£6,000-9,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

225

226

354 § ABDO NAGI (YEMENI/BRITISH 1941-2001) LARGE VASE impressed maker’s mark, stoneware 31cm high, 31cm diameter (12 ¼in high, 12 ¼in diameter) Provenance: Private Collection, London.

£800-1,200

355 § GABRIELE KOCH (GERMAN 1948-) ‘TOWER FORM’ incised signature, earthenware, burnished and smoke fired 53.5cm high, 21cm wide (21in high, 8 ¼in wide) Provenance: Private Collection, U.K.

£700-900

356 § DAVID ROBERTS (BRITISH 1947-) LARGE BOTTLE VASE impressed maker’s mark, burnished raku 40.5cm high, 31.5cm diameter (16in high, 12 3/8in diameter) Provenance: The Craft & Design Shop, City Art Gallery, Leeds, 1990; Private Collection, U.K.

£700-900

227

357 § RUPERT SPIRA (BRITISH 1960-) SET OF 6 TEACUPS AND SAUCERS, c.2006 each impressed with maker’s mark, stoneware, yellow glaze cups: 5.5cm high, 11cm wide (2 1/8in high, 4 ¼in wide); saucers: 3cm high, 16.5cm diameter (1 1/8in high, 6 ½in diameter) (6) Provenance: Private Collection, U.K.

£1,000-1,500

358 § RUPERT SPIRA (BRITISH 1960-) TEAPOT, c.2006 impressed maker’s mark, stoneware, yellow glaze, with metal handle 19.5cm high, 15.5cm wide (7 5/8in high, 6 1/8in wide) Provenance: Private Collection, U.K.

£600-800

359 § RUPERT SPIRA (BRITISH 1960-) COFFEE SERVICE each impressed with maker’s mark, comprising coffee pot, milk jug, sugar bowl and two cups, stoneware Coffee pot: 25cm high, 12cm wide (9 7/8in high, 4 ¾in wide) Provenance: Private Collection, U.K.

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

228

360 § JAMES CAMPBELL (BRITISH 1942-2019) LANDSCAPE CHARGER, 1998 signed and inscribed Campbell 98:55, (to reverse), earthenware 5.5cm high, 44cm wide, 41cm deep (2 1/8in high, 17 ¼in wide, 16 1/8in deep) Provenance: Acquired by the present owner directly from the artist; Private Collection, U.K.

£400-600

361 § SUTTON TAYLOR (BRITISH 1943-) FOOTED BOWL, c.2012 impressed maker’s seal, earthenware, with lustrous glazes 13cm high, 28.5cm diameter (5 1/8in high, 11 ¼in diameter) Provenance: Acquired directly from the artist by the present owner, 2013; Private Collection, U.K.

£500-700

362 § SUTTON TAYLOR (BRITISH 1943-) LARGE OPEN BOWL impressed maker’s and Lotherton Hall marks, earthenware, lustrous red, ochre and bronze glazes 10cm high, 42.5cm diameter (4in high, 16 ¾in diameter) Provenance: Private Collection, London.

£300-500

229

363 § PIPPIN DRYSDALE (AUSTRALIAN 1943-) TANAMI TRACES SERIES - THREE VESSELS, 2009 each signed PIPPIN DRYSDALE and incised TTS, porcelain 21cm high, 17.5cm diameter (8 ¼in high, 6 7/8in diameter); 15cm high, 15.5cm diameter (5 7/8in high, 6 1/8in diameter) and 11.5cm high, 13cm diameter (4 ½in high, 5 1/8in diameter) (3) Provenance: Private Collection, London.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 4

230

364 HYLTON NEL (SOUTH AFRICAN 1941-) TWO PLATES, 1993 each initialled and dated 21.4.93 and 22.4.93, earthenware, decorated with nude figure 4cm high, 19.5cm wide (1 ½in high, 7 5/8in wide) (2) Provenance: Private Collection, London.

£600-800

365 HYLTON NEL (SOUTH AFRICAN 1941-) BOWL, 1994 initialled and dated 16.3.94, earthenware, decorated with Adam and Eve and the Serpent 5cm high, 25cm wide (2in high, 9 ¾in wide) Provenance: Private Collection, London.

£500-700

366 HYLTON NEL (SOUTH AFRICAN 1941-) PAIR OF BOWLS, 1994 each initialled and dated 13.4.94, earthenware, decorated with flowers and faces each 4.5cm high, 25.5cm wide (1 ¾in high, 10in wide) (2) Provenance: Private Collection, London.

£400-600

231

367 HYLTON NEL (SOUTH AFRICAN 1941-) BOWL, 1994 initialled and dated 16.2.94 (to reverse), earthenware, decorated with house in landscape 4.5cm high, 25.5cm wide (1 ¾in high, 10in wide) Provenance: Private Collection, London.

£400-600

368 HYLTON NEL (SOUTH AFRICAN 1941-) BOWL, 1994 initialled and dated 17.3.94 (to reverse), earthenware, decorated with portrait of lady with South African flag 4cm high, 26cm wide (1 ½in high, 10 ¼in wide) Provenance: Private Collection, London.

£400-600

369 HYLTON NEL (SOUTH AFRICAN 1941-) BOWL initialled, earthenware, decorated with the depiction of a face 4cm high, 25.3cm wide (1 ½in high, 10in wide) Provenance: Private Collection, London.

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

232

370 TAKURO KUWATA (JAPANESE 1981-) GUINOMI unique, porcelain, red slipped platinum kairagi shino glaze 6.5cm high, 5.3cm diameter (2 ½in high, 2 1/8in diameter) Provenance: Private Collection, London.

£600-800

371 TAKURO KUWATA (JAPANESE 1981-) LARGE CUP porcelain, blue, with platinum glaze, in a tomobako box 10cm high, 11cm diameter Provenance: with Salon 94, New York; Private Collection, London.

£600-800

372 § GRAINNE WATTS (IRISH 1960-) ‘VORTEX’ VESSEL painted maker’s monogram (to base), stoneware, in midnight blue and red 18cm high, 20cm wide (7in high, 7 7/8in wide) Provenance: Private Collection, U.K.

£1,200-1,800

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

372 [detail]

234

373 § ALEN MACWEENEY (IRISH 1939-) CECIL WOOLF’S HOUSE, FIRESCREEN BY DUNCAN GRANT & THE SPARE BEDROOM, WINDOW SURROUND BY VANESSA BELL, TERRACOTTA BUST BY QUENTIN BELL, 1989 chromogenic prints 44.5cm x 45.3cm (17 ½in x 17 ¾in), 55.5cm x 40.5cm (21 7/8in x 16in) (2) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£600-800

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

235

374 § DOROTHY BOHM (BRITISH 1924-2023) GLASS BIRD, 1980 Polaroid, unique 11cm x 9cm (4 ¼in x 3 ½in) Provenance: The Artist; Focus Gallery, London, where acquired by present owner, July 2004.

£300-500

375 § DOROTHY BOHM (BRITISH 1924-2023) STILL LIFE - TULIPS signed in pencil to the mount (lower right), dedicated in pen to the mount (lower left), C-type photograph, unique 16cm x 11.5cm (6 ¼in x 4 ½in) Provenance: A gift of the Artist to the present owner.

£400-600

376 § FAY GODWIN (BRITISH 1931-2005) PATH & RESERVOIR ABOVE, 1997 silver gelatin print 27.5cm x 27.5cm (10 ¾in x 10 ¾in) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£300-500

236

377 §

378 §

JOHN STEWART (BRITISH 1919-2017)

DIDIER MASSARD (FRENCH 1953-)

SINGLE LOTUS, DOUBLE LOTUS B, 1997 AND BLACKBERRIES (POT WITH HANDLE), 1991

SPHINX, 1995-98

each signed, titled, dated and numbered 16/25, 13/25 and unnumbered in pencil (in the margin) respectively, Fresson prints

Cibachrome print

60.5cm x 50cm (23 ¾in x 19 5/8in), 60.5cm x 50cm (23 ¾in x 19 5/8in) and 59cm x 49.5cm (23 ¼in x 19 ½in) (3) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£1,000-1,500

£600-800

93cm x 117.5cm (36 5/8in x 46 ¼in)

237

379 TOM BARIL (AMERICAN 1952-) PASSION VINE, CALLA LILY, EUSTOMA, GLADIOLA, DAHLIA AND TWO CALLAS, 1998 each signed, titled, dated and numbered 17/50 in pencil in the margin, from Ten Flowers in Photogravure, photogravure prints 50cm x 38.7cm (19 5/8in x 15 ¼in), sheet: 76.5cm x 63.5cm (30 1/8in x 25in) (6) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£1,200-1,800

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

238

380 NICHOLAS KAHN (AMERICAN 1964-) & RICHARD SELESNICK (AMERICAN 1964-) BALOG DANCING FROM ‘THE CIRCULAR RIVER: THE SIBERIAN EXPEDITION 1944/46’, 1998 mixed media on paper 18.3cm x 182cm (7 ¼in x 71 5/8in) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£500-700

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

239

381 NICHOLAS KAHN (AMERICAN 1964-) & RICHARD SELESNICK (AMERICAN 1964-) WE RECROSS THE CIRCULAR RIVER AND ENTER THE LAND OF THE BURYATS (FROM THE SIBERIAN EXPEDITIONS, 1944-46), 1998 mixed media on paper 18.7cm x 180.5cm (7 3/8in x 71in) Provenance: The Collection of Davis Polk & Wardwell, London and New York.

£500-700

240

382 MARIO BELLINI (ITALIAN 1935-) FOR C&B ITALIA CAMALEONDA SOFA, DESIGNED 1970 manufacturer’s label, in two sections, with ochre upholstery 68cm high, 184cm wide, 91cm deep (26 ¾in high, 72 3/8in wide, 35 ¾in deep) (2)

£2,500-3,500

383 RITO VALLA (ITALIAN 1911-1991) FOR IPE ‘PANCHETTO’ DAYBED SOFA lacquered metal and upholstery flat: 36cm high, 190cm wide, 88cm deep (14 1/8in high, 74 ¾in wide, 34 5/8in deep)

£800-1,200

384 WILLY DARO (BELGIAN 1915-1990) ‘BONSAI TREE’ COFFEE TABLE, 1970S patinated bronze, glass 42cm high, 130cm wide, 60cm deep (16 ½in high, 51 1/8in wide, 23 5/8in deep) Provenance: Private Collection, U.K.

£1,000-1,500

241

385 ANGELO MANGIAROTTI (ITALIAN 1921-2012) CENTRE TABLE, WITH FOUR BOWLS carrara marble table: 72cm high, 77cm diameter (28 3/8in high, 30 3/8in diameter)

£2,000-3,000

386 LELLA & MASSIMO VIGNELLI (ITALIAN 1934-2016 & 1931-2014) ‘METAFORA’ COFFEE TABLE, DESIGNED 1979 travertine marble and glass 22.2cm high, 120cm long, 69.2cm deep (8 ¾in high, 47 ¼in wide, 27 ¼in deep) Provenance: Private Collection, U.K.

£700-1,000

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

242

387 LUIGI MASSONI (ITALIAN 1930-2013) FOR GUZZINI, ITALY ‘BRUMBURY’ TABLE LAMP, DESIGNED 1969 acrylic, chrome-plated steel, enamelled steel 43.1cm high, 46cm diameter (17in high, 18in diameter)

£600-800

388 GIANFRANCO FINI (ITALIAN 1936-) & FABRIZIO COCCHIA (ITALIAN 1931-) FOR NEW LAMP ‘CESCA’ TABLE LAMP, DESIGNED 1971 chrome metal and acrylic 58cm high, 49.5cm wide, 39cm deep (22 7/8in high, 19 ½in wide, 15 3/8in deep) Provenance: Private Collection, London.

£800-1,200

389 PIERO FORNASETTI (ITALIAN 1913-1988) UMBRELLA STAND, 1950s marked FORNASETTI MILANO / MADE IN ITALY (to base), lithographic print on metal and brass 57.5cm high, 26.3cm diameter (22 5/8in high, 10 3/8in diameter) Provenance: Private Collection, U.K.

£800-1,200

243

390 BANCI, FIRENZE PAIR OF TABLE LAMPS steel 75cm high (29 ½in) (including shade), 53cm high (20 7/8in) (excluding shade) (2)

£1,000-1,500

391 UELI BERGER (SWISS 1937-2008), ELEONORA PEDUZZI-RIVA (ITALIAN 1939-) AND HEINZ ULRICH (SWISS 1942-) FOR DE SEDE ‘DS-600’ ORGANIC SOFA, DESIGNED 1972 in 11 sections, tan leather 73cm high, 280cm wide, 95cm deep (28 ¾in high, 110 ¼in wide, 37 3/8in deep)

£6,000-8,000

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

244

392 § GAETANO PESCE (ITALIAN 1939-2024) FOR MERITALIA ‘SOME OF US’ LAMP, DESIGNED 2000 resin and steel 81cm high, 49.5cm wide (31 7/8in high, 19 ½in wide) Provenance: Gerald Moran Interiors, London; Private Collection, London. Note: Sold together with Certificate of Authenticity from Meritalia, numbered 021 20 AA.

£2,000-3,000

393 § GAETANO PESCE (ITALIAN 1939-2024) FOR ZERODISEGNO ‘NOBODY’S PERFECT’ CHAIR, DESIGNED 2002 dated 15.02.07, and with manufacturer’s moulded mark and signature, polyurethane resin 95cm high, 42cm wide, 42cm deep (37 3/8in high, 16 ½in wide, 16 ½in deep) Provenance: Gerald Moran Interiors, London, 2007; Private Collection, London. Note: Sold together with Certificate of Authenticity from Zerodisegno with identity number NP N/C 518.

£1,500-2,500

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

245

394 § GAETANO PESCE (ITALIAN 1939-2024) FOR BERNINI PAIR OF ‘543 BROADWAY’ CHAIRS, DESIGNED 1993 with moulded manufacturer’s marks, resin, steel and rubber 74cm high, 52cm wide, 38cm deep (29 1/8in high, 20 ½in wide, 15in deep) (2) Provenance: Private Collection, London.

£4,000-6,000

246

395

396

JONATHAN DE PAS (ITALIAN 1932-1991), DONATO D’URBINO (ITALIAN 1935-) & PAOLO LOMAZZI (ITALIAN 1936-) FOR ZANOTTA

OLIVIER MOURGUE (FRENCH 1939-) FOR AIRBORNE

THREE BLOW CHAIRS, DESIGNED 1967

‘DJINN’ SOFA, DESIGNED 1965

yellow, red and clear colourways, inflatable PVC plastic, in original packaging

Four-way stretch fabric over steel frame

each 76cm high, 104cm wide, 96 ½cm deep (30in high, 41in wide, 38in deep) (3)

68cm high, 120cm wide, 70cm deep (26 ¾in high, 47 ¼in wide, 27 ½in deep)

£1,000-1,500

£1,200-1,800

247

397 MISSONI RUG, 1990 signed and dated in the weave (lower right), wool 237cm x 155cm (93 3/8in x 61in)

£800-1,200

398 § ETTORE SOTTSASS (ITALIAN 1917-2007) FOR POST DESIGN ‘PRATI’ CABINET, DESIGNED 2000 from the Collection Mobili Lunghi, with applied POST DESIGN / MADE IN ITALY with facsimile Sottsass signature, plaque, laminated pear wood casing with printed and mirrored glass interior and an enamelled steel table to one side 208cm high, 108cm wide, 48cm deep (81 7/8in high, 42 ½in wide, 18 7/8in deep)

£1,500-2,000

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

248

399 SABINE MARCELIS (DUTCH/NEW ZEALANDER 1985-) FOR ETAGE PROJECTS ‘MEDIUM BLOCK’ LIGHT, 2015 from the VOIE light series, edition number 2/5, glass neon light tube, high-polished polyester resin, transformer and electrical cables 47cm high, 50cm wide, 7cm deep (18 ½in high, 19 5/8in wide, 2 ¾in deep) Provenance: Private Collection, U.K. Note: Sold together with Certificate of Authenticity from Etage Projects.

£1,500-2,500

400 OLAF VON BOHR (AUSTRIAN 1927-2012) FOR VALENTI LUCE ‘MEDUSA’ TABLE LAMP, DESIGNED 1968 manufactured by Ecolight, with manufacturer’s label, aluminium and lacquered metal 67cm high, 35cm wide (26 3/8in high, 13 ¾in wide)

£1,000-1,500

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

249

401 ROBERTO MATTA (CHILEAN 1911-2002) FOR KNOLL MALITTE SOFA / SEATING SYSTEM, DESIGNED 1966 polyurethane foam and fabric 160cm high, 157cm wide, 63cm deep (63in high, 61 ¾in wide, 24 ¾in deep) in one configuration

£4,000-6,000

250

402 § TOM DIXON C.B.E. (BRITISH 1959-) FIRE SURROUND AND BURNER, 1995-2000 unique, patinated salvaged metal, inset glass top 86.5cm high, 119cm wide, 30cm deep (34in high, 46 7/8in wide, 11 ¾in deep); burner base: 42cm high, 50cm wide, 24cm deep (16 ½in high, 19 5/8in wide, 9 ½in deep) Provenance: Commissioned directly from Tom Dixon by the present owner, circa 1995. Note: Sold together with a photograph of the work signed by Tom Dixon.

£1,200-1,800

403 § TOM DIXON C.B.E. (BRITISH 1959-) FOR CAPPELLINI ‘BIRD’ CHAISE LONGUE ROCKER, DESIGNED 1991 applied manufacturer’s label CAPPELLINI INTERNATIONAL INTERIORS, moulded maker’s mark CAPPELLINI INTERNATIONAL INTERIORS, wood, foam and upholstery, with plastic rocker 105cm high, 50cm wide, 175cm long (41 3/8in high, 19 ¾in wide, 68 7/8in long) Provenance: Private Collection, U.K. Note: This is one of the original issue from Cappellini from 1992.

£800-1,200

404 § TOM DIXON C.B.E. (BRITISH 1959-) COFFEE TABLE, 1995-2003 unique, patinated salvaged metal with inset glass top 42.5cm high, 150cm wide, 90cm deep (16 ¾in high, 59in wide, 35 ½in deep) Provenance: Commissioned directly from Tom Dixon by the present owner, circa 1995. Note: Sold together with a photograph of the work signed by Tom Dixon.

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

251

Lots 394 & 417

252

405 § DAVID CRONE (IRISH 1937-2026) PLANTS, 2006 signed and dated in pen (lower left), oil on paper 81cm x 109.5cm (32in x 43in) Provenance: Sotheby’s, London, Post War and Contemporary Irish Art, 24 October 2006, lot 71, where acquired by the present owner.

£800-1,200

406 § PETER RANDALL-PAGE R.A. (BRITISH 1954-) MAQUETTE FOR SEED (EDEN PROJECT), 2007 stamped with Artist’s monogram, Pangolin Editions foundry mark and numbered 8/12, bronze 24cm x 17cm x 17cm (9 ½in x 6 5/8in x 6 5/8in) Provenance: Private Collection, U.K.

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

253

254

407 § SIR ANTONY GORMLEY O.B.E., R.A. (BRITISH 1950-) ALISON BROMHEAD’S KITCHEN SINK inscribed and dedicated (to reverse), pen and ink on three joined postcards

408 §

8.5cm x 41.5cm (3 ¼in x 16 ¼in) overall

ANISH KAPOOR C.B.E., R.A. (BRITISH 1954-)

Provenance: Gift of the Artist to John Nankivell; His sale, Dominic Winter Auctions, Cirencester, 29 June 2016, lot 537, where acquired by the present owner.

LES OBJETS D’ARTISTES: A VASE, 1993

Note: Accompanied by a hand written explanation of the provenance from John Nankivell.

£1,500-2,500

incised ©ANISH KAPOOR 1993 BELGIUM on the underside of the terracotta base, from the edition of unlimited size, published by Slegten & Toegemann, Brussels, frosted glass and terracotta, with booklet and box 11.5cm high, 22.5cm wide, 19.5cm deep (4 ½in high, 8 7/8in wide, 7 5/8in deep) Provenance: with The Lisson Gallery, London, from where acquired by the present owner on occasion of the Anish Kapoor solo exhibition in April 1993; Private Collection, London.

£1,500-2,500

255

409 § SIR ANTHONY CARO O.M., C.B.E. (BRITISH 1924-2013) FOLD CENTRE, 1984 lacquered steel 64.5cm x 157.5cm x 89cm (25 ½in x 62in x 35in) Provenance: Donated by the Artist to the R.A. Now fundraising auction in support of the Royal Academy, 9 October 2012, lot 26, where acquired by the present owner. Literature: Blume, Dieter (ed.), Anthony Caro: Catalogue Raisonné Vol. VI, Cologne, 1985, p.107, no.1775 (illustrated).

£25,000-35,000

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

256

410 § LOUISE BOURGEOIS (FRENCH/AMERICAN 1911-2010) I HAVE BEEN TO HELL AND BACK (PINK EDITION), 2007 embroidery on 100% cotton handkerchief, numbered 523/1000, published by Third Drawer Down/ Tate, unframed 30.3cm x 29cm (12in x 11 ⅔in) Provenance: Tate, London, from whom acquired by the present owner, 2007.

£1,500-2,500

411 § SARAH LUCAS (BRITISH 1962-) BEER CAN PENIS, 1999 signed and dated (to base), crushed aluminium cans 18cm x 16cm x 7cm (7in x 6 ¼in x 2 ¾in) Provenance: Gift of the Artist to South London Gallery All or Nothing Fundraising Auction, 14 May 2001, where acquired by the present owners.

£2,500-3,500

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

412 § MARC QUINN (BRITISH 1964-) FOR PANGOLIN EDITIONS CHELSEA AS AN OBJECT OF VIRTUE, 2010 signed, dated and numbered 1/1 plus 1AP (to base), also stamped with artist’s name, title, date (to base), stamped Pangolin Editions foundry mark, hallmarked for Birmingham 2010, silver 63cm high, 19cm wide, 18.3cm deep (24 ¾in high, 7 ½in wide, 7 ¼in deep), approximately 13.8kg Provenance: Acquired directly from the artist by the present owner, 2010; Private Collection, U.K.

£20,000-30,000

258

413 § COLIN SELF (BRITISH 1941-) CIRCUS HORSEWOMAN BALANCING BALLS (FROM ‘THE CIRCUS DRAWINGS’), 2000 signed and dated 24/25.12.00 (lower left), graphite on card packaging 34cm x 53cm (13 ½in x 20 ¾in) Provenance: The Artist; Richard Saltoun Gallery, London; Rosebery’s, London, Modern & Contemporary British Art, 4 November 2020, lot 50, where acquired by the present owner.

£300-500

414 § MAGGI HAMBLING C.B.E. (BRITISH 1945-) THE HAPPY DEAD, 1990 signed and dated in pencil (lower right), inscribed For Amanda (lower left), ink, gouache and watercolour on wove paper 40cm x 30cm (15 ¾in x 11 ¾in) Provenance: David Lay Auctions, Penzance, Fine Art Sale, 29 October 2015, lot 364, where acquired by the present owner.

£600-800

259

415 JOSÉ PARLÁ (AMERICAN 1973-) RED THE DEAD, 2008 signed, titled and dated (to reverse), oil on canvas 61cm x 91cm (24in x 35 ¾in) Provenance: with Elms Lester, London; Collection of Professor John Chambers.

£2,000-3,000

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

260

416 § TERRY ATKINSON (BRITISH 1939-) GREASER - SLAT 1, 1990 mixed media on hardboard 101.6cm x 89cm (40in x 35in) Provenance: with Gimpel Fils, London. Exhibited: Vestsjaellands Kunstmuseum, Soro, Denmark, Terry Atkinson Mute 3, 24 January - 1 March 1992; The Irish Museum of Modern Art, Royal Hospital, Dublin, May - August 1992; Cornerhouse, Manchester, 24 October - 29 November 1992.

£1,000-1,500

417 ‡ DAN COLEN (AMERICAN 1979-) THREE-PEAT (DC 7791), 2008 signed on label (to reverse), chewing gum and gum wrappers on canvas in Artist’s frame 76.2cm x 61cm (30in x 24in) Provenance: Peres Projects, Los Angeles, from whom acquired by the present owner; The Collection of Mario Testino.

£3,000-5,000

261

418 § ADAM FUSS (BRITISH 1961-) UNTITLED (BALLOON), 1989 Cibachrome photogram, unique sheet: 61cm x 51cm (24in x 20in) Provenance: The Collection of Mario Testino.

£1,500-2,500

419 § PHILLIP ALLEN (BRITISH 1967-) SMALL MOMENTS OF LITTLE JOY (GALLERY VERSION), 2001 signed, titled and dated (to reverse), oil on board, unframed 152.5cm x 122cm (60in x 48in) Provenance: The Approach, London, from whom acquired by the present owner, March 2002; The Collection of Mario Testino. Exhibited: The Approach, London, Phillip Allen, March - April 2002.

£1,200-1,800

262

420

421 §

LESLIE LERNER (AMERICAN 1949-2005)

JIM LAMBIE (BRITISH 1964-)

MY LIFE IN FRANCE: THE MAN WITH THE WOODEN ARM, THE INDIAN STORIES: A WHIRLPOOL SENT SPINNING BY CRYSTAL RUMORS OF TREASURE, 1998

JUMPIN’ JACK, 2014

inscribed, dated and titled (to reverse), acrylic and varnish on corrugated ragboard with MSA Hard Varnish 106.5cm x 106.5cm (42in x 42in) Provenance: with Littlejohn Contemporary, New York; The Collection of Davis Polk & Wardwell, London and New York.

£1,000-1,500

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

signed, titled and dated in black marker (to reverse), printed paper and painted flowers on canvas 166.5cm x 62cm (65 ¼in x 24 ½in) Provenance: Anton Kern Gallery, New York; with Schiff Fine Art, New York.

£5,000-7,000

263

422 §

423

TERRY O’NEILL C.B.E. (BRITISH 1938-2019)

TONY BRIGGS (BRITISH, CONTEMPORARY)

BARDOT TRIPTYCH, 1971/2000s

KATE MOSS (HAUTE COIFFURE - FOR THE FACE MAGAZINE), 1990/2026

signed in pen (lower right), C-type print sheet: 48cm x 72cm (19in x 28 ¼in) Provenance: Private Collection, London, acquired c.2018. Note: The source image for this work was taken on the set of ‘Les Petroleuses’, directed by Christian-Jaque, in Spain, 1971.

£2,000-3,000

signed and inscribed (to reverse), Artist’s Proof, aside from the edition of 50, archival digital print from the original negative, printed in 2026 sheet: 76.1cm x 101.5cm (30in x 40in), image: 62cm x 59cm (24 ¼in x 23 ¼in), unframed Provenance: The Artist.

£1,500-2,500

423 [detail]

AUCTION 19 NOVEMBER 2026 LIVE ONLINE

HIGHLIGHTS PREVIEWS BY APPOINTMENT: EDINBURGH 04 NOVEMBER | GLASGOW 05 NOVEMBER LONDON VIEWING 15-18 NOVEMBER 2026

1967 CARTIER LONDON BAIGNOIRE ON BRACELET £10,000-20,000 + fees

For more information or to discuss consigning works please contact Charles Tearle | charles.tearle@lyonandturnbull.com

LONDON 020 7930 9115 | EDINBURGH 0131 557 8844 | GLASGOW 0141 333 1992 | www.lyonandturnbull.com

SCOTTISH PAINTINGS & SCULPTURE

SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935)

AUCTION 03 DECEMBER 2026 LIVE IN EDINBURGH & ONLINE

STILL LIFE OF ROSES AND FRUIT

A Century of Selling the Scottish Colourists Part II

£250,000-350,000 + fees

For more information or to discuss consigning works please contact Nick Curnow | nick.curnow@lyonandturnbull.com

EDINBURGH 0131 557 8844 | LONDON 020 7930 9115 | GLASGOW 0141 333 1992 | www.lyonandturnbull.com

268

CONDITIONS OF SALE 26.2 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 A1. 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.

A2. 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.

A3. 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.

A4. 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 B1. 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.

B2. 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.

269

B3. F AILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or antiterrorism 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.

B4. B IDDING 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.

B5. 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.

B6. 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 C1. 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.

C2. 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.

C3. 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.

C4. 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.

C5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

C6. 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.

C7. 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.

C8. 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 D1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 28% of the Hammer Price of each Lot up to and including £25,000, 27% of the Hammer Price from £25,001 up to and including £500,000, 26% 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.

D2. 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.

D3. 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. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, 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. More information on Droit de Suite is available at www. dacs.org.uk.

E. WARRANTIES E1. 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.

E2. 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.

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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.

E3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT F1. 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 payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

F2. IN THE EVENT OF NON-PAYMENT If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) To proceed against You for damages for breach of contract; (b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot (s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details. (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 H1. 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.

H2. 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.

H3. 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.

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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 J1. 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.

J2. 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.

J3. 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.

J4. 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.

J5. 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.

J6. REPORTING ON 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.

J7. 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.

J8. 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.

J9. 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.

J10. 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.

J11. 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.

K1. 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

K2. 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.

26.2

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GUIDE TO BIDDING & PAYMENT

REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

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

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities 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:

BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. IN WRITING Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

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 Stripe). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS Please refer to page 4 of this catalogue.

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.

Right Lot 154 [detail]

Aalto, Alvar 41, 93, 94, 95, 113 Adam, Jane 284 Adams, Robert 151, 169, 170 Adnet, Jacques 29 Ahlgren, Bitte 117 Aitchison, Craigie 261, 274 Allen, Bob 266 Allen, Phillip 419 Allinson, Adrian 4 Anton, Victor 155, 156 Appleby, Malcolm 293, 287 Armstrong-Jones, Anthony 53 Atkinson, Terry 416 Ayrton, Michael 186 Banci, Firenze 390 Baril, Tom 379 Barns-Graham, Wilhelmina 182, 248 Barr, Susan 287 Beard, Peter 349, 350 Bellini, Mario 382 Benney, Gerald 275, 278 Berger, Ueli & Peduzzi-Riva, Eleonora & Ulrich, Heinz 391 Berlin, Sven 242 Bianconi, Fulvio 127, 129, 130, 131, 132 Blandino, Betty 345 Bloc, André 54 Blow, Sandra 175 Bohm, Dorothy 374, 375 Bony, Paul 31 Bourgeois, Louise 410 Bowie, Hamish 295 Bradley, Martin 187 Brattrud, Hans 125 Breuer, Marcel 33, 46 Briggs, Tony 423 Broderick, Laurence 252, 253, 254, 255, 256, 257, 258, 259 Bryant, Anthony 326, 327 Butterworth, Elizabeth 273 Caiger-Smith, Alan 346, 347, 348 Campbell, James 360 Canney, Michael 158, 250 Caro, Anthony 409 Caulfield, Patrick 264 Cavalan, Pierre 285 Chadwick, Lynn 179 Chang, Peter 312 Chiu, Teng-Hiok 7 Chotard, Cathy 280 Churba, Alberto 56 Clarke, Geoffrey 163, 164 Clough, Prunella 67, 171 Cohen, Bernard 162 Colen, Dan 417 Collingwood, Peter 74, 77 Connelly, Chuck 272 Constantinidis, Joanna 340 Cooper, Emmanuel 91 Cooper, Waistel 236, 237, 238 Coper, Hans 73 Copleson, Lucy 286 Copnall, John 160 Corvaja, Giovanni 298 Craxton, John 228 Crone, David 405 Cross, Susan 284 Cross, Tom 251, 281 Dannatt, George 168 Daro, Willy 384

Davie, Alan 184, 185 De Pas, Jonathan & D’Urbino, Donato & Lomazzi, Paolo 395 Delvaux, Paul 10 Devlin, Stuart 277 Diaz de Santillana, Laura 110 Ditzel, Nanna 108 Dixon, Tom 402, 403, 404 Docking, Shay 205 Drysdale, Pippin 363 Eames, Charles & Eames, Ray 57, 59, 63 Ebeling, Sigrid 287 El Nigoumi, Siddig 337 Eleszkiewicz, Stanisław 216, 217, 218 Emmanuel, John 250 Fabricius, Jørgen & Fabricius, Preben 124 Fallon, Conor 250 Fini, Gianfranco & Cocchia, Fabrizio 388 Flynn, Liam 322 Fontana Arte 137 Fornasetti, Piero 389 French 281 Frost, Terry 249 Fuss, Adam 418 Gambone, Bruno 111 Gantner, Bernard 3 Gear, William 188 Gilbert, Stephen 178 Godwin, Fay 376 Gormley, Antony 407 Grant, Duncan 19, 20 Gray, Eileen 36, 38, 39 Green, Alan 159 Grossman, Greta Magnusson 123 Haigh, Peter 165, 166 Hall, Mark 268 Hambling, Maggi 414 Harrison, Steve 235 Harwood, Lucy 28 Hayman, Patrick 204 Henderson, Ewen 87, 88, 89, 90 Henningsen, Frits 115 Hense, David 285 Herman, Josef 225, 227 Heron, Patrick 263 Hilton, Roger 180 Hirai, Akiko 333, 334, 335, 336 Hiramatsu, Yasuki 299, 300 Hitchens, Ivon 262 Hogg, Dorothy 296 Hubbuch, Karl 9 Hundevad, Poul 100 Huth, Gerlinde 290 Hvidt, Peter & Mølgaard-Nielsen, Orla 105 Ingham, Alan 206 Irwin, Gwyther 154 Italian 139, 141 Jalk, Grete 120 James, Louis 203 John, Gwen 22 Jones, David 15, 16, 21 Jones, Sarah 276 Judson, Sylvia Shaw 30 Juhl, Finn 103, 104, 106 Julia-Plana, Augustin 283 Jupp, Mo 341 Kahn, Nicholas & Selesnick, Richard 380, 381 Kapoor, Anish 408 Kauffer, Edward Mcknight 35 Kjaerholm, Poul 119 Koch, Gabriele 355 Koje, Ryoji 331

Kondo, Takahiro 302, 303, 304 Kristiansen, Kai 122 Kuwata, Takuro 370, 371 Lacoste, Charles 6 Lamb, Andrew 292, 294 Lambie, Jim 421 Lampl, Fritz & Bimini 81 Lauritzen, Vilhelm 107 Le Corbusier 37 Leach, Bernard 231, 232 Leach, David 233 Leach, Janet 234, 239 Lelii, Angelo 133, 140, 142, 144, 147 Lerner, Leslie 420 Lett-Haines, Arthur 26 Lewis, David 241 Little, Ann 284 Lowry, Laurence Stephen 267 Lucas, Sarah 411 MacDonald, Sheila 284 Macquire, Fiona 287 Macweeney, Alen 373 Madsen, Arnold 116 Major, Theodore 221 Maltby, John 342, 343 Mangiarotti, Angelo 385 Marcelis, Sabine 399 Maresco Pearce, Charles 1, 5 Marquet, Albert 8 Martin, Catherine 289, 297 Masamichi, Yoshikawa 332 Massard, Didier 378 Massoni, Luigi 387 Mathieu, Georges 181 Matta, Roberto 401 Mellor, David 279 Mies van der Rohe, Ludwig 32, 34, 47 Milne, Andrew John 61 Mina, Jacqueline 288 Missoni 397 Mitchell, Denis 240, 243, 244, 245, 246, 247 Moon, Jeremy 161 Moorman, Theo 76 Morey de Morand, Colette 157 Morris, Cedric 25 Morris, Neil 52 Mourgue, Olivier 396 Mouritzen, Priscilla 338 Mullins, Gwen & Mullins, Barbara 75 Musman, Ernest Brander 40 Nagi, Abdo 354 Nash, Paul 14 Nel, Hylton 364, 365, 366, 367, 368, 369 Nelson, Peter 199 Nevinson, Christopher Richard Wynn 18 Nolan, Sidney 68 Norell, Arne 118 Nuell, Mark 291 O’Casey, Breon 250, 315, 316, 317, 318, 319, 320 O’Malley, Tony 183 O’Neill, Terry 422 Panton, Verner 55 Parlá, José 415 Partridge, Jim 321, 323, 324, 329 Partridge, Jim & Walmsley, Liz 325 Pasmore, Victor 23, 24, 69 Pesce, Gaetano 392, 393, 394 Picasso, Pablo 11, 92 Pick, Beverley 192 Pieck, Hans 49, 51

Platner, Warren 62 Pleydell-Bouverie, Katherine 229 Ponti, Gio 135, 148 Poole Pottery 201, 202 Potworowski, Peter 207, 208, 209, 210, 211, 212, 213, 214, 215 Preston, Paul 313, 314 Primavera Gallery 230 Quinn, Marc 412 Quistgaard, Jens Harald 101 Ramshaw, Wendy 305, 306, 307, 308, 309, 310, 311 Randall-Page, Peter 406 Reid, John 189, 190 Reid, John & Reid, Sylvia 191, 193, 194, 195, 196, 197 Rena, Nicholas 344 Reuss, Albert 222, 223, 224 Reynolds, Alan 150 Rie, Lucie 71, 72, 79, 80, 82, 83, 84, 85, 86 Rie, Lucie & Coper, Hans 78 Roberts, David 356 Rogers, Mary 339 Rowntree, Kenneth 64, 65, 66 Salto, Axel 114 Sarfatti, Gino 143 Scarpa, Tobia 128 Scheggi, Paolo 149 Schubell, Acton & Madsen, Ib 109 Seago, Edward 270 Seguso, Archimede 136 Self, Colin 413 Sottsass, Ettore 398 Soukop, Willi 226 Spackman, Cyril Saunders 13 Spare, Austin Osman 12 Spencer, Jean 152 Spencer, Stanley 70 Spira, Rupert 357, 358, 359 Stanton, Blair Hughes 17 Stewart, John 377 Stilnovo 134, 138, 145 Studio BBPR 58 Summers, Gerald 42, 43, 44, 45, 48, 50 Szafran, Sam 176, 177 Taylor, Sutton 361, 362 Thatcher, Emily 286 Thubron, Harry 172 Tindle, David 269 Troughton & Young 198 Tura, Aldo 146 Tynell, Helena 112 Ujiie, Kodai 330 Underwood, Leon 260 Valenza, Daniel Loomis 328 Valla, Rito 383 Valtat, Louis 2 Vaux, Marc 153 Vignelli, Lella & Vignelli, Massimo 386 von Bohr, Olaf 400 Warburton, Joan 27 Ward, John 351, 352, 353 Watts, Grainne 372 Weckström, Björn 282 Wegner, Hans 96, 97, 98, 99, 102, 121 Weinfeld, Isaac & Vinot, Jan 200 Weingart, Joachim 219, 220 Whybrow, Terry 271 Willsher, Brian 173, 174 Winchell Sager, Peter 167 Wirkkala, Tapio 126 Wraight, Susan 301 Yurlov, Valery 265 Zalszupin, Jorge 60

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