MODERN MADE ft. The Gillian Raffles Collection | Auction 01 & 02 May 2025
FEATURING THE GILLIAN RAFFLES COLLECTION
1ST & 2ND MAY 2025 LIVE IN LONDON & ONLINE
FEATURING THE GILLIAN RAFFLES COLLECTION
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Sale Number LT811 LOTS 74-456: FRIDAY 02 MAY 2025 AT 10AM LOTS 1-73: THURSDAY 01 MAY 2025 AT 6PM
Front cover Lot 15 [detail] Inside front cover Lot 413 [detail]
EXHIBITION & VIEWING
Mall Galleries, The Mall, London, SW1Y 5AS
Tuesday 29 April 1pm-5pm
Wednesday 30 April 10am-5pm Thursday 01 May 10am-5pm Friday 02 May 9am-12noon CONTACT
BUYER'S GUIDE
BUYER’S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon:
26% up to £20,000
25% from £20,001 to £500,000 20% thereafter.
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price.
‡ Reduced rate of 5% import VAT payable on the hammer price.
Ω Standard rate of import VAT on the hammer price.
Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction.
DROIT DE SUITE
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.
More information on Droit de Suite is available at www.dacs.org.uk
BIDDING & PAYMENT
For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.
This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement).
We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol )
By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ahvla-en/ imports-exports/cites
COLLECTION OF PURCHASED LOTS
Items will be available for collection from the Mall Galleries on Saturday 3rd May 10am - 3:30pm. Following this, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon &Turnbull, 33 Broughton Place, Edinburgh EH13RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am-5pm by prior appointment only. Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.
ITEMS MARKED ‡ (ADDITIONAL VAT)
Additional time should be allowed for customs clearance by HMRC if the item is to remain in the UK. For items being exported from the UK these items will be stored at Crown Fine Art, Art Central, Union Court, 20-22 Union Road, London, SW4 6JP, United Kingdom (+44 (0)20 7732 7610) and can be shipped by Crown Fine Art or via another approved shipper with a Temporary Admissions account.
LONDON LOT COLLECTION
Items will be available for collection from the Mall Galleries on Saturday 3rd May 10am3:30pm. Following this, items will be available to collect from Thursday 8th May 9am from Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB60FD. They will be stored free of charge until Thursday 22nd May. From Friday 23rd May clients will be charged by our storage partners. Insurance 0.25% (all items)| Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.
EDINBURGH LOT COLLECTION
Scottish buyers and vendors items will be available to collect from Friday 16th May at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@ lyonandturnbull.com or telephone 0131 557 8844
MEET THE SPECIALISTS
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 condition of a lot, or just want to find out more about the auction process.
Philip Smith | London Co-Head of Sale
philip.smith@lyonandturnbull.com
+44 7741 247 225
Alice Strang | Edinburgh
Paintings, Prints & Sculpture
alice.strang@lyonandturnbull.com
+44 7966 377 060
Simon Hucker | London Co-Head of Sale
simon.hucker@lyonandturnbull.com
+44 7442 575 266
Charlotte Riordan | Edinburgh
Paintings, Prints & Sculpture
charlotte.riordan@lyonandturnbull.com
+44 7467 953 724
John Mackie | Edinburgh Design
john.mackie@lyonandturnbull.com
+44 131 557 8844
Neil Graham | London Sale Co-ordinator
neil.graham@lyonandturnbull.com
+44 7714 699 084
Carly Shearer | Edinburgh
Paintings, Prints & Sculpture
carly.shearer@lyonandturnbull.com
+44 7818 190 726
Joy McCall | London Design
joy.mccall@lyonandturnbull.com
+44 7810 301 525
Sarah Duncan FGA | London Jewellery
sarah.duncan@lyonandturnbull.com
+44 7551 173 745
Francesca Christodoulou | London Design
francesca.christodoulou@lyonandturnbull.com
+44 7917 434 602
We are delighted to present the 12th edition of Modern Made, as ever covering the best of Modern, Post-War and Contemporary art, design, craft and studio ceramics.
We are particularly honoured to begin the sale with the collection of legendary London gallerist, Gillian Raffles, founder of the Mercury Gallery. Gillian was a trailblazer in the male-dominated world of the British art scene in the 1960s and 70s – as well as a champion for figuration and paint in a period dominated by abstraction and conceptualism. The lots featured here are mainly from Gillian’s personal collection, that she kept at her beloved Brook House, a charming Georgian property in rural Essex, mixed with some of the gallery’s closing stock, as she was a dealer who very much put her money where her passions lay, supporting her artists with purchases as well as her unfailing support.
Collections are always at the heart of what we do – both at Lyon & Turnbull and in Modern Made – and this edition features, as well as the Raffles collection, a fine selection of studio ceramics that belonged to the eminent surgeon, Sir John Chambers, as well as two wonderful private collections of contemporary silver.
The private and personal nature of almost all our consignments is perhaps best summed up by the remarkable early cityscape by L S Lowry that forms a bridge between the Raffles collection and the rest of the sale. Painted exactly 100 years ago, when Lowry was struggling to find an appreciative audience for his unique vision of the urban landscape, it has been in the same family collection for all but one of those 100 years. It is almost certainly one of the first pictures that Lowry ever sold – of workers heading to the mill, the subject for which he was to become one of Britain’s most famous artists.
We hope that you enjoy reading this catalogue as much as we have enjoyed putting it – and the sale – together. There are a number of works in there that have surprised and delighted us and restored our faith that art and craft, in difficult times, expresses eternal and ineffable values.
Philip Smith Simon Hucker
Co-Heads of Sale
THE GILLIAN RAFFLES COLLECTION
Gillian Raffles (1930-2021) in the Murcury Gallery, Cork Street, London c.1975
THE GILLIAN RAFFLES COLLECTION
Gillian Raffles, born Gillian Posnansky in London in December 1930, was one of a very small number of pioneering women gallerists in London’s post-war art scene. Establishing the Mercury Gallery in 1964, Gillian created a highly regarded space for both emerging and established artists, as well as for the historically overlooked. She should be considered alongside Erica Brausen, Helen Lessore, and Madeleine Ponsonby as one of the key figures of the period, playing a vital role in shaping the commercial art world in London and paving the way for future generations of female gallerists.
Her passion for art was likely influenced by her father, Jack E. Posnansky, who arrived in London’s East End at 13 and, over time, established a successful clothing manufacturing business with his wife, Ann. They sponsored and supported the renowned Polish artist and illustrator Arthur Szyk, as well as the broader Jewish émigré cultural community of the period. Jack became an avid art collector and served on the Ben Uri council from 1952 to 1968, acquiring significant works including a William Nicholson portrait and commissioning a bust of a young Gillian by émigré sculptor Georg Ehrlich, which was later exhibited at the Royal Academy and is now held in the Tel Aviv Museum of Art.
From its founding, the Mercury Gallery sought to provide exhibition opportunities for British artists who had not previously showcased their work in London. Raffles
emphasized the importance of giving young artists ‘a step on the first rung of the ladder’, though she soon realized that focusing solely on emerging artists was not commercially viable on Cork Street, London’s main gallery hub. To sustain the gallery, she dealt in established artists, specializing in quality drawings and watercolours, with a focus on figurative art and 20th-century European Expressionists such as Egon Schiele, Emil Nolde, Ernst Kirchner, Alexej von Jawlensky, and Georg Grosz.
Despite the dominance of abstract and conceptual trends in the 1960s and 1970s, Raffles remained committed to figurative work, believing that ‘figuration has always had both creative original exponents and collectors, and will, I believe, continue to have, in spite of fashionable trends’. The Mercury Gallery gained a reputation for its dedication to serious, professional artists, with Elizabeth Blackadder and Henri Gaudier-Brzeska representing this philosophy. Raffles and Blackadder developed a long-term professional relationship, with solo exhibitions held every two years. She was careful to avoid artificially inflating prices, ensuring accessibility for collectors. Fellow gallerist and friend Sarah Hargreaves remarked that the Mercury Gallery was the key venue for figurative work: ‘It wasn’t about the latest trends; it was about respecting the artist’s voice and allowing them to grow. Gillian didn’t put up with nonsense, and that’s why artists trusted her’.
Running the gallery came with financial challenges, especially as rising rents and economic pressures threatened small independents, compounded by financial crisis of the early 1990s. Despite these difficulties, the Mercury Gallery remained one of the few enduring institutions on Cork Street. Raffles understood that sustaining a gallery required more than financial backing, emphasizing that ‘the gallery mustn’t be static. It must be something that evolves out of itself’. She continued to showcase emerging talent while balancing this with dealing in works by established names, acknowledging that ‘even if a whole show does sell, it is not going to make the gallery as much profit as selling one picture out of here [from the stock room]’.
Her clientele included many loyal collectors drawn to her curatorial eye and the sense of continuity she provided. Museums and public institutions regularly acquired works from her exhibitions, including the Victoria and Albert Museum, the National Gallery of Scotland, the National Gallery of Canada, the Museum of Fine Art in Boston, and the Herbert Art Gallery in Coventry.
Beyond her gallery exhibitions, Raffles also played an active role in the international art market, regularly exhibiting at major fairs such as the Chicago Art Fair and Olympia in London. These fairs provided a broader platform for the artists she represented and reinforced Mercury Gallery’s standing in the global art scene.
Gillian Raffles & her assistant Sheila at an art fair in the mid 1990's
In August 1982, she expanded the Mercury Gallery to Edinburgh, opening a branch on The Mound. The Edinburgh gallery provided a vital platform for Scottish artists such as Elizabeth Blackadder, John Houston, and John Bellany, reinforcing Raffles’ commitment to figurative art. One notable exhibition in 1984 showcased over 30 silk scarves from the Ascher textile company’s collection, which she displayed as artworks rather than fashion items—reflecting her innovative curatorial approach. The Edinburgh branch played an important role in the city’s cultural landscape for several years before ceasing operations around 2000.
After 37 years, Raffles decided to retire, leading to the closure of the Mercury Gallery’s Cork Street location in
2001. She continued to work from home at Brook House in Essex, specializing in the work of Henri Gaudier-Brzeska and collaborating with other galleries. Gillian Raffles passed away on November 23, 2021, leaving behind a legacy of significant contributions to the British art world. The Mercury Gallery’s archive is currently in the safekeeping of the Tate Archive.
A further curated selection of works from the Gillian Raffles Collection, highlighting Scottish artists, will be featured later this year from our Edinburgh saleroom.
Gillian Raffles outside her gallery on Cork Street, London, 1992
1974
1975
1975
1975
GALLERY EXHIBITIONS
AN ARTIST’S CHAMPION: GILLIAN
RAFFLES & HENRI GAUDIER-BRZESKA
‘I draw because I love it and to satisfy my ego and I want to be good because it’s important, primarily to me and then to others, but as long as I feel its importance to myself I’m damn’d if I really care.’ Henri Gaudier-Brzeska, 1911
Gillian Raffles played a vital role in establishing Henri GaudierBrzeska as a key figure in early twentieth-century British art, alongside fellow champions of the artist including Horace Brodzky, H. S. (Jim) Ede and Ezra Pound.
She first showed Gaudier’s work in a group exhibition in 1965 before mounting solo shows in her London and Edinburgh galleries spanning forty years, from 1968 until 2008. In 1975, Raffles marked the 60th anniversary of the artist’s death in 1915, aged just twenty-three and whilst serving in the French army, with an exhibition of sixty drawings. A landmark exhibition of 1977 toured to public galleries in Bradford, Eastbourne, Edinburgh, Middlesborough and Sheffield, introducing Gaudier’s work to many new audiences. Moreover, shows mounted in Canada and the United States of America brought him to international notice.
In 2008, Raffles explained:
‘The first work by Henri Gaudier-Brzeska that I acquired at the Mercury Gallery were five small animal and bird drawings from 1912…[They]…were simple line drawings, made with rapidity, immediacy and an acute eye. They were remarkable in the way in which they captured the essence of the subject, a way which I was later to realise was central to all Gaudier’s work. I included the five drawings in…[a]…1965 exhibition. Two sold and I remember being outraged and disappointed that everyone had not responded to them as I had.’
These special characteristics can be seen in works such as Excited Bird, Eagle and Fish (lots 4, 14 & 17), whilst in Cheetah (Jungle Cat) (lot 5) the yellow watercolour comes into play to emphasise the exoticism of the animal depicted. Gaudier was able to indulge his delight in drawing animals partly due to the gift of tickets to London Zoo by the artist and designer Claud Lovat Fraser in 1912. As Evelyn Silber has explained ‘this enabled Gaudier to spend hours at weekends making pen drawings –executed so rapidly the ink was often still wet on the last sketch as he started a new one.’ (Evelyn Silber, Gaudier-Brzeska: Life and Art, Thames and Hudson, London, 1996, p.33).
Henri Gaudier-Brzeska, circa 1913.
Photo by Walter Benington
Raffles continued by recalling her commitment to building Gaudier-Brzeska’s reputation:
‘I began to search out more drawings…Gaudier-Brzeska was an almost unknown name…By 1968 I had sufficient work to mount our first exhibition of Gaudier drawings. In 1970 and 1975 this was followed by two others with considerable success: he was beginning to be known.’
She was able to show the full range of the artist’s draughtsmanship, including early works such as Nuremberg (lot 6) and Roses (lot 7), in which we see the tentative emergence of talent, to the fully confident flowing lines depicting life models, as seen in Seated Male Nude, Standing Nude and Standing Woman (see lots 11, 18, 19, & 20). They may be the result of Life Drawing evening classes that Gaudier attended in 1912. As Paul O’Keeffe has explained ‘the course fee was five shillings for five weeks, enabling him to draw from the nude each Tuesday and Friday from eight until ten in the evening.’ (Paul O’Keeffe, Gaudier-Brzeska: An Absolute Case of Genius, Allen Lane, London, 2004, p.150). Gaudier made the most of the opportunity to draw from nude male and female models and wrote to his partner, Sophie Brzeska, ‘I work without stopping – especially while the model is resting, because that is much more interesting…I work all during the two hours without a break in order to get my full six-pennyworth.’ (as quoted in Paul O’Keeffe, op.cit., p.156)
Gaudier found inspiration for drawing virtually everywhere he went, as seen in images suffused with tenderness, such as Children Fishing (lot 16), touches of humour, as in Profile of a Girl (lot 3), and a focus on distinctive features such as Figure in a Hat (lot 2). Woman with Side Buns (lot 15), executed in pastel
1
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
MALE NUDE (HORACE BRODZKY)
charcoal on paper
51cm x 38cm (20in x 15in), unframed
Provenance: Ezra Pound; Sandra Lummis Fine Art, London; Christie’s, London, 20th Century British Art, 3 November 1999, lot 16; The Collection of Gillian Raffles.
Note: This drawing is a study for Gaudier’s sculpture ‘The Wrestler’.
£3,000-5,000
and watercolour, is based on a frank expressiveness of line and colour, whilst Wrestler (lot 13) and Male Nude (Horace Brodzky) (lot 1) illustrate an important theme in Gaudier’s practice, not least due to visiting the London Wrestling Club off Fleet Street in 1912, which is the subject of some of his best-known sculptures
Raffles’ high regard for Gaudier’s drawings reflected his own opinion of them. He exhibited portfolios of works on paper alongside sculptures when he showed with the Allied Artists’ Association at the Albert Hall in 1913, at the Alpine Gallery in 1914 and as part of the landmark Twentieth-Century Art exhibition at the Whitechapel Art Gallery later that year.
A glance at the provenance of many of the drawings presented here shows how they were also valued by key figures in Gaudier’s life and promoters of his legacy, from Sophie Brzeska (Eagle) to Jim Ede (including The Boy Lunn - lot 9) and Ezra Pound (Male Nude (Horace Brodzky)), to fellow artists appreciating his unique abilities such as Edward McKnight Kauffer (Eagle).
As Dr Evelyn Silber, compiler of the artist’s catalogue raisonné, wrote in her introduction to the 1998 Mercury Gallery exhibition Henri Gaudier-Brzeska: Sculpture and Drawings, Gaudier ‘drew compulsively, daily, snatching every passing opportunity…[his drawings]…reveal his life, moods, learning and working process with joyous immediacy.’ It was perhaps this instinctive passion that drew Gillian Raffles to his work and which underpinned her commitment to him which endured over four decades. Gaudier is now represented in multiple national and international public collections, including in Australia, France, New Zealand, Switzerland, the United Kingdom and the United States of America.
2
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
FIGURE IN A HAT, 1912 chalk on paper 19cm x 14cm (7 ½in x 5 ½in)
Provenance: The Collection of Gillian Raffles.
£1,000-1,500
3
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
PROFILE OF A GIRL
signed in ink (lower left), crayon on paper 24cm x 17cm (9 ½in x 6 5/8in)
Provenance: Mercury Gallery, London, where purchased by R.E. Wilmot, 7 March 1968; Christie’s, London, The Art of Design, 4 June 2014, lot 100; The Collection of Gillian Raffles.
£700-900
4
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
EXCITED BIRD
pen and ink on paper 34cm x 24cm (13 3/8in x 9 ½in)
Provenance: with The Redfern Gallery, London. 1966; with Victor Waddington, London; Dr Gerhard Strauss, 1967 and by descent; Christie’s, London, Christie’s Interiors, lot 347; The Collection of Gillian Raffles.
signed with monogram and dated (lower left), ink and watercolour on paper 22.7cm x 35cm (8 7/8in x 13 ¾in)
Provenance: H. S. (Jim) Ede; with The Mercury Gallery, London; The Gillian Raffles Collection.
Exhibited: Browse & Darby, London, in association with Mercury Gallery, London, Henri Gaudier-Brzeska 1891-1915, 18 June - 25 July 2008, no. 16, illustrated.
Literature: Silber, Evelyn, Gaudier-Brzeska: Life and Art, Thames and Hudson, London, 1996, p.99, pl.72, illustrated.
£8,000-12,000
Evelyn Silber has explained that this work is one of two watercolours that relate to the lost painted plaster of the same name, that was included in Gaudier’s Memorial Exhibition in 1918 (Evelyn Silber, op.cit., no. 26).
6
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
NUREMBERG, 1909
pencil and watercolour on paper
20.5cm x 12.5cm (8 1/8in x 4 7/8in)
Provenance: The Collection of Gillian Raffles.
Note: The current work would have been undertaken whilst Gaudier-Brzeska was on a travelling scholarship to Nuremberg and Munich in 1909.
£500-700
7
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) ROSES
signed (lower right), watercolour on paper
69.2cm x 19cm (27 ¼in x 7 ½in)
Provenance: Bonham’s, London, Modern British & Continental Pictures, Drawings and Sculptures, 12 March 1992, lot 25; The Collection of Gillian Raffles.
£600-800
8
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
ROWING BOAT BY A WHARF, 1914
chalk on paper
37cm x 24cm (14 ½in x 9 ½in)
Provenance: The Collection of Gillian Raffles.
£1,000-1,500
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
THE BOY LUNN, 1913 initialled (lower right), pen and ink on paper
38cm x 25.3cm (15in x 10in)
Provenance: H. S. Ede; with The Mercury Gallery, London; The Collection of Gillian Raffles. Exhibited: Browse & Darby, London, in association with Mercury Gallery, London, Henri Gaudier-Brzeska 1891-1915, 18 June - 25 July 2008, no. 36, illustrated.
£1,000-2,000
10
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
LADY IN FUR STOLE
pen and ink on paper
25cm x 19.cm (9 7/8in x 7 ½in), unframed
Provenance: with The Piccadilly Gallery Ltd; The Collection of Gillian Raffles.
£800-1,200
11
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
SEATED MALE NUDE pen and ink on paper
25.5cm x 28.5cm (10in x 11 ¼in)
Provenance: H. S. Ede; with Victor Waddington, London; Dr Gerhard Strauss, 1967 and by descent; Christie’s, London, Christie’s Interiors, lot 346; The Collection of Gillian Raffles.
Exhibited: Victor Waddington, London, GaudierBrzeska 1891-1915: Drawings, 22 November - 17 December 1966, no. 29, illustrated.
£1,500-2,500
14
12
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
THREE NUDES STANDING, 1913 monogramed and dated in ink (lower left), pen and ink on paper 38.5cm x 50.2cm (15 1/8in x 19 ¾in)
Provenance: with Mercury Gallery, London; Bonham’s, London, Modern British and Irish Art, 5 March 2013, lot 46; The Collection of Gillian Raffles.
£1,500-2,500
13
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
WRESTLER
pen and ink on paper 38cm x 50.5cm (15in x 19 7/8in)
Provenance: Christie’s, London, Modern British & Irish, 12th December 2013, Lot 57; Bohun Gallery, Henley-on-Thames; The Collection of Gillian Raffles.
Exhibited: Sprengel Museum, Hannover, Blast, Aug-Nov, 1996, travelling to Haus de Kunst, München, August 1996January 1997, cat. no. 66.
£1,000-1,500
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
EAGLE
inscribed on paper label in pen by H. S. Ede (to reverse), pen and ink on paper 37cm x 23cm (14 ½in x 9in)
Provenance: Sophie Brzeska; Edward McKnight Kauffer; H. S. (Jim) Ede; Mrs Douglas Pullon; Christie’s, London, The Art of Design, 4 June 2014, lot 97; The Collection of Gillian Raffles.
£1,500-2,500
15
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
WOMAN WITH SIDE BUNS, c. 1912-4
pastel and watercolour on paper
25.5cm x 19.5cm (10in x 7 5/8in)
Provenance: H. S. (Jim) Ede; with The Mercury Gallery, London; The Gillian Raffles Collection.
Exhibited: Browse & Darby, London, in association with Mercury Gallery, London, Henri Gaudier-Brzeska 1891-1915, 18 June - 25 July 2008, no. 15, illustrated.
£10,000-20,000
16
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
CHILDREN FISHING
pen and ink on paper
38.5cm x 25cm (15 ¼in x 9 7/8in)
Provenance: with Piccadilly Gallery, London, 1966; Christie’s, London, The Art of Design, 4 June 2014, lot 95; The Collection of Gillian Raffles.
£2,000-3,000
17
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
FISH, c. 1913
crayon on paper
17.5cm x 24.4cm (6 7/8in x 9 5/8in)
Provenance: The Collection of Gillian Raffles.
£600-800
18
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
STANDING NUDE
pen and ink on paper
37cm x 24.5cm (14 ½in x 9 ¾in)
Provenance: The Collection of Gillian Raffles.
£800-1,200
19
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
STANDING NUDE c.1913-14
pen and ink on paper
38cm x 24.3cm (15in x 9 ½in)
Provenance: with Galleria Pieter Coray, Lugano; The Collection of Gillian Raffles.
‘Gillian was formidable, firm, determined, frank, supportive, discreet, pioneering, dauntless, committed, adventurous, very astute to deal with and also very highly principled. She had a lot of integrity and collectors trusted her advice.
When I was commissioned to write the catalogue raisonné of Gaudier’s sculpture in 1986 I couldn’t think of anyone better to talk to about his work, as she had seen and handled so much of it. She knew it in depth and had a scholarly fascination for it, researching him broadly and in depth.
Thinking about her now, I am struck afresh by the sheer range of media by Gaudier that she exhibited with many long unseen works and some discoveries from private collections. Once I had passed muster as a person with a serious interest in him, she was extremely helpful and eventually sought my opinion about him and his work.
I was happy to work with her, including writing the introduction to the Mercury Gallery exhibition of Gaudier sculpture and drawings exhibition in 1998. The intimacy of her gallery in London meant that Gaudier’s drawings looked good when hung there. Gillian was able to select lovely examples of Gaudier’s work for herself and I remember on my last visit to her, seeing Cheetah (Jungle Cat) hanging on her wall. Despite its stresses, she found great pleasure and reward in being a gallerist.’
Dr Evelyn Silber, author of Gaudier-Brzeska: Life and Art, Thames and Hudson, London 1996
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)
STANDING WOMAN
pen and ink on paper
38cm x 25.5cm (15in x 10in), unframed
Provenance: The Collection of Gillian Raffles.
£2,500-3,500
The artist Arthur Szyk visiting the Posnansky family home, Pinehurst in Kingswood, Surrey, England, 1939-40. The figure in the dark suit is thought to be
Jack Posnansky.
21 §
GEORG EHRLICH
(AUSTRIAN 1897-1966)
PORTRAIT OF GILLIAN RAFFLES (NÉE POSNANSKY) AS A YOUNG LADY, c. 1944
signed G. EHRLICH, bronze on marble base bronze: 30cm high (11 ¾in high); overall: 42cm high (16 ½in high)
Provenance: The Collection of Gillian Raffles. £700-900
This bust portrays Gillian Raffles at approximately 14 years old and was commissioned by her father, Jack E. Posnansky. A dedicated art collector and patron of the Jewish émigré cultural community of the time, Posnansky also served on the Ben Uri council from 1952 to 1968.
A bust of Miss Gillian Posnansky by Georg Ehrlich was documented as being exhibited at the Royal Academy in May - August 1944 (probably this example), with a stone version also held in the collection of the Tel Aviv Museum of Art, received as a gift from J. E. Posnansky, alongside a bronze sculpture Portrait of a Young Italian Woman
See Erica Tietze-Conrat, Georg Ehrlich, B. T. Batsford, London, 1956, p. 23 for the reference of a sculpture of Miss Gillian Posnansky being exhibited at the Royal Academy in 1944.
22 §
ERNST EISENMAYER (AUSTRIAN 1920-2018)
FIGURAL FORM
stamped with monogram and numbered 2/6, patinated bronze 43.5cm high (17 1/8in high)
Provenance: The Collection of Gillian Raffles.
£400-600
23 §
ERNST EISENMAYER (AUSTRIAN 1920-2018)
HEAD, 1967
initialled and dated E E 67 (to base of neck), blue serpentine on marble base head: 15cm high (5 7/8in high); overall: 25cm high (9 7/8in high)
Provenance: The Collection of Gillian Raffles.
£300-500
24 §
GEORG EHRLICH (AUSTRIAN 1897-1966)
SITTING BOY
bronze with brown patina 12.5cm high, 27cm wide (4 7/8in high, 10 5/8in wide)
STUDIES FOR SCULPTURE, 1958 signed, dated and indistinctly inscribed (lower right), pen and ink on paper
26cm x 41cm (10 ¼in x 16 1/8in)
Provenance: The Collection of Gillian Raffles.
£300-500
30
JEAN MARCHAND (FRENCH 1883-1941)
PAYSAGE, MAMERS, 1914
29
JEAN MARCHAND (FRENCH 1883-1941)
LA RUE
signed (lower right), inscribed (lower left), crayon on paper; with two further studies, each with Atelier Jean Marchand stamp
30.5cm x 23cm (12in x 9in), unframed (3)
Provenance: Crane Kalman Gallery, London, 1967; The Collection of Gillian Raffles.
£800-1,200
signed, dated and inscribed in pencil (lower right), watercolour and pencil on paper
30cm x 18.5cm (11 ¾in x 7 ¼in)
Provenance: Estate of Mme. Marchand; Crane Kalman Gallery, London, 1967; The Collection of Gillian Raffles.
Exhibited: Mercury Gallery, London, Jean Marchand: Retrospective Exhibition From the Estate of the late Mme. Marchand, 8 June - 1 July 1967, no. 49, illustrated on back cover of catalogue.
£300-500
31
JEAN MARCHAND (FRENCH 1883-1941)
ÎLE ST. LOUIS, PARIS
estate stamp (lower left), pen and ink on paper 31cm x 24cm (12 ¼in x 9 3/8in)
Provenance: Estate of Mme. Marchand; Crane Kalman Gallery, London, 1967; The Collection of Gillian Raffles.
Exhibited: Mercury Gallery, London, Jean Marchand: Retrospective Exhibition From the Estate of the late Mme. Marchand, 8 June - 1 July 1967, no. 2.
£300-500
MAX LIEBERMANN (GERMAN 1847-1935) PORTRAIT OF A GIRL (MÄDCHENBILDNIS)
signed (lower right), watercolour on paper
23.2cm x 20.5cm (9 1/8in x 8in)
Provenance: Mr J. E. Posnansky; Waddington Galleries, London; The Collection of Gillian Raffles.
£8,000-12,000
Max Liebermann was a pioneer of German Impressionism. Before the First World War, his infusion of naturalism and modernist sensibility attracted numerous important commissions, and he became the most in-demand portrait artist for Berlin high society. Liebermann was an enthusiastic and welltravelled disciple of modern art and brought the diverse aesthetic ideas he encountered abroad back to Germany. This, however, came to present issues for the artist: in Paris (at the time the art world’s epicentre) his style was deemed ‘not French enough’; the Secessionist Impressionists felt he was too accommodating of the transgressive Expressionists; the Expressionists found him too conservative. Furthermore, as a Jew in early twentieth-century Berlin, he faced and diminishing career opportunities and increasing persecution.
Yet it is Liebermann’s astonishing diversity of reference that makes this exquisite portrait so compelling. The assured and academic draughtsmanship evidences a firm grounding in principles of anatomy and proportion, while the delicate hatching articulating the girl’s features, and the unpainted passages across the girl’s face - which is beautifully unidealized - suggest the glimmers of Impressionism. So, too, does the contrast between sitter’s pale complexion and her vivid red tresses. Charmingly, the artist appears to have signed the work using the same pigment with which he painted the girl’s hair.
ERNST LUDWIG KIRCHNER: MODERNIST PRIMITIVE
These two ink drawings by Ernst Ludwig Kirchner are perfect expressions of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of colonialist cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’, rather than highly sophisticated in its own right, this bridge – to translate the meaning of Die Brücke – was wholehearted in its intention. Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather a search for authenticity, a direction of travel to express true modernity.
In Zwei Frauen im Gespräch, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of handprinted batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him. This sculpture could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s.
ERNST LUDWIG KIRCHNER (GERMAN 1880-1938)
ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921
stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper
30.2cm x 36cm (11 7/8in x 14 1/8in)
£8,000-12,000
Provenance: Theo Hill Galerie, Cologne, 1968; Anthony Hepworth FIne Art, Bath; The Collection of Gillian Raffles.
Note: This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist’s graphic works,
Exhibited: Mercury Gallery, London, Summer Exhibition, 11 June15 September 1973, no. 191, illustrated in exhibition catalogue.
‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’
Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927
34
ERNST LUDWIG KIRCHNER (GERMAN 1880-1938)
ZWEI MÄDCHEN [TWO GIRLS], c. 1925
stamped with the Nachlass E. L. Kirchner mark and numbered F Be/Bh 4 in ink and K4535, 4167 and C-1241 in pencil (to reverse), Indian ink on paper 46cm x 36.5cm (18 1/8in x 14 3/8in)
Provenance: The Collection of Gillian Raffles.
Note: This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist’s graphic works.
£8,000-12,000
In Germany in the early part of the century, modernity was inextricably tied up with youth and the young, who, like their ‘primitive’ counterparts, were seen to be free from convention and bourgeois concerns. In Zwei Mädchen we see Kircher giving expression to this idea in the girls’ angular, unselfconscious poses. The space in which they stand is less easy to read, but they could be on the banks of a lake, peering in. The great outdoors was another key modernist space, wild and unbounded: the 1920s in Germany was the era of freikörperkultur – ‘free body culture’ – an idea that starts in the wider sense as nudism, but extends, within avantgarde circles, to encompass free love, wild dancing and the physical counterpart of Nietzschean energy.
In both Zwei Frauen im Gesprach and Zwei Mädchen, Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’.
(Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)
SAVAGE BEAUTY:
EMIL NOLDE
In 1906, at the age of forty, Emil Nolde was invited by his friend Karl Schmidt-Rottluff to join Ernst-Ludwig Kirchner’s laboratory of modernism, Die Brücke. (see lots 33 & 34) Nolde’s association with the group only lasted a year but the experience was to have profound effect on his art, not least his total embrace of the idea of ‘modernist primitivism,’ modern art’s obsession with the art of ‘outsiders’ as the means to access a deeper visual and cultural ‘truth.’ Nolde had moved to Berlin in 1902 to find himself as a modern artist, experimenting with all the available modalities of the time – Impressionism, Post-Impressionism and Symbolism. But his encounter with Schmidt-Rottluff, Kirchner et.al. saw him emerge as a fully-fledged Expressionist, a painter of the city’s underbelly, of ‘otherness’ and dislocation, his existentialist subjectmatter given ‘expression’ in a raw, jagged style of painting, with strong linear outlines, unsophisticated brushwork and a bright, other-worldly palette.
It’s Nolde’s use of colour that sets him apart from his contemporaries – perhaps with the exception of Kandinsky, with whom he exhibited in Der Blaue Reiter group shows in Munich. For Nolde, the motif is merely the starting point for a sensuous layering of colours. Throughout his career he used watercolour to this effect, enjoying the liquidity of the medium, especially the ability to blur the boundaries between each field of colour. We see this most, of course, in his later ‘Unpainted Pictures’ of the 1940s, when, deemed ‘Degenerate’ by the Nazi regime, Nolde was forced to work in secret, having been denied the use of paints and canvas.
Zwei Junge Löwen most likely dates from the early 1920s, from a series of works painted in Berlin’s zoo. Zoos, fairgrounds, cabarets, theatres were all interlinked sites of enquiry for the Expressionists, spaces that sat within the city but somehow outside of its conventions – as did the great ethnographical collections of Berlin’s Völkerkundermuseum, where Nolde spent hours copying the art of non-European peoples. In Zwei Junge Löwen we see this influence, as well as a little of Gauguin’s transliteration of Tahitian art. Nolde is not aiming for a ‘lifelike’ representation, rather something more symbolic. The artist is liberated from re-presenting the surface of things, aiming instead for the essence beneath. As Nolde himself wrote in a 1948 article in Der Spiegel: ‘The painter does not need to know much; it is wonderful when he can paint, under instinctive guidance, the way he breathes, the way he walks.’ [quoted in eds Osterwold, Tilman & Thomas Knubben, Emil Nolde - Unpainted Pictures, Hatje Cantz, 2000, p.17]
A number of Nolde’s zoo studies from 192324 – Gnu, Giant Tuka, Chameleons – were exhibited in London in 1968, in an Arts Council exhibition of watercolours from the Nolde Foundation in Seebüll, held at the Hayward Gallery. It is tantalising to think that Gillian Raffles saw this exhibition – as an inveterate gallery-goer, it is more than likely she did –and that this was inspiration for her acquiring Zwei Junge Löwen – in which she would, of course, have seen parallels to the London Zoo drawings of one of her favourite artists, Henri Gaudier-Brzeska (see lots 4, 5 & 14).
35 §
EMIL NOLDE (DANISH/GERMAN 1867-1956)
ZWEI JUNGE LÖWEN [TWO LION CUBS], 1920s
signed (lower right), inscribed 1935 120 in another hand in pencil (to reverse) and stamped in green MADE IN GERMANY (to reverse), watercolour on paper
34.5cm x 47cm (13 5/8in x 18 ½in)
Provenance: Curt Valentin, New York; with Frankfurter Kunstkabinett Hanna Bekker Vom Rath GMBH Gallerie, Frankfurt, 1969, from whom acquired by Gillian Raffles; The Collection of Gillian Raffles.
Note: The Scholarly Advisory Board of Stiftung Seebüll Ada und Emil Nolde has confirmed the inclusion of the work in a future catalog raisonné of the watercolors and drawings by Emil Nolde (1867–1956), Registration No: Fr.A.3266.
£25,000-35,000
36
CLAUD LOVAT FRASER (BRITISH 1890-1921)
FRENCH STREET AND OTHER DRAWINGS
ink, watercolour and gouache on card 23cm x 26cm (9in x 10 ¼in), unframed; THE SPANISH MARINER, titled in ink (below), ink and crayon on card, 6.8cm x 5.7cm (2 5/8in x 2 ¼in), unframed; HOUSES, pen, ink and watercolour on card, 8.7cm x 14cm (3 3/8in x 5 ½in), unframed (3)
Provenance: the first possibly with Decor Gallery, 1979 (no. 49); The Collection of Gillian Raffles.
£300-500
37
CLAUD LOVAT FRASER (BRITISH 1890-1921)
MASKED BALL
charcoal, watercolour and gouache on paper 55cm x 50.2cm (21 ¾in x 19 ¾in)
Provenance: Christies, Sale of the Remaining Contents of North End House, Rottingdean, The Property of Lady Jones, C.B.E. (Miss Enid Bagnold), Christie’s South Kensington, 16-17 October 1980; The Collection of Gillian Raffles.
£800-1,200
38
CLAUD LOVAT FRASER (BRITISH 1890-1921)
LETTER TO ALAN FRASER, THE ARTIST’S BROTHER, 1916 + PROLOGUE TO AN 18TH CENTURY PLAY (LETTER TO ENID BAGNOLD)
Letter: inscribed from Lovat Fraser (to label to reverse), pen, ink and watercolour, 21cm x 16.7cm (8 ¼in x 6 5/8in); Prologue: ink and watercolour on buff paper, 21cm x 17cm (8 ¼in x 6 ¾in) (2)
Provenance: The Collection of Gillian Raffles.
Note: Prologue: Enid Bagnold was a writer and playwright best known for her 1935 story National Velvet. Lovat Fraser and Bagnold were close friends, and she writes about Lovat in her autobiography. This letter could be understood as being related to her later career as a playwright.
£300-500
39
CLAUD LOVAT FRASER (BRITISH 1890-1921)
FRENCH TOWN
inscribed (to reverse), pen and ink, watercolour and gouache
22cm x 17cm (8 5/8in x 6 5/8in)
Provenance: The Collection of Gillian Raffles.
£300-500
41
CLAUD LOVAT FRASER (BRITISH 1890-1921)
COSTUME DESIGN (WOMAN IN A PINK DRESS)
40
CLAUD LOVAT FRASER (BRITISH 1890-1921)
DESIGN FOR A PANEL FOR A PAINTED ROOM, 1921 pen and ink, watercolour and gouache on paper 41cm x 21cm (16in x 8 ¼in)
Provenance: with Ernest, Brown & Phillips, The Leicester Galleries, London, 1922, no. 140 (as ‘Design for a Panel For a Painted Room (to be one of four)’); Mrs Muriel Maurice; The Collection of Gillian Raffles.
£1,000-1,500
signed (lower right), pen and ink, watercolour and gouache on paper
41cm x 21cm (16in x 8 ¼in)
Provenance: The Collection of Gillian Raffles.
£700-900
In her description of the present portrait, Reed has explained:
NANCY IN A FEATHER HAT
BY WILLIAM NICHOLSON
First exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history.
Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904.
The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.
Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.
‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172).
Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.
When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.
This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
SIR WILLIAM NICHOLSON (BRITISH 1872-1949)
NANCY IN A FEATHER HAT (THE ARTIST’S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in)
Provenance: with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned; probably with P. & D. Colnaghi Ltd., London; Christie’s, London, 7 December 1917, lot 21, as Portrait of the Artist’s Daughter (260gns) to Frederick Leverton Harris MP (1864-1926); An unidentified Scottish collection; J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist’s Daughter (The Feathered Hat) (£100 16s.); with Ian McNicol, Glasgow; Christie’s, London, 1940-1 (catalogue untraced); with Piccadilly Gallery, London; J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles; The Collection of Gillian Raffles.
£25,000-35,000
Exhibited: Goupil Gallery Salon, London, October – December 1910, no. 108 (£315); XIV Esposizione Internazionale d’Arte della Città di Venezia, AprilOctober 1924, no. 53, as Ritratto di ragazza con berretto piumato.
Literature: Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635; Ladies’ Field, Vol. LII, no. 664, 3 December 1910, p.6; The Art Journal, December 1910, p. 383, illustrated; Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated; Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated. This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
43 §
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)
TWO NUDES, 1936 signed and dated in pencil (lower right), pencil on buff paper, squared for transfer
51.5cm x 37.5cm (20 ¼in x 14 ¾in)
Provenance: The Collection of Gillian Raffles.
£2,500-3,500
44 §
AUGUSTUS JOHN O.M., R.A. (BRITISH 1878-1961)
CHILD WITH LARGE HAT (PYRAMUS) signed in pencil (lower right), pencil on paper
31.5cm x 18.7cm (12 3/8in x 7 3/8in)
Provenance: The Adams Gallery, London; The Gillian Raffles Collection.
£3,000-5,000
45 §
PERCY WYNDHAM LEWIS (BRITISH 1882-1957)
SEATED LADY, POSSIBLY IRIS TREE, 1921 signed in ink (lower right), pencil on paper 36cm x 26.2cm (14 1/8in x 10 ¼in)
Provenance: Roger Moore Ede; The Collection of Gillian Raffles.
Exhibited: Fine Art & Antiques Fair Olympia, London, Wyndham Lewis, 1 - 6 March 2005.
Literature: Michel, Walter, Wyndham Lewis: Paintings and Drawings, Thames and Hudson, London, 1971, no. 479, illustrated detail plate 55.
£5,000-7,000
46
CHRISTOPHER WOOD (BRITISH 1901-1930) ARUNDEL CASTLE
pencil on paper
26cm x 36cm (10 ¼in x 14 ¼in)
Provenance: The Collection of Gillian Raffles.
£1,000-1,500
47 §
BEN NICHOLSON O.M. (BRITISH 1894-1982)
ST. REMY
signed and titled (to the reverse), pencil on paper
30cm x 37.5cm (11 ¾in x 14 ¾in)
Provenance: with Fischer Fine Art Ltd, London (dated c. 1950 on label to reverse); The Collection of Gillian Raffles.
£2,500-3,500
48
CHRISTOPHER WOOD (BRITISH 1901-1930) VENCE
inscribed 58 (lower right), pencil with chalk pastel on paper
33.8cm x 42cm (13 3/8in x 16 ½in)
Provenance: The Collection of Gillian Raffles.
£1,500-2,500
49 §
KEITH VAUGHAN (BRITISH 1912-1977)
FIGURE BY A HOUSE, 1956
signed and dated (lower right), pen, ink, watercolour and gouache on paper
15.5cm x 24cm (6 1/8in x 9 3/8in)
Provenance: The Collection of Gillian Raffles.
£7,000-9,000
The relationship between the figure and their environment is key to Keith Vaughan’s work. His sitters are overwhelmingly male nudes rendered in pale silhouette, their features intentionally anonymised so that little betrays their psyche, identity or profession. Instead, it is their spatial context that conveys the picture’s emotional significance. Shards of line and form suggest interiors or landscapes rendered with a haunting postwar pallor of greens, browns, blues and blacks. Gillian Raffles' collection of works on paper provides an insight into Vaughan’s working process, from preliminary study to fully-realised painting.
During the latter part of the Second World War, Vaughan worked as a German translator at Eden Prisoner of War Camp in Malton, Yorkshire. Whenever off-duty he documented camp life by drawing or painting gouaches on small pieces of paper to generate studies, which he might later ‘work up’ once he regained access to oil paints and a studio. Work Party, Bulford Camp (1941 - lot 21) and Figures in a Tent (1942 - lot 121) both hail from this formative period. Vaughan underlines the body’s
pathetic vulnerability in Figures in a Tent, which depicts men changing their clothes. They appear to strain at the fabric as they pull it off, making it disturbingly unclear whether – and why – they are struggling to escape the garments’ confines. All the while, clothes pile at their feet, and the tent’s fabric hangs shroud-like over their heads. The scene is wholly and intentionally discomforting and articulates the haunting everpresent threat of death during the war years.
Vaughan was a prolific diarist, and despite enjoying professional success from the mid-1940s, his journals from this period lament about foundering stylistically. He continued to create works on paper on a modest scale and implement a restrained palette, possibly induced by wartime supply limitations. Despite having fallen in with Graham Sutherland and John Minton, Vaughan began to look more critically upon the verdant intensity of Neo-Romantic painting, and turned instead to the spare clarity of the Abstract Expressionists. He was seriously impressed by Nicolas de Staël’s posthumous 1956 retrospective at the Matthiesen Gallery in London, and in Figures by a House (lot 49), which dates to the same year, one might detect the influence of de Staël’s bold, slab-like forms. Vaughan presents a grey figure silhouetted against an inky sky who faces the viewer and gestures with their arm, but the gesture’s significance is obscured by a structure with sloping walls that drips with mossgreen paint. Both the walls and the figure lean in concert, as if on a different plane from the wider world.
1959 was a pivotal year in Vaughan’s career. A painting residency at Iowa State University allowed him to travel throughout Iowa, Illinois and Mexico, and the dramatic topography encouraged him to concentrate increasingly on painting landscapes. He was also deeply moved by the Iowan’s friendliness and strong sense of community, which may relate to the intimacy of Figures in Conversation (lot 50). The subjects appear to be man and woman, and their relationship is unclear: are they passing strangers or lovers? Despite their proximity, the black forms which prowl behind each figure appear to be sinister portents. Vaughan arrived in January when Iowa was covered in shimmering snow, and the brilliant light and sculptural forms he observed reinvigorated his creativity. Upon his return to Britain, he took up a lectureship at the Slade School of Fine Art, a position he would maintain until his tragic death by suicide in 1977.
50 §
KEITH VAUGHAN (BRITISH 1912-1977)
FIGURES IN CONVERSATION, 1959
signed in pencil (lower right), watercolour and gouache on paper 42cm x 40.5cm (16 ½in x 15 ¾in)
Provenance: with Thomas Agnew & Sons, London; The Collection of Gillian Raffles.
£10,000-15,000
Today, Keith Vaughan is celebrated as one of the most important British artists of the twentieth century. He is represented in important collections including the Government Art Collection, Tate, National Portrait Gallery, Victoria & Albert Museum, and the National Galleries of Scotland.
51 §
GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
CABIN PALM / CACTUS (DOUBLE-SIDED DRAWING), 1948
initialled (lower right), titled and dated (to reverse), pencil on paper; Cactus, pencil and gouache on paper
21.8cm x 16cm (8 5/8in x 6 ¼in)
Provenance: The Collection of Gillian Raffles.
£3,000-5,000
52 §
GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
PALMS (DOUBLE-SIDED DRAWING), 1948
initialled and dated (lower right), pencil on paper
16.8cm x 22.2cm (6 5/8in x 8 ¾in)
Provenance: The Collection of Gillian Raffles.
£1,000-2,000
53 §
KEITH VAUGHAN (BRITISH 1912-1977) SHEET OF STUDIES, c. 1952 pencil on paper
27.2cm x 17cm (10 ¾in x 6 ¾in)
Provenance: The Collection of Gillian Raffles. £700-900
54 §
JOHN CRAXTON R.A. (BRITISH 1922-2009) STANDING GIRL, 1953
55 §
KEITH VAUGHAN (BRITISH 1912-1977)
ROAD MENDER, c. 1960
pencil on paper
27cm x 20cm (10 5/8in x 7 7/8in)
Provenance: The Keith Vaughan Estate; with Agnew’s, London, 2000; The Collection of Gillian Raffles. £800-1,200
signed and dated 3rd October 1953 (lower right), charcoal on paper 57cm x 35cm (22 ½in 13 ¾in)
Provenance: The Leicester Galleries, London; Edward Le Bas Esq., R. A.; The Collection of Gillian Raffles.
Exhibited: Ernest, Brown and Phillips Ltd at The Leicester Galleries, John Craxton, 1954; Royal Academy of Arts, London, A Painter’s Collection - An Exhibition of Paintings, Drawings and Sculptures from the Collection of Edward le Bas R.A., 1963, cat. 280. £2,000-3,000
56 §
ROBERT MACBRYDE (BRITISH 1913-1966)
STILL LIFE - FRUIT IN A DISH (DESIGN FOR ASCHER SQUARE), c. 1947
signed and titled ‘Still Life / MacBryde’ in blue ink (to reverse), monotype on paper 34cm x 33cm (13 3/8in x 13in)
Provenance: Redfern Gallery, London, 1983, from whom acquired by Gillian Raffles; The Collection of Gillian Raffles.
£1,500-2,500
The painter and theatre designer Robert MacBryde collaborated with Ascher Ltd. in the 1940s to create artist-designed scarves. This current original design ‘Still Life’ went into production in 1947 in silk twill in an edition of 225, and MacBryde gave particular thought to the practical nature of the commission and material in designing this work:
“I imagine more could be learned from the past about the application of decoration in textiles – not mere imitation of old patterns, but the correct proportion inside the function of the material.
57 §
Presuming a square to be worn as headgear, it would have a variety of draping dictated by the form of a head and this should not conceal entirely the main pattern.
This design is from a still life painted some time ago and adapted to my idea of a square as something to be worn.”
Zika Ascher, the founder of Ascher Ltd., was known for commissioning contemporary artists to design textiles, resulting in unique and collectible pieces. MacBryde’s collaboration with Ascher is a testament to the fusion of fine art and fashion during that era. The National Gallery of Victoria in Melbourne holds an example of this scarf in its collection.
HENRI MATISSE (FRENCH 1869-1954)
ECHARPE (ASCHER ART SQUARE), 1947
signed in the screen, screenprint on silk
91.5cm x 91.5cm (36in x 36in)
Provenance: The Collection of Gillian Raffles.
£800-1,200
58 §
EDWARD BURRA (BRITISH 1905-1976)
COSTUME DESIGN FOR A WINDMILL IN ‘DON QUIXOTE’, c. 1948-9 studio stamp (lower right), pencil, watercolour and gouache on paper
54cm x 32.5cm (21 ¼in x 12 ¾in)
Provenance: The Lefevre Gallery: Alex. Reid & Lefevre Ltd., London, 1994; The Collection of Gillian Raffles.
£3,000-5,000
These four works by Edward Burra in Gillian Raffles’ personal collection unsurprisingly encapsulate the unique vision of one of her favourite artists. Burra is an artist who defies categorization but whose acerbic wit, visual brilliance and dead-eyed skewering of sex, society and religion makes him one of Britain’s most significant artists of the 20th Century. He is fully deserving of the forthcoming Tate retrospective in June. Burra’s irreverence, his immunity to the prevailing movements of his time (although his work is shot through with the surreal) and his virtuoso technique (almost always in watercolour) masks the importance of his work, which is an intense and serious investigation into the strangeness of the modern world and that darkness that lurks behind to the brightness of money and power, including, in his later years, an unexpected role as a critic of environmental destruction in the name of progress.
Burra had a lifelong engagement with the theatre, as can be seen in these two costume designs, that seethe with menace and a disquiet that extends beyond the stage and to the backstreets beyond. Yet all of Burra’s work has that Kleig-lit feel – a highvoltage, full saturation vision in which people and objects are transformed into personnages (to borrow a term from Surrealism) – ciphers of the strange and uncanny. Burra’s eye transforms the everyday into the extraordinary.
In The Bird, Burra plays with the banal, a full forty years before Jeff Koons engaged Bavarian woodcarvers to realise super-sized tchotchskes. Yet even this mundane image is subverted through the presence of the large – and utterly bizarre – blue egg, that hovers slightly off from the rest of the picture plane, a purely Surrealist ‘jolt’ that calls into question everything about what may be going on here. This then finds its counterpoint in the white splat to the left, leaving little to the imagination, a scatological joke about the reality of an English Arcadia? In this work, then, Burra is charging the everyday with an otherworldly electricity.
59 §
EDWARD BURRA (BRITISH 1905-1976)
THE BIRD, 1946 signed (lower left), watercolour and gouache on paper 48.7cm x 55.5cm (19 1/8in x 21 7/8in)
Provenance: 'The Bird': Sotheby's, Sydney, 22 November, 1992, lot 164 [the image inverted]; The Collection of Gillian Raffles.
£30,000-50,000
60 §
EDWARD BURRA (BRITISH 1905-1976)
DOWNLAND LANDSCAPE
signed (lower right), pen, ink, crayon and wash on paper
35cm x 49.2cm (13 ¾in x 19 3/8in)
Provenance: Waddington Galleries, London; with The Mayor Gallery, London, 1983-4; The Collection of Gillian Raffles.
£2,000-3,000
61 §
EDWARD BURRA (BRITISH 1905-1976)
COSTUME DESIGN FOR CLOWN
pencil, watercolour and gouache on two conjoined sheets
49.5cm x 24.5cm (19 ½in x 9 5/8in)
Provenance: The Collection of Gillian Raffles.
£3,000-5,000
Essential to this is his technique, the brilliance of his use of watercolour to lend a glassy quality to his images, similar to the early style of Lucian Freud. Rather than photo-realism, both Burra and Freud achieve a sort of hyper-realism, where distortions and artifice feel natural.
It wasn’t really until later in Burra's life that landscape, specifically the downlands of East Sussex and Kent, that he had known and loved since childhood, began to dominate his art. Yet even his interest in the landscape is political – in many of these late landscape Burra was railing against the destruction of this landscape, home to man’s earliest wanderings in Britain, by road building and quarrying and the erection of endless electricity pylons. Landscape, then, stripped of Burra’s trademark colour has a sad, elegiac quality to it – which is in some ways unlike Burra, but also very Burra.
Burra has often been seen as a painter of his time, of the inter-war era (and lifestyle) of the Bright Young Things in London or the Harlem Renaissance in New York. Whilst this is true – and perhaps no other artist, other than George Grosz, painted city life in the 20s and 30s quite so well – he is also much more than this. He is also a painter of the macabre, of the hidden and strange, of dislocation and unbelonging. And this makes him very much an artist for our times too.
GILLIAN RAFFLES ON WORKING WITH LESLIE HURRY
“I came late into Leslie’s life and for a reason different from other associates: I was interested in showing his paintings. No one had been interested for twenty years. This gave us what I now realise was a unique relationship among Leslie’s relationships because, unlike his work for the theatre, the work I wanted was done for himself. But all Leslie’s relationships were unique: he kept them all in separate compartments so that they would remain unique.
It was easy to believe him when he said that local children kept away because they thought him a witch: he had no doubt made certain they thought so. Yet he was immensely hospitable and immensely funny, his anecdotes and gossip always entertaining and vaguely flattering because there were the stories about how on occasion he would hide if someone uninvited called, sitting crouched out of sight until they went away, although they must have known he was there.
As so, after my first uncertain visit when I feared I might be unacceptable, and Leslie feared his work might be, we began a friendship and an association which is full of funny memories and still lasts beyond his death. Visits to Buntings for choosing work when we giggled our way through great panic-ridden sessions of titling and signing; other visits on Sundays when we took a hamper and he would greet us wryly with, “Ah, meals on wheels, I see”. But always that self-mocking carapace which was so much Leslie and which to my knowledge he never shed even before a bond of affection and admiration. An infinitely varied, funny, vulnerable and loveable man.”
Quoted in ‘Leslie Hurry: A Painter for the Stage’, The Gallery Stratford and Stratford Festival, Ontario, 1982, exhibition catalogue, accompanying a travelling exhibition to The Library and Museum of Performing Arts at Lincoln Centre, New York (December-January 1983), Dallas Public Library, Dallas (FebruaryApril 1983), The McNay Art Institute, San Antonio, Texas (April-June 1983), The Art Gallery of Cobourg, Cobourg, Ontario (JuneJuly 1983) and The Agnes Etherington Art Centre, Kingston, Ontario (August-September 1983), before touring to England in early 1984.
62 §
LESLIE HURRY (BRITISH 1909-1978)
FOLIO OF COSTUME DESIGNS AND A STAGE SET DESIGN FOR ‘THE BEGGAR’S OPERA’, 1963
twenty-two costume designs, all but one signed and dated, pen, ink, watercolour and fabric swatches on paper, twenty-one 35.5cm x 25cm (14in x 9 7/8in) and one 24cm x 27cm (9 ½in x 10 5/8in); the stage set, pen ink and watercolour on paper, 42cm x 59cm (16 ½in x 23 ¼in), all unframed (23)
£2,500-3,500
64 §
LESLIE HURRY (BRITISH 1909-1978)
FOLIO OF TWELVE DESIGNS FOR COSTUMES AND A STAGE SET
including designs for La Forza Del Destino (1951) and Le Lac Des Cygnes and Hamlet, pen and ink and watercolour on paper the largest costume design: 58cm x 38cm (22 ¾in x 15in), unframed (12)
Provenance: The Collection of Gillian Raffles.
£1,200-1,800
63 §
Provenance: The Collection of Gillian Raffles.
Note: Hurry produced the designs for John Gay’s The Beggars’ Opera produced by the Royal Shakespeare Company in 1963. The music was arranged by Raymond Leppard, and the production directed by Peter Wood at the Aldwych Theatre, opening on 16 July 1963.
According to The Daily Mail Hurry’s costumes caught ‘Gay’s bitter spirit perfectly’ (17 July 1963).
LESLIE HURRY (BRITISH 1909-1978)
ENTHRONED FIGURE, 1948
signed and dated (lower left), pen, ink, watercolour and gouache on paper 38cm x 55cm (15in x 21 5/8in)
Provenance: with Fischer Fine Art Ltd, London; The Collection of Gillian Raffles.
£300-500
“For a couple of decades Gillian’s gallery was a constant presence in Edinburgh, exhibiting excellent Scottish, wider British, and European works of art alongside each other which was unusual. Gillian had a distinctive role in Scotland’s culture with a terrific eye for great artists and great works of art. I remember visiting the gallery on The Mound in Edinburgh as a young art student. It was small, welcoming and there was always something fascinating to see and learn about.
I eventually met Gillian when I was curating the 2011 Elizabeth Blackadder retrospective exhibition for the National Galleries of Scotland. She was one of a very few galleries that had shown Blackadder's work through her career, dealing in excellent works, not just in Scotland but more widely through her gallery in London's famous Cork Street. I went to visit Gillian in Essex and was charmed by her very beautiful home in the countryside, full of lovely paintings, drawings and sculpture, particularly by Blackadder and Henri Gaudier-Brzeska. Gillian had great insight into Blackadder’s art and so it was very helpful to hear her views and first-hand knowledge.
Gillian very kindly lent to the exhibition herself and came to the exhibition opening where she was reunited with many old friends, not least because she was an inveterate supporter of so many artists for decades. She loved what she dealt in.”
Curator of the 2011 National Galleries of Scotland
Elizabeth Blackadder retrospective exhibition
PHILIP LONG
65 §
JOHN HOUSTON R.S.A., R.S.W., S.S.A. (BRITISH 1930-2008)
CORNFIELDS, DUSK,1999
signed (lower left), signed, titled and dated on stretcher (to reverse), oil on canvas
38.7cm x 49cm (15 ¼in x 19 ¼in)
Provenance: The Collection of Gillian Raffles. £2,000-3,000
66 §
JOHN HOUSTON R.S.A., R.S.W., S.S.A. (BRITISH 1930-2008)
WOMAN AND BLACK CATS, 1998-99
signed in pencil (lower left) and titled and dated to label (to reverse), crayon, ink, watercolour and gouache on paper
16.3cm x 13.2cm (6 ½in x 5 ¼in)
Provenance: The Collection of Gillian Raffles. £400-600
67 § JOHN HOUSTON R.S.A., R.S.W., S.S.A. (BRITISH 1930-2008)
THE END OF THE PARTY, 1984 signed and dated (lower left), and signed, titled and dated to stretcher (to reverse), oil on canvas
60cm x 64.7cm (23 5/8in x 25 ½)
Provenance: The Collection of Gillian Raffles. £2,000-4,000
§
ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT (BRITISH 1931-2021)
STILL LIFE WITH LOLLIPOPS, 2000 signed and dated (lower left), oil on canvas 59cm x 59cm (23 ¼in x 23 ¼in)
Provenance: The Collection of Gillian Raffles. £4,000-6,000
ANDY GOLDSWORTHY O.B.E. (BRITISH 1956- ) SINGLE SANDSTONE, 1987
split and carved stone 110cm long (43 3/8in long)
Provenance: Sotheby’s, London, Contemporary British Paintings and Sculpture, 5 November 1990, lot 27; The Collection of Gillian Raffles.
£2,000-3,000
72 §
MARY NEWCOMB (BRITISH 1922-2008) BENIGN SEDGE CLUMPS WITH TEETH EDGESTHE RIVER CONWAY FLOODING, 1982 signed and dated (lower right), oil on canvas 67cm x 77.5cm (26 3/8in x 30 ½in)
Provenance: with Crane Kalman Gallery, London, 1982; The Gillian Raffles Collection.
£8,000-12,000
73 §
ANA MARIA PACHECO (BRAZILIAN 1943-)
STUDY OF HEAD
polychrome wood and glass on painted wooden plinth
head: 19cm high (7 ½in high); overall: 155.5cm high (61 ¼in)
Provenance: The Collection of Gillian Raffles.
£1,500-2,000
LOTS 79 - 456 FRIDAY 02 MAY FROM 10AM
LOTS 74-123 THE GILLIAN RAFFLES COLLECTION (CONTINUED)
LOT 124 L S LOWRY, GOING TO THE MILL
LOTS 175-241 THE COLLECTION OF PROFESSOR JOHN CHAMBERS
LOTS 312-322 WORKS FROM THE ESTATE OF JOCELYN BURTON
LOTS 357-374 WORKS FROM THE ESTATE OF LAURENCE BRODERICK
WORKING WITH GILLIAN RAFFLES
MERCURY GALLERY, CORK STREET 1988-1993
Gillian Raffles was a private person who didn’t like a fuss and didn’t suffer fools gladly. Some found her “difficult” and “scary,” but I admired her as a boss, successful businesswoman, and friend. I hope to do her justice by sharing insights from my time working alongside her.
Gillian started Mercury Gallery London in 1964, and I had the privilege of working with her at 26 Cork Street during the late 80s and early 90s. After an introduction by Andrew Murray from Mayor Gallery and several weeks of salary negotiations, I left Whitford and Hughes in Duke Street St James’s and joined Mercury Gallery. Despite the challenges of Black Monday in 1987, it was a booming time for her gallery. Cork Street was then the epicentre of the art world in London.
Mercury Gallery had two levels: ground and basement. The basement housed a vast stockroom with works by gallery artists and stock that Gillian had acquired over the years. This commitment to stock possibly underpinned the gallery’s survival until it closed in 2001. It allowed Mercury to showcase emerging artists like Samira Abassy, Simon Laurie and Carol Ann Sutherland, as well as established artists such as Elizabeth Blackadder, David Gentleman, John Houston, David Michie and Mick Rooney. Gillian’s conviction and continuity supported the price structure and gave buyers confidence in what she was selling. Her keen eye ensured that many of the works in the exhibitions were of museum quality.
A typical year at the gallery consisted of ten shows, an impressive feat for what was essentially a “One Man Band.” We also participated in international art fairs like Chicago and Olympia. With no gallery technicians, administration staff, or cleaners, we handled everything ourselves. Eight shows were solo exhibitions, and the other two featured work from the stock of mainly Modern British works and gallery artists. Before a solo show, Gillian would visit the artist’s studio wherever they were in the UK, often bringing back work in her trusty Volvo. We organized framing, wrote and published catalogues, produced professional high-resolution transparencies, sent press releases, purchased advertising, sent invitations and hosted Private Views. The gallery was meticulously prepared for each show with price lists, lighting, labels, flowers and window lettering all in place. Malcolm, our white-coated barman, helped at Private Views and Gillian often entertained artists, clients and friends afterwards at her flat overlooking the river in Oliver’s Wharf, Wapping.
Gillian brought her style to everything she did, from catering and gardening to interior design. She had strong opinions and a distinctive dress code, which evolved over time. By the time I left Mercury in 1993, Gillian herself was wearing trousers which had been previously banned. Her own gallery “uniform” in charcoal, black and cream typically consisted of tailored wool or linen skirts, fluid silk shirts, and court shoes all accessorized with antique gold jewellery and a soft leather clutch bag. Patterned clothes fabric made her “feel ill.”
Gillian was highly knowledgeable and respected in her field. She authenticated Henri Gaudier-Brzeska drawings and had close relationships with directors of Piccadilly Gallery, Annely Juda, Redfern and auction houses. She contributed to Roger Cole’s book on Henri Gaudier-Brzeska and organized a world-class exhibition to celebrate Henri GaudierBrzeska’s 100th birthday. Her project to realize the “Bird Bath” demonstrated her passion and vision. She commissioned sculptor Jane Truzzi-Franconi to scale up (x6) and cast three birdbaths in bronze, one of which took pride of place in her Essex garden.
Loyal clients and artists became friends, and Gillian’s office was often filled with laughter and the smell of coffee. She rarely went out for lunch unless with family and seems to have been sustained by the black coffee, mints and liquorice that were in constant supply. Her sense of fun and interest in people of all ages made her a captivating host. My friends became her friends, and she held memorable summer parties at Brook House. My daughters fondly remember exploring the lake, boathouse and gardens during their visits.
Gillian’s influence extended beyond the gallery. She instilled in me an appreciation for beauty in all aspects of life, from cooking and clothes to interiors and art. Her legacy lives on through the works of art that surround us at home, and I am grateful for that passion she ignited in me.
I am glad to have had the opportunity to share memories from Mercury Gallery and beyond. Gillian Raffles was a powerhouse, and her place in history as a highly successful art dealer and gallery owner should be documented and celebrated.
Sue, Lady Bright Orkney - February 2025
SCOTTIE WILSON IN CANADA: THE BIRTH OF AN OUTSIDER ARTIST
Scottie Wilson was a self-taught ScottishJewish Outsider artist, born Louis Freeman in 1888 in Glasgow, Scotland, and renowned for his intricate and symbolic drawings. In the 1930s, while operating a second-hand shop in Toronto, Canada, he began creating art, often using pen and ink to produce detailed works featuring recurring motifs such as birds, fish and totem-like figures. His compositions frequently juxtaposed benevolent symbols with malevolent ones he termed ‘evils and greedies,’ reflecting a personal moral code.
It was during this period, before his return to London in 1945, that his unique style garnered attention, and in 1943 he held his first solo exhibition in Toronto. He recalled the origins of his profession in typically dramatic style:
“[I found a pen that] . . . looked like a bulldog, with a nib as thick as my finger! 14ct gold it was and so unusual, so striking that I said I’m going to keep this pen. I didn’t want to break up the bulldog pen with its nib so thick and beautiful. So I kept it. I took my shop in Young [sic] Street. A general store it was, and a few days after opening the shop I bought a large table with a thick cardboard top on which to stand my radio. I’m listening to classical music one day – Mendelssohn – when all of a sudden I dipped the bulldog pen into a bottle of ink and started drawing – doodling I suppose you’d call it – on the cardboard table-top. I don’t know why. I just did. In a couple of days – I worked almost ceaselessly
– the whole of the table-top was covered with little faces and designs. The pen seemed to make me draw and the images, the faces and designs just flowed out. I couldn’t stop –I’ve never stopped since that day.” (Quoted in Marzolf, Helen, Scottie Wilson: The Canadian Drawings, Dunlop Art Gallery, 1989, p. 8.)
This significant collection of early drawings reveals most of the major motifs that Wilson would develop throughout his career, including the organisational structure in his drawing and hatching techniques. Small human-like faces, peculiar reptilian forms, insects, fish, alongside stylised flowers, vegetation, trees and imaginative and fanciful architecture all inhabit Wlson’s particular visual world.
During his lifetime Wilson’s unique drawings drew the attention Surrealist artists and were collected by Jean Dubuffet and Pablo Picasso. Decades after his death, he is celebrated as one of the classic Outsider artists. In 1989, the Dunlop Art Gallery in Saskatchewan organized a retrospective titled ‘Scottie Wilson: The Canadian Drawings/ Les Dessins Canadiens,’ highlighting his contributions during his time in Canada. His work is now held in prestigious collections including the National Gallery of Canada in Ottawa, Tate Britain in London and the Museum of Modern Art in New York, underscoring his lasting impact on the art world.
75 §
SCOTTIE WILSON (BRITISH 1891-1972)
MOSCOW OVERTURE, 1946
signed in ink (lower right), titled, dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 52cm x 38.3cm (20 ½in x 15in); together with THE PALACE OF PEACE, 1945, signed in ink (lower right), titled, dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 38.5cm x 52.5cm (15 1/8in x 20 5/8in); and a further CRANES AND CHORISTERS, 1944, signed in ink (lower right), titled, dated and inscribed SASKATOON CITY - FLYING
OFFICER GORDON DAVY. R.A.F - REGINA R.C.A.F. - CIRCLE GALLERY - FULHAM RO. S.W.10. in pencil (to reverse), ink and watercolour on paper, 52.5cm x 38.5cm (20 5/8in x 15 1/8in) all unframed (3)
Provenance: The Collection of Gillian Raffles
£800-1,200
SCOTTIE WILSON (BRITISH 1891-1972)
CHORISTER AND CRANES, 1944
signed in ink (lower right), titled, dated and inscribed SASKATOON CITY TO FLYING
OFFICER GORDON
DAVY R.A.F. REGINA
R.C.A.F. - CIRCLE
GALLERY 1968 in pencil (to reverse), ink and watercolour on paper, 52cm x 38.5cm (20 ½in x 15 1/8in); together with OWLS, FISH AND CHURCH, 1944, signed in ink (lower right), dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 52.5cm x 38.5cm (20 5/8in x 15 1/8in); and a further LEDA AND THE SWAN, 1944, signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY - 1968 - FULHAM ROAD (to reverse), ink and watercolour on paper, 57cm x 38.5cm (22 3/8in x 15 1/8in)
all unframed (3)
Provenance: The Collection of Gillian Raffles. £800-1,200
SCOTTIE WILSON (BRITISH 1891-1972)
77
SCOTTIE WILSON (BRITISH 1891-1972)
THE GREAT FISH AND THE LITTLES FISHES (AESOP’S FABLES), 1945
signed in ink (lower right), inscribed in pencil Our insignificance is often the cause of our safety. Aesop; further titled, dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 38.5cm x 54cm (15 1/8in x 21 ¼in); together with ANGEL FISH, 1944, signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY, FULHAM RD. 1968. (to reverse), ink and watercolour on paper, 52cm x 38cm (20 ½in x 15in)
all unframed (2)
Provenance: The Collection of Gillian Raffles.
£600-800
THE SNAKE AND THE BULL (AESOP’S FABLES), 1945
signed in ink (lower right), inscribed It is better to have an evasive body than to have decisive weapons. Aesop in pencil (lower centre); also titled, dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 52cm x 38.5cm (20 ½in x 15 1/8in); together with THE GRASSHOPPERS AND THE ASS (AESOP’S FABLES), 1945, signed in ink (lower right), inscribed One man’s meat is another man’s poison. Aesop (lower centre); further titled, dated and inscribed SASKATOON CITY (to reverse), ink and watercolour on paper, sheet: 38.5cm x 46.5cm (15 1/8in x 18 ¼in) all unframed (2)
Provenance: The Collection of Gillian Raffles.
£600-800
78 §
SCOTTIE WILSON (BRITISH 1891-1972)
THE FLIES AND THE HONEYPOT (AESOP’S FABLES), 1944 signed in ink (lower right), inscribed The flies and the honeypot. Aesop in pencil (lower right); further titled, dated and inscribed SASKATOON CITY - CIRCLE GALLERY. 1967. (to reverse), ink and watercolour on paper, 38cm x 51.5cm (15in x 20 ¼in); together with LEDA AND THE SWAN, 1944, signed in ink (lower right), titled, dated and inscribed TO GORDON DAVY, FLYING OFFICER R.A.F., REGINA R.C.A.F., FROM SASKATOON CITY - CIRCLE GALLERY - FULHAM RD. 1968 in pencil (to reverse), ink and watercolour on paper, 52cm x 38cm (20 ½in x 15in); and a further THE MOUSE AND THE LION (AESOP’s FABLES), 1946, signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY. 1968 in pencil (to reverse), ink and watercolour on paper, 53cm x 38.5cm (20 7/8in x 15 1/8in) all unframed (3)
Provenance: The Collection of Gillian Raffles. £800-1,200
79 §
SCOTTIE WILSON (BRITISH 1891-1972)
THE SCORPION AND THE LEOPARD (AESOP’S FABLES), 1946
signed in ink (lower right), titled in pencil (lower centre), dated and inscribed WINDSOR - ONTARIO in pencil (to reverse), ink and watercolour on paper, 37.8cm x 52cm (14 7/8in x 20 ½in); together with THE LEOPARD AND THE MONKEY (AESOP’S FABLES), 1944, signed in ink (lower right), inscribed A versatile mind is better than a variegated coat. Aesop in pencil (lower centre); further titled, dated and inscribed SASKATOON CITY in pencil (to reverse), ink and watercolour on paper, 37.5cm x 51cm (14 ¾in x 20in) all unframed (2)
Provenance: The Collection of Gillian Raffles. £600-800
80 §
SCOTTIE WILSON (BRITISH 1891-1972)
ANGEL FISH, 1944
signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY 1968. FULHAM RD in pencil (to reverse), ink and watercolour on paper, 52.4cm x 38.5cm (20 5/8in x 15 1/8in); together with TOAD OF TOAD HALL, 1946, signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY 1968 - FULHAM RD. in pencil (to reverse), ink and watercolour on paper, 54cm x 38.5cm (21 ¼in x 15 1/8in); and a further THE COMPLEAT ANGLER, 1944, signed in ink (lower right), titled, dated and inscribed CIRCLE GALLERY - FULHAM RD 1968 in pencil (to reverse), ink and watercolour on paper, 51.5cm x 38cm (20 ¼in x 15in) all unframed (3)
Provenance: The Collection of Gillian Raffles. £800-1,200
81 §
SCOTTIE WILSON (BRITISH 1891-1972)
THE RAVEN AND THE SWALLOW (AESOP’S FABLES), 1945 signed in ink (lower right), inscribed ‘Your beauty is but for the summer but mine will stand many winters’ Aesop. in pencil (to right hand side); further titled, dated and inscribed SASKATOON CITY (to reverse), ink and watercolour on paper, (38cm x 53cm (15in x 20 7/8in); together with THE TORTOISE AND THE EAGLE (AESOP’S FABLES), 1944, signed in ink (lower right), titled, dated and inscribed LONDON ONTARIO (to reverse), ink and watercolour on paper, 38cm x 54.4cm (15in x 21 3/8in); and a further THE VAIN JACKDAW (AESOP’S FABLES), 1945, signed in ink (lower right), inscribed ‘Had you been contented with what nature made you, you would have escaped the chastisement of your betters and also the contempt of your equals.’ Aesop. (lower right); further titled, dated and inscribed PAINTED AT R.C.AF. MOOSEJAW - SASKATUAN in pencil (to reverse), ink and watercolour on paper, 52.5cm x 38.5cm (20 5/8in x 15 1/8in); and a further EAGLE AND THE WEASEL (AESOP’S FABLES), 1945, signed in ink (lower right), titled, dated and inscribed SASKATOON CITY TO FLYING OFFICER GORDON DAVY R.A.F. REGINA R.C.A.F. - CIRCLE GALLERY 1968 in pencil (to reverse), ink and watercolour on paper, 52cm x 38.5cm (20 ½in x 15 1/8in) all unframed (4)
Provenance: The Collection of Gillian Raffles. £1,000-1,500
82 §
SCOTTIE WILSON
(BRITISH 1891-1972) BUTTERFLIES, BIRDS AND FISH
signed SCOTTIE (lower right), pen, ink and crayon on card
37cm x 23.5cm (14 ½in x 9 ½in), unframed
Provenance: The Collection of Gillian Raffles.
£300-500
83
OSKAR ZWINTSCHER (GERMAN 1870-1916)
THE MARRIED COUPLE, 1902
signed and dated (lower right), pen, ink and pencil on paper
26cm x 25cm (10 ¼in x 9 7/8in), unframed
Provenance: The Collection of Gillian Raffles.
£300-500
84 §
EMERIK FEJEŠ (CROATIAN 1904-1969)
ST. STEPHEN’S CATHEDRAL, VIENNA
signed (to right hand side), titled WIEN (upper left) and inscribed with personal message from the artist to Gillian Raffles dated 1966 (to reverse), pen and gouache on paper
21cm x 12cm
Provenance: The Collection of Gillian Raffles.
£300-500
In January 1967 the Mercury Gallery mounted a highly successful exhibition of the work of Malcolm de Chazal in association with the High Commission of Mauritius and with the help of Tom Driberg M.P.
86
MALCOLM DE CHAZAL (MAURITIAN 1902- 1981)
VILLAGE AND TREE
signed (lower right), poster paint on sugar paper
50.3cm x 65.5cm (19 ¾in x 25 ¾in), unframed
Provenance: The Collection of Gillian Raffles.
£800-1,200
85
MALCOLM DE CHAZAL (MAURITIAN 1902- 1981)
FLOWER GARDEN
signed (lower right), pencil, watercolour and oil on paper
67.5cm x 100.5cm (26 ½in x 39 ½in)
Provenance: The Collection of Gillian Raffles.
£600-800
87
MALCOLM DE CHAZAL (MAURITIAN 1902- 1981)
LANDSCAPE WITH FISH
signed (lower right), poster paint on paper
58cm x 78cm (22 ¾in x 30 ¾in), unframed
Provenance: The Collection of Gillian Raffles.
£800-1,200
88 §
ALBERT HOUTHUESEN (BRITISH 1903-1979)
EASTERN SHORE, 1969-70
signed (lower centre), titled and dated (to reverse), acrylic on canvas
40cm x 50cm (15 ¾in x 19 5/8in)
Provenance: The Collection of Gillian Raffles.
£400-600
89 §
ALBERT HOUTHUESEN (BRITISH 1903-1979)
TURBULENT SEA, 1970
signed (lower left), titled and dated (to reverse), acrylic on canvas
39cm x 49.5cm (15 3/8in x 19 ½in)
Provenance: The Collection of Gillian Raffles.
£300-500
90 §
CAROL ANN SUTHERLAND (BRITISH 1952-) HOUSEBOAT, 1989
signed and dated in pencil
(lower left), mixed media and collage on paper
74cm x 100cm (29 1/8in x 39 3/8in)
Provenance: The Collection of Gillian Raffles.
£300-500
91 §
PAVEL TCHELITCHEW (RUSSIAN 1898-1957)
TREE, 1939
signed and dated (lower right), and inscribed Edward James in pencil (to reverse), pen and ink on paper
27.5cm x 21.5cm (10 7/8in x 8 ½in), unframed
Provenance: The Collection of Gillian Raffles.
£500-800
92 §
PAVEL TCHELITCHEW (RUSSIAN 1898-1957)
HEAD OF A CLOWN, 1938
signed and dated in ink (lower right), pen, ink, watercolour and wash on paper
37cm x 26.5cm (14 ½in x 10 3/8in)
Provenance: The Collection of Gillian Raffles.
Note: This work is a return to the metamorphic and trompe l’oeil themes in Tchelitchew’s work around 1930. J. T. Soby wrote in Tchelitchew, New York, 1942, ‘He intended his second and subsequent images to merge with and into the basic form of the picture, never obtruding themselves or obliterating…the outlines and impact of the original theme’.
£1,200-1,800
93 § ERNST EISENMAYER (AUSTRIAN 1920-2018)
FIVE DRAWINGS
Man and Dog, 1969, signed and dated (lower right), watercolour, gouache and oil on paper, 57cm x 39.5cm (22 ½in x 15 ½in), unframed; Man and Dog on Lead, 1969, signed and dated (lower right), watercolour, gouache and oil on paper, 21.5cm x 36cm (8 ½in x 14 1/8in), unframed; Man and Woman, 1968, signed and dated, watercolour, gouache and oil on paper, 36cm x 47cm (14 1/8in x 18 ½in), unframed; Head, 1969, signed and dated (lower left), watercolour, gouache and oil on paper, 55cm x 36.5cm (21 5/8in x 14 3/8in), unframed; Figures and Bull, 1968, signed and dated (lower right), mixed media on paper, 35.5cm x 51cm (14in x 20in), unframed (5)
Provenance: The Collection of Gillian Raffles. £600-800
94
MAX JACOB (FRENCH 1876-1944) THEATRE SCENE, 1924 signed and dated Juin 24 in pen (lower left), gouache and mixed media on paper 27cm x 35.3cm (10 5/8in x 13 7/8in)
Provenance: The Collection of Gillian Raffles.
£800-1,200
95 §
MICK ROONEY R.A. (BRITISH 1944-) HERO, 1978
initialled and dated (lower right), tempera on panel 14cm x 10.3cm (5 ½in x 4in)
Provenance: The Collection of Gillian Raffles.
Exhibited: Arts Council of Great Britain, London, Headhunters, 1984, cat. no. 68.
£600-800
96 §
MICK ROONEY R.A. (BRITISH 1944-) THE KITCHEN PORTER, 1994
signed and dated (lower left), oil on canvas 21.5cm x 30cm (8 ½in x 11 ¾in)
Provenance: The Collection of Gillian Raffles.
£400-600
97 §
DAVID REMFRY M.B.E, R.A., R.W.S. (BRITISH 1942-)
SEATED GIRL, 1981
signed and dated in pen (lower right), watercolour on paper 79cm x 56.5cm (31in x 22 ¼in)
Provenance: The Collection of Gillian Raffles. £500-700
98 §
DAVID REMFRY M.B.E, R.A., R.W.S. (BRITISH 1942-)
GIRL AND DUCK
inscribed Happy Birthday Gillian love from David and Jack in pencil (lower right), watercolour and gouache
27.5cm x 25.5cm (10 7/8in x 10in)
Provenance: The Collection of Gillian Raffles. £400-600
99 §
DAVID GENTLEMAN R. D. I. (BRITISH 1930-)
MOMBASA: OUTER WALLS OF PORT JESUS, 1976 signed and dated in ink (lower left), pen, ink and watercolour on paper 38cm x 55.5cm (15in x 21 7/8in)
Provenance: The Collection of Gillian Raffles. £400-600
100 §
DAVID GENTLEMAN, R. D. I. (BRITISH 1930-)
THREE EARLY MORNING STUDIES OF KILIMANJARO, KENYA, 1976
signed and dated (lower right), watercolour and pencil each 12cm x 27.5cm (under one mount)
Provenance: The Collection of Gillian Raffles. £300-500
GERONA CATHEDRAL, MOONLIGHT signed (lower right), chalk and wash on paper 27cm x 36cm (10 5/8in x 14 1/8in)
Provenance: with P & D Colnaghi, London; The Collection of Gillian Raffles.
£600-800
SIR MUIRHEAD BONE
102 §
SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A.,
H.R.E., L.L.B., D.LITT (BRITISH 1876-1953)
THE CIRCUS, GREAT YARMOUTH, c.1913
signed (lower centre), pen, ink and crayon on paper
21.3cm x 25.5cm (8 3/8in x 10in)
Provenance: The Collection of Gillian Raffles.
£600-800
103 §
SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT (BRITISH 1876-1953)
FLYING BUTTRESSES, LEON CATHEDRAL charcoal on paper
36cm x 26cm (14 1/8in x 10 ¼in)
Provenance: The Collection of Gillian Raffles. £600-800
104 §
SIR MUIRHEAD BONE H.R.S.A., H.R.W.S., H.A.R.I.B.A., H.R.E., L.L.B., D.LITT (BRITISH 1876-1953)
BOMBED OUT BUILDING
signed and indistinctly titled The ???? of French’s (lower right), pen, ink and watercolour
30.5cm x 22.2cm (12in x 8 ¾in)
Provenance: The Collection of Gillian Raffles.
£500-700
105
§
ATTRIBUTED TO HENRY MOORE O.M., C.H. (BRITISH 1898-1986)
MOTHER AND CHILD
pencil, pen and ink on paper 16cm x 9.8cm (6 ¼in x 3 ¾in)
Provenance: The Collection of Gillian Raffles.
£800-1,200
106 §
AUGUSTUS JOHN O.M, R.A. (BRITISH 1878-1961)
THREE FIGURES IN A LANDSCAPE, 1915
pen and ink and wash, signed lower right 44cm x 40cm (17 ¼in x 15 ¾in)
Provenance: Christie’s London, Modern British & Irish Paintings, Watercolours, Drawings & Sculpture, 11 March 1994, lot 104.
Note: We are grateful to Rebecca John for her kind assistance with cataloguing this work.
£800-1,200
107 §
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)
WASHING DAY, STUDY FOR LEEDS DECORATION, c.1920
pencil and wash on squared up paper
51cm x 35.5cm (20in x 14in)
Provenance: The Collection of Gillian Raffles.
Note: In 1920, the eminent collector Sir Michael Sadler tried to persuade the city authorities in Leeds to commission a series of large scale works to decorate the Town Hall. Sadler chose six artists, including Spencer, to produce rough sketches. Spencer visited Leeds and was inspired by the theme of washing day in the city’s slums, which resonated with his general interest in finding the extraordinary and the spiritual in the everyday. However, the commission was never carried out as Sadler’s project failed to find traction.
£2,000-3,000
108 §
PERCY WYNDHAM LEWIS (BRITISH 1882-1957)
FIGURE KNITTING, 1942
signed and dated in pencil (lower left), pencil, watercolour and gouache on paper 35cm x 45cm (13 ¾in x 17 ¾in)
Provenance: The Collection of Gillian Raffles.
Exhibited: Art Gallery of Windsor, Windsor, Ontario, “The Talented Intruder” - Wyndham Lewis in Canada, 1939-1945, 21 November - 24 January 1993, travelling to Glenbow Museum, Calgary and Art Gallery of Ontario, Toronto, cat. no. 57; Olympia Art & Antiques Fair, London, 1-6 March 2005, cat. no. WL-028.
Literature: Michel, Walter, Wyndham Lewis: Paintings and Drawings, Thames and Hudson, London, 1971, cat. no. 1014, pl. 142, illustrated. £3,000-5,000
109 §
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)
SKETCH FOR ‘MAKING FIRE BELT, BANGALORE’
titled in pencil (upper left), Stanley Spencer Studio Sale stamp (lower right), pencil on paper
35.3cm x 25.2cm (13 7/8in x 9 7/8in), unframed
Provenance: Christie’s, London, Stanley Spencer Studio Sale, 5th November 1998; The Collection of Gillian Raffles.
£1,000-2,000
111 §
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)
SKETCH FOR ‘SWAN UPPING’ titled in pencil (upper left), Stanley Spencer Studio Sale stamp (to reverse), pencil, watercolour and wash on paper
35cm x 25.8cm (13 ¾in x 10 1/8in), unframed
Provenance: Christie’s, London, Stanley Spencer Studio Sale, 5th November 1998; The Collection of Gillian Raffles.
£1,000-2,000
110 §
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959)
HILDA
pencil on buff paper
39.5cm x 27cm (15 ½in x 10 5/8in)
Provenance: The Collection of Gillian Raffles.
£1,500-2,500
112 §
GEORG EHRLICH (AUSTRIAN 1897-1966)
HEAD OF A GOAT, c. 1950-5
signed EHRLICH (to bronze stem), patinated bronze on wooden base
initialled in pencil (in the margin lower right) and numbered in pencil I/ XX (in the margin lower left), etching on paper plate: 14.6cm x 9.7cm (5 ¾in x 3 7/8in); sheet: 28.5cm x 19cm (11 ¼in x 7 ½in)
Provenance: The Collection of Gillian Raffles. £600-800
113
FRANCIS PICABIA (FRENCH
1879-1953)
HAPPY NEW YEAR
initialled and inscribed Bonne Année / meilleurs vieux et soutraits sincères (lower edge), pen and ink on paper 25cm x 20cm (9 7/8in x 7 7/8in)
Provenance: The Collection of Gillian Raffles.
£1,500-2,000
115
PIERRE BONNARD (FRENCH 1867-1947)
TÊTE DE JEUNE FILLE, c.1920
studio stamp (lower centre), pen and ink on water-marked paper
7.2cm x 8cm (2 ¾in x 3 1/8in)
Provenance: The Collection of Gillian Raffles.
Exhibited: Mercury Gallery, London, Summer Exhibition, 14 July - 2 October 1971, no. 23.
£800-1,200
116
C. R W. NEVINSON A.R.A. (BRITISH 1889-1946)
ANY LONDON STREET, c. 1922 (BLACK 100) signed in pencil (in the margin lower right), etching on laid paper plate: 13.7cm x 17.2cm (5 3/8in x 6 5/8in)
Provenance: The Collection of Gillian Raffles. £1,000-1,500
117 §
LOUIS ROBERT JAMES (AUSTRALIAN 1920-1996)
THE CHURCH
signed (lower left), oil on board
23.7cm x 29cm (9 ¼in x 11 ½in)
Provenance: The Collection of Gillian Raffles.
£600-800
118 §
MICHAEL AYRTON (BRITISH 1921-1975) BROKEN BEACH, 1962
signed and dated (upper left), titled and dated (to reverse), collage on board
24.5cm x 31.5cm (9 ¾in x 12 3/8in)
Provenance: with Matthiesen Galleries, London; The Collection of Gillian Raffles.
£2,000-3,000
119 §
EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) DURSTON WOODS, SOMERSET, 1973
signed (lower right), watercolour on paper
55.5cm x 76cm (21 ¾in x 30in)
Provenance: The Collection of Gillian Raffles. £2,500-3,500
120 §
KEITH VAUGHAN (BRITISH 1912-1977)
WORK PARTY, BULFORD CAMP, 1941 pen, ink and wash on paper 12cm x 16.2cm (4 ¾in x 6 3/8in)
Provenance: The Keith Vaughan Estate; with Agnew’s, London, 2000; The Collection of Gillian Raffles.
£1,000-1,500
121 §
KEITH VAUGHAN (BRITISH 1912-1977)
FIGURES IN A TENT, 1942 pen and ink and wash on paper
13.3cm x 18.5cm (5 14/in x 7 ¼in)
Provenance: Thomas Agnew & Sons, Ltd, London, 1986; The Collection of Gillian Raffles.
£1,000-2,000
122 §
KEITH VAUGHAN (BRITISH 1912-1977)
LANDSCAPE WITH A GROUP OF FIGURES, 1958 Indian ink and wash on paper 21.5cm x 21.5cm (8 ½in x 8 ½in)
Provenance: The Collection of Gillian Raffles.
£700-900
123 §
GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
CLEGYR BOIA I (FRONTISPIECE TO ‘SIGNATURE’ MAGAZINE), 1938 etching and aquatint on paper, edition of approximately 1000 and some Artist’s Proofs 19.5cm x 14.2cm (7 ¾in x 5 5/8in)
Provenance: The Collection of Gillian Raffles.
Literature: Douglas Cooper, The Work of Graham Sutherland, 1961, p. 69, pl.4a, as ‘Welsh Landscape’ and incorrectly dated 1936; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, no. 37, as ‘ClegyrBoia, a landscape in Wales’.
£700-900
END OF THE GILLIAN RAFFLES COLLECTION
A PAINTER OF MODERN LIFE
L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated painters. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’
The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’
Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity
L.S. Lowry standing in Oldham, 1964. (Photo by Tony Evans/Getty Images)
who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.
Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the
‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who –intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did.
124 §
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976)
GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel 43.2cm x 53.4 cm (17in x 21in)
Provenance: Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner.
Exhibited: On long-term loan to Pallant House Gallery, Chichester, 2013-2024 £700,000-1,000,000
125
ÁLVARO GUEVARA (CHILEAN 1894-1951)
THE RED BEARD, 1916-17 oil and chalk on board
39.8 x 58cm (15 ¾in x 22 ¾in)
Provenance: The Estate of the Artist; Colnaghi & Co., London, where acquired by the father of the present owner, 1975.
Exhibited: Colnaghi & Co., London, Alvaro Guevara: A Chilean Painter in London and Paris, 3 December 1974-10 January 1975, cat. no. 59 (dimensions listed differently).
£3,000-5,000
126 §
LAURENCE STEPHEN LOWRY R.A. (BRITISH 1887-1976)
MOOD OF THE NORTH, 1960
signed and dated (lower right) pencil on buff exhibition catalogue cover 19.2cm x 25.5cm (7 ½in x 10in)
Provenance: Andras Kalman; Crane Kalman Gallery, London, where acquired by R Rickard Esq., April 1979 and thence by family descent; Private Collection, U.K.
Note: The work is drawn on Andras Kalman’s copy of the exhibition catalogue for the 1957 Crane Kalman show, Mood of the North, featuring work by Lowry, and is accompanied by a ‘copy’ made by Kalman himself, on the inside pages of the same catalogue
£4,000-6,000
127 §
JOSEF HERMAN
O.B.E., R.A. (POLISH/ BRITISH 1911-2000)
TWO LABOURERS, 1966 signed, titled and dated in pen (to reverse), oil on canvas
25.2 x 35.5cm (10in x 14in)
Provenance: Roland, Browse & Delbanco, London; Sotheby’s London, Modern British and Irish Paintings and Drawings, 2 May 1990, lot 127, where acquired by the previous owner and thence by descent to the present owner.
£2,500-3,500
128
ERNEST PROCTER (BRITISH 1885-1935)
CARREFOUR CHARPENTIER, YSER, NOVEMBER 1917, 1917
signed in pencil (lower left), watercolour and bodycolour on brown paper 24.5cm x 34cm (9 5/8in x 13 ½in)
Provenance: Acquired from Austin Desmond Fine Art Ltd, London, 19 January 1989, by the previous owner and thence by descent to the present owner. £500-800
129 §
SIR JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)
EPPING FOREST
gouache and watercolour on paper 43cm x 57.5cm (17in x 22 ¾in)
Provenance: Arthur Tooth & Sons Ltd, London; Christie’s, London, Modern British Pictures, 2 May 1991, lot 125, where acquired by the previous owner and thence by descent to the present owner.
£1,000-1,500
ALFRED AARON WOLMARK (BRITISH 1877-1961)
STILL LIFE OF BENEDICTINE BOTTLE, FLOWERS AND FRUIT
signed (lower right), oil on board
41.5cm x 37cm (16 3/8in x 14 ½in)
Provenance: with Cyril Gerber Fine Art, Glasgow; Private Collection, U.K.
£1,000-1,500
131 §
SIR MATTHEW SMIITH C.B.E. (BRITISH 1879-1959)
FIGURE STUDY, 1926
signed and dated (lower right), pencil on paper
54.1cm x 37.4cm (21 ¼in x 14 ¾in)
Provenance: Arthur Tooth & Sons Ltd, London; Montpelier Sandelson Gallery, London; Private collection, London.
£600-800
132 §
SIR JACOB EPSTEIN (BRITISH 1880-1959)
RECLINING NUDE
signed (lower right), charcoal on paper
43.5cm x 51.2cm (17 1/8in x 20 1/8in)
Provenance: Private Collection, London.
£1,200-1,800
133 §
EDWARD BURRA (BRITISH 1905-1976)
NUDE FEMALE MODEL / NUDE MALE
MODEL WITH A VIGNETTE OF A LADY
estate stamp (lower left) pencil and bistre on paper (double-sided drawing)
56cm x 38cm (22in x 15in)
Provenance: The Estate of the Artist; Private Collection, London.
£400-600
134 §
EDWARD BURRA (BRITISH 1905-1976)
NUDE MODEL / STUDY OF LEGS
estate stamp (lower right), pencil on paper
38cm x 26cm (15in X 10 ¼in)
Provenance: The Estate of the Artist; Private Collection, London.
£800-1,200
135
PAUL NASH (BRITISH 1889-1946)
THE WINDOW, c. 1920s
signed in pencil (lower left), also initialled in pencil (left margin), watercolour on paper
52cm x 34.5cm (20 ½in x 13 ½in)
Provenance: Private Collection, U.K.
£8,000-12,000
The ‘King and Queen’ is rather strange. Like many of my sculptures, I can’t explain exactly how it evolved. Anything can start me off on a sculpture idea, and in this case it was playing with a small piece of modelling wax. … Whilst manipulating a piece of wax, it began to look like a horned, Pan-like, bearded head. Then it grew a crown and I recognised it immediately as the head of a king. I continued, and gave
it a body. When wax hardens, it is almost as strong as metal. I used this special strength to repeat in the body the aristocratic refinement I found in the head. Then I added a second figure to it and it became a ‘King and Queen’. I realised now that it was because I was reading stories to Mary, my six-year-old daughter, every night, and most of them were about kings and queens and princesses.
136 §
HENRY MOORE O.M., C.H. (BRITISH 1898-1986)
STUDY FOR HEAD OF QUEEN NO. 2
signed Moore and numbered 7/9, bronze with green/brown patina the bronze: 23.5cm high (9 ¼in high); overall: 29cm high (11 3/8in high)
Provenance: Phillips, London, 20th Century British & Irish Art, 21 November 2000, lot 66, where acquired by the present owner.
£60,000-80,000
Note: Conceived in 1952 and cast in an edition of 9 plus 1 Artist’s Proof in 1972.
Literature: Hedgecoe, John (ed.), Henry Spencer Moore, Nelson, London: Simon and Schuster, New York 1968, p.221
Levine, Gemma & David Mitchinson, With Henry Moore, The Artist at Work, New York, 1978, illustration of the plaster version p. 59
Bowness, Alan (ed.), Henry Moore, Complete Sculpture, 1949-54, vol. 2, London, 1986, no. 349b, illustration of another cast p. 49
Hedgecoe, John, Henry Moore, A Monumental Vision, Cologne, 2005, no. 324, illustration of another cast p. 217.
Henry Moore, 1968
137 §
JOHN PIPER C.H. (BRITISH 1903-1992)
ATHENA (BOOK DESIGN), c. 1955
signed in pen (lower left), mixed media on canvas-board
40.8cm x 25.5cm (16in x 10in)
Provenance: Acquired from Austin Desmond Fine Art Ltd, London, 6 February 1988, by the previous owner and thence by descent to the present owner.
£3,000-5,000
138 §
MICHAEL AYRTON (BRITISH 1921-1975)
CIRCUS MAN: MASKED FIGURE, c.1938-39
signed and dated April 23 XXXIX (upper centre), ink and gouache on paper laid on card
35.8cm x 24.5cm (14 1/8in x 10in)
Provenance: Thomas Agnew & Sons Ltd, London (no.46965); Acquired from Traveller’s Heritage, Stow-on-the-Wold by the previous owner, 28 January 1989 and thence by descent to the present owner.
Exhibited: Thomas Agnew & Sons Ltd, London, Modern British Exhibition, 13 March - 26 April 1985, no. 83.
£2,000-3,000
139 §
ROBERT CLATWORTHY R.A. (BRITISH 1928-2015)
CAT, 1955 (RC 32)
initialled and numbered RC 1/8, bronze, from the edition of 8 22.5cm high, 49.5cm long (8 7/8in high, 19 ½in long)
Provenance: Private Collection, U.K.
Exhibited: Royal Academy of Arts, London 1977 (another cast); Chapman Gallery, London, 2008 (another cast).
Literature: Ed. Chapman, Keith, Robert Clatworthy: Sculpture and Drawings, Sansom & Company, Bristol, 2012, RC 32, p.94
£3,000-5,000
140 §
EDWARD MIDDLEDITCH R.A. (BRITISH 1923-1987)
BREAKING WAVE, CORNWALL, c. 1952 oil on hardboard
99cm x 238cm (39 in x 93 ¾in)
Provenance: Corporate collection, U.K.; Their sale, Sotheby’s, London, 20th Century British Art, 11 November 2009, lot 161, where acquired by the present owner.
£6,000-8,000
GEOFFREY CLARKE, R.A. (1924-2014)
SYMBOL, 1951 (S49)
iron
21.7cm (H) x 25.8cm (W) x 11.7cm (D) (8 ½in x 10 1/8in x 4 ¾in)
Provenance: Private Collection, U.K.
Note: This also has a variant title of Mobile Exhibited: ’20/21’ (Whitford) 2002; Pangolin 2015.
Literature: LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, Pangolin London in association with Lund Humphries, 2017, p. 33, cat. no. S49, illustrated.
Provenance: Litchfield County Auctions, Connecticut, USA, 29 April 2009, lot 78157, where acquired by the present owner.
£5,000-7,000
Carel Visser was a Dutch sculptor known for his minimalist and geometric metal sculptures. He became well established as a key figure in modern European sculpture, experimenting with industrial materials like steel, iron, and sometimes rubber or glass. His works often featured repetition, symmetry, and balance, drawing inspiration from nature and architecture as with the current work Ondar dated to 1968.
During this period, Visser was creating modular and stacked metal sculptures, reflecting influences from constructivism and minimalism. Some of his notable works from this time involved welded or bolted steel plates arranged in rhythmic compositions. His approach was similar in spirit to artists like Donald Judd and Carl Andre, but with a more organic sensibility.
CAREL
ALAN DAVIE C.B.E., R.A. (BRITISH 1920-2014)
THREE WATCHERS, 1959 (O.260)
signed, titled and dated (to reverse), oil on board
122cm x 152.4cm (48in x 60 in)
£12,000-18,000
Provenance: The Artist; Gimpel Fils, London; Private Collection, London.
Exhibited: Second Triennale of World Art, Delhi, 1971.
150 § HENRI HEERBRANDT (BELGIAN 1912-1982) SPECTRE, 1961
signed and dated (lower right), mixed media and wax on paper on panel
66.5cm x 49cm (26 1/8in x 19 ¼in)
Provenance: Group 2 Gallery, Brussels, 2001, from whom acquired by the present owner; Private Collection, London.
Exhibited: Group 2 Gallery, Brussels, Variations on the Human Figure, February 2001.
£600-800
151 § MARTIN BRADLEY (BRITISH 1931-2023) WARRIOR, 1957
152 §
VICTOR PASMORE C.H., C.B.E. (BRITISH 1908-1998)
UNTITLED (SET OF SIX DRAWINGS) pencil on paper each work: 44cm x 57cm (17 3/8in x 22 ½in) (6)
Provenance: The Artist; Gimpel Fils, London.
£1,000-2,000
signed and dated (upper right), also titled, signed and dated (to reverse), oil on board
81cm x 40.5cm (31 7/8in x 16in)
Provenance: Private Collection, London.
£1,000-1,500
153 §
EILEEN AGAR R.A. (BRITISH 1899-1991)
UNTITLED (THE JOINING OF HANDS), c. 1980s
oil on card, laid on panel, a probable later re-working of an earlier work
61cm x 41cm (24in x 16 1/8in)
Provenance: Acquired from The Stow Gallery, Stow-on-the-Wold by the previous owner, January 1989 and thence by descent to the present owner. We are grateful to Andrew Lambirth for his kind assistance with the cataloguing of this work.
£8,000-12,000
154 §
ALAN DAVIE C.B.E., R.A. (BRITISH 1920-2014)
RED SCRUBBER, 1960 (O.158A)
signed and dated (to reverse), titled in pen (on stretcher to reverse), oil on canvas 23cm x 30.5cm (9in x 12in)
Provenance: Gimpel Fils, London; Private Collection, London, from whom acquired by the present owner, 2014.
Exhibited: Mall Galleries, London, The Discerning Eye, 2004. £4,000-6,000
155 § SCOTTIE WILSON (BRITISH 1891-1972) BUILDINGS, BIRDS, SWANS AND FISH signed (lower right), gouache on paper
35.7cm x 48cm (14in x 18 7/8in)
Provenance: Private Collection, London.
£1,000-1,500
156 § WILLIAM GEAR R.A. (BRITISH, 1915-1997)
MAY 1982
signed and dated (to reverse), oil on canvas
101.5cm x 71.5 (40in x 28¼in)
Provenance: Private Collection, U.K.
£2,000-3,000
157 § PAULE VÉZELAY (BRITISH 1892-1984)
LINES IN SPACE NO.6 - ANGLES AGAINST BLACK, 1942
signed and dated in ink (to label on reverse), painted canvas and string construction in artist’s frame 31cm x 20.7cm x 4.2cm (12 ¼in x 8 ¼in x 1 ¾in)
Provenance: England & Co., London, where acquired by the present owner, c.2009.
£4,000-6,000
158 §
GEOFFREY CLARKE R.A. (BRITISH 1924-2014)
THREE CHRISTMAS CARDS, 1981-83
each inscribed in pen by the Artist (to reverse), one additionally signed in pen, beaten metal and collage on card
12.8cm x 9.8cm (5in x 3 ¾in) each
Provenance: A gift of the Artist to the parents of the present owner.
£300-500
159 §
GEOFFREY CLARKE R.A. (BRITISH 1924-2014)
TORIIM, 1965 (S292, GC531)
stamped with mongram, dated 65, numbered 531, 3/10, from the edition of 10, cast and polished aluminium 13cm high (5 ¼in high)
Provenance: Gift of the Artist to the parents of the present owner.
Literature: le Grove, Judith, Geoffrey Clarke Sculptor: A Catalogue Raisonne, Lund Humphries, Farnham, 2017, p.110, S292
Exhibited: Redfern, London, Summer Exhibition - 21 June3 September 1966 (ex. cat) (another cast); Festival Gallery, Aldeburgh, August 1966 (another cast); Redfern Gallery, London, Summer Exhibition: Paintings, Drawings, Sculpture, Graphics, June - September 1970 (another cast); Pottergate Gallery, Norwich, Solo Exhibition, 1974 (another cast); Strand Gallery 2007 (another cast).
Literature: LeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, Pangolin London in association with Lund Humphries, 2017, p. 174, cat. no. S522, illustrated.
£1,200-1,800
RHEE SEUNDJA (KOREAN 1918-2009)
UNTITLED, 1961 signed (lower right), and inscribed 615F1244, oil on canvas
27cm x 34.8cm (10 5/8in x 13 5/8in)
Provenance: Acquired in Paris by the current owners aunt in the 1960s; Private Collection, London.
£5,000-7,000
Rhee Seundja was a pioneering Korean modern artist who seamlessly merged Western abstraction with Eastern philosophies. She began her artistic journey in the early 1950s in France, studying at the Académie de la Grande Chaumière, where Chinese abstract masters Zao Wou-Ki and Chu Teh-Chun had also trained. Immersing herself in the European art scene, she explored Art Informel, which was gaining momentum in Paris, and turned to abstraction in 1956.
By the early 1960s, Rhee had developed a distinct style that fused an Eastern mindset with Western materials, creating a unique
colour palette and artistic language. She reinterpreted traditional Korean patterns, using each brushstroke as a symbolic act of nurturing - both the land and, metaphorically, the children she had been separated from since 1951. Her work from this period, reflected themes of nature, spirituality, and femininity, often expressed through geometric forms, bold colours, and richly textured surfaces.
Through her synthesis of cultural traditions and artistic innovation, Rhee became a significant figure in both Korean and international modern art, leaving behind a rich artistic legacy.
162 §
PATRICK PROCKTOR R.A. (BRITISH 1936-2003) YOUTH, 1998
signed and dated 7.7.98 in pen (to top margin).
graphite, acrylic and wash on card 30cm x 25cm (11 ¾in x 9 ¾in)
Provenance: Estate of the Artist: Private Collection, London, from whom acquired by the present owner.
£800-1,200
163 §
BRYAN INGHAM (BRITISH 1936-1977) HEAD, 1996
indistinctly inscribed and dated in pencil (lower left), pen and ink on paper
15cm x 12.7cm (5 7/8in x 5in)
Provenance: The Estate of the Artist.
£800-1,200
164 §
ROGER HILTON C.B.E. (BRITISH 1911-1975)
DRAWING (SEATED NUDE), 1972
signed and dated (lower right), pencil on paper 25.4cm x 20.3cm (10in x 8in)
Provenance: Redfern Gallery, London (as ‘Seated Nude with Crooked Arm’); Cyril Gerber Fine Art, Glasgow; Jones & Jacob Ltd, Watlington, where acquired by the present owner. £800-1,200
165 §
BRYAN INGHAM (BRITISH 1936-1977)
AUF WIEDERSEHEN, 1990
initialled in pencil (on mount lower right), titled, dated and with artist’s estate stamp (to reverse), collage on board 14cm x 4.2cm (5 ½in x 1 5/8in), unframed
Provenance: The Estate of the Artist.
£800-1,200
166 §
BRYAN INGHAM (BRITISH 1936-1997)
CIGARETTEN
collage on board
21.3cm x 11.5cm (8 3/8in x 4 1/2in)
Provenance: The Estate of the Artist.
£700-900
167 §
BRYAN WYNTER (BRITISH 1915-1975) UNTITLED, c. 1964 gouache on paper
50.5cm x 36.5cm (19 7/8in x 14 3/8in)
Provenance: The Estate of the Artist; Jonathan Clark Fine Art, London, from whom acquired by the previous owner; Their sale, Christie’s, London, 20th Century British Art, 6 June 2008, lot 8; Private Collection, London.
£6,000-8,000
BLUE AND BLACK DECEMBER, 1968
titled and dated (to reverse of one canvas), oil on canvas (in two parts)
102.5cm x 136cm (40.5in x 53.5in)
Provenance: Beaux Arts, London, where acquired by present owner.
£8,000-12,000
SIR TERRY FROST R.A. (BRITISH 1915-2003)
169 §
BRYAN INGHAM (BRITISH 1936-1997)
MEDITERRANEAN HEAD
incised initials (to reverse), plaster
29cm x 29.5cm (11 3/8in x 11 5/8in)
Provenance: The Estate of the Artist.
£1,500-2,000
170 §
BRYAN INGHAM (BRITISH 1936-1977)
SCULPTURAL RELIEF
stamped with artist’s estate stamp (to reverse), plaster
signed (lower left), pencil and pen on paper, unframed
35.4cm x 50.5cm (14in x 20in)
Provenance: Guy Worsdell and thence by descent to the present owner, his great-niece.
£300-500
172 §
DONALD HAMILTON FRASER R.A. (BRITISH 1929-2009)
VERTICAL COMPOSITION, 1953 oil on card
34cm x 14.5cm (13 ½in x 5 ¾in)
Provenance: Gimpel Fils, London; Private collection, London, from whom acquired by the present owner.
£2,500-3,500
173 §
SIR TERRY FROST R.A. (BRITISH 1915-2003)
ROCKER, 1973
signed and dated (on interior face), anodised steel, unique 7.5cm high, 31cm wide (3in high, 12 ¼in wide)
Provenance: The Artist’s Estate; Belgrave Gallery, St. Ives, from whom acquired by the present owner.
£1,200-1,800
174 §
DENIS MITCHELL (BRITISH 1912-1993)
FIGURE c.1951-53
inscribed (in another hand) and dated indistinctly (to base), mahogany 51cm / 20 in high (including base)
Provenance: Guy Worsdell and thence by descent to the present owner, his great-niece.
Exhibited: Penwith Society of Arts, St Ives, Summer Exhibition, June 1955, cat. no.100. We are grateful to the Estate of Denis Mitchell for their kind assistance with the cataloguing of this lot.
£10,000-15,000
John Chambers was a Professor of Clinical Cardiology in London. He combined life-long passions for medicine and art. He started collecting art whilst a medical student in Cambridge, where he was inspired by repeated visits to the Kettles Yard house and gallery. John became determined to acquire an extraordinary art collection to display in a domestic environment. He wanted to be able to live amongst his pieces and experience them viscerally. For John, art was never simply decorative.
John’s heart was lost to the work of the St Ives artists and ceramicists of the mid 20th century. He would visit Cornwall regularly to frequent the galleries and also to meet contemporary artists. Returning from his regular trips to the South West invariably involved loading up the car with new works to find space for back in London. Towards the end of his life, John split his time between London and Bath, where his beautiful Georgian town house proved a perfect repository to display his, by now extensive, collection.
THE COLLECTION OF PROFESSOR JOHN CHAMBERS
For many years, John’s perfect Saturday off duty would entail mooching around his favourite galleries in London, followed by a lunch of fine food and wine. He was endlessly curious and interested in all genres of art so his collection developed eclectically and reflected his cosmopolitan tastes and zest for life.
John was a highly respected expert in heart valve disease. He instigated numerous clinical standards for the specialty and created many innovatory services. It is fitting that his peers chose to mark his contribution to Guy’s Hospital by hanging a painting by one of his beloved St Ives artists in the waiting room of the valve clinic he set up. The professional world saw John as an internationally recognised Cardiologist, renowned for his kindness and exceptional intelligence. But his art was his real essence.
175 § CHARLES VYSE (BRITISH 1882-1971)
VASE, 1929
incised initials and date, stoneware, with grey glaze
13cm high (5 1/8in high)
Provenance: Paul Rice, London, 1995; Collection of Professor John Chambers.
£300-500
176 §
WILLIAM STAITE MURRAY (BRITISH 1881-1962)
VASE
signed W. S. Murray, stoneware, brushed iron designs
21cm high (8 ¼in high)
Provenance: Paul Rice, 1992; Collection of Professor John Chambers.
£400-600
177 §
WILLIAM MARSHALL (BRITISH 1923-2007)
FOOTED BOWL AND TWO YUNOMI TEA BOWLS each impressed maker’s mark, stoneware, two with hakeme decoration the footed bowl: 9cm high, 16cm diameter (3 ½in high, 6 ¼in diameter); the tea bowls: 11cm high and 8.5cm high (4 3/8in high and 3 3/8in high) (3)
Provenance: the footed bowl: Wills Lane Gallery, St. Ives, 1985; the smaller tea bowl: Paul Rice, 1984; Collection of Professor John Chambers.
£700-900
178 §
ROBERT J. WASHINGTON (BRITISH 1913-1997)
TALL VESSEL, 1980
incised initials and date, stoneware, with painted nude figures
46cm high (18 1/8in high)
Provenance: Paul Rice, London, 1985; Collection of Professor John Chambers.
£300-500
179 § NORAH BRADEN (BRITISH 1901-2001)
TWO TEA BOWLS
painted potter’s marks NB 249, stoneware
8cm high and 7cm high (3 1/8in high and 2 ¾in high) (2)
Provenance: Norah Braden Collection; Bonhams, London, Contemporary Ceramics, 5 April 1995, lot 61; Collection of Professor John Chambers.
£300-500
180 § DAVID LEACH O.B.E. (BRITISH 1911-2005)
TWO FOOTED BOWLS AND JAR & COVER
one footed bowl impressed maker’s marks, the jar and cover impressed maker’s and pottery marks, porcelain
9cm high, 15.5cm diameter (3 ¾in high, 6in diameter) and 7cm high, 15.5cm diameter (2 ¾in high, 6in diameter), the jar 13cm high (5 1/8in high) (3)
Provenance: Footed Bowls: Paul Rice, London, 1982 and 1983; Collection of Professor John Chambers.
£400-600
§
182
181 §
BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY BOWL
painted BL initials and impressed pottery mark, stoneware, with painted Pagoda design
Provenance: Paul Rice, London, 1983; Collection of Professor John Chambers.
£400-600
KATHERINE PLEYDELL-BOUVERIE (BRITISH 1895-1985)
VASE
impressed maker’s seal and incised 288, numbered in pen 173, 132, stoneware
10.2cm high (4in high)
Provenance: The Norah Braden Collection; Bonhams, London, Contemporary Ceramics, 5 April 1995, lot 40; Collection of Professor John Chambers.
£300-500
183 §
HENRY HAMMOND (BRITISH 1914-1989)
TWO BOWLS
each with impressed maker’s mark, stoneware, one with fish decoration and the footed bowl with tenmoku glaze, the bowl 7.5cm high, 13.2cm wide (3in high, 5 1/8in wide); the footed bowl: 6cm high, 10.5cm wide (2 3/8in high, 4 1/8in wide); together with ATTRIBUTED TO HENRY HAMMOND, FOOTED BOWL, c. 1959, stoneware, 8cm high, 14cm diameter (3 1/8in high, 5 ½in diameter) (3)
Provenance: The bowl: Harlequin Gallery, 2016. The footed bowl: J. K. Hill & Co. Fulham Road, London, 1985; Collection of Professor John Chambers.
£300-500
184 §
BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY
PILGRIM FOOTED BOWL, c. 1968
impressed maker’s and pottery marks, stoneware, with wax resist design of Pilgrim walking through the mountains
Provenance: Collection of Professor John Chambers.
£250-350
188 §
JAMES TOWER (BRITISH 1918-1988) FOOTED BOWL, 1980
incised signature and date, earthenware, with grey and white tin glaze
Note: Tower expressed his aim to create forms that evoke a sense of wholeness, balancing inner tensions with serenity and harmony—a world where boundless energy is contained in calm restraint, stating ‘The objects that I strive to do are attempts at hymns to the beauty of the natural world’.
impressed maker’s mark, stoneware with oatmeal glaze and manganese rim
9cm high, 17cm wide (3 ½in high, 6 5/8in wide)
Provenance: Collection of Professor John Chambers.
£800-1,200
Provenance: Paul Rice, 1983; Collection of Professor John Chambers.
Literature: Birks, Tony, Hans Coper, Stenlake Publishing Ltd., Catrine, 2013, pp. 122-2 for similar examples. As Tony Birks notes this form was made only in Hans Coper’s Hammersmith period, in a variation of sizes, and in particular in the depth of the collar.
198 §
PATRICK HAYMAN (BRITISH 1915-1988)
GOING AWAY, 1985
signed in pencil (lower right), titled and dated (to reverse), crayon and gouache on paper
24.5cm x 34cm (9 5/8in x 13 3/8in)
Provenance: Collection of Professor John Chambers.
£700-900
197 §
PATRICK HAYMAN (BRITISH 1915-1988)
LOVERS AND CHILD, 1948-9; WOMAN IN LANDSCAPE, 1948-9; MOTHER AND CHILD, 1948-9 etchings on paper
10.5cm x 8cm (4 1/8in x 3 1/8in); 11.5cm x 8cm (4 ½in x 3 1/8in) and 27cm x 8.5cm (10 5/8in x 3 3/8in), all under one mount (3)
Provenance: The Artist’s Estate; Cyril Gerber Fine Art, Glasgow, 2007; Collection of Professor John Chambers.
Exhibited: Hayward Gallery, London, Southbank Centre Touring Exhibition, Patrick Hayman - A Voyage of Discovery, 1990, cat. nos. 7, 8 and 9.
£600-800
199 §
PATRICK HAYMAN (BRITISH 1915-1988)
UNTITLED, 1967
signed and dated (lower right), gouache on paper
47.5cm x 62cm (18 ¾in x 24 3/8in)
Provenance: The Artist’s Estate; Belgrave Gallery, London, 2003; Collection of Professor John Chambers.
£700-900
200 §
PATRICK HAYMAN (BRITISH 1915-1988)
THE HOLY FAMILY WITH A FISH, 1978
signed (upper left), titled, dated and inscribed (to reverse), oil on canvas
29cm x 39.5cm (11 3/8in x 15 ½in)
Provenance: with Crane Kalman Gallery, London, 1991; Sir Nicholas Goodison; Porthminster Gallery, St Ives, 2004; Collection of Professor John Chambers.
Exhibited: Arts Council of Great Britain, London, Alive To It All, 1983, cat. no. 49.
£1,000-1,500
201 §
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.
£1,000-1,500
202 §
JAMES LLOYD (BRITISH 1905-1974)
MONIQUE III (FIGURE IN BLUE) gouache and watercolour on paper 23.5cm x 23.5cm (9 ¼in x 9 ¼in)
Provenance: Austin Desmond Fine Art, London, 2013; Collection of Professor John Chambers.
£500-700
203 §
REBECCA SALTER P.R.A. (BRITISH 1955-)
UNTITLED 10/7, 2010
mixed media on paper
30cm x 24.5cm (11 ¾in x 9 5/8in)
Provenance: Beardsmore Gallery, London, 2011; Collection of Professor John Chambers.
Provenance: Bo Lee Gallery, 2016; Collection of Professor John Chambers.
Note: This is a typical example of Tessa Farmer’s work, and composition of dried insect parts and found organic matter is meant to represent a struggle between fairies and insects.
£300-500
224 § MO JUPP (BRITISH 1938-2018)
SEATED FIGURE
incised maker’s mark, porcelain on a stoneware base 9cm high, 16.2cm long (3 ½in high, 6 3/8in long)
Provenance: Craft Council, London, 1993; Collection of Professor John Chambers.
£300-500
225 §
WALTER KEELER (BRITISH 1942-) TEAPOT
impressed maker’s mark, stoneware, salt glazed
14.7cm high, 28cm wide (5 ¾in high, 11in wide)
Provenance: V&A, London Craft Shop, 1984; Collection of Professor John Chambers.
incised artist’s initials, stoneware with white glaze, 22.5cm high (8 ¾in high); together with PETER SMITH (BRITISH 1941-), VESSEL, impressed maker’s seal, earthenware and metal, 13cm high, 15.5cm wide (5 1/8in high, 6 1/8in wide); NIC COLLINS, TWO SMALL BOTTLES, signed, stoneware, 10.5cm high and 11cm high (4 1/8in high and 4 3/8in high); a further TWO SAKE BOTTLES, with indistinct maker’s mark, stoneware with hakeme glaze, the smaller vase 10cm high (4in high), the larger vase 11.5cm high (4 ½in high); and a further LARGE VESSEL, impressed maker’s mark, black stoneware, 36cm high (14 1/8in high) (7)
Provenance: Collection of Professor John Chambers.
£400-600
228
JOHN MALTBY (BRITISH 1936-2020) HANDLED CUP
signed MALTBY, stoneware, with painted landscape design 11.5cm high, 12cm wide (4 ½in high, 4 ¾in wide)
Provenance: Collection of Professor John Chambers.
£300-500
229 §
JOHN MALTBY (BRITISH 1936-2020) BEAKED VESSEL
signed MALTBY, stoneware, 19cm high (7 ½in high); together with a BOX, stoneware, 4cm high, 10cm wide (1 ½in high, 4in wide) (2)
Provenance: Craft Potter’s Association, 1988 and 1982 respectively; Collection of Professor John Chambers.
£500-700
JOHN MALTBY (BRITISH 1936-2020)
OWL ON WALL, 2014
impressed maker’s mark, signed and dated (to base), stoneware, on metal base 28cm high (11in high)
£600-800
231 §
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. £8,000-12,000
232 §
GILLIAN LOWNDES (BRITISH 1936-2010)
SCROLLSCAPE WITH WIRE AND SCROLLSCAPE COLLAGE
kitchen utensils, found objects, porcelain and wire
46cm long (18in long) and 16cm long (6 ¼in long) (2)
Provenance: Contemporary Applied Arts, London, 1998; Collection of Professor John Chambers.
£400-600
Gillian Lowndes called herself a "gatherer of impedimenta" - a phrase that perfectly describes her raw, junk-infused sculptures. Her chaotic yet compelling assemblages, where everyday detritus - tea strainers, bulldog clips, loofahs, hammerheads, and kiln cones - merge through fire, glue, and brute force were truly radical, as with the current two works.
From the late 1970s, Lowndes fired disparate materials at extreme temperatures, sometimes fusing them, sometimes smashing and reassembling them. Her Brick Bag series, inspired by London’s 1978–79 refuse strike, saw bricks wrapped in fiberglass tissue, while her Hook Figures - loofahs dipped in porcelain and fired - leave behind eerie skeletal husks. Straddling craft and fine art, her work has more in common with Eva Hesse’s experimental sculpture than with traditional studio pottery.
Though largely overlooked in her lifetime, interest in Lowndes has surged posthumously, with major exhibitions and a 2012 monograph. Yet as was noted at the Holburne Museum exhibition Radical Clay in 2024 her work remains one of the art world’s ‘best kept secrets’ - perhaps because it resists easy categorization. Strange, awkward, and poetic, her assemblages seem less like art objects than relics of a lost future, unearthed from the ruins of our own making.
233 §
GILLIAN LOWNDES (BRITISH 1936-2010)
FLAT CERAMIC WITH TEA STRAINER
found objects, porcelain and wire
29cm long (11 3/8in long)
Provenance: Contemporary Applied Arts, London, 1994; Collection of Professor John Chambers.
£400-600
234 §
ANETA REGEL DELEU (POLISH/BRITISH 1976-) SPRING, 2007
stoneware
39.5cm high (15 ½in high)
Provenance: Wills Lane Gallery, St. Ives, 2008; Collection of Professor John Chambers.
£800-1,200
235 §
ANETA REGEL DELEU (POLISH/BRITISH 1976-) WHITE, 2007 AND SUN, 2007
stoneware
23cm high and 16.5cn high (9in high and 6 ½in high) (2)
Provenance: Wills Lane Gallery, St. Ives, 2007; Collection of Professor John Chambers. £400-600
236 §
ANETA REGEL DELEU (POLISH/BRITISH 1976-) WHITE ROCK
stoneware
12.5cm high, 19cm wide (5in high, 7 ½in wide)
Provenance: Craft Potter’s Association, 2014; Collection of Professor John Chambers.
£300-500
“Multiple layers of the same elements in different states are repeatedly dried and re-fired, telling a story of constant metamorphosis, of conflict and change… They emphasize the materials’ capacity to be modified, which perhaps equates to not only our own ontology but also on the way we interact with objects and one another.”
Aneta Regel Deleu
237 §
ANETA REGEL DELEU (POLISH/ BRITISH 1976-) MULTI ORGAN ROCK
rock components, porcelain glaze and slip 36cm high, 44.5cm wide (14in high, 17 ½in wide)
Provenance: Contemporary Applied Arts, London, 2016; Collection of Professor John Chambers. £600-800
238 § ANETA REGEL DELEU (POLISH/BRITISH 1976-) SPIKE, 2013
fired clay volcanic rock components and glazes 88cm high (34 ½in high)
Provenance: Wills Lane Gallery, St. Ives, at Collect, 2014; Collection of Professor John Chambers.
£1,500-2,500
239 §
ADAM NEATE (BRITISH 1977-) HANDLE WITH CARE
mixed media on cardboard
122cm x 100cm (48in x 39 3/8in)
Provenance: Elms Lesters, London, 2006; Collection of Professor John Chambers.
Exhibited: Elms Lesters, London, Hype, July 2006.
£3,000-5,000
240
RON ENGLISH (AMERICAN 1959-) MCFLABBY ROAD, 2008
oil on canvas
60cm x 91cm (23 5/8in x 35 ¾in)
Provenance: with Elms Lesters, London, 2009; Collection of Professor John Chambers.
£1,500-2,500
241
PHIL FROST (AMERICAN 1973- )
UNTITLED, 2007
mixed media on hand-made paper
77cm x 58cm (30 ¼in x 22 ¾in)
Provenance: with Elms Lesters, London, 2008; Collection of Professor John Chambers.
Note: This lot is sold together with a Certificate of Authentication from Elms Lesters, dated February 2008. £1,000-2,000
ICO PARISI (ITALIAN 1916-1996) FOR M. SINGER & SONS
Literature: Lietti, Roberta, Ico Parisi: Design Catalogo Ragionato 1936-1960, Silvana Editoriale, 2018, pp. 136-7, cat. no. 1951.S1, for a similar example.
£1,000-1,500
243
ARREDOLUCE WALL LIGHT
stamped Made in Italy / Arredoluce / Monza (on wall mount), red lacquered steel shade, on articulated brass support the shade 39.5cm diameter (15 ½in diameter); fully extended 99cm (39in)
£600-800
244
ATTRIBUTED TO MERROW ASSOCIATES
SET OF 5 CHAIRS, c. 1970
gilt metal and red leather 72cm high, 55cm deep, 65cm wide (28 3/8in high, 21 5/8in deep 25 ½in wide) (5)
Note: These chairs were purportedly made by Merrow Associates for Asprey’s reception.
£1,000-2,000
245
ATTRIBUTED TO VALZANIA, ITALY
CONSOLE MIRROR, CIRCA 1940
parchment and glass
172cm high x 128cm wide (67 ¾in high, 50 3/8in wide)
Provenance: Private Collection, London.
£1,000-2,000
247 §
GUIDO GAMBONE (ITALIAN 1909-1969) VASE
GABRIELLA CRESPI (ITALIAN 1922-2017)
HIPPOPOTAMUS, c. 1970
impressed signature to applied tag, bronze and glass
Provenance: with Elders of Glasgow, c. 1959/60, from whom acquired by the current vendor; Private Collection, U.K.
£700-900
258
FINN JUHL (DANISH 1912-1989)
FOR FRANCE AND SONS
‘BWANA’ LOUNGE CHAIR
model no. 152, metal disc manufacturer’s label, numbered 6418791 and stamped FF Made in Denmark, teak and upholstery
94cm high, 87cm wide (37in high, 34 ½in wide)
Provenance: Private Collection, London.
£2,000-3,000
259 HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN ‘VALET’ CHAIR, DESIGNED 1953 model no. JH540, impressed with manufacturer’s mark JOHANNES HANSEN/ COPENHAGEN/DENMARK, teak, oak and brass
GEORGE NELSON (AMERICAN 1908-1986) FOR HERMAN MILLER ‘COCONUT’ LOUNGE CHAIR, DESIGNED 1955 enamelled steel shell and chromed steel legs, upholstered in Maharam Checker upholstery 85cm high, 105cm wide, 82cm deep (33 ½in high, 41 3/8in wide, 32 ¼in deep)
Note: The Maharam Checker fabric in emerald light/ivory was designed in 1965 by Alexander Girard during his tenure as founding director of the Herman Miller Textile Division (1952 to 1973).
£1,500-2,500
263
STILNOVO
FLOOR LAMP
manufacturer’s label, black enamelled metal, white and red plexiglass
188cm high (74in high)
£1,500-2,000
264
STILNOVO
FLOOR LAMP, c. 1958
lacquered aluminium, brass and marble
193cm high (76in high)
£1,500-2,500
British director and actor John Schlesinger (1926-2003), pictured leaning on his desk (Lot 265), 6th June 1975. (Photo by Wood/Evening Standard/Hulton Archive/Getty Images).
John Schlesinger (1926–2003) was a British film and theatre director known for his ground-breaking work in cinema. He gained international acclaim with Midnight Cowboy (1969), which won the Academy Award for Best Picture and Best Director. His diverse filmography includes Sunday Bloody Sunday (1971), Marathon Man (1976), and The Falcon and The Snowman (1985), showcasing his talent for exploring complex characters and social themes. Schlesinger’s bold storytelling and keen eye for detail cemented his legacy as one of the most influential directors of his era.
In the black and white photograph, Schlesinger can be seen seated at the current desk in his office. This piece is crafted from the less common wenge wood instead of the usual walnut or rosewood.
This iconic desk model has earned its status as a design classic, famously appearing in four James Bond films: From Russia with Love, You Only Live Twice, On Her Majesty’s Secret Service, and Live and Let Die—hence its nickname, The James Bond Desk. Notable figures such as Prince Philip and Michael Caine also chose this model for their personal collections.
BODIL KJÆR (DANISH 1932-) FOR E. PEDERSEN & SONS A/S DESK AND DRAWERS, DESIGNED 1959
Provenance: John Schlesinger (1926-2003), British actor and director, and by descent.
£10,000-15,000
“Glass was poured or blown into the molds and allowed to remain long enough for the molds to burn, thereby roughening the surfaces. Each time the mold was blown into, the grain texture changed causing each object in the Finlandia series to be unique although mold-blown. The molds were gradually, and intentionally, destroyed through repeated contact with glass heated to 500 °C (932 F). The changing surface gave each piece a natural randomized “bark” effect created by the carbonized wood, which could not otherwise be convincingly created by an artist.”
Cummings, Keith, A History of Glassforming, Philadelphia: University of Philadelphia Press, 2002
266 §
TIMO SARPANEVA (FINNISH 1926-2006) FOR IITTALA
‘DEVILS PEARL’ VASE, 1955
signed and dated Timo Sarpaneva Iittala 55, clear glass with air bubbles
14cm high, 15.5cm wide (5 ½in high, 6 1/8in wide)
£300-500
267 §
TIMO SARPANEVA (FINNISH 1926-2006) FOR IITTALA
TWO ‘HIIDENKIMU’ (POTHOLE) VASES, 1950s the taller example signed Timo Sarpaneva Iittala, sandblasted and acid treated clear glass
29cm high and 17.7cm high (11 3/8in high and 7in high) (2)
£800-1,200
268 §
TIMO SARPANEVA (FINNISH 1926-2006) FOR IITTALA
‘HIIDENKIMU’ (POTHOLE) VASE, 1950s
signed Timo Sarpaneva Iittala, sand blasted and acid treated clear glass 9cm high (3 ½in high)
£300-500
269 §
TIMO SARPANEVA (FINNISH 1926-2006) FOR IITTALA
TWO SCULPTURAL VASES, 1954-6
signed Timo Sarpaneva Iittala 56 and Timo Sarpaneva Iittala 54, hammered and cased glass
Literature: The Modern Spirit - Glass from Finland, fig. 133
£400-600
271 §
TIMO SARPANEVA (FINNISH 19262006) FOR IITTALA ‘FINLANDIA’ (BARK GLASS) CENTREPIECE, 1960s engraved Timo Sarpaneva 3376 and with manufacturer’s label, clear glass blown into carbonised wood mould
Gunnel Nyman (1909–1948) was a pioneering glass designer who worked from the early 1930s until her untimely death at just 39 years old. Her contributions to the art of glass design played a crucial role in establishing the global reputation of Finnish art glass. The sculptural forms and the thick glass’s plasticity that defined Finnish glass in the 1950s were directly influenced by Nyman’s innovative approach.
Nyman was captivated by the transformation of glass from liquid to solid, particularly in capturing that precise moment of change. In 1947, she created a series of crystal dishes with irregular shapes.
Among them, the eggshell dish—a free-blown crystal encased in opal, with one side thin and the other thick—exemplifies her work from this period. The precise, rounded edge of the dish, along with her
275
GUNNEL NYMAN (FINNISH 1909-1948) FOR NUTTAJÄRVI NOTSJÖ
‘CHIFFON’ VASE
signed G. Nyman Nuutajärvi Notsjö, clear glass with a twisted shape over a controlled bubble core 15.2cm high (6in high)
Provenance: Private Collection, U.K.
£300-500
276
GUNNEL NYMAN (FINNISH 1909-1948) FOR NUTTAJÄRVI NOTSJÖ
‘BRIDAL VEIL’ VASE, DESIGNED 1947
signed and dated G. Nyman, Nuutajärvi 53, clear glass over a controlled bubble layer with smoked casing
24cm high (9 ½in high)
Provenance: Private Collection, U.K.
£300-500
combination of opaline and clear crystal, evoked the delicate translucency of an eggshell.
In the same year, during a blowing session, a layer of smoke unintentionally became trapped between the glass, slightly discoloring the piece. Nyman was intrigued by the result and developed this by chance into a new technique, later known as “The bridal veil.” This method, along with others, became a hallmark of her work. Edward Hald praised Nyman’s innovative process in Form magazine, stating, “It is in the still malleable glowing glass that she works on an idea and lures forth tones and innumerable opposing effects by twisting the glass with bubbles or a special smoke technique, which she is the only one to apply for artistic purposes.”
This distinctive technique is evident in works such as The Bridal Veil (1947) and Chiffon (1947).
277
GUNNEL NYMAN (FINNISH 1909-1948) FOR LITTALA
‘MUNANKUORI’ (EGG SHELL) DISH, DESIGNED 1947
signed Gunnel Nyman - Iittala, clear and white cased glass
6cm high, 20cm wide (2 3/8in high, 7 7/8in wide)
Provenance: Private Collection, U.K.
£500-800
278 §
EVA ENGLUND (SWEDISH 1937-1998) FOR ORREFORS
‘ADAM AND EVE’ VASE, 1988 signed, numbered and inscribed Orrefors Gallery - 88 / 968930 / Eva Englund 25-25, graal glass
27.5cm high (10 ¾in high)
Provenance: Private Collection, U.K.
£1,200-1,800
279 §
SAARA HOPEA (FINNISH 1925-1984) FOR NUTTAJÄRVI NOTSJÖ ‘PANTTERI’ VASE, 1955 signed and dated S. Hopea. Nuutajärvi Notsjö 55, clear glass with purple spots 16cm high (6 ¼in high)
Provenance: Private Collection, U.K. £600-800
280 § KAY BOJESEN (DANISH 1886-1958)
HERD OF NINE ELEPHANTS
each stamped KAY BOJESEN / DENMARK / COPYRIGHT, oak each approximately 15cm long, 9-9.5cm wide (5 7/8in long, 3 ½ - 3 ¾in wide) (9)
£2,000-3,000
281 § TAPIO WIRKKALA (FINNISH 1915-1985) FOR VENINI ‘PIANISSIMO’ VASE, DESIGNED 1966, EXECTUED 1989 engraved Venini TW 89, model 504.3, incalmo glass
NANNY STILL (FINNISH 1926-2009) FOR RIIHIMÄEN LASI OY
FOUR ‘PULLO’ BOTTLES, c. 1950
each signed RIIHIMÄEN LASI O.Y. NANNY STILL, in yellow, blue, aquamarine and red glass yellow: 34cm high (13 3/8in high); aquamarine: 34cm high (13 3/8in high); blue: 32cm high (12 5/8in high); red: 33cm high (13in high) (4)
Provenance: Private Collection, U.K.
£700-1,000
283 §
TAPIO WIRKKALA (FINNISH 1915-1985) FOR KULTAKESKUS
DISH, DESIGNED 1956
model TW114, hallmarked and stamped 916H and F7 (1959), silver 30cm long (11 ¾in long), 160 grams
Provenance: Private Collection, U.K.
£600-800
284 §
BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY ‘LEAPING FROG’ TILE, c. 1939
painted maker’s monogram (lower right), impressed pottery seal (to reverse), stoneware 10cm x 10cm (3 7/8in x 3 7/8in)
Provenance: Bonhams, London, International Contemporary Ceramics, 16 October 2007, lot 7; Private Collection, London.
£400-600
285 §
BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY VASE
painted maker’s initials and impressed pottery mark, stoneware, dark iron brushed foliate design 9cm high (3 ½in high)
Provenance: Private Collection, U.K.
£300-500
286 §
BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY VASE
impressed maker’s and pottery marks, stoneware, tenmoku glaze, with iron glaze design motif to the body 17.5cm high (7in high)
Provenance: Private Collection, U.K.
£500-700
287 §
MICHAEL CARDEW C.B.E. (BRITISH 1901-1983) AT WINCHCOMBE POTTERY VASE
impressed maker’s and pottery marks, earthenware, with sgraffito foliate design 33.5cm high (13 ¼in high)
Provenance: Private Collection, U.K.
£800-1,200
288 §
MICHAEL CARDEW C.B.E. (1901-1983)
AT VOLTA
VASE
impressed maker’s and pottery mark, earthenware, Vumé lily decoration
PAIR OF COFFEE MUGS, c. 1960 impressed maker’s mark, stone, manganese glaze each 10.7cm high (4 ¼in high) (2)
Provenance: Private Collection, U.K.
£1,500-2,000
299 §
DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995) AND HANS COPER (GERMAN/BRITISH 1920-1981)
POURING VESSEL, c. 1950-55
impressed maker’s seals, stoneware, with manganese and white glazed top
11.5cm high, 19.2cm wide (4 ½in high, 7 ½in wide)
Provenance: Purchased directly from Lucie Rie, circa 1951-55, and by direct descent to the present owner; Private Collection, U.K.
£1,500-2,000
This pouring vessel was made during the period that Rie and Coper shared her London studio, and is impressed with both maker’s marks. It is a rare model, and it is thought that Rie designed models from this set, whilst Coper glazed them, as Rie stated she would have applied a narrower cream band to the rim. The V&A Museum hold a jug and two beakers of a similar design.
300 §
DAME LUCIE RIE D.B.E.
(AUSTRIAN/BRITISH 1902-1995)
BOWL, c. 1978-80
impressed maker’s mark, porcelain, inlaid radiating pink lines, manganese bronzed dripped rim and inner well
9.5cm high, 20cm diameter
Provenance: Acquired directly from the artist and by descent; Private Collection, London.
LARGE VESSEL WITH WINGS impressed maker’s mark, stoneware 19.5cm high, 33cm wide (7 ¾in high, 13in wide)
Provenance: Private Collection, U.K.
£800-1,200
306 §
SIR EDUARDO PAOLOZZI C.B.E, R.A. (BRITISH 1924-2005) FOR DAVID WHITEHEAD LTD. COLLAGE ELEMENTS, c. 1953
screenprint on rayon fabric
156.5cm x 111cm (61 5/8in x 43 ¾in)
Provenance: Private Collection, U.K.
£400-600
307 §
LUCIENNE DAY O.B.E. (BRITISH 1917-2010) WHIRLIGIG, c. 1980
initialled L in the weave (lower right), titled and inscribed (to reverse), silk mosaic tapestry mounted on board
38.5cm x 38.5cm (15 1/8in x 15 1/8in)
£400-600
308 §
JOHN PIPER C.H. (BRITISH 1903-1992)
TABLE, c. 1957-9
signed (lower right), ceramic mosaic and painted metal 41cm high, 107cm wide, 46.5cm deep (16 1/8in high, 42 1/8in wide, 18 ¼in deep)
Provenance: The previous owner’s family acquired it for Roundwood House in Harefield, Middlesex. Designed by Keith Roberts in 1956, the house featured a kitchen by the thenemerging designer Terence Conran. An architect’s drawing of the house was included in Leslie Jackson’s book The New Look: Design in the Fifties, published by Thames & Hudson to accompany exhibitions at Manchester City Art Gallery in 1991 and Glasgow Art Gallery in 1992. Bonham’s, London, British Cool, 3 March 2022, lot 78, where acquired by the current owner.
£2,500-3,500
In 1957, Piper encountered artist Martin Froy working on a mosaic mural at the Kingston workshop of Dennis M. Williams & Co. Inspired by the project, Williams—whose family had a history as ‘Freeman Tilers’— suggested that he and Piper collaborate on designing tables. Their goal was to reintroduce mosaic as a contemporary decorative art form, a trend that gained momentum in the late 1950s and 1960s as many civic and commercial buildings incorporated mosaics into their public spaces. With the expertise of Williams’ principal assistant, Mrs. Grace Grove, materials such as vitreous glass, ceramic, and porcelain were sourced from Italy, Sweden, Spain, and India. Some tiles were custom-made to Piper’s specifications, including a deep monastral blue and a soft pale yellow. Thanks to the workshop’s technical capabilities, Piper was able to translate his artistic vision directly into mosaic compositions. He remained deeply involved in the process, meticulously arranging the individual tesserae in each project.
309 §
LOUIS LE BROCQUY (IRISH 1916-2012)
GREETINGS FROM SOUTH MOULTON STREET
ink and watercolour on paper mounted on cardboard
31.6cm x 46.3cm (12 3/8in x 18 ¼in), unframed
Provenance: The Artist; Gimpel Fils, London.
£2,000-3,000
310 §
LOUIS LE BROCQUY (IRISH 1916-2012)
DESIGN FOR MOSAIC: PLATFORM FOR ENTRANCE OF 50 SOUTH MOLTON STREET, MARCH 1955 FOR GIMPEL FILS
inscribed, signed and dated March 1955 in ink (to outside board), and inscribed MOSAIC DESIGN FOR PORCH STEP ON ENTRANCE PLATFORM OF GIMPEL FILS, 50 SOUTH MOLTON ST. W1 / TO BE CONSTRUCTED FROM 10MM (QUARTERED) TESSERAE IN PRCISE PROPORTIONS SPECIFICED HERE IN REFERENCE TO TO S.H.R.I.M CHART OF (20MM) TESSERAE SAMPLES (to inside of support board), collage, together with tracing paper design
9.3cm x 23cm (3 5/8in x 9in), unframed
Provenance: The Artist; Gimpel Fils, London.
£1,000-1,500
311 §
MIRIAM SACKS (SOUTH AFRICAN/BRITISH 1922-2004)
COSMIC ENERGY I, 1966
initialled in wool (lower right), signed and dated (to reverse), hand sewn wool 109.5cm x 105.5cm (43in x 41 ½in)
Provenance: Estate of the Artist.
£1,000-1,500
Miriam Sacks was a South African-born British textile artist and painter. She earned an MA in Social Anthropology from the University of Cape Town before moving to London in 1946 to join her husband. In 1951, she relocated to Southern Rhodesia (now Zimbabwe), where she began painting and established a children’s art school.
A visit to New York proved pivotal in her artistic journey—after encountering The Lady and the Unicorn tapestries, she was inspired to explore tapestry as a medium. Developing her own unique, experimental technique, she created intricate “woven images” using needle and thread, much like a painter working with brushes and pigment. Her work drew on a diverse range of influences, from her African experiences and cultural heritage to broader social themes, blending figuration and abstraction.
In 1964, Sacks returned to London and quickly gained an international reputation after exhibiting at the British Embassy in Washington, DC. At Kettle’s Yard in Cambridge, her tapestries were displayed alongside works by
leading British potters, including Han Coper and Lucie Rie, just as her work is displayed here, 50 years later.
Over the following decades, she exhibited widely at venues including the Royal Festival Hall (1971), the Victoria and Albert Museum (1971, 1973), the South African National Gallery (1972), and Leighton House (1977, 1981, 1985, 1988), among others. Esteemed figures such as Maxwell Fry and Herman Wouk championed her work, which is now held in collections across the UK, the US, South Africa, Israel, Zimbabwe, and Canada.
Her memory of Africa, its landscape and extraordinary light, has inspired most of her work, both figurative and abstract. Her subject matter has been informed by her love of nature, her studies in anthropology and music, and her understanding of how technology has impacted the world. Beyond her art, Sacks was a prolific essayist and an avid collector of materials related to her life’s work, many of which are featured on her website: miriamsacks.com.
CONTEMPORARY
SILVER: TRADITION WITH A BOLD NEW EDGE
‘Do not underestimate the importance of understanding the constructing side of the design. However, following the rules is much needed, but do not let the rules restrain your creativity. Also, never remain within your comfort zone but look for the uncomfortable, exciting place that makes the creative journey wonderful! I believe that a successful piece requires its design and making to be in balance: they form so to say ‘a good marriage’.’
(Nan Nan Liu in Contemporary British Silver Designers: The Lion & Hamme Collections, 2022, p. 21)
British silver has long been admired for its craftsmanship and quality, but today’s silversmiths are redefining what this precious metal can be. Blending centuries-old techniques with fresh, innovative designs, contemporary British silver is both a tribute to tradition and a leap into the future.
Makers are exploring bold forms, intricate textures, and even digital technology, creating works that range from strikingly modern tableware to sculptural art pieces. Institutions like the Goldsmiths’ Company and Contemporary British Silversmiths continue to champion this evolving craft, nurturing talent and pushing creative boundaries.
The result? Silver that’s not just beautiful but exciting—where heritage meets cutting-edge design in a way that feels both timeless and unmistakably modern.
JOCELYN BURTON (1946-2020): THE MAVERICK SILVERSMITH WHO REFORGED TRADITION
Jocelyn Burton was a pioneering British silversmith and goldsmith, celebrated for her bold designs and mastery of precious metals. Often working from intricate preliminary drawings, her work is a technical masterclass in design and craftsmanship. As one of Britain’s most decorated metalworkers, her expansive style explores the full decorative and technical potential of the medium.
Burton trained as a silversmith under Jack Stapley at Sir John Cass College, London, and supplemented her studies in etching and mezzotint under Radovan Kraguli by working in the Eaton Bag and shell shop. Her talent was recognised early. In 1966, she received a travelling scholarship to Yugoslavia, and in 1968, while still a student, she won the De Beers Diamond Award for jewellery design. However, she left college in her third year due to restrictions that prevented her from gaining practical experience. Undeterred, she established her own studio in Red Lion Street, London, in 1970 and soon gained recognition for her artistic and technical brilliance all by the age of 24.
Burton’s career accelerated in 1973 when Sir Roy Strong commissioned her to create a silver centrepiece for the Victoria and Albert Museum, inspired by the Albert Memorial and the museum’s own Victorian tower. This piece, inscribed in Latin to commemorate the opening of the Henry Cole Wing, was the start of the museum’s Modern Plate Collection and remains on display as part of the museum’s permanent silver collection today.
In 1974, Burton became the first woman admitted as a Freeman to the Worshipful Company of Goldsmiths at the age of 27, breaking new ground in a male-dominated profession. Her early works were exhibited at the Archer Gallery, where the legendary American war photographer Lee Miller commissioned her to create a peapod pendant filled with pearls, suspended from a silver necklace adorned with a sea urchin spine.
She developed a reputation for taking on ambitious, largescale commissions that challenged the technical limits of silversmithing. Notable works include a silver tabletop fountain for the Fishmongers’ Company, created for the Queen’s Silver Jubilee in 1976, and a pair of solid silver dolphin wall sconces, each four feet high and weighing 20 kilos, commissioned by Lord Inchcape.
Burton has received several prestigious awards, including the United Kingdom Jeweller Award for Best Design in Silver (1995). In 1997 she won both the British Jewellers Association Award for best designer and the World Gold Council Award for a gold necklace. Prince Philip awarded Burton his Medal for exceptional contribution to engineering in 2003. She exhibited at Asprey & Garrard in Bond Street (1998) and Bentley & Skinner (2012), further cementing her reputation.
Later in life, she focused on jewellery, often designing bold, wearable pieces. Her silver and gold bat pendants, inspired by an Imperial robe in Shanghai, became a signature piece that she wore often herself — she believed they brought good luck.
Her works are held across an array of esteemed public and private collections, including those of the Victoria and Albert Museum, St. Paul’s Cathedral, 10 Downing Street, Fitzwilliam Museum, Cambridge, the York Minster & Lichfield Cathedral, Buckingham Palace & the Palace of the Ruler of Dubai and the Worshipful Companies of the City of London.
Jocelyn Burton’s legacy is one of artistic excellence, breaking barriers in a traditionally male-dominated field with technical mastery, creative audacity, and timeless designs that continue to inspire silversmiths and goldsmiths worldwide. We are thrilled to present a selection of works from her estate, showcasing the breadth and quality of her career—from architectural pieces and exquisite silver table ornaments, such as the stunning ‘splash’ bowls, to intricate jewellery.
“Jocelyn Burton is one of life’s originals, an explosive, opinionated, bubbling being, all of which is amply reflected in her work. Everything is very exact and technically perfect. Her drawings for commissions rank as works of art in their own right. In all of this, she stands at the end of a centuries-old tradition; she is fully conversant with so many of the skills once taken for granted but which are now in danger of being lost. She also works firmly within what one might describe as the classical tradition. If that evokes in some people’s minds objects which are dull and conventional you could not be wider of the mark. There’s always a twist and madness to her work which makes it belong very much to the present. In her work, the past is reborn in a form that could only ever belong to the Twenty-First Century.”
Sir Roy Strong
313 §
JOCELYN BURTON (BRITISH 1946-2020)
PAIR OF ‘FOX’ WHISKEY TUMBLERS, 2012
stamped maker’s mark and hallmarked for London, Britannia silver and gilt, in fitted case
each 9cm high (3 ½in high), total weight 630 grms. (2)
Provenance: The Estate of Jocelyn Burton.
£400-600
314 §
312 §
JOCELYN BURTON (BRITISH 1946-2020) FOR AURUM
PAIR OF ‘ST PAUL’S’ BOWLS, 1975
numbered 533/900 and 534/900, each stamped maker’s marks, hallmarked for London 1975, inscribed MADE BY ORDER OF THE DEAN AND CHAPTER OF ST’PAULS CATHEDRAL / AURUM TO COMMEMORATE
THE 300TH ANNIVERSARY OF THE LAYING OF THE FOUNDATION STONE IN 1675, silver and gilt
each 17.5cm long (6 7/8in long), total weight 466 grms. (2)
Provenance: The Estate of Jocelyn Burton.
£300-500
315 §
JOCELYN BURTON (BRITISH 1946-2020) SET OF ‘ACANTHUS’ PRESENTATION
FLATWARE, 2003
stamped maker’s mark, 925, and hallmarked for London (except second largest knife), silver, the knives with steel blades, and Brazilian green agate handles, in fitted case
the longest knife: 26cm long (10 ¼in long)
Provenance: The Estate of Jocelyn Burton.
£300-500
JOCELYN BURTON (BRITISH 1946-2020) FOR AURUM
PAIR OF ‘FITZWILLIAM MUSEUM’ CLARET CUPS, 1975
numbered 92/150 and 111/150, stamped maker’s mark, hallmarked for London 1975, and with Fitzwilliam crest (to the underneath), silver, gilt and cabochon topaz stones each 23cm high (9in high), total weight 791 grms. (2)
Provenance: The Estate of Jocelyn Burton.
£600-800
316 §
JOCELYN BURTON (BRITISH 1946-2020)
PAIR OF TORCHERE WALL LIGHTS, c. 2012
bronze and parcel gilt, with glass flame shades
68.9cm high (27 1/8in high) (2)
Provenance: The Estate of Jocelyn Burton.
£2,000-3,000
317 §
JOCELYN BURTON (BRITISH 1946-2020)
‘SHELL TOTEM’
stamped maker’s mark, hallmarked for London 1970, silver, on marble base 38cm high (15in high), weight of silver 2140 grms.
Provenance: The Estate of Jocelyn Burton.
Note: This was Burton's first large piece crafted from silver £800-1,200
318 §
JOCEYLYN BURTON (BRITISH 1946-2020)
‘SHELL’ POWDER PUFF, 1971
stamped maker’s mark, hallmarked for London 1971, silver 18.5cm high, 13.5cm wide (7 ¼in high, 5 ¼in wide), total weight 650 grms.
Provenance: The Estate of Jocelyn Burton.
£500-700
319 §
JOCELYN BURTON (BRITISH 1946-2020)
‘LONG LIFE’ PENDANT NECKLACE & PAIR OF EARRINGS, 2016
stamped maker’s mark, 750, hallmarked for London 2016, 18ct gold
Earrings 2cm diameter (¾in)
Provenance: The Estate of Jocelyn Burton.
£1,000-1,500
320 §
JOCELYN BURTON (BRITISH 1946-2020)
PAIR OF ‘LONG LIFE’ CUFFLINKS, 2016
stamped maker’s mark, 750, hallmarked for London 2016, 18ct gold, in maker’s fitted green leather box 2cm diameter (¾in diameter)
Provenance: The Estate of Jocelyn Burton.
£700-900
321 §
JOCELYN BURTON (BRITISH 1946-2020)
PAIR OF ‘SHELL’ NAPKIN RINGS, 1978-9
stamped maker’s marks, hallmarked for London 1978 and 1979, silver, set with semi-precious stones, in fitted maker’s black leather box each 4.5cm diameter (1 ¾in diameter), total weight 137 grms. (2)
Provenance: The Estate of Jocelyn Burton.
£250-350
322 §
JOCELYN BURTON (BRITISH 1946-2020)
PAIR OF ‘SPLASH’ BOWLS
maker’s mark, hallmarked for London 2025, silver and gilt each 9.5cm high, 31.5cm wide (3 ¾in high, 12 3/8in wide), total weight approximately 3170 grms.
Provenance: The Estate of Jocelyn Burton.
£4,000-6,000
The two bowls can function independently or connect seamlessly, allowing them to be viewed as a pair or stacked together to form a single unit.
Jocelyn Burton described the piece as “a pair of hammered bowls that join with a bezel at the center, resembling a medieval set. Each bowl was crafted from a simple sheet of silver, with the splash element added 40 years after their initial creation by James Powell. They span my entire career.”
Designed and made by the artist, the bowls were hallmarked by the estate in 2025.
OTHER PROPERTIES
323
TIFFANY & CO.
PAIR OF ‘OWL’ CONDIMENTS, 1959
stamped maker’s mark, STERLING hallmarked for London 1959, silver with glass eyes
6cm high (2 3/8in high) (2)
£500-700
325 §
CHRISTOPHER NIGEL LAWRENCE (BRITISH 1936-)
BOX AND COVER, 1969
stamped maker’s mark, hallmarked for London, silver and silver gilt
stamped maker’s marks, hallmarked for London 1967 and 1978, silver and gilt
24cm long and 21.5cm long (9 ½in long and 8 ½in long), total weight 221 grms. (2)
£400-600
324 §
WALLY GILBERT (BRITISH 1946-) LETTER OPENER / PAPER KNIFE 2010
stamped maker’s mark, 925 and hallmarked for Birmingham 2010 21.5cm long (8 ½in long)
£300-500
327 §
LESLIE DURBIN (BRITISH 1913-2005)
PAIR FISH CANDLESTICKS, 1956
stamped maker’s mark, hallmarked for London 1956, silver 8cm high (3 1/8in high), total weight 352 grms. (2)
Provenance: Tennants, Leyburn, November 2011; Private Collection, U.K.
£500-700
328 §
ESTHER LORD (BRITISH CONTEMPORARY) BOX
stamped maker’s mark, hallmarked for Birmingham, silver 6.5cm x 6.5cm x 4.3cm (2 ½in x 2 ½in x 1 ¾in), weight 167 grms.
Provenance: Acquired directly from the maker, May 2011.
£250-350
330 §
ANGUS MCFADYEN (BRITISH CONTEMPORARY)
TEAPOT, 2015
stamped maker’s mark, 925 and hallmarked for Edinburgh 2015, silver and hard wood 13cm high, 17.5cm high (5 1/8in high, 6 7/8in high), total weight 516 grms.
Provenance: Commissioned directly from the maker by the current vendor, July 2015.
£1,500-2,000
329 §
ROBERT WELCH M.B.E., R.D.I. (BRITISH 1929-2000)
CANDELABRA, 1978
stamped maker’s mark, hallmarked for London 1978, silver 13.3cm high, 15.2cm wide (5 ¼in high, 6in wide), weight 393 grms.
£400-600
At heart my main influence is that of exploration of the materials – silver and enamel, and using them to make pieces which stimulate the senses in some way… there is just something about the quality of colour that I respond to and just love’
(Jane Short in Contemporary British Silver Designers: The Lion & Hamme Collections, 2022, p. 23)
JANE SHORT (BRITISH 1954-)
‘WINTER WALK ON THE DOWNS’ CENTREPIECE, 2016
stamped maker’s mark, 925 and hallmarked for London 2016, silver and enamel
Provenance: Acquired directly from the maker by the current vendor in November 2016 at the Contemporary British Silversmiths Exhibition
£2,000-3,000
Inspired by the colours, patterns, and textures of the landscape, Jane Short created this piece in response to a walk on the South Downs— where sticky, chalky ploughed fields met the brilliance of winter sunlight.
332 § RAUNI HIGSON (BRITISH CONTEMPORARY)
SET OF FOUR ‘RIVULET’ BEAKERS, 2013 stamped maker’s mark, 958 and hallmarked for London 2013, Britannia silver and gilt each 7cm high (2 ¾in high), total weight 549 grms. (4)
Provenance: Acquired directly from the maker, July 2013.
£1,000-1,500
333 § RAUNI HIGSON (BRITISH CONTEMPORARY)
‘8 FOLD’ DISH, 2010
stamped maker’s mark, 958 and hallmarked for London 2010, Britannia silver
stamped maker’s mark, 925, hallmarked for London 2009, silver and gilt each 9cm high (3 ½in high) (2)
Provenance: Acquired directly from the maker by the current vendor.
£800-1,200
“In Coriolis we see hard metal transformed into a fluid form apparently tugged in opposite directions by competing forces. This, as its name indicates, is inspired by the Coriolis effect, the influence that the spinning of the Earth has on ocean currents and weather patterns.
These tensions – between hard and fluid, between clockwise and counter-clockwise, between traditional technique (chasing and repoussé, flat chasing and engraving) and contemporary sculptural expression –combine to give the piece a remarkable sense of compact energy and dynamic potential.”
Andrew Renton, Head of Applied Art, Amgueddfa Cymru – National Museum Wales
335 §
MIRIAM HANID (BRITISH 1986-)
CORIOLIS CENTREPIECE, 2009 stamped maker’s mark, 999 and hallmarked for London 2009, fine silver 6cm high, 43cm wide, 25.5cm deep (2 3/8in high, 17in wide, 10in deep)
Provenance: Acquired at Goldsmiths Fair, directly from the maker, October 2009.
£2,500-3,500
Miriam Hanid created two versions of Coriolis—the first in 2009 – this example - which was later shown to the National Museum of Wales. Impressed by the work, the museum then commissioned and acquired a second version in 2010. The opposing directions in this model reference the Coriolis Force, the effect of the spinning earth on underwater currents.
mark for Sheffield Hallam University, 958 and hallmarked for Sheffield 2010, Britannia silver 9.5cm high (3 ¾in high), weight 296 grms.
Provenance: Acquired directly from the maker, August 2010.
£800-1,200
The idea is for warm water in the jug to flow down into the central container, efficiently transferring heat to the sake through good conductivity, warming it before pouring.
This work won one of the Goldsmiths’ Company awards at the New Designers 2010 showcase.
Judge Mary Ann Simmons commented
‘I loved the smooth tactile form of Michelle’s cleverly design sake jug. Her use of the natural conductive properties of silver and the skill with which she made the piece shows a good understanding of the material… I look forward to her future work.’
342 §
ANE CHRISTENSEN (DANISH 1972-)
‘DENTED’ BOWL, 2010
stamped maker’s mark, 925 and hallmarked for London 2010, silver
Provenance: Acquired directly from the maker, June 2015.
£3,000-5,000
The vendor was keen to have Rod Kelly design a pair of silver wine coasters, which were also able to serve a useful secondary purpose when not being used for their primary use. Consequently these silver coasters were made with unusually high curved sides, and sectioned walnut interiors, so that they could be used for decorative purpose, or storage of small items, without the obvious appearance of being a wine coaster.
347 §
ROD KELLY (BRITISH 1956-)
‘SWIRLING FISH’ WATER JUG, 2015
stamped maker’s mark, 925 hallmarked for London 2015, silver inlaid with pure gold details, and chased decoration
22cm high (8 5/8in high), weight 980 grms.
Provenance: Commissioned and acquired directly from the maker by the current vendor, June 2015.
Note: This lot is sold together with the original drawing, which details the low-relief decoration to be used.
£6,000-8,000
POLITICS UNRAVELS A PLAN TO PROMOTE DAVID MELLOR’S BRITISH TABLEWARE WORLDWIDE
It was an order that was a dream, ‘We want you to supply silver you have designed to every British embassy in the world.’ The client of course was the British Government and the silversmith the Sheffield-based David Mellor. This was the idea of Lord John Hope, the Minister of Works in the Macmillan Conservative government. He considered British embassies should be both built and furnished in a modern style. The Ministry of Works commissioned Mellor in 1962. What became known as ‘Embassy Tableware’ was unveiled at the Design Centre in 1963. The Council of Industrial Design enthusiastically stated that it was, ‘the best of its kind that has been produced in this country for many years’. Comprising everything from candelabras to condiments, it covered all that a British Embassy could possibly need. All the silver was made at Mellor’s workshop with the exception of the Embassy cutlery.
This was forged by hand under David Mellor’s supervision at the specialist Sheffield company of C W Fletcher and given a satin finish. With a rectangular profile, it is more modern in
shape than Mellor’s Pride which he designed in 1953 when he was a student at the Royal College of Art. Mellor wanted Embassy cutlery to have a certain splendour, but to avoid pomposity. The prongs of the dinner and desert forks are unusual as he adopted the 17th century approach of using three as opposed to the subsequent convention of four tines, but unlike their 17th century counterpart, with a ‘W’ formation as opposed to straight tines. The embassies in Warsaw and Mexico City were duly supplied with Mellor’s Embassy silver range, but then disaster struck.
In the 1964 General Election Labour won by just four votes and the new Prime Minister was the pipe smoking Harold Wilson. The following year the Government axed supplying silver to all its embassies. For a while, some pieces of Embassy Tableware were available from David Mellor direct or from Harrods. However, Mellor offered silver canteens of Embassy cutlery to order until the early 1970s. Corin Mellor, David’s son, advises that only five to six were ordered.
348 §
DAVID MELLOR C.B.E. F.C.S.D. R.D.I. (BRITISH 1930-2009)
RARE ‘EMBASSY’ CUTLERY SET, 1971/2
115 pieces, a dozen 9-piece settings plus serving spoons and ladles, stamped maker’s marks, hallmarked for Sheffield, silver and stainless steel, comprising 12 table knives with steel blades, 12 fish knives, 12 dessert knives with steel blades, 12 table forks, 12 fish forks, 12 dessert forks, 12 soup spoons, 12 dessert spoons, 12 tea spoons, 4 table spoons, 3 ladles, one ladle hallmarked for Sheffield 1966 the dinner knives 23.5cm long (9 ¼in long), the weighable silver approximately 5250 grms. (115)
Provenance: J. M. L. Stone Esq.; Bonhams, London, Silver and Objects of Vertu, 4 June 2008, from whom acquired by the current owner; Private Collection, London.
necklace of black acrylic tubular crosssection segments; necklace of square perspex segments with intersecting white tubes; necklace of half-moon acrylic discs with black edging, initialled CN (to one disc)
18.5cm x 16cm (7 ¼in x 6 ¼in); 37cm x 27.5cm (14 ½in x 10 ¾in); 18cm diameter (7in diameter) (3)
£300-500
350 §
WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)
PENDANT NECKLACE, 1971
stamped maker’s mark, hallmarked for London 1971, silver and rock crystal inner width of neck piece: 11.2cm (4 3/8in); overall height: 25cm (9 7/8in)
Provenance: Private Collection, U.K.
£1,500-2,500
Around 1970, Ramshaw shifted her focus to working with silver and gold, quickly developing a distinctive minimalist style shaped by modernism and industrial design. This early necklace, dated 1971, exemplifies her evolving aesthetic with its linear purity and use of crystal, highlighting the mutual influence between her and David Watkins during this period. It was precisely at this time that Ramshaw exhibited her ring sets and neck ornaments in the British Design exhibition at the Louvre in 1971, an achievement that earned her a Council of Industrial Design award in 1972.
351 §
KATHERINE BRUNACCI (AUSTRALIAN 1986-)
PAIR OF TOURMALINE AND PEARL EARRINGS
hallmarked, 9ct gold, tourmaline and pearls, each collet-set with a round-cut green tourmaline in a tapering, textured surround; suspending a cultured pearl drop from a textured gold cap, post and butterfly fittings
Length: 2.5cm (1in)
£500-700
352 §
DOROTHY HOGG M.B.E. (BRITISH 1945-2022)
PAIR OF EARRINGS
each modelled as a tapering oval cylinder suspending a gilt hoop, post and butterfly fittings, unmarked
3.0cm long (1 1/8in long)
Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the current vendor in March 2001; Private Collection, U.K.
£250-350
353 §
DOROTHY HOGG M.B.E. (BRITISH 1945-2022)
SET OF THREE STACKING RINGS
each band set with an tapering oval cylinder, unmarked
Ring size: L
Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the current vendor in August 2004; Private Collection, U.K.
Exhibited: The Scottish Gallery, Edinburgh, Dorothy Hogg: 10 Year Retrospective, August 2004.
£300-500
354 §
WENDY RAMSHAW C.B.E.
R.D.I. (BRITISH 1939-2018) SET OF SEVEN MOONSTONE STACKING RINGS, 1998
comprising seven bands each colletset with a cabochon moonstone, stamped maker’s marks, 750, hallmarked for London, 1998, 18ct gold, on a perspex display stand
Ring size: L-M
Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the current vendor in December 2001; Private Collection, U.K.
£800-1,200
355 §
WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) SET OF EIGHT GEM SET AND ENAMEL STACKING RINGS, 1989 comprising two green and blue enamel bands and five rings colletset with cabochon blue and green carnelians, stamped maker’s mark, hallmarked for London 1989, the enamel bands unmarked, silver, on a perspex display stand
Ring size: N-P
Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the current vendor in June 2002; Private Collection, U.K.
£600-800
356 §
ANDREW LAMB (BRITISH 1978-)
PEAR RING 2, 2005
from the Changing Colour series, maker’s mark ADL, 750, hallmarked for Edinburgh 2005, 18ct gold, of pear shaped form with banded detail
Ring size: L/M (approx)
Provenance: The Scottish Gallery, Edinburgh, from whom acquired by the current vendor in December 2005; Private Collection, U.K.
£500-700
LAURENCE BRODERICK:
SCULPTURE INSPIRED BY THE NATURAL WORLD
Renowned for his ability to distil figural and animal forms into fluid, organic curves, Broderick masterfully captures not only the likeness of his subjects but also their essence—imbuing each sculpture with a sense of movement, personality, and physicality.
This expressive quality is achieved through his expert manipulation of stone and bronze. Broderick primarily works with British stone, including English alabaster, Cornish soapstone, and limestone sourced from Hopton Wood and Ancaster, as well as marble from Purbeck, Portsoy, and Ledmore. Notably, he does not rely on preparatory drawings; instead, he allows the unique characteristics of his chosen material to guide the evolution of his forms as he carves. His sculptures are often highly polished to accentuate their smooth, flowing contours and to enhance the natural beauty of the stone’s colour. However, he occasionally leaves contrasting unpolished passages, which emphasise the unbridled organic quality of his medium – and of his subject.
Broderick is perhaps best known for The Bull (2003), the iconic bronze sculpture installed at Birmingham’s Bull Ring, which has become one of the city’s most beloved landmarks. Another of his enduring artistic passions is the otter, a subject that recurs throughout his body of work. His fascination with the creature began in 1978 during a visit to the Isle of Skye, where he witnessed a wild otter for the first time. Captivated by its playful grace, he dedicated much of his later career to capturing the animal’s agility and character in sculpture.
Beyond his artistic achievements, Broderick was a passionate advocate for wildlife conservation, with many of his works depicting endangered species. His career spanned multiple disciplines, beginning in illustration and fine art before he established himself as a leading sculptor. Over the years, his pieces have been exhibited internationally and are held in both private and public collections. His profound respect for nature, combined with his commitment to traditional craftsmanship, has ensured a legacy as enduring as his chosen medium.
Image coutresy of the Artist's Estate
357 §
LAURENCE BRODERICK (BRITISH 1935 - 2024)
BULL MAQUETTE III (FOR BIRMINGHAM BULL RING), 2003
signed, titled, dated and numbered 20/25 (to edge of base), bronze 32cm wide, 20cm high, 25cm deep
signed MALTBY, stoneware, painted with design of boat in a harbour
18cm high, 24cm wide (6 ¼in high, 9 ½in wide)
£400-600
380 §
TJOK DESSAUVAGE (BELGIUM 1948-)
VESSEL, 2003
incised signature and date, porcelain, terra sigillata slip in orange, the top surface with linear design 8.8cm high, 11cm diameter (3 ½in high, 4 3/8in diameter)
impressed maker’s mark, stoneware, incised linear design
18cm high, 16.5cm wide (7in high, 6 ½in wide)
Provenance: Private Collection, U.K.
£2,000-3,000
387 § JOHN WARD (BRITISH 1938-2023)
VESSEL
388 §
CLAUDIA LIS (GERMAN 1969-) SIX VESSELS
each impressed maker’s seal, stoneware with celadon glaze and iron oxide the tallest 23cm high (9in high); the smallest 15cm high (5 7/8in high) (6)
Provenance: Ruthin Craft Centre, Collect 2014; Property of a Private Aficionado.
Note: Claudia Lis’s work illustrates the harmony of discord. Her vessels with reflective glazes, punctuated with rust marks that break the perfection of the celadon glaze are an amalgamation of opposites. As with this group of works, Lis often exhibits her vessels together as still life installations in order to heighten the subtleties of form and colour in her work.
Lis took a pottery apprenticeship in Germany before coming to the UK in 1997, where she worked in the studio of Rupert Spira until 2014, before establishing her own studio.
£400-600
389
PETER BEARD (BRITISH 1951-) SAIL FORM
initialled PFB and numbered 24/25, bronze on Cumbrian Blue slate base
38.5cm high including base, 12cm wide (15 1/4in high including base, 4 3/4in wide)
each with impressed maker's seal, porcelain, celadon glaze, two bowls, a vase and a jug the tallest vessels 12.4cm high (4 7/8in high), the larger bowl 12.2cm diameter (4 7/8in diameter), the vase 12.5cm high (5in high), the jug 17.5cm high (6 7/8in high) (10)
Provenance: Property of a Private Aficionado.
£600-800
393 §
ASHRAF HANNA
(EGYPTIAN/BRITISH 1967-)
BLUE UNDULATING VESSEL
incised ASH (to base), earthenware
20cm x 21cm x 17cm (7 7/8in x 8 ¼in x 6 ¾in)
£700-900
392 §
ASHRAF HANNA (EGYPTIAN/BRITISH 1967-)
LAVENDER GREY BOWL
incised ASH (to base), earthenware
16cm x 26cm x 20cm (6 ¼in x 10 ¼in x 7 7/8in)
£800-1,200
394 §
ASHRAF HANNA (EGYPTIAN/BRITISH 1967-)
MULBERRY GREY UNDULATING BOWL
incised ASH (to base), earthenware
15cm x 18cm x 14cm (5 7/8in x 7in x 5 ½in)
£400-600
395 §
JOHN PLUMB (BRITISH 1927-2008)
EMERALD, 1965
signed, titled and dated (to reverse), acrylic on board 122cm x 122cm (48in x 48in)
Provenance: Private Collection, U.K., from whom acquired by the present owner in 2022.
Exhibited: Kunsthalle, Basel, Signale – Held, Kelly, Mattmüller, Noland, Olitski, Pfahler, Plumb, Turnbull, JuneSeptember 1965 (not included in catalogue); Paisnel Gallery, London, John Plumb - A Retrospective, 10-20 June 2015.
£7,000-10,000
396 §
ALAN DAVIE C.B.E., R.A. (BRITISH 1920-2014)
BLUE BLADE, 2007 (O.1937)
signed, titled, inscribed and dated (to reverse), oil on board
37cm x 31.6cm (14.5in x 12 1/8in), unframed
Provenance: The Artist; Gimpel Fils, London.
£1,500-2,500
397 §
BERNARD MEADOWS (BRITISH 1915-2005)
RELIEF: THE WATCHERS. 1966 (BM99)
monogrammed (lower right), inscribed by Artist
First idea for Molloy, Saml Beckett (to reverse), edition of 6 plus 1, bronze
15 1/2 x 11 1/4 in/ 39.4 x 28.5 cm
Provenance: The Artist; Gimpel Fils, London.
Exhibited: Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016.
Literature: Bowness, Alan, Bernard Meadows: Sculpture and Drawings, Lund Humphries, London, 1995, p. 144, no.99 (plaster illustrated).
£1,500-2,500
398
CURTIS JERÉ
(CURTIS FREILER / JERRY FELS - AMERICAN) WALL-MOUNTED SCULPTURE, 1987
brass and cast aluminium.
120cm high, 104cm wide (47 ¼in high, 41in wide)
Provenance: Talisman, London, 2014; Bonham’s, London, Design, 28 April 2022, where acquired by the present owner.
Provenance: Estate of the Artist; Gimpel Fils, London; Private Collection, London.
Exhibited: Gimpel Fils, London, Robert Adams, 1979, no. 23; Gimpel Fils, London, Robert Adams - Late Bronzes, 1988, no. 23; Gimpel Fils, London, Robert Adams - A Retrospective, February - April 2003, no. 30;
Beaux Arts, London, Some Aspects of British Sculpture, May - July 2005.
Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation and Lund Humphries, London, 1992, no. 659, and reproduced in sketch form p. 239.
£3,000-5,000
400 §
JOHN GOLDING C.B.E. (BRITISH 1929-2012)
UNTITLED, c. 1973 (JG0149)
pastel and mixed media on paper 55cm x 75cm (21 5/8in x 29 1/2in)
Provenance: The Estate of the Artist; Piano Nobile Gallery, London, from whom acquired by the present owner, October 2018.
£2,000-3,000
401 §
WILLIAM TILLYER (BRITISH 1938- ) LANDSCAPE (HORIZONTAL WITH CLOUDS) [FROM THE WESTWOOD PAINTINGS], 1989
signed and dated (to reverse), oil on canvas 91cm x 243cm (36in x 95 ¾in)
Provenance: Long & Ryle, London, from whom acquired by the present owner.
£6,000-8,000
402 §
ALAN REYNOLDS (BRITISH 1926-2014)
STRUCTURE-79, 1979
signed in pen (to backboard), emulsion paint and lead pencil on card relief in Artist’s frame
65.3cm x 75.5cm (25 ¾in x 29 ¾in) overall
Provenance: Private Collection, London, acquired c. 2005.
£3,000-5,000
403 § WILLIAM TURNBULL (BRITISH 1922-2012)
23 – 68, 1968
signed, titled and dated (to the reverse, on the canvas overlap), oil on canvas 306cm x165cm (120 ½in x 65in)
Provenance: The Artist; Waddington Galleries, London Bloomsbury Auctions, London, 13 November 2008, lot 209, where acquired by the previous owner; Acquired from the above by the present owner, 2012.
£20,000-30,000
404 §
BERNARD COHEN (BRITISH, 1933- )
FIRST PANEL PAINTING OF 1970, 1970
signed, titled and dated in pen (to reverse - on stretcher bar), acrylic on linen 90cm x 90cm (35 ½cm x 35 ½cm)
Provenance: with Studio La Città, Verona; Sotheby’s, London, Modern & Post-War British Art, 14 November 2012, lot 237, where acquired by the present owner.
£3,000-5,000
405 §
GILLIAN WISE (BRITISH 1936-2020)
12 PARTS STRUCTURE ON 2 PLANES, 1966 signed, monogrammed, titled and dated (to reverse), relief in plastics and metal 38cm x 38cm x 5.5cm (15in x 15in x 2 1/8in)
Provenance: Acquired directly from the Artist by the present owner, 2005.
£5,000-7,000
406 §
PETER
SEDGLEY (BRITISH, 1930-2025)
HELIX CIRCLES ON DARK GREEN, 1965 signed and dated in crayon (lower right); gouache on card
37.5cm x 35.5cm (14 ¾in x 14 in)
Provenance: The Artist; Redfern Gallery, London, where acquired by E.G. Jones, July 1976; Christie’s, London, 20th Century British Art, 16 December 2010, lot 71, Private Collection, London.
£1,000-1,500
439 [detail]
407 §
VASSILLAKIS TAKIS (GREEK 1925-2019) SIGNALS, 1968
series 2, prototype, Unlimited Bath Widcombe Manor label (to base), painted aluminium, acrylic glass and metal rods
174cm high, 26cm wide (68 ½in high, 10 ¼in wide)
£12,000-18,000
408 §
NORMAN STEVENS (BRITISH 1937-1988)
LOUVERED SHUTTERS, 1971
signed and dated (lower right), acrylic on canvas 183cm x 153cm (72in x 60in)
Provenance: Maltzahn Gallery, London, 1971; Private Collection, U.K., from whom acquired by the present owner, 2014. £1,500-2,500
signed and dated on backboard (to reverse), oil on canvas
Provenance: Julia Lane, former wife of Howard Hodgkin.
Literature: H. Hodgkin, M.C. Chamowicz, R. Hamilton and A. Caro, Four Rooms, exh. cat., Arts Council of Great Britain, London, 1984, n.p.; S. Colloway, Liberty of London, Masters of Style & Decoration, London, 1992, p. 215.
The Four Rooms exhibition, conceived by contemporary artists Howard Hodgkin, Marc Camille Chaimowicz, Richard Hamilton, and Anthony Caro, was presented at Liberty & Co. in London in 1984. Each artist created a distinct installation, evoking vastly different atmospheres. Hodgkin’s playful and vibrant display contrasted sharply with Hamilton’s minimalist interior, which featured bare walls and only a few functional, undecorated objects. Chaimowicz’s ascetic space and Caro’s Cubist-inspired sculptural arrangement added further layers of contrast.
“I wanted to make a strong little table you could use to stand on to mend something around the house, and use the way plywood absorbs ink spills,” said Howard Hodgkin.
£1,500-2,500
Howard Hodgkin’s Indian Waves series was painted across 1990 and 1991 at the master printer Jack Shirreff’s 107 Workshop in Wiltshire, after which they were packed away in brown paper and stored. It was only when Shirreff retired that they were rediscovered, forming the basis for an exhibition at Gagosian, London, in November 2014.
The works were made in three stages. First, Hodgkin brushed a paste of liquidised carbon filings (carborundum) over a printing plate to create waves, the form of which would emboss the paper when run through a press. Each image in the series was then given a printed blue and green layer, making thirty identical bases. From these, Hodgkin created thirty remarkably different works by implementing a final process of painting free-hand over the top in thick gouache, evoking his decades-long experience of India, entwining place, people, memory and impressions, in works such as Mumbai Wedding, Storm in Goa, Hill Station, Chowpatty Beach and, of course, Border
Hodgkin had first visited India in 1964, where he became enraptured by the country. As he noted in 2014, at the time of the Indian Waves exhibition: ‘India is totally exotic, everyone speaks English and everything is so transparent. Emotion is so close to the surface and on view… I was fascinated by India before I ever went there’. (Quoted in an interview with Mark Hudson, Daily Telegraph, 29th November 2014)
In 1978, during an extended sojourn in Ahmedabad as a guest of a prominent Indian family, Hodgkin had created a body of works on hand-made khadi paper, a traditional paper made from rags, that he had painted on whilst still wet. These were tied up in a bundle and put on the roof of a taxi, but went missing on the way to the airport, much to the devastation of the artist. The lost bundle did eventually turn up, becoming known as the Indian Leaves series upon
SIR
HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017)
BORDER (FROM INDIAN WAVES SERIES), 1990-1991
signed, titled and dated (to reverse), gouache on intaglio impressed khadi paper
72.7cm x 91.8cm (28 5/8in x 36 1/8in)
Provenance: The Artist; Gagosian, London, from whom acquired by the present owner, November 2014.
Exhibited: Gagosian, London, Indian Waves, 28 November 2014 - 31 January 2015;
CSMVS, Mumbai, India, Howard Hodgkin Paintings, 1984-2015, 21 February - 15 April 2015
£30,000-50,000
exhibition at the Tate in 1982. However, Hodgkin had already decided to make a new series to replace them –using carborundum on dry khadi paper to recreate the liquid sensation of working ‘wet on wet’ in Ahmedabad. This series was to become Indian Waves which, along with Indian Leaves, is the only series fully painted on khadi.
The series as a whole – and Border in particular – bears all the hallmarks of Hodgkin’s mature style, in the layering of sumptuous colour upon colour, in its pure abstraction which is simultaneously evocative of place, from the steaming forests of the Sundarbans through to the dry, cool air of the Himalayas. Border seems to symbolise the latter, a sunset over glacial peaks, with a slight change in colour that places it a few thousand feet further up from its companion in the series, Hill Station, the deep red sunset of the which has become starved of oxygen, turning the most beautiful pink. The work’s colours – this resonant pink, an icy, milky blue and a rich crimson, set against an encompassing green mandala – certainly have a Himalayan feel, the soft colours of Tibetan Buddhism, wind-blown and sun-faded.
This field of colour is laid out by Hodgkin in flowing brushstrokes, sweeping horizontally, left to right, right to left, with the gestural bravura for which Hodgkin is celebrated. These brushstrokes then entwine with the carborundum-intaglio surface, adding depth and intrigue. Hodgkin is rightly regarded as the most painterly of printmakers and the Indian Waves series is, in a way, a gesture of return, bringing one of his favourite printmaking techniques into the heart of his painting practise.
Having been shown originally shown at Gagosian, London, Border was one of eleven works from Indian Waves selected for an exhibition celebrating Hodgkin’s paintings of India, held at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai in 2015.
ETTORE SOTTSASS (ITALIAN 1917-2007) FOR ARTEMIDE ‘CALLIMACO’ FLOOR LAMP, DESIGNED 1981 manufacturer’s label (to base), lacquered and chromed steel with aluminium 200.5cm high (79in high)
£600-800
421 §
ETTORE SOTTSASS (ITALIAN 1917-2007) FOR ULTIMA EDIZONE ‘PRIMAVERA’ TABLE, DESIGNED c. 1980 produced 2000s, marble 55cm high, 50.5cm diameter (21 5/8in high, 19 7/8in high)
£1,000-1,500
422
GINO SARFATTI (ITALIAN 1912-1985) FOR ARTELUCE MIRROR / WALL LIGHT, DESIGNED 1971
model 51/b, lacquered aluminium, glass and plastic 65cm diameter, 5cm deep (25 5/8in diameter, 2in deep)
Provenance: The Collection of Ann Sutton, O.B.E.; Lyon & Turnbull, London, Modern Made, 28 April 2023, lot 283, where acquired by the current owner.
£700-1,000
424
ISAMU NOGUCHI (AMERICAN 1904-1988) FLOOR LAMP
model UF3-Q, stamped maker’s mark, from the Akari series, rice paper, bamboo and lacquered metal 145cm high (57in high)
£1,000-1,500
425 JIA LI (CHINESE CONTEMPORARY)
TWO ‘MEMORY BOX’ TABLES, DESIGNED 2008
signed LISPACE / JIA LI / 2008, each from a limited edition of 20 from 2012, handmade red silk lantern in plexiglass each 40cm x 40cm x 40cm (15 ¾in x 15 ¾in x 15 ¾in)
Provenance: Themes & Variations, London.
£1,200-1,800
426 §
JAIME TRESSERRA CLAPÉS (SPANISH 1943-) ‘CARPETT’ SECRETAIRE, DESIGNED 1987
cherry and sycamore
94cm wide, 14cm high, 51cm deep
£1,000-1,500
427 § TOM DIXON C.B.E. (BRITISH 1959-) FOR SPACE DESIGN, U.K. SPEED LOUNGE CHAIR, 1999
JOHN BEHRINGER (AMERICAN 1939-) FOR FABRY ASSOCIATES INC.
PAIR OF ‘LINK’ BENCHES, DESIGNED 1961
model 656, with labels for the distributor Mobilier International, France, skai and aluminium 39cm high, 171cm long, 55cm deep (15 3/8in high, 67 3/8in long, 21 5/8in deep) (2)
Note: Examples of Behringer’s ‘Link’ benches featured in the film American Gigolo
£2,500-3,500
429
KAZUHIDE TAKAHAMA (JAPANESE 1930-2010) FOR SIMON GAVINA INTERNATIONAL SIX ‘KAZUKI’ CHAIRS, 1970S
manufacturer’s labels, lacquered wood
106.5cm high, 47cm wide, 47cm deep (42in high, 18 ½ wide, 18 ½ deep) (6)
£1,200-1,800
‘My work reflects the order and harmony that I see in the world of nature around me - patterns of movement, change, growth and form. There is a beautiful sort of mathematics at work in the world in the way that forms grow and patterns repeat themselves in so many different places. There is a spectacular balanced dance happening everywhere, always, at all scales, from the interplay of the vast pieces of the universe to the miraculous minutia of the mechanisms of life. The orderly patterns that underlie these harmonies are the basis for the forms I use in my work. It is the mathematics of balance and growth and movement.’
J. Carl Freedman
430 J. CARL FREEDMAN (AMERICAN 1952-) ‘KEPLER’S APPLE’ MOBILE, 1999 signed and dated J. Carl Freedman 1999 DX (to one panel), aluminium flat width: 140cm (55in); approximate height: 40cm (15 ¾in) £1,200-1,800
Carl Freedman has been making mobiles, vanes and moving sculpture for more than twenty years from his studio in Haiku on the island of Maui. His work bridges the fields of art, craft and engineering and varies in scale from small table-top pieces with tiny machined bearings to large works for public architectural spaces.
431 §
COLIN SELF (BRITISH 1941- )
CINEMA STUDY NO. 12 (CINEMA CURTAIN), 1969
signed, inscribed and dated ‘COLIN SELF’ CINEMA STUDY 1969 NO.12 (CINEMA CURTAIN) 21ST JULY 1969 (to reverse), ink and watercolour on paper
15.9cm x 21.6cm (6 ¼in x 8 ½in)
Provenance: Acquired directly from the Artist by a Private Collection; Their sale, Christie’s South Kensington, 20th Century British Art including The Olga Davenport Collection, 25 March 2009, lot 153; Sworder’s, Stansted, Design, 26 January 2021, lot 609, where acquired by the present owner.
Exhibited: London, Studio Four, Colin Self, 1973, catalogue not traced.
£300-500
432
SKATEROOM X ESTATE OF JEAN-MICHEL BASQUIAT TRIPTYCH, 2014
screen print on skate decks, in original carrying bag each 81cm x 20cm (31 ½in x 7 7/8in)
Note: Produced by The Skateroom, Brussels in collaboration with the Estate of Jean-Michel Basquiat.
£600-800
433 §
DAMIEN HIRST (BRITISH 1965- )
SPIN PAINTING, 2009
printed signature verso, acrylic on paper with Artist’s blindstamp
52.5cm (20 ¾in) diameter, unframed
Provenance: Fundraiser to celebrate the opening of Damien Hirst: Requiem at the Pinchuck Art Centre, 25 -26 April 2009, where acquired by the present owner.
Pinchuk Art Centre is a private contemporary art centre located in Kyiv with a collection of works by Ukrainian and international artists.
£2,000-3,000
434 §
ALEXIS HARDING (BRITISH 1973- ) EXPULSION, 2001
signed, titled and dated (to reverse), oil on MDF 122cm x 152.3cm (48in x 60in)
Provenance: Private Collection, U.K and and by descent to the present owner.
£700-1,000
435 §
COLETTE MOREY DE MORAND (CANADIAN / BRITISH 1934-2022)
RELEASING TIME - 1, 1979
signed and dated (to right margin); also signed, titled and dated in pen (to reverse), graphite on wove paper 76cm x 56.2cm (30in x 22 1/8in), unframed
Provenance: The Estate of the Artist and by descent to the present owner.
£500-700
436 §
COLETTE MOREY DE MORAND (CANADIAN / BRITISH 1934-2022) HARD FEELINGS (LATE AFTERNOON) -
THE LOVE AFFAIR, 1997-98
signed and titled (to reverse), acrylic gel and marble dust on canvas
41cm x 45.5cm (16in x 18in)
Provenance: The Estate of the Artist and thence by descent to the present owner.
£700-1,000
437 §
MAT COLLISHAW (BRITISH 1964- ) ULTRA VIOLET ANGEL (NO.6), 1993
signed to label (to reverse), silkscreen with ultra violet ink on paper, steel box, illuminated by ultraviolet light
32cm x 24cm x 5cm (12 ½in x 9 ½in x 2in)
Provenance: Haunch of Venison, London; Private collection, London.
£1,500-2,000
438 §
SIMON LINKE (AUSTRALIAN 1958-)
MARK GROTJAHN AT BLUM & POE, 2014
signed and dated (to reverse), oil on canvas
26.5cm x 26.5cm (10 ½in x 10 ½in)
Provenance: Acquired directly from the artist by the present owner.
Exhibited: Peter von Kant Gallery, London, One Way Return, 10 October29 November 2014.
£1,500-2,500
439 § DAVID SPRIGGS (CANADIAN/BRITISH 1978-) ‘GRAVITY’, 2017
painted layers of transparent sheet in lit display case
55.8cm x 52cm x 21.6cm (22in x 20.5in x 8.5in)
Provenance: Messums, Wiltshire, 2018, from whom acquired by the current vendor; Private Collection, U.K.
Note: Sold together with artist’s certificate of authenticity
£2,000-3,000
440
SIR DAVID CHIPPERFIELD
C.H., C.B.E., R.A., R.D.I., R.I.B.A. (BRITISH 1953-) FOR CASSINA IXC LTD. ‘AIRFRAME’ SOFA, DESIGNED 1992
Provenance: Aram, London, 2005, from whom acquired by the present owner; Private Collection, U.K.
Note: This table was named after Eileen Gray’s last home, Lou Perou, that she built above St. Tropez at the age of 76.
£800-1,200
443
HANS HOPFER (GERMAN 1931-2009) FOR ROCHE BOBOIS
MAH JONG MODULAR SOFA, DESIGNED 1971
each seat cushion upholstered
200cm wide, 70cm high, 300cm deep (78 ¾in wide, 27 ½in high, 118in deep); the cushions: each 96cm x 96cm (37 ¾in x 37 ¾in)
Provenance: Private Collection, U.K.
£3,000-5,000
444 §
PAOLO VENINI (ITALIAN 1895-1959) FOR VENINI & C. ‘OPALINO’ VASE, DESIGNED 1952
acid stamp Venini Murano ITALY, model no. 4225, opalino glass
30.5cm high, 20cm wide (12in high, 7 7/8in wide)
Provenance: Private Collection, U.K.
Literature: Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnice, Skira Editore S.p.A., Milan, 2016, p. 144, cat. no. 4225, for a similar example.
signed, titled and dated (to reverse, on backing board), acrylic paint on paper 48in x 60in (122cm x 152.4cm)
Provenance: Saatchi Collection, London; Christie’s, London, Post War & Contemporary Art, 14 February 2013, lot 308, where acquired by the present owner.
£5,000-7,000
450 §
ALAN UGLOW (BRITISH 1941-2011)
UNTITLED (FLOODLIT FOOTBALL STADIUMS), c. 1995
three black & white photographs each 49.5cm x 59.6cm (19 ½in x 23 3/8in) (3)
The complete set of 12 duotone screenprints, each signed in pencil and inscribed A - C respectively (to reverse), from the edition of 35 plus ten Artist’s Proofs on Somerset Tub-sized Satin paper, lacking text, title-page, justification and box each sheet: 48.7cm x 74.3cm (19 1/4in x 29 1/4in) (12, framed)
Provenance: Sotheby’s, London, Made in Britain, 20 March 2018, lot 232, where acquired by the present owner.
Note: Printed by Coriander Studios, London.
Published by The Paragon Press, London.
£3,000-5,000
452 §
MATTHEW CARR (BRITISH 1953-2011)
ALAN HOLLINGHURST, NOVELIST, 2008
signed and dated (to reverse), conté pencil on charcoal prepared paper
89cm x 59.5cm (35in x 23 3/8in)
Provenance: Marlborough Fine Art, London; Abbott and Holder Ltd., London; Private Collection, London.
£1,500-2,000
453 §
FREDA SKINNER (BRITISH
1911-1993)
HARLEQUIN
signed and numbered 3/10, bronze
58.8cm high (23 1/8in high)
Provenance: The Barnes Gallery, London; Private Collection, London.
£800-1,200
454 §
EMILY ALLCHURCH (BRITISH 1974- )
RIVERSIDE AFTER WHISTLER, 2005-6
signed and numbered on artist’s label (to reverse), photographic transparency mounted in artist-made lightbox, number 2 from the edition of 5 plus 1 Artist’s Proof
62.4cm x 91.8cm x 13cm (24 ½in x 36in x 5 ¼in)
Provenance: Frost and Reed Contemporary, London, where acquired by the present owners, 2009.
£2,000-3,000
455 §
MAARTEN BAAS (DUTCH 1973-)
‘THE CHANKLEY BORE, DUUK’ CHEST OF DRAWERS, 2008
from an edition of 4, stone, aluminium and plastic
Note: Please note that this lot will not be on view at the Mall Galleries during the sale viewing. It is available to view by appointment at Stephen Morris Shipping, Greenford, UB6 0FD.
£6,000-8,000
MONICA FÖRSTER (SWEDISH 1966-) FOR OFFECCT AB, SWEDEN CLOUD INFLATABLE ROOM, DESIGNED c. 1995
nylon and electric inflation
approximately 530cm x 400cm x 230cm (208 ½in x 157 ½in x 90 ½in)
Provenance: Christie’s, London, The Alias Collection of Modern Design, 16 July 2006, Lot 289; Private Collection, London. £500-700
Note: ”Whenever I’ve been travelling in airplanes, I have wondered how it would feel like to be inside one of the clouds outside the window...”
The Cloud by Monica Förster is a portable room designed for relaxation, creative brainstorming, meditation, or as a unique meeting space. It effortlessly creates a defined area and distinct atmosphere within any environment. Easily transportable, Cloud inflates in just three minutes with the help of a silent, continuous fan, maintaining its shape for as long as needed. When no longer in use, it folds into its integrated carrying bag. Entry and exit are through a self-closing slit door, ensuring ample ventilation. Crafted from durable rip-stop nylon, Cloud includes a built-in fan unit and carrying bag for mobility.
END OF SALE
FOR BUYERS (UK)
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (��) next to its lot number.
A. BEFORE THE SALE
1. DESCRIPTIONS OF LOTS
Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.
2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.
(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.
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(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.
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Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.
4. JEWELLERY, CLOCKS & OTHER ITEMS
(a) Jewellery:
(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.
(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report
if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.
(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.
(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.
(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.
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(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.
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2. RETURNING BIDDERS
We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have
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3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.
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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.
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For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.
(c) Written Bids
While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.
C. DURING THE SALE
1.
ADMISSION TO OUR AUCTIONS
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.
2. RESERVES
Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.
3. AUCTIONEER’S DISCRETION
The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.
4. BIDDING
The Auctioneer accepts bids from:
(a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.
5. BIDDING
INCREMENTS
Bidding increments shall be at the Auctioneer’s sole discretion.
6. CURRENCY CONVERTER
The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.
7. SUCCESSFUL BIDS
Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.
8. RELEVANT LEGISLATION
You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.
D.
THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY
1. THE PURCHASE PRICE
For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction.
Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.
2.
VALUE ADDED TAX
Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.
(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.
(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This
reduced rate is applicable to Antique items.
(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.
3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. 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
1. SELLER’S WARRANTIES
For each Lot, the Seller gives a warranty that the Seller;
(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.
2. AUTHENTICITY GUARANTEE
We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as
amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.
In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.
This Guarantee does not apply if:
(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or
(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or
(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.
This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:
(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.
We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional
expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.
3. YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.
(b) Where You are bidding on behalf of another person You warrant that:
(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;
(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;
(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.
F. PAYMENT
1.
MAKING PAYMENT
(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.
(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.
(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.
(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in
and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:
(i) When You collect the Lot; or
(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.
(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any 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.
2. IN THE EVENT OF NONPAYMENT
If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
(a) To proceed against You for damages for breach of contract;
(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;
(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).
(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;
(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;
(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;
(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;
(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any
purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and
(i) Take any other action we see necessary or appropriate.
G. COLLECTION & STORAGE
(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website
(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.
(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;
(i) Charge You storage costs at the rates set out on our Website.
(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.
(iii) Sell the Lot in any way we think reasonable.
H. TRANSPORT & SHIPPING
1.
TRANSPORT AND SHIPPING
We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.
2. EXPORT OF GOODS
Buyers intending to export goods should ascertain;
(a) Whether an export licence is required; and
(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.
3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION
Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites
We accept no liability for any Lots which may be subject to CITES but have not be identified as such.
I. OUR LIABILITY TO YOU
(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.
(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or
(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.
(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.
(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot
(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.
J. OTHER TERMS
1. OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;
(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or
(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.
2. RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.
3. COPYRIGHT
We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.
4. ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.
6. REPORTING ON WWW.LYONANDTURNBULL.COM
Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.
7.
SALE BY PRIVATE TREATY
(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.
(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.
(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.
(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.
8. THIRD PARTY LIABILITY
All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security
arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.
9.
DATA PROTECTION
Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.
10. FORCE MAJEURE
We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.
11.
LAW AND JURISDICTION
(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law
(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.
K. DEFINITIONS & GLOSSARY
The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.
1. DEFINITIONS
“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;
“Bidder” a person who has completed a Bidding Form
“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.
“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”
“Buyer’s Premium” the sum calculated on the Hammer Price at the rates
stated in Catalogue.
“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website
“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.
“Estimate” a statement of our opinion of the range within the hammer is likely to fall.
“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;
“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;
“High Value Lot” a Lot with a lower Estimate of £30,000 or above;
“Lot” each Item offered for sale by Lyon & Turnbull;
“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;
“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;
“Sale” the auction sale at which a Lot is to be offered for sale by us.
“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.
“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;
“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.
“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com
2. GLOSSARY
The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:
“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.
“Lien” a right for the person who has possession of the Lot to retain possession of it.
“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.
“Title” the legal and equitable right to the ownership of a Lot.
GUIDE TO BIDDING & PAYMENT
REGISTRATION
All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:
1 – Government issued photo ID (Passport/Driving licence)
2 – Proof of address (utility bill/bank statement).
We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.
BIDDING IN THE SALEROOM
At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is nontransferable.
BIDDING OUTSIDE THE SALEROOM
BY PHONE
A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.
IN WRITING
Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.
ON THE INTERNET
- ABSENTEE BIDDING
Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com
- BID LIVE ONLINE
Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.
PAYMENT
Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.
Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:
BANK TRANSFER
Account details are included on any invoices we issue or upon request from our accounts department.
ONLINE CREDIT OR DEBIT CARD PAYMENTS
We no longer accept card payments by phone. Please use our online payment service (provided by Opayo).
You will find a link to this service in any email invoice issued or you can visit the payments section of our website.
CASH
No cash payments will be accepted for this auction.
