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Mallams 1788

DESIGN + MODERN ART 5 & 6 DECEMBER 2019 OXFORD

INCLUDING THE PETER DINGLEY COLLECTION


Mallams 1788

DESIGN THURSDAY 5 DECEMBER

MODERN ART FRIDAY 6 DECEMBER

Viewing: Saturday 30 November 9am - 4pm Monday 2 December 9am - 5pm Tuesday 3 December 9am - 5pm Wednesday 4 December 9am - 5pm Auction Time: 11am Catalogue: £15 Auction Location: Bocardo House 24a St. Michael’s Street Oxford OX1 2EB +44 (0)1865 241358 www.mallams.co.uk 1


PICTURE CATALOGUING TERMS Explanation of Picture Cataloguing Terms A work catalogued with the full name of the artist in our opinion, is or is probably a work by that artist. However, intending buyers are respectfully reminded to fully satisfy themselves prior to bidding as the catalogue description does NOT represent a certificate of authenticity. Otherwise the following terms are used: ‘Attributed to’ … in our opinion the work is probably by the artist named in whole or in part. ‘Circle of ’ … in our opinion the work is by an artist influenced by the named artist and of the period. ‘Follower of ’ … in our opinion the work is executed in the named artist’s style. ‘Manner of ’ … in our opinion the work is executed in the named artist’s style but is of a considerably later date. ‘School (together with place or country and date)’ … in our opinion the work was executed in that location at that time. ‘After’ … in our opinion the work is a copy of a known painting by the named artist. ‘Signed’ … in our opinion the signature is by the hand of the artist stated. ‘Bears signature’ … in our opinion there is an element of doubt over the signature or it has been added by another hand.

ARTIST’S RESALE RIGHTS Important Notices: Changes to the Droite de Suite or Artist’s Resale Rights Pictures produced by European Artists can be subject to the Droite de Suite or Artist’s Resale Right which took effect in the United Kingdom on the 14th February 2006. Under this legislation Mallams is required to collect a royalty payment for works by living artists which sell for more than 1000 Euros. This now also applies to works by artists who have died within the last seventy years. It is calculated on the Rate of Exchange at the European Central Bank on the date of sale. It is charged to the buyer as a percentage of the hammer price and in addition to the buyer’s premium. The Artist’s Resale right is not subject to VAT. The charge for Works of Art sold at or above 1000 Euros and below 50,000 Euros is 4%.

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For items selling above this figure the fee is calculated on a sliding scale. These charges are paid to the Design and Artist’s Copyright Society (DACS). No additional fees or handling costs are retained by Mallams. For more information visit www.dacs.org.uk. Please be aware of this extra charge and especially the recent changes if you intend to bid for any works which might fall into the above category.


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Mallams 1788

CONTENTS SPECIALISTS:

THURSDAY 5 DECEMBER DESIGN:

Max Fisher 20th Century Design + Art max@mallams.co.uk

The Peter Dingley Collection of Ceramics

1 - 56

Studio and Contemporary Ceramics

57 - 214

Design

215 - 374

Jewellery & Silver

375 - 401

FRIDAY 6 DECEMBER MODERN ART: The Peter Dingley Collection of Pictures

402 - 441

Prints, Artist’s Textiles and Books

442 - 594

Paintings & Sculpture

595 - 758

Louise Dennis FGA DGA Jewellery louise@mallams.co.uk

AUCTION ENQUIRIES & CONDITION REPORTS Jack Stinson oxford2@mallams.co.uk +44 (0)1865 241358 MARKETING & PRESS ENQUIRIES

BIDS +44 (0)1865 241358 Fax +44 (0)1865 725483 or to bid via the internet www.the-saleroom.com

CONDITIONS OF SALE This auction is subject to important notices, conditions of sale and reserves, which can be found towards the end of the catalogue. online catalogue www.mallams.co.uk

oxford@mallams.co.uk +44 (0)1865 241358

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PETER DINGLEY; POTS AND PICTURES FROM A GALLERY LIFE

Peter Dingley at the gallery in Chapel Street, c.1985

Peter Dingley Gallery at 8 Chapel Street.

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Peter Dingley M.B.E. (1923-2018) was one of the great gallery owners in the British crafts (he preferred the term ‘shopkeeper’, his gallery was always ‘the shop’). When he opened in Stratford-upon-Avon in 1966, such spaces serving the applied arts were scarce indeed, and mostly centred in London, where, for example, the Craftsman Potters Shop, the British Crafts Centre and Primavera were located. Along with the likes of Pan Henry, Henry Rothschild and Ken Stradling, Dingley was a pioneer retailer, laying the groundwork for the numerous galleries that were established in the crafts revival of the 1970s and beyond. A committed regionalist, he displayed a range of local names as well as national figures, and his gallery became known for its elegance and variety. He had great vision, and was certain of his own mind. Never one to pull his punches, Peter had strong views on a range of subjects, but with regard to the crafts, he disliked work that he felt tried too hard, too self-consciously, to be ‘art’. He was very critical too of mis-directed public subsidy in the visual arts, and made his feelings very clear with organisations like the Crafts Council, on which he would serve, though conceding later that he was “not a committee man”. Peter was essentially a lone operator, who loved the company of craftspeople and his valued customers, but was ill-at-ease with cultural organisations that he felt were often bureaucratic in nature. Combative he could be (and he loved an argument), but this larger-than-life character was also immensely kind and entertaining companion. Time with Peter and his partner Guido Marchini was never time wasted. He was such a vital and vivid person that his family and many friends find his absence now difficult to comprehend. In Stratford he became, quite simply, an institution, known across the region, and in the theatre world of the Royal Shakespeare Company, many of whose actors were regular customers. The service to mark his life in Shakespeare’s Church, Holy Trinity, back in February, was testimony to this, a place where his lasting memorial will be the ‘quiet room’ above the north porch, an understated place for contemplation and prayer which Peter conceived in 2010 with the help of a local architect.


Lucie Rie and Guido Marchini at the opening of Lucie’s exhibition in the gallery in Chapel Street, 16 October 1983

Peter was born in Sutton Coldfield (where he was later a proud founder of his local squash club), and educated at Emscote Lawn School in Warwick and Malvern College, Worcestershire. There followed a brief period of study at Worcester College, Oxford, before World War II intervened. He served in the army in Iraq, India and Italy, and after the war he joined the family brass foundry in Birmingham, becoming a sales director. In 1959 he joined Barber Index, an information service for architects, where as a partner he established a branch in Birmingham. He settled in Stratford with Guido Marchini, a very accomplished textile designer, in 1964, establishing the gallery, initially in Meer Street, two years later. Pan Henry at the Craft Potters Association and Cyril Wood at the Crafts Council of Great Britain (a fore runner of the current Crafts Council) gave Peter much practical advice when he was setting up. He also consulted the little book ‘Craft Workshops in the Countryside’ (published by the Rural Industries Bureau) in selecting stock for the opening of what he decided, with typical ambition, would be a “one man crafts centre” and “in which almost no craft would go unrepresented”. Deciding to aim high, he opened with pots by Lucie Rie, and Bernard and David Leach, showing their work alongside, for example, Pauline Solven’s glass, Sam Smith’s toys, and weaving by Peter Collingwood and Theo Moorman. Peter continued to show a great range of craft disciplines, alongside pictures and sculpture, over the next twenty five years, but it was in studio ceramics that he particularly made his name, and in which he built up a small private

collection. Not that he would like the term ‘collection’, for he never set out to ‘collect’ as such, but simply kept back occasional pieces from exhibitions and stock, and of course he was given numerous gifts by his artists over the years. Peter’s collection reflected his gallery life, some of the friendships he made through the shop. (There were many other significant potters he showed and admired, but who did not find their way on to Peter’s own shelves). Undoubtedly his most famous association was with Lucie Rie, whom he showed over twenty five years, but it was her 1983 exhibition with him that was most memorable. It opened his second gallery in Chapel Street, and Rie thought it the best display of her work she had seen, expertly presented by Guido, who always took charge of the arrangements. Greatly moved, she remarked of the show; “I’ve just realised I’ve never seen my pots before”. The various bottles and bowls of Rie’s on Peter’s sitting room shelves were testimony to their close working partnership, pots which Peter also loved for their individual quirks and the stories they told. Through Lucie he made first contact with Hans Coper, shortly after he opened the gallery, proceeding to show his work over the next decade, a friendship appropriately marked by the outstanding disc-rimmed bottle here, along with the elegant precision of a Cycladic form and exquisite black footed piece that demonstrate so well the balance and poise of Coper’s ceramic engineering.

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Peter Dingley and Guido Marchini outside the gallery in Chapel Street, 1991. Peter is holding a pot by John Ward.

John Ward, a pupil of Rie’s and Coper’s at Camberwell College of Arts, was particularly indebted to Peter’s support, saying that over twenty years “it formed the backbone of my working life”. Peter was particularly drawn to clean, quite minimal pieces, and the abstract clarity and volumes of Ward’s bowls, along with the highly disciplined but sensuous pots of the great Essex potter Joanna Constantinidis, his other personal favourite, sat well with Rie and Coper in his sitting room. Of Joanna he wrote “her pots became my lodestar…if other pots sat happily beside them, then there must be something right about them.” The late Val Barry also produced very expansive but controlled, deceptively simple, hand-built vessels that explored the clean abstractions of landscape. By contrast Peter was also drawn to the freer, very expressive art of another Rie and Coper student, Ewen Henderson, giving him a memorable show in 1976 in which he exhibited both his pots and watercolours, “which proved movingly complimentary”. Peter owned a particularly striking winged pot by Colin Pearson, another great Camberwell teacher whom Peter exhibited with John Ward and Jack Doherty in 1989. Apart from Ray Finch, whose Winchcombe domestic ware was regularly stocked at the gallery (and Peter owned a fine salt glaze jug of his), the best known local potter represented from the early days onwards was Geoffrey Whiting, whose second show, of both pots and watercolours in 1986 was to be his last; “a really masterly exhibition, showing the ‘whole’ Geoff Whiting”. Peter particularly admired his teapots; “beautifully balanced...sensuous to touch and feel”, but it was a quiet bowl with abstracted brush motifs that he chose for his home. He also loved the 6

“wondrous porcelain” and stoneware of the Essex- based maker, Alan Spencer-Green. From a younger generation was the Warwickshire potter Chris Carter. He had moved from an essentially Leachian style to a more individual sculptural approach, which Peter did much to encourage. Carter’s gift, amongst other pots, of a generously formed bulbous vessel with a thickly pitted glaze “the colour of ripening corn” was particularly valued by Peter. The Oxford potter Betty Blandino had comparable qualities in her hand-built work, and the coiled vessel here exemplifies “the serenity” and elegance he found in both the pots and their maker. As well as David Leach, who felt that he had never been shown so well as in his two exhibitions with the gallery (the latter shared with his son John), Peter acquired exuberantly painted pieces (and later a modelled angel) by Leach’s inventive student John Maltby. Maltby was exhibited over many years, his work, like another favourite, Ian Godfrey, simply “gave delight”, Peter’s simple guiding mantra. He owned a pierced dish and an exquisitely carved bird box by Godfrey. The richly lustrous pieces of Anne James and Mary Rich that Peter possessed reflected two more long friendships, and his love of decorative surfaces when happily married to form. He was equally attracted to Peter Beard’s palette, his vessels “beautifully glazed with sweeps of Mediterranean colours”. Of the Bath potter Peter Wright he wrote “he was absolutely straight forward and true. We could do with more like him”, admiring the fact that Wright carried on attending life classes into his later years to keep fresh the interlocking figurative work that became a familiar part of Peter’s stock.


The gallery, which closed after 25 years in 1991, had a beautifully pitched domesticity, setting out different art and craft objects as one might in one’s home. There were no pretensions. Carefully choreographed by Guido, the various pieces in clay, wood, glass and metal combined with pictures on the wall to create a very rich intermixture, and with sensitive lighting and spacing so that each object could breathe. Like the pots he possessed, the paintings Peter had on his wall at home not only reflected his work in the gallery, but his own inner life. John Emanuel’s well known figure studies and and Allen Freer’s lyrical landscapes were amongst his modern favourites, and he owned two fine wall hangings by another, the great weaver Theo Moorman, who lived close to Anne James in Painswick. Peter gave them both a memorable exhibition in 1985. Other 20th century artists he acquired (many pictures were bought locally, particularly from the Ruskin Gallery) included Frances Hodgkins, Edward Ardizzone, Hugh Casson and Bernard Meninsky. He also liked 18th and 19th century landscapes, particularly in watercolour, and had work by John Varley, Miles Edmund Cotman and Alfred East, amongst others. Such work showed Peter’s preference for understatement, for quietly lyrical studies, often of the natural world. With all his energy and charisma Peter Dingley may have been one of the truly memorable characters in the British applied arts, but the private man was deeply thoughtful and reflective, with a quieter sensibility, one who, as his enterprising work in the crafts proved, had a particularly perceptive and discerning eye.

Peter cared greatly for the welfare of others, including of course visually creative people. He asked me, when the time came, to arrange to sell his collection, and for his estate to give the proceeds to two very appropriate charities, the Craft Pottery Charitable Trust and the Artists’ General Benevolent Institution. It has been a great pleasure to work with Max Fisher of Mallams towards this end, and I would also like to warmly thank Peter’s niece Lucy Balmer, and Louise Igoe, the executors of his estate, for their great assistance in realising Peter’s wishes. DW

David Whiting

Lots 1-56 The Peter Dingley Collection of Ceramics, with quotations by Peter Dingley.

Lots 402-441 The Peter Dingley Collection of Pictures

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1. John Ward (b.1938) Vase matte white glaze with green lines impressed potter’s seal 24.5cm high. £2000-4000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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…his work promoted itself by its sheer quality and the affection that shone through it. The pots are all stoneware, all hand-built into apparently simple forms, and all with matt glazes applied in such a way that, more than any other potter I know, they belong absolutely to the particular forms they decorate.

2. John Ward (b.1938) Vase mottled blue glaze impressed potter’s seal 19.7cm high. £1000-2000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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3. Ian Godfrey (1942-1992) Bird casket stoneware, decorated with a flock of birds to top, the inside with a single larger bird 12.2cm high, 13cm diameter. £200-400 (plus 27% BP* ARR*) 4. Chris Carter (b.1945) Vessel orange oxidised glaze 21cm high, 22cm across.

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Provenance: A present from Chris Carter, 21 May 1991. £80-120 (plus 27% BP* ARR*) 5. Val Barry (1937-2018) Two vessels each with impressed potter’s seal 13cm high and 15.5cm high (2). £50-100 (plus 27% BP* ARR*) 6. Betty Blandino (1927-2011) Vase coiled with green band impressed potter’s seal 18.5cm high. £100-200 (plus 27% BP* ARR*) 7. Ian Godfrey (1942-1992) Dish stoneware, pierced and incised decoration 20cm diameter. £80-120 (plus 27% BP* ARR*)

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BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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Then there was Joanna Constantindis, an already experienced Yorkshire potter, married to a Greek and living in Essex… I loved her pots the moment I saw them… our second exhibition for Joanna [was] confirmation, if ever I needed it, of a sense of choosing her work as my pottery lodestar. The effect of walking into this exhibition…was that of being enveloped in elegant calm.

8. Joanna Constantinidis (1927-2000) Vase stoneware with metallic lustre glaze, slender form impressed potter’s seal 29.4cm high. £300-600 (plus 27% BP* ARR*) 9. Joanna Constantinidis (1927-2000) Vase stoneware with metallic lustre glaze, slender curved form impressed potter’s seal 25.7cm high. £200-400 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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10. Lucie Rie (1902-1995) Vase, circa 1960s stoneware, with white pitted and textured glaze impressed potter’s seal 17.3cm high, 11cm across. £3000-5000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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11. Lucie Rie (1902-1995) Bottle vase stoneware, white pitted glaze with fluted body impressed potter’s seal 22cm high.

12. Lucie Rie (1902-1995) Vase stoneware, with white pitted and textured glaze, flaring rim impressed potter’s seal 15.5cm high, 11.5cm across.

£2000-4000 (plus 27% BP* ARR*) £1500-2500 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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13. Lucie Rie (1902-1995) Bowl matte white glaze with single band around the rim impressed potter’s seal 8.5cm high, 23cm diameter. £1000-2000 (plus 27% BP* ARR*)

14. Joanna Constantinidis (1927-2000) Bowl porcelain impressed potter’s seal 7.6cm high, 15cm diameter. £100-200 (plus 27% BP* ARR*)

15. Sotis Filippidis (b.1963) Bowl black textured glaze impressed potter’s seal 19cm diameter. £100-200 (plus 27% BP* ARR*)

16. Geoffrey Whiting (1919-1988) at Avoncroft Pottery Bowl cream glaze with brushwork motifs impressed potter’s and pottery seals 9.6cm high, 16.2cm diameter, together with a Geoffrey Whiting tenmoku tea bowl (2). £100-200 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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17. David Leach (1911-2005) Footed bowl celadon with fluted body 8.5cm high, 10.1cm diameter. £100-200 (plus 27% BP* ARR*) 18. David Leach (1911-2005) at Lowerdown Pottery Footed bowl stoneware with brown and green glaze impressed potter’s and pottery seals 13cm high, 12cm diameter. £60-100 (plus 27% BP* ARR*)

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19. Ian Auld (1926-2000) Bottle vase blue glaze impressed potter’s seal 20.7cm high. £60-100 (plus 27% BP* ARR*) 20. Anne James (b.1957) Bottle vase raku, decorated with red circle impressed potter’s seal 17cm high, together with an Anne James raku dish (2). £80-120 (plus 27% BP* ARR*)

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BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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21. Lucie Rie (1902-1995) Bowl turquoise with dripped manganese rim impressed potter’s seal 5.8cm high, 12.5cm across.

22. Lucie Rie (1902-1995) Bowl matte blue glaze with turquoise rim impressed potter’s seal 6.5cm high, 15.2cm across.

£2000-4000 (plus 27% BP* ARR*)

£2000-4000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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23. Lucie Rie (1902-1995) Miniature vase manganese glaze, with blue sgraffito band to body and rim interior impressed potter’s seal 11cm high, 6cm across. £3000-5000 (plus 27% BP* ARR*) 24. Lucie Rie (1902-1995) Bottle vase manganese glaze with sgraffito decoration 23cm high, 10.5cm across. £4000-6000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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25. Chris Carter (b.1945) Footed bowl rust coloured oxidised glaze impressed potter’s seal 13cm high, 9cm diameter. £60-100 (plus 27% BP* ARR*) 26. Chris Carter (b.1945) Footed bowl green oxidised glaze impressed potter’s seal 9.5cm high, 11cm diameter. £50-80 (plus 27% BP* ARR*)

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27. Chris Carter (b.1945) Bowl and a miniature vase oxidised glazes impressed potter’s seals bowl 12cm diameter (2). £40-70 (plus 27% BP* ARR*) 28. Joanna Constantinidis (1927-2000) Vessel raku impressed potter’s seal 14.8cm high. £200-300 (plus 27% BP* ARR*)

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29. John Maltby (b.1936) Cup form vessel decorated with white flowers signed 12cm high. £200-300 (plus 27% BP* ARR*)

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BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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31. Joanna Constantinidis (1927-2000) Vase curved rounded body, slender neck, metallic glaze impressed potter’s seal 22.5cm high. £300-500 (plus 27% BP* ARR*)

30. Ewen Henderson (1934-2000) Vase textured glaze, rounded body, uneven flaring rim 24cm high. £800-1200 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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32. Peter Beard (b.1951) Vessel turquoise and purple textured glaze impressed potter’s seal and marked ‘D34’ 20.8cm high, 20cm across. £200-400 (plus 27% BP* ARR*) 33. John Maltby (b.1936) Vessel rectangular form, decorated with red crosses, manganese rim and interior impressed potter’s seal 33cm high, 16.6cm across. £400-600 (plus 27% BP* ARR*)

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34. Peter Wright (1919-2003) Interlocking model porcelain, depicting a male and female head 47/200, signed and numbered 16cm high, together with a figural group by Peter Wright (2). £80-120 (plus 27% BP* ARR*) 35. John Maltby (b.1936) Angel and child impressed potter’s seal 13cm high. £80-120 (plus 27% BP* ARR*) 36. Chris Carter (b.1945) Footed bowl oxidised glaze with cream interior impressed potter’s seal 12cm high, 13.9cm diameter. £50-80 (plus 27% BP* ARR*) 37. Alan Spencer-Green (1932-2003) Vase tenmoku glaze 34cm high. £100-200 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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38. Peter Beard (b.1951) Vase turquoise striped decoration impressed potter’s seal 27cm high. £300-500 (plus 27% BP* ARR*) 39. Alan Spencer-Green (1932-2003) Charger mottled green and brown glaze impressed initials 30cm diameter. £100-200 (plus 27% BP* ARR*)

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40. Jack Doherty (b.1948) Tea bowl Soda glaze impressed potter’s seal 10cm high, together with a Barry Huggett teapot and a small tenmoku pot (3). £60-100 (plus 27% BP* ARR*) 41. Jim Malone (b.1946) at Ainstable Pottery Footed bowl stoneware with nuka and green glaze impressed potter’s seal 8.2cm high, 13.2cm diameter. £60-100 (plus 27% BP* ARR*)

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42. Alan Spencer-Green (1932-2003) Vase light green glaze, globular form impressed initials 13.5cm high, together with a Ray Finch jug, and a Rosemary Wren stoneware bird (3). £60-100 (plus 27% BP* ARR*)

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BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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43. John Ward (b.1938) Vessel graduated blue and ochre glaze, elliptical rim impressed potter’s seal 19cm high. £1000-2000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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He had served his apprenticeship on the domestic front, but by the early 70s was beginning to get better known for his ‘winged’ pots - a delicious small black one is beside me as I write. Colin is a craggy man and the cragginess tends to conceal the great sensitivity that shines through in the boldest of his work.

44. Colin Pearson (1923-2007) Winged vessel black glaze 13cm high, 16cm across. £200-400 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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45. Lucie Rie (1902-1995) Bottle vase, circa 1960s stoneware with pitted white glaze, flared rim above slender neck and fluted body impressed potter’s seal 32.3cm high, 11.3cm across. £6000-10,000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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Lucie’s canvas was a broad one from groggy and ‘explosive’ stoneware to the finest and most delicate porcelain, from bottle to bowl, from creamy white to the most brilliant of yellows. And yet for all the apparent differences, they all carried the firm stamp of Lucie Rie, her handwriting shone through.

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46. Lucie Rie (1902-1995) Vase stoneware with pink and green swirls, flared rim impressed potter’s seal 34cm high, 14.5cm across. £2000-4000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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47. Lucie Rie (1902-1995) Bottle vase swirled blue and white glaze impressed potter’s seal 25cm high, 12cm across. £4000-6000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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48. Hans Coper (1920-1981) ‘Cycladic’ pot stoneware with textured glaze impressed potter’s seal 15cm high, 8cm across. £10,000-15,000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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49. Hans Coper (1920-1981) Footed pot black glaze, the interior with cylindrical stem holder impressed potter’s seal 10.7cm high, 7.5cm across. £5000-8000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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…I was hooked. Unaided, I had come to “ recognise the greatness of his work, and on the first and indeed every other visit I bought all the pots he could spare

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50. Hans Coper (1920-1981) Vase stoneware, sack form with disc shaped rim, textured glaze and incised lines impressed potter’s seal 17.4cm high, 13.5cm across. £15,000-25,000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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51. Mary Rich (b.1940) Footed bowl graduated blue glaze impressed potter’s seal 24cm diameter, together with two small Mary Rich vessels with gilt decoration (3). £80-120 (plus 27% BP* ARR*)

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52. Chris Carter (b.1945) Vase oxidised glaze, curved form impressed potter’s seal 27.5cm high. £40-80 (plus 27% BP* ARR*) 53. Manner of Pablo Picasso (1881-1973) Model of a lady stoneware with twin handles 24cm high. £50-100 (plus 27% BP* ARR*) 54. Jean Cocteau (1889-1963) for Limoges, France Plate, circa 1958 decorated with a side-profile of a face printed marks for ‘A.Giroud & Brousseau, Limoges’ 25.5cm diameter. £50-100 (plus 27% BP* ARR*) 55. Bill and Vicki Read, Winslow Vase stoneware with splashes of glaze signed 55cm high. £40-80 (plus 27% BP* ARR*) 56. Lucie Rie (1902-1995) Bowl elliptical form, white glaze impressed potter’s seal 8cm high, 15cm across. £200-300 (plus 27% BP* ARR*)

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57. Kenneth Quick (1931-1963) at Leach Pottery Yunomi speckled grey glaze with iron highlights impressed potter’s and pottery seals 8cm high, 12.7cm diameter. £100-200 (plus 27% BP* ARR*) 58. Janet Leach (1918-1997) at Leach Pottery Dish oatmeal glaze with poured tenmoku lines, on rectangular feet impressed potter’s and pottery seals 20.5cm across. £80-120 (plus 27% BP* ARR*)

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59. Bernard Leach (1887-1979) at Leach Pottery Bowl celadon glaze, incised motifs impressed potter’s and pottery seals 7cm high, 16cm diameter. £400-600 (plus 27% BP* ARR*) 60. Bernard Leach (1887-1979) at Leach Pottery Preserve pot and cover tenmoku brushwork on blue painted mark and impressed pottery seal 11.5cm high. £300-400 (plus 27% BP* ARR*)

61. Charlotte Epton (1902-1970) at Leach Pottery Jug, circa 1927-1930 treacle glaze, the jug with incised bands of decoration impressed potter’s and pottery seals 25.5cm high.

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Information: Charlotte Epton was a potter who worked with Bernard Leach in St. Ives between 1927 and 1930, and with Michael Cardew at the Winchcombe Pottery. A fire at the Leach Pottery meant most of her work from the St. Ives period was destroyed. She exhibited at the Beaux Arts Gallery in Bond Street in 1928. She was married to Edward Bawden after meeting at the Royal College of Art. £400-600 (plus 27% BP* ARR*)

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62. Richard Batterham (b.1936) Teapot celadon glaze, incised with vertical lines 17cm high. £100-200 (plus 27% BP* ARR*) 63. Richard Batterham (b.1936) Jar and cover octagonal form with celadon glaze 12.5cm high. £50-80 (plus 27% BP* ARR*)

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64. Richard Batterham (b.1936) Jug celadon glaze 38cm high. £60-100 (plus 27% BP* ARR*) 65. Richard Batterham (b.1936) Two jugs celadon and salt glaze 35.5cm high, 30.5cm high (2). £60-100 (plus 27% BP* ARR*) 66. Michael Cardew (1901-1983) at Winchcombe Pottery Teapot, circa 1929 honey glaze, with slip decorated fish to either side impressed pottery seal 18cm high. Provenance: Ruskin Antiques, Stow-on-the-Wold, 1995. Together with a letter by Sidney Tustin dating to 1994 confirming that the teapot was made by Michael Cardew. £600-800 (plus 27% BP* ARR*)

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67. Shoji Hamada (1894-1978) Vase slab built with grey glaze, brushwork motifs to each side 19.5cm high. £600-800 (plus 27% BP* ARR*)

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68. William ‘Bill’ Marshall (1923-2007) Jar and cover blue and grey brushed glaze incised seal 19.5cm high. £200-300 (plus 27% BP* ARR*) 69. Geoffrey Whiting (1919-1988) Two Avoncroft Pottery bowls tenmoku impressed pottery seals 25cm and 22cm diameter (2). £80-120 (plus 27% BP* ARR*)

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70. Michael Casson (1925-2003) Teapot painted initials 16cm high. £40-80 (plus 27% BP* ARR*) 71. Lisa Hammond (b.1956) Vase soda glaze, cut sides impressed potter’s and pottery seal 25.5cm high. £100-200 (plus 27% BP* ARR*)

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72. Lisa Hammond (b.1956) Bud vase soda glaze impressed potter’s and pottery seal 13cm high. £50-80 (plus 27% BP* ARR*) 73. Janet Leach (1918-1997) at Leach Pottery Two trays wax-resist and tenmoku bands, on bun feet impressed potter’s and pottery seals 16cm and 11cm across (2). £100-200 (plus 27% BP* ARR*)

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74. John Leach (b.1939) at Muchelney Pottery Dish, 1995 wax-resist decoration impressed potter’s seal and dated 25cm diameter, together with a David Frith nuka glaze dish, 28cm diameter (2). £100-200 (plus 27% BP* ARR*)

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75. Edward Hughes (1953-2006) Large square dish ash glaze with poured decoration impressed potter’s seal 51cm across. £150-250 (plus 27% BP* ARR*) 76. Edward Hughes (1953-2006) Shallow bowl and a pair of dishes impressed potter’s seals bowl 20cm diameter (3). £100-200 (plus 27% BP* ARR*) 77. Edward Hughes (1953-2006) Pair of footed dishes tenmoku decoration each impressed potter’s seal 24.5cm diameter and 23.5cm diameter (2). £100-200 (plus 27% BP* ARR*) 78. Lowerdown Pottery Yunomi decorated with Japanese script within a band of green and blue on ochre glaze impressed pottery seal 9cm high. £60-100 (plus 27% BP* ARR*) 77

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79. David Leach (1911-2005) Bowl celadon with cut sides impressed potter’s seal 8.5cm high, 11cm diameter. Provenance: V & A craft shop, London. £150-250 (plus 27% BP* ARR*)

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80. Shinsaku Hamada (b.1929) Yunomi Stoneware, with dark spots on light blue glaze boxed 6cm high. £200-300 (plus 27% BP* ARR*) 81. Reginald Fairfax Wells (1877-1951) for Coldrum Pottery Vase blue speckled glaze with dark streaks impressed seal and marked ‘Coldrum’ 25cm high. £150-200 (plus 27% BP* ARR*) 82. Reginald Fairfax Wells (1877-1951) for Coldrum Pottery Vase with crackled effect red and white glaze impressed seal and marked ‘Coldrum’ 23cm high. £300-500 (plus 27% BP* ARR*) 83. Gwyn Hanssen Pigott (1935-2013) Teapot stoneware with cane handle impressed potter’s seal 23cm high. £300-500 (plus 27% BP* ARR*)

83

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84. John Maltby (b.1936) Tea bowl painted red ships on grey glaze signed 9.7cm high, 12.2cm diameter. £150-250 (plus 27% BP* ARR*) 85. John Maltby (b.1936) Tea bowl painted band of abstract shapes on tenmoku glaze impressed potter’s seal 9.5cm high, 11.5cm diameter. £150-250 (plus 27% BP* ARR*)

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86. John Maltby (b.1936) Vessel decorated with a castle landscape under a white moon signed 23.9cm high. £300-500 (plus 27% BP* ARR*) 87. Waistel Cooper (1921-2003) Vase nuka glaze signed 16cm high. £80-120 (plus 27% BP* ARR*) 88. Waistel Cooper (1921-2003) Vase textured glaze signed 12.5cm high. £80-120 (plus 27% BP* ARR*) 89. Waistel Cooper (1921-2003) Vase and bowl ribbed decoration and textured glazes both signed vase 12.8cm high, bowl 13cm diameter (2). £80-120 (plus 27% BP* ARR*)

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90. John Maltby (b.1936) ‘Yachts Racing in the Estuary’ automata painted wood with five swinging boats signed 79cm x 61cm. £800-1200 (plus 27% BP* ARR*)

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91. John Maltby (b.1936) Basket octagonal form with brushwork motifs and cane handle impressed potter’s seal 13cm across. £60-100 (plus 27% BP* ARR*) 92. John Maltby (b.1936) ‘Crows in the Garden’, 2005 signed, titled and dated (to reverse) mixed media 39cm x 28.5cm. £400-600 (plus 27% BP* ARR*)

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93. Jon Middlemiss (b.1949) Vessel triangular form, with pale blue and green stripes impressed potter’s seal 25.4cm high. £200-300 (plus 27% BP* ARR*) 94. Anthony Theakston (b.1965) ‘Bird’ jug, 1992 salt glazed signed and dated 22.5cm high. £100-200 (plus 27% BP* ARR*)

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95. David Garland (b.1941) Two bowls painted with vine and leaves 22cm diameter. Provenance: Purchased directly from the potter. £150-200 (plus 27% BP* ARR*)

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96. David Garland (b.1941) Jug dark glaze with splashes of green and black signed 16.5cm high. £70-100 (plus 27% BP* ARR*)

96

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97. Joanna Constantinidis (1927-2000) Vase oatmeal glaze with brown speckles impressed potter’s seal 10.5cm high. £60-100 (plus 27% BP* ARR*) 98. Poh Chap Yeap (1927-2007) Vase double gourd form, with celadon and red crackled glaze incised signature 11.7cm high. £80-120 (plus 27% BP* ARR*) 99. Mary White (1926-2013) Bowl and vase both with matte white glaze impressed potter’s seals bowl 19cm diameter. £40-60 (plus 27% BP* ARR*)

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100. Mary White (1926-2013) Two bowls and a vase each with calligraphy : ‘to eat an apple going to bed is to make the doctor beg his bread’, ‘omnes eodem cogimar’ and ‘the worlds mine oyster’ impressed potter’s seals larger bowl 23cm diameter (3). £80-120 (plus 27% BP* ARR*) 100 101. Geoffrey Swindell (b.1945) Two vessels compressed form impressed potter’s seals both 8.5cm diameter (2). £50-100 (plus 27% BP* ARR*) 102. Deirdre Burnett (b.1939) Miniature vase and vessel porcelain, with blue and cream glazes impressed potter’s seals 7.5cm high and 4.5cm high (2). £60-100 (plus 27% BP* ARR*)

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102

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103. Tim Andrews (b.1960) Vase raku, with striped band to the neck impressed potter’s seal 15.5cm high. £80-120 (plus 27% BP* ARR*) 104. Tim Andrews (b.1960) Vase raku, spotted glaze impressed potter’s seal 17cm high. £80-120 (plus 27% BP* ARR*)

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105. British School Vase double gourd form with flared rim and oatmeal glaze impressed potter’s seal 25.5cm high. Provenance: Primavera Gallery, circa 1970. £50-100 (plus 27% BP* ARR*) 106. Alan Wallwork (1931-2019) Slab vase incised initials 16.5cm high, 15cm across. £60-100 (plus 27% BP* ARR*) 107. Mary Rogers (b.1929) Pot and cover cylindrical form with black abstract decoration impressed potter’s seal 12.8cm high. £200-300 (plus 27% BP* ARR*) 108. Graeme James (b.1942) Vessel matte black glaze with blue interior, inverted form impressed potter’s seal 17cm high, 19cm diameter. £150-250 (plus 27% BP* ARR*)

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109. Eric Leaper (1921-2002) Dish press moulded, depicting a bull signed and inscribed ‘Newlyn’ 26cm across. £40-80 (plus 27% BP* ARR*) 110. Ann-Wynn Reeves (1929-) Wall plaque depicting Madonna and child signed 42cm high. £150-200 (plus 27% BP* ARR*)

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111. Erik Pløen (1925 - 2004) Bowl stoneware, tenmoku signed and marked ‘Norway’ 20.5cm across. £50-80 (plus 27% BP* ARR*) 112. Robin Welch (b.1936) Footed bowl textured glaze with panels of block colour impressed potter’s seal 20.6cm high, 23cm diameter. £200-400 (plus 27% BP* ARR*) 113. Vincent Potier (1954-2011) Footed dish square form signed 24.5cm across. £40-80 (plus 27% BP* ARR*) 114. Catherine Beetham (20th Century) Two vessels, 1992 decorated in grey, pink and white initialled and dated tallest 27cm high (2). £60-100 (plus 27% BP* ARR*)

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115. Betty Blandino (1927-2011) Vase speckled brown glaze with white band to top impressed potter’s seal 17cm high. £100-200 (plus 27% BP* ARR*) 116. Betty Blandino (1927-2011) Vessel asymmetrical rim, pale grey glaze with cobalt blue bands impressed potter’s seal 39cm high. £400-700 (plus 27% BP* ARR*)

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117. Mary Rich (b.1940) Footed shallow bowl painted with gold geometric patterns on mauve and blue impressed potter’s seal 26cm diameter. Provenance: Sheila Harrison Fine Art, 1989. £100-200 (plus 27% BP* ARR*) 117

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118. Mary Rich (b.1940) Footed bowl painted with gold geometric patterns on pink impressed potter’s seal 18.5cm diameter. Provenance: Sheila Harrison Fine Art, 1989. £80-120 (plus 27% BP* ARR*) 119. Gutte Eriksen (1918-2008) Bowl, 1989 stoneware with blue stripes impressed potter’s seal 11.5cm high.

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Provenance: Galerie Besson, London, 1990. £80-120 (plus 27% BP* ARR*) 120. Gutte Eriksen (1918-2008) Teapot and four ‘masagrans’, 1989 stoneware with nuka glaze impressed potter’s seals teapot 8cm high, masagrans 10cm high (5). Provenance: Galerie Besson, London, 1990. £100-200 (plus 27% BP* ARR*)

120

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121. David Lloyd-Jones (1928-1994) Large vase oatmeal glaze impressed potter’s seal 70cm high. £200-400 (plus 27% BP* ARR*)

122. David Lloyd-Jones (1928-1994) Large vase green speckled glaze impressed potter’s seal 64cm high. £200-400 (plus 27% BP* ARR*)

123. David Roberts (b.1947) Large vase raku, crackled glaze and with flared rim impressed potter’s seal 42cm high, 50cm across. £800-1200 (plus 27% BP* ARR*)

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124. Lucie Rie (1902-1995) Vase mottled amber glaze impressed potter’s seal 24.5cm high. £6000-8000 (plus 27% BP* ARR*)

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125. Tatsuzo Shimaoka (1919-2007) Square bottle the chequerboard design with roundels painted with flowers impressed potter’s seal 23.7cm high. £800-1200 (plus 27% BP* ARR*) 126. Takeshi Yasuda (b.1943) Bowl sansai glaze potter’s label with signature 16cm high, 34cm across. £300-500 (plus 27% BP* ARR*)

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127. Takeshi Yasuda (b.1943) Bowl celadon glaze, folded edges and handle 27cm across. £100-200 (plus 27% BP* ARR*) 128. Alan Peascod (b.1943) Vessel, 1983 metallic lustre glaze, decorated with landscape signed and dated 27cm high. £200-300 (plus 27% BP* ARR*) 129. Margaret Rey (1911-2010) Two yunomi tenmoku glazes impressed potter’s seals tallest 10cm high (2). £80-120 (plus 27% BP* ARR*) 130. Barbara Cass (1921-1972) Three bowls each signed, one marked ‘York’, another ‘Arden’ tallest 11cm high (3). £80-120 (plus 27% BP* ARR*)

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131. Peter Wills (Contemporary) Footed bowl porcelain with yellow glaze and dripped manganese rim impressed potter’s seal and incised signature 5.5cm high, 18.7cm diameter. £150-250 (plus 27% BP* ARR*) 132. Peter Wills (Contemporary) Footed bowl porcelain with red glaze and dripped manganese rim impressed potter’s seal and incised signature 9cm high, 27cm diameter. £150-250 (plus 27% BP* ARR*)

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133. Geoffrey Eastop (1921-2014) A ‘sail’ pot and jug both with painted monogram jug 14.5cm high, pot 11.7cm high (2). £100-200 (plus 27% BP* ARR*) 134. Antonia Salmon (b.1959) Bowl burnished raku impressed potter’s seal 16cm diameter. £40-80 (plus 27% BP* ARR*) 135. David Howard-Jones (b.1953) Bowl raku, with cut rim impressed potters seal 35cm diameter. £100-200 (plus 27% BP* ARR*) 136. Anne James (b.1953) (Contemporary) Vessel with three lugs, metallic glaze impressed potter’s seal 14cm high. £50-80 (plus 27% BP* ARR*)

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137. John Ward (b.1938) Vessel extended rim, textured red and brown glaze impressed potter’s seal 22cm high. £600-1000 (plus 27% BP* ARR*)

138. John Ward (b.1938) Vessel matte cream glaze, quatrefoil shape rim impressed potter’s seal 19.5cm high. Provenance: The Peter Dingley Gallery, Stratford-uponAvon. £800-1200 (plus 27% BP* ARR*)

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139. Colin Pearson (1923 - 2007) Two vases rectangular with dipped glazes impressed potter’s seals 13cm and 12.5cm high (2). £40-80 (plus 27% BP* ARR*) 140. Katharine Pleydell-Bouverie (1895-1985) Two lamp bases pale celadon glazes impressed potter’s seal 21cm and 20.5cm high (2). £100-200 (plus 27% BP* ARR*)

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141. Derek Davis (1926-2008) Vase slender neck, red glaze with black spots signed 12cm high. £100-200 (plus 27% BP* ARR*) 142. Derek Davis (1926-2008) Vase cylindrical form, red and white glaze signed 11.4cm high. £50-100 (plus 27% BP* ARR*) 143. Derek Davis (1926-2008) Vase slender neck, blue and red running glaze signed 17.5cm high. £150-250 (plus 27% BP* ARR*) 144. Ruth Duckworth (1919-2009) Disc form ash glaze 15cm diameter. £100-200 (plus 27% BP* ARR*)

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145. Audrey Richardson (b.1931) Vessel striped glaze, asymmetrical rim impressed potter’s seal 19.5cm high. £60-100 (plus 27% BP* ARR*) 146. Sam Hall (b.1967) Vessel the centre with hole surrounded by tenmoku glaze, the body with oatmeal glaze impressed potter’s seal 30.5cm high. £60-100 (plus 27% BP* ARR*)

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147. Alan Wallwork (1931-2019) Split sphere textured glaze incised initials 17cm high. £150-250 (plus 27% BP* ARR*) 148. Alan Wallwork (1931-2019) Split oval textured glaze incised initials 22cm high. £200-300 (plus 27% BP* ARR*) 149. Paul Muchan (Contemporary) Vessel orange matte glaze impressed potter’s seal 19.5cm high. £40-80 (plus 27% BP* ARR*) 150. Harriet Coleridge (Contemporary) Vase oxblood glaze impressed potter’s seal 22cm high, together with a David Howard Jones (b.1953) raku vessel and a Mary White (1926-2013) bowl (3). £100-200 (plus 27% BP* ARR*)

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151. Jennie Hale (Contemporary) Three jugs salt glazed, modelled as birds impressed potter’s seals tallest 19.5cm high (3). £80-120 (plus 27% BP* ARR*) 152. Jennie Hale (Contemporary) Pot and cover salt glaze, modelled as a grotesque bird in a suit impressed potter’s seals 28cm high. £100-200 (plus 27% BP* ARR*)

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153. Richard Batterham (b.1936) Lemon squeezer celadon glaze 14.5cm diameter. £50-80 (plus 27% BP* ARR*) 154. Bernard Leach (1887-1979) Bowl with blue wave brushwork and tenmoku ferns signed with initials 11.7cm diameter. £100-200 (plus 27% BP* ARR*)

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155. Bernard Leach (1887-1979) at Leach Pottery Vase, circa 1920 blue glaze impressed potter’s and pottery seals 14cm high. £300-500 (plus 27% BP* ARR*)

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156. Walter Keeler (b.1942) Teapot salt glazed, with double barrel spout impressed potter’s seal 21cm high. £100-150 (plus 27% BP* ARR*) 157. Walter Keeler (b.1942) Teapot salt glazed, with double barrel spout impressed potter’s seal 17cm high. £100-150 (plus 27% BP* ARR*)

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158. Walter Keeler (b.1942) Two mugs and a jug salt glazed impressed potter’s seals tallest 9.8cm high (3). £80-120 (plus 27% BP* ARR*) 159. Walter Keeler (b.1942) Jug salt glazed with elongated spout impressed potter’s seal 14cm high. £50-100 (plus 27% BP* ARR*)

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160. Walter Keeler (b.1942) Vessel salt glazed, with scroll handles impressed potter’s seal 19cm high, 28.5cm across. £150-250 (plus 27% BP* ARR*) 161. John Maltby (b.1936) Dish painted with flowers and shapes signed 24cm diameter. £150-250 (plus 27% BP* ARR*)

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161

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162. Ewen Henderson (1934-2000) Untitled, circa 1990 laminated stoneware 26cm across. £500-800 (plus 27% BP* ARR*) 163. Chris Carter (b.1945) Vessel stoneware with textured glaze impressed potter’s seal 15.5cm high.

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Provenance: Ombersley Gallery, Worcestershire. £50-100 (plus 27% BP* ARR*) 164. Alan Wallwork (1931-2019) Wedge form incised initials 13.5cm high, 23cm across. £200-300 (plus 27% BP* ARR*) 165. Alan Wallwork (1931-2019) Split oval textured glaze in grey and russet incised initials 17cm high. £100-200 (plus 27% BP* ARR*) 166. Jon Middlemiss (b.1949) Set of three graduated bowls stoneware with two-tone speckled glaze, each with gilt rims in the form of serpents impressed potter’s seals tallest 11.7cm high (3). £200-300 (plus 27% BP* ARR*) 167. Marianne De Trey (1913-2016) Two stem cups and two bowls with geometric patterns three with impressed potter’s seals tallest 10.3cm high (4). £100-200 (plus 27% BP* ARR*)

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167

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168. Felicity Aylieff (b.1925) Vase porcelain, with a marbled pattern of white and pink over black ground signed 29.7cm high. £400-600 (plus 27% BP* ARR*)

169. Peter Hayes (b.1946) Bow form, 1990 with slender neck, raku glaze signed and dated 55cm high. £600-1000 (plus 27% BP* ARR*)

170. Ewen Henderson (1934-2000) Vessel stoneware, poured green and brown glazes 46cm high. £1500-2500 (plus 27% BP* ARR*)

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171. Gabriele Koch (b.1948) Shell form burnished and smoke fired signed 23.5cm high. Provenance: Alpha House Gallery, Sherbourne, March 1993. £400-700 (plus 27% BP* ARR*) 172. Gabriele Koch (b.1948) Bowl burnished and smoke fired in pink signed 13cm high.

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Provenance: Alpha House Gallery, Sherbourne, 1997. Exhibited: Alpha House Gallery, Sherbourne, Gabriele Koch, Handbuilt burnished vessels, 31 May - 28 June 1997, catalogue no. 30. £300-500 (plus 27% BP* ARR*) 173. Gabriele Koch (b.1948) Bowl burnished and smoke fired in yellow signed 13cm high. Provenance: Alpha House Gallery, Sherbourne, 1997. Exhibited: Alpha House Gallery, Sherbourne, Gabriele Koch, Handbuilt burnished vessels, 31 May - 28 June 1997, catalogue no. 18. £300-500 (plus 27% BP* ARR*) 174. Gabriele Koch (b.1948) Vessel burnished and smoke fired signed 40.5cm high. Provenance: Alpha House Gallery, Sherbourne, 1995. £400-700 (plus 27% BP* ARR*) 175. Poh Chap Yeap (1927-2007) Bottle stoneware with speckled glaze signed 25.5cm high. £150-250 (plus 27% BP* ARR*) 174

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176. Eileen Lewenstein (1925-2005) Bowl decorated with blue linear lines impressed potter’s seal 19.7cm diameter. £50-100 (plus 27% BP* ARR*) 177. Eileen Lewenstein (1925-2005) Sculptural form with undulating rim and matte black glaze impressed potter’s seal 15cm high, 21cm across. £250-300 (plus 27% BP* ARR*)

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178. Eileen Lewenstein (1925-2005) Vessel pinched to centre with three holes, ochre glaze impressed potter’s seal 17cm high. £100-150 (plus 27% BP* ARR*) 179. Eileen Lewenstein (1925-2005) Vessel green and ash coloured glaze impressed potter’s seal 22cm high. £100-150 (plus 27% BP* ARR*) 180. Eileen Lewenstein (1925-2005) Vessel green glaze with indentations to each side impressed potter’s seal 14cm high. £80-120 (plus 27% BP* ARR*) 181. John Maltby (b.1936) ‘Puss Cat’ mixed media, wood and ceramic signed 23cm across. £100-200 (plus 27% BP* ARR*) 182. John Maltby (b.1936) Reclining nude, 1980 mixed media, wood and ceramic signed and dated 25.5cm across. £100-200 (plus 27% BP* ARR*)

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183. Lucie Rie (1902-1995) Dish, circa 1950 white glaze with blue lines impressed potter’s seal 24.4cm across. Literature: Lucie Rie Crafts Council Exhibition, 30 January- 5 April 1992, catalogue no. 15.6. £4000-6000 (plus 27% BP* ARR*)

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184. Bodil Manz (b.1943) Cylindrical vessel, 1995 porcelain, with four tiers, decorated with blue lines signed and with artist’s cypher 15.5cm high, 19.5cm diameter. Provenance: Galerie Besson, London, 1995. Exhibited: Galerie Besson, Danish Pots and their Influence, Oct-Nov. 1995, no. 41. £800-1200 (plus 27% BP* ARR*)

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185. Nicholas Homoky (b.1950) Vessel porcelain with black linear decoration impressed potter’s seal 13.5cm high. Provenance: Alpha House Gallery, Sherbourne, 1997. Exhibited: Alpha House Gallery, Sherbourne, Nicholas Homoky, New Ceramics, 1994, no. 8. £300-500 (plus 27% BP* ARR*) 185

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186. Jill Fanshawe Kato (b.1943) Vessel slip decorated with abstract shapes and green rim 20cm high. £150-250 (plus 27% BP* ARR*) 187. William Plumptre (b.1959) Bottle vase oatmeal glaze with blue inclusions 13.5cm high. £80-120 (plus 27% BP* ARR*) 188. Carina Ciscato (Contemporary) Bucket vessel porcelain with white glaze 13.7cm across. £100-150 (plus 27% BP* ARR*) 189. Sun Kim (Contemporary) Lidded jar porcelain with white glaze 15.5cm high. £200-300 (plus 27% BP* ARR*) 190. Robin Welch (b.1936) Large vessel stoneware with textured polychrome glaze impressed potter’s seal 47.5cm high. £300-500 (plus 27% BP* ARR*)

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191. John Maltby (b.1936) Large dish decorated with shapes in cream and blue impressed potter’s seal 46cm across. £500-800 (plus 27% BP* ARR*) 192. John Maltby (b.1936) ‘Wells Cathedral’ with spout, decorated with red slip on over abstract shapes signed, titled (to label) 15.5cm high. £400-600 (plus 27% BP* ARR*)

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193. John Maltby (b.1936) Three vases chimney form, salt glazed impressed potter’s and pottery seals tallest 19cm high (3). £100-200 (plus 27% BP* ARR*) 194. John Maltby (b.1936) Three boxes and covers impressed pottery seals tallest 7cm high (3). £100-200 (plus 27% BP* ARR*) 195. John Maltby (b.1936) Casket and cover and two sculptural pieces salt glazed impressed potter’s seal casket 17cm across (3). £80-120 (plus 27% BP* ARR*) 196. Margaret Frith (b.1943) Dish nuka and tenmoku glaze impressed potter’s seal 23cm across. £40-80 (plus 27% BP* ARR*)

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196

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197. Eileen Lewenstein (1925-2005) Dish decorated with waves impressed potter’s seal 30cm diameter. £200-300 (plus 27% BP* ARR*) 197

198

198. Upchurch Pottery Vase and bowl green and blue glazes impressed marks vase 27.5cm high, bowl 23cm diameter (2). £40-60 (plus 27% BP* ARR*) 199. Viv Ross (b.1969) Bowl, dish and square bowl decorated with figures each with incised signature dish 35cm across (3). £50-100 (plus 27% BP* ARR*)

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200. Gillian Montegrande (b.1960) ‘Volvere’ stoneware with waisted body signed 42.5cm high. £40-80 (plus 27% BP* ARR*) 201. Gillian Montegrande (b.1960) ‘Increspato’ stoneware with applied white stripes signed 37cm high. £40-80 (plus 27% BP* ARR*)

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202. Maria Kuczynska (b.1948) Seated figure metallic glaze, on wooden base 37cm high. £300-500 (plus 27% BP* ARR*)

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203. Walter Keeler (b.1942) Vessel stoneware with speckled glaze impressed potter’s seal 15cm high, together with a Barbara Cass vase and two Eileen Lewenstein jugs (4). £100-200 (plus 27% BP* ARR*) 203 204. Peter Beard (b.1951) Three boxes and covers, circa 1980 two with ceramic tree to centre largest 7cm high, together with a Mike Goddard vessel (4). £40-80 (plus 27% BP* ARR*) 205. Trevor Corser (b.1938) at Leach Pottery Jug ochre glaze impressed potter’s and pottery seals 26cm high, together with a bowl by Helen Pincombe (2). £60-100 (plus 27% BP* ARR*)

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206. Tessa Fuchs (1936-2012) Two bowls blue glaze with patterns to centre impressed potter’s seals 15cm diameter (2). £40-80 (plus 27% BP* ARR*) 207. Tessa Fuchs (1936-2012) Set of six flutes and a jug turquoise glaze impressed potter’s seals jug 36cm high, flutes 19cm high (7). £80-120 (plus 27% BP* ARR*)

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208. Peter Wills (Contemporary) Bowl stoneware with oatmeal glaze impressed potter’s seal and incised signature 7.5cm high, 25cm diameter. £40-80 (plus 27% BP* ARR*)

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209. Philip Evans (b.1959) Ceramic panel textured finish with applied gold leaf impressed potter’s seal and signed in pencil frame 27cm x 27cm. £80-120 (plus 27% BP* ARR*) 210. Philip Evans (b.1959) Ceramic panel textured finish with applied gold leaf impressed potter’s seal and signed in pencil frame 27cm x 27cm. £80-120 (plus 27% BP* ARR*)

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211. Audrey Blackman (1907-1990) ‘Hands Off’, 1977 signed and dated 25cm high. £100-200 (plus 27% BP* ARR*) 212. Paul Jackson (Contemporary) Teapot and mug, 1995 painted with hearts, figures and shapes signed and dated teapot 17cm high (2). £80-120 (plus 27% BP* ARR*) 213. Rupert Spira (b.1960) Bowl turquoise glaze impressed potter’s seal 25.6cm diameter. £300-400 (plus 27% BP* ARR*)

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214. Attributed to Shoji Hamada (1894 -1978) Miniature vase oatmeal glaze with brushwork 11cm high. £200-300 (plus 27% BP* ARR*)

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214

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215

215. John Piper (1903-1992) Six cups and saucers, circa 1960 mustard glaze the saucers signed with initials saucers 17.5cm diameter, cups 15cm across. Provenance: Given to the current vendor’s family by John Piper at his home in Oxfordshire. Piper was experimenting with glazes and firings to try and achieve bright colours. £300-500 (plus 27% BP* ARR*) 216. Attributed to George Tinworth (1843-1913) Chess set pottery, modelled as mice, the detail in gilt the kings with ‘GT’ impressed mark king 8cm high, pawn 6.4cm high. Literature: Victor Keats, Illustrated Guide to World Chess Sets, 1985, page 143. Reference is made to this design, commissioned by Royal Doulton and originally made in stoneware. There are no production records and apparently only two or three sets with coloured pieces are known to have survived from 1885. Provenance: Christies, The Allen Hofrichter Collection of Chess Sets, 20 September 2000, lot no. 48. £1000-2000 (plus 27% BP* ARR*)

216

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217. Clément Massier (1844-1917) Vase with slender long neck and oxblood glaze impressed marks 40cm high. £100-300 (plus 27% BP* ARR*) 218. Attributed to Pierre-Adrien Dalpayrat (1844-1910) ‘Biconic’ vase, circa 1900 sang de boeuf glaze 27cm high. £200-400 (plus 27% BP* ARR*) 217

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219. Ruskin Pottery Ginger jar and cover, 1915 pink glaze impressed marks 27.5cm high. £100-200 (plus 27% BP* ARR*) 220. William Moorcroft (1872-1945) Dish flambe glaze, decorated with leaf and blackberries signed and impressed ‘W.Moorcroft’, manufacturer’s label 18.7cm diameter. £80-120 (plus 27% BP* ARR*) 221. William Moorcroft (1872-1945) for James Macintyre & Co. ‘18th Century’ pattern vase conical form with three handles signed ‘W.Moorcroft’ and printed ‘Macintyre, Burslem’ mark 12.5cm high. £80-120 (plus 27% BP* ARR*) 222. Christopher Dresser (1834-1904) for Minton Plate, 1865 Chinese fretwork border with painted leaf and flower head pattern impressed marks and date cipher 22cm diameter. £50-100 (plus 27% BP* ARR*)

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223. William De Morgan (1839-1917) Charger, circa 1880s decorated in ruby lustre depicting a peacock parading under the sun, the reverse with circular bands of lustre 36.5cm diameter. £1000-2000 (plus 27% BP* ARR*)

224. William De Morgan (1839-1917) Charger decorated in ruby lustre depicting a gryphon within a stylised border 30cm diameter. Provenance: Paul Reeves. £500-800 (plus 27% BP* ARR*)

225. William De Morgan (1839-1917) Vase decorated in lustre with peacock feathers impressed ‘DM98’ 21cm high. £700-900 (plus 27% BP* ARR*)

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226. Arts & Crafts Wall charger copper, decorated with a repousse design of peacock feathers 43cm diameter. £40-80 (plus 27% BP* ARR*) 227. John Pearson (1859-1930) Inkwell copper initialled, together with a Hugh Wallis copper and inlaid dish (2). £50-100 (plus 27% BP* ARR*)

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228. Archibald Knox (1864-1933) for Liberty & Co. Tudric biscuit barrel pewter mounts with three enamel roundels, green glass barrel 22cm high. £300-500 (plus 27% BP* ARR*) 229. William Moorcroft (1872-1945) Florian ware charger, circa 1905 decorated with blue and purple flowers signed in underglaze brown 37cm diameter. £80-120 (plus 27% BP* ARR*) 230. Maling Pottery Jardiniere decorated in lustre printed marks 19cm high. £40-80 (plus 27% BP* ARR*) 231. Arts & Crafts Two children’s books with covers by Talwin Morris (1865-1911) 18.5cm x 13cm (2). £40-80 (plus 27% BP* ARR*)

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232. Joseph Cribb (1892-1967) ‘Willelmus De Wykeham’, founder of New College, Oxford, 1926 carved stone signed and dated 41cm high. £500-800 (plus 27% BP* ARR*) In 1906 Cribb was apprenticed to Eric Gill at his Hammersmith studio. Cribb was a skilled letter cutter and carver in his own right, gaining Gill’s absolute trust and confidence and working with him on many of his major commissions, such as the lettering on Oscar Wilde’s tomb. He also converted to Roman Catholicism with Gill in 1913, following him again into the Third Order of St Dominic in 1920. Cribb’s apprenticeship ended in 1913 and he worked with Gill on the Stations of the Cross in Westminster until he was called away for army service from 1916 - 1919. During the latter part of his service he joined the Directorate of Graves Registration and Enquiries and worked with MacDonald Gill on the design of the standard war grave.

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233. Kenneth Clark (1922-2012) after William De Morgan (1839-1917) Two ‘Galleon’ tiles stamped maker’s mark each 15cm x 15cm (2). £50-100 (plus 27% BP* ARR*) 234. Philip Webb (1831-1915) for Morris & Co. ‘Longden’ tile in blue 15cm x 15cm. £100-150 (plus 27% BP* ARR*)

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235. Mary Watts (1849-1938) for Compton Pottery Three pendants modelled in low relief depicting a lady playing an organ, a lady sewing and a knight largest 6.2cm high (3). £200-300 (plus 27% BP* ARR*) 236. Max Laeuger (1864-1952) Jugendstil jug, early 20th Century slip glaze depicting flowers impressed seal and Gesetzl Geschzt mark 26cm high. £300-500 (plus 27% BP* ARR*) 237. Quentin Bell (1910-1996) at Fulham Pottery Bowl painted with flowers incised ‘Fulham Pottery’ and initials 14cm diameter. £80-120 (plus 27% BP* ARR*) 238. French Art Pottery Vase, late 19th Century ribbed body with crystalline glaze 20.5cm high. £40-80 (plus 27% BP* ARR*)

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239. Carlo Manzoni (1855-1910) Vase, 1895 yellow band between trailing vines and leaf impressed initials and date 26cm high. £80-120 (plus 27% BP* ARR*) 240. Glasgow School Arts & Crafts roundel design, circa 1910 watercolour 35.5cm x 35.5cm. £50-100 (plus 27% BP* ARR*)

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241. Manner of A.W.N. Pugin (1812-1852) Bread plate with motto ‘Eat the bread with joy and thankfulness’, gilt decoration on six scrolled feet 31cm diameter. £50-100 (plus 27% BP* ARR*) 242. Villeroy & Boch, Mettlach Art Nouveau stein decorated with stylised barley and hearts, pewter mounts impressed marks and model no. 2801 36cm high. £150-250 (plus 27% BP* ARR*) 243. Emile Gallé (1846-1904) Jardiniere, circa 1878 painted with landscape panels in the Louis XVI style painted mark 63cm across. £150-250 (plus 27% BP* ARR*) 244. Manner of Joseph Edward Boehm (1830-1890) Queen Victoria, late 19th Century bronze 32cm high. £200-300 (plus 27% BP* ARR*)

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245. Robert Thompson of Kilburn (1876-1955) Mouseman chest of drawers oak, adzed top carved mouse signature 92cm high, 91cm wide, 46cm deep. £2000-4000 (plus 27% BP* ARR*)

246. Robert Thompson of Kilburn (1876-1955) Mouseman writing table oak carved mouse signature 73cm high, 93cm wide. £700-1000 (plus 27% BP* ARR*)

246

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247. Robert Thompson of Kilburn (1876-1955) Mouseman carving board/chopping board carved mouse signature 43.5cm across. £200-300 (plus 27% BP* ARR*) 248. Robert Thompson of Kilburn (1876-1955) Early Mouseman bowl oak carved mouse signature to outside 24.3cm diameter. £300-400 (plus 27% BP* ARR*) 249. Robert Thompson of Kilburn (1876-1955) Mouseman bowl oak with adzed finish carved mouse signature to centre 28cm diameter. £200-300 (plus 27% BP* ARR*)

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250. Robert Thompson of Kilburn (1876-1955) Mouseman cheeseboard carved mouse signature to handle 36cm across. £100-200 (plus 27% BP* ARR*) 251. Robert Thompson of Kilburn (1876-1955) Early Mouseman stool, circa 1930 burr oak, the adzed rectangular concave seat on octagonal legs joined by stretchers carved mouse signature to leg 36cm high, 39.5cm wide, 27cm deep. £800-1200 (plus 27% BP* ARR*) 252. Robert Thompson of Kilburn (1876-1955) Early Mouseman stool, circa 1930 oak, with woven leather top carved mouse signature 36cm high, 34cm across. Information: By repute, the top re-leathered by the Mouseman shop, circa 1990. £300-500 (plus 27% BP* ARR*)

253. Robert Thompson of Kilburn (1876-1955) Pair of Mouseman napkin rings carved mouse signature napkin rings 4.7cm high (2). £80-120 (plus 27% BP* ARR*) 253

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Arthur Mitchell and the Cotswold School of Craftsmen The following works (lots 254 - 259) come from the collection of Arthur Mitchell. Arthur Mitchell was born in Smethwick in 1873 into the successful brewing family Mitchell and Butlers. He had to spend his working life running the business rather than following his own artistic inclinations – however he became a major patron of the arts and particularly of the Cotswold crafts movement. Like a number of Birmingham industrialists he chose to move to the Cotswolds and in 1920 he bought Glenfall House, a modest early nineteenth-century building in Charlton Kings near Cheltenham. He worked with the architect and furniture maker Sidney Barnsley to enlarge and fit out his new home. Mitchell bought work by a number of Cotswold artists and designer-makers and supported Cheltenham Art Gallery & Museum by paying for the photography of every piece brought together in the Exhibition of Cotswold Craftmanship, the town’s contribution to the 1951 Festival of Britain. Mary Greensted April 2017 With quotations by Mary Greensted

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254. Ernest Gimson (1864-1919) Wardrobe, designed, 1913 walnut, the two panelled cupboard doors flanking smaller cupboard section over four short drawers having carved escutcheons and handles, the edges inlaid with ebony and holly stringing 191cm high, 216cm wide, 67cm deep. Provenance: Arthur Mitchell; thence by descent. £10,000-20,000 (plus 27% BP* ARR*)

This was one of a number of three-piece wardrobes designed by Gimson which show him experimenting with different layouts of cupboards and drawers as well as showing off the skill of his cabinetmakers in the panelling.

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255. Peter Waals (1870-1937) Dining Table, circa 1921-1928 walnut, the extendable top with edges inlaid with ebony and holly stringing, over carved legs joined by hayrake type stretcher 77cm high, 160cm wide, 99cm deep (unextended). Provenance: Arthur Mitchell; thence by descent. £5000-8000 (plus 27% BP* ARR*)

This table shows Peter Waals updating the hayrake-inspired underframing developed by Sidney Barnsley and Ernest Gimson. Waals’ version combines the curved lines that are more in keeping with 1920s taste with the precise decorative chamfering on the legs and underframing typical of Cotswold craft furniture.

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256. Peter Waals (1870-1937) Set of four chairs, circa 1921-1928 walnut, the edges inlaid with ebony and holly stringing, with pigskin seats 110cm high, 43cm deep, 52cm wide. Provenance: Arthur Mitchell; thence by descent. Literature: To see the same design see; Peter Waals, The Cabinet Maker, 28 September 1935. £3000-5000 (plus 27% BP* ARR*)

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This is a typical example of Gimson’s work, combining careful proportions with a very clean outline. Its octagonal fielded panels in particular show off the skill of Gimson’s cabinetmakers and the quality of the timber

257. Ernest Gimson (1864-1919) Sideboard, circa 1915 walnut, with four short drawers and two cupboard sections with brass handles, the edges inlaid with ebony and holly stringing 92cm high, 170cm wide, 55cm deep. Provenance: Arthur Mitchell; thence by descent. £5000-8000 (plus 27% BP* ARR*)

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258. Ernest Gimson (1864-1919) Pair of fire dogs, circa 1904-10, made by Alfred Bucknell at Sapperton polished steel 70.5cm high, 70cm deep. Provenance: Arthur Mitchell; thence by descent. Information: As a student in 1888 Gimson drew a pair of 17th-century firedogs at Haddon Hall, Derbyshire and subsequently designed his own interpretation in 1904 or 1905. Two pairs were made in his smithy in brass by Bucknell: one for Earl Bathurst at Pinbury Park, Gloucestershire and one for the Gimson family (now at the New Walk Museum, Leicester). A third pair was made at the same time in wrought iron for Sir Lionel Phillips of Tylney Hall, Hampshire. £20,000-30,000 (plus 27% BP* ARR*)

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Lot 259. Edward Barnsley (1900-1987) Display cabinet English walnut with holly stringing, glazed hand-written label 183cm high, 93cm wide. Provenance: Arthur Mitchell; thence by descent. £2000-4000 (plus 27% BP* ARR*)

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260. Ernest Gimson (1864-1912) Chair ebonised, bobbin turned uprights, turned finials, and rush seat on bobbin turned legs 122cm high, 58cm wide. Provenance: Margaret Gimson; thence by descent. Literature: Lethaby, Alfred Powell and Frederick Landseer Griggs, Ernest Gimson His Life & Work, 1924, plate 38 for a settee, chair and armchair of similar design. This chair comes from the house of Margaret Gimson. Her house near Stoneywell, Rockyfield, was designed by Ernest Gimson in 1909, used first as a summer residence then (like Stoneywell - and Kelmscott Manor) all the year round. She was close to Ernest Gimson and chose furniture largely by him and his Sapperton colleagues, including several dark bobbin turned chairs. £2000-3000 (plus 27% BP* ARR*)

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261. Manner of Ernest Gimson (1864-1912) Rocking chair, circa 1900 ebonised, bobbin turned uprights, turned finials, and rush seat on bobbin turned legs 114cm high, 53cm wide.

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Literature: Lethaby, Alfred Powell and Frederick Landseer Griggs, Ernest Gimson His Life & Work, 1924, plate 38, for a settee, chair and armchair of similar design. £400-800 (plus 27% BP* ARR*)

262

262. Fred F. Foster (20th Century) Pair of Cotswold School metamorphic occasional tables, 1954 walnut with chamfered legs and stretchers each signed in ink ‘Designed & Made by Fred . F. Foster, 1954, Camp, Nr Stroud, Glos’ 56cm high, 88.5cm wide, 54cm deep (extended) (2). Information: Fred Francis Foster was a founding member of the Gloucestershire Guild of Craftsmen. He lived in Whiteway Colony near Stroud and worked with Peter Waals, Sidney Barnsley and other Cotswold School craftsmen. £1000-2000 (plus 27% BP* ARR*) 263. Attributed to Edward Barnsley (1900-1987) Crib teak, the frame with exposed joints and chamfered edges 62cm high, 76cm across. £300-500 (plus 27% BP* ARR*)

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265 264. Peter Waals (1870-1937) Dressing table mirror walnut, chamfered supports and bevelled mirror over two drawers with carved handles 88cm high, 66cm wide, 28cm deep. £800-1200 (plus 27% BP* ARR*)

266A

265. Stanley Webb Davies (1894-1978) Bookcase, 1956 oak, with glazed sliding doors signed and dated 91cm high, 81cm wide. £1000-1500 (plus 27% BP* ARR*)

266. Stanley Webb Davies (1894-1978) Tray, 1931 walnut, carved edge signed and dated 37.5cm across. £80-120 (plus 27% BP* ARR*) 266A. Arts & Crafts Armchair, circa 1900 oak with rush seat 87cm high, together with a Glasgow School style child’s chair with metal inlay (2). £50-100 (plus 27% BP* ARR*)

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267. Secessionist School Occasional table bentwood, with oval cut supports 71cm high, 47cm diameter. £100-200 (plus 27% BP* ARR*) 267A. F B Goodyers, London Occasional table oak, two tiers manufacturer’s label 64cm high. £80-120 (plus 27% BP* ARR*) 268. Erpé, Belgium Desk lamp, circa 1930 cast iron base with steel arm and shade 45cm high. £80-120 (plus 27% BP* ARR*)

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269. Henri Delcourt Art Deco vase, circa 1920 porcelain, painted with red, black and white geometric patterns signed ‘Liane’ and ‘1314’ 16.8cm high. £50-100 (plus 27% BP* ARR*) 270. Jean Derval (1925-2010) for Gustave Reynaud, Le Murier Pottery Jug in the form of a figure in red holding a yellow balloon painted leaf mark 30.5cm high. £200-300 (plus 27% BP* ARR*)

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271

272

271. Clarice Cliff (1899-1972) for Wilkinson Art Deco set of three dishes decorated with fish printed marks largest 22cm across. £40-80 (plus 27% BP* ARR*) 272. Paul Philippe (1870-1930) Le Grand Ecart Respectueux (The Respectful Splits), circa 1920s cold painted bronze, with carved ivory face and hands, on black marble base signed (in the bronze), Rosenthal and Maeder foundry mark 21.5cm high, 28cm across. £1500-2500 (plus 27% BP* ARR*)

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273. Poole Pottery Two freeform bowls in green and blue printed marks 33cm diameter (2). £150-250 (plus 27% BP* ARR*) 274. Norman Wilson (1902-1985) for Wedgwood Vase with adventurine glaze and asymmetrical rim impressed ‘Wedgwood N.W’ 20.7cm high. £150-250 (plus 27% BP* ARR*)

273

274

275

276

275. Tony Morris for Poole Pottery Studio Charger, 1962-1964 decorated with orange and green abstract patterns painted monogram, and impressed Poole marks including ‘TV’ mark 41.9cm diameter. £800-1200 (plus 27% BP* ARR*) 276. Lisa Larson (b.1931) for Gustavsberg Maxi-Katt, circa 1965 from the ‘Zoo’ range impressed ‘Gustavsberg, Sweden’ 35cm high. £600-800 (plus 27% BP* ARR*) 277. Walter Moorcroft (1917-2002) for Moorcroft ‘Hibiscus’ pattern vase, 1982 no.119 of 200 signed, dated and numbered 24cm high. £100-200 (plus 27% BP* ARR*) 278. Alfred Read (1898-1973) for Poole Set of five ‘Kitchen’ design tiles, first designed in 1923 impressed marks 15cm x 15cm (5). £80-120 (plus 27% BP* ARR*)

277

278

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279. Pablo Picasso (1881-1973) at Madoura Pottery ‘Sylvette’ (A.R.172), 1955 white earthenware ceramic bowl impressed marks 17.8cm diameter. £800-1200 (plus 27% BP* ARR*) 280. Pablo Picasso (1881-1973) at Madoura Pottery ‘Bird with worm’ (A.R. 172), 1952 white earthenware ceramic bowl stamped and marked ‘Edition Picasso’, ‘Madoura Plein Feu’ and ‘Edition Picasso’ 15.4cm diameter. £1000-1500 (plus 27% BP* ARR*)

279

280

281

282

283

283A

281. Piero Fornasetti (1913-1988) Six pieces; two ashtrays, two mugs and two trays porcelain decorated with gilt manufacturer’s marks ashtray 13cm diameter (6). £50-100 (plus 27% BP* ARR*) 282. Björn Wiinblad (1918-2006) Plate, 1953 decorated with a blonde-haired lady in a hat signed and dated 41cm x 26cm. £250-350 (plus 27% BP* ARR*) 283. Eric Ravilious (1903-1942) for Wedgwood ‘Garden’ pattern, twenty-one pieces of dinnerware comprising one plate, six side plates, six cups and saucers, jug and sugar bowl printed and impressed manufacturer's marks largest plate 24cm diameter (21). £200-400 (plus 27% BP* ARR*) Lot 283A. Richard Raffan (b.1943) Lidded container turned wood signed 27cm high. £50-80 (plus 27% BP* ARR*)

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284. Fase of Madrid, Spain ‘Tharsis’ desk lamp, circa 1970s chromed steel with articulated arm 45.5cm high. £200-300 (plus 27% BP* ARR*) 285. Herbert Terry & Sons Anglepoise lamp, circa 1970 model 90, in pale green 85cm high approx. £60-100 (plus 27% BP* ARR*) 286. Italian School Table lamp orange perspex shade 26cm high. £50-100 (plus 27% BP* ARR*)

284

285

287. Carlo Nason (b.1935) for Mazzega ‘Torpedo’ chandelier, circa 1970 eighteen shade murano glass fittings 95cm high. £300-500 (plus 27% BP* ARR*) 288. Venini Chandelier, circa 1950 Murano pink and opaline glass design 60cm high. £300-500 (plus 27% BP* ARR*)

286

288 287 BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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289. Manner of Jean Royere (1902-1981) ‘Tour Eiffel’ table iron and brass with glass top 34cm high, 130cm long, 53cm deep. £600-1000 (plus 27% BP* ARR*) 290. Manner of Jean Royere (1902-1981) Set of four ‘Tour Eiffel’ wall lights iron and brass, with cream shades 42cm across (4). £600-1000 (plus 27% BP* ARR*)

289

290

291. Luis Pérez de la Oliva for Fase of Madrid, Spain Desk lamp, model 520C, circa 1960s black painted and chromed with opaline glass 39cm high. £250-350 (plus 27% BP* ARR*) 292. Luis Pérez de la Oliva for Fase of Madrid, Spain Desk lamp, ‘Boomerang’ model, circa 1967 grey and black painted, chromed arm with opaline glass 39cm high. £250-350 (plus 27% BP* ARR*)

291

292

293. Andy Warhol (1928-1987) for Rosenthal Two ‘studio line’ plates glass, with Warhol portrait original boxes 30cm x 30cm (2). £100-200 (plus 27% BP* ARR*) 294 294. Jean and Rhys Powell Tile picture depicting a tropical fish marked ‘Powell International’ 60cm x 60cm. £60-100 (plus 27% BP* ARR*)

293

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295. Alvar Aalto (1898-1976) for Finmar Ltd. Pair of ‘Model 66’ chairs, circa 1930 birch Finmar labels 78cm high (2). £200-300 (plus 27% BP* ARR*)

296. Marc Sadler for Boffi, Italy ‘Gaston’ dressboy, circa 1990 the chrome body with wooden head, over weighted black base 184.5cm high. £600-1000 (plus 27% BP* ARR*)

297. Scandinavian School Display unit, circa 1960 teak and metal, two tiers 56cm high, 152cm wide. £100-200 (plus 27% BP* ARR*)

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298. Marcel Breuer (1902-1981) for P.E. Gane & Co. Armchair, 1935 white sycamore-veneered plywood frame with sprung seat and back, rectangular seat and back cushions Parker Knoll ivorine trade label 81cm high, 65cm wide, 75cm deep. £8000-12,000 (plus 27% BP* ARR*)

Information: This armchair formed part of a group of interior furnishings constituting some of the most interesting modernist furniture produced in Britain during the 1930s. It was designed by the Bauhaus designer Marcel Breuer (1902-81) for the Bristol home of furniture manufacturer and retailer Crofton Gane and made by his company P E Gane. An active member of the Design and Industries Association, which championed the emergent modern movement in design, from 1927 Crofton began transforming the family firm to showcase new ideas. Through the DIA he met Breuer who had emigrated to Britain in 1935.

Gane employed him to completely remodel the interior of his house to include a range of fitted and non-fitted furniture. The majority of the pieces were made by Gane’s craftsmen to Breuer’s specifications, including this chair. The armchair remained in the possession of the Gane family until 1976 when it was acquired by Ken Stradling with other pieces from the Gane House. Since 2007, it has been in the care of the Ken Stradling Collection Trust, alongside two others of identical design. The Trustees have decided to sell this duplicate example in line with their Acquisitions and Disposal policy.

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299. Paul Brideton for Kandya Desk, circa 1950 Model 374, wareite gingham laminate surface, painted floating drawer with metal legs 72cm high, 99cm wide. £300-500 (plus 27% BP* ARR*) 300. Jo Hammerborg (1920-1982) for Fog & Mørop Three ‘Corona’ ceiling lights, 1960 chrome with brushed black chrome ring one labelled 45cm high (3). £100-200 (plus 27% BP* ARR*)

299

300

301

302

303

304

301. Modernist School Cross, circa 1950 from St. Catherine’s College Cambridge brass and wrought iron 214cm high. £200-400 (plus 27% BP* ARR*) 302. Modernist School Table, circa 1950 Two tier, glass and polished brass. £150-250 (plus 27% BP* ARR*) 303. 20th Century School Crocodile skull polished bronze 55cm across. £100-200 (plus 27% BP* ARR*) 304. Jac Jacobsen (1901-1996) for Luxo Desk light, model L-11, circa 1960 in orange 35cm high. £60-100 (plus 27% BP* ARR*)

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305. Studio 6G and Harvey Guzzini ‘Clan’ Floor Lamp, designed in 1968 chrome plated, plastic and perspex 53cm high. £100-200 (plus 27% BP* ARR*) 306. Mario Bellini (b.1935) for C & B Italia Stacking tables, circa 1960 red fibreglass moulded marks largest table 26cm high, 51cm across. £100-200 (plus 27% BP* ARR*)

305

306

307

308

309

310

307. Italian School Coffee table, circa 1970 tubular chrome frame with smoky glass top 36cm high, 70cm wide. £50-100 (plus 27% BP* ARR*) 308. Mathieu Mategot (1910-2001) Shelving system, circa 1950 orange and yellow coloured shelves fitting into tubular frame on castors 81cm high, 99cm wide. £200-300 (plus 27% BP* ARR*) 309. Mathieu Mategot (1910-2001) Magazine rack, circa 1950 77cm high, 41cm wide. £80-120 (plus 27% BP* ARR*) 310. Verner Panton (1926-1998) Flowerpot lamp, circa 1969 stove enamelled by Louis Poulsen, Denmark 34cm high. £200-300 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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311. Dave Regester (20th Century) Bowl burr oak signed and inscribed 62cm across. £200-300 (plus 27% BP* ARR*) 312. Jens Quistgaard (1919-2008) for Dansk A tray and vessel, circa 1960 teak manufacturer’s marks tray 52cm across, vessel 19cm high, together with an unsigned teak tray of the same design (3). £80-120 (plus 27% BP* ARR*)

311

312

313

314

315

316

313. Emanuele Pantanella (1939-2014) Pedestal bowl inlaid and stained woods stamped ‘Pantanella, Rome, Italy’ 15cm high, 21cm diameter. £100-200 (plus 27% BP* ARR*) 314. Kresten Bloch (1912-1970) for Royal Copenhagen Bowl stoneware, black and blue glaze initialled and with manufacturer’s marks 28cm diameter. £80-120 (plus 27% BP* ARR*) 315. John Makepeace (b.1939) Mirror yew with square bevelled mirror impressed ‘MAKEPEACE WORKSHOPS’ 11.5cm high. £50-100 (plus 27% BP* ARR*) 316. Jacques Adnet (1900-1984) Soda siphon and cigar pot, circa 1960 with leather and canvas straps siphon 29.5cm high, cigar box 17cm high (2). £80-120 (plus 27% BP* ARR*)

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317. Owen Thomas for Durlston Designs Ltd. Tabletop mirror stainless steel circular mirror adjustable on painted steel frame 43cm high. £50-100 (plus 27% BP* ARR*) 318. Royal Copenhagen Four ‘Faience’ tiles, circa 1970 manufacturer’s marks 15cm x 15cm (4). £40-80 (plus 27% BP* ARR*)

317

318

319

320

319. Tom Dixon (Contemporary) Joint stool oak signed 44cm high. £50-100 (plus 27% BP* ARR*) 320. Fabricius & Kastholm for Kill International Pair of ‘Bird’ Chairs, designed 1960 tan leather seats over aluminium frame 108cm high (2). £300-600 (plus 27% BP* ARR*) 321. Eric Ravilious (1903-1942) for Wedgwood ‘Alphabet’ mug, originally designed 1937 printed manufacturer’s mark 8.7cm high, together with two Wedgwood commemorative mugs, for the Investiture of Prince Charles (3). £80-120 (plus 27% BP* ARR*)

321

322. Eduardo Paolozzi (1924-2005) for Wedgwood ‘Variations on a Geometric Theme’, set of six plates 107 of an edition of 200 in pink perspex box with certificate each plate 26.5cm diameter (6). £600-800 (plus 27% BP* ARR*)

322

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323. Studio 6G and Harvey Guzzini ‘Flash’ floor lamp, circa 1970 version 4508 with acrylic brown shade on chrome stand Guzzini label 181cm high. £500-800 (plus 27% BP* ARR*) 324. Achille and Pier Giacomo Castiglioni for Flos Large ‘Taccia’ floor lamp, originally designed in 1967 enamelled aluminium and glass on a steel base 66cm x 49.5cm, together with 1000 lights book by Chartlotte and Peter Fiell, with Taccia illustrated to Front cover (2). £600-1000 (plus 27% BP* ARR*)

323

324

325

326

325. Manner of Gaetano Sciolari (1927-1994) Chandelier, circa 1970 chrome 70cm approx. £200-400 (plus 27% BP* ARR*) 326. Alan Wallwork (1931-2019) Tiled coffee table 38cm high, 64cm wide. £100-150 (plus 27% BP* ARR*) 327. Bayer (1960s School) Tile panel depicting a chariot signed (lower right tile) 29cm x 59cm. £40-60 (plus 27% BP* ARR*) 328. Relco of Milan, Italy Standard lamp adjustable, black metal and brass 170cm high. £80-120 (plus 27% BP* ARR*)

327

328

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329. 1970s School Pair of bell stools polished steel and aluminium probably retailed by Heals or Habitat 49cm high (2). £60-100 (plus 27% BP* ARR*) 330. Attributed to Stilux of Milan Italian desk lamp green painted and chrome. £40-80 (plus 27% BP* ARR*)

329

330

331

332

333

334

331. Murano, possibly designed by Archimede Seguso (1909-1999) Coffee table, circa 1960 circular glass top over twisted glass batons in blue, red and green 46cm high, 80cm diameter. £1000-1500 (plus 27% BP* ARR*) 332. Isle of Wight Two vases pink, white and green glass tallest 24cm high (2). £60-80 (plus 27% BP* ARR*) 333. Val Saint Lambert Table lamp pink and clear glass, twisted form maker’s label 38cm high. £60-80 (plus 27% BP* ARR*) 334. Nils Landberg (1907-1991) for Orrefors ‘Axe’ vase green glass cased in clear glass etched signature and model no.3538/1 29.4cm high. £60-100 (plus 27% BP* ARR*)

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335. Sam Herman (b.1936) Vase, 1982 pink glass with purple and gold inclusions signed, dated and inscribed ‘CL44’ 18cm high. £100-200 (plus 27% BP* ARR*) 336. George Elliott of Bewdley (1933-1998) Wine glass swirling orange and brown glass signed 25.5cm high, together with two art glass wine glasses by Peter Tyson (3). £50-100 (plus 27% BP* ARR*)

335

336

337

338

337. John Ditchfield for Glassform Vase, 1982 swirled lime green and white coloured glass signed and dated 12cm high. £60-100 (plus 27% BP* ARR*) 338. Annette Meech (b.1948) Three wine glasses, 1978 clear glass with bands of colour each signed and dated tallest 19.3cm high (3). £100-200 (plus 27% BP* ARR*) 339. Annette Meech (b.1948) Three goblets, 1974-1978 art glass each signed and dated tallest 17.5cm (3). £80-120 (plus 27% BP* ARR*) 340. Michael Powolny (1871-1954) for Loetz Vase orange and black glass 14cm high. £150-250 (plus 27% BP* ARR*) 339

340

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341. Loetz Vase iridescent glass, twisted form 24cm high. £50-100 (plus 27% BP* ARR*) 342. Vasart Vase pink cloisonné glass 17cm high. £60-80 (plus 27% BP* ARR*) 343. Stevens & Williams Art Glass Vase, circa 1900 cameo glass in red and white, depicting a cherry tree acid etched mark 10.5cm high. £200-300 (plus 27% BP* ARR*)

341

342

343

344

345

346

344. Emile Gallé (1846-1904) Vase cameo overlaid orange and yellow glass signed ‘Gallé’ in cameo 24.5cm high. £300-500 (plus 27% BP* ARR*) 345. Muller Freres, Luneville Vase cameo glass, depicting red flowers signed in cameo 13.5cm high. £200-300 (plus 27% BP* ARR*) 346. Louis Comfort Tiffany (1848-1933) ‘Favrile’ vase iridescent glass with applied decoration signed ‘L.C.T M7881’ 9.5cm high. £200-300 (plus 27% BP* ARR*)

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347. Albert Tubby for Whitefriars Art Deco footed bowl, 1932 glass, sapphire colour with geometric cut patterns 22cm diameter. £100-200 (plus 27% BP* ARR*) 348. William Wilson for Whitefriars Vase glass, sapphire colour, cylindrical form with cut geometric panels 17cm high. £100-200 (plus 27% BP* ARR*)

347

348

349

350

351

352

349. Geoffrey Baxter (1922-1995) for Whitefriars ‘Hooped’ vase cinnamon coloured glass pattern no.9680 29cm high. £100-200 (plus 27% BP* ARR*) 350. Geoffrey Baxter (1922-1995) for Whitefriars ‘Hooped’ vase kingfisher coloured glass pattern no.9680 29cm high. £100-200 (plus 27% BP* ARR*) 351. Geoffrey Baxter (1922-1995) for Whitefriars Triangular vase clear glass pattern no.9729 17.8cm high. £50-100 (plus 27% BP* ARR*) 352. Geoffrey Baxter (1922-1995) for Whitefriars ‘Pineapple’ vase aubergine coloured glass pattern no.9731 18cm high. £80-120 (plus 27% BP* ARR*)

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353. Geoffrey Baxter (1922-1995) for Whitefriars ‘Drunken Bricklayer’ vase indigo coloured glass pattern no.9672 33cm high. £300-400 (plus 27% BP* ARR*) 354. Geoffrey Baxter (1922-1995) for Whitefriars ‘Drunken Bricklayer’ vase cinnamon coloured glass pattern no.9672 33cm high. £200-400 (plus 27% BP* ARR*)

353

354

355

356

357

358

355. Geoffrey Baxter (1922-1995) for Whitefriars ‘Drunken Bricklayer’ vase kingfisher coloured glass pattern no.9672 33cm high. £300-500 (plus 27% BP* ARR*) 356. Geoffrey Baxter (1922-1995) for Whitefriars ‘Drunken Bricklayer’ vase tangerine coloured glass pattern no.9672 33cm high. £300-500 (plus 27% BP* ARR*) 357. Geoffrey Baxter (1922-1995) for Whitefriars Three ‘Pineapple’ vases kingfisher, tangerine and willow coloured glass pattern no.9731 18cm high (3). £100-200 (plus 27% BP* ARR*) 358. Geoffrey Baxter (1922-1995) for Whitefriars ‘Sunburst’ vase indigo coloured glass pattern no.9676 15.5cm high. £80-120 (plus 27% BP* ARR*)

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359. Geoffrey Baxter (1922-1995) for Whitefriars Two ‘Mobile’ vases kingfisher and tangerine coloured glass pattern no.9670 16.8cm high (2). £100-200 (plus 27% BP* ARR*) 360. Geoffrey Baxter (1922-1995) for Whitefriars Three ‘Totem’ vases kingfisher, meadow green and willow coloured glass pattern no.9671 26.5cm high (3). £200-300 (plus 27% BP* ARR*)

359

360

361. Geoffrey Baxter (1922-1995) for Whitefriars Three ‘Bark’ vases ruby, meadow green and aubergine coloured glass pattern no.9691 23.5cm high (3). £150-250 (plus 27% BP* ARR*) 362. Geoffrey Baxter (1922-1995) for Whitefriars ‘Cello’ vase kingfisher coloured glass pattern no.9675 17.5cm high. £80-120 (plus 27% BP* ARR*)

361

362

363. Geoffrey Baxter (1922-1995) for Whitefriars ‘Cello’ vase indigo coloured glass pattern no.9675 17.5cm high. £80-120 (plus 27% BP* ARR*) 364. Geoffrey Baxter (1922-1995) for Whitefriars ‘Mobile’ vase and ‘Traffic Light’ vase meadow green coloured glass pattern no.9760 and no.9670 16cm high and 12.5cm high (2). £100-200 (plus 27% BP* ARR*) 365. William Butler for Whitefriars Two bowls, circa 1930 blue and red coloured glass with threaded pattern pattern no.7170 23cm diameter (2). £200-300 (plus 27% BP* ARR*)

363

364

365

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366. William Butler for Whitefriars Two bowls, circa 1930 clear glass with blue threaded pattern pattern no.7170 22cm and 13cm diameter (2). £100-200 (plus 27% BP* ARR*) 367. Salviati Two Modernist bowls in red and blue glass etched marks 10cm high (2). £40-80 (plus 27% BP* ARR*)

366

367

368

369

368. Daum, France Vase clear glass with pulled rim etched ‘Daum, France’ 23cm high, together with a Whitefriars ‘bark’ vase in tangerine, and a further Daum vase (3). £100-200 (plus 27% BP* ARR*) 369. Manner of Christopher Dresser (1834-1904) ‘Clutha’ type vase opalescent green glass 27cm high. £80-120 (plus 27% BP* ARR*) 370. Bemini Art Deco decanter and six glasses etched smoky glass with opaline mermaid stems and stopper decanter 24cm high. £100-150 (plus 27% BP* ARR*) 371. Manner of Giuliano Tosi (b.1942) for Murano Vase opaque glass with white bands 20cm high, together with a Nazeing green glass bowl, and a Dartingon art glass vase with etched stripes (3). £100-150 (plus 27% BP* ARR*) 372. Attributed to Alfredo Barbini (1912-2007) for Murano Aquarium block, circa 1950 glass 12cm x 13.5cm. £150-250 (plus 27% BP* ARR*)

370

371

372

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373. Jobling Bowl, circa 1930 moulded opalescent glass, ‘Tudor Rose’ pattern etched and moulded mark 27cm diameter. £40-80 (plus 27% BP* ARR*) 373 374. William Wilson for Whitefriars Two goblets glass, commemorating the RAF in WWII and the 1947 Royal Wedding etched signatures and marks each 17.5cm high (2). £200-300 (plus 27% BP* ARR*) 375. W.M.F Art Nouveau cup silver plated with twin-handles 12cm high, together with a Dresser style pewter cup (2). £50-100 (plus 27% BP* ARR*)

374

375

376. Garrard Alms dish, circa 1940 silver plated, of plain form with original light blue Garrard box dish 36cm diameter. £50-100 (plus 27% BP* ARR*) 377. Manner of Charles Voysey (1857-1951) Hot water jug electroplated, with heart shaped finial 17cm high, together with a similar early 20th Century plated teapot (2). £80-120 (plus 27% BP* ARR*)

376

378. Archibald Knox (1864-1933) for Liberty & Co. Hot water jug pewter with caned handle stamped marks and model no.0307 21.5cm high. £300-400 (plus 27% BP* ARR*)

377

378

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379. Helen von Boch and Federigo Fabbrini for Villeroy & Boch ‘La Bomba’ cutlery set, 1969 stainless steel, comprising four forks, knives, spoons and teaspoons marked ‘Avant Garde, made in W.Germany’ forks 19cm long. £100-200 (plus 27% BP* ARR*)

379

383

380. Albert Edward Jones (1878-1954) Bowl, 1915 silver, the bowl embossed with a band of Tudor roses, raised on octagonal tapering legs hallmarks for Birmingham 14cm high, 17.5cm diameter. £400-600 (plus 27% BP* ARR*) 381. Charles Robert Ashbee (1863-1942) Muffin dish electroplated, hammered finish, the openwork wire mount set with cabochon 22.5cm diameter. £400-600 (plus 27% BP* ARR*)

380

382. No Lot 383. Robert Welch (1929-2000) for Old Hall ‘Alveston’ canteen of cutlery stainless steel, in teak canteen 11cm high, 51cm wide. £350-450 (plus 27% BP* ARR*)

381

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384. Jan Arundell and Ted Arundell (British, 20th Century) Two polyester resin pendants white metal mounted each signed ‘JA TA 72’ 7.65cm and 8.7cm long (2). £150-250 (plus 27% BP* ARR*) BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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385

386 385. Alastair Norman Grant (British, 20th Century) Silver and enamel brooch maker’s mark NG Edinburgh hallmark for 1969 and a silver and enamel brooch/ pendant by the same maker Edinburgh hallmark for 1975 5.5cm and 6.1cm long (2). £70-90 (plus 27% BP* ARR*) 386. Jacob Tostrup Enamel brooch and ear clips suite signed and stamped ‘Sterling Norway’ a brooch by Ivar T. Holth signed and stamped ‘830S’ and a pair of similar ear pendants stamped ‘830S’ the enamel brooch 5.5cm long (4). £80-120 (plus 27% BP* ARR*)

387. Björn Weckström (Finnish, b.1935) for Lapponia ‘Pola Negri’ bracelet watch signed, with Finnish gold marks for 1980 14ct gold international convention mark 17cm long. £650-750 (plus 27% BP* ARR*)

387

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388. Liberty & Co. ‘Cymric’ silver, enamel and blister pearl button signed, Birmingham hallmark for 1904 2.5cm wide. £80-120 (plus 27% BP* ARR*)

389. Kate Harris for William Hutton & Sons Set of six silver buttons each cast with the profile of a puritan maid Birmingham hallmark for 1904 2.4cm wide. £80-120 (plus 27% BP* ARR*)

390. Liberty & Co. Three ‘Cymric’ silver and enamel buttons signed and hallmarked for Birmingham 1904 together with a set of six buttons with sinuous swan motifs and two silver buttons of hammered finish the first buttons 3cm wide (11). £100-200 (plus 27% BP* ARR*)

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391 392

391. Arts and Crafts Enamel panel ring heightened in shades of red, yellow, green and blue with foliate shoulders stamped ‘Sterling Silver’ and a similar panel bracelet with openwork scrolled spacers stamped ‘Sterling Silver’ ring size I½ (2). £80-120 (plus 27% BP* ARR*)

393

394

392. Marius Hammer (Norwegian, 1847-1927) Enamel pendant necklace the openwork panel heightened with wirework and green enamel suspending three baroque pearl drops surmounted by trace-link swags and chain signed and stamped ‘930S’ the pendant 6cm long. £150-250 (plus 27% BP* ARR*) 393. Charles Horner Silver and enamel pendant necklace signed and hallmarked for Chester 1908 the pendant 6cm long. £70-90 (plus 27% BP* ARR*) 394. James Fenton & Co. Arts & Crafts silver and enamel panel brooch heightened with graduated green and blue enamel signed, Birmingham hallmark for 1908 and a further Arts & Crafts enamel panel brooch stamped ‘Sterling Silver’ the first brooch 2.45cm wide (2). £100-150 (plus 27% BP* ARR*)

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396. Arno Malinowski (Danish, 1899 - 1976) for Georg Jensen Silver brooch openwork circlet enclosing a bird and foliage signed and stamped ‘Sterling Denmark’ London import marks for 1964 numbered 258 4.4cm long. £200-300 (plus 27% BP* ARR*)

395

395. Georg Jensen Matchbox cover signed and stamped ‘Denmark Sterling’ numbered 132B 4.5cm long. £80-120 (plus 27% BP* ARR*)

396

397. Georg Jensen Silver grape pendant on chain signed and stamped ‘925S Denmark’ London import marks for 1996 maker’s box the pendant 3.1cm long. £80-100 (plus 27% BP* ARR*) 397 398

399. Oscar Gundelach-Pedersen (Danish, 1887 - 1970) for Georg Jensen Silver cufflinks signed and stamped ‘Sterling Denmark’ London import marks for 1956 numbered 41 1.9cm wide. £80-120 (plus 27% BP* ARR*)

398. Poul Hansen (Danish, 20th Century) for Georg Jensen Cufflinks signed and stamped ‘Sterling Denmark’ numbered 75 2.4cm wide. £70-90 (plus 27% BP* ARR*)

399 BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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400. 20th Century Rutilated quartz cabochon ring with tapered split hoop stamped ‘Made In Finland’, with Finnish silver marks for 1974 London import marks for 1974, sponsor’s mark ‘J&G’, and a blue stone ring of similar design ring sizes L-M and Q-R (2). £70-90 (plus 27% BP* ARR*) 401. Magnus Maximus Designs Silver and amethyst geode ring Edinburgh hallmark for 1973-74 and a similar silver and amethyst ring with split hoop London hallmark for 1971 maker’s mark ‘CPA’ ring sizes K and L-M (2). £60-80 (plus 27% BP* ARR*)

400 401

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110


Modern British + Post-War Art Friday 6 December Commencing with the Peter Dingley Collection of Pictures Lots 402 - 441

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402. Frances Hodgkins (1869-1947) ‘Ibiza’, 1934 inscribed ‘To Eve from Frances Hodgkins’, titled and dated gouache and watercolour 49cm x 37cm. Provenance: The Ruskin Gallery, Stratford-upon-Avon. £2000-4000 (plus 27% BP* ARR*)

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403. John Emanuel (b.1930) Seated woman wearing white signed in pencil (lower left) mixed media 53cm x 36cm. £200-400 (plus 27% BP* ARR*)

404. John Emanuel (b.1930) Nude against blue background, 1991 inscribed ‘John Emmanuel, St Ives, 1991’ (to reverse) mixed media 39cm x 29cm. £300-500 (plus 27% BP* ARR*)

405. John Emanuel (b.1930) Prone figure on red signed in pencil (upper left) mixed media 30cm x 41cm. £300-500 (plus 27% BP* ARR*) 406. John Emanuel (b.1930) Nude torso mixed media 26cm x 17cm. £200-400 (plus 27% BP* ARR*)

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407. Lawrence Dingley (b.1959) ‘Going Fishing, Constantine Bay’ signed (lower right) oil on board 19cm x 19cm. £50-100 (plus 27% BP* ARR*) 408. Lawrence Dingley (b.1959) ‘Barn on Granby Road, Honnington’ signed (lower right) oil on board 23cm x 38.5cm. £50-100 (plus 27% BP* ARR*) 407

408

409

410

411

412

409. Lawrence Dingley (b.1959) ‘Play on the Beach II’, 1996 signed and dated (lower right) oil on board 19.5cm x 25cm. £50-100 (plus 27% BP* ARR*) 410. Hermione Owen (b.1951) ‘Little Barn’ initialled (lower right), titled (to reverse) oil on board 12.5cm x 23cm. £50-100 (plus 27% BP* ARR*) 411. André Bicat (1909-1996) Buying vegetables, Dieppe signed (lower right), inscribed (to reverse) watercolour 13cm x 19cm. £50-100 (plus 27% BP* ARR*) 412. André Bicat (1909-1996) Near Asciano, Tuscany, 1967 signed (lower right) watercolour 21cm x 21cm. Provenance: Bohun Gallery, Henley-on-Thames. £50-100 (plus 27% BP* ARR*)

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413. André Bicat (1909-1996) Greve signed (lower right) oil on board 19cm x 29cm. £80-120 (plus 27% BP* ARR*)

413

414. Hugh Casson (1910-1999) ‘Official Residence, Poros’ initialled (lower right), titled (to reverse) watercolour 20.3cm x 10.3cm. £60-100 (plus 27% BP* ARR*)

414

415. Hugh Casson (1910-1999) ‘Way Through, Worcester College’ initialled (lower right), titled (to reverse) watercolour 13.5cm x 9.5cm. £60-100 (plus 27% BP* ARR*) 416. Jill Jeffrey (20th Century) Yellow flowers in a landscape signed (lower right) pastel 24cm x 33cm. £50-100 (plus 27% BP* ARR*) 417. Allen Freer (b.1926) Suffolk Coast signed in pencil watercolour 11cm x 13cm, together with two further watercolours by Allen Freer (3). £80-120 (plus 27% BP* ARR*)

415

416

417

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418. Philip Connard (1875-1958) Summer beach scene watercolour 24cm x 33cm. Provenance: The Ruskin Gallery, Stratford-uponAvon. £80-120 (plus 27% BP* ARR*) 419. Philip Connard (1875-1958) Park view oil on board 39cm x 50cm.

418

419

420

421

Provenance: The Ruskin Gallery, Stratford-uponAvon. £200-400 (plus 27% BP* ARR*) 420. Edward Ardizzone (1900-1979) The commercial traveller in a Country Inn signed (lower right) pen and ink 16cm x 21cm. Provenance: The Ruskin Gallery, Stratford-uponAvon. £600-800 (plus 27% BP* ARR*) 421. G. Douglas Thomson (20th Century) Cassis, France oil on board 50cm x 60cm, and a watercolour of Venice by Douglas Thomson (2). Provenance: The Ruskin Gallery, Stratford-uponAvon. £80-120 (plus 27% BP* ARR*) 422. Modern British School Still life indistinctly signed oil on board 40.5cm x 90.5cm. £100-200 (plus 27% BP* ARR*)

422

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423. Bernard Meninsky (1891-1950) Figures in a landscape signed (lower right) gouache 37cm x 54cm. Provenance: Bequest from Joan Napier, 1996. £1000-2000 (plus 27% BP* ARR*)

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424. Edward S. Lowe (act.1893-1928) Waiting for the fishing boats, Concarneau signed (lower left) oil on paper 21cm x 24cm. £60-100 (plus 27% BP* ARR*) 425. Charles Geoffroy (1819-1892) English Abbey watercolour 21cm x 26cm. Provenance: The Ruskin Gallery, Stratford-uponAvon, 1964. £50-100 (plus 27% BP* ARR*)

425 424

426. Peter Le Cave (1769-1816) Cattle and maid watercolour 17cm x 20cm. Provenance: The Ruskin Gallery, Stratford-uponAvon. £100-200 (plus 27% BP* ARR*)

426

427

427. George Jones (1786-1869) Cottage on the Wells near Bath sepia watercolour 17cm x 13cm, together with a further English School sepia watercolour (2). Provenance: The Ruskin Gallery, Stratford-uponAvon. £50-100 (plus 27% BP* ARR*)

428 429

428. Rev. Joseph Wilkinson (1764-1831) Building by a lake, circa 1810 watercolour 10cm x 15cm, together with a watercolour by William Payne (2). Provenance: The Ruskin Gallery, Stratford-uponAvon. £100-200 (plus 27% BP* ARR*)

430. Alfred Baker (19th Century) Church view watercolour 5cm x 9cm, together with two further 19th Century English School watercolours (3). £50-100 (plus 27% BP* ARR*) 430

429. John Varley (1778-1842) Italian landscape at dusk watercolour 10cm x 14cm. Provenance: The Ruskin Gallery, Stratford-uponAvon. £100-200 (plus 27% BP* ARR*)

431. Wilfred Ball (1853-1917) ‘At Whitby’, 1887 signed, dated and titled watercolour 13cm x 23cm. £60-100 (plus 27% BP* ARR*) 431

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432. John Emanuel (b.1930) Male torso on blue inscribed ‘To Peter & Guido, John & Janet’ mixed media 18.5cm x 13cm. £50-100 (plus 27% BP* ARR*)

432

433. Edward Harry Handley-Read (1870-1935) The Terrace, Monte Carlo signed (lower right) oil on board 36cm x 47.5cm.

433

Provenance: The Ruskin Gallery, Stratford-uponAvon. £300-500 (plus 27% BP* ARR*)

434

434. Itzchak Tarkay (1935-2012) ‘Paysage’ 90/300, signed and numbered in pencil (in the margin) lithograph 22cm x 20cm. £40-80 (plus 27% BP* ARR*)

435

435. Alfred East (1849-1913) Continental landscape with statue on a hill watercolour 13cm x 19cm. Provenance: The Ruskin Gallery, Stratford-uponAvon. £100-200 (plus 27% BP* ARR*) 437 436. Sue Rae (Contemporary) Midmorning, Aber Mawr signed (lower right) mixed media 22cm x 25cm, together with another mixed media by Sue Rae (2). £50-100 (plus 27% BP* ARR*) 436

437. Gordon Slater (Contemporary) ‘In the Marche II’ signed (lower right) mixed media 24cm x 24cm. £40-80 (plus 27% BP* ARR*)

438. John Brunsdon (1933-2014) ‘Halls Croft and Garden’ 4/175, signed, titled and numbered in pencil (in the margin) etching and aquatint 13cm x 31cm. £50-100 (plus 27% BP* ARR*) 439. Modern Pictures to include work by Tessa Beaver, Jane Strother, Jenny Cook, Clare Burley and others (12). £50-100 (plus 27% BP* ARR*)

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440. Theo Moorman (1907-1990) Wall hanging weaved textile in blues and greens 93cm x 66cm. £200-400 (plus 27% BP* ARR*)

441. Theo Moorman (1907-1990) Wall hanging weaved textile with pebble 54cm x 16cm. £50-100 (plus 27% BP* ARR*)

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442. Pablo Picasso (1881-1973) ‘Pour Roby’, circa 1950 signed (in the plate) etching 38cm x 28cm, unframed. Reference: Illustration for L’Arge de Sole by Robert J.Godet, 1950. Provenance: Sotheby’s, 21 November 1974, lot no. 135. £100-200 (plus 27% BP* ARR*)

443

443. Paul Signac (1863-1935) Two tugboats on the river signed (in the plate) etching 25cm x 36cm, unframed. £100-200 (plus 27% BP* ARR*)

442

444. Margaret Bruce Wells (1908-1999) ‘The Thrush’s Song’, 1931 signed, dated and titled in pencil (in the margin) wood engraving 30cm x 21cm. £60-100 (plus 27% BP* ARR*) 445. Edward Henry Gordon Craig (1872-1966) Landscape clearing, 1924 monogrammed and dated in pencil (in the margin) etching 14cm x 13cm. £100-200 (plus 27% BP* ARR*)

444

445

446

447

446. Pierre-Auguste Renoir (1841-1919) ‘Sur la Plage, Berneval’, 1892 signed (in the plate) etching 33cm x 25cm, unframed. £100-200 (plus 27% BP* ARR*) 447. Pierre-Auguste Renoir (1841-1919) ‘Le Chapeau épinglé’, circa 1894 signed (in the plate) etching 33cm x 25cm, unframed. £100-200 (plus 27% BP* ARR*)

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448. Pierre-Auguste Renoir (1841-1919) ‘Femme couchée’, 1906 etching 25.5cm x 34cm, unframed. £100-200 (plus 27% BP* ARR*) 449. John Buckland Wright (1897-1954) ‘Windy Shore’, 1946 artist’s proof, signed, titled and dated in pencil (in the margin) wood engraving 16cm x 20.5cm. £100-200 (plus 27% BP* ARR*)

448

449

450. John Buckland Wright (1897-1954) ‘Bathers, Laos’, 1936 signed, titled and dated in pencil (in the margin) wood engraving 20cm x 15cm. £150-250 (plus 27% BP* ARR*) 451. Frederick Hollyer (1837-1933) after George Frederic Watts (1817-1904) Sir Galahad, circa 1890 stamped (lower right) platinotype 35cm x 19cm. £150-250 (plus 27% BP* ARR*)

450

452

451

453

452. Frederick Hollyer (1837-1933) after George Frederic Watts (1817-1904) The Happy Warrior stamped (lower right) platinotype 32cm x 27cm. £80-120 (plus 27% BP* ARR*) 453. Frederick Hollyer (1837-1933) after Edward Burne-Jones (1833-1898) Madeline Wyndham, aged 16 inscribed (to reverse) platinotype 28cm x 19cm. £100-150 (plus 27% BP* ARR*)

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454. Hubert Andrew Freeth (1912-1986) ‘Little Negress’ and ‘Embarrassed’ each signed, numbered and titled in pencil (in the margin) etchings 28cm x 36cm (2). £80-120 (plus 27% BP* ARR*) 455. Hubert Andrew Freeth (1912-1986) ‘Gazing’ and ‘To Church’ each signed, numbered and titled in pencil (in the margin) etchings 28.5cm x 40.5cm and 30cm x 34cm (2). £80-120 (plus 27% BP* ARR*) 456. Hubert Andrew Freeth (1912-1986) ‘Fisherman in Algeciras’; ‘Hungarian Cart’; ‘Pensive’ and ‘Girl Reading’ each signed, numbered and titled in pencil (in the margin) etchings largest 40cm x 31cm (4). £100-200 (plus 27% BP* ARR*)

454

454

455

455

456

456

457. Frank Brangwyn (1867-1956) London Bridge signed in pencil (in the margin) etching 46cm x 58cm. Provenance: Fine Art Society, London. £250-350 (plus 27% BP* ARR*) 458. Max Werner (20th Century) ‘Tanker’, 1986 4/25, signed, numbered, titled and dated in pencil (in the margin) etching and aquatint 57cm x 59cm, unframed. £50-100 (plus 27% BP* ARR*)

458

457

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459. Édouard Vuillard (1868-1940) Portrait of Theo Van Ryselbergh, circa 1898 etching 24cm x 32cm, unframed. £80-120 (plus 27% BP* ARR*) 460. Maurice Denis (1870-1943) Joseph Victor Roux Champion signed and titled (in the plate) etching 26cm x 33cm, unframed. £50-100 (plus 27% BP* ARR*)

459

460

461

462

461. Edward Carrick (20th Century) Picking grapes signed in pencil (in the margin) wood engraving 17cm x 11cm. £80-120 (plus 27% BP* ARR*) 462. Lawrence (20th Century) ‘Tenby’, 1995 4/50, signed, numbered and dated in pencil (in the margin) 17.5cm x 22cm, and a woodblock of flowers by G.C Richins (2). £80-120 (plus 27% BP* ARR*) 463. Orovida Camille Pissarro (1893-1968) ‘Merry Xmas from Orovida’ inscribed in brown ink ‘Merry Xmas and Happy New Year from Orovida’ (in the top margin) two etchings in one frame 13cm x 9cm and 13cm x 9.5cm (2). £100-300 (plus 27% BP* ARR*) 464. Robert Gibbings (1889-1958) Clear Waters, 1920 35/50, signed, dated and numbered in pencil (in the margin) wood engraving 27cm x 16cm. £300-500 (plus 27% BP* ARR*)

464

463

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465. Clare Leighton (1901-1989) Trees on a hill 21/30, signed and numbered in pencil (in the margin) wood engraving 5cm x 8.3cm. £100-150 (plus 27% BP* ARR*) 466. Edgar Rowley Smart (1887-1934) ‘Gidnese’ signed in pencil (in the margin), titled (in the plate) etching 27cm x 31cm. £80-120 (plus 27% BP* ARR*)

465

466

467. Dolf Rieser (1898-1983) Birds 10/45, signed and numbered in pencil (in the margin) etching 36cm x 51cm, unframed. £50-100 (plus 27% BP* ARR*) 468. Dolf Rieser (1898-1983) The Tribe 55/100, signed and numbered in pencil (in the margin) etching 33cm x 44cm, unframed. £50-100 (plus 27% BP* ARR*)

467

468

469. Dolf Rieser (1898-1983) Conversation signed and numbered in pencil (in the margin) etching 33cm x 44cm, unframed. £50-100 (plus 27% BP* ARR*) 470. Eric Gill (1882-1940) Two pairs of female nudes from Eric Gill, Twenty-Five Nudes, London: J. M. Dent & Sons, for Hague & Gill, 1938, first edition wood engravings each sheet 22.3cm x 13.8cm, unframed (4). £50-100 (plus 27% BP* ARR*)

469

470

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471. Norman Ackroyd (b.1938) ‘Cowdray Park’ 36/40, signed, titled and numbered in pencil (in the margin) etching 26cm x 30cm, unframed. £150-250 (plus 27% BP* ARR*) 471

472. Prunella Clough (1919-1999) Urban landscape, 1954 artist’s proof, signed in pencil (in the margin) etching 12cm x 9cm. £100-200 (plus 27% BP* ARR*) 473. Pablo Picasso (1881-1973) ‘L’abreuvoir’, 1906 from La Suite des Saltimbanques etching 15cm x 21cm. Provenance: Brook Street Gallery, London. £800-1200 (plus 27% BP* ARR*)

472

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474. David Hockney (b.1937) ‘Hockney’s Progress’, depicting Hockney’s mother, 1980 signed in pencil (lower right) lithograph poster 79cm x 56cm. £300-500 (plus 27% BP* ARR*) 475. David Hockney (b.1937) ‘Red flowers and blue spots’, 1991 for Art for Equality at the ICA, London signed in pen (upper right) lithograph poster 66cm x 50cm. £300-500 (plus 27% BP* ARR*)

474

475

476

477

476. David Hockney (b.1937) ‘Hockney on Photography, Conversation with Paul Joyce’, 1988 published by Jonathan Cape signed in pen (lower right) lithograph poster 58cm x 40cm. Provenance: Christies London, Hockney Posters, 25th March 1999, lot 37. £300-500 (plus 27% BP* ARR*) 477. After David Hockney (b.1937) ‘The Fish and Bread’, 1995 for Museum Baymans, Van Breuningen Rotterdam lithograph poster 97cm x 73cm. £150-250 (plus 27% BP* ARR*) 478. David Hockney (b.1937) ‘The Blue Guitar, Etchings by David Hockney’, 1983 for British Council Touring Exhibition signed in pencil (lower right) lithograph poster 58cm x 41cm. Provenance: Christies London, Hockney Posters, 25th March 1999, lot 128. £300-500 (plus 27% BP* ARR*)

478

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479. Stanley William Hayter (1901-1988) ‘Hex’, 1981 32/50, signed, titled, numbered and dated in pencil (in the margin) etching 79cm x 57cm, unframed. £200-300 (plus 27% BP* ARR*) 480. Stanley William Hayter (1901-1988) ‘La Noyee’, 1955 133/175, signed, titled, dated and numbered in pencil (in the margin) blindstamp of the publisher, L’Oeuvre Gravée etching and aquatint 50cm x 66cm, unframed. £200-300 (plus 27% BP* ARR*)

479

480

481

482

481. Stanley William Hayter (1901-1988) Araignée, 1967 signed in pencil (in the margin) etching 44cm x 28cm. £150-250 (plus 27% BP* ARR*) 482. Harold Cohen (1928-2016) ‘Close-up V’, 1967 62/75, signed, dated, titled and numbered (lower) lithograph 59cm x 56cm. £200-300 (plus 27% BP* ARR*) 483. Ivon Hitchens (1893-1979) ‘Flower Painting 1931’ no.289 of 500 (stamped under mount) lithograph published by Adam Collection with Fine Art Trade Guild blind stamp 49.5cm x 57.2cm. £100-200 (plus 27% BP* ARR*)

483

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484. John Hitchens (b.1940) ‘June Flowers’, 1978 73/500, signed and numbered in pencil lithograph, published by the Adam Collection 66cm x 47cm. £100-150 (plus 27% BP* ARR*) 485. John Hitchens (b.1940) ‘Summer Flowers and Shade’, 1977 83/485, signed and numbered in pencil lithograph, published by the Adam Collection 61cm x 40cm. £100-150 (plus 27% BP* ARR*) 486. Jacob Bornfriend (1904-1976) Still life signed and inscribed in pencil ‘For Pam Xmas 1971’ hand-coloured lithograph 33cm x 52cm. £100-200 (plus 27% BP* ARR*)

484

485

486

487

488

489

487. Sakti Burman (b.1935) ‘Femme et Oiseau’ signed and titled in pencil (in the margin) lithograph 48cm x 63.5cm. £100-150 (plus 27% BP* ARR*) 488. Donald Hamilton Fraser (1929-2009) ‘Dancer - Reflected Light’ 150/200, signed and numbered in pencil (in the margin) screenprint 74cm x 54cm. Provenance: Chiristie’s Contemporary Art. £100-200 (plus 27% BP* ARR*) 489. Donald Hamilton Fraser (1929-2009) ‘Dancer’ 150/200, signed and numbered in pencil (in the margin) screenprint 67cm x 54cm. Provenance: Chiristie’s Contemporary Art. £100-200 (plus 27% BP* ARR*)

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490. Michael Rothenstein (1908-1993) Birds and Branches artist’s proof, 15/15, signed and numbered in pencil (in the margin) lithograph 44cm x 54cm. £100-200 (plus 27% BP* ARR*) 491. H. Moore (20th Century) ‘Said Rabbi Jeremiah Ben Elazer’, 1947 9/30, signed, dated and inscribed in pencil ‘Private Commission, 6 Studies’ etching and aquatint 38cm x 41cm. £40-80 (plus 27% BP* ARR*)

490

491

492

493

494

494A

492. Erté (1892-1990) ‘L’Orientale’, 1983 144/300, signed and numbered in pencil (in the margin) screenprint 52cm x 40cm. Provenance: Christie’s Contemporary Art. £100-200 (plus 27% BP* ARR*) 493. John Tunnard (1900-1971) Holiday lithograph from School Prints by Baynard Press, London 43cm x 70cm. £150-200 (plus 27% BP* ARR*) 494. Edwin La Dell (1914-1970) ‘Mason’s Farm’ signed and titled in pencil (in the margin) lithograph 40cm x 72cm. £50-100 (plus 27% BP* ARR*) 494A. Laurence Stephen Lowry (18871976) ‘The Fever Van’ signed in ink (in the margin) Fine Arts Guild blindstamp lithograph 45cm x 53cm. £1500-2500 (plus 27% BP* ARR*)

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495. Roger Hilton (1911-1975) ‘Roger Hilton, Paintings and Drawings 1931-1973’, 1974 for the Arts Council of Great Britain lithograph poster 77cm x 51cm. £50-100 (plus 27% BP* ARR*)

496. Joan Miro (1893-1983) ‘Miro, L’oeuvre Graphique’, 1974 for the Paris Museum of Modern Art lithograph poster 73cm x 55cm. £50-100 (plus 27% BP* ARR*)

497. Eduardo Paolozzi (1924-2005) ‘The Tate Gallery, Eduardo Paolozzi’, 1971 for the Tate Gallery lithograph poster 75cm x 50cm. £50-100 (plus 27% BP* ARR*)

498. After Edvard Munch (1863-1944) Two exhibition posters; ‘Edvard Munch, Zeichnungen und Druckgraphik’, 1978, 85cm x 53cm ‘Edvard Munch, Louisiana’ , 1975, 82cm x 61cm (2). £80-120 (plus 27% BP* ARR*)

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499. Henry Moore (1898-1986) Four exhibition posters; ‘Drawings of Henry Moore’, Tate Gallery, 1978, 76cm x 51cm ‘Graphics in the making;’, Tate Gallery, 1975, 76cm x 51cm ‘Henry Moore’, Henie-Onstad, 1975, 64cm x 46cm ‘Auden/Moore Lithographs’, British Museum, 1974, 73cm x 48cm (3). £100-200 (plus 27% BP* ARR*) 500. After Wassily Kandinsky (1866-1944) Galerie Maeght Periode Parisienne Kandinsky published by Maeght Arte, Paris lithograph poster 72cm x 45cm, unframed. £50-100 (plus 27% BP* ARR*)

499

499

500

501

502

503

501. Bauhaus ‘Experiment’, 1989 designed by Nicolaus Ott (b.1947) and Bernard Stein (b.1949) lithograph poster 83cm x 58cm. £40-60 (plus 27% BP* ARR*) 502. Ernest Tino Trova (1927-2009) ‘Save Our Planet, Save Our People’, 1971 signed (lower right) screenprint 85cm x 85cm. £50-100 (plus 27% BP* ARR*) 503. Rodney Joseph Burn (1899-1984) ‘Bembridge Harbour (Isle of Wight)’, 1978 109/475, signed and numbered in pencil (in the margin) lithograph, published by the Cavendish Collection 45cm x 55cm. £50-100 (plus 27% BP* ARR*)

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504. After Pablo Piccaso (1881-1973) The Jester signed in the plate lithograph 55cm x 43cm. £100-200 (plus 27% BP* ARR*) 505. Josef Herman (1911-2000) ‘The First Star’, 1975 84/100, signed and numbered in pencil (in the margin) lithograph 50cm x 62cm.

504

Provenance: Bohun Gallery, Henley-on-Thames. £200-400 (plus 27% BP* ARR*) 506. André Bicât (1909-1996) ‘Flight over Blue’ artist’s proof, signed and titled in pencil (in the margin) etching and aquatint 28cm x 33cm. £100-200 (plus 27% BP* ARR*)

505

507. Victor Pasmore (1908-1998) Untitled, 1991 28/30, signed, dated and numbered in pencil (in the margin) etching and aquatint 37cm x 46cm. £200-400 (plus 27% BP* ARR*) 508. Wendy Pasmore (1915-2015) Untitled 10/25, signed and numbered in pencil (in the margin) lithograph 21cm x 32cm. £50-100 (plus 27% BP* ARR*)

506

507

508

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509. Valerie Thornton (1931-1991) ‘The Guildhall, Lavenham’, 1977 83/150, signed, numbered, titled and dated in pencil (in the margin) etching and aquatint 40cm x 53cm, unframed. £80-120 (plus 27% BP* ARR*)

510. Elizabeth Blackadder (b.1931) Cat in a basket 62/70, signed and numbered in pencil (in the margin) etching and aquatint 27cm x 29cm. £300-500 (plus 27% BP* ARR*)

511. Valerie Thornton (1931-1991) ‘Etruscan Reunion’, 1988 signed, dated and titled in pencil (in the margin) etching and aquatint 29cm x 44cm. £80-120 (plus 27% BP* ARR*)

512. Elizabeth Blackadder (b.1931) Irises 5/50, signed and numbered in pencil (in the margin) etching and aquatint 25cm x 18.4cm. £200-300 (plus 27% BP* ARR*)

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513. John Piper (1903-1992) ‘Radcliffe Camera’ (Levinson 326), 1981 111/150, signed and numbered in pencil (in the margin) lithograph 57cm x 39cm. £700-1000 (plus 27% BP* ARR*)

514. John Piper (1903-1992) ‘Parthenay’ (Levinson 109), 1958 artist’s proof, signed and inscribed in pencil (in the margin) lithograph 48cm x 59cm. £400-600 (plus 27% BP* ARR*)

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515

516

516 515. Ann Sutton (b.1935) ‘Stockings’; ‘Folded Stocking’; ‘Trio Knit Tubes’; ‘Glistening Knit Tubes’, 1969 each signed, numbered, dated and titled in pencil (in the margin) lithographs each 58cm x 45cm, unframed (4). £100-200 (plus 27% BP* ARR*) 516. Ann Sutton (b.1935) ‘Tall man meets thin lady’; ‘Knitted wall flower’, 1970 each signed, numbered, dated and titled in pencil (in the margin) lithographs 58cm x 45cm, unframed (2). £50-100 (plus 27% BP* ARR*) 517. Elisabeth Frink (1930-1993) Spinning Man V (Wiseman no.6) 55/65, signed, dated and numbered in pencil lithograph 80.5cm x 57.5cm. £300-500 (plus 27% BP* ARR*)

517

518

518. Aubrey Beardsley (1872-1898) Garcons de Cafe, 1894 lithograph 16cm x 16cm. £100-150 (plus 27% BP* ARR*) 519. Chloe Cheese (b.1952) ‘Hat’ 160/200, signed, numbered and titled in pencil (in the margin) lithograph 61cm x 56cm. £80-120 (plus 27% BP* ARR*)

519

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520. Chris Orr (b.1943) Vexatious causes of displeasure, 1980 31/40, signed, numbered and dated in pencil (in the margin) etching and aquatint 42cm x 38cm. £50-100 (plus 27% BP* ARR*) 521. Derrick Greaves (1927-2002) Falling vase, 1978 42/150, signed, numbered and dated in pencil (in the margin) etching and aquatint 56cm x 77cm. £80-120 (plus 27% BP* ARR*)

521

520

522

522. Antony Gormley (b.1950) ‘Baltic’, 2003 signed in pen (lower right) lithograph poster 42cm x 59cm. £80-120 (plus 27% BP* ARR*) 523. Frances Richards (1903-1985) Blonde-haired girl monogrammed in ink (lower left) lithograph 28cm x 10cm, together with a signed and numbered lithograph by Frances Richards (2). £80-120 (plus 27% BP* ARR*) 524. Mary Fedden (1915-2012) Still life of poppies and jug, with landscape in the background 37/95, signed and numbered in pencil (in the margin) lithograph 55cm x 62cm. £200-300 (plus 27% BP* ARR*)

523

523

524

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525. Valerie Thornton (1931-1991) ‘St. Hilda’s College, Old Hall’ 74/75, signed, titled and numbered in pencil (in the margin) etching and aquatint 55cm x 70cm. £150-200 (plus 27% BP* ARR*) 526. Robert Tavener (1920-2004) ‘Canterbury Cathedral from Green Court’ 32/75, signed, titled and numbered in pencil (in the margin) linocut 60cm x 83cm, unframed. £80-120 (plus 27% BP* ARR*)

525

526

527

528

527. Richard Beer (1928-2017) ‘Radcliffe’ 24/100, signed, titled and numbered in pencil (in the margin) etching and aquatint 61cm x 45cm. £80-120 (plus 27% BP* ARR*) 528. Richard Beer (1928-2017) ‘Christchurch’ 21/100, signed, titled and numbered in pencil (in the margin) etching and aquatint 61cm x 44cm. £80-120 (plus 27% BP* ARR*) 529. Michael Rothenstein (1908-1993) Red Jazz, 1962 22/50, signed and numbered in pencil (in the margin) woodcut 58cm x 81cm. £300-500 (plus 27% BP* ARR*) 530. Sidney Nolan (1917-1992) Five figures 59/70, signed and numbered in pencil (in the margin) lithograph 58cm x 48cm. Provenance: The Compass Gallery, Glasgow. £200-300 (plus 27% BP* ARR*)

529

530

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531. Bill Jacklin (b.1943) ‘Rocking My Blues Away’, ’Rocking over Rubbing’; ‘Rocking along the Line’ and ‘Moody Rocker’ each signed, numbered, and titled in pencil (in the margin) etchings 28cm x 24cm (3). £500-800 (plus 27% BP* ARR*) 532. Julio González (1876-1942) Personnage collotype, printed by the Ganymed Press 40cm x 31cm, unframed. £50-100 (plus 27% BP* ARR*) 533. After David Hockney (b.1937) ‘Nichol’s Canyon’, 1988 for David Hockney: A Retrospective at the Metropolitan Museum of Los Angeles lithograph poster 98cm x 60cm. £150-250 (plus 27% BP* ARR*) 534. After David Hockney (b.1937) ‘David Hockney, Travels with Pen, Pencil and Ink’, 1980 for Tate Gallery London lithograph poster 74cm x 50cm.

532

533

534

534A

Provenance: Christies London, Hockney Posters, 25th March 1999, lot 125. £150-250 (plus 27% BP* ARR*) 534A. John Hall Thorpe (1874-1947) Primulas in a blue vase signed in pencil (in the margin) woodcut 18cm x 17cm. £80-120 (plus 27% BP* ARR*)

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535. Robert Tavener (1920-2004) ‘The Sheldonian (Oxford Series)’, 1962 artist’s proof 18/20, signed, dated, titled and numbered in pencil (in the margin) lithograph 41cm x 50cm. £100-200 (plus 27% BP* ARR*) 536. Frances Hodgkins (1869-1947) ‘Pumkins’, 1952 collotype print, printed by Ganymed Press 51cm x 72cm. £50-100 (plus 27% BP* ARR*)

535

536

537. Damien Hirst (b.1965) ‘Beautiful inside my head forever’ signed in pen lithograph poster 84cm x 60cm, unframed. £80-120 (plus 27% BP* ARR*) 538. Gilbert and George (Contemporary) ‘Scapegoating’ signed in pen by the artists (lower right) lithograph poster 90cm x 59cm, unframed. £50-100 (plus 27% BP* ARR*) 539. Antony Gormley (b.1950) Domain Field signed in pen (lower middle) lithograph poster 35cm x 59cm, unframed. £100-200 (plus 27% BP* ARR*)

537

538

540. Graham Sutherland (1903-1980) ‘Gateway with Setting Sun’, 1981 18/75, numbered in pencil published by Siro Teodorani Editore lithograph 36cm x 27cm, unframed. £50-100 (plus 27% BP* ARR*) 539

540

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Betty and Ronald Pennell Tutored by John Nash and Edward Bawden at the Royal College of Art in the 1950s, Betty Pennell is a wood engraver of particular and considerable talent. Her imagery draws on the yew trees and hedging that delineate the formal gardens along the borders of Wales and England. Ronald Pennell engraves freely

on hand-blown glass vessel forms, his narratives becoming an ever-changing grande chasse through imaginary tales of fantastical feats. He is one of Britain’s most celebrated glass artists and is represented in public and private collections worldwide.

541. Betty Pennell (b.1930) ‘Shelter’ 12/50, signed, numbered and titled in pencil (in the margin) wood engraving 17cm x 22cm. £80-120 (plus 27% BP* ARR*) 542. Betty Pennell (b.1930) ‘Hidden Door’ 3/50, signed, numbered and titled in pencil (in the margin) wood engraving 18cm x 25.5cm. £80-120 (plus 27% BP* ARR*)

541

542

543

544

545

546

543. Betty Pennell (b.1930) ‘High Hedges’, 1982 13/50, signed, dated, numbered and titled in pencil (in the margin) wood engraving 30cm x 23cm. £80-120 (plus 27% BP* ARR*) 544. Betty Pennell (b.1930) ‘Plant Hunter, Hilcote’ 18/50, signed, numbered and titled in pencil (in the margin) wood engraving 18cm x 22cm. £80-120 (plus 27% BP* ARR*) 545. Ronald Pennell (b.1935) ‘Big Fish Eat Little Fish’, 1992 wheel engraved lime green glass signed and titled 16cm high, 20cm across. £1000-1500 (plus 27% BP* ARR*) 546. Ronald Pennell (b.1935) ‘The Last Queen’, 1992 wheel engraved red and black glass signed and titled 16cm high, 20cm across. £1000-1500 (plus 27% BP* ARR*)

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547. After Andy Warhol (1928-1987) ‘Scotch Broth’ and ‘Cheese Soup’ stamped ‘Fill in your own signature’ and ‘Sunday B Morning’ published by Sunday B Morning screenprints 90cm x 59cm, unframed (2). £100-200 (plus 27% BP* ARR*) 548. Salvador Dali (1904-1989) Papillon de l’anti-matière (Série du Cosmos), 1974 signed and inscribed ‘E.A’ in pencil (in the margin) etching and aquatint 99cm x 69cm, unframed. £100-200 (plus 27% BP* ARR*)

547

549. Bernard Cheese (1925-2013) ‘Wheatfield’ 47/60, signed, titled and numbered in pencil (in the margin) lithograph 57cm x 76cm. £200-300 (plus 27% BP* ARR*) 550. Edward Wolfe (1897-1982) ‘Song of Songs’, 1980 eight of the set of twelve by Adrian Lack at the Senico Press, Charlbury 127/250, each signed and numbered in pencil lithographs on aluminium lined paper 36cm x 28cm, two framed, the unframed in green folio (8). £300-500 (plus 27% BP* ARR*)

548

549

550

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551. Brendan Neiland (b.1941) Reflections off a car bonnet, 1972 15/60, signed, numbered and dated in pencil (lower left) screenprint 67cm x 93cm. £150-250 (plus 27% BP* ARR*) 552. Folio of 20th Century prints To include work by Ronald King, Brian Busselle, after Elisabeth Frink, after Ken Howard, Russian posters etc. £40-80 (plus 27% BP* ARR*)

551

552

553

554

553. Nigel Lambourne (1919-1988) Lady kneeling, 1954 signed and dated in pencil (lower right) lithograph 43cm x 70cm. £150-250 (plus 27% BP* ARR*) 554. Raoul Dufy (1877-1953) Petite baigneuse aux papillons, circa 1930 signed (in the plate) etching and aquatint 33cm x 50cm, unframed. £100-200 (plus 27% BP* ARR*) 555. Andre Gisson (1928-2003) Sunshine and Flowers, 1990 36/50, signed and numbered in pencil (in the margin) lithograph, published by Venture Prints Studios 36cm x 46cm. £50-100 (plus 27% BP* ARR*)

555

556. Paul Vaughan (20th Century) ‘Free Semantic No.2’, poem by Asa Benveniste (1925-1990), 1968 signed by artist and poet, dated lithograph 50cm x 38cm. £50-100 (plus 27% BP* ARR*) 557. Shepard Fairey (b.1970) ‘Visual Pollution’, 2001 166/200, signed, dated and numbered in pencil (in the margin) screenprint 60cm x 45cm. £100-200 (plus 27% BP* ARR*)

556

557

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558. John Piper (1903-1992) for David Whitehead ‘Cotswold’, 1959 screen printed cotton textile 36cm x 47cm. £200-300 (plus 27% BP* ARR*) 559. John Piper (1903-1992) for David Whitehead ‘Figures from a Cretan Seal’, 1957 screen printed cotton textile 30cm x 40cm. £100-200 (plus 27% BP* ARR*)

558

559

560

560

561

562

560. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘The Stones of Bath’, blue colourway, 1959 screen-printed ‘Sanderlin’ textile 54cm x 54cm, and a fragment of ‘Glyders’ fabric by John Piper, 24cm x 30cm, unframed (2). £100-200 (plus 27% BP* ARR*) 561. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘The Stones of Bath’, green colourway, 1959 screen printed ‘Sanderlin’ textile 56cm x 60cm, unframed. £40-80 (plus 27% BP* ARR*) 562. John Piper (1903-1992) for A. Sanderson & Sons Ltd. ‘Northern Cathedral’, designed 1959 screen printed Sanderlin textile 45cm x 66cm. £100-200 (plus 27% BP* ARR*)

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563. Pablo Picasso (1881-1973) for Bloomcraft ‘Musical Fawn’, 1963 screen printed cotton textile 52cm x 47cm. £200-300 (plus 27% BP* ARR*)

564. Pablo Picasso (1881-1973) for Desso ‘Portrait de Femme au Chapeau à Pompons et au Corsage Imprimé’ 31/500, wool pile carpet 90cm x 120cm. £800-1200 (plus 27% BP* ARR*)

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565. Raymond Charles for Edinburgh Weavers ‘Rustica’, 1962 screen printed cotton textile 25cm x 30cm, unframed. £40-80 (plus 27% BP* ARR*) 566. John Wright for Edinburgh Weavers ‘Kabadi’, 1968 jacquard weave, rayon and cotton textile 120cm x 101cm, unframed. £50-100 (plus 27% BP* ARR*)

565

566

567

568

569

570

567. Humphrey Spender (1910-2005) for Edinburgh Weavers ‘Inglewood’, 1958 screen-printed cotton weave textile 84cm x 88cm, unframed. £40-80 (plus 27% BP* ARR*) 568. Alastair Morton (1910-1963) for Edinburgh Weavers ‘Enid’, 1954 screen printed cotton textile 53cm x 62cm. £50-100 (plus 27% BP* ARR*) 569. Alan Reynolds (1926-2014) for Edinburgh Weavers ‘Weald’, 1959 screen printed cotton weave textile 36cm x 47cm. £200-300 (plus 27% BP* ARR*) 570. Kenneth Rowntree (1915-1997) for Edinburgh Weavers ‘Full Measure’, 1957 screen printed cotton textile 52cm x 34cm. £200-300 (plus 27% BP* ARR*)

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571. Tibor Reich (1916-1996) for Tibor Ltd. ‘The Garrick Jubilee’, pair of curtains design no.352 screen printed cotton textile each curtain 204cm x 105cm (2). £100-200 (plus 27% BP* ARR*) 572. Tibor Reich (1916-1996) for Tibor Ltd. ‘Age of Kings’, 1964 screen printed cotton textile inscribed to selvedge 62cm x 125cm, unframed. £80-120 (plus 27% BP* ARR*) 573. Manner of Edinburgh Weavers Two fabric sections depicting figures in yellow and brown wool jacquard weave textile 76cm x 174cm (2). £80-120 (plus 27% BP* ARR*)

571

572

573

573

575

576

574. Tibor Reich (1916-1996) for Tibor Ltd. ‘Tournament’ two sections of screen printed textile 57cm x 60cm and 50cm x 53cm, together with two sections of Edinburgh Weavers style fabric (2). £50-80 (plus 27% BP* ARR*) 575. Donald Hamilton Fraser (19292009) for David Whitehead Ltd. ‘Cyclades’, circa 1960 screen printed cotton textile printed ‘Designed for David Whitehead by Donald HamiltonFraser’ to selvedge 57cm x 58cm, unframed. £50-100 (plus 27% BP* ARR*) 576. Mary Warren for Heals ‘Nautilus’, in blue colourway, 1956 screen printed cotton textile 63cm x 55cm, together with Paule Vezelay (1893-1984) ‘Pennons’, 1958, textile, 49cm x 56cm, unframed (2). £100-200 (plus 27% BP* ARR*)

576

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577. Tibor Reich (1916-1996) for Tibor Ltd. ‘Age of Kings’, 1964 screen printed cotton textile inscribed to selvedge 62cm x 120cm, unframed. £40-80 (plus 27% BP* ARR*) 578. Joan Miro (1893-1983) for Fuller Fabrics ‘Women & Birds’, 1955 screen printed cotton 31cm x 41cm. £100-200 (plus 27% BP* ARR*)

577

578

579. Fernand Leger (1881-1955) for Fuller Fabrics ‘Parade Sauvage’, 1955 screen printed cotton textile 35cm x 45cm. £200-300 (plus 27% BP* ARR*) 580. Joan Miro (1893-1983) for Fuller Fabrics ‘Femme Ecoutant’, 1955 screen printed cotton textile 24cm x 24cm. £100-200 (plus 27% BP* ARR*)

579

580

581. Robert Stewart (1924-1995) for Liberty & Co. ‘Machrihanish’, 1954 screen printed cotton textile 37cm x 31cm. £100-200 (plus 27% BP* ARR*) 582. Bernard Buffet (1928-1999) Cockerel, 1959 screen print on fabric 68cm x 64cm. £200-300 (plus 27% BP* ARR*) 581

582

583. (Book) Gaetano Pesce Le Temps Des Questions published by Centre Georges Pompidou 33cm x 21cm. £60-100 (plus 27% BP* ARR*) 584. (Book) Richard Ingrams & John Piper Piper’s Places signed by Ingrams and Piper 29cm x 24cm. £80-120 (plus 27% BP* ARR*)

583

584

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585. (Book) Ralph Steadman The Grapes of Ralph, Wine According to Ralph Steadman signed and with wine glass illustration in pen by the author published by Ebury Press, London 30cm x 23cm. £100-150 (plus 27% BP* ARR*) 586. (Book) Ralph Steadman Sigmund Freud and little.com both signed by the author published by Paddington Press and Andersen Press (2). £50-100 (plus 27% BP* ARR*)

585

585

586

587

588

589

587. (Book) Ralph Steadman The Big I Am signed by the author published by Jonathan Cape Ltd. £40-80 (plus 27% BP* ARR*) 588. (Book) Bernard Stone, with Illustrations by Ralph Steadman two copies of Emergency Mouse both signed by the author together with Quassimodo Mouse, No Room to Swing a Cat, Inspector Mouse and Emergency Mouse (6). £80-120 (plus 27% BP* ARR*) 589. (Book) A quantity of books relating to Ralph Steadman (10). £50-100 (plus 27% BP* ARR*)

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590. (Book) Blake Morrison and Paula Rego Pendle Witches, 1994 signed by the authors, number 164 published by Enitharmon Press together with Nursery Rhymes, by Paula Rego (2). £40-80 (plus 27% BP* ARR*)

591. (Book) Minotaure. Revue Artistique et Litteraire Two issues, 1934 and 1935 colour and black and white illustrations from the Surrealists 33cm x 25cm (2). £80-120 (plus 27% BP* ARR*)

592. (Book) Christopher Dresser (1834-1904) Studies in Design, 1874-1876 containing sixty lithograph plates published by Cassell, Petter & Galpin, London 45cm x 31cm. £100-200 (plus 27% BP* ARR*)

593. (Book) Edward Gordon Craig (1872-1966) A Production, 1926 containing thirty-two collotype plates. £40-80 (plus 27% BP* ARR*)

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594. (Book) Anthony Gross (1905-1984) The Very Rich Hours of Le Boulve, 1980 containing twenty-six etchings and engravings, bound in leather and with slipcase signed by the artist, edition of 150 published by Rampant Lion Press 35cm x 27cm. £400-600 (plus 27% BP* ARR*) 595. Ken Howard (b.1932) ‘San Giovanni e Paolo, Venice’, 2008 signed (lower right), inscribed (to reverse) oil on board 28cm x 23cm. £300-500 (plus 27% BP* ARR*) 594 596. Charles Robert Doyly-John (1906-1993) ‘Sunset, St.Tropez Harbour’ signed (lower right), titled (to reverse) oil on canvas 43cm x 59cm, unframed. £400-600 (plus 27% BP* ARR*) 597. Francis Kelly (1927-2012) Ponte Vecchio signed (lower right) oil on canvas 50cm x 75cm. £200-300 (plus 27% BP* ARR*) 598. MIchael Quirke (b.1946) ‘St. Ives Bay’, 1999 initialled (lower right), signed and dated (to reverse) oil on canvas 50cm x 60cm. £150-250 (plus 27% BP* ARR*)

596 595

597

598

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599. Simeon Stafford (b.1956) Beach at St. Ives signed (lower right) oil on canvas 90cm x 90cm, unframed. £600-900 (plus 27% BP* ARR*) 600. Gwynne Robins (Contemporary) The Mini Factory, Cowley signed (lower right) oil on canvas 80cm x 101cm. £100-200 (plus 27% BP* ARR*)

600

599

601. Gwynne Robins (Contemporary) Night Porters at Christchurch signed (lower right) oil on canvas 41cm x 30cm. £50-100 (plus 27% BP* ARR*) 602. Ernest Zobole (1927-1999) ‘Rhondda at Night I’ watercolour 30cm x 40cm.

602

Provenance: The Piccadilly Gallery, London, 1964. £100-200 (plus 27% BP* ARR*) 603. Ernest Zobole (1927-1999) ‘Rhondda at Night III’ watercolour 43cm x 34cm. 601

604

603

605

Provenance: The Piccadilly Gallery, London, 1964. £100-200 (plus 27% BP* ARR*) 604. William Gear (1915-1997) Untitled, 1959 signed and dated (lower right) mixed media 34cm x 50cm. £300-500 (plus 27% BP* ARR*) 605. William Gear (1915-1997) Untitled, vertical stripes on purple, 1967 signed and dated (lower right) mixed media 57cm x 38cm. £300-500 (plus 27% BP* ARR*)

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606. Anthony Benjamin (1931-2002) Composition, 1960 signed and dated (to reverse) oil on canvas 76cm x 102cm. £600-1000 (plus 27% BP* ARR*)

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607. Bernard Dunstan (1920-2017) Nude by the bed initialled (lower left) pastel 24cm x 24cm. £300-500 (plus 27% BP* ARR*) 608. John Stanton Ward (1917-2007) Le Clos, early morning oil on board 25.5cm x 30.5cm, unframed. Provenance: J S Maas & Co Ltd., London. £200-400 (plus 27% BP* ARR*) 609. John Stanton Ward (1917-2007) Piazza della Rotunda, Rome, 1971 signed and dated (lower right) watercolour 31cm x 47cm.

607

608

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612

Exhibited: J S Maas & Co Ltd. Exhibition of drawings and watercolours by John Ward, London, 1973, no.6. Provenance: J S Maas & Co Ltd., London. £200-400 (plus 27% BP* ARR*) 610. Alan Furneaux (b.1953) ‘Newlyn Nocturnal’ signed (lower right), titled (to reverse) oil on canvas 101cm x 101cm, unframed. £300-500 (plus 27% BP* ARR*) 611. Zdzislaw Ruszkowski (1907-1991) Pansies signed (lower right) oil on canvas 29.5cm x 41cm, unframed. Provenance: Roland, Browse & Delbanco, London, 1953. £100-200 (plus 27% BP* ARR*) 612. Frederick Donald Blake (1908-1997) Townscape signed in pen (lower right) watercolour and ink 34cm x 47cm. £80-120 (plus 27% BP* ARR*)

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154


613. Ethel Gabain (1883-1950) ‘Lassitude’ signed (lower right), titled (to reverse) oil on canvas 48cm x 59cm. Information: The Sitter, Carmen Watson, sat for Gabain in over sixty paintings. Ethel Gabain gave a gushing interview to the Sunday Express in the same year: ‘A Botticelli Smile - Carmen Watson, blonde, petite artist’s model, is the most sought-after girl in London. She has been working 12 hours a day for six years, and is now booked up for three months. “Long hair, punctuality, and an ‘indefinable something’ are my greatest assets,” she said ... “Artists tell me I am the Botticelli type. They say there is something about my smile they can’t quite capture. So they go on trying ... Even Mr Gerald Kelly, who usually paints only his wife, did a portrait of me”’. £4000-6000 (plus 27% BP* ARR*)

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614. Rose Hilton (1931-2019) ‘Cornish Lass’ signed (upper left), titled (to reverse) oil on canvas 30cm x 25cm. £250-350 (plus 27% BP* ARR*) 615. Rose Hilton (1931-2019) Doves inscribed ‘a little birthday card with many best wishes, from Rosemary & Roger’ oil on board 14cm x 30cm. £200-300 (plus 27% BP* ARR*) 616. Teddy Millington-Drake (1932-1994) ‘Meeting’; ‘Number One’, 1965 signed and dated (lower right) mixed media 46xm x 31.5cm (2).

614

Provenance: On loan at the British Embassy, Paris, 1965-1968. £300-500 (plus 27% BP* ARR*) 617. Dennis Hawkins (1925-2001) ‘In the South’, 1963 signed, dated and titled mixed media 79cm x 58cm. £100-200 (plus 27% BP* ARR*)

616

615

616

617

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618. Robin Raybould (20th Century) ‘Sunset over a Misty Sea’, 1981 inscribed (to reverse) oil on canvas 91cm x 75cm. £200-400 (plus 27% BP* ARR*) 619. Robin Raybould (20th Century) ‘Sunset’, 1980 inscribed (to reverse) oil on canvas 90cm x 75cm. £200-400 (plus 27% BP* ARR*) 618

619

620. William Gear (1915-1997) Untitled, black and yellow on light green, 1983 signed and dated (lower right) mixed media 38cm x 51cm. £300-500 (plus 27% BP* ARR*) 621. William Gear (1915-1997) Untitled, July 1982 signed and dated (lower right) mixed media 55cm x 36cm. £300-500 (plus 27% BP* ARR*) 622. Padraig MacMiadhachain (1929-2017) ‘Aauin Sun Image’, 1965 inscribed and dated (to reverse) oil on canvas 70cm x 70cm.

620

621

Provenance: With signed photograph from the artist, relating to the work. £600-800 (plus 27% BP* ARR*)

622

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Lot 623-629 Paintings from the Estate of Fyffe Christie

623. Fyffe Christie (1918-1979) Two figures and flowers, 1974 signed and dated (lower left) oil on board 121cm x 80cm. £300-500 (plus 27% BP* ARR*)

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624. Fyffe Christie (1918-1979) Reclining nude, May 1978 signed and dated (lower left) oil on board 50cm x 60cm. £200-400 (plus 27% BP* ARR*)

Many observers would maintain that Christie’s culminating achievement is to be found in the series of paintings based on the theme of figures in a landscape which especially absorbed him in his later years. These figures often display a gravity and rootedness in nature. (Robert Radford)

625. Fyffe Christie (1918-1979) Cyclamen and apples, 1978 oil on board 74cm x 50cm. £100-200 (plus 27% BP* ARR*)

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626. Fyffe Christie (1918-1979) Figures reflected in mirror, 1973 signed and dated (lower right) oil on board 101cm x 75cm. £300-500 (plus 27% BP* ARR*) 627. Fyffe Christie (1918-1979) Quarry and Buildings, Kent, 1974 signed and dated (lower right) oil on board 49cm x 75cm. £100-200 (plus 27% BP* ARR*)

626

628

628. Fyffe Christie (1918-1979) Figure and drape in a landscape, 1978 signed and dated (lower right) oil on board 121cm x 60cm. £300-500 (plus 27% BP* ARR*) 629. Fyffe Christie (1918-1979) Thames Reach, 1967 signed and dated (lower left) watercolour 38cm x 51cm. £100-200 (plus 27% BP* ARR*)

627

629

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630. Allan Walton (1892-1948) ‘Through the Window’ signed (lower right and to reverse), titled (on the stretcher) oil on canvas 55cm x 50cm. £200-400 (plus 27% BP* ARR*) 631. George Weissbort (1928-2013) Still life, roses in a blue and white jug, 1963 signed and dated (lower right) oil on board 60cm x 40cm. £200-400 (plus 27% BP* ARR*)

630

631

632

632

633

634

632. Ursula Vivian McCannell (1923-2015) ‘Misty landscape’ and ‘Seated figure in a landscape’ both signed oil on board 24cm x 17cm and 14.5cm x 14.5cm (2). Provenance: Ashgate Gallery, Farnham, 1968. £200-300 (plus 27% BP* ARR*) 633. French School Fruit and flowers, circa 1940 indistinctly signed oil on canvas 37cm x 44.5cm. £150-250 (plus 27% BP* ARR*) 634. Jenny Morgan (b.1942) ‘Beached Boats at Aldeburgh, an Easterly Breeze’ signed (lower right), titled (to reverse) oil on canvas 39cm x 48cm. £300-500 (plus 27% BP* ARR*)

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635. Neil Canning (b.1960) Sheep in an open landscape, 1992 signed (lower left), dated (to reverse) mixed media 41cm x 51cm. £150-250 (plus 27% BP* ARR*) 636. Roy Carnon (1911-2012) ‘Cottages, Fulham’ signed (lower left), titled (to reverse) oil on board 32cm x 42cm. £100-200 (plus 27% BP* ARR*)

635

636

637

638

639

640

637. Earl George A Haig (1918-2009) ‘Loch Buie I’ signed (lower right) watercolour 26cm x 36cm. Exhibited: The Scottish Gallery, Edinburgh, Haig 80th Birthday Exhibition, 7-30 September 1988. £200-400 (plus 27% BP* ARR*) 638. Alan Wood (1935-2017) The Drummer signed (to reverse) oil on board 122cm x 112cm. Provenance: Collection of the Leicestershire Education Authority. £200-300 (plus 27% BP* ARR*) 639. John Albert Cooper (1894-1943) Concert, Royal Albert Hall signed (lower right) pastel 27.7cm x 38cm. £100-200 (plus 27% BP* ARR*) 640. Russell Sidney Reeve (1895-1970) Study of cats signed (lower right) watercolour 43cm x 52cm. £50-100 (plus 27% BP* ARR*)

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641. Jonathan Armigel Wade (b.1960) ‘The Magi Searching’ signed (lower right), titled and inscribed ‘1934’ (to reverse) oil on board 25cm x 42cm. £300-500 (plus 27% BP* ARR*) 642. Martin Battersby (1916-1982) Jigsaw acrylic on board 17cm x 18cm.

641

Provenance: The Arthur Jeffress Gallery, London, catalogue no. 50. £200-300 (plus 27% BP* ARR*) 643. Lettice Ramsey (1898-1985) Abstract, circa 1930s fabric collage 40cm x 49cm. Provenance: The artist’s estate. £150-200 (plus 27% BP* ARR*)

642

643

644

645

644. William John Bertram Newcombe (1907-1969) ‘Red and Black’, 1964 signed (lower right), titled and dated (to reverse) oils on canvas 56cm x 74cm. £150-250 (plus 27% BP* ARR*) 645. William John Bertram Newcombe (1907-1969) ‘Off the Morning’, 1964 signed (lower right), titled and dated (to reverse) oils on canvas 56cm x 74cm. £150-250 (plus 27% BP* ARR*) 646. Vittorio Sopracase (1942-2016) Untitled, 2008 signed (lower right) oil on board 24cm x 26cm. £80-120 (plus 27% BP* ARR*) 646

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647. Frederick Edward McWilliam (1909-1992) Vertical legs 3/5, signed and numbered bronze 46cm high. £4000-6000 (plus 27% BP* ARR*)

648. Frederick Edward McWilliam (1909-1992) Study for ‘Girls’ series, 1967 signed and dated (lower right) pen and ink 22.5cm x 28cm. £600-1000 (plus 27% BP* ARR*)

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649. Frederick Edward McWilliam (1909-1992) Girl sitting down, circa 1969 4/5, signed and numbered stamped foundry mark ‘Fiorini, London’ bronze with polished detail 31cm high, 31.3cm across. £6000-10,000 (plus 27% BP* ARR*)

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650. August Von Brandis (1862-1947) Still life of flowers in front of open window showing a green garden signed (lower right) oil on canvas 66cm x 50cm. £100-200 (plus 27% BP* ARR*) 651. Alan Cotton (b.1936) Figures at a market signed (lower left) pastel 21cm x 14cm. £150-250 (plus 27% BP* ARR*) 652. Alan Cotton (b.1936) Venice fish market signed (lower right) pastel 21cm x 14cm. £150-250 (plus 27% BP* ARR*)

650

651

653. Manner of John Anthony Park (1880-1962) Sailing yachts bears monogram (lower left) oil on board 36cm x 49.5cm. £200-400 (plus 27% BP* ARR*) 654. Peter Kelly (b.1931) Venice Back Street (No. 2) signed (lower left) watercolour 41cm x 23cm.

652

653

Provenance: Llewellyn Alexander Ltd., London. £100-200 (plus 27% BP* ARR*) 655. George Weissbort (1928-2013) ‘The Silver Mug’, 1993 signed and dated (lower left) oil on board 37cm x 45cm. Exhibited: Royal Academy Summer Exhibition, 1994. £200-400 (plus 27% BP* ARR*)

654

655

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656. Michael Finn (1921-2002) Pale diagonal, 1980 signed and dated (lower right) mixed media collage 34cm x 43cm. Provenance: Katherine House Gallery, Wiltshire. £200-400 (plus 27% BP* ARR*) 657. Desmond Morris (b.1928) ‘Statue’, 1973 initialled, titled and dated (lower left) ink and watercolour on paper 37cm x 24.5cm.

656

657

Literature: Silvano Levy, Desmond Morris Analytical Catalogue Raisonné 1944-2000, p. 300, cat. no. 1973/25. Provenance: Acquired directly from the artist. £800-1200 (plus 27% BP* ARR*) 658. John Melville (1902-1986) Woman with cherries, 1946 signed and dated (upper left) oil on canvas 68cm x 49.5cm. £600-800 (plus 27% BP* ARR*) 659. John Melville (1902-1986) Figures and boats on a beach signed (lower right) watercolour and gouache 21cm x 30cm. £300-500 (plus 27% BP* ARR*)

658

660. John Melville (1902-1986) Reclining female in yellow dress watercolour and pastel 31cm x 31cm. £300-500 (plus 27% BP* ARR*)

659

660

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661. Robert Medley (1905-1994) Bathers at a pool, 1980 signed and dated (lower right) oil on canvas laid onto board 59cm x 74cm. £800-1200 (plus 27% BP* ARR*) 662. Robert Medley (1905-1994) Study for ‘Arenas carries his Father, Anchises, from the ruins of Troy’, 1991 signed and dated (upper right) watercolour 17.5cm x 13cm. Exhibited: Royal Academy Summer Exhibition, 1991, no.483. £80-120 (plus 27% BP* ARR*)

661

663. Manner of Cecil Beaton (1904-1980) Theatre scene watercolour and ink 46cm x 37cm. £100-200 (plus 27% BP* ARR*) 664. Emile Gaugain (1899-1980) The Horse Tiki, 1961 signed (to reverse) oil on canvas 60cm x 73cm, unframed. Provenance: The Ohana Gallery, London. £100-200 (plus 27% BP* ARR*) 665. Mary Fedden (1915-2012) Fruit and wine, 2003 signed and dated (lower right) watercolour and gouache 15cm x 20.3cm. £1500-2500 (plus 27% BP* ARR*)

662

663

664

665

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666. Bernard Dunstan (1920-2017) ‘Lords’, 1950 initialled and dated (lower left) oil on board 29cm x 24cm. Provenance: Rowland Browse and Delbanco, London. £1500-2500 (plus 27% BP* ARR*)

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667. Bernard Dunstan (1920-2017) ‘Dressing in Sunlight’, 1981 initialled (lower left), titled and dated (to reverse) pastel 24cm x 18cm. Provenance: The Ogle Gallery, Cheltenham. £600-800 (plus 27% BP* ARR*) 668. Bernard Dunstan (1920-2017) ‘The Campo, Siena’, 1972 initialled (lower left) oil on board 27cm x 17cm. Exhibited: Aitken Dott & Son, Edinburgh, English Artist’s Exhibition, 1974, cat no. 67. Provenance: The Ogle Gallery, Cheltenham. £600-800 (plus 27% BP* ARR*)

667

668

669

670

671

672

669. Eric Bruce McKay (1907-1989) ‘Afternoon in Provence’ signed (lower left), titled (to reverse) oil on canvas 60cm x 90cm. £300-400 (plus 27% BP* ARR*) 670. George Callaghan (b.1941) Seaside town signed (lower left) oil on board 24cm x 28.5cm. £500-800 (plus 27% BP* ARR*) 671. Sandy Mcintosh (b.1971) Table with fan signed (lower right) mixed media 20cm x 18.5cm. Provenance: Panter & Hall, London. £200-300 (plus 27% BP* ARR*) 672. Elizabeth Ridgway (b.1964) Woman in the mirror signed (lower right) oil on board 59cm x 45cm. Provenance: John Noott Gallery, Broadway. £300-400 (plus 27% BP* ARR*)

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673. Modernist School Faces carved stone 26.5cm high. £40-80 (plus 27% BP* ARR*) 674. Ivor Abrahams (1935-2015) ‘Floor Piece’, 1987 6/9, signed, dated and numbered green patinated bronze 19cm high, 23cm across. £150-200 (plus 27% BP* ARR*)

673

674

675

677

675. Anthony Robert Klitz (1917-2000) Embankment signed (lower right) oil on canvas 76cm x 38cm. £200-300 (plus 27% BP* ARR*) 676. Anthony Robert Klitz (1917-2000) Wellington Arch signed (lower right) oil on canvas 34cm x 44cm. £200-300 (plus 27% BP* ARR*) 677. John Eaves (b.1929) ‘Grand Canyon Fragment 2’, 1967 signed and dated (lower right) gouache 57cm x 39cm. £100-200 (plus 27% BP* ARR*) 678. Robert Baker (1909-1992) Nude bathers by water gouache and oil on paper 36cm x 47cm, together with two nude studies by the same hand, unframed (3). £100-200 (plus 27% BP* ARR*)

678

676

678

678

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679. Mary Fedden (1915-2012) ‘The Collector, on a Beach in Normandy’, 1997 signed and dated (lower left) oil on board 16.3cm x 46.8cm. £3000-5000 (plus 27% BP* ARR*)

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680. Mary Fedden (1915-2012) ‘Cyprus Nocturn’, circa 1948 artist’s label (to reverse) with Redcliffe Road address oil on board 39cm x 44.5cm. Provenance: Austin Desmond Fine Art, 1987. £2000-4000 (plus 27% BP* ARR*)

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681. Keith Vaughan (1912-1977) Figure from behind signed with studio stamp (lower right) pencil 27cm x 19cm. Provenance: The Redfern Gallery, London. £600-800 (plus 27% BP* ARR*) 682. Keith Vaughan (1912-1977) Seated nude signed with studio stamp (lower right), inscribed ‘J.M.G’ in pencil (upper right) pencil 27cm x 19cm.

681

682

683

683

684

685

Provenance: The Redfern Gallery, London. £600-800 (plus 27% BP* ARR*) 683. Charles Clixby Watson (1906-1964) Studies of Fish Wives, a pair signed and titled pen and ink 25cm x 18cm (2). £80-120 (plus 27% BP* ARR*) 684. Eugen Hersch (1887-1967) Nude initialled (lower right) pencil 34cm x 22cm. £100-200 (plus 27% BP* ARR*) 685. Stephan Sinding (1846-1922) Lovers embracing signed, foundry mark ‘Gladenbeck’ bronze 7.5cm high, 12cm across. £200-300 (plus 27% BP* ARR*)

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686. Althea Wynne (1936-2012) Kneeling Figure, circa 1955 carved walnut with artist’s label inscribed ‘Miss A.Wynne, Farnham School of Art, 12 Gns’ 45cm high. Information: Althea Wynne was a sculptor of large works in bronze and ceramic for gardens and public spaces, perhaps most notably Minster Court in the City of London. £300-500 (plus 27% BP* ARR*)

687. Phyllis Chilton Osborne (20th Century) Standing figure carved yew wood inscribed ‘Phyllis Osborne, 40 Parkside, Cambridge’ 53cm high. Information: Phyllis Chilton Osborne was a British Sculptor who was a member of the Blackett Street Artist Colony, Newcastle, and was part of the Exhibition of Works by Artists of the Northern Counties 1929 & 1930 at the Laing Art Gallery, Newcastle. Her patrons included Sybil Thorndike. £200-300 (plus 27% BP* ARR*)

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688. Frederick Donald Blake (1908-1997) Landscape with trees signed in pen (lower right) watercolour 39cm x 57cm. £80-120 (plus 27% BP* ARR*) 688

689

689. Arthur Hayward (1889-1962) Smeatons Pier, St Ives signed (lower left) oil on board 26cm x 36.5cm. Provenance: Ronald Low Esq.; Private Collection. £600-800 (plus 27% BP* ARR*) 690. James Paterson (1854-1932) Nayland, Suffolk signed (lower left), titled (to reverse) watercolour 26cm x 37cm. £250-300 (plus 27% BP* ARR*)

690

691. Richard Akerman (b.1942) River barge signed (lower right) oil on board 37cm x 97cm. £60-100 (plus 27% BP* ARR*)

691

692. Ronald Maddox (1930-2018) Blackfriars signed (lower right) watercolour 37cm x 25cm. £40-60 (plus 27% BP* ARR*) 693. Märta Améen (1871-1940) Dog sitting bronze signed 16.5cm high. £500-800 (plus 27% BP* ARR*)

692

693

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694. Patrick Procktor (1936-2003) Male nude on a sofa, 1967 signed and dated in pencil (lower right) watercolour 28cm x 45cm. Exhibited: TheGallery, Patrick Procktor: The Last Romantic, Poole, 14 January to 3 March 2016. £1000-2000 (plus 27% BP* ARR*) 694 695. Patrick Procktor (1936-2003) Miss Brampton, 1961 signed and dated (lower right) pencil 53cm x 42cm. Provenance: The Redfern Gallery, London. £300-500 (plus 27% BP* ARR*) 696. Patrick Procktor (1936-2003) Nude study signed in pencil (lower) watercolour and gouache 43cm x 61cm. £600-800 (plus 27% BP* ARR*) 697. Henrietta Dubrey (b.1966) Petticoat, 2015 initialled and dated in pencil mixed media 21cm x 15cm.

695

697

Provenance: Edgar Modern, Bath. £100-200 (plus 27% BP* ARR*)

696

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698. Claude Buckle (1905-1973) Spanish courtyard signed (lower right) watercolour 17cm x 24cm. £50-100 (plus 27% BP* ARR*) 699. David Ralph Simpson (b.1963) ‘Town of Baron’, 2002 signed and dated (lower right), titled (to reverse) oil on board 17cm x 17cm. £150-250 (plus 27% BP* ARR*)

698

699

700. Denis Mitchell (1912-1993) Drawing for Sculpture 5, 1964 signed and dated (lower right) mixed media 28cm x 19cm. £400-600 (plus 27% BP* ARR*) 701. John Kelly (b.1949) Abstract collage 16.5cm x 10cm. £50-100 (plus 27% BP* ARR*) 702. Brian Chalkley (20th Century) ‘Sign’ patinated bronze 22.9cm x 14cm.

700

701

Provenance: Collection of the Leicestershire Education Authority. £50-100 (plus 27% BP* ARR*) 703. Milan Mijacevic (20th Century) ‘Deliblot Pescara’, 1987 signed, titled and dated watercolour 11cm x 16cm. Provenance: The Collection of Denis Bowen, Artist and Gallery Owner. £50-100 (plus 27% BP* ARR*)

702

703

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704. Eileen Hogan (b.1946) Zebras, 1981 initialled and dated (lower right) oil on board 79cm x 82cm. Provenance: The Ogle Gallery, Cheltenham. £600-800 (plus 27% BP* ARR*)

705. Fred Cuming (b.1931) Snowy landscape signed (lower left) oil on board 58cm x 55cm. Provenance: The Ogle Gallery, Cheltenham. £600-800 (plus 27% BP* ARR*)

706. Rowland Suddaby (1912-1972) ‘Carting Root, Canard, Suffolk’, 1942 signed and dated (lower right), titled (to reverse) oil on canvas 35cm x 54cm. £600-800 (plus 27% BP* ARR*)

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707. William Brooker (1918-1983) Composition in the Studio, 1959 signed and dated (lower left) oil on canvas 60cm x 76cm. Provenance: Agnew’s, London. £5000-7000 (plus 27% BP* ARR*)

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708. Conroy Maddox (1912-2005) ‘The Fixation of Ruins’, 1993 signed and dated (lower right), titled (to reverse) oil on canvas 92cm x 122cm. £3000-5000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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709. Edward Giobbi (b.1926) ‘Landscape No.2’, 1963 signed and dated (to reverse) oil and charcoal on canvas with oil and pencil on board inset 92cm x 96cm. Exhibited: Bear Lane Gallery, Edward Giobbi, 1964, catalogue no. 19. Provenance: New Art Centre, London, 1964. £200-400 (plus 27% BP* ARR*) 710. Anthony Robert Klitz (1917-2000) Nelson’s Column signed (lower right) oil on canvas 60cm x 49cm. £200-300 (plus 27% BP* ARR*)

709

710

711

712

711. Ken Howard (b.1932) ‘Two Castles, Bellinzona’, 2012 signed (lower left), inscribed (to reverse) oil on board 20cm x 25.5cm, unframed. £300-500 (plus 27% BP* ARR*) 712. Ken Howard (b.1932) St. Marks, Venice signed (lower right) oil on board 24.5cm x 19.5cm. £500-800 (plus 27% BP* ARR*) 713. Kate Brinkworth (b.1977) ‘Pair of Fours’, 2008 signed, titled and dated (to reverse) oil on canvas 64cm x 99cm. £1500-2500 (plus 27% BP* ARR*)

713

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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714. Linda Weir (b.1951) Boats at St. Ives, 2010 initialled and dated (lower right) oil on board 25cm x 40.5cm, unframed. £200-300 (plus 27% BP* ARR*) 715. Linda Weir (b.1951) Still life, St. Ives initialled (lower right) oil on board 23.5cm x 39cm, unframed. £150-250 (plus 27% BP* ARR*)

714

715

716

717

718

719

716. Simeon Stafford (b.1956) ‘Salford’, 2011 signed (lower right), titled and dated (to reverse) oil on canvas 89cm x 89cm, unframed. £600-800 (plus 27% BP* ARR*) 717. Sarah Stitt (20th Century) Mother and child signed (lower left) oil on board 70cm x 40cm. Provenance: Long & Ryle, London. £80-120 (plus 27% BP* ARR*) 718. Jose Pomes Abella (b.1940) ‘Cadaques’, 1974 signed, titled and dated (to reverse) oil on canvas 73cm x 59cm. £100-150 (plus 27% BP* ARR*) 719. Desmond Morris (b.1928) ‘Any Minute’, 1949 signed and dated (lower right) mixed media 20cm x 32cm. £1000-2000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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720. Richard Beer (1928-2017) Cafe Royal signed (lower right) oil on canvas 77cm x 51cm, unframed. £150-250 (plus 27% BP* ARR*) 721. Roland Batchelor (1889-1990) ‘Nothing here’ signed (lower left), inscribed (lower right) watercolour 15cm x 22cm, unframed. £100-200 (plus 27% BP* ARR*)

720

721

722

723

724

725

722. Emma McClure (b.1962) ‘Under the Arches’, 1987 initialled and dated (lower right), signed and dated in pencil (to mount) oil on paper 34cm x 29cm. £200-300 (plus 27% BP* ARR*) 723. Manja Scott (b.1945) ‘90 Blue Square on Red’, 1999 signed and dated (lower right) mixed media 28cm x 40cm. £50-100 (plus 27% BP* ARR*) 724. John Bratby (1928-1992) ‘The Jump Suit’, October 1979 signed, titled and dated (lower right) mixed media 40cm x 32cm, unframed. £100-200 (plus 27% BP* ARR*) 725. John Bratby (1928-1992) ‘The Red Dress’, February 1990 signed, inscribed and dated (lower left) mixed media 59cm x 43cm, unframed. £100-200 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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727 726. Modernist School Copper panel impressed initials ‘DW.1’ 77cm x 37cm. £50-100 (plus 27% BP* ARR*) 727. Desmond Morris (b.1928) Fertility Figure, 1973 from an edition of 6 bronze 7.5cm high. Literature: Michel Remy, The Surrealist World of Desmond Morris (London: Jonathan Cape, 1991), p. 142, illustrated in colour.

726

Silvano Levy, Desmond Morris: Analytical Catalogue Raisonné 19442000 (Antwerp : Petraco-Pandora, 2001), p. 300 illustrated in colour & 301, full-page colour plate, catalogue number 1973/24. £1500-2500 (plus 27% BP* ARR*) 728. Desmond Morris (b.1928) ‘The Gift’, 2011 signed and dated (lower right) oil on canvas 50cm x 60cm. £3000-5000 (plus 27% BP* ARR*) 729. David Shrigley (b.1968) ‘Really Good’, 2016 402/3000, signed and numbered (to underside) resin 28.7cm high. £80-120 (plus 27% BP* ARR*)

728

729

730. Ann Robin Banks (1931-2007) Two panels with layered green and orange enamels enamel on copper 14cm x 48cm (2). £50-100 (plus 27% BP* ARR*)

730

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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731. Ronald Ossory Dunlop (1894-1973) Portrait of a Lady, believed to be Roaslind Iden signed (lower right) oil on canvas 76cm x 56cm. Information: Rosalind Iden was a dancer and actress who was the third wife of Sir Donald Wolfit. Dunlop painted a number of portraits of Roaslind Iden including Rosalind Iden as Opheplia (Tate Gallery); three sketches of Rosalind Iden (National Archives); Rosalind Iden at Breakfast (Sothebys, 1979). Dunlop is recorded as living in the same house as Rosalind Iden in 1939. £800-1200 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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732. Ann Sutton (b.1935) Thread game, 1997 signed and dated (to reverse) thread collage with acrylic on canvas 30cm x 30cm, unframed. £100-200 (plus 27% BP* ARR*)

732

733. Gerald Norden (1912-2000) Kitchen Wall, 1968 signed and dated (lower left) oil on board 29cm x 19cm. £300-500 (plus 27% BP* ARR*)

733

734. Gerald Norden (1912-2000) The Letter Rack oil on board 20cm x 29cm. £300-500 (plus 27% BP* ARR*) 735/736 No Lot 734

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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737. Geoffrey Key (b.1941) The Horse Race, 1996 signed and dated (lower left) oil on board 44cm x 59.5cm. £2000-4000 (plus 27% BP* ARR*)

738. John Bellany (1942-2013) Portrait of a woman signed (lower right) oil on canvas 76cm x 61cm, unframed. £3000-4000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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739. Linda Kitson (b.1945) ‘Norman St John-Stevas’, 1971 signed, titled and dated in pencil pencil sketch 22cm x 19cm. £80-120 (plus 27% BP* ARR*) 740. Modern British School Model of Archangel Michael bronzed metal 38cm high. £50-100 (plus 27% BP* ARR*)

740

739

741. Michael Ayrton (1921-1975) ‘Deadalus, head’, 1967 signed, titled, and dated in pencil watercolour 39cm x 50cm. £500-800 (plus 27% BP* ARR*) 742. Margaret Fitton (1902-1988) Horse archer, 1962 signed and dated (to reverse) plaster relief 35cm x 37cm. £80-120 (plus 27% BP* ARR*)

741

742 BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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743. Robin Guthrie (1902-1971) ‘Palace Pier, Brighton’ signed (lower left), titled (to reverse) oil on board 21cm x 35cm. £200-300 (plus 27% BP* ARR*) 744. George Taylor RBSA (Contemporary) ‘When Only the Moon Rages’, 2009 signed and dated (lower right) mixed media 54cm x 73cm. £800-1200 (plus 27% BP* ARR*)

744

745. George Taylor RBSA (Contemporary) ‘Heatscape’ signed (lower right) mixed media 28cm x 38cm. £300-500 (plus 27% BP* ARR*) 746. Alan Furneaux (b.1953) ‘Nelly at Newlyn, Half-Moon’ signed (lower right), titled (to reverse) oil on board 56cm x 67cm, unframed. £300-400 (plus 27% BP* ARR*)

743

745

747. Alan Furneaux (b.1953) Lighthouse in summer signed (lower right) oil on board 79cm x 100cm, unframed. £400-600 (plus 27% BP* ARR*) 748. James Longueville (b.1942) Wooded landscape signed (lower right) oil on canvas 59cm x 89.5cm. £200-300 (plus 27% BP* ARR*)

746

747

749. Robert Medley (1905-1994) Bather, 1990 signed and dated (upper left) watercolour 17.5cm x 13cm. £80-120 (plus 27% BP* ARR*) 748 749

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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750. Pascal Convert (b.1957) Untitled, 2008 signed and dated (to reverse) mixed media lacquer on board 68cm x 53cm, unframed. £100-200 (plus 27% BP* ARR*) 751. Early 20th Century School Set of nine caricatures with printed inscriptions watercolour and gouache each 29cm x 20cm (9). £100-200 (plus 27% BP* ARR*) 752. William Gaunt (1900-1980) The Speaker, 1929 signed and dated (lower right) watercolour 23cm x 18.5cm, together with a study of a lady in black by William Gaunt (2). £50-100 (plus 27% BP* ARR*)

750

751

751

751

753. Bernard Myers (1925-2007) Still life of vegetables signed (lower right) pastels 56cm x 76cm. £100-200 (plus 27% BP* ARR*)

752

752

753

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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754. Lorenzo Quinn (b.1966) ‘El Toro’ 8/9, signed and numbered patinated bronze, the square base with integral lamp the base 40cm square, the base and sculpture 31cm high. £7000-10000 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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755. Raymond C. Booth (1929-2015) ‘Camellia Taliensis with Pernettya Berries’, 1990 signed and dated (lower right) oil on canvas 42cm x 36cm. Provenance: The Fine Art Society, London, 1991. Exhibited: The Fine Art Society, Raymond Booth, Painter and Plantsman, Cat no. 43, London, 1991. £1000-2000 (plus 27% BP* ARR*)

756. Patrick Ferguson Millard (1902-1977) Lady in yellow dress signed (lower right) oil on board 30cm x 19cm. £80-120 (plus 27% BP* ARR*)

757. Damien Hirst (b.1965) Two plates printed design after paintings printed marks each 27cm diameter (2). £50-100 (plus 27% BP* ARR*)

BP* – Buyer’s Premium of 27% incl. VAT @ 20% Lots marked ARR* may be subject to an additional fee - for full details please see contents page

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NOTES

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Mallams Ref: Oxford: Telephone 01865 241358

Mallams 1788

Absentee Bid Form COMPLETE IN BLOCK CAPITALS

Name: Address: Phone Bid

Post code Tel: 1

2

Com Bid

E-mail:

LOT

BRIEF DESCRIPTION

PRICE LIMIT

Notices Mallams will bid on behalf of the absentee bidder up to the hammer price stated on the lots listed here. The auctioneers will try to purchase these lots for the lowest possible price. This will be done in accordance with the Condition of Sale printed in the catalogue and taking into account the usual bidding increments, the reserve price and other bids. If any bid is successful the amount payable will be the sum of the hammer price and the buyer’s premium of 27% (inclusive of VAT). All bids should be with Mallams at least one hour before the start of the auction. I understand and accept the above notices. Sign: Print name: Date: Do you wish to receive our email newsletter? YES / NO DATA PROTECTION – use of your information Personal data obtained about you will be used in accordance with our Privacy Policy. A copy of our Privacy Policy can be found on our website www.mallams.co.uk


Terms and Conditions NEW.qxp_Layout 1 15/02/2019 14:40 Page 1

BUYERS TERMS & CONDITIONS Mallams carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. DEFINITIONS In these Conditions: (a) “auctioneer” means the firm of Mallams or its authorised auctioneer, as appropriate. (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description. (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer. (d) “terms of consignment” means the stipulated terms and rates of commission on which Mallams accepts instructions from sellers or their agents. (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions. (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon of 22.5%. This premium is subject to VAT at the rate imposed by law. VALUE ADDED TAX (VAT) Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk.Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position). PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us. You may pay for purchases in a number of ways: Bank Transfer, Cheque, Debit card, Cash and Credit card to a maximum of £2000.00 (plus 2.28% VAT inc. on Business and NonEEA cards). (2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. TITLE AND COLLECTION OF PURCHASES (1) 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. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (3) No purchase can be claimed or removed until it has been paid for. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the layout of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. COMMISSION AND TELEPHONE BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in

writing execute bids on their behalf or by telephone. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable.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. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. TERMS OF SALE The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. DESCRIPTIONS AND CONDITION (1) 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 accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded.This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Please note that condition reports are not printed in the catalogue or on our website however we are happy to provide them when requested subject to our terms and conditions of sale.The absence of any reference to condition in any description does not imply the lot is without fault. (3) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 1. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (1) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 2. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 3. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 4. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 5. English law applies to the interpretation of these Conditions. ENDANGERED SPECIES LAWS Due to international laws, any item on the Endangered species list (i.e. Ivory, Rhino horn etc.), whether it dates from the 18th/19th Century or the 1930s, requires re-export permits for bidders outside the EU (CITES). Some countries also require import permits as well and all permits must be in place prior to shipment. Mallams cannot be held liable if a purchaser buys a lot that comes within this field and then import/export licences cannot be arranged. Certain countries, particularly the USA, have their own Endangered Species Act (USESA) and possession or being involved in a commercial transaction with any item on this list can be an offence for a US resident. Therefore, it is the potential buyer’s responsibility to check Federal regulations before bidding for a lot, which comes under these or similar regulations. Please note no license is required to sell or advertise within the EU if items are pre- 1947. ONLINE BIDDING Mallams Fine Art Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. In completing the bidder registration on www.thesaleroom.com and providing your credit card details and unless alternative arrangements are agreed with Mallams Fine Art Auctioneers, you: 1. Authorise Mallams Fine Art auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Mallams Fine Art Auctioneers through www.the-saleroom.com and agree that Mallams Fine art Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale. Please note that any lots purchased via thesaleroom.com live auction service will be subject to an additional 4.95% commission charge + VAT at the rate imposed on the hammer price. DATA PROTECTION Personal data obtained about you will be used in accordance to our Privacy Policy. A copy of our Privacy Policy can be found on our website www.mallams.co.uk or requested by post from our Data Officer, Catherine Leach at Bocardo House, St Michael’s Street, Oxford, OX1 2EB, or by Email from privacy@mallams.co.uk.


Mallams 1788

Upcoming Sales at Mallams Oxford in 2020

29 January The Oxford Library Sale 26 February The Picture Sale 25 March Jewellery, Watches & Silver

Enquiries: T: 01865 241358 www.mallams.co.uk

22 April Oriental Rugs & Tribal Art 21 May Design 22 May Modern British & Post-War Art Mallams Auctioneers Bocardo House St Michael’s Street Oxford OX1 2EB


www.mallams.co.uk

Profile for Mallams Auctioneers

Design + Modern Art - 5th & 6th December 2019 (Mallams Oxford)  

To include the Peter Dingley Collection, Studio Ceramics, Arts & Crafts, Design, Modern British & Post-War Art

Design + Modern Art - 5th & 6th December 2019 (Mallams Oxford)  

To include the Peter Dingley Collection, Studio Ceramics, Arts & Crafts, Design, Modern British & Post-War Art

Profile for mallams
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