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BEN NICHOLSON (1894-1982)
As one of our best-known abstract artists, Ben Nicholson was a pivotal figure of 20th-century British art. Born into an artistic family in Denham, Buckinghamshire, his father was the renowned painter Sir William Nicholson, and Ben’s early education at the Slade School of Fine Art in London was brief but formative. He was a contemporary of notable artists such as Paul Nash and Stanley Spencer, but his time at Slade was more about social connections than formal training.
His career can be divided into several phases, each marked by significant personal and artistic developments. Initially, Nicholson’s work was primarily figurative, with scenes and objects presented in a naturalistic style. However, his exposure to cubism and the works of Picasso and Braque during a visit to Paris in 1921, profoundly impacted his artistic direction. We see this in the depiction of the decorative mug and jug in lot 1, from circa 1928. This encounter with cubism led Nicholson to experiment with abstraction, a path he would follow for the rest of his career.
Nicholson’s oeuvre is often overshadowed by his paintings and reliefs, but his works on paper reveal a delicate side to his artistic talent. Sworders are pleased to present five drawings and an etching in this sale. His pencil drawings are characterised by their precision and simplicity, capturing the essence of his subjects with minimal lines and subtle shading. The still lifes and landscapes on offer showcase his ability to reduce complex displays into their most basic elements.
Nicholson’s 1960s works (lots 2-5) are not merely preparatory sketches but stand-alone works of art. They reflect his deep understanding of form and composition, honed through years of experimentation with different styles and techniques.
Throughout his career, Nicholson remained committed to exploring new forms of expression. He didn’t focus on printmaking until after establishing his practice in oil painting and carved reliefs, starting with drypoints between 1947 and 1957, and then etching again between 1965 and 1968 following his move to Switzerland. Many of his prints focus on subjects found on his travels there, in Italy and Greece, and lot 6 - ‘Ronco’, named after the Swiss village he lived in - can be viewed as influenced by both still life and landscapes.
With their understated elegance, Ben Nicholson’s drawings and prints are a testament to his enduring quest for artistic innovation as he was constantly pushing the boundaries of his craft. Alongside recognisable landscapes and landmarks, his drawings capture the quiet beauty of ordinary objects, elevating them to the realm of art.
Provenance: With Waddington Galleries, London, November 1985; Sotheby’s, London, ‘20th Century British Art’, 13 July 2007, lot 3; the property of a private collector.
Exhibited: Tate, London, ‘Ben Nicholson’, 13 October 1993 - 9 January 1994, catalogue no. 13, Musée d’Art Moderne, Saint-Étienne (British Council Visual Arts Department exhibition), ‘Ben Nicholson’, 17 February - 2 May 1994.
LOT 2
Ben Nicholson OM (1894-1982) ‘July 1962 (near miss)’ signed and dated ‘NICHOLSON/July 62’ on the backboard and inscribed ‘(jug & bowl)’ on a fragment of a label verso, pencil and wash on paper laid on board sheet 34.5 x 52.5cm
£5,000 - 8,000
Provenance: With Dobiaschofsky, Bern; Christie’s, London, ‘20th Century British Art’, 10 June 2005, lot 129A; the property of a private collector.
Exhibited: Marlborough Fine Art, London, ‘Ben Nicholson’, April - May 1963, catalogue no. 46, illustrated.
LOT 3
Ben Nicholson OM (1894-1982) ‘Morbihan’
signed, inscribed and dated ‘NICHOLSON/Nov 1962/(Morbihan)/ph488’ on the backboard, pencil, wash and oil on paper
35.5 x 50.5cm
£5,000 - 8,000
Provenance: A gift from the artist to Herbert Read; thence by descent; Marlborough Fine Arts, London; the property of a private collector, purchased from Jeremy Lewison Ltd., London.
LOT 4
Ben Nicholson OM (1894-1982)
‘2 Forms on Pale Green’ apparently signed and dated ‘Sept 63/Ben Nicholson’ verso, also signed, inscribed and dated ‘NICHOLSON/SEPT 63/(2 forms on pale green)/ph 555’ on the backboard, pencil, oil and wash 32 x 49.5cm
£6,000 - 8,000
Provenance: With Galerie Beyeler, Basel; Sotheby’s, New York, ‘Modern Art Impressionist & Post Impressionist’, 8 November 2006, lot 457; Peter Nahum, London; the property of a private collector.
Literature: ‘Ben Nicholson: Drawings, Paintings and Reliefs 1911-1968’ with an introduction by John Russell, published by Thames & Hudson Ltd., London, 1969, illustrated p.312, pl.123 (titled ‘Jug and Goblet’ and incorrectly dated c.1962).
LOT 5
Ben Nicholson OM (1894-1982)
‘Kos’
signed, inscribed and dated ‘NICHOLSON’/April 59/(Kos)’ on the backboard, pencil and wash 48 x 35.5cm
£7,000 - 10,000
Provenance: With Galerie Charles Lienhard, Zurich; Sotheby’s, London, 6 December 1984, lot 658; Sotheby’s, London, ‘20th Century British Art’, 13 July 2007, lot 4; the property of a private collector.
Exhibited: Château des Rohan, Strasbourg, ‘La Grande Aventure de l’Art du XXe Siècle’, June - September 1963, catalogue no. 191.
Ben Nicholson’s extensive travels throughout his life significantly influenced his artistic development. In 1959, he embarked on a Swan Hellenic tour to Greece, which included numerous stops. This journey proved to be particularly inspiring for Nicholson, as he was deeply moved by the simplistic beauty of Cycladic figurines and Greek architecture.
Nicholson’s experiences in Greece enriched his artistic vision, leading to a more sculptural approach in his compositions. He began to incorporate subdued colours and a controlled palette, reflecting the serene landscapes and architectural forms he encountered. This influence is evident in the present work and also inspired his pure-white carved reliefs, which became a hallmark of his style.
LOT 6
Ben Nicholson OM (1894-1982)
‘Ronco’
etching, signed and dated ‘68’ in pencil l.r., numbered ‘23/50’, published by Leslie Waddington Prints, London, printed by François Lafranca with blind stamp sheet 37.5 x 44cm
£1,000 - 2,000
Provenance: Bonhams, Knightsbridge, ‘Prints and Multiples’, 29 November 2017, lot 27.
LOT 7
Patrick Heron (1920-1999)
Christmas collage, 1960 signed, inscribed and dated ‘A Happy Christmas/from Pat and Delia/ Eagles Nest 1960’ verso, mixed media and collage on paper 17 x 12cm, unframed
£1,000 - 1,500
Provenance: Sotheby’s, London Olympia, ‘20th Century British & Irish Art’, 1 March 2007, lot 215; the property of a private collector.
Sir Terry Frost RA (1915-2003)
‘Winter Figure’
signed and dated ‘Terry Frost 56/57’, also indistinctly signed, inscribed and dated, on a board attached verso, oil on board
23.5 x 33cm
£2,000 - 3,000
LOT 8
PETER LANYON (1918-1964)
The Spirit of Cornwall
The picturesque town of St Ives, Cornwall, has long been a haven for artists, with its rugged coastline and unique light providing endless inspiration. In 1928, artists Ben Nicholson and Christopher Wood visited St Ives, where they encountered the naïve artist Alfred Wallis. By the outbreak of the Second World War, Nicholson and his new wife, Barbara Hepworth, had settled in the area. Their presence, along with that of Naum Gabo, attracted other artists, solidifying St Ives’ reputation as an artistic hub.
Around 1950, a cohort of younger artists began to congregate in St Ives, including Terry Frost and Patrick Heron, joining forces with Hepworth and Nicholson. Despite not viewing themselves as a formal group or school, these artists shared a common interest in abstraction and a deep appreciation for the local landscape, which profoundly inspired much of their work.
Unique in this group was Peter Lanyon, as he was a native of St Ives. Lanyon’s artistic journey began with private lessons from artist Robert Borlase Smart, followed by studies at the Penzance School of Art, and a brief spell at the Euston Road School in London. His artistic career was interrupted by the Second World War, during which he served in the Royal Air Force. He was subsequently an active participant of the Crypt group and was a founder member of the Penwith School of Art in 1949.
Lanyon’s work in the 1940s shows the influence of both Ben Nicholson and Naum Gabo, but he later took on a unique style of his own. This evolving style, which combined elements of constructivism and abstract expressionism, was distinctive though, through his interpretation of the Cornish landscape. As he captured the essence of Cornwall’s dramatic coastline and rugged terrain, for the viewer, his paintings reveal his deep connection to the land and sea. With the monoprints, drawings and paintings on offer in lots 9-16, we see Lanyon portraying the natural environment with a sense of movement and energy.
Lanyon took up gliding in 1959 to gain a deeper understanding of the landscape. Floating on the natural air currents was an immersive experience for the artist, akin to being a bird. Moving through the air, without the noise and disturbance of a motorised aircraft, allowed him a bird’s-eye view of the landscape, which he captured in his work. Disastrously, the activity that fuelled his creativity also led to his demise; Lanyon died from injuries sustained in a gliding accident on 31 August 1964, in Taunton.
Although his life was tragically cut short, Peter Lanyon’s unique creative contributions have firmly established his place in the history of British art. Sworders are pleased to offer eleven diverse works by the artist, many depicting Cornwall, including drawings, monotypes, two extraordinary reliefs, and an important, epic 9-metre-long gouache of Porthleven.
Lots 9 and 10 are rare and significant works by Peter Lanyon, showcasing his experimental approach to artistic production. We see this in the inclusion of mixed media within the printing process, as well as additions of pencil, ink and gouache.
The imagery of the horse in a landscape can be linked to the large linocuts ‘Red Horse, Red Boat’, 1951, and ‘The Returned Seaman’, 1949, as well as the painting ‘The Yellow Runner’, 1946. In our compositions, the eye is led to the horse - a monumental beast embedded against the dramatic Cornish landscape. The prints are abstract in composition with multiple perspectives of the coastal hillside blurring organic and architectural forms as one. An echo perhaps of the impact of the local mining industry.
LOT 9
Peter Lanyon (1918-1964)
Composition with horse and boat monotype, linocut, woodcut and wash, stamped ‘Lanyon’, with later inscription and date ‘c.1951’ verso sheet 45 x 71cm, unframed £3,000 - 5,000
Provenance: Purchased from Andrew Lanyon in 2010 by Paul Vibert, St Ives, Cornwall; the property of a private collector.
Peter Lanyon (1918-1964)
Composition with horse and boat signed and dated ‘Peter Lanyon 49’ l.l., traced slate monotype, printed in dark blue, with pencil, pen and ink and gouache 64 x 49.5cm
£6,000 - 8,000
Provenance: Bonhams, Knightsbridge, ‘Modern Prints and the St Ives School’, 25 May 2010, lot 18; the property of a private collector.
LOT 10
LOT 12
Peter Lanyon (1918-1964)
‘Clevedon Study No. II’, 1964 pencil, with stamped signature ‘Lanyon’ l.r.
40.5 x 50.5cm, unframed
£3,000 - 5,000
Provenance: With Beaux Arts, Bath; Christie’s, London, ‘20th Century British Art’, 4 June 2004, lot 119; the property of a private collector.
Exhibited: Arnolfini Gallery, Bristol, ‘Peter Lanyon: ClevedonDrawings, Gouaches and Paintings 1964’, October - November 1970, catalogue no. 3. This exhibition toured to Leeds, Park Square Gallery, January 1971.
LOT 11
Peter Lanyon (1918-1964)
‘Drawing for St Just’
signed ‘Peter Lanyon’, inscribed with title and dated ‘1952’ verso, pencil
35.5 x 26cm
£3,000 - 5,000
Provenance: Martin Lanyon; the property of a private collector.
Exhibited: Whitworth Art Gallery, ‘Peter Lanyon: Paintings, Drawings and Constructions’ touring exhibition, 1978, catalogue no. 50, illustrated p.27, fig.23; Southbank Centre, London, in collaboration with Camden Arts Centre, London, ‘Peter Lanyon: Air, Land and Sea’, Arts Council touring exhibition, 1992, catalogue no. 10; Tate, St Ives, ‘Peter Lanyon Coastal Journey’, 2000.
Literature: Andrew Causey, ‘Peter Lanyon: Modernism and the Land’, 2006.
LOT 13
Peter Lanyon (1918-1964)
Study of Portreath, c.1959 with two ‘Lanyon’ stamped signatures verso, black chalk and gouache
24.5 x 37.5cm
£1,500 - 2,500
Provenance: With Gimpel Fils Ltd., London; the property of a private collector.
Exhibited: Gimpel Fils, London, ‘Peter Lanyon’, 9 April - 17 May 2003, catalogue no. 13.
Literature: Andrew Lanyon, ‘Portreath: The Paintings of Peter Lanyon’, published by Andrew Lanyon, Cornwall, 2003, illustrated p.62.
LOT 14
Peter Lanyon (1918-1964)
‘Drawing for Wood Sculpture’ signed ‘Peter Lanyon’, inscribed with title and dated ‘1947’ verso, ink, gouache and chalk 27 x 21cm
£1,000 - 1,500
Provenance: The collection of Mr. L.J.W. Lanyon, Cornwall; the property of a private collector.
LOT 15
Peter Lanyon (1918-1964)
‘Portreath’ - pier and red brick house with stamped signature ‘Lanyon’ l.r., inscribed with title and dated ‘1948’ verso, pencil and pastel with wash 29 x 39cm, unframed
£3,000 - 5,000
Provenance: Rosa Levin, Cornwall; the property of a private collector.
Literature: Andrew Lanyon, ‘Portreath: The Paintings of Peter Lanyon’, published by Andrew Lanyon, Cornwall, 2003, illustrated.
LOT 16
Peter Lanyon (1918-1964)
Porthleven, 1962
signed and dated twice ‘Lanyon 62’ and ‘Lanyon 10/4/62’ l.r., inscribed with title to l.l. edge, also signed, dated and inscribed ‘Lanyon/62/1 sketch for Stanley Seager/NJ US’ to right edge verso, gouache and ink 105 x 992cm
£120,000 - 150,000
Provenance: Given to Andrew Lanyon by his mother, Mrs S M Lanyon; the property of a private collector.
Literature: Michael Bird, ‘Porthmeor: A Peter Lanyon Mural Rediscovered’, a catalogue published by Victoria Art Gallery, Bath, for the exhibition held 25 October 2008 - 4 January 2009, illustrated p.34; Toby Treves, ‘Peter Lanyon; Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works’, Modern Art Press, London, 2018, illustrated p.565, fig.137.
Peter Lanyon’s ‘Porthleven’ (1962) and Its Transformation into ‘Porthmeor’: A Study of Landscape, Abstraction and Identity
Peter Lanyon redefined landscape painting through abstraction. His approach did not simply depict the natural world but rather sought to capture its movement, atmosphere and raw physicality. ‘Porthleven’ (1962), a preparatory piece for the large-scale ‘Porthmeor’ mural, exemplifies Lanyon’s engagement with the Cornish landscape in his work.
The Commission and the Evolution of ‘Porthleven’
In 1962, American collector Stanley J Seeger commissioned Lanyon to create a monumental painting for the music room of his Texas residence, Bois d’Arc. Seeger, who had been collecting Lanyon’s work since 1957, initiated the commission after seeing his exhibition at the Catherine Viviano Gallery in New York (Causey, 1994). Lanyon responded by starting three full-scale gouache and ink sketches – ‘Porthleven’, ‘Bois d’Arc’ and ‘Delaware’. His studio was too small to accommodate these works, so Lanyon relocated his workspace to the larger Porthmeor Studios in St Ives. The three gouaches were shown to Seeger and, after two weeks of revisions, ‘Porthleven’ was chosen as the final design.
As Treves recounts in his catalogue raisonné, ‘He treated the Porthleven gouache as a starting point. Photographs of his studio show it pinned against a wall with the stretched canvas immediately above. In none does the oil appear to be a replica of the gouache. There are, however, similarities in the basic colour relations and rhythm of forms’.
However, when the finished painting arrived in the United States in November 1962, Seeger noticed significant deviations from the original
concept. In response, Lanyon travelled to Texas to modify the work over a two-week period. The exact changes he made remain unclear, but the painting was ultimately accepted and remained in Seeger’s home for nearly four decades (Stephens, 2000). The decision to rename the piece ‘Porthmeor’ suggests a conceptual shift - perhaps a personal reconnection to the Cornish landscape, despite its intended function within an American setting.
Lanyon’s Immersive Approach to Landscape
Unlike traditional landscape painters who sought to represent a static scene, Lanyon developed a practice that emphasised immersion, movement and physical engagement. His work was heavily influenced by his experiences of walking the rugged Cornish terrain, feeling the force of the Atlantic winds, and later gliding above the landscape. This aerial perspective fundamentally reshaped his spatial compositions, leading to fragmented, multi-angled forms that evoke the sensation of ‘being within the landscape rather than merely observing it’. (Cross, 2007)
David Lewis, a close friend of Lanyon and a central figure in the St Ives movement, described this approach vividly:
‘His paintings were the landscape in action. It was as if his brushes, laden
with liquid pigments, were the collisions of seas, winds and clouds, and the surfaces on which he painted were the granite core of the land.’
(Lewis, 1980)
‘Porthleven’, as a transitional work, illustrates this perfectly. The gestural dynamism of the painting - marked by sweeping lines, layered textures and a palette suggestive of sea, sky and rock - conveys the elemental energy of the Cornish coast. Lanyon did not seek to illustrate the town of Porthleven itself but rather to express its essence: the movement of waves against the harbour, the shifting weather, and the ever-changing light.
The 1960s Context: Transatlantic Modernism and the St Ives School
Lanyon’s work in the early 1960s coincided with a period of increasing international recognition. His exhibitions in New York placed him in dialogue with the abstract expressionists, particularly artists like Willem de Kooning and Franz Kline, whose gestural techniques echoed his own (Stephens, 2000). However, while American abstraction often prioritised non-representational forms, Lanyon’s works remained firmly rooted in the idea that landscape - specifically the Cornish landscape - should remain central to his practice.
This transatlantic exchange was further emphasised by Seeger’s commission. The journey of ‘Porthleven’ from Cornwall to Texas highlights the shifting patronage of modern art, as well as the challenges of adapting a highly localised, artistic practice to an international audience. The eventual renaming of the mural to ‘Porthmeor’ may suggest Lanyon’s desire to reclaim its connection to St Ives, a place central to his artistic creation and the site of his new studio.
‘Porthleven’ as a Pivotal Work in Lanyon’s Oeuvre
The transformation of ‘Porthleven’ into ‘Porthmeor’ reveals the complexities of Lanyon’s artistic process, balancing personal vision with external expectations. As a preparatory work, ‘Porthleven’ serves as a vital document of his evolving compositional strategies, capturing the raw energy of the Cornish landscape in a way that transcends traditional representation.
Lanyon’s untimely death in 1964, following a gliding accident, only adds to the significance of his late works. His paintings were never mere landscapes - but rather expressions of his own experience - informed by his deep feeling for place and movement. As Lewis poignantly observed: ‘He has left us with a legacy of relentlessly fierce clash-filled visual poems, in all likelihood the most powerful, direct and dramatic landscape poetry of our century.’ (Lewis, 1980)
References
• A Causey, ‘Peter Lanyon: Modernism and the Land’, Reaktion Books, 1994.
• D Lewis, ‘Peter Lanyon and the Poetics of Landscape’, Tate Papers, 1980.
• T Cross, ‘Painting the Warmth of the Sun: St Ives Artists 1939-1975’, Tate Publishing, 2007.
• C Stephens, ‘Peter Lanyon: At the Edge of Landscape’, Tate Publishing, 2000.
• T Treves, ‘Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three Dimensional Works’, Modern Art Press, 2018.
LOT 17
Peter Lanyon (1918-1964) ‘Oarscape’, 1962
inscribed and dated ‘LANYON/OARSCAPE 1962’ verso, found objects and oil paint on board
202.5cm wide
8cm deep
52cm high
£20,000 - 30,000
Provenance: The estate of the artist; the property of a private collector.
Exhibited: Gimpel Fils, London, ‘Peter Lanyon, Reliefs, Constructions and Related Paintings’, 20 May - 21 June 1975, cat no. 24; Camden Arts Centre, London, ‘Peter Lanyon: Air, Land and Sea’, Arts Council touring exhibition, 6 November - 20 December 1992, cat no. 34, touring to:
Mead Gallery, Coventry, 11 January - 13 February 1993; Mappin Art Gallery, Sheffield, 20 February - 18 April 1993; Newlyn Art Gallery, Penzance, 1 May - 13 June 1993; Victoria Art Gallery, Bath, ‘Porthmeor: A Peter Lanyon Mural Rediscovered’, 24 October 2008 - 4 January 2009.
Literature: ‘Peter Lanyon: Air, Land and Sea’, published by the South Bank Centre, London, 1992, illustrated p.48.
Andrew Lanyon, ‘Peter Lanyon’, Andrew Lanyon and St Ives Printing and Publishing Company, Penzance, Cornwall, 1990, illustrated p.227; Patrick Heron, Margaret Garlake, Martin Holman, Peter Lanyon, ‘Peter Lanyon: Air, Land and Sea’, South Bank Centre Publications, London, 1992, illustrated p.40; Chris Stephens, ‘Peter Lanyon: At the Edge of Landscape’, published by 21 Publishing, London, 2000, p.167, illustration no. 97; Toby Treves, ‘Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works’, Modern Art Press, St James’s Place, London, 2018, no. 525, illustrated p.562.
From Driftwood to Masterpieces: The Found Object Art of Peter Lanyon
Peter Lanyon’s artistic endeavours in the early 1960s are characterised by a profound engagement with materiality. We see this in lots 17 and 18 where he has integrated found objects into his work. His ‘Oarscape’, 1962, and ‘Untitled (Playtime)’, circa 1964, merge commonplace materials with painterly techniques to represent the Cornish landscape in an abstract and tactile manner. These artworks reflect Lanyon’s persistent focus on the physical qualities of the coastal environment, intertwining his interests in landscape, motion and tangible objects.
Lanyon’s ‘Oarscape’, 1962, features a physical oar, which he painted and partially scraped to expose layers of black and white pigment, yielding a weathered appearance. This oar is affixed to a white laminate board, positioned next to a painted tile fragment and a piece of board, with the entire assembly resting on a larger rectangle painted in blue-grey, accented by hints of black and beige. This composition illustrates Lanyon’s drive to incorporate ‘real things’ into his creative process, a notion he first articulated in a 1951 letter to William Scott, where he expressed his intention to create landscapes using objects like oars or even larger industrial machinery (William Scott Foundation Archive). While he approached this idea with a sense of humour, by the late 1950s and early 1960s, he had successfully realized this vision by constructing assemblages from items discovered along the Cornish coastline.
The long, thin format echoes ‘Porthmeor Mural’ and ‘Porthleven’ (lot 16) which Lanyon is likely to have been working on at the same time as ‘Oarscape’. Lanyon’s proposed orientation of the work is not known, we have shown the blade of the oar to the right as this is how it has been reproduced in the past. Photographs taken in 1958, show the oar leaning against the wall of his studio, although the shaft has subsequently been painted black by the artist. (Treves, 2018)
A subsequent piece, ‘Untitled (Playtime)’, circa 1964, is part of a triptych that includes ‘Holiday Coast’ and ‘Untitled (Red Cliff)’. Similar to ‘Oarscape’, this work further demonstrates Lanyon’s dedication to a direct engagement with his environment’s materiality. The diverse textures present in these objects, ranging from the rough, grit-infused paint to the smooth plastic, facilitate a dynamic interaction between organic and synthetic materials.
‘The objects, which range from a car wing mirror, a hinge, broken plastic sunglasses to a small wooden spoon, various electrical fittings and some shards of china, do not seem to have anything in common apart from being man-made detritus. The mussel shell at the left, which is the only organic object, may provide a context for the other material as jetsam.’
(Treves, 2018)
The inclusion of the plastic container and metal components indicates a greater reliance on industrial remnants, reflecting a broader trend in British modernist sculpture towards an aesthetic more influenced by urban and technological elements. We can also see an influence of Pop Art in ‘Untitled (Playtime)’ . This is untypical for Lanyon and may not have been intentional, but simply how the subsequent viewer perceives the work in the context of mid-century art. The work was never exhibited and the title and date were assigned posthumously.
Lanyon’s later constructions remain important for their innovative exploration of landscape through materiality. Both lots signify a period when Lanyon transcended conventional painting, creating works that emphasised physical interaction as much as visual representation. By utilising actual objects that carried the marks of the landscape, he produced a tangible, textured response to his surroundings - one that continues to resonate within the framework of British modernism.
Reference: T. Treves, ‘Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three Dimensional Works’, Modern Art Press, 2018.
LOT 18
Peter Lanyon (1918-1964)
Untitled (Playtime), c.1964
mixed media and found objects on board 34.5cm wide
10cm deep
123cm high
£35,000 - 45,000
Provenance: With Gimpel Fils, London; the property of a private collector.
Literature: Toby Treves, ‘Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works’, Modern Art Press, St James’s Place, London, 2018, no. 556, illustrated p.606.
This construction was one of three created by the artist between 1963 and 1964, the others were titled ‘Holiday Coast’ and Untitled (Red Cliff).
ROGER HILTON (1911-1975)
A Unique Single-Owner Collection of 39 Paintings and Drawings
Roger Hilton began his association with the St Ives School in the late 1950s and moved to the area permanently in 1965. His work was deeply influenced by European avant-garde movements such as CoBrA, in tandem with the artistic group he was now associated with. Hilton’s paintings from this period are marked by a raw, expressive quality that captures the essence of his surroundings.
Far from Cornwall, Hilton was born in Middlesex. His formal art education began in London at the Slade School of Fine Art, where he studied under the renowned painter Henry Tonks. His time at Slade was interrupted by periods of study in Paris, where he was exposed to European avant-garde movements that steered his artwork towards abstraction.
During the Second World War, Hilton served in the army and was captured during the Dieppe Raid of 1942, spending three years as a prisoner of war. Understandably, this experience had a significant impact on his life, which can be seen in the raw emotion of his art. After the war, Hilton worked as a schoolteacher before fully committing to his artistic career.
Hilton’s unique style and innovative approach quickly gained recognition. He won the prestigious John Moores Painting Prize in 1963, and represented Britain at the Venice Biennale in 1964, where he won the UNESCO Prize.
His 1965 move to Cornwall marked a significant shift in his work, as he began to incorporate more figurative elements, particularly simplified nudes, into his abstract compositions. We see this in the pencil drawings on the following pages. Hilton’s later works often featured a brighter range of colours and a more gestural style, reflecting his engagement with abstract expressionism (lots 32, 38 and 40).
Hilton’s later years were marked by personal struggles, including alcoholism and a debilitating muscular disease. When his health began to decline, he was increasingly bedridden. This did not stifle his creativity but led to a prolific period of artistic production, and he continued to produce compelling and innovative artwork until his death in 1975. No longer able to work on large canvases, Hilton turned to smaller formats and more accessible materials, such as gouache, pastel and poster paints, as seen in many of the works in our collection.
Roger Hilton’s legacy is one of innovation and influence. He pushed the boundaries of traditional painting with his spontaneity, expression, and comical and sometimes absurd imagery.
LOT 19 Roger Hilton (1911-1975) ‘July 1960’ signed and dated ‘HILTON/July ‘60’ verso, oil on canvas
140 x 132cm
£45,000 - 60,000
Provenance: With Galerie Charles Lienhard, Zürich; the Waddington Galleries, London; the Peter Stuyvesant Foundation; Sotheby’s, Amsterdam, ‘The Bat Artventure Collection’, formerly known as the Peter Stuyvesant Collection Part II, 19 April 2011, lot 21; the property of a private collector.
Exhibited: Waddington Galleries, London, ‘Roger Hilton’, 1962, catalogue no. 3; Walker Art Gallery, Liverpool, ‘The John Moores Exhibition’, 1965; the Tate Gallery, London (and travelling), ‘Recent British Painting; Peter Stuyvesant Foundation Collection’, 1967, catalogue no.15, pp.49-50, illustrated; Arts Council of Great Britain, ‘Roger Hilton’, 1974, catalogue no. 44.
LOT 20
Roger Hilton (1911-1975)
Untitled charcoal
20 x 25cm, unframed
£400 - 600
Provenance: With Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.195.
LOT 21
Roger Hilton (1911-1975)
Untitled conté
20 x 25.5cm, unframed
£500 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.202.
LOT 22
Roger Hilton (1911-1975)
Untitled conté
20 x 25cm, unframed
£500 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.198.
LOT 23
Roger Hilton (1911-1975)
‘Two Prawns’
signed with initials and dated ‘74’ l.l., gouache
35.5 x 40cm
£2,000 - 3,000
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.48.
LOT 24
Roger Hilton (1911-1975)
Untitled charcoal
20 x 25cm, unframed
£400 - 600
Provenance: With Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 25
Roger Hilton (1911-1975)
Untitled conté
25.5cm x 20cm, unframed
£500 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.108.
LOT 26
Roger Hilton (1911-1975)
Untitled numbered ‘171’ u.r., conté
25.5 x 20cm, unframed
£600 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.61.
LOT 27
Roger Hilton (1911-1975)
Untitled conté
25 x 20cm
£600 - 800
Provenance: Barry Flanagan, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.145.
LOT 28 Roger Hilton (1911-1975)
Untitled
signed and dated ‘Hilton 58’ verso, oil on board 44 x 61cm
£10,000 - 15,000
Provenance: With Waddington Galleries, London; A private collection, Switzerland; Offer Waterman & Co., London; the property of a private collector.
LOT 29
Roger Hilton (1911-1975)
Seated nude pencil
20 x 15.5cm, unframed
£500 - 800
Provenance: A gift from the artist to Mr Carey, October 1930; Christie’s, South Kensington, ‘20th Century British Art including Works from the Studio of Hilda Carline’, 16 October 2003, lot 551; the property of a private collector.
LOT 32
Roger Hilton (1911-1975)
‘Black Tree’
signed with initials and dated ‘74’ l.r., mixed media
46 x 38cm
£2,500 - 3,500
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Newlyn Art Gallery, Newlyn, ‘Roger Hilton: A Centenary Celebration’, 29 January - 2 May 2011.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.261.
LOT 30
Roger Hilton (1911-1975)
Untitled (Drawing III) pencil and black chalk
12.5 x 20cm
£500 - 800
Provenance: With Michael Parkin Fine Art, London; Andrew Best Esq.; the property of a private collector.
Exhibited: Michael Parkin Fine Art, London, ‘Another Pair of Eyes’, 1983, catalogue no. 27.
LOT 33
Roger Hilton (1911-1975)
Untitled conté
17.5 x 22.5cm, unframed
£400 - 600
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 31
Roger Hilton (1911-1975)
Untitled (Two figures) black crayon
30 x 42cm, unframed
£500 - 800
Provenance: With Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 34
Roger Hilton (1911-1975)
Untitled pen
20 x 25cm
£600 - 800
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Tate, St Ives, ‘Into Seeing New: Roger Hilton’, 7 October 2006-21 January 2007.
LOT 35
Roger Hilton (1911-1975)
‘Exploding Arse’, c.1970s
charcoal
22.5 x 17.5cm
£600 - 800
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Tate, St Ives, ‘Into Seeing New: Roger Hilton’, 7 October 2006-21 January 2007.
LOT 36
Roger Hilton (1911-1975)
‘Entwined Couple’, c.1970s
charcoal
29 x 22.5cm
£600 - 800
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.140.
LOT 37
Roger Hilton (1911-1975)
‘Nude Couple Embracing’, c.1970s
charcoal
25 x 20cm
£1,000 - 1,500
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Tate, St Ives, ‘Into Seeing New: Roger Hilton’, 7 October 2006-21 January 2007.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.160.
LOT 38
Roger Hilton (1911-1975)
Untitled, 1972
charcoal and gouache
25 x 17.5cm
£1,500 - 2,500
Provenance: The estate of the artist; with Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.24.
25 x 20cm
£1,000 - 1,500
Provenance: Authenticated by Rose Hilton on backboard; the property of a private collector.
LOT 39 Roger Hilton (1911-1975)
‘Botallack O’Clock’ pencil
LOT 40 Roger Hilton (1911-1975)
‘Red and Orange’
signed with initials and dated ‘74’ l.r., charcoal, gouache and pastel
44 x 34cm
£2,000 - 3,000
Provenance: The estate of the artist; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Newlyn Art Gallery, Newlyn, ‘Roger Hilton: A Centenary Celebration’, 29 January - 2 May 2011.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.179.
LOT 41
Roger Hilton (1911-1975)
Untitled conté
25 x 20cm, unframed
£600 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 42
Roger Hilton (1911-1975)
Untitled pencil and conté
25 x 20cm, unframed
£500 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 43
Roger Hilton (1911-1975)
Untitled (Thrashing limbs), c.1968 charcoal
55 x 75cm
£1,200 - 1,800
Provenance: Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 44
Roger Hilton (1911-1975)
Untitled (seated figure) charcoal
20 x 25cm
£800 - 1,200
Provenance: The estate of the artist; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Exhibited: Tate, St Ives, ‘Into Seeing New: Roger Hilton’, 7 October 200621 January 2007.
LOT 45
Roger Hilton (1911-1975)
Untitled, c.1970s
charcoal
29 x 22.5cm
£600 - 800
Provenance: The estate of the artist; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 46
Roger Hilton (1911-1975)
‘Standing Female Nude with Left Arm Raised’ pencil
25.5 x 20cm, unframed
£600 - 800
Provenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
Literature: ‘Roger Hilton: Night Letters’, edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.152.
LOT 47
Roger Hilton (1911-1975)
Untitled, 1972-1973 conté
24 x 19cm
£800 - 1,200
Provenance: Barry Flanagan, London; the property of a private collector.
LOT 48
Roger Hilton (1911-1975)
Untitled
signed with initials and dated ‘74’ l.r., pastel and gouache
54 x 38cm
£1,500 - 2,500
Provenance: The estate of the artist; Jonathan Clark & Co. Fine Art, London; the property of a private collector.
LOT 49
Roger Hilton (1911-1975)
Nude Turning, 1962
a series of eight silhouettes of a model turning
17.5 x 22.5cm, together with a signed letter in which the artist discusses the sequence of drawings, addressed to Mr Lederman and dated July 1962
22 x 24.5cm (9)
£3,000 - 5,000
Provenance: With Boundary Gallery, London; the property of a private collector.
LOTS 50-57
Spare lots
LOT 58 Trevor Bell (1930-2017)
‘Black and Grey’ signed and dated ‘BELL 59’ l.r., oil on canvas
101 x 76cm
£1,000 - 1,500
Provenance: The artist; with New Art Centre, London; with Sam Fogg, London; the property of a private collector.
LOT 59
Trevor Bell (1930-2017)
Abstract composition in brown and purple signed and dated ‘Bell 1959’ l.c., watercolour and gouache
90 x 58cm
£1,000 - 1,500
Provenance: Bonhams, New Bond Street, London, ‘Twentieth Century British Art’, sale no. 14815, 26 June 2007, lot 150; the property of a private collector.
LOT 60
Trevor Bell (1930-2017)
Untitled abstract pastel
44.5 x 67cm
£300 - 500
John Aldridge RA (1905-1983)
The Place House, Great Bardfield signed and dated ‘John Aldridge 60’ l.l., also dated ‘19/20 April 60’ verso, oil on board
26.5 x 35.5cm
£5,000 - 8,000
LOT 61
LOT 62
John Aldridge RA (1905-1983)
‘Great Bardfield’ - a view of a house under snow signed ‘John Aldridge’ l.r., inscribed with title and dated ‘Feb.1963’ verso, oil on board
26.5 x 35.5cm
£5,000 - 8,000
Provenance: Michael Cooke, Studio Gallery, Coggeshall.
There is a pencil sketch of this view in the Fry Art Gallery, Saffron Walden, Essex, titled ‘Hayfield, Squared Sketch, 1960’ cat. no. 2072.
LOT 63
John Aldridge RA (1905-1983)
Mill House, Great Bardfield pencil
18 x 23cm
£200 - 300
Provenance: From the artist’s studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, September 2013.
Provenance: From the artist’s studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, November 2010.
LOT 65
John Aldridge RA (1905-1983)
Farmstead by a river dated ‘27 Aug 76’ l.l., pencil
15 x 22.5cm
£200 - 300
Provenance: From the artist’s studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, December 2012.
LOT 66
John Aldridge RA (1905-1983) ‘Newbury’ inscribed and dated ‘1942’ l.l., pencil
21 x 22cm
£100 - 200
Provenance: From the artist’s studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Art Gallery, Saffron Walden, June 2012.
LOT 67
John Aldridge RA (1905-1983) ‘Dunwich’ inscribed with title l.l., pen
37 x 52cm
£200 - 300
Provenance: From the artist’s studio and estate, and then passed to the Fry Art Gallery in 2010 for sale; Fry Gallery Annual Sale, November 2011.
LOT 68
John Aldridge RA (1905-1983)
‘Essex Farmyard’
lithograph in colours, signed and dated ‘John Aldridge 48’ in pencil l.r.
visible 45 x 56cm
£300 - 500
Provenance: The collection of David and Sandy Fuller.
LOT 69
Edward Bawden RA (1903-1989)
‘Aries’, 1950 (MG 192)
linocut, 1989, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘1/10’, printed by Philip Bawden and published by Merivale Editions
image 10 x 9cm
£300 - 500
LOT 70
Edward Bawden RA (1903-1989)
‘We made our way down the precipitous slope and approached the body’ (MG 184) linocut, from ‘The Hound of the Baskervilles’ published by the Folio Society, 1987, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘13/75’ image 45.5 x 31cm
£300 - 500
Exhibited: The Fine Art Society, London, ‘Broadly Bawden’, 2005.
LOT 71
Edward Bawden RA (1903-1989)
‘Lion and Zebras’ (MG 189)
linocut in colours, 1989, artist’s proof, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘AP 20/25’ l.l. image 38.5 x 47cm
£300 - 500
LOT 72
Edward Bawden RA (1903-1989)
‘The Gnat and the Lion’ (MG 090)
linocut in colours, 1970, from ‘Aesop’s Fables’, signed ‘Edward Bawden’ in pencil
l.r., inscribed with title and numbered ‘Artist’s proof 18/50’ image 56 x 40.5cm
£1,000 - 1,500
LOT 73
Edward Bawden RA (1903-1989)
‘The Daw In Borrowed Feathers’ (MG 087)
linocut in colours, 1970, from ‘Aesop’s Fables’, signed ‘Edward Bawden’ in pencil
l.r., inscribed with title and numbered ‘Artist’s proof 9/50’ image 40.5 x 57.5cm
£800 - 1,000
LOT 74
Edward Bawden RA (1903-1989)
‘An Old Crab and a Young’, 1954 (MG 085)
linocut in colours, 1970, from ‘Aesop’s Fables’, signed ‘Edward Bawden’ in pencil l.r. and inscribed with title l.l.
image 37.5 x 24cm
£1,000 - 1,500
Provenance: With Chris Beetles, London.
Exhibited: City of Manchester Education Committee, picture circulation scheme, number ERM/279; Chris Beetles, London, ‘The Illustrators: The British Art of Illustration 1800-1997’, catalogue no. 520; Chris Beetles, London, ‘Summer Show 2006’, catalogue no. 99.
LOT 75
Edward Bawden RA (1903-1989)
‘Hares, Foxes and Eagles’ (MG 092)
linocut in colours, 1970, from ‘Aesop’s Fables’, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘Artist’s proof 42/50’
image 40.5 x 55.5cm
£800 - 1,200
LOT 78
Edward Bawden RA (1903-1989)
LOT 76
Edward Bawden RA (1903-1989)
‘Tortoise’, etching, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘39/40’ plate 8.5 x 10.5cm
£400 - 600
LOT 77
Edward Bawden RA (1903-1989)
‘Bawden in Portugal’ a special section published in ‘Motif: A Journal of the Visual Arts; No. 9: Summer 1962’, printed at the Shenval Press, containing lithographic reproductions of a series of linocuts which Bawden made especially for Motif including ‘Obidos’, ‘Lamego’, ‘Beja’ and ‘Evora’
30.5 x 24cm
£200 - 300
LOT 79
Edward Bawden RA (1903-1989)
‘Queluz’ - the Sphinx in the Neptune Garden of the Royal Palace, Sintra two lithographs after woodcut endpapers created for ‘Motif: A Journal of the Visual Arts; No. 9: Summer 1962’, printed at the Shenval Press
29.5 x 23cm (2)
£200 - 300
‘Évora’; ‘Lisboa’
two lithographs in colours after linocuts created for ‘Bawden in Portugal’, published in ‘Motif: A Journal of the Visual Arts; No. 9: Summer 1962’, printed at the Shenval Press, visible 29.5 x 40.5cm and 29.5 x 33.5cm (2)
£200 - 300
79
LOT 80
Edward Bawden RA (1903-1989)
‘Salammbô’
eight lithographs in colours from ‘Salammbô’ by Gustave Flaubert, illustrated by Bawden, one with a limitation page signed ‘Edward Bawden’ and numbered ‘825’ in pencil attached verso, from an edition of 1500 copies printed at the Cambridge University Press for members of the Limited Editions Club of New York, 1960
visible 20.5 x 33.5cm (8)
£400 - 600
LOT 81
Edward Bawden RA (1903-1989)
‘The Discovery and Conquest of Peru’ a set of ten lithographs in colours from ‘The Discovery and Conquest of Peru’, a translation of books I to IV of Augustin de Zárate’s history of these events, illustrated by Bawden and published by the Folio Society, 1981
visible 21 x 15cm, ten framed in pairs (5)
£200 - 300
81 part lot
80 part lot
LOT 82
Edward Bawden RA (1903-1989)
‘St James’s Palace’ (MG 072) linocut in colours, 1966, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered ‘Artist’s proof 10/75’ image 50.5 x 66cm
£200 - 300
LOT 83
Edward Bawden RA (1903-1989)
‘St Paul’s’ (MG 052) autolithograph in colours, 1958, with stamped signature and title, printed at the Royal College of Art, with RCA watermark sheet 49 x 62.5cm
£400 - 600
LOT 84
Edward Bawden RA (1903-1989)
‘The Palace of Westminster’ (MG 068) linocut in colours, inscribed with title and numbered ‘Artist’s proof 41/75’ image 51 x 65.5cm
£800 - 1,200
LOT 85
Edward Bawden RA (1903-1989)
‘Gulliver’s Travels’
a set of sixteen lithographs in colours from ‘Gulliver’s Travels’ by Jonathan Swift, illustrated by Bawden and published by the Folio Society, London, first printed 1965, the prints offered for sale are later reprints visible 21.5 x 14cm, sixteen works in four frames (4) £300 - 400
LOT 86
Edward Bawden RA (1903-1989)
‘Review of Revues and Other Matters’ twelve lithographs in colours from ‘Review of Revues and Other Matters’, illustrated by Bawden and edited by Charles B Cochran, published by Jonathan Cape, London, 1930 visible 6.5 x 12.5cm, twelve works in three frames (3) £200 - 300
LOT 87
Edward Bawden RA (1903-1989)
‘Dunlopera’ a group of twenty-three lithographs in colours from ‘Dunlopera: The Works and Workings of the Dunlop Rubber Company’ by Paul Jennings, illustrated by Bawden, privately published for the Dunlop Rubber Company, 1961 11.5 x 13cm and similar, twenty-three works in four frames (4) £200 - 300
LOT 88
Eric Ravilious (1903-1942)
a Wedgwood pottery mug, designed by Eric Ravilious to commemorate the coronation of Her Majesty Queen Elizabeth II, 1953, with printed marks to base
16.5cm high
£100 - 150
LOT 89
Eric Ravilious (1903-1942)
Fireworks
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938
visible 22 x 14cm
£150 - 200
LOT 90
Eric Ravilious (1903-1942)
‘Theatrical Properties’
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938 visible 22 x 14cm
£100 - 150
LOT 91
Eric Ravilious (1903-1942)
‘Clerical Outfitter’ lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938 visible 22 x 14cm
£100 - 150
LOT 92
Eric Ravilious (1903-1942)
‘Bakers and Confectioners’ lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938 visible 22 x 14cm
£150 - 200
LOT 93
Eric Ravilious (1903-1942)
‘Cheesemonger’
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938 visible 22 x 14cm
£150 - 200
LOT 94
Eric Ravilious (1903-1942)
‘Hams’
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938
visible 22 x 14cm
£100 - 150
LOT 95
Eric Ravilious (1903-1942)
‘Hardware’
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938 visible 22 x 14cm
£150 - 200
LOT 96
Eric Ravilious (1903-1942)
‘Submarine Engineer’
lithograph in colours, from ‘High Street’ by J M Richards, printed by the Curwen Press and published by Country Life, London, 1938
visible 22 x 14cm
£150 - 200
LOT 97
Frank Dobson RA (1886-1963)
‘The Nest’, c.1930s plaster with clay slip
32.5cm wide
19cm deep
34cm high, on a wooden base, housed in a travelling case
£1,000 - 1,500
Frank Dobson is considered to be one of the most innovative and original British sculptors of the twentieth century. He was one of the first modern British sculptors to directly carve his materials, creating works recognisable by their simplified and stylised forms.
Only discovered in recent years, the lot offered for sale, titled ‘The Nest’, is a rare example of Dobson’s earlier work, much of which was lost when his studio in Manresa Road, Chelsea, was heavily bombed and burnt out during the Blitz.
Not included in the ‘The Sculpture of Frank Dobson’ by Neville Jason, published in 1994, the lost sculpture was discovered by chance at auction and verified by Goldmark when researchers discovered an original chalk drawing for the sculpture titled ‘Study for Sculpture: a bird feeding nestlings’, held in the permanent collection of the V&A (E.328-1964).
Previously held in the collection of Derby Museum, the plaster offered for sale was used by Goldmark to create a bronze edition of ‘The Nest’, cast with the permission of the Dobson Estate in 2020 in an edition of 12.
LOT 98
Pierre-Auguste Renoir (French, 1841-1919)
‘Sur la Plage à Berneval’ (Delteil 5); ‘Le Chapeau Épinglé’ (Delteil 8) two drypoint etchings, both signed in the plate plate 13 x 9cm and 11.5 x 8.5cm respectively (2)
£600 - 800
LOT 99
Christopher Wood (1901-1930)
‘á Madame Laloy amicalement’ signed, inscribed with title, and dated ‘Christopher Wood/1926’ u.l., pencil
49 x 32cm
£1,000 - 1,500
Provenance: Sotheby’s, London, ‘Drawings and Watercolours from the Collection of the Late Sir John and Lady Witt’, 19 February 1987, lot 393.
This portrait depicts Madame Laloy, the wife of musicologist Louis Laloy, and most likely dates from the spring of 1926, when Christopher Wood was most friendly with them.
In a letter to his mother in March 1926, Wood expressed an ambition to design a ballet with Laloy and, later that year, he met Laloy and the French composer Georges Auric in London, to discuss designing scenery for a Chinese play. Previously, Wood had been commissioned by Diaghilev to create designs for his 1926 production of ‘Romeo and Juliet’, however, these were later replaced with designs by Miró and Ernst.
This period marks a shift in Wood’s work. His view of his French connections began to change and he began to turn his attentions away from the ballet. It was at this moment that the character of Wood’s work would start to develop, moving away from the modernist influences of Cocteau, Picasso and Diaghilev.
By August 1926, Wood’s work was influenced by his friendship with Ben and Winifred Nicholson. This new outlook would shape his work in Cornwall and Brittany over the next four years. The drawing offered for sale showcases Wood’s minimalist approach to line, capturing form with just the essential details.
LOT 100
Louis Icart (French, 1888-1950)
‘Vitesse’ (Speed II), 1933 etching with aquatint and drypoint in colours, signed ‘Louis Icart’ in pencil and inscribed ‘105’, with artist’s blind stamp plate 39.5 x 65.5cm
£600 - 800
Provenance: Bonhams, Knightsbridge, ‘Old Master, Modern and Contemporary Prints’, 21 September 2011, lot 298.
LOT 101
Paul Nash (1889-1946)
A rocky landscape signed, inscribed and dated ‘For/Oliver/from Paul/Christmas 1938’, pencil and watercolour 18 x 26cm, unframed
£1,500 - 2,000
Provenance: The Estate of Stanley Jones MBE RE.
100
LOT 102
Paul Nash (1889-1946)
‘The Bouquet’, 1925 woodcut on paper, from ‘The Woodcut: An Annual II’, printed by the Curwen Press for Fleuron Ltd., 1928 image 12 x 9.5cm
£200 - 300
LOT 103
Edward McKnight Kauffer (American, 1890-1954)
‘Flight’, 1917 woodcut, from the suite ‘Contemporary English Woodcuts’, printed by the Baynard Press, in an edition of 550 copies in 1922 visible 11 x 17.5cm
£150 - 250
LOT 104
John Nash RA (1893-1977)
Ipswich Docks, c.1922
pencil and crayon, squared for transfer, with estate stamp verso 18 x 24.5cm
£600 - 800
Provenance: Wolfers & Hilton, The John Nash Estate.
LOT 105
Barnett Freedman (1901-1958)
‘Life Study’ signed and dated ‘Barnett Freedman/23’ l.r., inscribed ‘64F’ l.c., pen and ink and wash 23 x 27cm
£200 - 300
Provenance: The Freedman Estate.
Exhibited: Tate Gallery, The Arts Council of Great Britain retrospective, 1958, catalogue no. 33.
Thomas Cooper Gotch (1854-1931) Sunset signed ‘T C Gotch’ l.r., oil on canvas
30.5 x 45.5cm
£2,000 - 3,000
Provenance: The property of a private collector.
LOT 106
LOT 107
Sir Jacob Epstein (1880-1959)
Portrait of a nude figure watercolour over pencil, with a pencil study of a man, woman and child verso 57 x 43.5cm
£2,000 - 3,000
LOT 108
Sir Jacob Epstein (1880-1959) Hand of God signed ‘Epstein’ l.r., pencil and watercolour 44 x 57cm
£1,500 - 2,000
36cm high
46cm high overall
LOT 109
Sir Jacob Epstein (1880-1959)
‘Chinese Boy’, 1950 (Silber 422)
bronze with brown patination, on a stone base
£3,000 - 4,000
LOT 110
David Bomberg (1890-1957)
View of Ronda
signed and dated ‘Bomberg 54’ l.l., charcoal and pastel 24 x 42cm
£3,000 - 5,000
David Bomberg made several significant trips to Ronda, Spain, profoundly influencing his artistic work. His first visit to Spain was in 1929, where he spent six months in Toledo, drawing inspiration from the high sun and weathered hilltop townscape. Bomberg returned to Spain with his future wife, Lilian Holt, in 1934 and 1935, spending time in Ronda and Asturias. Ronda, perched high in the Andalusian mountains and divided by a dramatic gorge, captivated Bomberg. He described Ronda as ‘the most interesting of the towns of Southern Spain’. The town’s extraordinary landscape, with its ancient city on a glowing rock,
inspired the artist. He explored the area on a donkey, finding vantage points to study and paint the remarkable town.
Bomberg’s final visit to Ronda was between 1954 and 1957. His drawings and paintings from this period are characterised by structured brushstrokes capturing the unique topography. In the present lots, we see Bomberg’s ability to translate the slopes, buildings and skies into richly graded monotone effects. Sworders are pleased to offer examples from both his 1930s and 1950s visits in this sale.
David Bomberg (1890-1957) Mountains, Penarrubia
signed and dated ‘Bomberg/35’ l.l., watercolour and gouache
41.5 x 54.5cm
£8,000 - 12,000
LOT 111
David Bomberg (1890-1957)
The Gorge and Bridge, Ronda signed and dated ‘Bomberg 35’ l.l., black chalk
41 x 32cm
£4,000 - 6,000
Provenance: With Thomas Agnew & Sons; with Benjamin Turner Fine Art Ltd., London.
LOT 112
Bargee figure
gouache on paper
22 x 36.5cm
£4,000 - 6,000
Provenance: St George’s Gallery, London, 1949.
LOT 113
David Bomberg (1890-1957)
LOT 114
David Bomberg (1890-1957)
Composition with three figures signed and dated ‘Bomberg ‘19’ l.l., pencil, brush, and ink and wash on tracing paper
26 x 19.5cm
£3,000 - 5,000
Provenance: Lilian Bomberg; with Anthony d’Offay, London; Christie’s, London, ‘20th Century British Art’, 4 June 1999, lot 147.
LOT 115
David Bomberg (1890-1957)
Andalucían landscape signed ‘Bomberg’ l.r., pen and ink and gouache 20 x 35.5cm
£2,000 - 3,000
signed ‘Edward Seago’ l.l., watercolour over pencil
37.5 x 27cm
£2,000 - 3,000
Provenance: With P & D Colnaghi & Co. Ltd., London.
LOT 116
Edward Seago RWS (1910-1974)
Corpus Christi procession, Lenno, Lake Como
LOT 117
English School, mid-20th century
A river landscape oil on board
50 x 61cm
£200 - 300
LOT 118 ... Crozier (20th century) Farmhouse view signed ‘Crozier’ l.r., oil on board
40 x 47cm
£200 - 300
LOT 119
Spare lot
LOT 120 Rudolph Ihlee (1883-1968)
The outskirts of Collioure (Les Alentours du village), 1926 oil on canvas
51 x 61cm
£800 - 1,200
Exhibited: Salon d’Automne, 1926.
Literature: James Trollope, ‘Rudolph Ihlee: The Road to Collioure’, published by Lund Humphries, 2022, listed page 116.
signed ‘HANS HEYSEN’ l.l., watercolour
38 x 31cm
£2,000 - 3,000
LOT 121
Hans Heysen (Australian, 1877-1968)
Blue gums
LOT 122
Reg Gammon (1894-1997)
Woman and donkey signed ‘Gammon’ l.l., oil on board
50 x 61cm
£800 - 1,200
Provenance: The collection of Robert and Jenny Borgerhoff Mulder.
LOT 123 Reg Gammon (1894-1997)
Men at work; Still life of daffodils by a window
two, both signed ‘Reg Gammon’ l.l., watercolour
29.5 x 42.5cm and 27 x 38cm respectively (2)
£200 - 300
Provenance: The collection of Robert and Jenny Borgerhoff Mulder.
LOT 124
Reg Gammon (1894-1997)
Figures on a mountain path signed ‘Gammon’ l.r., oil on board
45 x 57cm
£800 - 1,200
Provenance: The collection of Robert and Jenny Borgerhoff Mulder.
three, the first two signed ‘Reg Gammon’ and inscribed with title, watercolour
37 x 57cm and smaller (3)
£250 - 350
Provenance: The collection of Robert and Jenny Borgerhoff Mulder.
125
124
LOT 126
William Bowyer RA (1926-2015)
View from a bridge, possibly Richmond
signed and dated ‘William Bowyer 84’ l.r., watercolour and gouache
36.5 x 56cm, unframed
£250 - 350
LOT 127
William Bowyer RA (1926-2015)
Boats docked in a harbour
signed and dated ‘William Bowyer 1950’ l.r., watercolour and gouache
34.5 x 53cm, unframed
£250 - 350
LOT 128
William Bowyer RA (1926-2015)
Beach at low tide
signed and dated ‘William Bowyer 1987’ l.r., watercolour
52 x 76cm, unframed
£300 - 400
LOT 129
William Bowyer RA (1926-2015)
‘Hammersmith Bridge’
signed and dated ‘William Bowyer 59’ l.r., watercolour and gouache
36 x 36.5cm, unframed
£300 - 400
LOT 130
HM King Charles III (b.1948)
‘Tetbury Church From Highgrove House’ lithograph in colours, signed and dated ‘Charles ‘98’ in pencil l.r., and numbered ‘44/100’, printed at Curwen Chilford Prints on paper made at St Cuthbert’s Mill, Somerset, complete with a certificate of authenticity signed by the publisher, and in original box as issued
image 14.5 x 20cm
£500 - 800
LOT 131
Francis Russell Flint (1915-1977)
Still life with daffodils
signed ‘FRANCIS R. FLINT’ l.r., also signed and inscribed verso, oil on canvas
51 x 61cm
£300 - 400
LOT 132
Ian Parker (b.1955)
A basket of strawberries; A bowl of plums
a pair, both signed ‘I PARKER’ l.r., oil on canvas board
23.5 x 31.5cm (2)
£300 - 500
LOT 133
Peter Greenham RA (1909-1992) Lindisfarne, Northumberland signed with initials l.r., oil on canvas laid on board
32 x 43cm
£1,000 - 1,500
Provenance: With Jonleigh Gallery, Guildford; Robert Dale Esq.
LOT 134
George Houston (1869-1947)
A river landscape, believed to be the Garnock near Dalry signed ‘GEORGE HOUSTON’ l.r., oil on canvas
46 x 61cm
£600 - 800
This picture was painted by Houston at the request of the Kirk Session of the Courthill Church, Dalry, Ayrshire, and was presented to William Garrick when he retired from the office of Session Clerk after many years of service.
LOT 135
James McIntosh Patrick RSA (1907-1998)
‘View from Craigie Knowes’ signed ‘McIntosh Patrick’ l.l., oil on canvas 46 x 56cm
£3,000 - 5,000
This lot is sold with a signed letter from the artist discussing the painting.
LOTS 136-137
Spare lots
LOT 140
James Brereton (b.1954)
‘Going Aloft Aboard the Solent’ signed ‘James Brereton’ l.r., also signed and inscribed with title verso, oil on canvas
61 x 96.5cm
£800 - 1,200
LOT 138
Robert Banks (1911-2000)
‘Soaking Wine Barrel, Santarchangelo’ signed and numbered ‘BANKS/331’ l.l., watercolour
28 x 42cm
£300 - 400
LOT 139
Patrick Livingstone (b.1956)
‘Velshelda off the Needles, J-Class Yachts’ signed ‘P. LIVINGSTONE’ l.l., oil on canvas
51 x 76cm
£300 - 500
LOT 141
Anthony Gibbs (b.1951)
Lion and lioness signed and dated ‘Anthony Gibbs ‘78’ l.l., oil on canvas
41 x 51cm
£400 - 600 141
LOT 142
Terence Cuneo (1907-1996)
The Grand National, 1991 signed and dated ‘CUNEO/APRIL 1991’ l.r., oil on canvas
76.5 x 101.5cm
£8,000 - 12,000
Provenance: The David and Pam McCleave Collection of Modern British Art.
This magnificent work captures the viewer’s attention by expressing the drama and emotion of a crowded jump in our country’s most famous horse race. ‘Crammer’, ridden by John Durkan in yellow and black silks, can be seen falling at the fence named ‘The Chair’ at Aintree. The painting was entered into a competition and exhibition of works depicting the 1991 Grand National. Organised by the publication ‘Horse & Hound’, Cuneo, unfortunately, was not the winning entry, perhaps because the realistic depiction of a horse falling was not considered appealing to the judges.
LOT 143
John W Mills (1933-2023)
‘Blitz - The National Firefighters’ Memorial’, 1991 bronze with dark brown patination, signed ‘John Mills’ and numbered ‘4/6’ to the base
30cm high
38cm high overall on a wooden base
£500 - 700
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 144
Leon Alaric Shafer (American, 1866-1940)
‘Invest in the Victory Liberty Loan’ lithographic poster in colours, 1918, printed by the W F Powers Co. Litho., NY
visible 72.5 x 96.5cm
£200 - 300
LOT 145
Terence Cuneo (1907-1996)
The German surrender at Lüneburg Heath, 4 May 1945 signed and dated ‘CUNEO/FEBRUARY 1969’ l.l., oil on canvas
101.5 x 126.5cm;
together with a collection of correspondence relating to the picture between Mr Haworth, of James Haworth & Brother Ltd., and others, including the 1st Viscount Montgomery of Alamein; later correspondence between Mr John Haworth and David McCleave (qty.)
£10,000 - 15,000
Provenance: Mr Haworth; the David and Pam McCleave Collection of Modern British Art.
This painting depicts a monumental moment in history, captured at the time with photographs. No official war artist was commissioned at the time, and Field Marshal Montgomery was said to be disappointed that there was nothing more substantial than a few photographs to portray this important meeting. He had mentioned this to Garfield Weston (director of Fortnum & Mason) who then discussed it with James Haworth in 1968. It was Haworth who suggested Terence Cuneo as just the artist to recreate the scene, as can be seen in the accompanying correspondence sold with this lot. Cuneo preferred to work from life drawings, but agreed to proceed with the commission and it is said that ‘Monty’ was delighted with the painting.
Originally, Garfield Weston intended for the painting to be displayed in the restaurant of Fortnum & Mason, but the acquisition did not proceed as planned. Consequently, the painting stayed with the Haworth family until 2006, when it was acquired by David McCleave.
LOT 147
Raymond Campbell (b.1956)
Still life with orange, raspberries, nuts and grapes signed ‘Raymond Campbell’ l.r., oil on board
14 x 22cm
£300 - 500
Provenance: With Bourne Gallery.
LOT 146
Edouard Léon Cortès (French, 1882-1969)
Boulevard de la Madeleine, le Soir signed ‘EDOUARD CORTES’ l.r., oil on board
22 x 27.5cm
£2,000 - 4,000
LOT 148
Gabriel Custodio (Philippines, 1912-1993)
A market in the Philippines signed and dated ‘G Custodio/5/59’ l.r., oil on canvas
86 x 122cm
£1,500 - 2,500
149
Serge Marshennikov (b.1971) ‘Innocent Dreams’ signed in Cyrillic l.l., also signed and dated ‘Serge Marshennikov/2013’ verso, oil on canvas
60 x 70cm
£6,000 - 8,000
LOT
LOT 150
Bruno Breil (German, 1888-1953)
A child seated on a chair reading signed ‘Breil’ l.l., also faintly signed and inscribed in German on stretcher verso, oil on canvas
56 x 50cm
£300 - 400
LOT 151
Roman Kravchuk (Ukrainian, contemporary)
Portrait of a young girl signed in Cyrillic l.l., also signed and inscribed in Cyrillic and dated ‘2004’ verso, oil on canvas
70 x 53.5cm
£200 - 300
LOT 152
Goyo Dominguez (Spanish, b.1960)
‘Melodia’
signed ‘Goyo’ and dated ‘98’ l.r., also signed, inscribed with title and dated verso, oil on board
100 x 81cm
£500 - 700
LOT 153
Yuri Matushevski (1930-1999)
‘Birch Trees In Winter’
signed in Russian and dated ‘83’ l.r., oil on board
50 x 70cm
£600 - 800
LOT 154
George Bouzianis (Greek, 1885-1959)
Still life with coffee cup signed ‘Bouzianis’ l.l., watercolour
33.5 x 23.5cm
£2,000 - 3,000
Provenance: The Property of a European Collector.
LOT 155
Léopold Survage (Russian-French, 1879-1968)
‘Maison de repos’
signed and dated ‘Survage/43’ l.r., also signed and inscribed with title verso, tempera on board 70 x 99cm
£15,000 - 20,000
Provenance: The painting was gifted to Francis Kelly, thence by descent - Kelly worked under Survage at his studio for three years; Sotheby’s, 4 December 1991, lot 155.
This lot is sold with a certificate of authenticity from Anne-Marie Divieto.
Léopold Survage’s ‘Maison de repos’ is a masterful exploration of space, colour, and form, illustrating the artist’s remarkable ability to unfold multiple dimensions within a single, flat surface. Survage was renowned for his innovative approach to perspective, twisting and connecting spaces in ways that both challenge and captivate the viewer. In this work, the outlines of figures and shapes merge seamlessly with their surrounding spaces, using bold, contrasting colour blocks that invite the eye to navigate complex compositions with ease.
The central figure appears to walk across a wavy pavement, while a second figure on the left combs her hair within a space created by a tear in the composition. This dynamic interplay between continuity and discontinuity creates a sense of movement and change, allowing the viewer to feel time unfolding within the frame. Survage’s paintings often evoke an unfinished narrative, encouraging a desire to uncover more, even as they remain anchored within the confines of their framed space.
As one of the great painters of his time, Survage’s work stands out for its inventive handling of space and form, making him a key figure in the development of early modern abstraction. His ability to blend figuration with abstraction placed him at the forefront of 20th-century art history, pushing boundaries in both technical skill and conceptual depth.
LOT 156
Henri Hayden (Polish-French, 1883-1970)
‘Le Mont Moyen’ signed and dated ‘Hayden/61’ l.l., gouache
39 x 57cm
£1,500 - 2,500
Provenance: Graeme Shankland Esq.; with the Waddington Galleries, London; Kerry Morris, 1986; John Martin of London.
LOT 157
Artashes Abraamyan (Armenian, 1921-2003)
‘Mountains in Sunset’ signed in Cyrillic and dated ‘83’ l.r., also signed and inscribed verso, oil on canvas
57 x 80cm
£500 - 700
LOT 158
Yuri Matushevski (1930-1999)
‘The Autumn’ signed in Cyrillic and dated ‘64’ l.l., oil on card
56 x 75cm
£700 - 900
LOT 159
Théo Tobiasse (French, 1927-2012)
‘Les Bergers de New York’
signed ‘theo tobiasse’ u.l., inscribed with title u.r. and dated ‘69’ c.r. edge (beneath arm), oil on canvas
65 x 81cm
£3,000 - 4,000
Provenance: With Madden Galleries, London. 159
LOT 160
Juan Genovés (Spanish, 1930-2020)
‘La Carrera’
signed and dated ‘Genovés 66’ l.r., inscribed with title on backboard, watercolour
52.5 x 69cm
£3,000 - 5,000
Provenance: With Marlborough Fine Art Ltd., London; Derek Clogg Esq.
LOT 161
Mimmo Paladino (Italian, b.1948)
Untitled, figures with arrow; Untitled, head
a pair, both signed and indistinctly dated 199(?) l.r., mixed media and collage on paper
76 x 56cm (2)
£1,500 - 2,500
Provenance: The collection of Robert and Jenny Borgerhoff Mulder
LOT 162
Salvador Dali (Spanish, 1904-1989)
‘Space Venus’
polished bronze with black and green patination in two parts, inscribed ‘Dali’ by the foundry, numbered ‘124/350’, stamped with ‘IAR’, Inter Art Resources Ltd. mark, with
LOT 163
Salvador Dali (Spanish, 1904-1989)
‘Adam and Eve’
bronze with black and green patination in three parts, inscribed ‘Dali’ by the foundry, numbered ‘340/350’ and stamped with ‘IAR’, Inter Art Resources Ltd. mark, on the right base, with ‘Perseo SA’ foundry mark on the left base, conceived in 1968 and first cast in 1984, complete with certificate of authenticity from I.A.R Art Resources Ltd.
40cm wide
30cm deep
52cm high
£8,000 - 10,000
LOT 165
Marinos Georgaras (Greek, b.1952)
Fish signed ‘Marinos’ l.l., oil on canvas
61 x 45cm
£300 - 500
Provenance: Acquired directly from the artist in Zante in 1993.
LOT 164
Oskar Rabin (1928-2018)
Church and swan signed and dated ‘66’ l.r., ink and watercolour 30 x 41cm
£400 - 600
Provenance: The collection of Robert and Jenny Borgerhoff Mulder.
LOT 166
Panos Tsarouhas (Greek-Swedish, b.1928)
‘The Musician of the Village’ signed and dated ‘Panos 91’ l.l., also signed verso, oil on canvas
60 x 49.5cm
£300 - 500
Provenance: Acquired directly from the artist in 1992.
Exhibited: The Greek Brotherhood Centre, London, ‘The Hellenes’, 16 November - 18 December 2015, catalogue no. 35.
LOT 167
Aubrey Williams (Guyanese-British, 1926-1990)
‘Solar I’
signed and dated ‘Aubrey Williams/66’ l.r., also signed and inscribed with title verso, oil on canvas
60.5 x 46cm, unframed
£3,000 - 5,000
Provenance: Given to the vendor’s late father by the artist. The vendor’s parents were neighbours with Williams in London in the 1960s, and the artist’s daughter and the vendor attended kindergarten together.
LOT 168
Costas Varotsos (Greek, b.1955)
Untitled a pair, glass and metal armature approximately 48cm wide
48cm deep
225cm high (2)
£5,000 - 7,000
IMPORTANT INFORMATION: Illustration of sculptures in situ. The works have since sustained some damage, please refer to the additional images on our website.
LOT 169
Marcel Dyf (French, 1899-1985)
‘Study of Claudine’ oil on canvas board
45 x 36cm
£1,500 - 2,500
LOT 170
Vasilis Zenetzis (Greek, 1935-2016)
Portrait of Eleftherios Venizelos (1864-1936), the former Prime Minister of Greece signed in Greek l.r., also signed verso, oil on canvas
55 x 45cm
£500 - 700
Provenance: Acquired directly from the artist.
A study of a larger portrait of Venizelos which is illustrated in Peter Constant, ‘Zenetzis: Impressions of Hela’, 2020, pp.203 and 205.
LOT 171
Vasilis Zenetzis (Greek, 1935-2016)
‘The Parthenon from Philopappou Hill’ signed in Greek l.r., also inscribed verso, oil on canvas
50 x 40cm
£700 - 1,000
Provenance: Acquired directly from the artist.
Exhibited: Matala Gallery, Athens, catalogue no. 37, the Athens Olympiad, 2004.
Literature: Peter Constant, ‘Zenetzis: Impressions of Hela’, 2020, p.225, illustrated.
LOT 172
Aggelos Papadopoulos (Greek, 1953-2017)
On the bench, Athens signed in Greek and dated ‘04’ l.l., oil on canvas
30 x 40cm
£300 - 500
Provenance: Acquired directly from the artist in 2004.
Exhibited: The Cypriot Brotherhood Centre, London, ‘Five Greek Artists’, 14-28 November 2004, catalogue no. 35; the Greek Brotherhood Centre, London, ‘The Hellenes’, 16 November - 18 December 2015, catalogue no. 11.
LOT 173
Fernandez Arman
(French-American, 1928-2005)
Guitar bronze
34cm wide
27cm deep
91cm high
£6,000 - 8,000
Provenance: The Property of a European Collector.
LOT 174
Fernandez Arman (French-American, 1928-2005)
Fragments de Chine four fragments of pottery, together with a copy of ‘Arman: Fragments de Chine’, published by Siwert Bergström, Malmö, Sweden, 1990, displayed together in a Perspex case
39cm wide
36cm deep
25cm high overall
£300 - 500
Provenance: The property of a European Collector.
LOT 175
Fernandez Arman (French-American, 1928-2005 ‘Harpe de Couleurs’ (Harp of Colours), 1975 screenprint in colours on three sheets of Plexiglas, printed signature l.l., inscribed ‘Artcurial’ and numbered ‘469/2500’ to base, published by Artcurial, Paris
31cm wide
14.5cm deep
68cm high
£1,000 - 2,000
Provenance: The Property of a European Collector.
176
LOT 176
Marc Chagall
(Russian-French, 1887-1985)
‘L’Ange au Chandelier’ an offset lithographic poster in colours, signed and dated ‘Marc Chagall/1973’ in pen l.l., printed by Mourlot, Paris, for the opening of the National Marc Chagall Biblical Message Museum, Nice, on 7 July 1973, the artist’s 86th birthday visible 74 x 49cm
£500 - 700
LOT 177
After Fernand Léger
Abstract composition serigraph in colours, 1954/55, numbered ‘614/1000’, printed by Sérigraphie Fernand Léger, Paris, with blind stamp sheet 38 x 56cm, unframed
£300 - 400
LOT 178
Enrico David (Italian, b.1966)
Untitled (study for mural), 2009 screenprint in colours sheet 60 x 50cm
£300 - 400
LOT 179
Mark Tobey
(American-Swiss 1890-1976)
‘Mandarin Flowers’ lithograph in colours, 1973, signed and dated ‘Tobey 73’ in pencil l.r. and numbered ‘43/95’ sheet 77.5 x 102.5cm, unframed
£250 - 350
177
LOT 180
Jim Dine (American, b.1935)
‘Braid’
etching, signed and dated ‘Jim Dine 1973’ in pencil l.r. and numbered ‘18/46’, printed by Maurice Payne, New York, published by Petersburg Press, London sheet 105.5 x 78cm, unframed
£800 - 1,200
LOT 181
Stephen Prina (American, b.1954)
‘Exquisite Corpse: The Complete Paintings of Manet’ (123 of 556), 1988
ink wash on paper and offset lithographic legend
64 x 49cm and 65.5 x 82.5cm (2)
£1,000 - 1,500
Provenance: With Karsten Schubert, London; Richard Salmon Gallery, London.
Exhibited: Karsten Schubert, London, ‘Stephen Prina: The Complete Paintings of Manet, Recent Work’, 3 October - 28 October 1989.
WOMEN IN ART
The history of women in the art world is a tale of perseverance, creativity and gradual recognition. Historically, female artists faced significant barriers, including limited access to formal education and professional opportunities. Despite these challenges, many made substantial contributions to art before the 20th century, such as Artemisia Gentileschi, Angelica Kauffman, Élisabeth Vigée Le Brun and Berthe Morisot. Often working in the shadows of their male counterparts, there are, of course, far fewer female names that spring to mind when thinking of the canon of art. Over time, the position of women in the art world has evolved, with increasing recognition and celebration of their work in the 20th century, brought about by iconic stars such as Frida Kahlo, Georgia O’Keeffe and Yayoi Kusama presenting their unique, dynamic feminine styles. Today, women artists are prominent figures in contemporary art, shaping the discourse and pushing boundaries, and this has increased the interest in collecting at auction too. Sworders is pleased to present this curated selection of female artists with their displays of creativity and diversity. There are fewer than 50 lots in a 440-lot sale, highlighting the struggle women have had to be represented in the art world.
Gwen John (1876-1939) was best known for her introspective portraits and still lifes. Her work, characterised by its subtle use of colour and quiet intensity, often depicted solitary women in contemplative poses. In this sale, we have two peaceful views from her studio in rue Terre Neuve, Meudon (lots 185 and 186). Despite being overshadowed by her brother Augustus John and her mentor Auguste Rodin during her lifetime, Gwen John’s art has gained significant recognition posthumously.
Winifred Nicholson (1893-1981) was celebrated for her vibrant still lifes and landscapes. Her delicate use of colour and light brought a unique freshness to her subjects, often flowers and natural scenes, as we see in lot 192. The softness of this oil is in stark contrast to the sharp edge and abstract forms of Barbara Hepworth (1903-1975) (lots 194 and 195). A renowned British sculptor and printmaker, her modernist work often explored the relationship between space and mass, yet her deep connection to nature is evident in her organic shapes carved in stone, wood and bronze.
The connection between Nicholson and Hepworth was both personal and professional. Winifred Nicholson was married to Ben Nicholson from 1920 to 1938, and during this time, the couple were part of a vibrant artistic community that included Hepworth. Ben Nicholson and Hepworth met in 1931, and their relationship grew both romantically and artistically. They married in 1938, the same year Ben and Winifred divorced. Despite the personal complexities, Winifred and Barbara shared mutual respect for each other’s work. Their artistic styles, while different, both emphasised a deep connection to nature and a commitment to exploring new forms of expression.
During her long life, French-American Louise Bourgeois (1911-2010) was a global superstar in the art world, and her sculpture, installation, printmaking and embroidery (lot 226) have had a profound impact on contemporary art. Bourgeois’s art often delves into themes of memory, trauma and the body, with her iconic spider sculptures symbolising both protection and entrapment. Another provocative figure is British Tracey Emin (b.1963) (lots 223-225), best known for her thought-provoking, often autobiographical works. Emin’s art, which includes installations, paintings and neon text pieces, often explores themes of identity, sexuality and personal trauma. Her candid and raw approach has made her a prominent figure in contemporary art.
This curated selection showcases the remarkable contributions of women artists, highlighting their creativity, diversity and the unique perspectives they bring to the art world.
LOT 182
Elsie Marian Henderson (1880-1967)
Two tigers pastel
23 x 35.5cm
£300 - 500
Provenance: With Sally Hunter Fine Art, London; Michael Simonow Esq., May 1992.
Exhibited: Sally Hunter Fine Art, ‘Two Draughtsmen of Style: Nommie Durell & Elsie Henderson’, May - June 1992, catalogue no. 46.
LOT 183
Jean Margaret Peace (1915-1989)
Victoria Park, Stafford, 1951
signed ‘J. M. Peace’ l.r., watercolour
38 x 48cm
£400 - 600
Jean, a student of Edward Bawden and Eric Ravilious at the Royal College of Art, taught alongside Nan Youngman until her marriage to glass engraver David Peace. Due to restrictions on married women at the time, she was compelled to give up her teaching career. Edward Bawden praised her highly, stating that she ‘possessed a standard of artistic achievement rare in the work of students’. John Betjeman was an admirer of her writing which included a nature book, ‘Sweet Vernal’, which was published in 1966. She produced a series of watercolours in the early 1950s while raising her family in Staffordshire before beginning to lose her sight.
LOT 184
Jean Margaret Peace (1915-1989)
Victoria Park under snow, 1951
signed ‘J. M. Peace’ l.r., watercolour
37.5 x 47.5cm
£300 - 400
LOT 185
Gwen John (1876-1939)
View from rue Terre Neuve, Meudon charcoal, pen and ink and wash 18 x 16.5cm
£1,000 - 1,500
Provenance: Acquired 1950/51 in Meudon, having possibly been given away in Gwen John’s lifetime; thence by descent.
Gwen John rented an apartment at 29 rue Terre Neuve from 1911 until the end of her life. The present lot is believed to be the view from the artist’s top-floor studio, overlooking the terrace observatory gardens, with a vase of flowers on the windowsill. There are two paintings of the same subject in the Paul Mellon Collection, Virginia.
LOT 186
Gwen John (1876-1939)
Rue Terre Neuve, Meudon charcoal, pen and ink and wash 21 x 16.5cm
£800 - 1,200
Provenance: Acquired 1950/51 in Meudon, having possibly been given away in Gwen John’s lifetime; thence by descent.
LOT 187
Frances Kelly (Irish, 1908-2002)
A still life arrangement of daffodils and spring flowers on a table signed ‘FRANCES/KELLY’ u.r., oil on canvas
94.5 x 72.5cm
£1,000 - 1,500
Provenance: The artist’s daughter Johanna (Jane) Boland, and thence by descent.
LOT 188
Frances Kelly (Irish, 1908-2002)
History of Dublin a preparatory study, pencil 24 x 240cm
£200 - 300
Provenance: The family of the artist.
This lot is a study for the mural that Frances Kelly painted in the Russell Hotel in St Stephen’s Green, Dublin, in 1958-1959. This lot and lot 189 are the only known drawings of the whole mural and the hotel was demolished in 1974. The drawings were given by the artist to her children and have since remained in the possession of her family.
LOT 189
Frances Kelly (Irish, 1908-2002)
History of Dublin a preparatory study, signed ‘FRANCES KELLY’ l.r., pencil and gouache, squared for transfer 23 x 243cm
£600 - 800
Provenance: The family of the artist.
This lot is a study for the mural that Frances Kelly painted in the Russell Hotel in St Stephen’s Green, Dublin, in 1958-1959. This lot and lot 188 are the only known drawings of the whole mural and the hotel was demolished in 1974. The drawings were given by the artist to her children and have since remained in the possession of her family.
LOT 190
Frances Kelly (Irish, 1908-2002)
The artist’s daughter Johanna (Jane) on her first day of Communion, c.1943
signed ‘FRANCES/KELLY’ l.l., oil on canvas
89.5 x 64cm
£600 - 800
Provenance: The artist’s daughter Johanna (Jane) Boland, and thence by descent.
LOT 191
Frances Kelly (Irish, 1908-2002)
The artist’s daughter Johanna (Jane) seated at her desk signed ‘FRANCES KELLY’ l.r., oil on canvas
111 x 86cm
£600 - 800
Provenance: The artist’s daughter Johanna (Jane) Boland, and thence by descent.
This lot is believed to have been painted in Dublin, c.1948.
LOT 192
Winifred Nicholson (1893-1981)
‘Goats in a Cumberland Landscape’, 1946 oil on board
56 x 67cm
£18,000 - 25,000
Provenance: The artist; Crane Kalman Gallery, London.
‘Goats in a Cumberland Landscape’ reflects Winifred Nicholson’s deep connection to the rural landscapes of Cumberland, where she lived for much of her life. During the 1940s, she was particularly drawn to the quiet beauty of the Lake District, capturing its rolling hills, rustic charm, and pastoral scenes with a unique sensitivity. In this work, Nicholson’s subtle use of light and colour evokes the tranquillity of the region. Her palette - muted greens, soft blues and warm earth tonesconveys both the solidity of the land and the gentle rhythm of rural life. The inclusion of goats in the composition reflects her interest in the natural world, and her compositions often feature figures or animals interacting harmoniously with their surroundings.
LOT 193
Sandra Blow RA (1925-2006)
Untitled signed and dated ‘Blow 97’ l.r., pen and ink and watercolour
8 x 9cm
£300 - 400
Provenance: With Fiona Hartnoll.
LOT 194
Dame Barbara Hepworth (1903-1975)
‘Three Forms’ lithograph in colours, 1969, signed ‘Barbara Hepworth’ in pencil l.r.
sheet 58.5 x 81.5cm, unframed
£1,500 - 2,000
Provenance: The Estate of Stanley Jones MBE RE. There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
Dame Barbara Hepworth (1903-1975) ‘Sea Forms’
lithograph in colours, 1969, signed ‘Barbara Hepworth’ in pencil l.r.
sheet 58.5 x 81.5cm, unframed
£1,500 - 2,000
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 195
LOT 196
Elvic Steele (1920-1997)
Hoarding insects oil on board
45 x 61cm
£200 - 300
Exhibited: The Medici Gallery in association with Sally Mitchell Fine Art, ‘Joan Warburton and The Benton End Effect’, March 2014, catalogue no. 69.
LOT 197
Lucy Harwood (1893-1972)
The white cottage oil on canvas
61 x 51cm
£1,200 - 1,800
£2,200 - 2,800
LOT 198
Lucy Harwood (1893-1972)
Winter landscape with trees and birds
signed ‘LUCY HARWOOD’ verso, oil on canvas
68 x 54cm
LOT 199
Joan Warburton (1920-1996)
‘Fat Cat at Window’
signed with initials and dated ‘89’ l.r., also signed and inscribed with title on label verso, watercolour and gouache
52 x 34.5cm
£400 - 600
LOT 200
Joan Warburton (1920-1996)
Palaiokastritsa, Corfu signed with initials and dated ‘79’ l.r., inscribed ‘Paleocastritsa’ [sic] beneath l.r., also inscribed ‘Beach on Corfu, with sea-lilies/ (Pancratium Maritimum)’ and ‘Beach at Paleocastrisa [sic]’ verso, watercolour heightened with white
35 x 54cm, unframed
£300 - 500
LOT 201
Joan Warburton (1920-1996)
Summer flowers in a cornfield signed with initials and dated ‘83’ l.r., watercolour
76 x 56cm, unframed
£500 - 800
LOT 202
Joan Warburton (1920-1996)
‘Maiden’s Blush’
signed with initials l.r., also signed, inscribed with title and dated ‘June 24 1984’ verso, watercolour
38 x 56.5cm, unframed
£200 - 300
202 201
200 199
LOT 203
Averil Burleigh ARWS (1882-1949)
‘Harvesters’ oil on canvas laid on board
48 x 58cm
£1,500 - 2,000
Provenance: With Simon Carter Gallery, Woodbridge, Suffolk.
LOT 204 Nancy Sharp (1909-2001)
‘Summer’ inscribed with title on label verso, oil on canvas
46 x 36cm
£300 - 500
LOT 205
Meryl Watts (1910-1992)
A Welsh landscape signed ‘Meryl Watts’ l.r., oil on canvas laid on board
36 x 51cm
£250 - 350
LOT 206
Mary Fedden RA (1915-2012)
‘The Red Table’ signed and dated ‘Fedden 1957’ l.l., inscribed with title on stretcher, oil on canvas
63 x 76cm
£12,000 - 18,000
Literature: Christopher Andreae, ‘Mary Fedden: Enigmas and Variations’, Lund Humphries, Farnham, Surrey, 2007, p.20.
LOT 207
Mary Fedden RA (1915-2012)
‘The Orange Mug’ lithograph in colours, 1996, signed ‘Fedden’ in pencil l.r., and numbered ‘445/550’, published by Bow Art with blind stamp
image 22.5 x 27cm
£200 - 400
LOT 208
Mary Fedden RA (1915-2012)
‘Cat and Fish’, 2007 lithograph in colours, signed ‘Fedden’ in pencil l.r., and numbered ‘37/100’
image 14.5 x 18.5cm
£300 - 500
LOT 209
Mary Fedden RA (1915-2012)
‘Oppede le Vieux’ lithograph in colours, 2006, signed ‘Fedden’ in pencil l.r., and numbered ‘34/150’, published by Curwen Chilford
image 27 x 36cm
£300 - 400
LOT 210
Janet Ledger (b.1931)
The Royal Oak and flower stall signed ‘J Ledger’ l.l., oil on board
30 x 23cm
£400 - 600
LOT 211
Christa Gaa (German-British, 1937-1992)
‘Still Life with Mushrooms’ signed ‘Gaa’ l.r., watercolour and gouache
17.5 x 21cm
£250 - 350
Provenance: With New Grafton Gallery, London; Mrs M Brinton-Clark.
Exhibited: New Grafton Gallery, London, September 1984, catalogue no. 24; New Grafton Gallery, London, Memorial Exhibition, May 1992, catalogue no. 43.
LOT 212
Marzia Colonna (Italian-British, b.1951)
‘Dorset Coast’ signed ‘Colonna’ l.r., collage
29.5 x 29.5cm
£500 - 700
Provenance: With Portland Gallery, London.
Exhibited: Portland Gallery, London, October 2014, catalogue no. 59.
212 211
210
214
LOT 213
Elizabeth Blackadder (1931-2021)
‘Langoustine’ etching in colours, 2012, signed ‘Elizabeth Blackadder’ in pencil l.r., and numbered ‘49/50’, published by Glasgow Print Studio, with blind stamp sheet 56 x 52cm
£400 - 600
LOT 214
Elizabeth Blackadder (1931-2021)
‘Four Fish’ screenprint in colours, 2013, signed ‘E. Blackadder’ in pencil l.r. and numbered ‘51/80’, published by Glasgow Print Studio, with blind stamp sheet 54 x 43.5cm
£400 - 600
LOT 215
Elizabeth Blackadder (1931-2021)
‘Seafood Medley’ screenprint in colours, 2012, signed ‘Elizabeth Blackadder’ in pencil l.r. and numbered ‘36/80’, published by Glasgow Print Studio, with blind stamp sheet 75 x 86.5cm
£600 - 800
LOT 216
Dame Elisabeth Frink CH RA (1930-1993)
‘Small Horse and Rider’, 1970 (Wiseman: 40)
lithograph sheet 25.8 x 32cm, unframed
£200 - 300
LOT 217
Dame Elisabeth Frink CH RA (1930-1993)
‘Horse and Rider III’ (Wiseman 45)
lithograph in colours, 1970, printer’s proof, inscribed ‘P/P’ in pencil l.l.
visible 57.5 x 76.5cm
£500 - 800
216
LOT 218
Dame Elisabeth Frink CH RA (1930-1993)
‘Horse and Rider’ lithograph in colours, 1970, signed ‘Frink’ in pencil l.r.
sheet 59 x 78cm, unframed
£600 - 800
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 219
Dame Elisabeth Frink CH RA (1930-1993)
‘Corrida III’ (Wiseman 80); ‘Rejoneadora II’ (Wiseman 84) two lithographs in colours, artist’s proofs, both signed ‘Frink’ in pencil l.r., and inscribed ‘A/P’ sheet 57 x 77.5cm, unframed (2)
£500 - 700
LOT 220
Dame Elisabeth Frink CH RA (1930-1993)
‘The Physician’s Tale’ (Wiseman 67); ‘The Prioress’s Tale’ (Wiseman 64) two etchings with aquatint, 1972, from the ‘Canterbury Tales’ series plate 49 x 34cm, unframed (2)
£300 - 500
LOT 221
Maggi Hambling (b.1945)
‘Sir Michael Gambon in Rehearsal’
signed and dated ‘HAMBLING/2000’ verso, oil and silver acrylic on canvas
121.5 x 76.5cm, unframed
£5,000 - 8,000
Literature: Andrew Lambirth, ‘Maggi Hambling: The Works - and Conversations with Andrew Lambirth’, 2006/2015, Unicorn Press, London.
We are grateful to Maggi Hambling and Andrew Lambirth for their kind assistance with the cataloguing of this lot.
LOT 222
Kate Brinkworth (b.1977)
‘Coke Zero’
signed, inscribed with title and dated ‘2017’ verso, oil on board
119.5 x 84cm, unframed
£1,000 - 2,000
LOT 223
Tracey Emin RA (b.1963)
‘But Yea’, 2005
offset lithograph in colours, signed ‘Tracey Emin’ in silver felt-tip pen l.r., from the unnumbered edition of 500 published by Emin International, London
visible 68 x 48cm
£500 - 700
LOT 224
Tracey Emin RA (b.1963)
‘The Kiss Was Beautiful’
offset lithograph in colours, 2016, signed ‘Tracey Emin’ l.r., from an edition of 500
sheet 70 x 50cm, unframed
£800 - 1,200
LOT 225
Tracey Emin RA (b.1963)
‘Out Cold’, 2014 polymergravure etching, signed and dated ‘Tracy Emin 2014’ in pencil l.r., inscribed with title and numbered ‘32/100’, a limited edition print from the Royal Academy Summer Exhibition 2014 sheet 37.5 x 43cm, unframed
£1,000 - 1,500
LOT 226
Louise Bourgeois (French-American, 1911-2010)
‘I Have Been to Hell and Back’, 2007 embroidery on a cotton handkerchief, with printed initials, pink edition, numbered ‘560/1000’, published by Third Drawer Down, Melbourne, for Tate Modern, London 29 x 30cm
signed with initials and dated ‘17’ l.r., also signed, inscribed with title and dated ‘2017’ verso, brush and ink
21 x 28cm, unframed
£300 - 400
LOT 230
Yelena Telegina (contemporary)
‘Meditative Reflections’ signed in Cyrillic l.r., also signed and inscribed verso, oil on canvas
65 x 79cm
£300 - 500
LOT 231
Jesse Mockrin (American, b.1981)
Untitled signed and dated ‘J. Mockrin 2019’ l.r. with further inscriptions, pencil
18.5 x 24.5cm
£3,000 - 4,000
LOT 232
Selina Trieff (American, 1934-2015)
Two women signed ‘Trieff’ and dated ‘1992’ l.r., mixed media with gold leaf on canvas
45.5 x 60.5cm
£400 - 600
LOT 233
Glenys Barton (b.1944)
Head of a man
earthenware with turquoise glaze, signed and dated ‘Glenys/Barton/1985’ inside neck
42cm high
44cm high overall on a wooden base
£1,500 - 2,000
Laurence Stephen Lowry RA (1887-1976)
A country landscape with buildings signed and dated ‘L. S. Lowry 1930’ l.l., also dated l.r., pencil 23 x 31.5cm
£4,000 - 6,000
LOT 234
Laurence Stephen Lowry RA (1887-1976)
Houses by a road signed with initials l.l., and dated ‘1930’ l.r., pencil 13 x 18cm
£2,000 - 3,000
Provenance: Phillips, London, ‘20th Century British and Irish Art’, 4 December 2001, lot 100.
LOT 235
LOT 236
Laurence Stephen Lowry RA (1887-1976)
Figures with dogs and a pram signed ‘L. S. Lowry’ l.l., red chalk
7.5 x 17.5cm
£1,000 - 1,500
LOT 237
Laurence Stephen Lowry RA (1887-1976)
‘Woman with a Beard’ offset lithograph in colours, 1975, signed ‘L S Lowry’ in pencil l.r., stamped ‘622’ from the edition of 750, printed by Chorley and Pickersgill Ltd., published by the Adam Collection Ltd., with the Fine Art Trade Guild blind stamp image 58 x 48cm
£1,500 - 2,500
Provenance: With Halcyon Gallery, London.
LOT 238
Laurence Stephen Lowry RA (1887-1976)
‘Market Scene in a Northern Town’, 1939 lithograph in colours, 1973, signed ‘L. S. Lowry’ in pencil l.r., an edition of 750, published by Patrick Seale, courtesy of Salford Museum and Art Gallery image 45.5 x 60.5cm
£1,500 - 2,000
LOT 239
Reginald Brill (1902-1974)
A village scene, believed to be Lavenham Guildhall with St Peter and St Paul’s Church in the distance signed ‘Reginald Brill’ l.r., pencil, pen and ink
28 x 23.5cm
£400 - 600
LOT 240
David Tindle RA (b.1932)
‘Two Dogs’
signed and dated ‘David Tindle/79’ and inscribed with title verso, acrylic on canvas
25 x 20cm
£400 - 600
LOT 241
Peter Lloyd-Jones (b.1956)
‘Interior with Chair and Red Cushion’
signed with initials l.l., with a further portrait study verso, oil on canvas
109 x 76cm
£300 - 500
Provenance: With Jonleigh Gallery, Guildford; Mr and Mrs David McCleave.
LOT 242
Ronald Ossory Dunlop RA (Irish-British, 1894-1973)
Self portrait signed ‘Dunlop’ l.l., oil on canvas
50.5 x 40.5cm
£400 - 600
A vase of daffodils, a Buddha and a torso signed ‘Kramer’ l.l., oil on canvas laid on board 64 x 54cm
£1,500 - 2,000
Provenance: Christie’s, London, ‘Modern British and Irish Paintings, Watercolours, Drawing & Sculptures’, 23 June 1994, lot 66.
LOT 243
Jacob Kramer (1892-1962)
132 x 79.5 cm
£8,000 - 12,000
LOT 244 Jacob Kramer (1892-1962)
Anna Pavlova
signed ‘JACOB KRAMER’ l.r., oil on canvas
LOT 245
Alexander Milligan Galt (1913-2000)
‘Woman with Veil’ oil on board
25 x 17.5cm
£600 - 800
Provenance: With Panter & Hall, London.
LOT 246
Michael Rothenstein RA (1908-1993)
A couple on a summer’s day signed and dated ‘W.M.F. Rothenstein 31’ u.r., watercolour over pencil heightened with white
34 x 45.5cm
£400 - 600
LOT 247
Mick Rooney RA (b.1944)
‘The Swallows, Ruggero’s Letter Forces Magda to Reveal her Past’ signed with initials and dated ‘02’ l.l., gouache and tempera
30 x 22.5cm
£250 - 350
LOT 248
James McNaught (b.1948)
‘Silken Dreams’ signed with initials l.r., watercolour and gouache
15.5 x 34cm
£300 - 500
246 245
LOT 249
Robert Sadler (1909-2001)
Standing nude signed ‘Sadler’ l.l., acrylic on board
27.5 x 23cm
£400 - 600
LOT 250
Robert Sadler (1909-2001)
Standing female nude signed ‘Sadler’ l.l., oil on board
40.5 x 30.5cm
£400 - 600
Provenance: With Artspace, Woodbridge, Suffolk.
LOT 251
Robert Sadler (1909-2001) ‘Stones’
signed ‘Sadler’ l.l., also signed and inscribed on label verso, acrylic on board
18 x 21cm
£400 - 600
LOT 252
Robert Sadler (1909-2001)
Abstract signed and dated ‘Sadler/85’
l.r., acrylic on board
34 x 34cm
£400 - 600
Exhibited: Artspace, Woodbridge, Suffolk, 2018.
LOT 253
Robert Sadler (1909-2001) ‘Brown, Yellow, Blue’, 2000 signed with initials and dated l.l., acrylic on card
18.5 x 23cm
£300 - 500
Exhibited: Studio Exhibition, Aldeburgh, 2000.
LOT 254
Peter Joyce (b.1964)
‘Red Flag’ signed and dated ‘Pet ‘14’ l.r., also signed, inscribed with title and dated verso, acrylic on board
28.5 x 21cm
£500 - 700
LOT 255
Keith Grant (b.1930)
‘Headlands’ mixed media
25.5 x 36cm
£300 - 500
LOT 256
Adrian Heath (1920-1992)
Untitled signed with initials l.r., mixed media
18.5 x 15cm (uneven)
£200 - 300
LOT 257
Adrian Maurice Daintrey (1902-1988) Chartwell, c.1970
signed ‘Adrian Daintrey’ l.r., pen and ink and watercolour over pencil
44 x 55.5cm
£300 - 400
Exhibited: Sally Mitchell Fine Art, London, ‘Adrian Daintrey’, July 2002, catalogue no. 75.
LOT 258
Adrian Maurice Daintrey (1902-1988)
New York
signed with initials and dated ‘79’ l.l., oil on board 41 x 61cm
£500 - 800
Exhibited: Gainsborough House, Sudbury, Suffolk, August 1980, catalogue no. 34; Sally Mitchell Fine Art, London, ‘Adrian Daintrey’, July 2002, catalogue no. 6.
LOT 259
Anthony Eyton RA (b.1923)
‘Battersea Interior’
signed ‘A. Eyton’ l.r., pastel on board 119 x 84cm
£600 - 800
Provenance: With Browse & Darby, London.
Exhibited: Browse & Darby, London, ‘Anthony Eyton, London & India’, 2 - 25 November 2005.
LOT 260
George Leslie Hunter (1877-1931)
‘Largo Harbour’ signed ‘L. Hunter’ l.r., oil on canvas board
30 x 41cm
£12,000 - 18,000
George Leslie Hunter’s ‘Largo Harbour’ captures the serene beauty of the Fife coast, an area the artist visited regularly following the First World War. Favoured locations like Lower Largo, nearby Drumeldrie, and villages along the East Neuk coast, including Ceres, provided an abundance of inspiration for his landscapes. The light, the shifting hues of the sea, and the unique colours of the limewashed houses with their red pantile roofs were likely key attractions, offering a rich palette for his work. These coastal and rural scenes continued to be a popular subject for Hunter, and indeed, for generations of artists, drawn to the region’s charm and varied landscape.
While Hunter’s Fife paintings enjoyed commercial success, his 1922 and 1923 visits to Italy marked a shift in his approach to light and colour. His time in Italy significantly influenced his palette, and in a letter to fellow artist Matthew Justice in 1923, he noted his disappointment in finding that the light in Fife no longer suited his artistic vision as it once had. Nevertheless, Hunter continued to return to Fife for its rustic beauty, producing coastal and rural scenes until at least 1926.
In this work, one can observe the influence of his Italian travels, with the vibrant blues in the depiction of the water reminiscent of the bright Mediterranean hues of his Italian works. The fusion of Scottish coastal inspiration with the refined colour palette honed in Italy reveals a pivotal moment in Hunter’s artistic evolution, where his work bridges the Scottish landscape with the warmer tones he encountered abroad.
LOT 262
Peter Kelly RBA (1931-2019)
‘Crossing the Zattere, Venice’
signed with monogram l.r., oil on board
31 x 41cm
£500 - 700
LOT 263
Spare lot
LOT 261
Ken Howard RA (1932-2022)
San Giorgio Maggiore, Venice
signed and inscribed ‘To Sarah With Thanks, Ken Howard’ l.r., watercolour 17 x 23cm
£500 - 800
Provenance: A gift to the vendor from the artist on the occasion of his wedding to Christa Gaa in 1990.
LOT 264
John Yardley (b.1933)
‘Painting Flowers’ signed ‘John Yardley’ l.r., oil on canvas
22.5 x 18cm
£200 - 300
‘Nature’s Mantle’
signed ‘Cumming’ l.l., also signed, inscribed with title and dated ‘1992’ on label verso, oil on board
30.5 x 35.5cm
£2,000 - 3,000
LOT 265 Fred Cuming (1933-2022)
LOT 266
Carel Weight CH RA (1908-1997)
A young couple in a landscape signed ‘Carel Weight’ l.l., oil on board
40.5 x 50cm
£1,000 - 1,500
Provenance: With Bernard Jacobson Gallery, London.
LOT 267
Fred Dubery (1926-2011)
‘A Sculptor’s Studio’ signed ‘Fred Dubery’ l.r., inscribed with title on artist’s label
verso, oil on canvas laid on board
64 x 76.5cm
£500 - 800
LOT 268
Colin Hayes RA (1919-2003)
‘Rognes from South Provence’ signed ‘Hayes’ l.l., oil on canvas
51 x 61cm
£1,000 - 1,500
LOT 269
William Selwyn (b.1933)
‘View from Bron Eyri’ signed ‘William Selwyn 89’ l.r., inscribed with title verso, acrylic on canvas
35 x 52cm
£300 - 400
LOT 270
Ian Humphreys (b.1956)
Untitled signed and dated ‘HUMPHREYS 83’ l.r., mixed media
21.5 x 30.5cm
£250 - 350
Provenance: The collection of the artist Phillip Byrne.
LOT 271
John Banting (1902-1972)
‘The Art Critic’ cyanotype, signed and dated ‘Banting/1931’ l.l., inscribed with title and also signed with initials l.r.
sheet 49.5 x 35.5cm
£1,000 - 1,500
Provenance: With the Mayor Gallery, London; the collection of Robert and Jenny Borgerhoff Mulder.
272 John Banting (1902-1972)
‘One Man Band’
signed and dated ‘John Banting/1950’ l.r., also signed, inscribed with title and dated on backboard verso, oil on board 42 x 49cm
£1,500 - 2,000
LOT
LOT 273
Fred Yates (1922-2008)
‘Study of Australian Indigenous Peoples’ signed ‘FRED YATES’ l.c., oil on canvas
80 x 64cm
£700 - 900
Provenance: With John Martin Gallery, London.
LOT 274
Fred Yates (1922-2008)
‘Runaway Train’ signed ‘FRED YATES’ l.c., inscribed with title on stretcher verso, oil on canvas
30 x 90cm, unframed
£600 - 800
LOT 275
Fred Yates (1922-2008)
‘Not Much Doin’ inscribed with title on stretcher verso, oil on canvas
30 x 90cm
£600 - 800
LOT 276
Josef Herman RA (Polish-British, 1911-2000)
Teacher with student pen and ink and wash
19 x 24.5cm
£200 - 300
LOT 277
Bryan Kneale RA (b.1930)
‘The River Margin’ signed ‘BRYAN KNEALE’ on stretcher verso, oil on canvas
46 x 102cm
£2,000 - 3,000
Provenance: The Redfern Gallery, London; purchased from the above by the vendor’s father-in-law in 1954.
276
WILLIAM SCOTT RA (1913-1989)
Born in Greenock, Scotland, William Scott moved with his family to Enniskillen, Northern Ireland, in 1924. Scott’s formal art education started at the Belfast School of Art in 1928, and he later attended the Royal Academy Schools in London. Initially, he studied sculpture, but soon shifted his focus to painting and these early works were influenced by European modernism. As a young man, he established an art school with his wife and fellow artist, Mary Lucas, in Brittany, but he returned to England to serve during the Second World War. Despite the disruptions of the conflict, he continued to paint and exhibit his work.
Scott’s output evolved significantly in the 1950s as he moved towards abstraction. Influenced by his interactions with American abstract expressionists like Mark Rothko and Willem de Kooning, Scott began to explore non-figurative forms. His paintings from this period often feature simplified shapes and a limited colour palette. Despite this shift towards abstraction, Scott’s work retained a strong connection to the everyday objects and scenes that had always inspired him.
His early 1950s series of small-scale gouaches were crucial in marking his first foray into full-scale abstraction. These works, often starting from still-life compositions, gradually distorted and stretched the subject beyond recognition, resulting in pure colour and form. The immediacy of the gouache medium forced a quick spontaneity on to Scott’s thought process, allowing him to rework and alter his compositions as they progressed.
The eleven drawings and paintings on offer were produced during the 1950s and 1960s. Although diverse in appearance, they are united by his strong sense of line, form and colour, which is confident and engaging. Scott draws the viewer into the plane of the picture with the apparent simplicity of line or shape. We see calm, neutral relaxing tones in the gouache paintings of lots 287 and 288, creating a sense of harmony and balance, but a vibrant, arresting bold-coloured gouache in the impressive ‘Orange Still Life’ (lot 278). His untitled black chalk drawings of lots 279 and 280 are dark, stark and almost aggressive in appearance, a contrast to the softer forms in other works.
William Scott has long been considered a pioneer in his field, and in part this was due to his ability to bridge the gap between European modernism and American abstract expressionism. During his lifetime, his work was exhibited widely, both in the UK and internationally, and he became one of the most celebrated British artists of his generation. This was cemented when he was elected as a Royal Academician in 1984. Scott’s paintings are held in major public collections, including the Tate Gallery in London, the Solomon R Guggenheim Museum in New York, and the Musée National d’Art Moderne in Paris.
LOT 278
William Scott RA (1913-1989)
‘Orange Still Life’, 1956 (William Scott Archive No.1893) signed ‘W. SCOTT’ l.r., gouache
50.5 x 68cm
£20,000 - 30,000
Provenance: Private collection, USA; Offer Waterman & Co., London; the property of a private collector.
In the 1950s, William Scott’s use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.
Scott’s choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott’s use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.
LOT 279
William Scott RA (1913-1989)
Untitled, c.1952
signed ‘W SCOTT’ l.r., black chalk
28 x 38cm
£3,000 - 5,000
Provenance: With Hanover Gallery, London; Sotheby’s, London, ‘The Collection of Jean-Yves Mock’, 7 February 2005, lot 91; the property of a private collector.
LOT 280
William Scott RA (1913-1989)
Untitled signed ‘W SCOTT’ l.r., black chalk
28 x 38cm
£3,000 - 5,000
Provenance: The Hanover Gallery, London; Sotheby’s, London, ‘The Collection of Jean-Yves Mock’, 7 February 2005, lot 92; the property of a private collector.
LOT 281
William Scott RA (1913-1989)
Untitled;
verso, another abstract sketch pencil and black chalk
25 x 35cm, unframed
£1,000 - 1,500
Provenance: With Archeus Fine Art, London; the property of a private collector.
LOT 282
William Scott RA (1913-1989)
Untitled black chalk and watercolour 20 x 23cm, unframed
£1,000 - 1,500
Provenance: With Archeus Fine Art, London; the property of a private collector.
LOT 283
William Scott RA (1913-1989)
Untitled, c.1953 (William Scott Archive No. 1862) signed ‘W. Scott’ l.r., gouache 43 x 55.5cm, unframed £20,000 - 30,000
Provenance: Sotheby’s, London, ‘20th Century British Art, including works from the Collection of Jean-Yves Mock’, 10 March 2005, lot 40, sold for £51,600; the property of a private collector.
LOT 284
William Scott RA (1913-1989)
Untitled (table still life)
signed and dated ‘W SCOTT 53’ l.r., charcoal 48 x 61cm
£6,000 - 8,000
Provenance: Sotheby’s, London, ‘20th Century British Art’, 10 March 2005, lot 43; the property of a private collector.
LOT 285
William Scott RA (1913-1989)
Composition (I), 1960
signed and dated ‘W. SCOTT 60’ l.r., mixed media
24.5 x 31cm, unframed
£3,000 - 5,000
Provenance: The Hanover Gallery, London; Anthony Garrod Esq., a private collector; Phillips, London, 25 November 1997, lot 54; the property of a private collector.
Exhibited: The Hanover Gallery, London, ‘William Scott’, 17 May - 17 June 1961.
LOT 286
Spare lot
LOT 287
William Scott RA (1913-1989)
‘Grey, Black and White’, 1959
signed ‘W. Scott’ l.r., gouache, watercolour and collage
48 x 66cm, unframed
£8,000 - 12,000
Provenance: With Hanover Gallery, London, 1960; Mr and Mrs P Wakefield; Sotheby’s, London, 1 October 1997, lot 265; the property of a private collector.
William Scott’s ‘Grey, Black and White’, 1959, exemplifies his distinct approach to abstraction - balancing restraint with expressive energy. While often associated with simplicity, his late 1950s and 1960s works embraced texture, layering and gestural application. He experimented with contrasts - thick and thin paint, smooth and rough surfaces - allowing imperfections to become part of the composition.
In this piece, Scott abandons defining outlines, letting forms emerge organically. Muted tones of black, grey, brown, and off-white create a quiet tension, while his raw, unfinished surface reflects his belief in ‘the beauty of the thing done badly’. Paint is pushed, scraped and layered, revealing his process and rejecting a polished aesthetic in favour of something more tactile and immediate.
Despite its abstraction, Scott’s work never fully detaches from reality. As he stated, ‘I cannot be called non-figurative while I am still interested in the modern magic of space…the things of life’. In ‘Grey, Black and White’ he captures this ambiguity, hinting at stone walls, landscapes, or familiar objects, while remaining open to interpretation.
The artist’s paintings from this period focus as much on the act of painting as the final image. His careful yet spontaneous approach invites viewers to engage with space, texture and form in a way that feels both structured and free. Scott’s ‘Grey, Black and White’ stands as a testament to his mastery of abstraction, where surface and tone create an atmosphere of quiet dynamism and subtle depth.
White, Umber and Grey, 1962 signed ‘W. Scott’ l.r., gouache
49 x 61.5cm
£8,000 - 12,000
Provenance: Sotheby’s, London, November 1996, lot 78; with Hanover Gallery, London; Design Research Unit, acquired from the above; Sotheby’s, London, 14 March 1979, lot 197; a private collection; Sotheby’s, London, ‘Modern & Post-War British Art’, 27 November 1996, lot 78; the property of a private collector.
289
LOT 289
Edward Burra (1905-1976)
Man standing in profile, 1923; verso: three figures
pencil
55.5 x 38cm, unframed
£1,000 - 1,500
Provenance: Sotheby’s, London, ‘Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners’, 3 July 2002, lot 217; the property of a private collector.
LOT 290
Edward Burra (1905-1976)
The procession with ‘E J Burra’ estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso
65 x 50cm, unframed
£2,000 - 3,000
Provenance: Sotheby’s, London, ‘Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners’, 3 July 2002, lot 256; the property of a private collector.
Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.
Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain’s dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre. His undated drawing ‘The Procession’ showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, redskinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.
LOT 291 Edward Burra (1905-1976) Harbour scene, c.1920-1930 pencil, with stamped signature l.r.
57 x 78cm, unframed
£3,000 - 5,000
Provenance: Sotheby’s, London, ‘Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners’, 3 July 2002, lot 216; the property of a private collector.
LOT 292
Michael Ayrton (1921-1975)
‘Portrait of Wyndham Lewis’ signed ‘Michael Ayrton’, inscribed with title and dated ‘55/Jan: 16th’ u.r., black chalk, with a second portrait in pen and ink and wash verso
51 x 62.5cm, unframed
£1,000 - 1,500
Provenance: Sotheby’s, ‘Modern British and Irish Paintings, Drawings and Sculpture’, 12 October 1988, lot 294; the property of a private collector.
LOT 293
Sir Peter Blake RA (b.1932)
Portrait of Jerry Rabkin
signed and dated ‘Peter Blake/1956’ l.c., pencil
17.5 x 13cm
£1,000 - 1,500
Provenance: The property of a private collector.
LOT 294
Stephen Ward (1912-1963)
‘Sketches for a Portrait’
signed ‘Stephen Ward’, inscribed with title and numbered ‘27’ l.r., black and white chalk and pencil
52 x 38.5cm
£400 - 600
LOT 295
Patrick Procktor RA (1936-2003)
‘Felix Man in his Eightieth Year’ signed and dated Patrick/Procktor/1972’ l.r., and inscribed with title, watercolour
43 x 31.5cm, unframed
£1,500 - 2,500
Provenance: The collection of David and Sandy Fuller.
LOT 296
Ruskin Spear RA (1911-1990)
‘The Life Class’ oil on board
54 x 43cm
£2,000 - 3,000
Provenance: The artist’s widow; the Catto Gallery, London.
LOT 297
Ruskin Spear RA (1911-1990)
South Kensington
signed ‘Ruskin Spear’ l.r., oil on board
47 x 61cm
£4,000 - 6,000
Provenance: Sotheby’s, New Bond Street, ‘Modern British and Irish Art’, 2 June 2004, lot 88; the David and Pam McCleave Collection of Modern British Art.
LOT 298
Ruskin Spear RA (1911-1990)
Figures and chickens in a farmyard signed ‘Ruskin Spear’ l.r., oil on board
24.5 x 35cm
£1,200 - 1,800
LOT 299
Bernard Dunstan RA (1920-2017)
‘The Backyard’ signed with initials l.l., also signed and inscribed with title on label verso, oil on paper laid on board
31.5 x 26.5cm
£800 - 1,200
LOT 300
Sir Eduardo Paolozzi RA (1924-2005)
Head plaster
6cm wide
6.5cm deep
8cm high
£200 - 300
Provenance: The artist’s estate; thence by descent.
LOT 301
Sir Eduardo Paolozzi RA (1924-2005)
Head plaster
7.5cm wide
6.5cm deep
13cm high
£300 - 400
Provenance: The artist’s estate; thence by descent.
LOT 302
Sir Eduardo Paolozzi RA (1924-2005)
Untitled pencil
25 x 35.5cm, unframed
£200 - 300
Provenance: The artist’s estate; thence by descent.
LOT 303
Sir Eduardo Paolozzi RA (1924-2005)
Untitled pencil
25 x 35.5cm, unframed
£200 - 300
Provenance: The artist’s estate; thence by descent.
LOT 304
Sir Eduardo Paolozzi RA (1924-2005)
Head plaster
5cm wide
3cm deep
8.5cm high
£200 - 300
Provenance: The artist’s estate; thence by descent.
LOT 305
Sir Eduardo Paolozzi RA (1924-2005)
Head plaster
7.5cm wide
7.5cm deep
10.5cm high
£300 - 400
Provenance: The artist’s estate; thence by descent.
LOT 306
Sir Eduardo Paolozzi RA (1924-2005)
Head bronze
5cm wide
3.5cm deep
4.5cm high overall
£400 - 600
Provenance: The artist’s estate; thence by descent.
LOT 307
Sir Eduardo Paolozzi RA (1924-2005)
Head bronze
5cm wide
3cm deep
8cm high
£200 - 300
Provenance: The artist’s estate; thence by descent.
LOT 308
Sir Eduardo Paolozzi RA (1924-2005) Untitled watercolour over a printed base with printed initials and date l.r.
29.5 x 21cm
£400 - 600
Provenance: The artist’s estate; thence by descent.
LOT 309
‡ Alan Davie RA (1920-2014)
‘Double Jive’, 1962
signed and dated ‘Alan Davie/Jun 62’ verso and also inscribed and dated ‘Double Jive/Jun 62/Opus: 0.483’, oil on canvas
152.5 x 183cm, unframed
£10,000 - 15,000
Provenance: With Gimpel Fils Ltd., London; the property of a private collector.
Literature: Alan Bowness, ‘Alan Davie’, published by Lund Humphries, London, 1967, no. 419, illustrated.
Alan Davie’s large-scale paintings from the 1960s are celebrated for their vibrant energy and dynamic compositions. Inspired by American Abstract Expressionism, Davie’s works from this period often feature bold colours, a sense of improvisation, and a vigorous handling of paint. His approach was characterised by a spontaneous and intuitive process, allowing him to create works that are both expressive and visually striking.
As we see in ‘Double Jive’, his 60’s works are also marked by the incorporation of symbols and signs; reflecting his interest in various cultural mythologies and personal iconography. There is a creative freedom and a sense of play that is instantly recognisable as an ‘Alan Davie’. His use of vibrant colours and dynamic forms creates a joyful and energetic atmosphere in his paintings and his popularity as a painter endures.
‡ IMPORTANT NOTE:
This lot has been imported from outside of the UK and placed under Temporary Admission. An amount in lieu of Import VAT will be charged at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium and will not be shown separately on our invoice. For additional information, please see page 230.
LOT 310
Alan Davie RA (1920-2014)
Untitled signed and dated ‘Alan Davie 2013’ l.c., watercolour and oil on paper
17 x 20cm
£200 - 400
Provenance: With Gimpel Fils, London.
LOT 311
William Crozier (1930-2011)
‘September, Essex’, 1959
signed ‘CROZIER’ l.l., mixed media on board
29.5 x 35cm
£1,000 - 1,500
Provenance: With Arthur Tooth & Sons Ltd., London.
LOT 312
Graham Sutherland OM (1903-1980)
Untitled signed with initials l.r., pencil, pen and ink and watercolour, squared for transfer
16 x 17.5cm
£1,500 - 2,500
Provenance: The collection of David and Sandy Fuller.
LOT 313
Graham Sutherland OM (1903-1980)
Cudham, Kent (Tassi 15) etching, 1924, signed ‘Graham Sutherland’ in pencil l.r. and inscribed with title l.l., from the edition of 42 published by Twenty-One Gallery, London, also stamped ‘S’ l.l. plate 7.5 x 10cm
£800 - 1,000
LOT 314
Graham Sutherland OM (1903-1980)
‘Clegyr-Boia 1, Landscape in Wales’, 1936 etching and aquatint plate 20 x 15cm, unframed
£200 - 300
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
314 313
312
LOT 315 John Bratby RA (1928-1992)
‘The Red Venetian Canal: Gore Vidal’ signed ‘Bratby’ l.r. and also u.l., oil on canvas
121.5 x 91cm
£2,000 - 3,000
Exhibited: Royal Academy Summer Exhibition 1985, catalogue no. 646.
This lot includes a Royal Academy Summer Exhibition 1985 catalogue, and five signed letters on headed paper from the artist to the buyer of the work.
signed and dated ‘BRATBY July 1972’ l.c., oil on canvas
91 x 121.5cm
£3,000 - 5,000
LOT 316
John Bratby RA (1928-1992) Woman in a car
LOT 317
Bryan Illsley (1937-2024)
Three figures carved and painted wood, signed and dated ‘B. Ilsley 1985’ underneath 55cm wide
35cm deep
77.5cm high
£800 - 1,200
Born in Surbiton, Surrey, Bryan Illsley began his career as an apprentice stonemason in the 1950s while attending evening classes at Kingston Art School. In the 1960s, he worked at the Leach Pottery in St Ives, where he remained until his return to London in 1986. On his return, he established himself in Dalston and set up his studio in Stoke Newington.
Illsley’s work is held in several public collections, including the Arts Council, the Anthony Shaw Collection at York Art Gallery, the Crafts Council, the Contemporary Art Society, Victoria & Albert Museum, Kettle’s Yard in Cambridge, and the Museum of Modern Art in Kyoto.
‘He is an artist who finds creative advantage in incertitude, mystery and doubt: he allows his chosen media – “poor” materials such as the PVA solutions into which he mixes natural pigments and other ingredients, marble dust, grit, sand, china clay, coloured earths, whiting etc. – “to find the painting” (as he puts it).’
Reference: Mel Gooding, from the essay ‘Daedalus in Stoke Newington’, 2011.
LOT 318
Bryan Illsley (1937-2024)
Untitled dated ‘1985’, acrylic on card
35 x 40cm (uneven)
£400 - 600
LOT 319
Bryan Illsley (1937-2024) ‘HV’
signed with initials l.l., inscribed with title and dated ‘1981’ l.r., also signed, inscribed with title and dated verso, acrylic on board
36.5 x 35.5cm
53.5 x 53cm overall, in artist’s painted frame
£500 - 800
LOT 320
Bryan Illsley (1937-2024)
Untitled dated ‘1985’ u.c., mixed media on card
39.5 x 44cm
£400 - 600
LOT 321
Bryan Illsley (1937-2024)
Untitled dated ‘1986’ l.c., mixed media on canvas
67.5 x 47cm, unframed
£600 - 800
LOT 322
Guy Taplin (b.1939)
‘Lapwing’
carved and painted driftwood on a metal and driftwood base, signed ‘GUY TAPLIN’ and inscribed with title on base 80cm high overall
£1,500 - 2,000
Provenance: From a private collection.
LOT 323
Guy Taplin (b.1939)
‘Curlew’
carved and painted driftwood with wire and metal, on a metal and driftwood base, signed ‘GUY TAPLIN’ and inscribed with title to base of tail 94cm high overall
£1,500 - 2,000
Guy Taplin is a celebrated British artist renowned for his evocative bird sculptures. His journey into art began with a deep love for nature and birds, which he nurtured during his time as a birdkeeper at Regent’s Park. It was here, surrounded by wildlife, that he carved his first simple decoy bird. What began as a spontaneous act, quickly grew into an enduring artistic obsession.
Taplin’s sculptures are crafted primarily from driftwood and other natural materials he collects from coastal areas, such as weathered timber and seashells. These materials, shaped by time and the elements, lend his works a unique character and a sense of history. His birds, often stylised and simplified, embody the spirit and habits of various species, from shorebirds to waterfowl.
Taplin’s work has been widely exhibited and is held in prestigious collections, including the Tate Gallery and the National Gallery of Modern Art in Edinburgh. His sculptures are sought after by collectors worldwide, admired for their timeless appeal and connection to the natural world.
Provenance: From a private collection. 323
LOT 325
Guy Taplin (b.1939)
‘Shorebird’
carved and painted driftwood on a metal and driftwood base with shell, signed ‘GUY TAPLIN’ and inscribed with title on base
46cm high overall
£700 - 1,000
Provenance: From a private collection.
LOT 324
Guy Taplin (b.1939)
‘Curlew’
carved and painted driftwood on a metal and driftwood base, signed ‘GUY TAPLIN’ and inscribed with title on base
55cm high overall
£1,000 - 2,000
Provenance: From a private collection.
LOT 326
Guy Taplin (b.1939)
‘Peep’
carved and painted driftwood on a wood and metal base with shell, signed ‘GUY TAPLIN’ and inscribed with title on base
24cm high overall
£700 - 1,000
Provenance: From a private collection.
LOT 328
Guy Taplin (b.1939)
‘Plover’
carved and painted driftwood on a metal and driftwood base with shell, signed ‘GUY TAPLIN’ and inscribed with title on base
37cm high overall
£800 - 1,200
Provenance: From a private collection.
LOT 327
Guy Taplin (b.1939)
‘Ibis’
carved and painted driftwood on a metal and driftwood base with shell, signed ‘GUY TAPLIN’ and inscribed with title on base
90cm high
£1,500 - 2,000
Provenance: From a private collection.
LOT 329
Guy Taplin (b.1939)
‘Peep’
carved and painted driftwood on a wood and metal base with shell, signed ‘GUY TAPLIN’ and inscribed with title on base
20cm high overall
£700 - 1,000
Provenance: From a private collection.
LOT 330
Guy Taplin (b.1939)
‘Curlew’
carved and painted driftwood on a metal and driftwood base, signed ‘GUY TAPLIN’ and inscribed with title on base
61cm high overall
£1,000 - 2,000
Provenance: From a private collection.
LOT 331
Guy Taplin (b.1939)
‘Canvasback Family’
a set of five carved and painted driftwood sculptures, the largest signed ‘GUY TAPLIN’ and inscribed with title on base
23cm high and smaller (5)
£1,000 - 1,750
Provenance: From a private collection.
LOT 332
Simeon Stafford (b.1956)
Beach scene with lighthouse signed and dated ‘SIMEON/04.10.10’ l.r., oil on board
31 x 73.5cm
£500 - 800
LOT 333
Simeon Stafford (b.1956)
Seaside, St Ives signed ‘Simeon’ l.r., also signed and inscribed verso, oil on canvas
61 x 91cm, unframed
£700 - 900
LOT 334
Simeon Stafford (b.1956)
‘View Towards the Mount’
signed ‘SIMEON’ l.r., also signed and inscribed with title, and with a small sketch verso, oil on canvas 91 x 121.5cm
£700 - 1,000
LOT 335
Scottie Wilson (1891-1972)
Yellow butterfly
signed ‘Scottie’ l.r., watercolour and gouache 17 x 14.5cm
£200 - 300
Provenance: Monika Kinley; with Vivienne Roberts, London.
LOT 336
Henry Moore OM CH FBA (1898-1986)
‘Pallas Head’ (CGM 289)
lithograph in colours, 1973, signed ‘Moore’ in pencil l.r.
sheet 65 x 50cm, unframed
£400 - 600
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 337
Henry Moore OM CH FBA (1898-1986)
‘Three Reclining Figures’ (CGM 290) lithograph in colours, signed and dated ‘Moore/73’ in pencil l.r.
sheet 57.5 x 47cm, unframed £500 - 700
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 338
Henry Moore OM CH FBA (1898-1986)
‘Mother and Child X’ (CGM 680) etching and aquatint, 1983, signed ‘Moore’ in pencil l.r., and numbered ‘PL X 1/65’, printed by James Collyer and John Crossley, London, published by Raymond Spencer Company Ltd. for the Henry Moore Foundation, Much Hadham plate 23 x 37.5cm £1,000 - 1,500
339 Henry Moore OM CH FBA (1898-1986)
Two Reclining Figures: Bone’ (HMF 80(126))
signed and dated ‘Moore/80’ l.r., wax crayon, watercolour and chinagraph over a printed base
22.5 x 18cm
£8,000 - 12,000
Provenance: Bonhams, New Bond Street, ‘Modern British and Irish Art’, 22 November 2017, lot 31.
LOT
LOT 340
John Piper CH (1903-1992)
‘Death in Venice VIII’ (Levinson 232) screenprint in colours, signed ‘John Piper’ in crayon l.r. and numbered ‘48/70’ sheet 78 x 68cm
£700 - 900
LOT 341
John Piper CH (1903-1992)
‘Ruined Church, Bawsey’ (Levinson 341) screenprint in colours, 1982, signed ‘John Piper’ in pencil l.r., and numbered ‘38/100’, printed at Kelpra Studio, London, with blind stamp, published by Christie’s Contemporary Art, London sheet 54.5 x 69.5cm
£700 - 900
342
John Piper CH (1903-1992)
‘Teifi Valley’
signed ‘John Piper’ l.r., watercolour and gouache
56 x 78cm
£3,000 - 5,000
Provenance: With Marlborough Gallery, London.
LOT
LOT 343
John Piper CH (1903-1992)
‘Exton, Rutland: Monument by Grinling Gibbons 1686’ (Levinson 126)
lithograph in colours, 1964, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp sheet 82 x 59cm, unframed £150 - 250
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 344
John Piper CH (1903-1992)
‘Malmesbury, Wiltshire: The South Porch’ (Levinson 129)
lithograph in colour, 1964, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp sheet 81.5 x 59cm, unframed £200 - 300
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 345
John Piper CH (1903-1992)
‘Leckhampstead, Berkshire: a Victorian Church by S.S Teulon’ (Levinson 134)
lithograph in colours, 1964, signed ‘John Piper’ in pencil l.r., inscribed ‘STUDIO COPY’, with Archive of Stanley Jones blind stamp sheet 81.5 x 51.5cm, unframed £200 - 300
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
lithograph in colours, 1964, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp sheet 59.5 x 82cm, unframed £400 - 600
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 347
John Piper CH (1903-1992)
‘Avoncroft Museum’ (Levinson 258)
lithograph in colours, 1976, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp sheet 56 x 76cm, unframed £400 - 600
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 348
John Piper CH (1903-1992)
‘Scotney Castle, Kent’ (Levinson 265)
lithograph in colours, 1976, signed ‘John Piper’ in pencil l.r., numbered ‘61/120’, printed by the Curwen Studio, published by Christie’s Contemporary Art and the National Trust, 1977, with blind stamps image 43.5 x 56cm
£500 - 700
LOT 349
John Piper CH (1903-1992)
‘Courthouse, Long Crendon, Buckinghamshire’ (Levinson 285)
lithograph in colours, 1978, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp
sheet 57 x 77cm, unframed
£400 - 600
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 350
John Piper CH (1903-1992)
‘Walsoken, Norfolk’ (Levinson 378) screenprint in colours, 1985, signed ‘John Piper’ in pencil l.r. and numbered ‘43/70’ image 50 x 66cm
£400 - 600
Provenance: With Goldmark Gallery, Rutland.
LOT 351
John Piper CH (1903-1992)
‘Long Melford Church’ (Levinson 336)
lithograph in colours, 1982, signed ‘John Piper’ in pencil l.r., with Archive of Stanley Jones blind stamp sheet 56 x 77cm, unframed
£500 - 700
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 352
John Piper CH (1903-1992)
‘High Cross, Hampshire’ (Levinson 284)
lithograph in colours, 1978, signed ‘John Piper’ in pencil l.r. and numbered ‘7/75’, printed at Kelpra Studio, London, published by Marlborough Fine Art, with two blind stamps
sheet 56 x 77cm
£400 - 600
LOT 354
Julian Trevelyan RA (1910-1988)
‘Buffaloes’ etching and aquatint in colours, 1968, signed ‘Julian Trevelyan’ in pencil l.r., inscribed with title and numbered ‘40/75’ image 35 x 47cm
£200 - 400
LOT 353
Edward Ardizzone (1900-1979)
‘The Boat to Greenwich’, (NAP 21) lithograph in colours, 1952, signed and inscribed with title in the plate, with RCA crown watermark image 33.5 x 48cm
£300 - 500
According to the catalogue raisonné’, ‘Edward Ardizzone’s World: The Etchings And Lithographs’ by the artist’s son Nicolas Ardizzone, published by Unicorn Press, 2000, this is believed to be the only colour lithograph Ardizzone made at the RCA and there is ‘only one pull through thought to exist’, NAP 21, illustrated p56.
LOT 355
Michael Rothenstein RA (1908-1993)
Untitled, from ‘The Song of Songs’, 2009 screenprint in colours, artist’s proof, signed ‘Michael Rothenstein’ in pencil l.r. and numbered ‘AP 2/15’
image 35 x 27cm
£200 - 300
LOT 356
David Hockney OM CH RA (b.1937)
‘Portrait of Felix Man’, 1969 lithograph on japon, signed ‘David Hockney’ in pencil l.r. sheet 76.5cm x 53.5cm, unframed £800 - 1,200
Provenance: The Estate of Stanley Jones MBE RE.
There is the opportunity for this lot to be embossed with ‘Estate of Stanley Jones’ blind stamp after purchase.
LOT 357
David Hockney OM CH RA (b.1937)
‘Pool Made With Paper and Blue Ink’ for the book ‘Paper Pools’ (MCA Tokyo 234) lithograph in colours, 1980, signed and dated ‘Hockney 80’ in pencil l.r., and numbered ‘681/1000’, published by Tyler Graphics Ltd., Mount Kisco, New York, with blind stamp sheet 27 x 24cm
£20,000 - 30,000
When thinking about David Hockney, the subject of the swimming pool is one that comes to mind. It has become one of the defining motifs of his artistic career and an iconic image of modern art. The theme recurs frequently in his paintings, drawings, photographs and prints. Hockney’s fascination with pools began in 1964 when he flew over Los Angeles and was captivated by the vivid expanse of blue pools dotting the Californian landscape - an image starkly different from the scenery of Britain he had left behind. To Hockney, the swimming pool was a representation of pleasure and leisure in the 1960s, and a joyous image to reproduce. Additionally, it provided a creative opportunity to explore the play of light and reflections on water, shaped by ripples, curves and shadows cast by gentle breezes or the movement of swimmers.
This motif repeatedly surfaced in his work over the years, including the present lithograph titled ‘Pool Made With Paper and Blue Ink for a Book’. This piece was created for the special edition book ‘Paper Pools’ by David Hockney, edited by Nikos Stangos and published in 1980 by Thames & Hudson. The book delves into Hockney’s ‘Paper Pool’ series, comprising twentynine paper pulp artworks that he created in 1978 while staying with his friend, the printmaker Ken Tyler. Inspired by this new medium, Hockney used Tyler’s swimming pool as the subject for this lithograph. He meticulously studied the pool at various times of the day and night, observing and recording the interplay of light and colour, through drawings and photographs.
Though smaller in scale compared to Hockney’s large oil paintings, this lithograph is equally vibrant and demonstrates meticulous precision in its execution. The image was initially handdrawn by the artist and then printed in six colours from three lithographic limestones and three aluminium plates. This lot is pencil signed and numbered ‘681’ from a limited edition of 1,000 prints with an additional 122 proofs.
LOT 358
Philip Sutton RA (b.1928)
‘Birds’
lithograph in colours, 1989, signed ‘Phillip Sutton’ in pencil l.r., inscribed with title, dated and numbered ‘15/80’ 38 x 28cm
£200 - 300
LOT 359
Ceri Richards (1903-1971)
‘The Author’s Prologue’ lithograph in colours, 1965, signed and dated ‘Ceri Richards 65’ in pencil l.r., from the suite ‘Twelve Lithographs for Six Poems by Dylan Thomas’, printed by the Curwen Studio sheet 58 x 80cm
£200 - 300
LOT 360
John Bellany RA (1942-2013)
‘Call of the Sea 11’, 1995 screenprint, signed ‘John Bellany’ in pencil l.l., and numbered ‘11/60’, printed by Kip Gresham, Ian Wilkinson and Matthew Evans at the Gresham Studio Ltd., Cambridge image 47.5 x 37cm
£300 - 500
LOT 361
Victor Pasmore CH (1908-1998)
‘Vertical Development’ (Lambertini 47) etching with screenprint, signed with initials and dated ‘74’ in pencil l.c., numbered ‘41/60’, printed by White Ink Studio, published by Marlborough Graphics, London sheet 91 x 65cm
£500 - 700
LOT 362
Sir Peter Blake RA (b.1932)
‘Wooden Puzzles’ portfolio, 2013 a set of five screenprints in colours with hand-collaged and embossed elements, diamond dust and glitter, each signed ‘Peter Blake’ in pencil l.r. and numbered ‘32/100’, printed at Coriander Studios, published by CCA Galleries, presented in original archival box with title page and colophon each sheet 49 x 42cm (5)
£1,000 - 1,500
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 363
Sir Peter Blake RA (b.1932)
‘Milkmaids’ screenprint in colours, 2009, signed ‘Peter Blake’ in pencil l.r., numbered ‘152/175’, printed at Coriander Studios, published by CCA Galleries, with blind stamp sheet 82 x 59.5cm, unframed
£500 - 700
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 364
Sir Peter Blake RA (b.1932)
‘Bobbie Rainbow’, 2001 lithoprint in colours on tin 66 x 46cm, unframed
£250 - 350
‘Bobbie Rainbow’ was produced as a signed and numbered edition of 2000 for the exhibition ‘Art For All’ at Pallant House Gallery, Chichester. The present lot is unsigned and unnumbered, however, the Pallant House exhibition and edition information is printed verso.
362
LOT 365
Sir Peter Blake RA (b.1932)
‘Some of the Sources of Pop Art VII’ screenprint in colours with glitter and diamond dust, 2009, signed ‘Peter Blake’ in pencil l.r. and numbered ‘125/175’, printed at Coriander Studios, published by CCA Galleries, with blind stamp sheet 106 x 101cm, unframed
£1,000 - 1,500
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 366
Sir Peter Blake RA (b.1932)
‘The Second Real Target 25 Years Later’ screenprint in colours, 2009, signed ‘Peter Blake’ in pencil l.r. and numbered ‘29/100’, printed at Coriander Studios, published by CCA Galleries, with blind stamp sheet 111.5 x 88cm, unframed
£800 - 1,200
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 367
Sir Peter Blake RA (b.193-) ‘Vintage Blake’ screenprint in colours, 2012, ‘Peter Blake’ in pencil l.r. and numbered ‘116/250’, printed at Coriander Studios, published by CCA Galleries, with blind stamp sheet 77 x 75cm, unframed
£600 - 800
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 368
Sir Peter Blake RA (b.1932)
‘The Classroom Suite’, 2009: ‘On the Beach’; ‘Another Parade’; ‘Circus’; Aquarium’ a set of four screenprints in colour, each signed ‘Peter Blake’ in pencil l.r. and numbered ‘15/100’, printed at Coriander Studios, published by CCA Galleries with blind stamp sheet 71 x 96cm, unframed (4)
£1,200 - 1,800
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 369
Sir Peter Blake RA (b.1932) ‘Academy’ screenprint in colours, 2012, signed ‘Peter Blake’ in pencil l.r. numbered ‘9/150’, printed at Coriander Studios, published by CCA Galleries sheet 93 x 91cm, unframed £500 - 700
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 370
Sir Peter Blake RA (b.1932) ‘Marilyn’ screenprint in colours, 2008, signed ‘Peter Blake’ in pencil l.r. and numbered ‘143/175’, printed at Coriander Studios, published by CCA Galleries, London, with blind stamp sheet 82 x 59.5cm, unframed
£300 - 400
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 371
Four framed albums with artwork designed by Peter Blake ‘Who’, The Who; ‘Do They Know It’s Christmas?’, Band Aid; ‘Stanley Road’, Paul Weller; ‘Sgt. Pepper’s Lonely Hearts Club Band’, The Beatles 31 x 31cm and similar (4)
£200 - 300
Provenance: The David and Pam McCleave Collection of Modern British Art.
368 part lot 370 369
371 part lot
LOT 372
Richard Hamilton CH (1922-2011)
‘Swingeing London 67’ (Lullin 69)
photo-offset lithograph in colours, 1968, signed ‘Richard Hamilton’ in pencil l.c., and inscribed ‘For Tony’, an artist’s proof aside from the unsigned edition of 1000, published by ED912 Edizioni di Cultura Contemporanea, Milan visible 69 x 49cm
£2,000 - 3,000
Provenance: Forum Auctions, ‘Editions and Works on Paper’, 25 June 2018, lot 86; the David and Pam McCleave Collection of Modern British Art.
LOT 373
David Bailey (b.1938)
Christine Keeler, 1969
original archival photograph, 2016, signed, dated and numbered ‘2/10’ verso with David Bailey copyright stamp sheet 61 x 79.5cm, unframed
£1,000 - 2,000
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 374
David Bailey (b.1938)
‘Box of Pin-Ups’, 1965
thirty-six half-tone prints, with the biographical details of each sitter printed on the reverse of each print, printed by Weidenfeld & Nicolson, London, and contained in the original card box, signed to the reverse each approximately 37 x 32cm
£3,000 - 5,000
Provenance: Sotheby’s, New Bond Street, ‘Made in Britain II’, 13 September 2017, lot 175; The David and Pam McCleave Collection of Modern British Art.
Literature: Martin Harrison, ‘David Bailey: Archive One, 1957-1969’, Thames & Hudson, London, 1999, ill. pp.157, 169, 175, 177, 179 and 181;
David Bailey, ‘Bailey’s Stardust’, National Portrait Gallery, London, 2014, ill. pp.191-197.
LOT 375
Bryan Organ (b.1935)
‘Six British Jockeys’, 1974 a set of six lithographs of Geoff Lewis, Jimmy Lindley, Joe Mercer, Lester Piggott, Willie Carson and Tony Murray, each signed and dated ‘Bryan Organ 1974’ in pencil, also signed by each individual jockey and numbered ‘77/150’, published by Arthur Ackermann and Son Ltd., London, printed by Curwen Studio, London, in original box with title page, foreword and biographical notes on the jockeys by David Hedges, printed by Churchgate Press, Leicester each sheet 53 x 43cm, unframed
£600 - 800
LOT 376
Eric Shanes (1944-2017)
‘Olympiad 1: Jump’; ‘Olympiad 3: Lift’; ‘Olympiad 5: Run’; ‘Olympiad 1: Jump’ four screenprints in colours, each signed and dated ‘Eric Shanes 72’ in pencil l.r., inscribed with title and individually numbered from an edition of 75, created for the occasion of the 1972 Olympics in Munich
75.5 x 76cm and similar, unframed (4)
£200 - 300
LOT 377
Keith Haring (American, 1958-1990)
‘Montreux Jazz Festival’Yellow, Green and Pink three screenprints in colours, 1983, printed by Serigraphie Uldry, Bern
100 x 70cm, unframed (3)
£600 - 800
376 part lot
LOT 379
Clive Barker (b.1940)
‘The Mad Hatter’s Hat’ prototype, 2009 bronze with a black patina and polished bronze, stamp signed, titled and dated on a plaque to the inside of the hat 18cm high
£800 - 1,200
Provenance: The David and Pam McCleave Collection of Modern British Art.
Clive Barker (b.1940)
‘William Nicholson’s Brushes’, 2008 copper-plated bronze and polished bronze, stamp signed, titled and dated on a plaque inside the pot 49.5cm high
£800 - 1,200
Provenance: The David and Pam McCleave Collection of Modern British Art. Whitford Fine Art, London, ‘POP NOW’, 4 June - 3 July 2009.
Clive Barker is well known for his unique, playful, sometimes glamorous and often humorous sculptures. Although he was trained as a painter, it was the time he spent working on the Vauxhall Motors assembly line in Luton that was most influential in his career. It was here that the precision and beauty of the freshly fabricated automobiles informed the choice of materials and the method of making in his artwork. When viewing a Clive Barker sculpture, the meticulous craftsmanship is evident in the flawless execution of casting, polishing and assembling of his works.
From the start of his career in the 1960s through to the 21st century, Barker has been using precious metals to give the public their everyday items, but redesigned as fine art. Most famously he cast Coca-Cola bottles, but he continues to showcase contemporary items of pop culture in his work. In the upcoming selection of lots we see this alongside references to art history.
Clive Barker (b.1940)
‘Magritte’s New Shoes’, 2016 polished bronze, stamp signed, titled, dated and numbered ‘2/6’ on plaque inside the right shoe
9.5cm high (2)
£800 - 1,000
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 381
Clive Barker (b.1940)
‘Magritte’s Hat’, 2008 bronze with black patina and polished bronze, stamp signed, titled, and numbered ‘2/6’ on a plaque and dated ‘2008’ underneath 24cm high
£600 - 800
LOT 382
Clive Barker (b.1940)
‘Large Homer’, 2004
polished bronze, stamped signed, titled, dated and numbered ‘1/3’ on a plaque on the base verso 45cm high
£800 - 1,200
LOT 383
Clive Barker (b.1940)
‘Tom & Jerry’, 2000 (Fermon 410) polished aluminium, stamp signed, titled, dated and numbered ‘3/3’ underneath 58cm high
£800 - 1,200
LOT 384
Clive Barker (b.1940)
‘What’s Up Doc’, 2001
polished bronze, stamp signed, titled, dated and numbered ‘2/3’ on the base 16.5cm high
£800 - 1,200
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 385
Clive Barker (b.1940)
‘Uncle Scrooge’, 2001
polished bronze, stamp signed, titled, dated and numbered ‘2/2’ on a plaque to the base
45cm high
£700 - 1,000
LOT 386
Clive Barker (b.1940)
‘Peanut Man’, 1998 (Fermon 332)
polished aluminium, stamp signed, titled, dated and numbered ‘4/6’ on the base
28cm high
£800 - 1,000
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 387
Clive Barker (b.1940)
‘Football Boots’, 2016
polished bronze, stamp signed, titled, dated and numbered ‘2/3’ on a plaque to the base
55.5cm high
£800 - 1,200
Provenance: The David and Pam McCleave Collection of Modern British Art.
LOT 388
Clive Barker (b.1940)
‘Still Life (Saucepan and Eggs)’, 2006 copper and brass, stamp signed, titled and dated on a plaque to the base
40.5cm wide
26cm deep
27.5cm high
£600 - 800
brass, stamp signed, titled and dated on a plaque to the bottom 59cm high overall, including flag
The David and Pam McCleave Collection of Modern British Art.
LOT 390
Gerald Scarfe (b.1936)
‘Toff Gate’, Boris Johnson for PM signed ‘Gerald Scarfe’ l.r., pen and ink and watercolour heightened with white over pencil
84 x 59cm
£1,000 - 1,500
Provenance: Sotheby’s, New Bond Street, ‘Scarfe at Sotheby’s’, 5 April 2017, lot 19; the David and Pam McCleave Collection of Modern British Art.
LOT 391
Gerald Scarfe (b.1936)
‘Pub Bore’
a Nigel Farage satire, pen and ink and wash heightened with white, with pencil inscriptions
84 x 59cm
£1,000 - 1,500
Provenance: Sotheby’s, New Bond Street, ‘Scarfe at Sotheby’s’, 5 April 2017, lot 12; the David and Pam McCleave Collection of Modern British Art.
LOT 392
Gerald Scarfe (b.1936)
‘Two Dodgy Brexiteers Run for It!’, a Boris Johnson and Nigel Farage satire, signed ‘Gerald Scarfe’ l.r. and inscribed with title l.c., pen and ink and watercolour heightened with white, with pencil inscriptions
59 x 84cm
£1,000 - 1,500
Provenance: Sotheby’s, New Bond Street, ‘Scarfe at Sotheby’s’, 5 April 2017, lot 17; the David and
of
LOT 393
Stanley McMurtry aka ‘Mac’ (b.1936)
‘Immigration Check-Point’, 2001 an original cartoon, pen and ink and watercolour heightened with white 30 x 70.5cm
£150 - 250
Pam McCleave Collection
Modern British Art.
392
LOT 394
Stanley McMurtry aka ‘Mac’ (b.1936)
‘The Nerve of Them MP Guys. Some of the Schmuks Voted Against my Casino’ an original cartoon for the ‘Daily Mail’, published 2 November 2004, pen and ink and watercolour heightened with white image 33.5 x 51.5cm
£100 - 150
LOT 395
Stanley McMurtry aka ‘Mac’ (b.1936)
‘The Naked Chef - Cooking the Books’ an original cartoon for the ‘Daily Mail’, published 31 March 2005, pen and ink and watercolour heightened with white image 33.5 x 51.5cm
£100 - 150
LOT 396
Stanley McMurtry aka ‘Mac’ (b.1936)
‘Cooee! Prepare for Take Off - We’ve Brought Some Grit’ an original cartoon for the ‘Daily Mail’, published 21 December 2010, pen and ink and watercolour heightened with white image 33.5 x 52cm
£100 - 150
LOT 397
Stanley McMurtry aka ‘Mac’ (b.1936)
‘Smile, Honey. We’ll be Meeting the Queen and That Hat Cost a Lot of Money’ an original cartoon for the ‘Daily Mail’, published 24 May 2011, pen and ink and watercolour heightened with white image 33.5 x 52cm
£100 - 150
LOT 398
Stanley McMurtry aka ‘Mac’ (b.1936)
‘I’m Worried. He’s Been an Awful Long Time Down Kimberly’s Chimney’ an original cartoon for the ‘Daily Mail’, pen and ink and watercolour heightened with white image 34 x 51cm
£100 - 150
LOT 399
Peter Brookes (b.1943)
‘Nature Notes’ signed ‘Peter Brookes’ and dated ‘9 x 04’ l.l., pen and ink and watercolour, original artwork for ‘The Times’, published 9 October 2004
24.5 x 36.5cm
£200 - 300
‘Monday 16th November’
signed ‘P J Crook’, inscribed with title and dated ‘1998’ verso, Liquitex acrylic on canvas
101 x 101cm, in a painted frame
£2,000 - 3,000
View from a bridge, overlooking Marshgate Lane, London signed with initials and dated ‘06/07’ l.l., oil on board
25 x 74.5cm
£400 - 600
LOT 400
Pamela Jane (‘P J’) Crook (b.1945)
LOT 401
Julian Perry (b.1960)
LOT 402
Julian Perry (b.1960)
‘Large White Door Shed’
signed ‘Julian Perry’, inscribed with title and dated ‘2005/6’ verso, oil on board
113 x 121.5cm, unframed
£400 - 600
LOT 403
Julian Perry (b.1960)
‘Olympic Shed 10’
signed ‘Julian Perry’, inscribed with title and dated ‘2006’ verso, oil on board
34 x 24.5cm
£300 - 400
LOT 404
Julian Perry (b.1960)
‘Treetop Trail in Mist’
signed with initials and dated ‘01’ l.l., also signed, inscribed with title and dated verso, oil on board
117 x 183cm, unframed
£400 - 600
LOT 405
Julian Perry (b.1960)
View of Hartcliffe, Bristol
signed with initials and dated ‘98’ l.r., oil on board
23 x 33cm
£300 - 400
LOT 406
Peter Doig (b.1959)
‘Cyril’s Bay’
giclée print in colours with silkscreen varnish, signed and dated ‘08’ in pencil l.r., and numbered ‘478/500’, published by the Tate Gallery, London sheet 51 x 39cm
£1,500 - 2,000
LOT 407
DovBer Marchette (American, b.1939)
‘Putting Down the Head’, 2013 signed ‘DovBer Marchette’, inscribed with title and dated ‘8/13’ verso, acrylic on canvas, complete with a certificate of authenticity signed by the artist 36 x 28cm
£400 - 600
LOT 408
DovBer Marchette (American, b.1939)
Untitled signed and dated ‘D B Marchette/2008’ verso, acrylic on paper, complete with a certificate of authenticity signed by the artist
45.5 x 61cm, unframed
£600 - 800
LOT 409
Alfred Hofkunst (Austrian, 1942-2004)
‘Die Naht’ (the seam)
signed and dated ‘A Hofkunst 70’ l.c., pencil and collage
79.5 x 59.5cm
£500 - 700
LOT 410
Peter Peri (b.1971)
‘Puritan’
signed and dated ‘Peter Peri ‘05’ verso, mixed media on canvas
91.5 x 61cm, unframed
£700 - 900
Exhibited: The Carl Freedman Gallery, London, ‘Peter Peri: Overflow and Extinction’, 2005, the artist’s first solo show. 409
LOT 411
Pure Evil (b.1968)
‘Kiss Patti Smith’ signed ‘PURE EVIL’ verso, inscribed with title on stretcher, spray paint on canvas
75 x 75cm, unframed
£500 - 700
LOT 412
Pure Evil (b.1968)
Snoopy signed ‘PURE EVIL’ verso, spray paint on canvas
75 x 75cm, unframed
£500 - 700
LOT 413
Pure Evil (b.1968)
‘Linguini Loren’ screenprint in colours, signed ‘Pure Evil’ in pencil l.r., and numbered ‘100/100’ sheet 50 x 35cm, unframed
£200 - 300
413
Mitsuru Koga (Japanese, b.1980)
‘Atelier/Brush’, 2014
twenty carved cedar wood, silkscreen and acrylic sculptures, each with an individual certificate of authenticity signed ‘Mitsuru Koga’ and dated ‘2014’, displayed in a Perspex-fronted case
183cm wide
16cm deep
74.5cm high
£5,000 - 8,000
Exhibited: Colette, Paris, ‘Mitsuru Koga, Atelier’, 5 - 31 January 2015. The sculptures in this lot are from a series of work titled ‘Atelier’, in which Koga carved paintbrushes (the tools of the studio space) out of a single block of wood. The sculptures are painted so that the brushes appear to have just been placed there, rather than having emerged from a block of wood.
LOT 414
414
LOT 415
The Connor Brothers (b.1968)
‘I Drink Therefore I Can’, 2019 giclée print in colours on wove, signed and dated in pencil l.r., and numbered ‘29/30’ sheet 75 x 50cm, unframed
£600 - 800
LOT 416
The Connor Brothers (b.1968)
‘Hell is Empty and All The Devils Are Here’ mixed media collage, inscribed ‘Lockdown Day 137’, created by Mike Snelle at his home during the Covid-19 lockdown
72 x 46.5cm, unframed
£2,000 - 4,000
LOT 417
The Connor Brothers (1968)
‘I Tried to Drown My Sorrows But The Bastards Learned How to Swim’ giclée print in colours, artist’s proof, signed and dated ‘19’ in pencil l.r., and inscribed ‘AP’ image 119.5 x 65cm
£600 - 800
LOT 418
The Connor Brothers (b.1968)
‘Be Yourself Everyone Else is Taken’ mixed media and paint over a printed base, signed and dated ‘Connor Brothers 19’ l.r. 168 x 99.5cm, unframed
£3,000 - 5,000
LOT 419
The Connor Brothers (b.1968)
‘Absence Makes the Days Grow Longer’ mixed media and paint over a printed base, signed and dated ‘Connor Brothers 19’ l.r. sheet 169 x 100cm, unframed
£3,000 - 5,000
LOT 420
The Connor Brothers (b.1968) ‘You’ll Call, Won’t You?’, from ‘True Love Stories’ giclée print in colours, 2013, signed ‘Connor Brothers’ in pencil l.r. and numbered ‘54/95’ sheet 72 x 49cm
£500 - 800
LOT 421
Spare lot
420
419 418
LOT 422
Caledonia Curry aka ‘Swoon’ (American, b.1977)
‘Ashley’ screenprint on hand-painted and hand-stained paper with bronze brushwork, signed ‘Swoon’ in pencil l.r. and numbered ‘9/75’ visible 20.5 x 19cm
£200 - 300
LOT 423
Gary Hume RA (b.1962)
‘Brown Brown Silver and Brown’ screenprint with aluminium leaf, 2005, signed in pencil l.r., inscribed with title and numbered ‘8/56’, published by Paragon Press, London sheet 121 x 78cm
£600 - 800
LOT 424
Damien Hirst (b.1965)
‘New Religion’ a double-sided offset lithographic poster in colours, 2005, signed ‘Damien Hirst’ in pen on one side, published by Paul Stolper/Other Criteria for the exhibition held at the Paul Stolper Gallery in London, 13 October - 19 November 2005 sheet 44 x 31cm, unframed £300 - 500
LOT 425
Cubitt Print Box
a portfolio of prints in various mediums, 2000, each signed and numbered ‘75/100’, with the exception of the print by Elizabeth Wright numbered ‘175/220%’ as per the artist’s intention, published by Cubitt, in the original presentation box box 28.5 x 23.5cm
£2,000 - 3,000
The portfolio includes prints by 20 British and international artists who had come to prominence in the 1990s, all of whom had either worked or shown at the Cubitt studios and gallery in King’s Cross, London: Martin Creed, Tacita Dean, Peter Doig, Ceal Floyer, Matthew Higgs, Gareth Jones, Alex Katz, Scott King, Jochen Klein, Hilary Lloyd, Paul McCarthy, Paul Noble, Chris Ofili, Peter Pommerer, James Pyman, Giorgio Sadotti, Jane Simpson, Wolfgang Tillmans, Piotr Uklanski and Elizabeth Wright. ‘Snowball’ by Elizabeth Wright was created as a varied edition of 120 individual versions, with the perfectly round snowball in each print scaled differently in successive increments from 101/220% to 220/220%. The variations in size reflect the platitude that no two snowflakes are alike. Getting bigger as the edition progresses, the circles created by the artist manifest as a literal ‘snowball effect’.
LOT 426
Banksy (b.1974)
‘Golf Sale’ screenprint, 2003, stamped with ‘BANKSY’ tag in red ink, numbered ‘388/750’, published by Pictures on Walls, London sheet
34 x 48.5cm
£5,000 - 8,000
This lot is accompanied by a Certificate of Authenticity issued by the Pest Control Office.
LOT 427
Banksy (b.1974)
‘CND Soldiers’, 2005 screenprint in colours, numbered ‘96/350’, published by Pictures on Walls, London’ with their blind stamp sheet 70 x 50cm, unframed
£15,000 - 20,000
This lot is accompanied by a Certificate of Authenticity issued by the Pest Control Office.
LOT 428
Banksy (b.1974)
‘Flags’ (silver), 2006 screenprint, numbered ‘103/1000’ verso, printed and published by Pictures on Walls, London, with their blind stamp 50 x 70cm, unframed
£8,000 - 10,000
This lot is accompanied by a Certificate of Authenticity issued by the Pest Control Office.
LOT 429
Joseph Klibansky (Dutch, b.1984)
‘Leap of Faith’, 2019
polished bronze, signed ‘Joseph Klibansky’, numbered ‘20/20’ and dated ‘09-09-2022’ on top of backpack
45cm wide
80cm deep
69cm high
180cm high overall, on a white plinth £15,000 - 20,000
South African-born Joseph Klibansky is a contemporary artist based in Amsterdam. Known for his innovative approach, Klibansky blends traditional artistic techniques with cutting-edge digital technology to create captivating works of art. His sculptures, often crafted from polished bronze, are celebrated for their reflective surfaces and playful yet thought-provoking themes. As in the present lot, he often blends traditional craftsmanship with modern aesthetics.
In ‘Leap of Faith’, we see a spaceman attempting to take ‘one giant leap for mankind’, but he is weighed down by a crucifix on his back. The sculpture explores themes of courage, risk and transformation, which are often central to Klibansky’s work.
LOT 430
Banksy (b.1974)
‘Visit Historic Palestine’ offset lithographic poster in colours, 2018, with ‘The Walled Off Hotel’ blind stamp, also stamped verso and complete with a ‘The Walled Off Hotel’ stamped invoice sheet 59 x 42cm, unframed
£400 - 600
LOT 431
After Banksy ‘Peckham Rock’
offset lithograph on a shaped wood board produced by the British Museum, 2018 12 x 18cm, mounted on a mirrored frame
£200 - 300
Banksy’s ‘Peckham Rock’ is a piece of concrete showing a supposed prehistoric figure pushing a shopping trolley. This was placed in the British Museum in 2005, accompanied by an authentic-looking information label, and was there for three days before anyone realised something was amiss. This wooden postcard, originally sold by the British Museum, replicates the image from the information label that was originally placed with the wall art.
LOT 432
Banksy (b.1974)
‘Er...’ (Union Flag) screenprint in colours on cotton, a limited edition tea towel numbered 90/1000 on label verso
43 x 67cm, unframed
£1,000 - 1,500
431 430
LOT 433
Sir Grayson Perry RA (b.1960)
‘Piggy Bank’, 2017
glazed ceramic with rubber stopper with the artist’s logo on the underside, contained in the original Serpentine Galleries box
10cm wide
20.5cm deep
9cm high
£600 - 800
LOT 434
Sir Grayson Perry RA (b.1960)
‘Julie as Mother of Two’
a porcelain plate with gold lustre, with the artist’s logo printed on base, produced by Living Architecture
20cm diameter
£100 - 200
LOT 435
Sir Grayson Perry RA (b.1960)
‘Julie in Front of the Taj Mahal’
a porcelain plate with gold lustre, with the artist’s logo printed on base, produced by Living Architecture
20cm diameter
£100 - 200
LOT 436
Sir Grayson Perry RA (b.1960)
‘Lion Queen’, 2022
a glazed fine china plate based on the ‘Lion Queen Charger’ that Perry created for the Platinum Jubilee of Queen Elizabeth II, produced for ‘Grayson’s Art Club: The Exhibition’ held at the Midlands Art Centre, Birmingham
21.5cm diameter
£100 - 200
LOT 437
David Yarrow (b.1956)
‘The Cave’, 2019
large archival pigment print, signed and dated ‘David Yarrow April 2019’ and numbered ‘8/12’ in the margin image 141 x 188cm
£15,000 - 25,000
David Yarrow is a celebrated fine art photographer known for his captivating blackand-white images of wildlife and landscapes, and powerful storytelling. At just twenty years old, he gained global recognition as a sports photographer, capturing the iconic moment of Diego Maradona lifting the World Cup in 1986. Although he then pursued a career in finance, Yarrow eventually returned to his true calling - photography - which has led him to some of the most remote and awe-inspiring corners of the world.
His work is characterised by its dramatic flair, and shots are often achieved through remote-controlled cameras to achieve close, intimate perspectives of wildlife. Beyond his artistic achievements, Yarrow is a committed conservationist, with proceeds from his work often raising money for environmental and philanthropic causes.
LOT 438
Chris Levine (Canadian-British, b.1960)
‘Lightness of Being (Lenticular)’
3D lenticular print in colours, signed, dated ‘2021’ and numbered ‘105/200’ in pen verso, printed by Jeffrey Rob, recorded Buckingham Palace, London, 2004
visible 65 x 46cm
£8,000 - 12,000
LOT 439
Adolf Luther (German, 1912-1990)
Untitled - mirror sculpture glass, lenses, concave mirror and wooden panel in an acrylic box, signed and dated ‘Luther 71’ and numbered ‘97/100’ verso
28cm wide
8cm deep
27.5cm high
£4,000 - 6,000
LOT 440
David Shrigley (b.1968)
‘Good Weather’, 2024; ‘The Moon’, 2024; ‘I Wish The Clouds Were Not There’, 2024 three offset lithographs in colours, from an open edition, printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen sheet 70 x 50cm, unframed (3)
£300 - 400
LOT 441
David Shrigley (b.1968)
‘This Huge Cat’, 2022
offset lithograph in colours, from an open edition, printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen 80 x 60cm, unframed
£200 - 300
LOT 442
David Shrigley (b.1968)
‘When Life Gives You A Lemon, You Must Eat the Lemon’, 2021
offset lithograph in colours, from an open edition printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen
80 x 60cm, unframed
£200 - 300
LOT 443
Stik (b.1979)
‘Holding Hands’ in red, orange, yellow, blue and teal
five offset lithographs in colours, 2020, all with a central horizontal and vertical fold crease as issued
50 x 50cm, unframed (5)
£400 - 600
LOT 444
Bob Dylan (American, b.1941)
‘Woman in Red Lion Pub - Portfolio’ a set of four giclée prints in colours, 2008, each signed ‘Bob Dylan’ in pencil l.r., and numbered ‘263/295’, printed by GTZ Fine Art Editions, New York, on Hahnemühle 350gsm Museum Etching, published by Washington Green Fine Art in association with Black Buffalo Artworks, complete with Washington Green Fine Art blind stamps, certificates of authenticity, and in original portfolio as issued sheet 69.5 x 55.5cm, unframed (4)
£5,000 - 7,000
Provenance: Purchased from Halcyon Gallery, London.
GLOSSARY OF PICTURE CATALOGUING TERMS
A work catalogued with the forename(s) and surname of a recognised destination of an artist is or is probably a work by the artist, eg. David Cox. Nevertheless, intending buyers are reminded that while a full designation is our highest category or authenticity, no unqualified statement as to the authorship is made or intended. A full cataloguing does not necessarily imply a full warranty.
Attributed to David Cox in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.
Circle of David Cox in our opinion a work from the period of the artist and showing his influence.
Follower of David Cox in our opinion a work executed in the style of David Cox
After David Cox in our opinion a copy of any date after a work by the artist
Signed/inscribed/dated in our opinion the work has been signed/inscribed/dated by the artist
ARTIST’S RESALE RIGHT (ARR)
What is Artist’s Resale Right?
Following a European Directive in 2006, the Artist’s Resale Right entitles creators of original works of art to a royalty each time their work is resold, with the involvement of an auction house, for £1,000 or more.
This right covers sales of work by living artists and also the beneficiaries and heirs of artists deceased within the last 70 years of the sale.
How are resale royalties calculated?
The artist’s royalty depends on the hammer price (sale price without any VAT or Buyer’s Premium). The higher the sale price of the artwork, the lower the overall royalty rate.
The royalty is worked out according to a sliding scale from 4% to 0.25%.
Bears/with signature, inscription, date in our opinion the signature/inscription/date are not by the hand of the named artist.
The addition of a question mark (?) after any of the above cataloguing terms indicates an element of doubt.
A work catalogued as ‘School’ accompanied by the name of a place or country and a date means that in our opinion the work was executed at that time and in the location, eg. South Netherlands School, circa 1750.
All references to signatures, inscriptions and dates refer to the present state of the work, ie. as at the time of inspection for the purpose of cataloguing.
Condition reports are not included in the descriptions.
What is the qualifying threshold?
An artwork must sell for more than £1,000 to qualify for a royalty and the maximum amount an artist can receive is capped at £12,500 per transaction.
‡ Additional information relating to lot 309.
This lot has been imported from outside of the UK and placed under Temporary Admission. An amount in lieu of Import VAT will be charged at 5% on the hammer price. VAT at 20% will be added to the buyer's premium and will not be shown separately on our invoice.
1. Value Added TAX (VAT): as the Buyer, you shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot, at the appropriate rate prevailing by law at the date of the auction. Please see 4. below for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK.
2. Lots affixed with ‡: a reduced rate of Import VAT on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outside the UK.
What nationality must an artist be to qualify?
Following the UK’s exit from the European Union, the ARR has continued to apply to the sale of artworks by nationals of countries in the European Economic Area (EEA), as well as the UK. The following countries are in the EEA:
Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, plus the UK, Australia (from 31 March 2024) and New Zealand (from 1 December 2024) for the purposes of ARR.
Artists who are nationals of these countries are therefore generally eligible to receive resale royalties. The nationality criteria only applies to the artist and not to the beneficiaries or heirs.
Are all sales of artwork covered?
The Artist’s Resale Right does not apply to all sales of artworks. A royalty is only due if the following conditions are met:
• the artwork is a copyright protected work of graphic or plastic art;
• it is sold for more than £1,000; it is sold in the secondary market with the involvement of an art market professional (e.g. auction house);
• and it is sold in the UK, Australia, New Zealand, or a country in the European Economic Area (EEA)
Lots that may be subject to Artist’s Resale Right will be denoted by this symbol:
This royalty, where applicable, will be charged to the purchaser.
3. For lots affixed ‡: when these lots are released to buyers in the UK, the buyer will become the importer and must pay Sworders the import VAT at the rate noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment.
4. Export from the UK: for lots offered under the VAT Margin Scheme and lots with a ‡ symbol attached, you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection, a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £75. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please note that all customs formalities of the destination country are the responsibility of the buyer.
Warburton, Joan 199, 200, 201, 202 Ward, Stephen 294 Watts, Meryl 205 Weight, Carel 266
Williams, Aubrey 167 Wilson, Scottie 335 Wood, Christopher 99
Y Yardley, John 264
Yarrow, David 437 Yates, Fred 273, 274, 275
Z
Zenetzis, Vasilis 170, 171
TERMS AND CONDITIONS
For Specialist Live Auctions
These conditions of business consist of:
1. Information for Buyers;
2. Terms of Consignment for Sellers (not printed within this catalogue, but can be viewed at www.sworder.co.uk);
3. Terms of Sale for Bidders and Buyers.
1. INFORMATION FOR BUYERS
Introduction
The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.
Methods of payment
Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. Any cheques will need to be cleared before you can take the Goods away.
Collection and storage
All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees.
Furniture and large items, and small items if they form part of the same invoice, not collected within seven working days of the auction will be sent to Abels Moving Services Ltd, at your expense. Refer to clause 8 in Sworders Terms of Sale for more information.
Agency
As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer.
Estimates
Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive.
Buyer’s Premium
The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased, except for our Fine Wine and Spirits auctions when it is 18%. In addition, VAT is charged on these Premiums (see below).
VAT
Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax.
Shipping Costs are liable for VAT and are payable by the Buyer.
If you are exporting the items from the UK, you may be able to claim a reimbursement of the VAT, where:
1. you are using Sworders Delivery service.
In these cases, a zero rated (VAT exempt) invoice can be issued where the following criteria are met:
a. the items are exported within three months of the date of the auction
b. the total amount of VAT payable would exceed £75 per shipment
There is no administrative charge for clients using Sworders Delivery Service.
If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods.
2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met:
a. the invoice is paid in full, including VAT
b. the items are exported from the UK within three months of the date of the auction
c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK d. the total amount of VAT to be claimed exceeds £75
e. you have paid an administrative fee of £25 Inspection of Goods by the Buyer
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 12.2 and 12.4.
Condition reports
We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale.
Shipping of Goods
We offer a delivery service for Lots purchased, either by shipping ourselves, or use of a third party logistics company. Estimates for Shipping Costs for smaller items can be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world either in advance of the sale or after you have purchased.
Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.
Items not collected within seven working days of the auction will be sent to Abels Moving Services Ltd, at your expense. You will be liable for all costs relating to the collection and storage of your items. See clause 8 and 9 in the terms of sale relating to the Title and Collection of purchase and associated costs.
Electrical goods
These are sold as ‘antiques’ only. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
Export of Goods
If you intend to export Goods you must find out:
IMPORTANT NOTICES
Removal of Lots
a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials such as ivory.
Bidding
Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
Commission bidding
You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time.
Telephone bidding
If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is for Lots with an estimate of £500 or more. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.
Online bidding
Any Lots purchased via a live online bidding service will be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% while bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Commission at their advertised rate.
Artist Resale Rights
Lots marked with a ▴ indicate the item is subject to additional Artist Resale Right charges.
Furniture and large items, and small items if they form part of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd, the cost of which you will be liable for. See clause 8 and 9 in the Terms of Sale for Title and Collection of Purchases and Costs relating to Collection Services, for more details.
Electrical Goods
All electrical Goods offered in this sale have either been tested and certified safe or unsafe by an appropriately qualified electrician. All electrical Goods certified unsafe must be re-commissioned by an appropriately qualified electrician and we recommend those certified safe are similarly re-commissioned.
Post 1950 Upholstered Furniture
All items of furniture included in this sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling.
Furniture made of Brazilian Rosewood (Dalbergia Negra)
To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale.
If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is therefore the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.
Ivory Lots marked contain elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding
2. TERMS OF CONSIGNMENT FOR SELLERS
Not printed within this catalogue, but can be viewed at www.sworder.co.uk
3. TERMS OF SALE FOR BIDDERS AND BUYERS
Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale.
These Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.
1. Definitions and interpretation
1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:
In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.
2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.
2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.
2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.
2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.
2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.
2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.
2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk.
3. Bidding procedures and the Buyer
3.1 You must register your details with us before bidding and
provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid.
3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics.
3.3 If you instruct us, we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained).
3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may re-offer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.
3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.
3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.
3.7 We may refuse to accept any bid if it is reasonable for us to do so.
3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).
4. The purchase Price
4.1 As a Buyer, you will pay:
a. the Hammer Price;
b. a Premium of 25% plus VAT of the Hammer Price or 18% plus VAT for our Fine Wine and Spirits Auction; c. any artist’s resale right royalty payable on the sale of a Lot d. any bidding platform fee payable on a Lot; and e. any VAT due.
‘Auctioneer’ means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;
‘Bidder’ means a person who places a bid for Goods at our auction;
‘Buyer’ means the person who makes the highest bid for the Goods accepted by the Auctioneer;
‘Commission’ means the Commission that we charge you on the sale of the Goods as set out in Clause 4 below;
‘Consumer’ means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;
‘Consumer Contracts Regulations’ means the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013;
‘Deliberate Forgery’ means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;
‘FCA’ means the Financial Conduct Authority;
‘Goods’ means the Goods that have been consigned to us for sale at our auction;
‘Hammer Price’ means the level of the highest bid for a Lot accepted by the Auctioneer;
‘Premium’ means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale;
‘Price’ means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;
‘Proceeds’ means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;
‘Reserve’ means the minimum Price at which the Goods may be sold;
‘Seller’ means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);
‘Shipping Costs’ means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);
‘Terms of Consignment’ means these Terms of Consignment;
‘Terms of Sale’ means the Terms of Sale for Bidders or Buyers at our auctions;
‘Trader’ means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);
‘VAT’ means any value added tax or equivalent sales tax; and
‘Website’ means our Website available at www.sworder.co.uk.
5. VAT
5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information.
5.2 We will charge VAT at the current rate at the date of the auction.
6. The contract between you and the Seller
6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning Lot in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations 2019 in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete.
6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.
6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim.
6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).
7. Payment
7.1 Immediately following your successful bid on a Lot you will:
7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and
7.1.2 pay to us the total amount due in any way that we agree to accept payment.
7.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods.
7.2 If you owe us any money, we may use any payment made by you to repay these debts.
8. Title and collection of purchases
8.1 Once you have paid us in full the total amount due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it.
8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue or on our Website.
8.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.
8.4 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for removal and storage charges in relation to that Lot – see clause 8.5 -8.7 below.
8.5 Items not collected within seven working days of the auction will be collected by Abels Moving Services Ltd for storage at their Potters Bar depot and subject to collection, storage and administration costs, for which you will be liable. See Clause 9 for Costs relating to Collection and Storage Services
8.6 Items will be stored by Abels Moving Services Ltd free of charge for seven days from the date of collection. Storage charges will commence thereafter. All costs associated with collection and storage in these cases are payable directly to Abels Moving Services Ltd and must be paid prior to collection of the lot – see clause 9 on Costs Relating to Collection and Storage Services.
8.7 All lots must be collected by prior appointment at Abels Moving Services Ltd, The Heights, East, Cranborne Road, Potters Bar, EN6 3JN.
020 4259 4315
collectionsPB@abels.co.uk
Collections Monday – Friday 08:30-16:30 only.
8.8 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot or it is collected by Abels Moving Services Ltd.
8.9 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.
9. Costs Relating to Collection and Storage services
9.1 These fees relate to the collection and storage of your purchases by Abels Moving Services Ltd and are payable directly to them.
9.2 Collection from Sworders £25 per collection of 1-5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT)
9.3 Free storage for one week thereafter, then:
9.3.1 £4.00 (plus VAT) per lot, per day*
*Additional charges apply for items exceeding 8 x 8ft
*A levied liability charge (LLC) of £0.08 per £1,000 value of goods is payable
*Admin fees will be payable on collection of goods from Abels Moving Services Ltd
*All charges are subject to VAT and 6.27% insurance on total charges
10. Remedies for non-payment or failure to collect purchases
10.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:
10.1.1 take action against you for damages for breach of contract;
10.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;
10.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot and the Price we sell it for as well as the charges outlined in Clause 8.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;
10.1.4 remove, store and insure the Lot at your expense;
10.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;
10.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable;
10.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or
10.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.
10.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.
11. Health and safety
Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence.
12. Warranties
12.1 The Seller warrants to us and to you that:
12.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction;
12.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and
12.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct.
12.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.
12.3 Please note that many of the Lots that you may bid on at our auction are second-hand.
12.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 12.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.
12.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.
13. Descriptions and condition
13.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).
13.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction.
13.3 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 will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.
13.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.
14. Deliberate Forgeries
14.1 You may return any Lot which is found to be a Deliberate Forgery to us within thirty days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.
14.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if: 14.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or
14.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause.
14.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot.
14.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.
15. Our liability to you
15.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.
15.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.
15.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot.
15.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:
15.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);
15.4.2 fraudulent misrepresentation; or
15.4.3 any liability which cannot be excluded by law.
16. Notices
16.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it.
16.2 Any notice referred in Clause 16.1 may be given:
16.2.1 by delivering it by hand;
16.2.2 by first class pre-paid post or recorded delivery; or
16.2.3 by email.
16.3 Notices must be sent:
16.3.1 by hand or registered post;
a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and
b. to you, at the last postal address that you have given to us as your contact address in writing; or
16.3.2 by email:
a. to us, by sending the notice to the following email address: auctions@sworder.co.uk
b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.
16.4 Notices will be deemed to have been received:
16.4.1 if delivered by hand, on the day of delivery;
16.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or
16.4.3 if sent by email, at the time of transmission unless sent after 5pm in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt.
16.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message.
17. Data Protection
We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website.
18. General
18.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.
18.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.
18.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues.
18.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.
18.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.
18.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.
18.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.
19. Sharing your information
19.1 Sworders Fine Art Auctioneers respects your privacy and is committed to protecting your personal data. We do not share your data unless there is a business, or legal reason for us to do so. In agreeing to these terms of sale, you agree that:
• Should you decide to use Sworders delivery service, we may share relevant personal data that we hold with the shipping agent to allow effective communication between the shipping agent and you, and to enable delivery
• Should you fail to collect your items within seven working days of the date of the auction, we may share your details with the shipping agent to allow effective communication between them and you, to arrange for the payment of storage and collection of your items from their store.
Please refer to Sworders Privacy Policy for more information on how we process your data.
These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers
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