Sworders Modern & Contemporary Art Tuesday 5 October

Tuesday 5 October 2021

MODERN AND CONTEMPORARY ART Live Online – Tuesday 5 October 2021 at 10am ORDER OF SALE Lots 1-23 Great Bardfield and Benton End Lots 24-132 20th Century to include Lots 84-108 The Elsie Henderson Collection Lots 133-214 Modern British Lots 215-353 Modern and Contemporary to include Lots 229-253 The Curwen Print Study Centre Collection

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Sunday 3 October

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SECTION TITLE GREAT BARDFIELD AND BENTON END GREAT BARDFIELD AND BENTON END 1-23

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GREAT BARDFIELD AND BENTON END We are delighted to begin this catalogue with a section on the East Anglian artists of Great Bardfield and Benton End. Although located within fifty miles of each other, these two schools were comprised of very different artists and practices. We can think of Great Bardfield, a small village in North Essex, as an artists’ community, whereas Benton End, located on the outskirts of Hadleigh, Suffolk, was more formally established as an art school by Cedric Morris and Arthur Lett-Haines, and was known as ‘The East Anglian School of Painting and Drawing’.

In the early 1930s, Edward Bawden and Eric Ravilious moved to The Brick House, Great Bardfield with their respective wives, Charlotte Epton and Tirzah Garwood. Living as a four until 1934, the artists were joined in the village by John Aldridge who lived at Place House. The Great Bardfield artists are diverse in their styles and techniques, but shared a love for their local scenery and for village life. It is exciting, not only to offer a woodcut by Garwood, but to show Bawden’s ‘Audley End’. There are also three wonderful landscapes by John Aldridge set in this area. During the Second World War, the artists dispersed, only to return years later with a crucial member, Ravilious, lost to them after he was reported missing and presumed dead in 1942; Garwood also did not return to Great Bardfield. However, the community continued to thrive with artists such as Walter Hoyle and Sheila Robinson joining the set.

Active at a similar time, ‘The East Anglian School of Painting and Drawing’ was initially located at Pound Farm, Dedham. Amongst its earliest students was Lucian Freud, who was reportedly responsible for an accidental fire that destroyed Pound Farm and forced the school to move to Benton End in 1940. The school offered a freer approach to teaching based on reassurance rather than critique. Students were immersed in gardening, required to help with housework and gathered every evening to eat Arthur Lett-Haines’ delicious Mediterranean-inspired cuisine.

As interested in gardening as painting, Cedric Morris found greater fame in his lifetime as a breeder of irises. Yet, in recent years, Morris has received considerable acclaim for his paintings, aided by an exhibition of his work at Philip Mould & Co. (2018).

With Morris’s auction prices becoming unattainable for most, interest has fallen on his pupils. Represented in this catalogue are Lucy Harwood, Joan Warburton and Alan Walton who each inherited a freshness of vision and passion for their local surroundings from Morris. Sworders’ sale of the Sally Hunter and Ian Posgate Collection (May 2021) set the record for the highest prices at auction for each of these artists.

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Lot 1 Tirzah Garwood (1908-1951) ‘The Dog Show’ wood engraving, numbered 169/500 in pencil l.l.

29 x 20.5cm £300 - 400

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2 Lot 2 *Edward Bawden RA (1903-1989) ‘Campions and Columbine’ linocut in colours, Merivale Editions, signed ‘Edward Bawden’ and numbered 409/500 in pencil sheet 29 x 21cm; Brighton Pier offset lithograph, published by Kemp Town Bookshop, Brighton, numbered 90/950 26.5 x 61cm (2) £200 - 400

2 Lot 4 *Edward Bawden RA (1903-1989) ‘Audley End House’ linocut in colours, with Christie’s Contemporary Art blind stamp, signed and dated ‘Edward Bawden 1973’ in pencil l.r., inscribed as titled and numbered 123/150 in pencil l.l 69 x 82cm £800 - 1,200 With Christie’s Contemporary Art Certificate of Authenticity.

Lot 3 Spare lot

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5 Lot 5 *John Bellany RA (1942-2013) ‘Cromarty Harbour’, 2007 signed ‘Bellany’ l.l., watercolour 56 x 76cm £1,000 - 1,500 Lot 6 *John Bellany RA (1942-2013) ‘The Bride of Lammermoor’ signed l.r., pencil and watercolour 18.5 x 16cm £400 - 600 Provenance: With Flowers East, London; Folly Mill, Thaxted, Essex.

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7 Lot 7 *John Bellany RA (1942-2013) Woman in a Boat signed ‘Bellany’ l.r., oil on canvas 91 x 91cm £4,000 - 6,000

Lot 8 *John Bellany RA (1942-2013) ‘Enigma’ signed ‘Bellany’ l.l. and inscribed with title on gallery label verso, watercolour and pencil 38.3 x 28.7cm £1,000 - 1,500 Provenance: G ardiner Houlgate, 23 March 2012, lot 1500.

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Lot 9 *John Aldridge RA (1905-1983) Rolling Essex Farm signed and dated ‘John Aldridge 26 VII 79’ l.l., and inscribed verso, oil on board 26.5 x 36cm £1,500 - 2,000

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Lot 10 *John Aldridge RA (1905-1983) ‘Great Bardfield, Evening Sun’ pastel 45.5 x 63cm £600 - 800 Provenance: T he Estate of John Aldridge; The Fry Art Gallery, Saffron Walden; Abbott & Holder, London.

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Lot 11 *John Aldridge RA (1905-1983) Essex landscape - Great Bardfield, 1939 signed ‘Aldridge’ and dated ‘22 Feb. 1939’ l.l., further inscribed and signed verso, oil on canvas 35.7 x 45.5cm £1,000 - 1,500

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1-23 GREAT BARDFIELD AND BENTON END Lot 12 *Lucy Harwood (1893-1972) ‘The Gardeners’ oil on canvas 81 x 65cm £800 - 1,200 Provenance: From the estate of the artist.

Lot 13 *Lucy Harwood (1893-1972) Zebra oil on canvas 61 x 51cm £600 - 800

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Lot 14 *Lucy Harwood (1893-1972) ‘A young man’ signed and inscribed verso, pastel and gouache 51 x 40cm £250 - 350

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Lot 15 *Joan Warburton (1920-1996) Garden with irises, 1972 signed with initials and dated ‘JW/72’ l.r., watercolour 53.5 x 35.5cm £600 - 800

Lot 16 *Joan Warburton (1920-1996) White Chair signed with initials and dated ‘90 l.r., watercolour 53 x 34cm £300 - 400

Provenance: A cquired from the artist’s estate.

Exhibited: Sally Hunter Fine Art, Joan Warburton & The Benton End Effect, no.47.

The flowers seen are iris, convolvulus, aquilegia, nectaroscordum and geum.

Lot 17 *Joan Warburton (1920-1996) Prawns signed with initials and dated ‘60 l.r., pen and ink 13.5 x 26cm £150 - 250

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Lot 18 *Joan Warburton (1920-1996) The Algarve signed with initials l.l., pastel and watercolour 36.5 x 54cm £300 - 500

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19 Lot 19 *Joan Warburton (1920-1996) A tiger’s encounter, 1994 signed with initials and dated ‘JW/94’, watercolour and bodycolour 36 x 53.7cm £300 - 500 Provenance: A cquired from the artist’s estate.

20 Lot 20 *Joan Warburton (1920-1996) Still life with coffee pot and lemon signed with initials and dated ‘JW/78’, watercolour 53.3 x 35.5cm £300 - 500 Provenance: Acquired from the artist’s estate.

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Lot 21 Allan Walton (1891-1948) Suffolk landscape oil on canvas laid down on board 62 x 41cm £600 - 800

Lot 22 *Eve Quinlan (1880-1955) Irises and flowers in a blue and white vase signed ‘Eve Quinlan’ l.l., oil on canvas 76 x 60.5cm £400 - 600

Exhibited: Sally Hunter Fine Art, London, ‘Joan Warburton and the Benton End Effect’, March 2014.

Provenance: Acquired by the actress Eirene Beck (1920-2010); then a gift to Martin P W Evans RIBA (1927-2016); thence with the current owner.

Exhibited: The Royal Society of British Artists, 1944.

Christened as Eveline May Tomkins, she spent her early life in Suffolk. Quinlan was married twice in Bengal, India, first to William Cooper (d.1900) and later to Capt. Dominick Joseph Quinlan (d.1909). She was sadly widowed twice before her thirtieth birthday, and returned to England in 1911. She is recorded as living in London (1939) and Oxfordshire (1940), and exhibited twice at the Royal Academy during this time.

Quinlan exhibited with the Ipswich Art Club ‘Garden at Benton End’. This painting is strikingly reminiscent of Cedric Morris, who is famed for his cultivation of irises at Benton End and his paintings of the garden.

Lot 23 *David Carr (1915-1968) Head oil on canvas 41 x 51cm £600 - 800 Provenance: Sotheby’s, David Carr Studio Sale, 7 June 2007; Farm House, Farm Street, Mayfair, London.

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Lot 24 Samuel John Peploe RSA (1871-1935) ‘Barra’ oil on board 16.5 x 24cm £6,000 - 8,000 Provenance: With Aitken Dott & Son, Edinburgh, No. 9467; anonymous sale: Sotheby’s Gleneagles, ‘The Scottish Sale’, 30 August 2000, lot 1274.

Samuel Peploe first travelled to the Isle of Barra in 1894, staying in the studio of his friend Robert Cowan Robertson and returning on further occasions until 1903. Peploe worked en plein air during these trips and always on a small scale. Works such as this provide a fascinating and exciting insight into Peploe’s artistic development.

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Lot 25 Samuel John Peploe RSA (1871-1935) ‘Stooping Figure’, c.1922 signed ‘Peploe’ u.l., Conté pencil 33 x 23.3cm £1,500 - 2,500

Lot 26 Henri Gaudier-Brzeska (French, 1891-1915) ‘Standing male nude, Horace Brodzky’, c.1915 pen and ink 37.5 x 24.8cm £1,200 - 1,800

Provenance: W ith the Scottish Gallery, Edinburgh; with Duncan Miller, London, 1993.

Exhibited: ‘The London Group 1913-1939’, Millfield Arts Projects, Somerset 1-28 February 1995.

Horace Brodzky (1885-1969) was an Australian artist who associated with many of the avant-garde artists of the period and was a member of the London Group which included Mark Gertler and David Bomberg. Gaudier-Brzeska made several studies of him and also a bronze bust.

Lot 27 *Richard Eurich RA (1903-1992) Head of a girl signed and dated ‘R.EURICH. 1925’ l.l., pencil 16 x 13cm £300 - 400 Provenance: Bonhams, ‘Modern Pictures and Sculpture’, 14 January 2003, lot 159.

Lot 28 *Sir Stanley Spencer RA (1891-1959) Hilda signed and dated 1924 l.r., pencil 21 x 25cm £500 - 700

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Lot 29 Jessica Dismorr (1885-1939) Portrait of George Barker - poet, drawn after attending a poetry reading at Archer’s Bookshop, 1935 inscribed ‘G.B.’ l.l., pen and ink 32 x 26cm £800 - 1,200 Provenance: W ith Abbott & Holder, London.

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Lot 30 *Dame Laura Knight RA RWS (1877-1970) Clowns signed and dated ‘Laura Knight 1932’ l.l., charcoal 36 x 26cm £800 - 1,200 Provenance: Farm House, Farm Street, Mayfair, London.

Lot 31 English School, 1930s A Riot, possibly Cable Street, 1936 squared for transfer, pencil 28.5 x 36cm £300 - 500

Lot 32 *Edward Ardizzone RA (1900-1979) ‘Art School’ signed with initials ‘EA’ l.r., pencil 17.5 x 19cm £500 - 700 Provenance: Bonhams, 17 November 2015, lot 76.

Exhibited: New Grafton Gallery, 1981, no.51.

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20TH CENTURY 24-132 Lot 33 Robert Polhill Bevan (1865-1925) Woman with Cows, Brittany, c.1891-4 with artist’s monogram stamp ‘RPB’ verso, pencil sheet 30.8 x 44.7cm £700 - 1,000 Lot 34 Robert Polhill Bevan (1865-1925) Horses in a Stable, 1894 etching on laid paper, with artist’s monogram stamp ‘RPB’ l.r., and ‘Arches’ watermark sheet 30.8 x 44.7cm £400 - 600 Lot 35 Frederick Landseer Griggs (1876-1938) ‘St Wendreda’s Church - March’ etching, 1922, signed ‘F L Griggs’ in pencil l.r. plate mark 23.5 x 13cm £300 - 500 One of sixty-three impressions from the second state.

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36 Lot 36 Frederick Landseer Griggs (1876-1938) ‘Fen Monastery’ etching, 1926, signed ‘F L Griggs’ l.r., in pencil plate mark 16.5 x 24.5cm £300 - 500 Six states of Fen Monastery were printed between 1923-1926. The current lot is one of twenty-nine impressions of the fifth state, 1926.

Lot 37 *Claughton Pellew-Harvey (1890-1966) ‘The Entombment’, 1930 engraving, signed ‘Claughton Pellew’, inscribed and dated as titled and numbered 24/30 in pencil 37 x 28cm £300 - 400

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Lot 38 *Charles Rebel Stanton (1890-1954) ‘Noeux-Les-Mines, September 1915’; ‘Béthune, May 1918’; ‘Philosophe, March 1918’; ‘Kemmel’ each signed ‘C Rebel/Stanton’, each inscribed and dated as titled, watercolour and ink 16 x 19.7cm, 16 x 20cm, 19 x 24.2cm and 12.2 x 17.6cm (4) £800 - 1,200 Charles Rebel Stanton served with the First Surrey Rifles in Northern France and Belgium during the First World War. Although Stanton was not an official war artist, his stirring watercolours document the devastation of towns and villages that he visited while on active military service. There are several examples in the collection of Southwark Heritage Centre.

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20TH CENTURY 24-132 Lot 39 Beatrice How (1867-1932) ‘Mother and Child’ signed ‘B. How’ c.r., pastel 41 x 33cm £400 - 600 How’s work focused on the mother and child subject.

Her influences of Bonnard and Vuillard were informed by her time in Paris, she entered the Académie Delécluse in 1893 and from 1902 regularly exhibited at the Salon, showing as many as 147 works there during her lifetime. How is represented in the Tate Collection with her painting ‘L’Infirmière’ c.1914-18.

Lot 40 Wyndham Tryon (1883-1942) ‘El Bano de Diana’, 1923 signed ‘Wyndham Tryon’ and inscribed as titled on old backboard attached verso, watercolour 36.5 x 26cm £300 - 500 Exhibited: New English Art Club, Summer 1923, no.138.

A student at the Slade School during the pivotal years of 1906-11, Wyndham Tryon visited Spain with friend and fellow student Darsie Japp in 1911 and 1914. He first showed at NEAC in 1909, with exhibits between 1911 and 1925 focused on Spanish landscape subjects. He became a member in summer 1920. The present lot depicts a celebrated waterfall at the Piedra Monastery near Saragossa, a related composition is held by the British Museum (museum number 1940,0413.27).

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Lot 41 *Mary Jewels (1886-1977) The Devil’s Rock signed ‘M. D. JEWELS’ l.l. and inscribed as titled and dated 1927 verso, watercolour on paper 26 x 36cm £300 - 400

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42 Lot 42 Philip Wilson Steer (1860-1942) ‘Low Tide at Maldon’ signed and dated ‘P W Steer 1920’ l.r., oil on canvas 51 x 81cm £3,000 - 5,000 Provenance: The Artist’s Studio Sale, Christie’s, 16 July 1942; Lessore, Beaux Arts Gallery, London; K K Wood, Grange over Sands.

Exhibited: Goupil Gallery, London, 1920; New English Art Club, 1921; British Council Exhibition, Johannesburg, 1936; Pittsburgh, 1937; Bury Art Gallery, ‘Steer, Sickert and Epstein’, 1964.

Literature: Bruce Laughton, ‘Philip Wilson Steer’, Clarendon Press, Oxford, 1971, p.154, no.559; D S MacColl, ‘The Life, Work and Setting of Philip Wilson Steer’, Faber and Faber, London, 1946, p.219.

Lot 43 *William Heaton Cooper (1903-1995) Windermere from Langdale Fell signed ‘w. heaton cooper’ l.l., watercolour 28 x 37cm £500 - 700

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46 Lot 44 Mary Evelina Kindon (c.1855-c.1925) The Fairy Dream signed ‘M.E.KINDON’ l.r., oil on canvas 43.5 x 91cm £1,500 - 2,000 Lot 45 *Maxwell Ashby Armfield (1881-1972) Corfe Castle, c.1910 oil on panel 23.1 x 32cm £300 - 500 Provenance: With the Fine Art Society, London.

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Exhibited: Leicester Galleries, 1958; Southampton Art Gallery (and tour) ‘Maxwell Armfield’, 1978, no.66.

Lot 46 Harry Phelan Gibb (1870-1948) ‘Exmoor’ signed ‘Phelan Gibb’ l.l., also signed, inscribed and dated 1919 verso, oil on board 46 x 56cm £300 - 500 Lot 47 *George Bissill (1896-1973) ‘Netherton, Hampshire’ signed ‘BISSILL’ l.l., inscribed as titled on exhibition label verso, oil on board 23.5 x 28.5cm £300 - 500 Exhibited: Bath Society of Artists 50th Exhibition, 1955, no.1.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

24-132 20TH CENTURY Lot 48 *Walter John Bayes (1869-1956) ‘The Terrace’ signed and inscribed with title and artist’s address on label verso, oil on canvas board 25 x 26cm £1,000 - 1,500 Bayes was a founder member of both the Camden Town Group and the London Group, working alongside artists such as Walter Sickert, Spencer Gore, Jacob Epstein and Wyndham Lewis.

Lot 49 *Charles Ernest Cundall (1890-1971) Cattle by a lake in a hilly landscape signed ‘Charles Cundall’ l.r., oil on canvas 47 x 77cm £400 - 600

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Lot 50 *Jack Pender (1918-1998) ‘Harbour Mousehole’, 1948 signed ‘J. Pender’ l.r., inscribed as titled and dated ‘48’ in pencil verso, oil on canvas board 33.5 x 41cm £800 - 1,200

Lot 51 *Frank Griffith (1889-1979) A Venetian Canal stamped ‘Frank Griffith Atelier’, oil on canvas 60 x 47cm £300 - 400

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20TH CENTURY 24-132 Lot 52 *Elinor Bellingham-Smith (1906-1988) The Round Pond, Kensington Gardens oil on panel 16.2 x 23.3cm £600 - 800 Provenance: Christie’s London, 26 October 1995, lot 157.

Lot 53 *Nina Hamnett (1890-1956) ‘Hampstead’ signed ‘Nina Hamnett’, inscribed as titled and dated 1934 l.l., pencil, pen and ink and watercolour 19 x 27cm £800 - 1,200

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Lot 54 *Nina Hamnett (1890-1956) ‘Old Cockney’ signed and dated ‘Nina Hamnett 1943’, pen and ink 34.5 x 24cm £300 - 400

53 Lot 55 Bernard Meninsky (1891-1950) Mother and Child, c.1920 signed ‘Meninsky’ l.c., pencil 34.5 x 21.6cm £300 - 500 Meninsky’s first solo exhibition at the Goupil Gallery (1919) showed a series of ‘Mother and Child’ drawings, the following year he published a selection of works in ‘Mother and Child: Twenty-Eight Drawings’ (London: John Lane, 1920), which portrayed his first wife, Margaret O’Connor, and their son during their short-lived marriage (1917-1919).

Sold with a reproduction copy of ‘Mother and Child Twenty-Eight Drawings by Bernard Meninsky with Text by Jan Gordan’.

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Lot 56 Bernard Meninsky (1891-1950) Portrait of Elisabeth Lewson signed ‘Meninsky’ l.r., oil on canvas 41 x 35.5cm £1,200 - 1,800

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Lot 57 *Marjorie Lilly (1891-1980) Portrait of a woman seated against a window; verso A town view by a river signed ‘Lilly’ l.r., oil on panel 33 x 23.5cm £800 - 1,200 Exhibited: Michael Parkin Fine Art Limited, ‘The Sickert Women and the Sickert Girls’, 1974, cat no. 73 (sold with a copy of the catalogue).

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Marjorie Lilly was born in London and studied at the Slade, she met Walter Sickert in 1917 when she had a studio in the same building as him. They became closely associated and she used to accompany him on his quest to paint the perfect interior. Lilly exhibited widely at the Baillie Gallery, London Salon, New English Art Club and Royal Society of British Artists. Sadly, much of her work was destroyed when her flat was bombed during the Second World War. Lilly wrote ‘Sickert: The Painter and his Circle’, which was published in 1971.

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20TH CENTURY 24-132 Lot 58 Alexander Saint-Paull (20th century) Portrait of Miss Elizabeth Hanley, three-quarter length seated, in a green dress signed ‘Saint-Paull’ l.l., oil on canvas 90.5 x 70.5cm £400 - 600 Elizabeth Hanley, also known as Betty, was a socialite and lived a life touched by the glamour of high society. Born in Grand Rapids, Michigan, throughout her childhood she lived in many different countries including Germany, Austria, Italy and Spain. In the late 1940s, she moved to the UK and stayed as a paying guest with the former Empress of Austria in Kensington. She later moved into her own house in Belgravia where, in the words of the vendor, she hosted ‘the great and the good of all ages, the only requirement being that you must have a title’.

The artist Saint-Paull painted many well-known stars of the day including Rita Hayworth and even Lord Mountbatten. Betty’s life also crossed paths with the royal family, she held a Royal Warrant for lighting from 1978, which was sold from her shop in Elizabeth Street. Above the shop lived Anthony Armstrong Jones, the future husband of Princess Margaret.

Later in life, Betty sold the emeralds worn in this portrait to help pay for the restoration of The Ring at Audley End. This portrait was displayed in the dining rooms of many of her friends including Lord Braybrooke, Lord Parmoor, Sir Henry Marking and the Sainsbury family.

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Lot 59 *Anna Zinkeisen (1901-1976) Portrait of Grace Haver, seated with two cats signed l.r., oil on canvas 76 x 63cm £500 - 800

Lot 60 *Joyce Platt (20th century) Portrait of a young lady, seated three-quarter length in a pink dress signed and dated ‘Joyce Platt 1941’ u.l., oil on canvas 61 x 51cm £300 - 500

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Lot 61 *Geoffrey Hamilton Rhoades (1898-1980) Study of the artist’s aunt signed and dated ‘RHOADES 32’ l.r., oil on canvas 46 x 36cm £300 - 500

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Lot 62 *Ruskin Spear RA (1911-1990) ‘In The Local’ inscribed as titled on artist’s label verso, oil on board 75 x 29cm £2,000 - 3,000

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65 Lot 63 *Ethelbert White (1891-1972) Seated nude signed ‘Ethelbert White’ l.r., oil on canvas board 35.5 x 25cm £500 - 800 Lot 64 *Iain Macnab (1890-1967) A nude resting in a chair, with a woman seated at the table beside her oil on canvas 81 x 100cm, unframed £600 - 800 Lot 65 English School, 20th century Seated nude oil on canvas 61.4 x 46.1cm £250 - 350

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66 Lot 66 *Duncan Grant (1885-1978) Paul Roche reclining signed with initials and dated ‘Jan/53’ l.r., black chalk 43 x 59cm £1,500 - 2,500 Provenance: P urchased from Duncan Grant by his personal friend John Haylock (author), never viewed and hung in his library. Gifted in his will to the present owners.

Lot 67 English School, c.1930s Study of a young man leaning on a stool oil on canvas laid down on board 72 x 45cm £300 - 400

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69 Lot 68 *Nancy Sharp (1909-2001) A London Auxiliary Ambulance Driver signed and dated ‘N SHARP 40’ u.l., oil on canvas 31 x 29cm £300 - 400 Provenance: Sally Hunter Fine Art.

Lot 69 Ethel Gabain (French-British, 1883-1950) ‘The Evacuation of Children from Southend, 2nd June 1940’ lithograph, signed ‘Ethel Gabain’ in pencil l.r., signed in plate ‘E. Gabain’, inscribed as titled on gallery label verso plate 30.8 x 50cm £300 - 500

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Lot 70 *Matthew Smith (1879-1959) Sleeping girl signed with monogram l.l., gouache 41.5 x 33cm £300 - 500 Provenance: Folly Mill, Thaxted, Essex.

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Lot 71 *Anthony Gross (1905-1984) ‘Woman and Oxen’, 1958 etching, signed ‘anthony gross’ in pencil l.r., inscribed as titled and numbered 8/50 in pencil l.l., signed ‘A. K. Gross’ in plate sheet 44 x 59cm, unframed £300 - 500

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

24-132 20TH CENTURY Lot 72 *Frank Dobson RA (1886-1963) Mother and Child, 1914 signed and dated ‘F O Dobson/14’ in pencil l.l., oil on board 31.5 x 39.5cm £1,200 - 1,800 Provenance: C hristie’s, 3 December 2003, lot 632.

72 Lot 73 Circle of Leonora Carrington (1917-2011) Surrealist animals and jesters oil on canvas 40 x 38.1cm £300 - 500

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Lot 74 *David Gommon (1913-1987) ‘A Yorkshire Town’ signed ‘Gommon’, inscribed as titled and dated 1944 l.l., mixed media on board 53.5 x 72cm £300 - 400

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20TH CENTURY 24-132 Lot 75 Denys George Wells (1881-1937) Still life with a blue and white dish, vase and fruit on a striped cloth signed and dated ‘Denys G. Wells 37’ l.r., oil on canvas 62 x 75cm £800 - 1,200 Provenance: The artist’s family, thence by descent; Sotheby’s, ‘Victorian and Edwardian Art’, 12 July 2007, lot 73; Farm House, Farm Street, Mayfair, London.

Lot 76 *Philip Naviasky (1894-1983) ‘Flowerpiece’ signed ‘NAVIASKY’ l.r., oil on board 63 x 76cm £300 - 400 Lot 77 *Vera Cuningham (1897-1955) ‘Design with plant motif II’, c.1938 pen and ink and watercolour 43 x 36cm £200 - 300

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Provenance: With Sally Hunter Fine Art. Lot 78 *Vera Cuningham (1897-1955) ‘Design with Plant Motif III’, c.1938 pen and ink and watercolour 43 x 36cm £200 - 300 Provenance: With Sally Hunter Fine Art.

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Lot 79 *Rudolf Helmut Sauter (1895-1977) ‘The Birthday Table’ signed and inscribed as titled on artist’s label verso, oil on canvas 51 x 61cm £600 - 800 With old label inscribed ‘This picture entitled The Birthday Table is the property of George Gerald Todd given to him by his aunt R G Armitage as a momento of their... visit 1950 to the home of the artist R H Sauter of Ardington Court, Nr Ledbury’.

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79 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

24-132 20TH CENTURY Lot 80 *Hans Schwarz (Austrian-British, 1922-2003) The artist’s son on a tank at a firing range in Wales signed and dated ‘H Schwarz 53’ l.r., oil on board 43 x 71cm £300 - 500 Provenance: P urchased from the artist at his Greenwich studio in 1992.

Lot 81 *Rowland Suddaby (1912-1972) Still life of a vase of flowers, a fruit bowl, a book and a pipe on a table signed and dated ‘R. Suddaby ‘37’ u.r., pen and ink and watercolour 55 x 68cm £300 - 500

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Lot 82 *Rowland Suddaby (1912-1972) ‘Flowers in a Pot’ signed and dated ‘R Suddaby ‘47’ l.r., pen and ink and watercolour 43 x 55cm £300 - 500 Provenance: With the Redfern Gallery, London, 1947.

Lot 83 *Malcolm Arbuthnot (1874-1967) Outbuilding with landscape beyond watercolour 48.5 x 59cm £300 - 500

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Originally a photographer, Arbuthnot was a signatory of the 1914 Vorticist manifesto published in ‘BLAST’ magazine along with other leading lights of British modernism such as Wyndham Lewis, Edward Wadsworth, William Roberts and Ezra Pound. Arbuthnot focused on painting from the end of WW1 onwards. He retired to live in Jersey in 1931 and thereafter his painting was often inspired by its landscape and scenery.

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THE ELSIE HENDERSON COLLECTION 84-108

A collection of works from the studio of Elsie Marian Henderson, Baroness de Coudenhove (1880-1967)

Elsie Henderson in her Holland Park studio c.1926 working on a sculpture of a lioness

Elsie Henderson was one of the most versatile and accomplished artists of the inter-war years, and considered as one of the finest draughtsmen of animals in Europe. She was internationally renowned for her vigorous, passionate drawings, prints and sculptures of the jungle cats she sketched incessantly at London Zoo. Elsie Henderson was European in her training and interests. Having become a student at the Slade in 1903 under Henry Tonks, Fred Brown and Philip Wilson Steer, she developed her extraordinary sense of line and ability to observe the world around her. She later studied and copied the masters in galleries in Dresden, Berlin and central Italy.

From 1908, she continued her training in Paris, attending a number of progressive ateliers including La Palette, where Cubist Amédée Ozenfant was a fellow student, and also that of the sculptor Filippo Colarossi – who not only admitted women, but also allowed them to draw from the male nudes in his life classes as well as the female.

By the time she was at the studio of Fauvist Othon Friesz in 1912, Henderson had come into contact with many of the most influential art teachers in Paris and London.

Having spent the First World War in Guernsey, her childhood home, Henderson enrolled at Chelsea Polytechnic in 1916 to learn lithography under Ernest Jackson. She became famous immediately for the series of animal lithographs she began then - outstanding in their grasp of form and design and almost Japanese use of space - and for the London Zoo drawings on which they were based. In 1916, the Director of the Fitzwilliam Museum, Cambridge, acquired six of these works from a New English Art Club exhibition, and in 1917, commenting on a Women’s International Art Club exhibition, the art critic Sir Claude Phillips wrote ‘Nothing in the gallery equals in suppleness and power, in intensity and passion, Miss Elsie M Henderson’s studies in black chalk of the royal beasts of the cat tribe’.

That year she was commissioned by London Transport to design a London Zoo poster for the Underground. She set up her own printing press, and became a member of the lithographers’ Senefelder Club.

During the early 1920s, Elsie Henderson experimented with stone and cement sculpture, and developed an expertise in clay-modelling and

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bronze-casting. Her self-doubt was tempered by her close friendships with strong, independent women like the painter Orovida Pissarro, and she went on to hold solo exhibitions at the Leicester, Redfern and Storran galleries, and to exhibit with other well-known artists like Paul Nash. Her work was bought by and presented to museums worldwide.

Henderson returned to Guernsey in 1928, marrying the French consul Baron Henri de Coudenhove. Continuing to enjoy international success, she worked hard in her purpose-built studio producing linocuts as well as lithographs, and vibrant, Deco-style still-lifes and portraits of women in oils and pastels.

All this changed, however, with the Second World War and the German Occupation of the island. With the couple facing starvation, Henderson was forced to abandon her art to grow food. In 1946, the Baron died from the consequences of malnutrition, and Henderson moved with her sister to Hadlow Down in Sussex.

In Sussex, Elsie once again built her own studio, and with renewed determination to experiment and express her feelings in her art, worked obsessively, almost daily, until her death in 1967. This energy is particularly evident in the series of watercolours and oils of the Sussex countryside she produced during the 1950s, when she was again exhibiting with the best-known British artists, for example at the Leicester Galleries in 1954. With their slashes of vivid colour, and often tending towards abstraction, many of these in their treatment of light have a visionary quality – as if Henderson was perhaps reaching a state of acceptance after her vicissitudes, and sensing the end of her life.

In 1985, the Parkin Gallery, London, revived Elsie Henderson’s memory with an exhibition of her work alongside that of Orovida Pissarro. The Sally Hunter Gallery then held three further Elsie Henderson exhibitions. Henderson’s life spanned a long, important period in British history, with many changes in society and artistic styles. The significance of her contribution to the Modern British art movement is now, again, being recognised and celebrated by art historians and collectors alike.

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84-108 THE ELSIE HENDERSON COLLECTION

Lot 84 *Elsie Marian Henderson (1880-1967) Bright red sun, 1953 signed ‘E. Henderson’ l.l., oil on board 51 x 61cm, unframed £400 - 600 Provenance: From the artist’s estate by descent.

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Lot 85 *Elsie Marian Henderson (1880-1967) A windy landscape with pink sky, 1953 signed ‘E Henderson’ l.l., oil on board 51 x 61cm, unframed £400 - 600 Provenance: From the artist’s estate by descent.

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Lot 86 *Elsie Marian Henderson (1880-1967) Tree tunnel with shaft of white light oil on board 50.7 x 61cm, unframed £400 - 600 Provenance: From the artist’s estate by descent.

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THE ELSIE HENDERSON COLLECTION 84-108

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Lot 87 *Elsie Marian Henderson (1880-1967) Houses with figures, 1953 signed ‘E. Henderson’ l.l., oil on board 50 x 61cm, unframed £400 - 600

Lot 88 *Elsie Marian Henderson (1880-1967) Flaming tree trunks with orange, 1952 oil on board 50.5 x 61cm, unframed £300 - 500

Provenance: F rom the artist’s estate by descent.

Provenance: From the artist’s estate by descent.

Lot 89 *Elsie Marian Henderson (1880-1967) ‘Downs in summer’ watercolour and biro 28 x 34cm, unframed and mounted £200 - 300

Lot 90 *Elsie Marian Henderson (1880-1967) Landscape with a village beyond; landscape with trees, two-sided single sheet watercolour, pen and ink and charcoal, reverse greens, watercolour 28.5 x 35.5cm, unframed £200 - 300

Provenance: F rom the artist’s estate by decent.

Provenance: From the artist’s estate by descent.

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

84-108 THE ELSIE HENDERSON COLLECTION Lot 91 *Elsie Marian Henderson (1880-1967) Study of a dancer with three figures mixed media on board 51 x 61cm, unframed £1,000 - 1,500 Provenance: F rom the artist’s estate by descent.

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Lot 92 *Elsie Marian Henderson (1880-1967) An elegant seated lady turning her back charcoal and ink, very delicate paper 29.8 x 29.8cm, unframed but mounted £150 - 250

Lot 93 *Elsie Marian Henderson (1880-1967) A still life of fish charcoal on fine brown paper 30.3 x 45cm, unframed and mounted £150 - 250

Provenance: F rom the artist’s estate by descent.

Provenance: From the artist’s estate by descent.

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THE ELSIE HENDERSON COLLECTION 84-108

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Lot 94 *Elsie Marian Henderson (1880-1967) Wooded Landscape with sun watercolour, biro, charcoal 28 x 33.2cm, unframed; Landscape with trees watercolour, crayon and biro 25.4 x 33cm, unframed and mounted (2) £300 - 500

Lot 95 *Elsie Marian Henderson (1880-1967) Tree tunnel with white light watercolour with pen and ink 27.5 x 31.7cm, unframed £150 - 250 Provenance: From the artist’s estate by descent.

Provenance: From the artist’s estate by descent.

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Lot 96 *Elsie Marian Henderson (1880-1967) Landscape with rays charcoal, pastel, watercolour 23.2 x 33.8cm, unframed and mounted £200 - 300 Provenance: From the artist’s estate by descent.

Lot 97 *Elsie Marian Henderson (1880-1967) ‘Sun and Tree’ watercolour, biro 22.8 x 30cm, unframed and mounted £200 - 300 Provenance: From the artist’s estate by descent.

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84-108 THE ELSIE HENDERSON COLLECTION

98 Lot 98 *Elsie Marian Henderson (1880-1967) Pink flowers with apples, October 1954 signed ‘E Henderson’ l.l., inscribed on a label verso ‘E. HENDERSON/SUNNYSIDE COTTAGE/HADLOW DOWN/E. SUSSEX/”Flowers & Fruit’, oil on board 51.2 x 61cm, unframed £400 - 600

99 Lot 99 *Elsie Marian Henderson (1880-1967) Flowers in a grey vase and apples mixed media 35.5 x 41cm, unframed and mounted £200 - 300 Provenance: From the artist’s estate by descent.

Provenance: F rom the artist’s estate by descent.

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Lot 100 *Elsie Marian Henderson (1880-1967) A still life of flowers in a blue vase on a table pastel and watercolour 40.5 x 34.3cm, unframed £200 - 300

Lot 101 *Elsie Marian Henderson (1880-1967) Still life with green outlined grapes and five apples watercolour, biro, ink 22 x 27.5cm, unframed £150 - 250

Provenance: F rom the artist’s estate by descent.

Provenance: From the artist’s estate by descent.

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THE ELSIE HENDERSON COLLECTION 84-108

Lot 102 *Elsie Marian Henderson (1880-1967) Standing Ox bronze with a brown patina 6cm wide 27cm deep 14cm high £400 - 600 Provenance: From the artist’s estate by descent.

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Lot 103 *Elsie Marian Henderson (1880-1967) Reclining lion ciment fondu 48.5cm wide 20cm deep 20cm high £400 - 600 See Manchester Art Gallery lioness in bronze, 1923.

Provenance: F rom the artist’s estate by descent.

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Lot 104 *Elsie Marian Henderson (1880-1967) A lion and lioness, c.1920s plaster on a wooden base 60cm wide 23cm deep 27cm high, including wooden base £300 - 500 Provenance: From the artist’s estate by descent.

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

84-108 THE ELSIE HENDERSON COLLECTION Lot 105 *Elsie Marian Henderson (1880-1967) Art Deco head signed ‘Elsie Henderson’ l.l., charcoal and pastels 24 x 19cm, unframed £150 - 250 Provenance: F rom the artist’s estate by descent.

Lot 106 *Elsie Marian Henderson (1880-1967) Female seated nude signed ‘E Henderson’ l.l., pen and ink watercolour and crayon 33 x 22cm, unframed and mounted £150 - 250 Provenance: F rom the artist’s estate by descent.

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Lot 107 *Elsie Marian Henderson (1880-1967) Female study, looking right charcoal, together with Head study charcoal 23.5 x 19cm, unframed and mounted (2) £150 - 250 Provenance: F rom the artist’s estate by descent.

107 Lot 108 *Elsie Marian Henderson (1880-1967) Woman with muff, blue hat and a biplane in the sky pen and ink with gouache, laid on card 32.5 x 22.5cm, unframed; Woman in a green coat with a muff crayon, watercolour and biro 31 x 22.2cm, unframed and mounted (2) £200 - 300 Provenance: F rom the artist’s estate by descent.

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20TH CENTURY 24-132

109 Lot 109 *Jean-Franck Baudoin (French, 1870-1961) The Orange Canoe oil on canvas 59.5 x 80.5cm £1,500 - 2,000

Lot 110 *Jean-Franck Baudoin (French, 1870-1961) Roses blanches signed ‘Jean Franck Baudoin’ l.r., oil on canvas 50 x 61cm £1,000 - 1,500 Lot 111 *Jean-Franck Baudoin (French, 1870-1961) Breaking waves oil on canvas 46.2 x 65.5cm £600 - 800

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111 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

24-132 20TH CENTURY

112 Lot 112 *Jean-Franck Baudoin (French, 1870-1961) ‘Jardin du Palais de Chaillot, Paris’ signed ‘Jean Franck Baudoin’ l.l., inscribed as titled on label verso, oil on canvas 59.7 x 80.8cm £1,500 - 2,500 Provenance: C hristie’s, 29 April 2008, lot 241 (£58,000).

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Lot 113 *Jean-Franck Baudoin (French, 1870-1961) ‘Quelques Roses’, 1940 signed ‘J.F. Baudoin’ and inscribed and dated 25 Juin 1940 u.r., oil on canvas 61.5 x 45.4cm £800 - 1,200

Lot 114 *Jean-Franck Baudoin (French, 1870-1961) Jardin St Cloud signed ‘J. F. BAUDOIN’ l.r., oil on canvas 46.5 x 61.9cm £800 - 1,200 Provenance: With Petley Fine Art, London.

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115 Lot 115 Adolphe Valette (French, 1876-1942) Landscape at Blace oil on board, with ‘Tib Lane Gallery’ exhibition labels 1973 and 1986 verso 13 x 18cm £800 - 1,200 Exhibited: Tib Lane Gallery, Manchester, 1973 and 1986.

This scene is likely set in Blace en Beaujolais where Valette visited each summer in the period before WW1 and later retired to in 1928 (see Cecilia Lyon, ‘Adolphe Valette’, Phillimore, 2006, pp.63-4, 83-4 for the artist’s connection to Blace). Valette was a tutor at Manchester School of Art from 1907-1920. His best-known pupil was L S Lowry (1887-1976), who was a great admirer of Valette.

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Lot 116 Gyula Háry (Hungarian, 1864-1946) Fair in Gellert Square, by the Liberty Bridge, Budapest signed ‘G Hary’ and indistinctly dated l.r., oil on panel 26 x 35cm £600 - 800

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24-132 20TH CENTURY

117 Lot 117 Fedor Ivanovic Zacharov (Russian, 1882-1968) Portrait of Vladimir Lenin (1870-1924), seated at a table signed l.r., inscribed verso, oil on canvas 90 x 110cm £1,500 - 2,000 Lot 118 Spare lot Lot 119 Marie Vorobieff Marevna (Russian, 1892-1984) A young couple resting; verso, Head of a young man signed ‘Marevna’, indistinctly inscribed and dated 1937 in pencil, coloured pencils 22.2 x 30cm, unframed £300 - 400

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20TH CENTURY 24-132

Lot 120 *Claude Venard (French, 1913-1999) ‘Damier et Cubes’ signed ‘C VENARD’ l.r., oil on canvas 46 x 38cm £2,000 - 3,000 Provenance: F olly Mill, Thaxted, Essex.

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24-132 20TH CENTURY Lot 121 Loudon Sainthill (Australian, 1919-1969) The Musician pen and ink, watercolour and gouache 77 x 57cm £6,000 - 8,000 A work from the same series of ‘The Musicians’ and dated 1958 is in the collection of the National Gallery of Australia.

Provenance: B equeathed to the current owner

by Alfred Hecht.

LOUDON SAINTHILL (AUSTRALIAN, 1919-1969) Artist, costume and set designer, Loudon Sainthill lived a life designing for stars of the ballet, opera, theatre and film. He was born in Tasmania, but moved to Melbourne where he met his lifelong partner, Harry Karl Tatlock Miller (1913-1989). His love of theatre design began in Australia, where he designed for touring ballets. His paintings of the dancers garnered attention and, in 1939, he was invited to London to exhibit at the Redfern Gallery. This success was followed by exhibitions in Australia.

During the Second World War, Sainthill served with the Australian Army. He was discharged in 1946 and briefly lived with Miller in Merioola, which was also the home of a group of artists including Alec Murray, Jocelyn Rickards and Donald Friend.

Returning to London in 1949, Sainthill’s career took off; he designed for the ballet ‘Ile des Sirenes’ starring Margot Fonteyn (1950) and then ‘The Tempest’ at the Shakespeare Memorial Theatre (1951). One of his most celebrated projects was for the set and costume designs of ‘Le Coq d’Or’ at the Royal Opera House, Sainthill being given this commission after Marc Chagall suddenly withdrew from the project.

Sainthill later won a Tony for his work on ‘The Canterbury Tales’ (1967). During his lifetime, he worked on more than fifty productions, and published multiple books of his designs and paintings with his partner, Miller, enabling his innovative and vibrant designs to live on to inspire future generations.

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20TH CENTURY 24-132 Lot 122 *Marc Chagall (Russian-French, 1887-1985) Moise Piate 18, from Songes lithograph in colours, from an edition of 50 and 10 proofs, published by Gerald Cramer, Geneva, 1981, signed ‘Marc Chagall’ and numbered 20/50 in pencil plate 30.3 x 23.4cm £1,500 - 2,500 Provenance: Farm House, Farm Street, Mayfair, London.

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124 Lot 123 *Salvador Dali (Spanish, 1904-1989) ‘Monument to the Ideal Doctor’, 1973 lithograph in colours, signed in pencil l.r. and numbered ‘258/300’ in pencil l.l., signed ‘Salvador Dali’ in plate 72.5 x 52.5cm £400 - 600

125 Lot 124 *Salvador Dali (Spanish, 1904-1989) St Mark’s Square, Venice lithograph in colours with embossing, signed in pencil l.r. and numbered ‘E374/450’ l.l.

51.5 x 73cm £400 - 600

Lot 125 *Bernard Cathelin (French, 1919-2004) Bouquet d’anniversaire signed ‘Cathelin’ in pencil l.r., inscribed ‘A Marion et Ted Donahue/ce ‘Bouquet d’anniversaire’ 1958.1968/ en tres affectueux souvenir’, dated ‘12.X1.68’ and numbered ‘3/100’ 41 x 61cm £500 - 800 Provenance: Farm House, Farm Street, Mayfair, London.

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24-132 20TH CENTURY

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127 Lot 126 Paul Gauguin (French, 1848-1903) ‘Auti Te Pape’ (Kornfeld 13) woodcut on China paper, inscribed ‘7th provetryk’ (trial proof), from an edition of 100, published by the artist’s son, Pola Gauguin, in 1921, signed ‘Pola Gauguin imp’ and inscribed Paul Gauguin fecit’ in pencil image 20.4 x 35.3cm £1,000 - 1,500

Lot 127 Paul Gauguin (French, 1848-1903) ‘Maruru’ woodcut on China paper, numbered 22 from an edition of 100, published by the artist’s son, Pola Gauguin, in 1921, signed ‘Pola Gauguin imp’ and inscribed Paul Gauguin fecit’ in pencil image 20.2 x 35.5cm, sheet 26.3 x 41.8cm £600 - 800 Provenance: Folly Mill, Thaxted, Essex.

Provenance: F olly Mill, Thaxted, Essex.

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20TH CENTURY 24-132

© Jerome Brierre/Bridgeman Images

FRANÇOISE GILOT (FRENCH, b.1921) Nearing her one-hundredth birthday on 26 November this year, Marie Françoise Gilot has lived a remarkable life, from her decade-long love affair with Pablo Picasso in her early twenties, to becoming the talented painter and writer celebrated today.

A gifted artist from a young age, Gilot was educated at the Sorbonne, Paris and Cambridge University. In 1939, she began to study law, but abandoned her studies after a few years to pursue her love of painting. In 1943, Gilot was in a restaurant dining with a friend a few tables across from Pablo Picasso. He was sitting with his then lover, Dora Maar, the surrealist photographer. He approached Gilot and offered an invitation to his studio. Aged just 21 years old at the time, Picasso was significantly older, aged 61. Yet Gilot was fascinated, and became his muse, advisor and lover. They had two children together, Claude (b.1947) and Paloma (b.1949). She said of her relationship with Picasso, ‘it was a catastrophe I didn’t want to avoid’.

In 1953, Gilot left the artist, taking their two children with her. She only saw him once more in her lifetime. Gilot continued to paint, but Picasso discouraged galleries and dealers from accepting her work, so noticing instead her following in America, she relocated to New York in 1961. Exacerbating the bitterness of their split, Gilot published her memoir ‘Life with Picasso’ (1964), which became an instant bestseller and sold over a million copies.

Painted in 1963, we are delighted to offer the bold work ‘Cortege’. Executed in a brilliant red, its vibrant yellow circles with blue and black lines appear to tumble over each other in the way of organised chaos. Gilot has said on a number of occasions that red is her favourite colour; in fact an exhibition at the Elkon Gallery (2019) specifically dedicated itself to the colour red in Gilot’s work.

Pablo Picasso and Françoise Gilot on set of the film ‘Le Mystère Picasso’, 1955

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Gilot’s output has continued to grow in popularity and, in May of this year, the artist’s ‘Paloma à la Guitare’ (1965) became the most expensive work by Gilot to be sold at auction, hammering down well above estimate at £750,000.

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24-132 20TH CENTURY

Lot 128 *Françoise Gilot (French, b.1921) ‘Procession’, 1963 signed ‘F. Gilot’ l.l., inscribed ‘Cortege’ (procession) verso, oil on canvas 22.5 x 27cm £6,000 - 8,000 Sold with a handwritten letter from the artist dated 5 October 1966, certifying that this was painted by her three years earlier.

Provenance: G alleria San Stefano, Venice.

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20TH CENTURY 24-132

129 Lot 129 *Pablo Picasso (Spanish, 1881-1973) ‘Profil de Jeune Fille on Chapeau’ lithograph, signed and dated u.l. sheet 37.3 x 28cm; and another, ‘Madame Trois’ lithograph in colours, signed, published

by Cercle d’Art sheet 9 x 17.5cm (2) £400 - 600

Lot 130 *Pablo Picasso (Spanish, 1881-1973) ‘Fruit press’ lithograph in colours, signed and numbered XXI/XXX sheet 28 x 21.5cm; and another, ‘Toros y Toreros’ lithograph in colours, signed, published

by Cerle d’Art, Paris sheet 37.1 x 26.6cm (2) £400 - 600

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24-132 20TH CENTURY Lot 131 *Pablo Picasso (Spanish, 1881-1973) ‘The arena’ lithograph in colours, signed sheet 26.7 x 37cm, unframed £200 - 300

131 Lot 132 *Pablo Picasso (Spanish, 1881-1973) ‘Luncheon on the grass, after Edouard Manet’ lithograph in colours, signed and numbered XXII/XXX, printed by Cercle d’Art sheet 28 x 21.5cm; and another, ‘Faun and Goat’ lithograph in colours, signed and numbered XXI/XXX, published by Cercle D’Art, Paris image 16.3 x 19.7cm, unframed (2) £400 - 600

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SECTION MODERN TITLE BRITISH MODERN BRITISH 133-214

XX-XX 133-214

Lot 133 *Laurence Stephen Lowry RA (1887-1976) ‘Britain at Play’ offset lithograph in colours, signed ‘L S Lowry’ in pencil l.r., with the Fine Art Trade Guild blind stamp ‘HCK’ image 44.6 x 59.5cm £1,000 - 1,500

133 Lot 134 *Laurence Stephen Lowry RA (1887-1976) ‘Great Ancoats Street’ offset lithograph, signed ‘L S Lowry’ and numbered 332/850 in pencil, published by Harold Riley, Salford, on laid paper 26.5 x 36.5cm £1,500 - 2,000

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133-214 MODERN BRITISH

135 Lot 135 *Arthur Delaney (1927-1987) Portrait of the artist Laurence Stephen Lowry (1887-1976) oil on board 39 x 29cm £3,000 - 5,000 Provenance: J ack Levy.

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Arthur Delaney was born in Manchester and worked in a textile factory. He began painting for relaxation as opposed to having any formal training, although after his retirement he became well-regarded with his first one man show in 1974 selling out within an hour. One of his big influences was Laurence Stephen Lowry, another Manchester artist whose industrial landscapes and views of factories and crowds reminded Delaney of his youth and inspired him to create his own landscapes. His work sought to capture the atmosphere of the 1930s, for which he held such nostalgia, yet unlike Lowry his works were true likenesses of the locations he chose. The two artists were friends and it is fascinating to see such a striking and frank depiction of Lowry, clearly painted by an artist who knew him well. Close cut and without background, the head is uncompromising within the picture frame; while Lowry is not looking at the viewer, his gaze is nonetheless sharp and piercing, alive with intelligence.

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136 Lot 136 *Laurence Stephen Lowry RA (1887-1976) View of a Town offset lithograph in colours, signed ‘L. S. Lowry’ in pencil l.r., with Fine Art Trade Guild stamp 46 x 55cm £1,500 - 2,000

Lot 137 *Laurence Stephen Lowry RA (1887-1976) Bloomsbury Square, June 1967 lithograph on arches, signed ‘LS LOWRY’ and numbered 12/75 sheet 56 x 76cm, unframed £3,000 - 5,000

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133-214 MODERN BRITISH

Lot 138 *Laurence Stephen Lowry RA (1887-1976) ‘Market Scene in a Northern Town’ offset lithograph in colours, signed ‘L. S. Lowry’ in pencil l.r.

48 x 63cm £2,000 - 3,000

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MODERN BRITISH 133-214 Lot 139 *John Piper CH (1903-1992) ‘Oxburgh Hall’ lithograph in colours, with Christie’s Contemporary Art and National Trust blind stamps, signed ‘John Piper and numbered 49/120 in pencil 61 x 48cm £500 - 700

139 Lot 140 *John Piper CH (1903-1992) ‘Long Melford Church’ (Levinson: 336) lithograph in colours, published by Curwen Studio, 1982, signed ‘John Piper’ and numbered 259/275 in pencil sheet 56 x 77.5cm £800 - 1,200

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133-214 MODERN BRITISH

Lot 141 *John Piper CH (1903-1992) Towyn, North Wales, 1951 signed ‘John Piper’ l.r., watercolour and oil pastel image 12 x 26cm £3,000 - 5,000

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Lot 142 *Michael Ayrton (1921-1975) ‘Cain IV’, 1958 signed ‘Michael Ayrton’ pencil l.r., inscribed as titled and dated ‘20.4.58’ in pen l.r., ink and wash 44.5 x 23.3cm £400 - 600 Lot 143 *Michael Ayrton (1921-1975) ‘Desolate Garden’, c.1945 inscribed as titled l.r., pencil 14.7 x 23.5cm £300 - 500 A powerful neo-romantic drawing closely related to two works from 1944, ‘Convulsive Landscape’ and ‘Tree Forms’, all of which show Ayrton’s response to and development of ideas drawn from Paul Nash and Graham Sutherland, both of whom Ayrton met between 1944-46. The religious/naturalistic imagery, with an agonised body configured of branches, roots and stones, builds imaginatively on Sutherland’s own depictions of Christ’s crucified suffering, first produced during this period. (See: Peter Cannon-Brookes, ‘Michael Ayrton’, pp.15,16,18, plates 24 and 25).

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Lot 144 *Michael Ayrton (1921-1975) ‘Dionysus and Pentheus’, 1964 signed ‘Michael Ayrton’, inscribed as titled and dated ‘3.6.64’ in pencil l.r., ink and watercolour 35 x 25.5cm £400 - 600 Designed as an illustration for ‘The Bacchae’, Limited Editions Club 1967 and Heritage Press publication (not used).

Provenance: Bonhams, Vision 21, 16 Nov 2004, lot 10.

Lot 145 *Alan Reynolds (1926-2014) Study for Poet goes Poaching signed ‘Reynolds’ l.r., watercolour 28 x 39cm £2,000 - 3,000 Provenance: With The Redfern Gallery, London, 4th June 1954; Folly Mill, Thaxted, Essex.

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Lot 146 *Ruth Collet NEAC (1909-2001) A Family Outing signed ‘COLLET’, watercolour and bodycolour 28 x 38cm £300 - 400 Exhibited: The New English Art Club, 1944.

Lot 147 *John Northcote Nash RA (1893-1977) Vase of flowers in a window pencil and watercolour 57 x 38cm £1,200 - 1,800 Provenance: A cquired from the John Nash Estate (estate stamp verso).

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Lot 148 *Ronald Searle (1920-2011) ‘The Pipes! The Pipes!’ - The Edinburgh International Festival of Drama Opens Tomorrow signed and dated ‘Ronald Searle 1954’ l.r., inscribed as titled and with ‘News Chronicle, Saturday cartoon issue, August 21’, pen and ink and wash 55 x 36cm £800 - 1,200

Lot 149 *Reuben Mednikoff (1906-1972) Two Figures pen and ink and watercolour 27 x 38cm £500 - 800 Provenance: Said to be ex-collection of Harold Pinter.

Exhibited: Chris Beetles Gallery, London, ‘The British Art of Illustration’, 1996, no 401.

Illustrated: News Chronicle, London.

Literature: Ronald Searle, ‘Merry England’, Perpetua Books, London, 1956, pp.106-107.

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133-214 MODERN BRITISH Lot 150 *Josef Herman RA (1911-2000) Seated Figure - Greenham Common Protest signed ‘Josef Herman’ verso, oil on canvas 76 x 50.5cm £2,000 - 3,000 Provenance: W ith Flowers Gallery, London; Folly Mill, Thaxted, Essex.

Lot 151 *Josef Herman RA (1911-2000) ‘Red flower in a pot’ signed in pen on frame verso, pencil, watercolour and crayon 28 x 20cm £300 - 400 Provenance: W ith Flowers East, London; Folly Mill, Thaxted, Essex.

Lot 152 *Josef Herman RA (1911-2000) Two figures at a table pencil, pen and ink and wash 19 x 24.5cm £400 - 600 Provenance: F olly Mill, Thaxted, Essex.

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LEONARD ROSOMAN RA (1913-2012) Lots 153-162

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The current owner has been a lifelong collector of Leonard Rosoman and met the artist after buying his first Rosoman work aged 20. Rosoman lived and worked at ‘Pembroke Studios’, a purpose-built row of artists’ studios behind Kensington High Street. One of his neighbours and early students was David Hockney (lots 261 and 301). In the mid to late 1970s, Rosoman had an opportunity to buy his studio. He enlisted the help of the current owner, who was a chartered surveyor, to undertake a valuation of the property, so that Rosoman could secure a 100% loan from the bank. As a thank-you, Rosoman gave the owner a collection of watercolours and drawings, including lots 153-5, 157-8 and 161. Continuing his collecting habits, the owner purchased lots 156, 159 and 162 at later dates.

Lot 153 *Leonard Rosoman RA (1913-2012) ‘The Emperor Nerva’ two studies, both signed ‘Leonard Rosoman’ l.r., with inscriptions, pen and ink 28 x 20cm (2) £400 - 600

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Lot 154 *Leonard Rosoman RA (1913-2012), after Sir Anthony Van Dyck and others Sketches of Charles I after famous artworks with inscriptions, pen 34.6 x 24.5cm; and another, after Ernest Crofts RA The Gunpowder Plot pen 12.5 x 25cm (2) £400 - 600

Lot 155 *Leonard Rosoman RA (1913-2012), after Thomas Sully and others Queen Victoria ascending the throne, and other sketches of Queen Victoria and Cromwell after famous artworks with inscriptions, pen 35 x 24.5cm; and another after J C Le Bourguignon, Peter Smyers, Bosch and Bell-Smith Sketches after Cavalry Battle, A Great Battle, Queen Victoria, The Ship of Fools with inscriptions, pen 22 x 24.5cm (2) £400 - 600

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133-214 MODERN BRITISH Lot 156 *Leonard Rosoman RA (1913-2012) ‘Portrait of Nicolas Bentley’ signed ‘Leonard Rosoman’, watercolour 40 x 49cm £600 - 800 Exhibited: T he Fine Art Society, 1980, no.R5/56.

Nicolas Bentley (1907-1978) was a British author and illustrator.

He had an eclectic career, as a graduate working as a circus clown, and during the Second World War, working as an auxiliary fireman. His best known illustrations can be found in T S Eliot’s ‘Old Possum’s Book of Practical Cats’ (1939).

Lot 157 *Leonard Rosoman RA (1913-2012) Queen’s Procession watercolour over pencil 32 x 25cm £500 - 800 Lot 158 *Leonard Rosoman RA (1913-2012) Design for a mural at the Royal Garden Hotel signed ‘Leonard Rosoman’ l.r., watercolour 32 x 24.5cm £500 - 800

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160 Lot 159 *Leonard Rosoman RA (1913-2012) Dancers signed ‘Leonard Rosoman’ l.r., with annotations, pencil, watercolour and gouache 45 x 29.5cm £400 - 600

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Lot 160 *Leonard Rosoman RA (1913-2012) The Hat Stand; Drawing in a Life Class, R.C.A. Library Oct. 18 ‘84 (verso) signed ‘Leonard Rosoman’ l.l. and dated ‘84’ l.r., pen 14.5 x 20cm £300 - 400

161 Lot 161 *Leonard Rosoman RA (1913-2012) ‘Council Meeting RA’, 1980 signed ‘Leonard Rosoman’ l.r., inscribed as titled and dated ‘1980’ l.l., pen 20 x 25.5cm £200 - 300

Lot 162 *Leonard Rosoman RA (1913-2012) ‘Christmas Ornaments’, 2002 signed and dated ‘Leonard Rosoman. 2002’ l.r., pen 28.7 x 20cm £200 - 300 Exhibited: The Fine Art Society, ‘Leonard Rosoman at Ninety’, 2003, no.7.

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Lot 163 *Trekkie Ritchie Parsons (1902-1995) The view through the window signed ‘T RITCHIE’ l.l., oil on canvas 61 x 51cm, unframed £300 - 400 Trekkie Ritchie Parsons was known for being vivacious and driven. She studied at the Slade School of Fine Art, joining in 1920, and was taught by Henry Tonks and Philip Wilson Steer (lot 42).

She worked as an illustrator for the Hogarth Press, meeting Leonard and Virginia Woolf at this time, and later published her own work in ‘Bells Across the Sand, A Book of Rhymes with Pictures’, Chatto & Windus, 1944.

She is perhaps best known for her relationship with Leonard Woolf, who she became close to after the death of Virginia Woolf in 1941. It is unclear as to whether the pair were lovers or close friends, but they remained intimate until Leonard’s death in 1969. He was known to refer to her in letters as ‘Dearest Tiger’ and he left his home, Monk House, to Trekkie in his will.

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Lot 164 *David Tindle RA (b.1932) The Unmade Bed gouache 53 x 73cm £800 - 1,200

Lot 165 *Ithell Colquhoun (1906-1988) Village with church, Corsica signed and dated ‘Colquhoun/38’ l.l., gouache 45 x 43cm £400 - 600

Provenance: With Browse and Darby.

Provenance: Sally Hunter Fine Art, London.

Lot 166 *Suzanne O’Driscoll (b.1955) ‘Along the Path’ oil pastel 76 x 77cm £300 - 500

Victoria Glendinning writes: ‘The joy of Trekkie was that she was supremely different.

She lived in the present.

She was fresh air.’ (Victoria Glendinning, ‘Leonard Woolf’, Simon and Schuster, 2006).

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JULIAN TREVELYAN RA (1910-1988) Julian Trevelyan was one of the most varied painters and printmakers of the twentieth century.

Growing up in Cambridge, he trained in Paris before moving to London, where he became a founding member of the ‘British Surrealist Group’. In 1935, Trevelyan bought Durham Wharf, a house just off Chiswick Mall and overlooking the Thames, which would be his home for life.

He lived there for a time with his first wife, Ursula Darwin, but when she left him in 1948, his friendship with Mary Fedden (lot 169) developed into an intense love that would last a lifetime. The pair had first met at the Slade School of Art when Fedden was a student there (1932-36), and Fedden is quoted as saying that she knew she would marry him from the very first instant. She moved to Durham Wharf in 1949 and they were married in 1951.

From 1950, Trevelyan taught at the Chelsea School of Art and later became Head of Etching at the Royal College of Art. His pupils included David Hockney (lots 261 and 301) and Norman Ackroyd (lots 236 and 237) - Ackroyd wrote of Trevelyan’s teaching, ‘he created a tranquil and industrious atmosphere in which magic could happen’ (Mel Gooding, ‘Mary Fedden’, Scolar Press, 1996, p.92).

Julian and Mary were passionate travellers. In 1960, they visited the Soviet Union and lot 167 depicts ‘Novgorod’, one of the oldest cities in Russia. In 1963, Trevelyan suffered severe illness from meningitis and retired from teaching thereafter, yet he and Fedden continued to travel and to paint. Lot 168 is a large oil of the most iconic scene in Bristol - Clifton Suspension Bridge. Fedden was born in Bristol and lived there for a time after the Second World War, which suggests why the couple returned to the city. There are certainly other works by Trevelyan of Bristol including one of ‘Temple Meads Station, Bristol’ (1981) in the collection of Durham University.

Trevelyan was made a Royal Academician in 1987, shortly before his death in 1988. He is a much respected artist and a major exhibition of his work was held at Pallant House in 2018/19.

Lot 167 *Julian Trevelyan RA (1910-1988) ‘Novgorod’ etching with aquatint in colours, signed ‘Julian Trevelyan’, inscribed with title and numbered 19/50 in pencil 42 x 54cm £300 - 500

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Lot 168 *Julian Trevelyan RA (1910-1988) Clifton Suspension Bridge signed and dated ‘Trevelyan ‘62’ l.l., inscribed with title on stretcher, oil on canvas 77 x 91.5cm £8,000 - 12,000

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MARY FEDDEN RA (1915-2012) Mary Fedden studied at the Slade School of Art and worked briefly as a set designer for Sadler’s Wells Theatre.

In 1944, she served in the Land Army and Women’s Voluntary Service, before being called on to work abroad as a driver. After the war, she resumed easel painting and had her first exhibition at the Mansard Gallery (1947). For a brief time, she was commissioned to paint covers for ‘Woman’ magazine. From the late 1950s, she taught at the Royal College of Art and, in 1992, she was elected to the Royal Academy. Fedden was married to the artist Julian Trevelyan (lots 167 and 168). After his death, she continued to live at Durham Wharf, travelling frequently and painting with fervour until her death in 2012.

The simple imagery, stylish compositions and bright colours of Fedden’s paintings have been much-loved by audiences throughout the twentieth century, and recognition of her talent is only increasing over time.

Her painting has the effect of making one smile, a quality that she recognised in her own work. One of the joys of Fedden’s painting is its familiarity. She returned frequently to the subject of the still life with different variations on the coffee pot scene, of which lot 169 is a wonderful example.

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Lot 169 *Mary Fedden RA (1915-2012) Still life with a coffee pot signed and dated ‘Fedden 1999’ l.l, oil on canvas 51 x 61cm £10,000 - 15,000

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170 Lot 170 *Alfred Daniels (1924-2015) Magdalen College, Oxford signed and dated ‘Alfred Daniels/1986’ l.l., oil on board 45.2 x 56.4cm £800 - 1,200

171 Lot 171 *Robert Morson Hughes (1873-1953) The Approach of Spring in Cornwall signed ‘R Morson Hughes’, oil on board 33 x 39cm £300 - 500

Provenance: B onhams, ‘Modern Pictures’, 23 April 2003, lot 2.

172 Lot 172 Modern British School Industrial Harbour Scene oil on board 33 x 37cm £300 - 400

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173 Lot 173 English School, 20th century The Royal Exchange, London signed and dated indistinctly, oil on canvas 51.5 x 61.5cm £300 - 500

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133-214 MODERN BRITISH Lot 174 *Rose Hilton (1931-2019) ‘St Ives’ 1978 signed ‘Rose Hilton’ inscribed as titled and dated ‘78 verso, oil on canvas 25.5 x 35.5cm £1,500 - 2,000

174 Lot 175 *Ken Howard RA (b.1932) Campo Santa Maria Formosa, Venice signed ‘Ken Howard’ l.r., oil on canvas board 19.5 x 24.5cm £700 - 1,000

175 Lot 176 *Ken Howard RA (b.1932) ‘Pont Neuf from Pont au Change, Paris’ signed ‘Ken Howard’., inscribed as titled and dated 2014 verso, oil on canvas 30.5 x 60.6cm £1,000 - 1,500

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177 Lot 177 *Jacqueline Williams (b.1962) Morning Interior, 1997 signed with initials ‘JW’ l.l., signed, inscribed and dated ‘J Williams/Morning Interior/ ‘97’ on stretcher verso, oil on canvas 130 x 112.5cm £500 - 800

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Lot 178 *Jacqueline Williams (b.1962) Sunflowers, c.1998 signed with initials l.r., oil on board 72 x 47cm £300 - 500

Lot 179 *Michael Whittlesea (b.1938) Girl on a Bicycle signed ‘Michael Whittlesea’ l.r., oil on canvas 46 x 56cm £600 - 800

Lot 180 *Margaret Green (1925-2003) View of a Garden, possibly the artist’s home near Stowmarket, Suffolk signed ‘M Green’ l.l., oil on canvas 74.5 x 100cm £500 - 700

180 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

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181 Lot 181 *Peter Coker RA (1926-2004) ‘Lastours’ signed ‘Peter Coker’ l.r., oil on linen 77 x 91cm; and a pencil and crayon sketch of ‘Lastours’ signed and dated ‘Peter Coker ‘74’ l.r.

26.5 x 37.5cm (2) £4,000 - 6,000 Exhibited: Royal Academy, Summer Exhibition, 1976 (lot to be sold with a copy of the catalogue).

Literature: ‘Peter Coker RA’, Chris Beetles Limited, London, 2002, catalogue raisonné no. 291.

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Lot 182 *Donald Hamilton Fraser RA (1929-2009) Boats on the shore, Skerra signed ‘Fraser’ in pencil l.l., oil on paper 38 x 55cm £3,000 - 4,000

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Lot 183 *Eliot Hodgkin (1905-1987) ‘Tobacco Plant’ signed and dated ‘Eliot Hodgkin 12.VIII.58’ l.l., tempera on board 20 x 18.5cm £6,000 - 8,000

Eliot Hodgkin and his wife, Mimi, kept very accurate records of his artwork.

After the artist’s death, Mimi and their son, Max, started compiling and organising a catalogue raisonné, and now grandsons, Mark and Matthew, are continuing this with specialist Adrian Eeles. Their website, www.eliothodgkin.com presents a comprehensive list of Hodgkin’s work in preparation for the upcoming catalogue raisonné. The present lot, ‘Tobacco Plant’, is now listed.

Exhibited: T he Arthur Jeffress Gallery, London, ‘Paintings in Egg Tempera by Eliot Hodgkin’, 3-27 November 1959; Mrs James Lilley.

We are grateful to Mark Hodgkin for his assistance in cataloguing this lot and he would like to hear from any owners of Eliot Hodgkin’s work, so these can be included in the catalogue raisonné.

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186 Lot 184 *Fred Yates (1922-2008) ‘Garden Fete’ signed ‘Fred Yates’ l.c., inscribed as titled on frame verso, oil on board 60 x 21cm £1,200 - 1,800 Provenance: Purchased from the artist in the 1970s; thence by descent.

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Lot 185 Peter Gauld (1925-1989) Palms trees before a building signed and dated ‘Peter Gauld ‘79’ l.l., pencil and gouache on board 51 x 61cm £300 - 400

Lot 186 *Bryan Pearce (1929-2007) ‘St Ives from Fernlea Terrace’ screenprint in colours, signed and dated ‘Bryan Pearce/05’ and numbered 49/75 in pencil 67 x 75cm £500 - 800

Lot 187 *Alan Lowndes (1921-1978) Harbour Scene, Cornwall signed and dated ‘Alan Lowndes 1971’ l.l., oil on board 25 x 20cm £3,000 - 4,000

Provenance: With New Craftsman Gallery, St Ives.

Provenance: With Archeus Fine Art, London.

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189 Lot 188 *Adrian Daintrey (1902-1988) The garden oil on canvas board 30 x 45cm £300 - 400 Provenance: Ex-collection of Lady Henderson.

Lot 189 *John Melville (1902-1986) ‘The Lost World’ inscribed as titled verso, oil on canvas 103 x 153cm £500 - 700

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Lot 190 *Nommie Durell (1905-1989) Landscape, c.1950 signed ‘N DURELL’ l.r., oil on canvas 46 x 77cm £300 - 500 Exhibited: Sally Hunter Fine Art, London, ‘Nommie Durell’, April 2005, no.2.

Lot 191 *Millicent E Ayrton (1913-2000) Military Band signed ‘M E AYRTON’ l.l., inscribed on gallery label verso, oil on board 61 x 61.5cm £300 - 500 Exhibited: The Wirral Society of Arts, Williamson Art Gallery, Birkenhead, 1983.

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193 Lot 192 *Carel Weight CH RA (1908-1997) ‘Strange Encounter’ - View from the artist’s studio,1981 signed ‘Carel Weight’ u.r., oil on board 28 x 38cm £1,500 - 2,000 Provenance: W ith Bernard Jacobson Gallery, London; with Christopher Hull Gallery, London, 1990; with Duncan R Miller, London.

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194 Lot 193 *Carel Weight CH RA (1907-1997) ‘Looking across to La Reve from Lucien Pissarro’s cottage (La Compagne Orovida) Dardennes, near Toulon’ signed ‘Carel Weight’ u.r., inscribed as titled verso, oil on canvas 40.5 x 70.5cm £700 - 1,000

Lot 194 *Carel Weight CH RA (1908-1997) ‘Walk in the Country’ signed ‘Carel Weight’ l.l., oil on board 25.5 x 35cm £800 - 1,200 Provenance: With Panter & Hall, London.

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ANNE REDPATH RSA ARA (1895-1965) Anne Redpath is one of the most well-regarded Scottish painters of the twentieth century. The daughter of a tweed designer, Redpath was born in Galashiels, Scotland. She trained at Edinburgh College of Art and was awarded her degree in 1917. After travelling to Paris, Florence, Siena and later France, she met the architect James Michie, who she married in 1920. They lived in France together and had three sons.

During this period, her focus was predominantly on family life, but she did exhibit in 1928 in St Raphael.

In 1933, Redpath returned to the Borders, Scotland, and separated from Michie, although the two remained amicable. In the 1940s, Redpath began to travel again, first within Scotland and later around Europe. Redpath was a key figure in a group of painters known as The Edinburgh School. She began to exhibit regularly in Edinburgh as well as the Lefevre Gallery, London. In 1952, Redpath became the first female painter to be made an Academician by the Royal Scottish Academy. In 1960, she became an Associate of the Royal Academy.

Lot 195 *Anne Redpath RSA ARA (1895-1965) ‘Hillside Village’, c.1958-60 signed ‘Anne Redpath’ l.l., oil on board 47.5 x 57.5cm £6,000 - 8,000 Redpath likely painted ‘Hillside Village’ while staying in the Canary Islands, Spain.

Provenance: With Aitken Dott & Son, Edinburgh; with Duncan R Miller Fine Arts, London.

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Lot 196 *Anne Redpath RSA ARA (1895-1965) ‘Daisies’ signed ‘Anne Redpath’ l.l., oil on board 51 x 61cm £8,000 - 12,000 Provenance: With the Fine Art Society, London.

Exhibited: Aitken Dott & Son (The Scottish Gallery), Edinburgh, ‘20th Century Scottish Paintings and Drawings’ Exhibition, May 1976; Duncan R Miller Fine Arts, London, ‘Anne Redpath’ Exhibition, 1992, no. 14.

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Lot 197 *George Dannatt (1915-2009) ‘Division of Light (No.1)’, 1979 signed, inscribed with title and dated Aug/October 1979 verso, oil on board 23.5 x 15cm £400 - 600 Exhibited: Michael Parkin Fine Art Ltd., London, George Dannatt Paintings 1970-1988, no.26.

Lot 198 *Richard Cartwright (b.1951) ‘The Bride Alone’ signed ‘Richard Cartwright’ l.l., pastel 82 x 46cm £600 - 800

Lot 200 *James Lawrence Isherwood (1917-1989) ‘Old Coventry Cathedral’ signed ‘Isherwood’ l.r., inscribed as titled verso, oil on board 62 x 46cm, unframed £300 - 500 Provenance: Purchased from the artist fifty-two years ago, by the current vendor, whilst at Cambridge University.

Provenance: W ith Adam Gallery, Bath.

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Lot 199 *James Lawrence Isherwood (1917-1989) ‘Shawls, Wigan and Rain’, 1968 signed and dated ‘ISHERWOOD ‘68’ l.l., inscribed as titled verso, oil on board 25.2 x 35.5cm £400 - 600

200 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

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201 Lot 201 *Rudolph Ihlee (1883-1968) ‘Fishing Boats in Dry Dock’ signed and dated ‘R. Ihlee ‘66’ l.l., inscribed as titled on New English Art Club label verso, oil on board 61 x 73cm £600 - 800

203 Lot 203 *Barbara Rae RA (b.1943) Storage tanks, Leith signed and dated ‘Rae 89’ l.l., mixed media on paper 24.5 x 29.5cm £500 - 700

202 Lot 202 *Robert Taylor Carson (1919-2008) ‘Gulls’, 1965 signed ‘TAYLOR CARSON’ l.l., also signed, inscribed as titled and dated ‘65 verso, oil on canvas 63.5 x 76cm £600 - 800

204 Lot 204 *Robert Medley RA (1905-1994) Medieval Figures oil on board 22 x 27cm £300 - 500

Provenance: W ith the Scottish Gallery, Edinburgh.

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205 Lot 205 *Roger Hilton (1911-1975) ‘Boat and Fish’ signed with initials and dated 74 l.r., charcoal, gouache and watercolour 20 x 28.5cm £1,000 - 1,500 Lot 206 *Eileen Cooper RA (b.1953) ‘Reminiscence I’ signed and dated ‘Eileen Cooper, ‘99’ in pencil l.r., pen and ink and watercolour 22.5 x 15.5cm £400 - 600 Provenance: With Art First, Contemporary Art, London; with Flowers East, London; Folly Mill, Thaxted, Essex.

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Lot 207 *Eileen Cooper RA (b.1953) ‘Greeting the Tortoise’ signed and dated ‘Eileen Cooper 2002’ in pencil c.r., watercolour and pastel 25 x 13.5cm £300 - 500 Provenance: With Art First, Contemporary Art, London; Folly Mill, Thaxted, Essex.

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133-214 MODERN BRITISH Lot 208 *John Bratby RA (1928-1992) A woman seated in a red armchair signed ‘John Bratby’ l.l., oil on canvas 117 x 86cm £1,500 - 2,000 Provenance: Folly Mill, Thaxted, Essex.

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Lot 209 *John Bratby RA (1928-1992) ‘Jason & the Gorgons’ signed ‘John Bratby’, inscribed as titled and dated ‘July 1959’, oil on canvas 112 x 86cm £1,200 - 1,800

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Provenance: The Zwemmer Gallery, London; Folly Mill, Thaxted, Essex.

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Lot 211 *Quentin Bell (1910-1996) a painted paper lampshade, decorated in tones of blue, centred with a continuous band of text, signed to the interior and dated ‘94 41cm diameter 25cm high, together with a similar example (2) £1,000 - 1,500 Provenance: The Sally Hunter and Ian Posgate Collection; purchased directly from the artist.

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211 Lot 210 A ladies’ opera coat by Cressida Bell, large c.1984, printed velvet 140cm long approximately £200 - 300

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Lot 212 *Quentin Bell (1910-1996) A painted paper lampshade decorated with a Grecian freeze 41cm diameter 25.5cm high £600 - 800 Provenance: T he Sally Hunter and Ian Posgate Collection; purchased directly from the artist.

Lot 213 *Quentin Bell (1910-1996) A painted paper lampshade decorated with an abstract design signed ‘QB (E)’ underneath 36cm diameter 23cm high £600 - 800 Provenance: The Sally Hunter and Ian Posgate Collection; purchased directly from the artist.

Lot 214 *Quentin Bell (1910-1996) A painted paper lampshade decorated with a flower motif signed and dated ‘QB (S) 90’ underneath 41cm diameter 25.5cm high £600 - 800 Provenance: The Sally Hunter and Ian Posgate Collection; purchased directly from the artist.

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XX-XX 215-353

Lot 215 A bronze of a prowling lioness 20th century, raised on a black marble base, unsigned 40cm wide 12cm deep 28cm high £200 - 300

215 Lot 216 *Gerard Boudon (French, 1946-2011) ‘Sanglier en Course’ bronze, signed with a monogram and numbered 8/8, with foundry stamp for Deroyaune 10cm high 19.5cm wide £800 - 1,200 Provenance: G alerie Titren, rue Fraisse Beaune, Paris.

Sold with the exhibition catalogue.

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Lot 217 *Michael Duhan (Irish, b.1956) ‘Fools on fools’ signed ‘DUHAN’ on lower figure’s arm, also signed ‘Michael Duhan’ and inscribed as titled on base, bronze 37cm wide 20.5cm deep 44cm high including base £700 - 1,000

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Lot 218 *Sydney Harpley RA (1927-1992) Girl in a deckchair bronze with brown patina, numbered and signed ‘6/9 Harpley’ on the back of the deckchair 47cm wide 16cm deep 27.5cm high £2,000 - 3,000

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219 Lot 219 *James Butler RA (b.1931) Reclining model bronze with brown patina, signed, dated and numbered ‘IV/X Butler 82’ on the base 40cm wide 13cm high £600 - 800 Lot 220 English School, 20th century Mother and child relief with art deco stylisation bronze 39cm wide 8cm deep 41cm high £300 - 500

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ALEXANDER CALDER (AMERICAN, 1898-1976) Considered one of the most famous artists of the 20th century, Alexander Calder’s sculptures and works on paper are held by major art institutions around the world. His fame was assured from the 1930s, when he first showed his mobiles.

In 1953, while spending a year in Aix-en-Provence, Calder produced his first series of gouache paintings and continued to work in this medium until his death in 1976. Lot 221, Calder’s ‘Untitled’ watercolour and gouache on paper, was created in 1961. In this bold painting, Calder works with quick, broad brushstrokes to form a vivid image. He cleverly deploys bright colours, not quite touching the yellow and blue together, allowing the white of the paper to become an important part of the composition. ‘I paint with shapes’, Calder once said, and it is the two more thickly painted orange circles that catch our attention and create balance in this piece.

Calder liked to return to similar motifs in his works on paper and circles can also be seen in lot 222, a lithograph titled ‘Sun and Moon’. Centred around a red sun - red reportedly being Calder’s favourite colour - the image’s wiry black lines are reminiscent of the coils of Calder’s mobiles.

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Lot 221 Alexander Calder (American, 1898-1976) Untitled signed and dated ‘Calder ‘61’ l.r., watercolour and gouache 55 x 74.5cm £20,000 - 30,000 Provenance: Botanist, writer and explorer Nicholas Guppy (1925-2012) acquired it directly from the artist; then acquired by close friends, the Rentons, Folly Mill, Thaxted, Essex.

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222 Lot 222 Alexander Calder (American, 1898-1976) ‘Sun and Moon’ lithograph in colours, signed ‘Calder’ in pencil l.r. and numbered 90/175 l.l. sheet 56 x 88cm £1,000 - 1,500 Provenance: With Adam Gallery, Bath; Folly Mill, Thaxted, Essex.

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Lot 223 *Juliusz Joniak (Polish, b.1925) Umbrian landscape signed and dated ‘Jonaik 79’ l.r., also signed and inscribed with title in Polish verso, oil on canvas 70 x 80cm £600 - 800

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Lot 225 *Emvin Cremona (Maltese-British, 1919-1987) Figures on the church steps, 1974 signed inscribed and dated ‘Cremona/Malta/74’ l.r., mixed media on paper 63 x 50cm £5,000 - 7,000

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Lot 224 *Emvin Cremona (Maltese-British, 1919-1987) Landscape, 1974 signed inscribed and dated ‘Cremona/Malta/74’ l.l, mixed media 63 x 50cm £5,000 - 7,000

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Lot 226 Alexandra Nechita (Romanian-American, b.1985) ‘Places I Want To Go’ signed and dated ‘Nechita ‘05’ l.r., inscribed as titled verso, acrylic on canvas 41 x 31cm £1,500 - 2,000 Nicknamed the ‘Petite Picasso’, Alexandra Nechita was a child prodigy who worked in a neo-Cubist style. Nechita’s talent at such a young age won immediate attention and she was only eight years old when she had her first solo exhibition in Los Angeles. In 1997, aged eleven, Nechita’s fame skyrocketed after she designed the program for the Grammy Awards. In 2005, she created ‘Let There Be Peace’, a 16-foot high bronze sculpture commissioned as a UN Peace Monument for Asia in Singapore. The same year her design ‘Peace Is the Only Option’ was issued on commemorative coins in the UK. Nechita has continued to exhibit widely and her work is held in both public and private collections around the world and she is a UN Ambassador of Peace and Goodwill through the Arts.

Lot 227 Balraj Khanna (Indian, b.1940) ‘Astral Play’ signed and dated ‘Khanna 90’ u.r., also signed, inscribed as titled and dated verso, mixed media on canvas 84.2 x 59cm £500 - 700

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228 Lot 228 *Vasilis Zenetzis (Greek, 1935-2016) The Acropolis, Athens signed l.l., signed and inscribed in Greek verso, oil on canvas 45.2 x 60.2cm £800 - 1,200 Provenance: Acquired directly from the artist in 1995.

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Can you help Cur wen reach its funding target?

The Curwen Print Study Centre is an educational charity established in the late 1990s to ensure traditional handcrafted printmaking skills are protected for future generations. Artists teach a wide variety of fine art printmaking skills to all ages and all abilities from Introductory to Masterclass level. In addition, schools visit from across the East of England to give students access to a professional print studio and the opportunity to work with practising artists. Curwen has a long history dating back to its formation in Plaistow in 1863 and our founder, Stanley Jones MBE Master Printer, was responsible for establishing Artist Printmaking in the UK in 1958 with many of the great artists of the 20th century.

Curwen has raised £120,000 so far in its bid to move to new premises early next year. This auction, with your support, will take them closer to the minimum goal of £145,000. You can make this possible by bidding for artworks in this sale. All work has been donated by artists who know and love Curwen, having worked in the studio with Stanley Jones Master Printer at some stage of their career.

Paula Rego RA has donated three different prints printed at Curwen (lots 251, 252 and 253); David Gentleman RDI has given four different lithographs in this sale (lots 233 and 234); Norman Ackroyd RA, an ardent supporter of Arts Education, has given two etchings (lots 236 and 237); Anita Klein, a lithograph printed at Curwen (lot 244), and Susan Aldworth, the artist last to print an edition with Stanley at Curwen, has donated two prints (lots 248 and 249); plus many more.

The funds raised will support Curwen in its move to larger premises, offering both a teaching studio and an open access studio for established artists, plus a gallery space allowing the display of the Curwen Archive of prints and documents for the first time.

Make your mark in our campaign by purchasing in aid of Curwen

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Lot 229 *Nicholas C Williams (b.1961) ‘Cloud Study, Cornwall’ signed ‘Nicholas’ inscribed ‘Cornwall’ and dated ‘21st April 2001’ verso, oil on board 13.2 x 17.6cm £300 - 400 Lot 230 *Justin Hawkes (b.1955) ‘Fen Dag 3’, 2015 signed ‘JH’ and dated ‘15’ c.r., signed ‘Justin Hawkes’ inscribed as titled and dated ‘2015’ verso, watercolour 49.8 x 62.8cm £600 - 800

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Lot 231 *Justin Hawkes (b.1955) ‘The Middle of the Story’, 2015 signed with initials c.r. and dated ‘15’ c.l., also signed, inscribed as titled and dated verso, watercolour 45.5 x 62.2cm £600 - 800 Lot 232 *Diana Armfield RA (b.1920) ‘Sheep sheltering at Llwynhir’ lithograph, signed ‘Diana Armfield’ in pencil l.r. and numbered 103/150 sheet 28 x 29cm, unframed £80 - 120 Lot 233 *David Gentleman (b.1930) ‘St Giles in the Fields’; ‘St James, Goose Creek’ two lithographs in colours, both signed ‘David Gentleman’ l.r. inscribed as titled and numbered ‘AP’ in pencil 49.5 x 61cm and 70.7 x 54.5cm, unframed (2) £150 - 250

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Lot 234 *David Gentleman (b.1930) ‘Lane in Huntingfield’; ‘Garden in Huntingfield’ two stone lithographs, both signed ‘David Gentleman’ l.r. inscribed as titled and numbered ‘AP’ in pencil each sheet 37 x 52.5cm and 37.5 x 46cm, unframed (2) £150 - 250 Lot 235 *Paul Hogarth RA (1917-2001) The Brown Derby signed ‘Paul Hogarth’, pen and watercolour 18.6 x 20.3cm £200 - 400

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236 Lot 236 *Norman Ackroyd RA (b.1938) ‘The Lake at Ditchley’, 2019 etching and aquatint, signed and dated ‘Norman Ackroyd’19’ inscribed as titled and numbered 63/90 in pencil sheet 26.5 x 28cm, unframed £300 - 500

238 Lot 238 *Chloe Fremantle (b.1950) ‘Memento Mori No. 25/Trees and Stones’ signed ‘Chloe Fremantle’ inscribed as titled and dated ‘2017’ on mount verso, gouache 16.3 x 17.8cm, unframed £200 - 300

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237 Lot 237 *Norman Ackroyd RA (b.1938) ‘Evening at Thirsk Hall’, 2019 etching and aquatint, signed and dated ‘Norman Ackroyd’19’ inscribed as titled and numbered 64/90 in pencil 22.6 x 28.1cm, unframed £300 - 500

239 Lot 239 *Chloe Fremantle (b.1950) ‘Memento Mori no.33: Menton Wire Rails’ signed ‘Chloe Fremantle’ and dated ‘2017’ on mount verso, gouache 17.5 x 17.8cm, unframed £200 - 300

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Lot 240 *Debbie Urquhart (b.1972) ‘Still Life, St Ives’, 2012 signed with initials l.l., inscribed as titled and dated on artist’s label verso, oil on board 34 x 29cm £600 - 800

Lot 241 *Susie Turner (contemporary) ‘Cotinus Grace’, 2013 solar plate etching, signed and dated ‘S H Turner 2013’ in pencil l.r., and numbered ‘3/20’ l.l., inscribed as titled on artist’s label verso 29.2 x 42cm, unframed £150 - 250

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241 Lot 242 *Serena Smith (contemporary) ‘Hodegetria 2’, 2013 hand-finished lithograph in colours printed from two stones, signed ‘S. Smith’ l.r. and numbered ‘II/VII’ in pencil 60 x 76.2cm, unframed £200 - 300

242 Lot 243 *Anne Desmet (b.1964) ‘QEH’ wood engraving in colours, signed ‘Anne Desmet’, inscribed as titled and numbered 234/420 in pencil image 9.8 x 13cm £150 - 250

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245 Lot 244 *Anita Klein (b.1960) ‘The Storm’ lithograph in colours, signed and dated ‘Anita Klein 15’ l.r. and numbered 48/50 in pencil 60.8 x 45.2cm, unframed £150 - 300 Lot 245 *David Remfry RA (b.1942) Untitled lithograph, signed and dated ‘David Remfry/1988’ in pencil l.r. and numbered 89.6 x 68cm, unframed £150 - 250 Lot 246 *Fraser Taylor (b.1960) ‘Crouched Woman’ screenprint in colours, signed and dated ‘Fraser Taylor 86’ in pencil l.r., inscribed as titled and numbered 124/150 sheet 105.5 x 88.8cm, unframed £250 - 350

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Lot 247 Helaine Blumenfeld (American, b.1942) ‘Tango’ lithograph in colours, signed ‘H Blumenfeld’, inscribed as titled, dated ‘2010’ and numbered 9/15 in pencil 63.5 x 49.5cm, unframed £800 - 1,200

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Lot 247A Helaine Blumenfeld (American, b.1942) ‘Tango II’ lithograph in colours, signed ‘H Blumenfeld’, inscribed as titled, dated ‘2010’ and numbered 9/15 in pencil 63.5 x 49.5cm, unframed £800 - 1,200

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250 Lot 248 *Susan Aldworth (b.1955) ‘Dreaming Voices 5’ lithograph in colours, signed and dated ‘Susan Aldworth/2012’ l.r., inscribed as titled and numbered 1/15 in pencil, with ‘The Curwen Studio’ blind stamp sheet 75.5 x 52cm, unframed £100 - 150 Lot 249 *Susan Aldworth (b.1955) ‘Self’ lithograph in colours, signed and dated ‘Susan Aldworth/2012’ l.r., inscribed as titled and numbered 10/15 in pencil sheet 82.5 x 55.6cm, unframed £100 - 150 Lots 248 and 249 are part of a series called ‘Reassembling the Self’, which was exhibited at the Hatton Gallery, Newcastle, 2012. Aldworth combined her own mark making, anatomical drawings and scans of the body to explore the relationship between the mind and the body. Aldworth writes that she aimed to ‘make a series of images where the body is put together in the wrong order to evoke the feeling of a person being at odds with their own body’.

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Lot 250 Yuko Shiraishi (Japanese, b.1956) ‘Foliage III’, 1985 etching in colours, signed and dated ‘Yuko Shiraishi ‘85’ l.r. in pencil, numbered ‘5/15’ l.l. and inscribed as titled verso sheet 38.6 x 37.5cm, unframed £200 - 400

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PAULA REGO RA (PORTUGUESE-BRITISH, b.1935) Paula Rego’s work is unsettling and politically-minded. She is known for her reimagining of stories from folklore and literature. The following three lots are inspired by a short story by Martin McDonagh, as well as his play ‘The Pillowman’ (2003), which Rego claimed changed her life.

For anyone who has seen ‘The Pillowman’, you will be aware of the dark twists and turns this play takes; set in a totalitarian state, its narrative follows a murder enquiry involving children. While it has moments of astounding violence, deep compassion is also shown between the two central characters. At its crux, the central character, Katarian, is a storyteller. The play returns frequently to his disturbing stories and it is from these ideas that Rego works in lots 251-253.

The first lot, ‘Scarecrow’, borrows from the play and Rego’s 2004 triptych of the same name - it reimagines a story from the play in which a girl who believes she is Jesus is crucified by her foster parents. Lots 252 and 253, ‘Turtle Hands’ and ‘Camouflaged Hands’, derive from an unpublished short story in which a boy develops turtles at the end of his arms. The story ends with the boy being consumed by the turtles, which swarm and grow around his corpse.

Rego and McDonagh engage with taboo topics, refusing to offer a resolution or a moral justification to comfort their audiences. The two share an artistic affinity, exploring the brutality within society (and hypocrisy that surrounds it) through the medium of stories.

Lot 251 *Paula Rego RA (Portuguese-British, b.1935) ‘Scarecrow’ lithograph in colours, 2006, from an edition of 35, signed ‘Paula Rego’ in pencil l.r. sheet 102 x 71cm, unframed £2,500 - 3,500

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Lot 252 *Paula Rego RA (Portuguese-British, b.1935) ‘Turtle Hands’ lithograph in colours, 2006, from an edition of 35, signed ‘Paula Rego’ in pencil l.r.

102 x 66.5cm, unframed £1,500 - 2,000

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Lot 253 *Paula Rego RA (Portuguese-British, b.1935) ‘Camouflaged Hands’ (Rosenthal 241) lithograph in colours, 2006, signed ‘Paula Rego’ and numbered A/P 1/15 in pencil 75 x 54cm, unframed £1,500 - 2,000

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Lot 254 *Dame Elisabeth Frink CH RA (1930-1993) ‘The Shipman’s Tale’ signed ‘Frink’, inscribed as titled and numbered 39/50 in pencil 78 x 58cm £300 - 400

Lot 255 *Sandra Blow RA (1925-2006) ‘Blue Brown Interweave’ screenprint in colours with hessian collage, 2005, signed ‘Blow’ and numbered 55/125 in pencil image 71 x 71cm £400 - 600

Lot 256 Karen J Revis (American, 20th century) Untitled four screenprints in colours 49 x 50cm (4) £500 - 700

Lot 257 *Mat Collishaw (b.1966) ‘Burning Butterfly’ etching and aquatint in colours, 2013, signed and numbered 14/30 in pencil plate 28.5 x 21.5cm £300 - 500

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215-353 MODERN AND CONTEMPORARY Lot 258 *Maurice Cockrill RA (1936-2013) Abstract composition oil on paper pasted on to canvas 74.2 x 99cm £700 - 1,000 Provenance: W ith the Bernard Jacobson Gallery.

Lot 259 *Maurice Cockrill RA (1936-2013) ‘Anthology’ nine etchings and aquatints in colours, each signed and dated ‘Maurice Cockrill 1998’ in pencil l.r., inscribed with titles and numbered from an edition of 35 sheet 71 x 55.6cm, one framed and nine unframed (9) £600 - 800 Anthology is a series of 8 etchings produced in an edition of 35 sets, plus 5 A/P sets, that have been signed and numbered by the artist. This lot has two versions of ‘Place of Fire’, one framed and one unframed.

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Lot 260 *Frank Auerbach (German-British, b.1931) ‘Reclining Figure I’ screenprint in colours, 1966, signed ‘Auerbach’ and numbered 45/70 in pencil 67 x 94cm £800 - 1,200 Provenance: Farm House, Farm Street, Mayfair, London.

Lot 261 *David Hockney RA (b.1937) ‘Olympische Spiele München 1972’ offset lithograph in colours 101 x 64cm, unframed £600 - 800

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Lot 262 *Howard Hodgkin (1932-2017) ‘Swimming’ screenprint in colours, 2011, signed with initials, dated and numbered 338/350 in pencil, printed

by King & McGaw, Newhaven, published by Counter Editions, London sheet 75 x 60cm £2,000 - 3,000

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Lot 263 *Howard Hodgkin (1932-2017) ‘Ice’ screenprint in colours, 2013, signed with initials, dated and numbered 183/350 in pencil, printed

by King & McGaw, Newhaven, published by Counter Editions, London 75 x 59cm £1,000 - 1,500

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264 Lot 264 *Sir Peter Blake RA (b.1932) ‘Found Art Letters’ screenprint in colours, signed ‘Peter Blake’, inscribed with title and numbered 8/25 in pencil 120 x 100cm £2,000 - 3,000

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265 Lot 265 *Bridget Riley CH (b.1931) ‘Serpentine Print’ (BRS 40, KS 39) screenprint in colours, signed and dated ‘Bridget Riley ‘99’, inscribed as titled and numbered 164/200 in pencil 41.5 x 40.5cm £4,000 - 6,000

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Lot 266 *Terry Frost RA (1915-2003) Untitled, 1969 signed and dated ‘Terry Frost ‘69’ in pencil, watercolour and collage 40.1 x 31.8cm, unframed £800 - 1,200

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Lot 267 *Terry Frost RA (1915-2003) ‘Spirals’ screenprint and collage, signed ‘Terry Frost’ and numbered 62/125 in pencil image 35.5 x 50cm £600 - 800

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Lot 268 *Terry Frost RA (1915-2003) ‘Newlyn Sunrise’ screenprint in colours, 1984, artist’s proof, signed ‘Terry Frost’ and inscribed ‘A/P’ in pencil 60 x 79cm £800 - 1,200

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Lot 269 *Patrick Heron (1920-1999) ‘January 1973:5’ screenprint in colours, signed and dated ‘Patrick Heron 73’ in pencil l.l. and numbered 24/72 l.r. image 58.5 x 80cm £2,000 - 3,000

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Lot 270 *Colin McCallum (b.1956) Untitled acrylic on canvas, 2007 150 x 150cm £800 - 1,200

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Lot 271 *Colin McCallum (b.1956) Untitled, 2010 acrylic on canvas 150 x 150cm £800 - 1,200

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Lot 272 *Paul Robinson (b.1959) Ultraviolet oil and acrylic on canvas 122 x 183cm £800 - 1,200

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Lot 273 *Trevor Bell (1930-2017) Abstract composition signed and dated ‘Bell 72’ l.r., oil on canvas 46 x 56cm, unframed £1,000 - 1,500

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275 Lot 274 *Trevor Bell (1930-2017) ‘Abstract Forms’ signed ‘Bell’ l.c., charcoal with metallic paint 64 x 48cm £300 - 500

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Provenance: With Tony Saunders Gallery, Penzance, 1986.

Lot 275 *John McLean (1939-2019) ‘Canzona’ signed with initials and dated ‘99 in pencil l.l., also signed and inscribed as titled verso, gouache 14.5 x 21cm £400 - 600 Provenance: With Flowers East, London; Folly Mill, Thaxted, Essex.

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276 Lot 276 Hsiao-mei Lin (Taiwanese, contemporary) Untitled signed ‘Hsiao-mei Lin’ verso, oil on board 30.5 x 190.5cm, unframed £1,000 - 2,000

Lot 277 Barbara McGivern (Canadian, 1945-2019) ‘Spaces with a single voice’ signed ‘McGivern’ and inscribed as titled verso, acrylic and gold leaf on canvas overall 137 x 170cm, unstretched and unframed £300 - 500

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Lot 278 Barbara McGivern (Canadian, 1945-2019) ‘Treasure Trove’ signed ‘McGivern’ and inscribed as titled verso, oil, acrylic and gold leaf on canvas 122 x 122cm, unframed £300 - 500

278 Lot 279 *Stephane Gisclard (b.1966) ‘La lampe a petrole’ signed ‘Stephane GISCLARD’ and inscribed as titled verso, oil on canvas 113 x 145cm £500 - 700

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Lot 280 *Yiannis Spyropoulos (Greek, 1912-1990) Untitled signed l.l., oil on canvas stuck down on board 55 x 37.5cm £2,500 - 3,500

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Lot 281 *Barbara Cameron (contemporary) Untitled signed and dated ‘Cameron 98’ l.r., oil on canvas 116.5 x 130cm, unframed £300 - 500

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Lot 282 *Barbara Cameron (contemporary) ‘Homage to Pascal’, 1997 signed and dated ‘Cameron 97’ l.r., oil on canvas 120 x 138cm £300 - 500

Lot 283 French School, contemporary ‘Comme Une Carapace’ mixed media on paper 142 x 147cm £300 - 500

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MODERN AND CONTEMPORARY 215-353 Lot 284 *Peter Denmark (1950-2014) Untitled, 1995 signed and dated ‘Peter Denmark/’95’ verso, acrylic on canvas 122 x 122cm, unframed £400 - 600 Sold with a certificate of authenticity.

Lot 285 *Peter Denmark (1950-2014) Untitled, 1994 signed ‘Peter Denmark’ verso, acrylic on canvas 117 x 117cm, unframed £400 - 600 Sold with a certificate of authenticity.

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Lot 286 *Peter Denmark (1950-2014) Untitled (Rocket), c.1995 acrylic on canvas 122 x 122cm, unframed £400 - 600 Sold with a certificate of authenticity.

Lot 287 *Peter Denmark (1950-2014) Untitled c.2005 signed ‘Peter Denmark’ verso, acrylic on canvas 45.5 x 61cm, unframed £300 - 400

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215-353 MODERN AND CONTEMPORARY Lot 288 *Peter Denmark (1950-2014) Untitled, c.1990 signed ‘Peter Denmark’ verso, acrylic on canvas 121.5 x 121.5cm, unframed £400 - 600 Sold with a certificate of authenticity.

Lot 289 *Peter Denmark (1950-2014) Untitled, c.1990 acrylic on canvas 121.5 x 121.5cm, unframed £400 - 600 Sold with a certificate of authenticity.

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Lot 290 *Peter Denmark (1950-2014) Untitled, 1989 acrylic on canvas 77 x 102cm, unframed £400 - 600 Sold with a certificate of authenticity.

Lot 291 *Peter Denmark (1950-2014) Untitled landscape acrylic on canvas 65 x 91cm £300 - 400 Sold with a certificate of authenticity.

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WILLIAM TILLYER (b.1938) Experimental in his approach to printmaking and painting, William Tillyer has exhibited internationally since the 1950s and his work is collected by major art museums, including Tate, London and the Museum of Modern Art, New York.

In these two works, Tillyer revisits a method of painting on mesh that he first trialled in the 1970s. This technique pushes the limits of the application of paint by layering it on to a mesh grid structure. The paint is suspended on the mesh, in some areas thickly layered to become opaque, in other places the holes of the mesh are visible through it. Lot 293 appears to be a still life painting, but the materiality of the paint on mesh combination creates a geometric abstraction that has the effect of darting before one’s eyes. Tillyer wrote of his interest to express ‘the tension between the artificial and the real’, to go as far as possible away from the real-world landscape or object he has seen, without losing it completely.

Lot 292 *William Tillyer (b.1938) ‘Encounter in a Third Style’ - Grid Reference, 2005 signed ‘Tillyer’ verso, acrylic paint on metal mesh 44 x 38cm £1,500 - 2,500 Provenance: With Bernard Jacobson Gallery.

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Lot 293 *William Tillyer (b.1938) ‘Encounter in a third style; Matrix’ signed and dated ‘Tillyer 05’ verso, acrylic paint on metal mesh 73.5 x 80.5cm £3,000 - 5,000 Provenance: With Bernard Jacobson Gallery.

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295 Lot 294 *Basil Ivan Rakoczi (1908-1979) ‘Heads in a Garden’ signed ‘Rakoczi’ l.r., inscribed as titled on artist’s label verso, pen and ink and watercolour 76 x 55cm £300 - 500 Provenance: Irish Exhibition of Living Art 1948.

Lot 295 *Alan Gouk (b.1939) ‘Self-portrait as a Saxophonist, No. 12’ signed ‘Gouk’, inscribed as titled and dated Oct 2000 verso, oil on canvas 23 x 18cm (irregular) £400 - 600

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Provenance: With Flowers East, London; Folly Mill, Thaxted, Essex.

Lot 296 *Richard Cartwright (b.1951) ‘The Tarn by the Moonlight’ signed ‘Richard Cartwright’ l.l., signed and inscribed as titled on artist’s label verso, oil on panel 21.3 x 31cm £300 - 500

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Lot 297 David Clyde Dridan (Australian, b.1932) ‘Willockra’ signed ‘Dridan’ and dated ‘62 l.r., oil on board 61 x 91cm £300 - 400

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298 Lot 298 *Geoffrey Key (b.1941) ‘Winter Landscape’, 2001 signed and dated ‘G.Key.01’ l.l., also signed, inscribed as titled and dated verso, oil on board 39 x 52cm £2,000 - 3,000

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Lot 299 *Philip Jones (1933-2008) ‘Orange and White’ signed and dated ‘Philip Jones 2001’ and inscribed as titled l.l., mixed media on canvas board 29.5 x 29.5cm £300 - 500

Lot 300 *Susan Foord (b.1945) ‘Distant Hills’ signed ‘S. Foord’ l.r., oil and mixed media on board 35 x 39.5cm £400 - 600 Exhibited: Adam Gallery, Bath, October 2001.

300

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THE DOGS TRUST Lots 301-302 have been donated to the Dogs Trust to raise funds for the charity.

Dogs Trust is the UK’s largest dog welfare charity and normally cares for around 14,000 dogs across its network of 21 rehoming centres in the UK and one in Dublin. Dogs Trust has a non-destruction policy and will never put a healthy dog to sleep. The charity also focuses its efforts on understanding dogs and sharing that knowledge with the wider public to prevent problem behaviours that can result in relinquishment or abandonment.

We are working towards the day when all dogs can enjoy a happy life, free from the threat of unnecessary destruction.

Lot 301 *David Hockney RA (b. 1937) ‘David Hockney, New Drawings, Salt Mill, 1994’ offset lithographic, signed ‘David Hockney’ in pen l.r., image 69 x 82.5cm £400 - 600

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY

Lot 302 Ahmed Moustafa (Egyptian, b.1943) Still life with cherub, 1974 oil on canvas 96.5 x 96.5cm, in original artist’s frame £15,000 - 20,000 Sold with certificate of authenticity dated 03.05.1980.

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Moustafa’s artistic practice is inspired by his Islamic faith and fascination with Arabic calligraphy.

He trained first as a figurative painter at Alexandria University and later studied printmaking in London, before pursuing a PhD that researched the 10th century Abbasid calligrapher Ibn Muqla and the scientific foundation of Arabic letter shapes. After 11 years of study, he revealed the exact geometric grid underlying Muqla’s script.

Moustafa has undertaken a number of major international commissions, including ‘Where The Two Oceans Meet’, which was presented by the Queen to Pakistan to mark the nation’s fiftieth anniversary in 1997. Moustafa’s exhibition history is illustrious with works shown at the Royal Academy, the Whitechapel Art Gallery, Ashmolean Museum, Grand Palais and Al ‘Ain University, amongst others. In 1998, the artist exhibited at the Pontifica Universitas Gregoriana, Vatican, which the world media hailed as an huge achievement for Muslim-Christian relations.

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Lot 303 *Annabel Gosling (b.1942) An interior scene signed ‘Gosling’ l.l, oil on canvas 96 x 70.8cm £400 - 600

303

Lot 304 *Kevin Sinnott (b.1947) Self portrait, 2000 signed with initials l.r., also signed and inscribed verso, oil on board 15 x 19cm £500 - 800 Provenance: With Flowers East, London; Folly Mill, Thaxted, Essex.

304

Lot 305 *Bob Brown (b.1936) Study for The Holy Trinity, Turkey signed ‘Brown’ l.r., oil on board 30 x 38cm £300 - 500

305

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Provenance: With the Russell Gallery, London, February 2015.

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY Lot 306 Fabian Perez (Argentinian, b.1967) ‘Linda IV’ signed ‘F Perez’ l.r., also signed and inscribed as titled verso, oil on canvas 30 x 23cm £2,000 - 3,000 Provenance: W ith DeMontfort Fine Art.

Lot 307 *Johan de Fre (Belgian, b.1952) ‘Exotic Medlars’ signed ‘J.de Fre’ l.r., oil on panel 13 x 20cm £800 - 1,200 Provenance: W ith Panter & Hall, London.

Lot 308 *Johan de Fre (Belgian, b.1952) Cherries signed ‘J. de Fre’ l.r., oil on panel 13 x 20cm £800 - 1,200 Provenance: W ith Panter & Hall, London.

306

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Lot 309 Daniel Gbenga Orimoloye (Nigerian, b.1966) ‘Low Tide, Agar Creek’ signed ‘G. Orimoloye’ and dated 2021 l.r., also signed, inscribed as titled and dated verso, oil on board 60 x 80cm £600 - 800

309

Lot 310 Daniel Gbenga Orimoloye (Nigerian, b.1966) ‘Beached boat, Morston Quay and Blakeney’ signed ‘G. Orimoloye’ and dated 2020 l.r., also signed, inscribed as titled and dated verso, oil on board 60 x 80cm £600 - 800

310

Lot 311 Daniel Gbenga Orimoloye (Nigerian, b.1966) ‘Low Tide, Morston Creek’, Norfolk signed ‘G. Orimoloye’ and dated 2017 l.l., signed, inscribed as titled and dated verso, oil on board 61 x 46cm £500 - 700

311

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215-353 MODERN AND CONTEMPORARY

ALEXANDER MCKENZIE (AUSTRALIAN, b.1971) Alexander McKenzie was born in 1971 in Sydney, Australia. The son of Scottish migrants, he always wanted to be a painter, and by age eleven had his own purpose-built art studio at home. He formalised his artistic education at the Julian Ashton Art School, during which time he won both a scholarship to the school and the Brereton Memorial Prize for draughtsmanship from the Art Gallery of New South Wales. Since 1996, he has exhibited extensively, with over twenty solo exhibitions in both Australia and the United Kingdom.

Although displaying contemporary scenes, his landscapes are influenced by 15th century Dutch Old Masters. His large canvases have an ethereal quality and display McKenzie’s preoccupation with the effects of light and atmosphere.

Lot 312 Alexander McKenzie (Australian, b.1971) ‘Still Evening near Kenmare’ signed and dated ‘McKenzie ‘01’ l.r., also signed and inscribed as titled verso, oil on canvas 122 x 122cm £4,000 - 6,000 Provenance: R ebecca Hossack Gallery, London.

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MODERN AND CONTEMPORARY 215-353 Lot 313 Alexander McKenzie (Australian, b.1971) ‘Trawlers at Old Head, Kingsale’ signed and dated ‘McKenzie ‘01’ l.r., also signed and inscribed as titled verso, oil on canvas 122 x 122cm £3,000 - 5,000 Provenance: Rebecca Hossack Gallery, London.

313 Lot 314 Alexander McKenzie (Australian, b.1971) ‘La Briche’ signed and dated ‘McKenzie ‘01’ l.r., also signed and inscribed as titled verso, oil on canvas 86 x 100cm £2,000 - 3,000 Provenance: Rebecca Hossack Gallery, London.

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215-353 MODERN AND CONTEMPORARY Lot 315 Alexander McKenzie (Australian, b.1971) ‘Approach to Dungarveh’ signed and dated ‘McKenzie ‘01’ l.r., also signed and inscribed as titled verso, oil on canvas 122 x 122cm £4,000 - 6,000 Provenance: R ebecca Hossack Gallery, London.

315 Lot 316 Alexander McKenzie (Australian, b.1971) ‘Iveragh Coast near Lish’ signed and dated ‘McKenzie ‘01’ l.r., also signed and inscribed as titled verso, oil on canvas 122 x 122cm £3,000 - 5,000 Provenance: R ebecca Hossack Gallery, London.

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MODERN AND CONTEMPORARY 215-353 Lot 317 *Emma Haworth (contemporary) ‘Ice Skating at Somerset House’ watercolour and Indian ink 67 x 49cm £1,000 - 1,500 Provenance: With Rebecca Hossack Gallery, London.

Lot 318 *Alan Furneaux (b.1953) ‘Falmouth’ signed ‘A Furneaux’ l.r., inscribed as titled and dated 2020 verso, oil on board 80.1 x 100cm, unframed £600 - 800

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Lot 319 *Alan Furneaux (b.1953) Untitled signed ‘A Furneaux’ l.l., oil on canvas 71 x 89.8cm, unframed £600 - 800

319 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY Lot 320 *Simeon Stafford (b.1956) ‘St Ives’ signed ‘Simeon’ l.r., also signed and inscribed as titled verso, oil on board 80.5 x 80.5cm, unframed £800 - 1,200

320

Lot 321 *Simeon Stafford (b.1956) ‘View from the street’ - Marazion with St. Michael’s Mount beyond signed ‘Simeon’ l.r., also signed, inscribed and with a drawing of a sandcastle in pen and ink verso 80.5 x 80.5cm, unframed £800 - 1,200

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Lot 322 *Simeon Stafford (b.1956) ‘St Ives’, 2007 signed ‘Simeon’ l.r., also signed, inscribed as titled and dated ‘12/6/7’ verso, oil on board 80 x 80.2cm, unframed £800 - 1,200

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Lot 323 *Francis Plummer (1930-2019) Tumbling Figures tempera on board 124 x 61cm £400 - 600

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Lot 324 *Francis Plummer (1930-2019) Two figures oil on board 61 x 41cm £500 - 800 Lot 325 Spare lot

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY Lot 326 *Tai-Shan Schierenberg (b.1962) ‘Nicola’ signed ‘T.Schierenberg’ verso, oil on copper 25 x 20cm £2,000 - 3,000 Provenance: W ith Flowers East, London.

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MODERN AND CONTEMPORARY 215-353 Lot 327 *Noel Gibson (1928-2005) Stepney - St Georges in the East signed ‘Noel Gibson’ l.r., oil on board 92 x 122cm; together with a preparatory sketch brown felt-tip pen 38 x 25cm (2) £300 - 400

Lot 328 *Noel Gibson (1928-2005) ‘Stepney’ signed ‘Noel Gibson’ l.l., oil on board 117 x 90cm £300 - 400

327 part lot

NOEL GIBSON (1928-2005) Noel Gibson had an enthusiasm for capturing the buildings of the East End of London. Born in Glasgow in 1928, he trained as an opera singer and then became the House Manager at the London Opera Centre on Commercial Road in Stepney. He lived in the area from 1962 until 1974 and would study the local buildings with extreme detail during his evening dog walks. He recreated what he saw in these walks in a series of paintings of Stepney. The urban landscape was undergoing rapid change and he would sometimes go back to an area to check on a colour or a detail and find the whole street had gone.

As a self-taught artist, he initially worked in an abstract style, which influenced his later paintings. He wanted to ‘express the spirit of buildings’ rather than just offer us a straightforward cityscape. Their vivid black lines, thick impasto and strong textures created with palette knife create a very distinctive style.

A notable aspect of his work is the absence of people in what would have been a highly populated area of the city. This can be seen as giving an impression of a ghost town, but to Gibson the buildings were his inspiration and his focus.

Following his death, an exhibition of his work was held at the Tower Hamlets Local History & Archives in 2012 and the Bow Arts’ Nunnery in 2014. Although he enjoyed sell-out shows in his lifetime, very few works by the artist have been sold at auction, and Sworders are pleased to present this artist and his unique snapshot of East End history.

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215-353 MODERN AND CONTEMPORARY

Lot 329 *Noel Gibson (1928-2005) Drive Slow signed ‘Noel Gibson’ l.l., oil on board 83 x 107cm £300 - 400

329

330

Lot 331 *Noel Gibson (1928-2005) ‘Abandoned adventure playground, Stepney’ signed ‘Noel Gibson’ l.l., inscribed with title and dated ‘Feb 1972’ verso, oil on board 80 x 106cm £300 - 400

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Lot 330 *Noel Gibson (1928-2005) ‘Limehouse Basin (with St Anne’s Limehouse)’ signed ‘Noel Gibson’ l.r., inscribed as titled and dated 1977 on label verso, oil on board 78 x 122cm £300 - 400

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332 Lot 332 *Damien Hirst (b.1965) ‘Beautiful inside my head forever’, 2008 gravure print in colours 60.7 x 52.1cm, unframed £600 - 800

333 Lot 333 *Damien Hirst (b.1965) ‘The Rape of Persephone’, 2013 six colour gravure print 68.6 x 68.6cm, unframed £400 - 600

334 Lot 334 *Damien Hirst (b.1965) ‘Tears of Joy’, 2012 six-colour gravure print 52 x 52cm, unframed £400 - 600

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335 Lot 335 *Damien Hirst (b.1965) ‘Valley of Death’, 2010 six-colour gravure print 68.3 x 68.3cm, unframed £400 - 600

Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY Lot 336 *Jack Smith (1928-2011) ‘Zig-Zag 4’ signed ‘Jack Smith’, inscribed as titled and dated 2006 verso, oil on canvas 91 x 91cm £700 - 1,000 Provenance: W ith Flowers East, London; Folly Mill, Thaxted, Essex.

Lot 337 *Tracey Emin RA (b.1963) ‘From Green to Gold’ offset lithograph in colours, signed and dated ‘Tracey Emin 2012’ in pencil l.r.

29 x 40.5cm £400 - 600

336

337 Lot 338 *Tracey Emin RA (b.1963) ‘My Favourite Little Bird’ offset lithograph in colours, 2010, from an edition of 500, installation shot by the artist, signed ‘Tracey Emin X’ in pen l.r.

68.7 x 49cm £600 - 800

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339

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Lot 339 *Banksy (b.1974) Dirty Funker “Future”, Rat Radar (brown) screenprint in colours, 2008, a record sleeve printed on both sides, with vinyl record, on matte brown card 31 x 31cm £500 - 800 Lot 340 *Banksy (b.1974) ‘Keep it Real’ (silver) screenprint on record sleeve, with vinyl record, signed ‘Banksy’ in plate overall framed 46.7 x 73cm £1,500 - 2,000

340 Lot 341 *Banksy (b.1974) ‘Visit Historic Palestine’ poster with ‘The Walled Off Hotel’ blind stamp sheet 59.5 x 42cm, unframed together with a Banksy Souvenir key fob (2) £1,000 - 1,500 Lot 342 *Banksy (b.1974) ‘Er…’ screenprint in colours on white cotton, numbered 714/1000 verso 41 x 61cm £600 - 800

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215-353 MODERN AND CONTEMPORARY

Lot 343 *The Connor Brothers (b.1968) Study for ‘The Truth is Rarely Pure and Never Simple’ with annotations, acrylic, pencil, pen and collage on paper 43 x 33cm £1,500 - 2,000

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Lot 344 *The Connor Brothers (b.1968) ‘Sane Men Suffer the Misfortune of Not Knowing that Everything is Possible’ hand embellished print, signed and dated ‘Connor Brothers 16’ l.r., inscribed ‘AP’ l.l. sheet 112.5 x 67.5cm, unframed £2,000 - 3,000

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Lot 345 *David Shrigley (b.1968) Animal posters series, 2020 ‘Some of my best friends are pigs’; ‘He will only eat squid ink pasta’; ‘You are too close, please move back’; ‘I will not fight’ offset lithographs in colours each sheet 81.5 x 60cm, unframed (4) £500 - 700 Lot 346 *David Shrigley (b.1968) ‘Truth’; ‘I Did Not Ask To Be A Bird’; ‘People Expect So Much From Me’; ‘Life is Very Good’ four offset lithographs in colours each sheet 80 x 60cm, unframed (4) £500 - 700

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY

Lot 347 *Stik (b.1979) ‘Holding Hands’ (red, orange, yellow, blue, teal) five offset lithographs in colours, 2020, each signed ‘STIK’ in pen, with a central horizontal and vertical fold crease as issued 50 x 50cm (5) £2,000 - 3,000

347

Lot 348 *Stik (b.1979) Standing Figure (red), 2013 offset lithograph in colours, signed ‘STIK’ in pen l.r. and dated 2013 l.l., on wove paper, folded twice as issued, with full margins sheet 56.8 x 18.8cm £600 - 800

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Lot 349 After Jeff Koons Silver Rabbit zinc alloy, by Éditions Studio, edition number 110/500 34cm high £600 - 800 Sold with a certificate of authenticity from Éditions Studio.

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349 Lot 350 After Jeff Koons Balloon Dog (Blue) cold cast resin, by Éditions Studio, edition number 727/999 12cm wide 30cm deep 30cm high £500 - 700 Sold with a certificate of authenticity from Éditions Studio.

351 Lot 351 After Jeff Koons Purple Rabbit zinc alloy, by Éditions Studio, edition number 490/500 28cm high £600 - 800 Sold with a certificate of authenticity from Éditions Studio.

Lot 352 After Jeff Koons Balloon Dog (Red) cold cast resin, by Éditions Studio, edition number 722/999 12cm wide 30cm high 30cm deep £600 - 800 Sold with a certificate of authenticity from Éditions Studio.

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Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20% Lots marked * will be subject to an additional fee - please see ARR details on page 148

215-353 MODERN AND CONTEMPORARY

Lot 353 *Grayson Perry RA (b.1960) ‘Alien Baby’ glazed ceramic, 2018, stamped and numbered ‘2’ verso, from an edition of 12 17cm wide 27cm high £4,000 - 6,000

353

Grayson Perry created ‘Alien Baby’ during the filming of the BAFTA nominated series, ‘Rites of Passage’ (2018). In the third episode, Grayson explored ‘Birth’ and filmed the Neonatal Unit at Broomfield Hospital, Chelmsford, speaking with mothers who had given birth to premature babies and to the nurses working with them.

Drawing on his experiences in the series, Perry created twelve ‘Alien Babies’ as a way to ritualise and celebrate the NHS, technology and the humanity of the neonatal nurses. These works, each unique and executed in pottery with a metallic gilt glaze, were gifted by the artist to each nurse and to the couples featured in the show.

This particular sculpture was given to one of the couples on the show; their twins were born at 29 weeks and spent nearly three months in the Special Care Baby Unit. Meeting with Grayson was a positive experience for the couple, who were grateful to him for allowing them the opportunity to say a proper thank-you to the nurses and staff at Broomfield Hospital who had nurtured their twins through such a difficult period.

Inspired by the flickering lights and modern technology of the neonatal ward, Grayson drew on cosmic imagery to create ‘Alien Baby’. The ‘Alien Baby’ itself weighs approximately 2 pounds, the same as the premature babies filmed in this series just after they were born.

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MO D E RN CONTEMPORARY ART

&

Laurence Stephen Lowry RA (1887-1976), ‘Britain at Play’ offset lithograph, signed in pencil, image 44 x 60cm, £3,000-5,000

TIMED AUCTION 5 - 21 NOVEMBER 2021 | INVITING ENTRIES amyscanlon@sworder.co.uk | 01279 817778

INDEX OF ARTISTS A *Ackroyd, Norman 236, 237 *Aldridge, John 9-11 *Aldworth, Susan 248, 249 *Arbuthnot, Malcolm 83 *Ardizzone, Edward 32 *Armfield, Diana 232 *Armfield, Maxwell Ashby 45 *Auerbach, Frank 260 *Ayrton, Michael 142-144 *Ayrton, Millicent E 191 B *Banksy 339-342 *Baudoin, Jean-Franck 109-114 *Bawden, Edward 2, 4 *Bayes, Walter John 48 *Bell, Quentin 211-214 *Bell, Trevor 273, 274 *Bellany, John 5-8 *Bellingham-Smith, Elinor 52 Bevan, Robert Polhill 33, 34 *Bissill, George 47 *Blake, Sir Peter 264 *Blow, Sandra 255 Blumenfeld, Helaine 247, 247A *Boudon, Gerard 216 *Bratby, John 208, 209 *Brown, Bob 305 *Butler, James 219 C Calder, Alexander 221, 222 *Cameron, Barbara 281, 282 *Carr, David 23 Carrington, Leonora 73 *Carson, Robert Taylor 202 *Cartwright, Richard 198, 296 *Cathelin, Bernard 125 *Chagall, Marc 122 *Cockrill, Maurice 258, 259 *Coker, Peter 181 *Collet, Ruth 146 *Collishaw, Mat 257 *Colquhoun, Ithell 165 *Connor, The Brothers 343, 344 *Cooper, Eileen 206, 207 *Cooper, William Heaton 43 *Cremona, Emvin 224, 225 *Cundall, Charles Ernest 49 *Cuningham, Vera 77, 78 D *Daintrey, Adrian *Dali, Salvador *Daniels, Alfred *Dannatt, George *de Fre, Johan *Delaney, Arthur *Denmark, Peter *Desmet, Anne Dismorr, Jessica *Dobson, Frank Dridan, David Clyde *Duhan, Michael *Durell, Nommie

188 123, 124 170 197 307, 308 135 284-291 243 29 72 297 217 190

E *Emin, Tracey 337, 338 English School 31 English School, 20th century

65, 173, 220 English School, c.1930s 67 *Eurich, Richard 27 F *Fedden, Mary 169 *Foord, Susan 300 *Fraser, Donald Hamilton 182 *Fremantle, Chloe 238, 239 French School, contemporary 283 *Frink, Dame Elisabeth 254 *Frost, Terry 266-268 *Furneaux, Alan 318, 319 G Gabain, Ethel 69 Garwood, Tirzah 1 Gaudier-Brzeska, Henri 26 Gauguin, Paul 126, 127 Gauld, Peter 185 *Gentleman, David 233, 234 Gibb, Harry Phelan 46 *Gibson, Noel 327-331 *Gilot, Françoise 128 *Gisclard, Stephane 279 *Gommon, David 74 *Gosling, Annabel 303 *Gouk, Alan 295 *Grant, Duncan 66 *Green, Margaret 180 *Griffith, Frank 51 Griggs, Frederick Landseer 35, 36 *Gross, Anthony 71 H *Hamnett, Nina 53 *Hamnett, Nina 54 *Harpley, Sydney 218 *Harwood, Lucy 12-14 Háry, Gyula 116 Hawkes, Justin 230, 231 *Haworth, Emma 317 *Henderson, Elsie Marian 84-108 *Herman, Josef 150-152 *Heron, Patrick 269 *Hilton, Roger 205 *Hilton, Rose 174 *Hirst, Damien 332-335 *Hockney, David 261, 301 *Hodgkin, Eliot 183 *Hodgkin, Howard 262, 263 *Hogarth, Paul 235 How, Beatrice 39 *Howard, Ken 175, 176 *Hughes, Robert Morson 171

I *Ihlee, Rudolph 201 *Isherwood, James Lawrence

199, 200 Ivanovic, Fedor 117 J *Jewels, Mary *Jones, Philip *Joniak, Juliusz K *Key, Geoffrey Khanna, Balraj Kindon, Mary Evelina *Klein, Anita *Knight, Dame Laura Koons, Jeff

41 299 223 298 227 44 244 30 349-352

L *Lilly, Marjorie Lin, Hsiao-mei *Lowndes, Alan *Lowry, Laurence Stephen 134, 136, 137, 138 M *Macnab, Iain *McCallum, Colin McGivern, Barbara McKenzie, Alexander *McLean, John *Medley, Robert *Mednikoff, Reuben *Melville, John Meninsky, Bernard Modern British School Moustafa, Ahmed N *Nash, John Northcote *Naviasky, Philip Nechita, Alexandra

57 276 187 133,

64 270, 271 277, 278 312-316 275 204 149 189 55, 56 172 302 147 76 226

O *O’Driscoll, Suzanne 166 Orimoloye, Daniel Gbenga 309-311 P *Parsons, Trekkie Ritchie 163 *Pearce, Bryan 186 *Pellew-Harvey, Claughton 37 *Pender, Jack 50 Peploe, Samuel John 24, 25 Perez, Fabian 306 *Perry, Grayson 353 *Picasso, Pablo 129-132 *Piper, John 139-141 *Platt, Joyce 60 *Plummer, Francis 323, 324 Q *Quinlan, Eve R *Rae, Barbara *Rakoczi, Basil Ivan *Redpath, Anne *Rego, Paula *Remfry, David

22 203 294 195, 196 251-253 245

Revis, Karen J 256 *Reynolds, Alan 145 *Rhoades, Geoffrey Hamilton 61 *Riley, Bridget 265 *Robinson, Paul 272 *Rosoman, Leonard 153-162 S Sainthill, Loudon 121 Saint-Paull, Alexander 58 *Sauter, Rudolf Helmut 79 *Schierenberg, Tai-Shan 326 *Schwarz, Hans 80 *Searle, Ronald 148 *Sharp, Nancy 68 Shiraishi, Yuko 250 *Shrigley, David 345, 346 *Sinnott, Kevin 304 *Smith, Jack 336 *Smith, Matthew 70 *Smith, Serena 242 *Spear, Ruskin 62 *Spencer, Sir Stanley 28 *Spyropoulos, Yiannis 280 *Stafford, Simeon 320-322 *Stanton, Charles Rebel 38 Steer, Philip Wilson 42 *Stik 347, 348 *Suddaby, Rowland 81, 82 T *Taylor, Fraser *Tillyer, William *Tindle, David *Trevelyan, Julian Tryon, Wyndham *Turner, Susie

246 292, 293 164 167, 168 40 241

U *Urquhart, Debbie

240

V Valette, Adolphe *Venard, Claude Vorobieff, Marie

115 120 119

W Walton, Allan *Warburton, Joan *Weight, Carel Wells, Denys George *White, Ethelbert *Whittlesea, Michael *Williams, Jacqueline Williams, Nicholas C

21 15-20 192-194 75 63 179 177, 178 229

Y *Yates, Fred

184

Z *Zenetzis, Vasilis *Zinkeisen, Anna

228 59

Lots marked with a ‘*’ may attract the Artist’s Resale royalty charge at the rate of 4% of the hammer price.

This royalty, where applicable, will be charged to the purchaser.

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.

Bears/with signature, inscription, date in our opinion the signature/inscription/date are not by the hand of the named artist.

Circle of David Cox in our opinion a work from the period of the artist and showing his influence.

The addition of a question mark (?) after any of the above cataloguing terms indicates an element of doubt.

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

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.

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 Euros 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%.

What nationality must an artist be to qualify?

The Artist’s Resale Right applies to the sale of artworks in the European Economic Area (EEA). The following countries are in the EEA: Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovak Republic, Slovenia, Spain, Sweden, United Kingdom.

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.

From 0 to €50,000

4%

From €50,000.01 to €200,000

3%

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:

From €200,000.01 to €350,000

1%

•

Hammer Price

From €350,000.01 to €500,000 Exceeding €500,000

Royalty

0.5% 0.25%

What is the qualifying threshold?

An artwork must sell for more than €1,000 to qualify for a royalty. The law defines the price threshold in Euros and, because the exchange rate between the two currencies changes daily, the equivalent in Pounds Sterling must be worked out according to the exchange rate on the date the artwork was sold.

148

• • •

the artwork is a copyright protected work of graphic or plastic art; it is sold for more than €1000; 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 or another country in the European Economic Area (EEA).

This royalty, where applicable, will be charged to the purchaser. It is exempt of VAT.

TERMS AND CONDITIONS 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. We accept credit card payments to an upper limit of £5,000.

Usually 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. For our Homes and Interiors auctions, items not removed by 5pm on Friday may be removed at the purchaser’s expense and storage charges of £10 (plus VAT) for administration and £2 (plus VAT) per lot per day.

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 Port auctions when it is 15%. 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.

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 condition of Lots set out in the Terms of Sale at clause 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. 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.

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: 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 will be 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 in order 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. From 1 January 2020, these charges will be charged at 0% while bidding via Sworders Website. If bidding through the-saleroom.com this will be charged at 4.95% plus VAT. These charges will be payable to us on top of the Hammer Price and our Buyer’s Commission.

IMPORTANT NOTICES Removal of Lots All Lots are to be removed from the premises by 5.00pm at the latest on the Friday following each sale. Sworders retain the right to remove Lots remaining after this time into safe storage, for which a charge will be made.

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 safe 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 have Article 10 certificates.

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 Health and Veterinary Laboratories Agency (‘AHVLA’) 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 §.

Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.

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2. TERMS OF SALE 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. We have separate terms for online only auctions.

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.

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.

3.3 If you instruct us in writing, we may execute Commission bids on your behalf. 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).

‘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 5 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 the Auctioneer’s 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.

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.

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.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.

3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

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.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

2.7 If you have any complaints, please send them to us directly at the address set out on our Website.

4. The purchase price As Buyer, you will pay:

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.

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a. the Hammer Price; b. a premium of 25% plus VAT of the Hammer Price or 15% plus VAT for our Fine Wine and Port Auction; c. any artist’s resale right royalty payable on the sale of the Lot; and d. any VAT due.

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 the Auctioneer under the Money Laundering Regulations 2019 in accordance with their internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by the Auctioneer 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 the Auctioneer’s 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 the Auctioneer delivering the Goods, 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 Should you decide to use the delivery service, you thereby agree to allow the Auctioneer to share relevant personal data that we hold with the shipping agent in order to allow effective communication between the shipping agent and you, and to enable delivery.

8.5 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for any reasonable removal and storage charges in relation to that Lot. 8.6 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot. 8.7 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. Remedies for non-payment or failure to collect purchases 9.1 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: 9.1.1 take action against you for damages for breach of contract; 9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you; 9.1.3 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; 9.1.4 remove, store and insure the Lot at your expense; 9.1.5 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; 9.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable; 9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or 9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

9.2 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 noncompliance by you with these Terms of Sale.

10. 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.

11. Warranties 11.1 The Seller warrants to us and to you that: 11.1.1 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; 11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and 11.1.3 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.

11.2 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.

11.3 Please note that many of the Lots that you may bid on at our auction are second-hand.

11.4 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 11.1 (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.

11.5 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.

12. Descriptions and condition 12.1 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).

12.2 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. 12.3 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.

12.4 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 (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

13. Deliberate Forgeries 13.1 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.

13.2 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:

15.2 Any notice referred in Clause 15.1 may be given: 15.2.1 by delivering it by hand; 15.2.2 by first class pre-paid post or recorded delivery; or 15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.

15.3 Notices must be sent: 15.3.1 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 15.3.2 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.

15.4 Notices will be deemed to have been received: 15.4.1 if delivered by hand, on the day of delivery; 15.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 15.4.3 if sent by email, at the time of transmission unless sent after 17.00 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 (provided that receipt is acknowledged by the recipient).

15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message.

13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or

16. 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.

13.2.2 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 13.2.

17. General 17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.

13.3 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.

17.2 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.

13.4 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.

14. Our liability to you 14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

14.2 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.

14.3 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. 14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 14.4.2 fraudulent misrepresentation; or 14.4.3 any liability which cannot be excluded by law.

15. Notices 15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it.

17.3 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.

17.4 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.

17.5 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.

17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (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.

17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any noncontractual 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.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers

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