Issuu

M o de r n a n d Cont empor a ry A rt to includ e

tastemakers T h e J a me s B ir c h C ollect ion

Modern and Contempo ra ry A rt & D esi g n Tuesday 24 6 and November Wednesday 20267 |October 10am 2026 | 10am

tast e m a ke rs Mod e rn a nd C o nt e m p or ary Art & D e sig n Tuesday 24 November 2026 | 10am

bidding

viewing A selection of lots will be on view Monday 9 November Monday 16 November at our London Gallery, 15 Cecil Court, London WC2N 4EZ, as follows: Monday - Friday Weekends

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Front cover: lot 87 Back cover: lot 97 (detail) Inside front: lot 140 Inside back: lot 65 Index: lot 101

Bryn Sayles

Matthew Yeats

S CA N TO BR O W S E THE FUL L CATA LO G UE

Senior Valuer | Modern & Contemporary Art

Head of Department Design

Cover | Courtesy Anna Ray Image Image opposite: lot 122 of | Image Courtesy of Anna Ray

Amy Scanlon

Marianne Richardson

Zimeng Li

Jessica Allen

Zachary Woodhouse

Head of Department Pictures

Cataloguer Pictures

Valuer Pictures

Department Assistant Pictures

Cataloguer Design

PROPERTY FROM THE COLLECTION OF DEREK POPE (LOTS 1-13) Derek Pope (1930-2003) was a British art educator, administrator, artist and musician who served as a foundational figure at Bath Academy of Art during several decades of his career as student, lecturer and ultimately Principal. During this time, he was inherently linked to the Academy’s era based at Corsham Court in Wiltshire - a pioneering period in British post-war art and art education. Born in Lancashire, he studied at Upholland Grammar School and then joined the RAF as part of his National Service, serving in Aden until 1950. On his return home he 4

Above: Derek Pope. Opposite Top Left: Bath Academy of Art, Corsham Court, Wiltshire. Opposite Bottom Left: Students at Bath Academy.

attended Bath Academy of Art where he studied fine art and met his future wife, Margaret. It is here he developed his life-long passions for painting, teaching and playing the violin. After obtaining a Diploma in Art Education he went to Birmingham where he and Margaret were married and both taught art in schools. Pope and his family returned to Corsham in 1963, where he worked at the Academy as warden and lecturer alongside the founding Principal, Clifford Ellis, and his wife, Rosemary. Bath Academy of Art during its time at Corsham is still regarded as being one of the most groundbreaking and innovative institutions in art education, producing many notable British artists and art teachers. It was also known for its artist residencies and extensive community of prominent artist-tutors who taught and developed their early work there. These artists helped to shape much of the mid-century British and international art scene, including Peter Lanyon, Bryan Wynter, William Scott, Ken Armitage, Howard Hodgkin, Rufino Tamayo, Piotr (Peter) Potworowski, Terry Frost, Henry Cliffe, Bernard Meadows and John Furnival. Pope became Vice-Principal under fellow artist Michael Finn, where they guided the Academy through a tumultuous period of institutional transition within British higher art education. Pope ultimately became Principal following Finn’s tenure and stayed at the Academy during its amalgamation into Bath College of Higher Education (now Bath Spa University), retiring from the role in 1984. Pope continued his involvement in art education on a national and international level. He served as external examiner for many UK art schools and colleges, as Chairman for the National Society of Education Through Art and as art education advisor at an international school in Switzerland. He also dedicated himself to documenting and preserving the distinct history of the institution he spent much of his career serving. In 1997, he edited and published ‘A Celebration of Bath Academy of Art at Corsham’, a book that remains a vital primary resource, archiving first-hand student anecdotes, records of college culture and the extensive network of artist students and tutors. Throughout his career, along with his wife, Margaret, Pope maintained working collaborations and lifelong friendships with many noteworthy and influential artists, while also always encouraging and supporting students and artists in the early stages of their career. It was as a result of these relationships that during many decades together they assembled an important and historic collection of 20th-century artworks that formed an intrinsic part of the Pope family’s home life. 5

PROPERTY FROM THE COLLECTION OF DEREK POPE

1-13 LOT 1  Henry Cliffe (British, 1919-1983) ‘Miles Davis at Carnegie Hall’ lithograph in colours, signed and dated ‘Henry Cliffe ‘64’ in pencil l.r. and numbered 1/50 visible 49 x 69cm; framed 53 x 72.5cm £400 - 600 Provenance: T he Artist, by whom gifted to Derek Pope.

1 LOT 2  William Scott RA (British, 1913-1989) ‘Barra’, 1962 lithograph in colours, signed and dated ‘W. Scott ‘62’ in pencil l.r. and numbered 13/75 image 49 x 59cm; framed 71 x 79cm £800 - 1,200 Provenance: Acquired by Derek Pope in 1963-4. This work was given to Derek Pope as remuneration for work undertaken in collating and closing down the office used by Gulbenkian Research. Derek was Research Officer on this project.

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 122

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PROPERTY FROM THE COLLECTION OF DEREK POPE

3 LOT 3  William Scott RA (British, 1913-1989) Portrait, possibly of Christian Watson signed with initials l.r., charcoal 54 x 37cm; framed 75 x 57cm £4,000 - 6,000 Provenance: Christian Watson (later Lady Innes), and bequeathed to Derek Pope. Christian Watson (later Lady Innes) was secretary to Clifford Ellis, the visionary principal of the Bath Academy, which moved to Corsham in Wiltshire in 1946. Modelled on the Bauhaus, the Academy was designed to provide a more liberal form of art education, with a syllabus that included music, dancing and drama as well as the visual arts. It became a truly unique environment and creative hub for students to study and teachers to train, and saw many incredible artists pass through its doors - including Scott, who worked as Head of Paintings for many years. We are grateful to the William Scott Foundation for their kind assistance with the cataloguing of the present work, which has been recorded in their archives as Q 1772.

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PROPERTY FROM THE COLLECTION OF DEREK POPE

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LOT 4 Rufino Tamayo (Mexican, 1899-1991) ‘Woman with Watermelon’, circa 1950 lithograph in colours, signed ‘Tamayo’ in pencil l.l. and numbered XXXVI/LX image 54 x 42cm; framed 69.5 x 55.5cm £600 - 800 Provenance: The Artist, by whom gifted to Derek Pope.

LOT 5  William Scott RA (British, 1913-1989) ‘Portrait of a Girl’, 1948 lithograph in colours, signed ‘W. Scott’ in pencil l.r. and numbered 2/50 visible 44 x 34cm; unframed 53 x 42.5cm £800 - 1,200 Provenance: T he Artist, by whom gifted to Derek Pope.

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PROPERTY FROM THE COLLECTION OF DEREK POPE

7 LOT 6 Anita Klein (Australian-British, b.1960) ‘Sowing Seeds’; ‘Nige Leaves for Work’ two etchings, the first signed and dated ‘Anita Klein ‘97’ in pencil l.r., numbered 3/25, the second, signed and dated ‘Anita Klein ‘96’ in pencil l.r., artist’s proof, inscribed ‘A/P’ each sheet 38 x 57cm; framed 52.5 x 70.5cm (2) £300 - 400

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LOT 7 Anita Klein (Australian-British, b.1960) ‘Weighing Myself’; ‘Collecting Pebbles’ two etchings, the first signed and dated ‘Anita Klein ‘96’ in pencil l.r. and numbered 13/15, the second signed and dated ‘Anita Klein ‘97’ in pencil l.r. and numbered 9/25 sheet 57 x 37cm; framed 71 x 52.5cm and similar (2) £300 - 400

PROPERTY FROM THE COLLECTION OF DEREK POPE

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LOT 8  Henry Cliffe (British, 1919-1983) ‘Staple House’ lithograph in colours, signed and dated ‘Henry Cliffe ‘77’ twice l.l., in pencil and in biro 25 x 35.5cm; framed 28.5 x 38.5cm £250 - 350 Provenance: T he Artist, by whom gifted to Derek Pope.

LOT 9  Michael Finn (British, 1921-2002) Untitled signed and dated ‘Michael Finn ‘78-90’ verso, oil on two conjoined canvases 104 x 127cm (irregular); framed 108 x 131cm £200 - 300

Provenance: The Artist, by whom gifted to Derek Pope upon his retirement.

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PROPERTY FROM THE COLLECTION OF DEREK POPE

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LOT 10  Peter (Piotr) Potworowski (Polish, 1898-1962) Blue Abstract lithograph in colours, signed in pencil l.r., dated ‘55’ and numbered 12/VI image 33 x 47cm; framed 47 x 60cm £200 - 300

LOT 11  Henry Cliffe (British, 1919-1983) Untitled abstract lithograph in colours, signed and dated ‘Henry Cliffe ‘52’ in pencil l.r. 28 x 38cm; framed 35.5 x 45.5cm £300 - 500

Provenance: T he Artist, by whom gifted to Derek Pope.

Provenance: The Artist, by whom gifted to Derek Pope. 11

DEREK POPE AND HOWARD HODGKIN (LOTS 12 AND 13) Lots 12 and 13 were gifted to the family of Derek Pope by a Trustee of the Howard Hodgkin Legacy Trust. The gift is a celebration of their generosity in allowing the Hodgkin Estate to acquire Derek Pope’s copy of Acquainted with the Night, so that it can be given to a major UK museum, along with a nearly complete set of Howard’s prints. Acquainted with the Night was Howard’s first print, made at Corsham School of Art, where he studied and later taught. Signed and dated 1953 when Howard was just 21, it was made at the initiative of the school’s first director, Clifford Ellis, and was inspired by Robert Frost’s poem of the same name. Howard did not keep a copy himself. Consequently, none could be found to illustrate the entry in the first edition of the catalogue raisonné of his prints (2003). Thanks to the heirs of Derek Pope - a later Principal of the Corsham school - it has surfaced in time to be included in the second edition, edited by Guy Robertson and due to be issued by Art Publishing next year. There were 118 entries in the first edition; there will be 282 in the new one, indicating how central the medium became to Howard’s work. The two works gifted to Derek Pope’s family represent two striking milestones in the artist’s career. Bleeding was the first print Howard made with Judith Solodkin’s Solo Press in New York, hand-coloured by Cinda Sparling. It was inspired by the memory of an encounter in a midtown Manhattan apartment belonging to his then lover, who was also his favourite dealer in Indian art. Howard reserved the complex interplay of complementary green and red colours for several of his best and most intense works, such as Love and Death (2015) - used as the 12

backcloth to Mark Morris’s dance story Leila and Majnun and in his penultimate oil painting, Over to You (2017). The title ‘Bleeding’ puns on his favoured technique of allowing paint to escape from a mark, while a panel on the right of the print references a Mughal Indian patterned textile. In the introduction to the Barbican catalogue for the touring exhibition of his prints, Mark Haworth-Booth wrote [of another print, Moonlight]: ‘Fiery colours glint beneath darker overlays, like a psychological encounter we can sense and share but never fully grasp nor explain. Like Mallarmé, Hodgkin set himself an almost impossible task: “Peindre non la chose, mais l’effet qu’elle produit” (Paint not the thing but the effect that it produces).’ Beach is characteristic of Howard’s late work and reflects a process he found mirrored in one of his favourite poems, Andrew Marvell’s The Garden (1681). It inspired two paintings and one print. The poet celebrates his retirement from the ‘busy companies of men’, preferring to find refuge in nature and in thought, as the mind: ‘creates… Far other worlds, and other seas; Annihilating all that’s made To a green thought in a green shade.’ Howard was fascinated by beach scenes throughout his life; the liminal meeting of sea, coast and horizon recurs frequently in his work. Here, at the age of 83, in a late print that was part of a series he called After All, he has moved away from anecdote and details, distilling and deconstructing the encounter, as though seeing it from above.

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PROPERTY FROM THE COLLECTION OF DEREK POPE

12 LOT 12  Sir Howard Hodgkin CH (British, 1932-2017) ‘Bleeding’, 1981-1982 lithograph in colours from three aluminium plates using tusche washes, with hand colouring in gouache, on buff Velin Arches 300 gsm mould-made paper, signed with initials, dated ‘81’, inscribed and numbered ‘A.P. 27’ in pencil l.c., one of 33 artist’s proofs aside from the main edition of 100, published by Bernard Jacobson Ltd, London sheet 91.5 x 152cm; unframed £2,000 - 3,000 Provenance: Gifted to the family of Derek Pope by a Trustee of the Howard Hodgkin Legacy Trust. LOT 13  Sir Howard Hodgkin CH (British, 1932-2017) ‘Beach’, 2015-2016 hand-painted carborundum relief on Velin Cuve BFK Rives Tan 280 gsm paper, stamped signature l.l., an artist’s proof aside from the main edition of 30, dated ‘2016’ and numbered AP 3/5 in pencil sheet 33.5 x 44cm; unframed £1,000 - 1,500

Provenance: Gifted to the family of Derek Pope by a Trustee of the Howard Hodgkin Legacy Trust. End of Collection

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TASTEMAKERS

LOT 14  Sandra Blow RA (British, 1925-2006) ‘Interaction’, 2000 screenprint in colours, signed ‘Blow’ in pencil l.r., inscribed with title and numbered 112/125, printed at Coriander Studio, London, published by CCA Galleries image 52 x 52cm; framed 86.5 x 83.5cm £400 - 600 Provenance: A cquired directly from the studio of the Artist in 2004 by the present owner.

LOT 15  Albert Irvin RA (British, 1922-2015) ‘Greenwich II’ screenprint in colours, signed and dated ‘Irvin 91’ in pencil l.l., inscribed with title and numbered ‘P/P 4/5’, a printer’s proof aside from the numbered edition of 90, published by Advanced Graphics, London image 58.5 x 80cm; framed 94 x 113cm £600 - 800

LOT 16  Wilhelmina Barns-Graham (British, 1912-2004) ‘Millennium Series Pink’, 2000 screenprint in colours, signed and dated ‘W Barns Graham 2000’ in pencil l.r. and numbered 30/75, printed at the Graal Press, with their blind stamp sheet 23.5 x 30.5cm; framed 44.5 x 51cm £600 - 800 Provenance: A cquired by the present owner in July 2006.

Provenance: Roseberys, London, 25 June 2025, lot 63, where acquired by the present owner.

TASTEMAKERS

17 LOT 17  Sir Terry Frost RA (British, 1915-2003) ‘Newlyn Rhythms’, 1982-1988 apparently signed and dated ‘82 83 88’ verso, pencil and acrylic on canvas 55.5 x 55.5cm; framed 74.5 x 74.5cm £4,000 - 6,000 Provenance: With Milne & Moller, London, 1999; Phillips, London, 30 June 2017, lot 188; Sworders, Stansted Mountfitchet, 11 July 2018, lot 1190.

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TASTEMAKERS

TASTEMAKERS LOT 18 Dame Lucie Rie (Austrian, 1902-1995) and Hans Coper (German-British, 1920-1981), a bowl, circa 1950, white glazed stoneware, impressed artists’ seals 14cm diameter, 7cm high £700 - 900 Provenance: A private collection, London; acquired from a gallery in London in 2023. Literature: For a similar example, see the exhibition catalogue Offer Waterman, ‘Lucie Rie Hans Coper: Life at the Wheel’, 2026, ill. p. 50. Lucie Rie, born in Vienna in 1902 and trained at the Wiener Werkstätte, established a pottery studio in London after fleeing Austria in 1938. Hans Coper, a Jewish émigré from Dresden, arrived in Britain in 1939 after years of persecution and internment. They met in 1946, when Coper joined Rie’s workshop, and began a twelve-year collaboration at Albion Mews. Although they developed distinct artistic identities, their work was shaped by their shared experiences and close working relationship. Rie recognised Coper’s talent early on, and together they produced objects of exceptional precision and quality. Their collaboration allowed each artist to push beyond conventional approaches: Rie experimented with innovative techniques and textured, mottled surfaces, while Coper increasingly explored sculptural forms, throwing and reassembling vessels into complex constructions.

Together, Rie and Coper challenged the dominant British ceramic tradition associated with Bernard Leach, whose work drew heavily on rural and Japanese craft traditions. Instead, they developed an urban European sensibility, drawing inspiration from London’s concrete, asphalt, dust and post-war landscape. Their work demonstrated that pottery could respond to the modern city rather than being rooted in an idealised rural past. Their partnership continued as a friendship after Coper left Albion Mews to establish his own studio. Both later taught at the Royal College of Art, where they passed their ideas and rigorous approach on to a new generation of ceramicists. LOT 19  Dame Lucie Rie (Austrian, 1902-1995), an elliptical bowl, circa 1980, white and yellow glazed stoneware, impressed artist’s seal 15.3cm wide, 12.5cm deep, 8cm high £1,000 - 1,500 Provenance: Woolley & Wallis, Salisbury, 24 March 2024, lot 350, where acquired by the present owner.

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TASTEMAKERS

LOT 20  Colin Pearson (British, 1923-2007), a large winged vessel, hand-built stoneware constructed in two sections, impressed maker’s seal 56cm wide, 25cm deep, 28cm high £1,000 - 1,500 Provenance: D esign & Arts, Hanover, 2016. Colin Pearson was an influential British potter who radically expanded the expressive possibilities of wheel-thrown ceramics. Trained at Goldsmiths’ College and Winchcombe Pottery under Ray Finch, he developed a strong foundation in functional pottery before establishing The Quay Pottery in Aylesford in 1961, where he produced practical tableware with richly coloured glazes and restrained decoration. From the early 1970s, Pearson increasingly explored a more sculptural approach, experimenting with softer, more plastic clay, slower wheel speeds, and freer, more gestural throwing techniques. Rather than pursuing perfect symmetry and conventional vessel forms, he embraced irregularity, movement and the physical marks of making, often altering his thrown forms and adding projecting attachments or ‘wings’ that gave his work a distinctive sense of energy and expression. His bold, powerful stoneware contrasted with the more refined and delicate qualities of his porcelain, while his increasingly adventurous use of glazes and colour further enhanced the individuality of his pieces. A passionate experimenter, Pearson challenged traditional approaches to pottery and demonstrated the wheel’s potential as a tool for sculptural expression. Alongside his studio practice, he was a charismatic and generous teacher at Camberwell College of Arts and the Medway School of Art, inspiring generations of potters through his technical knowledge, enthusiasm for experimentation and belief in breaking established rules.

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BEN NICHOLSON: ‘RONCO’, 1979 Ben Nicholson created this work in 1979, when he was living and working in Hampstead, but the title is a reference to Ronco sopra Ascona, a small hilltop village in the district of Ticino, Switzerland. In 1958, Nicholson moved to Switzerland with his third wife, the photographer Felicitas Vogler, from Cornwall, where he had lived for the preceding two decades. The move came on the back of his considerable international success, having won the Carnegie International prize in 1952, exhibited at the Venice Biennale in 1954, and won the Guggenheim International painting prize in 1957. It led to a particularly productive period in Nicholson’s work and a time of creative reinvigoration. He increasingly focused on large-scale carved reliefs, made possible in part due to the space found in his new studio, and inspired by the rugged scenery. The couple built a house just outside Brissago, with views overlooking Lago Maggiore, and of the landscape, Nicholson wrote:

‘The landscape is superb, especially in winter and when seen from the changing levels of the mountainside. The persistent sunlight, the bare trees seen against a translucent lake, the hard, rounded forms of the snow-topped mountains, and perhaps with a late evening moon rising beyond in a pale, cerulean sky is entirely magical, with the kind of poetry which I would like to find in my painting’. (Ben Nicholson, 1959, quoted in Norbert Lynton, ‘Ben Nicholson’, Phaidon Press, London, 1993, p. 311). The present work was previously in the collection of Angela Verren Taunt, whom Nicholson had met in Cambridge in 1971, at a Christmas party following his return to England. Angela was a talented painter in her own right and the two soon became fast friends, with Angela taking on the role of his studio assistant and helping to plan his sketching trips both in the UK and abroad. The creative exchange between the two was of fundamental importance to Nicholson in the final years of his life.

TASTEMAKERS

LOT 21  Ben Nicholson OM (British, 1894-1982) ‘Ronco’, 1979 signed, inscribed and dated ‘Ronco 1979 Nicholson’ verso, printed photographic paper laid on board, with ink, felt tip, pen and ink; further laid on artist’s board external board 55 x 49cm; framed 70 x 64.5cm £15,000 - 25,000

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Provenance: The Nicholson Estate; thence to Angela Verren Taunt. The present work is recorded in the Waddington’s Archive.

TASTEMAKERS

LOT 22  Katherine Pleydell-Bouverie (British, 1895-1985), a stoneware jug, the ash glaze with incised combed decoration, impressed maker’s mark 15.5cm wide, 12cm deep, 12cm high £250 - 350 Provenance: Cheffins, Cambridge, 26 May 2022, lot 59, where acquired by the present owner.

LOT 23  Ewen Henderson (British, 1934-2000), a large hand-built vessel, circa 1978, stoneware, constructed using coils and slabs, with painted surface glaze 21cm wide, 17cm deep, 34cm high £600 - 800 Provenance: Chiswick Auctions, July 2015, lot 128.

TASTEMAKERS

LOT 24  Bryan Ingham (British, 1936-1997) ‘Colle Val d’Elsa’ signed ‘Bryan Ingham’, inscribed with title and dated ‘1991-1992’ verso, oil and pencil on wood relief 57.5 x 81cm; framed 77.5 x 100.5cm £6,000 - 8,000 Provenance: Bonhams, London, ‘20th Century British Art’, 30 November 2004, lot 94; a private collection, from whom acquired by the present owner.

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TASTEMAKERS

26 LOT 25  Alan Davie RA (British, 1920-2014) ‘Island Fantasy’, 1999 screenprint in colours, signed and dated ‘Alan Davie ‘99’ in pencil l.r. and numbered 19/50 image 58.5 x 67cm; framed 83.5 x 92.5cm £300 - 500 Provenance: S worders, Stansted Mountfitchet, 14 February 2017, lot 106, where acquired by the present owner. LOT 26  John Hoyland RA (British, 1934-2011) ‘Fly Away’, 1981 etching and aquatint with carborundum in colours, signed and dated ‘John Hoyland 81’ in pencil l.r., numbered 34/60, printed at Kelpra Studio, published by Waddington Galleries, London plate 56.5 x 70.5cm; framed 87 x 98cm £300 - 500 Provenance: D ominic Kemp Modern British Prints, where acquired by the present owner, 8 December 2020. LOT 27  Sir Terry Frost RA (British, 1915-2003) ‘Green & Black Q’, 1997 (Kemp 159) screenprint in colours, signed ‘Terry Frost’ in pencil l.r. and numbered 58/125, printed at Coriander Studio, London, published by Sims Gallery, St Ives image 56 x 38cm; framed 91 x 70cm £700 - 1,000 Provenance: R oseberys, London, 9 March 2021, lot 49, where acquired by the present owner.

TASTEMAKERS

LOT 28  Gillian Ayres RA (British, 1930-2018) ‘Blueberry Hill’, 2003 (Cristea 13) etching with carborundum in colours, extensively hand-coloured in acrylic, signed and dated ‘Gillian Ayres 2003’ in pencil l.r., inscribed and numbered ‘PP 3/3’, a printer’s proof aside from the edition of 12, printed by Jack Shirreff at 107 Workshop, Wiltshire, the edition published by Alan Cristea Gallery, London sheet 109 x 107cm; framed 123 x 121cm £1,000 - 1,500 Provenance: Forum Auctions, London, 27 November 2025, lot 226, where acquired by the present owner.

LOT 29  Wilhelmina Barns-Graham (British, 1912-2004) ‘Wind Dance Series No. II’, 2003 screenprint in colours, numbered 30/75, printed at the Graal Press, with their blind stamp sheet 57 x 57cm; framed 75.5 x 75.5cm £700 - 800 Provenance: W ith Porthminster Gallery, St Ives, where acquired by the present owner, 21 April 2005.

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TASTEMAKERS

LOT 30  Wilhelmina Barns-Graham (British, 1912-2004) Untitled, 2001/02 acrylic on card 25.5 x 20cm; framed 48.5 x 43cm £3,000 - 5,000 Provenance: W ith Art First Contemporary Art, London, where acquired by the present owner, 26 May 2006.

LOT 31  Wilhelmina Barns-Graham (British, 1912-2004) ‘Slioch’ signed and dated ‘W. Barns-Graham 1975’ to mount l.r., also signed, inscribed with title and dated on backboard, pastel, pen and ink 17 x 12cm; framed 36 x 30cm £3,000 - 5,000 Provenance: B onhams, New Bond Street, 19 November 2008, lot 89, where acquired by the present owner.

TASTEMAKERS

LOT 32  Sandra Blow RA (British, 1925-2006) ‘Yellow Within’ signed ‘Blow’, inscribed with title and dated ‘2006’ verso, acrylic and mixed media on canvas 60 x 60cm; framed 62.5 x 62.5cm £5,000 - 7,000 Provenance: Bamfords Auctioneers, Derby, 26 March 2021, lot 422, where acquired by the present owner.

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TASTEMAKERS

LOT 33  Leo Davy (British, 1924-1987) ‘Seascape as Theatre’, 1983 dated ‘83’ in pencil u.l., oil on board 76 x 121.5cm; framed 96 x 142cm £1,500 - 1,800 Provenance: With Piano Nobile Gallery, London.

LOT 34  Geoffrey Robinson (British, b.1945) ‘New Avatar 2’ signed ‘G. Robinson’ and stamped with artist’s stamp verso, also signed and inscribed with title and two artist’s stamps to the reverse of the mount, and with two further stamps to the backboard, acrylic on canvas 50 x 60cm; framed 64 x 74cm £300 - 500 Provenance: A private collection, London.

LOT 35  Leo Davy (British, 1924-1987) Cornish Scene signed and dated ‘LEO DAVY 82’ l.r., oil on board 59 x 72cm; framed 79.5 x 92cm £1,200 - 1,800 Provenance: With Piano Nobile Gallery, London. Exhibited: Piano Nobile, London, ‘Leo Davy, Abstract Scenes: 1973-1987’, 6 February - 2 May 2017.

TASTEMAKERS

LOT 36  Alison Britton (British, b.1948), a vessel, 1989, painted earthenware, signed and dated 30cm wide, 34cm deep, 17cm high £400 - 600 Provenance: T he collection of Bryan Illsley, St Ives. Alison Britton is widely regarded as one of the leading figures in contemporary English ceramics, known for exploring and developing the artistic and conceptual properties of the medium. She began her training at Leeds College of Art in 1966 before continuing her studies at the Central School of Art & Design, and later, the Royal College of Art in the 1970s. During this formative period, she was mentored by the potter William Newland, whose influence helped shape her early development. Britton emerged as part of a radical generation of Royal College of Art graduates in the early 1970s who challenged conventional ideas of pottery. This movement, later described as the ‘New Ceramics’, rejected functional norms in favour of sculptural, expressive forms. Unlike traditional wheel-thrown pottery, Britton hand-builds her pieces from assembled slabs, resulting in asymmetrical, architectural forms. Her surfaces are richly decorated with painterly marks, drawing on techniques ranging from poured pigment to gestural brushwork, covered by a final layer of glaze. Alongside her studio practice, Britton has played a pivotal role in ceramic education. She taught for over three decades at the Royal College of Art, where she served as senior tutor for ceramics and glass, influencing generations of artists. Her work is held in major international collections, including the Victoria and Albert Museum, the Los Angeles County Museum of Art, the Stedelijk Museum and other collections worldwide. In recognition of her contribution to the arts, she was appointed Officer of the Order of the British Empire (OBE) in 1990.

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TASTEMAKERS LOT 37  Francis Bott (German, 1904-1998) Espaces concertés (Henze 1132) signed and dated ‘Francis Bott ‘71’ l.l., also signed, inscribed and dated verso, oil and wood relief on board 100 x 90cm; unframed £1,000 - 1,500 Provenance: Christie’s, London, ‘Works from the Studio of Francis Bott’, 16 November 2006, lot 129, where acquired by the present owner. LOT 38 Francis Bott (German, 1904-1998) Serigraph 1970. Red Version (Henze 1093) serigraph in colours, 1970, signed ‘Francis Bott’ in pencil l.r. and numbered 24/70, published by Edition Lanz, Basel; together with a lithograph in colours (Henze 168), on Marais paper with watermark, signed ‘Francis Bott’ in pencil l.r., dated ‘51’ and numbered 5 4/5; and a screenprint in colours (Henze 1167a), circa 1970 largest sheet 100 x 70cm; unframed (3) £300 - 500 Provenance: Christie’s London, ‘Works from the Studio of Francis Bott’, 16 November 2006, where acquired by the present owner.

37 LOT 39  Francis Bott (German, 1904-1998) Espaces concertés (Henze 1099) signed and dated ‘Francis Bott ‘72’ in pen l.r., acrylic on paper sheet 71.5 x 61.5cm; unframed £300 - 500 Provenance: Christie’s, London, ‘Works from the Studio of Francis Bott’, 16 November 2006, where acquired by the present owner.

38 part lot

TASTEMAKERS

40 LOT 40  Derek Middleton (British, 1917-2002) Untitled signed ‘Middleton’, dated ‘64’ and inscribed with the artist’s Paris address verso, oil on canvas 72.5 x 100.5cm; framed 74 x 101cm £700 - 1,000 LOT 41  Derek Middleton (British, 1917-2002) Abstract signed and dated ‘Middleton ‘66’ l.l., also signed, inscribed with the artist’s Paris address and dated verso, oil on canvas 50 x 73cm; unframed £300 - 500 Provenance: Rosebery’s, London, 11 September 2007, lot 1233, where acquired by the present owner.

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TASTEMAKERS

42 LOT 42  Henry Moore OM CH FBA (British, 1898-1986) ‘Projects for Hill Sculpture’, 1969 (CGM 105) etching, signed ‘Moore’ in pencil l.r. and numbered 68/100, from the deluxe edition of ‘Henry Moore’ by Ionel Jianou, published by Arted Editions d’Art, Paris, in the original green linen portfolio with the artist’s signature blocked in gold on the front and containing a printed introduction in English by Ionel Jianou sheet 66 x 50cm; unframed £300 - 500 Provenance: A private collection, Westlake, Ohio, US; Rachel Davis Fine Arts, Cleveland, US, 21 March 2026, lot 341, where acquired by the present owner.

LOT 43  Dame Barbara Hepworth (British, 1903-1975) ‘Moon Landscape’, 1973 lithograph in colours from the Penwith Portfolio, signed ‘Barbara Hepworth’ in pencil l.r. and numbered 13/90, printed by Curwen Studio, published by Penwith Galleries Ltd, St Ives visible 55.5 x 76cm; framed 58.5 x 79cm £1,500 - 1,800

LOT 44 Henry Moore OM CH FBA (British, 1898-1986) for Ascher, a ‘Family Group’ fabric, circa 1949, serigraphy silk screen 87 x 86cm including frame £600 - 800 Established in 1942 by Czech émigrés Zika and Lida Ascher, Ascher Ltd collaborated with prominent artists, including Henry Moore, Barbara Hepworth, Graham Sutherland, Ben Nicholson, John Piper, Jean Cocteau and Pablo Picasso. These partnerships challenged traditional boundaries between art and industry through limited-edition silk scarves produced between 1944 and 1953. Each artist designed a scarf measuring no more than 36 inches square (90 centimetres), typically produced using serigraphy, a form of screen printing. The designs debuted at the ‘Britain Can Make It’ exhibition at the Victoria and Albert Museum in London in 1946, introducing vibrant colours and bold patterns to post-war fashion. Their popularity grew following an exhibition at the Lefevre Gallery in 1947 and a subsequent international tour, establishing the scarves as significant early examples of art created for a mass audience. Moore developed several designs for Zika Ascher during the war, when travel restrictions limited his work on large-scale sculptures. Using wax crayons, pen and ink, gouache and watercolour, he created richly textured compositions that translated into screen-printed fabric motifs. His ‘Family Group’ design reveals the relationship between textile and sculpture: repeated motifs introduce movement, rhythm and abstraction, offering a fresh interpretation of the sculpture’s organic forms.

TASTEMAKERS

LOT 45  David Bomberg (British, 1890-1957) Encampment watercolour 53 x 57cm; framed 83 x 84.5cm £5,000 - 7,000 Provenance: Christie’s, London, 15 December 2011, lot 127, where acquired by the present owner.

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TASTEMAKERS LOT 46  John Piper CH (British, 1903-1992) ‘The Annunciation to the Shepherds’, 1973 lithograph in colours from the Penwith Portfolio, signed ‘John Piper’ in pencil l.r. and numbered 13/90, printed by the Curwen Studio, published by Penwith Galleries Ltd, St Ives 43 x 54.5cm; framed 60 x 82cm £400 - 600

47 LOT 47 John Piper CH (British, 1903-1992) for Sanderson, two ‘Arundel’ fabrics, circa 1960, screen-printed ‘Sanderlin’ fabric (satinised cotton), the white example mounted as a curtain, both titled to the selvedge black 255cm long x 162cm wide; white 200cm long x 140cm wide at the top (2) £300 - 500

TASTEMAKERS

LOT 48  Graham Sutherland OM (British, 1903-1980) An upright textile design for the Dorchester Hotel with rectangular lozenges gouache on paper 87 x 27cm; framed 100.5 x 39.5cm £1,500 - 2,000 Provenance: A cquired directly from the Artist and thence by descent to the previous owner.

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TASTEMAKERS

LOT 50  William Gear RA (British, 1915-1997) Female Nude pen and ink on brown paper 27 x 45.5cm; framed 49 x 69.5cm £400 - 600 Provenance: Rendall Wells; his sale, Bonhams, London, 28 June 2000, where acquired by the present owner. We are grateful to David Gear for his kind assistance in cataloguing the present work.

LOT 51  William Gear RA (British, 1915-1997) Nude signed and dated ‘Gear ‘37’ l.r., ink and watercolour 47.5 x 31.5cm; framed 74.5 x 59cm £800 - 1,200 Provenance: Rendall Wells; his sale, Bonhams, London, 28 June 2000, where acquired by the present owner. We are grateful to David Gear for his kind assistance in cataloguing the present work.

50 LOT 49  William Gear RA (British, 1915-1997) Kneeling nude signed and dated ‘Gear ‘37’ l.r., ink and watercolour 47 x 29cm; framed 71 x 53cm £800 - 1,200 Provenance: Rendall Wells; his sale, Bonhams, London, 28 June 2000, where acquired by the present owner.

William Gear, along with fellow Edinburgh students Rendall Wells, Joseph Forrester and Tom Pow, formed what they called The New Era Group in 1939 and held their first exhibition at the Gladstone Land Galleries. Rendall Wells came to hold a large collection of Gear’s early works, which were auctioned by Bonhams in 2000 and in a follow-up auction in 2001. We are grateful to David Gear for his kind assistance in cataloguing the present work.

TASTEMAKERS

LOT 52  Cecil Beaton (British, 1904-1980) Marianna van Rensselaer in a Charles James hat, 1930 silver gelatin print mounted on card, printed 1970s, signed ‘Cecil Beaton’ on mount, with photographer’s studio stamp verso 44.5 x 36cm; mount 55.5 x 43cm; unframed £1,500 - 2,000 Provenance: M illea Brothers Auction, Boonton, US, May 2018, lot 232, where acquired by the present owner.

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TASTEMAKERS

53 LOT 53  Stanley Spencer (British, 1891-1959) A pencil study for ‘Resurrection’ partially squared, verso further pencil studies of figures and grey washes with ‘Stanley Spencer Studio Sale’ stamp 14.5 x 51cm (irregular); unframed £700 - 1,000 Provenance: C hristie’s, London, Stanley Spencer Studio Sale, 5 November 1998, where acquired by the present owner. We are grateful to Carolyn Leder for her kind assistance in cataloguing the present work. LOT 54 Stanley Spencer (British, 1891-1959) A group of three drawings Christ Carrying the Cross; a Study of a Girl; and Study for The Crucifixion the Study of a Girl squared for transfer, each with ‘Stanley Spencer Studio Sale’ stamp verso, pencil 56 x 38cm and similar; unframed (3) £500 - 700 Provenance: C hristie’s, London, ‘Stanley Spencer Studio Sale’, 5 November 1998, where acquired by the present owner. We are grateful to Carolyn Leder for her kind assistance in cataloguing the present work.

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TASTEMAKERS

LOT 55  Stanley Spencer (British, 1891-1959) ‘Maid at the Gate’ pencil on canvas, squared for transfer 160.5 x 209cm; unframed £8,000 - 12,000 Please note this work is to be offered with no reserve. Provenance: Christie’s, London, ‘The Stanley Spencer Studio Sale’, 5 November 1998, lot 287, where acquired by the present owner. The present work relates to another unfinished oil from circa 1952 entitled ‘Maid at the Gate’, as well as a drawing of the same subject, both of which were also offered in the Stanley Spencer Studio Sale at Christie’s in 1998. The works were intended for Spencer’s never-realised ‘Church House’ series, which was to follow on from the Sandham Memorial Chapel, Burghclere, which focused on the theme of his military service in the First World War. The House itself was meant to celebrate unity and love, and his beloved hometown of Cookham. While it was never built, he produced a series of works which were eventually intended to occupy this space. The works surrounding the subject of the maid at the gate were part of an intended series of paintings on the theme of the Marriage at Cana. The depicted event in the present work takes place in Cookham, and Spencer produced a large body of material on this subject, including 16 additional large-scale drawings. Of the subject Spencer wrote: ‘In writing out a scheme celebrating the marriage at Cana, it is reasonable to have thought...of it as a child when in surroundings and directly bearing on this great event. How often I was to be filled with wonder as a child when in the kitchen I would hear the burble of a party going on in the dining room and look expectantly at the servant when she returned from taking something into the dining room in the hope of hearing what was happening.’ (Tate 733.10.8) We are grateful to Carolyn Leder for her kind assistance in cataloguing the present work.

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TASTEMAKERS

LOT 56 Paul Nash (British, 1889-1946) A group of five wood engravings ‘Thesiger Crowne, the Mason’; ‘Simon Rodd, the Fisherman’; ‘Rufus Clay, the Foreigner’; ‘Pony, the Footballer’; ‘Joe Pentifer and Son’ each signed and dated ‘Paul Nash/1921’ in pencil l.r., three numbered VI/9, two inscribed ‘proof’, illustrations for ‘Cotswold Characters’ by John Drinkwater, published by Yale University Press, 1921 each sheet 17.5 x 11cm; mounted as a group (5) £1,800 - 2,500 Provenance: With William Weston Gallery, London; Dominic Winter, Cirencester, 13 March 2024, lot 395, where acquired by the present owner. Literature: Alexander Postan, ‘The Complete Graphic Work of Paul Nash’, published by Martin Secker & Warburg, 1973, W14, W15, W16, W17, W18; Campbell Dodgson, ‘The Print Collector’s Quarterly’ (Volume 15), published by J M Dent & Sons, 1928, nos. 14, 15, 16, 17, 18.

TASTEMAKERS

LOT 57  Morris Kestelman RA (British, 1905-1998) Mural, triptych third panel signed ‘M. Kestelman’ l.r., oil on board each panel 183 x 122cm; two framed 186 x 125cm; one unframed (3) £6,000 - 8,000 Provenance: Sworders, Stansted Mountfitchet, ‘The Sally Hunter and Ian Posgate Collection’, 18 May 2021, lot 67, where acquired by the present owner.

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TASTEMAKERS

LOT 58  Dame Elisabeth Frink CH RA (British, 1930-1993) Horse signed and dated ‘Frink ’73’ l.r., pencil and watercolour 58.5 x 82.5cm; framed 63 x 87cm £4,000 - 6,000 Provenance: Stride & Son, Chichester, 24 May 2020, lot 1389, where acquired by the present owner.

TASTEMAKERS

LOT 59  Winifred Nicholson (British, 1893-1981) ‘Arab School at Chefchaouen, Morocco’, 1971 mixed media on paper 45.5 x 68cm; framed 59 x 81cm £3,000 - 5,000 Provenance: Acquired by the father of the previous owner at a charity auction for Claremont Fancourt School, Esher, circa 1971. Accompanied by an article on the painting written by Alma Roberts Giordon, published in The Christian Science Monitor.

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TASTEMAKERS

LOT 60  David Bomberg (British, 1890-1957) Fishing vessels on the shore charcoal on paper 46.5 x 61cm; framed 67 x 80cm £4,000 - 6,000 Provenance: The Mayor Gallery, Cork Street, London; property of the American financier Jonathan Lever.

TASTEMAKERS

LOT 61  Dame Elisabeth Frink CH RA (British, 1930-1993) Seated Nude, 1982 lithograph in colours, signed ‘Frink’ in pencil l.r. and inscribed ‘H/C’, a hors commerce aside from the numbered edition of 85, published by the Royal College of Art, London sheet 64.5 x 49.5cm; framed 81 x 62cm £700 - 1,000 Provenance: L yon & Turnbull, Edinburgh, 6 April 2024, lot 154, where acquired by the present owner.

LOT 62  Bryan Organ (British, b.1935) Cockerel, circa 1975 pencil, pen and ink and watercolour 82 x 56cm; framed 92.5 x 67cm (2, painting and letter of authenticity) £300 - 500 Provenance: T he Artist by whom gifted to a private collector. This lot is accompanied by a Letter of Authenticity signed by Richard Gault, the director of The Redfern Gallery.

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TASTEMAKERS

LOT 63  Lynn Chadwick RA (British, 1914-2003) Abstracted figure signed and dated ‘Chadwick 66’ l.r., ink and wash 60 x 46cm; framed 87.5 x 73cm £2,000 - 3,000

TASTEMAKERS

LOT 64  Geoffrey Clarke RA (British, 1924-2014) ‘Plane & 2 Slabs I’, 1964 aluminium, incised with monogram and numbered ‘64/4415’ 101cm wide, 52cm deep, 44cm high £6,000 - 8,000 Provenance: W ith Strand Gallery, Suffolk; a private collection; Bowman Sculpture, London; a private collection, from whom acquired by the present owner.

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JOE TILSON (1928-2023) One of the founding figures of British Pop Art, Joe Tilson created work that draws from the world of mass media, embracing motifs from advertising and often engaging in the relationship between words and symbols. The present work was painted during his period of living in a property off Kensington High Street, which he occupied between 1959 and 1972. He created a studio in the large terraced house, and it also became a creative hub for the artistic community. He and his wife, the artist Joslyn Morton, would host opening parties and salons for the who’s who of the contemporary art and literary worlds. From the mid-1960s, Tilson’s works became increasingly sleek and geometric. His earlier pieces had relied heavily on the carpentry techniques he had learned as a teenager, with many embracing a handmade feel and quality, but by the end of the 1960s, he began to embrace a sleeker uniformity which suggests the machine-made, creating pieces that function three-dimensionally as reliefs, with bold graphic patterns. 48

TASTEMAKERS

LOT 65  Joe Tilson RA (British, 1928-2023) ‘Conjunction 3, Byzantium’, 1965 signed and dated ‘Joe Tilson 1965’ and inscribed with title verso, oil on canvas on wood cut-outs mounted on board, in the artist’s original box frame 45 x 60cm; framed 60 x 75.5cm £6,000 - 8,000 Provenance: With Marlborough Fine Art, London, 1965; Mr and Mrs John O Tomb, by whom gifted to Smith College Museum of Art, Northampton, Massachusetts, 1976-2007; a private collection, Europe; acquired by the previous owner in May 2007; their sale, Bonhams, London, 25 February 2021, lot 22, where acquired by the present owner. Exhibited: Marlborough New London Gallery, London, ‘Joe Tilson’, February - March 1966, no. 33, illustrated; Smith College Museum of Art, Northampton, Massachusetts, long-term loan, 1976-2007. Literature: A C Quintavalle, ‘Tilson’, Pre-Art, Milan, 1977, ill. p. 204.

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TASTEMAKERS LOT 66  Patrick Hughes (British, b.1939) ‘House Bricks’ signed ‘PATRICK HUGHES’, inscribed with title and dated ‘1966’ verso, collage and oil on board 61 x 61cm; framed 62.5 x 62.5cm £1,000 - 1,500 LOT 67 Julio le Parc (Argentinian, 1928-2026) ‘Serie 15 No 9’, circa 1970-1971 screenprint in colours and collage, signed ‘le Parc’ in pencil l.r., inscribed with title and numbered 64/120, published by Galerie Denise René, Paris with their blind stamp sheet 26.5 x 20.5cm; unframed £500 - 700 Provenance: J ean-Yves Mock, from whom acquired by the present owner circa 2005. LOT 68  Patrick Caulfield RA (British, 1936-2005) ‘Deco Jug’ apparently signed and dated ‘Patrick Caulfield ‘99’ and inscribed with title verso, pen and ink heightened with white 29 x 20cm; framed 43 x 34cm £700 - 1,000 Produced for the UNICEF ‘Colour for Kosovo’ charitable children’s colouring-book project, and sold with a copy of the original letter and submission form.

68 Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 122

TASTEMAKERS

LOT 69  Derek Jarman (British, 1942-1994) Untitled, 1970 signed and dated ‘Derek Jarman 70’ on the base of the triangle, pencil and oil on board triangle 16.5cm high, 33cm long; framed 36 x 53cm £1,000 - 1,500 Provenance: The Jean-Yves Mock Collection; Bloomsbury Auctions, London, 20 June 2005, lot 67, where acquired by the present owner. Derek Jarman was a multidisciplinary artist whose practice encompassed painting, sculpture, filmmaking, writing, set design, gardening and activism. He studied painting at the Slade School of Fine Art, and in 1967 his work was included in the Tate Gallery’s ‘Young Contemporaries’ exhibition. He subsequently established a career as a set designer, including working on Sir Frederick Ashton’s 1968 ballet ‘Jazz Calendar’. During the 1970s, Jarman increasingly focused on filmmaking, developing a distinctive visual style through which he explored political, social and personal themes. He was also a prominent LGBTQIA+ activist and became an important public voice during the HIV and AIDS crisis. Throughout his practice, he addressed issues of sexuality, politics, identity and freedom of artistic expression. In the mid-to-late 1960s, Jarman began experimenting with the physical form of his paintings. Rather than adhering to the conventional rectangular canvas, he explored unconventional formats, including triangular compositions. These shapes challenged traditional expectations of pictorial space and altered how viewers perceived the relationship between the artwork and its surroundings. In some cases, Jarman placed these irregularly shaped paintings within conventional rectangular frames, creating a deliberate tension between the form of the artwork and the traditional framework through which it was presented.

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PETER PHILLIPS (1939-2025) Peter Phillips was an important figure in the development of British Pop Art. Born in Birmingham, he studied at the Royal College of Art in London from 1959 to 1962, where he was part of a group of artists that included David Hockney, Allen Jones and R B Kitaj. Phillips was particularly interested in the visual culture of everyday life, including advertising, cars, comics, packaging, machinery and commercial design. His paintings are often characterised by a clean, mechanical appearance, using sharp outlines, repeated images and strong contrasts. These elements create a sense of movement and rhythm within his compositions. During the 1960s, Phillips spent time in New York, where he encountered the developing American Pop

Art movement. Artists including Andy Warhol and Roy Lichtenstein influenced his work, although Phillips developed a distinctive style of his own. He combined recognisable popular imagery with an interest in structure, pattern and abstraction. By bringing together elements of fine art and commercial graphics, his work explored the ways in which familiar images can attract attention and influence the viewer. Phillips continued to develop these ideas throughout his career, working in painting, collage and mixed media. His work has received international recognition and is held in major public collections, including the Tate, London, the Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, and the National Gallery of Australia, Canberra.

TASTEMAKERS

LOT 70  Peter Phillips (British, 1939-2025) ‘Star Players’, 1962 charcoal 56.5 x 45cm; framed 80 x 69cm £6,000 - 8,000 Provenance: J P Cochrane, London, by 1972; Jane England, London, where acquired by the present owner in 2015. Exhibited: Westfälischer Kunstverein, Münster, ‘Peter Phillips’, November - December 1972, no. 66. Literature: Enrico Crispolti, ‘Peter Phillips: Works 1960-74’, Milan, 1977, n.p., no. 99, illustrated.

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THE COLLECTION OF DORIS LOCKHART SAATCHI (1937-2025) (LOTS 71-112) Born in Memphis, Tennessee, Lockhart studied art and art history at the Sorbonne and Smith College before working in advertising in New York and London. She met Charles Saatchi in 1965; together they built an influential collection of American Pop and Minimalist art and helped transform London’s contemporary art scene. Their collection eventually led to the Saatchi Gallery, but Lockhart’s own role as a tastemaker was often overshadowed by her former husband’s. In fact, her influence on the YBA generation was crucial. Artists Langlands & Bell recalled that she was ‘well ahead of her erstwhile husband in recognising the talent of many of those who were soon to be known as the YBAs’. She visited emerging galleries, often discovering artists independently of him, and supported Damien Hirst financially when he needed funds to create The Physical Impossibility of Death in the Mind of Someone Living, helping make one of the defining works of the YBA era possible. After their divorce, Lockhart continued to champion artists, particularly women and those whose work explored overlooked or difficult subjects. Her homes became exhibition spaces, and she curated shows featuring artists including Lisa Yuskavage and Louise Bourgeois. Later, she turned increasingly towards architecture, collecting drawings and models, contributing to Blueprint, serving on the Architectural Association Council, and advising on the Millennium Dome. Quietly influential, intellectually curious and fiercely individual, Lockhart was far more than a collector: she was a discerning tastemaker, an early supporter of important artists and a committed patron of the arts and architecture. Saatchi collection The Doris Lockhart Saatchi collection will be offered in our our autumn autumn with no reserve. Works were also included in Design sale, and further lots are are to to be be offered in our Open House auction. 54

JOHN LATHAM (1921-2006) John Latham was a pioneering British conceptual artist whose work spanned painting, sculpture, performance, film, installation, and writing. He challenged traditional ideas about art, science, space and time through his theory of ‘Event Structure’, which viewed reality as a sequence of events rather than fixed objects. His experimental approach transformed everyday actions into art. In 2003, he declared his studio, Flat Time House, a living sculpture based on his ideas about time. His work has been exhibited internationally at institutions including Tate Britain, the Venice Biennale, documenta and the Serpentine Galleries. Latham began a series of ‘One-Second Drawings’ in 1970, by taking black spray paint and applying it to whiteboard for a period of one second. In doing so Latham attempted to represent a concept he deemed a ‘least event’, or the event which is closest to a state of nothingness.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

LOT 71  John Latham (British, 1921-2006) ‘Noit (One-Second Drawing)’, 1971 dated ‘1971’ in pen with Noit Time/Operator stamp verso, spray paint on painted wood 30.5 x 31cm; unframed £3,000 - 5,000 Please note this work is to be offered with no reserve. Provenance: W ith artHester, London, where acquired by Doris Lockhart Saatchi, 30 September 2005 (purchase price £2,200).

LOT 72  John Latham (British, 1921-2006) ‘Noit (One-Second Drawing)’, 1971-72 with Noit Time/Operator stamp verso, spray paint on painted wood 30 x 17.5cm; unframed £2,000 - 3,000 Provenance: The Artist, by whom gifted to Charles Harrisson; with artHester, London, where acquired by Doris Lockhart Saatchi, 26 February 2008 (purchase price £5,000).

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

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LOT 73 Yukako Shibata (Japanese b.1972-) ‘Shade: Green Scape’ signed ‘Yukako Shibata’ on backboard with artist’s label, cut-paper relief with a green reflection 23 x 17cm; framed 26.5 x 20.5cm £200 - 300 Please note this work is to be offered with no reserve.

LOT 74 Fred Sandback (American, 1943-2003) Untitled, 1983 signed and dated ‘Sandback ‘83’ l.r., pencil and coloured pencil on paper 57 x 76cm; framed 65 x 84cm £2,000 - 3,000 Please note this work is to be offered with no reserve. Provenance: With Galerie Nathalie Obadia, Paris; with Margarete Roeder Gallery, New York; Christie’s, Paris, 8 December 2009, lot 17.

LOT 75  Tania Kovats (British, b.1966) ‘Pilgrim #1’, 1999 pencil; to be sold with an additional work by the same hand, ‘Breath, No. 12’, ink on graph paper, signed and dated ‘2000’ verso 50 x 65cm; framed 58 x 73cm; ‘Breath, No. 12’ 29 x 20cm; framed 51 x 40cm (2) £400 - 600 Please note this work is to be offered with no reserve. Provenance: W ith New Art Centre, Salisbury, where acquired by Doris Lockhart Saatchi, 7 January 2000 (purchase price £800).

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LOT 76  Michael Craig-Martin RA (Irish, b.1941) Untitled signed and dated ‘Michael Craig-Martin/’94’ and inscribed ‘For Doris’ verso, acrylic on aluminium 18.5 x 18.5cm; unframed £600 - 800 Please note this work is to be offered with no reserve. Provenance: Gifted by the Artist to Doris Lockhart Saatchi.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

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LOT 77  David Connearn (British, b.1952) ‘Holocene (Cosgraves Prime)’ black ink on paper 190 x 168cm; framed 199 x 175.5cm £700 - 1,000

LOT 78  Susan Collis (British, b.1956) ‘Substance Misuse’, 2006 ballpoint pen on paper 75.5 x 56.5cm; framed 87.5 x 68.5cm £300 - 500

Please note this work is to be offered with no reserve.

Provenance: Cheltenham & Gloucester College of Higher Education, Open Drawing Exhibition, where acquired by Doris Lockhart Saatchi, 17 October 2000 (purchase price £4,800).

Provenance: With ARTfutures, Bloomberg Space, London, 2007.

LOT 79 David Connearn (British, b.1952) ‘Drawing’, 1998 black ink on paper; together with a further embossed impression on paper 61 x 61cm; framed 67.5 x 67.5cm and 61 x 61cm; framed 66 x 66cm (2) £200 - 300 Please note this work is to be offered with no reserve.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

LOT 80  Gary Hume RA (British, b.1962) ‘March 34’, 2016 signed ‘hume’ l.r., charcoal on 90 gsm Ingres Celeste; to be sold with a fuzzy felt by the same hand, ‘Fuzzy Snowman’, MOMART Christmas Card, 2000, signed 26 x 18cm; framed 44.5 x 35.5cm and 27.5 x 19cm (2) £800 - 1,200 Please note this work is to be offered with no reserve. Provenance: With Sprüth Magers, Berlin, London, where acquired by Doris Lockhart Saatchi, 20 October 2016 (purchase price £9,600).

LOT 81  Gary Hume RA (British, b.1962) ‘Two Doors’, 1991 signed and dated ‘HUME 91’ l.r., pencil and coloured pencil on paper 56 x 76cm; framed 81 x 98.5cm £1,000 - 1,500 Please note this work is to be offered with no reserve. Provenance: With Karsten Schubert, London; Christie’s, London, 20 November 2012, lot 43 (sold for £2,200 hammer). Exhibited: Karsten Schubert, London, ‘Gary Hume Door Drawings 1991’, 17 October - 6 December 2002.

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GARY HUME’S ‘DOOR PAINTINGS’ One of the core group of artists who graduated from Goldsmiths’ College and who would become known as the YBAs, Gary Hume is best known for his figural and abstract depictions which often feature striking colour combinations on aluminium. The art world’s first introduction to his work was through Damien Hirst’s now legendary ‘Freeze’ exhibition in July 1988, in an empty London Port Authority building at Surrey Docks, and his inclusion in the 1990 ‘British Art Show’ at the South Bank. His early critical and commercial acclaim came in large part from his series of ‘Door Paintings’, which were inspired by an advertisement for BUPA health insurance featuring a hospital waiting room. Depicted using highgloss industrial house paint on a variety of surfaces, including canvas, aluminium and MDF, the works were modelled after the actual dimensions of double-swing doors at St Bartholomew’s Hospital, as Hume stated: ‘I went to St Bartholomew’s Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them...I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door.’

(Gary Hume, quoted in ‘Brilliant’, New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45). The details of the doors themselves, such as the kickplates and porthole windows, are only made visible through the delineation of brushstrokes and the build-up of the paint surface into a subtle relief. The use of flesh tones in many of the works and the twin staring orbs suggest an anthropomorphic quality, and the shiny freshness of the surface and the pleasing colour palette set the works in contrast to their sombre source material. To Hume the door as a concept held endless possibilities: ‘. ..they remain an empty sign, a door motif in a potentially endless series - simultaneously spacious and oppressive.’ (Gary Hume, quoted in Adrian Searle, ‘Shut That Door’, Frieze, 5 June 1993) In the end, the series encompassed approximately 50 works, and by the early 1990s, he had moved on towards a style centred on figurative, image-based subjects, reducing photographs or found images to simplified outlines and blocks of colour.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

LOT 82  Gary Hume RA (British, b.1962) ‘Magnolia Door Twenty One’, 1990 signed and dated ‘HUME 1990’ and inscribed with title verso, household gloss on canvas 162 x 254cm; unframed £12,000 - 18,000 Please note this work is to be offered with no reserve.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

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LOT 83  Frances Aviva Blane (British, b.1954) Untitled signed and dated ‘F. a. Blane 2005’ verso, mixed media on canvas 61 x 61cm; unframed £300 - 500 Please note this work is to be offered with no reserve.

LOT 84  Jane Harris (British, 1956-2022) ‘8.22’, Drawing no. 32 signed ‘JANE HARRIS’, inscribed with title and dated ‘2000’ on label verso, graphite 55 x 75cm; framed 62.5 x 82cm £300 - 500

LOT 85  Frances Aviva Blane (British, b.1954) ‘Landscape’ signed ‘F. a. Blane’ and inscribed with title verso, charcoal 36 x 36cm framed 48.5 x 48.5cm £250 - 350

Please note this work is to be offered with no reserve.

Provenance: Cheltenham & Gloucester College of Higher Education, Open Drawing Exhibition, where acquired by Doris Lockhart Saatchi, 17 October 2000 (purchase price £720).

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LOT 86  Gavin Turk (British, b.1967) ‘Self Portrait with Skull’ signed and dated ‘Gavin Turk ‘02’ l.r., acrylic on canvas and chinagraph pencil on Perspex, in Andy Warhol frame 46cm wide, 5cm deep, 54cm high overall £1,500 - 2,000 Please note this work is to be offered with no reserve. Provenance: With Paul Stopler, London; acquired from the above by the previous owner in 2003; Christie’s South Kensington, 25 March 2010, lot 4 (sold for £2,000 hammer). Gavin Turk studied at the Chelsea School of Art from 1986 to 1989 before continuing his studies at the Royal College of Art between 1989 and 1991. His postgraduate exhibition, ‘Cave’ (1991), marked a significant turning point in his career. The installation consisted of an otherwise empty, whitewashed studio containing a blue heritage-style plaque commemorating Turk’s presence as a sculptor. By applying a form of public commemoration to himself, Turk questioned how artistic identity, status and reputation are constructed. Although the Royal College of Art refused to award him his postgraduate degree, the controversy surrounding the exhibition attracted considerable attention, including that of collector Charles Saatchi, and helped establish Turk’s association with the Young British Artists (‘YBAs’). Since then, his practice has explored the ways in which art gains cultural and economic value. Working across sculpture, painting, photography and printmaking, Turk employs techniques such as painted bronze and waxwork, alongside the appropriation of art-historical imagery and the transformation of discarded materials into artworks.

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JAMES TURRELL: PROJECTION PIECES ‘We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like the power of light and space physically because then you can order it materially. Seeing is a very sensuous act – there is a sweet deliciousness to feeling yourself see something.’ (James Turrell, quoted in Michael Govan and Christine Y Kim, ‘James Turrell: A Retrospective’, (exh. cat.), Los Angeles County Museum of Art, Los Angeles, 2014, p. 13). James Turrell is an artist internationally renowned for his fascination with light and his exploration of how it shapes our perception of space. From an early age, he was captivated by light, recalling the glow emitted by the nightlight in his childhood bedroom and the shapes it created in the shadows above his bed. In 1965, he graduated from Pomona College with a degree in perceptual psychology, having also studied mathematics, geology and astronomy, before enrolling in the graduate programme at the University of California, Irvine. Turrell later recalled that, as an art history student, he found the light emitted by the slide projector more compelling than the artworks displayed on the screen. During this period, he began producing his earliest light sculptures, experimenting with burning gas to generate coloured flames. Turrell’s artistic breakthrough came in 1966, when he rented space in the Mendota Hotel in Ocean Park, California, and began transforming its interior into a series of controlled environments. Within these spaces, he sought to eliminate external optical stimuli and establish complete control over the conditions in which light was perceived. Walls were erected to black out windows; the ceilings were deadened; the surfaces and floors made smooth and painted a flat matte white. Over the following two years, Turrell continued to transform the space, removing visual distractions that might interfere with his process of ‘sculpting’ with light. Using highintensity projectors positioned to direct light into the architectural environment, he created works in which light itself became the principal artistic medium. In 66

Mendota Hotel, 1972, with windows sealed to the light

early pieces such as Afrum-Proto (1966), he employed an unmodified Leitz slide projector. He subsequently replaced its bulb with a more powerful quartz-halogen light source and collaborated with Leonardo Pintus of LP Associates, a lighting specialist who designed equipment for the film industry, to explore more versatile projection technologies. Turrell’s aim was to move beyond the materiality of traditional artistic media, such as canvas and marble, as well as the art-historical emphasis on subject matter, in order to explore light as a medium in its own right. His work sought to convey an experience that was both universal and intangible, challenging the assumption that an artwork must possess a tangible physical form. The earliest Projection Pieces were projected into architectural corners, where light appeared to acquire a sculptural presence, forming three-dimensional geometric volumes that seemed to float above the ground. Yet this impression of solidity was unstable, dependent on the viewer’s position and perception. Viewed from a distance, the projected forms appeared substantial and self-contained; as the viewer approached the corner, however, the illusion dissolved, revealing light as a non-object rather than a solid form. As Turrell explained: ‘...first images had a distinctive sculptural quality: the piece seemed to objectify and make physically present light as a tangible material. The space which these pieces occupied was definitely not the same as that which the room had without the image. The space generated was analogous to a painting in two dimensions alluding to three dimensions, but in this case three-dimensional space was being used illusionistically. That is, the forms engendered through this quality of illusion did not necessarily resolve into one clearly definable form that would exist in three dimensions.’ (James Turrell, quoted in ‘Projection Pieces 1966–69’, within David Anfam, ‘Projection Works 1966–1969’, Michael Hue-Williams Fine Art Ltd, London, 2004, p. 11). As the series continued, Turrell moved towards works that were projected on to a single wall surface. In works

such as Decker (White) (1967, lot 87), the works consist of simple geometric configurations, squares, triangles or rectangles, some with small geometric shapes removed from a corner. Each image is unique with boundaries that are clearly delineated, and again, as Turrell states, played with viewers’ perception of the physical space: ‘...the intensity of the images tended to dematerialize the wall so that it was perceived as a luminous rectangle...These pieces tended to modify the perception of the fixed position of the walls. In each piece the qualities of change in the physical limits of the gallery depended on your distance from the image and whether you looked at it straight on or from the side. All of these pieces existed at the limits or very slightly inside the limits of the physical space. They affected the viewer’s awareness of the space and tended to create a hypothetical or imaginary space within the gallery that could be dissolved on approaching the image. In all the ‘Projection Pieces’, it was important that the quality of illusion be both convincing and dissoluble.’ (James Turrell, quoted in Peter Noever (ed.), ‘James Turrell: the other horizon’, MAK, Vienna, 1998, p. 64). Turrell’s Projection Pieces demonstrate his conception of light as an active spatial force: one that does not simply illuminate a room but gives form to space itself, functioning as a medium of construction rather than mere illumination. By manipulating the relationship between projected light, architectural surfaces and the viewer’s position, Turrell challenged conventional distinctions between object and environment, materiality and immateriality, and illusion and physical reality. His first solo exhibition, James Turrell: Light Projections, curated by John Coplans at the Pasadena Art Museum in autumn 1967, marked an important moment in the recognition of this developing practice. Accompanied by an essay in Artforum, the exhibition helped establish Turrell as a significant figure in the emerging exploration of light, space and perception. 67

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LOT 87 James Turrell (American, b.1943) ‘Decker (White)’, 1967 light projection piece Dimensions of the installation are variable £80,000 - 120,000 Please note this work is to be offered with no reserve. Provenance: A nthony D’Offay Gallery, London, where acquired by Doris Lockhart Saatchi, 17 October 1991. Executed in 1967, this work is unique and is accompanied by a Certificate of Ownership. Please note this work is being sold from the catalogue, and will not be on view. It is available for viewing upon request. Exhibited: Pasadena Art Museum, California, ‘Light Projections’, 9 October - 9 November 1967; The Main and Hill Studio, Mendota Hotel, Santa Monica, ‘Light Projections’, 1968; Whitney Museum of American Art, New York, ‘James Turrell: Light and Space’, 22 October 1980 - 1 January 1981; Antony d’Offay, London, ‘James Turrell’, 4 September - 5 October 1991; Royal Academy, London, ‘American Art in the Twentieth Century. Painting and Sculpture 1913-1993’, 16 September - 12 December 1993; Contemporary Art Centre, Art Tower Mito, Ibaraki, ‘James Turrell’, 3 November 1995-28 January 1996; Institut Valencià d’Art Modern, Valencia, ‘James Turrell’, 14 December 2004-27 February 2005, cat. no. 117; Pallant House Gallery, Chichester, ‘Contemporary Eye: “Material Matters”’, 4 April - 26 July 2009. Literature: Museum of Contemporary Art, Los Angeles, ‘Occluded Front: James Turrell’, 1986, p. 92; Craig Adcock, ‘James Turrell: The Art of Light and Space’, University of California Press, Berkeley, 1990, p. 16, 19, ill. p. 17; Peter Noever (ed.), ‘James Turrell: the other horizon’, (exh. cat.), MAK, Vienna, 1998, ill. p. 65; Michael Govan and Christine Y Kim, ‘James Turrell: A Retrospective’, (exh. cat.), Los Angeles County Museum of Art, Los Angeles, 2014, ill. p. 63; Ferry Gunawan, Yandi Andri Yatmo, Paramita Atmodiwirjo, ‘Tracing the Evolution of Lighting in Architecture,’ Journal of Architecture & Environment, vol. 21, no. 2, October 2022, ill. p. 149. Between 1989-90, Turrell produced a series of aquatint prints using the intaglio process, taking his Projection Pieces, including ‘Decker’, as their subjects. This lot consists of light projection equipment, together with the artwork’s ‘Grey Book’, containing a Certificate of Ownership, supporting documents detailing installation instructions with schematic drawings, and the transfer of ownership form. Upon purchase, the transfer of ownership form must be completed and sent to the Artist’s Studio, in order for a new certificate of Ownership to be issued. The Studio may also require that any installation of the piece is approved before a new certificate is issued. A scan of the current certificate of ownership, which outlines the artist’s stipulations for installation, display and maintenance of the work, is available upon request. Please contact Bryn Sayles - brynsayles@sworder.co.uk for further details.

PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

71-112 LOT 88  Jan Kaplicky (Czech, 1937- 2009) and Amanda Levete (British, b.1955) Lord’s Cricket Ground Media Centre a lithographic print of an early concept sketch embellished with coloured crayon, dedicated ‘To Doris with love from Jan and Amanda’ l.l., dated 26-2-97’ l.r. 41 x 58cm; framed 42.5 x 60cm £100 - 150 Please note this work is to be offered with no reserve. The Lord’s Media Centre was designed by Jan Kaplicky and Amanda Levete of the architectural practice Future Systems. The media centre was completed in time for the Cricket World Cup in 1999 and won the prestigious RIBA Stirling Prize for architecture the same year. The print was gifted to Doris as a birthday present.

88 LOT 89  John Pawson (British, b.1949) ‘Sackler Crossing, Kew’ lithograph with hand-colouring, signed ‘John’ l.r., inscribed ‘For Doris’ Sackler Crossing Kew’ and dated ‘25 February 2007’ 14 x 28.5cm; framed 32 x 44cm £150 - 250 Please note this work is to be offered with no reserve. Designed by John Pawson, the Sackler Crossing at the Royal Botanic Gardens at Kew opened in 2006. John Pawson was the architect whom Doris Lockhart Saatchi commissioned to design her famous house at Hay’s Mews, Mayfair, London in 1987.

LOT 90 Cath Campbell (British, b.1972) A group of five collages, 2012 ‘Suite 105, Art Hotel Corona d’Oro, Bologna’; ‘Junior Suite, Grand Hotel Baglioni, Bologna’; ‘Superior Room, Melrose Arch Hotel, Johannesburg’; ‘The Hotel at Mandalay Bay, Las Vegas’; ‘Suite 501, Hotel Gabelshus, Oslo’ each 20.5 x 14.5cm; framed 33 x 27cm £250 - 350 Please note this work is to be offered with no reserve. Provenance: W ith Workplace Gallery, Newcastle, where acquired by Doris Lockhart Saatchi, 14 July 2019 (purchase price £6,000). Exhibited: The Old Post Office, Gateshead, ‘Ideal Mexico’, 11 February - 17 March 2012.

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92 LOT 91  Zaha Hadid (Iraqi-British, 1950-2016) ‘Galaxy Soho I- Beijing, China’ cardboard relief, designed in 2009 and manufactured in 2012, number 1/12, from the edition of 12 plus 2 artist proofs, framed in a Perspex box; together with a postcard signed and inscribed to Doris (Lockhart Saatchi) 42.5cm wide, 7.5cm deep, 26.5cm high overall (3, relief, postcard and cert. of authenticity) £800 - 1,200 Please note this work is to be offered with no reserve. This lot is accompanied by a Certificate of Authenticity issued by Zaha Hadid Design Limited.

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LOT 92  Zaha Hadid (Iraqi-British, 1950-2016) ‘Suprematism’ a three-dimensional cardboard cut-out pop-up, number 52 from the edition of 200 plus 20 artist proofs, with a signed certificate of authenticity, housed in an engraved black Perspex presentation box; together with an additional white Perspex presentation case, two further cut-outs on plastic card with printed designs, and a set of five architectural plans from the office of Zaha Hadid presentation box 29cm wide, 2.5cm deep, 32.5cm high (11) £600 - 800 Please note this work is to be offered with no reserve. The exhibition ‘Zaha Hadid + Suprematism’ was held at Galerie Gmurzynska, Zurich in 2010. Curated and designed by Hadid, the exhibition explored the work and influence of key figures within the Russian Constructivist avant-garde. 71

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LOT 93 Linda Karshan (American, b.1947) ‘II 16.04.03’ graphite on paper 76 x 56cm; framed 82.5 x 63cm £1,000 - 1,500 Please note this work is to be offered with no reserve. Provenance: With The Redfern Gallery, London, where acquired by Doris Lockhart Saatchi, 9 March 2015 (purchase price £2,800).

LOT 94 John Gaspar (American, b.1952) Untitled signed and dated ‘GASPAR ‘89’ verso, oil on canvas, tondo 167cm diameter; unframed £400 - 600 Please note this work is to be offered with no reserve. Provenance: With Loughelton Gallery, New York, where acquired by Doris Lockhart Saatchi 21 March 1990.

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LOT 95  Julian Lethbridge (British, b.1947) Untitled, 2007 signed ‘Julian Lethbridge’, inscribed, dated and numbered #397 verso, collage, oil and oil stick on linen 48.5 x 40.5cm; unframed £1,500 - 2,000 Please note this work is to be offered with no reserve. Provenance: With Paula Cooper Gallery, New York, where acquired by Doris Lockhart Saatchi (purchase price £9,000).

95 LOT 96  Jane Harris (British, 1956-2022) ‘200:2’ signed ‘JANE HARRIS’, inscribed with title and dated ‘2000’ on label verso, graphite 56 x 75cm; framed 62.5 x 82cm £300 - 500 Please note this work is to be offered with no reserve. Provenance: Cheltenham & Gloucester College of Higher Education, Open Drawing Exhibition, where acquired by Doris Lockhart Saatchi, 17 October 2000 (purchase price £720).

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‘The guys in the sculpture department at my art college had it right. They always seemed to be playing around and experimenting. It always struck me that the painters didn’t do that, that they stuck to using materials in a conventional way. I did all the things you’re not supposed to do - you aren’t meant to put oil paint and water paint together, so that’s immediately the first thing I did. Of course it was totally hopeless, but I felt that breaking these rules really opened something for me. As an artist I think that you should always question what you’re told.’ Ian Davenport, quoted in The Observer, Sunday 20 September 2009, p. 58.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

LOT 97  Ian Davenport (British, b.1966) ‘Black and White Painting’, 1989 oil on canvas 214 x 640cm; unframed £6,000 - 8,000 Please note this work is to be offered with no reserve. Provenance: W ith Waddington Galleries, London, where acquired by Doris Lockhart Saatchi, 18 December 1990 (purchase price £10,000).

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LOT 98 Erik Wysocan (American, b.1977) Untitled, 2013 99.9% black ultra-diffusive light-absorbing foil on acrylic panel 35 x 29cm; framed 38 x 32cm £300 - 500 Please note this work is to be offered with no reserve. Provenance: With Laurel Gitlen, New York, where acquired by Doris Lockhart Saatchi, 20 October 2013 (purchase price $2,700).

98 LOT 99 Erik Wysocan (American, b.1977) Untitled 99.99% black ultra-diffusive light-absorbing foil on acrylic panel 35 x 29cm; framed 38 x 32cm £300 - 500 Please note this work is to be offered with no reserve. Provenance: With Laurel Gitlen, New York, where acquired by Doris Lockhart Saatchi, 20 October 2013 (purchase price $2,700).

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100 LOT 100 Michael Scott (American, b.1958) Untitled (No. 7), 1990 enamel on aluminium 60 x 366cm; unframed £1,200 - 1,800 Please note this work is to be offered with no reserve. Provenance: With Tony Shafrazi Gallery, New York.

LOT 101  Celia Scott (British, b.1947) ‘Looking In, Looking Out’ signed and dated ‘Celia Scott 2015-18’ and inscribed with title verso, vinyl matt on birch plywood on an aluminium frame 195 x 120cm (2, painting and certificate) £200 - 300 Please note this work is to be offered with no reserve. To be sold with a certificate of authenticity issued by the Artist.

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71-112 LOT 102  John Carter RA (British, b.1942) ‘To the Edge’ signed ‘John Carter’, inscribed and dated ‘2006’ verso, acrylic with marble powder on plywood 66 x 52cm; unframed £1,000 - 1,500 Please note this work is to be offered with no reserve. Provenance: ARTfutures, Bloomberg Spaces, where acquired by Doris Lockhart Saatchi, 8 March 2007 (purchase price £3,000). LOT 103  Duval Timothy (British, b.1989) ‘Blue Rock’ signed ‘DUVAL TIMOTHY’, inscribed with title and dated ‘2011’ on stretcher, navy felt and acrylic; to be sold together with a print on cloth by the same hand, ‘Dukobanti’, signed and numbered 24/70 91cm wide, 5cm deep, 84cm high (irregular); print on cloth 13 x 13cm (2) £200 - 300 Please note this work is to be offered with no reserve. LOT 104  Toby Paterson RSA (British, b.1974) ‘Quist’, 2015 acrylic on aluminium, signed ‘Toby Paterson’, inscribed with title and dated ‘15’ to reverse 27cm wide, 23cm deep, 25cm high (irregular) (2, painting and certificate) £300 - 500 Please note this work is to be offered with no reserve. Provenance: The Modern Institute, Glasgow, where acquired by Doris Lockhart Saatchi, 7 October 2016 (purchase price £5,000).

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With a Certificate of Authenticity from The Modern Institute.

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PROPERTY FROM THE COLLECTION OF DORIS LOCKHART SAATCHI

LOT 105  David Paul Holland (British, contemporary) ‘Existence Itself’ triptych each panel signed ‘David Holland’, inscribed and dated ‘August 2004’ on the stretcher verso, acrylic on canvas each canvas 183 x 132cm; unframed (3) £1,000 - 1,500 Please note this work is to be offered with no reserve. Provenance: James Colman, London, where acquired by Doris Lockhart Saatchi (purchase price £12,500). Exhibited: James Colman, London, ‘Existence, New Paintings by David Holland’, 27 October - 4 December 2004. ‘To put the paint down in such a way, where instinct and chance, conveys the image immediately onto the nervous system and is not just an illustration, when in fact the paint and the image are the same thing. These paintings reinvent ways of remaking appearance, appearance and fact.’ (David Holland) David Holland studied painting at Central Saint Martins and Chelsea School of Art and Design, following earlier studies in screen printing and photography at the London College of Printing. Holland’s solo exhibitions include ‘Showcase’ at John Jones, London (2010), ‘Existence’ (2004) and ‘Imagine’ (2002) at James Colman Gallery, London, and ‘Supernature’ at Galerie Voss, Düsseldorf (2003). He has also participated in numerous group exhibitions in the UK and Europe and exhibited at major art fairs including Art Brussels, Artissima in Turin, Frankfurt Art Fair, and the London Contemporary Art Fair. His work is held in collections including University of the Arts London, Cohn & Wolfe, and private collections internationally. In 1994, he received the Cohn & Wolfe First Class Painting Award.

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106 LOT 106 Tim Rollins (American, 1955-2017) and K.O.S. ‘Ten Studies for Amerika XIII’, South Bronx, 1989 number ten, signed with initials, inscribed with title and dated ‘South Bronx ‘89’ to the lower edge, pencil and gold paint over a printed base each sheet 20 x 13cm; framed 45.5 x 38cm (10) £2,000 - 3,000 Please note this work is to be offered with no reserve. Provenance: Interim Art, London, where acquired by Doris Lockhart Saatchi, 5 November 1989 (purchase price $10,000). LOT 107  Marcus Coates (British, b.1968) ‘Ritual for Reconciliation: Squirrel, Treefrog (Hyla Squirella) USA’, 2013 pigment print on rice paper, number 2/3 49cm wide, 9.5cm deep, 62cm high overall, in a Perspex box frame £250 - 350 Please note this work is to be offered with no reserve. Provenance: With Kate MacGarry, London, where acquired by Doris Lockhart Saatchi, 23 October 2013 (purchase price £3,600).

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LOT 108 Nari Ward (American, b.1963) ‘Butterfly Flame’, 2019 coloured pencil and wire on butterfly net 123 x 22cm (irregular); framed 137 x 41cm £1,000 - 1,500 Please note this work is to be offered with no reserve. Provenance: Gifted by the Artist to Migrate Art; Phillips, London, 11 April 2019, lot 54 (sold for £5,000 hammer). Exhibited: Cork Street Galleries, London, ‘Multicolour: A Project by Migrate Art’, 20-31 March 2019. LOT 109 Kara Elizabeth Walker (American, b.1969) ‘Freedom, a Fable’ illustrated with laser-cut pop-up silhouettes designed by David Eisen, an edition of 4000 commissioned by the Peter Norton Family Foundation to celebrate the 1997 Christmas season, printed and manufactured in the United States of America 23.5 x 21cm £500 - 800 Please note this work is to be offered with no reserve.

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71-112 LOT 110  Louis Hellman (British, b.1936) A satirical cartoon of the AA150 Saatchi auction signed ‘Hellman’ c.r., and dated ‘27 May 1997’ l.r., pen and ink; together with an auction catalogue for the Architectural Association School of Architecture’s 150th anniversary fundraising campaign auction held at the Saatchi Gallery on 27 May 1997 21 x 29cm; framed 27 x 35.5cm (2, artwork and auction catalogue) £150 - 250 Please note this work is to be offered with no reserve.

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LOT 111  Sir Brian Clarke (British, 1953-2025) Male nude signed and dated ‘Brian Clarke 1977’ l.r., pencil; together with ‘Brian Clarke: Work’, seven volumes, published by Steidl, 2009, in the original slipcase, an invitation to the publication launch party, and two signed and inscribed greetings cards sent to Doris (Lockhart Saatchi) 38.5 x 48.5cm; framed 43 x 53cm (5) £100 - 150

LOT 112 Ros Asquith (British, 20th century) ‘Doris’ three cartoons, each signed ‘Ros Asquith’, pen and ink and watercolour, with pencil inscriptions to one 12.5 x 13.5cm; framed 20.5 x 20.5cm; and two similar, unframed (3) £100 - 150

Please note this work is to be offered with no reserve.

End of Collection

Please note this work is to be offered with no reserve.

TASTEMAKERS

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LOT 113  Colin Gorry (British, b.1952), a tall ewer, stoneware, decorated with a blue, white and grey mottled glaze, impressed maker’s mark 11cm wide, 18cm deep, 62cm high £300 - 500 Born in London in 1952, Colin Gorry is a self-taught ceramicist. He combines traditional pottery techniques with more visually contemporary ideas and sensibilities, stemming from his work with the late Colin Pearson. Their collaboration began in the early 1990s and explored unusual forms and experimental glazes. Gorry’s work is often characterised by minimalism, contrast and balance, incorporating naturalistic forms with architectural shapes and elements. He has exhibited internationally, including at the Victoria and Albert Museum in London, and continues to be an inspirational force in the world of contemporary ceramics.

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LOT 114  Colin Gorry (British, b.1952), a vessel, stoneware, decorated with a mottled grey and white pitted glaze 15cm diameter, 37cm high £200 - 300 LOT 115  Colin Gorry (British, b.1952), a ewer, stoneware, decorated with a blue, white and grey mottled glaze, signed ‘A10’ in pen to the underside 12cm wide, 13.5cm deep, 47.5cm high £300 - 500

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LOT 116  Glenda Cahillane (Irish, b.1956), two stem pots, raku-fired stoneware, of asymmetrical cylindrical form, each with impressed maker’s mark largest 23cm high (2) £150 - 250

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LOT 117  Glenda Cahillane (Irish, b.1956) a group of three stem pots, raku-fired stoneware, each of asymmetrical cylindrical form, one with impressed maker’s mark largest 40cm high (3) £300 - 500

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LOT 118 Bawa Ushafa (Nigerian, b.1930), a stoneware jar, of three-tiered form, decorated with a blue mottled glaze, with impressed maker’s marks 21cm diameter, 36cm high £200 - 300 LOT 119 Yasuo Terada (Japanese, b.1948), a lidded jar, stoneware with a washed grey decoration, impressed maker’s mark 22cm diameter, 19cm high £400 - 600 LOT 120  Linda Gunn-Russell (British, b.1953), a jug with a beak spout, 1988, earthenware finished with a blue surface, signed and dated ‘1988’ 17cm wide, 9cm deep, 52cm high £500 - 700 Provenance: Woolley & Wallis, 2019, lot 453.

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LOT 121  Edmund de Waal (British, b.1964), a large porcelain footed bowl, circa 1990, glazed in a pale celadon glaze, the rim with a dripped green copper oxide design, impressed ‘E’ to the base 35cm diameter, 12cm high £800 - 1,200 Provenance: C atherine Southon, July 2023, lot 315. English artist and potter Edmund de Waal has ‘always loved the idea of the mutability of things...Nothing is forever... There’s an inherent instability about how objects work in space’. Born in Nottingham in 1964, de Waal trained under the prestigious ceramicist Geoffrey Whiting between 1981 and 1983. His pieces act as vessels for the human experience and our world history by blending Japanese and Chinese ceramic traditions with English and medieval techniques and sensibilities. After studying in Japan at the Mejiro Ceramics Studio in Tokyo, he returned to London in 1993 and began experimenting with porcelain rather than his previous use of stoneware, creating objects and forms such as teapots, bottles and jugs. Groupings or ‘cargoes’ of irregular porcelain receptacles became key to his work, changing in scale over the years. The present porcelain bowl is a classic example of how Edmund de Waal fuses all these influences, ideas and traditions together into one seamless object, appearing as if it has existed for a very long time.

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TASTEMAKERS

Anna Ray (b. 1975)

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TASTEMAKERS

LOT 122  Anna Ray (British, b.1975), ‘Knot’, executed in 2007, machine- and hand-stitched cotton, with polyester wadding, comprising 1,000 elements size variable, pictured size 350cm wide, 50cm deep, 160cm high £3,000 - 5,000 Provenance: T he Artist, from whom acquired by the present owner in 2014. Exhibited: The Frances Bardsley School for Girls, Romford, Artist Residency, 2007; Edinburgh International Arts Festival, Patriothall Gallery, Edinburgh, ‘This is Now: From Drawing to Contexture’, 2009; Un Giorno di Felicità, Como, Italy, ‘Miniartextil 10th Anniversary’, 2010; City Art Centre, Edinburgh, ‘Reflection: Contemporary Visual Arts and Crafts in Edinburgh’, 2011; Saatchi Gallery, London, ‘Collect, Project Space’, 2012. ‘Knot (untied)’ was used as the poster for the seminal exhibition ‘Entangled: Threads and Making’ at Turner Contemporary in 2017. A second work in the series ‘Margate Knot’ was created for the exhibition. This piece is inspired by the colour-coding of underwires in bras and the children’s game of pick-up-sticks. ‘Knot’ is made up of a thousand padded, fabric elements. It can be installed in a repeat pattern, or the units can be randomly tied together. Image right courtesy of Anna Pettigrew. Image previous spread courtesy of Anna Ray.

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TASTEMAKERS

LOT 123  John Allen (British, b.1934), ‘Landscape’, needle-punch textile, with a grey felt mount on board 21 x 17cm; 35.5 x 33cm overall £800 - 1,200 Provenance: Acquired by the aunt of the present owner, and thence by descent.

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LOT 124  John Allen (British, b.1934), ‘Mule Train’, 2008, needle-punch textile, with an orange felt mount on board, signed, dated and titled 18 x 21cm; 32 x 36.5cm overall £800 - 1,200 Provenance: Acquired by the aunt of the present owner, and thence by descent.

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LOT 125  Deana Moore (British, b.1956), a ‘Tripod’ vessel, 2022, white and yellow glazed ceramic, impressed maker’s seal 16cm wide, 16cm deep, 14cm high £200 - 300

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LOT 126  Stephen Cox (British, b.1946), a marble sculpture, 1984, marble, signed and dated 18.5cm wide, 28.5cm deep, 3.5cm high £1,000 - 2,000

LOT 127  Deana Moore (British, b.1956), a ‘Tripod’ vessel, 2022, red glazed ceramic, impressed maker’s seal 15cm wide, 15cm deep, 18cm high £200 - 300

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LOT 128 Cindy Sherman (American, b.1954) for Artes Magnus, a dinner service, 1990s, silk-screened and hand-painted ceramic, from an edition of 75, comprising two presentation plates, two dinner plates, two starter plates and two dessert plates, stamped manufacturer’s marks and numbered 51, in original box largest 26.5cm diameter; smallest 19.7cm diameter (9, 8 and box) £600 - 800 Provenance: G ifted to the present vendor by the founder of Artes Magnus. LOT 129  Jean Cocteau (French, 1889-1963), a ‘Triple Level Server’, circa 1950, painted melamine and enamelled metal, signed ‘Jean Cocteau’ 10cm wide, 19.5cm deep, 28cm high £600 - 800 Provenance: S worders, Stansted Mountfitchet, 25 October 2016, lot 394, where acquired by the present owner.

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LOT 130  Tracey Emin RA (British, b.1963) ‘Talking to the Chair’ monoprint, signed and dated ‘Tracey Emin 2006’ in pencil l.r., inscribed with title l.l. 20 x 25cm; framed 28.5 x 33.5cm £1,500 - 2,500

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LOT 131  Tracey Emin RA (British, b.1963) ‘But Yea’ polymer-gravure etching, signed and dated ‘Tracey Emin ‘08’ in pencil l.r., inscribed with title, numbered 190/200 plate 29.5 x 20.5cm; framed 52.5 x 42.5cm £1,000 - 1,500 Provenance: National Gallery of Scotland, where acquired by a private collector in 2008. Emin would later use this work as the inspiration for a neon work of the same title in 2010.

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TASTEMAKERS

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LOT 132  Hubert Dalwood (British, 1924-1976) Untitled, circa 1960 aluminium on slate base 37cm high; 40cm high overall including base £400 - 600 Provenance: M allams, Oxford, ‘Modern Art & Design’, 8 December 2021, lot 278 (sold as ‘Attributed to Hubert Dalwood’); a private collection, from whom acquired by the present owner. LOT 133 Sir Eduardo Paolozzi RA (British, 1924-2005) ‘Newton after Blake’; Rat with twine whiskers two plaster casts, the first signed and inscribed ‘EDUARDO PAOLOZZI/1995/ BRITISH LIBRARY/NEWTON AFTER BLAKE’ in pencil verso, in a wooden box; the latter partially signed and dated ‘1997’ in pencil on base 21cm wide, 1cm deep, 15cm high and 9.5cm wide, 5cm deep, 4cm high (2) £800 - 1,200 Provenance: G ift of the Artist; a private collection, from whom acquired by the present owner. LOT 134  Peter Ward (British, 1932-2003) Untitled bronze, signed and dated ‘Peter Ward/1996’, also signed and dated on the slate base 9cm wide, 5cm deep, 19cm high; 20.5cm high overall including base £500 - 700 Provenance: M ellors & Kirk Fine Art Auction, Nottingham, 16 September 2020, lot 436, where acquired by the present owner.

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TASTEMAKERS

LOT 135  Austin Wright (British, 1911-1997) ‘Five Seedheads’ aluminium on a wooden base, conceived in 1986 50cm wide, 11cm deep, 63cm high overall including base £4,000 - 6,000 Provenance: W ith Hart Gallery, Islington; Bonhams, London, 17 July 2024, lot 177; a private collection, from whom acquired by the present owner. Literature: J Hamilton, ‘The Sculpture of Austin Wright’, The Henry Moore Foundation, in association with Lund Humphries, Much Hadham, 1994, pp. 72 and 116. The present lot is one of several variations of Austin Wright’s ‘Seedheads’. The artist frequently reused and recast elements from existing sculptures to produce different versions of his works. Although different from no. S340 in the catalogue raisonné, this work represents a further development of the same theme.

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TASTEMAKERS

LOT 136  Jonathan Middlemiss (British, b.1949), a ‘Boat Vessel’ vase, cut and reformed thrown ceramic with sanded surface, with optical geometric decoration, in shades of grey, green, buff and sand, impressed maker’s seal 36cm wide, 12cm deep, 27cm high £400 - 600 Provenance: Jonathan Middlemiss ‘Archive and Land Art 1972-2001’.

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LOT 137  Jonathan Middlemiss (British, b.1949), a ‘Boat Vessel’ vase, cut and reformed thrown ceramic with sanded surface, with optical geometric decoration, in shades of grey, buff and sand, impressed maker’s seal 33cm wide, 20cm deep, 18cm high £300 - 500 Provenance: Jonathan Middlemiss ‘Archive and Land Art 1972-2001’.

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LOT 138  Jonathan Middlemiss (British, b.1949), a ‘Boat Vessel’ vase, cut and reformed thrown ceramic with sanded surface, with optical geometric decoration, in shades of grey, buff and sand, impressed maker’s seal 31cm wide, 17cm deep, 30cm high £400 - 600 Provenance: Jonathan Middlemiss ‘Archive and Land Art 1972-2001’.

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TASTEMAKERS

LOT 139 Keith Haring (American, 1958-1990) Untitled (Baby Pin), 1989 18-carat gold brooch with stamped signature, numbered 131/200, also signed, dated and numbered on the accompanying card, contained in the original box, published by Pace Editions, New York, in collaboration with the Keith Haring Foundation 7cm wide, 5cm high £5,000 - 7,000 Provenance: P ace Prints, New York, where acquired by the present owner.

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TASTEMAKERS LOT 140  David Hockney OM CH RA (British, 1937-2026) ‘No. 118, 16th March 2020’, from ‘The Arrival of Spring, Normandy, 2020’ offset lithograph in colours, from ‘David Hockney. 220 for 2020’, number 659 from an edition of 2020 plus 80 artists proofs, published by Taschen, 2021, sold with a copy of the book certificate affixed to the reverse of the frame sheet 26.5 x 35.5cm; framed 37 x 46cm £300 - 500

140 LOT 141  David Hockney OM CH RA (British, 1937-2026) ‘No. 2., 17th April 2020’, from ‘The Arrival of Spring, Normandy, 2020’ offset lithograph in colours, from ‘David Hockney. 220 for 2020’, number 659 from an edition of 2020 plus 80 artists proofs, published by Taschen, 2021, sold with a copy of the book certificate affixed to the reverse of the frame sheet 26.5 x 38.5cm; framed 37 x 46cm £300 - 500

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TASTEMAKERS LOT 142 David Hockney OM CH RA (British, 1937-2026) ‘Hockney’s Alphabet’ first edition, from the special edition of unknown size, aside from the numbered deluxe edition of 250, containing 26 offset lithographs in colours of drawings by Hockney, one for each letter of the alphabet, signed on the inside title page by the artist and also by the editor Stephen Spender, printed on Exhibition Fine Art Cartridge paper, bound as issued in yellow buckram with gilt title on the spine, contained in the original grey slip case, published by Faber & Faber, London, for the Aids Crisis Trust, 1991 slipcase 25cm wide, 2.5cm deep, 34cm high £700 - 900 Provenance: A private collection, London.

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LOT 143 David Hockney OM CH RA (British, 1937-2026) ‘Olympische Spiele München 1972’ offset lithographic poster in colours from an open edition sheet 99 x 63cm; unframed £300 - 500

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DAVID HOCKNEY AND BRIAN BAGGOTT The present work was previously in the collection of the late Brian Baggott. An airline worker, Baggott was a great admirer of Hockney’s work and they became friends in the late 1960s, after Brian reached out to Hockney saying he loved his work, but at that stage could not afford any, so requested that Hockney sign one of his posters. Baggott would go on to form a large collection of Hockney posters and eventually originals, and was the co-author (along with Hockney) of ‘Off the Wall: A Collection of David Hockney’s Posters 1987-1994’. He would often visit Hockney to let him know about the various posters he had found, and on occasion alert him to finds that had not in fact been authorised by the studio.

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‘Posters were being produced without the artist’s knowledge and in breach of copyright. I used to pop into David’s office and tell them about posters I had acquired and in return they would give me some others.’ (Brian Baggott, quoted in The Independent, 26 March 1999) Brian sat for Hockney many times over the years, and Hockney was in attendance at Brian’s funeral in 2002. He offered a landmark sale of his Hockney poster collection at Christie’s in 1999, and further works from his collection, including this piece, were offered for sale at Bloomsbury Auctions in 2006.

TASTEMAKERS

LOT 144  David Hockney OM CH RA (British, 1937-2026) Untitled abstract pen and ink and red felt-tip pen 10 x 21.5cm; framed 32 x 42.5cm £12,000 - 18,000 Provenance: The collection of Brian Baggott; Bloomsbury Auctions, London, ‘Printed Books’ including the property of the late Brian Baggott, 12 January 2006, lot 2, where acquired by the present owner.

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TASTEMAKERS

LOT 145  Richard Long (British, b.1945) ‘Muddy Water Marks’, 1985 a set of single-colour offset lithographs on five folded newsprint sheets, published as part of the 9th issue of MW Magazine by MW Press, Noordwijk, Holland each sheet 41.5 x 58cm; unframed £300 - 500 Provenance: Acquired by the family of the present owner, and thence by descent to a private collection, UK.

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LOT 146  Richard Long (British, b.1945) Rock drawing, 1998 lithograph, signed and dated ‘Richard Long ‘98’ l.c., with artist’s stamp sheet 42 x 34cm; unframed £600 - 800 Provenance: Acquired by the family of the present owner, and thence by descent to a private collection, UK.

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TASTEMAKERS

147 LOT 147 Christopher Williams (American, b.1956) ‘As Yet Untitled (Splatter Gard)’, 2006 gelatin silver print, signed ‘C. Williams’ and numbered 54/100 verso, from the edition of 100 + 20 APs published by Texte zur Kunst, Berlin 17.5 x 22.5cm; framed 36 x 41cm £400 - 600 Provenance: Acquired from the publisher by the present owner.

LOT 148 Jennifer Bolande (American, b.1957) ‘Marshall Contact Sheet’, 1995 dye-sublimation print, number 3 from an edition of 6 visible 23.5 x 16.5cm; framed 38.5 x 31cm £300 - 500 Provenance: W ith Alexander and Bonin, New York, where acquired by the present owner, circa 1998-9.

148 LOT 149 Cameron Jamie (American, b.1969) Untitled, 2002 black and white photograph from the ‘Michigan Spook House’ series, apparently signed, dated and numbered 1/3 verso 20 x 29.5cm; framed 32 x 42cm £250 - 350 Provenance: With Christine Konig Gallery, Vienna; acquired by the present owner circa 2002-5.

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TASTEMAKERS LOT 150  Cecily Brown (British, b.1969) ‘Black Painting I’ four-colour digital print, signed ‘Cecily Brown’, dated ‘2020’ and numbered 32/50 verso; accompanied by a copy of ‘Cecily Brown’ by Courtney J Martin, Jason Rosenfeld and Francine Porse, signed by the artist and numbered 32/50, from the Phaidon Contemporary Artists Series, published by Phaidon/Artspace, 2020, in the publisher’s original presentation box print sheet 28 x 24cm; unframed (2) £400 - 600 Provenance: Phaidon Press, where acquired by the present owner in 2020.

150 LOT 151  Rose Wylie RA (British, b.1934) ‘I am the Bleeding Wound, you are the Bandage’, 2015 pencil, gouache and collage, with a handwritten letter from the artist describing the work as a ‘Re-do of a valentine card I sent a long time ago’ complete with hanging instructions, and an envelope addressed to Alli Sharma, Transition Gallery card 10 x 14cm; framed 35 x 43cm (3) £300 - 500 Provenance: With Transition Gallery, London, where acquired by the present owner in 2014.

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TASTEMAKERS

LOT 152  Michael Landy RA (British, b.1963) ‘H.2.N. Y Tinguely’s Contraption, Nation’ signed ‘Michael Landy’, inscribed with title and dated ‘2006’ verso, oilstick on paper 101 x 66.5cm; framed 110 x 76cm £2,000 - 3,000 Provenance: Alexander and Bonin, New York; with Thomas Dane Gallery, London, 2012, where acquired by the present owner. Exhibited: Alexander and Bonin, New York, ‘Michael Landy H2NY’, 20 February - 31 March 2007, in association with Thomas Dane Gallery, London, illustrated b/w p15.

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Michael Landy had originally encountered Swiss artist Jean Tinguely’s work as an art student in 1982, when he had attended his retrospective at the Tate Gallery. The present work is one of a series of drawings and paintings by Landy on the subject of Tinguely’s self-destructing machine - ‘Homage to New York’. Tinguely’s self-destructing machine was constructed in March 1960 in the garden of the Museum of Modern Art. Upon its three-week completion, the 27-minute auto-destructive performance resulted in the work bursting into flames; however, it did not self-destruct fully, and the fire brigade and museum staff were forced to intervene. All that remained of the project were a few fragments and photographic records, from which Landy based his series. Landy was in part drawn to this self-destructive kinetic art following his own project ‘Break Down’, in 2001, where he destroyed all 7,227 of his worldly possessions in a former department store.

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CECIL BEATON AND FRANCIS BACON Francis Bacon had close connections with several wellknown photographers, including Henri Cartier-Bresson, John Deakin and Cecil Beaton. Bacon and Beaton were introduced through the artist Graham Sutherland and quickly developed a strong friendship. They often spent time together drinking in Soho, particularly at the French House. By this stage, Bacon was already an internationally recognised artist and had begun his long relationship with the Marlborough Gallery. Beaton, famous for his work with magazines such as Vogue and Vanity Fair, as well as his portraits of members of the Royal Family and other famous figures, was fascinated by Bacon’s personality and artistic character. As Martin Harrison states:

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‘The social milieu of Bacon and Cecil Beaton coincided at various points in the 1950s. Hence, Beaton photographed Bacon as early as 1951, when he was a guest at Reddish House, Beaton’s elegant country home in Wiltshire. In these photographs, Bacon is smartly dressed, while in the series Beaton made in 1960, in the small room that served as Bacon’s studio in Overstrand Mansions, Battersea, although Bacon is posing for the camera rather than working, he is more casually attired. Shortly afterwards, Bacon reciprocated by painting Beaton’s portrait in the same studio. Beaton, unrealistically expecting to be flattered, was horrified at the way he had been depicted, and conveyed his disappointment to Bacon, whereupon Bacon gleefully destroyed the painting - to Beaton’s eventual regret.’ (Martin Harrison, in ‘Francis Bacon, Study for a Portrait’, 2019, p. 8).

TASTEMAKERS

LOT 153  Cecil Beaton (British, 1904-1980) Francis Bacon in his Battersea studio, 1960 gelatin silver print with photographer’s stamp verso 21 x 13.5cm; framed 52 x 42.5cm £4,000 - 6,000

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Provenance: V alerie Beston, London; a private collection; acquired from the above by a private collection, Paris; Sotheby’s, Paris, 24 October 2022, lot 6, where acquired by the present owner. Literature: Majid Boustany, ‘Francis Bacon MB Art Foundation’, Monaco, 2017, p. 18, illustrated in colour.

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DAMIEN HIRST ( b .1965) The early part of Damien Hirst’s career was loaded with subversion and intrigue. In the 1990s, Hirst and his fellow Young British Artists sought to shake the establishment to its very core and blur the lines of what could and couldn’t be considered art. In 1994, Hirst wrote and directed a 60-second commercial titled ‘100% Weird’ for the cable television network TNT UK. The advert followed a man and his pet canary taking a walk to the butchers, alongside a plethora of surreal and strange imagery such as a group of eyeless men playing cards whilst a skinned, dead cow fell to the floor. Another scene portrayed a man on a highrise chair defecating a kidney bean, and a businessman

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sporting a pair of earrings, played by none other than the godfather of Punk himself, Malcolm McLaren, who also composed the music for the advert. The initial feedback from TNT at the time was very positive and they had planned to show the footage in cinemas as well as brief clips on television; however, it was eventually cut from public view on the grounds of the imagery being deemed inappropriate. The high-rise chair featured in this advert was constructed by London-based sculptor Mike Smith and features a bold and austere, brutalist welded steel frame with elongated legs and a commode seat which feels as if it could only inhabit the world of ‘100% Weird’.

TASTEMAKERS

LOT 154  Damien Hirst (British, b.1965) for 100% Weird, a ‘Commode’ chair, 1994, constructed by Mike Smith, a welded steel chair with bedpan seat, featured in Damien Hirst’s short film ‘100% Weird’ 48cm wide, 55cm deep, 191cm high £10,000 - 15,000

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TASTEMAKERS

LOT 155  Katie Pratt (British, b.1969) ‘Cetus’, 2001 oil on paper 25 x 35.5cm; framed 37 x 47.5cm £300 - 500 Provenance: The Artist; with Houldsworth Fine Art, London; acquired from the above by the present owner, 20 December 2002. Exhibited: Houldsworth Fine Art, London, ‘”Pell Mell” Katie Pratt’, 28 November 2002-11 January 2003, illustrated in colour in catalogue, page 2. Katie Pratt is an abstract painter based in London and a winner of the 2001 Jerwood Painting Prize. Her paintings often start from loose, unpredictable marks, which she gradually develops into more organised patterns and structures. She works with a mix of chance and planning, allowing each painting to develop its own rules as it progresses. The layered and sometimes conflicting forms reflect the complexity of how people and societies are organised.

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TASTEMAKERS LOT 156 Jonas Wood (American, b.1977) ‘Untitled (Hillside)’, 2018 cashmere jacquard knit weave, the present work is number 23 from the edition of 75 plus 5 Artist Proofs 135 x 170cm (2, textile and certificate) £800 - 1,200 Provenance: Studio Voltaire, London, 2018. This work includes a Certificate of Authenticity from Studio Voltaire.

156 LOT 157  Thurston Hopkins (British, 1913-2014) ‘Make-up Mirror’, 8 August 1953 gelatin silver print, printed later, signed ‘Thurston Hopkins’ in pen, number 16 from a limited edition of 30 published by Getty Images Gallery image 46.5 x 46.5cm; framed 88 x 86cm £1,000 - 1,500

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RON ARAD ( b .1951) Ron Arad’s work is defined by his willingness to treat materials as a starting point for design, rather than as a means of construction. Across his furniture, interiors, sculptures and buildings, Arad frequently questions the conventional distinction between practical object and work of art, creating pieces in which utility, experimentation and visual impact are closely intertwined. Steel, aluminium and polyamide have featured prominently throughout his career, transformed into objects with pronounced curves and sculptural qualities, through processes of mechanical manipulation. Born in Tel Aviv in 1951, Arad studied at the Jerusalem Academy of Art. He later moved to London to continue his education at the Architectural Association, where his interest in architecture and experimental forms began to take shape. In 1981, he and Caroline Thorman founded

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One Off in London. The studio provided a setting in which he could explore furniture and objects as sculptural forms, often working directly with industrial materials and unconventional manufacturing techniques. He subsequently established Ron Arad Associates in 1989, bringing his architectural and design activities together, and later created a production studio in Como, Italy. In 2008, Ron Arad Architects was launched alongside Ron Arad Associates, with the newer practice concentrating principally on architectural commissions. The present work was inspired by the controversy surrounding Michelangelo’s ‘Taddei Tondo’, in the collection of the Royal Academy. In 2020, the institution faced major backlash when there was a suggestion that the piece might be sold to save jobs during the pandemic, which they denied via a public statement.

TASTEMAKERS

LOT 158  Ron Arad (British-Israeli, b.1951) ‘Tondo’, 2020 marble, incised with the artist’s signature and numbered ‘R. Arad 3/12’ verso 29cm diameter (irregular) £8,000 - 12,000 Provenance: A private collection, London.

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TASTEMAKERS

LOT 159 Osamu Kojima (Japanese, b.1973), ‘Nostalgia 10-TW-04’, 2010, a large stoneware and fused glass sculpture 94cm wide, 83cm deep, 73cm high £2,000 - 4,000 Memory and nostalgia are at the core of Japanese sculptor Osamu Kojima’s work. Through clay and glass, he blurs the boundaries between the natural and man-made, creating abstract forms that contemplate the ephemeral and transient characteristics of our world. He states, ‘All things created by humanity will eventually collapse. The prosperity of humanity cannot last forever, there is always a crack or distortion somewhere.’ However, bleak as this may seem, beauty always springs eternal from the ugly reality of this notion. Each piece by Kojima feels like a very personal musing on these heavy subjects and perhaps, in some small way, they allow us to cope with themes of the passing of time, life and death, the changes in nature and the uncertainty of the future. Kojima has worked with clay for almost 20 years - a practice that has informed his process, establishing a deep-rooted connection, respect and understanding of the materials he uses. The opposition of the materials he employs creates an interesting tension in his work, simultaneously appearing tactile, heavy and solid, yet also delicate, soft and light at the same time. Out of dissonance, a harmony is created. Perhaps this could even serve as a metaphor or paradox for the idea that humanity is mostly at odds with nature; we come from it, yet we struggle to care for it. ‘Nostalgia 10-TW-04’ amalgamates all of these ideas and techniques into a single, masterful piece.

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TASTEMAKERS

LOT 160  Mauro Bonaventura (Italian, b.1965) Sphere, 2019 bronze, painted red 65cm diameter (2, sculpture and certificate of authenticity) £2,000 - 4,000 Provenance: The Artist, from whom acquired by a private collection, Athens; Bellmans, Billingshurst, 21 February 2023, lot 625, where acquired by the present owner. This lot is accompanied by a copy of a Certificate of Authenticity signed by the artist. Born in Venice, Mauro Bonaventura graduated with a diploma in electronics at the age of 18. While waiting for his first job, he began an apprenticeship in traditional Venetian glassblowing and quickly developed a passion for the medium. In 1992, after observing a glass maestro at work, Mauro discovered lampworking. Fascinated by the precision and creative possibilities of the technique, he eventually left the glass factory and established his own studio. While producing traditional Venetian glass pieces to support himself, Mauro pursued his interest in sculpture by studying drawing, painting, anatomy and sculpture at an art-focused liceo in Venice, graduating in 2003. Since then, he has developed a distinctive style, creating highly detailed, lifelike glass figures, often enclosed within cages or spheres. He has also expanded his practice into other materials, including bronze. Mauro has participated in numerous exhibitions, particularly in the United States. In 2017, one of his significant works was exhibited at the GAA Foundation in connection with the Biennale Arte di Venezia. The following year, his work was also presented at the 16th International Architecture Exhibition. His works are held in the collections of major galleries and museums around the world, including the Corning Museum of Glass, the Carnegie Museum of Art, the Glass Museum Alter Hof Herding and the Hida Takayama Museum of Art.

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JANN HAWORTH ( b .1942) Jann Haworth is perhaps most widely known as the co-designer, along with her then husband Peter Blake, of the iconic album cover for The Beatles’ ‘Sgt. Pepper’s Lonely Hearts Club Band’, which was released in June 1967 and which won the Grammy Award for Best Album Cover (Graphic Arts). The project was a collaborative one, with Haworth contributing to the overall design, and suggesting the band’s name be displayed over the flower bed. Always fascinated by the innovative use of mediums as a response to popular culture, she was also responsible for hand-tinting the life-size colour photos that were assembled, as well as adding the soft sculptures of Shirley Temple and the elderly woman. While this project has come to occupy a huge space in the wider cultural zeitgeist, it is a snapshot from a career that is long and accomplished. As Haworth states: ‘I have had so much more joy, fulfilment and well exercised mental muscles with [other projects] than ever I had with the original Sgt P. They strike deeper, mean more and give more – although, to a much smaller audience – than the original “Peppered” experience. I think that there is more heart in them.’ (Jann Haworth, quoted in the ACHOF Interview with artist Jann Haworth by Mike Goldstein, 7 December 2020)

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Haworth comes from a distinguished artistic family. Her mother, Miriam Haworth, was an artist whose works can be seen in major institutions such as the Smithsonian, and her father, Ted, was an Academy Award-winning production designer and art director. Born in Hollywood, she first studied at the University of California, Los Angeles, before moving to the UK in 1962 to study at the Slade School of Fine Art. On graduation, she established herself as one of the first female figures of the British Pop movement, holding an exhibition in 1963 at the Institute of Contemporary Arts, followed by shows at Robert Fraser’s gallery. She went on to become one of the seven founding members of The Brotherhood of Ruralists in 1975 and founded The Looking Glass School in Wellow, Avon. Haworth is also recognised as an advocate for female representation in the arts; in pieces such as her ongoing mural project ‘Work in Progress’, she highlights the contributions women have made to the fields of art, science and social reform. Throughout her career, she has continued to push herself in her exploration of medium, pioneering soft sculpture and materials traditionally viewed as craft. In the present works, she explores the bounds of traditional representation, combining painting, sculpture and construction to create works that defy categorisation.

TASTEMAKERS

LOT 161  Jann Haworth (British-American b.1942) ‘Mickey Merz II, Sundance’ signed and dated ‘Jann Haworth 2010’ and inscribed ‘Sundance’ verso, oil, collage and plastic assembled on frame 90 x 64cm; framed 99 x 74cm £6,000 - 8,000 Provenance: A private collection, Paris; Piasa, Paris, 15 March 2023, lot 132, where acquired by the present owner.

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LOT 162  Jann Haworth (British-American b.1942) ‘Sundance’ signed and dated ‘Jann Haworth 2010’ and inscribed ‘Sundance’ verso, oil, collage and plastic assembled on frame 91.5 x 81.5cm; framed 100.5 x 90.5cm £6,000 - 8,000 Provenance: A private collection, Paris; Piasa, Paris, 15 March 2023, lot 131, where acquired by the present owner.

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TASTEMAKERS

LOT 163  Susie MacMurray (British, b.1959) ‘Feast’, 2011 plastic food wrap and cotton thread on a metal bracket 74cm high including handling threads £400 - 600 Provenance: Agnew’s Gallery, London, where acquired by the previous owner; acquired from the above by the present owner on 1 February 2015. Exhibited: Agnew’s Gallery, London, ‘Platform’, 2011. Susie MacMurray is a former professional classical musician who retrained in fine art, graduating with an MA in Fine Art in 2001. She now works across the media of sculpture, drawing and site specific installations, and at the heart of her work is an exploration of materials. Her works reveal a rare aptitude for combining unusual materials, such as plastic food wrap in the present work, to create pieces that are arresting, beautiful and challenge our senses. As she states, she is driven by: ‘…curiosity and asking “what if?”. I am looking not only for new materials, but for new ways to handle, combine and manipulate the stuff that human bodies interact with.’ (Susie MacMurray, quoted in Vindolanda Charitable Trust, Susie MacMurray Appointed Artist-in-Residence 2026, 3rd February 2026)

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TASTEMAKERS

LOT 164  Katharina Fritsch (German, b.1956), ‘Totenkopf’ (Skull), 1998, white porcelain and paint, no. 8 of 16 14.5cm wide, 25cm deep, 20cm high £2,000 - 3,000 Provenance: Matthew Marks Gallery, New York; White Cube, London; a private collection. Katharina Fritsch was born in 1956 in Essen, Germany and was previously a Professor of Sculpture at Kunstakademie, Düsseldorf. Her sculptures and installations often use familiar objects in a way that creates a jarring and uncanny effect. In this respect, she has been likened to Marcel Duchamp. Fritsch’s work is inspired by subjects including Christianity, art history and folklore. Noted works include ‘Rattenkönig’ (Rat King), a giant circle of black polyester rats, included in the Venice Biennale in 1999, and ‘Hahn’ (Cock), a 4.7 metre high bright blue cockerel displayed on London’s Trafalgar Square Fourth Plinth from July 2013 to February 2015.

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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 or more.

What nationality must an artist be to qualify? Following the UK’s exit from the European Union, the ARR has continued to apply to the sale of artworks by nationals of countries in the European Economic Area (EEA), as well as the UK. The following countries are in the EEA:

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.

Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, plus the UK, Australia (from 31 March 2024) and New Zealand (from 1 December 2024) for the purposes of ARR.

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%. Hammer Price

Royalty

From £1,000 to £50,000

From £50,000.01 to £200,000

From £200,000.01 to £350,000

From £350,000.01 to £500,000

0.5%

Exceeding £500,000

0.25%

What is the qualifying threshold? An artwork must sell for more than £1,000 to qualify for a royalty and the maximum amount an artist can receive is capped at £12,500 per transaction.

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Artists who are nationals of these countries are therefore generally eligible to receive resale royalties. The nationality criteria only applies to the artist and not to the beneficiaries or heirs. Are all sales of artwork covered? The Artist’s Resale Right does not apply to all sales of artworks. A royalty is only due if the following conditions are met: • • • •

the artwork is a copyright protected work of graphic or plastic art; it is sold for more than £1,000; it is sold in the secondary market with the involvement of an art market professional (e.g. auction house); and it is sold in the UK, Australia, New Zealand or a country in the European Economic Area (EEA)

Lots that may be subject to Artist’s Resale Right will be denoted by this symbol:  This royalty, where applicable, will be charged to the purchaser.

INDEX OF ARTISTS A

Allen, John

123, 124

Arad, Ron

158

Asquith, Ros

112

Ayres, Gillian

Finn, Michael

Emin, Tracey

130, 131

Frink, Dame Elisabeth B Barns-Graham, Wilhelmina

16, 29, 30, 31

Rollins, Tim, and K.O.S.

106

17, 27

Gaspar, John

Bolande, Jennifer

148

Bomberg, David

45, 60

150

Robinson, Geoffrey

6, 7

Frost, Sir Terry

14, 32

Brown, Cecily

Klein, Anita

159

Blow, Sandra

Kestelman, Morris

Kovats, Tania

37, 38, 39

Rie, Dame Lucie

Kojima, Osamu

83, 85

Britton, Alison

164

Blane, Frances Aviva

Bott, Francis

Ray, Anna

Karshan, Linda

58, 61

52, 153

160

Fritsch, Katharina

Beaton, Cecil

Bonaventura , Mauro

Kaplicky, Jan

L 152

Scott, Michael

100

71, 72

Scott, William

2, 3, 5

Gear, William

49, 50, 51

le Parc , Julio

Sherman, Cindy

128

Gorry, Colin

113, 114, 115

Lethbridge, Julian

Shibata, Yukako

120

Levete, Amanda

Spencer, Stanley

53, 54, 55

Gunn-Russell, Linda

Long, Richard

145, 146

139

Harris, Jane

84, 96

116, 117

Haworth, Jann

161, 162

Middleton, Derek

40, 41

Campbell, Cath

Hellman, Louis

110

Moore, Deana

125, 127

Carter, John

102

Henderson, Ewen

Moore, Henry

42, 44

Caulfield, Patrick

Hepworth, Dame Barbara

Chadwick, Lynn

Hirst, Damien

154

Clarke, Geoffrey

Hockney, David

Clarke, Sir Brian

111

Hodgkin, Sir Howard

12, 13

Cliffe, Henry

1, 8, 11

Holland, David Paul

105

Coates, Marcus

107

Hopkins, Thurston

157

Cocteau, Jean

129

Hoyland, John

Collis, Susan

Hughes, Patrick

Organ, Bryan

77, 79

Hume, Gary

Coper, Hans

Ingham, Bryan

Cox, Stephen

126

Craig-Martin, Michael

D Dalwood, Hubert

132

Davenport, Ian

Davie, Alan

Davy, Leo

33, 35

de Waal, Edmund

121

101

Latham, John

91, 92

Connearn, David

Scott, Celia

Landy, Michael

Haring, Keith

Cahillane, Glenda

S Sandback, Fred

Hadid, Zaha

122 18, 19

140, 141, 142, 143, 144

80, 81, 82 24

Irvin, Albert

M MacMurray, Susie Middlemiss, Jonathan

T 163

Tamayo, Rufino

136, 137, 138

Terada, Yasuo

119

Tilson, Joe

Timothy, Duval

103

Turk, Gavin

Turrell, James

Nash, Paul

Nicholson, Ben

Ushafa, Bawa

Nicholson, Winifred

118

W 62

Walker, Kara Elizabeth

109

Ward, Nari

108

Ward, Peter

134

Williams, Christopher

147

Paolozzi, Sir Eduardo

133

Wood, Jonas

156

Paterson, Toby

104

Wright, Austin

135

Pawson, John

Wylie, Rose

151

Pearson, Colin

Wysocan, Erik

98, 99

Phillips, Peter

Jamie, Cameron

149

Piper, John

46, 47

Jarman, Derek

Pleydell-Bouverie, Katherine

Sutherland, Graham

Potworowski, Peter (Piotr)

Pratt, Katie

155

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TERMS AND CONDITIONS

claim a reimbursement of the VAT, where:

For Specialist Live Auctions

1. you are using Sworders Delivery service.

These conditions of business consist of:

In these cases, a zero rated (VAT exempt) invoice can be issued where the following criteria are met:

Information for Buyers;

2. Terms of Consignment for Sellers (not detailed here, but can be viewed at www.sworder.co.uk); 3.

Terms of Sale for Bidders and Buyers.

1. INFORMATION FOR BUYERS Introduction The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale. Methods of payment Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of £5,000. Any cheques will need to be cleared before you can take the Goods away. Collection and storage All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. Furniture and large items sold in our Fine Interiors, Design or Specialist Single-Owner Sale Auctions, and small items if they form part of the same invoice, not collected within seven working days of the auction will be sent to Bradleys Ltd. at your expense. Refer to clause 9 and 10 in Sworders Terms of Sale for more information. Agency As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer. Estimates Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive. Buyer’s Premium The Terms of Sale oblige you to pay a Buyer’s Premium on the Hammer Price for each lot purchased. The amount you will pay is: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is charged on these Premiums at the standard rate (see below). Value Added Tax (VAT) Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax. Shipping Costs are liable for VAT and are payable by the Buyer. If you are exporting the items from the UK, you may be able to

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a. the items are exported within three months of the date of the auction b. the total amount of VAT payable would exceed £75 per shipment There is no administrative charge for clients using Sworders Delivery Service. If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods. 2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met: a. the invoice is paid in full, including VAT b. the items are exported from the UK within three months of the date of the auction c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK d. the total amount of VAT to be claimed exceeds £75 (from which you will be deducted a £25 administration fee. See Terms of Sale clause 5 for more information relating to VAT. Inspection of Goods by the Buyer As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 16.2 and 16.4. 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. Shipping of Goods We offer a delivery service for Lots purchased, either by shipping ourselves, in partnership with Bradleys Shipping Services, or use of a third party logistics company. Estimates for Shipping Costs for smaller items may 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. 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 after you have purchased an item, by clicking the link in your invoice. Estimates of Shipping Costs on our website are based on the low estimate, however, these are subject to change where the method for delivery of Lots changes. Furniture and large items sold in our Fine Interiors, Design of Specialist Single Owner Sale Auctions, and small Items if they form par of the same invoice, will be removed from the premises after 4pm seven working days following the sale, or such other time as notified by Sworders in the auction catalogue listing, by Bradleys Ltd., the cost of which you will be liable for. See clause 9 and 10 in the Terms of Sale for Title and Collection of Purchases and Costs relating to Collection Services, for more details. Electrical goods These are sold as ‘antiques’ only for their historical or decorative attributes. 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. Restricted Items We do not sell items that are prohibited under UK legislation from sale. The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. For goods that contain ivory, you should satisfy yourself that they are correctly registered or certified and meet the exemption criteria as set out in applicable legislation.

If you intend to export goods that may fall to be a protected species, or one that requires to be registered or listed as exempt, you should find out: a. whether you need an export licence b. if there is a prohibition on the export of goods of that nature outside of the UK or on the import of goods into your intended country, for example, if the goods contain prohibited materials such as ivory or protected fauna and flora Post 1950 Upholstered Furniture All items of furniture included in a 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 nigra) To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale. If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is 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 §. Bidding Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. In some cases, we may require a deposit to be paid against Lot, prior to confirming your bid. Lots will be invoiced to the name and address as registered for bidding. You may 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 generally for Lots with an estimate of £500 or more. The number of lines may be limited so we 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 Lots purchased via a live online bidding service may be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% if bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Premium at their advertised rate.

Artist Resale Rights Lots marked with a ▲ indicate the item is subject to additional Artist’s Resale Right charges, payable by the buyer. Financial Checks As auctioneers we may have to conduct various checks into our customers under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (as amended), under sanctions legislation and other related legislation. If you are successful in your bid, and your hammer total is in excess of £6,000.00, you may need to provide the documentation, as set out below, unless we confirm we already have this information from you: a. For individuals 1.a.1. official photo identification (driving licence, passport or equivalent); and 1.a.2. proof of address (less than three months old)

b. For corporate entities 1.b.1. the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address 1.b.2. details and ID documentation for directors and beneficial owners of the entity c. For trusts and estates 1.c.1. details and ID documentation for executors/trustees; and 1.c.2. details of beneficiaries and settlor We may ask you for further information if we deem this necessary. We may use third party software, to enable you to provide us with your identification documents, to verify your identity and ensure compliance with our legal responsibilities. If you are bidding for another person (your “principal”) you will be required to provide the above information for yourself and your principal, along with a signed letter from your principal authorising you to bid on his/her behalf.

If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of, or cancel, any contract made by you and the Seller in the event you have made a successful bid.

2. TERMS OF CONSIGNMENT FOR SELLERS Not detailed here, but can be viewed at www.sworder.co.uk

3. TERMS OF SALE FOR BIDDERS AND BUYERS Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. Please note that these Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.

‘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;

‘Art Market Participant’

means an art market business registered with HMRC under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017;

‘Bidder’

means a person who places a bid for Goods at our auction;

‘Bidding Platform’

‘Buyer’

means the bidding platform on which the online auction is held operated by the Auctioneer, or by a third party service provider on the Auctioneer’s behalf; means the fee equal to a % of the hammer price charged on the sale of a Lot, as advertised on the bidding platform on which the online auction is held, operated by a third party service provider; means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Buyer’s Premium’

means the commission we charge you on the purchase of a Lot;

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

‘Commission’

means the Commission that we charge a vendor on the sale of their Goods;

‘Consumer’

means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 8, 9 and 10.

‘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;

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 15.

‘FCA’

means the Financial Conduct Authority;

‘Goods’

means the Goods that have been consigned to us for sale at our auction;

2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk.

‘Hammer Price’

means the level of the highest bid for a Lot accepted by the Auctioneer and recorded in the Auctioneer’s sale book; means the goods that we offer for sale at our auctions;

‘Bidding Platform Fee’

‘Lot(s)’ ‘Money Laundering Legislation’

means the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 and related legislation, together with any applicable terrorist financing legislation and legislation on restrictive measures;

‘Premium’

means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale as set out in clause 4;

‘Price’

means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT; means a person or entity you are acting on behalf of for the purposes of the consignment of the goods to the Auctioneer; means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Principal’ ‘Proceeds’ ‘Reserve’

means the minimum Price at which the Goods may be sold;

Restrictive Measures’

means economic or financial sanctions, export controls, embargoes or any other restriction on trade under the laws of the European Union, the United Kingdom or the United States, or in the jurisdiction in which you, your Principal, or any agent acting for you does business; means the net amount due to the seller;

‘Sale Proceeds’ ‘Seller’

means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’

means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’

means the Terms on which we agree with sellers to offer Lots for sale in our auctions, as agent on their behalf; means the Terms of Sale for Bidders or Buyers at our auctions (as updated from time to time);

‘Terms of Sale’ ‘Total Amount Due’

‘Trader’

means the hammer price for a Lot, the Premium, any applicable artist’s resale right royalty, any service charge or fee levied by an independent bidding platform through which the successful bid was placed, any VAT due and any additional charges payable by a defaulting buyer under these terms of sale; 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.

1. Definitions and interpretation 1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning: In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise. 2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 9 and 10.

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

2.8 We also refer you to your warranties as a Bidder and Buyer as set out in Clause 6. 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. If you are bidding on behalf of someone else, you will be required to provide us with all information on the ultimate owner of the goods as we may require, to satisfy our checks under the Money Laundering Legislation. 3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics. 3.3 If you instruct us we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained). 3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. The Auctioneer shall retain discretion on the running of the auction and retains the right not to accept a bid and to prefer a bid over any other bids received at the same time. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute. 3.5 Bidders will be deemed to act as Principals, even if the Bidder is acting as an agent for a third party. 3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

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3.7 We may refuse to accept any bid if it is reasonable for us to do so. 3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice). 3.9 If you participate in the auction using the services of an Independent Bidding Platform, other than Sworders Live, you will incur an additional fee or additional commission payable to that platform. We will collect this fee as part of the Total Amount Due if you are successful in your bid. 3.10 We reserve the right to accept an after-auction offer from you on a Lot, if it has not sold in the auction, at the agreed Reserve price or above. After-auction offers may be accepted up to three days after the auction has closed. In these cases, the same charges will be payable as if the Lot had been sold at auction, and so far as appropriate these Terms of Sale will apply. 4. The purchase Price As the Buyer, you will pay: a. the Hammer Price; b. a Premium on the hammer price of: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is payable on the buyers premium at the standard rate; c. any artist’s resale right royalty payable on the sale of a Lot; and d. any Independent Bidding Platform fee payable on a Lot; and e. any VAT due. 5. Value Added TAX (VAT) 5.1 As the Buyer, you shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot, at the appropriate rate prevailing by law at the date of the auction. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information. Please see 5.6 for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK 5.2 Lots affixed with (†): VAT on the Hammer Price and Buyer’s Premium is imposed on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. 5.3 Lots affixed with (‡): A reduced rate of Import VAT on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outside the UK. 5.4 Lots affixed with [Ω]: Standard rate of 20% of Import VAT on the Hammer Price and premium is payable. This applies to items that have been imported from outside the UK and do not fall within the reduced rate category. 5.5 Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay Sworders the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. 5.6 Export from the UK: For lots offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £75. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please note that all customs formalities of the destination country are the responsibility of the buyer.

on the ultimate Buyer of the goods, in accordance with all applicable Money Laundering Legislation (ii) upon request, you will provide us, or any independent third party auditor (employed at our cost), with any identification and any other relevant documents you have obtained for customer due diligence purposes on the ultimate buyer of the goods (iii) you consent to us relying on this due diligence; and (iv) you will retain for a period of not less than five years the documentation evidencing the due diligence 6.5 Where you are acting on behalf of another person and you are not an Art Market Participant, you warrant that you will provide accurate and complete information about your Principal to us. 7. The contract between you and the Seller 7.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning bidder in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete. 7.2 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. 7.3 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. 7.4 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). 7.5 In addition to any other rights we may have to cancel a contract for sale under these Terms of Sale, we may delay completion of a sale, delay the release of a lot or cancel the sale of a lot in the event: 7.5.1 you are in breach of your warranties in clause 6; 7.5.2 we have not completed our enquiries pursuant to the Money Laundering Legislation to our satisfaction; 7.5.3 we have reason to believe that the transaction might be unlawful for any reason or that the sale might put us under a civil or criminal liability. 8. Payment 8.1 Immediately following your successful bid on a Lot you will: 8.1.1 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 8.1.2 pay to us the total amount due in any way that we agree to accept payment. 8.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods. 8.2 If you owe us any money, we may use any payment made by you to repay these debts. 9. Title and collection of purchases 9.1 You are bound by the contract for the purchase of a lot at the recording of the winning bid in the auctioneers sale log, however, the transaction is not complete, and ownership will not pass to you and you and may not claim or collect a Lot until: 9.1.1you have paid us the total amount due, including any additional charges, in cleared funds; and

6. Buyer Warranties 6.1 You warrant, and where you are acting on behalf of someone else, you will procure that your Principal warrants, that:

9.1.2 you have provided us with the information, and we have completed our enquiries, in relation to our responsibilities under Money Laundering Legislation, as set out in clause 8.1

6.1.1 the funds to be used for the purchase of the lot(s) are not connected with, nor derived from, any criminal activity, including without limitation tax evasion, money laundering or terrorist financing;

9.2 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, on our Website or agreed with us subsequently.

6.1.2 neither you, or an agent acting for you, nor your Principal, are to the best of your knowledge either under investigation, nor have you been charged with or convicted of without limitation tax evasion, money laundering, terrorist financing or other criminal activities; and 6.1.3 neither you, nor any agent acting for you, nor your Principal, are subject to restrictive measure or owned, partly owned or controlled by person(s) subject to such restrictive measures. 6.4 Where you are bidding on behalf of another person and you are an Art Market Participant, you warrant that: (i) you have conducted appropriate customer due diligence

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9.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent. 9.4 If you do not collect the Lot within the time period under Clause 9.2, you will be responsible for removal and storage charges in relation to that Lot – see clause 9.5 -9.7 below. 9.5 Furniture and large items sold in our Fine Interiors, Design or Specialist Single Owner Sale Auctions, and small items if they form part of the same invoice, will be removed from the

premises after 4pm seven working days following the sale, or such other time as notified in the sale catalogue or on our website by Bradleys Ltd., for storage at their Bishops Stortford warehouse and subject to collection, storage and administration costs, the cost of which you will be liable for. See clause 10 for Costs relating to Collection and Storage Services 9.6 Items will be stored by Bradleys Ltd. free of charge for seven days from the date of collection. Storage charges will commence thereafter. All costs associated with collection and storage in these cases are payable directly to Bradleys Ltd. and must be paid prior to collection of the lot – see clause 10 on Costs Relating to Collection and Storage Services. 9.7 All lots must be collected by prior appointment at: Bradleys Ltd., 6 Twyford Industrial Estate, Bishops Stortford, Herts CM23 3LJ. 0203 301 6348 sworderscollections@bradleys.ltd Collections Monday – Friday 08:30-17:30 by appointment only. 9.8 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot, or it is collected by Bradleys Ltd. 9.9 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you but will deduct any storage charges or other sums that have been 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. 10. Costs Relating to Collection and Storage services 10.1 These fees relate to the collection and storage of your purchases by Bradleys Ltd. and are payable directly to them. 10.2 Collection from Sworders £20 per collection of 1-5 lots and £40 per collection of 6-10 lots listed on an invoice (plus VAT). 10.3 Free storage for one week thereafter, then £2.00 (plus VAT) per lot, per day**: 10.4 Should you arrange for Bradleys Ltd. to deliver your items to you during the free storage period, the cost of storage will be waived, where the delivery is within 21 days of the notification. *Additional charges may apply when more than two staff are required, the cost of which to be agreed in advance. *All charges are subject to VAT and up to 6.27% insurance on total charges. 11. Remedies for non-payment or failure to collect purchases 11.1 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: 11.1.1 take action against you for damages for breach of contract; 11.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you; 11.1.3 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). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; 11.1.4 remove, store and insure the Lot at your expense; 11.1.5 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; 11.1.6 keep that Lot, or any other Lot sold to you, until you pay the total amount due, including Shipping and Storage Costs where applicable; 11.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or 11.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us. 11.2 We will act reasonably when exercising our rights under Clause 11.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale. 12. 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.

13. Sellers warranties 13.1 The Seller warrants to us and to you that: 13.1.1 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; 13.1.2 the Seller is able to transfer good and marketable title of the Lot to you free from any third party rights or claims; and 13.1.3 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), and any documentation provided to you by the seller in relation to the Lot, are correct. 13.2 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. 13.3 Please note that many of the Lots that you may bid on at our auction are second-hand. 13.4 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 13.1 (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. 13.5 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. 14. Descriptions and condition 14.1 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). To Note: The actual colour of a Lot may vary from images in the auction catalogue or online listing. 14.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction. 14.3 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, but not otherwise. 14.4 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, for their fitness or purpose, or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, online listing, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed. 14.5 Restricted Items containing Ivory 14.5.1 The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. In these cases, where these items are offered for sale, we rely on information provided to us by the Seller confirming that the item satisfies the relevant legal exemptions. We will display the Ivory Declaration Submission Reference relating to the application for exemption in the Lot description. Lots marked  contain ivory material.

14.7.2 If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. 14.8 Electrical items 14.8 Lots with electrical components are sold as ‘antiques’ only for their historical or decorative attributes and for display purposes 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. 14.9 Fire Safety 14.9 All items of furniture are sold as a Collector’s item, for display purposes and are not supplied for use. Such lots may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, you must first ensure that they are refurbished and rendered compliant with any applicable furniture and safety regulations. 15. Deliberate Forgeries 15.1 You may return any Lot which is found to be a Deliberate Forgery to us within twelve months 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. 15.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, and it has been returned to us within the specified time, in the condition in which it was released to you, we will refund the money paid by you for the Lot (including any Premium and applicable VAT), You will have no right to a refund under this clause if: 15.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 15.2.2 you personally are not able to transfer good and marketable title in the Lot to us 15.3 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. Your rights under this clause are given to you as a Buyer in our auction; they are not given to, and may not be transferred or assigned to, any third party. 15.4 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. 16. Our liability to you 16.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction. 16.2 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. 16.3 Lots are sold as antiques for their decorative attributes rather than for use, and are often of considerable age and uncertain manufacture; neither we, nor the seller, accepts liability for loss or damage to Lots, or any other loss or damage that is caused by, or results from, any inherent vice or defect affecting the Lots 16.4 Subject to Clause 15.4, 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. 16.5 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 16.5.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 16.5.2 fraudulent misrepresentation; or

14.6 Post 1950 Upholstered Furniture

16.5.3 any liability which cannot be excluded by law.

14.6.1 All items of furniture included in a sale are offered for sale as works of art and may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988; for this reason, they should not be used in a private dwelling.

17. Notices 17.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it.

14.7 Furniture made of Brazilian Rosewood (Dalbergia Nigra) 14.7.1 To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture will have an Article 10 certificate in place, prior to being offered for sale and we will display the Certificate Number in the information for each lot. These items are marked with this sign §.

17.2 Any notice referred in Clause 17.1 may be given: 17.2.1 by delivering it by hand; 17.2.2 by first class pre-paid post or recorded delivery; or

17.3.1 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 17.3.2 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. 17.4 Notices will be deemed to have been received: 17.4.1 if delivered by hand, on the day of delivery; 17.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 17.4.3 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. 17.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message (including WhatsApp). 18. Data Protection 18.1 We respect your privacy and are committed to protecting your personal data. We do not share your data unless there is a business, or legal reason for us to do so. 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 at www.sworder.co.uk. 18.2 We reserve the right, where we deem we are required for regulatory purposes, to reveal your identity and contact details (and those of your Principal) to the Seller). 18.3 In agreeing to these terms of sale, you agree that: • should you decide to use Sworders delivery service, we may share relevant personal data that we hold with the shipping agent to allow effective communication between the shipping agent and you, and to enable delivery • should you fail to collect your items within seven working days of the date of the auction, we may share your details with the shipping agent to allow effective communication between them and you, to arrange for the payment of storage and collection of your items from their store. 19. General 19.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person. 19.2 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. 19.3 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 or online listing. 19.4 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. 19.5 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. 19.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term. 19.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

17.2.3 by email

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

17.3 Notices must be sent:

Updated October 2026

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OFFICES AND CONTACTS

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Tastemakers Modern and Contemporary Art & Design 25 November 2026