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FROM DÜRER TO WARHOL: A PRIVATE COLLECTION THURSDAY 22ND OCTOBER 2026
www.woolleyandwallis.co.uk
FROM DÜRER TO WARHOL: A PRIVATE COLLECTION THURSDAY 22ND OCTOBER 2026
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SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below PAINTINGS
MEDALS & COINS, ARMS & ARMOUR
Victor Fauvelle Ed Beer Richard Kay Heidi Easton
446961 446962 446964 446970
20TH CENTURY DESIGN Max Fisher Zoe Smith
424505 446955
339752 339161
424506 424583 424589 +44 (0)7812 601098 424591
Neil Grenyer MRICS Becky TillyTrickett
446974 339161
Freya YuanRichards
BOARD OF DIRECTORS
339752
424583 424591
JEWELLERY
Lot 1543 (detail)
424502
424500
Fahmeeda Yasmin Oscar Eccleston Annabelle Hunt
411854 446974 339161 339161 339161
JAPANESE ART
Lot 1542
Ruth Pike (Client Services Manager) Sarah Bennie Julie Langstaff Riin RohtlaSzeverenyi Jen RussellSmith
Emma Clement Frances Woodhams
INTERIORS
Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Jacob Carpenter Freya Miller Beth Reardon
Jeremy Lamond MRICS FRSA Frances Woodhams
424589
FURNITURE, WORKS OF ART & CLOCKS
Alexandra Aguilar Olivia Jones
446956 446959 446957
MARKETING
CHINESE PAINTINGS & CALLIGRAPHY
Will Hobbs
Rupert Slingsby Archie Swann Demi JuenoChapman
PHOTOGRAPHY
BRITISH AND CONTINENTAL CERAMICS & GLASS
Mark YuanRichards Neil Grenyer Jim Gale Sarah Stone Becky TillyTrickett
SILVER
CLIENT SERVICES
ASIAN ART John Axford MRICS Alexandra Aguilar Freya YuanRichards Jeremy Morgan Olivia Jones
341469 446955
VALUATIONS
AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs Becky TillyTrickett
Ned Cowell Zoe Smith
424595 424504 424586 424569 424509
John Axford MRICS Chairman Natalie Milsted FCCA Managing Director Alexandra Aguilar Director Ed Beer Director Rupert Slingsby Director Marielle Whiting FGA Director
ASSOCIATE DIRECTORS Ned Cowell Victor Fauvelle Will Hobbs Jeremy Lamond MRICS FRSA Freya YuanRichards Mark YuanRichards
424571
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ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2026 AUCTIONS OCTOBER 7th & 8th
Fine Furniture & Collections
20th & 21st
Fine Silver & Objects of Vertu
22nd
British & Continental Ceramics & Glass Durer to Warhol: A Private Collection
28th & 29th
Fine Jewellery
NOVEMBER 10th
Fine Asian Art
11th
Japanese Works of Art
25th
Medals & Coins, Arms & Armour
DECEMBER 1st
Modern British & 20th Century Art
2nd
British Art Pottery & Studio Ceramics
Dates may be subject to change
+44 (0)1722 424500 info@woolleys.live 5161 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk Lot 1583
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ALSO ON VIEW FINE SILVER & OBJECTS OF VERTU & BRITISH & CONTINENTAL CERAMICS & GLASS
GEORGES BRAQUE Grand Oiseau Bleu £2,000 £3,000
TWO FROM A MATCHED SET OF FOUR GEORGE III AND MODERN SILVER-GILT CANDLESTICKS, two by John Scofield, London 1791, and two by Omar Ramsden, London 1931, £6,000 £8,000
A NORTH DEVON SLIPWARE HARVEST JUG
A FINE GEORGE IV SILVERGILT EWER,
Probably Barnstaple, dated ‘JULY 20 1814’
by John Bridge, London 1828
£1,000 £1,500
£6,000 £8,000
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FROM DÜRER TO WARHOL: A PRIVATE COLLECTION THURSDAY 22ND OCTOBER 2026 2.30PM AT OUR CITY CENTRE SALEROOMS, SP1 3SU
Victor Fauvelle +44 (0)1722 446961 vf@woolleys.live
Ed Beer +44 (0)1722 446962 eb@woolleys.live
VIEWING IN LONDON (HIGHLIGHTS) Second Floor, 17 Clifford Street, London W1S 3RQ Tuesday 13th October Wednesday 14th October
10.00am – 4.00pm 10.00am – 4.00pm
VIEWING AT OUR OLD SARUM GALLERIES (FULL SALE) Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX Saturday 17th October Monday 19th October Tuesday 20th October Wednesday 21st October Thursday 22nd October
Richard Kay +44 (0)1722 446964 rk@woolleys.live
10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 10.00am – 4.00pm By Appointment
BUYER’S PREMIUM Each lot is subject to a Buyer's Premium of 27% (+VAT) on the first £20,000 of the hammer price, reducing to 26% (+VAT) up to £500,000 and 20% (+VAT) thereafter.
Heidi Easton +44 (0)1722 446970 he@woolleys.live
LIVE ONLINE BIDDING FREE OF CHARGE
LIVE
bid.woolleys.live Please register by 5pm on Wednesday 21st October
TELEPHONE BIDDING Requests for telephone bidding cannot be accepted after 5pm on Wednesday 21st October. ARTIST’S RESALE RIGHT / DROIT DE SUITE Φ This symbol indicates that an additional levy may be applied for this lot – please see our Terms & Conditions on our website.
Instagram: @woolleyandwallispaintings @woolleyandwallissalerooms Facebook: Woolley & Wallis Pinterest: Woolley and Wallis
COLLECTION OF LOTS BY APPOINTMENT Collections will be from Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please call 01722 424500 to make an appointment. Please instruct carriers accordingly. Collection of sold and unsold lots must be within 21 days of the sale – failure to collect within this time may result in storage fees.
ILLUSTRATIONS Front cover: Lot 1564 Back cover: Lot 1503 (detail) Catalogue £10.00 (£15.00 by post)
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1501 1501 HEINRICH ALDEGREVER German c.15021555/1561
AFTER HANS HOLBEIN II German 1497/981543
The Power of Death (Allegory of Original Sin and Death) The complete suite of eight engravings, each monogramed and dated 1541 (in the plate) Largest 8 x 5.4cm; Smallest 8 x 5.2cm (sheet) Unframed, mounted as one (8) Provenance: Reiss & Sohn, Königstein, 11 May 2023, lot 31, where purchased by the present private collector Literature: New Hollstein (German), 135142
£8001,200
1502 AFTER HANS HOLBEIN THE YOUNGER German 1497/81543
Dance of Death Imagines Mortis, His accesserunt Epigrammata, e Gallico idiomate a Georgio Aemylio in Latinum translata, Ad haec Medicina animae, tamiis qui firma, quam qui aduersa corporis valetudine prediti sunt, maxime necessaria… Cologne heirs of Arnold Birckmann, 1572 The second part contains the moral treatise “Medicinae animae”, prayers, reflexions and sermons on death by Cyprian of Carthage, Caspar Huberinus, Urbanus Rhegius and John Chrysostom The binding dated 1574, with panels depicting the Annunciation and The Baptism of Christ 17.4 x 10.8cm Provenance: IB, 1574 (according to binding) Robert Chambolane (according to inscription to title page) Arenberg Auctions, Brussels, 21 June 2016, where purchased by the present owner
£8001,200
1502
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1503 ALBRECHT DÜRER German, 14711528
The Beast with Two Horns like a Lamb, from The Apocalypse (B. 74; M., Holl. 175) Woodcut with text verso, c.14961498, from the Latin Edition of 1511 39 x 27.5cm (sheet) Unframed Provenance: August Laube Gallery, Zürich, where purchased by the present owner In his Apocalypse series Albrecht Dürer created fifteen woodcuts depicting the Book of Revelation’s prophecies. This was the first ever illustrated book designed, published and sold by the same artist. First published in 1498 it reflects society’s sense of foreboding about a new age that will come at the turn of the century. The Beast with Two Horns like a Lamb merges two chapters from Revelations. In the upper section the Son of Man is ready to deliver justice to the wicked and the damned. The lower section represents St. John’s vision of the beasts of the Apocalypse. A crowd kneel before a sevenheaded beast that represents the Deadly Sins. Absorbed in prayer, they fail to notice the second beast, who emerges into the centre of the work, accompanied by rain clouds of blood.
£5,0007,000
1503
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1504 ALBRECHT DÜRER German, 14711528
The Four Avenging Angels, from The Apocalypse (B. 69; M., Holl. 171) Woodcut with text verso, c.14961498, from the Latin Edition of 1511 39 x 27.8cm (sheet) Unframed Provenance: Karl Eduard von Liphart (1808 1891) (Lugt 1687); Dr Konrad Liebmann, Osnabruck; August Laube Gallery, Zürich, where purchased by the present owner This work, the eighth in the Apocalypse series, shows the four angels of the Euphrates unleashed to kill one third of humanity. The dynamic composition shows a high level of technical mastery, particularly in the lower half. The angels’ vengeance affects all strata of humanity, as we see a pope, an emperor, a soldier and a woman amongst the victims.
£5,0007,000
1504
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1505 THE MONOGRAMMIST AG German, fl.c.1470 1490
The Crowning with Thorns (B. 347; L. 12) Engraving, circa 1480 90, from The Passion series, pl.8, a good impression of this very scarce subject 14 x 10.2cm (sheet) Provenance: Collection of Albert van Loock, Brussels, with stamp on the back (Lugt 3751); With two unidentified collector stamps to verso (not in Lugt); Karl & Faber, Munich, 10 November 2017, lot 199
£7001,000
1505
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1506 A PAIR OF FLEMISH OAK PANELS 17th Century Each relief carved, one depicting the ‘Annunciation of the Virgin’, the other with the ‘Nativity’, each within an arch with angel mask spandrels, with inscriptions to bottom edge Ditsindt de Hilgendreron and Ditisde Bode Schop Marie Each 49 x 41.8cm (2) Provenance: Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller; Their sale, Woolley and Wallis, Salisbury, 910 November 2021, lot 179, where purchased by the present owner
£500800 1507 A MALINES ALABASTER AND PARCEL GILT PANEL Early 17th Century
1506
Relief carved with the Annunciation of the Virgin, with initials ‘AVE’ in a giltwood frame 12.5 x 9.6cm (the alabaster), 22.5 x 20cm (overall) Provenance: Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller; Their sale, Woolley and Wallis, Salisbury, 910 November 2021, lot 565, where purchased by the present owner
£500800
1509 A GURO MASK
1508 A CYPRIOT POTTERY JUG
Ivory Coast
22.5cm high
with a five sphere coiffure and raised scarifications, the open mouth with bared top teeth, with pigment
Together with a Hellenistic terracotta spindle shape unguentarium, 18cm high; and a Roman pottery jug, with a handwritten label to the base FOUND VINYARD ST. COLCHESTER 52 EX. HORACE CALVER, 15.5cm high (3)
Together with a Punu mask, 28cm high; and two Dan masks, one with carved decoration, 26.5cm high (4)
probably circa 1400 500 BC
decorated rings and twin spiral lines
Provenance: UK Art Market, c.1990 where purchased by the present owner
34cm high
£300400
1507
£200300
1508
1509
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1510 GIOVANNI BATTISTA PIRANESI Italian, 17201778
The Smoking Fire (WiltonEly 31) Etching with engraving and sulphur tint, c.1749, from Carceri d’Invenzione, pl. VI 54 x 40cm (plate) Provenance: Christopher Mendez, London
£1,5002,500
1510
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1511 JOHN MARTIN 17891854
Fall of the Walls of Jericho Mezzotint over etching 26.8 x 37.1cm (sheet) Unframed
£100150
1511 1512 FRANCISCO GOYA Spanish, 17461828
Esta No Lo Es Menos (Harris 187; Delteil 186) Etching with aquatint, burin and burnisher, c.18081814, plate 67 from the first edition of Los Desastres de la Guerra 14 x 18.7cm (image) Unframed Provenance: August Laube Gallery, Zurich where purchased by the present owner, April 2015
£300500
1512 1513 FRANCISCO GOYA Spanish, 17461828
Carretadas al Cemeterio (Cartloads to the cemetery) (Harris 187; Delteil 184) Etching with aquatint, burin and burnisher, c.18081814, plate 64 from the first edition of Los Desastres de la Guerra 12.5 x 18cm (image) Unframed Provenance: August Laube Gallery, Zurich where purchased by the present owner, April 2015
£300500
1513
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1514 ALFRED RETHEL German, 18161859
Der Tod als Erwürger (Death the Strangler); Der Tod als Freund (Death the Friend) Two, each wood engraving, 1851, from Auch ein Todtentanz (Yet Another Dance of Death) 42.7 x 34.9cm; 42.2 x 35cm (sheet) Unframed (2)
£100150
1514
1515
1516
1515 GEORGE BELLOWS
1516 Φ EDWARD GORDON CRAIG, CH, OBE
American, 18821925
18721966
The Drunk, No. 2 (Myers and Ayres 184)
Hecuba (Newman 72)
Signed Geo Bellows (in pencil in margin) Lithograph, second stone 55.6 x 44cm (sheet) Unframed
Signed with initials and dated 1908/ EGC (in pencil, lower right) Woodcut, state 2 of 2, from an edition of 35 26.5 x 12.5cm (image)
George Bellows made this lithograph as an illustration for an article in support of Prohibition published in Good Housekeeping. The strong triangular composition reflects Bellows’ interest in Jay Hambidge’s theory of “Dynamic Symmetry”, which gives the work a sense of a tableau.
Provenance: Collection of the artist’s greatgrandson; Jennings Fine Art, London, where purchased by the present owner, April 2008
£150250
£200300
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1517 Φ SYBIL ANDREWS 18981992
Via Dolorosa (Coppel SA 35) Signed and titled “Via Dolorosa”/ Sybil Andrews and numbered 43/60 (in pencil upper centre) Linocut in spectrum red, viridian and Chinese blue, on oriental laid tissue paper, 1935 20.5 x 24.7cm (sight) As a leading member of the Grosvenor School, Sybil Andrews did much to promote printmaking and especially colour linocuts. Both this work, and the following lot, date from the period when she shared a studio in Hammersmith with her mentor Cyril Power. In both works Andrews exploits the medium to capture the intensity of the narrative movement. Andrews also made six proofs of Via Dolorosa, which she referred to as the 1st state. The only difference is some very minor additional cutting of the spectrum red block in the main edition.
£1,0001,500
1517 1518 Φ SYBIL ANDREWS 18981992
Pietà (Coppel SA 23) Signed, numbered and inscribed Sybil Andrews/ 10/60 / “Pieta” (in pencil, upper right) Linocut printed in spectrum red, raw sienna, viridian and Chinese blue on buff oriental laid tissue, 1932 26 x 17.5cm (sight) Provenance: Bonhams, London, Prints and Multiples, 9 December 2014, lot 45
£8001,200
1518
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1519
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1519 PERCY JOHN DELF SMITH 18821948
The Dance of Death The Complete suite, comprising Death Forbids; Death Refuses; Death Marches; Death Waits; Death Awed; Death Ponders, and Death Intoxicated Seven, each signed Percy Smith and inscribed with title (in pencil to margin), the frontispiece signed and numbered Set no.34 of 100/Percy Smith (in pencil) Each etching with drypoint, framed, together with original clothcovered folder containing frontispiece and original card mounts Each approx 20.3 x 25.3cm (plate), the folder 49.8 x 41cm (8) Provenance: Abbott and Holder, London, where purchased by the present private collector, April 2015 This set of seven etchings is extremely rare, and Percy Smith’s greatest artistic achievement. Smith arrived at the Somme in October 1916, and made numerous drawings and etchings of what he saw. In fact he was arrested as a spy for smuggling his work between book sheets. The Dance of Death series is one of the most devastating depictions of World War I in British art, unsparing in its antiwar sentiment. The series is based on sketches he made at Thiepval, unflinchingly depicting the horror of the trenches, whilst over each scene looms the chilling figure of Death.
1519
£5,0007,000
1520 CHARLES DE SOUSY RICKETTS, RA 18661931
Italia Redenta Signed C. Ricketts (in pencil, lower left) Lithograph printed in blue, green and yellow, from The Great War: Britain’s Efforts and Ideals, published 1917, from the edition of 200 68 x 42.5cm Provenance: Abbott & Holder Ltd, London, where purchased by the present owner, September 2024
£400600 1521 WALTER RICHARD SICKERT, ARA 18601942
Lady Singing Pencil and blue crayon, c.1888 1889 24 x 12.2cm Provenance: Christie’s, London, Modern British & Irish Pictures, 23 March 1995, lot 65, where purchased by the present owner
£500800
1520
1521
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1522 WALTER RICHARD SICKERT, ARA 18601942
The Church of San Giovanni Christostomo, Venice Oil and mixed media on paper laid down on board, c.190104 20.5 x 17.5cm Provenance: A. W. Brickell; Charles Bannerman; Christie’s, Edinburgh, 17 November 1994, lot 876; Christie’s, London, Modern British & Irish Pictures, 23 March 1995, lot 50, where purchased by the present owner Literature: Wendy Baron, Sickert Paintings and Drawings (New Haven and London, Yale University Press, 2006), p.273, no.177
£2,0003,000
1522
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1523 ALEXANDER RODCHENKO Russian, 18911956
Columns of the Museum of the Revolution Gelatin silver print, 1926, mounted onto pale grey support sheet 24 x 16cm Provenance: Atlas Gallery, London, where purchased by the present owner, December 2009
£1,0001,500 1524 Φ JAROSLAV RÖSSLER Czech, 19021990
Pismeno T; Světelná Kompozice Two, both gelatin silver print, 1927 and 1932 19.5 x 20.5cm; 20.5 x 21cm, framed as one Provenance: Galerie Art Chrudim, Chrudim
£250350
1523
1524
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1525 1525 LOVIS CORINTH German 18581925
Pietà (Müller 472); Auferstehung (Resurrection) (Müller 882); Kreuzabnahme (The Descent from the Cross) (Schwarz 9) Three, two signed Lovis Corinth, one inscribed I/VI/4 Probedruck vor der Auflage von Lovis Corinth persönlich gedruckt (in pencil to margin) One drypoint, one etching, one etching and aquatint, 1920, 1925, 1894 respectively Largest 35.9 x 43.3cm; Smallest 17 x 18cm (sheet) Each unframed (3)
£300500
1526 LOVIS CORINTH
1527 ERNST BARLACH
German, 18581925
German 18701938
Kreuztragung (Carrying the Cross) (Schwarz 263); Kreuzigung (Crucifixion) (Schwarz 285) Two, each signed Lovis Corinth (in pencil to margin), the former indistinctly inscribed (in pencil to margin) The former drypoint, 1916, published by Fritz Gurlitt, the latter zincograph 22.5 x 32.5cm; 39.2 x 24cm (image) (2)
£200400
1526
Kreuz und Sargräuber (Cross and Grave Robbers) (Schult 158) Signed and numbered 87/100 E Barlach (in pencil to margin) Woodcut, 1919, on laid paper with watermark GERMANIA JWZ 36.3 x 44.7cm (sheet) Unframed and mounted Provenance: Simon Theobald, London, where purchased by the present owner, July 2015
£200300
1527 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions
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1528
1529
1528 Φ OTTO DIX
1529 Φ OTTO DIX
German, 18911969
German, 18911969
I.N.R.I: Head of Christ (Karsh 289/II)
Christus (Karsh 220/ii)
Signed, dated, numbered and inscribed 34/40 I.N.R.I. fur Herrn Ranlin Otto Dix/ 62 (in pencil to margin) Colour lithograph, 1962 37.5 x 29.5cm (image)
Signed, dated, numbered and inscribed 27/50 Christus 57 Dix (in pencil to margin) Colour lithograph, 1957 65 x 44.1 cm (sheet) Unframed
Provenance: Galerie Nierendorf, Berlin
£8001,200
£8001,200
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1530
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1531 1530 Φ DAVID BOMBERG
1531 Φ DAVID BOMBERG
18901957
18901957
Classical Composition
Study for ‘Vision of Ezekiel’, 1912 (recto); Study for ‘Moving Vans’, 1922 (verso)
Charcoal & crayon on prepared paper, 1910 37.4 x 27.6cm
Charcoal 50.5 x 62.5cm
Provenance: Anthony d’Offay Gallery, London
Provenance: Fischer Fine Art, London; Rex Irwin, Sydney; Modernism Gallery, San Francisco; Gillian Jason, London
Literature: Richard Cork, David Bomberg (New Haven and London, 1987), p.18, pl.15 This early work was executed shortly after Bomberg visited Roger Fry's Manet and the Post Impressionists' exhibition at the Grafton Galleries. It anticipates what was to become one of the dominant preoccupations in his prewar work; gesticulating figures within a dominant architectural space.
Exhibited: London, Fischer Fine Art, David Bomberg: A Tribute to Lilian Bomberg, MarchApril 1985; Sydney, Rex Irwin, David Bomberg, Works on Paper, July 1988, no.1; San Francisco, Modernism Gallery, Important Paintings and Works on Paper, JuneAugust 1990; London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017
£3,0005,000
£3,0005,000
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1532 Φ DAVID BOMBERG 18901957
The Doorway Signed and dated Bomberg 1920 (lower centre) Pen and ink and black chalk 34.7 x 26.6cm Provenance: Jason & Rhodes, London Exhibited: London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017 Figures in doorways are a recurrent motif in Bomberg’s work during this period. The figure is of a typical type, with what Richard Cork has described as “a Bombergian sense of bulk”.
£2,0003,000
1532
1533 Φ DAVID BOMBERG 18901957
LockUp Signed and dated Bomberg / 19 (lower right) Brown ink and wash 25.8 x 19.3cm Provenance: The Artist’s Studio; Christie’s, South Kensington, Modern British & Continental Pictures, 1 September 1996, lot 8 Exhibited: London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017 Bomberg’s drawings in this period vary enormously in style. However, the overriding preoccupation is the human figure engaged in different activities. This and the following lot are quickly defined in pen before being fleshed out with vigorous wash.
£2,0003,000 1533
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1534 Φ DAVID BOMBERG 18901957
Men & Women (The Table) Black Ink and blue crayon on paper, 1919 25.4 x 19cm Provenance: The Artist’s Family; The Collection of B. DaviesRees; Gillian Jason Exhibited: London, Tate Gallery, David Bomberg, FebruaryMay 1988, no.64; London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, November 2017 Literature: Richard Cork, David Bomberg (Yale 1987), p.129, fig.162; David Bomberg, exh. cat., Tate Gallery, London,1988, illus. no.64 This work is fine example of how Bomberg used wash to give his figures a sense of volume
£2,0003,000
1534
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1535 Φ DAVID BOMBERG 18901957
Conspirators, Top of the Stairs Signed Bomberg (in black ink, lower right) Charcoal, c.1923 46 x 32cm Provenance: Hermione ChivianCobb Inc, New York; Sotheby’s London, Modern British Paintings, 26 February 2003, lot 187
£2,0003,000 1536 Φ DAVID BOMBERG 18901957
Sappers Under Hill 60 Pen and ink with grey wash over pencil, c.19181919 12.7 x 19.3cm Provenance: The Collection of Dionara Davies Rees; Fischer Fine Art, London Sandra Lummis Fine Art, London; Wilson Stephens Fine Art Exhibited: London, Fischer Fine Art, David Bomberg: A Tribute to Lilian Bomberg, MarchApril 1985, no.33 London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017
£1,5002,500 1537 Φ DAVID BOMBERG 18901957
Studies after Piranesi’s Carceri Coloured crayons on three sheets 24.3 x 32.8cm Provenance: The Artist’s Family; Gillian Jason Gallery, London Literature: Richard Cork, David Bomberg (New Haven and London, 1987), p.236, pl.301 (top left study illustrated)
1535
As a teacher Bomberg kept a volume of Piranesi’s Carceri etchings for students to study. Piranesi’s influence on Bomberg’s great Bomb Store series is clear. As Richard Cork has written, “Admiration for the Carceri images underlies his exploration of the mysterious, threatening and awesome spaces in the bomb store”.
£1,5002,500
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1536
1537 Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1538 Φ DAVID BOMBERG 18901957
The Dancer, Study for Russian Ballet Gouache and pencil on paper, 1914 27.6 x 20.8cm Provenance: Gillian Jason, London Exhibited: London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017 Bomberg’s dancer works show the influence of the Vorticists on the young artist. He was pushing his art to near abstraction, and they are full of verve and energy. He was to return to these watercolours after the war when he worked on the Russian Ballet lithographs.
£2,0003,000
1538
1539 Φ DAVID BOMBERG 18901957
The Embrace Blue crayon and black ink on paper, 1919 26.2 x 19.2cm Provenance: The Artist’s Family; Boundary Gallery, London; Gillian Jason, London Exhibited: London, Fischer Fine Art, A Tribute to Lilian Bomberg, MarchApril 1985, no.13; London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017
£1,5002,500 1539
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1540
1540 Φ DAVID BOMBERG 18901957
Sappers Under Hill 60 Oil on paper, 1919 42.4 x 67.2cm Provenance: Juliet Lamont; Gillian Jason, London Exhibited: London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, 2017 In 1917 Bomberg was commissioned by the Canadian War Memorials Fund to commemorate an incident in which a company of Canadian soldiers dug tunnels under the German trenches to lay explosives for a surprise assault on the enemy defences at Ypres, in France. This work gives a sense of the complex structures of struts, girders and pulleys that formed part of the underground environment, conveying a sense of the enormity of their task and the claustrophobic atmosphere of the tunnels.
£4,0006,000 1540 (framed)
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1541
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1542 1541 Φ DAVID BOMBERG
1542 Φ DAVID BOMBERG
18901957
18801957
Bomb Store
Bomb Store
Oil on paper laid on canvas, 1942 95.2 x 66cm
Oil on paper laid on canvas, 1942 65.5 x 100.5cm
Provenance: Collection of B. DaviesRees; L.A. Louver, California; Fischer Fine Art, London; Phillips, London, 20th Century British and Irish Art, 21 November 2000, lot 99
Provenance: The Artist’s Family; Gillian Jason Gallery, London; Jason Rhodes, London; Portland Gallery, London
Exhibited: London, Fischer Fine Art, David Bomberg: A Tribute to Lilian Bomberg, MarchApril 1985, no.74; London, Waterhouse & Dodd, David Bomberg: Paintings and Drawings from a Private Collection, November 2017
£12,00018,000
Exhibited: London, The Tate Gallery, David Bomberg, FebruaryMay 1988, no.149 (when lent by the artist’s family) Literature: Richard Cork, David Bomberg (New Haven & London, Yale University Press, 1987, illus. p.241, pl.C45); David Bomberg, exh. cat., Tate Gallery, London,1988, illus. no.149 In 1942 the War Artists’ Advisory Committee invited Bomberg to paint a bomb store in BurtononTrent. Bomberg was fascinated by the disused mines packed with bombs. He made painting after painting of the foreboding scene, capturing the sense of latent power. He was soon having to work on greaseproof paper after his small supply of canvas was finished. The series has been described as “among the finest of his later works”. Bomberg used a degree of abstraction that he had not employed since his early years, and this helps create a sense of claustrophobia as the workers and the bombs are densely packed together, merging into the mine. His brushwork is loose and vigorous, and a fiery palette enlivens the shadows of the mine. As Richard Cork has written “Bomberg wanted to convey the full destructive potential of the slumbering missiles he surveyed, and his oil studies have an impassioned abandon which still assaults out nerveends today”.
£40,00060,000
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1543 Φ GIACOMO BALLA Italian, 18711958
Mercurio che Passa Davanti al Sole (Mercury Passing in Front of the Sun) Signed BALLA (lower left) Pastel on primed paper, 1914 23.8 x 17.3cm Provenance: Galleria Apollinaire, Milan; Guido Le Noci Collection, Milan (acquired in 1951); Studio Casoli, Milan (acquired from the above in 1978); Karl & Faber Kunstauktionen GmbH, Munich, 2 December 1997, lot 378; Private Collection; Acquired from the above by the Triton Collection Foundation, 2003; By whom sold, Phillips London, 20th Century & Contemporary Art, Day Sale, 9 March 2018, lot 107, where purchased by the present owner Exhibited: Rome, Villa Medici, Casa Balla e il futurismo a Roma, 1 October 30 November 1989, p.188, no. B/14 (illustrated); Zwolle, Museum de Fundatie; Enschede, Rijksmuseum Twenthe, Gevaar & Schoonheid; Turner en de traditie van het sublieme, 5 September 2015 3 January 2016, no.52, p.63 (illustrated) Literature: Sjraar van Heugten, Avant-gardes, 1870 to the present: the Triton collection, London, 2013, p. 242 (illustrated) On 7th November 1914 there was a partial eclipse of the sun by Mercury. As well as being a central figure in Italian Futurism, Giacomo Balla was a keen amateur astronomer, and was fascinated by this rare event. It inspired one of his most important series, titled Mercurio che passa davanti al sole, of which the present work is a fine example. In more than a dozen works he captured the small orb of Mercury crossing the sun. In our example flashes of light emanate from the star, and the spiral effects evoke the telescope with smoked lenses, through which Balla observed Mercury’s journey. Elena Gigli confirmed the authenticity of this work, at the time of the 2018 sale
£20,00030,000
1543 (framed)
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1543
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1544 WASSILY KANDINSKY Russian, 18661944
Radierung für den Kreis der Freunde des Bauhauses (Etching for Circle of Friends of the Bauhaus) Signed Kandinsky (in pencil to margin) Drypoint, 1932, from the unnumbered edition of 100, published by Kreis der Freunde des Bauhauses 33.1 x 40.4cm (sheet) Provenance: Dame Elisabeth Frink (Frink estate stamp to backing board); By descent to Lin Jammet; Woolley & Wallis, Salisbury, Modern British & 20th Century Art including The Estate of Dame Elisabeth Frink & Lin Jammet, 26 August 2020, lot 93, where purchased by the present owner
£1,5002,500
1544
1545
1546
1545 JOSEF ALBERS
1546 RUDOLF BAUER
American, 18881976
German, 18891953
White Line Squares, Series 1, No.II (Danilowitz 171.2)
Untitled
Signed with initial, dated, numbered and inscribed W L S - II 28 -125 A ‘66 (in pencil to margin) Colour lithograph, 1966 39.5 x 39.5cm (image)
Lithograph, with hand corrections in black and white, a proof impression 52.1 x 37.9cm (sheet)
Provenance: Brooke Alexander, New York
Provenance: Emanuel von Baeyer, London
£300500
£2,0003,000
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1547 1547 IVAN VASILIEVITCH KLIUN Russian, 18731940
Four Constructivist Compositions Four, each watercolour and pencil on paper, c.19161922 Largest 5.5 x 5.5cm; Smallest 4.5 x 5.5cm, framed as one Provenance: Sotheby’s, London, 1972 (consigned by Kliun’s daughter); Annely Juda Fine Art, London; From whom purchased by the previous owner 1999; By whom sold, Bonhams, London, British and European Art, 13 March 2024, lot 202, where purchased by the present owner Exhibited: New York, Matignon Gallery Inc., Ivan Vasilievich Kliun Sketchbook circa 1916 - 1922, AprilMay 1983; London, Annely Juda Fine Art, Dada - Constructivism, 26 September 1984 15 December 1984 Literature: Ivan Vasilievich Kliun Sketchbook circa 1916 - 1922, exh. cat, April May 1983, illustrated on cover; Annely Juda Fine Art, London, Dada - Constructivism, exh. cat., 26 September 1984 15 December 1984, no 78, illustrated These compositions were originally part of a sketchbook by Ivan Kliun, which contained 57 works.
£5,0007,000
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1548
1548 EDVARD MUNCH Norwegian, 18631944
Die Katze (Woll 33; Schiefler 89) Signed and inscribed E Munch/ avant (in pencil, lower right) Drypoint, 1895, from an edition of unknown size 12.5 x 15.5cm (plate) Impressions of this important early print rarely appear at auction. In 1895 Munch had only recently turned to intaglio printmaking, but already both the draughtsmanship, and the technical proficiency in working on a copperplate are superb.
£7,00010,000
1548 (framed)
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1549 1549 Φ PABLO PICASSO Spanish, 18811973
Woman with Headdress and Piercing Eyes (Cramer 52; Baer 824) Etching, 1949, plate XXVIII from the Carmen Portfolio, published by La Bibliothèque Française, printed by Lacourière, Paris, unsigned, unnumbered 32.5 x 25.5cm (sheet) Together with the artist’s copper plate for the subject, cancelled with two deep diagonal lines through the subject, 35.5 x 27.5cm (2) Provenance: Georgetown Frame Shoppe, USA
£5,0007,000 1550 Φ PABLO PICASSO Spanish, 18811973
Soneto Heroico (from Gongora, Vingt Poemes) Etching with aquatint, c.19471948 34.5 x 27.5cm (sight)
£150250
1550
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1551 1551 Φ HORST JANSSEN German, 19291995
Totentanz The complete suite of 11, each signed with initials, dated and numbered II/X HJ 74 (in pencil to margin) Each etching and aquatint Largest 71.2 x 53.1cm; Smallest 63.7 x 50cm (sheet) Unframed (11)
£1,5002,500 1552 Φ PIERRE ALECHINSKY Belgian, b.1927
Grain
1552
Signed and numbered 112/150 Alechinsky (in pencil to margin) Colour lithograph, 1981 38 x 54.5cm (sheet) Provenance: Galeries Lelong, Paris
£100150 1553 Φ ALBERTO GIACOMETTI Swiss, 19011966
Bust of a Seated Man (Jacques Dupin) (Lust 152) Lithograph, 1961, published by Maeght Editeurs in Derrière le Miroir n. 127 37 x 24cm (sight)
£120180
1553 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions
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1554 1554 Φ GEORGES BRAQUE French, 18821963
Grand Oiseau Bleu (Vallier 1016; Maeght 1016) Signed and numbered 67/95 G Braque (in pencil lower right) Lithograph in colours, c.1955/1956, published and printed by Maeght Editeur, Paris 37 x 104cm (image) Provenance: William Weston Gallery, London, where purchased by the present owner, April 2007
£2,0003,000
1555 Φ MARC CHAGALL Russian/French 18871985
L’Ange (Mourlot 120) Signed Marc Chagall (in pencil lower right) and numbered 18/75 (in pencil lower left) Lithograph printed in colours, 1956, printed by Mourlot, published by Draeger, Paris 32 x 25.4cm (image) Provenance: Gilden’s Fine Art, London, where purchased by the present owner, October 2006
£1,0001,500
1555
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1556
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1556 HANS HOFMANN American, 18801966
Still Life in Red and Black Signed (lower right) Gouache on paperboard, 1945 65 x 55cm Provenance: Ameringer | McEnery | Yohe, New York
£6,0008,000 1557 HANS HOFMANN American, 18801966
Untitled Studio stamp (lower left) Gouache and watercolour, 1943 60.5 x 44.5cm Provenance: The Collection of the Artist; The Renate, Hans and Maria Hofmann Trust, New York; Ameringer | McEnery | Yohe, New York Exhibited: New York, Ameringer | McEnery | Yohe, Hans Hofmann: Works on Paper, 2011
£7,00010,000
1557
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1558 Φ PIERRE SOULAGES French, 19192022
Lithographie 11 (Encrevé Miessner 57) Signed Soulages (in pencil, lower right) and numbered 47/65 (in pencil, lower left) Colour lithograph, 1963, printed by Mourlot, Paris, published by Galerie de France, Paris 74 x 56.7cm (sheet) Provenance: Galerie Boisseree, Cologne (as Lithographe 32a); Bernard Jacobson Gallery, London, where purchased by the present owner
£3,0005,000 1559 Φ PIERRE SOULAGES French, 19192022
Lithographie No. 21 (Encrevé Miessner 68) Signed Soulages (in pencil, lower right) and numbered 1/65 (lower left) Lithograph, 1969, published by Berggruen, Paris 77 x 53cm (sheet) Provenance: Artcurial, Paris; Bernard Jacobson Gallery, London, where purchased by the present owner Around 1956 Soulages began a series of lithographs which use bold brushstrokes applied to the stone in viscous lithographic ink. When asked how the experience of working in lithography differed to etching, Soulages responded by saying: ‘This is work that is closer to the spontaneity of painting...’
£8,00012,000 1558
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1559
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1560
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1561
1560 Φ PIERRE SOULAGES
1561 NICOLAS DE STAËL
French, 19192022
French, 19141955
Eau Forte VII (Encrevé Miessner 7)
Nuit au Parc des Princes
Signed and numbered 17/100 Soulages (in pencil to margin) Etching and aquatint in colours, 1957, published by Berggruen, Paris 53.5 x 38cm (plate)
Signed, dated and numbered 10/15 Stael 1952 (in pencil to margin) Lithograph in colours, 1952 38 x 49.5cm (image)
Provenance: Bernard Jacobson Gallery, London, where purchased by the present owner
Provenance: Christie’s, London, Prints & Multiples, 16 September 2015, lot 128, where purchased by the present owner
In his Eau Forte series, Soulages used the intaglio medium to explore the interplay between light, black pigment and texture.
£3,0005,000
£3,0005,000
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1562 ROBERT RAUSCHENBERG American, 19252008
Bellini #3 Signed, numbered and dated RAUSCHENBERG 42/49 88 (in pencil to margin) Photogravure, aquatint and etching, 1988, published by Universal Limited Art Editions, with their blindstamp 149.5 x 95.3cm (sheet) Provenance: Amy Simon Fine Art, Connecticut, where purchased by the present owner Robert Rauschenberg’s Bellini series are based on the celebrated set of allegorical paintings by Giovanni Bellini (14301516). This print prominently features an image of Bellini’s Allegory of Falsehood (Gallerie dell'Accademia, Venice), onto which Rauschenberg has placed various secondary images.
£4,0006,000
1562
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1563 ROBERT RAUSCHENBERG American, 19252008
Soviet/American Array III Signed, numbered and dated RAUSCHENBERG 18/57 8990 (in pencil, lower right), there were also 14 artist’s proofs Intaglio with photogravure in colours, 19889 220 x 132cm (sheet) Provenance: Zane Bennett Contemporary, Santa Fe, New Mexico, where purchased by the present owner June 2016 In Rauschenberg’s Soviet/American Array he sought to address the politics of peace constructively through art and friendship. Primarily this was through the Rauschenberg Overseas Culture Interchange (ROCI). As part of ROCI, in 1989 Rauschenberg became the first American artist since World War II to be given a solo exhibition in the Soviet Union. The Soviet/American Array were created for his Moscow show. The Russians invited him to exhibit in the Soviet pavilion at the Venice Biennial in 1990, and he became the first artist to represent a country other than his own in that venue.
£5,0007,000
1563
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1564
1564 ANDY WARHOL American, 19281987
Mao (Feldman II.98) Screenprint in colours (blue and red), on Beckett High White paper, a publisher’s proof, (the edition was 250 and there were also 50 numbered artist’s proofs), 1972, printed by Styria Studio, New York, published by Castelli Graphics and Multiples, New York, with the artist’s copyright stamp verso 91 x 91cm (sheet)
Provenance: Georgetown Frame Shoppe, Washington, DC, where purchased by the present owner, August 2013 Andy Warhol created a series of 10 screenprints depicting Mao Zedong. Warhol’s enthusiastic embrace of capitalism and massconsumerism stands in stark contrast to the Chinese Communist Party Chairman. The vibrant palette used in both this and the following work give Mao a sense of Western glamour and kitsch.
£15,00020,000
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1565
1565 ANDY WARHOL American, 19281987
Provenance: Georgetown Frame Shoppe, Washington, DC, where purchased by the present owner
Mao (Feldman II.91)
£15,00020,000
Screenprint in colours (pink and yellow), 1972, on Beckett High White paper, a publisher’s proof, (the edition was 250 and there were also 50 numbered artist’s proofs), printed by Styria Studio, New York, published by Castelli Graphics and Multiples, New York, with artist’s copyright stamp verso 91 x 91cm (sheet)
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1566 1566 ANDY WARHOL American, 19281987
Vote McGovern (Feldman II.84) Screenprint in colours, on Arches paper, 1972, signed and numbered Andy Warhol 9/250 (in ballpoint pen to verso), published by Gemini G.E.L., Los Angeles, lacking their blindstamp and the artist’s copyright ink stamp on the reverse, the sheet with noticeable losses and tears throughout the margins 106 x 106cm (sheet) Unframed
Provenance: Revolver Gallery, Los Angeles, where purchased by the present owner July 2013 Vote McGovern is one of Andy Warhol’s most political prints. It was produced in support of George McGovern’s 1972 presidential campaign, and show’s McGovern’s opponent Richard Nixon as an almost demonic figure with his acid green face.
£1,0001,500
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1567 1567 ANDY WARHOL American, 19281987
San Francisco Silverspot (from Endangered Species) (Feldman IIB.298) Screenprint in colours, 1983, a unique proof (apart from the signed and numbered edition of 150 plus 10 in Roman numerals and 30 artist’s proofs), on Lenox Museum Board 101 x 101cm (sheet)
Provenance: Georgetown Frame Shoppe, Washington, DC, where purchased by the present owner, September 2013 Andy Warhol had a deep fondness and interest in animals, and so when he was commissioned to create a series of ten prints entitled Endangered Species, he embraced the idea enthusiastically, bringing his typically vibrant palette to the subject.
£15,00020,000
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1568 SAM FRANCIS American, 19231994
An 8 Set7 (L.63; SF.71) Signed Sam Francis (lower centre) and inscribed Color Trial Proof (lower left) Lithograph, 1963, from the Pasadena Box suite, a colour trial proof printed in red and black, in addition to the edition of 100 and an unknown quantity of proofs, published by the Pasadena Art Museum, California 38 x 56cm (sheet) Unframed Provenance: Bernard Jacobson, London, where purchased by the present owner October 2015
£1,0001,500
1568
1569 SAM FRANCIS American, 19231994
Untitled (L. L170; SF 189) Signed Sam Francis (in pencil lower right) and numbered 18/30 (in pencil lower left) Lithograph on Rives BFK paper, 1974, published by The Litho Shop Inc, Santa Monica, there was also 1 BAT and 4 AP 56.5 x 75.5cm (sheet) Provenance: Jack Rutberg Fine Arts, Los Angeles, where purchased by the present private collector, May 2014 This work has sometimes been exhibited as Bow Smoke. Francis used water tusche to draw directly onto the plate.
£500700
1569
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1570 SAM FRANCIS American, 19231994
Untitled Acrylic on paper, 1980 73 x 47.5cm Provenance: Brooke Alexander, New York, where purchased by the present owner, April 2014 Exhibited: Northampton, Massachusetts, Smith College Museum of Art, Dorothy C. Miller: With an Eye to American Art, April 19–June 16, 1985, no. 12 This is a fine example of Sam Francis’ acclaimed gestural abstraction. It combines the rich vibrant colours and energetic forms created through dripping paint, with white spaces that recall his earlier Edge paintings. Archive photos show this work hanging in Francis’ studio. This work is registered with the Sam Francis Estate as archive number SF80 1215.
£12,00018,000
1570
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1571 WILLEM DE KOONING American, 19041997
Wah Kee Spare Ribs (Graham 14A) Signed and inscribed Bon a tirer de Kooning (in pencil, across lower edge of sheet) Lithograph, drawn on transfer paper printed from an aluminium plate, 1970, printed on Suzuki paper by Fred Genis at Hollander’s Workshop Inc, New York and published by Knoedler and Co, New York, 1971, a bon á tirer impression (the edition was 57 + 15 artist’s proofs) 143 x 93cm (sheet) Provenance: Sragow Gallery, New York, where purchased by the present owner, February 2016 De Kooning was a relative late comer to lithography, but when he did embrace the medium he produced wonderfully rhythmic works such as the present example, full of swooping, expressive line.
£10,00015,000
1571
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1572 ROBERT MOTHERWELL American 19151991
Black Sounds (B.306) Signed and numbered Motherwell/47/60 (in pencil to margin) Lithograph, relief print and collage, 1984, on Arches Cover and Tyler Graphics paper, published by Tyler Graphics and with their blindstamp 99 x 63.5cm (sheet) Provenance: Bernard Jacobson Gallery, London, where purchased by the present owner October 2013
£1,5002,500
1572
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1573 1573 ROBERT MOTHERWELL
1574 ROBERT MOTHERWELL
American, 19151991
American, 19151991
Elegy Study (B.209)
Automatism #9A
Signed with initials and numbered RM/ 34/98 (in pencil, upper left), with the artist’s blindstamp Lithograph on Twinrocker handmade paper, 1979, printed by Derriére L’Étoile Studios, New York and published by Brooke Alexander, Inc., New York 64 x 96cm (sheet)
Ink and gouache on Japan paper, 1965 66 x 51cm
Provenance: Bernard Jacobson Gallery, London
£3,0005,000
Provenance: Dedalus Foundation, 1991; Flavia Ormond Fine Arts, London; Bernard Jacobson Gallery, 2004; Private Collection; Bernard Jacobson Gallery, London, where purchased by the present owner, September 2007 Exhibited: Los Angeles, Manny Silverman Gallery, Group Exhibition, JulyAugust 1998, no.16; Los Angeles, Manny Silverman Gallery, Willem de Kooning, Adolph Gottlieb, Robert Motherwell, FebruaryApril 1999, no.2; Santa Monica, Bobbie Greenfield Gallery, Adolph Gottlieb, Robert Motherwell, Louise Nevelson, Joan Banach, David Hockney, 19992000, no.3; Los Angeles, Manny Silverman Gallery, Robert Motherwell: Themes and Variations Including the Dedalus Sketchbook, NovemberDecember 2002, no.5; London, Bernard Jacobson Gallery, Robert Motherwell, JuneJuly 2002, no.15; New York, Loretta Howard Gallery, Summer Review, JuneJuly 2014 Literature: Katy Rogers, Robert Motherwell Drawings: A Catalogue Raisonné (Yale University Press, 2022), p.209, no.D365 Robert Motherwell painted his Automatism drawings in 1965. This was a series of nineteen works where swathes of blue gouache complement Motherwell’s characteristic gestural forms in black ink.
£30,00050,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions
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1574
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1575 1575 ROBERT MOTHERWELL American, 19151991
The Berggruen Series (B.225228) The complete set of four, each signed Motherwell (in pencil, upper left or lower right) and each numbered ap V/XXX, ap XXI/XXX and two ap XXIII/XXX (in pencil, upper left or lower right) Each colour lithograph, 1980, artist proofs in addition to the edition of 100, copublished by Berggruen & Cie, Paris, John Berggruen Gallery, San Francisco, and Brooke Alexander, Inc., New York Each 39.4 x 41.9 cm (sheet) (4) Provenance: Bernard Jacobson Gallery, London The series was commissioned by Heinz Berggruen of Berggruen & Cie, Paris. Motherwell used thinned tusche on transfer paper to create the gestural forms.
£3,0005,000 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions
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1576 ROBERT MOTHERWELL American, 19151991
Untitled Signed with initials and dated RM/69 (lower right) Acrylic and charcoal on paper, 1969 156 x 80cm Provenance: Dedalus Foundation Inc, New York, 1991; Manny Silverman Gallery, San Francisco; Property of a Rocky Mountain Collection; By whom sold, Phillips, New York, 20th Century & Contemporary Art Day Sale, 10 May 2016, lot 236, where purchased by the present owner Exhibited: New York, James Graham & Sons Gallery, The Big Drawing, AprilMay 1969 Literature: Jack Flam, Katy Rogers and Tim Clifford, Robert Motherwell: A Catalogue Raisonné 1941-1991, vol. 3, Collages and Paintings on Paper and Paperboard (New Haven, Yale University Press, 2012), p.529, no.W305 (illustrated) This work is a superb example from Robert Motherwell’s iconic Open series. A rare, larger format work on paper, it was created for an exhibition entitled The Big Drawing, shown at James Graham & Sons Gallery in New York. The group show was coordinated by framer Barbara Kulicke, who requested the participating artists to provide large scale pieces (between 2 x 5 and 4 x 8 feet), which were to be framed in a new Kulicke frame called the Plas-Par-Tout (Place for all). The present work has a charcoal lined Open form with a ribbon of white acrylic paint running vertically down the right hand side of the composition. Motherwell started The Open series in 1967 when he was struck by the shape of a smaller painting leaning against a larger painting in his studio. In his words, “the proportion of the smaller vertical canvas, leaning on the larger vertical canvas, was rather beautiful, and so I outlined the smaller canvas in charcoal….so that the lines looked like a door – a very abstract one.” Motherwell later inverted this smaller rectangular form to imply an opening upwards, towards a new dimension somewhere between physical reality and pictorial abstraction, as seen beautifully in the present example.
£30,00050,000
1576
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1577
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1578
1577 ROBERT MOTHERWELL
1578 ROBERT MOTHERWELL
American, 19151991
American, 19151991
St Michael III (B.206)
Study for The Grand Inquisitor (Study for Catalonia #II)
Signed with initials and inscribed RM/ Work proof (in white Chinagraph pencil, lower right) Lithograph and screenprint in colour on grey HMP handmade paper, 1979, one of 11 work proofs in addition to the edition of 99, published by Tyler Graphics Ltd, New York, with their blindstamp 104 x 78cm (sheet)
Signed with initials and dated RM/ .88 (in pencil, upper right), bears inscription INV. #: P88-3491/ 1988/ ACRYLIC + PENCIL ON PAPER/ 11 7/8” x 28 1/2” (in black fibre tip, on card attached to backboard), also “STUDY FOR CATALONIA #II” (ditto) Acrylic and pencil on paper 30 x 72.5cm
Provenance: Bernard Jacobson Gallery, London, where purchased by the present owner, February 2013
Provenance: Dedalus Foundation, 1991
£1,2001,800
Exhibited: New York, Knoedler & Co, April 1989, cat.12 (in an early state); Mexico City, Museo Rufino Tamayo, 1991; Paris, Galerie Lelong, 2005 Literature: Jack Flam, Katy Rogers and Tim Clifford, Robert Motherwell: A Catalogue Raisonné 1941-1991, (New Haven, Yale University Press, 2012), no.W716 This work is one of a number of studies Robert Motherwell made for his large scale painting The Grand Inquisitor. An early version was exhibited at Knoedler & Co in April 1989, which had ochre running along the bottom edge. When the work was returned Motherwell in October of that year he extended the black to the bottom edge of the composition. Although the title of the final work and its studies was originally Catalonia, Motherwell subsequently changed them to The Grand Inquisitor. This refers to a parable in Fyodor Dostoyevsky’s novel The Brothers Karamazov.
£20,00030,000
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1579
1580
1581
1582
1579 JOHN OPPER
1580 PHILIP GUSTON
1581 Φ ESTEBAN VICENTE
1582 HUGO WEBER
American 19081994
American 1913–1980
Spanish/American 19032001
Swiss/American, 19181971
Stone #2
Nice (Ochre)
Untitled (E.V. #6)
LA
Signed, inscribed and dated John Opper ‘42 Stone #2 (in pencil lower right) Lithograph, not editioned 31.8 x 48.9cm (sheet) Unframed
Signed, inscribed and dated Trial Proof Philip Guston ‘66 (in pencil) Lithograph, a trial proof in addition to the edition of 25 56.9 x 72.8cm (sheet) Unframed
Provenance: Sragow Gallery, New York, where purchased by the present owner, 2016
Provenance: Emanuel von Baeyer, London, where purchased by the present owner May 2015
Signed Esteban Vicente (in pencil lower right) and numbered 8/40 (in pencil lower left) Lithograph, published by Hollanders Workshop, Inc., New York (with their blindstamp) 63 x 53.9cm (sheet) Unframed
Signed, inscribed and dated Hugo Weber, LA 64/ Tamarind (lower right) and proof (lower left) Lithograph, printed in black and yellow 57 x 76.2cm (sheet) Unframed
£100150
£1,0001,500
Provenance: Sragow Gallery, New York, where purchased by the present owner, February 2017
£150250
£200300
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1583 Φ DAME BARBARA HEPWORTH, DBE, RA 19031975
Green Man Signed Barbara Hepworth (in pencil, lower right), numbered 74/200 (in pencil, lower left) Lithograph in colours, 1972, published by Cercle Graphique Européen, with their blindstamp 66 x 48.5cm (image) Provenance: Gilden’s Fine Art, London, where purchased by the present owner, October 2006
£1,5002,500
1583
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1584 1584 Φ AFTER LAURENCE STEPHEN LOWRY, RA 18871976
Britain at Play Signed L S Lowry (in pencil to margin), and with Fine Art Trade Guild blindstamp Reproduction print 44.8 x 59.8cm (image) Provenance: Whitewall Galleries, Bath, where purchased by the present owner, March 2014
£1,0001,500 1585 Φ AFTER LAURENCE STEPHEN LOWRY, RA 18871976
St Luke’s Church, Old Street, London Signed and numbered 850/376 L S Lowry (in pencil to margin) Reproduction print, published by G. R. Mellor, 1973, with their blindstamp 61 x 45cm Provenance: Whitewall Galleries, Bath, where purchased by the present owner, March 2014
£1,0001,500
1585
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1586 1586 Φ TREVOR GRIMSHAW 19472001
Evening Town Signed and dated TGRIMSHAW 86 (lower right), also signed and inscribed TREVOR GRIMSHAW/’Evening Town’/TGrimshaw (to label on backboard) Pencil 50.5 x 68.5cm
£1,2001,800 1587 Φ TREVOR GRIMSHAW 19472001
Church in Fog Signed TGRIMSHAW (lower left) Pencil 13.5 x 13cm
£8001,200
1587
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1588
1589
1590 1588 THOMAS B. LAWS fl.c.19301940
Coal for Power Consistently Cheapest and Best Signed Thomas (lower right) Gouache and charcoal, a poster design 74.5 x 49.5cm Provenance: Sotheby’s, London, John Jesse: The Pursuit of Style, 22 February 2006, lot 245 (with incorrect measurements), where purchased by the present owner
£300500
1591 1591 Φ KENNETH GRIBBLE
1589 Φ RUSKIN SPEAR, CBE, RA
1590 Φ ROGER HAMPSON
19111990
19251996
19251995
The Bedroom
Railway Bridge, Bolton
Watercolour and pencil 20.7 x 24.5cm
Signed Roger Hampson (lower right), inscribed Railway Bridge/ Bolton (in fibretip verso) Oil on Masonite 14 x 19cm
Port Clarence & Roseberry Topping
Provenance: Mrs Mary Spear, the artist’s widow; Crane Kalman Gallery, London, 1995
£300500
Bears artist’s printed label with title in ballpoint verso Oil on board 25.5 x 30.5cm
£150250
Exhibited: London, Crane Kalman Gallery, Ruskin Spear Retrospective 1994
£200300
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1592 1592 Φ JOSEF HERMAN, OBE, RA Polish/British, 19112000
Three Miners Oil on canvas 35 x 45.5cm Provenance: Roland, Browse & Delbanco, London; Sotheby’s London, Modern British and Irish Paintings and Drawings, 6 March 1996, lot 80, where purchased by the present owner
£3,0005,000 1593 Φ JOSEF HERMAN, OBE, RA Polish/British, 19112000
Group of Miners Black ink and wash with pencil, 19481949 17 x 22.7cm Provenance: Boundary Gallery, London, where purchased by the present owner February 1996
£7001,000
1593
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1594
1595
1596
1594 Φ HARRY HOLLAND
1595 Φ ROBERT FAWCETT
Scottish b.1941
b.1966
Cover II
Moth
Signed H Holland (lower right) Oil on panel, 1996 17.5 x 14.1cm
Oil on copper, 2005 21.9 x 16.4cm
Provenance: Jill George Gallery, London
Provenance: Jill George Gallery, London, where purchased by the present owner
£600800
£300500
1596 Φ ROD JUDKINS
1597 Φ ZINSKY
b.1956
b.1977
Jenny
Clint Eastwood
Signed with initials and dated RJ93 (lower right) Pastels on handmade paper 103.5 x 43cm
Signed and numbered Zinsky/ 7/25(in silver felt pen, lower right) Giclee print on canvas laid on card 38.7 x 29cm
Provenance: Jill George Gallery, London, where purchased by the present owner
Provenance: Whitewall Galleries, Bath, where purchased by the present owner, April 2014
£300500
£80120
1597
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1598 Φ GUY TAPLIN b.1939
Four Godwits Each bird signed and inscribed Godwit/GUY TAPLIN and numbered (to underside) Painted wood with glass bead eyes on a painted driftwood base with metal supports 71.5 x 89 x 47cm
£1,0001,500 1599 Φ CLARE BIGGER b.1967
Finis Cut and welded stainless steel 83.4 x 45 x 27.5cm (including base) Provenance: New Academy Gallery, London
£300500 1600 Φ SOPHIE DICKENS b.1966
Icarus Signed with initials SD and numbered 9/10 (on base) Patinated bronze 41 x 14 x 18.2cm (including base)
1598
Provenance: Courcoux & Courcoux, Stockbridge
£600800
1599
1600
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
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1601 Φ CRAWFURD ADAMSON Scottish b.1953
Bending Woman, Back View Signed Crawford Adamson (lower left) Oil on canvas 50.7 x 45.7cm Provenance: Jill George Gallery, London
£250350 1602 Φ DAVID LEVERETT b.1938
Sacred Gove, 1993 1601
1602
Acrylic on paper 69 x 80cm Provenance: Jill George Gallery, London
£200300 1603 Φ ANTHONY WHISHAW, RA b.1930
Bull Fight Oil on board 183 x 122cm Provenance: Roland, Browse & Delbanco, London; Sotheby’s, London, Modern British & Irish Paintings, Drawings & Sculpture, 28 September 1994, lot 225
£6080 1604 Φ ALEXANDRA ‘SANDIE’ GARDNER b.1945
Bobolosky’s Study
1603
1604
Signed Gardner (lower right) Graphite, charcoal and touches of yellow chalk 31 x 24.7cm Provenance: Duncan Miller Contemporary Arts, London
£150250 1605 Φ ALISON LAMBERT b.1957
Head Study Two Signed and dated A.Lambert 1997 (lower right) Charcoal on collaged paper 59 x 60.7cm Provenance: Jill George Gallery, London
£200300 1605 Visit www.woolleyandwallis.co.uk to read the full Terms & Conditions
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1606 Φ CHRIS INSOLL b.1956
Yellow Dot Signed and dated INSOLL/ 05 (lower left); also numbered, titled and signed 2388 Yellow dot Chris Insoll (to stretcher) and dated 4/6/05 (to canvas verso) Acrylic on canvas 76 x 101.5cm Provenance: The New Gallery, Portscatho, Truro
£150250 1607 Φ CHRIS INSOLL b.1956
My Blue Poles A pair; numbered, signed and dated 2485 (a + b)/ Chris Insoll/ ‘06 and My blue poles ? (to backboard) Both acrylic on canvas, framed as one Each 50 x 50cm, framed as one
1606
Provenance: The New Gallery, Portscatho, Truro
£200300 1608 Φ RICHARD WALKER b.1954
You are Here Signed and dated Richard Walker 96 (lower right), and inscribed You are here (lower left) Mixed media on paper 49.5 x 35cm Provenance: The New Academy Gallery, London, where purchased by the present owner
1607
£200300 1609 Φ RICHARD WALKER b.1954
Buzzworld Signed and dated Richard Walker 96 (lower right), inscribed Buzzworld (lower left), and further inscribed The setting sun/burns brilliant red/winking electric eyes/electric crushed rainbows/jewelled near/phosphoresence ****/art forms/restored glory/*** the deadly (to centre) Mixed media on paper 49.5 x 35cm Provenance: The New Academy Gallery, London, where purchased by the present owner
£200300 1608
1609
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1610 Φ AFTER FRANCOIS MORELLET
1612 Φ COLIN KENT
French, 19262016
b.1934
Names
Storm on the Coast
With poems by Nicolas Cendo, Jacques Longueville and Tita Reut Three, screenprints with text, with title page, published 1997, from the edition of 50 Each 20.5 x 41.5cm (sheet), framed as one
Signed Colin Kent (in ink, lower left) Acrylic on card 25.7 x 33cm
Provenance: imprints Galerie, France, where purchased by the present owner, April 2008
£100150 1611 Φ PETER MONKMAN
£100150 1613 NINE ASSORTED PHOTOGRAPHIC PRINTS & REPRODUCTIONS to include examples after Franck Bohbot, Laurent Dequick, Harry De Zitter, Ben Hupfer, Philip Nelson and others, various sizes (9)
£150250
b.1966
The Spirit World
1610
1611
Signed and dated P Monkman ‘08 (in pencil, lower left) Watercolour 54 x 74cm
£200300
1612
1613
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ARTISTS INDEX A
O
H
Adamson, Crawfurd
1601
Hampson, Roger
1590
Albers, Josef
1545
Hepworth, Barbara
1583
Aldegrever, Heinrich
1501
Alechinsky, Pierre
1552
Andrews, Sybil
1517, 1518
B
Herman, Josef
1592, 1593
Hofmann, Hans
1556, 1557
Holbein the Younger, Hans
1502
Holland, Harry
1594
1543
Barlach, Ernst
1527
I
Bauer, Rudolf
1546
Insoll, Chris
Bellows, George
1515
Bigger, Clare
1599 15301542
Braque, Georges
1554
C Chagall, Marc
1555
Corinth, Lovis
1525, 1526
Craig, Edward Gordon
1516
D Dickens, Sophie
1528, 1529
Dürer, Albrecht
1503, 1504
F Fawcett, Robert Francis, Sam
1595 15681570
Gardner, Alexandra 'Sandie' Giacometti, Alberto
1606, 1607
J Janssen, Horst
1551
Judkins, Rod
1596
1604 1553
Piranesi, Giovanni Battista
1514 1520
Rodchenko, Alexander
1523
Rössler, Jaroslav
1524
S Sickert, Walter Richard 1521, 1522
1544
Kent, Colin
1612
Kliun, Ivan Vasilievitch
1547
de Kooning, Willem
1571
1519 15581560
Spear, Ruskin
1589
de Staël, Nicolas
1561
T Taplin, Guy
1598
L Lambert, Alison
1605
Laws, Thomas B.
1588
Leverett, David
1602
Lowry, Laurence Stephen 1584, 1585
Martin, John
1511
Monkman, Peter
1611
V Vicente, Esteban
Walker, Richard
1608, 1609
Warhol, Andy
15641567
Weber, Hugo
1582
Whishaw, Anthony
1603
Monogrammist AG
1505
Z
Gribble, Kenneth
1591
Morellet, Francois
1610
Zinsky
Grimshaw, Trevor
1586, 1587
Motherwell, Robert
15721578
Munch, Edvard
1581
W
1512, 1513
1580
1562, 1563
Ricketts, Charles de Sousy
Soulages, Pierre
Kandinsky, Wassily
1510
R
Goya, Francisco
Guston, Philip
1549, 1550
Smith, Percy John Delf
K
M
G
Picasso, Pablo
Rethel, Alfred
1600
Dix, Otto
1579
P
Rauschenberg, Robert
Balla, Giacomo
Bomberg, David
Opper, John
1548
Lots marked Φ may be subject to an additional fee - please see ARR information on page 75 • Framed images of each lot are available on www.woolleyandwallis.co.uk
1597
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THE TIM WOOLLEY MEMORIAL LECTURE
REDISCOVERING TWO LOST RENAISSANCE CERAMIC MASTERPIECES PRESENTED BY PROFESSOR TIMOTHY WILSON Including a private view of the extraordinary Italian Renaissance maiolica plaques from 1536 by Francesco Xanto Avelli
THURSDAY 15TH OCTOBER at our City Centre Salerooms, 51 61 Castle Street, SP1 3SU
PROFESSOR TIMOTHY WILSON Honorary Curator, Department of Western Art, Ashmolean Museum Tim Wilson was Keeper of Western Art at the Ashmolean Museum and Professor of the Arts of the Renaissance at University of Oxford, posts from which he re red in 2017 a er more than 25 years. He is a specialist in European Renaissance po ery and decora ve arts, especially Italian maiolica. He is the author of a number of publica ons considered standard references on the subject. These include ‘Italian Maiolica and Europe’, which is both a catalogue of the Ashmolean’s Italian po ery and a study of the spread of the n glaze tradi on through Europe and beyond; ‘The Golden Age of Italian Maiolica Pain ng’ that was published by Allemandi in 2019; and he was principal author of ‘Tin Glaze and Image Culture – The MAK Maiolica Collec on in Its Wider Context’, that was published in November 2022.
Tickets for sale £15 – All monies donated to Salisbury Hospice Drinks & Canapés will be served 6pm / Lecture 7pm All enquiries to 01722 424500 or events@woolleys.live
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MODERN WEEK Modern British & 20th Century Art – 1st December British Art Pottery & Studio Ceramics – 2nd December
John Nash, RA (1893-1977) The Rock Pool £15,00020,000
ENQUIRIES paintings@woolleys.live +44 (0)1722 446962 design@woolleys.live +44 (0)1722 446954
Lucie Rie (1902-1995) A porcelain footed bowl, c.1984 £5,0008,000
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Monday to Friday 9am – 5pm Monday to Friday 9am – 5pm
All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.
All first time buyers need to register with us. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting client services on 01722 424500 or emailing id@woolleys.live You will be asked to show your documents or email copies. PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.
See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.
To bid at auction you will need a paddle number. This can be obtained from client services either during the view or on the day of the sale.
If you are unable to attend the sale, you may leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible, bearing in mind any reserve price and other bids. Commission bids may be submitted in advance by email to bids@woolleys.live. Please ensure you have received email confirmation afterwards. Please note that it may not be possible to execute commission bids left on the day of the sale itself, so please make sure these are placed well in advance. You may be contacted for ID. If this information is not received your bids will not be taken.
It is usually possible to bid on the telephone by prior arrangement with client services.
Live online bidding is available free of charge for most of our auctions via bid.woolleys.live, enabling you to take part in the bidding from anywhere in the world, live as it happens.
BUYER’S PREMIUM )('&%$(#'")! ' !$' )(')! (#' # (' ( )(#' )'!'&%$(# "' #( % ' )(#( ' ' ' %"' '! ' ' ! ' ' %" ( ' ' )(' #" ' ' ' )(')! (#' # ('! ' ' %"' '! ' ' ' %" ( '% ' ' '! ' ' %"' '! ' ' ' %" ( ' )(#(! (# CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true.
SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping
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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bacs, debit and credit cards Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30 97 41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Debit and Credit cards: Visa, Mastercard, Amex or Union Pay. Where practical, payment can be made and purchases collected during the auction. We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported.
ARTIST’S RESALE RIGHT / DROIT DE SUITE
Lots marked with a symbol are poten ally subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below £1,000 and the maximum royalty payable on any single lot is £12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Royalties for Droit de Suite are as follows: 4% Up to £50,000 3% £50,000.01 200,000 1% £200,000.01 350,000 0.5% £350,000.01 500,000 0.25% In excess of £500,000 Up to a maximum levy of £12,500
FIREARMS Lots marked in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but will not be allowed to take physical possession of it. The auctioneers will re offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.
The CITES Regulations may be found at www.defra.gov.uk/ahvla en/imports exports/cites/
Visit www.woolleyandwallis.co.uk to read the full Terms & Condi ons
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Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.
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Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual clients needs.
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For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.
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Woolley & Wallis valuations are accepted by all leading insurance companies.
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We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.
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We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.
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Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live
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DIRECTIONS FROM OUR CITY CENTRE SALEROOMS TO OUR OLD SARUM GALLERIES Woolley & Wallis City Centre Salerooms 51 – 61 Castle Street SP1 3SU
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Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500
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FREE AUCTION VALUATIONS
Woolley & Wallis W 17 Clifford Street S Second Floor M Mayfair London W1S 3RQ
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17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only) 51 61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29
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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough
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SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below PAINTINGS
MEDALS & COINS, ARMS & ARMOUR
Victor Fauvelle Ed Beer Richard Kay Heidi Easton
446961 446962 446964 446970
20TH CENTURY DESIGN Max Fisher Zoe Smith
424505 446955
339752 339161
424506 424583 424589 +44 (0)7812 601098 424591
Neil Grenyer MRICS Becky TillyTrickett
446974 339161
Freya YuanRichards
BOARD OF DIRECTORS
339752
424583 424591
JEWELLERY
Lot 1543 (detail)
424502
424500
Fahmeeda Yasmin Oscar Eccleston Annabelle Hunt
411854 446974 339161 339161 339161
JAPANESE ART
Lot 1542
Ruth Pike (Client Services Manager) Sarah Bennie Julie Langstaff Riin RohtlaSzeverenyi Jen RussellSmith
Emma Clement Frances Woodhams
INTERIORS
Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Jacob Carpenter Freya Miller Beth Reardon
Jeremy Lamond MRICS FRSA Frances Woodhams
424589
FURNITURE, WORKS OF ART & CLOCKS
Alexandra Aguilar Olivia Jones
446956 446959 446957
MARKETING
CHINESE PAINTINGS & CALLIGRAPHY
Will Hobbs
Rupert Slingsby Archie Swann Demi JuenoChapman
PHOTOGRAPHY
BRITISH AND CONTINENTAL CERAMICS & GLASS
Mark YuanRichards Neil Grenyer Jim Gale Sarah Stone Becky TillyTrickett
SILVER
CLIENT SERVICES
ASIAN ART John Axford MRICS Alexandra Aguilar Freya YuanRichards Jeremy Morgan Olivia Jones
341469 446955
VALUATIONS
AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs Becky TillyTrickett
Ned Cowell Zoe Smith
424595 424504 424586 424569 424509
John Axford MRICS Chairman Natalie Milsted FCCA Managing Director Alexandra Aguilar Director Ed Beer Director Rupert Slingsby Director Marielle Whiting FGA Director
ASSOCIATE DIRECTORS Ned Cowell Victor Fauvelle Will Hobbs Jeremy Lamond MRICS FRSA Freya YuanRichards Mark YuanRichards
424571
22 Oct Durer To Warhol Cover.qxp_Layout 1 22/09/2026 14:02 Page 1
FROM DÜRER TO WARHOL: A PRIVATE COLLECTION THURSDAY 22ND OCTOBER 2026
www.woolleyandwallis.co.uk
FROM DÜRER TO WARHOL: A PRIVATE COLLECTION THURSDAY 22ND OCTOBER 2026