Modern Made ft.The Collection of Gordon & Ursula Bowyer | Auction 30 & 31 October 2025

FEATURING THE COLLECTION OF GORDON & URSULA BOWYER

30TH & 31ST OCTOBER 2025 LIVE IN LONDON & ONLINE

FEATURING THE COLLECTION OF GORDON & URSULA BOWYER

LOTS 100-527: FRIDAY 31 OCTOBER 2025 AT 10AM LOTS 1-79: THURSDAY 30 OCTOBER 2025 AT 5PM

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CONTACT

LONDON +44 (0) 20 7930 9115 EDINBURGH +44 (0) 131 557 8844 info@lyonandturnbull.com Front cover Lot 64 [detail]

Inside front cover Lot 492 [detail] Left Lot 346

EXHIBITION & VIEWING

Mall Galleries, The Mall, London, SW1Y 5AS

Tuesday 28 October 1pm-5pm Wednesday 29 October 10am-5pm Thursday 30 October 10am-4pm Friday 31 October 9am-12noon

BUYER'S GUIDE

BUYER’S PREMIUM

The buyer shall pay the hammer price together with a premium, at the following rate, thereon:

26% up to £800,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or Ω symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

DROIT DE SUITE

§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk.

ENDANGERED SPECIES

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ ahvla-en/imports-exports/cites

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol )

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

COLLECTION OF PURCHASED LOTS

LONDON LOT COLLECTION

Items will be available for collection from the Mall Galleries on Saturday 1st November 10am - 3:00pm. Following this, items will be available to collect from Thursday 6th November 9am from Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB60FD. They will be stored free of charge until Thursday 20th November. From Friday 21st November clients will be charged by our storage partners. Insurance 0.25% (all items) Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.

EDINBURGH LOT COLLECTION

If you would like to collect from our Edinburgh office, please contact Neil Graham by 5pm on Wed 5th November (neil.graham@lyonandturnbull.com). Items will then be available for collection from Friday 14th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844

MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or condition of a lot, or just want to find out more about the auction process.

Philip Smith | London

Co-Head of Sale

philip.smith@lyonandturnbull.com

+44 7741 247 225

Alice Strang | Edinburgh

Paintings, Prints & Sculpture

alice.strang@lyonandturnbull.com

+44 7966 377 060

Simon Hucker | London

Co-Head of Sale

simon.hucker@lyonandturnbull.com

+44 7442 575 266

Charlotte Riordan | Edinburgh

Paintings, Prints & Sculpture

charlotte.riordan@lyonandturnbull.com

+44 7467 953 724

John Mackie | Edinburgh Design

john.mackie@lyonandturnbull.com

+44 131 557 8844

Neil Graham | London Sale Co-ordinator

neil.graham@lyonandturnbull.com

+44 7714 699 084

Carly Shearer | Edinburgh

Paintings, Prints & Sculpture

carly.shearer@lyonandturnbull.com

+44 7818 190 726

Joy McCall | London Design

joy.mccall@lyonandturnbull.com

+44 7810 301 525

Sarah Duncan FGA | London Jewellery

sarah.duncan@lyonandturnbull.com

+44 7551 173 745

Francesca Christodoulou | London Design

francesca.christodoulou@lyonandturnbull.com

+44 7917 434 602

We are delighted to present the 13th edition of Modern Made, once again celebrating the best of modern and contemporary art and design.

As in previous editions, the sale brings together an exciting mix, ranging from classic Modern British art to pioneering Modern Design; studio ceramics spanning 100 years of making to contemporary textiles; European glass to the best of British jewellery. Combined these objects create a fascinating dialogue across time, location, media, and materials.

This season we are especially honoured to present the private collection of architects Gordon and Ursula Bowyer, a remarkable couple who were deeply involved with the foundation of modernism in post-war Britain. Formed over six decades, their collection reflects both an unerring eye for innovation and a circle of friendships with many of the up-and-coming artists and designers of their day, who went on to become major figures in their fields. Modern British Art is at the core of the collection – Paul Nash, Ben Nicholson, Keith Vaughan, Victor Pasmore, Robert Adams, Reg Butler, the ‘Two Roberts’ Colquhoun and MacBryde, amongst others. The Bowyers were also great collectors of modern printmaking – owning works by Eric Ravilious, C.R.W. Nevinson, Edward Wadsworth, Georges Braque, and Pablo Picasso.

The Bowyers collected not as investors, but as participants within a world of architects, designers, artists and makers who believed passionately in shaping the modern world.

Left Tottenham Court Road Underground Station, September 2025, featuring a similar ‘moth’ to Lot 171

Their collection stands today as a testament to that shared spirit of optimism and experimentation and its ethos is something that we very much try to emulate in the curation of Modern Made.

Elsewhere, this edition features a number of exceptional highlights: a wonderful group of works by Finn Juhl – some from the Bowyers – which perfectly represent the organic sophistication of Scandinavian design; a superb large vessel by Jennifer Lee, whose serene, hand-built forms have made her one of Britain’s most admired ceramic artists; jewellery by the celebrated Wendy Ramshaw; an important early pot by Grayson Perry, exhibited at his retrospective at the Stedelijk Museum in Amsterdam in 2002, the landmark exhibition that ultimately led to his nomination for the Turner Prize; and an original section of Eduardo Paolozzi’s beloved tile mural for Tottenham Court Road tube station, a work of art seen by millions of Londoners every year.

We are also pleased to offer two fascinating glimpses “behind the scenes”: a collection of preparatory sketches by Patrick Caulfield, revealing the meticulous planning behind some of his most iconic works, and a suite of original textile and fabric designs by Jacqueline Groag, the Czech-born designer whose joyful patterns helped define British post-war design and fashion.

As always, Modern Made remains a celebration of creativity, craftsmanship, and the enduring dialogue between art and design. We hope you enjoy exploring this catalogue as much as we have enjoyed bringing it together.

Philip Smith Simon Hucker

Co-Heads of Sale

IMAGE NOT AVAILABLE

Ursula and Gordon Bowyer.

Image courtesy Architectural Press Archive RIBA Collections.

THE COLLECTION OF GORDON & URSULA BOWYER

The story of Gordon and Ursula Bowyer’s art collection starts with a bicycle: Gordon had been given 21 guineas by his parents for his 21st birthday, with express instructions to buy one, but instead he bought a painting – by Ben Nicholson. This was the beginning of a sixty-year collecting journey that Gordon was to undertake with his wife Ursula, a journey that was to take in a large section of the most significant artists in Britain of the post-war period, as well as design pieces by some of Europe’s leading makers.

The Bowyers’ art collection revolves around artists we now see as ‘classic’ Modern British art - not just Nicholson, but the likes of Pasmore, Vaughan, Adams and Butler, to name a few, as well as works by ‘The Two Roberts’, Colquhoun and MacBryde, some of Gordon’s earliest purchases, who as luck would have it are subjects of a major retrospective at Charleston this autumn. Yet Gordon and Ursula would have known these artists not as modern masters but as young contemporaries and a few of them – Pasmore and Adams for instance – were friends and part of their own up-and-coming milieu. In many cases, the Bowyers had to wait until the 80s and 90s to be able to afford to acquire them, but they never forgot the time when not only they themselves came into their own professionally, but when British art was certainly at its most creative and ground-breaking. The 1950s was the decade when a new generation of British sculptors, including Adams, Butler and Paolozzi, took the art biennials of Venice and Sao Paulo by storm; when Henry Moore was populating the modernist plazas of America and when Nicholson, along with Hepworth, Lanyon, Heron et al made the small Cornish fishing village of St Ives one of the key sites of European abstraction.

Yet whilst the 1950s were a golden age of British artistic creativity – in fine art, design, industrial design and architecture – actually making a living from it was hard. This was in part due to the financial austerity of the post-war period, but equally due to the long tradition of British cultural philistinism and our native preference for the traditional in art, where artists such as Sickert or Ben Nicholson’s father, Sir William were about as modern as one got without scaring the horses. For Gordon and Ursula, on the other hand, these artists were about as traditional as they got, the start-point of a modernity that fired their imagination and they felt it was vital to support those artists trying to shape something new. If it wasn’t for people like them – a small band of architects, designers, engineers, as well as the odd moneyed dilettante of impeccable taste, such as Peter Watson or Cyril Connolly – there simply wouldn’t have been the conditions for contemporary art to exist.

Ursula, in particular, fits the profile of this vitally important new wave of collector, as almost all that was good about the avant-garde scene in Britain in the 1950s ran through the network of artists, collectors and gallerists who had arrived in Britain to escape persecution by the Nazis in the previous decades. Europe’s loss was very much our cultural gain. Ursula’s story is, in fact, heartbreakingly typical of the period. She was born in Berlin into a Jewish family with no conception of being anything other than German. However, her family were slowly isolated and disenfranchised by the succession of race laws passed by the Nazis in the mid-1930s. (When asked about her earliest memories of architecture, she recalled living in a flat near to the Berlin Olympic stadium and being aware of the powerful, brooding presence of the

structure – but equally recalling that the position of the flat also made it harder for the SA to smash their windows). Ursula’s parents were lucky enough to have the opportunity to leave and so they did, sending her over to England on a ferry in 1938 and yet, like so many families who did manage to get out, they still lost many members of their extended family to the Holocaust.

Gordon and Ursula met during the War, when they we both students at the Regent Street Polytechnic, then one of the more advanced art and design schools in the country. Their tutor was Peter Moro – another European émigré and one of many bringing Bauhaus principles of art and life to a willing British student body. They married in 1950, during a brief pause in the work on what was to be their breakthrough project: the Sports Pavilion for the Festival of Britain, held the following year.

Looking back, the Festival of Britain could be seen as the British government – bankrupt from the War – desperately papering over the cracks, trying to preserve its preWar hegemony in a rapidly de-colonialising world. The architectural jamboree built on the south bank of the Thames

was (literally) flimsy and jerry-built. But the Festival was also brilliant and innovative and, importantly, beloved by the public, who took it for what it was intended to be: a celebration of hopeful new beginnings, the very opposite of the existential cry that some of the Bowyers’ favourite sculptors were to present to a stunned audience at the Venice Biennale in 1952. The Festival itself had a strong look – bright colours, lightweight, playful, with plenty of angled go-ahead lettering (at which Ursula was a dab hand) and public murals in a user-friendly Cubist idiom (at which Gordon was adept). Gordon and Ursula’s Sports Pavilion was the Festival personified – bolted together from scaffolding poles and canvas awnings, floating elegantly above the muddy Thames, it was the epitome of bright and breezy, at once both nostalgic and futuristic.

Based on the success of the Pavilion and the small pieces of work they were managing to win (and Ursula’s wages from working for the influential Maxwell Fry and Jane Drew), the Bowyers bought a house on Maze Hill in Greenwich, where they were to live for the rest of their lives – and established their own architectural practice, with their

first office in Blandford Street, in Marylebone. Despite the success of the Festival of Britain in giving the nation a taste for modernism (a taste we embraced perhaps more than we let on, judging by the popularity of Midwinter tea sets and G-plan sideboards in the ensuing decade), work for architects in the manner of Le Corbusier was stretched rather thin and so the Bowyer’s practice morphed into more of a loose collective of architects – many of them friends from their Regent Street Poly days – working on projects independently and collaboratively, sharing skills and opportunities equally. Colleagues included Trevor Dannatt (whose brother George was a painter whom the Bowyers collected), Walter Grieves, Richard and Margaret Finch and George Subioto, whilst Peter Moro was installed as eminence grise.

After several years, the Blandford Street architects went their separate ways, although they continued to collaborate on projects for decades to come. Ursula, having taken some time away to focus on raising a family, re-joined Gordon as a partner as they developed a small but exquisite line in private houses, most notably the mirrored terrace at 17 and 17a Montpelier Row in Blackheath, that they built in 1958 for their friend, the Labour politician Jim Callaghan. Gordon and Ursula were meant to move into 17a but found the prospect

of leaving Maze Hill too much of a wrench. The Callaghans, on the other hand, found it equally hard to leave no.17 for the cold comforts of 11 Downing Street, when Jim was appointed Chancellor of the Exchequer in 1964: as Audrey Callaghan noted in an article in House and Garden in 1965: ‘the rare kind of house that exactly suits one’s way of life is like a second skin’.

In 1961, the Bowyers presented perhaps their most experimental work, which the architectural historian Neil Bingham described as ‘one of Britain’s most original and sophisticated investigations into the possibilities of change and flexibility within domestic living’: their presentation of ‘the growing home’ at the Earl’s Court Furniture Show. Under the auspices of the Design Research Unit, which had been the driving force behind the Festival of Britain, Gordon and Ursula created four full house interiors – 18 distinct rooms in total – to chart the life of a family of four, from childbirth (nursery), to growing up (separate rooms), to the children leaving home (bedrooms converted to guest rooms). Two of these rooms were identical, but staged as ‘night’ and ‘day’ to add an element of drama to an already elegiac study of the passing of time.

A typical Gordon and Ursula Bowyer house, as Neil Bingham has observed is ‘modest and discreet, yet distinctive’ – with a fantastically chic and logical kitchen, which was something of an Ursula speciality. Their private work tended to range between bespoke Corbusian boxes – the Curtis House in Peterborough or the Shearer House in Newport Pagnall for example, the latter suffering the misfortune of having the M1 placed a few hundred feet away from it the following year –or modern conversions and accents added to old buildings – such as 2 Langton Way for the architect Graham Lane. And the lessons they took from their private builds they applied to social housing. Both Gordon and Ursula believed that everybody deserved a well-made, well-designed house and they became actively involved in the national debate on the post-war housing shortage, joining the critic Ian Nairn in railing against ‘Subtopia’, the shoddy and soulless new housing that was being forced upon a desperate nation.

By the time Gordon retired in 1993, the Bowyers’ practice had completed 550 projects of incredible and infinite variety, from minor interventions to major schemes, from social housing projects to a string of stylish boutiques for the hair stylist Vidal Sassoon across Europe and America. And as avid collectors of art and design, it was inevitable that they would also design for museum and galleries, including the Japanese Gallery, Oriental Antiquities Gallery and the Prints and Drawings Gallery at the British Museum.

Their own early 18th-century house in Greenwich – where the writer and abolitionist Olaudah Equiano had spent time whilst he was in London – was itself not immune to the understated and sensitive touches that made a bespoke Bowyer home so appealing. There was the large picture window in the first floor sitting room, giving a wonderful view of the garden with its two Emily Young sculptures (lots 78 & 79). Gordon would often chuckle to himself when taking in the scene, full in the knowledge that such things wouldn’t have got planning permission much after 1960. And, of

course, there was a bespoke kitchen by Ursula complete with a breakfast table by Gordon. The furniture, by their friends Robin Day and Finn Juhl, and low hanging light fittings by Alvar Aalto, brought a Scandinavian touch to south London long, long before such things were fashionable. Juhl was a particularly close friend, who would design and make little objects as presents for the Bowyer children.

The art collection blended within the interior seamlessly. The main siting room, especially, was very reminiscent of Kettle’s Yard, with its restraint and artful combinations, whereas the rest of the house was something more of a wunderkammer with pictures occupying every available surface, including a pine-panelled central stair in the middle of which sat a painting by Gordon himself, from very early on in his career – the same one that features in the back of a wonderful photograph held in the RIBA archives of Gordon and Ursula together, two young architects drawing up the plans for modernity in Britain. The all-over effect of art hanging everywhere was enhanced by the hundreds of books that

surrounded them – on art and architecture in the main, but with plenty of fiction, history and biography too. It’s a house designed for conversation, for thinking – with the kitchen, sitting room, dining room and design studio all interlinked on the same floor, high up to take advantage of the light and air and a cool and very modern breeze that blows through everything.

1 § GORDON BOWYER (BRITISH 1923-2019)

STILL LIFE, c.1940s oil on canvas

63.5cm x 76.1cm (25in x 30in)

Provenance: The Artist.

£300-500

2 § GORDON BOWYER (BRITISH 1923-2019) TWICKENHAM CHURCHYARD

signed (lower left), titled on Artist’s label (to reverse), gouache and pencil on paper; together with five additional architectural watercolours by the same hand

29cm x 35.5m (11 ½in x 14in)

Provenance: The Artist.

£200-300

Henry & Joyce Collins were a husband-and-wife artistic team who worked on a number of public art projects from the late 1940s onwards, most notably a wide array of concrete and mosaic murals for public and commercial buildings during the post-war building boom of the 60s and 70s. They met the Bowyers when they were commissioned for a series of designs and murals for the Festival of Britain – including Gordon and Ursula’s Sports Pavilion – and remained close friends and occasional collaborators for the decades that followed.

Joyce Pallot studied industrial art and design at Colchester and Southend Schools of Art. It was while at Colchester in 1932 that she met Henry Collins, whom she married in 1938. As well as her career as an industrial designer

3 § HENRY COLLINS (BRITISH 1910-1994) & JOYCE COLLINS (BRITISH 1912-2004)

THE BOXER, 1950; TWO DESIGNS FOR BACKGROUNDS - SPORTS SECTION, FESTIVAL OF BRITAIN, 1951

The Boxer - signed, inscribed and dated in pencil (lower right), pen, ink, watercolour and pencil on paper; Two Designs - signed and titled in pencil to mount (lower left) , pencil and gouache on paper

33cm x 41cm (13in x 16in); 9cm x 21.5cm (3 ½in x 8 ½in) each

Provenance: A gift of the Artists to Gordon & Ursula Bowyer.

£200-300

and muralist, Joyce, like Henry, pursued a parallel career as a fine artist, with exhibitions in both public spaces and private galleries.

Henry Collins born into a working-class family in Colchester, studying at Colchester School of Art before moving to the Central School in London to study graphic design. He started his career in 1935 by designing a poster for London Underground, entitled Cheap Return Fares, and after his war service he continued as a freelance designer whilst trying to establish himself as a professional artist. He was also an educator, teaching part-time in the Graphic Design Department of St Martin’s School of Art, London, for 25 years, as well as at Colchester School of Art.

JEAN-ÉMILE LABOUREUR (FRENCH 1877-1943)

SKYSCAPE EN CONSTRUCTION, NEW YORK (SECOND STATE), 1910

Provenance: The Collection of Henri Petiet.

£400-600 4

WALTER RICHARD SICKERT A.R.A. (BRITISH 1860-1942)

DIEPPE, THE OLD HOTEL ROYAL, c.1910 (BROMBERG 137)

etching, signed in the plate (lower left), also signed in pencil (lower right)

the plate: 11cm x 17cm (4 ¼in x 6 ¾in)

Provenance: with The Fine Art Society, London, from whom acquired by Gordon Bowyer, 2004.

Literature: Ruth Bromberg, Walter Sickert: Prints: A Catalogue Raisonné, Yale University Press, London, no.137, illus p.150.

£250-350

etching, 2/4, signed in pencil (lower left) and annotated Deuxieme Etat (no. 2/4 epreuves) the plate: 29.5cm x 19cm (11 ½in x 7 ½in)

6

ARMIN LANDECK (AMERICAN 1905-1984)

MANHATTAN NOCTURNE, 1938; SIDEING, 1945

drypoint, each signed in the plate (lower left) and signed in pencil (lower right)

the plate, each 18cm x 30.4cm (7in x 12in) (2)

£400-600

7 § MARTIN LEWIS (AUSTRALIAN/ AMERICAN 1881-1962)

DERRICKS AT NIGHT (MCCARRON 62), 1927

drypoint, from the edition of approx. 104, signed in the plate, signed in pencil (lower right), printed by the artist the plate 19.5cm x 30cm (7 ¾in x 11 ¾in)

£1,200-1,800

8

C.R.W. NEVINSON (BRITISH 1889-1946)

WATERLOO BRIDGE FROM A SAVOY WINDOW (GUICHARD 49), c.1924-26

etching with drypoint printed with tone, from the edition of 75, on laid paper, signed in pencil (lower right), titled in pencil (lower edge) the plate 27.2cm x 35cm (10 ¾in x 13 ¾in)

£5,000-8,000

9 §

SIR WILLIAM RUSSELL

FLINT R.A., P.R.W.S, R.S.W, R.O.I., R.E. (BRITISH 1880-1969) A SUNLIT VALLEY IN GREECE, c.1915

watercolour on paper 17cm x 26.5cm (6 ¾in x 10 ½in)

Provenance: with The Greenwich Gallery, Greenwich, London.

£400-600

10

PAUL NASH (BRITISH 1889-1946) MOONLIGHT VOYAGE (POSTAN L22), 1940

lithograph in colours, signed in the plate, printed by The Curwen Press and published by the Board of Trustees of the National Gallery for The Ministry of Information, London the plate 40cm x 54cm (15 ¾in x 21 ¼in)

£500-700

PAUL NASH (BRITISH 1889 - 1946)

PONT ROYALE, PARIS, 1925

pencil and watercolour on paper

24cm x 32cm (9 ½in x 12 ½in)

Provenance: The Redfern Gallery, London; The Collection of Ursula & Gordon Bowyer.

£5,000-7,000

PAUL NASH (BRITISH 1889-1946)

THE AVENUE, SAVERNAKE FOREST

signed in pencil (lower right), pencil and watercolour on paper 57cm x 37.5cm (22 ½in x 14 ¾in)

Provenance: with The Leicester Galleries, London; The Redfern Gallery, London, from whom acquired by Mrs Cazalet-Keir, June 1947; Christies, London, Modern British and Irish Paintings, Drawings and Sculpture, 4 November 1983, lot 77.

£6,000-8,000

13

PAUL NASH (BRITISH 1889-1946)

THE STRANGE COAST (POSTAN L10), 1920

lithograph, 4/30, signed, titled and dated in pencil (to lower margin), numbered in pencil (to upper margin) the stone 31.5cm x 40.5cm (12 ¼in x 16in)

Provenance: with The Redfern Gallery, London, from whom acquired by Miss Hermione Hammond in 1961; with Blond Fine Art, London, from whom acquired by Gordon Bowyer in 1982.

£1,500-2,500

14

PAUL NASH (BRITISH 1889-1946)

THE WALL - DYMCHURCH, c.1923

etching, 21/50, from a later edition of 50 plus 10 APs, numbered in pencil (lower left), printed by The Print Workshop, London, published by the Paul Nash Trust the plate 12cm x 19.8cm (4 ¾in x 7 ¾in)

£600-800

woodcut on buff wove paper the block 11.5cm x 18cm (4 ½in x 7in)

Provenance: The Redfern Gallery, London, from whom acquired by Gordon

£15,000-25,000

16 §

EDWARD BURRA (BRITISH 1905-1967)

CUPBEARER, 1929

woodcut, outside of the original edition of 25 and later edition of 45 the plate: 15.2cm x 10.2cm (6in x 4in)

£300-500

§

17

VICTOR VASARELY (HUNGARIAN 1906-1997)

SIAN, 1951/60

screenprint, 61/75, signed in pencil (lower right) and numbered (lower left) the plate 39cm x 26cm (15 ¼in x 10 ¼in); the sheet 49.6cm x 37cm (19 ½in x 14 ½in)

£300-500

18 § LE CORBUSIER (SWISS/FRENCH 1887-1965)

MODULOR, 1950/56/62

lithograph in colours, from an edition of 200, signed in the stone, printed by Mourlot, Paris, originally conceived in 1950 and reimagined in 1956 and 1962. the sheet 70cm x 53.5cm (27 ½in x 21in)

Provenance: Redfern Gallery, where acquired by Gordon Bowyer, 1987. Literature: Weber, Heidi, Le Corbusier - The Graphic Work, Birkhauser Verlag, 2004, pp.62-63, illustrated.

Heidi Weber has translated the dedication as: “Friend of the Modular, search for yourself, invent, discover... bring your inventions, they will be useful. Thank you friend.’

£600-800

19

ERIC RAVILIOUS (BRITISH 1903-1942)

THE MESS DECK, FROM ‘SUBMARINES’ PORTFOLIO, 1940-41

lithograph, from the edition of approx. 50, printed by W.S. Cowell, Ipswich, published by the artist the stone 27.8cm x 31.5cm (11in x 12 ½in)

£2,000-3,000

20

ERIC RAVILIOUS (BRITISH 1903-1942)

DRIVING CONTROLS NO. 1 - REVOLUTIONS, FROM ‘SUBMARINES’ PORTFOLIO, 1940-41

lithograph, from the edition of approx. 50, printed by W.S. Cowell, Ipswich, published by the artist the stone 27.8cm x 31.8cm (11in x 12 ½in)

Provenance: William Weston Gallery, London, from whom acquired by Gordon Bowyer.

£3,000-5,000

22 §

JOHN PIPER C.H. (BRITISH 1903-1992)

INVENTION IN COLOUR - FROM THE BOOK ‘DESIGN’, 1937 (LEVINSON 10)

lithograph, edition unknown, printed by The Curwen Press the stone 18cm x 14.5cm (7in x 5 ¾in)

£150-200

23

HARRY BERTOIA (AMERICAN 1915-1978)

UNTITLED

monotype on rice paper

the image 16.5cm x 20.5cm (6 ½in x 8in)

Provenance: with Kennedy Galleries, New York.

£250-350

21 §

BEN NICHOLSON O.M. (BRITISH 1894-1982)

SMALL SILENT SIENA, FROM ‘ARCHITECTURAL SUITE’ (LAFRANCA 19; CRISTEA 121), 1965

etching, 9/50, signed, dated and numbered in pencil (to margin), printed by F. Lafranca, with his blindstamp, published by Ganymed Original Editions and Marlborough Fine Art, London the plate 20.2cm x 16cm (8in x 6 ¼in)

£800-1,200

24 §

NORMAN TOWN (BRITISH 1915-1988)

MINE WORKING, 1947

signed and dated (lower right), pen, ink, watercolour and gouache on paper

19cm x 24cm (7 ½in x 9 ½in)

Provenance: with Agnew’s, London.

£400-600

25 §

ALEXANDER MACKENZIE (BRITISH 1923-2002) STILL LIFE

signed and dated (to the reverse), oil on board, laid on Artist’s backboard

18.5cm x 30.3cm (7 ¼in x 11 7/8in)

£1,200-1,800

KEITH VAUGHAN (BRITISH 1912-1977)

ST ABBS, BERWICKSHIRE, 1952 signed and dated in pencil (lower right), ink crayon and gouache on paper 13cm x 16.5cm (5 1/8in x 6 ½in)

Provenance: with The Redfern Gallery, London, where acquired by Gordon Bowyer, March 1983.

£3,000-5,000

27 §

KEITH VAUGHAN (BRITISH 1912-1977)

THE WATER DIVINER, 1955 signed in pencil (lower right), ink and gouache on paper 13.5cm x 16.5cm (5 ¼in x 6 ½in)

Provenance: with The Redfern Gallery, London, where acquired by Gordon Bowyer, January 1988.

£4,000-6,000

THREE RED BATHERS, 1944

crayon, ink and gouache on paper 11.5cm x 16cm (4 ½in x 6 ¼in)

Provenance: with The Mercury Gallery, London, where acquired by Gordon Bowyer, December 1989.

£4,000-6,000

30 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

THE ROCK (LA ROCHE), 1973-74 (Tassi 149)

lithograph, 39/75, signed in pencil (lower right) and numbered (lower left), with publisher’s blindstamp the stone 68cm x 48cm (26 ¾in x 18 ¾in)

Literature: Tassi, Roberto, Graham Sutherland: Complete Graphic Work, Thames and Hudson, 1978, no.149, pp.223-4 (as ‘The Rock’). another from the edition illus (unpaginated).

£250-350

29 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

FOLDED HILLS (WITH TWISTED BRANCH AND BLAZING TAPERS)

- ILLUSTRATION FOR HYROGLYPHICS BY FRANCIS QUARLES, FOR POETRY LONDON, 1943 (Tassi 47)

lithograph, from the edition issued for Poetry London, edition size unknown 24cm x 18.6cm (9 ½in x 7 ¼in)

Provenance: with William Weston Gallery, London, from whom acquired by Gordon Bowyer.

Literature: Tassi, Roberto, Graham Sutherland: Complete Graphic Work, Thames and Hudson, London, no.47, p.223, illus (non-paginated).

£150-200

31 §

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

COMPLEX OF ROCK FORMS, 1979

lithograph, 84/90, signed in pencil (lower right), numbered (lower left) the plate: 39.5cm x 32.5cm (15 ½in x 12 ¾in)

Provenance: with The Redfern Gallery, London, from whom acquired by Gordon Bowyer, May 1988.

£200-300

THE TWO ROBERTS THE TOAST OF 1940s LONDON

The appearance on the market, from Gordon and Ursula Bowyer’s collection, of Robert Colquhoun’s Woman Winding Wool and Hebridean Woman with Robert MacBryde’s Emotional Cornish Woman, provides an important opportunity to appreciate the achievements of the ‘Two Roberts’, as they were affectionately known, when the Scotsmen were at the peak of their careers and were the toast of 1940s London.

Colquhoun and MacBryde met in 1933 as students at Glasgow School of Art. Their lifelong bond developed so quickly that they were awarded a joint travelling scholarship five years later. However, the outbreak of the Second World War interrupted their artistic development. MacBryde was declared medically unfit, whilst Colquhoun served under a year with the Royal Army Medical Corps before being invalided out.

In the meantime, MacBryde had achieved an entrée into London’s art world and they moved in with the contemporary art collector and patron Peter Watson in the English capital in 1941. They quickly became friends with artists including Francis Bacon, John Craxton, Lucian Freud, John Minton and Keith Vaughan, as well as habitués of the pubs and clubs of Soho. Their work was shown in group, joint and solo exhibitions throughout the 1940s including at the progressive Lefevre Gallery. Paintings by Colquhoun were acquired by the Contemporary Art Society and the Council for the Encouragement of Music and the Arts (which became the Arts Council of Great Britain) in 1942.

This extraordinary professional and personal success was accompanied by a move to a studio at 77 Bedford Gardens in Notting Hill in 1943, where the Polish artist Jankel Adler soon became a neighbour. He was a living link to the European avant-garde, having known Paul Klee and Pablo Picasso. As Patrick Elliott has explained ‘Adler advised the Roberts to examine their Scottish, Celtic roots, a notion which may havve inspired Colquhoun’s depictions of Scottish women’ as seen Hebridean Woman. (Patrick Elliott, The Two Roberts, Edinburgh, 2014, p.29). Indeed, all three paintings presented here date from this remarkably creative period in the artists’ careers. They confronted the realities of existence with gravitas, often through an abstracted figuration realised by way of textured paint surfaces, a shared chartreuse palette and working from their imaginations rather than from a model. Key subject matter included women observed absorbed in a task or used to embody an emotional state.

and MacBryde

London,

As Elliott has explained, the Roberts transformed from members of the neo-romantic movement into ‘stars in their own right’ from 1946, not least with the selection of their work, including MacBryde’s Emotional Cornish Woman, in the British Council’s UNESCO-sponsored exhibition of contemporary art at the Musée d’Art Moderne in Paris’ (it was lent by the twenty-three year old Gordon Bowyer). The British Council purchased a still life by MacBryde, whilst another became the first work of his to enter a public collection when it was acquired by Manchester Art Gallery in 1947. International reputations were secured with a joint exhibition at the George Dix Gallery in New York in 1948 which led to the acquisition of a work by each for the city’s Museum of Modern Art. Later that year and at the peak of their fame, they moved to Suffolk and speedily declined into penury and professional neglect in the 1950s.

With the recent publication of the novel The Two Roberts by awardwinning author Damian Barr and the current exhibition of their work that he has curated at Charleston in Lewes (on until 12 April 2026), the Two Roberts are once more the toast of the town.

32 §

ROBERT COLQUHOUN (BRITISH 1914-1962)

HEBRIDEAN WOMAN, 1944

signed and dated (upper right), further signed and titled on Artist’s label (to reverse), oil on canvas 90cm x 60cm (35 ½in x 23 ¾in)

Provenance: with The Lefevre Gallery, London. We would like to thank Davy Brown for his kind assistance with the cataloguing of this lot.

£40,000-60,000

33 §

MACBRYDE (BRITISH 1913-1966)

EMOTIONAL CORNISH WOMAN

signed (lower left), oil on canvas 50cm x 70cm (19 ¾in x 27 ½in)

Provenance: with The Lefevre Gallery, London.

Exhibited: British Council, Exposition internationale de peintures modernes, Musée d’Arte Moderne, Paris, 19 November - 28 December 1946, sponsored by UNESCO, lent by Gordon Bowyer. £15,000-20,000

34 §

ROBERT COLQUHOUN (BRITISH 1914-1962)

WOMAN WINDING WOOL, 1944

oil on canvas

64cm x 51cm (25 ¼in x 20in)

Provenance: The Lefevre Gallery, London. We would like to thank Davy Brown for his kind assistance with the cataloguing of this lot.

£20,000-30,000

36 §

EDWARD

BAWDEN C.B.E., R.A. (BRITISH 1903-1989) CLACTON

engraving, 1/40, signed in pencil (lower right), titled and numbered (lower left)

the plate 11cm x 17cm (4 ¼in x 6 ¾in)

Provenance: The Fine Art Society, London, from whom acquired by Gordon Bowyer.

Exhibited: The Fine Art Society, London, Edward Bawden - England as She is Drawn: Retrospective Exhibition, 4-29 September 1989, no. 88.

£300-500

ALBERTO MORROCCO R.S.A.,

R.S.W., R.P., R.G.I., L.L.D. (BRITISH 1917-1998)

BOAT BY HAROUR WALL

felt-tip pen on paper

20cm x 25cm (8in x 9 ¾in)

Provenance: with The Fine Art Society, London. Exhibited: The Fine Art Society, London. Alberto Morrocco - Works on Paper, January - February 2011, no.34.

£200-300

GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)

NUMBER FORTY-NINE (TASSI 14), 1924

etching, from the total edition of 80, across three states, signed in pencil (lower right), printed by the artist, published by Twenty-One Gallery, London the plate 18cm x 25cm (7in x 9¾in)

£800-1,200

37 §

JOHN PIPER C.H. (BRITISH 1903 - 1992)

THE CHAPEL OF ST GEORGE & KEMP TOWN (FROM ‘BRIGHTON AQUATINTS’), 1939 (LEVINSON 21)

aquatint, each signed in pen (lower right) (2)

plate 19cm x 27.5cm (7 ½in x 10 ¾in)

plate: 18 by 27cm (7 1/8 x 10 5/8in)

Literature: Elborn, Geoffrey, John Piper on his Eightieth Birthday, Stourton Press, London, 1983, p.19 (illus)

Ingrams, Richard and Piper, John, Piper’s Places: John Piper in England and Wales, Chatto and Windus, Hogarth Press, London, 1983, illus pl.42.

Levinson, Orde, John Piper: The Complete Graphic Works A Catalogue Raisonné 1923-1983, Faber and Faber, London, 1987, no.21, pp.29 (illus), 118 & 131.

£300-500

39 §

EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989)

THE PRIVATE ROAD, 1948

signed and dated in pen (lower right), ink and watercolour on paper 45cm x 57cm (17 ½in x 22 ½in)

Provenance: The Leicester Galleries, London, from whom acquired by Mrs Stellla Sharpe; Christie’s London, 20th Century British Art, November 2006, lot 17.

Exhibited: The Leicester Galleries, London, Edward Bawden, February 1949, cat. no.22;

Fine Art Society, London, Tribute to Edward Bawden, 1992, no. 14 (illustrated in catalogue), travelling to Fry Art Gallery, Saffron Walden, August - September 1992.

Literature: Powers, Alan, ‘At Odds with England’, Country Life, 23 July 1992, p.86, illustrated.

£2,500-3,500

40 §

EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989)

LANE IN MOONLIGHT, 1927-29/1988

engraving, signed in pencil (lower left) and titled (lower right), reprinted in 1988 in an edition of 35

the plate: 11.5cm x 14cm (4 ½in x5 ½in)

£300-500

41

ERIC RAVILIOUS (BRITISH 1903-1942) FOR WEDGWOOD TWO MUGS AND A MILK JUG

comprising King Edward VIII 1937 Coronation Mug, an Alphabet Mug and a milk jug, each with printed manufacturer’s marks 10cm high, 14.5cm wide (4in high, 5 ¾in wide); 8cm high, 11cm wide (3 1/8in high, 4 3/8in wide); 9.2cm high, 11.5cm wide (3 5/8in high, 4 ½in wide) (3)

£600-800

42 §

EDWARD BAWDEN C.B.E., R.A. (BRITISH 1903-1989) LIVERPOOL STREET STATION, 1961

linocut in colours, Extra Edition 4/10, aside from the edition of 40, signed and dated in pencil (lower right), titled and inscribed Extra Edition 4/10 (lower left) the plate 53cm x 144cm (20 ¾in x 56 ¾in)

£6,000-8,000

43 §

REG BUTLER (BRITISH 1913-1981) NUDE WITH NEWSPRINT, 1955

lithograph, 9/18, signed, dated and numbered in pencil (lower right), printed by the Artist on his own press the stone 45.6cm x 28cm (18in x 11in)

Provenance: with William Weston Gallery, London, from whom acquired by Gordon Bowyer. £500-700

44 §

GEORGE STEPHENSON (BRITISH, POST-WAR) STANDING FIGURE

welded and patinated steel rods on a steel and wood base, unique - together with another sculpture, in painted stoneware, by an unknown hand (2) 112cm (44 ¼in) high (including base)

Provenance: The Grosvenor Gallery, London, where acquired by Gordon Bowyer, February 1965 £300-500

45 §

ROBERT ADAMS (BRITISH 1917-1984)

FORMS ON A FRAME (CURVED), 1963 (OPUS 206)

steel sprayed with aluminium

26.5cm high (10 ¼in high)

Provenance: with Wills Lane Gallery, St Ives.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, pp.210-1, no.445, illustrated.

£800-1,200

46 §

ROBERT ADAMS (BRITISH 1917-1984)

SPIRAL FORMS No. 3, 1960 (OPUS 105)

tinned steel

25cm x 30cm (9 ¾in x 11 ¾in)

Provenance: with Gimpel Fils, London, 1960, no. 15.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p. 193, no. 313, illustrated.

£800-1,200

47 §

REG BUTLER (BRITISH 1913-1981)

GIRL, 1956

signed with monogram, numbered 4/8 and inscribed Susse Fondeur, Paris (to integral base), bronze

50cm high (19 ¾in high)

Exhibited: London, Hanover Gallery, Reg Butler, May - June 1957, no.31 (another cast exhibited)

New York, Pierre Matisse Gallery, Reg Butler: Sculpture & Drawings 19541958, February 1959, no. 12 (another cast exhibited)

Literature: Garlake, Margaret, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, 2006, no.172 (RB149), another cast illustrated p.148

Another cast from the edition of eight is in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C.

£8,000-12,000

48 §

PABLO PICASSO (SPANISH 1881-1973)

PETIT NU ASSIS AU MIROIR (BLOCH 451; MOURLOT 100), 1947

lithograph on cream wove paper, 17/50, signed and numbered in pencil (lower left), dated Dimanche 11.5.47 in the plate, printed by Mourlot, Paris the stone 31cm x 48.5cm (12 ¼in x 19in)

Provenance: with William Weston Gallery, London, from whom acquired by Gordon Bowyer.

£4,000-6,000

49

MILTON GLASER (AMERICAN 1929-2020)

BIG NUDE, 1967

signed in pencil (lower right), titled (lower left), lithographic poster 80.5cm x 121cm (31 ¾in x 47 ½in)

£300-500

PABLO

PICASSO (SPANISH 1881-1973)

FEMME BRUNE AUX CHEVAUX LISSES, FROM ‘VINGT POÈMES DE GONGORA’ (BAER 777), 1947

aquatint, from the edition of 275, all unsigned, printed at the Atelier Lacourière, Paris, 1948, published by Les Grands Peintres modernes et le livre, Paris the sheet 38cm x 28.2cm (15in x 11in)

Provenance: with William Weston Gallery, London, from whom acquired by Gordon Bowyer.

£2,500-3,500

51 §

GEORGES BRAQUE (FRENCH 1882-1963)

NATURE MORTE AUX FRUITS, 1950

collotype, 183/250, signed and dated in the plate, also signed in pencil (lower right) and numbered (lower left) the plate 29cm x 72cm (11 ½in x 28 ¼in)

£500-700

52

FINN JUHL (DANISH 1912-1989) FOR FRANCE & DAVERKOSEN

PAIR OF ARMCHAIRS, DESIGNED 1958

Model FD138, each with stamped manufacturers marks, and France & Son disc labels, teak and fabric upholstery

76.5cm high, 71cm wide, 62cm deep (30 1/8in high, 28in wide, 24 3/8in deep) (2)

£1,000-1,500

53

FINN JUHL (DANISH 1912-1989) FOR FRANCE & SØN

PAIR OF ‘JAPAN’ LOUNGE CHAIRS, DESIGNED 1953

Model FD137, each with manufacturer’s metal disc numbered 6004206 and 6005264, teak, brass and fabric upholstery

70.5cm high, 58.5cm wide, 70.5cm deep (27 ¾in high, 23in wide, 27 ¾in deep) (2)

£1,000-1,500

Right Lots 58, 64 & 65

FINN JUHL (DANISH 1912-1989) FOR NIELS ROTH ANDERSEN (SH EFTF) ‘JUDAS’ EXTENDING DINING TABLE, DESIGNED 1948

Manufacturer’s branded stamp, teak, oak and silvered metal, with two extension leaves without extensions: 72.5cm high, 197cm long, 138cm deep (28 ½in high, 77 ½in wide, 54 3/8in deep); with extensions: 307cm long (120 7/8in long)

The “Judas” table is named after the silver inlays set into its surface, a reference to the thirty pieces of silver paid to Judas for his betrayal of Jesus. While these inlays may initially appear to serve a purely decorative purpose, their arrangement in fact reveals a more thoughtful intention: they mark out the number of places the table is designed to accommodate.

£2,000-3,000

55 §

TAPIO WIRKKALA (FINNISH 1915-1985) FOR IITTALA

ART OBJECT/BOWL

Model 3561, signed and numbered TAPIO WIRKKALA 3561, still-mould blown glass

5cm high, 46cm diameter (2in high, 18 1/8in diameter)

Literature: Av, Marianne (ed.), Tapio Wirkkala: Eye, Hand and Thought, WS Bookwell Oy, Porvoo, 2000, p.316, for an illustrated example of this model.

£400-600

56

ALVAR AALTO (FINNISH 1898-1976) FOR ARTEK TROLLEY, DESIGNED 1936

Model 901, birch ply, linoleum, lacquered wood

55.5cm high, 89.5cm wide, 50cm deep (21 7/8in high, 35 ¼in wide, 19 ¾in deep)

£800-1,200

58

57

AINO AALTO (FINNISH 1894-1949) FOR VALAISTUSTYÖ KY, FINLAND

PENDANT LIGHT, DESIGNED 1941

Model AMA 500, impressed manufacturer’s mark, enamelled aluminium and brass

22cm high, 30.5cm diameter (8 5/8in high, 12in diameter)

£500-700

ALVAR AALTO (FINNISH, 1898–1976) FOR VALAISTUSTYÖ KY, FINLAND

‘BEEHIVE’ PENDANT LIGHT, DESIGNED 1953

Model A331, stamped VALAISTUSTYÖ / A331, enamelled aluminium and perforated brass

30cm high, 30cm diameter (11 ¾in high, 11 ¾in diameter)

£800-1,200

59

FINN JUHL (DANISH 1912-1989) FOR FRANCE & DAVERKOSEN PAIR OF ‘FRANCE’ CHAIRS, DESIGNED 1956

Model FD136, each stamped manufacturer’s mark, teak and leather 76cm high, 80.5cm wide (30in high, 31 ¾in wide) (2)

£1,500-2,500

This bench, featuring a distinctive slatted seat and triangular end supports, closely relates to designs by Robin Day, with whom Gordon and Ursula Bowyer collaborated and shared a long-standing friendship. Originally conceived as a bench, low table, or cabinet support within the Interplan range, it was produced by Hille in a smaller format with two triangular supports on each side. No documented examples with three supports are known, though its height of 32 cm and depth of 45.75 cm correspond to the smaller model.

A two-support version of this bench was exhibited at the Milan Triennale in 1954 and at British Design Today in Frankfurt in 1958.

ATTRIBUTED TO ROBIN DAY (BRITISH 1915–2010)

slatted wood, possibly makore wood, with enamelled metal frame 32cm high, 228.5cm long, 45.75cm deep (12 5/8in high, 90in long, 18in deep)

Literature: see Jackson, Lesley, Robin & Lucienne Day: Pioneers of Contemporary Design, Mitchell Beazley, London, 2011, pp. 60–61 and 106, for examples of slatted benches with two supports produced by Hille. £500-700

Lots 45, 46, 61 & 73

61 §

ANDREA CASCELLA (ITALIAN 1920-1990)

UNTITLED (HORIZONTAL FORM)

marble, along with a smaller work in grey limestones

24cm x 66cm x 28cm (9 ½in x 26in x 11in)

£5,000-8,000

62 §

VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998)

IMAGE ON THE WALL B, 1992

etching with colour aquatint, 12/50, signed with initials in pencil and dated (lower right) and numbered (lower left) the plate 30cm x 30cm (12in x 12in); the sheet 56cm x 50cm (22in x 19 ¾in)

£400-600

63 §

VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998)

WHEN REASON DREAMS I, 1997

colour etching with aquatint, 10/35, signed with initials and dated in pencil (lower right), numbered in pencil (lower left) the plate 57cm x 44cm (22 ½in x 17 ¼in)

£700-1,000

64 §

VICTOR PASMORE C.B.E., C.H. (BRITISH 1908-1998)

LINEAR SYMPHONY NO.8, 1979

initialled, oil on wood construction

121cm x 51cm (47 ½in x 20in)

Literature: Bowness, Alan and Luigi Lambertini, Victor Pasmore, Thames and Hudson, London, 1980, cat. no.718, illustrated.

£12,000-18,000

65 §

ITALO VALENTI (ITALIAN 1912-1995)

COLLAGE, 1961

signed and dated on artist’s label (to reverse), paper collage mounted on hardboard

37cm by 23cm (14 ½in x 9in)

Provenance: with Galerie Charles Lienhardt, Zurich; Waddington Galleries. London, from whom acquired by Gordon Bowyer.

Literature: Carena, Carlo & Stefano Pult, Italo Valenti - Catalogo ragionato dei collage, Skira, Milan, 1998, p.341, cat.C.110.

£1,000-1,500 66

DANTE LEONELLI (AMERICAN 1931-)

UNTITLED, 1961

signed and dated Oct 1961 (to backboard), Ripolin and collage on board 61cm x 76cm (24in x 30in)

Provenance: with Matthiesen Ltd, London; with The Redfern Gallery, London.

£500-700

67 Y

TOBIA SCARPA (ITALIAN 1935-) & AFRA SCARPA (ITALIAN 1937-2011) FOR KNOLL ‘BASTIANO’ SOFA, DESIGNED 1962

rosewood and leather, 69cm high, 210cm wide, 76cm deep, (27 1/8 in high, 82 5/8in wide, 30in deep); together with another associated ‘Bastiano’ sofa (2)

Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 25GBA107IOK7Q

£1,200-1,800

70 §

MICHAEL FUSSELL (BRITISH 1927-1974) WEATHERED, 1961

oil on collaged canvas

30.5cm x 30.5cm (12in x 12in)

Provenance: with Hanover Gallery, London, where acquired by Gordon Bowyer. 1962.

Exhibited: London, Hanover Gallery, Michael FussellPaintings 1961, 17 January - 17 February 1962, ex. catalogue.

£600-800

68 §

GEORGE DANNATT (BRITISH 1915-2009)

RHEINFELDEN, 1987-88

signed, titled and dated in pen (to backboard), oil on hardboard 24cm x 15cm (9 ½in x 6in)

Provenance: with The Redfern Gallery, London, where acquired by Gordon Bowyer, September 1988.

Exhibited: The Redfern Gallery, London, George Dannatt - Paintings 1970-1988, no.63.

£300-500

69 §

GEORGE DANNATT (BRITISH 1915-2009) SQUARED LANDSCAPE, 1994

signed, titled and dated (to reverse), oil on MDF 15.3cm x 15.3cm (6in x 6in)

£200-300

71 §

PETER MORO C.B.E., F.R.I.B.A. (GERMAN/BRITISH 1911-1998)

UNTITLED (CONSTRUCTION), 1976

signed and dated Feb 76 (to reverse), painted wood construction on particle board 34cm x 56.5cm (13 ¼in x 22 ¼in)

Provenance: The Artist.

£100-150

72 §

DHRUVA MISTRY C.B.E., R.A. (INDIAN/BRITISH 1957-)

TORSO - IB, STUDY, SMALL, 2007

signed, titled and dated in pen, welded aluminium sheet, on a slate base

35cm (13 ¾in) high (not including base)

£800-1,200

73 §

DHRUVA MISTRY C.B.E., R.A. (INDIAN/BRITISH 1957-)

TORSO - 1, STUDY, SMALL 2007 signed, titled and dated in pen, welded aluminium

11.5cm x 30cm x 16cm (4 ½in x 11 ¾in x 6 ¼in)

£800-1,200

YVONNE JACQUETTE (AMERICAN 1934-2023) NIGHTSCAPE

woodcut, AP 8/10, signed, titled and numbered (to margin), Artist’s Proof aside from the edition of 50 the plate: 40cm x 50cm (15 ¾in x 19 ¾in); the sheet 50.5cm x 62cm (19 ¾in x 24 ¼in)

£400-600

76 §

BILL JACKLIN (BRITISH 1943-)

CHANCE ENCOUNTER, GRAND CENTRAL , 2007

etching, 22/30, signed and titled in pencil (lower right), numbered (lower left)

the plate

49.5cm x 39.5cm (19 ½in x 15 ½in); the sheet 50.5cm x 62cm (19 ¾in x 24 ½in)

£400-600

75 §

TONY BEVAN R.A. (BRITISH 1951-)

VIOLET INTERIOR 2002

etching, signed, titled and numbered 52/75 in pencil (to lower margin), with the accompanying book published by Enitharmon Editions the plate 18 x 27cm (7in x 10 ½in); the sheet 23cm x 31.5cm (9in x 12 ½in)

£250-350

77 §

GEORGE DANNATT (BRITISH 1915-2009)

GREY AND BLACK INTERLOCKED PLANES, 2007 signed, titled and dated in pen (to backboard), oil and pencil on canvas 120cm x 50cm (47 ¼in x 19 ¾in)

£1,200-1,800

78 §

EMILY YOUNG (BRITISH 1951)

WHITE ONYX TORSO, 2007

onyx, on original studio designed steel base 106cm x 29cm x 19cm

(41 ¾in x 11 ¾in x 7 ½in)

We are grateful to Emily Young Studio for their kind assistance in cataloguing this lot. The work is recorded in the Artist’s archive as no. 0108.

£25,000-35,000

79 §

EMILY YOUNG (BRITISH 1951-)

ANGEL HEAD, c.2004-08

Purbeck Blue marble , mounted on the original studio designed stone and corten steel base

23cm x 31cm x 34cm (9in x 12 ¼in x 13 ½in) (excluding bases)

We are grateful to Emily Young Studio for their kind assistance in cataloguing this lot. The work is recorded in the Artist’s archive as no. 0393.

£8,000-12,000

END OF COLLECTION

FRIDAY 31 OCTOBER FROM 10AM

101

100

HENRI GAUDIERBRZESKA (FRENCH 1891-1915)

STUDY OF BIRD

pen and ink on paper

11.2cm x 7cm (4 3/8in x 2 ¾in)

Provenance: The Collection of Gillian Raffles.

£400-600

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)

STANDING MALE NUDE

pen and ink on paper

37.5cm x 24cm (14 ¾in x 9 ½in)

Provenance: The Collection of Gillian Raffles.

£800-1,200

102

ERIC GILL (BRITISH

1882–1940)

DESIGN FOR SCULPTURE: ACROBAT II, 1915

signed, dated July 1915 and inscribed Raffalovich Acrobat II, pencil on paper, squared for transfer

26.5cm x 31.5cm (10 ½in x 12 3/8in)

Provenance: Walter Shewring, from whom acquired by Sandra Lummis Fine Art, London; Acquired from the above by Bernard Kelly, 1989.

Exhibited: Barbican Art Gallery, London, Eric Gill: Sculpture, 11 November 1992 - 7 February 1993 and then touring, cat. no. 27.

Literature: Shewring, Walter (ed.), Letters of Eric Gill, London, 1947, letter 53 to Andre Raffalovich, 24.XI.15

£1,500-2,500

103 §

JOHN ARMSTRONG (BRITISH 1893-1973)

STUDY FOR ‘THE SAIL’, 1954

initialled and dated (lower left), oil on paper, laid down on hessian 10cm x 12.7cm (4in x 5in)

Provenance: Jean Shrimpton: with Tony Sanders Gallery, Penzance: Barnes Thomas, Penzance, 13 December 2010, lot 178 (catalogued as ‘Boat and Beachhuts’); Private Collection.

Literature: Lambirth, Andrew, John Armstrong: The Paintings, Philip Wilson Publishers, London, 2009, p.205 - for a similar study for The Sail, 1955 (Lambirth no.500).

The present work was unknown to the compilers of the Armstrong catalogue raisonne, prior to its publication; however its authenticity has been confirmed by Jonathan Gibbs.

£800-1,200

SIR STANLEY SPENCER R.A. (BRITISH

1891-1959)

PORTRAIT OF A WOMAN IN TRADITIONAL SWISS DRESS, 1933 signed and dated (lower right), pencil on buff paper 32cm x 24cm (12 ½in x 9 ½in)

Provenance: Acquired directly from the Artist by Sir Edward Beddington-Behrens C.M.G. 1933; Evelyn Anne Beddington-Behrens Gluck, by descent: Claire Adina (Gluck), by descent; Acquired from the above by a Private Collection, U.S.A, circa 1986.

In 1933 Sir Edward Beddington-Behrens invited Spencer to Saas-Fee, Switzerland, for a series of painting trips, covering the artist’s expenses in exchange for works produced during those visits. The present work, of a woman in traditional Swiss costume, remained in Sir Edward’s possession until his death in 1968 and thereafter passed through his family by descent. A figure wearing a similar hat can be seen to the left of the monumental oil Souvenir of Switzerland, 1933-34 (Private Collection).

£3,000-5,000

105 §

BETTY SWANWICK (BRITISH

1915-1989)

THE AWAKENING c.1976

watercolour on paper 28.5cm x 54cm, (11 ¼in x 21 ¼in)

Provenance: Royal Academy of Arts Summer Exhibition, 1977, where acquired by the mother of the present owner.

Exhibited: London, Royal Academy of Arts, Summer Exhibition, 21 May - 2 August 1977, no. 543.

Literature: Rossmore, Paddy, Betty Swanwick: Artist and Visionary, Chris Beetles Ltd, London, 2008, cat. D.64a, p.119.

£4,000-6,000

106

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)

TWO FEMALE NUDES STANDING, 1913

pen and ink on paper

38cm x 48cm (15in x 18 7/8in)

Provenance: Mercury Gallery, London; Waddington Galleries, Toronto; Mercury Gallery, London; Browse & Darby, London, from whom acquired by Barry Flanagan, August 2002; Sotheby’s, London, Modern & Post-War British Art, 11 July 2013, lot 194; The Collection of Gillian Raffles.

£1,000-2,000

108 §

107

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915)

SEATED NUDE

pen and ink on paper

34.5cm x 24.5cm (13 ½in x 9 ¾in)

Provenance: The Collection of Gillian Raffles.

£700-900

PAVEL TCHELITCHEW (RUSSIAN 1898-1957)

LADY AND NUN, 1938

signed and dated (lower right), ink on paper

38cm x 30.3cm (15in x 11 7/8in)

Provenance: The Collection of Gillian Raffles.

£500-700

Working in the embers of Symbolism, at the inception of Fauvism and prefiguring Expressionism, Georges Rouault was pivotally involved in some of the most significant art movements of the early 20th century. His was a distinctive and idiosyncratic artistic voice but, despite his proximity to these groups, he cultivated a solitary image. Though held in high regard in his lifetime, his self-isolation perhaps explains why he remains more of a cult figure than a megastar within Modernism today.

A challenging background makes the success of his career all the more extraordinary. Born into poverty, in a cellar in Belleville, Paris, Rouault was nonetheless encouraged to nurture his artistic talent by his supportive mother and grandmother. At the age of fourteen, he apprenticed as a glass painter and restorer for five years. Historians have been tempted to attribute his use of black linear outlines and jewel-toned palette—so characteristic throughout his career—to this formative early environment.

Formal artistic study commenced after his acceptance to the École des Beaux-Arts in 1891, where he studied under the Symbolist master Gustave Moreau. Rouault purportedly became a favourite pupil of Moreau’s, evidenced by his nomination for the post of curator of the Moreau Museum after his teacher’s death in 1898. The absorption of Moreau’s influence would lead Rouault to embrace oblique narrative and an emotive use of colour within his work.

He kept company with many of the greatest names in Modernism, including Henri Matisse—a fellow student and acolyte of Moreau’s—who became the leader of the group known as the Fauves. Indeed, Rouault was one of the founders of the celebrated Salon d’Automne, which famously brought the Fauve movement to public attention in 1905. It is with the Fauves that Rouault is subsequently most closely associated, and his work exhibits the instinctive, unconstrained brushwork and pure colour that defined the group’s radical break from tradition.

In 1910, Rouault exhibited work in the Druet gallery where it was encountered by a group of young artists from Dresden, who would later go on to develop Expressionism. Their aesthetic mirrors Rouault’s embrace of exaggerated and, at times, grotesque characterisations. Though his influence is underexplored in art-historical terms, the parallels are nonetheless striking.

As we have seen, Rouault developed a distinctive and focused artistic voice throughout his career: definite black linear outlines, vivid colour, expressive brushwork, simplified forms. He also pursued a narrow field in terms of subject and is known for his depictions of clowns and circus performers, prostitutes and religious figures—in other words, societal outliers, of which he considered himself one.

The deeply enigmatic work offered here for sale, Deux têtes de femmes, believed to date c. 1902–09, is likely a striking example of his disarmingly direct and unflinching studies of sex workers. Through a contemporary lens he has been praised for his uncritical approach to the subject; always humane and often compassionate. Rouault was a deeply spiritual man—indeed, he had become a devout Catholic after a mental health crisis in the late 1890s—and this shades even his darkest subjects with a redemptive edge and a psychological dimension.

Despite his self-mythology of “the artist as exile,” Rouault achieved (unsought-for) fame and was celebrated internationally during his lifetime. He even found success in America in the 1950s, where his work was purchased by the likes of Dan Flavin and Gregory Peck, and famously went on to influence the art of Bob Dylan, who purportedly had a Rouault poster on the wall of his 1960s Greenwich Village apartment.

A quintessential “artist’s artist,” Rouault remains a fascinating figure whose work can be found in major institutions around the world, and in many an educated and discerning collector’s home.

109 §

GEORGES ROUAULT (FRENCH 1871-1958)

DEUX TÊTES DE FEMMES, c.1902–1909

signed (upper left), oil on board

61.3cm x 54.4cm (24 1/8in x 21 3/8in)

Provenance: Phillips, New York, 12 May 1998, lot 43; Sothebys, London, 21 June 2005, lot 359, where acquired by the present owner; Private Collection, London.

Literature: Dorival, B. & I. Rouault, Rouault L’Oeuvre Peint, Monte Carlo, 1988, p.88, no.295, illustrated.

£20,000-30,000

110 §

DAVID JAGGER R.O.I (BRITISH 1891-1958)

PORTRAIT OF A BOY, c.1928-1929 oil on panel

51cm x 41cm (20 1/16in x 16 1/8in)

Jagger was widely recognised during the 1920s and 1930s for his portraits of children. Several large-scale commissions were produced for aristocratic and affluent patrons. The present painting is comparable to Brian (Bonhams, London, 22 November 2017, £18,750), sharing similar colouring of the hair and eyes, though the reversed hairline suggests an unidentified sitter.

The work may also relate to Jagger’s commercial commissions for the advertising agency J. Walter Thompson, his employer during the First World War. His illustrations were used in major campaigns of the late 1920s, including Players Cigarettes, Horlicks, and Clarks Threads.

We are grateful to Timothy Dickson for his kind assistance in the cataloguing of the present work.

£2,000-3,000

111 §

AUGUSTUS JOHN (BRITISH 1878-1961)

STILL LIFE WITH SHELLS oil on canvas

48cm x 58.5cm (18 7/8in x 23in)

Provenance: The Artist’s Family; Sotheby’s, London, The Welsh Sale, 19 October 1999, lot 243; Chiswick Auctions, London, Modern & Post War British Art, 30 November 2021, lot 862; Private Collection, U.K.

£5,000-7,000

ROGER FRY (BRITISH 1866-1934)

A SQUARE, FRANCE, 1924

signed and dated (lower right), oil on canvas

62.5cm x 52cm (24 5/8in x 20 ½in)

Provenance: Sir Kenneth Clark; Gifted by the above to the parents of the present owner, c.1930s.

£8,000-12,000

DUNCAN GRANT (BRITISH 1885-1978)

PARIS BRIDGE, 1935

signed and dated (lower right), oil on board 32cm x 40cm (12 5/8in x 15 ¾in)

Provenance: with Alex, Reid & Lefevre Ltd, London; Sir Kenneth Clark; Gifted by the above to the parents of the present owner, c.1930s.

We are grateful to Richard Shone for his kind assistance in the cataloguing of this lot.

£6,000-8,000

ROGER DE LA FRESNAYE (FRENCH 1885-1925)

COMPOSITION WITH THREE MEN SEATED AT A TABLE, c.1913

signed (lower right), watercolour and crayon on paper 22.7cm x 16cm (9in x 6 ¼in), unframed

Provenance: The Estate of Rene Gimpel (1881-1945); Gimpel Fils, London.

£1,500-2,500

115 §

ROY DE MAISTRE (AUSTRALIAN 1894-1968) ENGRAVING PLATES FOR ‘MADONNA & CHILD’ AND ‘THE ARTIST’S STUDIO’, c.1944

steel/copper engraving plate on wooden blocks 16cm x 12cm (6 ¼in x 4 ¾in) and 12cm x 7.5cm (4 ¾in x 3in) (2)

Provenance: The Artist, and by family descent to the present owner.

£400-600

116 §

ATTRIBUTED TO FRANCIS BACON (BRITISH 1909-1992)

PAINTED TABLE

pine, painted white overlaid with black paint

73.5cm high, 91.5cm wide, 43.2cm deep (29in high, 36in wide, 17in deep)

Provenance: Roy De Maistre, and by family descent to the present owner.

£2,000-3,000

The present table has long been attributed to Francis Bacon by Roy de Maistre’s family. It appears painted white in a photograph of de Maistre’s studio— with the photo thought by the family to date to around 1950— and it can be seen positioned to the right-hand side of the image. De Maistre owned several examples of Bacon’s furniture, including a sofa and a three-panelled screen, the latter sold at Christie’s, London, on 4 October 2018 (lot 49).

Compared with Bacon’s more elaborate furniture, the table is relatively restrained in form. Its original white surface, however, reflects a colour Bacon frequently employed in his designs. De Maistre later repainted it black, a shade he strongly preferred and often applied to much of the furniture in his studio.

Although Bacon later dismissed his furniture designs as derivative of the French avant-garde, their geometry and clean lines foreshadow elements that would re-emerge in his painting. His early immersion in interiors—marked by an interest in mirrors, tubular steel, curtains and ornamental detail—fed directly into the iconography of his canvases. His furniture and mirror designs reveal the influence of Eileen Gray, Charlotte Perriand and Le Corbusier, and were recognised at the time: The Studio magazine featured his work in its August 1930 article, “The 1930 Look in British Decoration.”

Later that year, in November 1930, Bacon exhibited his furniture, rug designs and paintings at 17 Queensberry Mews West, London, alongside works by de Maistre and Jean Shepeard. By 1933, he had largely set aside interior design to devote himself to painting.

117 §

WILLIAM STAITE MURRAY (BRITISH 1881-1962)

BOWL

impressed maker’s seal, stoneware, painted with flowers in blue and red/violet

7.5cm high, 17.5cm diameter (3in high, 6 7/8in diameter) Private Collection, U.K.

£400-600

118 §

SVEND BAYER (DANISH/BRITISH 1946-) BOWL

stoneware

9.3cm high, 39cm diameter (3 5/8in high, 15 3/8in diameter)

Provenance: Private Collection, London.

£400-600

119 §

MICHAEL CARDEW (BRITISH 1901-1983) OIL LAMP BASE

impressed maker’s seal, earthenware, with ear of wheat design 15cm high, 15.5cm wide (5 7/8in high, 6 1/8in wide)

Provenance: Private Collection, U.K.

£400-600

120 §

MICHAEL CARDEW (BRITISH 1901-1983)

AT WINCHCOMBE POTTERY

JUG, c.1933

impressed maker’s and pottery seals, earthenware, with brushed decoration

27cm high, 23cm wide (10 5/8in high, 9in wide)

£800-1,200

121 §

MICHAEL CARDEW (BRITISH 1901-1983) AT WINCHCOMBE POTTERY BOWL, c.1932

impressed maker’s and pottery seals, earthenware

8.7cm high, 27.5cm diameter (3 3/8in high, 10 7/8in diameter)

Provenance: Private Collection, Australia, from whom acquired by the present owner.

£600-800

123 §

WILLIAM MARSHALL (BRITISH 1923-2007) BOTTLE VASE

impressed maker’s seal and incised monogram, porcelain, with green and iron splashes

33cm high (13in high)

Provenance: Private Collection, U.K.

£500-700

122 §

LADI KWALI (NIGERIAN 1925-1984) AT ABUJA POTTERY BOWL

impressed maker’s and pottery seals, stoneware, with fish design

7.5cm high, 18.5cm diameter (3in high, 7 ¼in diameter)

£1,000-2,000

124

MOHAMMED AHMED ABDALLA ABBARO (SUDANESE 1933-2016) BOWL, 1982

signed and dated M. A. ABDALLA 82, stoneware

8.5cm high, 34.5cm diameter (3 3/8in high, 13 5/8in diameter)

Provenance: Private Collection, U.K.

£300-500

125 §

DAVID LEACH (BRITISH 1911-2005)

TALL BOTTLE VASE

impressed maker’s seal, tenmoku glaze, with brush work motif

38.5cm high (15 1/8in high)

Provenance: with Dartington Cider Press Centre, August 2002, from whom acquired by the present owner’s family; Private Collection, U.K.

£600-800

127 §

RICHARD BATTERHAM (BRITISH 1936-2021)

TALL BOTTLE VASE

stoneware, with ash green glaze

42cm high (16 ½in high)

Provenance: with Dartington Cider Press Centre, October 2000, from whom acquired by the present owners family; Private Collection, U.K.

£600-800

126 §

CLIVE BOWEN (BRITISH 1943-) LARGE VESSEL

earthenware, slip with grass decoration

52cm high (20.5in high)

Provenance: Private Collection, U.K.

£600-800

128 § BERNARD LEACH (BRITISH 1887-1979) AT LEACH POTTERYLITEREATURE

MEDIEVAL STYLE JUG, c.1930

impressed maker’s and pottery seals, earthenware, with cross-hatch design 22cm high (8 5/8in high)

Literature: see Bernard Leach, A Potter’s Portfolio, Lund Humphries & Co. Ltd., London, 1951, pl. 33, for a Medieval pitcher from the Ashmolean Museum Collection, illustrated in A Potter’s Portfolio, which was likely the source of inspiration for the present work.

£800-1,200

129

SHOJI HAMADA (JAPANESE (1894-1978)

VASE

stoneware, in fitted wooden case 16.2cm high (6 3/8in high)

Provenance: Private Collection, London.

£800-1,200

130

SHOJI HAMADA (JAPANESE 1894-1978)

WATER DROPPER

stoneware, in Okinawa style with enamel decoration in red and green, in fitted box

2.5cm high, 6.3cm wide (1in high, 2 ½in wide)

Literature: see Leach, Bernard, Hamada Potter, Kodansha International, Tokyo, 1975, cat. no. 64 for a similar water dropper.

£400-600

131

SHOJI HAMADA (JAPANESE 1894-1978)

WATER DROPPER

stoneware, in Okinawa style with enamel decoration in red and green, in fitted box

3.5cm high, 6.2cm wide (1 3/8in high, 2 ½in wide)

Literature: see Hamada, Shoji and Bernard Leach, The Works of Shoji Hamada: 1921-1969, Asahi Shimbun Publishing Company, Tokyo, 1969, cat. no.48 for a similar water dropper.

£400-600

132

SHOJI HAMADA (JAPANESE 1894-1978)

WATER DROPPER

stoneware, in Okinawa style with enamel decoration in red and green, in fitted box

3.5cm high, 5.5cm wide (1 3/8in high, 2 1/8in wide)

Literature: see Hamada, Shoji and Bernard Leach, The Works of Shoji Hamada: 1921-1969, Asahi Shimbun Publishing Company, Tokyo, 1969, cat. no.48 for a similar water dropper.

£400-600

Takeo Sudo (1931–1998) was a third-generation potter from Mashiko and among the last pupils of the celebrated Shoji Hamada. Although Hamada’s aesthetic deeply influenced his practice, Sudo developed a style that was distinctly his own, marked by individuality and refinement. He was especially noted for his skillful use of onglaze enamels, a technique in which he excelled. Sudo worked at the Tobo-Hinata kiln, originally founded in 1868 by his ancestor, Yujiro Sudo, the first potter of the family line.

TAKEO SUDO (JAPANESE 1931-1998) PAIR OF VASES

kaki and jun glazes, stoneware

27.5cm high, 10.3cm wide (10 ¾in high, 4in wide) (2)

Provenance: Bonhams, London, Contemporary Ceramics, 27 February 1989, lots 63 and 65, from where acquired by the present owner; Private Collection, London.

£1,000-1,500

A Life of Grace, Service, & Style Airlie Lady

Virginia Fortune Ogilvy, Countess of Airlie (1933 - 2024) was a distinguished figure in the British royal household, best remembered as the first American-born Lady of the Bedchamber to Queen Elizabeth II, a role she held with devotion and discretion from 1973 until the Queen’s death in 2022.

Born Virginia Fortune Ryan on 9 February 1933, she was the daughter of John Barry Ryan Jr. and Margaret (Nin) Kahn. Her maternal grandfather was the renowned German-American financier and philanthropist Otto Kahn, a prominent figure in New York society and a leading patron of the Arts. Virginia spent her childhood between New York City and Newport, Rhode Island, and was educated at the Brearley School in Manhattan, later attending the James Franklyn School of Professional Arts.

From an early age, Virginia developed a fondness for England. Each year, her mother brought her to London, where they stayed in a flat overlooking St James’s Park. During one such visit, at the age of 16, she met David Ogilvy at a dance at the Savoy Hotel. Three years later, he proposed, and in October 1952 they were married at St Margaret’s, Westminster, in a grand ceremony attended by Queen Elizabeth the Queen Mother and Princess Margaret.

David Ogilvy came from a distinguished Scottish family with close ties to the monarchy. On succeeding as 13th Earl of Airlie in 1968, he and Virginia divided their time between their home in Chelsea and the family’s estates in Angus, Cortachy Castle, where they raised six children: three sons and three daughters. The couple became part of Queen Elizabeth II and Prince Philip’s social circle, often joining them at Sandringham and Balmoral.

Lady Airlie was devoted to the Arts and served on the Royal Fine Art Commission, as a trustee of both the Friends of the Tate and the National Gallery, and as chair of the American Museum in Britain. She also sat on the board of the National Galleries of

Virginia Ryan, wearing a tulle gown by Dior. Portrait by Cecil Beaton for Condé Nast, published in Vogue March 1951.

Scotland, reflecting her lifelong commitment to cultural life on both sides of the Atlantic.

On 1 January 1973, she was appointed Lady of the Bedchamber to Queen Elizabeth II—the first American ever to hold the role. Remarkably, her husband’s grandmother, Mabell, Countess of Airlie, had also served in the same position to Queen Mary, making Virginia’s appointment a continuation of family tradition. Over the next five decades, she became one of the Queen’s most trusted companions, accompanying her on official overseas tours, engagements across the UK, and high-profile state occasions, including visits from U.S. presidents.

In 1984, her husband joined her in royal service when he was appointed Lord Chamberlain, overseeing the workings of the royal household. Together, they embodied loyalty and discretion at the heart of the monarchy.

Despite her noble marriage and high standing, Lady Airlie was widely admired for her warmth, wit, and lack of pretension. The legendary photographer Cecil Beaton once described her as “a paragon of gaiety and dignity,” a sentiment that captured her grace both in royal circles and in private life.

She was appointed Dame Commander of the Royal Victorian Order (DCVO) in 1995 in recognition of her service. Following the death of her husband in 2023, Lady Airlie remained at Cortachy until her own passing in August 2024 at the age of 91. Upon her death, King Charles III paid tribute, noting her “immense devotion and dedicated service” to his late mother.

134

GWEN JOHN (BRITISH 1876-1939)

GIRL KNEELING IN CHURCH, 1927

stamped signature (lower right), inscribed Set 27 in pencil, and es347 in pen (to reverse), watercolour and body colour with a charcoal under drawing on paper 15.8cm x 12.6cm (6 ¼in x 5in)

Provenance: with The Matthiesen Gallery, London, 1958; The Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie.

Exhibited: The Matthiesen Gallery, London, Gwen John, 14 February - 8 March 1958, cat. no. 48

£3,000-5,000

135

GWEN JOHN (BRITISH 1876-1939)

WOMAN STANDING, BACK VIEW, c.1920s stamped signature (lower right), inscribed EJ345 in pen (to reverse). watercolour and body colour on paper on brown paper 15cm x 12.5cm (5 7/8in x 4 7/8in)

Provenance: with The Matthiesen Gallery, London, 1958; The Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie.

Exhibited: The Matthiesen Gallery, London, Gwen John, 14 February - 8 March 1958, cat. no. 49

£3,000-5,000

136 §

JOHN PIPER (BRITISH 1903-1992)

HADRIAN’S VILLA I, 1961

signed in pen (lower right) and dated 3.3.61 (lower left), inscribed No 15 in pencil (to reverse), pencil, crayon, ink, watercolour and gouache on graph paper.

23.7cm x 31.5cm (9 ¼in x 12 3/8in)

Provenance: The Arthur Jeffress Gallery, London, where acquired by Mrs John Barry Ryan;

The Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie.

Exhibited: Arthur Jeffress Gallery, London, Paintings and Watercolours of Rome by John Piper, 1-25 May 1962, cat. no.22.

£3,000-4,000

137 §

OLIVER MESSEL (BRITISH 1904-1978)

THREE SKETCHES FOR WEDDING DECORATIONS - A CIRCULAR TEMPLE OF TRESTLED COLUMNS; A SIMPLE LITTLE TENT; SKETCH FOR THE ANTE ROOM, 1952

each signed (lower right) and further signed Love Oliver, dedicated For Ginny & David’’s Wedding Day and inscribed (on artist’s label to reverse), ink, charcoal, watercolour and gouache on paper

25.3cm x 35.4cm (10in x 14in) each

Provenance: The Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie.

£600-800

138 §

BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.LITT. (SCOTTISH 1931-2021)

THREE VASES OF TULIPS, 1988

signed and dated in pencil (lower left), watercolour on paper 56cm x 76cm (22in x 30in)

Provenance: The Artist; Mercury Gallery, London 1988, where acquired by Lady Airlie; The Estate of Virginia Fortune Ryan Ogilvy, Dowager Countess of Airlie.

£8,000-12,000

END OF COLLECTION

140 §

PETER FARMER (BRITISH 1936- 2017) FOLIO OF 16 DRAWINGS AND COSTUME STUDIES

Six Studies of Ladies, 1964

signed and dated (lower right), pen, ink and watercolour 25cm x 16.5cm;

10 Further Figure Studies, 1964-1970 mixed media on paper (16), unframed

Provenance: The Collection of Gillian Raffles Gillian Raffles at the Mercury Gallery in London mounted the exhibition Peter Farmer: Ballet and Theatre Designs from 14 March to 7 April 1972. She wrote ‘This exhibition has been mounted to show the wide variety and charm of his designs for ballet and drama’. Clement Crips of The Financial Times noted that ‘Peter Farmer’s sets and costumes are a beautifully apposite exercise in romantic designing’, whilst James Kelsey of the Evening News espoused how the plays were ‘Heightened tremendously by Peter Farmer’s exotic erotic costumes’.

£500-700

139 §

LESLIE HURRY (BRITISH 1909-1978)

SIX LANDSCAPES

TOWN DWELLING - FORMS

MEETING, 1974

signed and dated (upper right), pen, ink and watercolour on paper

58.5cm x 78cm (23in x 30 ¾in); LANDSCAPE WITH CHURCH

signed (lower right), pen, ink and watercolour on paper 78cm x 58cm (30 ¾in x 22 ¾in); PROCESSION, 1974

signed and dated (lower right), titled (upper right), pen, ink and watercolour on paper 39.5cm x 77cm (15 ½in x 30 ¼in); PROCESSION, 1974

signed and dated (lower right), pen, ink and watercolour on paper 39cm x 59cm (15 3/8in x 23 ¼in); LANDSCAPE, 1974

signed and dated (upper right), pen, ink and watercolour on paper 39.5cm x 57.5cm (15 ½in x 22 5/8in);

SURREALIST LANDSCAPE, 1973

signed and dated (lower left), pen, ink and watercolour on paper 39cm x 29.5cm (15 3/8in x 11 5/8in)

Provenance: all unframed (6)

£600-800

141 §

JOHN PIPER C.H. (BRITISH 1903-1992)

STUDY FOR A BACKDROP, PROBABLY FOR MIDSUMMER NIGHT’S DREAM, COVENT GARDEN

signed in crayon (lower left), mixed media on paper

38cm x 77.5cm (15in x 30 1/2in)

£5,000-7,000

Natalie and Bobby Bevan in the 1950s, Private Collection

The Blue Poppy of 1932 by Cedric Morris epitomises the bold and beautiful flower still life paintings on which his reputation as one of the leading British artists of the twentieth century is founded. Moreover, it was created during an exceptional period in his career and was acquired from Morris by his friend, the advertising executive and renowned collector Robert ‘Bobby’ Bevan and has remained in his family ever since.

Having made his name in the avant-garde art world of 1920s London, Morris later recalled ‘there was too much of a social whirl, I couldn’t get any work done and there weren’t any landscapes out of the window.’ (as quoted by Hugh St Clair in A Lesson in Art & Life,2023, p.62) In 1929 he and his partner, the artist Arthur Lett-Haines, decided to rent The Pound, a farmhouse in Higham, Suffolk ‘with a view down the valley through ancient trees towards the River Stour…[with]…the possibility of making a beautiful, romantic garden where woodcock swooped in winter and nightingales sang on summer evenings.’ (St Clair, op.cit., p.63). Indeed, it was during his eleven years at The Pound that Morris emerged as a plantsman of distinction amidst ‘The Pound’s unusual combination, in the 1930s, of idyll with hard work and exuberant entertainment.’ (Richard Morphet, Cedric Morris, 1984, p.48)

The Blue Poppy brings together Morris’s triumphs in the studio and in the garden of this exceptionally creative period. It may have been painted to celebrate his success in bringing the titular Himalayan Blue Poppy (Meconopsis baileyi) to flower, seen at

SIR CEDRIC MORRIS (BRITISH 1889-1982)

THE BLUE POPPY, 1932 signed and dated (lower left), oil on canvas 76cm x 63.5cm (30in x 25in)

Provenance: Acquired directly from the Artist by Robert (Bobby) Bevan and thence by descent to the present owner.

Exhibited: National Museum of Wales, Cardiff, Cedric Morris Retrospective, 16 June – 29 July 1968, no.32; Scottish National Gallery of Modern Art, Edinburgh, From Sickert to Gertler: Modern British Art from Boxted House, 15 March – 22 June 2008 and partial tour to Gainsborough’s House, Sudbury, 4 October13 December 2008 and Brighton Museum & Art Gallery, 17 April to 12 September 2010, illus. col. pl.30.

Literature: Reynolds, Gwynneth and Grace, Diana, Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School of Painting and Drawing, Unicorn Press, Norwich, 2017, illus. p.90.

£30,000-50,000

the upper left of centre of the canvas. It was not introduced into cultivation in the UK until 1924, just eight years before the work was created and takes three to four years to nurture from seed to growth to bloom. This particular poppy represents, amongst other things, peace, purity, spirituality and harmony with nature. Other species thought to feature in the painting include the red Oriental Poppy (Papaver orientale Goliath Group), the lilac-purple Opium Poppy (Papaver somniferum), Chinese Delphinium, associated with chivalry, bravery and fidelity and Fire Lily, associated with purity and majesty. Applying thick paint in distinctive brushstrokes onto canvas, Morris presented a range of brilliantly coloured flowers in the frontal plane, against a dark background. The variously shaped flowerheads, petals, stems and leaves are realised with the strength of form of an artist and the understanding of a horticulturalist.

The son of Camden Town Group painter Robert Polhill Bevan, Bobby Bevan and his future wife Natalie Ackenhausen first met Morris and Lett-Haines in the late 1920s. Bobby became Chairman of the advertising agency S. H. Benson Ltd, whilst Natalie was a painter, ceramicist and muse to several leading modern British artists, not least Mark Gertler. They married in 1946 and moved to Boxted House, Boxted in 1947, some twelve miles from Benton End in Hadleigh, to where Morris and LettHaines moved in 1940. Their friendship flourished in the postwar period, in tandem with the growth of the Bevans’ collection of Contemporary, twentieth-century British and European art; it was the subject of exhibitions in various public galleries including the Scottish National Gallery of Modern Art, Edinburgh, Brighton Museum and Art Gallery and Gainsborough’s House, Sudbury. The Bevans lent The Blue Poppy to the retrospective exhibition of Morris’s work held av the National Museum of Wales in Cardiff in 1968.

We are grateful to David R. Mitchell, Curator, Muddy Feet Consulting for his help with our research

143 §

KEITH VAUGHAN (BRITISH 1912-1977)

SITTING AND READING, c.1940s

estate stamp (to reverse), pen, ink and wash on paper

13.2cm x 21cm (5 1/8in x 8 ¼in)

£700-900

144 §

KEITH VAUGHAN (BRITISH 1912-1977)

SKETCHES OF MEN BATHING

pencil and paper

each 7.5cm x 11.5cm (3in x 4 1/2in), mounted together (2)

Provenance: Wenlock Fine Art, Much Wenlock, from whom acquired by the previous owner; Lyon & Turnbull, Modern Made, 28 April 2023, lot 120, where acquired by the present owner.

£800-1,000

146 §

ROBERT COLQUHOUN (BRITISH 1914-1962)

LADY SEATED IN INTERIOR, 1939

signed and dated in pen (lower left), pen, ink and wash on paper

28cm x 22cm (11in x 8 5/8in)

Provenance: Private Collection, U.K.

£2,000-3,000

145 § NORMAN CORNISH (BRITISH 1919-2014) BACK GARDENS, 1964

signed and titled (lower right), pen, ink and watercolour on paper 22cm x 27.7cm (8 5/8in x 10 7/8in

Provenance: with The Stone Gallery, Newcastle.

£1,000-1,500

147 §

BERNARD MENINSKY (BRITISH 1891-1950)

PICKING FLOWERS, c.1940s

ink, watercolour and gouache on paper laid on card

30.5cm x 28cm (12in x 11in)

Provenance: with The Tib Lane Gallery, Manchester, 1974; with Montpelier Studio, London; with Nina Zborowska Fine Paintings, Painswick.

£2,000-3,000

148 §

MICHAEL ROTHENSTEIN (BRITISH 1908-1993)

BIRDS NESTS & SUN FLOWERS, 1941

signed and dated (lower right), pen, ink, watercolour and gouache on paper.

37.7cm x 49.5cm (14 7/8in x 19 ½in)

Provenance: with Wenlock Fine Art, Much Wenlock, from whom acquired by the present owner.

£2,500-3,500

149 §

KENNETH JACK A.M., M.B.E, R.W.S. (AUSTRALIAN 1924-2006) OLD HOTEL, 1957

signed and dated (lower left), oil on hardboard

59.5cm x 90cm (29 ½in x 41 ½in)

Provenance: with Australian Galleries, Collingwood; Private Collection, London.

£1,000-1,500

150 §

RUSKIN SPEAR (BRITISH 1911-1990)

CORNISH LANDSCAPE, c.1944

signed (lower right), oil on board

26cm x 37cm (10 ¼in x 14 ½in)

Provenance: Vartia General Corporation, Panama; New Grafton Gallery, London, where acquired by the previous owner circa the 1980s; Sotheby’s, London, Made in Britain, 17 March 2020, lot 162, where acquired by the present owner; Private Collection, U.K.

£1,000-1,500

151

BERNARD MENINSKY

(BRITISH 1891-1950)

LANDSCAPE, NEAR CAGNES

signed (lower right), oil on canvas

49.5cm x 60cm (19 ½in x 23 5/8in)

Provenance: ex Dr. Charles Lewson; Private Collection, London.

£1,500-2,500

152 §

signed (lower right), oil on board

44.2cm x 54.5cm (17 3/8in x 21 ½in)

Provenance: David Graham Esq.; with New Grafton Gallery, London, 1974; with The Belgrave Gallery, London; Private Collection, London.

£1,500-2,000

153 §

PETER POTWOROWSKI (POLISH 1898-1962)

ITALY, c.1950s

estate stamp (to backboard), ink, watercolour and gouache on paper 16cm x 21.5cm (6 ¼in x 8 ½in)

Provenance: with Grant Waters Twentieth Century British Art; with Wenlock Fine Art, Much Wenlock from whom acquired by present owner.

£400-600

154 §

JOHN CHRISTOPHERSON (BRITISH 1921-1996)

THE HILL OF VISION, 1977 initialled (lower right), titled, dated and inscribed (to reverse), oil on board 28.5cm x 27cm (11 ¼in x 10 5/8in)

Provenance: Private Collection, London. £600-800

155 §

PETER POTWOROKSKI (POLISH 1898-1962)

SIENNA TOWNSCAPE, 1955-1957

estate stamp (to reverse), oil on paper

60cm x 45cm (23 5/8in x 17 ¾in)

£1,000-1,500

156 §

GERTRUDE HERMES (BRITISH 1901-1983) CAT, 1937

signed and dated (lower right), pencil on paper, with a drawing of a Bird (to reverse)

25cm x 35cm (9 7/8in x 13 ¾in)

£600-800

157 §

MARY FEDDEN (BRITISH 1915-2012)

RIDERS ON ELEPHANT, 1990

signed and dated (lower left), watercolour and gouache on paper

19cm x 23cm (7 ½in x 9in)

Provenance: Private Collection, U.K.

£1,500-2,500

158 §

DAVID REMFRY R.A. (BRITISH 1942-)

MIMOSA AND DUCKS, 1987

signed and dated (lower right), watercolour

32cm x 46.5cm (11 ½in x 18 ¼in)

Provenance: The Collection of Gillian Raffles.

£500-700

159 §

DAVISON (BRITISH 1919-1984)

FROM THE BALCONY - VENICE, 1948 oil on card

39.5cm x 29cm (15 3/8in X 11 ½in)

Provenance: The Estate of the Artist; Private collection, since 2000.

The present work is one of very few executed by the Artist on his honeymoon in Venice with Margaret Mellis in 1948.

£2,500-3,500

160 §

JULIAN TREVELYAN (BRITISH 1910-1988)

DOCKSIDE, THE THAMES, LONDON, 1985

signed and dated (lower right), oil on canvas

60cm x 75cm (23 5/8in x 29 ½in)

Provenance: Private Collection, U.K.

£5,000-8,000

161 §

MARY FEDDEN O.B.E., R.A., R.W.A. (BRITISH 1915-2012)

FRUIT, 2009

signed and dated (lower left), further signed and inscribed Mary Fedden / Fruit (on a label attached to the stretcher), oil on canvas, 50cm x 60.5cm (19 5/8in x 23 ¾in)

Provenance: Bonhams, London, 20th Century British Art, 9 March 2011, lot 64; Private Collection, U.K.

£8,000-12,000

162 §

ANDREW LANYON (BRITISH 1947-)

THE CONJUROR, 1979/80

signed, titled and dated (to label to reverse), oil on card

23.5cm x 23.5cm (9 ¼in x 9 ¼in)

Provenance: Acquired directly from the artist by the present owner.

£600-800

163 §

KEITH VAUGHAN (BRITISH 1912-1977) RUNNING MAN

studio stamp (lower right), pastel and chalk on paper

50cm x 37cm

Provenance: with Agnew’s, London.

£4,000-6,000

DAME ELIZABETH FRINK (BRITISH 1930-1993)

LEAPING MAN, 1985

signed and numbered 4/8 (to base), patinated bronze 40cm high, 36cm wide, 15cm deep (15 ¾in high, 14 1/8in wide, 5 7/8in deep)

Provenance: Phillips, London, 20th Century British Art, 6 June 2000, lot 128, from where acquired by the present owner; Private Collection, London.

£20,000-30,000

165 §

DAME ELIZABETH FRINK (BRITISH 1930-1993) PHOENIX

signed lower right, pen and ink on paper 17.5cm x 21.1cm (6 7/8in x 8 3/8in)

Provenance: Provenance from the client: M. Harland & Son was founded in the Land of Green Ginger, Kingston-upon-Hull in the late 19th century and there they stayed until forced to evacuate in the bombing of WW2 to Pocklington in the East Riding. After the war they eventually relocated to a new purpose built factory in Anlaby, Kingston-upon-Hull.

Then one of the foremost industrial printers in the UK, the company was headed by Bill Morrison, an aficiando of Dame Elisabeth’s works. Bill commissioned the Phoenix design as the new company logo to reflect its history. This is the pen and ink although there was also a bronze. They were part of the “ art collection” which was purchased by the directors of the Harland Group prior to its acquisition by the Sonoco Corporation in 1994. As the Chief Executive and a director of the Group, I acquired this pen and ink in 1992. Interestingly Geoffrey Dashwood was commissioned to provide a “new” Phoenix in 1990, which I have 6/12 , £1,200-1,800

166 §

RALPH BROWN R.A. (BRITISH 1928-2013)

DIVERS, c.1960

bronze on wooden base, from the edition of 8 54.5cm high (21 ½in high) (including base)

Literature: see Gillian Whiteley (ed.), Social, Savage, Sensual: The Sculpture of Ralph Brown, Bristol: Sansom & Company, 2009, p. 60, for another cast illustrated, mounted at a different angle and height. £1,500-2,000

167 §

UNTITLED, c.1958 oil and sand on canvas 61cm x 76cm (24in x 30in)

Provenance: Acquired directly from the Artist by the previous owner, c.1950s; Sotheby’s, London, Made in Britain, March 16 2016, lot 70, where acquired by the present owner. £10,000-15,000

168 §

BERNARD KAY (BRITISH 1927-2001)

RED ABSTRACT, 1955

signed and dated (to reverse), oil on board

75cm x 55cm (29 ½in x 21 5/8in)

Provenance: The Bernard Kay Collection.

£1,000-1,500

169 §

ROY TURNER DURRANT (BRITISH 1925-1998)

INSCAPE : THE DREAM, 1957

signed and dated (lower right), oil on board

76cm x 61cm (30in x 24in)

Provenance: with The Fine Art Society, London; Katharine House Gallery, Marlborough, where acquired by the present owner in 2011.

Exhibited: Katharine House Gallery, Marlborough, Roy Turner Durrant: Retrospective Exhibition - Major Works 1950s-1980s, 22 October - 12 November, 2011, cat. no.10.

£3,000-5,000

170 §

DAVIE C.B.E, R.A. (BRITISH 1920-2014)

BOXES FOR JOY, 1963 (OPUS O.237A)

titled in pencil (to stretcher), oil on canvas

50.8cm x 61cm (20in x 24in)

Provenance: Gimpel Fils, London; Private Collection , U.K.

£7,000-10,000

‘Eduardo and I visited the glass works in Udine, Italy to discuss the project and I returned a number of times to check on progress.

Eduardo’s drawings were projected onto large sheets of paper using an epidiascope and the mosaic then stuck to the paper back to front, so that when offered up to the wall they would be the right way round.

When the first stage of the work - the mosaics for the Central Line - arrived, the length was fine, but they were about a metre too high, so they had to be adapted on site. Work could only be carried out from midnight until about 4am and Eduardo didn’t want to go out at night to amend them, so he left it to me to make it all fit. I would do a normal day at work, as an architect for London Transport, then wander around the city until midnight, before going on site to do a kind of cut and paste make the mosaic fit the space, catching the first train back home around 6am.

I’ve always called the piece ‘butterfly/moth’ because I always think of it as a butterfly, with its bright colouring, but it was in fact a moth - to depict the night life of Soho and the environs of Tottenham Court Road.’

Duncan Lamb

Eduardo Paolozzi (right)and Duncan Lamb in front of Tottenham Court Road mosaics in situ, April 1983 - Image National Galleries of Scotland. Presented by Eduardo Paolozzi.

171 §

SIR EDUARDO PAOLOZZI R.A., H.R.S.A. (BRITISH 1924-2005)

MOTH - FROM THE TOTTENHAM COURT ROAD STATION MOSAIC, c.1983

glass mosaic tiles mounted on plywood

150.5 x 105.5 x 3.5cm (59 ¼in x 41 ½in x 1/14in)

Provenance: Gifted to Duncan Lamb, the architect who oversaw the installation of the murals, and thence by descent to the present owner.

We are grateful to Toby Treves of The Paolozzi Foundation for his kind assistance with the cataloguing of this lot.

£5,000-7,000

172 §

FRANCO ASSETTO (ITALIAN 1911-1994)

LA SPIAGGIA, 1957

signed, titled and dated (lower left), further signed and dated (to reverse), oil on canvas

30cm x 99.5cm (11 ¾in x 39 1/8in)

Provenance: Private Collection, U.K.

£800-1,200

173 §

LAETITIA YHAP R.A. (BRITISH 1941-)

OXO, PODGE, BASIN NEIL AND MICHAEL IN SUMMER, 1977-78

signed, titled and dated oil on stretcher (to reverse), carnoba wax and liquitex on paper mounted onto an irregular shaped metal support

60.3cm x 82.5cm (23 ¾in x 32 ½in)

Provenance: Acquired directly from the Artist by the present owner, 2000. £1,500-2,500

174 §

JOHN BRATBY (BRITISH 1928-1992)

DAYAN AT THE AGE OF HIS FIRST SMILE, 8 WEEKS - I

signed (lower left), oil on canvas

50.5cm x 76cm (19 ¾in x 29 7/8in)

Provenance: Private Collection, London

Exhibited: Royal Society of British Artists, London.

£1,000-1,500

175 § SHEILIA TIFFIN (BRITISH 1952-)

SELF-PORTRAIT

signed (lower left), oil on found artist’s palette 33cm x 26.5cm (13in x 10 ½in)

Provenance: Private Collection, U.K.

£600-800

176 §

FRED YATES (BRITISH 1922-2008)

THE BOAT

signed (lower right), oil on canvas

61cm x 76cm (24in x 29 7/8in)

Provenance: Private Collection, London.

£800-1,200

177 §

JOSEF HERMAN O.B.E., R.A. (POLISH/ BRITISH 1911-2000)

FIGURES WITH HORSE AND CART

pen, ink, pastel and watercolour on paper 14cm x 19.5cm (5 ½in x 7 5/8in)

Provenance: Private Collection, London. £600-800

178 §

JOSEF HERMAN O.B.E., R.A. (POLISH/ BRITISH 1911-2000) MINERS

pen, ink, watercolour and gouache on paper

16.5cm x 24cm (6 ½in x 9 ½in)

Provenance: Private Collection, London.

£800-1,200

179 §

WILLIAM RALPH TURNER (BRITISH 1920-2013) NORTHERN TOWN signed (lower right), oil on board 50cm x 40cm (19 5/8in x 15 ¾in)

Provenance: Private Collection, London

£1,500-2,500

180 §

ALBERT HOUTHUESEN (BRITISH 1903-1979)

INCOMING TIDE, EVENING, c.1965

signed (lower left), oil on board

28.5cm x 39cm (11 ¼in x 15 3/8in)

Provenance: The Collection of Gillian Raffles.

£300-500

181 § JOSEF HERMAN O.B.E., R.A. (POLISH/ BRITISH 1911-2000) THE ANCHOR

gouache and pencil on paper 19cm x 24cm (7 ½in x 9 ½in)

Provenance: Private Collection, London.

£600-800

182 §

ALBERT HOUTHUESEN (BRITISH 1903-1979)

RED ROCK, RED SEA, 1974

signed (lower right), titled, dated and inscribed (to reverse), acrylic on board

24cm x 29cm (9 ½in x 11 ½in)

Provenance: The Collection of Gillian Raffles.

£300-500

183 §

JOSEF HERMAN O.B.E., R.A (POLISH/BRITISH 1911-2000)

WELSH MINER - SUNSET

signed (to reverse), oil on hardboard

76.5cm x 91.5cm (30 in x 36in)

Provenance: Sotheby’s, 2 June 2004, lot 93; Private Collection, London.

£2,000-3,000

184 §

LESLIE THORNTON (BRITISH 1925-2016)

STANDING FIGURE c.1960-61

signed with artist’s monogram (to base), welded bronze

56cm high (22in high)

Provenance: Mrs C. Abrahams Curiel; Her sale, Rosebery’s, London, where acquired by the present owner, 7 December 2023, lot 356.

£4,000-6,000

SUZANNE VAN DAMME (BELGIAN 1901-1986)

L’INDÉFINI

signed (lower right), oil on paper on board

67.5cm x 44.5cm (26 ½in x 17 ½in)

Provenance: with Group 2 Gallery, Brussels, from whom acquired by the present owner; Private Collection, London.

£800-1,200

BRUNO CAPACCI (ITALIAN 1906-1996)

L’ESPERANCE, 1975

signed and dated (lower right), titled (to reverse), oil on board

83.7cm x 58cm (33in x 22 7/8in)

Provenance: with Group 2 Gallery, Brussels, from whom acquired by the present owner; Private Collection, London.

Exhibited: Group 2 Gallery, Brussels, Variations on the Human Figure, February 2001.

£1,000-1,500

Born in Venice and raised in Florence, Capacci settled in Paris in 1930, joining Les Italiens de Paris with de Chirico and Severini. He and his wife, Belgian painter Suzanne Van Damme, were closely connected with the Surrealists and exhibited at André Breton’s Exposition Internationale du Surréalisme at Galerie Maeght in 1947.

Capacci’s work—poetic, imaginative, and often featuring fantastical bestiaries—drew on Renaissance masters as well as Klee and Brauner. In Florence he developed ceramics, mosaics and porcelain, exhibiting widely in the US and collaborating with Haviland, Christofle and Rosenthal. He returned to Brussels in later life and died in 1996.

Suzanne Van Damme shared Capacci’s Parisian Surrealist milieu and exhibited internationally alongside him. Her work, admired for its lyrical sensitivity and dreamlike qualities, was celebrated posthumously in solo and joint exhibitions with Capacci.

187 §

EDGAR MANSFIELD (NEW ZEALANDER 1907-1996)

FIGURAL FORM

stamped with monogram and numbered 2/6, patinated bronze

43.5cm high (17 1/8in high)

Provenance: The Collection of Gillian Raffles.

£500-800

§

188

TWO FIGURES

MARZIA COLONNA (ITALIAN/BRITISH 1951-)

signed Colonna, numbered 3/12 and stamped with foundry stamp (to base), patinated bronze

26.5cm x 11.5cm x 11cm (10 3/8in x 4 ½in x 4 3/8in)

Provenance: Sworders, Stansted Montfitchet, Modern & Contemporary Art, lot 269, where acquired by the present owner, 25 April 2023.

£800-1,200

189

§

MIGUEL

BERROCAL (SPANISH 1933-2006)

GOLIATH, 1968-72 (OPUS 114)

impressed signature and numbered 1077, with the Reischauer foundry stamp, brass in 80 parts, from the edition of 2000, with paper disc certificate

24.8cm high, 14cm wide, 12.3cm deep

(9 ¾in high, 5 ½in wide, 4 7/8in deep)

Provenance: Private Collection, U.K.

£1,500-2,000

191

190 §

LUCIENNE DAY O.B.E. (BRITISH 1917-2010) WHIRLIGIG, c.1980

initialled L in the weave (lower right), silk mosaic tapestry mounted on board 39cm x 39cm (15 3/8in x 15 3/8in)

Provenance: Private Collection, London.

£300-500

MARCEL BREUER (HUNGARIAN 1902-1981)

NEST OF TWO TABLES, DESIGNED 1936 beech plywood

larger table: 34cm high, 61cm wide, 46cm deep (13 3/8in high, 24in wide, 18 1/8in deep) (2)

Provenance: Private Collection, London.

£800-1,200

192

JOHN REID (BRITISH 1925-1992) & SYLVIA REID (BRITISH 1924-2022) FOR ROTAFLEX LIGHTING LTD., LONDON

METALLUX FLOOR LAMP

brass and enamelled steel

154cm high, 54cm wide (60 5/8in high, 21 ¼in wide)

Provenance: Private Collection, London.

Literature: Stapleton, Annemarie, Richard Chamberlain and Geoffrey Rayner, Austerity to Affluence: British Art & Design 1945-62, Merrell Holberton, London, 1997, p.101, cat. no.PD38 for a floor lamp by John and Sylvia Reid with similar square section stand and stem.

£1,200-1,800

193

GERALD SUMMERS (BRITISH 1899-1967)

TWO ‘TV-T’ STACKING TABLES, DESIGNED 1953

each cast GERALD SUMMERS REGISTERED DESIGN NO. 871987 (to underside), cast aluminium, one with oak veneered wood and oak legs, the other with legs of black and red top.

46cm high, 33.5cm wide (18in high, 13 ¼in wide) and 45.5cm high, 33.5cm wide (17 7/8in high, 13 ¼in wide) (2)

Provenance: Private Collection, London.

Literature: Deese, Martha, Gerald Summers & Marjorie Butcher: Makers of Simple Furniture 1931-1940, Hatje Cantz, Berlin, 2024, p.281, fig.8.30, illustrated, for example of this model.

£1,200-1,500

194

PIERRE JEANNERET (SWISS 1896-1967)

PAIR OF LOW EASY CHAIRS

inscribed GIRLS HOSTEL A30 and BOYS HOSTEL A1/I, teak, cane and upholstery

47.5cm high, 51cm wide, 61cm deep (18 ¾in high, 20in wide, 24in deep) (2)

£6,000-8,000

195

PIERRE JEANNERET (SWISS 1896-1967) DESK, DESIGNED 1952-6

painted HCS/OT. 422 in white, and stamped CHD/JLR/7033, Indian rosewood and leather 70cm high, 122cm wide, 83.5cm deep (27 ½in high, 48in wide, 32 7/8in deep)

£8,000-12,000

196 Y

ANDREW

JOHN MILNE FOR HEAL & SONS LTD

DINING SUITE, c.1954

comprising set of 10 chairs and matching dining table, rosewood, the seats upholstered in blue fabric table: 82cm high, 319cm long, 104cm deep (32 ¼in high, 125 ½in long, 41in deep); chairs: 92cm high, 59cm wide, 50cm deep (36 ¼in high, 23 ¼in wide, 19 5/8in deep) (11)

Provenance: Purchased by the original owner from Heal’s, London, 1954; Christies, London, Interiors: Style & Spirit, 7 February 2012, lot 100, from whom acquired by the present owner.

Literature: Geoffrey & Richard Chamberlain, Austerity to Affluence: British Design 1945-1962, London, 1997, p. 29, cat. no.F51 (similar example illustrated).

Heal’s selected this chair from the suite to feature under the heading Chair Makers on the ceramic frieze of trade sign panels by John Farleigh, which ran across the façade of the Heal’s extension completed in 1962.

Note: Sold in compliance with CITES regulations, with (nontransferable) Transaction

Specific Certificate no. 25GBA10WRCMCK.

£5,000-7,000

198

SIGURD RESSEL (NORWEGIAN 1920-2010) FOR VATNE MØBLER PAIR OF ‘FALCON’ CHAIRS

canvas, chromed steel, with leather straps and leatherupholstered cushions

100cm high, 80cm wide, 80cm deep (39 3/8in high, 31 ½in wide, 31 ½in deep) (2)

Provenance: Private Collection, U.K.

£1,000-1,500

197

PAUL TUTTLE (AMERICAN 1918-2002) FOR STRASSLE

PAIR OF ‘NONNA’ ROCKING CHAIRS, DESIGNED 1972

wood, steel and leather

91cm high, 56cm wide, 98cm deep (35 ¾in high, 22in wide, 38 ½in deep) (2)

Provenance: Private Collection, London.

£1,000-1,500

199

WILLIAM PLUNKETT (BRITISH 1928-2013)

PAIR OF ‘WESTERHAM’ CHAIRS AND STOOLS

brushed steel and chenille/ velvet upholstery

chairs: 61cm high, 54cm wide

66cm deep (24in high, 21 ¼in wide, 26in deep) (2)

£800-1,200

200

CHARLES EAMES (AMERICAN 1907-1978) & RAY EAMES (AMERICAN 1912-1988) FOR HERMAN MILLER

SIX ‘LCW’ CHAIRS, DESIGNED 1945

each with applied manufacturer’s label, plywood

72.5cm high, 49cm wide, 52.5cm deep (28 ½in high, 19 ¼in wide, 20 ¾in deep) (6)

£4,000-6,000

201

CEES BRAAKMAN (DUTCH 1917-1995) FOR PASTOE, NETHERLANDS

CABINET, DESIGNED 1951-2

model CB01, from the Combex series, birch 120cm high, 131cm wide, 43cm deep (47 ¼in high, 51 ½in wide, 17in deep)

Provenance: Private Collection, U.K.

£600-800

202

203

MERET OPPENHEIM (SWISS 1913-1985)

‘TRACCIA’ TABLE, DESIGNED 1939 from the Ultramobile Collection, bronze and gilded wood

65cm high, 67.5cm wide, 53cm deep (25 ½in high, 26 ½in wide, 20 7/8in deep)

Provenance: Private Collection, London.

£2,000-3,000

204

LE CORBUSIER (SWISS/FRENCH 1887-1965), CHARLOTTE PERRIAND (FRENCH 1903-1999) & PIERRE JEANNERET (FRENCH 1896-1967)

CHAISE LONGUE, DESIGNED 1928 pony skin, chrome-plated and patinated steel, leather, with plastic feet

56.5cm wide, 160cm long, 83cm deep (22 ¼in wide, 63in long, 32 5/8in deep)

Provenance: Private Collection, U.K. £800-1,200

LE CORBUSIER (SWISS/FRENCH 1887-1965), CHARLOTTE PERRIAND (FRENCH 1903-1999) & PIERRE JEANNERET (FRENCH 1896-1967) FOR CASSINA PAIR OF ‘LC1’ ARMCHAIRS, DESIGNED 1928-9

each with stamped signature and Cassina LC1, and numbered 018255 and 018290, steel, leather and canvas

64cm high, 58cm wide, 65cm deep (25 ¼in high, 22 ¾in wide, 25 ½in deep) (2)

Provenance: Private Collection, London. £500-800

205

EERO SAARINEN (AMERICAN 1910-1961) FOR KNOLL INTERNATIONAL, U.S.A. TULIP TABLE, DESIGNED 1957

manufacturer’s label (to underside of top), marble and enamelled aluminium

53.5cm high, 90cm diameter (21in high, 35 3/8in diameter)

£1,200-1,800

206

CHARLES EAMES (AMERICAN 1907-1978) & RAY EAMES (AMERICAN 1912-1988) FOR VITRA LA CHAISE, DESIGNED 1948

first edition Vitra edition from the 1990s, fibreglass, chrome-plated steel, oak

89cm high, 143cm wide, 90cm deep (35in high, 56 ¼in wide, 35 ½in deep)

Provenance: Private Collection, U.K.

Originally conceived in 1948 as a proposal for The Museum of Modern Art’s International Competition for Low-Cost Furniture Design, the piece was not produced until 1990 by Vitra.

£2,500-3,500

207

CHARLES EAMES (AMERICAN 1907-1978) & RAY EAMES

(AMERICAN 1912-1988) FOR HERMAN MILLER SET OF FOUR ‘DWC’ CHAIRS, c.1950

each labelled MANUFACTURED BY EVANS PRODUCTS COMPANY/ HERMAN MILLER FURNITURE COMPANY/ DESIGNED BY CHARLES EAMES, plywood

73cm high, 49cm wide, 53cm deep (28 ¾in high, 19 ¼in wide, 20 7/8in deep) (4)

Provenance: Private Collection, U.K.

£1,500-2,000

208

GEORGE NELSON & ASSOCIATES FOR HERMAN MILLER

JEWELLERY CABINET, DESIGNED 1952 / MANUFACTURED c.1995

model 5125, teak, porcelain, laminate and brass, 1990s issue

15.5cm high, 77cm wide, 33cm deep (6 1/8in high, 30 ¼in wide, 13in deep)

Provenance: Private Collection, London.

£1,000-1,500

JACQUELINE GROAG: DESIGNS FOR MODERN LIVING

Jacqueline Groag (1903–1986) occupies a central place in the history of British post-war design. Trained in Vienna and Prague, and a pupil of Franz Čižek at the Kunstgewerbeschule, she belonged to the rich lineage of émigré designers who transformed Britain’s visual culture after the Second World War. Together with her husband, the architect and designer Jacques Groag, she settled in London in 1939, joining a circle of talented European artists and designers who brought new life to British textile and decorative arts in the mid-20th century.

Groag’s designs are immediately recognisable: playful yet sophisticated, rhythmic yet spontaneous, deeply rooted in a modernist sensibility while remaining accessible and decorative. Her work spans a remarkable range, from bold abstract compositions and lyrical floral patterns to lively figurative scenes of birds, nursery motifs and imaginative storytelling. Above all, her ability to inject charm, wit and optimism into surface design made her one of the most sought-after textile designers of the period.

Her own reflections on design reveal a practical yet imaginative approach. As The Textile Manufacturer observed: “Mrs Groag considers that the designer should design for the actual fabric, heavy or light, opaque or slightly transparent, matt or shiny…the design has to be put on paper, but the paper should be forgotten and the technique considered of the method of production. Many designers think their work is spoiled during reproduction but Mrs Groag considers that the design is no good if it is not reproducible. After the design is born the designer should, if possible, go to the workshop, see the craftsmen, weaver or printer, explain, discuss and collaborate, going into details with great care and considering colour schemes. It would mean time and trouble but there would be benefit to all and the dormant paper sketch would become real and alive. The user wants beauty and the textile designer should try to provide lovely things for a harmonious life.” (The Textile Manufacturer, Joseph Appleby Ltd., Manchester, 1874-1975)

This insight offers a key to understanding the works in the present collection, which provide a window onto Groag’s working process and her versatility. It includes original drawings, working designs and pattern repeats created for some of Britain’s leading manufacturers, most notably David Whitehead Ltd. and Sandersons (Lot 213). These companies were instrumental in bringing modern design into the post-war home, producing textiles that bridged the worlds of avant-garde art and everyday domestic life. Groag’s contributions to both firms are among her most celebrated.

Among her most engaging works are Groag’s floral and bird designs (Lots 209, 210, 211, 215 & 217). Her treatment of nature is rarely literal: flowers become rhythmic arabesques, blossoms break into playful clusters, and birds transform into whimsical silhouettes that animate the repeat. These patterns distilled natural forms into motifs of joy and clarity, perfectly embodying the optimism of the post-war years. Her nursery designs reveal another side of her imagination, full of humour and gentle fantasy, demonstrating her conviction that design should be enjoyed by all ages. This balance of charm, invention and modern sensibility was recognised on a national stage when Groag contributed textiles to the Festival of Britain in 1951, a landmark event that positioned her among the key figures shaping the new visual language of mid-century Britain.

The collection also reflects the breadth of Groag’s experimentation beyond figurative and decorative motifs. Her abstract and geometric designs drew on her Central European training and exposure to Viennese Secessionist and Modernist principles: linear motifs dance across the surface, interlocking forms suggest movement and energy, and colour is applied with bold assurance. Particularly striking are her acetate designs for laminates (Lots 218 & 224), which highlight her adaptability to new technologies and materials. At a time when plastics and laminates were reshaping the modern interior, Groag embraced their possibilities, using translucency to explore layering, colour overlays and depth. These works illustrate not only her continuing relevance in the 1950s and 60s but also her determination to push textile design beyond traditional media into new realms of creativity.

Taken together, the works show Groag as a designer of extraordinary breadth. They chart her journey from handdrawn sketches and pattern ideas through to polished designs intended for industrial production. They also highlight the crucial role played by designers such as Groag in shaping the aesthetics of mid-century Britain. Through her work, everyday environments such as curtains, wallpapers, upholstery, children’s rooms, even laminates, became enlivened with wit, vitality and modernity. For those encountering her work for the first time, it reveals the rare ability of an artist to bring joy and invention into the fabric of daily life.

A final selection of works by Jacqueline Groag will be offered for sale in the April 2026 edition of Modern Made.

210 §

JACQUELINE GROAG (CZECH 1903-1986)

‘BIRDS’, c. 1946

signed in pen (lower right), titled and inscribed (to reverse), pen, ink and watercolour on paper 16.7cm x 5.7cm (6 5/8in x 2 ¼in), unframed

Provenance: Private Collection.

The present work was a design illustrated in The Ambassador, 1946. The article commented ‘textile designs by Jacqueline Groag shows her tendency to take inspiration from real life, rather than slavishly copying reality’.

Literature: Raynor, Geoffrey, Richard Chamberlain and Annamarie Stapleton, Jacqueline Groag: Textile & Pattern Design: Wiener Werkstatte to American Modern, Antiques Collectors Club, 2009, pl.19, illustrated.

£300-500

209 §

JACQUELINE GROAG (CZECH 1903-1986)

BIRDS, FLOWERS AND PLANTS

signed in pen (lower right), pen, ink and watercolour

16.5cm x 24.5cm (6.5in x 9 5/8in), unframed

Provenance: Private Collection.

£400-600

211 §

JACQUELINE GROAG (CZECH 1903-1986) FLOWERS

signed in pencil in margin (lower right), pen and ink on tracing paper

16.2cm x 23cm (6 3/8in x 9in), unframed

Provenance: Private Collection.

£300-500

212 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed (lower right), oil and watercolour on acetate and paper

22.8cm x 26cm (9in x 10 ¼in), unframed

Provenance: Private Collection.

£500-700

213 §

JACQUELINE GROAG (CZECH 1903-1986)

DESIGN FOR SANDERSONS, MAY 1959

signed in pen (lower left), signed in pen on mount (upper left), inscribed DESIGNED BY JACQUELINE GROAG / MAY 1959 / FOR MESSRS SANDERSONS in pencil (to reverse), pen, ink, watercolour and gouache on paper

35cm x 35.3cm (13 ¾in x 13 7/8 in), unframed

Provenance: Private Collection.

£500-700

JACQUELINE GROAG (CZECH 1903-1986)

THREE UNTITLED DESIGNS

signed in pen (lower left), inscribed in pen (to reverse), ink and oil on paper; inscribed in pen DESIGN:

JACQUELINE GROAG F.S.I.A, pen, ink, watercolour and gouache on paper; and signed in pencil on mount (lower right), mixed media and acetate on card 19.5cm x 14.2cm (7 5/8in x 5 5/8in); 22cm x 22cm (8 5/8in x 8 5/8in) and 33.5cm x 34.2cm (13 ¼in x 13 ½in) unframed (3)

Provenance: Private Collection.

£600-800

JACQUELINE GROAG (CZECH 1903-1986)

‘HORIZONTAL TULIPS’

titled in pencil (to reverse), collage, ink and gouache on card 14cm x 19.5cm (5 ½in x 7 5/8in), unframed

Provenance: Private Collection.

Tulips became a recurring theme in Jacqueline Groag’s work, appearing across a range of media including dress fabrics. Princess Elizabeth was photographed in 1946 wearing a dress made from one of Groag’s Wiener Werkstätte–inspired designs for F. W. Grafton. A decade later, around 1957, she created a tulip-patterned carpet design for Bond-Worth, further demonstrating the motif’s enduring significance in her practice.

£400-600

216 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed in pen (lower right), further signed in pen in margin (lower right), gold paint on acetate

15.5cm x 36cm (6 1/8in x 14 1/8in), unframed

Provenance: Private Collection.

£300-500

217 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed in pencil on mount (lower right), gouache on paper

35cm x 27cm (9 7/8in x 10 5/8in), unframed

Provenance: Private Collection.

£500-700

219 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed in pen (centre right), pen, ink and collage on paper

20.5cm x 13cm (8in x 5 1/8in), unframed

Provenance: Private Collection.

£400-600

218 §

JACQUELINE GROAG (CZECH 1903-1986)

‘DESIGN 5’

signed in pencil in margin (lower right), titled (to reverse), collage on acetate

20.2 x 20.2 cm (8 x 8 in), unframed

Provenance: Private Collection.

£300-500

220 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed in ink (lower left), pen, ink and oil on acetate

25.5cm x 25.5cm (10in x 10in), unframed

Provenance: Private Collection.

£300-500

221 §

JACQUELINE GROAG (CZECH 1903-1986)

‘BLACK BACKGROUND’

signed (lower left), titled in pencil (to reverse), fabric, pen, ink and gouache on paper

14cm x 18.2cm (5.5in x 7 ¼in), unframed

Provenance: Private Collection.

£300-500

222 §

JACQUELINE GROAG (CZECH 1903-1986)

DESIGN FOR WALLPAPER, c.1976

signed in pencil (centre left), signed in pen in margin (lower right), pen, ink, gouache and collage

16cm x 20cm (6 ¼in x 7 7/8in), unframed

Provenance: Private Collection.

A larger but related wallpaper design, titled April and produced by Sandudd Vantaa, Finland in 1976, is held in the V&A Collection (accession no. E.944-1978).

£400-600

223 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

signed in pen (left centre), inscribed No. 23 ‘AUGUST’ in pencil (to reverse), pen, ink, oil and gouache on paper

19.5cm x 14.5cm (7 ¾in x 5 ¾in), unframed

Provenance: Private Collection.

£300-500

224 §

JACQUELINE GROAG (CZECH 1903-1986)

TWO UNTITLED DESIGNS

signed in pen (lower left), pen, ink, acetate and collage on paper; and signed in pen (lower right), pen, ink, watercolour and gouache on paper

16cm x 13cm (6 ¼in x 5 1/8in) and 16cm x 16cm (6 ¼in x 6 ¼in), unframed (2)

Provenance: Private Collection.

£500-700

225 §

JACQUELINE GROAG (CZECH 1903-1986)

UNTITLED

inscribed DESIGN JACQUELINE GROAG F.S.I.A. in ink (to reverse), pen, ink and gouache on paper 29cm x 23.7cm (11 3/8in x 9 3/8in), unframed

Provenance: Private Collection.

This could possibly have been a furnishing textile design intended for children’s nurseries. Groag was creating designs for nurseries for David Whitehead around 1953. £500-700

FINN JUHL: FORM, SPACE & COMFORT

Finn Juhl (1912–1989) transformed furniture into sculptural presence with pieces that read as art at first glance and as design on closer encounter, rewarding the sitter with exceptional comfort. In his practice he was at the forefront of lifting Danish design to international recognition in the years following the Second World War.

In Juhl’s furniture, the influence of abstract modernist sculptors such as Barbara Hepworth, Henry Moore, and Jean Arp is evident, serving as clear sources of inspiration. At the heart of his practice was the fusion of artistic expression with design, where aesthetic refinement and creative freedom met. In the post-war years, this distinctive approach made him a favourite among discerning artists, designers, and architects, among them the cosmopolitan Gordon and Ursula Bowyer, with whom he was personally acquainted and from whose collection several of the works in the sale originate (Lots 52, 53, 54 & 59). As he once reflected, “A chair is not just a product of decorative art in a space, it is a form and a space in itself.”

The present works bring together a selection of some of Juhl’s most significant furniture designs as realised by the ateliers and manufacturers with whom he forged lasting relationships: Bovirke, Niels Vodder and France & Son. Together these works of art illustrate distinct phases of Juhl’s career: the early post-war experiments in lightness and biomorphic form, the mature 1950s works that captivated international audiences, and the precisely crafted production models that carried his aesthetic into private homes and institutions.

and carved-panel backrest distilling his interest in “the carried and the carrying” into a compact, quietly assured composition. By contrast, the Fireplace Chair (Lot 226) developed in the mid1940s for Bovirke, embodies his early post-war breakthrough. Here the generous arm profiles, cross-stretcher frame and “paper-knife” detail convey a relaxed grandeur, demonstrating Juhl’s ability to combine cabinetmaking tradition with a cinematic sense of proportion.

Collaboration with master craftsmen was central to Juhl’s method, and nowhere is this more evident than in his partnership with Niels Vodder, whose initials are immortalised in the NV53 series. The chairs and settee of this family (Lots 227 & 228) achieve a balance between enveloping upholstery and the visual lightness of a refined wooden frame, revealing the technical sophistication that lay beneath Juhl’s fluid silhouettes. Ornament, when it appeared in his work, was typically sparing but deliberate: the so-called Judas Table (Lot 54), with its inlaid sterling-silver discs, exemplifies his ability to imbue functional objects with a note of theatricality that remains understated rather than ostentatious. This sensitivity to scale carried through to larger commissions such as the BO64 sofa (Lot 232), where the wooden framework supports the upholstery with the same sculptural poise found in his single chairs, but reimagined as a communal, roomdefining presence. Its biomorphic contours further reveal the influence of contemporary sculptors he admired, including Jean Arp and the Icelandic artist Sigurjón Ólafsson. By the mid1950s, Juhl had also begun to adapt his language to industrial production, most notably with the France Chair (Lot 59) for France & Son. Retaining his distinctive “floating” seat and back while answering the demands of export markets, it demonstrated how his vision could be carried to an international audience without loss of integrity. Taken together, these works affirm Juhl’s place as both an innovator and a mediator between craft, artistry and industry, qualities that ensured his influence within Denmark and far beyond.

Finn Juhl’s work has long been celebrated for its sculptural clarity, expressive use of structure and seamless interplay between form and function. A series of works from the 1940s and 50s illustrates the breadth of his achievement, each design articulating a different dimension of his vision while together forming a coherent language that defined Danish modernism. The Japan series, and in particular the Japan Chair (Lot 53) reflects Juhl’s dialogue with non-Western sources, its elegantly exposed frame

The works in this edition of Modern Made offer more than a survey of a single designer’s oeuvre: they map a sensibility that privileged organic line, meticulous workmanship, and a humane idea of modern comfort. Whether realised in small batches by master joiners or produced for export, each object here is a study in proportion and material poise — a reminder that great furniture holds a conversation between maker, maker’s tools, and the body it was made to serve.

FINN JUHL (DANISH 1912-1989) FOR BOVIRKE, DENMARK

‘FIREPLACE’ CHAIR, DESIGNED 1946

model BO59, branded manufacturer’s mark, teak and fabric upholstery

81cm high, 65cm wide, 77cm deep (31 7/8in high, 25 5/8in wide, 30 ¼in deep)

£6,000-8,000

“ One cannot create happiness with beautiful objects, but one can spoil quite a lot of happiness with bad ones. ”

Finn Juhl

227

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

ARMCHAIR, DESIGNED 1953 model NV53, stamped Cabinetmaker Niels Vodder / Copenhagen / Denmark / Design Finn Juhl, teak, upholstery and brass

73cm high, 72cm wide, 73cm deep (28 ¾in high, 28 3/8in wide, 28 ¾in deep)

Provenance: Private Collection, U.K.

£2,000-3,000

228

FINN JUHL (DANISH 1912-1989) FOR NIELS VODDER

SETTEE, DESIGNED 1953

model NV53, stamped Cabinetmaker Niels Vodder / Copenhagen / Denmark / Design Finn Juhl, teak, upholstery and brass

72cm high, 129cm wide, 70cm deep (28 3/8in high, 50 ¾in wide, 27 ½in deep)

Provenance: Private Collection, U.K.

£4,000-6,000

229 Y

FINN JUHL (DANISH 1912-1989)

COFFEE TABLE, DESIGNED 1956 model FJ56, rosewood and hardwood, with one fitted drawer 44cm high, 140.5cm wide, 59.5cm deep (17 ¼in high, 55 ¼in wide, 23 ½in deep)

Provenance: Private Collection, London.

Literature: see Lunning Collection of Scandinavian Furniture, cat. no. 63, n.d., p. 48, cat. no. P 18-13, for an example of this model in teak. Sold in compliance with CITES regulations, with (non-transferable)

Transaction Specific Certificate no. 25GBA10XNWMXR.

£3,000-5,000

By 1956, Finn Juhl was working to re-establish himself in the American market after the end of his collaboration with Baker. His solution was to design pieces that directly addressed American preferences, including the FJ56 coffee table. Unlike Danish tables of the time, which were typically 21 inches high, the FJ56 was designed at the lower 17 inch height suited to American living rooms. Despite its suitability, the model remained an expensive, handmade piece, and retailers often chose more affordable alternatives such as the BO101 bench. As a result, the FJ56 was produced only in small numbers, with a single production run around 1960 for the Lunning stores in New York by Niels Vodder made in teak.

This present work is unusual in featuring rosewood veneers, setting it apart from the initial production run. Such a variation suggests that it may have been a specially commissioned piece, possibly ordered through one of Finn Juhl’s other retailers.

230

MÄRTA MÅÅS-FJETTERSTRÖM (SWEDISH 1873-1941)

‘RABATTEN’ TAPESTRY, DESIGNED 1926

woven initials MMF (lower left), wool

106cm x 58cm (41 ¾in x 22 ¾in)

Provenance: Private Collection, U.K.

£700-900

231

MÄRTA MÅÅS-FJETTERSTRÖM

(SWEDISH 1873-1941)

‘GRODBLAD’ TAPESTRY PANEL, DESIGNED 1933

woven initials MMF (lower left), wool and linen

66.5cm x 75cm (26 1/8in x 29 ½in)

Provenance: Private Collection, U.K.

£600-800

232

FINN JUHL (DANISH 1912-1989) FOR BOVIRKE

SOFA, DESIGNED 1946

model BO64, fabric upholstery and stained wood

84.5cm high, 170cm wide, 76cm deep (33 ¼in high, 67in wide, 30in deep)

Provenance: with Sigmar, London, 2007, from whom acquired by the previous owner.

£5,000-7,000

233

HANS WEGNER (DANISH 1914-2007) FOR JOHANNES HANSEN PAIR OF ‘ROUND’ CHAIRS, DESIGNED 1949 model JH501, each stamped manufacturer’s mark, oak and cane

76cm high, 63.5cm wide, 51cm deep (30in high, 25in wide, 20in deep) (2)

£4,000-6,000

234

HANS WEGNER (DANISH 1914-2007) FOR CARL HANSEN & SON SET OF FOUR CHAIRS, DESIGNED c.1956 model CH31, each stamped MADE IN DENMARK / BY CARL HANSEN & SON / ODENSE DENMARK / DESIGNED / HANS J. WEGNER, and three with paper label printed FURNITURE MAKER’S / DANISH / CONTROL, teak and cane 81cm high, 52cm wide (31 7/8in high, 20 ½in wide) (4)

Provenance: Private Collection, London.

£3,000-5,000

235 SWEDISH RUG

in the manner of Märta MååsFjetterström, flatweave, hand woven wool

299cm x 204cm (117 ¾in x 80 ¼in)

Provenance: Private Collection, London

£1,500-2,500

237

ALVAR AALTO (FINNISH 1898-1986)

‘CAFÉ’ OCCASIONAL TABLE

birch ply and burr wood veneer

56cm high, 59.8cm wide, 34.8cm deep (22in high, 23 ½in wide, 13 5/8in deep)

Provenance: According to the current owner, it is thought that the work was acquired by their parents in London between 1931 and 1937, possibly from Heal’s; Private Collection, U.K.

£500-700

236

ALVAR AALTO (FINNISH 1898-1976) FOR FINMAR OCCASIONAL TABLE, DESIGNED 1932 model 915, applied FINMAR LTD label, birch plywood and ebonised plywood

59cm high, 60cm wide, 49cm deep (23 ¼in high, 23 5/8in wide, 19 ¼in deep)

Provenance: According to the present owner, it is thought that the present work would have been acquired by their parents in London between 1931 and 1937, possibly from Heal’s; Private Collection, U.K.

£800-1,200

238 §

GUNNAR CYRÉN (SWEDISH 1931-2013) FOR ORREFORS

TWO ‘POPGLAS’ PIECES, 1966/7

comprising a seal [Sigill] and a stem with pin, possibly adapted to form a candlestick, signed ORREFORS EXPO *** 357-66 Cyrén and ORREFORS EXPO B559-67 Gunnar Cyrén, the latter with applied Den Permanente labels (to base), glass seal: 13.5cm high (5 ¼in high); stem with pin: 12.5cm high, 11cm wide (4 7/8in high, 4 3/8in wide) (2)

Provenance: Private Collection, U.K.

£300-500

239 §

BJØRN WIINBLAD (DANISH 1918-2006)

JUG AND COVER, 1952

signed, numbered 115, dated 52 and inscribed DANMARK, glazed earthenware 19cm high (7 ½in high)

Provenance: Private Collection, U.K.

The present work was created in 1952, the year Bjorn Wiinblad established his first studio at Højskolevej 5 in Kgs. Lyngby. This personal workshop marked the beginning of a period in which he could fully realise his artistic vision, and it is from here that some of his most distinctive and unique works emerged.

£600-800

240

ENZO MARI (ITALIAN 1932-2020) FOR DANESE

16 ANIMALI PUZZLE, DESIGNED 1957

model 3015D, applied DANESE / MILANO label, wenge

puzzle: 24.2cm x 33.7cm (9 ½in x 13 ¼in); tray: 26.6cm x 35.9cm (10 ¼in x 14 1/8in)

£500-700

241

DANISH

SET OF SIX ARMCHAIRS, 1960s

teak, with drop-in seats 78cm high, 64cm wide, 50cm deep (30 ¾in x 25 ¼in x 19 5/8in) (6)

Provenance: Acquired from Heal’s, London, in the 1960’s by the present owner’s parents and by descent; Private Collection, London.

£1,500-2,500

242

NIELS O. MØLLER (DANISH 1920-1982) FOR J L MØLLER SIDEBOARD

model 20, manufacturer’s and Danish Furnituremakers Control discs, teak

79.5cm high, 210cm wide, 48cm deep (31 ¼in high, 82 ¾in wide, 19in deep)

£1,200-1,800

243

HANS BRATTRUD

(NORWEGIAN 1933-2017)

SET OF FIVE ‘SCANDIA’ DINING CHAIRS, DESIGNED 1957

teak and steel

94.5cm high, 38cm wide (37 ¼in high, 15in wide) (5)

Provenance: Private Collection, London.

£800-1,200

244

HANS WEGNER (DANISH 1914-2007)

PAIR OF ‘KASTRUP’ CHAIRS, DESIGNED 1958

model CH401, with DANISH FURNITUREMAKERS CONTROL tags, leather and steel

79cm high, 49cm wide, 49cm deep (31in high, 19 3/8in wide, 19 3/8in deep) (2)

The chair is also known as ‘The Airport Chair’, as it was originally designed specifically for Copenhagen Airport in Kastrup.

£500-700

245

JOHAN ROHDE (DANISH 1856-1935) FOR GEORG JENSEN

‘COSMOS’ TEAPOT

model number 45B, stamped manufacturer’s mark, model number, 925S and Copenhagen 1923 assay mark, and with British import marks for 1923, silver with ebonised handle 15cm high, 20cm wide (5 7/8in high, 7 7/8in wide)

£500-700

246

JOHAN ROHDE (DANISH 1856-1935) FOR GEORG JENSEN

SUGAR BOWL AND CREAM JUG

model numbers 321A and 321B, each stamped manufacturer’s mark and model number and the sugar bowl stamped DENMARK / STERLING, the sugar bowl with British import marks for 1931 and the cream jug with import marks for 1927

the sugar bowl: 10cm high, 16.5cm wide (4in high, 6 ½in wide); the cream jug: 10cm high, 13cm wide (4in high, 5 1/8in wide) (2)

£1,000-1,500

247 §

ARNO MALINOWSKI (DANISH 1899-1976) FOR GEORG JENSEN

DOLPHIN BROOCH

model 1317, stamped manufacturer’s mark, 750 / 18K, gold

4cm wide (1 ½in wide)

£300-500

248 §

BENT GABRIELSEN (DANISH 1928-2014) FOR GEORG JENSEN BROOCH

model 788, stamped manufacturer’s mark, GABRIELSEN, 750 / DENMARK, gold and diamond

4.5cm wide (1 ¾in wide)

£600-800

249 §

BENT GABRIELSEN (DANISH 1928-) PENDANT NECKLACE

the pendant stamped 585/GABRIELSEN/DENMARK/785 and with designer’s monogram, the chain stamped GABRIELSEN/DENMARK/617, 14ct gold and ruby overall drop 23cm (9in)

£700-900

250 § HENNING KOPPEL (DANISH 1918-1981) FOR GEORG JENSEN NECKLACE model 89, stamped manufacturer’s mark, STERLING / DENMARK, silver, comprising 14 links internal width of necklace approximately: 12cm (4 ¾in) £700-900

251 §

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN NECKLACE WITH PENDANT DROP

model 169 and 132, stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver, the pendant drop inset quartz internal width of necklace: 15.2cm (6in)

£800-1,200

252 §

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN

PAIR OF EARRINGS

model 370, stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver drop: 3.7cm (1 ½in)

£400-600

253 §

VIVIANNA TORUN BÜLOW-HÜBE (SWEDISH 1927-2004) FOR GEORG JENSEN COLLAR NECKLACE, BRACELET AND RING

model 440, each stamped manufacturer’s mark, TORUN, 925S / DENMARK, silver

necklace internal width: 13.2cm (5 1/8in); bangle internal width: 5.8cm (2 ¼in); ring size: L ½ (3)

£600-800

254

PIERO FORNASETTI (ITALIAN 1913-1988)

TWO PAIRS OF CUFFLINKS

lithographically printed ceramic and gilt metal each approximately 2.3cm diameter (1in diameter)

£300-500

255 §

CHRISTOPHER NIGEL LAWRENCE (BRITISH 1936-) SET OF FIVE SERVING TRAYS, 1970 each stamped maker’s mark, hallmarked for London 1970, silver, with associated inset glass liners each 24.5cm wide (9 5/8in wide) (5)

Provenance: Purchased directly from the studio of the Artist by the present owner’s mother.

£500-700

256 §

LINA CHRISTENSEN (DANISH 1961-) FOR GEORG JENSEN

‘EXTRA’ BANGLE

model 422E, stamped manufacturer’s mark and 925S / DANMARK, silver

7.2cm wide (2 7/8in wide)

Provenance: Private Collection, U.K.

£600-800

257 §

GIO PONTI (ITALIAN 1891-1979) FOR VENINI

‘ELIXIR’ BOTTLE AND STOPPER, DESIGNED 1949-50 glass with polychrome canes

36.5cm high (14 3/8in high)

Provenance: Christies, London, Modern Design, 8 November 2005, lot 92, where acquired by the present owner. Private Collection, U.K.

Literature: see Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, exh. cat., Le Stanze del Vetro, Milan, 2016, pp. 398-9, for similar models.

£700-900

259 §

GIO PONTI (ITALIAN 1891-1979) FOR VENINI

‘MORANDIANA’ BOTTLE AND STOPPER, DESIGNED 1949-50 glass with polychrome canes

36cm high (14 1/8in high)

Provenance: Private Collection, U.K.

Literature: see Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, exh. cat., Le Stanze del Vetro, Milan, 2016, pp. 398-9, for similar models.

£700-900

258 §

GIO PONTI (ITALIAN 1891-1979) FOR VENINI

‘MORANDIANA’ BOTTLE AND STOPPER, DESIGNED 1949-50 glass with polychrome canes

36cm high (14 1/8in high)

Provenance: Private Collection, U.K.

Literature: see Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, exh. cat., Le Stanze del Vetro, Milan, 2016, pp. 398-9, for similar models.

£600-800

260 §

GIO PONTI (ITALIAN 1891-1979) FOR VENINI

‘MORANDIANA (I)’ BOTTLE, DESIGNED 1949-50

acid etch stamp venini/murano/ITALIA, glass with polychrome canes, 33cm high (13in high); together with another bottle and stopper, glass with polychrome canes, 36cm high (14 1/8in high) (2)

Provenance: Private Collection, U.K.

Literature: see Barovier, Marino and Carla Sonego (eds.), Paolo Venini and His Furnace, exh. cat., Le Stanze del Vetro, Milan, 2016, p.396, for a drawing of the model and p.398, for a drawing of the model and a related example of the ‘Moriandiana’ Bottle.

£600-800

261 §

GUIDO GAMBONE (ITALIAN 1909-1969) VESSEL

signed GAMBONE ITALY and with artist’s donkey mark (to base), glazed earthenware

24.5cm high, 10cm wide (9 5/8in high, 4in wide)

£2,000-3,000

262 §

GUIDO GAMBONE (ITALIAN 1909-1969) VASE

signed GAMBONE ITALY and with artist’s donkey mark (to base), glazed earthenware

19cm high, 9cm wide (7 ½in high, 3 ½in wide)

£1,200-1,800

263 §

GUIDO

(ITALIAN 1909-1969) DISH

signed GAMBONE ITALY and with artist’s donkey mark (to base), glazed earthenware

5.5cm high, 44.5cm wide, 23cm deep

(2in high, 17 ½in wide, 9in deep)

£2,000-3,000

GIO PONTI (ITALIAN 1891-1979) FOR SINGER & SONS

FLIP TOP CONSOLE, DESIGNED c.1950

model 2134, walnut and brass

75cm high (closed), 163.5cm wide, 48cm deep (closed) (29 ½in high (closed), 64 3/8in wide, 18 7/8in deep (closed))

£5,000-7,000

266

GIO PONTI (ITALIAN 1891-1979) FOR SCHIROLLI, MANTUA, ITALY DESK, 1950s

designed for the Banca Nazionale del Lavoro, Genova, chestnut and brass

265

COLOMBO SANGUINETI (ITALIAN 1884-1960) FOR SANGUINETI GB & FIGLIO ‘TIGULLINA’ CHAIR, c.1959

with paper label SERIE SANGUINETI / CHIAVARI / ITALIA (to underside), ebonised wood and cane

86.5cm high, 57cm wide, 47.5cm deep (34in high, 22 ½in wide, 18 ¾in deep)

Provenance: Private Collection, U.K.

Sanguineti’s chair design, which won the prestigious Compasso d’Oro—Italy’s highest industrial design award—in 1956, was produced in a limited edition of 30. Another example of this chair is held in the Royal Collection Trust.

£600-800

79cm high, 120cm wide, 70cm deep (31 1/8in high, 47 ¼in wide, 27 ½in deep)

Provenance: Bonhams, London, Design, 3 October 2023, lot 75, where acquired by the present owner; Private Collection, U.K.

Sold together with a certificate of expertise from the Gio Ponti Archives.

£3,000-5,000

267

ANGELO LELII (ITALIAN 1911-1979) FOR ARREDOLUCE FLOOR LAMP, DESIGNED c. 1950 enamelled aluminium, brass and cast iron base, with adjustable arms base: 35.5cm diameter (14in diameter)

Provenance: Private Collection, U.K.

Literature: Pansera, Anty, Alessandro Padoan and Alessandro Palmaghini, Arredoluce: Catalogo Ragionato 1943-1987, Silvano Editoriale, 2018, p.119, for example illustrated, and p.280, cat. no.19. £5,000-8,000

268

STILNOVO, ITALY WALL LIGHT

enamelled metal and acrylic

47cm high, 68cm wide, 13cm deep

(18 ½in high, 26 ¾in wide, 5 1/8in deep)

Although the present light does not retain a manufacturer’s label, its design corresponds to a documented model. A closely comparable wall light, identical in frame but fitted with thinner metal shades, is recorded bearing an original Stilnovo sticker.

£1,200-1,800

269

ACHILLE CASTIGLIONI (ITALIAN 1918-2002) & PIER GIACOMO CASTIGLIONI (ITALIAN 1913-1968) FOR FLOS ‘VISCONTEA’ CEILING LIGHT, DESIGNED c.1960

parchment and metal frame

38cm high, 44cm wide (15in high, 17 ¼in wide)

Provenance: Private Collection, U.K.

£500-800

270

ATTRIBUTED VETRERIA GINO CENEDESE, MURANO ‘AQUARIUM’ TABLE LAMP glass

the glass 33cm high, 21cm wide (13in high, 8 ¼in wide)

Provenance: Private Collection, U.K.

£800-1,200

271 §

BARBARA DEL VICARIO (ITALIAN 1944-) FOR VENINI ‘FIAMME’ VASE, 1987

signed, dated and inscribed Venini 1987 B. del Vicario, manufacturer’s label, glass

23cm high, 22.5cm wide (9in high, 8 7/8in wide)

Provenance: Private Collection, London. £600-800

with manufacturer’s MADE IN MURANO / ITALY gold and red foil label, glass with gold inclusions 45cm high, 25.5cm wide (17 ¾in high, 10in wide)

Provenance: Private Collection, U.K. £1,200-1,800

ARNE JACOBSEN (DANISH 1902-1971) FOR LOUIS POULSEN

‘AJ’ TABLE LAMP, DESIGNED c.1960

manufacturers applied label (to fitment), lacquered steel

43cm high (16 7/8in high)

Provenance: Private Collection, London.

£300-500

274

OIVA TOIKKA (FINNISH 1931-2019) FOR NUUTAJÄRVI NOTSJÖ

‘BAMBU’ VASE, DESIGNED 1967-9

signed Oiva Toikka Nuutajärvi Notsjö (to base), manufacturer’s applied label, glass 42cm high (16 ½in high)

£500-800

£400-600 273

275

OTTO BRAUER (DANISH 1911-1984) FOR HOLMEGAARD TWO ‘GULVASE’ VASES, DESIGNED 1962 the yellow example with stopper, glass

55cm high and 36.5cm high (21 5/8in high and 14 3/8in high) (2)

Provenance: Private Collection, U.K.

276

NANNA DITZEL (DANISH 1923-2005) FOR HALLING-KOCH DESIGN CENTER, COPENHAGEN

‘WINDMILL’ RUG, c.1965

applied label printed design “windmill” by nanna ditzel for halling-koch design center copenhagen, tufted wool

250cm diameter (98 ½in diameter)

Provenance: Kendal Milne & Co., Manchester; Private Collection, U.K.

£800-1,200

277 Ω

FULVIO BIANCONI (ITALIAN 1915-1996) FOR VENINI ‘PEZZATO’ VASE, DESIGNED c.1951

three line acid stamp Venini / Murano / ITALIA (to base), glass

22cm high, 16.2cm wide (8 5/8in high, 6 3/8in wide)

£2,200-2,800

278 §

ERMANNO NASON (ITALIAN 1928-2013) FOR VETRERIA ARTE

UNTITLED, c.1975

signed and numbered E. Nason / N.3. (to base), glass overall 38cm high, 22cm wide (15in high, 8 5/8in wide)

Provenance: Bonhams, London, 25 April 2007, from where acquired by the present owner.

£300-500

279

GINO PAROLDO (ITALIAN 1897-1977) FOR DINO DEI

TABLE LAMP, c.1968

chiselled glass, chromed metal and opaline glass

82cm high, 40cm wide (32 ¼in high, 15 ¾in wide)

£500-700

ETTORE SOTTSASS (ITALIAN 1917-2007)

‘CLAIR DE LUNE’ TOTEM, DESIGNED 1988

wood, metal and glazed ceramic, outside the edition of 29 190cm high (74 ¾in high) including wooden base, 175cm high (68 7/8in high) excluding wooden base

Provenance: P. Brillet Esq, from whom acquired by the present owner; Private Collection, London.

£5,000-8,000

DAVIE C.B.E., R.A. (BRITISH 1920-2014)

MIRACULOUS DIAMOND, 1970 (OPUS O.642A)

signed, dated, titled and inscribed (to reverse), oil on canvas 122cm x 152cm (48in x 59 7/8in)

Provenance: with Gimpel Fils, London.

Exhibited: Gimpel Fils, London, Alan Davie: Recent Works, September 1970.

£5,000-7,000

signed (to base), painted wood & metal construction

38cm (15 ¼in) high (including base)

Provenance: with Waterhouse and Dodd, London, where acquired by the present owner, 2001

Exhibited: Waterhouse & Dodd, London, New Means, New Subjects, November 2001, cat. no.39

£400-600

283 §

DEREK CARRUTHERS (BRITISH 1935-2021)

UNTITLED, 1959

signed and dated (lower right), collage on paper

56cm x 38cm (22in x 15in)

£1,000-1,500

284 §

DEREK CARRUTHERS (BRITISH 1935-2021)

UNTITLED, 1958

signed and dated (lower right), gouache and collage on paper

38cm x 56cm (15in x 22in)

£1,000-1,500

285 §

ROBERT ADAMS (BRITISH 1917-1984)

CRESCENT, 1979 (OPUS 388)

stamp signed, numbered 4/6 and dated (on the underside of base), polished bronze

42cm x 37.5cm x 16cm (16 ½in x 14 ¾in x 6 ¼in)

Provenance: Sotheby’s, London, 20th Century British Art, 15 December 2010, lot 153, where acquired by the present owner.

Exhibited: Gimpel Fils, London, Robert Adams, 30 October - 24 November 1979, cat.21 ( another cast); Gimpel Fils, London, Late Bronzes, 15 September - 15 October 1988, cat.21 (another cast).

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.238-9, no.657, illustrated (another cast).

£5,000-7,000

286 §

VERA SPENCER (CZECH/BRITISH 1926-2021)

UNTITILED c.1950s

signed (lower right), oil on canvas

50.7cm x 61cm (20in x 24in)

Provenance: Private Collection, London.

£3,000-5,000

287 §

ROBERT ADAMS (BRITISH 1917-1984)

SQUARE MINUS, 1969 (OPUS 307)

stamped with signature and dated (to base), chromed steel, from the edition of 3

30.5cm x 30.5cm x 8cm (12in x 12in x ¼in)

Exhibited: Robert Adams - Retrospective; Camden Arts Centre, London June – July 1971, Arts Council Touring exhibition, cat.57 (another cast).

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in Association with Lund Humphries, London, 1992, pp.226-7, cat. no.565.

£1,500-2,500

288 §

ROBERT ADAMS (BRITISH 1917-1984)

PTERINEA FORM NO.1, 1980 (OPUS 402)

stamped and numbered ADAMS / 1980 / 1/6, bronze

45cm high, 46cm wide, 6cm deep (17 ¾in high, 18in wide, 2 3/8in deep)

Provenance: with Gimpel Fils, London.

Exhibited: Gimpel Fils, London, Robert Adams, London, 1988, exhibition no.31.

Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.240, no.672, illustrated.

£3,000-5,000

289 §

PETER HAIGH (BRITISH 1914-1994)

JULY 87

signed, dated and numbered 29 (to reverse), oil on canvas

101.5cm x 101.5cm (40in x 40in)

£1,200-1,800

290 §

PETER HAIGH (BRITISH 1914-1994)

AUG 85

signed, dated and numbered 24 (to reverse), oil on canvas

91.5cm x 112cm (36in x 44in)

£1,200-1,800

291 § PETER HAIGH (BRITISH 1914-1994) OCT 87

signed, dated and numbered 38 (to reverse), oil on canvas

101.5cm x 66cm (40in x 26in)

£1,200-1,800

292 §

KENNETH ROWNTREE (BRITISH 1915-1997)

FOUR SQUARE

gloss and acrylic paint with printed adhesive plastic on panel 63.5cm x 56.5cm (25in x 22 ¼in)

Provenance: The Artist’s family; Olympia Auctions, London, 25 October 2017, where acquired by the present owner.

Literature: Moore-Gwyn, Harry, Sacha Llewellyn and Paul Liss, Kenneth Rowntree: A Centenary, exhibition catalogue, Fry Art Gallery, Saffron Waldon and Pallant House Gallery, Gallery, Chichester, 2015, p.103, cat.no.56.

Exhibited: New Art Centre, London, Kenneth Rowntree, June 1975, no. 9.

The Fray Art Gallery, Saffron Walden, Kenneth Rowntree: A Centenary Exhibition, 5 April - 12 July 2015 and tour to Pallant House Gallery, Chichester, 22 July - 18 October 2015, no.56, illus in colour p.103.

£1,500-2,000

293 §

GABRIEL WEISSMANN (BRITISH 1944-1997)

FORMAL SOLDIER, 1979

signed and dated (lower right), titled and dated (to reverse), oil on board

27cm x 34.5cm (10 5/8in x 13 ½in)

Provevnance: Private Collection, U.K.

£400-600

294 §

GABRIEL WEISSMANN (BRITISH 1944-1997)

CONGO MASK, 1995

titled and dated (to reverse), oil on board 13.7cm x 13.7cm (5 3/8in x 5 3/8in)

Provenance: Private Collection, U.K.

£400-600

295 §

GABRIEL WEISSMANN (BRITISH 1944-1997)

SKETCH FOR MURAL, NORTHWICK PARK HOSPITAL, 1984 signed, titled and dated (to reverse), oil on board 14cm x 39.5cm (5 ½in x 15 ½in)

Provenance: Private Collection, U.K.

£400-600

296 §

ALAN REYNOLDS (BRITISH 1926-2014)

FORMS ON A BLACK OVOID, 1962 signed in pencil (lower right), gouache and watercolour on paper laid on board.

44cm x 51cm (17 ¼in x 20in)

Provenance: with The Redfern Gallery, London; Sotheby’s, London, Made in Britain, 16 September 2020, lot 103, from where acquired by the present owner.

£5,000-7,000

299 §

SAM SZAFRAN (FRENCH 1934-2019)

UNTITLED , 1958

298 §

SAM SZAFRAN (FRENCH 1934-2019)

PAYSAGE 3

signed and indistinctly dated (lower left), titled in pencil 6 - paysage 3 (to reverse), India ink and mixed media on paper

35.5cm x 19.3cm (14in x 7 5/8in), unframed

Provenance: with Gimpel Fils, London, from whom acquired by the present owner.

£600-800

signed and dated (lower right), India ink and mixed media on paper

27.5cm x 24.7cm (10 7/8in x 9 ¾in)

Provenance: with Gimpel Fils, London, from whom acquired by the present owner.

£800-1,200

297 §

SAM SZAFRAN (FRENCH 1934-2019)

UNTITLED

signed (lower centre), India ink and mixed media on paper

30.7cm x 52cm (12in x 20 ½in), unframed

Provenance: with Gimpel Fils, London, from whom acquired by the present owner.

£1,000-1,500

300 §

FRANCIS DAVISON (BRITISH 1919-1984) UNTITLED (WHITE ARCH), c.1980

paper collage on Artist’s backing board 70cm x 59cm (27 ½in x 23 ¼in)

Provenance: Mr A. Rose; Simon Hilton Fine Art, from whom acquired by the present owner.

£4,000-6,000

301 §

DOUGLAS PORTWAY (SOUTH AFRICAN/BRITISH 1922-1993)

ABSTRACT, 1964

signed and dated (lower right), oil on paper laid on canvas

75.5cm x 55.7cm (29 ¾in x 21 7/8in)

£1,000-1,500

302 §

PRUNELLA CLOUGH (BRITISH 1919-1999)

SMALL GATE PAINTING 2, 1980

signed (to reverse), oil on canvas 56cm x 74cm (22in x 29in)

Provenance: Annely Juda Fine Art, London, Estate of Professor Norbert Lynton; Bonham’s, London, 20th Century British Art, 1st July 2009, lot 48; David Lay Auctions, Penzance, The personal collection of Jonathan Grimble, 7th December 2021, lot 28, where acquired by the present owner.

Exhibited: Warwick Arts Trust, April 1982; Kettle’s Yard, August 1999; Graves Art Gallery, Sheffield, December 2000.

£5,000-7,000

303 §

HAROLD COHEN (BRITISH 1928-2016)

UNTITLED, 1957

initialled and dated Aug 57 (lower right), pen and ink on paper

25.5cm x 35.5cm (10in x 14in)

£500-700

304 §

MARTIN BRADLEY (BRITISH 1931-)

PHOENIX - IMAGE FOR GENGHIS KHAN, 1960

signed and dated (lower right), titled (to reverse), oil on canvas 114cm x 146cm (45in x 57 ½in)

Provenance: Lyon & Turnbull, London, Modern Made, October 2020, lot 326 where acquired by present owner.

£1,000-1,500

305 §

HAROLD COHEN (BRITISH 1928-2016)

UNTITLED, 1959

signed and dated 1/1959 Jan (to reverse), oil on canvas

68.7cm x 68.7cm (27in x 27in)

£1,500-2,000

306 §

MELLIS (BRITISH 1914-2009)

PLANT (GREY), 1960

initialled (lower right), signed and titled (to reverse), oil on board 55.5cm x 30cm (21 7/8in x 11 ¾in)

Provenance: Belgrave Gallery, St. Ives; The Personal Collection of Jonathan Grimble; Lay’s, Cornwall, 7 December 2021, lot 18; Private Collection, U.K. £8,000-12,000

307 §

CHARLOTTE MAYER

(CZECH/BRITISH 1929-2022) TREE OF LIFE, c.1970 unique, aluminium 143cm high (56 ¼in high)

Provenance: The Estate of the Artist; Adam Partridge Auctioneers, Macclesfield, Asian Art, Decorative Arts & Musical Instruments, 9 November 2023, lot 1528, where acquired by the present owner.

£600-800

PATRICK CAULFIELD DRAWINGS FOR PAINTINGS

This collection of preparatory studies by British artist Patrick Caulfield has travelled from the artist’s studio through his family by descent - now seen on the market for the first time.

The use of the word ‘iconic’ is criticised for its over-use these days, but few could object to the term being applied to Patrick Caulfield’s legacy of work. The revered artist produced a body of powerful paintings and prints that are synonymous with the British Pop Art movement of the 1960s and beyond. Playfully balancing a witty formal simplicity (abstraction) and technical prowess (photo-realism) with an ambiguity that whispers of profound, existential subtexts, Caulfield’s art is accessible and enduring.

A Londoner by birth, Caulfield studied (and later taught at) the Chelsea School of Art between 1956–60, and at the Royal College of Art, contemporaneous to David Hockney and R.B. Kitaj. In 1964 he was included in the now-legendary ‘New Generation’ exhibition at the Whitechapel Gallery which came to define British Pop Art, making household names of artists including David Hockney, Allen Jones and Bridget Riley.

Caulfield is recorded as having bridled against his categorisation as ‘Pop’ however, rather viewing himself as a ‘formal’ artist. The body of work represented here for sale is proof of this distinction. Caulfield was said to be a man of immense self-assurance. This character is intrinsic to his work also, which appears to the viewer to have arrived fully-formed: a punch of powerful colour and form with an imperceptible sense of the artist’s hand or process. The reality, in fact, is that each work is meticulously plotted; the distillation of complex ideas, realised through a process of technical sketches and studies.

His work was seldom figurative, instead focused on domestic interiors, empty landscapes and mundane objects, leveraging the “shock of the familiar”, as Caulfield defined it. These sketches represent studies of objects from major, careerspanning works including ‘The London Life Mural’ (1982) and his Picasso pastiche ‘Les Demoiselles D’Avignon Vues De Derriére’ (1999) These objects are loaded: tools by which he tells a story or evokes a mood. They represent the props, as it were, within his stage sets.

The various assorted works here provide a fascinating insight into his technique – the precision and clarity of his line, the annotations he would refer back to, the introduction of colour fields and even collaging techniques that would build towards his final image. They attest to the fact that, in Caulfield’s world, all is not what it seems – the line between simplicity and complexity being in fact a tightrope he makes his viewers tread.

“Two hundred years from now, when historians of late-20th-century England want to recapture a sense of how London actually looked and felt at the time, it will be to the paintings of Caulfield that they will inevitably turn. Just as Jan Vermeer and Pieter de Hooch caught the look and texture of 17th-century Holland, so Patrick Caulfield distilled and captured some vital essence of the urban world through which he moved with such a genial smile and such gentle grace.”

Nicholas Serota, The Telegraph, 5 February 2006

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR ‘LES DEMOISELLES D’AVIGNON VUES DE DERRIÈRE’, 1999

pencil and red pen on paper sheet: 41.7cm x 29.5cm (16 3/8in x 11 5/8in), unframed

Provenance: The Artist, and thence by family descent.

£4,000-6,000

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR ‘REGISTRY OFFICE’, 1997 inscribed for ‘Registry Office’ (lower right), pencil on paper sheet: 29cm x 41.7cm (11 3/8in x 16 3/8in), unframed

Provenance: The Artist, and thence by family descent.

£1,500-2,500

310 §

SMOKING IN RED BAR watercolour and gouache on paper 63.5cm x 51cm (25in x 20in), unframed

Provenance: The Artist, and thence by family descent.

£2,000-3,000

311 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

PESTLE AND MORTAR

initialled (lower right), ink on paper sheet: 22.3cm x 23.7cm (8 ¾in x 9 3/8in), unframed

Provenance: The Artist, and thence by family descent.

£500-700

312 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR ‘THE REGISTER’, 1993 signed and dated in pencil (lower right), titled Drawing for ‘The Register’ in pencil (lower left), pencil on paper sheet: 55.2cm x 45.5cm (21 ¾in x 17 7/8in)

Provenance: The Artist, and thence by family descent.

£1,500-2,500

313 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR I’NTERIOR WITH A PICTURE’, 1986

pencil and crayon on tracing paper sheet: 42cm x 41cm (16 1½in x 16 1/8in), unframed

Provenance: The Artist, and thence by family descent.

£1,500-2,500

314 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

TWO STUDIES FOR ‘LOUNGE’ [CHINESE VASE & MORRIS WALLPAPER], 1989

titled and dated Lounge 1989 in pencil on card (lower centre), pencil on tracing paper, mounted together on grey card 34cm x 25cm (13 3/8in x 9 7/8in) and 43cm x 42cm (16 7/8in x 16 ½in)

Provenance: The Artist, and thence by family descent.

£1,500-2,500

315 §

PATRICK CAULFIELD C.B.E., R.A. (BRITISH 1936-2005)

STUDY FOR ‘HEMINGWAY NEVER ATE HERE’ [BULL’S HEAD], 1999

inscribed on tracing paper cover in pencil (lower right), pencil on three adjoined pieces of paper

83cm x 59.5cm (32 ¾in x 23 ½in), unframed

Provenance: The Artist, and thence by family descent.

£2,500-3,500

316 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR ‘TROU NORMAND’ [OIL LAMP], 1997 (2)

signed, titled Drawing for ‘Trou Normand’, and dated 13 2 97 in pencil (lower right), pencil on two conjoined pieces of paper

78.5cm x 58cm (30 7/8in x 22 ¾in), unframed

Provenance: The Artist, and thence by family descent.

£2,000-3,000

318 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

STUDY FOR KELLERBAR, 1986 AND STUDY FOR EGGS AND COFFEE, 1984

pencil on tracing paper, 37cm x 26.5cm (14 ½in x 10 ½in), and study for Eggs and Coffee, c.1984, depicting an 18th Century jug and cover, pencil and crayon on tracing paper, 40cm x 26cm (15 ¾in x 10 ¼in), both mounted together on white card unframed (2)

Provenance: The Artist, and thence by family descent.

£1,000-1,500

317 §

PATRICK CAULFIELD

C.B.E, R.A. (BRITISH 1936-2005)

STUDIES FOR ‘LONDON LIFE’ MURAL, 1982

inscribed and dated The London Life Mural 1982 in pencil to one study (upper left), pencil on paper and tracing paper, all mounted together on card, together with photographs of the completed work

overall 59.5cm x 84cm (23 3/8in x 33in), unframed

Provenance: The Artist, and thence by family descent.

£1,500-2,000

319 §

PATRICK CAULFIELD C.B.E, R.A. (BRITISH 1936-2005)

COLLECTION OF 19 STUDIES

one inscribed signature pots in pencil, pencil, felt tip, pen, ink and crayon, all mounted together on red card overall 84cm x 59.5cm (33in x 23 3/8in), unframed

Provenance: The Artist, and thence by family descent.

£4,000-6,000

§

320

MARY ROGERS (BRITISH 1929-) BOWL

impressed maker’s seal, stoneware, with dark rim 9.5cm high, 11.5cm diameter (3 ¾in high, 4 ½in diameter)

£700-900

321 § EMMANUEL COOPER O.B.E. (BRITISH 1938-2012)

FOOTED BOWL

impressed maker’s seal, porcelain

8.5cm high, 19.7cm diameter (3 3/8in high, 7 ¾in diameter)

Provenance: Private Collection, U.K.

Acquired directly from Emmanuel Cooper at Middlesex Polytechnic in the early 1980s, when he was teaching ceramics on the degree course. The bowl was exchanged during an assessment, when Cooper traded it for one of the present owner’s life drawings.

£700-900

323 § JAMES TOWER (BRITISH 1919-1988)

FOOTED BOWL, c.1950

signed Tower (to base), tin glazed earthenware

8.5cm high, 26cm diameter (3 3/8in high, 10 ¼in diameter)

£2,000-3,000

322 §

DOROTHY FEIBLEMAN (AMERICAN/BRITISH 1951-) BOWL

porcelain

12.7cm high. 17.7cm wide (5in high, 7in wide)

Provenance: Bonhams, London, Contemporary Ceramics, 27 February 1989, lot 254, from where acquired by the present owner; Private Collection, London.

£500-700

324 §

JOANNA CONSTANTINIDIS (BRITISH 1927-2000) TALL TAPERING VESSEL

impressed maker’s seal, stoneware, lustrous golden glaze

37.5cm high, 11.5cm wide (14 ¾in high, 4 ½in wide)

Provenance: Private Collection, U.K.

£800-1,200

325 §

JOANNA CONSTANTINIDIS (BRITISH 1927-2000) VESSEL

impressed maker’s seal, stoneware, rippling front 9.7cm high, 23cm wide (3 3/8in high, 9 ¼in wide)

Provenance: Private Collection, U.K.

£300-500

326 §

TAKESHI YASUDA (JAPANESE 1943-) PLATE ON FIVE FEET signed on maker’s label (to underside), stoneware, sansai glaze

7.5cm high, 33.5cm diameter (3in high, 13 ¼in diameter)

Provenance: Private Collection, U.K.

£300-500

327 § DAVID LEACH (BRITISH 1911-2005) FOOTED BOWL

impressed maker’s seal, porcelain, cream glaze, with iron decorative motif

9.5cm high, 14cm diameter (3 ¾in high, 5 ½in diameter)

Provenance: Private Collection, U.K.

£300-500

329 §

IAN AULD (BRITISH 1926-2000)

TWO SLAB POTS AND BOTTLE VASE

two impressed maker’s seal, stoneware 20cm high, 16.5cm high and 9.5cm high (7 7/8in high, 6 ½in high, 3 ¾in high) (3)

Provenance: Private Collection, U.K.

£400-600

328 §

WALTER KEELER (BRITISH 1942-) TWIN HANDLED BOWL

impressed maker’s seal, stoneware, blue salt glaze 8cm high, 31cm wide (3 1/8in high, 12 ¼in wide)

Provenance: Private Collection, U.K.

£300-500

330 §

ABDO NAGI (YEMENI/BRITISH 1941-2001)

FOOTED BOWL

impressed maker’s seal, stoneware, with manganese rim 9.5cm high, 33cm diameter (3 ¾in high, 13in diameter)

Provenance: Private Collection, U.K.

£600-800

331 §

ABDO NAGI (YEMENI/BRITISH 1941-2001)

GLOBULAR VESSEL

impressed maker’s seal, stoneware 29.5cm high (11 5/8in high)

Provenance: Private Collection, U.K.

£1,000-1,500

332 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

FOOTED BOWL, c.1986

impressed artist’s seal, ‘spinach’ glaze, cratered with silicon carbide, manganese rim 11cm high, 22cm wide (4 1/2in high, 8 3/4in wide)

Provenance: Private Collection, U.K.

£7,000-9,000

333 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

BOWL

impressed maker’s seal, porcelain, with sgraffito decoration

5.7cm high, 17.3cm wide (2 ¼in high, 6 ¾in wide)

£4,000-6,000

334 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

FOOTED ‘KNITTED’ BOWL

impressed maker’s mark, stoneware, sgrafitto decoration

9.2cm high, 22cm diameter (3 5/8in high 8 5/8in high)

Provenance: Private Collection, London.

Literature: Houston, John and David Cripps, Lucie Rie, Crafts Council, London, 1981, p.87, pl.200 for a similar example illustrated.

£5,000-7,000

335 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

BOWL

impressed maker’s seal, stoneware, with mottled body and red/ brown glaze

8cm high, 15.8cm diameter (3 1/8in high, 6 ¼in diameter)

£2,000-3,000

336 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

VASE, c.1960s

impressed maker’s seal, stoneware with speckled glaze

18cm high, 10cm wide (7in high, 4in wide)

Literature: Houston, John and David Cripps, Lucie Rie, Crafts Council, London, 1981, p.78, pl.132 for a similar example illustrated.

£2,500-3,500

337 §

DAME LUCIE RIE D.B.E. (AUSTRIAN/BRITISH 1902-1995)

PLATE AND TWO SAUCERS

the plate and one saucer impressed maker’s seal; the other impressed Lucie Rie’s and Hans Coper’s maker’s seals, stoneware, with mustard yellow glaze plate: 18cm diameter (7 1/8in diameter); saucers: 14.5cm diameter and 15cm diameter (5 ¾in diameter and 5 7/8in diameter) (3)

Provenance: Rosebery’s, London, Design, 27 July 2014, lot 154, where acquired by the present owner; Private Collection, London.

£700-1,000

340 §

339 §

338 §

MO JUPP (BRITISH 1938-2018)

STANDING FEMALE FIGURE incised maker’s mark, porcelain 22cm high, 9cm wide (8 5/8in high, 3 ½in wide)

Provenance: Private Collection, U.K.

£400-600

ROBIN WELCH (BRITISH 1938-2019) VESSEL

impressed maker’s seal, stoneware 23.5cm high, 12.2cm diameter (9 ¼in high, 4 ¾in diameter)

Provenance: Private Collection, U.K.

£300-500

ELIZABETH RAEBURN (BRITISH 1943-) VESSEL

impressed maker’s seal, raku

35cm high, 22.2cm wide (13 ¾in high, 8 ¾in wide)

Provenance: Private Collection, U.K.

£300-500

341 §

COLIN PEARSON (BRITISH 1923-2007) WINGED VESSEL

impressed maker’s seals, stoneware, 28cm high, 39.5cm wide (11in high, 15 ½in wide)

Provenance: Private Collection, U.K.

£800-1,200

343 §

342 §

EDMUND DE WAAL C.B.E. (BRITISH 1964-)

BOWL, c.1990s

porcelain with celadon glaze

4.5cm high, 9cm diameter (1 ¾in high, 3 ½in diameter)

£400-600

EDMUND DE WAAL C.B.E. (BRITISH 1964-)

JUG, c.1990s

impressed maker’s seal, porcelain with celadon glaze

16cm high (6 ¼in high)

£800-1,200

345 §

344 §

EDMUND DE WAAL C.B.E. (BRITISH 1964-)

JUG, c.1990s

impressed maker’s seal, porcelain with celadon glaze

15.8cm high (6 ¼in high)

£800-1,200

EDMUND DE WAAL C.B.E. (BRITISH 1964-)

CUP & SAUCER

impressed maker’s seal to cup, porcelain

cup: 5.7cm high (2 ¼in high); saucer: 11.5cm wide (4 ½in wide)

Provenance: Private Collection, U.K.

£300-500

JENNIFER LEE O.B.E. (BRITISH 1956-)

LARGE PALE BOWL WITH THREE GREY BANDS, 1988

26cm high, 24.5cm diameter (10 ¼in high, 9 5/8in diameter)

Provenance: Bonhams, London, Contemporary Ceramics, 27 February 1989, lot 251 (recorded as 1986), from where acquired by the present owner; Private Collection, London.

The present work is no. JL133 in the artist’s logbook.

We are grateful to Jennifer Lee for her kind assistance in the cataloguing of the present work.

£8,000-12,000

AKIKO HIRAI (JAPANESE 1970-) THREE ‘MORANDI’ BOTTLES, 2021

each with incised maker’s mark (to base), stoneware

28.5cm x 5.5cm (11 ¼in x 2 ¼in); 25.5cm x 5.5cm (10in x 2 ¼in); 20.5 x 5.5.cm (8 ¼in x 2 ¼in) (3)

Provenance: with Wilson Stephens & Jones Gallery, London, were acquired by the present owner, September 2021.

£300-500

348 §

PETER HAYES (BRITISH 1946-) BOW WITH KEYHOLE signed (to base), raku

35.5cm high 18.5cm wide (14in high, 7 ¼in wide)

Provenance: The Estate of the late Peter D R Powell.

£300-500 350 §

PAUL PHILP (BRITISH 1941-) NEAR PAIR OF VESSELS

349

AKIKO HIRAI (JAPANESE 1970-) ‘DRY KOHIKI’ BOWL stoneware

12.5cm high, 35.5cm diameter (4 7/8in high, 14in diameter)

£500-700

each impressed artist’s seal, stoneware, with deep green glaze to the interiors

18cm high, 32.3cm wide and 18.5cm high, 31.5cm wide (7in high, 12 ¾in wide and 7 ¼in high, 12 3/8in wide) (2)

£1,200-1,800

BALDWIN O.B.E. (BRITISH 1932-2025)

incised initials and date, stoneware 42cm high, 57cm wide, 25cm deep (16 ½in high, 22 3/8in wide, 9 7/8in deep)

Provenance: Acquired directly from the maker by the present owner; Private Collection, U.K.

£1,000-2,000

352 §

JOHN WARD (BRITISH 1938-2023) COLLARED VESSEL

impressed maker’s seal, stoneware

26.5cm high, 18.5cm wide (10.5in high, 7 ¼in wide)

Provenance: Private Collection, U.K.

£8,000-12,000

353 §

JOHN WARD (BRITISH 1938-2023) ‘MOON BOWL’

impressed maker’s seal, stoneware 16cm high, 16.5cm diameter (6 ¼in high, 6 ½in diameter)

Provenance: Private Collection, U.K.

£6,000-8,000

354 §

WILLIAM TURNBULL (BRITISH 1922-2012)

FIGURE STUDY

signed (lower right), pencil on paper 34cm x 24.5cm (13 3/8in x 9 5/8in)

Provenance: Private Collection, U.K.

£1,000-1,500

355 §

BERNARD MEADOWS (BRITISH 1915-2005)

DOUBLE-SIDED DRAWING FOR SCULPTURE (COCKS), 1955

signed and dated (lower right), pencil on paper 21.6cm x 16.5cm (8 ½in x 6 ½in)

Provenance: with Gimpel Fils, London; with Marlborough Gallery, London.

This double-sided work correlates to the bronze diptych titled ‘Two Cock Relief’, 1953 (BM23).

£500-700

356 §

JOHN WELLS (BRITISH 1907-2000)

DRAWING 68/17D, 1968

signed, titled and dated in pencil (lower left), further signed, titled and dated (on backboard), pencil, pastel and watercolour on paper

23cm x 33.1cm (9 1/8in x 13 1/8in)

Provenance: with Wills Lane Gallery, St Ives: with Bebb and Seekers Fine Art, Alderley Edge; Bonhams, London, Modern British and Irish Art, 21 July 2021, lot 189, where acquired by the present owner.

£1,000-1,500

357 §

KARL WESCHKE (GERMAN 1925-2005)

THE SEA, 1967

signed and dated (lower left), pencil on paper

37cm x 55.5cm (14 ½in x 21 7/8in)

Provenance: with Art On Paper Gallery, Portland.

£700-900

358 §

JOHN WELLS (BRITISH 1907-2000)

DRAWING 80/6D, 1968

signed, titled and dated in pencil (lower right), further signed, titled and dated (on backboard), pencil, charcoal and pastel on paper

22.7cm x 32.8cm (9in x 12 7/8in)

Provenance: Private Collection, U.K.

£800-1,200

359 §

PETER LANYON (BRITISH 1918-1964)

SEE YOU ON SUNDAY, BEAR, 1962

signed and dated (lower right), liquitex on card 24.7cm x 35cm (9 ¾in x 13 ¾in)

Provenance: with Catherine Viviano, New York; Gifted by Sheila Lanyon, the Artist’s widow, to the present owner. £8,000-12,000

HILTON C.B.E. (BRITISH 1911-1975)

initialled and dated in charcoal (lower right), gouache on paper

33cm x 44.5cm (13in x 17 ½in)

Provenance: with Flowers East, London.

£3,000-5,000

361 §

ROGER HILTON C.B.E. (BRITISH 1911-1975) GOUACHE (NUDE ON A LADDERBACK CHAIR), 1974

initialled and dated in charcoal (lower right), gouache on paper 34.5cm x 17cm (13 5/8in x 6 ¾in)

Provenance: Private Collection, Cornwall, from whom acquired by the present owner. £2,500-3,500

362 §

ALAN DAVIE C.B.E, R.A. (BRITISH 1920-2014)

ENDINGS ARE AS FOLLOWS, 2006 (OPUS O.1835)

signed, titled and dated (to reverse), oil on canvas 30in x 38in (76.1cm x 96.5cm)

Provenance: Gimpel Fils, London; Private Collection, U.K.

£1,500-2,500

363 §

ALAN DAVIE C.B.E., R.A. (BRITISH 1920-2014) CREATION DU MONDES DES ETOILES, 2001 (OPUS O.1512)

signed, titled, dated and inscribed (to reverse), oil on board

30.5cm x 27cm (12in x 10 5/8in)

Provenance: with Gimpel Fils, London.

£1,000-1,500

364 §

MARGARET MELLIS (BRITISH 1914-2009)

PURPLE, YELLOW AND WHITE STUDY, c.1980s

estate stamp (to reverse), oil on unprimed canvas

14.5cm x 21cm (5 ¾in x 8 ¼in)

£600-800

366 §

TONY O’MALLEY (IRISH 1913-2003)

CORNISH SEA, 1965

initialled and dated in pen (lower centre), pen, ink, oil and watercolour on paper 22cm x 33cm (8 5/8in x 13in)

Provenance: with Clark Art, Hale, from whom acquired by the present owner.

£600-800

365 §

TONY O’MALLEY (IRISH 1913-2003)

SUMMER FIELD, 1973

initialled in pencil (lower right), dated in pencil (lower centre), oil on paper 17cm x 24.5cm (6 5/8in x 9 5/8in)

Provenance: with Clark Art, Hale, from whom acquired by the present owner.

£500-700

367 §

PAUL FEILER (BRITISH 1918-2013)

CORNISH COVE, 1954

signed and dated in pencil (lower left), pastel, charcoal and oil on paper

26.5cm x 36.5cm (10 ½in x 14 3/8in)

Provenance: with The Redfern Gallery, London. £1,200-1,800

368 § PAUL FEILER (BRITISH 1918-2013)

COMPOSITION, 1964

signed and dated (lower right), black crayon, gouache, collages and pastel

19.5cm x 28cm (7 5/8in x 11in)

Provenance: with Paisnel Gallery, London; Private Collection, London.

£1,500-2,500

369 §

TREVOR BELL (BRITISH 1930-2017)

DECEMBER IN ANTICOLI, 1959

signed and dated (lower left), further signed, titled and dated (on canvas overlap), oil on canvas 91.5cm x 122cm (36in x 48in)

Provenance: Miss Elizabeth Brunner; with Waddington Galleries, London; Bonham’s, London, 10 July 2018, lot 182, from whom acquired by the present owner.

Exhibited: Southampton, Southampton Art Gallery, December 1962.

£4,000-6,000

signed and numbered 7/7 (to base), patinated bronze on slate base

overall 22cm high (8 5/8in high)

Provenance: Private Collection, U.K.

£4,000-7,000

372 §

MICHAEL CANNEY (BRITISH 1923-1999) ABSTRACT COMPOSITION, c.1950s oil on board

20.2cm x 20.2cm (8in x 8in)

371 §

MICHAEL CANNEY (BRITISH 1923-1999) INTERLOCK, 1990 signed, titled and dated (to backboard), oil on canvas board 25cm x 25.5cm (9 7/8in x 10in)

Provenance: with Wenlock Fine Art, Much Wenlock, from whom acquired by the present owner.

£2,000-3,000

Provenance: The Artist’s Estate; with Wenlock Fine Art, Much Wenlock, from whom acquired by the present owner. £800-1,200

373 § ROY CONN (BRITISH 1931-2018) NETWORK 2 (RED EYE), 2009

initialled and dated in pencil (upper right), signed and dated (to backboard), oil and ink on paper

34cm x 43.5cm (13 3/8in x 14 1/8in)

Provenance: Estate of Kathleen Watkins (partner of Roy Conn and Curator of the Penwith Society, St. Ives).

£400-600

Provenance: Acquired directly from the Artist by the present owner; Private Collection, U.K.

The artist produced a smaller, editioned version of this model titled Ewigkeit. £15,000-25,000

375 §

GEORGE DANNATT (BRITISH 1915-2009)

THREE FIGURE COMPOSITION (VERSION 2), 1973-4

signed, titled and dated (to reverse), oil on canvas board 23cm x 23cm (9in x 9in)

Provenance: with Wenlock Fine Art, Much Wenlock, from whom acquired by the present owner.

£600-800

SIR TERRY FROST R.A. (BRITISH 1915-2003)

YOUR GREEN, 1999

signed and dated (lower right), titled (to reverse), acrylic and collage on canvas on board

61.5cm x 41.5cm (24 ¼in x 16 3/8in)

Provenance: The Personal Collection of Jonathan Grimble;

David Lays Auctions, Cornwall, December 2021, lot 89; Private Collection U.K.

£4,000-6,000

377 §

SIR TERRY FROST R.A. (BRITISH 1915-2003)

3 SUNS, 1985

signed, dated and inscribed (to reverse), acrylic and collage on canvas

97cm x 127cm (38 1/8in x 50in)

Provenance: Christies, London, 7 June 1991, lot 340; The Personal Collection of Jonathan Grimble; David Lays Auctions, Cornwall, December 2021; Private Collection, U.K.

Exhibited: Penzance, Newlyn Orion Gallery, Terry Frost: Painting in the ‘80s (no catalogue).

Literature: A Brush With Colour: Terry Frost Paintings in the 1980s, The Artist’s Magazine, March 1987, p.29; Terry Frost: Painting in the 1980s, The University of Reading, 1986, p.31, illustrated.

£20,000-30,000

MODERN THREADS

In the aftermath of the Second World War, British textile art entered a period of radical redefinition. The urgent reconstruction of cultural life encouraged artists and designers to explore weaving, stitch and fibre not as decorative sidelines, but as mediums of innovation equal to painting and sculpture. Figures such as Jacqueline Groag and Lucienne Day, who helped reshape British interiors in the 1940s and 50s with bold modernist patterns, laid the groundwork for this expanded vision of textiles—demonstrating their potential to transform not only the look of the post-war home but also the language of modern design itself.

Building on these foundations, a new generation of artists sought to test the expressive and structural limits of the medium. Tadek Beutlich, whose unorthodox, off-loom techniques produced strikingly sculptural forms, exemplified this shift towards fibre as an arena of radical experimentation. Alongside him, Theo Moorman, Peter Collingwood, Bobbie Cox and Audrey Walker each forged distinctive voices: Moorman’s painterly inlaid threads redefined woven imagery; Collingwood’s macrogauzes revealed an architectural vision of textile structure; Cox’s subtle orchestrations of colour and texture reflected a deeply tactile sensibility; and Walker’s embroideries, often described as “drawings in thread,” fused line and fibre with lyrical delicacy.

POST-WAR BRITISH TEXTILE ART

Together, these artists asserted textiles as a medium of conceptual and visual power, helping position Britain as a centre of innovation within the art textile movement of the 1960s and 70s. Their textiles capture both the spirit of post-war innovation and the ease with which the medium moves between craft, design and art.vvv

378 §

379 §

AUDREY WALKER M.B.E. (BRITISH 1928-2020)

INTO THE GARDEN, 1975

signed and dated (lower left), signed, dated and titled (to reverse), embroidered tapestry on canvas 105.5cm x 75.5cm (41 ½in x 29 ¾in)

Provenance: Private Collection, U.K.

£800-1,200

380 §

ELEANOR SCARFE (BRITISH 1911-1992)

FURROWED FIELDS, 1972

initialled in embroidery (lower left), signed and dated on artist’s label and titled (to reverse), wool tapestry

91cm x 112cm (35 ¾in x 44in)

Provenance: Private Collection, U.K.

Exhibited: The Bermuda Summer Festival, 1972.

£300-500

JOY CLUCAS (BRITISH 1931-2006)

THE LESSER LIGHT signed in embroidery (lower right), signed and titled (to reverse), embroidery on silk 62cm x 64.5cm (24 3/8in x 25 3/8in)

Provenance: Private Collection, U.K.

£300-500

382 § TADEK BEUTLICH (POLISH 1922-2011)

3-D POINTILLISM, 2001 signed, dated and titled 3-D Pointalism (to reverse), mixed media on papier-mâché board

32cm x 49cm (12 5/8in x 19 ¼in)

£400-600

381 § TADEK BEUTLICH (POLISH 1922-2011) UNTITLED

linen, wool, horses hair and wood

107cm x 83cm (42 1/8in x 32 5/8in)

Provenance: Private Collection, U.K.

£500-700

383 § THEO MOORMAN (BRITISH 1907-1990)

UNTITLED

woven linen and cotton hanging

113cm x 56cm (44 ½in x 22in)

Provenance: Private Collection, U.K.

Theo Moorman was a British textile artist and teacher recognised for developing the “Moorman technique,” which enabled the controlled inlay of supplementary wefts into a woven ground. She produced both decorative and functional textiles, often characterised by modernist abstraction, and exhibited widely in Britain and abroad. Moorman taught for many years at the Central School of Arts and Crafts in London, and her work is represented in major public collections.

On her technique, Moorman explained:

“The basic technique is described fully in my book Weaving as an Art Form. I have incorporated floating and twisted woven strips, woven separately on a (…) warp using a fan-shaped reed(?), my own invention and design, which enables steps to be shaped, growing from a point to about 2.5 inches. Main materials used are linen and very fine mercerised cotton with additions of filament rayon and fine metallic thread.”

£500-700

385 §

BOBBIE COX (BRITISH 1930-2018) FLOWTIDE OVER A PINK BEACH, VARIATION 1; FLOW TIDE PINK SAND, VARIATION 2; STILL WATERS; INDIGO WATER PATTERN, VARIATION I, 2000

hand woven wool tapestry on wooden frame the first two: 47.5cm x 36.5cm (18 ¾in x 14 3/8in); the latter two: 43cm x 32.5cm (17in x 12 ¾in) (4)

Provenance: Acquired directly from the Artist, October 2013, by the present owner’s family; Private Collection, U.K.

Exhibited: Otterton Mill Gallery, Otterton, Devon and Dartington Arts, Dartington, Woven Water, 2000. £400-600

British tapestry artist Bobbie Cox is celebrated for her evocative woven works and her significant contributions to the tapestry community. Initially trained as a painter at the Bath Academy of Art, she transitioned to tapestry weaving in 1975, dedicating herself fully to the craft. Her large-scale commissions include notable works for Dartington Hall, St Stephen’s Church in Exeter, and Rochester Cathedral. Cox was the first guest artist featured in the BBC2 series The Craft of the Weaver and played a pivotal role in the British Tapestry Group, where she was remembered as a generous and patient teacher. Her tapestry series, such as Landscape into Tapestry and Indian Journey, toured extensively, showcasing her deep engagement with cultural narratives and natural forms.

BOBBIE COX (BRITISH 1930-2018)

RIVER TAVY, AUTUMN WATER WALL HANGING inscribed and titled on artist’s label (to reverse), hand woven wool tapestry

73cm x 70cm (28 ¾in x 27 ½in)

Provenance: Acquired directly from the Artist, October 2013, by the present owner’s family; Private Collection, U.K.

£300-500

386 §

ERNST GAMPERL (GERMAN 1965-) VESSEL NO. 157, 2000

signed, dated, numbered and inscribed Ernst Gamperl / 12/2000 / No 157 / rep. 2019 / Ernst Gamperl (to base), maple 27cm high, 34cm wide (10 5/8in high, 13 3/8in wide)

£1,000-1,500

387 § PETER COLLINGWOOD (BRITISH 1922-2008) RUG

wool, with plaited tassels

155cm x 83.5cm (61in x 32 7/8in)

£1,500-2,500

388 § ANTONY BRYANT (BRITISH 1960-) VESSEL, 1997

signed, dated and inscribed (to base), sycamore

44.2cm high, 31.5cm wide (17 3/8in high, 12 3/8in wide)

Provenance: Private Collection, U.K.

£1,500-2,000

389 §

BREON O’CASEY (BRITISH 1928-2011)

NECKLACE

stamped BOC, yellow metal and lapis lazuli

drop: 21.5cm (8 ½in)

Provenance: Private Collection, U.K.

£2,000-3,000

Breon O’Casey (1928–2011) was first introduced to metalwork at school by Naum Slutzky, formerly head of metalwork at the Bauhaus. It was not until his move to St Ives, however, that jewellery became central to his practice.

Among a community of artists supplementing their income with small works sold through Robin Nance’s craft shop on the quay, O’Casey quickly discovered that his jewellery found a ready market. Gradually he abandoned other part-time jobs to rely on it entirely.

Early inspiration came from photographs of Alexander Calder’s jewellery, whose inventive forms became a touchstone for O’Casey’s own development. As he later recalled, “Any aspiring jeweller has only to study Calder’s jewellery to be set on the right path.”

Fallon, Brian and Breon O’Casey, Breon O’Casey, Scolar Press, Aldershot, 1999, p.106.

392 §

390 §

BREON O’CASEY (BRITISH 1928-2011)

PAIR OF DROP EARRINGS

each stamped maker’s mark BOC, yellow metal and lapis drop 5.5cm (2 1/8in)

Provenance: Private Collection, U.K.

£600-800

391 §

BREON O’CASEY (BRITISH 1928-2011) ‘SUN, MOON & STARS’ BROOCH white and yellow metal 4.2cm x 5.5cm (1 5/8in x 2 1/8in)

Provenance: Private Collection, U.K.

£600-800

BREON O’CASEY (BRITISH 1928-2011)

PAIR OF ‘LEAF’ DROP EARRINGS each stamped maker’s mark BOC, white metal and white quartz drop 8.8cm (3 ½in)

Provenance: Private Collection, U.K.

£400-600

393 §

BREON O’CASEY (BRITISH 1928-2011)

‘BIRD’ BROOCH

signed B O’Casey (to reverse), white metal 5cm x 3.7cm (2in x 1 ½in)

Provenance: Private Collection, U.K.

£500-700

394 §

stamped maker’s mark BOC, white metal

10.7cm high, 18cm diameter (4 ¼in high, 7 1/8in diameter), 1030 grams

Provenance: Private Collection, U.K.

£2,000-3,000

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF FIVE STACKING RINGS, 1995

comprising five silver rings with various applied polished silver shapes, stamped maker’s mark, hallmarked for London 1995, on a perspex display stand

Ring size: O

Provenance: Private Collection, U.K.

£800-1,200

396 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF THREE STACKING RINGS, 1986

comprising two 18ct gold rings with collet-set cabochon garnets, and a silver band set with black enamel and gold-dust, stamped maker’s mark, hallmarked for London 1986, on a perspex display stand

Ring size: N/O

Provenance: Private Collection, U.K.

£1,200-1,800

397 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF FOUR STACKING RINGS, 2015

comprising four silver rings with various applied polished silver shapes, stamped maker’s mark, hallmarked for London 2015, on a perspex display stand

Ring size: N

Provenance: Private Collection, U.K.

£600-800

398 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF SIX STACKING RINGS, 2009

comprising six silver and gem-set rings each collet-set with various cabochon garnets, amethyst and carnelian, stamped maker’s mark, hallmarked for London 2009, on a perspex display stand

Ring size: M/N

Provenance: Private Collection, U.K.

£1,500-2,500

399 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF SEVEN STACKING RINGS, 2014

comprising six silver and gem-set rings collet-set with various shaped cabochon moonstones and amethyst, one plain silver band, stamped maker’s mark, hallmarked for London 1995, on a perspex display stand

Ring size: M/N

Provenance: Private Collection, U.K.

£1,500-2,500

400 §

WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018)

SET OF FIVE STACKING RINGS, 2001

comprising five silver and gem-set rings collet-set with various shaped cabochon onyx, stamped maker’s mark, hallmarked for London 2001, on a white and black perspex display stand

Ring size: N

Provenance: Private Collection, U.K.

£1,000-1,500

401

TENTHOUSANDTHINGS (RON ANDERSON & DAVID REES), NEW YORK

PAIR OF EXTRA LARGE LAPIS

CHANDELIER EARRINGS

each modelled as a tapering girandole drop of polished lapis lazuli pendants, yellow metal, hook fittings, unmarked length: 10.70cm (4 ¼in)

£2,000-3,000

402

TENTHOUSANDTHINGS (RON ANDERSON & DAVID REES), NEW YORK

PAIR OF LARGE JADE

TOTEM EARRINGS

each modelled as four tapering polished jade pendants, yellow metal, hook fittings, unmarked length: 8.3cm (3 ¼in)

£1,000-1,500

TENTHOUSANDTHINGS is the creation of Ron Anderson and David Rees, two self-taught jewellers who arrived at the workbench after careers in New York’s fashion world. From their downtown studio, they have developed a distinctive vocabulary of forms — sculptural, abstract, often echoing patterns and textures found in the natural world. Each piece, made by hand in silver or gold, is conceived as a modern heirloom, balancing refinement with a sense of quiet permanence. In recent years, Anderson and Rees’s search for unusual materials has led them beyond their own atelier, most notably to Jaipur. There, in collaboration with highly skilled stone carvers, they have extended their practice to include hand-carved gems. Working from the jewellers’ wax models, some entirely new and others drawn from their archive, the artisans employ traditional techniques passed down through generations. Rough stones are reimagined in this process — cut, carved, and polished into luminous forms that retain all the subtlety of the original designs. These singular carvings, with their careful balance of precision and irregularity, are destined to be assembled into earrings and necklaces that embody the pair’s idiosyncratic, modern vision of adornment.

403

TENTHOUSANDTHINGS

(RON ANDERSON & DAVID REES), NEW YORK

PAIR OF SMALL CRYSTAL CHANDELIER EARRINGS

each modelled as a tapering girandole drop of polished rock crystal pendants, yellow metal, hook fittings, unmarked length: 6.0cm (2 3/8in)

£600-800

404 §

MARIANNE ANDERSON (BRITISH 1978-) RING, 2019

silver collet-set with an ovoid mabé pearl, to a textured oxidized silver band, stamped maker’s mark, hallmarked for Edinburgh 2019

Ring size: K

Provenance: Private Collection, U.K.

£300-500

405

JUNKO MORI (JAPANESE 1974-) ‘SPIKES’ ORGANISM

forged mild steel, wax coated 11cm high, 7cm wide (4 3/8in high, 2 ¾in wide)

Provenance: Chelsea Craft Fair, London, 2001; Private Collection, U.K.

£300-500

406 §

JONATHAN CLARKE (BRITISH 1961-) ‘LATCH’ PAPERWEIGHT, 2006

stamped and numbered JC 1/5, stamped maker’s marks, hallmarked for London 2006, silver

9.2cm x 7.8cm x 4cm (3 5/8in x 3in x 1 ½in)

Provenance: with Strand Gallery, Aldeburgh, from whom acquired by the present owner; Private Collection, U.K.

£300-500

407 §

ALEX BROGDEN (BRITISH 1954-) SPHERE, 2003

stamped maker’s mark and 925, hallmarked for London, silver 22cm high, 26.5cm diameter (8 5/8in high, 10 ½in diameter)

Provenance: Acquired directly from the artist by the present owner c.2003/2004.

Exhibited: Collect, Victoria & Albert Museum, London, c.2003.

£2,000-3,000

408 §

ALEX BROGDEN (BRITISH 1954-) BOWL, 2003

stamped maker’s mark and 925, hallmarked for London, silver 6.5cm high, 45cm diameter (2 ½in high, 17 ¾in diameter)

Provenance: Acquired directly from the artist by the present owner c.2003/2004.

Exhibited: Collect, Victoria & Albert Museum, London, c.2003.

£3,000-5,000

Alex Brogden’s Sphere and Bowl reflect his sustained exploration of abstract silver forms, embodying his hallmark balance of fluid line, strong form, and exquisitely refined surfaces. Their smooth, highly reflective finish captures shifting light and shadow, echoing Brogden’s fascination with the dialogue between movement and stillness, the organic and the geometric. Over a career spanning more than four decades, he has established an international

reputation, creating both commissioned and sculptural works that are now represented in major collections including the Victoria and Albert Museum, the Goldsmiths’ Company, and the Silver Trust at 10 Downing Street. His achievements also include designing the winner’s trophy for the prestigious Loewe Craft Prize on multiple occasions, further underlining his place as one of Britain’s leading contemporary silversmiths.

409 §

PIPPIN DRYSDALE (AUSTRALIAN 1943-) KIMBERLEY SERIES, 2007 two closed and one open vessel, the two larger signed, dated and numbered 51 and 172, and the smaller impressed PIPPIN, porcelain

32.5cm high, 23cm high and 18cm high (12 ¾in high, 9in high and 7 in high) (3)

Provenance: Private Collection, London.

£3,000-5,000

410 § PIPPIN DRYSDALE (AUSTRALIAN 1943-)

TANAMI MAPPING, 2011

signed, dated and inscribed PIPPIN DRYSDALE / T M 2011 / CODE 034, porcelain

16cm high (6 ¼in high)

Provenance: Private Collection, London.

£600-800

411 §

ALAN CAIGER-SMITH (BRITISH 1930-2020) FOOTED BOWL

painted monogram and date mark, earthernware, lustrous gold and rust red abstract painted design

9cm high, 27cm diameter (3 ½in high, 10 5/8in diameter)

Provenance: Bonhams, London, Contemporary Ceramics, 27 February 1989, lot 259, from where acquired by the present owner; Private Collection, London.

£400-600

§

412

NICHOLAS LEES (BRITISH CONTEMPORARY) ORBIT

incised initials and numbered 24.10, porcelain

16.5cm high (6 ½in high)

Provenance: Private Collection, U.K.

£500-700

413 § NICHOLAS ARROYAVE-PORTELA (BRITISH 1972-) VESSEL

impressed maker’s seal, earthenware

22.2cm high, 19cm wide (8 ¾in high, 7 ½in wide)

Provenance: with Beaux Arts, Bath, 2000, from whom acquired by the present owner; Private Collection, U.K.

£400-600

414 § PETER BEARD (BRITISH 1951-) VESSEL

impressed maker’s seal, stoneware 25.5cm high (10in high)

£500-700

415 §

PETER BEARD (BRITISH 1951-)

TALL FORM

impressed maker’s seals, stoneware on wooden base overall 73cm high (28 ¾in high)

£1,500-2,000

416 § JACQUELINE PONCELET (BELGIAN 1947-) ANGULAR VESSEL

earthenware, cream glaze, painted with linear decoration in brown and blue

29cm high, 24.5cm wide (11 ½in high, 9 5/8in wide)

Provenance: Acquired by the present owner on 1 December 1994; Private Collection, U.K.

£800-1,200

417 §

FAUSTO SALVI (ITALIAN 1965-) HYDRAULICS, 2015

signed, dated and inscribed (to base), ceramic 32cm high, 24.5cm wide (12 5/8in high, 9 5/8in wide)

Provenance: Ceramic Art London, 2016; Private Collection, London

£500-700

418 §

JOHANNES NAGEL (GERMAN 1979-)

‘NEW JAZZ’ ASSEMBLED SCULPTURE, 2015 from the New Jazz/Isolator series, porcelain, stoneware, sand and glaze

78cm high, 29cm wide (30 ¾in high, 11 3/8in wide)

Provenance: New Art Centre, Roche Court; Private Collection, London.

£1,000-1,500

419 §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-)

‘AWFUL AND SIMPLE LIKE MURDER’ VASE, 1987

impressed maker’s seal, glazed earthenware

35cm high, 18cm wide (13 ¾in high, 7in wide)

Provenance: Private Collection, London. Exhibited: Amsterdam, Stedelijk Museum, Grayson Perry: Guerrilla Tactics, 18 May 200225 August 2002, no.7.

£10,000-15,000

“Pots suit the scale of my ideas, they inhibit an intimate intellectual space, there is no bombastic confrontation, one is charmed into picking up my ideas from a pot….From the very first plate I made at evening classes emblazoned with a crude crucifixion and the words KINKY SEX I have used imagery that some people find disturbing. I use such material not to deliberately shock but because sex, war and gender are subjects that are part of me and fascinate me and I feel I have something to say about them. ”

Grayson Perry, in the catalogue for Guerrilla Tactics, Stedelijk Museum, Amsterdam, 2002

420 §

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-)

OVAL DISH, 1988

impressed date 88, incised wheelchair design amongst seaweed

28cm x 36.7cm (11in x 14 ½in)

Literature: See Catrin Jones and Chris Stephens (eds.), Grayson Perry: The Pre-Therapy Years, Thames & Hudson and Holburne Museum, London, 2020, p.119, for an Untitled dish of comparable form, dated 1987. Images of the present work were sent to the artist in 2012, when he confirmed the attribution.

£3,000-5,000

421 §

PHILIP EGLIN (BRITISH 1959-) POPULAR MADONNA

glazed white porcelain with cobalt blue and gilt splashes

37cm high, 12.5cm wide (14 ½in high, 5in wide)

Provenance: The Estate of the Late Peter D. R. Powell.

Philip Eglin’s ceramic works reflect and comment on contemporary culture.

References are made to an array of sources, including Northern Gothic religious woodcarvings, Chinese export porcelain, English folk ceramics and the language of symbols used on contemporary packaging. Eglin’s work can be found in major private and public collections, including the Stedelijk Museum, the Netherlands, Mint Museum, USA, British Council, London, National Museum of Scotland, Edinburgh and the Victoria and Albert Museum, London.

£1,200-1,800

The late internet entrepreneur, collector and philanthropist Hugo Burge (1972-2023) was passionate about art and its transformative power. His personal collection was extensive and wide-ranging and was displayed to great effect in his homes at Marchmont House in the Scottish Borders and in London. He collected examples by Peter Hayes and Brian Willsher in depth and those presented here are being sold to raise funds for the Hugo Burge Foundation which aims to support and inspire creativity across the UK. Formerly known as The Marchmont Makers Foundation, the charity was launched by Hugo in 2022 and was renamed in his memory in 2024. The Foundation runs courses, hosts events, offers awards and funds apprenticeships, providing free studios and workspaces for artists and craftspeople in the Scottish Borders.

Hayes’s principle aim is for his work not to compete with nature, but to develop and evolve in the environment. This is shown through the way he layers textured clay surfaces by polishing and burnishing, alongside the introduction of further minerals, such as copper and iron into the raku surfaces of his objects. After firing, he might submerge pieces in the river beside his studio in Bath or send them to Cornwall to be washed over by the sea. As a result, every work is unique and helps to create an ancient feel to the finished surfaces.

Willsher studied engineering but began to work with wood around 1956. His sculptural forms are defined by their intricacy and layering, in a Modernist vocabulary reminiscent of Barbara Hepworth and Henry Moore. He is best known for his finely turned smoothly finished carvings in exotic woods and for the more recent and lesser-seen bronzes also represented here.

PTOLEMY

inscribed with title (on underside), carved wood 72.5cm high, 20cm wide, 35cm deep (28 ½in high, 8in wide, 13 ¾in deep)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation £700-1,000

423 §

PETER HAYES (BRITISH 1946-)

BOW WITH COPPER DISC

signed (to base), raku on slate base

28cm high, 13cm wide (11in high, 5 1/8in wide)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£300-500

424 §

PETER HAYES (BRITISH 1946-)

BOW WITH KEY HOLE

signed (to base), raku on slate base

34.5cm high, 15cm wide (13 ½in high, 5 7/8in wide)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£400-600

426 §

PETER HAYES (BRITISH 1946-)

BOW WITH COPPER DISC

signed (to base), raku on slate base

30.5cm high, 23cm wide (12in high, 9in wide)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£500-700

425 §

PETER HAYES (BRITISH 1946-)

TWO BOWS WITH COPPER DISCS

each signed (to base), raku

29cm high, 13.5cm wide (11 3/8in high, 5 ¼in wide) and 29cm high,12.5cm wide (11 3/8in high, 4 7/8in wide) (2)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£500-700

BRIAN WILLSHER (BRITISH 1930-2010) PAEN

incised with signature, title and foundry stamp (to base), verdigris bronze

42cm high, 14cm wide, 11.5cm deep (16.5in high, 5.5in wide, 4.5in deep) including integral base

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£1,200-1,800

£800-1,200 427 §

428 §

BRIAN WILLSHER (BRITISH 1930-2010) THE SECRET

embossed with signature, title and numbered 9/9 (to edge of base), verdigris bronze

44.5cm high, 19.5cm wide, 20cm deep (17 ½in high, 7 ¾in wide, 8in deep) including integral base

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£1,200-1,800

429 §

BRIAN WILLSHER (BRITISH 1930-2010) DOPPEL GANGER

embossed with signature, title and numbered 9/9 (to base), verdigris bronze

39cm high, 28.5cm wide, 26cm deep (15.25in high, 11.25in wide, 10.25in deep)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

430 §

PETER HAYES (BRITISH 1946-)

LARGE BOW WITH COPPER DISC, 2017

signed and dated (to base), raku on slate base overall 70cm high, 22.5cm wide (27 ½in high, 8 7/8in wide)

Provenance: Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£1,000-1,500

431 §

PETER HAYES (BRITISH 1946-)

BOW FORM

signed (to base), white marble with black marble base

68.2cm high (26 ¾in high)

Provenance: Blackmore Gallery, Lymm; Hugo Burge Collection, being sold to support the Hugo Burge Foundation.

£1,000-1,500

END OF COLLECTION

432 §

433 §

JOHN MALTBY (BRITISH 1936-2020)

TWO FIGURES AND A TOWER

impressed maker’s seal, signed and titled (to base), stoneware 21cm high, 10.5cm wide (8 ¼in high, 4 1/8in wide)

Provenance: Private Collection, U.K.

£300-500

JOHN MALTBY (BRITISH 1936-2020)

TEAPOT

signed (to base), stoneware, with flower decoration 24cm high, 20cm wide (9 ½in high, 7 7/8in wide)

Provenance: Private Collection, U.K.

£500-700

434 §

ROBIN WELCH (BRITISH 1938-2019)

THREE VESSELS

each stamped maker’s seal, stoneware

38.5cm high, 33cm high, 30cm high (15 1/8in high, 13in high, 11 ¾in high) (3)

Provenance: Private Collection, U.K.

£600-900

435 §

JOHN MALTBY (BRITISH 1936-2020)

TWO WARRIORS

signed and inscribed For Gordon for many years of good advice and humour (to base), stoneware and wood

40.5cm high, 21.5cm wide, 12cm deep (15 7/8in high, 8 ½in wide, 4 ¾in deep)

Provenance: Private Collection, U.K.

£1,200-1,800

436 §

JOHN MALTBY (BRITISH 1936-2020)

HANDLED VESSEL

signed (to base), stoneware 42cm high, 17cm wide (16 ½in high, 6 ¾in wide)

Provenance: Private Collection, U.K.

£1,000-2,000

§

JOHN MALTBY (BRITISH 1935-2020)

‘OPHELIA’ BOAT AND ‘BILLY BUDD’ BOAT WALL HANGINGS

Stonehill stamp, wood, cork, paper, foil, bead and netting; the latter signed on label (to reverse), wood and cord

15cm high, 27cm wide (5 7/8in high, 10 5/8in wide) and 26cm high, 38cm wide (10 ¼in high, 15in wide) (2)

Provenance: Private Collection, U.K.

£400-600

438 §

SAM SMITH (BRITISH 1908-1983)

THREE BOATS: HOUR 1, 1970; GAY GIRL AND BEN & LUCY, 1975

Hour 1 and Ben & Lucy signed and dated, painted wood, cord and paper

Hour 1: 18cm high, 25cm wide (7in high, 9 ¾in wide); Gay Girl: 12.5cm high, 18.5cm wide (4 7/8in high, 7 ¼in wide) and Ben & Lucy: 20cm high, 31.5cm wide (7 7/8in high, 12 3/8in wide) (3)

Provenance: Private Collection, U.K.

£500-700

439 §

JOHN MALTBY (BRITISH 1935-2020)

‘VICTORIA AND ALBERT’ BOAT

signed, wood, cork, foil, paper, bead, rope and stone 57cm high, 30cm wide (22 ½in high, 11 ¾in wide)

Provenance: Private Collection, U.K.

£400-600

440 §

LAURENCE BRODERICK (BRITISH 1935-2024) BATHER III

signed, titled and numbered 3/7, patinated bronze 28cm high, 35cm wide (11in high, 13 ¾in wide)

Provenance: Estate of the Artist.

£1,000-1,500

441 §

LAURENCE BRODERICK (BRITISH 1935-2024) KNEELING NUDE IV

signed, titled and numbered 4/7, patinated bronze 40cm high, 24cm wide (15 ¾in high, 9 ½in wide)

Provenance: Estate of the Artist.

£800-1,200

442 §

LAURENCE BRODERICK (BRITISH 1935-2024)

DANCER VII, 1999

signed, titled and dated, Cornish Soapstone 18cm high, 27cm wide (7in high, 10 5/8in wide)

Provenance: Estate of the Artist.

£700-1,000

443 §

LAURENCE BRODERICK (BRITISH 1935-2024) DANCER IX

signed, titled and inscribed, Cornish Serpentine 28cm high, 48cm wide (11in high, 18 7/8in wide)

Provenance: Estate of the Artist.

£1,000-1,500

444 §

LAURENCE BRODERICK (BRITISH 1935-2024)

BARN OWL

signed, titled and numbered 2/7, patinated bronze

17cm high, 37cm wide (6 5/8in high, 14 ½in wide)

Provenance: Estate of the Artist.

£1,500-2,000

445 §

LAURENCE BRODERICK (BRITISH 1935-2024)

signed and titled, Drummadrochit Serpentine

18cm high, 30cm wide (7in high, 11 ¾in wide)

Provenance: Estate of the Artist.

£800-1,200

446 §

LAURENCE BRODERICK (BRITISH 1935-2024)

SKYE THE OTTER SCULTURE, 2004

signed, titled and inscribed LAURENCE BRODERICK / SKYE THE OTTER / A/C, stamped 925, hallmarked for London 2004, silver 10.5cm high, 13cm wide (4 1/8in high, 5 1/8in wide), overall 1339 grams

Provenance: Private Collection, U.K.

£1,000-1,500

447 §

LAURENCE BRODERICK (BRITISH 1935-2024)

INDIAN ELEPHANT CALF MAQUETTE

signed, titled and inscribed <em>A/C</em>, artist’s cast from an edition of 25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver 9.5cm high, 11.5cm wide (3 3/4in high, 4 1/2in wide)

£400-600

448 §

LAURENCE BRODERICK (BRITISH 1935-2024)

PLAYFUL OTTER XXXII, 1992

signed, titled and dated, Cornish Soapstone

22cm high, 46cm wide (8 5/8in high, 18 1/8in wide)

Provenance: Estate of the Artist.

£1,500-2,000

449 §

DAVID WYNNE O.B.E. (BRITISH 1926-2014) FOR MAPPIN & WEBB

BOY WITH A DOLPHIN, 1979

the marble stamped and numbered DAVID WYNNE 59/250 / MAPPIN & WEBB, stamped manufacturer’s mark, hallmarked for London, silver on marble base, in fitted Mappin & Webb case 17cm high, 32.5cm wide (6 ¾in high, 12 ¾in wide)

Provenance: Private Collection, London.

£4,000-6,000

450 §

DAVID BACKHOUSE (BRITISH 1941-)

CLOAKED HORSEMAN WITH DOG (STUDY FOR CLOAKED HORSEMAN, LEWIN’S MEAD, BRISTOL), c.1984

signed and numbered 2/7 (to base), bronze 21cm high (8 ¼in high) (including base)

£600-800

451 §

FRANK ROPER (BRITISH 1914-2000)

BULL, c.1980

patinated bronze on wooden plinth

14cm x 25cm x 7cm (5 ½in x 9 ¾in x 2 ¾in)

Exhibited: Gloria Gallery, Nicosia, Cyprus, 1226 December 1983.

£300-500

452 §

DAVID WYNNE O.B.E. (BRITISH 1926-2014)

KANGAROO, c.1964

signed, bronze, 1 from the edition of 12 49cm x 75cm (19 ¼in x 29 ½in)

Provenance: Sotheby’s London, 7 April 1971, lot 174: Private Collection; Dreweatt’s, Donnington Priory, Modern and Contemporary Art, 11 July 2024, lot 221, where acquired by the present owner.

Literature: Boase, T.S.R. The Sculpture of David Wynne 1949-1967, London, 1968, p. 156, listed (erroneously) as an edition of 6. £2,000-3,000

453

STUDIO BBPR FOR ARFLEX ‘URANIA’ ARMCHAIR, DESIGNED 1954

with manufacturer’s fabric label (to underside), enamelled steel and upholstery

81cm high, 75.5cm wide, 57cm deep (31 7/8in high, 29 ¾in wide, 22 ½in deep)

Provenance: Private Collection, U.K.

£700-1,000

454

SILVIO CAVATORTA (ITALIAN 1899-1957) ARMCHAIR

brass and wool fabric upholstery

76cm high, 67cm wide, 67 deep (30in high, 26 3/8in wide, 26 3/8in deep)

Provenance: Private Collection, U.K.

£500-700

455

VERNER PANTON (DANISH 1926-1998) FOR THONET

ARMCHAIR, DESIGNED 1965

model 271F, lacquered and moulded plywood and steel

80cm high, 57.5cm wide, 49cm deep (31 ½in high, 22 5/8in wide, 19 ¼in deep)

Provenance: Christie’s, London, Modern Design, 16 May 2001, lot 237, where acquired by the present owner; Private Collection. U.K.

£400-600

456

ILYA BOLOTOWSKY (AMERICAN 1907-1981) FOR MULTIPLES INC., NEW YORK UNTITLED, c.1975

signed and numbered 9/30 (to label), wool felt tapestry

215cm x 116cm (84 5/8in x 45 5/8in)

£1,000-1,500

457

MARIO BELLINI (ITALIAN 1935-) FOR CASSINA SET OF SIX ‘CAB’ SIDE CHAIRS, DESIGNED 1976 model 412, leather, enamelled steel and plastic 81cm high, 47cm wide, 42cm deep (31 7/8in high, 18 ½in wide, 16 ½in deep) (6)

Provenance: Private Collection, London.

£1,500-2,500

458

CHRISTIAN LIAIGRE (FRENCH 1943-2020) SET OF SIX ‘ARCHIPEL’ CHAIRS, DESIGNED 1994 each with artist’s monogram (to underside), oak and leather 85.5cm high, 47.5cm wide, 48cm deep (33 5/8in high, 18 ¾in wide, 18 7/8in deep) (6)

£800-1,200

459

IVAN CHERMAYEFF (AMERICAN 1932-2017) FOR BETSY ROSS FLAG AND BANNER CO., NEW YORK UNTITLED, c.1975

signed and numbered 13/20 (to label), wool felt tapestry

208cm x 134cm (81 7/8in x 52 ¾in)

£1,000-1,500

ENZO MARI (ITALIAN 1932 - 2020) FOR HIDA SANGYO ‘VERTANA’ MIRROR, c. 2006

Sugi (Japanese cedar [Cryptomeria japonica]), glass and steel, Hida Sangyo, Hida Takayama, Gifu Prefecture, Japan edition

170cm high, 90cm wide (67in high, 35 ½in wide)

Literature: Mari, Enzo and Team HIDA, HIDA, Hida Takayama, Japan, 2006, pp.42 and 74, for an example of this model.

£800-1,200

461

SŌRI YANAGI (JAPANESE 1915 -2011) FOR TENDO MOKKO BUTTERFLY STOOL, DESIGNED c.1975

manufacturers label, beech and Indian rosewood, with upholstered cushion

38cm high, 43cm wide, 31cm deep (15in high, 17in wide, 12 ¼in deep)

£500-700

462

YAMANAKA GROUP FOR TENDO MOKKO MUSHROOM STOOL, DESIGNED 1961, MANUFACTURED 2002

manufacturer’s label, teak

38.5cm high, 45cm wide (15 3/8in high, 17 ¾in wide)

Literature: 天童木工 (Tendo Mokko), Tokyo: Bijutsu Shuppan-sha, 2008, pp. 142-3.

£500-700

463

TOKUJIN YOSHIOKA (JAPANESE 1967-) FOR YAMAGIWA CORPORATION, JAPAN ‘ToFU’ TABLE LAMP, MANUFACTURED 2000 with manufacturer’s applied label, acrylic and aluminium

29.5cm high, 36.5cm wide. 7.3cm deep (11 5/8in high, 14 3/8in wide, 2 7/8in deep)

Provenance: Acquired directly from Yamagiwa Corporation by the present owner in 2000.

£1,000-1,500

465

464

VERNER PANTON (DANISH 1926-1998) FOR J. LUBER AG

‘WIRE’ TABLE LAMP, DESIGNED 1972

chrome plated steel and plastic

42.5cm high, 29cm diameter (16 ¾in high, 11 3/8in diameter)

£300-500

INGO MAURER (GERMAN 1932-2019)

‘GIANT BULB’ TABLE LAMP, DESIGNED 1966

glass and chrome plated metal

54cm high (21 ¼in high)

Provenance: Private Collection, U.K.

£400-600

466

ATTRIBUTED TO PETER NELSON (BRITISH 1928-2009)

PROTOTYPE TABLE LAMP

aluminium and enamelled metal

31cm high, 23cm wide, 21cm deep (12 ¼in high, 9in wide, 8 ¼in deep)

Provenance: Anderson & Garland, Newcastle, 7 September 2010, where acquired by the present owner; Private Collection, London.

The present work was acquired from Anderson & Garland, who over an extended period have sold numerous examples of Nelson’s lighting, purportedly originating from the designer’s estate.

£500-700

467

ATTRIBUTED TO GIANFRANCO FINI (ITALIAN 1936-) & FABRIZIO COCCHIA (ITALIAN 1931-)

LIGHT SCULPTURE, DESIGNED c.1970

from the Divieto series, black lacquered metal and acrylic rods

68.5cm high, 21.5cm wide, 21.5cm deep (27in high, 8 ½in wide, 8 ½in deep)

Literature: Ferrari, Fulvio and Napoleone, Light, Lamp 1968-1973: The New Italian Design, Torino, 2002, p.102A for sketches of similar models.

£2,500-3,500

468 §

SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) FOR WEDGWOOD SET OF SIX ‘VARIATIONS ON A GEOMETRIC THEME’ PLATES

set number 173/200, each plate with printed manufacturer’s marks, fine bone china, with original Wedgwood certificate, frontispiece and perspex box each plate 26.6cm diameter (10 ½in diameter) (6)

Provenance: Private Collection, London.

£800-1,200

469 § MAARTEN VAN SEVEREN (BELGIAN 1956-2005)

LOUNGE CHAIR 04, DESIGNED 2004

stainless steel and leather 115cm high, 150cm wide, 80cm deep (45 1/3in high, 59in wide, 31 ½in deep)

Provenance: Private Collection, London.

Created towards the end of Maarten van Severen’s career, the Leather Lounge Chair 04 captures his enduring pursuit of clarity and refinement. Its unconventional balance of form and restraint in materials distills his design philosophy into a striking, contemporary statement.

£5,000-7,000

patinated metal, frosted and coloured glass

16.5cm high, 20cm wide (6 ½in high, 8in wide); 17cm high, 21cm wide (6 ¾in high, 8 ½in wide) (2)

£600-800

471 §

HANNAH WOODHOUSE (BRITISH 1963-) CANDLELABRA, c.1998/2000

signed, patinated bronze

27cm high, 43.2cm wide, 18cm deep (10 5/8in high, 17in wide, 7 1/8in deep

Provenance: Craft Council, 2004, from where acquired by the present owner; Private Collection, U.K.

We would like to thank the Artist for her assistance in cataloguing the present work.

£2,000-3,000

472 §

ANDRÉ DUBREUIL (FRENCH 1951) FOR A D DECORATIVE ARTS LTD. RAM CHAIR, DESIGNED 1986

welded steel and upholstered cushion

93cm high, 72cm wide, 93cm deep (36 ½in high, 28 3/8in wide, 36 ½in deep)

Provenance: Private Collection, U.K.

£800-1,200

473

PAUL EVANS (AMERICAN 1931-1987) FOR DIRECTIONAL, U.S.A. COFFEE TABLE, 1970

model PE11, welded initials and date PE70 (to base), welded, polychromed, and patinated steel, glass base: 40cm high, 98.5cm wide (15 ¾in high, 38 ¾in wide); glass top: 61cm x 122cm (24in x 48in)

£2,000-3,000

474 §

TOM DIXON C.B.E. (BRITISH 1959-) FOR CAPPELLINI ‘BIRD’ CHAISE LONGUE ROCKER, DESIGNED 1991

applied manufacturer’s label CAPELLINI INTERNATIONAL INTERIORS, moulded maker’s mark CAPELLINI INTERNATIONAL INTERIORS, wood, foam and upholstery, with plastic rocker 105cm high, 50cm wide, 175cm long (41 3/8in high, 19 ¾in wide, 68 7/8in long)

Provenance: Private Collection, U.K.

This is one of the original issue from Cappellini from 1992.

£800-1,200

475 § GAETANO PESCE (ITALIAN, 1939-2024) FOR MERITALIA

‘LA SMORFIA’ ART CHAIR, 2003

red and black lacquered and coated rigid semiexpanding foam, plastic and polyurethane

110cm high, 90cm wide, 70cm deep (43 3/8in high, 35 3/8in wide, 27 ½in deep)

Provenance: Acquired directly from Meritalia by the present owner in 2003.

£1,500-2,000

476 §

ANTONIO FORLIN (ITALIAN CONTEMPORARY) VESSEL

signed Don Corleone Taormina, glazed earthenware

63cm high (24 ¾in high)

Provenance: Private Collection, U.K.

£500-700

477

PARD MORRISON (AMERICAN 1975-) ABSTRACT, 2018

signed and dated (to base), painted metal

51cm high, 36cm wide, 14.5cm deep (20in high, 14 1/8in wide, 5 ¾in deep)

Provenance: Private Collection, U.K.

£800-1,200

478 §

JEAN COCTEAU (FRENCH 1889-1963) FOR ROSENTHAL TÊTE, 1952

inscribed with the artist’s signature and date, manufacturer’s mark (to base), from an edition of unknown size, porcelain 21cm high (8 ¼in high)

Provenance: Private Collection, U.K.

£400-600

479 §

PABLO PICASSO (SPANISH 1881-1973) FOR MADOURA POTTERY

VISAGE NO. 54 PLATE (A.R. 467)

numbered 75/150, inscribed ‘No. 54’, ’Edition Picasso’ and ‘Madoura’, glazed earthenware

25.5cm diameter (10in diameter)

Provenance: Bonhams, London, Contemporary Ceramics, 27 February 1989, lots 72, from where acquired by the present owner; Private Collection, London.

£1,000-2,000

480 §

SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) FOR ROSENTHAL MINIATURE ‘SUOMI’ COFFEE SET

each printed manufacturer’s marks and numbered 057/999, porcelain, with certificate box and cover: 9.5cm high (3 ¾in high) (including handle); teapot: 8.8cm high (3 ½in high) (including handle); sugar bowl: 5.5cm high (2 1/8in high) (3)

Provenance: Private Collection, London.

£300-500

“ Metal is very forgiving. If you make a mistake, you can cut it, rebend it, weld it back together — no problvem. You can’t really do that with wood or ceramic. There’s a kind of elasticity in steel, a versatility and strength, and then there’s the way you join it — with fire — which I found incredibly fascinating. ”

Tom Dixon

481 §

TOM DIXON C.B.E. (BRITISH 1959-) COFFEE TABLE, 1995-2003

unique, patinated salvaged metal with inset glass top

42.5cm high, 150cm wide, 90cm deep (16 ¾in high, 59in wide, 35 ½in deep)

Provenance: Commissioned directly from Tom Dixon by the present owner, circa 1995.

Sold together with a photograph of the work signed by Tom Dixon.

£2,000-3,000

482 §

TOM DIXON C.B.E. (BRITISH 1959-)

FIRE SURROUND AND BURNER, 1995-2000

unique, patinated salvaged metal, inset glass top

86.5cm high, 119cm wide, 30cm deep (34in high, 46 7/8in wide, 11 ¾in deep); burner base: 42cm high, 50cm wide, 24cm deep (16 ½in high, 19 5/8in wide, 9 ½in deep)

Provenance: Commissioned directly from Tom Dixon by the present owner, circa 1995.

Sold together with a photograph of the work signed by Tom Dixon.

£2,000-3,000

483 §

GIZELA SABOKOVA (CZECH 1952-)

TO THE MEMORY OF BROKEN WINGS, 2006

1/1, glass on steel base

77cm high, 30cm wide, 15cm deep

(30 ¼in high, 11 ¾in wide, 5 7/8in deep)

Provenance: with Galerie Internationale du Verre, Biot, France, from whom acquired by the present owner; Private Collection, U.K.

Sold together with Certificate of Authenticity from Galerie Internationale du Verre.

£1,500-2,500

485

ATTRIBUTED TO ARTHUR MARRIOTT POWELL (BRITISH 1869-1950) FOR WHITEFRIARS VASE, c.1930-9

glass, in streaky blue colourway

37cm high, 25cm diameter (14 5/8in high, 9 7/8in diameter)

Literature: see Jackson, Lesley, Whitefriars Glass: The Art of James Powell & Sons, Richard Dennis, 1996, p.117, pl.89 for similar examples.

£500-700

484 § PIETRO CONSAGRA (ITALIAN 1920-2005) CASSETTA SOTTILISSIME, c.1970

signed and numbered 87/90, laser cut steel 22cm high, 17.2cm wide (8 5/8in high, 6 ¾in wide)

Provenance: Private Collection, U.K.

£600-900

LINO TAGLIAPIETRA (ITALIAN 1934-) ‘BILBAO’ VASE, 2001

signed and dated, blown and cut glass

61cm high (24in high)

Provenance: with Barovier Gallery, Venice, from whom acquired by the present owner; Private Collection, London.

£7,000-9,000

487 §

ZAHA HADID D.B.E.,R.A. (BRITISH 1950-2016) FOR WMF EIGHT FIVE-PIECE ‘ZAHA’ CUTLERY SETS, DESIGNED 2007 with manufacturer’s marks, stainless steel, comprising 8 knives, 8 forks, 8 small forks, 8 spoons, 8 small spoons, in eight original fitted cases the knives 24.5cm long (9 5/8in long)

Provenance: Private Collection, U.K.

£2,000-3,000

488 §

ROBERTO LAZZERONI (ITALIAN 1950-) FOR LUMINARA ‘SHINE CHAIN’ FLOOR LAMP, DESIGNED 2002

stainless steel and glass 120cm high, 61cm wide, 20cm deep (47 ¼in high, 24in wide, 7 7/8in deep)

Provenance: Acquired directly from Luminara by the present owner in 2002.

Conceived by Roberto Lazzeroni in 2002 for Luminara, the Shine Chain lamp was designed to transform light into a sensory experience rather than simply a source of illumination. Its cascading curtain of fine steel chains filters and diffuses the glow, creating shifting patterns of light and shadow that animate the surrounding space. At its core, a sandblasted Pyrex glass cylinder softens the light, producing a warm and inviting atmosphere while highlighting the lamp’s sculptural presence.

£1,000-1,500

489

MICHAEL YOUNG (BRITISH 1966-)

‘STICKLIGHT’ FLOOR LAMP, DESIGNED 1994

polyethylene, fluorescent tube 192cm high (75 ½in high)

Provenance: Private Collection, U.K.

£400-600

490 § ETTORE SOTTSASS (ITALIAN 1917-2007) FOR ARTEMIDE

‘CALLIMACO’ FLOOR LAMP, DESIGNED 1981

manufacturer’s label (to base), lacquered and chromed steel with aluminium 201cm high (79in high)

Provenance: Private Collection, London.

£600-800

491 §

TAKIS (PANAYIOTIS VASSILAKIS)

(GREEK 1925-2019)

SIGNAL LIGHTS, DESIGNED 1968

aluminium, acrylic glass and metal rods

222cm high, 23cm wide, 26cm deep (87

3/8in high, 9in wide, 10 ¼in deep)

Provenance: Private Collection, U.K.

£8,000-12,000

492

BARBARA KRUGER (AMERICAN 1945-)

‘ALL THAT SEEM BENEATH YOU’ RUG, c.1990

machine-woven wool

199cm x 302cm (78 ½in x 119in)

In the late 1980s and early 1990s, Vorwerk invited leading contemporary artists to create a series of carpet designs. Barbara Kruger’s work was produced as part of this ambitious project, alongside designs by Gerhard Richter, David Hockney, Zaha Hadid, and others. Although each was originally planned to be issued in an edition of 100, the series was never fully realised due to financial constraints.

£3,000-5,000

493 § PETER SEDGLEY (BRITISH 1930-2025)

WEIGHTLESS, 1980, signed and dated (lower right), acrylic on card

69cm x 69cm (27 1/8in x 27 1/8in)

Provenance: Private Collection, U.K.

£1,500-2,500

494 §

PETER SEDGLEY (BRITISH 1930-2025)

CLUSTER, 1982

signed and dated (lower right), titled (lower left), acrylic on card

67cm x 82.3cm (26 3/8in x 32 3/8in)

Provenance: Private Collection, U.K.

£1,500-2,500

495 §

VALERIOS CALOUTSIS (GREEK 1927-2004)

SHIFTING STRATA, 1963

signed, dated, inscribed Paris and titled (to reverse), mixed media on canvas

100cm x 81.5cm (39 3/8in x 32in)

£1,000-1,500

496 § ALAN GREEN (BRITISH 1931-2003)

CADMIUM PANEL, 1979

signed, titled and dated (to reverse), oil on canvas 61cm x 61cm (24in x 24in)

Provenance: with Annely Juda Fine Art, London; Chiswick Auctions, London, Modern British & Irish Art, 29 March 2023, lot 41, where acquired by the present owner.

£1,200-1,800

497 § FRANCISZKA

THEMERSON (POLISH/ BRITISH 1907-1988) UNTITLED, 1963 initialled and dated (lower right), pen and ink on paper

52cm x 63cm (20 ½in x 24 ¾in)

Provenance: Private Collection, U.K.

£1,800-2,000

498 § FRANCISZKA

THEMERSON (POLISH/ BRITISH 1907-1988) UNTITLED 1963

signed and dated May 63 (lower right), ink on paper

46.5cm x 63cm (18 ¼in x 24 ½in)

Provenance: Private Collection, U.K.

£1,800-2,000

499 §

DEREK JARMAN (BRITISH 1942-1994)

UPPER GROUND, 1969

signed and dated Oct 6 69 (to side), pencil with oil glaze on panel 9.5cm x 10.7cm (3 ¾in x 4 ¼in)

Provenance: with Lisson Gallery, London; Gift of the Artist to the present owner.

£1,000-1,500

500 §

TOM PHILLIPS R.A. (BRITISH 1937-2022)

UNTITLED

mixed media and collage on canvas

20cm x 15.5cm (7 7/8in x 6 1/8in)

Provenance: Private Collection, U.K.

£600-800

501 §

CRAIGIE AITCHISON C.B.E., R.A.., R.S.A. (BRITISH 1926-2009)

LANDSCAPE WITH TREES, c.1971

oil on canvas

58cm x 45.5cm (22 ¾in x 17 ¾in)

Provenance: with The Piccadilly Gallery, London, by 1974; Phillips, London, British and Irish Traditional Modern and Contemporary Paintings and Sculpture, 4 June 1991, where acquired by the parents of the present owner.

£25,000-35,000

502 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-)

STONE MAQUETTE I, c.2014

unique, granite

12cm x 14cm x 14cm (4 ¾in x 5 ½in x 5½in)

Provenance: Pangolin Gallery, London; Mr. R. Warby, from whom acquired by the present owner.

£1,000-1,500

503 §

PETER RANDALL-PAGE R.A. (BRITISH 1954-) IRON HUSK II, c.1998

unique, cast iron

9cm x 18cm x 11cm (3 ½in x 7in x 4 ¼in)

Provenance: Stephen Lacey Gallery, London, 1998; Mr R. Warby, from whom acquired by the present owner.

Exhibited: Stephen Lacey Gallery, London, Peter RandallPage New Sculpture and Drawings, 1998.

£1,000-1,500

504

PAUL JENKINS (AMERICAN 1923-2012)

UNTITLED

signed and dated in pen (lower right), watercolour on hand-torn paper

28cm x 58.5cm (11in x 23in)

Provenance: Private Collection, U.K.

£800-1,200

505 §

ROBYN DENNY (BRITISH 1930-2014)

BLUE AND GREEN FORMS, 1959 signed and dated Denny 2 / 59 and numbered 15 (lower right), oil on paper

79cm x 57cm (31in x 22 ½in)

Provenance: Private Collection, Cambridge, from whom acquired by the present owner.

£2,000-3,000

506 §

ROBYN DENNY (BRITISH 1930-2014))

UNTITLED, 1978

signed and dated in pencil (lower right), dated and indistinctly titled (to reverse), acrylic and crayon on paper

87cm x 62cm (34 ¼in x 24 ½in), unframed

Provenance: A Gift of the Artist to the present owner, c.2014.

£800-1,200

507 §

STEPHEN COX R.A, (BRITISH 1946-)

ACROSS, 1993

unique, imperial Egyptian porphyry 13cm x 33cm x 35cm (5 1/8in x 13in x 13 ½in)

Provenance: with Michael Hue-Williams Fine Art, 2000; Rosebery’s, London, Modern & Contemporary British Art, 24 January 2018, lot 221, where acquired by the present owner.

Literature: Bann, Stephen, The Sculpture of Stephen Cox, The Henry Moore Foundation in association with Lund Humphries Publishers, London, 1995, no.469, repr. b/w p.141 and in colour p.78, pl.30.

£1,500-2,000

508

PORFIRIO DI DONNA (AMERICAN 1942-1986) UNTITLED (PDN 176), 1980 oil on linen

61cm x 45.8cm (24in x 18in)

Provenance: The Estate of the Artist; Nielsen Gallery, Boston, where acquired by the family of the present owner, December 2009.

£1,200-1,800

509 § GEOFF UGLOW (BRITISH 1978-) FOR NEWTON, 2012

signed and dated (to reverse), oil on board

33cm x 38.1cm (13in x 15in)

Provenance: The Artist; Connaught Brown, London, from whom acquired by the present owner.

£600-800

welded and cut stainless steel, unique 67cm x 130cm x 70cm (26 ½in x 51 ¼in x 27 ½in)

Exhibited: Heart Gallery, London, Bryan KnealeOpposing Forces, November 2002 (illustrated on cover). £800-1,200

511

ROBERT CRONIN (AMERICAN 1936-) TURNER’S FALL, 1981

unique, tin plate and wire

40cm high, 26cm wide, 24cm deep (15 ¾in, 10 ¼in wide, 9 ½in deep)

Provenance: with Gimpel Fils, London.

Exhibited: Gimpel & Weitzenhoffer, New York, Robert Cronin, 1981; Gimpel Fils, London, Robert Cronin, London, 1982.

£300-500

512 §

BRYAN KNEALE R.A. (BRITISH 1930-2025)

UNTITLED (BIRD SKULL), 1996

unique, signed and dated, bronze

28cm x 70cm x 35cm (11in x 27 ½in x 13 ¾in)

Provenance: Sworders, Stansted Mountfitchet, Fine Interiors, 15 December 2021, where acquired by the present owner.

£600-800

513 §

gesso, silver leaf, oil, aluminium, egg tempera

274.5cm x 213.5cm (108 1/8in x 84in)

£3,000-5,000

514 §

RICHARD WILSON R.A. (BRITISH 1954-)

U.K. - L.A. FESTIVAL NO.5 - 1ST DRAFT, 1994

signed, dated and inscribed in pencil (lower right), further signed, titled and dated (to reverse), black crayon and collage on paper 60cm x 84cm (23 5/8in x 33in)

Provenance: with Matts Gallery, London; with Gimpel Fils, London.

£600-800

515

PHAN THANH MINH (VIETNAM 1976-) THREE AMIGOS

signed (lower left), oil on canvas

89.5cm x 89.5cm (35 ¼in x 35 ¼in)

Provenance: Private Collection, U.K.

£500-800

516 §

COLETTE MOREY DE MORAND (CANADIAN/BRITISH 1934-2022) OFFBEAT, 2014

signed, titled and dated in pen (to reverse), acrylic on linen 41.2cm x 33cm (16 ¼in x 13in)

Provenance: The Estate of the Artist.

£700-1,000

517 §

ALEXIS HARDING (BRITISH 1973-) HELLFIRE III, 2001

signed, titled and dated (to reverse).

oil on MDF, unframed

91.4cm x 91.4cm (36in x 36in)

Provenance: Private Collection, U.K.

£700-1,000

518 §

LUCY STEIN (BRITISH 1979-)

BEACHY HEAD CASES, 2006-7

ink, tape and crayon on paper

50cm x 119.5cm (19 ¾in x 47in)

Provenance: with Gimpel Fils, London.

Exhibited: Le Conforte Moderne, Poitiers, France, ”OH!”, with Jo Robertson, Kyle Field and Lee Bargatt (little wings) and Alva Noto, 2007; Group Show, V22 Contemporary Art Collection, London, 3 October 2008 - 19 October 2008; ‘ARCO’08’ Hall14.1/A40.H15.

£700-1,000

519 § EVELYN WILLIAMS (BRITISH 1929-2012)

THE FOREST, 2007 signed and dated (on canvas overlap to reverse), oil on canvas 152cm x 122cm (59 7/8in x 48in)

£1,500-2,000

520 § ANTONI MUNTADAS (SPAINISH 1942-)

ON TRANSLATION: STAND BY, 2006

5/9, Duratrans lightbox

64cm x 120cm x 9 cm (25 ¼in x 47 ¼in x 3 ½in)

Provenance: with Gimpel Fils, London.

Exhibited: Art Cologne ’07, 18-22 April 2007.

Literature: MUNTADAS, Espacios, Lugares, Situaciones’, Sala de exposiciones Fundacion Marcelino Botin, Santander: 14 November 2008 - 11 January 2009, p.88, similar work illustrated. £1,000-1,500

Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century.

Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer.

With its psychedelic imagery and supernova like epicentre, the present work reflects Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. The painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history.

Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation.

Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of splitsecond timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).

521

JACK GOLDSTEIN (CANADIAN, 1945–2003)

UNTITLED, 1988 signed, dated and inscribed ‘A/C’ (to reverse), acrylic on canvas

213.5cm × 243.5cm (84in × 95 7/8in)

Provenance: Lyon & Turnbull, London, Modern Made, 28 October 2022, lot 353, where acquired by the present owner.

£20,000-30,000

RCA SECRET

522

VARIOUS ARTISTS (CONTEMPORARY)

THIRTY FOUR WORKS (FOR RCA SECRET EXHIBITION), c.1997-2018

all signed (to reverse), some also titled and dated (to reverse); mixed media on either RCA supplied postcards or the artists’ own supports attached to RCA supplied postcards

each approximately 14.8cm x 10.4cm (5 3/4in x 4 1/8in). All unframed except one work by Cooper Provenance: Acquired directly from the Royal College of Art, London, by the present owner.

Artists: Dexter Dalwood, Ron Arad, Richard Wilson, Vanessa Jackson. Johanna Melvin, Peter Jones (two works), Venetia Rose, Thomas Winstanley, Alan Cox, Stuart Bullen, Debbie Lee, Deborah Miles, Maureen Adiloglu, Leonard Manasseh, Eden Endfield, Adrian Bannister, Irene Nolan, Faridoun Mazhari, Abraham Hadad (two works), Zoe Attwood, Tony Alcock, Ray Richardson, John Wragg, William Packer, Helen McGhie, James Hutchinson, Richard Colson, Micha Bandini, Duncan Wright, Johnny Miller, Richard Rome, Alan Kitching.

£1,000-1,500

The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.

All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.

Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.

However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.

523 §

CAROLINE WALKER (BRITISH 1982-)

UNTITLED (FOR RCA SECRET EXHIBITION) signed in pen (to reverse), acrylic on RCA supplied postcard

14.8cm x 10.4cm (5 3/4in x 4 1/8in), unframed

Provenance: Acquired directly from the Royal College of Art, London, by the present owner.

£500-800

524 §

EILEEN COOPER O.B.E., R.A. (BRITISH, 1953-), MICK ROONEY R.A. (BRITISH 1944-), JOHN BELLANY C.B.E., R.A. (BRITISH 1942-2013)

THREE UNTITLED WORKS (FOR RCA SECRET EXHIBITION)

Bellany: signed in pencil (to reverse); ink and wash on RCA supplied postcard; Rooney: signed in pen (to reverse), watercolour and gouache on RCA supplied postcard; Cooper: signed in pen (to reverse), woodcut and collage on RCA Supplied postcard. Unframed, apart from Cooper each approximately 14.8cm x 10.4cm (5 3/4in x 4 1/8in). All unframed except one work by Cooper

Provenance: Acquired directly from the Royal College of Art London, by the present owner.

£500-800

VARIOUS ARTISTS (CONTEMPORARY)

FIFTEEN WORKS (FOR RCA SECRET EXHIBITION), c.1997-2018

all signed (to reverse), some also titled and dated (to reverse); mixed media on either RCA supplied postcards or the artists’ own supports attached to RCA supplied postcards each approximately 14.8cm x 10.4cm (5 3/4in x 4 1/8in), unframed

Provenance: Acquired directly from the Royal College of Art , London, by the present owner.

Artists: Glen Baxter, Gus Cummins (two works), Lothar Götz, Renny Tait, Kevin Slingsby, Richard Cuerden, Virginia Clark, Jason Hicklin, Sheila Thorn, Brian Innes, Stuart Bullen, Chris Plowman, Lucy Jones, Manou Shama-Levy

£700-1,000

526 §

MAGGI HAMBLING C.B.E. (BRITISH 1945-)

UNTITLED (TWO WORKS FOR RCA SECRET EXHIBITION) signed in pen (to reverse), both acrylic on hand-torn wove paper, mounted on RCA supplied postcard each approximately 14.8cm x 10.4cm (5 3/4in x 4 1/8in), unframed

Provenance: Acquired directly from the Royal College of Art, London, by the present owner.

£500-800

527 §

ALBERT IRVIN O.B.E. R.A. (BRITISH 1922-2015)

UNTITLED (FOR RCA SECRET EXHIBITION), 2010 signed in pen (to reverse), acrylic on RCA supplied postcard 14.8cm x 10.4cm (5 3/4in x 4 1/8in)

Provenance: Acquired directly from the Royal College of Art, London, by the present owner.

£300-500

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

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A. BEFORE THE SALE

1.

DESCRIPTIONS OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least

three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation

any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844.

2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two

years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

4. BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

(c) Written Bids

While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE

1.

ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

(c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction.

5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

7.

SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

8.

RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £800,000, plus 20% from £800,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

2. VALUE ADDED TAX

Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate

of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE

ROYALTY

(DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

1.

SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and;

(b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to

any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of

law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

F. PAYMENT

1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots purchased shall not pass to You until You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

2. IN THE EVENT OF NONPAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay

any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(iii) Sell the Lot in any way we think reasonable.

H.

1.

TRANSPORT & SHIPPING

TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

2.

EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

3.

CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

6. REPORTING ON WWW.LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

7.

SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

8. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements.

Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9.

DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www. lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull. com.

10.

FORCE MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

11.

LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law

(b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K.

DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

1.

DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words You” and “Your”

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates

stated in Catalogue.

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

“Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller.

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT

REGISTRATION

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING IN THE SALEROOM

At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

BIDDING OUTSIDE THE SALEROOM

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

IN WRITING

Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

ON THE INTERNET

- ABSENTEE BIDDING

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

- BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register.

PAYMENT

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

We no longer accept card payments by phone. Please use our online payment service (provided by Stripe).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

CASH

No cash payments will be accepted for this auction.

COLLECTION OF PURCHASED LOTS

Please refer to page 4 of this catalogue.

INDEX OF ARTISTS

Aalto Aino | 57

Aalto, Alvar | 56, 58, 236, 237

Abbaro, Mohammed Ahmed Abdalla | 124

Adams Robert | 45, 46, 285, 286, 283

Aitchison, Craigie | 500

Anderson, Marianne | 404

Armstrong, John | 84

Arroyave-Portela Nicholas | 393

Assetto, Franco | 143

Auld, Ian | 329

Backhouse David | 450

Bacon, Francis (attributed) | 116

Baldwin, Gordon | 351

Batterham, Richard | 127

Bawden Edward | 36, 39, 40, 42

Bayer, Svend | 118

Beard, Peter | 414, 415

Bell Trevor | 369

Bellany, John | 523

Bellini, Mario | 457

Berrocal, Miguel | 189

Bertoia Harry | 23

Beutlich, Tadek | 381, 382

Bevan, Tony | 75

Bianconi Fulvio | 277

Blackadder, Elizabeth | 138

Blow, Sandra | 167

Bolotowsky, Ilya | 456

Bowen Clive | 126

Bowyer, Gordon | 1, 2

Braakman, Cees | 201

Bradley Martin | 304

Braque,Georges | 51

Bratby, John | 174

Brattrud, Hans | 243

Brazier-Jones Mark | 470

Breuer, Marcel | 191

Broderick, Laurence | 440, 441, 442, 443, 444, 445, 446, 447, 448

Brogden, Alex | 407, 408

Brown, Ralph | 166

Bryant Antony | 388

Bülow-Hübe, Vivianna Torun | 251, 252, 253

Burra Edward | 16

Butler, Reg | 43, 47

Caiger-Smith, Alan | 501

Caloutsis Valerios | 495

Canney, Michael | 371, 372

Capacci, Bruno | 186

Cardew, Michael | 119, 120, 121

Carruthers Derek | 283, 284

Cascella, Andrea | 61

Castiglioni, Achille & Castiglioni, Pier | 269

Caulfield, Patrick | 308, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319

Cavatorta, Silvio | 454

Chermayeff, Ivan | 459

Christensen, Lina | 256

Christopherson John | 154

Clarke, Jonathan | 406

Clough, Prunella | 302

Clucas Joy | 378

Cocteau, Jean | 478

Cohen, Harold | 303, 305

Collingwood, Peter | 387

Collins Henry & Joyce | 3

Colonna, Marzia | 188

Colquhoun, Robert | 32, 34, 146

Conn Roy | 373

Consagra, Pietro | 484

Constantinidis, Joanna | 324, 235

Cooper, Eileen | 523

Cooper Emmanuel | 321

Rooney, Mick | 523

Cornish, Norman | 145

Cox Bobbie | 384, 385

Cox, Stephen | 507

Cronin, Robert | 511

Cyrén Gunnar | 238

Dannatt George | 68, 69, 77, 375

Davie, Alan | 170, 281, 362, 363

Davison, Francis | 159, 300

Day Lucienne | 190

Day, Robin (attributed) | 60, 339, 434

De La Fresnaye, Roger | 114

De Maistre Roy | 115

De Waal Edmund | 342, 343, 344, 345

Del Vicario, Barbara | 271

Denny, Robyn | 505, 506

Di Donna Porfirio | 508

Ditzel, Nanna | 276

Dixon, Tom | 474, 481, 482

Drysdale Pippin | 409, 410

Dubreuil André | 472

Durrant, Roy Turner | 169

Eames, Charles & Ray | 200, 206, 207

Eglin Philip | 421

Evans, Paul | 473

Farmer, Peter | 140

Fedden Mary | 157, 161

Feibleman Dorothy | 322

Feiler, Paul | 367, 368

Fini, Gianfranco & Cocchia, Fabrizio (attributed) | 467

Flint, William Russell | 9

Forlin, Antonio | 476

Fornasetti Piero | 254

Frink, Elisabeth | 164, 165

Frost, Terry | 376, 377

Fry Roger | 112, 158

Fussell, Michael | 70

Gabrielsen, Bent | 248, 249

Gambone, Guido | 261, 262, 263

Gamperl Ernst | 386

Gaudier-Brzeska Henri | 100, 101, 106, 107

George Nelson & Associates | 208 Gill, Eric | 102

Glaser, Milton | 49

Goldstein Jack | 521

Grant, Duncan | 113 Green, Alan | 496

Groag Jacqueline | 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 220, 221, 222, 223, 224, 225

Hadid Zaha | 487

Haigh, Peter | 289, 290, 291

Hamada, Shoji | 129, 130, 131, 132

Hambling Maggi | 525

Harding, Alexis | 517

Hayes, Peter | 348, 423, 424, 425, 426, 430, 431

Hermes, Gertrude | 156

Hilton, Roger | 360, 361

Hirai Akiko | 347, 349

Houthuesen, Albert | 180, 182

Huberti, Antonio | 282

Hurry, Leslie | 139

Irvin Albert | 527

Jack, Kenneth | 149

Jacklin, Bill | 76

Jacobsen Arne | 273

Jacquette, Yvonne | 74

Jagger, David | 110

Jarman, Derek | 499

Jeanneret Pierre | 194, 195

Jenkins, Paul | 504

John, Augustus | 111

John Gwen | 134, 135

Herman, Josef | 177, 178, 181, 183, 200, 207, 208

Juhl Finn | 52, 53, 54, 59, 226, 227, 228, 229, 232

Jupp, Mo | 338

Kay Bernard | 168

Keeler, Walter | 328

Kneale, Bryan | 388, 510, 512

Koppel Henning | 250

Kruger, Barbara | 491

Kwali Ladi | 122

Laboureur, Jean-Émile | 5

Landeck, Armin | 6

Lanyon Andrew | 162

Lanyon, Peter | 359

Lawrence, Christopher Nigel | 255

Lazzeroni Roberto | 488

Le Corbusier | 18

Le Corbusier, Perriand, Charlotte & Jeanneret Pierre | 202, 204

Leach, Bernard | 128

Leach, David | 125, 327

Lee, Jennifer | 346

Lelii Angelo | 267

Leonelli, Dante | 66

Lewis Martin | 7

Liaigre Christian | 458

Måås-Fjetterström, Märta | 230, 231

Macbryde, Robert | 33

Mackenzie, Alexander | 25

Malinowsk Arno | 247

Maltby, John | 432, 433, 435, 436, 437, 439

Mansfield Edgar | 187

Mari, Enzo | 240, 460

Marshall, William | 519

Maurer Ingo | 465

Mayer, Charlotte | 307

Meadows, Bernard | 355

Mellis Margaret | 306, 364

Meninsky Bernard | 147, 151

Messel, Oliver | 137

Milne, Andrew John | 196

Minh Phan Thanh | 515

Mistry, Dhruva | 72, 73

Møller, Niels O. | 242

Moorman Theo | 383

Mori Junko | 405

De Morand, Colette Morey | 516

Moro, Peter | 71

Morris Cedric | 142

Morrison, Pard | 477

Morrocco, Alberto | 38

Mount Paul | 370, 374

Muntadas Antoni | 520

Murray, William Staite | 117

Nagel, Johannes | 418

Nagi Abdo | 330, 331, 461

Nash, Paul | 10, 11, 12, 13, 14

Nason, Ermanno | 278

Nelson, Peter | 266

Nevinson C.R.W. | 8

Nicholson, Ben | 21

O’Casey, Breon | 389, 390, 391, 392, 393, 394

O’Malley, Tony | 365, 366, 388

Oppenheim, Meret | 203

Panton Verner | 455, 464

Paolozzi, Eduardo | 171, 468, 480

Paroldo, Gino | 279

Pasmore Victor | 62, 63, 64

Pearson, Colin | 341

Perry, Grayson | 419, 420

Pesce, Gaetano | 475

Phillips Tom | 500

Philp, Paul | 350

Picasso, Pablo | 48, 50, 479

Piper John | 22, 37, 136, 141

Plunkett, William | 199

Poncelet, Jacqueline | 416

Ponti, Gio | 257, 258, 259, 260, 264, 266

Portway Douglas | 301

Potworokski, Peter | 153

Powell, Arthur Marriott (attributed) | 485

Raeburn Elizabeth | 340

Ramshaw Wendy | 395, 396, 397, 398, 399, 400

Randall-Page Peter | 502, 503

Ravilious, Eric | 19, 20, 41

Reid, John & Sylvia | 192

Remfry, David | 158

Ressel Sigurd | 198

Reynolds, Alan | 296

Rie Lucie | 332, 333, 334, 335, 336, 337

Rogers, Mary | 320

Rohde, Johan | 245, 246

Roper, Frank | 451

Rothenstein Michael | 148

Rouault, Georges | 109

Rowntree