The Welsh Sale Part I: Principal Works of Art
Cardiff Saleroom | Sunday April 19th at 10am | Lots 1 - 231
The Welsh Sale Part II: Welsh Ceramics, Welsh Antiques & Unreserved Welsh Art
Cardiff Saleroom | Tuesday April 21st at 1pm | Lots 234 - 401
Viewing for both parts: by prearranged appointment from April 8th
Open Viewing: Saturday April 18th from 10am-2pm
I am pleased to say that 2025 was another year of record sales. Even without our acquisition of auction house, Byrnes of Chester, the total hammer price for 2025 exceeded 2024’s results, demonstrating a continuing graph of growth over the last six or seven years.
But we would not be enjoying such growth without a fabulous team of people. I am proud to say it is a team which appears to enjoy the auction world and relish the challenges it brings about. I am exceptionally grateful to each of our auctioneers and valuers in each corner of Wales, but also to their supporting colleagues who exceed their recommended steps in the saleroom daily, and the team members who spend their time in front of computers and cameras while relentlessly fielding phone calls; a big thank you!
A thank you also to each of our new and returning customers. Whilst it is always exciting to see items perform well at auction the most rewarding aspect is to please our customers and to receive glowing testimonies from those clients. A big thank you to so many of you who have gone out of your way to review us in such a way on our Google listings! We very much appreciate your feedback but please do continue if you like what we do!
‘The highlight of the year so far for me was the incredible collection of maritime antiques which we sold on behalf of one vendor at our Chester saleroom in January. The collection was colossal with all manner of seafaring antiques up for grabs. Some of the objects had been salvaged from famous shipwrecks off the Anglesey coast including the most famous of all – The Royal Charter. The saleroom looked like Davey Jones’ locker, and an Old Salt would have been in his element. It was not surprising to see the TV cameras at the auction house the day before auction day.’
So, here is The Welsh Sale once again and I hope you agree that it is another exciting showcase for Welsh art, culture and history. And as is usual, it has been a great pleasure through the course of research and cataloguing, to be able to reveal much more than meets the eye. It is the digging deeper into the lots which is so very satisfying.
By the time this Welsh Sale comes about, we will have perched on the rostrum with our gavels twelve times this year. We will have held multiple Monthly Auctions in Chester, Colwyn Bay and Cardiff, held two specialist auctions for Jewellery, Coins & Watches, together with a Club House auction for memorabilia and a specialist British & European Fine Art auction. I am sure it is reassuring to know that any selling enquiries made to us are covered by expert knowledge in almost every sphere of the industry. Please do see our calendar of forthcoming sales and a reminder that we provide selling advice and assessments for free and without obligation.
One such item is Lot 257, the portrait photograph of American architect Frank Lloyd Wright, by Edward Steichen with provenance to the brave Welsh journalist Gareth Jones. Then there is Lot 98, an intriguing oil painting which I was able to quickly determine as by Sir Kyffin Williams (unconfirmed previously to the vendor), but which tells of the artist’s roots in the village of Llanfairynghornwy and his connection with the vendor’s family. There is also the John Piper oil, Lot 217 which after extensive research via the Courtauld Institute has been positively identified as being an entry into a Paris exhibition in 1957. We do so love delving deeper at Rogers Jones & Co.
Time for you to delve deep into this catalogue! I hope you find the offering this time as exciting and as rewarding as we do.
Best
Wishes
Ben Rogers Jones
Croeso i rifyn cyntaf 2026.
Rwy’n falch o ddweud bod 2025 wedi bod yn flwyddyn arall o arwerthiannau rhagorol. Heb hyd yn oed ystyried ein pryniant o gwmni arwerthu, Byrnes of Chester, roedd cyfanswm y prisiau morthwyl ar gyfer 2025 yn uwch na chanlyniadau 2024, gan ddangos graff parhaus o dwf dros y chwech neu saith mlynedd diwethaf. Ond ni fyddem yn mwynhau twf o’r fath heb dîm gwych o bobl. Rwy’n falch o ddweud ei fod yn dîm sy’n ymddangos i fwynhau y byd arwerthu ac yn ffynnu ar yr heriau sy’n codi. Rwy’n hynod ddiolchgar i bob un o’n harwerthwyr a’n priswyr ym mhob cwr o Gymru, ond hefyd i’w cydweithwyr cefnogol sy’n barod i fynd gam ymhellach drostom ni bob dydd. Felly hefyd aelodau’r tîm sy’n treulio eu hamser o flaen cyfrifiaduron a chamerâu wrth ateb galwadau ffôn yn ddi-baid; diolch yn fawr iawn!
Diolch hefyd i bob un o’n cwsmeriaid newydd yn ogystal â’n cwsmeriaid ffyddlon. Er ei bod hi bob amser yn gyffrous gweld eitemau’n perfformio’n dda mewn arwerthiant, yr agwedd sy’n rhoi’r boddhad mwyaf yw plesio ein cwsmeriaid a derbyn canmoliaeth ddisglair a diolch gan y cleientiaid hynny. Diolch yn fawr iawn i gynifer ohonoch sydd wedi mynd allan o’ch ffordd i’n hadolygu ni ar ein rhestrau Google! Rydym yn gwerthfawrogi eich adborth yn fawr a chariwch ymlaen i ysgrifennu os ydych chi’n hapus efo’n gwasanaeth!
‘Uchafbwynt y flwyddyn hyd yn hyn i mi oedd y casgliad anhygoel o hen bethau morwrol a werthwyd gennym ar ran un gwerthwr yn ein hystafell arwerthu yng Nghaer ym mis Ionawr. Roedd y casgliad yn enfawr gyda phob math o hen bethau morwrol ar gael.’
Roedd rhai o’r gwrthrychau wedi’u hachub o longddrylliadau enwog oddi ar arfordir Ynys Môn gan gynnwys yr enwocaf oll - Y Royal Charter. Roedd yr ystafell arwerthu yn edrych fel Cwpwrdd Dafydd Jôs, a byddai Hen Longwr wedi bod yn ei elfen. Doedd hi ddim yn syndod gweld y camerâu teledu yn yr adeilad ddiwrnod cyn yr ocsiwn.
Erbyn i’r Arwerthiant Cymreig hwn gyrraedd, byddwn wedi eistedd ar y rostrwm gyda’n morthwyl ddeuddeg gwaith eleni. Byddwn wedi cynnal arwerthiannau misol lluosog yng Nghaer, Bae Colwyn a Chaerdydd, wedi cynnal dau arwerthiant arbenigol ar gyfer Gemwaith, Darnau Arian ac Oriorau, ynghyd ag arwerthiant Y Clwb ar gyfer cofroddion ac arwerthiant Celfyddyd Gain Brydeinig ac Ewropeaidd arbenigol. Rwy’n siŵr ei bod hi’n galonogol gwybod bod unrhyw ymholiadau gwerthu a geir eu cyfeirio atom ni yn cael eu hateb gan arbenigwyr sy’n adnabod bron pob maes o’r diwydiant. Gweler ein calendr o awerthiannau sydd i ddod a nodyn i’ch hatgoffa ein bod yn darparu cyngor ac asesiadau gwerthu am ddim a heb unrhyw orfodaeth o ymrwymo i werthu.
Felly, dyma’r Arwerthiant Cymreig unwaith eto a gobeithio eich bod yn cytuno ei fod yn arddangosfa gyffrous arall o gelf, diwylliant a hanes Cymru. Ac fel sy’n arferol, mae wedi bod yn bleser mawr, trwy gydol yr ymchwil a’r catalogio, i allu datgelu llawer mwy nag sy’n amlwg i’r llygad.
Cloddio’n ddyfnach i’r eitemau yma sy’n gwneud y gwaith mor foddhaol.
Un eitem o’r fath yw Lot 257, ffotograff sy’n bortread o’r pensaer Americanaidd, Frank Lloyd Wright, gan Edward Steichen gyda chysylltiad i’r newyddiadurwr dewr Cymreig, Gareth Jones. Yna mae Lot 98, paentiad olew diddorol y llwyddais i benderfynu’n gyflym ei fod gan Syr Kyffin Williams (heb ei gadarnhau o’r blaen i’r gwerthwr), ond sy’n adrodd hanes gwreiddiau’r artist ym mhentref Llanfairynghornwy a’i gysylltiad â theulu’r gwerthwr. Mae yna hefyd waith olew gan John Piper, Lot 217, sydd, ar ôl ymchwil trylwyr drwy Sefydliad Courtauld, wedi’i adnabod yn gadarnhaol fel un a gafodd ei gynnig i arddangosfa ym Mharis ym 1957. Rydym wrth ein bodd yn ymchwilio’n ddyfnach yng nghwmni Rogers Jones. Amser i chi ddechrau twrio i mewn i’r catalog hwn! Gobeithio y byddwch chi’n gweld y cynigion yr un mor gyffrous a gwerth chweil ag yr ydym ni.
Dymuniadau Gorau
Ben Rogers Jones
The Welsh Sale (Part I & II)
30 November & 2 December
Lots 454 | Total £626,930
Yr Arwerthiant Cymreig (Rhan I & II) 30 Tachwedd & 2 Rhagfyr
Top 10 Hammer Prices: The Welsh Sale 10 Uchaf yr Arwerthiant Cymreig
1. SIR KYFFIN WILLIAMS RA ‘John Williams, Caeau Gwynion’ £60,000
2. SIR KYFFIN WILLIAMS RA ‘Ponies, Porth Dafarch’ £49,000
3. SIR KYFFIN WILLIAMS RA Farmer with sheepdog beside barn £44,000
4. SIR KYFFIN WILLIAMS RA ‘Rough Sea and Moonlight’ £36,000
5. SIR KYFFIN WILLIAMS RA ‘Above Ogwen’ £29,500
6. SIR KYFFIN WILLIAMS RA Capel Pensarn £18,000
7. SIR KYFFIN WILLIAMS RA ‘Castell Dolwyddelan’ £16,000
8. KEVIN SINNOTT ‘In the Wind’ £15,000
9. VALERIE GANZ ‘Tower Colliery at Dusk’ £9,500
10. SIR KYFFIN WILLIAMS RA ‘Farmer on a Hill’ £9,500
Eitemau 454 | Cyfanswn: £626,930 For Full Results Am Ganlyniadau Llawn
November’s Welsh Sale proved to be a landmark occasion, achieving the highest total in the history of the sale since its inception two decades ago. The sale was arranged in two parts, with an especially pleasing sell-through rate of 93% of lots successfully finding new homes across both auctions. These figures underline the continuing enthusiasm among collectors for Welsh art.
The Welsh Sale has grown steadily in reputation and reach over the years and is now firmly established as the principal marketplace for Welsh art at auction.
Unsurprisingly, familiar names such as Sir Kyffin Williams once again performed strongly, though the auction also delivered a number of memorable surprises along the way.
2025 proved to be something of a record-breaking year for Valerie Ganz. Ten works by the artist (1936–2015) appeared in November’s Welsh Sale, ranging from dreamy watercolours of the South Welsh landscape to a view of a prison wing.
The most notable examples, however, were the paintings for which Ganz has become best known – her powerful observations of Welsh mining communities. During the 1980s she spent considerable time immersing herself in these communities, often working alongside miners as a quiet observer while documenting their lives and labour.
Ganz’s previous auction record had been set only four months earlier at our Summer Welsh Sale, when The Long Track Home, showing miners at the end of their shift, realised £7,500. That record proved short-lived. In November’s sale Tower Colliery at Dusk, depicting a similar subject, surpassed it with a hammer price of £9,500.
Regular followers of our Welsh Sales may remember the Ogwyn Davies (1925–2015) chapel Soar-y-Mynydd, which graced the cover of our November 2024 sale. In this auction, Davies’ attention turned some twenty miles west to Rhydygwin Chapel, Felinfach.
A distinctive feature of Davies’ work was his use of the Welsh language as a visual element within the composition. In this example, prayers and hymns by the likes of
Pantycelyn and Edward Jones add texture and a quiet spirituality to the chapel and its surrounding landscape.
Strong bidding saw Welsh Chapel realise £4,600, more than nine times its top estimate.
Jack Jones (1922–1993) was born into a poor family in Swansea during the Great Depression. Although his early life was difficult, there is a warmth and optimism that runs through his depictions of the industrial landscapes of his childhood. His work has often been compared to that of L.S. Lowry, a comparison that Jones himself firmly denied, remarking that “I felt that his paintings are sadder than my own”.
In his funeral oration for Jones, Donald Anderson, the former MP for Swansea, observed:
“The essence of his message is community. The figures in his urban landscape of terraced houses, the pub, the brooding hill and the chapel are not atomised individuals, alienated or isolated, but warm, cosy, holding hands – a real community.”
That sense of community was very much present in the oil Houses with Gas Works, which attracted strong bidding and eventually realised £8,500, more than double the painting’s top estimate.
In 1993, after twenty-five years away, Kevin Sinnott (b. 1947) returned from London to live and work in Wales. Since then, the landscapes and communities of the South Wales valleys have remained a central source of inspiration in his paintings, informing his colourful and energetic portrayals of Welsh life.
One of the highlights of the Welsh Sale was In the Wind, a large exhibition quality oil which sold for £15,000. The painting shows a woman collecting laundry on a blustery day, the composition full of movement and vitality as
clothing whips in the wind against the backdrop of the valley landscape. Sinnott’s vision of Wales is full of colour, energy and life – a striking contrast to the darker, more sombre depictions favoured by some of his contemporaries.
It was perhaps fitting that this lot came under the hammer on the 100th anniversary of Richard Burton’s birth. The occasion was marked by both the release of the film Mr. Burton, about his early life, and Matthew Rhys’ revival of the 1994 one-man play Playing Burton. With Richard Burton once again firmly at the forefront of public consciousness, the timing may well have contributed to the lot’s success.
The coat itself was worn by Burton in The V.I.P.s (1963), his first role alongside his future wife Elizabeth Taylor following their meeting during the filming of Cleopatra which released in the same year.
Consigned by Burton’s grandnephew and retained in the family since filming, the piece attracted strong interest from admirers of the great Welsh actor and eventually realised £3,800 against an estimate of £1,000–1,500.
Last year, over three-quarters of all original works by Sir Kyffin Williams (1918–2006) sold at UK auctions were offered through our Welsh Sales – a statistic which continues to demonstrate the central role the sale now plays in the market for one of Wales’ most celebrated artists.
The top lot this time shared the joint third-highest price ever achieved for a Kyffin painting: a wonderful portrait of John Williams of Caeau Gwynion, which sold for £60,000 to a buyer in London. Kyffin’s enduring admiration for Welsh hill farmers was clearly reflected in the auction, with no fewer than eleven examples going under the hammer.
Rogers Jones & Co now holds eight of the top ten highest prices ever realised for Kyffin paintings, two of which were achieved in this sale.
Profodd Yr Arwerthiant Cymreig ym mis Tachwedd i fod yn achlysur nodedig, gan lwyddo i gyrraedd y cyfanswm uchaf yn hanes yr arwerthiant ers ei sefydlu ddau ddegawd yn ôl. Trefnwyd yr arwerthiant mewn dwy ran, gyda chyfradd gwerthu arbennig o foddhaol o 93% o lotiau yn llwyddo i ddod o hyd i gartrefi newydd ar draws y ddau arwerthiant. Mae’r ffigurau hyn yn tanlinellu’r brwdfrydedd parhaus ymhlith casglwyr celf Gymreig.
Mae’r Arwerthiant Cymreig wedi tyfu’n raddol o ran enw da a chyrhaeddiad dros y blynyddoedd ac mae bellach wedi’i sefydlu’n gadarn fel y brif farchnad ar gyfer celf Gymreig mewn arwerthiant.
Nid yw’n syndod bod enwau cyfarwydd fel Syr Kyffin Williams wedi perfformio’n gryf unwaith eto, er bod yr arwerthiant hefyd wedi cyflwyno nifer o syrpreisys cofiadwy ar hyd y ffordd.
Valerie Ganz
Profodd 2025 i fod yn flwyddyn o dorri pob record i Valerie Ganz. Ymddangosodd deg gwaith gan yr artist (1936–2015) yn Arwerthiant Cymreig mis Tachwedd, yn amrywio o ddyfrlliwiau breuddwydiol o dirwedd De Cymru i olygfa o adain carchar.
Yr enghreifftiau mwyaf nodedig, fodd bynnag, oedd y paentiadau y mae Ganz wedi dod yn fwyaf adnabyddus amdanynt – ei harsylwadau pwerus o gymunedau glofaol Cymru. Yn ystod yr 80au, fe dreuliodd gryn dipyn o amser yn ymdrwytho’n llwyr yn y cymunedau hyn, gan weithio ochr yn ochr yn aml â glowyr fel arsylwraig dawel wrth ddogfennu eu bywydau a’u gwaith.
Gosodwyd record arwerthiant blaenorol Ganz bedwar mis ynghynt yn Arwerthiant Cymreig yr Haf, pan werthodd The Long Track Home, sy’n dangos glowyr ar ddiwedd eu shifft, am £7,500. Profodd y record honno’n fyrhoedlog. Yn Arwerthiant mis Tachwedd, fe ragorodd Tower Colliery at Dusk, paentiad sy’n darlunio pwnc tebyg, gyda phris morthwyl o £9,500.
Ogwyn Davies
Efallai y bydd dilynwyr rheolaidd ein Harwerthiannau Cymreig yn cofio capel Ogwyn Davies (1925–2015) Soar-y-Mynydd, a oedd yn addurno clawr ein catalog
arwerthu ym mis Tachwedd 2024. Yn yr ocsiwn hwn, trodd sylw Davies tua ugain milltir i’r gorllewin at Gapel Rhydygwin, Felinfach. Nodwedd nodedig o waith Davies oedd ei ddefnydd o’r iaith Gymraeg fel elfen weledol o fewn y cyfansoddiad. Yn yr enghraifft hon, mae gweddïau ac emynau gan bobl fel Pantycelyn ac Edward Jones yn ychwanegu gwead a theimlad ysbrydol tawel at y capel a’r tirwedd o’i gwmpas. Cafwyd bidio cryf ar Welsh Chapel ac fe lwyddodd i werthu am £4,600, mwy na naw gwaith ei amcangyfrif uchaf.
Ganwyd Jack Jones (1922–1993) i deulu tlawd yn Abertawe yn ystod y Dirwasgiad Mawr. Er bod ei fywyd cynnar yn anodd, mae cynhesrwydd ac optimistiaeth yn rhedeg drwy ei bortreadau o dirweddau diwydiannol ei blentyndod. Mae ei waith wedi cael ei gymharu’n aml â gwaith L.S. Lowry, cymhariaeth a wadodd Jones ei hun yn gadarn, gan ddweud “Roeddwn i’n teimlo bod ei beintiadau’n dristach na fy rhai i”.
Yn ei deyrnged yn angladd Jones, dywedodd Donald Anderson, cyn AS Abertawe:
“Hanfod ei neges yw cymuned. Nid yw’r ffigurau yn ei dirwedd drefol o dai teras, y dafarn, y bryn tywyll a’r capel yn unigolion ynysig, wedi’u dieithrio na’u hynysu, ond yn gynnes, glyd, yn dal dwylo – gwir gymuned.”
Roedd yr ymdeimlad hwnnw o gymuned yn bresennol iawn yn yr olew Houses with Gas Works, a ddenodd gynigion cryf ac a lwyddodd yn y pen draw i wireddu £8,500, mwy na dwbl amcangyfrif uchaf y paentiad.
Kevin Sinnott
Ym 1993, ar ôl pum mlynedd ar hugain i ffwrdd, dychwelodd Kevin Sinnott (g. 1947) o Lundain i fyw a gweithio yng Nghymru. Ers hynny, mae tirweddau a chymunedau cymoedd De Cymru wedi parhau i fod yn ffynhonnell ganolog i ysbrydoliaeth ei baentiadau, gan lywio ei bortreadau lliwgar ac egnïol o fywyd Cymru.
Un o uchafbwyntiau’r Arwerthiant Cymreig oedd In the Wind, olew mawr, o safon arddangosfa, a werthwyd am £15,000. Mae’r paentiad yn dangos menyw yn hel dillad golchi ar ddiwrnod gwyntog, y cyfansoddiad yn llawn symudiad a bywiogrwydd wrth i’r dillad chwipio yn y gwynt yn erbyn tirwedd y dyffryn yn y cefndir. Mae gweledigaeth Sinnott o Gymru yn llawn lliw, egni a bywyd – cyferbyniad trawiadol â’r darluniau tywyllach, mwy difrifol a oedd yn cael eu ffafrio gan rai o’i gyfoeswyr.
Côt Richard Burton
Efallai ei bod hi’n briodol bod yr eitem hon wedi dod o dan y morthwyl ar ganmlwyddiant geni Richard Burton. Nodwyd yr achlysur drwy ryddhau’r ffilm Mr. Burton, am ei fywyd cynnar, ac adfywiad Matthew Rhys o’r ddrama un-dyn o 1994, Playing Burton. Gyda Richard Burton unwaith eto’n amlwg yn ymwybyddiaeth y cyhoedd, mae’n bosibl iawn bod yr amseru wedi cyfrannu at lwyddiant yr eitem.
Gwisgwyd y gôt ei hun gan Burton yn The V.I.P.s (1963), ei rôl gyntaf ochr yn ochr â’i ddarpar wraig, Elizabeth Taylor, yn dilyn eu cyfarfod yn ystod ffilmio Cleopatra a ryddhawyd yn yr un flwyddyn.
Wedi cael ei gadw yn y teulu ers y ffilmio, fe gafodd y gôt ei rhoi yn ein dwylo gan or-nai Burton. Fe ddenodd ddiddordeb cryf gan edmygwyr yr actor Cymreig enwog ac, yn y pen draw, cafodd y gôt ei gwerthu am £3,800, tipyn mwy na’r amcangyfrif o £1,000–£1,500.
Y llynedd, cynigiwyd dros dri chwarter o’r holl weithiau gwreiddiol gan Syr Kyffin Williams (1918–2006) a werthwyd mewn arwerthiannau yn y DU, drwy ein Harwerthiannau Cymreig ni – ystadegyn sy’n parhau i ddangos y rôl ganolog y mae’r arwerthiant bellach yn ei chwarae yn y farchnad i un o artistiaid enwocaf Cymru
Y tro hwn, roedd y darlun a aeth am y pris uchaf yn rhannu’r trydydd safle am y pris uchaf erioed am baentiad Kyffin:portread gwych o John Williams o Gaeau Gwynion, a werthwyd am £60,000 i brynwr yn Llundain. Adlewyrchwyd edmygedd parhaol Kyffin at ffermwyr mynydd Cymru yn glir yn yr arwerthiant, gyda dim llai nag un ar ddeg o enghreifftiau yn mynd o dan y morthwyl.
Mae Cwmni Rogers Jones bellach yn dal wyth o’r deg pris uchaf erioed am baentiadau Kyffin, gan gynnwys dau a wireddwyd yn yr arwerthiant hwn..
Jewellery, Coins & Watches highlights Winter 2025/2026
£1,850
£3,500
£6,600
£9,600
£8,000
£15,000
£4,000
£2,200
£4,450
£5,400
Our Charles Hampshire has been passing some exams! Here he is to explain.
£1,860
£5,200
£3,100
‘’Buying and selling jewellery at auction has never been as easy as it is today. Potential buyers can request multiple hi-res images and videos from us before registering to bid online from the comfort of their own home. We also provide transportation of jewellery between our five venues making the process as seamless and enjoyable as possible. Whilst postage and packing is available for many such items. The accessibility to jewellery at auction, encourages competition and very good prices. Our specialist bi-monthly ‘Jewellery, Coins & Watches’ auctions contain the cream of the entries from across our venues, showcasing all manner of periods and designs, including colourful gemstones, diamonds, premium timepieces and collectable coins.
It is a sphere of auctioneering that I am passionate about and of which I have developed specialist knowledge in over the past ten years through everyday handling and research.
But more recently I have been undertaking qualifications from the Gemmological Association of Great Britain, specifically in Diamond Grading & Identification and then this year I passed the Level 4 Certificate in Gemmology.
£4,600
With the precious gems and metals market booming we are seeing extraordinary prices at auction for antique, vintage and modernist pieces of jewellery alike. Our very popular regional ‘Valuation Day Roadshow’ is popular with clients seeking to understand the value of their jewellery with the opportunity to consign to our specialist auctions. With so many pieces languishing in jewellery boxes or drawers, people are realizing the monetary value of their heirlooms whilst importantly contributing to the circular green economy championed by auctioneers. Our team of experts would be delighted to see you by appointment at any one of our venues to advise on any facet of your antiques or collectables.
Incidentally, Rogers Jones & Co hold the highest auction prices in Wales for a piece of jewellery (£34,000), a pocket watch (£25,500) and wristwatch (£46,000). So, please know that you are in safe and now formally qualified hands’’!
‘I have been lucky to have been born into such a land...’
SIR KYFFIN WILLIAMS
Room Bidders: debit card payment and then purchases can then be removed from the auction rooms on the auction day
Remote Bidders in Wales (telephone, online or commission): following the auction, items are automatically dispatched to the nearest Rogers Jones & Co venue for your collection. Purchases for clients located nearer Cardiff will remain at the auction rooms for collection. Please enquire if unsure
Remote Bidders further afield: please contact us with your instructions. Most items can be transported to our alternative venues ie. Cardiff / Carmarthen / Colwyn Bay / Gregynog Hall / Chester.
Remote Bidders for invoices over £4,000: when invoices are £4000 or over, purchasers can enjoy a free delivery service to their homes (England and Wales only)
Special Arrangements: other arrangements outside of these parameters can be made, but please enquire before bidding brj@rjauctions.co.uk
Cynigwyr Ystafell: taliad cerdyn debyd ac yna gellir symud pryniannau o stafell ocsiwn Caerdydd ar ddiwrnod yr arwerthiant
Cynigwyr o Bell yng Nghymru (ffôn, ar-lein neu gomisiwn): yn dilyn yr arwerthiant, caiff eitemau eu hanfon yn awtomatig i’r lleoliad Rogers Jones & Co agosaf ar gyfer eich casgliad. Bydd pryniannau ar gyfer cleientiaid sy’n agosach at Gaerdydd yn aros yn yr ystafell arwerthu i’w casglu. Holwch os ydych yn ansicr.
Cynigwyr o Bell sydd ymhellach i ffwrdd: cysylltwch â ni gyda’ch cyfarwyddiadau. Gellir cludo’r rhan fwyaf o eitemau i’n lleoliadau eraill e.e. Caerdydd / Caerfyrddin / Bae Colwyn / Neuadd Gregynog / Caer.
Cynigwyr o Bell gydag anfonebau dros £4,000: pan fo anfonebau’n £4000 neu fwy, gall prynwyr fwynhau gwasanaeth dosbarthu am ddim i’w cartrefi (Cymru a Lloegr yn unig)
Trefniadau Arbennig: gellir gwneud trefniadau eraill y tu allan i’r paramedrau hyn, ond holwch cyn cyflwyno cynnig brj@rjauctions.co.uk
Whether on behalf of solicitors or private clients, valuations are conducted swiftly and professionally by our dedicated team. Our fee rate is lower than most other auction houses or independent valuers. Valuations can be conducted UK-wide.
For further information info@rogersjones.co.uk
In any language, there are words for which we will find no equivalents in the dictionary of another, words that resist literal translations. One such word is “hiraeth.” Unlike related terms such as “homesickness” and “nostalgia,” “hiraeth” carries weighty connotations particular to Wales as a nation—its history, geography, and culture—as well as denoting highly differentiated responses to what it means to hail from Wales, live in Wales or be part of the Welsh diaspora.
Whether it is triggered by natural sites or cultural references, by objects of everyday use imbued with family history and tradition, or by keenly felt intangibles such as the quality of light, “hiraeth” is compounded of intimate knowledge and individualistic associations, of past experiences and ever-present recollections, however coloured, clouded or capricious memory may become over time. It is to art that we turn to be transported, especially when “home” is beyond our reach.
The most sought-after objects in any Welsh Sale are not just of Welsh origin. They speak to us of Wales. And yet, many of the artists who are most closely identified with the visual culture of Wales were born and raised elsewhere. It is through their eyes that we become alive to what may be fading from view and look upon local character with a newfound appreciation.
Prominent among the exile and expatriate artists who have worked in Wales is Polish-born Jewish refugee Josef Herman (1920-1989). Herman’s output, varied though it is, remains closely associated with the historic mining community of Ystradgynlais in Powys, the working and domestic life of which he portrayed with intimacy and monumentalised in reverence. “‘You’re no stranger here’—I was told the very day I arrived,” Herman recalled, looking back on his introduction to life in Ystradgynlais during the
summer of 1944. “A day later I was addressed as “Joe,” and now I am nicknamed ‘Joe bach,’—‘little Joe.’”
Herman’s arrival in South Wales marked the end of the “crisis,” both “spiritual” and “artistic,” he had experienced in wartime London. “The nostalgia for my childhood years had burnt itself out and nothing had taken its place except a vague feeling for big forms and a cry within me for a new belief in man’s serenity.” It was in Ystradgynlais that those “big forms” became flesh and the “new belief” took hold.
Paul Pieter Piech (1920–1996), a Brooklyn-born graphic artist and publisher of Ukrainian descent, likewise arrived in South Wales during the Second World War, where he met his future wife while serving in the United States Army Air Forces. His lino and woodcuts have featured prominently in past Rogers Jones auctions.
A politically engaged printmaker with a background in advertising, Piech created striking images designed to spread word about the fight for social justice globally while directing the worldwide attention his works could command to the struggle for Welsh identity. Deviating from his use of English-language slogans, Piech produced a series of linocuts referencing the Welsh National Anthem.
Toward the end of his career, Piech returned to South Wales and remained active during the final decade of his life while living in Porthcawl. Many of his later prints were concerned with pivotal moments in Welsh history, such as the 1984 Miners’ Strike and the closing of the last deep coal mine in South Wales a decade later.
Meanwhile, Welsh-born artists who trained in England and lived outside of Wales for sustained periods of time, have often felt compelled to respond to suggestions their work was reactionary when acknowledging the hold that the Wales of their youth had on their imagination. “I have a
parochial mind,” John Elwyn (1916-1997) once declared. “Some professional critics might label it as nostalgic.”
Elwyn was studying in London—the “centre of ‘the Great Wen’”—when he first “realised” that the “umbilical cord had not been severed.” Taking us at once forward and back, the winding country lanes at the centre of many of Elwyn’s now iconic Cardiganshire landscapes are visual metaphors for the lifeline that a “Celtic ancestry” became to a “young lad” who, as he expressed it at the outset of his career, “wanted to stand on his own feet in a Welsh way.”
Spending most of his life in Winchester, where he taught art and worked as an illustrator, Elwyn relied on images and visions of Wales that, stored in his memory, were, in his words, the product “of romantic longing in security.”
This sentiment is echoed by Kyffin Williams (1918-2006), a cultural ambassador so familiar to collectors worldwide that, despite the knighthood bestowed on him in 1999 for his outstanding services to the arts in Wales, he is generally referred to by his first name. “During the many years I spent in London, my mind was never far from the island and the shining water that surrounds it,” Kyffin reminisced about life on Anglesey, adding that, in “some strange way the strength of the land, as it stands resolute against the fury of the elements, has always given me a sense of security.”
This rock-solidness is rendered forcefully concrete in Standing Stones at Penrhos Feilw (lot 96), a landscape that not only epitomises the brooding contemplation of what Kyffin called the “land of ochres and umbers,” but that aims to make aspects of Welsh identity manifest. Nature and culture, past and present, sacred and secular coalesce rather than clash as the eponymous monoliths, tonally echoing the distant coastline of Snowdonia, frame the vernacular architecture of a humble Welsh cottage with whose unassuming chimneys they are made to correspond.
“All my pictures are based on real locations,” Kyffin stated early in his career, “even though my interpretation is free and imaginative.” To his mind, the “best landscape” was “necessarily an amalgam of fact and fiction.” And even though he claimed to “like landscapes and people too much to paint real abstracts,” abstraction was key to achieving what Kyffin referred to as “reality strategised by the imagination.”
The “reality strategised” by many artists who came to be regarded as representative of Wales was distinctly localised, at times to a degree that made them question the relatability or translatability of their interpretations. In 1995, when painter Kevin Sinnott (b. 1947) returned to Wales, many years after achieving recognition in the artworld of London and New York City, he realised that even though he had been born in Sarn, “only seven miles away” from his “new home” in the Garw Valley, Sarn “was not in the valley.” He “had to re-learn how people related to one another; how ‘stranger’ meant something different in a place where everyone has got something to say to everyone else at any time.”
LOT: 46
This “new body of work”—more narrative in nature—had, as he put it, “arisen from a growing awareness of [his] new home.” A “direct and deep response to the valley in which I now lived,” it had “come out of a spirit that would never have caught me during the years I painted in London.”
Nonetheless, as “most of these pictures painted in the Garw Valley and about the Garw would be travelling up to London,” Sinnott began to wonder on whose walls they might end up. Now that his paintings had “this Welsh aspect to them,” he “doubted whether a London audience would get it.” Today’s less centralised, more diversified art market provides creatives in Wales with greater opportunities to reach segments of a heterogeneous audience that not only will “get” their work but that will want to get it.
Ceredigion native Mary Lloyd Jones (b. 1934), who grew up in the remoteness of Devil’s Bridge, recalls a time when having a “career as a painter whilst living in west Wales” seemed to be an “impossible dream”—an ambition “doomed to failure.” Jones determined to “search for a visual language within the culture of Wales” while keeping the Welsh language visible. Although, as some of her works in this auction demonstrate, Jones has not entirely abandoned illusionistic approaches to landscape, her stated “aim is not to reproduce outward appearances but to attempt to convey the spirit of a particular place,” as well as to “create links with the past, to the lives of previous generations.”
LOT: 213
Bridging generations figuratively, North-Walian artist Luned Rhys Parri (b. 1970) asserts her distinctive voice in threedimensional works that, at once whimsical and wistful, communicate an affection for times past, a “cloc taid” (lot 146) standing in for a way of life under threat of falling silent. To bring this point home, Parri, who acknowledges the political dimensions of her work, wallpapers her domestic interiors with pages from Welsh-language magazines and newspapers, ephemeral print she accords poignant visibility.
Figurative painter Claudia Williams (1933-2024) always regretted not having learned Welsh, of which her husband was a native speaker. Born in the south-east of England, Williams thought of herself as a “bit of an outsider,” even though she spent most of her adult life in Wales and, as she was keen to point out, her paternal great-grandfather was Welsh. Among her fondest childhood memories were summer holidays on the Anglesey coast. In later life, following her move to Pembrokeshire after years of living in France, Williams determined to renew her commitment to Welsh culture by commemorating the forced flooding of a Welsh community in the Tryweryn valley, a cultural touchstone that Parri and Jones have taken up as well.
Reading by the Bay Window (2005; lot 213) subtly hints at this significant departure. A female figure, engrossed
in a book, has her back turned to a seaside view to which a child, unobserved by her, is pointing—and to which Williams had been drawn all her life. The beach, Williams determined, had to wait. That same year, in 2005, she embarked on her Tryweryn series by reading up on historical accounts at the National Library of Wales, where many of the paintings are now preserved for the nation.
A decade earlier, reflecting how life abroad was changing his relationship with Wales, Williams’ husband, Gwilym Prichard (1931-2015) considered that, in contrast to his earlier paintings of Welsh cottages and farmhouses, his later landscapes were less “representational” and had “more feeling to them. I think probably something called hiraeth comes into the whole business of painting.”
It is undoubtedly “something called hiraeth” that enters into the “whole business”—and spirit—of a Welsh Sale. Local and international collectors alike relate to works of art that, they sense, must come to a new home because they speak of home. We are drawn to images that, through the very specificity of their perceived Welshness, manage to tap into and perhaps even assuage our deep-rooted longing to belong, irrespective of our backgrounds and origins—an art that, knowing where we’re all coming from, reassuringly affirms: “You’re no stranger here.”
Dr Harry Heuser | Writer and exhibition curator
Mewn unrhyw iaith, mae ’na rai geiriau y byddai’n amhosib dod o hyd i eiriau cyfatebol mewn geiriadur iaith arall, geiriau sy’n gwrthsefyll cyfieithiadau llythrennol. Un gair felly yw hiraeth. Yn wahanol i gyfieithiadau Saesneg fel “homesickness” a “nostalgia”, mae gan hiraeth ystyron pwysig sy’n benodol i Gymru fel cenedl—ei hanes, ei daearyddiaeth, a’i diwylliant— yn ogystal â dynodi ymatebion gwahanol iawn i’r hyn y mae’n ei olygu i fod yn hanu o Gymru, byw yng Nghymru neu fod yn rhan o’r Gymru alltud.
Boed yn cael ei sbarduno gan safleoedd naturiol neu gyfeiriadau diwylliannol, gan wrthrychau bob dydd sydd wedi’u trwytho â hanes a thraddodiad teuluol, neu gan bethau diriaethol a deimlir fel ansawdd golau, mae hiraeth yn gyfansawdd o wybodaeth drylwyr a chysylltiadau unigolyddol, o brofiadau’r gorffennol ac atgofion sydd bob amser yn bresennol, waeth pa mor lliwgar, cymylog neu anwadal y daw’r atgof dros amser. At gelf yr ydym yn troi, i gael ein trawsgludo, yn enwedig pan fydd “cartref” y tu hwnt i’n cyrraedd.
Nid o darddiad Cymreig yn unig y mae’r gwrthrychau mwyaf poblogaidd mewn unrhyw Arwerthiant Cymreig. Maent yn siarad â ni am Gymru. Ac eto, ganwyd a magwyd llawer o’r artistiaid sydd â’r cysylltiad agosaf â diwylliant gweledol Cymru mewn mannau eraill. Trwy eu llygaid nhw y down ni’n fyw i’r hyn a allai fod yn pylu o’r golwg ac edrych ar gymeriad lleol gyda gwerthfawrogiad newydd.
Un amlwg ymhlith yr artistiaid alltud ac ar wasgar sydd wedi gweithio yng Nghymru yw’r ffoadur Iddewig a aned yng Ngwlad Pwyl, Josef Herman (1920-1989). Mae cynnyrch Herman, er mor amrywiol ydyw, yn parhau i fod yn gysylltiedig â chymuned lofaol hanesyddol Ystradgynlais ym Mhowys, a’i bywyd gwaith a domestig a bortreadodd gyda pherthynas agos a’i choffau â pharch. “‘Dwyt ti ddim yn ddieithryn yma’—dywedodd rhywun wrthai ar y diwrnod
y cyrhaeddais,” cofiodd Herman, gan edrych yn ôl ar ei gyflwyniad i fywyd yn Ystradgynlais yn ystod haf 1944. “Ddiwrnod yn ddiweddarach, cefais fy nghyfarch fel “Joe,” ac yn awr, mae gen i’r llysenw ‘Joe bach.’”
Roedd dyfodiad Herman i Dde Cymru yn nodi diwedd yr “argyfwng,” un “ysbrydol” ac “artistig,” a brofodd yn Llundain yn ystod y rhyfel. “Roedd yr hiraeth am flynyddoedd fy mhlentyndod wedi llosgi ei hun allan a doedd dim wedi cymryd ei le ac eithrio teimlad amwys am ffurfiau mawr a chri yn fy nghrombil am gred newydd yn nhawelwch dyn.” Yn Ystradgynlais y daeth y “ffurfiau mawr” hynny’n gnawd a’r “gred newydd” wedi gafael.
Cyrhaeddodd Paul Pieter Piech (1920–1996), artist graffig a chyhoeddwr o dras Wcrainaidd a aned yn Brooklyn, Dde Cymru yn ystod yr Ail Ryfel Byd hefyd, lle cyfarfu â’i ddarpar wraig wrth wasanaethu yn Lluoedd Awyr yr Unol Daleithiau. Mae ei lino a’i dorluniau pren wedi bod yn amlwg mewn arwerthiannau Rogers Jones yn y gorffennol.
Yn argraffydd gwleidyddol â chefndir mewn hysbysebu, creodd Piech ddelweddau trawiadol a gynlluniwyd i ledaenu’r gair am y frwydr dros gyfiawnder cymdeithasol byd-eang tra’n cyfeirio’r sylw byd-eang y gallai ei weithiau ei ddenu, at y frwydr dros hunaniaeth Gymreig. Gan wyro oddi wrth ei ddefnydd o sloganau Saesneg, cynhyrchodd Piech gyfres o linocuts yn cyfeirio at Anthem Genedlaethol Cymru. Tua diwedd ei yrfa, dychwelodd Piech i Dde Cymru a pharhaodd yn weithgar yn ystod degawd olaf ei fywyd tra’n byw ym Mhorthcawl. Roedd llawer o’i brintiau diweddarach yn ymwneud ag eiliadau allweddol yn hanes Cymru, megis
Streic y Glowyr 1984 a chau’r pwll glo dwfn olaf yn Ne Cymru, ddegawd yn ddiweddarach.
Yn y cyfamser, mae artistiaid a aned yng Nghymru a hyfforddodd yn Lloegr ac a fu’n byw y tu allan i Gymru am gyfnodau hir, yn aml wedi teimlo rheidrwydd i ymateb i
awgrymiadau bod eu gwaith yn adweithiol wrth gydnabod gafael Cymru eu hieuenctid ar eu dychymyg. “Mae gen i feddwl plwyfol,” datganodd John Elwyn (1916-1997) unwaith. “Gallai rhai beirniaid proffesiynol ei labelu fel hiraethus.”
Roedd Elwyn yn astudio yn Llundain pan “sylweddolodd” gyntaf nad oedd y “llinyn bogail wedi’i dorri.” Gan ein tywys ymlaen ac yn ôl ar unwaith, mae’r lonydd gwledig troellog sy’n ganolog i lawer o dirweddau eiconig Elwyn o Sir Aberteifi yn drosiadau gweledol ar gyfer y “llinach Geltaidd” a ddaeth yn achubiaeth i “fachgen ifanc” a oedd, fel y mynegodd ar ddechrau ei yrfa, “eisiau sefyll ar ei draed ei hun mewn ffordd Gymreig.”
Gan iddo dreulio’r rhan fwyaf o’i oes yng Nghaer-wynt, lle bu’n dysgu celf ac yn gweithio fel darlunydd, dibynnai Elwyn ar ddelweddau a gweledigaethau o Gymru wedi’u storio yn ei gof, a oedd, yn ei eiriau ef, yn gynnyrch “hiraeth rhamantus mewn diogelwch.”
Mae’r ymdeimlad hwn yn cael ei adleisio gan Kyffin Williams (1918-2006), llysgennad diwylliannol sydd mor gyfarwydd i gasglwyr ledled y byd fel y cyfeirir ato’n gyffredinol wrth ei enw cyntaf, er gwaethaf cael ei urddo’n farchog ym 1999 am ei wasanaeth rhagorol i’r celfyddydau yng Nghymru. “Yn ystod y blynyddoedd lawer a dreuliais yn Llundain, nid
mae gan hiraeth ystyron pwysig sy’n benodol i Gymru fel cenedl
“hiraeth” carries weighty connotations particular to Wales as a nation
oedd fy meddwl byth ymhell o’r ynys a’r dŵr disglair sy’n ei hamgylchynu,” cofiodd Kyffin am fywyd ar Ynys Môn, gan ychwanegu, mewn “ryw ffordd ryfedd, fod cryfder y tir, wrth iddo sefyll yn gadarn yn erbyn cynddaredd yr elfennau, wedi rhoi synnwyr a theimlad o ddiogelwch i mi erioed.” Mae’r cadernid hwn yn cael ei gyfnerthu’n goncrid yn Standing Stones at Penrhos Feilw (lot 96), tirwedd sydd nid yn unig yn crynhoi’r arsylliad synfyfyriol ar yr hyn a alwodd Kyffin yn “wlad yr ocrau a’r melyndduon,” ond sy’n anelu at wneud agweddau ar hunaniaeth Gymreig yn amlwg. Mae natur a diwylliant, y gorffennol a’r presennol, y cysegredig a’r seciwlar yn uno yn hytrach na gwrthdaro wrth i’r monolithau eponymaidd sy’n adleisio arfordir pell Eryri, fframio pensaernïaeth werinol bwthyn cyffredin Cymreig gyda’i simneiau diymhongar y maent wedi’u creu i gydweddu.
“Mae fy holl luniau wedi’u seilio ar leoliadau go iawn,” meddai Kyffin yn gynnar yn ei yrfa, “er bod fy nehongliad yn rhydd a dychmygus.” Yn ei farn ef, roedd y “dirwedd orau” “yn anorfod yn gyfuniad o ffaith a ffuglen.” Ac er iddo honni ei fod yn “hoffi tirweddau a phobl gormod i beintio haniaethau go iawn,” roedd haniaethu yn allweddol i gyflawni’r hyn y cyfeiriodd Kyffin ato fel “realiti wedi’i strategeiddio gan y dychymyg.”
Roedd “strategaeth y realiti” a luniwyd gan lawer o artistiaid a ddaeth i gael eu hystyried yn gynrychioliadol o Gymru yn lleol iawn, ar adegau i’r fath raddau y gwnaeth iddynt gwestiynu pa mor berthnasol neu gyfieithadwy oedd eu dehongliadau. Ym 1995, pan ddychwelodd yr arlunydd Kevin Sinnott (g. 1947) i Gymru, flynyddoedd lawer ar ôl derbyn cydnabyddiaeth ym myd celf Llundain ac Efrog Newydd, sylweddolodd, er iddo gael ei eni yn Sarn, “dim ond saith milltir i ffwrdd” o’i “gartref newydd” yng Nghwm Garw, nad oedd Sarn “yn y cwm.” Roedd yn rhaid iddo “ailddysgu sut roedd pobl yn ymwneud â’i gilydd; sut roedd ‘dieithryn’ yn golygu rhywbeth gwahanol mewn lle mae gan bawb rywbeth i’w ddweud wrth bawb arall ar unrhyw adeg.”
Roedd y “corff newydd o waith” hwn—mwy naratif ei natur—wedi, fel y dywedodd ef, “codi o ymwybyddiaeth gynyddol o’i gartref newydd.” Yn “ymateb uniongyrchol a dwfn i’r cwm yr oeddwn yn byw ynddo nawr,” roedd wedi “dod allan o ysbryd na fyddai byth wedi fy nal yn ystod y blynyddoedd y bûm yn peintio yn Llundain.” Serch hynny, gan y byddai “y rhan fwyaf o’r lluniau hyn a beintiwyd yng Nghwm Garw ac o amgylch y Garw yn teithio i fyny i Lundain,” dechreuodd Sinnott bendroni tybed ar ba waliau fyddent yn cael eu harddangos. Nawr bod gan ei beintiadau “yr agwedd Gymreig hon iddynt,” roedd yn “amau a fyddai
cynulleidfa Llundain yn ei deall.” Mae marchnad gelf llai canoledig, mwy amrywiol heddiw yn rhoi gwell cyfleoedd i bobl creadigol Cymru gyrraedd rhannau o amryfal gynulleidfa a fydd nid yn unig yn “deall” eu gwaith ond eisiau ei gael.
Mae Mary Lloyd Jones (g. 1934), a fagwyd yn ardal anghysbell Pontarfynach, yn cofio cyfnod pan oedd cael “gyrfa fel arlunydd tra’n byw yng ngorllewin Cymru” yn ymddangos yn “freuddwyd amhosibl”—uchelgais “a oedd wedi’i thynghedu i fethu.” Penderfynodd Jones “chwilio am iaith weledol o fewn diwylliant Cymru” gan gadw’r iaith Gymraeg yn weladwy. Er, fel mae rhai o’i gweithiau yn yr arwerthiant hwn yn ei ddangos, nid yw Jones wedi cefnu’n llwyr ar ddulliau rhithwir o ran tirwedd. Dywedodd nad ei “nod yw atgynhyrchu ymddangosiadau allanol ond ceisio cyfleu ysbryd lle penodol,” yn ogystal â “chreu cysylltiadau â’r gorffennol, â bywydau cenedlaethau blaenorol.”
Gan bontio cenedlaethau’n ffigurol, mae’r artist o Ogledd Cymru, Luned Rhys Parri (g. 1970), yn datgan ei llais nodweddiadol mewn gweithiau tri dimensiwn sydd, ar yr un pryd yn llawn mympwy a hiraeth, yn cyfleu hoffter at yr amseroedd a fu, fel “cloc taid” sy’n cyfleu ffordd o fyw sydd dan fygythiad o dawelu. I bwysleisio’r pwynt hwn, mae
LOT: 206
Parri, sy’n cydnabod dimensiynau gwleidyddol ei gwaith, yn papuro’r waliau yn ei thai gyda thudalennau o gylchgronau a phapurau newydd Cymraeg, print byrhoedlog sy’n weledol deimladwy.
Roedd yr arlunydd ffigurol Claudia Williams (1933-2024) bob amser yn difaru nad oedd wedi dysgu’r Gymraeg, a’i gŵr yn Gymro rhugl. Wedi’i geni yn ne-ddwyrain Lloegr, roedd Williams yn ystyried ei hun yn “rywun ar y cyrion,” er iddi dreulio’r rhan fwyaf o’i bywyd fel oedolyn yng Nghymru ac, fel yr oedd hi’n awyddus i’w bwysleisio, roedd ei hen daid ar ochr ei thad yn Gymro. Ymhlith ei hatgofion mwyaf annwyl o’i phlentyndod roedd gwyliau haf ar arfordir Ynys Môn. Yn ddiweddarach yn ei bywyd, yn dilyn symud i Sir Benfro ar ôl blynyddoedd o fyw yn Ffrainc, penderfynodd Williams adnewyddu ei hymrwymiad i ddiwylliant Cymru trwy goffáu hanes boddi cymuned Gymreig Cwm Tryweryn, maen prawf diwylliannol y mae Parri a Jones wedi’i fabwysiadu hefyd.
Mae Reading by the Bay Window (2005; lot 213) yn awgrymu’n gynnil yr ymadawiad arwyddocaol hwn. Mae ffigur benywaidd, wedi’i hymgolli mewn llyfr, â’i chefn at olygfa glan môr y mae plentyn, heb iddi ei sylwi, yn pwyntio ato - golygfa yr oedd Williams wedi cael ei denu ato ar hyd ei hoes. Penderfynodd Williams fod yn rhaid i’r traeth aros. Yn yr un flwyddyn, yn 2005, dechreuodd ar ei chyfres
Tryweryn trwy ddarllen ysgrifau hanesyddol yn Llyfrgell Genedlaethol Cymru, lle mae llawer o’r paentiadau bellach wedi’u cadw ar gyfer y genedl.
Ddegawd ynghynt, wrth fyfyrio sut roedd bywyd dramor yn newid ei berthynas â Chymru, ystyriodd gŵr Williams, Gwilym Prichard (1931-2015), mewn cyferbyniad â’i baentiadau cynharach o fythynnod a ffermdai Cymru, fod ei dirweddau diweddarach yn llai “cynrychioliadol” a bod “mwy o deimlad iddynt. Rwy’n credu bod rhywbeth o’r enw hiraeth yn dod i mewn i holl fusnes peintio.”
Yn ddiamau, hiraeth sy’n rhan o “fusnes cyfan” – ac ysbryd – yr Arwerthiant Cymreig. Mae casglwyr lleol a rhyngwladol fel ei gilydd yn uniaethu â gweithiau celf y maent yn teimlo bod yn rhaid iddynt ddod i gartref newydd oherwydd eu bod yn cyfleu’r teimlad o gartref. Rydym yn cael ein denu at ddelweddau sydd, trwy eu Cymreictod cydnabyddedig benodol, yn llwyddo i dapio i mewn, ac efallai hyd yn oed leddfu, ein dyhead dwfn i berthyn, waeth beth fo’n cefndiroedd a’n tarddiad – celf sydd, gan wybod o ble rydym i gyd yn dod, yn cadarnhau’n galonogol: “Dwyt ti ddim yn ddieithryn yma.”
Mae Dr Harry Heuser | yn awdur yn ac yn guradur arddangosfeydd
‘Bid
Whether you are in north Wales bidding on something in Cardiff, or in West Wales bidding in Chester or Colwyn Bay, or perhaps you are in mid-Wales bidding in our auctions, then we can arrange carriage FREE OF CHARGE to the venue of your choice for collection.
Terms & Conditions Apply
Over 120 years of combined experience & knowledge serving the whole of Wales & UK
NORTH WEST ENGLAND REGIONAL AUCTIONEER & VALUER
Based in Chester and our Colwyn Bay auction house. Regional valuer for North West England incl. Cheshire, Liverpool, The Wirral, Shropshire & Borders.
T:07821 864857 | adrian.byrne@rogersjones.co.uk
NORTH WALES REGIONAL AUCTIONEER & VALUER
Based in Chester and our Colwyn Bay auction house. Regional valuer for North Wales incl. Anglesey, North Wales coast, Llŷn Peninsula, Caernarfonshire etc
T:07593 181017 | richard.hughes@rogersjones.co.uk
MID WALES & BORDERS REGIONAL AUCTIONEER & VALUER
Specialist valuer for Welsh art, Welsh ceramics, and all items for The Welsh Sale, together with a specialist valuer worldwide for sporting antiques including rugby union jerseys, caps, and rugby memorabilia.
T: 07760 261023 | brj@rjauctions.co.uk
WEST WALES REGIONAL AUCTIONEER & VALUER
Based at our Carmarthen office & Cardiff auction house. Regional valuer for South West Wales incl. Carmarthenshire, Pembrokeshire, Swansea & Vale of Glamorgan. Specialist valuer for jewellery, coins, watches, whisky & wine.
T: 07732 434120 | charles.hampshire@rogersjones.co.uk
SOUTH WALES & WEST COUNTRY REGIONAL AUCTIONEER & VALUER
Based at our Cardiff auction house. Regional valuer for South Wales incl. Cardiff, Newport, Monmouthshire & South East England incl. Bristol, Bath, Somerset, Devon & Cotswolds. Specialist valuer for Chinese & Asian antiques & fine art, tribal artefacts.
T: 07876 255060 | philip@rjauctions.co.uk
We can never know what prompted Augustus John to state so quotably that “Fifty years after my death, I shall be remembered as Gwen John’s brother.” Whether guided by a sense of sibling solidarity or bitter unease that his own career had not unfolded quite as he might have wished, his words register as being one of the most accurate selffulfilling prophecies in modern art history.
Since Augustus’s death in 1961, Gwen John’s reputation has gathered momentum to the extent that, on the hundred and fiftieth anniversary of her birth, it can (and indeed has been) argued that she is perhaps the most famous artist ever born in Wales. The current major exhibition of her work at the National Museum in Cardiff further confirms that Gwen is here to stay.
In 1952, thirteen years after her death, Gwen John was mentioned in John Rothenstein’s Modern English Painters Although praised for the focus and sureness of her work, her aims are described as “simple”: the kind of faint praise that places her as an interesting but minor player within the art world.
From the 1970s and 80s however, feminist art historians saw in Gwen John an artist who had been unjustly sidelined by the patriarchy, ignored simply for being a woman. John’s talent and originality confirmed their argument, and she became an early and ideal subject for the ongoing reevaluation of women’s art. As research continues, Gwen emerges in all her complexity. By now she can be seen, not only as the timid spinster sister, but also as a single-minded free spirit, who defied Victorian convention by enrolling at the Slade School of Art, later establishing an independent life for herself in Paris. Then there is the fascinating contrast between her uninhibited bisexuality and her devout asceticism. Throughout her life, she neglected her health and comfort, often going hungry to pay her models and sustain her art practice. Just as she
herself remains enigmatic, a tangle of contradictions, so her work and vision come into sharper focus, taking hold of our visual imagination and shaping our definition of what early twentieth century art looks like.
You suspect that none of this would have surprised Gwen John. Despite her reticence, her dislike of exhibiting and her ambivalence towards the art market, she always knew that her work was good - important, even. In a letter to her friend, Ursula Tyrwhitt, she wrote “I cannot imagine why my vision will have some value – and yet I know it will…” She goes on to describe her strategy for developing her gifts: the secret, she supposed, was rooted in patience and recueillé: a collectedness through which she could focus her full attention on art to the exclusion of all that would distract from her aims. From the start of her career, Gwen had seen how talent could be obliterated - through the domestic expectations that crushed the creative ambitions of her female contemporaries at the Slade - or dissipated through hype and hubris, as in the case of her own brother.
The strictness of her approach allowed no sweeping gestures or flashy brushwork. Her pictures, whether they be drawings, oils or watercolours, are relatively small, sometimes miniscule. She returns to the same subjects (women, children, cats, interiors, flowers, the occasional landscape and later, nuns and worshippers at Mass). She develops her work slowly, from picture to picture, through endless repetition, her refinements subtle, infinitesimal. She converted to Catholicism in 1913, and far from being a constraint this allowed her, through devotion and ritual, to seamlessly unite her work and her very existence. By this time, Gwen was referring to herself as “God’s little artist”, which sems an incongruously twee turn of phrase for her. Until you realise that she meant it quite literally: she was a physically small woman on an artistic mission from God.
The three Gwen John drawings featured in this spring’s Welsh sale are, as one would expect of an artist who reveals through repetition, entirely typical of her work. Two young boys, frozen under her scrutiny, caught between tension and reverie as they sit rigidly, thinking how to spend the few centimes they will earn once Mademoiselle sets her brush or pencil aside. A sketch of three fellow parishioners in church, seen from behind, each abstracted within their familiar ritual. Gwen always draws worshippers from behind; she seems to have been more comfortable at the back of the building - in the sinners’ seats or “sêt pechaduriad” as we say in Welsh. Perhaps she sat there out of humility, or perhaps to avoid the irritable attention of the priest, who could not have known that to her drawing was akin to worship.
Every scrap of art that Gwen John produced is part of a longer paper trail which charts her conscious development and scrupulous denial of all that would undermine her very particular aims. Within her work the roar of history is absent, as are the lesser expectations that would soon become obsolete - who she should be, for instance, and particularly what kind of art she should aspire to create. A century and a half since her birth, it seems obvious, in a world wary of the equivocal promises of AI and frayed by the demands of social media, that her work should resonate as it does. From the perspective of 2026, or any other year, the art that arose from her lifetime of intense focus is astounding, relevant and arguably essential.
Ruth Richards is an author and art historian. Her doctoral study on the work of the Welsh photographer, John Thomas was published last year. (Golwg Ehangach: Ffotograffau John Thomas o Gymru Oes Fictoria, University of Wales Press, 2024).
Ni wyddom beth a barodd Augustus John i ddweud mai “hanner can mlynedd ar ôl i mi farw, bydd pobl yn fy nghofio fel brawd Gwen John.” Pa un ai teyrngarwch teuluol yntau pwl o chwerwder nad oedd ei yrfa wedi datblygu fel y dymunai oedd y rheswm, erbyn hyn ymddengys ei eiriau yn broffwydoliaeth graff ar hanes celf yr ugeinfed ganrif.
Yn dilyn marwolaeth Augustus yn 1961, mae safle Gwen fel artist wedi cynyddu ar garlam, a hynny i’r graddau y gellir dadlau (fel y gwna nifer) mai hi yw’r arlunydd enwocaf a aned yng Nghymru. Canrif a hanner ar ôl ei genedigaeth, mae’r arddangosfa sylweddol o’i gwaith yn Amgueddfa Cymru eleni’n cadarnhau ei statws, ac yn wir y bod Gwen John yma i aros.
Yn 1952, tair blynedd ar ddeg mlynedd ar ôl ei marwolaeth, mae John Rothenstein ei gyfrol, Modern English Painters, yn canmol eglurdeb a sicrwydd ei gwaith, ond mae’n nodi’r un pryd mai “syml” oedd ei hamcanion. Mae’r fath glod llugoer yn cadarnhau mai arlunydd diddorol ond ymylol oedd Gwen yr adeg hynny.
O’r 1970au a’r 80au fodd bynnag, daeth haneswyr celf ffeministaidd i ystyried Gwen John yn arlunydd o bwys, un a gafodd ei gwthio i’r cyrion gan y sefydliad patriarchaidd, ei hanwybyddu am yr unig reswm mai merch ydoedd. Roedd ei dawn a’i gwreiddioldeb yn cadarnhau eu ffydd ynddi, ac felly daeth Gwen John yn destun delfrydol ar gyfer y gwaith o adfer cyfraniad merched i’r byd celf. Wrth i’r gwaith a’r ymchwil hwn barhau, daw holl gymhlethdod Gwen i’r goleuni. Fe’i gwelwn, nid yn unig yn
rôl y chwaer ddibriod a swil, ond hefyd fel arloeswraig benderfynol, a heriodd holl ddisgwyliadau cul ei chyfnod drwy ymuno â choleg celf y Slade ac yna, sefydlu bywyd annibynnol iddi ei hun ym Mharis. Ceir cyferbyniad trawiadol rhwng ei deurywioldeb dirwystr a’i Duwioldeb asgetig. Anwybyddai ei hiechyd a’i chysur er mwyn gallu talu am fodelau a chynnal ei gwaith. Er i Gwen John ei hun ymddangos yn gwlwm o anghysondebau enigmataidd, eto daw ei gwaith yn eglurach: mae ei delweddau’n cydio’r dychymyg ac yn llywio ein syniadau o’r hyn sy’n cynrychioli celfyddyd weledol yr ugeinfed ganrif.
Byddai hyn yn fawr syndod i Gwen. Er waethaf ei gwyleidd-dra, ei hatgasedd o arddangos a’i hamwysedd tuag at y farchnad gelf, roedd yn ymwybodol o werth ei gwaith – ei bwysigrwydd, hyd yn oed. Mewn llythyr at ei chyfeilles Ursula Tyrwhytt, meddai na “allaf ddychmygu paham y bydd gwerth i’m gwaith – ac eto mi wn y bydd…” Aiff ymlaen i ddatgelu ei strategaeth er mwyn datblygu ei doniau: credai mai amynedd a recueillé: (hunanfeddiant) oedd yn allweddol - y gallu i ganolbwyntio’n llwyr ar ei chelfyddyd ar draul unrhyw beth fyddai’n amharu ar ei hamcanion. O’r cychwyn cyntaf, bu Gwen yn dyst i ddinistr doniau nifer o’i chyfoedion – y disgwyliadau domestig a fathrodd gobeithion artistig ei chyd-fyfyrwyr benywaidd, neu’r gwasgaru a fu drwy foliant a rhyfyg o yrfa ei brawd. Nid oedd y fath ofal a manylder yn caniatáu’r ysgubol na’r swagar. Mae ei lluniau, boed y rheiny mewn olew, dyfrlliw neu bensel, i gyd yn gymharol fychan (ac weithiau’n bitw) o ran maint. Troes at yr un testunau
dro ar ôl tro (portreadau o ferched a phlant, cathod, ystafelloedd, blodau, ambell i dirlun ac, yn ddiweddarach, lleianod ac addolwyr). Mae ei gwaith yn datblygu’n araf bach, y cywreinio’n anfesuradwy fân a chynnil. Trodd at y ffydd Gatholig yn 1913, ac ymhell o fod yn ffrwyn arni, caniataodd ei chrefydd ymrwymiad llwyr i ddefosiwn a defod nes iddi allu uno’n ddiwnïad ei gwaith a’i bodolaeth. Erbyn hynny cyfeiria Gwen ati’i hun fel “arlunydd fach Duw”, sy’n ymddangos yn derm annodweddiadol o fursennaidd - tan i chwi sylweddoli ystyr llythrennol ei dywediad: merch fechan oedd hi, ac un oedd ar genhadaeth Duw.
Ceir tri llun o waith Gwen John yn arwerthiant y gwanwyn eleni: pob un, fel y byddai rhywun yn disgwyl o waith arlunydd sy’n datblygu drwy ailadrodd, yn gwbl nodweddiadol o’i hallbwn. Dau fachgen ifanc wedi fferru dan ei chraffter, yn gaeth rhwng tyndra a breuddwyd, yn meddwl sut i wario’r ychydig centimes byddent yn derbyn ar ôl i Mademoiselle osod ei brws neu bensel o’r neilltu. Yna braslun o dair gwraig yn yr eglwys. Er mai ond eu cefnau a welwn, mae’n amlwg eu bod wedi ymgolli yn y ddefod gyfarwydd. Cefnau ei chyd-addolwyr a ddarluniai
Gwen: mae’n ymddangos ei bod yn fwy cysurus yng nghefn yr eglwys –yn y “sêt pechaduriaid” yn ôl yr hen ddywediad. Efallai bod dewis y seddi hyn yn adlewyrchu gostyngeiddrwydd ei ffydd, neu efallai mai dyna’r lle gorau i osgoi piwisrwydd yr offeiriad, na fyddai byth yn gallu deall fod braslunio’n gyfystyr ag addoliad iddi.
Mae pob tamaid o gelf Gwen John yn rhan o gadwyn sy’n cofnodi ei datblygiad bwriadol a’i hymwadiad o bopeth fyddai bygwth ei hamcanion
neilltuol. Mae rhu hanes yn absennol o’i gwaith, yn ogystal â’r hyn fyddai’n ddibwys maes o law – pwy oedd disgwyl iddi fod, er enghraifft, a –llawer pwysicach – sut fath o gelf oedd disgwyl iddi ei greu. Canrif a hanner ar ôl ei geni, mewn byd sy’n wyliadwrus o addewidion amwys deallusrwydd artiffisial ac sy’n breuo dan orffwyll y cyfryngau cymdeithasol, mae’n amlwg paham bod ei gwaith yn atseinio. O safbwynt 2026, neu unrhyw flwyddyn arall, mae’r gelf a ddeilliodd o’i heinioes o ganolbwyntio taer yn syfrdanol, yn berthnasol, ac yn wir, hanfodol.
Mae Ruth Richards yn awdur a hanesydd celf. Cyhoeddwyd ei hastudiaeth doethuriaeth ar waith y ffotograffydd Cymreig, John Thomas y llynedd (Golwg Ehangach: Ffotograffau John Thomas o Gymru Oes Fictoria, Gwasg Prifysgol Cymru, 2024).
56
LOT: 55
Dau fachgen ifanc wedi fferru dan ei chraffter, yn gaeth rhwng tyndra a breuddwyd, yn meddwl sut i wario’r ychydig centimes byddent yn derbyn ar ôl i Mademoiselle osod ei brws neu bensel o’r neilltu.
..Two young boys, frozen under her scrutiny, caught between tension and reverie as they sit rigidly, thinking how to spend the few centimes they will earn once Mademoiselle sets her brush or pencil aside’.
We are now offering all our clients exceptional vendor commission rates on SOVEREIGNS, HALF-SOVEREIGNS & KRUGERRANDS etc.
Alternatively, we can pay a spot price for your gold coins with immediate transfer of funds to your bank account.
For a preliminary verbal offer for purchase or a reduced sale commission rate please phone John Rogers Jones 01492 532176
‡ PAUL PETER PIECH (American, lived/worked Wales, 1920-1996) woodcut print - the national anthem of Wales ‘Hen Wlad Fy Nhadau’ (Land of My Fathers) with dragon, signed and dated 1993, 63 x 44cms
Auctioneer’s Note: originally titled Glan Rhondda, the lyrics were written by Evan James and the melody was composed by his son, James James, in January 1856. It was the first national anthem to be sung before a sporting occasion, a tradition started by Welsh rugby fans in 1905 to counter the New Zealand All Blacks’ haka. Interestingly, the tune is shared by other Celtic nations, serving as the melody for the national anthems of both Brittany and Cornwall.
Nodyn yr Arwerthwr: Y teitl gwreiddiol oedd Glan Rhondda, ac ysgrifennwyd y geiriau gan Evan James a chyfansoddwyd yr alaw gan ei fab, James James, ym mis Ionawr 1856. Hon oedd yr anthem genedlaethol gyntaf i gael ei chanu cyn gêm, traddodiad a ddechreuodd gan gefnogwyr rygbi Cymru ym 1905 i wrthweithio haka Tîm Crysau Duon Seland Newydd. Yn ddiddorol, mae’r alaw’n cael ei rhannu gan genhedloedd Celtaidd eraill, gan wasanaethu fel yr alaw ar gyfer anthemau cenedlaethol Llydaw a Chernyw.
Provenance: private collection Monmouthshire
£500-1,000
2
‡ JOHN ELWYN (1916-1997) limited edition (196/300)
lithograph - Laugharne Estuary from Dylan Thomas’ Boathouse, signed, 35 x 51cms
Provenance: private collection Ceredigion
Comments: in plastic sleeve
£200-300
4
3
‡ GEORGE CHAPMAN (1908-1993) poster - Post Office Savings Dept. 1955, ‘Wherever you go, there’s a Post Office’ campaign, Aberarth Post Office, 49 x 73cms
Auctioneer’s Note: ironically Aberarth’s Post Office closed in 2008!
Provenance: private collection Ceredigion
£300-500
‡ PETER REDDICK (1924-2010) wood engravings (set of thirteen) - images of restored and relocated buildings exhibited at St Fagan’s Museum (National Museum of Wales), titles include, ‘St Fagans Castle, Hendre Wen, Tollhouse, Y Garreg Fawr etc. all signed and dated ‘83, all the same size 13 x 18cms
Auctioneer’s Note: an open-air folk museum had been an ambition of the National Museum of Wales almost since its foundation in 1907, but it was not until the 1940s that the plan began to take shape. The project was led by Iorwerth Peate (1901-1982), who joined the Museum in 1927 and later headed its Sub-department of Folk Culture, with the aim of representing the lived experience of the Welsh people through historic buildings relocated from across the country and reconstructed at St Fagans. Encouraged by director Sir Cyril Fox and inspired by Skansen in Stockholm – founded in 1891 as the world’s first open-air museum, Peate sought to create a similar institution in Wales, despite the practical challenges of dismantling and rebuilding predominantly stone structures. In 1946, Robert Windsor-Clive, 3rd Earl of Plymouth, donated St Fagans Castle and 18 acres of land, providing a permanent home for the project. The Welsh Folk Museum opened there on 1 July 1948 (now the St Fagans National Museum of History), and today the site includes more than 40 historic buildings relocated from across Wales. The National Museum of Wales commissioned Peter Reddick in 1983 to produce a series of engravings of its buildings.
Provenance: private collection Powys
£400-800
5
‡ JOHN KNAPP FISHER (1931-2015) limited edition (142/250) print - view of Solva, fully signed in pencil, dated 1993, 51 x 69cms
Provenance: private collection Surrey
£400-600
6
‡ JOHN PIPER (1903-1992) limited edition (35/75) screenprint, Levinson 201 - entitled ‘Caernarfon Castle II’, fully signed in pencil, 49 x 75cms
Provenance: private collection Conwy
£800-1,200
7
EDGAR HOLLOWAY (1914-2008) limited edition (19/50) etching - entitled verso ‘Goodbye to all That’, signed, 20 x 15cms
Provenance: no ARR, consigned via our Mid-Wales office
£200-300
8
‡ JOHN JONES (1932-2021) linocutentitled verso ‘Aberarth No.2’ with artist’s name, 24 x 46cms
Provenance: private collection Ceredigion
Comments: print by renowned printmaker
£350-500
‡ AUGUSTUS JOHN (1878-1961) two dry point etchings and a pencil drawing - etchings entitled, ‘Girl with Sack’ circa 1906, signed, 10 x 8cms and another ‘Out on the Moor’ showing a lady with two young children, signed, circa 1906, 15 x 10cms together with a preliminary pencil sketch of a house in ruins, signed, 25 x 41cms (3)
Provenance: private collection Wiltshire
Comments: ‘Girl with Sack’ is framed and glazed with signs of foxing, the other etching is unframed but mounted, the pencil drawing is unframed, has foxing and small tears
£500-600
10
‡ BERT ISAAC (1923-2006)
watercolourentitled verso, ‘Quarry’ signed and dated 1993, 54 x 73cms
Provenance: private collection Powys
£200-300
13
‡ JOSEF HERMAN (1911-2000) / CATRIONA MACLEOD oil on paper - portrait of a seated lady, 61 x 46cms
Auctioneer’s Note: originally regarded as a work by Josef Herman, but other opinions point the work to be by his first wife Catriona.
Provenance: private collection Powys
Comments: paper tears and large creases, paper loss bottom corner
£250-350
‡ JOHN ELWYN (1916-1997) mixed media - entitled verso ‘The End of the Shift’, dated 1985, John Elwyn studio stamp verso, 48.5 x 69cms
Provenance: private collection Ceredigion; exhibited at Gregynog Hall June 1997
£250-350
12
‡ DIANA ARMFIELD (b.1920) pastel on paper - entitled verso, ‘Twin Lambs, Llanfachreth’ on Albany Gallery label, signed with initials, 19 x 22cms
Provenance: private collection Cardiff £250-350
15
Provenance:
(1929-2020)
‡ KAREL LEK (1929-2020) mixed media - portrait of three puppets on strings, signed, 37 x 27cms
Provenance: private collection Denbighshire £250-350
16
‡ MALCOLM EDWARDS (b.1934) watercolour - entitled verso, ‘Ted’s Snowdonia View’, signed, 14.5 x 9.5cms
Provenance: deceased estate Buckinghamshire
£250-350
18
‡ MIKE JONES (1941-2022) ink and watercolour - entitled verso, ‘Seated Figure’, signed, further signed and titled verso, 29 x 24cms
Provenance: private collection Cardiff
£250-350
17
‡ MARY LLOYD JONES (b.1934) watercolour - entitled verso, ‘The Burren’, signed and dated ‘88, 20 x 25cms
Provenance: private collection Cheshire
£250-350
19 ‡ ROGER CECIL (1942-2015) mixed media on carderotic semi-abstract, 12 x 16cms
Provenance: private collection Pembrokeshire
£250-350
20
‡ ROGER CECIL (1942-2015) mixed media on paperentitled verso, ‘Coastland’ on David Griffiths Art Gallery label, Cardiff, signed and dated ‘03, 24 x 34cms
Provenance: private collection Pembrokeshire
£250-350
Rogers Jones & Co • The Welsh Sale
21
‡ VALERIE GANZ (1936-2015) mixed media - seated lady gazing out of a high window with Mumbles lighthouse in distance, signed, 29 x 23cms
Provenance: private collection Cardiff £250-350
24
WYNFORD DEWHURST (1864-1941) watercolour - historical view of Swansea with shipping and figures, entitled ‘Swansea Harbour’, signed and dated 1844, 31 x 46cms
Provenance: purchased from the Miles Wynn Cato, private collection Gloucestershire
Comments: mounted £250-350
Most pictures are framed and ready to hang, please see website listing for
22
‡ WILLIAM SELWYN (b.1933) mixed mediastone bridge over river, 27 x 39cms
Provenance: private collection Denbighshire £250-350
23
‡ WILLIAM SELWYN (b.1933) mixed media on paper - entitled verso, ‘Foryd Bay’ on Albany Gallery label, signed, 13 x 18cms
Provenance: private collection Cardiff £250-350
25
‡ CLAUDIA WILLIAMS (1933-2024) collection of five watercolour sketches - studies of domesticity and family life, three are fully signed, one signed with initials, one unsigned, all similar sizes 28 x 38cms
Provenance: private collection Oxfordshire £300-500
26
ERNEST ZOBOLE (1927-1999) early ink wash on paper - Cardiff City Centre with shoppers, 49 x 33cms
Auctioneer’s Note: the small canopied building next to the City Library to the left is Hayes Island Snack Bar, the oldest operating snack bar in Wales. The structure was originally built in 1911 as a parcel depot for the city’s tramways before being converted into a snack bar in 1948. It is recognised for its timber architecture and gabled ends influenced by Parisienne al-fresco café buildings.
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £300-500
27
‡ JOHN KNAPP-FISHER (1931-2015) mixed mediacastellated towers, signed and dated 1985, 10 x 12cms
Provenance: private collection Ceredigion £300-500
28
‡ MALCOLM EDWARDS (b.1934) watercolour - entitled verso, ‘Sundown, Crib Goch Pinnacles’ on Ffin-y-Parc Gallery label, signed, 22 x 34cms
Provenance: deceased estate Buckinghamshire £300-400
29
‡ MIKE JONES (1941-2022) graphite on paper - Swansea marina, entitled verso, ‘Boats, Pocketts Wharf’, signed, 41 x 51cms
Provenance: private collection Vale of Glamorgan £300-500
30
‡ PETER PRENDERGAST (1946-2007) ink on paperlandscape, signed, 17 x 19cms
Provenance: private collection Torfaen £300-500
31
‡ VALERIE GANZ (1936-2015) watercolourentitled ‘Caswell Bay’, signed, 49 x 39cms
Provenance: private collection Surrey
£300-400
32
WARREN WILLIAMS (1863-1941) watercolourAnglesey coastal cottages, with lobster-man on his fishing boat in garden, signed, 37 x 61cms
Provenance: private collection Cardiff
£300-600
33
‡ WILLIAM SELWYN (b.1933) watercolour and pencil‘Bachgen Ifanc’ (young boy), signed in pencil, 19 x 19cms
Provenance: private collection Flintshire
£300-400
34
‡ WILLIAM SELWYN (b.1933) watercolour and pencilentitled verso ‘Bait Collecting / Hel Abwyd’, signed in pencil, 12.5 x 20cms
Provenance: private collection Flintshire
£300-400
35
‡ WILLIAM SELWYN (b.1933) mixed mediaheritage steam locomotive, entitled verso, ‘Porthmadog’, signed, 28 x 39cms
Provenance: private collection Bristol £300-500
‡ WILLIAM SELWYN (b.1933) mixed media on paperentitled verso, ‘Porth Dafarch’, signed, 40 x 57cms
Provenance: private collection Bristol £300-500
37
‡ JOSEF HERMAN (1911-2000) charcoal and paint wash on board - entitled verso, ‘The Family’ on Attic Gallery label, 39.5 x 53cms
Provenance: private collection Powys
Comments: paper tears in bottom corners
£400-800
39
‡ VIVIENNE WILLIAMS (b.1955) mixed mediaentitled verso, ‘Cream Pot with Blue Bowl & Pears’ on Martin Tinney Gallery label, signed, dated verso 1999, 40.5 x 50.5cms
Provenance: private collection Cardiff £400-600
40 ‡ WILLIAM SELWYN (b.1933) watercolourentitled verso, ‘Young Shrimper’ on Albany Gallery label, signed, 26 x 28cms
Provenance: private collection Powys £400-600
41 ‡ JOHN KNAPP FISHER (1931-2015) watercolour - Ty Cwmwdig, Berea, near St David’s, Pembrokeshire, signed and dated 1976, 20 x 41cms
Provenance: private collection Pembrokeshire
£500-1,000
38
‡ MARY LLOYD JONES (b.1934) mixed mediaentitled verso, ‘Hyddgen’, signed and dated 2001, 20 x 25.5cms
Provenance: private collection Cardiff £400-600
42
‡ JOHN KNAPP-FISHER (1931-2015) mixed mediaContinental buildings with figures, signed and dated 1981, 12 x 20cms
Provenance: private collection Ceredigion £500-700
43
‡ JOHN UZZELL EDWARDS (1934-2014) mixed media - street scene, possibly Tabernacle Chapel in Merthyr Tydfil, signed and dated ‘62, 46 x 76cms
Provenance: private collection Bristol £500-700
44
‡ PETER PRENDERGAST (1946-2007) oil on paper - semi-abstract landscape, 17 x 22cms
Provenance: private collection Torfaen £500-700
45
‡ VALERIE GANZ (1936-2015) mixed media - ‘Talk Time’, signed, 36 x 25cms
Provenance: private collection Ceredigion, bought at The Plough in Llandeilo in 1978 where Valerie Ganz displayed her work
£500-1,000
46
‡ JOSEF HERMAN (1911-2000) mixed media - domestic scene with seated figure at table and standing figure in doorway, 52 x 42cms
Provenance: private collection Powys Comments: paper creasing and rippling under frame
£600-1,000
47
‡ CLAUDIA WILLIAMS (1933-2024) watercolour - entitled verso, ‘Grape Pickers Luncheon’ on Martin Tinney Gallery label, signed, dated verso 2004, 34 x 50cms
Provenance: private collection Glamorgan
£700-1,000
‡ CLAUDIA WILLIAMS (b.1933) pastel - entitled verso, ‘Pair of New Shoes’ on Martin Tinney Gallery label, signed with initials, dated verso 2005, 29 x 15cms
Provenance: private collection South Wales
£800-1,200
49
‡ DAVID TRESS (b.1955) mixed media and paper construction - entitled verso, ‘St. Nons, Pembrokeshire II’ on Albany Gallery label, signed and dated ‘17, 29 x 38cms
Provenance: private collection Cardiff
£1,000-2,000
50
‡ JOHN KNAPP FISHER (1931-2015) early watercolourbelieved Suffolk landscape with church tower, signed and dated 1963, 27.5 x 49cms
Provenance: private collection Suffolk
Comments: good overall, some chips to frame
£1,000-1,500
51
‡ JOHN KNAPP FISHER (1931-2015) early watercolourbelieved Suffolk landscape with dwelling, signed and dated 1963, 28 x 50cms
Provenance: private collection Suffolk
Comments: good overall, some chips to frame
£1,000-1,500
52
‡ CERI RICHARDS (1903-1971) crayon - entitled verso, ‘Pianist II’ on Martin Tinney Gallery label, embossed with ‘CR’ studio stamp, dated verso circa 1960s, 18 x 22cms
Provenance: private collection South Wales
£2,000-2,500
53
‡ JOHN KNAPP FISHER (1931-2015) watercolour - moorland landscape with distant hills, signed and dated 1969, 7 x 57cms
Provenance: private collection East Midlands
£2,500-3,500
GWEN JOHN (1876-1939) watercolour and pencil - entitled verso, ‘Three Woman in Church’ on Martin Tinney Gallery label, with a second label, ‘The Gwen John Centenary Exhibition’, Anthony d’Offay Gallery London, signed, dated verso, circa 1920s, 26 x 20cms
Auctioneer’s Note: with Gwen John’s church watercolours it is usual for us to see one or several female figures from the rear as private moments of reflection and spirituality are conveyed. Gwen John would sit in the back of the Meudon Church, Paris, sketching in pencil, then adding watercolour and bodycolour in her studio. When criticised for working in church, she responded that she ‘…liked to pray in church like everyone but her spirit is not capable of praying for a long time at once’ and ‘…if I remove all that time there would not be enough happiness in my life’. Please see ‘Two Hatted Women in Church’ sold at The Welsh Sale at Gregynog Hall, Rogers Jones & Co, 27th July 2024 (hammer price £22,000).
Provenance: private collection South Wales £15,000-20,000
pictures are framed and ready to hang, please see website listing for confirmation. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see our website).
GWEN JOHN (1876-1939) pencil and wash - entitled verso, ‘Boy in Sailor’s Uniform’ on Martin Tinney Gallery label, signed, dated verso, late 1910s, 31 x 24cms
Auctioneer’s Note: characteristic of the artist’s mature style, featuring a quiet, contemplative subject rendered in a subtle, muted colour palette.
Provenance: private collection South Wales
£12,000-18,000
GWEN JOHN (1876-1939) watercolour - entitled verso, ‘Seated Boy’ on Martin Tinney Gallery label, dated verso, late 1910s, 31 x 22cms
Provenance: private collection South Wales
£9,000-13,000
57
‡ AUGUSTUS JOHN (1878-1961) pencil - entitled verso, ‘Two Children’ on Martin Tinney Gallery label, with four other exhibition labels verso, including, Temple Newsam 1946 John Exhibition label, Royal Academy of Arts 1954 John exhibition label, Augustus John Exhibition, Belgrave Square, London Gallery label, signed, circa 1908, 22 x 17.5cms
Provenance: private collection South Wales
£3,000-4,000
58
‡ AUGUSTUS JOHN (1878-1961) pencil and watercolourentitled verso, ‘Ida’ on Martin Tinney Gallery label, with a second label, Wolseley Gallery, London, signed, circa 1905, 31 x 23cms
Auctioneer’s Note: Ida Nettleship (1877-1907) was the artist’s first wife, a talented artist in her own right, she was a star pupil at the Slade School of Fine Art, where she met Augustus John. They married in secret in 1901, shocking her respectable parents. After marriage, her own artistic ambitions were largely subsumed by domestic duties and the care of their five sons, born between 1902 and 1907. From 1903, their life became a famous bohemian arrangement when Augustus’s mistress, Dorelia McNeill moved in with them. Ida was initially enchanted by Dorelia, and the two women lived together as close companions while raising children from both relationships.
Provenance: private collection South Wales
£4,000-6,000 58
Free Home Delivery: free insured delivery to your address available for all lots in Welsh Sale Part I where the invoice is £4,000 or more. England and Wales only (excluding Channel Isles and Isle of Wight). Please enquire for further details. For full bidding terms including charges and ARR qualified art please see our website rogersjones.co.uk
59
SIR KYFFIN WILLIAMS RA (1918-2006) archive of eighteen handwritten letters, some with doodles, addressed to Sir Kyffin’s friends and art contemporaries Claudia Williams and/or husband Gwilym Prichard. Most on multiple sheets with Sir Kyffin’s Pwllfanogl address-header, spanning from the early 1980s to the 2000s, but unusually there is a rare to market letter from 1971, which is from Sir Kyffin’s Bolton Studios in London Auctioneer’s Note: this group of letters provide a fascinating insight into the close relationship and affection Sir Kyffin had for both Claudia and Gwilym, repeatedly Sir Kyffin offers words of support and admiration for the couple and their artistic endeavours. Their close association and trust is apparent throughout this archive with Sir Kyffin’s ‘no holds barred’ commentary of the Welsh art scene including Sir Kyffin typically scathing descriptions of the Welsh art establishmentparticularly of Welsh Arts Council, the National Museum of Wales, their personnel of the time and their strategies e.g. ‘…I do not find Wales a happy place. It seems to be a land of artistic bullies and dictators who foster the pretentions but we all know about that…’ accompanied by a satirical caricature of an unknown art establishment figure, in another letter Sir Kyffin describes art in Wales as being ‘..dominated by the ghastly trendies..’, he is also scathing of various artists who were and remain well known to the Welsh art world. Letters mention Kyffin’s ‘battles’ and his struggles for a National Gallery to represent applied arts in Wales and there is also news of forthcoming exhibitions, comments on his own mental health - with typical self-deprecating light-hearted phrasing, and everyday topics one would expect to hear between good friends
Provenance: Gwilym & Claudia Williams collection, by descent £500-1,000
60
SIR KYFFIN WILLIAMS (1918-2006) / DEREC OWEN four black and white photograph prints of the artist in his studio taken by retired journalist and friend of the artist, Derec Owen, each 13.5 x 10cms, together with four hand-written letters from Sir Kyffin to Mr Owen which includes comments on the photographs as ‘strange old man of Pwllfanogl’ and that he would ‘file them with his other Derec Owens’ in another letter Sir Kyffin thanks Mr Owen for ‘making me more handsome than the last photo’
Provenance: the Derec Owen archive Anglesey / Ynys Môn
£250-350
61
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (37/150) print - Eryri landscape and cloud, fully signed in pencil, 26 x 32cms
Provenance: private collection Vale of Glamorgan
£150-200
62
‡ SIR KYFFIN WILLIAMS RA (1918-2006) artist’s proof linocut - ‘Shepherd in Snow with Dog’, monogrammed lower right in pencil, 19.5 x 17.5cms
Provenance: deceased estate Gwynedd £200-300
63
‡ SIR KYFFIN WILLIAMS RA (1918-2006) linocut - Patagonian horseman, signed with initials, with inscription with full signature verso, ‘Very Best Wishes to You and Clive’, 16.5 x 22cms
Provenance: private collection Cheshire
Comments: foxing present £200-250
64
‡ SIR KYFFIN WILLIAMS RA (1918-2006) print - sheepdog, together with handwritten message ‘The artist is thanking for a very good evening of good food and company’, signed, image size 14 x 20cms
Provenance: private collection Ceredigion £200-300
65
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (111/150) lithograph - standing farmer with stick, fully signed in pencil, 47 x 31cms
Provenance: private collection Newport
Comments: slightly faded £250-350
66
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (113/150) lithograph - standing portrait of ‘Hugh Rowlands’, fully signed in pencil, 61 x 45cms
Provenance: private collection Conwy
Comments: slight ripple £300-500
67
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (12/150) lithographlandscape and pony, ‘Lle Cul’, Patagonia, signed with initials, 48 x 47cms
Provenance: private collection Powys £300-400
68
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (278/350) lithograph - entitled verso, ‘Bwythyn’ (cottage), on Oriel Môn Gallery label, signed with initials, 40 x 49cms
Provenance: private collection Powys £300-400
69
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (artist’s proof) lithograph - two famers in conversation, fully signed in pencil, 39 x 47cms
Provenance: private collection South Wales £300-400
70 ‡ SIR KYFFIN WILLIAMS RA (1918-2006) artist’s proof linocut‘Gwastadnant’, signed in pencil, 45 x 44cms
Provenance: deceased estate Gwynedd £400-800
71
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (46/150) linocut print - farmer and sheepdog on mountainside, signed with initials, 18 x 16cms
Provenance: private collection
Ceredigion
£400-600
72
‡ SIR KYFFIN WILLIAMS RA (1918-2006) open edition print - Welsh black bull, fully signed, 39.5 x 59.5cms
Provenance: private collection
Ceredigion
£500-700
73
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (1/5) linocut - self-portrait, signed with initials, 23 x 18cms
Provenance: private collection
Swansea £600-1,000
74
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (23/150) print - entitled ‘Farmer with Bucket at Cilgwyn’, signed, 52 x 36cms
Provenance: private collection Ceredigion £600-800
75
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (93/100) linocut - ‘Ponies, Anglesey’, signed with initials, 35 x 45cms
Provenance: deceased estate Gwynedd £600-800
76
‡ SIR KYFFIN WILLIAMS RA (1918-2006) early limited edition (artist’s proof) linocut - entitled ‘Gwastadnant’, fully signed in pencil, 43 x 43cms
Provenance: private collection Conwy Comments: slight foxing to margin £700-1,200
77
‡ SIR KYFFIN WILLIAMS RA (1918-2006) limited edition (127/150) linocut - known as ‘Hugh Dick’, mole-catcher, signed with initials, 52 x 28cms
Provenance: private collection West Wales £800-1,200
78
‡ SIR KYFFIN WILLIAMS RA (1918-2006) lithograph - Welsh Black Bull, 40 x 60cms
Provenance: private collection Bristol, non-numbered and non-signed, previously owned by the late-Mary Yapp, former proprietor of Albany Gallery, Cardiff £1,000-2,000
79
‡ SIR KYFFIN WILLIAMS RA (1918-2006) pencil and watercolouriconic Loire Chateaux entitled verso, ‘Chenonceaux’, signed with initials and fully signed verso, circa 1972, 18.5 x 26cms
Auctioneer’s Note: Château de Chenonceau is a masterpiece of French Renaissance architecture, famously known as the “Ladies’ Château” (Le Château des Dames) as its history was primarily shaped by a succession of influential women. It is the second most visited castle in France after Versailles and is unique for being the only château in the world built directly over a river. Sir Kyffin took a painting trip to the Loire region in 1972.
Provenance: purchased directly from the artist, private collection London
£800-1,200
80
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolour - entitled verso ‘No. 3, Sea at Llanddwyn’, signed with initials, 39 x 48cms
Provenance: private collection Carmarthenshire
£2,000-3,000
81
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolour - entitled verso on label ‘Sun above Crib Goch’, signed with initials, 27 x 37.5cms
Provenance: purchased at the Taliesin Gallery in Swansea around 40 years ago by current vendor, original price on label verso
£2,500-3,500
82
‡ SIR KYFFIN WILLIAMS RA (1918-2006) mixed media - a forlorn standing pony with rudimentary sack-cloth coat, signed with initials, 28 x 38cms
Provenance: private collection Conwy
£2,500-3,500
83
‡ SIR KYFFIN WILLIAMS RA (1918-2006) ink and washfarmstead and associated buildings, signed with initials, 24 x 33cms
Provenance: private collection Powys
Comments: paper discolouration and foxing present
£400-600
84
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolourthe famous knife-edge arête of Crib Goch beneath Yr Wyddfa (Snowdon), signed with initials, 39 x 49cms
Provenance: purchased 1992 by vendor, with original purchase receipt from Plas Glyn-y-Weddw Gallery with title ‘Crib Goch’, private collection Manchester
£2,500-3,500
85
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolourNorth Wales village with silo, signed with initials in pencil, 27 x 44cms
Provenance: private collection Devon
£3,000-4,000
86
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolour and pencil - entitled verso, ‘Farmers with Guns’, signed with initials, 27 x 32cms
Provenance: private collection Newport
£3,000-4,000
87
‡ SIR KYFFIN WILLIAMS RA (1918-2006)
watercolour and pencil - landscape with houses and chapel, signed with initials, 36 x 56cms
Provenance: private collection Anglesey / Ynys Môn, vendor was a friend of the artist and is a well-known fellow villager to Kyffin, exhibition reference verso ‘Or Aelwyd i’r
Oriel / From the Hearth to the Oriel’
Comments: foxing present in sky area
£3,000-4,000
88
‡ SIR KYFFIN WILLIAMS RA (1918-2006)
watercolour & pencil - Anglesey lane to farm and coast near Llanfairynghornwy, entitled verso, ‘Waen Lydan’, signed with initials, 28 x 40cms
Provenance: private collection Cardiff
£3,500-5,000
89
‡ SIR KYFFIN WILLIAMS RA (1918-2006)
watercolour and pencil - entitled verso ‘Snow and Cloud, Nant Peris’, signed with initials, 35 x 43cms
Provenance: private collection Gwynedd
£2,500-3,500
Free Home Delivery: free insured delivery to your address available for all lots in Welsh Sale Part I where the invoice is £4,000 or more. England and Wales only (excluding Channel Isles and Isle of Wight). Please enquire for further details. For full bidding terms including charges and ARR qualified art please see our website rogersjones.co.uk
90
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolour - the village of Llanddona, Anglesey, signed with initials, 39 x 48cms
Provenance: private collection Vale of Glamorgan
£5,000-8,000
91
‡ SIR KYFFIN WILLIAMS RA (1918-2006) watercolour & pencil - Eryri (Snowdonia) landscape with farmhouse and cottage, signed with initial, 29 x 41cms
Provenance: private collection Cardiff
£3,000-4,500
‡ SIR KYFFIN WILLIAMS RA (1918-2006) large and fine oil on canvas - St David’s Head, circa 1981, 91 x 91cms
Provenance: by descent Anglesey / Ynys Môn, purchased by mother of vendor from Bonhams’ auction ‘20th Century British Art’, July 2008 (catalogue to accompany), formerly with Albany Gallery, Cardiff £45,000-65,000
93
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvasfarmhouse, Anglesey (believed to be Rhyd Farm, Llanfair-yn-Neubwll) signed with initials, 49.5 x 75cms
Provenance: by family descent Essex, Welsh speaking father of vendor purchased directly from the artist in 1966, same family ownership for 60 years, please see similar farm in Lot 281 at The Welsh Sale on 27th April 2024, titled ‘Rhyd Syr Williams’
£15,000-25,000
94
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvasabandoned hilltop farm near Harlech, believed to be ‘Ffridd Llwyn Gorful’, signed with initials, 50 x 75cms
Provenance: private collection West Wales, see similarly titled example at National Library of Wales painted in circa 1988, ‘Gorful’ likely to be derived from ‘Gwerfyl’, Ffridd Llwyn Gwerfyl being a remote location in the Rhinog Mountains, near Harlech and the site of a walker’s bunkhouse which appears to be the building shown in the painting
£15,000-25,000
95
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvas - entitled verso, ‘Sunset Yr Eifl’ on Albany Gallery label, preliminary painting on reverse of mountain landscape, signed with initials, 50 x 61cms
Provenance: private collection Newport
£20,000-30,000
Most pictures are framed and ready to hang, please see website listing for confirmation. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see our website).
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvas - landscape at Holy Island, near Porth Dafarch with two Bronze Age monuments and the farmhouse of Plas Meilw, ‘Standing Stones at Penrhos Feilw’, signed with initials, 60 x 90cms
Provenance: private collection Vale of Glamorgan
£25,000-35,000
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvasentitled verso, ‘Male Pochard’, signed with initials, 75 x 55cms
Provenance: private collection Bristol, see also similar study ‘Plucked Chicken’ (National Library of Wales)
£10,000-12,000
98
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on board - view of Rhoscryman, a north Anglesey coastal farm upon Mynydd y Garn, near Llanfairynghornwy, with the rocks of The Skerries and its lighthouse in the distance, believed circa 1950s/60s, 29.5 x 41cms
Provenance: by descent, the vendor’s late father, Robert Arthur Roberts, was an architect originally of Llanfairynghornwy and latterly The Wirral, the vendor recalls the painting being in his ownership since the mid-1970s but it is assumed that her family had owned it prior to then. Whilst it is not known when or how the painting was acquired by the family it is highly likely that Sir Kyffin and the Roberts family knew each other with their roots being in the same village. The vendor notes that her ancestors had lived in the village for several generations and would likely have been there when Sir Kyffin’s great great-grandfather, John Williams, worked as the rector of the village church in the early part of the 19th Century. Rhoscryman was a farm which the artist returned to for many paintings. Sir Kyffin is buried in the churchyard in Llanfairynghornwy.
Comments: rudimentarily applied to a chip-board panel which the vendor describes as typical of her late-father’s style!
£2,000-4,000
98A
‡ SIR KYFFIN WILLIAMS RA (1918-2006) oil on canvas - Snowdonia Pass, signed with initials lower right, 89 x 89cms
Provenance: private collection Gloucestershire
Comments: small old repair with canvas patch verso, sl. craquelure commensurate with age, framed and ready to hang
£28,000-35,000
99
CHRISTOPHER WILLIAMS (1873-1934) oil on canvasentitled verso ‘Nocturne: Grand Canal, Venice’, circa 1922, 30 x 38cms
Provenance: private collection Ceredigion
£250-350
100
CHRISTOPHER WILLIAMS (1873-1934) oil on canvasentitled verso, ‘Coastal Landscape, Before 1911’, 15 x 24cms
Provenance: private collection Ceredigion
£250-350
101
‡ JOHN ELWYN (1916-1997) oil on board - seated nude female, John Elwyn studio stamp verso, 23 x 23cms
Provenance: private collection Ceredigion
£300-400
102
‡ JOHN ELWYN (1916-1997) oil on board - standing nude female, signed verso, 56 x 44cms
Provenance: private collection Ceredigion
£300-500
103
‡ JOHN ELWYN (1916-1997) oil on canvas - entitled verso ‘The Enclosed Garden’, John Elwyn Studio stamp verso, 71 x 91cms
Provenance: private collection Ceredigion
£500-800
104
‡ ALASTAIR ELKES-JONES (1942-2024) oil on canvas - entitled verso, ‘Figure with Basket’ on Fountain Fine Art Gallery label, 40 x 30cms
Provenance: private collection Rhondda Cynon Taf £250-350
105
‡ ALASTAIR ELKES-JONES (1942-2024) oil on canvas - entitled verso, ‘Figure with Dog 3’ on Fountain Fine Art Gallery label, 40 x 30cms
Provenance: private collection Rhondda Cynon Taf £250-350
106
‡ ALASTAIR ELKES-JONES (1942-2024) oil on canvas - entitled verso, ‘Two Figures 2’ on Fountain Fine Art Gallery label, 40 x 30cms
Provenance: private collection Rhondda Cynon Taf £250-350
107
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso, ‘Cader Idris, Early Snow’ on Albany Gallery label, signed, 24 x 54cms
Provenance: private collection Cardiff £300-500
108
‡ CHARLES WYATT WARREN (1908-1993) oil on board - coastal scene with steep cliffs, signed, 23 x 24cms
Provenance: private collection Caerphilly Comments: foxing to the hessian frame £250-350
109
‡ CHARLES WYATT WARREN (1908-1993) oil on board - estuary and buildings at Abersoch, Llyn Peninsula, signed, 24 x 54cms
Provenance: private collection Oxfordshire
£300-500
110
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso ‘The Pool in the Ogwen’, signed, 24 x 54.5cms
Provenance: private collection Denbighshire
£250-350
111
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso ‘Llyn Cwm Bychan’, signed, 24 x 54cms
Provenance: private collection Powys
£400-600
112
‡ CHARLES WYATT WARREN (1908-1993) oil on board - Eryri (Snowdonia) with whitewashed cottage reflecting in lake, signed, 19 x 34cms
Provenance: private collection Ceredigion £600-800
113
‡ CHARLES WYATT WARREN (1908-1993) oil on board - possibly Trearddur, Anglesey on bright day with beach between rocks, signed, 24 x 54cms
Provenance: private collection Northumberland
£200-400
114
‡ CHARLES WYATT WARREN (1908-1993) oil on board - Eryri (Snowdonia) landscape with lake, possibly Llyn Mymbyr, signed, 24 x 54cms
Provenance: private collection France
Comments: small paint loss in the sky area, framed
£300-400
115
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso, ‘Bridge over River Ogwen’ on Albany Gallery label, signed, 37 x 45cms
Provenance: private collection Cardiff £300-500
116
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso ‘Snowdon from Fachwen’, signed, 23.5 x 54cms
Provenance: private collection Merseyside £400-500
117
‡ CHARLES WYATT WARREN (1908-1993) oil on board - entitled verso, ‘Farm Near Snowdon’, signed, 38.5 x 49cms
Provenance: private collection Caerphilly £300-500
118
‡ DAVID LLOYD GRIFFITH (b.1956) oil on boardancient Welsh hill-fort, entitled verso ‘Pen y Corddyn’, signed and dated verso 1997, 54 x 60cms
Provenance: private collection Conwy £250-350
119
‡ DAVID LLOYD GRIFFITH (b.1956) oil on panel - entitled verso, ‘Autumn, Llysfaen’, signed with initials, fully signed verso, 46 x 58cms
Provenance: private collection Vale of Glamorgan £250-350
Most pictures are framed and ready to hang, please see website listing for confirmation. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see our website).
120
ERNEST ZOBOLE (1927-1999)
oil on canvassemi-abstract landscape, 20 x 25cms
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable
£250-350
121
‡ GARETH THOMAS (1955-2019) oil on board - entitled verso, ‘Harlech Castle’, with two Welsh flags flying, signed, 16 x 23cms
Provenance: deceased estate Buckinghamshire
£250-350
122
‡ GWILYM PRICHARD (1931-2015) mixed mediaentitled verso ‘Dark Hill and Blossom’ on Heal’s Art Gallery, London label, signed, 27.5 x 27cms
Provenance: private collection Denbighshire, Gwilym Prichard staged six solo exhibitions at Heal’s flagship Mansard Gallery on Tottenham Court Road between 1966 and 1974
£250-350
123
‡ HOWARD ROBERTS (1922-2001) oil on boardentitled verso, ‘St Davids’ on Howard Roberts Gallery label, circa 1960s, 21 x 41cms
Provenance: private collection Somerset
£250-350
124
JOHN BRETT (1831-1902) oil on panel (a pair) - entitled verso, ‘Menai Straits from Anglesey’ and the other ‘Anglesey’, both signed and dated ‘75, both the same size 17 x 35cms
Provenance: private collection Oxfordshire
£250-350
125
‡ KAREL LEK (1929-2020) acrylic - entitled verso, ‘Meeting’ on Gorstella Gallery, Chester label, signed, 47 x 33cms
Provenance: private collection Northumberland
£250-350
126
‡ LEONARD BEARD (1942-2007) oil on cardwooded landscape and river, signed and dated ‘92, 49 x 52cms
Provenance: private collection Vale of Glamorgan
£250-350
127
‡ SELWYN JONES (1928-1998) oil on canvas - Eryri (Snowdonia) landscape, with ‘Selwyn Jones Exhibition, National Library of Wales’ label verso, signed with initials, dated ‘97, 24.5 x 34cms
Provenance: private collection Powys
£250-350
128
‡ SION MCINTYRE (b.1975) acrylic on paper - entitled verso, ‘Iona Shore’ on Albany Gallery label, signed, 27 x 38cms
Provenance: private collection Cardiff, grandson of artist Donald McIntyre
£250-350
129
‡ TONY GOBLE (1943-2007) oil on card - entitled verso, ‘The Shepherd’, inscribed verso, 38 x 48cms
Provenance: private collection Carmarthenshire
£250-350
Most pictures are framed and ready to hang, please see website listing for confirmation. ‡ Artist’s Resale Rights/Droit de Suite may apply to this lot (please see our website).
‡ WILLIAM BROWN (1953-2008) oil on canvas - entitled verso, ‘Re-Animator II’, signed and dated verso 2007, 49.5 x 81.5cms
Provenance: private collection Powys
£250-350
131
‡ WILLIAM BROWN (b.1953) oil on canvasentitled verso, ‘Brown Bear Admiring Venus of Blaengwynfi’, signed and dated verso 2008, 38 x 102cms
Provenance: private collection Ceredigion
£250-350
132
‡ ANDREW DOUGLAS FORBES (Welsh Contemporary) oil on paper - entitled verso, ‘Streetlight Bathing the Studio, Arezzo, Italy’ on Albany Gallery label, 36 x 36cms
Provenance: private collection Powys
£300-500
133
‡ DAVID GROSVENOR (b.1956) oil on canvasentitled verso, ‘Moel Hebog, Moel yr Ogof and Moel Lefn, Snowdonia’ on Ffin-y-Parc Gallery label, signed verso, 19 x 37cms
Provenance: deceased estate Buckinghamshire
£300-400
134
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Snowdon from Llynnau Mymbyr’ on Ffin-y-Parc Gallery label, signed, 19 x 49cms
Provenance: deceased estate
Buckinghamshire
£300-400
135
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘The Moelwyns from Tan y Grisiau’ on Ffin-y-Parc Gallery label, signed, 19 x 49cms
Provenance: deceased estate
Buckinghamshire
£300-500
136
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Y Braich, Ogwen Valley I’, signed, 19 x 49cms
Provenance: deceased estate
Buckinghamshire
£300-400
137
‡ ED FORREST (1918-2002) oil on board - entitled verso, ‘Taking a Rest, Llyn Crafnant’, signed, 22 x 30cms
Provenance: deceased estate Buckinghamshire
£300-500
138
‡ GARETH PARRY (b.1951) oil on canvas - entitled verso, ‘Poor Van Gogh, Wheatfield with Crows’, signed, dated verso 2009, 59.5 x 59.5cms
Provenance: private collection Conwy
£300-500
139
‡ GARETH THOMAS (1955-2019) acrylic on canvas - entitled verso, ‘Llyn Gwynant’ on Ffin-y-Parc Gallery label, signed, 35 x 56cms
Provenance: deceased estate Buckinghamshire £300-500
140
‡ CLIVE HICKSJENKINS (b.1951) acrylic on paperentitled verso, ‘St Anne’s Old Lighthouse with Observation Box’ on Martin Tinney Gallery label, signed and dated 2004 verso, 25 x 25cms
Provenance: private collection Gwent
£300-400
141
‡ GYRTH RUSSELL (1892-1970) oil on board - entitled verso, ‘Red Wharf on Anglesey’, signed, 36 x 52cms
Provenance: private collection Caerphilly
£300-500
142
‡ GYRTH RUSSELL (1892-1970) oil on board - fine example, entitled verso, ‘Sunlit Mevagissey’ on Society of Marine Artists label, signed, 30 x 42cms
Provenance: private collection Caerphilly
£300-500
143
‡ IAN HARGREAVES (b.1957) acrylic on board - entitled verso, ‘Albert Memorial, Tenby’ on Albany Gallery label, signed, 39.5 x 19cms
Provenance: private collection Cardiff
£300-500
144
‡ KARL DAVIES (b.1971) oil on boardaerial view of village, signed and dated verso 2008, 60 x 34cms
Provenance: private collection
Denbighshire
£300-500
145
‡ KATIE ALLEN (b.1967) acrylic on dibond (a pair)entitled verso, ‘Penmaenmawr I’ and ‘Penmaenmawr II’ on Ffin-y-Parc Gallery label, signed and dated 2018, both 18 x 75cms (2)
Provenance: deceased estate Buckinghamshire
Comments: both unframed dibond panels with attached rails/hooks
£300-500
146
‡ LUNED RHYS PARRI (b.1970) mixed media construction - entitled verso, ‘Dewch i Mewn i’r Ysgwrn / Come Inside the Ysgwrn’ on Ffin-y-Parc Gallery label, signed and dated verso 2022, together with the exhibition booklet ‘Images of Life’ from where the piece was purchased, glazed box frame size 65 x 50cms, depth 13.5cms
Auctioneer’s Note: Yr Ysgwrn is a traditional Welsh stone farmhouse near Trawsfynydd, Gwynedd, best known as the home of the famous Welsh-language poet Hedd Wyn (Ellis Humphrey Evans)
Provenance: private collection Powys Comments: glazed box frame
£300-400
147
‡ MARK SAMUEL (b.1956) oil on panel - Cardiff houses, entitled verso, ‘Terrace, Canton’ on Martin Tinney Gallery label, signed and dated verso 1997, 26 x 27cms
Provenance: private collection Cardiff
£300-500
148
‡ MAURICE COCKRILL (1936-2013) oil on panelentitled verso, ‘Divided’ on Kooywood Gallery label, signed with initials, dated 2000, 32 x 30cms
Provenance: private collection Vale of Glamorgan
£300-400
149
NEALE HOWELLS (b.1965) mixed media on wood panelentitled, ‘Fak’, signed and dated verso 2003, 64 x 48cms
Provenance: no ARR, direct from the artist’s studio, South Wales Comments: unframed wood panel
£300-400
150
‡ PETER PRENDERGAST (1946-2007) oil on boardriver landsape with trees and fenced dry-stone wall, signed, 29 x 29cms
Provenance: private collection Ceredigion
£300-500
151
‡ REBECCA KITCHIN (Welsh Contemporary) oil on canvas - entitled verso ‘Taliesin in the Old Loco Shed at Boston Lodge, Ffestiniog Railway’, signed and dated Sept 2023, 60 x 60cms
Auctioneer’s Note: Kitchin has established a niche in railway illustration, frequently collaborating with the Ffestiniog & Welsh Highland Railways with the artist’s husband being Chief Mechanical Engineer for the Ffestiniog Railway. The original Taliesin, an 0-4-4T Single Fairlie built by Vulcan Foundry in 1876, was a popular passenger engine known for its stable ride at high speeds until it was scrapped in 1935 following a condemned boiler. The second locomotive to carry the name between 1932 and 1961 was actually the 1886 Double Fairlie Livingston Thompson, which was renamed after the original was withdrawn and is now preserved at the National Railway Museum in York. The modern Taliesin is a brand-new replica completed in 1999 using some original parts, such as the reversing lever, and it is the engine frequently seen hauling heritage trains today.
Provenance: deceased estate Buckinghamshire
£300-500
152
‡ ROB POINTON (b.1982) oil on board - entitled verso, ‘Sun on the Tracks, Conwy Station’ on Ffin-y-Parc Gallery label, signed, 39 x 39cms
Provenance: deceased estate
Buckinghamshire
£300-500
153
SAMUEL HUGHES (active 1845- c.1860) oil on canvas - entitled verso, ‘Distant View of Plas Newydd from Lord Anglesey’s Column’, on Miles Wynn Cato Gallery label, signed, 49 x 75cms
Auctioneer’s Note: a rare view of Anglesey looking down the Menai Straits towards Caernarfon Bay from a point at Llanfairpwll in which the monument to The Marquess of Anglesey still stands proudly over ‘Column Woods’ at the upper-end of the village. Interestingly the painting shows the column before the bronze statue of the Marquess was added in 1860
Provenance: private collection Gloucestershire
Comments: craquelure
£300-600
154
‡ SARAH CARVELL (b.1964) oil on canvas - entitled verso, ‘Denbigh Castle in the Snow’ on Ffin-y-Parc Gallery label, signed with initials, fully signed verso, 28 x 38cms
Provenance: deceased estate Buckinghamshire
£300-500
155
‡ SARAH SNAZELL (1965-1999) large oil on canvas - figure in white evening dress and gloves dancing against blue background, signed verso, 129 x 89cms
Auctioneer’s Note: Snazell was a distinguished Welsh painter and a significant figure in contemporary art until her untimely death from cancer at age thirty-four. Born in Abergavenny, Monmouthshire, she pursued her artistic education at the Newport College of Art before earning both her BA and Master’s degrees from Leeds University. Following her studies, she remained in Leeds and founded the Jackson Yard Artists’ Studio, a testament to her commitment to fostering creative communities. In 1996, she achieved a major milestone by winning a prize at the Royal Cambrian Academy’s Young Wales III exhibition, the same year she was elected as a member of the Academy
Provenance: private collection Conwy
£300-400
156
‡ WILLIAM SELWYN (b.1933) early oil on boardentitled verso, ‘Caernarfon from the Harbour’, signed with initials, 14 x 19cms
Provenance: private collection Cheshire
£300-400
157
‡ LUNED RHYS PARRI (b.1970) mixed media construction - entitled verso, ‘Gwr a Gwraig o Flaen y Capel / Husband & Wife Outside the Chapel’ on Ffin-y-Parc Gallery label, signed and dated verso 2020, glazed box frame size 51 x 47cms, depth 13cms
Provenance: private collection Powys Comments: glazed box frame £350-450
158
‡ WENDY MURPHY (b.1956) oil on board - entitled verso, ‘Spot’, signed with initials and signed verso, 53.5 x 40.5cms
Provenance: private collection Bridgend £350-450
159
‡ AUDREY HIND (b.1936) oil on board - entitled ‘Trewan, Cemlyn Beach’, signed, 49 x 90cms
Provenance: private collection Denbighshire
£400-600
160
‡ CAREY MORRIS (1882-1968) oil on canvas - entitled verso on handwritten label with further details, ‘Posthumous Portrait of Mr W. T. Jones, Llandeilo’, signed, 59 x 49.5cms
Provenance: private collection Edinburgh
£400-600
161
‡ CHRIS NEALE (b.1966)
acrylic on board - entitled verso, ‘Nantmor’ on Ffin-y-Parc Gallery label, signed, 49 x 58cms
Provenance: deceased estate
Buckinghamshire
£400-500
162
‡ CLAUDIA WILLIAMS (1933-2024) oil on panel - entitled verso, ‘Family Relaxing’, signed with initials, signed and dated verso 2010, 27 x 27cms
Provenance: private collection Oxfordshire
£400-600
163
‡ GARETH THOMAS (1955-2019) acrylic on card - entitled verso, ‘Still Life with Daffodils’ on Albany Gallery label, dated verso 2001, 33 x 40cms
Provenance: private collection Newport £400-600
164
‡ GYRTH RUSSELL (1892-1970) oil on board - entitled verso, ‘Bright Interval’, signed, 43 x 72cms
Provenance: private collection Caerphilly £400-600
165
‡ GYRTH RUSSELL (1892-1970) oil on board - entitled verso, ‘Red Wharf Bay, Anglesey’ on Albany Gallery label, inscribed verso, 29 x 42cms
Provenance: private collection Powys £400-600
166
‡ IWAN BALA (b.1956) mixed media - entitled verso, ‘Study for the Last Welshman’, signed and dated ‘88, 46 x 64cms
Provenance: private collection Gwynedd, by descent £400-700
167
‡ KARL DAVIES (b.1971) oil on canvas - farmer walking in the moonlight, signed and dated verso 2008, 40 x 30cms
Provenance: private collection Denbighshire
£400-600
168
‡ LUNED RHYS
PARRI (b.1970) mixed media constructiontwo figures, one with walking stick and a lady with a broom, standing in front of a house, possibly at Capel Celyn, signed and dated verso 2022, glazed box frame size 50 x 70cms, depth 13.5cms
Provenance: private collection Powys
Comments: glazed box frame
£400-600
169
‡ PETER MORGAN (b.1970) oil on canvas - entitled verso, ‘Abereiddy Cottages’, with original Oriel Gallery receipt, signed with initials, 38.5 x 38.5cms
Provenance: private collection Powys
£400-600
170
‡ SARAH CARVELL (b.1964) oil on canvas - entitled verso, ‘Criccieth Lighting Up’ on Ffin-y-Parc Gallery label, signed with initials, fully signed and dated verso 2023, 29 x 39cms
Provenance: deceased estate Buckinghamshire
£400-500
171
‡ SION MCINTYRE (b.1975) acrylic on board - entitled verso, ‘Barns and Boats, Carmarthenshire’ on Albany Gallery label, signed with initials, 39 x 49cms
Provenance: private collection Newport £400-700
172
‡ DAVID GRIFFITHS (b.1939) oil on canvas - summer at Llandaff Cathedral, signed, 50 x 75cms
Provenance: private collection Cardiff £500-600
174
173
‡ ERNEST ZOBOLE (1927-1999) oil on canvasentitled verso ‘Painting About a Landscape’ on Martin Tinney Gallery label, unsigned, dated verso 1966, 75 x 100cms
Provenance: private collection Pembrokeshire £500-1,000
‡ GARETH PARRY (b.1951) oil on canvasentitled verso, ‘Glawio’n Dawel Ar Y Fenai / Raining Gently on the Menai’, signed, 49.5 x 60cms
Provenance: private collection Powys £500-800
175
‡ IWAN BALA (b.1956) mixed media and wood construction on fabric - entitled verso, ‘Panorama II’, signed and dated ‘95, 41 x 182cms
Provenance: private collection Gwynedd, by descent
Comments: glazed with perspex
£500-1,000
176
‡ IWAN BALA (b.1956) mixed media on fabricentitled verso, ‘Hirlun I’, signed and dated ‘95, 37 x 172cms
Provenance: private collection Gwynedd, by descent
Comments: glazed with perspex
£500-1,000
177
‡ JAMES DONOVAN (b.1974) oil on board - entitled ‘Blue Book’, initialled verso P.J.D ‘97, 74 x 89cms
Provenance: private collection Swansea £500-800
178
‡ MEIRION JONES (b.1966) oil on board - figures at Aberystwyth pier, signed, 21.5 x 27cms
Provenance: private collection Cardiff
£500-700
179
‡ SION MCINTYRE (b.1975) acrylic on board - entitled verso, ‘Aberrhoccwn Cottage’ on Albany Gallery label, signed, 48 x 73cms
Provenance: private collection Newport
£500-800
180
‡ GARETH PARRY (b.1951) oil on canvas - entitled verso ‘Y Tad a’r Mab’ (father and son), signed, 38.5 x 38.5cms
Provenance: private collection Gwynedd
£600-1,000
181
‡ MIKE JONES (1941-2022) oil on board - entitled verso, ‘Hen Wraig / Elderly Lady’ on Fountain Fine Arts Gallery label, signed verso, 33 x 25cms
Provenance: private collection Rhondda Cynon Taf
£600-800
182
‡ DAVID CARPANINI
(b.1946) circular oil on canvasentitled verso ‘Past and Present I’, signed and dated 1978, 30cms (diam.)
Provenance: private collection
Pembrokeshire
£400-800
184
183
‡ MARK SAMUEL (b.1956) oil on panel - entitled verso, ‘In the City’ on Martin Tinney Gallery label, signed and dated verso 1998, 43 x 65cms
Provenance: private collection Cardiff
£700-1,000
‡ MEIRION GINSBERG (b.1985) oil on canvas - entitled verso, ‘Figures with Vase’ on Martin Tinney Gallery label, signed and dated verso 2015, 40 x 30cms
Provenance: private collection Conwy
£700-1,000
185
‡ NICK HOLLY (b.1968) oil on canvas - entitled verso - ‘Mending the Nets, Greece, Kephalonia’, signed, dated verso 2017, 49 x 59cms
Provenance: private collection Vale of Glamorgan
£700-800
186
‡ WILL ROBERTS (1907-2000) oil on board - entitled verso, ‘Man in the Sun’, signed with initials, signed and dated verso ‘73, 24 x 19cms
Provenance: private collection Conwy
£700-1,000
187
‡ GEORGE CHAPMAN (1908-1993) oil on boardchildren playing, 60 x 74cms
Provenance: private collection Ceredigion, vendor acquired directly from the artist’s family
£800-1,200
188
‡ GWILYM PRICHARD (1931-2015) oil on canvas - large French landscape with distant poplars, signed, 39 x 75cms
Provenance: private collection Denbighshire
£800-1,400
189
‡ GWILYM PRICHARD (1931-2015) on canvas - entitled verso, ‘Shadows, Tenby’ on Martin Tinney Gallery label, signed with initials, fully signed and dated verso 2000, 23 x 32cms
Provenance: private collection South Wales
£800-1,200
190
‡ HYWEL HARRIES (1921-1990) oil on board - The River Ystwyth at Tan-y-Bwlch, Aberystwyth, signed, 33 x 42cms
Provenance: private collection Ceredigion
£800-1,200
191
ERNEST ZOBOLE (1927-1999) oil on canvas - standing dog gazing longingly at two packets of spaghetti on a table with daffodils, entitled ‘In the Kitchen by the Window, No.1’, circa 1978, 116 x 125cms
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable
£1,000-1,500
192
ERNEST ZOBOLE (1927-1999) oil on canvas - large street scene at night, with figure and dog, dated verso June 2001, 99 x 126cms
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable
£1,000-2,000
193
‡ KEITH BOWEN (b.1950) oil on board - entitled verso ‘Farmyard with Welsh Blacks’, signed, 38 x 50cms
Provenance: private collection Ceredigion
£1,000-1,200
194
‡ MARTIN LLEWELLYN (b.1963) large oil on canvas‘Moonlight, Carreg Cennen’, signed with initials, 75 x 101cms
Provenance: private collection Carmarthenshire
£1,000-1,500
195
‡ PETER PRENDERGAST (1946-2007) oil on board - entitled verso, ‘Trees Near Llys Meurig, Bethesda’, signed and dated verso 1986-1990, 91 x 96cms
Provenance: private collection Gwynedd
£1,000-1,500
196
‡ SIR FRANK BRANGWYN RA (1867-1956) oil on board - entitled verso, ‘The Last Fight of the Revenge’, signed with single initial, 74 x 57cms
Auctioneer’s Note: as well as the oil study here, Sir Frank Brangwyn’s series entitled The Last Fight of the Revenge encompasses both a significant large-scale oil painting and a celebrated series of book illustrations. The scene is the 1591 Battle of Flores, capturing the dramatic final stand of Sir Richard Grenville’s galleon against a superior Spanish fleet. The imagery reached a wide audience through a 1908 publication of Sir Walter Raleigh’s account of the battle which features six full-page colour plates and various black-and-white line drawings by the artist, alongside an introduction by Henry Newbolt.
Provenance: private collection Swansea
Comments: craquelure
£1,500-2,500
197
‡ SIR FRANK BRANGWYN RA (1867-1956) oil on canvas - young dockworker standing on quayside, signed with initials and dated 1885, 29 x 19cms
Provenance: same family ownership for several generations, as per printed logo verso painted on Charles Roberson supplied canvas (Long Acre, London), a known supplier to Brangwyn and other prominent artists of the period
Comments: surface scratches only
£1,000-1,500
198
‡ TOM GERRARD (1923-1976) oil on board - entitled verso, ‘Tan y Mynydd, Waun Fawr, Caernarfonshire’, signed, dated verso ‘69-’73, 49 x 74.5cms
Provenance: private collection Cheshire
£1,000-1,500
200
‡ CLAUDIA WILLIAMS (1933-2024) oil on canvas - entitled verso, ‘Two Bathers in the Shade’ on Martin Tinney Gallery label, signed, dated verso 1996, 45 x 64cms
Provenance: private collection Cardiff
£1,500-2,500
199
‡ WILL ROBERTS (1907-2000) oil on canvas - entitled verso, ‘Man with Hoe’, signed with initials, 49.5 x 59cms
Provenance: private collection Gwent
£1,000-1,500
201
‡ JOHN ELWYN (1916-1997) acrylic on paper - entitled verso ‘Welsh Landscape’, signed, 52 x 70cms
Provenance: private collection Yorkshire
£1,500-2,500
202
‡ PETER PRENDERGAST (1946-2007) acrylic on paper - entitled verso, ‘Grey Evening, Nant Ffrancon Valley, Towards Bethesda’, signed and dated ‘92, 87 x 118cms
Provenance: private collection Gwynedd £1,500-2,500
203
‡ WILF ROBERTS (1941-2016) oil on panel - entitled verso ‘Porth Dafarch’, signed and dated 2010, 21 x 33cms
Provenance: private collection Conwy
£1,500-2,000
204
‡ WILL ROBERTS (1907-2000) oil on board - entitled verso, ‘Man with Scythe’, signed with initials, signed and dated 1987 verso, 25 x 20cms
Provenance: private collection Powys
£1,500-2,500
205
‡ WILL ROBERTS (1907-2000) oil on canvas - entitled verso, ‘Dream Shore’, signed with initials, fully signed and dated 1980 verso, 24 x 29cms
Provenance: private collection Powys £1,500-2,500
206
‡ GWILYM PRICHARD (1931-2015) oil on canvas - entitled verso, ‘Eglwys Mwnt’ on Martin Tinney Gallery label, signed with initials and signed and dated verso 2004, 37 x 45cms
Provenance: private collection Nottinghamshire
£2,000-3,000
207
‡ KEVIN SINNOTT (b.1947) oil on panel - entitled verso, ‘Spectators’ on Martin Tinney Gallery label, signed with initials, dated verso 1999, 49 x 39cms
Provenance: private collection South Wales
£2,000-3,000
208
‡ MARY LLOYD JONES (b.1934) oil on canvasentitled verso, ‘Copper Seam, Gogarth’, signed with initials, signed and dated verso 2004, 91 x 121cms
Provenance: private collection Anglesey / Ynys Môn
£2,000-4,000
209
‡ GWILYM PRICHARD (1931-2015) oil on canvas - entitled verso, ‘Capel-y-Ffin’ on Martin Tinney Gallery label, signed with initials and signed and dated verso 2005, 37 x 54cms
Provenance: private collection Nottinghamshire
£2,500-3,500
210
‡ MURIEL DELAHAYE (1931-2021) oil on canvas - entitled verso, ‘Bag Lady in the Park’ on Albany Gallery label, signed, signed and dated verso 2015, 59 x 59cms
Provenance: private collection Bridgend
£2,500-3,500
211
‡ RAY HOWARD-JONES (1903-1996) exhibition quality oil on board - entitled verso, ‘Tide on the Gann’ on Ernest Brown and Phillips Gallery, London label, signed and dated ‘70, 45 x 74cms
Provenance: private collection Cheshire
£2,500-3,000
212
‡ CLAUDIA WILLIAMS (1933-2024) oil on canvas - entitled verso, ‘Listening to Music’, signed and signed and dated ‘92 verso, 54 x 45cms
Provenance: private collection Powys
£3,000-4,000
213
‡ CLAUDIA WILLIAMS (1933-2024) oil on canvasentitled verso, ‘Reading by the Bay Window’ on Martin Tinney Gallery label, signed, signed and dated 2005 verso, 49 x 49cms
Provenance: private collection Nottinghamshire
£3,000-4,000
214
‡ MURIEL DELAHAYE (1931-2021) large oil on canvas - entitled verso ‘The Waiting Room’, thought to be the waiting room in her local GP surgery at Borth, signed and signed verso with artist’s address, 100 x 153cms
Provenance: private collection Ceredigion
£3,000-5,000
215
‡ WILL ROBERTS (1907-2000) oil on boardentitled verso, ‘Charlady & Woman’ on Albany Gallery label, signed and dated verso 1954, 60 x 50cms
Provenance: private collection Powys
£3,000-4,000
216
‡ CLAUDIA WILLIAMS (1933-2024) oil on canvas - entitled verso, ‘Waiting’ on Martin Tinney Galley label, signed, signed and dated verso 2004, 79 x 79cms
Provenance: private collection Nottinghamshire
£4,000-6,000
217
‡ ATTRIBUTED TO JOHN PIPER (1903-1992) mixed media with oil - verso Galerie Creuze (Paris) label with title, ‘No. 59, Cornish Wood on (an Estuary)’ and dated October 1956 on handwritten label with title in red ink believed artist’s hand, 57 x 71cms
Provenance: believed exhibited at Galerie Creuze, Sale Balzac, ‘La Peinture Britannique Contemporaine’, 1957 (see label and copy of label verso). The painting was entered in our Welsh Sale in 2018 but was withdrawn to allow for further research. We can now confirm that the details on the exhibition label verso match the listing in the 1957 exhibition catalogue produced by Galerie Creuze, please see images on our website listing (copy of this catalogue held at the Courtauld Library), same private collection Vale of Glamorgan since circa 2007. Opinions on the attribution of this work are varied hence catalogued as attributed to £4,000-6,000
218
‡ SHANI RHYS JAMES MBE (b.1953) large oil on canvasentitled verso ‘Postcard’, signed and dated verso 1994, 182 x 121cms
Provenance: private collection Pembrokeshire
£5,000-10,000
219
‡ JOHN KNAPP-FISHER (1931-2015)
large oil on paper - entitled verso, ‘Boats, Porthgain’ on Martin Tinney Gallery label, signed and dated 2002,62 x 76cms
Provenance: private collection Nottinghamshire
£8,000-12,000
220
‡ JOHN WARD (1938-2023) fine stoneware vase - starkly and precisely decorated in evenly balanced black and white, signed with JW stamp, 18cms (h)
Provenance: private collection Carmarthenshire
Comments: no issues
£10,000-15,000
KEVIN SINNOTT (b.1947) large oil on linen - entitled verso, ‘Lift Off’ on Martin
label, signed with initials, 109 x 84cms
Provenance:
222
‡ DONALD MCINTYRE (1923-2009) acrylicentitled verso ‘Surf and Dark Sky’ on Attic Gallery label, fully signed, 53 x 77cms
Provenance: private collection Surrey, with an Attic Gallery receipt and a personalised letter from Donald McIntyre to the purchaser
£3,000-4,000
223
‡ DONALD MCINTYRE (1923-2009) oil / acrylic - entitled verso ‘Harbour Window’, fully signed, 50 x 61cms
Provenance: private collection Conwy £1,000-1,500
224
‡ DONALD MCINTYRE (1923-2009) oil on board - entitled verso ‘Street Scene, Brittany’ on The Fine Art Society Gallery, London label, signed with initials, dated November 1966 on label, 34 x 24cms
Provenance: private collection Conwy £700-1,000
225
‡ DONALD MCINTYRE (1923-2009) acrylic - Irish landscape, entitled verso, ‘Haystacks at Bunowen’ on Ash Barn Gallery label, Hampshire, signed with initials, 35 x 48cms
Provenance: private collection Hampshire
£1,500-2,500
226
‡ DONALD MCINTYRE (1923-2009) oil on board - entitled verso ‘Grey Day, River Ely, Penarth’ on South Wales Art Society label, fully signed, 40 x 49cms
Provenance: private collection Carmarthenshire
£1,400-1,800
227
‡ DONALD MCINTYRE (1923-2009) acrylicEnglish coastline, Northumberland, entitled verso, ‘Houses and Huts, Beadnell’ on Thackeray Gallery label, fully signed, 51 x 62cms
Provenance: private collection Sydney, Australia, purchased directly from the Thackeray Gallery in 1975 with original purchase receipt
£4,000-6,000
228
‡ DONALD MCINTYRE (1923-2009) acrylic on boardConwy Castle with fireworks to celebrate Queen Elizabeth II’s Jubilee 1977, 62 x 100cms
Provenance: private collection Conwy £1,000-1,500
229
‡ DONALD MCINTYRE (1923-2009) acrylicentitled verso ‘Anglesey’ on Larks Gallery, Aberdeenshire label, fully signed, 52 x 61cms
Provenance: private collection Flintshire £4,000-5,000
230
‡ DONALD MCINTYRE (1923-2009) acrylicentitled verso ‘Cottage by the Sea’ on Attic Gallery label, signed with initials, fully signed verso, 36 x 43cms
Provenance: private collection Flintshire £4,000-5,000
231
‡ DONALD MCINTYRE (1923-2009) oil on board - Welsh coast, entitled verso, ‘Trearddur Bay, Anglesey’ on Oriel Tegfryn Gallery label, signed with initials, 25 x 35.5cms
Provenance: private collection South Wales £1,800-2,200
234
GOOD LATE 18TH CENTURY WELSH OAK 8-DAY LONGCASE CLOCK by Watkin Owen, Llanrwst, 12-inch brass dial and Roman chapter ring, subsid. secs. dial, later calendar aperture, 1/4 pilaster trunk, later adapted base, weights and pendulum, unusual Gothic fluting to base, case of very good colour, fl 230cms h
Auctioneer’s Note: Watkin Owen was the most famous member of a family of Welsh clockmakers based in Llanrwst during the eighteenth century. He took over the business in 1776 following the death of his father, John Owen, and developed a reputation for exceptional craftsmanship that made his work highly sought after throughout North Wales. His clocks are particularly noted for their high quality eight day movements, which frequently featured a distinctive fifth pillar added for extra stability. This mechanical detail is often considered a hallmark of his workshop. The cases for these clocks were typically made from locally sourced oak, reflecting the regional style of the Conwy Valley, though more expensive mahogany or fruitwood versions were occasionally produced. The dials evolved over his career, beginning with traditional brass faces featuring fine foliate engraving and later incorporating painted dials, sometimes with moon phase indicators. Because of their technical reliability and elegant proportions, clocks signed by Watkin Owen remain among the most collectible examples of Welsh horology.
Provenance: deceased estate Cardiff
Comments: intermittently working, attention required, not tested for accuracy or working order long term
£300-600
235
18TH CENTURY WELSH BOARDED OAK COFFOR BACH, possibly Carmarthenshire, detachable moulded lid with strut hinge, iron lock, the apron drawer indistinctly inscribed in pencil ‘xxx, By John Davies xxx’, on pierced bracket feet with central Welsh heart motif, 45 (h) x 59 (w) x 28cms (d)
Provenance: private collection Vale of Glamorgan
Comments: top with water stain and repair to knot, crude repair to damaged foot (right-rear), old worm, inspection advised £300-500
236
LATE 18TH CENTURY WELSH STICK CHAIR, probably Carmarthenshire, ash and oak, seven-stick back united by bowed rectangular cresting rail, three-part bowed arm, demilune shallow saddle seat with traces of paint, legs wedge tenoned through the seat, seat height 37cms, height at back 105cms
Provenance: private collection Vale of Glamorgan
£500-800
238
LATE 18TH CENTURY WELSH OAK DRESSER WITH RARE DESIGN
BASE, Carmarthenshire, the rack with ogee cornice, wrought iron hooks, single plank three-drawer base, pegged construction, deep shaped apron, chamfered stile legs, united by pot board, 202 (h) x 153 (w) x 39cms (d)
Auctioneer’s Note: compare with lot 7, Rogers Jones & Co. Welsh Sale 16.11.24, for an early 18th C. five-drawer Towy valley dresser with similar legs published in Richard Bebb, Welsh Furniture 1250-1950, vol II , pp.132-133, and fig 891: “Many of the dressers in the south from the middle of the (18th) century bore a resemblance to those from mid-Wales, such as an example from the Towy valley which had a base with a double row of drawers and deep ogee-shaped apron which was raised clear of the ground by tall bracket feet.”
Provenance: deceased estate Cardiff
Comments: stained plate rack backboard later adaptation, base top slightly warped, shrinkage splits, turned drawer handles and locks appear to be original, overall good colour, normal stains, scratches and signs of use, old worm, one drawer with remains of polythene liner, inspection advised £300-500
237
18TH CENTURY WELSH OAK DRESSER OF SMALL PROPORTIONS, Caernarfonshire, boarded half-canopy rack, shaped shoes on cupboard base, fitted with fielded panelled drawers and cupboards, stile feet, 193 (h) x 139 (w) x 50cms (d)
Provenance: private collection Gwynedd
Comments: later plate batons, brass handles later/replaced, feet with old water damage and later stained, old worm, back feet with strengthening brackets, plate rack with old paint to sides, inspection advised £1,000-1,500
18TH CENTURY WELSH JOINED ELM TABLE, probably Carmarthenshire, triple-plank reversible top with cleated ends, deep end drawer with long turned handle, pegged construction frame, square chamfered legs, H-stretcher, 75 (h) x 190 (w) x 78cms (d)
Auctioneer’s Note: compare with a similar table, p.54, no.702, Richard Bebb, Welsh Furniture 1250-1950, vol 2, where it states, “the cegin contained a long table, invariably strongly made and of joined construction, normally with square chamfered legs with H-shaped or simple end stretchers. Placed beneath the window (where there was often a fixed seat) to obtain the benefit of the light, these were for worksurfaces as well as dining, and often had tops which were reversible leaving an unpolished surface for tasks such as food preparation, laundry and occasional tailoring.”
Provenance: private collection Vale of Glamorgan
Comments: good colour, tabletop with splits and stains, old worm (notably to one leg), tabletop not fixed to frame, inspection advised £450-550
240
EARLY 19TH CENTURY WELSH ASH BACKSTOOL with narrow tapering single board back with pierced top, mortice and tenon jointed through the seat, seat with chamfered sides and edge, raised on three straight splayed staked legs, 89cms (h)
Auctioneer’s Note: see Rogers Jones’ Welsh Sale, 27.4.24, lot 65 for a stool with thick circular seat from the Pat Llewellyn collection. Cf. Richard Bebb, ‘Welsh Furniture 1250-1950’, vol 2, p. 47, no 683 for another backstool from Bedlinog, Glamorgan. Also cf. Victor Chinnery, ‘Oak Furniture: The British Tradition’, p. 55, fig. 2:46, for a backstool in the Hereford City Museum and Art Gallery collection, explanatory text noting “the first and most simple development from the primary stool, here with a single narrow vertical board acting as a backrest. An extremely rare type, but commonly plagiarised in reproductions and referred to as a ‘spinning-chair’ “.
Provenance: private collection Cardiff
Comments: legs later
£400-600
241
UNUSUAL CARVED OAK HOUSEKEEPER’S WELSH CLOCK DRESSER, 19th century and earlier, centred with a brass-dialled 8-day longcase clock by prominent maker Henry Williams of Llancarvan (Vale of Glamorgan), with two weights and pendulum, flanked by boarded shelves over a base fitted with three carved-front frieze drawers and two foliate-carved panel cupboard doors opening to shelves, under arch with display shelf, raised on bracket feet, 246 (h) x 160 (w) x 46cms (d)
Provenance: private collection Merseyside
Comments: later carved, adaptations and additions, clock movement associated, one hood column lacks base and pediment, inspection advised £800-1,400
242
DIORAMA OF THE BEESWING CARGO SHIP OF PORTHMADOG, LATE 19TH / EARLY 20TH CENTURY, glazed within an ebonised reeded frame, 33 (h) x 67 (w) x 9cms (d)
Auctioneer’s Note: Beeswing is a well-documented ship, a 1,462-ton steel barque built by Russell & Co. in Greenock, Scotland and launched in January 1893. She was initially owned by the Beeswing Sailing Ship Co. and managed by Prichard Bros of Porthmadog. The vessel was used for general cargo and frequently traded with ports in Brazil and Australia. On 2 May 1917, while carrying a cargo of timber from Pensacola, Florida, to Liverpool, the ship was captured and sunk by gunfire from the German submarine U-58. The crew was ordered into lifeboats by the U-boat commander after he confirmed they were not carrying munitions, and they spent several days in open boats before reaching land near Cork, Ireland
Provenance: private collection Gwynedd, made by grandfather of vendor Emanuel Thomas of East Avenue, Porthmadog, who was Beeswing’s carpenter and made the model for a fellow seaman, years later it was presented back to the vendor’s father by the son of the sailor who was based on Anglesey. Emanuel Thomas also sailed on the “Maelgwyn” which in 1907 sank near New Zealand and the crew had to take to the boats, fortunately ending up on the safety of Lord Howe Island £100-150
244
VINTAGE WELSH COVERLET QUILT FROM PORTMEIRION, white floral pattern on a yellow background, 174 x 192cms
Provenance: collection of Michael Trevor-Williams, the general manager of the Portmeirion hotel in Wales where, in the 1950s, his impeccable knowledge of fine art helped to furnish the hotel. He collected contemporary art by painters such as Duncan Grant, which hung in his ground-floor flat in nearby Deudraeth castle, by descent to cousin our vendor, private collection Cardiff
Comments: slightly faded, some staining £200-300
243
WELSH HAND-STITCHED COMMEMORATIVE BLANKET FROM PORTMEIRION, featuring in succession the names and dates of birth of the nine children of Queen Victoria and Price Albert, ‘Albert Edward Prince of Wales born November 9th 1841’, ‘Princess Alice Maud Mary born April 25th 1843’, ‘Prince Alfred Ernest Albert born May 25th 1845’ etc, 140 x 229cms
Provenance: collection of Michael Trevor-Williams, the general manager of the Portmeirion hotel in Wales where, in the 1950s, his impeccable knowledge of fine art helped to furnish the hotel. He collected contemporary art by painters such as Duncan Grant, which hung in his ground-floor flat in nearby Deudraeth castle, by descent to cousin our vendor, private collection Cardiff
Comments: some staining and fraying along the edges £100-200
Lots 245-256
245 18CT GOLD CUFFLINKS relating to Solomon Andrews, oval panels with chain-link engraved with ‘S.A.’ monograms, total weight approx. 10.6g (2)
Auctioneer’s Note: Solomon Andrews, one of Wales’ most prominent Victorian entrepreneurs, transformed the landscape of Cardiff. Starting his career as a baker, he expanded his business into a vast empire that included transportation, retail, and property development. He was particularly well known for his Andrews Star Omnibus Company, which operated horse-drawn buses in Cardiff and several other major UK cities. His architectural legacy remains visible today through landmark structures like the Cardiff Market Buildings on St Mary Street, the Imperial Buildings, and the Andrews’ Buildings on Queen Street. He was also responsible for founding the David Evans department stores. Beyond Cardiff, Andrews played a significant role in developing the West End of Pwllheli as a holiday resort and converted the Plas Glyn-y-Weddw mansion into Wales’ first public art gallery where one can view the highly impressive collection of Welsh porcelain that was gifted by the Andrews family. We are honoured to offer Lots 245 to 256, historic items from the Solomon Andrews family that are now in the possession of the John Andrews Charitable Trust.
Provenance: John Andrews Charitable Trust
£700-900
247
SILVER TABLE OR CIGAR BOX, S heffield 1905, the slightly domed hinged cover engraved with monogram ‘FEA’ in cursive script, 20.3 x 13.5 x 8cms, weight approx. 51.7ozt (1610g), together with foliate engraved vesta case initialled ‘FEA’, and silver toothpick box (3)
Provenance: John Andrews Charitable Trust; F. E. Andrews Esq., Cardiff. Francis Emile Andrews (1858-1943) was a well-known collector whose collection was continued by his grandson John, who established the John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: sides with a few dints, back panel slightly bowed, cover hallmarks partially erased
£2,000-3,000
246
LATE VICTORIAN ILLUMINATED MANUSCRIPT named to Francis Emile Andrews on the occasion of his marriage, presented by The Employees of S. Andrews & Son with list of employees within elaborately decorated border dated February 1884, 52 x 38cms; facsimile of similar marriage dedication to Arthur Andrews; framed miniature portrait of the Andrews family members; institute of Motor Trade certificate to Walter Andrews; electroplated oak mounted tea tray to Walter Andrews; initialled leather writing wallet presented to Walter Andrews with greeting cards etc. and an oak hour glass belonging to Alice Jane (wife of F.E. Andrews)
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews £100-150
PHOTOGRAPHS, including photographs of two large David Evans stores in Swansea, period photograph of Cardiff Market with associated period engraving, various framed reproduction photographs of S. Andrews & Son Cardiff Buses (Horse-Drawn Vehicles), others, please see Lot 249 for further information on S Andrews & Son Company
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: all framed
£80-120
249
VINTAGE LEATHER DRIVING HORSE HARNESSES relating to S. Andrews & Son horse-drawn buses, with applied cast metal Andrews family armorial shields, 2 blinker bosses engraved E.F., nickel plated edge detailing, together with peaked cap with Prince of Wales Feathers and F.R. initials, displayed on painted wood stand, and paraffin lantern
Auctioneer’s Note: the S Andrews & Son / S Andrews Star Omnibus Company was the company through which Solomon Andrews became one of the United Kingdom’s most significant private transport operators. Founded as a limited company in 1892 with his son Francis, the firm served as an expansion of their existing Cardiff-based business, Solomon Andrews and Son, allowing them to establish a massive presence in London and other major cities like Belfast, Manchester, Leicester, and Nottingham. The company’s success was largely built on the Andrews patent bus, a vehicle design that Andrews manufactured himself after purchasing a coach-building works in 1872. These buses were so highly regarded that even the London General Omnibus Company contracted him to supply them. In Cardiff, his operations were famously competitive; stories persist of his buses deliberately driving along tram lines to slow down rival services during the local transport wars of the late 19th century. At its peak around 1902, the company’s London division alone operated nearly 250 buses and maintained a massive stable of over 1,900 horses. However, the business eventually struggled due to the rise of electric tramways and the unreliability of early motor buses, leading to its winding up in 1908 following Solomon’s death. Today, several of the company’s original horse-drawn buses have been preserved and can be seen at the London Bus Museum and St Fagans National Museum of History in Cardiff.
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: some replaced parts, one armorial loose, inspection advised £100-150
250
FOUR VINTAGE PHOTOGRAPHS OF SOLOMON ANDREWS including a group photograph of Solomon in top hat, beside freedom casket and other local dignitaries, 27 x 34cms, two head and shoulders portraits of the man, and a seated portrait with mount titled ‘Forget Me Not Studios’ (4)
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews £80-120
251
MARGARET STELLA WHATLEY (20th C.) acrylic on canvasS. Andrews & Son horse-drawn Bus in a city street beside a park, signed, 66 x 90cms
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: framed
£50-70
252
‡ ARNOLD CLARKE SHUTTLEWORTH (1897-1986) oil on canvas - S. Andrews & & Son horse-drawn bus in a country lane, signed and dated ‘75, 44 x 60cms
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: framed
£80-120
253
PRESSED COPPER MEMORIAL PLAQUE named to ‘Solomon Andrews, died 9th Nov’r 1908, aged 73 years’, tapering rectangular form, possibly from street-lamp encasement, 43cms (h)
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: distressed £60-100
254
FINE FACSIMILE OF ‘THE ANDREWS DIPTYCH ’, depicting the six miracles of Christ, in shallow relief and in in compartments, stained and coloured to closely replicate the original Italian 9th C. elephant ivory panels in the collection of the Victoria & Albert Museum (A.47&A-1926), 30 x 9.2cms, resin, framed; together with two glass negatives and printed positives of the original diptych
Auctioneer’s Notes: from top right, the panels depict the Raising of Lazarus, the Marriage at Cana, the Healing of the Leper, the Miracles of the Loaf and Fishes, the Healing of the Blind Man, and the Healing of the Man sick of Palsy. The scenes are divided by acanthus borders (different on left and right leaves) and each leaf has a narrow border of egg and dart ornament. The backs of the original leaves were originally hollowed out to take wax, and appear to have been planed down or cut with a fine saw alongside the outside edges. Thought to have been the door of a tabernacle or a reliquary. The original diptych was formerly at Palermo and later in the Currie collection, and given by F.E. Andrews, Esq., through the National Art-Collections Fund to the V&A.
Provenance: John Andrews Charitable Trust, retained in the family of F.E. Andrews Esq., Cardiff. Francis Emile Andrews (1858-1943) was a well-known collector whose collection was continued by his grandson John, who established the John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews.
Comments: excellent £400-600
256
ASSORTED ANDREWS & SONS MEMORABILIA, including propelling pencils, steel blindstamp dies, brass radiator cap, 1953 Coronation car badge, various engraved and pressed metal plaques, numerous cast metal Andrews armorial horse harness plaques, Bentley lapel button, Boys brigade bar brooches, pictorial printing blocks, 2x London Academy of Music bronze and silver medals awarded to Joyce Wanstall (Elocution 1927 & 1931), two small boxes of vintage collectors adhesive labels for ‘Earl of Harrington’, ‘Lord Swansea, Singleton Abbey’, ‘Welbeck Galleries Ltd., Morgan Arcade, Cardiff’ etc.
Provenance: John Andrews Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
£100-200
255
COLLECTION OF VINTAGE BUS, RAILWAY & TOLL GATE
TICKETS, 1950 s and later, including London General Omnibus Co. Ltd. (2d to 8d) tickets in a sprung frame, Portmadoc Embankment Tollgate motorcar, motor cycle & sidecar tickets (2 1/d p and 6d), Criccieth District Council parking fee tickets (1/-), Llanberis Lake Railway, GNR (Barmouth Jn.), Welshpool & Llanfair Light Railway Preservation Co, Launceston Steam Railway, Severn Valley Railway, Teifi Railway, etc.
Provenance: John Andrew Charitable Trust, please see Lot 245 for further information relating to Solomon Andrews
Comments: all used £150-250
Lots 257-279
257
EDWARD STEICHEN (1879-1973) gelatin silver contact print – half-portrait photograph of the most famous of all American architects (with Welsh ancestry), Frank Lloyd Wright (1867-1959), the back of the photograph signed by Lloyd Wright and dedicated ‘To Gareth Jones’ being the renown Welsh journalist Gareth Richard Vaughan Jones (1905-1935), also on the back of the photograph the New York studio stamp of Edward Steichen and annotation by Jones requesting that the photograph is returned untouched to his father Edgar Jones at their home address in Barry, South Wales, dated Los (Angeles) 1931’, 23 x 18cms
Auctioneer’s Note: Luxembourg-born American photographer Edward Steichen was one of the most influential figures in 20th Century photography and one of the highest paid working for Vogue and Vanity Fair. Famous portrait sitters include Charlie Chaplin, Greta Garbo and J P Morgan. Steichen took some of the most well-known photographs of Frank Lloyd Wright at Taliesin, Wright’ famous home in Wisconsin. This image became one of the most iconic portraits of the architect and has been widely reproduced in books and museum collections.
Born in Barry, a graduate of University College of Wales Aberystwyth and then of Cambridge University in French, German and Russian, Gareth Jones was a Welsh journalist best known for reporting on the Holodomor, the devastating famine in Soviet Ukraine in 1932-33. Initially, Jones’ reports were met with scepticism and resistance but over time his reporting was recognised as accurate and courageous. In 1935, Jones was kidnapped and murdered in Inner Mongolia under mysterious circumstances. It is suspected that there was Soviet involvement in the murder but it has neve been proven. The Gareth Jones collection is archived at the National Library of Wales and includes the famous ‘Hitler diary’ kept by Jones during his visit to Germany in the spring of 1933 and describes conditions and various events in Nazi Germany shortly after the Fuehrer had come to power there and presents uncannily perceptive pen-portraits of Hitler himself and Goebbels. In February 1933, Gareth became the first foreign journalist to fly with Adolf Hitler after his appointment as Chancellor just one month earlier to a rally at Frankfurt-am-Main. A further group of six pocket diaries describe in some detail Jones’s visits to the Soviet Union between 1931 and 1933, especially his travels, the people whom he meets and graphic accounts of the severe famine conditions which he encountered. The great Soviet famine accounted for millions of deaths particularly
in Kazakhstan and Ukraine, and Gareth Jones was almost alone in reporting on this in British newspapers and journals at the time. Gareth Jones’s diaries, perhaps represent the only independent verification of arguably Stalin’s greatest atrocity. The BBC produced a biopic film of Gareth Jones called ‘Mr Jones’ in 2019.
Provenance: collection of renown Welsh architect Dewi Prys-Thomas (1916-1985) who acquired the photograph from America in the 1980s as Frank Lloyd Wright was one of his heroes. Dewi-Prys Thomas was the first professor of architecture at the University of Wales and was also the head of the Welsh School of Architecture, where he instituted a new Department of Town Planning. He designed a number of prominent buildings in a distinguished career. From 2003 to 2015, the Dewi-Prys Thomas Trust awarded a prestigious triennial prize, recognising the importance of good design to the quality of life, identity and regeneration of Wales. From 2023 until this present day, in conjunction with the RSAW (The Royal Society of Architects in Wales), ‘The Dewi-Prys Thomas Award’ has been given annually to reward projects of excellence across fields of design and public art and architecture
£500-1,000
257 (reverse)
MIKE PETERS MBE (1959-2025) hand-written lyrics for the song ‘68 Guns’, signed, 29 x 19cms, unique (signed 01/01) with certificate of authenticity, together with two banners for the official fan zones, both 193 x 85cms
Auctioneer’s Note: 68 Guns is the signature anthem by the Welsh rock band The Alarm, released in 1983 as the lead single from their debut album, ‘Declaration’. Frontman, the late Mike Peters, wrote the lyrics after reading a book about Glasgow street gangs in the 1930s, specifically the 68 Guns gang. He drew parallels between their youthful rebellion and the band’s own experiences growing up in Rhyl, North Wales. It remains their highestcharting hit, reaching number 17 on the UK Singles Chart, and was the song that famously broke them into the mainstream following a memorable performance on Top of the Pops. Known for its acoustic punk style, the track features soaring trumpets, aggressive acoustic guitars, and Peters’ emotive, chanting vocals. The song became a rallying cry for the band’s fan base and was a climactic highlight of their live shows
Provenance: private collection Carmarthenshire £300-400
259
‡ ALFRED EDMEADES BESTALL MBE (1892-1986) art cell - original artwork/cell for the Daily Express Rupert Annual 1965/66, full colour on acetate sheet, with handwritten pencil annotations and signed by the artist, 37 x 27cms
Auctioneer’s Note: Alfred Bestall lived for over 40 years in ‘Penlan’, Beddgelert which he purchased in 1956. Bestall drew significant inspiration from the Welsh countryside, especially around his cottage in Beddgelert, making Rupert’s world ‘Nutwood’ a blend of English and North Welsh landscapes. Alongside the River Glaslyn in Beddgelert village, a meadow known as ‘Cae Gel’ has been planted with shrubs, trees and wild flowers, created with the financial help of ‘The Followers of Rupert Bear’ in memory of Alfred E. Bestall, M.B.E.
Provenance: private collection Pembrokeshire
Comments: framed, glazed £100-200
262
260
JOHN SPEED antiquarian map of Wales - double engraving of Wales, later coloured, flanked by 12 views of the principal towns, Beaumaris, Carnarvan, Harlieg, Cardigan, Penbrok, Carmarthen, Denbigh, Flint, Montgomery, Radnor, Brecknok and Cardife and four views of the cathedrals, St Davids, Landafe, Bangor, St Asaph, centre fold as published, circa 1600s, Old Master Galleries, map specialists, Oxford Street, London, label verso, 41 x 53cms
Provenance: private collection
Cardiff
Comments: glazed both sides, framed
£300-500
261
‡
GWASG GREGYNOG: ‘TWO OLD MEN & OTHER STORIES’ by Kate Roberts, illustrated by Sir Kyffin Williams RA, limited edition (61/250)
Provenance: private collection West Wales
£200-400
GWASG GREGYNOG PRESS: THE AUTOBIOGRAPHY OF EDWARD LORD HERBERT OF CHERBURY 1928 limited edition (120/300) printed by Robert Ashwin Maynard, wood engravings designed and cut by Horace Walter Bray, Compositor: Richard Owen Jones, Pressman: John Hugh Jones and Herbert John Hodgson
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: fine condition
£100-150
263
GWASG GREGYNOG PRESS: COMUS A MASK BY JOHN MILTON 1931 limited edition (28/250) the first book arranged by William MacCance and completed on the hand press
June 1931 at Gregynog Press near Newtown, Montgomeryshire, Blair Hughes-Stanton collaborated in the printing, designed and engraved the wood blocks, printed by Idris Jones
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: fine condition
£150-250
264
GWASG GREGYNOG PRESS: POEMS BY HENRY VAUGHAN
1924 limited edition (112/500) printed by Robert Ashwin Maynard at Gregynog near Newtown in Montgomeryshire and finished December 1924, assistants: John Mason and John Hugh Jones, the poems were selected by Ernest Rhys and are set down with the spelling and pointing of the first editions, the pictures of the Vaughan county and the decorations in the text were designed and engraved on wood by Robert Ashwin Maynard and Horace Walter Bray
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: fine condition
£100-150
265
GWASG GREGYNOG PRESS: AN ACCOUNT OF THE CONVINCEMENT, EXERCISES, SERVICES AND TRAVELS OF THAT ANCIENT SERVANT OF THE LORD RICHARD DAVIES 1928 limited edition (29/175) with some relation of ancient friends and the spreading of truth in North Wales, printed by Robert Ashwin Maynard at Gregynog Press near Newtown in Montgomeryshire and completed February 1928, Compositor, Richard Owen Jones, Pressman, Herbert John Hodgson
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: marking to back cover, fading to spine
£70-100
266
GWASG GREGYNOG PRESS: THE LIFE OF SAINT DAVID 1927 limited edition (71/175) the foregoing text, freely collated by Ernest Rhys is based upon the Latin Life by Rhygyfarch (1057-1099) & upon the later Lives, the earlier English versions have been compared with those of modern scholars, notably the Rev. A. W. Wade Evans, Chancellor Fisher and the late professor Lewis Jones whose pages have been incorporated in some salient episodes of St. David’s Life as here printed and whose aid is most gratefully acknowledged, the division into chapters is made for the first time in this Gregynog volume, printed by Robert Ashwin Maynard and completed in September 1927, the decorations were designed and engraved on wood by Horace Walter Bray and coloured by hand at Gregynog, by the courtesy of the Dean, the picture of St. David on the title page was drawn from a brass, dated 1476 in Hereford Cathedral, Compositor, Richard Owen Jones, Pressman, John Hugh Jones and Herbert John Hodgson, the chapter openings, initial letters and paragraph marks are all drawn with a quill by Bray
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset Comments: fading and discolouration to the outer slipcase otherwise a fine example
£400-600
267
GWASG GREGYNOG PRESS: THE STAR OF SEVILLE 1935 limited edition (154/175) printed and bound at the Press, Newtown, Montgomeryshire, binding design by Blair Hughes-Stanton, bound by George Fisher
Provenance: private collection Somerset
Comments: light fading to cover otherwise fine condition
£300-400
268
GWASG GREGYNOG PRESS: SELECTED POEMS OF W. H. DAVIES 1928 limited edition (28/310) one of twenty five specially bound copies, this is number three, original sage green Morocco, each cover tooled in gilt with three large foliate devices enclosed in two bands of seven lines which continue across the spine, at the head and tail are two further bands of four lines which also continue across the spine, spine with raised bands, outlined in blind and gilt, lettering in gilt, binding design by R. Ashwin Maynard bound by George Fisher, wood engraved frontispiece portrait of the author by Maynard
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
269
GWASG GREGYNOG PRESS: FOUR POEMS BY JOHN MILTON 1933 limited edition (18/250) printed by William Mac Cance at the Press, Newtown, Montgomeryshire and completed January 1933, the text is edited by the Rev. H.C. Beeching, wood engravings designed and engraved by Blair Hughes-Stanton, hand-set in Gill Perpetua type by John Hugh Jones and Idwal Jones, Pressman, Herbert John Hodgson
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: fading to cover, otherwise fine condition
£120-180
270
GWASG GREGYNOG PRESS: CAELICA 1936 limited edition (18/225) by Fulke Greville, Lord Brooke, edited by Una Ellis-Fermor, of this edition, hand-set in thirteen-point Perpetua type, two hundred and twenty five copies have been printed on unbleached Arnold hand-made paper under the direction of James Wardrop at the Gregynog Press
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light fading to the spine, otherwise fine condition
£150-200
271
GWASG GREGYNOG PRESS: XXI WELSH
GYPSY FOLK TALES 1933, limited edition (18/250) compiled by John Sampson, printed by William MacCance, wood engravings by Agnes Miller-Parker, hand-set in Bembo type by Idris Jones, Pressman, Herbert John Hodgson, text edited by Miss Dora E. Yates printed on Portal’s hand-made paper
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light marks to cover, otherwise fine condition
£300-500
272
GWASG GREGYNOG PRESS: DON QUIXOTE AN INTRODUCTORY ESSAY IN PSYCHOLOGY 1934 limited edition (18/250) by Salvador de Madariaga, designed and bound by George Fisher, hand-set in Baskerville hand-made paper
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light marks to cover otherwise fine condition
£120-180
Comments: light marks to cover, otherwise fine condition
£100-150
273
GWASG GREGYNOG PRESS: EREWHON 1933 limited edition (28/300) by Samuel Butler, printed by William MacCance, the engravings were designed and engraved on wood by Blair Hughes-Stanton, hand-set in Baskerville type by Richard Owen Jones and Idris Vaughan Jones, Pressman, Herbert John Hodgson
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light marks to cover, otherwise fine condition
£100-150
274
GWASG GREGYNOG PRESS: GWELEDIGAETHEU Y BARDD
CWSC / VISIONS OF THE SLEEPING BARD 1940, limited edition (23/175) author Ellis Wynne, in Welsh and English, hand-set in Bembo type, printed under the direction of James Wardrop on Barcham Green hand-made paper at the Press, the Welsh text had been prepared by J. E. Caerwyn Williams, the frontispiece is from a wood-engraving by Blair Hughes-Stanton
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: slight fading to spine, otherwise fine condition
£150-200
275
GWASG GREGYNOG PRESS: JOINVILLE’S HISTORY OF ST. LOUIS 1937, limited edition (18/200) translated by Joan Evans, of this edition, hand-set in 16 point Poliphilus type, printed under the direction of James Wardrop on paper hand-made by Arnold and Foster at Eynsford, Kent. The initials and headings were designed by Alfred J Fairbank and cut in wood by R. John Beedham, the hand-coloured armorial ornaments identified by A van der Put, drawn and engraved in wood by Reynolds Stone, the maps were drawn by Berthold Wolpe and lettered by Alfred J Fairbank
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light marks to book cover, light shelf wear to the outer box, otherwise fine condition
£700-1,000
276
GWASG GREGYNOG PRESS: EROS AND PSYCHE, 1935 limited edition (unnumbered) bound to three hundred copies, the poem has been reprinted by courtesy of Mrs. Robert Bridges and of the Oxford University Press, the engravings have been made from drawings in the Ruskin Drawing School, Oxford by kind permission of Albert Rutherston, Ruskin Master of Drawing
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light marks to cover and slipcase otherwise fine condition
£500-800
277
GWASG GREGYNOG PRESS: THE PLAYS OF EURIPIDES 1931, limited edition (18/500) translated by Gilbert Murray and printed by permission of Messrs. Allen & Unwin, the subjects for the engravings were chosen by T. B. L Webster whose assistance to the engravings is gratefully acknowledged, printed by Robert Ashwin Maynard at the Press and completed June 1931, Compositors, John Hugh Jones, Idris Vaughan Jones and Richard Owen Jones, Pressman, Herbert John Hodgson
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: fine condition
£1,800-2,500
278
GWASG GREGYNOG PRESS: a collection of Gregynog Festival programmes, including, National Council of Music Annual Conference at Gregynog 1933, On the Morning of Christs Nativity by John Milton, Festival of Music and Poetry 1933, A Concert 1932, The Gregynog Festival 1958, A Concert of Chamber and Vocal Music 1931, Congress of the Guild for the Promotion of Welsh Music etc, approximately thirty one in total (qty)
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: many of the programmes have foxing
£300-400
279
GWASG GREGYNOG PRESS: a collection of Gregynog Order of Service programmes including Distressed Areas of South Wales 1937, Social Reconstruction in South Wales, Tenth Annual Conference 1939, Girls Club in Wales 1939, League of Nations Union 1937 and many Funeral Order of Service booklets, twenty five in total, together with five unsigned woodblock prints (qty)
Provenance: the Davies sisters of Gregynog Hall and by descent via family branch based in Somerset
Comments: light shelf wear otherwise all fine condition
£200-400
280
FINE SWANSEA PORCELAIN LONDON DECORATED PORCELAIN
PLATE circa 1821, of small size and having a moulded border with c-scrolls, painted in London by J Bradley and Co with ‘Grey-Headed Green Woodpecker’ and titled as such in red italics to the base, the bird perched on a tree-stump with a rustic fence beyond, the border painted with fruit and flower sprigs within a gilt dentil rim, 20cms (diam.)
Auctioneer’s Note: decorated after 1821 at the Bradley workshop Pall Mall. Examples from the service are in the National Museum of Wales, Cardiff and at the Andrews Collection at Plas Glyn y Weddw, Llanbedrog. The bird paintings for this service were after George Edwards’s ‘Natural History of Uncommon Birds’.
Provenance: private collection London, previously from the collection of Gwyneth and the late Ieuan Evans
Comments: light marks, no problems, very fine example # £600-900
281
LLANELLY POTTERY
PLATE circa 1910, painted by Samuel Shufflebotham with black cock and hen on a sponged ground, green line borders, shaped rim, printed mark, 24.5cms (diam.)
Provenance: private collection Cheshire
Comments: fine glaze crazing, minor peripheral kiln dust accretion # £300-400
282 PAIR OF LLANELLY POTTERY VASES circa 1910, waisted form with three loop handles, painted by Samuel Shufflebotham with flowering briar rose branches, broad line and scalloped borders, 21cms (h) (2)
Provenance: private collection Cheshire
Comments: one with restored handle # £200-300
283
LLANELLY POTTERY JARDINIÈRE circa 1910, painted by Samuel Shufflebotham with black cock and hen on a sponged ground, green line borders, moulded wavy rim, 20cms (diam.)
Provenance: private collection Cheshire
Comments: restored cracks # £200-300
284
LLANELLY NAMED & DATED
POTTERY MUG painted by Samuel Shufflebotham with fruiting cherry branch, green line borders, inscribed, ‘A Present for Merveny L. Jones, Llanelly 1914’, printed mark, 7.5cms (h)
Auctioneer’s Note: illustrated in Gareth Hughes & Robert Pugh, Llanelly Pottery, 1990, image 170.
Provenance: private collection Cheshire
Comments: glazed finely crazed, hairline cracks #
£200-300
286
LLANELLY POTTERY TEA PLATE circa 1910, painted by Samuel Shufflebotham with glowering briar rose branch, named ‘Irene’ to the border, signed with initials S.W.S., grey line borders, shaped rim, 22.2cms (diam.)
Provenance: private collection Cheshire
Comments: rim chip #
£200-300
287
MODERN EWENNY ‘Y MOCHYN’ ZOOMORPHIC JUG, sgraffito decorated mustard glaze, double loop strap handle, 14.5cms (h)
Provenance: private collection Hampshire
Comments: good overall, unsigned # £100-200
285
LLANELLY POTTERY BASKET circa 1910, painted by Samuel Shufflebotham with flowering briar rose branch, green loop overhandle and scalloped shaped rim, 17.7cms (diam.)
Provenance: private collection Cheshire
Comments: glaze crazed, minor staining, fritting retouched, minor rim restoration # £200-300
Tuesday / Dydd Mawrth 21.4.26
Welsh Art Collection Builders: Offered Without Reserve
Celf Cymreig am Adeiladu eich Casgliad: Heb Brisiau Cadw
288
‡ PAUL PETER PIECH (American, lived / worked Wales, 1920-1996) limited edition (23/25) woodcut print - quote from Japanese poet Yosa Buson entitled, ‘The Whale’’, signed and dated 1991, 64 x 45cms
Provenance: private collection Suffolk Comments: mounted on board
£100-150
289
‡ PAUL PETER PIECH (American, lived / worked Wales, 1920-1996) limited edition (2/25) woodcut print - quote from Japanese poet Natsume Sseki ‘O Leaves Ask the Breeze..’, signed and dated 1991, 64 x 45cms
Provenance: private collection Suffolk Comments: mounted on board
£100-150
290
‡ PAUL PETER PIECH (American, lived / worked Wales, 1920-1996) limited edition (20/25) woodcut print - quote from Japanese poet Mokudô entitled, ‘Wheat Field’, signed and dated 1991, 45 x 64cms
Provenance: private collection Suffolk Comments: mounted on board
£100-150
291
HOW GREEN IS MY VALLEY (1941) mini movie print for John Ford’s Oscar winning movie with signatures of the cast including, Maureen O’Hara, Walter Pidgeon, Donald Crisp, Anna Lee and Roddy McDowall, image size 40 x 27cms
Provenance: private collection Pembrokeshire
£100-150
292
EDGAR HOLLOWAY (1914-2008) limited edition (14/50) etching - entitled ‘Wolstonbury’, signed, 17.5 x 26cms
Provenance: no ARR, consigned via our Mid-Wales office
£100-150
293
‡ MARY LLOYD JONES (b.1934) limited edition (3/20) lithograph - entitled, ‘Cwm Rheidol’, signed and dated 1993, 25 x 35cms
Provenance: private collection Conwy £200-300
294
EDGAR HOLLOWAY (1914-2008) limited edition (18/50) etching - entitled verso ‘Self Portrait No. 19, Summer of 84’, signed, 20 x 16cms
Provenance: no ARR, consigned via our Mid-Wales office
Comments: mounted, signs of foxing £100-150
295
‡ JOHN KNAPP FISHER (1931-2015) limited edition (316/500) print - Abereiddy Cottages, fully signed in pencil, dated 1997, 17 x 35cms
Provenance: private collection Surrey £150-250
296
‡ CLAUDIA WILLIAMS (1933-2024) five etchings - domesticity and family life, each signed with initials, various sizes the largest being, 25 x 29cms
Provenance: private collection Oxfordshire £100-150
297
‡ SIR FRANK BRANGWYN RA (1867-1956) etching - entitled verso, ‘Church of Notre Dame’, signed, 58 x 76cms
Provenance: private collection Swansea £150-250
298
‡ SIR FRANK BRANGWYN RA (1867-1956) etching - entitled verso, ‘Apse of St. Walburgh Furnes’, signed, 38 x 43cms
Provenance: private collection Swansea £100-150
299
‡ SIR FRANK BRANGWYN RA (1867-1956) etching - entitled verso, ‘Barges, Bruges’, signed, 35 x 38cms
Provenance: private collection Swansea
Comments: mounted
£100-1500
300
‡ SIR FRANK BRANGWYN RA (1867-1956) etching - entitled verso, ‘The Black Mill, Winchelsea’, signed, 58 x 68cms
Provenance: private collection Swansea
Comments: mounted
£100-200
301
‡ SIR FRANK BRANGWYN RA (1867-1956) etching - entitled verso, ‘Old Houses, Ghent’, signed, 55 x 60cms
Provenance: private collection Swansea
Comments: mounted
£100-200
302
‡ JOHN KNAPP-FISHER (1931-2015) limited edition (14/500) print - cyclists on the harbour wall, signed, 16 x 47cms
Provenance: private collection Wiltshire
£150-250
303
‡ JOHN PIPER (1903-1992) screen print on fabric - entitled verso ‘Northern Cathedral’, for Sanderson & Co, circa 1960, 37 x 70cms
Provenance: private collection Cheshire
£250-350
304
‡ FRANK LLOYD-WRIGHT (American 1867-1959) screenprint on linen - entitled verso, ‘Taliesin’, for F. Schumacher & Co, circa 1950s, 42 x 42cms
Provenance: private collection Cheshire
£150-250
305
‡ JOHN PIPER (1903-1992) screenprint on fabric - entitled verso, ‘Glyders’, for Sanderson & Co, circa 1960s, 68 x 45cms
Provenance: private collection Cheshire
£300-400
306
‡ CHARLES FREDERICK TUNNICLIFFE (1901-1979) etching - entitled verso, ‘Feeding Cattle’ on Welsh Arts Council label, signed, dated verso circa 1928, 22 x 19cms
Provenance: private collection Gloucestershire, No.37 in Catalogue Raisonne produuced by Prof Robert Meyrick and Harry Heuser (2017 by Royal Academy Publications)
£150-250
307
‡ WILLIAM SELWYN (b.1933) limited edition (277/500) print - fisherman collecting fishing nets, signed, 36 x 58cms
Provenance: private collection Flintshire
£60-80
308
‡ WILLIAM SELWYN (b.1933) limited edition (196/500) print - entitled verso ‘Llanberis Pass’, signed, 41 x 58cms
Provenance: private collection Flintshire
£60-80
309
‡
WILLIAM SELWYN (b.1933) limited edition (50/400) print - fisherman digging, fully signed in pencil, 13 x 18cms
Provenance: private collection Flintshire
£60-80
310
‡
WILLIAM SELWYN (b.1933) limited edition (55/500) print - Time for a Cuppa, fully signed in pencil, 40 x 29cms
Provenance: private collection Flintshire
£60-80
311
‡ WILLIAM SELWYN (b.1933) limited edition (65/300) print - herding sheep, fully signed in pencil, 29 x 40cms
Provenance: private collection Flintshire
£60-80
312
‡ WILLIAM SELWYN (b.1933) limited edition (21/300) print - entitled ‘Codi Tatws’, fully signed in pencil, 25 x 28cms
Provenance: private collection Flintshire
£60-80
313
‡ WILF ROBERTS (1941-2016) limited edition (7/125) print - entitled ‘Caer Salem’, signed, 25 x 25cms
Provenance: private collection Carmarthenshire
£60-80
314
‡ JOHN PIPER (1903-1992) open edition print - Caernarfon Castle, 35 x 52cms
Provenance: private collection Carmarthenshire
£100-150
315
‡ JOSEF HERMAN & JOHN PIPER limited edition (113/150) lithograph - ‘For the Investiture of the Prince of Wales’, poem by Cecil Day-Lewis flanked by Herman print entitled ‘The Miners’ and Piper print entitled ‘The Dragon’, signed by all three, 46 x 73cms
Provenance: private collection Carmarthenshire
£100-150
316
‡ JAMES DONOVAN (British, b.1974)
acrylic on paper - entitled ‘Dado’s Hat’, signed and titled on label verso, 28 x 25.5cms
Provenance: private collection Cardiff
£150-200
317
JOHN INIGO RICHARDS (1731-1810)
watercolour - entitled, ‘Chepstow Castle, North View’, signed and dated 1765, 23 x 33cms
Auctioneer’s Note: similar view by the artist in oils held at the National Museum of Wales, In 1788, Richards was elected Secretary of the Royal Academy, a position he held until his death. He lived in official apartments at Somerset House and was responsible for cataloguing the Academy’s collection. He was the principal scene painter at the Theatre Royal, Covent Garden for over 25 years (1777-1803).
His theatrical backgrounds were highly acclaimed, and he even designed the Chestnut Street Theatre in Philadelphia for his brother-in-law. In 1791, he was famously paid 12 guineas to restore Leonardo da Vinci’s cartoon The Virgin and Child with St Anne and St John the Baptist, which was then in the Academy’s possession
Provenance: private collection Gwynedd, formerly in the ownership of academic Dewi Prys-Thomas, by descent
£200-300
318
‡ CLAUDIA WILLIAMS (1933-2024) pastelentitled verso, ‘Holy Family’, signed with initials, 23 x 23cms
Provenance: private collection Pembrokeshire
£150-250
319
‡ WILLIAM SELWYN (b.1933) mixed media - entitled verso, ‘Steamer by the Sea’ on Albany Gallery label, signed, 16 x 20cms
Provenance: private collection Cardiff
£200-300
320
‡ JANE CORSELLIS (b.1940) watercolourentitled verso, ‘Winter Walk, Newport, Pembrokeshire’ on Albany Gallery label, signed, 23 x 32cms
Provenance: private collection Cardiff
£150-250
321
‡ WILLIAM SELWYN (b.1933) watercolour - landscape with arched stone bridge, signed, 28 x 40cms
Provenance: private collection Cardiff
£150-250
322
‡ DAVID GROSVENOR (b.1956) watercolour - entitled verso, ‘Llyn Trawsfynydd’, signed, 37 x 54cms
Provenance: deceased estate
Buckinghamshire
£100-150
323
‡ ALWYN DEMPSTER JONES (b.1949) pastel - entitled verso, ‘Y Carneddau’, signed, 33 x 49cms
Provenance: deceased estate
Buckinghamshire
£150-250
324
JOHN CUTHBERT SALMON (1844-1917) watercolour - farmworker on the banks of the River Conwy, near Bodnant Hill, signed, 57 x 87cms
Provenance: private collection Cardiff
£150-250
325
EDGAR HOLLOWAY (1914-2008) pencil and ink on paper - three drawings depicting the artist’s brother Eric, two are signed and dated 1933 and 1937, 32 x 20cms, 27 x 22cms and 38 x 28cms
Provenance: no ARR, consigned via our Mid-Wales office
£100-200
326
EDGAR HOLLOWAY (1914-2008) pencil and ink on paper - a group of pencil and ink sketches depicting farmers at work entitled ‘The Deluge’ and two others entitled, ‘Rickmansworth’ signed and dated 1941, various sizes, the two larger 39 x 29cms
Provenance: no ARR, consigned via our Mid-Wales office
£100-200
327
EDGAR HOLLOWAY (1914-2008) three pencil on paper drawings - entitled, ‘Temple’, 30 x 23cms, ‘The Savoy Chapel’ 28 x 15cms, and ‘Headmaster’s House, Harrow’, all signed and dated, 15 x 11cms
Provenance: no ARR, consigned via our Mid-Wales office
£100-200
328
NEALE HOWELLS (b.1965) mixed media on paper - entitled verso, ‘The Blue Prince’, signed and dated verso 2025, 50 x 38cms
Provenance: no ARR, direct from the artist’s studio, South Wales
£150-200
329
‡ ROGER CECIL (1942-2015) mixed media on paper - semi-abstract landscape with figure, signed, 18 x 44.5cms
Provenance: private collection Pembrokeshire
£200-300
330
‡ ROGER CECIL (1942-2015) mixed media on paperempty landscape with telegraph poles and two standing figures, signed, 18 x 45cms
Provenance: private collection Pembrokeshire
£200-300
331
‡ GEORGE LITTLE (1927-2017) watercolour - entitled verso, ‘Industrial Wasteland’ on Attic Gallery label, signed and dated ‘93, 36 x 52cms
Provenance: private collection Powys
£100-200
332
‡ LESLIE OWEN THOMAS mixed media - a sea wall with harbour, signed, 42 x 62cms
Provenance: private collection Powys
£100-150
333
‡ ALISTAIR CRAWFORD (1945-2025) mixed media - entitled verso, ‘Clarach Beach, Windy Day, Ceredigion’ with University of Art, Aberystwyth label verso, 38 x 56cms
Auctioneer’s Note: Scottish-born artist, art historian, and curator Crawford was a versatile practitioner working across painting, printmaking, photography, and performance. Although born in Fraserburgh, Scotland, he lived in Mid-Wales for nearly four decades from 1974 to 2010, where the local landscape, particularly around Cader Idris, became a central theme in his oil paintings and prints. His work was deeply concerned with the spirit of place, moving from representational depictions of landscape and architecture to what he called landscapes of the mind. He is distinguished as the first person to be appointed a Professor of Art in the history of Wales, a title he held at Aberystwyth University, and he was awarded the Gold Medal in Fine Art at the Royal National Eisteddfod of Wales in 1985, which was the first time the prize was given to a printmaker.
Provenance: private collection Powys
£100-150
334
‡ DARREN REES (b.1961)
watercolour - a group of four Bohemian Waxwings perched on a branch, signed, 32 x 44cms
Auctioneer’s Note: former designer and illustrator for RSPB Wales
Provenance: private collection Powys
£100-150
335
‡ JAN GREGSON (b.1949) mixed media - entitled verso, ‘Red After Rain’ on West Wales Arts Centre, Fishguard label, signed, 33 x 29cms
Provenance: private collection Powys
£150-250
336
‡ DAVID WOODFORD (b.1938) watercolour - Eryri landscape, possibly Aran Fawddwy, mid-Wales, signed, 23 x 26cms
Provenance: private collection Powys
Comments: faded
£70-100
337
‡ TERENCE LAMBERT (b.1951)
watercolour - a trio of bird studies, a Pied Flycatcher, nesting Sandwich Terns and Rock Garnets, each signed individually, three different sizes the largest being 13 x 8cms
Provenance: private collection Powys, believed to be original illustrations for ‘Collins British Birds’ published in 1982
£100-200
338
‡ GWILYM PRICHARD (1931-2015) seven preliminary watercolourslandscapes, two signed, all similar sizes, 26 x 36cms
Provenance: private collection Oxfordshire
£200-300
339
‡ DIONNE SIEVEWRIGHT (b.1973) mixed media - entitled verso, ‘Solitary Cottage’ on Albany Gallery label, signed verso, 17 x 17cms
Provenance: private collection Cardiff
£200-300
340
‡ DAVID GROSVENOR (b.1956) watercolour - entitled verso, ‘Magnolia Stellata’, signed, 45 x 64cms
Provenance: private collection
Denbighshire
£100-150
341
‡ DAVID GROSVENOR (b.1956) watercolour - entitled verso, ‘Pink Peonies, Camassia and Soloman’s Seal’, signed, 53 x 73cms
Provenance: private collection
Denbighshire
£150-250
342
‡ DAN LLYWELYN HALL (b.1980) mixed media - entitled verso, ‘Horned for Study II’, signed and dated verso 2005, 23 x 31cms
Provenance: private collection Vale of Glamorgan
£200-300
343
‡ RAY HOWARD-JONES (1903-1996) gouache - entitled verso, ‘Goats in Suffolk Farmyard’ on Rocket Contemporary Art Gallery, Oxfordshire label, signed, dated verso 1974, 35 x 52cms
Provenance: private collection Powys
£150-250
344
‡ RAY HOWARD-JONES (1903-1996) gouache - The Old Farm, Skomer Island, signed and dated ‘60, 38 x 54cms
Auctioneer’s Note: The Old Farm on the Pembrokeshire island, was working until the early 1950s, between 1949 and 1958, the artist and her partner, photographer Raymond Moore, lived on the then-uninhabited island as its resident caretakers
Provenance: private collection Powys
£150-250
345
‡ RAY HOWARD-JONES (1903-1996) gouache - entitled verso, ‘Resurgent’, on The Sackville Gallery label, signed and dated ‘67, 32 x 40cms
Provenance: private collection Powys
£150-250
346
‡ RAY HOWARD-JONES (1903-1996) gouache - entitled verso, ‘Autumn Field’ on Rocket Contemporary Art Gallery, Oxfordshire label, signed, dated verso circa 1950s, 38 x 46cms
Provenance: private collection Powys
£150-250
347
‡ ROBERT MACDONALD (b.1935) mixed media on torn paper - entitled verso, ‘Shearing in the Shed, Wernfawr’, signed, dated verso 2015, 21 x 30cms
Provenance: private collection Powys
£100-150
348
‡ ERIC MALTHOUSE (1914-1997) ink and watercolour - figure standing under a kitte of pigeons, signed, 15.5 x 15.5cms
Provenance: private collection Powys
£100-150
349
A E MARTIN (fl.1920s) watercolourAberystwyth from Constitution Hill, entitled verso, ‘Aberystwyth’, signed with initials, 27 x 38cms
Provenance: private collection Nottinghamshire, artist best known for Railway poster design including an Aberystwyth poster for GWR with a similar view
£70-100
350
JOHN THOMAS PARRY (1853-1913) watercolours (a pair) - entitled verso, ‘Monk in a Landscape’, 10 x 13cms, and another with the National Library of Wales stamp verso, both signed verso, 12 x 14cms
Auctioneer’s Note: John Thomas Parry known by the bardic name ‘AP Idwal’ was a Welsh quarryman-turned painter celebrated for his landscape, mountain and sea paintings often produced on slate, working in an impressionist style, he captured scenes of North Wales and Eryri (Snowdonia), with his work featured in museums such as the National Library of Wales.
Provenance: private collection Nottinghamshire £150-250
351
‡ KARL DAVIES (b.1971) ink and watercolour - two seated miners, signed with initials, 13 x 19cms
Provenance: private collection Cardiff £150-250
352
ERNEST ZOBOLE (1927-1999) oil on canvas - semi-abstract landscape at night, 19.5 x 25cms
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £200-300
353
ERNEST ZOBOLE (1927-1999) oil on canvas - street scene at night, 17 x 12cms
Provenance: from collection held by The Estate of Ernest Zobole, no ARR applicable £200-300
354
‡ WILLIAM SELWYN (b.1933) mixed media - beaching a boat, signed with initials, 9 x 14cms
Provenance: private collection Flintshire
£150-250
355
‡ WILLIAM SELWYN (b.1933) watercolour and pencil - entitled ‘Trafodaeth (Discussion)’, signed in pencil, 14 x 20cms
Provenance: private collection Flintshire
£150-250
356
DAVID COX (1783-1859) watercolourlandscape with figures in Welsh costume, signed, 16 x 26cms
Provenance: private collection Wiltshire
£100-150
357
DAVID COX (1783-1859) watercolourentitled verso ‘Llanthony Abbey’, preliminary sketch of figures on the reverse of the painting dated 1926, 16 x 22cms
Provenance: private collection Wiltshire
£100-150
Lots 358-397
358
‡ ANDREW DOUGLAS-FORBES (b.1967) oil on board - Swansea town from the marina, signed, 13 x 51cms
Provenance: private collection Gwent
£250-350
359
‡ OSIAN GWENT (Welsh Contemporary) oil on canvas - entitled verso, ‘Queen Elizabeth II’ with Osian Studio stamp verso, signed and dated 2022, 120 x 100cms
Provenance: private collection Powys, with Certificate of Authenticity
£150-250
360
‡ SELWYN JONES (1928-1998) oil on canvas - entitled verso, ‘Lleiniog’ (striped), signed verso, 16.5 x 24cms
Provenance: private collection Bristol
£150-250
361
‡ JOHN WRIGHT (1931-2013) oil on board - semi-abstract coastal-scene with cliffs, signed, 45 x 65cms
Auctioneer’s Note: studied at the Carmarthen School of Art and later became the principal of Newport College of Art and Design, John Wright was a painter, film-maker, writer, and teacher, known for his association with the ‘56 Group and as its youngest member. His art is held in collections internationally, including the National Museum of Wales and the BBC.
Provenance: private collection Somerset £150-250
362
‡ MATTHEW WOOD (b.1973) oil on board - entitled verso, ‘Conwy from the East’ on Ffin-y-Parc Gallery label, signed verso, dated 2022, 12.5 x 27cms
Provenance: deceased estate
Buckinghamshire
£200-300
363
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Nant Ffrancon’ on Ffin-y-Parc Gallery label, signed, 20 x 28cms
Provenance: deceased estate
Buckinghamshire
£200-300
364
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Tryfan and Llyn Ogwen’, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
365
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Snowdon, Winter’ on Ffin-y-Parc Gallery label, signed, 15 x 15cms
Provenance: deceased estate
Buckinghamshire
£150-250
366
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Y Garn, Nant Ffrancon’ on Ffin-y-Parc Gallery label, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
367
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Snowdon’s South Ridge’, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
368
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Mynydd Graig Goch’ on Ffin-y-Parc Gallery label, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
369
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Yr Wyddfa ac Yr Aran’ on Ffin-y-Parc Gallery label, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
370
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Y Garn a Mynydd Mawr, Rhyd Ddu’ on Ffin-y-Parc Gallery label, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-300
371
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Llandudno’ on Ffin-y-Parc Gallery label, signed, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
372
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Porth Cwyfan, Anglesey’ on Ffin-y-Parc Gallery label, signed, 19 x 19cms
Provenance: deceased estate
Buckinghamshire
£200-300
373
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Yr Wyddfa from Llynnau Mymbyr I’ on Ffin-y-Parc Gallery label, signed, 19 x 19cms
Provenance: deceased estate
Buckinghamshire
£150-300
374
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Glyder Fawr a Chastell y Gwynt’ on Ffin-y-Parc Gallery label, signed and dated 2013, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
375
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Nant Gwynant I’ on Ffin-y-Parc Gallery label, signed, 19 x 19cms
Provenance: deceased estate
Buckinghamshire
£150-250
376
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Llyn Gwynant’, signed verso, 12 x 17cms
Provenance: deceased estate
Buckinghamshire
£150-250
377
‡ DAVID GROSVENOR (b.1956) oil on canvas - entitled verso, ‘Crib Goch from Dinorwig’, signed, 19 x 19cms
Provenance: deceased estate
Buckinghamshire
£150-250
378
‡ MATTHEW WOOD (b.1973) gouache on board - locomotive engine and shed, entitled verso, ‘Boston Lodge - 190 (Lyd)’ on Ffin-y-Parc Gallery label, signed verso, dated 2024, 61 x 46cms
Auctioneer’s Note: Boston Lodge Works, located near Porthmadog in North Wales, is the world’s oldest operational railway workshop, serving as as the primary engineering hub for the Ffestiniog and Welsh Highland Railways. The works is unique for having built steam locomotives across three centuries: the 19th, 20th, and 21st.
Provenance: deceased estate
Buckinghamshire
£150-250
379
‡ WYN HUGHES (b.1965) oil on boardentitled verso, ‘Pen Towyn’, signed with initials, signed and dated verso 2011, 20 x 30cms
Provenance: deceased estate
Buckinghamshire
£150-250
380
‡ MATTHEW WOOD (b.1973) oil on board - entitled verso, ‘Lake Vyrnwy - Dusk Study’ on Ffin-y-Parc Gallery label, signed verso, 19 x 14cms
Provenance: deceased estate
Buckinghamshire
£150-250
381
‡ DAVID LLOYD GRIFFITHS (b.1956) oil on board - entitled verso, ‘Snow-capped Snowdon from Dyffryn Mymbyr’ on Ffin-y-Parc Gallery label, signed, 18 x 42cms
Provenance: deceased estate
Buckinghamshire
£200-300
382
‡ ROB POINTON (b.1982) oil on boardentitled verso, ‘Community Beneath the Mountains, Blaenau Ffestiniog’ on Ffin-yParc Gallery label, signed, 39 x 39cms
Provenance: deceased estate
Buckinghamshire
£200-300
383
NEALE HOWELLS (b.1965) mixed media on glass - entitled verso, ‘Aberavon’, signed and dated verso 2022, 128 x 30.5cms
Provenance: no ARR, direct from the artist’s studio, South Wales
Comments: unframed glass panel
£200-300
384
‡ JOHN ROGERS (b.1939) oil on canvas - entitled verso, ‘Visiting the Koubba, Morocco’, signed and dated ‘84, 61 x 66cms
Provenance: private collection Ceredigion £100-200
385
‡ J W FROST (Welsh Contemporary based in Swansea) acrylic and resin on boardentitled verso, ‘Quiet Evening’ on South Gower Galleries label, signed and dated verso 2018, 40 x 30cms
Provenance: private collection Powys, artist AKA Jo Frost £200-300
386
‡ PETER MORGAN (b.1970) acrylic on card - entitled verso, ‘The Red Shirt’ on Albany Gallery label, signed, 25 x 15cms
Provenance: private collection Cardiff £200-300
387
‡ PETER GORSUCH oil on board - entitled verso, ‘Snowdonia’, signed with initials, signed verso, 29 x 28cms
Provenance: private collection Vale of Glamorgan £200-300
388
‡ ELEANOR BROOKS (1925-2022) oil on panel - inscribed verso, ‘Abersoch’, signed, 24 x 34cms
Provenance: private collection Oxfordshire £100-150
389
‡ MEGAN HOPCYN JONES (1936-2018) oil on board - entitled verso, ‘Inlet 3’ from the series, ‘Far Horizons: Newfoundland Landscapes’, signed, dated verso 1996, 25 x 30cms
Provenance: private collection Powys £150-250
390
‡ OGWYN DAVIES (1925-2015) oil and collage on board - entitled verso, ‘Rust’, signed verso, 27 x 62cms
Provenance: private collection Nottinghamshire £200-300
391
‡ OGWYN DAVIES (1925-2015) oil and collage on board - abstract, signed, 99 x 38cms
Provenance: private collection Nottinghamshire £200-300
392
‡ ELFYN JONES (b.1939) oil on canvasentitled verso, ‘The Searchers’, signed verso, 71 x 61cms
Provenance: private collection Rhondda Cynon Taf £150-250
393
‡ CLAUDIA WILLIAMS (1933-2024) oil on board sketchentitled verso ‘Nu Chambre Bleu’, signed, 36 x 53cms
Provenance: private collection Denbighshire
£150-250
394
‡ DAVID LLOYD GRIFFITH (b.1956) oil on board - entitled verso ‘Dusk - Craig y Forwyn, Llanddulas’, signed with initials, signed and dated verso 1997, 44 x 49cms
Provenance: private collection Conwy
£200-300
395
‡ DAVID WOODFORD (b.1938) oil on board - entitled verso ‘Blustery, Nant Ffrancon’, signed, 19 x 22cms
Provenance: private collection Wiltshire, with accompanying David Woodford exhibition catalogue
£200-300
396
‡ IOLA EDWARDS (b.1987) oil on canvas - entitled verso ‘Tua’r Gader’ on Oriel Seren label, signed, 51 x 60.5cms
Provenance: private collection Ceredigion
Comments: good overall
£150-250
397
‡ AUBREY FRANCIS SYKES (1910-1995) oil on boardBarmouth Harbour, signed and dated 1951, 37 x 50cms
Auctioneer’s Note: Sykes was elected R.I in 1940 and also exhibited regularly with the R.A.
Provenance: private collection Cardiff £100-200
Lots 398-401
398
‡ NEIL DALRYMPLE (b.1949) freestanding stoneware ceramic - anatomical study of a woodpecker on tree trunk, signed and verso dated 2010, 38 (h) x 25 (w) x 8cms
Provenance: private collection
Buckinghamshire
Comments: unboxed, fine condition
£100-200
399
‡ NEIL DALRYMPLE (b.1949) freestanding stoneware ceramic - anatomical study of an oystercatcher, signed, 18 (h) x 22cms (w)
Provenance: private collection
Buckinghamshire
Comments: unboxed, fine condition
£150-250
400
‡ NEIL DALRYMPLE (b.1949) freestanding stoneware ceramic - anatomical study of a cormorant drying its wings, signed and dated 2010, 55 (h) x 30cms (w)
Provenance: private collection Buckinghamshire
Comments: unboxed, fine condition
£150-300
401
‡ PAUL WEARING CERAMICS - three pieces of studio pottery, two ‘cylinders’, both being 14cms (diam.), 15cms (h) and the shorter 7cms (h), and an ‘ellipse’, 18 (h) x 28cms (w) (3)
Provenance: private collection Rhondda Cynon Taf
Comments: without apparent issues
£100-150
• Browse, Expand Images, Leave Commission Bids and/or Bid Live Online
• To request a commission bidding form (paper format) or to book telephone bids please call
02920 708125
• For room bidding please register at the saleroom on arrival
No online-bidding surcharges for bidding through www.rogersjones.co.uk bidding platform (providing that you do not use the same log-in details as you use on www.the-saleroom.com).
Printed by Park Communications, a carbon neutral company.
Park works to the EMAS standard and its Environmental Management System is certified to ISO 14001.
This publication has been manufactured using 100% offshore wind electricity sourced from UK wind.
100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy.
This document is printed on Magno Satin made of material from well-managed, FSC®-certified forests and other controlled sources.
This is a certified climate neutral print product for which carbon emissions have been calculated and offset by supporting recognised carbon offset projects. The carbon offset projects are audited and certified according to international standards and demonstrably reduce emissions. The climate neutral label includes a unique ID number specific to this product which can be tracked at www.climatepartner.com, giving details of the carbon offsetting process including information on the emissions volume and the carbon offset project being supported.
