Modern British & Irish Art - 31 March, 14:00

Tuesday 31 March 2026, 14:00

Modern British & Irish Art

Tuesday 31 March 2026, 14:00

Viewing exclusively at the Barley Mow Centre, W4 4PH

Friday, 27 March 17:00 - 20:00 Preview evening

Saturday, 28 March 11:00 - 15:00

Sunday, 29 March 11:00 - 15:00

Monday, 30 March 10:00 - 17:00

Tuesday, 31 March 10:00 - 12:00 (auction begins at 14:00)

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Meet the Specialists

James Flower

Head of Pictures

Head of Modern British & Irish Art

james.flower@chiswickauctions.co.uk

+44 (0)20 3089 6874

Emily Smaje

Junior Specialist

emily.smaje@chiswickauctions.co.uk

+44 (0)20 3089 6888

Megan Peters

Department Coordinator

megan.peters@chiswickauctions.co.uk

+44 (0)20 3089 6855

Get in touch

Gallery: Barley Mow Centre, Chiswick, W4 4PH Collections: 1 Roslin Square, Roslin Rd, W3 8DH modbrit@chiswickauctions.co.uk chiswickauctions.co.uk

1 §

Ken Howard O.B.E. R.A. (British, 1932-2022)

Sennen Summer signed ‘Ken Howard’ (lower right) oil on canvas

41 x 30.5 cm. (16 x 12 in.)

£2,000 - 3,000

Provenance

With Manya Igel Fine Arts, London, 12 February 2002, where purchased by the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

Sennen Beach, Cornwall signed ‘Ken Howard’ (lower right) oil on canvas

45.5 x 61 cm. (18 x 24 in.)

£4,000 - 6,000

Provenance

Private Collection, U.K

Their sale; Chiswick Auctions, London, 21 May 2019, where purchased by the family of the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

San Giorgio Maggiore signed ‘Ken Howard’ (lower right) oil on board

Painted in 2001

23 x 27.5 cm. (9 1/4 x 11 in.)

£1,000 - 2,000

Provenance

With Manya Igel Fine Arts, London, 12 February 2002, where purchased by the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

The Campanile signed ‘Ken Howard’ (lower right) oil on canvasboard

40.5 x 31 cm. (16 x 12 1/4 in.)

£1,500 - 2,500

Provenance

With Manya Igel Fine Arts, London, 12 February 2002, where purchased by the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

Salute Morning signed ‘Ken Howard’ (lower right) oil on board

24 x 30.5 cm. (9 1/2 x 24 in.)

£1,500 - 2,500

Provenance

With Manya Igel Fine Arts, London, 12 February 2002, where purchased by the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

Dora Reflecting signed ‘Ken Howard’ (lower right) oil on board

39 x 29 cm. (15 3/8 x 11 3/8 in.)

£2,500 - 3,500

Provenance

With Manya Igel Fine Arts, London, 12 February 2002, where purchased by the present owner

Ken Howard O.B.E. R.A. (British, 1932-2022)

Dora, St Clements Morning signed ‘Ken Howard’ (lower right) oil on board

33.5 x 27.5 cm. (13 1/4 x 10 3/4 in.)

£2,500 - 3,500

Provenance

With Manya Igel Fine Arts, London, 9 March 2000, where purchased by the present owner

8 §

William Wilson O.B.E. R.S.A. R.S.W. (British, 1905-1972)

Gondolas, Venice

signed and dated ‘W Wilson 1953’ (lower right)

pencil and watercolour

45 x 62.5 cm. (17 3/4 x 24 5/8 in.)

£800 - 1,200

Provenance

With The Scottish Gallery, Edinburgh

Sale; Lyon and Turnbull, Edinburgh, 4 December 2020, lot 169, where purchased by the present owner

John Alfred Arnesby Brown R.A. (British, 1866-1955)

Reedham Hill signed ‘Arnesby Brown’ (lower right, beneath the frame) oil on board

Painted in 1927

22 x 27 cm. (8 5/8 x 10 5/8 in.)

£1,500 - 2,500

Provenance

With L.R.Nightingale, Paston House Art Galleries, Norwich

Sir George Clausen R.A. R.W.S. (British, 1852-1944)

Sundown signed ‘G.Clausen’ (lower right); further signed with initials and dedicated ‘To Prof Baldwin Spencer/in friendship GC’ (lower right of mount)

watercolour and pencil

22.7 x 29.7 cm. (8 7/8 x 11 5/8 in.)

£300 - 500

Provenance

The artist, whom gifted to Sir Baldwin Spencer (1860-1929), from whom acquired by the family of the present owner

Sir George Clausen R.A. R.W.S. (British, 1852-1944)

Island at night signed and dated ‘ G CLAUSEN 1911’ (lower right) gouache on paper laid onto board 23 x 33 cm. (9 x 13 in.)

£400 - 600

Provenance

With J S Maas & Co Ltd, London

From 1909 onwards Clausen was elected Master of the Guild. In 1911-12 Clausen was sending up to a dozen watercolours each year to the Royal Society of Painters. Although it is unclear where the present work depicts, Clausen created works of Parthenon, Nauplia and Corfu. The present lot is thought to have been painted on one of Clausen’s Mediterranean holidays with the Art Workers’ Guild.

12 §

Richard Eurich O.B.E. R.A. (British, 1903-1992)

The Mary Eliza, Lyme Regis signed and dated ‘R. Eurich ‘36’ (lower left) oil on canvas

51.8 x 76.5 cm. (20 x 30 1/8 in.)

£4,000 - 6,000

Provenance

With The Redfern Gallery, London, 19 October 1936, where purchased by Reginald Cockburn, thence by descent to Cecilia Hunter Blackwell

Exhibited

London, The Redfern Gallery, Recent Paintings by Richard Eurich, 19 Oct 1936, cat.no.3

We are grateful to Philippa Bambach for her assistance in cataloguing this lot.

John Eyre R.B.A. (British, 1850-1927)

St Michael’s Church, Coventry signed ‘J. Eyre RBA’ (lower right); further signed, titled and dated ‘St Michael’s Church/Coventry 1916/John Eyre R.B.A. R.I.’ (to a label attached to the frame verso) watercolour

35 x 54.5 cm. (14 x 21 1/2 in.)

£300 - 500

Paul Nash (British, 1889-1946)

Idea for the Set of Ibsen’s Ghosts

watercolour and pencil

Executed circa 1922

22.5 x 24.5 cm. (8 5/8 x 9 5/8 in.)

£3,000 - 5,000

Provenance

With Piccadilly Gallery, London

The Rt. Hon the Lord Clwyd, London Sale; Bonhams, London, 19 March 2019, lot 14, where purchased the present owner

Literature

Gordan Bottomley, Theatre Arts Monthly, ‘The Theatre Work of Paul Nash’, January 1924, USA, pp.38-44.

Executed circa 1922, Idea for the Set of Ibsen’s Ghosts is a rare and captivating watercolour that offers a unique glimpse into the brilliant mind of Paul Nash, one of Britain’s most celebrated Modernist visionaries. While Nash is globally renowned for his haunting landscapes and poignant war art, this exceptional piece highlights a brief, highly sought-after period where he brought his genius to avant-garde theatrical design.

Here, Nash boldly strips away the traditional Victorian clutter of Ibsen’s suffocating tragedy, replacing it with a cavernous, modernist dreamscape where heavy, shadowing archways brilliantly encapsulate the psychological weight of the narrative. The spectral figures and his masterful handling of atmospheric light, culminating in the tragic, luminous dawn at the rear of the stage, demonstrate his unparalleled ability to translate profound emotional tension into striking spatial geometry. Prominently documented in Gordon Bottomley’s 1924 review in Theatre Arts Monthly, this visually arresting work is not merely a set design, but a masterclass in psychological symbolism.

Edward Seago (British, 1910-1974)

Nieuwe Kerk, Delft signed ‘Edward Seago’ (lower left) oil on board

41 x 30 cm. (16 x 11 3/4 in.)

£6,000 - 8,000

Provenance

With Frost & Reed Ltd, London Sale; Sotheby’s, New York, 23 February 2005, lot 68, where purchased by the present owner

Edward Seago remains one of Britain’s most widely celebrated and enduringly popular twentieth-century artists. Entirely self-taught, he developed a fluid, highly assured, and distinctly post-impressionistic style that garnered him immense international acclaim and the devoted patronage of the British Royal Family, most notably Queen Elizabeth The Queen Mother. Though he was deeply rooted in the East Anglian landscape tradition of Constable and Gainsborough, Seago was also an avid traveller. His frequent excursions across the Continent provided a wealth of inspiration, and he held a particular affinity for the waterways, skies, and historic architecture of the Netherlands.

In Nieuwe Kerk, Delft, Seago captures the imposing grandeur of the city’s famous gothic church in a striking nocturnal scene. Towering into the night sky, the church’s illuminated spire serves as a dramatic focal point, rendered with Seago’s characteristic economy of brushstrokes. He masterfully manipulates light and shadow, using warm, earthy tones to pick out the architectural details of the facade against the heavy, dark sky above.

Beneath the monumental stillness of the church, the composition is anchored by a bustling, lively street scene. Flecks of bright pigment and rapid, expressive daubs of paint suggest a crowd of figures milling about the illuminated shop fronts and street lamps. This juxtaposition, the timeless, soaring architecture above and the transient, energetic human activity below, is a testament to Seago’s brilliant ability to capture not just a topographical view, but the specific mood and atmosphere of a fleeting moment.

16 §

William Miller Frazer R.S.A. (British, 1864-1961)

On the Nene near Fotheringhay signed with initials ‘W.M.F.’ (lower left); further signed, titled and dated ‘On the Nene near Fotheringhay/WM Frazer A.R.S.A./aug 1920’ (to label attached to the canvas stretcher) oil on canvas

36 x 44.5 cm. (14 1/8 x 17 1/2 in.)

£300 - 500

Provenance

With Malcolm Innes Gallery, London

Walter Graham Grieve (British, 1872-1937)

Figures on a Beach, Crail signed and titled ‘Crail/Walter G Grieve’ (lower right) oil on board

24.8 x 34.5 cm. (9 3/4 x 13 5/8 in.)

£300 - 500

Provenance

Sale; Phillips, Edinburgh, 1 March 1985, where purchased by the family of the present owner, thence by descent

Albert Daniel Rutherston (British, 1881-1953)

Seated girl signed ‘Albert R. 10’ (lower left); inscribed with dedication and dated ‘For my dear ‘Birdie’ and Schwabe/affectionately-Nov 1935’ (lower left)

pencil

36.5 x 26.6 cm. (14 3/8 x 10 1/2 in.)

£300 - 500

Provenance

With Philip Somerville, from whom gifted to the present owner

19 §

Sylvia Gosse (British, 1881-1968)

Davenet’s Farm signed ‘Gosse’ (lower left) pencil and wash

26.5 x 21 cm. (10 1/2 x 8 1/4 in.)

£300 - 500

20 §

Duncan Grant (British, 1885-1978)

Bather

pen & ink

Executed circa 1926-28

17.8 x 10.8 cm. (7 x 4 1/4 in.)

£700 - 1,000

Provenance

With Rye Art Gallery, Sussex, 9 April 1977, where purchased by the family of the present owner

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

§

Edward Gordon Craig C.H. O.B.E. (British, 1872-1966)

An Elegant Lady in Art Nouveau Dress wash and pen & ink

21.5 x 16 cm. (8 1/2 x 6 1/4 in.)

£300 - 500

Provenance

The artist’s family, from whom acquired by The Piccadilly Gallery, London

With Harry Moore-Gwyn Fine Art, London Sale; Olympia Auctions, London, 22 September 2020, lot 111, where purchased by the present owner

John Macallan Swan R.A. (British, 1846-1910)

Lion signed and dated ‘John M Swan/1902’ (to the right of the lion’s head) bronze with dark brown patina 53.3 x 82 cm. (21 x 32 1/4 in.)

£800 - 1,200

23 §

John Macallan Swan R.A. (British, 1846-1910)

Lioness drinking inscribed and numbered ‘Ed. M.G 3/10’ (beneath the tail) bronze with a dark brown patina

15.5 x 26 x 15 cm. (6 1/8 x 10 1/4 x 5 7/8 in.)

£600 - 800

Provenance

With Martyn Gregory, London, 30 January 1995, where purchased by the present owner

Mary Potter O.B.E. (British, 1900-1981)

Roof, Pine and Sun signed with initials and dedication ‘To Richard M.P’ (lower right); further signed and titled ‘ROOF, PINE AND SUN by Mary Potter’ (to tape attached to frame verso)

gouache

17.8 x 21 cm. (7 x 8 1/4 in.)

£600 - 800

Provenance

Richard Smart, from whom acquired by the present owner

Exhibited London, Serpentine Gallery, Mary Potter - Paintings 1922-80, 23 May-28 Jun 1981, cat.no 27; this exhibition travelled to King’s Lynn, Fermoy Art Gallery, 13 Jul-2 Aug; Sheffield, Mappin Art Gallery, 8 Aug-6 Sep; Chichester, Pallant House Gallery, 12 Sep-10 Oct

Louis Wain (British, 1860-1939)

Two drawings of cats

A pair of cat faces

signed twice ‘Louis Wain’ (lower right of each cat) together with;

Cat face

signed and inscribed ‘Louis Wain/Those with feelings wonderfully/kind/can love with feline like/mind’ (lower edge) (2, in shared frame) each 12 x 7 cm. (4 3/4 x 2 3/4 in.)

£800 - 1,200

Provenance

The artist, circa 1930, from whom gifted to the family of the present owner

Louis Wain (British, 1860-1939)

Cat face signed ‘Louis Wain’ (lower left) pencil

Executed circa 1900

10.2 x 10.8 cm. (4 x 4 1/4 in.)

£500 - 800

Provenance

Marjorie Hyde-Kirkman, from whom inherited by the present owners

27 §

James Neal (British, 1918-2011)

The Dutch Doll signed ‘James Neal’ (lower right); further signed, and titled ‘JAMES NEAL/THE DUTCH DOLL’ (to a label attached verso) oil on board

26 x 17 cm. (10 1/4 x 6 5/8 in.)

£300 - 500

Provenance

With Royal West of England Academy, Bristol

Exhibited

Bristol, Royal West of England Academy, 120th Annual Exhibition of the Royal West of England Academy, cat.no. 391

Augustus John O.M. R.A. (British, 1878-1961)

Dorelia (As Sleeping Ariadne) pencil

26.7 x 39 cm. (10 1/2 x 15 3/4 in.)

£700 - 1,000

Provenance

The artist, thence by descent to Rebecca John, circa 1975

Sale; Wooley & Wallis, Salisbury, circa 1995, where purchased by the present owner

29 §

Augustus John O.M. R.A. (British, 1878-1961)

Women and baby featuring Dorelia coloured pencils

28 x 38 cm. (11 x 15 in.)

£300 - 500

Provenance

With Crane Kalman Gallery, London, 1975, where purchased by Private Collection

Sale; Christie’s, London, 26 January 1989, lot 18

Vanessa Branson, from whom purchased by the present owner

Please note that the figure wearing a scarf is Dorelia, and the figure on the left and the curly-haired child appear in other drawn studies. The signature is not the artist’s hand, although we are confident the work is by John.

We are grateful to Rebecca John for her assistance in cataloguing the present lot.

30

George Leslie Hunter (British, 1877-1931)

Nude Standing by a Green Screen signed ‘Leslie Hunter’ (lower right) crayon, pen & ink

35.5 x 22.2 cm. (14 x 8 3/4 in.)

£2,500 - 3,500

Provenance

With the Fine Art Society, Edinburgh, September 1973 (as Nude Standing by a window) Sale; Phillips, Edinburgh, 26 August 2000, lot 968

With Ewan Mundy Fine Art Ltd, Glasgow, where purchased by the present owner

Frank Owen Salisbury (British, 1874-1962)

Portrait of Lily Brayton as Althea in The Virgin Goddess signed ‘Frank Salisbury’ (upper right) oil on canvas

Painted in 1906

97.4 x 82 cm. (38 1/4 x 32 1/4 in.)

£800 - 1,200

Provenance

Sale; Christie’s, London, 2 May 1997, lot 108

With Peter Farlow Antiques and Works of Art, 23 April 2001, where purchased by the present owner

Beatrice Johnson (British, 1906-2000)

Portrait of Tom Leighton Pearce signed ‘Beatrice Johnson’ (lower right) oil on canvas

65 x 45 cm. (25 5/8 x 17 3/4 in.)

£300 - 500

Provenance

The Collection of Vivian Leger (1945-2025), thence by descent

The sitter of the present lot is Tom Leighton Pearce (1883-1940), a well-known and highly regarded interior designer.

Still life

signed ‘H DAVIS RICHTER’ (lower left) oil on canvas

31 x 38 cm. (12 1/4 x 15 in.) (unframed)

£300 - 500

§

Cathleen Mann (British, 1896-1959)

Still life of flowers by the window signed and dated ‘Cathleen Mann/1947’ (lower right) oil on canvas

76.7 x 63.8 cm. (30 1/4 x 25 1/8 in.)

£500 - 800

Olwyn Bowey R.A. (British, b.1936)

Geraniums signed ‘Olwyn Bowey’ (lower left) oil on board

61.7 x 60.3 cm. (24 1/4 x 23 5/8 in.)

£1,500 - 2,500

Provenance

With The Russell Gallery, London, where purchased by the present owner

John Bratby R.A. (British, 1928-1992)

Dahlias, Jean & Jason oil on canvas

127.2 x 76.3 cm. (50 1/8 x 30 in.)

£2,500 - 3,500

Provenance

With Zwemmer Gallery, London

With Agnes & Sons, London

With Brandler Galleries, Essex, where purchased by the present owners

38 §

Ray Atkins (British, b.1937)

Golden Rod and Cabbage White Butterfly titled and dated ‘GOLDEN ROD AND CABBAGE WHITE BUTTERFLY 30TH AUGUST 1968’ (to the frame) oil on board

137.4 x 86 cm. (54 x 33 7/8 in.)

£300 - 500

Provenance

The artist, from whom purchased by Private Collection, Reading, mid 1980s, from whom gifted to the present owner

39 §

Robert Hill (British, 1932-1990)

Landscape (Western Scotland) signed and dated ‘Robert Hill 1960’ (upper left); further signed and titled ‘ROBERT HILL/LANDSCAPE (WESTERN SCOTLAND)’ (to a label attached to the frame verso) oil on canvas

50.8 x 76.6 cm. (20 x 30 1/4 in.)

£300 - 500

Carel Weight C.H. C.B.E. R.A. (British, 1908-1997)

Man with a Pail signed ‘Carel Weight’ (lower right); further signed and titled ‘Man with a Pail/Carel Weight’ (to tape attached to the frame verso) oil on canvasboard

61.1 x 61.1 cm. (24 x 24 in.)

£700 - 1,000

Carel Weight C.H. C.B.E. R.A. (British, 1908-1997)

Poor Old Ireland

signed ‘Carel Weight’ (lower right) oil on canvasboard

Painted circa 1977

63.4 x 29.9 cm. (25 x 11 3/4 in.)

£700 - 1,000

Provenance

With Brandler Galleries, Essex, where purchased by the present owners

According to the label verso, the work was painted around 1977. This smaller version preceded a larger work which sold to a past pupil of Weight’s. The work was painted in Co. Donegal in Ireland and is of a real place. The work was painted to reflect ‘the troubles’.

42 §

Carel Weight C.H. C.B.E. R.A. (British, 1908-1997)

Country walk

signed ‘Carel Weight’ (upper left); further signed ‘CAREL WEIGHT’ (to a label attached verso) oil on card

28 x 14.6 cm. (11 x 5 3/4 in.)

£400 - 600

Provenance

With Brandler Galleries, Essex, where purchased by the present owners

Carel Weight C.H. C.B.E. R.A. (British, 1908-1997)

The Voice in the Tree signed ‘Carel Weight’ (upper right); further signed, titled and dated ‘Carel Weight 1980/The Voice in the Tree’ (to tape attached to frame verso) oil on board

13.1 x 40.3 cm. (5 1/8 x 15 7/8 in.)

£400 - 600

Provenance

With Brandler Galleries, Essex, where purchased by the present owners

Arnold Auerbach (British, 1898-1978)

Two Horses Beneath Trees signed ‘Arnold Auerbach’ (to the canvas stretcher) oil on canvas

69.8 x 87.7 cm. (27 x 35 in.)

£300 - 500

Provenance

Untraced sale; Honiton Auctions, Devon, where purchased by Lacewing Fine Art, Winchester, 2001, where purchased by the present owner

§

Dame Elisabeth Frink R.A. (British, 1930-1993)

St John Bosco painted concrete

Conceived in 1952

127 cm. (50 in.) high

£3,000 - 5,000

Provenance

Commissioned by the Roman Catholic Church of St Bosco, Woodley, Sussex, in 1952

Sale; Gosport, 23 June 1981, lot 28, where purchased by E.T. Cooper, Gosport, 1982, from whom purchased by Mrs Bennett

With Archeus/Post-Modern, London, 1997, where purchased by the present owner

Exhibited

Nottingham, Djanogly Gallery, Nottingham Lakeside Arts, Elisabeth Frink: The Presence of Sculpture, 25 Nov 2025-28 Feb 2016

Literature: Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, London, 2013, FCR7, p.44 (ill.b&w)

Exhibition Catalogue, Elisabeth Frink: The Presence of Sculpture, Nottingham, Djanogly Gallery, 2015, p.46 (ill.b&w)

The commission ‘taught me a certain amount of discipline. I didn’t like concrete as a finished material, it seemed lifeless’ - Elisabeth Frink, on the St John Bosco Commission

In 1952, Elisabeth Frink received a commission from the Roman Catholic Church of St John Bosco in Woodley near Reading. She was still a student at Chelsea School of Art, 22 and it was notably the first public sculptural commission. The original sculpture was created of St John Bosco, with two children, but unfortunately one of the original figures was lost. It was fitting that Frink portrayed Sanit John Bosco, the Patron saint born in Sardina, with two children, given he was canonised as a pioneer in education for the poor and youth. The sculpture was constructed to stand outside the Church with the intension of helping Reading’s Polish community.

There is an element of mystery that surrounds the work, we know that it was originally constructed with three figures, and the third figure, a boy, is still missing. The provenance of the work is too intriguing, we know that it was commissioned in 1952, and it then appeared at an auction house in Gosport in 1981, but it is unclear what happened to it between the time it was viewed publicly outside the Church and its appearance in Gosport. Between 1982 and 1997 it was in an out of the hands of various members of the trade and private individuals until in 1997 when it made its way into the collection of a private collector being later discovered when the individual contact the Frink Estate. The piece was long believed to have been destroyed with the rebuilding of the Church in 1970. It was discovered 55 years later still intact.

The sculpture is not only significant in its historical prominence but the work is also an ode to the process of creation and execution by Frink and her development from an art student in the early 50s to the prolific artist and sculptor. This is truly demonstrated through her shift in materials. The concrete which she had used in the early 1950s, not only for St John Bosco, but also in her Harlow New Town concrete relief titled in Bird from 1953, was soon replaced by the mid-1950s.

Frink had turned decisively to plaster and clay which she then cast in bronze. This allowed rapid movement, physical moulding, a sense of immediacy and texture which concrete clearly limed. The work marks a start in Frink’s relationship with religion and spirituality and documents continuity and change in her work throughout her long working career.

St John Bosco, is an early example of religious themes featured in Frink’s work, with later examples including her Walking Madonna (1981) at Sailsbury Cathedral and Risen Christ (1993), at Liverpool Cathedral. St John Bosco demonstrates a true post-war realism whilst later examples reveal her stylistic establishment. Walking Madonna in both subject matter and materiality display Frink’s portrayal of the Mother of Christ walking and thus her ability to perfectly capture movement. The work is anything but static and thus Frink challenges the notion of monumentality.

St John Bosco, marks a significant step for Frink from art student to public artist, and documents the importance of site specificity and public art to her oeuvre. The work marks a rare opportunity to acquire the artist’s first commission.

§

Josef Herman O.B.E. R.A. (Polish/British, 1911-2000)

Figures by the Sea watercolour and pen & ink

Executed circa 1981

20.3 x 25.4 cm. (8 x 10 in.)

£400 - 600

Provenance

Nini Herman, London, 9-10 December 2006, from whom purchased by the family of the present owner, thence by descent

We are grateful to Roger Thornton for his assistance in cataloguing this lot.

Josef Herman O.B.E. R.A. (Polish/British, 1911-2000)

Bird pastel, watercolour, pen & ink

29.7 x 14 cm. (8 3/4 x 5 1/2 in.)

£600 - 800

Provenance

Nini Herman, London, 9-10 December 2006, from whom purchased by the family of the present owner, thence by descent

Please note this work is from a series that Josef Herman started in the late 1980’s and which led to The Song of the Migrant Bird in 1999. This was a series of twelve hand-printed works of a single bird. This exact work isn’t published in the book, as it’s unique, but Herman began producing works for the series in 1993.

We are grateful to Roger Thornton for his assistance in cataloguing this lot.

48 §

Josef Herman O.B.E. R.A. (Polish/British, 1911-2000)

Two standing figures

pen & ink

Executed circa 1980

25.4 x 20.2 cm, (10 1/2 x 8 in.)

£300 - 500

Provenance

Nini Herman, London, 9-10 December 2006, from whom purchased by the family of the present owner, thence by descent

We are grateful to Roger Thornton for his assistance in cataloguing this lot.

Josef Herman O.B.E. R.A. (Polish/British, 1911-2000)

Green and blue bird watercolour, pastel, pen & ink

21.6 x 14 cm. (8 1/2 x 5 1/2 in.)

£600 - 800

Provenance

Nini Herman, London, 9-10 December 2006, from whom purchased by the family of the present owner, thence by descent

Please note this work is from a series that Josef Herman started in the late 1980’s and which led to The Song of the Migrant Bird in 1999. This was a series of twelve hand-printed works of a single bird. This exact work isn’t published in the book, being a unique but Herman began making works for the series in 1993.

We are grateful to Roger Thornton for his assistance in cataloguing this lot.

50 §

Kyffin Williams O.B.E. R.A. (British, 1918-2006)

Patagonia signed with initials ‘KW’ (lower right)

watercolour and wash

23.3 x 35 cm. (9 1/4 x 13 1/2 in.)

£1,500 - 2,500

Provenance

With Clifford Douglas, Leamington Spa, 12 June 2000, where purchased by the family of the present owner, thence by descent

51 §

John Houston (British, 1930-2008)

Yellow on Red signed and dated ‘John Houston 59’ (lower centre)

watercolour

54 x 74.5 cm. (21 1/4 x 29 3/8 in.)

£300 - 500

Provenance

Sale; Phillips, Edinburgh, 29 November 1985, lot 127, where purchased by the present owner

52 §

John Wells (British, 1907-2000)

Christmas signed and dated ‘John Wells 1958.’ (lower left); further signed with dedication, titled and dated ‘CHRISTMAS 1958/Love to you all from Johnny’ (to a backboard) oil, chalk and pen & ink

28.5 x 33 cm. (11 1/4 x 13 in.)

£500 - 700

Provenance

Sale; Dawson’s, Maidenhead, 26 February 2025, lot 53, where purchased by the present owner

§

Alastair Morton (British, 1910-1963)

Untitled signed and dated verso (according to gallery label) pencil

Executed in 1941

21.8 x 30.2 cm. (8 5/8 x 11 7/8 in.)

£700 - 1,000

Provenance

With Abbott and Holder, London, circa 1978, where purchased by the present owner

§

Alastair Morton (British, 1910-1963)

Untitled signed with initials and dated ‘AM’46’ (lower right) gouache

27.3 x 35.2 cm. (10 3/4 x 13 7/8 in.)

£800 - 1,200

Provenance

With Abbott and Holder, London, circa 1978, where purchased by the present owner

55 §

Prunella Clough (British, 1919-1999)

Shelf Life 2 signed ‘Clough’ (verso) oil on board

21.6 x 17 cm. (8 1/2 x 6 3/4 in.)

£3,000 - 5,000

Provenance

With Annely Juda Fine Art, London, 26 January 1995, where purchased by the present owner

Bryan Wynter (British, 1915-1975)

Untitled gouache on paper laid onto board

Executed circa 1964

49 x 35.5 cm. (19 1/4 x 14 in.)

£2,000 - 3,000

Provenance

The estate of the artist

With Jonathan Clark & Co, London Private Collection, Sale; Christie’s, London, 6 June 2008, lot 8, where purchased by the present owner

57 §

Robert Adams (British, 1917-1984)

Untitled signed, numbered and dated ‘ADAMS 1978’ (to the underside)

polished bronze 11 cm. (4 1/2 in.) high

£2,000 - 3,000

Joe Tilson R.A. (British, 1928-2023)

Summer signed ‘Tilson’ (lower right); further signed, titled and dated ‘SUMMER/1959/TILSON’ (verso) oil and sand on board 23 x 15.2 cm. (9 x 6 in.)

£2,000 - 3,000

Provenance

With Theo Waddington Fine Art, where acquired by Private Collection, U.K Sale; Sotheby’s, London, 22 November 2017, lot 147, where purchased by the present owner

59 §

Patrick Procktor R.A. (British, 1936-2003)

London Philharmonic Orchestra in rehearsal oil on board

57 x 60.8 cm. (22 1/2 x 24 in.)

£1,500 - 2,500

Please note this work was part of a group of paintings conducted by Patrick Procktor of the London Philharmonic Orchestra in rehearsal. Procktor also made some aquatints of the rehearsals which dated 1982.

We are grateful to Dr Ian Massey for his assistance in cataloguing this lot.

60 §

Patrick Procktor R.A. (British, 1936-2003)

Portrait of a Man signed ‘Patrick Procktor’ (lower right) watercolour

59.7 x 44.5 cm. (23.5 x 17 1/2 in.)

£700 - 1,000

Please note that this work is thought to be a self-portrait of the artist.

We are grateful to Dr Ian Massey for his assistance in cataloguing this lot.

John Craxton R.A. (British, 1922-2009)

Poet in a landscape

tempera on board

Painted circa 1944

48.3 x 39.2 cm. (19 x 15 1/2 in.)

£10,000 - 15,000

Provenance

With Gillian Jason Gallery, Camden, circa 1990, where purchased by the present owner

Please note there is a drawing verso of Chichester Cathedral, where Craxton was a boy chorister.

We are grateful to Richard Riley and Dr Ian Collins for their assistance in cataloguing this lot.

Painted around 1944, Poet in a Landscape belongs to the formative early period of the British painter John Craxton, whose work emerged during the final years of the Second World War and quickly established him as one of the most distinctive figures of his generation. Born in London in 1922, Craxton developed largely outside the conventions of academic training, instead forging a highly personal style shaped by friendships with writers, musicians and fellow artists. His early work reflects the atmosphere of wartime Britain, often combining solitary figures with dreamlike or pastoral landscapes that evoke both introspection and a longing for escape.

The present work exemplifies this early lyrical phase. Executed in tempera on board, the composition depicts a seated figure, identified as a poet, absorbed in quiet contemplation within an abstracted landscape. The figure’s bowed head and loosely folded hands convey a mood of introspection, while the surrounding space is suggested through rhythmic, calligraphic lines and softly brushed tonal passages. Craxton’s economy of means is striking: the composition is built from spare but expressive outlines, with washes of pale colour that create a delicate sense of atmosphere rather than detailed description.

Such imagery reflects Craxton’s close engagement with contemporary literary culture. During the early 1940s he moved within a circle that included writers such as Lucian Freud and the poet Dylan Thomas, and the meditative figure in this work evokes the creative introspection of that milieu. At the same time, the work reveals the influence of European modernists, particularly the linear elegance and poetic symbolism associated with artists such as Pablo Picasso, whose work Craxton admired.

Paintings from this wartime period are particularly significant within Craxton’s oeuvre. Created before his first visit to Greece in 1946, an experience that would transform his palette and subject matter, they capture the artist at a moment when his visual language was still shaped by the muted atmosphere of Britain during the war years. The restrained palette, spare composition and contemplative subject combine to produce a work of remarkable quiet intensity.

Poet in a Landscape therefore stands as a compelling example of Craxton’s early poetic vision: intimate in scale yet emotionally resonant, it reveals the foundations of the lyrical sensibility that would later define his celebrated Mediterranean paintings.

62 §

Alison Watt O.B.E. (British, b.1965)

Peach oil on board

Painted in 1994

18.8 x 17.5 cm. (7 3/8 x 6 7/8 in.)

£6,000 - 8,000

Provenance

With Angela Flowers Gallery, London, 7 June 2002, where purchased by the family present owner

Painted in 1994, Peach is a striking and enigmatic work that captures Alison Watt at a fascinating and pivotal juncture in her celebrated career. Renowned for her luminous application of paint and her profound engagement with light, form, and the human figure, Watt presents here a tightly cropped, almost sculptural portrait. The subject’s porcelain skin is rendered in delicate, blushing tones of cream, ivory, and, as the title suggests, soft peach. This masterful handling of colour gives the figure an ethereal, timeless quality, while the sidelong gaze imbues the work with an atmosphere of quiet introspection and psychological depth.

Born in Greenock in 1965, Alison Watt graduated from the Glasgow School of Art and quickly garnered national prominence. While still a student in 1987, she won the prestigious John Player Portrait Award at the National Portrait Gallery in London, leading to a commissioned portrait of the Queen Mother. Watt’s early work was deeply rooted in the figurative tradition, often exploring portraiture and the female nude with a distinctively cool, analytical, yet intimate gaze.

Works from the early-to-mid 1990s, such as Peach, are particularly sought after as they represent a bridge between her early figurative successes and the monumental, hyper-realistic paintings of folded fabrics for which she is perhaps best known today. Surrounding the face in this composition are intricate, fan-like forms. Whether interpreted as stylized foliage, classical architectural motifs, or the deeply pleated ruffles of fabric, these elements perfectly frame the subject and hint at the artist’s burgeoning fascination with texture, drapery, and the interplay of light and shadow on white and off-white surfaces.

Peach exemplifies the hallmark qualities of Watt’s mastery: the subtle modulation of oil paint, a meticulously controlled palette, and an enduring dialogue with the Old Masters. It offers collectors a beautiful, deeply engaging example of one of Scotland’s most significant contemporary painters, whose works are today held in major international collections including the Scottish National Gallery of Modern Art, the British Council, and the Uffizi in Florence.

§

Alison Watt O.B.E. (British, b.1965)

Study for Anatomy III signed ‘WATT’ (lower right) pastel Executed in 1995

27.5 x 11.5 cm. (10 3/4 x 4 1/2 in.)

£2,000 - 3,000

Provenance

With Angela Flowers Gallery, London, 20 April 2002, where purchased by the family of the present owner

Walter Greaves (British, 1846-1930)

Chelsea Wharf signed and titled ‘W.Greaves (lower right) ‘Chelsea Wharf’ (lower left) wash, pen & ink

29 x 21.5 cm. (11 3/8 x 8 1/2 in.)

£500 - 700

Provenance

With Michael Parkin Fine Art, London

Exhibited London, Spink and Son, 1940’

Walter Greaves (British, 1846-1930)

Portrait of Thomas Carlisle signed ‘W.Greaves’ (lower right) wash, pen & ink

19.5 x 14 cm. (7 3/4 x 5 1/2 in.)

£300 - 500

Provenance With Michael Parkin Fine Art, London

Feliks Topolski R.A. (British, 1907-1989)

Design for Act II ‘The Other Mr. B’ signed ‘Feliks Topolski’ (lower right); and inscribed ‘Design for Act II/The Other Mr. B’ (lower centre) watercolour, ink and wash 34 x 50.2 cm. (13 x 3/8 x 19 3/4 in.)

£300 - 500

Irish Art

Lots 67 - 86

Sir William Orpen K.B.E. R.A. R.H.A. (Irish, 1878-1931)

Marjorie FitzGibbon H.R.H.A. (Irish, 1930-2018)

Percy French (Irish, 1854-1920)

Nathaniel Hill (Irish, 1861-1934)

Simon Colman R.H.A. (Irish, 1916-1995)

Michael Duhan (Irish, b.1956)

Ana Duncan (Irish, b.1960)

Tanya Elliott Nyegaard (Irish/Danish, b.1965)

Markey Robinson (Irish, 1918-1999)

John Behan R.H.A. (Irish, b.1938)

Elizabeth Taggart (Irish, b.1943)

Hector McDonnell (Irish, b.1947)

Rowan Gillespie (Irish, b.1953)

Patrick Scott (Irish, 1921-2014)

Sir William Orpen K.B.E. R.A. R.H.A. (Irish, 1878-1931)

Daily Mail Drawing

signed and inscribed ‘coolness for the Neck!/is all very well but don’t forget/The other parts, yours

William Orpen’ (lower right); further inscribed and dated ‘To the Daily Mail-/30th July 1928’ (upper right)

watercolour and pencil

24.1 x 17.3 cm. (9 1/2 x 6 3/4 in.)

£300 - 500

Provenance

Sale; Christie’s, London, 11 August 1982

With Pyms Gallery, London

Sir William Orpen K.B.E. R.A. R.H.A. (Irish, 1878-1931)

Possible Study for David Lloyd George (or The Poet) pencil

19.7 x 21 cm. (7 3/4 x 8 1/4 in.)

£300 - 500

Provenance

The Pyms Gallery, London

Sir William Orpen K.B.E. R.A. R.H.A. (Irish, 1878-1931)

Couple with Fig Tree signed and inscribed indistinctly ‘W Orpen’ (lower left) pen & ink and wash

25 x 19.5 cm. (9 7/8 x 7 5/8 in.)

£300 - 500

Provenance With Pyms Gallery, London

70 §

Marjorie FitzGibbon H.R.H.A.

(Irish, 1930-2018)

Samuel Beckett

signed and dated ‘M FITZGIBBON 89’ (to the bronze base) bronze with dark brown patina

38.7 cm. (15 1/4 in.) high

£500 - 800

71 §

Marjorie FitzGibbon H.R.H.A. (Irish, 1930-2018)

Mother and Child signed with initials, dated and numbered ‘MF 42/ED 3 AC’ (to the back of the base) bronze with brown patina on a slate base

18.4 x 15.2 x 10.2 cm. (7.5 x 6 x 4 in.)

£400 - 600

72 §

Percy French (Irish, 1854-1920)

In Auld Donegal signed and dated ‘Percy French. 1901’ (lower left) watercolour on paper laid onto card

26.7 x 36.2 cm. (10 1/2 x 14 1/4 in.)

£1,500 - 2,500

Provenance

With The Modern Gallery, London, early 1930s, where purchased by the family of the present owner, thence by descent

Nathaniel Hill (Irish, 1861-1934)

Two landscapes View near Clogher Head signed with initials, inscribed and dated ‘View near Clogher Head/With Best wishes to you/for a Happy Xmas. N.H. 22/12/04’ (to the mount) watercolour together with; Timoleague Abbey watercolour (2)

each 9 x 14 cm. (3 1/2 x 5 1/2 in.)

£300 - 500

Simon Colman R.H.A. (Irish, 1916-1995)

The Waterfall signed ‘Simon Colman R.H.A.’ (lower left) oil on board

44.8 x 56.4 cm. (17 5/8 x 22 1/4 in.)

£300 - 500

Provenance

With The Garden Gallery, Drogheda, from whom acquired by the present owner

Exhibited Dublin, Royal Hibernian Academy of Art, Annual Exhibition,1990

Simon Colman R.H.A. (Irish, 1916-1995)

The Ice Cream Man signed ‘S.Colman R.H.A.’ (lower left) oil on canvas

53.8 x 66.7 cm. (21 1/8 x 26 1/4 in.)

£400 - 600

Provenance

With The Garden Gallery, Drogheda, from whom acquired by the present owner

Michael Duhan (Irish, b.1956)

Tower of Figures signed and dated ‘Michael Duhan 92’ (to the base)

bronze with green patina 143.5 cm. (56 1/2 in.) high (including the base)

£800 - 1,200

Exhibited

Dublin, Royal Hibernian Academy of Arts, RHA Annual Exhibition, 27 Apr-22 May 1993, cat.no 432

77 §

Ana Duncan (Irish, b.1960)

Memories signed and numbered ‘Ana Duncan 2/9’ (to the back of the form) bronze with mottled taupe patina on a marble bas

Conceived circa 2000

25.5 cm. (10 in.) high (including the base)

£1,000 - 1,500

78 §

Ana Duncan (Irish, b.1960)

Seated Figure signed and numbered ‘Duncan 7/9’ (to the front of the form) bronze with brown patina on a marble base 26 cm. (10 1/4 in.) high (including the base)

£1,000 - 1,500

Céilí Fiddle Player bronze with dark patina on a marble slate base

107.4 cm. (42 1/4 in.) high (including the base)

£1,000 - 1,500

80 §

Markey Robinson (Irish, 1918-1999)

Shawlies off to church signed ‘Markey’ (lower left) oil on board

23 x 49.5 cm. (9 x 19 1/2 in.)

£1,500 - 2,500

Oarboat With Figures bronze with a pale brown patina conceived circa 2006

48.3 x 71.1 cm. (19 x 28 in.)

£5,000 - 8,000

82 §

Elizabeth Taggart (Irish, b.1943)

The Garden Party signed and dated ‘ELIZABETH TAGGART 1979’ (lower right); further signed, titled and dated again ‘THE GARDEN PARTY/Elizabeth Taggart 1979’ (verso) crayon (unframed)

56.5 x 75 cm. (22 1/4 x 29 1/2 in.)

£300 - 500

83 §

Hector McDonnell (Irish, b.1947)

A Butchers in Mount Street signed, titled and dated ‘A Butchers’ in Mount St. 1973 Hector McDonnell’ (to a backboard) oil on board

10.2 x 16.5 cm. (4 x 6 1/2 in.)

£600 - 800

Provenance

With Fischer Fine Art Ltd, London, where purchased by the present owner

John Behan R.H.A. (Irish, b.1938)

Famine Ship signed and dated ‘2006 BEHAN’ (to the ship rim) bronze with green patina

73.6 x 71.1 cm. (29 x 28 in.) (including the base)

£6,000 - 8,000

Rowan Gillespie (Irish, b.1953)

Maquette For W.B. Yeats, Sligo signed, numbered and dated ‘6/9 Rowan Gillespie 1990’ (back of base) polished bronze

64.8 cm. (25 1/2 in.) high (including the base)

£6,000 - 8,000

The present lot is a maquette which refers to the artist’s full-scale sculpture of W.B. Yeats made in 1989. The sculpture was erected in Sligo, outside Ulster Bank on Stephen Street. It was unveiled by Senator Michael B. Yeats in 1990.

The artist’s grandparents were well acquainted with the Yates family. It was this personal collection to W.B. Yeats that inspired this image of W.B Yates. Memories of him were that he would always arrive in a flourish of arrogant exuberance sounding words of wisdom. This was how Gillespie choose to portray him.

We are grateful to the artist for his assistance cataloguing this lot.

Patrick Scott (Irish, 1921-2014)

Gold Painting 6 signed, titled and dated ‘GOLD PAINTING 6 94 Patrick Scott’ (to the canvas overlap) tempera and gold leaf on linen 61 x 61 cm. (24 x 24 in.) (unframed)

£6,000 - 8,000

Provenance

With Taylor Galleries, Dublin

With Kinsale Galleries, County Cork, 5 August 2002, where purchased by the present owner

87 §

Mark Lancaster (British, b. 1938)

14th Street Series No.1

signed, titled and dated ‘14th Street Series #1/Mark Lancaster/72’ (to canvas overlay) acrylic and graphite (unframed)

127 x 87 cm. (50 34 1/4 in.)

£400 - 600

Provenance

With Walker Art Gallery, Liverpool With Rowan Gallery, London

Exhibited

Liverpool, Walker Art Gallery, Mark Lancaster, 1974, cat.no.13

88 §

Mark Lancaster (British, b. 1938)

14th Street Series No.8

signed, titled and dated ‘14TH STREET SERIES NO 8 Mark Lancaster/72’ (to the canvas overlay) acrylic and graphite (unframed)

127.5 x 87 cm. (50 1/4 x 34 1/4 in.)

£400 - 600

Provenance

With The Betty Parson Gallery, New York With Rowan Gallery, London

Exhibited Liverpool, Walker Art Gallery, Mark Lancaster, 1974, cat.no.16

John Milnes-Smith (British, 1912-1998)

Vase of Flowers signed and dated ‘Milnes-Smith/84’ (lower right); further signed and dated ‘J.MILNES-/SMITH/83’ (verso) oil on board

50.8 x 40.4 (20 x 16 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

Exhibited

Drian Galleries, London (untraced)

90 §

John Milnes-Smith (British, 1912-1998)

Untitled signed and dated ‘Milnes-Smith 89’ (lower right); further signed ‘J.MILNES/SMITH’ (verso) oil on board

50.8 x 40.5 cm. (20 x 16 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

Richard Humphry (British, b.1942)

Every Newt Will Know signed and dated ‘RICHARD HUMPHRY 1974’ (verso); further titled and dated ‘Every Newt Will Know. 1974’ (according to label on verso) oil on board

18 x 22.4 cm. (7 x 8 3/4 in.)

£1,000 - 1,500

Provenance

With Portal Gallery, London Sir Roland Penrose (1900-1984), whom gifted to the present owner

92 §

Desmond Morris (British, b.1928)

Secondary Contour signed with initials dated ‘DM 02’ (lower left) mixed media and collage 29.2 x 21 cm. (11 1/2 x 8 1/4 in.)

£800 - 1,200

Exhibited

Belgium, Verbeke Foundation, Desmond Morris: First Collage Exhibition. 16 Jan-10 May 2010, cat. no.37

Literature

Desmond Morris, Catalogue Raisonné Desmond Morris Late Work, 2020, Sansom & Co., pp.158

Desmond Morris developed a series of collages after finding an old legal document in his studio attic. This particular work was completed on 24th November 2002. Morris used the document for the series and deliberately turned it 90 degrees to make it more challenging to read. The emphasis for Morris was for the viewer to look at the collage he created rather than the Victorian Land transfer deed that was featured as an element of the overall picture.

We are grateful to the artist for his assistance cataloguing this lot.

§

Desmond Morris (British, b.1928)

The Inventor

signed with initials and dated ‘DM 12’ (lower left); further signed with initials and dated ‘July 2012 DM’ (verso)

watercolour, pen & ink

Executed in 2005 and completed with colour Nov/Dec 2017

30.5 x 20 cm. (12 x 8 in.)

£500 - 800

Exhibited

London, Redfern Gallery, 15 May-9 Jun 2018, cat.no.29

Literature

Desmond Morris, Catalogue Raisonné Desmond Morris Late Work, 2020, Sansom & Co., pp.158

We are grateful to the artist for his assistance cataloguing this lot.

§

Desmond Morris (British, b.1928)

The Initiator

signed with initials and dated ‘DM 05’ (lower left); further signed with initials and dated again ‘April 05 (2) DM’ (verso)

watercolour and pen & ink

Executed in 2005 and completed with colour Dec/Nov 2017

30.5 x 19.5 cm. ( 12 x 7 3/4 in.)

£500 - 800

Exhibited

London, Redfern Gallery, 15 May-9 Jun 2018, cat.no.29

Literature

Desmond Morris, Catalogue Raisonné Desmond Morris Late Work, 2020, Sansom & Co., pp.158

We are grateful to the artist for his assistance cataloguing this lot.

95 §

Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)

Untitled (1998)

dated ‘Sept 1998’ (lower-centre)

gouache on printed outline with collage

28.5 x 21 cm. (11 1/4 x 8 1/4 in.)

£800 - 1,200

Provenance

The estate of the artist, from whom purchased by the present owner

96 §

Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)

Four Figures

gouache with printed outline

29.3 x 21 cm. (11 1/2 x 8 1/4 in.)

£600 - 800

Provenance

The estate of the artist, from whom purchased by the present owner

§

Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)

Two Heads

Large head plaster together with; Medium head plaster

22.7 cm. (9 in.) high and 14.6 cm. (5 3/4 in.) high (2)

£700 - 1,000

Provenance

The estate of the artist, from whom purchased by the present owner

98 §

Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)

Alphabet gouache with printed outline

21 x 30 cm. (8 1/4 x 11 3/4 in.)

£400 - 600

Provenance

The estate of the artist, from whom purchased by the present owner

99 §

Sir Eduardo Paolozzi C.B.E. R.A. (British, 1924-2005)

Two abstract metropolis drawings pen & ink

each 14.5 x 21 cm. (5 3/4 x 8 1/4 in.)

(unframed, 2)

£500 - 800

Provenance

The estate of the artist, from whom purchased by the present owner

100 §

Sandra Blow R.A. (British, 1925-2006)

Untitled

signed with dedication and dated ‘Love to Asha on our birthdays 1986/Sandra’ (lower edge) oil, mixed media and collage

29 x 29 cm. (11 3/8 x 11 3/8 in.)

£1,000 - 1,500

Provenance

The artist, from whom gifted to Asha Tippett, thence by descent

Their sale; Dreweatts, Newbury, 12 October 2021, lot 15, where purchased by the present owner

101 §

Jean Spencer (British, 1942-1998)

System Studies II

signed and titled ‘SPENCER, SYSTEM STUDIES II’ gouache

71 x 51 cm. (28 x 20 in.)

£600 - 800

Provenance

Loaned to Slade School of Fine Art from Marion Waters

102 §

Richard Smith C.B.E. (British, 1931-2016)

Untitled signed and dated ‘R Smith 71’ (lower left) gouache and collage

60 x 90.8 cm. (23 5/8 x 35 3/4 in.)

£400 - 600

103 §

Trevor Bell (British, 1930-2017)

Lift-Off

signed and dated ‘Trevor Bell 75’ (lower right); further signed, titled and dated ‘LIFT-OFF/ Trevor Bell/1975’ (verso)

gouache

96.5 x 126 cm. (38 x 49 5/8 in.)

£300 - 500

104 §

Dennis Creffield (British, 1931-2018)

Beaumaris Castle signed and dated ‘Dennis Creffield ‘01’ (lower right); further signed, titled and dated again ‘BEAUMARIS CASTLE 2001/DENNIS CREFFIELD’ (to a backboard) pastel

30 x 56.5 cm. (11 3/4 x 22 1/4 in.)

£700 - 1,000

David Tindle R.A. (British, b.1932)

Window signed and titled ‘David Tindle/Window’ (verso) tempera on canvas

76.4 x 60.8 cm. (30 1/8 x 23 7/8 in.)

£500 - 800

Provenance With Brandler Galleries, Essex, where purchased by the present owners

106 §

David Tindle R.A. (British, b.1932)

Moon & the Room signed, titled and dated ‘David Tindle 09/Moon & the Room’ (to a label attached verso) tempera on board

36.5 x 48.5 cm. (14 5/8 x 19 1/8 in.)

£700 - 1,000

107 §

Adrian Heath (British, 1920-1992)

Red Below signed, titled and dated ‘Oct 71/Heath/Red Below’ (verso) oil on canvas

30.5 x 25.5 cm. (12 x 10 in.)

£800 - 1,200

We are grateful to Clio Heath for her assistance in cataloguing this lot.

108 §

Trevor Bell (British, 1930-2017)

Untitled signed ‘Trevor Bell’ (verso)

acrylic on canvas (unframed)

183 x 81 x 7 cm. (72 x 31 7/8 x 2 3/4 in.)

£1,000 - 1,500

109 §

Alan Davie C.B.E. R.A. (British, 1920-2014)

Subtle Body titled ‘subtle body’ (upper right); signed, titled again and dated ‘Alan Davie 2010/Subtle Body’ (verso) oil on canvas

96.5 x 76.1 cm. (38 x 30 in.)

£1,500 - 2,500

Provenance With Gimpel Fils, London

Roger Hilton C.B.E. (British, 1911-1975)

Elephant signed with initials and dated ‘RH 74’ (lower right) gouache

34.5 x 48.7 cm. (13 1/2 x 19 1/8 in.)

£2,500 - 3,500

Provenance

The estate of the artist

With Waddington Galleries Ltd, 30 January 1990, where purchased by the family of the present owner, thence by descent

Exhibited

Oxford, Oxford Gallery, Roger Hilton, 13 Feb-15 Mar 1989

111 §

Peter Joyce (British, b.1964)

Old White Net (Red Net)

signed with initials and dated ‘PJ 10’ (lower right); further signed twice, once with initials, titled and dated twice ‘Old white nets (red net)/PJ 10/2010 Peter Joyce’ (to a backboard)

acrylic on board

15 x 20 cm. (5 7/8 x 7 7/8 in.)

£500 - 800

Provenance

With Anthony Hepworth Fine Art, Bath, where purchased by the present owner

112 §

Peter Joyce (British, b.1964)

Studlands Summer signed with initials and dated ‘PJ 95’ (lower right); further signed twice, once with initials, titled and dated again ‘Studlands Summer/October PJ 95/1995 Peter Joyce’ (to a backboard)

acrylic on board

17.5 x 23 cm. (6 7/8 x 9 in.)

£500 - 800

Provenance

With Anthony Hepworth Fine Art, Bath, where purchased by the present owner

113 §

John Kirby (British, 1949-2025)

Sphere of the world oil on canvas (unframed) together with;

Three dancing figures signed and dated ‘Kirby 93’ (lower right) oil on canvas

83.8 x 83.8 cm. (33 x 33 in.) and 84.5 x 84.5 cm. (33 1/4 x 33 1/4 in.) (2)

£400 - 600

Provenance Commissioned by the family of the present owner

114 §

John Kirby (British, 1949-2025)

Spherical design signed ‘J.Kirby’ (lower right) oil on canvas

83.8 x 83.8 cm. (33 x 33 in.)

£500 - 800

Provenance Commissioned by the family of the present owner

115 §

Peter Kinley (British, 1926-1988)

Cow signed ‘Kinley’ (lower right) oil, pen & pencil

19 x 25 cm. (7 1/2 x 9 3/4 in.)

£500 - 700

Provenance Sale; Bearnes Hampton & Littlewood, Exeter, 4 February 2025, lot 195, where purchased by the present owner

John Bellany C.B.E. R.A. (British, 1942-2013)

Woman With Lobster signed ‘Bellany’ (upper left) oil on canvas

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

£5,000 - 8,000

Provenance

The artist, from whom acquired by Private Collection

Their sale; Rosebery’s, London, 24 January 2018, lot 170, where purchased by the present owner

Tai-Shan Schierenberg (British, b.1962)

Head signed and dated ‘T.Schierenberg 1995’ (to the frame verso) oil on board

30.1 x 24.7 cm. (11 7/8 x 9 3/4 in.)

£1,000 - 1,500

Provenance

With Angela Flowers Gallery, London

The present work is thought to be a self-portrait of the artist.

Andrew Macara (British, b.1944)

Through the window signed and dated ‘ANDREW MACARA 1985’ (lower right) oil on canvas

63.4 x 76.5 cm. (25 x 30 1/8 in.)

£400 - 600

Provenance

With Business Art Galleries, London, 14 June 1984, where purchased by the present owner

119 §

Andrew Macara (British, b.1944)

Le Letty, Bénodet Brittany signed and dated ‘Andrew Macara 1984’ (lower right) oil on canvas

61.5 x 167 cm. (24 1/4 x 66 in.)

£400 - 600

Provenance

With Business Art Galleries, London, 23 May 1986, where purchased by present owner

120 §

Fred Cuming R.A. (British, 1930-2022)

Holiday, Camber signed ‘Cuming’ (lower left) oil on board

19 x 39.4 cm. (7 1/2 x 15 1/2 in.)

£1,500 - 2,500

Provenance

With Manya Igel Fine Arts, London, 9 March 2002, where purchased by the present owner

121 §

Stuart McCrorie (British, 1926-2017)

The Beach signed and titled ‘STUART MCRORIE/THE BEACH’ (to a label verso) gouache together with; Riverbend in Autumn light gouache (2)

32.5 x 51 cm. (12 3/4 x 20 in.) and 35.5 x 51.5 cm. (14 x 20 1/4 in.)

£300 - 500

Provenance

The artist, from whom acquired by the family of the present owner

§

Leslie Smith R.A. (British, b.1948)

Topiary signed and dated ‘Leslie Smith 79’ (lower left) oil on canvas

22.9 x 25.8 cm. (8 5/8 x 10 1/8 in.)

£400 - 600

123 §

Martin Llewellyn (British, b.1963)

Beach and Rocks Iona signed with initials ‘ML’ (lower left); titled ‘BEACH + ROCK IONA’ (to the canvas stretcher) oil on canvas

30.5 x 41 cm. (12 x 16 in.)

£400 - 600

Provenance

With Red Rag Gallery, Bath, where purchased by the present owner

Cecil Rochfort D’Oyly-John (British, 1906-1993)

Trinidad, Port of Spain signed ‘DOYLY-JOHN’ (lower right); titled ‘Trinidad/Port of Spain/W.Indies’ (verso) oil on canvas

25.4 x 35.6 cm. (10 x 14 in.)

£400 - 600

We are grateful to Paul Mayhew for his assistance cataloguing this lot.

125 §

Cecil Rochfort D’Oyly-John (British, 1906-1993)

Villefranche titled ‘Villefranche/near Nice/South of France’ (verso) oil on canvas

45.7 x 65.9 cm. (18 x 26 in.)

£400 - 600

Provenance

With Woodside Gallery, Surrey

Sale; Andrew Smith & Son, Winchester, 14 October 2021, lot 678, where purchased by the present owner

We are grateful to Paul Mayhew for his assistance in cataloguing this lot.

§

Alan Furneaux (British, b.1953)

Gruissan signed with initials ‘AF’ (lower right); further signed and titled ‘a Furneaux/Gruisan’ (verso) oil on canvas

40.5 x 45.5 cm. (16 x 17 1/2 in.) (unframed)

£400 - 600

127 §

Charles Neal (British, b.1951)

Brooke House Farm signed ‘C.Neal’ (lower right); titled ‘Brooke House Farm, Morning, Suffolk’ (to the canvas stretcher) oil on canvas

92 x 107 cm. (36 1/4 x 42 1/8 in.)

£600 - 800

Exhibited

London, John Campbell Gallery, Heart of England Summer Exhibition, 25 Jun-20 Jul 1987

Please note this work is accompanied by the John Campbell Gallery exhibition catalogue.

Charles Neal (British, b.1951)

The River Churn at Baunton Meadows signed ‘C.Neal’ (lower right); titled ‘The river Churn at Baunton/Meadows, near Cirencester/Gloucestershire’ (to a label attached verso) oil on board

51 x 61.4 cm. (20 1/8 x 24 1/4 in.)

£1,000 - 1,500

Charles Neal (British, b.1951)

St Michael’s and St Martin’s Church, Eastleach Martin signed ‘C.Neal’ (lower right) oil on canvas

61.2 x 76.5 cm. (24 1/8 x 30 1/8 in.)

£1,000 - 1,500

Charles Neal (British, b.1951)

Woodland at Pecetto signed ‘C.Neal’ (lower right); titled ‘Woodland at Pecetto/Valle Anzasca Italia/Morning December’ (to a label attached verso) oil on canvas

102 x 102 cm. (40 1/8 x 40 1/8 in.)

£1,000 - 1,500

131 §

Charles Neal (British, b.1951)

Penhill Farm signed ‘C.Neal’ (lower right); titled ‘Penhill Farm/Rapsgate Gloucestershire/afternoon January’ (to a label attached verso) oil on canvas

92 x 122.7 cm. (36 1/4 x 48 1/4 in.)

£1,000 - 1,500

Neale Worley (British, b.1962)

Steffi I signed and dated ‘N Worley 2002’ (verso) oil on canvas

40.5 x 45.8 cm. (16 x 18 in.)

£800 - 1,200

Provenance

With Manya Igel Fine Arts, London, 9 March 2002, where purchased by the present owner

Robert Lenkiewicz (British, 1941-2002)

Painter with Joanne (Aristotle with Phyllis) signed and titled ‘Painter with Joanne/Aristotle with Phyllis/Project 18/Painter with women study/R.O.Lenkiewicz’ (verso) oil on canvas

60.8 x 45.3 cm. (24 x 17 3/4 in.)

£1,000 - 1,500

Robert Lenkiewicz (British, 1941-2002)

Frank The Spoons, Project Vagrancy signed and titled ‘Project II Vagrancy/Relationship Series/FRANK THE SPOONS R.O.Lenkiwicz’ (verso) oil on canvas

141.2 x 125.8 cm. (55 1/2 x 49 1/2 in.)

£1,500 - 2,500

Provenance

Sale; Bonhams, London, 9 June 1999, lot 8, where purchased by the present owner

135 §

Robert Lenkiewicz (British, 1941-2002)

Double Portrait signed ‘Lenkiewicz’ (lower right) oil on canvas

74.7 x 119.5 cm. (29 3/8 x 47 in.)

£1,500 - 2,500

Donald McIntyre (British, 1923-2009)

Seated Figure & Flowers signed ‘DMcINTYRE’ (lower right); further signed and titled ‘SEATED FIGURE & FLOWERS/By/DONALD MCINTYRE’ (to a label attached to a backboard) oil on board

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

£1,000 - 1,500

Provenance

Sale; Bonhams, London, 11 March 2014, lot 108

Sale; Roger Jones & Co, Cardiff, 18 February 2017, lot 323, where purchased by Private Collection, from whom purchased by the present owner

137 §

Gary Bunt (British, 1957-2025)

Who Dunn It

signed ‘Gary Bunt’ (lower left); further signed, inscribed and dated ‘2015 WHO DUNN IT/IF SOMEONE OWNS UP/STRAIGHT AWAY/THEN I SHALL SAY NO MORE/SO WHOEVER CHEWED/ THIS SLIPPER/KINDLY RAISE YOUR PAW/GARY BUNT’ (verso) oil on canvas

25.4 x 30.5 cm. (10 x 12 in.)

£4,000 - 6,000

Provenance

With Portland Gallery, London, 2014, where purchased by the present owners

Exhibited

London, Portland Gallery, Gary Bunt, May 2015, no.67

David Inshaw (British, b.1943)

Worst Case Scenario signed with dedication, titled and dated ‘DAVID INSHAW 2006 WORST CASE SCENARIO 1940 FOR SIMON’ (to the canvas stretcher); further signed and titled again ‘DAVID INSHAW 2006 WORST SCENARIO 1940’ (to tape attached verso) oil on canvas

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

£4,000 - 6,000

Provenance

With Robert Upstone Ltd, London, where purchased by the present owner

Craigie Aitchison C.B.E. R.S.A. R.A. (British, 1926-2009)

Portrait of Francis Fry, Montecastelli signed and dated ‘Craigie Aitchison 2002’ (to the canvas overlap) oil on canvas

25.5 x 20.4 cm. (10 x 8 in.)

£8,000 - 12,000

Provenance

With Merville Galleries, West Sussex

With Waddington Custot, London

Exhibited

London, Waddington Custot, Craigie Aitchison, Recent Work, 29 Nov-22 Dec 2006

Painted in 2002, Portrait of Francis Fry, Montecastelli is a characteristically distilled example of the portraiture of Craigie Aitchison, one of the most individual voices in post-war British painting. Born in Scotland in 1926, Aitchison originally studied law before turning decisively to art, enrolling at the Slade School of Fine Art in London. Over the course of his career he developed a distinctive visual language defined by simplified forms, flattened space and the use of luminous, unmodulated colour fields. His subjects, portraits, still lifes, birds, Bedlington terriers and crucifixions, were treated with an economy of means that nevertheless produced images of remarkable emotional clarity.

This portrait was painted at Montecastelli, the small Tuscan village near Siena where Aitchison acquired a farmhouse in 1975 and which became one of the central locations of his artistic life. The light and atmosphere of Italy profoundly influenced his colour palette and compositional clarity, encouraging the radiant tones and pared-back imagery that distinguish his mature work.

In the present painting, the sitter Francis Fry is presented in profile against a vivid pink ground, a colour deliberately chosen by the artist to heighten the contrast between figure and background. Aitchison reportedly hung a screen of “permanent rose” behind the sitter before beginning the portrait, ensuring that the chromatic harmony of the composition was established from the outset. The simplified geometry of the figure, visible in the triangular rhythms of the shoulders, neck and hair, demonstrates Aitchison’s careful orchestration of form, while the calm profile and restrained modelling lend the portrait a quiet, contemplative dignity.

Portraits such as this occupy an important place within Aitchison’s practice. While he is widely celebrated for his crucifixion scenes and poetic landscapes, his portraits reveal the same refined balance between abstraction and observation that underpins his entire oeuvre. Small in scale yet striking in presence, these works exemplify the artist’s ability to evoke character through colour, shape and line alone.

Portrait of Francis Fry, Montecastelli is therefore a compelling example of Aitchison’s mature style: intimate, immediately recognisable and imbued with the luminous palette that defines his work of the late twentieth and early twenty-first centuries. Elegant and highly distinctive, it offers collectors a particularly appealing example of the artist’s quietly expressive portraiture.

§

Sophie Vallance Cantor (British, b.1993)

PEW PEW signed and dated ‘Sophie Vallance/2022’ (verso) oil on canvas (unframed)

129 x 128 cm. (50 3/5 x 50 3/5 in.)

£1,000 - 1,500

Provenance

With Guts Gallery, London, July 2022, where acquired by the present owner

John Hoyland R.A. (British, 1934-2011)

22.8.73

signed and titled with date ‘JOHN HOYLAND/22.8.73’ (to the canvas overlap)

acrylic on canvas (unframed)

91.5 x 91.5 cm. (36 x 36 in.)

£10,000 - 15,000

Provenance

With Alan Wheatly Fine Art, London

Exhibited

London, Alan Wheatley Fine Art, John Hoyland, Unmistakable Identity, 11 Mar-9 Apr 2009, cat.no.16

We are grateful to Wiz Patterson Kelly at Hoyland Studios LPP for her assistance in cataloguing the present lot.

“There is no place for cynicism, only joy, passion and wonderment, clarity and eagerness.”

- John Hoyland, Tate Gallery, 1994

John Hoyland, born in 1934 to a working-class family in Sheffield, maintained throughout his career a deep commitment to joy, passion and clarity. These qualities are intrinsically present in many of his works. Colour consistently takes centre stage in his paintings, with each canvas conveying a sense of exploration and discovery through richly textured surfaces and vibrant, luminous palettes.

The paintings at this time in the early 70s use a lot of pinks and oranges, amber. At the time his partner was Eliose Laws, the R&B/jazz singer and she would tour in Vegas with her saxophonist brother Ronnie; then, Hoyland, an early riser would go into the desert while everyone else was still sleeping, he loved, as Mel Gooding said in his monograph on Hoyland, ‘the intensely brilliant desert light of Navada’ which influenced his work over those few years.

22.8.73 is no exception to this; the work is richly painted with bold oranges and red tones. It belongs to a significant period in Hoyland’s artistic development. In 1963, he encountered acrylic paint, a medium that transformed his approach to painting and greatly expanded the possibilities of his practice. A formative trip to New York soon after exposed him to the work of leading American abstractionists, encouraging him to pursue a more ambitious and expansive language of colour and form, one that would come to define his work throughout the 1970s. However, Hoyland clearly was moving away from the acrylic-stained canvases with their flat planes of diluted washes and slabs of bold pure colour. Rather than painting in the manner of Mark Rothko, who clearly was a point of reference, Hoyland’s works are more textural, with heavy impasto, and the shapes are more landscape than architectural.

During this decade, Hoyland frequently titled his works using dates rather than descriptive titles. This decision reflected a conceptual concern within his practice: by avoiding narrative or figurative references, he directed attention towards the formal qualities of the painting itself. Colour relationships, scale and surface became central to the meaning of the work. These date-titled paintings are closely associated with a period in which Hoyland’s large-scale acrylic canvases reached a particularly confident and expressive maturity.

142 §

John Edwards (British, 1938-2009)

Blue Bayou signed, titled and dated ‘John Edwards/2000/Blue Bayou’ (verso) oil on canvas (unframed) 182.5 x 167.5 cm. (72 x 66 in.)

£500 - 800

Provenance

The estate of the artist, from whom acquired by the present owner

Born in London, John Edwards established himself as both a painter and teacher and came to be recognised as one of Britain’s leading abstract artists. His work was widely exhibited in group shows, and from 1967 he began a long association with the Rowan Gallery in London, where he held numerous solo exhibitions, including nine between 1971 and 1981. Throughout his career he remained committed to abstraction, developing a distinctive visual language that resisted easy categorisation within any single movement.

Edwards’s early interest in American colour painting of the 1950s and 1960s, particularly the work of Mark Rothko and Kenneth Noland, played an important role in shaping his approach. Like these artists, he explored the expressive potential of colour with boldness and conviction. Yet his work also draws upon the improvisational energy of Abstract Expressionism, whose spontaneous handling of paint can be felt in Edwards’s rapid, confident brushwork.

By the 1970s Edwards had begun to activate the surfaces of his paintings with vigorous brushstrokes and irregular shapes, a development that continued to inform his later work, and although many of Edwards’s works operate within a serial framework, each painting retains a distinct individuality. The balance between repetition and uniqueness lies at the heart of Edwards’s practice, giving his work both coherence and vitality.

The carefully selected works offered here exemplify this mature phase of Edwards’s practice. Spanning a range of scales and media, they demonstrate the versatility of his approach while maintaining the restrained vocabulary of forms that defines his work. Across these compositions, Edwards explores rhythm, balance and colour with clarity and control.

143 §

John Edwards (British, 1938-2009)

Cretan Light signed, titled and dated ‘John Edwards/1992/Cretan Light’ (verso) oil on canvas (unframed)

171.5 x 121.5 cm. (67 1/2 x 47 3/4 in.)

£500 - 800

Provenance

The estate of the artist, from whom acquired by the present owner

144 §

John Edwards, (British, 1938-2009)

Abstract Sculptures

Sea Light signed, titled and dated ‘John Edwards/SEA LIGHT 1988’ (verso) painted metal together with; Jack Built signed, titled and dated ‘John Edwards 1988/Jack Built’ (verso) painted metal (2)

£600 - 800

Provenance

The estate of the artist, from whom acquired by the present owner

Exhibited

London, Flaxman Gallery, John Edwards: Painted Sculpture, 16 Mar-16 Apr 1989; this exhibition toured to Southampton, John Hansard Gallery, 5 Jun-15 Jul 1989.

Literature

Exhibition Catalogue, John Edwards: Painted Sculpture, London, Flaxman Gallery, 1989, p.7 (ill.colour), p.8 (ill.b&w)

Please note these works are accompanied by the Flaxman Gallery exhibition catalogue.

145 §

John Edwards, (British, 1938-2009)

Urban Desires signed, titled and dated ‘John Edwards/1996/97/Urban Desires’ (verso) oil on canvas (unframed)

70.4 x 50 cm. (27 3/4 x 19 3/4 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

146 §

John Edwards, (British, 1938-2009)

City Dust

signed, titled and dated ‘John Edwards/1997/City Dust’ (verso) oil on canvas (unframed)

70.4 x 50 cm. (27 3/4 x 19 3/4 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

John Edwards (British, 1938-2009)

B-3, From the Siri Fort Series signed and dated ‘John Edwards 4/07’ (lower right); titled ‘Siri Fort Series B-3’ (lower left) mixed media on paper

Please note this work is accompanied with an additional 4 drawings each signed and variously dated ‘John Edwards’ (lower right) crayon and watercolour Executed in 2003 & 2005 each approximately 39 x 38.5 cm. (15 3/8 x 15 1/4 in.) (unframed, 5)

30.1 x 30.4 cm. (11 7/8 x 12 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

148 §

John Edwards (British, 1938-2009)

Group of five self-portraits each signed ‘Edwards’ and dated (lower right) crayon

Executed in June 2007 (unframed, 5) each 29.1 x 21.3 cm. (11 1/2 x 8 3/8 in.)

£300 - 500

Provenance

The estate of the artist, from whom acquired by the present owner

149 §

John Edwards (British, 1938-2009)

Untitled

signed ‘John Edwards’ (lower right); dated ‘14/9/70’ (lower left) mixed media on paper (unframed)

£400 - 600

Provenance

The estate of the artist, from whom acquired by the present owner

Please note this work is accompanied by six original works on paper and one signed print (7, unframed)

150 §

Michael Canney (British, 1923-1999)

Capriccio 37 signed, titled and dated ‘Michael Canney 94/CAPRICCIO 37’ (to a backboard) gouache and pencil

14.7 x 14.7 cm. (5 3/4 x 5 3/4 in.)

£800 - 1,200

Provenance

Sale; Christie’s, London, 28 February 2007, lot 204

151 §

Michael Canney (British, 1923-1999)

Sequence I signed, titled and dated ‘Michael Canney ‘80/81/Sequence I’ (to a backboard) relief construction

50 x 50 cm. (19 3/4 x 19 3/4 in.)

£1,000 - 1,500

152 §

Tim Woolcock (British, b.1952)

Solar Manifestation

signed with initials and dated ‘TW7’ (lower right); further signed, titled and dated ‘Solar Manifestation/Tim Woolcock/2007’ (verso)

oil on panel

63 x 50.4 cm. (24 3/4 x 19 3/4 in.)

£800 - 1,200

Provenance

With Belinda Taylor Art, London, where purchased by present owner

153 §

Tim Woolcock (British, b.1952)

September Sea signed, titled and dated ‘September/Sea/Tim Woolcock/2004’ (to tape attached verso) oil on board

51 x 61 cm. (20 x 24 in.)

£400 - 600

Provenance

With The Russell Gallery, London, 27 August 2011, where purchased by the present owner

Sheila Macmillan (British, 1928-2018)

Blue and White Still Life signed ‘Macmillan’ (lower left) oil on canvas

66 x 71 cm. (26 x 28 in.)

£300 - 500

Provenance

With Macaulay Gallery, East Lothian Sale; Lyon and Turnbull, Edinburgh, 29 August 2007, lot 167, where purchased by the family of the present owner, thence by descent

155 §

Samira Abbassy (British, b.1965)

Two Birds in My Hand signed and dated ‘Samira Abbassy 91’ (lower left); further signed, titled and dated ‘Two Birds In My Hand/Samira Abbassy-Oct 91-Barcelona’ (to a backboard) oil on paper

46.5 x 66.5 cm. (18 1/4 x 26 1/4 in.)

£600 - 800

Provenance

With East West Gallery, London, circa 2005, where purchased by the present owner

§

Martin Leman R.B.A. (British, b.1934)

Three Pears

signed with initial ‘M’ (lower right); further signed and titled ‘THREE PEARS MARTIN/LEMAN/RBA’ (verso) oil on board

23.3 x 27.4 cm. (9 1/4 x 10 3/4 in.)

£300 - 500

Provenance

With The Russell Gallery, London, where purchased by the present ownerr

157 §

John Bentham-Dinsdale (British, 1927-2008)

The Chase of the Brilliant signed ‘John Bentham-Dinsdale’ (lower left); titled and dated ‘The Chase of/the Brilliant/28th July 1798’ (lower right)

gouache and watercolour 21 x 29 cm. (8 1/4 x 11 3/8 in.)

£300 - 500

158 §

John Bentham-Dinsdale (British, 1927-2008)

Hove to Off Falmouth signed ‘John Bentham-Dinsdale’ (lower left); further signed and inscribed ‘Hove to/off Falmouth/John Bentham-Dinsdale/H.M.S. Dryad/a 36 gun frigate/This ship had a long/life built in 1795 she/had an eventful/career and was not/broken off till the late/half of the 19th century’ (verso) oil on canvas

51 x 61 cm. (20 1/8 x 24 in.)

£400 - 600

Provenance

With Omell Galleries, London

159 §

Frank Jameson (British, 1898-1968)

Nude signed ‘F.Jameson’ (lower left) oil on canvas

51 x 61.2 cm. (20 x 24 in.)

£300 - 500

Provenance

The artist, 1920s-30s, from whom purchased by the family of present owner, thence by descent

160 §

Eric Huson (British, b.1930)

Boys Fishing signed ‘Jameson’ (lower left) oil on canvas

40.8 x 51 cm. (16 x 20 in.)

£300 - 500

Provenance

The artist, 1920s-30s, from whom purchased by the family of present owner, thence by descent

Frank Jameson (British, 1898-1968)

Girls on the Beach signed ‘Frank Jameson’ (lower right) oil on canvas

40.8 x 51 cm. (16 x 20 in.)

£300 - 500

Provenance

The artist, 1920s-30s, from whom purchased by the family of present owner, thence by descent

Henry Mayo Bateman (British, 1887-1970)

Maestros signed and dated ‘HM BATEMAN/1911’ (lower right) pen & ink

41.2 x 30.4 cm. (16 1/4 x 12 in.)

£500 - 800

Provenance

With A. E. Johnson, London Collection of John Jensen (1930-2018)

We are grateful to Lucy Willis for her assistance in cataloguing this lot.

§

Henry Mayo Bateman (British, 1887-1970)

The Examination signed and dated ‘H.M BATEMAN/1913’ (lower right) ink & pen

41.5 x 31 cm. (16 7/8 x 24 1/4 in.)

£500 - 800

Provenance Collection of John Jensen (1930-2018)

We are grateful to Lucy Willis for her assistance in cataloguing this lot.

164 §

Henry Mayo Bateman (British, 1887-1970)

Man and Wife

signed and dated ‘HM BATEMAN/1911’ (lower left); further titled ‘Man and Wife’ (to label on verso)

pen & ink

47 x 30 cm. (18 1/2 x 11 7/8 in.)

£500 - 800

Provenance

With A. E. Johnson, London

With The Fine Art Society, London, December 1962 Collection of John Jensen (1930-2018)

Exhibited

London, The Cartoon Museum, H.M. Bateman: The Man Who Went Mad on Paper, 11 Apr-22 Jul, 2012, cat.no.103

Literature

John Jensen, The Man Who...and Other Drawings, Eyre Methuen, London, 1975

John Jensen, Anita O’Brien, Anthony Anderson, H.M. Bateman: The Man Who Went Mad on Paper. The Cartoon Museum, 2012 (ill.)

We are grateful to Lucy Willis for her assistance in cataloguing this lot.

§

Henry Mayo Bateman (British, 1887-1970)

Two illustrations of a naval officer Naval officer in white signed with initials ‘H.M./B.’ (lower right) pen & ink together with; Naval officer in black pen & ink (2)

both 21 x 15 cm. (8 1/4 x 3 4/4 in.)

£300 - 500

We are grateful to Lucy Willis for her assistance in cataloguing this lot.

166 §

Henry Mayo Bateman (British, 1887-1970)

Burning the midnight oil signed ‘H.M. BATEMAN’ (lower right)

pen & ink

19.4 x 32.6 cm. (7 5/8 x 12 3/4 in.)

£400 - 600

We are grateful to Lucy Willis for her assistance in catalogunig this lot.

Henry Mayo Bateman (British, 1887-1970)

The Diner Who Had the Nerve to Tell the Wine Waiter the Champagne was Corked signed ‘H.M./BATEMAN’ (lower left); further titled ‘The diner who had the nerve to tell the wine waiter the Champagne was corked’ (to the mount)

crayon and pen & ink

28 x 19.9 cm. (11 x 7 3/4 in.)

£400 - 600

We are grateful to Lucy Willis for her assistance in catalogunig this lot.

Ronald Searle C.B.E. (British, 1920-2011)

Unarmed Combat

signed and dated ‘Ronald Searle 1953’ (lower left); titled ‘Unarmed Combat’ (lower left beneath the mount); titled and dated twice again ‘Unarmed Combat/Souls in torment: London 1953/The St Trinians Story, London 1959’ (verso) and stamped with artist’s stamp (verso) pen & ink

28 x 19.5 cm. (11 x 7 5/8 in.)

£500 - 800

Provenance

With Chris Beetles Gallery, London, where purchased by the present owner

Exhibited

London, Chris Beetles Gallery, The Illustrators: The British Art of Illustration 1800-1991, 16 Nov 2019-4

Jan 2020 cat.no.545

Ronald Searle C.B.E. (British, 1920-2011)

The Playhouse, Changi Gaol (1945) inscribed indistinctly with notes throughout the entire sheet; further titled ‘MUSIC THROUGH THE YEARS 19101945: DESIGN FOR STAGE SET/THE PLAYHOUSE, CHANGI GAOL 1945’ (according to gallery label on verso) pen, ink & coloured pencil

14.5 x 20.4 cm. (5 3/4 x 8 in.)

£300 - 500

Provenance

With Chris Beetles Gallery, London, where purchased by the present owner

Exhibited London, Chris Beetles Gallery, Ronald Searle: A Retrospective, October 2003

170 §

Sir Quentin Blake (British, b.1932)

Albert the Dragon watercolour and pen & ink (unframed)

37.2 x 63.2 cm. (14 5/8 x 24 7/8 in.)

£1,000 - 1,500

Provenance

Gifted by the artist, to Marilyn Fox, from whom gifted to the present owner

Please note this work was one of the artist’s caption boards created for the BBC children’s television programme Jackanory. It is suspected that this work was a caption board referring to the episode Albert and the Centaur.

We are grateful to Liz Williams, Archivist & Information Manager at Quentin Blake Ltd, for her assistance in cataloguing this lot.

171 §

Simon English (British, b.1959)

Double and Twist I signed, titled and dated ‘Double+Twist I/Simon English 1997’ (verso) oil on board (unframed)

30.5 x 45.7 cm. (12 x 18 in.)

£300 - 500

Provenance

With Laurent Delaye Gallery, London, where purchased by the present owner

172 §

Urban scene with figures signed ‘Simeon’ (lower right) oil on board

50 x 75.5 cm. (19 3/4 x 29 3/4 in.)

£300 - 500

173 §

Simeon Stafford (British, b.1956)

Cornish harbour signed ‘SIMEON’ (lower left) oil on board

59.4 x 75.5 cm. (23 3/8 x 29 3/4 in.)

£300 - 500

174 §

Dorothy Stirling (British, b.1947)

Hawk signed ‘Stirling’ (lower right); titled and dated ‘Hawk 1993’ (to a label verso) oil on board

20.4 x 17.8 cm. (8 x 7 in.)

£300 - 500

175 §

Gabriel Weissmann (British, 1944-1997)

Looking at Modern Sculpture signed and dated ‘G.Weissmann 1986’ (lower right); further signed, titled and dated again ‘Looking at Modern Sculpture/G Weissmann 1986’ (verso) oil on board

17.1 x 29.5 cm. (6 3/4 x 11 5/8 in.)

£300 - 500

Provenance

With Mall Galleries, London Exhibited London, Mall Galleries, Discerning Eye, 1990

176 §

Alfred Daniels (British, 1924-2015)

The Lost Billingsgate Fish Market signed and dated ‘ALFRED DANIELS 2011’ (centre left); further signed, titled and dated again ‘ALFRED DANIELS/THE LOST BILLINGSGATE FISH MARKET/2012’ (to a backboard)

acrylic on board

43.2 x 56.8 cm. (17 x 22 in.)

£1,000 - 1,500

Provenance

The artist, 2014, from whom purchased by the present owner

177 §

James Longueville (British b.1942)

Spring Morning, Strand on the Green signed ‘James Longueville’ (lower right); titled ‘Spring Morning/Strand on the Green’ (verso) oil on board

51 x 76.3 cm. (20 1/8 x 30 1/8 in.)

£300 - 500

178 §

Sir Sidney Nolan (British/Australian, 1917-1992)

Figure in a Landscape signed ‘nolan’ (lower right); further signed and dated ‘Nolan/1969’ (verso) mixed media on paper

51.2 x 75 cm. (20 1/8 x 29 1/2 in.)

£1,500 - 2,500

Provenance

Sale; Bonhams, London, 28 March 2006, lot 67

With Pyms Gallery, London

179 §

Stephen Ward (British, 1912-1963)

Cecil Rochford D’Olyly John signed and dated ‘Stephen Ward/1951’ (centre-left)

pencil

47 x 40.1 cm. (18 1/2 x 15 1/4 in.)

£800 - 1,200

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

180 §

Stephen Ward (British, 1912-1963)

Portrait of John Selwyn Lloyd on a spiral background pastel and chalk (unframed)

48.2 x 35.5 cm. (19 x 14 in.)

£800 - 1,200

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited London, The Museum Gallery, July 1963

181 §

Stephen Ward (British, 1912-1963)

Feliks Topolski signed ‘Stephen Ward’ (centre) and inscribed ‘TOPOLSKI’ (lower left) charcoal (unframed)

55 x 37.5 cm. (21 5/8 x 14 3/4 in.)

£800 - 1,200

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited London, The Museum Gallery, July 1963

182 §

Stephen Ward (British, 1912-1963)

Ernest Marples, Minister of Transport (Opening the M1 Motorway) signed ‘Stephen Ward’ (lower centre); inscribed extensively (in the margin) pastel (unframed)

39 x 55 cm. (15 3/5 x 21 5/8 in.)

£800 - 1,200

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

183 §

Stephen Ward (British, 1912-1963)

Study of Ernest Marples, Minister of Transport (Opening the M1 Motorway) signed and inscribed ‘Rough Stephen Ward/from a photograph/for Topic’ (lower centre-right) chalk (unframed)

33.6 x 26 cm. (13 1/4 x 10 1/4 in.)

£600 - 800

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

184 §

Stephen Ward (British, 1912-1963)

Portrait of Maureen Swanson signed ‘WARD’ (lower right); inscribed and dated ‘Painted for the/Dashing White/Sergeant with Maureen Swanson/1955’ (lower left) oil on canvas

76.2 x 50.8 cm. (30 x 20 in.)

£800 - 1,200

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

Please note there is a landscape work painted verso.

185 §

Edward Albert Berbank (British, 1896-1961)

The Footbridge, Brentford signed, titled and dated ‘The Footbridge, Brentford/A.E.Berbank 1925’ (lower left) watercolour (unframed)

29 x 38 cm. (11 3/8 x 15 in.)

£300 - 500

186 §

Bert Wright (British, b.1930)

The Thames in Sunbury signed ‘Bert Wright (lower left); titled ‘The Thames in Sunbury’ and stamped with artist’s stamp verso; further signed, titled and dated ‘The Thames in Sunbury/Bert Wright 1989’ (to a label attached to the frame verso)

watercolour

32 x 46.5 cm. (12 1/2 x 18 1/4 in.)

£300 - 500

187 §

Cyril Mount (British, 1920-2013)

Guns of the 11th Field Regiment in Action with Robcol, Ruweisat Ridge, El Alamein, July 1942 signed and dated ‘Cyril Mount/6/92’ (lower right); inscribed ‘Guns of 11th Field Regiment in A/Repelling German tank attack/Ruweisat Ridge, El Alamein, July 1942 Together with 1/4 Essex Regiment They defended/Rommels final attempt to break/through to Cairo and Middle East’ (verso) oil on canvas

Painted circa 1992

71.5 x 92 cm. (28 1/8 x 36 in.)

£300 - 500

Provenance

The artist, from whom gifted to the family of the present owner, thence by descent

Please note this work was originally created for the Imperial War Musuem. There is another version, with the same title, in the collection of the Imperial War Museum which was gifted by the artist in 1999.

Helen Bradley M.B.E. (British, 1900-1979)

Praise Yea the Lord signed twice, once with artist’s insignia ‘Helen Bradley’ (lower left); inscribed ‘George and I knew/that John Sam’els wife, Florrie/had called to tell Mother something/because she was looking sideways/and had wrinkled her nose, that, just/when she was beginning, Mother/said “Take the sugar bowl children/ and ask Sarah to fill it” so/although we outside/the sitting room door. we didn’t/fear anything except something/about miss Corees (who wore pink).’ (upper left) wash and pen & ink 24 x 25.5 cm. (9 1/2 x 10 in.)

£300 - 500

189 §

Guy Taplin (British, b.1939)

Pintail

signed and titled ‘PINTAIL/GUY TAPLIN’ (to the underside)

painted wood

50.7 cm. (20 in.) long

£600 - 800

Provenance

The artist, circa 1978, from whom acquired by the present owner

“I was in the thick fog of an early winter morning in Regent’s Park, I would watch pintails preening. They were among the first birds I made” - Guy Taplin

190 §

Guy Taplin (British, b.1939)

Merganser

titled and signed indistinctly ‘MERGANSER/GUY TAPLIN’ (to the underside)

painted wood

54.6 cm. (21 3/4 in.) long

£800 - 1,200

Provenance

The artist, circa 1978, from whom acquired by the present owner

191 §

Guy Taplin (British, b.1939)

Grebe

signed and titled ‘GREBE/GUY TAPLIN’ (to the underside) painted wood

73.7 cm. (29 in.) long

£800 - 1,200

Provenance

The artist, circa 1978, from whom acquired by the present owner

192 §

Stephen Ward (British, 1912-1963)

Cyril Lord signed and dated ‘Stephen Ward/June 1960’ (centre); inscribed ‘Cyril/LORD’ (lower left) charcoal and chalk (unframed)

55.2 x 38.1 cm. (21 3/4 x 15 in.)

£400 - 600

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

193 §

Stephen Ward (British, 1912-1963)

Mr. Selwyn Lloyd signed ‘Stephen Ward’ (centre) charcoal (unframed)

49 x 32.4 cm. (19 1/4 x 12 3/4 in.)

£400 - 600

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

194 §

Stephen Ward (British, 1912-1963)

Portrait of an Officer signed, inscribed and dated ‘Stephen Ward/44/Bicester’ (lower centre) charcoal and crayon on paper laid onto card (unframed)

55.8 x 38.7 cm. (22 x 15 1/4 in.)

£400 - 600

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

195 §

Stephen Ward (British, 1912-1963)

The Late Cardinal Godfrey signed ‘Stephen Ward’ (lower right) charcoal and crayon (unframed)

49 x 32 cm. (19 1/4 x 12 1/2 in.)

£400 - 600

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

196 §

Stephen Ward (British, 1912-1963)

Terry Thomas signed with initials ‘SW’ (lower right) charcoal (unframed)

48 x 31.5 cm. (18 7/8 x 12 1/4 in.)

£500 - 700

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited London, The Museum Gallery, July 1963

197 §

Stephen Ward (British, 1912-1963)

Jack Hawkins signed ‘Stephen Ward/Mar 61’ (lower left); inscribed ‘Jack Hawkins’ (lower centre) charcoal and chalk (unframed)

50 x 32 cm. (19 3/4 x 12 1/2 in.)

£600 - 800

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

198 §

Stephen Ward (British, 1912-1963)

Kenneth More signed and dated ‘Stephen Ward/Feb 67’ (lower right); titled ‘Kenneth More’ (verso) charcoal and crayon (unframed)

49 x 32 cm. (19 1/4 x 12 1/2 in.)

£600 - 800

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

199 §

Stephen Ward (British, 1912-1963)

Richard Todd

signed ‘Stephen Ward’ (lower left) and inscribed ‘RICHARD TODD’ (lower right); titled ‘Richard Todd’ (verso)

charcoal and crayon (unframed)

50 x 32.5 cm. (19 7/8 x 12 3/4 in.)

£600 - 800

Provenance

With M&A Jacobs LLP, 1963, where acquired by Joseph Jackson QC, thence by descent

Exhibited

London, The Museum Gallery, July 1963

200 §

Tom Merrifield (British, 1932-2012)

Ballerina on a pedestal signed ‘Tom Merrifield’ (to the base) bronze with green patina with bronze base 188 cm. (74 in.) (excluding the base) 233.7 cm. (92 in.) including the base

£8,000 - 12,000

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

201 §

Tom Merrifield (British, 1932-2021)

Marion Tait

signed and numbered ‘T Merrifield A/C’ (to the base); stencilled with title ‘MARION TAIT’ (to the base)

bronze with brown patina

91 cm. (35 3/4 in.) high (including the base)

£400 - 600

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

202 §

Tom Merrifield (British, 1932-2021)

Natalia Makarova and Anthony Dowel signed and numbered ‘T Merrifield 5/10’ (to the base); stamped with title ‘NATALIA MAKAROVA AND ANTHONY DOWEL’ (to the base) bronze with a brown patina 45.6 cm. (18 in.) high (including the base)

£300 - 500

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

203 §

Tom Merrifield (British, 1932-2021)

Women lying on a rock signed and numbered ‘Tom Merrifield A/C’ (to the base) bronze with a brown patina

36.8 cm. (14 1/2 in.) long

£300 - 500

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

204 §

Tom Merrifield (British, 1932-2021)

Two Dancers’

Marguerite Porter

signed and numbered ‘T Merrifield A/C’ (to back of the base); stamped with title ‘MARGERITE PORTER’ (to front of the base) bronze with brown patina together with; Natalia Makarova

signed and numbered ‘T Merrifield 9/10’ (to the base of the base); stamped with title ‘NATALIA MAKAROVA’ (to the front of the base) bronze with black patina (2)

45 cm. (17 5/8 in.) high (including the base) and 34 cm. (13 3/8 in.) high (including the base)

£300 - 500

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

205 §

John Mackie (British, b.1953)

Dancing Trees signed and dated ‘J.Mackie’95’ (lower right) oil on canvas

41 x 51 cm. (16 1/4 x 20 1/8 in.)

£500 - 800

Provenance

With Walker Gallery, Harrogate

Sale: Tennants Auctioneers, London, 26 February 2022, lot 2058, where purchased by the present owner

206 §

Ian McWhinnie (British, b.1952)

Neptune Fountain, Berlin signed ‘McWhinnie’ (lower right); titled ‘NEPTUNE FOUNTAIN, BERLIN’ (to tape attached to frame verso) oil on board

23 x 25.4 cm. (9 x 10 in.)

£500 - 800

Provenance

With Sheridan Russell Gallery, London, 6 April 2010, where purchased by the present owner

207 §

Anita Klein (Australian/British, b.1960)

Weighing Myself signed with initials and dated ‘AK ‘96’ (lower right) oil on board

91.5 x 61.2 cm. (36 x 24 1.4 in.)

£500 - 800

Provenance

With Cambridge Contemporary Art, where purchased by the present owner

208 §

Enzo Plazzotta (Italian/British, 1921-1981)

The Swan (Life-Size)

labelled with the artist’s copy stamp and the Mariani Foundry mark (on the marble base) bronze with brown patina on a marble base

Cast in 1970 from the edition of 9, with two additional artist’s copies (the present cast is one of the two artist’s copies)

215.9 cm. (85 in.) high (including the base)

£10,000 - 15,000

Provenance

The estate of the artist, October 2021, from whom purchased by the present owner

Exhibited

London, The Grosvenor Gallery, Enzo Plazzotta, 10 Jun-10 Jul 1970, cat.no. 26 (col.ill, another cast)

Norwich, Kings Lynn Festival, 1971 (another cast)

New York, Acquavella Galleries, Plazzotta, 4 Dec 1973-5 Jan 1974 (another cast)

London, Marjorie Parr Gallery, Plazzotta, October 1975 (another cast)

London, Italian Institute of Culture, Mar-Apr 1976 (another cast)

London, Bedford College, Regents Park, Enzo Plazzotta, Jul-Aug 1980 (possibly the present cast)

Literature

Carol Plazzotta and Richard O’Conor, Enzo Plazzotta: A Catalogue Raisonné, 1986, p.50, cat. no.125 (col.ill.) (possibly the present cast)

A masterful study in tension, grace, and mythological drama, The Swan (Life-Size) exemplifies Enzo Plazzotta’s lifelong fascination with the poetry of the human body in motion.

Born in Italy, Plazzotta trained at the prestigious Accademia di Brera in Milan under the tutelage of prominent sculptors Giacomo Manzù and Francesco Messina. Following the Second World War, during which he served courageously as a partisan in the Italian resistance, Plazzotta relocated to Britain. Settling in London, he dedicated himself to a classical figurative tradition, drawing deep inspiration from the expressive power of historical masters such as Michelangelo and Auguste Rodin. He enjoyed profound popularity throughout the 1960s and 1970s until his untimely death in 1981, celebrated particularly for his ability to translate fleeting physical movement into solid bronze.

The Swan tackles one of the most enduring subjects of Greco-Roman mythology: the seduction of the Spartan Queen Leda by Jupiter, King of the Gods, disguised as a magnificent swan. Plazzotta’s interpretation is remarkably dynamic. Leda is captured in a moment of rapturous surrender, balanced delicately en pointe with her back dramatically arched and her head thrown back. The heavy, textured wings of the swan envelop her, creating a striking visual contrast between the smooth, sensuous curves of the female nude and the rugged, powerful plumage of the bird.

Coming directly from the artist’s estate in 2001, this rare artist’s copy boasts impeccable provenance. It stands not only as a testament to Plazzotta’s exceptional technical skill, cast beautifully by the renowned Mariani Foundry, but also as a breathtaking focal point for any collection of modern figurative sculpture.

We are grateful to Carol Plazzotta for her assistance in cataloguing this lot.

209 §

Nigel Boonham (British, b.1953)

Self Confidence

stamped three times ‘M.D.M.I.’ ‘КУВЕЛЬ’ and ‘सिंहवाङ्गी’ (to various places on the bronze base)

bronze with a green patina

119.4 x 141 cm. (47 x 55 1/2 in.) (inclduing the base)

£1,000 - 1,500

210 §

Tanya Brett (British, b.1974)

Hare signed and dated ‘TANYA/2000’ (to the base)

ceramic

74.3 cm. (29 1/2 in.) high

£800 - 1,200

Provenance

Acquired directly from the artist, circa 2000, by the present owner

211 §

Derek Hyatt (British, 1931-2015)

Windy Day, Wensleydale signed ‘DEREK HYATT’ (to the frame verso) oil on board

29 x 33 cm. (11 3/8 x 13 in)

£300 - 500

Danny Markey (British, b.1965)

Big Night Clouds signed and dated ‘DANNY MARKEY 1999’ (to the frame verso) oil on board

23.5 x 29.3 cm. (9 1/4 x 11 1/2 in.)

£300 - 500

Provenance With The Redfern Gallery, London

Exhibited

London, The Redfern Gallery, The Discerning Eye, 2000

213 §

Angela A’Court (British, b.1961)

Still life of tea set signed and dated ‘A Court 2011’ (lower right) pastel

39.5 x 56.5 cm. (15 1/2 x 22 1/4 in.)

£300 - 500

214 §

Philip Hearsey (British, b.1946)

Dance signed with initials and stamped with numbering ‘339/PH/6/9’ (to the backside) bronze on a slate base 14 x 25 x 15 cm. (5 1/2 x 9 3/4 x 5 7/8 in.)

£300 - 500

Each piece in the edition may be mounted on different bases and have different colouring. Please note this work is sand-cast and therefore cast separately, rather than the lost wax process, which demands the whole edition be cast simultaneously. Please note that the artist began this series in 2009, and this work dates from 2020.

We are grateful to the artist for his assistance in cataloguing this lot.

Philip Hearsey (British, b.1946)

Direction signed with initials and stamped with numbering ‘PH/332/3/7’ (to the backside) bronze on a slate base 27 x 16.5 x 11 cm. (10 5/8 x 6 1/2 x 4 1/4 in.)

£300 - 500

Each piece in the edition may be mounted on different bases and have different colouring. Please note this work is sand-cast and therefore cast separately, rather than the lost wax process, which demands the whole edition be cast simultaneously. Please note the direction series dates from 2015.

We are grateful to the artist for his assistance in cataloguing this lot.

Marcus Harvey (British, b.1963)

Patriot with a pitbull and a caged bird watercolour

76.8 x 56 cm. (30 1/4 x 22 1/8 in.)

£600 - 800

Provenance

The artist, from whom gifted to the family of present owner, December 2024, thence by descent

217 §

Richard Adams (British, b.1960)

Waiting in the Wings signed with dedication ‘To Billie/Best Wishes Richard Adams’ (to a backboard) oil on board

33.4 x 27.9 cm. (13 1/4 x 11 in.)

£800 - 1,200

Provenance

With Hybrid Art & Design, 27 October 2011, where purchased by the present owner

218 §

Adam Neate (British, b.1977)

Untitled signed with artist’s insignia (lower left) acrylic and spray paint on canvas

Painted in 2003

50.5 x 61 cm. (19 7/8 x 24 in.)

£1,000 - 1,500

Provenance

Sale; Bonhams, London, 17 March 2010, lot 385, where purchased by the present owner

Antony Micallef (British, b.1975)

Untitled signed and dated ‘Antony Micallef/05’ (verso) acrylic and mixed media on canvas

20.4 x 122.5 cm. (8 x 48 1/4 in.)

£1,000 - 1,500

Provenance

With Lazarides Gallery, London, 12 June 2018, where purchased by the family of the present owner

220 §

Damien Hirst (British, b.1965)

Spin Painting signed ‘Damien Hirst’ and stamped with studio stamp acrylic on paper Executed in 2009 (unframed)

52.8 cm. (20 3/4 in.) (diameter)

£1,500 - 2,500

221 §

John Monks (British, b.1954)

Abstract Pictures and Lighting signed and dated ‘J.Monks./2000’ (verso) oil on canvas 183 x 244 cm.

£700 - 1,000

Provenance Collection of Paintings in Hospitals

222 §

Jason Brooks (British, b.1968)

Scone Head signed and dated ‘Jason Brooks 1992’ (verso) oil on canvas

76.3 x 76.3 cm. (30 1/4 x 30 1/4 in.)

£1,000 - 1,500

223 §

John Thompson (British, 1924-2011)

Group Series No. 2813 signed and titled ‘G.2813/John Thompson’ (lower right) mixed media on paper

56.4 x 76.6 cm. (22 1/4 x 30 1/8 in.)

£300 - 500

Provenance

With Great Atlantic Galleries, Falmouth, where purchased by the present owner

224 §

Guy Denning (British, b.1965)

Flers Courcelette titled ‘FLERS CORCELETTE’ (upper right); signed and titled again ‘FLERS-/COURCELETTE/Guy

Denning’ (verso) oil on canvas with collage

20.3 x 19 cm. (8 x 7 1/2 in.)

£400 - 600

Michael Landy C.B.E. R.A. (British, b.1963)

H.2.N.Y. Eh Splendide signed, titled and dated verso (according to gallery label) correction fluid on paper Executed in 2006

29.8 x 21 cm. (11 7/8 x 8 1/4 in.)

£300 - 500

Provenance

With Thomas Dane Gallery, London, where purchased by the present owner

Michael Landy C.B.E. R.A. (British, b.1963)

H.2.N.Y The Engineer of Nonsense signed, titled and dated verso (according to gallery label) correction fluid on paper Executed in 2006

29.8 x 21 cm. (11 7/8 x 8 1/4 in.)

£300 - 500

Provenance

With Thomas Dane Gallery, London, where purchased by the present owner

227 §

Alan Davie C.B.E. R.A. (British, 1920-2014)

Two Horsemen signed, titled and dated ‘Alan Davie/2008/TWO HORSEMEN’ (verso) oil on board

31.5 x 36.5 cm. (12 1/2 x 3/8 in.)

£500 - 800

Alan Davie C.B.E. R.A. (British, 1920-2014)

Untitled signed and dated ‘Alan Davie 2013’ (lower right) oil on paper

19 x 21 cm. (7 1/2 x 8 1/4 in.)

£300 - 500

Provenance With Gimpel Fils, London

Alan Davie C.B.E. R.A. (British, 1920-2014)

Untitled signed, numbered and dated ‘Alan Davie 120 89’ (lower right) gouache and pencil

16.5 x 23 cm. (6 1/2 x 9 in.)

£300 - 500

230 §

William Gear R.A. (British, 1915-1927)

Untitled signed and dated ‘Gear ‘63’ (lower right) mixed media on paper

55.5 x 35.2 cm. (21 7/8 x 13 7/8 in.)

£400 - 600

231 §

William Gear R.A. (British, 1915-1997)

Red Curtain signed and dated ‘Gear 95’ (lower right) mixed media on paper

27 x 40 cm. (10 5/8 x 15 3/4 in.)

£300 - 500

232 §

William Gear R.A. (British, 1915-1997)

Blue Intruder

signed and dated ‘Gear 96’ (lower right); further signed, titled and dated again ‘Gear/April 96/BLUE INTRUDER’ (verso)

mixed media on paper

25.3 x 34.3 cm. (10 x 13 3/4 in.)

£300 - 500

233 §

Glynn Boyd Harte (British, 1948-2003)

Still Life with Lemon and Cherries signed ‘Glynn Boyde Hart’ (lower centre) watercolour

31 x 23 cm. (12 1/4 x 9 in.)

£300 - 500

Hubert Williams (British, 1905-1989)

Marigolds

signed and dated ‘Hubert Williams ‘84’ (lower right) oil on canvasboard

35 x 30.3 cm. (13 3/4 x 11 7/8 in,)

£300 - 500

Provenance

The artist, from whom acquired by the family of the present owner, thence by descent

235 §

Rosalind Stracey (British, 1907-2005)

Bird walking’ signed ‘Stracey’ (to the base); numbered ‘2/6’ (to the underside) bronze with dark green patina 28 cm. (11 in.) high (including the base)

£300 - 500

236 §

Rosalind Stracey (British, 1907-2005)

Bird

signed and numbered ‘Stracey 1/20’ (to the bronze base)

bronze with green patina with a marble base

36.2 cm. (14 1/8 in.) high (excluding the marble base)

£300 - 500

237 §

Kathy Richards (British, 20th Century)

Earth, Air and Water stone on a separate wooden base

42 cm. (16 1/2 in.) high (excluding the base)

£500 - 800

238 §

John Seery-Lester (British, 1945-2020)

Hippos by the waterfront signed ‘Seery-Lester’ (lower left) oil on canvas

61.8 x 51.2 cm. (23 1/8 x 20 1/8 in.)

£300 - 500

Provenance

Sale; Leyburn, Tennants, 22 August 2020, lot 1055, where purchased by the present owner

239 §

John Seery-Lester (British, 1945-2020)

Cheetah on rocks signed ‘Seery-Lester’ (lower right) oil on canvas

61 x 51 cm. (24 x 20 in.)

£300 - 500

Provenance

Sale; Tennants, Leyburn, 22 August 2020, lot 1056, as Cheetah, where purchased by the present owner

Jo Brocklehurst (British, 1935-2006)

Vision in Black & Blue signed and dated ‘Jo Brocklehurst 2000’ (lower left) gouache and crayon

58.4 x 41.1 cm. (23 x 16 1/8 in.)

£400 - 600

Provenance

With Blondes Fine Art, London, where purchased by the present owner

241 §

Jo Brocklehurst (British, 1935-2006)

Untitled signed and dated ‘Brocklehurst 000’ (lower right) gouache and crayon

58.4 x 41.1 cm. (23 x 16 1/8 in.)

£400 - 600

Provenance

With Blondes Fine Art, London, where purchased by the present owner

242 §

Norman Ackroyd C.B.E. R.A. (British, 1938-2024)

Coniston Snow signed and dated ‘Norman Ackroyd 2000’ (lower right); titled ‘Coniston Snow’ (lower left) watercolour

62 x 45.5 cm. (24 3/8 x 17 1/2 in.)

£400 - 600

Provenance

With Attendi, London, 15 December 2001, where purchased by the present owner

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• Both landline and mobile telephone numbers

• A bank reference for foreign bidders may be requested

• Corporate clients will have to provide a certificate of incorporation prior to the auction, along with the representative’s ID in accordance with the above mentioned requirements for proof of identity.

Any Bidder that does not match the provided identity for registration may not purchase during the sale.

2. DURING THE SALE

2.1 Attendance at auction

Attending the auction in person is recommended.

CA Ltd has the right at their absolute discretion to refuse participation in any auction, to reject any bid, and to refuse admission to the premises.

Bidders are not obliged to be present in person at the auction. Absentee bidders shall be required to make necessary arrangements with CA Ltd prior to the sale.

2.2 Personal bidding

Bidders attending the auction in person shall be required to collect a unique bidding paddle prior to bidding in the sale.

2.3 Commission bids

CA Ltd will use reasonable efforts to carry out Commission bids received by them prior to the sale for the convenience of clients who are not present at the auction in person. Execution of Commission bids is a free service provided to help clients and CA Ltd does not accept liability for any failure to execute a Commission bid or for errors and omissions in connection with it.

Commission bids shall be executed at the lowest possible price, subject to competing bids and reserves. Although CA Ltd will endeavour to inform Buyers, it is the Buyer’s responsibility to check if they have been successful in purchasing a Lot.

In the event of multiple commission bids set at the same price, the first registered commission bid will take priority.

2.4 Telephone bids

If a bidder is not able to attend in person an auction, CA Ltd will use reasonable efforts to contact prospective Buyers who make arrangements prior to commencement of the sale to bid by telephone. CA Ltd cannot be held responsible in the event of issues affecting connectivity, resulting in the loss of a chance of purchasing the Lot for the Bidder.

2.5 Internet bids

Some sales may be available to internet bidding, as well as personal attendance. In this event, CA Ltd shall not be held responsible for issues affecting connection. In addition to having our own in-house online bidding platform, some sales are also offered with online live bidding by third party platforms, CA Ltd is not responsible for any issues that may arise during registration or untilising said platforms. CA ltd encourages prospective bidders to bid directly with Chiswick Live or via traditional direct in-house means wherever possible.

2.6 Bidding on behalf of someone

A Buyer may bid by proxy. In this event, proof of identity of both the Buyer and the proxy must be communicated to CA Ltd prior to the sale. A copy of the mandate shall also be required.

2.7 Bidding on an item

Bid incrementation is at the auctioneer’s entire discretion.

2.8 Video transmission

For the purpose of the sale, Lots may be displayed on video during the auction. In the event of transmission issues, CA Ltd shall not be held responsible for any subsequent outcome.

2.9 Online-only auctions

Some auctions may only be available to bidders via an online platform sale. In this event, Buyers have a 14 day period from the receipt of goods to withdraw from the sale, in accordance with EU Consumer Law. This returns policy relates only to lots where physical viewing of lots prior to sale is not offered by CA Ltd.

2.10 Dispute resolution during the auction

Any dispute shall be settled at the auctioneer’s absolute discretion. Under no circumstances will a sale be cancelled after the fall of the hammer, except at the auctioneer’s entire discretion.

3. CONTRACT FORMATION AND EFFECTS

3.1 Contract of sale

The contract of sale is between the Buyer and the Seller. The Buyer shall be the bidder at the highest price at the fall of the hammer. The sale is deemed complete once the auctioneer announces its completion by the fall of the hammer and the contract shall be binding thereafter between the Buyer and the Seller and CA Ltd.

When a Buyer purchases multiple Lots, each Lot is the subject of a separate contract of sale.

3.2 Transfer of property

Property of the goods shall pass to the Buyer only once CA Ltd has received full payment for the goods, this includes the price at the fall of the hammer as well as Buyer’s premium, relevant taxes, and costs in relation to shipping.

3.3 Transfer of risks

Purchased Lots shall be at the Buyer’s risk in all respects from the fall of the hammer, and neither CA Ltd nor their agents shall be responsible for any loss or damage of any kind, whether caused by negligence or otherwise.

3.4 Cancellation of the sale

At the fall of the hammer, the contract is formed between the Buyer and CA Ltd and is binding thereafter.

Under no circumstances can the Buyer cancel the sale.

CA Ltd may at its entire discretion, during or after the auction, cancel the sale of the Lot or reoffer and resell the Lot if it becomes aware of any error or dispute of any nature, whether or not title has passed to the Buyer, and up to a period of 6 months after the said sale.

Grounds for cancellation under the present section shall include

but not be limited to any dispute relating to the attribution or provenance of the Lot, ownership and title, fraud or deceit, lack of relevant licences or certificates, any subsequent changes in domestic or international legislations restricting the sale of export of goods etc.

In the event of internet-only auctions (where are no offered advanced physical viewing times), the Buyer shall have a 14 day right to retract, after receipt of the Lot, under EU Consumer Law. Public auctions are not covered by this right to retract.

4. AFTER THE SALE

4.1

Payment

All purchased lots must be paid for on the day of the auction. Commission bids must be paid for no later than the day after the auction. Payment must be made by cash, debit, credit card or bank transfer. We do not accept cheques. We do not currently accept American Express.

CA ltd adheres strictly to current anti-money laundering regulations and reserves the right to refuse payment or cancel the sale of any lot, should suspicion or evidence of regulation infringement arise. The 2020 guidelines reference ‘Art Works’, but are as yet to be fully defined. As such, CA Ltd reserves the right to adapt buying/selling rules at any time, in order to maintain compliance.

Cash payments shall not be receivable for amounts over €10,000, regardless of the payment being for one or multiple Lots. As of 2020, new directives also extend to other forms of payment where the amount is in excess of €10,000 and this may require further information sharing covering both buyers and sellers.

Should it encounter contravention of said regulations, or is unable to bring buyers/sellers into line with said regulations through advice and support, CA ltd reserves the right to cancel any lot transaction and offer said lots to underbidders and where applicable will notify the relevant authority of the suspected contravention if deemed intentional.

Payments made by someone other than the registered Buyer shall not be accepted.

Title will not pass to the Buyer until CA Ltd has received all amounts due to them in cleared funds even if the Lot has been released to the Buyer.

4.2 Buyer’s Premium

The Buyer will pay CA Ltd a premium of 26% on the hammer price plus VAT on that premium on the first £500,000 and 12% plus VAT on the balance thereafter. A Buyer’s Premium of 21% plus VAT is charged on Wine & Spirits Lots.

The VAT payable varies by symbol as below:

No Symbol: The standard rate of VAT is charged on the premium under the Auctioneers Margin Scheme in accordance with Art. 333 of 2006/112/EC. Standard UK VAT will be charged on the buyers’ premium and invoiced on an inclusive basis.

†: Normal VAT rules apply and the standard rate of VAT will be charged on both hammer price and premium.

*: These lots have been imported from outside the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice.

If you are re-exporting a * lot outside of the UK, you must use Chiswick Auctions Ltd TA Shipper.

4.3 Online Bidding Surcharges

Customers bidding through Chiswick Live are liable for a 1% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

Customers bidding through the third-party auction platform thesaleroom.com are liable for a 4.95% surcharge on the hammer price,plus VAT. This is in addition to the Buyer’s Premium. Customers bidding through the third-party auction platforms

Invaluable.com, Artsy.net or Liveauctioneers.com are liable for a 5% surcharge on the hammer price, plus VAT. This is in addition to the Buyer’s Premium.

4.4 Taxes

VAT is payable on the buyer’s premium, and for some lots, VAT is payable on the hammer price. The successful bidder will be responsible to ascertain and pay any applicable taxes including VAT, sales tax or any equivalent tax arising on sale of a particular lot.

W.e.f. 1st January 2021 (Post Brexit), Private individual buyers based outside UK will now be charged VAT at the applicable rate and will not be able to claim a VAT refund.

Trade clients based outside UK and who arrange for their own shipping can get the VAT refunded if all the below conditions are met:

1. Have registered to bid with an address outside of the UK

2. Provide immediate proof of export out of the UK within 90 days from the date of the auction

Please note, we charge an administrative fee of £35 per invoice to check export documents and arranging VAT refunds. VAT refunds will be done to the original method of payment used by the buyer. No VAT will be refunded where the total VAT on an invoice is under £70.

Trade clients based outside UK and who arrange shipping with our recommended shipper JGM Shipping can get the VAT taken off the invoice prior to making payment. In order to do this, you must email katy.mcevoy@chiswickauctions.co.uk a confirmation of shipping with JGM Shipping. If you cancel or change the shipping with our recommended shipper, we will issue a revised invoice charging all applicable taxes.

4.5 Artist Resale Rights / Droit de Suite

Lots marked with ‘ARR’ may be subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or to the artist’s heir each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a cumulative sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to Lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single Lot is the sterling equivalent of €12,500.

Royalties for Droit de Suite are as follows:

• From 0 to €50,000 4%

• From €50,000.01 to €200,000 3%

• From €200,000.01 to €350,000 1%

• From €350,000.01 to €500,000 0.5%

• Exceeding €500,000 0.25%

4.6 Remedies for non-payment

If the Buyer fails to make full payment in cleared funds within the time required as aforementioned, CA Ltd shall be entitled to exercise any one or more of the following rights or remedies additional to such other rights or remedies available:

• To cancel the sale

• To resell the Lot on such terms by auction or otherwise entirely at CA Ltd’s discretion. The Buyer will be liable for all costs including legal fees incurred in the sale and will remain liable for any shortfall arising upon sale.

• To offset against any sums which CA Ltd may owe the Buyer the outstanding sums unpaid by the said Buyer

• Where the Buyer owes sums to CA Ltd in respect of different transactions, to discretionary apply any sum paid by the Buyer for discharge of any owed sums.

• To refuse entry to the Buyer at any future auction and/or reject any future bids by the Buyer and/or seek a deposit from the Buyer entirely in the discretion of CA Ltd.

• To exercise a lien over the Buyer’s property in the possession of

CA Ltd as collateral for any outstanding sums owed and to exercise all the rights and remedies of a person holding security over any such property, whether by way of pledge, security interest or in any other way to the extent permitted by Law.

• To commence legal proceedings for the recovery of the total amount due together with interest, legal fees and costs.

• To take such other action as is permissible by Law and in the discretion of CA Ltd.

4.7 Collection

Purchased Lots can be collected from the auction room after the sale has ended or between 10am and 6pm up until close of business on the Friday following the sale. Special arrangements may be made for collection on Saturday at CA Ltd’s discretion. Any delay in collection must be communicated clearly to CA Ltd in advance of the collection deadline and CA Ltd reserves the right to impose charges thereafter at its utter discretion (see 4.7).

4.8 Storage

CA Ltd offers a discretionary 14 days free storage on purchased and unsold Lots from the date of the sale. Thereafter Lots not collected shall incur storage charges of £5.00 per lot, per day or part thereof for smalls and pictures (defined as anything that can be handled by one person) and £10.00 per lot, per day for furniture and other larger lots. CA Ltd shall be entitled to retain said Lots until all sums due have been paid to CA Ltd. If any lot remains uncollected 21 days after the sale, storage charges shall thereafter be £10/£20 (smalls/ larger items) per day and CA Ltd shall, in accordance with the Law, have the right to sell the purchased Lot to recover payment of storage charges outstanding. Any balance proceeds of sale received after payment of all sums outstanding and due to CA Ltd shall be held for the account of the Buyer.

4.9 Shipping

Any shipping costs that may arise subsequent to the sale shall be at the Buyer’s expense. Such costs may include but not limited to postage, import and export permits where required and any other licence necessary for goods to be shipped outside of the European Union.

CA Ltd does not offer insurance for shipping. However, CA Ltd may arrange insurance upon the Buyer’s request and at the Buyer’s expense.

CA Ltd cannot be held responsible for any damages that may be incurred to goods prior to the fall of the hammer.

4.10 Loss or Damage

CA Ltd does not accept liability for loss or damage occurring to Lots after the sale. CA Ltd will use reasonable efforts when handling Lots, but shall not be responsible for any loss or damages that may occur whilst the said Lot is in any third party’s care.

4.11 Cultural Goods import and export restrictions

Cultural goods may be subject to import and export restrictions. Under EU Regulations related to the trade of cultural goods, export licences may be required for export outside of the European Union if the item’s value exceeds the EU threshold. Under UK Law, a licence may also be required for intra-EU trade.

Licenses are issued by Arts Council England and it is the Buyer’s duty to obtain them. Some countries restrict the import of specific cultural goods. For example, the United States prohibits the import of pre-Columbian monumental or architectural sculpture or murals, as well as any cultural goods in provenance from some countries subject to armed conflicts.

The Buyer must verify local legislation prior to the sale in order to be assured that import or export is possible.

4.12 CITES

Import and export restrictions

Certain endangered species are listed in the CITES Convention. Listed specimens and any parts or products thereof are subject to

issuance of an export permit when leaving the European Union. Appendix I species, are also subject to issuance of a prior import permit from the country in which the goods are to be imported. Such permits are necessary before applying for export permits and it is the Buyer’s duty to initiate the proceedings with the relevant authority.

The Buyer must be aware that certain countries prohibit the import of some species or any parts or products derived thereof. For example, the United States prohibit all import of African elephant ivory, and any item containing parts that may merely resemble African elephant ivory must be accompanied by relevant documentation stating it is not the latter.

Worked items that are dated before 1947 are exempt from import restrictions for intra-EU trade and shall not require export licences. Please be aware that all Lots marked with the symbol λ are subject to CITES regulations.

4.13 Limitation of liability regarding CITES export licenses

Where licences are required for importing or exporting outside of the European Union, it is the Buyer’s duty to obtain them. CA Ltd cannot be held responsible if the Buyer’s application for an export permit is unsuccessful. Subsequently, in the event of failure thereof, CA Ltd shall not permit cancellation or rescission of the sale.

4.14 Warranties

CA Ltd does not provide the Buyer with warranties relating to any Lot, unless required by Law.

4.15 Authenticity warranty

In the event of a Lot being sold as authentic under the catalogue description and the Buyer provides evidence in the form of a written report by a recognised expert or test results that the said Lot is not authentic, CA Ltd will refund the purchase price.

The Buyer shall give notice to CA Ltd within 28 days from knowledge or any event giving reasons for suspecting that the item is not authentic, and within one year of the said sale. Any claim thereafter shall not be receivable. For the purposes of the present paragraph, authenticity shall be defined as the state of a Lot that is genuine and not a forgery or a copy.

5. ANTIQUITIES AND TRIBAL ART

5.1 Import and export restrictions and regulations

Archaeological goods over 100 years of age, unless covered by exemption of limited scientific interest, will require an EU Licence for export to a third country, regardless of their value. It is recommended that the Buyer contact the Export Licensing Unit at Arts Council England in order to be assured the good is or not of limited archaeological or scientific interest.

Archaeological goods found on United-Kingdom soil or in UK territorial waters over 50 years of age shall require a UK Licence regardless of their value and regardless of the export destination. Other archaeological objects regardless of their origin will require an Individual Licence or OGEL depending on their value.

Both European-Union and UK Licences may be required simultaneously for some items. It is the Buyer’s duty to undertake the necessary steps. CA Ltd cannot be held responsible and the sale cannot be cancelled in the event of failure to obtain the relevant licences.

6. JEWELLERY

6.1 Gemstone treatment and estimates

Many gemstones on the market have been treated so as to augment their appearance, in a reversible or permanent manner. Treatments under the present section may be but not limited to:

• Heat treatment to enhance sapphires and rubies’ clarity and colour

• Oil and resin treatments for emeralds applied in different ways, to enhance clarity of the stone

• Staining

• Irradiation

• Coating

Estimates provided by CA Ltd are deemed to be based on the fact that the gemstone may have been subject to any type of treatment in the past. CA Ltd shall not be responsible in the absence of mention thereof.

A certificate may be issued by a laboratory, providing with detailed information on the condition of the gemstone and any treatment applied thereto. The Buyer must be aware that different laboratories have different approaches as to the degree or type of treatment for a particular gemstone.

If a certificate accompanies the Lot, the Buyer must be aware that it is merely a statement of the laboratory’s opinion and in no way can CA Ltd be held responsible for any mentions therein. Such certificates are deemed to be delivered with the Lot for informative purposes only.

6.2 Estimated weights

If a stone’s exact weight appears within the body of the description, the stone has been un-mounted and weighed by CA Ltd. If the weight of a stone is stated to be approximate, the stone has been assessed by CA Ltd within its setting, and the defined weight is a statement of opinion only. This information is given as a guide and bidders should satisfy themselves with regard to this information as to its accuracy.

6.3 Signatures

‘A diamond ring, by X’: When the maker’s name appears in the title, in Chiswick Auctions’ opinion the piece is by that maker.

‘A diamond ring, signed X’: Has a signature that, in Chiswick Auctions’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

‘A diamond ring, mounted by X’: Has been created by the jeweller, in Chiswick Auctions’ opinion, but using stones or designs supplied by the client.

‘Maker’s mark for X’: Has a maker’s mark which in Chiswick Auctions’ opinion is authentic.

Some items may include parts or products derived from endangered species, such as ivory or coral. Such items may be subject to import or export restrictions. See section on CITES regulations for more details.

7. CLOCKS AND WATCHES

All Lots are sold as seen. Clocks and watches are therefore not deemed to be sold in working condition. Absence of reference thereof in the description does not imply that the Lot is in good condition and without defects, or has been subject to repair or restoration.

CA Ltd makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Most clocks and watches are likely to have been repaired in the past, and as a result may include parts that are not original thereto.

The United-States restrict the importation of watches such as Rolex, Frank Muller or Corum. Such models can only be imported personally by the Buyer and CA Ltd cannot assist with shipping thereof.

Some watches may include leather straps derived from endangered species. Buyers may be required to obtain appropriate permits for import or export purposes in accordance with CITES regulations. CA Ltd acts in compliance with such legislations and shall take necessary steps where required. Subsequently, watches may be deemed sold without their straps.

8.1 Upholstered furniture after 1950

According to The Furniture and Furnishings (Fire Safety) Regulations 1988, furniture that was upholstered after the 1st of January 1950 is subject to restrictions in the United-Kingdom. Exempt upholstered furniture that does not meet such requirements is deemed sold for purely aesthetic purposes. CA Ltd shall not be responsible for later alterations to the furniture, making it unfit for sale.

9. GLOSSARY OF PICTURE CATALOGUING TERMS

Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

1 JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2 Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3 Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

4 Circle of JMW Turner: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist and of the period, but not necessarily his pupil.

5 Style of; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6 Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7 After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8 The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9 The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/ or inscription have been added by another hand than that of the artist.

10 Pictures are framed unless otherwise stated.

10. ASIAN ARTS

10.1 Import and export restrictions

When dealing with Asian Arts and more specifically with items made of exotic wood (e.g. all species of rosewood) or elephant ivory, the Buyer must be aware of import and export restrictions in accordance with CITES Regulations. As aforementioned in the Section relating to such matters, import and export permits or re-export certificates may be required. Verification letters will be required for re-export of worked Rhinoceros items.

10.2 Fine Chinese Paintings

Current scholarship in the field of Chinese Paintings and Calligraphy does not permit unqualified statements as to the authorship or date of execution. The limited right of rescission contained in the present terms and conditions does not apply to Chinese paintings. Notwithstanding, if within 28 days of the sale of any such Lot, the original purchaser gives written notice to CA Ltd that the Lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a forgery, CA Ltd will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

11. BOOKS AND MANUSCRIPTS

Books and manuscripts sold as incomplete are not subject to returns.

Printed books may be returned for a full refund only if they prove to be defective in text or illustration. This shall not apply to the absence of blanks, half titles or advertisements, to un-named books or to books sold under the heading of ‘binding’ or ‘bindings’.

12. WINES AND SPIRITS

In accordance with agreed standards in the trade, estimates shall be deemed to have taken into account the fill level.

For the purposes of the present Terms and Conditions, the ‘Fill Level’ refers to the space between the base of the cork and the liquid in the bottle. Fill levels may vary with age or depending on the condition of the wine or spirit.

Lack of mention thereof in the description is not a representation of an ‘acceptable’ fill level from CA Ltd.

CA Ltd offers no guarantee as to suitability for drinking of the wine or spirit. The Buyer must be aware of the risk that the taste of a wine or spirit may be altered due to factors such as age, storage conditions, oxidation, etc.

13. COPYRIGHT

CA Ltd shall own the copyright on all images, illustrations and written material produced by or for CA Ltd relating to a Lot, including catalogue contents. Such copyright shall remain at all times the property of CA Ltd. Neither the Buyer nor anyone else shall use the above-mentioned materials without the prior written consent of CA Ltd.

Some Lots may be subject to copyright protection, CA Ltd does not guarantee said Lots are free thereof.

14. DATA PROTECTION

The Buyer agrees that personal information transmitted to CA Ltd may be disclosed exclusively for the purposes of business, or as required by Law. CA Ltd shall not use personal information for any other purpose without the Buyer’s prior consent.

CA Ltd never sell, lend or trade in personal data provided by any Bidder.

15. SEVERABILITY

Whenever and to the extent that any provisions of these terms would or might contravene the provision of any relevant legislation, such provision is to take effect only in so far as it may do so without contravening such legislation and the legality, validity and enforceability of any of the remaining provisions are not in any way to be affected or impaired as a result.

16. AMENDMENTS

The current Terms and Conditions may be amended, verbally or in writing, prior to the sale.

17. LAW AND JURISDICTION

The rights and obligations of the parties with respect to these Conditions of Sale and the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with the Law of England and Wales.

For the benefit of CA Ltd all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship warranty relate or apply.

All parties agree that CA Ltd shall retain the right to bring proceedings in any court other than the Courts of England.