Modern British & Irish Art - Wednesday 19 November, 14:00

Wednesday 19 November, 14:00

Modern British & Irish Art

Wednesday 19 November, 14:00

Viewing exclusively at the Barley Mow Centre, W4 4PH

Friday, 14 November 17:00 - 20:00 (Preview evening)

Saturday, 15 November 11:00 - 15:00

Sunday, 16 November 11:00 - 15:00

Monday, 17 November 10:00 - 17:00

Tuesday, 18 November 10:00 - 17:00

Wednesday, 19 November 10:00 - 12:00 (auction begins at 14:00)

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Meet the Specialists

James Flower

Head of Modern British & Irish Art

Co-Head of Pictures

james.flower@chiswickauctions.co.uk

+44 (0)20 3089 6874

Emily Smaje

Junior Specialist

Modern British & Irish Art emily.smaje@chiswickauctions.co.uk

+44 (0)20 3089 6888

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 §

Stanley Cursiter (British, 1887-1976)

Highland Loch signed and dated ‘Stanley Cursiter 1920’ (lower left)

watercolour on paper laid onto board

25.5 x 34.4 cm. (10 x 13 3/4 in.)

£1,000 - 1,500

2 §

Frank Egginton (British, 1908-1990)

The Twelve Pins, Connemara signed ‘Frank Egginton’ (lower left) watercolour

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

£400 - 600

Provenance

With The Newton Gallery, Newton Abbot Sale; Sotheby’s, London, 16 May 1996, lot 532

Emily Beatrice Bland (British, 1864-1951)

A Country Lane in Spring signed and dated ‘E.B.Bland/1934’ (lower left) oil on board

50.8 x 61.5 cm. (20 x 24 1/4 in.)

£400 - 600

Provenance With Arthur Tooth & Sons, London

George Leslie Hunter (British, 1877-1931)

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

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

£3,500 - 5,500

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

5 §

Sir William Russell Flint R.A. P.R.W.S. (British, 1880-1969)

Action signed ‘WR Flint’ (lower left) pencil

25.4 x 17.8 cm. (10.5 x 7 in.)

£300 - 500

Provenance With Thompson’s, Aldeburgh

Sir William Russell Flint R.A. P.R.W.S. (British, 1880-1969)

Esmerelda signed ‘W RUSSELL FLINT’ (lower right) oil on canvas

36.5 x 28 cm. (14 3/8 x 11 in.)

£3,000 - 5,000

Provenance

With Thompson’s Gallery, London, where purchased by the family of the present owner

7 §

Samuel Lamorna Birch R.A. R.W.S. (British, 1869-1955)

Mediterranean landscape

signed with initials and dated ‘LB/1928’ (lower right)

watercolour

34.3 x 44.4 cm. (13 1/2 x 17 1/2 in.)

£300 - 500

Provenance

With Harrison Galleries, Vancouver, circa 2010, where purchased by the present owner

8 §

Paul Lucien Maze (British/French, 1887-1979)

Harbour at La Rochelle signed ‘Paul Maze’ (lower left) watercolour

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

£600 - 800

It is thought that this work was painted early in the artist’s life before he moved to the United Kington around 1918-1919, shortly after World War I ended.

We are grateful to Jeanne Maze for her assistance in cataloguing this lot

9 §

William Selwyn (British, b.1933)

Santa Maria Della Salute signed ‘William Selwyn’ (lower right) watercolour

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

£300 - 500

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 7907

Louis Keene (British, 1888-1972)

Alert near Aldershot during the Battle of Britain 1940 signed ‘LOUIS KEENE’ (lower left)

watercolour, ink, chalk and pencil

46 x 35 cm. (18 1/4 x 13 3/4 in.)

£500 - 800

Provenance

With Liss Llewellyn Fine Art, London, circa 2000, where purchased by the present owner

11 §

Maurice Johnson (British, b.1920)

Workers in a factory signed ‘Maurice Johnson’ (lower left) oil on canvas

Painted circa 1955

50.5 x 76 cm. (19 78 x 29 7/8 in)

£300 - 500

Louis Wain (British, 1860-1939)

Fishing Nets

signed ‘Louis Wain’ (lower left) wash, pencil, pen & ink

11.5 x 31.5 cm. (4 1/2 x 12 3/8 in.)

£400 - 600

Provenance

With Chris Beetles Gallery, London, circa 1992, where purchased by the present owner

Eric Gill (British, 1882-1940)

Tree of Life Design

signed with initials and dated ‘EG 8.9.’35’ (lower right) pencil, pen & ink

36.9 x 30.7 cm. (14 1/2 x 12 1/2 in.)

£700 - 1,000

This work is accompanied by two letters from Eric Gill attached to the backboard verso.

The letters attached to the work detail correspondences between Eric Gill and individuals organising the commission for the reliefs for the Government Hospital in Haifa, Israel. One of the letters is addressed from Eric Gill to prominent architect Erich Mendelsohn, who built many other famous buildings.

Harold Riley (British, 1934-2023)

Sketches of Lester Piggot signed ‘Riley’ (lower right) and inscribed extensively throughout pastel, watercolour, pen & ink 28 x 28 cm. (11 x 11 in.)

£400 - 600

John Rattenbury Skeaping R.A. (British, 1901-1980)

A Group of Five Racehorses signed, numbered and dated ‘JOHN SKEAPING 77 4/7’ with a foundry stamp (to the base) bronze with a dark brown patina 31 x 90 x 34 cm. (12 x 35 1/2 x 13 1/2 in.)

£7,000 - 10,000

Provenance

Sale; Christie’s, London, 7 July 2016, lot 325, where purchased by the present owner

§

Wolmark (British, 1877-1961)

A Drawing Room with a Gentleman and Two Ladies signed with monogram (lower right) oil on panel

68 x 52 cm. (26 3/4 x 20 1/2 in.)

£3,000 - 5,000

Provenance

Sale; Phillips, London, 2 November 1999, lot 153, where purchased by the present owner

Elijah

Albert Cox (British, 1876-1955)

Departure of a Dutch convoy signed ‘E.A.COX’ (lower right) oil on canvas

75 x 50 cm. (29 1/2 x 19 3/4 in.)

£400 - 600

The ghost ship signed ‘E.A.COX’ (lower right) oil on canvas

75 x 50 cm. (29 1/2 x 19 3/4 in.)

£400 - 600

19 §

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

Euphemia Lamb and Dorelia McNeill signed ‘John’ (lower right) pencil

39 x 26 cm. (15 1/2 x 10 1/4 in.)

£1,500 - 2,500

Provenance

With The Mayor Gallery, London, 5 September 1986, where purchased by the present owner

20 §

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.)

£1,500 - 2,500

Provenance

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

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

21 §

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

Pyramus Asleep pen & ink

17.8 x 26.7 cm. (7 x 10 1/2 in.)

Executed circa 1906

£500 - 800

Provenance

Euphemia Lamb, January 1942, from whom gifted to Peter Harris, 1954

Richard Lerner, 2003

Sale; Christie’s London, 30 June 2005, lot 14, where purchased by the present owner

Exhibited

London, Royal Academy of Arts, Works by Augustus John, O.M., R.A, 1954, cat.no.41

There is an inscription on the backboard that reads ‘Pyramus Asleep/by Augustus John/given to me by Euphemia/January 1942’

Howard Somerville (British, 1873-1952)

Portrait of Norah Baring signed and dated ‘Somerville/1922’ (lower right); further signed with a dedication ‘To “Nody” Howard Somerville’ (to a label attached to the backboard) pencil

25.5 x 20.2 cm. (10 x 8 in.)

£500 - 800

Provenance

Sale; Lyon & Turnbull, Edinburgh, 26 September 2018, lot 138 (as Portrait of a Woman), where purchased by the present owner

Woman in Yellow signed with initials ‘GJ’ (lower right) oil on board

91.4 x 61.2 cm. (36 x 24 1/4 in.)

£3,000 - 5,000

Gwyneth Johnstone (British, 1915-2010)

Figures in a landscape signed ‘G.Johnstone’ (lower left) oil on canvas

81.5 x 104.1 cm. (32 x 41 in.)

£1,500 - 2,500

Bernard Dunstan R.A. (British, 1920-2017)

Nude Sitting on a Bed signed with initials ‘BD’ (lower left); further signed and titled ‘Nude Sitting on a Bed/by Bernard Dunstan’ (verso) oil on board

25.4 x 30.4 cm. (10 x 12 in.)

£1,000 - 1,500

Provenance

With Thompson’s Gallery, Aldeburgh

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

Nude in the Window signed ‘Ken Howard’ (lower right) oil on canvas laid onto board

22.2 x 16.5 cm. (8 3/4 x 6 1/2 in.)

£1,000 - 1,500

27 §

Kenneth Martin (British, 1905-1984)

Mary Martin

signed ‘Martin’ (lower left)

pastel

25 x 35 cm. (9 3/4 x 13 3/4 in.)

£300 - 500

Provenance

With Leicester Galleries, London, 1942, where purchased by Mr James Douglas

With Abbott and Holder, London

Exhibited

London, The Leicester Galleries, New Year Exhibition, Jan 1942, cat.no.19

Edward Burra C.B.E. (British, 1905-1976)

Gypsy Dancers

signed ‘E.J. Burra’ (lower right); inscribed ‘Two Wine Barrel/Carmen Act I/C GYPSIES ACT II’ (to the centre of sheet) watercolour and pencil 43.2 x 43.2 cm. (17 x 17 in.)

£2,000 - 3,000

Provenance

The estate of the artist, circa 1975, from whom acquired by The Lefevre Gallery, London, circa 1985, from whom acquired by the present owner

“Burra’s

designs for the stage were less about décor than about drama; each drawing hums with the tension and rhythm of performance.” - Simon Bettison, Edward Burra and Theatrical Modernity” (2019)

George Bizet’s tragic opera, Carmen, was first performed at the Royal Opera House, Covent Garden, on 14th January 1947. Edward Burra, a lover of opera, designed the costumes, which were copied onto parchment paper and shared with Royal Opera House staff who added swatches of fabric and notes.

Burra’s design work for Carmen stands at an intersection of fine art and theatre design. In the December 1993, The Lefevre Gallery exhibited Costume Designs by Edward Burra, the show included a number designs from different operas, including Carmen (1947), Don Juan (1948) and A Day in a Southern Port (Rio Grande) (1931), demonstrating how these sketches circulate in the art world but also remain significant in theatre history and visual culture.

In the stage designs, Burra approached each work as a unique composition in the same way he would approach a composition, they are not sketches but complete works that are visually complete. For Carmen, he merged the energy of Spanish street life with stylised, almost cinematic composition. His costumes blended the realistic (military uniforms, gypsy skirts) with the surreal or grotesque. Burra’s Carmen designs were praised and contemporary critics at The Times (1947), who found them “rich, fiery and unmistakenly Burra”.

“Edward Burra grew up in a house, designed, it would seem, to produce normality, conformity and absence of introspection; yet he became one of the twentieth century’s most original painters.”

- Jane Stevenson in Edward Burra Twentieth Century Eye

Edward Burra

The Window (Drawing Room at Springfield)

Edward Burra C.B.E. (British, 1905-1976)

The Window (Drawing Room at Springfield) signed and dated ‘E.J.Burra 1927’ (lower left); further signed and titled ‘The Window/E.J. Burra/Springfield RYE SX’ (to a label attached to frame verso) watercolour and pencil 56 x 39.2 cm. (22 x 15 3/8 in.)

Please note there is a preparatory sketch depicted verso

£25,000 - 35,000

Provenance

The artist, from whom acquired by Anne Ritchie (Lady Ritchie of Dundee) With The Lefevre Gallery, London, 15 December 1994, from whom purchased by the present owner

Literature

Andrew Causey, Edward Burra: Complete Catalogue, Phaidon, Oxford, 1985, cat.no.26 (ill.b&w)

The Window (Drawing Room at Springfield) is one of a number of interior scenes that Burra created of Springfield. Other works titled, Cedar at Springfield, The Drive and The Garden were all executed the same year, in 1927.

Burra was born in 1905 and grew up in the family home known as Springfield, or Springfield Lodge. The house is believed to have been acquired by the Burra family around 1864. Due to his lifelong struggles with rheumatoid arthritis and anaemia that caused chronic illness, Burra spent much of his life living at Springfield.

This early depiction of The Window (Drawing Room at Springfield), in all its brilliance, showcases the exceptional powers of observation that characterised Edward Burra’s artistry and dominated his practice. Burra’s art captures the polarising notions of stillness and movement, parochialism and cosmopolitanism, and familiarity and fantasy. The Tate’s most recent exhibition, the first retrospective in London for 40 years, Edward Burra, (13 June-19 October 2025) was no exception in showcasing this.

The show opened with the first picture Burra sold, French Scene of 1925-6, a vivid, engaging and vibrant depiction of many familiar faces, and included many notable early examples.The exhibition also included a later watercolour titled Peonies and Vegetables 1955-7 that captured the major shifts in Burra’s practice and his relationship to Springfield throughout his life. Peonies and Vegetables was a later depiction of Springfield and from a different perspective, the garden. This clearly captures a continuity and change in subject matter and a shift in perspective quite literally. In 1927, Burra captured the view from the window he looks out from the comforts of Springfield whereas this later work Peonies and Vegetables 1955-7 takes on a new meaning, being outside. A few years later in 1969, Burra moved from the main house at Springfield, to a smaller house on the grounds of his family estate where he lived independently for the first time.

The Window (Drawing Room at Springfield) is juxtaposing not only in execution from many of his 1950s creations but also subject matter. Burra had been inspired by travel in the form of many places, from Paris in the 1920s, New York and Harlem in the 30s and Spain following the devastation caused by The Spanish Civil War. While travel filled his imagination Springfield grounded his practice. The creation of this particular watercolour is so vastly different to later works which relied on vibrant colours, dark forms and defined figurations.

This early work captures a delicacy and intimacy that Burra clearly felt at Springfield in his younger years. His working method of being a clearly accomplished draughtsman, drawing first and then using the medium of watercolour to create colour and wash was preferential to oil, which was difficult for his hands. This early work marks a significant point in his stylistic development, and a shift from his later works which capture the same British homeland, his familiar Rye, but depicts eerier, stranger scenes, deeper valleys and cloudier skies. It is with a sense of earnestness that this early iteration of the house at Springfield was created.

The work stands alongside many as another insight into the creativity of Edward Burra, whilst this work precedes many of the places and faces he encountered, it demonstrates the limitlessness of Burra’s artistic vision. Burra’s world at Springfield provided the ideal foundation to artistic learning; both his formal education during art classes in Rye in 1921 and time that followed at both Chelsea School of Art and the Royal College of Art. It was not just the physicality of his environment and space in which he inhabited at Springfield but the inspirations he drew elsewhere in whatever form he could, from meeting artist Paul Nash in 1925, to the vast amount of cultural creativity he later absorbed, his love for visual culture, music, ballet and the profound impact a changing world had him. This ultimately lead to his depictions of skeletons, masked figures and ruined landscapes inhabited by military ghostly figures.

30 §

Ithell Colquhoun (British, 1906-1988)

Church Interior (Corsica)

signed and dated ‘Colquhoun/38’ (upper left) watercolour on multiple sheets

41.3 x 55.8 cm. (16 1/4 x 22 in.)

£1,800 - 2,500

Provenance

Sale; Rupert Toovey & Co, West Sussex, 13 March 1998, lot 1764 (as Interior Design with Staircase) Jarvis Hotels, Ltd.

Sale; Kidson-Trigg, Swindon, 17 June 2008, lot 75, where purchased by Private Collection, U.K.

Their sale; Dreweatts, Newbury, 12 March 2025, lot 220, where purchased by the present owner

We are grateful to Dr Richard Shillitoe for his assistance in cataloguing this lot

Ithell Colquhoun was a British painter, writer, and occultist whose work bridges Surrealism, mysticism, and the landscape tradition. Born in Shillong, India, and educated in England, she studied at the Slade School of Fine Art from 1927 under Henry Tonks and Randolph Schwabe, winning the 1929 Summer Composition Prize. After leaving the Slade, she spent time in Paris, briefly attending the Académie Colarossi and meeting leading Surrealists including Magritte, Breton, Dalí, Duchamp, and Man Ray, whose influence shaped her outlook.

Throughout the 1930s, Colquhoun travelled widely in the Mediterranean, producing luminous watercolours and architectural studies that combined close observation with a visionary sensibility. A 1938 stay in Corsica inspired a series of church interiors and deserted market squares anticipating her later interest in sacred space and the animate landscape, emphasising atmosphere and architecture over narrative.

Her travels also led to a friendship with Andromache “Kyria” Kazou, whose correspondence inspired works exploring female identity and the esoteric feminine. By the end of the decade Colquhoun was linked to the British Surrealists, but later pursued an independent path, integrating painting with her study of alchemy and occult philosophy.

“The act of painting, therefore, becomes an act of divination that connects the artists to natural and spiritual forces. Automatic paintings reveal the interconnectedness of the inner and outer worlds, the subject and the object, the I and the Other”

- Ithell Colquhoun

Colquhoun was the subject of a major Tate Britain exhibition this year, shown alongside works by Edward Burra.

§

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

Horse and Rider

signed and dated ‘Frink/51’ (lower right)

wash, pen & ink

61.6 x 55.9 cm. (24 1/4 x 22 in.)

£3,000 - 5,000

Provenance

The artist, whom gifted to Enzo Plazzotta (1921-1981), thence by family descent

‘Frink had always drawn and from the beginning her drawings were always large. (…) Her early figures and birds, horses and riders, are like caged wild creatures, or cramped contortionist, trying to get out’

- Annette Ratuszniak, Elisabeth Frink Catalogue Raisonne of Sculpture 1947-95, p.22

Dame Elisabeth Frink was born in Suffolk and became one of the most significant British sculptors of the post-war period. Her practice, marked by technical precision and emotional intensity, reflects the austerity and anxiety of Britain in the inter-war and post-war years. Childhood experiences of wartime violence - most vividly, taking cover from German fighter fire near her home, left an enduring imprint on her imagination.

Frink studied under Willi Soukop at the Guildford School of Art before entering the Chelsea School of Art in 1949. She emerged as a leading member of the Geometry of Fear group, alongside Bernard Meadows, Reg Butler, Kenneth Armitage, Robert Adams, Lynn Chadwick, Geoffrey Clarke, William Turnbull, and Eduardo Paolozzi, artists whose work embodied the existential unease of the era.

Themes of conflict, masculinity, and the human–animal relationship dominate Frink’s oeuvre. The horse and rider became a central motif through which she explored power, dependence, and vulnerability, an enduring metaphor for the precarious bond between man and nature. Her early drawings of the 1950s depict warriors, crucifixions, and bird-like figures within stark, dystopian settings, subjects that reappear throughout her career in both two and three dimensions.

Rendered with sculptural force even in pen, ink, and wash, her figures convey a visceral physicality and psychological depth. As Frink reflected in 1992, “The horse has done so much for man... carries him into battle,” acknowledging both the heroism and fragility of that relationship.

Her lifelong engagement with the tension between strength and vulnerability, and between human and animal form, is rooted in the traumatic memories of war. Across drawing and sculpture alike, Frink’s work embodies a powerful meditation on endurance, empathy, and the shared instincts of man and beast.

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

St John Bosco painted concrete

Conceived in 1952

127 cm. (50 in.) high

£7,000 - 10,000

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)

“I think all art is an instrument of change through awareness. One of the most important things about art... is that it must be a civilising influence. That is its main value: to make people aware of all sorts of different areas of their minds.”

- Elisabeth Frink,

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.

Ceri Richards (British, 1903-1971)

Untitled signed with initials and dated ‘CR/56’ (lower right) gouache, crayon and ink

13.9 x 25.4 cm. (5 1/2 x 10 in.)

£1,200 - 1,800

Provenance Sale; Christie’s, London, 7 October 2008, lot 131, where purchased by the present owner

Olivia Musgrave (Irish, b.1958)

Amazonian Woman signed and numbered ‘Musgrave 4/9’ (to the back of the base) bronze with a brown patina on a wooden base 48 cm. (18 7/8 in.) high (including wooden base)

£3,000 - 5,000

35 §

Trevor Bell (British, 1930-2017)

Country Image signed and dated ‘BELL.60’ (lower right) gouache, pastel and pencil

54.5 x 43.2 cm. (21 1/2 x 17 in.)

£1,000 - 1,500

Provenance

Sale; Christie’s London, 12 December 2013, lot 42, where purchased by the present owner

36 §

Alexander Mackenzie (British, 1923-2002)

Small Island signed, titled and dated twice ‘Mackenzie/1954-5/1954-5 SMALL/ISLAND’ (to a backboard) oil on board

10.5 x 9 cm. (4 1/4 x 3 1/2 in.)

£500 - 800

Provenance

With Keith Chapman Sculpture, 2000, from whom purchased by the present owner

David Michie O.B.E. R.S.A. (British, 1928-2015)

The Pigeon Loft/Setting the Birds Free signed ‘David Michie’ (lower left) oil on canvas

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

£300 - 500

David Michie O.B.E. R.S.A. (British, 1928-2015)

Impressions of Belgrade signed ‘David Michie’ (lower left) oil on canvas

Painted circa 1979

65 x 102 cm. (25 5/8 x 40 1/4 in.)

£700 - 1,000

Provenance

The estate of the artist

Sale; Franklin Browns, Edinburgh, 24 May 2025, lot 88, from where purchased by Private Collection, U.K., from whom acquired by the present owner

Anne Redpath O.B.E. A.R.A. (British, 1895–1965)

Monastery of Santo Domingo el Real, Toledo signed ‘Anne Redpath’ (lower left) oil on board

63.7 x 76.5 cm. (25 1/8 x 30 1/4 in.)

£10,000 - 15,000

Provenance

Elizabeth Ashley (1920-2001), 31 January 2001, whom bequeathed to the present owner

The Monastery of Santo Domingo el Real stands on the northern heights of Toledo’s old city, a short distance from the Puerta del Sol and the Monastery of Santo Domingo el Antiguo. Founded in 1364, it became the first Dominican convent for women in the city and enjoyed strong royal patronage; its title “el Real” (“the Royal”) reflects its association with the Castilian court. The architecture bears the marks of centuries of development: Gothic foundations interwoven with Mudéjar, Renaissance, and later Baroque interventions. Its robust stone and brick walls, modest openings, and square bell tower reflect the defensive yet spiritual character typical of Toledo’s monastic buildings. Set within the labyrinthine medieval streets and steep topography of Toledo, the monastery’s austere façade and enclosed courtyards evoke both seclusion and the layered religious history that defines the city.

“I am someone who is very interested in colour – and by that, I mean bright colour, gay colour; but at the same time, if you are a colourist, you like quiet colour as well and I think this love of gay colour is contrasted in my mind with this love of whites and greys.”

- Anne Redpath

The Monastery of Santo Domingo el Real has long attracted artists drawn to Toledo’s textural architecture, shifting light, and spiritual atmosphere. From El Greco, whose nearby studio immortalised the city’s skyline, to later modern painters who responded to its tactile materiality. In this painting, Anne Redpath captures the monastery’s quiet dignity and tonal harmony, using thick impasto and subdued ochres to translate the weathered stone and reflected light of the square into a richly tactile surface. Redpath’s interpretation transforms architectural solidity into painterly rhythm: the rough plaster, muted walls, and sparse trees become vehicles for exploring the balance between structure and feeling. Like many 20th-century artists who found inspiration in Toledo’s timeless austerity, Redpath used the city not merely as a subject but as a means to explore texture, atmosphere, and spiritual presence through paint.

Edward Seago (British, 1910-1974)

Place Saint-Michel, Paris signed and dated indistinctly ‘Edward Seago’ (lower left) oil on canvas

Painted circa 1958

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

£8,000 - 12,000

Provenance

Sale; Sotheby’s, London, 5 April 2000, lot 65, where purchased by the present owners

Celebrated as one of Britain’s foremost twentieth-century painters, Edward Seago earned an international following for his lyrical depictions of landscape, seascape, and city life. Largely self-taught yet profoundly sophisticated in his understanding of light and atmosphere, Seago combined the fluidity of Impressionism with the tonal restraint of the English tradition. His works were collected by discerning patrons around the world, including members of the British royal family, and continue to command admiration for their effortless elegance, painterly vitality, and poetic sense of place.

“Light is the life of a picture. Without it, form and colour are dead things.”

- Edward Seago

In Place Saint-Michel, Paris, Seago captures the timeless charm of one of the city’s most atmospheric quarters with his signature mastery of light and movement. Bathed in the warm glow of afternoon sun, the scene unfolds along a bustling Parisian street where soft shadows play across façades and pavements, and figures drift leisurely beneath striped awnings. Seago’s confident brushwork and delicate tonal balance evoke both immediacy and intimacy, rendering the vibrancy of urban life without sacrificing compositional harmony.

Painted during Seago’s travels in France in the 1950s, this work exemplifies his remarkable ability to translate fleeting moments into enduring impressions. The artist’s refined palette and assured handling reflect his deep understanding of both Impressionist influence and English landscape tradition. Collectors have long prized Seago’s Paris views for their elegance and atmosphere, and Place Saint-Michel, Paris stands as a superb example of his ability to capture the poetry of light in one of Europe’s most beloved cities.

Terence Cuneo (British, 1907-1996)

Sunset of an Era signed ‘Cuneo’ (lower right); further signed and titled ‘SUNSET OF AN ERA/Terence Cuneo’ (to the backing paper) oil on canvasboard

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

£15,000 - 25,000

Terence Cuneo, one of Britain’s most celebrated twentieth-century painters, is renowned for his masterful depictions of locomotives, industrial scenes, and the monumental achievements of modern engineering. His artistic career, however, spanned an impressive breadth, encompassing royal portraiture, military subjects, and grand state occasions. His appointment as the official artist for the Coronation of Queen Elizabeth II in 1953 brought him international acclaim and cemented his reputation as one of the foremost realist painters of his generation.

The present work, Sunset of an Era, is a striking and elegiac composition that captures both the majesty and the melancholy of the age of steam. The painting portrays a powerful steam locomotive, believed to be a Central Railroad of New Jersey Class G1 Pacific, possibly the famous Blue Comet, surging down the track beneath a vast, turbulent sky. Against the backdrop of crimson-tinged hills and a fading sunset, the locomotive embodies the final blaze of glory for a technology soon to yield to the diesel and electric age.

“I have always been fascinated by movement - by the power, rhythm, and grace of great machines. To me, a locomotive is not merely a piece of engineering, but something alive, a creature of energy and purpose.” - Terence Cuneo

Created during or inspired by Cuneo’s travels in North America during the 1950s and 1960s, the work reveals the artist’s extraordinary command of atmosphere, light, and motion. His background in engineering illustration infuses the composition with meticulous technical accuracy, while his painter’s eye transforms the industrial subject into a scene of grandeur and emotional resonance. The interplay of smoke, steam, and dusk evokes both the physical power of the machine and the poignancy of an era’s passing, a meditation on progress, nostalgia, and beauty in transformation.

In the lower foreground, the viewer can discern Cuneo’s trademark mouse, a whimsical personal motif introduced in 1954 after a domestic incident involving his cat and a fieldmouse. What began as a playful afterthought became his signature device, appearing in nearly all his subsequent works. Here, the tiny creature offers a touch of humour and humanity amid the monumental drama of steel and steam, an intimate reminder of the artist’s wit and warmth.

Sunset of an Era stands as a quintessential example of Cuneo’s genius: a fusion of technical mastery, emotional depth, and storytelling power. It encapsulates not only the romance of the railway but also the broader narrative of change that defined the twentieth century.

42 §

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

Bracken

signed with initials ‘MP’ (lower right); further signed with initial ‘P’ (to the stretcher verso) oil on canvas

Painted in 1967

111.7 x 86.3 cm. (44 x 34 in.)

£5,000 - 8,000

Provenance

With The New Arts Centre, London, 1969, where purchased by the family of the present owner

With Thompson’s Fine Art, Aldeburgh

Exhibited

London, The New Art Centre, Mary Potter, 6-29 Nov 1969, cat.no.4

Mary Potter (1900-1981) was a British painter celebrated for her luminous, subtly atmospheric compositions. Trained at the Slade School of Fine Art, she experimented early on with abstraction, simplifying forms and exploring the interplay of light and colour. Over her career, she developed a distinctive approach characterised by soft tonal harmonies and a meditative quietness, whether in intimate small-scale works or in larger canvases. In the 1960s and 70s, Potter’s paintings increasingly embraced a delicate abstraction, emphasising mood, spatial relationships, and the effects of light. Her long-standing relationship with the New Art Centre, beginning with her first solo show there in 1967, helped bring wider recognition to this later body of work. The gallery’s support provided a platform for both large and small-scale paintings, fostering appreciation for her nuanced, atmospheric style and securing her place in institutional collections, retrospectives, and the art market. The same year of this first show, 1967 Potter painted Bracken.

Mary Potter’s Bracken (1967) exemplifies her mature, atmospheric style, marking a shift from her earlier representational work toward a more abstract, tonal approach. Painted in oil on canvas, the work uses the natural motif of bracken as a starting point, but Potter does not depict it literally; instead, she distils its essence through simplified forms, rhythmic arrangements, and soft, luminous colour. The palette of pale greens, muted ochres, greys, and delicate whites creates a misty, contemplative atmosphere, while edges are softened and space is subtly flattened, emphasizing tone and composition over literal detail.

The painting is generous scale allowing the view to fully immerse in the interplay of light, colour, and pattern, reflecting Potter’s fascination with the quiet rhythms of the natural world. This work belongs to a period when she was exploring abstraction without abandoning nature, synthesising observation with an inward, reflective sensibility influenced by her life in Aldeburgh. Exhibited at the New Art Centre in London, the painting represents her growing recognition in the late 1960s, a time when the gallery helped establish her reputation for both small and large-scale works characterized by subtle tonal harmonies and atmospheric refinement. Bracken is a key example of Potter’s ability to transform familiar subjects into meditative compositions, highlighting her lifelong engagement with light, place, and the poetic possibilities of form.

43 §

Ursula McCannell (British, 1923-2017)

Seated Youth signed with initials and dated ‘UMcC 51’ (lower right) oil on board

85.5 x 58.4 cm. (33 3/4 x 23 in.)

£300 - 500

Provenance

With Gothic Dream, London, 1993, where purchased by the present owner

Exhibited

Bristol, Clifton Fine Art, Ursuala McCannell, 1986 London, England & Co, Three Generations, 15 Jun-1 Jul 1989

“I can work best in an atmosphere where life is considered more important than art - where life is an Art.”

- John Craxton

A Seminal Self-portrait

by John Craxton

44 §

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

Self-portrait signed and dated ‘Craxton 44’ (upper right) oil on canvas

Painted in 1943-4

61 x 47 cm. (24 x 18 1/2 in.)

£50,000 - 80,000

Provenance

Ian L Phillips, circa 1944, thence by descent to the present owner

Exhibited

Possibly: London, The Leicester Galleries, Paintings and Drawings by John Craxton, June 1944, cat.no.16 London, Whitechapel Art Gallery, John Craxton, Paintings and Drawings 1941-1966, Jan-Feb 1967, no.4

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

London-raised John Craxton (1922-2009), largely self-taught as an artist, came to public attention at the age of 19. It all began when patron Peter Watson reproduced a bravura drawing Poet in Landscape in Horizon magazine.

An ensuing war-time flow of lonely figures in menaced terrain were emblematic portraits of the artist himself. He became the poster boy for the Neo-Romantic movement before the term was coined. At 19 Craxton also met Lucian Freud, and the teenage renegades were promptly set up in adjoining studios by the faithful Peter Watson and left free to work as they wished on highly imaginative paintings and drawings. Although both artists were distinctive and divergent from the outset, there was a great deal of cross-pollination between them.

As each evolved subtle and idiosyncratic motifs and symbols, Craxton and Freud flirted with surrealism. At dinners in Soho’s Barcelona restaurant hosted by Belgian painter E.L.T. Mesens, they met Roland Penrose and photographer Lee Miller, painters Eileen Agar and Conroy Maddox, and Jacques Brunius, assistant director to Luis Buñuel on the film L’âge d’or.

Through Watson, Craxton had also become close to Graham Sutherland, John Piper and Paul Nash. He went with Sutherland to Pembrokeshire, whose spiky vegetation and rugged landscape was as near as he could get to the Greece of his dreams. For him, it was nowhere near enough.

This pivotal 1943 Craxton self-likeness, to which the artist probably added a finishing touch in 1944, hence the date upper-right, evolved around the time of Freud’s Man with a Feather. The strange juxtaposition of the 21-year-old painter with a plant prefigures the later Freud images Man with Thistle (Self-Portrait) (1946) and Self-Portrait with Hyacinth in a Pot (1947-8).

The tropical Dracaena fragrans foliage depicted here is a fitting choice for an artist who hated the cold, dark constriction of war-bound England and longed to escape to a life in the sun. Having been forced back from Paris in the summer of 1939 by approaching conflict, he wilted on a besieged island. Failing an army medical, Craxton was frequently ill: in a 1943 Freud drawing Boy in Bed with Fruit, quinces hint at the yellow of his jaundiced skin. The wary look was characteristic of his war-time persona where nervy energy and bouts of debilitation pointed to undiagnosed tuberculosis. He needed a hot climate more than he ever knew.

Craxton’s breakthrough would come in the spring of 1944, at a sell-out Leicester Galleries exhibition. The show coincided with the D-Day Landings which began the liberation of Europe and would ultimately allow his flight abroad.

By the summer of 1945 Craxton and Freud could roam only as far as the Aegean-like Scilly Isles. They were foiled in a bid to stow away on a Breton fishing boat to get to Paris, Picasso and then the Mediterranean.

John Craxton flew to Greece in the spring of 1946. Freud joined him for five months, but Craxton never looked back - working on sunburst Greek inspired pictures (absorbing mythology, archaeology, Byzantine mosaics and modernism in a very personal iconography) for the rest of his life.

The self-absorbed figure of a haunted youth was left far behind. He became a portraitist of other peopleflowering in the sunshine; living for pleasure and painting it too.

The vivid red and yellow tie in this poignant picture is a premonition of a bright world to come.

We are grateful to Dr Ian Collins for compiling this catalogue entry

Dr Ian Collins is the author of the Runciman Prize-winning biography John Craxton: A Life of Gifts (Yale University Press) and curator of numerous Craxton exhibitions.

45 §

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

Portrait of Bill Gall oil on canvas

61 x 52 cm. (24 x 20 1/2 in.)

£4,000 - 6,000

Provenance

With The Redfern Gallery, London, 1972, where purchased by Drue Heinz (1915-2018)

Her sale; Christie’s, London, The Collection of Drue Heinz Townhouses in London and New York with Interiors by John Fowler and Renzo Mongiardino, 4 June 2019, lot 84, where purchased by the present owner

Exhibited

London, The Redfern Gallery, Patrick Procktor: New Paintings and Drawings, May-June 1972, no.17 (as Bill Gall)

George Gilbert (British, b.1939)

Square Table No. 1 signed and dated ‘G R Gilbert 66’ (lower right) oil on canvas

75 x 75.4 cm. (29 1/2 x 29 5/8 in.)

£300 - 500

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 6261

Roy Turner Durrant (British, 1925-1998)

Inscape, Groton signed and dated ‘Durrant 76’ (upper right); further signed twice, titled and dated ‘ROY TURNER DURRANT/INSCAPE, GROTON/ROY TURNER DURRANT/76’ (to a label attached verso and verso)

acrylic, gouache, crayon, watercolour and wash

20.5 x 29.5 cm. (8 1/8 x 11 5/8 in.)

£800 - 1,200

Provenance

With Katharine House Gallery, Marlborough, where purchased by the present owner

48 §

Michael Seward Snow (British, 1930-2012)

Eclipse signed, titled and dated ‘ECLIPSE 1959-MICHAEL SNOW’ (to tape attached to frame verso) mixed media

5 x 49.5 cm. (2 x 19 1/2 in.)

£300 - 500

49 §

Jeremy Moon (British, 1934-1973)

Untitled signed and dated ‘Jeremy Moon 410/72’ (lower centre-right)

pastel and pencil

20 x 25 cm. (7 7/8 x 9 7/8 in.)

£400 - 600

Provenance

The estate of the artist, 2005

With Rocket Gallery, London, where purchased by the present owner

Exhibited London, Rocket Gallery, Jeremy Moon, Drawings and Collages, 1 Mar-2 Apr 2005

50 §

John Plumb (British, 1927-2008)

Untitled signed and dated ‘John Plumb/64’ (verso)

acrylic on board (unframed)

30.5 x 30.5 cm. (14 x 14 in.)

£800 - 1,200

Provenance

With James Huntinton-Whiteley Fine Art, 2005, where purchased by the present owner

51 §

Henry Inlander (Austrian/British, 1925-1983)

Blue River signed and dated ‘H.Inlander/69’ (lower right) oil on canvas

114 x 145 cm. (40 7/8 x 57 1/8 in.)

£300 - 500

Provenance

With Roland, Browse & Delbanco, London

§

Sandra Blow R.A. (British, 1925-2003)

signed ‘Blow’ (lower left) gouache and sand

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

£700 - 1,000

Breon O’Casey (British, 1928-2011)

June signed and dated ‘Breon O’Casey 1961’ (lower right); titled ‘JUNE’ (beneath the mount) gouache

32.5 x 48.5 cm. (12 3/4 x 19 1/4 in.)

£1,000 - 1,500

Provenance

With Katharine House Gallery, Marlborough, where purchased by the present owner

Adrian Heath (British, 1920-1992)

Untitled dated ‘21 Aug ‘77’ (verso) oil on canvas

127 x 101.5 cm. (50 x 40 in.)

£3,000 - 5,000

Provenance

With Alan Wheatley Art, London, where purchased by Private Collection, U.K., from whom purchased by the present owner

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

55 §

Ian Davenport (British, b.1966)

Untitled signed and dated ‘I.Davenport/2016’ (verso)

acrylic on aluminium

30 x 22 cm. (11 7/8 x 8 5/8 in.)

£2,000 - 3,000

Provenance

With Alan Wheatley Art, London, where purchased by Private Collection, U.K., from whom purchased by the present owner

56 §

Patrick Caulfield C.B.E. R.A. (British, 1936-2005)

Tulips titled ‘Tulips’ (lower right, beneath the mount) oil on card

Painted in 1973

69.8 x 94.6 cm. (27 1/2 x 37 1/4 in.)

£10,000 - 15,000

Provenance

With Waddington Galleries Ltd, London

“[Caulfield] had come to favour the depiction of familiar objects and invented places that draw the viewer into an illusion of three-dimensional space solely by means of two-dimensional forms and devices.”

- Marco Livingstone, author of Patrick Caulfield: Paintings

Patrick Caulfield rose to prominence in the mid-1960s following his studies at the Royal College of Art, where he was a contemporary of David Hockney. His inclusion in the landmark New Generation exhibition at London’s Whitechapel Art Gallery in 1964 established his connection with the emerging Pop Art movement and marked the beginning of his recognition as a leading figure in British contemporary art.

Patrick Caulfield was known for his distinctive blend of Pop Art clarity and traditional still life or interior subjects. During the 1970s, Caulfield’s work evolved into one of his most refined and conceptually rich periods, marked by his exploration of monochromatic compositions, precise technique, and a tension between flatness and illusion. Tulips of 1973 is perfect in illustrating this, the flatness of the composition and monochromatic tone, the clean, pop and modern components of an incredibly traditional image - the still life of flowers in a vase.

Patrick Caulfield drew inspiration from both the clarity of modern design and the compositional rigour of traditional painting, combining the two to create images that were at once coolly detached and quietly poetic. Influenced by artists such as Georges Braque, Juan Gris, and Fernand Léger, as well as by everyday commercial imagery and architectural interiors, he sought to strip painting down to its essential components of form, colour, and light. Caulfield often said he wanted his work to have “a kind of timeless quality,” avoiding contemporary references so that his images might feel simultaneously modern and classical. He had a true belief in the quiet dignity of ordinary subjects that lay at the heart of his monochromatic interiors and still lifes of the 1970s, where subtle shifts of tone and precision of line transformed the mundane into something contemplative and enduring.

Gerard Laing (British, 1936-2011)

Woman with Long Hair stamped and dated ‘GERALD LAING 1975’ (lower edge); signed, numbered and dated ‘Gerald Laing/1974 #1’ (on the underside); titled ‘WOMAN WITH/LONG HAIR/FIRST VERSION’ (on the underside)

bronze with a silver patina 21.6 cm. (8 1/2 in.) high

£5,000 - 8,000

Provenance

The artist, from whom acquired by Private Collection

Their sale, Christie’s, London, 11 July 2013, from whom purchased by the present owner

Gerald Laing was a leading figure in post-war British art whose career spanned Pop painting, abstraction, and figurative sculpture. After early acclaim in the 1960s for his bold Pop images drawn from mass media, Laing shifted in the early 1970s toward a sculptural language of great refinement and physical presence. Having trained at St Martin’s School of Art after military service, his disciplined approach to form evolved through abstract constructions in metal before turning decisively to modelling in clay and casting in bronze. This transition, prompted by his admiration for the war memorial sculpture of Charles Sargeant Jagger, marked the beginning of a series of works that fused modernist reduction with the expressive vitality of the human figure.

Woman with Long Hair (1975) belongs to this pivotal moment in Laing’s career. The work distils the female form into sweeping, interlocking planes, balancing sensuality and restraint in a polished, near-architectural composition. The simplified contours evoke both movement and stillness, embodying Laing’s interest in uniting abstraction with figuration. Inscribed “First Version,” this cast occupies a significant position within the artist’s developing series of female heads and torsos of the mid-1970s, contemporaneous with his celebrated “Galina” bronzes. It exemplifies Laing’s sculptural maturity, a synthesis of precision, elegance, and emotional poise, and reflects his broader achievement as one of Britain’s most versatile and exacting sculptors of the 20th century.

58 §

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.)

£1,000 - 1,500

Provenance

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

59 §

Michael Canney (British, 1923-1999)

Four Plus Four Equals Two No.1 signed, titled and dated ‘FOUR PLUS FOUR EQUALS TWO NO.1/Michael Canney-1982’ (to a backboard attached to frame verso) oil on board

35 x 35 cm. (13 3/4 x 13 3/4 in.)

£1,500 - 2,500

60 §

Michael Canney (British, 1923-1999)

Sequence One to Five signed, titled and dated ‘Michael Canney 1981/SEQUENCE ONE TO FIVE’ (to a backboard attached to frame verso)

oil on board

36 x 36 cm. (14 1/4 x 14 1/4 in.)

£1,500 - 2,500

Peter Joyce (British, b.1964)

Purbecks Limestone Coast signed with initials and dated ‘PJ ‘91’ (lower right); further signed twice, initialled again, titled and dated twice ‘Peter Joyce Purbecks Limestone Coast/March 91 PJ/1991 Peter Joyce’ (verso) oil on canvas

131.1 x 113.8 cm. (51 1/2 x 44 3/4 in.)

£400 - 600

Timothy Threlfall (British, 1940-1999)

Barra Suite No.4

stamped with initials and numbered ‘T/T 3/3’ (to the rectangular edge)

bronze with a grey patina

Conceived in 1987

47 cm. (18 1/2 in.) long

£1,000 - 1,500

Provenance

Sale; Sotheby’s, London, 18 March 2008, lot 169, where purchased by the present owner

Peter Joyce (British, b.1964)

Entrance to the Port (Collet) signed with initials and dated ‘PJ 05’ (lower right) ; further signed, inscribed and dated again ‘entrance to the Port (collet)/PJ 05/2005 Peter Joyce’ (to a backboard)

acrylic on board

60.3 x 48.7 cm. (23 3/4 x 15 1/4 in.)

£800 - 1,200

Provenance

With Anthony Hepworth Fine Art, London

§

Robert Mitchell (British, b.1930)

Untitled stamped and numbered ‘R.J MITCHEL 7/7’ (to the underside) polished bronze 22.8 cm. (9 in.) high (including the base)

£1,000 - 1,500

Michael Ayrton (British, 1921-1975)

Dioskouri

numbered ‘6/9’ (to the bronze base)

bronze and Perspex on a wooden base

Conceived in 1970

50.8 cm. (20 in.) high (including wooden base)

£3,000 - 5,000

Provenance

Acquired by family descent

The Dioskouroi sculpture is part of a series of works made by Ayrton between 1969 and 1973 using neutral density Perspex, a tough, translucent plastic which has the curious optical property of being simultaneously reflective and transparent. Combining sheets of Perspex with bronze figures on a bronze base creates an ambiguous interaction of actual and illusory: single figures multiply, while two figures placed either side of a Perspex screen move around and through each other like dancing shadows as the sculpture is rotated in its base. Delighted by this combination of one of the newest man-made materials with one of the oldest, Ayrton described his series of ‘Reflectors’ as go[ing] beyond the maze, because they no longer map the journey but rather reveal the condition.

In all, Ayrton produced fourteen Reflector sculptures, of varying complexity. Dioskouroi is one of the most interesting, as it not only exploits the visual properties of the Perspex/bronze combination, but also explores an ancient myth and a medical phenomenon. Ayrton discussed this in his last project, A Question of Mirrors: a television series on the place of the mirror in human culture through the ages. Sadly he died before the scripts were completed or the programmes made and what remains is fragmentary, but in one of those fragments there is a discussion of Dioskouroi.

The Dioskouroi in legend were the twin sons of Leda and Zeus in the form of a swan. After their encounter, so the myth goes, she laid two eggs which each hatched twins, a pair of girls (Helen and Clytemnestra), and two boys, Castor and Pollux, known to the Romans as the Gemini (twins). Their story has the typical complexity of myth and exists in various versions; all, however, lead to the eventual death of Castor at the hands of the twin sons of Poseidon, and Pollux in fury calling down Zeus’ lightning on the killers. Castor and Pollux were later raised to the heavens as the constellation of Gemini but nothing more is said of the other twins, Idas and Lynceus. Ayrton became fascinated by this omission: what gave Castor and Pollux the edge? I am haunted by the idea that they were more than identical - that Castor and Pollux were mirror twins, a wonder of wonders ... this sculpture came out of that. It mirrors twins, but on each turn an extra twin appears - the ghosts of Idas and Lynceus?

For Ayrton, of course, such re-imagining of myth was second nature, but he was always concerned that his sculptures should wear their mythological precedents lightly, encouraging viewers to approach them in the same spirit of curiosity which he himself brought to art and life. The interpenetration of the figures, embracing each other before passing through and fading like ghosts, does not depend on knowing the story of the starry twins and their rivals. It can also be seen as a metaphor for the way human beings in general interact with each other, and as a provocative invitation to reconsider our perceptions of reality. It is also, of course and quite simply, an endless visual delight, which was precisely as Ayrton intended. Like most of the Reflectors it was cast as an edition of 9.

We are grateful to Justine Hopkins for compiling this catalogue entry

§

Paul Mount (British, 1922-2009)

The Dictator cast iron

Executed in 1977

63 cm. (24 3/4 in.) high

£3,000 - 5,000

Provenance

The artist, from whom acquired by Private Collection, U.K., from whom acquired by the present owner

Exhibited London, New Art Centre, Paul Mount: Recent Work, 1-25 Oct 1980 (ill.b&w.)

Literature

Ronald Gaskell, Paul Mount Sculpture: A Retrospective Selection, Nancherrow Studio Production, Cornwall, 1981, cat.no.35, (ill.b&w.)

‘The way two shapes relate is as important as the way two people relate’ - (Paul Mount)

A powerful fusion of industrial modernism and sculptural vitality, The Dictator exemplifies Paul Mount’s unique visual language. Cast in iron, the work projects angular force and architectural clarity while evoking the grounded presence of African carving traditions - a reflection of Mount’s formative years in Nigeria. Created during a prolific period in the 1970s, this sculpture reveals the influence of both European modernism and Yoruba aesthetics, shaped by Mount’s global experience and deep formal sensibility.

Often compared to Hepworth and Chillida, Mount’s work bridges abstraction with humanist intent. In The Dictator, his concern with space, mass, and relational form speaks to his belief that “the way two shapes relate is as important as the way two people relate.” A rare and significant piece by one of the last sculptors of the postwar British modernist tradition.

67 §

Peter Oliver (British, 1927-2006)

Autumn Beach signed ‘Peter Oliver’ (lower right) oil on board

73.5 x 61 cm. (29 x 24 in.)

£400 - 600

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 6111

68 §

John Christopherson (British, 1921-1996)

The Petrified Forest signed and dated ‘Christopherson/1964’ mixed media and collage

68.4 x 54 cm. (27 x 21 1/4 in.)

£400 - 600

Provenance Collection of Paintings in Hospitals

Fred Yates (British, 1922-2008)

Cornish Cottage Interior signed ‘Fred Yates’ (lower left); further signed ‘FJ Yates’ (verso) and titled ‘CORNISH COTTAGE/INTERIOR’ (on the stretcher verso) oil on canvas

73 x 49 cm. (28 3/4 x 23 1/4 in.)

£1,800 - 2,500

Provenance

Sale; Woolley & Wallis, Salisbury, 26 August 2020, lot 349 With Thompson’s Gallery, Aldeburgh

70 §

Peter Kelly (British, 1931-2019)

Winter’s Day, Buttsbury signed ‘Peter Kelly’ (lower left); further signed and titled ‘WINTER’S DAY, BUTTERSBURY/P.KELLY

R.B.A’ (to a backboard) oil on board

50.5 x 74.9 cm. (19 3/4 x 29 3/4 in.)

£300 - 500

John Nash R.A. (British, 1893-1977)

Poplar Plantation signed and dated ‘John Nash/1974’ (lower left) oil on canvas

61 x 91.5 cm. (24 x 36 in.)

£8,000 - 12,000

Provenance With Agnews, London

We are grateful to Andrew Lambirth for his assistance in cataloguing this lot

“Painting was about shaping but not forcing nature into a pattern; rather seeking the abstract structure beneath the surface detail, and interpreting without forfeiting character.”

- Andrew Lambirth, John Nash: Artist & Countryman’

This landscape of 1974, by John Northcote Nash, the self-taught younger brother of Paul, is a calm, structured scene displaying the artist’s deep appreciation and attentiveness to nature. Unlike his older brother who was inspired by dystopian scenes and elements of ancient history in his landscapes, John, found a very different artistic voice, which was rooted in the solace and still of the English countryside.

It was clear that John was not only inspired by the quietly beautiful landscape but drawn to something slightly more technical, the geometric lyricism of the landscapes he portrayed. The case is true in this picture, titled Poplar Plantation, which compositionally lends itself to the symmetry of an abstract work. Thematically, this painting not only stylistically aligns with Nash’s oeuvre but thematically addresses Nash’s interest in plants and nature. In this case the theme of hunting or rather humankind’s interaction within the landscape complement natural environments. In other examples similar themes are carefully depicted in coverts, hedgerows, and crops, which provide habitats for game. Likewise, seasons are important in his works and rendered with precision, whether it late autumn or early winter, landscapes often coincide with hunting season, subtly anchoring the idea of country pursuits.

However, in this case, Nash departs from the likes of grand hunting paintings. Traditionally, one thinks of dramatic hunts portrait at large scale in works 19th Century painters, Thomas Blinks and Alfred Munnings. Nash’s tone is more quiet and reflective, showing a fresher approach to the countryside. In his works, the countryside is a place of coexistence between humans, animals, and the landscape. In particular, after the war, Nash’s landscapes became even more reflective. Nash’s landscapes of tree plantations, like this one, hedgerows, game coverts, woods and boundary fences are typical of country estates and game-country. While Nash may not show riders or huntsmen overtly, the environments he painted are compatible with the activities of gamekeeping, shooting, country walks.

In Poplar Plantation, the human figure is carefully integrated and modest in presence, he complements the composition rather than commands. Figures in Nash’s work more broadly served to articulate the landscape’s structure, scale, and visual rhythm. In this painting, as in many other examples of John Nash’s work, the narrative is to approach the landscape at the forefront and present humans as quiet participants within its natural order.

Frederick Gore C.B.E. R.A. (British, 1913-2009)

Landscape near Cereste, Alpes de Haute-Provence signed, titled and dated ‘F.GORE RA LANDSCAPE NEAR CERESTE, ALPES DE HAUTE PROVENANCE 1983 Sept’ (to the canvas overlap); further signed, titled and dated again ‘F.GORE RA LANDSCAPE NEAR CERESTE, ALPES DE HAUTE PROVENANCE 1983’ (to the canvas stretcher) oil on canvas (unframed)

76.1 x 88.9 cm. (30 x 35 in.)

£4,000 - 6,000

Provenance

Sale; Sotheby, London, 21 June 2000, lot 67, where purchased by the present owner

Julian Trevelyan R.A. (British, 1910-1988)

Mount Ventoux, Provence signed and dated ‘Trevelyan ‘87’ (lower left) oil on board

33.6 x 45.1 cm. (13 1/4 x 17 3/4 in.)

£3,000 - 5,000

Provenance

With New Grafton Gallery, London, 16 August 1997, where purchased by the present owners

One of the most distinctive voices in post-war British art, Julian Trevelyan combined poetic imagination with a modernist sensibility that bridged abstraction and landscape. Educated at Cambridge and trained at the Euston Road School, Trevelyan was a central figure in the development of British Surrealism during the 1930s and went on to become one of the country’s most celebrated printmakers and painters. His work is characterised by bold structure, inventive colour, and a lyrical reinterpretation of the world around him, qualities that earned him a lasting place in major public and private collections.

Painted in 1987, Mount Ventoux, Provence reflects Trevelyan’s enduring fascination with the geometry and rhythm of the landscape. The composition transforms the rolling fields and river of southern France into a vivid tapestry of form and colour, where simplified blocks of ochre, green, and umber are bound by strong, expressive outlines. Rising beyond this patchwork of cultivated land, the unmistakable silhouette of Mount Ventoux anchors the scene, a mountain long celebrated in art and literature, from the writings of Petrarch to the canvases of Cézanne.

“Painting is not copying what one sees, but capturing what it feels like to look.”

- Julian Trevelyan

Trevelyan’s approach, both abstract and deeply personal, reveals his ability to distil the essence of place into a visual language of shape and harmony. The painting’s structured planes and fluid curves capture the interplay between nature and human cultivation that defines the Provençal landscape, while the cool blue of the river draws the viewer’s gaze toward the iconic mountain beyond. In Mount Ventoux, Provence, Trevelyan aligns himself with a distinguished artistic lineage, reimagining one of France’s most storied vistas through his uniquely modern and poetic eye. This late work, executed just a year before the artist’s death, demonstrates the sustained vitality and inventiveness of Trevelyan’s mature style. It stands as both a celebration of the Mediterranean landscape and a testament to the enduring power of abstraction to evoke memory, rhythm, and place.

Mary Fedden O.B.E. R.A. (British, 1915-2012)

Magic Flute

signed and dated ‘Fedden 1991’ (lower left); further signed and titled ‘Mary Fedden/Magic Flute’ (to a label attached to canvas stretcher) oil on canvas

60.3 x 50.8 cm. (23 3/4 x 20 in.)

£8,000 - 12,000

Provenance

With Glyndebourne Festival Gallery, East Sussex, 21 May 1991, where purchased by the present owners

Widely celebrated as one of Britain’s most beloved and enduring artists, Mary Fedden combined lyricism, wit, and a deep sense of narrative in her distinctive still lifes and imaginative scenes. Trained at the Slade School of Fine Art, Fedden’s career spanned more than seven decades, during which she became the first woman to teach painting at the Royal College of Art, mentoring a generation of artists. Her work, instantly recognisable for its clarity of colour, simplicity of form, and poetic composition, has found a lasting place in both public institutions and distinguished private collections.

Painted in 1991, Magic Flute exemplifies Fedden’s singular gift for blending the real and the fantastical. Inspired by Mozart’s beloved opera, the painting reimagines its spirit through a dreamlike pastoral setting, where theatrical figures, rendered with bold colour and childlike directness, stand amidst a landscape alive with rhythm and harmony. The elegantly robed figure in red, possibly a depiction of Fedden herself, reaches toward Papageno, the opera’s endearing bird-catcher, whose feathered costume and expressive stance embody the work’s playful yet tender tone. Their quiet exchange beside a tranquil river is suffused with lyricism and balance, reflecting Fedden’s enduring fascination with storytelling, music, and the emotional charge of colour.

“Painting for me is a sort of music; it’s full of rhythm and harmony.”

- Mary Fedden

Acquired directly from Glyndebourne House, home of the world-famous opera festival, Magic Flute carries an exceptional provenance that links it intimately to the performance traditions that inspired it. The painting stands as a joyous testament to Fedden’s lifelong delight in art’s capacity to enchant. Through her vibrant palette and whimsical imagination, Fedden transforms the operatic narrative into a universal meditation on beauty, love, and play.

75 §

Mary Fedden O.B.E. R.A. (British, 1915-2012)

Tea by the Sea signed and dated ‘Fedden 1992’ (lower left); further signed and titled ‘Mary Fedden/Tea by the Sea’ (to a label attached to the frame)

gouache and watercolour

22 x 25.5 cm. (8 5/8 x 10 in.)

£2,000 - 3,000

Mary Fedden O.B.E. R.A. (British, 1915-2012)

Still Life With Fruit signed and dated ‘Fedden 07’ (lower left) gouache and watercolour

16.5 x 26.7 cm. (6 1/2 x 10 1/2 in.)

£3,500 - 5,500

Provenance

With Portland Gallery, London

With The Taylor Gallery, Belfast, where purchased by Private Collection, U.K.

Their sale; Morgan O’Driscoll Fine Art Auctioneers, Cork, 9 May 2011, lot 83, where purchased by the present owner

Mary Fedden O.B.E. R.A. (British, 1915-2012)

Lemon’s and Sweetcorn signed and dated ‘Fedden ‘05’ (lower left); further signed and titled ‘Mary Fedden/Lemon’s + Sweetcorn’ (to a label attached to frame verso) gouache and watercolour

19 1/2 x 27 1/2 cm. (7 3/4 x 10 3/4 in.)

£3,500 - 5,500

Provenance

The artist, from whom acquired by Peter Davies, from whom purchased by the present owner

78 §

Rachel Nicholson (British, b.1934)

A Quiet Day signed, titled and dated ‘Rachel Nicholson/April 1994/A QUIET DAY’ (to the backboard)

acrylic on canvasboard

25.5 x 20.5 cm. (10 x 8 1/8 in.)

£2,000 - 3,000

Provenance

With Montpelier Sandelson, London, where purchased by the family of the present owner

Mark Hearld (British, b.1974)

Muscovy Drake signed, titled and dated ‘Muscovy Drake Mark Hearld 2000’ (lower right) gouache, watercolour, collage and pen & ink 57 x 56 cm. (22 1/4 x 22 in.)

£700 - 1,000

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 8193

80 §

Martin Leman (British, b.1934)

Deberny & Peignot signed ‘Leman’ (lower right); titled ‘Deberny & Peignot’ (to tape attached to the frame verso) oil on board

23.5 x 18.3 cm. (9 1/4 x 7 1/4 in.)

£300 - 500

Provenance

With Chalk Farm Galleries, Barnes, where purchased by the present owner

Maggi Hambling C.B.E. (British, b.1945)

McCaw Yawning signed and dated ‘Hambling/’99’ (verso) oil on canvas

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

£4,000 - 6,000

Provenance

With Bohun Gallery, Oxfordshire, circa 2008, where purchased by Private Collection, 7 April 2011, where purchased by the present owner

82 §

John Ridgewell (British, 1937-2004)

Landscape I signed ‘Ridgewell/61’ (lower centre-right) oil, gouache, pen & ink

57 x 45 cm. (22 1/2 x 18 3/4 in.)

£300 - 500

Provenance Collection of Paintings in Hospitals

Exhibited

London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 6056

83 §

John Watson (British, 1923-1992)

Card Table Still Life signed and dated ‘John W/61’ (lower right); further signed, titled and dated again ‘John Watson/1969/ card table still life’ (verso) oil on canvas

98.5 x 102.5 cm. (38 3/4 x 40 3/8 in.)

£300 - 500

Provenance

With Mayor Gallery Limited, London

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.)

£2,000 - 3,000

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

85 §

Julian Bailey (British, b.1963)

Lunch at the Sea, Agne, Corfu signed with initials ‘JB’ (lower left); further signed and titled ‘Lunch at the Sea, Agne, Corfu/Julian Bailey’ (to label attached verso) oil on board

64 x 51 cm. (25 1/4 x 20 in.)

£700 - 1,000

Provenance

David Wolfers

With New Grafton Gallery, 17 August 2006, where purchased by the present owner

Julian Bailey (British, b.1963)

Two Girls at the Counter signed with initials ‘JB’ (lower right) oil on board

35 x 37.5 cm. (13 3/4 x 14 3/4 in.)

£500 - 800

Provenance

Sale; Bonhams, London, 20 November 2007, lot 294

With Swann Gallery, Oxon, where purchased by the present owner

87 §

Lucy Jones (British, b.1955)

Lamp, Southbank oil on canvas

127 x 168 cm. (50 x 66 in.)

Painted in 1989

£700 - 1,000

Provenance Sale; Phillips, London, 21 March 2000, lot 321

20th Century British School

Surrealist Forms

watercolour, ink & pastel

58.3 x 43.2 cm. (23 x 17 in.)

£800 - 1,200

Provenance

Sale; Bloomsbury Auctions, London, 20 June 2013, lot 15, (as John Banting, Surrealist Forms) With Louise Kosman, Edinburgh (as John Banting, Surrealist Forms), where purchased by the family of the present owner

Please note that the present work is now thought to share more similarity with Marion Adnams than John Banting

Four postcard works pen & coloured ink on four sheets each approximately 9 x 14 cm. (3 1/2 x 5 1/2 in.) (4)

£1,200 - 1,800

90 §

Phillip King P.R.A. (British, 1934-2021)

Three plaster figures

Woman plaster

28 cm. (11 in.) high

Standing Figure plaster

26 cm. (10 1/4 in.) high

Standing Figure

23 cm. (9 in.) high

All executed in 1958 (3)

Please note all three works are accompanied with signed paperwork from the artist

£600 - 800

Provenance

The artist, 2009, from whom acquired by the present owner

Literature Woman

Franck Gautherot, Michael Gauthier, Clarrie Wallis, Phillip King, les presses du réel, Dijon, 2016, p.96 (ill.b&w. fig.4)

91 §

Philip Davies (British, b.1953)

Dark Garden signed, titled and dated ‘Dark Garden/1992/Philip A Davies’ (verso); titled and dated ‘Dark Garden/1992’ (to a label attached to the frame) oil on canvas

102 x 81.5 cm. (40 1/4 x 32 in.)

£300 - 500

92 §

Peter McLaren (British, b.1964)

Esso Study mixed media on card

57/2 x 81 cm. (22 1/2 x 31 3/4 in.)

£500 - 800

93 §

Peter McLaren (British, b.1964)

The Cyclist oil on board

116.9 x 116.9 cm. (46 x 46 in.)

£2,000 - 3,000

Provenance With Thompson’s Gallery, London

§

John Ridgewell (British, 1937-2004)

City

signed ‘J Ridgewell’ (lower right) oil on canvas

86.4 x 111.7 cm. (34 x 44 in.)

£500 - 800

Provenance

With The Piccadilly Gallery, London, June 1969

95 §

Peter Brook R.B.A. (British, 1927-2009)

signed ‘PETER BROOK’ (lower centre-right) and titled ‘AUTUMN LANDSCAPE’ (lower centre) oil on canvas

120 x 80 cm. (47 1/4 x 31 1/2 in.)

£500 - 800

Provenance With Agnews & Sons, London

96 §

Ogwyn Davies (British, 1925-2015)

Barn (Big Red Bow) signed and dated ‘Ogwyn/Davies/03’ (lower right)

acrylic on board

17.2 x 32 cm. (8 3/4 x 12 1/2 in.)

£500 - 800

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 8862

Bruce Yardley (British, b.1962)

Lunchtime Drinks, Browns signed ‘Bruce Yardley’ (lower right) oil on canvas

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

£400 - 600

Bruce Yardley (British, b.1962)

Picnic Party signed ‘Bruce Yardley’ (lower left) and titled ‘Picnic Party, Glyndebourne’ (on the stretcher verso) oil on canvas

30 x 40 cm. (11 3/4 x 15 3/4 in.)

£300 - 500

Bruce Yardley (British, b.1962)

Gondola Parties signed ‘Bruce Yardley’ (lower right) and titled ‘Gondola Parties’ (on the stretcher verso) oil on canvas

30 x 41 cm. (11 3/4 x 16 1/8 in.)

£300 - 500

100 §

Glynn Boyd Harte (British, 1948-2003)

Rue de Beaujolais

signed and dated ‘Glynn Boyd Harte 1980’ (lower right)

crayon and pencil

42 x 58.4 cm. (16 1/2 x 23 in.)

£600 - 800

Provenance

With Francis Kyle Gallery, London, where purchased by the present owner

101 §

Glynn Boyd Harte (British, 1948-2003)

Caffè Florian, Venice signed ‘Glynn Boyd Harte’ (lower left) and dated ‘August 1978’ (lower right) crayon and pencil

58.4 x 42 cm. (23 x 16 1/2 in.)

£600 - 800

Provenance

With Francis Kyle Gallery, London, where purchased by the present owner

Glynn Boyd Harte (British, 1948-2003)

Window view of Piazza San Marco, Venice signed and dated ‘Glynn Boyd Harte 1978’ (lower centre) pencil and crayon

41.5. x 29 cm. (16 1/4 x 11 3/8 in.)

£500 - 800

Provenance

With Francis Kyle Gallery, London, where purchased by the present owner

Glynn Boyd Harte (British, 1948-2003)

Window view of Campanile di San Marco, Venice signed and dated ‘Glynn Boyd Hart 1978’ (lower centre)

crayon and pencil

41 x 29 cm. (16 1/4 x 11 3/8 in.)

£600 - 800

Provenance

With Francis Kyle Gallery, London, where purchased by the present owner

§

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

Two Plaster Heads

Mechanical head plaster

21 cm. (8 1/4 in.) high together with; Small head plaster

11.5 cm. (4 1/2 in.) high (2)

£700 - 1,000

Provenance

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

105 §

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

Van Heflin

collage and mixed media

30.4 x 21.6 cm. (12 x 8 1/2 in.)

£1,500 - 2,500

Provenance

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

§

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

Dolly Day signed, inscribed and dated ‘Alan Davie 2007/DOLLY DAY/OPUS O.1905’ (verso) oil on canvas

121.9 x 152.4 cm. (48 x 60 in.)

£1,500 - 2,500

Provenance With Gimpel Fils, London

Exhibited Edinburgh, Open Eye Gallery, Alan Davie, 11 Feb-2 Mar 2010

107 §

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

A First Cure signed, inscribed and dated ‘Alan Davie 07/A FIRST CURE/0.1904’ (verso) oil on canvas

121.9 x 101.6 cm. (48 x 40 in.)

£1,500 - 2,500

Provenance With Gimpel Fils, London

Exhibited Harrogate, 108 Fine Art, From the Studio, Alan Davie and Maurice Cockrill, 12 Jun-31 Jul 2008

108 §

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

Ziggy’s Dessert signed, titled and dated ‘Alan Davie/2010/ZIGGY’S DESSERT’ (verso) oil on canvas 122 x 101.5 cm. (48 x 40 in.)

£1,000 - 1,500

Provenance With Gimpel Fils, London

109 §

Untitled signed with initials and dated ‘F.P. Sept 92’ (lower right)

acrylic on paper

52 x 72 cm. (20 1/4 x 23 3/8 in.)

£300 - 500

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

£800 - 1,200

Fabian Peake (British, b. 1942)

Untitled signed and dated ‘F.P. July 92’ (lower right)

acrylic on paper

52 x 72 cm. (20 1/4 x 23 3/8 in.)

£300 - 500

112 §

Graham Dean (British, b.1951)

Singer 2

signed ‘Graham Dean’ (lower right); further signed, titled and dated ‘SINGER 2/1991/Graham Dean’ (to a label attached to frame)

watercolour

86.3 x 113 cm. (34 x 44 1/2 in.)

£300 - 500

113 §

Graham Dean (British, b.1951)

Nectar signed, titled and dated ‘NECTAR 1999/Graham Dean’ (to an artist’s label attached to frame verso)

watercolour

76 x 56 cm. (29 7/8 x 22 in.)

£400 - 600

Provenance

With Stephen Lacey Gallery, London, 1995, where purchased by the present owner

§

Graham Dean (British, b.1951)

Rise 5

signed ‘Graham Dean’ (to artist’s label attached to frame) watercolour

Executed in 1999

75.5 x 53 cm. (29 3/4 x 20 4/4 in.)

£400 - 600

Provenance

With Stephen Lacey Gallery, London, 1995, where purchased by the present owner

Exhibited

London, Stephen Lacey Gallery, Straight to Red, Jan-Feb 2000, cat.no.28

115 §

Hubert Dalwood A.R.A (British, 1924-1976)

Otera 111

stamped with initials, numbered and dated ‘HCD 72 1/9’ (verso)

aluminium

Conceived in 1975

65 x 89 cm. (25.6 x 35 in.)

£1,200 - 1,800

Provenance

Sale; Modern Art Auctions, 26 November 2014, lot 97

Literature: Chris Stevens, The Sculpture of Hubert Dalwood, 1999, Lund Humphries, Much Hadam/London, cat.no.137

§

Shanti Panchal (Indian/British, b.1951)

The Veil – South Bank signed and dated ‘Shanti Panchal 86’ in Gujarati (lower right) watercolour

75 x 54 cm. (29 1/2 x 21 1/4 in.)

£2,000 - 3,000

Provenance

With Whitechapel Art Gallery, London, 1989, where purchased by the present owners

Exhibited London, Whitechapel Art Gallery, Whitechapel Open, 1989

We are grateful to Shanti Panchal for his assistance in cataloguing this lot

117 §

Mo Farquharson (British, 1953-2018)

Britannia titled ‘BRITANNIA’ (lower right); bronze relief

41 x 30.5 cm. (16 1/4 x 12 in.)

£300 - 500

Provenance Commissioned by Tindall Riley & Co. Ltd

Terry Lee (British, b.1932)

Flowers, Marsh and Distant Peak signed and dated ‘Terry Lee/ 1973’ (lower right); further signed, titled and dated again ‘Terry Lee 1973/ FLOWERS, MARSH AND DISTANT PEAK’ (verso) oil on canvas

91 x 91.5 cm. (35 3/4 x 36 in.)

£300 - 500

Provenance With Agnews, London

119 §

Terry Lee (British, b.1932)

Still Life Flowers on a Table signed and dated ‘Terry Lee/75’ (lower right) oil on canvas

91 x 96 cm. (35 3/4 x 37 3/4 in.)

£300 - 500

Exhibited

London, Royal Academy Exhibition 1976

120 §

77.5 cm. (30 1/2 in.) high (excluding the base)

£2,000 - 3,000

§

Los Angeles Parking Lot oil on paper

Executed in 1992

82 x 68.6 cm. (32 1/4 x 27 in.)

£400 - 600

122 §

Colin Smith (British, b.1953)

Wardrobe Study oil on paper

Executed in 1992

86.4 x 58.4 cm. (34 x 23 in.)

£400 - 600

123 §

Dale Pring MacSweeney (British, b.1949)

The Scarlet and The Black signed with initials and dated ‘DPMCS 2006’ (lower right) oil on canvas

122 x 91.5 cm. (48 x 36 in.)

£400 - 600

Provenance

With Thompson’s Gallery, Aldeburgh

This painting is part of the aritist’s ‘hatbox’ series.

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

Guy Denning (British, b.1965)

Kowloon (Portrait of Joan of Arc) signed and stamped with studio stamp ‘Guy Denning’ (lower right); titled ‘KOWLOON’ (lower-centre) crayon and chalk

63.5 x 47 cm. (25 x 18 1/2 in.)

£400 - 600

Provenance

With Cosa Gallery, London Art Fair, January 2010, where purchased by the present owner

Exhibited:

London, The Crypt Gallery, St Martin-in-the-Fields Church, Behemoth: Guy Denning, September 2010, cat.no.919 London, London Art Fair, Cosa Gallery, 12-17 Jan 2010

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

‘Inspired by Dreyer’s 1928 film La Passion de Jeanne d’Arc, I made over two hundred sketches and thirty finished paintings. I chose the subject as a metaphor for an apparent loss of political faith in a rational, caring world. The paintings were exhibited in the crypt of St Martin in the Fields Church, Trafalgar Square, London in September 2010.’ - Guy Denning

125 §

Guy Denning (British, b.1965)

Mururoa (Portrait of Joan of Arc) signed and stamped with studio stamp ‘Guy Denning’ (lower right); titled ‘MURUROA’ (lower centre) crayon and chalk

63.5 x 47 cm. (25 x 18 1/2 in.)

£300 - 500

Provenance

With Cosa Gallery, London Art Fair January 2010, where purchased by the present owner

Exhibited

London, The Crypt Gallery, St Martin-in-the-Fields Church, Behemoth: Guy Denning, September 2010, cat.no.# 0877

London, London Art Fair, Cosa Gallery, 12-17 Jan 2010

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

Chris Gollon (British, 1953-2017)

Study for Jesus Meet his Mother signed ‘Chris Gollon’ (lower right) oil on canvas

Executed in 2004

41 x 30 cm. (16 1/4 x 11 3/4 in.)

£600 - 800

Provenance

With IAP Fine Art, London, 2004, where purchased by the present owner

This lot is accompanied by a print by the same artist titled ‘Mater Dolorosa’, which is signed, titled and numbered

127 §

Bruce McLean (British, b.1944)

Blue Sash

signed ‘Bruce McLean’ (lower right); titled ‘Blue Sash’ (lower left)

acrylic, charcoal, watercolour and collage

Executed in 1990

54 x 75 cm. (21 1/4 x 29 1/2 in.)

£500 - 800

128 §

Ian Tyson (British, 1933-2021)

Trio variation signed and dated ‘Ian Tyson 84’ (lower right)

watercolour

24.1 x 21.6 cm. (9 1/2 x 8 1/2 in.)

£400 - 600

Provenance

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

129 §

Ian Tyson (British, 1933-2021)

Nonet

signed and dated ‘Ian Tyson 84’ (lower right)

gouache and watercolour

30 x 22.8 cm. (11 3/4 x 9 in.)

£400 - 600

Provenance

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

130 §

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.)

£3,000 - 5,000

131 §

Patrick Hughes (British, b.1939)

My Retrospective signed, titled and dated ‘My Retrospective/Patrick Hughes 1992’ (verso) oil on board construction

123.5 x 374 x 30.5 cm. (48 3/4 x 147 1/4 x 12 in.)

£10,000 - 15,000

Provenance

With Flowers Gallery, London

With Dickson Russell Art Management, where purchased by the present owners

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

My Retrospective, 1992

Patrick Hughes, one of Britain’s foremost exponents of optical illusion in contemporary art, has built a career exploring the uncertain boundaries between reality and perception. In 1964, he created his first, and now iconic, ‘reverspective’ work, Sticking Out Room, a revolutionary experiment in three-dimensional perspective painting that would later define his artistic legacy. For over two decades thereafter, Hughes turned his attention to other conceptual motifs, including his celebrated series of rainbow paintings, before returning in 1990 to develop and refine the reverspective form that has since become synonymous with his name.

The present work, My Retrospective (1992), marks an important point in that creative return. Here, Hughes constructs a complex, painted relief depicting what appears to be a minimalist gallery interior: pale walls, cool grey floors, and a suite of framed paintings hung with precise symmetry. Within each depicted frame, Hughes revisits familiar visual themes, architectural recession, surreal geometry, and vibrant chromatic contrasts, creating a “gallery within a gallery,” a witty and self-referential meditation on his own artistic journey.

In My Retrospective, perspective itself becomes the subject. Hughes reverses and solidifies the laws of spatial depiction, sculpting his canvases outward while painting them inward. The result is a visual paradox: as the viewer moves, the painted space seems to shift and ripple, the gallery appearing to turn and breathe. Stationary surfaces seem to move of their own accord, defying both logic and expectation. This dynamic illusion arises from Hughes’ unique manipulation of converging lines, light, and spatial cues, an interplay that exposes how perception, not physical form, defines our experience of space.

“What you see is not what you get. We think we live in a threedimensional world, but what we see is a two-dimensional projection that our brains make sense of. My pictures play with that sense-making.”

- Patrick Hughes

By transforming a static artwork into one that appears to move, Hughes challenges the viewer’s confidence in seeing. My Retrospective is not only a technical tour de force but also a philosophical reflection on the act of looking itself: an inquiry into how the mind constructs, distorts, and ultimately believes in what it perceives. In conjuring a gallery space that simultaneously invites and denies entry, Hughes creates a humorous yet profound commentary on art’s own illusions, those of representation, authorship, and truth.

132 §

Sophie Vallance Cantor (British, b.1993)

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

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

£3,000 - 5,000

Provenance

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

133 §

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.)

£800 - 1,200

Provenance

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

134 §

Trevor Bell (British, 1930-2017)

Gust

signed, titled and dated ‘GUST/2010/TREVOR BELL’ (verso) mixed media on board and plywood

50.5 x 111 x 5.5 cm. (19 7/8 x 43 3/4 x 2 3/16 in.)

£400 - 600

Provenance

Private Collection, UK.

New Millennium Gallery, St. Ives, UK.

135 §

Tim Woolcock (BRITISH, b.1952)

Wessex Field in Autumn signed, titled and dated ‘Wessex Fields in Autumn Tim Woolcock 2003’ (on the stretcher verso) oil on canvas

61 x 76.2 cm. (24 x 30 in.)

£700 - 1,000

§

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.)

£2,000 - 3,000

Provenance

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

137 §

Tanya Brett (British, b.1974)

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

ceramic

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

£1,500 - 2,500

Provenance

Acquired directly from the artist, circa 2000

138 §

Stephen McKenna (British, 1939-2017)

Upstairs Crocknafeola signed with initials ‘SMcK’ (upper left); further signed and dated ‘Stephen McKenna/1994’ (verso) oil on canvas

60 x 50 cm. (23 5/8 x 19 3/4 in.)

£1,500 - 2,500

Provenance

With Kerlin Gallery, Dublin

Brian Ballard R.U.A. (Irish, b.1943)

White Lady with Jug signed and dated ‘Ballard 90’ (lower right); titled ‘White Lady with Jug’ (on the stretcher verso) oil on canvas

43.5 x 59 cm. (16 3/4 x 23 1/4 in.)

£800 - 1,200

Provenance

The artist, from whom acquired by Beaux Arts, Bath, from whom purchased by Geoffrey Harley

His sale; Wooley & Wallis, Salisbury, Modern British Art from the Late Geoffrey Harley, 7 February 2018, lot 58

With Thompson’s, Aldeburgh

140 §

Maria Simonds-Gooding R.H.A (Irish, b.1939)

The Road Home signed ‘Gooding’ (lower right) oil on paper

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

£400 - 600

Provenance

With The Solomon Gallery, London, 1989, where purchased by the present owners

Exhibited

London, The Solomon Gallery, Maria Simods-Gooding, 1989

141 §

James Scanlon (Irish, b.1952)

Farm Cycle V signed and dated ‘Scanlon ‘90’ (lower left) gouache

55.9 x 76.2 cm. (22 x 30 in.)

£300 - 500

Provenance

Philip Collins

With Dickson Russell Art Management, from whom purchased by the present owners

Exhibited London, Austin/Desmond Fine Art, Contemporary Artists from Ireland , 1990

142 §

Brian Ballard R.U.A. (Irish, b.1943)

Portrait of Grace signed and dated ‘Ballard 72’ (lower right); further signed, titled and dated ‘GRACE Brian Ballard 1972’ (to the canvas stretcher) oil on canvas

63 x 45.7 cm. (24 7/8 x 18 in.)

£400 - 600

Provenance

Commissioned by the family of present owner

Robert Lenkiewicz (British, 1941-2002)

Study of Edward Fry signed, inscribed and dated ‘Best wishes - but you owe/me a book!/Study/Mr Edward Fry-/Observations on local/Education-Cat.no.81/Project 17/Relationship Series/R.O Lenkiewicz 84’ (verso) oil on canvas

77.5 x 62.2 cm. (30 1/2 x 24 1/2 in.) (unframed)

£500 - 800

Provenance

The artist, whom gifted to Edward Fry, thence by family descent

This work was painted as part of a series, ‘Observations on Local Education’, in 1984

144 §

Norman Edgar (British, 1948-2022)

The Decorated Chair signed ‘Edgar’ (upper right) oil on canvas

90.6 x 70.7 cm. (35 5.8 x 27 3/4 in.)

£500 - 800

Provenance

Sale; Bonhams, London, 15 July 2008, lot 202 (as Chair with still life) With Thompson’s Gallery, Aldeburgh

§

Archibald Russell Watson Allan (British, 1878-1959)

Still Life signed ‘A.R.W. ALLAN’ (lower left) pastel (unframed)

55 x 65 cm. (21 5/8 x 25 1/2 in.)

£300 - 500

146 §

Peggy Somerville (British, 1918-1975)

Asters signed with initials and dated ‘PS 70’ (lower left)

oil on board

41 x 32.7 cm. (16 x 12 1/2 in.)

£300 - 500

Provenance

Sale; Phillips, London, 19 June 2001, lot 58

With Thompson’s Gallery, Aldeburgh, 25 February 2002, where purchased by Private Collection

Philip Sutton R.A. (British, b.1928)

Southwold signed, titled and dated ‘SOUTHWOLD/1980/Philip Sutton’ (verso) oil on canvas

64 x 64 cm. ( 25 1/4 x 25 1/4 in.)

£500 - 800

§

Philip Sutton R.A. (British, b.1928)

The Torrents of Spring signed, titled and dated ‘THE TURRENTS OF SPRING/IVAN TURGENEV/1/1/1973/Philip Sutton’ (verso) oil on canvas

120 x 120 cm. (47 1/4 x 47 1/2 in.)

£800 - 1,200

149 §

Geoffrey Woolsey Birks (British, 1929-1993)

Golfers at the third signed ‘G.W. Birks’ (lower right) watercolour

33 x 73 cm. (13 x 28 3/4 in.)

£300 - 500

Provenance

Sale; Morphets, Harrogate, 5 September 2024, where purchased by the present owner

150 §

Tessa Newcomb (British, b.1955)

3pm. France signed, titled and dated ‘3pm. France/T. Newcombe 98’ (to a backboard) oil on board

11.4 x 31.7 cm. (4 1/2 x 12 1/2 in.)

£300 - 500

Sonia Lawson R.A. (British, 1934-2023)

Spring Line Up

signed with initials ‘SL’ (lower right); further signed and titled ‘Sonia Lawson/Spring Line Up’ (to a backboard) oil on canvas laid onto board

24.1 x 42 cm. (9 1/2 x 16 1/2 in.)

£300 - 500

Provenance

With Thompson’s Gallery, Aldeburgh

152 §

Marie Walker Last (British, 1917-2017)

Mountains near La Clusaz III signed and dated ‘Marie Walker Last 97’ (lower right) oil on canvas

106 x 131.5 cm. (41 3.4 x 51 3.4 in.)

£400 - 600

Provenance With Owler Park Lodge, Yorkshire

Exhibited

London, The Banqueting House, Northern Light The Provident Financial Triennial Exhibition , 26 Nov 1997, cat.no.88

§

Marie Walker Last (British, 1917-2017)

The Scarecrow signed with initials and dated ‘M W. L 2005’ (lower right); further signed, titled and dated again ‘MARIE WALKER LAST/THE SCARECROW/2005’ (to a label attached to the backboard) oil on canvas

61 x 74.3 cm. (24 x 29 1/4 in.)

£300 - 500

Marie Walker Last (British, 1917-2017)

Black Hill

signed with initials and dated ‘MWL 2001’ (lower right); stamped with studio stamp (to artist’s label attached to the backboard)

mixed media

26.5 x 47.5 cm. (10 3/8 x 18 3/4 in.)

£300 - 500

155 §

David Jan Curtis (British, b.1948)

Reflections, Alport signed ‘D.J. CURTIS’ (lower left) oil on canvas

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

£300 - 500

Provenance

With Richard Hagen Fine Paintings, Worcestershire, where purchased by the family of the present owner

156 §

David Jan Curtis (British, b.1948)

Old Willow by the Idle, Mission signed and dated ‘D.J. CURTIS 93’ (lower left) oil on board

20.3 x 29.8 cm. (8 x 11 3/4 in.)

£300 - 500

Provenance

With Richard Hagen Fine Paintings, Worcestershire, where purchased by the family of the present owner

157 §

Annette Allcock (British, 1923-2001)

Grove House, Corsham signed ‘Annette Allcock’ (lower right) oil on board

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

£300 - 500

Provenance

Gifted from the artist to the present owner

Exhibited London, Royal Academy London, Summer Exhibition , 1986, no.2

158 §

John Yardley (British, b.1933)

Church Interior signed ‘John Yardley’ (lower right) watercolour

60 x 38.5 cm. (23 5/8 x 15 1/4 in.)

£300 - 500

§

Greek Landscape watercolour

76.2 x 97.5 cm. (30 x 38 1/2 in.)

£300 - 500

160 §

Eric Huson (British, b.1930)

Canal Path signed, titled and dated ‘CANAL PATH: POOL QUAY/ERIC HUSON 1975’ (to a backboard) oil on board

120 x 50 cm. (47 1/4 x 19 3/4 in.)

£300 - 500

161 §

William Henderson (British, 1903-1993)

Quay

signed ‘Henderson’ (lower right); further signed ‘William Henderson’ (verso) oil on board

29.8 x 40.5 cm. (11 3/4 x 16 in.)

£300 - 500

162 §

Fred Yates (British, 1922-2008)

North Street Fowey, Cornwall signed ‘Fred Yates’ (lower left); signed and titled ‘YATES/NORTH ST/FOWEY/CORNWALL’ (verso) oil on board

15.2 x 20.3 cm. (6 x 8 in.)

£700 - 1,000

Provenance

With Gwynne Galleries, La Jolla, January 1986, where purchased by Private Collection, California, 20 April 2011, from whom purchased by the present owner

163 §

Fred Yates (British, 1922-2008)

Castillon-la-Bataille signed ‘Fred Yates’ (lower left) watercolour

26.7 x 39.4 cm. (10 1/2 x 15 1/2 in.)

£400 - 600

Provenance

Sale; Golding Young & Thomas Mawer, Lincoln, 27 April 2011, lot 2163 (as French street scene), where purchased by the present owner

Robert MacLaurin (British, b.1961)

In the White Valley signed thrice, titled and dated ‘1987-88/In the White Valley/Robert Maclaurin’ (verso); further signed ‘ROBERT MACLAURIN’ (to the canvas overlap); dated again ‘1987-1988’ (to the canvas stretcher) oil on canvas

167 x 152 cm. (65 3/4 x 59 3/4 in.)

£300 - 500

165 §

Charles Neal (British, b.1951)

Sailing by the Shore signed ‘C Neal’ (lower right) oil on board

39. 4 x 48.7 cm. (15 1/2 x 19 1/4 in.)

£500 - 800

Charles Neal (British, b.1951)

Normandie, Field Track Spring signed ‘C Neal’ (lower right) and titled ‘Normandie/Field Track Spring’ (to a label attached to frame stretcher) oil on canvas

75.7 x 60.6 cm. (29 7/8 x 23 7/8 in.)

£600 - 800

Duncan Grant (British, 1885-1978)

Man Working (Lithos) signed with initials and dated ‘DG/74’ (lower left) pencil

19.7 x 11 cm. (7 3/4 x 4 1/4 in.)

£500 - 800

Provenance

The Estate of Paul Roche, from whom acquired by the present owner

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

Ruskin Spear C.B.E. R.A. (British, 1911-1990)

Black Cat On My Chair signed, titled and dated ‘Black Cat on my chair/Ruskin Spear/1988’ (to the backboard) felt pen

20.3 x 10.1 cm. (8 x 4 in.)

£300 - 500

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

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

L’Auto Journal Postman signed ‘Ronald Searle’ (lower right) pen & ink (unframed)

24.8 x 33 cm. (9 7/8 x 13 in.)

£700 - 1,000

Provenance

Sale; Theodore Bruce, New South Wales, 14 April 2025, lot 6041, where purchased by the present owner

170 §

Maurice Cockrill R.A. (British, 1936-2013)

Envy signed, titled and dated ‘Maurice Cockrill 2009/Envy’ (verso) mixed media on canvas (unframed)

60.5 x 50 cm. (23 3/4 x 19 3/4 in.)

£300 - 500

Provenance

With Adam Gallery, Bath, 7 August 2009, where purchased by the family of the present owner

171 §

Philip Hughes (British, b.1936)

Track to Boswarthen acrylic, gouache and pencil on paper

76 x 57 cm. (29 7/8 x 22 1/2 in.)

£300 - 500

Provenance

Collection of Paintings in Hospitals

Exhibited

London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 13439

172 §

Neil McPherson (British, b.1954)

Still life with sheep signed ‘McPherson’ (lower right)

acrylic and pastel paper laid on board

Executed in 1984-1986

57.1 x 49.5 cm. (22 1/3 x 19 1/2 in.)

£500 - 800

Provenance

Sale; Lyon & Turnbull, Edinburgh, 10 January 2024, lot 176, where purchased by the present owners

173 §

Charlotte Verity (British, b.1954)

Untitled signed ‘Verity’ (lower right); further signed ‘Charlotte Verity’ (to the frame verso) watercolour

26.7 x 20.4 cm. (10 1/2 x 8 in.)

£300 - 500

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals , cat.no 8057

174 §

Peter Heard (British, 1939-2021)

Bathtime

signed ‘Peter Heard’ (lower right); titled and dated ‘BATHTIME APRIL 84 Peter Heard’ (to the frame verso)

acrylic on board

37 x 28 cm. (14 1/2 x 11 in.)

£300 - 500

Provenance

With Portal Gallery, London, 30 July 1985, where purchased by the present owner

175 §

Eileen Cooper O.B.E. R.A. (British, b.1953)

Woman with Birds charcoal on multiple joined sheets

149.8 x 160 cm. (59 x 63 in.)

£400 - 600

Provenance

With Benjamin Rhodes Gallery, London, 1989, where purchased by Private Collection

With Dickson Russell Art Management, London, where purchased by the present owner

176 §

Gerard Morris (British, b.1955)

The Family Bathing signed and dated ‘G A Morris ‘90’ (lower right) pastel

120 x 100 cm. (47 1/4 x 39 5/8 in.)

£300 - 500

Provenance With Agnews, London

177 §

James Reeve (British, 1939-2014)

Forest Clearing titled ‘Forest Clearing’ (on the stretcher verso) oil on canvas

111.8 x 103 cm. (44 x 40 1/2 in.)

£600 - 800

178 §

Keith Grant (British, b.1930)

Wittenham Clumps - English Landscape

signed ‘K.F. GRANT’ (lower left); further signed, titled and dated ‘KEITH F GRANT - WITTENHAM CLUMPSENGLISH LANDSCAPE/1959’ (to tape attached to frame verso) oil on canvas

31 x 47 cm. (12 1/4 x 18 1/2 in.)

£600 - 800

Provenance

With Camden Council, Picture and Sculptural Lending Scheme, 4 May 1985

Exhibited

London, St Pancras Library, Picture and Sculpture Lending Scheme, organised by Camden Council, cat.no.22

179 §

Robert Organ (British, 1933-2023)

Batshead Dorset signed, titled and dated ‘Robert Organ/1986-7’ (verso) oil on canvas

105.5 x 152.4 cm. (41 1/2 x 60 in.)

£500 - 800

180 §

John Monks (British, b.1954)

Untitled oil pastel and charcoal on paper

83 x 58 cm. (32 5/8 x 22 3/4 in.)

£700 - 1,000

181 §

Edward Hersey (British, b.1948)

Tending to the Flower Bed signed and dated ‘E.Hersey ‘84’ (lower right) oil on canvasboard

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

£700 - 1,000

182 § Wilf Roberts (British, 1941-2016)

Cottage, Anglesey signed and dated ‘Wilf Roberts 1998’ (lower left) and titled ‘bwthyn ar y mynydd’ (verso) oil on canvas laid onto board 21 x 30 cm. (8 1/4 x 11 3/4 in.)

£600 - 800

Provenance Collection of Paintings in Hospitals

Exhibited London, Meiner Chocolate Factory, Paintings in Hospitals, cat.no 7908

183 §

Jeffrey Pratt (British, b.1940)

Gardener’s Cabinet signed ‘J Pratt’ (lower left) and titled ‘Gardener’s/Cabinet’ oil on board

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

£500 - 800

Provenance

With Whitewall Galleries, where purchased by the present owner

184 §

Jeffrey Pratt (British, b.1940)

En Route to Provence signed ‘J Pratt.’ (lower left); inscribed and dated ‘En Route to Massive Central/In good wrather the/ colour is superb!/June 2016’ (to tape attached verso) oil on board

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

£500 - 800

Provenance

With Whitewall Galleries, where purchased by the present owner

185 §

Michael Tain (British, b.1927)

Winter - Peans Wood, Ashburnham, Sussex signed ‘Michael Tain’ (lower left); further signed and titled ‘WINTER - PEANS WOOD (ASHBURNHAM) SUSSEX MICHAEL TAIN’ (to the canvas stretcher) oil on canvas

76.2 x 101.6 cm. (30 x 40 in.)

£300 - 500

Provenance

The artist, circa 1978, from whom purchased by the present owners

186 §

Michael Tain (British, b.1927)

View of Cottage, Ashburnham. Sussex signed ‘Michael Tain’ (lower left) oil on canvas

76.1 x 120.1 cm. (30 x 47 1/2 in.)

£300 - 500

Provenance

The artist, circa 1978, from whom purchased by the present owners

187 §

Stuart Walton (British, b.1933)

signed and dated ‘WALTON 71’ (lower right) and further signed ‘WALTON’ (verso) oil on board

101.5 x 75.5 cm. (39 1/4 x 29 3/4 in.)

£400 - 600

188 §

James Gemmill (British, b.1954)

The Thames at Tower Bridge signed, titled and dated ‘The Thames of Tower Bridge/or Dawn at Tower Bridge/J Gemmill/2022’ (to a backboard) oil on canvas

43.2 x 64.1 cm. (17 x 25 1/4 in.)

£500 - 800

Provenance

With Mall Galleries, London, 29 October 2022, where purchased by the present owner

189 §

David Ross Warrillow (British, b.1956)

Fecit

signed twice, titled and dated ‘DAVID ROSS WARRILLOW/FECIT/1995/D.R.WARRILLOW.’ (verso) oil on board

15.2 x 21.6 cm. (6 x 8 1/2 in.)

£300 - 500

Provenance

With Thompson’s Gallery, Aldeburgh

190 §

John Duffin (British, b.1965)

Rainy Night (The Ivy) signed ‘DUFFIN’ (lower right); further signed, titled and dated ‘RAINY NIGHT/(THE IVY)/John Daffin/2012’ (verso) oil on canvas

51 x 41 cm. (20 x 16 in.)

£300 - 500

§

Mat Collishaw (British, b.1966)

Ultraviolet Angel steel, UV bulb, paper, UV sensitive ink and wire, illuminated by ultraviolet light

36.2 x 27.3 cm. (14 1/4 x 10 3/4 inches) Executed in 1993

£400 - 600

192 §

Maurice Man (British, 1921-1997)

Madonna signed with initials ‘MM’ (lower right); titled and dated ‘Madonna/1967’ (to a label attached verso) oil on board

64 x 48.5 cm. (25 1/4 x 19 1/4 in.)

£300 - 500

Term and Conditions for Buyers at Chiswick Auctions

1. BEFORE THE SALE

1.1 Agent for the seller

Unless otherwise agreed, Chiswick Auctions Ltd, hereafter referred to as CA LTD acts as agent for the seller. The contract for sale of the property is therefore made between the Seller and the Buyer.

1.2 Definitions

For the purposes of the current Terms and Conditions, the Seller shall be defined as the owner of the Goods. It is implied that the Seller is the legitimate owner and is authorised to sell the Lot. The Bidder is any registered person participating in the auction, and the Buyer is the successful Bidder for a particular Lot.

The Lot means the item(s) put up for sale by CA Ltd and to which the present Terms and Conditions apply.

1.3 Catalogue descriptions

Any representation in any catalogue or otherwise as to the origin, date, age, attribution, authenticity or estimated selling price of any lot is a statement of opinion only. Such statements do not constitute a representation warranty or assumption of liability by CA Ltd in relation to the Lot. Any prospective Buyer should satisfy themselves prior to the sale as to the reliability of the catalogue description. The absence of mention related to prior restorations in the catalogue descriptions does not imply that the good is exempt thereof.

Photographs of any Lot provided by CA Ltd are for indicative purposes only and are not deemed to be a precise representation of the said Lot.

The Buyer is advised to seek independent expert advice in order to be assured of the authenticity and true state of the good.

1.4 Inspection

Prior to auction, prospective purchasers are strongly advised to personally examine any property in which they are interested to satisfy themselves in relation to matters which may concern them.

1.5 Condition report

CA Ltd may issue a Condition Report on request prior to the sale. This Condition Report is for identification purposes only and cannot be considered as giving a precise account of the Lot’s true state. Thus, some imperfections and faults may not be accounted for in the Condition Report.

As aforementioned, and in the absence of any contractual value of the Condition report, it is the Buyer’s sole duty to inspect in person the Lot in order to be assured of its true condition and CA Ltd shall not be responsible for assertions within the Condition Report hereto.

1.6 Electricals

All electrical items are sold as seen and CA Ltd offers no guarantee as to the working condition of such items or their safety. It is the Buyer’s duty to take necessary steps to be assured that the Lot is safe for normal use.

1.7 Estimates

Estimates are based on various factors inherent to the situation of the market at the time of the sale, as well as considerations such as the condition, rarity, or quality of the item etc. Estimates are only indicative and represent the opinion of CA Ltd. Estimates provided by CA Ltd cannot constitute a guarantee as to the value of the good. Subsequently, goods may sell at prices lower or higher than the provided estimates.

1.8

Reserves

Many Lots are offered subject to a reserve, which is the confidential minimum sale price. The reserve will never exceed the low estimate printed in the catalogue. CA Ltd may open the bidding on any Lot

below the reserve by placing a bid on behalf of the seller, and may in their discretion continue to bid up to the reserve price. This can be achieved by bidding in response to other bidders or alternatively by placing consecutive bids.

1.9

Registration to the sale

New bidders will need to register prior to the sale. It is strongly advised bidders register at least 24 hours before the sale.

Registration thereafter shall be at the auctioneer’s entire discretion. International bidders may be required to register 48 hours before the sale and to submit bank details.

A deposit may be requested prior to each sale.

Failure to register shall result in the impossibility for the bidder to purchase a Lot.

1.10 Proof of identity

Bidders not previously known to CA Ltd will be required to provide:

• Official proof of identity in the form of a passport or photocard driving licence. No other forms of ID are acceptable.

• Proof of address of main residence. Only official documents showing name and address will be accepted.

• 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.