CKS23769-23770 London Mod Brit

MODERN BRITISH AND IRISH ART

LONDON | 22-23 OCTOBER 2025

MODERN BRITISH AND IRISH ART

EVENING SALE

AUCTION

Wednesday, 22 October 2025, 6.30pm (BST)

8 King Street, St. James’s London SW1Y 6QT

VIEWING

Saturday 18 October 12.00 pm - 5.00 pm

Sunday 19 October 12.00 pm - 5.00 pm

Monday 20 October 9.00 am - 8.00 pm

Tuesday 21 October 9.00 am - 5.00 pm

Wednesday 22 October 9.00 am - 3.00 pm

AUCTIONEER

Nicholas Orchard

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as LUGANO-23769

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658

Fax: +44 (0)20 7930 8870

CONDITIONS OF SALE

The sale of each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction. For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com.

BUYER’S PREMIUM

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol.

Check Section D of the Conditions of Sale at the back of this catalogue.

Principal Auctioneer: Adrien Meyer

SPECIALISTS AND SERVICES FOR THIS AUCTION

Tel: +44 (0)20 7389 2423

UK AND IRELAND

Tel:+44 (0)7799 623780

POST-SALE SERVICES

Payment, Shipping and Collection

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Email: PostSaleUK@christies.com

ABSENTEE AND TELEPHONE BIDS

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Fax: +44 (0)20 7930 8870

AUCTION RESULTS

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CATALOGUES ONLINE Lotfinder® christies.com

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LONDON WORLDWIDE

2034

636 2089

CONTACTS FOR THIS SALE

REGIONAL MANAGING DIRECTOR, EMEA

Zoe Ainscough

Tel: +44 (0)20 7389 2958 zainscough@christies.com

BUSINESS DIRECTOR

Charlotte Lee

Tel: +44 (0)782 519 5766 clee@christies.com

FRONT COVER

Lot 6, Dame Barbara Hepworth, The Family of Man (Figure 8, The Bride), 1970 © Bowness

INSIDE FRONT COVER

Lot 22 (detail)

PAGE 1

Lot 21 (detail)

PAGE 2

Lot 15 (detail)

PAGE 3

Lot 25 (detail)

PAGE 4

Lot 29 (detail)

PAGE 5

Lot 10

PAGE 6

Lot 26 (detail)

PAGE 7

Lot 3 (detail)

PAGE 8

Lot 8 (detail)

OPPOSITE

Lot 19 (detail)

INDEX

Lot 7 (detail)

BACK COVER

Lot 13, Laurence Stephen Lowry, R.A., Going to the Match, 1928 © The Estate of L.S. Lowry. All Rights Reserved, DACS 2025

BEN NICHOLSON, O.M. (1894-1982) 1935 (painting)

signed and dated 'Ben Nicholson/1935' (on the reverse) oil on board, on the artist's prepared board

77/8 X 91/2 in. (20 x 24.1 cm.)

Painted in 1935.

£50,000-70,000

US$68,000-94,000

€58,000-80,000

PROVENANCE:

Helen Sutherland, from whom gifted to Janet Adam Smith, OBE, and by descent to the present owner.

We are very grateful to Rachel Smith and Lee Beard for their assistance in cataloguing this lot.

2

PAUL NASH (1889-1946)

Cloud and Two Stones

signed with monogram (lower right) oil on canvas

20 x 15º in. (50.8 x 38.7 cm.)

Painted in 1934-35.

£100,000-150,000

US$140,000-200,000

€120,000-170,000

PROVENANCE: with Arthur Tooth & Sons, London, where purchased by Cyril Sweett in 1939, and by descent to the present owner.

EXHIBITED:

London, Mayor Gallery, Twenty Five Years of British Painting 19101935, April - May 1935, no. 61, as 'Association'.

London, Leicester Galleries, New Paintings by Paul Nash, MayJune 1938, no. 16.

Cambridge, Gordon Fraser Gallery, Oils, Watercolours and Exhibits by Paul Nash, July 1939, no. 5.

LITERATURE:

Design for Living, June 1938, illustrated.

M. Eates, Paul Nash: Paintings, Drawings and Illustrations, London, 1948, p. 55.

M. Eates, Paul Nash, Master of the Image, London, 1973, no. 62, pl. 75a.

A. Causey, Paul Nash, Oxford, 1980, pp. 159, 429, no. 812, pl. 190.

3

SIR WILLIAM NICHOLSON (1872-1949) Souvenirs

signed and dated ‘Nicholson 1919.’ (lower right) oil on canvas

21æ x 23æ in. (55.2 x 60.4 cm.)

Painted in 1919.

£200,000-300,000

US$270,000-400,000

€230,000-340,000

PROVENANCE:

Purchased from the 1919 exhibition by Alexander Reid, Glasgow.

Elizabeth Russell Workman, London. Her sale; Christie’s, London, 6 December 1929, lot 42, as ‘A Souvenir’, where purchased by Major Frederick Lessore of Beaux Arts Gallery, London. with Leicester Galleries, London, 1953, where purchased by Horatia Buxton, and by descent to the present owners.

EXHIBITED:

London, Goupil Gallery, The Goupil Gallery Salon, 1919, no. 44.

London, Beaux Arts Gallery, Exhibition of Paintings by Philip Connard, Paul-Elie Gernez, William Nicholson and S.J. Peploe, June - September 1930, no. 18.

Oxford, Oxford Arts Club, 1930, catalogue not traced. Toronto, Canadian National Exhibition, 1931, no. 69, catalogue not traced.

Hull, Ferens Art Gallery, 1932, no. 58, catalogue not traced. Nottingham, Museum and Art Gallery, Retrospective Exhibition of Paintings by William Nicholson, March - April 1933, no. 33.

London, Beaux Arts Gallery, Retrospective Exhibition of Paintings by William Nicholson, May - June 1933, no. 19. Manchester, Art Exhibitions Bureau, Manchester City Art Gallery, Platt Hall, Works by William Nicholson, June - July 1933, no. 48: this exhibition travelled to Scarborough, Public Library, August - September 1933, no. 59; Folkestone, Public Art Gallery, October - November 1933, no. 34; Belfast, Municipal Museum and Art Gallery, February 1934, no. 53; Lincoln, Usher Art Gallery, July - August 1934, no. 1; and Newark, Municipal Museum, September - October 1934, no. 10.

London, Beaux Arts Gallery, Exhibition of Early Paintings by Richard Sickert and William Nicholson, May 1939, no. 26.

LITERATURE:

H. McBride (ed.), Creative Art: A Magazine of Fine and Applied Art, New York, August 1930, p. 153, illustrated. L. Browse, William Nicholson, London, 1956, p. 71, no. 231. P. Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, London, 2011, p. 353, no. 416, illustrated.

We are very grateful to Patricia Reed for her assistance in cataloguing this lot.

HAROLD GILMAN (1876-1919)

Portrait of Mrs Bevan

oil on canvas

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

Painted circa 1910.

£120,000-180,000

US$170,000-240,000

€140,000-210,000

PROVENANCE:

Acquired directly from the artist by Robert Bevan (1865-1925). with Hirschl & Adler Galleries, New York. with Anthony d’Offay, London, where purchased by the present owners in March 1994.

EXHIBITED:

New Haven, Yale Center for British Art, The Camden Town Group, April - June 1980, pp. 20-21, no. 30, illustrated.

BRIDGET RILEY, C.H. (B. 1931) Dendera

signed and dated 'Riley '83/02' (on the right turnover edge), signed again, inscribed and dated again ‘DENDERA. Riley 1983/2002.' (on the canvas overlap), signed again, inscribed again and dated again ‘DENDERA. Riley 1983/2002.’ (on the stretcher)

oil on canvas

66 x 54Ω in. (167.5 x 138.5 cm.)

Painted in 1983/2002.

£1,000,000-1,500,000

US$1,400,000-2,000,000

€1,200,000-1,700,000

PROVENANCE:

Private collection, Cologne. Private collection, London, from whom acquired by the present owner in March 2005.

EXHIBITED:

Cologne, Galerie Aurel Scheibler, Bilder und Gouachen 19812004, October - December 2004.

LITERATURE:

R. Kudielka, A. Tommasini and N. Naish (eds.), Bridget Riley: The Complete Paintings, Volume 3 1998-2009, London, 2018, pp. 1086-1087, no. BR 414, illustrated.

We are very grateful to Philip Clark, Bridget Riley Studios, for his assistance in cataloguing this lot.

DAME BARBARA HEPWORTH (1903-1975)

The Family of Man (Figure 8, The Bride)

signed and numbered 'Barbara Hepworth 4/4' (at the base)

bronze with a dark brown, green and golden patina 97Ω in. (247.5 cm.) high, including base

Conceived in 1970 and cast in an edition of 4, with 2 full groups cast. This work is recorded as BH 513h.

£3,000,000-5,000,000

US$4,100,000-6,700,000

€3,500,000-5,700,000

PROVENANCE:

The artist's estate.

Purchased at the 1975 exhibition, and by descent to the present owner.

EXHIBITED:

New York, Gimpel Gallery, Barbara Hepworth, MarchApril 1971, no. 26, another cast exhibited.

Austin, University of Texas Art Museum, Archer M. Huntington Gallery, Barbara Hepworth, September 1971, no. 14, another cast exhibited.

London, Marlborough Fine Art, Barbara Hepworth: The Family of Man - Nine Bronzes and Recent Carvings, April - May 1972, pp. 16-17, 32-33, 64, no. 8, another cast illustrated.

Toronto, Marlborough Godard, Barbara Hepworth: Carvings and Bronzes, May 1973, no. 6, another cast exhibited.

New York, Marlborough Gallery, Twentieth Century Monumental Sculpture, October - November 1974, no. 6, another cast exhibited.

Zürich, Marlborough Galerie, Barbara Hepworth, AugustOctober 1975, pp. 11, 34-35, no. 14, illustrated.

Edinburgh, Edinburgh International Festival, Royal Botanic Garden, Barbara Hepworth Late Works, August - September 1976, pp. 20,23, 32-33, no. 11H, another cast illustrated and group illustrated. West Bretton, Arts Council of Great Britain, Yorkshire Sculpture Park, Barbara Hepworth, July - October 1980,

pp. 2, 13, 30-31, no. 26h, another cast illustrated and group illustrated as a frontispiece.

Mountainville, New York State, Storm King Art Center, Barbara Hepworth, June - October 1982, exhibition not numbered, another cast exhibited.

LITERATURE:

A. Bowness (ed.), Barbara Hepworth: A Pictorial Autobiography, London, 1985, p. 131, no. 349, group illustrated.

A.M. Hammacher, Barbara Hepworth, London, 1987, pp. 198-199, 203, fig. 178, group illustrated.

M. Gale and C. Stephens, Barbara Hepworth: Works in the Tate Collection and the Barbara Hepworth Museum St Ives, London, 1999, pp. 14, 127, 144, 246, 266, 269, 273, fig. 7, group referenced, illustrated.

S. Bowness (ed.), Barbara Hepworth, The Plasters, The Gift to Wakefield, Farnham, 2011, pp. 43-45, 63, pls. 32-34, plaster illustrated.

S. Bowness (ed.), Barbara Hepworth, Writings and Conversations, London, 2015, pp. 226, 243, 246, 248-250, 257, 264, 283, 287, 294, fig. 65, group referenced, another cast illustrated.

S. Bowness, Barbara Hepworth: The Sculptor in the Studio, London, 2017, pp. 66-67, 70, 109, 118, 124, 143, figs. 68-70, 122, plaster and group illustrated.

A. Hickey (intro.), exhibition catalogue, Barbara Hepworth: A Matter of Form, New York, Pace Gallery, 2018, pp. 8-9, 12, 14-15, fig. 4, group illustrated.

We are very grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work.

Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s sculpture.

For the full cataloguing, please visit christies.com

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

December 1942 - April 1944 (abstract painting)

signed and dated twice 'Ben/Nicholson/1942/-44' and inscribed with extensive colour notes (on the canvas overlap) oil on canvas stretched over board 46 x 72 in. (116.8 x 181.9 cm.)

Painted in 1942-44.

£800,000-1,200,000

US$1,100,000-1,600,000

€920,000-1,400,000

PROVENANCE:

Ashley Havinden, 1945.

Acquired from the above by James Kirkman and Lewis Kaplin in 1973. with Waddington Galleries, London, where purchased by Thomas G. Newman in 1978. Foundation Capa, 1981.

Anonymous sale; Sotheby's, New York, 14 November 1984, lot 73, where purchased by the present owner.

EXHIBITED:

London, Lefevre Gallery, Ben Nicholson: Paintings and Reliefs 1939-1945, October 1945, no. 36. London, Waddington and Tooth Galleries, 1976, catalogue not traced.

Buffalo, New York, Albright-Knox Art Gallery, Ben Nicholson: Fifty Years of His Art, October - November 1978, p. 80, no. 36, illustrated: this exhibition travelled to Washington D.C., Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, December 1978 - February 1979; and New York, The Brooklyn Museum, March - May 1979.

We are very grateful to Rachel Smith and Lee Beard for their assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF DR OSCAR AND ROSE NORWICH

DAME BARBARA HEPWORTH (1903-1975)

Vertical Wood Form

lignum vitae, on a slate base, unique 19 in. (48.3 cm.) high, excluding base Carved in 1968.

This work is recorded as BH 464.

£1,500,000-2,500,000

US$2,100,000-3,400,000

€1,800,000-2,900,000

PROVENANCE: with Gimpel Fils, London, where purchased by Dr Oscar and Rose Norwich in November 1970.

EXHIBITED:

New York, Gimpel Gallery, Barbara Hepworth, April - May 1969, n.p., no. 16, illustrated.

LITERATURE:

M. Gale and C. Stephens, Barbara Hepworth: Works in the Tate Gallery Collection and the Barbara Hepworth Museum St Ives, London, 1999, p. 243.

A. Bowness (ed.), The Complete Sculpture of Barbara Hepworth 1960-69, London, 1971, p. 45, no. 464, pl. 178.

We are very grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work. Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s sculpture.

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

A Footbridge

signed and dated 'L.S. LOWRY 1938.' (lower left) oil on canvas

21 x 17 in. (53.3 x 43.2 cm.)

Painted in 1938.

£400,000-600,000

US$540,000-810,000

€460,000-690,000

PROVENANCE:

Acquired directly from the artist by Sir Barnet Stross, Stoke-on-Trent, in 1938, and by descent. Their sale; Sotheby's, London, 1 December 1999, lot 42, where purchased by the previous owner. Their sale; Christie's, London, 16 November 2007, lot 116, where purchased by the present owner.

LITERATURE:

T.G. Rosenthal, L.S. Lowry: The Art and the Artist, Norwich, 2010, p. 120, illustrated.

R. Mayson, Lowry's Lamps, London, 2020, pp. 84-85, fig. 59.

The present work has been requested for an exhibition of L.S. Lowry at MK Gallery, Milton Keynes, October 2026February 2027.

Please see lot 166 in the Modern British and Irish Art Day sale on 23 October 2025 for a drawing of the same subject.

TWO IMPORTANT LYNN CHADWICK SCULPTURES FROM THE COLLECTION OF THE LATE DR ROBERT A. HOLTON (1944-2025)

LYNN CHADWICK, R.A. (1914-2003)

Beast Alerted I

stamped with signature, numbered and dated 'CHADWICK. 1990. C.110. 1/6' (on the right hind leg) welded stainless steel

90 x 128 x 72 in. (228.5 x 325.1 x 182.9 cm.)

Executed in 1990.

£500,000-800,000

US$680,000-1,100,000

€580,000-920,000

PROVENANCE:

with Buschlen Mowatt Fine Arts, Vancouver, where purchased by Dr Robert A. Holton in April 2000, and by descent to the present owners.

EXHIBITED:

Caracas, Museo de Arte Contemporáneo Sofía Imber, Lynn Chadwick, November 1990 - February 1991, another from the edition exhibited.

Vancouver, Buschlen Mowatt Fine Arts, Lynn Chadwick: 40 Years of Sculpture, July 2000, n.p., no. 8, illustrated.

Vancouver, English Bay and Vancouver Public Library, International Sculpture Project, July - November 2000.

London, Tate Britain, Lynn Chadwick, September 2003March 2004, p. 112, pl. 8, exhibition not numbered, another from the edition illustrated.

London, Canary Wharf, Osborne Samuel, Lynn Chadwick: Pyramids and Beasts: Sculpture in the Workplace, September 2004, another from the edition illustrated on the front cover.

Cambridge, Churchill College, another from the edition on long term loan, circa 2007 - 2010.

Tallahassee, Florida State University, Landis Green, on long term loan.

London, Royal Academy, Lynn Chadwick: Beasts on the Piazza, April - May 2014, another from the edition exhibited.

Norwich, Sainsbury Centre for Visual Arts, Lynn Chadwick: Beasts, May 2018 - August 2019, another from the edition exhibited.

Berlin, Haus am Waldsee, Beasts of the Times: Lynn Chadwick, Katja Strunz, Hans Uhlmann, May - August 2019, pp. 30-31, 156, another from the edition illustrated on the cover.

Duisberg, Lehmbruck Museum, Lynn Chadwick: Beasts of Time, February - September 2020, another from the edition exhibited.

LITERATURE:

N. Cameron (intro.), exhibition catalogue, Lynn Chadwick: Sculptor, Hong Kong, The Rotunda, Exchange Square, 1992, n.p., another from the edition illustrated.

E. Lucie-Smith, Chadwick, Stroud, 1997, pp. 142, 143, 151, pl. 109, another from the edition illustrated.

D. Farr and É. Chadwick, Lynn Chadwick: SculptorCatalogue Raisonné, Stroud, 1998, no. C110, another from the edition illustrated on the front cover.

M. Scott, 'Lynn Chadwick's Metal Menagerie' and 'Walking with the Beast', The Vancouver Sun, 22 July 2000, p. 16, illustrated.

S. Chadwick, Lynn Chadwick: The Sculptures at Lypiatt Park, London, 2014, pp. 31, 92, no. 31, another from the edition illustrated.

D. Farr and É. Chadwick, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, pp. 402-403, no. C110, another from the edition illustrated.

M. Bird, Lynn Chadwick, Farnham, 2014, pp. 11-12, 166, 169, pl. 0-4, another from the edition illustrated.

We are very grateful to Sarah Chadwick for her assistance in cataloguing this lot.

TWO IMPORTANT LYNN CHADWICK SCULPTURES FROM THE COLLECTION OF THE LATE DR ROBERT A. HOLTON (1944-2025)

LEARN MORE

LYNN CHADWICK, R.A. (1914-2003)

Conjunction XII

signed, numbered and dated 'CHADWICK/539 2/4 1967' (on the back) bronze with a dark grey patina 80 in. (203.1 cm.) high

Conceived in 1967 and cast in 1989 by Morris Singer Foundry, London.

£250,000-350,000

US$340,000-470,000

€290,000-400,000

PROVENANCE:

with Buschlen Mowatt Fine Arts, Vancouver, where purchased by Dr Robert A. Holton in March 2001, and by descent to the present owners.

EXHIBITED:

Toyama, Museum of Modern Art, Lynn Chadwick, AprilMay 1991, another cast illustrated: this exhibition travelled to Saitama, Museum of Modern Art, June - July 1991; Hakone, Open Air Museum, August - September 1991; and Kyoto, Museum of Kyoto, September - October 1991. Hong Kong, The Rotunda, Exchange Square, Lynn Chadwick: Sculptor, January - February 1992, n.p., no. 6, illustrated.

LITERATURE:

S. Chadwick, Lynn Chadwick: The Sculptures at Lypiatt Park, London, 2014, pp. 22, 92, no. 22, another cast illustrated.

D. Farr and É. Chadwick, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 252, no. 539, another cast illustrated.

We are very grateful to Sarah Chadwick for her assistance in cataloguing this lot.

PROPERTY FROM AN AMERICAN

WILLIAM SCOTT, R.A. (1913-1989)

Blue and White

signed 'W. SCOTT' (lower right) oil on canvas

40 x 50 in. (101.6 x 127 cm.) Painted in 1958.

£300,000-500,000

US$410,000-670,000

€350,000-570,000

PROVENANCE:

with Martha Jackson Gallery, New York, January 1963. with Offer Waterman, London, October 2001. with Richard Green, London. Anonymous sale; Sotheby's, London, 19 November 2013, lot 93.

with Richard Green, London, where purchased by the present owner in January 2015.

EXHIBITED:

New York, Martha Jackson Gallery, William Scott 19521962, September - October 1962, exhibition not numbered, illustrated, as 'Blue and White Painting'.

New York, Martha Jackson Gallery, A Survey of Gallery Exhibitions, 1964.

Buffalo, Anderson Gallery, William Scott: Memorial Exhibition, September - October 1992, no.16.

LITERATURE:

A. Bowness (ed.), William Scott: Paintings, London, 1964, n.p., no. 92, illustrated.

P. Holmes, 'Report Card: William Scott RA', Art Review, 2002, p. 28, illustrated. Exhibition catalogue, Modern British Art, London, Offer Waterman, 2002, pp. 21-22, exhibition not numbered, illustrated.

S. Whitfield (ed.), William Scott: Catalogue Raisonné of the Oil Paintings 1952-1959, Vol. 2, London, 2013, p. 238, no. 362, illustrated.

We are very grateful to The William Scott Foundation for their assistance in cataloguing this lot.

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Going to the Match

signed and dated 'L.S. Lowry 1928.' (lower left) oil on canvas

17¿ x 21¿ in. (43.4 x 53.5 cm.)

Painted in 1928.

£2,000,000-3,000,000

US$2,700,000-4,000,000

€2,300,000-3,400,000

PROVENANCE:

Private collection, UK, from whom acquired by Crane Kalman Gallery, London, in 1970.

Acquired from the above by the previous owner in May 1972.

Their sale; Sotheby’s, London, 29 June 2021, lot 13, where purchased by the present owner.

EXHIBITED:

Dublin, Royal Hibernian Academy, Metropolitan School of Art, 100th Anniversary Exhibition, 1929, no. 108, as ‘Hurrying to the Match’.

Paris, Société des Artistes Français, Exposition Annuelle des Beaux-Arts: Salon de 1930, 1930, p. 68, no. 1382.

London, Crane Kalman Gallery, A Tribute to L.S. Lowry, November 1966 - January 1967, n.p., no. 1, pl. V.

LITERATURE:

M. Levy, The Paintings of L.S. Lowry: Oil and Watercolours, London, 1975, n.p., no. 122, illustrated.

B. Crespon-Halotier, Les Peintres Britanniques dans les Salons Parisiens des Origines à 1939, Dijon, 2003, p. 344.

LAURENCE STEPHEN LOWRY, R.A.

(1887-1976)

Bourton-on-the-Water

signed and dated 'L.S. LOWRY 1947' (lower left) oil on canvas

18 x 24 in. (45.7 x 61 cm.) Painted in 1947.

£400,000-600,000

US$540,000-810,000

€460,000-690,000

PROVENANCE: with Lefevre Gallery, London. Anonymous sale; Christie’s, London, 9 March 1990, lot 283A. with Richard Green, London. Lord Harris of Peckham.

Acquired by the present owner in June 2015.

EXHIBITED:

Salford, The Lowry, on long term loan, 2022-2025.

LITERATURE:

T.G. Rosenthal, L.S. Lowry: The Art and the Artist, Norwich, 2010, pp. 295, 298-299, illustrated.

The Lowry, Salford has asked if the buyer would consider continuing to loan the present work to the museum where it has been on long-term loan.

PROPERTY FROM THE COLLECTION OF MARY AND BENJAMIN RUMMERFIELD

SIR WINSTON SPENCER CHURCHILL, O.M., R.A.

(1874-1965)

By Lake Lugano

signed with initials 'WSC' (lower right) oil on canvas

22 x 28 in. (55.8 x 71.1 cm.) Painted in 1945.

£350,000-550,000

US$480,000-740,000

€410,000-630,000

PROVENANCE:

The artist, and by descent to Lady Sarah Audley. Purchased by Mary and Benjamin Rummerfield at the 1982 exhibition, and by descent.

EXHIBITED:

London, Wylma Wayne Fine Art, Sir Winston Churchill, June - July 1982, n.p., no. 50, illustrated.

LITERATURE:

'The Paintings of Winston Churchill', LIFE, 7 January 1946, n.p., illustrated.

W.S. Churchill, Painting as a Pastime, London, 1948, n.p., pl. 17.

D. Coombs, Churchill: His Paintings, London, 1967, p. 234, no. 413, illustrated.

D. Coombs and M. Churchill, Sir Winston Churchill: His Life and His Paintings, Lyme Regis, 2011, pp. 188, 255, no. C413, fig. 380.

SIR STANLEY SPENCER, R.A. (1891-1959)

The Meeting

oil on canvas

27¿ x 24 in. (68.9 x 61 cm.)

Painted in 1933.

£1,200,000-1,800,000

US$1,700,000-2,400,000

€1,400,000-2,100,000

PROVENANCE:

Sir Edward Beddington-Behrens, 1934. His sale; Sotheby's, London, 14 December 1960, lot 181c, where purchased by Arthur Tooth & Sons, London.

Sir John (Jacko) and Lady MacLeod, 1961. Their sale; Sotheby's, London, 19 July 1967, lot 173, where purchased by Ian Hollick.

Dr and Mrs Albert D. Taliano, 1976. with Ivor Braka, London, where purchased by the present owners in September 2001.

EXHIBITED:

London, Royal Academy, 1934, no. 415.

London, Arthur Tooth & Sons, British Painting 1900-1950, October - November 1967, n.p., no. 2, illustrated.

London, Arthur Tooth & Sons, Recent Acquisitions of XXth Century British Painting, October - November 1973, n.p., no. 12, illustrated.

London, Royal Academy, Stanley Spencer RA, SeptemberDecember 1980, p. 126, no. 141, illustrated.

Toronto, Macmillan & Perrin Gallery, Stanley Spencer RA: Paintings and Drawings, October - November 1981, no. 2.

LITERATURE:

Royal Academy Illustrated, London, 1934, p. 90, illustrated.

M. Collis, Stanley Spencer: A Biography, London, 1962, pp. 100, 113, illustrated.

L. Collis, Private View of Stanley Spencer, London, 1972, pp. 56, 59.

Apollo, November 1973, p. 205, illustrated. Burlington Magazine, June 1974, pl. LIV.

D. Robinson, Stanley Spencer, Oxford, 1990, pp. 55-56, 60-61, pl. 45.

K. Pople, Stanley Spencer: A Biography, London, 1991, pp. 334-336, illustrated.

K. Bell, Stanley Spencer: A Complete Catalogue of the Paintings, London, 1992, pp. 105, 426, no. 145, illustrated.

PROPERTY FROM THE ESTATE OF LUCIAN FREUD

LUCIAN FREUD, O.M., C.H. (1922-2011)

Head of a Woman

oil and charcoal on canvas

9Ω x 6º in. (24.8 x 15.9 cm.)

Painted circa 1996-97.

£150,000-200,000

US$210,000-270,000

€180,000-230,000

PROVENANCE:

The artist, and by descent.

EXHIBITED:

London, Maximillian William, The Soul as Sphere, MarchApril 2022, no catalogue.

LITERATURE:

C. Lampert and T. Treves, Lucian Freud: Catalogue Raisonné of the Oil Paintings, Vol. 4, London, 2025, p. 137, no. 399, illustrated.

We are very grateful to Catherine Lampert and Toby Treves for their assistance in cataloguing this lot.

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

PROPERTY FROM AN AMERICAN ESTATE

EUAN UGLOW (1932-2000)

Nude with Lake Lugano

oil on canvas

35 x 55 in. (88.9 x 139.7 cm.)

Painted in 1976.

£200,000-300,000

US$270,000-400,000

€230,000-340,000

PROVENANCE: with Browse & Darby, London. Mr and Mrs J. Huntingford, London. with Browse & Darby, London, where purchased by the present owner in 1997.

EXHIBITED:

London, Browse & Darby, Euan Uglow: Recent Paintings and Drawings, October - December 1977, n.p., no. 9, illustrated.

London, Whitechapel Art Gallery, Euan Uglow, July - September 1989, p. 62, exhibition not numbered, illustrated.

New York, Salander O'Reilly, Euan Uglow, December 1993, n.p., no. 7, illustrated.

London, Marlborough Fine Art, Modern Masters: Paintings, Sculpture and Prints by Andrews, Auerbach, Bacon, Freud, Hepworth, Kitaj, Moore, Rego, Uglow, March 2005.

LITERATURE:

Art International, Vol. XXI, December 1977, pp. 60-61, no. 6.

V. Willing, 'Opaque Perception: The Paintings of Euan Uglow', Art Monthly, December 1977 - January 1978, pp. 15-16, illustrated.

K. Wilkin, 'An Endless Now: The Art of Euan Uglow', New Creation, February 1994, pp. 27-30, no. 6.

W. Darby (intro.), Euan Uglow, London, 1998, n.p., illustrated.

C. Lampert, Euan Uglow: The Complete Paintings, New Haven and London, 2007, p. 131, no. 281, illustrated.

We are very grateful to Catherine Lampert for her assistance in cataloguing this lot.

PROPERTY FROM THE COLLECTION OF A EUROPEAN ARTIST

ALLEN JONES, R.A. (B. 1937)

Tree

signed, inscribed and dated ''TREE' Allen Jones/64' (on the canvas overlap) oil on canvas

84 x 72 in. (213.4 x 182.8 cm.)

Painted in 1964.

£200,000-300,000

US$270,000-400,000

€230,000-340,000

PROVENANCE:

Purchased by the present owner at the 1964 exhibition.

EXHIBITED:

London, Whitechapel Art Gallery, The New Generation: 1964, March - May 1964, p. 62, no. 27, illustrated.

We are very grateful to Allen Jones for his assistance in cataloguing this lot.

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

PROPERTY FROM AN IMPORTANT WEST COAST COLLECTION

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Man in an Expensive Coat

signed, inscribed and dated 'MAN IN AN EXPENSIVE COAT/David Hockney./62.' (on the stretcher) oil on canvas

24 x 12 in. (61 x 30.5 cm.)

Painted in 1962.

£200,000-300,000

US$270,000-400,000

€230,000-340,000

PROVENANCE:

John Pearson, London, by 1970. with Lefevre Gallery, London, where purchased by the present owners in January 1995.

EXHIBITED:

London, Whitechapel Art Gallery, David Hockney: Paintings, Prints and Drawings 1960-1970, April - May 1970, no. 63.16, as 'Man in a Rich Coat': this exhibition travelled to Hanover, Kestner-Gesellschaft, May - June; Rotterdam, Museum Boymans-van Beuningen, July - August; and Belgrade, Muzej Savremene Umetnosti, September - October.

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

BRIDGET

RILEY, C.H.

(B. 1931) Intervals 9

signed and dated 'Riley '19' (on the turnover edge), signed again, inscribed and dated again 'INTERVALS 9 Riley 2019.' (on the canvas overlap), signed, inscribed and dated again 'INTERVALS 9. Riley 2019.' (on the stretcher) oil on linen

91 x 66 in. (231 x 167.5 cm.)

Painted in 2019.

£500,000-700,000

US$680,000-940,000

€580,000-800,000

PROVENANCE:

Purchased at the 2020 exhibition by the late owner.

EXHIBITED:

Berlin, Galerie Max Hetzler, Bridget Riley: Paintings 1984-2020, September - October 2020, pp. 55, 62-63, 75, exhibition not numbered, illustrated.

We are very grateful to Philip Clark, Bridget Riley Studios, for his assistance in cataloguing this lot.

Joie de Vivre

Works from the Collection of Vivian Fusillo

λ*22

LEARN MORE

DAME BARBARA HEPWORTH (1903-1975)

Figure (Chûn)

pink alabaster, on a wooden base, unique 12√ in. (32.8 cm.) high, excluding base Carved in 1959. This work is recorded as BH 252.

£500,000-800,000

US$680,000-1,100,000

€580,000-920,000

PROVENANCE:

with Galerie Chalette, New York, where purchased by the present owner in 1961.

EXHIBITED:

New York, Galerie Chalette, Barbara Hepworth: 30 Sculptures and Drawings, October 1959, no. 28, as 'Carving'.

Texas, Nacogdoches, Stephen F. Austin State College, An Exhibition of the Fusillo Private Collection of Contemporary Art, October - November 1964, no. 13.

LITERATURE:

J.P. Hodin, Barbara Hepworth, London, 1961, p. 170, no. 252, illustrated.

We are very grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work. Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth's sculpture.

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue.

PROPERTY FROM AN AMERICAN ESTATE

BEN NICHOLSON, O.M. (1894-1982) Le Petit Provençal

signed and dated 'Ben Nicholson 1933' (on the reverse) oil, collage and pencil on canvas 18æ x 16æ in. (47.6 x 42.6 cm.) Painted in 1933.

£250,000-350,000

US$340,000-470,000

€290,000-400,000

PROVENANCE: with Galerie d'Art Moderne, Zürich, where purchased by Dr Georg and Josi Guggenheim in February 1957. Their sale; Christie's, London, 10 February 2005, lot 528. with Richard Green, London, where purchased by the present owner.

EXHIBITED:

Perth, Art Gallery of Western Australia, British Council, Eleven Contemporary British Artists, January 1949, no. 22: this exhibition travelled to Adelaide, Art Gallery of South Australia, February; Melbourne, Royal Exhibition Building, March; Ballarat, May; Bendigo, May; Castlemaine, May; Victoria, Geelong Art Gallery, May; Hobart; Tasmanian Museum and Art Gallery, June; Launceston, Queen Victoria Art Gallery, June; and Sydney, Art Gallery of New South Wales, July.

Basel, Galeria d'Art Moderne, Collages 1912-1956, December 1956 - January 1957: this exhibition travelled to Zürich, Club Bel Etage, January - February, catalogue not traced.

Hanover, Kestner-Gesellschaft, Ben Nicholson, February - April 1959, no. 11: this exhibition travelled to Mannheim, Städtische Kunsthalle, April - May. Bern, Kunsthalle Bern, Ben Nicholson, May - July 1961, no. 27.

We are very grateful to Rachel Smith and Lee Beard for their assistance in cataloguing this lot.

PROPERTY FROM AN EAST COAST COLLECTION

SIR WINSTON SPENCER CHURCHILL, O.M., R.A. (1874-1965)

Coastal Scene in the South of France, with a Cactus oil on canvas

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

Painted circa 1925.

£300,000-500,000

US$410,000-670,000

€350,000-570,000

PROVENANCE:

The artist, and by descent. with Wylma Wayne Fine Art, London, where purchased by the present owner in November 1984.

LITERATURE:

D. Coombs, Churchill: His Paintings, London, 1967, p. 121, no. 93, illustrated.

D. Coombs and M.S. Churchill, Sir Winston Churchill: His Life and His Paintings, Lyme Regis, 2011, pp. 136, 251, no. C93, fig. 270.

P. Rafferty, Winston Churchill: Painting on the French Riviera, London, 2020, p. 185, illustrated, as 'A Cactus, Cassis'.

SIR WILLIAM NICHOLSON (1872-1949)

Scabious and a Jug

signed and dated 'Nicholson 1912.' (lower left) oil on canvas

25º x 30 in. (64.1 x 76.2 cm.)

Painted in 1912.

£250,000-350,000

US$340,000-470,000

€290,000-400,000

PROVENANCE:

Acquired directly from the artist by Weetman Pearson, 1st Viscount Cowdray, and by descent. with Dickinson Gallery, London, where purchased by the present owner in April 2004.

EXHIBITED:

Nottingham, Museum and Art Gallery, Retrospective Exhibition of Paintings by William Nicholson, March - April 1933, no. 141, illustrated.

London, Beaux Arts Gallery, Retrospective Exhibition of Paintings by William Nicholson, May - June 1933, no. 63, illustrated.

Manchester, Art Exhibitions Bureau, City Art Gallery, Works by William Nicholson, June - July 1933, no. 15.

Scarborough, Public Library, Retrospective Exhibition of Paintings by William Nicholson, August - September 1933, no. 58, illustrated.

Folkestone, Public Art Gallery, Exhibition of Paintings and Lithographs by William Nicholson, October - November 1933, no. 57.

London, Marlborough Fine Art, Sir William Nicholson, March 1967, no. 10.

LITERATURE:

L. Browse, William Nicholson, London, 1956, p. 59, no. 158. P. Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, London, 2011, p. 238, no. 272, illustrated.

We are very grateful to Patricia Reed for her assistance in cataloguing this lot.

RODERIC O'CONOR (1860-1940)

Apples and Pear

oil on panel

8 x 13º in. (20.3 x 33.6 cm.)

Painted circa 1893.

£120,000-180,000

US$170,000-240,000

€140,000-210,000

PROVENANCE: with Roland, Browse & Delbanco, London. Dr H. Mayer, 1958. with Browse & Darby, London, 1991.

Anonymous sale; Sotheby's, London, 7 May 2008, lot 135, where purchased by the present owner.

EXHIBITED:

London, Roland, Browse & Delbanco, Christmas Present Exhibition: Small Pictures by English and French Artists, November - December 1961, no. 78, as ‘Fruit Still Life, Pont Aven’.

London, Roland, Browse & Delbanco, Roderic O'Conor, Norman Adams, April - May 1964, no. 16.

Sydney, David Jones' Art Gallery, Matthew Smith, Roderic O'Conor, July 1965, no. 26.

London, Browse & Darby, Roderic O’Conor, OctoberNovember 1994, n.p., no. 5, illustrated.

Dublin, National Gallery of Ireland, Roderic O'Conor and the Moderns: Between Paris and Pont Aven, July - October 2018, pp. 15, 62, no. 32, illustrated.

LITERATURE:

J. Benington, Roderic O'Conor: A Biography, with a Catalogue of His Work, Dublin, 1992, p. 193, no. 35, pl. 16.

We are very grateful to Jonathan Benington for his assistance in cataloguing this lot.

IVON HITCHENS (1893-1979)

Balcony with Flowers

signed 'Hitchens' (lower right), signed again, indistinctly inscribed and dated 'Ivon Hitchens./Greenleaves, Lavington Common/Petworth Sussex./Balcony with Flowers/1943.' (on the artist's label attached to the stretcher) oil on canvas

42 x 20Ω in. (106.7 x 52.1 cm.)

Painted in 1943.

£100,000-150,000

US$140,000-200,000

€120,000-170,000

PROVENANCE:

with Lefevre Gallery, London. Dr Mary Capes, by 1963.

Her sale; Christie's, London, 1 March 1974, lot 203. with Waddington Galleries, London. Design Research Unit, London. with Ivor Braka, London, where purchased by the present owners in February 1988.

EXHIBITED:

Leeds, Temple Newsam, Ivon Hitchens - Henry Moore, April - June 1945, no. 24.

London, Tate Gallery, Ivon Hitchens: A Retrospective Exhibition, July - August 1963, no. 36: this exhibition travelled to Bradford, City Art Gallery, August - September; and Birmingham, City Museum and Art Gallery, September - October.

LITERATURE:

P. Heron, Ivon Hitchens, London, 1955, pl. 10.

DAME ELISABETH FRINK, R.A. (1930-1993)

Seated Man II

signed and numbered 'Frink 1/4' (on the right foot) bronze with a dark green and brown patina 51æ in. (131.5 cm.) high

Conceived and cast in 1986.

£400,000-600,000

US$540,000-810,000

€460,000-690,000

PROVENANCE:

Acquired directly from the artist by the previous owner in January 1987.

Acquired from the above by the present owner in August 2014.

EXHIBITED:

Washington, D.C., The National Museum of Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, April - July 1990, p. 51, exhibition not numbered, another cast exhibited.

Salisbury, Cathedral and Close, Elisabeth Frink: Sculptures, Graphic Works, Textiles, May - June 1997, pp. 2, 40, no. 64, another cast illustrated: this exhibition travelled to Dorset, County Museum, June - August.

LITERATURE:

E. Lucie-Smith, Elisabeth Frink: Sculpture Since 1984 and Drawings, London, 1994, pp. 62-63, 185, no. SC20, another cast illustrated.

A. Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, pp. 18-19, 173, no. FCR351, another cast illustrated.

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Industrial Landscape

signed and dated 'LS. LOWRY 1957' (lower right), inscribed 'Industrial Landscape' (on the canvas overlap)

oil on canvas

12 x 16 in. (30.5 x 45.6 cm.)

Painted in 1957.

£250,000-350,000

US$340,000-470,000

€290,000-400,000

PROVENANCE: with Lefevre Gallery, London. Anonymous sale; Sotheby’s, London, 15 July 2008, lot 9, as ‘Industrial Landscape with Figures’. with Richard Green, London.

Acquired by the present owner in July 2015.

LITERATURE:

J. Reid (prod.) and V. Best (ed.), BBC, 1957: LS Lowry at Work, originally broadcast on 17 July 1957.

LEON KOSSOFF (1926-2019)

Nude on a Red Bed, Summer

oil on board

30º x 54 in. (76.8 x 137.2 cm.)

Painted in 1969.

£350,000-550,000

US$480,000-740,000

€410,000-630,000

PROVENANCE:

Victor Waddington, 1972. with Fischer Fine Art, London, where purchased by Stuart Barovick in 1986.

with Anthony d'Offay, London, 1991.

Anonymous sale; Christie's, London, 22 April 1998, lot 45. with Gallery K, Oslo.

Anonymous sale; Sotheby's, London, 22 June 2007, lot 222. with L.A. Louver, Venice, California, where purchased by the present owner in November 2022.

EXHIBITED:

London, Whitechapel Art Gallery, Leon Kossoff: Recent Paintings, January - February 1972, p. 41, no. 34, illustrated. London, Whitechapel Art Gallery, Pictures for an Exhibition, March - May 1980, no. 23.

Oslo, British Council, Kunstnernes Hus, A School of London: Six Figurative Painters, May - June 1987, p. 84, no. 59,

illustrated: this exhibition travelled to Humlebæk, Louisiana Museum of Modern Art, June - August.

Edinburgh, British Council, Scottish National Gallery of Modern Art, From London: Bacon, Freud, Kossoff, Andrews, Auerbach, Kitaj, July - September 1995, p. 142, no. 26,

illustrated: this exhibition travelled to Luxembourg, Musée National d’Histoire et d’Art, September - November; Lausanne, Musée Cantonal des Beaux-Arts, November 1995 - January 1996; and Barcelona, Fundació Caixa de

Catalunya, La Pedrera, February - April.

London, Tate Gallery, Leon Kossoff, June - September 1996, pp. 85, 165, no. 41, illustrated, as 'Nude on a Red Bed'.

Copenhagen, Kunsthal Charlottenborg, Corner 1998, December 1997 - January 1998, exhibition not numbered, illustrated, as 'Nude on a Red Bed'.

Venice, California, L.A. Louver, Figuration: Paintings and Drawings - Tony Bevan, William Brice, Rebecca Campbell, Richard Diebenkorn, Charles Garabedian, David Hockney, R.B. Kitaj, Leon Kossoff, Alice Neel, November - December 2010, no catalogue.

Venice, California, L.A. Louver, Evolver, June - August 2018, no catalogue.

LITERATURE:

Exhibition catalogue, Summer 1994: Painting, Drawing and Sculpture, London, Anthony d’Offay Gallery, 1994, pl. 36, as ‘Nude on a Red Bed’.

R. Cork, 'Capital Deposit North of the Border', The Times, 11 July 1995.

'Remembering Leon Kossoff through His Scenes of Anxiety and Disquiet', ARTnews, 5 July 2019, illustrated, as 'Nude on a Red Bed'.

A. Rose, Leon Kossoff: Catalogue Raisonné of the Oil Paintings, London, 2021, p. 178, no. 103, illustrated.

We are very grateful to Andrea Rose for her assistance in cataloguing this lot.

DAME BARBARA HEPWORTH (1903-1975)

Torso II (Torcello)

signed with initials, dated and stamped with foundry mark 'BH 1958' (at the base) bronze with a grey black patina 35¬ in. (90.5 cm.) high

Conceived in 1958 and cast by Susse Fondeur, Paris in an edition of 6. This work is recorded as BH 234.

£150,000-250,000

US$210,000-340,000

€180,000-290,000

PROVENANCE:

with Gimpel Fils, London, where purchased by Mr and Mrs M. Bendon, by 1961. with Stone Gallery, London. with Gimpel Fils, London, where purchased in December 1982, and by descent to Marion Lynton.

Her estate sale; Sotheby's, London, 17 November 2015, lot 22, where purchased by the present owner.

EXHIBITED:

London, Gimpel Fils, Recent Works by Barbara Hepworth, June 1958, no. 10, another cast exhibited.

Leeds, City Art Gallery, Modern Sculpture, OctoberNovember 1958, no. 39, another cast exhibited.

Rome, Rome - New York Art Foundation, Moments of Vision, July - November 1959, p. 30, exhibition not numbered, another cast illustrated.

Manchester, Arts Council of Great Britain, City Art Gallery, Northern Artists, July - August 1960, no. 26, another cast exhibited: and tour.

Dortmund, Stadthaus Unterer Galerie, Malerei und Plastik aus Leeds, May - June 1961, no. 25, another cast exhibited. Cardiff, Welsh Arts Council, National Museum of Wales, Sculpture 1961, July - September 1961, no. 22, another cast exhibited: and tour.

London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952 - 1962, May - June 1962, n.p., no. 30, another cast illustrated.

London, O’Hana Gallery, International Exhibition and Sale of Contemporary Art, November 1962, no. 18, another cast exhibited.

St Ives, Penwith Society of Arts, Autumn Exhibition, 1962, exhibition not numbered, another cast exhibited.

London, John Lewis Partnership, Barbara Hepworth: Sculpture and Drawings, April 1963, no. 4, another cast exhibited.

Little Missenden, Little Missenden Festival, October 1965, another cast exhibited, no catalogue.

West Bretton, Yorkshire Sculpture Park, Barbara Hepworth, July - October 1980, p. 15, no. 5, another cast illustrated.

LITERATURE:

J.P. Hodin, Barbara Hepworth, London, 1961, p. 169, no. 234, another cast illustrated.

A. Bowness, A Guide to The Barbara Hepworth Museum, St Ives, 1976, n.p., no. 16, another cast listed.

A.M. Hammacher, Barbara Hepworth, London, 1987, pp. 130-131, 138, 210, no. 106, another cast illustrated.

R. Cork, ‘On Growth and Form’, Tate: The Art Magazine, no. 4, Winter 1994, p. 38, another cast illustrated.

S. Festing, Barbara Hepworth: A Life of Forms, London, 1995, p. 229.

M. Gale and C. Stephens, Barbara Hepworth: Works in the Tate Gallery Collection and the Barbara Hepworth Museum St Ives, London, 1999, pp. 168-171, no. 41, another cast illustrated.

M. Phillips and C. Stephens, Barbara Hepworth Sculpture Garden, London, 2002, pp. 16, 19, 26-27, another cast illustrated.

We are very grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work.

Dr Sophie Bowness is preparing the revised catalogue raisonné of Hepworth’s sculpture.

For the full cataloguing, please visit christies.com

PROPERTY FROM AN AMERICAN ESTATE

WILLIAM SCOTT, R.A. (1913-1989)

Painting

signed 'W. SCOTT' (lower right) oil on canvas

34 x 44 in. (86.3 x 111.7 cm.) Painted in 1959.

£180,000-250,000

US$250,000-340,000

€210,000-290,000

PROVENANCE:

Private collection, Europe, by whom acquired from the 1959 exhibition.

Their sale; Sotheby's, London, 17 November 2004, lot 156. with Offer Waterman, London, where purchased by the present owner.

EXHIBITED:

Zürich, Galerie Charles Leinhardt, William Scott, November - December 1959, no. 25. Hannover, Kunstverein Hannover, 124. Frühjahrausstellung, March - April 1963, no. 141.

LITERATURE:

Exhibition catalogue, Modern British Art, London, Offer Waterman, 2005, pp. 19-20, exhibition not numbered, illustrated.

S. Whitfield (ed.), William Scott: Catalogue Raisonné of Oil Paintings 1952-1959, Vol. 2, London, 2013, p. 292, no. 414, illustrated.

We are very grateful to The William Scott Foundation for their assistance in cataloguing this lot.

LYNN CHADWICK, R.A. (1914-2003)

Maquette Jubilee II

each stamped with signature, numbered and dated 'CHADWICK C3 1983 3/9' (on the edge of the cloak)

bronze with a black patina

Male: 35 x 24 x 45 in. (88.9 x 61 x 114.3 cm.)

Female: 36 x 34 x 45º in. (91.4 x 86.4 x 114.9 cm.)

Conceived in 1983 and cast in 1983 by Morris Singer Foundry, London.

£280,000-400,000

US$380,000-540,000

€330,000-460,000

PROVENANCE:

Private collection, The Netherlands. Private collection, USA, 2007. with Lillian Heidenberg Fine Art, New York, where purchased by the previous owner.

Their sale; Sotheby's, New York, 15 November 2022, lot 413, where purchased by the present owner.

EXHIBITED:

Liechtenstein, Galerie am Linenplatz, Lynn Chadwick, June - July 1991, no. 14, another cast illustrated. Montreal, Theo Waddington, Lynn Chadwick, March - April 1984, another cast exhibited.

LITERATURE:

l. Thierry, 'Lynn Chadwick', L'Oeil, Paris, 1983, p. 82, as 'Jubilee II'.

N. Koster and P. Levine, Lynn Chadwick: The Sculptor and His World, Leiden, 1988, pp. 100-101, another cast illustrated.

D. Farr and É. Chadwick, Lynn Chadwick: Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 347, no. C3, another cast illustrated.

We are very grateful to Sarah Chadwick for her assistance in cataloguing this lot.

MODERN BRITISH AND IRISH ART DAY SALE

AUCTION

Thursday, 23 October 2025, 1pm BST

8 King Street, St. James’s London SW1Y 6QT

VIEWING

Saturday 18 October 12.00 pm - 5.00 pm

Sunday 19 October 12.00 pm - 5.00 pm

Monday 20 October 9.00 am - 8.00 pm

Tuesday 21 October 9.00 am - 5.00 pm

Wednesday 22 October 9.00 am - 3.00 pm

AUCTIONEERS

Hugh Creasy, Sarah Reynolds and Clementine Sinclair

BUYER’S PREMIUM

In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol.

Check Section D of the Conditions of Sale at the back of this catalogue.

PAGE 77

Lot 104 (detail)

PAGE 78

Lot 140 (detail)

OPPOSITE

Lot 145 (detail)

HEAD OF SALE

Pippa Jacomb +44 (0)20 7389 2293 pjacomb@christies.com

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as ROMY-23770

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870

Principal Auctioneer: Adrien Meyer

POST SALE SERVICES

Payment, Shipping and Collection

Tel: +44 (0)20 7752 3200

Fax: +44 (0)20 7752 3300

Email: PostSaleUK@christies.com

CONDITIONS OF SALE

The sale of each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out in this catalogue and on christies.com.

Please note that the symbols and cataloguing for some lots may change before the auction.

For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com.

DAVID ROBERTS (B. 1947)

Black vessel

impressed with the artist's seal (on the underside) raku fired stoneware

18Ω in. (47 cm.) diameter

£1,000-1,500

US$1,400-2,000

€1,200-1,700

SELLING WITHOUT RESERVE LEARN MORE

PROPERTY OF A PRIVATE LONDON COLLECTOR

DAME LUCIE RIE (1902-1995)

Vase with flared lip impressed with artist's seal (on the underside) porcelain, dark brown and manganese glazes, with sgraffito 9Ω in. (24.1 cm.) high

£12,000-18,000

US$17,000-24,000

€14,000-21,000

ALAN REYNOLDS (1926-2014)

Sheet of Drawings

signed and dated 'Reynolds. 55.' (lower right), inscribed and dated again '''Sheet of drawings. 1955''' (lower left), dedicated 'For Robert and Lillian with/love from Alan. 1955' (upper left) ink, watercolour and gouache on paper

26 x 15Ω in. (66 x 39.3 cm.)

Executed in 1955.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

FROM THE COLLECTION OF THE LATE DR CATHERINE WILLS

EDWARD BURRA (1905-1976)

May Blossom

stamped 'EJ Burra' (lower right)

watercolour on paper

30 x 53 in. (76.2 x 134.6 cm.)

Executed in 1957-59.

£60,000-80,000

US$81,000-110,000

€69,000-92,000

JOHN TUNNARD, A.R.A. (1900-1971)

Composition: Aerial Forms

signed with initials 'J.T.' (lower right) ink, chalk, watercolour and gouache on paper

18Ω x 13Ω in. (47 x 34.3 cm.)

Executed in 1938.

£6,000-8,000

US$8,100-11,000

€6,900-9,200

FROM THE COLLECTION OF THE LATE DR CATHERINE WILLS

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

Study for Cliff Road

pencil, ink, watercolour, and coloured chalk on paper

10 x 7Ω in. (25.4 x 19 cm.)

Executed circa 1939-41.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

FROM THE COLLECTION OF THE LATE DR CATHERINE WILLS λ107

EDWARD BURRA (1905-1976)

Head Hunting

stamped 'E.J. Burra' (lower right), dated '1968' (lower right) watercolour and gouache on paper 27 x 40Ω in. (69 x 103 cm.)

Executed in 1968.

£25,000-35,000

US$34,000-47,000

€29,000-40,000

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

Woman in Garden

signed and dated 'Sutherland 1945' (upper left), signed again, inscribed and dated again 'Woman in garden/1945/Sutherland' (on the backboard)

pencil, ink, coloured chalk and gouache on paper

20º x 14Ω in. (51.4 x 37 cm.)

Executed in 1945.

£6,000-8,000

US$8,100-11,000

€6,900-9,200

SIR SIDNEY ROBERT NOLAN, O.M., R.A. (1917-1992)

Central Australia

signed and dated 'Nolan/69' (lower right), signed again, inscribed and dated again 'Central Australia/ Nolan/2 Dec 69' (on the reverse), signed again, inscribed again and dated again 'Central Australia/1968/ Nolan' (on the backboard) oil on paper

20 x 29Ω in. (50.8 x 74.9 cm.)

Painted in 1968-69.

£3,000-5,000

US$4,100-6,700

€3,500-5,700

EMILY YOUNG (B. 1951)

Angel, Winged Figure

purbeck marble, unique 25º in. (64.2 cm.) wide

Carved in 1998.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

111

TIRZAH GARWOOD (1908-1951)

Jenny Unaware

signed and dated 'TIRZAH GARWOOD./1950' (lower left), inscribed 'JENNY UNAWARE' (on the stretcher) oil on canvas

14 x 10 in. (45.5 x 25.4 cm.)

Painted in 1950.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

PROPERTY FROM AN AMERICAN ESTATE

*112

EUAN UGLOW (1932-2000)

Still Life with Rose and Pitcher oil on canvas

20 x 16 in. (50.8 x 40.6 cm.)

Painted circa 1957.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

PROPERTY OF THE ARTIST

REBECCA JOHN (B. 1947) Pineapple 'Queenie'

signed with initials and dated 'RJ. '94' (lower right), signed again, inscribed and dated again 'Rebecca John/Pineapple 'Queenie'/Chelsea Physic Garden/1994' (on the reverse)

watercolour and pencil on paper

11Ω x 7¬ in. (29.2 x 19.3 cm.)

Executed in 1994.

£1,200-1,800

US$1,700-2,400

€1,400-2,100

PROPERTY OF THE ARTIST

REBECCA JOHN (B. 1947)

'Lunario' Lemon

signed with initials, inscribed and dated ''Lunario'/RJ Oct 2021' (lower right), signed again, inscribed again and dated again ''Lunario' Lemon/10-12 October 2021/Rebecca John.' (on the artist's label attached to the reverse) watercolour and pencil on paper

7 x 10¿ in. (17.8 x 25.7 cm.)

Executed in 2021.

£1,200-1,800

US$1,700-2,400

€1,400-2,100

CELIA PAUL (B. 1959)

Kate by the Window oil on canvas

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

Painted circa 1987-88.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

ALISON WATT (B. 1965)

The Source

signed 'WATT.' (lower right), inscribed and dated ''THE SOURCE' '88-'89' (on the stretcher) oil on canvas

60 x 36 in. (152.4 x 91.4 cm.)

Painted in 1988-89.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

PROPERTY OF A PRIVATE LONDON COLLECTOR

MAGGI HAMBLING (B. 1945)

Mourning

each signed and dated 'HAMBLING/2020' (on the reverse) oil on canvas, diptych 21 x 34º in. (53.3 x 87 cm.) overall Painted in 2020.

£6,000-8,000

US$8,100-11,000

€6,900-9,200

PROPERTY FROM THE ESTATE OF LUCIAN FREUD

LUCIAN FREUD, O.M., C.H. (1922-2011)

Head and shoulders of a girl

inscribed 'HV' (upper left)

charcoal and coloured chalk on paper

9¿ x 13√ in. (23.2 x 35.2 cm.)

Executed in 1981.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

WILLIAM TURNBULL (1922-2012)

Figure Walking

signed and dated 'Turnbull 53' (upper left) pastel on paper

29æ x 19¡ in. (74.9 x 49.2 cm.) Executed in 1953.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

SELLING WITHOUT RESERVE

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

Head

signed, numbered, dated and stamped with foundry mark 'A/C E. PAOLOZZI/1994' (on the reverse) bronze with a dark brown patina 12Ω in. (31.8 cm.) high

Conceived in 1994 and cast by Livingstone Art Founders, London.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

STUART SUTCLIFFE (1940-1962)

Untitled, No. 39 oil on paper

24 x 17Ω in. (61 x 44.4 cm.)

Painted in Hamburg in 1962.

£2,000-3,000

US$2,700-4,000

€2,300-3,400

SELLING WITHOUT RESERVE

FRANK AUERBACH (1931-2024)

Two Studies for Mornington Crescent looking South pencil and felt-tip on paper each 8º x 9 in. (20.9 x 22.8 cm.)

Executed in 1997. (2)

£5,000-8,000

US$6,800-11,000

€5,800-9,200

SELLING WITHOUT RESERVE

R.B. KITAJ, R.A. (1932-2007) Germania (Vienna)

signed, inscribed and dated 'Germania (Vienna) Kitaj 1987' (on the canvas overlap) oil on canvas

47º x 60 in. (120 x 152.4 cm.)

Painted in 1987.

£50,000-80,000

US$68,000-110,000

€58,000-92,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*124

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Self Portrait, Weekend of March 3, 2001

signed with initials and dated 'DH 01' (lower right)

charcoal on paper

30 x 22Ω in. (76.2 x 57.1 cm.)

Executed in 2001.

£60,000-80,000

US$81,000-110,000

€69,000-92,000

FRANCISZKA THEMERSON (1907-1988)

Knock as you please, there's nobody at home signed 'Themerson' (upper right) oil on canvas

40 x 30 in. (101.6 x 76.2 cm.) Painted in 1956.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

PROPERTY FROM A PRIVATE AMERICAN COLLECTOR

WILLIAM TURNBULL (1922-2012)

Acrobat

signed with monogram, numbered and dated '1/4 /51' (on the side of the left foot)

bronze with a dark brown patina, on a wooden base 44¿ in. (112 cm.) high, excluding base

Conceived in 1951.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

WORKS FROM THE SILVIE FLEMING COLLECTION

KEITH COVENTRY (B. 1958)

Nude

signed, inscribed and dated 'K. COVENTRY 2005 "NUDE"' (on the stretcher) oil on canvas

40 x 51æ in. (101.6 x 131.4 cm.)

Painted in 2005.

£5,000-7,000

US$6,800-9,400

€5,800-8,000

ALLEN JONES, R.A. (B. 1937)

Quickstep

signed and dated 'Allen Jones 97' (lower right)

watercolour and pencil on paper

59æ x 40 in. (152 x 101.6 cm.)

Executed in 1997.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

SIR ANTONY GORMLEY, R.A. (B. 1950)

Two Seeds

lead and stone, unique

9º in. (23.5 cm.) wide; 5Ω in. (14 cm.) wide

Conceived in 1978-79.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

PROPERTY FROM THE FAMILY OF BRYAN WYNTER

BRYAN WYNTER (1915-1975)

The Interior

signed and inscribed 'BRYAN WYNTER/''THE INTERIOR''' (on the reverse), signed again and inscribed again 'WYNTER. ZENNOR. CORNWALL.' (on the stretcher) oil on canvas

50 x 40 in. (127 x 101.6 cm.)

Painted in 1956.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

PROPERTY

ALFRED WALLIS (1855-1942)

Mount's Bay

oil on board, shaped 13¬ x 20√ in. (34.6 x 53 cm.)

£60,000-80,000

US$81,000-110,000

€69,000-92,000

ROGER HILTON (1911-1975)

Boat on Shore

oil on canvas

30 x 36 in. (76.2 x 91.5 cm.)

Painted circa 1972.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION λ*133

SIR TERRY FROST, R.A. (1915-2003)

Brown White Yellow Movement

signed, inscribed and dated 'Brown/white/Yellow/Movement/Terry Frost/53' (on the reverse) oil on canvas

30 x 14 in. (76.2 x 35.5 cm.)

Painted in 1953.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

WILLIAM TURNBULL (1922-2012)

Paddle Venus 2

signed with monogram, numbered, dated and stamped with foundry mark '2/4 /86' (on the base) bronze with a dark brown patina 78 in. (189.1 cm.) high

Conceived in 1986 and cast by Morris Singer Foundry, London.

£100,000-150,000

US$140,000-200,000

€120,000-170,000

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

Feb 21, 1947 (painting)

signed and dated 'Ben Nicholson/1947/Feb 21' (on the reverse), signed again and inscribed 'NICHOLSON/CHY AN KERRIS/CARBIS BAY/CORNWALL' (on the reverse) oil and pencil on board, on the artist's prepared panel 11Ω x 12Ω in. (29.2 x 31.6 cm.)

Painted in 1947.

£80,000-120,000

US$110,000-160,000

€92,000-140,000

PROPERTY FROM A PRIVATE BRITISH COLLECTION

λ136

DAME BARBARA HEPWORTH (1903-1975)

Stone Form (Tresco)

signed and dated ‘Barbara Hepworth 1961’ (lower left), signed again, inscribed and dated again ‘Barbara Hepworth/Stone form (Tresco) 1961’ (on the backboard)

oil and pencil on gesso-prepared board

12√ x 21√ in. (32.6 x 55.6 cm.)

Painted in 1961.

This work is recorded as D 452.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

λ137

PATRICK HERON (1920-1999)

COBALT WITH RED AND YELLOW : AUGUST 1976 (VARIATION)

signed, inscribed and dated 'PATRICK HERON/COBALT WITH RED/AND YELLOW : AUGUST/1976 (VARIATION)' (on the backboard)

gouache on paper

23º x 30¬ in. (59 x 77.8 cm.)

Executed in 1976.

£25,000-35,000

US$34,000-47,000

€29,000-40,000

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

λ*138

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

1945 (three circles)

signed and dated 'Ben Nicholson/1945' (on the reverse)

oil and pencil on board, relief, on the artist's prepared board

8 x 11¿ in. (20.3 x 28.2 cm.)

Painted in 1945.

£60,000-80,000

US$81,000-110,000

€69,000-92,000

LEARN MORE

DAME LUCIE RIE (1902-1995)

Bottle with flared lip

impressed with artist's seal (on the underside) stoneware, with pink and lilac volcanic glazes 12 in. (30.5 cm.) high

Executed in 1988.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

140

CLAUDE FLIGHT (1881-1955)

Sea-beach and Rocks

signed 'CLAUDE FLIGHT' (lower left)

oil on board

13 x 16º in. (33 x 41.2 cm.)

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY FROM THE COLLECTION OF THE LATE SIMON AND PAMELA MAJARO

JANKEL ADLER (1895-1949)

Still life

signed 'Adler' (lower right) oil on canvas

14º x 22æ in. (36.2 x 57.8 cm.)

£12,000-18,000

US$17,000-24,000

€14,000-21,000

MARTIN BRADLEY (1931-2023)

A Portrait of an Aunt signed and dated 'Martin Bradley 1956' (upper left), signed again, inscribed and dated again 'A portrait of/an aunt./Martin Bradley 1956' (on the reverse) oil on panel

25 x 17 in. (63.5 x 43.2 cm.)

Painted in 1956.

£1,000-1,500

US$1,400-2,000

€1,200-1,700

SELLING WITHOUT RESERVE

Joie de Vivre

Works from the Collection of Vivian Fusillo

MICHAEL AYRTON (1921-1975)

Laocoön Maze Figure II

numbered '9/9' (at the back of the figure)

bronze with a brown patina, on a wooden base

8 in. (20.3 cm.) long, excluding base

Conceived in 1972.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

SELLING WITHOUT RESERVE LEARN

144

JOHN MINTON (1917-1957)

The Bullfighter

signed and dated 'Minton/April 1941' (centre), signed again and inscribed 'JOHN MINTON/THE BULLFIGHTER.' (on the reverse)

ink and gouache on card

19º x 24¿ in. (48.9 x 61.3 cm.)

Executed in 1941.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

KEITH VAUGHAN (1912-1977)

Theseus II: Study for 'Discovery' (Festival of Britain)

oil on board

11Ω x 50º in. (29.2 x 127.6 cm.)

Painted in 1951.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

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

Two Forms in a Terraced Landscape

signed and dated 'G. Sutherland 1951' (upper left) oil and charcoal on canvas

20 x 36 in. (50.8 x 91.4 cm.)

Painted in 1951.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

λ147

JULIAN TREVELYAN, R.A. (1910-1988)

Pont Neuf, Paris

signed and dated 'Trevelyan 48' (lower right) oil on canvas

25Ω x 32 in. (64.8 x 81.3 cm.)

Painted in 1948.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

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

The Balcony, Bedford Square, Brighton signed with initials 'Rd. St' (lower left) oil on board

8Ω x 10¬ in. (21.5 x 27 cm.) Painted in 1915.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

PROPERTY FROM THE COLLECTION OF MARY AND BENJAMIN

SIR WINSTON SPENCER CHURCHILL, O.M., R.A. (1874-1965)

Recco, Italy

oil on canvas-board

14 x 20 in. (35.6 x 50.8 cm.)

Painted in 1945.

There is a portrait on the reverse by the same artist, which is recorded as C535.

£120,000-180,000

US$170,000-240,000

€140,000-210,000

SIR

JOHN LAVERY, R.A., R.S.A., R.H.A. (1856-1941)

Schooling the Pony

signed 'J. Lavery' (lower right) oil on canvas

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

Painted in 1928-29.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

λ151

HENRY MOORE, O.M., C.H. (1898-1986)

Head of Sheep

signed 'Moore.' (lower right) pencil on paper

7Ω x 11º in. (19 x 28.5 cm.) Executed in 1975.

£8,000-12,000

US$11,000-16,000

€9,200-14,000

Horse at Water

bronze with a dark green patina, on a wooden plinth

86Ω in. (219.7 cm.) high, including plinth

Conceived in 2003 and cast in an edition of 9.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

PROPERTY

DAVID BOMBERG (1890-1957)

El Barrio San Francisco, Ronda with inscription by Lilian Bomberg '''El Barrio, Ronda, Andalusia'' by David Bomberg' (on the reverse) oil on board

24√ x 30 in. (63.2 x 76.2 cm.) Painted in 1954.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

*154

SPENCER FREDERICK GORE (1878-1914)

Crofts Lane, Letchworth

signed 'SF Gore' (lower right), with inscription 'Painted by S.F. Gore in 1912./at Letchworth, Herts. unsigned./''Crofts Lane''' (on a label attached to the stretcher) oil on canvas

24 x 26º in. (61 x 66.6 cm.)

Painted in 1912.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

PROPERTY FORMERLY IN THE COLLECTION OF ANOUK AIMÉE AND ALBERT FINNEY λ*155

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Portrait of a girl

signed 'L.S. LOWRY' (lower right), dated '1935' (lower left) oil on panel

8¬ x 6¬ in. (22 x 17 cm.)

Painted circa 1935.

There is another painting in the same hand on the reverse.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

156

AUGUSTUS JOHN, O.M., R.A. (1878-1961)

24 x 18 in. (61 x 45.7 cm.)

Painted circa 1901-02.

£50,000-80,000

US$68,000-110,000

€58,000-92,000

157

GEORGE LESLIE HUNTER (1877-1931)

Marianne

oil on canvas

18¿ x 15 in. (46 x 38.1 cm.)

£6,000-8,000

US$8,100-11,000

€6,900-9,200

FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (1883-1937)

Portrait of Herman McDonald

signed 'FCB Cadell' (lower left) oil on canvas

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

£15,000-25,000

US$21,000-34,000

€18,000-29,000

λ•*159

SIR CECIL BEATON (1904-1980)

Costume Design for the Original Production of 'My Fair Lady'

signed 'BEATON' (lower right), with inscription 'My Fair Lady/Act I/Ascot/ Club-/House' (upper right) ink on paper, with a fabric swatch 15º x 11√ in. (38.7 x 30.1 cm.)

£500-800

US$680-1,100

€580-920

SELLING WITHOUT RESERVE

Joie de Vivre

Works from the Collection of Vivian Fusillo

GLYN WARREN PHILPOT, R.A. (1884-1937)

André Eglevsky (of the Russian Ballet)

with inscription by Gabrielle Cross ‘GLYN PHILPOT./(Title). ANDRÉ EGLEVSKY/(of the Russian Ballet).’ and ‘Title ANDRÉ EGLEVSKY/(OF THE RUSSIAN BALLET.)/Painter (the late GLYN PHILPOT R.A./1884-1937.)./(Painted 1937.)/To be returned to Miss Philpot./80 Ladbroke Road. W. 11.’ (on labels attached to the frame) oil and charcoal on canvas 22 x 30º in. (55.9 x 76.8 cm.)

Painted in 1937.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

•161

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

Tipperary

pencil, black chalk and ink on paper

12 x 10Ω in. (30.5 x 26.7 cm.)

Executed in 1914.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

SELLING WITHOUT RESERVE

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*162

SIR STANLEY SPENCER, R.A. (1891-1959)

Study for 'Adoration of Old Men' signed 'Stanley Spencer' (lower right) pencil on paper, squared for transfer 22Ω x 26æ in. (56.5 x 68 cm.) Executed circa 1937.

£6,000-8,000

US$8,100-11,000

€6,900-9,200

TRISTRAM HILLIER (1905-1983)

The Village Church, Somerset signed 'Hillier' (lower left), inscribed and dated '''THE VILLAGE CHURCH'' 1954' (on the stretcher) oil on canvas

12 x 16 in. (30.4 x 40.6 cm.) Painted in 1954.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

SELLING WITHOUT RESERVE

*164

ALGERNON CECIL NEWTON, R.A. (1880-1968)

St Paul's Rising out of the Fog signed with monogram (lower left) oil on canvas

30 x 39 in. (76.2 x 99 cm.) Painted in 1949.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*165

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Penshaw

signed and dated 'L.S. Lowry 1962' (lower right) pencil on paper

9¬ x 13¬ in. (24.5 x 34.6 cm.)

Executed in 1962.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY FROM A NOTABLE PRIVATE COLLECTION

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Steps

pencil on paper

15 x 12¬ in. (38.1 x 32.1 cm.)

Executed circa 1938.

£80,000-120,000

US$110,000-160,000

€92,000-140,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION λ•*167

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

The Memorial signed with initials 'LSL' (lower right) pencil on paper

4 x 3æ in. (10.2 x 9.5 cm.)

£3,000-5,000

US$4,100-6,700

€3,500-5,700

SELLING WITHOUT RESERVE

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

The Black Church

signed 'L.S. LOWRY' (lower right) oil on canvas

14 x 10 in. (35.5 x 25.4 cm.)

£180,000-250,000

US$250,000-340,000

€210,000-290,000

HENRY MOORE, O.M., C.H. (1898-1986)

Seated Figure: Armless

bronze with a dark brown patina, on a wooden base

17º in. (43.8 cm.) high, excluding base

Conceived in 1955 and cast in an edition of 10, plus an artist's cast. Cast circa 1955 by Fiorini Foundry, London.

£50,000-80,000

US$68,000-110,000

€58,000-92,000

PROPERTY FROM THE COLLECTION OF PHYLLIS AND FRED PRESSMAN

λ*170

KENNETH ARMITAGE, R.A. (1916-2002)

Sprawling Woman (small version)

signed with initials, numbered and stamped with foundry mark 'KA/69 3/6' (on the underside) bronze with a brown patina

25æ in. (65.4 cm.) long

Conceived in 1957 and cast by Susse Fondeur, Paris.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

λ*171

KEITH VAUGHAN (1912-1977)

Bather, Iowa River

signed and dated 'Keith Vaughan 59.' (lower right) gouache on paper

11æ x 8Ω in. (29.8 x 21.6 cm.) Executed in 1959.

£8,000-12,000

US$11,000-16,000

€9,200-14,000

PROPERTY FROM THE COLLECTION OF THE LATE SIMON AND PAMELA MAJARO

IVON HITCHENS (1893-1979)

Floating Boat

signed 'Hitchens' (lower left), signed again, inscribed and dated '''Floating Boat 1961.''/by IVON HITCHENS./Greenleaves. Petworth. Sussex.' (on the artist's label attached to the stretcher) oil on canvas

18Ω x 56¡ in. (47 x 143.2 cm.)

Painted in 1961.

£50,000-80,000

US$68,000-110,000

€58,000-92,000

PROPERTY FROM THE ESTATE OF DAME SHIRLEY CONRAN

GILLIAN AYRES, R.A. (1930-2018)

Window

signed and dated 'G Ayres 80' (lower right) oil on paper

29Ω x 22¿ in. (75 x 56 cm.)

Painted in 1980.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

SELLING WITHOUT RESERVE

PROPERTY FROM THE ESTATE OF DAME SHIRLEY CONRAN

GILLIAN AYRES, R.A. (1930-2018)

Papagena

signed and dated 'Gillian Ayres '83' (lower left) oil on canvas

84 x 84 in. (213.4 x 213.4 cm.) Painted in 1983.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

PROPERTY FROM THE ESTATE OF DAME SHIRLEY CONRAN

GILLIAN AYRES, R.A. (1930-2018)

Katsura

signed and dated 'Gillian Ayres 2011' (lower right), numbered 'A/P/ 1/5' (lower left), dedicated 'To Dearest/Shirley much Love/Gillian X X X' (upper right) woodcut in colours on paper

P: 740 x 1516 mm.

S: 895 x 1652 mm. Executed in 2011.

£1,200-1,800

US$1,700-2,400

€1,400-2,100

SELLING WITHOUT RESERVE

PROPERTY FROM THE ESTATE OF DAME SHIRLEY CONRAN

GILLIAN AYRES, R.A. (1930-2018)

Anadyomene

signed and dated 'Gillian Ayres 83' (lower left) oil on canvas

60 x 60 in. (152.4 x 152.4 cm.) Painted in 1983.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY

GILLIAN AYRES, R.A. (1930-2018)

Seillans 1

signed and dated 'Gillian Ayres '88' (lower right) pastel, oil, gouache and collage on paper 29º x 21¡ in. (74.2 x 54.2 cm.)

Executed in 1988.

£3,000-5,000

US$4,100-6,700

€3,500-5,700

SELLING WITHOUT RESERVE

PROPERTY FROM THE ESTATE OF DAME SHIRLEY CONRAN

GILLIAN AYRES, R.A. (1930-2018)

Cleopatra's Wedding

signed and dated 'Gillian Ayres/2007' (lower left), dedicated 'To Dearest Shirley/LOVE/Gillian' (centre)

acrylic and charcoal on paper

22Ω x 30 in. (57 x 76.2 cm.)

Executed in 2007.

£2,000-3,000

US$2,700-4,000

€2,300-3,400

SELLING WITHOUT RESERVE

λ

*179

ALAN DAVIE, R.A. (1920-2014)

Leerie Lights, No. 1

signed, inscribed and dated 'LEERIE LIGHTS/Alan Davie./MAY 1962' (on the reverse), inscribed again 'LEERIE LIGHTS' (on the canvas overlap) oil on canvas

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

Painted in 1962.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

Joie de Vivre

Works from the Collection of Vivian Fusillo

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION λ*180

JOHN HOYLAND, R.A. (1934-2011)

15.7.65

signed with initials, inscribed and dated 'JH 15.7.65' (on the canvas overlap) acrylic on canvas

20 x 60 in. (50.5 x 152.4 cm.)

Painted in 1965.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

PRUNELLA CLOUGH (1919-1999)

Glove

pencil on paper

10º x 12Ω in . (26 x 31.8 cm.)

Executed circa 1980.

£600-800

US$810-1,100

€690-920

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

PRUNELLA CLOUGH (1919-1999)

Hindsight

signed 'Clough' (on the reverse) oil on board

9 x 9º in. (23 x 23.5 cm.)

Painted in 1988.

£2,500-3,500

US$3,400-4,700

€2,900-4,000

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO λ183

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Anthony Caro

signed and dedicated 'for Tony/love from/David H' (lower centre) ink on paper

12¿ x 8¬ in. (30.8 x 22 cm.)

£15,000-20,000

US$21,000-27,000

€18,000-23,000

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO λ184

WINSTON BRANCH (B. 1947)

Days into Nights

signed 'WINSTON BRANCH' (on the turnover edge), signed again and dated 'Winston Branch 1989' (on the canvas overlap)

acrylic on canvas

72 x 36 in. (182.9 x 91.4 cm.)

Painted in 1989.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

PRUNELLA CLOUGH (1919-1999)

Impasse: Study

signed 'Clough' (lower left) oil on board

7 x 9Ω in. (17.7 x 24.1 cm.) Painted in 1985.

£1,500-2,500

US$2,100-3,400

€1,800-2,900

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

186

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TIM SCOTT (B. 1937)

Mudra Frame

steel, forged and welded, unique

25æ in. (65.5 cm.) long

Executed in 1994-95.

£1,500-2,500

US$2,100-3,400

€1,800-2,900

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

JULES OLITSKI (1922-2007)

Yellow / Green, 1970

signed and dated in pencil 'Jules Olitski -70' (lower right), numbered '10/150' (lower left)

screenprint in colours on paper

888 x 661 mm.

£300-500

US$410-670

€350-570

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

JOHN HOYLAND, R.A. (1934-2011)

9.2.75

signed and dated '9.2.75/John Hoyland' (on the canvas overlap)

acrylic on canvas

22 x 18 in. (55.8 x 45.7 cm.)

Painted in 1975.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

WORKS

PAULA REGO (1935-2022)

Grand Old Duke of York, from: Nursery Rhymes signed 'Paula Rego' (lower right); numbered '18/50' (lower left) etching with aquatint on paper plate: 320 x 212 mm. sheet: 520 x 381 mm. Executed in 1989.

From the edition of 50 and 14 artist's proofs published by the artist and Marlborough Graphics, London

£1,000-2,000

US$1,400-2,700

€1,200-2,300

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

ROBYN DENNY (1930-2014)

Untitled signed, numbered and dated in pencil 'Denny '69. 16/75' (lower right) screenprint in colours image and sheet: 844 x 655 mm. Executed in 1969.

£100-200

US$140-270

€120-230

SELLING WITHOUT RESERVE

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

JACK HAMILTON BUSH (1909-1977)

Red, Orange, Green signed, numbered and dated in pencil 'Jack Bush '65/ 7/100' (lower right) screenprint in colours on paper image: 650 x 386 mm. sheet 662 x 522 mm. Executed in 1965.

£1,000-2,000

US$1,400-2,700

€1,200-2,300

WORKS FROM THE COLLECTION OF SIR ANTHONY CARO

JACK HAMILTON BUSH (1909-1977) Red Sash

signed, numbered and dated in pencil 'Jack Bush '65/ 7/100' (lower right) screenprint in colours on paper image: 647 x 355 mm. sheet: 660 x 518 mm. Executed in 1965.

£1,000-2,000

US$1,400-2,700

€1,200-2,300

λ193

ERIC CAMERON (B. 1935)

Type IB

signed, inscribed and dated ‘ERIC CAMERON, Type IB, 1966’ (on the canvas overlap) oil on canvas

48 x 48 in. (121.9 x 121.9 cm.) Painted in 1966.

£2,000-3,000

US$2,700-4,000

€2,300-3,400

PROPERTY FROM THE COLLECTION OF PHYLLIS AND FRED PRESSMAN

LYNN CHADWICK, R.A. (1914-2003)

Maquette XIII Beast

signed with initials and numbered 'L.C. 3/4 556' (on the underside of the hind leg) bronze with a dark brown patina 11√ in. (30.2 cm.) long

Conceived in 1967.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

WILLIAM SCOTT, R.A. (1913-1989)

Still Life with Bowl and Olives

signed 'W. SCOTT' (lower right) oil on canvas

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

Painted in 1950.

£150,000-250,000

US$210,000-340,000

€180,000-290,000

*196

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

Oct 10-52 (pendulum)

signed, inscribed and dated 'Oct 10-52/(pendulum)/Ben Nicholson' (on the backboard) pencil and oil on canvas-board

8 x 6 in. (20.3 x 15.3 cm.)

Painted in 1952.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

λ197

PAUL FEILER (1918-2013)

Janicon LVIII

signed, inscribed and dated 'PAUL FEILER/JANICON LVIII 2002' (on the reverse) oil, silver and gold leaf on canvas, relief, laid on panel 40 x 40 in. (101.6 x 101.6 cm.)

Painted in 2002.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

PROPERTY FROM AN AMERICAN ESTATE λ*198

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

Aug 62 (Valle Maggia)

signed, inscribed and dated 'Ben/Nicholson/Aug 62/(Valle Maggia)' (on the reverse) oil on carved board, relief, on the artist's prepared board

20 x 21º in. (50.8 x 54 cm.)

Painted in 1962.

£120,000-180,000

US$170,000-240,000

€140,000-210,000

PATRICK HERON (1920-1999)

THREE BLUES IN RED : SEPTEMBER 1962

signed, inscribed and dated 'THREE BLUES/IN RED :/SEPTEMBER/1962/PATRICK/HERON' (on the reverse) oil on canvas

60 x 72 in. (152.4 x 182.8 cm.)

Painted in 1962.

£80,000-120,000

US$110,000-160,000

€92,000-140,000

PROPERTY FORMERLY IN THE COLLECTION OF BERTA SCHILLER, NÉE TUGENDHAT (1899-1988)

λ200

DAME LUCIE RIE (1902-1995)

Bottle vase, flared lip

impressed with artist's seal (on the underside)

stoneware with white glaze

8º in. (21 cm.) high

£5,000-8,000

US$6,800-11,000

€5,800-9,200

PROPERTY FORMERLY IN THE COLLECTION OF BERTA SCHILLER, NÉE TUGENDHAT (1899-1988)

DAME LUCIE RIE (1902-1995)

Sugar bowl

impressed with artist's seal (on the underside) stoneware, with manganese and white glazes 5 in. (12.7 cm.) diameter

£800-1,200

US$1,100-1,600

€920-1,400

SELLING WITHOUT RESERVE

PROPERTY FORMERLY IN THE COLLECTION OF BERTA SCHILLER, NÉE TUGENDHAT (1899-1988) λ•202

DAME LUCIE RIE (1902-1995) Vase

impressed with artist's seal (on the underside) porcelain, with manganese glaze and sgrafitto

4¬ in. (11.7 cm.) high

£1,500-2,500

US$2,100-3,400

€1,800-2,900

SELLING WITHOUT RESERVE

PROPERTY FORMERLY IN THE COLLECTION OF BERTA SCHILLER, NÉE TUGENDHAT (1899-1988)

DAME LUCIE RIE (1902-1995)

Small vase

impressed with artist's seal (on the underside) stoneware, with brown and oatmeal glazes

5¿ in. (13 cm.) high

£1,000-1,500

US$1,400-2,000

€1,200-1,700

SELLING WITHOUT RESERVE

PROPERTY FORMERLY IN THE COLLECTION OF BERTA SCHILLER, NÉE TUGENDHAT (1899-1988)

λ•204

DAME LUCIE RIE (1902-1995)

Early Pot

impressed with artist's seal (on the underside) stoneware, with brown and white glazes

5¿ in. (13 cm.) high

£1,000-1,500

US$1,400-2,000

€1,200-1,700

SELLING WITHOUT RESERVE

PETER LANYON (1918-1964)

Portrait of Jimmy Limpots with studio stamp (on the backboard) oil on canvas laid on board

24æ x 19æ in. (62.8 x 50.2 cm.) Painted in 1938.

£2,000-3,000

US$2,700-4,000

€2,300-3,400

SELLING WITHOUT RESERVE

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

*206

ALFRED WALLIS (1855-1942)

Three Trees and Houses

signed 'A WALLIS' (lower right) oil on board

8√ x 11 in. (22.6 x 28 cm.)

£15,000-25,000

US$21,000-34,000

€18,000-29,000

*207

BEN NICHOLSON, O.M. (1894-1982) 1968 (Euboea)

signed, inscribed and dated 'Nicholson/68./(Euboea)' (on the reverse) pencil, oil wash and etching on paper, shaped 13æ x 7¡ in. (35 x 18.8 cm.)

Executed in 1968.

£3,000-5,000

US$4,100-6,700

€3,500-5,700

SELLING WITHOUT RESERVE

λ*208

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

Nov 1960 (Valle Verzasca, Ticino)

signed twice, inscribed and dated 'Ben Nicholson/Verzasca/Nov BN 1960' (on the reverse), signed again, inscribed again and dated again 'NICHOLSON/NOV 1960/(VALLE VERZASCA TICINO)' (on the reverse of the artist's prepared board)

oil wash and pencil on paper, shaped, on the artist's prepared board

26Ω x 17º in. (67.3 x 43.8 cm.)

Executed in 1960.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

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LYNN CHADWICK, R.A. (1914-2003)

Sitting Figures in Robes I signed with monogram, numbered and dated 'C787S/ 6/9' (on the back of the female figure's cloak and the underside of the male figure's cloak) bronze with a black and polished patina 19 in. (48.2 cm.) long Conceived in 1980.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

JOHN HOYLAND, R.A. (1934-2011)

23.11.69

signed and dated twice 'HOYLAND 23.11.69 / 23.11.69' (on the canvas overlap)

acrylic on canvas

84 x 40Ω in. (213.4 x 102.2 cm.)

Painted in 1969.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

PROPERTY

SIR FRANK BOWLING, R.A. (B. 1934)

Turkeywalk

signed, inscribed and dated ‘TURKEYWALK/1982/FRANK BOWLING’ (on the reverse)

acrylic, acrylic gel and metallic paint on canvas

69 x 21º in. (175.9 x 54 cm.)

Painted in 1982.

£60,000-80,000

US$81,000-110,000

€69,000-92,000

PROPERTY FROM THE COLLECTION OF PHYLLIS AND FRED PRESSMAN

LYNN CHADWICK, R.A. (1914-2003)

Trigon IV

signed and numbered 'CHADWICK/592 2/6' (on the underside) bronze with a dark green brown patina 12º in. (31.1 cm.) high

Conceived in 1970.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY

SIR TERRY FROST, R.A. (1915-2003)

Circle Platres

signed, inscribed and dated 'Terry Frost Nov 72 Circle Platres' (on the reverse) acrylic and collage on canvas, in three parts

94¡ x 67√ in. (239.5 x 172.5 cm.)

Painted in 1972.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

λ•*214

SIR TERRY FROST, R.A. (1915-2003)

Red, Black and White

dated 'Feb 76' (lower right)

pencil, crayon, gouache and collage on paper

22æ x 16º in. (57.8 x 41.3 cm.)

Executed in 1976.

£1,000-2,000

US$1,400-2,700

€1,200-2,300

SELLING WITHOUT RESERVE

λ*215

WILLIAM SCOTT, R.A. (1913-1989)

To Contrast Colour signed and dated 'W SCOTT 72' (on the reverse) oil on canvas

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

Painted in 1972.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

HENRY MOORE, O.M., C.H. (1898-1986)

Profile Head

signed, numbered and stamped with foundry mark 'Moore 6/9' (at the base) bronze with a brown patina, on a stone base 3¿ in. (8 cm.) high, excluding base

Conceived in 1964 and cast in an edition of 9, plus 2 artist's casts. Cast in 1976 by Hermann Noack Foundry, Berlin.

£8,000-12,000

US$11,000-16,000

€9,200-14,000

PROPERTY FROM A NOTABLE PRIVATE COLLECTION

IVON HITCHENS (1893-1979)

Oak and Fir Path

signed 'Hitchens' (lower right), signed again and inscribed '''Oak and Fir Path''/by Ivon Hitchens/ Greenleaves. Lavington Common/Petworth. Sussex.' (on the artist's label attached to the stretcher) oil on canvas

17 x 43 in. (43.2 x 109.2 cm.)

Painted in the 1950s.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

PROPERTY FROM A PRIVATE ITALIAN COLLECTION

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

Study of Corn

dated '1944' (lower right)

ink, chalk and gouache on paper

9√ x 11æ in. (25 x 30 cm.)

Executed in 1944.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

λ*219

FRANK AUERBACH (1931-2024)

Head of David Landau

signed and dated 'AUERBACH/88-89' (lower left) charcoal, pencil and chalk on paper

36¡ x 29¬ in. (92.4 x 75.3 cm.)

Executed in 1988-89.

£60,000-80,000

US$81,000-110,000

€69,000-92,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*220

LEON KOSSOFF (1926-2019)

School Building, Willesden I

charcoal and pastel on joined paper

30º x 39æ (76.9 x 101 cm.)

Executed in 1979.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

λ221

R.B. KITAJ, R.A. (1932-2007) Self Portrait (San Feliu)

signed 'Kitaj' (lower left) charcoal and pastel on paper

30æ x 22Ω in. (78.2 x 57.2 cm.)

Executed in 1982.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*222

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Jonathon Brown, Jan 2nd 1994

signed with initials and dated 'DH Jan 2nd 1994' (upper right) pencil on paper

30 x 22Ω in. (76.2 x 57.2 cm.)

Executed in 1994.

£30,000-50,000

US$41,000-67,000

€35,000-57,000

CELIA PAUL (B. 1959)

Angus and Cerith

signed and dated 'Celia Paul '86' (on the stretcher) oil on canvas

22 x 24 in. (55.9 x 61 cm.)

Painted in 1986.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

*224

LEON KOSSOFF (1926-2019)

Fidelma Asleep

oil on board

36¬ x 25 in. (93.2 x 63.5 cm.)

Painted in 1980.

£70,000-100,000

US$95,000-130,000

€81,000-110,000

λ225

R.B.

KITAJ, R.A. (1932-2007)

F.D.R.

signed 'Kitaj' (lower left) charcoal on paper

30Ω x 22Ω in. (77.5 x 57.1 cm.) Executed in 1992.

£3,000-5,000

US$4,100-6,700

€3,500-5,700

PROPERTY FROM AN AMERICAN ESTATE

λ*226

EUAN UGLOW (1932-2000)

Camberwell Nude

signed 'EUAN UGLOW' (on the reverse) oil on canvas

18 x 9 in. (45.7 x 22.9 cm.)

Painted in 1950.

£25,000-35,000

US$34,000-47,000

€29,000-40,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION λ*227

DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Paul Bartel, 10 April 1994

signed with initials and dated 'DH. 10 April 1994' (upper right) pencil on paper

30 x 22º in. (76.2 x 56.5 cm.)

Executed in 1994.

£25,000-35,000

US$34,000-47,000

€29,000-40,000

λ*228

R.B. KITAJ, R.A. (1932-2007)

72 x 48 in. (182.9 x 121.9 cm.)

Painted in 1993.

£40,000-60,000

US$54,000-81,000

€46,000-69,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION λ*229

LEON KOSSOFF (1926-2019)

The Triumph of Pan no. 2 charcoal and pastel on paper 22 x 30 in. (55.9 x 76.2 cm.)

Executed in 1997.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION λ*230

JOHN VIRTUE (B. 1947)

Landscape No. 554

signed, inscribed and dated 'LANDSCAPE/No 554/1998/John/Virtue' (on the reverse), signed again, inscribed again and dated again 'Landscape No 554 1998-1998 John Virtue.' (on the stretcher)

black ink, shellac and acrylic on canvas 84 x 72 in. (213.4 x 182.8 cm.)

Painted in 1998.

£8,000-12,000

US$11,000-16,000

€9,200-14,000

231

PAUL NASH (1889-1946)

Waves signed 'Paul Nash' (lower right) pencil and watercolour on paper 11 x 15¿ in. (27.9 x 38.4 cm.) Executed in 1935.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

WYNDHAM LEWIS (1882-1957, EDITOR)

Blast: Review of the Great English Vortex

London: John Lane, 20 June 1914 and July 1915. Nos 1 and 2 [all published].

Wyndham Lewis’ own copy of Blast: first editions, all published, of this short-lived literary monument to pre-war modernism. Two volumes, large quarto.

£2,000-3,000

US$2,700-4,000

€2,300-3,400

233

HENRI GAUDIER-BRZESKA (1891-1915)

Women Carrying Sacks

signed with monogram (lower right)

bronze with a black patina, relief, mounted on a wooden panel the bronze 14 x 11 in. (35.6 x 27.9 cm.); overall 16 x 12æ in. (40.6 x 32.4 cm.)

Conceived circa 1912-13.

This is one of the two bronze casts with black patina, taken by Horace Brodzky in the 1930s. Four further casts were taken by Lady Epstein in 1964.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

*234

HENRY MOORE, O.M., C.H. (1898-1986)

Reclining Female Figure

signed 'Moore' (lower right) ink on paper

14æ x 22 in. (37.5 x 55.8 cm.)

Executed circa 1928.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

KEITH VAUGHAN (1912-1977)

Seated Figure in Landscape

signed 'Vaughan' (lower right), inscribed and dated 'SEATED FIGURE IN LANDSCAPE/1964' (on the reverse), inscribed again and dated again 'SEATED FIGURE IN LANDSCAPE/1964' (on the artist's label attached to the reverse) oil on board

15Ω x 14 in. (39.2 x 35.6 cm.)

Painted in 1964.

£10,000-15,000

US$14,000-20,000

€12,000-17,000

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

Landscape with Rocks

signed with initials and dated 'GS 1952' (upper left), inscribed 'Landscape with rocks' (on the reverse)

pencil, watercolour and gouache on paper

21æ x 14º in. (55.3 x 36.2 cm.)

Executed in 1952.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*237

TRISTRAM HILLIER, R.A. (1905-1983)

Winter Landscape with a Cattle Pool

signed and dated 'Hillier/79' (lower right) oil on canvas

16 x 20 in. (40.6 x 50.8 cm.)

Painted in 1979.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

λ*238

KEITH VAUGHAN (1912-1977)

Iowa Farm II

signed, inscribed and dated 'KEITH VAUGHAN/IOWA FARM #2/1959' (on the reverse) oil on board

15æ x 15æ in. (40 x 40 cm.) Painted in 1959.

£15,000-25,000

US$21,000-34,000

€18,000-29,000

PROPERTY FROM A DISTINGUINSHED WEST COAST COLLECTION

λ*239

TRISTRAM HILLIER, R.A. (1905-1983) L'Église et la Chaumière

signed and dated 'Hillier/79' (lower right) oil on canvas

12 x 18 in. (30.5 x 45.8 cm.)

Painted in 1979.

£8,000-12,000

US$11,000-16,000

€9,200-14,000

PROPERTY

HENRY MOORE, O.M., C.H. (1898-1986)

Seated Figure: Thin Head

signed and numbered 'Moore 5/9' (on the back of the base)

bronze with a brown patina, on a bronze base

6¿ in. (15.5 cm.) high, including base

Conceived in 1980 and cast in an edition of 9, plus an artist's cast. Cast in 1984 by Fiorini Foundry, London.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

AUSTIN OSMAN SPARE (1886-1956)

Robed figures in a landscape: four drawings from the album 'Threshold: Quasi-Automatic Drawings' pencil and coloured pencil on paper

7Ω x 12 in. (19 x 30.5 cm.) (2)

6æ x 9Ω in. (17.2 x 24.2 cm.) (2) Executed in 1944-45. (4)

£3,000-5,000

US$4,100-6,700

€3,500-5,700

SELLING WITHOUT RESERVE

AUSTIN OSMAN SPARE (1886-1956)

Robed figures and pelican in a desolate landscape: four drawings from the album 'Threshold: Quasi-Automatic Drawings'

pencil and coloured pencil on paper

7Ω x 12 in. (19 x 30.5 cm.) (3);

6¬ x 9Ω in. (16.8 x 24.2 cm.) (1)

Executed in 1944-45. (4)

£3,000-5,000

US$4,100-6,700

€3,500-5,700

SELLING WITHOUT RESERVE

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Distant Farm Building, Lytham

St Annes

signed with initials and dated 'L.S.L. 1918.' (lower right) pencil on paper

4æ x 6æ in. (12.1 x 17.2 cm.)

Executed in 1918.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Startled figure

signed and dated 'LS Lowry 1961' (lower right) pencil on paper

13æ x 8¡ in. (34.9 x 21.3 cm.)

Executed in 1961.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

λ245

HELEN BRADLEY (1900-1979)

Fred Walmsley's Pierrots, Blackpool signed 'HELEN BRADLEY' and with a fly (lower right) watercolour and gouache on paper 14Ω x 21Ω in. (36.8 x 54.6 cm.) Executed in 1972.

£12,000-18,000

US$17,000-24,000

€14,000-21,000

HELEN BRADLEY (1900-1979)

Going Home, Going Home

signed 'Helen Bradley' and with a fly (lower left) oil on canvas laid on board

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

Painted in 1974.

£18,000-25,000

US$25,000-34,000

€21,000-29,000

HENRY MOORE, O.M., C.H. (1898-1986) Woman Knitting

signed 'Moore' (lower right), inscribed twice 'Woman/Knitting' (on the reverse) pastel, watercolour, chinagraph, ink and pencil on paper 7 x 6æ in. (17.8 x 17.2 cm.)

Executed in 1982.

£7,000-10,000

US$9,500-13,000

€8,100-11,000

PROPERTY FROM A NOTABLE PRIVATE COLLECTION

IVON HITCHENS (1893-1979)

Flower Arabesque stamped twice with the studio stamp (on the reverse) oil on canvas

41Ω x 20º in. (105.4 x 51.4 cm.) Painted in 1973.

£20,000-30,000

US$27,000-40,000

€23,000-34,000

λ•*249

MARTIN BRADLEY (1931-2023)

Cat with Dandelion signed and dated 'Martin Bradley 57' (upper left) ink, watercolour and gouache on paper

29Ω x 21Ω in. (74.9 x 54.6 cm.)

Executed in 1957.

£700-1,000

US$950-1,300

€810-1,100

SELLING WITHOUT RESERVE

Works from the Collection of

Joie de Vivre

WILLIAM SCOTT, R.A. (1913-1989)

Whithorn

screenprint in colours on linen

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

Printed by Edinburgh Weavers, 1961.

£700-1,000

US$950-1,300

€810-1,100

SELLING WITHOUT RESERVE

Works from the Collection of Vivian Fusillo

λ•*251

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

Head indistinctly signed 'Graham Sutherland' (lower right) pencil, coloured crayon and gouache on paper

12æ x 10æ in. (32.4 x 27.2 cm.)

Executed circa 1957.

£4,000-6,000

US$5,400-8,100

€4,600-6,900

SELLING WITHOUT RESERVE

Joie de Vivre

Works from the Collection of Vivian Fusillo

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

Fawley Bottom

signed ‘John Piper’ (lower right), inscribed and dated ‘Fawley Bottom autumn 1981 21 Oct’ (lower left)

watercolour, gouache, ink and coloured chalk on paper

21æ x 29æ in. (55.2 x 75.6 cm.)

Executed in 1981.

£5,000-8,000

US$6,800-11,000

€5,800-9,200

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so.You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold. As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens for sale are governed by the Additional Conditions of Sale – Non-Fungible Tokens, which can be found at Appendix A to these Conditions of Sale. For the sale of Non-Fungible Tokens, to the extent there is a conflict between the “London Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot ( symbol), Christie’s acts as agent for the seller. This means that we are providing services to the seller to help them sell their lot and that Christie’s is concluding the contract for the sale of the lot on behalf of the seller. When Christie’s is the agent of the seller, the contract of sale which is created by any successful bid by you for a lot will be directly between you and the seller, and not between you and Christie’s.

• BEFORE THE SALE

A

1

• DESCRIPTION OF LOTS

(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed ‘Important Notices and Explanation of Cataloguing Practice’ which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called ‘Symbols Used in this Catalogue’.

(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2

• OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

• CONDITION

3

(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold ‘as is’, in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

• VIEWING LOTS PRE-AUCTION

4

(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition We recommend you get your own advice from a restorer or other professional adviser.

(b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.

5

• ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

• WITHDRAWAL

6

Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 • JEWELLERY

(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.

(b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available.

(c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

(d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact.

(e) We do not obtain a gemmological report for every gemstone

sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot

(f) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.

8 • WATCHES & CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic. Watchbands described as ‘associated’ are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b) As collectors’ watches and clocks often have very fine and complex mechanisms, a general service, change of battery or further repair work may be necessary, for which you are responsible. We do not give a warranty that any watch or clock is in good working order. Certificates are not available unless described in the catalogue.

(c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).

B • REGISTERING TO BID

1 • NEW BIDDERS

(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:

(i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement).

(ii) forcorporate clients:YourCertificate ofIncorporation orequivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Credit Department on +44 (0)20 7839 9060.

2 • RETURNING BIDDERS

We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Credit Department on +44 (0)20 7839 9060.

• IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

3

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

• BIDDING ON BEHALF OF ANOTHER PERSON

4

(a) As authorised bidder. If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for them.

(b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).

5

• BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Credit Department on +44 (0)20 7839 9060.

• BIDDING SERVICES

6

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone Bids

Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b) Internet Bids on Christie’s LIVE™

For certain auctions we will accept bids over the Internet. For more information, please visit www.christies.com/register-and-bid As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at www. christies.com/christies-live-terms

c) Written Bids

You can find a Written Bid Form at any Christie’s office or by choosing the sale and viewing the lots online at www.christies. com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot we will sell the lot to the bidder whose written bid we received first.

• CONDUCTING THE SALE

C

1

• WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

• RESERVES

2

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦

• AUCTIONEER’S DISCRETION

3

The auctioneer can at their sole option:

(a) refuse any bid; (b) move the bidding backwards or forwards in any way they may decide, or change the order of the lots;

(c) withdraw any lot; (d) divide any lot or combine any two or more lots;

(e) reopen or continue the bidding even after the hammer has fallen; and

(f) in the case of error or dispute related to bidding and whether during or after the auction, to continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in section B(3), E(2)(i), F(4) and J(1).

4

• BIDDING

The auctioneer accepts bids from:

(a) bidders in the saleroom; (b) telephone bidders, and internet bidders through ‘Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 • BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at their sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 • BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments.

• CURRENCY CONVERTER

7

The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as sterling. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

• SUCCESSFUL BIDS

8

Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9

• LOCAL BIDDING LAWS

You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D • THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

1 • THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 27% of the hammer price up to and including £1,000,000, 22% on that part of the hammer price over £1,000,000 and up to and including £6,000,000, and 15% of that part of the hammer price above £6,000,000. VAT will be added to the buyer’s premium and is payable by you. For lots offered under the VAT Margin Scheme or Temporary Admission VAT rules, the VAT may not be shown separately on our invoice because of tax laws. You may be eligible to have a VAT refund in certain circumstances if the lot is exported. Please see the “VAT refunds: what can I reclaim?” section of ‘VAT Symbols and Explanation’ for further information.

2 • TAXES

The successful bidder is responsible for all applicable tax including any VAT, GST, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium VAT charges and refunds depend on the particular circumstances of the buyer. It is the buyer’s responsibility to ascertain and pay all taxes due. VAT is payable on the buyer’s premium and, for some lots, VAT is payable on the hammer price. Following the departure of the UK from the EU (Brexit), UK VAT and Customs rules will apply only.

For lots Christie’s ships or delivers to the United States, sales or use tax may be due on the hammer price buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or delivered. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments/deliveries to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie’s recommends you obtain your own independent tax advice with further questions.

For lots Christie’s ships or delivers to Jersey (Channel Islands), GST at a rate of 5% will be due on the hammer price, buyer’s premium, freight charges (as set out on your Shipping Quote Acceptance Form) and any applicable customs duty. Christie’s will collect GST from you, where legally required to do so.

For lots purchased by a successful bidder with a registered address in India and who has bid via Christie’s LIVE™, an Indian Equalisation Levy Tax at a rate of 2% will be due on the hammer price and buyer’s premium (exclusive of any applicable VAT) Christie’s will collect the Indian Equalisation Levy Tax from you, where required to do so.

3 • ARTIST’S RESALE ROYALTY

In certain countries, local laws entitle the artist or the artist’s estate to a royalty known as ‘artist’s resale right’ when any lot created by the artist is sold. We identify these lots with the λ symbol next to the lot number. If these laws apply to a lot, you must pay us an extra amount equal to the royalty. We will pay the royalty to the appropriate authority on the seller’s behalf.

The artist’s resale royalty applies if the hammer price of the lot is 1,000 GBP or more if located in the United Kingdom at the time of sale. The total royalty for any lot cannot be more than 12,500 GBP. We work out the amount owed as follows: Royalty for the portion of the hammer price (in Pound Sterling)

4% up to 50,000

3% between 50,000.01 and 200,000

1% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 over 500,000, the lower of 0.25% and 12,500 GBP.

E • WARRANTIES

1 • SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller:

(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

If one or more of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 • OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our ‘authenticity warranty’). If, within five years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:

(a) It will be honoured for claims notified within a period of five years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading’). It does not apply to any information other than in the Heading even if shown in UPPERCASE type

(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. For example, use of the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in

Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d) The authenticity warranty applies to the Heading as amended by any Saleroom notice

(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.

(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot

(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.

(h) In order to claim under the authenticity warranty, you must: (i) give us written notice of your claim within five years of the date of the auction. We may require full details and supporting evidence of any such claim;

(ii) at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:

(i) This additional warranty does not apply to:

(a) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;

(b) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(c) books not identified by title;

(d) lots sold without a printed estimate;

(e) books which are described in the catalogue as sold not subject to return; or

(f) defects stated in any condition report or announced at the time of sale.

(ii) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.

(K) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.

In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s authenticity warranty, provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.

(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “SubHeading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the SubHeading

3 • YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s), you warrant that:

(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws;

(ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity;

(iii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;

(iv) you do not know, and have no reason to suspect that the ultimate buyer(s) (or its officers, beneficial owners or any persons acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and

(v) where you are a regulated person who is supervised for anti-money laundering purposes under the laws of the EEA or another jurisdiction with requirements equivalent to the EU 4th

Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such documentation available for immediate inspection on our request.

• PAYMENT

F

1

• HOW TO PAY

(a) Immediately following the auction, you must pay the purchase price being:

(i) the hammer price; and (ii) the buyer’s premium; and (iii) any amounts due under section D3 above; and (iv) any duties, goods, sales, use, compensating or service tax or VAT.

Payment is due no later than by the end of the seventh calendar day following the date of the auction, or no later than 24 hours after we issue you with an invoice in the case of payment made in cryptocurrency, as the case may be (the ‘due date’).

(b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.

(c) You must pay for lots bought at Christie’s in the United Kingdom in the currency stated on the invoice in one of the following ways: (i) Wire transfer

You must make payments to:

Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, London EC3P 3BT. Account number: 00172710, sort code: 30-00-02 Swift code: LOYDGB2LCTY. IBAN (international bank account number): GB81 LOYD 3000 0200 1727 10.

(ii) Credit Card

We accept most major credit cards subject to certain conditions. You may make payment via credit card in person. You may also make a ‘cardholder not present’ (CNP) payment by calling Christie’s Post-Sale Services Department on +44 (0)20 7752 3200 or for some sales, by logging into your MyChristie’s account by going to: www.christies.com/mychristies. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (e) below.

If you pay for your purchase using a credit card issued outside the region of the sale, depending on the type of credit card and account you hold, the payment may incur a cross-border transaction fee. If you think this may apply to, you, please check with your credit card issuer before making the payment. Please note that for sales that permit online payment, certain transactions will be ineligible for credit card payment.

(iii) Cash

We do not accept cash in England.

(iv) Banker’s draft You must make these payable to Christie’s and there may be conditions.

(v) Cheque

You must make cheques payable to Christie’s. Cheques must be from accounts in pounds sterling (GBP) from a United Kingdom bank.

(vi) Cryptocurrency

With the exception of clients resident in Mainland China, payment for a lot marked with the symbol may be made in a cryptocurrency or cryptocurrencies of our choosing. Such cryptocurrency payments must be made in accordance with the Terms for Payment by Buyers in Cryptocurrency set out at Appendix B in these Conditions of Sale.

(d) You must quote the sale number, lot number(s), your invoice number and Christie’s client account number when making a payment. All payments sent by post must be sent to: Christie’s, Cashiers Department, 8 King Street, St James’s, London, SW1Y 6QT.

(e) For more information please contact our Post-Sale Service Department by phone on +44 (0)20 7752 3200 or fax on +44 (0)20 752 3300.

2 • TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.

• TRANSFERRING RISK TO YOU

3

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a) When you collect the lot; or

(b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you in writing.

• WHAT HAPPENS IF YOU DO NOT PAY

4

(a) If you fail to pay us the purchase price in full by the due date we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):

(i)to charge interest from the due date at a rate of 5% a year above the UK Lloyds Bank base rate from time to time on the unpaid amount due;

(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publicly or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;

(v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);

(vi) we can, at our option, reveal your identity and contact details to the seller;

(vii) we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and (ix) we can take any other action we see necessary or appropriate.

(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

(c) If you make payment in full after the due date, and we choose to accept such payment we may charge you storage and transport costs from the date that is ninety (90) calendar days following the auction in accordance with paragraphs Gc and Gd.

5

• KEEPING YOUR PROPERTY

If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

• COLLECTION AND STORAGE

G

(a) You must collect purchased lots within thirty (30) days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us).

(b) If you do not collect any lot within ninety (90) days following the auction we can, at our option:

(i) charge you storage costs at the rates set out at www.christies. com/en/help/buying-guide/storage-fees.

(ii) move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.use’s standard terms and to pay for their standard fees and costs.

(iii) sell the lot in any commercially reasonable way we think appropriate.

(c) The Storage Conditions which can be found at www.christies.com/ en/help/buying-guide/storage-conditions will apply.

(d) Nothing in this paragraph is intended to limit our rights under paragraph F4.

• TRANSPORT AND SHIPPING

H

1

• TRANSPORT AND SHIPPING

We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so. For more information, please contact Christie’s Art Transport on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransportlondon@ christies.com. We will take reasonable care when we are handling, packing, transporting and shipping a lot However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.

• EXPORT AND IMPORT

2

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase.

(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Art Transport Department on +44 (0)20 7839 9060. See the information set out at www.christies.com/shipping or contact us at arttransport_ london@christies.com.

(b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s.

(c) Lots made of protected species

Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. The UK and EU have both implemented regulations on selling, exporting and importing elephant ivory. In our London sales,

lots made of or including elephant ivory material are marked with the symbol and are offered with the benefit of being registered as ‘exempt’ in accordance with the UK Ivory Act. Handbags containing endangered or protected species material are marked with the symbol ≈ and further information can be found in paragraph H2(h) below. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.

(d) Lots of Iranian origin

As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. It is your responsibility to ensure you do not bid on or import a lot in contravention of any sanctions, trade embargoes or other laws that apply to you. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, may enable a buyer to import this type of lot into the USA. If you use Christie’s general OFAC licence for this purpose, you agree to comply with the licence conditions and provide Christie’s with all relevant information. You also acknowledge that Christie’s will disclose your personal information and your use of the licence to OFAC.

(e) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(f) Jewellery over 50 years old

Under current laws, jewellery over 50 years old which is worth £39,219 or more will require an export licence which we can apply for on your behalf. It may take up to eight weeks to obtain the export jewellery licence.

(g) Watches

Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within one year of the date of the sale. Please check with the department for details on a particular lot. For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots

(h) Handbags

A lot marked with the symbol ≈ next to the lot number includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to an address within the country of the sale site or personally picked up from our saleroom. The term “hardware” refers to the metallic parts of the handbag, such as the buckle hardware, base studs, lock and keys and/or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware”, etc. refer to the tone or colour of the hardware and not the actual material used. If the handbag incorporates solid metal hardware, this will be referenced in the catalogue description.

I • OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties

(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these Conditions of Sale; or (ii) we do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot

(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

J

• OTHER TERMS

1 • OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if: (i) any of your warranties in paragraph E3 are not correct; (ii) we reasonably believe that completing the transaction is or may be unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

• RECORDINGS

2

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

• COPYRIGHT

3

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot

use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot

• ENFORCING THIS AGREEMENT

4

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

• TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

5

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

• TRANSLATIONS

6

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

• PERSONAL INFORMATION

7

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/ contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https:// www.christies.com/about-us/contact/ccpa

8 • WAIVER

No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

• LAW AND DISPUTES

9

This agreement, and any contractual or non-contractual dispute arising out of or in connection with this agreement, will be governed by English law. Before either you or we start any court proceedings and if you and we agree, you and we will try to settle the dispute by mediation in accordance with the CEDR Model Mediation Procedure. If the dispute is not settled by mediation, you agree for our benefit that the dispute will be referred to and dealt with exclusively in the English courts; however, we will have the right to bring proceedings against you in any other court.

10 •REPORTING ON WWW.CHRISTIES.COM

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www. christies.com

K • GLOSSARY

auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of:

(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or

(iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement.

buyer’s premium: the charge the buyer pays us along with the hammer price catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot due date: has the meaning given to it in paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot

Heading: has the meaning given to it in paragraph E2.

SubHeading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).

other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.

purchase price: has the meaning given to it in paragraph F1(a).

provenance: the ownership history of a lot

qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’.

reserve: the confidential amount below which we will not sell a lot saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

UPPER CASE type: means having all capital letters.

warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

VAT SYMBOLS AND EXPLANATION (FOR ALL LOTS EXCLUDING NFTS)

IMPORTANT NOTICE:

The VAT liability in force on the date of the sale will be the rules under which we invoice you. You can find the meanings of words in bold on this page in the glossary section of the Conditions of Sale.

For wine offered ‘in bond’ only If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer If you choose to buy the wine out of bond

VAT refunds: what can I reclaim?

Non-UK buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

No symbol We will refund the VAT amount in the buyer’s premium

and α We will refund the VAT charged on the hammer price VAT on the buyer’s

1 We CANNOT offer refunds of VAT amounts or Import VAT to buyers who do not meet all applicable conditions in full If you are unsure whether you wil be entitled to a refund, p ease contact Client Services at the address below before you bid

2 No VAT amounts or Import VAT will be refunded where the total refund is under £100

3 To receive a refund of VAT amounts/ Import VAT (as applicable) a non-UK buyer must:

a) have registered to bid with an address outside of the UK; and

4 Details of the documents which you must provide to us to show satisfactory proof of export/ shipping are available from our VAT team at the address below We charge a processing fee of £35 00 per invoice to check sh pping/ export documents We will waive this processing fee if you appoint Christie’s Shipping Department to arrange your export/shipping

5 Following the UK’s departure from the EU (Brexit), private buyers will on y be able to secure VAT-free invoicing and/or VAT refunds if they instruct Christie s or a third party

b) provide immediate proof of correct export out of the UK within the required time frames of 90 days from the date of the sale Lots purchased with the * and Ω symbol must be exported via a ‘control ed export’

NOTICE

commercia shipper to export out of the UK on their behalf

6 Private buyers who choose to export their purchased lots from the UK hand carry will now be charged VAT at the applicab e rate and will not be able to claim a VAT refund

7 If you appoint Christie’s Art Transport or one of our authorised shippers to arrange your export/shipping we will issue you with an export nvoice with the applicable VAT or duties cance led as out ined above If you later cancel or change the sh pment n a manner that infringes the rules outl ned above we wi l issue a revised nvoice charging you a l app icable taxes/charges If you export via a third party commercial shipper you must provide us with

sufficient proof of export in order for us to cancel the applicable VAT or duties out ined above

8 If you ask us to re-invoice you under normal UK VAT rules (as if the lot had been sold with a † symbol) instead of under the Marg n Scheme the lot may become ine igible to be resold using the Margin Schemes You should take professional advice if you are unsure how this may affect you 9 All reinvo cing

SYMBOLS USED IN THIS CATALOGUE

The meaning of words coloured in bold in this section can be found in paragraph K, Glossary, of the section of the catalogue headed ‘Conditions of Sale’.

º Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. See Important Notices and Explanation of Cataloguing Practice in the Conditions of Sale for further information.

º

♦

Christie’s has provided a minimum price guarantee and has a direct financial interest in this lot. Christie’s has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.

⇔

A party has provided Christie’s with a bid to cover all or part of Christie’s financial interest in the lot and may benefit financially from such bid. See the Important Notices in the Conditions of Sale for further information.

Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information.

¤ A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot

λ

Artist’s Resale Right. See paragraph D3 of the Conditions of Sale for further information.

• Lot offered without reserve

Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2(c) of the Conditions of Sale for further information.

≈

Handbag lot incorporates material from endangered species. International shipping restrictions apply. See paragraph H2 of the Conditions of Sale for further information.

Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.

ψ

Lot incorporates material from endangered species which is shown for display purposes only and is not for sale. See paragraph H2(h) of the Conditions of Sale for further information.

Lot is a Non Fungible Token (NFT). Please see Appendix A – Additional Conditions of Sale – Non- Fungible Tokens in the Conditions of Sale for further information.

Lot contains both a Non Fungible Token (NFT) and a physical work of art. Please see Appendix A – Additional Conditions of Sale – Non-Fungible Tokens in the Conditions of Sale for further information.

With the exception of clients resident in Mainland China, you may elect to make payment of the purchase price for the lot via a digital wallet in the name of the registered bidder, which must be maintained with one of the following: Coinbase Custody Trust; Coinbase, Inc.; Fidelity Digital Assets Services, LLC; Gemini Trust Company, LLC; or Paxos Trust Company, LLC. Please see the lot notice and Appendix B – Terms for Payment by Buyers in Cryptocurrency in the Conditions of Sale for further requirements and information.

† , Ɵ, *, Ω, α, ‡ See VAT Symbols and Explanation in the Conditions of Sale for further information.

See Storage and Collection Page.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot

IMPORTANT NOTICES

CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION

Δ Property in which Christie’s has an ownership or financial interest

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified in the catalogue with the symbol Δ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest, we identify such lots with the symbol ° next to the lot number.

º♦ Third Party Guarantees/Irrevocable bids

Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦ In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price. The third party may also bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a

lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot

⇔ Financial Interest/Irrevocable bids

Where Christie’s has a financial interest in a lot, Christie’s is at risk of making a loss if the lot fails to sell. As such, Christie’s may share that risk with a third party who agrees, prior to the auction, to place an irrevocable written bid on the lot and may receive compensation from Christie’s. Christie’s requires the bidding party to disclose to anyone they are advising of their financial interest in the lot

Bidding by parties with an interest

When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Post-catalogue notifications

If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or prelot announcement.

Other Arrangements

Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

Please see: http://www.christies.com/ financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.

EXPLANATION OF CATALOGUING PRACTICE

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a

catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS, MINIATURES AND SCULPTURE

Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS

“Attributed to…”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under their supervision.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing their influence.

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“Manner of …”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

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London | November 2025

CONTACT

Angus Granlund

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+44 207 752 3240

SAMUEL JOHN PEPLOE, R.S.A (1871-1935)

Still Life with Teapot and Fruit on a Green Tablecloth oil on canvas

19¹/₈ x 15 in. (46.1 x 38.1 cm.)

Painted circa 1913.

INDEX

A

Adler, J. 141

Armitage, K. 170

Auerbach, F. 122, 219

Ayres, G. 173-178

Ayrton, M. 143

B

Beaton, Sir C. 159

Bomberg, D. 153

Bowling, Sir F. 211

Bradley, H. 245, 246

Bradley, M. 142, 249

Branch, W. 184

Burra, E. 104, 107

Bush, J.H. 191, 192

C

Cadell, F.C.B. 158

Cameron, E. 193

Chadwick, L. 10, 11, 33, 194, 209, 212

Churchill, Sir W.S. 15, 24, 149

Clough, P. 181, 182, 185

Coventry, K. 127

D

Davie, A. 179

Denny, R. 190

F

Feiler, P. 197

Fiddian-Green, N. 152

Flight, C. 140

Freud, L. 17, 118

Frink, Dame E. 28

Frost, Sir T. 133, 213, 214

G

Garwood, T. 111

Gaudier-Brzeska, H. 233

Gilman, H. 4

Gore, S.F. 154

Gormley, Sir A. 129

H

Hambling, M. 117

Hepworth, Dame B. 6, 8, 22, 31, 136

Heron, P. 137, 199

Hillier, T. 163, 237, 239

Hilton, R. 132

Hitchens, I. 27, 172, 217, 248

Hockney, D. 20, 124, 183, 222, 227

Hoyland, J. 180, 188, 210

Hunter, G.L. 157

J

John, A. 156

John, R. 113, 114

Jones, A. 19, 128

K

Kitaj, R.B. 123, 221, 225, 228

Kossoff, L. 30, 220, 224, 229

L

Lanyon, P. 205

Lavery, Sir J. 150

Lewis, W. 232

Lowry, L.S. 9, 13, 14, 29, 155, 165-168, 243, 244

M

Minton, J. 144

Moore, H. 151, 169, 216, 234, 240, 247

N

Nash, P. 2, 231

Newton, A.C. 164

Nicholson, B. 1, 7, 23, 135, 138, 196, 198, 207, 208

Nicholson, Sir W. 3, 25

Nolan, Sir S. 109

O

O’Conor, R. 26

Olitski, J. 187

P

Paolozzi, Sir E. 120

Paul, C. 115, 223

Philpot, G. 160

Piper, J. 252

R

Rego, P. 189

Reynolds, A. 103

Rie, Dame L. 102, 139, 200-204

Riley, B. 5, 21

Roberts, D. 101

S

Scott, T. 186

Scott, W. 12, 32, 195, 215, 250

Sickert, W.R. 148, 161

Spare, A.O. 241, 242

Spencer, Sir S. 16, 162

Sutcliffe, S. 121

Sutherland, G. 106, 108, 146, 218, 236, 251

T

Themerson, F. 125

Trevelyan, J. 147

Tunnard, J. 105

Turnbull, W. 119, 126, 134

U

Uglow, E. 18, 112, 226

V

Vaughan, K. 145, 171, 235, 238

Virtue, J. 230

W

Wallis, A. 131, 206

Watt, A. 116

Wynter, B. 130

Y

Young, E. 110