Issuu

M o de r n a n d Cont empor a ry A rt to includ e

T h e J a me s B ir c h C ollect ion Tuesday 6 and Wednesday 7 October 2026 | 10am

Mod e rn and C o nt emp orary Art t o include

The Jame s Bir c h C olle ction Tuesday 6 and Wednesday 7 October 2026 | 10am

order of sale

viewing

Day One - James Birch

Viewing will be held at our Stansted Auction Rooms, Cambridge Road, Stansted Mountfitchet CM24 8GE, as follows:

Lots 1-35

The Surrealists and the Occult

Lots 36-71

Francis Bacon in Moscow

Lots 72-97

Grayson Perry and the Neo Naturists

Friday 2 October Sunday 4 October Monday 5 October Tuesday 6 October

10am - 4pm 10am - 1pm 10am - 4pm 10am - 4pm

Lots 98-121

Film and Celebrity

Lots 122-135

Design

Lots 136-187

Popular Culture

Lots 188-209

Gilbert & George and the Communists

Lots 210-227

Queer and Counterculture

Lots 228-271

YBAs and Contemporary Art

• IN ROOM Attend the live auction in person

Lots 272-289

Photography

• ONLINE Bid live at www.sworder.co.uk (0% surcharge)

Lots 290-318

Curiosities

bidding

SWORDERS’ DELIVERY SERVICE Sworders offer a delivery service for item(s) purchased. Please see our website for further details.

Day Two - Modern and Contemporary Art Lots 319-354

Trailblazers: Women Artists

Lots 355-405

International Perspectives

Lots 406-442

Between Tradition and Modernity

Lots 443-475

The Great Bardfield Circle

Lots 476-523

Editions

Lots 524-606

Modern British and Irish Art

Lots 607-624

Into the Surreal

Cover Image Credit | Philippa Perry and Dan Farson

contact T 01279 817778 E pictures@sworder.co.uk

SCAN TO BROWSE THE FULL CATALOGUE

Amy Scanlon

Marianne Richardson

Zimeng Li

Jessica Allen

Bryn Sayles

Head of Department

Cataloguer

Valuer

Department Assistant

Senior Valuer

Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 270

‘LIFE ISN’T GOOD. IT’S EXCELLENT’ Here, close friend, art historian and former Senior Curator of Modern British Art at Tate, Andrew Wilson, offers an insight into James Birch’s remarkable collection and the extraordinary life behind it. Having known James since the late 1980s, Andrew has witnessed first-hand his restless curiosity, his friendships with artists and his instinct for the unusual. Since birth, art has provided James Birch with the coordinates of his life. His parents met at Chelsea School of Art – his father had been an architecture student and his mother an art student who had been taught by Henry Moore. Although James’s godfather was the renowned art historian and director of both the Victoria & Albert and British Museums, Sir John Pope-Hennessy, he had unofficial godfathers in the artist Denis Wirth-Miller (aka ‘Nanny Worth Millions’) and his partner the artist Dicky Chopping, who lived in Wivenhoe, nearby to the family’s weekend cottage at Fingringhoe, and would often visit with their close friend Francis Bacon, who also quickly became a firm family friend. In his book ‘Bacon in Moscow’, James brilliantly unlocks the way he organised the groundbreaking Francis Bacon exhibition in the Soviet Union of 1988, a time of glasnost and perestroika. The book begins with a photograph taken by Bacon of the angelic child-James in his bath – a child that Bacon later christened ‘Rawhide’ after James’s favourite TV western. So, at the start of his life, we see James growing up in the different worlds of art that he has continued to inhabit all his life. Acquainted with the establishment, he was, however, formed by an avantgarde spirit that pushed rebelliously against convention to upset that establishment, and recognised popular culture to be a potent artform; at Christie’s, where he first worked, he moved quickly from Old Masters to becoming the specialist in the new department for Rock ‘n’ Roll memorabilia. From these perspectives, his long interest in the 1963 Profumo scandal, Stephen Ward’s tragic involvement within it and his later friendship with Christine Keeler, makes perfect sense for what it said about the erosion of trust with the establishment, while also marking the beginnings of a media and sexual revolution. From his collection about this controversy, he made an exhibition at the Mayor Gallery in 2010, and the contact prints of Keeler by David Bailey and associated archives offered for sale here had been carefully retained by James until now. As a teenager, James m ove d ef for t le ssl y among the worlds of style and punk, inhabiting a world that the style commentator Peter York described as a ‘mysterious aesthetic conspiracy’ where culture was not www.sworder.co.uk

commodified but lived. In the 1970s and 80s, James passed through the mysteriously connected circles of the louche proto-glam style of ‘Them’ encapsulated by Andrew Logan, Duggie Fields (represented here by a strong group of works) and Bryan Ferry, as well as the visceral directness of punk – the Sex Pistols and Malcolm McLaren – Lot 150 | David Bailey (British, and on to the post-punk b.1938) New Romantics. In 1985, for instance, Nico, the singer with The Velvet Underground, found herself homeless, and after a gig with John Cooper Clarke at the start of the year at Dingwalls, James and Mary Lemley offered her a room in Fulham where she stayed with them for a year. Excited and provoked, James’s experience of these intersecting worlds, and close friendship with many of the artists involved, set the course of his life, framed by his extreme visual fascination and engagement with cultures that push up, against and over boundaries. Later, in the 1990s, occasionally without a gallery, he similarly embraced the energy of the young British artists typified here by his friends Damien Hirst and Keith Coventry – the latter’s white monochrome portrait of Jay Lot 230 | Damien Hirst (British, b.1965) Jopling catching the zeitgeist. It was also at this time, at the end of the 1990s, that I reintroduced James to Genesis P-Orridge (they had first met in 1983) just at the time that this pioneering performer had started reconfiguring 5

their artistic activity towards pandrogeny, renaming themselves as Genesis Breyer P-Orridge as s/he and their partner Lady Jaye, Jacqueline Breyer, fused identities to become one pandrogynous plural being – James mounting an unforgettable exhibition in 2004 at his Clerkenwell gallery A22, which included the works also in this sale. Though a pioneering figure in the worlds of intermedia art, performance art, punk and industrial music in the 1970s and 80s, it is their work on identity at the end of their lives that continues to have direct contemporary resonance. When James, not long after leaving Christie’s, set up his gallery in 1983 on Waterford Road, off the King’s Road, his first concentration was with British avant-garde art of the 1930s and 1940s – with an especial concentration on surrealism, playing a key role in reappraising many of these then largely forgotten artists. The first exhibition was of John Banting – framed by handpainted banners by Annabel Grey (who had designed the mosaic hot-air balloons for Finsbury Park tube station the same year). The works in this sale by Reuben Mednikoff, Eileen Agar (including the terrific 1938 image of her by Joseph Bard as they ‘play photography’ sheltering from a storm in Knokke), as well as by Michael Vernon and Conroy Maddox, Lot 5 | Reuben Mednikoff (British, all provide memories 1906-1972) of the beginnings of his first gallery. In his home, then around the corner from his gallery, and since the 1990s at his house and third gallery A22, both in Clerkenwell, James created environments that directly reflect his life in art. Many of the paintings, sculptures, photographs and drawings over time became personally charged objects, whether they had been bought by him, found or given to him. What he hung at home was quite distinct from gallery stock (though sometimes things had to be sold) – it was not a shop but his home, and things in it closely reflected his mischievous, life-affirming personality. However, over the last year he has set about a process of rationalising and decluttering. As a consequence, this sale now offers a chance for others to experience his excitement, while also providing him with some clear space to live within and develop new enthusiasms.

the Colony that James met Dan Farson, chronicler of Soho, but in the 1950s and 1960s, a photographer and TV personality. Photography has always been an obsession for James. He gave Farson an exhibition in 1988, rediscovering him as a photographer for a new generation, and this sale contains some of those prints as well as other photographs – mainly portraits – by David Bailey, Cecil Beaton, Ray Bellisario, Bob Carlos Clarke, Terence Donovan, John French, Angus McBean, Don McCullin, Bettina Rheims, Humphrey Spender, Nick Taylor, and Michael Wood, as well as striking images by anonymous photographers. ‘Striking image’ is a good way to think about much that is here – cherished by James not because it may be by this or that artist, but purely because of what it might reveal about the world in an arresting way, creating a power that niggles and grows ever stronger as you live with it. The sale is also suggestive of James’s acquisitive nature – however, these objects are not the result of a focused hunt, instead James is more Lot 281 | Bettina Rheims of a passionate flâneur, (French, b.1952) open to the poetry of circumstance and the objects he finds at street markets, galleries, auctions and artists’ studios. The range of items in the sale attests to this spirit: from medical waxworks and death masks of Oliver Cromwell, William Blake, Stalin and Lenin, to African sculpture, a giant automated Swiss army knife, or the egg of an elephant bird, and much more (for many years James had a life-sized waxwork of Mao Tse-tung tucked around a corner by his front door). One rare public outlet for James’s private passions has been the annual TableTop Museum held by the Art Workers’ Guild in London where he has Lot 58 | A death mask of Vladimir Lenin displayed a range of obscure objects of fascination – the display of his collection of hairnets being one standout, and another, his collection of Yuri Gagarin artefacts.

After starting with the surrealists, James showed a wide range of modern British and contemporary artists in his first gallery, and also at his second (in partnership with Paul Conran) in the late 1980s and early 1990s in Soho, walking distance from his alternative ‘offices’ of The Colony Room, The Groucho Club, and further down the road, The French House and then Jerry’s. It was at

The contents of this sale, like anybody’s home, provides not quite a catalogue, but a parallel memoir of a life being led – obsessions and beliefs as well as the effect of major events. To a wide audience, James is most often identified through the prism of three major exhibitions he pulled off in the late 1980s and early 1990s: Bacon in Moscow in 1988, Gilbert & George in Moscow in

Lot 37 | Francis Bacon (British, 1909-1992)

1990, and then again in China (both Beijing and then Shanghai) in 1993, as well as his dogged, if unsuccessful, attempts to make similar exhibitions happen in North Korea, Cuba and Vietnam. The sale has documents and other artefacts reflecting this side of his life, from Bacon and Gilbert & George, as well as from Christo, Jeff Koons and others. James’s collection tells of the fascination he found for cultural imagery and propaganda while the paintings by his Russian girlfriend, Elena Kudiakova, depicting 188 | Gilbert & George (British, b.1943 Soviet food and Lot and 1942) products in the spirit of advertising, provide a more homely melancholic flipside to the Soviet propaganda machine. Being both an artist and a jewellery and fashion designer, Elena also played a role in the preparation for Bacon in Moscow. Away from the international stage, James is most recognised for giving Sir Grayson Perry his first exhibitions between 1984 and 1990, and the sale

includes a variety of works from this key early period in his career, including the plate Animal Love, 1984, and the sculpture Saint Diana (Let Them Eat Shit), 1984 – both from his first exhibition. Saint Diana encapsulates the transgressive spirit of much of James’s collection – a miniature version of the coronation chair at Westminster Abbey rendered both as a throne to shit (a commode) and as a reliquary dedicated to the cult of Princess Diana, who had recently married the then Prince Charles, and with the Stone of Scone replaced by a miniaturised pile of turds. Imagery of Diana (or is it early Claire - Grayson’s alter-ego?) covers the tiny throne. James had been introduced to Perry through Perry’s girlfriend Jennifer Binnie, a painter who, with her artist sister Christine (who had encouraged Perry to go to pottery evening classes) and artist Wilma Johnson, had since 1982 formed the Neo Naturist Cabaret. The performance group emerged out of the late-1970s and early-1980s club culture, something that James was very much a part of from the beginning (he had also been the driver for Adam and The Ants on their 1978 tour of England) – clubs like Billy’s, Blitz, St Moritz, The Cha Cha Club and Taboo. People didn’t dress to go out but dressed as a way of life. But instead of putting clothes on, the Neo Naturists put on body paint and enacted ritualised performances articulated by a Girl Guide camp outlook. They brought the visions of William Blake and Samuel Palmer, Cecil Collins and Neo-Romanticism of the 1940s into direct collision with New Image Painting and Neo-Expressionism, the world of Haysi Fantayzee’s song ‘John Wayne is Big Leggy’ and the clubland postpunk New Romanticism. It is no accident that for the last exhibition at his Fulham gallery, James enrolled one of the last surviving British surrealists, Conroy Maddox, to body-paint the three Neo Naturists, who then made body-prints on to long rolls of paper – Jennifer’s body print being included in the sale, as also are some of her paintings as well as a group of Christine’s ceramics. Alongside Binnie and Perry, another notable artist James worked with at both his galleries was the poet and artist David Robilliard, a close friend of Gilbert & George’s, whom James had met first at the Blitz nightclub, where Robilliard worked with his partner, the artist Andrew Heard. Robilliard’s drawings and poems (with Conran, James published monthly poem cards by him) directly portray the sensibility by which Gilbert & George also described him as ‘the new master of the modern person. Looking, thinking, feeling, seeing, bitching – he brilliantly encapsulates the “Existers” spirit of our time’. Robilliard’s portraits in word and line celebrate the fun of life, even when faced by the darkness and devastating despair of AIDS, always reminding us that, as he exclaimed: ‘Life Isn’t Good. It’s Excellent’.

Lot 72 | Sir Grayson Perry RA (British, b.1960) www.sworder.co.uk

Andrew Wilson September 2026 7

THE SURREALISTS AND THE OCCULT 8

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THE SURREALISTS AND THE OCCULT

1-35 LOT 1  Reuben Mednikoff (British, 1906-1972) Untitled (October 5, 1938 no. 4) watercolour and pencil 27.5 x 37.5cm; framed 42.5 x 52.5cm £1,500 - 2,500 Provenance: Acquired from the estate of the artist. Exhibited: Leeds Museums and Galleries, January 1998; The Mayor Gallery, London, March 1998.

1 LOT 2  Reuben Mednikoff (British, 1906-1972) Untitled (April 24 1944) signed ‘R. MEDNIKOFF’, pen and ink and watercolour 28 x 37cm; 41 x 49cm £1,200 - 1,800 Exhibited: Los Angeles County Museum of Art, 21 October 2012 - 6 January 2013, and The Morgan Library & Museum, New York, 25 January - 21 April 2013, ‘Drawing Surrealism’; De La Warr Pavilion, Bexhill-on-Sea, 6 October 2018-20 January 2019 and Camden Art Centre, London, 12 April 23 Jun 2019, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’; Colnaghi, London, ‘Dreamsongs: From Medicine to Demons to Artificial Intelligence’, 6 October 2020-27 November 2020.

Literature: Hope Wolf, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’, published by Camden Art Centre, 2019, illustrated p. 91.

LOT 3  Reuben Mednikoff (British, 1906-1972) A night-time view of a house signed and dated ‘Reuben/1924’ l.r., ink and wash and gouache 21 x 29.5cm; framed 44 x 51.5cm £400 - 600

Provenance: Acquired from the estate of the artist.

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LOT 4  Reuben Mednikoff (British, 1906-1972) Untitled (September 17 1935) dated ‘17th Sept 1935’ verso, oil on board 61 x 47cm; framed 79 x 64cm £3,000 - 5,000 Exhibited: Leeds Museums and Galleries, January 1998; The Mayor Gallery, London, March 1998; De La Warr Pavilion, Bexhill-on-Sea, 6 October 2018-20 January 2019 and Camden Art Centre, London, 12 April - 23 Jun 2019, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’. Literature: Hope Wolf, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’, published by Camden Art Centre, 2019, ill. p. 77.

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LOT 5  Reuben Mednikoff (British, 1906-1972) Untitled (Sept 21 1941) signed ‘R. MEDNIKOFF’ u.r., oil on canvas laid on board 76 x 51cm; framed 93 x 68cm £25,000 - 35,000 Exhibited: De La Warr Pavilion, Bexhill-on-Sea, 6 October 2018-20 January 2019 and Camden Art Centre, London, 12 April - 23 June 2019, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’; Dulwich Picture Gallery, London, ‘British Surrealism (1741-1948)’, 26 February 30 September 2020. Literature: Hope Wolf, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’, published by Camden Art Centre, 2019, illustrated on front cover; David Boyd Haycock, Sacha Llewellyn and Kirstie Meehan, ‘British Surrealism’, published by the Dulwich Picture Gallery, 2023, illustrated front cover (detail) and p. 85. Born to Russian-Jewish parents who emigrated to London, Reuben Mednikoff became an established British surrealist by the mid-1930s. He is best known for his artistic partnership with Grace Pailthorpe, whom he met in 1932. They shared a deep fascination with the subconscious, together developing their own approach to surrealism. They were expelled from the British Surrealist Group in 1940 for their scientific and therapeutic interpretation of the movement, which differed from that of their surrealist contemporaries. They subsequently lived in the United States and Canada before returning to Britain. Mednikoff died in London in 1972, having largely faded from public view. A highlight of James Birch’s collection is this Mednikoff painting, which hung above his bed for 20 years. Its imagery invites associations with Mednikoff’s life: the yacht, for instance, may allude to the journey he and Pailthorpe undertook to America. Birch recalls that ‘the hands and the feet look like a 1960s prog-rock album cover’, a quality that makes the work a particular favourite. The distorted central figure indicates Mednikoff’s fascination with surrealism and psychorealism, where human, animal and object merge within an uncanny psychological landscape.

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LOT 6  Reuben Mednikoff (British, 1906-1972) ‘The Last Aztec’ signed ‘R. MEDNIKOFF’ l.r. and dated ‘Sept 19th 1935’ verso, oil on board 45 x 36cm; framed 64 x 55cm £3,000 - 5,000 Exhibited: Guggenheim Jeune, London, 1939; Leeds Museums and Galleries, January 1998; The Mayor Gallery, London, March 1998; De La Warr Pavilion, Bexhill-on-Sea, 6 October 2018-20 January 2019 and Camden Art Centre, London, 12 April - 23 June 2019, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’. Literature: Hope Wolf, ‘A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism’, published by Camden Art Centre, 2019, illustrated p. 129.

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LOT 7  Reuben Mednikoff (British, 1906-1972) Head of a woman, circa 1930 signed ‘Reuben’ l.l., graphite 34 x 27cm; framed 57 x 48.5cm £500 - 800 Provenance: A cquired from the estate of the artist.

LOT 8  Reuben Mednikoff (British, 1906-1972) Head of a girl (November 16 1939, No. 1) inscribed and dated ‘Nov 16 1939 No1’ u.r., pencil 24 x 17.5cm; framed 33 x 26.5cm £800 - 1,200 Provenance: Acquired from the estate of the artist.

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13 LOT 9 A James Birch Fine Art exhibition poster and private view invitation for the exhibition ‘Je ne comprend pas la raison’ including works by Grayson Perry, Conroy Maddox, Edward Bell, Eileen Agar and David Robilliard, held at James Birch’s King’s Road gallery, London, 16 December 1985-20 January 1986 sheet 50.5 x 38cm; unframed £200 - 400 ‘This poster celebrated all the artists I had shown. It was a play on a surrealist image.’ LOT 10  Eileen Agar RA (Argentinian-British, 1899-1991) Untitled signed ‘AGAR’ l.r., pencil 21 x 24cm; framed 40.5 x 42cm £1,000 - 1,500

LOT 11  Eileen Agar RA (Argentinian-British, 1899-1991) ‘Two Lovers’, 1931 woodcut, signed ‘AGAR’ in pencil l.r., numbered 7/100 visible 14.5 x 21.5cm; framed 35.5 x 45cm £400 - 600 This woodcut was first conceived in 1931 and published in the June 1931 issue of ‘The Island’. This lot is from a further edition of 100 which was authorised by the artist later in her life. ‘Eileen Agar was a great friend from the early 1980s onward. I showed her work as often as possible.’

LOT 13  Joseph Bard (Hungarian, 1882-1975) Eileen Agar lying on a carpet, 1938 black and white photograph 23 x 35.5cm; framed 44 x 55cm £400 - 600 ‘This photograph of Eileen Agar lying on the floor was given to me by her in the late 1980s; the photographer was her husband.’

LOT 12 Eileen Agar RA (Argentinian-British, 1899-1991) ‘Bum and Thumb Rock, Ploumanach’, 1936 two gelatin silver prints, printed later, both signed, inscribed with title and dated verso 19.5 x 19.5cm; framed 32.5 x 31.5cm (2) £1,000 - 1,500

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LOT 14  Leonor Fini (Argentine-Italian, 1907-1996) Portrait study of a woman signed with initials l.r., pen and ink and wash 11 x 10.5cm; framed 46 x 43cm £5,000 - 10,000 Provenance: From the collection of Paul Conran. Leonor Fini was born in Buenos Aires in 1907, however, following her parents’ separation, she moved with her mother to the Italian city of Trieste. Here, Fini would leave the house disguised as a boy, to prevent capture from her estranged father. This early experience of androgynous dressing sparked a fascination within Fini for costume, gender role reversal and sexual fluidity, themes that she would later explore throughout her art. Fini is recognised as one of the most fiercely independent artists of the 20th century. Although her work appeared frequently in surrealist exhibitions, she never considered herself a surrealist, preferring instead to define herself strictly on her own terms. Fini died in 1996 and, according to her obituary in The Independent, ‘in the 17th century, Leonor Fini would have been burnt as a witch’. Although many of her works are classified as contemporary and surreal, the drawing in this sale reflects a quieter side to Fini’s practice. Delicately capturing some of her distinctive, intimate qualities, it sits on the opposite end of the spectrum from much of her more provocative and theatrical work.

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16 part lot

LOT 15 Daniel Farson (British, 1927-1997) Two photographs of Salvador Dali Salvador Dali in profile, gelatin silver print, for Picture Post 5587, Vol. 53, No. 7, 17 November 1951, with artist’s stamp and ‘BBC Hulton Picture Library’ stamp verso; together with another print of the artist with his wife and muse, Gala, also with artist’s stamp verso 21.5 x 19.5cm and 25 x 19.5cm; unframed (2) £200 - 400 LOT 16 Angus McBean (British, 1904-1990) A group of thirteen prints of surrealist photography from the 1930s and 1940s printed later, probably 1980s, including images of Mae West, René Rae, Pamela Stanley and Ivor Novello 36.5 x 29.5cm; mounted 40 x 55cm; unframed (13) £200 - 300

19 part lot

‘Annabel was a childhood friend. She painted these for my first gallery. I tried to have a new banner for every exhibition I did. Grayson Perry once painted me one on hardboard, but I painted over it for a new show.’ LOT 17  John Humphrey Spender (British, 1910-2005) John Banting, circa 1930s gelatin silver print, printed later, signed ‘Humphrey Spender’ in pen l.r., and inscribed ‘To James From Humphrey/1990’, with the photographer’s blind stamp image 35 x 24cm; framed 47.5 x 37.5cm £100 - 200

LOT 18 A photograph of Humphrey Spender in front of a John Banting painting signed ‘J Humphrey Spender’ in pencil and titled ‘H.S in circa 1932 with John Banting background’ in pen to mount 19.5 x 15.5cm; framed 36 x 28.5cm £50 - 80 ‘Humphrey Spender became a friend and I showed him in both my galleries.’

LOT 19 Annabel Grey (British, contemporary) A hand-painted fabric banner for the exhibition ‘John Banting: A Retrospective’ held at Oliver Bradbury and James Birch Fine Art, London, May-June 1983; together with three additional hand-painted fabric pieces banner 61 x 486cm; unframed (4) £100 - 150

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23 part lot LOT 20  Michael Werner (Austrian-British, 1912-1989) Surrealist horse etching, signed ‘Werner’ in pencil l.r. plate 16.5 x 12cm; framed 35.5 x 29cm £200 - 300 Born in France and raised in Graz and Vienna, Austria, Michael Werner (born Baron Werner von Alvensleben) was a sculptor, painter and creator of collages. He settled in England in 1938 and was associated with the European and British surrealist movements. LOT 21  Conroy Maddox (British, 1912-2005) Untitled (Skull) signed and dated ‘Conroy Maddox/’50’ l.r., watercolour and collage 39 x 27cm; framed 54 x 42cm £1,000 - 1,500 ‘I bought this from Conroy in the mid-80s. He was the last living surrealist.’

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21 LOT 22 An artwork by James Birch signed ‘James Birch’ to backboard, black and white photograph and ink 73 x 73cm; framed 84 x 84cm £100 - 150 ‘I made this in the mid-70s. It was taken from a glass photograph. The lungs are painted in ink.’ LOT 23  Anthony Earnshaw (British, 1924-2001) A group of seven ‘Secret Alphabet’ prints lithographs in various colours, No. 1, No. 2 (x2), No. 4, No. 5, No. 6 and No. 8, each signed and dated ‘Anthony Earnshaw/1976’ in pencil, inscribed with title, and variously numbered from an edition of 30 (unframed (x6) each sheet 56 x 83cm; framed (x1) 74 x 85.5cm) (7) £100 - 150 ‘Anthony Earnshaw was in a group show I put on in 1985 at the King’s Road gallery. I was amused by his decorative alphabet and always liked his surrealist sense of humour.’

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LOT 24 ‘A Salute to British Surrealism 1930-1950’ offset lithographic poster in colours for the exhibition organised by James Birch at Blond Fine Art, London, 22 May - 22 June 1985, including works by Eileen Agar, John Banting, Reuben Mednikoff, Conroy Maddox and Edward Burra sheet 59 x 42cm; unframed £100 - 150 LOT 25  Robert Jones (British, 20th century) Two figures mixed media on paper 100 x 70cm; framed 105.5 x 76.5cm £300 - 500

‘I was introduced to Robert Jones at the Royal College of Art. He was a protégé of Duggie Fields.’ LOT 26 20th Century School Nude pencil 34.5 x 25cm; framed 54 x 43cm £200 - 400 ‘I bought this in an auction, just thinking it was the most wonderful 1930s image.’ LOT 27  Andrew Goddard (British, b.1962) Anvil signed with initials l.r., oil on canvas 152 x 122cm; framed 159.5 x 128.5cm £100 - 150 ‘I gave Andrew Goddard an exhibition at my King’s Road gallery in 1986.’

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LOT 28  Inigo Batterham (British, 20th century) ‘Figure’, circa 1988 oil on canvas laid on board 85 x 63cm; framed 94 x 72cm £300 - 500

LOT 29  Austin Osman Spare (British, 1886-1956) Standing nude, circa 1936 signed with initials l.l., pencil and coloured chalks 58.5 x 31cm; framed 83 x 55cm £2,000 - 3,000 Exhibited: Hidden Noise, Glasgow, ‘Objections to an Empty Mind’, February - March 2012.

‘I bought this picture in 1985 and put it in an exhibition at my King’s Road gallery of his work the same year. This exhibition really put Austin Osman Spare on the map.’ www.sworder.co.uk

THE SURREALISTS AND THE OCCULT

1-35 LOT 30 Austin Osman Spare (British, 1886-1956) A collection of books, exhibition catalogues and auction catalogues relating to the artist to include: ‘The Valley of Fear’, by Austin Osman Spare, published by Fulgar Limited, 2008; ‘AOS EX-LIBRIS, The Bookplate Designs of Austin Osman Spare’ by Robert Ansell; ‘Austin Osman Spare’, published by the Viktor Wynd Museum of Curiosities, 2017 (qty.) £100 - 200 ‘I put on a very successful exhibition of Austin Osman Spare at the King’s Road gallery in 1985. This was a reintroduction of his work which seemed to bring him back into focus.’

30 LOT 31 Aleister Crowley (British, 1875-1947) Two signed letters from Aleister Crowley with the salutation ‘Care Frater’ in which he references the Church of England, the Confraternity of Christ the King, Thelema, birth control and moving house, both typed on headed paper and signed in pen, one sent from The Bell Inn, Aston Clifford, Bucks, dated January 13 1945, the other sent from Netherwood, The Ridge, Hastings, addressed to Dr Crow, Oratory of the Three Magi, 227 Glenfield Road, Western Park, Leicester, dated 16.10.45 20 x 12.5cm and similar (2) £500 - 700 LOT 32 Aleister Crowley (British, 1875-1947) ‘The High History of Good Sir Palamedes the Saracen Knight and of his Following of the Questing Beast’ first book edition, and first separate publication, published by Wieland & Company, London, 1912 £500 - 800

‘I was interested in Aleister Crowley from a young age, as my grandmother was a good friend of one of his lovers, who came to tea once with an ear trumpet.’ LOT 33 Aleister Crowley (British, 1875-1947) ‘Moonchild, a Prologue’ first edition, published by the Mandrake Press, London, 1929; together with ‘Aleister Crowley: The Man, the Mage, the Poet’, by Charles Richard Cammell, first edition, signed by the author, published by the Richards Press, London, 1951 (2) £100 - 150

33 Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 270

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LOT 34 A large group of books relating to Aleister Crowley, witchcraft and the occult to include: ‘Konx om Pax’ by Aleister Crowley; ‘The World, The Flesh, The Devil: A Biographical Dictionary of Witches’ by Eric Ericson; ‘A Dictionary of Mysticism’ edited by Frank Gaynor; together with a framed photograph of Aleister Crowley (qty.) £200 - 300 LOT 35  Madge Gill (British, 1882-1961) Woman, 1953 ink 31 x 12.5cm; framed 42 x 23cm £800 - 1,200 ‘Having given Madge Gill a show in 1985, I bought this from the show.’

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LOT 36 A promotional poster ‘Bacon in Moscow’ for James Birch’s first book, a memoir about curating a ground-breaking retrospective of Francis Bacon’s work at the Central House of Artists in Moscow, in 1988, published by Cheerio Publishers, London, 2022 sheet 152 x 104cm; unframed £300 - 500

‘This poster was designed to promote my first book “Bacon in Moscow” published in 2022. These posters were temporarily hung all over London and much graffitied.’

LOT 37  Francis Bacon (British, 1909-1992) ‘Three Studies for a Self-Portrait’ three lithographs in colours printed on one sheet, circa 1990 each image 33.5 x 28.5cm; framed 58.5 x 110cm £1,000 - 1,500

‘This was given to me by John Edwards after I turned down a tin of paintbrushes in Francis Bacon’s studio after the artist’s death.’

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LOT 38  Sir Donald McCullin (British, b.1935) A photograph of Francis Bacon gelatin silver print, stamped verso ‘THE TIMES/USED/10 MAY 1993’ 30 x 23cm; framed 43 x 33cm £200 - 300 LOT 39 Alastair Thain (German, b.1961) Four photographs of Francis Bacon taken at The Colony Room Club in 1987 and 1988 gelatin silver prints three unframed 30.5 x 24cm; one framed 42 x 34.5cm (4) £300 - 500 ‘We spent a lot of time in The Colony Rooms. Francis always enjoyed it there as it had no inhibitions. It always had an interesting combination of people.’

LOT 40 Francis Bacon (British, 1909-1992) A note from Francis Bacon to James Birch signed and inscribed ‘To Rawhide/with all best/ wishes/Francis Bacon’ on headed paper from Brantham Glebe, Manningtree, Essex 17.5 x 14cm; unframed £100 - 150 Illustrated in James Birch’s first book ‘Bacon in Moscow’, published by Cheerio Publishing in 2022.

LOT 41 Francis Bacon (British, 1909-1992) A signed letter from Francis Bacon to James Birch in which Bacon confirms that ‘it would be a great honour to exhibit my current work in the Soviet Union’ and proposes a visit to the USSR to discuss the details, sent from the artist’s studio at 7 Reece Mews, South Kensington and dated 2 June 1987 29.5 x 21cm £100 - 150

‘Francis was a friend of my parents, later becoming a close friend of mine. As a child, I loved the Clint Eastwood television series ‘Rawhide’, so much so that I was nicknamed Rawhide, which Francis found highly amusing. He wasn’t the biggest fan of children but was kind to me. I’m pleased to say that as time went on, alongside our personal friendship, we also developed a great working relationship.’

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LOT 42 A typed letter from Sergei Klokov to James Birch discussing details of the Francis Bacon exhibition to be held in Moscow, two pages, signed in pen and dated 1.03.88 29.5 x 21cm £100 - 150 ‘Sergei Klokov was my chief contact from the USSR for the Bacon show. He was an interesting character, full of wild stories. Without him, this exhibition wouldn’t have happened.’ LOT 43 Francis Bacon (British, 1909-1992) A handwritten letter from Francis Bacon to James Birch in which Bacon discusses the forthcoming exhibition in Moscow, sent from the artist’s studio at 7 Reece Mews and dated 16/05/88, three pages with original envelope three sheets 22.5 x 18cm £100 - 150

‘This was a letter to me from Francis Bacon around the time of the Moscow show. This letter was included in my book ‘Bacon in Moscow’ about taking the Francis Bacon exhibition to Moscow.’ LOT 44 Francis Bacon (British, 1909-1992) A handwritten letter from Francis Bacon to James Birch in which Bacon tells James he is unable to travel to Moscow due to ill health, sent from the artist’s studio at 7 Reece Mews and dated 23/8/88, with original envelope 25 x 20cm £100 - 150 ‘This letter was a surprise that Francis wasn’t coming to Moscow due to ill health. This was the start of the decline of his health before his death. As much as I tried, Francis never made a trip to Moscow. The Bacon exhibition took place in 1988 and had more than 400,000 visitors.’

LOT 45 Vladimir Brajnin (Russian, b.1951) ‘Moscow Nights’ signed and inscribed in Cyrillic and dated ‘86’ verso, oil on canvas 40 x 50; framed 44 x 64cm £300 - 500 ‘This was given to me in Moscow by Sergei Klokov. We visited this artist’s studio on our first tour of the USSR in 1986. Later on, Klokov received a painting from Francis Bacon. So this was a constant amusing reminder that I received this, and he, a Francis Bacon.’ www.sworder.co.uk

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LOT 46 Francis Bacon (British, 1909-1992) A signed Russian exhibition catalogue for the Francis Bacon show held at the Central House of Artists, Moscow, 23 September - 6 November 1988 organised by James Birch, signed and inscribed ‘To James/with very best wishes/Francis’, published by the British Council in partnership with the Marlborough Gallery 30 x 24.5cm £100 - 150 LOT 47 Francis Bacon (British, 1909-1992) A Russian exhibition poster of ‘Study for a Portrait of John Edwards’ offset lithograph in colours, produced for the Francis Bacon retrospective held at the Central House of Artists, Moscow, 23 September - 6 November 1988, organised by James Birch sheet 90 x 57.5cm; unframed £300 - 500

LOT 48 Francis Bacon (British, 1909-1992) A Mayor Gallery exhibition catalogue for Francis Bacon’s first group show, ‘Recent Paintings by English, French and German Artists’, April 1933, the gallery’s inaugural exhibition at 18 Cork Steet, London, which included works by Francis Picabia, Joan Miró, Max Ernst, Georges Braque, Pablo Picasso, Ben Nicholson and Henry Moore 23 x 15.5cm £60 - 80 LOT 49 Francis Bacon (British, 1909-1992) Four Marlborough Gallery exhibition catalogues from 1965 and later together with a large group of exhibition catalogues, auction catalogues and newspaper cuttings relating to the artist, including a Russian exhibition catalogue for the Francis Bacon retrospective held at the Central House of Artists, Moscow, 23 September - 6 November 1988, organised by James Birch (qty.) £100 - 150 ‘Because of my relationship with Francis Bacon, I always bought any book I found on him.’

‘The Moscow exhibition was a great success, there were 400,000 people attending.’ Lot 50

36-71 LOT 50 Francis Bacon (British, 1909-1992) A Christie’s ‘Francis Bacon Triptych 1986-7’ auction catalogue for the sale held at King Street, London, 1 March 2022, featuring an image of the queue for the Francis Bacon exhibition held at the Central House of Artists, Moscow, 1988, photographed by James Birch; together with a black and white photograph of James Birch, John Edwards and Francis Bacon taken by Jeremy Blank in 1987, signed and inscribed ‘To James/Best wishes 1987/ Jeremy/J Blank’; and an invitation to the exhibition ‘Mark Ellidge 1939-2010, Art Through the Lens’ held at The Gallery at Green & Stone, 2023, featuring the image ‘Cleaning Lady: Francis Bacon Paris 1987’ catalogue 27 x 20cm £100 - 150

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50 LOT 51 Daniel Farson (British, 1927-1997) Two head shots of Francis Bacon gelatin silver prints, one signed ‘Daniel Farson’ to mount 18.5 x 19cm; framed 43 x 42.5cm and 19 x 19cm; framed 33 x 32cm (2) £200 - 400 ‘I met Dan Farson in The Colony Room in the 80s when I had a gallery practically underneath. I later gave him an exhibition, with Humphrey Spender, in my gallery. I became very good friends with Dan, who came out to Moscow for the Gilbert & George exhibition in 1990 and consequently went on to write a book about the event. He was a great friend of Francis Bacon and later Gilbert and George.’

51 LOT 52 Daniel Farson (British, 1927-1997) Two head shots of Francis Bacon gelatin silver prints, both signed ‘Daniel Farson’ to mounts with artist’s stamp verso 30 x 25.5cm and smaller; mounts 56 x 48cm; unframed (2) £300 - 500 ‘I knew Daniel Farson, and gave him an exhibition at Birch & Conran in Dean Street in the late 80s. Dan, Francis Bacon and I regularly drank together in The Colony Room Club.’

52 part lot LOT 54 Francis Bacon (British, 1909-1992) A large collection of books relating to the artist to include: ‘Francis Bacon’ by Lawrence Gowing and Sam Hunter, published by Thames & Hudson Ltd., 1989; ‘Francis Bacon’ by John Russell, published by Thames & Hudson Ltd.,1971; ‘Francis Bacon: New Studies: Centenary Essays’ edited by Martin Harrison, published by Steidl, 2009 (qty.) £200 - 400

LOT 53 Francis Bacon (British, 1909-1992) A collection of books relating to the artist to include: ‘Francis Bacon, Paintings of the Eighties’, published by Marlborough Gallery, 1987; ‘Francis Bacon’s Studio’ by Margarita Cappock; ‘In Camera: Francis Bacon’ by Martin Harrison (15) £100 - 200 ‘Because of my relationship with Francis Bacon, I always bought any book I found on him.’ www.sworder.co.uk

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36-71 LOT 55 After Nikolai Tomsky A bust of Vladimir Lenin 20th century, plaster 39cm wide, 44cm deep, 56cm high £300 - 500

‘Misha Mikheev, an important Soviet official from the Union of Artists, brought this from Moscow as a gift for me in 1990, handing it to me on an aeroplane. It’s meant to be by Tomsky as a maquette for a statue in East Berlin.’

LOT 56 Eastern European School, 20th century Two large paintings of Vladimir Lenin both inscribed in Cyrillic, individually dated ‘1961’ and ‘1965’ verso, oil on canvas 206 x 160cm and 248 x 172cm; unframed (2) £200 - 300 LOT 57 A Lomonosov porcelain model of Vladimir Lenin mid-20th century, Russian modelled in a seated position before a tree, printed mark 26cm wide, 25cm deep, 47cm high £300 - 500

55 LOT 58 A death mask of Vladimir Lenin, 20th century, Russian modelled within drapery, plaster 32cm wide, 18cm deep, 41cm high £200 - 400 ‘This was bought in Moscow from the plaster sculpture factory in the 1990s.’ LOT 59 A death mask of Lev Kamenev (1883-1936) 20th century, Russian plaster 20cm wide, 18cm deep, 31.5cm high £200 - 400 ‘I got this in Russia in the early 90s. Lev Kamenev was one of the founding members of the Politburo.’

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LOT 60 After Fyodor Savvich Shurpin ‘The Morning of Our Motherland’ inscribed in Cyrillic and dated ‘1952’ verso, oil on canvas 116 x 168cm; framed 131 x 182cm £500 - 800 ‘I bought this from the father of someone who worked at my gallery in Dean Street. I got this newly framed for my ‘Bacon in Moscow’ book launch, but it was never shown due to Putin’s war.’ LOT 61 Eastern European School, 20th century Three large paintings of Joseph Stalin by various hands one signed in Cyrillic l.r., two signed and inscribed in Cyrillic and dated verso, oil on canvas largest 180 x 128cm; unframed (3) £150 - 250 LOT 62 A porcelain figure of Joseph Stalin, first half of the 20th century, modelled half-length, in uniform 34cm wide, 20cm deep, 37.5cm high £300 - 500

LOT 63 A death mask of Joseph Stalin, 20th century, Russian after the bronze cast taken on his death in 1953, currently residing in the Stalin Museum, Gori, Georgia; and a pair of plaster hand casts of Stalin mask 26cm wide, 14.5cm deep, 32.5cm high, left hand 10cm wide, 4.7cm deep, 21cm long, right hand 13cm wide, 6.1cm deep, 18cm long (3) £400 - 600 ‘These were bought in Moscow from the plaster sculpture factory in the 1990s.’

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64 part lot

66 LOT 64 A Soviet propaganda poster of Joseph Stalin ‘The Teacher and Leader of Progressive Humanity’ together with a large group of posters, prints and photographs of political figures including Karl Marx, Vladimir Lenin and Mikhail Gorbachev (qty.) £200 - 300

LOT 65 Eastern European School, 20th century Portrait of Nikita Khrushchev (1894-1971) inscribed in Cyrillic verso, oil on canvas 80 x 60cm; framed 89 x 69cm £300 - 500 ‘I bought this on one of my trips to Russia in the 1990s when I was organising the Gilbert & George exhibition.’

LOT 66 Two Soviet paintings of workers circa 1960s gouache on board 70 x 100cm; unframed (2) £200 - 300

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‘Elena Khudiakovia was a Soviet fashion designer who I met in Paris in 1985 before my trips to Moscow. She is a key person in my book ‘Bacon in Moscow’. Her designs use early Soviet imagery with an influence from the early constructivist designer Varvara Stepanova. She often wore her own clothes. It is believed Elton John bought two dresses from the Sotheby’s sale in 1988.’

LOT 67 Elena Khudiakova (Russian, 1958-2015) A group of seven Soviet and constructivist-inspired fashion drawings each signed and dated from 1985-1991, gouache and gold paint; together with a collection of clothing, including two avant-garde dresses and a jacket with an image of a young Lenin designed by the artist 29 x 29cm; framed 43.5 x 43.5cm and smaller (qty.) £500 - 800

LOT 68 Elena Khudiakova (Russian, 1957-2015) Four avant-garde dresses and a choker with associated fashion designs each illustration signed and dated ‘89’ l.r., gouache and gold paint; together with a handwritten letter sent to Warner by the artist with a collection of colour photographs, and an invitation for the exhibition ‘Elena Khudiakova: Costumes and Fashion Designs from the USSR’ held at Birch & Conran, Dean Street, London, 2 October - 7 October 1989 each design 28.5 x 20cm; framed 44 x 35cm £500 - 800 Provenance: The collection of Warner Dailey, who purchased these from the artist circa 1989.

Khudiakova studied art at the Moscow Architectural Institute, before moving to London in 1989, where she quickly established herself as a painter and designer, reinterpreting Soviet imagery from the 1920s into avant-garde fashion designs. Her work often incorporated familiar Soviet symbols of hammers and sickles and the Kremlin skyline. She was inspired by the early 20th-century constructivist designers Nadezhda Lamanova and Varvara Stepanova, as she sought to transform the functional Soviet aesthetic into stylised, elegant fashion designs, bringing together the Soviet Russian culture of her childhood and the modern consumerism of the West. Whilst in London, Khudiakova associated with influential artists, including Francis Bacon and Gilbert & George. She exhibited work at the Birch and Conran Gallery, Anthony Reynolds Gallery, and at the Russian Cultural Centre at Pushkin House in London, and her work quickly became highly desirable, featuring in the collections of Charles Saatchi and Elton John. In the late 1980s, Khudiakova’s designs featured on the popular daytime television programme ‘This Morning’, bringing her work into the mainstream. From 1994 to 2010, she worked with the eminent British fashion designer Vivienne Westwood.

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36-71 LOT 69 Elena Khudiakova (Russian, 1957-2015) ‘Toys’ signed and dated ‘E. KHUDIAKOVA 2004’ l.r., oil on canvas 93 x 71cm; framed 104 x 81cm £500 - 800

‘Elena was a Russian fashion designer who I met in Moscow in 1985; she was an acquaintance of Sergei Klokov who was responsible for the Bacon exhibition I put on in 1988. Elena was a classically trained painter as well as a designer. She was a big part of the story in my “Bacon in Moscow” book.’ 69

LOT 70 Elena Khudiakova (Russian, 1957-2015) Still life with rhubarb and a cocktail signed and dated ‘E. KHUDIAKOVA 1991’ l.l., oil on canvas 60 x 50cm; framed 74 x 64cm £300 - 500

‘Elena studied painting in Russia for seven years before she was allowed to put brush to canvas.’ 70

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LOT 71  Sir Grayson Perry RA (British, b.1960) Elena Khudiakova photographed in a dress that she designed, 1989 digital colour print, printed later, signed ‘Grayson Perry’ l.c.; together with an invitation for the exhibition ‘Elena Khudiakova: Costumes and Fashion Designs from the USSR’ held at Birch & Conran, Dean Street, London, 2 October - 7 October 1989 with a cover image by Grayson Perry 85.5 x 53.5cm; framed 104 x 71cm (2, print and exhibition invitation) £800 - 1,200

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‘Grayson took this photograph of Elena before the fashion show I gave her in my Dean Street gallery. A similar photograph appears in my book “Bacon in Moscow”.’

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‘I’D NEVER SEEN ANYTHING LIKE HIS WORK BEFORE.’ I met Grayson Perry in a squat in Camden Town, in the mid-80s, where he lived with his then girlfriend, and good friend of mine, Jennifer Binnie. She asked if I’d like to see her boyfriend’s ceramics. When I visited the squat, the pots were scattered randomly throughout the space. I was overwhelmed by what I saw and immediately wanted to give him a show. And the following year, 1984, I did just that at my King’s Road gallery. I’d never seen anything like his work before. The exhibition was almost a complete sell-out, and the response was overwhelmingly positive. While working on the exhibition, we quickly became friends, and we have remained so ever since. It’s been remarkable to witness his success as a true renaissance figure, something he thoroughly deserves. Following the London show, Grayson was invited to take part in a group exhibition in Rome. We travelled with three of his pots in our hand luggage, one of them being ‘Il Douche’ (lot 81). The curator failed to meet us at the airport as promised, so we enjoyed our time in Rome without ever showing the work. Grayson had a motorbike licence and drove us around the city, allowing us to take in the sights with ease. Thankfully, both we and the pots made it safely back home.

James Birch www.sworder.co.uk

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LOT 72  Sir Grayson Perry RA (British, b.1960) ‘Saint Diana (Let them Eat Shit)’, 1984 mixed media sculpture 22cm wide, 20cm deep, 38cm high £40,000 - 60,000 Exhibited: James Birch Fine Art, King’s Road, London, ‘Grayson Perry Ceramics and Sculpture’ (Grayson’s debut solo exhibition), 14 December 1984-20 January 1985; The Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 - 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022. Literature: Catrin Jones (ed.) and Chris Stephens (ed.), ‘Grayson Perry: The Pre-Therapy Years’, published by Thames and Hudson Ltd., 2020, ill. p. 72. ‘I was at once fascinated and repulsed by the cult of Princess Diana that flowered in the years after her marriage to Prince Charles. This reliquary is crafted from detritus scavenged from round our squat and pottery sherds found mudlarking on the Thames foreshore. It is in the form of a miniature coronation chair…My miniature throne come commode houses a sacred turd. Perhaps inspired by Piero Manzoni’s ‘Artist’s Shit’ (1961), I had tried to encase one of my own faeces in a block of resin, which ended in a smelly mess, so I made a fake one out of ceramic.’ - Grayson Perry (‘Grayson Perry: The Pre-Therapy Years’, edited by Catrin Jones and Chris Stephens, published by Thames and Hudson Ltd., London, on the occasion of the exhibition at the Holburne Museum, Bath, 2020). Please note that this lot has been promised for a major exhibition scheduled for 2028.

‘This work was in Grayson’s first show at my King’s Road gallery in 1984. This exhibition was a really interesting mix of Grayson’s works, including sculptures and ceramics. It was nearly a sell-out show. This work was very popular at the exhibition and was bought. I later bought it from auction and was happy to have it back in my care.’

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LOT 73  Sir Grayson Perry RA (British, b.1960) ‘Essex Landscape Plus Stocks’, 1985 glazed ceramic, with artist’s mark above boar l.r. 36cm wide, 5cm deep, 29cm high £2,000 - 3,000 Exhibited: The Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 - 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022. Literature: Catrin Jones (ed.) and Chris Stephens (ed.), ‘Grayson Perry: The Pre-Therapy Years’, published by Thames & Hudson Ltd., 2020, ill. p. 93. LOT 74  Sir Grayson Perry RA (British, b.1960) Wooden box with vessel, circa early 1980s wood, copper, metal and string with found objects (glass bottle, ointment tube and paper) 6.5cm wide, 6.5cm deep, 11cm high £2,000 - 3,000

‘I bought this small wooden box with vessel from Grayson’s studio in the 80s and I believe it was made in the early 80s before he got into ceramics. It has never been shown in a gallery.’

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LOT 75  Sir Grayson Perry RA (British, b.1960) ‘The Manifesto of the Pot Politic’, 1985 glazed ceramic with stamped text, stamped ‘CLAIRE PERRY 1985’ l.c. 36.5cm wide, 27cm deep, 4cm high £3,000 - 5,000 LOT 76  Sir Grayson Perry RA (British, b.1960) Untitled cup with devil, circa 1986 glazed ceramic, slab built with relief and transfer details 10cm wide, 7.5cm deep, 9.5cm high £1,000 - 1,500 ‘A Christmas gift from Grayson to my Mother in 1989.’

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LOT 77  Sir Grayson Perry RA (British, b.1960) ‘The Crown of Penii’, 1982 bronze with green patina, steel, leather, ceramic and found objects 24cm diameter, 11.5cm high £60,000 - 80,000 Exhibited: James Birch Fine Art, King’s Road, London, ‘Grayson Perry Ceramics and Sculpture’ (Grayson’s debut solo exhibition), 14 December 1984-20 January 1985; The Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 - 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022. Literature: Catrin Jones (ed.) and Chris Stephens (ed.), ‘Grayson Perry: The Pre-Therapy Years’, published by Thames and Hudson Ltd., 2020, ill. p. 69. ‘This work is based on a famous medieval relic, the Iron Crown in Monza Cathedral, near Milan… It combines ideas about maleness, religion and monarchy. It has lots of phallic imagery and many of the ingredients of my early work: a space shuttle, a Celtic cross, a kind of Willendorf Venus, an American car, a knife and a pistol. The first space shuttle mission had been launched in 1981 and I’d taken a great interest in it; we all thought it would blow itself into smithereens.’ - Grayson Perry (‘Grayson Perry: The Pre-Therapy Years’, edited by Catrin Jones and Chris Stephens, published by Thames and Hudson Ltd., London, on the occasion of the exhibition at the Holburne Museum, Bath, 2020). Please note that this lot has been promised for a major exhibition scheduled for 2028.

‘This work was in Grayson’s first show at my King’s Road gallery in 1984. He made this at art school (Portsmouth College of Art) where bronze was available for students. Otherwise it would have been too expensive. It’s a surprisingly heavy object.’

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LOT 78  Sir Grayson Perry RA (British, b.1960) ‘Grayson of Pez’, early 1980s glazed ceramic 26cm diameter, 1.5cm high £2,000 - 3,000 Provenance: G ifted to James Birch by Grayson Perry in 1984. ‘This was never shown. It was given to me as a gift after Grayson’s debut show in 1984, but he had made it before.’ LOT 79  Sir Grayson Perry RA (British, b.1960) ‘Animal Love’, 1984 glazed ceramic, dated ‘84’ with raised artist’s mark verso 33cm wide, 25cm deep, 3cm high £2,000 - 3,000 Exhibited: James Birch Fine Art, King’s Road, London, ‘Grayson Perry Ceramics and Sculpture’ (Grayson’s debut solo exhibition), 14 December 1984-20 January 1985; the Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 - 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022. Literature: Catrin Jones (ed.) and Chris Stephens (ed.), ‘Grayson Perry: The Pre-Therapy Years’, published by Thames & Hudson Ltd., 2020, ill. p. 71. LOT 80  Sir Grayson Perry RA (British, b.1960) ‘Cosmic Chick’ glazed ceramic, inscribed with title to centre of cross 29cm wide, 2cm deep, 49cm high £2,000 - 3,000 Provenance: Purchased from Grayson’s show at James Birch Fine Art, December 1984.

Exhibited: James Birch Fine Art, King’s Road, London, ‘Grayson Perry Ceramics and Sculpture’ (Grayson’s debut solo exhibition), 14 December 1984 - 20 January 1985.

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LOT 81  Sir Grayson Perry RA (British, b.1960) ‘Il Douche’, circa 1987 glazed earthenware pot 16cm wide, 16cm deep, 32cm high £40,000 - 60,000 Provenance: Purchased from Grayson’s show at Birch & Conran Fine Art, September 1987. Exhibited: Birch & Conran, Dean Street, Soho, London, ‘Grayson Perry Ceramics’, 16 September - 9 October 1987, catalogue no. 51.

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LOT 82  Sir Grayson Perry RA (British, b.1960) ‘Eat More Beans’ (Portrait of James Birch) glazed ceramic plate, signed, inscribed and dated ‘Portrait of/James Birch/1986/GRAYSON Perry’ verso 27cm diameter £2,000 - 3,000 LOT 83  Sir Grayson Perry RA (British, b.1960) ‘Good Old England’, 1987 glazed ceramic cup and saucer cup 19cm wide, 12.5cm deep, 11cm high; saucer 19cm diameter (2) £5,000 - 7,000 Provenance: Purchased from Grayson’s show at Birch & Conran Fine Art, Dean Street, Soho, September 1987. Exhibited: The Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022.

‘I produced a postcard that was published by Artist Postcards. My image was of a double-decker bus saying ‘Eat More Beans’. Grayson painted this plate for me in reference to this in 1986.’

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LOT 84  Sir Grayson Perry RA (British, b.1960) ‘The New Beauty Beyond Irony Beyond Cynicism Beyond Perversion and All the Knowledge of Age’, 1987 glazed ceramic cup and saucer, with artist’s mark to saucer cup 19cm wide, 14cm deep, 10cm high; saucer 23cm diameter (2) £5,000 - 7,000 Provenance: Purchased from Grayson’s show at Birch & Conran Fine Art, Dean Street, Soho, September 1987. Exhibited: The Holburne Museum, Bath, ‘Grayson Perry: The Pre-Therapy Years’, 24 January 2020 - 3 January 2021, touring to York Art Gallery, 28 May 2021 - 5 September 2022 and the Sainsbury Centre, Norwich, 19 September 2021-30 January 2022. Literature: Catrin Jones (ed.) and Chris Stephens (ed.), ‘Grayson Perry: The Pre-Therapy Years’, published by Thames & Hudson Ltd., 2020, ill. p. 105. LOT 85  Sir Grayson Perry RA (British, b.1960) Untitled (Love) linocut, artist’s proof, signed ‘Grayson Perry’ in pencil l.l., inscribed ‘A/P’ sheet 28 x 19.5cm; framed 42.5 x 32.5cm £1,000 - 1,500

‘One Christmas, Grayson and I, along with a few others, carved out some lino prints in the cottage I rented in the countryside.’ 85 www.sworder.co.uk

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86 LOT 86 Sir Grayson Perry RA (British, b.1960) A price list and two private view invitations for the artist’s debut solo exhibition ‘Grayson Perry: Ceramics and Sculpture’ held at James Birch Fine Art, King’s Road, London, 14 December 1984-20 January 1985; together with an exhibition catalogue for ‘Grayson Perry: Ceramics’, Birch & Conran, Dean Street, Soho, London, 16 September - 9 October 1987; a private view invitation for the exhibition ‘Grayson Perry: Recent Work’, Birch & Conran, Dean Street, Soho, London 9 May - 8 June 1990; a signed box of six postcards published on the occasion of ‘Grayson Perry: The Vanity of Small Differences’ at Victoria Miro Gallery, London, 7 June - 11 August 2012; and three loose postcards (9) £100 - 150 LOT 87 Sir Grayson Perry RA (British, b.1960) ‘Guerrilla Tactics’ offset lithographic poster in colours, signed, inscribed and dated ‘To Darling/James/much love/ from/ Grayson/13/6/02’, for the exhibition held at the Stedelijk Museum, Amsterdam, 18 May - 25 August 2002 sheet 175 x 118.5cm; unframed £250 - 350

Guerrilla Tactics, 2002, was a landmark solo exhibition that cemented Grayson Perry’s reputation as one of Britain’s leading contemporary artists. Commissioned by the Barbican Art Gallery, London, it showcased his ceramics, prints and textiles, before travelling to the Stedelijk Museum, Amsterdam, expanding Perry’s international profile. Later that year, Perry was awarded the Turner Prize, marking this exhibition as a defining moment in his career.

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88 LOT 88  Sir Grayson Perry RA (British, b.1960) ‘100% Art’ glazed porcelain plate, 2020, artist’s seal printed to base, produced for the Holburne Museum, Bath 21cm diameter £250 - 350

LOT 89  Sir Grayson Perry RA (British, b.1960) ‘Kate Board’ offset lithograph and screenprint in colours on a wooden skateboard deck, 2017, from the edition of 999, co-published by the artist and The Skateroom, Brussels, in the original Skateroom bag 81cm long, 20cm deep, 5cm high overall £400 - 600 LOT 90  Philippa Perry (British, b.1957) Untitled glazed ceramic 17cm wide, 2cm deep, 23.5cm high £300 - 500 Provenance: G ifted from the artist.

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‘For the last show in my King’s Road gallery, I had Conroy Maddox and the Neo Naturists painting their bodies and printing them on to newspaper print. Conroy always said he painted a bull on Jennifer Binnie’s body, but when it was printed it looked like a sheep. Conroy said “you can’t get more surreal than that”. There was a great turnout, and we auctioned the prints straight off the walls led by Ulla “The Queen of Chelsea”.’ 50

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LOT 91  Conroy Maddox (British, 1912-2005) ‘Bull’, Jennifer Binnie body print inscribed ‘’’Georgiousness Personified’’/Jennifer Binnie/30th July 1986’ l.c., bears further inscription ‘Pressed by/Caspar Auf der Mauer’ l.r., mixed media on paper 226 x 54cm; framed 232 x 60cm £800 - 1,200 LOT 92  Conroy Maddox (British, 1912-2005) Jennifer Binnie body print inscribed ‘Wonderful Taut Thighs/ Casper Auf der Mauer/painted by Jennifer Auf der Mauer’, mixed media on paper 232 x 56cm; unframed £500 - 700 ‘This was another body print from the performance piece with the Neo Naturists. They were painted by Conroy with body paint. Each body canvas was printed whilst the paint was still wet. This was done in the window of the King’s Road gallery.’

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72-97 LOT 93  Jennifer Binnie (British, b.1958) Self-portrait with dog, 1983 oil on canvas, in the original artist’s painted frame 103 x 170cm; framed 180 x 124cm £800 - 1,200

93 LOT 94  Jennifer Binnie (British, b.1958) ‘Horse Person’ signed ‘Jennifer Binnie’, inscribed with title and dated ‘2011’ verso, oil on board 31.5 x 53cm; framed 38.5 x 60cm £300 - 500

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LOT 95  Jennifer Binnie (British, b.1958) Three dogs oil on canvas (27 x 81cm (uneven); framed 37 x 92cm) £800 - 1,200 Provenance: Purchased from the artist’s studio sale in the 1990s. LOT 96  Jennifer Binnie (British, b.1958), a desk and chair, painted wood, the desk with a painted wooden top above three drawers to each side, each drawer with a chrome metal handle, the chair with a fabric seat pad table 106cm wide, 48cm deep, 74cm high (2) £400 - 800

‘I commissioned Jennifer to paint this desk and chair for a contemporary art fair in London I had a stall at in 1986. This is where I sat.’ LOT 97 Christine Binnie (British, b.1955) ‘The Binnie Sisters’, ‘God’ and ‘Common’ three glazed ceramic pots with decals and photographic transfers, each stamped with initials to base largest 16.5cm high (3) £600 - 800

‘I’ve known Christine since the Blitz Club days. I always have admired her pots. She was responsible for taking Grayson Perry to pottery evening classes in Battersea.’ www.sworder.co.uk

FILM AND CELEBRITY 54

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LOT 98  Ray Bellisario (British, 1936-2018) A colour photograph of Bridget Bardot photographed in the London pub ‘The Coach and Horses’ on Bruton Street in Mayfair, during promotion of her film ‘Shalako’, 1968, printed later, signed with blind stamp 33 x 28.5cm; framed 43 x 33cm £150 - 200 LOT 99 Ray Bellisario (British, 1936-2018) A group of four photographs of Brigitte Bardot including one colour print of the actress photographed in the London pub ‘The Coach and Horses’ on Bruton Street in Mayfair, during promotion of her film ‘Shalako’, 1968, printed later, signed and numbered 1/10, with blind stamp; and three framed prints, two in colour and one in black and white, from the same tour (unframed 62 x 61cm; framed (x3), largest 70 x 70cm) (4) £400 - 600 LOT 100 Ray Bellisario (British, 1936-2018) Two photographs of Brigitte Bardot gelatin silver prints, one of the actress in large sunglasses during the promotion of her film ‘Shalako’ in London, 1968, printed later, signed l.r. 49 x 37cm; framed 63.5 x 51.5cm and 35.5 x 23.5cm; framed 52.5 x 42.5cm (2) £200 - 400

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102 LOT 101 Ray Bellisario (British, 1936-2018) A group of four photographs of Brigitte Bardot including one black and white print of the actress photographed in the back of a limousine during the promotion of her film ‘Shalako’ in London, 1968, printed later, signed and numbered 1/10, with blind stamp; a duplicate image in colour; and two black and white prints of Bardot in sunglasses, each signed, with blind stamp 62 x 61cm and smaller; unframed (4) £500 - 800

LOT 102 Ray Bellisario (British, 1936-2018) A group of four photographs of Brigitte Bardot including one colour print of the actress photographed in the back of a limousine during the promotion of her film ‘Shalako’ in London, 1968, printed later, signed and numbered 1/10, with blind stamp; and three further prints from the same tour largest 45 x 66cm; framed 70 x 90cm (4) £500 - 800

LOT 103  Angus McBean (British, 1904-1990) A Florence de Gramont portrait for Harpers & Queen Ilford colour print, signed, inscribed and dated ‘Angus McBean/London & Paris, 89’ to mount 48.5 x 38.5cm; framed 67 x 54cm £150 - 200

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LOT 104  Angus McBean (British, 1904-1990) A studio portrait photograph of Vivien Leigh, 1950 gelatin silver print, printed later, signed, inscribed and dated ‘Angus McBean/London 50’, inscribed verso ‘Vivien Leigh/Studio 1950/Vivien had her raven hair dyed blonde/ to play in Streetcar [‘A Streetcar Named Desire’] - she could not/wear a whig [sic] as she would usually have/done - the physical violence of one/scene precluded this -’, with artist’s copyright stamp 46.5 x 36.5cm; framed 63 x 53cm £200 - 300 LOT 105  Angus McBean (British, 1904-1990) A studio portrait photograph of Vivien Leigh, 1940 gelatin silver print, printed later, signed and dated ‘Angus McBean/40’, inscribed verso ‘One of the set of 8/Portrait shots taken/most years in my studio/This was before the opening/of ‘Romeo & Juliet’ in America/in 1940’, with artist’s copyright stamp 50.5 x 40cm; unframed £150 - 250 LOT 106 Angus McBean (British, 1904-1990) Two studio photography portraits of Vivien Leigh, 1954 and 1955 gelatin silver prints, both printed later, each signed and inscribed ‘Angus McBean/London’, dated ‘55’ and ‘54’, one inscribed verso ‘Vivien Leigh - Nov 5 1913-July 7 1967/Taken in her Stratford upon Avon apartment/for the 1955 season/ Her favourite ‘studio’ picture -/it was difficult to get her to pose showing her/hands which she thought coarse and ugly - in fact they were strong expressive actress hands -/reprinted 1986’, both with artist’s copyright stamp 50 x 40cm and 46 x 36cm; unframed (2) £200 - 300

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LOT 107 Angus McBean (British, 1904-1990) A group of three studio portrait photographs of Vivian Leigh, Peggy Ashcroft and Lupe Vélez gelatin silver prints, all later printed: the print of Vivien Leigh signed, inscribed and dated ‘Angus McBean/London 58’, inscribed verso ‘Vivien Leigh as Paola in Giraudoux’s/’Duel of Angels’ at the Apollo theatre London/April 24 1958’, with artist’s copyright stamp; the print of Peggy Ashcroft signed, inscribed and dated ‘Angus McBean/London/38’ to mount; the print of Lupe Vélez signed, inscribed and dated ‘Angus McBean/London/36’, inscribed verso ‘Lupe Valez [sic]/in Transatlantic Rhym [sic] 1936 50.5 x 40.5cm and smaller; one framed 53 x 59cm (3) £200 - 400

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98-121 LOT 108 Angus McBean (British, 1904-1990) Two studio photography portraits of Vivien Leigh, 1955 gelatin silver prints, both printed later, each signed and inscribed ‘Angus McBean/ London’, one dated ‘55’ (printed 1986) and one dated ‘38’, with photographer’s notes and copyright stamps verso 47 x 36.5cm; framed 67.5 x 55.5cm and 45 x 32.5cm; framed 65.5 x 51.5cm (2) £200 - 400

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‘Angus McBean always photographed Vivien Leigh in the best way.’

109 LOT 109 Angus McBean (British, 1904-1990) Two studio photography portraits of Vivien Leigh, 1936 and 1949 gelatin silver prints, both printed later, each signed and inscribed ‘Angus McBean/ London’, one dated ‘49’ (printed 1986) and one dated ‘36’, with photographer’s notes and copyright stamps verso 47 x 36cm; framed 67.5 x 55.5cm and 47.5 x 36.5cm; framed 67.5 x 55.5cm (2) £200 - 400

LOT 110  Angus McBean (British, 1904-1990) Audrey Hepburn, 1951 gelatin silver print, printed later, signed, inscribed and dated ‘Angus McBean/London 51’, also inscribed verso ‘Picked out of a chorus line/of a revue I had photographed/& used for one of my very rare/advertisement pictures for a beauty/product [calamine lotion] ‘The beauty which dares to come close’/This was taken in my Endell st/studio 1951 & was Audrey Hepburn’s/first published picture.’, with artist’s copyright stamp 44 x 34.5cm; framed 63.5 x 52.5cm £150 - 250

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111 part lot LOT 111 Angus McBean (British, 1904-1990) A group of three studio photography portraits of Denise Anthony gelatin silver prints, each signed and inscribed ‘Angus McBean/London’ to mounts, with artist’s stamp verso; together with five further prints, some printed later 21 x 16cm and similar; unframed (8) £200 - 300

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112 LOT 112  Angus McBean (British, 1904-1990) A studio photograph of Jessie Matthews, 1951 gelatin silver print, printed later 42 x 27cm; framed 74 x 54cm £100 - 150 ‘I knew Angus McBean and he was incredibly charming. I bought this from auction years after meeting him.’

LOT 113 Angus McBean (British, 1904-1990) A group of nine prints of celebrities and actors from the 1940s, 1950s and 1960s printed later, probably 1980s, including images of Noël Coward, Ingrid Bergman, Shirley Bassey, Elizabeth Taylor, Margot Fonteyn and Marlene Dietrich 36.5 x 29.5cm; mounted 40 x 55cm; unframed (9) £200 - 300

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LOT 114 Daniel Farson (British, 1927-1997) A group of ten photographs including images of Cliff Richard, Jeffrey Bernard, Joan Littlewood and others, four signed to mount, one signed verso, the remainder stamped verso 30.5 x 44cm and similar; unframed (10) £200 - 400 LOT 115 Michael Woods (British, b.1952) A large group of black and white photographs of celebrities including images of Quentin Crisp, George Melly, Tim Roth, Ken Russell and Peter Davies, the majority signed; together with images of Rome largest 40.5 x 30.5cm; unframed (qty.) £200 - 400

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LOT 116  John French (British, 1907-1966) Jean Shrimpton wearing a Mary Quant dress, 1964 gelatin silver print for the Daily Mail, London, stamped ‘D.M- 8 MAY 1964’ and ‘JOHN FRENCH’ verso 35 x 28cm; framed 53.5 x 45.5cm £200 - 400 LOT 117 Nicholas Taylor (American, b.1953) ‘Jean-Michel Basquiat’, 1979, and ‘Joey Arias & Klaus Nomi at Mudd Club’, 1979 two gelatin silver prints, artist’s proofs, printed 2003, both signed in pencil, inscribed and dated to lower edge each 28 x 35.5cm; unframed (2) £200 - 300

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Provenance: G ifted to James Birch by Michael Holman with inscriptions verso ‘Love you James/Merry Christmas/Michael Holman/2003/4’ and ‘James, James, James!/Love/Michael Holman/2003/4/ Remember these guys!!’.

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LOT 118 A group of photography books to include: ‘Angus McBean’, with text by Adrian Woodhouse, signed by the photographer, published by Quartet Books, London, 1982; ‘The Cult of the Street’ by Henry Bond, signed by the author; ‘Wolfgang Tillmans: Burg’, with an essay by David Deitcher, published by Taschen,1998 (12) £150 - 250

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‘My parents rented their house to Cilla Black and this drawing came from there.’ LOT 119 A dress design for Cilla Black For her record ‘Love’s Just a Broken Heart’ pencil and colour crayon with annotations and inscriptions, indistinctly signed and inscribed verso, ‘Dear Cilla/Just a fragment of an idea for a dress that/I hope will suit you, which I think could be made to your style/of beauty and song/Bert Gibbings(?)/P.S. Best Luck/For the ToPs. Bert.G.’, with a tracing paper overlay inscribed ‘Broken Heart Dress’ with two portrait sketches in pencil 29 x 20.5cm; unframed £100 - 150

LOT 120 Justin de Villeneuve (British, b.1939) Three figure sketches one signed and indistinctly inscribed ‘Zenia(?)/ by/Justin’, felt-tip pen 29 x 22.5cm; unframed (3) £250 - 350

LOT 121 A vintage Diana Dors poster for Coventry Eagle Cycles 74 x 48cm; framed 78 x 51.5cm £50 - 80

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Justin de Villeneuve was supermodel Twiggy’s manager from 1966 to 1973.

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LOT 122 Attributed to Pauly et Cie a grotto chair 19th century, Italian, painted and parcel-gilt, the shell-form back and seat flanked by dolphin arms, raised on shell legs 54cm wide, 50cm deep, 91cm high, 40cm to seat £2,000 - 3,000 LOT 123 A collection of Italianate pottery of recent manufacture comprising four Casa Pupo urns, and a pair of Portuguese pineapple finials, printed and impressed marks urns 31.5cm diameter, 40.5cm high; pineapples 26cm diameter, 68cm high (6) £600 - 800 LOT 124 A side cabinet mid-20th century, Chinese elm with brass mounts, the rectangular top above two pairs of doors opening to reveal two cupboards, with four drawers 141cm wide, 52.5cm deep, 88.5cm high £800 - 1,200 ‘I bought this from an ethnographical dealer off Cork street. It is a fantastic storage space.’ LOT 125 Gordon Russell (British, 1892-1980), a zebrano sideboard, circa 1960s, the rectangular top above a cupboard with two sliding doors, with a pull-out writing surface, above three drawers, raised on ebonised legs 91cm wide, 51cm deep, 128cm high £400 - 600

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Provenance: Purchased from Sotheby’s in the 1980s.

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122-135 LOT 126 After Charles-Édouard Jeanneret aka ‘Le Corbusier’, an ‘LC3’-style three-seater sofa, of recent manufacture, black leather with a tubular chrome frame, unmarked 195cm wide, 72cm deep, 70cm high, 42cm to seat £400 - 600

126 LOT 127 Rodney Kinsman (British, b. 1943), a pair of ‘Tractor’ stools, 1960s, each chromed metal seat raised on a chrome tubular support 42cm wide, 39cm deep, 55cm high (2) £200 - 300

LOT 128 After Eero Aarnio, a ‘Pastil’ chair, originally designed 1967, circa 1980s, red fibreglass, unmarked 82cm wide, 82cm deep, 54cm high, 34cm to seat £600 - 800 Provenance: W ith Tommy Roberts.

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128 LOT 129 Arne Jacobsen (Danish, 1902-1971) for Fritz Hansen an ‘Egg’ dining table model 3603, originally designed in 1953, manufactured in the 1950s, lacquered plywood, painted steel, and rubber, with applied manufacturer’s label 84cm wide, 114cm deep, 69cm high £400 - 600

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130 LOT 130 Boss Design, a green leather sofa and armchair, of recent manufacture, each upholstered in green leather and raised on an aluminium base sofa 198cm wide, 72cm deep, 68cm high, 40cm to seat (2) £500 - 700 64

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LOT 131  Tom Dixon (British, b.1959), a tall chair, of recent manufacture, grey fabric upholstery, raised on four beech legs, with applied manufacturer’s label 39cm wide, 43cm deep, 128cm high, 46cm to seat £80 - 120 LOT 132 Bruce McLean (British, b.1944) for Fulham Pottery, a rectangular dish, glazed earthenware with painted and incised decoration, signed ‘Fulham Pottery Bruce McLean’, impressed ‘The Fulham Pottery’ and ‘JPL’ 24.5cm wide, 65cm long, 3.7cm high £300 - 500 ‘I bought this from Bernard Jacobson Gallery in the mid-1980s.’

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LOT 133 Piero Fornasetti (Italian, 1913-1988), a set of twelve storage jars, circa 1960, Italian, the nine large jars comprising ‘Biscuits’, ‘Rice’, and seven ‘Salt’ jars, the three small jars comprising ‘Tea’, ‘Coffee’ and ‘Sugar’, transfer-decorated and gilt porcelain, printed mark large 15cm diameter, 24cm high; small 11cm diameter, 17cm high (23) £300 - 500 LOT 134 A group of design and architecture books to include: ‘Fornasetti, Designer of Dreams’, by Patrick Mauries, published by Thames & Hudson to coincide with the exhibition held at the Victoria and Albert Museum, London, 2 October 1991 - 19 January 1992; ‘Modern Chairs’ by Charlotte and Peter Fiell, published by Taschen, 1993; ‘David Hicks on Living - With Taste’, published by Leslie Frewin, London, 1968 (qty.) £100 - 200 LOT 135 A large group of art and design books to include: ‘Picabia’, by Maria Lluisa Borras, published by Thames & Hudson; ‘Glass, A Contemporary Art’, by Dan Klein, published by William Collins Sons & Co.; ‘From A to Biba’ by Barbara Hulanicki, published by Hutchison & Co.; ‘Jean Prouvé’ published by Taschen (qty.) £100 - 200

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‘Colin Self became a good friend over the years and I have always bought his work.’ LOT 136  Colin Self (British, b.1941) Hand with plaster signed and dated ‘Colin Self 9.1.2002’ l.l., pencil with plaster 37 x 23cm; framed 59.5 x 47.5cm £200 - 300 LOT 137  Colin Self (British, b.1941) ‘Madonna and Child’ relief print in colours, signed and dated ‘Colin Self/29 August 2000’ and inscribed ‘For James Love Colin’ in pencil l.l., numbered 3/40, with LPP blind stamp sheet 105 x 73cm; framed 115 x 84cm £200 - 300

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LOT 138  Colin Self (British, b.1941) ‘Study for Trees in Winter’ signed with initials and dated ‘15.1.66’ l.r., pen and ink 22.5 x 27.5cm; framed 39 x 44cm £150 - 250 Provenance: With Marlborough Gallery, London; with Annely Juda Fine Art, London.

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LOT 139 Tom Wesselmann (American, 1931-2004) Nude from the portfolio ‘11 Pop Artists, Volume II’, 1965-66 screenprint in colours, signed ‘Wesselmann’ in pencil l.r., numbered 131/200, printed by Knickerbocker Machine & Foundry Inc., New York, published by Original Editions, New York visible 60 x 75cm; framed 76.5 x 92.5cm £4,000 - 6,000

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‘I met Nico at Dingwalls where she was performing in 1985. She was a friend of my friend Mary Lemley and she then came to live with us. She would often perform on her small portable organ in the apartment. She also did that on her 40th birthday which was WITH me and the Neo Naturists.’

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141 LOT 140  Sir Peter Blake RA (British, b.1932) ‘I Love You’, 2013 giclée print in colours, signed ‘Peter Blake’ in pencil l.r., numbered 109/200, published for the Art Car Boot Fair at the Truman Brewery, London sheet 29.5 x 41.5cm; framed 42 x 53.5cm £800 - 1,200

142 LOT 141 Billy Name (American, 1940-2016) ‘Nico #1’, 1967 screenprint, printed later, signed ‘BILLY NAME’ in pencil l.r., numbered 7/40; together with five signed notes from when Nico [German-born singer, songwriter and model, Christa Päffgen] lived with James Birch and Mary Lemley; and a script for ‘Cancel my Subscription to the Resurrection’, a play with music by Darryl Read, inscribed ‘Nico’s copy’ image 20 x 18.5cm; framed 39.5 x 36cm (7) £500 - 800

LOT 142  John Claridge (British, 1944-2026) Nico, 1963 pigment print, printed later, signed ‘Claridge’ in pen l.r., inscribed with title and dated ‘1963’ l.l., with the photographer’s blind stamp image 29.5 x 23.5cm; framed 53.5 x 43cm £150 - 200

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144 part lot LOT 143 Andy Warhol and Nico in Paris circa 1966 two prints on paper with printed acetate overlays and text 21.5 x 29.5cm; framed 22 x 31cm and 20.5 x 29cm; framed 23 x 32cm (2) £100 - 150 Andy Warhol managed and produced the band ‘The Velvet Underground’. Nico was German singer-songwriter and model, Christa Päffgen. LOT 144 Sunday B. Morning, after Andy Warhol ‘Marilyn Monroe’, 11.22, 11.24 and 11.26 three screenprints in colours on board from an open edition, each stamped ‘published by Sunday B. Morning’ and ‘fill in your own signature’ in blue ink verso each 91.5 x 90cm; one framed 98 x 97.5cm (5, three prints and two certs. of authenticity) £200 - 300 Provenance: This lot is accompanied by two Certificates of Authenticity, one each for Marilyn 11.22 and Marilyn 11.24, issued by Sunday B. Morning, 2017. www.sworder.co.uk

LOT 145  Hayden Kays (British, b.1985) ‘This is Not a Bomb’ painted wooden box with collage, signed ‘Hayden Kays’ and numbered 12/21 to base 44cm wide, 35.5cm deep, 44cm high £300 - 500 LOT 146  Derek Boshier (British, 1937-2024) ‘Sex War Sex Cars Sex’ (Cleanliness is Next to Godliness) offset lithograph in colours, produced in collaboration with poet Christopher Logue, signed and dated ‘Derek Boshier 1966’ in pencil l.r., numbered 26/100 sheet 58 x 44.5cm; unframed £200 - 300

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148 LOT 147  Richard Hamilton CH (British, 1922-2011) ‘Kent State’, 1970 screenprint in colours, signed ‘R. Hamilton’ in pencil l.r., numbered 4006/5000, printed by Dietz Offizin, published by Dorothea Leonharf, Munich with blind stamp image 66.5 x 86.5cm; framed 75 x 104cm £300 - 500 LOT 148  Joe Tilson RA (British, 1928-2023) ‘Transparency, the Five Senses - Touch’, 1971 screenprint and vacuum-formed acrylic, signed ‘Joe Tilson’ in ink and numbered 26/40 on label verso 60 x 60cm £500 - 800

149 LOT 149  Joe Tilson RA (British, 1928-2023) ‘J - James Joyce and Others’, Fragment of an Oneiric Alphabet screenprint, signed and dated ‘Tilson/1970’ in pencil l.r. 148 x 74cm overall; framed 157.5 x 82.5cm £200 - 300 LOT 150  David Bailey (British, b.1938) An original Christine Keeler contact sheet, 1969 gelatin silver print, with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010, ill. p. 69 (23 x 18.5cm (uneven); framed 43 x 37cm) (2, print and exhibition catalogue) £800 - 1,200 Provenance: Acquired directly from Christine Keeler.

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‘I bought this contact sheet from Christine Keeler. She was very protective over her images - meaning her going wherever they went before they were sold - and understandably so. After becoming good friends, I showed her collection at The Mayor Gallery in 2010.’

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136-187 LOT 151  David Bailey (British, b.1938) An original Christine Keeler contact sheet, 1969 gelatin silver print, with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 15.5 x 3.5cm; framed 35.5 x 21.5cm (2, print and exhibition catalogue) £200 - 300

‘Purchased from Christine Keeler herself and exhibited at The Mayor Gallery. She had kept these since the 60s - part of her legacy, that finally she was making some money from.’ LOT 152 David Bailey (British, b.1938) A group of books and catalogues relating to the artist to include: David Bailey, ‘The Lady is a Tramp: Portraits of Catherine Bailey’, with text by Fay Weldon, signed by the artist and author, published by Thames & Hudson,1995; David Bailey, ‘Black and White Memories’, a catalogue for the exhibition held at the Victoria and Albert Museum, 28 September - 27 November 1983; David Bailey and Martin Harrison, ‘Archive One 1957-1969’, published by Thames & Hudson (11) £150 - 250

LOT 153 Edgar Brind (British, 20th century) A group five Christine Keeler portrait photographs, 1960 gelatin silver prints, four stamped ‘PROOF COPY TO BE RETURNED’, one partially stamped, all with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 16.5 x 12cm; framed 36.5 x 30cm (6, five prints and exhibition catalogue) £200 - 400 Provenance: Acquired directly from Christine Keeler. Images of a young Christine Keeler, before the Profumo affair. LOT 154 Edgar Brind (British, 20th century) A group of eight photographs of Christine Keeler, 1960 and 1965 gelatin silver prints, each with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 16.5 x 12cm and similar; framed 36 x 30.5cm (9, eight prints and exhibition catalogue) £200 - 400

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154 part lot Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 270

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LOT 155 Edgar Brind (British, 20th century) A group of five photographs of Christine Keeler modelling swimwear, 1960 gelatin silver prints, probably all taken on the same shoot, each with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 17 x 12cm; framed 36.5 x 30.5cm and similar (6, five prints and exhibition catalogue) £200 - 400 Provenance: Acquired directly from Christine Keeler. Images of a young Christine Keeler, before the Profumo affair. LOT 156 Edgar Brind (British, 20th century) A group of four photographs of Christine Keeler modelling swimwear, 1960 gelatin silver prints, probably all taken on the same shoot, each with a ‘Collection of Christine Keeler’ stamp to the reverse of the frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 20.5 x 15.5cm; framed 40.5 x 34cm (5, four prints and exhibition catalogue) £200 - 400

155 part lot

Provenance: Acquired directly from Christine Keeler. Images of a young Christine Keeler, before the Profumo affair. LOT 157 Edgar Brind (British, 20th century) A group of eight Christine Keeler portrait photographs, 1965 gelatin silver prints, each with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 24 x 19cm; framed 44 x 37.5cm (9, eight prints and exhibition catalogue) £300 - 500

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159 LOT 158  Lewis Morley (British-Australian, 1925-2013) Christine Keeler, 1963 gelatin silver print, printed 1993, signed and dated ‘Lewis Morley ‘93’ l.l., signed by Christine Keeler l.r. 38.5 x 28.5cm; framed 53 x 43cm £500 - 800 LOT 159  Lewis Morley (British-Australian, 1925-2013) and Desmond Banks (20th century) Christine Keeler collage a photographic collage using an image by Lewis Morley, devised and constructed by Desmond Banks, Christine Keeler’s solicitor and close friend 49 x 49cm; framed 60 x 60cm £200 - 400 LOT 160  Nina Mae Fowler (British, b.1981) Christine Keeler collage and pencil 115 x 80cm; framed 123.5 x 92cm £1,000 - 1,500 LOT 161 Various photographers A group of five photographs of Christine Keeler, including a glamour shot in a bikini, circa 1958, by Marc Henrie gelatin silver prints, each with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; and a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 24 x 19cm; framed 44 x 37.5cm (6, five prints and exhibition catalogue) £200 - 400 Provenance: Acquired directly from Christine Keeler. Images of a young Christine Keeler, before the Profumo affair.

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LOT 162 Various photographers, a group of eleven Christine Keeler photographs with friends, family, celebrities, and some of her relaxing at home gelatin silver prints, 1965 and later, each with ‘Collection of Christine Keeler’ stamp to the reverse of the frame; with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November 17 December 2010 largest 26.5 x 20.5cm; framed 47.5 x 39cm (12, eleven prints and exhibition catalogue) £200 - 400 Provenance: Acquired directly from Christine Keeler. LOT 163 161 part lot 162 part lot Ray Bellisario (British, 1936-2018) A group of four Christine Keeler ‘First Day Out of Prison’ photographs gelatin silver prints, with a ‘Collection of Christine Keeler’ stamp to the reverse of each frame; together with a catalogue for the exhibition ‘Christine Keeler, My Life in Pictures’, held at The Mayor Gallery in association with James Birch, 3 November - 17 December 2010 largest 24 x 19.5cm; framed 43 x 36.5cm (5, four prints and exhibition catalogue) £200 - 400 Provenance: Acquired directly from Christine Keeler. These images depict Christine Keeler on the day she was released from Holloway prison in June 1964, having served four-and-a-half months of a nine-month sentence for perjury, for her role in the labyrinthine events of the Profumo affair.

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LOT 164 A collection of nine Christine Keeler letters sent home from prison, dated 8 December 1963 to 19 April 1964, written by Christine Keeler to her parents while she was interned in Parkhurst Holloway Prison for six months after her conviction for perjury, each letter is on HM prison notepaper with her prison number, 7904, together with three envelopes addressed to her parents 19 x 11.5cm and similar (12) £2,000 - 4,000 Provenance: Acquired directly from Christine Keeler. It was Keeler’s link to the Profumo Affair - a scandal that rocked the nation in the early 1960s - that ultimately led to her six-month imprisonment for perjury from December 1963. In 1961, Keeler, then aged 19 and working as a model/topless showgirl, met John Profumo, the Secretary of State for War in Harold Macmillan’s Conservative government. The two began a short-lived affair, whilst stories began to circulate that Keeler was also romantically involved with Yevgeny Ivanov, Soviet military attaché in London. Profumo initially denied the affair in a statement to the House of Commons in 1963, but later admitted that he had lied during the police investigation. The scandal of his lie and the obvious security dangers of the Ivanov situation irreparably damaged the government’s credibility, and Macmillan resigned as Prime Minister in October 1963, citing ill health, with the fallout contributing to the Conservatives’ defeat in the 1964 general election. Stephen Ward - osteopath to royalty and nobility, and the man who introduced Keeler to Profumo - was accused of pimping out Keeler and her friend, Mandy Rice-Davies. He was taken to court, but committed suicide before a verdict could be made. This, along with another trial of one of Keeler’s lovers accused of attacking Keeler at her home, which was proven false, led to her imprisonment for perjury.

‘I bought these letters from Christine, which she had written to her parents whilst in Holloway Prison. These sad but sweet letters really show her vulnerability and youth.’ 78

136-187 LOT 165 Christine Keeler and the Profumo Affair a large group of books, magazines, newspapers, records, VHS tapes, articles, correspondence and invitations from the 1960s to early 2000s, including a journalist’s notebook from the Stephen Ward trial (qty.) £200 - 400

POPULAR CULTURE

LOT 166 A signed photograph of the actress Maureen Swanson, Countess of Dudley gelatin silver print, signed ‘Yours Sincerely, Maureen Swanson’ 35.5 x 27cm; framed 43.5 x 33.5cm £100 - 150 Born in Glasgow in 1932, the actress Maureen Swanson appeared in several notable British films in the 1950s. However, following her marriage to William Ward, Viscount Ednam, in 1961, she permanently ended her flourishing acting career, and later held the title of Countess of Dudley. During her late teens, she had a personal relationship with the artist and photographer Stephen Ward, who was a key figure in the 1963 Profumo affair. Swanson denied Christine Keeler’s claim in her autobiography that she had been one of ‘Stephen’s girls’ and successfully sued the publisher for defamation.

166

LOT 167  Stephen Ward (British, 1912-1963) Portrait of the model and actress Sue Lloyd signed ‘STEPHEN WARD’ l.r., oil on canvas laid on board 51 x 41cm; framed 62.5 x 52.5cm £500 - 800 Provenance: Purchased from Warner Dailey. Exhibited: Leicester Gallery, De Montfort University, Leicester, ‘Scandal ‘63 Revisited’, 13 March 15 April 2023.

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LOT 168  Jamie Reid (British, 1947-2023) Black Queen (Red), 2018 screenprint in colours, signed ‘Jamie Reid’ and also signed with monogram in silver marker pen l.r., numbered 15/100 57.5 x 40cm; framed 61 x 43cm £300 - 500

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LOT 169 Jamie Reid (British, 1947-2023) The Sex Pistols a front cover from the fanzine ‘Anarchy in the U.K.’, issue number one, designed by Jamie Reid in collaboration with Sophie Richmond, Ray Stevenson, Vivienne Westwood and Malcolm McLaren, published by Pistols’ management company Glitterbest Ltd. for the ‘Anarchy in the UK’ tour, December 1976 45.5 x 32cm; framed 52.5 x 43cm £200 - 400 Provenance: A gift from Malcolm McLaren.

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LOT 170 ‘It’s the Rolling Stones 1973 European Tour!’ a concert poster designed by John Pasche offset lithograph in colours 83 x 58cm; framed 87 x 62cm £100 - 150

LOT 171 Woodstock, 1969 offset lithographic poster in colours, printed later, signed by Arnold Skolnick, Richie Havens and Grace Slick image 62 x 46cm; framed 79 x 59cm £60 - 80

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LOT 172 A large collection of badges, mainly music related, including some punk bands, 1960s and later various sizes (qty.) £150 - 200 LOT 173 ‘Solidarité avec le Vietnam’, a Belgian Communist Party poster together with five further anti-Vietnam War posters and several pamphlets and postcards relating to the war 84 x 58.5cm and smaller; unframed (qty.) £100 - 150

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LOT 174 ‘No Arms for South Africa, Anti-Apartheid’ poster with a group of sixteen other political posters and prints from Nicaragua, Chile, Afghanistan and Angola 74.5 x 51cm and smaller; unframed (17) £200 - 300 LOT 175 A collection of American political badges, 1970s and later (qty.) £100 - 150 LOT 176 A large collection of badges, keyrings and other novelty items from the 1970s, 1980s and 1990s (qty.) £100 - 200

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LOT 177 ‘To the Skies’ (NASA 69-HC-747) a limited edition colour print of the American president Lyndon B Johnson watching the Apollo 11 rocket launch produced by the Fairley Archive of Space Exploration from an original transparency from the National Aeronautical Space Administration, inscribed with title in pencil l.c., numbered 1/100 image 27 x 39cm; framed 53 x 68cm (2, print and certificate of authenticity) £100 - 200 This lot is accompanied by a Certificate of Authenticity issued by FASE (Fairley Archive of Space Exploration), signed by Alistair Fairley.

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178 LOT 178 ‘The Last of England’ film poster circa 1987 for the film directed by Derek Jarman, starring Tilda Swinton 152 x 101.5cm; unframed £50 - 80

179 LOT 179 Ruben Vasilyevich Suryaninov (Russian, 1930-2024) ‘Greenham Common, Peace’ offset lithographic poster in colours, 1984, printed and published in Moscow sheet 67 x 48cm; framed 74 x 53cm £100 - 150

180 LOT 180  Darren Coffield (British, b.1969) ‘Insurgent’ (Coke bottle) screenprint and coloured crayon, signed and dated ‘Darcoff 09’ in pencil l.r., inscribed with title l.l. 37 x 27cm; framed 53.5 x 41.5cm £100 - 150 Provenance: A gift from the artist.

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183 detail LOT 181 Emory Douglas (American, b.1943) ‘Endangered Species’, 2011 two screenprints in colours, both signed in pencil l.r., numbered 14/50 and 15/50 respectively with LAZARIDES blind stamp; together with a signed postcard inscribed ‘To James’, from the exhibition ‘The Artwork of Emory Douglas’ at The Outsiders gallery, London, 19 August 10 September 2011 each sheet 49.5 x 69.5cm; unframed; postcard 10 x 15cm; framed 17 x 22cm (3) £300 - 500

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184 LOT 182 Ellen Cantor (American, 1961-2013) ‘Princess...’ pencil, coloured crayon and collage 34 x 43cm; framed 48 x 54cm £300 - 500 ‘Ellen gave this to me as a gift after she stayed in my home for a while.’ LOT 183 ‘Mary Takes a Plunge’, A large billboard poster for Mary Quant waterproof make-up consisting of twelve abutting sheets in colour each sheet 152 x 103cm; unframed (12) £100 - 150

LOT 184 Ellen von Unwerth (German, b.1954) Naomi Campbell, 1991 silk scarf produced for the ‘Naomi in Fashion’ exhibition at the V&A, 2025 103 x 103cm; framed 107.5 x 107.5cm £100 - 150

‘This was a huge billboard poster which I acquired from the advertising agency. I didn’t realise quite how big it was so it has never been hung.’ Lot 103

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185 part lot

186 part lot LOT 185 A collection of fashion and music advertising posters and prints to include images of Kate Moss, Georgia May Jagger, Madonna, The Crazy World of Arthur Brown and Christine Keeler 76 x 51cm and similar; unframed (9) £200 - 300 LOT 186 A mixed group of advertising, art and war posters to include Tracey Emin, ‘Love is What you Want’ Hayward Gallery poster, 2002, Malcom McLaren ‘Casino of Authenticity and Karaoke’ exhibition posters, Good Year advertisements, and a Second World War propaganda poster calling on blood donors 85 x 60cm and smaller; unframed (21) £100 - 150 LOT 187 A large collection of popular culture badges, including film, pop, royalty, advertising and art-related examples (qty.) £100 - 200

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LOT 188 Gilbert & George (British, b.1943 and 1942) Four Gilbert & George China exhibition posters offset lithographs in colours, produced for the 1993 exhibition held at the National Art Gallery in Beijing and the Shanghai Art Museum, organised by James Birch each sheet 50 x 70cm; unframed (4) £200 - 400 LOT 189 Gilbert & George (British, b.1943 and 1942) A collection of correspondence and ephemera relating to the Gilbert & George China Exhibition, 1993 held at the National Art Gallery in Beijing and the Shanghai Art Museum, organised by James Birch, including a copy of a letter in which Gilbert & George express their excitement at the possibility of an exhibition in China, letters exchanged between James Birch and the Cultural Department of the Embassy of the People’s Republic of China, a handwritten letter on headed paper from the artists inscribed ‘Dear James/ Here are catalogues & letter/Please phone if you/need anything else/Congrats Dear/All our love as always/ Gibert & George’, and sashes from different galleries and individuals that were put around bunches of flowers (qty.) £200 - 400 LOT 190 Gilbert & George (British, b.1943 and 1942) ‘Have Your Photo Taken with Gilbert & George’ a promotional cardboard cut-out for the book launch of ‘Gilbert & George and the Communists’ by James Birch, published by Cheerio Publishing in 2025, in two sections each section 194cm high (2) £300 - 500

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‘This Gilbert & George cut-out was used for the book launch of “Gilbert & George and The Communists” in January 2025 at the Art Workers’ Guild. It was much used, even in their presence.’

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LOT 191 Gilbert & George (British, b.1943 and 1942) A group of five signed Gilbert & George books to include: ‘Worlds and Windows’ with an introduction by Robert Rosenblum, published by Robert Miller Gallery, 1990; ‘Gilbert & George: The Singing Sculpture’; ‘Gilbert & George: The Cosmological Pictures’; ‘Gilbert & George: New Democratic Pictures’; ‘Grey Fuel’, all signed by Gilbert & George (5) £50 - 80

195 LOT 192 Gilbert & George (British, b.1943 and 1942) A group of seven signed Gilbert & George books and exhibition catalogues to include: ‘The Art of Gilbert & George’ by Wolf Jahn, published by Thames & Hudson, 1989; ‘Monarchy and Democracy’ by Wolf Jahn; ‘Gilbert & George: A Portrait’ by George Farson, all signed by Gilbert & George (7) £60 - 80 LOT 193 Gilbert & George (British, b.1943 and 1942) Two Russian exhibition posters, ‘Shag’ and ‘We’ offset lithographs in colours, produced for the Gilbert & George exhibition held at the Central House of Artists, Moscow, 27 April - 1 June 1990, organised by James Birch sheet 90 x 57.5cm and 87 x 57.5cm; unframed (2) £100 - 200

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LOT 194 Gilbert & George (British, b.1943 and 1942) A collection of correspondence and ephemera relating to the Gilbert & George in Moscow Exhibition, 1990 held at the Central House of Artists from 27 April - 1 June 1990, to include letters exchanged between James Birch, Tahir Salakhov and Sergei Klokov, a letter signed by Gilbert & George on the artist’s headed paper, a signed photograph, private view invitations and stickers (qty.) £100 - 150 LOT 195 A large collection of Russian badges, the majority with enamel details, 1960s and later various sizes (qty.) £100 - 200

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LOT 196 Gilbert & George (British, b.1943 and 1942) A group of six signed Gilbert & George books and exhibition catalogues to include: ‘Moscow 1990’ (Russian), published on the occasion of the Gilbert & George exhibition held at the Central House of the Artists, 27 April - 1 June 1990, organised by James Birch, Sergei Klokov and Judy Adam; ‘Gilbert & George: The Complete Pictures 1971-1985’; ‘Worlds and Windows’ by Gilbert & George; ‘Gilbert & George: Scapegoating Pictures for London’, all signed by Gilbert & George (6) £50 - 80

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LOT 197 Gilbert & George (British, b.1943 and 1942) A large group of books, catalogues, invitations, magazines and ephemera relating to the artists to include: ‘Gilbert and George New Testamental Pictures’, signed and inscribed ‘For Our Dear James/with all our love/now and forever/Gilbert and George’ published by Galerie Thaddaeus Ropac, 1998; ‘Gibert and George: The Naked Shit Pictures’, for the exhibition at the South London Gallery, 5 September 19 October 1995, signed ‘With Lots of love from/Gilbert & George’; ‘Gilbert & George: 1968 to 1980’, published by Municipal Van Abbemuseum, Eindhoven, 1980 (qty.) £200 - 300

LOT 198 Gilbert & George (British, b.1943 and 1942) A signed letter to James Birch relating to the ‘FOR AIDS’ fundraising exhibition on the artists’ headed paper inscribed ‘Dear James/It was lovely/to see you last night/Here are ‘’FOR AIDS’’/cards for you and Sergei/and Elena and whoever/All Our Love/Speak soon/ Love G & G.’; together with an exhibition catalogue, two offset lithographic posters in colours and two private view invites for the exhibition held at Anthony d’Offay Gallery, London, 22 April - 20 May 1989, a menu for the preview dinner held at Simpson’s-in-the-Strand, London, on 20 April 1989; and a catalogue for the ‘Art for Aids’ charity auction organised by The Islington & Haringey Gay Group in March 1989 posters 62 x 50cm; unframed (8) £200 - 400 LOT 199 Gilbert & George (British, b.1943 and 1942) ‘Jack Freak Pictures’ two offset lithographic posters in colours, both signed ‘Gilbert and George’ in gold marker pen, produced for the exhibition at White Cube, London, 2009 each sheet 59 x 89cm; unframed (2) £100 - 150 LOT 200 Gilbert & George (British, b.1943 and 1942) ‘Swear Box’, 2023 plywood box, published by The Gilbert & George Centre 14cm wide, 8.5cm deep, 10cm high £100 - 150

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201 LOT 201 A Chinese advertising poster for cigarettes with another similar 76.5 x 27cm; unframed (2) £100 - 200 LOT 202 After Hou Bo Chairman Mao Zedong (1893-1976) offset lithograph in colours on board, published by People’s Fine Arts Publishing House, Beijing, China; together with an offset lithographic poster of Mao Zedong after Zhang Zhenshi 132 x 97cm; unframed; and 64.5 x 48.5cm; framed 80.5 x 63.5cm (2) £200 - 300

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LOT 203 A Chinese Cultural Revolution porcelain figure group, mid-20th century, modelled as five figures holding banners and red books, impressed mark 32cm wide, 18cm deep, 40cm high £200 - 400 LOT 204 A collection of Chinese Cultural Revolution ceramic items, 20th century, comprising: a propaganda figure group, depicting a Red Guard stood behind a kneeling figure, three busts and two standing figures of Mao Zedong, two chargers with printed decoration, a cup and cover, and a footed bowl, various marks largest 47.5cm high (11) £400 - 600

LOT 205 A group of ten Chinese Cultural Revolution alarm clocks, circa 1970, nine depicting figures holding red books, the tenth depicting a comet largest 13cm wide, 6cm deep, 18cm high (10) £100 - 200 LOT 206 A large collection of Chinese and South Korean badges, together with other novelty items (qty.) £100 - 200

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209 part lot

‘I bought this in North Korea on one of my trips there, with an idea of doing an exhibition.’

208 LOT 207 A North Korean propaganda poster design pencil and gouache 51 x 70cm; framed 63 x 83cm £150 - 200

LOT 208 Two North Korean propaganda posters for the National Arts Festival held in April 2008 together with a poster for the film ‘Traces of Life’ 93 x 63cm and smaller; unframed (3) £100 - 150

LOT 209 Musetta Ripamonti (contemporary) ‘The Speaker’, ‘Shadows’ and ‘Waiting for a Train’ three screenprints in colours, each signed ‘Musetta Ripamonti’ in pencil l.r., inscribed with title, dated, and variously numbered largest 84 x 59cm; unframed (3) £150 - 250

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211 part lot

212 LOT 210  David Robilliard (British, 1952-1988) ‘Fuzzy Head’ signed with initials and dated ‘84’ l.r., ink 42 x 58.5cm; framed 48 x 63cm £600 - 800

LOT 211 David Robilliard (British, 1952-1988) Two drawings of faces one in pen and ink, one in watercolour, both signed with initials and dated ‘84; l.r.; together with an exhibition catalogue for the David Robilliard Exhibition held at James Birch Fine Art, London, 13 September - 5 October 1985 59.5 x 42cm and 40.5 x 50.5cm; unframed (3) £800 - 1,200

LOT 212  David Robilliard (British, 1952-1988) A study of two men signed with initials and dated ‘86’ l.r., pen and ink 42 x 59.5cm; framed 51.5 x 79.5cm £1,500 - 2,000

‘This was from the artist’s first official show at my King’s Road gallery in 1985. He was a protégé of Gilbert & George.’ Lot 211 92

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214 LOT 213  David Robilliard (British, 1952-1988) A man reading signed with initials and dated ‘86’ l.r., pen and ink 42 x 57cm; framed 61.5 x 87cm £1,500 - 2,000

LOT 214  David Robilliard (British, 1952-1988) A portrait of a man signed with initials and dated ‘86’ l.r., pen and ink 42 x 59.5cm; framed 61.5 x 87cm £1,500 - 2,000 Provenance: Purchased directly from the artist in 1985.

‘David Robilliard’s birthday was the day before mine, so we would always celebrate it together in Soho.’ www.sworder.co.uk

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210-227 LOT 215  Andrew Heard (British, 1958-1993) Made in England screenprint in colours, inscribed ‘’Call to Arms’ for James’ in pencil l.l., numbered 10/40, stamped ‘ANDREW HEARD’S WORLD OF ART 1981’ l.r.; together with a poster for ‘The Blind Leading the Blind’, an exhibition of paintings, photo-pieces and drawings at the Chenil Studio Gallery, London, presented by Andrew Heard’s World of Art sheet 91 x 63cm; and 61 x 50.5cm; unframed (2) £300 - 500

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216 part lot

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LOT 216 Genesis Breyer P-Orridge (British, 1950-2020) A ‘Prostitution 2007’ poster signed by Genesis P-Orridge in pen with a sketch of a tree l.r., produced for the Throbbing Gristle show, ‘The Desertshore Installation’, held at the Institute of Contemporary Arts (ICA), London, 1 -3 June 2007; together with three further Throbbing Gristle ‘The Desertshore Installation’ posters, a ‘Music from the Death Factory’ Throbbing Gristle poster, and three ‘Viva La Evolution’ prints, each signed in pencil and variously numbered from an edition of 100, with ‘Porridge with Everything’ blind stamps 59 x 42cm; framed 73 x 53cm, others various sizes; unframed (8) £300 - 500 Conceived by COUM Transmission led by Genesis P-Orridge with Cosey Fanni Tutti, the controversial ‘Prostitution’ exhibition held at the Institute of Contemporary Arts (ICA) in 1976 collapsed the boundaries between art, pornography, performance and everyday life. The year 2007 was a pivotal one for Orridge, during which they lost their partner and artistic collaborator Lady Jaye.

LOT 217 Genesis Breyer P-Orridge (British, 1950-2020) A collection of books and ephemera relating to the artist to include: ‘The Correct Sadist’ by Terence Sellers with illustrations by Genesis P-Orridge, signed by the artist, published by Temple Press Limited, Brighton, 1990; ‘Thee Psychick Bible: Thee Apocryphal Scriptures ov Genesis Breyer P-Orridge and Thee Third Mind ov Thee Temple ov Psychick Youth’ by Genesis P-Orridge, signed by the artist, published by Feral House, 2010; ‘S/HE IS H/ERE, Poems for Thee Majesty’ by Genesis P-Orridge, signed by the artist, numbered 161/500, published by New Way On Press, 2000; together with two candleholders with applied images of ‘Transgendered Sacred Heart’ (Jesus), both signed, and five signed private view invitations for the exhibition ‘Painful But Fabulous (The Lives and Art of Genesis P-Orridge)’, held at James Birch’s A22 Gallery, London in June 2003 (15) £150 - 250

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LOT 218  Genesis Breyer P-Orridge (British, 1950-2020) ‘Transgendered Sacred Heart’ (Jesus) colour print, signed ‘Breyer/P. Orridge’, inscribed with title and dated ‘2003’ to backboard verso 201 x 121cm; framed 213 x 133cm £3,000 - 4,000

‘I was a little nervous after getting this framed travelling through Little Italy. Genesis gave this to me after I put on an exhibition of Breyer P-Orridge (Genesis and Jaye) in 2004. They were both very good friends of mine.’

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221 LOT 219  Genesis Breyer P-Orridge (British, 1950-2020) ‘Fingermales’, 2002 a series of twelve expanded polaroids, signed, inscribed and dated ‘To James Birch/Love Breyer P-Orridge/London/2010’ to reverse of frame each 7 x 9cm; framed as one 31.5 x 45.5cm £400 - 600 LOT 220  Judy Clark (British, b.1949) ‘Menstruation 2’, 1973 menstrual blood on glass slides 50 x 38cm; framed 63 x 57cm £400 - 600 LOT 221  John Maybury (British, b.1958) A colour photograph of the performance artist Leigh Bowery from the video ‘Read Only Memory’ an experimental video artwork directed by Maybury in 1998 47 x 58.5cm; framed 58.5 x 68.5cm £250 - 350

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223 part lot

LOT 222 A group of counterculture posters and prints comprising: ‘Poster Poem’ (Electric Chair) by Colin Self and Christopher Logue, fifteen double-sided Janice Joplin/Oz trial poster inserts from OZ magazine #36, 1971, a peace poster designed by Mario Strippini, a poster for William S Burroughs’ ‘Naked Lunch’ at the New York Art Theater Institute, and three William Burroughs exhibition posters 61 x 42cm and similar; unframed (21) £150 - 250 LOT 223 ‘The Last Issue of Oz’, a promotional poster for the last issue of OZ magazine, no. 48, published in 1973 together with seven copies of ‘Jail Bait of the Month’ (Honey Bunch), a poster insert from OZ magazine no. 24, 1969, by Robert Crumb; three copies of a Jimi Hendrix poster insert from OZ magazine no. 30, 1970, designed by Mike McInnerney; and a French Robert Crumb exhibition poster from 2012 sheet 73.5 x 48cm and similar; unframed (12) £200 - 400

210-227 LOT 224 Two Jimi Hendrix poster inserts from OZ magazine no. 30, 1970, designed by Mike McInnerney (British, b.1944) together with 10 copies of ‘Jail Bait of the Month’ (Honey Bunch) by Robert Crumb (American, b.1943), a poster insert from OZ magazine no. 24, 1969 sheets 91 x 50.5cm and 61 x 42cm; unframed (12) £200 - 400 LOT 225  Martin Sharp (Australian, 1942-2013) ‘Max Ernst: The Birdman’, 1967 lithograph in colours and screenprint on metallic card, printed later, signed, inscribed and dated ‘Dear James - season’s greetings - Martin Sharp 2-12-2002’, published by Big O Posters sheet 75 x 48.5cm; unframed £300 - 500

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LOT 226 Kirke Wilson (20th century) from a ‘bandaged poet’ photograph by Ira Cohen (American, 1935-2011) ‘Allen Ginsberg’ screenprint in colours, 1992, numbered 31/70 in pencil, published by Ins and Outs Press and Turret Books; together with five counterculture posters, 1960s and later sheet 65 x 50cm; unframed (6) £300 - 500 LOT 227 A group of counterculture, beat and punk books and journals to include: ‘Sex and Seditionaries, Vivienne Westwood and Malcolm McLaren’ by Punk Pistol, first edition, signed by PunkPistol (the pseudonym of punk memorabilia dealer and author Simon Easton) and numbered 750/1000, including disc, published by First Edition Publishing, 2006, in original box; ‘The British Underground Press of the Sixties’ by James Birch and Barry Miles; ‘Art Sex Music’ by Cosey Fanni Tutti; ‘Beat Generation. New York, San Francisco, Paris’ (French), published by Éditions du Centre Pompidou, 2016 (11) £200 - 300

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YBAs The Young British Artists (YBAs) were a group of non-conformist artists who emerged in the late 1980s, challenging conventions and aiming to push the boundaries of British art. The movement represented a cultural shift in the UK art scene, with artists such as Damien Hirst and Tracey Emin becoming some of the most influential figures in contemporary British art. Many YBAs studied at Goldsmiths, University of London, and gained attention for their provocative approach and willingness to embrace the grotesque and controversial representations of the everyday. They were also the first generation of British artists to achieve celebrity status, bringing a new sense of energy and glamour to the London art scene. The YBAs were never defined by a single style or medium - their work spans painting, sculpture, installation and photography - united instead by a spirit of experimentation and provocation. This sale reflects that diversity, with works by Tracey Emin, Damien Hirst, Marcus Harvey, Keith Coventry and Gavin Turk.

LOT 228  Tracey Emin RA (British, b.1963) ‘Sixteen’ giclée print, signed and dated ‘Tracey Emin 2013’ in pencil l.r., inscribed with title l.l. and numbered 67/100 25 x 20cm; framed 32 x 23cm £400 - 600

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LOT 229  Marcus Harvey (British, b.1963) ‘Myra’ screenprint, circa 2016, signed ‘Marcus Harvey’ l.r. image 48 x 39cm; framed 67 x 54cm £600 - 800

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LOT 230  Damien Hirst (British, b.1965) Untitled (Catonephele sabrina) butterfly and gloss paint on canvas, housed in a Perspex box 16cm wide, 5.5cm deep, 16cm high overall £5,000 - 8,000 Provenance: Gifted from the artist. LOT 231  Damien Hirst (British, b.1965) ‘The Last Supper’, 2005 offset lithograph in colours, signed ‘Damien Hirst’ in pencil l.r. sheet 148 x 197cm; unframed £400 - 600 LOT 232 Damien Hirst (British, b.1965) ‘From the Cradle to the Grave: Selected Drawings’ signed and inscribed ‘For James/Where there’s muck/there’s brass!/Art is more powerful/...? Damien’, with a sketch of a shark, published by Other Criteria in Association with the British Council, 2004, housed in the original publisher’s box 52.5cm wide, 6cm deep, 44cm high overall £150 - 250

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LOT 233 Damien Hirst (British, b.1965) A group of books, catalogues and articles relating to the artist to include: a ‘Freeze’ exhibition catalogue for the 1988 exhibition conceived and curated by Damien Hirst, published by The Artists and Ian Jeffrey, London; ‘In-A-Gadda-Da-Vida’ signed by Damien Hirst, Sarah Lucas and Angus Fairhurst, published by Tate Publishing on the occasion of the exhibition at Tate Britain, London, 3 March - 31 May 2004; ‘Beautiful Inside My Head Forever’ published by Sotheby’s, 2008; ‘I Want to Spend the Rest of my Life Everywhere, with Everyone, One to One, Always, Forever, Now’, published by Booth-Clibborn Editions, 1997; a private view invitation to the Hirst’s ‘Schizophrenogenesis’ exhibition at Paul Stolper Gallery, London, October 2014 (13) £150 - 250 www.sworder.co.uk

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LOT 234  Keith Coventry (British, b.1958) ‘Jay Jopling’ signed and and dated ‘K.Coventry/1994’ verso, oil on canvas 46 x 35cm; framed 53 x 43cm £4,000 - 6,000

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‘I bought this from Keith Coventry after I gave him a show in Clerkenwell in the late 1990s. He is a good friend.’

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LOT 235  Keith Coventry (British, b.1958) ‘Lothian Estate’, 1992 inscribed with title on backboard, oil on canvas, in the artist’s frame 44.5 x 34.5cm; framed 66 x 56cm £5,000 - 8,000 Provenance: With Curt Marcus Gallery, New York; with Austin Desmond Fine Art, London.

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236 LOT 236  Gavin Turk (British, b.1967) ‘£50 Note’ screenprint in colours on handkerchief, signed with initials and dated ‘2000’ in pencil l.r., numbered 31/50 40.5 x 40.5cm; framed 43.5 x 43.5cm £300 - 500

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237 LOT 237  After Banksy ‘Di-Faced Tenner’ offset lithograph in colours, 2004, with dedication verso ‘Dear James/Merry Christmas/from Chris + Kath(?)/Much love/XX’ 7.5 x 14cm; framed 11.5 x 15cm £700 - 900

LOT 238 Christo Javacheff aka ‘Christo’ (Bulgarian, 1935-2020) and Jeanne-Claude Denat de Guillebon (French, 1935-2009) ‘Valley Curtain’, 1971-72 postcard, signed ‘Christo and Jeanne-Claude’ u.c. 9.5 x 14cm; framed 17 x 22cm £80 - 120

239 LOT 239 Jeff Koons (American, b.1955) ‘Puppy’ postcard depicting the temporary topiary sculpture installed in Arolsen, Germany, in 1992, published by Koons and distributed at the nearby Documenta 9 art fair in Kessel, signed and dated ‘93’ with a flower doodle by the artist in gold pen 10.5 x 14.5cm; unframed £200 - 300 LOT 240  Mike Nelson RA (British, b.1967) ‘Towards a Non-Denominational Altar’ screenprint on 115gsm poster paper, depicting ‘The Deliverance and The Patience’ installation, 2001/2009, signed ‘Mike Nelson’ in pencil l.r., numbered 41/250, published by Peer Gallery sheet 70 x 100cm; unframed £100 - 150 Provenance: P urchased from Peer Gallery.

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244 LOT 241  Katerina Jebb (British, b.1962) ‘Real Doll’, 1999 colour photograph mounted on Foamex 170 x 114cm; unframed £300 - 500 Exhibited: A nne Faggionato Gallery London, ‘Psycho’, February - April, 2000, curatedbyDannyMoynihan; Musée Réattu, Arles, France, ‘Deus ex Machina’, 2 July - 31 December 2016. LOT 242 Yoko Ono (Japanese, b.1933) ‘I Love You Earth’, 2021 screenprint, numbered 19/250 in pencil with artist’s stamp verso, published by Serpentine Galleries sheet 47 x 62cm; framed 52.5 x 72.5cm £200 - 300

LOT 243  Paul Sakoilsky (British, b.1964) ‘Reg Perfect & the Dark Times Trio’ signed and dated ‘Paul Sakoilsky 27/7/2009’ l.r., squared with pencil to centre, gouache 83 x 58cm; framed 91 x 66cm £400 - 600 Provenance: P urchased directly from the artist. LOT 244  Josie McCoy (British, b.1969) ‘Leeloo I’ from The Fifth Element, 2004 signed ‘Josie McCoy’ and inscribed with title verso, oil on canvas 37.5 x 66.5cm; unframed £300 - 500 Exhibited: Eyestorm/Britart Gallery, London, ‘JosieMcCoyNewPaintings’, 17 June - 10 July 2004.

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228-271 LOT 245  Denis Wirth-Miller (British, 1915-2010) ‘Dartmoor Landscape’ signed and dated ‘DENIS WIRTH-MILLER/APRIL 1978’, inscribed with title and dedicated to Terence and Caroline [Conran] verso, oil on canvas 76 x 91cm; framed 88 x 103.5cm £3,000 - 5,000 ‘Denis Wirth-Miller was an artist I had known since I was a child and was always nicknamed ‘Nanny Worth Millions’. He and Richard (Dicky) Wasey Chopping were very good friends of my parents and they lived nearby. I curated two exhibitions of his, one at The Minories, Colchester, in 2010, and the retrospective of his work held at Firstsite, Colchester, in 2022.’

245 LOT 246  Denis Wirth-Miller (British, 1915-2010) ‘Marsh Landscape’ oil on canvas 76 x 101cm; framed 88 x 113.5cm £3,000 - 5,000 Exhibited: G raves Art Gallery, Sheffield, ‘Juda Collection’, May-June 1967, catalogue no. 159; The Minories, Colchester, 2011; Firstsite, Colchester, ‘Landscapes and Beasts’, 2022-23.

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LOT 247  Denis Wirth-Miller (British, 1915-2010) ‘Bird Cage’ lithograph in colour, signed and dated ‘Sept 48’ in the plate image 43 x 31cm; framed 59 x 48cm £600 - 800 Denis-Wirth Miller was a close associate of Francis Bacon and the two artists often shared a studio. LOT 248  Dan Harvey (British, b.1959) Untitled, 1997 found skull and horns of a domestic sheep (Ovis aries), slate and string 16cm wide, 31cm deep, 18.5cm high £300 - 500 Provenance: Acquired directly from the artist in 1987. Exhibited: Birch & Conran Fine Art, Dean Street, London, solo exhibition, 1987. ‘Dan Harvey was a good friend and I bought this from his first exhibition at Birch & Conran in 1987.’ LOT 249  Peter Coker RA (British, 1926-2004) ‘Welsh Landscape’, circa 1955 signed ‘Peter Coker’ l.l., pencil 48 x 78cm; framed 67.5 x 97cm £200 - 300 LOT 250  Richard Long (British, b.1945) ‘War Paint on Slate’ photopolymer etching, 2023, signed ‘Richard Long’ in red crayon l.r. and numbered 35/50 sheet 77 x 53cm; framed 84 x 61cm £400 - 600

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228-271 LOT 251 Fieroza Doorsen (South-African, b.1960) Untitled, 2013 pastel 22.5 x 17cm; framed 31.5 x 27.5cm £300 - 500 Provenance: With Eagle Galley, London. LOT 252  Jean Shepeard (British, 1904-1989) Self-portrait signed with initials l.l., black chalk 41 x 29cm; framed 43 x 31cm £50 - 80

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Shepeard was a British artist and actress who studied at the Slade School of Fine Art and trained at RADA. A member of the Emotionist Group, she exhibited alongside Francis Bacon at his Queensberry Mews studio, West London, in November 1930. Associated with the Bloomsbury circle, she also exhibited with Vanessa Bell, R O Dunlop and others at the Modern Picture Library. Her portraits included Bacon, J B Priestley, Peggy Ashcroft and Vanessa Bell. While she was better known as an actress during her lifetime, renewed interest in her art followed the discovery of drawings and sketchbooks, hidden in a chest, after her death.

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LOT 253  Iain Macnab (British, 1890-1967) Seated nude signed ‘IAIN MCNAB’ l.r., charcoal 55 x 39cm; framed 83.5 x 63.5cm £300 - 500

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LOT 254  Simon Hepworth Nicholson (British, 1934-1990) Untitled mixed media collage on board 16 x 5cm; framed 24 x 11.5cm £400 - 600

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LOT 255  Ida Karskaya (Russian-French, 1905-1990) Untitled signed ‘Karskaya’ l.r., mixed media on paper 10 x 18.5cm; framed 29 x 38cm £100 - 200 Provenance: With Gallery One, London. LOT 256  Ida Karskaya (Russian-French, 1905-1990) Untitled signed ‘Karskaya’ twice l.r., mixed media on paper 15.5 x 21cm; framed 33 x 39cm £100 - 200 Provenance: With Gallery One, London. LOT 257  David Remfry RA (British, b.1942) ‘Girl with Marmalade Hair’ signed ‘David Remfry’ (beneath hand), mixed media on board 105 x 92cm; framed 108 x 95cm £1,200 - 1,800

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258 LOT 258  Liam Ryan (Irish, b.1983) ‘Patum Patum’ signed with initials and dated ‘11’ u.r., also signed, inscribed with title and dated verso, with dedication ‘For James on the occasion of his wooden anniversary’, mixed media on canvas 100 x 130cm; unframed £400 - 600

259 part lot LOT 259 Diane Hills (British, b.1947) ‘Mr John Bratby’ and ‘The Artist and Model’ the latter signed ‘DIANE HILLS’ l.r., oil on board 96 x 45cm; framed 100 x 49cm and 80 x 57cm; framed 81 x 58cm (2) £300 - 500 Exhibited: T he Royal Academy Summer Exhibition 1981, catalogue no. 1108.

LOT 260 Mary Lemley (American, b.1955) Portrait of Maia Norman, the former partner of Damien Hirst oil on canvas 197 x 122cm; unframed £500 - 700 LOT 261 Mary Lemley (American, b.1955) Self-portrait indistinctly inscribed ‘Self-portrait as a mu...’ l.r., mixed media on paper 66 x 56cm; unframed £100 - 200

‘Mary is an American artist who has been a part of my life for many years. I have always been interested in her work.’

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LOT 262 Mary Lemley (American, b.1955) A group of seven portrait and figure studies the majority signed ‘Mary Lemley’, pencil, pen and ink, and black and white chalks largest 76 x 57cm; unframed (7) £200 - 300

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LOT 263 Mary Lemley (American, b.1955) A group of four paintings of a garden, flowers and a bird oil and gouache on paper; together with an annotated sheet of pencil studies of tulips, signed ‘Mary Lemley’ largest 76 x 57cm; unframed (5) £200 - 300

LOT 264  Edward Bell (British, b.1950) ‘Rowena, Checks’ signed and dated ‘Edward Bell 80s’ l.r., inscribed with title and dated ‘80’ verso, gouache 192 x 140cm £300 - 500

YBAS AND CONTEMPORARY ART

LOT 265  Edward Bell (British, b.1950) Portrait of Pru Walters mixed media on paper 80 x 65cm; framed 84.5 x 69.5cm £600 - 800

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267 part lot LOT 266  Edward Bell (British, b.1950) Woman peeping through her hands signed, inscribed and dated ‘To James...with trust and affection.../Edward Bell ‘85’ l.c., mixed media on paper 95 x 71cm; framed 99 x 75cm £500 - 800 LOT 267 Edward Bell (British, b.1950) A group of four posters ‘Larger Than Life’ an offset lithographic poster in colours, signed ‘Edward Bell’ in pen c.l., and numbered 63/100, for the exhibition of Edward Bell Portraits held at the Neal Street Gallery, London, 5 June - 28 June 1980; together with a poster for ‘Chocolate Box Pictures by Edward Bell’ at the 3D Gallery, Wapping, 7 June - 17 June 1983; a poster for ‘Edward, A Film by Marcus Thompson, featuring the work of Edward Bell’; a colour print of ‘De Milo Moderne’ largest 91 x 61cm; unframed (4) £200 - 300

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LOT 268  Duggie Fields (British, 1945-2021) ‘Smart’ pencil 40 x 40cm; framed 55 x 55cm £200 - 300 Provenance: Bought from the artist. A sketch for the painting ‘Very Smart’ being sold as lot 269.

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LOT 269  Duggie Fields (British, 1945-2021) ‘Very Smart’ signed thrice, inscribed with title and dated ‘Sept ‘76’ on stretcher verso, acrylic on canvas 163 x 163cm; unframed £3,000 - 5,000

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228-271 LOT 270  Duggie Fields (British, 1945-2021) Study for ‘Joie de Vivre’, 1978 acrylic on paper 60 x 50cm; framed 83 x 72.5cm £400 - 600 Provenance: P urchased directly from the artist.

270 LOT 271  Duggie Fields (British, 1945-2021) ‘Them Show’, 1976 acrylic on paper 29.5 x 29.5cm; framed 61 x 59cm £300 - 500

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273 part lot LOT 272  Cecil Beaton (British, 1904-1980) Lady Jane Heathcote-Drummond-Willoughby, aged eighteen gelatin silver print, numbered 1/1, with ‘Cecil Beaton Photograph’, ‘From the Beaton Studio, Sotheby Parke Bernet’ and Condé Nast stamps verso 25.5 x 24.5cm; unframed £150 - 200 Lady Jane Heathcote-Drummond-Willoughby, the only daughter of the Earl and Countess of Ancaster, was born in 1934. She was one of the six maids of honour at the 1953 coronation of Queen Elizabeth II. LOT 273 Cecil Beaton (British, 1904-1980) Two photographs one of Kay Francis in ‘The Vice Squad’, 1931, the other of Princess Lee Radziwill, gelatin silver prints, both numbered 1/2, with ‘Cecil Beaton Photograph’ and ‘From the Beaton Studio, Sotheby Parke Bernet’ stamps verso 25.5 x 20.5cm and 23.5 x 24cm; framed 44.5 x 37cm (2) £300 - 500

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LOT 274  Cecil Beaton (British, 1904-1980) Jean Shrimpton, June 1964 gelatin silver print, with Condé Nast stamp and ‘Jun 1964’ date stamp verso 31.5 x 30cm; mount 48 x 42cm; unframed £500 - 800 Cecil Beaton photographed Jean Shrimpton in the style of the French painter and lithographer Jules Cheret for Vogue in June 1964.

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LOT 275 Daniel Farson (British, 1927-1997) A group of three black and white photographs of two ladies at a Lucian Freud private view, with artist’s stamp and ‘Radio Times Hulton Picture Library’ label verso; a couple dancing, circa 1950s; and a street artist, signed ‘Daniel Farson’ to mount 23 x 19cm; unframed; 18.5 x 18.5cm; framed 41 x 39cm; and 20 x 20cm; framed 61.5 x 54cm (3) £200 - 300 LOT 276 John Humphrey Spender (British, 1910-2005) A group of three photographs of the artist’s family ‘Margaret Spender: Sutton Veny, Wiltshire, 1940’; ‘Natasha Spender: Sutton Veny, Wiltshire, 1940’; and ‘Pauline Spender in Suffolk, 1948’, each signed ‘J. Humphrey Spender’ in pencil l.r., inscribed with title, with blind stamp, and a further artist’s stamp verso; together with four further prints including ‘Scene from group theatre production, 1935’, also signed and inscribed with title with blind stamp, and ‘Playground for Workington’ with blind stamp 40 x 30cm and similar; unframed (7) £100 - 200

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‘I exhibited Humphrey Spender at my King’s Road gallery in July 1984. I knew him well and always loved his photography.’ LOT 277  John Deakin (British, 1912-1972) Daniel Farson, circa 1950s gelatin silver print 33.5 x 26cm; framed 57 x 48cm £2,000 - 3,000 John Deakin and Daniel Farson were close friends and were central figures in London’s mid-20th-century Soho bohemian scene, regularly frequenting clubs such as The Colony Room alongside the painter Francis Bacon. This image was used on the cover of Farson’s autobiography, first published by HarperCollins in 1997.

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272-289 LOT 278 Johnny Dewe-Mathews (British, b.1946) A group of four photographs of the model Amanda Lear gelatin silver prints, circa 1965 35 x 26cm and similar; unframed (4) £100 - 200 LOT 279 Robert Mapplethorpe (American, 1946-1989) Self-Portrait, 1983 postcard, signed and inscribed ‘TO JAMES/Robert Mapplethorpe’, from the National Portrait Gallery retrospective ‘Mapplethorpe Portraits, 1975-87’ held in 1988 15 x 11cm; unframed £200 - 300 LOT 280  James Wedge (British, b.1939) Female nude black and white photograph, signed and dated ‘James Wedge 1970’ verso 24 x 19.5cm; framed 37.5 x 32cm £150 - 200 Provenance: Gifted to James Birch in 1980 with the inscription ‘For James/on his birthday/with love from/Digby’ verso.

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LOT 281  Bettina Rheims (French, b.1952) ‘Claude dans un soutien gorge des années 40’ gelatin silver print, printed 1990, signed ‘Bettina Rheims’, inscribed with title and numbered 2/15 verso 53.5 x 36cm; framed 78 x 59.5cm £800 - 1,200

‘I have always been a fan of Bettina Rheims. I bought this photo from the Alastair McAlpine sale.’

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LOT 282  Bettina Rheims (French, b.1952) ‘Claude à l’Hôtel rue des Beaux Arts’, 1988 colour photograph, number 14 from an edition of 15 44.5 x 44.5cm; framed 71.5 x 71.5cm £800 - 1,200

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285 LOT 283  Bettina Rheims (French, b.1952) ‘Johanna in Jean-Louis Scherrer, Paris’, 1989 gelatin silver print, printed 1990, signed ‘Bettina Rheims’, inscribed with title, numbered 2/15 verso image 54.5 x 43.5cm; framed 75 x 61.5cm £400 - 600

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LOT 284  Bob Carlos Clarke (Irish-British, 1950-2006) ‘Girdle’, circa 1980s gelatin silver print, signed ‘Bob Carlos Clarke’ in pen to mount image 48 x 35.5cm; framed 71 x 55cm £200 - 300

LOT 285 Terence Donovan (British, 1936-1996) ‘Ritz’, 1985 gelatin silver print, signed, inscribed with title, and numbered 1/5 with artist’s stamp verso; together with another print of a model in an interior, signed and dated ‘Terence 1987’ verso each image 37 x 30.5cm; framed 57 x 49cm and 54 x 44cm (2) £200 - 400

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LOT 286 Nobuyoshi Araki (Japanese, b.1940) ‘Tokyo Nostalgia’, 1993 colour photograph (RP direct colour print), mounted on acrylic 57 x 45.5cm; framed 84.5 x 71cm £1,000 - 1,500 Provenance: With André Simoens Gallery, Knokke, Belgium. LOT 287  Harrison Marks (British, 1926-1997) Female nude black and white photograph 26.5 x 19cm; framed 43 x 33cm £150 - 200 LOT 288  Jean-Pierre Fizet (French, 1942-2018) Jane Birkin, 1974 gelatin silver print mounted on aluminium, printed later, signed ‘Jean-Pierre Fizet’ l.l., also signed and numbered 5/12 on photographer’s label verso 70 x 72cm; framed 89.5 x 90cm £400 - 600 Provenance: With Galerie Grace Radziwill, Paris. LOT 289 A group of art and photography books to include: Annie Leibovitz, ‘Photographs, 1970-1990’, published by HarperCollins, 1991; ‘Birds of Britain’ by John D Green; ‘Cowboy Kate & Other Stories’ by Sam Haskins; ‘The Rudi Gernreich Book’ by Peggy Moffitt and William Claxton (12) £100 - 150 www.sworder.co.uk

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LOT 290  Natalie Bevan (British, 1909-2007) Seated nude, circa 1966 glazed ceramic 25cm wide, 16cm deep, 15cm high £200 - 300

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LOT 291 Natalie Bevan (British, 1909-2007) Two figurative candlesticks, circa 1966 glazed ceramic 34cm high and similar (2) £400 - 600 Exhibited: The Holburne Museum, Bath, ‘Sculpting the Earth: Ceramics by Natalie Bevan, Psiche Hughes & Ann Stokes’, 19 September 2025 - 4 January 2026.

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LOT 292 Natalie Bevan (British, 1909-2007) Two figurative candlesticks, circa 1966 glazed ceramic 37cm high and similar (2) £400 - 600 Exhibited: T he Holburne Museum, Bath, ‘Sculpting the Earth: Ceramics by Natalie Bevan, Psiche Hughes & Ann Stokes’, 19 September 2025 - 4 January 2026.

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‘Natalie Bevan was a family friend who I’D known all my life. She was a great beauty and bohemian. She was adored by many and painted by Mark Gertler.’ 123

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293 LOT 293 After Jacques Callot ‘La Tentation de Saint Antoine Abbé’ engraving visible 46 x 61.5cm; framed 66 x 81cm £80 - 100

294 LOT 294 D... W... (19th century) Mother and child signed with initials ‘DW’ and dated ‘1806’ c.l., pen and ink and wash 23.5 x 36.5cm; framed 48 x 59cm £100 - 150

295 LOT 295 William Evan Charles Morgan (British, 1903-1979) ‘The Source’, 1927, and ‘Perseus’, 1929 two etchings, both signed ‘William E. C. Morgan’, inscribed with title and dated in pencil, numbered 6/50 and 66/70 respectively plates 28 x 14cm and 22 x 20.5cm; framed 52.5 x 42cm (2) £600 - 800

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LOT 296 Eden Upton Eddis (British, 1812-1901) Portrait of John Manners Yorke (1840-1909), later 7th Earl of Hardwicke, half-length, in naval uniform and holding a telescope oil on canvas 82 x 63cm; framed in a good gilt Maratta composition frame 103 x 85cm £1,500 - 2,000 John Manner Yorke, 7th Earl of Hardwicke (1840-1909) was the great-grandfather of James Birch. The Eddis portrait depicts John as a young officer in the Royal Navy. Having served in the Crimean War from 1854 to 1855, he was awarded the Crimea and Baltic Turkish Crimea medals and the Sebastopol Clasp, which he is seen wearing in this portrait. In 1896, he married Edith Mary Oswald of Auchincruive, Ayrshire, with whom he had four sons and a daughter. www.sworder.co.uk

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LOT 297 A death mask of Oliver Cromwell, 20th century, painted plaster 17cm wide, 11.5cm deep, 23.5cm high £200 - 400 LOT 298 Two William Blake death masks, 19th century, painted plaster, impressed ‘A66 Pubd Aug 1 1823, 1 Deville 17 Strand London’ 18cm wide, 22cm deep, 28.5cm high (2) £200 - 400 ‘This was bought from the National Portrait Gallery in the 80s. Francis Bacon painted a similar one.’

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‘Nellie Melba was my grandmother’s best friend and a famous Australian opera singer.’

LOT 299 After Benjamin Robert Haydon, a life mask of John Keats, 19th/20th century, plaster 16.8cm wide, 13cm deep, 24.7cm high £200 - 400 LOT 300 A photograph of Dame Nellie Melba as Juliette from ‘Roméo et Juliette’ From Dover Street Studios, London inscribed ‘Madame Melba in (Death Scene) ‘’Juliette’’’ verso 26 x 31cm; framed 32.5 x 42.5cm £150 - 200 LOT 301 Two hairwork mourning pictures, 19th century, French, the first with three flowering sprigs within a laurel wreath, initialled ‘JB’, the second with a floral spray and a paper ribbon inscribed ‘souvenir de notre regretté mere’ framed 10.7 x 12.5cm and 10.3 and 8cm (2) £200 - 300

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304 LOT 302 A collection of carte de visite, late 19th century, comprising 27, mostly depicting boys and young men, 17 by Alfred W Kissack, Eton, 10 by Hills & Saunders, Eton, and a leather-bound album of further cards, predominantly portraits album 14cm wide, 6.3cm deep, 16.5cm high £100 - 200 LOT 303 A group of albumen prints of different nationalities, 19th century and later, with people from India, South Africa, Algiers and Java, with some nudes the majority mounted 51 x 40cm overall; unframed (15) £300 - 500

LOT 304 Two early photographs of the Maharajah of Rewa and the Maharajah of Gwalior circa 1900 together with four further photographs of the Sultan of Morocco, Moulay Youssef, circa 1927, Hindu ladies and date sellers 34 x 48cm; framed 52.5 x 65.5cm and similar (6) £300 - 500 LOT 305 Ramesh Sharma (Indian, b.1951) Mughal Princess signed and inscribed ‘RAMESH/JPR’ l.r., gouache with gold and embellishments 36.5 x 29cm; framed 59 x 48cm £300 - 500

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LOT 306 Three handmade vintage Uzbek coats quilted silk and cotton with printed patterns 123cm long from neck to hem and similar (3) £200 - 300 LOT 307 A Mende carved wood female figure, 20th century, Sierra Leone modelled in a standing position 23cm wide, 15cm deep, 85cm high £100 - 200 LOT 308 A Bamana Kono mask 19th/20th century, Mali modelled with elongated ears, wood 50.5cm wide, 17cm deep, 103cm high £300 - 500

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‘I bought this from a taxidermist in the late 90s, who told me David Attenborough showed it in one of his documentaries.’ LOT 309 A reconstructed elephant bird egg (Aepyornis maximus), Madagascar, fragmented and reassembled, with Perspex stand 31cm high £500 - 800 The elephant bird (Aepyornis maximus), thought to be the largest bird ever to have lived, was a flightless herbivore endemic to Madagascar. Standing up to three metres tall and weighing approximately 450 kg, it became extinct by the 17th century.

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LOT 310 After Jean Ignace Isidore Gérard aka J J Grandville ‘Apollo Descending to the Frog’ engraving, faintly inscribed ‘PORTRAITS’ l.c. sheet 21 x 25cm; framed 33 x 37cm £50 - 80

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LOT 311 A medical diorama, early to mid-20th century, formed as a head and torso, modelled with an incision and surgeon’s tools, within an ebonised and glazed case 65.5cm wide, 23.5cm deep, 63cm high £200 - 400 ‘Bought from Christie’s South Kensington in early 2000. It is a medical sculpture showing the dangers of swallowing a wheat corn.’

311 LOT 312 A medical diorama, early 20th century, modelled as a male lower torso, wax, within an ebonised and glazed case 36cm wide, 24cm deep, 48.5cm high £200 - 300 LOT 313 A cased wax medical diorama, late 19th to early 20th century, modelled syphilitic haemorrhoids, wax, cased case 41.5cm wide, 19.2cm deep, 48.8cm high £200 - 400

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‘I always thought this might be shocking.’ 129

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LOT 314 A group of four books from the series ‘The Augustan Books of Modern Poetry’: Lord Alfred Douglas, Alice Meynell, Walter de la Mare and Rabindranath Tagore, published by Ernest Benn Limited, London, the Lord Alfred Douglas book inscribed ‘Bernard Yorke from Alfred Douglas’, together with a programme for ‘The Money Spinner’ at Osborne, January 1896, where Bernard Yorke acted as a prompter each book 21.5 x 14cm (5) £100 - 150

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LOT 315 ‘Jason and the Princess’ by Kathleen Colville signed by Barbara Skeaping (Hepworth) published by Chatto & Windus, London, 1926, signed and inscribed ‘To Simon/With Best Wishes for Christmas/From/Barbara Skeaping’ £40 - 60

‘I was always amused by Swiss army knives.’

LOT 316 Henry Moore OM CH FBA (British, 1898-1986), ‘Henry Moore: My Ideas, Inspiration and Life as an Artist’, by Henry Moore and John Hedgecoe, signed and dated ‘Henry Moore/1986’, also signed and dedicated to James Birch’s parents by James Hedgecoe, published by Ebury Press, London, 1986 £50 - 80 James Birch’s mother studied at the Chelsea School of Art in London where she was tutored by Henry Moore.

LOT 317 A bronze bust of Jesus Christ 20th century shoulder length, with integral plinth, signed ‘M. Béguine’ 17cm wide, 11cm deep, 29cm high £100 - 200

318 LOT 318 A Victorinox ‘Swiss Army Knife’ advertising automaton, 20th century, modelled as an open Swiss army knife, raised on a plinth inscribed ‘Made in Switzerland Victorinox The Original “Swiss Army Knife”’ 56cm wide, 15.5cm deep, 89cm high £300 - 500

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LOT 319  Mary Fedden RA (British, 1915-2012) Figures on a tree-lined path signed and dated ‘Fedden 1971’ l.l., pencil 65 x 46.5cm; framed 81 x 61cm £1,000 - 1,500

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LOT 320  Mary Fedden RA (British, 1915-2012) ‘Man and Boy’ signed and dated ‘Fedden 1973’ l.l., watercolour and gouache 26 x 20cm; framed 49 x 42.5cm £1,500 - 2,000 Provenance: G ifted by the artist to her friend and neighbour; John Nicholson’s Fine Art Auctioneers, Haslemere, 15 February 2007, lot 1166; private collection; acquired by the present owner in 2019.

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LOT 321  Mary Fedden RA (British, 1915-2012) Russian landscape signed and dated ‘Fedden 1960’ l.r., stamped ‘Nottinghamshire Education Committee’ to stretcher, oil on canvas 51 x 91.5cm; framed 69 x 109cm £15,000 - 18,000 www.sworder.co.uk

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LOT 322  Elisabeth Vellacott (British, 1905-2002) ‘Mountain Landscape, Wales’, 1985 red chalk 28.5 x 48.5cm; framed 42.5 x 62.5cm £300 - 500

LOT 324  Nan Youngman (British, 1906-1995) ‘Pontypridd, Winter’ signed and dated ‘Nan Youngman/1963’ l.r., oil on board 45 x 67cm; framed 55 x 77cm £800 - 1,200

Provenance: The artist; with the New Art Centre, London, where purchased by Mr & Mrs A G Pollard, July 1986; gifted to Professor Martin Robertson on the occasion of his 75th birthday, 11 September 1986.

LOT 325 Ethel Walker ARA (British, 1861-1951) Portrait of Miss Betty Werner-Laurie oil on board 35 x 27cm; framed 43 x 35.5cm £1,500 - 2,000

LOT 323  Nan Youngman (British, 1906-1995) ‘Orchard’ signed and dated ‘Nan Youngman/1971’ l.r., also signed, inscribed with title and dated on artist’s label verso, charcoal and conté 62.5 x 49cm; framed 70 x 55cm £200 - 300 136

Exhibited: T he Leicester Galleries, London, ‘Exhibition of Works of Ethel Walker’, February 1929, catalogue no. 13.

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LOT 326  Dame Laura Knight RA (British, 1877-1970) ‘Winter’, British Camp Hotel, Wynds Point, Malvern, Worcestershire signed ‘Laura Knight’ l.r., oil on canvas 61 x 56cm; framed 79 x 74cm £4,000 - 6,000 Laura Knight moved to the British Camp Hotel in the Malvern Hills at the outset of the Second World War to avoid the bombing in London. The dramatic landscapes of Worcestershire and Herefordshire went on to inspire much of her work.

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LOT 327  Dame Laura Knight RA (British, 1877-1970) Joe the Clown signed ‘Laura Knight’ l.r., and inscribed ‘To Joe/ Happy Days’, pencil, watercolour and ink 43 x 32.5cm; framed 55 x 45cm £1,200 - 1,800 Provenance: A cquired from Holloway’s Auctioneers, Banbury, in the late 1980s.

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328 LOT 328  Mary Newcomb (British, 1922-2008) ‘Off Goes the Groom Without his Dog’ faintly signed and dated ‘Mary Newcomb ‘69’ l.r., oil on board 76 x 76cm; framed 89 x 89cm £5,000 - 8,000 Provenance: A gift from Mary Newcomb to her artist friends Tom & Bod Wright (who met at Cedric Morris’s East Anglian School of Painting at Benton End, Suffolk); the Estate of Bod Wright, 2015; private collection, Norfolk.

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A colourful early work, painted when farm animals frequently appeared in her works and, as Christopher Andreae notes in his 1996 monograph, she later commented in her diary where ‘Time still passes but it passes more slowly here’. It depicts one of the red corrugated iron barns that were common on bygone farms in southern Norfolk and eastern Suffolk.

LOT 329 Gwen Raverat (British, 1885-1957) A group of three woodcuts ‘Harvest Feast’; ‘A Game of Boules, Vence’; ‘Scandal’ the first signed ‘G. Raverat’ in pencil l.r., inscribed with title and numbered 12 image 6.5 x 8.5cm; framed 31.5 x 32cm and similar (3) £300 - 500 Provenance: With Heffers Gallery, Cambridge.

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331 LOT 330  Elizabeth Blackadder (British, 1931-2021) Landscape with wall and bridge lithograph in colours, inscribed ‘Studio Proof Only’ in pen l.r., printed at the Curwen Studio sheet 58 x 80.5cm; unframed £300 - 400 Provenance: Acquired by the present owner directly from the Curwen Studio. A pen and ink and watercolour of the same scene was sold by Sworders Fine Art Auctioneers on 5 April 2022, lot 140.

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LOT 331  Elizabeth Blackadder (British, 1931-2021) Shellfish signed ‘E. V. Blackadder’ l.r., pencil and watercolour 37.5 x 55.5cm; framed 48 x 66cm £2,500 - 3,500 LOT 332  Elizabeth Blackadder (British, 1931-2021) ‘Still Life with Lily and Flute’ etching and aquatint in colours with gold leaf, 1990, signed ‘Elizabeth Blackadder’ in pencil l.r., numbered 130/200 plate 32.5 x 45.5cm; framed 54.5 x 65.5cm £300 - 500 139

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319-354 LOT 333  Elizabeth Blackadder (British, 1931-2021) and Judith Bumpus ‘Elizabeth Blackadder’ a limited edition of 120 copies specially bound by E A Weeks & Son for Mercury Gallery, signed by the artist and numbered 50 on limitation label, published by Phaidon, Oxford, 1988, in original slipcase; one of 60 copies containing the loose print ‘Little Kyoto Still Life’, etching and aquatint in colours, signed ‘Elizabeth Blackadder’ in pencil and numbered 50/60 sheet 20.5 x 26.5cm; unframed £200 - 300

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334 LOT 334  Elizabeth Blackadder (British, 1931-2021) and Deborah Kellaway ‘Favourite Flowers’ a limited edition of 100 copies specially bound for the Mercury Gallery, signed by the artist and numbered 85/100 on limitation label, published by Pavilion Books, 1994; one of 50 copies containing the loose print ‘Salpiglossis’, etching and aquatint in colours, signed ‘Elizabeth Blackadder’ in pencil and numbered 35/50 sheet 19 x 21cm; unframed £200 - 300

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335 LOT 335  Katharine Cameron (British, 1874-1965) Snowdrops pencil and watercolour 34.5 x 24.5cm; framed 51.5 x 40.5cm £300 - 500 Provenance: Reputedly part of the sale of the contents of the artist’s studio; the collection of art collector and dealer Caroline Gee; Burstow & Hewett, 19 February 2023, part lot 2868; private collection, UK.

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LOT 336  Christine Fox (British, 1922-2012) Figure and moon bronze, signed ‘Fox’ 11cm wide, 10cm deep, 14cm high £250 - 350 LOT 337  Dame Barbara Hepworth (British, 1903-1975) ‘Sun and Marble’ lithograph in colours, 1970-71, from the ‘Aegean Suite’, signed ‘Barbara Hepworth’ in pencil l.r., numbered X4/30, printed by Curwen Press, London, with their blind stamp, published by CCA Galleries image 76 x 54cm; framed 104 x 79cm (2, print and certificate of authenticity) £3,000 - 5,000 Provenance: This lot is accompanied by a Certificate of Authenticity issued by CCA Galleries. LOT 338  Katherine ‘Kaff’ Gerrard (née Leigh-Pemberton) (British, 1894-1970) ‘Water’ inscribed with title verso, oil on canvas 51 x 61cm; unframed £300 - 500

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LOT 339 Jessica Dismorr (British, 1885-1939) Mrs Ody holding a book signed ‘JESSICA DISMORR’ l.r., oil on board 61.5 x 46.5cm; framed 85 x 70cm £6,000 - 8,000 Provenance: With Whitford & Hughes, London.

LOT 340 Jessica Dismorr (British, 1885-1939) Portrait of Stephen Spender, circa 1934/1935 inscribed ‘S.S’ l.l., pen and ink with light wash and graphite 35 x 26cm; framed 57 x 47cm £2,000 - 3,000 Provenance: RHM Ody and thence by descent; with Wilson Stephens Fine Art. Exhibited: The Mayor Gallery, London, 1965.

340 Jessica Dismorr is recognised today as an important and politically engaged figure within British 20th-century modernism. In 1902, she began her artistic training at the Slade School of Fine Art, one of the few institutions at the time that allowed women to study directly from the life model. She continued her studies in France, pausing her painting to work as a nurse there during the First World War. Among the few British painters of the 1930s working in complete abstraction, Dismorr developed a distinctive modernist visual language, with many of her later portraits produced in a fully abstract form. Although she was an essential experimental artist within British Vorticism, she was later completely dismissed from Vorticist history by the movement’s self-appointed leader, Wyndham Lewis. Although Dismorr’s work was not widely appreciated during her lifetime, she is now viewed as a significant contributor to British modern art.

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LOT 341 Jessica Dismorr (British, 1885-1939) Portrait of Dylan Thomas, circa 1934/1935 signed with initials l.r., inscribed ‘D.T’ l.l., pen and ink with wash and graphite 35 x 26cm; framed 57 x 47cm £2,000 - 3,000 Provenance: RHM Ody and thence by descent; with Wilson Stephens Fine Art. Exhibited: The Mayor Gallery, London, 1965.

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LOT 342 Jessica Dismorr (British, 1885-1939) Portrait of Roger Roughton, circa 1934/1935 signed with initials l.r., inscribed ‘R.R’ l.l., pen and ink with light wash and graphite 35.5 x 27.5cm; framed 57.5 x 48cm £2,000 - 3,000 Provenance: RHM Ody and thence by descent; with Wilson Stephens Fine Art. Exhibited: The Mayor Gallery, London, 1965.

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LOT 343 Jessica Dismorr (British, 1885-1939) ‘Still Life Group’ signed and dated Jessica/Dismorr/1925’ c.r., inscribed with title on mount, watercolour over pencil 35 x 23.5cm; mount 43 x 34cm; unframed £1,500 - 2,000 Provenance: RHM Ody and thence by descent.

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LOT 344 Jessica Dismorr (British, 1885-1939) ‘Roma’ signed ‘Jessica/Dismorr’ and inscribed with title l.r., watercolour over pencil 35 x 24.5cm; mount 42.5 x 34cm; unframed £2,000 - 3,000 Provenance: R HM Ody and thence by descent.

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347 LOT 345  Karolina Larusdottir (Icelandic, 1944-2019) Still life with mirror and a reflection of the artist signed and dated ‘Karolina Larusdottir ‘89’ l.r., watercolour over pencil 72 x 53cm; framed 96 x 74.5cm £1,000 - 1,500 LOT 346  Charlotte Cornish (British, b.1967) ‘Whitehaven Dock’, 1995 acrylic on canvas 45 x 60.5cm; framed 64.5 x 78.5cm £350 - 450

LOT 347  Charlotte Cornish (British, b.1967) ‘Bonding II’ monoprint in colours, signed ‘Cornish’ in pencil l.r., inscribed with title and numbered IV/V sheet 75.5 x 57cm; framed 96 x 77cm £250 - 350 Provenance: Purchased from the artist’s open studio sale, July 2002.

Exhibited: Cambridge Contemporary Art, Cambridge, 7 - 22 March 1997.

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LOT 348  Brenda Hartill (British, b.1943) ‘Fractured Earth I’ collaged soft-ground etching, signed and dated ‘Brenda Hartill ‘97’ l.r., inscribed with title and numbered 17/100 plate 70 x 55cm; framed 102.5 x 85.5cm £100 - 150

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LOT 349  Alison Wilding (British, b.1948) ‘Prediction Drawing 8’, 2009 signed with initials l.r., pencil, watercolour and coloured crayon (34.5 x 24cm (irregular); framed 41.5 x 31.5cm) £200 - 300 Provenance: RA Schools Annual Dinner and Auction 2018, lot 37. LOT 350  Tessa Newcomb (British, b.1955) ‘Alum and Lavender’ signed with initials and dated ‘09’ l.r., gouache 30 x 23cm; framed 45 x 37cm £200 - 300 Provenance: With Caroline Wiseman.

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LOT 351  Isabel Wrightson (British, 1890-1971) Boats in a harbour, Newlyn signed ‘ISABEL WRIGHTSON’ l.r., oil on canvas 41 x 50.5cm; unframed (1) £800 - 1,200 LOT 352  Jessie Bayes (British, 1876-1970) ‘The Pastoral Symphony’ signed ‘Jessie Bayes’ l.r., inscribed with title u.r., tempera on board 30.5 x 38cm; framed 39.5 x 48cm £300 - 400 Provenance: T he collection of Lady Elizabeth Fitzherbert.

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319-354 LOT 353  Caroline Ayles (British, b.1960) ‘Interior with Bowl, after Hammershoi’ oil on board 29 x 42cm; framed 52 x 64cm £1,000 - 1,500 Provenance: With Portland Gallery, London, 2003. Exhibited: Art London, 2003.

353 LOT 354 Huguette Clark (American, 1906-2011) Still life with a Japanese parasol, butterflies and a pair of geta signed ‘Huguette Clark’ l.r., with the artist’s seal, oil on canvas 110 x 105cm; framed 128 x 123cm £3,000 - 5,000 Provenance: Christie’s, New York, ‘An American Dynasty: The Clark Family Treasures’, 18 June 2014, lot 178.

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355-405 LOT 355  François Gall (Hungarian-French, 1912-1987) Beach scene signed ‘F Gall’ l.l., oil on canvas 22 x 27cm; framed 32 x 37cm £1,500 - 2,000 LOT 356  Béla Kádár (Hungarian, 1877-1956) Still life signed ‘KÁDÁR/BELA’ l.r., gouache 48.5 x 33.5cm; framed 75 x 58cm £1,200 - 1,800 Provenance: T ajan, Paris, ‘Art Impressionniste et Moderne’, 2 July 2014, lot 45. LOT 357  Charles Picart Le Doux (French, 1881-1959) Seated nude signed and dated u.r., oil on canvas 45 x 38cm £400 - 600

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358 LOT 358 Louis Valtat (French, 1869-1952) Pêches et Abricots signed with initials l.r., oil on canvas 25 x 35cm; framed 41 x 52cm £8,000 - 12,000 Provenance: Sotheby’s, New York, ‘Impressionist & Modern Art’, 28 May 2015, lot 47. LOT 359  Raymond Thibesart (French, 1874-1968) View of Beaulieu-sur-Mer from the heights of Saint-Jean-Cap-Ferrat signed and dated ‘R.Thibesart/’08’ l.l., oil on canvas 50 x 65cm; unframed £2,000 - 3,000

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LOT 360 Marina Marina (Russian, b.1970) ‘Sunday Morning’ signed in Cyrillic and dated ‘2011’ l.l., also signed in Cyrillic verso, oil on canvas 55 x 45cm; framed 70 x 60cm £700 - 900 Provenance: C hristie’s, London, 26 November 2013, lot 701.

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LOT 361  Paul Lucien Maze (French-British, 1887-1979) ‘The Pink Dress’ signed ‘Paul Maze’ l.l., pastel 26.5 x 23.5cm; framed 43.5 x 38cm £300 - 400 Provenance: With Cork Street Gallery, London, where purchased by Viscount Weir, October 1967. LOT 362 Maurice Utrillo (French, 1883-1955) Rue Cortot à Montmartre, circa 1937 signed ‘Maurice Utrillo V’ l.r. and inscribed ‘Montmartre’ l.l., watercolour and gouache 60.5 x 46.5cm; framed 87x 72cm £12,000 - 18,000 Provenance: Herman E Colson, Brussels, and thence by descent; Sotheby’s, London, 6 February 2013, lot 414. Literature: Paul Pétridès, ‘L’Œuvre complet de Maurice Utrillo’, Paris, 1966, vol. IV, no. AG420, ill. p. 357.

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LOT 363  Léon de Smet (Belgian, 1881-1966) Dahlias and begonias signed and dated ‘LEON DE SMET/1925’ u.r., oil on canvas 62 x 69cm; framed 85 x 91.5cm £10,000 - 15,000 Provenance: W ith Leicester Galleries, London; Wilfred Johnson Esq. (acquired from the above); with Whitford & Hughes, London; private collection (acquired from the above), May 1985; Christie’s, New York, 6 November 2013, lot 322, with authenticity confirmed by Piet Boyens. LOT 364  Jean-Gabriel Domergue (French, 1889-1962) Seated nude signed ‘J Gabriel/Domergue’ l.r., oil on board 40.5 x 33cm; framed 55.5 x 47.5cm £2,000 - 3,000 Provenance: A rtcurial, Paris, 15 June 2014, lot 130; with Galerie du Carlton, Cannes.

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LOT 365  Jean-Gabriel Domergue (French, 1889-1962) The stocking signed ‘Jean/Gabriel/Domergue’ l.r., bears number and inscription ‘952/Le bas’ verso, oil on board 46 x 55cm; framed 62 x 71cm £3,000 - 5,000 Provenance: Bonhams, Knightsbridge, 3 March 2021, lot 159.

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366 LOT 366  Antoine Blanchard (French, 1910-1988) A snowy winter scene in a Parisian street signed ‘Antoine Blanchard’ l.l., oil on canvas 46 x 56cm; framed 62 x 72cm £1,500 - 2,000 LOT 367  Vlastimil Beneš (Czech, 1919-1981) Cemetery with trees signed ‘Benes’ l.r., oil on canvas laid on board, verso a pencil sketch of a church and trees 39.5 x 50cm; unframed £800 - 1,200

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368 LOT 368  Emvin Cremona (Maltese, 1919-1987) Knights signed, inscribed and dated ‘Cremona/Malta ‘68’ l.r., mixed media 62 x 50cm; framed 82 x 69cm £4,000 - 6,000 Provenance: Purchased directly from the artist at his studio in St Paul’s Bay, Malta, in 1968.

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LOT 369 Paul Dyck (American, 1917-2006) ‘Way of Life’ signed ‘Paul C. Dyck’ l.l., oil on board 56 x 106cm; framed 76 x 126cm £1,000 - 1,500 Provenance: With The O’Brien Galleries, Arizona.

LOT 370 Cecil Calvert Beall (American, 1892-1967) ‘The Beads Came from Harlem’ watercolour and gouache on paper laid on board 73 x 53cm; framed 83 x 63cm £400 - 600

LOT 371 Elinus Cato (Grenadian, 1933-2004) ‘Bird Eating Banana’ signed ‘E. CATO’ l.r., inscribed with title and dated ‘94’, mixed media on board 46 x 61.5cm; framed 65 x 80cm £400 - 600 Provenance: W ith Yellow Poui Art Gallery, Grenada, West Indies.

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374 LOT 372 Francisco ‘Chico’ da Silva (Brazilian, 1910-1985) Dragon signed ‘F D SILVA’ and dated ‘1979’ l.c., tempera on canvas 43 x 65cm; framed 46.5 x 68cm £600 - 800

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LOT 373 Francisco ‘Chico’ da Silva (Brazilian, 1910-1985) Fish signed ‘FD SILVA’ and dated ‘1973’ l.c., acrylic on canvas 46 x 65cm; framed 74 x 93cm (2, painting and certificate) £800 - 1,200

LOT 374 Francisco ‘Chico’ da Silva (Brazilian, 1910-1985) ‘Snake and Fantastic Bird’ signed and dated ‘F D SILVA/1967’ l.c., watercolour and gouache 49 x 69cm; framed 51 x 71.5cm (3, print and two certificates of authenticity) £1,500 - 2,500

Provenance: P urchased from Beirith Escritorio de Arte, Brazil.

Provenance: T his lot is accompanied by two Certificates of Authenticity, one issued by Eduardo Calixto, and another issued by Bel Galeria De Arte.

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355-405 LOT 375 Ronald Thomas Bierl aka ‘Symon’ (American, 1947-2020) Masks I signed ‘SYMON’ l.r., oil on canvas 125 x 76cm; framed 136 x 88cm £300 - 500 LOT 376 Ronald Thomas Bierl aka ‘Symon’ (American, 1947-2020) Masks II signed and dated ‘SYMON/’88’ l.r., also signed, inscribed ‘The Mask Collection’ and dated verso, oil on canvas 123.5 x 149cm; framed 136 x 163cm £300 - 500 LOT 377 Ronald Thomas Bierl aka ‘Symon’ (American, 1947-2020) Masks III signed ‘Symon’ l.l., oil on canvas 121 x 74cm; framed 133 x 87cm £300 - 500

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LOT 378  Fritz Josefovics aka Frederick Joss (Austrian, 1908-1967) Albert Einstein signed ‘Joss’ l.r., ink and collage with gouache 20 x 18cm; framed 46.5 x 44.5cm £3,000 - 5,000 Fritz Josefovics was an Austrian political cartoonist, satirist, writer, and adventurer who studied at the Arts and Crafts School of the Austrian Museum in Vienna. As a young man, he travelled extensively, was expelled from Argentina for his socialist cartoons, and spent a short period in a Spanish prison. In 1932, aged 24, he published Werner Post, Vienna’s last anti-fascist newspaper. Fleeing fascist persecution, he settled in England in 1933, and became a political caricaturist for The Star in London. Fluent in eight languages, he travelled widely covering international conferences. During the Second World War, he translated Hitler’s speeches for British Intelligence and served in the Royal Artillery, continuing to submit cartoons under the pseudonym ‘Denim’. Known in Britain as Fred Joss, a name he formally adopted in 1940, he resumed his caricature work after the war and frequently covered United Nations delegations, including the post-war human rights sessions led by Eleanor Roosevelt. In 1955, he was elected a Fellow of the Royal Society of Arts and received the French Croix d’Honneur. He died by suicide, after a fall from a building in Hong Kong, aged 58. Today, his work is held in numerous public collections across Europe, Britain and the United States.

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355-405 LOT 379  Fritz Josefovics aka Frederick Joss (Austrian, 1908-1967) Seated nude with a study of a face black chalk and pastel 44.5 x 63cm; unframed £300 - 500

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380 LOT 380  Fritz Josefovics, later known as Frederick Joss (Austrian, 1908-1967) Nude on a chair pastel 61 x 42cm; framed 75 x 56cm £500 - 700

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381 LOT 381  Albert Braïtou-Sala (French, 1885-1972) Nude dressing signed and numbered ‘Albert Sala/XIII’ l.r., oil on canvas 57 x 41cm; framed 69.5 x 54.5cm £700 - 900

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LOT 382 Serge Marshennikov (Russian, b.1971) ‘The Opposites’ signed in Cyrillic l.l., also signed and dated ‘Serge Marshennikov/2004’ verso, oil on canvas 88 x 119cm; framed 102.5 x 132cm £5,000 - 7,000

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383 LOT 383 Lucien Adrion (French, 1889-1953) Interior with a view out of a window signed ‘Adrion’ l.r., oil on board 50.5 x 59.5cm; framed 65 x 73cm £1,000 - 1,500 Provenance: Shannon’s Fine Art Auctioneers, Connecticut, USA, 16 June 2015, lot 45.

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LOT 384 Mikhail Zharov (Ukrainian, b.1974) Still life with roses signed in Cyrillic l.r., also signed and dated ‘2014’ verso, oil on canvas 54 x 72cm; framed 66 x 84cm £300 - 500

LOT 385 20th Century School Still life of bottles and fruit indistinctly signed and inscribed l.r., verso a pencil sketch of a building, oil on canvas 55 x 46cm; framed 71 x 62cm £200 - 300

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388 LOT 386 Maria Ivanova (Russian, b.1968) ‘The Artist’s Muse’, 2004 signed in Cyrillic and dated ‘2004’ l.l., also signed, inscribed and dated verso, oil on canvas 189.5 x 140cm; framed 148 x 97.5cm £300 - 500 LOT 387 Raoul Dufy (French, 1887-1953) A floral motif indistinctly inscribed l.l., ink 46.5 x 30.5cm; framed 76 x 59cm £500 - 700 LOT 388  Andreas Charalambides (Cypriot, b.1939) Portrait of a Woman with Irises signed and dated ‘97’ l.l., oil and gold paint on canvas 60 x 50cm; framed 77 x 67cm £2,000 - 3,000 Provenance: With Gallery K, London.

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389 LOT 389 Vitaly Sidorov (Russian, 1922-2010) Two paintings of peaches both signed in Cyrillic and dated ‘98’ l.r., oil on board 40 x 25cm; framed 48 x 33.5cm and 25 x 29cm; framed 33.5 x 37cm (2) £150 - 200

LOT 390  Sigurd Valdemar Lønholdt (Danish, 1910-2001) Portrait of a woman signed with initials l.l., oil on canvas 88 x 70cm; framed 100 x 81cm £400 - 600

LOT 391  Helmuth Thomsen (Danish, 1908-1974) Woman in a chair oil on canvas 90 x 69cm; framed 101 x 80cm £300 - 500

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LOT 392  Claude Venard (French, 1913-1999) Landscape with a tree and a white house signed ‘VENARD’ l.l., oil on canvas 60 x 72cm; framed 81 x 94cm £5,000 - 7,000

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394 LOT 393 Viktor Templin (Russian, 1920-1994) ‘Reading a Book’ signed in Cyrillic l.r., oil on board 52 x 64cm; framed 55 x 67cm £500 - 700 LOT 394 Yuri Matushevski (Russian, 1930-1999) ‘Summer Birch Forest’, 1970 signed in Cyrillic l.r., oil on board 70 x 54cm; framed 81 x 65.5cm £500 - 700

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LOT 395 Petr Krokhonyatkin (Russian, 1929-2018) ‘Time to Harvest’ signed with initials and dated ‘58’ l.l., also signed, inscribed in Cyrillic and dated verso, oil on board 24 x 34cm; framed 35 x 45cm £100 - 150 LOT 396 Gennadiy Kirichenko (Ukrainian, b.1968) ‘By the Pier’ signed in Cyrillic l.l., also signed and dated ‘2006’ verso, oil on canvas 54 x 81cm; framed 63 x 89.5cm £200 - 300

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LOT 397 Denis Chernov (Ukrainian, b.1978) ‘Waiting’ signed and dated ‘D.CHERNOV/2007’ l.r., also signed, inscribed in Cyrillic and dated verso, oil on canvas 74 x 60cm; framed 82.5 x 68.5cm £200 - 300

LOT 398  Geoff Williams (New Zealand, b.1957) Nude reclining on a chair signed and dated ‘GEOFF WILLIAMS ‘92’ l.r., oil on board 30 x 57cm; framed 52 x 78cm £700 - 1,000 Provenance: Acquired from a private London collection.

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LOT 399 Ronald Brooks Kitaj (American, 1932-2007) ‘Barcelonetta’ lithograph in colours, 1979, signed ‘Kitaj’ in pencil l.l. and numbered 67/100, published by the Stuyvesant Foundation, Amsterdam, with their blind stamp sheet 77 x 56cm; framed 99 x 77cm £400 - 600

LOT 401 Steven Gontarski (American, b.1972) ‘The Fourth Prophet (Through the Eyes of the One Left Behind) I, 2004 fibreglass, acrylic paint and mirrored plinth, in two parts 80cm wide, 62cm deep, 220cm high; base 140cm wide, 140cm deep, 21cm high (2) £1,500 - 2,500

LOT 400 Louis Icart (French, 1888-1950) ‘Lacquered Screen’ etching and aquatint in colours, 1922, signed ‘Louis Icart’ in pencil l.r. and numbered 108, published by L’Estampe Moderne, Paris image 35 x 20.5cm; framed 66 x 49cm £300 - 400

Provenance: With White Cube, London; Christies, ‘Post War and Contemporary Art 1990 To Now’, 20 November 2012, lot 147.

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LOT 402 Ossip Zadkine (Russian-French, 1888-1967) ‘Figure with Guitar’ and ‘Daphne’ (Treeform) two lithographs, 1964, studio proofs, signed in the plate, printed at the Curwen Studio sheet 80.5 x 57.5cm and similar; unframed (2) £200 - 300

LOT 404 Yoshishige Furukawa (Japanese, 1921-2008) ‘Poetry Series’ I, III, IV, V, VI, VIII, IX, X eight lithographs in colours with screenprint, each signed ‘FURUKAWA’ in pencil, seven dated ‘99’, printed at the Curwen Studio each sheet 38.5 x 48.5cm; unframed (8) £400 - 600

Provenance: Acquired by the present owner directly from the Curwen Studio.

LOT 403  Henry Milner (British, b.1971) after Nikolay Zhukov USSR, 1930 lithograph in colours, 2013, studio proof, reconstructed by Henry Milner for the ‘See USSR’ exhibition at the Gallery for Russian Arts and Design, London, 7 June - 31 August 2013, printed at the Curwen Studio sheet 57 x 84cm; unframed £200 - 300

LOT 405 After Joan Miró Untitled lithograph in colours with technical details printed verso, studio proof, produced for the exhibition ‘Miró: Sculptor’ at the Yorkshire Sculpture Park, 2012, and embossed ‘© Successió Miró 2012’ l.r., printed at the Curwen Studio sheet 55 x 66cm; unframed £200 - 300

Provenance: Acquired by the present owner directly from the Curwen Studio.

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Provenance: Acquired by the present owner directly from the Curwen Studio.

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LOT 406  Leon Underwood (British, 1890-1975) Portrait of a woman signed and dated ‘Underwood/’26’ u.r., oil on canvas 81.5 x 54.5cm; framed 98 x 71cm £3,000 - 5,000

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LOT 407 Aloysius O’Kelly (Irish, 1853-1936) At the harbour signed ‘A. O’Kelly’ l.r., oil on board 26 x 36.5cm; framed 40 x 50cm £2,000 - 4,000

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LOT 408  Charles Walter Simpson (British, 1885-1971) ‘St Ives Harbour, Low Tide’ signed ‘Charles Simpson’ l.l., gouache 47.5 x 58cm; framed 79 x 88cm £400 - 600

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LOT 409  Edward Seago RWS (British, 1910-1974) ‘Floodwater Near Beccles, Suffolk’ signed ‘Edward Seago’ l.l., watercolour 33.5 x 51cm; framed 60.5 x 77cm £1,500 - 2,000 Provenance: With Richard Green, London.

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LOT 410  Sir Jacob Epstein (American-British, 1880-1959) Second Portrait of Kitty bronze with a golden-brown patina, conceived in 1947; together with a copy of ‘Love Lucian: The Letters of Lucian Freud, 1939-1954’ by David Dawson and Martin Gayford, published by Thames & Hudson Ltd., London, 2022 32cm wide, 23cm deep, 32cm high; 41cm high overall on a marble base (2, bronze and book) £3,000 - 5,000 Literature: E Silber, ‘The Sculpture of Epstein’, Oxford, 1986, p. 200, no. 387 (1), another cast illustrated. Kitty Garman (1926-2011) was the second daughter of Jacob Epstein and Kathleen Garman. Born out of wedlock, Kitty took her mother’s surname Epstein’s wife Margaret had famously shot Kathleen out of jealousy some three years earlier, wounding her in the shoulder. Kitty studied at the Central School of Arts & Crafts, but abandoned her studies after she was introduced to Lucian Freud in 1947, marrying him a year later. Despite their turbulent relationship, Kitty became his most important early model, serving as the subject of ‘Girl with a White Dog’, ‘Girl with a Kitten’ and other masterpieces, which are among the most important and valuable of British 20th-century portraits.

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LOT 411  Augustus John OM RA (British, 1878-1961) ‘Lady with a Necklace’ (Ida) signed ‘Augustus John’ l.r., pen and red ink 39 x 29cm; framed 69 x 57cm £4,000 - 6,000 Provenance: Charles Reilly; the Liverpool Architectural Society. The work is inscribed on the reverse of the sheet by Charles Reilly: ‘To the Liverpool/Architectural Society/ from C Reilly/ May 1908’. Reilly was an architect and professor of Architecture at Liverpool University who knew Augustus and his wife, Ida, while they were living in Liverpool between 1902 and 1903. Augustus kept in touch with Reilly through correspondence and on subsequent visits to Liverpool, staying with him in 1911. John’s portrait of Charles Reilly is one of several he painted of Liverpool University professors and academics during those early years. We are grateful to Rebecca John for her assistance with the cataloguing for the present work.

411

LOT 412  Augustus John OM RA (British, 1878-1961) ‘Brigit, Tristan and Dorelia’, Jamaica, 1937 faintly signed ‘A. John’ u.r., pen and blue ink 26.5 x 33.5cm; framed 44 x 50cm The present work was produced by Augustus John in 1937, on a family trip to Jamaica. He had hoped to visit the island for many years, writing about his desire in a letter to Dorelia in 1911. £400 - 600 We are grateful to Rebecca John for her assistance with the cataloguing of this lot.

412

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LOT 413  Stanley Royle (British, 1888-1961) Portrait of a woman in profile signed and dated ‘Stanley Royle 1948’ l.l., oil on canvas 21 x 21cm; framed 59 x 59cm £800 - 1,200

413

414 LOT 414 20th Century School Life drawing studies red chalk 34 x 26cm; framed 62 x 54cm £200 - 400

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415 LOT 415  Clifford Hall (British, 1904-1973) Sleeping nude oil on canvas 30.5 x 45.5cm; framed 48.5 x 64cm £400 - 600

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416 LOT 416  David Bomberg (British, 1890-1957) Ballet inscribed and dated ‘Ballet/Ink wash 1919’ verso, pastel, pen and ink and wash 28 x 38cm; framed 43.5 x 49cm £1,500 - 2,500

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419 LOT 417  Émile Antoine Verpilleux (British-Belgian, 1888-1964) ‘St Paul’s - Twilight’, 1924 woodcut in colours, signed ‘E. Verpilleux’ in pencil l.c. image 35.5 x 45.5cm; framed 57.5 x 70.5cm £300 - 500 LOT 418 Edward Wadsworth ARA (British, 1889-1949) Still life, 1921 woodcut, printed from the original blocks by Walter Bradley at the Morland Press, published by Herbert Furst at the Little Art Rooms, London, April 1921 image 15 x 10cm; framed 28.5 x 23cm £200 - 300

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418

420 LOT 419  John Nash RA (British, 1893-1977) ‘Southern Women’, 1929 wood engraving, signed ‘John Nash’ in pencil l.r., from ‘Céleste and other Sketches’, printed by the Westminster Press, published by the Blackamore Press in 1930 image 12 x 8cm; framed 32 x 23cm £200 - 300 LOT 420  John Nash RA (British, 1893-1977) ‘Harvesting’, circa 1946 lithograph in colours from the School Prints series, printed at the Baynard Press, England 48.5 x 76cm; framed 51 x 78cm £200 - 300

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LOT 421  Siobhan Bulfin (Irish, b.1969) Rolling racehorse bronze with black patina, signed ‘Siobhan Bulfin’, numbered 3/9 40cm wide, 23cm deep, 20cm high £1,000 - 1,500 LOT 422  Guy Taplin (British, b.1939) Scaup carved and painted driftwood with glass eyes, signed ‘GUY TAPLIN’, inscribed with title and dated ‘1983’ underneath 14cm wide, 9cm deep, 9cm high £300 - 500

421

LOT 423  Mark Coreth (British, b.1958) Elephant bronze, signed ‘M. Coreth’, numbered 1/9 11cm wide, 4cm deep, 7cm high £700 - 900 LOT 424  Mark Coreth (British, b.1958) Wild boar bronze, signed ‘M. Coreth’, numbered 3/9 12cm wide, 5.5cm deep, 9cm high £600 - 800

422

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423

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428

427

LOT 425  Pip McGarry (British, b.1955) Zebra signed ‘Pip McGarry’ l.r., oil on canvas 26 x 31cm; unframed £800 - 1,200

BETWEEN TRADITION AND MODERNITY

LOT 426 DCA (20th century) The Circus signed with initials l.l., oil on canvas board 50 x 40cm; framed 58.5 x 49cm £250 - 350

LOT 427  Attributed to Cesare Bacchi (Italian, 1881-1971) Getting dressed signed with initials ‘C.B’ l.r., oil on canvas 20.5 x 13cm; framed 33.5 x 25.5cm £200 - 300

LOT 428 Johannes Herman Brandt (Danish, 1850-1926) Mountain view signed and dated ‘J. H. Brandt 1913’ l.r., oil on canvas 49 x 72cm; framed 65.5 x 87cm £500 - 700

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429

430 LOT 429  Terence Cuneo (British, 1907-1996) ‘The Oldest Loco in Germany’ signed and dated ‘CUNEO/OCT ‘80’ l.r., oil on canvas 30 x 40cm; framed 43 x 53cm £800 - 1,200

LOT 430  Terence Cuneo (British, 1907-1996) A steam train in a yard signed ‘CUNEO’ l.r., oil on canvas 31 x 41cm; framed 39.5 x 49.5cm £800 - 1,200

Provenance: The David and Pam McCleave Collection of Modern British Art.

Exhibited: The Mall Galleries London, ‘Terence Cuneo Exhibition’, catalogue no. 28.

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431

432 LOT 431  John Austin (British, b.1949) ‘King’s Wimbledon’ at Surbiton signed and dated ‘John Austin./Nov 23.’ l.l., oil on canvas 81 x 122cm; framed 95 x 136cm £800 - 1,200

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LOT 432  John Austin (British, b.1949) Battersea Power Station and ‘Golden Arrow’ signed and dated ‘John Austin/Oct 21’ l.r., oil on canvas 91 x 121cm; framed 110 x 138cm £1,000 - 1,500

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LOT 433 Emily Beatrice Bland (British, 1864-1951) ‘Summer Flowers’ signed ‘E. B. Bland’ l.r., also signed and inscribed with title verso, oil on board 50 x 40cm; framed 68.5 x 58.5cm £400 - 600 Exhibited: T he Fine Art Society, London, January 1944.

433

LOT 434 Emily Beatrice Bland (British, 1864-1951) ‘Autumn Flowers’ signed ‘E. B. Bland’ l.r., also signed and inscribed with title on New English Art Club label verso, oil on board 46 x 35cm; framed 63 x 53cm £300 - 500 Exhibited: N ew English Art Club.

434

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LOT 435 Dorothea Sharp (British, 1873-1955) Mother and Child oil on canvas 41 x 46cm; 61 x 68cm £6,000 - 8,000

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436

437 LOT 436  Ian Houston (British, 1934-2021) ‘A Norfolk Farm, April’ signed ‘Ian Houston’ l.r., oil on board 35.5 x 50.5cm; framed 46.5 x 61.5cm £700 - 900

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LOT 437  Ian Houston (British, 1934-2021) Landscape on a cloudy day signed ‘Ian Houston’ l.l., oil on board 23 x 28cm; framed 36 x 40cm £200 - 300

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438

439 LOT 438  Ian Houston (British, 1934-2021) ‘Bude Harbour at Sundown’ signed ‘Ian Houston’ l.l., gouache on board 50 x 70cm; framed 69 x 89cm £1,000 - 1,500

LOT 439  Ian Houston (British, 1934-2021) ‘By the Trevi Fountain, Rome’ signed ‘Ian Houston’ l.l., oil on board 17 x 25cm; framed 30 x 37.5cm £200 - 400

Exhibited: Portland Gallery, London, January 2003, catalogue no. 24.

Exhibited: Portland Gallery, London, February 2013, catalogue no. 38.

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440 LOT 440  Robbie Wraith (British, b.1952) Venice signed ‘WRAITH’ l.l., oil on board 30.5 x 23cm; unframed £200 - 300

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441 LOT 441  John Thomas Young Gilroy (British, 1898-1985) ‘Guinness, The Ideal Summer Resort’, 1961 signed ‘Gilroy’ l.l., inscribed with title and dated ‘1961’ l.r., pencil, watercolour and black chalk 32 x 73cm; framed 60 x 100.5cm £600 - 800 An original artwork by John Gilroy for the 1961 Guinness advertising poster, ‘Guinness The Ideal Summer Resort’. This design was the final poster created by Gilroy for Guinness, bringing to a close one of the most celebrated partnerships in British advertising history. Characteristic of his humorous and instantly recognisable style, here we see the playful visual wit that helped establish the graphic identity of the Guinness brand. A closely related version of the design, without the accompanying slogan, is held in the Guinness Archive.

LOT 442 Cyril Kenneth Bird aka ‘Fougasse’ (British, 1887-1965) ‘Careless Talk Costs Lives’, circa 1940 a set of eight lithographic posters in colours, signed in the plate u.l. 32 x 20.5cm; unframed (8) £800 - 1,200

442

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443-475 LOT 443  John Aldridge RA (British, 1905-1983) Landscape with trees and a stream dated ‘1 Mar ‘53’ l.r., also signed ‘John Aldridge’ and dated on artist’s label verso, oil on board; together with a signed letter on headed notepaper from the artist to Mrs Hudson, dated ‘25 July 55’ 41 x 50cm; framed 46 x 55cm (2) £1,000 - 1,500 LOT 444  John Aldridge RA (British, 1905-1983) Hovis Watermill, Andover signed and dated ‘John Aldridge 1931’ l.r., also signed, inscribed with title and dated verso, oil on board 64 x 76cm; framed 81 x 93.5cm £3,000 - 5,000

443

Provenance: With Louise Kosman, Edinburgh. Anton Mill, situated on the River Anton at Andover, Hampshire, was one of the principal mills operated by Hovis during the late nineteenth and early twentieth centuries, and consequently was known locally as ‘Hovis Mill’. Benefitting from the clear chalk stream waters of the Anton and the surrounding grain-growing countryside, the site formed part of a milling tradition that had existed in the town for centuries. Modernised by Hovis in the 1890s, the mill became an important regional centre for flour production, and its distinctive red brick architecture and landscaped setting made it a local landmark.

444

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LOT 445  John Aldridge RA (British, 1905-1983) North Wales, circa 1950s watercolour 21.5 x 28.5cm; framed 42 x 47cm £500 - 700 Provenance: A note from the artist’s executor, Ian Tregarthen Jenkins, verso states that this watercolour came from the artist’s studio following his death; Cheffins, Cambridge, 28 January 2016, lot 346, where acquired by the present owner. Exhibited: The New Grafton Gallery, London, 1987; the Fry Art Gallery, Saffron Walden, Essex, 1988.

445

LOT 446  John Aldridge RA (British, 1905-1983) Richmond signed ‘John Aldridge’, inscribed with title and dated ‘20 Sept 1955’ l.l., watercolour over pencil 20 x 25cm; framed 33 x 38cm £300 - 500 Provenance: Gildings Auctioneers, Market Harborough, 19 July 2021, lot 53, where acquired by the present owner.

446

LOT 447  John Aldridge RA (British, 1905-1983) ‘Hampshire nr. Broughton’, verso another landscape inscribed with title l.l., signed with initials and dated ‘1928’ verso, watercolour over pencil 23 x 29.5cm; framed 40.5 x 45.5cm £500 - 700 Provenance: With the Fry Art Gallery, Saffron Walden; Sworders, 25 April 2023, lot 200, where acquired by the present owner.

447

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LOT 448  John Aldridge RA (British, 1905-1983) ‘Trees in a Stream’ inscribed verso, oil on board 22 x 15.5cm; framed 37 x 31cm £800 - 1,200 Provenance: W ith the Leicester Galleries, London, April 1945; Sworders, 11 July 2018, lot 1005, where acquired by the present owner. LOT 449  John Aldridge RA (British, 1905-1983) A walled garden signed ‘John Aldridge’ l.l., oil on canvas laid on board 63 x 75cm; framed 74 x 86cm £3,000 - 5,000 Provenance: W ith Oriel Art, Cambridge, where acquired by the present owner, November 2017.

448

449

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LOT 450  John Aldridge RA (British, 1905-1983) ‘Villa Borghese, Rome’ signed ‘J Aldridge’ l.l., also signed, inscribed with title and dated ‘August ‘51’ verso, oil on board 26.5 x 35.5cm; framed 48 x 57cm £1,500 - 2,000 Provenance: With Louise Kosman, Edinburgh.

450 LOT 451  John Aldridge RA (British, 1905-1983) ‘Farm House near Bouzarea’ signed ‘John Aldridge’, inscribed with title and dated ‘Summer 1944’ l.c., watercolour over pencil 28 x 44cm; framed 51.5 x 66.5cm £600 - 800 Provenance: Sworders,14 February 2017, lot 19, where acquired by the present owner.

451 LOT 452  Edward Bawden RA (British, 1903-1989) ‘St Ewe Church and Palms, Cornwall’ signed ‘Edward Bawden’ l.r., also signed, inscribed with title and dated ‘1981’ verso, pen and ink and watercolour 49 x 62.5cm; framed 65.5 x 78cm £1,200 - 1,800 Provenance: The estate of the artist; the collection of John Holden, gifted for being the co-executor of Edward Bawden’s estate. Exhibited: Newlyn Orion, Penzance, ‘Looking West’, 1987; The Fine Art Society, London, ‘Edward Bawden, Retrospective Exhibition’, 1989, catalogue no. 26; The Fine Art Society, London, April 1988; The Fine Art Society, London, January 1990.

452

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453 LOT 453  Edward Bawden RA (British, 1903-1989) ‘The Tower of London’ (MG.066) linocut in colours, 1966, signed ‘Edward Bawden’ in pen l.r., inscribed with title and numbered ‘Artist’s proof 46/75’ l.l. image 51 x 66.5cm; framed 73 x 88.5cm £800 - 1,200 LOT 454  Edward Bawden RA (British, 1903-1989) ‘The Guildhall’ (MG.069) linocut in colours, 1966, signed ‘Edward Bawden’ in pen l.r., inscribed with title and numbered ‘54/75 Artist’s proof’ l.l. image 66.5 x 50.5cm; framed 88.5 x 72.5cm £800 - 1,200

454

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455 LOT 455  Edward Bawden RA (British, 1903-1989) ‘The Blue Tractor’ (MG.056) linocut in colours, 1962, signed ‘Edward Bawden’ in pen l.r., numbered 49/50 sheet 57 x 79.5cm; framed 79.5 x 102cm £3,000 - 5,000 LOT 456  Edward Bawden RA (British, 1903-1989) ‘Our Family I’ (MG.187) linocut, 1989, signed ‘Edward Bawden’ in pencil l.r., inscribed with title and numbered 60/100 visible 62 x 90cm; framed 68.5 x 96.5cm £400 - 600

456

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457

458 LOT 457  Edward Bawden RA (British, 1903-1989) ‘Diversions at the Court of Lilliput’ lithograph in colours 20.5 x 13cm; framed 32 x 26cm £200 - 300 LOT 458 Edward Bawden RA (British, 1903-1989) ‘Knowle Park’ wallpaper, linocut in colours 74 x 55cm; framed 92 x 73cm £250 - 350 Provenance: P urchased from the Fine Art Society, London.

459

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LOT 459 Edward Bawden RA (British, 1903-1989) ‘Chestnut Sunday’ lithograph in colours after a linocut, advertising the annual Chestnut Sunday parade in Bushy Park, London, 1936, printed for Signature 3 in a limited edition of 1,000 by Curwen Press 24 x 30.5cm; framed 33 x 40cm £300 - 500

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460 LOT 460 Sheila Robinson (British, 1925-1988) ‘Literary London’, 1951 a pair of lithographic posters in colours designed by Robinson for London Transport, depicting houses of the writers Keats, Dickens, Carlyle and Johnson visible 101 x 61cm; framed 105 x 65cm (2) £600 - 900 Sheila Robinson was a British artist and illustrator, one of the celebrated Great Bardfield Artists and a lecturer at the Royal College of Art. Following her death, the RCA created the Sheila Robinson Drawing Prize in her honour. These two posters were among the first commissions Sheila Robinson undertook. She studied in the Design School at the Royal College of Art from 1946 to 1949, having been awarded an extra year. In 1950, London Transport - under the renewed impetus of Publicity Officer Harold Hutchison - commissioned her to produce several posters. As had been the case for many years, the organisation was keen to collaborate with talented artists fresh out of art school. For both of these designs, Robinson used her distinctive cardboard relief and linocut printmaking techniques to create the different elements of the image, before assembling them into a final collaged artwork. Catalogued in the London Transport Museum, reference number 1983/4/6416. LOT 461  Sheila Robinson (British, 1925-1988) ‘Bib Cat’ linocut in colours, signed and dated ‘Sheila Robinson 1968’ in pencil l.r., inscribed with title and numbered 7/40 image 40.5 x 35.5cm; framed 65.5 x 55.5cm £500 - 700 www.sworder.co.uk

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443-475 LOT 462  Richard Bawden (British, 1936-2024) ‘Midnight Visitor’ aquatint in colours, signed ‘Richard Bawden’ in pencil l.r., inscribed with title and numbered 36/75 plate 40 x 56cm; framed 59 x 74cm £300 - 500 LOT 463  Richard Bawden (British, 1936-2024) ‘The Marmalade Cat’ etching and aquatint in colours, signed ‘Richard Bawden’ in pencil l.r., inscribed with title and numbered 4/85 plate 59 x 41cm; framed 80.5 x 61.5cm £250 - 350

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LOT 464 Tirzah Garwood (British, 1908-1951) ‘The Big Man’ wood engraving, a frontispiece to ‘The Big Man’ by LAG Strong, a limited edition of 550 printed at the Chiswick Press, 1931 image 16.5 x 10.5cm; framed 27.5 x 21cm £250 - 350

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LOT 465  John Bellany RA (British, 1942-2013) ‘Dream Landscape’ signed ‘Bellany’ l.r., inscribed with title verso, oil on canvas 91 x 91cm; framed 113 x 113cm £5,000 - 7,000

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443-475 LOT 466  John Bellany RA (British, 1942-2013) ‘Madame Butterfly’ titled l.c., signed with initials and dated ‘87’ verso, oil on canvas 51 x 51cm; framed 65 x 65cm £3,000 - 5,000 Provenance: S worders Fine Art Auctioneers, 14 February 2017, lot 32, where acquired by the present owner. LOT 467  John Bellany RA (British, 1942-2013) ‘Waiting for the Tide, Eyemouth’ signed ‘Bellany’ l.c., also signed and inscribed with title verso, oil on canvas 61 x 76cm; framed 83 x 99cm £2,000 - 3,000 LOT 468  John Bellany RA (British, 1942-2013) ‘Port Seton Harbour’ signed ‘Bellany’ u.r., oil on canvas 61 x 76cm; framed 77 x 92cm £2,500 - 3,500 Provenance: Purchased at the Fry Art Gallery, Saffron Walden.

466

LOT 469  John Bellany RA (British, 1942-2013) A jug of flowers signed ‘Bellany’ l.r., mixed media 57 x 37cm; framed 80 x 58cm £600 - 800 Provenance: G ifted to the vendor by Bellany on becoming the artist’s neighbour. LOT 470  John Bellany RA (British, 1942-2013) ‘Serena’, 2008 signed ‘Bellany’ l.r., watercolour and pencil 36.5 x 26.5cm; framed 60.5 x 49.5cm £600 - 800 Provenance: W ith the Fry Art Gallery, Saffron Walden, where acquired by the present owner in November 2015.

467

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469

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LOT 471  John Bellany RA (British, 1942-2013) ‘Tender Flower Piece’ signed ‘Bellany’ l.r., oil on canvas 75.5 x 60.5cm; framed 83 x 67cm £3,000 - 5,000 Provenance: Acquired directly from the artist by the previous owners; Sotheby’s, London, 14 September 2021, lot 255, where acquired by the present owner.

471

LOT 472  John Bellany RA (British, 1942-2013) Woman wearing a headscarf signed ‘Bellany’ u.r., watercolour and pencil 36 x 27cm; framed 58 x 47cm £600 - 800 Provenance: With the Fry Art Gallery, Saffron Walden, where acquired by the present owner in November 2016. Exhibited: The Fry Art Gallery, Saffron Walden, Annual Exhibition, 2016.

472

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473

474 LOT 473  John Bellany RA (British, 1942-2013) Harbour landscape signed ‘Bellany’ l.c., oil on canvas 91 x 122cm; framed 111 x 141.5cm £5,000 - 7,000

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475 LOT 474  Mark Hearld (British, b.1974) Pigeon linocut over a painted base, signed with initials and dated ‘14’ in pastel l.r. 41 x 58cm; framed 58.5 x 75.5cm £300 - 500

LOT 475  Michael Rothenstein RA (British, 1908-1993) Untitled (orange motor car) woodcut in colours, signed ‘Michael Rothenstein’ in pencil l.r. and numbered 11/25 image 60 x 76cm; framed 82 x 96.5cm £400 - 600

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476 LOT 476  Laurence Stephen Lowry RA (British, 1887-1976) ‘View of a Town’ offset lithograph in colours, signed ‘L. S. Lowry’ in pencil l.r., from the unnumbered edition of 850 published by Mainstone Publications in 1973, with Fine Art Trade Guild blind stamp image 43 x 54cm; framed 64.5 x 74.5cm £1,200 - 1,800 LOT 477  Laurence Stephen Lowry RA (British, 1887-1976) ‘Britain at Play’ offset lithograph in colours, signed ‘L. S. Lowry’ in pencil l.r., with Fine Art Trade Guild blind stamp image 44 x 59cm; framed 67 x 81cm £1,000 - 1,500

477

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478

479 LOT 478  Laurence Stephen Lowry RA (British, 1887-1976) ‘Man Holding Child’ offset lithograph in colours, 1974, signed ‘L. S. Lowry’ in pencil l.r., from the edition of 350 published by the Adam Collection, with the Fine Art Trade Guild blind stamp image 45 x 70.5cm; framed 76.5 x 92cm £1,000 - 1,500

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LOT 479 Laurence Stephen Lowry RA (British, 1887-1976) ‘Level Crossing’ and ‘Coming Out of School’ two offset lithographs in colours (visible 21.5 x 27cm; framed 34 x 39.9cm and 14.5 x 22cm visible; framed 28 x 34.5cm) (2) £300 - 500

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LOT 480 Edward Ardizzone RA (British, 1900-1979) ‘Trinity College, Oxford, The Porter’s Lodge’ and ‘Trinity College, Oxford, Chapel Quadrangle’ two lithographs, studio proofs, signed in the plate, printed at the Curwen Studio each sheet 38 x 56cm; unframed (2) £300 - 400 Provenance: Acquired by the present owner directly from the Curwen Studio.

480

481

482

LOT 481  John Piper CH (British, 1903-1992) ‘Vaux le Vicomte’ (Levinson 208) screenprint in colours, 1972, signed ‘John Piper’ in pencil l.r. and numbered 63/70, printed by Kelpra Studio, published by Marlborough Fine Art with their blind stamp image 55 x 84cm; framed 72 x 105cm £600 - 800 LOT 482  Graham Sutherland OM (British, 1903-1980) ‘Portrait of Aloys Senefelder’, 1971-72 lithograph in colours, artist’s proof, signed ‘Sutherland’ in pencil l.r., inscribed ‘Epr.d’artiste’ l.l., printed at the Curwen Studio sheet 66 x 50cm; unframed £200 - 300 Provenance: Acquired by the present owner directly from the Curwen Studio. LOT 483  Graham Sutherland OM (British, 1903-1980) ‘Life on Wood’ lithograph in colours, 1979, signed ‘Sutherland’ in white pencil l.r. and numbered XIX/XXV, printed by 2RC, Rome, with their blind stamp sheet 48 x 58cm; framed 57 x 67cm (2, print and certificate of authenticity) £200 - 300

483

Provenance: This lot is accompanied by a Certificate of Authenticity issued by Christie’s Contemporary Art. www.sworder.co.uk

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484

485

486 LOT 484  Lynn Chadwick RA (British, 1914-2003) ‘Winged Girl’, 1976 lithograph, printed 2013, studio proof, signed and dated in the plate, printed at the Curwen Studio, with their blind stamp sheet 50 x 40cm; unframed £200 - 300 Provenance: Acquired by the present owner directly from the Curwen Studio.

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LOT 485  Lynn Chadwick RA (British, 1914-2003) ‘Teddy Boy and Girl’, 1956 lithograph in colours, printed 2013, studio proof, signed and dated in the plate, printed at the Curwen Studio, with their blind stamp sheet 50 x 40cm; unframed £200 - 300

LOT 486  Lynn Chadwick RA (British, 1914-2003) ‘Beast’, 1955 lithograph in colours, printed 2013, studio proof, signed and dated in the plate, printed at the Curwen Studio, with their blind stamp sheet 40 x 50cm; unframed £200 - 300

LOT 487  Lynn Chadwick RA (British, 1914-2003) ‘Sitting Girl in Robes’, 1972 lithograph in colours, printed 2013, studio proof, signed and dated in the plate, printed at the Curwen Studio, with their blind stamp sheet 70 x 53cm; unframed £200 - 300

Provenance: A cquired by the present owner directly from the Curwen Studio.

Provenance: Acquired by the present owner directly from the Curwen Studio.

Provenance: A cquired by the present owner directly from the Curwen Studio.

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LOT 488  Norman Ackroyd RA (British, 1938-2024) ‘Co. Mayo’, 1994 a complete set of twelve etchings with aquatint, each signed and dated in pencil, individually titled and numbered 12/65, number 12 of 35 boxed sets published by Penny Press, 1994, complete with title page and justification, in original box each sheet 32.5 x 26cm; unframed £2,000 - 3,000

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476-523 LOT 489  Allen Jones RA (British, b.1937) ‘Thrill Me’ offset lithograph in colours, signed and dated ‘Allen Jones ‘69’ in pencil c.r., inscribed ‘Artist’s proof’ l.c., also signed ‘James Wedge’ c.l. sheet 67.5 x 99cm; unframed £500 - 700 Light spots of foxing and some soft handling creases. A little discolouration to edges. The dress is a nude colour, slightly different to other examples seen, please refer to illustration.

489

490 part lot LOT 490  Ronald King (British, b.1932) ‘The Prologue’ (to ‘The Canterbury Tales’ by Geoffrey Chaucer) a portfolio of twenty screenprints and lithographs in colours, artist’s proofs, each signed ‘R. King’, inscribed with title, numbered from I to XX and inscribed A/P, held in separate paper folders printed with poetry or prose by Roy Fisher, Andrew Crozier, Kevin Power or Keith Please, published by Circle Press, Guildford, 1978, in original folder with silk ties each sheet 38 x 25cm; unframed £400 - 600

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EDITIONS

493

492 LOT 491  Victor Pasmore CH (British, 1908-1998) ‘Points of Contact 35’ screenprint in colours, signed with initials and dated ‘81’ in pencil l.r., numbered 68/100, printed by Kelpra Studio with their blind stamp, published by Marlborough Graphics sheet 87 x 64cm; framed 89.5 x 66.5cm (2, print and certificate of authenticity) £350 - 450 Provenance: This lot is accompanied by a Certificate of Authenticity issued by Christie’s Contemporary Art.

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LOT 492  Victor Pasmore CH (British, 1908-1998) ‘Senza Titolo 8’ etching and aquatint in colours, signed with initials and dated ‘89’ in pencil l.r., numbered 56/90 plate 44.5 x 124cm; framed 67 x 170cm £550 - 650 Provenance: W ith Marlborough Graphics Ltd., London.

LOT 493  Victor Pasmore CH (British, 1908-1998) ‘Brown Image Two’ etching and aquatint in colours, signed with initials and dated ‘78’ in pencil l.r., numbered 70/90 image 120 x 98cm; framed 160 x 112cm (2, print and certificate of authenticity) £750 - 850 Provenance: T his lot is accompanied by a Certificate of Authenticity issued by Christie’s Contemporary Art.

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LOT 494  Patrick Caulfield RA (British, 1936-2005) ‘Black and White Cafe’ screenprint in colours, 1973, artist’s proof, signed and inscribed ‘Patrick Caulfield AP’ in pencil l.r. image 71 x 59cm; framed 93 x 72.5cm £1,000 - 1,500

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495 LOT 495  Basil Beattie RA (British, b.1935) ‘Signs of Entry’ screenprint with woodblock, printer’s proof, signed and dated ‘Basil Beattie ‘99’ in pencil l.r., inscribed with title and numbered PP 1/5, published by Advanced Graphics, London, with their blind stamp sheet 59.5 x 71.5cm; framed 67 x 78cm £200 - 300

EDITIONS

496 LOT 496  David Hockney OM CH RA (British, 1937-2026) ‘Little Boodge’ 1993 offset lithograph, published by 1855 Gallery, Salts Mill, Yorkshire 28 x 42cm; unframed £300 - 400

LOT 497 David Hockney OM CH RA (British, 1937-2026) ‘Olympische Spiele München 1972› offset lithographic poster in colours from an open edition sheet 99 x 63cm; unframed £400 - 600

498 part lot

497

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LOT 498 David Hockney OM CH RA (British, 1937-2026) A collection of David Hockney exhibition posters five offset lithographs comprising: ‘Fiesta ‘88’ (Flowers, Apple & Pear on a Table, July 1986), created to promote the Bradford Fiesta held on 12 June 1988; ‘Montcalm Interior at Seven O’Clock’ for the 1853 Gallery, Salts Mill, Bradford; ‘The Other Side’, for the exhibition ‘David Hockney: Some Very New Paintings’ at 1853 Gallery, Salts Mill, Saltaire, Yorkshire, 1993; and ‘David Hockney: Louisiana’ (Mt Fuji and Flowers, 1972) and ‘Me Draw on iPad’, 2011, produced by the Louisiana Museum of Modern Art, Denmark 70 x 83.5cm and similar; unframed (5) £400 - 600

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LOT 499  Storm Thorgerson (British, 1944-2013) ‘Animals’ screenprint in colours, 2003, signed ‘Storm Thorgerson’ in pencil l.r., inscribed and numbered ‘Studio proof 1/2’ l.l., printed by Coriander Studios, London image 43 x 66cm; framed 68 x 87cm £700 - 900 ‘Animals’ was designed by Thorgerson for the 1977 album of the same name by Pink Floyd.

499

LOT 500 Cubitt Print Box, 2000 A portfolio of prints by twenty contemporary artists in various mediums, including one unique Polaroid print by Paul McCarthy, each signed and numbered 87/100, with the exception of the print by Elizabeth Wright numbered ‘187/220%’ as per the artist’s intention, published by Cubitt, in the original presentation box box 23.5cm wide, 4.5cm deep, 28.5cm high £2,000 - 3,000 The portfolio includes prints by 20 British and international artists who had come to prominence in the 1990s, all of whom had either worked or shown at the Cubitt studios and gallery in King’s Cross, London: Martin Creed, Tacita Dean, Peter Doig, Ceal Floyer, Matthew Higgs, Gareth Jones, Alex Katz, Scott King, Jochen Klein, Hilary Lloyd, Paul McCarthy, Paul Noble, Chris Ofili, Peter Pommerer, James Pyman, Giorgio Sadotti, Jane Simpson, Wolfgang Tillmans, Piotr Uklanski and Elizabeth Wright. ‘Snowball’ by Elizabeth Wright was created as a varied edition of 120 individual versions, with the perfectly round snowball in each print scaled differently in successive increments from 101/220% to 220/220%. The variations in size reflect the platitude that no two snowflakes are alike. Getting bigger as the edition progresses, the circles created by the artist manifest as a literal ‘snowball effect’.

500

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EDITIONS

LOT 501 ‘Bugs: A Portfolio’, 2000 A portfolio of prints by ten contemporary artists: Fiona Banner (Swarm), Tacita Dean (Wasp), Anya Gallaccio (Spider’s Leg at 400x), Brad Lochore (Night Moth), Peter Doig (Kings Cross Mosquito), Cornelia Parker The Spider that died in the Tower of London, Kathy Prendergast (Mittens and Moth Eggs), Yinka Shonibare (Grain Weevil), Gavin Turk (Metamorphosis) and Mark Wallinger (King Edward and the Colorado Beetle), various mediums, artist’s proof, each signed and numbered A/P 11/15, published by the Byam Shaw School of Art, London, in original screenprinted presentation Solander box with a contents list box 33 wide, 4cm deep, 43cm high £1,500 - 2,000 Collectively grouped around an insect theme, this set of 10 prints, to help fund international student bursaries at Byam Shaw School of Art, includes a number of the UK’s most iconic contemporary artists at the turn of the century. In an edition of 90 + 15 APs and based on an A3 paper size with the exception of Turk, 35.5 x 25cm, they employ a range of print techniques. Of particular note is Peter Doig’s ‘Kings Cross Mosquito’, which is a dual process of etching with drypoint; Anya Gallaccio’s ‘Spider’s Leg at 400x’, in which she used a scanning electron microscope to produce a silver gelatin print; Yinka Shonibare’s arabesque ‘Grain Weevil’ lithograph with spot varnishing; and Mark Wallinger’s ‘King Edward and the Colorado Beetle’, a print depicting the ill-famed beetle known for destroying potato crops, which the artist has individually hand produced by means of a King Edward potato as his print block, making each impression unique.

501

LOT 502  Anish Kapoor RA (Indian-British, b.1954) Untitled, 2002 aquatint in colours, signed in pencil l.r. and numbered 38/200 plate 49 x 66cm; framed 71.5 x 91.5cm £800 - 1,200

502

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503 LOT 503  Chris Levine (Canadian-British, b.1960) ‘Lightness of Being’, Freedom edition Diasec-mounted giclée print in colours on aluminium composite panel, numbered 117/1000 verso, published by Dominic Guerrini Fine Art, London 90 x 71cm; unframed £1,800 - 2,500 LOT 504  The Connor Brothers (British, b.1968) ‘Normal is the Cruelest of All Insults’ signed in pencil and dated ‘19’ l.r., numbered 9/20, mixed media over a printed base sheet 120 x 76cm; framed 135 x 90cm £1,000 - 1,500

LOT 505  The Connor Brothers (British, b.1968) ‘Grafters and Liars and Thieves’, 2024 signed on label verso, mixed media with acrylic, collage and crayon over a printed base 84 x 102cm; framed 95 x 112cm £2,000 - 3,000 LOT 506  The Connor Brothers (British, b.1968) ‘Hear No Evil’, 2019 hand-painted vintage paperback with silkscreen, signed ‘Connor Brothers’ on label attached verso, artists’ proof 1/2, from an edition of 2, plus 2 artists’ proofs 16 x 11cm; framed 27 x 20.5cm £700 - 900

LOT 507  The Connor Brothers (British, b.1968) ‘I Can Resist Everything Except Temptation’, 2019 hand-painted vintage paperback with silkscreen, signed ‘Connor Brothers’ on label attached verso, artists’ proof 1/2, from an edition of 2, plus 2 artists’ proofs 16 x 11cm; framed 27 x 20.5cm £700 - 900 Provenance: W ith Brandler Galleries, Brentwood, Essex.

Provenance: W ith Brandler Galleries, Brentwood, Essex.

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504

505

506

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EDITIONS

507

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508

509 LOT 508 Bob Dylan (American, b.1941) ‘Women in Red Lion Pub’ giclée print in colours, 2016, signed ‘Bob Dylan’ in pencil l.r. and numbered 89/295, printed by GTZ Fine Art Editions, New York, on Hahnemühle 350gsm Museum Etching, from ‘The Drawn Blank Series’ published by Washington Green Fine Art in association with Black Buffalo Artworks image 53 x 40cm; framed 82 x 66cm (2, print and certificate of authenticity) £1,000 - 1,500 This lot is accompanied by a Certificate of Authenticity issued by Washington Green Fine Art. LOT 509 Bob Dylan (American, b.1941) ‘Bicycle’ giclée print in colours, 2014, signed ‘Bob Dylan’ in pencil l.r. and numbered 261/295, printed by GTZ Fine Art Editions, New York, on Hahnemühle 350gsm Museum Etching, from ‘The Drawn Blank Series’ published by Washington Green Fine Art in association with Black Buffalo Artworks image 54 x 39cm; framed 85 x 68cm (2, print and certificate of authenticity) £700 - 900 Provenance: T his lot is accompanied by a Certificate of Authenticity issued by Washington Green Fine Art. LOT 510  David Shrigley (British, b.1968) ‘Don’t’ screenprint in colours, signed with initials, dated ‘2018’ and numbered 53/125 in pencil verso sheet 76 x 56cm; unframed £800 - 1,200

510

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LOT 511 David Shrigley (British, b.1968) ‘This Huge Cat’, 2022 offset lithograph in colours, from an open edition printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen 80 x 60cm; unframed £300 - 400

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511

512

513

514

LOT 512 David Shrigley (British, b.1968) ‘When Life Gives You a Lemon’, 2021 offset lithograph in colours, from an open edition printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen sheet 80 x 60cm; unframed £300 - 400

LOT 513 David Shrigley (British, b.1968) ‘Work Hard Play Hard’, 2020 offset lithograph in colours, from an open edition printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen, with ‘D. SHRIG’ blind stamp sheet 80 x 60cm; unframed £300 - 400

EDITIONS

LOT 514 David Shrigley (British, b.1968) ‘You Must Eat Ice Cream’, 2025 offset lithograph in colours, from an open edition printed by Narayana Press, Denmark, published by Shrig Shop, Copenhagen, with ‘D. SHRIG’ blind stamp sheet 80 x 60cm; unframed £300 - 400

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516

517

518

515 LOT 515  Clive Barker (British, b.1940) ‘Lollipop’ (Fermon 316) polished aluminium, stamp signed, titled, dated 1998 and numbered 4/6 16cm wide, 1cm deep, 45cm high £500 - 700 LOT 516  Clive Barker (British, b.1940) ‘Dalek’ (Fermon 335) polished aluminium, stamp signed, titled, dated 1996 and numbered 1/6 to base 10cm wide, 14cm deep, 15.5cm high £500 - 800 LOT 517  Clive Barker (British, b.1940) ‘Noddy and his Car’ (Fermon 412) polished aluminium, stamp signed, titled, dated 2000 and numbered 12/25 to base 7cm wide, 13cm deep, 9cm high £500 - 700

220

LOT 518  Clive Barker (British, b.1940) ‘Humpty Dumpty’ polished aluminium, stamp signed, titled and dated 2001 to base, with further stamp ‘FOR MILLIE/2002’ 9cm wide, 7.5cm deep, 11cm high £500 - 700 LOT 519  Clive Barker (British, b.1940) ‘Superman’ (Fermon 380) polished aluminium and stainless steel, one of three artist’s proofs in addition to the edition of 10 in gold-plated brass, stamp signed, titled, dated 1999 and numbered to base 23cm wide, 23cm deep, 46cm high £800 - 1,200

519

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EDITIONS

LOT 520 Marvel Star Wars #44 ‘The Empire Strikes Back - Duel a Dark Lord!’, 2015 giclée print in colours, 2015, signed by Stan Lee in pencil l.r. and numbered 115/295, published by Washington Green Fine Art and complete with publisher’s certificate of authenticity image 60 x 41.5cm; framed: 91 x 70cm (2, print and certificate of authenticity) £300 - 500 Provenance: From Castle Fine Art.

520

LOT 521 Marvel Star Wars #68 ‘The Search Begins’, 2015 giclée print in colours, 2015, signed by Stan Lee in pencil l.r. and numbered 210/295, published by Washington Green Fine Art and complete with publisher’s certificate of authenticity image 60 x 41cm; framed: 91 x 70cm (2, print and certificate of authenticity) £300 - 500 Provenance: From Castle Fine Art.

521

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522

523 LOT 522  Patrick Hughes (British, b.1939) ‘Gifts’, 2007 hand-painted 3D lithograph in colours, signed ‘Patrick Hughes’ in pencil l.r., numbered 24/45 90cm wide, 19cm deep, 43cm high overall in a Perspex box £3,000 - 5,000

222

LOT 523  Patrick Hughes (British, b.1939) ‘Outlook’, 2002 hand-painted 3D lithograph in colours, signed ‘Patrick Hughes’ in pencil l.r., numbered 17/40 78cm wide, 19cm deep, 43.5cm high overall in a Perspex box £2,000 - 3,000

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524

525

LOT 524  Nick Botting (British, b.1963) ‘Nevsky Prospect, St Petersburg’ inscribed with title and dated ‘2001’ verso, oil on canvas 40 x 45cm; framed 56.5 x 61.5cm £800 - 1,200

LOT 525  Reg Gammon (British, 1894-1997) ‘Turf Harvest, Kerry’ signed ‘Gammon’ l.r., oil on board 51 x 61cm; framed 63 x 73cm £800 - 1,200

Exhibited: Portland Gallery, London, Spring Exhibition, 2002, catalogue no. 26.

Provenance: C Dale Esq. Exhibited: New Grafton Gallery, 24 January 1991, catalogue no. 3.

LOT 526  Donald Hamilton Fraser (British, 1929-2009) ‘An Azure Haven’, 1952 signed ‘Fraser’ l.r., oil on canvas 50 x 60cm; framed 61.5 x 71cm £1,500 - 2,500 Provenance: With Gladwell & Patterson, London. LOT 527  Donald Hamilton Fraser (British, 1929-2009) ‘Offshore Phenomenon’, 1954 signed with initials l.l., inscribed with title and dated ‘1954’ verso, oil on canvas 100 x 73cm; framed 124 x 96.5cm £6,000 - 8,000 Provenance: With Gladwell & Patterson, London. Exhibited: Art Exhibitions Bureau, Albemarle Street, London, ‘Aspects of Contemporary Scottish Painting’.

526

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527

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528

529

530 LOT 528  Bernard Dunstan RA (British, 1920-2017) ‘The Window Curtain, Venice’ signed with initials l.l. and inscribed with title verso, oil on canvas laid on board 34 x 32.5cm; framed 46.5 x 44cm £800 - 1,200

LOT 529  Bernard Dunstan RA (British, 1920-2017) ‘Washing, Todi II’ signed with initials l.l. and inscribed with title verso, oil on canvas laid on board 43 x 33.5cm; framed 52 x 43cm £1,200 - 1,800

Provenance: With Thos. Agnew & Sons Ltd., London.

Provenance: W ith Thos. Agnew & Sons Ltd., London.

226

531 LOT 530  Bernard Dunstan RA (British, 1920-2017) The artist and model signed with initials l.l., pastel 13 x 19.5cm; framed 46 x 56cm £200 - 300

LOT 531  Harry Holland (British, b.1941) Seated nude signed ‘Harry Holland’ l.l., pencil and pastel 41.5 x 29cm; framed 59.5 x 47cm £200 - 300

Provenance: With Brandler Galleries, Brentwood.

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LOT 532  Adrian Heath (British, 1920-1992) ‘Mazors’ signed and dated ‘Heath ‘90’ and ‘April ‘90’, and inscribed with title verso, oil on canvas 102 x 91cm; framed 121 x 111.5cm £4,000 - 6,000

532

LOT 533  Laurence Edwards (British, b.1967) Man bronze, signed with monogram, numbered 1/1 19cm wide, 18cm deep, 26cm high £1,200 - 1,800

533

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228

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LOT 534  Ivon Hitchens (British, 1893-1979) Woolbeding Waterfall, 1966 signed, inscribed and dated ‘Woolbeding Waterfall/Ivon Hitchens 1966/Greenleaves/Petworth Sussex’ on a label attached to the stretcher, stamped and authenticated by M C Hitchens and John Hitchens verso, oil on canvas 41 x 74cm; framed 58 x 92cm £25,000 - 35,000 Provenance: C hristie’s, London, 22 May 1996, lot 26; Bonhams, New Bond Street, 29 November 2005, lot 134. www.sworder.co.uk

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LOT 535  Graham Sutherland OM (British, 1903-1980) ‘Study of Rocks in the Forest’, 1969 signed with initials l.r., mixed media 19.5 x 15.5cm; framed 48 x 38cm £2,000 - 3,000

535

LOT 536  David Tindle RA (British, b.1932) ‘Pyrancantha’, 1983 signed ‘Tindle’ l.r., egg tempera on board 56 x 75cm; framed 72 x 91cm £1,000 - 1,500 Provenance: With the Piccadilly Gallery Ltd., London, where purchased by Mrs EKJ Vincent-Lejeune, June 1984; with Brandler Galleries, Brentwood.

536

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LOT 537  Lionel Bulmer (British, 1919-1992) ‘Riverside, Walberswick’ oil on board 30.5 x 30cm; framed 42 x 42cm £400 - 600 Provenance: With Messums Fine Art, London.

537

LOT 538  Lionel Bulmer (British, 1919-1992) ‘Beginning of the Beach’ oil on board 30.5 x 30cm; framed 42 x 42cm £400 - 600 Provenance: W ith Messums Fine Art, London.

538

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539

LOT 539  Ken Howard RA (British, 1932-2022) St Michael’s Mount, Cornwall signed ‘Ken Howard’ l.r., oil on canvas 20 x 61cm; framed 32.5 x 73cm £2,500 - 3,500 Provenance: With Richard Green, London. Exhibited: Richard Green, London, Ken Howard Exhibition, 2013, catalogue no. 75.

540

LOT 540  Ken Howard RA (British, 1932-2022) ‘Low Water, Marazion’, 1986 signed ‘Ken Howard’ l.l., oil on canvas laid on board 16 x 22cm; framed 25 x 31cm £600 - 800 LOT 541  Ken Howard RA (British, 1932-2022) ‘Fishing Boats at Newlyn’, 1995 signed ‘Ken Howard’ l.l., oil on canvas 30 x 25cm; framed 41 x 36cm £600 - 800

LOT 542  Ken Howard RA (British, 1932-2022) ‘Saskia at St Clement’s Hall, Mousehole’ signed ‘Ken Howard’ and dated ‘22/6/86’ l.r., mixed media on paper 16 x 13.5cm; framed 34.5 x 31.5cm £300 - 400

541

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542 Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 270

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MODERN BRITISH AND IRISH ART

LOT 543  William Gear RA (British, 1915-1997) ‘Structure, Orange Movement’ signed and dated ‘Gear ‘65’ l.r., also signed, inscribed with title and dated verso, oil on canvas 152 x 91cm; framed 155 x 94cm £5,000 - 8,000

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LOT 544  Sir Terry Frost RA (British, 1915-2003) Untitled signed and dated ‘Terry Frost/001’ verso, gouache 102 x 49cm; framed 119.5 x 65cm £2,000 - 3,000

234

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545 LOT 545  Sir Terry Frost RA (British, 1915-2003) ‘Pink Sun’ signed, inscribed and dated ‘Pink Sun/For Colin form Terry Frost/1998’ verso, acrylic and collage on canvas 29 x 29cm; framed 45 x 45cm £600 - 800

LOT 546  Sir Eduardo Paolozzi RA (British, 1924-2005) ‘Algebra’, 1994 a set of four screenprints, each signed ‘Eduardo Paolozzi’ in pencil l.r., and numbered 3/36 each sheet 47 x 37.5cm; mount 50 x 40cm; unframed (4) £300 - 500

LOT 547 Sir Eduardo Paolozzi RA (British, 1924-2005) Two untitled drawings pencil each 14.5 x 20.5cm; mount 27 x 33cm; unframed £300 - 500

546 part lot

547 www.sworder.co.uk

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548

549

LOT 548  Sir Eduardo Paolozzi RA (British, 1924-2005) Head coloured plaster 7.5cm wide, 7.5cm deep, 13cm high £600 - 800

LOT 549  Sir Eduardo Paolozzi RA (British, 1924-2005) Head plaster 7.5cm wide, 7cm deep, 11cm high £400 - 600

Provenance: T he artist’s estate; thence by descent.

Provenance: The artist’s estate; thence by descent.

550

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551

LOT 550  Sir Eduardo Paolozzi RA (British, 1924-2005) Fist plaster 7.5cm wide, 4.5cm deep, 8.5cm high £300 - 500

LOT 551  Sir Eduardo Paolozzi RA (British, 1924-2005) Fist plaster 7.5cm wide, 4cm deep, 8.5cm high £300 - 500

Provenance: T he artist’s estate; thence by descent.

Provenance: The artist’s estate; thence by descent.

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MODERN BRITISH AND IRISH ART

LOT 552  Sir Eduardo Paolozzi RA (British, 1924-2005) Untitled (Statue of Liberty) gouache over a printed base 21 x 16cm; framed 35 x 30cm £500 - 700 Provenance: T he artist’s estate; thence by descent.

552

LOT 553  Sir Eduardo Paolozzi RA (British, 1924-2005) Untitled (Shapes) gouache over a printed base 20.5 x 29.5cm; framed 30 x 35cm £300 - 500 Provenance: T he artist’s estate; thence by descent.

553

LOT 554  Sir Eduardo Paolozzi RA (British, 1924-2005) Untitled (Alphabet) gouache over a printed base 20.5 x 29.5cm; framed 30 x 35cm £300 - 500 Provenance: T he artist’s estate; thence by descent.

554

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LOT 555  Sir Eduardo Paolozzi RA (British, 1924-2005) Head plaster 14cm wide, 12cm deep, 15cm high £500 - 800 Provenance: The artist’s estate; thence by descent.

555 LOT 556  Sir Eduardo Paolozzi RA (British, 1924-2005) Head plaster 6cm wide, 7cm deep, 8cm high £300 - 500 Provenance: T he artist’s estate; thence by descent.

557

558

LOT 557  Sir Eduardo Paolozzi RA (British, 1924-2005) Engine plaster 10cm wide, 5cm deep, 12cm high £300 - 500 Provenance: The artist’s estate; thence by descent.

238

556

LOT 558  Sir Eduardo Paolozzi RA (British, 1924-2005) Newton after Blake plaster 21cm wide, 2cm deep, 15cm high £300 - 500 Provenance: The artist’s estate; thence by descent.

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MODERN BRITISH AND IRISH ART

LOT 559  John Hoyland RA (British, 1934-2011) Untitled signed and dated ‘John Hoyland ‘79’ l.r., watercolour and acrylic on paper 75 x 56cm £5,000 - 7,000 Provenance: With Hobson Gallery, Cambridge, where purchased by Mr and Mrs Perraton, December 1980.

559 LOT 560 Tom McGuinness (British, 1926-2006) A sketchbook of figure studies and abstract sketches executed in pencil, pen and ink, watercolour and black chalk, signed and dated 1961-1962 to inside cover; together with a framed study of a procession of miners sketchbook pages 23 x 29cm; one framed picture, 35 x 42cm overall (2) £800 - 1,200 Provenance: Acquired from an auction in Folkestone in 2018, having been bought by the vendor’s father directly from McGuinness. Tom McGuiness spent the majority of his life working underground in a coal mine, which is reflected in the subjects of much of his artworks. The framed study shows a procession of miners, drawn in charcoal. This medium reflects the substances that McGuinness and other miners were exposed to, day after day. McGuinness was a ‘Bevin Boy’, the term given to British men chosen by ballot to work in the coal mines in the 1950s. McGuinness worked in the mines for thirty-nine years.

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560

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LOT 561  George Large (British, 1936-2025) ‘Finches’ signed and dated ‘LARGE 90’ l.l., oil on canvas 102 x 76cm; framed 109 x 83cm £3,000 - 4,000 240

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MODERN BRITISH AND IRISH ART

LOT 562  George Large (British, 1936-2025) ‘Woodstock’ signed and dated ‘LARGE ‘95’ l.l., watercolour over pencil 54 x 35cm; framed 81 x 65cm £600 - 800 Provenance: With Richard Hagen, Worcestershire.

562

LOT 563  Simeon Stafford (British, b.1956) ‘Northern Scene’ signed ‘SIMEON’ l.l., also signed, inscribed with title and dated ‘08.4.11’ on stretcher verso, oil on canvas 90 x 90cm; framed 105 x 105cm £800 - 1,200

563

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564

565

LOT 564  Simeon Stafford (British, b.1956) ‘Sunday School’ signed ‘SIMEON’ l.l., inscribed with title and numbered 881 verso, oil on board 45.5 x 60.5cm; framed 55 x 70cm £400 - 600

LOT 565  Simeon Stafford (British, b.1956) Boats in a harbour signed and dated ‘SIMEON ‘03’ l.r., oil on canvas 46 x 61cm; framed 53 x 68cm £400 - 600

LOT 566  Simeon Stafford (British, b.1956) St Ives signed ‘SIMEON’ l.r., also signed and inscribed with title with a cartoon sketch of a figure verso, oil on board 80 x 80cm; unframed £800 - 1,200

566

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LOT 567  Alan Davie RA (British, 1920-2014) ‘Shaman Dance No. 1’ signed and dated ‘Alan Davie 95’ u.l., inscribed with title u.r. and numbered 92230 l.r., watercolour and gouache 66 x 56cm; framed 99 x 81cm £800 - 1,200 Provenance: With Gimpel Fils Gallery, London.

567

LOT 568  Colin Self (British, b.1941) ‘The Tourist (Jungle No.2)’ signed and dated ‘Colin Self/16.1.1997’ l.l., also signed and inscribed with title beneath l.r., mixed media with printed figure on paper 29 x 20.5cm, framed 61 x 50cm £300 - 500

568

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569

570

LOT 569  Ken Moroney (British, 1949-2018) ‘April in Paris’ signed l.l., oil on board, verso a painting of sunflowers with artist’s studio stamp to frame 25 x 17.5cm; framed 38 x 30.5cm £200 - 300

LOT 570  Fred Cuming RA (British, 1930-2022) French farmyard signed ‘Cuming’ l.l., oil on artist’s board 30 x 37cm; framed 41 x 47cm £800 - 1,200

Provenance: With Arts International.

571

572

LOT 571  Fred Cuming RA (British, 1930-2022) ‘After the Rain’, circa 1991-92 signed ‘Cuming’ l.l., oil on board 23 x 31cm; framed 42 x 49.5cm £600 - 800

LOT 572  Fred Cuming RA (British, 1930-2022) ‘On the Beach’, 1992 signed ‘Cuming’ l.r., oil on board 10 x 19.5cm; framed 28.5 x 38cm £400 - 600

Provenance: With Brandler Galleries, Brentwood.

Provenance: With Brandler Galleries, Essex.

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LOT 573  Ruskin Spear RA (British, 1911-1990) Luciano Pavarotti signed ‘Ruskin Spear’ l.r., oil on canvas 83 x 127cm; framed 100 x 145cm £8,000 - 12,000 Ruskin Spear captures Lucian Pavarotti’s captivating stage presence in this dramatic portrait of him performing in an opera. Born in Modena, Northen Italy, in 1935, Pavarotti is known today as one of the most acclaimed operatic tenors of all time.

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524-606 LOT 574  Nicholas Hely Hutchinson (British, b.1955) ‘Path to the Church, Tintagel’ signed with initials l.l., oil on board 32.5 x 35.5cm; framed 47 x 50cm £1,000 - 1,500 Exhibited: P ortland Gallery, London, November 2003, catalogue no. 13.

LOT 575  Nicholas Hely Hutchinson (British, b.1955) ‘Dawn by the Taj Mahal’ signed with initials l.l., oil on canvas 101 x 152cm; framed 118.5cm x 168.5cm £3,000 - 5,000 Exhibited: P ortland Gallery, London, November 2009, catalogue no. 2.

574

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LOT 576  Nicholas Hely Hutchinson (British, b.1955) ‘Farm on Healy Pass’, 2004 signed with initials l.l., oil on canvas 91 x 91cm; framed 109 x 109cm £3,000 - 5,000 Provenance: With the Frederick Gallery, Dublin.

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524-606 LOT 577 Albert Victor Ormsby Wood (Irish-British, 1904-1977) A group of four paintings of fashionable women and a maid one inscribed ‘Paris Finishing’ and squared (presumably for transfer), watercolour and gouache largest 84 x 68.5cm; unframed (4) £300 - 500 LOT 578 Albert Victor Ormsby Wood (Irish-British, 1904-1977) A group of three paintings of a governess one inscribed ‘Evocative Edwardian Episode/I’ll give you a swing...Babie’ to margin, watercolour and gouache, one on board, two on paper largest 77 x 28cm; unframed (3) £300 - 500

577 part lot

578 part lot LOT 579 Albert Victor Ormsby Wood (Irish-British, 1904-1977) Three paintings and two drawings of a morning routine one inscribed ‘The grey ‘’Trained Skirt’’, gouache and pencil largest 77.5 x 38cm; unframed (5) £250 - 350 LOT 580 Albert Victor Ormsby Wood (Irish-British, 1904-1977) A group of five paintings of women one inscribed ‘She shuts the door/Edwardian Evocative Episode’, two lightly squared (presumably for transfer), pencil, watercolour and gouache 77 x 33cm and similar; unframed (5) £300 - 500

579 part lot

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580 part lot Each lot is subject to Buyer’s Premium at 32.4% (for the first £20,000 portion), 30% (up to £500,000), and 24% thereafter, inclusive of VAT at 20% Lots marked  will be subject to an additional fee - please see ARR details on page 270

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LOT 581  Joe Hargan (British, b.1952) ‘A Little Rosé’ signed and dated ‘Hargan 02’ l.l., with artist’s stamp on stretcher verso, oil on canvas 71 x 71cm; framed 97 x 97cm £2,000 - 3,000 Provenance: With the Contemporary Fine Art Gallery, Eton.

581

582 LOT 582  Michael Blooman (British, b.1942) The steam tug ‘Brent’, Maldon signed ‘Michael Blooman’ l.r., inscribed and dated ‘Maldon.90’ l.l., watercolour over pencil 39.5 x 50cm; framed 59 x 69cm £250 - 350

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583 LOT 583  Michael Blooman (British, b.1942) ‘Sailing Barge on the Blackwater IV’ linocut in colours, signed ‘Michael Blooman’ in pencil l.r., inscribed with title and numbered 8/50 sheet 66.5 x 84.5cm; framed 71.5 x 89.5cm £300 - 400

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585 LOT 584  Tom Fairs (British, 1925-2007) Garden chairs mixed media on paper 19.5 x 14cm; framed 42 x 35cm £300 - 500 LOT 585  John Piper CH (British, 1903-1992) A Welsh landscape signed ‘John Piper’ l.r. and dated ‘24 V 74’ l.l., mixed media on paper 24 x 36cm; framed 46 x 47cm £2,000 - 3,000 Provenance: With Bircham Gallery, Holt.

586

LOT 586  Keith Vaughan (British, 1912-1977) Beach landscape, 1933 watercolour over pencil 24.4 x 30cm; framed 40 x 43.5cm £1,000 - 1,500 LOT 587  Peter White (British, 1929-2016) A farm worker and farm buildings, Burpham, Sussex signed ‘Peter White’ l.l., watercolour 29.5 x 45cm; framed 57 x 71cm £300 - 400 Exhibited: R oyal Watercolour Society Galleries, London, ‘Britain in Watercolours’, 1953.

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LOT 588  Matthew Smith (British, 1879-1959) ‘The Sleeping Model’ signed with initials ‘MS’ l.c., oil on canvas 50 x 73cm; framed 72 x 96.5cm £10,000 - 15,000 Provenance: The McAlpine Collection; with Waddington Galleries, London; Christie’s, London, 27 November 1962; Sotheby’s, London, 11 May 1988, lot 91; with Crane Kalman, London; a private collection, UK. Literature: John Gledhill, ‘Sir Matthew Smith: Catalogue Raisonné of the Oil Paintings’, Lund Humphries, Farnham, 2009, p. 107, cat. no. 173.

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John Byrne (British, 1940-2023) | Lots 589-593 Despite growing up on a housing estate in Paisley and leaving school without any qualifications, Byrne’s raw talent gained him entrance to the Glasgow School of Art in 1958. His skill for drawing and painting was quickly recognised, with the critic Cordelia Oliver noting that it wasn’t long before Byrne ‘could draw like Millais’. Following art school, he designed book jackets for Penguin Books for a couple of years, but his successful artistic career began in earnest after he submitted a painting to London’s Portal Gallery under the name of his father, Patrick. Byrne claimed the painting had been executed by his self-taught reclusive father. The story appealed to the gallery, and Byrne continued to work under this pseudonym even after his true identity was revealed; many early works are therefore attributed to ‘Patrick’. Eventually, Byrne’s career expanded enormously into illustration and set design, while he also became a celebrated playwright, working across theatre, TV and film. The works in the sale were largely made during his final years at Glasgow School of Art, with a couple reportedly exchanged with a fellow student in a ‘locker room swap’.

589

590

LOT 589  John Byrne (British, 1940-2023) Self-portrait signed ‘Byrne’ l.r., pen and ink and watercolour on card 19 x 15cm; framed 46 x 41cm £800 - 1,000

LOT 590  John Byrne (British, 1940-2023) Self-portrait gouache 24.5 x 24.5cm; framed 41.5 x 41.5cm £1,000 - 1,500

Provenance: Given to Alistair Crawford by a fellow student in a ‘locker room swap’ at The Glasgow School of Art, circa 1963.

Provenance: G iven to Alistair Crawford by a fellow student in a ‘locker room swap’ at The Glasgow School of Art, circa 1963.

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591 LOT 591  John Byrne (British, 1940-2023) Perugia, 1963 watercolour and pastel 24 x 32cm; framed 42 x 50cm £400 - 600

MODERN BRITISH AND IRISH ART

LOT 592  John Byrne (British, 1940-2023) Landscape, believed to be Perugia, circa 1963 watercolour and pastel 28 x 38.5cm; framed 47 x 57.5cm £400 - 600 Provenance: A lice Simpson, the artist’s wife.

LOT 593  John Byrne (British, 1940-2023) Perugia pencil and watercolour 31.5 x 41.5cm; framed 44 x 54cm £500 - 700 Provenance: Alice Simpson, the artist’s wife. LOT 594  John Burningham (British, 1936-2019) ‘Hello Kew, We’re at 30 Bedford Sq.’ pencil, pen and ink, a label verso states the work was ‘one of a series of illustrations commissioned for Cape seasonal list covers’ for the publishing house Jonathan Cape, which was located at 30 Bedford Square in London 25 x 35.5cm; framed 47 x 56.5cm £250 - 350

LOT 595  Michael Taylor (British, b.1952) Landscape signed and dated ‘M. Taylor ‘72’ l.r., mixed media on paper 45 x 35cm; framed 72.5 x 52.5cm £300 - 500 The artist has confirmed by email that this is a sepia drawing with colouring by him, adding that for many years it hung in his parents’ bedroom. He paints few pictures, usually taking at least three months on a painting. He has several portraits in the National Portrait Gallery, but is perhaps best known for his commission by the filmmaker Wes Anderson of ‘Boy with Apple’, which featured in Anderson’s 2014 film ‘The Grand Budapest Hotel’ and is now a highlight of the current Wes Anderson exhibition at the Design Museum.

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LOT 596  Jack Coulter (Irish, b.1994) ‘Don’t Tell Me’ signed ‘Jack Coulter’, inscribed with title and dated ‘2022’ verso, oil on canvas board 25.5 x 20cm; unframed £700 - 900

596

Tony Bevan RA (British, b.1951) | Lots 597-603 Tony Bevan was born in Bradford, Yorkshire. He is known for his psychologically charged and highly graphic paintings, often using pigment-rich acrylics against dramatic backgrounds of red, orange, and cobalt blue. His work frequently explores the vulnerability of the human figure, viscerally portraying people at the edges of society. Central to Bevan's practice is the reinvention of form, creating unsettling yet recognisable figures with abstract linear structures. The works in this sale largely date from an earlier period of his career, approximately a decade after he had established himself as a prominent and internationally recognised artist.

LOT 597  Tony Bevan RA (British, b.1951) ‘Woman with Arm Extended’ signed and dated ‘Bevan ‘87’ l.r., pastel and graphite 63.5 x 44.5cm; framed 71 x 51cm £800 - 1,200 Provenance: W ith L A Louver Inc., North Venice Boulevard, Venice, California; the collection of Molly and Walter Bareiss.

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A preparatory drawing for the painting of the same title see lot no 598.

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MODERN BRITISH AND IRISH ART

LOT 598  Tony Bevan RA (British, b.1951) ‘Woman with Arm Extended’ signed ‘Tony Bevan’, inscribed with title and dated ‘88’ verso, powdered pigment and acrylic on canvas 160.5 x 126.5cm; unframed £6,000 - 8,000 Provenance: With L A Louver Inc., North Venice Boulevard, Venice, California; the collection of Molly and Walter Bareiss. Exhibited: Flinn Gallery, Greenwich Library, Connecticut, ‘Molly and Walter Bareiss: Sixty Years of Collecting’, 2000.

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LOT 599  Tony Bevan RA (British, b.1951) ‘Head, Leg and Red Table’ signed with initials and dated ‘89’ l.r., mixed media on paper, consisting of four sheets 126 x 177cm overall; framed 142 x 195cm £10,000 - 15,000 Provenance: With L A Louver Inc., North Venice Boulevard, Venice, California.

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LOT 600  Tony Bevan RA (British, b.1951) ‘The Meeting’ signed and dated ‘Bevan ‘92’ l.l., acrylic and powdered pigment on paper 90 x 77cm; framed 104 x 90.5cm £6,000 - 8,000 Provenance: With L A Louver Inc., North Venice Boulevard, Venice, California; the collection of Molly and Walter Bareiss. Exhibited: Whitechapel Art Gallery, London, ‘Tony Bevan’, 1993; Flinn Gallery, Greenwich Library, Connecticut, ‘Molly and Walter Bareiss: Sixty Years of Collecting’, 2000.

600

LOT 601  Tony Bevan RA (British, b.1951) Foot signed and dated ‘Bevan ‘89’ verso, mixed media on canvas 67 x 51.5cm; unframed £4,000 - 6,000 Provenance: With L A Louver Inc., North Venice Boulevard, Venice, California; the collection of Molly and Walter Bareiss. Exhibited: Flinn Gallery, Greenwich Library, Connecticut, ‘Molly and Walter Bareiss: Sixty Years of Collecting’, 2000.

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LOT 602  Tony Bevan RA (British, b.1951) Three hand studies, 1981 one signed ‘Bevan’ l.r., mixed media on paper largest 29 x 21cm; framed as one 37.5 x 93cm (3) £500 - 700

602

603 LOT 603  Tony Bevan RA (British, b.1951) Self-portrait signed with initials and dated ‘87 l.r., charcoal 63.5 x 59cm; framed 84 x 78cm £1,200 - 1,800 Provenance: The collection of Molly and Walter Bareiss.

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LOT 604  Graham Ibbeson (British, b.1951) ‘Self Employed’ bronze, with dark brown patina, signed ‘IBBESON’ and numbered 5/9 to base 21cm wide, 31cm deep, 53cm high; 55cm high overall on a clear Perspex base £2,000 - 3,000

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LOT 605  Gavin Bond (British, b.1970) ‘Juste Parce Que Je Suis Belle’, Lindsay Ellingson (Pin-Up No. 8), 2010 digital chromogenic print 230.5 x 154.5cm; unframed £5,000 - 8,000 Provenance: With MC Masters & Contemporary, London.

605

LOT 606  Gavin Bond (British, b.1970) ‘Juste Parce Que Je Suis Belle’ (Pin-Up No. 9), 2010 digital chromogenic print 231 x 155cm; unframed £5,000 - 8,000 Provenance: W ith MC Masters & Contemporary, London.

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INTO THE SURREAL 260

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INTO THE SURREAL

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LOT 607  Conroy Maddox (British, 1912-2005) ‘Tête-à-Tête’ signed and dated ‘Conroy Maddox/60’ l.l., also signed, inscribed with title and dated on a label verso, and inscribed ‘For Eileen/who stepped out of the real/into the surreal -/Love Conroy.1989.’ on another label verso, gouache 29.5 x 19.5cm; framed 49 x 39cm £500 - 800 Provenance: Christie’s, South Kensington, 16 July 2008, lot 84. LOT 608  Conroy Maddox (British, 1912-2005) ‘Luminous Grotto’, 1960 signed and dated ‘Conroy Maddox ‘60’ l.r., decalcomania and gouache 27 x 21.5cm; framed 43.5 x 41.5cm £400 - 600 Provenance: With Belgrave Gallery, London; Sotheby’s, London, 25 May 2006, lot 268 (part lot). Exhibited: City Museum and Art Gallery, Stoke-on-Trent, ‘Conroy Maddox: Surreal Enigmas’, April - May 1995’, this exhibition travelled to Wolverhampton Art Gallery, June - August 1995, and City Art Gallery, Leeds, September - October 1995. Literature: Sylvano Levy (ed.), ‘Surreal Enigmas’, 1995, ill. p. 58. LOT 609  Conroy Maddox (British, 1912-2005) ‘Hide and Seek’, 1981 signed and dated ‘CONROY MADDOX 81’ l.r., oil on board 30 x 22cm; framed 33 x 25cm £400 - 600 Provenance: With Belgrave Gallery, London; Sotheby’s, London, 25 May 2006, lot 268 (part lot). www.sworder.co.uk

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INTO THE SURREAL

607-624 LOT 610  Eileen Agar RA (Argentinian-British, 1899-1991) Geometric abstract signed ‘AGAR’ l.r., mixed media on paper 21.5 x 27cm; framed 27.5 x 33.5cm £400 - 600 Provenance: Bonhams, Knightsbridge, 18 March 2008, lot 98.

610 LOT 611  Grace Pailthorpe (British, 1883-1971) Untitled signed and dated ‘Grace Pailthorpe/18.5.70’, watercolour and ink 38 x 56.5cm; framed 56 x 74.5cm £400 - 600

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LOT 612  John Banting (British, 1902-1972) Clown signed ‘John Banting’ l.l., also signed, inscribed and dated ‘1957’ on artist’s cardboard label attached verso, ink 52 x 41cm; framed 74 x 62cm £400 - 600

LOT 614  Ronald Ferns (British, 1925-1997) Dinner time oil on board 37.5 x 44.5cm; framed 49 x 55.5cm £200 - 400

LOT 613  Ronald Ferns (British, 1925-1997) Family portrait signed with initials l.r. (on briefcase), oil on board 30.5 x 61cm; unframed £200 - 400

LOT 615  Ronald Ferns (British, 1925-1997) Coat of arms oil on board 30.5 x 45.5cm; unframed £200 - 400

INTO THE SURREAL

612

613

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INTO THE SURREAL

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616

617

618

LOT 616  Ronald Ferns (British, 1925-1997) Lady in a skull dress signed ‘Ferns’ l.r., oil on board 23 x 30.5cm; unframed £200 - 400

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LOT 617  Ronald Ferns (British, 1925-1997) Fairy and frog oil on board 24.5 x 19.5cm; framed 30.5 x 25.5cm £200 - 400

619

LOT 618  Linda Sutton (British, b.1947) ‘Wedding with Comet’ signed ‘Linda Sutton’ l.r., also signed and inscribed with title with artist’s label verso, mixed media on paper 64 x 65cm; framed 85 x 84cm £300 - 500

LOT 619  Linda Sutton (British, b.1947) Out for a drive signed ‘Linda Sutton’ l.r., mixed media on paper 86 x 83cm; framed 97 x 94cm £300 - 500

607-624

INTO THE SURREAL

620 LOT 620 Marion Peck (American, b.1963) Floating figure signed and dated ‘Peck ‘95’ verso, oil on board 40 x 55cm, oval; unframed £1,000 - 1,500

LOT 621  Valentine Hugo (French, 1887-1968) Male figure studies signed with initials l.r., pencil 26 x 21cm; framed 40.5 x 32.5cm £600 - 800

LOT 622  Jake and Dinos Chapman (British, b.1966 and 1962) ‘The Birth of Ideas’ etching, signed and dated ‘Jake and Dinos Chapman 2003’, and numbered 187/200 in pencil verso, published by Counter Editions plate 29.5 x 41.5cm; framed 52 x 62.5cm £500 - 700 Provenance: Bonhams, Knightsbridge, 19 October 2005, lot 298.

621

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INTO THE SURREAL

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623 LOT 623 After Man Ray ‘La Retour à la raison’, 1923; ‘Sleeping Woman’, 1929, and ‘Erotique Voilée’, 1933 three black and white prints, printed later 33 x 25cm; framed 48 x 39cm (3) £400 - 600

LOT 624 Man Ray (American, 1890-1976) Solitaire, 1971 bronze with a reddish-brown patina, cast after 1976, signed and numbered 90/350 A and B with ‘ARTCURIAL’ stamps to the back of each wrist, published by Galerie Artcurial, Paris 40cm high overall, on a marble base £1,000 - 2,000

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tast e m a k e r s M O D E R N A N D CO N T E M P O R A R Y A R T & D E S I G N We are currently seeking consignments of 20th/21st century paintings, prints, and photographs, as well as studio and contemporary ceramics, furniture and textiles. Entries I nvited by 9 Oc tober FOR A COMPLIMENTARY AUCTION VALUATION CONTACT brynsayles@sworder.co.uk | matthewyeats@sworder.co.uk 01279 817778 | sworder.co.uk

Wilhelmina Barns-Graham (British, 1912-2004) ‘Millennium Series Pink’, 2000, screenprint in colours, Estimate £600 - 800 (detail)

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PRIVATE COLLECTIONS Global Reach, Exceptional Results. Our expertise and nationwide reputation ensure the successful sale of private and substantial collections, where provenance is key. To discuss your collection, contact privatecollections@sworder.co.uk | 01279 817778 268

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GLOSSARY OF PICTURE CATALOGUING TERMS A work catalogued with the forename(s) and surname of a recognised destination of an artist is or is probably a work by the artist, eg. David Cox. Nevertheless, intending buyers are reminded that while a full designation is our highest category or authenticity, no unqualified statement as to the authorship is made or intended. A full cataloguing does not necessarily imply a full warranty. Attributed to David Cox in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Bears/with signature, inscription, date in our opinion the signature/inscription/date are not by the hand of the named artist.

Circle of David Cox in our opinion a work from the period of the artist and showing his influence.

The addition of a question mark (?) after any of the above cataloguing terms indicates an element of doubt.

Follower of David Cox in our opinion a work executed in the style of David Cox After David Cox in our opinion a copy of any date after a work by the artist Signed/inscribed/dated in our opinion the work has been signed/inscribed/dated by the artist

A work catalogued as ‘School’ accompanied by the name of a place or country and a date means that in our opinion the work was executed at that time and in the location, eg. South Netherlands School, circa 1750. All references to signatures, inscriptions and dates refer to the present state of the work, ie. as at the time of inspection for the purpose of cataloguing. Condition reports are not included in the descriptions.

ARTIST’S RESALE RIGHT (ARR) What is Artist’s Resale Right? Following a European Directive in 2006, the Artist’s Resale Right entitles creators of original works of art to a royalty each time their work is resold, with the involvement of an auction house, for £1,000 or more.

What nationality must an artist be to qualify? Following the UK’s exit from the European Union, the ARR has continued to apply to the sale of artworks by nationals of countries in the European Economic Area (EEA), as well as the UK. The following countries are in the EEA:

This right covers sales of work by living artists and also the beneficiaries and heirs of artists deceased within the last 70 years of the sale.

Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, plus the UK, Australia (from 31 March 2024) and New Zealand (from 1 December 2024) for the purposes of ARR.

How are resale royalties calculated? The artist’s royalty depends on the hammer price (sale price without any VAT or Buyer’s Premium). The higher the sale price of the artwork, the lower the overall royalty rate. The royalty is worked out according to a sliding scale from 4% to 0.25%. Hammer Price

Royalty

From £1,000 to £50,000

From £50,000.01 to £200,000

From £200,000.01 to £350,000

From £350,000.01 to £500,000

0.5%

Exceeding £500,000

0.25%

What is the qualifying threshold? An artwork must sell for more than £1,000 to qualify for a royalty and the maximum amount an artist can receive is capped at £12,500 per transaction.

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Artists who are nationals of these countries are therefore generally eligible to receive resale royalties. The nationality criteria only applies to the artist and not to the beneficiaries or heirs. Are all sales of artwork covered? The Artist’s Resale Right does not apply to all sales of artworks. A royalty is only due if the following conditions are met: • • • •

the artwork is a copyright protected work of graphic or plastic art; it is sold for more than £1,000; it is sold in the secondary market with the involvement of an art market professional (e.g. auction house); and it is sold in the UK, Australia or a country in the European Economic Area (EEA)

Lots that may be subject to Artist’s Resale Right will be denoted by this symbol:  This royalty, where applicable, will be charged to the purchaser.

INDEX OF ARTISTS A Ackroyd, Norman 488 Adrion, Lucien 383 Agar, Eileen 10, 11, 12, 610 Aldridge, John 443, 444, 445, 446, 447, 448, 449, 450, 451 Araki, Nobuyoshi 286 Ardizzone, Edward 480 Austin, John 431, 432 Ayles, Caroline 353 B Bacchi, Attributed to Cesare 427 Bacon, Francis 37, 40, 41, 43, 44, 46, 47, 48, 49, 50, 53, 54 Bailey, David 150, 151, 152 Banksy, After 237 Banting, John 612 Bard, Joseph 13 Barker, Clive 515, 516, 517, 518, 519 Batterham, Inigo 28 Bawden, Edward 452, 453, 454, 455, 456, 457, 458, 459 Bawden, Richard 462, 463 Bayes, Jessie 352 Beall, Cecil Calvert 370 Beaton, Cecil 272, 273, 274 Beattie, Basil 495 Bell, Edward 264, 265, 266, 267 Bellany, John 465, 466, 467, 468, 469, 470, 471, 472, 473 Bellisario, Ray 98, 99, 100, 101, 102, 163 Beneš, Vlastimil 367 Bevan, Natalie 290, 291, 292 Bevan, Tony 597, 598, 599, 600, 601, 602, 603 Bierl, Ronald Thomas, aka 'Symon' 375, 376, 377 Binnie, Christine 97 Binnie, Jennifer 93, 94, 95, 96 Birch, James 22 Bird, Cyril Kenneth, aka 'Fougasse' 442 Blackadder, Elizabeth 330, 331, 332, 333, 334 Blake, Sir Peter 140 Blanchard, Antoine 366 Bland, Emily Beatrice 433, 434 Blooman, Michael 582, 583 Bomberg, David 416 Bond, Gavin 605, 606 Boshier, Derek 146 Botting, Nick 524 Braïtou-Sala, Albert 381 Brajnin, Vladimir 45 Brandt, Johannes Herman 428 Brind, Edgar 153, 154, 155, 156, 157 Bulfin, Siobhan 421 Bulmer, Lionel 537, 538 Burningham , John 593 Byrne, John 588, 589, 590, 591, 592 C Callot, After Jacques 293 Cameron, Katharine 335 Cantor, Ellen 182 Cato, Elinus 371 Caulfield, Patrick 494 Chadwick, Lynn 484, 485, 486, 487 Chapman, Jake and Dinos 622 Charalambides, Andreas 388 Chernov, Denis 397 Claridge, John 142 Clark, Huguette 354 Clark, Judy 220 Clarke, Bob Carlos 284 Coffield, Darren 180 Coker, Peter 249 Connor Brothers, The 504, 505, 506, 507 Coreth, Mark 423, 424 Cornish, Charlotte 346, 347 Coulter, Jack 596 Coventry, Keith 234, 235 Cremona, Emvin 368 Crowley, Aleister 31, 32, 33 Cuming, Fred 570, 571, 572 Cuneo, Terence 429, 430

D da Silva, Francisco 'Chico' 372, 373, 374 Davie, Alan 567 de Smet, Léon 363 de Villeneuve, Justin 120 Deakin, John 277 Denat de Guillebon, Jeanne-Claude 238 Dewe-Mathews, Johnny 278 Dismorr, Jessica 339, 340, 341, 342, 343, 344 Dixon, Tom 131 Domergue, Jean-Gabriel 364, 365 Donovan, Terence 285 Doorsen, Fieroza 251 Douglas, Emory 181 Dufy, Raoul 387 Dunstan, Bernard 528, 529, 530 Dyck, Paul 369 Dylan, Bob 508, 509 E Earnshaw, Anthony 23 Eastern European School, 20th century 56, 61, 65 Eddis, Eden Upton 296 Edwards, Laurence 533 Emin, Tracey 228 Epstein, Sir Jacob 410 F Fairs, Tom 584 Farson, Daniel 15, 51, 52, 114, 275 Fedden, Mary 319, 320, 321 Ferns, Ronald 613, 614, 615, 616, 617 Fields, Duggie 268, 269, 270, 271 Fini, Leonor 14 Fizet, Jean-Pierre 288 Fornasetti, Piero 133 Fowler, Nina Mae 160 Fox, Christine 336 Fraser, Donald Hamilton 526, 527 French, John 116 Frost, Sir Terry 544, 545 Furukawa, Yoshishige 404 G Gall, François 355 Gammon, Reg 525 Garwood, Tirzah 464 Gear, William 543 Gerrard, Katherine 'Kaff' 338 Gilbert & George 188, 189, 190, 191, 192, 193, 194, 196, 197, 198, 199, 200 Gill, Madge 35 Gilroy, John Thomas Young 441 Goddard, Andrew 27 Gontarski, Steven 401 Grey, Annabel 19 H Hall, Clifford 415 Hamilton, Richard 147 Hargan, Joe 581 Hartill, Brenda 348 Harvey, Dan 248 Harvey, Marcus 229 Heard, Andrew 215 Hearld, Mark 474 Heath, Adrian 532 Hely Hutchinson, Nicholas 574, 575, 576 Hepworth, Dame Barbara 337 Hepworth Nicholson, Simon 254 Hills, Diane 259 Hirst, Damien 230, 231, 232, 233 Hitchens, Ivon 534 Hockney, David 496, 497, 498 Holland, Harry 531 Hou Bo, After 202 Houston, Ian 436, 437, 438, 439 Howard, Ken 539, 540, 541, 542 Hoyland, John 559 Hughes, Patrick 522, 523 Hugo, Valentine 621 I Ibbeson, Graham Icart, Louis Ivanova, Maria

604 400 386

J Jacobsen, Arne 129 Javacheff, Christo, aka 'Christo' 238 Jebb, Katerina 241 John, Augustus 411, 412 Jones, Allen 489 Jones, Robert 25 Josefovics, Fritz, aka Frederick Joss 378, 379, 380 K Kádár, Bela Kapoor, Anish Karskaya, Ida Kays, Hayden Khudiakova, Elena King, Ronald Kinsman, Rodney Kirichenko, Gennadiy Kitaj, Ronald Brooks Knight, Dame Laura Koons, Jeff Krokhonyatkin, Petr

356 502 255, 256 145 67, 68, 69, 70 490 127 396 399 326, 327 239 395

L Large, George 561, 562 Larusdottir, Karolina 345 Lemley, Mary 260, 261, 262, 263 Levine, Chris 503 Long, Richard 250 Lønholdt, Sigurd Valdemar 390 Lowry, Laurence Stephen 476, 477, 478, 479 M Macnab, Iain 253 Maddox, Conroy 21, 91, 92, 607, 608, 609 Mapplethorpe, Robert 279 Marina, Marina 360 Marks, Harrison 287 Marshennikov, Serge 382 Matushevski, Yuri 394 Maybury, John 221 Maze, Paul Lucien 361 McBean, Angus 16, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113 McCoy, Josie 244 McCullin, Sir Donald 38 McGarry, Pip 425 McGuinness, Tom 560 Mednikoff, Reuben 1, 2, 3, 4, 5, 6, 7, 8 Milner, Henry, After Nikolay Zhukov 403 Miró, After Joan 405 Moore, Henry 316 Morgan, William Evan Charles 295 Morley, Lewis 158, 159 Moroney, Ken 569 N Name, Billy Nash, John Nelson, Mike Newcomb, Mary Newcomb, Tessa

141 419, 420 240 328 350

O O'Kelly, Aloysius Ono, Yoko

407 242

P Pailthorpe, Grace 611 Paolozzi, Sir Eduardo 546, 547, 548, 549, 550, 551, 552, 553, 554, 555, 556, 557, 558 Pasmore, Victor 491, 492, 493 Peck, Marion 620 Perry, Philippa 90 Perry, Sir Grayson 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89 Picart Le Doux, Charles 357 Piper, John 481, 585 P-Orridge, Genesis Breyer 216, 217, 218, 219 R Raverat, Gwen Ray, After Man Ray, Man Reid, Jamie Remfry, David

329 623 624 168, 169 257

Rheims, Bettina 281, 282, 283 Robilliard, David 210, 211, 212, 213, 214 Robinson, Sheila 460, 461 Rothenstein, Michael 475 Royle, Stanley 414 Russell, Gordon 125 Ryan, Liam 258 S Sakoilsky, Paul 243 Seago, Edward 409 Self, Colin 136, 137, 138, 568 Sharma, Ramesh 305 Sharp, Dorothea 435 Sharp, Martin 225 Shepeard, Jean 252 Shrigley, David 510, 511, 512, 513, 514 Shurpin, After Fyodor Savvich 60 Sidorov, Vitaly 389 Simpson, Charles Walter 408 Smith, Matthew 595 Spare, Austin Osman 29, 30 Spear, Ruskin 573 Spender, John Humphrey 17, 276 Stafford, Simeon 563, 564, 565, 566 Sunday B. Morning, After Andy Warhol 144 Suryaninov, Ruben Vasilyevich 179 Sutherland, Graham 482, 483, 535 Sutton, Linda 618, 619 T Taplin, Guy Taylor, Michael Taylor, Nicholas Templin, Viktor Thain, Alastair Thibesart , Raymond Thomsen, Helmuth Thorgerson, Storm Tilson, Joe Tindle, David Tomsky, After Nikolai Turk, Gavin

422 594 117 393 39 359 391 499 148, 149 536 55 236

U Underwood, Leon Utrillo, Maurice

406 362

V Valtat, Louis Vaughan, Keith Vellacott, Elisabeth Venard, Claude Verpilleux, Émile Antoine von Unwerth, Ellen

358 586 322 392 417 184

W Wadsworth, Edward 418 Walker, Ethel 325 Ward, Stephen 167 Wedge, James 280 Werner, Michael 20 Wesselmann, Tom 139 White, Peter 587 Wilding, Alison 349 Williams, Geoff 398 Wirth-Miller, Denis 245, 246, 247 Wood, Albert Victor Ormsby 577, 578, 579, 580 Woods, Michael 115 Wraith, Robbie 440 Wrightson , Isabel 351 Y Youngman, Nan

323, 324

Z Zadkine, Ossip Zharov, Mikhail

402 384

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TERMS AND CONDITIONS For Specialist Live Auctions These conditions of business consist of: 1.

Information for Buyers;

2. Terms of Consignment for Sellers (not detailed here, but can be viewed at www.sworder.co.uk); 3.

Terms of Sale for Bidders and Buyers.

1. INFORMATION FOR BUYERS Introduction The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale. Methods of payment Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of £5,000. Any cheques will need to be cleared before you can take the Goods away. Collection and storage All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. Furniture and large items sold in our Fine Interiors, Design or Specialist Single-Owner Sale Auctions, and small items if they form part of the same invoice, not collected within seven working days of the auction will be sent to Abels Moving Services Ltd. at your expense. Refer to clause 10 in Sworders Terms of Sale for more information. Agency As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer. Estimates Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive. Buyer’s Premium The Terms of Sale oblige you to pay a Buyer’s Premium on the Hammer Price for each lot purchased. The amount you will pay is: prior to 1 July 2026: • 25%, or • 18% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles from 1 July 2026: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is charged on these Premiums at the standard rate (see below). Value Added Tax (VAT) Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot. Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are

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sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax. Shipping Costs are liable for VAT and are payable by the Buyer. If you are exporting the items from the UK, you may be able to claim a reimbursement of the VAT, where: 1. you are using Sworders Delivery service. In these cases, a zero rated (VAT exempt) invoice can be issued where the following criteria are met: a. the items are exported within three months of the date of the auction b. the total amount of VAT payable would exceed £75 per shipment There is no administrative charge for clients using Sworders Delivery Service. If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods. 2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met: a. the invoice is paid in full, including VAT b. the items are exported from the UK within three months of the date of the auction c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK d. the total amount of VAT to be claimed exceeds £75 (from which you will be deducted a £25 administration fee. See Terms of Sale clause 5 for more information relating to VAT. Inspection of Goods by the Buyer As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 16.2 and 16.4. Condition reports We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Shipping of Goods We offer a delivery service for Lots purchased, either by shipping ourselves, in partnership with Bradleys Shipping Services, or use of a third party logistics company. Estimates for Shipping Costs for smaller items may be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. Lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world after you have purchased an item, by clicking the link in your invoice. Estimates of Shipping Costs on our website are based on the low estimate, however, these are subject to change where the method for delivery of Lots changes. Furniture and large items sold in our Fine Interiors, Design of Specialist Single Owner Sale Auctions, and small Items if they form par of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd., the cost of which you will be liable for. See clauses 9 and 10 in the Terms of Sale for Title and Collection of Purchases and Costs relating to Collection Services, for more details. Electrical goods These are sold as ‘antiques’ only for their historical or decorative attributes. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them. Export of Goods If you intend to export Goods you must find out: a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials. Restricted Items We do not sell items that are prohibited under UK legislation from sale.

The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. For goods that contain ivory, you should satisfy yourself that they are correctly registered or certified and meet the exemption criteria as set out in applicable legislation. If you intend to export goods that may fall to be a protected species, or one that requires to be registered or listed as exempt, you should find out: a. whether you need an export licence b. if there is a prohibition on the export of goods of that nature outside of the UK or on the import of goods into your intended country, for example, if the goods contain prohibited materials such as ivory or protected fauna and flora Post 1950 Upholstered Furniture All items of furniture included in a sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling. Furniture made of Brazilian Rosewood (Dalbergia nigra) To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale. If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. It is the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §. Bidding Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. In some cases, we may require a deposit to be paid against Lot, prior to confirming your bid. Lots will be invoiced to the name and address as registered for bidding. You may need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you, if you do not provide us with all the information and documentation that we ask for or at our discretion. Commission bidding You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time. Telephone bidding If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is generally for Lots with an estimate of £500 or more. The number of lines may be limited so we urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason. Online bidding Lots purchased via a live online bidding service may be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% if bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Premium at their advertised rate.

Artist Resale Rights Lots marked with a ▲ indicate the item is subject to additional Artist’s Resale Right charges, payable by the buyer. Financial Checks As auctioneers we may have to conduct various checks into our customers under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (as amended), under sanctions legislation and other related legislation. If you are successful in your bid, and your hammer total is in excess of £6,000.00, you may need to provide the documentation, as set out below, unless we confirm we already have this information from you: a. For individuals 1.a.1. official photo identification (driving licence, passport or equivalent); and 1.a.2. proof of address (less than three months old)

b. For corporate entities 1.b.1. the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address 1.b.2. details and ID documentation for directors and beneficial owners of the entity c. For trusts and estates 1.c.1. details and ID documentation for executors/trustees; and 1.c.2. details of beneficiaries and settlor We may ask you for further information if we deem this necessary. We may use third party software, to enable you to provide us with your identification documents, to verify your identity and ensure compliance with our legal responsibilities. If you are bidding for another person (your “principal”) you will be required to provide the above information for yourself and your principal, along with a signed letter from your principal authorising you to bid on his/her behalf.

If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of, or cancel, any contract made by you and the Seller in the event you have made a successful bid.

2. TERMS OF CONSIGNMENT FOR SELLERS Not detailed here, but can be viewed at www.sworder.co.uk

3. TERMS OF SALE FOR BIDDERS AND BUYERS Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. Please note that these Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.

‘Auctioneer’

means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Art Market Participant’

means an art market business registered with HMRC under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017;

‘Bidder’

means a person who places a bid for Goods at our auction;

‘Bidding Platform’

‘Buyer’

means the bidding platform on which the online auction is held operated by the Auctioneer, or by a third party service provider on the Auctioneer’s behalf; means the fee equal to a % of the hammer price charged on the sale of a Lot, as advertised on the bidding platform on which the online auction is held, operated by a third party service provider; means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Buyer’s Premium’

means the commission we charge you on the purchase of a Lot;

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

‘Commission’

means the Commission that we charge a vendor on the sale of their Goods;

‘Consumer’

means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 8, 9 and 10.

‘Deliberate Forgery’

means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 15.

‘FCA’

means the Financial Conduct Authority;

‘Goods’

means the Goods that have been consigned to us for sale at our auction;

2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk.

‘Hammer Price’

means the level of the highest bid for a Lot accepted by the Auctioneer and recorded in the Auctioneer’s sale book; means the goods that we offer for sale at our auctions;

‘Bidding Platform Fee’

‘Lot(s)’ ‘Money Laundering Legislation’

means the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 and related legislation, together with any applicable terrorist financing legislation and legislation on restrictive measures;

‘Premium’

means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale as set out in clause 4;

‘Price’

means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT; means a person or entity you are acting on behalf of for the purposes of the consignment of the goods to the Auctioneer; means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Principal’ ‘Proceeds’ ‘Reserve’

means the minimum Price at which the Goods may be sold;

Restrictive Measures’

means economic or financial sanctions, export controls, embargoes or any other restriction on trade under the laws of the European Union, the United Kingdom or the United States, or in the jurisdiction in which you, your Principal, or any agent acting for you does business; means the net amount due to the seller;

‘Sale Proceeds’ ‘Seller’

means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’

means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’

means the Terms on which we agree with sellers to offer Lots for sale in our auctions, as agent on their behalf; means the Terms of Sale for Bidders or Buyers at our auctions (as updated from time to time);

‘Terms of Sale’ ‘Total Amount Due’

‘Trader’

means the hammer price for a Lot, the Premium, any applicable artist’s resale right royalty, any service charge or fee levied by an independent bidding platform through which the successful bid was placed, any VAT due and any additional charges payable by a defaulting buyer under these terms of sale; means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’

means any value added tax or equivalent sales tax; and

‘Website’

means our Website available at www.sworder.co.uk.

1. Definitions and interpretation 1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning: In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise. 2. Information that we are required to give to Consumers 2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 9 and 10.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

2.8 We also refer you to your warranties as a Bidder and Buyer as set out in Clause 6. 3. Bidding procedures and the Buyer 3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid. If you are bidding on behalf of someone else, you will be required to provide us with all information on the ultimate owner of the goods as we may require, to satisfy our checks under the Money Laundering Legislation. 3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics. 3.3 If you instruct us we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained). 3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. The Auctioneer shall retain discretion on the running of the auction and retains the right not to accept a bid and to prefer a bid over any other bids received at the same time. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute. 3.5 Bidders will be deemed to act as Principals, even if the Bidder is acting as an agent for a third party. 3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

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3.7 We may refuse to accept any bid if it is reasonable for us to do so.

owned or controlled by person(s) subject to such restrictive measures.

Clause 9.2, you will be responsible for removal and storage charges in relation to that Lot – see clause 9.5 -9.7 below.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

6.4 Where you are bidding on behalf of another person and you are an Art Market Participant, you warrant that:

3.9 If you participate in the auction using the services of an Independent Bidding Platform, other than Sworders Live, you will incur an additional fee or additional commission payable to that platform. We will collect this fee as part of the Total Amount Due if you are successful in your bid.

(i) you have conducted appropriate customer due diligence on the ultimate Buyer of the goods, in accordance with all applicable Money Laundering Legislation (ii) upon request, you will provide us, or any independent third party auditor (employed at our cost), with any identification and any other relevant documents you have obtained for customer due diligence purposes on the ultimate buyer of the goods (iii) you consent to us relying on this due diligence; and (iv) you will retain for a period of not less than five years the documentation evidencing the due diligence

9.5 Furniture and large items sold in our Fine Interiors, Design or Specialist Single Owner Sale Auctions, and small items if they form part of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd, for storage at their Potters Bar depot and subject to collection, storage and administration costs, the cost of which you will be liable for. See clause 10 for Costs relating to Collection and Storage Services

3.10 We reserve the right to accept an after-auction offer from you on a Lot, if it has not sold in the auction, at the agreed Reserve price or above. After-auction offers may be accepted up to three days after the auction has closed. In these cases, the same charges will be payable as if the Lot had been sold at auction, and so far as appropriate these Terms of Sale will apply. 4. The purchase Price As the Buyer, you will pay: a. the Hammer Price; b. a Premium on the hammer price of: prior to 1 July 2026: • 25%, or • 18% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles from 1 July 2026: • 27% for the first £20,000 • 25% from £20,001 to £500,000 • 20% from £500,001 and over, or • 20% for Fine Wine and Spirits auctions • 12.5% for cars and motorcycles In addition, VAT is payable on the buyers premium at the standard rate; c. any artist’s resale right royalty payable on the sale of a Lot; and d. any Independent Bidding Platform fee payable on a Lot; and e. any VAT due. 5. Value Added TAX (VAT) 5.1 As the Buyer, you shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot, at the appropriate rate prevailing by law at the date of the auction. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information. Please see 5.6 for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK 5.2 Lots affixed with (†): VAT on the Hammer Price and Buyer’s Premium is imposed on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. 5.3 Lots affixed with (‡): A reduced rate of Import VAT on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outside the UK. 5.4 Lots affixed with [Ω]: Standard rate of 20% of Import VAT on the Hammer Price and premium is payable. This applies to items that have been imported from outside the UK and do not fall within the reduced rate category. 5.5 Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay Sworders the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment.

6.5 Where you are acting on behalf of another person and you are not an Art Market Participant, you warrant that you will provide accurate and complete information about your Principal to us. 7. The contract between you and the Seller 7.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning bidder in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete. 7.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment. 7.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim. 7.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot). 7.5 In addition to any other rights we may have to cancel a contract for sale under these Terms of Sale, we may delay completion of a sale, delay the release of a lot or cancel the sale of a lot in the event:

9.6 Items will be stored by Abels Moving Services Ltd free of charge for seven days from the date of collection. Storage charges will commence thereafter. All costs associated with collection and storage in these cases are payable directly to Abels Moving Services Ltd and must be paid prior to collection of the lot – see clause 10 on Costs Relating to Collection and Storage Services. 9.7 All lots must be collected by prior appointment at: Abels Moving Services Ltd, The Heights, East, Cranborne Road, Potters Bar, EN6 3JN. 0800 342 3719 collectionsPB@abels.co.uk Collections Monday – Friday 08:30-16:30 only. 9.8 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot, or it is collected by Abels Moving Services Ltd. 9.9 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you but will deduct any storage charges or other sums that have been incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot. 10. Costs Relating to Collection and Storage services 10.1 These fees relate to the collection and storage of your purchases by Abels Moving Services Ltd. and are payable directly to them. 10.2 Collection from Sworders £25 per collection of 1-5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT). 10.3 Free storage for one week thereafter, then: 10.3.1 £4.00 (plus VAT) per lot, per day* *Additional charges apply for items exceeding 8 x 8ft

7.5.1 you are in breach of your warranties in clause 6;

*A levied liability charge (LLC) of £0.08 per £1,000 value of goods is payable

7.5.2 we have not completed our enquiries pursuant to the Money Laundering Legislation to our satisfaction;

*Admin fees will be payable on collection of goods from Abels Moving Services Ltd.

7.5.3 we have reason to believe that the transaction might be unlawful for any reason or that the sale might put us under a civil or criminal liability.

*All charges are subject to VAT and 6.27% insurance on total charges.

8.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and

11. Remedies for non-payment or failure to collect purchases 11.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale, we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:

8.1.2 pay to us the total amount due in any way that we agree to accept payment.

11.1.1 take action against you for damages for breach of contract;

8.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods.

11.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

8. Payment 8.1 Immediately following your successful bid on a Lot you will:

11.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot, and the Price we sell it for as well as the charges outlined in Clause 8). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;

5.6 Export from the UK: For lots offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £75. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please note that all customs formalities of the destination country are the responsibility of the buyer.

8.2 If you owe us any money, we may use any payment made by you to repay these debts.

9.1.1you have paid us the total amount due, including any additional charges, in cleared funds; and

11.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

6. Buyer Warranties 6.1 You warrant, and where you are acting on behalf of someone else, you will procure that your Principal warrants, that:

9.1.2 you have provided us with the information, and we have completed our enquiries, in relation to our responsibilities under Money Laundering Legislation, as set out in clause 8.1

11.1.6 keep that Lot, or any other Lot sold to you, until you pay the total amount due, including Shipping and Storage Costs where applicable;

6.1.1 the funds to be used for the purchase of the lot(s) are not connected with, nor derived from, any criminal activity, including without limitation tax evasion, money laundering or terrorist financing;

9.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue, on our Website or agreed with us subsequently.

11.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

9.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.

11.2 We will act reasonably when exercising our rights under Clause 11.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.

6.1.2 neither you, or an agent acting for you, nor your Principal, are to the best of your knowledge either under investigation, nor have you been charged with or convicted of without limitation tax evasion, money laundering, terrorist financing or other criminal activities; and 6.1.3 neither you, nor any agent acting for you, nor your Principal, are subject to restrictive measure or owned, partly

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9. Title and collection of purchases 9.1 You are bound by the contract for the purchase of a lot at the recording of the winning bid in the auctioneers sale log, however, the transaction is not complete, and ownership will not pass to you and you and may not claim or collect a Lot until:

9.4 If you do not collect the Lot within the time period under

11.1.4 remove, store and insure the Lot at your expense;

11.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

12. Health and safety Although we take reasonable precautions regarding health and

safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence. 13. Sellers warranties 13.1 The Seller warrants to us and to you that: 13.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction; 13.1.2 the Seller is able to transfer good and marketable title of the Lot to you free from any third party rights or claims; and 13.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction), and any documentation provided to you by the seller in relation to the Lot, are correct. 13.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below. 13.3 Please note that many of the Lots that you may bid on at our auction are second-hand. 13.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 13.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots. 13.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded. 14. Descriptions and condition 14.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot). To Note: The actual colour of a Lot may vary from images in the auction catalogue or online listing. 14.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction. 14.3 Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling Price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently, but not otherwise. 14.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots, for their fitness or purpose, or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, online listing, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed. 14.5 Restricted Items containing Ivory 14.5.1 The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. In these cases, where these items are offered for sale, we rely on information provided to us by the Seller confirming that the item satisfies the relevant legal exemptions. We will display the Ivory Declaration Submission Reference relating to the application for exemption in the Lot description. Lots marked  contain ivory material. 14.6 Post 1950 Upholstered Furniture

14.7.2 If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number. 14.8 Electrical items 14.8 Lots with electrical components are sold as ‘antiques’ only for their historical or decorative attributes and for display purposes only. If you buy electrical Goods for use, you must ask a qualified electrician to check them for compliance with safety regulations before you use them. 14.9 Fire Safety 14.9 All items of furniture are sold as a Collector’s item, for display purposes and are not supplied for use. Such lots may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, you must first ensure that they are refurbished and rendered compliant with any applicable furniture and safety regulations. 15. Deliberate Forgeries 15.1 You may return any Lot which is found to be a Deliberate Forgery to us within twelve months of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects. 15.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, and it has been returned to us within the specified time, in the condition in which it was released to you, we will refund the money paid by you for the Lot (including any Premium and applicable VAT), You will have no right to a refund under this clause if: 15.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 15.2.2 you personally are not able to transfer good and marketable title in the Lot to us 15.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot. Your rights under this clause are given to you as a Buyer in our auction; they are not given to, and may not be transferred or assigned to, any third party. 15.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale. 16. Our liability to you 16.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction. 16.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen. 16.3 Lots are sold as antiques for their decorative attributes rather than for use, and are often of considerable age and uncertain manufacture; neither we, nor the seller, accepts liability for loss or damage to Lots, or any other loss or damage that is caused by, or results from, any inherent vice or defect affecting the Lots 16.4 Subject to Clause 15.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase Price paid by you to us for any Lot. 16.5 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for: 16.5.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977); 16.5.2 fraudulent misrepresentation; or 16.5.3 any liability which cannot be excluded by law.

14.6.1 All items of furniture included in a sale are offered for sale as works of art and may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988; for this reason, they should not be used in a private dwelling.

17. Notices 17.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it.

14.7 Furniture made of Brazilian Rosewood (Dalbergia Nigra)

17.2 Any notice referred in Clause 17.1 may be given:

14.7.1 To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture will have an Article 10 certificate in place, prior to being offered for sale and we will display the Certificate Number in the information for each lot. These items are marked with this sign §.

17.2.1 by delivering it by hand; 17.2.2 by first class pre-paid post or recorded delivery; or

17.3.1 by hand or registered post; a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or 17.3.2 by email: a. to us, by sending the notice to the following email address: auctions@sworder.co.uk b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing. 17.4 Notices will be deemed to have been received: 17.4.1 if delivered by hand, on the day of delivery; 17.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 17.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt. 17.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message (including WhatsApp). 18. Data Protection 18.1 We respect your privacy and are committed to protecting your personal data. We do not share your data unless there is a business, or legal reason for us to do so. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website at www.sworder.co.uk. 18.2 We reserve the right, where we deem we are required for regulatory purposes, to reveal your identity and contact details (and those of your Principal) to the Seller). 18.3 In agreeing to these terms of sale, you agree that: • should you decide to use Sworders delivery service, we may share relevant personal data that we hold with the shipping agent to allow effective communication between the shipping agent and you, and to enable delivery • should you fail to collect your items within seven working days of the date of the auction, we may share your details with the shipping agent to allow effective communication between them and you, to arrange for the payment of storage and collection of your items from their store. 19. General 19.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person. 19.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale. 19.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues or online listing. 19.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect. 19.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them. 19.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term. 19.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

17.2.3 by email

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers.

17.3 Notices must be sent:

Updated May 2026

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OFFICES AND CONTACTS

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Modern and Contemporary Art October 6 and 7 2026