Modern British and Irish Art

SOUTH KENSINGTON
Modern British
and Irish Art
Friday 12 December 2014
INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

MODERN BRITISH AND CONTEMPORARY ART DEPARTMENTS
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MODERN BRITISH & IRISH ART
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New York
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London
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New York
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Post War & Contemporary Art
New York
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London
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WORLDWIDE
LONDON (KING STREET)
Andr Zlattinger
Philip Harley
Rachel Hidderley
Will Porter
Nick Orchard
Pippa Jacomb
Angus Granlund
Alice Murray
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IMPRESSIONIST AND
MODERN ART
Giovanna Bertazzoni
Olivier Camu
Jay Vincze
Libert Nuti
Jason Carey
Cornelia Svedman
Michelle McMullan
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Keith Gill
Antoine Lebouteiller
Ottavia Marchitelli
Annie Wallington
Anna Povejsilova
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POST-WAR AND
CONTEMPORARY ART
Francis Outred
Hugues Joffre
Leonie Moschner
Dina Amin
Darren Leak
Alice de Roquemaurel
Beatriz Ordovas
Rosanna Widen
Leonie Grainger
Katharine Arnold
Tom Best
Cristian Albu
Jacob Uecker
Alexandra Werner
Alessandro Diotallevi
Paola Fendi
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LONDON
(SOUTH KENSINGTON)
Angus Granlund
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IMPRESSIONIST AND
MODERN ART
Natalie Radziwil
Imogen Kerr
Albany Bell
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POST-WAR AND
CONTEMPORARY ART
Bianca Chu
Zoe Klemme
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HONG KONG
Eric Chang
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NEW YORK
IMPRESSIONIST AND
MODERN ART
Brooke Lampley
Cyanne Chutkow
Conor Jordan
Sharon Kim
Adrien Meyer
Jessica Fertig
David Kleiweg de Zwaan
Morgan Osthimer
Vanessa Fusco
Sarah El-Tamer
Allegra Bettini
Emma Hanley
Alexander Berggruen
Alyssa Ovadis
Isabel Elliman
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POST-WAR AND
CONTEMPORARY ART
Loic Gouzer
Barrett White
Andy Massad
Jonathan Laib
Martha Baer
Ingrid Dudek
Koji Inoue
Sara Friedlander
Jennifer Yum
Alexis Klein
Amelia Manderscheid
Saara Pritchard
Michael Gumener
Edouard Benveniste
Edward Tang
Ana Maria Celis
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PARIS
IMPRESSIONIST AND
MODERN ART
Anika Guntrum
Tudor Davies
Pierre Martin-Vivier
Tatiana Ruiz Sanz
Fanny Saulay
Olivia de Fayet
Thomas Morin
Tel: +33 (0)1 40 76 85 91
POST-WAR AND
CONTEMPORARY ART
Edmond Francey
Laetitia Bauduin
Christophe Durand-Ruel
Paul Nyzam
Etienne Sallon
Ekaterina Klimochkina
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IRELAND
Christine Ryall
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EDINBURGH
Bernard Williams
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CHESHIRE
Jane Blood
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AUSTRALIA
Ronan Sulich
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CANADA
Brett Sherlock
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17/10/14
Subject to change
Modern British and Irish Art

Angus Granlund
Pippa Jacomb
William Porter
HEAD OF SALE
ASSOCIATE
DIRECTOR
SENIOR DIRECTOR
AUCTION
STORAGE AND COLLECTION

at 10.30 am Lots 1-204
85 Old Brompton Road
London SW7 3LD
Please refer to the important notice

on page 118. Please note that
Cadogan Tates opening hours are
Monday to Friday 9am to 5pm,
and purchases transferred to their
warehouse are not available for
collection at weekends.
AUCTION CODE AND NUMBER
In sending absentee bids or making

enquiries, this sale should be referred
to as SEAN-5930
VIEWING
Krassi Kuneva
ADMINISTRATOR
Saturday
Sunday
Monday
Tuesday
Wednesday
Thursday
6 December
7 December
8 December
9 December
10 December
11 December
11.00
11.00
9.00
9.00
9.00
9.00
am
am
am
am
am
am
5.00
5.00
7.30
5.00
5.00
5.00
pm
pm
pm
pm
pm
pm
AUCTIONEERS
William Porter and Nick Orchard

SPECIALISTS
Angus Granlund
Tel:+44 (0)20 7752 3240
Pippa Jacomb
Tel:+44 (0)20 7389 2293
William Porter
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ADMINISTRATOR
Krassi Kuneva
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Fax:+44 (0)20 7752 3158
BUSINESS MANAGER
Nigel Shorthouse
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EMAIL
First initial followed by last name @

christies.com (eg. Angus Granlund =
agranlund@christies.com).
For general enquiries about this auction,
email should be addressed to the
auction administrator.
Cover: Lot 51 (detail)
Inside front cover: Lot 86
Page 1: Lot 135
Inside back cover: Lot 5 (detail)
Back cover: Lot 19 (detail)
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l1
PRUNELLA CLOUGH (1919-1999)
Thameside Cranes
signed Clough (lower right)
charcoal
15 x 11 in. (38.4 x 30.2 cm.)
Executed circa 1950.
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
The Estate of Prunella Clough, from whom acquired by Peter Adams.
Acquired directly from the above by the present owner.
EXHIBITED:
London, Menier Gallery, Clough & Vaughan: Visions & Recollections, April May 2014, no. 14.
l2
WILHELMINA BARNS-GRAHAM
(1912-2004)
Themes in Red II
pencil, watercolour and gouache on paper
laid on board
7 x 10 in. (17.8 x 25.4 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Anthony Hepworth Fine Art, Bath.
Private collection.
l3
FRANK AVRAY WILSON (1914-2009)
White composition
signed WILSON (lower left)
oil on canvas
35 x 26 in. (89.5 x 68 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l4
ADRIAN HEATH (1920-1992)
Black and orange abstract

signed and dated Heath 61 (lower right)
watercolour, gouache and pastel
29 x 21 in. (74.3 x 53.3 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
Anonymous sale; Christies, South Kensington, 12 October 2011, lot
154, where purchased by the present owner.
l5
FRANCIS DAVISON (1919-1984)
Trees and Fields

with estate stamp and numbered A80, and with inscription TREES AND
FIELDS/c 60-63 (on the reverse)
collage
24 x 29 in. (62.2 x 74.9 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
The artists estate.
EXHIBITED:
London, Austin Desmond, Francis Davison Paintings & Collages 1948-83,
October - November 2003.
PROPERTY FROM THE ESTATE OF THEO MENDEZ

l6
THEO MENDEZ (1934-1997)
Grey and Ochre Composition

oil on canvas
36 x 40 in. (91.7 x 102 cm.)
Painted in 1960.
1,000-2,000
$1,600-3,200
1,300-2,500
EXHIBITED:
London, Whitfeld Fine Art, Theodore Mendez: The late 1950s & early
1960s, February 2010.
LITERATURE:
Exhibition catalogue, Theodore Mendez: The late 1950s & early 1960s,
London, Whitfeld Fine Art, 2010, pp. 11-12, illustrated on the front cover.
VARIOUS PROPERTIES
l7
JOHN COPNALL (1928-2007)
Rock Forms
signed and dated john copnall 61. (lower right), signed again,
inscribed and dated again JOHN COPNALL/Rock forms 1961 (on the
reverse)
oil on board
22 x 17 in. (55.9 x 45.4 cm.)
1,500-2,000
$2,400-3,200
2,000-2,500
l8
l9
SEAN SCULLY (B. 1945)
RALPH RUMNEY (1934-2002)
Diagonals 1
Zig Zag Syzygy
signed and dated Sean Scully 73 (lower right), inscribed Diagonals 1

(lower left)
pencil and masking tape
26 x 39 in. (66.1 x 100.9 cm.)
signed, inscribed and dated Ralph Rumney 1964/Zig Zag Syzygy (on
the reverse)
copper and aluminium leaf on board, unframed
18 x 37 in. (47 x 96 cm.)
6,000-8,000
2,000-3,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Rowan Gallery, London.
Anonymous sale; Christies, South Kensington, 5 April 2007, lot 754.
$3,200-4,800
2,600-3,800
EXHIBITED:
London, England & Co., Ralph Rumney. Constats: 1950-1988, March
1989.
nl10
ROBYN DENNY (1930-2014)
Real Light, D.V.

signed twice, inscribed and dated Robyn Denny/REAL LIGHT
(D.V.)/198/Denny 8 (on the reverse)
acrylic on canvas, unframed
66 x 48 in. (167.6 x 122 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Anonymous sale; Christies, South Kensington, 7 October 2008, lot 217,
where purchased by the present owner.
PROPERTY FROM THE ESTATE OF THEO MENDEZ

l11
THEO MENDEZ (1934-1997)
Grey Composition
oil on canvas
45 x 36 in. (114.3 x 91.4 cm.)
Painted in 1955-60.
1,000-2,000
$1,600-3,200
1,300-2,500
EXHIBITED:
London, Whitfeld Fine Art, Theodore Mendez: The late 1950s & early
1960s, February 2010.
LITERATURE:
Exhibition catalogue, Theodore Mendez: The late 1950s & early 1960s,
London, Whitfeld Fine Art, 2010, pp. 8-9, illustrated.
ANOTHER PROPERTY
nl12
GWYTHER IRWIN (1931-2008)
Blues and Cantabile

oil on canvas
49 x 44 in. (125.2 x 112.4 cm.)
Painted in 1975.
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Purchased directly from the artist by the previous owner.
Anonymous sale; Christies, South Kensington, 24 October 2007, lot 198, where purchased by the
present owner.
PROPERTY FROM THE ESTATE OF VICTOR ANTON

In 1951, Victor Anton received international attention through his participation in Contemporary British Artists, a British Council exhibition
held in France. This was followed by several solo exhibitions such as Gimpel Fils Gallery in 1953 and Grabowski Gallery in 1963
as well as numerous group exhibitions including the I.C.A. in 1958. Antons sculptures of the 1950s share a strong aesthetic with his
contemporaries Robert Adams and Geoffrey Clark. By the 1960s he had begun to experiment with black and white Perspex as seen in the
present lots. These cutting-edge works, produced at the inception of Op Art in this country, remain fresh and powerful today.
l13
VICTOR ANTON (1909-1980)
Black, White, Red

acrylic on Perspex, unframed
30 x 36 in. (76.2 x 91.4 cm.)
Painted circa 1966.
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
The artist, and by descent.
l14
Black, White, Red 2

signed, inscribed and dated ANTON 1966
BL WH R 2 (on the reverse)
acrylic on Perspex, unframed
36 x 24 in. (91.4 x 61 cm.)
700-1,000
PROVENANCE:
$1,200-1,600
890-1,300
l15
Relief No. 7; Relief No. 1

signed, inscribed and dated ANTON JUNE 1961/RELIEF
No. 7 (on the backboard)
Perspex relief, unframed
30 x 22 in. (76.2 x 55.9 cm.)
1,000-1,500
(2)
$1,600-2,400
1,300-1,900
PROVENANCE:
VARIOUS PROPERTIES
16
RICHARD LIN (LIN SHOW-YU) (1933-2011)
Untitled
signed and dated Lin 1961/2 (lower right)
pencil and oil on paper
18 x 22 in. (46.1 x 56.5 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
Anonymous sale; Sothebys, Olympia, 1 March 2007, lot 337,
l17
ROBERT ADAMS (1917-1984)
Studies for sculpture

signed and dated R Adams. 50 (lower left)
ink
11 x 14 in. (30 x 35.5 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
with Gimpel Fils, London.
l18
PROVENANCE:
with Gimpel Fils, London, where purchased by John Duncan Miller, and by
descent.
Reclining Form (Thorns)

signed with an initial, numbered and dated A 76 3/6 (on the underside
of the central rectangle)
polished bronze
19 in. (48.2 cm.) wide
The present work is recorded by the artist as Opus 374.
4,000-6,000
$6,400-9,600
5,100-7,600
LITERATURE:
A. Grieve, The Sculpture of Robert Adams, London, 1992, p. 236, no. 642,
drawing illustrated.
l19
Screen Form (Rods)

steel, unique
24 in. (62.2 cm.) high, including the
wooden base
Conceived in 1961.
The present work is recorded by the artist as
Opus 128.
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Gimpel Fils, London, where purchased by
John Duncan Miller circa 1961, and by descent.
LITERATURE:
A. Grieve, The Sculpture of Robert Adams,
London, 1992, p. 198, no. 349, illustrated.
PROPERTY OF A NOBLEMAN
l20
SIMON PALMER (B. 1956)
Marty South
signed Simon Palmer (lower right), inscribed Marty South (lower left)
pencil, ink, watercolour and gouache
39 x 28 in. (101 x 73 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with James Huntington-Whiteley, London.
Marty South is one of the characters in Thomas Hardys novel of 1887, The
Woodlanders. The story is a poetic and tragic love story and is considered
one of his major works.
l21
SIMON PALMER (B. 1956)
Planting Snowdrops
signed Simon Palmer (lower right), inscribed Planting Snowdrops
(lower left)
38 x 28 in. (97.8 x 72.4 cm.)
Painted in 1997.
2,000-3,000
PROVENANCE:
with James Huntington-Whiteley, London.
14
$3,200-4,800
2,600-3,800
l22
ELIOT HODGKIN (1905-1987)
Milkweed
signed and dated Eliot Hodgkin/18.1.63 (lower right)
tempera on board
13 x 11 in. (33 x 28 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Reid Gallery, London.
Fairfax Hall.
Anonymous sale; Christies, London, 20 June 1995, lot 224.
15
PROPERTY FROM A DECEASED ESTATE

l23
GRAHAM SUTHERLAND, O.M.

(1903-1980)
Earth Crustations, Gower

Peninsular
signed and dated Sutherland. 1942
(upper right)
5 x 7 in. (13.3 x 18.4 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
Purchased by the present owner at the 1956
exhibition.
EXHIBITED:
London, Leicester Galleries, Artists of Fame and
Promise II, September - October 1956, no. 40.
VARIOUS PROPERTIES
l24
EDWARD BAWDEN, R.A.

(1903-1989)
Mount Etna
signed and dated Edward Bawden/1951
(lower right)
ink, coloured pencils, watercolour and
bodycolour
17 x 21 in. (43.8 x 54.6 cm.)
To be sold with a letter from Edward Bawden
to the Reverend Davis Given, dated 17 May
1952.
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
Purchased by the Reverend Davis Given at the
1952 exhibition.
EXHIBITED:
London, Royal Academy, 1952, no. 918.
16
l25
PROVENANCE:
with Hamet Gallery, London, where purchased by Mr Wright Ludington,
October 1971.
with Agnews, London.
KEITH VAUGHAN (1912-1977)
Soldiers in a Wood
signed Keith Vaughan (lower right)
ink, watercolour, gouache and pastel
5 x 7 in. (12.7 x 7.8 cm.)
Executed in 1943.
6,000-8,000
EXHIBITED:
Santa Barbara, Museum of Art, English and American Drawings, September October 1973, catalogue not traced.
$9,600-13,000
7,700-10,000
LITERATURE:
K. Vaughan, Journal and Drawings: 1939-1965, London, 1966, p. 69,
illustrated.
Visit www.christies.com for further information on this lot
l26
Figures in a tent, Codford

signed and dated Keith Vaughan/1942 (lower right), inscribed
and dated again Figures in Tent. 1941. (under the mount)
ink and wash
4 x 6 in. (12.1 x 16.5 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
17
PROPERTY FORMERLY IN THE COLLECTION OF SIR KENNETH CLARK
l27
JOHN PIPER, C.H. (1903-1992)
Two set designs for Trial of a Judge

each signed and dated John Piper 38 (lower right), the frst inscribed
Trial of a Judge Act I Sc I. and the second Trial of a Judge Act 2.
Sc I (lower left)
each pencil, watercolour and gouache, in a common frame
8 x 13 in. (22.3 x 33 cm.) each
4,000-6,000
PROVENANCE:
Sir Kenneth Clark, and by descent.
$6,400-9,600
5,100-7,600
EXHIBITED:
London, British Council, Theatrical designs and models, South America,
1946, no. 144.
London, Council for the Encouragement of Music and the Arts, Theatre Decor,
no. 5, catalogue not traced.
London, Arts Council of Great Britain, Clark Loan Collection, no. 34,
catalogue not traced.
London, Tate Gallery, John Piper, November 1983 - January 1984, no. 62.
London, Imperial War Museum, John Piper: The Forties, October 2000 January 2001, no. 11: this exhibition travelled to Swansea, Glynn Vivian Art
Gallery, March - May 2001.
LITERATURE:
D.F. Jenkins, John Piper: The Forties, London, 2000, p. 56, no. 11,
illustrated.
We are very grateful to Rev. Dr. Stephen Laird for his assistance in preparing the catalogue entries for the present lot and lots 28, 29, 31, 171, 173, and 175.
l28
JOHN PIPER, C.H. (1903-1992)
Set design for The Shadow

signed John Piper (lower right), inscribed and dated First
sketch for The Shadow/John Cranko ballet Covent Garden
Opera House 1953 (on a label attached to the backboard)
ink, crayon, watercolour and gouache
13 x 19 in. (33.6 x 48.9 cm.)
3,000-5,000
PROVENANCE:
18
$4,800-8,000
3,900-6,400
l29
JOHN PIPER, C.H. (1903-1992)
Moonlit folly
ink, watercolour, gouache and collage
9 x 14 in. (23.5 x 36.2 cm.)
Executed in 1943.
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
Moonlit folly is a theatre design for The Quest by
Sir Frederick Ashton, Sadlers Wells Ballet at the
New Theatre, April 1943.
PROPERTY OF AN IMPORTANT
SWISS COLLECTION
l*30
HENRY MOORE, O.M., C.H.

(1898-1986)
Studies for Seated Figure (recto);

Woman on a Sofa (verso)
signed Moore. (lower right, recto), signed
and inscribed MOORE, Seated Figure
(lower left, verso)
pencil and ink
8 x 6 in. (22.3 x 17.2 cm.)
Executed circa 1955-56.
This work is recorded by the Henry Moore
Foundation as HMF 2815a (recto) and HMF
2815b (verso).
5,000-8,000
$8,000-13,000
6,400-10,000
19
PROPERTY FROM THE COLLECTION OF THE LATE MRS T.S. ELIOT

l31
JOHN PIPER, C.H. (1903-1992)
Skelton Church, Yorkshire

signed John Piper (lower right)
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
Painted in 1948.
30,000-50,000
$48,000-80,000
39,000-64,000
PROVENANCE:
with Leicester Galleries, London.
Anonymous sale; Christies, London, 6 November 1992, lot 93, where
purchased by the present owner.
EXHIBITED:
Paris, Galerie Creuze, La Peinture Britannique Contemporaire, October 1957,
no. 58.
In 1939, with the outbreak of the Second World War, Kenneth Clark
recruited John Piper to join the War Artists scheme, enlisting the artist to
depict the bomb damage of British cities. Piper was also involved in the
Recording Britain project, a scheme organized by Clark and the Pilgrim
Trust to preserve a record of buildings which could be destroyed in the
war. Piper travelled across the country documenting the beauty of British
architecture, fnding a particular resonance with Yorkshire and the churches
and abbeys he visited as a child. The present lot captures St Giles Church,
a thirteenth century grade I listed building in the village of Skelton, North
Yorkshire. Built in 1247 it is believed to have been crafted by masons who
helped construct York Minster, created from left-over stones of the South
Transept of York Minster.
Skelton Church, Yorkshire, 1948, is a prime example of the artists
famous architectural paintings, the late 1940s being a period which
Anthony West marks as his most productive years (A. West, John Piper,
London, 1979, p. 128). Piper is celebrated not only for painting some
of Britains best buildings but for capturing their historical and individual
characteristics. Pipers aesthetic is often abstracted, so that his recording is
not a straight-forward rendition but is more an expression of how a British
citizen would feel seeing the destruction. Piper depicted the horrors of war
at home painting a picture of life during confict. Famously fond of ruined
and decaying buildings, Piper found the spectacle of destruction suited
his Romantic sensibilities and appealed to the notion of the transience of
human existence, a truth felt no more potently than in war time. Piper often
exaggerated the colour, using a rich palette of warm red tones, alongside
20
cool blue, green hues and jet black, as seen in the present lot, to enhance
the shadowy, craggy aspects of the building and to create a haunting
and powerful aesthetic. Piper also creates a sense of heightened drama,
darkening the sky, to enhance the character of the building and create a
foreboding ambience.
Depicting St Giles church standing alone, surrounded by overgrown
greenery, Piper conveyed a sense of isolation, capturing the mood in Britain
at that time. Geographically cut off from the rest of Europe and suffering
their own private losses and sense of terror, Piper succeeded in capturing
the spirit of the time. This sense of alienation is felt no more fervently than
in his images of churches, their windows often painted black or boarded
up, like sightless eyes. D.F. Jenkins states that these blackened windows
are a potent symbol of the period, an expression synonymous with the
feelings of defencelessness and threat (D.F. Jenkins, John Piper The Forties,
London, 2000, p. 20). Jenkins sees that Pipers unique vision marks him
as one of the most important artists of the day, he states, More powerfully
than any other artist, at least since Turner and Cotman, he possessed a
personal vision of architecture that transformed what he saw. He sought out
provincial buildings of extraordinary character, and represented them by his
own means of pictorial design, colouring, illumination and texture, turning
them into refections of a unique personal attitude (D.F. Jenkins, John Piper
The Forties, London, 2000, p. 8).
We are very grateful to Rev. Dr. Stephen Laird for his assistance in
preparing this catalogue entry.
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
l32
GRAHAM SUTHERLAND, O.M. (1903-1980)
Thorn tree (Study)

pencil, watercolour and gouache
11 x 7 in. (29.8 x 19.7 cm.)
Executed in 1971.
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
with Galleria Bergamini, Milan.
with Ruggerini & Zonca, Milan, by 1993.
LITERATURE:
J. Andrews (ed.), Graham Sutherland, Correspondences, Selected Writings
on Art, Parma, 1982, p. 216, pl. 102.
l33

(1903-1980)
Landscape
6 x 8 in. (17 x 22 cm.)
3,000-5,000
PROVENANCE:
with Gian Franco Bruno.
22
$4,800-8,000
3,900-6,400
l34
The Cathedral, Range of Rocks

signed and dated Sutherland/1974 (lower right), and inscribed Range
of Rocks (on the reverse)
pencil, watercolour and gouache
20 x 24 in. (51.7 x 63.2 cm.)
7,000-10,000
$12,000-16,000
9,000-13,000
working on new themes. He found inspiration in the rock formations in

the estuary at Milford Haven. Sutherland developed these architectural
rock formations, which had been pierced by weather and sea erosions,
into towering and ecclesiastical ovations in his The Cathedral, Range of
Rocks. His late works should not be interpreted in terms of the intentions of
his earlier style. They are imaginings of a different order, inspired by the
remarkable clarity of the everchanging light (J. Hayes, The Art of Graham
Sutherland, Oxford, 1980; J. Ormond, Sutherland in Wales, BBC Wales
Television, 1977).
PROVENANCE:
LITERATURE:
on Art, Parma, 1982, p. 239, pl. 128, as Range of Rocks.
Upon Sutherlands return to Pembrokeshire in 1967, the artist began
23
l35
Study for conglomerate

signed with initials G.S. (lower right)
pencil, ink, watercolour and oil, squared for transfer
5 x 5 in. (13.3 x 13.3 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
l36
Cat
signed and dated Sutherland 79 (lower right) and inscribed Cat (on
the reverse)
pencil, ink and wash
11 x 8 in. (29.8 x 21.5 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
LITERATURE:
on Art, Parma, 1982, p. 254, pl. 148.
l37
Landscape study
signed with initials and dated G.S 1969 (lower right)
pencil, pastel, watercolour and gouache
15 x 12 in. (39.4 x 32.4 cm)
2,000-3,000
24
$3,200-4,800
2,600-3,800
l38

(1903-1980)
Roses
signed with initials and dated G.S. 1963
(lower right)
pencil, charcoal, crayon, ink and gouache
22 x 18 in. (60.4 x 45.6 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
l39

(1903-1980)
Study for landscape

pencil and watercolour
8 x 15 in. (22.2 x 38.7 cm.)
1,500-2,000
$2,400-3,200
2,000-2,500
25
VARIOUS PROPERTIES
l40
EDWARD BAWDEN, R.A. (1903-1989)
Pars Museum, Shiraz

signed Edward Bawden (lower right)
ink, watercolour and gouache
20 x 20 in. (52.1 x 52.1 cm.)
Executed in 1966.
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Fine Art Society, London.
The Pars Museum is located in Shiraz, southern Iran, in Nazar Garden,
which was one of the largest gardens in Shiraz during the Safavid rule
(15011722). During the Zand dynasty (17501794) Karim Khan built an
octagonal pavilion which was called Kolah Farangi. It was used to receive
and entertain foreign guests and ambassadors and hold offcial ceremonies.
In 1936 the pavilion became a museum, and now holds almost 30
handwritten Qurans.
l41
Interior with three fgures; St Sebastian

pencil
3 x 5 in. (8.3 x 13.3 cm.)
Executed in 1951.
1,500-2,500
(2)
$2,400-4,000
2,000-3,200
EXHIBITED:
London, Menier Gallery, Clough & Vaughan: Visions & Recollections,
April - May 2014, no. 78.
l42
JOHN COPNALL (1928-2007)
Bristol Docks
signed and dated john copnall 58. (lower right)
oil on board
19 x 21 in. (48.2 x 53.7 cm.)
1,500-2,000
PROVENANCE:
with Tib Lane Gallery, Manchester.
26
$2,400-3,200
2,000-2,500
l*43
HENRY MOORE, O.M., C.H. (1898-1986)
Small Head Strata

signed, numbered and stamped with the H. Noack foundry mark
Moore 9/9 (at the base)
bronze with a gold brown patina
4 in. (11.8 cm.) high
Conceived in 1960.
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with James Goodman Gallery, New York.
Acquired from the above in 1967, and by descent.
Anonymous sale; Sothebys, New York, 25 March 2010, lot 170,
LITERATURE:
A. Bowness (ed.), Henry Moore: Complete Sculpture, 1955-64, Vol.
III, London, 1965, p. 20, no. 468, another cast illustrated.
l44
DAME ELISABETH FRINK, R.A. (1930-1993)
Spaceman
signed and dated Frink/61 (lower right)
charcoal
29 x 19 in. (75 x 49 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
27
l45
HENRY LAMB, R.A. (1883-1960)
David, son of Augustus John

pencil
12 x 9 in. (32.4 x 23.2 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
EXHIBITED:
Venice, Biennale, XVIIa Esposizione Biennale Internazionale dArte, 1930.
l46
HENRY LAMB, R.A. (1883-1960)
Portrait of Francis Dodd

red chalk
11 x 8 in. (28.5 x 22.2 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
Purchased by Sir David and Lady Scott at the 1965 exhibition.
Their sale; Sothebys, London, 19 November 2008, lot 186, where purchased
by the present owner.
EXHIBITED:
London, J.S. Maas & Co., Pre-Raphaelites to Post-Impressionists, 1965, no. 57.
The present lot depicts Francis Edgar Dodd, R.A. (1874-1949), fellow artist
and close friend of Henry Lamb.
l47
AUGUSTUS JOHN, O.M., R.A. (1878-1961)
Study of a boy
pencil
11 x 8 in. (28 x 20.3 cm.)
1,500-2,000
$2,400-3,200
2,000-2,500
EXHIBITED:
London, Arts Council of Great Britain, Augustus John, 1948, no. 88.
London, Royal Academy, Works by Augustus John, March - June 1954, no.
244.
Sheffeld, Graves Art Gallery, Augustus John, August 1956, no. 95.
We are very grateful to Rebecca John for her assistance in preparing the
catalogue entries for the present lot and lots 48, 167, 168, and 169.
28
l48
Study of Dorelia
pencil
8 x 9 in. (20.3 x 22.8 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
49
ERIC GILL, A.R.A (1882-1940)
Head of a girl
signed Eric G (lower centre) and dated 13.10.29 (lower right)
pencil
11 x 8 in. (27.9 x 21.6 cm.)
1,200-1,800
$2,000-2,900
1,600-2,300
29
l50
l51
SIR WILLIAM REID DICK, R.A. (1879-1961)
ERIC KENNINGTON, R.A. (1888-1960)
Soldier, Arras
A Soldiers Grave, the Somme
signed and inscribed ARRAS/Reid Dick (at the base)

bronze with a dark brown patina
8 in. (20.3 cm.) high
signed and dated EH KENNINGTON/19 (lower right)

pencil, watercolour and gouache on buff paper
18 x 11 in. (45.7 x 29.2 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
A gift from the artist to the present owners grandmother, and by descent.
15,000-25,000
$24,000-40,000
20,000-32,000
PROVENANCE:
A gift from the artist to Arthur George Wilson, the artists physician, and by
descent.
EXHIBITED:
probably London, Alpine Club Gallery, Eric Kennington Exhibition of Paintings
and Drawings, October 1920.
In August 1917 Kennington was posted to France as an Offcial War Artist

for the Ministry of Information, where he was briefed to depict the soldiers
on the front in charcoal and pastel. He returned to London in March 1918,
having produced over 160 portraits of the soldiers and the conditions in
which they lived, fought and died.
At the end of that year Kennington joined the Canadian War Records
Scheme as an Offcial War Artist in eastern France and Belgium, alongside
his contemporaries Wyndham Lewis, William Roberts and Edward
Wadsworth. It was during this time that Kennington executed the present
work, a poignant depiction of a soldiers grave on the battlefeld, marked
by a makeshift wooden cross and the soldiers gun and helmet, around
which a tangle of ivy has grown. He returned to this motif again in 1925 in
his Soissons Memorial to the Missing, in which the gun and helmet form a
more stylised centrepiece to this trinity of soldiers.
Kenningtons one-man exhibition at the Alpine Club Gallery in October
1920 confrmed his reputation as one of Britains leading draughtsmen
and portraitists, and it is likely that the present work was included in this
show. On 31 October 1920 the art critic of the Observer, P.G. Konody,
remarked that Kenningtons drawings were among the best of their
period. With all their incisive crystalline clearness few can rival him in the
exploitation of the possibilities of the pastel medium (cited in J. Black, The
Sculpture of Eric Kennington, Much Hadham, 2002, p. 27). In the Alpine
Club Gallery exhibition catalogue the frst work listed is simply marked with
a poem:
This is the grave of man. No monument
Of patriot mourned by King and Parliament.
But it and the obscure and hurrying hand
That thrust it up have long since left the land
For the trim parks of heroes neatly planted
Through which the admiring tourist moves enchanted.
We are very grateful to Dr Jonathan Black for his assistance in preparing
this catalogue entry.
52
HENRI GAUDIER-BRZESKA (1891-1915)
Male nude studies

ink
21 x 29 in. (55.6 x 75.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
with Tib Lane Gallery, Manchester.
l53
LEON UNDERWOOD (1890-1975)
Female nude and studies for sculpture;

Standing female nude
signed and dated Leon U. 1923. (lower right)
charcoal
26 x 17 in. (66.1 x 43.8 cm.)
1,000-1,500
32
(2)
$1,600-2,400
1,300-1,900
54
MARK GERTLER (1891-1939)
Female nude
signed M Gertler. (upper left)
charcoal
14 x 12 in. (36.2 x 30.5 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
55
CIRCLE OF FRANK DOBSON
Reclining nude
marble, unique
15 in. (39.4 cm.) long
2,000-3,000
$3,200-4,800
2,600-3,800
The present work embodies many of the characteristics of the renowned

20th Century sculptor Frank Dobson. Celebrated for his classical pure
style, Dobson gained an outstanding reputation in the 1920s and 30s,
championed by fgures such as Roger Fry and Clive Bell. Best known for
his female nudes, which mirror the sophisticated simplifcation of form
that is noted in the work of Aristide Maillol, Dobson conveyed a quiet yet
monumental dignity in his sculptures, which can be seen in the present
work. The accomplished treatment of the marble is reminiscent of the
skilled craftsmanship of Dobson, who was prominent in the revival of

direct carving. Appointed Professor of Sculpture at the Royal College of
Art after World War II, Dobsons infuence can be seen in a number of his
students art, most notably in the work of Alan Durst, which this piece bears
a resemblance to. As a carver of religious subjects, fgures and animals,
Durst is known for his contribution to the London Group, of which he was
a member, and to the spirit of direct carving, which he strove to promote
throughout his career.
l56
ALFRED WOLMARK, R.A.

(1877-1961)
The Market Place, Concarneau

signed with monogram and dated 11 (centre
right), indistinctly inscribed From my window/
Concarneau Market (on a label attached to
the reverse)
oil on canvas-board
18 x 15 in. (46.4 x 38.8 cm.)
5,000-7,000
$8,000-11,000
6,400-8,900
PROVENANCE:
with Fine Art Society, London, April 1975.
EXHIBITED:
Hull, Ferens Art Gallery, Alfred Wolmark
Exhibition, March - April 1975, no. 35, as
Market Scene, Concarneau, 1911.
l57
DUNCAN GRANT (1885-1978)
Still life of bowl and magazine on

a table
signed D. Grant (lower right)
11 x 19 in. (28.6 x 50.4 cm.)
Painted circa 1919-20.
1,000-1,500
$1,600-2,400
1,300-1,900
We are very grateful to Richard Shone for his

assistance in preparing the catalogue entries for
the present lot and lots 58 and 62.
34
l58
VANESSA BELL (1879-1961)
Church in Rome
signed and dated Vanessa Bell 1931
(lower right)
oil on board
24 x 18 in. (62.2 x 47.6 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
59
ROGER FRY (1866-1934)
Eastern Bazaar
oil on panel
10 x 13 in. (26.6. x 34.9 cm.)
There is a study of a cityscape, by the same
hand, on the reverse.
2,000-3,000
$3,200-4,800
2,600-3,800
35
60
WALTER RICHARD SICKERT, A.R.A. (1860-1942)
The New Bedford, Camden Town

signed Sickert (lower right), inscribed New Bedford Camden Town
(lower left)
pencil, crayon and ink, squared for transfer
18 x 7 in. (46.7 x 19.6 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Beaux Art Gallery, London.
LITERATURE:
W. Baron, Sickert Paintings and Drawings, New Haven and London, 2006,
p. 343, no. 238.6.
There is an oil painting of the same subject in the Collection of Leeds
Museums and Galleries.
l61
CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A.

(1889-1946)
Study for Tiller Girls

signed C.R.W. Nevinson (lower right)
gouache
8 x 10 in. (20.6 x 25.4 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
with Michael Parkin Gallery, London, from whom purchased by the
previous owner in 1984.
The present work is a study for the Government Art Collections painting,
Tiller Girls.
l62
DUNCAN GRANT (1885-1978)
Three Figures (after Picasso)

pencil and ink
7 x 6 in. (20 x 16.8 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
Private collection, UK.
with Gillian Jason, London, where purchased by the present owner, October
2000.
Three Figures is a design executed for use in the Omega Workshops,
compositionally owing much to Picassos 1907 painting Les Demoiselles
dAvignon. Grant was a founding member of Roger Frys Omega
Workshops, an English applied arts company, in 1913. Designs were
selected to decorate different objects including ceramics, furniture, carpets,
and other textiles.
l63
CHARLES GINNER, A.R.A. (1878-1952)
The Hunted Stag

signed C. GINNER (lower right), signed again C. GINNER (on the
canvas overlap)
oil on canvas
24 x 20 in. (61.6 x 51.4 cm.)
Painted in 1930.
7,000-10,000
$12,000-16,000
9,000-13,000
PROVENANCE:
Arthur Crossland, his sale; Christies, London, 3 February 1956, lot 139.
T.W. Spurr.
Sir Alec and Lady Martin.
EXHIBITED:
London, Goupil Gallery, Spring Exhibition, 1930.
London, Leger Galleries, Paintings by Charles Ginner, February - March
1933.
London, Fine Art Society, Charles Ginner, October 1985, no. 18.
LITERATURE:
C. Ginner, Notebooks Vol. II, 1930, p. 70.
Exhibition catalogue, Charles Ginner, London, Fine Art Society, 1985, p.
21, no. 18, illustrated.
37
l64
ALGERNON CECIL NEWTON, R.A. (1880-1968)
Summer Landscape
PROVENANCE:
Anonymous sale; Christies, London, 18 April 1969, lot 118.
Anonymous sale; Bonhams, London, 20 November 2013, lot 51.
signed with monogram (lower left)

oil on canvas
24 x 36 in. (60.9 x 91.4 cm.)
7,000-10,000
$12,000-16,000
9,000-13,000
l65
GILBERT SPENCER, R.A. (1892-1979)
Village houses
signed and dated Gilbert Spencer/1927 (lower right)
oil on canvas
18 x 22 in. (45.7 x 55.8 cm.)
2,000-3,000
38
$3,200-4,800
2,600-3,800
l66
SIR MATTHEW SMITH (1879-1959)
Flowers in a Jug
oil on canvas
31 x 18 in. (80.7 x 46.3 cm.)
Painted in 1926.
7,000-10,000
$12,000-16,000
9,000-13,000
PROVENANCE:
with Arthur Tooth & Sons, London, where purchased by Sir Kenneth Clark in
1935.
with Roland, Browse and Delbanco, London.
Mrs Ann Todd.
Anonymous sale; Sothebys, London, 23 May 1984, lot 186.
EXHIBITED:
London, Royal Academy, Sir Matthew Smith, October - December 1960, no.
106.
LITERATURE:
J. Gledhill, Matthew Smith Catalogue Raisonn of the Oil Paintings, Farnham,
2009, p. 121, no. 226.
l67
Mallord St Peach in Black Vase

signed with initials and dated EH 76 (lower right)
oil on board
8 x 6 in. (22.2 x 17.2 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
EXHIBITED:
London, Hazlitt, Gooden & Fox, Eliot Hodgkin Painter & Collector, March April 1990, no. 65.
The artist painted the same peach in three compositions. The present
painting is the frst version, painted on 17 August 1976.
We are very grateful to Mark Hodgkin for his assistance in preparing this
catalogue entry.
39
l68
SIR JACOB EPSTEIN (1880-1959)
Second Portrait of Gladys, Duchess of Marlborough

(sketch)
12 in. (31.7 cm.) high
Conceived in 1923.
2,000-3,000
$3,200-4,800
2,600-3,800
LITERATURE:
R. Buckle, Jacob Epstein Sculpture, London, 1963, p. 125, pl. 192-3,
another cast illustrated.
This commissioned work represents Gladys Deacon and was conceived
during the artists stay in Blenheim.
l69
KARIN JONZEN (1914-1998)
Mother and child

9 in. (12.8 cm.) high, excluding the marble base
Conceived circa 1970.
1,000-1,500
40
$1,600-2,400
1,300-1,900
l70
BERNARD MENINSKY (1891-1950)
Still life of irises

signed Meninsky (lower right)
oil on canvas
36 x 28 in. (91.4 x 71.1 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
l71
DAME ETHEL WALKER, A.R.A. (1861-1951)
Flowers in a Jug with Teapot

signed Ethel Walker (lower right)
oil on canvas
24 x 20 in. (60.9 x 51.3 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
41
l72
KATE NICHOLSON (B. 1929)
Sylphides
oil on canvas
23 x 27 in. (60.4 x 70.5 cm.)
Painted in 1956.
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
with Marjorie Parr Gallery, London, where purchased by Miss Margaret
Halbert.
Anonymous sale; Phillips, London, 2 June 1992, lot 49.
l73
DEREK JARMAN (1942-1993)
View from a window

signed Jarman (lower right)
charcoal
30 x 22 in. (76.2 x 55.9 cm.)
Executed in 1962.
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
A gift from the artist to the present owners mother, and by descent.
EXHIBITED:
London, Barbican Art Gallery, Derek Jarman: A Portrait, May August 1996,
LITERATURE:
J.C. Parkes, Derek Jarman: a portrait: artist, flm-maker, designer, London,
1996, p. 16, illustrated, as Untitled.
l74
MARY POTTER (1900-1981)
Study for The Wood

signed Mary Potter (on the reverse)
oil on canvas
12 x 14 in. (30.5 x 35.6 cm.)
2,000-3,000
42
$3,200-4,800
2,600-3,800
l75
BRYAN PEARCE (1929-2007)
St Ives, from the Studio

signed Bryan Pearce (centre), dated 1964 (on the canvas overlap)
oil on canvas
20 x 30 in. (51.8 x 76.2 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
Acquired directly from the artist by the present owners aunt.
l76
Jug of Flowers with Orange

signed Bryan Pearce (lower centre)
ink and pastel on blue paper
11 x 9 in. (29.2 x 22.8 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
The Terry Brodie-Smith Collection.
wtih Aitken Dott, Edinburgh.
Anonymous sale; Christies, South Kensington, 22 June 1995, lot 188, where
43
l77
PETER KINLEY (1926-1988)
Vertical Landscape with Fields

signed, inscribed and dated PETER KINLEY VERTICAL LANDSCAPE
WITH FIELDS 1970 (on the stretcher)
oil on canvas, unframed
56 x 32 in. (142.2 x 81.3 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
Anonymous sale; Christies, South Kensington, 7 March 1997, lot 380,
EXHIBITED:
London, Arthur Tooth and Sons, Peter Kinley, November 1970, no. 7.
LITERATURE:
Exhibition catalogue, Peter Kinley, London, Arthur Tooth and Sons, 1970, no.
7, illustrated.
C. Kinley, M. Livingstone, Peter Kinley, Farnham, 2010, p. 49, illustrated.
l78
SIR TERRY FROST, R.A. (1915-2003)
Lemon, Green & Black

signed Terry Frost (on the reverse)
acrylic and collage on board
13 x 14 in. (33.6 x 38.8 cm.), shaped
Painted in 2002.
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
Acquired directly from the artist by the present owner.
This collage is the original study for the etching/aquatint of the same title
and date.
44
l79
WILLIAM SCOTT, R.A. (1913-1989)
In a Square II
signed W. SCOTT (lower right)
gouache, unframed
19 x 19 in. (48.2 x 48.2 cm.)
Executed in 1964.
This work is recorded in the William Scott archive as No. 2328.
7,000-10,000
$12,000-16,000
9,000-13,000
PROVENANCE:
with Hanover Gallery, London.
EXHIBITED:
Zurich, Gimpel & Hanover Galerie, William Scott, 1966, no. 27.
45
nl80
White Painting (Bollards)

signed, inscribed and dated White Ptg June 62 Bollards/ Frost (on the
reverse)
oil, charcoal and collage on canvas
60 x 60 in. (152.4 x 152.4 cm.)
25,000-35,000
$40,000-56,000
32,000-45,000
PROVENANCE:
with Austin Desmond Fine Art, London.
Returning to St Ives from Leeds (where for the past two years he had been
honoured as the Universitys Gregory Fellow in Painting) in the summer
of 1957, Frost embarked on perhaps the most productive period of his
career. Already a leading fgure in non-fgurative painting, around 1960
Frost entered into a phase of particularly distinctive work. Generally larger,
fatter and more simply constructed, such work seemed characterised by a
new kind of sparseness, tautness and innuendo. Frost recalled these years
of change and consolidation (see C. Stephens, Terry Frost, London, Tate,
2000, p. 54), as a period of total confdence (exhibition catalogue, Terry
Frost, London, Belgrave Gallery, 1989, no. 19).
In 1960 he travelled to New York for his frst exhibition at the Bertha
Schaefer Gallery where he was welcomed by such artists as Willem de
Kooning, Barnett Newman, Robert Motherwell, Mark Rothko and Franz
Kline, several of whom invited him to visit their studios. In London he was
showing regularly with the recently established Waddington Galleries
and in 1961 had his frst solo show at the dealers Cork Street gallery.
The following year saw a second dedicated exhibition at the Bertha
Schaefer Gallery, New York as well as the completion of a sensual series
of collaged paintings including White Painting (Bollards). Frosts pair of
curved forms nestle amid thinly, insouciantly painted white space.
First introduced in Force 8, 1960 the v-shaped wedge formed a new
addition to Frosts repertoire of discs, half discs and quarter disc segments,
circles, lozenges, truncated ovals, triangles and diamonds. At a time
when the line between abstraction and fguration was increasingly called
into question, such allusive forms began to feature prominently in Frosts
work, not only serving a purely formal, compositional function, but also
signifying, albeit somewhat crudely and reductively, the female nude. In
numerous works, as in White Painting (Bollards) an arrow is fred, entering
the painting with unequivocally erotic intent, eliciting in the viewer an
unmistakably visceral thrill upon reaching its target. And yet, far from brash,
Frosts rendering of such an encounter is ambiguous, understated, described
in charcoal lines of inimitable inexactitude.
46
The subject of The Three Graces, or three female nudes, had fascinated
Frost since he frst encountered Rubens Judgement of Paris at the National
Gallery while still at student at Camberwell. The combination of the girls
glances, of the interaction between the three fgures- or even the same
fgure seen from three different viewpoints, intrigued Frost. We might see the
three bollards featured on the left hand side of the canvas in White Painting
(Bollards), assertively upright, sloping, inclined and fnally indistinct, as
formal refections on this theme.
Undoubtedly inspired by his friend and former Camberwell tutor, Victor
Pasmores painted collages (Pasmore produced his frst abstract, collaged
piece in 1948) Frost attributes his adoption of the medium to his work for
Barbara Hepworth. In 1950 Frost was taken on by Hepworth to assist
with the carving of Contrapuntal Forms, 1951, a large two part sculpture
in blue Connemara limestone commissioned by the Arts Council for the
Festival of Britain. Frost later said that working for Barbara made me
think that the whole thing was totally illusionistic, painting, and made me
lose confdence, I think, because if youre making actual shapes theres
something marvellous about it (Terry Frost, interview with David Lee, June
1993). Although featuring consistently throughout the artists oeuvre, from
1960 onwards collage gained increasing prominence, augmenting, as in
White Painting (Bollards) the tension between the two curved protagonists,
ambiguous, indeterminate and yet reminiscent for the artist both of boats
and buttocks. Frost said of the origin of SS09, a painting similar in form
and content to White Painting (Bollards): I made a drawing of Kath from
behind and there were these two semicircles of her buttocks coming in
from the side of the paper And then when I looked at those semicircular
shapes in the drawing my mind went back to the boats (Terry Frost,
interview with David Lewis, July 1993, in D. Lewis, Terry Frost: A Personal
Narrative, Aldershot, 1994, p. 78).
VARIOUS PROPERTIES
l81
JAMES DIXON (1887-1970)
A small coaster being towed, Tory Island

signed, extensively inscribed and dated James Dixon/12.1967 (lower
right)
oil on paper laid on board
22 x 29 in. (55.8 x 75.8 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
Patrick Hickey, R.H.A., Ireland.
with Julian Lax, London, where purchased by Derek Austen, August 2002,
and by descent.
EXHIBITED:
Bath, Victoria Art Gallery, Sea Dreams: Art Salutes the Boat, April - June
1998, no. 2: this exhibition travelled to Beverley, Art Gallery, July September 1998; Lincoln, Usher Gallery, March - May 1999; and
Swansea, Glynn Vivian Art Gallery, May - July 1999.
l82
CLIFFORD FISHWICK (1923-1997)
Dartmoor Panorama
signed and dated Clifford Fishwick 58 (upper
right), signed again, inscribed and dated
again Dartmoor Panorama Clifford Fishwick
58 (on the reverse)
oil on board
7 x 28 in. (18.4 x 72 cm.)
1,000-1,500
48
$1,600-2,400
1,300-1,900
l83
The Wharf from West Pier

signed Bryan Pearce (lower centre), inscribed and dated The Wharf from West Pier/1990 (on
the reverse)
oil on board
21 x 28 in. (55.3 x 71.1 cm.)
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Acquired directly from the artist by the present owner, February 1992.
49
nl84
ANTHONY BENJAMIN (1931-2002)
Andiamo a Saracinesco
signed, inscribed and dated Jan-Feb 61/Andiamo a Saracinesco/
Benjamin (on the reverse)
oil on canvas
48 x 40 in. (121.9 x 101.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
The Artists Estate.
l85
Composition Black & Orange

signed and dated AVRAY WILSON/57 (lower right)
oil on canvas
48 x 18 in. (122 x 45.7 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
with Redfern Gallery, London, 1957.
Anonymous sale; Christies, South Kensington, 16 December 2010, lot 108,
50
l*86
HENRY MOORE, O.M., C.H. (1898-1968)
Maquette for Sculpture with Hole and Light

signed and numbered Moore 6/6 (on the reverse)
bronze with a brown green patina
4 in. (11.1 cm.) wide
Conceived in 1967 and cast in edition of 6 in 1974.
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
with Galerie Patrick Cramer, Geneva, where purchased by the present
owner, December 1986.
LITERATURE:
A. Bowness (ed.), Henry Moore Complete Sculpture 1964-73, Vol. 4,
London, 1977, pp. 50-51, no. 574, another cast illustrated.
51
PROPERTY FROM THE COLLECTION OF THE LATE MISS VALERIE BESTON
Miss Valerie Beston dedicated her life to art in a range of ways. She helped to develop Marlborough Fine Art almost from its inception
and supported many of the most prominent British artists of the twentieth century through her role as Director of the gallery, as well as being
a private collector herself. She became an indispensable fgure within the gallery, one that clients, artists and academics could rely on for
absolute discretion, loyalty and support. It was her professionalism and strong but private character that secured the trust of many members
of the art world, most notably Francis Bacon.
By 1958, when Marlborough started representing Francis Bacon, Miss Beston had been in place there for just over a decade, having
started as a typist in her twenties. Despite forming close working friendships with many prominent artists including Frank Auerbach, Lucian
Freud, Henry Moore, Graham Sutherland and Ben Nicholson, who in turn for her support made her gifts of their works, her very particular
relationship with Bacon was to be unique. It was her active role in this artists life that secured her status within international art circles, as
without her approval any form of correspondences or working arrangements with Bacon would prove impossible. She was not merely his
representative, but one of the key fgures in organising almost all of the aspects of his life from setting up his appointments and dealing
with his bills to solving any of his day-to-day problems including lost keys or misplaced prescriptions. Though in many ways an introvert
who tended to avoid large social occasions, Miss Beston made an exception for Bacon and avidly supported the artist at his events. Her
offce at Marlborough was a window into her interests as the vast amount of literature available within the rooms walls gave an insight
into the breadth of artists she was most fascinated by. The rumours that she had been working on the ultimate catalogue raisonn of
Bacons paintings for years could explain the sheer multitude of books on the artist around her desk.
In February 2006 Christies sold the major works from Miss Bestons collection in a single-owner auction, which saw exceptional prices for
works by Frank Auerbach and Francis Bacon. Arising from her collection, the works offered in this sale show not only Miss Bestons artistic
taste but many drawings or paintings presented here speak of her personal relationships with these artists. Auerbachs charming sketch of
cats, given as a gesture of thanks to Miss Beston, is one such souvenir of a close friendship.
l87
FRANK AUERBACH (B. 1931)
Cats
dedicated To V.B/with/love/from Frank
(on the reverse)
pencil, felt-tipped pen and ink on two sheets
9 x 11 in. (23.1 x 27.9 cm.)
Sold with the copy of a poster for the Tate
Gallerys 1984 exhibition The Hard-Won
Image, which features the present work.
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
A gift from the artist to Miss Valerie Beston.
52
l88
MICHAEL CLARK (B. 1954)
Francis Bacon in his studio

gouache
8 x 10 in. (22 x 25.4 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
89
SANDRA FISHER (1947-1994)
Kitaj in his Studio

signed and dated Sandra Fisher 1989
(on the canvas overlap)
oil on canvas
12 x 10 in. (30.5 x 25.5 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
with Odette Gilbert Gallery, London.
53
l90
CHRISTOPHER BRAMHAM (B. 1951)
Autumn II
signed with initials and dated CB 86-7 (lower left)
oil on canvas
17 x 12 in. (45.1 x 31.1 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
EXHIBITED:
London, Fine Art Society, Christopher Bramham, June 1988, no. 35.
91
LONDON SCHOOL, 20TH CENTURY
Nude
pencil
7 x 4 in. (19.7 x 10.2 cm.)
600-800
54
$960-1,300
770-1,000
l92
Cherry blossom
signed with initials and dated CB/84 (lower right)
oil on canvas laid on board
10 x 8 in. (26.7 x 22.2 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
l93
MICHAEL CLARK (B. 1954)
Portrait of Muriel Belcher; The Sphinx

oil and charcoal on card
15 x 11 in. (40.3 x 29.5 cm.)
1,000-1,500
(2)
$1,600-2,400
1,300-1,900
55
l94
Squirrel
signed with initials and dated CB/84 (lower right)
oil on canvas
11 x 10 in. (29.3 x 25.3 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
with Thomas Agnew & Sons, London.
95
SANDRA FISHER (1947-1994)
Melissa with Opera Glasses; Wozzeck

Rehearsal
signed Fisher (lower left)
oil on canvas
9 x 7 in. (24 x 18.5 cm.)
Painted in 1983.
1,000-1,500
(2)
$1,600-2,400
1,300-1,900
PROVENANCE:
with Lefevre Gallery, London.
EXHIBITED:
Washington D.C., Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution, Representation Abroad,
June - September 1985.
ANOTHER PROPERTY
nl96
STEPHEN CONROY (B. 1964)
Man and Shadow

signed and dated Stephen Conroy 1994 (on the canvas overlap)
oil on canvas
72 x 48 in. (183 x 122 cm.)
20,000-30,000
$32,000-48,000
26,000-38,000
PROVENANCE:
with Marlborough Fine Art, London.
57
PROPERTY FROM THE COLLECTION OF JOE BOYD

The American record producer and writer Joe Boyd owned Witchseason production company and Hannibal Records. He is famed for his
work with, amongst others, Pink Floyd and Nick Drake. Boyd was responsible for the sound at the 1965 Newport Folk Festival, when Bob
Dylan played a controversial set backed by electric musicians. As a music producer for Warner Bros he collaborated with Stanley Kubrick
on the soundtrack for A Clockwork Orange and supervised the recording of Dueling Banjos for the soundtrack of Deliverance. He also
went on to produce and co-direct the 1973 flm documentary Jimi Hendrix. Boyd frst visited London in 1964, and two years later had
opened the capitals frst psychedelic ballroom, The UFO Club. Meeting many of the protagonists of the London scene, he developed an
interest in British art from the 1960s.
l97
PAULINE BOTY (1938-1966)
PROVENANCE:
with Mayor Gallery, London, where purchased by the present owner.
Untitled (still life with paint brushes)
EXHIBITED:
Wolverhampton, Art Gallery, Pauline Boty Pop Artist and Woman, June
- November 2013, not numbered.
pencil, gouache and metallic paint

15 x 19 in. (40.5 x 52.7 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
LITERATURE:
S. Tate, exhibition catalogue, Pauline Boty Pop Artist and Woman,
Wolverhampton, Art Gallery, 2013, pp. 28, 128, pl. 7.
VARIOUS PROPERTIES
l98
DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)
Study for A Rakes Progress

ink
6 x 9 in. (17.2 x 24.2 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
A gift from the artist to Mick Sider, who lived with David Hockney in the
late 1960s, and by descent.
l99
Henry Geldzahler
signed with initials, inscribed and dated Henry Salzburg DH. july 76
(lower right)
ink
16 x 13 in. (42 x 34.8 cm.)
10,000-15,000
PROVENANCE:
Private collection, Amsterdam.
$16,000-24,000
13,000-19,000
Highly regarded for his role as art historian, critic, curator and early
protagonist of Pop Art, Henry Geldzahler is best known for his work at
the Metropolitan Museum of Art and as New York City Commissioner of
Cultural Affairs.
Geldzahler counted Willem de Kooning, Jean-Michel Basquiat and Jasper
Johns amongst his close friends, and Andy Warhol famously produced a 90
minute flm of him smoking a cigar. One of his most enduring friendships
was with Hockney, who portrayed him on a number of occasions, the most
celebrated of which being the 1969 double portrait of Geldzahler and his
then partner Christopher Scott. The closeness of their relationship is clear in
the present work with Geldzahler sitting casually dressed, quietly reading
a book on his bed. Capturing his friends physiognomy through a series of
crisp discerning lines, the present work displays the mastery of Hockneys
draughtsmanship. Over the years they were to work on a number of
projects together, including a series of essays and criticism Geldzahler
published in 1994 titled Making it New, for which Hockney wrote the
introduction.
l100
SIR PETER BLAKE, R.A. (B. 1932)
Calendar: April
inscribed APRIL (on the frame)
pencil, ink, watercolour, gouache and lithographic border
11 x 8 in. ( 29.2 x 21.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
The artist, at the time of the 1983 exhibition.
Anonymous sale; Christies, London, 14 November 1986, lot 186A, where
purchased by the present owners mother.
EXHIBITED:
London, Tate Gallery, Peter Blake, February - March 1983, no. 179: this
exhibition travelled to Hannover, Kestner-Gesellschaft, April - June 1983.
In the 1983 Tate Gallery exhibition catalogue, the series of Calendar
illustrations are discussed: The twelve mounts incorporated into this
work are the pages of a Victorian photograph album decorated in
chromolithography with birds and fowers representing the months. Blake
has inserted drawings of fairies suiting the mood of the month (exhibition
catalogue, Peter Blake, London, Tate Gallery, 1986, p. 117).
The sitter is Liberty Blake, the artists eldest daughter.
101
R.B. KITAJ, R.A. (1932-2007)
Portrait of a lady
dedicated and dated RCA/for Chris, love, Kitaj (about 1960) (along
the lower edge)
charcoal
16 x 10 in. (40.2 x 26 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
A gift from the artist to the present owner.
l102
Homage
ink and coloured crayon
14 x 10 in. (35.6 x 27.6 cm.), shaped
1,000-2,000
$1,600-3,200
1,300-2,500
PROVENANCE:
A gift from the artist to Mick Sider, who lived with David Hockney in the late
1960s, and by descent.
60
103
R.B. KITAJ, R.A. (1932-2007)
Erotica Judaica (Sandra)

signed, inscribed and dated Erotica Judaica (Sandra) 2000 Kitaj
(on the canvas overlap)
oil on canvas
10 x 12 in. (25.4 x 30.5 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Marlborough Gallery, New York.
PROPERTY OF A GENTLEMAN
l104
PATRICK PROCKTOR, R.A. (1936-2003)
Roger Cook
signed Patrick Procktor (lower centre)
oil on canvas
26 x 18 in. (66 x 45.7 cm.)
Painted in 1987.
2,000-3,000
$3,200-4,800
2,600-3,800
LITERATURE:
J. McEwen, Patrick Procktor, Michigan, 1997, p. 62, illustrated.
61
VARIOUS PROPERTIES
105
MIKE GEARY (B. 1932)
Casino 1; Casino 2
each signed and dated Mike Geary/1997 (on the reverse)
mixed media
10 x 8 in. (25.4 x 21.6 cm.)
800-1,200
(2)
$1,300-1,900
1,100-1,500
106
MIKE GEARY (B. 1932)
Pop Art Box

signed and dated Mike Geary/1972-1992 (on the reverse)
mixed media
26 x 14 in. (66 x 35.5 cm.), shaped
800-1,200
62
$1,300-1,900
1,100-1,500
nl107
SIR PETER BLAKE, R.A. (B. 1932)
Late Period No. 1

signed, variously inscribed and dated Peter Blake/March 2008 (on the chair back)
felt-tipped pen on upholstered chair
39 in. (101 cm.) high
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Purchased by the present owner at Take your Seats, March 2008.
The present lot was included in a charity auction Take your Seats in 2008, in aid of the
Artists General Benevolent Institution and the Chelsea Arts Club Trust. The designer chairs,
by Philippe Starck and French Fine Furniture, were painted by distinguished members of the
Chelsea Arts Club including Peter Blake, Maurice Cockrill, Keith Coventry, Ken Howard,
Patrick Hughes, Bill Jacklin, David Shrigley and Gavin Turk.
Blake has decorated the present lot with iconic imagery such as Snow White and the
Seven Dwarfs, as well as The Tattooed Lady and Kim Novak, fgures which appeared in
his works as early as the 1950s and 1960s.
63
l108
PATRICK CAULFIELD, R.A. (1936-2005)
Still life with fruit; Menu; Bowl

each signed with initials PC (lower right)
ink
8 x 8 in. (21.6 x 21.6 cm.)
(3)
1,200-1,800
$2,000-2,900
1,600-2,300
PROVENANCE:
l109
Vase
signed with initials PC (lower right)
pencil
11 x 8 in. (29.5 x 20.7 cm.)
1,200-1,800
$2,000-2,900
1,600-2,300
PROVENANCE:
l110
Two Fish on a Plate

signed with initials PC. (lower right)
acrylic on board
8 x 11 in. (21.2 x 27.9 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
The present lot is a study for the lithograph, Two Fish
on a Plate, published in 1999 in an edition of 50.
l111
Vase
signed and dated Patrick Caulfeld 94 (lower right)
pencil and crayon
9 x 11 in. (23.5 x 29.5 cm.)
1,200-1,800
$2,000-2,900
1,600-2,300
PROVENANCE:
l112
Tate Menu; Wine Glass

signed Patrick Caulfeld (lower right)
acrylic and screenprint on card
12 x 17 in. (30.5 x 44.2 cm.)
(2)
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
l113
Lampshade
signed Patrick Caulfeld (lower right)
pencil
12 x 11 in. (30.5 x 29.2 cm.)
1,000-1,500
PROVENANCE:
$1,600-2,400
1,300-1,900
PROPERTY FROM A PRIVATE CALIFORNIAN COLLECTION

l*114
SIR EDUARDO PAOLOZZI, R.A. (1924-2005)
Eluz
signed with initials E.P. (on the underside)
chrome-plated steel
19 in. (48.9 cm.) long
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Pace Gallery, New York, where purchased by the present owner in 1967.
EXHIBITED:
San Francisco, Museum of Modern Art, Contemporary Painting and Sculpture from Bay Area Collections,
1968.
In the late 1960s Paolozzi explored the materiality of chromed steel and polished aluminium surfaces,
relishing in their gleaming surfaces, which captured the light, allowing for the interchange between soft
highlights and dark shadows. These new designs presented a unifed and powerful aesthetic.
67
VARIOUS PROPERTIES
l*115
JOHN LATHAM (1921-2006)
Skoob
plaster, book and wire on canvas
20 x 16 in. (50.7 x 41.9 cm.)
Conceived in 1952.
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
Felix Landan, Los Angeles.
Landan Family Collection, Los Angeles, and by
descent.
nl116
BOYLE FAMILY
Sandstone Cliff
mixed media, resin and fbreglass
36 x 52 in. (91.4 x 132.1 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Acquired directly from Mark Boyle by the present
owner, in the 1980s.
68
l117
JOE TILSON, R.A. (B. 1928)
Twin Collage
signed, inscribed and dated TWIN COLLAGE/1962/Joe Tilson (on the reverse)
oil, wood relief and collage on panel
29 x 16 in. (73.6 x 40.7 cm.)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
with New London Gallery, London.
69
l118
PRUNELLA CLOUGH (1919-1999)
Five Studies of Pipes

signed Clough (lower right)
pencil, watercolour and charcoal
10 x 8 in. (27 x 22.6 cm.)
Executed in 1953.
1,000-1,500
$1,600-2,400
1,300-1,900
PROVENANCE:
The Estate of Prunella Clough, from whom acquired by Peter Adams.
Acquired directly from the above by the present owner.
EXHIBITED:
London, Menier Gallery, Clough & Vaughan: Visions & Recollections,
April - May 2014, no. 15.
l119
Composition
signed WILSON (lower right)
oil on board
36 x 28 in. (91.4 x 71.1 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
l120
JOHN MILNES-SMITH (1912-1998)
Pear and Apples

signed with initials and dated JMS/52 (lower right), signed again,
inscribed and dated again Milnes-Smith/52/PEAR & APPLES (on
the reverse)
oil on board
14 x 20 in. (37.2 x 51.4 cm.)
1,000-1,500
70
$1,600-2,400
1,300-1,900
l*121
FREDERICK EDWARD MCWILLIAM, A.R.A.

(1909-1992)
Cruciform
signed with initials and numbered McW 1/3 (on the base)
bronze with a black patina
14 in. (35.6 cm.) high
Conceived in 1959.
7,000-10,000
$12,000-16,000
9,000-13,000
PROVENANCE:
with Felix Landau Gallery, Los Angeles, 1965.
Laundau Family Collection, Los Angeles, and by descent.
EXHIBITED:
London, Waddington Galleries, F.E. McWilliam, February March 1961, no. 7.
LITERATURE:
R. Penrose, McWilliam, London, 1964, no. 53, another cast
illustrated.
D. Ferran and V. Holman (eds), The Sculpture of F.E. McWilliam,
Farnham, 2012, p. 127, no. 192, another cast illustrated.
l122
RALPH RUMNEY (1934-2002)
Tachism I
signed Rumney (lower left), signed again and dated
Rumney/56 (lower right)
oil, household paint and metallic paint on newspaper,
laid on board
18 x 26 in. (45.7 x 66.6 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Redfern Gallery, London, where purchased by Victor
Langen in 1957.
l123
NORMAN TOWN (1901-1985)
Forms on red
signed and dated Norman Town 59 (on the reverse)
oil on board, unframed
48 x 35 in. (122 x 90.2 cm.)
1,000-2,000
72
$1,600-3,200
1,300-2,500
l124
ALAN DAVIE, R.A. (1920-2014)
Clown in a Trance
signed, inscribed and dated Alan Davie 61/CLOWN
IN A/TRANCE (upper right)
oil, acrylic and household paint on paper, laid on card
16 x 20 in. (40.6 x 50.8 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l125
BERNARD MEADOWS (1915-2005)
Maquette for Large Crab Relief

signed with monogram and numbered 5/6
(on the underside)
polished bronze
6 in. (16.5 cm.) long
Conceived in 1978.
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Acquired directly from the artist by the previous owner, and
by descent.
The crab motif was inspired by Meadows war-time
service on the Coco Islands in the Indian Ocean, where
he had spent long hours observing crab behaviour.
73
nl126
BERENICE SYDNEY (1944-1983)
Leaves Orbiting
signed and dated Berenice 571 (lower left),
and dated again 18/5/71 (on the stretcher)
48 x 48 in. (122 x 122 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
EXHIBITED:
London, Kenwood House, Carlotte Mayer and
Berenice Sydney, September - October 1973,
no. 6, as Painting with Olive Green and Venetian
Red.
Sparked by her travels through Greece and her
admiration for Titians Bacchus and Ariadne,
Berenice became interested in ancient mythology
which lead to a series of works loosely inspired
by ivy leaves. Sacred to Bacchus, ivy symbolised
immortality. Berenice used the intricate shape
of the plant to create a colourful patchwork
surface that is simultaneously abstract and
representational, contemporary and ancient.
l127
RALPH BROWN, R.A. (1928-2013)
First Study for the Sibyl

stamped with monogram and numbered A.C. (on the back
of the head)
bronze with a brown patina
20 in. (50.8 cm.) high, including the marble base
Conceived in 1982 and cast in an edition of 10.
1,000-1,500
$1,600-2,400
1,300-1,900
LITERATURE:
G. Whiteley (ed.), Social, Savage, Sensual: The Sculpture of
Ralph Brown, Bristol, 2009, p. 163.
74
nl128
BERENICE SYDNEY (1944-1983)
Starting The Journey

signed Berenice (lower left), signed
again Berenice (on the reverse), inscribed
STARTING THE JOURNEY (on the stretcher)
72 x 66 in. (183 x 167.6 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
The title of this work refers to the start of a

journey into space. Sydney became interested in
the possibility of space travel, particularly the frst
Moon landing in July 1969 which she explored
in the series of works titled Orbiting in the late
1960s and early 1970s.
l129
KENNETH ARMITAGE, R.A.

(1916-2002)
Rose-red City (version 1)

signed with initials, numbered and dated KA
1981-2 (D1) (on the back)
bronze with a brown patina, unique
16 in. (41.2 cm.) wide
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
Acquired directly from the artist by the previous
owner, and by descent.
EXHIBITED:
London, Taranman Gallery, Kenneth Armitage:
new sculpture and collages, January 1982, no. 4.
LITERATURE:
T. Woollcombe, Kenneth Armitage Life and
Work, London, 1997, pp. 79, 150, no. KA249,
illustrated.
75
l130
PATRICK HAYMAN (1915-1988)
Hamlet and Ophelia at Elsinore

signed HAYMAN (lower left), inscribed Hamlet & Ophelia/
at Elsinore (centre right), signed again, inscribed again and
dated HAMLET & OPHELIA AT ELSINORE/(1972)/Patrick
Hayman (on the backboard)
oil on canvas
28 x 36 in. (71.1 x 91.5 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
l131
ALAN DAVIE, R.A. (1920-2014)
The Princess Dreams of Flying

signed and dated Alan Davie Jan 64. (lower right), inscribed
The Princess Dreams of Flying (upper left)
watercolour and gouache
21 x 29 in. (55.6 x 75.5 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROPERTY FORMERLY IN THE COLLECTION OF SIR

NORMAN REID
l132
Orange Sea
signed and dated T Frost 96 (lower right), signed again,
inscribed and dedicated To Norman, Jean/Orange Sea/Terry
Frost (on the backboard)
colour screenprint and pastel
10 x 10 in. (27.3 x 27.3 cm.)
800-1,200
$1,300-1,900
1,100-1,500
PROVENANCE:
A gift from the artist to Sir Norman and Jean Reid, and by descent.
76
VARIOUS PROPERTIES
l133
JONATHAN KENWORTHY (B. 1943)
Tribesman with Umbrella

signed, numbered, dated and stamped with Meridian Foundry mark
Kenworthy 1985 (on the base)
20 in. (50.8 cm.) high, including the base
4,000-6,000
$6,400-9,600
5,100-7,600
LITERATURE:
J. Silbert, Jonathan Kenworthy: Sculpture and Works on Paper, Leatherhead,
2007, pp. 158-159, no. 87, another cast illustrated.
l134
JONATHAN KENWORTHY (B. 1943)
Somali Woman with Goat

signed, numbered, dated and stamped with the Meridian
Foundry mark Kenworthy 1994 4/7 (on the base)
19 in. (48.2 cm.) wide, including the base
4,000-6,000
$6,400-9,600
5,100-7,600
LITERATURE:
J. Silbert, Jonathan Kenworthy: Sculpture and Works on Paper,
Leatherhead, 2007, pp. 138-139, no. 94, another cast illustrated.
77
l135
SIR NOL COWARD (1899-1973)
People before a Coastal Inlet, Jamaica

signed NOEL COWARD (lower right)
oil on canvas
30 x 24 in. (76.2 x 61 cm.)
25,000-35,000
$40,000-56,000
32,000-45,000
PROVENANCE:
The Nol Coward Collection; Christies, London, 18 February 1988, lot 9
(illustrated on the front cover), where purchased by the present owner.
LITERATURE:
S. Morley, Out in the Midday Sun. The Paintings of Nol Coward, Oxford,
1988, p. 43, illustrated.
Jamaicas an island surrounded by sea

(Like Corsica, Guam and Tasmania)
The tourist does not need to wear a topee
Or other macabre miscellanea
In fact every tourist who visits these shores
Can thank his benevolent Maker
For taking time off from the rest of his chores
To fashion the Isle of Jamaica.
(Nol Coward quoted in B.Day (ed.), The Letters of Nol Coward (Diaries,
Letters and Essays), New York, 2007, p. 495)
Sir Nol Coward discovered Jamaica just after the war and was fascinated
by it from his very frst visit. In a letter dating 9 February 1944 he writes
Oh dear, youd better all prepare to weep bright green tears of envy. It is
absolutely indescribably lovely If I can fnd a beach with a shack on it,
I shall buy it. Ive the feeling that this is the place I have been looking for.
(quoted in ibid, p. 495). Coward initially stayed at Goldeneye, where Ian
Fleming wrote the frst of the Bond books, but soon found his own home,
Firefy, at Blue Harbour, in the garden of which he produced arguably his
best work as an artist.
Coward often referred to his painting style as Touch-and-Gauguin. Much
like Gauguins allure with Tahiti, Coward found inspiration in the secluded
world of Jamaica. A comparison with the Post-Impressionist artist is certainly
visible in the choice of palette and composition of People before a Coastal
Inlet, Jamaica. A sense of a somewhat primitive style is evoked by the
fat areas of paint and the seemingly nave depiction of the fgures in the
foreground. The use of bright primary colours with vivid shades of fat blues,
aquamarines, turquoises and deep greens, set off against the reds and
yellows in which local fgures are dressed is very characteristic of Cowards
Jamaican paintings.
78
Painting was a lasting hobby for the famous playwright and composer who
would often give his paintings as Christmas presents to his close friends.
When he began painting is unclear. During the 1930s he mostly used
watercolours and it was not until a visit to Sir Winston Churchill at Chartwell
that he started to explore the greater range of oils.
Writing in his diary on 10 November 1955, Coward wittily noted Of
course, compared to some of the pretentious much that is shown month after
month in the London galleries, my amateur efforts appear brilliant. They
have a sense of colour and design and do at least convey a fantasised
impression of Jamaica (S. Morley, Out in the Midday Sun. The Paintings
of Nol Coward, Oxford, 1988, p. 11). Cowards paintings of Jamaica
certainly capture his personal response to the islands moods and spirits in a
highly theatrical way.
When People before a Coastal Inlet, Jamaica was offered at Christies
in February 1988, in the artists studio sale, it set the still existing world
auction record for the artist when it sold for 50,000.
PROPERTY FROM THE COLLECTION OF RICHARD BURTON
l*136
Red Interior
signed NOL COWARD (lower right)
oil on board
12 x 15 in. (30.5 x 40 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
A gift from the artist and Graham Payn to Elizabeth Taylor.
A gift from Elizabeth Taylor to Richard Burton, 1983, and by descent.
LITERATURE:
S. Morley, Out in the Midday Sun. The Paintings of Nol Coward, Oxford, 1988, p. 47, illustrated.
The present lot was gifted by Elizabeth Taylor to Richard Burton on the frst night of their
revival of Cowards play Private Lives in New York, 1983.
l*137
Street view in the Mediterranean

signed NOL COWARD (lower left)
oil on canvas
14 x 9 in. (36.2 x 22.8 cm.)
2,000-3,000
PROVENANCE:
A gift from the artist to Richard Burton, and by descent.
$3,200-4,800
2,600-3,800
PROPERTY FROM THE COLLECTION OF JENNY KEE

l*138
CRAIGIE AITCHISON, R.A. (1926-2009)
Flower and butterfy

oil on canvas
12 x 10 in. (30.5 x 25.4 cm.)
10,000-15,000
$16,000-24,000
13,000-19,000
In her book A Big Life, Australian fashion designer Jenny Kee discusses
how she acquired the present work on a visit to Craigie Aitchisons home
in 1985: We also visited eccentric Scottish painter Craigie Aitchison in
his eccentric little house, surrounded by his eccentric little paintings. He
plied Grace with champagne and orange juice which she thought was
wonderful, and spoke glowingly of his goddaughter (Michael [Andrews]
and Junes Melanie) in his strange, squeaky voice. We left with a slightly
tipsy child and a Craigie Aitchison original (op. cit., p. 259).
PROVENANCE:
Acquired directly from the artist by the present owner in 1985.
LITERATURE:
J. Kee, A Big Life, Melbourne, 2006, p. 259.
81
VARIOUS PROPERTIES
l139
JOSEF HERMAN, R.A. (1911-2000)
Three women and a child fetching

water
oil on board
7 x 9 in. (18.3 x 23.5 cm.)
1,200-1,800
$2,000-2,900
1,600-2,300
PROVENANCE:
with Roland, Browse and Delbanco, London,
l140
SIR ROBIN PHILIPSON, R.A.,

P.R.S.A., R.S.W. (1916-1992)
Woman at a Window II
signed Robin Philipson (on the reverse)
8 x 10 in. (20.2 x 25.4 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
Bannon and Barnabas McHenry, their sale;
Christies, South Kensington, 17 December 2008,
lot 17, where purchased by the present owner.
EXHIBITED:
Edinburgh, Scottish Gallery, Edinburgh Festival
Exhibition, 1983, no. 32.
l141
JOSEF HERMAN, R.A. (1911-2000)
A Group of Peasants
signed, inscribed and dated JOSEF
HERMAN/GROUP OF PEASENTS
[sic]/1953 (on the reverse)
oil on canvas
12 x 20 in. (31 x 50.8 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Dr Henry Roland, co-founder of Roland, Browse
and Delbanco, and by descent.
EXHIBITED:
Edinburgh, Scottish National Gallery of Modern Art,
One Mans Choice, April - May 1985, no. 38.
82
l142
HAROLD RILEY (B. 1934)
The Red House

signed Riley (lower right)
oil on canvas
7 x 5 in. (17.7 x 12.7 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
This small oil depicts a red house painted in scarlet
vermillion which was Lowrys favourite colour. It stood
in the district of Seedley in Salford. Lowry and I both
painted it and on the occasion of our last visit, he
looked at my picture and said Compositionally, it
needs something there and pointed to the bottom
right hand corner. He then ficked in the two fgures
and the dog and said, I never have problems with
composition, Sir, I simply put it in the middle
(Private correspondence with Dr Harold Riley,
October 2014).
l143
PETER BROOK, R.B.A. (1927-2009)
February Fill Dike in Wigan

signed PETER BROOK (lower right), inscribed
FEBRUARY.FILL.DIKE IN WIGAN (lower centre)
oil on canvas
20 x 28 in. (50.8 x 71.1 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
with Thomas Agnews and Sons, London.
Private collection, Washington D.C.
The month of February is associated with precipitation
and uncertain weather, and is celebrated in weather
lore. February fll dike is an appellation for the month
of February, when rain or melting snow flls dikes
with water.
83
l144
SIR KYFFIN WILLIAMS, R.A. (1918-2006)
Welsh landscape
signed with initials KW. (lower right)
pencil, ink and wash
9 x 13 in. (24.7 x 34.4 cm.)
1,200-1,800
$2,000-2,900
1,600-2,300
l145
ANNE REDPATH, R.S.A., A.R.A., A.R.W.S. (1895-1965)
The Teviot at Hawick

signed Anne Redpath (lower right)
10 x 13 in. (26 x 33 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
with Ewan Mundy, Glasgow.
EXHIBITED:
London, Portland Gallery, Anne Redpath, July - August 2008, no. 52.
l146
MICHAEL CANNEY (1923-1999)
Italian Village
signed and inscribed ITALIAN VILLAGE/Michael Canney (on the
reverse)
oil on board
19 x 22 in. (48.3 x 55.9 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
Anonymous sale; Sothebys, London, 6 November 2007, lot 186, where
84
l147
SIR KYFFIN WILLIAMS, R.A. (1918-2006)
Aberglaslyn Pass, Snowdonia

signed with initials KW (lower right)
oil on canvas
28 x 36 in. (71.1 x 91.4 cm.)
This work is sold with a signed copy of Across the Straits by Kyffn
Williams.
15,000-25,000
$24,000-40,000
20,000-32,000
I knew that it was essential for me to go out onto the hills and mountains in
all weathers and paint simply what I saw in front of me, trying to master the
tones and putting down as nearly as possible the colours that I saw in front
of me. I found that I was able to do this when the rain poured down and
turned my paint into a sort of putty and also when it was below freezing
point for, gloveless, I found my hands were warmer when I fnished a
picture than they were when I started it
(Sir Kyffn Williams quoted in exhibition catalogue, Landscapes, Llangefni,
Oriel Ynys Mn, 1995, p. 10).
PROVENANCE:
Acquired by the present owners grandparents in Anglesey circa 1975.
85
l148
JAMES MORRISON, R.S.A., R.S.W.,

A.R.S.A. (B. 1932)
Ben Loyal
signed and dated Moririson 1990 (lower
right)
oil on board
33 x 47 in. (84.4 x 119.6 cm.)
5,000-7,000
$8,000-11,000
6,400-8,900
PROVENANCE:
with Riverside Gallery, Stonehaven.
l149
ANNE ESTELLE RICE (1875-1959)
Brittany Village
oil on board
17 x 21 in. (45.1 x 55.3 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
The artists estate, and by descent.
86
l150
JAMES MORRISON, R.S.A., R.S.W.,

A.R.S.A. (B. 1932)
Suilven
signed and dated Morrison/1990 (lower
right)
oil on board
33 x 47 in. (84.4 x 119.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
with Riverside Gallery, Stonehaven.
PROPERTY FORMERLY IN THE

COLLECTION OF SIR NORMAN REID
l151
SIR WILLIAM GEORGE GILLIES, R.A.,

R.S.A., P.R.W.S. (1898-1973)
Landscape
signed GILLIES (lower left)
oil on canvas
28 x 32 in. (71.1 x 81.9 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
A gift from the artist to Sir Norman Reid, and by
descent.
87
VARIOUS PROPERTIES
l152
GILBERT SPENCER, R.A. (1892-1979)
Listening
signed Gilbert Spencer (lower right)
oil on canvas
12 x 16 in. (30.5 x 40.8 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Messums Fine Art, London.
EXHIBITED:
London, New English Art Club, 2010, no. 95,
l153
DAVID BOMBERG (1890-1957)
Beggar
signed Bomberg (lower left)
pencil
13 x 10 in. (33.6 x 26.7 cm.)
800-1,200
$1,300-1,900
1,100-1,500
l154
JACOB KRAMER (1892-1962)
My Parents
signed and dated J Kramer/1918 (lower right),
signed again and inscribed MY PARENTS/JACOB
KRAMER (on the backboard)
charcoal
15 x 20 in. (38.4 x 52.4 cm.)
1,500-2,000
$2,400-3,200
2,000-2,500
EXHIBITED:
Leeds, City Art Gallery, Jacob Kramer, September October 1960, no. 101.
Leeds, The University Gallery, The Tortoise And The
Hare, April 2003, no. 35: this exhibition travelled to
the Ben Uri Gallery, London.
88
nl155
ALFRED WOLMARK (1877-1961)
Susanna and the Elders

signed and dated WOLMARK 1926-38 (lower right)
oil on canvas, in a Wolmark frame
55 x 38 in. (141.6 x 96.5 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l156
JACOB KRAMER (1892-1962)
The artists sister, Sarah

signed Kramer (upper right)
oil on canvas
24 x 20 in. (61.2 x 51.2 cm.)
Painted circa 1916.
2,000-3,000
$3,200-4,800
2,600-3,800
EXHIBITED:
Leeds, City Art Gallery, Jacob Kramer, September - October 1960, no. 6.
Leeds, The University Gallery, The Tortoise And The Hare, April 2003, no.
55: this exhibition travelled to the Ben Uri Gallery, London.
89
l157
NINA HAMNETT (1890-1956)
Portrait of a Woman
signed with initials and dated N.H.17. (lower right)
oil on canvas
36 x 28 in. (91.4 x 71.1 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l158
DAME ETHEL WALKER, A.R.A. (1861-1951)
Miss Sylvia Little

signed Ethel Walker (upper left)
oil on canvas
20 x 16 in. (51.3 x 41.2 cm.)
1,000-1,500
90
$1,600-2,400
1,300-1,900
l159
Maquette for Madonna and Child

signed Epstein (on the back)
lead
13 in. (34.5 cm.) long
Conceived in 1950.
7,000-10,000
$12,000-16,000
9,000-13,000
PROVENANCE:
Acquired directly from the artist by the present owners mother, circa 1960.
LITERATURE:
R. Buckle, Jacob Epstein Sculpture, London, 1963, p. 343, pl. 534, another
cast illustrated.
E.P. Schinman and B.A. Schinman (eds), Jacob Epstein A Catalogue of the
Collection of Edward P. Schinman, New Jersey, 1970, p. 84, another cast
illustrated.
E. Silber, The Sculpture of Epstein, Oxford, 1986, pp. 208-209, no. 437,
another cast illustrated.
l160
Second Portrait of Annabel Freud (with curls)

bronze with a brown green patina
8 in. (20.5 cm.) high, excluding the base
Conceived in 1953.
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Jacksons, Nantwich, where purchased by the present owners mother in
June 1959.
LITERATURE:
R. Buckle, Jacob Epstein: Sculptor, London, 1963, p. 362, pl. 569, another
cast illustrated.
E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 215, no. 462, another
cast illustrated.
91
l161
MARGARET FISHER PROUT, A.R.A.,

R.W.S. (1875-1963)
Reclining nude
signed and dated 1926/Fisher Prout (lower left),
signed again Fisher Prout (lower right)
oil on board
13 x 16 in. (33.6 x 41.9 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
with Redfern Gallery, London, January 1932.
Asa Lingard, from whom purchased by the present
owners grandfather in 1934.
EXHIBITED:
London, Christies, New England Art Club Centenary
Exhibition, August - September 1986, no. 144.
l162
Sunita
signed Epstein. (lower right)
pencil
19 x 22 in. (48.2 x 56.5 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
with Fosse Gallery, Stow-on-the-Wold, where
purchased by the present owner in 1990.
92
nl163
Pastoral Fantasy
oil on canvas
39 x 47 in. (99.1 x 119.4 cm.)
Painted circa 1938.
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
The Augustus John Studio Sale; Christies, London, 21 June 1963, lot 171,
where purchased by the present owners family.
l164
Figure of a young woman

signed John. (lower right)
pencil
17 x 6 in. (45 x 16.5 cm.)
1,500-2,000
$2,400-3,200
2,000-2,500
PROVENANCE:
John Drinkwater.
Anonymous sale; Christies, London, 6 May 1932, lot 31.
EXHIBITED:
London, New English Art Club, 1915-1916, catalogue not traced.
The present work was owned by John Drinkwater (1882-1937) until 1932.
Drinkwater was an English poet and playwright.
93
l165
BERNARD MENINSKY (1891-1950)
Portrait of a Woman
signed and dated Meninsky 24 (lower left), signed again and dated
again Meninsky/1924 (on the reverse)
oil on canvas
36 x 28 in. (91.4 x 71.1 cm.)
6,000-8,000
94
$9,600-13,000
7,700-10,000
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

l166
SIR WILLIAM ROTHENSTEIN (1872-1945)
Souvenir of Scarborough
signed, inscribed and dated Will Rothenstein 1893/Scarbro. (lower
right)
oil on canvas
24 x 16 in. (61 x 40.6 cm.)
5,000-8,000
$8,000-13,000
6,400-10,000
PROVENANCE:
Oliver Simon, London.
Jill Simon Goodman, by descent from the above, in 1956.
By descent from the above to the present owners.
EXHIBITED:
London, Arts Council of Great Britain, William Rothenstein: A Memorial
Exhibition, May - June 1950, no. 4.
This picture was owned by Oliver Simon, the infuential printer and book
designer who was co-owner of the Curwen Press, and who worked with
a number of artists including Barbara Hepworth, Henry Moore and Ben
Nicholson. This placed him in contact with a number of artists of the day,
including Graham Sutherland.
95
VARIOUS PROPERTIES
l167
Study of two women

signed John (lower left)
pencil
14 x 9 in. (35.5 x 24.6 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
l168
Study of a young girl

charcoal
13 x 9 in. (33 x 22.8 cm.)
1,000-1,500
$1,600-2,400
1,300-1,900
It has been suggested that the present work is of Jessie, Dorelias sister.
l169
Two studies of Euphemia Lamb

pencil
13 x 9 in. (34.3 x 24.5 cm.)
2,000-3,000
96
$3,200-4,800
2,600-3,800
l170
FRANK DOBSON, R.A. (1886-1963)
PROVENANCE:
The sitter.
Second Portrait of Auriol Salaman
LITERATURE:
N. Jason and L. Thompson-Pharoah, The Sculpture of Frank Dobson, Much
Hadham, 1994, p. 141, no. 107, another cast illustrated.
signed Dobson (on the back of the neck)

bronze with a gold patina, unique
14 in. (36.8) high, excluding the base
6,000-8,000
$9,600-13,000
7,700-10,000
97

l171
JOHN PIPER, C.H. (1903-1992)
Pumping Station, Milton,

Pembrokeshire
signed John Piper (lower right)
13 x 20 in. (35 x 52.7 cm.)
Executed in 1951.
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
with Leicester Galleries, London.
EXHIBITED:
London, Leicester Galleries, Artists of Fame and
Promise II, September - October 1956, no. 30.
ANOTHER PROPERTY
172
WALTER RICHARD SICKERT, A.R.A. (1860-1942)
LOspedale Civile, La Scuola di San Marco,

Venice
signed and dated Sickert. 1901 (lower right)
crayon and watercolour on buff paper
10 x 6 in. (26.7 x 16.8 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Countess of Airlie.
Lady Spencer Churchill, her sale; Christies, London, 18 March 1966,
lot 30.
EXHIBITED:
London, Folio Society, Collectors Corner, July 1966, no. 47.
LITERATURE:
W. Baron, Sickert Paintings and Drawings, New Haven and London,
2006, p. 262, no. 162.2.
98

l173
JOHN PIPER, C.H. (1903-1992)
Sergeac, Dordogne
signed John Piper (lower right), inscribed and
dated Sergeac 18 10 68 (lower left)
pencil, ink, pastel, watercolour and gouache
22 x 29 in. (55.9 x 75 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Marlborough Fine Art, London.
VARIOUS PROPERTIES
l174
PAUL NASH (1889-1946)
Sunset Flower
signed with monogram and signed again Paul Nash (lower
left), signed again, inscribed and dated Sunset fower/Paul
Nash/1944 (on the reverse)
pencil, watercolour and pastel
20 x 14 in. (50.8 x 36.8 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Buchholz Gallery, New York.
Mrs A.M. Loew.
EXHIBITED:
New York, Buchholz Gallery, Contemporary British Artists, March
1945, no. 11.
Boston, Institute of Modern Art, catalogue not traced.
LITERATURE:
P. Nash, Aerial Flowers, Counterpoint, 1944, illustrated.
P. Nash, Aerial Flowers, Oxford, 1946, illustrated.
P. Nash, Aerial Flowers, Oxford, 1947, p. 4, illustrated.
R. Seddon, Paul Nash, Studio, March 1948, illustrated.
M. Eates, Paul Nash The Master of the Image 1889-1946, London,
1973, p. 103, no. 122a, illustrated.
A. Causey, Paul Nash, Oxford, 1980, pp. 319, 469, no. 1218, pl.
386.
99
l175
JOHN PIPER, C.H. (1903-1992)
Taillebourg
signed John Piper (lower left), inscribed
Taillebourg (lower right)
pencil, ink, watercolour, gouache and pastel
13 x 20 in. (34.3 x 51.4 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l176
EDWARD BAWDEN, R.A. (19031989)
Play with me
signed Edward Bawden (lower right)
19 x 24 in. (49.5 x 62.8 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
with Fine Art Society, London, by 1998.
EXHIBITED:
London, Royal Academy, 1983, no. 221.
LITERATURE:
Exhibition catalogue, Royal Academy Summer
Exhibition Illustrated, London, Royal Academy,
1983, p. 70, illustrated.
100
PROPERTY FROM THE COLLECTION OF THE HONOURABLE

MIRANDA ROTHSCHILD
l177
JOHN CRAXTON, R.A. (1922-2009)
Portrait of a boy
signed and dated Craxton. 66 (lower right) and dedicated for dear
Miranda with fond love. (lower left)
ink, unframed
11 x 8 in. (28 x 20.2 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
A gift from the artist to the present owner in 1966.
We are very grateful to Ian Collins for his assistance in preparing this
catalogue entry.
l178
Interior with Figures I

signed and dated Keith Vaughan/40 (lower
right), inscribed and dated again Interior with
Figures (I) 1940 (on the artists label attached
to the backboard)
8 x 10 in. (21.6 x 26.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
with Redfern Gallery, London, where purchased
by the present owner, September 1983.
101
l179
Pear Tree, September Morning

signed with initials and dated CB 87 (lower right), inscribed
midsummer/morning/6ish/Sun on the far/trees only (on the reverse)
oil on canvas
14 x 11 in. (37.5 x 30 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
EXHIBITED:
London, Fine Art Society, Christopher Bramham, June 1988, no. 30.
l180
Still Leaves on Ash

inscribed End Nov/cloudy/still leaves on Ash. (on the reverse)
oil on canvas
12 x 10 in. (32.4 x 27.4 cm.)
Painted in 1986.
3,000-5,000
$4,800-8,000
3,900-6,400
EXHIBITED:
London, Fine Art Society, Christopher Bramham, June 1988, no. 17, as
Trees, November 1986.
102
l181
Milkweed Seeds
signed and dated Eliot Hodgkin/10.IV.79 (lower right)
tempera on board
20 x 14 in. (51.5 x 37 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
VARIOUS PROPERTIES
l182
Garden
signed, inscribed and dated Mary Potter/78/GARDEN (on the
reverse)
oil on canvas
30 x 25 in. (76.2 x 63.5 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
PROVENANCE:
Anonymous sale; Sothebys, London, 22 July 1987, lot 439.
with New Art Centre, London, where purchased by Mrs Helen Hartmann.
with Sandra Lummis Fine Art, London.
Anonymous sale; Christies, South Kensington, 11 May 2005, lot 316.
with Thompsons Gallery, Aldeburgh.
103
l183
FELIX KELLY (1916-1994)
Port Nash
signed and dated Felix Kelly 64 (lower left)
tempera on board
18 x 28 in. (45.2 x 71.1 cm.)
6,000-8,000
PROVENANCE:
with Arthur Tooth & Sons, London.
104
$9,600-13,000
7,700-10,000
nl184
MARY NEWCOMB (1922 - 2008)
Fish in a Quiet Pond

signed and dated Mary Newcomb 85 (lower right), signed again, inscribed and dated again
Fish in a quiet pond/Mary Newcomb/85 (on the reverse)
oil on canvas
50 x 50 in.(127 x 127 cm.)
15,000-25,000
$24,000-40,000
20,000-32,000
105
l185
FELIX KELLY (1916-1994)
PROVENANCE:
Purchased by A. Oliver at the 1952 exhibition.
with MacConnal-Mason, London.
Anonymous sale; Christies, London, 5 March 1999, lot 95.
End of the Line

signed and dated Felix Kelly 51. (lower right)
oil on board
14 x 19 in. (36.8 x 49.5 cm.)
5,000-8,000
EXHIBITED:
London, Leicester Galleries, Felix Kelly, December 1952, no. 7.
$8,000-13,000
6,400-10,000
l186
CONROY MADDOX (1912-2005)
Metaphysical Landscape; The

Challenge
signed and dated CONROY MADDOX 41
(lower right)
13 x 21 in. (33.6 x 53.3 cm.)
(2)
1,500-2,500
$2,400-4,000
2,000-3,200
PROVENANCE:
with Galerie BelArt, Stockholm.
106
l187
DAVID INSHAW (B. 1943)
Artist and Model

oil on canvas
36 x 36 in. (91.5 x 91.5 cm.)
6,000-8,000
$9,600-13,000
7,700-10,000
PROVENANCE:
with Agnews, London.
107
l*188
Peaches
signed and dated Eliot Hodgkin Jan 62 (lower
right)
oil on board
7 x 10 in. (18.3 x 26.6 cm.)
4,000-6,000
$6,400-9,600
5,100-7,600
l189
Shapes
oil on canvas
24 x 22 in. (61.6 x 55.9 cm.)
2,000-3,000
PROVENANCE:
with New Art Centre, London.
108
$3,200-4,800
2,600-3,800
l190
RICHARD EURICH, R.A. (1903-1992)
PROVENANCE:
The artists estate, where acquired by the previous owner.
Purchased from the above by the present owner, circa 1990.
Apples with Cup

signed and dated R.Eurich 76 (lower right), signed again, inscribed
and dated again Apples with Cup. 1976/ Richard Eurich. (on the
reverse)
oil on board
6 x 22 in. (15.9 cm. x 56 cm.)
3,000-5,000
EXHIBITED:
London, Fine Art Society, Richard Eurich, April - May 1977, no. 67.
$4,800-8,000
3,900-6,400
nl191
GERALD JARMAN (B. 1930)
Shropshire landscape
signed G. JARMAN (on the reverse)
oil on canvas
40 x 45 in. (101.6 x 114.3 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
192 No Lot
109
VARIOUS PROPERTIES
l193
FREDERICK GORE, R.A. (1913-2009)
Deya, Majorca
signed F Gore (lower left), signed again, inscribed and dated
1958. FREDERICK GORE. DEYA, MAJORCA (on the stretcher)
oil on canvas
21 x 28 in. (54.6 x 73.3 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
l194
JAMES LE JEUNE (1910-1983)
The bullfght
signed J. Le Jeune. (lower right)
oil on canvas
24 x 29 in. (60.9 x 74.9 cm.)
1,500-2,500
$2,400-4,000
2,000-3,200
l195
TERENCE CUNEO (1907-1996)
Constructing the Hoover Dam

signed and dated CUNEO/JULY 56 (lower right)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Anonymous sale; Bonhams, London, 2 December 2003, lot 56.
110
VARIOUS PROPERTIES
nl196
KEN HOWARD, R.A. (B. 1932)
PROVENANCE:
with Bromley Galleries, Bromley, where purchased by the present owner,
March 1993.
Nude in a studio
signed Ken Howard (lower right)
oil on canvas
40 x 48 in. (101.6 x 121.9 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
l197
PAUL MAZE (1887-1979)
Place de la Concorde, Paris

signed P. Maze. (lower left)
oil on board
9 x 13 in. (22.8 x 34.3 cm.)
2,000-3,000
$3,200-4,800
2,600-3,800
PROVENANCE:
Anonymous sale; Christies, London, 5 November 1999, lot 194, where
111
l198
Model wearing red kimono

signed Ken Howard (lower right)
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Purchased directly from the artist by the present owner.
l199
JOHN BRATBY, R.A.(1928-1992)
Sunfowers
signed BRATBY (upper left)
48 x 30 in. (122 x 76.2 cm.)
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
with Catto Gallery, London.
l200
BERNARD DUNSTAN, R.A. (B. 1920)
Diana at Limoux
signed with initials BD (lower left), inscribed and dated Diana at
Limoux/8.85 (on the reverse)
19 x 14 in. (48.2 x 36.8 cm.)
1,500-2,500
PROVENANCE:
with Thomas Agnew & Sons, London.
112
$2,400-4,000
2,000-3,200
nl201
JOHN BRATBY, R.A. (1928-1992)
Bratby watching TV
signed and dated J BRATBY MAY 58 (upper left)
oil on panel
144 x 80 in. (365.8 x 203.2 cm.)
10,000-15,000
$16,000-24,000
13,000-19,000
PROVENANCE:
Acquired in New York in the early to mid-1990s.
Anonymous sale; Christies, South Kensington, 23 March 2011, lot 85, where purchased by the present
owner.
113
nl202
P.J. CROOK (B. 1945)
21st March
signed P.J. Crook (lower right)
acrylic on canvas
52 x 39 in. (132.1 x 99.7 cm.) including the painted frame
Painted in 1997.
4,000-6,000
$6,400-9,600
5,100-7,600
EXHIBITED:
Burford, Brian Sinfeld Gallery, P.J.Crook, October 1997, catalogue
not traced.
VARIOUS PROPERTIES
l203
P.J. CROOK (B. 1945)
Celebration
signed PJ Crook (lower right), signed again, inscribed and dated
P.J. Crook Celebration/1997 (on the reverse)
acrylic on board
20 x 20 in. (52 x 50.8 cm.) including the painted frame
3,000-5,000
$4,800-8,000
3,900-6,400
PROVENANCE:
Anonymous sale; Christies, South Kensington, 6 December 2007, lot
127, where purchased by the present owner.
114
nl204
Dora at St Clements Studio

signed Ken Howard (lower right), inscribed and dated DORA AT ST CLEMENTS STUDIO 05 (on
the stretcher)
oil on canvas
40 x 48 in. (101.6 x 121.9 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Purchased directly from the artist by the present owner.
END OF SALE
115
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department
for a condition report on a particular lot. The
nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
116
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
FOR PAINTINGS, PRINTS AND

WORKS OF ART
A work catalogued with the name(s) or recognised
designation of an artist or maker, without any
qualification, is, in our opinion, a work by the artist
or maker. In other cases, the following words or
expressions, with the following meanings are used:
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Attributed to
In our opinion probably a work by the artist or
maker in whole or in part.
Circle of
In our opinion a work of the period of the artist or
maker and showing his influence.
Manner of
In our opinion a work executed in the style of the
artist or maker but of a later date.
After
In our opinion a copy of any date of a work of the
artist or maker.
Signed /Sealed /
Has a signature/seal which in our opinion is that of
the artist
With signature / With seal /
Has a signature/seal which in our opinion is not that
of the artist
Dated
Is so dated and in our opinion was executed at about
that date.
With date /
Is so dated but was not in our opinion executed at
that date.
FOR PORCELAIN AND CERAMICS
(a) A piece catalogued with the name of a period,
reign or dynasty without further qualification
was, in our opinion, made during or shortly
after that period, reign or dynasty (e.g. a Ming
vase)
(b) A piece catalogued in the style of a period,
reign or dynasty is in our opinion, quite
possibly a copy or imitation of pieces made
during the named period, reign or dynasty (e.g.
a vase in Ming style)
(c) A reference to a mark and of the period
means that, in our opinion, the piece is of the
period of the mark (e.g. Kangxi six-character
mark and of the period).
(d) A reference to a mark without reference to
and of the period means that, in our opinion,
although bearing the mark, the pieces were
possibly not made in the period of the mark
(e.g. Kangxi six-character mark).
(e) Where no date, period, reign or mark is
mentioned, the lot is, in our opinion, of
uncertain date or 19th or 20th century
manufacture.
30/09/14
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
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next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
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BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
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at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
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Arrangements must be confirmed with the Bid Department
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SUCCESSFUL BIDS
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Buyers are requested to contact us by telephone or in person as
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EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only. A
limit of 25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
BuyersfromwithintheEU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
BuyersfromoutsidetheEU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
WineAuctions
This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VATRefunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate. For more information
please contact the Shipping Department at + 44 (0)20 7389
2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
ChristiesArtTransport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
ChristiesVATauthorisedShipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
OwnShipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme lots Please obtain GB Tax Free form from
the Cashiers. This document must be stamped by UK Customs
on leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the Museums, Libraries
and Archives Council: Acquisitions, Export and Loans Unit at
+44 (0)20 7273 8269/8267.
20/11/13
117
Storage and Collection

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the frst full
business week after transfer to Cadogan Tate Ltd and
every business weekday from 9.00 am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
All charges are subject to VAT. Very large or heavy

items may be subject to a surcharge.
COLLECTION & PAYMENT OF ANY

CHARGES DUE
Lots will be available for collection from
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order
obtained from the cashiers office at
Christies, 85 Old Brompton Road, London SW7
or Christies, 8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate Ltd
To assist Cadogan Tate to provide a swift release
please telephone on the business day prior to
collection to ensure that Lots are available and to
ascertain any charges due. If sending a carrier please
ensure that they are provided with all necessary
information, your written authority to collect, the
Collection Order and the means to settle any charges.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tate Ltds opening hours
are Monday to Friday 9.00 am to 5.00 pm, and
purchases transferred to their warehouse are not
available for collection at weekends.
EXTENDED LIABILITY CHARGES

All services provided by Cadogan Tate Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies South Kensington.
Please note in particular that Cadogan Tate
does not accept any liability for damage or loss,
due to its negligence or otherwise, exceeding the
Hammer Price of a Lot plus associated Buyers
Premium, or, at its sole option, the cost of repairing
or replacing the damaged or missing Lot and
it reserves a lien over all goods in its possession
for payment of storage and all other charges due
to it and
it automatically arranges on behalf of the Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
Premium. The Extended Liability Charge covers
the Lot from the time of collection from the
saleroom until release of the Lot to the owner or
the owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers Premium or
100% of the transfer and storage charges, whichever
is the smaller. This Extended Liability will not be
arranged and no charge will be payable only on
receipt by Cadogan Tate of advance written notice
from the owner of the lot together with formal
waiver of subrogation from the owners insurers.
Christies Fine Art Storage Services (CFASS)
also offers storage solutions for fine art, antiques and
collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.
Please note that there will be no charge to

purchasers who collect their lots within two
weeks of this sale.
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
118
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
(b) Registration before bidding

Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or
can come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
2.
CATALOGUE DESCRIPTIONS
AND CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are likely,
due to their nature and age, to show signs of wear
and tear, damage, other imperfections, restoration or
repair. Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the item
and the nature of the auction in which it is included.
Any statement as to the physical nature or condition
of a lot, in a catalogue, condition report or otherwise,
is given honestly and with appropriate care. However,
Christies staff are not professional restorers or trained
conservators and accordingly any such statement will
not be exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies about any lot,
whether orally or in writing, concerning attribution
to, for example, an artist, school, or country of origin,
or history or provenance, or any date or period, are
expressions of our opinion or belief. Our opinions and
beliefs have been formed honestly and in accordance
with the standard of care reasonably to be expected
of an auction house of Christies standing, due regard
having been had to the estimated value of the item
and the nature of the auction in which it is included.
It must be clearly understood, however, that, due to
the nature of the auction process, we are unable to
carry out exhaustive research of the kind undertaken
by professional historians and scholars, and also that, as
research develops and scholarship and expertise evolve,
opinions on these matters may change. We therefore
recommend that, particularly in the case of any item of
significant value, you seek advice on such matters from
your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose
Lots sold are enormously varied in terms of age, category
and condition, and may be purchased for a variety
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose.
(c) Bidding as principal

When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers premium
is 25% of the final bid price of each lot up to and
including 50,000, 20% of the excess of the hammer
price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and
Cigars: 17.5% of the final bid price of each lot, VAT
is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
119
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, at our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled
to cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
transactions, to apply any amount paid to

discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made by
or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the buyer, whether by way
of pledge, security interest or in any other way,
to the fullest extent permitted by the law of the
place where such property is located. The buyer
will be deemed to have granted such security to
us and we may retain such property as collateral
security for such buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
(e) Packing, handling and shipping

Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
If we resell the property under paragraph (iv) above,

the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(f) Export licence

Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
(h) Failure to collect purchases

Where purchases are not collected within two calendar
days from the date of the sale, whether or not payment
has been made, we shall be permitted to remove the
property to a third party warehouse at the buyers
expense, and only release the items after payment in full
has been made of removal, storage, handling, and any
other costs reasonably incurred, together with payment
of all other amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but subject to the terms
and conditions of this paragraph, Christies warrants for
a period of five years from the date of the sale that any
property described in headings printed in UPPER CASE
TYPE (i.e. headings having all capital-letter type) in
this catalogue (as such description may be amended by
any saleroom notice or announcement) which is stated
without qualification to be the work of a named author
or authorship, is authentic and not a forgery. The term
author or authorship refers to the creator of the
property or to the period, culture, source or origin, as the
case may be, with which the creation of such property
is identified in the UPPER CASE description of the
property in this catalogue. Only UPPER CASE TYPE
headings of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does not
apply to supplemental material which appears below
the UPPER CASE TYPE headings of each lot and
Christies is not responsible for any errors or omissions
in such material. The terms used in the headings are
further explained in Important Notices and Explanation
of Cataloguing Practice. The warranty does not apply
to any heading which is stated to represent a qualified
opinion. The warranty is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
120
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
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121
Christies Specialist Departments and Services

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NY: +1 212 636 2230

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NY: +1 212 606 0536

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KS: +44 (0)20 7389 2343
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PAR: +33 (0)140 768 386
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SK: +44 (0)20 7752 3311
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CHRISTIES FINE ART
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+1 212 974 4570
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Tel: +65 6543 5252
Email: singapore@cfass.
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REAL ESTATE
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Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
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Tel +44 20 7389 2551
Fax +44 20 7389 2168
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Tel +852 2978 6788
Fax +852 2845 2646
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SK: +44 (0)20 7752 3293
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OTHER SERVICES
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
122
IAN DAVENPORT (B. 1966)

Poured Painting, Blue, Purple,Violet
signed, inscribed and dated Poured Painting/Blue/Purple/Violet/I. Davenport/2001 (across the reverse of the three boards)
household paint on board, in three parts 96 x 72 in. (244 x 183 cm.)
15,000 20,000
MODERN BRITISH AND IRISH ART Day Sale

London, King Street 20 NOVEMBER 2014
Viewing
Contact
15-19 November
8 King Street
London SW1Y 6QT
Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293
christies.com
CYRIL POWERS (18721951)

The Tube Station
Linocut in colours circa 1932 on tissue-thin laid Japan paper signed, titled and numbered 7/60 in pencil Image: 258 x 295 mm., Sheet: 316 x 335 mm.
35,000 50,000
Prints and Multiples

London, South Kensington 4 December 2014
Viewing
Contact
29 November3 December
85 Old Brompton Road
London SW7 3LD
Alexandra Gill
agill@christies.com
+44 (0)20 7752 3109
christies.com
REN MAGRITTE (18981967)

Le Sourire
signed Magritte (lower right); titled Le Sourire (on the reverse)
gouache on paper 27.5 x 36 cm.
Executed in 1960
Estimate: 150,000 - 200,000
Modern Art
Amsterdam 16 December 2014
Viewing
Contact
1215 December
Cornelis Schuytstraat 57
1071 JG Amsterdam
Odette van Ginkel

Head of Department
ovanginkel@christies.com
+31 (0)20 575 52 84
christies.com
we are delighted to announce the

recent private sale of this rare klimt
to a major international museum.
GUSTAV KLIMT (18621918)
Medizin (Kompositionsentwurf) Medicine (Concept), 1897

Purchased privately by The Israel Museum, 2014
Christies Private Sales offers

a personalised alternative to auction.
Please contact us for more details.
126
Contact Americas
Contact Europe
Adrien Meyer
ameyer@christies.com
+1 212 636 2056
Libert Nuti
lnuti@christies.com
+44 (0) 20 7389 2441

FRIDAY 12 DECEMBER 2014 AT 10.30 AM
Absentee Bids Form

Christies South Kensington
85 Old Brompton Road, London SW7 3LD

CODE NAME: SEAN
SALE NUMBER: 5930
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
Absentee bids must be received at least 24 hours before the auction begins.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
5930
BID ONLINE FOR THIS SALE AT CHRISTIES.COM

BIDDING INCREMENTS
Client Number (if applicable)
Bidding generally opens below the low estimate

and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that
do not conform to the increments set below may
be lowered to the next bidding interval.
UK50 to UK1,000
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
by UK50s
by UK100s
by UK200s
by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000 by UK1,000s
UK20,000 to UK30,000 by UK2,000s
UK30,000 to UK50,000 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during the

course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7839 9060
Please also refer to the information contained in Buying at
Christies.
I request Christies to bid on the following lots up to the
maximum price I have indicated for each lot. I understand
that if my bid is successful, the purchase price will be the
sum of my final bid plus a buyers premium of 25% of the
final bid price of each lot up to and including 50,000,
20% of the excess of the hammer price above 50,000 and
up to and including 1,000,000 and 12% of the excess of
the hammer price above 1,000,000, together with any
VAT chargeable on the final bid and the buyers premium.
VAT is chargeable on the purchase price of daggered () lots,
and for buyers outside the EU on () lots, at the standard
rate. VAT is chargeable on the purchase price of starred (*)
lots at the reduced rate.
Christies South Kensington is not able to notify successful
bidders by telephone. While Invoices are sent out by mail
after the auction we do not accept responsibility for notifying
you of the result of your bid. Buyers are requested to contact
us by telephone or in person as soon as possible after the
sale to obtain details of the outcome of their bids to avoid
incurring unnecessary storage charges.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies
is not responsible for failing to execute bids or for errors
relating to execution of bids. On my behalf, Christies will try
to purchase these lots for the lowest possible price, taking into
account the reserve and other bids. Absentee bids submitted
on no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre-sale estimate
or at the amount of the bid if it is less than 50% of the low
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take precedence. Please contact the Telephone Bid office at
least 24 hours in advance of the sale to make arrangements for
telephone bidding. Tel: +44 (0)20 7752 3225
All bids are subject to the terms of the Conditions of Sale
and Limited Warranty printed in each Christies catalogue.
09/08/13
Sale Number
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Signature
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Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
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Address of Banks(s)
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PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
Lot number
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Please quote number below:
127
IMPRESSIONIST AND MODERN
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143
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Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairman
Steven P. Murphy, Chief Executive Officer
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Loc Brivezac, Gilles Erulin, Gilles Pagniez,
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David Rees, Alexandra Reid, Simon Reynolds,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury, Julie Schutz,
Hannah Schweiger, Mark Silver, James Smith,
Graham Smithson, David Stead, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
Julie Vial, Anastasia von Seibold, Amelia Walker,
Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood, Neal Young
Christie, Manson & Woods Ltd. (2014)
03/11/14
129
130
South%20Kensington/5930/Images/Passed4Print/46434029&mdate=1415181286
index
A
Adams, R., 17, 18, 19
Aitchison, C., 138
Anton, V., 13, 14, 15
Armitage, K., 129
Auerbach, F., 87
B
Barns-Graham, W., 2
Bawden, E., 24, 40, 176
Bell, V., 58
Benjamin, A., 84
Blake, Sir P., 100, 107
Bomberg, D., 153
Boty, P., 97
Boyle Family, 116
Bramham, C., 90, 92, 94, 179,
180
Bratby, J., 199, 201
Brook, P., 143
Brown, R., 127
C
Canney, M., 146
Caulfield, P., 108, 109, 110,
111, 112, 113
Clark, M., 88, 93
Clough, P., 1, 118
Conroy, S., 96
Copnall, J., 7, 42
Coward, Sir N., 135, 136, 137
Craxton, J., 177
Crook, P.J., 202, 203
Cuneo, T., 195
D
Davie, A., 124, 131
Davison, F., 5
Denny, R., 10
Dixon, J., 81
Dobson, F., 170
Dobson, F. (circle of), 55
Dunstan, B., 200
E
Epstein, Sir J., 68, 159, 160, 162
Eurich, R., 190
F
Fisher, S., 89, 95
Fishwick, C., 82
Frink, Dame E., 44
Frost, Sir T., 78, 80, 132
Fry, R., 59
G
Gaudier-Brzeska, H., 52
Geary, M., 105, 106
Gertler, M., 54
Gill, E., 49
Gillies, Sir W., 151
Ginner, C., 63
Gore, F., 193
Grant, D., 57, 62
H
Hamnett, N., 157
Hayman, P., 130
Heath, A., 4
Herman, J., 139, 141
Hockney, D., 98, 99, 102
Hodgkin, E., 22, 67, 181, 188
Howard, K., 196, 198, 204
I
Inshaw, D., 187
Irwin, G., 12
J
Jarman, D., 73
Jarman, G., 191
John, A., 47, 48, 163, 164, 167,
168, 169
Jonzen, K., 69
K
Kelly, F., 183, 185
Kennington, E., 51
Kenworthy, J., 133, 134
Kinley, P., 77
Kitaj, R.B., 101, 103
Kramer, J., 154, 156
L
Lamb, H., 45, 46
Latham, J., 115
Le Jeune, J., 194
Lin, R., 16
London School, 91
Lowry, L.S., 145A
M
Maddox, C., 186
Maze, P., 197
McWilliam, F.E., 121
Meadows, B., 125
Mendez, T., 6, 11
Meninsky, B., 70, 165
Milnes-Smith, J., 120
Moore, H., 30, 43, 86
Morrison, J., 148, 150
N
Nash, P., 174
Nevinson, C.R.W., 61
Newcomb, M., 184
Newton, A., 64
Nicholson, K., 72
P
Palmer, S., 20, 21
Paolozzi, Sir E., 114
Pearce, B., 75, 76, 83
Philipson, Sir R., 140
Piper, J., 27, 28, 29, 31, 171,
173, 175
Potter, M., 74, 182, 189
Procktor, P., 104
Prout, M.F., 161
R
Redpath, A., 145
Reid Dick, Sir W., 50
Rice, A.E., 149
Riley, H., 142
Rothenstein, Sir W., 166
Rumney, R., 9, 122
S
Scott, W., 79
Scully, S., 8
Sickert, W.R., 60, 172
Smith, Sir M., 66
Spencer, G., 65, 152
Sutherland, G., 23, 32, 33, 34,
35, 36, 37, 38, 39
Sydney, B., 126, 128
T
Tilson, J., 117
Town, N., 123
U
Underwood, L., 53
V
Vaughan, K., 25, 26, 41, 178
W
Walker, Dame E., 71, 158
Williams, Sir K., 144, 147
Wilson, F.A., 3, 85, 119
Wolmark, A., 56, 155
IBC1
85 Old Brompton Road London SW7 3LD
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SOUTH KENSINGTON

INTERNATIONAL IMPRESSIONIST, 20TH CENTURY,

Modern British and Irish Art

STORAGE AND COLLECTION

Friday 12 December 2014

Please refer to the important notice

AUCTION CODE AND NUMBER

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PRUNELLA CLOUGH (1919-1999)

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Black and orange abstract

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SEAN SCULLY (B. 1945)

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signed and dated Sean Scully 73 (lower right), inscribed Diagonals 1

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GWYTHER IRWIN (1931-2008)

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PROPERTY FROM THE ESTATE OF VICTOR ANTON

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VICTOR ANTON (1909-1980)

Black, White, Red 2

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ROBERT ADAMS (1917-1984)

Studies for sculpture

ROBERT ADAMS (1917-1984)

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Screen Form (Rods)

SIMON PALMER (B. 1956)

SIMON PALMER (B. 1956)

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PROPERTY FROM A DECEASED ESTATE

GRAHAM SUTHERLAND, O.M.

Earth Crustations, Gower

EDWARD BAWDEN, R.A.

KEITH VAUGHAN (1912-1977)