modern british and irish art

SOUTH KENS INGTON

Modern British and Irish ArtFriday 12 December 2014

Subject to change

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17/10/14

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MODERN BRITISH & IRISH ARTAndr Zlattinger Tel:+44 (0)20 7389 2074Will PorterTel:+44 (0)20 7389 2688Nick Orchard Tel:+44 (0)20 7389 2548Philip Harley Tel:+44 (0)20 7389 2687Rachel Hidderley Tel:+44 (0)20 7389 2684

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WORLDWIDE LONDON (KING STREET)

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IMPRESSIONIST AND MODERN ARTGiovanna BertazzoniOlivier CamuJay VinczeLibert NutiJason CareyCornelia SvedmanMichelle McMullanAdrienne Everwijn-DumasKeith GillAntoine LebouteillerOttavia MarchitelliAnnie WallingtonAnna Povejsilova

Tel: +44 (0)20 7389 2638

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LONDON (SOUTH KENSINGTON)

MODERN BRITISH & IRISH ARTAngus Granlund Tel: +44 (0)20 7752 3107

IMPRESSIONIST AND

MODERN ARTNatalie Radziwil Imogen KerrAlbany BellTel: +44 (0)20 7389 2137

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NEW YORK

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POST-WAR AND

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CONDITIONS OF SALE

This auction is subject to Important Notices, Conditions of Sale and to Reserves

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[15]

AUCTION

Friday 12 December 2014

at 10.30 am Lots 1-204

85 Old Brompton Road

London SW7 3LD

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as SEAN-5930

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SPECIALISTS

Angus Granlund Tel:+44 (0)20 7752 3240

Pippa JacombTel:+44 (0)20 7389 2293William Porter Tel:+44 (0)20 7389 2688

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Krassi KunevaTel:+44 (0)20 7752 3243Fax:+44 (0)20 7752 3158

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First initial followed by last name @christies.com (eg. Angus Granlund = [email protected]). 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)

VIEWING

Saturday 6 December 11.00 am - 5.00 pm

Sunday 7 December 11.00 am - 5.00 pm

Monday 8 December 9.00 am - 7.30 pm

Tuesday 9 December 9.00 am - 5.00 pm

Wednesday 10 December 9.00 am - 5.00 pm

Thursday 11 December 9.00 am - 5.00 pm

AUCTIONEERS

William Porter and Nick Orchard

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Modern British and Irish Art Friday 12 December 2014

Angus Granlund

HEAD OF SALE

Pippa Jacomb

ASSOCIATE

DIRECTOR

William Porter

SENIOR DIRECTOR

Krassi Kuneva

ADMINISTRATOR

4l2WILHELMINA BARNS-GRAHAM (1912-2004)

Themes in Red II

pencil, watercolour and gouache on paper laid on board7 x 10 in. (17.8 x 25.4 cm.)Executed circa 1958.

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:with Anthony Hepworth Fine Art, Bath.Private collection.

l1PRUNELLA CLOUGH (1919-1999)

Thameside Cranes

signed Clough (lower right)charcoal15 x 11 in. (38.4 x 30.2 cm.)Executed circa 1950.

2,000-3,000 $3,200-4,8002,600-3,800

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.

5l4ADRIAN HEATH (1920-1992)

Black and orange abstract

signed and dated Heath 61 (lower right)watercolour, gouache and pastel29 x 21 in. (74.3 x 53.3 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:Anonymous sale; Christies, South Kensington, 12 October 2011, lot 154, where purchased by the present owner.

l3FRANK AVRAY WILSON (1914-2009)

White composition

signed WILSON (lower left)oil on canvas35 x 26 in. (89.5 x 68 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

6l5FRANCIS DAVISON (1919-1984)

Trees and Fields

with estate stamp and numbered A80, and with inscription TREES AND FIELDS/c 60-63 (on the reverse)collage24 x 29 in. (62.2 x 74.9 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:The artists estate.

EXHIBITED:London, Austin Desmond, Francis Davison Paintings & Collages 1948-83, October - November 2003.

6

PROPERTY FROM THE ESTATE OF THEO MENDEZ

l6THEO MENDEZ (1934-1997)

Grey and Ochre Composition

oil on canvas36 x 40 in. (91.7 x 102 cm.)Painted in 1960.

1,000-2,000 $1,600-3,2001,300-2,500

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

l7JOHN 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 board22 x 17 in. (55.9 x 45.4 cm.)

1,500-2,000 $2,400-3,2002,000-2,500

7l8SEAN SCULLY (B. 1945)

Diagonals 1

signed and dated Sean Scully 73 (lower right), inscribed Diagonals 1 (lower left)pencil and masking tape26 x 39 in. (66.1 x 100.9 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:with Rowan Gallery, London.Anonymous sale; Christies, South Kensington, 5 April 2007, lot 754.

l9RALPH RUMNEY (1934-2002)

Zig Zag Syzygy

signed, inscribed and dated Ralph Rumney 1964/Zig Zag Syzygy (on the reverse)copper and aluminium leaf on board, unframed18 x 37 in. (47 x 96 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

EXHIBITED:London, England & Co., Ralph Rumney. Constats: 1950-1988, March 1989.

8PROPERTY FROM THE ESTATE OF THEO MENDEZ

l11THEO MENDEZ (1934-1997)

Grey Composition

oil on canvas45 x 36 in. (114.3 x 91.4 cm.)Painted in 1955-60.

1,000-2,000 $1,600-3,2001,300-2,500

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.

nl10ROBYN 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, unframed66 x 48 in. (167.6 x 122 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:Anonymous sale; Christies, South Kensington, 7 October 2008, lot 217, where purchased by the present owner.

ANOTHER PROPERTY

nl12GWYTHER IRWIN (1931-2008)

Blues and Cantabile

oil on canvas49 x 44 in. (125.2 x 112.4 cm.)Painted in 1975.

8,000-12,000 $13,000-19,00011,000-15,000

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.

l14VICTOR ANTON (1909-1980)

Black, White, Red 2

signed, inscribed and dated ANTON 1966 BL WH R 2 (on the reverse)acrylic on Perspex, unframed36 x 24 in. (91.4 x 61 cm.)

700-1,000 $1,200-1,600890-1,300

PROVENANCE:The artist, and by descent.


Black, White, Red

acrylic on Perspex, unframed30 x 36 in. (76.2 x 91.4 cm.)Painted circa 1966.

800-1,200 $1,300-1,9001,100-1,500



Relief No. 7; Relief No. 1

signed, inscribed and dated ANTON JUNE 1961/RELIEF No. 7 (on the backboard)Perspex relief, unframed30 x 22 in. (76.2 x 55.9 cm.) (2)

1,000-1,500 $1,600-2,4001,300-1,900


VARIOUS PROPERTIES

16

RICHARD LIN (LIN SHOW-YU) (1933-2011)

Untitled

signed and dated Lin 1961/2 (lower right)pencil and oil on paper18 x 22 in. (46.1 x 56.5 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:Anonymous sale; Sothebys, Olympia, 1 March 2007, lot 337, where purchased by the present owner.

l18ROBERT ADAMS (1917-1984)

Reclining Form (Thorns)

signed with an initial, numbered and dated A 76 3/6 (on the underside of the central rectangle)polished bronze19 in. (48.2 cm.) wideThe present work is recorded by the artist as Opus 374.

4,000-6,000 $6,400-9,6005,100-7,600


Studies for sculpture

signed and dated R Adams. 50 (lower left)ink11 x 14 in. (30 x 35.5 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:with Gimpel Fils, London.

PROVENANCE:with Gimpel Fils, London, where purchased by John Duncan Miller, and by descent.

LITERATURE:A. Grieve, The Sculpture of Robert Adams, London, 1992, p. 236, no. 642, drawing illustrated.


Screen Form (Rods)

steel, unique24 in. (62.2 cm.) high, including the wooden baseConceived in 1961.The present work is recorded by the artist as Opus 128.

6,000-8,000 $9,600-13,0007,700-10,000

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.

14

PROPERTY OF A NOBLEMAN

l20SIMON PALMER (B. 1956)

Marty South

signed Simon Palmer (lower right), inscribed Marty South (lower left)pencil, ink, watercolour and gouache39 x 28 in. (101 x 73 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

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.

l21SIMON PALMER (B. 1956)

Planting Snowdrops

signed Simon Palmer (lower right), inscribed Planting Snowdrops (lower left)pencil, ink, watercolour and gouache38 x 28 in. (97.8 x 72.4 cm.)Painted in 1997.

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:with James Huntington-Whiteley, London.

15

l22ELIOT HODGKIN (1905-1987)

Milkweed

signed and dated Eliot Hodgkin/18.1.63 (lower right)tempera on board13 x 11 in. (33 x 28 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:with Reid Gallery, London.Fairfax Hall.Anonymous sale; Christies, London, 20 June 1995, lot 224.

16

VARIOUS PROPERTIES

l24EDWARD BAWDEN, R.A. (1903-1989)

Mount Etna

signed and dated Edward Bawden/1951 (lower right)ink, coloured pencils, watercolour and bodycolour17 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 $6,400-9,6005,100-7,600

PROVENANCE:Purchased by the Reverend Davis Given at the 1952 exhibition.

EXHIBITED:London, Royal Academy, 1952, no. 918.

PROPERTY FROM A DECEASED ESTATE

l23GRAHAM SUTHERLAND, O.M. (1903-1980)

Earth Crustations, Gower Peninsular

signed and dated Sutherland. 1942 (upper right)pencil, ink, watercolour and gouache5 x 7 in. (13.3 x 18.4 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

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.

17

l26KEITH VAUGHAN (1912-1977)

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 wash4 x 6 in. (12.1 x 16.5 cm.)

1,500-2,500 $2,400-4,0002,000-3,200


Soldiers in a Wood

signed Keith Vaughan (lower right)ink, watercolour, gouache and pastel5 x 7 in. (12.7 x 7.8 cm.)Executed in 1943.

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:with Hamet Gallery, London, where purchased by Mr Wright Ludington, October 1971.with Agnews, London.

EXHIBITED:Santa Barbara, Museum of Art, English and American Drawings, September - October 1973, catalogue not traced.

LITERATURE:K. Vaughan, Journal and Drawings: 1939-1965, London, 1966, p. 69, illustrated.

Visit www.christies.com for further information on this lot

18

PROPERTY FORMERLY IN THE COLLECTION OF SIR KENNETH CLARK

l28JOHN 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 gouache13 x 19 in. (33.6 x 48.9 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:Sir Kenneth Clark, and by descent.

l27JOHN 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 frame8 x 13 in. (22.3 x 33 cm.) each

4,000-6,000 $6,400-9,6005,100-7,600


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.

19

l29JOHN PIPER, C.H. (1903-1992)

Moonlit folly

ink, watercolour, gouache and collage9 x 14 in. (23.5 x 36.2 cm.)Executed in 1943.

1,000-1,500 $1,600-2,4001,300-1,900


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*30HENRY 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 ink8 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 $8,000-13,0006,400-10,000

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.

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

PROPERTY FROM THE COLLECTION OF THE LATE MRS T.S. ELIOT

l31JOHN PIPER, C.H. (1903-1992)

Skelton Church, Yorkshire

signed John Piper (lower right)oil on canvas25 x 30 in. (63.5 x 76.2 cm.)Painted in 1948.

30,000-50,000 $48,000-80,00039,000-64,000

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.

22

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION


Landscape

pencil, ink, watercolour and gouache6 x 8 in. (17 x 22 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:with Gian Franco Bruno.


Thorn tree (Study)

pencil, watercolour and gouache11 x 7 in. (29.8 x 19.7 cm.)Executed in 1971.

3,000-5,000 $4,800-8,0003,900-6,400

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.

23

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).


The Cathedral, Range of Rocks

signed and dated Sutherland/1974 (lower right), and inscribed Range of Rocks (on the reverse)pencil, watercolour and gouache20 x 24 in. (51.7 x 63.2 cm.)

7,000-10,000 $12,000-16,0009,000-13,000

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. 239, pl. 128, as Range of Rocks.

Upon Sutherlands return to Pembrokeshire in 1967, the artist began


Landscape study

signed with initials and dated G.S 1969 (lower right)pencil, pastel, watercolour and gouache15 x 12 in. (39.4 x 32.4 cm)

2,000-3,000 $3,200-4,8002,600-3,800


Cat

signed and dated Sutherland 79 (lower right) and inscribed Cat (on the reverse)pencil, ink and wash11 x 8 in. (29.8 x 21.5 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

PROVENANCE:with Galleria Bergamini, Milan.with Ruggerini & Zonca, Milan, by 1933.

LITERATURE:J. Andrews (ed.), Graham Sutherland, Correspondences, Selected Writings on Art, Parma, 1982, p. 254, pl. 148.


Study for conglomerate

signed with initials G.S. (lower right)pencil, ink, watercolour and oil, squared for transfer5 x 5 in. (13.3 x 13.3 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:with Ruggerini & Zonca, Milan, by 1933.

24


Study for landscape

pencil and watercolour8 x 15 in. (22.2 x 38.7 cm.)Executed circa 1977.

1,500-2,000 $2,400-3,2002,000-2,500


Roses

signed with initials and dated G.S. 1963 (lower right)pencil, charcoal, crayon, ink and gouache22 x 18 in. (60.4 x 45.6 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:with Ruggerini & Zonca, Milan, by 1994.

25

26

VARIOUS PROPERTIES

l40EDWARD BAWDEN, R.A. (1903-1989)

Pars Museum, Shiraz

signed Edward Bawden (lower right)ink, watercolour and gouache20 x 20 in. (52.1 x 52.1 cm.)Executed in 1966.

2,000-3,000 $3,200-4,8002,600-3,800

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.


Interior with three fgures; St Sebastian

pencil3 x 5 in. (8.3 x 13.3 cm.)Executed in 1951. (2)

1,500-2,500 $2,400-4,0002,000-3,200


l42JOHN COPNALL (1928-2007)

Bristol Docks

signed and dated john copnall 58. (lower right)oil on board19 x 21 in. (48.2 x 53.7 cm.)

1,500-2,000 $2,400-3,2002,000-2,500

PROVENANCE:with Tib Lane Gallery, Manchester.

27


Small Head Strata

signed, numbered and stamped with the H. Noack foundry mark Moore 9/9 (at the base)bronze with a gold brown patina4 in. (11.8 cm.) highConceived in 1960.

6,000-8,000 $9,600-13,0007,700-10,000

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, where purchased by the present owner.

LITERATURE:A. Bowness (ed.), Henry Moore: Complete Sculpture, 1955-64, Vol. III, London, 1965, p. 20, no. 468, another cast illustrated.

l44DAME ELISABETH FRINK, R.A. (1930-1993)

Spaceman

signed and dated Frink/61 (lower right)charcoal29 x 19 in. (75 x 49 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

l47AUGUSTUS JOHN, O.M., R.A. (1878-1961)

Study of a boy

pencil11 x 8 in. (28 x 20.3 cm.)

1,500-2,000 $2,400-3,2002,000-2,500

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.

l46HENRY LAMB, R.A. (1883-1960)

Portrait of Francis Dodd

red chalk11 x 8 in. (28.5 x 22.2 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

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.

l45HENRY LAMB, R.A. (1883-1960)

David, son of Augustus John

pencil12 x 9 in. (32.4 x 23.2 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

EXHIBITED:Venice, Biennale, XVIIa Esposizione Biennale Internazionale dArte, 1930.

28

49

ERIC GILL, A.R.A (1882-1940)

Head of a girl

signed Eric G (lower centre) and dated 13.10.29 (lower right)pencil11 x 8 in. (27.9 x 21.6 cm.)

1,200-1,800 $2,000-2,9001,600-2,300

l48AUGUSTUS JOHN, O.M., R.A. (1878-1961)

Study of Dorelia

pencil8 x 9 in. (20.3 x 22.8 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

29

l50SIR WILLIAM REID DICK, R.A. (1879-1961)

Soldier, Arras

signed and inscribed ARRAS/Reid Dick (at the base)bronze with a dark brown patina8 in. (20.3 cm.) high

1,500-2,500 $2,400-4,0002,000-3,200

PROVENANCE:A gift from the artist to the present owners grandmother, and by descent.

l51ERIC KENNINGTON, R.A. (1888-1960)

A Soldiers Grave, the Somme

signed and dated EH KENNINGTON/19 (lower right)pencil, watercolour and gouache on buff paper18 x 11 in. (45.7 x 29.2 cm.)

15,000-25,000 $24,000-40,00020,000-32,000

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.

l53LEON UNDERWOOD (1890-1975)

Female nude and studies for sculpture; Standing female nude

signed and dated Leon U. 1923. (lower right)charcoal26 x 17 in. (66.1 x 43.8 cm.) (2)

1,000-1,500 $1,600-2,4001,300-1,900

52

HENRI GAUDIER-BRZESKA (1891-1915)

Male nude studies

ink21 x 29 in. (55.6 x 75.6 cm.)Executed circa 1912-1913.

4,000-6,000 $6,400-9,6005,100-7,600

PROVENANCE:with Tib Lane Gallery, Manchester.

32

55

CIRCLE OF FRANK DOBSON

Reclining nude

marble, unique15 in. (39.4 cm.) long

2,000-3,000 $3,200-4,8002,600-3,800

54

MARK GERTLER (1891-1939)

Female nude

signed M Gertler. (upper left)charcoal14 x 12 in. (36.2 x 30.5 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

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.

34

l56ALFRED 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-board18 x 15 in. (46.4 x 38.8 cm.)

5,000-7,000 $8,000-11,0006,400-8,900

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.

l57DUNCAN GRANT (1885-1978)

Still life of bowl and magazine on a table

signed D. Grant (lower right)pencil and watercolour11 x 19 in. (28.6 x 50.4 cm.)Painted circa 1919-20.

1,000-1,500 $1,600-2,4001,300-1,900

We are very grateful to Richard Shone for his assistance in preparing the catalogue entries for the present lot and lots 58 and 62.

35

l58VANESSA BELL (1879-1961)

Church in Rome

signed and dated Vanessa Bell 1931 (lower right)oil on board24 x 18 in. (62.2 x 47.6 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

59

ROGER FRY (1866-1934)

Eastern Bazaar

oil on panel10 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 $3,200-4,8002,600-3,800

l62DUNCAN GRANT (1885-1978)

Three Figures (after Picasso)

pencil and ink7 x 6 in. (20 x 16.8 cm.)Executed circa 1913.

1,000-1,500 $1,600-2,4001,300-1,900

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.

l61CHRISTOPHER RICHARD WYNNE NEVINSON, A.R.A. (1889-1946)

Study for Tiller Girls

signed C.R.W. Nevinson (lower right)gouache8 x 10 in. (20.6 x 25.4 cm.)Executed circa 1926.

3,000-5,000 $4,800-8,0003,900-6,400

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.

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 transfer18 x 7 in. (46.7 x 19.6 cm.)Executed circa 1908-09.

2,000-3,000 $3,200-4,8002,600-3,800

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.

37

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.

l63CHARLES GINNER, A.R.A. (1878-1952)

The Hunted Stag

signed C. GINNER (lower right), signed again C. GINNER (on the canvas overlap)oil on canvas24 x 20 in. (61.6 x 51.4 cm.)Painted in 1930.

7,000-10,000 $12,000-16,0009,000-13,000

38

l64ALGERNON CECIL NEWTON, R.A. (1880-1968)

Summer Landscape

signed with monogram (lower left)oil on canvas24 x 36 in. (60.9 x 91.4 cm.)

7,000-10,000 $12,000-16,0009,000-13,000

l65GILBERT SPENCER, R.A. (1892-1979)

Village houses

signed and dated Gilbert Spencer/1927 (lower right)oil on canvas18 x 22 in. (45.7 x 55.8 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:Anonymous sale; Christies, London, 18 April 1969, lot 118.Anonymous sale; Bonhams, London, 20 November 2013, lot 51.

39

l66SIR MATTHEW SMITH (1879-1959)

Flowers in a Jug


7,000-10,000 $12,000-16,0009,000-13,000

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.

l67ELIOT HODGKIN (1905-1987)

Mallord St Peach in Black Vase

signed with initials and dated EH 76 (lower right)oil on board8 x 6 in. (22.2 x 17.2 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

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.

40

l69KARIN JONZEN (1914-1998)

Mother and child

bronze with a dark brown patina9 in. (12.8 cm.) high, excluding the marble baseConceived circa 1970.

1,000-1,500 $1,600-2,4001,300-1,900

l68SIR JACOB EPSTEIN (1880-1959)

Second Portrait of Gladys, Duchess of Marlborough (sketch)

bronze with a dark brown patina12 in. (31.7 cm.) highConceived in 1923.

2,000-3,000 $3,200-4,8002,600-3,800

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.

41

l70BERNARD MENINSKY (1891-1950)

Still life of irises

signed Meninsky (lower right)oil on canvas36 x 28 in. (91.4 x 71.1 cm.)

5,000-8,000 $8,000-13,0006,400-10,000

l71DAME ETHEL WALKER, A.R.A. (1861-1951)

Flowers in a Jug with Teapot

signed Ethel Walker (lower right)oil on canvas24 x 20 in. (60.9 x 51.3 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

42

l72KATE NICHOLSON (B. 1929)

Sylphides


1,500-2,500 $2,400-4,0002,000-3,200

PROVENANCE:with Marjorie Parr Gallery, London, where purchased by Miss Margaret Halbert.Anonymous sale; Phillips, London, 2 June 1992, lot 49.

l74MARY POTTER (1900-1981)

Study for The Wood

signed Mary Potter (on the reverse)oil on canvas12 x 14 in. (30.5 x 35.6 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

l73DEREK JARMAN (1942-1993)

View from a window

signed Jarman (lower right)charcoal30 x 22 in. (76.2 x 55.9 cm.)Executed in 1962.

1,000-1,500 $1,600-2,4001,300-1,900

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, catalogue not traced.

LITERATURE:J.C. Parkes, Derek Jarman: a portrait: artist, flm-maker, designer, London, 1996, p. 16, illustrated, as Untitled.

43

l75BRYAN PEARCE (1929-2007)

St Ives, from the Studio

signed Bryan Pearce (centre), dated 1964 (on the canvas overlap)oil on canvas20 x 30 in. (51.8 x 76.2 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:Acquired directly from the artist by the present owners aunt.


Jug of Flowers with Orange

signed Bryan Pearce (lower centre)ink and pastel on blue paper11 x 9 in. (29.2 x 22.8 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

PROVENANCE:The Terry Brodie-Smith Collection. wtih Aitken Dott, Edinburgh. Anonymous sale; Christies, South Kensington, 22 June 1995, lot 188, where purchased by the present owner.

44

l78SIR TERRY FROST, R.A. (1915-2003)

Lemon, Green & Black

signed Terry Frost (on the reverse)acrylic and collage on board13 x 14 in. (33.6 x 38.8 cm.), shapedPainted in 2002.

1,500-2,500 $2,400-4,0002,000-3,200

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.

l77PETER KINLEY (1926-1988)

Vertical Landscape with Fields

signed, inscribed and dated PETER KINLEY VERTICAL LANDSCAPE WITH FIELDS 1970 (on the stretcher)oil on canvas, unframed56 x 32 in. (142.2 x 81.3 cm.)

5,000-8,000 $8,000-13,0006,400-10,000

PROVENANCE:Anonymous sale; Christies, South Kensington, 7 March 1997, lot 380, where purchased by the present owner.

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.

45

l79WILLIAM SCOTT, R.A. (1913-1989)

In a Square II

signed W. SCOTT (lower right)gouache, unframed19 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 $12,000-16,0009,000-13,000

PROVENANCE:with Hanover Gallery, London.

EXHIBITED:Zurich, Gimpel & Hanover Galerie, William Scott, 1966, no. 27.

PROPERTY OF A NOBLEMAN

nl80SIR TERRY FROST, R.A. (1915-2003)

White Painting (Bollards)

signed, inscribed and dated White Ptg June 62 Bollards/ Frost (on the reverse)oil, charcoal and collage on canvas60 x 60 in. (152.4 x 152.4 cm.)

25,000-35,000 $40,000-56,00032,000-45,000

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.

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).

46

48

l82CLIFFORD 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 board7 x 28 in. (18.4 x 72 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

VARIOUS PROPERTIES

l81JAMES 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 board22 x 29 in. (55.8 x 75.8 cm.)

5,000-8,000 $8,000-13,0006,400-10,000

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.

49


The Wharf from West Pier

signed Bryan Pearce (lower centre), inscribed and dated The Wharf from West Pier/1990 (on the reverse)oil on board21 x 28 in. (55.3 x 71.1 cm.)

10,000-15,000 $16,000-24,00013,000-19,000

PROVENANCE:Acquired directly from the artist by the present owner, February 1992.

50

nl84ANTHONY BENJAMIN (1931-2002)

Andiamo a Saracinesco

signed, inscribed and dated Jan-Feb 61/Andiamo a Saracinesco/Benjamin (on the reverse)oil on canvas48 x 40 in. (121.9 x 101.6 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

PROVENANCE:The Artists Estate.


Composition Black & Orange

signed and dated AVRAY WILSON/57 (lower right)oil on canvas48 x 18 in. (122 x 45.7 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

PROVENANCE:with Redfern Gallery, London, 1957.Anonymous sale; Christies, South Kensington, 16 December 2010, lot 108, where purchased by the present owner.

51


Maquette for Sculpture with Hole and Light

signed and numbered Moore 6/6 (on the reverse)bronze with a brown green patina4 in. (11.1 cm.) wideConceived in 1967 and cast in edition of 6 in 1974.

10,000-15,000 $16,000-24,00013,000-19,000

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.

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.

l87FRANK AUERBACH (B. 1931)

Cats

dedicated To V.B/with/love/from Frank (on the reverse)pencil, felt-tipped pen and ink on two sheets9 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 $3,200-4,8002,600-3,800

PROVENANCE:A gift from the artist to Miss Valerie Beston.

52

89

SANDRA FISHER (1947-1994)

Kitaj in his Studio

signed and dated Sandra Fisher 1989 (on the canvas overlap)oil on canvas12 x 10 in. (30.5 x 25.5 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:with Odette Gilbert Gallery, London.

l88MICHAEL CLARK (B. 1954)

Francis Bacon in his studio

gouache8 x 10 in. (22 x 25.4 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

53

l90CHRISTOPHER BRAMHAM (B. 1951)

Autumn II

signed with initials and dated CB 86-7 (lower left)oil on canvas17 x 12 in. (45.1 x 31.1 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

EXHIBITED:London, Fine Art Society, Christopher Bramham, June 1988, no. 35.

91

LONDON SCHOOL, 20TH CENTURY

Nude

pencil7 x 4 in. (19.7 x 10.2 cm.)

600-800 $960-1,300770-1,000

54


Cherry blossom

signed with initials and dated CB/84 (lower right)oil on canvas laid on board10 x 8 in. (26.7 x 22.2 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

l93MICHAEL CLARK (B. 1954)

Portrait of Muriel Belcher; The Sphinx

oil and charcoal on card15 x 11 in. (40.3 x 29.5 cm.) (2)

1,000-1,500 $1,600-2,4001,300-1,900

55

95

SANDRA FISHER (1947-1994)

Melissa with Opera Glasses; Wozzeck Rehearsal

signed Fisher (lower left)oil on canvas9 x 7 in. (24 x 18.5 cm.)Painted in 1983. (2)

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:with Lefevre Gallery, London.

EXHIBITED:Washington D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Representation Abroad, June - September 1985.


Squirrel

signed with initials and dated CB/84 (lower right)oil on canvas11 x 10 in. (29.3 x 25.3 cm.)

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:with Thomas Agnew & Sons, London.

57

ANOTHER PROPERTY

nl96STEPHEN CONROY (B. 1964)

Man and Shadow

signed and dated Stephen Conroy 1994 (on the canvas overlap)oil on canvas72 x 48 in. (183 x 122 cm.)

20,000-30,000 $32,000-48,00026,000-38,000

PROVENANCE:with Marlborough Fine Art, London.

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.

VARIOUS PROPERTIES

l98DAVID HOCKNEY, O.M., C.H., R.A. (B. 1937)

Study for A Rakes Progress

ink6 x 9 in. (17.2 x 24.2 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:A gift from the artist to Mick Sider, who lived with David Hockney in the late 1960s, and by descent.


l97PAULINE BOTY (1938-1966)

Untitled (still life with paint brushes)

pencil, gouache and metallic paint15 x 19 in. (40.5 x 52.7 cm.)Executed circa 1959-61.

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:with Mayor Gallery, London, where purchased by the present owner.

EXHIBITED:Wolverhampton, Art Gallery, Pauline Boty Pop Artist and Woman, June - November 2013, not numbered.

LITERATURE:S. Tate, exhibition catalogue, Pauline Boty Pop Artist and Woman, Wolverhampton, Art Gallery, 2013, pp. 28, 128, pl. 7.

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.


Henry Geldzahler

signed with initials, inscribed and dated Henry Salzburg DH. july 76 (lower right)ink16 x 13 in. (42 x 34.8 cm.)

10,000-15,000 $16,000-24,00013,000-19,000

PROVENANCE:Private collection, Amsterdam.

60


Homage

ink and coloured crayon14 x 10 in. (35.6 x 27.6 cm.), shaped

1,000-2,000 $1,600-3,2001,300-2,500

PROVENANCE:A gift from the artist to Mick Sider, who lived with David Hockney in the late 1960s, and by descent.

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)charcoal16 x 10 in. (40.2 x 26 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:A gift from the artist to the present owner.

l100SIR PETER BLAKE, R.A. (B. 1932)

Calendar: April

inscribed APRIL (on the frame)pencil, ink, watercolour, gouache and lithographic border11 x 8 in. ( 29.2 x 21.6 cm.)Executed circa 1977.

4,000-6,000 $6,400-9,6005,100-7,600

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.

61

PROPERTY OF A GENTLEMAN

l104PATRICK PROCKTOR, R.A. (1936-2003)

Roger Cook

signed Patrick Procktor (lower centre)oil on canvas26 x 18 in. (66 x 45.7 cm.)Painted in 1987.

2,000-3,000 $3,200-4,8002,600-3,800

LITERATURE:J. McEwen, Patrick Procktor, Michigan, 1997, p. 62, illustrated.

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 canvas10 x 12 in. (25.4 x 30.5 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:with Marlborough Gallery, New York.

62

106

MIKE GEARY (B. 1932)

Pop Art Box

signed and dated Mike Geary/1972-1992 (on the reverse)mixed media26 x 14 in. (66 x 35.5 cm.), shaped

800-1,200 $1,300-1,9001,100-1,500

VARIOUS PROPERTIES

105

MIKE GEARY (B. 1932)

Casino 1; Casino 2

each signed and dated Mike Geary/1997 (on the reverse)mixed media10 x 8 in. (25.4 x 21.6 cm.) (2)

800-1,200 $1,300-1,9001,100-1,500

63

nl107SIR 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 chair39 in. (101 cm.) high

10,000-15,000 $16,000-24,00013,000-19,000

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.

l108PATRICK CAULFIELD, R.A. (1936-2005)

Still life with fruit; Menu; Bowl

each signed with initials PC (lower right)ink8 x 8 in. (21.6 x 21.6 cm.) (3)

1,200-1,800 $2,000-2,9001,600-2,300



Vase

signed with initials PC (lower right)pencil11 x 8 in. (29.5 x 20.7 cm.)

1,200-1,800 $2,000-2,9001,600-2,300



Two Fish on a Plate

signed with initials PC. (lower right)acrylic on board8 x 11 in. (21.2 x 27.9 cm.)

2,000-3,000 $3,200-4,8002,600-3,800


The present lot is a study for the lithograph, Two Fish on a Plate, published in 1999 in an edition of 50.


Vase

signed and dated Patrick Caulfeld 94 (lower right)pencil and crayon9 x 11 in. (23.5 x 29.5 cm.)

1,200-1,800 $2,000-2,9001,600-2,300



Lampshade

signed Patrick Caulfeld (lower right)pencil12 x 11 in. (30.5 x 29.2 cm.)

1,000-1,500 $1,600-2,4001,300-1,900



Tate Menu; Wine Glass

signed Patrick Caulfeld (lower right)acrylic and screenprint on card12 x 17 in. (30.5 x 44.2 cm.) (2)

1,000-1,500 $1,600-2,4001,300-1,900


67

PROPERTY FROM A PRIVATE CALIFORNIAN COLLECTION

l*114SIR EDUARDO PAOLOZZI, R.A. (1924-2005)

Eluz

signed with initials E.P. (on the underside)chrome-plated steel19 in. (48.9 cm.) longConceived circa 1967.

6,000-8,000 $9,600-13,0007,700-10,000

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.

68

VARIOUS PROPERTIES

l*115JOHN LATHAM (1921-2006)

Skoob

plaster, book and wire on canvas20 x 16 in. (50.7 x 41.9 cm.)Conceived in 1952.

5,000-8,000 $8,000-13,0006,400-10,000

PROVENANCE:Felix Landan, Los Angeles.Landan Family Collection, Los Angeles, and by descent.

nl116BOYLE FAMILY

Sandstone Cliff

mixed media, resin and fbreglass36 x 52 in. (91.4 x 132.1 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:Acquired directly from Mark Boyle by the present owner, in the 1980s.

69

l117JOE 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 panel29 x 16 in. (73.6 x 40.7 cm.)

12,000-18,000 $20,000-29,00016,000-23,000

PROVENANCE:with New London Gallery, London.

70

l120JOHN 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 board14 x 20 in. (37.2 x 51.4 cm.)

1,000-1,500 $1,600-2,4001,300-1,900


Composition

signed WILSON (lower right)oil on board36 x 28 in. (91.4 x 71.1 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

l118PRUNELLA CLOUGH (1919-1999)

Five Studies of Pipes

signed Clough (lower right)pencil, watercolour and charcoal10 x 8 in. (27 x 22.6 cm.)Executed in 1953.

1,000-1,500 $1,600-2,4001,300-1,900

PROVENANCE:The Estate of Prunella Clough, from whom acquired by Peter Adams. Acquired directly from the above by the present owner.


l*121FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992)

Cruciform

signed with initials and numbered McW 1/3 (on the base)bronze with a black patina14 in. (35.6 cm.) highConceived in 1959.

7,000-10,000 $12,000-16,0009,000-13,000

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.

72

l122RALPH 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 board18 x 26 in. (45.7 x 66.6 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:with Redfern Gallery, London, where purchased by Victor Langen in 1957.

l123NORMAN TOWN (1901-1985)

Forms on red

signed and dated Norman Town 59 (on the reverse)oil on board, unframed48 x 35 in. (122 x 90.2 cm.)

1,000-2,000 $1,600-3,2001,300-2,500

73

l124ALAN 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 card16 x 20 in. (40.6 x 50.8 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

l125BERNARD MEADOWS (1915-2005)

Maquette for Large Crab Relief

signed with monogram and numbered 5/6 (on the underside)polished bronze6 in. (16.5 cm.) longConceived in 1978.

3,000-5,000 $4,800-8,0003,900-6,400

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.

74

nl126BERENICE SYDNEY (1944-1983)

Leaves Orbiting

signed and dated Berenice 571 (lower left), and dated again 18/5/71 (on the stretcher)oil on canvas, unframed48 x 48 in. (122 x 122 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

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.

l127RALPH 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 patina20 in. (50.8 cm.) high, including the marble baseConceived in 1982 and cast in an edition of 10.

1,000-1,500 $1,600-2,4001,300-1,900

LITERATURE:G. Whiteley (ed.), Social, Savage, Sensual: The Sculpture of Ralph Brown, Bristol, 2009, p. 163.

75

nl128BERENICE SYDNEY (1944-1983)

Starting The Journey

signed Berenice (lower left), signed again Berenice (on the reverse), inscribed STARTING THE JOURNEY (on the stretcher)oil on canvas, unframed72 x 66 in. (183 x 167.6 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

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.

l129KENNETH 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, unique16 in. (41.2 cm.) wide

5,000-8,000 $8,000-13,0006,400-10,000

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.

76

PROPERTY FORMERLY IN THE COLLECTION OF SIR NORMAN REID

l132SIR TERRY FROST, R.A. (1915-2003)

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 pastel10 x 10 in. (27.3 x 27.3 cm.)

800-1,200 $1,300-1,9001,100-1,500

PROVENANCE:A gift from the artist to Sir Norman and Jean Reid, and by descent.

l131ALAN 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 gouache21 x 29 in. (55.6 x 75.5 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

l130PATRICK 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 canvas28 x 36 in. (71.1 x 91.5 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

77

l134JONATHAN KENWORTHY (B. 1943)

Somali Woman with Goat

signed, numbered, dated and stamped with the Meridian Foundry mark Kenworthy 1994 4/7 (on the base)bronze with a dark brown patina19 in. (48.2 cm.) wide, including the base

4,000-6,000 $6,400-9,6005,100-7,600

LITERATURE:J. Silbert, Jonathan Kenworthy: Sculpture and Works on Paper, Leatherhead, 2007, pp. 138-139, no. 94, another cast illustrated.

VARIOUS PROPERTIES

l133JONATHAN KENWORTHY (B. 1943)

Tribesman with Umbrella

signed, numbered, dated and stamped with Meridian Foundry mark Kenworthy 1985 (on the base)bronze with a dark brown patina20 in. (50.8 cm.) high, including the base

4,000-6,000 $6,400-9,6005,100-7,600

LITERATURE:J. Silbert, Jonathan Kenworthy: Sculpture and Works on Paper, Leatherhead, 2007, pp. 158-159, no. 87, another cast illustrated.

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.

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.

PROPERTY OF A GENTLEMAN

l135SIR NOL COWARD (1899-1973)

People before a Coastal Inlet, Jamaica

signed NOEL COWARD (lower right)oil on canvas30 x 24 in. (76.2 x 61 cm.)

25,000-35,000 $40,000-56,00032,000-45,000

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 topeeOr other macabre miscellaneaIn fact every tourist who visits these shoresCan thank his benevolent MakerFor taking time off from the rest of his choresTo 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)

l*137SIR NOL COWARD (1899-1973)

Street view in the Mediterranean

signed NOL COWARD (lower left)oil on canvas14 x 9 in. (36.2 x 22.8 cm.)

2,000-3,000 $3,200-4,8002,600-3,800

PROVENANCE:A gift from the artist to Richard Burton, and by descent.

PROPERTY FROM THE COLLECTION OF RICHARD BURTON

l*136SIR NOL COWARD (1899-1973)

Red Interior

signed NOL COWARD (lower right)oil on board12 x 15 in. (30.5 x 40 cm.)

5,000-8,000 $8,000-13,0006,400-10,000

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.

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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).

PROPERTY FROM THE COLLECTION OF JENNY KEE

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

Flower and butterfy

oil on canvas12 x 10 in. (30.5 x 25.4 cm.)

10,000-15,000 $16,000-24,00013,000-19,000

PROVENANCE:Acquired directly from the artist by the present owner in 1985.

LITERATURE:J. Kee, A Big Life, Melbourne, 2006, p. 259.

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VARIOUS PROPERTIES

l139JOSEF HERMAN, R.A. (1911-2000)

Three women and a child fetching water

oil on board7 x 9 in. (18.3 x 23.5 cm.)

1,200-1,800 $2,000-2,9001,600-2,300

PROVENANCE:with Roland, Browse and Delbanco, London, where purchased by the present owner.

l140SIR ROBIN PHILIPSON, R.A., P.R.S.A., R.S.W. (1916-1992)

Woman at a Window II

signed Robin Philipson (on the reverse)oil on canvas laid on board8 x 10 in. (20.2 x 25.4 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

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.

l141JOSEF 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 canvas12 x 20 in. (31 x 50.8 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

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.

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l142HAROLD RILEY (B. 1934)

The Red House

signed Riley (lower right)oil on canvas7 x 5 in. (17.7 x 12.7 cm.)

4,000-6,000 $6,400-9,6005,100-7,600


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).

l143PETER 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 canvas20 x 28 in. (50.8 x 71.1 cm.)

3,000-5,000 $4,800-8,0003,900-6,400

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.

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l144SIR KYFFIN WILLIAMS, R.A. (1918-2006)

Welsh landscape

signed with initials KW. (lower right)pencil, ink and wash9 x 13 in. (24.7 x 34.4 cm.)

1,200-1,800 $2,000-2,9001,600-2,300

l145ANNE REDPATH, R.S.A., A.R.A., A.R.W.S. (1895-1965)

The Teviot at Hawick

signed Anne Redpath (lower right)pencil and watercolour10 x 13 in. (26 x 33 cm.)Executed circa 1929.

3,000-5,000 $4,800-8,0003,900-6,400

PROVENANCE:with Ewan Mundy, Glasgow.

EXHIBITED:London, Portland Gallery, Anne Redpath, July - August 2008, no. 52.

l146MICHAEL CANNEY (1923-1999)

Italian Village

signed and inscribed ITALIAN VILLAGE/Michael Canney (on the reverse)oil on board19 x 22 in. (48.3 x 55.9 cm.)

1,500-2,500 $2,400-4,0002,000-3,200

PROVENANCE:Anonymous sale; Sothebys, London, 6 November 2007, lot 186, where purchased by the present owner.

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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).

l147SIR KYFFIN WILLIAMS, R.A. (1918-2006)

Aberglaslyn Pass, Snowdonia

signed with initials KW (lower right)oil on canvas28 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 $24,000-40,00020,000-32,000

PROVENANCE:Acquired by the present owners grandparents in Anglesey circa 1975.

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l148JAMES MORRISON, R.S.A., R.S.W., A.R.S.A. (B. 1932)

Ben Loyal

signed and dated Moririson 1990 (lower right)oil on board33 x 47 in. (84.4 x 119.6 cm.)

5,000-7,000 $8,000-11,0006,400-8,900

PROVENANCE:with Riverside Gallery, Stonehaven.

l149ANNE ESTELLE RICE (1875-1959)

Brittany Village

oil on board17 x 21 in. (45.1 x 55.3 cm.)

5,000-8,000 $8,000-13,0006,400-10,000

PROVENANCE:The artists estate, and by descent.

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PROPERTY FORMERLY IN THE COLLECTION OF SIR NORMAN REID

l151SIR WILLIAM GEORGE GILLIES, R.A., R.S.A., P.R.W.S. (1898-1973)

Landscape

signed GILLIES (lower left)oil on canvas28 x 32 in. (71.1 x 81.9 cm.)

6,000-8,000 $9,600-13,0007,700-10,000

PROVENANCE:A gift from the artist to Sir Norman Reid, and by descent.

l150JAMES MORRISON, R.S.A., R.S.W., A.R.S.A. (B. 1932)

Suilven

signed and dated Morrison/1990 (lower right)oil on board33 x 47 in. (84.4 x 119.6 cm.)

4,000-6,000 $6,400-9,6005,100-7,600

PROVENANCE:with Riverside Gallery, Stonehaven.

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l154JACOB KRAMER (1892-1962)

My Parents

signed and dated J Kramer/1918 (lower right), signed again and inscribed MY PARENTS/JACOB KRAMER (on the backboard)charcoal15 x 20 in. (38.4 x 52.4 cm.)

1,500-2,000 $2,400-3,2002,000-2,500

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 th

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