Sworders Modern Contemporary Art 5th October 2021

MODERN AND CONTEMPORARY ART
Live Online – Tuesday 5 October 2021 at 10am
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ORDER OF SALE
Lots 1-23 Great Bardfield and Benton End
Lots 24-132 20th Century
to include
Lots 84-108
The Elsie Henderson
Collection
Lots 133-214 Modern British
Lots 215-353 Modern and Contemporary
to include
Lots 229-253
The Curwen Print Study
Centre Collection
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FURTHER INFORMATION
Contact:
Jane Oakley
Specialist
Amy Scanlon
Specialist
To obtain more images and condition reports
for lots in this catalogue, please visit our website
www.sworder.co.uk
Telephone: 01279 817778
Email: auctions@sworder.co.uk

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GREAT BARDFIELD AND BENTON END 1-23
Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%
Lots marked * will be subject to an additional fee - please see ARR details on page 148
SECTION TITLE
XX-XX
GREAT BARDFIELD AND BENTON END
1-23
GREAT BARDFIELD AND BENTON END
We are delighted to begin this catalogue with a section on the East Anglian artists of Great Bardfield and Benton End. Although located
within fifty miles of each other, these two schools were comprised of very different artists and practices. We can think of Great Bardfield,
a small village in North Essex, as an artists’ community, whereas Benton End, located on the outskirts of Hadleigh, Suffolk, was more formally
established as an art school by Cedric Morris and Arthur Lett-Haines, and was known as ‘The East Anglian School of Painting and Drawing’.
In the early 1930s, Edward Bawden and Eric Ravilious moved to The Brick House, Great Bardfield with their respective wives, Charlotte Epton
and Tirzah Garwood. Living as a four until 1934, the artists were joined in the village by John Aldridge who lived at Place House. The Great
Bardfield artists are diverse in their styles and techniques, but shared a love for their local scenery and for village life. It is exciting, not only
to offer a woodcut by Garwood, but to show Bawden’s ‘Audley End’. There are also three wonderful landscapes by John Aldridge set in this
area. During the Second World War, the artists dispersed, only to return years later with a crucial member, Ravilious, lost to them after he was
reported missing and presumed dead in 1942; Garwood also did not return to Great Bardfield. However, the community continued to thrive
with artists such as Walter Hoyle and Sheila Robinson joining the set.
Active at a similar time, ‘The East Anglian School of Painting and Drawing’ was initially located at Pound Farm, Dedham. Amongst its earliest
students was Lucian Freud, who was reportedly responsible for an accidental fire that destroyed Pound Farm and forced the school to move to
Benton End in 1940. The school offered a freer approach to teaching based on reassurance rather than critique. Students were immersed in
gardening, required to help with housework and gathered every evening to eat Arthur Lett-Haines’ delicious Mediterranean-inspired cuisine.
As interested in gardening as painting, Cedric Morris found greater fame in his lifetime as a breeder of irises. Yet, in recent years, Morris has
received considerable acclaim for his paintings, aided by an exhibition of his work at Philip Mould Co. (2018).
With Morris’s auction prices becoming unattainable for most, interest has fallen on his pupils. Represented in this catalogue are Lucy Harwood,
Joan Warburton and Alan Walton who each inherited a freshness of vision and passion for their local surroundings from Morris. Sworders’ sale
of the Sally Hunter and Ian Posgate Collection (May 2021) set the record for the highest prices at auction for each of these artists.
Lot 1
Tirzah Garwood (1908-1951)
‘The Dog Show’
wood engraving, numbered 169/500 in pencil l.l.
29 x 20.5cm
£300 - 400
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1-23 GREAT BARDFIELD AND BENTON END
Lot 4
*Edward Bawden RA (1903-1989)
‘Audley End House’
linocut in colours, with Christie’s Contemporary Art blind stamp, signed
and dated ‘Edward Bawden 1973’ in pencil l.r., inscribed as titled and
numbered 123/150 in pencil l.l
69 x 82cm
£800 - 1,200
With Christie’s Contemporary Art Certificate of Authenticity.
Lot 2
*Edward Bawden RA (1903-1989)
‘Campions and Columbine’
linocut in colours, Merivale Editions, signed ‘Edward Bawden’
and numbered 409/500 in pencil
sheet 29 x 21cm;
Brighton Pier
offset lithograph, published by Kemp Town Bookshop, Brighton,
numbered 90/950
26.5 x 61cm (2)
£200 - 400
Lot 3
Spare lot
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Lot 5
*John Bellany RA (1942-2013)
‘Cromarty Harbour’, 2007
signed ‘Bellany’ l.l., watercolour
56 x 76cm
£1,000 - 1,500
Lot 6
‘The Bride of Lammermoor’
signed l.r., pencil and watercolour
18.5 x 16cm
£400 - 600
Provenance:
With Flowers East, London;
Folly Mill, Thaxted, Essex.
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Lot 8
‘Enigma’
signed ‘Bellany’ l.l. and inscribed with title on gallery label verso,
watercolour and pencil
38.3 x 28.7cm
£1,000 - 1,500
Provenance:
Gardiner Houlgate, 23 March 2012, lot 1500.
Lot 7
Woman in a Boat
signed ‘Bellany’ l.r., oil on canvas
91 x 91cm
£4,000 - 6,000
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Lot 9
*John Aldridge RA (1905-1983)
Rolling Essex Farm
signed and dated ‘John Aldridge 26 VII 79’
l.l., and inscribed verso, oil on board
26.5 x 36cm
£1,500 - 2,000
Lot 10
‘Great Bardfield, Evening Sun’
pastel
45.5 x 63cm
£600 - 800
Provenance:
The Estate of John Aldridge;
The Fry Art Gallery, Saffron Walden;
Abbott Holder, London.
Lot 11
Essex landscape - Great Bardfield, 1939
signed ‘Aldridge’ and dated ‘22 Feb. 1939’ l.l.,
further inscribed and signed verso, oil on canvas
35.7 x 45.5cm
£1,000 - 1,500
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Lot 13
*Lucy Harwood (1893-1972)
Zebra
oil on canvas
61 x 51cm
£600 - 800
Lot 12
‘The Gardeners’
oil on canvas
81 x 65cm
£800 - 1,200
Provenance:
From the estate of the artist.
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Lot 14
‘A young man’
signed and inscribed verso, pastel and gouache
51 x 40cm
£250 - 350
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Lot 15
*Joan Warburton (1920-1996)
Garden with irises, 1972
signed with initials and dated ‘JW/72’ l.r., watercolour
53.5 x 35.5cm
£600 - 800
Provenance:
Acquired from the artist’s estate.
The flowers seen are iris, convolvulus, aquilegia, nectaroscordum
and geum.
Lot 16
White Chair
signed with initials and dated ‘90 l.r., watercolour
53 x 34cm
£300 - 400
Exhibited:
Sally Hunter Fine Art, Joan Warburton The Benton
End Effect, no.47.
Lot 17
Prawns
signed with initials and dated ‘60 l.r.,
pen and ink
13.5 x 26cm
£150 - 250
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Lot 20
Still life with coffee pot and lemon
signed with initials and dated ‘JW/78’, watercolour
53.3 x 35.5cm
£300 - 500
Provenance:
Lot 19
A tiger’s encounter, 1994
signed with initials and dated ‘JW/94’, watercolour
and bodycolour
36 x 53.7cm
£300 - 500
Provenance:
Lot 18
The Algarve
signed with initials l.l., pastel and
watercolour
36.5 x 54cm
£300 - 500
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Lot 22
*Eve Quinlan (1880-1955)
Irises and flowers in a blue and white vase
signed ‘Eve Quinlan’ l.l., oil on canvas
76 x 60.5cm
£400 - 600
Provenance:
Acquired by the actress Eirene Beck (1920-2010);
then a gift to Martin P W Evans RIBA (1927-2016);
thence with the current owner.
Exhibited: The Royal Society of British Artists, 1944.
Christened as Eveline May Tomkins, she spent her early life in
Suffolk. Quinlan was married twice in Bengal, India, first to
William Cooper (d.1900) and later to Capt. Dominick Joseph
Quinlan (d.1909). She was sadly widowed twice before her
thirtieth birthday, and returned to England in 1911. She is
recorded as living in London (1939) and Oxfordshire (1940),
and exhibited twice at the Royal Academy during this time.
Quinlan exhibited with the Ipswich Art Club ‘Garden at Benton
End’. This painting is strikingly reminiscent of Cedric Morris,
who is famed for his cultivation of irises at Benton End and his
paintings of the garden.
Lot 23
*David Carr (1915-1968)
Head
oil on canvas
41 x 51cm
£600 - 800
Provenance:
Sotheby’s, David Carr Studio Sale, 7 June 2007;
Farm House, Farm Street, Mayfair, London.
Lot 21
Allan Walton (1891-1948)
Suffolk landscape
oil on canvas laid down on board
62 x 41cm
£600 - 800
Exhibited:
Sally Hunter Fine Art, London, ‘Joan Warburton and the
Benton End Effect’, March 2014.
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20TH CENTURY
24-132
Lot 24
Samuel John Peploe RSA (1871-1935)
‘Barra’
oil on board
16.5 x 24cm
£6,000 - 8,000
Provenance:
With Aitken Dott Son, Edinburgh, No. 9467;
anonymous sale: Sotheby’s Gleneagles, ‘The Scottish Sale’,
30 August 2000, lot 1274.
Samuel Peploe first travelled to the Isle of Barra in 1894, staying in the
studio of his friend Robert Cowan Robertson and returning on further
occasions until 1903. Peploe worked en plein air during these trips and
always on a small scale. Works such as this provide a fascinating and
exciting insight into Peploe’s artistic development.

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Lot 27
*Richard Eurich RA (1903-1992)
Head of a girl
signed and
dated ‘R.EURICH. 1925’ l.l., pencil
16 x 13cm
£300 - 400
Provenance:
Bonhams, ‘Modern
Pictures and
Sculpture’, 14 January
2003, lot 159.
Lot 26
Henri Gaudier-Brzeska (French, 1891-1915)
‘Standing male nude, Horace Brodzky’, c.1915
pen and ink
37.5 x 24.8cm
£1,200 - 1,800
Exhibited:
‘The London Group 1913-1939’, Millfield Arts
Projects, Somerset 1-28 February 1995.
Horace Brodzky (1885-1969) was an Australian artist who
associated with many of the avant-garde artists of the period
and was a member of the London Group which included
Mark Gertler and David Bomberg. Gaudier-Brzeska made
several studies of him and also a bronze bust.
Lot 25
Samuel John Peploe RSA (1871-1935)
‘Stooping Figure’, c.1922
signed ‘Peploe’ u.l., Conté pencil
33 x 23.3cm
£1,500 - 2,500
Provenance:
With the Scottish Gallery,
Edinburgh;
with Duncan Miller,
London, 1993.
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27 28
Lot 28
*Sir Stanley Spencer RA
(1891-1959)
Hilda
signed and dated 1924 l.r.,
pencil
21 x 25cm
£500 - 700

24-132 20TH CENTURY
Lot 29
Jessica Dismorr (1885-1939)
Portrait of George Barker - poet,
drawn after attending a poetry
reading at Archer’s Bookshop, 1935
inscribed ‘G.B.’ l.l., pen and ink
32 x 26cm
£800 - 1,200
Provenance:
With Abbott Holder,
London.
Lot 30
*Dame Laura Knight RA RWS
(1877-1970)
Clowns
signed and dated ‘Laura Knight
1932’ l.l., charcoal
36 x 26cm
£800 - 1,200
Provenance:
Farm House, Farm
Street, Mayfair,
London.
Lot 31
English School, 1930s
A Riot, possibly Cable
Street, 1936
squared for transfer,
pencil
28.5 x 36cm
£300 - 500
Lot 32
*Edward Ardizzone RA (1900-1979)
‘Art School’
signed with initials ‘EA’ l.r., pencil
17.5 x 19cm
£500 - 700
Provenance:
Bonhams, 17 November
2015, lot 76.
Exhibited: New Grafton Gallery,
1981, no.51.
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Lot 33
Robert Polhill Bevan (1865-1925)
Woman with Cows, Brittany, c.1891-4
with artist’s monogram stamp ‘RPB’ verso,
pencil
sheet 30.8 x 44.7cm
£700 - 1,000
Lot 34
Robert Polhill Bevan (1865-1925)
Horses in a Stable, 1894
etching on laid paper, with artist’s monogram
stamp ‘RPB’ l.r., and ‘Arches’ watermark
sheet 30.8 x 44.7cm
£400 - 600
Lot 35
Frederick Landseer Griggs (1876-1938)
‘St Wendreda’s Church - March’
etching, 1922, signed ‘F L Griggs’ in pencil l.r.
plate mark 23.5 x 13cm
£300 - 500
One of sixty-three impressions from the
second state.
Lot 36
Frederick Landseer Griggs (1876-1938)
‘Fen Monastery’
etching, 1926, signed ‘F L Griggs’ l.r.,
in pencil
plate mark 16.5 x 24.5cm
£300 - 500
Six states of Fen Monastery were printed
between 1923-1926. The current lot is one
of twenty-nine impressions of the fifth state,
1926.
Lot 37
*Claughton Pellew-Harvey (1890-1966)
‘The Entombment’, 1930
engraving, signed ‘Claughton Pellew’,
inscribed and dated as titled and numbered
24/30 in pencil
37 x 28cm
£300 - 400
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24-132 20TH CENTURY
Lot 38
*Charles Rebel Stanton (1890-1954)
‘Noeux-Les-Mines, September 1915’;
‘Béthune, May 1918’;
‘Philosophe, March 1918’;
‘Kemmel’
each signed ‘C Rebel/Stanton’, each inscribed and dated as titled, watercolour and ink
16 x 19.7cm, 16 x 20cm, 19 x 24.2cm and 12.2 x 17.6cm (4)
£800 - 1,200
Charles Rebel Stanton served with the First Surrey Rifles in Northern France and Belgium during the
First World War. Although Stanton was not an official war artist, his stirring watercolours document
the devastation of towns and villages that he visited while on active military service. There are several
examples in the collection of Southwark Heritage Centre.

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Lot 39
Beatrice How (1867-1932)
‘Mother and Child’
signed ‘B. How’ c.r., pastel
41 x 33cm
£400 - 600
How’s work focused on the mother and child subject.
Her influences of Bonnard and Vuillard were informed
by her time in Paris, she entered the Académie
Delécluse in 1893 and from 1902 regularly exhibited
at the Salon, showing as many as 147 works there
during her lifetime. How is represented in the Tate
Collection with her painting ‘L’Infirmière’ c.1914-18.
Lot 40
Wyndham Tryon (1883-1942)
‘El Bano de Diana’, 1923
signed ‘Wyndham Tryon’ and inscribed as titled on
old backboard attached verso, watercolour
36.5 x 26cm
£300 - 500
Exhibited:
New English Art Club, Summer 1923,
no.138.
A student at the Slade School during the pivotal years
of 1906-11, Wyndham Tryon visited Spain with friend
and fellow student Darsie Japp in 1911 and 1914. He
first showed at NEAC in 1909, with exhibits between
1911 and 1925 focused on Spanish landscape
subjects. He became a member in summer 1920. The
present lot depicts a celebrated waterfall at the Piedra
Monastery near Saragossa, a related composition
is held by the British Museum (museum number
1940,0413.27).
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Lot 41
*Mary Jewels (1886-1977)
The Devil’s Rock
signed ‘M. D. JEWELS’ l.l. and inscribed as titled and dated 1927 verso, watercolour on paper
26 x 36cm
£300 - 400

24-132 20TH CENTURY
Lot 42
Philip Wilson Steer (1860-1942)
‘Low Tide at Maldon’
signed and dated ‘P W Steer 1920’ l.r.,
oil on canvas
51 x 81cm
£3,000 - 5,000
Provenance:
The Artist’s Studio Sale, Christie’s, 16 July 1942;
Lessore, Beaux Arts Gallery, London;
K K Wood, Grange over Sands.
Exhibited:
Goupil Gallery, London, 1920;
New English Art Club, 1921;
British Council Exhibition, Johannesburg, 1936;
Pittsburgh, 1937;
Bury Art Gallery, ‘Steer, Sickert and Epstein’,
1964.
Literature:
Bruce Laughton, ‘Philip Wilson Steer’,
Clarendon Press, Oxford, 1971, p.154, no.559;
D S MacColl, ‘The Life, Work and Setting of
Philip Wilson Steer’, Faber and Faber, London,
1946, p.219.
Lot 43
*William Heaton Cooper (1903-1995)
Windermere from Langdale Fell
signed ‘w. heaton cooper’ l.l., watercolour
28 x 37cm
£500 - 700
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Lot 44
Mary Evelina Kindon
(c.1855-c.1925)
The Fairy Dream
signed ‘M.E.KINDON’ l.r., oil on
canvas
43.5 x 91cm
£1,500 - 2,000
Lot 45
*Maxwell Ashby Armfield
(1881-1972)
Corfe Castle, c.1910
oil on panel
23.1 x 32cm
£300 - 500
Provenance:
With the Fine Art
Society, London.
Exhibited: Leicester Galleries,
1958;
Southampton Art
Gallery (and tour)
‘Maxwell Armfield’,
1978, no.66.
Lot 46
Harry Phelan Gibb
(1870-1948)
‘Exmoor’
signed ‘Phelan Gibb’ l.l.,
also signed, inscribed and
dated 1919 verso, oil on
board
46 x 56cm
£300 - 500
Lot 47
*George Bissill
(1896-1973)
‘Netherton, Hampshire’
signed ‘BISSILL’ l.l., inscribed
as titled on exhibition label
verso, oil on board
23.5 x 28.5cm
£300 - 500
Exhibited:
Bath Society
of Artists
50th Exhibition,
1955, no.1.
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24-132 20TH CENTURY
Lot 48
*Walter John Bayes (1869-1956)
‘The Terrace’
signed and inscribed with title and artist’s
address on label verso, oil on canvas board
25 x 26cm
£1,000 - 1,500
Bayes was a founder member of both the
Camden Town Group and the London Group,
working alongside artists such as Walter
Sickert, Spencer Gore, Jacob Epstein and
Wyndham Lewis.
Lot 49
*Charles Ernest Cundall (1890-1971)
Cattle by a lake in a hilly landscape
signed ‘Charles Cundall’ l.r., oil on canvas
47 x 77cm
£400 - 600
Lot 50
*Jack Pender (1918-1998)
‘Harbour Mousehole’, 1948
signed ‘J. Pender’ l.r., inscribed as titled and
dated ‘48’ in pencil verso, oil on canvas board
33.5 x 41cm
£800 - 1,200
Lot 51
*Frank Griffith (1889-1979)
A Venetian Canal
stamped ‘Frank Griffith Atelier’, oil on canvas
60 x 47cm
£300 - 400
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Lot 52
*Elinor Bellingham-Smith (1906-1988)
The Round Pond, Kensington Gardens
oil on panel
16.2 x 23.3cm
£600 - 800
Provenance:
Christie’s London, 26 October
1995, lot 157.
Lot 53
*Nina Hamnett (1890-1956)
‘Hampstead’
signed ‘Nina Hamnett’, inscribed as titled
and dated 1934 l.l., pencil, pen and ink
and watercolour
19 x 27cm
£800 - 1,200
Lot 54
*Nina Hamnett (1890-1956)
‘Old Cockney’
signed and dated ‘Nina Hamnett 1943’,
pen and ink
34.5 x 24cm
£300 - 400
Lot 55
Bernard Meninsky (1891-1950)
Mother and Child, c.1920
signed ‘Meninsky’ l.c., pencil
34.5 x 21.6cm
£300 - 500
Meninsky’s first solo exhibition at the Goupil
Gallery (1919) showed a series of ‘Mother
and Child’ drawings, the following year he
published a selection of works in ‘Mother and
Child: Twenty-Eight Drawings’ (London: John
Lane, 1920), which portrayed his first wife,
Margaret O’Connor, and their son during their
short-lived marriage (1917-1919).
Sold with a reproduction copy of ‘Mother
and Child Twenty-Eight Drawings by Bernard
Meninsky with Text by Jan Gordan’.
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24-132 20TH CENTURY
Lot 56
Bernard Meninsky (1891-1950)
Portrait of Elisabeth Lewson
signed ‘Meninsky’ l.r., oil on canvas
41 x 35.5cm
£1,200 - 1,800
Lot 57
*Marjorie Lilly (1891-1980)
Portrait of a woman seated against a window; verso A town view by a
river
signed ‘Lilly’ l.r., oil on panel
33 x 23.5cm
£800 - 1,200
Exhibited:
Michael Parkin Fine Art Limited, ‘The Sickert Women and
the Sickert Girls’, 1974, cat no. 73 (sold with a copy of
the catalogue).
Marjorie Lilly was born in London and studied at the Slade, she met
Walter Sickert in 1917 when she had a studio in the same building as
him. They became closely associated and she used to accompany him
on his quest to paint the perfect interior. Lilly exhibited widely at the
Baillie Gallery, London Salon, New English Art Club and Royal Society of
British Artists. Sadly, much of her work was destroyed when her flat was
bombed during the Second World War. Lilly wrote ‘Sickert: The Painter
and his Circle’, which was published in 1971.
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Lot 58
Alexander Saint-Paull (20th century)
Portrait of Miss Elizabeth Hanley, three-quarter length seated,
in a green dress
signed ‘Saint-Paull’ l.l., oil on canvas
90.5 x 70.5cm
£400 - 600
Elizabeth Hanley, also known as Betty, was a socialite and lived a
life touched by the glamour of high society. Born in Grand Rapids,
Michigan, throughout her childhood she lived in many different
countries including Germany, Austria, Italy and Spain. In the late
1940s, she moved to the UK and stayed as a paying guest with
the former Empress of Austria in Kensington. She later moved into
her own house in Belgravia where, in the words of the vendor, she
hosted ‘the great and the good of all ages, the only requirement
being that you must have a title’.
The artist Saint-Paull painted many well-known stars of the day
including Rita Hayworth and even Lord Mountbatten. Betty’s life
also crossed paths with the royal family, she held a Royal Warrant
for lighting from 1978, which was sold from her shop in Elizabeth
Street. Above the shop lived Anthony Armstrong Jones, the future
husband of Princess Margaret.
Later in life, Betty sold the emeralds worn in this portrait to help
pay for the restoration of The Ring at Audley End. This portrait
was displayed in the dining rooms of many of her friends including
Lord Braybrooke, Lord Parmoor, Sir Henry Marking and the
Sainsbury family.
Lot 59
*Anna Zinkeisen (1901-1976)
Portrait of Grace Haver, seated with two cats
signed l.r., oil on canvas
76 x 63cm
£500 - 800
Lot 60
*Joyce Platt (20th century)
Portrait of a young lady, seated three-quarter
length in a pink dress
signed and dated ‘Joyce Platt 1941’ u.l.,
oil on canvas
61 x 51cm
£300 - 500
Lot 61
*Geoffrey Hamilton Rhoades
(1898-1980)
Study of the artist’s aunt
signed and dated ‘RHOADES 32’ l.r.,
oil on canvas
46 x 36cm
£300 - 500
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Lot 62
*Ruskin Spear RA (1911-1990)
‘In The Local’
inscribed as titled on artist’s label verso,
oil on board
75 x 29cm
£2,000 - 3,000

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Lot 63
*Ethelbert White (1891-1972)
Seated nude
signed ‘Ethelbert White’ l.r., oil on canvas
board
35.5 x 25cm
£500 - 800
Lot 64
*Iain Macnab (1890-1967)
A nude resting in a chair, with a woman
seated at the table beside her
oil on canvas
81 x 100cm, unframed
£600 - 800
Lot 65
English School, 20th century
Seated nude
oil on canvas
61.4 x 46.1cm
£250 - 350
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24-132 20TH CENTURY
Lot 66
*Duncan Grant (1885-1978)
Paul Roche reclining
signed with initials and dated ‘Jan/53’ l.r., black chalk
43 x 59cm
£1,500 - 2,500
Provenance:
Purchased from Duncan Grant by his personal friend
John Haylock (author), never viewed and hung in his
library. Gifted in his will to the present owners.
Lot 67
English School, c.1930s
Study of a young man leaning on a stool
oil on canvas laid down on board
72 x 45cm
£300 - 400
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68
Lot 68
*Nancy Sharp (1909-2001)
A London Auxiliary Ambulance Driver
signed and dated ‘N SHARP 40’ u.l., oil on canvas
31 x 29cm
£300 - 400
Provenance:
Sally Hunter Fine Art.
Lot 69
Ethel Gabain (French-British, 1883-1950)
‘The Evacuation of Children from Southend,
2nd June 1940’
lithograph, signed ‘Ethel Gabain’ in pencil l.r.,
signed in plate ‘E. Gabain’, inscribed as titled
on gallery label verso
plate 30.8 x 50cm
£300 - 500
Lot 70
*Matthew Smith (1879-1959)
Sleeping girl
signed with monogram l.l., gouache
41.5 x 33cm
£300 - 500
Provenance:
Lot 71
*Anthony Gross (1905-1984)
‘Woman and Oxen’, 1958
etching, signed ‘anthony gross’ in pencil l.r., inscribed
as titled and numbered 8/50 in pencil l.l., signed
‘A. K. Gross’ in plate
sheet 44 x 59cm, unframed
£300 - 500

24-132 20TH CENTURY
Lot 72
*Frank Dobson RA (1886-1963)
Mother and Child, 1914
signed and dated ‘F O Dobson/14’
in pencil l.l., oil on board
31.5 x 39.5cm
£1,200 - 1,800
Provenance:
Christie’s, 3 December
2003, lot 632.
Lot 73
Circle of Leonora Carrington
(1917-2011)
Surrealist animals and jesters
oil on canvas
40 x 38.1cm
£300 - 500
Lot 74
*David Gommon (1913-1987)
‘A Yorkshire Town’
signed ‘Gommon’, inscribed as titled and
dated 1944 l.l., mixed media on board
53.5 x 72cm
£300 - 400
72
73
74

30
20TH CENTURY 24-132
30
Lot 75
Denys George Wells
(1881-1937)
Still life with a blue and white
dish, vase and fruit on a striped
cloth
signed and dated ‘Denys G. Wells
37’ l.r., oil on canvas
62 x 75cm
£800 - 1,200
Provenance:
The artist’s family,
thence by descent;
Sotheby’s, ‘Victorian
and Edwardian Art’,
12 July 2007, lot 73;
Farm House, Farm
Street, Mayfair,
London.
Lot 76
*Philip Naviasky (1894-1983)
‘Flowerpiece’
signed ‘NAVIASKY’ l.r., oil on
board
63 x 76cm
£300 - 400
Lot 77
*Vera Cuningham (1897-1955)
‘Design with plant motif II’,
c.1938
pen and ink and watercolour
43 x 36cm
£200 - 300
Provenance:
With Sally Hunter
Fine Art.
Lot 78
*Vera Cuningham (1897-1955)
‘Design with Plant Motif III’,
c.1938
43 x 36cm
£200 - 300
Provenance:
With Sally Hunter
Fine Art.
Lot 79
*Rudolf Helmut Sauter
(1895-1977)
‘The Birthday Table’
signed and inscribed as titled on
artist’s label verso, oil on canvas
51 x 61cm
£600 - 800
With old label inscribed ‘This
picture entitled The Birthday Table
is the property of George Gerald
Todd given to him by his aunt
R G Armitage as a momento of
their... visit 1950 to the home of
the artist R H Sauter of Ardington
Court, Nr Ledbury’.
77
79
76
78
75

24-132 20TH CENTURY
Lot 82
*Rowland Suddaby (1912-1972)
‘Flowers in a Pot’
signed and dated ‘R Suddaby ‘47’ l.r., pen and ink and watercolour
43 x 55cm
£300 - 500
Provenance:
With the Redfern Gallery, London, 1947.
Lot 83
*Malcolm Arbuthnot (1874-1967)
Outbuilding with landscape beyond
watercolour
48.5 x 59cm
£300 - 500
Originally a photographer, Arbuthnot was a signatory of the
1914 Vorticist manifesto published in ‘BLAST’ magazine along with
other leading lights of British modernism such as Wyndham Lewis,
Edward Wadsworth, William Roberts and Ezra Pound. Arbuthnot
focused on painting from the end of WW1 onwards. He retired to live
in Jersey in 1931 and thereafter his painting was often inspired by its
landscape and scenery.
Lot 80
*Hans Schwarz
(Austrian-British, 1922-2003)
The artist’s son on a tank at a firing range
in Wales
signed and dated ‘H Schwarz 53’ l.r., oil on
board
43 x 71cm
£300 - 500
Provenance:
Purchased from the artist at his
Greenwich studio in 1992.
Lot 81
*Rowland Suddaby (1912-1972)
Still life of a vase of flowers, a fruit bowl, a
book and a pipe on a table
signed and dated ‘R. Suddaby ‘37’ u.r., pen
and ink and watercolour
55 x 68cm
£300 - 500
80
82
83
81

32
THE ELSIE HENDERSON COLLECTION
84-108
Elsie Henderson in her Holland Park studio c.1926
working on a sculpture of a lioness
A collection of works from the studio of Elsie Marian Henderson,
Baroness de Coudenhove (1880-1967)
Elsie Henderson was one of the most versatile and accomplished
artists of the inter-war years, and considered as one of the finest
draughtsmen of animals in Europe. She was internationally
renowned for her vigorous, passionate drawings, prints and
sculptures of the jungle cats she sketched incessantly at London Zoo.
Elsie Henderson was European in her training and interests. Having
become a student at the Slade in 1903 under Henry Tonks, Fred
Brown and Philip Wilson Steer, she developed her extraordinary sense
of line and ability to observe the world around her. She later studied
and copied the masters in galleries in Dresden, Berlin and central Italy.
From 1908, she continued her training in Paris, attending a number
of progressive ateliers including La Palette, where Cubist Amédée
Ozenfant was a fellow student, and also that of the sculptor Filippo
Colarossi – who not only admitted women, but also allowed them
to draw from the male nudes in his life classes as well as the female.
By the time she was at the studio of Fauvist Othon Friesz in 1912,
Henderson had come into contact with many of the most influential
art teachers in Paris and London.
Having spent the First World War in Guernsey, her childhood
home, Henderson enrolled at Chelsea Polytechnic in 1916 to learn
lithography under Ernest Jackson. She became famous immediately
for the series of animal lithographs she began then - outstanding
in their grasp of form and design and almost Japanese use of space
- and for the London Zoo drawings on which they were based. In
1916, the Director of the Fitzwilliam Museum, Cambridge, acquired
six of these works from a New English Art Club exhibition, and in
1917, commenting on a Women’s International Art Club exhibition,
the art critic Sir Claude Phillips wrote ‘Nothing in the gallery equals
in suppleness and power, in intensity and passion, Miss Elsie M
Henderson’s studies in black chalk of the royal beasts of the cat tribe’.
That year she was commissioned by London Transport to design a
London Zoo poster for the Underground. She set up her own printing
press, and became a member of the lithographers’ Senefelder Club.
During the early 1920s, Elsie Henderson experimented with stone and
cement sculpture, and developed an expertise in clay-modelling and
bronze-casting. Her self-doubt was tempered by her close friendships
with strong, independent women like the painter Orovida Pissarro,
and she went on to hold solo exhibitions at the Leicester, Redfern
and Storran galleries, and to exhibit with other well-known artists
like Paul Nash. Her work was bought by and presented to museums
worldwide.
Henderson returned to Guernsey in 1928, marrying the French consul
Baron Henri de Coudenhove. Continuing to enjoy international
success, she worked hard in her purpose-built studio producing
linocuts as well as lithographs, and vibrant, Deco-style still-lifes and
portraits of women in oils and pastels.
All this changed, however, with the Second World War and the
German Occupation of the island. With the couple facing starvation,
Henderson was forced to abandon her art to grow food. In 1946, the
Baron died from the consequences of malnutrition, and Henderson
moved with her sister to Hadlow Down in Sussex.
In Sussex, Elsie once again built her own studio, and with renewed
determination to experiment and express her feelings in her art,
worked obsessively, almost daily, until her death in 1967. This energy
is particularly evident in the series of watercolours and oils of the
Sussex countryside she produced during the 1950s, when she was
again exhibiting with the best-known British artists, for example at
the Leicester Galleries in 1954. With their slashes of vivid colour, and
often tending towards abstraction, many of these in their treatment
of light have a visionary quality – as if Henderson was perhaps
reaching a state of acceptance after her vicissitudes, and sensing the
end of her life.
In 1985, the Parkin Gallery, London, revived Elsie Henderson’s
memory with an exhibition of her work alongside that of Orovida
Pissarro. The Sally Hunter Gallery then held three further Elsie
Henderson exhibitions. Henderson’s life spanned a long, important
period in British history, with many changes in society and artistic
styles. The significance of her contribution to the Modern British art
movement is now, again, being recognised and celebrated by art
historians and collectors alike.

84-108 THE ELSIE HENDERSON COLLECTION
Lot 85
*Elsie Marian Henderson (1880-1967)
A windy landscape with pink sky, 1953
signed ‘E Henderson’ l.l., oil on board
51 x 61cm, unframed
£400 - 600
Provenance:
From the artist’s estate by descent.
Lot 84
Bright red sun, 1953
signed ‘E. Henderson’ l.l., oil on board
51 x 61cm, unframed
£400 - 600
Provenance:
Lot 86
Tree tunnel with shaft of white light
oil on board
50.7 x 61cm, unframed
£400 - 600
Provenance:
84
85
86

34
THE ELSIE HENDERSON COLLECTION 84-108
34
Lot 88
Flaming tree trunks with orange, 1952
oil on board
£300 - 500
Provenance:
Lot 87
Houses with figures, 1953
signed ‘E. Henderson’ l.l., oil on board
50 x 61cm, unframed
£400 - 600
Provenance:
90
89
88
87
Lot 89
‘Downs in summer’
watercolour and biro
28 x 34cm, unframed and mounted
£200 - 300
Provenance:
From the artist’s estate by decent.
Lot 90
Landscape with a village beyond; landscape with trees, two-sided
single sheet
watercolour, pen and ink and charcoal, reverse greens, watercolour
28.5 x 35.5cm, unframed
£200 - 300
Provenance:

Lot 91
*Elsie Marian Henderson
(1880-1967)
Study of a dancer with
three figures
mixed media on board
51 x 61cm, unframed
£1,000 - 1,500
Provenance:
From the
artist’s estate
by descent.
Lot 92
An elegant seated lady turning her back
charcoal and ink, very delicate paper
29.8 x 29.8cm, unframed but mounted
£150 - 250
Provenance:
Lot 93
A still life of fish
charcoal on fine brown paper
30.3 x 45cm, unframed and mounted
£150 - 250
Provenance:
93
92
91

36
36
Lot 95
(1880-1967)
Tree tunnel with white light
watercolour with pen and ink
£150 - 250
Provenance:
From the artist’s
estate by descent.
Lot 94
Wooded Landscape with sun
watercolour, biro, charcoal
28 x 33.2cm, unframed;
Landscape with trees
watercolour, crayon and biro
25.4 x 33cm, unframed and mounted (2)
£300 - 500
Provenance:
From the artist’s estate
by descent.
96
95
94
97
Lot 96
Landscape with rays
charcoal, pastel, watercolour
23.2 x 33.8cm, unframed and mounted
£200 - 300
Provenance:
From the artist’s estate by
descent.
Lot 97
(1880-1967)
‘Sun and Tree’
watercolour, biro
22.8 x 30cm, unframed and
mounted
£200 - 300
Provenance:
From the artist’s
estate by descent.

Lot 100
A still life of flowers in a blue vase on a table
pastel and watercolour
£200 - 300
Provenance:
Lot 98
Pink flowers with apples, October 1954
signed ‘E Henderson’ l.l., inscribed on a label verso
‘E. HENDERSON/SUNNYSIDE COTTAGE/HADLOW
DOWN/E. SUSSEX/”Flowers Fruit’, oil on board
£400 - 600
Provenance:
Lot 99
Flowers in a grey vase and apples
mixed media
35.5 x 41cm, unframed and mounted
£200 - 300
Provenance:
Lot 101
Still life with green outlined grapes and five apples
watercolour, biro, ink
22 x 27.5cm, unframed
£150 - 250
Provenance:
99
98
101
100

38
38
Lot 102
Standing Ox
bronze with a brown patina
6cm wide
27cm deep
14cm high
£400 - 600
Provenance:
Lot 103
Reclining lion
ciment fondu
48.5cm wide
20cm deep
20cm high
£400 - 600
See Manchester Art Gallery lioness in bronze, 1923.
Provenance:
Lot 104
A lion and lioness, c.1920s
plaster on a wooden base
60cm wide
23cm deep
27cm high, including wooden base
£300 - 500
Provenance:
From the artist’s estate
by descent.
102
104
103

Lot 108
(1880-1967)
Woman with muff, blue hat and
a biplane in the sky
pen and ink with gouache,
laid on card
32.5 x 22.5cm, unframed;
Woman in a green coat with
a muff
crayon, watercolour and biro
31 x 22.2cm, unframed and
mounted (2)
£200 - 300
Provenance:
From the artist’s
estate by descent.
Lot 105
Art Deco head
signed ‘Elsie Henderson’ l.l., charcoal and pastels
24 x 19cm, unframed
£150 - 250
Provenance:
108
107
106
105
Lot 106
Female seated nude
signed ‘E Henderson’ l.l., pen and ink
watercolour and crayon
33 x 22cm, unframed and mounted
£150 - 250
Provenance:
Lot 107
Female study, looking right
charcoal,
together with Head study
charcoal
23.5 x 19cm, unframed and mounted (2)
£150 - 250
Provenance:

40
20TH CENTURY 24-132
40
Lot 109
*Jean-Franck Baudoin (French, 1870-1961)
The Orange Canoe
oil on canvas
59.5 x 80.5cm
£1,500 - 2,000
Lot 111
Breaking waves
oil on canvas
46.2 x 65.5cm
£600 - 800
111
110
Lot 110
Roses blanches
signed ‘Jean Franck Baudoin’ l.r., oil on canvas
50 x 61cm
£1,000 - 1,500
109

24-132 20TH CENTURY
112
114
113
Lot 112
‘Jardin du Palais de Chaillot, Paris’
signed ‘Jean Franck Baudoin’ l.l., inscribed as
titled on label verso, oil on canvas
59.7 x 80.8cm
£1,500 - 2,500
Provenance:
Christie’s, 29 April 2008, lot 241
(£58,000).
Lot 113
*Jean-Franck Baudoin
(French, 1870-1961)
‘Quelques Roses’, 1940
signed ‘J.F. Baudoin’ and inscribed and
dated 25 Juin 1940 u.r., oil on canvas
61.5 x 45.4cm
£800 - 1,200
Lot 114
*Jean-Franck Baudoin
(French, 1870-1961)
Jardin St Cloud
signed ‘J. F. BAUDOIN’ l.r., oil on canvas
46.5 x 61.9cm
£800 - 1,200
Provenance:
With Petley Fine Art, London.

42
20TH CENTURY 24-132
42
Lot 115
Adolphe Valette (French, 1876-1942)
Landscape at Blace
oil on board, with ‘Tib Lane Gallery’
exhibition labels 1973 and 1986 verso
13 x 18cm
£800 - 1,200
Exhibited:
Tib Lane Gallery, Manchester,
1973 and 1986.
This scene is likely set in Blace en Beaujolais
where Valette visited each summer in the
period before WW1 and later retired to in
1928 (see Cecilia Lyon, ‘Adolphe Valette’,
Phillimore, 2006, pp.63-4, 83-4 for the
artist’s connection to Blace). Valette was
a tutor at Manchester School of Art from
1907-1920. His best-known pupil was
L S Lowry (1887-1976), who was a great
admirer of Valette.
Lot 116
Gyula Háry (Hungarian, 1864-1946)
Fair in Gellert Square, by the Liberty Bridge,
Budapest
signed ‘G Hary’ and indistinctly dated l.r.,
oil on panel
26 x 35cm
£600 - 800
116
115

24-132 20TH CENTURY
Lot 117
Fedor Ivanovic Zacharov
(Russian, 1882-1968)
Portrait of Vladimir Lenin (1870-1924),
seated at a table
signed l.r., inscribed verso, oil on canvas
90 x 110cm
£1,500 - 2,000
Lot 118
Spare lot
Lot 119
Marie Vorobieff Marevna
(Russian, 1892-1984)
A young couple resting; verso, Head of
a young man
signed ‘Marevna’, indistinctly inscribed
and dated 1937 in pencil, coloured pencils
£300 - 400
117
119

44
20TH CENTURY 24-132
44
Lot 120
*Claude Venard
(French, 1913-1999)
‘Damier et Cubes’
signed ‘C VENARD’ l.r., oil on canvas
46 x 38cm
£2,000 - 3,000
Provenance:

24-132 20TH CENTURY
LOUDON SAINTHILL (AUSTRALIAN, 1919-1969)
Artist, costume and set designer, Loudon Sainthill lived a life designing for stars of the ballet, opera, theatre and film. He was born in
Tasmania, but moved to Melbourne where he met his lifelong partner, Harry Karl Tatlock Miller (1913-1989). His love of theatre design began
in Australia, where he designed for touring ballets. His paintings of the dancers garnered attention and, in 1939, he was invited to London to
exhibit at the Redfern Gallery. This success was followed by exhibitions in Australia.
During the Second World War, Sainthill served with the Australian Army. He was discharged in 1946 and briefly lived with Miller in Merioola,
which was also the home of a group of artists including Alec Murray, Jocelyn Rickards and Donald Friend.
Returning to London in 1949, Sainthill’s career took off; he designed for the ballet ‘Ile des Sirenes’ starring Margot Fonteyn (1950) and
then ‘The Tempest’ at the Shakespeare Memorial Theatre (1951). One of his most celebrated projects was for the set and costume designs
of ‘Le Coq d’Or’ at the Royal Opera House, Sainthill being given this commission after Marc Chagall suddenly withdrew from the project.
Sainthill later won a Tony for his work on ‘The Canterbury Tales’ (1967). During his lifetime, he worked on more than fifty productions, and
published multiple books of his designs and paintings with his partner, Miller, enabling his innovative and vibrant designs to live on to inspire
future generations.
Lot 121
Loudon Sainthill
(Australian, 1919-1969)
The Musician
pen and ink, watercolour
and gouache
77 x 57cm
£6,000 - 8,000
A work from the same series
of ‘The Musicians’ and
dated 1958 is in the collection
of the National Gallery
of Australia.
Provenance:
Bequeathed to
the current owner
by Alfred Hecht.

46
20TH CENTURY 24-132
46
Lot 123
*Salvador Dali (Spanish, 1904-1989)
‘Monument to the Ideal Doctor’, 1973
lithograph in colours, signed in pencil
l.r. and numbered ‘258/300’ in pencil
l.l., signed ‘Salvador Dali’ in plate
72.5 x 52.5cm
£400 - 600
Lot 124
*Salvador Dali (Spanish, 1904-1989)
St Mark’s Square, Venice
lithograph in colours with embossing,
signed in pencil l.r. and numbered
‘E374/450’ l.l.
51.5 x 73cm
£400 - 600
Lot 125
*Bernard Cathelin (French, 1919-2004)
Bouquet d’anniversaire
signed ‘Cathelin’ in pencil l.r., inscribed ‘A Marion et
Ted Donahue/ce ‘Bouquet d’anniversaire’ 1958.1968/
en tres affectueux souvenir’, dated ‘12.X1.68’ and
numbered ‘3/100’
41 x 61cm
£500 - 800
Provenance:
Farm House, Farm Street, Mayfair, London.
125
124
Lot 122
*Marc Chagall (Russian-French, 1887-1985)
Moise Piate 18, from Songes
lithograph in colours, from an edition of 50 and
10 proofs, published by Gerald Cramer, Geneva,
1981, signed ‘Marc Chagall’ and numbered 20/50
in pencil
plate 30.3 x 23.4cm
£1,500 - 2,500
Provenance:
Farm House, Farm Street, Mayfair,
London.
123
122

24-132 20TH CENTURY
Lot 126
Paul Gauguin (French, 1848-1903)
‘Auti Te Pape’ (Kornfeld 13)
woodcut on China paper, inscribed ‘7th provetryk’ (trial proof), from
an edition of 100, published by the artist’s son, Pola Gauguin, in
1921, signed ‘Pola Gauguin imp’ and inscribed Paul Gauguin fecit’
in pencil
image 20.4 x 35.3cm
£1,000 - 1,500
Provenance:
Lot 127
Paul Gauguin (French, 1848-1903)
‘Maruru’
woodcut on China paper, numbered 22 from an edition of 100,
published by the artist’s son, Pola Gauguin, in 1921, signed ‘Pola
Gauguin imp’ and inscribed Paul Gauguin fecit’ in pencil
image 20.2 x 35.5cm, sheet 26.3 x 41.8cm
£600 - 800
Provenance:
127
126

48
20TH CENTURY 24-132
48
FRANÇOISE GILOT (FRENCH, b.1921)
Nearing her one-hundredth birthday on 26 November this year, Marie Françoise Gilot has
lived a remarkable life, from her decade-long love affair with Pablo Picasso in her early
twenties, to becoming the talented painter and writer celebrated today.
A gifted artist from a young age, Gilot was educated at the Sorbonne, Paris and Cambridge
University. In 1939, she began to study law, but abandoned her studies after a few years
to pursue her love of painting. In 1943, Gilot was in a restaurant dining with a friend a few
tables across from Pablo Picasso. He was sitting with his then lover, Dora Maar, the surrealist
photographer. He approached Gilot and offered an invitation to his studio. Aged just
21 years old at the time, Picasso was significantly older, aged 61. Yet Gilot was fascinated,
and became his muse, advisor and lover. They had two children together, Claude (b.1947)
and Paloma (b.1949). She said of her relationship with Picasso, ‘it was a catastrophe I didn’t
want to avoid’.
In 1953, Gilot left the artist, taking their two children with her. She only saw him once more
in her lifetime. Gilot continued to paint, but Picasso discouraged galleries and dealers from
accepting her work, so noticing instead her following in America, she relocated to New York
in 1961. Exacerbating the bitterness of their split, Gilot published her memoir ‘Life with
Picasso’ (1964), which became an instant bestseller and sold over a million copies.
Painted in 1963, we are delighted to offer the bold work ‘Cortege’. Executed in a brilliant
red, its vibrant yellow circles with blue and black lines appear to tumble over each other in
the way of organised chaos. Gilot has said on a number of occasions that red is her favourite
colour; in fact an exhibition at the Elkon Gallery (2019) specifically dedicated itself to the
colour red in Gilot’s work.
Gilot’s output has continued to grow in popularity and, in May of this year, the artist’s
‘Paloma à la Guitare’ (1965) became the most expensive work by Gilot to be sold at auction,
hammering down well above estimate at £750,000.
Pablo Picasso and Françoise Gilot on set of
the film ‘Le Mystère Picasso’, 1955
© Jerome Brierre/Bridgeman Images

24-132 20TH CENTURY
Lot 128
*Françoise Gilot (French, b.1921)
‘Procession’, 1963
signed ‘F. Gilot’ l.l., inscribed ‘Cortege’
(procession) verso, oil on canvas
22.5 x 27cm
£6,000 - 8,000
Sold with a handwritten letter from the
artist dated 5 October 1966, certifying that
this was painted by her three years earlier.
Provenance:
Galleria San Stefano, Venice.

50
20TH CENTURY 24-132
50
Lot 129
*Pablo Picasso (Spanish, 1881-1973)
‘Profil de Jeune Fille on Chapeau’
lithograph, signed and dated u.l.
sheet 37.3 x 28cm;
and another,
‘Madame Trois’
lithograph in colours, signed, published
by Cercle d’Art
sheet 9 x 17.5cm (2)
£400 - 600
Lot 130
‘Fruit press’
lithograph in colours, signed and
numbered XXI/XXX
sheet 28 x 21.5cm;
and another,
‘Toros y Toreros’
lithograph in colours, signed, published
by Cerle d’Art, Paris
sheet 37.1 x 26.6cm (2)
£400 - 600
130
129
129

24-132 20TH CENTURY
Lot 132
‘Luncheon on the grass, after Edouard Manet’
lithograph in colours, signed and numbered XXII/XXX,
printed by Cercle d’Art
sheet 28 x 21.5cm;
and another,
‘Faun and Goat’
lithograph in colours, signed and numbered XXI/XXX,
published by Cercle D’Art, Paris
image 16.3 x 19.7cm, unframed (2)
£400 - 600
Lot 131
‘The arena’
lithograph in colours, signed
sheet 26.7 x 37cm, unframed
£200 - 300
131
132

52
MODERN BRITISH 133-214
SECTION TITLE
XX-XX
MODERN BRITISH
133-214
Lot 133
*Laurence Stephen
Lowry RA (1887-1976)
‘Britain at Play’
offset lithograph in
colours, signed ‘L S Lowry’
in pencil l.r., with the
Fine Art Trade Guild blind
stamp ‘HCK’
image 44.6 x 59.5cm
£1,000 - 1,500
Lot 134
*Laurence Stephen
Lowry RA (1887-1976)
‘Great Ancoats Street’
offset lithograph, signed
‘L S Lowry’ and numbered
332/850 in pencil,
published by Harold Riley,
Salford, on laid paper
26.5 x 36.5cm
£1,500 - 2,000
134
133

133-214 MODERN BRITISH
135
Arthur Delaney was born in Manchester and worked in a textile factory. He began painting for relaxation as
opposed to having any formal training, although after his retirement he became well-regarded with his first one
man show in 1974 selling out within an hour. One of his big influences was Laurence Stephen Lowry, another
Manchester artist whose industrial landscapes and views of factories and crowds reminded Delaney of his youth
and inspired him to create his own landscapes. His work sought to capture the atmosphere of the 1930s, for
which he held such nostalgia, yet unlike Lowry his works were true likenesses of the locations he chose. The two
artists were friends and it is fascinating to see such a striking and frank depiction of Lowry, clearly painted by an
artist who knew him well. Close cut and without background, the head is uncompromising within the picture
frame; while Lowry is not looking at the viewer, his gaze is nonetheless sharp and piercing, alive with intelligence.
Lot 135
*Arthur Delaney
(1927-1987)
Portrait of the artist
Laurence Stephen Lowry
(1887-1976)
oil on board
39 x 29cm
£3,000 - 5,000
Provenance:
Jack Levy.

54
Lot 136
*Laurence Stephen
Lowry RA (1887-1976)
View of a Town
offset lithograph
in colours, signed
‘L. S. Lowry’ in pencil
l.r., with Fine Art Trade
Guild stamp
46 x 55cm
£1,500 - 2,000
Lot 137
*Laurence Stephen
Lowry RA (1887-1976)
Bloomsbury Square,
June 1967
lithograph on arches,
signed ‘LS LOWRY’ and
numbered 12/75
sheet 56 x 76cm,
unframed
£3,000 - 5,000
137
136

Lot 138
*Laurence Stephen Lowry RA
(1887-1976)
‘Market Scene in a Northern Town’
offset lithograph in colours, signed
‘L. S. Lowry’ in pencil l.r.
48 x 63cm
£2,000 - 3,000

56
Lot 139
*John Piper CH (1903-1992)
‘Oxburgh Hall’
lithograph in colours, with Christie’s
Contemporary Art and National Trust blind
stamps, signed ‘John Piper and numbered
49/120 in pencil
61 x 48cm
£500 - 700
139
140
Lot 140
‘Long Melford Church’ (Levinson: 336)
lithograph in colours, published by Curwen
Studio, 1982, signed ‘John Piper’ and
numbered 259/275 in pencil
sheet 56 x 77.5cm
£800 - 1,200

Lot 141
Towyn, North Wales, 1951
signed ‘John Piper’ l.r., watercolour and oil pastel
image 12 x 26cm
£3,000 - 5,000

58
144
143
142

Lot 142
*Michael Ayrton (1921-1975)
‘Cain IV’, 1958
signed ‘Michael Ayrton’ pencil l.r., inscribed as titled and
dated ‘20.4.58’ in pen l.r., ink and wash
44.5 x 23.3cm
£400 - 600
Lot 143
‘Desolate Garden’, c.1945
inscribed as titled l.r., pencil
14.7 x 23.5cm
£300 - 500
A powerful neo-romantic drawing closely related to two works from
1944, ‘Convulsive Landscape’ and ‘Tree Forms’, all of which show
Ayrton’s response to and development of ideas drawn from Paul
Nash and Graham Sutherland, both of whom Ayrton met between
1944-46. The religious/naturalistic imagery, with an agonised body
configured of branches, roots and stones, builds imaginatively
on Sutherland’s own depictions of Christ’s crucified suffering,
first produced during this period. (See: Peter Cannon-Brookes,
‘Michael Ayrton’, pp.15,16,18, plates 24 and 25).
Lot 144
‘Dionysus and Pentheus’, 1964
signed ‘Michael Ayrton’, inscribed as titled and dated ‘3.6.64’
in pencil l.r., ink and watercolour
35 x 25.5cm
£400 - 600
Designed as an illustration for ‘The Bacchae’, Limited Editions Club
1967 and Heritage Press publication (not used).
Provenance:
Bonhams, Vision 21, 16 Nov 2004, lot 10.
Lot 145
*Alan Reynolds (1926-2014)
Study for Poet goes Poaching
signed ‘Reynolds’ l.r., watercolour
28 x 39cm
£2,000 - 3,000
Provenance:
With The Redfern Gallery, London, 4th June 1954;

60
Lot 146
*Ruth Collet NEAC (1909-2001)
A Family Outing
signed ‘COLLET’, watercolour and bodycolour
28 x 38cm
£300 - 400
Exhibited:
The New English Art Club, 1944.
Lot 147
*John Northcote Nash RA (1893-1977)
Vase of flowers in a window
pencil and watercolour
57 x 38cm
£1,200 - 1,800
Provenance:
Acquired from the John Nash Estate
(estate stamp verso).
Lot 148
*Ronald Searle (1920-2011)
‘The Pipes! The Pipes!’ - The Edinburgh
International Festival of Drama Opens Tomorrow
signed and dated ‘Ronald Searle 1954’ l.r.,
inscribed as titled and with ‘News Chronicle,
Saturday cartoon issue, August 21’, pen and ink
and wash
55 x 36cm
£800 - 1,200
Exhibited: Chris Beetles Gallery, London, ‘The British
Art of Illustration’, 1996, no 401.
Illustrated:
News Chronicle, London.
Literature:
Ronald Searle, ‘Merry England’, Perpetua
Books, London, 1956, pp.106-107.
Lot 149
*Reuben Mednikoff
(1906-1972)
Two Figures
27 x 38cm
£500 - 800
Provenance:
Said to be
ex-collection of
Harold Pinter.
149
148
147
146

Lot 150
*Josef Herman RA (1911-2000)
Seated Figure - Greenham Common Protest
signed ‘Josef Herman’ verso, oil on canvas
76 x 50.5cm
£2,000 - 3,000
Provenance:
With Flowers Gallery, London;
Lot 151
‘Red flower in a pot’
signed in pen on frame verso, pencil, watercolour
and crayon
28 x 20cm
£300 - 400
Provenance:
With Flowers East, London;
Lot 152
Two figures at a table
pencil, pen and ink and wash
19 x 24.5cm
£400 - 600
Provenance:
150
152
151

62
LEONARD ROSOMAN RA
(1913-2012)
Lot 155
*Leonard Rosoman RA (1913-2012),
after Thomas Sully and others
Queen Victoria ascending the throne,
and other sketches of Queen Victoria
and Cromwell after famous artworks
with inscriptions, pen
35 x 24.5cm;
and another after J C Le Bourguignon,
Peter Smyers, Bosch and Bell-Smith
Sketches after Cavalry Battle, A Great
Battle, Queen Victoria, The Ship of Fools
22 x 24.5cm (2)
£400 - 600
Lot 153
*Leonard Rosoman RA (1913-2012)
‘The Emperor Nerva’
two studies, both signed ‘Leonard
Rosoman’ l.r., with inscriptions,
pen and ink
28 x 20cm (2)
£400 - 600
155
Lot 154
*Leonard Rosoman RA (1913-2012),
after Sir Anthony Van Dyck and others
Sketches of Charles I after famous artworks
34.6 x 24.5cm;
and another, after Ernest Crofts RA
The Gunpowder Plot
pen
12.5 x 25cm (2)
£400 - 600
154
153
Lots 153-162
The current owner has been a lifelong
collector of Leonard Rosoman and met the
artist after buying his first Rosoman work
aged 20. Rosoman lived and worked at
‘Pembroke Studios’, a purpose-built row
of artists’ studios behind Kensington High
Street. One of his neighbours and early
students was David Hockney (lots 261
and 301). In the mid to late 1970s,
Rosoman had an opportunity to buy his
studio. He enlisted the help of the current
owner, who was a chartered surveyor,
to undertake a valuation of the property,
so that Rosoman could secure a 100%
loan from the bank. As a thank-you,
Rosoman gave the owner a collection of
watercolours and drawings, including
lots 153-5, 157-8 and 161. Continuing
his collecting habits, the owner purchased
lots 156, 159 and 162 at later dates.

Lot 156
*Leonard Rosoman RA
(1913-2012)
‘Portrait of Nicolas Bentley’
signed ‘Leonard Rosoman’,
watercolour
40 x 49cm
£600 - 800
Exhibited:
The Fine Art Society,
1980, no.R5/56.
Nicolas Bentley (1907-1978) was
a British author and illustrator.
He had an eclectic career,
as a graduate working as a
circus clown, and during the
Second World War, working as
an auxiliary fireman. His best
known illustrations can be found
in T S Eliot’s ‘Old Possum’s Book
of Practical Cats’ (1939).
Lot 157
*Leonard Rosoman RA
(1913-2012)
Queen’s Procession
watercolour over pencil
32 x 25cm
£500 - 800
Lot 158
*Leonard Rosoman RA (1913-2012)
Design for a mural at the Royal Garden Hotel
signed ‘Leonard Rosoman’ l.r., watercolour
32 x 24.5cm
£500 - 800
156
158
157

64
162
159
161
160
Lot 159
*Leonard Rosoman RA
(1913-2012)
Dancers
signed ‘Leonard Rosoman’
l.r., with annotations, pencil,
watercolour and gouache
45 x 29.5cm
£400 - 600
Lot 160
*Leonard Rosoman RA
(1913-2012)
The Hat Stand; Drawing in a Life
Class, R.C.A. Library Oct. 18 ‘84
(verso)
signed ‘Leonard Rosoman’ l.l.
and dated ‘84’ l.r., pen
14.5 x 20cm
£300 - 400
Lot 161
*Leonard Rosoman RA
(1913-2012)
‘Council Meeting RA’, 1980
signed ‘Leonard Rosoman’
l.r., inscribed as titled and
dated ‘1980’ l.l., pen
20 x 25.5cm
£200 - 300
Lot 162
*Leonard Rosoman RA
(1913-2012)
‘Christmas Ornaments’, 2002
signed and dated ‘Leonard
Rosoman. 2002’ l.r., pen
28.7 x 20cm
£200 - 300
Exhibited:
The Fine Art Society,
‘Leonard Rosoman at
Ninety’, 2003, no.7.

Lot 163
*Trekkie Ritchie Parsons
(1902-1995)
The view through the window
signed ‘T RITCHIE’ l.l., oil on
canvas
61 x 51cm, unframed
£300 - 400
Trekkie Ritchie Parsons was
known for being vivacious
and driven. She studied at
the Slade School of Fine Art,
joining in 1920, and was
taught by Henry Tonks and
Philip Wilson Steer (lot 42).
She worked as an illustrator
for the Hogarth Press,
meeting Leonard and Virginia
Woolf at this time, and later
published her own work in
‘Bells Across the Sand, A Book
of Rhymes with Pictures’,
Chatto Windus, 1944.
She is perhaps best known for
her relationship with Leonard
Woolf, who she became close
to after the death of Virginia
Woolf in 1941. It is unclear
as to whether the pair were
lovers or close friends, but
they remained intimate until
Leonard’s death in 1969. He
was known to refer to her in
letters as ‘Dearest Tiger’ and
he left his home, Monk House,
to Trekkie in his will.
Victoria Glendinning writes:
‘The joy of Trekkie was that
she was supremely different.
She lived in the present.
She was fresh air.’ (Victoria
Glendinning, ‘Leonard Woolf’,
Simon and Schuster, 2006).
164
163
166
165
Lot 164
*David Tindle RA
(b.1932)
The Unmade Bed
gouache
53 x 73cm
£800 - 1,200
Provenance:
With Browse
and Darby.
Lot 165
*Ithell Colquhoun (1906-1988)
Village with church, Corsica
signed and dated ‘Colquhoun/38’
l.l., gouache
45 x 43cm
£400 - 600
Provenance:
Sally Hunter Fine Art,
London.
Lot 166
*Suzanne O’Driscoll (b.1955)
‘Along the Path’
oil pastel
76 x 77cm
£300 - 500

66
Lot 167
*Julian Trevelyan RA (1910-1988)
‘Novgorod’
etching with aquatint in colours, signed
‘Julian Trevelyan’, inscribed with title and
42 x 54cm
£300 - 500
JULIAN TREVELYAN RA (1910-1988)
Julian Trevelyan was one of the most varied painters and printmakers of the twentieth century.
Growing up in Cambridge, he trained in Paris before moving to London, where he became a
founding member of the ‘British Surrealist Group’. In 1935, Trevelyan bought Durham Wharf,
a house just off Chiswick Mall and overlooking the Thames, which would be his home for life.
He lived there for a time with his first wife, Ursula Darwin, but when she left him in 1948,
his friendship with Mary Fedden (lot 169) developed into an intense love that would last a
lifetime. The pair had first met at the Slade School of Art when Fedden was a student there
(1932-36), and Fedden is quoted as saying that she knew she would marry him from the very
first instant. She moved to Durham Wharf in 1949 and they were married in 1951.
From 1950, Trevelyan taught at the Chelsea School of Art and later became Head of Etching
at the Royal College of Art. His pupils included David Hockney (lots 261 and 301) and Norman
Ackroyd (lots 236 and 237) - Ackroyd wrote of Trevelyan’s teaching, ‘he created a tranquil and
industrious atmosphere in which magic could happen’ (Mel Gooding, ‘Mary Fedden’, Scolar
Press, 1996, p.92).
Julian and Mary were passionate travellers. In 1960, they visited the Soviet Union and lot 167
depicts ‘Novgorod’, one of the oldest cities in Russia. In 1963, Trevelyan suffered severe illness
from meningitis and retired from teaching thereafter, yet he and Fedden continued to travel
and to paint. Lot 168 is a large oil of the most iconic scene in Bristol - Clifton Suspension
Bridge. Fedden was born in Bristol and lived there for a time after the Second World War,
which suggests why the couple returned to the city. There are certainly other works by
Trevelyan of Bristol including one of ‘Temple Meads Station, Bristol’ (1981) in the collection of
Durham University.
Trevelyan was made a Royal Academician in 1987, shortly before his death in 1988. He is a
much respected artist and a major exhibition of his work was held at Pallant House in 2018/19.

Lot 168
*Julian Trevelyan RA (1910-1988)
Clifton Suspension Bridge
signed and dated ‘Trevelyan ‘62’ l.l., inscribed
with title on stretcher, oil on canvas
77 x 91.5cm
£8,000 - 12,000

68
MARY FEDDEN RA (1915-2012)
Mary Fedden studied at the Slade School of Art and
worked briefly as a set designer for Sadler’s Wells Theatre.
In 1944, she served in the Land Army and Women’s
Voluntary Service, before being called on to work abroad
as a driver. After the war, she resumed easel painting and
had her first exhibition at the Mansard Gallery (1947). For
a brief time, she was commissioned to paint covers for
‘Woman’ magazine. From the late 1950s, she taught at
the Royal College of Art and, in 1992, she was elected
to the Royal Academy. Fedden was married to the artist
Julian Trevelyan (lots 167 and 168). After his death, she
continued to live at Durham Wharf, travelling frequently
and painting with fervour until her death in 2012.
The simple imagery, stylish compositions and bright
colours of Fedden’s paintings have been much-loved
by audiences throughout the twentieth century, and
recognition of her talent is only increasing over time.
Her painting has the effect of making one smile, a
quality that she recognised in her own work. One of the
joys of Fedden’s painting is its familiarity. She returned
frequently to the subject of the still life with different
variations on the coffee pot scene, of which lot 169 is
a wonderful example.

Lot 169
*Mary Fedden RA (1915-2012)
Still life with a coffee pot
signed and dated ‘Fedden 1999’ l.l,
oil on canvas
51 x 61cm
£10,000 - 15,000

70
Lot 170
*Alfred Daniels (1924-2015)
Magdalen College, Oxford
signed and dated ‘Alfred Daniels/1986’ l.l., oil on board
45.2 x 56.4cm
£800 - 1,200
Provenance:
Bonhams, ‘Modern Pictures’, 23 April 2003, lot 2.
Lot 171
*Robert Morson Hughes (1873-1953)
The Approach of Spring in Cornwall
signed ‘R Morson Hughes’, oil on board
33 x 39cm
£300 - 500
Lot 172
Modern British School
Industrial Harbour Scene
oil on board
33 x 37cm
£300 - 400
Lot 173
English School, 20th century
The Royal Exchange, London
signed and dated indistinctly, oil on canvas
51.5 x 61.5cm
£300 - 500
173
172
171
170

Lot 176
*Ken Howard RA (b.1932)
‘Pont Neuf from Pont au Change, Paris’
signed ‘Ken Howard’., inscribed as titled and
dated 2014 verso, oil on canvas
30.5 x 60.6cm
£1,000 - 1,500
Lot 175
*Ken Howard RA (b.1932)
Campo Santa Maria Formosa, Venice
signed ‘Ken Howard’ l.r., oil on canvas
board
19.5 x 24.5cm
£700 - 1,000
Lot 174
*Rose Hilton (1931-2019)
‘St Ives’ 1978
signed ‘Rose Hilton’ inscribed as titled and
dated ‘78 verso, oil on canvas
25.5 x 35.5cm
£1,500 - 2,000
176
175
174

72
Lot 177
*Jacqueline Williams (b.1962)
Morning Interior, 1997
signed with initials ‘JW’ l.l.,
signed, inscribed and dated ‘J
Williams/Morning Interior/ ‘97’
on stretcher verso, oil on canvas
130 x 112.5cm
£500 - 800
Lot 178
*Jacqueline Williams (b.1962)
Sunflowers, c.1998
signed with initials l.r., oil on
board
72 x 47cm
£300 - 500
Lot 179
*Michael Whittlesea (b.1938)
Girl on a Bicycle
signed ‘Michael Whittlesea’ l.r.,
oil on canvas
46 x 56cm
£600 - 800
Lot 180
*Margaret Green (1925-2003)
View of a Garden, possibly the
artist’s home near Stowmarket,
Suffolk
signed ‘M Green’ l.l., oil on
canvas
74.5 x 100cm
£500 - 700
180
179
178
177

Lot 181
*Peter Coker RA (1926-2004)
‘Lastours’
signed ‘Peter Coker’ l.r., oil on linen
77 x 91cm;
and a pencil and crayon sketch of
‘Lastours’
signed and dated ‘Peter Coker ‘74’ l.r.
26.5 x 37.5cm (2)
£4,000 - 6,000
Exhibited: Royal Academy, Summer
Exhibition, 1976 (lot to be sold
with a copy of the catalogue).
Literature:
‘Peter Coker RA’, Chris Beetles
Limited, London, 2002,
catalogue raisonné no. 291.
181
181

74
Lot 182
*Donald Hamilton Fraser RA (1929-2009)
Boats on the shore, Skerra
signed ‘Fraser’ in pencil l.l., oil on paper
38 x 55cm
£3,000 - 4,000

Lot 183
*Eliot Hodgkin (1905-1987)
‘Tobacco Plant’
signed and dated ‘Eliot Hodgkin 12.VIII.58’ l.l.,
tempera on board
20 x 18.5cm
£6,000 - 8,000
Exhibited:
The Arthur Jeffress Gallery, London, ‘Paintings in Egg
Tempera by Eliot Hodgkin’, 3-27 November 1959;
Mrs James Lilley.
Eliot Hodgkin and his wife, Mimi, kept very accurate records of his artwork.
After the artist’s death, Mimi and their son, Max, started compiling
and organising a catalogue raisonné, and now grandsons, Mark and
Matthew, are continuing this with specialist Adrian Eeles. Their website,
www.eliothodgkin.com presents a comprehensive list of Hodgkin’s work
in preparation for the upcoming catalogue raisonné. The present lot,
‘Tobacco Plant’, is now listed.
We are grateful to Mark Hodgkin for his assistance in cataloguing this lot
and he would like to hear from any owners of Eliot Hodgkin’s work, so
these can be included in the catalogue raisonné.

76
184
186
185
Lot 184
*Fred Yates (1922-2008)
‘Garden Fete’
signed ‘Fred Yates’ l.c., inscribed as
titled on frame verso, oil on board
60 x 21cm
£1,200 - 1,800
Provenance:
Purchased from the artist
in the 1970s;
thence by descent.
Lot 185
Peter Gauld (1925-1989)
Palms trees before a building
signed and dated ‘Peter Gauld
‘79’ l.l., pencil and gouache
on board
51 x 61cm
£300 - 400
Lot 186
*Bryan Pearce (1929-2007)
‘St Ives from Fernlea Terrace’
screenprint in colours, signed and
dated ‘Bryan Pearce/05’ and numbered
49/75 in pencil
67 x 75cm
£500 - 800
Provenance:
With New Craftsman
Gallery, St Ives.
Lot 187
*Alan Lowndes (1921-1978)
Harbour Scene, Cornwall
signed and dated ‘Alan
Lowndes 1971’ l.l., oil on
board
25 x 20cm
£3,000 - 4,000
Provenance:
With Archeus
Fine Art, London.

187

78
Lot 188
*Adrian Daintrey (1902-1988)
The garden
oil on canvas board
30 x 45cm
£300 - 400
Provenance:
Ex-collection of Lady Henderson.
Lot 189
*John Melville (1902-1986)
‘The Lost World’
inscribed as titled verso, oil on canvas
103 x 153cm
£500 - 700
Lot 190
*Nommie Durell (1905-1989)
Landscape, c.1950
signed ‘N DURELL’ l.r., oil on canvas
46 x 77cm
£300 - 500
Exhibited:
Sally Hunter Fine Art, London,
‘Nommie Durell’, April 2005, no.2.
Lot 191
*Millicent E Ayrton (1913-2000)
Military Band
signed ‘M E AYRTON’ l.l., inscribed on gallery label
verso, oil on board
61 x 61.5cm
£300 - 500
Exhibited:
The Wirral Society of Arts, Williamson
Art Gallery, Birkenhead, 1983.
189
191
190
188

Lot 192
*Carel Weight CH RA (1908-1997)
‘Strange Encounter’ - View from the artist’s
studio,1981
signed ‘Carel Weight’ u.r., oil on board
28 x 38cm
£1,500 - 2,000
Provenance:
With Bernard Jacobson Gallery,
London;
with Christopher Hull Gallery,
London, 1990;
with Duncan R Miller, London.
Lot 193
‘Looking across to La Reve from Lucien
Pissarro’s cottage (La Compagne Orovida)
Dardennes, near Toulon’
signed ‘Carel Weight’ u.r., inscribed as titled
verso, oil on canvas
40.5 x 70.5cm
£700 - 1,000
Lot 194
‘Walk in the Country’
signed ‘Carel Weight’ l.l., oil on board
25.5 x 35cm
£800 - 1,200
Provenance:
With Panter Hall, London.
194
193
192

80
ANNE REDPATH RSA ARA (1895-1965)
Anne Redpath is one of the most well-regarded Scottish painters of the twentieth century. The daughter of a tweed designer, Redpath was
born in Galashiels, Scotland. She trained at Edinburgh College of Art and was awarded her degree in 1917. After travelling to Paris, Florence,
Siena and later France, she met the architect James Michie, who she married in 1920. They lived in France together and had three sons.
During this period, her focus was predominantly on family life, but she did exhibit in 1928 in St Raphael.
In 1933, Redpath returned to the Borders, Scotland, and separated from Michie, although the two remained amicable. In the 1940s, Redpath
began to travel again, first within Scotland and later around Europe. Redpath was a key figure in a group of painters known as The Edinburgh
School. She began to exhibit regularly in Edinburgh as well as the Lefevre Gallery, London. In 1952, Redpath became the first female painter to
be made an Academician by the Royal Scottish Academy. In 1960, she became an Associate of the Royal Academy.
Lot 195
*Anne Redpath RSA ARA (1895-1965)
‘Hillside Village’, c.1958-60
signed ‘Anne Redpath’ l.l., oil on board
47.5 x 57.5cm
£6,000 - 8,000
Redpath likely painted ‘Hillside Village’ while staying
in the Canary Islands, Spain.
Provenance:
With Aitken Dott Son, Edinburgh;
with Duncan R Miller Fine Arts, London.

Lot 196
*Anne Redpath RSA ARA (1895-1965)
‘Daisies’
signed ‘Anne Redpath’ l.l., oil on board
51 x 61cm
£8,000 - 12,000
Provenance:
With the Fine Art Society, London.
Exhibited: Aitken Dott Son (The Scottish Gallery), Edinburgh, ‘20th Century Scottish
Paintings and Drawings’ Exhibition, May 1976;
Duncan R Miller Fine Arts, London, ‘Anne Redpath’ Exhibition, 1992, no. 14.

82
198
197
199 200
Lot 197
*George Dannatt (1915-2009)
‘Division of Light (No.1)’, 1979
signed, inscribed with title and dated Aug/October 1979 verso, oil on board
23.5 x 15cm
£400 - 600
Exhibited:
Michael Parkin Fine Art Ltd., London, George Dannatt Paintings
1970-1988, no.26.
Lot 198
*Richard Cartwright (b.1951)
‘The Bride Alone’
signed ‘Richard Cartwright’ l.l., pastel
82 x 46cm
£600 - 800
Provenance:
With Adam Gallery, Bath.
Lot 199
*James Lawrence Isherwood (1917-1989)
‘Shawls, Wigan and Rain’, 1968
signed and dated ‘ISHERWOOD ‘68’ l.l., inscribed as titled verso,
oil on board
25.2 x 35.5cm
£400 - 600
Lot 200
*James Lawrence Isherwood (1917-1989)
‘Old Coventry Cathedral’
signed ‘Isherwood’ l.r., inscribed as titled verso, oil on board
62 x 46cm, unframed
£300 - 500
Provenance:
Purchased from the artist fifty-two years ago, by
the current vendor, whilst at Cambridge University.

Lot 202
*Robert Taylor Carson (1919-2008)
‘Gulls’, 1965
signed ‘TAYLOR CARSON’ l.l., also signed, inscribed as titled
and dated ‘65 verso, oil on canvas
63.5 x 76cm
£600 - 800
Lot 201
*Rudolph Ihlee (1883-1968)
‘Fishing Boats in Dry Dock’
signed and dated ‘R. Ihlee ‘66’ l.l., inscribed as titled on New English
Art Club label verso, oil on board
61 x 73cm
£600 - 800
Lot 203
*Barbara Rae RA (b.1943)
Storage tanks, Leith
signed and dated ‘Rae 89’ l.l., mixed media on paper
24.5 x 29.5cm
£500 - 700
Provenance:
With the Scottish Gallery, Edinburgh.
Lot 204
*Robert Medley RA (1905-1994)
Medieval Figures
oil on board
22 x 27cm
£300 - 500
204
203
202
201

84
Lot 205
*Roger Hilton (1911-1975)
‘Boat and Fish’
signed with initials and dated 74 l.r.,
charcoal, gouache and watercolour
20 x 28.5cm
£1,000 - 1,500
Lot 206
*Eileen Cooper RA (b.1953)
‘Reminiscence I’
signed and dated ‘Eileen Cooper, ‘99’ in
pencil l.r., pen and ink and watercolour
22.5 x 15.5cm
£400 - 600
Provenance:
With Art First, Contemporary
Art, London;
with Flowers East, London;
Lot 207
*Eileen Cooper RA (b.1953)
‘Greeting the Tortoise’
signed and dated ‘Eileen Cooper 2002’ in
pencil c.r., watercolour and pastel
25 x 13.5cm
£300 - 500
Provenance:
With Art First, Contemporary
Art, London;
207
206
205

Lot 208
*John Bratby RA (1928-1992)
A woman seated in a red armchair
signed ‘John Bratby’ l.l., oil on canvas
117 x 86cm
£1,500 - 2,000
Provenance:
Lot 209
*John Bratby RA (1928-1992)
‘Jason the Gorgons’
signed ‘John Bratby’, inscribed as titled and
dated ‘July 1959’, oil on canvas
112 x 86cm
£1,200 - 1,800
Provenance:
The Zwemmer Gallery, London;
209
208

86
Lot 211
*Quentin Bell (1910-1996)
a painted paper lampshade, decorated in
tones of blue, centred with a continuous
band of text, signed to the interior and
dated ‘94
41cm diameter
25cm high,
together with a similar example (2)
£1,000 - 1,500
Provenance:
The Sally Hunter and
Ian Posgate Collection;
purchased directly from
the artist.
Lot 210
A ladies’ opera coat by
Cressida Bell, large
c.1984, printed velvet
140cm long approximately
£200 - 300
210
211
211

Lot 212
A painted paper lampshade decorated
with a Grecian freeze
41cm diameter
25.5cm high
£600 - 800
Provenance:
the artist.
Lot 213
A painted paper lampshade
decorated with an abstract design
signed ‘QB (E)’ underneath
36cm diameter
23cm high
£600 - 800
Provenance:
the artist.
Lot 214
A painted paper lampshade decorated
with a flower motif
signed and dated ‘QB (S) 90’ underneath
41cm diameter
25.5cm high
£600 - 800
Provenance:
the artist.
212
213
214

88
SECTION TITLE
XX-XX
MODERN AND CONTEMPORARY
215-353
Lot 215
A bronze of a prowling
lioness
20th century, raised on a black
marble base, unsigned
40cm wide
12cm deep
28cm high
£200 - 300
Lot 217
*Michael Duhan (Irish, b.1956)
‘Fools on fools’
signed ‘DUHAN’ on lower figure’s arm, also
signed ‘Michael Duhan’ and inscribed as
titled on base, bronze
37cm wide
20.5cm deep
44cm high including base
£700 - 1,000
Lot 216
*Gerard Boudon (French, 1946-2011)
‘Sanglier en Course’
bronze, signed with a monogram and numbered 8/8, with foundry
stamp for Deroyaune
10cm high
19.5cm wide
£800 - 1,200
Provenance:
Galerie Titren, rue Fraisse Beaune, Paris.
Sold with the exhibition catalogue.
217
216
215

215-353 MODERN AND CONTEMPORARY
Lot 218
*Sydney Harpley RA (1927-1992)
Girl in a deckchair
bronze with brown patina, numbered and
signed ‘6/9 Harpley’ on the back of the
deckchair
47cm wide
16cm deep
27.5cm high
£2,000 - 3,000
Lot 219
*James Butler RA (b.1931)
Reclining model
bronze with brown patina, signed,
dated and numbered ‘IV/X Butler 82’
on the base
40cm wide
13cm high
£600 - 800
218
219
220
Lot 220
English School,
20th century
Mother and child relief
with art deco stylisation
bronze
39cm wide
8cm deep
41cm high
£300 - 500

90
90
MODERN AND CONTEMPORARY 215-353
ALEXANDER CALDER (AMERICAN, 1898-1976)
Considered one of the most famous artists of the
20th century, Alexander Calder’s sculptures and works
on paper are held by major art institutions around the
world. His fame was assured from the 1930s, when he first
showed his mobiles.
In 1953, while spending a year in Aix-en-Provence, Calder
produced his first series of gouache paintings and continued
to work in this medium until his death in 1976. Lot 221,
Calder’s ‘Untitled’ watercolour and gouache on paper, was
created in 1961. In this bold painting, Calder works with
quick, broad brushstrokes to form a vivid image. He cleverly
deploys bright colours, not quite touching the yellow and
blue together, allowing the white of the paper to become
an important part of the composition. ‘I paint with shapes’,
Calder once said, and it is the two more thickly painted
orange circles that catch our attention and create balance
in this piece.
Calder liked to return to similar motifs in his works on paper
and circles can also be seen in lot 222, a lithograph titled
‘Sun and Moon’. Centred around a red sun - red reportedly
being Calder’s favourite colour - the image’s wiry black
lines are reminiscent of the coils of Calder’s mobiles.

Lot 221
Alexander Calder (American, 1898-1976)
Untitled
signed and dated ‘Calder ‘61’ l.r., watercolour and gouache
55 x 74.5cm
£20,000 - 30,000
Provenance:
Botanist, writer and explorer Nicholas Guppy
(1925-2012) acquired it directly from the artist;
then acquired by close friends, the Rentons,

92
92
Lot 222
Alexander Calder
(American, 1898-1976)
‘Sun and Moon’
lithograph in colours, signed
‘Calder’ in pencil l.r. and
numbered 90/175 l.l.
sheet 56 x 88cm
£1,000 - 1,500
Provenance:
With Adam
Gallery, Bath;
Folly Mill,
Thaxted, Essex.
Lot 223
*Juliusz Joniak
(Polish, b.1925)
Umbrian landscape
signed and dated ‘Jonaik 79’
l.r., also signed and inscribed
with title in Polish verso, oil
on canvas
70 x 80cm
£600 - 800
222
223

225
224
Lot 224
*Emvin Cremona (Maltese-British, 1919-1987)
Landscape, 1974
signed inscribed and dated ‘Cremona/Malta/74’ l.l,
mixed media
63 x 50cm
£5,000 - 7,000
Lot 225
*Emvin Cremona
(Maltese-British, 1919-1987)
Figures on the church steps, 1974
signed inscribed and dated ‘Cremona/Malta/74’
l.r., mixed media on paper
63 x 50cm
£5,000 - 7,000

94
94
Lot 226
Alexandra Nechita (Romanian-American, b.1985)
‘Places I Want To Go’
signed and dated ‘Nechita ‘05’ l.r., inscribed as titled verso, acrylic
on canvas
41 x 31cm
£1,500 - 2,000
Nicknamed the ‘Petite Picasso’, Alexandra Nechita was a child
prodigy who worked in a neo-Cubist style. Nechita’s talent at such
a young age won immediate attention and she was only eight years
old when she had her first solo exhibition in Los Angeles. In 1997,
aged eleven, Nechita’s fame skyrocketed after she designed the
program for the Grammy Awards. In 2005, she created ‘Let There Be
Peace’, a 16-foot high bronze sculpture commissioned as a UN Peace
Monument for Asia in Singapore. The same year her design ‘Peace
Is the Only Option’ was issued on commemorative coins in the
UK. Nechita has continued to exhibit widely and her work is held in
both public and private collections around the world and she is a
UN Ambassador of Peace and Goodwill through the Arts.
Lot 227
Balraj Khanna (Indian, b.1940)
‘Astral Play’
signed and dated ‘Khanna 90’ u.r., also signed, inscribed as titled and
dated verso, mixed media on canvas
84.2 x 59cm
£500 - 700
Lot 228
*Vasilis Zenetzis (Greek, 1935-2016)
The Acropolis, Athens
signed l.l., signed and inscribed in Greek verso, oil on canvas
45.2 x 60.2cm
£800 - 1,200
Provenance:
Acquired directly from the artist in 1995.
228
227
226

Can you
help
Curwen
reach its
funding
target?
The Curwen Print Study Centre is an
educational charity established in the late
1990s to ensure traditional handcrafted
printmaking skills are protected for
future generations. Artists teach a wide
variety of fine art printmaking skills to all
ages and all abilities from Introductory
to Masterclass level. In addition, schools
visit from across the East of England to
give students access to a professional
print studio and the opportunity to work
with practising artists. Curwen has a
long history dating back to its formation
in Plaistow in 1863 and our founder,
Stanley Jones MBE Master Printer,
was responsible for establishing Artist
Printmaking in the UK in 1958 with many
of the great artists of the 20th century.
Paula Rego RA has donated three different prints printed at
Curwen (lots 251, 252 and 253); David Gentleman RDI has
given four different lithographs in this sale (lots 233 and 234);
Norman Ackroyd RA, an ardent supporter of Arts Education,
has given two etchings (lots 236 and 237); Anita Klein,
a lithograph printed at Curwen (lot 244), and Susan Aldworth,
the artist last to print an edition with Stanley at Curwen, has
donated two prints (lots 248 and 249); plus many more.
Curwen has raised £120,000 so far in its bid to move to new premises
early next year. This auction, with your support, will take them closer to
the minimum goal of £145,000. You can make this possible by bidding for
artworks in this sale. All work has been donated by artists who know and
love Curwen, having worked in the studio with Stanley Jones Master Printer
at some stage of their career.
LOTS
229-253
The funds raised will support Curwen in its move to
larger premises, offering both a teaching studio and an
open access studio for established artists, plus a gallery
space allowing the display of the Curwen Archive of
prints and documents for the first time.
Make your mark
in our campaign
by purchasing
in aid of Curwen

96
229-253
SUPPORT
CURWEN
96
Lot 229
*Nicholas C Williams (b.1961)
‘Cloud Study, Cornwall’
signed ‘Nicholas’ inscribed ‘Cornwall’ and
dated ‘21st April 2001’ verso, oil on board
13.2 x 17.6cm
£300 - 400
Lot 230
*Justin Hawkes (b.1955)
‘Fen Dag 3’, 2015
signed ‘JH’ and dated ‘15’ c.r., signed ‘Justin Hawkes’
inscribed as titled and dated ‘2015’ verso, watercolour
49.8 x 62.8cm
£600 - 800
Lot 231
*Justin Hawkes (b.1955)
‘The Middle of the Story’, 2015
signed with initials c.r. and dated ‘15’ c.l., also signed,
inscribed as titled and dated verso, watercolour
45.5 x 62.2cm
£600 - 800
Lot 232
*Diana Armfield RA (b.1920)
‘Sheep sheltering at Llwynhir’
lithograph, signed ‘Diana Armfield’ in pencil l.r. and
numbered 103/150
sheet 28 x 29cm, unframed
£80 - 120
Lot 233
*David Gentleman (b.1930)
‘St Giles in the Fields’;
‘St James, Goose Creek’
two lithographs in colours, both signed ‘David
Gentleman’ l.r. inscribed as titled and numbered ‘AP’
in pencil
49.5 x 61cm and 70.7 x 54.5cm, unframed (2)
£150 - 250
Lot 234
*David Gentleman (b.1930)
‘Lane in Huntingfield’;
‘Garden in Huntingfield’
two stone lithographs, both signed ‘David Gentleman’
l.r. inscribed as titled and numbered ‘AP’ in pencil
each sheet 37 x 52.5cm and 37.5 x 46cm, unframed (2)
£150 - 250
Lot 235
*Paul Hogarth RA (1917-2001)
The Brown Derby
signed ‘Paul Hogarth’, pen and watercolour
18.6 x 20.3cm
£200 - 400
231
230
229

229-253
SUPPORT
CURWEN
234
232
235 233

98
229-253
SUPPORT
CURWEN
98
Lot 238
*Chloe Fremantle (b.1950)
‘Memento Mori No. 25/Trees and Stones’
signed ‘Chloe Fremantle’ inscribed as titled and dated ‘2017’
on mount verso, gouache
£200 - 300
Lot 237
*Norman Ackroyd RA (b.1938)
‘Evening at Thirsk Hall’, 2019
etching and aquatint, signed and dated ‘Norman Ackroyd’19’
inscribed as titled and numbered 64/90 in pencil
£300 - 500
Lot 236
*Norman Ackroyd RA (b.1938)
‘The Lake at Ditchley’, 2019
etching and aquatint, signed and dated ‘Norman Ackroyd’19’
inscribed as titled and numbered 63/90 in pencil
£300 - 500
Lot 239
*Chloe Fremantle (b.1950)
‘Memento Mori no.33: Menton Wire Rails’
signed ‘Chloe Fremantle’ and dated ‘2017’ on mount verso,
gouache
£200 - 300
239
238
237
236

229-253
SUPPORT
CURWEN
Lot 240
*Debbie Urquhart (b.1972)
‘Still Life, St Ives’, 2012
signed with initials l.l., inscribed as titled and dated on artist’s label
verso, oil on board
34 x 29cm
£600 - 800
Lot 242
*Serena Smith (contemporary)
‘Hodegetria 2’, 2013
hand-finished lithograph in
colours printed from two
stones, signed ‘S. Smith’ l.r. and
numbered ‘II/VII’ in pencil
£200 - 300
Lot 243
*Anne Desmet (b.1964)
‘QEH’
wood engraving in colours,
signed ‘Anne Desmet’, inscribed
as titled and numbered 234/420
in pencil
image 9.8 x 13cm
£150 - 250
243
242
241
240
Lot 241
*Susie Turner (contemporary)
‘Cotinus Grace’, 2013
solar plate etching, signed and dated ‘S H Turner 2013’ in pencil l.r.,
and numbered ‘3/20’ l.l., inscribed as titled on artist’s label verso
£150 - 250

100
229-253
SUPPORT
CURWEN
100
Lot 244
*Anita Klein (b.1960)
‘The Storm’
lithograph in colours, signed and dated ‘Anita Klein 15’ l.r. and
£150 - 300
Lot 245
*David Remfry RA (b.1942)
Untitled
lithograph, signed and dated ‘David Remfry/1988’ in pencil l.r. and
numbered
£150 - 250
Lot 246
*Fraser Taylor (b.1960)
‘Crouched Woman’
screenprint in colours, signed and dated ‘Fraser Taylor 86’ in pencil
l.r., inscribed as titled and numbered 124/150
sheet 105.5 x 88.8cm, unframed
£250 - 350
246
245
244

229-253
SUPPORT
CURWEN
Lot 247
Helaine Blumenfeld (American, b.1942)
‘Tango’
lithograph in colours, signed ‘H Blumenfeld’,
inscribed as titled, dated ‘2010’ and
£800 - 1,200
Lot 247A
Helaine Blumenfeld (American, b.1942)
‘Tango II’
lithograph in colours, signed ‘H Blumenfeld’,
inscribed as titled, dated ‘2010’ and
£800 - 1,200
247
247A

102
229-253
SUPPORT
CURWEN
102
Lot 248
*Susan Aldworth (b.1955)
‘Dreaming Voices 5’
lithograph in colours, signed and dated ‘Susan Aldworth/2012’ l.r., inscribed as titled
and numbered 1/15 in pencil, with ‘The Curwen Studio’ blind stamp
£100 - 150
Lot 249
*Susan Aldworth (b.1955)
‘Self’
lithograph in colours, signed and dated ‘Susan Aldworth/2012’ l.r., inscribed as titled
and numbered 10/15 in pencil
£100 - 150
Lots 248 and 249 are part of a series called ‘Reassembling the Self’, which was
exhibited at the Hatton Gallery, Newcastle, 2012. Aldworth combined her own mark
making, anatomical drawings and scans of the body to explore the relationship
between the mind and the body. Aldworth writes that she aimed to ‘make a series of
images where the body is put together in the wrong order to evoke the feeling of a
person being at odds with their own body’.
Lot 250
Yuko Shiraishi (Japanese, b.1956)
‘Foliage III’, 1985
etching in colours, signed and dated ‘Yuko Shiraishi ‘85’ l.r. in pencil, numbered
‘5/15’ l.l. and inscribed as titled verso
£200 - 400
250
249
248

229-253
SUPPORT
CURWEN
Lot 251
*Paula Rego RA
(Portuguese-British,
b.1935)
‘Scarecrow’
lithograph in colours,
2006, from an edition of
35, signed ‘Paula Rego’
in pencil l.r.
sheet 102 x 71cm,
unframed
£2,500 - 3,500
PAULA REGO RA (PORTUGUESE-BRITISH, b.1935)
Paula Rego’s work is unsettling and politically-minded. She is known for her reimagining of stories from folklore and literature. The following
three lots are inspired by a short story by Martin McDonagh, as well as his play ‘The Pillowman’ (2003), which Rego claimed changed her life.
For anyone who has seen ‘The Pillowman’, you will be aware of the dark twists and turns this play takes; set in a totalitarian state, its narrative
follows a murder enquiry involving children. While it has moments of astounding violence, deep compassion is also shown between the two
central characters. At its crux, the central character, Katarian, is a storyteller. The play returns frequently to his disturbing stories and it is from
these ideas that Rego works in lots 251-253.
The first lot, ‘Scarecrow’, borrows from the play and Rego’s 2004 triptych of the same name - it reimagines a story from the play in which a
girl who believes she is Jesus is crucified by her foster parents. Lots 252 and 253, ‘Turtle Hands’ and ‘Camouflaged Hands’, derive from an
unpublished short story in which a boy develops turtles at the end of his arms. The story ends with the boy being consumed by the turtles, which
swarm and grow around his corpse.
Rego and McDonagh engage with taboo topics, refusing to offer a resolution or a moral justification to comfort their audiences. The two share
an artistic affinity, exploring the brutality within society (and hypocrisy that surrounds it) through the medium of stories.

104
229-253
SUPPORT
CURWEN
104
Lot 252
*Paula Rego RA
(Portuguese-British, b.1935)
‘Turtle Hands’
lithograph in colours, 2006, from an edition of
35, signed ‘Paula Rego’ in pencil l.r.
£1,500 - 2,000

Sworders Modern Contemporary Art 5th October 2021

Sworders Modern Contemporary Art 5th October 2021

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