Gorringe's Art & Design post 1880 on 16th September starting at 10am

Art & Design post 1880

Tuesday 16 September 2025

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Art & Design post 1880

Tuesday 16th September

10.00am

15 North Street, Lewes, Sussex BN7 2PE

John Holmes

Managing Director

+44 (0)1273 472503

johnh@gorringes.co.uk

Buyer’s Premium:

25% + VAT payable on the hammer price of all lots

Important changes to our bidding procedure:

Please note that, owing to the recent introduction of Money Laundering Regulations,

clients wishing to bid in this auction are likely to be asked to provide two forms of

identification. This applies to both new and existing clients.

General Enquiries:

Tel: 01273 472503

clientservices@gorringes.co.uk

Registered in England & Wales as a Limited Liability Partnership. Registration No. OC318535

Gorringes is a trading name of Gorringes LLP

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SALE NOTICES

SALE SYMBOLS

§ Artist’s resale right - 4% on the hammer price

† VAT on the hammer price

* Import tax of 5% on the hammer price

** Import tax of 20% on the hammer price

BIDDING

You may bid in the room, by commission bid, by telephone or live online. To register to bid in the room please visit the

cashiers desk on the day of the sale. To leave a commission bid please use the online facility, telephone, email or fill out

a bidding form. Bids must be received no later than 9 a.m. on the saleday.

TELEPHONE BIDDING

Telephone bids must be received no later than close of business on the 15th September.

ONLINE BIDDING

There are three online bidding platforms to choose from; thesaleroom.com, easylive.co.uk and GorringesLive. All have

different additional charges on top of the hammer price and buyer’s premium.

CONDITION REPORTS

Rarely are things at auction in perfect condition so do satisfy yourself as to the condition of each lot. Condition reports

are not printed in the catalogue. They are all available in the online catalogue at www.gorringes.co.uk. Please email if

you require further information about a lot.

VAT

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refunds

documentation for hand-carried exports. In order to qualify for a VAT refund, your lots must be exported by a shipper

and valid exportation documentation must be provided.

PAYMENT TERMS

Payment is required by Wednesday 19th November by debit card, BACS and cash (subject to money laundering

regulations). Please note we do not accept credit cards or American Express.

PACKING, DELIVERY & SHIPPING

Shipping can prove expensive so please ask us for a shipping quote before bidding. We aim to provide in-house packing

where practical but high value and delicate items may well require a specialist. Overseas shipping is best provided by

a shipper in order to access appropriate insurance cover. We can recommend local carriers, UK domestic carriers and

International shipping specialists.

BOOK A COLLECTION

Collection is by appointment only. You need to book a collection time by 4pm the previous day.

Visit the website or follow the link on your invoice to book a collection time. Purchases not collected within two weeks of

the sale date will be held in storage and charged at the rate of £5+ VAT per lot per day.

Please contact us if you require special arrangements to be made regarding storage.

CONDITIONS OF SALE

Visit www.gorringes.co.uk for full conditions of sale.

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VIEWING

Friday 12th September

Saturday 13th September

Monday 15th September

9am - 4.30pm

9am - 1.00pm

9am - 4.30pm

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Order of Sale

Pictures Lots 1 - 170

Ceramics Lots 171 - 211

Studio Ceramics Lots 212 - 248

Glass Lots 249 - 261

Lalique Lots 262 - 292

Works of Art Lots 293 - 308

Furniture Lots 309 - 341

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Pictures

1

Alexis Marie Lahaye (French, 1850-1914)

Full-length nude study,

oil on canvas laid on board,

78cm x 38cm

£600 - £800

2

Christian Krøhg (Norwegian, 1852–1925)

Two figures beside a fireplace in an interior,

1903,

signed and dated upper left “SK 21 Aug 1903”,

Charcoal on paper

26.7cm x 40.6cm

Provenance: A distinguished private collection

£300 - £500

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Christian Krøhg (Norwegian, 1852–1925)

‘Kystvakten (Coastguards)’

signed lower right,

oil on panel,

37.5cm x 46.3cm

Provenance: Purchased Sotheby’s, London, 3rd June 2009,

lot 127, for £6,000 hammer;

A distinguished private collection

Christian Krøhg was a Norwegian avant-garde painter and

lithographer known for his focus on the expressive

representation of emotions and personal relationships,

influencing the Symbolist movement and Expressionism.

He was part of an influential circle of bohemian artists in

Christiana (now Oslo), who challenged traditional ethics

and morals in the 1880s, a circle which included Edvard

Munch.

£4,000 - £6,000

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Jacques-Émile Blanche (French, 1861-1942)

‘Bathers on the Beach, Scheveningen, The Hague’

circa 1930,

a view from the pier, looking back towards the beach and the Kurhaus,

monogrammed lower right,

oil on canvas,

57cm x 100cm

Literature: Jacques-Emile Blanche, Catalogue Raisonné, Jane Roberts,

ref. RM 1523, listed as ‘La Plage de Brighton’

For a similar composition by Gerard Delfgaauw (1882-1947) please see

Christie’s, Amsterdam, 16th January 2007, lot 158, sold for €14,000

£6,000 - £8,000

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Dame Ethel Walker (1861-1951)

‘Miss A Grainger Gray, Head Mistress, Sandecotes School,

Parkstone, Poole’

bust-length portrait,

signed lower left,

oil on canvas,

60cm x 50cm

£300 - £500

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Georges Lemmen (Belgian, 1865-1916)

‘Children at Pond’

a pair of pointillism studies of children,

both monogrammed in pencil lower right,

watercolour and pencil on buff paper,

each 30.5cm x 24cm (2)

£800 - £1,200

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7

Claude Allin Shepperson (1867-1921)

‘Henley’

Two women in a punt,

signed lower right,

titled in pencil verso,

oil on canvas board,

32cm x 39.5cm

£1,000 - £2,000

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János Vaszary (Hungarian, 1867-1939)

‘Seascape 1904’

signed and dated lower left,

oils,

15.5cm x 24cm

Janos Vaszary was a highly important

Hungarian painter and graphic artist.

An excellent colourist, his imagination and

sensitivity to modern artistic trends earnt him

considerable merit through his entire career.

Voszary’s work was consistently at the forefront

of modernism, and he continually evolved his

style and experimented with the ranging

avant-garde styles, from Art Nouveau to Post-

Impressionism and Fauvism.

£2,500 - £3,500

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Nicholas Kalmakoff

(Russian, 1873-1955)

‘On the coast of Japan’

1919,

signed and dated lower right,

titled and inscribed verso,

oil on paper,

15.5cm x 24.5cm

£400 - £600

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§ Fernand Toussaint (Belgian, 1873–1956)

Still life study of mixed flowers in a vase,

signed lower right,

oil on canvas,

80cm x 70cm

£2,000 - £4,000

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§ Dame Laura Knight DBE, RA, RWS (1877-1970)

A man attending to a ballerina,

1926,


ink and watercolour on buff paper,

32cm x 25cm

Provenance: Purchased in these rooms, 19th July 2005,

lot 1, for £2,000

£1,500 - £2,500

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Attributed to Dame Laura Knight

DBE, RA, RWS (1877-1970)

‘Moira Shearer’

1939,

head and shoulders portrait,

monogrammed and dated lower left,

pastels and pencil on buff paper,

50cm x 34cm

Moira Shearer (1926-2009) was a prominent Scottish

ballerina and actress, best known for her starring role

in the 1948 film The Red Shoes. She had a distinguished

career with the Sadler’s Wells Ballet, creating roles in

ballets by Frederick Ashton and dancing principal roles

in classics like Swan Lake. After achieving international

fame from The Red Shoes, she transitioned to a

second career in acting and lecturing.

£200 - £400

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§ Lionel Edwards (1878-1966)

‘Start, 5 Furlongs - Salisbury Summer Meeting’

1947,

horse racing scene,


titled lower left,

watercolour heightened with white,

34cm x 49cm

Provenance: With Rowland Ward, 166 & 167 Piccadilly, London

£1,000 - £2,000

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Jean Marchand (French, 1883-1940/41)

‘Man Pulling Load’

pencil/black chalk on paper,

26.5cm x 21cm

Provenance: Purchased from Christopher Hull, London,

1982;


£300 - £500

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John Brakewell ‘Brake’ Baldwin (1885-1915)

‘Study for ‘Sewing in the Sun’’

signed lower right,

oil on panel,

24cm x 31cm

Provenance: With Michael Parkin Fine Art, Belgravia

£500 - £800

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§ Reimond Jozef Peter Kimpe

(Belgian, 1885-1970)

Figural study,

signed lower right,

watercolour/gouache on paper,

43cm x 33cm

£300 - £500

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‘Flowers in a jar’ by Duncan Grant and George Bergen

This intimate work dates to a significant moment in Duncan Grant’s life, a relatively short-lived, but emotionally meaningful

romantic relationship with George Bergen.

Bergen, a naturalised American citizen born in Minsk, met Grant in late 1929 and their friendship quickly evolved into an intense

relationship. George, described as “addicted to all the sexes” was known for his good looks and artistic inclinations, which likely

attracted Duncan. For eighteen months or so, as Grant’s biographer Frances Spalding wrote, “Duncan’s emotional life hinged on

this man’s existence’’.

The relationship ruffled feathers within the complex interpersonal dynamics among the Bloomsbury members, with Virgina Woolf

describing Bergen as “sheep headed, bird witted, and not nice”, but it was Grant’s enduring relationship with Vanessa Bell that

was affected the most, as Bergen was an acute source of anxiety to Bell, who feared that Duncan might leave for America with

Bergen. As Grant expressed the predicament in a letter to his old friend David ‘Bunny’ Garnett, “‘I know perfectly well that George

loves me … But why do I get into a state when he is tired and I am tired and therefore think that he has no feeling for me? And

why does Nessa not believe that I love her as much as ever I did? … Why does she not realise that my love for George gives me

more power to love her instead of less … The truth is I want them both … Only I know that sometimes Nessa suddenly feels that I

give something to George that I don’t give to her.”. Amidst these sexual and emotional crosscurrents, Grant continued to paint—

sometimes alongside both Bell and Bergen, as in 1930 when they spent a few weeks together in Cassis.

Several of his George’s paintings hung at Charleston, where he spent time, and it was in the gardens at Charleston where the

work offered here was created, as evidenced by Grant’s portrait ‘George Bergen Painting in the Garden’ showing Bergen working

on this very piece.

Eventually, the relationship between Grant and Bergen came to end, as George began spending less time with Grant and more

time in America, first in California, where he was friendly with stars such as Charlie Chaplin, whom he painted, before settling in

New York in 1939. Duncan visited New York in the 1960s with Paul Roche and he rekindled his friendship with George. A few years

later, Duncan and Vanessa’s daughter Angelica visited New York and fell in love with George. When she told Duncan how she felt,

he wrote back, “Of course I am deeply interested to hear of your feelings for George. I only hope his complete inability to write

letters may not make things difficult for you.” suggesting Grant still harboured conflicting feelings toward George over thirty years

after their relationship ended. This rekindling of contact led to Duncan sending George a Christmas gift of a watercolour in 1963,

the subject a study of flowers in a jar (sold Sworder’s Auctioneers, 4th October 2022, lot 90) a not-so-subtle nod to this work no

doubt aimed to remind Bergen of their time together.

This extremely rare collaborative work, created at the height of an intoxicating liaison, endured as poignant memento for Duncan,

as it was pinned on the door in his studio for the remainder of his life. The decorative wet drug jar as depicted in this work,

remains there today, and was photographed by Gavin Kingcome in the 2018 revision of Quentin Bell and Virginia Nicholson’s

‘Charleston – A Bloomsbury House and Garden’ (pages 77 and 78).

Duncan Grant, ‘George Bergen painting in the garden’

Duncan Grant, ‘Self Portrait, 1925’

Duncan Grant, ‘Portrait of George Bergen’

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§ Duncan Grant (1885-1978) and George Bergen (Russian/American (1903–1984)

‘Flowers in a jar’

the flowers painted by Bergen, the wet drug jar by Grant,

circa 1930,

oil on canvas laid on panel,

80cm x 60cm

Provenance: The Estate of Duncan Grant;

The Collection of Paul Roche (1916-2007);

Private Collection, Surrey

£4,000 - £6,000

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§ Laurence Stephen Lowry RBA, RA (1887-1976)

‘Station Approach’

signed in pencil to the margin lower right,

Fine Art Trade Guild blindstamp lower left equating to 627 from

the edition of 850,

offset lithograph printed in colours in 1962,

printed by Max Jaffe, Vienna,

published by The Adam Collection Ltd.,

the image 40.2cm x 51cm

£1,000 - £2,000

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§ Montague Dawson RSMA, FRSA (1890-1973)

‘Fair Wind Aft’

signed lower left,

oil on canvas,

60cm x 90cm

Provenance: With E. Stacy-Marks, Eastbourne, East Sussex;

Private collection, East Sussex

£15,000 - £20,000

Undoubtedly considered the premier marine painter of the

20th century, Montague Dawson is celebrated for his highly

detailed compositions of sailing ships and naval battles at sea.

He possessed an uncanny ability to capture the motion of the

waves, the fullness of the sails, and the atmosphere of the sea in

his maritime paintings, which document the great clippers and

warships of the 18th and 19th centuries. Lauded as “the King of

the Clipper Ship School,” no artist has been able to match the

painstaking level of detail and remarkable sense of realism as this

maritime master.

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§ David Bomberg (1890-1957)

‘Sappers’

1919,

signed and dated lower edge,

Pen and ink and wash on paper,

26.7cm x 20.5cm (unframed)


£2,000 - £3,000

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Henri Gaudier-Brzeska (French, 1891-1915)

Nude with shell,

pen and ink on paper

28.6cm x 23.6cm


£500 - £1,000

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§ Spyros Papaloukas (Greek, 1892-1957)

Townscape with red roofed buildings and trees

around a tower,

probably a view on Lesbos,

signed lower right,

oil on board,

35cm x 45cm

£1,000 - £2,000

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§ Eric Slater (1896-1963)

‘A Sussex Mill’

signed and titled in pencil to the margin,

woodcut in colours,

the image 23.7cm x 33.7cm

£300 - £500

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§ Eric Slater (1896-1963)

‘Rough Sea’


woodcut in colours,


£400 - £600

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Edward Wolfe RA

Painter and illustrator Edward Wolfe was born into a Jewish family in

Johannesburg, South Africa on 29th May 1897. In 1914, at the beginning

of the First World War, he moved to Britain to study art, initially at Regent

Street Polytechnic, and then, from 1916-18, at the Slade School of Fine Art,

where he met Nina Hamnett, who introduced him to Roger Fry.

Wolfe became associated with the Bloomsbury Group, first exhibiting at

Fry’s Omega Workshops, and sitting for a portrait by Duncan Grant, c. 1921.

He also exhibited at the London Group in 1918 (elected 1923), holding his

first solo exhibition in Johannesburg in 1920, and his first solo UK exhibition

at the Mayor Gallery, London in 1926. He also held two solo shows with the

London Artist’s Association in 1930 and 1932, the latter of which featured

the work offered here 1 .

Between 1926 and 1931, he was also an active member of the 7&5 Society,

despite living and working part of the decade in Paris and Italy. Wolfe’s

bold use of colour invited comparison with the work of the Fauves, in

fact he was often dubbed ‘the English Matisse’, although art historian

and curator Mary Chamot likened him to ‘an English Gauguin’. Although

naturalised in Britain, he continued to travel widely, spending long

periods in North Africa, Mexico and the United States. He exhibited at

the Royal Academy of Arts from 1951 to 1970 and was elected a Royal

Academician in 1972. The Arts Council arranged a retrospective in 1967.

‘Portrait of Edward Wolfe’ by Nina Hamnett (1890-1956), 1918

1 ‘Edward Wolfe: An Original English Painter’, Anthony Blunt, The Spectator, 25th November 1932

The Omega Workshops Ω

The Omega Workshops Ltd. was a design enterprise founded by members of

the Bloomsbury Group and established in July 1913. It was located at 33 Fitzroy

Square in London, and was founded with the intention of providing graphic

expression to the essence of the Bloomsbury ethos. The Workshops were also

closely associated with the Hogarth Press and the artist and critic Roger Fry,

who was the principal figure behind the project, believed that artists could

design, produce and sell their own works, and that writers could also be their

own printers and publishers. The Directors of the firm were Fry, Duncan Grant

and Vanessa Bell.

Wolfe was still a teenager when he made the acquaintance of Nina Hamnett

who asked him to join Omega Workshops, painting designs on furniture,

lampshades and other household objects. It was Fry who was quick to

acknowledge Wolfe’s natural abilities as a draughstman in the modern idiom

and he included him in his 1918 article ‘Line as a Means of Expression in Modern

Art’ alongside Matisse, Modigliani and Gaudier-Brzeska. Writing about Wolfe’s

early drawings in The Burlington Magazine Roger Fry observed, “The calligraphy

is of the new kind, far subtler, more discreet and unemphatic than the old,

but it is the calligraphy that first of all strikes us. One is indeed surprised

to find young artists drawing with such a delightful freedom from all selfconsciousness,

so entirely without bravura and display.”

Omega closed in 1919, after a clearance sale, and was officially liquidated

on 24 July 1920. A series of poor financial decisions and internal conflicts all

contributed to its decline. At the time of its closure, Fry was the only remaining

original member working regularly at the workshop. Despite this, Omega

became influential in interior design in the 1920s.

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A pivotal friendship

Jim Ede, the founder of Kettle’s Yard, met Edward Wolfe in Florence in 1924, while

Ede was researching his book on quattrocento drawings. In Florence, both had

been guests of the art historian Bernard Berenson at the Villa I Tatti. Wolfe was

actually one of the first contemporary artists who Jim befriended and was a

frequent visitor to the home of Jim and Helen Ede at Elm Row in Hampstead in

the late 1920s.

Early in 1930, Wolfe invited Jim and Helen to stay with him at a house he was

living in just outside Tangier in Morocco. They were there for almost two

months, and the trip provided the Edes with much-needed rest, as well as time

for Jim to work on his biography of the sculptor Henri-Gaudier Brzeska, the first

edition of which would be published later that year. A portrait by Wolfe made

around this time shows Jim Ede reclining on a cane chair in a garden with

the sea beyond. He holds a pen and paper on his lap, and to his right is a low

table upon which are several red-bound volumes. The books in the painting

appear to correspond to the 1930 and 1931 editions of Ede’s book, published by

Heineman, which featured Gaudier-Brzeska’s signature in gold on a red cover.

Ede’s friendship with Wolfe was to prove significant, not just in introducing the

young curator to the world of contemporary art, but also in introducing Ede to

Tangier. Wolfe’s love of Morocco influenced the Ede’s to the extent that in 1936,

following Jim’s resignation from his curatorial post at the Tate Gallery, where he

had worked since 1921, they moved to Tangier. Where, with the help of a local

architect, Jim designed a large house in the new Modernist style, which he

called ‘Whitestone’. It was a few miles from the centre of Tangier, half way up a

stretch of hills known as ‘the Mountain’. From its terraces were panoramic views

across the bay and into the country. The Ede’s lived in Tangier for sixteen years,

before moving first to Les Charlottières in the Loire Valley, and then in 1956 to

their most famous home, Kettle’s Yard in Cambridge.

‘Portrait of Jim Ede’ by Edward Wolfe, 1931

A life of colour

Known in his lifetime as ‘England’s Matisse’ Edward Wolfe is now

widely celebrated for his vibrant portraits, vivid still lifes and

sweeping landscapes, enriched by his international travels. Anthony

Blunt opined in his 1932 article in The Spectator, following Wolfe’s solo

London Artist’s Association show “One of the mosrt striking features

of the exhibition is the variety of moods which Mr Wolfe is capable of

conveying. In general he is perhaps at his best in the brilliantly coloured

Tangier scenes, or the figures studies, ‘Afternoon’ or ‘Bdsotd and

Fatima” 2

In his monograph about the artist, John Russell-Taylor observed

“Throughout his career, Wolfe used almost any graphic medium

which came to hand. He was adept at painting in oils - his early

career at the Slade ensured that - and his oils were perhaps the

medium in which he showed to most advantage. But he was also

a brilliant draughtsman, and a compulsive one: even at the last,

given a ball-point pen or a fibre-tip, he would start sketching portraits

of those around or make elaborate designs out of doodles.” 3

Whilst Wolfe had always been respected as an artist of international

importance, his influence on his peers clear and enduring, his works

have become extremely sought after in recent years, as evidenced

by his intimate portrait of Pat Nelson, which following its starring role in

Tate Britain’s popular 2017 exhibition ‘Queer British Art’ sold for £95,000

at Lyon & Turnbull Auctioneers in 2021.

Edward Wolfe by S. S. Walia, 1970s

The work offered here is considered Wolfe’s masterpiece by the artist’s

biographer John Russell Taylor. A tour de force of colour and

composition, the influence of Matisse obvious in places, but on the

whole unmistakably Wolfe - a painting by an artist at the height of his

powers. Executed in Morocco circa 1929, ‘Afternoon’ features a model

regularly used by Wolfe, both in drawings and in another oil ‘News

from Town’, now in the collection of Derbyshire & Derby School Library

Service (see overleaf.)

2 ‘Edward Wolfe: An Original English Painter’, Anthony Blunt, The Spectator, 25th November 1932

3 ‘Edward Wolfe’ John Russell Taylor, Trefoil Books, 1986

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Paul Guillaume & Brandon Davis

Despite both enjoting relatively short lives, the legacies of Paul Guillaume and

Brandon Davis in modern French and British art cannot be overestimated.

Guillaume, born in Paris in 1891, rose from modest origins to become one of the

leading cultural players and art dealer-collectors of Paris in the early twentieth

century, dealing in works by Henri Matisse, Constantin Brâncuși, Pablo Picasso,

Giorgio de Chirico, Amadeo Modigliani and Chaïm Soutine, before his untimely

death from peritonitis in 1934.

Davis, like Wolfe a South African by birth, was an attorney by trade, but a

voracious lover of art, becoming a dealer-collector himself, with a collection

boasting 123 works by Matisse, mostly acquired through Bernheim Jeune or Paul

Guillaume. Davis met Wolfe on a ferry bound for Cape Town in 1919, a meeting

that would lead to Davis becoming Wolfe's principal patron.

Guillaume and Davis went into business together, trading as Guillaume &

Davis Inc., with a gallery in Mayfair's Grosvenor Street, run by Fredddy Mayor.

The partnership, however, was short-lived and was dissolved when Mr. Davis

refused to limit the exhibitions to Frenchmen, he being an enthusiast of the

modern English school. Davis continued on his own, exhibiting the works of

Augustus John, Richard Sickert and other notable, inluding Edward Wolfe. It is

likely that Davis retained possession of 'Afternoon' following the closure of his

partnership with Guillaume.

Davis was a familiar London figure, always carrying a tortoise-shell headed

cane and a spyglass. He died in London in 1931, fatally injured in a fall from the

fifth floor of Whitehall Court.

The brief partnership resulted in purchases of many notable works of art, such

as Renoir's 1876 self portrait, now in the collection of Harvard College and

'Interior at Nice' by Henri Matisse, now with Art Institute Chicago. It is clear then,

just how highly Edward Wolfe, and this work in particular, was thought of by

the titans of the art world in the late 1920s and early 1930s.

‘News From Town’ by Edward Wolfe, Collection of Derbyshire &

Derby School Library Service

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§ Edward Wolfe RA (South African/British, 1897-1982)

‘Afternoon’

a reclining woman in an interior,

executed circa 1929 in Morocco,

oil on paper laid on canvas,

90cm x 119cm,

in an impressive hand-carved leaf-pattern gilt frame by Lowy of New York, circa 1970 (stamped)

Provenance: With Paul Guillaume and Brandon Davis (Guillaume & Davis, Inc.),

73 Grosvenor Street, Mayair, London;

The collection of Brandon Davis,

Sold via his Estate through Carnegie Institute, Pittsburgh, Pennsylvania, USA , ref. ‘C. I. No. 98’;

The collection of Henry Malkiel, a label verso reading

“E.M. to Henry Malkiel, by Edward Wolfe, Reclining Lady, value 575 dollars”,

His Estate, Brunk Auctions, Ashville, North Carolina, USA, 17th November 2018, lot 1413;

Private collection, London

Exhibited: Possibly London Artist’s Association, Cooling Galleries, Mayfair, London, 1930

‘Edward Wolfe’, London Artist’s Association, Cooling Galleries, Mayfair, London, 1932

Carnegie Institute, Pittsburgh, Pennsylvania, USA;

£25,000 - £35,000

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§ Henry Moore OM, CH

(British, 1898-1986)

‘Sculptural Objects’

1949,

signed and dated within the plate

lower right,

from an edition of approximately

3000,

lithograph printed in colours,

published by School Prints Ltd.,

49.5 x 76cm

£150 - £250

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§ John Banting (1902-1972)

A study of a man playing a musical instrument,

1965,

signed, dated and numbered 10/50 in ink to the margin,

lithograph,


£200 - £400

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§ Edward Bawden CBE, RA (1903-1989)

‘Kew Gardens’

1927,

signed, titled and numbered 38/40 in pencil to the

margin,

engraving,


£400 - £600

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§ John Piper OM, CH (1903-1992)

‘Corbels at Kilpeck’

(Levinson 261),

1976,

signed and numbered 11/75 in pencil to the margin,

screenprint,

printed by Charles Broome, published by Friends of

the Hertfordshire Museums and Art Galleries

38cm x 56.5cm

£400 - £600

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‘Death in Venice (side panel left)’

(Levinson 224),

1973,

signed and numbered 39/70 in pencil,

screenprint in colours, on Arches,

printed at Kelpra Studio, published by Marlborough

Fine Art

77.8cm x 68.1cm

£800 - £1,200

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‘Horses and riders in Southern Spain, c.1950’

signed in ink lower right,

ink, watercolour and pencil,

35cm x 51cm

£400 - £600

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§ Edward Loxton Knight

(1905-1993)

‘The Downs’

signed in pencil to the margin lower right,

woodcut in colours,

the image 17cm x 30.5cm

£300 - £500

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§ Sydney Sheppard (1905-1991)

‘Cristobal Marquez Rosado’

a three-quarter length portait of a boy in an

interior,

titled in pencil upper right,

gouache,

90cm x 53cm

Exhibited: ‘Sydney Sheppard’, Sally Hunter Fine

Art, Belgravia, London, February 1994, no. 70

Provenance: Purchased at the above exhibition

by Dr Evans;

Private collection, Surrey

£600 - £1,000

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§ Cecil Rochfort D'Oyly John (1906-1993)

‘In the Old Ville in Nice’

titled verso,

oil on canvas,

25cm x 35cm

£500 - £800

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‘Fishermen, Evening, Martigues’

signed lower right,

titled verso,

oil on canvas,

24cm x 34cm

£800 - £1,200

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‘Mistral Time off French Coast at Cap d’Antibes’

signed lower right,

titled verso,

oil on canvas,

34cm x 69cm

£1,000 - £1,500

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‘Dawn Fishermen off French Coast at Cap D’Antibes’

signed lower right,

oil on canvas,

titled verso,

oil on canvas,

25cm x 35cm

£300 - £500

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‘Eden Roc near Monte Carlo’

signed lower right,

titled verso,

oil on canvas,

24cm x 35cm

£400 - £600

39


‘The Kiosk in the Flower Market in Cannes, South of France’

signed lower right,

titled verso,

oil on canvas,

35cm x 71cm

£400 - £600

34

40


‘Coastal Town, French Riviera’

signed lower left,

oil on board,

42cm x 52cm

£500 - £700

41

§ Charles James McCall (1907-1989)

‘Interior, Chester Square’

1972,

signed and dated upper right,

further signed and titled verso,

oil on board,

60cm x 50cm

£200 - £400

42

§ Charles James McCall (1907-1989)

‘Janet at the Window’

1979,

signed and dated upper right,


oil on board,

60cm x 50cm

Exhibited: Charles McCall Retrospective, Christie’s, London, 4th-

13th September 1995

£200 - £400

35

43

§ Zdzislaw Ruszkowski (Polish, 1907–1991)

Reclining nude,

1958,

signed lower right,

dated and numbered 168 verso,

oil on canvas,

Exhibited: Leicester Galleries, London

Literature: ‘Ruszkowski A Catalogue Raisonné of his Paintings’

Michael Simonov, no. 233, page 132

£1,500 - £2,500

44

§ Zdzislaw Ruszkowski (Polish, 1907–1991)

Reclining nude,

watercolour on paper,

33cm x 49.5cm (unframed)

£200 - £400

36

45

§ Marek Zulawski (Polish, 1908-1985)

‘Zuzanna i Starsi (Susanna and the Elders)’

1975,

a suite of six serigraphs,

each signed, dated and numbered 37/100 in pencil to the

margins,

the images 49.5cm x 38cm

£300 - £500

46

§ Michael Rothenstein RA (1908-1993)

‘Cock with spread wings’

1959,

signed in pencil to the margin,

artist’s proof lino and woodcut combination in colours on

wove paper,


£100 - £200

37

47

§ Carel Weight CH, CBE, RA (1908-1997)

‘Nighfall’

figures walking along a country path at sunset,

oil on board,

121cm x 93cm

Exhibited: Bernard Jacobsen Gallery, Clifford Street, St. James’s, London, 1984

Royal Academy Summer Exhibition, 1985, no. 632

£4,000 - £6,000

38

48

§ Enrico Donati (American/Italian, 1909-2008)

‘Eclipse II’,

1968,

abstract composition,

signed lower right,

further signed verso,

titled and dated to the stretcher,

oil and ground quartz on canvas,

152.4cm x 152.4cm

£3,000 - £5,000

39

49

§ Louise Bourgeois (French/American, 1911-2010)

‘I Have Been to Hell and Back’

2007,

embroidery on a cotton handkerchief,

with printed initials, pink edition, numbered ‘752/1000’,

published by Third Drawer Down, Melbourne, for Tate Modern, London

29 x 30cm,

folded as issued in the original envelope

£1,500 - £2,000

40

50

§ Keith Vaughan (1912-1977)

Figural study,

standing male,

pencil on buff paper,

studio stamp verso,

37cm x 23cm

£800 - £1,200

51

Rhona Stern (South African, 1914-1998)

Nude study from behind,

signed in pencil lower right,

lithograph,

the sheet 51.1cm x 36.6cm (unframed)


£50 - £100

41

52

Dmitry Vasilievich Titov (Russian, 1915-1975)

Landscape with rainbows

signed lower right,

oil on canvas,

90cm x 160cm

£2,000 - £4,000

42

53

§ Harry Thubron OBE (1915-1985)

Surreal landscape with trees,

circa 1956,

oil on canvas,

81cm x 101cm

Note: For a similar composition, please see ‘Untitled’,

collection of Leeds Art Gallery,

accession number LEEAG.PA.1991.0024

£2,000 - £3,000

Harry Thubron was a familiar name nationally and

internationally during the 50s and 60s. His radical and

reconstructive work in art education was legendary and

many have said that he was one of the greatest teachers

this country has ever known. He was Head of Fine Art at the

Art Colleges of Sunderland (1950-55), Leeds (1955-64) and

Lancaster (1966-68).

As a painter, sculptor and collagist he is less well known

and perhaps his own work as an artist was obscured by

his commitment to his teaching practice. When Thubron's

involvement with teaching was at its height in the 1950s he

claimed international attention for his pioneering

cross-disciplinary work, his experimental courses and his

close association with the ‘Basic Design Course’, it was

difficult for his own work as an artist to take precedence

over the range of his professional activities.

There have been exhibitions that have afforded glimpses of

Thubron's work but the only survey undertaken was at the

Serpentine in 1976 where 70 of his collages and assemblages

were exhibited. The last one person show was held, shortly after

Thubron died, at Goldsmiths' College in 1986, where he had

taught between 1971 and 1982.

Although interested in Kurt Schwitters and Antoni Tàpies, it was

the work of Paul Klee that Thubron most admired: “no right or

wrong techniques or styles, the willingness to let things grow,

without prejudice, and the principle that what is used and

done should continue to live in the thing made”.

Just as Thubron encouraged his students to experiment in a

constructive manner, “to exercise their intuition, to explore their

own sensibilities”, he described his own works as the result of

“emotive and imaginative experiences.” His art served as a

means of self-development and self-discovery.

Harry Thubron’s work is represented in the collections, among

others, of the British Council, the Contemporary Art Society, the

Fundacio Calouste Gulbenkian (Lisbon), in the Government

Art Collection, the Henry Moore Institute (Leeds) and the Tate

Collection (London).

43

William Gear RA RBSA (1915-1997)

Scottish artist William Gear was born in Methil, Fife, and attended Edinburgh

College of Art. In 1937 he studied briefly under Fernand Léger in Paris. After the war

Gear worked in Germany, mounting exhibitions for the Allies. From 1948 to 1950 he

lived in Paris, where he became affiliated to the COBRA movement. The COBRA

artists (the initials stand for Copenhagen, Brussels and Amsterdam, the home

cities of many of the group’s members), advocated a gestural, near abstract style

of painting, influenced by primitivism and the art of children.

In 1950 he returned to England, where he painted his best-known work, ‘Autumn

Landscape’, recipient of the Festival of Britain Purchase Prize. The painting’s

dynamic, abstract forms created a controversy which established him as a

well-known artist in the following years.

In 1958, Gear was appointed curator of Towner Art Gallery in Eastbourne. However,

the local community was resistant to the Modernist art championed by Gear,

and every purchase had to overcome fierce opposition. He later said of this time

that “I won the battle, I was a casualty if you like, but I won the battle”. In 1960, two

paintings by Gear were included in the Royal Academy Summer Exhibition - the

first abstract works ever to be shown at the Academy, and which were met with

much derision in the press. At the 1962 Summer Exhibition, his submissions were

rejected by the RA Hanging Committee, prompting the sculptor FE McWilliam to

resign in protest.

William Gear in his studio, Paris 1949

In 1964, he was appointed head of the Department of Fine Art at the Birmingham

College of Art, remaining there until his retirement in 1975. He also served as

chairman of the fine art committee of the Council for National Academic Awards.

In 1995, he was elected to the Royal Academy and continued painting throughout

the later years of his life.

54

§ William Gear RA RBSA (1915-1997)

‘Untitled 1948’


ink on paper,

44cm x 61cm

Provenance: From the family of the artist

This drawing reflects Gear’s interest in

Pablo Picasso and Joan Miró, whose

technique of ‘taking a line for a walk’

is well illustrated here with offshoots

terminated in arrows and X’s. The shading

gives a shallow, three-dimensional effect

and the low horizon suggests an opaque

object on a sea shore.

Gear visited the artist Wilhelmina Barns-

Graham in St. Ives in 1948 resulting in a

series of loosely abstracted boat and

harbour related works.

£250 - £450

44

55


‘October Study, Oct 53’



oil on canvas,

64cm x 54cm


£1,000 - £2,000

56


‘Untitled, 1964’


mixed media on paper,

56cm x 71cm


£300 - £500

45

57


‘Vertical Forms, 1970’


acrylic on paper,

62cm x 47cm


£200 - £400

58


‘Fluid Yellow, July 1970’



56cm x 38cm


£200 - £400

59


‘Untitled, Feb 1980’


acrylic on paper,

50cm x 75cm


£300 - £500

60





50cm x 70cm


£250 - £450

46

61


Untitled

abstract composition in red, green and black

against a blue ground,

signed lower right,

further signed verso,

oil on board,

90cm x 55cm

£1,000 - £2,000

62


Untitled,

abstract composition in blues, green,

black and white,

signed verso,

oil on canvas,

78cm x 38cm

£800 - £1,200

63



abstract composition in orange, yellow, red,

grey and black,


oil on canvas,

40cm x 50cm

£800 - £1,200

47

64

§ Louis Le Brocquy HRHA (Irish, 1916-2012)

‘Hand’

1971

signed, dated and numbered 59/70 in pencil lower right,

lithograph on hand made rag paper,

the sheet 40.4cm x 34cm (unframed)


£1,000 - £2,000

65

§ Robert Buhler RA (1916-1989)

A house in a landscape,

signed lower right,

oil on canvas,

62cm x 75cm

£600 - £800

66

§ Robert Buhler RA (1916-1989)

Landscape with trees and haystacks,

oil on board,

34cm x 44cm

£300 - £500

48

67

Slim Aarons (American, 1916-2006)

‘Dining al fresco on Capri, August 1980’

open edition giclee photographic print,

printed by Getty Images Gallery and with their blindstamp

lower right and sold with their certificate of authenticity,

51cm x 60cm (unframed, rolled)

Provenance: Purchased from Enter Gallery, Brighton

This work shows Domiziana Giordano, Francesca Sanvitale,

Dino Trappetti and Umberto Terrellli dining al fresco on a

terrace overlooking the waters of the coast of the island of

Capri, Italy

£100 - £200

68

Manner of Sidney Nolan OM AC CBE RA

(Australian, 1917-1992)

‘Ned Kelly’

the notorious outlaw depicted on horseback,

wearing his famous helmet,

oil on board,

52cm x 63cm

£400 - £600

69

§ Sir Kyffin Williams OBE, RA (1918-2016)

Interior scene with a father and child reading,

initialled lower right,

signed in pencil upper left,ink and wash,

25cm x 18cm

£800 - £1,200

49

70

§ Robert Tavener RE (1920-2004)

‘Westminster Abbey, Rose Window’


artist’s proof linocut,

the image 54cm x 45cm,


£100 - £200

71


‘Westminster Abbey (West Front)’

1967,

signed dated and numbered 6/10 in pencil to the margin,

lithograph,

the image 58cm x 43.5cm,

the sheet 60cm x 45cm (unframed)

£80 - £120

72


‘Horse Guards Parade’


artist’s proof linocut,


£100 - £150

73


‘Horse Guards and Cadiz Cannon’

signed, titled and numbered 43/75 in pencil to the margin,

linocut,


the sheet 56cm x 71.5cm (unframed)

£100 - £150

74


‘Horse Guards, Summer’

1968,

lithograph,



£80 - £120

75


‘King’s College Gateway (Cambridge Series)’

lithograph,



£80 - £120

76


‘Caius Gateway, Elizabethan Gateway (Cambridge Series)’

lithograph,



£50 - £80

77


‘New Court, St John’s College (Cambridge Series)’

signed an titled in pencil to the margin,

lithograph,



£80 - £120

78


‘York Minister (Son et Lumiere)’

signed titled and numbered 14/75 in pencil to the margin,

linocut,



£100 - £150

79


‘Churchyard and Downs, Glynde’


linocut,

the image 40.5cm x 52cm,

the sheet 54.5cm x 59.5cm, (unframed)

£100 - £150

80


‘Sussex Spinney (no. 2)


linocut,



with a figural pencil sketch verso

£80 - £120

81


‘Coach House, Dittington, Somerset’


lithograph,



£80 - £120

50

Lot 70 Lot 71 Lot 72




51

Lot 82

Lot 83

82


‘Harvesting’


linocut,



£200 - £300

83


‘Country garden & Beans’


linocut,



£100 - £150

52

84

§ Patrick Heron CBE (1920-1999)

‘Mini March III; 1974’

signed, titled and dated verso,

gouache on paper,

18cm x 23.8cm

Provenance: Purchased from Waddington Galleries,

Cork Street, Mayfair, 6th June 1975;

Private collection, West Sussex

£7,000 - £10,000

53

85

§ Adrian Heath (1920-1992)

‘LL/70’

1970,

monogrammed and dated lower right,

oil and pencil on paper,

21.6cm x 22.9cm

Provenance: Purchased from JPL Fine Arts, Grafton Street,

Mayfair, London, 6th February 1975;


£500 - £1,000

86

§ Adrian Heath (1920-1992)

‘AH/5/70’

1970,

monogrammed and dated lower right,

oil and pencil on paper,

21.6cm x 22.9cm

Provenance: Purchased from JPL Fine Arts, Grafton Street,

Mayfair, London, 6th February 1975;


£500 - £1,000

87

§ Cirilo Martinez Novillo

(Spanish, 1921-2008)

‘Landscape’,

1971,

signed lower right,

inscribed verso “Best wishes to Mr Hobbs, Martinez

Novillo”

oil on canvas board,

26.7cm x 34.3cm

Exhibited: New Grafton Gallery, Mayfair, London,

1972

Provenance: Purchased from the above

exhibition, 3rd November 1972;

Private Collection, East Sussex

£1,000 - £1,500

54

88

§ Fred Yates (1922-2008)

‘Salford, 1976’

Canal side figures by a lock gate,

oil on board,

89cm x 61cm

£500 - £800

89

§ Jeffery Camp (1923-2020)

‘Small Red Bath’

1971

signed lower left,

oil on board

60.8cm x 60.8cm

Provenance: With Nigel Greenwood Gallery,

Mayfair, London;


£800 - £1,200

55

90

§ Manolis Calliyannis

(Greek, 1923-2010)

‘Les Chardons’

signed lower left,

oil on canvas,

71.1cm x 91.5cm

Provenance: Purchased from The Mayor Gallery,

Mayfair, London, 16th October 1979;


£2,500 - £3,500

91

§ Leo Davy (1924-1987)

‘Highland Fog I’

c.1950,

oil on board,

119cm x 43cm

Exhibited: ‘Leo Davy: Paintings 1950-1987

Abstract Creation’, Piano Nobile / King’s Place,

King’s Cross, London

£400 - £800

56

92

§ David Haughton (1924-1991)

‘Waste Ground’

signed and numbered 6/50 in pencil to the margin lower

right,

titled verso,

etching,




£100 - £200

93

§ Sandra Blow RA (1925-2006)

‘Four Collages - Paper and Charcoal’

1977,

signed, titled and dated in pencil to the mount,

mixed media collage,

17.75cm x 20.3cm

Provenance: Private collection, East Sussex

£6i00 - £800

94

§ Arthur Hackney (1925-2010)

Wild climbing roses over a garden wall,

signed lower right,

oil on canvas,

91cm x 122cm

£300 - £500

57

95

§ Han Snel (Dutch/Indonesian, 1925-1998)

‘Balinese Girls’

1964,

signed, dated and inscribed “Bali” lower right,

oil on canvas,

60cm x 47cm

£1,000 - £2,000

96

§ Jacques Boyssou (French, 1926-1997)

‘Trouville’

figures at the beach,

signed lower right,

titled verso,

oil on canvas,

22cm x 28cm

Provenance: Purchased from La Dame à La

Licorne Gallery, Théoule sur Mer, 25th July 1990

and with a copy of their invoice

£500 - £1,000

58

97

§ Anthony Fry (1927-2016)

‘Small Nude 2’

1970,

oil-bound pastel on paper

17.5cm x 26cm

Provenance: With The New Art Centre,

Kensington and Chelsea, London;


£800 - £1,200

98

§ Anthony Fry (1927-2016)

‘Nude XVII’

circa 1970,

pastel on paper,

21.6cm x 29.2cm

Provenance: With The New Art Centre,

Kensington and Chelsea, London;


£800 - £1,200

99

§ Richard Robbins (1927-2009)

Reclining nude,

signed in pencil to the margin,

artist’s proof etching,



Provenance: A distinguished private

collection

£50 - £100

59

100

§ Myles Murphy (1927-2016)

Orange Nude (Dawn)

1983,

signed verso,


91.4cm x 91.4cm

Exhibited: ‘The Hard Won Image’ Tate Gallery,

London, 4th July - 9th September 1984, no. 114;

‘British Painting, 1900-1989’ Browse & Darby, Mayfair,

London, 28th November - 22nd December 1989;

‘Five Protaganists’, Browse & Darby, Mayfair,

London, 20th April - 26th May 1994, no. 19

Provenance: Purchased from Browse & Darby,

Mayfair, London, 1990


£1,000 - £2,000

101

§ Jack Smith (1928-2011)

‘Sound and Silence: Structure No. 1’

1974-75,

signed and dated verso,

pencil and transparent paper on paper,

26.7cm x 33cm

Provenance: Purchased from The Redfern Gallery,

Mayfair, London, 5th April 1976;


£150 - £250

60

102

§ Joe Tilson RA (1928-2023)

‘Liknon Version B’

1985

signed, inscribed and stencilled verso,

oil on canvas on wood relief,

42cm x 52 cm

Provenance: With Waddington Graphics, Mayfair, London;


£2,000 - £3,000

61

103

Ivan Kuzmich Sobakin (Russian, 1928-1994)

‘Father’s Home’

1978,


inscribed verso,

oil on canvas,

133cm x 155cm (unframed on stretcher)

£300 - £500

104

§ Avigdor Arikha

(Romanian/French/Israeli, 1929-2010)

Standing nude study

1971,

signed and dated upper left,

oil on board,

55cm x 22cm

£1,000 - £2,000

Avigdor Arikha was born in Romania in 1929 and moved to

Palestine in 1944. He studied art at the Bezalel Academy in

Jerusalem and the École des Beaux-Arts in Paris.

A highly skilled draftsman, Arikha first gained recognition in

the 1950s for his illustrations. After producing abstract paintings

from 1957 to 1965, he broke with abstraction in the mid-1960s to

devote himself entirely to working from life. In doing so, Arikha

became part of a growing trend among Israeli artists to develop

more individual styles in reaction to the dominant mode of lyrical

abstraction. Intent on being truthful to the subject, Arikha works

only from direct observation and completes each piece in a

single session. Underlying his work is an intense spirituality

conveying the intimacy and truth found in fleeting moments of

experience. Here the artist depicts himself with mouth open, as

if caught in mid-sentence. His dynamic rendering of modest

subjects evokes a deep awareness of beauty in everyday

surroundings. A prominent artist of his generation, Arikha considers

himself a post-abstract figurative painter.

62

105

§ Serge Mendjisky (French, 1929-2017)

‘Chiquita in Broadway’

signed and numbered ‘4/8’ verso,

photo collage laid on canvas,

120cm x 120cm

Provenance: Purchased from Bonham’s, London, 22nd October 2008, lot 400;

The Tanyards Collection, East Sussex

£1,800 - £2,500

63

106

§ Padraig Macmiadhachain

(Irish, 1929-2017)

‘Image for a Polish Church’ or ‘Krakow, Mar ‘61, Poland’

1961,


further titled and inscribed verso,

oil and collage oil and collage on canvas,

80cm x 57cm;

together with a similar smaller composition,

signed lower right,

oil on canvas,

25cm x 28cm (2)

Provenance: Purchased from Studio 7, Swanage,

Dorset, 1961

The margins under the frame are rubber stamped

indicating the bureaucracy of the communist

regime in Krakow when Macmiadhachain was

leaving with his work.

£600 - £800

107


(Irish, 1929-2017)

‘St Aldhelm’s Head, Dorset, July ‘82 -

with normal chapel’


titled verso,

oil on canvas,


£1,000 - £2,000

64

108


(Irish, 1929-2017)

‘Jane sleeping in the warmth of a

blue shuttered room, Tunisia, ‘94’

signed lower left,

oil on canvas,

62cm x 75cm

£400 - £800

109


(Irish, 1929-2017)

‘Firebird and the Yellow Field,

St Vincent, West Indies’

signed lower right,

titled verso,

oil on canvas,


£400 - £800

65

110

Yayoi Kusama (Japanese, b. 1929)

‘Pumpkin 2000 (Green)’

signed and dated in plate lower right,

numbered 38/200 in pencil to the margin lower left,

lithograph on Mori Museum paper,



£300 - £500

111

Yayoi Kusama (Japanese, b. 1929)

‘Pumpkin (Red)’

numbered 192/200 in pencil to the margin lower left,

lithograph on Mori Museum paper,



£300 - £500

112

§ John Houston OBE, RSA (1930-2008)

‘Lilies and Garden’

still life study,

signed lower left,

watercolour and pva,

100cm x 67cm

Exhibited: ‘Festival Exhibition’ Aitken Dott & Son

(The Scottish Gallery), Edinburgh, 1967, no. 76

£500 - £1,000

66

113

Yuri Matushevski (Russian, 1930-1999)

‘A village beside the forest’

1972,


oil on board,

55.3cm x 70.5cm

Yuri Matushevski was born in Litinovo in 1930. After studying

in Irkutsk and St. Petersburg, he became a member of the

Union of Artists in 1960. As well as regularly participating in

regional and national exhibitions within Russia, Matushevski

included works in exhibition sales of Soviet artists abroad,

which has led to his works featuring in private collections

throughout Europe and the rest of the world. He also had

his own one man shows in Moscow in 1963 and 1979.

£400 - £800

114

§ Anthony Wishaw RA (b. 1930)

‘Fly Away II’

1980-81,


acrylic on canvas,

35.6cm x 35.6cm


£400 - £800

115

§ Anthony Whishaw RA (b. 1930)

‘Interior with Mirror’

1964,


signed and titled verso,

acrylic on canvas

35.6cm x 35.6cm


£500 - £800

67

Peter Sedgley was an English visual artist

associated with Op art and Kinetic art.

He co-founded SPACE, which is the oldest

continuously operating art studio in London,

and the Artist Information Registry (AIR) with

Bridget Riley in 1968.

116

§ Peter Sedgley (1930-2025)

‘Yellow Gouache’

1965,


gouache on card,

36.2cm x 26.7cm

Provenance: Purchased from Redfern Gallery,



£500 - £800

68

117


‘Helix II’

1966,


gouache on card,

35.5cm x 28cm

Provenance: Purchased from Redfern Gallery, Mayfair, London,

15th March 1983

£500 - £800

118


‘Oranges and Lemons II’

1980,

acrylic on card,

35cm x 35cm

Provenance: Purchased from Redfern Gallery,



£500 - £800

69

119

§ Dame Elizabeth Blackadder

DBE, RA, RSA (1931-2021)

‘Greek Church’

1962,

signed lower right,

watercolour and gouache,

37cm x 54cm

In 1962 Blackadder visited Thessaloniki in Greece

to paint Byzantine churches.

£1,000 - £2,000

120

§ Brian Perrin (1932-2025)

Landscape study

signed lower right,

charcoal on paper,

58.2cm x 91.3cm (unframed)


£300 - £500

121

§ Harold Mockford (1932-2023)

‘Martello Fields, Seaford, East Sussex’

2005,


further signed, titled and dated verso,

oil on canvas,

72cm x 90cm

£600 - £800

70

Lot 122 Lot 123

122

§ Harold Mockford (1932-2023)

‘Sally in Bed’

The artist’s daughter asleep in a bedroom interior,

oil on board,

122cm x 91cm

Lot 124

Exhibited: Royal Academy Summer Exhibition,

1974, no. 578

£800 - £1,200

123

§ Sir Peter Blake CBE, RDI, RA (b. 1932)

‘Side Show, 1974-8’

folio of five artist’s proof wood engravings:

‘Fat Boy’, ‘Bearded Lady’, ‘Tattooed Man’ and

‘Giant and Midget’,

each signed and numbered from the edition of

30 artist’s proofs in pencil,

on thin laid Japan paper,

printed at White Ink Studio, published by Waddington

Graphics, London,

30 x 25cm

£1,000 - £2,000

124

§ Sir Peter Blake CBE, RDI, RA (b. 1932)

‘Tattooed Man, 2015’


ink jet print in colours,


£200 - £400

71

Michelangelo Pistoletto (Italian, b. 1933)

A leading figure in the development of Arte Povera and Conceptualism,

Michelangelo Pistoletto is best known for his “mirror paintings,” which he first made

with grounds of metallic paint on canvas before rejecting canvas altogether, in

favor of screen-printing on polished steel. The beguiling results overlay figurative

elements on flat, reflective surfaces. This implicates viewers, who look back at

themselves while looking at the art. Conceptual themes of representation and

interactivity prevail throughout Pistoletto’s oeuvre, also figuring into his early

sculptural projects such as his “minus objects,” which explore how everyday items

might become art.

Pistoletto has participated in many editions of Documenta and the Venice Biennale.

In 2003, he won the Golden Lion for lifetime achievement. His work has sold for seven

figures at auction and belongs in the collections of the Museum of Modern Art, the

Tate, the Centre Pompidou, the Museo Reina Sofía, and the National Gallery of Art in

Washington, D.C.

125

§ Michelangelo Pistoletto (Italian, b. 1933)

‘Specchio da Toilette (Toilet Mirror)’

signed and numbered 444/450 in black felt pen verso,

silkscreen on steel mirror,

100cm x 70cm

Provenance: The Tanyards Collection, East Sussex

£800 - £1,200

126

§ Michelangelo Pistoletto (Italian, b. 1933)

‘Girasoli (Sunflowers)’

signed and numbered XII/XV in black felt pen verso,

silkscreen on steel mirror,

100 x 70cm


£800 - £1,200

72

73

Jo Brocklehurst (1935-2006)

Jo Brocklehurst is remembered primarily for capturing the vibrancy of late 20th

century subcultures in London, Berlin and New York.

Her figurative paintings from fetish clubs record experiments with sex, androgyny

and couture that inspired the mainstream fashion collections of Jean Paul Gaultier;

while her best-known portraits from the 1980s offer a raw, beautiful and female

perspective on punk.

Jo wheeled a shopping trolley full of pastels, UV paint and rolls of paper into

clubnights like London’s Blitz in the 1970s and the Skin Two Rubber Ball in the 90s.

She would set up her drawing board in dim corners and create A1-size portraits

of the most flamboyant club goers – always working at furious speed.

Brocklehurst’s works capture the animated, avant-garde style and the ‘edge’ of

her subjects, with comparison to Egon Schiele’s expressive portraits.

127

§ Jo Brocklehurst (1935-2006)

Portrait of a Punk,

1982,


mixed media drawing with collage,

83cm x 59cm

£1,500 - £2,500

74

128


Reclining Punk,

1981,


mixed media drawing,

59cm x 83cm

£1,500 - £2,500

129


Study of a New Romantic,

1983,

half-length study, the sitter holding a cigarette in his left hand,



82cm x 56cm (mounted but unframed)

£800 - £1,500

75

130


Portrait of a Fetish Dancer,

1995,



100cm x 70cm

£500 - £1,000

131


‘The Red Queen’

from the Alice in Wonderland series,

2002,


mixed media drawing with UV pens,

59cm x 41.5cm

£500 - £1,000

76

132

§ Bryan Organ (b. 1935)

‘Study for the Monkey-Eating Eagle’

1977,

signed, dated and titled lower right,

gouache on board,

50cm x 50cm

Provenance: Purchased from the artist by the present

private owner, in 1977 or 1978

Bryan Organ became known as a fine wildlife artist and

a notable portrait painter – including members of the

Royal Family - his painting of Diana Princess of Wales, in

particular, was highly regarded. His work is in many public

collections in Britain and elsewhere, including the Tate

Gallery, National Portrait Gallery and Whitworth Art Gallery

Manchester.

He is godfather to Prince Harry, Duke of Sussex and Prince

William, His Royal Highness, the Prince of Wales.

£1,500 - £2,500

133

§ John Harvey (1935-2023)

Bathers on the beach, Cornwall

artist’s studio stamp verso,

oil on board,

25.5cm x 39.5cm

£150 - £250

134

Itzchak (Isaac) Tarkay (Israeli, 1935-2012)

Nude study,

the sitter depicted seated in an interior,

signed to a label verso,


50cm x 40cm

Itzchak Tarkay was an Israeli artist known for his Post-

Impressionist style, heavily influenced by French artists

Matisse and Toulouse-Lautrec, whose work often

featured dream-like depictions of women in cafes.

Born in Yugoslavia, Tarkay was a Holocaust survivor who

immigrated to Israel in 1949 and studied at the Bezalel

and Avni Institutes. His signature technique involved

layering colours to create texture and transparency,

resulting in rich, contemplative compositions.

£800 - £1,200

77

Lot 135

135

§ Patrick Procktor RA (1936-2003)

‘High Mo, Aug 68’

1968,

signed lower right,

titled and dated lower left,

watercolour on paper,

34.5cm x 24.5cm

Provenance: Purchased from The Redfern

Gallery, Mayfair, London, 25th April 1969;


£1,200 - £1,800

136

§ David Hockney RA (b. 1937)

‘French Shop - Alimentation’

1971,

signed, dated and numbered 32/500 in pencil

etching with aquatint in black and red,

printed by the Print Shop, Amsterdam,

published by the Observer, London

63.5cm x 53.8cm

Provenance: Purchased from CCA Galleries,

Dover Street, Mayfair, London, 21st January

1988 and with their certificate of authenticity

£3,000 - £5,000

Lot 137

137

§ David Hockney RA (b. 1937)

‘Old Rinkrank Threatens the Princess’

from the story ‘Old Rinkrank’ for the portfolio

‘Six Fairy Tales from the Brothers Grimm’,

etching and aquatint,

from the unsigned edition of 400,

published by the Petersburg Press in

association with the Kasmin Gallery, 1970

the image 23 x 26.6cm

Provenance: Purchased from Goldmark

Gallery, Uppingham, Rutland

£200 - £400

78

79

Lot 136

Lot 138

Lot 139

138

§ John Armstrong (b. 1937)

‘Southwold Lighthouse, Suffolk’

monogrammed lower left,

oil on board,

30cm x 50cm

£300 - £500

Lot 139A

139

§ Michael Foreman OBE, RDI (b. 1938)

‘Pole Cats’

2007,

signed lower right,


acrylic with pen and ink on canvas,

24cm x 30cm

Exhibited: ‘Louis Wain and the Summer Cat Show’,

Chris Beetles Gallery, St James’s, London, 2007, no. 255

Provenance: Purchased at the above exhibition;

Private collection, Kent

£200 - £300

138A

Ting Shao Kuang (Ding Shao Guang)

(Chinese b. 1939)

‘Yoga Pose’

mixed media on board,

49cm x 59cm

£150 - £250

Lot 140

140

§ Nguyen Trung (Vietnamese, b. 1940)

‘Message’

1995,

abstract composition,

signed and dated “27.2.95” lower left,

mixed media on canvas with impasto,

100cm x 100cm

Provenance: Tu Do Art Gallery, Ho Chi Minh City;

Freedom Gallery, Ho Chi Minh City

Born in Soc Trang, Vietnam in 1940, Nguyen Trung is one of the

most respected and accomplished artists in Vietnam.

Nguyen Trung’s dedication to his art and his ability to adapt

and reinvent himself have made him a significant figure in the

Vietnamese art scene. His works continue to be celebrated for

their beauty, serenity and cultural significance.

£600 - £800

80

141

§ Dame Barbara Rae CBE, RA (b. 1943)

‘Yellow Field - Carrowteige’


monoprint on Magnani Pescia paper,


the sheet 76cm x 56cm

Provenance: Purchased from Adam Fine Art,

Cork Street, London, 27th August 2008;

Private collection, West Sussex

£1,000 - £2,000

81

142

§ Jock MacInnes (b. 1943)

‘Markers and Minnows’

1998, still life study,


oil and gesso on board,

61cm x 71cm

Provenance: Portland Gallery, St. James’s, London;

Private collection, Dorset

Jock MacInnes studied at Glasgow School of Art and

then taught there for twenty five years. By 1999, however,

demand for his paintings had become so strong that

he had to give up this post to commit all his time to

painting.

The St Ives school, both in terms of subject matter and

technique, has played a particularly formative role in

MacInnes’ artistic development.

MacInnes’ work can be found in public and private

collections throughout Britain, Europe and the USA.

£200 - £400

144

§ Graham Gingles (b. 1943)

‘Corridor II’

mixed media diorama,

signed and titled to the case verso,

35.5cm x 73.5cm x 29.5m

£300 - £500

143

§ Graham Gingles (b. 1943)

‘Now and Then’

mixed media diorama,

signed and titled in pencil lower left,

further signed and titled to the case verso,

50.5cm x 40.5cm x 14cm

£200 - £400

82

145

§ Maggi Hambling CBE (b. 1945)

‘July Wave II’

2011,

signed and dated verso,

oil on canvas with impasto,

25.5cm x 30cm

£5,000 - £7,000

83

Uri Geller (b. 1946)

Uri Geller is one of the world’s most investigated and celebrated mystifiers.

Famous around the globe for his mind (and spoon) bending abilities, he has led a

unique life shrouded in debate, controversy and mystery.

Geller worked with and was mentored by Salvador Dalí for two years in the early

1970s, a period that significantly influenced Geller’s own artistic path, shifting him

from a conscious approach to one of more intuitive and surrealist concepts.

During their time together, Dalí gifted Geller a crystal he claimed was from Leonardo

da Vinci, which Geller later used as the hood ornament for his famous Cadillac

covered in bent spoons. Geller also claims he was influenced by other renowned

artists, including Pablo Picasso, Peter Max, and Andy Warhol.

Lot 146

146

Uri Geller (Israeli/British, b. 1946)

‘Plurals of Confusion’

1975,


further signed, dated and titled verso,

mixed media on canvas,

80cm x 70cm

£200 - £300

147


‘Laterra Sante’

1975,

surrealist composition,

signed lower right,


oil on canvas,

60cm x 120cm

£200 - £300

Lot 145

84

148


‘Involvement’

1979,


signed and titled verso,

oil on canvas

70cm x 100cm

£200 - £300

149


‘Perishing lands’

1974,




oil on canvas,

80cm x 100cm

£200 - £300

150


‘Dedication to a legend’

1975,




oil on canvas,

100cm x 75cm

£200 - £300

85

151

§ John Lowrie Morrison (JOLOMO) (b. 1946)

‘Evening Light, The Boathouse, Isle of Gigha’

2015,

signed lower right,


oil on canvas,

28cm x 28cm

£1,500 - £2,500

152

§ Piers Browne (1949-2024)

‘Nude’

1972,

signed, dated, titled and numbered 4/25 in pencil to the margin,

etching,




£50 - £100

153

§ Cedric Huson (Contemporary)

Deserted Garden

1989,


acrylic on board,

61cm x 61cm

Provenance: Purchased from The Piccadilly Gallery,

Mayfair, London, 1st April 1989;


Cedric Huson is a painter, living and working in Scotland.

He was born in Shropshire but from an early age lived in

London, and later, Wiltshire. Huson was a student at Salisbury

School of Art, Swindon College School of Art and Winchester

School of Art, where he studied Painting and Printmaking.

Huson returned to London to undertake postgraduate studies

at the Royal Academy Schools. He continued to live there with

his wife, Kitta Potgieter, until they moved to Scotland in 2002.

£500 - £1,000

86

154

§ Nicholas Volley (1950-2006)

‘Portrait of Ricky, 1989’

signed, titled and dated to the stretcher verso,

oil on canvas,

58.4cm x 44.5cm


£700 - £900

155

§ Nicholas Volley (1950-2006)

‘Piano and Chair’

1985,

oil on canvas,

76cm x 50.5 cm


£800 - £1,200

87

Lot 156

Lot 157

156

§ Tony Bevan RA (b. 1951)

Figural study,

1991,


charcoal on paper,

55.9cm x 76.2cm


£800 - £1,200

157

§ Thomas Newbolt (b. 1951)

‘Veronica with Cloth’

1988,

signed, titled and dated in pencil to the margin

un-numbered example from the edition of 30,

etching and aquatint,

the image 18.5cm x 17.5cm,



£50 - £100

88

158

§ Alan Furneaux (b. 1953)

‘P210 at Newlyn Dock (Plein Air Painting)’

signed lower right,

titled verso,

oil on canvas with impasto,

40cm x 40cm

£300 - £500

159


‘Bristol Docks’

signed lower right,

oil on canvas,

45cm x 60.4cm

£600 - £800

160


‘Sete’

French Mediterranean view,

signed lower right,

oil on paper,

66cmx 76cm

£300 - £500

89

161

Larry Mitchell (Australian, b. 1953)

‘Cornish Valley’

signed lower right,

oil on board,

59.5cm x 89.5cm

Provenance: With Agnew’s, Bond Street, Mayfair, London

£800 - £1,200

90

162

§ Horace Panter (b. 1953)

‘The Clash’


ultrachrome HDR light-fast fine art print on 285gsm paper,

the image 61cm x 61cm

Musician and artist Horace Panter was born in Croydon

in 1953 and graduated from Lanchester Polytechnic

(now Coventry University) with a BA in Fine Art in 1975.

Whilst there, he met Jerry Dammers and, together with

Lynval Golding, he was a founding member of The Specials.

While known predominantly as a musician, he kept up his

art practice while touring and became a professional artist

in 2010 with his first exhibition at The Proud Gallery in London.

Since that time, he has exhibited throughout the UK, as well

as in Los Angeles, New York, and Singapore.

£200 - £400

163

§ Lucy Jones (b. 1955)

Head and shoulders study,


linocut on tissue paper,

the image 30.6cm x 20.3cm,



£100 - £200

91

164

Serguei Shutov (Russian, b. 1955)

‘Still Life no. I’

1989,

signed in cyrillic and dated lower right,

watercolour and gold paint on paper,

67cm x 51cm

Exhibited: Barbizon Gallery, Glasgow, 1990

£300 - £500

165

§ Simon Palmer (b. 1956)

‘Lonely Company’


watercolour,

21.2cm x 18.5cm

£600 - £800

166

§ Simon Palmer (b. 1956)

‘A Warm Evening’


watercolour,

20.8cm x 16.8cm

£600 - £800

167

Le Thiet Cuong

(Vietnamese, b. 1962)

Figures before houses,

1996,


gouache on cloth,

48cm x 75cm

£200 - £400

92

168

§ The Connor Brothers (Contemporary)

‘If you haven’t got anything nice to say come sit next to me’

2018,

signed, dated and numbered 2/150 in pencil to the margin,

Giclee on wove paper,



£1,000 - £1,500

169

§ Gry Hege Rinaldo (Norwegian, b. 1974)

Nude study,

1999,

pencil on paper,

the sheet 42.2cm x 29.8cm (mounted but unframed)


£100 - £200

93

170

§ Justin Mortimer (b. 1970)

‘Trevor (Red Table)’

1992,


oil on canvas,

152cm x 127cm

Note: This work was completed as the artist’s final work at the Slade School of Fine Art.

Mortimer was the recipient of the BP Portrait Award in 1991.

£2,000 - £3,000

94

95

Ceramics & Glass

171

Ulisse Cantagalli (Italian, 1839-1901):

A pair of large Italian maiolica globular jars,

both decorated with portrait busts within cartouches,

against a floral decorated ground,

painted marks to the underside,

each 25.5cm high

£500 - £700

172

William De Morgan (1839-1917): A ruby lustre dish,

c.1880, the interior decorated with scrollwork to petal lappets,

the underside with a griffin to the centre and scrollwork to the border,

unmarked, 31.5cm diameter

Provenance: Bears paper label to the underside inscribed

“purchased by Alice Erskine from de Morgan in his studio for 2/6”

£400 - £600

96

173

Robert Wallace Martin for Martin Brothers:

A salt-glazed stoneware jug,

decorated with a band of flowers and tendrils against

a mustard ground, the body with a buff glaze, incised marks

“R.W. Martin, London & Southall” and dated “7.9.80” to the

underside, 18.75cm high

£200 - £300

174


A salt-glazed stoneware vase,

decorated with wild flowers, glazed in shades of green, brown,

yellow and white on a buff ground, incised marks “R.W. Martin

Bros, London & Southall” and dated “8-1887” to the underside,

21.25cm high

£300 - £500

175

Martin Brothers: A stoneware jug

decorated with flowers,

of globular form, incised marks to the underside “Martin

Brothers, London - Southall” and dated “10-1887”, 17cm high

£300 - £500

176

Martin Brothers: A group of three small wares,

comprising: A miniature ‘fish’ pot, the body decorated with

three grotesque fish and a jellyfish, incised marks and Richard

Dennis 1978 exhibition label to the underside, 5cm high; A

stoneware beaker decorated with dragonflies amongst

reeds and foliage, incised marks to the underside, 10cm high;

and a miniature tapering vase decorated with portraits of a

young boy blowing a horn and an old man leaning on a staff,

incised marks and Richard Dennis 1978 exhibition label to the

underside, 10cm high (3)

£400 - £600

97

177


A salt-glazed stoneware vase,

decorated with a pond scene, the body with ducks

amongst foliage and dragonflies above, against a

buff ground, incised marks “R.W. Martin Bros, London &

Southall” and dated “6-1886” to the underside, 22cm high

£800 - £1,200

178

Robert Wallace Martin (1843–1923) for

Martin Brothers: A stoneware jardinière,

dated 1880, swollen, shouldered form, incised with

scrolling foliage band in black and brown on a

buff ground, incised “Martin, London 28.12.80” to the

underside, 24cm high

£600 - £800

179

Martin Brothers: A stoneware ‘marred’ vase

with collapsed neck,

the body with inscription “And the vessel that be made

of clay, was marred in the hand of the potter - Jer XVIII 4”,

incised marks “Martin Bros, London & Southall” and dated

“8-1898” to the underside, 20.75cm high

Exhibited: ‘Martin Brothers Pottery Exhibition’,

Richard Dennis 1978, label to the underside

£500 - £700

98

Lot 180

Lot 181

Lot 182

180


A large stoneware ewer,

the body decorated with a hunting scene with huntsman

on horseback following hounds, latin motto “Non Sine

Numine” below a griffin’s head to the handle, incised marks

“R.W. Martin, 717, London & Southall” and dated “5-1880”

to the underside, 30cm high

£400 - £600

181

Hannah Barlow for Doulton Lambeth:

A Stoneware Lemonade jug and two beakers,

each sgraffito decorated with horses in a landscape,

impressed and incised marks and dated 1877 to the undersides,

19.5cm high and 12.5cm high (3)

£250 - £350

182

Hannah Barlow for Doulton Lambeth:

A stoneware lemonade jug,

of tapering cylindrical form incised with a frieze of cattle within

foliate bands and with silver band on the rim, hallmarked

Sheffield, impressed and incised marks, 24.25cm high

Lot 183

£250 - £350

183

George Tinworth and Rosina Brown for

Doulton Lambeth: A stoneware lemonade jug,

decorated in part relief with flowerheads and foliage against

a brown ground, with silver band on the rim, hallmarked Sheffield,

impressed and incised marks and dated 1879 to the underside,

24.4cm high

£150 - £250

99

184

Charles Noke (1858-1941) and William G. Hodkinson (1880-1920)

for Royal Doulton: An impressive Pre-Raphaelite style plaque,

early 20th century, depicting sleeping beauty and her lover in Renaissance dress,

in an arcaded garden, signed lower right, 29cm x 43cm, in an elaborate gilt and

composition frame

£4,000 - £6,000

100

185

Charles J. Noke (1858-1941) for Royal Doulton:

‘Sentimental Pierrot’,

a rare undecorated white glazed figure, unnumbered but

probably HN36, impressed and printed marks, 14cm high

£400 - £600

186

Dr Christopher Dresser (1834-1904) for T.G. Green &

Co Ltd.: A pair of ‘Ivanhoe’ large bowls or basins,

circa 1898, each decorated to the interior with a foliate roundel

and scrolling, within a foliate frieze, the exteriors decorated with

brushwork, printed transfer marks to the undersides,

each 38.2cm diameter

£300 - £500

101

187

Maw & Co., Jackfield, Salop:

A lustre ware art pottery vase,

of footed globe and shaft form with ring collar neck, decorated

with a band of stylised floral motifs within banded borders in

shades of blue and green under a lustrous glaze, painted “Maw

& Co, Jackfield G.E” marks to base. 36cm high

£200 - £300

188

Gordon M. Forsyth (1879–1952)

for Pilkingtons Royal Lancastrian:

A copper lustre bottle vase,

decorated with vine leaves on a blue ground,

impressed marks and inscribed copper lustre

decorator’s marks, 17cm high

£300 - £400

189

Gwladys M. Rodgers (1888-1946)

for Pilkington's Royal Lancastrian:

A silver lustre vase,

decorated with flower petal lappets in silver lustre

on a peach bloom ground, impressed marks and

decorator’s mark, 12.5cm high

£200 - £300

102

190

§ William S. Mycock (1872-1959)

for Pilkington's Royal Lancastrian:

A large lustre vase,

of ovoid form with four small lug handles to the neck,

the body decorated with grapes and vines, impressed

and painted marks to the underside, 32.5cm high

£1,000 - £1,500

191

Moorcroft: A large ‘Fish’ vase,

designed by William Moorcroft, shouldered form,

tubeline decorated in shades of matt green, blue and

cream, impressed factory marks, painted signature,

37cm high


£400 - £600

192

A set of six Royal Copenhagen

‘Flora Danica’ shape plates,

each outside hand painted to the centre with fruit,

circa 1950, impressed and painted marks to the

underside, each 22cm diameter

£600 - £800

103

193

Keith Murray MC RDI FRIBA

(New Zealand/British, 1892-1981) for Wedgwood:

A matt green glazed tapering vase,

printed marks, model number 3805, 28.5cm high

£200 - £300

194


(New Zealand/British, 1892-1981)

for Wedgwood: A matt

green glazed angular vase,

printed marks, 17cm high, 27cm

diameter

£200 - £300

195


(New Zealand/British, 1892-1981) for Wedgwood:

A matt green glazed tapering vase,

printed marks, 29cm high

£100 - £150

196


(New Zealand/British, 1892-1981)

for Wedgwood: A matt blue

glazed globe vase,

printed marks, 23.5cm high

£150 - £250

104

197

Dame Laura Knight DBE, RA, RWS (1877-1970)

for Foley China: An ‘Adam & Eve’ plate,

printed marks, 21.5cm diameter

£150 - £250

198

Susie Cooper OBE (1902-1995) for

Gray’s pottery: Four ‘Moon and Mountain’

pattern plates,

printed marks, 25.5cm diameter (4)

£400 - £600

199

Susie Cooper OBE (1902-1995)

for Gray’s pottery: A set of five

Cubist pattern plates,

printed marks and inscribed model

number 8071, 25.7cm diameter (5)

£500 - £700

105

200

Eric Ravilious (1903-1942) for Wedgwood:

A ‘Travel’ pattern part tea and dinner service,

comprising: teapot, milk jug, mix teacups, five plates, a sandwich plate,

meat dish, dinner plate, dessert plate, dessert bowl, side plate, soup

and stand, printed marks

£400 - £600

201


A ‘Garden’ part dinner and tea service,

comprising: A twin-handled tureen, an oval serving plate,

three graduated plates, two side plates, five twin-handled

soup bowls and six saucers, a tea cup, a coffee cup and

saucer, a sugar bowl and a single eggcup,

all with transfer printed marks

£300 - £500

202

Eric Ravilious (1903-1942) for

Wedgwood: A ‘Garden Implements’

lemonade mug,

designed circa 1940. printed marks, 10.5cm

high

£60 - £80

106

203


A 1937 King Edward VIII Coronation

commemorative mug,

the lower half with blue band, printed mark, 10cm high

£400 - £600

204


A 1953 Queen Elizabeth II Coronation

commemorative mug,

with pink band to the lower half, printed marks, 10.4cm high

£150 - £250

205


A ‘Boat Race bowl’,

1975 reissue of the original 1938 design, printed marks,

produced in 1975, limited edition number 175 of 200 copies,

31cm diameter, with certificate of issue

£200 - £400

107

206

Piero Fornasetti (Italian, 1913-

1988): Six ‘Sirene’ plates,

printed marks, 26.5cm diameter (6)

£300 - £500

207

Piero Fornasetti (Italian, 1913-1988):

Five various plates,

two in ‘Cammei’ pattern, 24cm diameter,

one ‘Fauzian’s Natalie’ 1970, 24cm diameter,

‘Grandi Maestro’, 26cm diameter, ‘Cammei

Oro’, 21cm diameter, printed marks (5)

£200 - £300

208


A collection of Fornasetti desk

items and dishes,

including 1962 ‘HAPPY’ cube, ’please do not

touch’ cube, 1962 calendar drum 10cm, and

pebble shaped paperweights, ‘Cammei’ bell,

order of the garter pin dish, double face,

‘Frescobaldi’, ‘Times’ and ‘Monteverdi’ dishes,

printed marks (12)

£200 - £300

108

209


Two ‘Tema a Variazioni’ plates,

printed marks, 26cm diameter

£100 - £200

210

Craigie Aitchison CBE, RSA, RA (1926-2009): for

Artplate London, La Porcellana: A collector’s

plate,

decorated with a simple study of a ram beside a tree, 1986,

15.8cm diameter

Provenance: Private collection, West Sussex

£100 - £200

211

§ Jonathan Chiswell-Jones (b. 1944):

A silver and purple lustre pottery vase,

decorated with twin herons amid scrolling foliage

and berries, painted marks and pattern number

7594 to the underside, 21.5cm high

£150 - £200

109

212

Michael Cardew CBE (1901-1983) at Wenford

Bridge: A stoneware bowl and cover,

circa 1950, decorated with bands of fish in iron against

an oatmeal glaze, impressed marks to the underside,

the bowl 19.7cm diameter, 13.5cm high overall

For a similar example see the collection of the Victoria

& Albert Museum, accession number CIRC.430&A-1950

£200 - £300

213

§ Dame Lucie Rie DBE (Austrian/British, 1902-1995):

A stoneware pourer,

the exterior glazed in maganese, the interior in cream glaze,

impressed mark to the underside, 6cm high

£300 - £500

214

§ Dame Lucie Rie DBE (Austrian/British, 1902-1995):

A stoneware jug and small bowl,

circa 1958, the exterior of the jug with a manganese glaze,

the interior in off-white, impressed mark to the underside,

9.5cm high, the small white glazed bowl, with manganese rim,

impressed mark to the underside, 8cm diameter (2)

£300 - £500

110

215

§ Janet Leach (1918-1997): A lustre conical bowl,

decorated in splashes of blue and amethyst glaze, impressed

mark to the underside, 18cm diameter


£200 - £400

216

§ James Tower (1919-1988): A large footed bowl,

earthenware, white and rust-brown tin glazes to the

interior, the exterior in rust-brown, incised signature

and dated to the underside, 54cm diameter


£600 - £1,000

111

217

§ Waistel Cooper (1921-2003): A stoneware

'Feelie' pot,

naturalistically modelled, signed to the underside,

20cm wide x 9cm high

£200 - £400

218

§ Waistel Cooper (1921-2003): A stoneware

vase,

of compressed baluster form, all-over mottled sand

glaze, signed to the underside, 16cm high (drilled for

electricity)

£150 - £250

219

§ Eric James Mellon (1925-2014): A small group of elm ash

glazed studio pottery,

comprising: two tall footed bowls, decorated with figural and sailing scenes,

both 12cm high; two cut-sided ’Remember’ vases, each 12.5cm high; and four

small footed dishes, each with nude figures, 11.5-12.5cm diameter, all with painted

marks and dates, some titled (8)

£150 - £250

112

220

§ Eric James Mellon (1925-2014): A small group of

studio pottery wares,

comprising: an elm-ash glazed footed dish, the interior decorated

with a nude female, 29.8cm diameter; an aple ash glazed cylindrical

pot decorated with nude figures and highlighted with gilt lustre, 15.5cm high;

and a blackcurrant ash glaze plate, decorated with a stylised horse against

a rust ground, 26.5cm diameter, all with painted marks and dates (3)

£150 - £250

221

§ Derek Davis (1926-2008): A large

stoneware charger,

the interior decorated with an iron ’sash’,

and splashed glaze, painted signature

to the underside, 43.5cm diameter

£150 - £250

113

Lot 222 Lot 223

Lot 224

222

§ Derek Davis (1926–2008): A tall slab-built stoneware rectangular vase,

glazed to the interior, painted signature “Davis” to the underside, 56cm high

£150 - £250

223

§ Joanna Constantinidis (1927-2000): A tall cylindrical stoneware vase,

the body with subtle brushwork decoration, impressed mark to foot rim, 46cm high

£200 - £400

224

§ Joanna Constantinidis (1927-2000): A tall stoneware bottle vase,

with narrowing flattened neck, impressed mark to foot rim, 47.4cm high

£200 - £400

114

225

§ Joanna Constantinidis (1927-2000):

A porcelain elliptical bowl,

covered in a pale celadon glaze with integral cobalt

and manganese spiral, impressed C mark, 14cm high

£200 - £300

226

§ Betty Blandino (1927-2011): An ovoid

stoneware vase,

the body decorated in a grey glaze with splashes

of rust and cobalt, impressed mark to the


£150 - £250

227

§ Poh Chap Yeap (Chinese/British,

1927-2007): A large deep dappled

stoneware bowl,

with green and brown glaze and splashes

of iron, incised signature to the base,

23.2cm high x 36cm diameter

£300 - £500

115

228

§ Mary Rogers (1929-2021):

A fine porcelain footed bowl,

the irregular rim with traces of manganese, the interior

with occasional spots and splashes of iron, and a swirl of

pale blue against the matt off-white glaze, incised ’MER’

signature to the underside, 10.6cm wide x 6cm high

£300 - £500

229

§ Alan Wallwork (1931-2019): A stoneware

‘Seed Pod’ vase,

incised ’AW’ mark to the underside, 11cm high

£80 - £120

230

§ Ewen Henderson (1934-2000): A large mixed

laminated clay bowl,

36.2cm diameter

£150 - £250

116

231

§ Robin Welch (1936-2019):

A footed stoneware vase,

textured and with blue and white glazes,

impressed ’RW’ mark to the underside, 17.6cm high

£200 - £300

232

§ Robin Welch (1936-2019): A

stoneware 'Chimney Pot' vase,

the upper section in ochre glaze below a

darker rim, the lower section with an offwhite

glaze, impressed ’RW’ mark to the


£150 - £250

233

§ Robin Welch (1936-2019): A tall

cylindrical vase,

the upper register decorated in manganese with

brown and red rectangles, the lower in an off-white glaze,

impressed ’RW’ mark to the underside, 46cm high

£200 - £400

117

234

§ John Maltby (1936-2020): A free-form

stoneware pouring vessel,

of lozenge form with spout, the body decorated with

stylised blue shapes and iron-red flowers against a

cream ground, painted signature to the underside,

18.5cm high

£300 - £500

235

John Maltby (1936-2020): A free-form

stoneware jug,

painted in blue, iron red and silver oxide with

flowers in a landscape on a cream resist and grey

ground, painted signature to the underside, 17cm

high

£300 - £500

118

236

§ Richard Batterham (1936-2021):

A stoneware 'Melon' teapot and

cover,

covered in an ash glaze to the foot, painted

cobalt, 14.5cm high

£150 - £250

237

§ Richard Batterham (1936-2021):

A graduated pair of lidded

stoneware jars or caddies,

each with central fluted bands, ash glazed in

pale green, 16.5cm and 13cm high (2)

£300 - £500

238

§ John Ward (1938-2023): A hand-built

stoneware black glazed bowl with

irregular rim,

impressed JW flowerhead seal mark

to the underside, 21cm diameter

£300 - £500

119

239

§ Jill Fanshawe Kato (b. 1943):

A stoneware Ikebana vase,

of boat-shaped form, the body with stylised

zig-zag decoration, impressed mark to the

underside, 20.5cm high x 48.5cm wide

£150 - £250

240

§ Jill Fanshawe Kato (b. 1943):

A stoneware Ikebana vase,

of boat-shaped form, the body with striped

drip-glazed decoration, 31.5cm high x 54cm wide

£150 - £250

241

Takeshi Yasuda (Japanese, b. 1943):

A tricolour stoneware tripod planter,

raised on three shaped reeded feet, with label

for Sotheby’s decorative arts award

exhibition 1988, 34.5cm diameter

£300 - £500

120

242

§ Peter Hayes (b. 1946): A Raku pottery bottle vase,

of flattened form, the body with textured effect, incised and

impressed marks and dated (19)86 to the underside,

20.5cm high x 22cm wide


£100 - £200

243

§ Aki Moriuchi (Japanese/British b. 1947):

A large mixed clay vase and small pot,

with all-over ‹volcanic› glaze and naturalistic

folded rim, impressed mark to the underside, 21cm

high x 34cm wide; the smaller antiquarian inspired

pot, raised on three small feet, 12cm high (2)

£200 - £300

244

§ Sam Hall (b. 1967): A large flat-sided

stoneware vase,

circa 2005, with manganese and drip glazes,

62cm high x 33.5cm wide

Provenance: Lemon Street Gallery, Truro Cornwall

£180 - £250

121

Julian Stair OBE (b. 1955)

Julian Stair is one of the UK’s leading ceramic artists, creating works of art on both

a monumental and intimate scale. Stair has become a leading historian of English

Studio Ceramics, completing a PhD at the Royal College of Art, researching the

critical origins of English Studio Pottery.

After completing a degree in ceramics at Camberwell School of Art in 1978, Stair

continued his studies at the Royal College of Art, London, graduating in 1981. Lady

Sainsbury began to collect his work from this period, inviting Stair to the Sainsburys’

home in Smith Square, London, where he encountered their outstanding personal

collection of art, including Tang figures, paintings by Francis Bacon and works by

Hans Coper and Lucie Rie. The Sainsburys went on to help finance the set-up of his

first studio in Brixton, London, with fellow ceramicist Sara Radstone, and continued to

support his work.

245

§ Julian Stair OBE (b. 1955):

A porcelain vase,

the white glazed exterior decorated with hatched

lines, the interior with a rich black glaze, 29cm high


£800 - £1,200

246


A porcelain vase,

decorated with alternating white and dark grey

irregular bands, signed to the underside, 22.5cm

high


£700 - £900

122

247

§ Julian Stair OBE (b. 1955): An earthenware vase,

the baluster body decorated in cream and repeating bands

of terracotta and blue glazes, impressed ’JS’ mark to the



£500 - £800

248


A porcelain cylindrical pot,

the body with sgrafitto decoration in white

against a black ground and black banding,

the interior decoration reversed, incised signature

to the underside, 11.5cm high


£500 - £800

123

249

Attributed to Stevens and Williams of

Stourbridge: A green flashed and cut

pinched glass decanter,

silver mounted neck, maker’s mark HW, Sheffield 1895,

27cm high overall

£250 - £350

250

A Gallé cameo glass

‘landscape’ vase,

c.1910, decorated with trees in a

mountainous landscape at dusk,

etched Gallé mark, 18.5cm high

£400 - £600

251

A Gallé cameo glass vase,

c.1910, decorated in two colour cameo glass

with tiger lilies, etched mark Gallé, 24.5 cm high

£300 - £400

124

252

A Daum Freres cameo glass

‘tulipe’ vase,

c.1903, double overlaid and acid-etched,

with martelé decoration, engraved Daum

Nancy, with Cross of Lorraine, 20.3cm high

£1,500 - £2,000

253

A small Daum Freres cameo glass vase,

c.1903, double overlaid and acid-etched, with

martelé decoration, engraved and gilded mark

Daum Nancy, with Cross of Lorraine, 14.5cm high

£2,000 - £3,000

125

254

§ Fulvio Bianconi (Italian, 1915-1996) for Venini:

A ’Fazzoletto’ Murano glass handkerchief vase,

decorated with alternate opal lattachino columns, etched

signature "Venini, Italia, 84" to the underside, 28cm high

£500 - £700

255

Geoffrey Baxter (1922-1995) for Whitefriars: A

'Nuts and Bolts' vase,

in willow colourway, model no. 9668, 26cm high

£300 - £500

126

256

Alessandro Pianon (Italian, 1931-1964)

for Veteria Vitosi: A 'Pulcini' bird,

circa 1962, with a spherical orange body with

darker splatter decoration and murrine glass

eyes above clear crystal base with copper wire

legs, 22.5cm high

£3,000 - £5,000

257


for Veteria Vitosi: A ‘Pulcini’ bird,

circa 1963, with a blue/purple glass body, with internal

applied murrines in blue and green, with millefiori glass

eyes, above clear crystal base, on copper wire feet,

27cm high

£3,000 - £5,000

258


for Veteria Vitosi: A ‘Pulcini’ bird,

circa 1962, of boat-shaped form, translucent

blue glass with dark vertical bands to its middle,

applied millefiori eyes, above clear crystal base,

raised on bent textured copper wire feet, 16.5cm

high

£800 - £1,200

127

259

Michael Harris (1933-1994) for Isle of Wight

Glass Studio: A blue glass vase,

of cylindrical form, inscribed signature “Michael Harris,

Isle of Wight” to the underside, 13cm high

£200 - £300

260

§ Samuel J. Herman (Mexican/American/British,

1936-2020): A freeform studio glass bottle

vase,

with iridescent decoration, various paper labels to

the underside, one for Illums Bolighus, Copenhagen,

21cm high

£200 - £300

261

§ Samuel J. Herman (Mexican/American/British,

1936-2020): A freeform studio glass bottle vase,

with iridescent decoration, engraved signature, dated 1975

and model number SA434 to the underside, 21cm high

£200 - £300

128

262

René Lalique for ATO: A ‘Moineaux’

glass mantel clock,

introduced in 1924, frosted finish all over with symmetrical

bas-relief decoration of sparrows and foliage, with ATO

drum shaped electric movement, 22cm wide

Literature: ‘R. Lalique - Catalogue Raisonné

De L’Oeuvre De Verre’ Felix Marcilhac,

(Paris: Les Editions de l’Amateur, 2004),

p. 369

£800 - £1,200

263

René Lalique: A ‘Volubilis’

amber glass footed dish,

introduced in 1921, engraved mark

“R. LALIQUE FRANCE”, 21.5cm diameter


De L’Oeuvre De Verre’ Felix Marcilhac,

(Paris: Les Editions de l’Amateur, 2004),

no. 383

£150 - £250

129

264

René Lalique: A ‘Poissons’ opalescent

glass shallow bowl,

introduced in 1931, the exterior intaglio moulded

with spiralling sardines and bubbles, the interior

embossed “R. Lalique”, 29.5cm diameter


De L’Oeuvre De Verre’ Felix Marcilhac, page 757,

no. 3262 (illustrated)

£200 - £300

265

René Lalique: A ‘Poissons’ opalescent

glass bowl,

introduced in 1921, the exterior intaglio moulded

with spiralling sardines and bubbles, the interior

embossed “R. Lalique”, and engraved “France,

No. 3211”, 23.6cm diameter

Literature: ‘R. Lalique - Catalogue Raisonné De L’Oeuvre

De Verre’ Felix Marcilhac, page 749, no. 3211 (illustrated)

£250 - £350

266

René Lalique: A ‘Lys’ opalescent footed glass

bowl,

introduced on the 24th July 1924, the stems of the four lily

flower heads forming the feet, wheel engraved marks “R.

LALIQUE, FRANCE” 23.7cm diameter x 12.5cm high


De Verre’ Felix Marcilhac, page 292, no. 382 (illustrated)

£250 - £350

267

Lalique: A suite of ‘Bourgueil’ pattern

drinking glasses,

comprising: 13 x 12cm high glasses; 18 x 10.5cm high

glasses and medium and 3 x 8.5cm high glasses (34)

£800 - £1,200

130

The G.G. Weiner Collection of

Lalique Car Mascots, Part II

131

268

Lalique: A ‘Chrysis’ presse-papiers/

paperweight,

modelled as a nude female gracefully leaning

backwards, on a circular base, deep milky-blue

opalescent finish, after the original mascot design

by Rene Lalique introduced 21st March 1931, etched

“Lalique, France” and “TO19” to base, 12cm high

Literature: ‘Lalique Mascots - Catalogue Raisonné’

G.G. Weiner, publ. Grosvenor House, 2025, page 94,

no. 32G (illustrated). This lot to be sold with a copy

of this volume.

£500 - £800

269

René Lalique: A ‘Chrysis’ Car Mascot,

introduced 21st March 1931, modelled as a nude

female gracefully leaning backwards, on an integral

circular base with cut-in groove for mounting,

clear and frosted glass with a satin finish, etched

and stencilled signature “R. LALIQUE, FRANCE” to the


Literature: ‘R. Lalique - Catalogue Raisonné De

L’Oeuvre De Verre’ Felix Marcilhac, page 505, no. 1183

(illustrated);

‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner,

publ. Grosvenor House, 2025, page 94, no. 32I

(illustrated). This lot to be sold with a copy of this

volume.

£1,500 - £2,500

132

270

René Lalique: A ‘Vitesse’ Car Mascot,

introduced 17th September 1929, modelled as an elegant nude female

with arms raised, leaning forward above an integral circular base,

opalescent milky-blue glass with a fire-glow orange core, moulded signature

“R. LALIQUE, FRANCE” around the edge of the base, 18cm high

Literature: ‘R. Lalique - Catalogue Raisonné De L’Oeuvre De Verre’ Felix Marcilhac,

page 503, no. 1160 (illustrated);

‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner, publ. Grosvenor House, 2025,

page 83, no. 26B (illustrated). This lot to be sold with a copy of this volume.

£12,000 - £18,000

133

271

René Lalique: A ‘Longchamp A’ car mascot,

introduced 12th June 1929 for a production span of just

three months (12/6/29 - 10/9/29) modelled as a horse’s

head with double mane, clear and frosted glass with

a satin finish, moulded signature “R. Lalique, France” to

the neck, 12.5cm high, with a contemporary chrome

base ring and later circular wooden pedestal, 15cm

high overall


L’Oeuvre De Verre’ Felix Marcilhac, page 502, no. 1152A

(illustrated);

‘Lalique Mascots - Catalogue Raisonné’ G.G.

Weiner, publ. Grosvenor House, 2025, page 74, no.

21 (illustrated). This lot to be sold with a copy of this

volume.

£4,000 - £6,000

272

René Lalique: A ‘Longchamp B’ mascot,

introduced 10th September 1929, modelled as a horse’s

head with single mane, clear and frosted glass with a satin

finish, moulded signature “R. Lalique, France” to the neck,

12.5cm high


De Verre’ Felix Marcilhac, page 502, no. 1152B (illustrated);

‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner, publ.

Grosvenor House, 2025, page 74, no. 22 (illustrated).

This lot to be sold with a copy of this volume.

£1,500 - £2,500

134

273

René Lalique: A ‘Longchamp B’ mascot,

introduced 10th September 1929, modelled as a horse’s head

with single mane, clear and frosted glass with a satin finish,

moulded signature “R. Lalique, France” to the neck, 12.5cm high


De Verre’ Felix Marcilhac, page 502, no. 1152B (illustrated);


Grosvenor House, 2025, page 74, no. 22 (illustrated).


£2,500 - £3,500

274

René Lalique: An ‘Epsom’ mascot,

introduced on the 5th June 1929, realistically modelled as the head of a racehorse,

clear glass with a gentle satin finish, moulded signature “R. Lalique, France” to the

neck, 12.5cm high, mounted in a Breves Galleries lighting mount and raised on a

black plastic plinth, 21cm high overall


page 503, no. 1153 (illustrated);

‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner, publ. Grosvenor House,

2025, page 76-77, no. 23 (illustrated). This lot to be sold with a copy of this volume.

£8,000 - £12,000

135

275

René Lalique: A ‘Tete d’Aigle’ mascot,

introduced 14th March 1928, modelled as an eagle’s head

and neck, on an integral circular base, faint signature

“R. LALIQUE’ and ‘FRANCE’ between feathers to the neck, clear

and frosted glass with sepia tint age patination, 11cm high


De Verre’ Felix Marcilhac, page 499, no. 1138 (illustrated);


Grosvenor House, 2025, page 58, no. 10 (illustrated). This lot

to be sold with a copy of this volume.

£700 - £900

136

276

René Lalique: A ‘Hirondelle’ mascot,

introduced 10th February 1928, modelled as a

swallow with wings and tail, raised, clear and

frosted glass, moulded signature “R. LALIQUE” with

a smaller ‘FRANCE” beside it to the rear of the

integral circular base, 15cm high, mounted in an

original Breves Galleries lighting display base and

raised on a later stepped rectangular plinth,

23cm high overall



(illustrated);




volume.

£1,200 - £1,800

277

René Lalique: A ‘Hirondelle’ mascot,

introduced 10th February 1928, modelled as a

swallow with wings and tail, raised, clear and

frosted glass, moulded signature “R. LALIQUE” with a

smaller ‘FRANCE” beside it to the rear of the integral

circular base, 15cm high, with an original Breves

Galleries screw ring for radiator cap mounting



(illustrated);


publ. Grosvenor House, 2025, page 67, no. 16A


volume.

£500 - £1,000

137

278

René Lalique: An exceptionally rare ‘Hibou’ car mascot,

introduced on the 27th January 1931, realistically modelled as a stalking owl,

stencilled “R. LALIQUE, FRANCE” signature to the side of the integral stepped

circular base, 12.5cm x 8.5cm


page 504, no. 1181;

‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner, publ. Grosvenor House, 2025,

pages 88-89, no. 29 (illustrated). This lot to be sold with a copy of this volume.

Estimate on request

138

139

279

René Lalique: A ‘Grande Libellule’ mascot,

introduced on the 23rd May 1928, modelled as a dragonfly

on an integral circular base, with faint moulded “R. LALIQUE”

and “FRANCE” signature to either side of the base and etched

signature “R. Lalique, France” to the tail, 21cm x 20cm


De Verre’ Felix Marcilhac, page 501, no. 1145 (illustrated);


Grosvenor House, 2025, page 69, no. 18 (illustrated). This lot to

be sold with a copy of this volume.

£2,000 - £3,000

140

280

René Lalique: A ‘Perche’ mascot,

introduced 20th April 1929, clear and frosted

glass, on an integral circular base, engraved

signature “Lalique, France” to the underside,

“Cristal Lalique” retail sticker to the base,

10cm x 16cm


L’Oeuvre De Verre’ Felix Marcilhac, page 503,

no. 1158 (illustrated);


Weiner, publ. Grosvenor House, 2025, page 80,

no. 25 (illustrated). This lot to be sold with a copy

of this volume.

£600 - £800

281


introduced 20th April 1929, opalescent milky blue

glass, on an integral circular base, engraved

signature “Lalique, France” to the base edge,

10cm x 16cm


L’Oeuvre De Verre’ Felix Marcilhac, page 503, no.

1158 (clear and frosted glass example illustrated);



no. 25A (illustrated). This lot to be sold with a copy

of this volume.

£400 - £800

282


introduced 20th April 1929, golden yellow

to amber glass, signed “R. LALIQUE, FRANCE”

between the fish’s lower fins, on an integral

circular base, 10cm x 16cm


De L’Oeuvre De Verre’ Felix Marcilhac, page

503, no. 1158 (clear and frosted glass example

illustrated);



no. 25B (illustrated). This lot to be sold with a

copy of this volume.

£300 - £500

141

283

René Lalique: A ‘Saint-Christophe/Saint

Christopher’ mascot,

introduced 1st March 1928, in clear and frosted glass,

moulded relief signature “R. LALIQUE” with a smaller

‘FRANCE” beside it, 12cm high, with a contemporary

chrome retaining ring and raised on a trapezoidal

wooden plinth base, 16cm high overall



(illustrated);




volume.

£400 - £800

284

Lalique: A ‘Toby Éléphant’

presse-papiers/paperweight,

introduced on the 31st March 1931, a clear and

frosted glass figure of a standing elephant with

very fine hand finished detail, the frosted glass

body raised on an integral double stepped

circular base, etched and stencilled signature

“R. LALIQUE, FRANCE” to the underside, 8.5cm high


L’Oeuvre De Verre’ Felix Marcilhac, page 489, no. 1192;


publ. Grosvenor House, 2025, page 101, no. 36


volume.

£1,500 - £2,500

142

285

Lalique for Bugatti: An ‘Éléphant’ Debout

Dansat (Standing Elephant Dancing)’ mascot,

introduced in 2014, created using the lost-wax (cire perdue)

process, clear and frosted glass, raised on a Bugatti

branded circular metal plinth, 20cm high overall,

number 46 of a limited edition of 431 and to be sold

with certificate of authenticity, related paperwork and

original fitted Lalique for Bugatti branded box with ribbon

Literature: ‘Lalique Mascots - Catalogue Raisonné’ G.G.

Weiner, publ. Grosvenor House, 2025, page 104 (illustrated).


The lot offered here is an homage to the original conceived

by Rembrandt Bugatti for his brother Ettore’s Type 41 Royale

automobile.

£2,500 - £3,500

143

286

Lalique: A glass advertising plaque

‘EXPOSITION DES ŒUVRES DE R.LALIQUE’,

introduced on the 31st December 1928, 15cm x 10cm


De Verre’ Felix Marcilhac, page 474, ref. F;


publ. Grosvenor House, 2025, page 109, no. 57


volume.

£1,200 - £1,800

287

Lalique: A glass advertising plaque

‘EXPOSITION DES ŒUVRES DE R.LALIQUE’,

introduced on the 31st December 1928, 13.8cm x 9.7cm

Literature: ‘R. Lalique - Catalogue Raisonné De L’Oeuvre De

Verre’ Felix Marcilhac, page 474, ref. F;


Grosvenor House, 2025, page 109, no. 57 (illustrated). This lot to

be sold with a copy of this volume.

£1,000 - £2,000

288

Lalique: A quantity of counter top and display cabinet labels,

post war pressed glass to modern plastic examples (11)

Literature: ‘Lalique Mascots - Catalogue Raisonné’ G.G. Weiner, publ. Grosvenor

House, 2025, page 108, nos. 55-56 (illustrated). This lot to be sold with a copy of

this volume.

£200 - £400

144

289

A rare boutique advertising

hanging glass sign for Lalique,

of oval form, with central engraved depiction of

the ‘Renard’ fox mascot between the lettering

“Lalique Mascottes Automobiles”, 37.5cm x 65.5cm

This lot to be sold with a copy of ‘Lalique Mascots -

Catalogue Raisonné’ G.G. Weiner,

publ. Grosvenor House, 2025

£2,000 - £3,000

290

A rare boutique advertising hanging

glass sign for Lalique,

centred with vertical “Lalique” lettering separated

by an an archer mascot to one side and an eagle’s

head mascot to the other, 39cm x 69cm, with

suspension chain


G.G. Weiner, publ. Grosvenor House, 2025, page 110,

no. 60 (illustrated).

£1,000 - £2,000

145

291

Lalique: A branded modern display

cabinet,

with illuminated “LALIQUE” logo to the front,

the glazed display with four pull out sliding

drawers to the reverse, 110cm x 90cm x 55cm

Provenance: Formerly in the Lalique Galleries,

Paris

Literature: ‘Lalique Mascots - Catalogue

Raisonné’ G.G. Weiner, publ. Grosvenor House,

2025, page 110, no. 60 (illustrated). This lot to be

sold with a copy of this volume.

£400 - £800

292

Lalique: A branded modern display cabinet,

with illuminated “LALIQUE” logo above the glazed upper

display section with three glass shelves and fitted with

lighting, above a pedestal cupboard base,

180.5cm x 45cm x 37.5cm

Provenance: Formerly in the Lalique Galleries, Paris


G.G. Weiner, publ. Grosvenor House, 2025, page 110, no. 60

(illustrated). This lot to be sold with a copy of this volume.

£500 - £800

146

147

Works of Art

293

Attributed to Karel Opatrny (Czech, 1881-1961)

and Ignaz Mansch (Austrian, 1867-1925):

An impressive Art Nouveau ‘Mermaid Pool’ vase,

silvered pewter, decorated with two mermaids in high relief

on a background of aquatic vegetation, a crayfish, a fish

and a snail, apparently unmarked, 60cm high


£400 - £600

294

Josef Lorenzl

(Austrian, 1892-1950):

An Art Deco silvered

bronze model of a dancer,

signed, on a green onyx base,

35cm high

£400 - £600

295

Josef Lorenzl (Austrian, 1892-1950):

An Art Deco silvered bronze model

of a ‘Scarf Dancer’,

signed, on a green onyx base, 29.5cm high

£400 - £600

148

296

Armand Godard (French) ‘Danseur à la

Boule’ or ‘Bubble Dancer’,

circa 1925, the cold-painted bronze cast as a young

maiden with outstretched arms holding a glass ball,

raised on a stepped Portoro marble base with white

onyx quarter spheres, engraved signature ‘Godard’ to

the upper section of the base, 51.5cm high

£3,000 - £4,000

297

Pierre Le Faguays (French, 1892-1962)

‘Le Chasseur (The Hunter)’

circa 1925, modelled as a man on a naturalistic rocky

outcrop, his spear raised ready to strike, signed to the

base, 82cm wide x 63.7cm high

£3,000 - £5,000

149

298

A lrge pair of Hagenauer style ebonised

bronze ‘Giraffe Woman’ figures,

late 20th century, each 167cm high

These figures are probably depicting Ndebele woman

who wear brass or copper rings around their neck,

arms and legs as a symbol of their faithfulness and

bond to their husbands. Hagenauer Werkstatten was

founded by Carl Hagenauer an Austrian designer

in 1898 and continued by his sons Franz and Karl

Hagenauer from 1928-1986. The majority of their works

were decorative metal ware and usually took on

African themes, most popular of which were the Art

Deco designs.

£1,000 - £2,000

299

Manner of Ditching School:

A limestone Madonna and child group,

20th century, apparently unsigned,

47cm high x 30cm wide

£200 - £400

150

300

§ Geraldine Knight (1933-2008)

’Ewe and Lambs’

signed and numbered 6/10 to the side of the base,

37cm long x 26cm high

£600 - £800

301

§ James Osborne (1940-1992) ’Cornish Duke’

a study of a standing horse, on naturalistic base, signed,

dated 1978 and numbered 2/10 to the base, bronze,

28cm high x 40cm wide overall, with certificate of

authenticity

£400 - £600

302

§ Kate Denton (b. 1954) ’Panther’

the big cat naturalistically modelled with its forepaw

outstretched, raised on a rectangular bronze pillar,

87.5cm high overall

£2,000 - £4,000

151

303

W.A.S. Benson & Co.: A pair of Arts and

Crafts gilt brass and copper three branch

candelabra,

c.1890-1900, each stamped “W. A. S Benson”, 35cm high.

£800 - £1,200

304

Liberty & Co.: An Arts And Crafts

brass and Ruskin pottery cabochon

mounted mirror,

c.1905, the oval frame mounted with four Ruskin

turquoise pottery cabochons, the reverse with

ivorine label “Liberty & Co. Ltd. London”,

63cm wide x 52 cm high

£300 - £500

305

A pair of Art Deco copper

and brass champagne/wine

coolers, from the passenger

ship SS Boston (1924-1942),

each with receptacles for four

bottles and central covered

ice reservoir, on a circular base,

stamped ‘G Peak & Co London, SS

Boston’, 33cm across

£700 - £900

152

306

An Art Deco style ‘Skyscraper’ lamp,

the white glass shade with moulded triangles in relief

to each side, below a gently crenellated top edge,

on a modern metal base, 49cm high overall

£100 - £200

307

Eileen Gray (Irish, 1878-1976) for

Jumo: A 1950s chrome desk lamp,

36cm high, 43.5cm wide

£300 - £400

153

308

§ Roy Ridsdale (1942-2020):

A silver tea kettle and matching cream jug,

both of cylindrical form, with hardwood handles, London, 1965,

kettle height 18.1cm, gross weight 52.8oz.

Roy Ridsdale was a respected British artist and educator,

known for his contributions to drawing, sculpture, and design.

He held a Master of Arts degree from the Royal College of Art (R.C.A.)

and passed away in February 2020 at the age of 77 .

Throughout his career, Ridsdale was involved in both creating and

teaching art. He served as a resident artist at the Lockbund Sculpture

Foundry, where the environment inspired a new approach to his work,

leading to a collection of drawings that emphasized the importance

of truly observing subjects to understand them deeply .

In 2017, his work was showcased in a solo exhibition titled “The Aesthetic

Allure of Functional Objects” at the Millennium Gallery in Sheffield,

highlighting his interest in the beauty of everyday items.

£700 - £1,000

154

155

Furniture

309

An Arts and Crafts oak

refectory dining table,

raised on twin pedestals, each with three feet,

joined by a low stretcher and shaped supports,

290cm long x 98cm wide x 77cm high

£400 - £600

310

Carlo Bugatti (Italian, 1856-1940):

A window seat or bench,

the frame of ebonised Italian walnut, inlaid with

bone and pewter, applied with copper work,

the vellum seat above an architectural frieze,

114cm wide x 58cm high x 46cm deep

Literature: ‘Carlo Bugatti au Musée d’Orsay’,

Massé, ppg. 74, 90 illustrated similar example

£1,500 - £2,500

311

A set of four Art Deco ‘Skyscraper’ designed

occasional or bistro tables,

the circular tops above a ‘tower’ column support terminting in

tripod bases, each 73cm high, the tops 45cm diameter (4)

£300 - £500

156

157

312

Attributed to Harry and Lou Epstein:

An Art Deco burr walnut dining suite,

comprising: twin pillar dining table, 183cm long

x 91cm wide; six dining chairs with solid shaped

backs above drop-in seats and curved tapering

legs, each 89cm high x 42cm wide; and a cocktail

cabinet, the central section, with central hinged

and lifting bar section above single drawer and

twin cupboards, flanked by two bow-fronted

cupboards, on a shaped pedestal base,

155cm wide x 57cm wide x 107cm high (closed)

£500 - £1,000

313

An Art Deco style macassar ebony

boardroom/dining table,

in the manner of Émile-Jacques Ruhlmann, the

rectangular top raised on curved ‘rib’ supports,

above a stepped rectangular base,


£800 - £1,200

158

An Important Private Collection

of Chandigarh chairs

159

Pierre Jeanneret (Swiss, 1896-1967)

Swiss-born architect and furniture designer Pierre Jeanneret (1896-1967) worked for most of his life alongside his cousin

Le Corbusier. In 1926 they published their manifesto “Five Points Towards a New Architecture” which served as the backbone

for their architectural aesthetic. The Villa Savoye (1928-1931) serves as a representation for their outlined ideology. An elegant

building predominantly made out of glass with an almost undivided interior and columns, which made it look as if it was

floating above the ground.

In 1929 at the Paris Salon d’Automne, Jeanneret unveiled a set of modern furniture designed in collaboration with Le Corbusier

and Charlotte Perriand. Included were tubular steel chairs, stools and a set of modular steel storage units.

Jeanneret’s contribution to the partnership was considerable, not least in introducing professionalism in following through

projects and work on site - he often stimulated and provoked his cousin’s imagination or moderated it with his own realism.

He frequently drew the first sketches for plans that he then gradually reworked and refined with Le Corbusier, playing an

important part in ensuring the office’s continuity, coordinating work and maintaining tight control over all the technical aspects.

In the early fifties Le Corbusier and Jeanneret set out for an urban planning project in Chandigarh, India, designing and

producing low cost buildings for the community. Le Corbusier left the project mid-way and Jeanneret became the Chief

Architect and Urban Planning Designer. He stayed in Chandigarh for fifteen years and the city evolved into a landmark of

modern architecture.

160

314

Pierre Jeanneret (Swiss, 1896-1967) for Chandigarh:

A pair of cashew ‘Easy’ armchairs PJ-010105A,

known as ‘cane and cashew wood armchair’ with solid cashew frames, the seats and

backrests in braided canework, asymmetric ‘compass’ type double side leg assembly,

with the legs connected by two crosspieces and supporting the armrests, slanted, slightly

curved backrest, attached to the seat by two supports at the bottom, one chair with white

painted identification code “P.S.E.B. 83”, the second chair marked “P.S.E.B. 89”,

76cm high x 53cm wide x 72cm deep

Note: P.S.E.B stands for the Punjab Schools Education Board in Chandigarh

Literature: ‘Catalogue Raisonné du Mobilier: Jeanneret Chandigarh’, Jacques Dworczak,

publ. Assouline, 2018, page 103 (illustrated)

Provenance: Part of an Important Private Collection of Furniture by Pierre Jeanneret for

Chandigarh

£10,000 - £15,000

161

315


A pair of teak armchairs PJ-010610,

solid teak and braided canework armchairs, the seat bottom and back

tilting slightly rearward, double lateral of ‘compass’ type forming a

support for the flat armrests and connected by a low rail at the front,

80.5cm high x 63cm wide x 70cm deep

Note: Examples of chairs of this type can be found in the Chandigarh

Museum Collection.

Literature: ‘Catalogue Raisonné du Mobilier: Jeanneret Chandigarh’,

Jacques Dworczak, publ. Assouline, 2018, page 115 (illustrated)

Provenance: Part of an Important Private Collection of Furniture by

Pierre Jeanneret for Chandigarh

£2,500 - £3,500

162

316


A teak banquette PJ010705,

ensuite with the previous lot to form ‘Mobilier De Salon En Teck’, solid teak

and braided canework, the seat bottom and back tilting slightly rearward,

double lateral of ‘compass’ type forming a support for the flat armrests and

connected by a low rail at the front, 137cm wide x 74cm high x 65cm deep

Note: Examples of lounge furniture of this type can be found in the

Chandigarh Museum Collection.





£2,000 - £3,000

163

317


A set of four solid solid teak and braided canework chairs

PJ-010501,

known as ‘refectory chairs’, flat leg assembly, slightly profiled at the bottom

and connected by crosspiece bars under the caned seat, the caned backrest

gently curved, each 84cm high x 44cm wide x 60cm deep (4)

Note: Examples of chairs of this type can be found in private residences

in Chandigarh and in the Chandigarh Museum of Architecture





£1,500 - £2,500

164

318

Manner of Pierre Jeanneret (Swiss, 1896-1967):

A set of four solid teak and braided canework

armchairs,

the seat bottoms tilting slightly forward and the backs tilting

slightly rearward, the splayed legs forming support for the flat

armrests with curved frontage,

each 89cm high x 58cm wide x 75cm deep

Provenance: Part of an Important Private Collection of Furniture

by Pierre Jeanneret for Chandigarh

Note: This model is currently unrecorded as being used at

Chandigarh, however they were used at the Indian Institute of

Management at Ahmedabad (IIMA), designed by American-

Estonian architect Louis Kahn, with emerging Indian architects

Balkrishna Vithaldas Doshi an Anant Raje. The chairs and are

photographed in use by students on the inaugural day of the

post-graduate program (PGP) in 1964. B.V. Doshi had previously

worked closely with Le Corbusier on the latter’s projects in

Paris between 1951 and 1954. In 1954, he returned to India to

supervise Corbusier’s buildings in Ahmedabad, which included

the Villa Sarabhai, Villa Shodhan, Mill Owners’ Association

Building, and Sanskar Kendra. Corbusier is described as having

been a major influence on Doshi’s later work. It is therefore

likely that Pierre Jeanneret produced the design for these

chairs, worked together with Doshi and/or Le Corbusier, or that

Doshi himself, under the influence of Jeanneret, designed the

furniture.

These chairs in use the inaugural day of the post-graduate program (PGP) in 1964,

Indian Institute of Management at Ahmedabad (IIMA)

£2,000 - £3,000

165

319

Manner of Pierre Jeanneret (Swiss, 1896-1967):

A solid teak and braided canework armchair,

the seat bottom tilting slightly forward and the back tilting slightly

rearward, the splayed legs forming support for the flat armrests

with curved frontage, 89cm high x 58cm wide x 75cm deep

Provenance: Part of an Important Private Collection of Furniture

by Pierre Jeanneret for Chandigarh

Note: This model is currently unrecorded as being used at Chandigarh,

however they were used at the Indian Institute of Management at

Ahmedabad (IIMA), designed by American-Estonian architect Louis

Kahn, with emerging Indian architects Balkrishna Vithaldas Doshi an

Anant Raje. The chairs and are photographed in use by students on

the inaugural day of the post-graduate program (PGP) in 1964. B.V.

Doshi had previously worked closely with Le Corbusier on the latter’s

projects in Paris between 1951 and 1954. In 1954, he returned to India to

supervise Corbusier’s buildings in Ahmedabad, which included the Villa

Sarabhai, Villa Shodhan, Mill Owners’ Association Building, and Sanskar

Kendra. Corbusier is described as having been a major influence on

Doshi’s later work. It is therefore likely that Pierre Jeanneret produced

the design for these chairs, worked together with Doshi and/or Le

Corbusier, or that Doshi himself, under the influence of Jeanneret,

designed the furniture.

£400 - £800

End of Collection

166

320

A set of fourteen green painted beech garden

chairs, designed by Emilio Terry for the Theatre

de Verdue, Chateau De Groussay,

c.1963, each with a chevron slatted back and seat on columnar

legs joined by stretchers and faceted feet, 89cm high overall

(14)

Provenance: Supplied to Charles de Beistegui in December 1963,

for the Théâtre de Verdure, Château de Groussay, Groussay,

France;

Château de Groussay; Sotheby’s-Poulain Le Fur, France,

2-6 June 1999, lot 1688;

Tajan, Paris, 19 May 2003, lots 254 and 255;

Christie’s, London, 12th September 2007, lots 242 and 243

£6,000 - £8,000

321

Alvar Aalto (Finnish, 1898-1976) for Artek,

distributed by Finmar: A pair of ‘Model 60’ stools

and a similar ‘K65’ stool,

the pair 44cm high, the other 55cm high (reduced)

£400 - £600

167

322

Arne Jacobsen (Danish, 1902–1971)

for Fritz Hansen: An ‘Egg’ lounge chair,

originally designed in 1958, manufactured circa 2007,

all over upholstered in vibrant green, above a four point

base, 104cm high x 86cm wide x 72cm deep

Between 1956 and 1961 Arne Jacobsen designed and

built the Royal Hotel in Copenhagen, a modernist

block clearly inspired by Lever House in New York,

and considered to be his major architectural work.

Jacobsen also designed much of the furniture, cutlery,

lighting and other fixtures and fittings, including these

chairs. All these designs show the designer’s mastery

of double curvature that lend many of them a bulbous

or organic form in contrast to the linearity of the hotel’s

architecture. The Egg chair was designed for the lobby

and reception area, and the high back was conceived

to give the sitter a degree of privacy in these public

spaces. Grouped together, the chairs created their

own space in a big room. The Egg chair became

synonymous with mid-century Danish design and is still

in production today.

£600 - £800

323

Arne Jacobsen (Danish, 1902–1971)

for Fritz Hansen: A set of six

Model 3100 ‘Ant’ side chairs,

originally designed in 1951/2, the moulded

plywood seats with a black finish, above

three tubular steel legs, manufacturer’s

stamp to the underside, 77cm high x

40.5cm wie x 44cm deep (6)

£300 - £500

168

324

Poul Cadovius (Danish, 1911-2011): A ‘Royal System’

RS50 hanging pendant ‘flower’ lamp and

planter,

manufactured by H.F. Belysning, copper finish, the upper bowl

serving as the light shade, the lower bowl to be used as a

planter, each bowl 45cm diameter, retaining the original

cardboard box

Poul Cadovius was one of the most colourful and successful

figures in the history of Danish furniture industry. He was

originally educated as an upholsterer but became very

interested in design at an early stage, and in 1945 he

established his own furniture manufacturing company Royal

System. A few years later, in 1948, he designed the iconic

shelving system ‘Royal System’, followed by the award-winning

‘System Ultra’ in 1957 and ‘System Cado’ in 1960. All three

systems were based on a groundbreaking wall-mounted

shelving concept, where the idea was to move the furniture off

the floor onto the walls, leaving more space in the room.

£200 - £400

325

George Fejér (Hungarian, 1912-1996)

for Guy Rogers of Liverpool: A

‘Beverly Hills’ mid-century hall

stand shelving unit and matching

occasional table,

each with Afromosia frames and laminate

marble effect tops, the unit with three

adjustable open shelves,

150cm high x 81.5cm wide x 61cm deep,

the table 61cm x 61cm x 31cm (2)

£200 - £300

169

326

Yngve Ekström (Swedish, 1913-1998)

for Swedese Möbler AB: A ‘Lamino’

oak lounge chair and ottoman,

the curved laminated frames with manufacturer’s

brands to the undersides, the chair 100cm high x 70cm

wide, the stool 44cm high x 60 cm wide (2)

£600 - £1,000

327

Hans Jørgensen Wegner (Danish, 1914-2007)

for Carl Hansen & Søn Møbelfabrik:

Two oak ‘CH23’ dining chairs,

each with Danish paper cord seats, Danish Furniture

Control labels to the underside,


£300 - £500

170

328

Designed by Ernest Race (1916-1964) and

manufactured by John Alan Designs for

Isokon: A ‘Bottleship’ Mark II drinks cabinet,

American cherry-wood, 43.5cm high x 55.5cm wide x 43cm

deep

Literature: Dennis and Barbara Young, Furniture in Britain

Today, London, 1964, n.p.;

Alastair Grieve, Isokon, London, 2004, p. 43

£400 - £600

329

Peter Hvidt (Danish, 1916–1986)

and Orla Mølgaard-Nielsen

(Danish, 1907–1993) for France

& Søn: A Model No. 20/59 teak

drop leaf dining table,

designed crica 1955-1960, 163cm long x

142 cm wide (open) x 72cm high

£200 - £400

330

Peter Hvidt (Danish, 1916–1986) and

Orla Mølgaard-Nielsen (Danish, 1907–1993)

for Fritz Hansen: An AX Coffee Table,

in teak and beech, 91.4cm long x 47.7cm wide x 43cm high

£250 - £350

171

331

Niels Otto Møller (Danish, 1920-1982) for JL Møllers Møbelfabrik:

A set of ten teak dining chairs,

eight ‘Model 75’ and two ‘Model 56’ examples, all with Danish paper cord seats,

manufacturer’s roundels or brands to the undersides,

the 75 chairs 75cm high x 50cm wide; the 56 chairs 77cm high x 56cm wide (10)

£2,000 - £3,000

172

332

Ingmar Relling (Norwegian, 1920-2002) for Westnofa:

A ‘Siesta’ lounge chair and ottoman,

with bentwood frames and black leather button down upholstery,

each with manufacturer’s labels to the undersides,

the chair 99cm high x 62cm wide, the stool 46cm high x 60cm wide (2)

£150 - £250

333

Robert Heritage (1927-2008) for

Archie Shine: A ‘Bridgford’ Indian

rosewood drum table,

the circular top with four drawers to the frieze,

between reeded infills, on pedestal base with

tripod base, 72cm high x 114cm diameter

£300 - £500

173

334

Dennis Young (British): A caned teak sofa/daybed,

circa 1960, the sides folding down for use as side tables when

in use as a sofa, then folding up for use as a daybed,

204cm wide x 67cm deep x 61cm high

Literature: ‘Furniture in Britain Today’ Dennis and Barbara Young,

Tiranti, 1964.

£500 - £800

335

Percival Lafer (Brazilian, b. 1936): An ‘MP-211’

mid-century modernist lounge chair,

designed in 1974, the Jatoba wood frame with

manufacturer’s label to one leg, original leather sling seat,


£500 - £800

174

336

Pietro Psaier (Italian, 1939-2004): A Ferrari polished steel coffee table,

1 of 3, in homage to Carlo Mollino, the top etched with a Ferrari style horse and initialled SF

(Scuderia Ferrari), the lower tier stamped “In Omaggio al mio amico, Carlo Mollino P. Psaier

Roma ‘79, ALL RIGHTS: FACTORY ADDITIONS LOS ANGELES CA, PROTOTIPO AP1” and stamped with

the Ferrrari logo and inscribed “EXCLUSIVE IMPORT THE TOY STORE, MIAMI, FLORIDA, USA”,


This Carlo Mollino inspired Ferrari table is composed of a single mirror image sheet of Italian Ferrari

rolled stainless steel worked in a continuous piece with a lower magazine shelf. The piece was

undertaken by Pietro Psaier in Italy in the late 70’s to pay homage to his cousin the great inventive

car, plane and furniture designer of the 20th century Carlo Mollino (1905 -1973). This table is one of

three prototypes.

£400 - £600

337

Anthony Redmile (b. 1940):

An ebonised wood and horn

mounted octagonal convex

wall mirror,

stamped “redmile LONDON”, 92.5cm x 93cm

£600 - £800

175

338

Heal’s: A ‘Lisbon’ oak dining table,

natural ‘not filled’ finish, the rectangular plank top raised

on two trestle supports, 200cm long x 91cm wide x 76cm

high

£200 - £400

339

A satin birch Mid-century coffee table,

the wavy shaped sides and undershelf housing a plate

glass top, all over raised on four chromed rectangular

legs, 122cm long x 61cm wide x 43.5cm high

£300 - £500

176

340

Andrew Hague, The Sussex Guild:

A contemporary rectangular oak

coffee table,

the rectangular top raised on angled legs and

bentwood supports, maker’s brand to the underside,

110cm long x 64.5cm wide x 44.8cm high

£100 - £200

341

Vavicci for Flavien Cortes: An ‘Adagio’

Italian leather chaise longue,

of scrolling form with chromed rear legs,


£200 - £400

End of Sale

177

Asian Ceramics and Works of Art

21 October 2025

A pair of Chinese iron red and underglaze blue ‘dragon’ dishes,

Qianlong seal mark and of the period (1736-95)

Provenance: Provenance - The collection of Thomas Maitland Snow, CMG (1890-1997)

Exeter, Devon; thence by family descent.

Estimate: £8, 000 - £12,000

Gorringe’s are pleased to be inviting consignments for this auction until Tuesday 26th September

For further information, or should you wish to consign, please contact

Gorringe’s on 01273 472503 or email danb@gorringes.co.uk

178

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180

Gorringe's Art & Design post 1880 on 16th September starting at 10am

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