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Ivon Hitchens (British, 1893-1979)Two Boats on Summer Water signed 'Hitchens' (lower left); further signed, titled and dated ''Two Boats on Summer Water'/1962-63./by Ivon Hitchens' (on an artist's label attached to the stretcher)oil on canvas51.4 x 116.8 cm. (20 1/4 x 46 in.)Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present ownerPrivate Collection, U.K.Following the outbreak of war and subsequent bomb damage inflicted upon his Hampstead studio in 1940, Ivon Hitchens left London along with his wife Mollie and young son John for the countryside. Fortunately, the artist had recently purchased a tranquil area of Sussex woodland spanning six acres and the family found relative safety within a caravan which was towed onsite by horses. Their home became known as Greenleaves and would grow substantially over the following decades with the addition of a studio and latterly a house. The seclusion and calmness of the woodland, comprising a mixture of oak, larch, birch and chestnut, would provide him with abundant material in the years ahead and had an immediate impact on his practice. As Peter Khoroche has commented, his pictures following the move are 'painted with unprecedented assurance and vitality, an uprush of energy – a renewal through contact with nature' (Peter Khoroche, Ivon Hitchens, Lund Humphries, Farnham, 2014, p.72).Alongside the rich array of woodland flora and fauna that provided inexhaustible subject matter throughout the changing seasons, Hitchens was also drawn to water. Greenleaves itself would eventually include four artificial ponds, which although small, were used as inspiration for works such as Boathouse, Early Morning (1956), in which a much larger expanse of water is suggested. Hitchens had always been fond of the river and enjoyed fishing as well as being fascinated by painting the effects of light on water. At the artist's first exhibition with the Waddington Galleries in 1960, Hitchens presented a series of works painted on the Warnford Estate in Hampshire, which explored the tree-fringed lake and clear trout streams with their rich vegetation, glaring light and rippled water. Other popular and secluded spots which the artist frequented included Woolbeding, an old house near Midhurst, where a placid River Rother passed through alongside an old wheelhouse and boatshed. Two Boats on Summer Water dates to 1962-3, a time at which the artist was afforded a Tate Gallery retrospective as a mark of recognition, including 154 oil paintings, and finishing with seven versions of the same subject, Foliage by Water, hanging beside each other. In the present work, two boats rest peacefully on the banks of the bending water in what would appear to be a perfect English summer day, as reflected by the rich blue and green palette. Light filters through the arcing trees and foliage onto the surface of the water, which ripples in the foreground. On the right-hand side of the composition dynamic brushwork is employed along with superimposed patches of colour to create space and movement in a more abstract and gestural manner.We are grateful to Peter Khoroche for his assistance in cataloguing this work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Lynn Chadwick R.A. (British, 1914-2003)Miniature Figure III signed with initial and numbered 'C/C41S/11/30' (on the underside)bronze with a black patina and a polished face9 cm. (3 1/2 in.) highConceived and cast by Lypiatt Foundry in 1986Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, pp.358, cat.no.C41S Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, pp.366, cat.no.C41S Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.366, cat.no.C41SWe are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Winifred Nicholson (British, 1893-1981)Flowers in Snow, Bankshead signed and dated 'Winifred Nicholson/1967' (verso) and titled 'FLOWERS IN SNOW BANKSHEAD' (on the canvas overlap)oil on canvas56 x 76.4 cm. (22 x 30 in.)Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present ownerPrivate Collection, U.K.LiteratureChristopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.134, cat.no.120 (col.ill.)Painted with a thickly textured impasto surface, Flowers in Snow, Bankshead is perfectly evocative of the crisp blanket of winter or early spring snow which can turn the landscape startlingly bright in the coldest months of the year. Against a background of icy blue and white, in which the suggestion of wintery peaks can be seen beyond, and against a powdery, pale sapphire sky, the bright and sunny blooms of daffodils and irises can be seen bravely holding their own. Painted in vibrant strokes of yellow, orange and purple, they represent the optimism that spring brings, the coming of the first pale rays of sun, and the promise that winter will soon be over for another year. Their leaves shoot upwards with vigour, stretching towards the light.Nicholson writes beautifully about her preoccupation with flowers, in her essay The Flower's Response: 'I like painting flowers – I have tried to paint many things in many different ways, but my paint brush always gives a tremor of pleasure when I let it paint a flower – and I think I know why this is so. Flowers mean different things to different people...to me they are the secret of the cosmos. This secret cannot be put into image, far less into the smallness of words – but I try to. Their silence says to me – 'My rootlets are moving in the dark, in the wet, cold, damp mud – My leaflets are moving in the brightness of the sky – My flowerface has seen the darkness which cannot be seen, and the brightness that is too bright to see – has seen earth to sun and sun to earth.' (Winifred Nicholson, quoted in Andrew Nicholson (ed.), Unknown Colour: Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 216). This evocative statement sums up particularly well why she related so closely to the burst of new growth in spring time, and the first brave tendrils of green that dare to poke up through the frozen earth to bloom again, year on year. Nicholson also lent particular emphasis to colours and what they represented to her. Green, blue, yellow and white form the foundation of the present work and it is clear that the symbolism she saw in colours lends an extra layer of meaning to the palette she chose. As she wrote: 'Who has heard of blue talking to yellow, the green of conversation? I will tell you when I heard it before – I was high up on a spacious mountainside, below me was a valley with an unseen river flowing along its way. The sky was very distant, the air jasper clear, the scent of herbs all around me. I sat still. Far away in the distance I heard the sheep bells, a flock coming down the valley. The tone of the bells reverberated inconsequently as the sheep moved and browsed, the older members of the flock moving steadily, the lambs gambolling and frolicking with them.' (Winifred Nicholson, 'Can The Blind See Colour Green?', quoted in ibid., pp.236-7). Writing so evocatively, she conjures a sensory world in which there is a synaesthetic delight in the coming of spring, and it is easy to imagine a stream of melting snow trickling by just out of sight in the present lot, as we inhale sharp breaths of the icy clear air that she speaks of. With the promise of new life just round the corner, and the coming of lambs in the fields, Flowers in Snow, Bankshead is a striking example of her wholehearted appreciation of, and celebration for, the natural world.The present lot (and lot 50) come from a Private Collection whose family had a close friendship with the artist. The family would visit Winifred at her home Bankshead, Cumbria in the 1970s, and these trips were recalled as 'full of fun and enjoyment, especially with her son's dog Sally and long walks through the country lanes. Winifred always had lots of time for us children, playing games and showing us interest. My siblings and I remember the feeling of Winifred's incredible warmth and affection. She was always very welcoming to us and the many other friends and family visiting whilst we were there.' Winifred would also visit the family in London when she was in the capital city, and visit the nearby Christian Science Church, through which the friends met.We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Frank Dobson RA (British, 1886-1963)Reclining Nude Figure signed 'Dobson' (on the top of the bronze base); stamped with estate stamp and numbered '1/5' (on the back of the bronze base)bronze with a black patina on a slate base50.8 cm. (20 in.) wide (excluding the slate base)Conceived circa 1928 in terracotta, and cast in bronze in 1997Footnotes:ProvenanceWith Gillian Jason Gallery, London, 19 May 1999, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Fine Art Society, Frank Dobson: Sculptor 1886-1963, 20 June-7 July 2012, cat.no.14 (the terracotta cast)LiteratureNeville Jason, The Sculpture of Frank Dobson, Henry Moore Foundation in association with Lund Humphries, London, 1994, p.135, pl.74 (the plaster cast)Robert Upstone and Neville Jason, Frank Dobson: Sculptor 1886-1963, The Fine Art Society in association with Gillian Jason, London, 2012, p.40, cat.no.14 (col.ill., the terracotta cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Elisabeth Frink R.A. (British, 1930-1993)Leonardo's Dog II signed, inscribed and stamped with foundry mark 'Frink A/C' (on the outside of the right rear foot)bronze with a brown patina101.6 cm. (40 in.) highConceived in 1992, an Artist's Cast aside from the edition of 6Footnotes:ProvenanceDame Stephanie Shirley, by whom gifted to Paintings in HospitalsExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.86 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.191 (ill.b&w, another cast)Annette Downing, Elisabeth Frink 1930-1993, Sculptures, Graphic Works, Textiles, exh.cat., Salisbury Festival, 1997, pp.27, 71, cat.no.86 (SC58) (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.188, cat.no.FRC396 (ill.b&w, another cast)'Frink's dogs are an excellent example of the way in which she managed to remain a popular, communicative artist at a time when the visual arts, sculpture in particular, were becoming increasingly esoteric.' (Edward Lucie-Smith).It is true, as Edward Lucie-Smith comments, that Frink's large and imposing Leonardo's Dog II resembles the attractive Hungarian gun-dog breed of Vizslas; although the sculptor maintained they were not based on any one particular breed. The droopy ears, rounded nose and raised eyebrows lend the dog an inquisitiveness and friendliness which is also conveyed in her maquette for the present work. However, the author also notes:'It would have been easy to sentimentalize subject-matter of this type, and transform it into something unbearably kitsch. It says much for Frink's talent, and for her temperament – her attitude towards the natural world – that she was able to avoid this trap. Her avoidance of it is perhaps the more remarkable considering that some dogs she depicted are scarcely out of puppyhood.' (Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.19).As is often the case with Frink's animal sculptures the idea for representing the dog was established early on in her career, during the formative years of the 1950s. In one particular bronze, Blind Beggar and Dog (1957) the animal is used in a protective role, leading its helpless master forward in search of money. The dog's legs have been attenuated in much the same way as her other bronze, Dog from the same year, so that the creature takes on the appearance of something more wild, like a jackal perhaps. Revisiting the subject 35 years later this comforting idea, of protection, had not left Frink; the title of the present work was inspired by the stone dogs which guard and protect the entrance to the Chateau de Cloux near Amboise, Leonardo da Vinci's home when he died in 1519. Again, the dog is there to serve, ever faithful, but in this instance depicted in a far more domesticated fashion, one which is more accessible to the viewer and representative of the animal she is working from.It is difficult to appreciate when looking at a photograph of Leonardo's Dog II just how solid and three-dimensional the sculpture is. There is a 'presence' and weight attached to the work which Lucie-Smith has likened to the monumentality of War Horse for Chatsworth. Only upon walking the complete way around the sculpture can the viewer engage and appreciate the power behind this alert beast. Its vaguely rendered and over-sized paws serve to fix the seated dog to its chosen location, whether indoors or outside, and the lack of modelling to the surface emphasizes the vastness of the dog. Created in the penultimate year of her life, Leonardo's Dog II is a fitting tribute to Frink's love affair with all types of animals over a four decade long career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Robert Adams (British, 1917-1984)Fissure signed, numbered and dated 'ADAMS/1/6/1973' (underneath)bronze with a dark brown patina, part polished35 cm. (13 3/4 in.) highFootnotes:ProvenanceWith Gimpel Fils, London, where acquired byRyda and Robert H. LeviTheir sale; Christie's, Geneva, 7 July 2016, lot 82, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Robert Adams, 29 May-22 June 1974, cat.no.17 (another cast)New York, Gimpel & Weitzenhoffer Gallery, Robert Adams, 17 September-5 October 1974, cat.no.19 (another cast)LiteratureAlastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.233, cat.no.619 (ill., another cast)This work is recorded as Opus 352.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Lynn Chadwick R.A. (British, 1914-2003)Standing Woman I signed with initial and numbered 'C/4/9/C55S' (on the underside)bronze with a black patina and a polished face29.2 cm. (11 1/2 in.) highConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.364, cat.no.C55S Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.372, cat.no.C55S Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.371, cat.no.C55S We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Elisabeth Frink R.A. (British, 1930-1993)Rolling Over Horse signed 'Frink' (on the rear right leg)bronze with a dark brown patina38.9 cm. (15 1/4 in.) wideConceived in 1976, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceAcquired directly from the artist by the family of the present ownerPrivate Collection, U.K.ExhibitedWashington, D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawing 1950-1990, 1990 (another cast)LiteratureSarah Kent and Bryan Robertson, Elisabeth Frink, Sculpture: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.186-7, cat.no.233 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, The National Museum for Women in the Arts, Washington, D.C, 1990, p.65 (another cast)Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.135, cat.no.FCR262 (ill.b&w, another cast)Dame Elisabeth Frink's sculptures of horses are amongst her most commercial and instantly recognisable motifs with her appreciation of these powerful animals dating back to the earliest work of the 1950s. However, the highest acclaim is reserved for her equine subjects completed between 1969 and 1985, of which Rolling Over Horse (1976) is one. Speaking in reference to this celebrated period, Julian Spalding comments that 'Frink's animals came to feature more and more not as tortured harbingers of terror, but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease...This is Frink at her most relaxed. She knew everything about horses and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head' (Julian Spalding in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Emerging in force during the late 1960s and conceived as both singular entities and with riders, they are largely the result of Frink's time spent in the Camargue region of France, renowned for its semi-wild horses and rugged landscape. Upon returning to England in 1973, shortly before the present work was conceived, the artist continued to explore and develop the horse theme within her work. As with many of the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question rather than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal'. That spirit is clearly demonstrated in the present work, whereby the horse moves with grace, free from human constraint, visible from different angles and positions in a sumptuous brown patina.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Matthew Smith (British, 1879-1959)Dieppe Harbour inscribed and dated 'Dieppe, 1926' (verso)oil on board33 x 41 cm. (13 x 16 1/8 in.)Footnotes:ProvenanceThe Artist, July 1946, by whom gifted to Mr and Mrs F.W. Halliday, by whom gifted to Mrs Charlotte CholertonPrivate Collection, 1990Sale; Sotheby's, London, 3 December 2003, lot 20, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Royal Academy of Arts, A Memorial Exhibition of Works by Sir Matthew Smith C.B.E. 1879-1959, 15 October-7 December 1960, cat.no.56LiteratureJohn Gledhill, Catalogue Raisonne of the Oil Paintings of Matthew Smith, Lund Humphries, Farnham, 2009, p.125, cat.no.241 (ill.b&w)We are grateful to John Gledhill for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Lynn Chadwick R.A. (British, 1914-2003)Cloaked Figure IX signed with initial and numbered 'C 770 1/6' (on the side of the figure's cloak)bronze with a black patina185 cm. (73 in.) highConceived and cast in 1978Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present owner circa 1978, and thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Marlborough Fine Art, Chadwick Recent Sculpture, February-March 1978, cat.no.33 (another cast, ill.); this exhibition travelled to Zurich, Marlborough Galerie AG, April-May 1978Witley Court and Ragley, Jerwood Foundation (this cast, long-term loan, 2001-2011)Wakefield, Yorkshire Sculpture Park (this cast, long-term loan, 2012-2023)LiteratureArt International, Vol. 22/3, March 1978, p.49 (another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.320, cat.no.770, (ill.b&w, another cast)Sarah Chadwick (intro.), (exh.cat.), The Sculptures at Lypiatt Park, London, Blain Southern, 2014, pp.66, 94, cat.no.66 (col.ill., another cast)Michael Bird, Lynn Chadwick, Farnham, 2014, p.155, cat.no.7-3 (col.ill., another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.328, cat.no.770 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.334, cat.no.770 (ill.b&w, another cast)Lynn Chadwick's impressive Cloaked Figure IX encapsulates much of the artist's mature style and illustrates his increasing focus on the use of garments to dress and add dynamism to his figures. First suggested in his 1950s sculptures, in the Teddy Boy and Girl series, he moved to add ever more dramatic clothing as his work matured, leading to the billowing cloaks of the 1970s. Experimenting with the motif of the voluminous, blown cloak, as seen in his Jubilee sculptures, Chadwick created many variations on this, including with the fabric streaming out behind, swept to one side and, in the case of the present work, 'falling from the shoulders in ceremonial amplitude' (Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, Surrey, 2014, p.156).Here, the female figure is shrouded in a long, draping cloak, the positioning of which lends the figure a sense of grandeur, and also of mystery. She seems to be a powerful, all-seeing presence, stately in her pose and inscrutability. As is typical with Chadwick, her female features are indicated only by the suggestion of her breasts and a triangular, block-like head, but she also seems imbued with a gracefulness that is particularly feminine. Her face is, as always, blank, with Chadwick once famously declaring 'no expression is an expression' (Lynn Chadwick: The Couple, exh.cat., Pangolin, London, 2011, p.3). He looked to body language as a more useful device for conveying attitude than facial features, which could be limiting. As ever with Chadwick, his ability to tell us so much with an incredible economy of form is notable.The angularity of Chadwick's style is writ large in this sculpture, and accentuated by the folds of the cloak. Chadwick studied closely the weight and properties of different fabrics and seems to have chosen for the present work one which hangs particularly heavily, with a weight that suggests ceremonial robes. Instead of flowing, curving fabric, we have grooved, geometric lines that accentuate the sharp posture of the shoulders and the strong stance of her legs, which are just visible. The addition of the cloak is also important in that it suggests movement, trailing as she seems to move silently forwards. Although the stance of her body appears apparently to be still, the flowing length of her cloak seems caught in movement, with dynamic ripples indicating her passage through the space. It is as though she walks among us with slow and considered steps, gliding past. As Chadwick explained, 'The important thing in my figures is always the attitude – what the figures are expressing through their actual stance. They talk, as it were, and this is something a lot of people don't understand.' (Lynn Chadwick, quoted in Edward Lucie-Smith, Chadwick, Gloucestershire, 1997, p.31). The mid-1970s brought about a subtle change in his approach to depicting the figure. As Michael Bird has written, ' 'Presences' was how he referred to his new figure sculptures; they were about being, not doing: 'I used to call them Watchers, but no longer. Sometimes they are not watching anything. What they are doing is illustrating a relationship – a physical relationship – between people'. It was through this relationship, not through purely formal or allusive qualities, that he wanted his sculptures to speak: 'If you can get their physical attitudes right you can spell out a message'' (Michael Bird, op. cit., p.147). Although Cloaked Figure IX is a single figure and not depicted, as so often in his work, with a male counterpart, her presence is undoubtedly a powerful one. Created as she is on a monumental scale, standing 185cm high, her full attitude cannot in fact be understood from one fixed viewpoint, but must instead be appreciated by walking around, taking in the full majesty of her flowing robes. Chadwick is thus encouraging the viewer themselves to actively interact with her stately, commanding presence, as though bearing witness to her regal procession, by ironically having us do the walking. Cloaked Figure IX was acquired directly from the artist by the family of the present owner, and has been enjoyed in this private collection for many years. It has also been exhibited publicly, both with the Jerwood Foundation at Witley Court and Ragley, and also most recently among the rolling hills of Yorkshire Sculpture Park. Number one from the edition of six, its appearance on the market is an exciting opportunity to acquire a monumental example of Chadwick's work, which is of museum quality.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.Photography © Jonty Wilde, courtesy of Yorkshire Sculpture Park.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Winifred Nicholson (British, 1893-1981)My Bedroom Window signed, titled and dated 'Winifred Nicholson 1973/'My Bedroom Window' (verso)oil on canvasboard48.5 x 58.8 cm. (19 1/8 x 23 1/8 in.)Footnotes:ProvenanceWith Crane Kalman Gallery, London, November 1974, where acquired by the family of the present ownerPrivate Collection, U.K.One of Winifred Nicholson's most favoured and signature compositions is that of the windowscape, an innovative technique for capturing still life subjects – frequently flowers – as well as the landscape beyond, encompassing the changing tones of the season and creating a sense of intimacy with the interior setting. The present lot shows a very personal view indeed, that of My Bedroom Window.In 1954 Nicholson wrote a short piece entitled I Like To Have A Picture In My Room, in which she lists desires for her ideal domestic space. She states 'I want a window in it, I want a telephone, a radio and a television set. All these are contacts and doors in the outer world' (Winifred Nicholson quoted in Andrew Nicholson, ed., Unknown Colour, Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 234). For the artist, her bedroom was clearly a deeply personal space in which she spent much time, and so to have a picture painted from just this perspective is very special. It is telling that of the above requirements, the window is utmost, and its function in providing an outlook to the natural world must have been, for her, paramount.From the variety of flowers depicted, which include the distinctive bell-shaped blooms of speckled purple and white fritillaries, the season looks to be Spring, with the potted indoor plants protected from the worst of any frosts by their safe position on the windowsill, where they can bask in the warming sun. The six-petalled blue starry flowers are chionodoxa, 'glory of the snow', another spring-flowering bulb which blossoms in dainty sprays. The leaves and flowers in the foreground are intermingled with the just-budding, wayward branches of saplings and trees which fill the garden beyond. The compositional involvement of a half-drawn curtain, patterned with flying birds, further expands on a theme of the revolving cycle of seasonal changes which form a major focus of her work.Nicholson is famed for the attention dedicated to and singular skill displayed in depicting her floral subjects, which is unique. As a review in the Times noted in 1927 of a joint exhibition with Ben Nicholson and Christopher Wood was to observe, 'there is something of an April spirit in her work...in her flower paintings the escape from realism into a new reality, as lovely as that of Nature, and charged with human feeling, is complete.' (The Times, 21 April 1927, quoted in Christopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.73).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Reg Butler (1913-1981)Woman in Stays signed with monogram and numbered '7/8' (on the top of the base); inscribed with foundry mark 'Susse Fond. Paris' (to the back of the base) bronze with a brown patina55.2 cm. (20 1/2 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, U.S.AExhibitedLondon, Hanover Gallery, Reg Butler, May-June 1957, cat.no.33 (another cast)LiteratureMargaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Much Hadham and Aldershot, 2006, p.149, cat.no.174, RB151 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After Ernest Gimson (1864-1919), circa 1910, a handworked wrought blackened iron single candlestick with punched decoration the octagonal chamfered sectioned tapering stem set above a shallow domed octagonal base plate32cm highA pair of brass candlesticks of similar form is held in the collections of the Wilson Art Gallery in Cheltenham dated circa 1905-15 made at Sapperton circulation no 1998.263 and illustrated in "Simplicity or Splendour; Vol II" Objects from the Cheltenham Collections Annette Carruthers et al Lund Humphries 1999Overall appearance is good. The sconce has a gap where the seam is. There is a slight bend to drip tray.

A French brass Carriage Clock striking on a gong. Examined and retailed by Lund & Blockley. Approx 17cm tall with handle up, with leather travel case and bag. Running order, slight wear to dial, case worn otherwise generally good condition.

Neil Lund - Oil on canvas - Beach scene with figures, signed lower left, 48cm x 59cm, in a moulded frame

A lace over chiffon cape with maribou trim circa 1922. By Margret Marks of Knightsbridge, together with a first quarter of the 20th century sequined and bead dress over chiffon, an opera coat silk outer velvet collar and cuffs and satin lining with scalloped hem made by Nibblet and a vintage leather bound suitcase.Includes a photograph of an early 20th century wedding portrait, in which the lady is seen wearing the same Margret Marks cape.Reputedly owned by Veronica Rushworth-Lund, the inspiration for Pigglet in the Winnie the Pooh books, The Nibbet opera coat had stains on the velvet collar, pulled thread on one of the cuffs, and some small areas of staining but otherwise in remarkable condition. The sequined and bead dress shoulder lining is in a fragile condition with tears and holes, also with small holes in the over netting and some small losses to the sequins. The lace cape is shedding some of the maribou feathers but is otherwise in good condition. Additional images on Lay's website.

Russell (Judith, editor). The Wood-Engravings of Gertrude Hermes, 1st edition, Aldershot: Scolar Press, 1993, numerous monochrome illustrations, original cloth in dust jacket, covers very lightly marked, folio, together with:Sidey (Tessa), The Prints of Michael Rothenstein, 1st edition, Aldershot: Scolar Press, 1993, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusWolff (Paul), My First Ten Years with the Leica, 1st edition, New York: B. Westermann Co., 1930, numerous monochrome illustrations, some light marginal toning, original cloth in dust jacket, covers toned & worn some some small tears & loss to head & foot, large 4to, andKhan-Magomedov (Selim Omarovich), Alexandr Vesnin and Russian Constructivism, 1st edition, London: Lund Humphries, 1986, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other art, crafts, print, & photography reference, including some exhibition catalogues, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves & a carton)

NO RESERVE Güse (Ernst-Gerhard, editor) Baselitz: Werke 1981-1993, Ostfildern, 1994 § Gohr (Siegfried) Markus Lüpertz, Cologne, 2001 § Förg (Günther) Torso & Fragment: Sculpture, Milan, 2000 § Oehlen (Albert) Trance, Milan, 2019 § Horn (Rebecca) Bodylandscapes: Drawings, Sculptures, Installations 1964-2004, inscribed by the artist on half-title, 2005 § Josephine Meckseper, Paris, 2016 § Armleder (John) Indigenous Wine in Friuli Venezia Giulia, limited edition, original boards (metal upper cover and cork lower) fastened with bolt in corner, a little rubbed, Milan, 2003 § Trockel (Rosemarie) Jedes Tier ist eine Künstlerin, one of 1500 copies, signed and inscribed by the artist on half-title, with additional booklet loose in recess in rear cover, original wrappers, glacine wrapper (frayed), slip-case, Lund, 1993, illustrations, some colour, all but the last two original cloth or boards, the first three with dust-jackets; and c.75 others by or about the same, 4to (3 boxes)

Helixophilia - a 19th century Lund patent two-part lever corkscrew, 20cm long; a concertina action corkscrew, The Perfect (2)

GEOFFREY CLARKE R.A. [1924-2014]. Nature and Time, 1999. bronze, edition of 42, cast by Nautilus Foundry. 8 cm high. Provenance: the artist; private collection, UK. Literature: 'Geoffrey Clarke', catalogue raisonne, Judith Legrove, Lund Humphries, p. 291 [illustrated]. [very good condition]. Buyers premium 20% + vat payable.

GEOFFREY CLARKE R.A. [1924-2014]. Pyramus and Thisbe, 1985. bronze, edition of 38. 9 cm high. Provenance: the artist; private collection, UK. Literature: 'Geoffrey Clarke', catalogue raisonne, Judith Legrove, Lund Humphries, p. 291 [illustrated].. [very good condition]. Buyers premium 20% + vat payable. ARR 4%.

GEOFFREY CLARKE R.A. [1924-2014]. Cross, c. 1975. aluminium relief, unique; signed on the reverse. 8 cm high. Provenance: The artist; private collection, UK. Literature: 'Geoffrey Clarke', catalogue raisonne, Judith Legrove, Lund Humphries, p. 289 [illustrated]. [very good condition - some slight surface dust]. Buyers premium 20% + vat payable. ARR 4%.

GEOFFREY CLARKE R.A. [1924-2004]. Head, 1980. aluminium; marked 1/5, but probably unique; signed GC. 17 x 12 x 3.5 cm. Provenance: Strand Gallery, 2012; Paisnel Gallery, 2013; Private collection, UK. Literature: 'Geoffrey Clarke', catalogue raisonne, J Legrove, Lund Humphries, 2017, p. 170, pl. S498 [illustrated].[good condition - small black stain [1 cm long] at bottom of side section + a few other tiny spots at sides]. Buyers premium of 20% + VAT is payable. ARR 4%.

Frederick Lund Ottesen (1913-1975) American"Les Chouettes"Signed, inscribed verso, oil on canvas, 73cm by 92cm

A RARE 'CRANE-CRY AUTUMN MOON' STYLE LACQUERED 'HUNDRED-PATCH' GUQINMing DynastySuperbly constructed with the top section made of patches of wutong wood cut hexagonally imitating Buddhist patchwork vestments, the lower section of zimu, the flat elongated body with waisted bulbous central section, the top with thirteen inlaid mother-of-pearl studs (hui), seven strings threaded through tasseled wood pegs (qinzhen) running over the top and tied to either of the two button-like 'goose-feet' (yanzu) on the back, with two rectangular openings, the large one termed 'dragon pool' (longchi), with a seal, and the smaller 'phoenix pond' (fengzhao), all covered in mottled red and black lacquer, metal case and packets of strings. 122.5cm (48 1/4in) long. (3).Footnotes:明 鶴鳴秋月式百衲琴Provenance: Cecilia Lindqvist (1932-2021), Stockholm, acquired in Beijing in 1962Published and Illustrated: C.Lindqvist, Qin, Beijing, 2017, p.33來源：林西莉（1932-2021），斯德哥爾摩，在1962年獲得於北京著錄：林西莉，《古琴》，北京，2017年，第33頁Cecilia Lindqvist was a famous Swedish sinologist and musician of the guqin. She was born in Lund, Sweden, in 1932, and had long held a fascination with China and its ancient history. She first visited China when she was 28 with letters of recommendation including one from the King of Sweden. It was there that she learnt to play the guqin in 'Beijing Guqin Research Association' (北京古琴研究會) under the tutelage of Wang Di. She wrote in the preface to her book Qin:In the early spring of 1961 I saw a Chinese qin at close quarters for the first time. It was lying in front of me on a wooden table in a bare classroom at the University of Peking. Seven strings of tightly twisted silk stretched over a sound box made of black lacquered wood. After a certain amount of difficulty I had managed to get hold of a Chinese student who had promised to try to teach me the basics of playing the qin, and we were due to have our first lesson. He had brought his instrument with him. It dated from the Ming dynasty (1368-1644), and had been passed down through his family since that time.When I touched one of the strings, the tone that was released made the whole room vibrate. It was as clear as silver, but remarkably it also had a kind of metallic dullness, as if the instrument were made not of wood, but of bronze. During the years which followed it was precisely the tone of the instrument that captivated me the most, from the finest bell-like tones or fanyin, 'the floating sounds' as they are called in Chinese – delicate as the sound of the tiny temple bells right on the edge of the roof timbers when the wind gently stirs them – to the vibrating depths of the thick bass strings.The present lot was given to her by the 'Beijing Guqin Research Association' as a gift, which was of great significance to her career as a musician and sinologist. In her own words, 'this qin, and the people that I met in the Beijing Guqin Research Association are the important reasons why I write this book (Qin)'. She included the present lot in her monograph on qin as an example of the 'hundred-patch' qin (百衲琴) that is made of many hexagonal wutong wood sections and requires a high level of adhesive technique to enable an impeccable sound. See Cecilia Lindqvist, Qin, Beijing, 2017, pp.30-33. Apart from the rare 'hundred-patch' construction, its rare shape is known as 'Crane-cry Autumn Moon' (鶴鳴秋月), as it was said to resemble a crane with its wings tucked and standing upright. Compare with a related 'crane-cry Autumn Moon' style guqin, Ming dynasty, in the Hunan Provincial Museum, cited in 'Hunan sheng bowuguan guancang guqin zhi kaobian yu yanjiu (zai xu), Hunan sheng bowuguan guankan, 4, 2007, pp.424-428. See a 'Confucius-style' huanghuali and zitan 'hundred-patch' guqin, Ming dynasty, which was sold at Bonhams Hong Kong, 1 December 2020, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AFTER KATSUSHIKA HOKUSAI (1760-1849)Reclining Young Woman and Boy Edo period (1615-1868) or Meiji era (1868-1912), 19th centuryKakejiku (hanging scroll), ink and colours on silk in silk mounts, depicting a young woman replacing the lid of an incense burner whose perfume she and the young boy kneeling to her side seem to be sniffing, with signature Iitsu hitsu and seal Yoshinoyama. Overall: 137.5cm x 70.3cm (54 1/8in x 27 5/8in); image: 35.7cm x 59cm (14in x 23¼in).Footnotes:Provenance:On loan to the Pacific Asia Museum, Pasadena, Cal., in 1986.Richard Kelton Collection.Janette Ostier.Harari Collection.Published:Jack Hiller, The Harari Collection of Japanese Paintings and Drawings, London, Lund Humphries, 1970, cat. no.127.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Battle of Britain Spitfire Relic: Two crash site recovered relics from Spitfire 92 Squadron shot down in Bee Ness Jetty in Kent 15.10.40 PO Lund bailed out, pieces still have traces of original camouflage paint and rivets.

A silver ink stand, by James Dixon & Sons, Sheffield 1901, with retailers stamp to base underside "Lund & Blockley, Bombay & Poona", length 21.7cm, fitted two silver mounted glass inkwells with bevelled edges by Henry Manton, Birmingham 1893 & 1901, the pen tray with associated white metal combination letter opener/pen nib holder. (weighable silver 185.0g)  

§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692) stamped artist's mark, aluminium Dimensions:26cm high (10 1/8in high) Provenance:ProvenancePrivate Collection, UK. ExhibitedChappel Galleries, Chappel, Geoffrey Clarke RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994. LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a) stamped artist's mark, aluminium Dimensions:26.6cm high (10 1/2in high) Provenance:ProvenancePrivate Collection, UK.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.100, S260a, illustrated. Note: This is one of a series of maquettes for a sculpture submitted for a competition for a site between the King's Road, Chelsea and a new branch of Sainsbury's. This example was later titled Climber. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Robert Adams (British 1917-1984) Vertical Form No.1, 1965, Opus 237 stamped and dated ADAMS 1965 (to base), bronzed steel Dimensions:154.9cm high (61in high) Provenance:ProvenancePrivate Collection;Gimpel Fils, London. ExhibitedGimpel Fils, London, Robert Adams, 4 - 29 October 1966, no. 8. LiteratureGrieve, Alastair, The Sculpture of Robert Adams, London: Henry Moore Foundation in association with Lund Humphries, 1992, p.216, no. 486, illustrated. Note: The results of Adams’s unusual training of evening classes at Northampton School of Art, followed by two years of independent study and experimentation, gained him his first solo exhibition, at Gimpel Fils in London in 1947; this marked the beginning of a long and fruitful relationship between artist and gallery. A teaching post in the capital’s Central School of Art provided the opportunity to learn how to weld, with the result that Adams became one of the pioneers of this technique in British sculpture, along with Reg Butler and Lynn Chadwick. Vertical Form No. I of 1965 shows how Adams’ mastery of welding resulted in works of dignified, abstracted beauty. It encapsulates his favoured asymmetry and acute sympathy with the quality of his materials and was included in a solo exhibition at Gimpel Fils the following year.As the critic Edwin Mullins wrote in 1968: ‘I believe that the essence of Adams’ brand of non-figurative sculpture lies in its capacity to embody in still metal the tensions and rhythms of the human form in motion.’ (Sunday Times, 15 September 1968, quoted by Alastair Grieve, The Sculpture of Robert Adams, Lund Humphries, 1992, p.9). Moreover, in his introduction to Adams’ touring retrospective exhibition of 1971, Charles Spencer declared: ‘There is a weightless elegance in all his sculpture, the result of superlative craftsmanship, an instinct for design and a refusal to over-state.’

§ Geoffrey Clarke R.A. (British 1924-2014) Sea at Aldeburgh, 1978 initialled and dated (lower right), mixed media on polystyrene Dimensions:11cm x 14.5cm (4 1/4in x 5 3/4in) Provenance:ExhibitedStrand Gallery, Aldeburgh, Geoffrey Clarke RA and the Aldebrugh Connection, 16 October - 20 November 2004. Note: This was one of two works acknowledged by Clarke to have been inspired by Aldeburgh. Clarke owned the Martello Tower there and he and his family enjoyed trips to the seaside at Aldeburgh. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Head I, 1951 (LeGrove S36) iron on aluminium, unique Dimensions:18cm high (7in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedGimpel Fils, London, Geoffrey Clarke, Peter Potworowski, March - April 1952, no.41;Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures, March - April 1965, no.49;Yorkshire Sculpture Park, Wakefield, Geoffrey Clarke RA: Sculpture and Works on Paper 1950-1994, April-June1994, illustrated on the cover.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.29, S36, illustrated. Note: A cross on the top was missing by 1965 and has never been restored. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Toriio, 1965 (LeGrove S294b) stamped with the artist's mark, numbered 3/10 and 533 and dated 65, aluminium Dimensions:15.2cm high, 7.5cm wide (6in high, 3in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.110, S294b, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Torii Prone One (i), 1965 (LeGrove S276) stamped artist's mark, numbered 1/10 and 512 and dated 65, aluminium Dimensions:10cm high, 19.5cm wide (4in high, 7 5/8in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.106, S276, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Bernard Meadows (British 1915-2005) Fish Relief, 1955, Opus 19 from the edition of 6 and 1 A/C (6 bronze, 1 brass and 1 plaster), plaster Dimensions:39.5cm x 57.5cm (15 1/2in x 22 5/8in) Provenance:ProvenanceThe Artist (ex. 3684);Muller Collection;Gimpel Fils, London. ExhibitedGimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries,1995, p.138, BM35 for the bronze example.

§ Bernard Meadows (British 1915-2005) Pointing Figure, 1967, Opus 91 3/3, verdigris bronze Dimensions:53.5cm high, 90cm wide (21in high, 35 1/2in wide) Provenance:ProvenanceGimpel Fils, London.ExhibitedSyon Park, Summer 1970, cat. no. 14;Royal Academy of Arts, London, British Sculptors, January - March 1972;Chalk Farm Library, London, 1975 - 2016 (long-term loan);Gimpel Fils, London, Collector's Choice, 16 January - 4 March 2017;Gimpel Fils, London, Modern British Sculpture, 3 October - 31 October 2017.LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries, 1995, p.98, pl. 82, BM107, polished bronze example illustrated.

§ Geoffrey Clarke R.A. (British 1924-2014) Pyramid, 1993 (LeGrove S703) stamped artist's mark, aluminium Dimensions:20.5cm high (8in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedThe Fine Art Society Limited, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, 9 October - 2 November 2000, no.75.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.211, SS703, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ ‡ Alan Davie C.B.E., R.A., H.R.S.A. (British 1920-2014) Flutter By Night, 1962 signed, titled, dated and inscribed Opus O.445 (verso) oil on canvas Dimensions:122cm x 152.4cm (48in x 60in) Provenance:Provenance Gimpel Fils, London, where acquired by Mrs Charles Benenson, August 1963 Gimpel Fils, London, where acquired by the present owner, November 2007Literature Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat. no.381, Note: Alan Davie once noted: ‘Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT’. This sentiment remained his guiding principle across a career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his paintings and printmaking internationally, he also designed and made jewellery, wrote poetry and performed as a professional music, most notably as a jazz saxophonist, but also as a cellist and pianist. Davie felt that all these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie was equally as diverse in the sources of his inspiration, seeking it across space and time. He, like many artists of his generation, had a specific interest in Jungian ideas of the ‘collective unconscious’, aiming to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance, a method similar to that of improvisation in jazz. Yet, as was so concisely put in the artist’s obituary, published in The Guardian, ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his and this is particularly clear in an example like the present work. Flutter by Night dates from 1962, an interesting moment in Davie’s artistic life. With the benefit of hindsight and the awareness of the longevity of his career, it feels like a relatively early work but is in fact from a period in which he had already gained significant momentum as an artist. It follows his visit to the U.S.A. in 1956 where he exhibited (with the ground-breaking Catherine Viviano Gallery) and also met artists including Willem de Kooning, Robert Motherwell, Jackson Pollock and Mark Rothko. It also follows a significant retrospective at the Whitechapel Gallery in London in 1958. Another retrospective took place at the Stedelijk Museum in Amsterdam, in the same year as this painting was made. It is easy to feel a sense of this inspiration and energy in Flutter by Night; expressive and energetic, the gestural brushwork and bright colour break their way through the swathes of grey. Davie was said to have developed his understanding of the role of the artist from Paul Klee: ‘he neither serves nor rules – he transmits.’ In Flutter by Night Davie succeeds in this quest, his painterly improvisation viscerally conveying his vigorous vision, reaching across time and space all the way out to reach us, in the here and now.

Land of the Giants signed framed 11x9 inch colour photo. Signed by Deanna Lund, Heather Young and Don Marshall. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Barraud & Lund silver lever pocket watch, London 1853, the movement signed Barraud & Lund, Cornhill, London, no. 2/8459, with plain balance cock, compensated balance and silvered regulating scale, signed and numbered dial with Roman numerals, minute track and subsidiary seconds, within an associated plain case, 49mm, key-Movement - currently functioning.Dial - chips to the outer edge.Glass - surface marks.Hands - some tarnishing.Case - later associated case, movement hinge requires a pin, movement currently loose, surface marks and scratches, bruise to the edge of the case back, the band heavily rubbed, bow possibly a replacement.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained 

Barraud & Lund, London 18ct fusee lever small pocket watch, London 1865, signed three-quarter plate movement, no. 2/8874, Roman numeral gilt dial with blued steel hand, within a fine  engraved case with cartouche, case maker 'WR' 60.5gm, 42mm; with key and box (the movement requires repair)-Movement - requires attention.Dial - some marks to the chapter ring, the Roman numerals are quite faint - see image.Glass - good.Hands - good, light marks.Case - overall good condition - see images.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. 

John Cecil Lund (British 1932-): 'Haytime', watercolour signed and titled 24cm x 19cm

John Cecil Lund (British 1932-): Cobles at Robin Hood's Bay, watercolour signed 18cm x 27cm

John Cecil Lund (British 1932-): Fishergirl at Robin Hood's Bay, watercolour signed 38cm x 26cm

A 19th century dome-top stationery box, mahogany with intricate brass marquetry inlay, and brass carrying handles, by Lund of London, length 26cmSome brass stringing missing from the edge of the lid and some of the brass marquetry is lifting, handles original

* Sewing box, Thomas Lund, 57 Cornhill, London, circa 1815, red morocco-covered wooden box of sarcophagus shape, green paper-covered compartmentalised interior, with 2 cream silk pincushions, a slot with leather needlecase, 6 bone spools, and 3 compartments with leather lids, the largest with maker's engraved label inside and with slots on lid containing scissors etc., above a drawer lined with matching green paper, containing various sewing accoutrements, including a red tatting shuttle and 3 bone crochet hooks, hinged lid lined with ruched cream silk, exterior with brass furniture, including feet (becoming loose) and ring handles at sides (key missing from lock), leather faded and with some cracking and small losses, 10 cm (4 ins) high, 20.5 cm (8 ins) wide, 12.5 cm (5 ins) deep QTY: (1)

A retro Alice Lund ceramic Danish brooch, a carved paua shell peacock brooch, a silver and green agate brooch by James Coull of Glasgow, a pair of Miracle cufflinks, a vulcanite forget-me-not locket and other items Condition Report:No condition report available.

Two tea caddies, one with an ebonised serpentine front, brass inlay and rosewood veneered interior, the other 19th century with decorative floral inlay to the lid; a salt box; a photograph frame; and a hardwood bookstandthe ebonised tea caddy 23cm wide; the decorative tea caddy 11.2cm wide; the salt box 23cm high; the photograph frame 32.5cm wide; the bookstand 38cm wideQty: 5The ebonised tea caddy with some patches and marks to the outside, some deterioration of the lacquering on the brass inlay, the knobs to the lidded compartments within in need of repair, the lock stamped 'Lund, London'. The smaller tea caddy lacking knop to the lid and to the lidded compartment within. The salt box with a split to the front and minor marks, otherwise in good condition. The front of the photograph frame with some minor marks and wear, otherwise in good condition, the back with a replaced cover and stand. the bookstand in good condition.

An early 19th century tortoiseshell correspondence box with a label for 'Lund, 57 Cornhill, London' and with ivory detailing, and a small mahogany tabletop collectors chest with three fitted drawersthe tortoishell box 22cm wide x 14cm high; the collectors chest 32cm wided x 21.5cm deep x 15cm highQty: 2Thomas Lund set up his business at 57 Cornhill in 1804 starting to sell pens and quills and moved on to making boxes arround 1815.Both in generally good condition. The correspondence box with some losses and wear to the interior, possible losses around the base, and chips to the tortoiseshell at the back top left corner and front lower corner of the right-hand side. The collectors' drawers with only minor marks and dents due to use and some very minor losses to the turned handles.The ivory license number for this sale of the tortoiseshell box: 62KKWZ1J. If bidding from abroad on this lot please be aware of regional restrictions in relation to the ivory content of this lot.

Yorkshire Tokens 17th Century, 4 tokens comprising: Skipton, Robert Lund halfpenny 1668, (W 342) Near Fine; Thirsk, Robert Bell 1664, (W 349) Fine; Doncaster, George Rasine halfpenny 1665, (W 80) Fine; Holbeck, John Smith halfpenny 1666, (W 124); Fair

Lund.: Abris und vorstellung der Merkwürdigen Haupt-Schlacht zwischen ihren... Majesteten... bei Londen in Schonen den 4. Decmb. Anno 1676. Kupferstichplan mit Truppenstellungen aus Merian, Theatrum Europaeum Bd. 11, bei J.P.Andreae, Ffm. für M.Merian Erben 1682 (= wohl 1707). 32,5 x 40 cm. Mit Legende 1-31. - Vereinz. fleckig.

Helixophilia - a 19th century Lund patent two-part lever corkscrew, 20cm long; a concertina action corkscrew, The Perfect (2)

A fine and rare Second War Landing Craft Gun C.G.M. group of six awarded to Able Seaman T. H. R. Hills, Royal Navy, who took over as the coxswain of L.C.G.12 in Operation “FERDY” the fiercely opposed landings on the Italian Coast at Vibo Valentia; when an enemy shell burst just above the bridge leaving him the only person alive on the bridge, he took control and steered the craft through bursting shells and ammunition out of range of the enemy’s guns and brought her to safety Conspicuous Gallantry Medal, G.VI.R. (A.B. T. H. R. Hills. C/JX. 373402); 1939-45 Star; Atlantic Star; Africa Star; Italy Star; War Medal 1939-45, these last five privately engraved ‘A.B. T. H. R. Hills C.G.M. C/JX. 373402’, nearly extremely fine (6) £10,000-£14,000 --- C.G.M. London Gazette 25 January 1944: ‘For gallantry, leadership and undaunted devotion to duty under heavy and continuous fire from the enemy during landings on the Italian mainland.’ Conspicuous Gallantry Medal. ‘Able Seaman Thomas Henry Richard Hills, C/JX.372402 Able Seaman Hills was serving in a Landing Craft which was heavily damaged by a shell which burst just over the bridge. All the officers were killed or badly wounded and he was the only man left alive on the bridge. With complete coolness he took control and steered the craft through bursting shells and ammunition out of range of the enemy’s guns and brought her to safety.’ The original recommendation for this award in Admiralty Honours and Awards file H&A 1257/43 is in the National Archives under reference ADM1/14593 - Operations “Baytown” and “Ferdy” awards to personnel for services in support of the invasion of Sicily (sic). It reads: ‘L.C.G.12 - Operation “BAYTOWN” L.C.G.12 at “Ferdy”. This rating was the only person left alive on the bridge of L.C.G.12 at “Ferdy”. He took charge and brought L.C.G.12 out of range of the enemy’s guns.’ Fleet Honours Committee, Commodore Parker, 31st October, 1943, noted: ‘Concur. Propose Conspicuous Gallantry Medal. An outstanding act of gallantry and devotion to duty.’ Commander-in-Chief, Mediterranean, Admiral A. B. Cunningham, 2nd November, 1943, also noted: ‘Fully concur with the recommendation of the H & A Committee.’ Able Seaman Thomas Henry Richard Hills received his award of the Conspicuous Gallantry Medal at an Investiture on 19 November 1946. Operations “Baytown” and “Ferdy” Vibo Valentia is high up the ‘foot’ of Italy, midway between Reggio Calabria and Cosenza. Two landing attacks were planned by the Allies in September 1943, first across the Straits of Messina in operation “Baytown”, the first landing on the Italian mainland, and then further up the coast in operation “Ferdy” at Vibo Valentia. These were planned to disrupt enemy activities and to hasten their retreat north. Operation “Ferdy” was originally scheduled to take place on 6 September 1943. The object was to land 231 Brigade at Gioja, some miles behind enemy lines. This would help speed up the advance of XIII Corps, interfere with the enemy’s programme of withdrawal and road demolition, and, in the words of Flag Officer Sicily, ‘put some Germans in the bag’. Operation “Ferdy” was put into action on Tuesday 7 September, when the assembled force proceeded at 1830, to sail so as to arrive at Vibo Valentia Marina at 0530 on D-Day, 8 September. Paul Lund and Harry Ludlum take up the story in their War of the Landing Craft in the aptly named chapter The Guns of Vibo Valentia: ‘It had been thought that the landing at Vibo Valentia would be well behind the enemy’s lines and would only meet with slight opposition. But [...] the van of the German withdrawal happened to be passing when the landing occurred and this accounted for the large number of guns and machine guns brought to bear… And then it came, with a sound so full of bitter, impersonal hatred… the LCT’s ran the gauntlet of shell-fire into the harbour. The air was full of the sharp crack of the guns and the almost instantaneous explosion of the shells, which gave no preliminary whistle, for these were high velocity German 88-millimetre guns. We continued to stand, silent, clustered together in the tank space, watching the approach of several more landing craft, one of which carried a cargo of ammunition. As she now waddled towards the shore shells began to fall on either side of her. “Christ” said a low voice, “she only needs to get the next lot in that ammo, and there’ll be fuck-all left.” “There’ll be fuck all left of any of us, mate, if that lot goes up,” added another. But as we awaited what seemed like the inevitable fate of that LCT, there suddenly broke out to seaward the sound of gunfire followed by bursts of Oerlikon and pom-pom fire, which immediately drew the attention of the German gunners and dramatically eased the situation for the LCTs… It transpired that an LCG and an LCF had closed the shore and begun to engage the enemy defences. It was twelve minutes past six when LCG 12 opened fire with her two four-point-sevens at the battery of mobile German 88s, while LCF 4 sprayed the woods above the town where machine-gun nests were giving trouble. The effect of this intervention was instantaneous for the German gunners at once turned their attention on the LCG with her greater fire power and began to score hits. But LCG 12 stood her ground and continued to fire and so give the landing craft a chance to make good their escape from the harbour. Later[…] looking through their binoculars where LCG 12 had ceased firing. “She’s under way and she’s badly damaged” Snagge said. The three of us watched in silence as the LCG slowly headed away from the shore. As we made our way down the Italian coast with the warmth of the sun on our backs, each of us knew how much we owed to LCG 12. Months later, bit by bit, we heard the full story of Operation Ferdy and the part that LCG 12 and the LSTs and support craft had played. For 38 minutes LCG 12 had engaged the enemy shore batteries and during that time she was hit several times. Then, at 6:50 a.m. after most of the LSTs had left the beach, a shell exploded above the bridge killing all the craft’s officers and many of the crew. It was at that moment, when conditions aboard the gun craft had reached a critical state, with no one in control, with both her guns out of action and still under heavy fire, that Ordinary Seaman T. H. Hills with great presence of mind and under considerable difficulty took the craft out to sea and to safety. His coolness saved the LCG and the lives of the rest of her company. And the distraction that LCG 12 had provided during those 38 minutes had allowed nearly all the 16 LCTs to escape – only one being hit. But the operation was successful in fulfilling its main object for it greatly increased the speed of the enemy withdrawal and hardly a bridge was demolished on the long road to Sapri.’ Sold with copied research including Admiralty recommendation and extracts from various publications.

GLASGOW AND CHARLES RENNIE MACKINTOSH COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961 R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, Remembering Charles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings by Charles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900 and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to return Provenance:Provenance: The Estate of the late Dr James Macaulay

Estate Plan. The Map of part of the Lordship of Darrington situate in the County of the West Riding of the County of York, belonging to Wm. Sotheron Esq. Surveyed in the Year 1757 by John Lund, large manuscript estate plan in ink and watercolour on two conjoined sheets of vellum, large floriate cartouche and explanation, large armorial and scale, creased, some dust soiling, small closed tears affecting the image, slight fraying to the lower margin, 1140 x 1290 mm, with another 20, mostly 19th-century maps, building plans, estate plans, engraved portraits and photographs, all relating to the Estcourt family of Estcourt House, near Tetbury, Gloucestershire, some plans and maps with severe damp and rodent damage causing loss, various sizes and conditionQTY: (21)

A large early 20th century copper beer funnel by Lund & Reynolds LTD. 31x29x33cm

LUND, LONDON; a 19th century coromandel cased vanity set with part fitted interior, with purchase receipt from Tudor Antiques in Sudbury in 1988.

Lund, Johann. Die alten jüdischen Heiligthümer, Gottesdienste und Gewohnheiten, für Augen gestellet, in einer ausführlichen Beschreibung des gantzen Levitischen Priesterthums. 20 Bl., 1090 S., 71 Bl. Titel in Schwarz und Rot. Mit gestochenem Portrait, gestochenem Frontispiz, 30 teils gefalteten Kupfertafeln von Johann Wilhelm Michaelis und 10 Textholzschnitten. 33,5 x 21,5 cm. Pergament d. Z. (etwas fleckig und berieben) mit hs. RTitel. Hamburg und Rudolstadt, Heinrich Urban für Gottfried Liebernickel, 1704.VD18 1032531X. Fürst I, 274. Lipperheide I, 130. - Zweite, durch Heinrich Muhl erweiterte Auflage. Enthält: "I. Von der Stiffts-Hütten. II. Von dem Tempel. III. Von den Hohen- und andern Priestern. IV. Von den Leviten, deren Ursprung. V. Von dem täglichen Gottesdienst der alten Hebräer" (Untertitel). - Fl. Vorsatz gestempelt, die Tafeln mit Quetschfalten und kleinen Einrissen. Etwas gebräunt und braunfleckig.

A pair of mid century Danish ceramic earrings by Alice Lund, white coral statement beads, a pendant by Skagen, a wide horn bangle and other items Condition Report:No condition report available.