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After Jean Dubuffet. The Busy Life (La Vie Affaire). Photolithograph reproduction. 59 x 80cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020). Attic Shore. Ltd Edition lithograph, number 2 of 2. Signed lower right, labelled verso. 52 x 65cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

After Georges Braque. Nature Morte. Vintage print. 47 x 65cm. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Emma Davis, Green Belt Relay 2009. Signed LE print, 55/100. 24 x 33cm. Plus another framed print. (2). Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Julia Roberts (20th century British), Tourists, Safeway Kings Road, oil on canvas, H.66cm W.49cm Provenance: Chelsea Arts Society

Football memorabilia, Arsenal FC, selection of modern items, 1990's/2000's, including approx. 30 Executive box tickets for home matches inc. v Tottenham 95/6, Chelsea 97/8, 2000/01, Leeds 97/8, Liverpool 95/6, 97/8, Manchester United 96/7, 2000/01 etc, three pre-match Manager's Office invitation tickets for matches v Stoke 2010/11, Swansea 2012/13 & Udinese UEFA Cup 2011/12, 8 enamelled badges for entry to the WM Club, 2011/12 (each with named opponents), various other Directors & Executive passes, fixture cards, booklets, some Arsenal Ladies items & Club merchandise flyers etc (ex) (90+ items)

Football programmes, a collection of approx. 270 programmes, mostly 1960's onwards, wide range of Clubs inc. West Ham, Chelsea, Man City, Stoke, QPR, WBA, Leyton Orient etc, a few big match also noted (a few fair, mostly gd)

Football programmes, a collection of approx. 250 friendlies, testimonials & minor cup matches, 1960's onwards, wide range of clubs inc. Preston v Southport 67/8, Crewe v Sunderland 89/90, Alfreton v Norwich 80/1, Barry v Wrexham Welsh Cup 89/90, Stevenage v Chelsea 95/6 etc (mixed condition, fair/vg)

Football memorabilia, Manchester United, 4 items, a flyer from the Crewe v Manchester United Friendly fixture, 11th Oct 1983, two, 8" x 10", b/w later reprint photos, one showing Bill Foulkes shaking hands with the Duke of Edinburgh prior to 1963 FA Cup Final, the other showing 1960's match action from game probably v Sheffield United & a programme for home game v Chelsea 2 Dec 1995 signed to back cover line-up page by 11 Manchester United players inc. Beckham, Keane, Schmeichel etc (vg/ex) (4)

Football programme, Chelsea v Manchester City, 20th Nov 1937, Div 1 (gd)

Football programme & tickets, England v Wales match programme 25 Sept 1943 with two match tickets, sold with three other tickets, FA Cup Final 1959, Chelsea v Sheffield Wednesday FA Cup semi final 23rd April 1966 at Villa Park & a Tranmere Rovers 'Admit to Stand' ticket, undated (gd) (6)

Football programmes, Fulham home & aways, 1950/51 & 1951/2 inc. homes v Chelsea FA Cup 50/1, Dinamo Festival of Britain 50/1, Tottenham 50/1 & 51/2, Arsenal 51/2 etc & aways v Millwall FA Cup 50/1, Chelsea 50/1, Arsenal 50/1 & 51/2, Tottenham 51/2 etc (some minor faults, gen gd) (14)

Football programmes, Chelsea home and away collection late 1950's to 70's, approx. 270 programmes inc. approx. 30 aways, noted homes incl. Blackpool 1956/57, Portsmouth 58/59, West Ham 58/59, Tottenham 59/60, Man City 60/61, Man Utd 60/61, Arsenal 60/61 etc. (some with faults, mostly gd)

Football autographs, a selection of signed cut outs & newspaper, mostly 1950's/60's inc. Lawton, Matthews, Finney, also Williams, Hopkins, Hunt, Armfield and several players from Arsenal, Chelsea & Tottenham. Album page with 5 Wilf Mannion signatures ! (gen gd) (approx. 40 items)

Football programmes, Tottenham home and away programmes (65+) 1960's/70's incl. Man Utd 1963/64, 66/67, Arsenal 66/67, Leeds 66/67, Chelsea 66/67, Rangers 70/71 Fr etc. Aways incl. Arsenal 1967/68, Southampton 70/71, Everton FA Cup 71/72 etc (some with faults, gen gd)

Football programmes, Reading FC, reserves, friendlies & youth games, inc. Club Handbook 1950/1, friendly match programmes v Crystal Palace 9 Aug 1961 & 8 Aug 1962 (both 4 page issues), v Crystal Palace Reserves 51/2, Portsmouth Fr 74/5 (ss), GB Olympic X1 70/1 (4 pages), singe sheet home reserves, 1986/7 (19) inc. Chelsea, Portsmouth, Luton, Norwich, Southampton, West Ham, Tottenham, Arsenal, Oxford, Millwall, Watford etc, 1987/8 (19) inc. Chelsea, Tottenham, Arsenal, West Ham, Millwall, Southampton, Arsenal etc. (mostly gd/vg) (approx. 50)

Football programmes, a collection of approx. 100 programmes 1960's onwards, inc. Charity Shield 1967, West Ham v Real Zaragoza ECWC s/f 1964/65, Wales v England 1967, various issues for Arsenal, Man City, Wolves, Chelsea etc, some big match programmes inc. World Cup tournament programme 2006 etc (some slight duplication and 1 or 2 copied programmes included) (mixed condition, fair/gd)

Football programmes, selection, mainly 1950's/60's inc. Arsenal v Tottenham Hotspur Reserves 1948-49, 56-57, 58-59 (all vg), Charlton Athletic v Arsenal 1950/51, 52/53, 53/54, v Tottenham Hotspur 1951/52. England World Cup XI v England U23 1958 at Chelsea. Reading & Millwall v Brighton both 1957/58, Middlesbrough v Brighton 1959/60. Several early 60's. Walton & Hersham v Tottenham Hotspur friendly 1965. Finchley v Enfield LSC S/F 1963. Sutton Utd v Wimbledon 1963 F.A.A Cup Final (fair/gd) (approx. 70)

Football programmes, Arsenal, a collection of approx. 70 1960's Arsenal home programmes, inc. Chelsea 1960/61, Newcastle 60/61, Man Utd 60/61, Leicester 61/62, Ipswich 62/63, Tottenham 62/63 (some with faults, fair/gd)

Football programme, Chelsea v Moscow Dynamo, 13 November 1945, Fr, first Russian Club fixture for a match in England, 4 page issue (sl crease & minor repair, gd), sold with newspaper cutting showing Chelsea line-up prior to game signed in ink by Len Goulden (Chelsea FC) (gd) (2)

Football programmes, a collection of approx. 180, reserve, youth & schoolboy matches, mostly 1990's onwards, wide range of Clubs inc. Chelsea, Man City, Liverpool etc, several single sheets issues, also England Schoolboy games (mixed condition, several with tc & scores noted, fair/vg)

Football tickets, approx. 250 match tickets, mostly 1970's onwards inc. several Reading away matches, also Chelsea Ladies, Wolves, a few big match etc, also noted England v Ireland 14 Nov 1951 (at Villa Park), Tottenham v Ranger ECWC 31 Oct 1962, Tottenham v Dukla Prague EC 26 Feb 1962, FA Cup Final Ticket 1976, Wembley Stewards Ticket 17 May 1979 etc (mixed condition, fair/vg)

λ Emily Young (British b. 1951)Three graces Purbeck stone Height: 26cm (10 1/4in.)Provenance:Thackeray Gallery, London Purchased from the above in 1995Thence by descent to the present owner Emily Young (b.1951)Originally from London, Emily Young spent her childhood between Wiltshire and Rome. As the granddaughter of the sculptor Kathleen Scott (a colleague of Rodin) and niece of conservationist Peter Scott, she grew up in a family of artists, naturalists, explorers and writers.Her education started at Chelsea School of Art and Central Saint Martins in London, where she was first interested in painting. She left England in the late 1960s, travelling through Europe, Africa and the Middle East, then moving to the United States to study with artist Robert White. Emily developed an interest in working with stone in the 1980s, using leftover marble from a kitchen worktop.Giving a human form to the stillness of the stone, the sculptures emerged from unique discarded stone found in quarries. Her sculptures brings forth the close link between human experience and the planet. They encompass the natural beauty, history and energy of material stone imbedded with human consciousness through the act of touching, carving, and giving form. The sculptures ask the viewer to consider their presence on Earth, their history and contribution to the future of the planet. The meditative quality of Emily Young's work puts the ephemeral quality of human consciousness in perspective to the timelessness of stone.A passionate conservationist, she employs her sculptures in an environmental effort to protect endangered spaces. She has opposed the opening of a geothermal power station in Tuscany, as well as the illegal trawling in the Mediterranean with the project The Garden of the Fishes.'Hard stone can endure to tell our story: when a human hand, mind and heart is consciously involved in changing the face of a piece of stone, a mark is made, a contribution lightly touching the planet, touching the full immensity of the past, and speaking to the full immensity of an unknown future: it tells something, it leaves a record, of the relationship we humans have with our planet, one way or another.'- Emily YoungShe has exhibited at many prestigious museums including: The Getty, California; The Imperial War Museum, London; The Whitworth, Manchester; The Meijer Sculpture Gardens, Grand Rapids, and in 2018, The Victoria and Albert Museum, London.The present lot is one of Young's earliest pieces. The work shows three female figures elegantly dancing through water. The piece was treasured by the owner throughout her lifetime. A wonderful and touching poem was written by the owner and is published on the previous page. Condition Report: There are two very small abrasions to the tip of the right hand corner of the base. Otherwise, the work is in good original condition.Condition Report Disclaimer

λ George Fiddes Watt (Scottish 1873-1960)Sands at Achnahaird, Ros-shireOil on board Signed (lower left) and further signed (lower right); titled (verso)23.5 x 31cm (9¼ x 12 in.)Exhibited:London, Kensington and Chelsea Artists' Exhibition 19, no. 1

λ Dame Elisabeth Frink (British 1930-1993)PilgrimBronze with a brown patina Signed and numbered 7/8 (on the base)23 x 33cm (9 x 12 in.)Conceived in 1983.Provenance:The Everard Read Gallery, Johannesburg, South AfricaPrivate Collection, London (acquired from the above by the present owner)Thence by descent to the present ownersLiterature:Annette Ratuszniak, Elisabeth Frink Catalogue Raisonne of Sculpture 1947-93, London, 2013, p. 159, no. 318, illustration of another castIn 1984, Frink explained in her catalogue raisonné, 'What I have tried to make clear in my sculptures for the last five years is the way in which feeling, expression, even force and energy, should be below the surface. The outer skin may define more or less conventional features, but with a second look should indicate the complex strain of nerve-endings and the anticipatory reflexes of something about to happen.' [Elisabeth Frink, Sculpture: Catalogue Raisonné, 1984, p.33] After studying at Guildford School of Art in 1947, Frink enrolled at the Chelsea School of Art under the tutelage of Julian Trevelyan, Ceri Richards and John Berger. Immersing herself in this creative environment Frink began experimenting in plaster creating sculptures of men and animals. Her early works caught the attention of 'The Geometry of Fear' sculptors who included Lynn Chadwick and Kenneth Armitage. Frink became associated with this group who had been labelled by the art critic Herbert Read.  Frink soon became known for her strong depictions of male figures. These sculptures encapsulated both the heroism and fragility of man. Her childhood experience growing up during the first world war was to have a great impact on her work. Frink's father was an officer in the 7th Dragoon Guards and she spent her childhood growing up near an airbase in Suffolk. Numerous air raids and crashes exposed Frink to an enormity of brutality and bloodshed which invoked fear, experiences which came to be reflected in her sculptures.  Her sculptures embodied strong, purposeful and athletic men usually shown in a stance of standing, walking or running. However, the outer layer with his textured surface reveals a more vulnerable side to the bronzes, described as exposed flesh. The vacant facial expressions and moments of movement caught in time represent the shell shock and effects of war over time, crossing this bridge between heroism and vulnerability.  Pilgrim sculpted in 1983 captures this strength of the male form. His feet firmly on the ground the 'pilgrim' makes no advance frozen in a moment of time. The work is from a series of 8 editions and a similar composition can be found in Shepherd and Sheep (FCR317) also created in 1983 which shows a similar figure, but with the addition of a flock of sheep and a crook in the figure's right hand.   Condition Report: In good original condition. Light surface dust and dirt. Otherwise no significant condition issues. Condition Report Disclaimer

Walter Greaves (British 1846-1930)Nocturne, Battersea ReachOil on canvas61 x 46cm (24 x 18 in.)Provenance:Sale, Sotheby's, London, 23 June 1999, lot 6Property from a Private English CollectorWalter Greaves (1846 - 1930) was a British painter and etcher who was born and worked in London. Together with his brother, Henry (1844 - 1906) Greaves met the artist James McNeil Whistler in 1863. Over the next twenty years the brothers would become great friends and studio assistants to Whistler, who in turn taught them to paint and introduced them to the sights of the Thames which would later inspire the artist's 'nocturne' views of the river at night.The influence of Whistler's 'nocturne' series can very clearly be seen in the work of both Henry and Walter Greaves. In Nocturne, Battersea Reach, as well as the obvious reference in the title, the hazy colour palate of dusky blues and greys together with the dab of yellow coming from the streetlamp in the foreground and linear composition are all reminiscent of works such as Nocturne: Blue and Gold - Old Battersea Bridge, c.1872-5 (Tate No. 1959) and Nocturne: Blue and Silver - Chelsea, 1871 (Tate No. T01571).By the late 1870s however, Whistler began to cultivate a more sophisticated set of friends which included Walter Sickert and Mortimer Mempes and the Greaves brothers, who, despite their unsophisticated attempts had always aspired to imitate their friend, found themselves excluded from this distinguished circle.Walter went on to suffer many years of poverty before being discovered by William Marchant, proprietor of the Goupil Galleries. In 1911, Marchant held an exhibition of Greaves work in his London gallery. The success of the exhibition was short lived however as just weeks after the exhibition opened, Whistler's self-appointed biographer Joseph Pennell and his wife sought to damage Greaves' reputation by claiming that he had plagiarised Whistler's work. This seems to be an unsubstantiated claim against Greaves. As well as the Greaves brothers, Whistler was also a friend to the whole Greaves family for many years and was a frequent visitor to their house and whilst Whistler eventually dropped the whole family, it was during this time that Henry and Walter were able to develop their own artistic identity and love of Chelsea whilst being firmly guided by Whistler himself. In addition, other works produced by the brothers, including Duke Street, Old Chelsea (Lot XX), The Kings Head and Eight Bells (Lot XX), and A Chelsea Pensioner outside the Kings Head (Lot XX), all depict the Chelsea that the Greaves brothers knew and loved through their own eyes and in their own individual style.In his 1928 book Painters of the 1890s, John Rothenstein writes:"Yet in truth Greaves was not only one of the most important artists of the period, but one whose painting and personality contrasted more sharply with Whistler's than did those of any of his contemporaries......the similarities were accidental while the differences were essential. ..." (p.122)This slur on Greaves' work was not completely successful and in 1922, Greaves' work was exhibited again, this time at the Grosvenor Gallery and arranged by Augustus John, William Nicholson, and William Rothenstein. It was also at this time that he was elected an honorary member of the Chelsea Arts Club. Examples of the artist's work are held by Tate Gallery, London.Condition Report: Relined. Some scattered white splashes to the lower right quadrant. Further surface blemishes and abrasions throughout. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer

λ Robert Clatworthy (British 1928-2015)Head IIIBronze Stamped with initials and numbered 2/9 (to reverse of neck)Height: 38cm (14¾ in.)Conceived in 1964.Robert, son of Ernest, a railwayman, and his wife, Gladys (nee Jugaler), was born in Bridgwater, Somerset. Towards the end of the 1940's, after a period in national service, Clatworthy attended Chelsea School of Art, London, where he was taught by Bernard Meadows. He also began an enduring friendship with Elisabeth Frink, whose work he continued to praise even when she later eclipsed him. In the early 50s Clatworthy had an important break, being taken on as an assistant by Henry Moore, who gave him a surprising degree of creative latitude. Moore also persuaded him to join the Slade School in preference to the Royal College of Art, a decision that he is said to have regretted, though it did not hinder his early success.The young Clatworthy was extrovert, even charismatic. In 1954 he married the actress Pamela Gordon, the daughter of the musical performer Gertrude Lawrence, while also making rapid advances into the West End art scene. As a rising star at the Hanover Gallery he showed his bronzes of bulls, cats and heads, whose textured surfaces express his rapid handling of the quick-drying plaster from which they were cast. His heads were likened to Frank Auerbach's highly textured canvases but realised in three dimensions. Later, in 1965, he exhibited at the Waddington Galleries his austere standing and walking figures, which evoke Alberto Giacometti and Germaine Richier.In the mid-50s the critic David Sylvester, who was also close to Clatworthy's friend and drinking partner Francis Bacon, described his output as "the best thing I have seen by any English sculptor younger than Henry Moore". However, even at the height of his commercial success, he believed in following his own rhythms rather than the demands of the art market, and he eventually fell out with his fashionable dealers over their requests for constant production.Condition Report: In good overall original condition. Minor surface dirt and blemishes to the crevasses, would benefit from a light clean. Condition Report Disclaimer

Walter Greaves (British 1846-1930)A Chelsea Pensioner outside the Kings HeadPencil and watercolourSigned (lower right)49.5 x 62.5cm (19¼ x 24½ in.)Provenance:Property from a Private English CollectorCondition Report: Staining to the sheet throughout. Evidence of a tear and possible repair travelling down the sheet from the centre of the upper edge to the middle of the sky with associated blemishes. Another area of tear and repair to the left edge. Blemishes to the sky and along the upper edge. Slight undulation to the sheet. The work is slipping in the mount and frame. Would benefit from reframing. Condition Report Disclaimer

Framed Chelsea 1970 Fa Cup Winners Football Photo Signed By 8 Complete With Certificate Of Authenticity & Proof

Alvaro Morata Signed And Framed Chelsea Fc Shirt Complete With Certificate Of Authenticity Aftal

Sundry china, including a Corona toy tea set, Chelsea Flower Show plates, Victorian cups and saucers, a stoneware mould, etc

A collection of English, Continental and Chinese porcelain pieces, late 18th/ early 19th century, to include a small globular teapot decorated with children playing with a cat, 14cm high, together with a larger example, damaged, with an armorial crest, a possibly Chelsea mug marked with a gold anchor, a further example, a jug, a pot and cover and a bowl (8)Condition report: Most pieces with cracks, chips, scratches or rubbing. The small teapot with extensive rubbing to gilt. The larger teapot badly broken and repaired. One mug with a replacement handle. General wear throughout.  Please see additional images. 

A rare miniature Royal Doulton Chelsea pensioner figure, seated 8cm high, designed by Leslie Harradine and in issue 1924-1938Condition report: Large vent hole beneath filled and now with small hole in unglazed circle

A Chelsea red anchor plate, painted with floral sprays, 23cm diameterCondition report: Decoration rubbed.Glaze finely crazed, some discolouration.

War Cup Final Programme, War Cup Final programme, Chelsea v Charlton April 15th 1944, fold across middle with more wear on back page

An assortment of 1940s and later football related programmes and books, to include England v Italy 1949, Chelsea v Arsenal 1950, Millwall v Newport County 1951, England v Wales 1960, and many more from various years and clubs (parcel)

FA Cup 1950, Cup Final programme Arsenal V Liverpool April 29th 1950, singing sheet and ticket stub, good condition, little staple rust and pencil changes to team together with two semi-final programmes v Chelsea, four stubs from 6th round and semi-final replay stub March 22nd 1950

Arsenal Programme 1949 & more, twenty six Arsenal home programmes for the season 1949/50 including V Racing( this includes a very interesting hand written piece by the President of Racing) Chelsea V Arsenal 24th January 1931 (poor condition) Spurs V ArsenalSept 16 1933 (reasonable condition) together with a further home programmes 1952, seven away programmes 1949/50 - Villa, Chelsea, Charlton, Fulham, !950/51 -United, 1957 -Racing, Preston together with some, press material from the 1950s, generally good condition with some pencil changes

A reproduction Chelsea plaque

A set of six harlequin 'Chelsea Crystal' engraved hock glasses, boxed

CHEST, 92cm W x 44cm D x 88cm H, Gustavian style painted with three drawers from Chelsea Textiles.

DRESSING TABLE, 93cm W x 80cm H x 52cm D, by Chelsea textiles in a distressed finish with stool. (2)

A Copeland Spode Chelsea pattern dinner service.

Coalport Matt Age of Elegance Figures: Chelsea Reception, Matinee Performance & Donna(3)

A New Chelsea part tea service.   

A Royal Albert "Chelsea Bird" part dinner service comprising of dinner plates, sandwich plates etc.

A LIMITED EDITION LIONEL EDWARDS PRINT 'BLACKMOOR VALE HUNT' numbered 312/500, Chelsea Green Editions blind stamp lower left, riders annotated in pencil to margin, 33cm x 49cm (image size); together with seven various Lionel Edwards prints, 45cm x 35cm (approximate framed sizes) (8)

WARRAND ALEXANDER M.D. Military Surgeon serving in India. Slim manuscript account book, 1828-1833 with brief summary of voyages to the end paper; bundle of family & other letters; St. Georges Hospital pupil admission ticket, 1817; military inquiry medical certificate; Covenant of Assistant Surgeon at the Presidency of Fort St. George, various certificates & appointments, short extracts from ships log; plan of cabins of the ship, Madras (torn at folds); translations of instructions for native servants & sundry ephemera incl. a notebook, part medical & part poetical etc. inscr. "Royal Military Asylum, Chelsea".

Chelsea red anchor period figure group circa 1750, modelled as a fisherman and his wife, red mark to the centre of the base.15cm high Condition report: Overall crazing. Old restorations to all arms and other small details.

Composed set of Chelsea gold anchor figures circa 1760, representing earth, wind, fire and water, gold anchor marks to three figures.22cm highCondition report: Wind: firing crack to base. Water: One finger and the tail of the dolphin missing.Fire: One finger and small losses. Earth: Small losses, overall crazing, restored hand, several fingers missing, firing crack to base.

LONGUS 'Les Amours Pastorales de Daphnis et Chloe' translated by J. Amyot, illustrated with woodcuts by Gwen Raveat, hand coloured initials in blue by Graily Hewitt, published by The Ashendene Press, Chelsea, 1933, limited to 290 copies on paper, Ptolemy type with marginal notes in red, original vellum-backed boards with gilt vignette on upper cover and gilt lettering to spine, original patterned slip caseProvenance: Kerrison Preston Esq. and by descent

A Derby wash basin and ewer c.1780-85, finely painted with polychrome flower sprays within a border of puce and turquoise leaf garlands, crowned blue D marks, and a Chelsea-Derby chamberstick painted with similar flower sprays, some damages, 25.3cm max. (3)

A large Chelsea octagonal coffee cup c.1755, finely painted in the Meissen manner with figures in a harbour setting, the reverse with scattered flower sprays, applied with a flattened scroll handle, a long firing crack, 7cm high.

A large Derby jug and cover c.1790, with horizontal moulding to the neck, painted with simple blue and gilt borders, puce crowned crossed batons mark, number 2 to the foot for Joseph Stables, and a Chelsea-Derby trio of a teabowl, coffee cup and saucer, the ogee forms painted with flowers, gilt D and anchor monograms, 25.2cm. (5)

A Chelsea silver shaped dish c.1756-60, painted with loose sprays of European flowers and small scattered sprigs, the moulded rim edged in black, black anchor mark, a little restoration to the rim, 25.3cm.

Three Battersea enamel snuff boxes c.1755, of circular form, the two larger painted, possibly in Chelsea, with figures in Eastern and European costume in harbour scenes beside Classical ruins, the sides and bases with flowers, the smaller with two figures beside Classical ornaments, cracking and chipping, 7.5cm max. (3)

A pair of Chelsea arbour figures c.1760-65, one modelled as a Russian masquerader, holding a black and white theatrical mask and wearing a fur-lined hat and robe, his companion wearing a richly patterned skirt, each seated in a pierced arbour applied with a profusion of white flowers, gold anchor marks, some restorations, 19cm. (2)

A Chelsea scent bottle c.1755, modelled as a bottle contained in a yellow wicker basket, the neck painted with sprays of flowers, moulded with a bottle ticket inscribed 'Eau de Senteur', with a gilt metal mount and a stopper formed as a small colourful bird, 8.3cm.

A Chelsea leaf dish and a plate c.1758-62, the leaf dish finely painted with a pink rose spray over veining picked out in puce enamel, puce anchor mark, the plate painted with fruiting branches within a feather moulded rim, minor faults, 28cm max. (2)

An unusual pair of Chelsea candlestick figure groups in the 'Fable' manner c.1760-65, one modelled with a fox in animated pose, looking up to a crow perched among flowering bocage, the other with a fox being attacked by a dog, raised on pierced scroll bases and surmounted with foliate scroll sconces, gold anchor marks, restored, 22.8cm max. (2) These two groups are based on the fable of the Fox and the Crow, and on either The Fox and the Cat or The Fox, the Cock and the Dog, with deliberate omissions. In the first instance the crow is lacking the cheese, in the second either the cock or the cat is missing from the branches of the bocage.