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Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinLiegendes Fohlen. 1946 (design). Bronze, brown patinated. 7.5 x 12.5 x 8cm. Monogrammed on the right gluteal: RS. as well as underneath foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 183, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 156. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Horses Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinLiegendes Fohlen. 1946 (Entwurf). Bronze, braun patiniert. 7,5 x 12,5 x 8cm. Monogrammiert auf der rechten Gesäßhälfte: RS. Sowie auf der Unterseite Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 183, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 156. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Pferde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinSpielender Hund. 1930 (design). Bronze, brown patinated. 10.5 x 18.5 x 8cm. Monogrammed On the right hind leg: RS. As well as foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.-rais.-no. 118, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 102. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1930s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinSpielender Hund. 1930 (Entwurf). Bronze, braun patiniert. 10,5 x 18,5 x 8cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 118, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 102. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1930er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinBellender Hund. 1929 (design). Bronze, brown patinated. 8 x 16.5 x 5.5cm. Monogrammed on the left shoulder blade: RS. As well as next to this foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 110, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 100. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinBellender Hund. 1929 (Entwurf). Bronze, braun patiniert. 8 x 16,5 x 5,5cm. Monogrammiert am linken Schulterblatt: RS. Sowie daneben Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 110, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 100. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunger Hund. 1925 (design). Bronze, brown patinated. 8.5 x 6.5 x 10cm. Monogrammed on the right hind leg: RS. As well as next to this and on the the bottom foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 071, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 95. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunger Hund. 1925 (Entwurf). Bronze, braun patiniert. 8,5 x 6,5 x 10cm. Monogrammiert am rechten Hinterlauf: RS. Sowie daneben und auf der Unterseite Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 071, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 95. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinZwei liegende Hunde. 1948 (design). Bronze, light brown patinated. 4 x 13.5 x 9.5cm. Monogrammed on one dog's gluteal: RS. As well as underneath foundry mark: H. NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 191, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 109. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinZwei liegende Hunde. 1948 (Entwurf). Bronze, hellbraun patiniert. 4 x 13,5 x 9,5cm. Monogrammiert am Gesäß eines Hundes: RS. Sowie auf der Unterseite Gießerstempel: H. NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 191, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 109. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunger Esel. 1923 (design). Bronze, brown patinated. 12 x 12.5 x 3cm. Monogrammed On the right hind leg: RS. As well as foundry mark: NOACK BERLIN. On stone base (1.7 x 12 x 4cm). Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 133, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 194. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Animals Sculpture BronzeSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunger Esel. 1923 (Entwurf). Bronze, braun patiniert. 12 x 12,5 x 3cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Auf Steinsockel (1,7 x 12 x 4cm). Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 133, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 194. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Tiere Skulptur Bronze- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunges Lama. 1924 (design). Bronze, brown patinated. 16.5 x 10 x 4cm. Monogrammed on the right hind leg: RS. As well as foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 064, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 243. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Animals Sculpture BronzeSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunges Lama. 1924 (Entwurf). Bronze, braun patiniert. 16,5 x 10 x 4cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 064, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 243. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Tiere Skulptur Bronze- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinSecretary. 1949 (design). Bronze, light brown patinated. 14.5 x 4 x 11cm. Monogrammed on the back edge of the plinth: RS. As well as next to this foundry mark: H. NOACK BERLIN. On stone base (2 x 5 x 5cm). Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 198, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 247/249. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Birds Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinSekretär. 1949 (Entwurf). Bronze, hellbraun patiniert. 14,5 x 4 x 11cm. Monogrammiert auf der hinteren Plinthenkante: RS. Sowie daneben Gießerstempel: H. NOACK BERLIN. Auf Steinsockel (2 x 5 x 5cm). Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 198, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 247/249. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Vögel Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Styrsky, Jindrich11.08.1899 Cerma - vor 1942Komposition. 1937. Mixed media (paper collage, india ink and pastel (?)) on cardboard. 25 x 20cm. Signed and dated in the depiction lower right: Styrsky 37. Illegibly inscribed beneath the depiction. Framed. For this work a photo expertise of Gladys C. Fabre, Paris, from 25.05.1984 is available.Provenance:- Private collection North Rhine-Westphalia. Explanations to the CatalogueJindrich Styrsky Czech Republic Modern Art 1930s Figure / Figures Collage Mixed media WordStyrsky, Jindrich1899 Dolni Cerma/Österreich-Ungarn - 1942 PragKomposition. 1937. Mischtechnik (Papiercollage, Tusche und Pastell(?)) auf Karton. 25 x 20cm. Signiert und datiert in der Darstellung unten rechts: Styrsky 37. Unterhalb der Darstellung unleserlich bezeichnet. Rahmen. Zu dieser Arbeit liegt eine Fotoexpertise von Gladys C. Fabre, Paris, vom 25.05.1984 vor.Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogJindrich Styrsky Tschechien Surrealismus Moderne Kunst Unikate 1930er Figur / Figuren Collage Mischtechnik Wort- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium

A contemporary Art Deco style cloud-back chair

Circa 1500-1540 AD. A 'hand and a half' or 'Bastard' sword, with ring guard, double-edged broad blade, lenticular in section, with single short shallow fuller, running up the first third of its length; the hilt is complex with spherical pommel (style G), the grip is elegantly wrapped with a later iron wire, the cross-guard (style 5) is broad towards the edges, where the iron quillons are ending with three small notches; the handle with a side guard together with the knuckle bow, showing two additional rings on the lower part of the hilt, bowing towards the flat undecorated blade. See Schneider, H., Waffen in Schweizerischen Landesmuseum, GriffWaffen I, Zurich,1980; Talhoffer, H., Medieval Combat: a Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, by Rector, M. (ed."). London, 2000; Oakeshott, E., Sword in hand, London, 2001; Scalini, M., A bon droyt, spade di uomini liberi, cavalieri e santi, Milano, 2007. 1.3 kg, 1.05m (41 1/4"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from Liege, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato. By the second quarter of the 16th century, the long sword had become the 'Bastard' or 'hand and half sword', of which there are many beautiful surviving examples in excellent condition (Oakeshott, 2001, pp.137ff., figs.123-126), like the one here illustrated. The evolution of great and arming swords brought to the transformation of it in the Renaissance rapiers. The samples published by Oakeshott and kept in private collections, show how the developed hilt of the arming sword, which eventually become a rapier, was paralleled in the big 'bastard' swords. Held either in one or both hands, and also known as a ‘bastard’ sword, as its grip was not as long as a traditional two-handed sword, it can be dated to around 1500-1540 based on the decoration of its hilt. The three-notch ends of the crossbars (quillons) are quite flimsy while the finely spherical pommel recalls the swirling lobes that decorated contemporary flagons and candlestick stems. This appearance demonstrates a move away from the brutal simplicity of the medieval sword. The term 'bastard sword' was not, as supported by some scholars, a modern term, but already widely spread in the first half of 16th century. As a military weapon, it was kept in use by the Swiss for almost a century, with very few variations in shape, because it adhered perfectly to the organisational logic of the cantonal troops. So much so, that hundreds of specimens of this type are known, obviously with variations and best represented in the Swiss museums, especially in Zurich (Schneider, 1980, nn. 183-186, 190-195, 198, pp. 129-132, 134-136,138"). Many of them having complex hilts. This interesting piece belongs to the early period of diffusion of rapier in England. With all probability from a battlefield, a castle or a military site. The hilt and spatulate quillons and semi-basket guard for the knuckles is characteristically middle of the 16th century German. It was a long-term employed form, based on the shape of the swords used from horseback, hybridizing them with those of two-handed swords, thus defining an infantryman's sword, very effective against horsemen and pikemen. Its use, predominantly Germanic, involved training and a particular way of shielding, with guard positions, parades and lunges, all different from those of civilian side arms (Scalini, 2007, p.244"). Swords like this were among the most versatile weapons of the battlefield. It could be used one-handed on horseback, two-handed on foot; different techniques were used against armoured and unarmoured opponents; and the sword could even be turned around to deliver a powerful blow with the hilt. Mastery of the difficult physical skills of battle, was one of the chief attributes of the aristocrat. The art of combat was an essential part of a nobleman's education. Sigund Ringeck, a 15th-century fencing master, claimed knights should 'skilfully wield spear, sword, and dagger in a manly way.' These swords, gripped in both hands, were a potent weapon against armour before the development of firearms, but also continued to be used for long time after the diffusion of the guns and arquebuses on the European battlefield of XVI century. To fully appreciate the sword’s meaning for Ringeck as a sixteenth-century gentleman, it is important to understand its double role as both offensive weapon and costume accessory. As costume jewellery the decorative sword hilt flourished fully between 1580 and 1620. However, the seeds were sown long before. This ‘hand-and-a-half’ sword for use in foot combat carries an early sign of this development. No part of a medieval sword was made without both attack and defence in mind. Modern fencing encourages us to see the blade, in fact only the tip of the blade, as the sole attacking element of a sword and the hilt more as a control room and protector. Tight rules prevent the sword hand ever straying from the hilt and the spare hand from getting involved at all. This is a modern mistake. The fifteenth-century Fightbook published by the German fencing master, Hans Talhoffer, illustrates a more pragmatic approach as how two fashionably dressed men settle their differences using undecorated swords with thick diamond-section blades. The blades could be gripped as well as the hilt. The rounded pommels at the end of the grip, and at the ends to the quillons, not only balanced the swing of the sword but acted as hammerheads to deliver the ‘murder-stroke’. As soon as these elements ceased to be functional, they took on the role of adornment. This sword hints at the more decorative hilts produced later in the late 16th and 17th centuries. Swords themselves varied in weight and so did the crossguards. Also there are multiple different crossguards in this category, starting from simple ones with a single sidering or none at all to some complex 'baskets'. Fine condition. Rare.

Circa 1270-1330 AD. An iron longsword of Oakeshott's Type XIIIA.10 (Oakeshott, 1991, p.105), cross style 10, pommel style K, comprising a slender triangular blade with deep fuller and acute point, with inlaid copper design to each face of a circle with cross and rings within the quadrants, starbursts above and below; narrow lower guard with flared ends, each quillon showing three round holes near the outer edge; long grip with slight taper, disc pommel with chamfered edges; a nice example of a well employed sword, with the point of the balance down towards the point, ideal for a weapon designed to deal slow, powerful slashing blows. See J Oakeshott, R.E., The Archaeology of the weapons, London, 1960 (Woodbridge, 1999); Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001. 1.3 kg, 1.12m (44"). From an important English collection; acquired in the 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato. This sword belongs to the category which in the Middle Ages, was referred as 'La Grant Espée d’Allemagne', or 'Great sword of Germany', or 'Espée de guerre', 'Grete war sword' and so on (Oakeshott, 2001, p.90"). Other names were applied in different countries but, as said by Oakeshott, it was German in origin, of great size and fashionable in use. It was especially popular between 1250-1360 AD. This circumstance is well attested by the appearance of such swords in contemporary works of art, MS illustrations, sculptures, tomb effigies, especially in Germany and Spain (Oakeshott, 1960 (1999), figs.88-94; 1991, figs.80,82"). Oakeshott classified them like swords of type XIII: these swords are of a very striking and individual shape; some of them are very large - and this is the reason they were called 'swords of war' in the time of their highest popularity, between about 1280 and 1340. These Epées de Guerre were massive weapons, but are not to be confused with two-handed swords. There were a few such, as early as 1350, but they were considerably bigger and were always referred to as Epées a deux Mains or even 'Twanandswerds' (Oakeshott, 1960 (1999), p.207"). The war sword had a blade some 36 to 40 long with a very long hilt, from 6 to 8 between cross and pommel, but it could be wielded in one hand, though provisions were made for using it with both. Most Type XIII swords were large like the current example, but there are several of more ordinary dimensions, though they have hilts. This sword of type XIIIA, destined to the war, is characterised by parallel-edged blade, longer grip (quillons) and rounded point (Oakeshott, 1991, p.96), but the specimens of type 14 show a more pointed tip. The specimens of this type are heavier and very near to the two hand proportions, like the current example. The latter has a nearly perfect parallel with a specimen of unknown provenance, today in the Burrell collection in Glasgow, the blade 92.1cm in length. Most probably this specimen is from a battlefield or, most probably, a river find. The hilt was originally covered with leather, like the specimen of type XIIIa.9, published by Oakeshott and found from Danube (1991, p.104"). The tang is very long, like the untouched specimen belonging to Ottokar of Bohemia (Oakeshott, 1991, p.114), which suggests that it is likely that most of the blades came to the cutler in such way, so that the hilt could be made to a length to suit the customer. It points to swords produced in workshops of the Holy Roman Empire. It is however, very difficult to say where a sword was produced. A place of great blade making and steel workshops was Solingen, a city which has been always been associated with the making of blades, and where now there is a splendid Klingenmuseum, devoted to all the arts of the swords. But in 13th century, there were many other centres of production, although less documented. In the famous chronicle of Froissart, written in the 14th century, there is a constant mention of Bordeaux (doubts arose from Oakeshott, 1991, p.9, if Bordeaux in Gascony or Bordeau in Haute-Savoie) as the place in which the most important and worthy blades (not only swords, but also spears, axes and arrows) were done. Probably most of the European cities, which became worthy for the production of the swords, were producing them as early as the 12th century. (Passau on the Danube, Koln, Milano, Brescia, and perhaps Toledo (but the real evidence for Toledo is only at the end of the 15th century.)) It is interesting to mention the piece of documented evidence already underlined by Oakeshott about the making of the swords in Milan already at the end of the 13th century. In the so-called Chronicon Extravagans de Antiquitatibus Mediolani, a certain Galvano Fiamma, wrote (XVIII,5,6) about Milano that '…Inter alia sunt armature militares: inueniuntur enim in nostro terretorio armorum fabricatores in mirabili copia, qui cottidie fabricant cuiuscumque generis armaturas, scilicet loricas, thoraces, lamerias, galeas, galerias, ceruelleras, collarias, cyrothecas, tybialia, femoralia, genualia, lanceas, pilla, henses, pugiones, clauas. Et sunt omnia ex ferro terso et polito, speculorum claritatem excedentes…' ('Among the other things the military armours: in our territory immense number of workmen are to be found who make every manner of armour, i.e. hauberks, breastplates, plates, helms, helmets, steel skull-caps, gorgets, gauntlets, greaves, cuishes, knee pieces, spears, javelins, swords, daggers, clubs. And they are all of polite and cleaned iron, shining more of the mirrors for his brightness…'"). Fine condition. A nice example of a well used sword.

NEMUKHIN, VLADIMIR (1925–2016) Still Life with the "Russkaya Mysl" Newspaper, signed, titled in Cyrillic and dated 1992.Oil, pastel, pencil and collage with newspaper and playing cards on card, 79.5 by 60 cm.Provenance: Collection of Alexander Glezer.Private collection, USA.Important private collection, UK.Exhibited: Hudson Valley Museum of Contemporary Art, New York, 1997.

Medieval, a complete copper-alloy and enamel heraldic harness pendant dating to the Medieval period, c. 1200-1400. The pendant is shield-shaped, with a suspension loop at its apex. The front face of the pendant bears the following blazon: argent, a crowned lion statant facing left. The background tincture, regrettably, is eroded away completely. Unattributable to any specific family, but similar in some respects to the arms of Gerard de Lisle, of Kingston Lisle, Oxfordshire. Preserved well, some erosion to enamel. Length: 43mm. Discussion: heraldic pendants such as these are relatively common finds, their floruit being the 14th century. Contemporary art sometimes shows them attached to the breast-bands of harnesses, suspended in rows.Provenance: Found Near Bicester, Oxfordshire. Recorded on the PAS as OXON-79E077.

Naval.- Steel (David) The Art of Rigging..., first edition, 10 engraved plates, all but one folding, 4pp. advertisements at end, contemporary ink signature "G.V.Hart" to head of title and front pastedown, some light offsetting, a few stains, tear to O2 but no loss, contemporary marbled boards, uncut, rubbed, 8vo, for David Steel, 1796.

NO RESERVE Bookbinding.- Marbling.- Woolnough (C. W.) The Whole Art of Marbling as applied to Paper, Book-Edges etc...., third edition, with 9 leaves of gold-veined original samples (often missing), 5 leaves with 20 small mounted samples and 29 full-page irregularly-numbered original marbled leaves (numbered 1, 3, 4, 6, 8-17, 19, 23-31 + 1[A], 2[A], 3[A], 7[A & B], 20A-D, 28A), facsimile letter from Michael Faraday, sample number 13 supplied from another copy and number 30 loose, contemporary cloth, rubbed, spine faded and a little worn at ends and joints, with 14 additional loose samples (numbered 1, 5, 21, 22, 25, 29 & 30 and 7 unnumbered) enclosed with A.L.s. from Bernard Middleton to Frank Broomhead "Herewith some marbled papers for your copy of Woolnough...", together preserved in modern cloth drop-back box, 8vo, 1881. ⁂ The number of samples varies from copy to copy.

Glynn Thomas (b.1946), Yellow Iris, etching with aquatint, 37cmx25cm; Exhibited 1982, June. Note: Christie's Contemporary Art certificate

Chloe Cheese (Contemporary, British b.1952) Pears, lithograph printed in colours, signed, titled in pencil to the lower margin, the full sheet 38x28cmNote: Printed in 1984 by Curwen Studio on T.H. Saunders paper, edition size 195. The first from a series "Artist Lithographers" published by Christie's Contemporary Art and Curwen Gallery

Chloe Cheese (Contemporary, British b.1952) Nectarines, lithograph printed in colours, signed, titled in pencil to the lower margin, the full sheet 38x28cmNote: Printed in 1984 by Curwen Studio on T.H. Saunders paper, edition size 195. The first from a series "Artist Lithographers" published by Christie's Contemporary Art and Curwen Gallery

Chloe Cheese (Contemporary, British b.1952) Teapot, lithograph printed in colours, signed, titled in pencil to the lower margin, the full sheet 38x28cmNote: Printed in 1984 by Curwen Studio on T.H. Saunders paper, edition size 195. The first from a series "Artist Lithographers" published by Christie's Contemporary Art and Curwen Gallery

Chloe Cheese (Contemporary, British b.1952) Artichoke, lithograph printed in colours, signed, titled in pencil to the lower margin, the full sheet 38x28cmNote: Printed in 1984 by Curwen Studio on T.H. Saunders paper, edition size 195. The first from a series "Artist Lithographers" published by Christie's Contemporary Art and Curwen Gallery

A scarce First Anglo-Afghan War pair of medals to Gunner Daniel Deigan, Bengal Foot Artillery: Defence of Kelat-I-Ghilzie 1842 (Gunner Daniel Deigan 4th Compy 22nd Battn Arty), Ghuznee Cabul 1842 (Gunner Daniel Deigan 4th Compy 2nd Battn Bengal Foot Art), each engraved in cursive script and with contemporary replacement silver suspension, about very fine. [2]

THOMAS THORNYCROFT (1815-1885) QUEEN VICTORIA ON HORSEBACK bronze, dark brown patina, signed T. THORNYCROFT FECIT/ LONDON 1853 and inscribed ART UNION OF LONDON/ 1854 (Dimensions: 54cm high, 65cm wide approx.)(54cm high, 65cm wide approx.)Footnote: Note : Arriving at the Great Exhibition in 1851 visitors were met in the central courtyard by a larger-than-life plaster statue of Queen Victoria on horseback by Thomas Thornycroft. The composition, believed to be derived from an engraving of Victoria reviewing the troops at Chobham, was greatly admired by the sovereign and Prince Albert. Some critics however, felt this version, which showed Victoria in contemporary dress on her lively Arabian horse, too modern, with The Times reviewer going so far as to brand it ‘too anatomical’. Nevertheless, it was favoured by the Queen and used later with some alterations for a large bronze group to accompany an equestrian figure of Prince Albert outside St George’s Hall, Liverpool, completed in 1869. The Art Union of London commissioned Thornycroft to complete fifty statues in bronze, and awarded them as prizes between 1854 and 1859, of which the current lot is one. As part of the commission, he repositioned to horse’s legs, changing them from the plaster version shown at the Great Exhibition. Other examples are in the Royal Collection and the collection of the V&A. Thomas Thornycroft, the son of a farmer, spent four years as an apprentice to the Sculptor John Francis, marrying his daughter Mary, also a sculptor, in 1840. He exhibited at the Royal Academy from 1839 and 1874 and made numerous large commissions, including Boadicea and Her Daughters on the Western end of Westminster Bridge, and a marble group Commerce for the Albert Memorial in Kensington Gallery.

Sculpture/Interior Design: ▲ Geoffrey Dashwood (born 1947), Canada Goose, Signed and numbered 4 of 12, Bronze, Brown patina, 57cm long by 25cm wide by 53cm highGeoffrey Dashwood was born in Hampshire, England in 1947. At the age of fifteen he won a scholarship to study fine art at Southampton College of Art, but left after a brief period, preferring to study directly from nature. In the 1980s Dashwood discovered a gift and a passion for sculpture. His earliest works were small, highly realistic studies in the mainstream of traditional English wildlife art and comparable in style to the famous 19th century French Animalier School of Sculpture. Although these early works brought him commercial success, he became increasingly dissatisfied with the constraints of realism and the lack of personal expression the genre afforded him.Dashwood started to experiment with larger life-size and monumental works and began to eliminate all superfluous details, creating boldly modelled pieces. He refined his sculptures to attain smooth, tactile, pure forms, further enhanced in bronze by the application of coloured and multi-coloured patinas. In these sculptures he combined his own aesthetic ideals, establishing a distinctive style which is now internationally recognised as being quintessentially Dashwood.Although his body of work can be classified within the wildlife art genre it is generally considered by many to transcend the subject matter and has also firmly established acceptance within the wider field of contemporary art. His affinity for and empathy with birds and his unique ability to express these emotions to others through his sculpture is undisputed. Dashwood’s work is exhibited and collected worldwide.

18ct Art Deco style ring, size I, together with a contemporary 9ct necklace with fixed pendant; each set with a small diamond, 5.8g total (2)

An extensive quantity of good quality contemporary art reference books (approx 46 volumes)

Original vintage advertising poster featuring a fantastic illustration by the notable French artist Bernard Villemot (1911-1989) designed for Point F Fourrures fashion company. Black and white artwork featuring an elegant young lady wearing a stylish black fur coat and hat with a square stone necklace and earrings and black shoes against a white background. Printed in France by Sentein, Montpellier, Imp. IPA. Bernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least three books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985); "Villemot: l’affiche de A à Z," by Guillaume Villemot (2005); and "Embracing an icon: the posters of Bernard Villemot," by George H. Bon Salle (2015).Year of printing: 1983, country of printing: France, designer: Bernard Villemot, dimensions (cm): 82.5x119.5 (Horizontal). Fair condition, staining, creases and waving.

Original vintage travel advertising poster published by London Transport to promote London's parks and openair spaces with an artwork by Margaret Barnard showing a knitting kit with wool balls and needles lying on the grass between small flowers. Printed by McCorquodale & Co., Ltd. Margaret Helen Barnard (1898–1992) was a painter and linocut maker. Barnard was born in Bengal, where her father was serving with the Indian Police Force. At the age of seven she returned to Britain for her education, and went to Bath High School, and St. Leonard’s Fife. Barnard studied at The Glasgow School of Art from 1917 to 1923. She then moved to London, where she attended the Grosvenor School of Modern Art like her contemporary Sybil Andrews, studying under Claude Flight. In 1924 She married artist Robert George Sang Mackechnie (1894-1975), who would join the British art group the Seven and Five Society in 1927. The couple lived in Italy for several years, and later they moved to Rye. During the Second World War she was an ambulance driver, cultivated an allotment and bred rabbits; she resumed painting after the end of the war, and continued to exhibit at the Royal Academy until her death. In 1990 she made a bequest of her own works and her husband's, as well as their personal collection of works by other artists, to the Rye Art Gallery. Barnard died in 1992.Year of printing: 1939, country of printing: UK, designer: Margaret Barnard, dimensions (cm): 102x63.5. Good condition, small tears in margins, minor paper loss in top left corner.

Original Art Deco style event advertising poster for the 2006 Louis Vuitton Classic Boheme Run featuring a colourful design by the contemporary poster artist Razzia (Gerard Courbouleix-Deneriaz; b 1950) depicting a Tatra car with the LV logo on it driving along a tree lined golden autumn woodland road. The event was held from 5-10 September 2006 with the route running from Budapest via Vienna to Prague. The luxury fashion brand Louis Vuitton was founded 1854. Large size. Horizontal. Very good condition, signed by the artist, light crease marks and light staining. Country: France, Year: 2006, Artist: Razzia, Size (cm)135.5x114.5

Original vintage advertising poster published by Electricite de France (State owned French electricty company) to promote its 5.75% bonds (Emprunts) with a great artwork co-designed by renowned French graphic artist Villemot and Tazin showing the lights of a city at night. Printed in France by Courbet S.A. Bernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least three books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985); "Villemot: l’affiche de A à Z," by Guillaume Villemot (2005); and "Embracing an icon: the posters of Bernard Villemot," by George H. Bon Salle (2015).Year of printing: 1965, country of printing: France, designer: Bernard Villemot and Tauzin, dimensions (cm): 100x61.5. Good condition, folded as issued.

Original vintage travel advertising poster published by the Swiss Federal Railways - Switzerland invites you - featuring a colourful design by Swiss graphic designer and painter Alois Carigiet (1902-1985) depicting a yellow straw hat decorated with flowers. Printed in Switzerland by Wolfsberg. Alois Carigiet (30 August 1902 – 1 August 1985) was a Swiss graphic designer, painter, and illustrator. He may be known best for six children's picture books set in the Alps, A Bell for Ursli and its sequels, written by Selina Chönz, and three that he wrote himself. In 1966 he received the inaugural Hans Christian Andersen Medal for children's illustrators. After having completed his apprenticeship, Carigiet sought work in Zurich and started a job as a practical trainee with Max Dalang's advertisement agency in 1923, where he soon learned the techniques of graphic design and was hired as a regular employee. After having won several competitions and having gained a reputation, Carigiet opened his own graphic atelier in Zurich in 1927, employing up to six people at times, due to the constantly large volume of orders his business received. Carigiet created numerous commercial and political advertisement posters, festive decorations, educational posters and murals for schools, illustrations and satirical caricatures for the print media, as well as magazine covers for periodicals such as Schweizer Spiegel and SBB-Revue.[6] Important work in the 1930s included a diorama for the Swiss Pavilion at the Paris International world fair in 1937, and set designs, murals and the official posters for the "Landi", the Swiss national exposition held in Zurich in 1939. Though he had never studied visual arts in the academic sense, Carigiet's early graphic design was already strongly influenced by contemporary artists, such as El Lissitzky, whose use of photomontage in a poster announcing the exhibition of Russian avant-garde artists in Zurich, in 1928, inspired the design of a political campaign poster for Zurich's mayor Emil Klöti. In the early 1930s Carigiet traveled to Paris, Munich, Vienna, and Salzburg where he became acquainted with the art movement Neue Sachlichkeit, as reflected in painted scenes of Paris in Das rote Haus am Montmartre (watercolor) and of Ascona in Haus und Garten in Ascona (oil painting on cardboard), both created in 1935. Contemporary expressionism had an influence on his work as well, including his commercial artwork. For example, the display of red horses and a green cow on posters for the OLMA, Switzerland’s annual national agricultural fair, in 1946 and 1952 received acclaim from art critics and questions from more conservative farmers, to which he succinctly replied that the cow was green because it had eaten grass. Carigiet's paintings increasingly depicted everyday motifs from his home canton Graubünden and occasionally Zurich, but also from further trips to France, Spain, and Lapland in the mid-1930s. Carigiet always held a keen interest in the theatre, and had already worked in costume design in the late 1920s. With the help of art critic Jakob Rudolf Welti, he was commissioned as costume and stage designer for the Stadttheater Zürich performance of La belle Hélène in an adaptation by Max Werner Lenz, and created design work for three other programs at the Stadttheater as well. Carigiet was one of the founding members of the influential Cabaret Cornichon, a satirical cabaret program staged in the restaurant "zum Hirschen" in Zurich which would become one of the most significant political cabarets of German-speaking Switzerland during Germany's Nazi regime. Carigiet designed the Cabaret's logo, a grinning cornichon (gherkin) with a carrot-nose, and from 1935 to 1946 he created often parodistic costume and set designs for ten of the Cornichon’s programs, including a heavily decorated barrel organ used by his brother Zarli who was also a member of the Cabaret's ensemble.Year of printing: 1937, country of printing: Switzerland, designer: Alois Carigiet, dimensions (cm): 102x64. Fair condition, repaired tears in margins, creases and cracks.

Two vintage 9ct gold cased gentlemen's wristwatches, comprising a Garrard wristwatch, circa 1960, circular silvered dial with gold Arabic numerals and subsidiary seconds dial, gold hands, Swiss 17 jewels movement, case number 08462, DS&S, London 1958, case back, 6.3g, with presentation inscription from the 'Cleveland Petroleum Co. Ltd.' dated '26th April 1934', on a contemporary brown crocodile skin effect strap, dial 29mm, 34mm across crown, and an Art Deco tank watch, with rectangular silvered dial, Arabic numerals, subsidiary seconds and blued steel hands, case number 49707, GS, London import mark 1928, on a dark blue leather strap, dial 24 by 20mm, 27mm across crown. (2)Notes: Garrard watch in good working condition tested over 1hr, Art Deco watch not working.

Lady with a big mouth in a small garden. . 1970. Oil on canvas . Cm 100,00 x 130,00. Signature upper right. At the back: title and labels (Galerie Espace, Amsterdam; Il Cavallino Gallery, Venice; Contemporary art gallery L'Approdo, Turin). Provenance: Galerie D'eendt Amsterdam; Contemporary Art Gallery l'Approdo, Turin; private collection, Turin. Exhibitions: Lucebert, Gallery of Contemporary Art L'Approdo, Turin, exhibition held from 28 October to 18 November 1971. Publications: Christie's Amsterdam, lot n.254, 28 May 2002.

Construction R8. 1986. Oil on canvas . Cm 80,00 x 100,00. Signature and year lower left. At the back title, signature, year nd Lagorio Contemporary Art label and stamp. Luigi Veronesi Committee authenticity certificate on photo. Frame present

Wrapped Museum of Contemporary Art Project for Chicago. 1972. Lithograph. Cm 81,00 x 110,00. VIII/X. Edition and signature lower in pencil lower right. Paper: Arjomari. Printer and editor: Landfall Press, Chicago. Total Edition: 60 copies ( + 10 A.P. +10 S.P) At the back MiArt 2006 label and Afiteatro Arte, Milan label. Artist's authenticity certificate on photo. Publication: Christo, Prints and Objects 1963 -1987, Abbeville Pr 1988, p. 68, tav. 50. Frame present

Art guides.- Church art.- Becci (Antonio) Catalogo delle Pitture che si conservano nelle Chiese di Pesaro, first edition, water-stained, original limp boards, head of spine chipped, Pesaro, Gavelli, 1783 § Carasi (Carlo) Le Pubbliche Pitture di Piacenza, first edition, title with engraved vignette, some spotting or light foxing, contemporary decorative limp wrappers, crudely rebacked, lightly soiled, rubbed, [Piacenza], [Giuseppe Tedeschi], 1780; and 5 others, similar, v.s (7)⁂ The second mentioned is the first guide to the paintings of Piacenza.

Fine art.- Grasselli (Giuseppe) Guida Storica sacra della R. Citta e sobborghi di Cremona per gli amatori delle belle arti, first edition, some staining and spotting, later cloth-backed marbled boards, Cremona, 1818 § Francesconi (Daniele) Discorso Letto alla reale Accademia Fiorentina, first edition, a little spotting or marking, contemporary stiff wrappers, spine worn, but holding, rubbed and marked, Florence, 1799; and 3 others, similar, 8vo et infra (5)⁂ The first mentioned is particularly interesting for the details of 24 collections in private hands, including the splendid library of Antonio Pallavicino Clavello.

Heraldry.- Ferne (John) The Blazon of Gentrie: devided into two parts ..., first edition, woodcut illustrations, short tear (2D1 verso only), previous owner's ink inscription to front free endpaper, occasional soiling, later calf, gilt, rubbed and worn, upper cover detached, lower cover lacking, [STC 10824], by John Windet, for Andrew Maunsell, 1586 § [Blome (Richard)] The Art of Heraldry, engraved illustrations, occasional soiling, previous owner's ink signature, occasional spotting, contemporary calf, cracked joints, rubbed and worn, 1730; and 6 others heraldry, including an incomplete copy of Peacham's 'The Compleat Gentleman', v.s. (8)⁂ In the first, the genealogical tree to 2D1 verso was printed upside-down. In this copy, the cancels were pasted in.

Screenprinted linen (Dimensions: 30cm x 41.5cm (11.75in x 16.5in), unframed)(30cm x 41.5cm (11.75in x 16.5in), unframed)Footnote: Literature: see Andrew Lambirth, Roger Hilton: The Figured Language of Thought , Thames and Hudson, 2007, pp102, for an illustrated example. Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Initialled in pencil (lower right), pencil, gouache and watercolour (Dimensions: Each 31.5cm x 45.5cm (12.37in x 17.87in) and a corresponding print for a table mat, initialled in pencil, 33cm x 47cm (13in x 18.5in) (5))(Each 31.5cm x 45.5cm (12.37in x 17.87in) and a corresponding print for a table mat, initialled in pencil, 33cm x 47cm (13in x 18.5in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed, dated and inscribed in pencil (in the margin), print and gouache (Dimensions: 30.5cm x 45.5cm (12in x 18in))(30.5cm x 45.5cm (12in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: Each 30cm x 42cm (11.75in x 16.5in), unframed (2))(Each 30cm x 42cm (11.75in x 16.5in), unframed (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 31cm x 42cm (12.25in x 16.5in))(31cm x 42cm (12.25in x 16.5in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 29cm x 43cm (11.5in x 17in) and a corresponding print, 34cm x 46cm (13.5in x 18.25in) (2))(29cm x 43cm (11.5in x 17in) and a corresponding print, 34cm x 46cm (13.5in x 18.25in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed 'BELL,' collage (Dimensions: Each 28.5cm x 43cm (11.25in x 17in) (2))(Each 28.5cm x 43cm (11.25in x 17in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed with initials, paper collage 31.5cm x 45.5cm ( 12.25in x 18in ), together with three screenprinted linens of the corresponding design in differing colourways, 30cm x 42cm ( 12in x 16.5in ), 32.5cm x 46cm ( 12.75in x 18.25in ), 32cm x 46.5cm ( 12.5in x 18.25in ), the three linens unframed (4) (Dimensions: .)(.)Footnote: Literature: Geoffrey Rayner et al., Textile Design: Artists' Textiles 1940-1976 , Antique Collectors' Club Ltd., 2014, p.93 for an example of the table linen in the grey colourway. Note: During Tate Britain’s major retrospective Barbara Hepworth: Sculpture for a Modern World in 2015, they used this textile design as inspiration, and a basis, for their first ever garden installation. Positioned at the front of Tate Britain, overlooking the Thames, it reflected the simplicity and bold lines of this significant design. Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed and dated in pencil (lower right), pencil and watercolour (Dimensions: 32cm x 46cm (12.5in x 18in) and a corresponding table linen, 31cm x 46cm (12.25in x 18.12in) (2))(32cm x 46cm (12.5in x 18in) and a corresponding table linen, 31cm x 46cm (12.25in x 18.12in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Watercolour and gouache (Dimensions: 32cm x 45.5cm (12.5in x 18in), and a corresponding table linen in a differing colourway, 30cm x 43cm (11.75in x 16.75in) (2))(32cm x 45.5cm (12.5in x 18in), and a corresponding table linen in a differing colourway, 30cm x 43cm (11.75in x 16.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Artist Proof, signed and numbered 3/5 on the plinth, with Contemporary Art Center, 1988 label (to base), metal and mixed media (Dimensions: 48.5cm high (19.12in high))(48.5cm high (19.12in high))Footnote: 'Nam June Paik - A Work for Radio' by Ray Gallon is incorporated in this piece. Nam June Paik was a visionary artist and one of the first to embrace new technology and mass media. His work was innovative and experimental, pioneering the use of video and television in art and coining the phrase ‘electronic super highway’, predicting communication in the internet age. Mini-metrobot is a small editioned maquette for the 26 foot tall Metrobot created as a sidewalk ambassador for The Contemporary Arts Center, Cincinnati , in celebration of the 50 th anniversary of the center and 200 th anniversary of the city. It was created to communicate the Arts Center’s location, as well as imparting a message of events and exhibitions on its electronic message board arm. There was a public telephone and video monitors in its legs that allowed the public to further interact with the piece. A major retrospective of Nam June Paik's work is currently taking place at Tate Modern, London, organised in collaboration with the San Francisco Museum of Modern Art.Condition report: Some very light surface scuffs and marks, structurally sound - overall, good condition.

One with fish design and four abstract, gouache (Dimensions: Various sizes, the largest 31cm x 39.5cm (12.25in x 15.5in) (5))(Various sizes, the largest 31cm x 39.5cm (12.25in x 15.5in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 33cm x 47cm (13in x 18.5in) and two further table linen designs, screenprints, one with pencil additions, 33.5cm x 47.5cm (13.25in x 18.75in) and 33.5cm x 44.5cm (13.25in x 17.5in) (3))(33cm x 47cm (13in x 18.5in) and two further table linen designs, screenprints, one with pencil additions, 33.5cm x 47.5cm (13.25in x 18.75in) and 33.5cm x 44.5cm (13.25in x 17.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed 'BELL' (lower left), gouache and collage, together with a correponding table linen and print (Dimensions: The gouache 29.5cm x 44.5cm (11.58in x 17.5in) (3))(The gouache 29.5cm x 44.5cm (11.58in x 17.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed (lower right), pencil and gouache (Dimensions: 34cm x 45cm (13.5in x 17.75in))(34cm x 45cm (13.5in x 17.75in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Initialled (lower right), pencil, gouache and watercolour (Dimensions: 33cm x 47cm (13in x 18.5in) and its corresponding table linen, 30cm x 45cm (11.75in x 17.75in) (2))(33cm x 47cm (13in x 18.5in) and its corresponding table linen, 30cm x 45cm (11.75in x 17.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 30.5cm x 42.5cm (12in x 16.75in), with a corresponding print, unframed 33cm x 45cm (13in x 17.75in) (2))(30.5cm x 42.5cm (12in x 16.75in), with a corresponding print, unframed 33cm x 45cm (13in x 17.75in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

First edition, comprising coffee pot, five cups and four saucers, printed manufacturer's marks including facsimile signature (Dimensions: The teapot 17.5cm high (6.87in high))(The teapot 17.5cm high (6.87in high))Footnote: The set was produced as part of an adventurous project devised by Thomas Acland Fennetmore, sales manager of the china manufacturers E. Brain & Co. Ltd., who traded under the name Foley China. It involved the commissioning of a large number of designs for tableware from a range of contemporary artists, each of whom were paid £10 per design plus royalties. The results of the project were displayed alongside many of the original design drawings in the exhibition ‘Modern Art for the Table,’ which opened at Harrods on 22 October 1934 and was subsequently shown at other venues.Condition report: The teapot has two hairline cracks and a few minor chips to the bottom foot rim. Three cups with hairlines. One saucer restuck (glued). Odd light surface marks to saucers. Colours appear good and not to have faded.

Including fish, bird and abstract designs, screenprinted linen, unframed (Dimensions: Various size, the largest 33cm x 45.5cm (13in x 17.8in) (5))(Various size, the largest 33cm x 45.5cm (13in x 17.8in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 30cm x 46cm (11.75in x 18in), unframed)(30cm x 46cm (11.75in x 18in), unframed)Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

By Barbara Hepworth, Denis Mitchell, Forrester, Dorfman, Roger Hilton, Snow, screenprinted linen (Dimensions: Various sizes, the largest 33cm x 47.5cm (13in x 18.75in), unframed (6))(Various sizes, the largest 33cm x 47.5cm (13in x 18.75in), unframed (6))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed, dated and inscribed in pencil (in the margin), pencil and gouache (Dimensions: 32.5cm x 45.5cm (12.75in x 18in), together with two corresponding prints, each 33cm x 47cm ( 13.25in x 18.5in) (3))(32.5cm x 45.5cm (12.75in x 18in), together with two corresponding prints, each 33cm x 47cm ( 13.25in x 18.5in) (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.