A Chinese blue and white gourd shaped vase, decorated with panels of beasts and flowers, raised on a circular foot (base drilled), together with a blue and white oval chestnut basket, hexagonal tealight holder and a famille-verte scent bottle decorated with Fallow Deer in a landscape CONDITION REPORTS The gourd shaped vase has some light surface scratches and accretions. There appears to be a crack and an old repair from the base of the neck down towards the middle. Some nibbles to the base. The chestnut basket has some light surface scratches, accretions, etc. The tealight holder also has light surface scratches and accretions as does the scent bottle. All items have general wear and tear commensurate with age and use. See photos for more details.
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A 19th Century Chinese famille-rose vase with relief work dragon and temple lion decoration, the main body painted with figures in an interior and exotic birds amongst blossom CONDITION REPORTS Approx 36 cm high. Some light surface scratches, accretions, etc, some wear to the gilt and decoration. There are two chips to the rim. Vase with general wear and tear commensurate with age and use. See photos for more details.
A 19th Century Chinese famille-rose bowl, the centre field decorated with birds and butterflies amongst blossom, the flared rim similarly decorated with panels of birds and blossom CONDITION REPORTS Numerous light surface scratches, accretions, etc. Wear to the gilt and some parts of the decoration. Possibly some areas of discolouration. There are two large cracks and old repairs - one that spans the entire diameter of the bowl and one that goes around the main body of the bowl and up to the rim where there is a small areas of loss to the edge of the rim. Item with general wear and tear commensurate with age and use. See photos for more details.
A graduated set of ten late 20th Century Chinese Gingdezhen polychrome decorated bowls bearing faux Qianlong marks (boxed) CONDITION REPORTS All items have some light surface scratches. There appears to be some kind of white residue around the rims on all bowls. All items with general wear and tear commensurate with age and use. See photos for more details.
NO RESERVE Japan.- Terry (T.Philip) Terry's Guide to the Japanese Empire including Korea and Formosa, revised edition, colour maps, many folding, light water-staining to upper outer corner at beginning, original limp red cloth, Boston, New York & London, 1930; and 4 other guides to Japan including other 1914 & 1927 editions of the same, 8vo (5)
Maritime.- Navigation.- Michelot (Henri) Le portulan de la Mer Mediterranee, ou le vray guide des pilotes costiers, title in red and black and with woodcut printer's device, folding engraved plate bound in previous work, spotted, lightly browned throughout, Amsterdam, Pierre Mortier, 1709 bound after Alard (Carel) L'Art de Batir les Vaisseaux et d'en perfectionner la Construction, 2 vol., 22 engraved plates and illustrations in text of ship-building (some plates folding or double-page), 88 (of 90) engraved plates of flags, lacking title of vol.1, and vol.2 additional title and 6 ff. of table at end (often lacking), some spotting or mostly light foxing, lightly browned, Amsterdam, D.Mortier, 1719-1718, contemporary calf, rebacked, preserving original richly gilt backstrip in compartments, rubbed, 4to sold not subject to return.
NO RESERVE Angling.- Bridgett (R. C.) By Loch and Stream, first edition, frontispiece, plates, publisher's advertisements at end, previous owner's ink inscription, original cloth, slight bumping to spine extremities, 1922 § Balfour-Kinnear (G. P. R.) Flying Salmon, first edition, plates and illustrations, newspaper cuttings and manuscript notes tipped-in, previous owner's ink inscription, occasional spotting, original cloth, light spotting, dust-jacket, rubbed and worn, pasted to final free endpaper, 1937 § Harris (J. R.) An Angler's Entomology, first edition, plates, previous owner's ink inscription, original cloth, slight bumping to spine extremities, dust-jacket, light spotting, chipping to corners and extremities, small loss to spine head, 1952 § Gaffey (Laurie) Fresh Water Fishing in Ireland, illustrations, original cloth, dust-jacket, rubbed, slight chipping to corners and extremities, small tear to spine foot, Dublin, n.d.; and 18 others angling, 8vo & 4to (22)
Emblemata.- Hugo (Herman) Pia Desideria Emblematis illustrata, half-title, woodcut pictorial title, coat of arms of Pope Urban VIII, 46 full-page emblems by Christoffel van Sichem after Boetius à Bolswert, and tail-pieces, upper margin of a few full-page illustrations trimmed, a few spots, some light staining, late 17th century calf, gilt, upper joint splitting, rubbed, [Landwehr, Low Countries, 346; Praz p.376-377], Amsterdam, typis Henrici Aertssenii, 1628; and another, Jacob Cats, 8vo (2)
Barberini (Maffeo, Pope Urban VIII) Poemata, first authorised edition, woodcut Barberini arms to title, engraved portrait of the author, attractive woodcut tail-pieces, including bees, some staining and light foxing, contemporary limp vellum, stained, [Cat. Vinciana 3157], 8vo, Rome, Vatican Press, 1631.⁂ Includes the Adulatio Perniciosa in honour of Galileo and three epigrams on Aldrovandi.
Binding.- Office de la Semaine Sainte, engraved pictorial title, vignette at head of dedication and 3 plates, some light foxing or spotting, pink silk endpapers, stained, handsome contemporary black armorial morocco, richly gilt, covers with wide borders incorporating a number of floral and foliage tools, flat spine in compartments with floral and foliage decorations and a red morocco label, chip to foot of spine, corners worn, rubbed, g.e., 8vo (binding 208 x 138mm.), Paris, Widow Mazieres & Garnier, 1728. sold as a binding and not subject to return.
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.
![Bodoni.- La Rochefoucauld (Francois, Duc de) Maximes et Reflexions Morales, [one of 125 copies], half-title, very light foxin](https://cdn.globalauctionplatform.com/e8124356-908c-4fd6-9085-aafd009f3f0a/155ccbd5-c70d-4f3e-acff-aafd00a284e1/468x382.jpg)
Bodoni.- La Rochefoucauld (Francois, Duc de) Maximes et Reflexions Morales, [one of 125 copies], half-title, very light foxing to a few leaves but an excellent copy in handsome contemporary cats paw calf, gilt, spine gilt in compartments, a little rubbed, mainly edges and corners, scuff to upper cover, upper joint cracked, spine chipped at head, [Brooks 1104], folio, Parma, Bodoni, 1811.
Bindings.- Shakespeare (William) The Works of ...,6vol., edited by Sir Thomas Hanmer, engraved portrait frontispiece and 38 plates, illustrations, occasional light off-setting, spotting, occasional finger-soiling, S2 & S3 misbound (vol. 3), contemporary vellum, gilt, a little rubbed, 5to, Oxford, at the Theatre, 1743-44.
Garzoni (Thomaso) La Piazza Universale di Tutte le Professioni del Mondo, ?fourth edition, printer's woodcut device on title, woodcut head-pieces and initials, some light staining, title defective at outer edge with slight loss to date (repaired), modern bookplate of John L.Nevinson, contemporary limp vellum, rubbed and stained, new endpapers, 4to, Venice, Roberto Meietti, 1601.⁂ Comprehensive book of trades from "academici" to "zoccolari" (clogmakers) and including usury, prostitution, assassins and inquisitors as well as more usual occupations.
NO RESERVE Henty (G. A.) With Wolfe in Canada, ink stamp to endpaper, n.d.; With Cochran the Dauntless, 1898; A Roving Commission, publisher's advertisements loosely inserted, ink inscription to half-title, 1900; With Moore at Coruna, 1898; With Kitchener in the Soudan, half-title repaired with ink ownership inscription and blindstamp, 1903, all but the first first editions, plates, occasional light spotting, original pictorial cloth, gilt, some light rubbing to extremities but remarkably sharp and bright copies overall; and 14 others by the same in similar condition, 8vo (19)⁂ An attractive group of Henty works, mostly in bright, near-fine condition.
NO RESERVE Henty (G. A.) St. George for England, n.d.; Held Fast for England, ink gift inscription to endpaper, n.d.; In the Reign of Terror, ink stamps to endpapers, n.d.; The Cornet of Horse, new edition, lacking front free endpaper, n.d.; The Bravest of the Brave, n.d., plates, occasional spotting or foxing, original pictorial cloth, gilt, light rubbing to extremities, but remarkably sharp and bright copies overall; and 13 others by the same in similar condition, 8vo (18)⁂ An attractive group of Henty works, mostly in bright, near-fine condition.
NO RESERVE Henty (G. A.) With Clive in India, ink inscriptions to half-title, n.d.; Under Wellington's Command, ink inscription to endpaper, 1899; True to the Old Flag, ink inscription to endpaper, blindstamp to half-title, n.d.; With Frederick the Great, 1898; The Dash for Khartoum, ink stamp to endpaper, 1892, plates, original pictorial cloth, gilt, some light rubbing to extremities, but remarkably sharp and bright copies overall; and 14 others by the same in similar condition, 8vo (19)⁂ An attractive group of Henty works, mostly in bright, near-fine condition.
NO RESERVE Henty (G. A., editor) Yule Tide Yarns, bookplate to endpaper, 1901 § With Lee in Virginia, bookplate to pastedown, n.d.; Through Russian Snows, ink inscription, 1896; By Sheer Pluck, ink stamp to title verso, n.d.; Redskin and Cow-Boy, n.d., plates, occasional spotting, original pictorial cloth, some light rubbing to extremities but remarkably sharp and bright copies overall; and 15 others by the same in similar condition, 8vo (20)⁂ An attractive group of Henty works, mostly in bright, near-fine condition.
NO RESERVE Henty (G. A.) and others. Courage and Conflict, ink marking to endpaper, upper hinge starting, light wear to foot of spine, 1901; Peril and Prowess, bookplate to pastedown, n.d.; Brains & Bravery, 1903 § Henty (G. A.) Sturdy and Strong, ink inscription, n.d. § Fenn (George Manville) Marcus. The Young Centurion, ink inscription to endpaper, n.d., plates, occasional spotting, original pictorial cloth, gilt, rubbing to extremities but generally sharp and bright copies overall; and 23 others, by the same and similar, pictorial cloth in similar condition, 8vo & 4to (31)⁂ An attractive group of works in pictorial cloth, mostly in bright, near-fine condition.
NO RESERVE Henty (G. A.) and others. Steady & Strong, 1905 § Henty (G.A.) The Young Colonists, ink inscription to endpaper, n.d.; Redskin and Cow-Boy, bookplate to pastedown, n.d.; Facing Death, bookplate to pastedown, n.d.; For Name and Fame, n.d., plates, occasional spotting, original pictorial cloth, gilt, some light rubbing to extremities but remarkably sharp and bright copies overall; and 14 others, Henty, in similar condition, 8vo (19)⁂ An attractive group of Henty works, mostly in bright, near-fine condition.
Töpffer (Rodolphe) Histoire de Mr. Jabot, light foxing, original pictorial cloth, gilt, spine faded, spine ends and corners a little bumped, Geneva, 1833; Histoire d'Albert, spotting, original pictorial cloth, gilt, Paris, n.d.; Mr. Pencil, later cloth, original wrappers bound in, Geneva, 1846, illustrations by the author; and 11 others, by the same and similar, v.s. (14)⁂ An excellent collection of works by Töpffer. Töpffer (1799-1846) trained as a teacher and began drawing caricatures to amuse his students. These were then collected together and published in a panel format, narrating satirical stories that became hugely popular at the time. The narrative nature and structure of these works have led to Töpffer being regarded as the father of modern comics.
Töpffer (Rodolphe) Monsieur Pencil, Geneva, 1840; Histoire d'Albert, original upper wrapper with presentation inscription from 'Ch. Topffer' bound in, Geneva, 1845, occasional light foxing, bookplate of Andrew Fairburn, contemporary morocco, gilt; and 11 others by Töpffer and similar, oblong 8vo (13)⁂ An excellent collection of works by Töpffer. Töpffer (1799-1846) trained as a teacher and began drawing caricatures to amuse his students. These were then collected together and published in a panel format, narrating satirical stories that became hugely popular at the time. The narrative nature and structure of these works have led to Töpffer being regarded as the father of modern comics.
![[Pope (Alexander)] The Dunciad. With Notes Variorum, and the Prolegomena of Scriblerus, first 8vo edition, engraved frontispi](https://cdn.globalauctionplatform.com/e8124356-908c-4fd6-9085-aafd009f3f0a/71d03ea6-745f-4080-ae0b-aafd00a28e58/468x382.jpg)
[Pope (Alexander)] The Dunciad. With Notes Variorum, and the Prolegomena of Scriblerus, first 8vo edition, engraved frontispiece of ass and engraved plate of owl before Book II, with final errata leaf, browning at beginning and end, old ink signatures to front free endpapers, contemporary calf, worn, rebacked, [Foxon P780], for Lawton Gilliver, 1729 § [Cambridge (Richard Owen)] The Scribleriad: An Heroic Poem, 6 parts in 1, first edition, general title and preliminaries bound after part 5, 7 engraved plates, light damp-staining to lower outer corner causing fraying to first few leaves, modern calf-backed marbled boards, R.Dodsley...M.Cooper, 1751, 8vo & 4to (2)
Bellamy (Daniel) Ethic Amusements, 2 parts in 1, engraved frontispiece, 2 engraved pictorial part-titles, 41 plates by G.Bickham & others after Ware, and 34 vignettes, mostly by Grignion after Wale, list of subscribers dated July 1770, some light offsetting from plates, final leaf and rear free endpaper lightly soiled and torn across affecting tail-piece (crudely repaired), otherwise a good copy, contemporary diced russia, rubbed at edges, rebacked preserving old gilt spine, corners worn or repaired, 4to, by W.Faden, for the Author, 1768 [but 1770].⁂ Including The Labyrinth of Versailles with copies of Sebastien Le Clerc's plates from Perrault's version of 1677 of the fountains and mazes based on Aesop's fables, re-engraved by Bickham; the second part comprises Fenelon's Ethic Tales and Fables.
Sotheby (William) A Tour through Parts of Wales, Sonnets, Odes, and other Poems, first edition, half-title, 13 aquatint plates by S.Alken, most after J.Smith, some tinted by hand, light offsetting, [Abbey, Scenery 513; Tooley 462], 1794 bound after Poems by Goldsmith and Parnell, 5 wood-engraved plates and 8 vignettes by Thomas or John Bewick, title foxed, [Tattersfield JB50], by W.Bulmer & Co., 1795, together 2 works in 1 vol., occasional spotting, bookplate of John Horsley Palmer, contemporary tree calf, gilt, rebacked and recornered in sheep, rubbed, 4to
![Burne-Jones (Edward).- [MacLaren (Archibald)] The Fairy Family, first edition, engraved frontispiece, additional pictorial ti](https://cdn.globalauctionplatform.com/e8124356-908c-4fd6-9085-aafd009f3f0a/0ebe1e0c-866c-455e-a9a5-aafd00a1f130/468x382.jpg)
Burne-Jones (Edward).- [MacLaren (Archibald)] The Fairy Family, first edition, engraved frontispiece, additional pictorial title and wood-engraved tail-piece by Edward Burne-Jones, tissue guard to title, 4pp. publishers' catalogue at end, no pp.81-96 as is correct, light spotting to title, small book-late of James Franck Bright, original purple cloth stamped in blind with small gilt wheels at corners (variant binding), a little rubbed, spine faded, 8vo, 1857.⁂ The first book illustrations by Edward Burne-Jones.
Cruikshank (George).- Hone (William) Facetiae and Miscellanies, second edition, illustrations by George Cruikshank, some folding, some hand-coloured, some light browning, two contemporary/old ink inscriptions to front free endpaper, contemporary half calf, spine gilt, a little rubbed, [Cohn 405], 8vo, 1827.⁂ Comprising 14 items in 1 vol., varied editions as always, and including "Fine Edition, Coloured" of 'The Political House that Jack Built' with hand-coloured illustrations on thick paper, scarce engraved banknote on thin paper signed "J.Ketch" but no model "Queen's Ladder" called for by Cohn but possibly never issued with this collected edition.
Gardens.- Switzer (Stephen) An Introduction to a General System of Hydrostaticks and Hydraulicks, Philosophical and Practical..., 2 vol. in 1, first edition, engraved frontispiece and 61 plates, 41 folding or double-page, the latter mounted on stubs, plates 39 & 40 slightly shorter and possibly from another copy, frontispiece creased and soiled & frayed at upper edge, also tear to lower edge affecting caption (repaired), light browning to a few plates, G2 with tear to upper margin, modern ink inscription to front free endpaper, contemporary sprinkled calf, rubbed and stained, a few gouges, rebacked preserving old red morocco label, [Berlin Kat 3614; Bibliotheca Mechanica p.309], 4to, for T. Astley [& others], 1729.⁂ Including the origin of springs, steam-engines for raising water, and fountains. Switzer worked on the designs of the gardens at Castle Howard, Blenheim and Kensington Palace.
Emblems.- Cats (Jacob) Zinne- en Minne-Beelden..., additional engraved pictorial title by J.Wandelaar, title in red & black, lacking portrait but with 105 engraved illustrations, mostly emblems, light soiling to title, contemporary sprinkled calf, spine gilt, rubbed, upper joint split, spine ends worn, new label, [Landwehr Dutch 44h & Low Countries 98], 8vo, Amsterdam, Wed. Barend Visscher, 1720.
Agriculture.- Chomel (Noel) Dictionnaire Oeconomique...., edited by J.Marret, 4 vol. including 2 vol. Supplement bound in 2, third edition, titles in red and black, engraved dedication and 11 plates by B.Picart, 2 folding, one double-page, numerous engraved or woodcut illustrations in text, contemporary ink note at foot of titles, some browning, mostly light, small ink stain to upper edge of a few leaves first volume, contemporary mottled calf, spines gilt in compartments with red and black roan labels, rubbed, joints split, corners and spine ends worn and with some repairs, [Vicaire 172], folio, Amsterdam, Jean Covens & Corn. Mortier, 1732-1740.⁂ An important domestic dictionary with much on food and drink, agriculture, horticulture, and hunting, and with sections on bees, falconry and horses.
Germany.- Gerning (Johann Isaak von) A Picturesque Tour along the Rhine, from Mentz to Cologne, first English edition, list of subscribers, 24 hand-coloured aquatint plates after C.G.Schutz, folding engraved map with routes hand-coloured at end, frontispiece and title browned, some spotting or light offsetting to or from plates, later half red morocco, t.e.g., others uncut, a little rubbed, [Abbey, Travel, 217; Tooley 234], 4to, 1820.
Japan.- Fonblanque (Edward Barrington de) Niphon and Pe-che-li; or, Two Years in Japan and Northern China, second edition, folding map, 10 plates, 3 folding, 6 chromo- or tinted lithographs, light foxing, frontispiece creased across lower outer corner, 1863 § Macfarlane (Charles) Japan; an Account, Geographical and Historical, first edition, half-title, wood-engraved frontispiece and illustrations, folding map (torn and repaired), a little browned, some spotting, 1852, both original pictorial cloth, gilt, rubbed, recased, new endpapers, 8vo (2)
Japan.- Milne (John) and W.K.Burton. The Great Earthquake in Japan, 1891, second edition, 30 photographic plates by Kazumasa Ogawa, printed on paper made in Echizen, captioned tissue guards, map, a few plates with light water-staining to lower margin, original cloth, rubbed and damp-stained, oblong folio, Yokohama, 1894.⁂ Superb photographic record of the devastating earthquake in Japan.
Signed (lower left), oil on board (Dimensions: 44cm x 59.5cm (17.25in x 23.4in))(44cm x 59.5cm (17.25in x 23.4in))Footnote: Christopher Chamberlain's studies at the Royal College of Art were interrupted by the outbreak of World War II. He joined the Royal Army Service Corps and served in the British Expeditionary Forces that evacuated Dunkirk in 1940. After the end of the war, he returned to the Royal College before starting a teaching career, notably at Camberwell School of Art. Chamberlain exhibited widely, was respected in the field and was known for his scenes of London. He stated, ‘I have made many studies in this area where I live, in the belief that one must learn thoroughly something about a particular and loosely limited area within one's experience. I don't believe it is possible to make much of a statement about anything unless one knows one's subject very well indeed’ (letter of 3 April 1955). His work is held in the Tate Collections (The Dangerous Corner, 1954), Royal Academy (Liverpool: America Dock, 1957) and Swindon Art Gallery (Vauxhall Bridge Station, 1955). Provenance: Estate of the Artist.Condition report: Board appears sound. May benefit from a very light clean, otherwise appears in good condition.
Signed (lower left), watercolour, gouache and acrylic on paper (Dimensions: 43.5cm x 56cm (17.12in x 22in))(43.5cm x 56cm (17.12in x 22in))Condition report: Paper appears sound, and colours strong. Some spots of more impasto yellow paint have very slight cracks, or flecksof loss, including to the extreme bottom left corner. To the background hill a very light line where paint slightly disturbed - possibly from the artist's brush.
Artist's proof, signed, dated and inscribed in pencil (in the margin), and inscribed 'For Denis and Jane, Terry, 1971', no edition, possibly only 6 proofs pulled, etching (Dimensions: 26cm x 21cm (10.25in x 8.25in))(26cm x 21cm (10.25in x 8.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Painted artist's mark, stoneware, mixed clays (Dimensions: 17.5cm high (6.8 high))(17.5cm high (6.8 high))Footnote: Provenance: Galerie Besson, London; Collection of Barbara Ling. We are grateful to Jennifer Lee for her kind assitance in cataloguing this lot. Note: BARBARA LING & THE CANDOVER GALLERY “ Barbara’s stewardship of the Candover Gallery in New Alresford over many years made it a widely recognised and respected centre for studio ceramics and glass, driven by her unwavering commitment to excellence in design and technique; the same qualities manifested by her private collection ” Martin Pearce, 2019 Barbara Ling, owner of The Candover Gallery, is considered a significant figure and gallerist in the contemporary ceramics scene throughout the 1980s, 1990s and early 2000s. The Candover Gallery operated from 1984 to 2007 to much acclaim, showing work by many of the leading names in the field before they rose to wider prominence. The gallery regularly featured noteworthy work from the likes of Jennifer Lee, Magdalene Odundo, Sutton Taylor, Abdo Nagi, John Maltby, Walter Keeler, Lucie Rie, David Roberts, Duncan Ross, Gordon Cooke, Peter Hayes, Michael Casson and David Leach. As such she can be considered one of a small group of ground-breaking British gallerists that supported contemporary ceramics throughout the late 20th and early 21st centuries. She was a potter herself and unusually did not obtain stock for her gallery on sale or return, but always insisted on choosing and paying for the work herself. Her eye for quality and detail ensured she made a profit from her very first exhibition. For the ceramicist Peter Lane, after a hiatus of three years and having sold and given away his kilns, glazes and materials, it was a chance meeting with Barbara that led him to change his mind and begin making pots again for a solo exhibition at the Candover Gallery in 1991, and when Barbara retired and closed the gallery in 2007, Walter Keeler made her a special commemorative mug celebrating Barbara Ling and the Candover Gallery and twenty-three Glorious Years! This carefully curated selection from her estate charts the thriving nature of British studio ceramics of this period, and Barbara’s significance in promoting and sustaining a number of artists, and thereby the whole British ceramic movement, during these critical years.Condition report: The ceramic appears sound. Overall in good condition with no signs of damage or restoration. Inspected under ultraviolet light.
Stoneware, mixed clays (Dimensions: 24.5cm high (9.67in high))(24.5cm high (9.67in high))Footnote: Provenance: Collection of Barbara Ling. We are grateful to Jennifer Lee for her kind assitance in cataloguing this lot. Note: BARBARA LING & THE CANDOVER GALLERY “ Barbara’s stewardship of the Candover Gallery in New Alresford over many years made it a widely recognised and respected centre for studio ceramics and glass, driven by her unwavering commitment to excellence in design and technique; the same qualities manifested by her private collection ” Martin Pearce, 2019 Barbara Ling, owner of The Candover Gallery, is considered a significant figure and gallerist in the contemporary ceramics scene throughout the 1980s, 1990s and early 2000s. The Candover Gallery operated from 1984 to 2007 to much acclaim, showing work by many of the leading names in the field before they rose to wider prominence. The gallery regularly featured noteworthy work from the likes of Jennifer Lee, Magdalene Odundo, Sutton Taylor, Abdo Nagi, John Maltby, Walter Keeler, Lucie Rie, David Roberts, Duncan Ross, Gordon Cooke, Peter Hayes, Michael Casson and David Leach. As such she can be considered one of a small group of ground-breaking British gallerists that supported contemporary ceramics throughout the late 20th and early 21st centuries. She was a potter herself and unusually did not obtain stock for her gallery on sale or return, but always insisted on choosing and paying for the work herself. Her eye for quality and detail ensured she made a profit from her very first exhibition. For the ceramicist Peter Lane, after a hiatus of three years and having sold and given away his kilns, glazes and materials, it was a chance meeting with Barbara that led him to change his mind and begin making pots again for a solo exhibition at the Candover Gallery in 1991, and when Barbara retired and closed the gallery in 2007, Walter Keeler made her a special commemorative mug celebrating Barbara Ling and the Candover Gallery and twenty-three Glorious Years! This carefully curated selection from her estate charts the thriving nature of British studio ceramics of this period, and Barbara’s significance in promoting and sustaining a number of artists, and thereby the whole British ceramic movement, during these critical years.Condition report: The ceramic appears sound. Overall in good condition with no signs of damage or restoration. Inspected under ultraviolet light.
Signed and numbered 19/50 in pencil, screenprint with collage and hand-colouring in crayon on wove paper, printed at the Royal College of Art, London, unframed (Dimensions: 31.5cm x 33.5cm (12.37in x 13.25in))(31.5cm x 33.5cm (12.37in x 13.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Fibreglass on marble base (Dimensions: Overall 53cm high, 207cm across (20.87in high, 81.5in across))(Overall 53cm high, 207cm across (20.87in high, 81.5in across))Footnote: Exhibited: Marjorie Parr Galleries, London, 1969; Bath Festival, Bath, 1969; Penwith Gallery, St. Ives; Glynn Vivian Art Gallery, Swansea, 1979. The first version of Carngalver appeared in bronze in 1967. Early in the following year Mitchell acquired some fibreglass material and in March began work on a scaled up version of Carngalver using the fibreglass. He completed this in October. It was shown at the Bath Festival in 1969 and in 1979 at Mitchell's major solo show at the Glynn Vivian Gallery in Swansea. He used the remaining fibreglass to make Phillack , a tall (9ft high) work which, sadly, has not survived. Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Impressed artist's seal, white glaze with inlaid blue lines (Dimensions: 6.3cm high, 13cm across (2.5in high, 5.15in across))(6.3cm high, 13cm across (2.5in high, 5.15in across))Footnote: Literature: See John Houston (ed.), Lucie Rie , Crafts Council, 1981, p.72, no.88 for an example with similarities.Condition report: The ceramic appears sound. It appears in good condition with no signs of damage or restoration. Inspected under UV light.
Signed, titled and dated in pencil (to reverse), oil on canvas (Dimensions: 30cm x 60.5cm (11.75in x 23.75in))(30cm x 60.5cm (11.75in x 23.75in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Initialled, titled and dated, yew (Dimensions: Overall 59cm high (23.25in))(Overall 59cm high (23.25in))Footnote: Exhibited: Newlyn Art Gallery, Newlyn, 1985; Crane Kalman Gallery, London, 1986; Gillian Jason Gallery, London, 1990; Penwith Gallery, St. Ives, 1996; Bridge Gallery, Dublin, 1997. Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Impressed artist's seal, poured glazes (Dimensions: 43cm diameter (17in diameter))(43cm diameter (17in diameter))Condition report: Structurally sound with no obvious signs of damage or restoration. Some light traces of surface dirt and matter. This excepting the works appears in good overall condition.
Impressed artist's seal, pitted grey and white glaze (Dimensions: 16.25cm high (6.5in high))(16.25cm high (6.5in high))Footnote: Provenance: Collection of George and Nelly Wingfield Digby; Collection of Barbara Ling. Literature: See Tony Birks, Lucie Rie , Stenlake Publishing Ltd, 2009, p.92, illustrated. Note: BARBARA LING & THE CANDOVER GALLERY “ Barbara’s stewardship of the Candover Gallery in New Alresford over many years made it a widely recognised and respected centre for studio ceramics and glass, driven by her unwavering commitment to excellence in design and technique; the same qualities manifested by her private collection ” Martin Pearce, 2019 Barbara Ling, owner of The Candover Gallery, is considered a significant figure and gallerist in the contemporary ceramics scene throughout the 1980s, 1990s and early 2000s. The Candover Gallery operated from 1984 to 2007 to much acclaim, showing work by many of the leading names in the field before they rose to wider prominence. The gallery regularly featured noteworthy work from the likes of Jennifer Lee, Magdalene Odundo, Sutton Taylor, Abdo Nagi, John Maltby, Walter Keeler, Lucie Rie, David Roberts, Duncan Ross, Gordon Cooke, Peter Hayes, Michael Casson and David Leach. As such she can be considered one of a small group of ground-breaking British gallerists that supported contemporary ceramics throughout the late 20th and early 21st centuries. She was a potter herself and unusually did not obtain stock for her gallery on sale or return, but always insisted on choosing and paying for the work herself. Her eye for quality and detail ensured she made a profit from her very first exhibition. For the ceramicist Peter Lane, after a hiatus of three years and having sold and given away his kilns, glazes and materials, it was a chance meeting with Barbara that led him to change his mind and begin making pots again for a solo exhibition at the Candover Gallery in 1991, and when Barbara retired and closed the gallery in 2007, Walter Keeler made her a special commemorative mug celebrating Barbara Ling and the Candover Gallery and twenty-three Glorious Years! This carefully curated selection from her estate charts the thriving nature of British studio ceramics of this period, and Barbara’s significance in promoting and sustaining a number of artists, and thereby the whole British ceramic movement, during these critical years.Condition report: Structually sound with no obvious signs of damage or restoration. One very small blemish to the rim where the glaze does not appear to have fully covered. The work appears in good overall condition. Inspected under ultraviolet light.
Signed and numbered 11/100 (to reverse), painted wood elements in relief on stainless steel panel with incised linear pattern (Dimensions: 51.5cm x 36.5cm (20.25in x 14.37in))(51.5cm x 36.5cm (20.25in x 14.37in))Condition report: Structure appears sound. Some slight flakes of loss along the outer side edge of the red arc, not visible when viewing the work straight on. Some light surface marks and scuffs, consistent with age and light handling. Subject to the above, good condition.
Seven drawings in three mounts, pencil, watercolour and gouache (Dimensions: Various sizes, the largest 25cm x 20.5cm (9.75in x 8in), unframed (3))(Various sizes, the largest 25cm x 20.5cm (9.75in x 8in), unframed (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Teak with reversible marquetry top (Dimensions: 43cm high, 50cm diameter (17in high, 19.75in diameter))(43cm high, 50cm diameter (17in high, 19.75in diameter))Condition report: Light wear and marks consistent with use and age, and odd old scuff to edge of top. Very small indent/chip two inches from the edge on the concave side of the top. Subject to the above the table appears in good condition.
Pochoir print with additional circle in pencil, inscribed 'Denis from Ben' in pencil (in the margin) (Dimensions: 21.5cm x 20cm (8.5in x 7.87in))(21.5cm x 20cm (8.5in x 7.87in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Signed and numbered 2/3, bronze on marble base (Dimensions: The bronze 22.7cm high (8.87in high))(The bronze 22.7cm high (8.87in high))Footnote: Note: Professor of Wood Carving at the School of Applied Arts and Crafts, Madrid, Mateo has exhibited widely with multiple solo exhibitions in Spain and Belgium, and joint shows in America and the UK. Mateo's leitmotif is a geometric constructivist. His geometric sculptures play with line, light and shadow creating fully considered compositions with multitudes of viewpoints.Condition report: Good original condition.
Inscribed 'To Denis Mitchel from Breon O'Casey with respect & gratitude 1965' to a further work verso, oil on canvas (Dimensions: 60.5cm x 91cm (23.75in x 35.75in))(60.5cm x 91cm (23.75in x 35.75in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Three linocut Christmas cards, the former dated 1976 and the latter 1990 (Dimensions: 9cm x 12cm (3.5in x 4.5in), 13cm x 8.5cm (5in x 3in) and 13.5cm x 8.5cm (5in x 3in) respectively (3))(9cm x 12cm (3.5in x 4.5in), 13cm x 8.5cm (5in x 3in) and 13.5cm x 8.5cm (5in x 3in) respectively (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
Including four examples dated from 1950 sent from Venice by Nicholson and Hepworth to Denis Mitchell, and four examples from later in the 1950s (Dimensions: Each postcard 9.5cm x 14.5cm (3.75in x 5.75in), under two mounts, unframed)(Each postcard 9.5cm x 14.5cm (3.75in x 5.75in), under two mounts, unframed)Footnote: Note: Barbara Hepworth was in Venice in 1950 representing Britain at the Biennale, the year before Hepworth and Nicholson separated. Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.
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.
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