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‡ KEITH BOWEN mixed media - entitled verso, 'Amish Horse on Farmyard Deck', signed, 34 x 49cmsProvenance: private collection EireComments: framed & glazed

21st century school Mixed media on canvas 'Dance of the Elements', indistinctly signed top left, 140cm x 140 cm 

ATTRIBUTED TO TERRY FROST (1915-2003) THE THREE GRACES - MIXED MEDIA ON BOARD - GALLERY LABEL ON REVERSE - 20CM X 30CM

A MID CENTURY ABSTRACT BRUTALIST STYLE MIXED MEDIA ARTWORK, on board, signed 'Charle' (lower right), 93.5 x 63.5cm

Alison Calvesbert Rearden, mixed media, "Elements 1" and another "Elements 2", by the same hand

A.J. Attwood, watercolour "Porlock Weir"; June Fletcher, watercolour, "Yet More Rain"; and Patricia Board, mixed media "Mother Ives Bay, Cornwall"

Alison Calvesbert-Rearden, "Metamorphosis 1" mixed media

Alison Calvesbert Rearden, mixed media Bawdsey Beach; and another mixed media Bawdsey Marshes, by the same hand

CAI XIAOLI (1956-)Lotus FlowersMixed media on paper, four framed worksEach panel 227cm (89 3/8in) high x 59cm (23 1/4in) wide (4).Footnotes:Provenance:Sir John Craven (1940-2022); thence by descent.蔡小麗 蓮 綜合媒材紙本 裝框Lot to be sold without reserve.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Meher Afroz (Pakistani b. 1948), Untitled, crowns from the Pindaar series, mixed media on board, circa 2003, 40 x 40cm.Provenance: bought by the vendor from the Pindaar show held at the Chawkandi Art Gallery in January 2005, in Karachi, Pakistan. Afroz Mehar was born in 1948 in Lucknow, India, and has studied at the Government College of Arts and Crafts where she graduated with honours in 1971, before moving to Karachi, Pakistan. Pindaar means 'arrogance' in the her native Urdu language. Contextualized in a post 9/11 world enveloped in unrelenting violence, this work is a reflection on a historical moment.Afroz is widely regarded as a master of both media and persists in bringing them together through her interest in ageing her surfaces to connote the passage of time and the resultant accumulation of experience. Similarly, the work on offer is built in successive layers of marks, which serve as a camouflage to the plasticity of acrylics. The iconography is typical for Afroz - bearded men, stars, celestial bodies, light bulbs, floating buildings, are only part of the mystical symbols dominating her works. In an article by The Herald from February 2005, Afroz explained herself as pontificating the vices of ego and her own yearning for sufistic self-annihilation on the other.Today, Afroz lives in Karachi where she is a senior faculty member at the Indus Valley School of Art and Architecture, along with being a founder member of ASNA, a non-commercial organization dedicated to the Exhibition and documentation of Arts and Crafts Pakistan. 

A.Q. Arif (Pakistani, b. 1975), Nude, mixed media on paper, signed and dated 'ARIF '98' lower left, 37 x 26 cm. Note: Arif was born in Karachi, Pakistan. He graduated from the Karachi School of Arts in 1996 and since then has participated in numerous group and solo exhibitions in Pakistan and abroad. In 2014, he was awarded the International Best Artist award by Trevisan Art Gallery in Italy and the Presidential Award for Pride of Performance by the Government of Pakistan in 2020. Arif is currently a member of the American Impressionist Society and the Watercolor Art Society of Houston where he currently resides.

Sheila Geogeohay (Contemporary) abstract oil and mixed media on canvas, By the Fire, inscribed verso, 94cm x 94cm, unframed

Edith Wrigley (Contemporary): mixed media, Nativity, 38.5x29cm

John Britton (Contemporary): mixed media, Dorset Rings - Knowlton Church, 60x75.5cm

G John, British 20th Century Impressionist School. Mixed media, London Bridge and a view of the Thames, London. Signed lower left. Framed and mounted. Overall including frame 43x52cm

Emma Spence (b.1984)Heading to Lucinda's Signed (in oil lower left) and further signed (in pen to reverse)Mixed media40 x 50cm Horatio's Garden will receive 100% of the hammer price on this lot. Emma Spence is an award winning mixed media artist who lives and works in Hillsborough, Co.Down. The hard work and honest sweat of the farmer has etched the life Emma Spence was born into and continues to live today. Her work aims to promote cultural recognition of the Irish rural landscape through the eyes of those that work, walk, or live in this land we call home. The intimacy of her work which focuses on the wild peripheries of the well-kept farmlands at close range is intense, beautiful and reflective. Her paintings portray the farmer’s view; the high hedgerow beside him as he walks the fields to bring the cows home for milking, the blackberries or hawthorn blossom surrounding him as they appear in the wild, ancient, hedge telling the cycle of the next season, the reeds and thistles by the river dividing his fields of home.

Lottie Matthews (b.1996)A BearingResin, found object, linen weave and concrete15cm high, 25cm wide, 5.5cm deep Mixed media visual artist Lottie Matthews produces work that plays between multiple art mediums and concepts of narrative, place and forming space for the self and home. Matthews' practice has been formed by using concrete monoliths, found objects and bricolage assemblages alongside textural mark-making, archival photography and written documentation. Personally reflecting on themes of assemblage, narrative and loss whilst simultaneously exploring wider theories on identity through social sculpture, she uses her practice as a tool for non-verbal communication and questioning.

8 Mixed Media Framed pictures including landscapes, still life studies etc

Pair of framed mixed media paintings depicting scenes of the River Tweed by local artist James Fleming signed 2009, 38cm x 38cm

Sir John Kyffin Williams (1918 - 2006), sketch of Welsh ponies, ink, label verso for The Kyffin Gallery, stating provenance 'Gifted by Sir Kyffin to William 'Bill' Lloyd Williams his friend', 31.5 x 24cm, Stag, mixed media, indistinctly initialled lower left, 36.5 x 26.5cm and another pair of pictures, all framed and glazed

STEPHEN KELLY (SCOTTISH) ORANGES ON THE BEACH, mixed media on paper, signed with initials, framed under glass with title label verso, 22 x 30cm

PATRICIA SADLER (SCOTTISH) LANDSCAPE mixed media, signed and dated, framed under glass, 36 x 34cm

DOUGLAS DAVIES RSW, CAROLSIDE HOUSE, EARLSTON, mixed media on paper, signed and framed under glass, titled verso, 27 x 27cm

LANG, FRITZ (1877-1961), "Pelikane unter einer Palme", 1948, im Hintergrund stilisierte Sonnenstrahlen, u.re. monogrammiert und datiert 'FL 1948', Mischtechnik/Holz, HxB: ca. 108,5x86 cm (113x91 cm mit Rahmen). Alters- und Beriebspuren, part. fleckig. Mit Rahmen.| LANG, FRITZ (1877-1961), "Pelicans under a palm tree", 1948, in the background stylized rays of the sun, l.r. monogrammed and dated 'FL 1948', mixed media/wood, HxW: approx. 108.5x86 cm (113x91 cm with frame). Signs of age and wear, part. blotchy. With frame.

LINDENBERG, UDO (geb. 1946), "Alle Tage sind gleich lang, jedoch verschieden breit", 2015, u.re. signiert, Mischtechnik/Papier, HxB: Passepartoutausschnitt ca. 35x46 cm (57x69 cm mit Rahmen). Im Passepartout hinter Glas gerahmt. PROVENIENZ: Kunsthaus L. Maier, Bruchsal, anbei ZERTIFIKAT (mit Angabe der Bildmaße: 36x47 cm).| LINDENBERG, UDO (born 1946), "All days are the same length, but different widths", 2015, l.r. signed, mixed media/paper, HxW: passe-partout cut-out approx. 35x46 cm (57x69 cm with frame). Framed behind glass in passe-partout. PROVENANCE: Kunsthaus L. Maier, Bruchsal, enclosed CERTIFICATE (indicating the image dimensions: 36x47 cm).

LINDENBERG, UDO (geb. 1946), "Sie spielte Cello", 2014, u.re. signiert, Mischtechnik/Papier, HxB: Passepartoutausschnitt ca. 48x36 cm (69x57 cm mit Rahmen). Mit Passepartout hinter Glas gerahmt. PROVENIENZ: Kunsthaus L. Maier, Bruchsal, anbei ZERTIFIKAT.| LINDENBERG, UDO (born 1946), "She played cello", 2014, lower right signed, mixed media/paper, HxW: passe-partout cut-out approx. 48x36 cm (69x57 cm with frame). Framed behind glass with passe-partout. PROVENANCE: Art House L. Maier, Bruchsal, enclosed with CERTIFICATE.

CIUHA, JOZE (1924-2015), "Rosa Komposition mit Figuren", 1991/92 linksseitig signiert und datiert, Mischtechnik auf Leinwand, HxB: ca. 71x200 cm (73,5 x 202,5 cm). Alters- und Beriebspuren. Mit Rahmen.| CIUHA, JOZE (1924-2015), "Pink Composition with figures", 1991/92, signed on the left, mixed media on canvas, HxW: arraund 71x200 cm (73,5 x 202,5 cm with frame). Traces of age and rubbing. With frame.

CIUHA, JOZE (1924-2015), "Blaue Komposition mit Figuren", 1992 signiert und datiert u.li. der Mitte, Mischtechnik auf Leinwand, HxB: ca. 71x200 cm (73,5 x 202,5 cm mit Rahmen). Alters- und Beriebspuren. Mit Rahmen.| CIUHA, JOZE (1924-2015), "Blue Composition with figures", 1992, signed and dated lower left of the center, mixed media on canvas, HxW: arround 71x200 cm (73.5 x 202.5 cm with frame). Signs of age and rubbing. With frame.

CIUHA, JOZE (1924-2015), Hinterglasbild "Primat in herrschaftlichem Kostüm", 1977, figürliche Komposition vor dunkelblauem Hintergrund, u.re. signiert und datiert, Mischtechnik/Acrylglas (mit Karton hinterlegt), HxB: ca. 100x75 cm (119x93 cm mit Rahmen). Leichte Alters- und Beriebspuren. Mit Rahmen.| CIUHA, JOZE (1924-2015), reverse glass picture "Primate in stately costume", 1977, figurative composition against a dark blue background, bottom right signed and dated, mixed media/acrylic glass (backed with cardboard), HxW: approx. 100x75 cm (119x93 cm with frame). Slight signs of age and wear. With frame.

After Salvador Dali (Spanish 1904-1989): 'Le Chevalier Chretien' (The Christian Knight), mixed media textured print on tile panel 28cm x 21cm

Unknown artist, Study of a woman, mixed media on paper, in a glazed frame. (52cmx34cm)

David Short (British 1945), a boat at sea, mixed media on board, signed bottom right, (12cmx16cm), together with R.Coulridge, boats at harbour scene, oil on board, signed bottom left (12cmx16cm), both in a gilt glazed frame. (2)

D.Richardson, school room mixed media on board (signed initials bottom left dated 1970) in white painted frame (76cmx76cm)

§ Breon O'Casey (British 1928-2011) Landscape on Brown, 1997 signed and dated in pencil (lower right), signed, titled and dated (to backboard), mixed media on paper Dimensions:28.5cm x 40.5cm (11 1/4in x 16in) Provenance:ProvenanceYew Tree Gallery, Cornwall. Note: Breon O’Casey was part of one of the later waves of young avant-garde artists drawn to the bustling fishing settlement of St Ives, arriving in his clapped-out orange Ford transit in 1959. A studio assistant of Denis Mitchell and of the inimitable Barbara Hepworth, O’Casey became a member of the Penwith Society of Arts and an active participant in the artistic life of the town. Highly productive and constantly experimental, O’Casey moved across different media with ease, with his visual language translating across such diverse artforms as painting, jewellery, printmaking, weaving and sculpture. This broad skillset made him relatively hard to pin down from a critical point of view and possibly explains why the spotlight took its time to home in on this fascinating and respected figure within the St Ives School. Since O’Casey’s death in 2011 however, curators and collectors have driven a wave of renewed appreciation of the work of this fascinating polymath.Unconstrained to one medium, simple shapes of undulating and geometric form recur across much of his work. So too does a distinctive palette of earthy brown tones disrupted by jewel-like reds, greens and blues. His reference points are diverse: from his family roots in the Celtic revival (his father was Irish dramatist Sean O’Casey) and his interest in ancient and non-Western culture (for example the Navajo-inspired geometric patterns which appear in his weaving), to the distilled modernist forms of the Bauhaus and the work of St Ives forebears like Ben Nicholson.One key recurring motif is the number three, which took on an almost magical quality for O’Casey. We can note this in the iconography of some of the pieces offered here. In the 1966 assemblage, Construction, we find three simple bands of colour reading as an abstracted, minimalistic take on a natural landscape, to the more monumental Duo, which places three band-like shapes to delineate space in the pictorial plane.Sculpture became an increasing preoccupation, with O’Casey commenting that it “…took the place of weaving and jewellery as the antidote to painting. At first as a sideline, a relief from the anxieties of paint. But gradually it has taken on a more important role and I can say now that it is at least as important to me as painting and I devote an equal amount of time and thought to it.” O’Casey also remarked that, unlike his wholly abstract work in two dimensions, he was almost always drawn to figuration in his sculptural work, very often depicting birds or animals. In the excellent examples offered here we find his deceptively simple balancing act between modern and ancient lexicons, as well as the sense of an artist revelling in the joy of his craft.

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

RCA Secret Exhibition Ten Works by Various Artists comprising works by Tae Eun Ahn, Dafni Barbageorgopolou, Geoff Bartholomew, Teresita Dennis, Jennifer Huggins, Krister Klassman, Vera Krickhahn, Gabriel Lima, Jasper Morrison, Richard Wentworth, signed (to reverse), mixed media on postcards Dimensions:each approximately 15cm x 10cm (6in x 4in) Provenance:Provenance Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the current owner, circa 2002-18. Note: The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300] was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.

RCA Secret Exhibition Thirteen Postcards by Various Artists comprising works by Gordon Baldwin, Valerie Beddington Hooker, Andrew Friend, Rosalind Grimshaw, Maggi Hambling, Tim Holbrook-Jones, Brigitta Lock, Ross Lovegrove, Pauline Place, Sophia Webster, Rose Wylie, Julius Heinemann, Anita Klein, signed (to reverse), mixed media on postcards Dimensions:each approximately 15cm x 10cm (6in x 4in) Provenance:Provenance Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the current owner, circa 2002-18. Note: The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300] was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.

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

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

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

Thomas Yeo (Singaporean 1936-) Untitled signed (lower left), oil on mixed media laid on boardDimensions:81.3cm x 61cm (32in x 24in)

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

RCA Secret Exhibition Eleven Postcards by Various Artists comprising works by David Bailey, John Baldessari, Steve Binn, Angel Daden, Alan Kitchins, Matilda Pye, James Smith, Stuart McCaffer, Gavin Turk, Laurence Weiner (2), signed (to reverse), mixed media on postcards Dimensions:each approximately 15cm x 10cm (6in x 4in) Provenance:Provenance Donated by the Artists to RCA Secret, Royal College of Art, London, where acquired by the current owner. Note: The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300] was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.

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

§ Joe Tilson (British 1928-) for Studio Marconi Stele for Dionysos, 1981 signed and numbered 24/100, from an edition of 100 plus 10 Artist Proofs, mixed media wood relief held within a hinged wood boxDimensions:57.4cm high, 9.8cm wide, 12cm deep (22 3/4in high, 3 7/8in wide, 4 3/4in deep)

§ Trevor Bell (British 1930-2017) Sea Edge Movements, 1958 signed and dated Bell 58 (lower right), mixed media on paperDimensions:63.5cm x 51cm (25in x 20in)Provenance:ProvenancePrivate Collection, London.

Luis Tomasello (Argentinian 1915-2014) Papier Chromoplastique s/t 2 signed and numbered 44/50 in pencil (in the margin), mixed mediaDimensions:49cm x 49cm (19 1/4in x 19 1/4in)Note: Argentinian-born Luis Tomasello was best known as one of the most significant Kinetic and Op artists from Latin America. He moved to Paris in the 1950s and established a reputation for his explorations into the properties of light, creating white on white abstract constructions that rely on the reflections of light and colour to create movement and form.

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

§ Yinka Shonibare C.B.E, R.A. (British / Nigerian 1960-) Running (for RCA Secret) titled (lower right), mixed media on postcard Dimensions:15cm x 10cm (6in x 4in) Provenance:Provenance Donated by the Artist to RCA Secret, Royal College of Art, London, where acquired by the current owner. Note: The Royal College of Art’s fundraising exhibition RCA Secret was established in 1994 and was London’s original postcard exhibition.All proceeds from the annual event go to the RCA Fund, which in turn enables the College to offer bursaries to those students who would otherwise not be able to attend its storied classrooms, allowing talented individuals, regardless of their background or financial circumstances, to access a unique educational experience at a formative time in their lives.Past contributors to the exhibition include renowned alumni and friends of the College such as Christopher Bailey, David Bowie, Sir James Dyson, Tracey Emin, Norman Foster, Thomas Heatherwick, Anish Kapoor, Mike Leigh, Stella McCartney, Steve McQueen, Yoko Ono, Zandra Rhodes and Sir Paul Smith. Current students and recent alumni are also invited to contribute – adding to the fascinating mix of styles and responses.However, when the works go on display, all are anonymous – leaving it up to the viewer to decide if the work they like is by an art-world luminary or a rising star. Some are quite obvious (a few artists miss the memo and sign their works on the front); the majority are not. Part of this is due to there being no limitation on medium: from photography and collage, to drawing, painting and even sculpture and embroidery, the only requirement is that all artworks should be postcard-sized.To buy the works, members of the public register to gain a buyer’s ID – after which, it’s first come, first served (capped at four works per buyer until the very last days of the show). This wonderful collection [lots 292-300] was put together by possibly the most dedicated follower of RCA Secret, who was first in line every year between 2002 and 2018 and as such it represents the best of what the exhibition is about. There are works by major names such as Grayson Perry, Yinka Shonibare, Mimmo Paladino, Maggi Hambling, David Bailey and Richard Wentworth, mixed in with jewels by artists less well known, all with something in common, that particular collaborative and open-hearted spirit of the exhibition.

A. Browne (Alan Charlson Browne British 1903-1970), Panoramic Lakeside Villages, (probably Devon), with trees in foreground original mixed media artwork, each signed 17.5 x 27cm. (4)

Collection of mixed media Ship and Naval interest kits, to include Constructo Le Camaret, Corel HMS Victory and others

A collection of mixed media plastic, white metal and wooden racing cars to include a Penguin series 4 plastic racer, two Scamold race cars, and one other similar wooden kit built race car

A collection of framed art by local artist Sue Warren. A watercolour "The Green Chair", a handmade embroidered felt "Blue Flowers", a watercolour "The Garden seat", a mixed media piece "Moonlight Walker", and an oil pastel "The Lane to Wick Court"

Sandra Cooper (Contemporary Liverpool artist), Study of Purple Flowers, Mixed media, signed lower centre, 62 x 53cm.

Oliverio Massi (b.1949), Female torsos, a group of four, mixed media prints, all signed, three dated '93, the largest image 29.5 x 15cm. (4) UnframedCondition Report: All with some foxing/discolouration

Sandra Cooper (Contemporary Liverpool artist), Study of White Poppies, mixed media, signed lower right, 45 x 68cm

Sandra Cooper (Contemporary Liverpool artist), Study of Purple Flowers and Foliage, mixed media, signed lower right, 53 x 68cm.

Keith Wilson (British, 1941-2011) - Original artwork on board, mixed media, showing an exterior waterfall city from 'Dinotopia' (TV Mini Series 2002-03), initialled by Keith Wilson, 78 x 52 cm. Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) The Seventh Scroll (1999) Dinotopia (2002) A Christmas Carol (2004) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).

Pair of signed mixed media paintings 'Sensory' on paper - 75cm x 97cm

Tatsuo Miki (b.1904) mixed media picture inc paper cut-out of a Kokeshi doll - frame 35.5cm x 30.5cm